JAM Magazine: August/September 1998 Issue: For the Record

Artt Frank
WALTZ FOR SHARON STONE
cdmja 512

Personnel: Artt Frank, drums; Rich Perry, tenor sax; Ali Ryerson, flute; Rudi Berger, violin; Matt Criscuolo, alto sax; Nik Bariluk, piano; Phil Bowler, bass; Earla Porch Frank, vocals

Tracks: A Few Bucks Ahead, Winter in July, Waltz for Sharon Stone, Otherside, Song for My Mother, Love and Spaghetti, Aftershock, Don't Cry When You Lose

Recorded April 1997 at Ambiance Studio, Stamford, CT; Alec Head, engineer.

If you enjoy the "West Coast sound" as I do (I even have an 8x10 of Shorty Rogers in my study), you will enjoy Artt Frank's Waltz For Sharon Stone.

Artt Frank worked with Chet Baker in the 1970s, and the influence is prominent on this CD. One notable difference, though, is that one of the "horns" in this ensemble is a violin, not a common sound in West Coast Jazz.

Though Artt Frank does not read music, he has composed six of the eight songs herein. The two remaining were written by Rudi Berger and Nik Bariluk respectively. Bariluk also handled most of the album's arrangements.

The first track, "A Few Bucks Ahead," sets the scene nicely. While the swinging ensemble chorus has the aforementioned West Coast sound, it also has a different ingredient in that the violin doubles the melody with the piano. After the opening chorus, solos are taken by Rich Perry (tenor), Matt Criscuolo (alto) and Phil Bowler (bass). They trade fours, bringing in Nik Bariluk on piano and Frank on drums.

"Winter in July" is a relaxed Latin ballad beginning with alto lead, then switching to piano and back again. The background is pretty and lush. The rhythm section provides a gently swinging framework for the solos.

The title cut, "Waltz for Sharon Stone," is next. It too is slightly laid back, and has a light, lyrical melody written by Artt Frank. The supporting chord structure written by Charles Loos is a good fit.

"Otherside" is by Rudi Berger and it features him on violin. It has a minor, modal feel and a rather dark quality. Phil Bowler bows a very creative bass solo.

"Song for My Mother" is a minor key ballad played plaintively first by Rudi Berger, then Rich Perry, then Matt Criscuolo. And Ali Ryerson takes full advantage of her chance to solo on flute. I would have liked to have heard more of her on this CD.

The tempo picks back up on the next track, a waltz called "Love and Spaghetti." Again, Rudi Berger states the melody first on violin. "Aftershock," a Nik Bariluk composition, puts the focus on the rhythm section.

The final tune, "Don't Cry When You Lose," is a ballad featuring Earla Porch Frank, a singer here in Kansas City. She is the co-composer of this song (with Frank) as well as Artt's former wife.

This is an enjoyable CD with many memorable melodies and excellent improvisations. Though all of the players are fine soloists, I particularly enjoyed the work of pianist Bariluk, saxophonist Perry and bassist Bowler.

And why a "Waltz for Sharon Stone," you may be wondering. When Chet Baker died unexpectedly in 1988, Artt Frank stopped playing for a number of years. Baker's death was a devastating personal loss. When he started up again, Artt recorded a tribute to Chet titled Looking For The Light. Then, through a magazine article, Frank discovered that Stone, the actress of "Basic Instinct" fame, liked listening to Chet Baker's music, so he sent her a copy of the new CD. They have corresponded with each other ever since.

This, then, is Artt Frank's musical tribute that kindred spirit.

-- Jerry Landsbaum

Michael Melito Quintet
MY CONCEPTION
MHR Records CD-09

Personnel: Michael Melito, drums; Paul Hofmann, piano; Paul Gill, bass; Joe Magnarelli, trumpet/flugelhorn; John Sneider, trumpet; Ralph Lalama, Grant Stewart, tenor saxophone

Tracks: Like Sonny C., Like Someone in Love, Asiatic Raes, My Conception, What's New, Marie Antoinette, Marilyn's Dilemma, End of a Love Affair, Brother 'Ball

Recorded August 11-12, November 19, 1997 at Acoustic Recording, Brooklyn, NY; Michael Brorby, engineer.

