JAM: October/November 2003 Issue: For the Record

David Basse
[like] jazz
featuring Phil Woods
City Light Entertainment LLC

Personnel: David Basse, vocals; Phil Woods, alto saxophone, clarinet; Mike Melvoin, piano; Steve Gilmore, bass; Bill Goodwin, drums

Tracks: Like Jazz; Something Fried; Uptown; You Won't Hear Me Say Goodbye; 52nd & Broadway; Living Without You; Slow Boat to China; Parker's Mood; Bidin' My Time; Traffic Jam; But Anyhow/The Blues Don't Care; I've Got the World On a String

Recorded September 25, 2002 at Charlestown Road, Norton's Corner, NJ; Hank Cicalo and Paul Wickliffe, engineers.

David Basse's talents as a vocalist, bandleader and drummer have entertained enthusiastic audiences in Kansas City for more than two decades. A gifted and malleable artist, Basse has shared the stage with Claude "Fiddler" Williams, Jay McShann and Buddy Anderson along with other local notables like Richard Ross, Joe Cartwright and Ahmad Alaadeen.

[like] jazz, which features legendary alto saxophonist Phil Woods and a distinguished cast of supporting players, tunes up the engine, puts in some new plugs, adds a higher octane, and makes it all run like a classic Basse.
Reminiscent of Benny Golson's "Killer Joe," the title track is just the right opener. A Mark Winkler original, it speaks out loud, and the lyrics alone make the tune come to life.

"Something Fried" takes some time to get used to. Offbeat and humorous, it still leaves a good after-taste.

Pianist Mike Melvoin's "Uptown" and the evergreen "Bidin' My Time" by George and Ira Gershwin provide the class and charm fitting for that image of Fred Astaire in his top hat and tails. To hear Phil Woods cruise along on clarinet is a dancer's dream.

"52nd & Broadway" allows the band to bop, stretch, and take off. And Basse handles the intricate cadence and tempo of the arrangement with his scatting. "Traffic Jam," on the other hand, gives Phil Woods the green light and plenty of room, but the lyrics and the form seem somewhat discordant.
"Parker's Mood" will always be connected to KC, and Basse knows his jazz history. Bird would be proud.

The most poignant track on [like] jazz incorporates a Dan Jaffe poem, "But Anyhow," and the late Frank Smith's classic, "The Blues Don't Care." Basse's poetic interpretation is a fitting tribute to the songwriter, and when the singer settles into the final notes, the story is convincingly told.

"You Won't Hear Me Say Goodbye" and the understated Johnny Mandel composition, "Living Without You" are ballad offerings. And "Slow Boat To China" and "I've Got the World On a String" epitomize the groove that makes them each [like] jazz.

Fourteen years ago, I had the opportunity to interview David Basse for the June/July 1989 issue of JAM. It struck me that his speech, dapper dress and smooth demeanor emphasized the quintessential definition of "hipster." Now as then, Basse successfully integrates his outer style with inner artistic abilities. He is a true purveyor of the Kansas City sound, has a special flair and panache reminiscent of yesterday while energizing a timeless quality for today's listener, and he has again captured this blend on [like] jazz.

-- J.P. Makus

Kathleen Holeman
DON'T YOU WONDER

Personnel: Kathleen Holeman, vocals, piano, trombone; Paul Smith, piano; Rod Fleeman, guitar; Bob Branstetter, bass; Al Wiley, drums

Tracks: That's All; Don't You Wonder; Blue Skies; Ev'ry Time We Say Goodbye; Get Happy; What Are You Doing the Rest of Your Life; Moon Dance; Mood Indigo; This Masquerade; I Don't Want To Set the World on Fire; Take Me Out To the Ballgame; Exactly Like You; Gentle Rain; How Sweet It Is (To Be Loved By You)

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

Kathleen Holeman is a musician who just happens to sing. So states Chuck Berg in his wonderfully complete liner notes for her debut album Don't You Wonder.

Holeman has recently emerged as one of Kansas City's finest "talents deserving wider recognition." She stopped the show at the "Ladies Sing The Blues" concert in February at The Club at Plaza III, and now, with the release of her first CD, she is fully into prime time.

Backed by a strong band of Paul Smith, piano, Bob Branstetter, bass, Rod Fleeman, guitar, and Al Wiley, drums, this set contains a rather remarkable mixture of styles, colors and emotions. Holeman is a musical chameleon -- sultry blues singer on one tune, ingénue on another, '20s torch singer or hard swinging show stopper on yet others.

