INTERVIEWS & REVIEWS: cd & book reviews

TOM KUBIS REGULAR BIG BAND GIG
Thursday, May 27th, 2010

MUSIC REVIEW
Ray Thomen – Reviewer

A rumor that there was “Going To Be A Tom Kubis Regular Band Event”
had been floating around Orange County for a couple months. Then the word was, “ Tom is Sick” and it was delayed. Then it was on again.

So, as Bill Strout and I drove in the parking lot of “Don The Beachcomber Restaurant" in Seal Beach, CA (Don The Beachcomber?) we were nervous as to whether there really would be a Kubis Concert and if the WORD had gotten around to attract a decent attendance.

Well, the fear of not drawing a large enough crowd was quickly put to rest, “The Parking Lot Was Full” (just with “word of mouth” Advertising and some emails).

“Hey, there’s Dave Martin (Andy, Scott and Stan’s Dad). We said “hi” to Carol Kubis (Tom’s wife) at the front door. It must be here, We saw Sal Lozano rushing from his last “Dancing With The Stars” session. Yep, we were at the right place. The Kubis Band was here.

Just check out the Sections:

Trumpets: Gary Halopoff (lead), Matt Fronke (lead), Jeff Bunnell, Stan Martin.

Bones: Andy Martin, Charlie Morillas, Alex Iles, Rich Bullock

Saxes: Sal Lozano, Rusty Higgins, Dave “Conehead” Moody, Brian
Williams

Rhythm: Jack Reidling, (p) , Dave Tull (d), Eric Messerschmidt (b)

Vocals: Nicole Kubis, The Swing Kittens, Dave Tull, “I Just Wanta Get Paid”

Sound: Jon Kubis

All these musicians are technically at the top of their field in addition to being outstanding soloists.

As Tom said, “These are my friends”

From the initial Kick-off of “Marie’s Shuffle” at 8 P.M. with Tom taking the first solo with “foot-stomping Abandon” until the end of the 2nd set with “Bill Bailey” with the standard “Police Squad Theme” tag, Tom’s music was played with a passion that made it come to life.

The audience was made up of a lot of local musicians and well-wishers that have both listened to and have played (or tried to play) the Kubis charts. It was sure nice to hear how they should be played.

Some of the evenings “notable moments” included, Up-Tempo tunes counted “Sooooo” Fast that you felt the band would never make the unison lines (especially the Bones, Ha!) on “Donna L”. and “The Snake Was On His Way To A Gig”. The Band “nailed” both of them.

Pianist, Jack Reidling’s opening statement and follow-up solo on “Bill Bailey”, an arrangement I’ve always considered this to be one of Tom’s Great Charts.

Solos by the entire Band were all just terrific. I had forgotten how good “All” those guys were.

16yr. old Aaron Blumenthal (Teenage Guest-Outstanding Student of Rusty Higgins). Played several great solos.

Nicole telling her dad, “Yeah Dad, I’m counting it off” on her vocals.
And then watch Tom be a proud papa as his daughter takes the vocal baton from her mother.

Welcome Back, Tom. We look forward to many more "Kubis Koncerts."

DO NOT MISS Seeing This Band on JUNE 24th at Don The Beachcomber in Seal Beach, CA

- Ray Thomen, reviewer

Don The Beachcomber location:

16278 Pacific Coast Hwy.
Huntington Beach, CA 92649

Phone: (562) 592-1321
Fax: (562) 592-5326

CD: BLUE ROOM
RELEASE DATE: 2010
PERSONNEL:
Tony Guerrero, flugelhorn/trumpet
Llew Mathews, piano
Dave Enos, bass
Matt Johnson, drums
STYLE: jazz quartet standards
Website: http://www.tonyguerrero.com

REVIEW:

This CD, “BLUE ROOM” by Tony Guerrero is not so much a change of musical direction for him but a continued development of his interests and depth as a musician.

Tony Guerrero's flugelhorn and trumpet playing is excellent; a gorgeous tone on both instruments; technique is flawless in supporting his obvious love of the musical message; finally, the notes never got in the way of the music.

The supporting instrumentalists were all veteran professionals and it shows. Of course, who can go wrong with Llew, Dave and Matt in the band? Nothing is overplayed (a common mistake of the uninitiated), yet nothing is underplayed either - a welcome relief in many reviews I've done over the years.

