Wednesday, December 26, 2012

Review: She Likes That - Geoff Vidal


She Likes That is the somewhat brief (at just over 47 minutes) debut recording of tenor saxophonist Geoff Vidal (that’s the only horn he plays on this recording).  The recording starts off with “Darjeeling,” an upper mid-tempo tune with a clever melody.  Guitarist Joe Hundertmark starts off the improvising, playing a good solo with a slightly distorted, Kurt Rosenwinkel-ish sound.  Then Vidal takes over, displaying a big, attractive sound on tenor, strong like early Sonny Rollins but a bit softer and prettier, with a nice “liquid” quality.  His phrasing is fast and mostly straightforward except for a few curves he throws in, including some Brecker-isms.  He gets some nice support during his solo from Hundertmark and drummer Makaya McCraven. 

“Different Planes” starts off with pretty bass strumming from Michael O’Brien and has an intricate, Pat Metheny-esque melody line in a tricky meter.  O’Brien plays a folksy, melodic solo showing off some good chops, with more fine accompaniment from McCraven.  Hundertmark then plays a nicely varied solo, with clean lines interspersed with chords.  Vidal then plays a calypso-style duet with McCraven, moving into an exciting and elegant solo.  McCraven then takes the spotlight with a fiery solo, with guitar and bass accompaniment.

On “O-zoning,” trumpeter Tatum Greenblatt and Vidal hammer away at the multiple eighth-note melody, in what seems to be 7/4 time.  The melody is good, but there is an added challenging unison line with trumpet and sax, which seems like overkill.  Hundertmark plays a self-assured solo with a reverb-y, steel-hard tone, showing a lot of control over his instrument.  Vidal enters softly with his improvisation with a slightly funky feel which then builds to a strong statement.  Then Greenblatt and Vidal repeat a phrase as McCraven solos.  “Time Apart” starts off with Vidal playing a cappella, showing off his warm, full, breathy tone.  The cut’s melody is hard to pin down.  Hundertmark plays a brief solo, then Vidal takes another impressive solo turn, but overall the cut doesn’t hang together very well.

“Free Diver” is another odd-metered and somewhat awkward tune, with Vidal and Greenblatt playing at the start, first in counterpoint and then in harmony.  Vidal solos, showing off some impressive altissimo playing, with more good accompaniment from McCraven.  Vidal and Greenblatt then improvise in tandem.  McCraven plays especially well throughout this tune.  “Lanusa” is a laid-back, pretty, minor key tune.  Vidal glides through the changes in his solo.  Hundertmark then takes over, employing a ghostly, echo-y tone.  After a strong statement of the tune’s theme, Vidal and Hundertmark improvise in tandem. 

The recording ends with “She Likes That,” a tune with a somewhat murky theme, which Greenblatt and Vidal play in unison.  Then a groove kicks in and trumpet and tenor play a different (and, to my mind, unnecessary) theme first in unison, then in counterpoint.  Then Hundertmark hijacks the show with a high-speed, distorted, slightly demonic solo that’s really good.  Trumpet and sax come in to accompany Hundertmark, and they seem out of place in contrast with the wild guitar solo.  Vidal and Greenblatt then improvise in tandem.

Vidal’s band mates on She Likes That do a great job, and Hundertmark is an excellent foil for the saxophonist, possessing loads of improvisational skill.  The compositions are a mixed bag; “Darjeeling,” “O-Zoning,” “Different Planes,” and “Lanusa” work well, while “Time Apart,” “Free Diver,” and “She Likes That” seem to try too hard and suffer from an overall lack of tightness.  But one thing is for sure: Vidal is a hell of a saxophone player.  He effortlessly rolls out clear, ear-catching phrases with a cushy sound that fills up your earphones, his style containing hints of Donny McCaslin’s virtuosity and Ralph Moore’s smoothness, and he has superb control over the altissimo register.  While I hope Vidal’s next recording is stronger compositionally, I fully expect great things from him as an improvising saxophonist.

Sunday, December 23, 2012

Downbeat magazine's Best CDs of 2012 (edited)

Adding to our parade of "best of" lists, here's an edited version of Downbeat magazine's most highly rated CDs of 2012 (from the December 2012 print issue), which translates to the CDs that received a 4-to-5 star rating in the magazine during the year of 2012.  I've edited the list to focus on the CDs that feature heavy saxophone playing.  I've no where near listened to all these CDs, so I'm flying slightly blind in my editing, and my own tastes have definitely had an influence on the choices (for example, I've left out some of the recordings that are likely in the category of free jazz).  So keep this in mind when perusing the list.  To get the full list, you'll have to get your hands on the December 2012 issue of Downbeat.  The astute reader will notice a number of recordings that have already been reviewed here on AJS.  The list also gives me ideas for some catching up I'll be doing in the coming weeks; you'll be seeing the fruits of this catching up in reviews on AJS.  In the meantime, I hope this list proves interesting to the sax-oriented jazz listener.  (As usual, any readers who have comments on this list or any of my omissions, please send them on to AJS.)

5 stars

Unhinged - Jon Irabagon’s Outright!

4 ½ stars

Claroscuro – Anat Cohen
Angelic Warrior – Tia Fuller
I Don’t Hear Nuthin’ But the Blues Volume 2: Appalachian Haze – Jon Irabagon
Here Today - Jason Palmer (w/ Mark Turner)
Reunion: Live in New York - Sam Rivers/Dave Holland/Barry Altschul
Today’s Opinion – Yosvany Terry

4 stars

Within a Song – John Abercrombie
Rhythm on the River – Harry Allen
The Matador and the Bull – JD Allen
Snakeoil – Tim Berne
Barefooted Town – David Binney
Scheherazazde’s Tales – Igor Butman Orchestra
High on You – Pete Christlieb and Linda Small
Spirit Fiction - Ravi Coltrane
Live at Smalls – Jesse Davis Quintet
Be Still – Dave Douglas Quintet
The Only Son of One – Wayne Escoffery
Year of the Snake – Fly
Twilight – Victor Goines Quintet
All Our Reasons – Billy Hart
Lucky 13 – Javon Jackson
Sleeper – Keith Jarrett
Book of Mae’bul – Darius Jones Quartet
Traverse – Brian Landrus
Dialect Florescent – Steve Lehman Trio
Home on Richmond – Pat Mallinger Quartet
Four MF’s Playin’ Tunes – Branford Marsalis Quartet
Mary Lou Williams – The Next 100 years – Virginia Mayhew Quartet
Casting for Gravity – Donny McCaslin
Ghosts of the Sun – Bill McHenry
Unity Band – Pat Metheny
For the Moment – Bob Mintzer Big Band
Initial Here – Linda Oh
Abstract Society – Jure Pukl
Hart-beat – Stephen Riley
Bassprint – Marlene Rosenberg Quartet (with Geof Bradfield)
Plugged In – Jerome Sabbagh
Smul’s Pardise – Gary Smulyan
Believe – The Cookers
Romance Language – Kirk Whalum
Rayuela – Miguel Zenon and Laurent Coq

