Reviews
Mark Myers – Jazz Wax August 2023
Kent Engelhardt & Stephen Enos: Tadd Dameron x 2
Tadd Dameron was one of the most prolific and influential composer-arrangers of the bebop era. The pianist also wrote many songs that became jazz standards, including Hot House, Our Delight, Good Bait, Lady Bird, Soultrane, Mating Call, Cool Breeze, The Scene Is Clean and many others. A fascinating jazz figure, his vast catalog of fresh and modern songs and arrangements influenced many musicians, including Benny Golson, Art Farmer, Gigi Gryce and Quincy Jones, to name a few. In the 1940s, his presence seemed to be everywhere, as discographies show. He even led a spectacular tentet in 1949 known as the Big Ten. Sadly, Dameron had a short life. He suffered several heart attacks and died of cancer in 1965 at age 48.
Over the years, tributes to Dameron have been many, most notably Dameronia in the 1980s led by Philly Joe Jones. Now, alto saxophonist Kent Engelhardt and trumpeter Stephen Enos, have released a double-album followup to their first Madd for Tadd Dameron tribute album The Magic Continues (2018). The two separate albums in the new set are Central Avenue Swing and Our Delight. Both feature the 15-piece Madd for Tadd big band that covers Dameron's early works and better-known pieces. The sound and feel of the new album is snappy and enrapturing.
As lyrical as Dameron's works were, they weren't easy to execute without sophistication and strong musical skills. There's also a special feel to Dameron's music. Covering his material must come off as assertive and bop savvy, but the execution also must have a certain sensuality and grace. Kent and Stephen's latest endeavor accomplish all of this. And the solos by one and all are superb.
Kent is Professor and Coordinator of Jazz Studies at Youngstown State University in Ohio. Enos is founder of the Tri-C Jazz Studies Program at Cuyahoga Community College in Ohio. Together, their passion for Dameron is tireless and extraordinary. The bounty of material here gives listeners a fine sense of Dameron's orchestral excellence, with the first album featuring lesser-known works and the second showcasing Dameron's genius for modernity.
If you're unfamiliar with Dameron, Madd for Tadd's Central Avenue Swing and Our Delight are a terrific entry point. If you know Dameron's music, this double tribute is a solid updating and will likely introduce you to works you may not have known and give you a fresh reason to re-listen to the composer-arranger's recordings and original works. Once again, Kent and Stephen (above) have blown the coals hot, reviving the Dameron flame.
Scott Yanow – LA Jazz Scene October 2023
Kent Engelhardt & Stephen Enos
Central Avenue Swing & Our Delight
(Madd For Tadd)
During the bebop era, arguably the most significant composer and arranger to emerge was Tadd Dameron (1917-65). Dameron, who was also a decent pianist, gained experience writing for big bands during the later years of the swing era including the orchestras of Harlan Leonard, Count Basie, Jimmie Lunceford, Artie Shaw, and Billy Eckstine. By the mid-1940s he had evolved into a bop-oriented writer whose compositions included “Hot House,” “If You Could See Me Now,” and “Good Bait.” Dameron led short-term bands for club dates and record dates, recording classic performances with Fats Navarro, Miles Davis, Clifford Brown, and John Coltrane among others. Unfortunately drug problems plagued his life and he passed away from cancer when he was just 48.
Dameron was originally from Cleveland and so is the big band Madd For Tadd. Co-led by saxophonist Ken Engelhardt and trumpeter Stephen Enos, both of whom are important educators in the Cleveland area, the ensemble makes its recording debut on this double-CD. Engelhardt adapted Dameron’s early big band charts for the ensemble and arranged his later small-group works for the orchestra. His writing is very much in Dameron’s style, including the opener which is his original “Central Avenue Swing.”
Rather than just play Tadd Dameron’s greatest hits (“Hot House,” “If You Could See Me Now” and “Good Bait” are not among the 22 selections on this set), the band performs a few of Dameron’s standards and many lesser-known pieces. In fact, the first disc has ten selections that Dameron composed for Harlan Leonard’s Rockets, a top-notch if largely forgotten Kansas City swing band of the early 1940s. It is a joy to hear such numbers as “Dameron Stomp,” “A La Bridges,” and “Rock And Ride” being revived and played in such swinging fashion.
