Akiko Tsuruga • So Cute, So Bad

On more than one occasion I've sat back while listening to jazz organ giants of yore and thought to myself, "they don't make 'em like this anymore." And while it's true that one-of-a-kind greats like Jimmy Smith, Shirley Scott, Big John Patton, Brother Jack McDuff, Charles Earland, and Jimmy McGriff are gone for good, and nobody can duplicate exactly what they gave us, it's somewhat small-minded to ignore the fact that other talents are right in front of us, carrying the torch and keeping the organ in the soulful and swinging environments where it sounds best. Akiko Tsuruga is one of those figures.
Tsuruga is probably best known for her decade-long tenure in saxophonist Lou Donaldson's organ group, but her work as a leader shouldn't be discounted. She's no newcomer that department, having released a total of ten albums either stateside or in her native Japan, and this trio date makes perfectly clear why figures like Donaldson, drumming great Jimmy Cobb, and organ guru Dr. Lonnie Smith are in her corner. She's got the goods, and it shows.
So Cute, So Bad was recorded live in front of an appreciative audience at San Pedro's Alvas Showroom. Tsuruga is joined by two of the left coast's jazz elite—drummer Jeff Hamilton and guitarist Graham Dechter—and everything falls right into place. Right from the get-go, this trio sizzles. The title track—a comfortably paced, semi-shuffling blues—brings the grease and the good times. Hamilton's groove is as perfect as ever, Dechter delivers a strong solo showing and a fine melodic reading, and Tsuruga shows us what she's made of. In less than seven minutes she wraps her own personality around our expectations, bringing out signature ideals of her instrument—the gliss, the stab, the long tone, and the briefly cycling motif—that we've come to love when we hear an organist thrown down. And there's more where that came from.
Tsuruga and company continue to cook, cool off, and captivate across the remaining tracks. "The Lady Is A Tramp" is sunny and swinging, Baby Face Willette's "Face To Face" adds some caffeinated boogaloo surf soul to the mix, Slide Hampton's "Frame For The Blues" allows for exploration in mellower environs, "Tanabata" takes everybody on a trip to Japan by way of Brazil, and "Pretty Please" gently and slowly waltzes the band to the end of the line. Within each track there are myriad aspects for the ear to enjoy and latch onto, but you don't need to overthink this one. Tsuruga and company toss things right down the middle and hit the mark every time.

 

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On more than one occasion I've sat back while listening to jazz organ giants of yore and thought to myself, "they don't make 'em like this anymore." And while it's true that one-of-a-kind greats like Jimmy Smith, Shirley Scott, Big John Patton, Brother Jack McDuff, Charles Earland, and Jimmy McGriff are gone for good, and nobody can duplicate exactly what they gave us, it's somewhat small-minded to ignore the fact that other talents are right in front of us, carrying the torch and keeping the organ in the soulful and swinging environments where it sounds best. Akiko Tsuruga is one of those figures.
Tsuruga is probably best known for her decade-long tenure in saxophonist Lou Donaldson's organ group, but her work as a leader shouldn't be discounted. She's no newcomer that department, having released a total of ten albums either stateside or in her native Japan, and this trio date makes perfectly clear why figures like Donaldson, drumming great Jimmy Cobb, and organ guru Dr. Lonnie Smith are in her corner. She's got the goods, and it shows.
So Cute, So Bad was recorded live in front of an appreciative audience at San Pedro's Alvas Showroom. Tsuruga is joined by two of the left coast's jazz elite—drummer Jeff Hamilton and guitarist Graham Dechter—and everything falls right into place. Right from the get-go, this trio sizzles. The title track—a comfortably paced, semi-shuffling blues—brings the grease and the good times. Hamilton's groove is as perfect as ever, Dechter delivers a strong solo showing and a fine melodic reading, and Tsuruga shows us what she's made of. In less than seven minutes she wraps her own personality around our expectations, bringing out signature ideals of her instrument—the gliss, the stab, the long tone, and the briefly cycling motif—that we've come to love when we hear an organist thrown down. And there's more where that came from.
Tsuruga and company continue to cook, cool off, and captivate across the remaining tracks. "The Lady Is A Tramp" is sunny and swinging, Baby Face Willette's "Face To Face" adds some caffeinated boogaloo surf soul to the mix, Slide Hampton's "Frame For The Blues" allows for exploration in mellower environs, "Tanabata" takes everybody on a trip to Japan by way of Brazil, and "Pretty Please" gently and slowly waltzes the band to the end of the line. Within each track there are myriad aspects for the ear to enjoy and latch onto, but you don't need to overthink this one. Tsuruga and company toss things right down the middle and hit the mark every time.

