Vince Bilardo
VIVA BILARDO
Viva Records

Personnel: Vince Bilardo, leader, drums, percussion; Joe Cartwright, piano; Gerald Spaits, bass; Kim Park, soprano/alto/tenor saxes; Lloyd Schad, vocals; Charles Perkins, alto sax, flute; Jim Vandel, alto sax, flute; Don Flint, tenor sax, flute; Greg Briggs, tenor sax, flute; Kerry Strayer, bari sax, bass clarinet; Jay Sollenberger, Steve Molloy, Bob Harvey, Barry Springer, trumpets; Rich Coble, Steve Dekker, Bill Drybread, Bob Koester, trombones

Tracks: Invincible Stomp; Watch What Happens; Satin Doll; Triste; The Best Is Yet To Come; Just Plain Meyer; The Days of Wine and Roses; I'm Getting Sentimental Over You; What Is This Thing Called Love; Meditation; You and the Night and the Music; Viva Bilardo

Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

It doesn't seem like 40 years ago that I made my first trip to Kansas City. It was an unforgettable day in October of 1961 when I came in from Junction City, Kansas to have some repairs made on my bass. While my chaperone (my mother) and I waited for the glue to dry, the first memorable incident occurred when President Kennedy announced a troop call-up due to the Berlin Crisis. (And I was nearing draft age! Whew!)

As evening approached, the repairman suggested we have dinner and come back just before closing. He recommended Pusaleri's New Yorker downtown where my mother talked the management into "letting my son come in to hear the music..." -- something that was totally out of character for her.

I'll never forget the great piano player (Pete Eye). And it was the first time I had ever seen a "baby bass" (played by Gus Moran). But the thing that marked this trip more than anything else was the fabulous brush work of the guy on drums. It was that special thing he did with triplets on medium tempo tunes that really got me.

Fifteen years later I had become a KC resident, and while walking through the shops at Crown Center one day, I heard those same triplets. "There could only be one person who does that so precisely and consistently," I thought. That's right; in both cases, it was Vince Bilardo.

Viva Bilardo is all about the long and brilliant career of a man who sits behind the drums or fronts a band with equal precision, consistency and grace. There are trio settings much like what I heard 40 years ago (occasionally expanded with guest artist Kim Park), plus the large sounds of a 17-piece big band. (Singer Lloyd Schad is in true Sinatra-like form on "The Best Is Yet To Come.")

Another integral part of this album are the liner notes written by Bilardo himself. On these eight pages Vince tells the complete story of this CD, and he presents a brief pictorial history, from his early days as an Army drummer while stationed at Ft. Riley, KS, up to the present. There are also his vivid and accurate descriptions of each selection -- something he does so well I won't attempt it here. But I will share some personal highlights:

"Invincible Stomp" -- Up-tempo big band that will be enjoyed by the many listeners and dancers who have followed Vince and his crew all these years.

Kerry Strayer's arrangement of "Satin Doll" -- a good choice for this session. Solid and somewhat Basie-like, it builds to a mountainous peak, drops back to a suave bass solo (Gerald Spaits), then concludes with a soft and gentle exit.

"Triste" -- This is one of the small group tracks and it features one hell of a soprano sax solo by Kim Park. Jobim would smile.

"The Days of Wine and Roses" -- Introduced with a "Killer Joe" vamp by Vince, Joe and Gerald, this is my favorite track on the album. You guessed it: there are those triplets again from Vince! This one is worth the price of the CD.

And "Viva Bilardo" -- This tune, commissioned by Warren Durrett in 1966, is the perfect title track and final cut. It proves that Vince (The Invincible) can still handle the tough charts and do so with a style and class worthy of your bucks.

Viva Bilardo is a look back at a career than spans more than 40 years of Kansas City jazz. It also takes a good look at KC jazz at its best in 2001. It's wonderful how things come together.

