Tom Wetmore The Desired Effect. Crosstown Records 2012

Street Date 01/17/2012

If the desired effect is to create and walk the musical tightrope between modern jazz and a slightly more retro-fusion approach then we can call it a day. Tom Wetmore's debut release is a brilliant offering from a fresh new voice that will have heads turning in no time. Original compositions coupled with a unique front line instrumentation creates a three dimensional harmonic depth of field.

In the moment, bit of a bumper sticker but sums up the overall feel of this release well. Wetmore's sextet has been called "eclectic" however original, innovative and cutting edge seem to express the desired effect  far better! A prolific composer, Wetmore writes on a daily basis with an on line diary available at http://www.tomstuneaday.com/ With a front line of two lead guitar players and two saxophonists there are adventurous and incredibly lyrical contrapuntal lines that play as one harmonious voice. Musical synergy with a smoldering groove running just beneath the surface.

Wetmore likes to play with time signatures to keep things interesting but never to the extent of losing the lyrical development of the tune in question. "Red Lights" is an intriguing all most neo-soul number highlighted by one of the more overlooked saxophone players today in Jaleel Shaw. "Good and Plenty" is an expansive sonic exploratory with guitarists Brad Williams and Justin Sabaj exhibiting a symbiotic musical kinship that works incredibly well together.  Alto saxophonist Eric Neveloff also makes a substantial contribution to the development of this tune adding the right amount of texture to a rich sonic color palette exhibited throughout this piece. "Falling" is a bit more introspective but fits within the ebb and flow of the release perfectly. An ensemble with more than ample chops to shift dynamics on the fly without ever losing sight of the harmonic development which is the backbone of one of the most intricate pieces presented on this release. Bassist Michael League and drummer Garrett Brown anchor a first call rhythm section and work as the sonic glue that binds this ensemble together into one of the finest sextets working today.

The Desired Effect is literally a flawless work. The electric Rhodes piano has been heard on the occasional tune on numerous releases over the previous year but to utilize this instrument as the primary keyboard of choice is long overdue and in the hands of Wetmore is done with style, finesse and ingenuity.

A former editor often cautioned me about becoming too excited concerning a release and to never presume what the reader may take away from a recording. I get it, taste is subjective. The musical irony here is that Wetmore and I agree, allow yourself to be touched. Listen in the moment. We all react to audio stimuli in a different fashion but a shared perspective simply opens the door to new musical possibilities.

Tom Wetmore and this incredibly original ensemble display a musical cohesion rarely heard and sometimes never felt. Wetmore perhaps gives the best review of his own work with this quote from the liner notes, "I just want to put a little beauty into the world and make a few moments of life just a little more exceptional."

An exceptional release. A five star triumph and easily a critics pick for 2012!

Tracks: Red Lights; Wild Card; Good And Plenty; A Blessing; The Desired Effect; With Woven Wings; Falling; The Rub; More Matter.

Personnel: Tom Wetmore: electric piano; Jaleel Shaw: alto sax ( 1,2,4); Eric Neveloff: alto sax: (3,5,9)/tenor saxophone (1); Brad Williams: guitar; Justin Sabaj: guitar; Michael League: bass; Garrett Brown: drums.

http://www.tomwetmore.com/

Joanna Weinberg The Piano Diaries 2012

Joanna Weinberg is the type of artist that drives critics insane. The recording industry has been built on a foundation of self imposed limitations that are commonly referred to as "labels." Weinberg side steps the more traditional label of a jazz singer and moves effortless into the role of artist.

Singer/songwriter Weinberg's The Piano Diaries is an original and highly personal work of what can be considered twelve one act plays within a play. Weinberg weaves captivating and imaginative stories from her own life utilizing comedic satire, irony and tremendous jazz sensibilities in an incredibly imaginative fashion that transcends genre. With The Piano Diaries, the focus becomes the magical lyrical tales that are incredibly accessible yet oddly quirky and eccentric at the same time.

