JAM Magazine: February/March 1997 Issue: For the Record

Everette DeVan
EAST OF THE SUN
ssSlick Productions - ED2

Personnel: Everette DeVan, Hammond B-3 organ, Korg DW-8000 bass; Marvin Jones, drums; Ervin Brown, guitar; Gerald Dunn, alto and tenor sax; Millie Edwards, vocals; "Wrinkles" DeVan, howls and barks.

Tracks: Just Crazy, Voodoo Village, East of the Sun, Didn't We, Crisco,
Lou's Good Dues Blues, What a Difference a Day Makes, Ceora, Just in
Time, Lost Love, Blues For Wrinkles.

Recorded August 26, 27 and September 4, 1996 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

The Everette DeVan sound is a familiar one to Kansas City jazz fans. And it's always exciting. East of the Sun is loaded with the good sounds DeVan's many followers are accustomed to hearing -- plus a few new twists, turns, and..."Wrinkles." Here are the highlights.

"Just Crazy" is a Marvin Jones medium-tempo original that is the perfect introduction for this 66 minute program. Everette's intro sets the stage for Ervin Brown's opening statement while Jones lays down a propeller-like bed.

"East of the Sun" -- Brown's tasty opening on the album's title track exhibits his gift of guitar. And Gerald Dunn's soft sax work reveals an insight into the meaning of the song. DeVan drives it all to the finish with dexterous B-3 gymnastics.

"Didn't We" -- Enter vocalist Millie Edwards a la Nina Simone. Her full-bodied voice along with high-octane additives from DeVan and Dunn make this a winning cut.

"Crisco" -- This fiery DeVan original, complete with hot solos from DeVan and Brown, delivers just what the title implies. It gets my nod for most exciting track on the album.

"Lou's Good Dues Blues" -- The B-3 blues doesn't get any better than this.

"Ceora" -- On this Lee Morgan original you'll hear why it's going to be hard to keep saxophonist Gerald Dunn in Kansas City.

"Just in Time" -- A classy, stylish Millie Edwards at her album-best.

"Lost Love" -- Look out George Benson! This Ervin Brown original is soulful and radiant.

"Blues for Wrinkles" -- From Everette's liner notes: "A very special thank you to Miss Wrinkles DeVan, my nine-year-old blind Basset Hound, who loves to howl and sing when I'm playing the blues." (But is she in the union?)

There are also liner notes on East of the Sun by Pete Fallico of KUSP-FM in Santa Cruz, CA who has been doing a weekly jazz show (with an emphasis on organists) since 1975. Fallico ranks Everette DeVan among the very best.

Everette DeVan has a reputation for giving "best bang for the buck" performances. After hearing this recording, you will understand why.

-- Dean Hampton

Max Groove
MAXED OUT
Jazztown Records JRCD-1108

Personnel: Max Groove, acoustic piano, keyboards, Ensoniq ASR 10 programming; Chris Mostert, Kim Park, Todd Wilkinson, Gerald Albright, Carl Bender, Todd Walker, saxophones; Sanjay Divecha, Jimmy Dykes, Mark Gilmore, guitar; Andre Manga, James Jeffley, Kenny Hudson, bass; Paul Tchounga, Daryn Suttles, drums; Paul Tchounga, Robert Owens, Dave Jenkins, percussion; Pat Morrissey, Stan Kessler, trumpet; Michael O'Shiver, harp; Fred Raulston, vibes; Robert Owens, vocals; Lisa Collins, background vocals; and others.

Tracks: It's Time, Gentle Persuasion, My Girl, Cozumel, Green Eyes at Nine, City ZZZ, Maxed Out, After The Yearning's Gone, The Party's Over, Just Maxed

Recorded at Woodland Music Studios, Olathe, KS; Valley Center Studio, Van Nuys, CA; mixed at Studio Sound Recorders, Hollywood, CA; Dave Jenkins, Dekota, Jay Bowman, engineers.

The market for uncomplicated melodies and a "feel good" beat is growing rapidly. Mix a saxophone lead with dreamy piano and a strong bass line and you have the outline for much of today's contemporary jazz sound.

