JAM Magazine: June/July 1999 Issue: For the Record

Phil DeGreg
THE GREEN GATE
J Seven Records J7998

Personnel: Phil DeGreg, piano; Drew Gress, bass; Steve Davis, drums; Tim Ries, tenor and soprano saxes

Tracks: Bouncin' With Bud, How Deep is the Ocean?, The Green Gate, Smile, Carol's Waltz, Hi-Fly, In Pursuit of Hip, The Fast Break, Close Enough for Love, Sweet Georgie Fame, Urgency

Recorded Sept. 3-4, 1997 at Steve Davis Studios, Cincinnati, OH; Steve Davis, engineer.

Phil DeGreg is a pianist with a fine technique whose music always swings. Kansas Citians may remember him as the Emporia State grad student who won the Women's Jazz Festival "H&R Block Scholarship" two years running (1979-80.) Now an Associate Professor of Jazz Studies at the University of Cincinnati Conservatory, he is a busy clinician and performer.

In 1996 Phil released an excellent trio recording, Table for Three (reviewed in JAM, April/May '97), and his new disc The Green Gate documents the continuing evolution of his trio and quartet conceptions. The music DeGreg makes in these small groups has an Apollonian quality: its surging power and energy is always controlled within well-balanced structures.

Jazz musicians make statements in how they play "standards," the common practice songs from the canon of American Popular Song composers such as Irving Berlin or from the pens of famous jazz players such as Bud Powell. DeGreg's settings of standards, whether simple or complex, are always interesting and always flow; if the expected duration of a section is shortened or lengthened, it is done with subtlety so that the alterations are seamless and organic.

The opening track (the bebop standard "Bouncin' with Bud") bears several of DeGreg's rather ingenious arranging touches. The original symmetric AABA form, built in four eight-measure sections, becomes asymmetric: a Latin-tinged tag intro stretches out over twelve measures; an off-beat bass line counters the first melody phrases of the first "A" section, which is extended an extra measure; the second "A" section is the usual duration but is followed by a composed two-and-one-half measure interlude which builds explosive tension into the bridge... which is seven measures instead of eight! This is very imaginative and skillful arranging.

Phil DeGreg has distilled the principal innovations and styles (Peterson, Corea, Evans, Tyner, Gene Harris) into his personal outlook. But the four original compositions on the recording reveal that he is also a gifted jazz composer.

In the title track, DeGreg's "The Green Gate," an ostinato figure building over repeated chords yields to a beguiling melody with surprising harmonic shifts and impressive chamber-music-like orchestral contrasts. Of the other three originals: "Carol's Waltz" is tender, poignant and thoughtful; the burning "Fast Break" and "Urgency" are reminiscent of the classic Blue Note aesthetic evinced in the recordings of Joe Henderson and McCoy Tyner.

Tim Ries contributes fine tenor and soprano sax work on five tracks. Drummer Steve Davis plays with extraordinary sensitivity and fire, and bassist Drew Gress imparts a synchronous, sympathetic drive and a burnished tone. Davis also served as recording engineer: credit to him for the brilliant sonic finish attained.

-- Rich Hill

Wayne Hawkins
TRIO: VOLUME 2
Hawkins Productions
CD-171999-2

Personnel: Wayne Hawkins, piano; Bob Bowman, bass; Todd Strait, drums

Tracks: Peri's Scope, The Meaning of the Blues, I Hear a Rhapsody, A Time For Love, My Man Is Gone, Everything I Love, Ergo, We Kiss in a Shadow, Theme from Ninth Street, Windows, Happy Returns

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

The simplistic title belies the treasure within; Trio: Volume 2 is a thoughtful, well-paced followup featuring the collaborative efforts of Wayne Hawkins, Bob Bowman and Todd Strait. And, while we may be encouraged to think/hear collectively rather than objectify a particular player, there are plenty of places for each to shine, e.g. opener "Peri's Scope," which almost immediately dissolves into a cappella chorus trading.

