Reut Regev

This is R*Time
Ropeadope No #

Jeff Albert Quartet

Similar in the Opposite Way

Fora Sound FORA 08-01

Gypsy Schaeffer

New Album

Peace Time Records PTR 1003

Brassy, sassy and worth heralding, these CDs feature three trombonists celebrating their bona fides while working out individual paths for themselves. Interesting, all three are somewhat beholden to the super-speedy rhythmic crunches that contemporary players have internalized from rock music.

As a point of demarcation however, with their instrumentation of trombone, saxophone, bass and drums, both the New Orleans combo of Jeff Albert, and the Boston-based Gypsy Schaeffer quartet, which prominently features slide-specialist Joel Yennior, extend the FreeBop focus pioneered by the New York Art Quartet (NYAQ) in the 1960s. Israeli-born, but a New York resident, trombone and flugabone player Reut Regev alters the arrangement by cleaving closer to Latin beats, On This is R*Time she substitutes David Phelps’ flanged and distorted guitar styling for the saxes present on the other CDs and adds conga and bongo frailer Eddie Bobé to two tracks.

Regev, whose experience encompasses Latin band work as well as membership in Anthony Braxton’s 12+1tet, composed the majority of the tunes here as well as collaborating on a couple with percussionist Igal Foni. Distinguishing strategy throughout is the contrast of her super-clean articulation with Phelps’ echoing fuzz-tone lines and vamps – while Foni concentrates on the backbeat.

On a tune like “Some of the Best Fish Are Alive”, where Regev also plays congas, she extends the Latin-rock groove with trombone triple tonguing and a series of plump, chromatic whole notes. Loosening his distant string-flailing, the guitarist aims for synthesized wiggles and Space Rock homage, as bassist Brad Jones holds down the middle. Climax is reached by intertwining Regev’s mid-range tremolo plus clanking and clipped rhythm patterns.

“Balibalaila” is more diffuse. Sitar-like shimmers from Phelps and walking bass strokes give way to the trombonist alternately pumping lyrical or linear tones on top of a massed percussion attack – including Bobé’s congas. As her horn’s timbres fades into echoing growls, it appears as if Regev is abutting bossa nova lines while the others stick to Latin-Rock.

“Nutcase Scenario”, written by Foni, is the most complete essay in trombone and guitar interaction – although this time it evolves over repeated twangs from Jones’ electric bass. The slashing staccato guitar vamps come up against chugging grace note extensions and subtle growling from Regev. Opened up for a drum solo enlivened by cross sticking and nerve beats, the stop-and-go composition marches to the finish line with brass plunger textures and sliced off guitar chords.

Moving down south from Ninth Avenue to the Ninth Ward, Jeff Albert’s trick bag opens up wide enough to expose a series of the trombonist’s quirkily titled compositions. Most are performed with a sort of jerky and jokey unison between Albert’s trombone double-tonguing and slurs and Ray Moore’s slithery and slippery alto saxophone timbres. Albert’s low blats usually limn the melody while Moore’s sharp trills decorate them – or the process is reversed. Bassist Tommy Sciple walks convincingly, while drummer Dave Cappello’s breaks sometime function as a third lead voice.

Albert, who has backed Crescent City R&B journeymen such as George Porter and Deacon John, is also linked to the newest generation of Windy City improvisers, with his post-Hurricane Katrina-organized Lucky7s band, co-lead by fellow vale-pumper Jeb Bishop and otherwise staffed by Chicagoans.

Here, a piece like “Bag Full of Poboys” is the most New Orleans-like in its grooves, with an in-the-pocket beat and the trombonist and altoist involved in searing double counterpoint. Staying down-and-dirty at the same time as it progresses, the piece allows Albert to let loose with brays, slurs and purrs, while just before Moore fractures the theme with altissimo runs, Cappello’s cymbal action and drags confirm the rhythm.