-- Dean Hampton

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Sherry Jones/Mike Ning
SONGBIRD
Ning Dynasty 006

Personnel: Sherry Jones, vocals; Mike Ning, piano & keyboards; Timothy Ning, vocal ("Twinkle, Twinkle, Little Star")

Tracks: Songbird/A Nightingale in Berkeley Square; On My Way to You; The Best Gift/Jenny Rebecca; Twinkle, Twinkle, Little Star/When You Wish Upon a Star; Bein' Green; Never Never Land/My Ship; Send In the Clowns; Isn't It a Pity; I Dreamed of You; For All We Know/You'll Never Know; With Every Breath I Take; Blackberry Winter/ Summer Me, Winter Me; You Must Believe In Spring/Spring Can Really Hang You Up the Most; Something Cool; Wet; Happy Days Are Here Again

Recorded June 16 & 30, 2001 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Let's talk about standards, as in American popular songs that have become part of the great repertoire upon which jazz artists draw. Jazz wouldn't be anywhere near as rich as it is were it not for this great storehouse. And that's not to mention the many wonderful songs that would be long dead (and their great composers forgotten) had jazz people not hunted them down and either kept them alive or midwifed them back into existence. It has been a great marriage.

To this reviewer's mind, there are three basic categories of standard songs: high-profile, medium-profile, and low-profile. The quality is about the same throughout; it's just a matter of what is most often heard. The high-profiles are obvious, i.e. the works of George and Ira Gershwin, Rodgers and Hart, Cole Porter, Harold Arlen, Irving Berlin, Jerome Kern and others. But even here, there may be some medium, low, and no-profile pieces waiting to be elevated.

On Songbird Mike Ning and spouse Sherry Jones (with one assist from son Timothy) have produced a standards album that includes selections from all three categories. High-profile: Kurt Weil and Ira Gershwin's "My Ship," Sam Lewis and Fred Coots' "For All We Know." Medium-profile: "Isn't It a Pity" by George and Ira, Stephen Sondheim's "Send In the Clowns." Low-profile: Loonis McGlohon's "Songbird," and Marilyn and Alan Bergman's "You Must Believe In Spring."

It seems to me that writers like the Bergmans and McGlohon could easily be up there with the Porters and Kerns. But it is their misfortune that they came along too late, and after the start of rock. On the brighter side, great material like theirs has helped keep the voracious rock machine from completely shredding the Great American Songbook.

As to the performers on this recording: Mike Ning is a Bill Evans-influenced jazz pianist, and Sherry Jones is a Streisand-influenced singer. They have been working together for a long time, and their mutual comfort is obvious.

-- Bill Fogarty

This CD is available in a limited quantity. For purchasing information, call 816-436-0318.

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The Leonard Bros.
A SIMPLER TIME
Jaggg Records

Personnel: Garry Leonard, drums; Gerry Leonard, bass; Paul Smith, piano, synthesizer; Danny Embrey, guitar; Gary Helm, Latin percussion; Jay Sollenberger, trumpet; the Winnetonka High School Strings (on "Wave")

Tracks: It Could Happen To You; Wave/The Girl From Ipanema; The Nearness of You; Don't Get Around Much Anymore; Corcovado (Quiet Nights and Quiet Stars); Just In Time; Embraceable You; Little Boat; Shiny Stockings; If You Never Come To Me

Recorded April 28, May 23, July 1, 2001 at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

The CD's cover isn't bright and colorful, with its sepia-toned photograph of a foggy day in Kansas City. The band is indicated simply as "The Leonard Brothers," and the back cover lists nearly a dozen standards. But, that could mean anything, too. (Keith Jarrett has recorded standards, but in a rather different way than, say, J.J. Johnson.) What's inside, however, is a fantasy of in-the-pocket straightahead jazz.

The brothers are Garry and Gerry Leonard, drummer and bassist respectively, whose resumes include stints with Alan Broadbent, Frank Smith, Richard Ross and Joe Cartwright. To fill out the band, the Leonards brought in guitarist Danny Embrey, pianist Paul Smith, trumpeter Jay Sollenberger and percussionist Gary Helm.

The finesse and skill of everyone on board is evident from the first notes of "It Could Happen To You" through the final chord of "If You Never Come to Me." Everything here, including easy swing, medium-up bebop, and liquid Latin lines, is a marriage of virtuosity and restraint. If the term Smooth Jazz hadn't been taken by an anemic variant of instrumental pop music, this album could aptly be described as such. It's impossible to listen without being carried into the groove as Garry and Gerry lay down an unobstructive foundation for the interplay between Embrey and Smith.

