JAM Magazine: December/January 1999 Issue: For the Record

Ida McBeth
SPECIAL REQUEST
BRC Audio Productions

Personnel: Ida McBeth, vocals; Wayne Hawkins, keyboards; Paul Evans, guitar; Forest Stewart, bass; John Cushon, drums (trks 3, 6-9); Thomas Walker, drums (1, 2, 4, 5); Kirk Whalum, tenor saxophone (7, 8), Bill Crain, alto (4) and tenor saxophone (5); Scotty McBee, Stephanie Moore, Lisa Collins and Daphne Mozee, background vocals

Tracks: Kissing My Love, Who Is She (And What Is She To You)? I Can't Make You Love Me, The Song Is You, Voo Doo Woman, You and Me Against the World, I'm Tired of That, Save Your Love for Me, Never Make Your Move Too Soon

Recorded at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer.

From jazz to blues, gospel to funk, Ida McBeth continues to prove why Kansas City loves her like it does. On this, her latest CD, Ida grooves, bops, jams and gets down, all while offering listeners the many elements that have made her one of Kansas City's most popular singers.

With Bill Withers, "Kissing My Love," Ida wastes no time getting down to business. This cut is pure funk, featuring the solid support of guitarist Paul Evans, bassist Forest Stewart and drummer Thomas Walker. The beat is the deal here and Ida, along with Daphne Mozee on backup, more than delivers the goods.

Next is another Withers song (co-written with Stan McKeany), "Who Is She (And What Is She To You)?" This one will make any man think twice about cheating on his woman. Listen to Ida growl and wail; she means business! This track also has some outstanding background vocals by Stephanie Moore, Scotty McBee and Lisa Collins.

Ida slows things down a bit with the plaintive Bonnie Raitt hit, "I Can't Make You Love Me If You Don't." If you've "been there" (haven't we all?), this tune will bring tears to your eyes. Ida feels every lyric and has the power to make you feel them, too.

The Jerome Kern/Oscar Hammerstein standard, "The Song Is You," is next, and it takes things into a straight ahead jazz groove for the first time. McBeth sails over the top of it all with excellent support from Bill Crain on alto and Wayne Hawkins on the ivories.

"Down and dirty" is the only way to describe Ida's rendition of "Voo Doo Woman." There's a little blues, funk and jazz all rolled into one, and it cooks. (A bow to Bill Crain who, this time, is on tenor.)

Ida McBeth's range is evident, as is her ability to handle many styles, on her wistful treatment of "You And Me Against The World." With drummer John Cushon keeping solid time and Wayne Hawkins deftly handling the keyboard duties, this one is a classic.

A righteous blues is next with "I'm Tired Of That." This cut serves as yet another warning that cheating is just not good for a man's health. Ida sings it like she could hurt someone! (It made a believer out of me.) The great saxman Kirk Whalum provides some awesome tenor assistance on both this tune and the next, "Save Your Love For Me." Both showcase Whalum in a way that demonstrates why he is one of the most respected musicians on today's contemporary jazz scene.

Finishing out the set is "Never Make Your Move Too Soon" in which Ida grooves with the cool organ of Hawkins and the hot guitar of Evans. McBeth is just having a good time on this one, and it shows in her howls and growls.

All told, Special Request is all Ida. With stellar supporting performances by some of the best musicians around, this album has something for everyone and is very much worth a listen.

-- Vanessa Barnard

Bill Messenger's Ragtime Chamber Ensemble
RAGTIME REFLECTIONS
Classic Pops
(Cassette only)

Personnel: Bill Messenger, piano/narrator; Ed Goldstein, tuba; Maureen McCusker, vocals; Bruno Nasta, violin.

Tracks: That Takes It (1896), I Don't Like No Cheap Man (1897), Wild Cherries Rag (1908), Horse Shoe Rag (1911), Oh You Beautiful Doll (1911), La Rumba (1913), Morning Exercise (1914), Chatterbox Rag (1910).

Recorded February 19, 1998 at Gizmo Productions, Annapolis, MD; Mark Hutton, engineer.

Bill Messenger could not have a more appropriate surname if he made one up. Messenger (whose name is Anglicized from its traditional German spelling Moessenger) has dedicated his career as musician and music educator to sharing the joyous history of American popular music. This year he's worked heavily on his Gershwin repertoire, appearing in recital in the guise of George Gershwin, the better to communicate the personality behind the music.