And she is wonderfully creative. Her melodic improvisations, whether with words or without, are at once surprising yet always within the confines of the harmonic structures. Her wordless vocals on "Mood Indigo" would make Duke, and even violinist Ray Nance, very happy. Through the wonders of multiple tracking, she scats a duet with herself on "That's All," sings along with her trombone on "I Don't Want To Set the World On Fire," and accompanies herself at the piano on "Exactly Like You," swinging up a storm in the process.

There are also wonderful duets throughout -- with Branstetter on "Mood Indigo," Fleeman on "Every Time We Say Goodbye," and a thoroughly delightful five-way jam on "This Masquerade." Indeed, Kathleen is so thoroughly confident with her abilities and her art, that she never backs away from involving herself with any or all members of the group. She is often just another instrument in this wonderful five-piece band.

And what a band! It's been a while since we've heard Bob Branstetter play with such passion and swing. Paul Smith is his usual competent self, adding delightful solos here and there and providing solid accompaniment where needed. Rod Fleeman plays his amplified acoustic guitar throughout, and the richness of his sound coupled with the richness of his inventive solos is, as always, a joy to hear. Al Wiley's drumming is always good -- the rock upon which the music is built -- and he adds several exciting solos, most notably on "That's All."

Perhaps the highlight of the album is their rendition of Van Morrison's "Moondance." Inspired by the version by drummer/singer Grady Tate, this track swings as hard as any in recent memory. And it is no studio fluke, to which the SRO crowd at the September Jardine's CD release party will attest, for they erupted in well deserved cheers and wild applause.

The mark of a great CD is its ability to withstand many listenings and remain exciting. So far, Don't You Wonder has traveled by car with me four times across Kansas and Eastern Colorado, and there is still much music therein that raises goose bumps. This is a wonderful artist, and she presents us with a wonderful CD.

It is available from Kathleen; go to her website www.kathleenholeman.com and order several. You'll be glad you did!

-- John Leisenring

The Leonard Brothers
A SIMPLER PLACE
JAGGG Records

Personnel: Garry Leonard, drums; Gerry Leonard, bass; Danny Embrey, guitar; Paul Smith, piano. synthesizers; Gary Helm, percussion; Hal Melia, Mike White, tenor saxophone; orchestra arranged by Walter Bryant and conducted by Garry Leonard

Tracks: Shadow of Your Smile; Watch What Happens; Since I Fell For You; My One and Only Love; In a Mellow Tone; I Love You; Satin Doll; Soft Sounds

Recorded Spring 2003 at Soundtrek Studios, Kansas City, MO; Ron Ubel, Jim Schrader, Grant Schainost engineers.

simpler (adj.)
easier to understand, deal with; not elaborate or artificial; unaffected, unassuming

place (n.)
a space or spot, set apart or used for a particular purpose; position, situation or circumstance; a fitting opportunity

Following the tradition of previous recordings A Simpler Time and A Simpler Christmas, Garry Leonard, Gerry Leonard and regulars Danny Embrey and Paul Smith have fashioned a lovely disc of eight user-friendly classic standards for a relaxed spot by the fire. Tunes such as Bud Johnson's "Since I Fell for You" and Johnny Mandel's "Shadow of Your Smile" go down easy, never straying from the cover-portrait promise of peaceful repose and languid tranquility.

Walter Bryant's arrangements are richly pliable and surprisingly unadorned. The addition of 18 strings, 4 French horns and one Latin percussionist (Kansas Citian Gary Helm) never detract from the real stars of this album, the melodies, expertly carried by Embrey, Smith, and saxophonists Hal Melia and Mike White.

As on the disc A Simpler Time, the brothers Leonard lay down a secure foundation, allowing the soloists to shine. "Watch What Happens" includes two trio sections in an easy 4/4. "Since I Fell for You" shows off Melia on bluesy, sensual tenor. "My One and Only Love" has a simply sweet guitar interlude, and "I Love You" throws down a silky bossa rhythm and production so fine you can hear the echo of the percussion claves.

The vibe synth on Mancini's "Soft Sounds" is an honest touch. White delivers a perfectly-measured sax turn on "Shadow of Your Smile." The weakest cut seems to be Ellington's "Satin Doll," with a bright, but plain, rendering.