Not every tune is andante and staccato, however. “Subtle Flower”, for instance, is an intricate ballad. Slowly fertilizing the bloom, the two horn men’s timbres often intertwine, although each is playing a different melody. Moore moves from mid-range to whistling chirps that ascend to higher pitches, while Albert blows blurry, buzzy modulations.

Sometimes the piece takes on a vaguely oriental feel as with “Rookie Cyclist”. Steadily pumped and goosed by Cappello’s ruffs and bumps, the theme gives Albert a chance to showcase a wide-ranging collection of grace notes à la Roswell Rudd, and reed-biting Moore the place to assay rough Archie Shepp-like runs.

Referencing the piano-less NYAQ, as well as similarly constituted earlier quartets such as Ornette Coleman’s in the late 1950s and Gerry Mulligan’s earlier in that decade; Gypsy Schaeffer’s game plan is tight and swinging. That’s not surprising since the group, which has been a working unit since 2003, is made up of Beantown regulars who played together in various combinations over the years. Trombonist Yennior is also a member of the mercurial Either/Orchestra, but roles are shared cooperatively. As is the writing: three of the 13 tunes are by saxophonist Andy Voelker, two by bassist Jeff Charland, and the rest group composition/improvisations.

The majority of the compositions have a definite traditional structure. Voelker’s “New Egypt”, for instance, features his Marion Brown-like alto sax line stating the head on top of Charland’s waking bass line, and then Voelker’s variations are seconded by rumbles from drummer Chris Punis. Yennior’s downward slurs recap the head, which appears a third time as an extro, taken one-third more leisurely than it was at the top. Throughout the disc, the four also confirm that, like the Count Basie band, they can maintain a swinging pace even at slow tempos.

Yennior’s pitch vocalization is featured on “Identity Crisis”, with simian sounds prominent as well. Final variations mate ratamacues and rim shots from Punis, rubato slurs from the trombonist and flutter-tongued alto trills. “Exuberant Irrationalism” on the other hand is pulled along on cymbal chings and a walking bass line, while the horns’ scalar runs expand into jumps and pumps.

Charland’s unvarying bass stops also formalize the connections between the Coleman and Mulligan quartet approaches on Voelker’s “Shark Tank”. After strident unison reed-and-brass sequences give way to a drum solo, the subsequent trading of fours makes the group sound much larger. Utilizing stop-time, the finale is simultaneously fanciful and harmonized.

In truth, none of the trombonists have redefines improvised the music in any way. But all have created pleasurable sessions which expand the definition of mainstream. Each CD suggests further impressive surprises can be expected from all the bands.

-- Ken Waxman

Track Listing: Time 1. Swill^ 2. Hula Hula* 3. Nutcase Scenario&^ 4. Bailbaila*+ 5. Some of the Best Fish Are Alive%* 6. Paradise%*# 7. Elephant Steps&^ 8. Clean Dirt* 9. True Story^

Personnel: Time: Reut Regev (trombone, flugabone& and congas%); David Phelps (guitars); Brad Jones (bass* and electric bass^); Igal Foni (drums and percussion) and Eddie Bobé (congas+ and bongos#)

Track Listing: Similar: 1. Similar in the Opposite Way 2. I Was Just Looking For My Pants 3. 9th Ward Trotsky 4. Subtle Flower 5. Chalk & Chocolate 6. Bag Full of Poboys 7. (Could Have Been a) Napkin 8. Folk Song 9. Morph My Cheese 10. Rookie Cyclist

Personnel: Similar: Jeff Albert (trombone); Ray Moore (alto saxophone); Tommy Sciple (bass) and Dave Cappello (drums)

Track Listing: Album: 1. New Egypt 2. Live a Little 3. Black Friday 4. Standard Candles 5. Grape Soda and Pretzels 6. The Greater Good 7. Welcome Edison 8. Double Quartet 9. Shark Tank 10. Exuberant Irrationalism 11. Ground Swell 12. Call to Arms 13. Identity Crisis

Personnel: Album: Joel Yennior (trombone); Andy Voelker (alto, tenor and soprano saxophones); Jeff Charland (bass) and Chris Punis (drums)

June 23, 2009

Jeff Albert Quartet

Similar in the Opposite Way
Fora Sound FORA 08-01

Reut Regev

This is R*Time

Ropeadope No #

Gypsy Schaeffer

New Album

Peace Time Records PTR 1003

Brassy, sassy and worth heralding, these CDs feature three trombonists celebrating their bona fides while working out individual paths for themselves. Interesting, all three are somewhat beholden to the super-speedy rhythmic crunches that contemporary players have internalized from rock music.