Thursday, December 20, 2012

Peter Hum's Best Jazz of 2012

Another list of best jazz recordings of 2012 (yay!), this one from Peter Hum of the Ottawa Citizen’s Jazzblog (one of the blogs on the esteemed AJS Blog List Supreme).  Hum actually provides a list of Honorable Mentions in addition to his top 10 list, so we get two lists for the price of one!  I like Hum’s taste in jazz, and his lists have given me a few ideas for recordings I’d like to review myself.  On the page where he provides these lists, he gives links to a number of his reviews of these recordings, which offer lots of insights and good info, as well as best debut and vocal CDs, and a couple of lists of special interest to Canadian jazz lovers; check it out here.

Top Discs of 2012
1.       Snakeoil, Tim Berne (ECM)
2.       Four MFs Playin’ Tunes, Branford Marsalis Quartet (Marsalis Music)]
3.       Centennial: Newly Discovered Works of Gil Evans, Ryan Truesdell (ArtistShare)
4.       Sleeper, Keith Jarrett (ECM)
5.       Ode, Brad Mehldau Trio (Nonesuch)
6.       Star of Jupiter, Kurt Rosenwinkel (Wommusic)
7.       Accelerando, Vijay Iyer Trio (ACT)
8.       Frame, Ben Wendel (Sunnyside)
9.       All Our Reasons, Billy Hart (ECM)
10.   Swim, Joel Miller (Origin Records)

Honorable Mentions of 2012:
1.       Casting For Gravity, Donny McCaslin Group (Greenleaf Music)
2.       Be Still, Dave Douglas (Greenleaf Music)
3.       Where Do You Start? Brad Mehldau Trio (Nonesuch)
4.       Dialect Fluorescent, Steve Lehman (Pi Recordings)
5.       Alive at the Vanguard, Fred Hersch Trio (Palmetto)
6.       An Attitude For Gratitude, Matt Wilson’s Arts and Crafts (Palmetto)
7.       Universal Mind, Luis Perdomo (RKM Music)
8.       Rayuela, Miguel Zenon/Laurent Coq (Sunnyside)
9.       The Creep, Ted Nash (Plastic Sax)
10.   Unanimous, Ulysses Owens Jr. (Criss Cross)
11.   Finger-Songwriter, Jeremy Siskind (Brooklyn Jazz Underground)
12.   Da Vinci, Fred Hersch and Nico Gori (Bee Jazz)
13.   Triveni II, Avishai Cohen (Anzic)

Monday, December 17, 2012

Old Buescher sax ad

This old ad was posted on the Saxophonists group Facebook page; I thought it was funny enough to reproduce here (besides the fact that I generally love retro ads).  I especially like the implication of how fast one can master a saxophone.  It's so easy!  Pretty women will be staring at you with adoration in no time!  (Kidding aside, old Bueschers really are good saxophones.)


Sunday, December 16, 2012

Review: Opus One - Shauli Einav


Concluding our Hanukkah/Israeli saxophonist extravaganza (which began with Eli Degibri’s Israeli Song), this time we’ll focus on Shauli Einav’s recording, Opus One.  The opening tune, “Jerusalem Theme,” begins with some in-tandem improvisation by Einav (on tenor sax) and trombonist Andy Hunter, backed by a bouncy ostinato from pianist Shai Maestro.  The tune has a dual personality, beginning as a pretty, minor-key jazz waltz that eventually moves into a 4/4 swing section.  Einav’s solo shows him to be a thoughtful improviser with a refreshing, compositional style of playing.  His tone on the tenor sax is well-controlled, but it strikes me as a little thin.  After Einav’s solo, Maestro plays a pretty synthesizer solo, his keyboard tuned like the synthesizer in the Emerson, Lake, and Palmer tune, “From the Beginning.”  He accompanies himself with one hand on the piano, then finishes his turn in the spotlight by playing the piano alone.  Einav and Hunter play the melody and add some dual improvising to close out the cut.

“Kavana” is an upper mid-tempo, post-bop tune with an Israeli flavor.  Einav plays a nice tenor solo.  Hunter plays a solid, lyrical solo; he’s clearly more interested in producing a coherent musical statement than in pushing the boundaries of his instrument.  Maestro plays a lyrical solo that also has plenty of technical flash, including fast runs and lines played in unison octaves.  Einav warms up his tone on tenor a bit for the lower mid-tempo ballad, “Naama,” playing the melody again in tandem with Hunter.  Einav’s solo is airy, pretty, and romantic.  Maestro and Hunter get in nice solos of their own. 

“The Damelin” is a clever, mid-tempo, later Jazz Messengers-type tune.  Hunter starts off the soloing with a solid, swinging effort.  Einav plays an engaging tenor solo with hints of Wayne Shorter.  Maestro’s solo is both driving and elegant.  He moves into a repeated figure behind which drummer Jonathan Blake makes his own forceful and graceful statement.  Maestro starts off “Hayu Leilot” with a Chick Corea-ish reverb-y electric piano.  Tenor and trombone join the piano with a slow melody, then a slightly funky groove kicks in with the band in 7/4 time, tenor and trombone playing the melody, again with an Israeli flavor, in counterpoint.  Einav plays a smart, compositional solo with especially strong accompaniment from Maestro.  Hunter responds well to the funky feeling of the tune and stretches out, constructing a fine solo.  After a statement of the melody, piano and bass provide an ostinato and Blake again dances a solo under it, before Einav and Hunter play the melody to close out the cut.

“Interlude” is a brief, improvisation-less piece with Einav on both tenor and soprano parts, along with Hunter and Joseph Lepore on bass--a pretty, chamber jazz composition with both quick and slow sections.  (“Interlude” reminds me a bit of Chick Corea’s “Children’s Songs,” which Corea used to as interludes between his longer pieces on his “Light as a Feather” and “Friends” recordings.)  “New Era Ballad” is a slow, march-like piece, Hunter in unison on the melody with Einev on soprano sax.  This leads to a gentle bass solo from Lepore with quiet accompaniment from piano and drums.  Einev displays a pretty soprano sound in his solo, with strong accompaniment again from Maestro, though the improvisation itself seems a bit aimless.