Opening with the punctuated rhythmic hooks of "Freckled Angles" there is an infectious pop jazz goes Broadway feel with a subtle soulful groove that continues directly into "Innocence". An all most old school theatrical tune "The Artists Are Leaving" is as lyrically strong as the instrumentation is organic. "The Winds Of Fear" full of dynamic tension and melancholy adds perfect texture to an incredibly well thought out release. "Beautiful Old Man" with additional harmony vocals along with lyrical soprano saxophone work from Mark Ginsburg  tells yet another relateable tale from Weinberg's unique perspective. Whether musical theatre, pop jazz or folk,  Weinberg's creativity can not be placed into one safe musical niche. Trying to steer clear of musical frames of reference there is the Norah Jones meets Joni Mitchell on their way to a Broadway show vibe here but the recording is available to be sampled at:

http://www.cdbaby.com/cd/joannaweinberg1

The Piano Diaries is an incredibly engaging work and part of Weinberg's nine one woman shows. An artistic mosaic of a lifetime of experience set to music. The true measure of a singer is the ability to morph into that of story teller. The true measure of an artist is to take the listener to a place they have never been but with a story they are somehow familiar with. Weinberg is an artist. Having reviewed stellar talent from Australia the previous year, Weinberg easily takes her place as one of the finest talents in Australia and should gain an even wider audience here in the United States. Subtle musical nuances run rampant with this recording giving up a little something new of itself with each subsequent spin.

5 stars. As fresh and innovative as they come, highly entertaining!

Tracks: Freckled Angels; Innocence; Daughter Of The Empire; The Artists Are Leaving; Benjamin And Penelope; The Wings Of Fear; Wide Open Eyes; Beautiful Old Man; Witness; Mama Buy Your Baby A Piano; Trophy Wife; The Piano At The Cabaret.

Personnel: Joanna Weinberg: vocals; Rafael Nazario: piano, keyboards, additional instrumentation; Kate Adams: cello; Mark Ginsburg: soprano and tenor saxophones, flute; Martijn Hadders: guitar; Jonathan Zwartz: bass; Simon Fishburn: drums; Blair Greenburg: African drums, percussion.

http://www.thepianodiaries.com/

Jazz Education Network Conference - Some final thoughts.

Bob Mintzer and Dave Stryker 01/07/12

The 3rd annual Jazz Education Network Conference is now history. Louisville's Galt House played host to this roughly three day extravaganza that included concerts, seminars and displays there were all geared to fit everyone from the beginner to the seasoned pro.

Louisville has a strong arts community but is far from what most people would consider a jazz city. There is an N.P.R affiliate here that plays jazz in incremental segments, normally listened to by the chronically unemployed or the insomniac up at odd hours. To land such a noted conference is indeed a feather in the convention cap for the local tourist dollar and one can only hope local civic leaders will invest their time and hopefully money into bringing similar endeavors to the Derby City.

Connecting and reconnecting with old musical friends was a joy. The occassional annoyance that some of the more influential artists that rarely visit our fair city were often playing at the same time or at opposite ends of the facilities did occur daily. Logistical concerns are about the only negative issue one could bring up concerning this three day jazz smorgasbord.

Jazz is far from dead. As Nashville saxophonist Rashaan Barber commented, "Jazz is inclusive." Perhaps the misguided notion that jazz is dead is contingent upon how the individual defines jazz to begin with. Motema recording artist Roni Ben-Hur added that you can no more kill an art form then you can the spirit of a people. Jazz is at times cyclical. Sonny Rollins once stated there is really nothing new in jazz and the music is a derivative byproduct of itself. 

Jazz is more than a proud lineage of musical history. Jazz is a feeling, an attitude, a way of life. There is a unique spirituality to jazz that seems to be missing from other forms of music. It is that special individualistic spirit of celebration that will never kill jazz. 

A good critic can only share a perspective and hopefully channel the same sense of passion that the artist is attempting to share in an effort to pass along the active history of jazz today. My experience at the "Jen" Conference was of sheer delight and ironic sadness at the departure on the final day. There will be some interviews published with some of the recording artists mentioned throughout my diary of events so I hope you will be on the look out for these. 