With Maxed Out, Kansas City-based keyboardist Max Groove has produced yet another signature release, his eighth to date, for connoisseurs of the "smooth jazz" format. The vibe here is cool, collected, clean and confident. There are nine originals and one cover ("My Girl"), along with a guest appearance by saxophonist Gerald Albright whose contribution, while noteworthy, does not overshadow support from local jazz artists Kim Park, Stan Kessler and Pat Morrissey.

"I've always wanted to have the band that puts Kansas City on the map for its new jazz sounds," says Max. "That's always been a goal of mine."

By adding some of Kansas City's finest jazz musicians to the patented Max Groove sound (also onboard are bassist James Jeffley, and saxophonists Todd Wilkinson and Carl Bender), Max has taken another positive step in that direction.

-- J.P. Makus

Angela Hagenbach
FEEL THE MAGIC
ARCD-3756

Personnel: Angela Hagenbach, vocals and percussion; Russ Long, piano; Joe Cartwright, piano and synths; Danny Embrey, Rod Fleeman, guitar; Gerald Spaits, Greg Whitfield, James Jeffley, bass; Ray DeMarchi, Doug Auwarter, drums; Gary Helm, congas and percussion; Stan Kessler, trumpet; Jim Cann, Early Bragg, trombone; Todd Wilkinson, saxophone

Tracks: Love For Sale, Peel Me A Grape, Obsession, Nice &
Easy Does It, Feel The Magic, Retribution, So Many Stars,
Don't Get Around Much Anymore, Retrato Em Branco E Preto, Easy
To Love, Something Cool, Baby, Baby, All The Time

Recorded June 10-12, 1996, at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Over the course of Angela Hagenbach's career the comparisons to Sarah Vaughan will be many. First, there's the incredible range, two and one half octaves, from soprano down to baritone. (I don't know about mano-a-mano, but she could go a few rounds basso profundo-a-basso profundo with Kevin Mahogany.) And, like Ms. Vaughan, Ms. Hagenbach has surely been more influenced by instrumentalists than by other vocalists. While Sarah perhaps was tuning in to horn players, however, I suspect Angela was focusing on the rhythm section. Lester Young recommended that instrumentalists learn a song's lyrics. The reverse is equally important: A vocalist should log some rhythm time. Feel The Magic is proof that Angela Hagenbach has done that, and with remarkable effect. This CD is beyond a head bobber and a toe tapper... It is a full-blown Seat Squirmer. If you can sit still through this recording, don't bother calling the doctor. You are already dead.

Angela Hagenbach has a voice like a down duvet, a rich warm blanket you want to snuggle under. One of the truly interesting aspects of her style is the way she applies her rhythm to that sultry smoothness, like adding a hundred pleats to a sensuous swatch of soft wool to make a kilt. It is a unique and beautiful product.

Feel The Magic contains a wonderfully varied selection of songs, clearly all tunes that Ms. Hagenbach enjoys. Cole Porter's "Easy To Love" and "Love For Sale," and Duke Ellington's "Don't Get Around Much Anymore" are popular classics, rendered with swing, sophistication and style. "Feel The Magic," co-written by Ms. Hagenbach and Randy Mason, has the heartbeat of a Latin lover. The eerie "Retribution," by Abbey Lincoln and former Sun Ra trombonist Julian Priester, was probably written during a turbulent era over 30 years ago, but remains as modern as tomorrow. "Nice & Easy Does It" has a breezy, seductive beat, with a beautifully understated Basie-like accompaniment by pianist Joe Cartwright, guitarist Danny Embrey, and bassist Gerald Spaits. (If I confessed that this was my favorite tune on the album, I would also need to explain that I may be the only person in the world whose favorite song on Michael Jackson's Thriller album was the pop ballad "The Girl Is Mine," sung with Paul McCartney.) "Peel Me A Grape" by Dave Frishberg and "Baby, Baby, All The Time" by Bobby Troup are sexy, streetwise and sassy.

An additional aspect of Ms. Hagenbach's talent is her impeccable taste in musicians. Everyone on this record is superb by any standard and many of the players, including Joe Cartwright, Danny Embrey, and Rod Fleeman, are world class. It may be Kansas City's secret for now, but it won't be for long: Feel The Magic is a major and deserved step toward far wider recognition for Angela Hagenbach and her colleagues.