“Shavuot” has a bouncy, tricky theme, a bit like Neal Hefti’s“Repetition,” with some interesting harmonic complexity.  Einav’s soprano sax solo is ear-catching, but again, somewhat aimless.  Hunter plays a deft, logical solo.  The recording ends with “Coda,” another lovely chamber-jazz piece with Einav on both tenor and soprano, plus trombone and bass, but no improvisation.  (This piece reminds me of David Amram’s lovely, haunting theme for the movie, the Manchurian Candidate.)

Opus One is a collection of very good music, with interesting compositions and strong improvisations.  Einav manages a lot of variety in his tunes, but each tune has a touch of an Israeli feeling, which is effective and refreshing.  Einav is an accomplished saxophonist, though his sound on tenor is not as full as I would like, and his improvisations are a little lacking in logical development.  From a bird’s-eye view, the music on this recording is strong, and I think this is Einav’s primary concern, but looking at individual saxophone solos, those who see things through saxophone-colored glasses, such as myself, might wish for a bit more.  But Opus One indicates that Einav is a formidable musician and composer, well worth watching in the future.

To get an idea of what Opus One is about, here is the entire first cut of the recording, "Jerusalem Theme," complements of YouTube.

Friday, December 14, 2012

Nextbop's Best Jazz Albums of 2012, Second Half

Here is the second half of Nextbop.com's Best Jazz Albums of 2012, from #10 to #1. 

10) Lionel Loueke - Heritage (Blue Note)

8 tie) Marcus Miller - Renaissance (Concord Jazz)

8 tie) Brad Mehldau - Where Do You Start (Nonesuch)

7) Kurt Rosenwinkel - Star of Jupiter (Wommusic)

5 tie) Gregory Porter - Be Good (Motéma)

5 tie) ERIMAJ - Conflict of a Man (Don't Cry Recordings)

4) Christian Scott - Christian aTunde Adjuah (Concord Jazz)

3) The Bad Plus - Made Possible (Decca/Universal)

2) Vijay Iyer Trio - Accelerando (ACT)

1) Robert Glasper Experiment - Black Radio (Blue Note)

The Miller, Mehldau (again!), Scott, and Glasper recordings interest me the most.  I know Miller has sax player Alex Han in his band, and he's supposed to be very good.  Glasper has Casey Benjamin in his group.  Related clips and graphics are available on the Nextbop site here.

Well, lots for me to catch up on here.  As usual, if you have any thoughts, please pass them on.  More "best of" lists to come.
 

Nextbop's Best Jazz Albums of 2012, First Half

Nextbop.com just came out with the first half of their list of best jazz albums of 2012, from #25 to #11 (with lots of ties).  Here they are:

21) Menahan Street Band - The Crossing (Daptone)

20 tie) Yaron Herman - Alter Ego (ACT)

20 tie) Neneh Cherry & The Thing - Cherry Thing (Smalltown Supersound)

20 tie) Linda Oh - Initial Here (Greenleaf)

20 tie) Donny McCaslin - Casting for Gravity (Greenleaf)

20 tie) Brad Mehldau - Ode (Nonesuch)

16 tie) Philip Dizack- End of an Era (Truth Revolution Records)

16 tie) Dr. Lonnie Smith - The Healer (Pilgrimage)

16 tie) Avishai Cohen - Duende (Blue Note France)

14 tie) Kat Edmonson - Way Down Low (Red General Catalog)

14 tie) Esperanza Spalding - Radio Music Society (Heads Up)

12 tie) Charlie Haden & Hank Jones - Come Sunday (EmArcy)

12 tie) 4th Ward Afro Klezmer Orchestra - Abdul the Rabbi (4th Ward Afro Klezmer Orchestra)

11) JD Allen - The Matador and the Bull (Savant)

I'm impressed by the all the "ties" in this list; I think that means the Nextbop folks really took this ranking seriously and did some fine-grained analysis.  Some artists on this list I've never heard of, so I'll have to do some catching up.  I'll probably check out Linda Oh's Initial Here; I know she has (previously AJS-reviwed) tenor saxophonist Dayna Stephens on this recording, and I like his playing a lot.  I'm already familiar with Donny McCaslin's Casting for Gravity, having reviewed it on this blog.   I love Brad Mehldau (he did such a nice job on the previously AJS-reviewed Israeli Song, led by Eli Degibri), so I'll have to check out Ode.  I'm curious to hear trumpeter Philip Dizack; he has a saxophonist, Jake Saslow, I've been interested in checking out.  JD Allen's Victory was reviewed here on AJS; I'll keep the Matador and the Bull in mind, but I need to check out some other saxophonists before I return to Mr. Allen's work. 

Those are the main thoughts that come to mind in reviewing this list.  For some clips and graphics pertaining to these recordings, check out Nextbop.  I'm looking forward to Nextbop's top ten, and I'll post that when it's available.

Thursday, December 13, 2012

Slate's Best Jazz Albums of 2012

Continuing our year-end "best of" extravaganza, here is Slate magazine's list of the best jazz albums of 2012:

1.       Ravi Coltrane, Spirit Fiction (Blue Note).

2.       Vijay Iyer Trio, Accelerando (ACT).

3.       Fred Hersch Trio, Alive at the Vanguard (Palmetto).

4.       Ted Nash, The Creep (Plastic Sax).

5.       Chick Corea / Eddie Gomez / Paul Motian, Further Explorations (Concord).

6.       Dave Douglas, Be Still (Greenleaf).

7.       Frank Kimbrough Trio, Live at Kitano (Palmetto).

8.       Ron Miles, Quiver (Enja).

9.       Jenny Scheinman, Mischief & Mayhem (Jenny Scheinman).

10.   John Abercrombie, Within a Song (ECM).
The list seems a little light on things to delight the saxophone-o-phile, it seems to me, but there are recordings from Ravi Coltrane and Ted Nash, and I know Jon Irabagon is on the Dave Douglas recording and Joe Lovano is on the Abercrombie.  Personally, I'd especially like to check out the Iyer, Nash, Corea, and Douglas recordings.  I heard Fred Hersch in concert earlier this year, and he was terrific, but I purchased one of his CD's at that time and that should hold me for a while Hersch-wise (until I've checked out some other artists).  Slate has kindly provided clips of each of these recordings; check it out

Monday, December 10, 2012

A Blog Supreme's Top 10 Jazz Albums of 2012

'Tis the season...for top 10 lists!  As various folks review 2012, we'll be seeing more "Best of" and "Top" lists, which is great, because I really like these.  (For example, they give me an idea of what has escaped my radar and what I need to catch up on.)  A Blog Supreme just came out with their top 10 jazz albums of 2012.  Not a very strong showing of saxophone-heavy recordings, to my mind, but we'll be exploring more "best of 2012" lists on AJS in the weeks to come.  If you want to see the Blog Supreme list with music samples, go here.

