JAM Magazine: October/November 1996 Issue: For the Record

Lisa Henry
JAM SESSION
LRH-002

Personnel: Lisa Henry, vocals; Joe Cartwright, piano (trks 1-5, 8, 10); Gerald Spaits, bass (1-5, 8, 10); Todd Strait, drums (1-5, 8, 10); Everette DeVan, organ (6, 7, 11); Ervin Brown, guitar (6, 7, 11); Tim Perryman, trombone (6, 7, 11); Marvin Jones, drums (6, 7, 11)

Tracks: I Only Have Eyes for You; Lullaby of Birdland; I Can't Get Started With You; Straight, No Chaser; Love for Sale; Black and Blue; Late, Late Show; Spring Can Really Hang You Up the Most; Like Being in Love; Georgia; Muddy Water

Recorded March 24 and May 12, 1996, at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Long overdue is this debut CD by Kansas City's Lisa Henry, the second place winner in the 1994 Thelonious Monk Vocal Competition, and the 1995 United States Information Agency's International Jazz Ambassador. Still only in her twenties, Lisa continues to demonstrate her potential to become one of the grand ol' ladies of vocal jazz. And Jam Session is one of a growing number of reasons why.

Having just returned from a U.S. tour with the Thelonious Monk Institute (as we go to press), Lisa Henry is beginning to make the national and international rounds. Tours of South Africa and Madagascar last year gave her exposure and acclaim abroad. And over the past 18 months, she has performed at numerous festivals across the U.S., including last summer's Playboy Jazz Festival hosted by Bill Cosby.

Live, Lisa Henry has what it takes to get the attention of an audience (and quiet an obnoxious crowd). On Jam Session, she, along with a cast of excellent area musicians have what it takes to captivate the listener. Here is a blow by blow.

"I Only Have Eyes for You" -- Opening with Lisa's clear, husky voice and the walkin' bass of Gerald Spaits, this first track makes it evident Jam Session is going to be fun. Joe Cartwright and Todd Strait eventually kick in to make this medium tempo tune sizzle and swing. It doesn't get much more straight ahead than this.

"Lullaby of Birdland" -- Lisa introduces her skillful scatability on this George Shearing classic as sidemen who normally don't work together sound truly at ease. A nice segue from track one, as both are done at about the same tempo.

"I Can't Get Started With You" -- What a treat. This lush arrangement combined with Lisa's rich voice and cool phraseology will soak into your soul. A Nancy Wilson influence is clearly heard on this tune, and Joe Cartwright's piano drives it all home, reminding me of early Gene Harris & the Three Sounds.

"Straight, No Chaser" -- Mastery of scat and a cohesive ensemble are the highlights of this tune. Solos by all and precision fours power pack these few minutes. Of particular note is a bass solo by Gerald Spaits that includes a couple of his signature riffs.

"Love for Sale" -- Lisa seems to put her fully charged exuberance into every note here making this my favorite track on the album. Up tempo with a Latin flair, hard-driving swing from Cartwright, and a "Killer Joe" touch from bassist Spaits. As an added bonus, you'll even hear some of Lisa's own lyrics.

"Black and Blue" -- The first track to feature the Everette DeVan-led configuration is highlighted by the muted trombone of Tim Perryman, who is now living in New York. We've got to get this guy back to KC.

"Late, Late Show" -- Kind of a signature tune for Lisa and Everette, and a good example of just how far this young lady has come in a few short years. Add more of Perryman's trombone, the soft touch of DeVan's B-3 and more soulful scatting from Lisa, and you have just what local jazz fans have come to expect from this winning combination.

"Spring Can Really Hang You Up the Most" -- A wonderful duo featuring Lisa and Joe Cartwright that brings a relatively unknown tune (at least to me) completely to life.

"Like Being in Love" -- Yet another example on this CD of a well-done standard. Lisa's attention to the basics allows her the freedom to explore soulful interpretation, while backed by the trio of Cartwright, Spaits and Strait.

"Georgia" -- Even Ray Charles would love this version, although the arrangement is more sultry and moody than the Charles classic. Joe Cartwright manages to keep the familiar theme in focus while providing some interesting twists and turns.