 

 

Lineage Trio • First Ride

 

The Lineage Trio is a Jazz guitar trio consisting of Graham Dechter (Guitar), Alex Frank (Bass), and Ryan Shaw (Drums).


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https://www.instagram.com/ryanshawdrums/

Graham Dechter • Major Influence

 

What do you get when you combine a million-dollar feel, sterling technique, clear-eared chording, warm and sophisticated single-note lines and impeccable taste? Graham Dechter, of course. As a longtime member of The Clayton-Hamilton Jazz Orchestra and first-call sideman for the West Coast elite, Dechter has earned his place on the scene. And with his first two albums—Right On Time (Capri, 2009) and Takin' It There (Capri, 2012)—he made an extremely convincing case out front. Not surprisingly, this third date merely ups the attraction factor surrounding his work.

Merging a sea of inspirations into a sound all his own, Dechter delivers a program focused on originals that's high in charm. And with his Clayton-Hamilton rhythm mates by his side again, all is right as things roll along. Opening on the blues-based "Orange Coals," Dechter, pianist Tamir Hendelman, bassist John Clayton and drummer Jeff Hamilton swing right out of the gate. "Reference," ripe with sly riffs in the margins and strong solo work at the core, offers a different kind of heat, and the arresting "Major Influence" counters with a moonlit cool. By the time Dechter and company finish up the first half of the album with "Moonithology," a light-touch swinger influenced by everybody from saxophonist Charlie Parker to pianist George Shearing to electro art-pop duo KNOWER, they've already made a strong and permanent impression.

While Dechter's playing bears the hallmarks of jazz giants like Wes Montgomery, Herb Ellis, Barney Kessel and Grant Green, he's artfully integrated those influences, and plenty of others beyond his own instrument, in creating his own signature as both a performer and composer. That's apparent on the aforementioned original material and equally clear on the back half of the program where the quartet delivers a Jazz Messengers-worthy shuffle in the form of "Minor Influence," drops a lone cover in the form of a dreamy and capacious "Pure Imagination," nods to the High Priest of Bop on "Bent on Monk" and rockets away with precision and fire on "Billy's Dilemma." A sum of his influences yet a step removed as his own man, Graham Dechter is the real dynamic deal.
By Dan Bilawsky
September 26, 2021
https://www.allaboutjazz.com/major-influence-graham-dechter-capri-records

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¿Qué se obtiene cuando se combinan un tacto de millón de dólares, una técnica impecable, unos acordes nítidos, unas líneas de una sola nota cálidas y sofisticadas y un gusto impecable? Graham Dechter, por supuesto. Miembro de la Clayton-Hamilton Jazz Orchestra desde hace muchos años y sideman de primera fila de la élite de la Costa Oeste, Dechter se ha ganado un lugar en la escena. Y con sus dos primeros álbumes -Right On Time (Capri, 2009) y Takin' It There (Capri, 2012)- se hizo un hueco muy convincente. No en vano, esta tercera cita no hace sino aumentar el factor de atracción que rodea su obra.