Some will quibble with the decision to include narration between cuts. Certainly this device can be tiresome and is often misused. I've heard one especially poor example on a Ruby Braff CD, in which Braff talks over the other players throughout the final cut, actually thanking the listener for buying the disc. Messenger does not stoop to such sentimental corn. His between-tunes commentary explains why he chose the particular tunes on the tape, and relates a couple of interesting sidebars, as a kind of aural liner notes. There's a segment in which Messenger quotes articles from The Etude and other contemporary journals on the evils of ragtime, noting with obvious glee how prescient they were of the reaction to rock 'n' roll. You can almost hear the ghost of Scott Joplin chuckling over the irony that ragtime, considered vulgar and outrageous in its day, is now viewed as a sedate, almost classical music.

The selection of cuts is quirky -- there are no rags by Joplin, Turpin or Jelly Roll Morton, for example, and a tango finds its way into the mix. Messenger's goal was to demonstrate the influence of ragtime on American music, in sharp contrast to those, like writer Rudy Blesh, who view rag as a sacred black folk idiom that was profaned by Tin Pan Alley. Even Blesh, who condemned Irving Berlin in his book They All Played Ragtime, would have to stop and listen to Berlin's "Morning Exercise." This cut, Messenger claims, refutes the common contention that Berlin wrote no piano rags. Though the word "rag" is not in the title, Messenger asks rhetorically, "If this isn't a piano rag, what is it?"

Ragtime Reflections, the result of Messenger's second trip into the recording studio, succeeds in capturing his essence, but will not appeal to every listener. In person, the man literally vibrates with excitement. On tape, his voice and words communicate his enthusiasm, but the playing is a bit restrained and academic. The tape was done in a single session, at which Messenger was suffering from carpal-tunnel problems and Goldstein was recovering from an illness. The playing is technically flawless, and, except for a couple of cuts, lacks fire. Messenger's rhythm on the cakewalk "That Takes It" is as relentless as that of a player piano. Comping for McCusker's vocal on "Oh, You Beautiful Doll," Messenger is at his least restrained, as is Goldstein. But the tuba player really reveals his musicianship on the Argentine tango (ironically entitled "La Rumba") with pedal tones that evoke a bowed string bass.

McCusker, who plays reeds with Goldstein's principal group, the Peabody Ragtime Ensemble, contributes a couple of witty vocals here. Violinist Bruno Nasta does yeoman work throughout the tape, evoking Stephane Grappelli's playing. And the unattributed spoons break on "Morning Exercise" brings a smile.

You probably won't find this tape at your local retail outlet. Order it direct from Classic Pops, Inc., P.O. Box 938415, Margate, FL 33093. Retail price is $10.00, plus $1.50 for postage and handling.

-- Stan Modjesky

Dave Zoller
3x4x3
dpz jazz 3063

Personnel: Dave Zoller, piano; Pete Gallio, tenor sax; Wayne De Lano, Chris McGuire, tenor/soprano saxes; Mike Davis, Fred Hamilton, Carl Hillman, bass; Dennis Durick, Garry Granger, Mike Drake, drums

Tracks: Misterioso, Medium Rare & Over Easy, Bossier City, Bluebonnets, Lady Sings the Blues, Pannonica, Aging Hipsters, Spinning Song, Monk's Dream

Recorded May 4, 7, 11, 1998 at Jam Creative Productions, Dallas, TX; Mark Holland, engineer.

Dallas-based pianist-composer Dave Zoller has just released his third disc, 3 x 4 x 3 (three tunes performed by different four-piece groups from three separate sessions), and a nice recording it is, indeed. A lengthy project, the nine pieces on 3 x 4 x 3 were recorded this past May. Each quartet session, featuring fine local Dallas musicians, yielded over twenty minutes of music, with emphasis on pieces from two of jazz's most important composer-pianists: Thelonious Monk and Herbie Nichols.

Zoller is an inventive and original composer. From Mike Metheny's liner notes: "Dave's 'Aging Hipsters' is a reminder that the hippest of hipsters are those who have been around long enough to know how to write good tunes like this." And Zoller's solid playing is clearly not as influenced by the baroque sensibilities of Bud Powell as by an interesting combination of Monk's angularity and the romanticism of Bill Evans and Chick Corea.