Michael Melito's My Conception is a straight-ahead/hard bop lover's delight. It is also a textbook example of what is referred to in the trade as TDWR -- Talent Deserving of Wider Recognition.

A unifying factor here is pianist and Rochester, NY resident Paul Hofmann on whose MHR label this CD has been released. Paul is in the role of solid sideman here, supplying tasty comping and fluid solos, but Kansas City readers/listeners will also know him from his three year stay here a while back as well as those MHR CDs he has released as a leader featuring various Kansas City players.

Like Hofmann, fellow Rochesterite Melito is very active in the upstate New York jazz scene, having appeared with everyone from hornmen Chuck Mangione and James Moody to guitarists Gene Bertoncini and Joshua Breakstone. Heavily into the jazz education end of things, Melito keeps a full schedule of private students and appearances in the schools. And on this CD he reminds us that a drummer can effectively front a band simply with sturdy time, inventive support and an occasional, but well placed solo.

Bassist Paul Gill is another integral part of this CD's excellent rhythm section, bringing superb time and nice soloing to the album. He tours regularly with Jon Hendricks and has also worked with Stanley Turrentine, Gary Bartz, Benny Golson and Tom Harrell. Gill can be heard on the recent Live at Small's (TCB Records) by trumpeter Richie Vitale.

Also on board are two terrific trumpeters and two outstanding tenors.

Trumpeter/flugelhornist Joe Magnarelli is based in New York City, has released two solo albums on Criss Cross and has played with Lionel Hampton, Toshiko Akiyoshi and Brother Jack McDuff. His playing on this project is consistently strong.

As is the work of trumpetmate John Sneider, a former student at Eastman. Sneider too is currently gigging in New York and is also a very active writer and arranger. As can be the case with trumpeters, there is no competition here between Magnarelli and Sneider; just the kind of linear hard bop spontaneity from each that's a joy to listen to.

Tenorman Ralph Lalama is a jazz (and NYC) veteran having worked and/or recorded with Barry Harris, Buddy Rich, Woody Herman, Joe Morello and Tom Harrell. He also has released several solo albums (four alone on the Criss Cross label) and brings to this music the seasoned expertise of someone who's paid tons of dues.

Saxophonist Grant Stewart has released two solo albums, also on Criss Cross (one, Downtown Sounds, features pianist Brad Mehldau whose recent KC appearance created quite a positive stir). A former student of Barry Harris, Pat LaBarbara and Donald Byrd, Stewart brings a fresh, assertive voice to these tunes, especially on Wayne Shorter's "Marie Antoinette" and the Bob Haggart classic, "What's New," done here as a bossa.

Which leads to a snapshot of this CD's song list.

In the spirit of a good, old-fashioned hard bop recording date, the musical fare on My Conception consists of reliables like "End of a Love Affair" and "Like Someone in Love" to more esoteric compositions by the likes of Kenny Dorham ("Asiatic Raes") and Billy Higgins ("Marilyn's Dilemma"), all with leader Melito adding the kind of ensemble backbone that's needed to give this music punch, true grit and musical authenticity.

My Conception is an excellent collection of tracks played by musicians with strong New York ties and firm hard bop roots. It is the kind of music that any jazz aficionado will be able to sink their teeth into, and the kind of music that keeps a tradition very much alive. It is highly recommended.