To my ear, the CD was interesting and refreshing, neither too predictable nor too random, it caught my attention, sparked my imagination, made me curious as to what was coming next, and left me want to hear more. These are the qualities that I strive for and look for in any music I listen to - and which I find lacking in much music I listen to these days. Happily this CD has accomplished those things I find vital in any music designed to touch people and give them something to remember.

Highly recommended.

Dan Jacobs, reviewer

Blue Room is available at http://www.tonyguerrero.com

BILL WATROUS - HUMOR FROM THE PAST (Mark, how dumb can you be?)

FOR IMMEDIATE RELEASE
9 A.M. PST, MARCH 2010

LAKE FOREST, CA MARCH 15, 2020: Mark Reymond discovers the difficulty in booking big bands into clubs in Southern California.

When Mark moved to Orange County in the 1990's, he found there were several high quality big bands that didn't seem to be performing on a regular basis. In the mid-1990's, he proceeded to set up and schedule several bands to perform every Friday night over a 10-week period at the Coach House in San Juan Capistrano (already and established location for live music performance).

To give you an idea of the high caliber of bands he booked, here were the first groups scheduled to perform: Bill Watrous, Tom Kubis, Bob Florence, Bill Holman, and the Jack Sheldon Band.

Promotional material had been prepared and was included with the monthly Coach House Mailer, which had been (supposedly) mailed.

Mark's phone rang, "Mark, this is Bill Watrous. I just called to confirm that my band is performing next Friday night at the Coach House. The manager says he has The Average White Band list on his schedule. I told him that my band is certainly NOT average, I also told him that I could make some personnel changes to that we would be all-white, but we might lose some of my better musicians. Mark, WHAT THE HELL IS GOING ON?"

BOOK REVIEW: CLINICAL NOTES on TRUMPET PLAYING By Roger Ingram

Reviewer: Dan Jacobs

This book was written by Roger Ingram - considered the best lead trumpeter around – and is a definitive text of his “hat” as a lead trumpeter at the highest levels in his profession for decades. It is, in my opinion, destined to become the “bible” for lead trumpeters worldwide.

This is not a book of theoretical or untried oddball techniques or theories. It is a shoot-from-the-hip, clinical analysis of how to play the trumpet from his view at the top. But, it’s written in an easily understandable, accessible style for players of all levels.

He holds nothing back; it is direct and to the point, full of interesting stories, advice, photos, and the straight scoop on how it’s done. The text is a rare insight into the “back story” of what goes into consistently making it as a trumpeter in one of the most competitive professions around.

He discusses topics that, to this point, have only been available in his private lessons, clinics and master classes. Influences can be seen in his book of his studies with some of the most accomplished trumpeters in the world, including Bobby Shew, John Rinaldo, Bud Brisbois, Bobby Findley, Carmine Caruso. and others.

But the book itself is definitely Roger’s voice, his viewpoints, his opinions, ideas and concepts; and happily, he writes like himself, the goal of any great author.

In reading the book, you get the feeling that he's right there with you, talking to you in person. It is deeply personal yet universally applicable to any trumpeter of any level of development.

It is a MUST READ for any trumpeter or any musician who secretly wants to become one.

Very highly recommended.

Review by Dan Jacobs, www.danjacobsmusic.com

CONTACT ROGER INGRAM and BUY THE BOOK:
website: www.rogeringram.com
email: roger@rogeringram.com

REFERENCE INFORMATION:
Clinical Notes on Trumpet Playing by Roger Ingram

PUBLISHER:
One Too Tree Publishing
La Grange, IL
Website: www.onetootree.com

ALBUM: "ON JAZZ STREET"
ARTIST: DAVID CHOWN, PIANIST
STYLE: Trio jazz standards, piano, bass, drums.
PERSONNEL: David Chown, piano; Randy Marsh, drums; Jack Dryden, bass.

