JAM Magazine: April/May 1999 Issue: For the Record

Kevin Mahogany
MY ROMANCE
Warner Bros. 9 47025-2

Personnel: Kevin Mahogany, vocals; Bob James, piano; Charles Fambrough, bass; Billy Kilson, drums; Kirk Whalum, Michael Brecker, tenor saxophones; arrangements by Bob James; string arrangement ("Wild Honey") by Michael Colina

Tracks: Teach Me Tonight, Everything I Have Is Yours, My Romance, I Know That You Know, Don't Let Me Be Lonely Tonight, Stairway To the Stars, May I Come In?, Wild Honey, I Apologize, How Did She Look?, Lush Life

Recorded May 11-13, 1998 at Sear Sound, New York City; Ken Freeman, engineer.

I haven't bought a recorded single since I was a kid (it was a Beatles 45 rpm), but if this remarkable CD by Kevin Mahogany had only one selection on it, I would happily pay full price and know that I possessed a jazz treasure.

I am referring to Mr. Mahogany's rendition of Billy Strayhorn's "Lush Life." Truly classic recordings occur only rarely, and sometimes are not fully appreciated as being such until years later, but I am going to boldly declare that this rendering of "Lush Life" is simply unsurpassed. On this particular selection, Kevin is backed by just the piano accompaniment of Bob James. I can only describe this duo performance of Strayhorn's signature song as startlingly beautiful.

My high praise of this particular cut in no way diminishes my opinion of the balance of this recording. On the contrary, this is a great recording from beginning to end. There are many highlights throughout, including the title track, "My Romance." As the name implies, this CD is comprised primarily of love songs and ballads. Before you get the wrong idea, however, let me assure you that this is no sleepy, romantic "mood music" project. There is an underlying emotional intensity that is sustained throughout, with each song delivered with just the right effect.

Throughout the history of jazz, some of the greatest jazz singers have not necessarily possessed the purest or "best" voices. One only needs to point to Louis Armstrong or Billie Holiday as examples of this. What makes those singers great has almost nothing to do with their vocal cords, and almost everything to do with the feeling that they convey. Conversely, some very talented singers with flawless vocal technique will not convey in their entire careers even a fraction of the emotion that Lady Day could evoke in just a single phrase. It is rare when technical perfection combines with great emotional depth. As evidenced on this recording, Mr. Mahogany clearly possesses both. Kevin skillfully utilizes the full spectrum of his voice, from the deep, rich quality of his baritone to the bell tone quality of his upper range. Regarding his ability to "tell the story" of each song, he reminds me in many ways of Carmen McRae, who in my opinion, was the master of internalizing a lyric so that a song would seem to rise from the deepest part of her soul.

Pianist Bob James is in great form, revealing here that he is indeed one of the very finest vocal accompanists. In addition, his creative arrangements of these songs provide just the right contemporary spin to some of the older standards. I especially enjoyed the Latin treatment given to "Everything I Have Is Yours." Bassist Charles Fambrough plays with real flair, providing a lilting, dancing quality on even the slowest tempos. Drummer Billy Kilson plays with a quiet intensity that consistently provides just the right touch. In particular, his skillful brush work is very impressive. Each of the featured tenor saxophonists deliver great solos throughout. Kirk Whalum performs on four of the tracks, and I especially liked his work on "My Romance" in which the saxophonist and Kevin are showcased in a duo setting during the opening chorus. Michael Brecker performs on two selections, delivering slow burn solos on "May I Come In?" and the bluesy "I Know That You Know."

Each time I listened to this recording, my admiration for these great artists only grew as I savored the subtleties and nuances of each song. For many years to come, I know that I will continue to listen to this recording time and time again, each time discovering something new contained within. For me, that's pretty much the definition of a classic recording. I can't imagine not having this album in my collection now. It's a keeper, folks.

