Pete’s Random Thoughts

CD Review: Sweet Spot Mark Winkler

Mon, 24 Oct 2011 12:33:06 -0700

Soon after catching Mark Winkler live in Temecula California where he highlighted several of his new tunes from his CD, sweet spot, I knew I had to purchase this, and I did. His new CD reflects the experience, maturity, taste and savvy from the musical road he's traveled on to where he is today.

Aside from being up there with all the other top jazz singers, Mark is a wonderful lyricist. Mark comes from the tradition of Bobby Troup and he has taken that tradition and brought it into the twenty-first century. It could be said that Mark Winkler is today's version for what was once hip back in the 50s and 60s.

On, sweet spot, in addition to Mark's original compositions he also gives us a beautiful rendition of the poignant Bobby Troup title, their hearts were full of spring. He changes gears and has a lot of fun on the original melody for the Playboy club television program, like young, penned by Previn/Webster.

Backed by some great musicians including Barbara Morrison on vocals, Kim Richmond on sax and Anthony Wilson on the guitar just to name a few, Mark is really on his game. For me, the highlight of this CD is an incredible original by Mark which he also performed at The Merc in Temecula, titled somewhere in Brazil. If I can paraphrase Mark's introduction at the club: he generated the lyrics for this song from a singer he knew who had a terrible experience in the San Fernando Valley singing at a club–Mark's imagination turns this line into, for me, a classic vocal experience worthy of some kind of musical award. Yes, it's that good. And by the way he does not shortchange the left or right coast as he does a version for each.

On sweet spot, Mark gets down funky with Barbara Morrison as the title track gives us another view of this remarkable American musician and writer's talents.

Another of my favorite tracks on this CD, is his original jazz is a special taste. This is a kind of special anthem dedicated to the jazz world and its participants.

Ever since my first hearing of this remarkable musician when he performed his dedication to Bobby Troup I've been hooked. This latest addition continues to prove that with a little bit of effort there is still wonderful and original and tasteful music out there. Grab this CD as soon as you can for its priceless.

Mon David at “TheMerc”

Fri, 14 Oct 2011 13:23:25 -0700

What happens when Billy Eckstein crosses over Gil Scott Heron and bumps into Mark Murphy? The answer is :you may create an artist such as Mon David. Coming from the Philippine Islands this amazing international singer mesmerized the hip audience this Thursday night at the venerable jazz club in Temecula, TheMerc. Before I continue with this review I need to send kudos to Sherry Williams for the amazing, loving and successful venue she has been running every Thursday night for Jazz. This is such a wonderful place to come to, small, intimate and a hip audience that is really into the music.

Mon David opened the set with a bang with his version of “all the things you are." He followed that with a physical and gutsy rendition of the Parker–Gillespie Evergreen, "anthropology." With his excellent band consisting of Tateng Katindig - piano, Wendel White - bass, and Jake Reed-drums swinging right along with him for the full two hours on the groove all through the two sets. When not vocalizing, Mon David becomes another horn for the band. Utilizing his full range from rich rich baritone to a very controlled falsetto each song that he handled he gave much thought to, articulated perfectly and he felt the lyrics very tenderly. When it came time to swing, he swung ferociously giving it 110%.

In a better or more perfect world ,Mon David would be a better-known artist. His performance of "As time goes by" was a rich recitation of this all-time great song. He pumped in much originality, feelings and tenderness as though tiptoeing on eight shells without them being broken. His emotional performance on the Jon Hendricks line, “in summer” was truly moving and touched all of the passions and words from that lovely song. It was interesting to see him do the opening bars in Italian as he overemphasized the vowels stemming from his Filipino language.

This was his third appearance in Temecula as he brought in his own entourage of fans plus a host of young students eager with questions from the musicians to complete their papers. I, for one, look forward to a return engagement by this well-rounded jazz musician that has taken Temecula by storm.

Eric Reed at TheMerc

Fri, 23 Sep 2011 09:58:12 -0700

The sound of jazz are still very much alive in Temecula California. Thanks to the wonderful ongoing efforts of Ms. Sherry Williams, who has done an amazing job in bringing some of the most creative and talented jazz musicians to TheMerc every Thursday evening.