CD REVIEW:

"ON JAZZ STREET" a new CD release by piano genius David Chown with the incomparable Randy Marsh and drums and the ubiquitous Jack Dryden on bass is exactly what the doctor ordered. A marvelous combination of jazz chestnuts revisited and revised with a fresh new approach. David's many fans will love this one. I'm familar with David's solo work in previous albums but this one outshines them all in my opinion. You won't be disappointed. Very highly recommended,

– D. Jacobs, reviewer for newjazzhorizons.com

This CD is available at www.cdbaby.com and in iTunes for downloading

CD: "ORCA’S TRANCE"
ARTISTS: BRIAN JACOBS & PRANA MILLER
PRESENTED BY: The Harmonic Awakening Project
FIRST RELEASE: 2007

REVIEW:

“ORCA’S TRANCE” is a unique combination of original piano music including didgeridoo, crystal bowls, flute, synth strings and a myriad of natural sounds such as rain, thunder and more. The music is obviously supported by great passion and love for what is being created, and it is infectious in all the best ways.

What these two artists, Brian Jacobs and Prana Miller, have created here is rare blend of musical sounds intermingled with the natural beauty and aesthetics of life in a way that is transforming, calming and expansive all at the same time.

Their music will take you on a magical journey to a place of peace and tranquility where the “noise” of every day life is supplanted by the sublime joy of creation, uplifting the spirit and awakening the imagination . . . reminding you of your natural state of beingness.

Highly recommended!

Reviewed by D. Jacobs for New Jazz Horizons
www.newjazzhorizons.com

TO PURCHASE CD:
www.cdbaby.com
http://www.harmonicawakeningproject.com

CD: RICH WETZEL- “The Mayn Thing” - A tribute to Maynard Ferguson

STYLE: BIG BAND JAZZ with vocals


REVIEW:

WOW! Prepare to be be rocked!

This is exciting, big band, high-note, jazz at it's finest. Lead trumpet artist, Rich Wetzel, steps up and knocks it out of the park on this album, handling the lead trumpet role with authority and maturity.

His high-note trumpet artistry represents what might be called an “artistic force majeure" - a superior force that is impossible to resist.

I don’t mind saying . . . I’m impressed!

This is one CD that is not to be missed! It has “award-winning” written all over it!

d. jacobs, reviewer for new jazz horizons

ALBUM “IF YOU WERE WONDERIN’

ARTIST: VOCALIST MICHAEL HOLMES -Featuring Mark Kahny and Bobby Thompson

This self-produced album is a collection of songs from the great American songbook, performed by a group of mature professionals supporting the first-rate vocals of Michael Holmes.

The thing I love about this album is that you can put it on and relax and be confident that they will provide a rendering of a song that is familiar but with a new and refreshing interpretation to keep it interesting.

Michael obviously loves what he does and it shows in every note. Hints of Frank Sinatra are present and pleasantly so. I would imagine that he is consistently a hit in live performances of any type. The piano work of Mark Kahny is perfect on piano whether providing vocal support or in his solo work. I also assume he’s handling the bass parts, also excellently, though it’s not listed on the liner notes. Bob Thompson as percussionist handles his job with ease and taste, never too much never too little; exactly what you want in a percussionist. Tom Hagen on clarinet and guitar is the veteran you would expect with the credentials listed in the liner notes, holding his own effortlessly. Eddy Curtis is a triple threat and a thorough pro on each instrument, performing on trumpet/flugelhorn/French horn. He provides some great Chet Baker-like sound and lines, which enhance the overall feel and flow of the album. On “I Wish You Love” we hear Eddy on French horn, a rare and interesting addition to the album.

Tom Hagen is also the recording and mixing engineer done at Tom Hagen Studios and he is up to the same professional standards on these tasks as well.

Photography is by Kaye Collins at KAYE COLLINS PHOTOGRAPHY and it captures the essence of the music perfectly.

PRODUCED by Michael Holmes & Mark Kahny 2006

Overall this project holds up in every respect. It is like taking a walk down a familiar street and finding new and interesting sights along the way. It is all you expect and more. You won’t be disappointed.

Dan Jacobs, reviewer

CONTACT INFORMATION and BOOKING INFORMATION
WEBSITE: www.thejudyshow.com
PHONE: 269-251-0487

ALBUM: MYSTIC SPLENDOR
ARTIST: STEVE AUGUST, pianist
STYLE: spontaneous piano improvisation
Reviewer: D. Jacobs

"Mystic Splendor" is a work of art. Pianist Steve August is a seasoned veteran and it shows in this work. You can't help but be transformed with his passionate, lyrical performance throughout this CD. Listen to "Overture and the River" and prepare to be transported to another time and another place with his gracefully emotive and creative improvisations. He's in a league of his own. Highly recommended! - Danjacobsmusic.com

ALBUM: IT NEVER ENTERED MY MIND
ARTIST: SHARON BAILEY, vocalist
STYLE: vocal jazz/standards

MUSICIANS: Sharon Bailey, vocals; Andy Roberts, piano; Paul Gehman, bass; Frank Gattis, drums; Chris Heslop, baritone and tenor sax; Tony Miceli,
vibraphone.