Kudos to the Jazz Education Network on a job well done!

www.jazzednet.org 

Jazz Education Network Conference..."Playing With Words" - John Goldsby

Part of the fun of the Jazz Education Network Conference would have to be seeing old friends as well as making new friends. While primarily a more artist oriented conference, critically acclaimed bassist John Goldsby invited me to attend his seminar "Playing With Words." The workshop, designed primarily for musicians/teachers to enhance a further connection with either their audience or students if not both was an opportunity this critic was not about to pass up.

There is seemingly a growing trend among artists to take the initiative to write about their own work, perhaps taking the lead in presenting a more entertaining look at their craft as compared to the plethora of overly technical and just plain boring reviews that seem to pop up in every publication, web site and blog post you can find. Goldsby is a critically acclaimed bassist and also a featured writer for Bass Player Magazine.

"Writing about music is like dancing with architecture." - Having seen this quote attributed to both Duke Ellington and Thelonious Monk, the source is unclear but the accuracy can not be questioned. Describing one art form by carefully utilizing the tools and techniques of another art form is not an easy task. How do you describe sounds with words in a relateable context to reach the widest audience?

The importance of a captivating lead is of course paramount in establishing readership on literally any topic. As a critic, Goldsby touched on several topics that are of course ground zero for my work and excellent reminders of how I can consider refining my own attempt at this musical dance.

1. Leave your personal opinion and bias out of the equation.

Much tougher than it sounds, but all artists that I spoke with at the conference are in agreement that the perspective of the artist and their audience should be the prime objective. There are numerous good reviews that have appeared here but that certainly does not mean they are works that I now listen to on a daily basis. Occasionally there are releases and situations that lend themselves to a more direct presentation but the key is to substantiate, quantify and back up the more direct approach should the situation dictate.

Bob Mintzer said it best, "Not everything sucks." Mintzer added that everyone has something to offer when it comes to presenting their music. Bassist Rufus Reid and vocalist Rondi Charleston echoed the sentiment that when a critic writes a review they need to try and connect on some level with where the artist is coming from. So many reviews that appear in some publications by as many as ten different critics all read the same as though stylistic guidelines somehow supersede the artist stylistic performance they are writing about. Literary death by self indulgence is a slippery slope for the critic. Find the story that lurks just beneath the surface of the music, dig deep.

Revision and editing are perhaps the most important pieces to the critical puzzle. Take a third listen to the disc, let the first draft set over night, allow yourself the opportunity to listen!

An incredibly useftl seminar for all in attendance. Literary expertise can also be found in the talents of John's wife, Robin Goldsby. Both John and Robin Goldsby are successful authors, musicians and wonderful clinicians and to find out more:

http://www.johngoldsby.de/

Top photo courtesy of Robin Goldsby via face book.

Bottom photo at the "Playing With Words" workshop here at the Jazz Education Network Convention 01/07/12.

Jazz Education Network Conference...Wrapping up. Is Jazz Dead?

Clark Terry's Lifetime Achievement Grammy

Tradition.

A great deal of emphasis during this conference has been placed on tradition. The importance of carrying a legacy through but never losing sight of the artistic journey of finding your own voice. After the recent internet explosion concerning a self-serving piece by an artist whose name I simply prefer to not mention as it disrespects just about everything the JEN Conference stands for I asked bassist Rufus Reid - Is Jazz Dead?

"Oh absolutely not!"

Reid added that while there will always be pockets where the music is more vibrant than others, jazz is far from dead. Jazz is expansive. Reid remarked that he finds himself in a musical place where he is hearing new sounds from a multitude of influences with the end result of changing compositions greatly effected by more than just a career of playing the same standards or writing the same changes. There is a growth and evolution to jazz that is alive and well.