As a point of demarcation however, with their instrumentation of trombone, saxophone, bass and drums, both the New Orleans combo of Jeff Albert, and the Boston-based Gypsy Schaeffer quartet, which prominently features slide-specialist Joel Yennior, extend the FreeBop focus pioneered by the New York Art Quartet (NYAQ) in the 1960s. Israeli-born, but a New York resident, trombone and flugabone player Reut Regev alters the arrangement by cleaving closer to Latin beats, On This is R*Time she substitutes David Phelps’ flanged and distorted guitar styling for the saxes present on the other CDs and adds conga and bongo frailer Eddie Bobé to two tracks.

Regev, whose experience encompasses Latin band work as well as membership in Anthony Braxton’s 12+1tet, composed the majority of the tunes here as well as collaborating on a couple with percussionist Igal Foni. Distinguishing strategy throughout is the contrast of her super-clean articulation with Phelps’ echoing fuzz-tone lines and vamps – while Foni concentrates on the backbeat.

On a tune like “Some of the Best Fish Are Alive”, where Regev also plays congas, she extends the Latin-rock groove with trombone triple tonguing and a series of plump, chromatic whole notes. Loosening his distant string-flailing, the guitarist aims for synthesized wiggles and Space Rock homage, as bassist Brad Jones holds down the middle. Climax is reached by intertwining Regev’s mid-range tremolo plus clanking and clipped rhythm patterns.

“Balibalaila” is more diffuse. Sitar-like shimmers from Phelps and walking bass strokes give way to the trombonist alternately pumping lyrical or linear tones on top of a massed percussion attack – including Bobé’s congas. As her horn’s timbres fades into echoing growls, it appears as if Regev is abutting bossa nova lines while the others stick to Latin-Rock.

“Nutcase Scenario”, written by Foni, is the most complete essay in trombone and guitar interaction – although this time it evolves over repeated twangs from Jones’ electric bass. The slashing staccato guitar vamps come up against chugging grace note extensions and subtle growling from Regev. Opened up for a drum solo enlivened by cross sticking and nerve beats, the stop-and-go composition marches to the finish line with brass plunger textures and sliced off guitar chords.

Moving down south from Ninth Avenue to the Ninth Ward, Jeff Albert’s trick bag opens up wide enough to expose a series of the trombonist’s quirkily titled compositions. Most are performed with a sort of jerky and jokey unison between Albert’s trombone double-tonguing and slurs and Ray Moore’s slithery and slippery alto saxophone timbres. Albert’s low blats usually limn the melody while Moore’s sharp trills decorate them – or the process is reversed. Bassist Tommy Sciple walks convincingly, while drummer Dave Cappello’s breaks sometime function as a third lead voice.

Albert, who has backed Crescent City R&B journeymen such as George Porter and Deacon John, is also linked to the newest generation of Windy City improvisers, with his post-Hurricane Katrina-organized Lucky7s band, co-lead by fellow vale-pumper Jeb Bishop and otherwise staffed by Chicagoans.

Here, a piece like “Bag Full of Poboys” is the most New Orleans-like in its grooves, with an in-the-pocket beat and the trombonist and altoist involved in searing double counterpoint. Staying down-and-dirty at the same time as it progresses, the piece allows Albert to let loose with brays, slurs and purrs, while just before Moore fractures the theme with altissimo runs, Cappello’s cymbal action and drags confirm the rhythm.

