Doug McDonald "Organisms"

As you probably know by now I'm not the most wild-eyed fan of organ jazz. But it's easy to recognize when it simply works. Carey Frank is a Hammond B3 player of uncompromising skill and subtlety. And it should be added that leader Doug Mc Donald and Frank are very much on par in communicating musically. Veteran L.A. tenorman Bob Sheppard adds an appropriate bluesy contribution, and drummer Ben Scholz adds supportive zest. The ten tunes examined represent a balanced selection of standards and blues infused choices. Perhaps my two favorites are the mostly overlooked ballads "Sometime Ago" and "Too Late Now"; both are examples of top echelon songwriting. How nice to hear them once again. Other familiar "hits" include "It's You Or No One"; "Poor Butterfly"; "On The Alamo"; a medley of "Nina Never Knew" and "Indian Summer"; and Harry Edison's evergreen, "Centerpiece". Doug McDonald's superb musicianship, along with that of his colleagues, is something to be admired.

Self-produced; probably 2019; appx. 44 min.

Ehud Asherie "Wild Man Blues"

I'm happy to say that Ehud Asherie adheres to a long admired tradition that informs us that it's okay to swing. And on his latest CD he does exactly that on a menu of eight tunes covering a wide array of eras and tempos. He is joined by two highly regarded stars of the New York jazz family in Peter Washington, bass and Rodney Green, drums. There are numerous highlights here, so let's examine at least a few! The title tune, "Wild Man Blues", is a rather rare entry from two jazz giants, Louis Armstrong and Jelly Roll Morton. It is followed by one of two Charlie Parker tunes, "Parker's Mood", a staple in the Bird book. The other Parker composition is "Chasin' The Bird", a complex little melody line which, I would imagine, many other pianists would be hesitant to take on. Other favorites include classics "Flying Down To Rio", the exquisite "Autumn Nocturne", and a heartfelt ballad version of "Oh, Lady Be Good". Finally, there's an infrequently heard Dizzy Gillespie tune with a distinctively Latin tinge, and with the odd title "And Then She Stopped". Let's be clear: Ehud Asherie is a piano marvel who has done his homework. He plays all the right notes and no tune worthy of playing is outside his sphere.

Capri Records; 2019; 46:47

Bill Mays "Live At COTA"

Bill Mays is the optimum musician's musician. As a pro for fifty-five years, he's done it all: house parties; cruises; Bar Mitzvahs and weddings; long-standing studio work; accompanist to singers; film and TV composition; extensive arranging; and club and concert gigs---literally all over the world. He's absolutely A+ as a trio leader, and that's how we get to hear him, live at COTA, the Celebration Of The Arts Jazz Festival in Delaware Water Gap, Pennsylvania. He's joined by Martin Wind, bass, and Matt Wilson, drums, at the east coast club, the Dear Head Inn. The trio opens with a "dream" medley of "Darn That Dream", and the famous prom closer (in my era), "Dream". Tender and beautiful stuff. Mays then turns a famous standard on its head with "Sun Of The East", his boppy, infectious tribute to Boston piano icon Lennie Tristano. And speaking of tributes the trio continues with another of them. This time it's Bill Evans who is remembered in another medley with his original "Your Story", and a tear-jerker by Phil Woods titled "Goodbye Mr. Evans". Other choices include another Mays creation called "Next Right Thing---An Extravagant Soft Shoe"; the ballad entry in a sparkling "Never Let Me Go"; and a Wayne Shorter classic, "Infant Eyes". The closer is a surprise and a delight. It's Bob Dorough's spritely, optimistic love song "Nothing Like You". Bill even takes a vocal chorus, and then swings to the end of this bright melody. Bill knows the following remembrance, but perhaps you don't, so here goes. In an interview with Bud Shank, I asked, "if you could only work with one pianist for the rest of your career, who would it be?" Without hesitation, he answered "Bill Mays". 'Nuff said except this: you need to buy this CD!

No Blooze Music; 2019; 55:45.