-- Doug Tatum

Paul Hofmann
A CHILD IS BORN
"Jazz ballads and lullabyes"
MHR Records CD-08

Personnel: Paul Hofmann, piano; Mike Metheny, flugelhorn, cornet, EVI (tracks 2, 7, 11); Charles Perkins, flute (tracks 5, 9, 14)

Tracks: Sarah's Lullabye, Mahogany, A Blessing So Rare, Infant Dreams, A Child Is Born, Protector of a Heart That Is New, The Wonder That You Are, Melody For Megan, Ian and Justin, Over the Rainbow, With a Thankful Heart, Love and Compassion, Retrospection, Kindhearted Soul, Everything So New

Recorded digitally, June 19, 21, December 10, 1996, July 23, 1997 at Soundtrek Studio, Kansas City, MO; Ron Ubel, engineer.

It was a windy, wintry night. The snow was five inches and counting. The town was shut down and not a creature was stirring. We lit a fire, poured some wine, opened the blinds to watch the snow blanket the earth, and put on Paul Hofmann's new CD, A Child Is Born. It was a perfect fit.

Inspired by the birth of his daughter, Sarah, this recording is all ballads and lullabies. Nine of the fifteen tracks are solo piano pieces and all but three ("A Child Is Born" by Thad Jones and Alec Wilder, "Over the Rainbow" by Harold Arlen and E.Y. Harburg, and "Retrospection" by Duke Ellington) are Hofmann originals. The music is indeed soothing and contemplative, and continues what is becoming a Hofmann tradition of deeply personal themes in his compositions. As with an earlier album, There With A Smile, for example, many of the cuts here are dedicated to or written about family members.

Don't confuse "soothing" with "numbing," however. These are first class, virtuoso piano pieces that merit an attentive ear. And, while each has its own personality, as a whole they form a seamless tapestry. The beautiful contributions of Charles Perkins' flute and Mike Metheny's EVI and muted cornet subtly smooth the edges of the piano notes, adding depth and roundness to the sound. The music, particularly on the duets, is enchanting. Soothe you they may; numb you never.

Accurately subtitled "Jazz ballads and lullabyes," Hofmann displays the breadth of those categories. Indeed there are some surprises on the album. "Kindhearted Soul," while a ballad, features Latin rhythms. "Retrospection," an underappreciated Ellington composition, offers occasional angular harmonics. "Ian And Justin" is a blues, with an enticingly funky flute by Charles Perkins. "Everything So New," which closes the album, allows Hofmann, in his words, to play "more 'freely' so as to bring the recording to a gentle conclusion." And that it does.

"Although there have been a number of albums in this vein," Hofmann writes in his liner notes, "my hope is that 'A Child Is Born' proves to be uniquely soothing -- not only to new parents and their infants but to all listeners! May this collection of lullabyes bring you many hours of rewarding listening." It certainly did me, during the last snowstorm of the winter.

The better news is that A Child Is Born offers songs for all seasons.

-- Gregg Ottinger

Max Groove
SOLO
Max Groove Music #1201

Personnel: Max Groove, solo piano

Tracks: Old Friends, If I Could Love Again, Echoes of Yesterday,
Agua frio, Yesterday's Goodbye, Simple Song, Catamarca, You're My Baby, And Then There's That, Long Time Ago

Recorded at the Community Christian Church, Kansas City, MO.

Ever had a professional piano player give you a private concert? Right in your own living room? That's what keyboard man and album producer Max Groove offers on his latest release, Solo.

A Kansas City native, Max Groove, has been a recording engineer since 1975. He has also released eight albums as a leader and produced a dozen more, including two by KC trumpeter Pat Morrissey.

After all these years, however, Max had never gotten around to recording a solo project, that is until Doug Sax, owner of Sheffield Lab Records, suggested a departure from Max's customary group projects. With encouragement from his wife, Sandy, Max went to work.

To prepare for this solo CD, and with the plan of recording in a room with the most natural ambiance, Max tested the pianos in various churches around Kansas City. Once he discovered the Steinway B concert grand at the Community Christian Church on Main, it was then just a matter of laying down the tracks (between midnight and sunrise, to minimize outside street noise).