Not every tune is andante and staccato, however. “Subtle Flower”, for instance, is an intricate ballad. Slowly fertilizing the bloom, the two horn men’s timbres often intertwine, although each is playing a different melody. Moore moves from mid-range to whistling chirps that ascend to higher pitches, while Albert blows blurry, buzzy modulations.

Sometimes the piece takes on a vaguely oriental feel as with “Rookie Cyclist”. Steadily pumped and goosed by Cappello’s ruffs and bumps, the theme gives Albert a chance to showcase a wide-ranging collection of grace notes à la Roswell Rudd, and reed-biting Moore the place to assay rough Archie Shepp-like runs.

Referencing the piano-less NYAQ, as well as similarly constituted earlier quartets such as Ornette Coleman’s in the late 1950s and Gerry Mulligan’s earlier in that decade; Gypsy Schaeffer’s game plan is tight and swinging. That’s not surprising since the group, which has been a working unit since 2003, is made up of Beantown regulars who played together in various combinations over the years. Trombonist Yennior is also a member of the mercurial Either/Orchestra, but roles are shared cooperatively. As is the writing: three of the 13 tunes are by saxophonist Andy Voelker, two by bassist Jeff Charland, and the rest group composition/improvisations.

The majority of the compositions have a definite traditional structure. Voelker’s “New Egypt”, for instance, features his Marion Brown-like alto sax line stating the head on top of Charland’s waking bass line, and then Voelker’s variations are seconded by rumbles from drummer Chris Punis. Yennior’s downward slurs recap the head, which appears a third time as an extro, taken one-third more leisurely than it was at the top. Throughout the disc, the four also confirm that, like the Count Basie band, they can maintain a swinging pace even at slow tempos.

Yennior’s pitch vocalization is featured on “Identity Crisis”, with simian sounds prominent as well. Final variations mate ratamacues and rim shots from Punis, rubato slurs from the trombonist and flutter-tongued alto trills. “Exuberant Irrationalism” on the other hand is pulled along on cymbal chings and a walking bass line, while the horns’ scalar runs expand into jumps and pumps.

Charland’s unvarying bass stops also formalize the connections between the Coleman and Mulligan quartet approaches on Voelker’s “Shark Tank”. After strident unison reed-and-brass sequences give way to a drum solo, the subsequent trading of fours makes the group sound much larger. Utilizing stop-time, the finale is simultaneously fanciful and harmonized.

In truth, none of the trombonists have redefines improvised the music in any way. But all have created pleasurable sessions which expand the definition of mainstream. Each CD suggests further impressive surprises can be expected from all the bands.

-- Ken Waxman

Track Listing: Time 1. Swill^ 2. Hula Hula* 3. Nutcase Scenario&^ 4. Bailbaila*+ 5. Some of the Best Fish Are Alive%* 6. Paradise%*# 7. Elephant Steps&^ 8. Clean Dirt* 9. True Story^

Personnel: Time: Reut Regev (trombone, flugabone& and congas%); David Phelps (guitars); Brad Jones (bass* and electric bass^); Igal Foni (drums and percussion) and Eddie Bobé (congas+ and bongos#)

Track Listing: Similar: 1. Similar in the Opposite Way 2. I Was Just Looking For My Pants 3. 9th Ward Trotsky 4. Subtle Flower 5. Chalk & Chocolate 6. Bag Full of Poboys 7. (Could Have Been a) Napkin 8. Folk Song 9. Morph My Cheese 10. Rookie Cyclist

Personnel: Similar: Jeff Albert (trombone); Ray Moore (alto saxophone); Tommy Sciple (bass) and Dave Cappello (drums)

Track Listing: Album: 1. New Egypt 2. Live a Little 3. Black Friday 4. Standard Candles 5. Grape Soda and Pretzels 6. The Greater Good 7. Welcome Edison 8. Double Quartet 9. Shark Tank 10. Exuberant Irrationalism 11. Ground Swell 12. Call to Arms 13. Identity Crisis