Charlie Porter (self titled)

Some of you old guys (like me) might remember a unique Benny Golson album called Take A Number From One To Ten. On it, Golson opened with a tenor sax solo. From there he added one player on each selection until there was a total of ten. Interesting concept, right? Well, Portland player supreme Charlie Porter has done just that on ten original tracks plus one by Duke Ellington. He employs a bevy of Portland's finest musicians. Among them are Mel Brown, Alan Jones, David Greenblatt, David Evans, Chuck Israels, Tim Gilson, Dan Gaynor, George Colligan and a lot more. Porter's writing is clear and contemporary, yet he finds a way to stay in the middle of the tradition. His own sound is as pure and beautiful as any trumpet player I've ever heard. A lot of planning and effort went into this project. From a musician's standpoint it's very thoughtful music, and from a listener's view, very thought provoking. I would go so far as saying that Charlie Porter sounds like what Clifford Brown may have developed into had he lived longer than twenty-five years. Porter brings intensity, lyricism, creativity and chops to the table. This meeting of Portland jazz giants is a must-hear session.

Self-produced; 2018; appx. 60 min.

"New Dedications and Latin Moods" Chip White

Chip White is a veteran East Coaster with years of experience, and with many highly esteemed jazz stars. He also is an excellent poet, and here on volume five in a long series, he demonstrates his compositional and poetic skills at their best. His nine originals on one of two CDs finds him in the company of superb talent such as Terell Stafford, trumpet; Wycliffe Gordon, trombone; Bruce Williams, alto and soprano saxes; Renee Rosnes, piano; and other star power players. White's writing is very much along fiery, Blue Note-like bop with heavy duty solo opportunities for nearly all. CD#2 is a showcase for White's poetry, all of which is delivered with a swingin' background. It is here that he honors jazz heroes such as Count Basie, Benny Golson, John Coltrane, Art Blakey, Wayne Shorter, Dexter Gordon and lots more. And don't lose sight of the fact that this marks the fifth time Chip White has offered this music in poetic format. This one, like the four that preceded  it, offers both superb music and poetry that reads like jazz history condensed. I can think of nobody else who has ever taken this approach. So from just about every other standpoint, this is well worth hearing. And you'll likely learn something, too.

Dark Colors; 2017; 2 CDs: 54:56 and 14:03.

"I Always Knew" Jay Thomas

Seattle's Jay Thomas is a sensational musician, equally brilliant on brass and reeds. On this scintillating new CD he is found in the company of the Oliver Groenewald Newtet, a nine-piece ensemble supporting Thomas at every curve in the road. All of the arrangements---perfectly designed---are those of Groenewald, himself a trumpet and flugelhorn player. The twelve tune session includes slightly lesser known but outstanding compositions by luminaries like Lee Morgan, Dexter Gordon, Lucky Thompson, Billy Strayhorn, Chick Corea, Tadd Dameron and Duke Ellington! Sounds like a winner already, doesn't it? Well, to these add a few standards in "Born To Be Blue", "You Don't Know What Love Is", and "Stardust"---plus a couple of well conceived Groenewald originals---and you have a triumphant album. Of course, over the last thirty or so years it's always something very special when the great Thomas is featured in a central role. Thanks, Jay, for all you've given us.

Origin; 2018; appx. 70 min.

"A Thing Called Joe" Guilhem Flouzat

The liner notes on this CD were very limited and there was no bio sheet included. I was able to determine that drummer Guilhem Flouzat is from Paris and now lives in New York, but little else. It matters not. What IS important here is that his trio plays a classy, straight ahead program of eight standards with great taste and lyricism. His trio is completed by pianist Sullivan Fortner and bassist Desmond White. I must say that the real "star" here is pianist Fortner whose understated style is direct and altogether pleasant. The tunes run the gamut, from a nearly forgotten ballad, "There's No You", made somewhat famous by Frank Sinatra; to a pure Monk obscurity oddly titled "Oska T". Other standouts include "When I Fall In Love", Joe Zawinul's lovely "Midnight Mood", and even the whimsical "Walkin' My Baby Back Home". There's no new ground broken here, nor does there need to be. This is simply some dependable, listenable piano trio work and it's well worth hearing.

Sunnyside; 2017; appx. 40 min.