PRODUCERS: Shirley Kuser/Sharon Bailey

RECORDING and mixing by: John Vanore

REVIEW:

Prepare to be seduced. This album, “It Never Entered My Mind,” featuring vocalist Sharon Bailey hits the sweet spot, as I suspect was intended. You can expect to be musically and aesthetically transported to some high-end NYC club or restaurant and happily so.

Sharon is a pro. She gets your attention and holds it without effort. The balance of material, especially when she includes some of the rarely heard verses to timeless standards, is excellent and flows smoothly throughout the album. She has a delivery that allows her emotion and love of the songs to shine though without going over the top. Her vocal style provides a unique blend of familiarity and originality.

Sharon is supported by the sensitive and tasteful piano work of Andy Roberts with bassist Paul Gehman and drummer Frank Gattis, all performing their individual and collective roles flawlessly. Chris Heslop, bari and tenor, and Tony Miceli, vibraphone, also contributed exactly what was called for on the project, never too much, never too little. It is obvious that they are all seasoned musicians, able to make the subtle nuance speak volumes.

John Vanore’s contribution was not limited to his personal collection of rare microphones as his recording and mixing expertise is very much in evidence.
Highly recommended!

Dan Jacobs, reviewer
www.newjazzhorizons.com
www.danjacobsmusic.com

JAZZ IS ALIVE AND WELL

I had an interesting gig yesterday and a first for me in a way. I was asked to conduct a clinic and perform at a concert at Oakland University (near Detroit, MI), that ended up being a surprising success.

I was there to introduce the idea of jazz to kids attending a music/art camp. During the clinic the response was very enthusiastic and open to the idea of jazz which should have given me a clue of what was to come.

The evening concert at a beautiful venue at the university was filled with music students excited to experience the end of the first day of the music/art camp with a live concert. I was supposed to be a featured soloist to perform with the big band but got drafted into doing an "instructors feature" number at the very last minute.

So, practically while walking on stage, I wrote out the chord changes to a song for the pianist to accompany me on a trumpet feature number with an extended solo intro, melody interpretation for a chorus, a jazz improv chorus and finished with a cadenza ending on the obligatory high"F" as the finale.

I knew something was different; as while I was playing the tune, the audience spontaneously began clapping in time and obviously enjoying the music but I wasn't prepared for the spontaneous and extreme reaction after I finished.

Apparently my performance really resonated with the audience as it brought the house down! I thought, "so this is what a rock star feels like eh?" . . . with screaming girls, whistles, strong applause, standing ovation it was quite an experience and perhaps a first for me as a jazz trumpet artist.

Although no one was throwing intimate articles of clothing on the stage or offering me other demonstrations of admiration and affection, I had the definite feeling that they were willing to!

An excellent classical violinist who performed just before I went on came up to me after my performance and said, "I've never heard that much emotion come out of an instrument before" and she was quite visibly impressed. The other performers shared similar sentiments with me as well.

I don't think these kids at the camp had any previous exposure to the jazz idiom and if my experience was any indication, the future may look brighter for jazz artists than otherwise expected.

Anyway, it was a first for me and made the long day worth it in the end!

Dan Jacobs, jazz trumpet recording artist
www.danjacobsmusic.com

PHIL MORRISON TRIO: “PHILANTHROPY”
Featuring KEITH WILLIAMS
LABEL: Dr. Mac Records 2004
STYLE: Jazz trio w/vocals
Available at: cdbaby.com and philmorrisontrio.com

Review:
It rarely gets better than this. A collection of consummate professionals doing what they do best . . . playing jazz as it should be played! The album starts with “Philanthropy,” a must-hear education for any jazz fan, a wonderful piece composed by Phil Morrison and sung by Keith Williams - this selection provides a perfect tribute to the masters of jazz, performed with equal mastery! Every selection adds a new level of satisfaction to the enjoyment of this CD. The vocals and piano of Keith combined with the tone, sophistication and originality of Phil on bass fit together like the well-oiled machine that the are.