Personnel: Album: Joel Yennior (trombone); Andy Voelker (alto, tenor and soprano saxophones); Jeff Charland (bass) and Chris Punis (drums)

June 23, 2009

Gypsy Schaeffer

New Album
Peace Time Records PTR 1003

Reut Regev

This is R*Time

Ropeadope No #

Jeff Albert Quartet

Similar in the Opposite Way

Fora Sound FORA 08-01

Brassy, sassy and worth heralding, these CDs feature three trombonists celebrating their bona fides while working out individual paths for themselves. Interesting, all three are somewhat beholden to the super-speedy rhythmic crunches that contemporary players have internalized from rock music.

As a point of demarcation however, with their instrumentation of trombone, saxophone, bass and drums, both the New Orleans combo of Jeff Albert, and the Boston-based Gypsy Schaeffer quartet, which prominently features slide-specialist Joel Yennior, extend the FreeBop focus pioneered by the New York Art Quartet (NYAQ) in the 1960s. Israeli-born, but a New York resident, trombone and flugabone player Reut Regev alters the arrangement by cleaving closer to Latin beats, On This is R*Time she substitutes David Phelps’ flanged and distorted guitar styling for the saxes present on the other CDs and adds conga and bongo frailer Eddie Bobé to two tracks.

Regev, whose experience encompasses Latin band work as well as membership in Anthony Braxton’s 12+1tet, composed the majority of the tunes here as well as collaborating on a couple with percussionist Igal Foni. Distinguishing strategy throughout is the contrast of her super-clean articulation with Phelps’ echoing fuzz-tone lines and vamps – while Foni concentrates on the backbeat.

On a tune like “Some of the Best Fish Are Alive”, where Regev also plays congas, she extends the Latin-rock groove with trombone triple tonguing and a series of plump, chromatic whole notes. Loosening his distant string-flailing, the guitarist aims for synthesized wiggles and Space Rock homage, as bassist Brad Jones holds down the middle. Climax is reached by intertwining Regev’s mid-range tremolo plus clanking and clipped rhythm patterns.

“Balibalaila” is more diffuse. Sitar-like shimmers from Phelps and walking bass strokes give way to the trombonist alternately pumping lyrical or linear tones on top of a massed percussion attack – including Bobé’s congas. As her horn’s timbres fades into echoing growls, it appears as if Regev is abutting bossa nova lines while the others stick to Latin-Rock.

“Nutcase Scenario”, written by Foni, is the most complete essay in trombone and guitar interaction – although this time it evolves over repeated twangs from Jones’ electric bass. The slashing staccato guitar vamps come up against chugging grace note extensions and subtle growling from Regev. Opened up for a drum solo enlivened by cross sticking and nerve beats, the stop-and-go composition marches to the finish line with brass plunger textures and sliced off guitar chords.

Moving down south from Ninth Avenue to the Ninth Ward, Jeff Albert’s trick bag opens up wide enough to expose a series of the trombonist’s quirkily titled compositions. Most are performed with a sort of jerky and jokey unison between Albert’s trombone double-tonguing and slurs and Ray Moore’s slithery and slippery alto saxophone timbres. Albert’s low blats usually limn the melody while Moore’s sharp trills decorate them – or the process is reversed. Bassist Tommy Sciple walks convincingly, while drummer Dave Cappello’s breaks sometime function as a third lead voice.

Albert, who has backed Crescent City R&B journeymen such as George Porter and Deacon John, is also linked to the newest generation of Windy City improvisers, with his post-Hurricane Katrina-organized Lucky7s band, co-lead by fellow vale-pumper Jeb Bishop and otherwise staffed by Chicagoans.

Here, a piece like “Bag Full of Poboys” is the most New Orleans-like in its grooves, with an in-the-pocket beat and the trombonist and altoist involved in searing double counterpoint. Staying down-and-dirty at the same time as it progresses, the piece allows Albert to let loose with brays, slurs and purrs, while just before Moore fractures the theme with altissimo runs, Cappello’s cymbal action and drags confirm the rhythm.