A Blog Supreme - Top 10 Jazz Albums Of 2012

1.       Billy Hart, 'All Our Reasons'

2.       Darius Jones Quartet, 'Book of Mae'bul'

3.       Matt Ulery, 'By A Little Light'

4.       Neneh Cherry & The Thing, 'The Cherry Thing'

5.       Omer Avital, 'Suite Of The East'

6.       Ryan Truesdell, 'Centennial: Newly Discovered Works Of Gil Evans'

7.       Scott Dubois, 'Landscape Scripture'

8.       Theo Bleckmann, 'Hello Earth: The Music Of Kate Bush'

9.       Todd Marcus, 'Inheritance'

10.   Vijay Iyer Trio, 'Accelerando'

Sunday, December 9, 2012

Review: Israeli Song - Eli Degibri

I’ve had Eli Degibri on my list of sax players to check out to for a while, and I thought, well, Eli is Israeli, and it’s Hanukkah time, so I used this as an excuse to put Eli in the AJS spotlight this week.  Degibri has a few recordings out, but Israeli Song is fairly recent, and the rhythm section certainly caught my interest: Brad Mehldau (one of my favorite pianists), Ron Carter, and Al Foster.  That’s a multi-million dollar rhythm section if there ever was one.


Israeli Song starts out with a Mehldau composition, “Unrequited,” an upper mid-tempo, minor key, interesting tune.  Mehldau starts the soloing with his distinctive imaginative phrasing, beginning simply, then moving into quicksilver phrases and ringing chords.  Degibri then comes in on soprano sax, with a clear, singing tone.  Degibri starts with clean, skillful lines, and then he mixes in more emotional playing, with some faster lines, upper register screaming, and increased volume before bringing it back down to a closing reading of the melody, with only Mehldau for accompaniment. 

“Mr. R.C.,” a Degibri tune written for Ron Carter, is a mid-tempo swing tune, something that would have fit nicely on the previously reviewed ‘Round Midnight (by Harry Allen and Scott Hamilton), with Degibri on tenor sax.  Let me just say that I love Degibri’s tone on the tenor: big, full, slightly breathy, and a bit old-fashioned, like he’s playing a vintage saxophone.  His phrasing is a mix of traditional and modern, more of an updated Stan Getz or Dexter Gordon style rather than an edgy Coltrane or a driving Sonny Rollins.  He adds in some upper register screams here to finish off a very solid solo. Mehldau gets in an ear-catching solo. Then Carter plays a swinging, light-hearted bass solo with double-stops sprinkled in.  Next is Degibri’s “Judy the Dog,” an up-tempo, post-bop tune with Degibri again on tenor.  Degibri plays clean, slippery phrases and again adds in some effective upper register screaming, followed by a Mehldau solo.  Foster provides a subtle cushion of rhythm throughout, and the entire rhythm section plays like it’s a single person, completely seamless.  The cut fades out on Mehldau and Degibri trading fours.

“Jealous Eyes” is an engaging, clever ballad.  Degibri is again on soprano, and it’s evident here that his soprano sound is also a bit old-fashioned; it sounds like he may be playing a curved soprano sax.  Mehldau plays some off-center phrases to spice up the ballad in a solo that’s too brief.  In his solo, Degibri includes some surprisingly high volume for a while, then he brings the volume way back down.  This is something notable in Degibri’s style: he includes a lot of changes in volume in his solos.  “Manic Depressive” is a slightly twisted blues, and Mehldau gives an appropriately bluesy intro to the tune, though the melody, played by Degibri on tenor, is a bit hard to pin down.  Degibri plays a straightforward, swaggering solo, while Mehldau spices up his solo with some jangly chords.  Carter plays a fine, swinging solo, again with plenty of double-stops.  Degibri’s beautiful tenor sound is again on display here, but in the improvisation department, he is a bit outclassed by his bandmates on this one. 

Next up is a mid-tempo, relaxed reading of Dizzy’s “Bebop,” a duet between Degibri and Foster.  Again, Foster effortlessly and gracefully ferries us through the tune.  Degibri’s tenor solo well establishes his bebop creds, and he adds some accompaniment to Foster’s solo, which swings in a gentle and understated way.  Degibri’s “Liora” is a song with a capital “s,” like something Irving Berlin might have written.  Degibri and Mehldau are by themselves on this cut.  Degibri, on tenor, slides through the changes and again varies his dynamics throughout his improvising.  The cut reminds me of the Getz/Barron collaboration, People Time, with Degibri and Mehldau playing well off each other, and it is a fine change of pace at this point in the recording.

Foster’s “Look What You Do to Me” is an upper mid-tempo, pretty, slightly funky tune on which Degibri plays soprano.  Degibri’s solo is well-paced, and Foster gets in a tasteful solo, which is punctuated by quick phrases from the rest of the band.  Carter’s “Third Plane” is a brisk jazz waltz on which Degibri plays tenor, and he gets off a swinging, flowing solo.  Then Mehldau solos, briefly adding in a double-time section, though his solo, like Degibri’s, is too brief to make much of a statement.  The standard “Over the Rainbow” is a duet between Carter and Degibri on tenor.  Degibri’s sound shines on his heartfelt reading of the melody, and then he improvises through ¾ of the tune, Carter doing some fun things on the bass behind him, before playing the last section of the melody to close the cut.  The recording ends with “Israeli Song,” another duet between Degibri and Mehldau.  This stately, mid-tempo waltz begins with an improvised a cappella etude of straight eights from Degibri on tenor.  Mehldau’s solo is straightforward before he gets into a lovely triplet section that sounds like a classical recital.  Degibri’s solo is particularly passionate, including more well-executed variation of dynamics.  This cut is a brief but satisfying close to the recording.