The earliest session begins with "Bossier City," a nice bluesy original (with hints of gospel) and a great tenor solo from Pete Gallio. "Aging Hipsters" is a Monk-ish original with wonderful drumming from Dennis Durick that reminds me of Joe Chambers; like Chambers, Durick takes a thoughtful, compositional approach, particularly during his solo. Finally, a fantastic piano intro prefaces "Monk's Dream," with Zoller proceeding to take one of his best solos.

From day two, "Medium Rare & Over Easy" is a very interesting original, with Zoller playing some nice low register lines (as per Red Garland). The tight ensemble on Nichols' "Lady Sings the Blues" is impressive, with Roy Haynes-ish playing throughout from Garry Granger. And Nichols' "Spinning Song" -- with a superb drum intro by Granger -- features a neat Zoller arrangement (a moody reconstruction quite different from the original) and a decidedly mysterious ending (one of the highlights of this excellent album).

The final session contains perhaps this disc's most cohesive group playing, with drummer Mike Drake swinging (and always interesting) throughout. Monk's "Misterioso," beginning with a nice drums-bass chorus out in front, features a fresh arrangement. "Bluebonnets" is a lovely original waltz, with Drake playing some interesting textures, especially during the trading sections at the end. And Monk's "Pannonica" features some nifty comping from Zoller, again, very much in the spirit of Monk. Chris McGuire sounds fine on tenor here as well.

Bravo, Dave. This is a very nice quartet recording!

-- Paul Hofmann

(3x4x3 can be purchased at Music Exchange or by calling Cadence-North County Distribution at 315-287-2852. -- Ed.)

TWO SOLID EFFORTS
FROM ST. LOUIS
That the jazz communities of Kansas City and St. Louis seem so separate and autonomous remains an ongoing mystery. How often we in KC forget (or are just plain unaware) that there are many excellent jazz musicians just 250 miles east on I-70. Two such artists are pianist/composer/bandleader/educator Kim Portnoy and vibraphonist (and former KC resident) Tom Rickard. Both have released noteworthy CDs.

Portnoy's Wash Away the Dust of Everyday Life: The Kim Portnoy Jazz Orchestra features many of the St. Louis area's finest in a large ensemble setting. All of the tracks were composed and arranged by Portnoy and the album was recorded live at the Center of Contemporary Arts in St. Louis in June of '97. This is music that would seem to be best captured in a live setting as it is here. There's an energy, playfulness and spontaneity (on "King Portnoy Stomp," for example) that can really be enhanced by the presence of an empathetic audience. And it doesn't hurt to have a strong supporting cast. The players Portnoy has assembled to interpret his imaginative works include saxophonists Paul DeMarinis, Robert Hughes and Mike Karpowicz, Linda Presgrave on French horn, trumpeters Paul Hecht (lead) and Randall Holmes (jazz), Brett Stamps on trombone, Jim Martin on bass trombone, Tom Byrne on guitars, Rick Vice on bass, and Kevin Gianino on drums. Each have impressive credentials, and each brings to this recording the kind of solid artistry needed to breathe life into each track. Also, you will want to check out the album's liner notes. In addition to being a fine pianist and composer, Kim Portnoy has a clever wit. Such song titles as "Take My Waltz... Please," and comments like (for Portnoy's "Peek-a-boo") "I hope this will inspire people everywhere to listen for the music in their household appliances" will add smiles to the faces of already happy listeners.

Boulder, Colorado native Tom Rickard actually spent a good chunk of time in KC. A 1989 Berklee grad, the vibist came to Kansas City in 1990 where, for the next six years, he worked with such area notables as Claude "Fiddler" Williams, Joe Cartwright, Carl Bender and the late Carmell Jones. In 1996 he teamed with drummer Matt Kane and bassist Tony LaPuma for the locally produced On Our Own. Now in '98 he has released The Studio 88 Session featuring three players from Tom's new base of St. Louis. When asked about the sidemen on this date, Tom can only say, "There isn't a lot of bio material on them because they are so young." Still, these are jazz musicians with promising futures. Pianist Adam Maness graduated from high school in 1997, bassist Brian Goddard is even a year younger than that, and drummer (and old timer) Jim Orso is currently a senior at Webster University in St. Louis working on a jazz studies degree. All compositions are by Rickard, and the influence of Gary Burton, who was one of Tom's teachers at Berklee, is clear.

These CDs may be hard to find in the Kansas City area, but they are easy to order from the respective leaders. Contact Kim Portnoy at 314-968-7038, Tom Rickard at 618-744-1223.