-- Mike Metheny

Mike Ning/Sherry Jones
I REMEMBER MR. EVANS
Ning Dynasty 005

Personnel: Mike Ning, acoustic piano, Roland ep7; Sherry Jones, vocals; Bob Bowman, bass; Tommy Ruskin, drums; Kim Park, alto saxophone ("Waltz for Debbie," "Goodbye Mr. Evans"); Mike Metheny, flugelhorn ("Blue in Green")

Tracks: I Remember Bill, Blue in Green, Very Early, Autumn Leaves, Turn Out the Stars, How My Heart Sings, My Foolish Heart/Young and Foolish, Waltz for Debby, Two Lonely People, It's Love - It's Christmas, Goodbye Mr. Evans

Recorded March 4, 1996 and April 21, 1998 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

The year was 1962. And a young artist named Mike Ning decided to take a break from showing his portfolio around New York City. Little did he know that he was about to discover piano legend, Bill Evans.

It was in the two dollar bin no less, the Evans' album Ning would find in a local record store. And it was that recording (Portrait In Jazz) that would completely turn Mike around. He's been in love with the music of Bill Evans ever since.

This long-awaited tribute to Bill Evans by Mike Ning, a Kansas City jazz veteran since the mid-1960s, is a lovely acknowledgment that comes from the heart. From the first song, "I Remember Bill" (written by Don Sebesky and sung by Mike's wife, Sherry Jones) through the final cut, "Goodbye Mr. Evans" (written by Phil Woods and featuring saxophonist Kim Park), I Remember Mr. Evans is a beauty.

Not only does the album's trio format (with pianist Ning, bassist Bob Bowman and drummer Tommy Ruskin) remind the listener of Evans' many important trios celebrated for their sensitive interplay, but the album's sequencing works wonderfully as well. Paul Motian and the late Scott LaFaro would be proud.

Special mention needs to be made of just how difficult an assignment vocalist Sherry Jones accepted on this album. Lyrics sung to compositions originally penned as instrumentals can be a challenging task. But Sherry handles it exquisitely.

Besides Ruskin on drums (Mike Ning and Tommy have been playing together around KC for over thirty years) and Bowman on bass (Bob and Mike go back to the Signboard Bar jams hosted by the late John Lyman), there are two featured instrumentalists on this album. The aforementioned alto saxophonist Kim Park was asked to record the Phil Woods song "Goodbye Mr. Evans" using the manuscript Phil Woods himself sent to Mike Ning. Park also plays on "Waltz for Debby," a song co-written by Evans and Gene Lees for Evans' daughter. Kim's playing, so reminiscent of Cannonball Adderley here, was unrehearsed and spontaneous. He just happened to be in the studio for another recording that same day.

The other guest, Mike Metheny, plays flugelhorn on the Miles Davis/Bill Evans classic, "Blue in Green." As opposed to using muted trumpet as Miles did on the original, Metheny chose to play it on flugelhorn, a perfect choice.

And what Bill Evans tribute could be complete without "Autumn Leaves," one of the defining songs from the Evans trio format.

From the very beginnings of the project -- with roots in a New York record store in 1962 -- to the six songs recorded two years ago, and now the last session this past April, this is a recording you'll enjoy for years to come. It was well worth the wait.

-- Bill O'Connor

Two From Palmetto
If you like your jazz cerebral, intense, spontaneous and occasionally raw, you'll want to check out two new releases from the New York-based Palmetto label, one of which is by a fine percussionist with midwestern ties.

Drummer Matt Wilson, originally from Illinois, received a degree in music performance from Wichita State University before moving on to Boston where, from 1987 to '92, he performed with numerous top local jazz acts (among them, the Either/Orchestra and vocalist Dominique Eade). Since 1992 Matt has been based in New York and has appeared with such luminaries as Dewey Redman, Cecil McBee and Lee Konitz. His first CD as a leader, As Wave Follows Wave (also on Palmetto) was cited by both The New York Times and Billboard as one of the top ten jazz recordings of 1996. His latest, Going Once, Going Twice is fresh off the press and features Wilson's working band: Andrew D'Angelo (reeds, voice), Joel Frahm (saxophones, voice) and Yosuke Inoue (bass). Also featured are Pete McCann (banjo), Lee Konitz on two tracks, and "Ned Sublette: auctioneer." Says Wilson about the title tune: "'Going Once, Going Twice' is a salute to the art of auctioneering. When I was a child, I became intrigued by the rhythmic and melodic 'chant' of the auctioneer. Later I realized its similarities to scat singing and the wheels started turning." "Drummer Matt Wilson is a wizard of sounds, pulling from his bag of tricks a spectrum of musical colors and accents to fit whatever jazz moment he is in at the time," says the noted jazz writer Ken Franckling. This album is recommended.