Fusionando un mar de inspiraciones en un sonido propio, Dechter ofrece un programa centrado en originales con mucho encanto. Y con sus compañeros de ritmo de Clayton-Hamilton a su lado de nuevo, todo va sobre ruedas. Dechter, el pianista Tamir Hendelman, el bajista John Clayton y el batería Jeff Hamilton abren el disco con «Orange Coals», basada en el blues, y se mueven desde el principio. «Reference», repleta de riffs astutos en los márgenes y un sólido trabajo en solitario en el centro, ofrece un tipo diferente de calor, y la cautivadora “Major Influence” contrarresta con una frescura iluminada por la luna. Para cuando Dechter y compañía terminan la primera mitad del álbum con «Moonithology», un ligero swinger influenciado por todo el mundo, desde el saxofonista Charlie Parker al pianista George Shearing o el dúo de electro art-pop KNOWER, ya han dejado una impresión fuerte y permanente.

Aunque la forma de tocar de Dechter lleva el sello de gigantes del jazz como Wes Montgomery, Herb Ellis, Barney Kessel y Grant Green, ha integrado con arte esas influencias, y muchas otras más allá de su propio instrumento, para crear su propia firma como intérprete y compositor. Eso es evidente en el material original antes mencionado e igualmente claro en la mitad posterior del programa, donde el cuarteto ofrece un shuffle digno de Jazz Messengers en la forma de «Minor Influence», deja caer una única versión en la forma de una ensoñadora y amplia «Pure Imagination», hace un guiño al Sumo Sacerdote del Bop en «Bent on Monk» y se lanza con precisión y fuego en «Billy's Dilemma». Graham Dechter es la suma de sus influencias, pero a un paso de ser él mismo.
Por Dan Bilawsky
26 de septiembre de 2021
https://www.allaboutjazz.com/major-influence-graham-dechter-capri-records

 

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Akiko Tsuruga, Jeff Hamilton & Graham Dechter • Equal Time

These three are all leaders of their own bands in different places. Here they combine to form what used to be called a super group. The music is all in the blues and bop domain, with easy swing, crisp, inventive solos and a solid rhythmic pulse throughout. Ms Tsuruga and guitarist Dechter play in solo mode and quickly revert to rhythmic duties when their own solos end. Hamilton is the only one whose duties are solely to provide a solid beat on every track and this he does handsomely. His own solos are well structured with attention to the contours of each piece of music.

The three kick off with a solid blues, Mag’s Groove, that gives all three players a chance to shine. Orange Coals is a faster blues written by Dechter. He takes the first extended solo with the other two in full flow behind him. Akiko provides stimulating Hammond organ solos and also manages to keep a solid bass line going at all times, whether she is in the spotlight or not. The Osaka Samba is an attractive line from the organist, a sort of Japan embraces the samba but it all sounds very Latin and has a cracking beat.

Still on the blues and gospel trail the trio next tackle A Baptist Beat, Hank Mobley’s funky line. Taken at much the same tempo that Hank used in the 60s, the piece is very downhome. Dechter manages an original solo spot here; this is very much his own take on the material. Akiko digs in too and there is much of the American bop and blues flavour in her solo and virtually nothing Oriental. There is a personal approach to Coltrane’s Moment’s Notice although the trio keep very much to the spirit of the composition in their straightahead, uptempo reading.

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Lion’s Gate is a gentle ballad by Akiko with singing guitar and organ and drums offering flowing rhythm. The set finishes with two hardy standards. Hamilton kicks off I Remember You with crisp brushwork and keeps it moving throughout in the same manner. Fine, well thought out solos from Dechter and Tsurugo follow on. Finally we have This Could Be The Start Of Something Big and who knows, maybe it can at that.

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Estos tres son líderes de sus propias bandas en diferentes lugares. Aquí se combinan para formar lo que solía llamarse un supergrupo. La música es todo en el dominio del blues y el bop, con un swing fácil, crujientes e inventivos solos y un sólido pulso rítmico en todo momento. La Sra. Tsuruga y el guitarrista Dechter tocan en modo solista y vuelven rápidamente a las tareas rítmicas cuando terminan sus propios solos. Hamilton es el único cuyos deberes son únicamente proporcionar un ritmo sólido en cada pista y esto lo hace muy bien. Sus propios solos están bien estructurados con atención a los contornos de cada pieza musical.