Bowman's flawless pizzicato introduces several selections -- the plaintive head of Bobby Troup's oft-forgotten "The Meaning of the Blues," "My Man's Gone Now" (at perfect jazz waltz tempo), "We Kiss in a Shadow," and his own composition, thematically titled "Many Happy Returns," wherein fingers (everyone's) fly and lower case ideas abound. Articulate as ever, what more can be said about Bob's string of consciousness?

Hawkins' fresh piano voicings infuse "I Hear a Rhapsody," his quasi-classical choruses literally chime throughout "We Kiss in a Shadow," a softer, gentler stroke explores the peripatetic "Theme for 9th Street" (Wayne scored this for the movie), and he plays a dandy game of hide-and-seek with the changes of Chick Corea's "Windows." What I most appreciate throughout this recording, however, is his keen sense (and use) of dynamics.

Todd Strait, a.k.a. The Meter Man, should be on-call to all Intensive Care Units. A body just can't remain in repose within earshot of his imaginative rhythmic narrative. He almost (inadvertently) steals the aforementioned "Blues" vis a vis some superlative stick work; there are moments of nearly palpable restraint. Ditto for "A Time For Love," the pulse of which synthesizes every sensual strain. You'll love his solos, too. If they'd photographed "Happy Returns," his hands/arms would have reflected the blades of a high speed fan.

Individual virtuosity notwithstanding, equanimity prevails and there are many fine small ensemble arrangements to be heard. Personal favorites include the scherzo-phrenic take on Cole Porter's "Everything I Love," a laid back but unrelentingly intense "Ergo" (Danny Embrey's original), and "My Man's Gone Now," still one of the most beautiful songs ever penned (and, in this volume, played).

It's refreshing to hear the musician(s) serve the music rather than attempting the reverse, as is often the case. We're lucky these three call Kansas City home. Purchase this post haste, listen, and count your blessings.

-- Carol Comer

Rick Holland
POSITIVE SETTINGS
Cadence Jazz Records
CJR 1096

Personnel: Rick Holland, trumpet, flugelhorn; Terry Lower, Larry Novak, piano; Ed Fedewa, Thomas Knific, bass; Larry Ochiltree, drums

Tracks: Beautiful Love, The Touch of Your Lips, Back Booth, Lush Life, Time to Whine, M.J. Waltz, Lazyology, My Foolish Heart, Sobwena

Recorded March 12 and April 2, 1998 at Audio Production Service, Kalamazoo, MI; John Stites, engineer.

One of the rewards of teaching is discovering years later that a one-time student has blossomed into an outstanding professional player. (Caution: objectivity shortage ahead.)

When Rick Holland was a student of mine at Berklee in the early '80s, he was already well on his way to becoming a fine jazz trumpeter. The teacher was frequently the student, as I still recall. Now, with a second solo album under his belt (There Will Never Be Another You, also on Cadence, was a solid debut effort), Rick is poised to gain some well-deserved national recognition.

The song list here is straight-ahead, solid-as-a-rock, makin'-the-changes jazz. There are classics like "Beautiful Love," "The Touch of Your Lips," "Lush Life" and "My Foolish Heart" mixed with well-constructed originals by pianist Terry Lower ("Back Booth" and "Lazyology" are standouts), each giving Rick Holland excellent vehicles to showcase a blend of lyricism and technique rooted in the Chet Baker school.

The supporting cast on Positive Settings is also noteworthy. Lower and Larry Novak on piano, Ed Fedewa and Thomas Knific on bass and Larry Ochiltree on drums are all first rate players perfectly suited for this recording. (Lower, Fedewa and Ochiltree can be heard on ...Another You.)

Mostly though, this is an impressive musical statement from a trumpeter who, after just two fine CDs, is on the brink of good things.

The teacher is now the student, indeed.