Max's compositions never disappoint. "Agua frio," which comes from a previous group release of the same name, works just as well as a solo piece as it does for full ensemble. And "Old Friends" has a catchy hook that you'll have a hard time getting out of your head.

"Simple Song" is anything but; "Catamarca" may remind you of a Celestial Navigation's CD by Geoffrey Lewis, and "If I Could Love Again" showcases Max's classical side.

The recording quality of this CD is also noteworthy. It's clean and crisp, not manipulated in any way, and not augmented in the mastering process.

I must confess, solo piano is normally not my cup of tea. In fact, the first time I listened to Solo, much of it went right on by me. But then I sat down without distraction, really gave it a listen and was impressed.

"This was a real labor of love," Max told me. "I don't care if it gets any airplay or sells." In other words, the music was the main motivation for this album.

If, as a follower of the Max Groove sound, you've always wanted to hear more of Max's individual playing, then you will be motivated to track down this CD.

Max Groove is a lot like George Brett, who, early on, was better known for his hitting than his fielding. Brett worked hard on the latter and eventually won a Gold Glove.

Max, too, could not have pulled off this project earlier in his career. But now, he's released a Gold Glove album.

-- Jeff Charney

Dmitri Matheny
STARLIGHT CAFE'
Monarch Records (MR-1018)

Personnel: Dmitri Matheny, flugelhorn; Darrell Grant, piano; Bill Douglass, bass

Tracks: Stardust, When Lights Are Low, Twilight World, Spring Skylight, Whisper Muse, Geneva, Soca Nova, Corcovado, Saturn's Child, When You Wish Upon a Star

Recorded live on March 29, 1998 at La Note Cafe', Berkeley, CA; Brian Walker, engineer.

At last. Another jazz musician who gets to answer the question, "Are you related to Pat?"

"But seriously...
I don't think there's any direct relation here. Grandad Harrison Metheny (1887-1980) used to tell brother Pat and I that the different spellings came out of some Civil War split (a James Matheny was Lincoln's best man), so, it's probably safe to say we are distant cousins at best. Still, on a personal level, it's always interesting to learn of other musical chromosomes that have popped up in the extended family.

I remember first hearing about Dmitri Matheny during the tail end of my Boston years (1976-89) when he was a student at Berklee (he graduated magna cum laude in '89). In the years since, he has blossomed into a wonderful trumpet player as has been documented on two prior Monarch releases, Red Reflections and Penumbra.

On this his third CD as a leader, Dmitri displays the kind of flugelhorn sound that has inspired this Metheny to start spending an extra hour each day in the woodshed. It's as gorgeous and soulful as a sumptuous full moon on a breezy summer night. And that's not to mention a level of technique and fluidity that will probably end up adding another hour to this admirer's new regimen.

It's also fun to try to spot the influences. Because Starlight Cafe' is mostly an evocative, late night session with drummerless accompaniment, Dmitri's lyrical side is almost always the center of attention. When it is, Jack Sheldon immediately comes to mind. But there's also a dash of Chet, a little Bobby Shew, and some Tom Harrell. It's an amalgam that makes for a single new and refreshing voice.

The fare on Starlight Cafe' is a straight ahead assortment of originals and recognizable standards ("Corcovado," "Stardust," "When Lights Are Low"), all of which are played with great lyricism and group empathy. In pianist Darrell Grant and bassist Bill Douglass, Dmitri Matheny has found the perfect backup for this kind of date; after all, playing a whole gig without a drummer takes a special kind of musicianship. This threesome pulls it off brilliantly.

This is excellent music from three very talented artists. And it offers additional proof that, at 33, Dmitri Matheny is clearly poised to become one of the jazz world's next important trumpet/flugelhorn players.

A big thumbs up from this distant cousin in KC.

-- Mike Metheny

This review originally appeared on the CompuServe Jazz Beat Forum and 52nd Street Jazz (www.52ndstreet.com) on the Web.