Los tres comienzan con un sólido blues, Mag's Groove, que da a los tres músicos la oportunidad de brillar. Orange Coals es un blues más rápido escrito por Dechter. Toma el primer solo extendido con los otros dos en pleno flujo detrás de él. Akiko proporciona estimulantes solos de órgano de Hammond y también se las arregla para mantener una sólida línea de bajo en todo momento, esté o no en el punto de mira. La Samba de Osaka es una línea atractiva del organista, una especie de Japón abraza la samba pero todo suena muy latino y tiene un ritmo muy fuerte.

Aún en el camino del blues y el gospel, el trío se enfrenta a A Baptist Beat, la línea funky de Hank Mobley. Tomada en el mismo tempo que Hank usó en los 60, la pieza es muy descendente. Dechter maneja un solo original aquí; esta es su propia visión del material. Akiko también se sumerge y hay mucho del sabor del bop y el blues americano en su solo y virtualmente nada oriental. Hay un acercamiento personal al "Moment's Notice" de Coltrane, aunque el trío mantiene mucho el espíritu de la composición en su lectura directa y rápida.

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Lion's Gate es una suave balada de Akiko con guitarra, órgano y tambores que ofrecen un ritmo fluido. El conjunto termina con dos estándares resistentes. Hamilton comienza "I Remember You" con una pincelada nítida y la mantiene en movimiento de la misma manera. Siguen los bien pensados solos de Dechter y Tsurugo. Finalmente tenemos "This Could Be The Start Of Something Big" y quién sabe, tal vez pueda ser así.

www.akikojazz.com ...

Atsuko Hashimoto • ...Until the Sun Comes Up

Atsuko Hashimoto, is a jazz musician from Osaka, Japan who plays Hammond B-3 electronic organ and has performed in Japan and the United States. To date, she has recorded five albums of organ trio and organ quartet jazz.

Complete Bio ...

Atsuko Hashimoto: "... Until the Sun Comes Up" (2011)

Jazz organists often have a tendency to gravitate toward the funkier side of things, and have done so since the glory days of Jimmy Smith and Jimmy McGriff. Organist Atsuko Hashimoto, on the other hand, seems to have focused more tightly on developing her sense of swing, and it pays off mightily on this, her first album for the venerable Capri label. The program is a mix of originals and truly well-worn standards, and what may be most impressive about the album is her ability to bring freshness and energy to some of these chestnuts through sheer energy and the elephantine power of her swing; listen, for example, to her renditions of both "Cherry" and "Yours Is My Heart Alone." Not only are her solos amazing for their joyful inventiveness, but the rhythmic power she generates along with her sidemen Graham Dechter (guitar) and Jeff Hamilton (drums) is like a force of nature. Elsewhere she takes brisk, no-nonsense midtempo renditions of "So in Love" and "Moon River" and turns them into something brand new. The group's arrangement of "It's a Wonderful World" is the album's sole disappointment, a predictably sappy rendition that is just barely redeemed by yet another brilliantly constructed organ solo. The album ends on a very high note, with the joyfully gospel-flavored "Hallelujah I Love Her So." This is a brilliant and thrilling album.

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Atsuko Hashimoto, es un músico de jazz de Osaka, Japón, que toca el órgano electrónico Hammond B-3 y se ha presentado en Japón y Estados Unidos. Hasta la fecha, ha grabado cinco álbumes de trío de órgano y cuarteto de órgano de jazz.