This past Thursday, September 22, we were treated to one of the most talented jazz pianists on the scene today, Mr. Eric Reed. Stopping at The Merc before heading to the Big Apple and Lincoln Center, he treated us to his music and with a dynamite trio featuring Kevin Kanner on drums and Hamilton Price on bass. This has been his favorite working group in which together they've recorded a new album consisting of mostly ballads, Something Beautiful, of which they featured at the Merc that evening.

Eric is the consummate musician who has conjured up many styles of other jazz greats including his background from the church, his experiences with groups like Wynton Marsalis, never losing the foundation of be bop in his repertoire . This incredible mix has resulted into an original musician who is always interesting, innovative and communicative with his audience. Mr. Reid has a warm rapport with his listeners and his charm is endearing as is his musical style.

He opened his set with Benny Golson's stablemates, continued with a number of Evergreen ballads and a very heartfelt and somber message in his rendition of his original composition, the prayer, and addressed that piece toward the problems of capital punishment in this country.

Eric played for nearly 2 1/2 hours with just one short break with verve, energy, sensitivity and humor to the delight and enrichment of the faithful and steady audience that makes its way to the Merc every Thursday evening to dig the good sounds of jazz.

Eddie Palmieri’s Contribution to Jazz, By Peter La Barbera

Sat, 30 Jul 2011 16:32:09 -0700

My first encounter with Latin jazz came about sometime during the 1950s. I used to frequent Birdland, the Jazz corner of the world, quite often. On a particular evening that I won't forget with Dizzy Gillespie on the bandstand I began to learn about Latin rhythms and the role they would play in the future of jazz music. In a conversation with someone sitting with me at the peanut gallery it was suggested that if I like this music I ought to visit the ballroom just across the street from Birdland called, The Palladium. In a couple of weeks after that conversation I ventured to the ballroom and the music from the bandstand changed my way of listening for the rest of my life.

Not realizing that then, I was witnessing a transformation into the musical culture, and the merging of sounds and rhythms that would lay the foundations for this vibrant, exhilarating form that is still very much with us today. It wasn't until the early 60s that I ventured down to theVillage Gate when someone told me there is a Latin jazz pianist I should check out. It was a Monday night on a hot sticky day in New York City when I went down into the bowels of the village gate to hear Eddie Palmieri for the first time. At the beginning of the set I knew something different was about to happen as he pounded the piano and played discords that did not seem to make sense at that moment. Then he would pause and serenely caress the keys as the base picked up the rhythm and the drums followed suit and thus Palmieri's music was born.

During that time he used trombones for brass which seemed to give a different blending compared to the strong trumpet sound. The composer and trombonist, Barry Rogers, helped to give Palmieri's identity to the group he called “La Perfecta.” But the night in reference that I speak of was dazzling and amazing all at once. He had definitely created a new form that would last for the next 20 or 30 years. For me it was very exhilarating to be a part of something that was entirely new, vibrant, and exciting.

Eddie had a knack for creating excitement in his music by building and adding and injecting surprises that was totally unexpected, and when you heard if, it left you reeling and waiting for more. He had a great sense for the dramatic music he would build and build, creating dissonance, harmony and even noise leaving the listener wound up like a tight rubber band waiting to be released and transported into areas of bright rhythm, blue sensuality and drug inducing contemporary music. His crossover from the dissonance and unrelated harmonies transforming into pure sensual rhythms, chantings and foundations would leave the listener limp and dry as if being released after in this orgasmic rush that would become the signature of Mr. Palmieri's music.

Marilyn Harris - Orphans

Thu, 17 Mar 2011 12:53:06 -0700

In addition to being a wonderful singer, musician and songwriter, Marilyn Harris is also an avid story teller. On her latest recording, orphans, we have 17 orphans (tunes) looking for a good home. Unlike her recordings in the past, such as Future Street or Round Trip this is not an all jazz effort. However, this mixed bag of jazz, country, pop and even a religious oriented song is very interesting from the perspective of it being a series of stories that capture the listener.

