Brief Notes On New Jazz Releases

Here are notes on a few new jazz albums you might want to check out.

Bill Banfield’s Jazz Urbane: “Take Time To Listen” – The title of guitarist Bill Banfield’s new album comes from something his father told him. We must take the time to listen to those who have something to teach us, to those who have come before. Interestingly, Bill Banfield is himself an educator as well as musician and composer. And he shows us that there are things to be learned from the music itself. The title, to my thinking, is also encouraging folks to enjoy complete albums, to take the time to immerse ourselves in the worlds and stories of these songs, rather than just catching snippets of music the way people now get their news. Take Time To Listen is a solo album, with Bill Banfield delivering his own interpretations of popular numbers, along with some original compositions. It begins with “This Time,” which has a thoughtful and yet inviting sound, which works to soothe us and draw us closer. I’ve said it before, but you can never go wrong with Gershwin. On this album, Bill Banfield delivers an excellent rendition of “Summertime,” his guitar somehow functioning as both band and vocalist.  And his playing has the excitement of a vocalist riffing at moments in the second half. Bill Banfield follows that with Carole King’s “You’ve Got A Friend,” a song that was a hit for James Taylor. His guitar work indeed has a friendly feel, and also a lively vibe, like a friend urging us to go out and enjoy the day with him or her. “Closer I Get To You” also has a warm vibe, which is nice. But my favorite moments are those when there is some excitement added to his playing in the second half, when it feels like he seizes the moment to express something that has just occurred to him. There is a good energy to his rendition of “Autumn Leaves,” his playing having a surprising joy at times. He also gives a more vibrant sense to The Isley Brothers’ “For The Love Of You,” keeping listeners in the moment. That’s followed by an original composition, “Brooke,” a rather beautiful and earnest piece that becomes exciting in its own way as it progresses, a song that is both sweet and fun. “AM Song For Birdie,” another original piece, feels like a bright morning, before you enter the human stream, when you might have some moments alone with nature and your own thoughts. There is joy here, and a playful sense. May all of our days begin this way. “Song For Earl” is a tribute to guitarist Earl Klugh, and features some excellent playing. Bill Banfield also covers Earl Klugh’s “Mirabella,” a song from the 1980s release Late Night Guitar, delivering a wonderful rendition. He concludes the album with a cover of “Someday My Prince Will Come,” breathing fresh life into the number. This album was released on July 19, 2024.

Cali Mambo: “Cali Mambo” – Cali Mambo is the new project of pianist Dred Scott, along with Tom Beckham on vibraphone, Matt Pavolka on bass, and Moses Patrou on percussion. These four accomplished musicians explore Latin jazz, paying homage to some of the composers who are responsible for its popularity. The album opens with a bright rendition of George Shearing’s “Cali Mambo,” enjoyable from the start. It has such a cheerful vibe, in part because of the work on vibraphone, the instrument playing a prominent role. I also love those moments of interaction with the bass. It isn’t until the second half that Dred Scott delivers a strong and vibrant lead on piano. And throughout the track, there is some excellent percussion. The group follows that with “Star Eyes,” giving the song a delicious Latin vibe. I appreciate the joy of the sound. This is music that should draw smiles from even the most dour of folks, especially Dred Scott’s piano lead. There is also something quite catchy about this rendition. That is followed by “Poinciana,” a tune that may or may not have been developed from a Cuban folk song. Whatever its origin, it’s a wonderful number. Particularly delightful is that work on piano. Another highlight is “La Engañadora,” whose Cuban origins are not in doubt. This song feels like the warmth and cheer of summer, and as it begins to take off, it is like the music itself grabs you by the hand and leads you into a dance. And before you can think, you are immersed in great joy and action. They then slow things down with “Danza Cubana #2,” but, as should be clear from its title, that does not mean the dance is over. But it has become more thoughtful, more intimate. Then “Guachi Guaro” features some excellent and lively work on vibraphone, as well as a seriously good lead on piano. The group also delivers a fun rendition of “You And The Night And The Music,” which features a swinging and exciting lead on piano. There is one original composition on this album, “Lulu,” written by Dred Scott. It’s a warm and pretty number that has its own catchy elements. It’s the kind of tune that were it to have lyrics you’d be singing along almost immediately. The album concludes with Dizzy Gillespie’s “Manteca,” a piece that is always enjoyable. It is a great, spirited number to wrap things up. One note: the CD case also lists “Footprints” among the tracks, but it is not on the disc. This album is scheduled to be released on September 20, 2024.

