Sherman plays percussion, drums and vibes but claims that his first and main love is piano. Here he has lined up a strong hard-bop combo with musicians of contrasting styles for plenty of variety…
Derek Ansell, Jazz Journal (UK), 21 Nov., 2019
Erin McDougald is a big-voiced Chicago-based singer who calls herself the “Flapper Girl” after the “flappers” of the 1920s,’ looking back on them as emancipated, fearless women. That identity carries into her singing which comes across with a confidence and flair you rarely hear among younger jazz vocalists today. With her voice carrying a low, sultriness mixed with jazzy flexibility, she does not overtly sound like any of the great singers of the past but she has a versatility and freedom that, at various times, can recall Sarah Vaughan, Ella Fitzgerald or Chris Connor.
Most of the songs on her CD are familiar standards but the arrangements, most of which McDougald worked on, rework them and give them new life.
Read the full review at All About Jazz
For her new album, Outside The Soirée, Chicago-based vocalist Erin McDougald decided to pursue her ambitions and go big. The result is a thrilling, 80-minute program featuring contributions from two of the greatest living instrumentalists in jazz: Tom Harrell (trumpet and flugelhorn) and Dave Liebman (soprano and tenor saxophones).
Read the full review at Downbeat
Life certainly takes us on some unexpected journeys. Laura Perlman had to suffer through some giant health scares before really focusing on her lifelong passion for jazz. The results of that focus are the tracks on Precious Moments, a wonderful CD on which Laura sings some beloved standards. Joining Laura Perlman on this release are some incredibly accomplished jazz musicians, including Bill Cunliffe on piano, Mark Sherman on vibraphone (Sherman also produced the album and did most of the arrangements), Chris Colangelo on bass and Joe La Barbera on drums.
Celebration of Soul is the tenth and final album in a series of recordings made in just three years by guitarist/composer Josh Maxey. Such a uniquely prolific output did not happen by accident. Maxey says “The key to the series has been having a goal beyond what I would have considered reasonable.” The series is a creative declaration from a musician who considers himself an improviser, composer and bandleader in equal parts. It documents 50 original compositions with 20 musicians.
Tim Hegarty’s Tribute is an audible panegyric on the great saxophonist-composers. It’s a well-crafted, straightforward date that highlights Hegarty’s love for those who’ve come before and the work that they’ve done on paper and on record.
Read the full review here.
It’s not the job of liner notes to critically appraise the recording for which they were written. Liner notes are supposed to be laudatory, occasionally hagiographic, but they’re never meant to critique. That’s the job of the review. Reviews don’t make good liner notes and vice versa. Exceptions prove rules, however. So congratulations must go to Arturo O’Farrill, because his excellent liner notes for the debut album from pianist Jeff Holmes’ Quartet—the equally excellent Of One’s Own—could readily serve as a review.
After more than a quarter-century with various vocal groups, including the fine, retro-fitted female trio String of Pearls, jazz educator and vocal therapist Holli Ross has pulled an Annie Ross and delivered her first solo album. Ross’ voice suggests a star sapphire: deep, indigo-hued and immaculately pure, yet shot through with a captivating smokiness.
An ensemble performer for two decades, and co-founder of the String Of Pearls vocal group, jazz vocalist and educator Holli Ross offers her first solo album on the thirteen-track You’ll See. Presenting unique interpretations of songs from Duke Ellington, Peggy Lee and Laura Nyro to new material from Brazilian trumpet icon Claudio Roditi and bassist Rufus Reid—both of whom grace this recording—Ross affirms the label from the late jazz critic Stuart Troup, who once dubbed her “the voice of experience.” A wonderful lyricist who can make the words come a live with her vocal expressions, Ross is also an experienced writer, having penned the lyrics to many jazz instrumental compositions—as she does here.
In 2007, vocalist Lauren Hooker turned out an impressive debut, Right Where I Belong (Musical Legends, Inc., 2007), which highlighted her solid, yet flexible, voice, and an ability to graft her own lyrics onto familiar instrumental jazz standards. Three years later, Hooker returns with a program that largely focuses on her own lyrics and music, demonstrating interests in the blues, straight-ahead jazz, funk, pop and Brazilian music.
Read at AllAboutJazz