-- Mike Metheny

RETURN TO DECEMBER/JANUARY 1999 MAIN INDEX

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






	Search our site:		Ida McBeth SPECIAL REQUEST BRC Audio Productions Personnel: Ida McBeth, vocals; Wayne Hawkins, keyboards; Paul Evans, guitar; Forest Stewart, bass; John Cushon, drums (trks 3, 6-9); Thomas Walker, drums (1, 2, 4, 5); Kirk Whalum, tenor saxophone (7, 8), Bill Crain, alto (4) and tenor saxophone (5); Scotty McBee, Stephanie Moore, Lisa Collins and Daphne Mozee, background vocals Tracks: Kissing My Love, Who Is She (And What Is She To You)? I Can't Make You Love Me, The Song Is You, Voo Doo Woman, You and Me Against the World, I'm Tired of That, Save Your Love for Me, Never Make Your Move Too Soon Recorded at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer. From jazz to blues, gospel to funk, Ida McBeth continues to prove why Kansas City loves her like it does. On this, her latest CD, Ida grooves, bops, jams and gets down, all while offering listeners the many elements that have made her one of Kansas City's most popular singers. With Bill Withers, "Kissing My Love," Ida wastes no time getting down to business. This cut is pure funk, featuring the solid support of guitarist Paul Evans, bassist Forest Stewart and drummer Thomas Walker. The beat is the deal here and Ida, along with Daphne Mozee on backup, more than delivers the goods. Next is another Withers song (co-written with Stan McKeany), "Who Is She (And What Is She To You)?" This one will make any man think twice about cheating on his woman. Listen to Ida growl and wail; she means business! This track also has some outstanding background vocals by Stephanie Moore, Scotty McBee and Lisa Collins. Ida slows things down a bit with the plaintive Bonnie Raitt hit, "I Can't Make You Love Me If You Don't." If you've "been there" (haven't we all?), this tune will bring tears to your eyes. Ida feels every lyric and has the power to make you feel them, too. The Jerome Kern/Oscar Hammerstein standard, "The Song Is You," is next, and it takes things into a straight ahead jazz groove for the first time. McBeth sails over the top of it all with excellent support from Bill Crain on alto and Wayne Hawkins on the ivories. "Down and dirty" is the only way to describe Ida's rendition of "Voo Doo Woman." There's a little blues, funk and jazz all rolled into one, and it cooks. (A bow to Bill Crain who, this time, is on tenor.) Ida McBeth's range is evident, as is her ability to handle many styles, on her wistful treatment of "You And Me Against The World." With drummer John Cushon keeping solid time and Wayne Hawkins deftly handling the keyboard duties, this one is a classic. A righteous blues is next with "I'm Tired Of That." This cut serves as yet another warning that cheating is just not good for a man's health. Ida sings it like she could hurt someone! (It made a believer out of me.) The great saxman Kirk Whalum provides some awesome tenor assistance on both this tune and the next, "Save Your Love For Me." Both showcase Whalum in a way that demonstrates why he is one of the most respected musicians on today's contemporary jazz scene. Finishing out the set is "Never Make Your Move Too Soon" in which Ida grooves with the cool organ of Hawkins and the hot guitar of Evans. McBeth is just having a good time on this one, and it shows in her howls and growls. All told, Special Request is all Ida. With stellar supporting performances by some of the best musicians around, this album has something for everyone and is very much worth a listen. -- Vanessa Barnard Bill Messenger's Ragtime Chamber Ensemble RAGTIME REFLECTIONS Classic Pops (Cassette only) Personnel: Bill Messenger, piano/narrator; Ed Goldstein, tuba; Maureen McCusker, vocals; Bruno Nasta, violin. Tracks: That Takes It (1896), I Don't Like No Cheap Man (1897), Wild Cherries Rag (1908), Horse Shoe Rag (1911), Oh You Beautiful Doll (1911), La Rumba (1913), Morning Exercise (1914), Chatterbox Rag (1910). Recorded February 19, 1998 at Gizmo Productions, Annapolis, MD; Mark Hutton, engineer. Bill Messenger could not have a more appropriate surname if he made one up. Messenger (whose name is Anglicized from its traditional German spelling Moessenger) has dedicated his career as musician and music educator to sharing the joyous history of American popular music. This year he's worked heavily on his Gershwin repertoire, appearing in recital in the guise of George Gershwin, the better to communicate the personality behind the music. Some will quibble with the decision to include narration between cuts. Certainly this device can be tiresome