Israeli Song is an excellent recording.  Degibri has a beautiful sound on both of his horns, and his improvising shows plenty of skill and maturity, though it is fairly traditional.  Of course, the rhythm section is peerless, with excellent improvising from Mehldau and Carter.  The main misgiving I have about this recording is that it’s a little unadventurous.  These players are so good that they should manage to set off some fireworks in the music, but the proceedings stay a bit too restrained.  The music comes off a little like ideal background music for a very hip cocktail party.  (Of course, there’s nothing wrong with this.)  Part of the problem is that the tunes are a bit too brief (around 5 minutes on average), and there’s not enough time for real development in the improvisations.  I wish the recording had fewer but lengthier tunes.  But I’m quibbling here; this is a fine recording of excellent jazz, and I look forward to hearing Degibri’s beautiful sound and engaging improvisations again soon. 

On edit: I happened upon a couple of good video clips of Eli Degibri on YouTube.  One is just the title cut from this recording, the other is a live performance where Degibri displays some of his passionate soloing.  These clips will give you an idea of what Degibri is all about.

Israeli song



Sunday, December 2, 2012

Review: The Social Media Tapes - Petter Wettre Next Generation

I hate the thought of missing out on the work of terrific musicians just because they reside in a different country.  I just came across the recent recording, The Social Media Tapes, by a Norwegian saxophonist, Petter Wettre, who’s been around for a while (recording at least since 1999), but who I never heard of before.  He’s made this recording available, around 56 minutes of music, for free on his Facebook page (all you need to do is “like” the page), hence the recording’s title, and I thought I would check it out.


The recording begins with Wettre’s composition “Man of the Hour,” a driving, mid-tempo tune with a pretty, intricate melody, reminiscent of some of the work Michael Brecker and Pat Metheny did together, played in unison by Wettre on tenor sax (that’s all he plays on this recording) and Kim Johannesen on guitar.  Johannesen begins the soloing with a George Benson-like tone on his guitar, but with a phrasing that has a bit more of an edge, displaying intelligence and intricate technique, and with sympathetic support from Jon Rune Strom on bass and Dag Erik Knedal Andersen on drums.  Then Wettre takes over, with a solo that is a good mix of lyricism, intelligence, and technical flash.  Guitar and sax close out the cut playing the melody in unison.

Next up is Andrew Cyrille’s “5 4 3 2,” whose percussive, disjointed theme is played by Wettre and Johannesen out of meter.  Bassist Strom then plays a strumming solo, accompanied by Andersen.  Then Wettre solos, bass and drums energetically accompanying him without a clear beat.  Eventually a groove does kick in, then even a half-time swing-like section, and finally Johannesen and Wettre play a line in unison to close out the cut.  Julius Hemphill’s “Hard Blues” starts with some bluesy strumming from Strom, and then Wettre and Johannesen play the melody slowly in unison.  After a faster section, the tempo slows down again and Johannesen plays a fast-fingered, bluesy solo.  The guitarist and saxophonist then get together to close out the cut.  Wettre doesn’t improvise on this one.

Steve Colson’s “Leaving East of Java” features a slow, meterless melody.  After Andersen muses for a while on the drums, producing some interesting sounds, the other players join in.  Wettre and Johannesen then trade chunks of improvisation (sort of trading 4’s, but it’s hard to tell with the elusive meter).  Wettre and Johannesen really show off their abilities here, Wettre coming off like a softer-toned Michael Brecker.  To end the cut, Strom plays arco, and the closing is again free-form and meditative.  Wettre’s “Manhattan Blues” is an up-tempo tune with another intricate melody, which Wettre and Johannesen play in unison, again like Brecker and Metheny.  Johannesen and Strom then play a free form duet, and then Andersen joins them while the spotlight turns on Johannesen.   Then Wettre quietly joins in with an ostinato, he and Strom accompanying an Andersen solo.  Wettre again chooses not to play a solo on this one.

Wettre’s “TTFN” is in the mode of a classic Ellington or Strayhorn swing tune, taken at a strolling mid-tempo.  Johannesen starts the solos, playing clean, fleet lines, with straightforward accompaniment from bass and drums; he really is a fine guitar player.  Then Wettre comes in, sliding through the changes, playing what is perhaps his best solo of the recording; too bad it doesn’t go on longer.  I think this group could do very well with a recording’s worth of more traditional tunes like this one.  “TTFN” is followed by another Wettre tune, “Hoot and a Half,” featuring another intricate melody played by guitar and sax in unison.  Accompanied only by Andersen, Strom plays a slick, fleet-fingered and strumming solo, his hands roaming all over the instrument.  Johannesen then gets in a good solo with some out-of-tempo accompaniment before settling into a groove.  Wettre also gets in a good solo, stretching out more than usual with strong accompaniment from the rest of the group.  The recording ends with Monk’s mid-tempo, swinging “Work,” which again has Wettre and Johannesen in unison on the melody.  Johannesen plays a solid, straightforward solo, then Wettre plays a solid, clever solo, though sometimes he plays more softly on his fast lines and they lose a little of their detail.  (I noted a similar quality in Dmitry Baevsky’s playing in a previous review of his recording, The Composers.)

The Social Media Tapes is a recording of good, serious, straightforward jazz, and it shows Wettre to be an excellent saxophonist, possessing a lot of technical skill and musicality, though, to my ear, his tone is a bit too soft, so that sometimes his intricate lines don’t stand out clearly enough.  (I think a similar point is true of Joe Lovano, though even more so, but that’s another story.)  Also, I would have preferred Wettre’s playing to have been more prominently featured on the recording; for example, he doesn’t solo on two of the cuts (“Hard Blues” and “Manhattan Blues”), which strikes me as a real missed opportunity, and guitarist Johannensen is featured at least as prominently as the saxophonist, if not more so. 

Finally, I feel the need to register an objection (though this may sound crazy to some) to Wettre’s choosing to make this music available to download for free.  In a review in All About Jazz, Eyal Hareuveni said Wettre is “offering his new album for free via social media, realizing that in the age of streaming services and pirate downloading, recorded music is not a reliable source of revenue.”  I think this conclusion is premature, and, even if recorded music as a revenue stream is not completely reliable, I still think a musical artist should be compensated for his or her recorded work.  Don’t most working musicians need all the revenue streams they can get?  So if Wettre chooses to make his all future recorded work available for free, I think that would be a mistake.  On the other hand, if Wettre chose to make The Social Media Tapes available for free as a marketing tool, so that more people could be introduced to his music and thereby be enticed to purchase other recordings of his, then I think this may have been a good ploy.  It certainly worked on me.