I first caught these guys playing in China at the Ritz-Carleton in Shanghai and was instantly seduced by the depth of integrity and passion that they bring both to the music and their lives. I doubt they ever played a note they don’t believe in. They mean what they play and what they say! These guys are suburb musicians, philosophers and humanitarians all in one! As I said, it rarely gets better than this.

Phil and Keith are very competently supported by the rhythm and soloing of guitarist Barry Green who is more than up to the task; he’s everything you need and more.

Drummer/percussionist, Von Barlow is amazing! I could listen to him all by himself; he adds everything you want and is one of the most innovative drummers/percussionists I’ve heard.

Check out the magnificent soloing of Phil on bass on “This Time The Dream’s on Me.” His sense of time and sound are supremely satisfying and a demonstration in the artistry of jazz performed by a master.

Then there is the scat singing by Keith, on the same song, perfectly complemented by Barry’s guitar solos . . . just wonderful!

This is arguably the best album of its type I’ve ever heard. I put it on and from the first note, I know I’m in the hands of an artist who won’t disappoint . . . I could listen to it all day. Very Highly Recommended!
Dan Jacobs,reviewer, newjazzhorizons.com
www.danjacobsmusic.com

DAVE STAHL BAND – "LIVE AT THE RITZ"
STYLE: BIG BAND JAZZ
Abee Cake Records - Dec. 2004
Available at: Abeecakerecords.com

Review:
Dave Stahl is a trumpet players’ trumpet player. He can do it all! From his beautiful sound and jazz phrasing in the lower to middle range to his ferocious chops and incredible accuracy and enormous sound in the extreme upper register, he never fails to deliver.

This album is a winner! From start to finish, it’s got you hooked. The quality of musicianship overall, the ensemble work and the soloing and arranging, is at the highest levels only equaled by the recording quality (I was very impressed). If you’re looking for an exciting big band recording, in a live setting, look no further. For a performance recorded in a club setting, this is one of the best I’ve reviewed. It’s obvious that the band had fun on the date and every tune is a pleasure to listen to.

Arrangements are provided largely by valve trombonist Todd Fronauer and he is up to the task, delivering fresh new treatments of standards like, “Mercy, Mercy, Mercy” and Clare Fishers’ “Pensativa” and other great new challenging charts worthy of a band of this caliber. Worthy of note is drummer Lew Leabman, the consummate professional, who shines on this date with his section work and great solos. His presence definitely contributes to the overall impact of the band. Combined with bassist Rob Cochran and pianist Mike Moran, they provide the perfect rhythm section, arguably for any band, providing a solid bedrock for the outstanding talents of the rest of the band, topped off by the thrilling leader, Dave Stall, who handles anything thrown at him with seemingly effortless competence! Highly recommended!
Dan Jacobs, reviewer,
newjazzhorizons.com
www.danjacobsmusic.com

BOBJAMES AND DAN JACOBS to co-host a jazz master class clinic followed by a performance with three big band and a jazz vocal group featuring these two artists.

Friday night, 29 April 2005, 5:00PM - clinic. Concerts start at 6:30PM - 9:00PM at the Denos Museum Performing Arts Center in Traverse City, MI

The jazz clinic will be co-hosted by grammy award winning pianist Bob James of the famous jazz group, "FOURPLAY" and Dan Jacobs, jazz trumpet recording artist, who's latest critically acclaimed latest release, "BLUEAFTER HOURS" is featured on many jazz stations around the country.

After the clinic, Bob and Dan will perform as featured solo artists with the Ithaca High School Jazz Band and the Northwestern Michigan College Jazz Band.

COME EARLY - - - STAY LATE

REVIEW: BOB JAMES/DAN JACOBS JAZZ MASTER CLASS
Date: 29 April 2005
Venue: Denos Performing Arts
Traverse City, MI

Review:
The Bob James/Dan Jacobs Jazz Master Class attendees got more than they expected for this event. Bob James, piano, and Dan, trumpet, were both in great form and the music they produced together was as exciting as it was inspiring to the musicians gathered for the clinic.

