COVER -> POWERSSOUND
The folks who own and operate Cincinnati's J Curve Records are excited about their latest budding star. Randy Johnston is receiving a pushoff in hopes of achieving success both critically and with the music-buying public.
Bob Powers After listening to "Homage," which represents Johnston's second album as leader, theres little question that J Curves bosses know whereof they rattle the cymbals to announce a potentially major guitar genius. Johnston's first CD, "Riding the Curve," featured Joey DeFrancesco, Idris Muhammad,and Johnny Griffin. Johnston knows his way around the electric guitar. It takes only six minutes and two seconds (the length of the album intro., "All or Nothing at All," to decide that here's a talent with that special something that could separate Johnston from all the jazz wanna-bes on the current horizon.
As the album notes point out, Johnston is no wet-behind-the-ears novice hoping to make some noise in the music world. He's a veteran performer, having worked with a number of stars, including Etta Jones, Houston Person, Irene Reid, Warne Marsh, Sonny Fortune, Lionel Hampton, Brother Jack McDuff and Lou Donaldson. Johnston has been making the scene since graduating from college in 1981. These days he is employed as a teacher at the Hartt School of Music in Hartford, Conn.
"Homage" has a cast of veterans backing Johnston. Rising star Eric Alexander plays tenor sax, the superb Nick Brignola holds down the baritone sax chair (shades of Gerry Mulligan, indeed!), and Jim Rotondi gets in perfectly timed licks on trumpet. Wayne Coniglio is present on trumpet, Xavier Davis is behind the piano and Nat Reeves plays acoustic bass. The always tasty Kenny Washington does his usual fine job at the drums.
The charts are mostly up-tempo thrillers, including a sensational version of George Benson's sneaky "The Cooker," in which Johnston and Brignola trade off so well, you can't help but grin. The old Jimi Hendrix tune, "Angel," receives a bluesy reading, with Johnston's picking at the center. On this chart, he sounds like a modernized version of Wes Montgomery.
In fact, the similarity to Montgomery is evident throughout, although Johnston's work has plenty of his personal approach to playing. But my mind flashed an image of Montgomery the first time I put this CD on the turntable.
Good music, good arrangements, talented plays equals a very fine album.
Strange But Good
Listeners willing to take a chance on something different might well find diversion in two recent releases.Pacific Moon Records offers "Mirage of the East," in which the voice of a young girl is integrated into an appealing mix of pop and rhythm. The offering by Sorma definitely will cause comment at your next dinner party.
Sorma came into existence in 1995, with Yoichi Shimada as its central member. Originally a four-man group, for "Mirage of the East," eight musicians are employed. Four womens voices are used.
The other album, "Asian Drums," is just that, a collection of sounds using Japanese drums, which are said to be one of the oldest instruments in both the Western and Eastern worlds. Again, it takes some getting used to, but its intriguing.
A Spiritual One
It requires only a few minutes of listening to figure out that this tenor saxophonist is a spiritual man. Even the title of Gregory Tardy's debut album on J Curve Records gives it away: "The Hidden Light."
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Event # 210: THE GHOST WHO WALKS
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Tardy includes several spiritual classics, including the venerable hymn, "Take My Hand, Precious Lord." There also are a quartet of compositions by Tardy which keep the theme of spirituality going.
But don't misunderstand. Tardy is no wilting violet, content to hide his talent from the sun. He plays with authority, a sure sense of rhythm and a tone that's easy on the ears, but can pick a fight with the emotions. Tardy shows he can match the best of todays jazz shouters, yet can perform some intricate tricks which will have listeners catching breath.
The program is delightfully varied, with standards such as "They Say It's Wonderful" and "I Only Have Eyes for You," along with some Tardy compositions that are designed to showcase his talents.
"The Hidden Light" may take several spins before you are pulled into its magic. Don't give up, the rewards are to be found with patience and strict attention.
In other words, its a good one.
Fabulous Fingers
For some reason, Monty Alexander has never been a major figure in the world of jazz. That's shameful, in a way, because he plays piano just about as well as anyone who boasts a bigger bank account and gold records galore.Concord Records, which has been releasing Alexander albums since the late 70s, has a new series of compilation albums called "Ballad Essentials." My suggestion is that you take a hike down to your favorite record shop, or try one of the online dealers. Get yourself a copy of Monty Alexander's new album of old gems. You wont be disappointed.
The tracks in "Ballad Essentials" come from many of the 14 albums he's made since 1979. The program opens with a stunning version of "Here's That Rainy Day," recorded in 1996. It's followed by the exquisite "In the Wee Small Hours of the Morning," made during the same session.
The beautiful "Estate" becomes six minutes and 13 seconds of magic, in a track from a live album done in 1994. The wonders continue with such tunes as "Body and Soul," "Because You're Mine," "For All We Know," and one of my personal all-time favorites, the Kurt Weill/Maxwell Anderson classic, "September Song." Accompanying Alexander on this track is steel drummer Derek Dicenzo.
COMING NEXT WEEK: A new album, "Libertango," by vibraphonist Gary Burton featuring the music of Astor Piazzolla, plus a new release from the unusual vocalist Michael Schiefel called "I Don't Belong."