The liner notes are so laid-back they neglect to list writer and player credits, showing you can take the "simple" motif a little too far. And though the 18 strings lend lush romanticism to the first tune, they are mostly thrown away. The quartet-plus-sax is more than enough for the Leonard Brothers' stated desire for a "simple feel and flow of jazz music."

This album isn't dramatic or exploratory and probably won't hold the attention of thirty-year-old Jarrett/Fleck lovers. But with its organic, natural beauty, their parents will simply love it.

-- Kim Gorman

Novak & Haar
A SUMMER'S CAROL
NHCD-001

Personnel: Jon Novak, guitars; Mark Haar, bass; Joey Gulizia, percussion

Tracks: Black Magic Woman; On Green Dolphin Street; Darn That Dream; A Summer's Carol; Moondance; J&M Blues; Hermitage; Be-Bop; Wichita Lineman; Blues It; Black Orpheus; I Shot the Sheriff; All the Things You Are; Have You Met Miss Jones?

Recorded June 7 and July 5, 2002 at Ware House Productions, Omaha, NE; Tom Ware, engineer.

"Black Magic Woman" is definitely out of the range of jazz standards, but the treatment it gets from Omaha's Novak & Haar is well removed from its rock roots. Joey Gulizia's Latin percussion grooves supply a background for improvisation and some expansion of the harmony. It's not something to satisfy the jazz purists, but more an example of jazz musicians playing a mass market song and injecting it with some of their own personality to satisfy the creative urge.

"On Green Dolphin Street" offers a more traditional setting, with guitarist Jon Novak busy both with bebop single line work and lush harmonies and chord soloing. "Darn That Dream" even more so, with a Joe Pass-style arrangement of the head.

The Novak original "A Summer's Carol" shows a definite Pat Metheny influence both in composition and arrangement, with impressionistic harmonies asserting themselves along with a pop flavor. Fittingly enough, it is followed by Van Morrison's "Moondance," again in a sophisticated presentation. I'm not generally a fan of the pop song as "new standard," but sometimes it works better than others. Ample bebop blowing (both from Novak and Mark Haar) and a walking bass groove make it swing in the case of "Moondance" while avoiding the pitfalls I notice in some jazz artists' adaptations of pop songs.

Novak's "J&M Blues" is a medium swing blues of the bebop persuasion. The Pat Metheny tune "Hermitage" brings out more than a little of its author's influence and seems to accentuate the "wet" (read: lots of processing) sound of Jon Novak's guitar. Mark Haar's bass solo on this piece is a stand-out, compositionally complete and perfectly fitted to the tune.

The third Novak original, "Be-Bop," is appropriately titled; if anything the head has a clichéd feel, though the blowing is well executed. Jimmy Webb's "Wichita Lineman" takes things down-tempo and shows more shades of Pat Metheny. Next is an easy-going swing called "Blues It" to cleanse the palate of any meditation fatigue. The Louis Bonfi classic "Black Orpheus" offers a contemplative Latin feel.

You probably wouldn't initially recognize "I Shot the Sheriff" as it is not done here with the marijuana-induced stagger of the Bob Marley original. It is, in fact, the brightest tempo to be heard on the CD. Honestly, if they had dodged hinting at the melody (well ensconced though it is in Novak's harmonic augmentations), they needn't have paid a royalty for this track.

An easy swing interpretation of "All the Things You Are" and an up-tempo "Have You Met Miss Jones?" close out the 70 minute set.

All in all, a very solid effort.

-- Rod McBride

The Jim Widner Big Band
FLYING HIGH
CMD8069

Personnel: Kim Richmond, Dave Pietro, Bill Perkins, Pete Gallio, Jon Stone, saxophones; Brett Stamps, Paul McKee, David Stamps, Eric Swanson, Corey Fritz, trombones; John Harner, Mike Vax, Clay Jenkins, Dave Scott, Rick Stitzel, Tijuana Julian, trumpets; Phil DeGreg, piano; Jim Widner, bass; Gary Hobbs, drums; Rick Haydon, guitar

Tracks: Juba; Urgency; Everything Happens to Me; Emily; Forgotten Dreams; Seven On Charlie; Why Should I Care; Big Pocket; Last Night When We Were Young; Cherokee

Recorded June 18-20, 2002 in Clara Thompson Hall, Drury University, Springfield, MO; Scott Harris, engineer.