The concert following the clinic was also a rare treat with the artists as featured soloists with three big bands and one vocal jazz group. The venue, Denos Performing Arts Center, was packed and after two enthusiastic standing ovations, I think we can conclude that the audience loved it as much as the musicians did!
- Seth Allan, NEW JAZZ HORIZONS magazine

Review:
Famed high-note trumpeter, Maynard Ferguson, did not dissapoint anyone in the concert last night! At 76 years old, he outshines any trumpeter half his age! Hitting high notes, with a sound as big as a house, he still seemed to perform effortless, without any apparent strain.

Not only was the thorough professionalism of the entire ten piece band very much in evidence, this was only outdone by the completely satisfying and entertaining flavor of the performance.

Maynard shared his obvious delight with his music with the audience and the band at every opportunity. A magnificent performance! Highly recommended.
- J. Daniels, Editor,
New Jazz Horizons

ON THE CREATIVE PROCESS

Here are some of my thoughts on the creative process in improvisation in general.

To begin, I must say, I have never improvised or played a note I haven't played many times before. While there are no notes per se on the horn that have not been played in practice millions of times, no note is "exactly" the same, no matter how many times you practice it. There are literally an infinity of other mechanical, mental, emotional and spiritual factors that enter into how a note is played or how any sound is produced from a musical instrument.

Sometimes I think of the process of producing any musical tone as a thrilling, though inexplicable, supernatural kind of exquisite mystery that anything vaguely musical comes out the end of what is basically an artfully crafted, somewhat aesthetic piece of plumbing . . . called a trumpet.

Still, through countless hours of diligent practice I have mastered some degree of proficiency in tone production and musical performance such that I can play what is called for to a professional level at the desired moment in a musical production.

Still, I am constantly and pleasantly surprised by the countless magical musical surprises that occur in any live performance. This is because the other musicians contribute to the overall creation AND the addition of the audience can be as important as another band member as they add to the creative process as it is occurring in a very significant way. In fact, it's been said that the contribution from the audience is THE most important part of any creative process. Therein lies the rub. How do you capture the essence of a live performance while performing and recording in the studio without the audience present? To do that is partly a "slight of hand" by the producer and the engineer, partly the vast prior experience of the musicians and the artist, mostly because the group as a whole loves what they are doing so much that this enthusiasm and exhilaration shows up and becomes an integral part of the recording.

Of course, you could just record it live with an enthusiastic audience, but then there are other variables to contend with, as with any movie that is made . . . to shoot on location with the freedom that affords, or in a sound stage where everything is controllable. There is always a tradeoff.

You want a somewhat "controlled burn" to occur so that the spontaneous creative process can take place so that the "magic" is allowed to take place. Overcontrol it, (really meaning "force") and you'll stifle or kill the process completely. Undercontrol it, (really meaning "no control") and you seriously compromise the quality of the technical and creative aspects of the production. Neither of these two options is workable as should be apparent. The key to success lies somewhere in the middle. To me, perfect control in a musical setting could be defined as "somewhat predictable change." Just enough control to hold the edges and allow the creative process to occur within generally defined guidelines but not too much micromanagement to clamp down hard on individual creative artistic contribution.

For example, recently I overdubbed a cellist for a project I'm working on. I had a cello part all written out and as the professional he was, he could have played it perfectly, in fact he did in a rehearsal. But, the idea came up to record a take with him improvising the part behind the vocalist instead of just playing the notes that were written. As you might suspect, it became one of those magical moments in the performance and added enormously to the overall feeling we were looking for. Overcontrol would have made this impossible. Undercontrol, ending up with a "freeform improvisation" would have also been unacceptable for the song.

The perfect combination of “overcontrol vs undercontrol, was to allow for a “somewhat predictable change." I knew that the cellist was a pro with vast experience, competence and professionalism. I also knew the general
guidelines of what we were trying to do with the piece generally. As long as his improvisation added contributed to and supported the vocalist, I was willing to allow for his individual artistic contribution, the result being a greatly improved final product that will be a high point of the album.

As with the recent Jazz improv magazine interview example, it was somewhat more controlled than a pure interview and who knows what else would have come up with the give and take of a true "Q and A" process? I was looking forward to doing that, as sometimes I come up with things live that I might never have thought of if I'm just doing the writing process itself.