The second half of this twofer includes numbers originally recorded by, among others, Dizzy Gillespie’s big band, Blue Mitchell, and John Coltrane (in a quartet with Dameron) including “Our Delight,” “Lady Bird,” “Soultrane,” “Cool Breeze,” and “Mating Call,” ending with Dameron’s theme “The Squirrel.”
Mad About Tadd is filled with flawless ensembles and many excellent soloists including trumpeters Enos, Brad Goode, and Tim Leahy, trombonists Michael Dease and Jeff Bush, tenors Dave Kana and Mike Tomaro, and Engelhardt on alto among others. Erin Keckan does a fine job with her four vocals including “Lady Bird” which has new lyrics by Engelhardt.
Bebop fans are strongly advised to get a copy of Central Avenue Swing & Our Delight, a highly enjoyable release which is available from www.maddfortadd.com and serves as a superior tribute to the great Tadd Dameron.
Jack Bowers – All About Jazz Review – September 2023
The masterworks on this second edition of Madd for Tadd are presented on two discs, one of which bears the name of one of composer/pianist Tadd Dameron's classic themes, "Our Delight." Oddly, the other is named for the only non-Dameronian item on the menu, "Central Avenue Swing," written by saxophonist and Dameron chronicler Kent Engelhardt who adapted the composer's tasteful charts for a big band and co-leads the ensemble with trumpeter Steve Enos.
Although he is most closely associated with the emerging bop movement of the early to late-1940s and beyond, Dameron (who was born in 1917) also penned charts for swing bands including Kansas City's Harlan Leonard and His Rockets, nine of which are presented on "Central Avenue Swing," with one other, "Heaven's Doors Are Open Wide," written for Miles Davis. "Our Delight" is more bop- centered, with themes composed for Fats Navarro, John Coltrane, Billy Eckstine, Blue Mitchell and others. Engelhardt, who has set for himself the daunting task of transcribing, notating and editing all of Dameron's music, assembled an all-star group of musicians for this recording, and they have no problem assimilating and enriching Engelhardt's admirable arrangements. In fact, they do it so well that the entire narrative calls to mind a pleasurable trip down memory lane.
While Dameron's propensity to swing is widely recognized, his extraordinary gift for melody is every inch as salient and impressive. Even today, several of his compositions are performed or recorded often by jazz groups of every shape and temper, as they have become (well- deserved) jazz standards. "Our Delight" is certainly one, as are "Lady Bird," "Cool Breeze," "Hot House," "If You Could See Me Now" and "Good Bait"—and there are others that deserve no less than honorable mention including "The Squirrel" and four written for John Coltrane: "Handy Andy," "Soultrane," "Mating Call" and "Super Jet," all of which are included here.
The ensemble gives each of them a thrilling ride, the kind that Dameron would no doubt have appreciated. Besides working flawlessly as a team, every member of the band is a perceptive soloist in his own right, which makes every ad lib a pleasure to hear. Trumpeter Brad Goode, who has veered toward the avant-garde in recent years, reverts to hard-swinging form (good news indeed) and is featured extensively on "Central Avenue Swing" with fellow trumpeter Tim Leahey, tenor saxophonists Dave Kana and Mike Tomaro (great to hear from him again), trombonists Jeff Bush and Michael Dease, baritone Tom Reed (who has the floor to himself on "My Dream") and pianist Phil DeGreg.
Kana, Leahey, Tomaro and Dease return on "Our Delight," teaming with trumpeter Dominick Farinacci, alto John Orsini, trombonist Chris Anderson, pianist Jackie Warren, bassist Dave Morgan and drummer par excellence Jim Rupp (who anchors the band's outstanding rhythm section). Engelhardt solos on "Lady Bird," "Soultrane" and "The Squirrel," while Enos sits in for Blue Mitchell on "A Blue Time" and (muted) "Smooth as the Wind," on which he is featured.
The ensemble moves seamlessly from bop to swing, nailing it on "Central Avenue Swing" (which sounds like it could have been written by Dameron himself) and such early-career gems as "Dameron Stomp," "400 Swing," "Keep Rockin,'" "Society Steps Out" and "Rock and Ride." "Our Delight" is no less pleasing, as Dameron's memorable themes are wonderfully reimagined by Engelhardt, Enos and their talented teammates. There are four vocals, two on each disc. Erin Keckan acquits herself well on "Heaven's Doors," "Dig It," "Lady Bird" and "I Think I'll Go Away." The last was scored for sextet, as were "Lady Bird`" and "The Squirrel."