-- Mike Metheny

Frank Mantooth Jazz Orchestra
A MIRACLE
Seabreeze SB-2094

Personnel includes: Mike Smith, Jim Massoth, Howie Smith, Kim Park, alto sax; Steve Eisen, Mark Colby, Pete Christlieb, Pat LaBarbara, tenor sax; Jerry DiMuzio, Scott Robinson, bari saxes; Danny Barber, Kirk Garrison, Rob Parton, Art Davis, Bobby Shew, Pete Olstad, trumpet; Tom Garling, Mark Bettcher, Mike Young, Tom Matta, David Steinmeyer, Paul McKee, trombones; Larry Harris, piano/synths; John McLean, Danny Embrey, guitar; Larry Kohut, Lou Fischer, bass; Phil Gratteau, Ray Brinker, drums; Kevin Mahogany, Diane Schuur, vocals; various strings, percussion and winds; all arrangements by Frank Mantooth (except "Guaruja'" and "Limehouse Blues")

Tracks: A Miracle, Wichita Lineman, Guaruja', Three Little Words, Beyond the Sea, One For Monterey, Dreamsville, Thou Swell, I'll Never Stop Loving You, Limehouse Blues

Recorded at Tone Zone Studio, Chicago, IL; additional recordings at Soundtrek Studio, Kansas City, MO and London Bridge Studio, Seattle, Washington; engineers: Freddie Breitberg (Tone Zone), Ron Ubel (Soundtrek), John Plum (London Bridge).

Frank Mantooth is one of the finest arrangers around. And fortunately for those of us who enjoy big band music, he is one of the most prolific. Eight of this CD's ten tracks have been arranged by Mantooth.

The title track, "A Miracle," wastes no time demonstrating the ability of both these arrangements and this band to swing. (Listen to Diane Schuur and KC's Kevin Mahogany as they trade scatted fours.)

Next is the beautiful ballad (and '60s classic), "Wichita Lineman," with the lead covered by trombonist David Steinmeyer.

"Guaruja," composed by Randy Brecker, begins as a ballad (featuring Kirk Garrison on trumpet) before moving on to a lazy swing with Larry Harris soloing on piano.

"Three Little Words," by Kevin Mahogany and former Kansas Citian Paul Hofmann, is a relaxed Latin ballad sung by Mahogany. Pat LaBarbara on tenor saxophone and Paul McKee on trombone are additional soloists.

One of the more unusual arrangements on this CD is "Beyond The Sea." The entire ensemble alternates with various soloists, duos and threesomes, and notable performances come from Howie Smith on alto and Art Davis on trumpet.

"One For Monterey" is a waltz which begins with vocalist Schuur before moving on to Mike Smith on alto and back to Schuur for the close.

"Dreamsville" is another lovely ballad that begins with the broad, lush sound of the full big band. Solos are by Smith again on alto, Bobby Shew on trumpet, and David Steinmeyer on trombone.

"Thou Swell" lets you know -- with a bang -- that ballad time is now over. The tempos are mixed, each swinging hard, the soloists are Pete Christlieb on tenor an Shew on trumpet.

Back to another sumptuous ballad, the standard (arranged by Mantooth), "I'll Never Stop Loving You." Again, the vocal stylings of Kevin Mahogany are featured, and the arrangement stands alone as the one on which orchestral instruments are used instead of traditional big band horns. Art Davis solos on flugelhorn.

"Limehouse Blues," arranged by Matt Harris, makes wonderful use of the entire ensemble as well as soloists Danny Embrey on guitar, Bobby Shew on trumpet and Kim Park on alto saxophone.

A Miracle showcases a great band and tight, well-played ensemble work, and it includes some of the finest jazz soloists alive. Frank Mantooth shows once again that he can make the most of all aspects of such a group, from one or two musicians to 20 at a time.

If you enjoy big band music, this is another excellent album for your collection. It is highly recommended.