-- Gregg Ottinger

Jim Widner Big Band
BODY AND SOUL
Chase Music Group - CMD 8048

Personnel: Jim Widner, leader, bass; Kim Richmond, Kim Park, alto sax , flute; Bill Perkins, Rick DiMuzio, tenor sax; Jon Stone, bari sax; John Harner, Mike Vax, Clay Jenkins, Dave Scott, Rick Stitzel, Tijuana Julian, trumpet; Conrad Herwig, Bob Burgess, Ron Anson, trombone; John Wasson. bass trombone, mellophone; Ray Kennedy, piano; Sean Hennessy, guitar; Gary Hobbs, drums; Kris Berg, bass (trks 5, 6, 7)

Tracks: Lucy's Revenge, Yours is My Heart Alone, Embraceable You, Body and Soul, Continued Obscurity, You've Changed, Overdrive, Slim Jim, Theme from Ice Castles, Caravan

Recorded at Ozark Sound Studio, Springfield, MO

This is a band of professionals. From the first note to the last, it swings, it drives, and it fills the room with energy. Part of this is due to the personal involvement of the musicians in the music itself: eight of the 10 tracks were either written and/or arranged by one of the members of the band. Part of it is due to a great rhythm section. Part of it is due to the great soloists. Part of it is due to the presence of two great icons of jazz, Bill Perkins and Bob Burgess. And I guess the most important part of it is just plain musical magic.

Body and Soul begins with "Lucy's Revenge," a waltz written by Kim Park, featuring lyrical solos by Park on flute and Dave Scott on trumpet. Kansas City jazz fans have come to expect nothing but the best from Park, and he does not disappoint.

"Yours Is My Heart Alone" is an old standard and one of the two tunes neither written nor arranged by a member of the band. This up-tempo feature for pianist Ray Kennedy includes some of the best improvisation on the album. His musicality and technical competence are unsurpassed.

Another standard, "Embraceable You" was arranged by Rick Stitzel to showcase Bill Perkins on tenor, but at the last minute was "re-arranged" to also feature Bob Burgess on trombone. Both Perkins and Burgess are wonderful players who have been delighting jazz fans for over 100 years between them. Though this arrangement begins as the lovely ballad most of you remember, it does not remain at that tempo for long.

"Body and Soul" is yet another old standard, but this arrangement by Conrad Herwig is far from old or standard -- not at a tempo in excess of 200 beats per minute. Most of this tune is devoted to the excellent solo work of Herwig on trombone, Clay Jenkins on trumpet, and Gary Hobbs on drums.

"Continued Obscurity" was written and arranged by Kim Richmond. It is the most unusual piece on the CD, giving one an image of an ancient oriental castle in which sits someone like Genghis Khan. It features fine solos by Rick DiMuzio on tenor and Dave Scott on trumpet.

"You've Changed" is another Kim Richmond arrangement, this one featuring his lyrical improvisational talents, framed by the lush instrumental background of the whole band on this beautiful ballad.

Kris Berg's composition and arrangement of "Overdrive" brings the tempo back up. It includes a lot of section work so the whole band can work out, a fiery tenor improvisation by Rick DiMuzio, and solos by Clay Jenkins on trumpet and Gary Hobbs on drums.

"Slim Jim" is a buoyant little swinger written by Ray Kennedy in honor of Jim Widner's weight loss. It includes solos by Kim Park on alto, Clay Jenkins on trumpet, and Widner on bass.

"Theme From Ice Castles" is the other tune neither written nor arranged by a member of the band. It is a solo vehicle for lead trumpeter John Harner, who does an exceptional job of exploiting both the power (B above high C, I believe) and beauty of the trumpet.

"Caravan," the final tune on the CD, was arranged by John Wasson. It features great section work, and excellent solos by Conrad Herwig on trombone and Gary Hobbs on drums.

If you like big band jazz, you will love this CD. It is 56 minutes of first rate full ensemble sounds and excellent improvisations.

-- Jerry Landsbaum

(This CD at Music Exchange and Streetside Records; or call Chase Music Group 1-800-724-2730. The DeVan, Hagenbach and Max Groove CDs are now available at area retail outlets.-- Ed.)