If you were not Madd for Tadd before encountering this recording, it may well change your mind while serving as an excellent introduction to one of the bop era's leading composers, the great Tadd Dameron.
Track Listing
Disc 1—Central Avenue Swing; Dameron Stomp; A La Bridges; 400 Swing; Heaven’s Doors Are Open Wide; Dig It; Keep Rockin’; Society Steps Out; My Dream; Rock and Ride; Take ‘Um. Disc 2—Our Delight; Lady Bird; Soultrane; Cool Breeze; A Blue Time; Handy Andy (Gnid); I Think I’ll Go Away; Smooth as the Wind; Mating Call; Super Jet; The Squirrel.
Jim Hynes - Making A Scene Review August 2023
Madd for Tadd (Kent Engelhardt & Stephen Enos)
Central Avenue Swing and Our Delight (2 CD set)
Tighten Up
The first order of business is to explain the various heading here. Madd for Tadd is a 15-piece big band co-led by saxophonist Kent Engelhardt and trumpeter Stephen Enos, devoted to the music of legendary jazz composer and pianist Tadd Dameron. The two separate CDs, 22 orchestrations in all, focus on two aspects of Dameron’s career. Central Avenue Swing features music Dameron wrote in 1940 during the big band era for the Kansas City bandleader Harlan Leonard and His Rockets, as well as his 1949 composition “Heaven’s Doors Are Open Wide” and Engelhardt’s title track. Our Delight comprises Dameron’s more famous small combo tunes that featured major soloists in the bebop era of the early fifties, these centered on Billy Eskstine, John Coltrane, and Blue Mitchell. The latter proved especially difficult as while Dameron preferred writing for large ensembles, circumstances and trends led him to smaller ones in the ‘50s and these two co-leaders faced the challenge of channeling that same music through a big band. Dameron is renowned for his gift for melody and his music, much of which has been criminally underrecognized for years. Engelhardt and Enos delivered their first effort on Dameron’s music with their 2018 The Magic Continues, a remake of Dameron’s last 1962 album The Magic Touch, which was the first time the two co-leaders interpreted Dameron’s small combo recording into a big band version.
For reference, that last Dameron ensemble included Clark Terry, Bill Evans, Johnny Griffin, Ron Carter, and Philly Joe Jones. (no slouches there). Engelhardt and Enos, who both co-led the project and are both educators, recruited fellow music educators mostly from the Midwest. Among them are pianist Phil DeGreg (Cincinnati), trumpeter Brad Goode (Denver), bassist Dave Morgan (Youngstown), trombonist Michael Dease (Michigan) and DIVA pianist Jackie Warren (Cleveland). Including vocalists and musicians, there are over twenty in the credits. Fittingly, as Dameron hailed from Cleveland, Engelhardt heads up jazz studies at Youngstown State and Enos is the founder of the Tri-C Jazz Studies Program as Cuyahoga Community College in Ohio, where these sessions were recorded. Willard Jenkins, journalist and artistic director of the DC Jazz Festival, provides the insightful liner notes. Within the jacket are details as to tune dedication as well as the soloists. (For example – “Soultrane” – for John Coltrane – Kent Engelhardt, alto saxophone; Jackie Warren, piano).
Attesting to the talents of these players, most tracks were recorded in one or two takes. Engelhardt titular track opens Disc One, a homage to a past Black community hub in Cleveland and ironically where Tri-C currently stands. There are only a few tracks with four soloists, and this is one of them with Tim Leahey (trumpet), Dave Kana (tenor saxophone), Dease (trombone) and DeGreg (piano). The remainder are adaptations and transcriptions of tunes Dameron wrote for Leonard. In an interesting excerpt from the liners Willard points out “It was in Leonard’s band where Tadd first connected with grandmaster Charlie “Yardbird” Parker, who was a Rocket for five weeks before being fired for unreliable behavior.” Highlights of Disc One include “Dig It” with the inspired vocalist Erin Keckan, brightly and playfully exchanging call-and-response choruses with the band following her first appearance on “Heaven’s Doors Are Wide Open.” “Take Um” has Kana going the Paul Gonsalves route with a multi-chorus tenor solo.