and is often misused. I've heard one especially poor example on a Ruby Braff CD, in which Braff talks over the other players throughout the final cut, actually thanking the listener for buying the disc. Messenger does not stoop to such sentimental corn. His between-tunes commentary explains why he chose the particular tunes on the tape, and relates a couple of interesting sidebars, as a kind of aural liner notes. There's a segment in which Messenger quotes articles from The Etude and other contemporary journals on the evils of ragtime, noting with obvious glee how prescient they were of the reaction to rock 'n' roll. You can almost hear the ghost of Scott Joplin chuckling over the irony that ragtime, considered vulgar and outrageous in its day, is now viewed as a sedate, almost classical music. The selection of cuts is quirky -- there are no rags by Joplin, Turpin or Jelly Roll Morton, for example, and a tango finds its way into the mix. Messenger's goal was to demonstrate the influence of ragtime on American music, in sharp contrast to those, like writer Rudy Blesh, who view rag as a sacred black folk idiom that was profaned by Tin Pan Alley. Even Blesh, who condemned Irving Berlin in his book They All Played Ragtime, would have to stop and listen to Berlin's "Morning Exercise." This cut, Messenger claims, refutes the common contention that Berlin wrote no piano rags. Though the word "rag" is not in the title, Messenger asks rhetorically, "If this isn't a piano rag, what is it?" Ragtime Reflections, the result of Messenger's second trip into the recording studio, succeeds in capturing his essence, but will not appeal to every listener. In person, the man literally vibrates with excitement. On tape, his voice and words communicate his enthusiasm, but the playing is a bit restrained and academic. The tape was done in a single session, at which Messenger was suffering from carpal-tunnel problems and Goldstein was recovering from an illness. The playing is technically flawless, and, except for a couple of cuts, lacks fire. Messenger's rhythm on the cakewalk "That Takes It" is as relentless as that of a player piano. Comping for McCusker's vocal on "Oh, You Beautiful Doll," Messenger is at his least restrained, as is Goldstein. But the tuba player really reveals his musicianship on the Argentine tango (ironically entitled "La Rumba") with pedal tones that evoke a bowed string bass. McCusker, who plays reeds with Goldstein's principal group, the Peabody Ragtime Ensemble, contributes a couple of witty vocals here. Violinist Bruno Nasta does yeoman work throughout the tape, evoking Stephane Grappelli's playing. And the unattributed spoons break on "Morning Exercise" brings a smile. You probably won't find this tape at your local retail outlet. Order it direct from Classic Pops, Inc., P.O. Box 938415, Margate, FL 33093. Retail price is $10.00, plus $1.50 for postage and handling. -- Stan Modjesky Dave Zoller 3x4x3 dpz jazz 3063 Personnel: Dave Zoller, piano; Pete Gallio, tenor sax; Wayne De Lano, Chris McGuire, tenor/soprano saxes; Mike Davis, Fred Hamilton, Carl Hillman, bass; Dennis Durick, Garry Granger, Mike Drake, drums Tracks: Misterioso, Medium Rare & Over Easy, Bossier City, Bluebonnets, Lady Sings the Blues, Pannonica, Aging Hipsters, Spinning Song, Monk's Dream Recorded May 4, 7, 11, 1998 at Jam Creative Productions, Dallas, TX; Mark Holland, engineer. Dallas-based pianist-composer Dave Zoller has just released his third disc, 3 x 4 x 3 (three tunes performed by different four-piece groups from three separate sessions), and a nice recording it is, indeed. A lengthy project, the nine pieces on 3 x 4 x 3 were recorded this past May. Each quartet session, featuring fine local Dallas musicians, yielded over twenty minutes of music, with emphasis on pieces from two of jazz's most important composer-pianists: Thelonious Monk and Herbie Nichols. Zoller is an inventive and original composer. From Mike Metheny's liner notes: "Dave's 'Aging Hipsters' is a reminder that the hippest of hipsters are those who have been around long enough to know how to write good tunes like this." And Zoller's solid playing is clearly not as influenced by the baroque sensibilities of Bud Powell as by an interesting combination of Monk's angularity and the romanticism of Bill Evans and Chick Corea. The earliest session begins with "Bossier City," a nice bluesy original (with hints of gospel) and a great tenor solo from Pete Gallio. "Aging Hipsters" is a Monk-ish original with wonderful drumming from Dennis Durick that reminds me of Joe Chambers; like Chambers, Durick takes a