As is Medicine Wheel by New York bassist Ben Allison. Again, this is music at its most conversational, symbiotic and street-smart. And it features some of New York's most cutting edge players. Allison's band includes Michael Blake (saxophones), Ted Nash (saxophones and flute), Tomas Ulrich (cello) and Jeff Ballard (drums and percussion) with special appearances on this CD by Frank Kimbrough (keyboards) and Ron Horton (trumpet). A word or two about Ben Allison for the uninitiated. Born in 1966, Allison graduated from, and later taught at New York University. (He is currently on the faculties of the New School in New York and the Third Street Music School.) For someone only in his early 30s, Allison's resume is impressive. He has appeared and/or recorded with Lee Konitz, Gary Bartz, Dave Liebman, Clifford Jordan, Billy Hart, Bill Mays, Jack Walrath, Arthur Blythe, Clark Terry, Kenny Werner, the Village Vanguard Orchestra and the Maria Schneider Jazz Orchestra. And that's just the short list. About this CD, Allison says, "The Medicine Wheel is a symbol of the universe as described by the Plains Indians of North America... (It is) a mirror in which the universe is reflected. Any idea, person or object can be such a mirror." And check out his comment about one of the album's more animated tracks. "'Blabbermouth' is dedicated to those who wait in line for 45 minutes to get into a jazz club, pay a hefty admission charge, sit in the front row, and then blab throughout the entire set." A cathartic way to address one of the enduring mysteries of the universe: write a good tune about it.

Like to know more about these excellent albums? Contact either Palmetto Records at 1-800-PALM-CDS, or Lori Hehr Public Relations at 805-461-9350.