Shawn Maxwell: “J Town Suite” – Shawn Maxwell’s new album is inspired by the place where he grew up: Joliet, Illinois. Before getting into the music, I have to mention the Shakespeare reference and error in the disc’s liner notes. The notes, written by Neil Tesser, begin with this reference to Romeo And Juliet: “Joliet, Joliet- wherefore art thou?” The next line begins, “About 35 miles southwest of Chicago.” The problem is that the word “wherefore” does not mean “where,” but rather “why.” Juliet is not asking where Romeo is, and in fact she is shocked to find him in the yard below her. She is asking why he must be a Montague. She is speaking about his name, about his family. Okay, now to the music. Shawn Maxwell plays alto saxophone, soprano saxophone and flute on this album. He is joined by Michael Barton on bass, Collin Clauson on keys, and Greg Essig on drums. The album opens with “Steelmen March,” named after the mascot at his high school, Joliet Central High School. And it is, indeed, a march, at least for a time, but a darker one. This isn’t necessarily going to push the football team to a victory; it is much more interesting than that.  The work on keys ponders and explores, and the music begins to build during that lead. I particularly like the drum work there. While having a serious quality, there is also warmth and affection in Shawn Maxwell’s lead in the second half. That’s followed by “Fries Or Rings In The Back,” inspired by a takeout place that was open late. This one eases in, giving us the sense of a city late at night. There is something lonesome about it at the start, particularly Shawn’s work on soprano saxophone. But then we get the sense of being joined by other lonesome folks wandering about in the dark and drawn to this one place that is still open. All I know of Joliet is what I learned from The Blues Brothers, which is that there is a penitentiary there. The track “In The Shadow Of Statesville” is named after the nearby Crest Hill prison. There is an eerie vibe as it begins, and Shawn Maxwell is on flute. Creatures creep in the shadows, and there is danger as you make your way along, perhaps whistling to yourself to keep the monsters at bay, keeping your light close. “Jerry” is dedicated to the teacher who convinced Shawn to play saxophone, and it has a pleasant vibe. I love those short sections with the funky rhythm on drums near the beginning, and then it gets more and more interesting from there, and features some beautiful work on sax. He goes back to flute for “Tap, Keg & Tavern,” which has a gloriously loose vibe, and features some excellent percussion. That’s followed by “Hickory Street,” a short piece that has such a cheerful and uplifting vibe. The album’s final track, “Ghost Mall On Jefferson,” has a dark, solemn feel as it begins, and features saxophone and bass. Probably every city has one of these malls that was once bustling and now is empty. But when you’re alone in one, you get the urge to just shout out into the void, and this piece conveys that feeling. This album was released on May 1, 2024.

