Archive for the ‘Mike LeDonne’ Category
Jim Snidero – Standards + Plus (2000 – Double Time)
Supported by a flawless grooving rhythm section (pianist Mike LeDonne, bassist Dennis Irwin, drummer Kenny Washington), Snidero finesses his way through this set with a level of expertise that makes it seem like he was born hugging an alto saxophone.
The group’s swinging treatment of “You And The Night And The Music” works two perspectives at the same time in that it marries a modal approach with straight changes; Snidero floats over the extended vamp with flexible phrases, While Ledonne fluidly negotiates the less harmonically stationary section of the arrangement.
“Round Midnight” gives Snidero a chance to lay back and relax, seamlessly moving from lyrical, succinct ideas to more active lines. And “Bluesville” is a medium tempo 12-bar outing that adds a funky factor to the otherwise sophisticated program. Throughout the set, LeDonne does everything right, pumping out hip voicings and fills that catalyze Snidero, enabling him to improvise with exceptional freedom and fluency.
JazzTimes (Jim Ferguson)
2. Long Ago (And Far Away)
3. ‘Round Midnight
4. Twilight Waltz
5. Along Came Betty
6. You’re My Everything
7. Bluesville
8. What’s New?
9. Without a Song
Personnel:
Jim Snidero (Alt Sax)
Mike LeDonne (Piano)
Dennis Irwin (Bass)
Kenny Washington (Drums)
Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, 28. & 29. 8. 1997 – Label: Double Time
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Wycliffe Gordon – Cone And T-Staff (2010 – Criss Cross)
While Wycliffe Gordon is the identified leader on Cone and T-Staff, this is just as much a cooperative effort by the trombonist and bandmate trumpeter Terell Stafford. What they have in common here is that they are soft served, but not verbally or musically — both utilizing bell mutes on quite a few of these selections, the two veteran brass players swing together swiftly or lightly through this program of modern mainstream jazz and three originals. Everyone, including pianist Mike LeDonne, is in good form, as the quintet moves in and out of bop, classic standards, soul-jazz, and modal music played effortlessly. The 6/8 Wes Montgomery evergreen “West Coast Blues,” Curtis Fuller’s stirring midtempo “Arabia,” the bebop icon “Robbin’s Nest,” and the Kenny Washington bass lead on Oscar Pettiford’s “Tricotism” are played with high professionalism, easily enjoyable to all. Stafford’s bluesy “Cousins,” with mutes in full blush, and the neo-bop clockwork of “La Marieur” could both quickly become standards alongside the others, as they are attractive melodically and rhythmically. Gordon and Stafford have excelled as leaders in their own right, but together they are a precious tandem, like a modern-day J.J. Johnson and Lee Morgan, here on the cozy, cushy side.
Michael G. Nastos (All Music Guide)
Original Release Date: 2010 – Label: Criss Cross
Jim Rotondi: Blues for Brother Ray (2009 – Posi-tone)
Veteran trumpeter Jim Rotondi has been a fixture in the New York jazz scene for more than two decades. His clear, bold sound and polished soloing have been on display in such diverse groups as Lionel Hampton’s and Bob Mintzer’s big bands, as well as the powerhouse sextet, One For All, of which he is a co-founder. His most recent release, Blues for Brother Ray (Posi-Tone) celebrates the work of his early musical mentor and former boss, Ray Charles.
For jazz fans familiar with Rotondi’s playing, this album may surprise with its relaxed feel. The name of the game here is simplicity. Tracks such as “One Mont Julep” and “Lonely Avenue” deliver simple blues heads in unison, backed by sparse and repetitive accompaniment. Looking at the track listing, full of songs from Charles’ repertoire, this should not be surprising. Rather than viewing this album strictly as a jazz recording, it may best be seen as a jazz instrumental interpretation of soul and blues.
As such, this album is a success. Heads are delivered tastefully, and do not stray far from the feel of the originals with the exception of Rotondi’s fiery arrangement of “Georgia On My Mind,” taken at a tempo more akin to that of the fast-paced jazz standard “Sweet Georgia Brown.” The rhythm section offers disciplined accompaniment; Peter Bernstein’s guitar and Mike LeDonne’s organ never step on each other’s toes, and Joe Farnsworth’s drumming has an optimistic bounce.
The simple forms of this album’s music might allow for a lot of freedom in soloing, but their straightforwardness also demands restraint when it comes to harmonic experimentation. Navigating this line beautifully is Mike LeDonne, whose organ solos chirp, growl, and scream in exciting waves of inspiration, though never sounding unconvincing in the songs’ context. This is especially the case with his solo on “Makin’ Whoppee,” a virtuosic romp.
Eric Alexander’s saxophone style is best featured on “Cry Me A River,” perhaps because of the agitated modal swing context – his aggressive style sounds a bit impatient on simpler tunes such as “What’d I Say.” Rotondi is solid throughout, his tone full of belly and especially reminiscent of Freddie Hubbard. His soloing unfolds convincingly, blending bebop and blues language into cohesive statements.
A highly accessible album, I would recommend Blues for Brother Ray to jazz fans and casual listeners alike. If you were ever unsatisfied with the role of horns on Charles’ own albums, this recording gives you a chance to hear skilled improvisation over some of his charts by five quality instrumentalists.
Jacob Teichroew (About.com Guide to Jazz)
Across Rhythm 