-- Mike Metheny

RETURN TO AUGUST/SEPTEMBER 1998 MAIN INDEX

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






	Search our site:		Artt Frank WALTZ FOR SHARON STONE cdmja 512 Personnel: Artt Frank, drums; Rich Perry, tenor sax; Ali Ryerson, flute; Rudi Berger, violin; Matt Criscuolo, alto sax; Nik Bariluk, piano; Phil Bowler, bass; Earla Porch Frank, vocals Tracks: A Few Bucks Ahead, Winter in July, Waltz for Sharon Stone, Otherside, Song for My Mother, Love and Spaghetti, Aftershock, Don't Cry When You Lose Recorded April 1997 at Ambiance Studio, Stamford, CT; Alec Head, engineer. If you enjoy the "West Coast sound" as I do (I even have an 8x10 of Shorty Rogers in my study), you will enjoy Artt Frank's Waltz For Sharon Stone. Artt Frank worked with Chet Baker in the 1970s, and the influence is prominent on this CD. One notable difference, though, is that one of the "horns" in this ensemble is a violin, not a common sound in West Coast Jazz. Though Artt Frank does not read music, he has composed six of the eight songs herein. The two remaining were written by Rudi Berger and Nik Bariluk respectively. Bariluk also handled most of the album's arrangements. The first track, "A Few Bucks Ahead," sets the scene nicely. While the swinging ensemble chorus has the aforementioned West Coast sound, it also has a different ingredient in that the violin doubles the melody with the piano. After the opening chorus, solos are taken by Rich Perry (tenor), Matt Criscuolo (alto) and Phil Bowler (bass). They trade fours, bringing in Nik Bariluk on piano and Frank on drums. "Winter in July" is a relaxed Latin ballad beginning with alto lead, then switching to piano and back again. The background is pretty and lush. The rhythm section provides a gently swinging framework for the solos. The title cut, "Waltz for Sharon Stone," is next. It too is slightly laid back, and has a light, lyrical melody written by Artt Frank. The supporting chord structure written by Charles Loos is a good fit. "Otherside" is by Rudi Berger and it features him on violin. It has a minor, modal feel and a rather dark quality. Phil Bowler bows a very creative bass solo. "Song for My Mother" is a minor key ballad played plaintively first by Rudi Berger, then Rich Perry, then Matt Criscuolo. And Ali Ryerson takes full advantage of her chance to solo on flute. I would have liked to have heard more of her on this CD. The tempo picks back up on the next track, a waltz called "Love and Spaghetti." Again, Rudi Berger states the melody first on violin. "Aftershock," a Nik Bariluk composition, puts the focus on the rhythm section. The final tune, "Don't Cry When You Lose," is a ballad featuring Earla Porch Frank, a singer here in Kansas City. She is the co-composer of this song (with Frank) as well as Artt's former wife. This is an enjoyable CD with many memorable melodies and excellent improvisations. Though all of the players are fine soloists, I particularly enjoyed the work of pianist Bariluk, saxophonist Perry and bassist Bowler. And why a "Waltz for Sharon Stone," you may be wondering. When Chet Baker died unexpectedly in 1988, Artt Frank stopped playing for a number of years. Baker's death was a devastating personal loss. When he started up again, Artt recorded a tribute to Chet titled Looking For The Light. Then, through a magazine article, Frank discovered that Stone, the actress of "Basic Instinct" fame, liked listening to Chet Baker's music, so he sent her a copy of the new CD. They have corresponded with each other ever since. This, then, is Artt Frank's musical tribute that kindred spirit. -- Jerry Landsbaum Michael Melito Quintet MY CONCEPTION MHR Records CD-09 Personnel: Michael Melito, drums; Paul Hofmann, piano; Paul Gill, bass; Joe Magnarelli, trumpet/flugelhorn; John Sneider, trumpet; Ralph Lalama, Grant Stewart, tenor saxophone Tracks: Like Sonny C., Like Someone in Love, Asiatic Raes, My Conception, What's New, Marie Antoinette, Marilyn's Dilemma, End of a Love Affair, Brother 'Ball Recorded August 11-12, November 19, 1997 at Acoustic Recording, Brooklyn, NY; Michael Brorby, engineer. Michael Melito's My Conception is a straight-ahead/hard bop lover's delight. It is also a textbook example of what is referred to in the trade as TDWR -- Talent Deserving of Wider Recognition. A unifying factor here is pianist and Rochester, NY resident Paul Hofmann on whose MHR label this CD has been released. Paul is in the role of solid sideman here, supplying tasty comping and fluid solos, but Kansas City readers/listeners will also know him from his three year stay here a while back as well as those MHR CDs he has released as a leader featuring various Kansas City players. Like Hofmann, fellow Rochesterite Melito is very active in the upstate New York jazz scene, having appeared with everyone