Atsuko Hashimoto: "... Hasta que salga el sol" (2011)

Los organistas de jazz a menudo tienen una tendencia a gravitar hacia el lado más divertido de las cosas, y lo han hecho desde los días de gloria de Jimmy Smith y Jimmy McGriff. El organista Atsuko Hashimoto, por otro lado, parece haberse centrado más estrechamente en desarrollar su sentido del swing, y se recompensa enormemente con esto, su primer álbum para el venerable sello Capri. El programa es una mezcla de originales y estándares realmente bien usados, y lo más impresionante del álbum es su capacidad para aportar frescura y energía a algunas de estas castañas a través de la energía pura y el poder elefantino de su swing. escuche, por ejemplo, sus interpretaciones de "Cherry" y "Yours Is My Heart Alone". Sus solos no solo son asombrosos por su alegre inventiva, sino que el poder rítmico que genera junto con sus acompañantes Graham Dechter (guitarra) y Jeff Hamilton (batería) es como una fuerza de la naturaleza. En otros lugares, ella toma enérgicas y sensatas versiones de "So in Love" y "Moon River" para convertirlas en algo completamente nuevo. El arreglo del grupo de "It's a Wonderful World" es la única decepción del álbum, una versión predeciblemente sappy que apenas es redimida por otro brillante órgano de órgano. El álbum termina con una nota muy alta, con el alegre y con sabor a gospel "Hallelujah I Love Her So". Este es un álbum brillante y emocionante.

Graham Dechter • Takin It There

 

 

 

Review by Ken Dryden

Guitarist Graham Dechter's follow-up to his strong debut recording is another fine effort, utilizing the same rhythm section, consisting of pianist Tamir Hendelman, bassist John Clayton, and drummer Jeff Hamilton. Unlike many young instrumentalists, Dechter isn't one to overplay or sound like a clone of his favorite stylists, allowing the music to breathe and taking full advantage of his skilled supporting cast. Opening with a funky take of Wes Montgomery's infrequently recorded "Road Song," he then turns his attention to Barney Kessel's obscure bluesy bop vehicle "Be Deedle Dee Do," sharing the spotlight with Clayton in a tasty performance. Dechter's breezy interpretation of Antonio Carlos Jobim's "Chega de Saudade [No More Blues]" features his intricate solo. Hamilton is prominent in the fiery take of Lee Morgan's "Hocus Pocus," introducing the piece and taking an extended break as well. Dechter's bluesy side is on display in his spirited rendition of "Come Rain or Come Shine," with judicious use of repeated riffs intermingled into his solo. Clayton contributed the laid-back "Grease for Graham," in which Dechter's soulful playing makes him seem like a seasoned veteran. The guitarist also proves to be a promising composer, contributing the warm ballad "Together & Apart" (which opens with Clayton's warm arco solo), along with the tender "Amanda," the latter of which segues into the standard "Every Time We Say Goodbye."

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Reseña de Ken Dryden

El seguimiento del guitarrista Graham Dechter a su fuerte debut discográfico es otro gran esfuerzo, utilizando la misma sección rítmica, compuesta por el pianista Tamir Hendelman, el bajista John Clayton y el baterista Jeff Hamilton. A diferencia de muchos instrumentistas jóvenes, Dechter no es de los que exageran o suenan como un clon de sus estilistas favoritos, permitiendo que la música respire y aprovechando al máximo su hábil elenco de apoyo. Abriendo con una toma funky de la canción "Road Song" de Wes Montgomery, grabada con poca frecuencia, dirige su atención al oscuro vehículo de bluesy bop "Be Deedle Dee Do" de Barney Kessel, que comparte el centro de atención con Clayton en una sabrosa actuación. La alegre interpretación de Dechter de "Chega de Saudade[No More Blues]", de Antonio Carlos Jobim, cuenta con su intrincado solo. Hamilton es prominente en la ardiente toma del "Hocus Pocus" de Lee Morgan, introduciendo la pieza y tomando un largo descanso también. El lado blues de Dechter se muestra en su animada interpretación de "Come Rain or Come Shine", con el uso juicioso de repetidos riffs entremezclados en su solo. Clayton contribuyó con la relajada "Grease for Graham", en la que Dechter parece ser un veterano con experiencia en el juego. El guitarrista también demuestra ser un compositor prometedor, aportando la cálida balada "Together & Apart" (que se abre con el cálido solo de arco de Clayton), junto con la tierna "Amanda", la última de las cuales pasa a formar parte del estándar "Every Time We Say Goodbye".

 

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