Jay Sollenberger (an alumnus of the Stan Kenton, Woody Herman and Buddy Rich bands) lays down gorgeous solos on "The Nearness of You" and "Embraceable You." And Gary Helm provides Latin percussion on several tracks. There is also a contribution from the Winnetonka High School "48th Street Players Chamber Orchestra," who supply some strings texture on "Wave."

The production values are high throughout, the material impeccably chosen and the musicianship flawless. This unassuming package contains an awful lot of great playing by some of Kansas City's world class musicians. Surprising, however, is the absence of drum and bass solos, which one would expect on an album whose bandleaders are a drummer and bassist. That's not a criticism, though. One of my favorite albums is a Steve Swallow recording which, if memory serves, has only one bass solo. (But a ton of great grooves.) The brothers Leonard seem thrilled to provide the foundation needed to catch the wave of each tune and ride it until it breaks, without a need to indulge in the spotlight. It's rare to find such humble bandleaders.

I have listened to this CD probably thirty times as of this writing, and its balance, character and taste hold up well.

-- Rod McBride

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Russ Long Trio
NEVER LET ME GO

Personnel: Russ Long, piano, vocals; Gerald Spaits, bass; Ray DeMarchi, drums

Tracks: We Kiss In a Shadow; Can City; Save That Time; It Was a Dream; Fascinatin' Rhythm; Never Let Me Go; The Man I Love; I Love All of You; Bebedo; Whatever Happened to You; Meatloaf; Wildest Gal in Town; Surrey With the Fringe On Top; Opus in Chartreuse; Kidney Stew; Anytime, Anyplace, Anywhere

Recorded at Soundtrek Studios, Kansas City, MO; Ron Ubel, engineer.

Russ Long deserves the omnipresent accolades from those of us lucky enough to have followed this career here, one which spans several decades and the widest variety of venues imaginable. He's a true Kansas City treasure and now at last we have the quintessential CD which celebrates his special talents.

True, he has the good fortune to be partnered with creme de la creme sidemen. Bassist Gerald Spaits' facile change-playing always dissolves into gorgeous song-within-a-song solos. Take special note of his (notes) as featured on "The Man I Love" and "Surrey With the Fringe On Top." The latter also sets the traps, pun intended, for drummer Ray DeMarchi's Surrey-al time travel. And check out the great brushwork on "Fascinatin' Rhythm." Throughout, Spaits and DeMarchi's contributions are choice. Still, the story here is Russ.

The voice? A dose of Dave Frishberg, a dab of Mose Allison, a dollop of Jack Sheldon mixed with a heap of his own melodic approach: hit it, wave it, leave it like you found it -- just plain pretty and close to perfect. The piano? Great chops. Effortless ideation with near-flawless execution. Lyrical when it fits, down and dirty if it works, classy to classical (a Prokofiev quote, yet, on "Surrey"?) should you choose.

It's impossible to comprehensively cover all sixteen cuts without starting my own magazine, but there certainly is something for everyone.

There are traditional Blues, both of them vocals and both influenced by Long's association with alto man, Eddie "Cleanhead" Vinson. The first is a laid back gutbucket "It Was a Dream," the second, the uppish and impish "Kidney Stew."

There are standards, the aforementioned gems plus signature faves "We Kiss in a Shadow," "All of You," and "Never Let Me Go," the title tune a beautifully backphrased ballad and a testament to Russ' ability to simply, sweetly, and sensually sell a song.

There's a selection from Stan Kenton's book -- how many trios would be so predisposed? -- and "Opus In Chartreuse" unfolds elegantly after an expansive bass solo.

There's the obscure: "Wildest Gal in Town" is a keeper as is the more muted "Whatever Happened to You?" You can always count on Russ to find and perform lesser-known material that will grab some part of you and bring it to life.

Thankfully, there are also several Long originals. The lights are timed and traffic flows in "Can City," a play on words and the word on this hybrid Blues is terrific. "Save That Time" has stood the test of time and remains irresistible. There's "Meatloaf" served with "I Got Rhythm" changes, and "Bebedo," a quasi-complicated form with chromatic overtones that converge to convey the meaning of the title, the Portuguese translation of which is "drunk."

