Archive for the ‘Adam Nussbaum’ Category
Conrad Herwig: New York Breed – (1996 – Double Time Jazz)
Conrad Herwig is one of New York’s more prominent young progressive/mainstream trombonists. He has recorded and/or performed with a number of famous leaders, including, but not limited to, Joe Henderson, Jack DeJohnette, and Paquito D’Rivera. Herwig is an alumni of the famous University of North Texas jazz program, an experience that obviously prepared him well as a big band player. He began his professional career in the early ’80s with Clark Terry’s big band; stints with Buddy Rich, Toshiko Akiyoshi, Mel Lewis, and others were to follow. Herwig has become an increasingly in-demand sideman in the ’90s. He is an accomplished pedagogue, having taught clinics and workshops around the world. Currently, Herwig is on the faculty at William Patterson College in New Jersey. His seventh album as a leader, The Latin Side of John Coltrane, emphasizes an affinity for South American idioms. Criss Cross followed in 1998, and a year later Herwig resurfaced with Osteology. Unseen Universe followed in fall 2000.
All players on this album are New York veteran jazz pros. The tune choice is uptempo primarily new compositions, with a few really modern sets of changes. Nonetheless the bone player is not tripped up (I probably would be!) and the whole thing still swings.
1. Code Mode
2. Search For Peace
3. Cousin Mary
4. For Heaven’s Sake
5. Gatekeeper
6. 40 Bars
7. Deluge
8. In The Wee Small Hours
9. New Breed
10. I’ll Take Romance
Conrad Herwig (Trombone);
Dave Leibman (Sop & Ten Sax);
Richie Beirach (Piano);
Rufus Reid (Bass);
Adam Nussbaum (Drums).
The James Moody and Hank Jones Quartet – Our Delight – (2006 – IPO Recordings)
The title Our Delight should have been subtitled with (to borrow a line from Ornette Coleman) “This Is Our Music,” not so much in the sense of revolution as revelation. But then Pianist Hank Jones and saxophonist James Moody have been revealing their precious gifts of music since the 1940s.
Both artists have been witness (and contributors) to the history of jazz. Jones played music in the hotbed of Detroit as did his brothers Thad and Elvin, then there were the many years accompanying Ella Fitzgerald. His ‘solo’ career of the last thirty years has elevated him into the living legend category. Likewise James Moody, who might best be known as a songwriter and sideman to Dizzy Gillespie. His encyclopedic jazz brain has probably stored more music than most artists will ever learn.
Although they did play together on Great Day (Argo, 1963), the intersection of these two rarely happened. Their common denominator here is the music of Dizzy Gillespie, which they reinvestigate with the joyfulness of a welcome home party.
With capable drummer Adam Nussbaum and Todd Coolman, perhaps Dizzy’s favorite bassist aboard, the ride certainly is a smooth one. The music of mostly familiar tunes allows you to delight in the assuredness and bliss of the session.
Moody’s saxophone playing is like his fellow Baha’i mentor Dizzy Gillespie, always perfect. After Hank Jones’ brief introduction on the blues “Birk’s Works,” the saxophonist states the theme with tremendous ease. Then he is on to a complicated improvisation that follows with such fluency, you might be fooled into believing this is simple music. It is anything but simple, and likewise Hank Jones who has made a career out of an economy of notes, his brand of jazz sounding simple.
The Tadd Dameron track “Good Bait” spills its infectious theme into a tasteful and quiet solo by Nussbaum. Jones takes a hesitative solo here, as he seemingly has done so in his whole career. His preference is to support his fellow players, not hog the spotlight. When he is not playing in a trio or perhaps solo, sometimes listeners can overlook his contributions. On the duo “Body And Soul” this is not possible. Sure, this track has been recorded thousands of times, but it may be the highlight of this recording. Moody’s saxophone is both a nod to Coleman Hawkins and, well, James Moody. Jones’ contribution, although brief, maintains the spirit and character of the moment.
The disc ends with Italian vocalist Roberta Gambarini’s take on “Moody’s Groove.” The vocalist, a favorite of Jones, who has accompanied her in concert and record of late, sings with a clarity much treasured in jazz. Her scatting fits comfortably with our two heroes’ approach.
All About jazz (Mark Corroto)
1. Our Delight
2. Birk’s Works
3. Con Alma
4. Lady Bird
5. Eternal Struggle
6. Body and Soul
7. Good Bait
8. Darben the Red Foxx
9. Soul Trane
10. Woody ‘N You
11. Old Folks
12. Moody’s Groove
Personnel:
James Moody (Tenor Sax, flute)
Hank Jones (piano)
Todd Coolman (bass)
Adam Nussbaum (drums)
Recorded at Sear Sound Studios, New York City, 28. & 29. 6. 2006 – Label: IPO
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Across Rhythm 