from hornmen Chuck Mangione and James Moody to guitarists Gene Bertoncini and Joshua Breakstone. Heavily into the jazz education end of things, Melito keeps a full schedule of private students and appearances in the schools. And on this CD he reminds us that a drummer can effectively front a band simply with sturdy time, inventive support and an occasional, but well placed solo. Bassist Paul Gill is another integral part of this CD's excellent rhythm section, bringing superb time and nice soloing to the album. He tours regularly with Jon Hendricks and has also worked with Stanley Turrentine, Gary Bartz, Benny Golson and Tom Harrell. Gill can be heard on the recent Live at Small's (TCB Records) by trumpeter Richie Vitale. Also on board are two terrific trumpeters and two outstanding tenors. Trumpeter/flugelhornist Joe Magnarelli is based in New York City, has released two solo albums on Criss Cross and has played with Lionel Hampton, Toshiko Akiyoshi and Brother Jack McDuff. His playing on this project is consistently strong. As is the work of trumpetmate John Sneider, a former student at Eastman. Sneider too is currently gigging in New York and is also a very active writer and arranger. As can be the case with trumpeters, there is no competition here between Magnarelli and Sneider; just the kind of linear hard bop spontaneity from each that's a joy to listen to. Tenorman Ralph Lalama is a jazz (and NYC) veteran having worked and/or recorded with Barry Harris, Buddy Rich, Woody Herman, Joe Morello and Tom Harrell. He also has released several solo albums (four alone on the Criss Cross label) and brings to this music the seasoned expertise of someone who's paid tons of dues. Saxophonist Grant Stewart has released two solo albums, also on Criss Cross (one, Downtown Sounds, features pianist Brad Mehldau whose recent KC appearance created quite a positive stir). A former student of Barry Harris, Pat LaBarbara and Donald Byrd, Stewart brings a fresh, assertive voice to these tunes, especially on Wayne Shorter's "Marie Antoinette" and the Bob Haggart classic, "What's New," done here as a bossa. Which leads to a snapshot of this CD's song list. In the spirit of a good, old-fashioned hard bop recording date, the musical fare on My Conception consists of reliables like "End of a Love Affair" and "Like Someone in Love" to more esoteric compositions by the likes of Kenny Dorham ("Asiatic Raes") and Billy Higgins ("Marilyn's Dilemma"), all with leader Melito adding the kind of ensemble backbone that's needed to give this music punch, true grit and musical authenticity. My Conception is an excellent collection of tracks played by musicians with strong New York ties and firm hard bop roots. It is the kind of music that any jazz aficionado will be able to sink their teeth into, and the kind of music that keeps a tradition very much alive. It is highly recommended. -- Mike Metheny Mike Ning/Sherry Jones I REMEMBER MR. EVANS Ning Dynasty 005 Personnel: Mike Ning, acoustic piano, Roland ep7; Sherry Jones, vocals; Bob Bowman, bass; Tommy Ruskin, drums; Kim Park, alto saxophone ("Waltz for Debbie," "Goodbye Mr. Evans"); Mike Metheny, flugelhorn ("Blue in Green") Tracks: I Remember Bill, Blue in Green, Very Early, Autumn Leaves, Turn Out the Stars, How My Heart Sings, My Foolish Heart/Young and Foolish, Waltz for Debby, Two Lonely People, It's Love - It's Christmas, Goodbye Mr. Evans Recorded March 4, 1996 and April 21, 1998 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer. The year was 1962. And a young artist named Mike Ning decided to take a break from showing his portfolio around New York City. Little did he know that he was about to discover piano legend, Bill Evans. It was in the two dollar bin no less, the Evans' album Ning would find in a local record store. And it was that recording (Portrait In Jazz) that would completely turn Mike around. He's been in love with the music of Bill Evans ever since. This long-awaited tribute to Bill Evans by Mike Ning, a Kansas City jazz veteran since the mid-1960s, is a lovely acknowledgment that comes from the heart. From the first song, "I Remember Bill" (written by Don Sebesky and sung by Mike's wife, Sherry Jones) through the final cut, "Goodbye Mr. Evans" (written by Phil Woods and featuring saxophonist Kim Park), I Remember Mr. Evans is a beauty. Not only does the album's trio format (with pianist Ning, bassist Bob Bowman and drummer Tommy Ruskin) remind the listener of Evans' many important trios celebrated for their sensitive interplay, but the album's sequencing works wonderfully as well. Paul Motian and the late Scott LaFaro would be proud. Special mention needs to be made of just how difficult an assignment vocalist Sherry Jones accepted on this album. Lyrics sung to compositions originally penned as