I'm sure you've experienced this phenomena for yourself. You start off a lecture thinking that it will go a certain direction and as you get into it, you think of other aspects of the subject that are relevant and important that add to the quality of your message. Perhaps it comes from a question someone asked or something you thought of on the spot, but it wasn't anything you had totally planned on happening when you started. And that's all part of the joy of creating isn't it?

As with music, I know all the chords, scales, note production and tunes necessary to do a professional job. But, when I get on stage and begin to perform, I never think of those mechanical elements. I only put my attention on the audience, the other musicians and my own playing . . . in that order. I never try to plan out my solo or performance to such a degree that it ends up sounding canned. That ends up being boring in very quick order, for the audience, the other musicians and for me!

Dan Jacobs
www.danjacobsmusic.com
Jazz trumpet recording artist
Sea Breeze Jazz Records

ALBUM: "Blue After Hours"
ARTIST: Dan Jacobs
LABEL: Simplicity Jazz Records SJ0409
STYLE: Instrumental Trumpet Jazz Quartet with originals

"Once you've listened to jazz trumpeter, Dan Jacobs and 'Blue After Hours', you'll understand why he's the #1 choice of celebrated critics and jazz connoisseurs around the world. His passion for quality in jazz is apparent in his approach of, "uncluttered complexity," allowing the message to come through to the listener from the melody, harmony and rhythm, just the way it should be! From the depth of quality in his tone to the maturity and sophistication of his solos, he creates and unforgettable experience you simply won't find anywhere else. Highly recommended."
- Seth Allan, jazz reviewer,
New Jazz Horizons
www.blueafterhours.com

ALBUM: "Eileen"
ARTIST: Eileen Bertsch
LABEL: Metro Records V052042
STYLE: Female vocalist with Broadway influences, jazz/pop flavor with orchestra

REVIEW:

Every once in a great while, you're lucky enough to be in the presence of greatness. On these rare occasions, you can totally relax and be certain that the artist is going to take you on a pleasant musical journey and bring you back, refreshed and happy you made the trip! On these occasions, you know you’re in the hands of a master. This album by Eileen is one of these rare performances.

She is nothing less than a world-class singer and entertainer. On this recording, she is supported by an excellent band of "A-List" horn players and string players with a seasoned rhythm section, produced by Dan Jacobs for Metro Records, Inc. All the soloists - Denis Solee, sax and flute, Randy Dorman, guitar and Dan Jacobs on trumpet - are supremely satisfying to listen to and right in the pocket for this album; the rhythm section is amazing and the horn section is ferocious!

With songs like "Unforgettable, Over The Rainbow, Desperado, People, You've Got A Friend, In This Life" and much more (14 songs on the album), there is something for everyone to enjoy. Also, the live strings and horn section add just the bit of depth needed to support Eileen's vocal style.

She can apparently sing anything she wants to and I'm happy she chose this material from the American songbook. She has excellent range, dynamics, and control and most importantly, she seems to never sing a lyric that she doesn't believe in. Every word she sings comes right off the CD and into your heart!

Overall, the level of musicianship is only outdone by the quality of the message Eileen delivers through her singing! This is one album I can’t stop listening to. You will not be disappointed!"

- B. Wilson, journalist/reviewer, New Jazz Horizons Magazine

ALBUM: "RENAISSANCE"
ARTIST: Phillip Keveran, pianist, arranger
STYLE: Piano easy listening, with orchestra
LABEL: Simplicity Records

Review:
Phillip Keveran is an artist who is clearly passionate about his music. He has a touch and sensitivity in his piano performances that reveal the depth of love that he has for what he is playing. This CD is simply a pleasure from the first note. The lyrical, singing quality of his playing makes it seem like there is a vocalist on the album, but perhaps it's only because you feel so much like singing along with his playing!

Two original compositions on the album are a standout. The first one, "Affair of the Heart," by Dan Jacobs, is a gracefully expressive composition that is as romantic as the title suggests.

The second one, “Snow In The Wind,” by Chuck Jacobs, transforms you with rhythm and melody to another place and time and pleasantly so. These are both wonderful compositions performed beautifully by Phillip.

“Renaissance” is one album that will not disappoint even the most discriminating listener.

- B. Wilson, NJH magazine
www.simplicityrecords.com
www.newjazzhorizons.com