There's even a closer, "Anytime, Anyplace, Anywhere," complete with spiel, band introductions, and everything but a "Drive carefully" expostulative.

The timing of this release is tailor-made for the holidays. Buy them for stocking stuffers. Better yet, fill a boot. It's the ideal present.

-- Carol Comer

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Doug Talley Quartet
KANSAS CITY SUITE
Serpentine CD-050103

Personnel: Doug Talley, tenor & soprano saxophones; Wayne Hawkins, piano; Tim Brewer, bass; Keith Kavanaugh, drums

Tracks: 1600 E. 18th Street; City of Fountains; The Sleeping Child; The Buck Stops Here; Stockyard Blues (KC Strip); Basie and the Prez; Sky Stations; Plaza Lights (Plaza Nights); Shuttlecocks (Badminton, Anyone?); Pendergast

Recorded live, May 2001, at Valley View United Methodist Church, Overland Park, Kansas; Sam Platt (Red House Recording, Eudora, KS), engineer.

Kansas City Suite is a solid set of ten originals by Doug Talley, each stand-alone entities, which speaks volumes about his compositional prowess as well as his affection for Kansas City.

Accompanied by the entourage of Wayne Hawkins on piano, Tim Brewer at bass and Keith Kavanaugh doubling as drummer and graphic artist for the liner notes, Talley takes you through a collage of jazz selections dedicated to the sights and sounds that make Kansas City what it is (and was).

The opening "movement" (1600 E. 18th Street -- named for the address of the Blue Room at 18th & Vine) is a Charlie Parker-inspired tune that follows the form of late '40s-early '50s bebop without sounding dated.

Next up is "City of Fountains," which puts me in mind of the late '60s compositions of Wayne Shorter (though Talley credits early '70s ECM stylings as the inspiration). You've barely spent a quarter hour with this recording and you've already spanned an incredible range of traditions.

Then comes a ballad dedicated to a Plaza statue of a sleeping child, which is followed by a tribute to Harry Truman (and the late '60s Miles quintet, if my ears don't betray me).

A peculiar 5/4 blues is next and is dedicated to the once aromatic but now defunct stockyards that earned our city its name as a cowtown; although, I believe it's been a day or two since live cattle were brought to downtown KC for anything other than the American Royal.

The sixth movement, a rhythm changes tribute to Count Basie and Lester Young, is melodically and harmonically rooted in the 1930s genre to which it tips its hat, even though you can feel Talley's pull towards the bebop era which would follow. And there's Wayne Hawkins' love of the stride piano style which preceded both.

"Sky Stations," the seventh part of the suite, is a free jazz piece, but with an opening melody that conjures images of Duke Ellington and Billy Strayhorn. In the best traditions of free jazz, it comes off as pushing the envelope of tonality and meter rather than abandoning them. And instead of sounding like a group of guys who have never played together before (or have even seen the same clef), it presents musicians intimately familiar with one another and with great sensitivity towards what the others are doing.

A picaresque Latin piece reminiscent of Chick Corea's "Spain" follows (I'd never thought about the clay tiles on the roof of Plaza III in that way before); and wrapping things up is Talley's whimsical take on the enormous shuttlecocks which grace the Nelson-Atkins Museum lawn (a tribute to modern art), and a tune dedicated to Tom Pendergast (a tribute to modern urban politics).

Each track on Kansas City Suite is a strong composition of its own. And the fact that it is a live recording gives it an immediacy and intimacy without sacrificing sound quality.

This is an excellent CD all the way around.

-- Rod McBride

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Bobby Watson/David Basse/Angela Hagenbach & Friends
OLD FRIENDS, NEW POINT
City Light Entertainment

Personnel: David Basse, Angela Hagenbach, vocals; Bobby Watson, alto saxophone; Greg Richter, piano, vibraphone, vocals; Matt Pittman, bass; Sam Johnson, Jr., drums; "old friends," background vocals

Tracks: Moanin'; Them There Eyes; Strangers On a Train; Centerpiece; Cubicle; Sunny Side of the Street; Confirmation; Wichita Lineman; Satin Doll; In a Sentimental Mood; Take the 'A' Train; Baby All the Time/Juke Joint Blues

Recorded live, Sept. 9, 2001, at the New Point Grille, Kansas City, MO; Ron Ubel and Grant Shainost (Soundtrek Studios), engineers.