We are living in a world where musical tastes have diminished greatly, lyrics are garbled and mangled beyond any recognition of the theme, or line or sense. This is why we need to support cats like Marilyn Harris or Mark Winkler who have contributed so much and received so little in return from a musical public that is either nonexistent, non-caring or completely out of it. The great lyric writers of the past will always live on. We need to remember and support those today that can move us all with great lyrics and turning them into an interesting story that touches us, moves us into sadness, happiness or nostalgia. In other words reflections of the human spirit.

On two tracks Marilyn is joined by her cohort, Mark Winkler and on another with Philip Ingram. With Mark she takes us around the world on a clever line titled, Countries in Love. This is the usual kind of fare that is Marilyn's forte. With great lyrics, hip delivery and tongue in cheek she leads us, with Mark, on a hip journey around the world.

My favorite track is a smooth bossa nova type line telling the story about a bird. This line has a smooth and tasty structure that has us flying to the lilting melody of this soaring and free bird. As a bonus, Dan Higgins offers a wonderful flute solo to accompany the soaring bird.

In summing up the music of Marilyn Harris I think that it's fair to say that we've known her mostly, in the past, as a singer of jazz tunes. That being said, these sides are designed by a writer of songs with stories to be told and the quality stands up in each genre she chooses be it Country and Western or Spiritual. Each track in this selection, each orphan, tells a unique story and therein lies the gift of the songwriter. Enjoy!

Omar Sosa ...C a l m a

Fri, 11 Mar 2011 15:37:24 -0800

We live in a time of unparalleled turbulence. Nature unravels itself into disastrous proportions while men strip the resources of our precious planet to use against one another. It's rare that something musically precise anchors into our psyches to set off a feeling of deep meditation and relaxation. Calma meaning calm, the 16th or so album by the incredible Omar Sosa has the extraordinary artistry, sensitivity and passion to deliver something that truly is what it is called.

Omar has been at the cutting edge of innovation and extending musical styles while merging folkloric trends since he began recording back in the 1980s. He's an international icon, original in every way and exciting to experience.

On his very latest recording he introduces us musically to the feelings of life and passions. From the opening notes of his piece, sunrise, one senses the extraordinary moments of early morning. Omar has the uncanny sensitivity of touching each note as if it was somehow prepared as something from an out of body experience. This music will touch you, move you and will make your soul sing with all its original harmonies, patterns and musical nuances to deliver your spirit to a somewhat higher elevation. For Omar is a genuine poet in the sense of being spare and highly selective for each note that he touches and decides to play. And he has the ability to make each note soar and diminish to a greater dimension than is actually played.

If you've never experienced any of this man's music I would urge you to go back to any of his earlier recordings to accumulate his experiences and then come back to Calma once again to get the feeling and sense of his cumulative artistry

Other Reviews of Omar Sosa

Alan Broadbent at “The Merc”

Fri, 25 Feb 2011 21:40:56 -0800

The Merc, a little jazz club located in the old town section of Temecula California is a tiny, tasty and intimate little spot where you can hear jazz every Thursday evening. This past Thursday the folks in Temecula were treated to one of the most outstanding jazz pianists on the scene today, Alan Broadbent. His wonderful swinging Trio consisted of his faithful cohort Putter Smith on bass and local drummer Paul Kreibich.

The club, with its newly decorated tables and chairs had a restored beautiful Steinway piano for Alan to explore upon. From Allen's wide repertoire we were treated to old standards such as Serenata by Leroy Anderson, Billy Strayhorn's Uptown Medical Center., Clifford Brown's Daahoud all the way to an incredible triple layered version of Body and Soul that resonated the small room with taste, technique and originality. Alan, who has contributed much to the Woody Herman herd has all the bebop credentials layered with overtones of Bill Evans and, to this listener's ears,some echoes of Lenny Tristano. Today ,a lot of his efforts are spent behind some of the best singers in the business, including Diana Krall. At the end of his set he invited jazz singer and host forThe Merc, Sherry Williams, up to stand to sing a couple with the Trio. At the end, Sherry told the audience that she was indeed spoiled as were we, having heard one of the best jazz pianists on the scene today.