Reid echoed my sentiments that there are a great many young players playing with their heads more so then their hearts. These players are going back and getting advanced degrees and becoming educators which is fine, but you have to play the music. Having long stated the belief there may be a small "pocket" of musicians that are more concerned about the business of jazz then they really are the music, Reid agreed. To paraphrase Reid, "Do you want to be famous or do you want to be a musician as these are most often two separate sides of the jazz coin." Again, Reid seemed to echo my sentiments that this same pocket of musicians seems to be attempting to make a career out of riding on the names of those that have passed before while offering very little originality of their own. They lack real passion. Odd meter and the speed is king approach may get you some press in a hurry but just as easy brand you as flavor of the month, if you lack the ability to sustain a certain level of creativity.

As the convention starts to wrap up today, I will be attending a seminar conducted by Louisville bassist John Goldsby that is designed for musicians that wish to write about music. Having a comfortable feeling that one hour with Goldsby who is also an editor with Bass Player Magazine may reap far more benefits then another six months as a volunteer publicist for All About Jazz, the final day of the JEN Conference looks to be a winner.

The best a critic can offer is perspective. The best an artist can offer is a real look inside themselves. It is the fan that ultimately has the final say. This critic is simply a cultural tour guide starting a new journey on a new year. My initial skepticism for 2012 has been easily washed away when it comes to the issues facing jazz today.

Don't fix the blame. Fix the problem.

http://www.jazzednet.org/

Jazz Education Network Conference...Day 3 Wrapping Up With Motema!

Roni Ben-Hur

Rondi Charleston

Rufus Reid

The end of day three wrapped up an incredible week of interviews with three amazing artists from the Motema label.

Roni Ben-Hur - Mojave While there will be an interview posted a little later next week, a sneak preview includes that a follow up to one of my top 30 for 2011 Mojave - is something to be looking for. While the Jen conference is primarily industry oriented, this critic left the conversation with Roni with a renewed sense of original literary purpose. There is a common theme that runs through these three talents that is truly inspiring and it is these two simple things.

1. Listen

2. Be Original

Rhondi Charleston - Who Knows Where The Time Goes  During our interview I discovered that Erik Charleston who is a brilliant vibraphone player just happens to be her brother! Having done an in depth interview with Erick Charleston back in October the irony was not lost. Rhondi Charleston and I both agree that a sterile, analytical all most clinical review is not the way to go. Rhondi looks to push her music past certain accepted norms of what the traditional jazz singer may be limited by and make no mistake - these are self imposed limitations. Long story short, jazz does not have to be sanitized for your protection. Jazz is an inclusive genre where a myriad of musical influences can take the ordinary and push the genre to the extraordinary. Jazz can be real, honest and raw and that is a good thing!

Rufus Reid - Hues Of A Different Blue  Reid admits still benefiting from his work with the great Dexter Gordon but Reid's music stands on its on merit. Unlike some of the younger players looking to hitch a ride to fame on someone else's coattails - Reid is old school, you learn by playing. Reid's passion is tempered with the wisdom and common sense that every young musician should hear. Reid even reminded this critic ( in general terms ) not to go into a review with an axe to grind. Let it go, if a release upsets you that much then move on. Truer words were never spoken. While life is too short to listen to bad jazz, it is far too short to allow any person to draw that much negative energy from your own creative process.

Full Interviews to come soon!

My sincere thanks to everyone at Motema for setting these interviews up and continuing to put the emphasis on the Music, when it comes to the music business!

Jazz Education Network Convention...Day 3 Suzanne Pittson Quartet

About the only negative remark to make is that the concert rooms are set up in such a fashion that unless you are a professional photographer then the quality of your photo is dependent upon your smart phone. Long story short...good thing I write.

A jazz conference such as the 3rd annual Jazz Education Network gathering in Louisville is a critics worst nightmare. Everyone is asking you to hear them play or sing and covering everyone is impossible. I reached out to Suzanne Pittson because of "Out of The Hub" which is a release that I have never heard but hearing that original lyrics were put to Freddie Hubbard tunes then I simply had to check this out.

