José James & Jef Neve — For All We Know

José James & Jef Neve — For All We Know (Impulse, 2010)

If you've been following the career of vocalist José James — and you should — you've probably been waiting for him to cut a record like this one — a simple, straight-forward collection of jazz standards.

To date, James has brought his rich baritone to a handful of albums (solo projects and works by Nicola Conte, Timo Lassy, Soil & Pimp Sessions, etc.) where the emphasis has been on new compositions in contemporary styles (r'n'b, soul, hip-hop and jazz). By exploring such material, James has demonstrated impressive range, but it has also begged the question: Can J.J. deliver the goods on a classic material, too?

The short answer is yes-maybe. Working alongside Belgian up-and-comer pianist Jef Neve, who's sensitivity as an accompanist is deeply felt, James brings a relaxed (maybe too relaxed) approach to standards such as Billy Strayhorn’s “Lush Life,” George and Ira Gershwins’ “Embraceable You,” and Duke Ellington’s “Gee Baby, Ain’t I Good To You.” On one hand, the songs and the intimate instrumental setting are well served by James' quiet, romantic style, but on the other hand he can sound a little tentative and self-conscious about phrasing, like he's holding back to avoid making mistakes. Likewise, one senses that Neve is holding back on his keyboard virtuosity to compensate for James' relaxed vocal style.

So, while the album doesn't definitely prove James' capability with Great American Songbook, it suggests enormous potential. It would be exciting to hear him (and Neve) cover similar material with a larger group. Let's hope they do.

Bud Powell: When Bebop Took Shape

Bud Powell (piano; b. 1924 - d. 1966)

Bud Powell is arguably one of the top five jazz greatest pianists of all time. His style while influenced by Theonious Monk and Art Tatum in his early years would become very distinctive very quickly. He developed great agility on the piano and his ability to rip of chord changes at a blistering pace was something other musicians had not seen at the time. But Powell wasn't just an amazing improviser he also had subtle rhythmic tones that made his mid period work standout far and above many of his contemporaries.

While his studio recording career was brief (roughly 20 years) he left a legacy that shines bright throughout jazz history. He suffered from mental trauma in the prime of his career due to a police beating that occurred in '45 but that didn't really stop his recording but it did make his life activities erratic until he passed away in 1966.

It's commonly recommended that The Amazing Bud Powell Vol. 1 and 2 (Blue Note) (both sold separately) are the core records for your collection. I would tend to agree with any of my fellow jazz friends who would say this. The Amazing Bud Powell Vol. 1 recorded in 1951, includes songs that would later become standards in jazz songbook. Songs like "Un Poco Loco" "Bouncing With Bud," "Dance Of The Infidels," on Vol. 1 sparkle with dynamism of Bud's interaction with Sonny Rollins (sax), Fats Navarro (trumpet), Roy Haynes and Max Roach (drums on separate numbers) and the rest of the band. "Dance Of The Infidels" is the perfect example of Bud Powell's gift at the piano. It is a very complicated number which he incorporates an series of cord changes that at first listen don't sound like they go together at all but he somehow turns it into real melodic beauty. A few years after this session and before the second Amazing release, Bud would work on another legendary and contensious session with his friends, Charlie Parker, Dizzy Gillespie, Charles Mingus and Max Roach entitled Live At Massey Hall.

The Amazing Bud Powell Vol. 2, recorded in 1955, features a trio lineup on George Duvivier (bass) and the truly under-rated Arthur Taylor (drums). This album is surrounded by covers and only two Powell originals but it is still a beautiful session. Bud and company shift through classics "Autumn In New York," "I've Got You Under My Skin," and Bud's original, "Glass Encounter". This is bebop at its finest and definitely deserves in anyone music fans collection. One of my personal favourites is "Reets And I", a killer number were the trio really let loose and you can feel each musician challenging each other. On "Polka Dots And Moonbeams" the trio (mainly Powell) turns this into a dark, dense introspective piece that really brings you closer to the pianist than ever before.

The Amazing Bud Powell Vol. 1 and 2 are great documents of a legend. But if you want a slightly comfortable overview (at an affordable price) you might want to look at The Definitive Bud Powell (Blue Note/Verve). It is by now means "definitive" but it covers the essential records from both labels and for that generation that might want it simple for the mp3 player, this is the one to get. Don't get me wrong--there's absolutely nothing wrong with this collection. It's brief, concise and to the point. If you don't own any Bud Powell this should suite you just fine. If you want to dig deep I suggest the aforementioned The Amazing Bud Powell Vol. 1 and 2.

You can also check two compilations The Best Of Bud Powell on Verve and The Best Of Bud Powell on Blue Note. These separate disc will give you a full overview of each labels materials with very little overlap. They are both a little hard to find but worth picking up when you do spot them.

One way or another you should put Bud Powell on your shopping list. If you want a true lesson into the origins of bebop, outside of Charlie Parker--Bud Powell is a great place to start.

Undiscovered Soul: Lynden David Hall

Lynden David Hall (vocals, multi-instrumentalist; b. 1974 - d. 2006)

British Soul music gets a really bum wrap (especially from the British press) for trying to sound too American. Well there were/are a short list of British artists who are part of a next wave of Soul (Beverley Knight, Lewis Taylor, Mica Paris, Carleen Anderson and Roachford et. al), who continue to pave a new artistic direction for British Soul. Lynden David Hall embodied the best elements of both American and British Soul and was among the top of the class.