RETURN TO FEBRUARY/MARCH 1997 MAIN INDEX

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






	Search our site:		Everette DeVan EAST OF THE SUN ssSlick Productions - ED2 Personnel: Everette DeVan, Hammond B-3 organ, Korg DW-8000 bass; Marvin Jones, drums; Ervin Brown, guitar; Gerald Dunn, alto and tenor sax; Millie Edwards, vocals; "Wrinkles" DeVan, howls and barks. Tracks: Just Crazy, Voodoo Village, East of the Sun, Didn't We, Crisco, Lou's Good Dues Blues, What a Difference a Day Makes, Ceora, Just in Time, Lost Love, Blues For Wrinkles. Recorded August 26, 27 and September 4, 1996 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. The Everette DeVan sound is a familiar one to Kansas City jazz fans. And it's always exciting. East of the Sun is loaded with the good sounds DeVan's many followers are accustomed to hearing -- plus a few new twists, turns, and..."Wrinkles." Here are the highlights. "Just Crazy" is a Marvin Jones medium-tempo original that is the perfect introduction for this 66 minute program. Everette's intro sets the stage for Ervin Brown's opening statement while Jones lays down a propeller-like bed. "East of the Sun" -- Brown's tasty opening on the album's title track exhibits his gift of guitar. And Gerald Dunn's soft sax work reveals an insight into the meaning of the song. DeVan drives it all to the finish with dexterous B-3 gymnastics. "Didn't We" -- Enter vocalist Millie Edwards a la Nina Simone. Her full-bodied voice along with high-octane additives from DeVan and Dunn make this a winning cut. "Crisco" -- This fiery DeVan original, complete with hot solos from DeVan and Brown, delivers just what the title implies. It gets my nod for most exciting track on the album. "Lou's Good Dues Blues" -- The B-3 blues doesn't get any better than this. "Ceora" -- On this Lee Morgan original you'll hear why it's going to be hard to keep saxophonist Gerald Dunn in Kansas City. "Just in Time" -- A classy, stylish Millie Edwards at her album-best. "Lost Love" -- Look out George Benson! This Ervin Brown original is soulful and radiant. "Blues for Wrinkles" -- From Everette's liner notes: "A very special thank you to Miss Wrinkles DeVan, my nine-year-old blind Basset Hound, who loves to howl and sing when I'm playing the blues." (But is she in the union?) There are also liner notes on East of the Sun by Pete Fallico of KUSP-FM in Santa Cruz, CA who has been doing a weekly jazz show (with an emphasis on organists) since 1975. Fallico ranks Everette DeVan among the very best. Everette DeVan has a reputation for giving "best bang for the buck" performances. After hearing this recording, you will understand why. -- Dean Hampton Max Groove MAXED OUT Jazztown Records JRCD-1108 Personnel: Max Groove, acoustic piano, keyboards, Ensoniq ASR 10 programming; Chris Mostert, Kim Park, Todd Wilkinson, Gerald Albright, Carl Bender, Todd Walker, saxophones; Sanjay Divecha, Jimmy Dykes, Mark Gilmore, guitar; Andre Manga, James Jeffley, Kenny Hudson, bass; Paul Tchounga, Daryn Suttles, drums; Paul Tchounga, Robert Owens, Dave Jenkins, percussion; Pat Morrissey, Stan Kessler, trumpet; Michael O'Shiver, harp; Fred Raulston, vibes; Robert Owens, vocals; Lisa Collins, background vocals; and others. Tracks: It's Time, Gentle Persuasion, My Girl, Cozumel, Green Eyes at Nine, City ZZZ, Maxed Out, After The Yearning's Gone, The Party's Over, Just Maxed Recorded at Woodland Music Studios, Olathe, KS; Valley Center Studio, Van Nuys, CA; mixed at Studio Sound Recorders, Hollywood, CA; Dave Jenkins, Dekota, Jay Bowman, engineers. The market for uncomplicated melodies and a "feel good" beat is growing rapidly. Mix a saxophone lead with dreamy piano and a strong bass line and you have the outline for much of today's contemporary jazz sound. With Maxed Out, Kansas City-based keyboardist Max Groove has produced yet another signature release, his eighth to date, for connoisseurs of the "smooth jazz" format. The vibe here is cool, collected, clean and confident. There are nine originals and one cover ("My Girl"), along with a guest appearance by saxophonist Gerald Albright whose