Freddie Hubbard was a driving force behind this project offering lead sheets and anything else that would be of help in such a tremendous undertaking. Entering the room this was a tired worn out critic from covering the conference for the past three days. Suzanne Pittson's husband Jeff Pittson was on piano along with two former Hubbard sidemen Bob Bowman on bass and Steve Houghton on drums.

Opening with "Gibraltar" and moving quickly into the Abbey Lincoln classic "Up Jumps Spring" there was no doubt that I made the right choice on which artist to check out. Moving on to tunes from Out Of The Hub, Suzanne Pittson's son Evan  penned the lyrics to the title track at the advanced age of fifteen with the blatantly obvious of the apple not falling too far from the tree certainly not lost. "Lament For Booker" found Suzanne Pittson at piano on a Hubbard classic that was co-written with husband Jeff Pittson. Another Hubbard classic "Your My Everything" and the slight blues infusion that slipped  in was a sheer delight. Closing with "Birdlike" which Suzanne wrote the lyrics for, this smoker helped wrap up a set that was swinging hard! Jeff Pittson's harmonic punctuation on piano was flawless. The rhythm section which was anchored with Bob Bowman's stellar bass work and is as fine as anything you will hear and was more than complemented by drummer Steve Houghton whose musicality was a perfect match. Not just a rhythmic time keeper, Houghton rode the groove for all it was worth and the 4tet responded in kind. Freddie Hubbard has a keen sense of melody and is one of the incredibly gifted lyrical instrumentalists of our time, the work done here is a fitting homage to true musical genius and genius reviews itself.

Suzanne Pittson is a remarkable vocalist, a proven lyricist and made the critic into a fan. An incredibly enjoyable 5 star set that anyone would appreciate! I hope to review Out Of The Hub soon but if the set that I was fortunate enough to take in was any indication then this is a release to check out!

After the set the Suzanne Pittson Quartet was presented with the Outstanding Performance Award, well deserved recogition for an outstanding ensemble!

For more information please go to:

http://www.suzannepittson.com/

Jazz Education Network Convention...Day Three/ Roni Ben-Hur

http://www.jazzednet.org/

Day three of the Jazz Education Network convention here in Louisville will include an interview with Motema great Roni Ben-Hur whose latest release Mojave was also featured in my year end "Best Of..." list. Later in the afternoon I hope to be meeting with Suzanne Pitson the Associate Director of Vocal Jazz studies at City College in New York.

Yesterday I had the opportunity to speak with Rufus Reid and while we seem to track really well from our thoughts and perspective on jazz, this critic received some much needed validation. By validation I do not mean a nice pat on the back, the validation of presenting an honest perspective. The critic needs to artistically develop in much the same fashion as the instrumental or vocal artist. Writing is a craft. Vocalist Rhondi Charlston was in agreement that the cold, sterile all most lifeless reviews found most places simply do not have to be the norm and the critic has the responsibility to back up what they write and this includes a negative review is the situation warrants but check your agenda at the door. If a critic runs into a release that gives them a huge problem, simply pass on the release. Granted there are the exceptions to the rule and they are limited in nature but the writer carries a great responsibility of thoughtful promotion for the jazz genre and needs to take this responsibility seriously.

Both Reid and Charleston agree that there are far tno many critics that have simply lost touch with the art of listening and are not making the necessary attempt to even try to "get" where the artist is coming from. While the Jazz Education Network is more an industry related convention, writers play an important role and need to stake their claim in a responsible and positive fashion so that when the casual listener hears the word "jazz" they stop having the same reaction they do when the hear the words "tax time."

Jazz does not have to be sanitized for your protection. The immediate gratification world of the digital download and the smart phone has dramatically changed the playing field. In short, we all must work smarter and not necessarily harder as we continue to promote a very special American art form, recognize the history but perhaps most important - look to the future.

Jazz is far from dead. In some cities it may be in the cultural witness protection program but for jazz to continue to survive and experience reasonable growth then everyone needs to become more involved.

