Fergus McCreadie “Stream”
Jazz reviewers call out the ‘cinematic’ or ‘filmic’ nature of McCreadie’s compositional and piano playing style- Exploratory, kinetic right hand gentle, then roiling waves of left hand foster a blustering rip-current, leading to detonating rhythm section. A river cascading through rapids.
And then there is the ‘folk’ component of this ostensibly ‘jazz’ record. McCreadie deploys the skeletal fragments of traditional Scottish music – a few pianistic bars of jigs or reels- as in “Driftwood” which dances with the fiddle-esque melody lines.
Joel Ross “Nublues”
Listeners familiar with me know I love vibes. And Joel Ross is a rising voice on the mallets. This album; one that Ross has said is consciously created to each a broader listenership, is clean, modern, accessible yet mature and well written and executed jazz.
The blues are the backbone, yet there is beaucoup swing and inventive soloing by both the leader and bandmates. “Real’ jazz aficionados (whoever we/they are) will find plenty of interplay and improv to appreciate – with extremely tuneful songs.
Samara Joy “Portrait”
Not since Cecile McLaren Salvant has a new female vocalist gathered such resounding and uniform praise. In just her third album proper, Joy is indeed the watchword for this silky and sumptuous vocalist. Threading octaves together smoothly on “Autumn Nocturne”, or playfully hopping the scales in unison with the trumpet break on the noteworthy Kahn-Herb Brown composition “You Stepped Out of a Dream”
There’s a light burnish to her voice; a noticeable but not overpowering gospel tinge, then a nod to R&B, and full-on improvisation in her phrasing. Of note is the reserved and accomplished septet of mostly unheralded young instrumentalists that provide a floating and assured backing for this set of mostly standards.
Christian Sands “Embracing Dawn”
Yet another young, under-the-radar pianist, Sands latest places him squarely in the forefront of contemporary jazz – the compositions possess maybe a tad too much sheen and modern grace – often buoyed on the bed of vibes from sideman Warren Wolf – truly sympatico with Sands on the gently propulsive “Divergent Journeys”
Nice interplay with guitarist Marvin Sewell on “Ain’t that the Same”- which illustrates Sands willingness to share the spotlight with an energetic and complimentary soloist. There is nothing fancy about the album – steadfast playing; excellent compositions and stellar interplay. The keyboard leader practices a compact soloing style, which is shared with the band.
Now the jazz police have claimed Sands as ‘schmaltzy’, and I concur there is a polished hue here- I also think the playing is top notch; it might be the type of record to convert someone to ‘jazz’ if they are newbies to the artform.
Neil Swainson “Here For a While”
Bassist Swainson is precisely the type of artist that appeals to me; reliable, unpretentious, solid and relaxed; also, a clever & tasteful arranger. His sextet on this outing is relaxed and effortless in a straight-ahead session of covers and originals
The Canadian born Swainson has anchored greats like Woody Shaw and held the bass-chair for years with the great pianist George Shearing. Here his stellar mates; Renee Rosnes on piano and Steve Davis on trombone – perfect foils for his firm yet relaxed swing style on tracks like “LaGrange Point”
Emmet Cohen “Vibe Provider”
In an album dedicated to the late Nigerian-born Michael Olufunmilola Ononaiye- jazz programmer and Manhattan musical celebrity/friend – pianist Cohen creates a high-octane bop fest with a spirited program of standards- many of which are invigorated with speed and tuneful explorations (“Surrey with the Fringe on Top”).
The band, with veterans Joe Farnsworth on drums and Frank Lacy on trombone, is taut and free-swinging - Cohen is fluid and inventive with comprehensive, yet subtle tonal choices – adding flair to the warhorses on the program.