"Muddy Water" -- Lisa and Everette DeVan own this tune. And if you've ever seen them in person, you'll already know that. Highlights are exciting solos by Perryman and DeVan, and the cool guitar of Ervin Brown.

Jam Session is a recommended pick for all jazz lovers. And if you just happen to be in a position to offer Lisa Henry a recording contract, her many fans here in Kansas City would recommend you make that pick as well.

Here's to a grand young lady of jazz.

-- Dean Hampton

(Ask for Jam Session at Music Exchange, Streetside Records and Barnes & Noble. -- Ed.)

Gary Sivils
YOU MUST BELIEVE IN MUSIC
Altenburgh Records JGA-0021

Personnel: Gary Sivils, cornet; Paul Smith, piano; Bob Branstetter, bass; Todd Strait, drums; Mike Metheny, EVI (trks 5, 7)

Tracks: You Must Believe In Spring, Mr. Bojangles, Old Country, Too Young To Go Steady, Manha de Carnaval, You Don't Know What Love Is, Blue Garu, Baby Won't You Please Come Home

Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Many years ago, when I was first introduced to the Kansas City jazz scene, I kept hearing about some of its most influential players: George Salisbury, Milt Abel and Bettye Miller, Frank Smith, Arch Martin, Herman Bell, John Elliott... and cornetist, Gary Sivils. Gary and I eventually met -- I think it was when we were both judges at a high school big band festival -- and our friendship has grown though the years, mainly due to my association with Pat and Mike Metheny.

In case you are not familiar with Gary Sivils' playing, or, perhaps, have been taking him for granted all these years, You Must Believe In Music will serve as a real eye and ear opener. Here is a truly remarkable and sensitive artist... and one who has been right under our noses all along! Gary is a warm, lyrical player who has clearly been influenced by early Miles Davis. And as was the case with Miles, Gary Sivils is a superb storyteller, producing notes and phrases that are perfect for the mood he sets.

The rhythm section for this recording features three more exceptional artists from the Kansas City area in Paul Smith (piano), Bob Branstetter (bass), and Todd Strait (drums). And as an added bonus, Gary's long-time friend and soulmate, Mike Metheny, is heard on EVI (electronic valve instrument) on two numbers, "Manha de Carnaval" and a Metheny original, "Blue Garu."

Gary Sivils has put together a varied and interesting program that ranges from Michel Legrand ("You Must Believe in Spring"), through Don Raye and Gene de Paul ("You Don't Know What Love Is"), to Luis Bonfa ("Manha de Carnaval"). There is even a lovely version of the Harold Adamson/Jimmy McHugh mid-'50s pop hit, "Too Young To Go Steady." Gary's warm and intimate playing, a top-notch rhythm section, and the addition of Mike Metheny on two cuts make this an outstanding release to be added to the ever-increasing body of recorded material from the Kansas City jazz community.

Again, this CD is a winner in every sense of the word, and it most certainly belongs in every jazz lover's collection.

File it under "Outstanding."

-- Dick Wright

(Gary Sivils will hold a CD release party on Sunday, Oct. 27, at The Club at Plaza III, 7:00 to 10:00 p.m. Ask for this album at area retail outlets, or call 715-693-2230 to order. -- Ed.)

Doug Talley Quartet
TOWN TOPIC
Serpentine CD-069601

Personnel: Doug Talley, tenor & soprano saxophone, flute; Wayne Hawkins, piano; Tim Brewer, acoustic bass; Keith Kavanaugh, drums, vibraphone.

Tracks: Western Exposure, Carolyn, Town Topic, Above Time,
Serpentine Waltz, Grandpeople, The Challenge, Blues for Erl King, Cherokee.

Recorded June 24-27, 29, 1996 at BCR Audio Productions, Kansas City, MO; Bill Crain, engineer.

Kansas City has provided an environment that has spawned more than its share of fine tenor saxophone players. And it would appear as though these hallowed fields are still fertile, as evidenced by the emergence of the Doug Talley Quartet.

With Talley's sax up front, and his musical leadership behind the scenes as producer and composer, this quartet produces a nice, tightly woven music made for listening.