RETURN TO APRIL/MAY 1999 MAIN INDEX

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






	Search our site:		Kevin Mahogany MY ROMANCE Warner Bros. 9 47025-2 Personnel: Kevin Mahogany, vocals; Bob James, piano; Charles Fambrough, bass; Billy Kilson, drums; Kirk Whalum, Michael Brecker, tenor saxophones; arrangements by Bob James; string arrangement ("Wild Honey") by Michael Colina Tracks: Teach Me Tonight, Everything I Have Is Yours, My Romance, I Know That You Know, Don't Let Me Be Lonely Tonight, Stairway To the Stars, May I Come In?, Wild Honey, I Apologize, How Did She Look?, Lush Life Recorded May 11-13, 1998 at Sear Sound, New York City; Ken Freeman, engineer. I haven't bought a recorded single since I was a kid (it was a Beatles 45 rpm), but if this remarkable CD by Kevin Mahogany had only one selection on it, I would happily pay full price and know that I possessed a jazz treasure. I am referring to Mr. Mahogany's rendition of Billy Strayhorn's "Lush Life." Truly classic recordings occur only rarely, and sometimes are not fully appreciated as being such until years later, but I am going to boldly declare that this rendering of "Lush Life" is simply unsurpassed. On this particular selection, Kevin is backed by just the piano accompaniment of Bob James. I can only describe this duo performance of Strayhorn's signature song as startlingly beautiful. My high praise of this particular cut in no way diminishes my opinion of the balance of this recording. On the contrary, this is a great recording from beginning to end. There are many highlights throughout, including the title track, "My Romance." As the name implies, this CD is comprised primarily of love songs and ballads. Before you get the wrong idea, however, let me assure you that this is no sleepy, romantic "mood music" project. There is an underlying emotional intensity that is sustained throughout, with each song delivered with just the right effect. Throughout the history of jazz, some of the greatest jazz singers have not necessarily possessed the purest or "best" voices. One only needs to point to Louis Armstrong or Billie Holiday as examples of this. What makes those singers great has almost nothing to do with their vocal cords, and almost everything to do with the feeling that they convey. Conversely, some very talented singers with flawless vocal technique will not convey in their entire careers even a fraction of the emotion that Lady Day could evoke in just a single phrase. It is rare when technical perfection combines with great emotional depth. As evidenced on this recording, Mr. Mahogany clearly possesses both. Kevin skillfully utilizes the full spectrum of his voice, from the deep, rich quality of his baritone to the bell tone quality of his upper range. Regarding his ability to "tell the story" of each song, he reminds me in many ways of Carmen McRae, who in my opinion, was the master of internalizing a lyric so that a song would seem to rise from the deepest part of her soul. Pianist Bob James is in great form, revealing here that he is indeed one of the very finest vocal accompanists. In addition, his creative arrangements of these songs provide just the right contemporary spin to some of the older standards. I especially enjoyed the Latin treatment given to "Everything I Have Is Yours." Bassist Charles Fambrough plays with real flair, providing a lilting, dancing quality on even the slowest tempos. Drummer Billy Kilson plays with a quiet intensity that consistently provides just the right touch. In particular, his skillful brush work is very impressive. Each of the featured tenor saxophonists deliver great solos throughout. Kirk Whalum performs on four of the tracks, and I especially liked his work on "My Romance" in which the saxophonist and Kevin are showcased in a duo setting during the opening chorus. Michael Brecker performs on two selections, delivering slow burn solos on "May I Come In?" and the bluesy "I Know That You Know." Each time I listened to this recording, my admiration for these great artists only grew as I savored the subtleties and nuances of each song. For many years to come, I know that I will continue to listen to this recording time and time again, each time discovering something new contained within. For me, that's pretty much the definition of a classic recording. I can't imagine not having