Not every tune is andante and staccato, however. “Subtle Flower”, for instance, is an intricate ballad. Slowly fertilizing the bloom, the two horn men’s timbres often intertwine, although each is playing a different melody. Moore moves from mid-range to whistling chirps that ascend to higher pitches, while Albert blows blurry, buzzy modulations.

Sometimes the piece takes on a vaguely oriental feel as with “Rookie Cyclist”. Steadily pumped and goosed by Cappello’s ruffs and bumps, the theme gives Albert a chance to showcase a wide-ranging collection of grace notes à la Roswell Rudd, and reed-biting Moore the place to assay rough Archie Shepp-like runs.

Referencing the piano-less NYAQ, as well as similarly constituted earlier quartets such as Ornette Coleman’s in the late 1950s and Gerry Mulligan’s earlier in that decade; Gypsy Schaeffer’s game plan is tight and swinging. That’s not surprising since the group, which has been a working unit since 2003, is made up of Beantown regulars who played together in various combinations over the years. Trombonist Yennior is also a member of the mercurial Either/Orchestra, but roles are shared cooperatively. As is the writing: three of the 13 tunes are by saxophonist Andy Voelker, two by bassist Jeff Charland, and the rest group composition/improvisations.

The majority of the compositions have a definite traditional structure. Voelker’s “New Egypt”, for instance, features his Marion Brown-like alto sax line stating the head on top of Charland’s waking bass line, and then Voelker’s variations are seconded by rumbles from drummer Chris Punis. Yennior’s downward slurs recap the head, which appears a third time as an extro, taken one-third more leisurely than it was at the top. Throughout the disc, the four also confirm that, like the Count Basie band, they can maintain a swinging pace even at slow tempos.

Yennior’s pitch vocalization is featured on “Identity Crisis”, with simian sounds prominent as well. Final variations mate ratamacues and rim shots from Punis, rubato slurs from the trombonist and flutter-tongued alto trills. “Exuberant Irrationalism” on the other hand is pulled along on cymbal chings and a walking bass line, while the horns’ scalar runs expand into jumps and pumps.

Charland’s unvarying bass stops also formalize the connections between the Coleman and Mulligan quartet approaches on Voelker’s “Shark Tank”. After strident unison reed-and-brass sequences give way to a drum solo, the subsequent trading of fours makes the group sound much larger. Utilizing stop-time, the finale is simultaneously fanciful and harmonized.

In truth, none of the trombonists have redefines improvised the music in any way. But all have created pleasurable sessions which expand the definition of mainstream. Each CD suggests further impressive surprises can be expected from all the bands.

-- Ken Waxman

Track Listing: Time 1. Swill^ 2. Hula Hula* 3. Nutcase Scenario&^ 4. Bailbaila*+ 5. Some of the Best Fish Are Alive%* 6. Paradise%*# 7. Elephant Steps&^ 8. Clean Dirt* 9. True Story^

Personnel: Time: Reut Regev (trombone, flugabone& and congas%); David Phelps (guitars); Brad Jones (bass* and electric bass^); Igal Foni (drums and percussion) and Eddie Bobé (congas+ and bongos#)

Track Listing: Similar: 1. Similar in the Opposite Way 2. I Was Just Looking For My Pants 3. 9th Ward Trotsky 4. Subtle Flower 5. Chalk & Chocolate 6. Bag Full of Poboys 7. (Could Have Been a) Napkin 8. Folk Song 9. Morph My Cheese 10. Rookie Cyclist

Personnel: Similar: Jeff Albert (trombone); Ray Moore (alto saxophone); Tommy Sciple (bass) and Dave Cappello (drums)

Track Listing: Album: 1. New Egypt 2. Live a Little 3. Black Friday 4. Standard Candles 5. Grape Soda and Pretzels 6. The Greater Good 7. Welcome Edison 8. Double Quartet 9. Shark Tank 10. Exuberant Irrationalism 11. Ground Swell 12. Call to Arms 13. Identity Crisis