The A-list trombone section shines with Jeff Bush on “Dameron Stomp” and Duke Ellington’s influence on Dameron is keenly felt on the orchestral ballad “A La Bridges” with a wonderful tenor turn from Mike Tomaro while another lyrical piece, “My Dream” features baritone saxophonist Tom Reed. Not to neglect the trumpeters, “Rock and Ride” features a feisty exchange between Goode and Leahy. Engelhardt’s arrangements and orchestrations are superb, sometimes even breathtaking and carry into Our Delight, which is filled with more familiar Dameron compositions beginning with “Our Delight” and “Lady Bird,” perhaps his two best known. The former comes from the Billy Eskstine Orchestra and features Dominick Farinacci (trumpet) and Kana (tenor).
“Lady Bird” sees the return of vocalist Keckan and is imbued with Engelhardt’s soaring alto. “Soultrane” is the first of four that Dameron specifically wrote for John Coltrane and features Engelhardt and Warren as soloists. The others are “Handy Andy (Gnid),” a nine-minute piece where bassist Morgan, trumpeter Farinacci and standouts Engelhardt stretch out; “Mating Call,” which features trombonist Dease and Kana, and the standout “Super Jet,” which features a blowing battle between the tenorists Kana and Tomaro. Two are devoted to the overlooked trumpeter Blue Mitchell.
Enos does the honors of “A Blue Time” and “Smooth As the Wind,” nodding along the way to the foremost beboppers on the instrument at the time – Fats Navarro, Clark Terry, Miles Davis, Kenny Dorham, Clifford Brown, and of course Mitchell. The disc ends with Dameron’s theme song, “The Squirrel,” with definitive statements from Leahey. Engelhardt and drummer Jim Rupp. Engelhardt seems obsessed with Dameron’s music and claims that his three CDs (including these two) don’t even yet tell the full story. While we can expect more, there’s so much to delve into in these 22, which do a terrific job of depicting Dameron’s melodic gifts. Some of these themes will likely swirl and linger in your head for days.
Joe Lang – Jersey Jazz Magazine September 2023 – New Jersey Jazz Society
Alto saxophonist Kent Engelhardt and trumpeter Stephen Enos co-lead a Cleveland-based big band Madd for Tadd, a group dedicated to playing the music of composer/arranger/ pianist/leader Tadd Dameron. They have released a superb collection of Dameronia on a double album,
“Central Avenue Swing” & “Our Delight” (self-produced). “Central Avenue Swing” is devoted to music written by Cleveland-born Dameron for Harlen Leonard and his Rockets while he was the pianist on that band in the early 1940s. He later went on to write for big bands led by Billy Eckstine, Dizzy Gillespie, and Count Basie as well as bands which he fronted. In addition, he wrote charts for John Coltrane and Blue Mitchell among others. Music from this later period of his career, from the mid- 1940s to the late 1950s forms the material explored on “Our Delight.” Dameron was truly one of the giants of big band arranging and was also a magnificent composer. Among his most memorable compositions were
“Hot House,” “If You Could See Me Now,” “Good Bate’” “Our Delight” and “Lady Bird,” the latter two being among the selections on the second disc with clever lyrics by Engelhardt sung by Erin Keckin. If you arenot into Dameron’s music, this provides a great jumping off place.
If you already dig Dameron, you will certainly want to add this set to your collection. MaddForTadd.com
Steven Cerra – JazzProfiles Blogspot Review September 2023
Over the years, the editorial staff at JazzProfiles has spent a lot of time researching the music of Tadd Dameron as this link to our “Career Overview” will attest.
So you can imagine our excitement when Terri Hinte, who heads up a public relations firm that specializes in Jazz, sent along a media release and preview recording of “Madd for Tadd: Central Swing & Our Delight” by a 15-piece big band led by saxophonist Kent Engelhardt and trumpeter Stephen Enos set for an August 25th release on Tighten Up Records.
Upon receipt of this information, the first thing I did was search for their 2018 debut recording - The Magic Continues - which I had completely missed upon its issuance.
If you are a fan of Tadd’s music, you won’t want to miss these recordings. They are magnificent from every perspective: the reimagined arrangements of Tadd’s music including many of his lesser known and somewhat obscure compositions; the high quality of the musicianship which does justice to the skill required to play Tadd’s music well; the imaginative soloing which brings out new dimensions to many of Tadd’s pieces; the superb audio enhances makes Tadd’s music and makes it feel fresh, vital and of the moment; the informative booklet notes by journalist and author Willard Jenkins which offers commentary on each of the tracks on the recording.