It's only appropriate that Bobby Watson take centerstage on this CD's opener, "Moanin'," as his solo represents everything you need to know about what it took to hold your own with Art Blakey's Jazz Messengers.

One of the most solid tracks on the CD, "Them There Eyes" features a short but tasty piano solo by Greg Richter that bounces right along with the steady groove laid down by drummer Sam Johnson and bassist Matt Pittman.

"Strangers On a Train" is sung in a range that compliments David Basse's vocal abilities. He sings mid to low in a loose, smoky manner that convinces you he owns this track. The song also has a deliciously slow, winding chord progression, peppered with lyrical comments from Bobby Watson along the way. Watson's satiny sax solo again reminds us that his extraordinary sense of logic is one of the defining characteristics of a veteran player.

The tastiest vocal ensemble work appears on "Centerpiece," where the three-part harmony of Basse, Richter and Angela Hagenbach really shines. The harmony is tight, but the phrasing is totally relaxed and executed to near perfection. And, as expected, Bobby Watson delivers the goods in that classic Kansas City blues style that only natives will know how to do.

Greg Richter manages to successfully capture Louis Armstrong's gritty vocal inflections on "Sunny Side of the Street" (you can hear how the live audience appreciated his efforts); and "Cubicle" showcases Bobby Watson's ability to navigate the changes to "Green Dolphin Street" as if it were just a stroll in the park. The comfort and ease with which he glides along is much like watching an eagle soar.

On the other hand, it probably would have been best to leave "Wichita Lineman" off this album. It's a track that goes nowhere for nine minutes, mostly because the band isn't tight, never quite settles, and ultimately can't pull it off.

David Basse's mastery of the Jon Hendricks approach to lyrics on "Confirmation" is quite impressive as he demonstrates his ability to showcase scat chops, even when the temperature gets hot. Richter meets him at the corner, and the first chorus of his piano solo displays some serious two-handed contrapuntal motion that will get your attention.

Angela Hagenbach does a decent job working her way through an Ellington trilogy ("Satin Doll," "In a Sentimental Mood," "Take the A Train"). And on "Satin Doll," Greg Richter takes another tasty solo that includes a cleverly inserted "Scrapple" quote on the bridge. There's also a reference to "I'm Beginning to See the Light" as an appropriately Duke-ish afterthought.
Overall, this CD adequately captures the ebullient mood of the audience and the ensemble at a live show that gave cause for celebration: Bobby Watson's return to KC and his permanent position at UMKC as Director of Jazz Studies. Watson's superior musicianship certainly uplifted this musical endeavor; and one can easily see that his influence was, and continues to be, infectious.

-- Wayne Goins

"Old Friends New Point," will celebrate its release at the New
Point Grille on Sunday, December 2 at 7:00 p.m. Call 816-561-7600 for reservations. A portion of the profits will go to the jazz program at UMKC directed by Bobby Watson.

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Dave Zoller/Fred Hamilton
BETWEEN US CATS
dpz Jazz 3066

Personnel: Dave Zoller, piano; Fred Hamilton, bass, and acoustic & electric guitars

Tracks: In Your Own Sweet Way; Blue In Green; There Are Choices; Do Nothin' Till You Hear From Me; I Can't Get Started; Office Hours; Brose's Tune; Between Us Cats; Condition Blue

Recorded March 19, 23 & 26, 2001 at Big Time Audio, Dallas, TX; Steve Browne and James Crawford, engineers.

An important figure in the Dallas/North Texas jazz community for three decades, pianist Dave Zoller is also known and respected in Kansas City, where he lived and gigged from 1965 to 1969 while studying at the UMKC Conservatory of Music. To those familiar with Zoller's work, his latest CD may seem like a slight departure from previous projects on the dpzJAZZ label. Whereas Snug Harbor, 3x4x3, and The Big Time Sessions were centered around original composition, detailed arrangement, and ensemble playing, Between Us Cats is a duo collaboration with bassist/guitarist Fred Hamilton.