Planet D Nonet: “Echoes Of Harlem: A Salute To Duke Ellington Vol. 2” – In February 2023, Planet D Nonet released the wonderful Blues To Be There: A Salute To Duke Ellington, which featured compositions by Ellington and Billy Strayhorn. Now they’ve delivered a second volume, this one featuring mostly material written or co-written by Duke Ellington. It is a treat, and contains just under eighty minutes of music. The album gets off to a swinging start with a lively rendition of “Happy Anatomy,” a piece written for the film Anatomy Of A Murder. This arrangement by Trevor Lamb features excellent work by Charlie Miller on trumpet and by Chris Tabaczynski on tenor saxophone.  That’s followed by “Flirtibird,” also from Anatomy Of A Murder, this one having a seriously cool style from its opening moments. This is completely delicious, and contains some great stuff by Alex Colista on alto saxophone. “Rocks In My Bed” features a gorgeous and incredibly cool vocal performance by Camille Price, and her presence helps make this track one of the album’s highlights. There is also plenty of outstanding work by the brass section. Really, everything about this track is working just right. This one was written by Duke Ellington and Billy Strayhorn. Then check out James O’ Donnell’s sensational work on “Echoes Of Harlem,” the song used as this release’s title track, and one that maintains that good bluesy vibe. I also like Michael Zaporski’s work on piano here. “Blood Count” is the album’s only piece not written or co-written by Duke Ellington. It was written by Billy Strayhorn and included on Duke Ellington’s …And His Mother Called Him Bill, which featured material composed by Strayhorn. Planet D. Nonet delivers a beautiful rendition, with an arrangement by Jeff Cuny and featuring some wonderful work by Alex Colista on alto saxophone. That’s followed by a hopping rendition of “Juniflip,” the entire band delivering some good stuff. It is interesting how the bass really starts to cook during that lead on piano, almost like bassist Trevor Lamb is demanding a solo, which he then takes, one of my favorite moments of the track. James O’Donnell then provides the vocals for a sweet rendition of “Azalea.” That’s followed by “La Plus Belle Africaine,” here listed as “La Belle Plus Africaine,” which eases in, that opening section featuring some interesting percussion and cool stuff on clarinet. And then it just explodes, the beginning of an intriguing ride. The arrangement is by Trevor Lamb, who delivers some strong work on bass. Another highlight is “Caravan,” featuring John “TBone” Paxton on vocals, the last of the discs tracks to include vocals. It also features some excellent work on drums and percussion. This is an exciting rendition. This album gives us one more piece from Anatomy Of A Murder, the main title, also known as “I’m Gonna Go Fishin’,” and it is a delight. Seriously, this track is certain to make you smile. This music is making me want to revisit that film soon. The album concludes with “Sophisticated Lady,” delivered as a piano solo. This album was released on July 19, 2024.

Veronica Thomas: “They Say It’s Wonderful” – Vocalist Veronica Thomas’ new album features some excellent standards, many of them coming from movies. It was produced by John Proulx, who also plays piano on these tracks and did the arrangements. Veronica Thomas is also backed by Bob Sheppard on saxophone and flute, Mike Gurrola on bass, and Kevin van den Elzen on drums. The album opens with “Almost In Your Arms,” a love song from Houseboat, where it is sung by Sophia Loren. Veronica Thomas delivers a version that swings, that has a livelier, more cheerful vibe, particularly in her vocal approach, which works perfectly. Plus, this track features wonderful leads on both bass and piano. She then slows things down and pulls us in closer with her rendition of Cole Porter’s “Get Out Of Town,” which has a feeling of intimacy, particularly at the beginning. This track contains some really nice work on saxophone. That’s followed by “Invitation,” an instrumental version of which plays during the opening credits sequence of the 1950 film A Life Of Her Own, and then during the opening credits sequence of the 1952 film Invitation. The version here swings in certain sections, and Veronica Thomas offers a strong and varied vocal performance. The title track, “They Say It’s Wonderful,” begins with some beautiful work on saxophone, and features an equally moving vocal performance. There is more great stuff on saxophone throughout the track. And then Veronica Thomas clearly has a good time with “If I Were A Bell,” her vocal approach having a sense of play. Plus, this track features a drum solo, which makes me happy. “Dindi” contains another beautiful vocal performance. This one also features some pretty work on flute. Another highlight for me is “Bewitched, Bothered And Bewildered,” mostly because of Veronica’s heartfelt performance, but also because of the piano work.  Veronica Thomas also delivers a cool rendition of “Speak Low,” with her vocals supported by just drums for a bit near the beginning. This version moves at a good pace, and features some excellent work on flute. And check out that drumming toward the end. Veronica Thomas also delivers a pretty song co-written by John Proulx, “Stuck In A Dream,” with lyrics by K. Lawrence Dunhan. “I could fall in love/That may not be smart/For then where would you be/Stuck in a dream with me.” “A Sleepin’ Bee” features a cool bass line and some strong work on saxophone. “Too Late Now” comes from the 1951 film Royal Wedding, and I have to say I much prefer the way Veronica Thomas delivers it. There is more honesty to this rendition. It is one of the album’s best vocal performances. She wraps things up with “Two For The Road,” with John Proulx joining her on vocals. This album was released on July 12, 2024.