Saturday, November 24, 2012

Review: 'Round Midnight - Harry Allen and Scott Hamilton

Allen and Hamilton are tenor saxophonists firmly rooted in the swing tradition of Ben Webster, Lester Young, and Zoot Sims, and they are content to remain in this style without altering or expanding it.  To my knowledge, there aren’t many players these days espousing this style, or at least not as well and as deeply as these two guys.  The recording starts out with the old chestnut, “My Melancholy Baby.”  Allen and Hamilton show themselves to have similar sounds on their instruments and similar playing styles.  But closer listening indicates that Allen is a bit more playful and adventurous in his phrasing, while Hamilton is more restrained and romantic, and his tone is smoother, almost velvety.  After solos from Allen and Hamilton, pianist Rossano Sportiello solos well in a (to my ear) Tommy Flanagan style—pleasant, but without fireworks or significant variety.  Allen and Hamilton trade fours for a chorus before playing the melody to a close.  This tune introduces the recording pretty well but is a bit on the schmaltzy side; these guys deserve better.

“Great Scott,” written by Allen, I think, is a fun, upper mid-tempo, blowing tune.  (“Donna Lee” changes, perhaps.)  The script is pretty shopworn: the saxophonists each take a solo, then there’s a piano solo, then the saxophonists trade fours and state the melody to close out the cut.  “How Am I to Know,” an old tune by Jack King, taken at a strolling mid-tempo, starts with a harmonized statement of the melody, then a Sportiello solo, then Hamilton takes over.  Hamilton’s laid-back style really shines here, and he produces a solo that’s like a polished gem.  Allen then comes in, first trying to match Hamilton’s elegance, then building up to some fast lines and growling phrases.  Bassist Joel Forbes plays a pretty solo.  This cut has the best work from the saxophonists so far.

Bill Potts’s “The Opener” is an upper mid-tempo tune with the players following the usual script, Hamilton very fluid and Allen strongly swinging, though this time Hamilton and Allen trade fours near the end of the tune with drummer Chuck Riggs.  Next up is “Baubles, Bangles and Beads.”  This tune is played as a lower mid-tempo bossa nova.  Allen and Hamilton start off the tune by trading eight-bar phrases of the melody, as opposed to their usual approach of playing of a tune’s melody in unison or in harmony, and this is a really nice effect, like a conversation.  Then something unusual happens: Allen, throughout his solo, does an uncanny imitation of Stan Getz, using slippery, swooping, Getz-like phrases and even affecting a more hollow, Getz-ian tone.  Hamilton is having none of this hocus-pocus; his solo is pure Scott Hamilton.  Not to be outdone, though, he produces one of his finest solos of the recording, at his romantic best on a romantic tune.    

Next up is “Hey Lock,” a mid-tempo, rock solid, straight-up swinger (written by Eddie Lockjaw Davis, I think), with the group in their usual “Allen, Hamilton, Sportiello, saxes trade fours” routine.  The group then plays the standard “Lover,” up-tempo, with the saxes nicely harmonizing the melody.  Hamilton begins the improvising with a couple of slick, fluid choruses, and Allen follows with a fairly dazzling solo of his own.  Sportiello then plays a good solo, more harmonically adventurous than usual.  More trading fours by the saxes before Riggs gets in a few fills.  “Flight of the Foo Birds” is next, an upper mid-tempo swinger with a pretty melody written by Neal Hefti. 
The recording ends with Monk’s “’Round Midnight,” and Allen and Hamilton do a beautiful job of reading the melody, again trading eight bars as they did with “Baubles,”  taking the AABA tune and trading sections, Allen-A, Hamilton-A, Allen-B, Hamilton-A.  Then they repeat this approach in their improvising.  Allen improvises well, gliding through the changes.  Hamilton’s playing here is on a slightly higher level.  It’s very exposed, stripped down to the barest essentials.  Though Allen’s playing is fine, I wish this cut were all Hamilton.  His playing here is so simple and pure, so attuned to the song, it’s iridescent. 
Overall, ’Round Midnight is a fine recording (solid soloing in swing style, solid and sympathetic rhythm section) with occasional stretches of brilliant playing.  Allen and Hamilton always play well—it’s impossible for them to play a bad note--but sometimes they go beyond being “swing” players and take the music to a different level.  I think this is at least partly a result of how they respond to their material.  On this recording, they are especially good on “How Am I to Know,” “Baubles, Bangles, and Beads,” “Lover,” and “’Round Midnight”; I think these tunes are stronger than the others and that Allen and Hamilton respond accordingly.  If they could put together a full recording of material of this caliber, it would be dynamite.

Sunday, November 18, 2012

Review: Ghosts of the Sun - Bill McHenry

I’ve been curious about tenor saxophonist Bill McHenry’s playing for a while.  He recently released a recording of new music, La Peur Du Vide, but his previous recording, Ghosts of the Sun, received a lot of acclaim (see the end of this review), so I thought I would use this as my introduction to McHenry’s work.


The recording starts out with the slow, melancholy “Ms. Polley,” kind of a jazzy, low-key version of Andrew Lloyd Webber’s “Music of the Night.”  McHenry’s tone on the tenor saxophone is solid and workmanlike—clear, rounded, and slightly dry.  Ben Monder’s guitar provides a spacy orchestra in the background behind McHenry’s playing, along with thoughtful playing from the late drummer Paul Motian and bassist Reid Anderson.  Anderson then takes the spotlight with a gentle, lyrical solo, Motian and Monder continuing their more-than-just background playing.  McHenry’s following solo is mainly a smattering of quiet runs without much direction.  McHenry and Monder play the melancholy melody in unison to the end.  This cut is pretty and contemplative, but ultimately comes off as a bit listless.

“La Fuerza” starts off a bit like a paso doble, the soundtrack to a bullfight.  The rhythm players lay down a nice groove, and McHenry produces some interesting tongueing effects in his solo, but he doesn’t generate much with the opportunity he’s given.  Anderson plays a brief solo with Motian’s accompaniment.  “Anti Heroes” has a fine, strong melody, almost a march.  Monder provides an imaginative, excellent narrative in his solo, a little lesson in how to improvise. McHenry finally stretches out a bit with a flowing, cohesive solo, continuing the self-assured flavor of the song.  The title tune is a lower mid-tempo, impressionistic piece.  In his solo, McHenry uses his saxophone like a paintbrush, dabbing little bits of melody here and there.  Monder noodles around with a reverb-y solo, somewhat in duet with Anderson.  There is a lot of subtle interplay between Monder, Anderson, and Motian here.  This is music evocative of desert landscapes. 