Off to the convention for another jam packed day!

ttp://www.criticaljazz.com/2011/11/nilson-matta-roni-ben-hur-mojave-motema.html

Jazz Education Network Convention...Day Two...Getting my feet wet!

O.K. So I am better known for my writing then for photography but this ensemble goes by the name of the Tennessee State University Jazz Collegians and while only catching the last part of their set - they swing hard!

The first full day of activities are a critics worst nightmare! You can not hear everyone and you can not attend ever seminar. It is a jazz buffet from which to sample some of the very best. The Jazz Collegians from Tennessee State prove without a doubt that jazz is far from dead! Under the direction of James Sexton since 1992, stellar arrangements and versatility are indeed this ensembles high notes! With soloists of incredibly high caliber and the willingness to explore the vast reaches of big band and jazz literature in general their artistry and command of the stage was certainly not lost.

Special Guest Rahsaan Barber was featured and is the tenor play pictured at the microphone. Fate smiled upon my mailbox when his publicist sent me Barber's latest release Everyday Magic and I would invite you to click the link below to get a feel for a tenor player whose musical stock is an arrow pointing straight up!

http://www.criticaljazz.com/2011/08/rahsaan-barber-everyday-magic-jazz.html


I'll have another report early tomorrow morning on some conversations/interviews that I was so blessed to have with some artists from Motema.

Back to the subject at hand, Tennessee State swings hard and Rahsaan Barber is a name to remember!
***********

Louisville Mayor Greg Fischer talks about the history of jazz in this great city. Quoting Plato, “Music is a moral law. It gives soul to the universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything.”

If our Mayor is so hot for jazz then why will he not discuss a proposed jazz festival? The Mayor ran on a campaign promise about building Louisville to be a cultural mecca for the arts. I have contacted the Mayor's office for a response.

More soon!

Jazz Education Network Convention...Day Two...The Music!

With day two starting early, there are interviews set with Motema artists Rufus Reid and Roni-Ben Hur. Vocalist Holli Ross and I are trying to meet up for a chat. Nashville saxophonist Rahsaan Barber will be playing early this morning so that is ground zero for me.

The "Jen" Convention is set to bring anywhere from three to five thousand visitors to Louisville Kentucky and in a city that has economically flat lined long before the economy tanked, this is much needed revenue! Toss in the so called "Jazz is dead" factor and this is big news for a genre long since left for dead by many. The moral of the story here is never confuse your own career with the genre as a whole.

The logistical issues have all been ironed out with the hard work of some incredibly dedicated volunteers and not to forget the staff of the Galt House Hotel where the event is held. While Motema Records is bending over backwards to "hook me up" with some private time with their artists, the exhibit area alone is well worth the afternoon and may take that long to simply see everything!

Optimism for day two and hopefully a chance to see more friends!

Opening Day 3rd Annual Jazz Education Network in Louisville Kentucky

I will be covering the 3rd annual Jazz Education Network convention here in my home city of Louisville Kentucky for the remainder of the week. Below is some membership information you may find useful or you can get more details at http://www.jazzednet.org/

Look for daily updates here and on facebook and twitter.

Follow me @2bjazz

eJEN Levels 1 & 2

eJEN Individual Level I: Ages 18 and up Level I: $25

eligibility to receive JazzEd Magazine, the JEN bi-monthly magazine on line voting rights in all member elections/meetings only eligibility to be nominated and serve on committees with voice and vote (must be elected or appointed) eligibility to receive JEN eNewsletters and eBlasts full access to Members Only section of the website full access to leading educators, industry representatives and artists, both young and old, via the JEN members only database and social network full access to the members only active community FORUM discounts for merchandise available in members only JENeral Store on line when presented eligibility to purchase exhibit space at Annual Conference (Individual name listing Only. Companies/Institutions/Festivals must establish membership at the appropriate level to exhibit using business names) eligibility to register to attend and participate in all JEN activities and events Hope to see my friends there later today!