contribution, while noteworthy, does not overshadow support from local jazz artists Kim Park, Stan Kessler and Pat Morrissey. "I've always wanted to have the band that puts Kansas City on the map for its new jazz sounds," says Max. "That's always been a goal of mine." By adding some of Kansas City's finest jazz musicians to the patented Max Groove sound (also onboard are bassist James Jeffley, and saxophonists Todd Wilkinson and Carl Bender), Max has taken another positive step in that direction. -- J.P. Makus Angela Hagenbach FEEL THE MAGIC ARCD-3756 Personnel: Angela Hagenbach, vocals and percussion; Russ Long, piano; Joe Cartwright, piano and synths; Danny Embrey, Rod Fleeman, guitar; Gerald Spaits, Greg Whitfield, James Jeffley, bass; Ray DeMarchi, Doug Auwarter, drums; Gary Helm, congas and percussion; Stan Kessler, trumpet; Jim Cann, Early Bragg, trombone; Todd Wilkinson, saxophone Tracks: Love For Sale, Peel Me A Grape, Obsession, Nice & Easy Does It, Feel The Magic, Retribution, So Many Stars, Don't Get Around Much Anymore, Retrato Em Branco E Preto, Easy To Love, Something Cool, Baby, Baby, All The Time Recorded June 10-12, 1996, at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. Over the course of Angela Hagenbach's career the comparisons to Sarah Vaughan will be many. First, there's the incredible range, two and one half octaves, from soprano down to baritone. (I don't know about mano-a-mano, but she could go a few rounds basso profundo-a-basso profundo with Kevin Mahogany.) And, like Ms. Vaughan, Ms. Hagenbach has surely been more influenced by instrumentalists than by other vocalists. While Sarah perhaps was tuning in to horn players, however, I suspect Angela was focusing on the rhythm section. Lester Young recommended that instrumentalists learn a song's lyrics. The reverse is equally important: A vocalist should log some rhythm time. Feel The Magic is proof that Angela Hagenbach has done that, and with remarkable effect. This CD is beyond a head bobber and a toe tapper... It is a full-blown Seat Squirmer. If you can sit still through this recording, don't bother calling the doctor. You are already dead. Angela Hagenbach has a voice like a down duvet, a rich warm blanket you want to snuggle under. One of the truly interesting aspects of her style is the way she applies her rhythm to that sultry smoothness, like adding a hundred pleats to a sensuous swatch of soft wool to make a kilt. It is a unique and beautiful product. Feel The Magic contains a wonderfully varied selection of songs, clearly all tunes that Ms. Hagenbach enjoys. Cole Porter's "Easy To Love" and "Love For Sale," and Duke Ellington's "Don't Get Around Much Anymore" are popular classics, rendered with swing, sophistication and style. "Feel The Magic," co-written by Ms. Hagenbach and Randy Mason, has the heartbeat of a Latin lover. The eerie "Retribution," by Abbey Lincoln and former Sun Ra trombonist Julian Priester, was probably written during a turbulent era over 30 years ago, but remains as modern as tomorrow. "Nice & Easy Does It" has a breezy, seductive beat, with a beautifully understated Basie-like accompaniment by pianist Joe Cartwright, guitarist Danny Embrey, and bassist Gerald Spaits. (If I confessed that this was my favorite tune on the album, I would also need to explain that I may be the only person in the world whose favorite song on Michael Jackson's Thriller album was the pop ballad "The Girl Is Mine," sung with Paul McCartney.) "Peel Me A Grape" by Dave Frishberg and "Baby, Baby, All The Time" by Bobby Troup are sexy, streetwise and sassy. An additional aspect of Ms. Hagenbach's talent is her impeccable taste in musicians. Everyone on this record is superb by any standard and many of the players, including Joe Cartwright, Danny Embrey, and Rod Fleeman, are world class. It may be Kansas City's secret for now, but it won't be for long: Feel The Magic is a major and deserved step toward far wider recognition for Angela Hagenbach and her colleagues. -- Gregg Ottinger Jim Widner Big Band BODY AND SOUL Chase Music Group - CMD 8048 Personnel: Jim Widner, leader, bass; Kim