The two musicians explore a variety of material, including "I Can't Get Started," "Do Nothin' Till You Hear From Me," Dave Brubeck's "In Your Own Sweet Way," several original compositions, and the spontaneous and edgy free jazz of the title track.

The idea for the recording came about as a result of several gigs at Sambuca and other venues in Dallas, where the two musicians worked together. It's clear, from this CD, that there is chemistry between them, and taking it into the studio was an excellent idea. Beyond the obvious numerical realities of two-ness, the word "duo" implies dialogue, conversation, intimacy, a dance. For Zoller and Hamilton, who have played together on and off for almost ten years, duet playing is all of these things. It provides open terrain for their combined imagination and is well documented here.

In the right circumstances, the simplicity of two voices can provide room to move and the opportunity to take chances in following wherever the music leads. On this recording, the interpretation of "Blue In Green" is a testimony to this. The tune begins in a slow and thoughtful way, invoking the memory of Miles Davis and Bill Evans. Zoller states the melody in ringing octaves and broken chords, and then begins to solo meditatively over Hamilton's shimmering acoustic guitar. As the improvisation becomes more complex, an underlying rhythmic pulse in the guitar comping begins to be suggested. When the piano lines react to this and reinforce it, the tune is gradually transformed into a lively samba, inspiring vigorous and fiery solos from both musicians. Out of this, the music finds its way back to where it started, and the tune ends just as thoughtfully as it began, with a slight twist in a quote from "All Blues."

The session is full of moments like this. Hamilton's amazing fluency on bass and guitar creates a changing texture and background, which in turn brings out different aspects of Zoller's playing. It gives the duo many directions to go in and they make interesting choices. Locked in and listening intently, the two musicians work in a spirit of responsiveness and mutual respect that infuses every piece.

It's clear, from listening to this recording, that Dave Zoller and Fred Hamilton really enjoy playing together. It's no wonder that they do. With the release of Between Us Cats, it looks like more people will now get to hear what these two fine musicians are all about.

-- Tim Cross

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Various Artists
BLESS THIS HOUSE
A Holiday Collection Benefiting Hope House
Dark Horse Productions

Personnel: (1) Larry van Loon, vocals, keyboards, other instruments; Rick Yord, bass; Mike O'Neil, drums; (2) Keith Tribitt, drums and other instruments; Hope McIntosh, LaTonya Tribitt, Pamela Tribitt-Kalu, Phillip Standifer, vocals; The Lifeline Choir; (3) Lori Tucker, vocals; Brian Harman, guitar; Everette DeVan, organ; Don Glaza, drums; (4) Todd Wilkinson, vocals; (5) Sharon Thompson, vocals; Larry van Loon, piano, other instruments; (6) The Little Kings Orchestra (Doug Talley, John Selzer, Joe Curtiss); (7) Tom Hall, vocals; Max Berry, guitar; Denny Osburn, piano; Rick Yord, bass; (8) Johnny Neel, piano, vocals; Marty Ojeda, tenor saxophone; (9) Mark Valentine, vocals; Phil Brenner, tenor saxophone; Jay EuDaly, guitar; Andy DeWitt, bass; Ray DeMarchi, drums; (10) Jimmy Harlow, vocals; KC Brass (Dave Duffield/Neil Nolan); Denny Osburn, piano; Bruce Sidener, guitar; Roger Workman, steel guitar; Mike Harvey, percussion; Steve Nierman, bass; Gary Signor, drums; (11) Lester "Duck" Warner, vocals; Allen Monroe, piano, keyboards; (12) Marty Ojeda, tenor saxophone; Johnny Neel, piano; (13) Joe Turley, vocals; (14) Tom DeMasters, acoustic guitar; Bill Dye, steel guitar; Rick Huyett, cello; (15) Ida McBeth, vocals; Joe Miquelon, keyboards; Rob Whitsitt, guitar; Forest Stewart, bass; Scotty McBee, drums