this album in my collection now. It's a keeper, folks. -- Doug Tatum Paul Hofmann A CHILD IS BORN "Jazz ballads and lullabyes" MHR Records CD-08 Personnel: Paul Hofmann, piano; Mike Metheny, flugelhorn, cornet, EVI (tracks 2, 7, 11); Charles Perkins, flute (tracks 5, 9, 14) Tracks: Sarah's Lullabye, Mahogany, A Blessing So Rare, Infant Dreams, A Child Is Born, Protector of a Heart That Is New, The Wonder That You Are, Melody For Megan, Ian and Justin, Over the Rainbow, With a Thankful Heart, Love and Compassion, Retrospection, Kindhearted Soul, Everything So New Recorded digitally, June 19, 21, December 10, 1996, July 23, 1997 at Soundtrek Studio, Kansas City, MO; Ron Ubel, engineer. It was a windy, wintry night. The snow was five inches and counting. The town was shut down and not a creature was stirring. We lit a fire, poured some wine, opened the blinds to watch the snow blanket the earth, and put on Paul Hofmann's new CD, A Child Is Born. It was a perfect fit. Inspired by the birth of his daughter, Sarah, this recording is all ballads and lullabies. Nine of the fifteen tracks are solo piano pieces and all but three ("A Child Is Born" by Thad Jones and Alec Wilder, "Over the Rainbow" by Harold Arlen and E.Y. Harburg, and "Retrospection" by Duke Ellington) are Hofmann originals. The music is indeed soothing and contemplative, and continues what is becoming a Hofmann tradition of deeply personal themes in his compositions. As with an earlier album, There With A Smile, for example, many of the cuts here are dedicated to or written about family members. Don't confuse "soothing" with "numbing," however. These are first class, virtuoso piano pieces that merit an attentive ear. And, while each has its own personality, as a whole they form a seamless tapestry. The beautiful contributions of Charles Perkins' flute and Mike Metheny's EVI and muted cornet subtly smooth the edges of the piano notes, adding depth and roundness to the sound. The music, particularly on the duets, is enchanting. Soothe you they may; numb you never. Accurately subtitled "Jazz ballads and lullabyes," Hofmann displays the breadth of those categories. Indeed there are some surprises on the album. "Kindhearted Soul," while a ballad, features Latin rhythms. "Retrospection," an underappreciated Ellington composition, offers occasional angular harmonics. "Ian And Justin" is a blues, with an enticingly funky flute by Charles Perkins. "Everything So New," which closes the album, allows Hofmann, in his words, to play "more 'freely' so as to bring the recording to a gentle conclusion." And that it does. "Although there have been a number of albums in this vein," Hofmann writes in his liner notes, "my hope is that 'A Child Is Born' proves to be uniquely soothing -- not only to new parents and their infants but to all listeners! May this collection of lullabyes bring you many hours of rewarding listening." It certainly did me, during the last snowstorm of the winter. The better news is that A Child Is Born offers songs for all seasons. -- Gregg Ottinger Max Groove SOLO Max Groove Music #1201 Personnel: Max Groove, solo piano Tracks: Old Friends, If I Could Love Again, Echoes of Yesterday, Agua frio, Yesterday's Goodbye, Simple Song, Catamarca, You're My Baby, And Then There's That, Long Time Ago Recorded at the Community Christian Church, Kansas City, MO. Ever had a professional piano player give you a private concert? Right in your own living room? That's what keyboard man and album producer Max Groove offers on his latest release, Solo. A Kansas City native, Max Groove, has been a recording engineer since 1975. He has also released eight albums as a leader and produced a dozen more, including two by KC trumpeter Pat Morrissey. After all these years, however, Max had never gotten around to recording a solo project, that is until Doug Sax, owner of Sheffield Lab Records, suggested a departure from Max's customary group projects. With encouragement from his wife, Sandy, Max went to work. To prepare for this solo CD, and with the plan of recording in a room with the most natural ambiance, Max tested the pianos in various churches around Kansas City. Once he discovered the Steinway B concert grand at the Community Christian Church on Main, it was then just a matter of laying down the tracks (between midnight and sunrise, to minimize outside