Remembering George Shearing

Tue, 15 Feb 2011 10:42:35 -0800

There were many nights in New York City back when we'd go out to hear George Shearing performing either at Birdland Or Basin Street East. His music was definitely the coolest playing around in those days. After his trio gigs he came upon the sound that helped define cool jazz back in the Fifties. Piano, guitar and vibraphone played in unison and it was beautiful. The first time I caught George at Basin St.,East he had the great Chuck Wayne on guitar and Don Elliott on vibes. I think the special thing with George's music was that element of surprise he would always unveil to his audience, usually at the end of a set. For example, after listening to a set of his standards, such as September in the Rain, Tenderly and perhaps East of the Sun and West of the Moon, he would always introduce something new and different. For example, Don Elliott would play something on an instrument resembling a French horn called a mellophone. Or, when Toots Thielemans became the guitarist with the group he began, slowly at first, to play the harmonica, which would later become his principal instrument. Myself, being a tremendous fan of Afro-Cuban music, I cannot tell you how many nights I saw this group perform anticipating, usually at the end of the set, the introduction of Armando Peraza. That is when George would break into a piece such as, Caravan, that totally intoxicated the audience with its sensuality, rhythm and exotic percussion.

Those were the beginning and most triumphant days of the Shearing quintet. For me, they were very special moments in music. Of course, George had gone on to do greater things in his art and grew greater and more creative throughout his years. His collaboration with Mel Torme much later in his life, could be an entire chapter of his contribution to music. But I would like to remember him from those cold days in New York City where we would gather to listen to that beautiful unison sound of Shearing that was so hip and vital to this music we call jazz.

Maestro - The Art of Leonard Bernstein

Tue, 25 Jan 2011 12:33:08 -0800

Hershey Felder's Maestro - The Art of Leonard Bernstein
The Laguna Playhouse - Laguna Beach California

Like me, you’ve probably never heard the name Hershey Felder before. Let me do my part to spread the word on this incredible artist. Mr. Felder is indeed a one-man show. But he is not a one-man show as compared to Hal Holbrook doing his timeless rendition of Mark Twain. Hershey is a triple threat in that he is an actor,musician and a singer, all of rare and remarkable quality. Although this is his fifth production of a one-man theatrical biography, it is the first time for me to experience him. He has done Gershwin, Beethoven and others in the past. Unfortunately, given the cultural climate in our society today he is not a household name.

His extraordinary piece “Maestro, the art of Leonard Bernstein” takes us inside this extraordinary man and his music. But it goes further in that we go in depth to Mr. Bernstein's life struggles, accomplishments, personal life that gives us a look at this incredible American genius. Fortunately, for me, I had the great opportunity of seeing Mr. Bernstein perform several times at New York's Philharmonic Hall in Lincoln Center. But this evening at the Laguna Playhouse this incredible performer took us beyond Mr. Bernstein's musical life and revealed his life in biographic form that would be a mesmerizing experience for the audience.

Mr. Felder showed us how a single note could lead to an entire musical experience. He did this with the opening note from West Side Stories love song, “Maria.” He followed this one opening note and showed us the variations of musical feelings and interpretations that most of us would never think about. It would take us through the passions, frustrations and all other emotions demonstrating how music is created and finished.

Experiencing this theatrical event I came away feeling I knew more about Leonard Bernstein than ever before. Being the artist that he was ,he was a very complicated individual. There was even a very dark side to this man. Growing up with a very Orthodox Jewish father who valued money above all other things. It would take Mr. Bernstein many years when he became the permanent conductor for the New York Philharmonic to bring his father around and appreciate the genius his son truly was. Hershey is able to pull this off so well the only prop being occasional scenes on a screen in back of him on stage. There is humor,love, pathos, pain and despair he so ably displays and communicates to his audience. It's totally amazing to follow this great artist's strive to become the maestro we remember, having to struggle with anti-Semitism, family problems and competition.

Hershey Felder's theatrical tour de force had the same effect as if we took a course in music. A gifted musician with a good voice and great acting skills truly made for a very entertaining evening at the theater. If you are able to still catch this performance I highly recommend it, you won't be sorry.