Things get started with a Talley tune called "Western Exposure," a swing composition to warm up the bodies and the minds. Switch gears for a gentle 6/8 groove ballad on Tim Brewer's ode to his wife, "Carolyn." Up tempo again for an entertaining Latin feel to the title tune, "Town Topic." This beginning firmly establishes group's sound as one of cool restraint and solid playing from a fully integrated and intimate unit.

"Above Time" returns the band to ballad mode. Talley delivers the tune with rich smoothness only to be followed by a lovely Wayne Hawkins solo. Winding our way on, we come upon Talley's peppy "Serpentine Waltz," with a twisty little line of a melody jumping here and there. Wayne Hawkins demonstrates his writing skills with a heartfelt "Grandpeople," in honor of his grandparents. Talley changes the mix a little by picking up the soprano sax on this tune as Tim Brewer leads the way on a nice opening solo and creamy smooth transition back to the top in a short duet into Talley's solo.

"The Challenge" returns to the cool swing of Talley's tenor. And on "Blues for Erl King," Talley demonstrates his counterpoint skills (while borrowing a little from Franz Schubert) in a piece reminiscent of the Modern Jazz Quartet's forays into Bach fugues.

Finally, we close with Keith Kavanaugh's arrangement of Ray Noble's "Cherokee." This track let's Talley and Hawkins cut loose on a pair of blistering solos all pressed along by Kavanaugh.
All in all, a very entertaining and engaging CD.

-- William Buchanan III

(Doug Talley has a CD release party set for Wednesday, Oct. 9, at Jardine's, 8:00 p.m. to midnight. Look for this new release at Music Exchange and other area outlets, or call 631-6704 to order. -- Ed.)

Janice Borla
LUNAR OCTAVE
DMP CD-3004

Personnel: Janice Borla, voice; Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums; Fareed Haque, acoustic & electric guitar (trks 1, 2, 5, 7, 10); Art Davis, trumpet & flugelhorn (trks 4, 5, 8, 9); Brad Stirtz, vibes (trks 2, 5, 6, 7, 10)

Tracks: Five, Cafe, Very Early, Naima, Beauty and the Beast, Round Midnight, Arcade, Equinox, Bird Alone, Bridges

Recorded January 1995 at Steve Yates Recording, Morton Grove, IL; Steve Yates, engineer.

If you enjoy jazz vocalists who use the human voice as an "instrument," then Janice Borla's Lunar Octave is for you.

Borla hails from the Chicago area where, for the past eleven years, her Janice Borla Vocal Jazz Camp (at Illinois Benedictine College in Lisle) has drawn aspiring jazz vocalists from around the country. For Borla, teaching and performing go hand-in-hand. With an emphasis on handing something down.

"Nobody taught me how to do these things," Borla says, "but if I have a mission in life, it's to make singers aware that they need to learn how music works, to learn about the artists who've preceded them, and to learn about music theory. It's no longer good enough just to have a nice voice."

Janice Borla's "instrumental" approach to singing is quite evident on this CD. All vocal solos are rendered as instrumental expressions. That, mixed with her attraction to angular melodies, an interest in odd rhythms and meters, and a skill for recruiting outstanding accompaniment add up to a very enjoyable recording.

What is also quite enjoyable about this album is the playing of Kansas City's own Bob Bowman. On John Coltrane's "Equinox," the bassist opens the chart and sets the mood. On Wayne Shorter's "Beauty and the Beast," and on "Bridges" by Milton Nascimento, Bob is in equally good form (the latter featuring the acoustic guitar work of Fareed Haque). It's great to hear Bob Bowman in a setting outside of Kansas City and in another musical context. (...And to think: he's one of our "local musicians.")

The cuts on this CD cover the jazz gamut. There are three of Brazilian heritage, two by John Coltrane, two by Bill Evans, and one each by Thelonious Monk, Abbey Lincoln and John Abercrombie. Of the bunch, only Evans' "Five" doesn't quite work for me. With Borla's original lyrics, it just doesn't seem to fit the rest of the session.

Still, Lunar Octave is a moody, mystical, magical recording that showcases the horn-like vocal skills of a teacher/recording artist on a mission. It is a definite must hear/must have CD.

