Chris Hopkins: Meets The Young Lions. Live Vol. 1 (EOSP 4514 2)
New Jersey born pianist Chris Hopkins has spent much of his life in Germany, where he now resides. Over a long and busy career he has travelled extensively, and recorded around 50 albums, drawing acclaim for his contribution to the excellent and innovative Echoes Of Swing recordings, on which he doubled on alto. Assured and expressive, his versatile style encompasses colourful and interesting ideas.
As pianist and mentor on these live performances, he introduces four very promising “Young Lions” whom he’d discovered during his teaching activities at the University Of Music in Cologne – Thimo Niesterok (trumpet), Tijn Trommelen (guitar, vocals), Caris Hermes (bass) and Mathieu Clement (drums). In a programme of familiar Dixieland and swing standards they all acquit themselves impressively, sounding surprisingly mature, relaxed and well integrated as a group. Niesterok stands out, his light tone warm, bright and rounded, and his phrasing conveying a confident flow of ideas, influenced considerably by Braff and Armstrong. However, he is very much his own man in a sensitive, slow interpretation of Rocking Chair, contrasting this with fired-up attack on I Never Knew.
Trommelen sings well in confident, relaxed Sinatra-ish style, but is perhaps over-featured with five of the 10 tracks containing vocals. Hopkins, at the helm, solos with an unusual choice, Glenn Miller’s Moonlight Serenade. His effective block-chord arrangement, with some interesting harmonic development, echoes the tune’s big-band origins. It’s good to know that classic straightahead jazz is still being created by fresh names, with such quality and style. CD available at shop.hopkinsjazz.com/en. Streaming and downloads: Spotify, Amazon, iTunes and others.
Terry Waldo And The Gotham City Band: Treasury Vol. 1 (Turtle Bay Records)
This CD contains 10 tracks of familiar traditional Dixieland warhorses, performed very capably and with obvious enjoyment. Ricky Alexander’s lively and nimble soprano leads the group stylishly through the opening Blame It On The Blues, with Bechet much in mind, and contributes a driving flow of ideas thereafter on clarinet. Trumpeter Mike Davis lays down a hot lead in Wolverine Blues and Tiger Rag and peaks with a fine Red Nichols inspired solo in San, suitably matched by the experienced trombonist Jim Fryer in a Miff Mole styled response. Banjoist Nick Rosso also solos effectively.
Firmly supportive, in old-school style, leader Terry Waldo brings in Yellow Dog Blues in authentic barrelhouse style. Banjoist Jerron Paxton entertains with vaudeville-styled vocals in Bill Bailey and The Frog Song. With a different front line, the quintet on the closing Maple Leaf Rag copes in admirable rapport with the very fast tempo, recorded experimentally for authentic effect with vintage 1920s equipment. (Was the recording speed running fast?) Playing time at 38.52 a little bit on the short side, but all in all an enjoyable album of entertaining and well-played traditional jazz.
Hannah Gill: Spooky Jazz Vol. 2 (Turtle Bay Records)
This themed CD follows Treasury Vol. 1, which I’ve reviewed above. Trumpeter Mike Davis and reedsman Ricky Alexander (mainly on tenor) figure prominently again, this time in support of vocalist Hannah Gill. Featured on all 11 tracks, she sings with verve and expressive phrasing, mainly in upbeat swing style. Spookiness just relates, sometimes tenuously, to the tune titles, and the arrangements sensibly avoid soundtrack gimmickry. The lyrics are generally playful or romantic, with some contrasting blues tracks – My Man’s An Undertaker, Haunted House Blues and You Hurt Me, the latter with impressive blues guitar from Justin Poindexter. Most of the songs performed were new to me. Hummin’ To Myself (with strong solo input from bassist Philip Ambuel and pianist Gordon Webster) and Oogie Boogie’s Song (with a suitably ominous thudding beat) work well. Mike Davis penned very good and imaginative arrangements for I’d Rather Be Burned As A Witch, Love, Your Spell Is Everywhere and That Old Black Magic. Shine On Harvest Moon was not perhaps an ideal choice for the closing track.
Unfortunately, there are no sleeve notes with information about the session or the unusual songs. I personally found the recording balance less than perfect at times, with the backing too heavy in some upbeat vocals, and the trumpet and violin sometimes sounding somewhat under-recorded. The album is commendably unhackneyed and swings along happily enough with some interesting ideas, and a spirited and entertaining performance throughout from Hannah Gill.