Interview with Hershey Felder

The Battle of the Saxophones

Sun, 16 Jan 2011 12:44:55 -0800

As I grew into my adolescence period and my love of jazz continued to flourish, we were moving into a time of the tenor saxophone. The tenor saxophone, during the late 1950s was a big sound, a wholesome sound whose vibrato would resonate as a powerful force in a concert auditorium. We were blessed during those times with some of the greatest players that would ever come about in jazz history. Names like,Coleman Hawkins, Ben Webster and Chu Berry headlined the big jazz clubs and concert halls. The tenor saxophone player was the rockstar of those times. The excitement from the audience took hold not during the trumpet solos or the trombone solos, it was the tenor saxophone that would mesmerize and turn the audience into a frenzy that would be completely unimagined today.

It was, “the battle of the tenors,” by that I mean the tenor saxophone. Wherever there was jazz, the small group or big band, inevitably it would culminate into a battle between tenor saxophone players. Everyone had their favorite player,Bean was the creator, and the inventor–the daddy of the tenor sax. Ben Webster had the big fat sound very romanticized and literally turned this brass instrument into a sexual object. Actually, there were dozens of great players, highly influenced by the masters that preceded them and they would play chorus after chorus, delighting the audience beyond their expectations. The epitome of this moment in jazz history came when Norman Grantz and his “jazz at the Philharmonic” went even further out. Flip Phillips and Illinois Jacquet headlined many of the concerts circulating all over the world. Typically, a concert would end when they called Juan Tizol's venerable, Perdido. After everyone in the group soloed it would come down to Phillips and Jacquet to take it out. Usually, this was when pandemonium which strike. The captured audience would holler and scream for their favorite player soloing. The Chants of “Go, man Go” would resonate throughout the hallowed halls of the theater.

These were indeed very exciting moments in jazz history. We may never see these exchanges ever again in our lifetimes. However, there are two sides to this story. While the big tenor sounds were producing all of the excitement it should be noted that the instrument was being reinvented with a lot less vibrato and bravura as previously stated. It was Lester Young who took away the big sound and replaced it with the essence and airiness of something that would later be labeled “cool.”

The “cool generation of the tenor saxophone” swept through the jazz world like an air conditioner cooling off a six room apartment. Suddenly everyone wanted to be cool, wanted to hold the saxophone like Lester, and the mere thought of a reedy sound or the quiver of a fluttering vibrato was considered to be unhip. This was indeed change. Change in an art form is vital to the form or it is no longer art. This was the change that moved the music into a new time. Cool was an attitude. The more you showed restraint the cooler you were.

As it is with all changes, especially in jazz, one major practitioner generally emerges and begins to set the standards for others to strive for and admire. Other then Lester Young, who gave birth to this new form, in my opinion, one star which shined, taking the form and polishing it, perfecting it and continually shaping it. That would be, Stan Getz. Looking back at the body of work left behind by this great tenor saxophonist, you may not entirely agree with me. However, it is a good jazz debatable issue.

Stan could be as lyrical and as gentle as fondling a flower when it came to his superb sound. Swinging at breakneck tempos with the greatest of them all, Sonny Stitt. Dizzy Gillespie, et all. Stan could hold his ground with the best. It could be said that when Woody Herman, in his most adventurous spirit, changed the meaning of the saxophone section big band setting to four tenors and a baritone which would enhance this cool sound even further. It could be said that this seed took flower on Stan's incredible and timeless solo on “Early Autumn.” When he was on he could electrify a room or a concert hall with his flowing ideas and knuckle cracking execution–you could feel the electricity if you were lucky enough to be present.

I had that good fortune, several times during his reign, to have witnessed his amazing performances. . One thing I should state at this point, I hate putting together or having to listen to the best of... It's an infatuation of our society that someone will be the best and the rest have fallen off the cart. This is only my personal feeling. There were a lot of great tenor saxophone players during the time of Stan Getz. Anyone can debate the merits of their favorites against mine and chances are I would give in to anyone making a valid point. Finally, I only want to stress my feelings about how one musician struck a chord with me that still resonates till this day.

But wait there's more! If you think that this brief treatise is the total story of this great reed instrument, forget about it. The subject is endless and can go on for chapter after chapter to create an entire book. Aside from cool versus hot there are volumes to be written about Giants such as, John Coltrane, Sonny Rollins (still innovating and creating new forms until this day) that tell the story of yet another aspect of the tenor saxophone.