-- Bill O'Connor

RETURN TO OCTOBER/NOVEMBER 1996 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		Lisa Henry JAM SESSION LRH-002 Personnel: Lisa Henry, vocals; Joe Cartwright, piano (trks 1-5, 8, 10); Gerald Spaits, bass (1-5, 8, 10); Todd Strait, drums (1-5, 8, 10); Everette DeVan, organ (6, 7, 11); Ervin Brown, guitar (6, 7, 11); Tim Perryman, trombone (6, 7, 11); Marvin Jones, drums (6, 7, 11) Tracks: I Only Have Eyes for You; Lullaby of Birdland; I Can't Get Started With You; Straight, No Chaser; Love for Sale; Black and Blue; Late, Late Show; Spring Can Really Hang You Up the Most; Like Being in Love; Georgia; Muddy Water Recorded March 24 and May 12, 1996, at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Long overdue is this debut CD by Kansas City's Lisa Henry, the second place winner in the 1994 Thelonious Monk Vocal Competition, and the 1995 United States Information Agency's International Jazz Ambassador. Still only in her twenties, Lisa continues to demonstrate her potential to become one of the grand ol' ladies of vocal jazz. And Jam Session is one of a growing number of reasons why. Having just returned from a U.S. tour with the Thelonious Monk Institute (as we go to press), Lisa Henry is beginning to make the national and international rounds. Tours of South Africa and Madagascar last year gave her exposure and acclaim abroad. And over the past 18 months, she has performed at numerous festivals across the U.S., including last summer's Playboy Jazz Festival hosted by Bill Cosby. Live, Lisa Henry has what it takes to get the attention of an audience (and quiet an obnoxious crowd). On Jam Session, she, along with a cast of excellent area musicians have what it takes to captivate the listener. Here is a blow by blow. "I Only Have Eyes for You" -- Opening with Lisa's clear, husky voice and the walkin' bass of Gerald Spaits, this first track makes it evident Jam Session is going to be fun. Joe Cartwright and Todd Strait eventually kick in to make this medium tempo tune sizzle and swing. It doesn't get much more straight ahead than this. "Lullaby of Birdland" -- Lisa introduces her skillful scatability on this George Shearing classic as sidemen who normally don't work together sound truly at ease. A nice segue from track one, as both are done at about the same tempo. "I Can't Get Started With You" -- What a treat. This lush arrangement combined with Lisa's rich voice and cool phraseology will soak into your soul. A Nancy Wilson influence is clearly heard on this tune, and Joe Cartwright's piano drives it all home, reminding me of early Gene Harris & the Three Sounds. "Straight, No Chaser" -- Mastery of scat and a cohesive ensemble are the highlights of this tune. Solos by all and precision fours power pack these few minutes. Of particular note is a bass solo by Gerald Spaits that includes a couple of his signature riffs. "Love for Sale" -- Lisa seems to put her fully charged exuberance into every note here making this my favorite track on the album. Up tempo with a Latin flair, hard-driving swing from Cartwright, and a "Killer Joe" touch from bassist Spaits. As an added bonus, you'll even hear some of Lisa's own lyrics. "Black and Blue" -- The first track to feature the Everette DeVan-led configuration is highlighted by the muted trombone of Tim Perryman, who is now living in New York. We've got to get this guy back to KC. "Late, Late Show" -- Kind of a signature tune for Lisa and Everette, and a good example of just how far this young lady has come in a few short years. Add more of Perryman's trombone, the soft touch of DeVan's B-3 and more soulful scatting from Lisa, and you have just what local jazz fans have come to expect from this winning combination. "Spring Can Really Hang You Up the Most" -- A wonderful duo featuring Lisa and Joe Cartwright that brings a relatively unknown tune (at least to me) completely to life. "Like Being in Love" -- Yet another example on this CD of a well-done standard. Lisa's attention to the basics allows her the freedom to explore soulful interpretation, while backed by the trio of Cartwright, Spaits and Strait. "Georgia" -- Even Ray Charles would love this version, although the arrangement is more sultry and moody than the Charles classic. Joe Cartwright