Grant Geissman

Grant Geissman really stepped up his game with the release of his previous CD Say That, and this excellent recording where his finely honed jazz sensibilities come fully to the forefront. There's nary a speck of commercial filler, as every track sports an authenticity and originality that belie the derivative music he had made a living on for years. This is a fine effort with little reason to spoil with wasted critique, as Geissman himself is on top of his game, and whether he's playing with his peer group or select all-stars, the music is at a high level from start to finish. While bop does prevail, contemporary and progressive neo-bop are heard without the predictable trappings, and Geissman changes up the band per track to keep things ever interesting in the best sense of the term.

Chuck Mangione, the famed flugelhornist and trumpeter fills his first recording of the 21st century with some wonderfully subdued love songs whose subtle, intimate qualities may surprise those of his fans who best know his boisterous pop hits. More than simply expressing a romantic boy-girl kind of love, Mangione is playing gentle, atmospheric jazz for a wide variety of special people, real and animated. And there is no doubt that the truest love here is that between the artist and some of his old bandmates.

Due to the title cut, this was a huge seller when it originally came out. Reissued on CD, this set from flügelhornist Chuck Mangione (which helped give guitarist Grant Geissman some fame) is actually stronger from the jazz standpoint than Mangione's subsequent dates. The leader has some good solos, as does Geissman and saxophonist Chris Vadala, and the quintet's ensembles are generally both sparse and attractive. Pity that in ways this was Chuck Mangione's last worthwhile release to date; success did stunt his artistic growth.

In the liner notes of YOU CALL THIS A LIVING? Arturo Sandoval recalls the first time he heard Wayne Bergeron play. "What a hell of a lead player," Sandoval remembers thinking, and then goes on to attest to the trumpeter's continued high standard of performance, recommending the album wholeheartedly. With kudos like these from the one and only Sandoval, it's hard not to give Bergeron the benefit of the doubt. As a musician, Bergeron does not disappoint. His high, bright tone recalls Dizzy Gillespie, and his flawless articulation and phrasing serve him equally well during quick, chromatic runs or sweeping lyrical passages.