-- Jerry Landsbaum

RETURN TO JUNE 1999 MAIN INDEX

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






	Search our site:		Phil DeGreg THE GREEN GATE J Seven Records J7998 Personnel: Phil DeGreg, piano; Drew Gress, bass; Steve Davis, drums; Tim Ries, tenor and soprano saxes Tracks: Bouncin' With Bud, How Deep is the Ocean?, The Green Gate, Smile, Carol's Waltz, Hi-Fly, In Pursuit of Hip, The Fast Break, Close Enough for Love, Sweet Georgie Fame, Urgency Recorded Sept. 3-4, 1997 at Steve Davis Studios, Cincinnati, OH; Steve Davis, engineer. Phil DeGreg is a pianist with a fine technique whose music always swings. Kansas Citians may remember him as the Emporia State grad student who won the Women's Jazz Festival "H&R Block Scholarship" two years running (1979-80.) Now an Associate Professor of Jazz Studies at the University of Cincinnati Conservatory, he is a busy clinician and performer. In 1996 Phil released an excellent trio recording, Table for Three (reviewed in JAM, April/May '97), and his new disc The Green Gate documents the continuing evolution of his trio and quartet conceptions. The music DeGreg makes in these small groups has an Apollonian quality: its surging power and energy is always controlled within well-balanced structures. Jazz musicians make statements in how they play "standards," the common practice songs from the canon of American Popular Song composers such as Irving Berlin or from the pens of famous jazz players such as Bud Powell. DeGreg's settings of standards, whether simple or complex, are always interesting and always flow; if the expected duration of a section is shortened or lengthened, it is done with subtlety so that the alterations are seamless and organic. The opening track (the bebop standard "Bouncin' with Bud") bears several of DeGreg's rather ingenious arranging touches. The original symmetric AABA form, built in four eight-measure sections, becomes asymmetric: a Latin-tinged tag intro stretches out over twelve measures; an off-beat bass line counters the first melody phrases of the first "A" section, which is extended an extra measure; the second "A" section is the usual duration but is followed by a composed two-and-one-half measure interlude which builds explosive tension into the bridge... which is seven measures instead of eight! This is very imaginative and skillful arranging. Phil DeGreg has distilled the principal innovations and styles (Peterson, Corea, Evans, Tyner, Gene Harris) into his personal outlook. But the four original compositions on the recording reveal that he is also a gifted jazz composer. In the title track, DeGreg's "The Green Gate," an ostinato figure building over repeated chords yields to a beguiling melody with surprising harmonic shifts and impressive chamber-music-like orchestral contrasts. Of the other three originals: "Carol's Waltz" is tender, poignant and thoughtful; the burning "Fast Break" and "Urgency" are reminiscent of the classic Blue Note aesthetic evinced in the recordings of Joe Henderson and McCoy Tyner. Tim Ries contributes fine tenor and soprano sax work on five tracks. Drummer Steve Davis plays with extraordinary sensitivity and fire, and bassist Drew Gress imparts a synchronous, sympathetic drive and a burnished tone. Davis also served as recording engineer: credit to him for the brilliant sonic finish attained. -- Rich Hill Wayne Hawkins TRIO: VOLUME 2 Hawkins Productions CD-171999-2 Personnel: Wayne Hawkins, piano; Bob Bowman, bass; Todd Strait, drums Tracks: Peri's Scope, The Meaning of the Blues, I Hear a Rhapsody, A Time For Love, My Man Is Gone, Everything I Love, Ergo, We Kiss in a Shadow, Theme from Ninth Street, Windows, Happy Returns Recorded at BRC Audio Productions, Kansas City, MO; Bill Crain, engineer. The simplistic title belies the treasure within; Trio: Volume 2 is a thoughtful, well-paced followup featuring the collaborative efforts of Wayne Hawkins, Bob