manages to keep the familiar theme in focus while providing some interesting twists and turns. "Muddy Water" -- Lisa and Everette DeVan own this tune. And if you've ever seen them in person, you'll already know that. Highlights are exciting solos by Perryman and DeVan, and the cool guitar of Ervin Brown. Jam Session is a recommended pick for all jazz lovers. And if you just happen to be in a position to offer Lisa Henry a recording contract, her many fans here in Kansas City would recommend you make that pick as well. Here's to a grand young lady of jazz. -- Dean Hampton (Ask for Jam Session at Music Exchange, Streetside Records and Barnes & Noble. -- Ed.) Gary Sivils YOU MUST BELIEVE IN MUSIC Altenburgh Records JGA-0021 Personnel: Gary Sivils, cornet; Paul Smith, piano; Bob Branstetter, bass; Todd Strait, drums; Mike Metheny, EVI (trks 5, 7) Tracks: You Must Believe In Spring, Mr. Bojangles, Old Country, Too Young To Go Steady, Manha de Carnaval, You Don't Know What Love Is, Blue Garu, Baby Won't You Please Come Home Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Many years ago, when I was first introduced to the Kansas City jazz scene, I kept hearing about some of its most influential players: George Salisbury, Milt Abel and Bettye Miller, Frank Smith, Arch Martin, Herman Bell, John Elliott... and cornetist, Gary Sivils. Gary and I eventually met -- I think it was when we were both judges at a high school big band festival -- and our friendship has grown though the years, mainly due to my association with Pat and Mike Metheny. In case you are not familiar with Gary Sivils' playing, or, perhaps, have been taking him for granted all these years, You Must Believe In Music will serve as a real eye and ear opener. Here is a truly remarkable and sensitive artist... and one who has been right under our noses all along! Gary is a warm, lyrical player who has clearly been influenced by early Miles Davis. And as was the case with Miles, Gary Sivils is a superb storyteller, producing notes and phrases that are perfect for the mood he sets. The rhythm section for this recording features three more exceptional artists from the Kansas City area in Paul Smith (piano), Bob Branstetter (bass), and Todd Strait (drums). And as an added bonus, Gary's long-time friend and soulmate, Mike Metheny, is heard on EVI (electronic valve instrument) on two numbers, "Manha de Carnaval" and a Metheny original, "Blue Garu." Gary Sivils has put together a varied and interesting program that ranges from Michel Legrand ("You Must Believe in Spring"), through Don Raye and Gene de Paul ("You Don't Know What Love Is"), to Luis Bonfa ("Manha de Carnaval"). There is even a lovely version of the Harold Adamson/Jimmy McHugh mid-'50s pop hit, "Too Young To Go Steady." Gary's warm and intimate playing, a top-notch rhythm section, and the addition of Mike Metheny on two cuts make this an outstanding release to be added to the ever-increasing body of recorded material from the Kansas City jazz community. Again, this CD is a winner in every sense of the word, and it most certainly belongs in every jazz lover's collection. File it under "Outstanding." -- Dick Wright (Gary Sivils will hold a CD release party on Sunday, Oct. 27, at The Club at Plaza III, 7:00 to 10:00 p.m. Ask for this album at area retail outlets, or call 715-693-2230 to order. -- Ed.) Doug Talley Quartet TOWN TOPIC Serpentine CD-069601 Personnel: Doug Talley, tenor & soprano saxophone, flute; Wayne Hawkins, piano; Tim Brewer, acoustic bass; Keith Kavanaugh, drums, vibraphone. Tracks: Western Exposure, Carolyn, Town Topic, Above Time, Serpentine Waltz, Grandpeople, The Challenge, Blues for Erl King, Cherokee. Recorded June 24-27, 29, 1996 at BCR Audio Productions, Kansas City, MO; Bill Crain, engineer. Kansas City has provided an environment that has spawned more than its share of fine tenor saxophone players. And it would appear as though these hallowed fields are still fertile, as evidenced by the emergence of the Doug Talley Quartet. With Talley's sax up front, and his musical leadership behind the scenes as producer and composer, this quartet produces a nice, tightly woven music made for listening. Things get started with a Talley tune called "Western Exposure," a swing composition