Hall wrote, played most of the instruments and co-produced his albums. He music was positive, yearning and dripping with emotion that could move mountains.

Rightfully compared to Marvin Gaye, Curtis Mayfield and Al Green, Lynden David Hall burst onto the British scene with his 1997 debut, Medicine 4 My Pain (EMI; 1997) which featured a slew of phenomenally rich collection of Nu-Soul that really did put allot of American Soul to shame at the time. The album was garnered solid chart success but it really amounted to quality of the songs like the beauty "Sexy Cinderella," "Crescent Moon," "There Goes My Sanity" and more. It's hard not to fall in love with Lynden's voice on first listen as it will definitely remind out of the great soul singers of 70s but then you realize that the lyrics are even more incredible. All this coming from someone who was only 23 years old.

Hall's second album, The Other Side (EMI; 2000) continued where Medicine left off. Employing a little more funky pounding bass into the proceeding and of course an extra dose of maturity sent the signal that Lynden David Hall was here to stay. The album was self produced and featured some heart-wrenching and thought provoking numbers like "Where's God," "Sleeping With Victor," "Dead And Gone" and magnificent and appropriate cover of Curtis Mayfield's "Let's Do It Again". For me its hard to decide which of the first two albums is better. I lean towards The Other Side only because of production values. The writing is strong for both.

In 2003 Hall was diagnosed with Hodgkin's Lymphoma which would keep him from recording and releasing what would be his final album In Between Jobs (Random Records) until 2006. The six year wait seemed like only a few months. In Between Jobs contained the same easily accessible and romantic crooning as its predecessors. Wiser, sexier and more sophisticated, In Between Jobs was again written and produced by Hall himself and featured the funky "Pimps, Playa's and Hustlers," "Don't Hide Your Heart" and "Memories and Souvenirs" all make the comparison to Marvin Gaye even more apparent. One of the main themes throughout Hall's music is love and devotion and In Between Jobs showcases that in spades especially on uptempo and love letter "Stay Faithful". The music is simplified, complimentary and never overproduced. The lyrics as with his previous albums are front and center with no vocal histrionics or electronic gimmicks.

While well-respected in the U.K., Hall remained little more than a cult figure in the U.S. but he was definitely known and loved among those Americans who were fans. He is one those artists that you will probably end up listening to at least once a week after you become addicted. Solid songwriting and quality musicianship makes his albums, including the Medicine 4 My Pain (now over 10 years old), sound fresh as ever. Hard to say what he would have achieved if he wasn't taken so soon. But Lynden David Hall's legacy definitely lives on. Highly recommended.

Steve Davis

Steve Davis (trombone; b. 1967)

Dig Deep (Criss Cross)

Jim Rotundi (trumpet)

Eric Alexander (sax)

David Hazeltine (piano)
Nat Reeves (bass)
Joe Farnsworth (drums)

Steve Davis is regarded in the jazz scene as the heir-apparent to Curtis Fuller and J.J. Johnson. He is also one of the co-founding members of the sextet, One For All. Davis has the great distinction of performing in the final Art Blakey & The Jazz Messengers and Jackie McLean lineups as well as with Chick Corea's Origin Sextet. Bold, confident and expressive are all the things one will say after listening to a Steve Davis record.

Steve Davis has recorded over 15 albums to his name but the one that I wanted to focus on is his third album, Dig Deep (Criss Cross; 1997).

A few weeks ago I was doing my unfortunate/fortunate rummaging through used record stores for little gems. I found Dig Deep on that day and it made my eyes pop out of my head. And it was four dollars (US)!

Dig Deep is from what I can tell the first actually studio recording of the One For All band. This is significant in that up to this point they had only been performing live. Davis captures that live energy and the early unity of the band perfectly on this record. Dig Deep is fluid and diverse with the majority of the album written by Davis but each member contributes solid interplay and solo work throughout. It is a brilliant record documenting One For All in their early stages. At this point the most well known in the group was Eric Alexander. But everyone here is in crisp, solid form and up to the challenge. This a killer post hard bop date that pretty much anyone will enjoy.

The coolest thing about Dig Deep is the chemistry the band exudes. The opening track, aptly titled. "One For All," was written by Davis (originally when he was with The Jazz Messengers) is remarkably fresh, pounding and lively. The cover of "I Should Care" is beautiful and upbeat, featuring some incredible arrangements by David Hazeltine. In addition, another Davis penned number, "Payne's Window" is awesome and illustrates Davis great ability as band leader. The closing number, "Trippin'" is a barn-burner of a number at just over seven minutes. Joe Farnsworth and Eric Alexander really light up this piece and make it a perfect bookend to the opening track.

Dig Deep is definitely the first chapter in what would led to the long history for the entire group culminating a few more months later on the very first "official" One For All album. This a must have album even if you don't own a One For All album. It's a great modern hard bop date that is rare and hard to come by nowadays from most jazz groups. Seek it out. Indeed, sometimes when you find history no matter what genre you have to pick it up. You will regret it if you don't.