thoughtful, compositional approach, particularly during his solo. Finally, a fantastic piano intro prefaces "Monk's Dream," with Zoller proceeding to take one of his best solos. From day two, "Medium Rare & Over Easy" is a very interesting original, with Zoller playing some nice low register lines (as per Red Garland). The tight ensemble on Nichols' "Lady Sings the Blues" is impressive, with Roy Haynes-ish playing throughout from Garry Granger. And Nichols' "Spinning Song" -- with a superb drum intro by Granger -- features a neat Zoller arrangement (a moody reconstruction quite different from the original) and a decidedly mysterious ending (one of the highlights of this excellent album). The final session contains perhaps this disc's most cohesive group playing, with drummer Mike Drake swinging (and always interesting) throughout. Monk's "Misterioso," beginning with a nice drums-bass chorus out in front, features a fresh arrangement. "Bluebonnets" is a lovely original waltz, with Drake playing some interesting textures, especially during the trading sections at the end. And Monk's "Pannonica" features some nifty comping from Zoller, again, very much in the spirit of Monk. Chris McGuire sounds fine on tenor here as well. Bravo, Dave. This is a very nice quartet recording! -- Paul Hofmann (3x4x3 can be purchased at Music Exchange or by calling Cadence-North County Distribution at 315-287-2852. -- Ed.) TWO SOLID EFFORTS FROM ST. LOUIS That the jazz communities of Kansas City and St. Louis seem so separate and autonomous remains an ongoing mystery. How often we in KC forget (or are just plain unaware) that there are many excellent jazz musicians just 250 miles east on I-70. Two such artists are pianist/composer/bandleader/educator Kim Portnoy and vibraphonist (and former KC resident) Tom Rickard. Both have released noteworthy CDs. Portnoy's Wash Away the Dust of Everyday Life: The Kim Portnoy Jazz Orchestra features many of the St. Louis area's finest in a large ensemble setting. All of the tracks were composed and arranged by Portnoy and the album was recorded live at the Center of Contemporary Arts in St. Louis in June of '97. This is music that would seem to be best captured in a live setting as it is here. There's an energy, playfulness and spontaneity (on "King Portnoy Stomp," for example) that can really be enhanced by the presence of an empathetic audience. And it doesn't hurt to have a strong supporting cast. The players Portnoy has assembled to interpret his imaginative works include saxophonists Paul DeMarinis, Robert Hughes and Mike Karpowicz, Linda Presgrave on French horn, trumpeters Paul Hecht (lead) and Randall Holmes (jazz), Brett Stamps on trombone, Jim Martin on bass trombone, Tom Byrne on guitars, Rick Vice on bass, and Kevin Gianino on drums. Each have impressive credentials, and each brings to this recording the kind of solid artistry needed to breathe life into each track. Also, you will want to check out the album's liner notes. In addition to being a fine pianist and composer, Kim Portnoy has a clever wit. Such song titles as "Take My Waltz... Please," and comments like (for Portnoy's "Peek-a-boo") "I hope this will inspire people everywhere to listen for the music in their household appliances" will add smiles to the faces of already happy listeners. Boulder, Colorado native Tom Rickard actually spent a good chunk of time in KC. A 1989 Berklee grad, the vibist came to Kansas City in 1990 where, for the next six years, he worked with such area notables as Claude "Fiddler" Williams, Joe Cartwright, Carl Bender and the late Carmell Jones. In 1996 he teamed with drummer Matt Kane and bassist Tony LaPuma for the locally produced On Our Own. Now in '98 he has released The Studio 88 Session featuring three players from Tom's new base of St. Louis. When asked about the sidemen on this date, Tom can only say, "There isn't a lot of bio material on them because they are so young." Still, these are jazz musicians with promising futures. Pianist Adam Maness graduated from high school in 1997, bassist Brian Goddard is even a year younger than that, and drummer (and old timer) Jim Orso is currently a senior at Webster University in St. Louis working on a jazz studies degree. All compositions are by Rickard, and the influence of Gary Burton, who was one of Tom's teachers at Berklee, is clear. These CDs may be hard to find in the Kansas City area, but they are easy to order from the respective leaders. Contact Kim Portnoy at 314-968-7038, Tom Rickard at 618-744-1223. -- Mike Metheny RETURN TO DECEMBER/JANUARY 1999 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.