Jim Widner is at it again. And with this new adventure he brings fresh, tight arrangements that sparkle and jump.

As usual, he has heavy hitters on his roster, and they are in a mood to swing, and swing hard. "Juba" is written with a rhythmic, melodic and harmonic sophistication that everyone has come to expect from saxophone virtuoso Dave Pietro, one of the finest composers of our time. Right out of the gate, his sinewy solo twists and turns beautifully through the winding chord map, followed by a more subtle, yet sublime solo from trumpeter Dave Scott.

"Forgotten Dreams," another Pietro original, appears later in the lineup. This track has a brooding, smoldering quality, replete with thick trombone voicings, ethereal sax and trumpet lines, and a sax solo by Pietro that is equally delicate.

Phil DeGreg's perky piece, "Urgency," features a spitting trumpet solo from Clay Jenkins and a delightful sax soli that brags for the skills of Richmond, Pietro, Perkins, Gallio and Stone. The tune appropriately builds with DeGreg's Tyner-like voicings and linear phrases.

The next piece, "Everything Happens to Me," opens with an unexpectedly fresh introduction that employs a drone underneath the lone melody, an almost bagpipe-like effect. Kim Richmond holds court as the killer bee on this one, and his bop lines float delicately over the hard-swinging rhythm section and punctuating backgrounds of this inventive arrangement by Richmond.

Arranged by trombonist Brett Stamps, "Emily" is a rich-textured ballad featuring the dark, round tones of trombone virtuoso Paul McKee, who glides gracefully through the tune as if Mandel had him in mind when he penned the tune.

My favorite track is Dick Lieb's rendition of John Pizzarelli's "Seven On Charlie." The role of Charlie is perfectly executed by guitarist Rick Haydon, who simultaneously conjures up the ghost of Charlie Christian and the spirit of Pizzarelli in one fluid motion.

"Why Should I Care," a medium-tempo bossa, features trumpeter John Harner handling the melody, while saxophonist Kim Richmond shines as he solos over the modulation in the middle. You absolutely must hear Harner flying over the top on the final chorus. His tone is crystal clear, and he nails the line high and tight in a way that would make Maynard blush.

Kim Richmond's "Big Pocket" sports a serious Basie groove that features the sax section on flutes, and also presents bassist-bandleader Widner in his strong suit -- that earthy, old-school swing. Widner charges through the changes like a bull, all while Brett Stamps cleans house with a trombone solo that percolates.

"Last Night When We Were Young," a Rick Stitzel arrangement, features the first of only two tenor sax solos on the album, this one played by the late Bill Perkins.

"Cherokee" is refreshing in that it's not the burner everyone anticipates. The comfortably-paced samba, beautifully arranged by Brett Stamps, features a bouncy Haydon guitar solo, Pete Gallio on tenor, trombonist Paul McKee, and just a bit of drummer Gray Hobbs.

All in all, this is a fine display of musicianship, arranging and composing by one of the best of the big bands. Jim Widner should be quite proud of his efforts. His ability to assemble this cast of all-stars says a lot about the man who still flies high the Kenton banner, and who is unwavering in his promotion of the legacy of the big band tradition.

-- Wayne Goins

Jazz for Thought
Kansas City jazz aficionados who hunger for something other than the same old same old can always count on Bill McKemy to bring a breath of fresh air to the scene. Whether through his empathetic work with the visceral Malachy Papers, or live and recorded dates as a leader, the bassist/composer consistently puts a premium on spontaneous storytelling and functions at the top of his game when surrounded by like-minded confidants.

Which is why McKemy's latest, OM nidrah, works so well. Reminiscent of Boston's free-wheeling and long-lived trio The Fringe (as a Berklee teacher, Fringe saxophonist George Garzone would flip off the lights in his ensemble classroom and just turn his students loose for an hour), McKemy and company take the listener on a journey of sound and soul. There isn't a single note wasted, and no idea is offered without first absorbing the context of the moment.

Complimenting the proceedings to maximum advantage are Brian Baggett and Jake Blanton, two of the most gifted and lyrical guitarists to claim a KC connection in recent years. And Topeka's Tom Morgan, best known around town as a solid big band and small group drummer, is a perfect fit for this 40 minute set of introspective musical conversations.

Looking for something that provokes thought and brings out the best in four creative spirits? Pick up OM nidrah, turn off the lights and enjoy.

-- Mike Metheny