Richmond, Kim Park, alto sax , flute; Bill Perkins, Rick DiMuzio, tenor sax; Jon Stone, bari sax; John Harner, Mike Vax, Clay Jenkins, Dave Scott, Rick Stitzel, Tijuana Julian, trumpet; Conrad Herwig, Bob Burgess, Ron Anson, trombone; John Wasson. bass trombone, mellophone; Ray Kennedy, piano; Sean Hennessy, guitar; Gary Hobbs, drums; Kris Berg, bass (trks 5, 6, 7) Tracks: Lucy's Revenge, Yours is My Heart Alone, Embraceable You, Body and Soul, Continued Obscurity, You've Changed, Overdrive, Slim Jim, Theme from Ice Castles, Caravan Recorded at Ozark Sound Studio, Springfield, MO This is a band of professionals. From the first note to the last, it swings, it drives, and it fills the room with energy. Part of this is due to the personal involvement of the musicians in the music itself: eight of the 10 tracks were either written and/or arranged by one of the members of the band. Part of it is due to a great rhythm section. Part of it is due to the great soloists. Part of it is due to the presence of two great icons of jazz, Bill Perkins and Bob Burgess. And I guess the most important part of it is just plain musical magic. Body and Soul begins with "Lucy's Revenge," a waltz written by Kim Park, featuring lyrical solos by Park on flute and Dave Scott on trumpet. Kansas City jazz fans have come to expect nothing but the best from Park, and he does not disappoint. "Yours Is My Heart Alone" is an old standard and one of the two tunes neither written nor arranged by a member of the band. This up-tempo feature for pianist Ray Kennedy includes some of the best improvisation on the album. His musicality and technical competence are unsurpassed. Another standard, "Embraceable You" was arranged by Rick Stitzel to showcase Bill Perkins on tenor, but at the last minute was "re-arranged" to also feature Bob Burgess on trombone. Both Perkins and Burgess are wonderful players who have been delighting jazz fans for over 100 years between them. Though this arrangement begins as the lovely ballad most of you remember, it does not remain at that tempo for long. "Body and Soul" is yet another old standard, but this arrangement by Conrad Herwig is far from old or standard -- not at a tempo in excess of 200 beats per minute. Most of this tune is devoted to the excellent solo work of Herwig on trombone, Clay Jenkins on trumpet, and Gary Hobbs on drums. "Continued Obscurity" was written and arranged by Kim Richmond. It is the most unusual piece on the CD, giving one an image of an ancient oriental castle in which sits someone like Genghis Khan. It features fine solos by Rick DiMuzio on tenor and Dave Scott on trumpet. "You've Changed" is another Kim Richmond arrangement, this one featuring his lyrical improvisational talents, framed by the lush instrumental background of the whole band on this beautiful ballad. Kris Berg's composition and arrangement of "Overdrive" brings the tempo back up. It includes a lot of section work so the whole band can work out, a fiery tenor improvisation by Rick DiMuzio, and solos by Clay Jenkins on trumpet and Gary Hobbs on drums. "Slim Jim" is a buoyant little swinger written by Ray Kennedy in honor of Jim Widner's weight loss. It includes solos by Kim Park on alto, Clay Jenkins on trumpet, and Widner on bass. "Theme From Ice Castles" is the other tune neither written nor arranged by a member of the band. It is a solo vehicle for lead trumpeter John Harner, who does an exceptional job of exploiting both the power (B above high C, I believe) and beauty of the trumpet. "Caravan," the final tune on the CD, was arranged by John Wasson. It features great section work, and excellent solos by Conrad Herwig on trombone and Gary Hobbs on drums. If you like big band jazz, you will love this CD. It is 56 minutes of first rate full ensemble sounds and excellent improvisations. -- Jerry Landsbaum (This CD at Music Exchange and Streetside Records; or call Chase Music Group 1-800-724-2730. The DeVan, Hagenbach and Max Groove CDs are now available at area retail outlets.-- Ed.) RETURN TO FEBRUARY/MARCH 1997 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.