“William (Drums)” is a short piece that is basically a mid-tempo Motian drum solo, but the other quartet members come in near the end to fade out the cut.  “Little One” is a mid-tempo song, sounding like a sort of jazzy version of a Burt Bacharach tune, with McHenry singing the melody on his sax.  McHenry and Monder improvise a low-key duet, staying close to the melody of the tune, before closing out the brief cut.  “William (III)” has a halting, fragmented melody without any clear meter.  McHenry plays a meticulous, composed-sounding solo.  Monder then takes over with a wild and highly distorted solo. 

“Lost Song” begins as a slow duet between McHenry and Monder, and it develops into a slowly strolling ballad with the other quartet members joining in.  McHenry plays a slow, ruminating solo.  Then Anderson takes over with a more engaging solo, Monder playing arpeggios behind him.  Monder then provides a nice interlude, strumming some sustained, distorted chords.  The players close with the tune’s pretty melody.  The recording ends with “Roses (II).”  McHenry begins the tune with some of his more intense and engaged playing, employing some interesting runs, altissimo swoops, and his unusual tongueing technique.  The tune itself is a disjointed, out-of-time collection of phrases, closing out the recording on a somewhat unsettling note.

Ghosts of the Sun is a very low-key, minimalist affair.  To really appreciate it requires a fair amount of concentration by the listener; you have to come to this music as much as it comes to you.  (I’ll confess I had a much more positive attitude toward this recording after I listened to it for a second time.)  Also, the musicians are much more interested in subtly blending and fitting into each piece than in making personal statements--this is reflected in the brevity of the solos and the pieces themselves—though the improvisational excellence of these players can’t help but shine through.  McHenry is particularly self-effacing in his playing.  He doesn’t seem to approach the saxophone as a saxophone, choosing not to take advantage of the instrument’s natural tonal and intervallic strengths.  (In this regard, I agree with a comment in a review by Raul D’Gama Rose in All About Jazz: “it seems to be a matter of coincidence that he [McHenry] is a tenor saxophonist.  He might just as well have been a trumpeter, a pianist or even a violinist.")  So, from a jazz saxophonist’s point of view, this recording is fairly unnourishing.  Overall, Ghosts of the Sun provides fine music, but will probably be more appealing to those who gravitate toward minimalism and desert landscapes.  As a more meat-and-potatoes jazz listener, this recording left me somewhat cold. 

Part of the “acclaim” of Ghosts of the Sun includes the fact that it landed on A Blog Supreme’s list of ten best jazz recordings of2011.  In the entry for this recording, there’s also a link to listen to the cut, “La Fuerza.”  This will help you decide if Ghosts of the Sun is likely to suit your tastes. 

Wednesday, November 14, 2012

Jazz and Colors

If you haven't done so already, check out the nice report in A Blog Supreme on the Jazz and Colors event in NYC last Saturday.  It looks like it was a wonderful event, the kind of thing big cities were meant for.  Two of the sax players we've reviewed here, J.D. Allen and Yosvany Terry, performed at the event.  There's also a nice slide show of the event, from which I took this picture.

Sunday, November 11, 2012

Review: The Composers – Dmitry Baevsky



The focus of this recording is on lesser-known tunes from some of the greatest jazz composers.  The recording starts with Cedar Walton’s “Ojos de Rojo,” a slick, Latin-tinged tune played at upper mid-tempo, whose theme Baevsky plays briskly and simply.  Pianist David Hazeltine begins the solos, and he skillfully employs straightforward, hornlike lines in his improvisation.  Baevsky then takes over, playing mostly straightforward bebop lines with a tone that is full but also possessing a soft and rounded quality, kind of like a softer and more laid back Phil Woods.  Drummer Jason Brown keeps the tune efficiently moving along with subtlety.  Baevsky plays the pretty theme of the next tune, Duke Pearson’s “Gaslight,” in unison and in harmony with guitarist Peter Bernstein, who plays on three of the recording’s nine cuts.  On his solo, Baevsky softly swaggers through the changes, swinging intensely, making the solo seem too brief.  Bernstein plays clean, straightforward lines in his thoughtful solo.  Hazeltine plays another solid solo with hornlike lines. 

Next up is Wayne Shorter’s “Mister Chairman,” an up-tempo, unremarkable blowing vehicle.  Baevsky plays another smooth, musical solo that ends too soon.  Hazeltine’s solo sounds like Baevsky’s solo transposed to the piano.  The other rhythm players, Brown on drums and John Webber on bass, provide a steady cushion of rhythm that is barely noticeable.  Brown plays some tasteful drum fills against Baevsky’s improvised bars before the saxophonist plays the theme to end the cut.  Baevsky and Bernstein play in unison the theme of “To Whom It May Concern,” a nice tune by Horace Silver including one of his trademark pretty bridges.  Bernstein solos first, employing clean, swinging lines.  Baevsky continues to channel Phil Woods in his solo, which builds but ends before it can come to a climax.  Hazeltine gets in another solid solo before the tune ends. 

The group slows things down with Duke Ellington’s “Self-Portrait (of the Bean),” Baevsky employing a breathier tone at a softer volume.  Baevsky stretches out on his solo, virtually massaging the keys of his alto on the gentle ballad.  Baevsky has a lot of restraint in his playing, maybe too much.  Hazeltine then takes over for a brief solo.  On the upper mid-tempo “Swift as the Wind,” by Tadd Dameron, Baevsky again stretches out in a swinging, intelligent solo.  Hazeltine gets off another solid solo.  Bassist Webber then takes a solo, with only Brown’s understated drumming as accompaniment, displaying the same musicality and intelligence as Baevsky and Hazeltine. 

Gigi Gryce’s “Smoke Signal” is a straight, up-tempo bebopper.  Baevsky plays another Phil Woods-ish solo, beginning unaccompanied except for a chord from the rest of the group punctuating the start of each measure.  He lowers the volume on his playing when his lines speed up, giving them a frantic, bumble-bee quality.  Baevsky then trades some fours with Brown.  “Three Wishes,” by Herbie Hancock, is a pretty, upper mid-tempo waltz, with Baevsky and Bernstein playing the theme in unison.  Baevsky gets off a nice solo, and Bernstein, Hazeltine, and Brown follow with solid performances.  After the theme is played, the cut trails off nicely on Hazeltine’s improvising.  The recording ends with Ornette Coleman’s “Tears Inside,” a slightly twisted blues taken at an upper mid-tempo.  The quirky quality of the tune gives Baevsky something a bit more challenging to work with, and he handles it well, playing one of his best solos of the recording.  Hazeltine and Webber follow with good solos of their own. 