to warm up the bodies and the minds. Switch gears for a gentle 6/8 groove ballad on Tim Brewer's ode to his wife, "Carolyn." Up tempo again for an entertaining Latin feel to the title tune, "Town Topic." This beginning firmly establishes group's sound as one of cool restraint and solid playing from a fully integrated and intimate unit. "Above Time" returns the band to ballad mode. Talley delivers the tune with rich smoothness only to be followed by a lovely Wayne Hawkins solo. Winding our way on, we come upon Talley's peppy "Serpentine Waltz," with a twisty little line of a melody jumping here and there. Wayne Hawkins demonstrates his writing skills with a heartfelt "Grandpeople," in honor of his grandparents. Talley changes the mix a little by picking up the soprano sax on this tune as Tim Brewer leads the way on a nice opening solo and creamy smooth transition back to the top in a short duet into Talley's solo. "The Challenge" returns to the cool swing of Talley's tenor. And on "Blues for Erl King," Talley demonstrates his counterpoint skills (while borrowing a little from Franz Schubert) in a piece reminiscent of the Modern Jazz Quartet's forays into Bach fugues. Finally, we close with Keith Kavanaugh's arrangement of Ray Noble's "Cherokee." This track let's Talley and Hawkins cut loose on a pair of blistering solos all pressed along by Kavanaugh. All in all, a very entertaining and engaging CD. -- William Buchanan III (Doug Talley has a CD release party set for Wednesday, Oct. 9, at Jardine's, 8:00 p.m. to midnight. Look for this new release at Music Exchange and other area outlets, or call 631-6704 to order. -- Ed.) Janice Borla LUNAR OCTAVE DMP CD-3004 Personnel: Janice Borla, voice; Dan Haerle, piano; Bob Bowman, bass; Jack Mouse, drums; Fareed Haque, acoustic & electric guitar (trks 1, 2, 5, 7, 10); Art Davis, trumpet & flugelhorn (trks 4, 5, 8, 9); Brad Stirtz, vibes (trks 2, 5, 6, 7, 10) Tracks: Five, Cafe, Very Early, Naima, Beauty and the Beast, Round Midnight, Arcade, Equinox, Bird Alone, Bridges Recorded January 1995 at Steve Yates Recording, Morton Grove, IL; Steve Yates, engineer. If you enjoy jazz vocalists who use the human voice as an "instrument," then Janice Borla's Lunar Octave is for you. Borla hails from the Chicago area where, for the past eleven years, her Janice Borla Vocal Jazz Camp (at Illinois Benedictine College in Lisle) has drawn aspiring jazz vocalists from around the country. For Borla, teaching and performing go hand-in-hand. With an emphasis on handing something down. "Nobody taught me how to do these things," Borla says, "but if I have a mission in life, it's to make singers aware that they need to learn how music works, to learn about the artists who've preceded them, and to learn about music theory. It's no longer good enough just to have a nice voice." Janice Borla's "instrumental" approach to singing is quite evident on this CD. All vocal solos are rendered as instrumental expressions. That, mixed with her attraction to angular melodies, an interest in odd rhythms and meters, and a skill for recruiting outstanding accompaniment add up to a very enjoyable recording. What is also quite enjoyable about this album is the playing of Kansas City's own Bob Bowman. On John Coltrane's "Equinox," the bassist opens the chart and sets the mood. On Wayne Shorter's "Beauty and the Beast," and on "Bridges" by Milton Nascimento, Bob is in equally good form (the latter featuring the acoustic guitar work of Fareed Haque). It's great to hear Bob Bowman in a setting outside of Kansas City and in another musical context. (...And to think: he's one of our "local musicians.") The cuts on this CD cover the jazz gamut. There are three of Brazilian heritage, two by John Coltrane, two by Bill Evans, and one each by Thelonious Monk, Abbey Lincoln and John Abercrombie. Of the bunch, only Evans' "Five" doesn't quite work for me. With Borla's original lyrics, it just doesn't seem to fit the rest of the session. Still, Lunar Octave is a moody, mystical, magical recording that showcases the horn-like vocal skills of a teacher/recording artist on a mission. It is a definite must hear/must have CD. -- Bill O'Connor RETURN TO OCTOBER/NOVEMBER 1996 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.