Personnel: Album: Joel Yennior (trombone); Andy Voelker (alto, tenor and soprano saxophones); Jeff Charland (bass) and Chris Punis (drums)

June 23, 2009

Lucky 7s

Farragut
Lakefront Digital LFD-2-006

Close cooperation between New Orleans and Chicago musicians has a history that goes back as far as King Oliver’s Creole Jazz Band and the New Orleans Rhythm Kings. While the rapprochement lessened during the modern jazz era, better communication and the devastation caused by a certain recent hurricane has created fortuitous couplings like the one captured here.

New Orleans trombonist and tubaist Jeff Albert and Chicago trombonist Jeb Bishop were the catalysts. Looking for a Chi-Town gig for his hometown band, Albert was convinced by Bishop to put together this septet which blends Louisiana and Illinois players. Bassist Mat Golombisky and drummer Quin Kirchner are also from the Big Easy, while cornetist Josh Berman, reedist Keefe Jackson and vibist Jason Adasiewicz are Windy City residents. Miraculously for a first-time match up, the combined ensemble ends up sounding as if they’re long-time band mates.

If nothing else, even a cursory listen to the CD would allow you to guess the New Orleans orientation of Lucky 7s. Scattered among the more modern musical references you can hear slap bass à la Pops Foster, nerve beat stick manipulation, rim shots and hi-hat slaps à la Paul Barbarin, huffing tuba blasts from Albert and raucous gutbucket style trombone solos that pay homage to Kid Ory. As a matter of fact, when the urge hits, Lucky7s isn’t above slipping into Second Line or March time.

About the only unusual – in a Crescent City fashion – sounds are provided by Adasiewicz’s vibes and Jackson’s bass clarinet (he also plays tenor saxophone). However, the vibes’ long-lined, andante polyrhythms usually fit perfectly with tuba pops and strummed bass lines Meanwhile, not only do the swollen licorice stick’s coloratura lines blend with bluesy trombone burrs, but the full-force drone created by Jackson and Kirchner beats give “504 No More …?” a modal implication similar to some of John Coltrane’s compositions.

Referring to New Orleans’ area code, Albert’s composition is invested with appropriate melancholy harmonies to reflect New Orleans’ present geographic dilemma. Still the mournful funeral-like mood is intersected by cross patterned drum beats and extended plunger work, likely from Bishop.

Appropriately enough that dirge is followed by two of the CD’s liveliest tracks which end the session on a high note. Both Bishop’s title track and Albert’s “Bucktown Special” are foot lifters in a fine tradition. The former tune builds up to a rollicking stop-time ending. Before that, the crescendo of vamping horn lines are briefly interrupted by a tension-releasing vibe solo, and followed by a traditional-modern percussion display by the drummer.

More than 12-minutes long, “Bucktown Special” is a slinky Second Line march that takes as much from greasy R&B as Trad Jazz. An unrefined strut, it includes a blues- drenched, rocking tenor sax solo, woody slap bass, hi-hat kicks from Kirchner, riffing Fats Domino band-style horns and a funky plunger trombone outburst – probably from Albert. All this revolves on top of a parade-line beat that’s an appropriate summation of all that went before it.

With such a fine debut, here’s hoping that listeners will be able to hear another Lucky 7s disc before too long.

-- Ken Waxman

Track Listing: 1. Stitch 2. Swirling 3. It’s Something To Try. For Today At Least 4. Belgrade 5. 504 No More…? 6. Farragut 7. Bucktown Special

Personnel: Josh Berman (cornet); Jeb Bishop (trombone); Jeff Albert (trombone and tuba); Keefe Jackson (tenor saxophone and bass clarinet); Jason Adasiewicz (vibraphone); Matthew Golombisky (bass and effects); Quin Kirchner (drums)

October 25, 2006