The playing on The Composers exemplifies skill, maturity, musicality, and tastefulness.  All the players on the recording are incredibly good at this style of music, taking us through the music as I imagine a great dancer leads his partners, effortlessly and in complete control.  Unfortunately, it’s a bit too restrained; the improvisations never reach above a middling level of intensity.  And though the idea of featuring lesser-known tunes of great jazz composers is a good one, some of the tunes are not very interesting.  (I suppose sometimes tunes are lesser-known for a reason.)  Regarding the leader, Baevsky is a very good alto saxophone soloist, clearly a student of the Phil Woods school, though his tendency to lower his volume when he plays fast lines is a bit bothersome.  Also, his solos tend to linger in the mid-range of the horn; he doesn’t employ the altissimo register at all.  Because his phrasing is fairly conventional and he limits his range, his playing is improved by more challenging and interesting material, like “Tears Inside.”  I hope Baevsky takes on more tunes like this on future recordings, so his obvious improvisational skill can be shown to its fullest advantage.

Sunday, November 4, 2012

Review: Casting for Gravity – Donny McCaslin

Donny McCaslin is a bit more established than our usual All Jazz Sax review subjects, but, sad to say, I’m pretty unfamiliar with his work.  So I thought I’d use McCaslin’s recently-released recording, Casting for Gravity, as an occasion for getting to know his playing a bit better.

The recording starts out with “Stadium Jazz,” McCaslin gently introducing the tune with a slow line, backed by synthesizer.  But this quickly gives way to an up-tempo groove.  This tune sounds like some of Michael Brecker’s later work, such as some of the things from Tales from the Hudson and Pilgrimage.   McCaslin displays the kind of control over the tenor sax that Brecker had, hyperfast articulation, strong sound in the lowest part of the horn, fluid in the altissimo.  There’s some nice drum work here from Mark Guilliana and some distorted synthesizer from Jason Linder.  I would also characterize this tune as the electric Return to Forever tempered by the warmth of McCaslin’s tenor sax.  The tune closes with synthesizers tuned to sound like voices, backing McCaslin while he plays the melody.  A strong start to the recording.
“Says Who” is an upper mid-tempo burner built on a series of brief, repeated phrases.  This tune reminds me of other electronic jazz projects that include a saxophonist, like Weather Report and saxophonist Bill Evans’s Petite Blonde.  McCaslin’s solo is full of ear-catching virtuoso patterns, and after his solo, Guilliana’s drumming is the focus.  Guilliana sounds like he internalized the drumming of Dennis Chambers on Petite Blonde.  But the cut overall is not very interesting.
“Losing Track of Daytime” slows things down.  This tune, with Linder on electric piano, is similar to the work of pop group Zero 7, like the pretty song “Home” from their When It Falls, except that it has a jarring bridge section that doesn’t really fit.  Linder plays a solo that doesn’t have much substance.  McCaslin aggressively solos over a rougher background, sounding great, firing off some impressive false fingering phrases and doing some altissimo screaming.  Electric bassist Tim Lefevbre plays well in the background.  This cut is pretty effective--Zero 7 with a world-class tenor saxophone soloist.  “Alpha and Omega,” starts out with some spacy playing from Linder on synthesizer and some electronically-echoed phrases from McCaslin; the synthesizer and saxophone phrases are repeated without break throughout the cut.  The variety in the tune is provided by interludes of high energy playing from Guilliana and Lefebvre and some synthesizer effects from Linder, but the tune doesn’t include any real improvised soloing.
“Tension” almost counts as up-tempo electronica, with a repetitious theme featuring McCaslin in unison with Linder on synthesizer, and as a tune it’s just not very interesting.  But McCaslin plays a good solo, full of variety.  Linder adds layers of synthesizer, and Guilliana continues his Dennis Chambers act.  “Praia Grande” is more compositionally interesting, approaching the quality of the work of David Binney, (such as the first cut on Barefooted Town, reviewed here).  McCaslin plays a very high-energy solo, and some voice-like synthesizer joins in near the end of the solo and the cut.
“Love Song for an Echo” is a mid-tempo tune that starts out with some quiet, spacy synthesizer, McCaslin then coming in with a gentle melody.  The tempo picks up a bit, and Linder comes in on acoustic piano.  Linder’s solo is pretty but underdeveloped; it kind of just meanders.  Then McCaslin solos, showing again what terrific control he has over the saxophone.  Then he returns to the tune’s gentle theme to close things out.  “Casting for Gravity” is an interesting, upper mid-tempo tune, Linder playing a nice synthesizer line in the background.  McCaslin plays a strong melody, but the cut ends up disappointing because it doesn’t include any real improvisation.
“Bend” has synthesizer and saxophone playing an elusive melody in conflict with an insistent bass line.  McCaslin plays another sleek solo, with the whole group in a very solid groove; everybody’s together on this one.  Linder plays a very good solo on synthesizer here and makes me wish he had more synthesizer solos on this recording.  The recording ends with “Henry,” a quieter tune with a pretty melody.  This tune has a nice, confident groove.  Linder plays a solid electric piano solo, Lefebvre laying down a cool background behind him, and McCaslin plays a laid-back, too-brief solo.  At this point, the last cut on the recording, the group seems truly relaxed and comfortable, like they finally found their groove.
Ultimately, Casting for Gravity is a bit disappointing.  For one thing, too many of the tunes are on the bland side.  For me, if you’re going to play this type of electronic, pop-oriented music (but without a vocalist and lyrics), you have to have strong tunes and do some pretty interesting compositional things within the tunes.  The thing is, the group achieves this high level a few times, like on “Praia Grande,” “Bend,” and “Henry.”  Also, as is evident on “Bend” and “Henry,” Linder is a good soloist, and he gets too few opportunities to shine on this recording.  If all the tunes on Casting for Gravity had the quality of “Bend” and “Henry,” and if the supporting players got more of a chance to stretch out (especially Linder), this would have been a superlative recording.  Having said this, Casting for Gravity is almost pulled into the superlative category just by virtue of McCaslin’s tenor saxophone playing.  His playing is so strong that, while listening to it, though late at night, I was tempted to grab my own tenor sax to do some practicing.  McCaslin may be the rightful heir to Michael Brecker’s legacy.  Those interested in jazz saxophone cannot afford to miss out on his playing.