instrumentals can be a challenging task. But Sherry handles it exquisitely. Besides Ruskin on drums (Mike Ning and Tommy have been playing together around KC for over thirty years) and Bowman on bass (Bob and Mike go back to the Signboard Bar jams hosted by the late John Lyman), there are two featured instrumentalists on this album. The aforementioned alto saxophonist Kim Park was asked to record the Phil Woods song "Goodbye Mr. Evans" using the manuscript Phil Woods himself sent to Mike Ning. Park also plays on "Waltz for Debby," a song co-written by Evans and Gene Lees for Evans' daughter. Kim's playing, so reminiscent of Cannonball Adderley here, was unrehearsed and spontaneous. He just happened to be in the studio for another recording that same day. The other guest, Mike Metheny, plays flugelhorn on the Miles Davis/Bill Evans classic, "Blue in Green." As opposed to using muted trumpet as Miles did on the original, Metheny chose to play it on flugelhorn, a perfect choice. And what Bill Evans tribute could be complete without "Autumn Leaves," one of the defining songs from the Evans trio format. From the very beginnings of the project -- with roots in a New York record store in 1962 -- to the six songs recorded two years ago, and now the last session this past April, this is a recording you'll enjoy for years to come. It was well worth the wait. -- Bill O'Connor Two From Palmetto If you like your jazz cerebral, intense, spontaneous and occasionally raw, you'll want to check out two new releases from the New York-based Palmetto label, one of which is by a fine percussionist with midwestern ties. Drummer Matt Wilson, originally from Illinois, received a degree in music performance from Wichita State University before moving on to Boston where, from 1987 to '92, he performed with numerous top local jazz acts (among them, the Either/Orchestra and vocalist Dominique Eade). Since 1992 Matt has been based in New York and has appeared with such luminaries as Dewey Redman, Cecil McBee and Lee Konitz. His first CD as a leader, As Wave Follows Wave (also on Palmetto) was cited by both The New York Times and Billboard as one of the top ten jazz recordings of 1996. His latest, Going Once, Going Twice is fresh off the press and features Wilson's working band: Andrew D'Angelo (reeds, voice), Joel Frahm (saxophones, voice) and Yosuke Inoue (bass). Also featured are Pete McCann (banjo), Lee Konitz on two tracks, and "Ned Sublette: auctioneer." Says Wilson about the title tune: "'Going Once, Going Twice' is a salute to the art of auctioneering. When I was a child, I became intrigued by the rhythmic and melodic 'chant' of the auctioneer. Later I realized its similarities to scat singing and the wheels started turning." "Drummer Matt Wilson is a wizard of sounds, pulling from his bag of tricks a spectrum of musical colors and accents to fit whatever jazz moment he is in at the time," says the noted jazz writer Ken Franckling. This album is recommended. As is Medicine Wheel by New York bassist Ben Allison. Again, this is music at its most conversational, symbiotic and street-smart. And it features some of New York's most cutting edge players. Allison's band includes Michael Blake (saxophones), Ted Nash (saxophones and flute), Tomas Ulrich (cello) and Jeff Ballard (drums and percussion) with special appearances on this CD by Frank Kimbrough (keyboards) and Ron Horton (trumpet). A word or two about Ben Allison for the uninitiated. Born in 1966, Allison graduated from, and later taught at New York University. (He is currently on the faculties of the New School in New York and the Third Street Music School.) For someone only in his early 30s, Allison's resume is impressive. He has appeared and/or recorded with Lee Konitz, Gary Bartz, Dave Liebman, Clifford Jordan, Billy Hart, Bill Mays, Jack Walrath, Arthur Blythe, Clark Terry, Kenny Werner, the Village Vanguard Orchestra and the Maria Schneider Jazz Orchestra. And that's just the short list. About this CD, Allison says, "The Medicine Wheel is a symbol of the universe as described by the Plains Indians of North America... (It is) a mirror in which the universe is reflected. Any idea, person or object can be such a mirror." And check out his comment about one of the album's more animated tracks. "'Blabbermouth' is dedicated to those who wait in line for 45 minutes to get into a jazz club, pay a hefty admission charge, sit in the front row, and then blab throughout the entire set." A cathartic way to address one of the enduring mysteries of the universe: write a good tune about it. Like to know more about these excellent albums? Contact either Palmetto Records at 1-800-PALM-CDS, or Lori Hehr Public Relations at 805-461-9350. -- Mike Metheny RETURN TO AUGUST/SEPTEMBER 1998 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.