Criss Cross Jazz

Dr. Lonnie Smith - The Art Of Organizing (2009) {Criss Cross Jazz - Criss 1318}
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© 2009 Criss Cross Jazz | Criss 1318 CD
Jazz / Soul Jazz / Jazz Funk / Post Bop / Hammond Organ B-3

Brace yourselves for The Art of Organizing, the very first appearance on Criss Cross by organ master Dr. Lonnie Smith. Organ jazz is of course an important part of the Criss Cross catalog. Our releases by the likes of Melvin Rhyne and Sam Yahel bear that out, also demonstrating how this vital idiom spans the generations. And you're very likely to find that a Criss Cross organ date involves modern master guitarist Peter Bernstein, an important leader for our label in his own right. Indeed, it is none other than Bernstein who joins Smith on The Art of Organizing.

Luis Perdomo - The 'Infancia' Project (2012) {Criss Cross Jazz 1348}
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© 2012 Criss Cross Jazz | Criss 1348 CD
Jazz / Latin Jazz / Post Bop / Piano

This time the exceptional pianist Luis Perdomo reaches back to the earliest influences he grew up listening to: South American and Afro Caribbean Rhythms, on this, his second outing for Criss Cross Jazz: The 'Infancia' Project. Luis has handpicked a well balanced and stellar band to back him up: two players of the new generation with fresh ideas and concepts, Mark Shim on tenor saxophone and virtuoso percussionist Mauricio Herrera, plus two very influential legends deeply rooted in the tradition: bassist Andy Gonzalez and drummer Ignacio Berroa. With The 'Infancia' Project Luis Perdomo further establishes himself as a resourceful master musician and bandleader.

Luis Perdomo - Pathways (2008) {Criss Cross Jazz 1308}
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© 2008 Criss Cross Jazz | Criss 1308 CD
Jazz / Post-Bop / Modal Music / Piano

Luis Perdomo's time as an accompanist to Ravi Coltrane has served him well, introducing this very fine young yet experienced player to modern jazz audiences. He's impressive as a modal player with energy and chops to burn, but during this trio effort shows a sensitive side, while not opting for tame or watered-down mainstream jazz. Bassist Hans Glawischnig and drummer Eric McPherson are both quite capable players who also understand how to turn the volume down just a touch in order to find balance and symmetry.

Brian Lynch Sextet - Peer Pressure (1986) {Criss Cross Jazz CRISS 1029 CD}
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© 1986 Criss Cross Jazz | CRISS 1029 CD
Jazz / Straight-Ahead Jazz / Trumpet

Lynch wrote three of the seven tracks, while Horace Silver, Benny Golson, Tommy Turrentine and Cole Porter penned one apiece. His trumpet sound definitely borrows from previous modern masters Freddie Hubbard, Lee Morgan & Bill Hardman, and the influence of Silver, Art Blakey's Jazz Messengers and those of the hard/post bop movement cannot be denied. The latin tinge is also prevalent on the Brazilian bossa inflected "Change Of Plan" and Silver's Afro-Cuban tinged classic "The Outlaw." These two selections serve Lynch well for future excursions away from strict mainstream jazz. A rock solid date from a promising musician whose star is on the rise.

Chet Baker - Live at Nick's (1978) {Criss Cross Jazz, Criss 1027CD rel 1989}
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© 1978, 1989 Criss Cross Jazz | Criss 1027 CD
Jazz / Cool / West Coast Jazz / Trumpet

Recorded for Dutch radio, this is one of Chet Baker best live recordings. Live At Nick's is a very fine set, extermely well modulated, one of mere handful of albums from the last two decades of Chet's career that have to be considered essential.

Peter Bernstein - Brain Dance (1996) {Criss Cross Jazz CRISS 1130 CD}
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© 1996 Criss Cross Jazz | CRISS 1130 CD
Jazz / Straight-Ahead Jazz / Guitar

For his third Criss Cross release, guitarist Peter Bernstein leads an all-star organ combo that also includes tenor saxophonist Eric Alexander, trombonist Steve Davis, organist Larry Goldings, and drummer Billy Drummond. Some of the music that the quintet performs is typical for this type of hard bop/soul-jazz group, including a hot minor-toned blues, "Means and Ends," and Percy Mayfield's blues ballad "Danger Zone." However, a few of the other selections (particularly Bernstein's four originals) are more complex and serve as evidence that the music was being performed in 1996, not 1966. The musicians all play up to their capabilities and Goldings shows that he was one of the most inventive organists of the decade.

Young trumpeter Philip Dizack is a new name on the Criss Cross record label but not a new name for those who closely follow the New York jazz scene. Since his arrival in New York, Dizack has been making waves and winning awards with his beautiful tone and dark intensity, both of which were on full display on his last album, End of an Era (Truth Revolution Records, 2012). For his Criss Cross debut, Dizack continues his maturation as a composer and player, contributing seven original tunes to this inspired recital. On "Single Soul," Dizack is accompanied by fellow newcomers to the Criss Cross label, Ben Wendel on tenor sax, and Eden Ladin on piano, also both young musicians who have been steadily gaining attention on the New York scene. Filling out the band are Criss Cross veterans, Joe Sanders on bass and Eric Harland on drums, giving the group a strong rhythmic foundation.

Eric Alexander & One For All - Blueslike (2004) {Criss Cross Jazz 1256CD}
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© 2004 Criss Cross Jazz | Criss 1256 CD
Jazz / Post Bop / Neo Bop

Speaking eloquently to the benefits of keeping a working band together, One For All continues to add some distinctive flair to the mainstream tradition while building a singular book of originals and uniquely arranged standards. Blueslike, their fifth effort for Criss Cross, finds John Coltrane firmly in mind with an uptempo romp through Giant Steps, and a bossa-inflected Naima. Rounding out this program of jazz standards are a few band originals and an updated arrangement of the Bacharach trinket In Between the Heartaches.

Cedar Walton Quartet - Bluesville Time (1985) {Criss Cross Jazz, Criss 1017CD rel 1989}
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© 1985, 1989 Criss Cross Jazz | CRISS 1017 CD
Jazz / Hard Bop / Piano

A great group – with a young Dale Barlow on tenor, David Williams on bass, and Billy Higgins on drums. Features a hip take on "Naima", plus "Bluesville", "Ojos De Rojos", and "Rubberman". Cedar Walton is really good as usual but a possibly unsung saxophone player sets the standard for this recording. Dale Barlow gives a virtuoso performance which ranks with any of the modern sax men to inlude Lovano or Watts. There was some malaise in jazz in the 80s but this album was a firecracker in its day. I recommend it highly.