Bowman and Todd Strait. And, while we may be encouraged to think/hear collectively rather than objectify a particular player, there are plenty of places for each to shine, e.g. opener "Peri's Scope," which almost immediately dissolves into a cappella chorus trading. Bowman's flawless pizzicato introduces several selections -- the plaintive head of Bobby Troup's oft-forgotten "The Meaning of the Blues," "My Man's Gone Now" (at perfect jazz waltz tempo), "We Kiss in a Shadow," and his own composition, thematically titled "Many Happy Returns," wherein fingers (everyone's) fly and lower case ideas abound. Articulate as ever, what more can be said about Bob's string of consciousness? Hawkins' fresh piano voicings infuse "I Hear a Rhapsody," his quasi-classical choruses literally chime throughout "We Kiss in a Shadow," a softer, gentler stroke explores the peripatetic "Theme for 9th Street" (Wayne scored this for the movie), and he plays a dandy game of hide-and-seek with the changes of Chick Corea's "Windows." What I most appreciate throughout this recording, however, is his keen sense (and use) of dynamics. Todd Strait, a.k.a. The Meter Man, should be on-call to all Intensive Care Units. A body just can't remain in repose within earshot of his imaginative rhythmic narrative. He almost (inadvertently) steals the aforementioned "Blues" vis a vis some superlative stick work; there are moments of nearly palpable restraint. Ditto for "A Time For Love," the pulse of which synthesizes every sensual strain. You'll love his solos, too. If they'd photographed "Happy Returns," his hands/arms would have reflected the blades of a high speed fan. Individual virtuosity notwithstanding, equanimity prevails and there are many fine small ensemble arrangements to be heard. Personal favorites include the scherzo-phrenic take on Cole Porter's "Everything I Love," a laid back but unrelentingly intense "Ergo" (Danny Embrey's original), and "My Man's Gone Now," still one of the most beautiful songs ever penned (and, in this volume, played). It's refreshing to hear the musician(s) serve the music rather than attempting the reverse, as is often the case. We're lucky these three call Kansas City home. Purchase this post haste, listen, and count your blessings. -- Carol Comer Rick Holland POSITIVE SETTINGS Cadence Jazz Records CJR 1096 Personnel: Rick Holland, trumpet, flugelhorn; Terry Lower, Larry Novak, piano; Ed Fedewa, Thomas Knific, bass; Larry Ochiltree, drums Tracks: Beautiful Love, The Touch of Your Lips, Back Booth, Lush Life, Time to Whine, M.J. Waltz, Lazyology, My Foolish Heart, Sobwena Recorded March 12 and April 2, 1998 at Audio Production Service, Kalamazoo, MI; John Stites, engineer. One of the rewards of teaching is discovering years later that a one-time student has blossomed into an outstanding professional player. (Caution: objectivity shortage ahead.) When Rick Holland was a student of mine at Berklee in the early '80s, he was already well on his way to becoming a fine jazz trumpeter. The teacher was frequently the student, as I still recall. Now, with a second solo album under his belt (There Will Never Be Another You, also on Cadence, was a solid debut effort), Rick is poised to gain some well-deserved national recognition. The song list here is straight-ahead, solid-as-a-rock, makin'-the-changes jazz. There are classics like "Beautiful Love," "The Touch of Your Lips," "Lush Life" and "My Foolish Heart" mixed with well-constructed originals by pianist Terry Lower ("Back Booth" and "Lazyology" are standouts), each giving Rick Holland excellent vehicles to showcase a blend of lyricism and technique rooted in the Chet Baker school. The supporting cast on Positive Settings is also noteworthy. Lower and Larry Novak on piano, Ed Fedewa and Thomas Knific on bass and Larry Ochiltree on drums are all first rate players perfectly suited for this recording. (Lower, Fedewa and Ochiltree