Tracks: (1) Bless This House; (2) Joy To the World; (3) Go Tell It On the Mountain; (4) Christmas Song; (5) O Holy Night; (6) Jesu, Joy of Man's Desiring; (7) Blue Christmas; (8) The Christmas Song; (9) Let It Snow; (10) Santa's Dot-com-ing To Town; (11) The Little Boy That Santa Claus Forgot; (12) Santa Claus Is Coming to Town; (13) Sittin' On Santa's Knee; (14) Charlie Brown Christmas; (15) The Lord's Prayer

Recorded/mixed at MROK Studios, Nashville, TN; West End Recording Studios, Kansas City, KS; Colernine Studios, Nashville, TN; The Berry Music Group, Olathe, KS; Straight Up Sound, Nashville, TN; Dave Brock, Jorge' Martinez, Jr., Larry van Loon, Keith Tribitt, Dennis Gully engineers.

The last time area blues and jazz artists pooled their talents on behalf of Hope House (Heatin' Up the Holidays, reviewed in JAM, December '99/January 2000) the results provided something joyful for everyone. And all for a very good cause.

Now, two years later, a similar collaboration by kindred musical spirits has yielded yet another solid song list of holiday favorites, the purpose of which is to benefit an establishment that has been doing good work -- and literally saving lives -- since 1983. (For the uninitiated, Hope House in Independence -- and soon to be in Lee's Summit -- is "a non-profit organization whose mission is to break the cycle of domestic violence by providing safe refuge and supportive services that educate and empower women and their children.")

This new addition to the blues and jazz community's ongoing effort to lend a helping hand features start-to-finish highlights. They include:

Nashville (by way of KC) keyboardist/singer Larry van Loon's soaring vocal on his original "Bless This House" (a strong candidate for a second national anthem these days).

Singer Hope McIntosh's fresh treatment of "Joy To the World" (with rousing support from Keith Tribbitt's Lifeline Choir).

The straightahead grooves of "Go Tell It On the Mountain" as rendered by Lori Tucker (vocals), Everette DeVan (organ), Brian Harman (guitar) and Don Glaza (drums).

Todd Wilkinson as a one-man Singers Unlimited on his "Christmas Song."

Vocalist Sharon Thompson's traditional treatment of the classic "O Holy Night."

"Jesu, Joy of Man's Desiring," arranged by "The Little Kings Orchestra" (Doug Talley, John Selzer, Joe Curtiss) in such a way that you'll wonder what instruments you're listening to.

A bluesy version of "Blue Christmas" by blues singer Tom Hall that will make you smile (and not be blue).

The soulful stylings of singer/pianist Johnny Neel on "The Christmas Song" (the one with the roasting chestnuts).

A medium-up jazz spin on "Let It Snow" by Phil Brenner (tenor sax), Jay EuDaly (guitar), Andy DeWitt (bass), Ray DeMarchi (drums), and vocals by Mark Valentine.

The irresistible backbeat of the humorous "Santa's Dot-Com-ing To Town" by the Camp-Harlow Band (featuring Jimmy Harlow's down & dirty vocals).

A poignant rendition of "The Little Boy That Santa Claus Forgot" by the multi-talented Lester "Duck" Warner.

The lively twosome of Marty Ojeda (tenor sax) and Johnny Neel (piano) who remind us (on "Santa Claus Is Coming To Town") that the worlds of jazz and blues are never far apart.

Singer Joe Turley's stop-time glee while "Sittin' On Santa's Knee."

An interesting "chamber" version of Vince Guaraldi's "Charlie Brown Christmas" by Bill Dye (steel guitar), Tom DeMasters (acoustic guitar) and Rick Huyett (cello).

And the perfect finale: a soul-stirring take on "The Lord's Prayer" by singer Ida McBeth.

Again, this holiday stocking-stuffer (produced in memory of the late Pat Morrissey) represents both a timely teaming of two important parts of the KC music scene as well as an opportunity to support the good deeds done by Hope House. For more information, call 816-461-4188 (Hotline: 816-461-HOPE), and keep an eye on all the regular shops and spots around town for retail availability.

-- Mike Metheny


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