CD and Live Performance Reviews
"A Journey to Oaktown"
George is dangerous. Like Lee, he lets me talk. When I talk I can get an enormous amount of meditation out of my system, some of which is worth listening too. I take the cues of the listeners to make associations and we jump from subject to subject. It's a kind of love that I don't often get, and I much appreciate. Ask anyone who knows me. I can talk a blue streak. I notice this most as I am still on the edge of a conversation getting out of the car and walking up to bed and suddenly it's quiet. Like now. So now I write.
George and I had a man date. We went to Yoshi's in Oakland and had drinks, dinner and partook of the Jazz. We talked about the Pope, Lake Merritt, Wal-Mart, the Causeway, the Quik Way, the rimmers and the slot, Freyer, Bomani Jones, Lisa Jones, Greg Tate, Jerry Brown, Antonio Villaraigosa, San Diego, Brooklyn, Walnut Creek, New Orleans, New York, South Africa, Brazil, steaks, tea, katsu, tequila, Buddhist vegetarians, the inevitability of India, the New Standard, the LA Times, UPI, SWSX, sex and car wrecks on the Bay Bridge, SROs and rooftops, cars that got keyed and trainproof buildings, Jack & Miles, Galveston, prison health care, farms in Ohio, chemical plants in Kansas City, podcasting, XRepublic, Six Apart, T-Mobile, Anil Dash, Earl Dunovant, Scott Patterson, Cecily, Gerry Mulligan, Bobby McFerrin, India Irie, Erika Badu, Onyx, Wiggers, Clorox, online auctions, old neighborhoods, Al Jarreau, Emir Deodato and the beauty of eating small portions of food.
Fortunately, our gabbing was interrupted by a extraordinary sextet led by Michael O'Neill and Kenny Washington.
OK. First off they started with a number that was pedestrian and sounded a lot like Gerry Mulligan and Paul Desmond. I kept waiting for somebody to bite a riff from The Joy Spring, but it didn't happen. They're playing fairly tight. So far it sounds like it's going to be a fairly competent, if soulless affair. Then they start cutting loose a bit and Washington comes to the stage. O'Neill introduces him as the finest singer he had ever heard. Yeah right, I think to myself.
Washington is phenomenal. Right away he makes Al Jarreau sound like he's stretching and reaching and basically trying too hard. Washington is effortless and precise, but very smooth. He's a small man, and you can hear how that makes his voice unique. He's got the purity and straight-ahead sensibility of Bobby Short, he's got the playfulness of McFerrin, he's got the soulful sensibilities of Donny Hathaway and he's got the Jazz like no one else.
They say that Lush Life is one of the most difficult standards to sing because of the way it blends chord changes into off keys and back in every other phrase. Washington inserts that kind of change into his balladeering to astonishing effect. He makes every common song an adventure.
Michael O'Neill sounds as if he could improvise all night without ever repeating himself once. He hovers between mastery and greatness. His saxophone work is extraordinary. He plays with almost orchestral diction yet with classic jazz chops. It makes him a rare treat - it's almost as if he's not only playing but he's teaching saxophone on stage.
The rhythm section was superb. I was telling George how I prefer to sit on the piano side of the stage and not on the drum side, because it's rare that the bass and drum vibe so tightly and remain understated. But when the bassist broke out with swift, funky phrasing it had everybody swiveling in their seats.
I could spend the rest of my life doing just this, wine, jazz and sushi. With a friend like George, one night is enough to generate a great number of pleasant memories.
The Long and the Short
Steve Campos, flugelhorn; Michael Bluestein,
Murray Lowe, piano; Alan Hall, drums; Peter
Barshay, bass; Danilo Paiz, percussion
Attention Music Lovers, it matters not what
your tastes are, Jazz, Blues, World, Rap,
etc.,etc., you'll want to add this one to
your collection. The date leader, Michael
O'Neill, plays all reed instruments, wrote
four of the songs, and produced the album.
The title of the CD is The LONG and the SHORT
of it. It's long on great writing, incredible
arrangments, outstanding musicians, and a
vocalist who is exceptional. The short of
it for me is I wish there were more songs,
the eight you get will not dissapoint you.
This is world class music played with intensity
Steve Campos on trumpet, Peter Barshay on
bass, Alan Hall on drums and Michael Bluestein
on piano, with the incrediable voice of Kenny
Washington, (not to be confused with Jazz
drummer, Kenny Washington). Michael plays
tenor, soprano, clarinet, bass clarinet, and
flute. The songs I love are "Masai," "Kilimanjaro,"
"Caravan," "It's Alright With Me," "Grey Whale
Cove," "The Nearness Of You," "I Know What
Love Is," and "Bye Bye Blackbird." In otherwords,
I love all of the songs and I have a feeling
you will also....Enjoy.
by Afrikahn Jahmal Dayvs
Read the review at www.allaboutjazz.com
Bob Perkins Recommends...
Still Dancin’ Michael O’Neill Quintet, with
Kenny Washington. Jazzmo JR002
Some months ago, I’d not heard of bandleader/saxophonist
Michael O’Neill, or singer Kenny Washington.
But I hear them today loud and clear—even
when as a radio DJ I’m not playing them on
the air. I hear them because I go around humming
some of the tunes on their CD, Still Dancin’.
One of the best things a radio DJ can do for
listeners is to introduce them to top-notch
talent they didn’t know existed. O’Neill and
Washington are just that. If the world were
fair, these two gents would be famous and
living the good life. Both O’Neill and Washington
live and work in the San Francisco area, and
the CD, Still Dancin’, was made and dedicated
to Peg Brandley, a friend, and staunch jazz
advocate who also lived in the area. Most
of the music on the CD includes well-known
standards and pop songs, which modern jazz
artist long ago added to their book…like “Cherokee,”
“Invitation,” “Alone Together,” and “My Ship,”
to name a few. Then there’s the Miles Davis
classic, “So What.” O’Neill and his quintet
swing throughout, and Kenny Washington must
be heard to be believed! The man has octaves
to burn—can read a lyric like a poet, and
can scat-sing like nobody’s business. -BP
Kenny Washington has emerged as one of the
prime candidates to start filling the big
shoes left by Joe Williams. With Mark Murphy
and Ernie Andrews now elder statesmen, Kenny's
star is approaching zenith with the great
CD "Still Dancin'". Michael O'Neill's Quintet
co-stars with Kenny to create a swinging delight
that should be required listening in college
jazz programs. Kenny's vocal improvisations
make it a collective treat for the listener.
I have a feeling that in 20 years, like Joe
Williams, Kenny Washington's records will
sound as fresh as they do today.
"Jazz Till Midnight"
WKAR FM East Lansing / Detroit