street noise). Max's compositions never disappoint. "Agua frio," which comes from a previous group release of the same name, works just as well as a solo piece as it does for full ensemble. And "Old Friends" has a catchy hook that you'll have a hard time getting out of your head. "Simple Song" is anything but; "Catamarca" may remind you of a Celestial Navigation's CD by Geoffrey Lewis, and "If I Could Love Again" showcases Max's classical side. The recording quality of this CD is also noteworthy. It's clean and crisp, not manipulated in any way, and not augmented in the mastering process. I must confess, solo piano is normally not my cup of tea. In fact, the first time I listened to Solo, much of it went right on by me. But then I sat down without distraction, really gave it a listen and was impressed. "This was a real labor of love," Max told me. "I don't care if it gets any airplay or sells." In other words, the music was the main motivation for this album. If, as a follower of the Max Groove sound, you've always wanted to hear more of Max's individual playing, then you will be motivated to track down this CD. Max Groove is a lot like George Brett, who, early on, was better known for his hitting than his fielding. Brett worked hard on the latter and eventually won a Gold Glove. Max, too, could not have pulled off this project earlier in his career. But now, he's released a Gold Glove album. -- Jeff Charney Dmitri Matheny STARLIGHT CAFE' Monarch Records (MR-1018) Personnel: Dmitri Matheny, flugelhorn; Darrell Grant, piano; Bill Douglass, bass Tracks: Stardust, When Lights Are Low, Twilight World, Spring Skylight, Whisper Muse, Geneva, Soca Nova, Corcovado, Saturn's Child, When You Wish Upon a Star Recorded live on March 29, 1998 at La Note Cafe', Berkeley, CA; Brian Walker, engineer. At last. Another jazz musician who gets to answer the question, "Are you related to Pat?" "But seriously... I don't think there's any direct relation here. Grandad Harrison Metheny (1887-1980) used to tell brother Pat and I that the different spellings came out of some Civil War split (a James Matheny was Lincoln's best man), so, it's probably safe to say we are distant cousins at best. Still, on a personal level, it's always interesting to learn of other musical chromosomes that have popped up in the extended family. I remember first hearing about Dmitri Matheny during the tail end of my Boston years (1976-89) when he was a student at Berklee (he graduated magna cum laude in '89). In the years since, he has blossomed into a wonderful trumpet player as has been documented on two prior Monarch releases, Red Reflections and Penumbra. On this his third CD as a leader, Dmitri displays the kind of flugelhorn sound that has inspired this Metheny to start spending an extra hour each day in the woodshed. It's as gorgeous and soulful as a sumptuous full moon on a breezy summer night. And that's not to mention a level of technique and fluidity that will probably end up adding another hour to this admirer's new regimen. It's also fun to try to spot the influences. Because Starlight Cafe' is mostly an evocative, late night session with drummerless accompaniment, Dmitri's lyrical side is almost always the center of attention. When it is, Jack Sheldon immediately comes to mind. But there's also a dash of Chet, a little Bobby Shew, and some Tom Harrell. It's an amalgam that makes for a single new and refreshing voice. The fare on Starlight Cafe' is a straight ahead assortment of originals and recognizable standards ("Corcovado," "Stardust," "When Lights Are Low"), all of which are played with great lyricism and group empathy. In pianist Darrell Grant and bassist Bill Douglass, Dmitri Matheny has found the perfect backup for this kind of date; after all, playing a whole gig without a drummer takes a special kind of musicianship. This threesome pulls it off brilliantly. This is excellent music from three very talented artists. And it offers additional proof that, at 33, Dmitri Matheny is clearly poised to become one of the jazz world's next important trumpet/flugelhorn players. A big thumbs up from this distant cousin in KC. -- Mike Metheny This review originally appeared on the CompuServe Jazz Beat Forum and 52nd Street Jazz (www.52ndstreet.com) on the Web. RETURN TO APRIL/MAY 1999 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.