can be heard on ...Another You.) Mostly though, this is an impressive musical statement from a trumpeter who, after just two fine CDs, is on the brink of good things. The teacher is now the student, indeed. -- Mike Metheny Frank Mantooth Jazz Orchestra A MIRACLE Seabreeze SB-2094 Personnel includes: Mike Smith, Jim Massoth, Howie Smith, Kim Park, alto sax; Steve Eisen, Mark Colby, Pete Christlieb, Pat LaBarbara, tenor sax; Jerry DiMuzio, Scott Robinson, bari saxes; Danny Barber, Kirk Garrison, Rob Parton, Art Davis, Bobby Shew, Pete Olstad, trumpet; Tom Garling, Mark Bettcher, Mike Young, Tom Matta, David Steinmeyer, Paul McKee, trombones; Larry Harris, piano/synths; John McLean, Danny Embrey, guitar; Larry Kohut, Lou Fischer, bass; Phil Gratteau, Ray Brinker, drums; Kevin Mahogany, Diane Schuur, vocals; various strings, percussion and winds; all arrangements by Frank Mantooth (except "Guaruja'" and "Limehouse Blues") Tracks: A Miracle, Wichita Lineman, Guaruja', Three Little Words, Beyond the Sea, One For Monterey, Dreamsville, Thou Swell, I'll Never Stop Loving You, Limehouse Blues Recorded at Tone Zone Studio, Chicago, IL; additional recordings at Soundtrek Studio, Kansas City, MO and London Bridge Studio, Seattle, Washington; engineers: Freddie Breitberg (Tone Zone), Ron Ubel (Soundtrek), John Plum (London Bridge). Frank Mantooth is one of the finest arrangers around. And fortunately for those of us who enjoy big band music, he is one of the most prolific. Eight of this CD's ten tracks have been arranged by Mantooth. The title track, "A Miracle," wastes no time demonstrating the ability of both these arrangements and this band to swing. (Listen to Diane Schuur and KC's Kevin Mahogany as they trade scatted fours.) Next is the beautiful ballad (and '60s classic), "Wichita Lineman," with the lead covered by trombonist David Steinmeyer. "Guaruja," composed by Randy Brecker, begins as a ballad (featuring Kirk Garrison on trumpet) before moving on to a lazy swing with Larry Harris soloing on piano. "Three Little Words," by Kevin Mahogany and former Kansas Citian Paul Hofmann, is a relaxed Latin ballad sung by Mahogany. Pat LaBarbara on tenor saxophone and Paul McKee on trombone are additional soloists. One of the more unusual arrangements on this CD is "Beyond The Sea." The entire ensemble alternates with various soloists, duos and threesomes, and notable performances come from Howie Smith on alto and Art Davis on trumpet. "One For Monterey" is a waltz which begins with vocalist Schuur before moving on to Mike Smith on alto and back to Schuur for the close. "Dreamsville" is another lovely ballad that begins with the broad, lush sound of the full big band. Solos are by Smith again on alto, Bobby Shew on trumpet, and David Steinmeyer on trombone. "Thou Swell" lets you know -- with a bang -- that ballad time is now over. The tempos are mixed, each swinging hard, the soloists are Pete Christlieb on tenor an Shew on trumpet. Back to another sumptuous ballad, the standard (arranged by Mantooth), "I'll Never Stop Loving You." Again, the vocal stylings of Kevin Mahogany are featured, and the arrangement stands alone as the one on which orchestral instruments are used instead of traditional big band horns. Art Davis solos on flugelhorn. "Limehouse Blues," arranged by Matt Harris, makes wonderful use of the entire ensemble as well as soloists Danny Embrey on guitar, Bobby Shew on trumpet and Kim Park on alto saxophone. A Miracle showcases a great band and tight, well-played ensemble work, and it includes some of the finest jazz soloists alive. Frank Mantooth shows once again that he can make the most of all aspects of such a group, from one or two musicians to 20 at a time. If you enjoy big band music, this is another excellent album for your collection. It is highly recommended. -- Jerry Landsbaum RETURN TO JUNE 1999 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.