These recordings are an excellent example of the way in which the Jazz Repertoire is becoming the American Classical Music of the 21st Century. Not only is it studied, examined and preserved, but it is performed and recorded and, in so doing, brought to life for future generations to enjoy.
George Harris - Jazz Weekly November 2023
Dameron, is celebrated on two separate discs released by Madd for Tadd, co-led by Kent Engelhardt and Stephen Enos. The result is a fun celebration of an artist that deserves greater recognition and appreciation.
Kent Engelhardt’s “Central Avenue Swing” brings in a bit of original material for clever yet concise charts for solos by Brad Goode/tp on “Dameron Stomp” and “Society Steps Out” and Dig It featuring the warm voice of “Erin Keckan. The other disc, “Our Delight” band does wonders with the famous “Lady Bird” with Kent Engelhardt’s bopping alto, which is also featured on a rich take of “Soultrane”. “Mating Call” features Micheal Dease’s bright trombone, and the anthem “The Squirrel” gives drummer Jim Rupp a chance to drop a few bombs. The encouraging thing about this session is that the sounds and colors are much improved from the original recordings, giving an extra depth and dimension. Get these gents on the road!
Rick Anderson – CD Hotlist New Releases for Libraries – October 2023
Madd for Tadd
Central Swing & Our Delight (2 discs)
Self-released
This is really two albums in a single package: the first disc consists of charts that celebrated composer Tadd Dameron wrote in 1940 for the Kansas band Harlan Leonard and His Rockets (with the addition of a 1949 tune, the ballad “Heaven’s Doors Are Open Wide”); the second disc is a program of other Dameron tunes from the 1940s, many of which became favorites of bebop players like John Coltrane and Blue Mitchell. In fact, it’s as a composer for small bop ensembles that Dameron gained his greatest fame, and I bet you didn’t know that he wrote “Soultrane” and “Mating Call,” did you? (OK, maybe you did, but I didn’t.) This project reflects a decades-long interest in Dameron’s music on bandleader Kent Engelhardt’s part; many of these arrangements are his own transcriptions from old recordings. The playing by the whole band is superb, but those arrangements are the real star here. Strongly recommended to all jazz collections.
Debra Jan Bibel - Amazon and Facebook
Discovering Dameron: Big Band Style
Tadd Dameron [1917–1965] was an important pianist, tunesmith, and arranger beginning in the 1940s who pushed jazz with strong melodies and innovative harmonies. He was sought by Count Basie, Artie Shaw, Dizzy Gillespie, Milt Jackson, and Sarah Vaughan, among many others. His work was usually performed by small groups, though he desired to have it played by big bands. Fellow Ohian and Youngston State University ethnomusicologist and jazz biographer Kent Engelhardt has been engaged in transcribing and notating Dameron's compositions for big band, which he helped established with conductor and trumpeter Stephen Enos. Madd for Tadd is a 15 member Cleveland ensemble. Having already issued their first album, The Magic Continues, the band now releases a 2-CD set focused on Dameron's 1940s compositions on the disc Central Avenue Swing, and his later hard bop and last works on Our Delight, a total of 22 pieces. The result is a what-if rendition of Dameron pieces with Engelhardt's modern arrangements yet having the sound and spirit of the original period. The earliest tunes were for the Kansas City regional band Harlan Leonard and His Rockets. Deep in the Swing Era, and being Kansas City afterall, the adapted music is bright, bluesy, and features some fine lyrical solos by horn players with counter punctuation by others. And they are danceable. The 1949 piece, Heaven's Doors Are Open Wide, is sung by Erin Keckan. She is back in the following Dig It with call-and-response. While dancing shoes are for the first disc, the second takes us into small clubs of the 1950s and early 1960s and adventurous listening to Billy Eckstine, Blue Mitchell, Fats Navarro, and John Coltane. Keckan returns with Lady Bird, with Engelhard's lyrics; her second song is I Think I'll Go Away. Mating Call has a Latin treatment. The larger format and orchestration on this disc does not improve upon the original performances; hence the shift is to the structure of the compositions and their harmonic potential previously unrealized. The impressive performances of the large ensemble and its excellent solos coupled with well-crafted arrangements showcase the vision of Dameron. Cleveland should be proud of these Tadd Madd Hatters.
The result is a what-if rendition of Dameron pieces with Engelhardt's modern arrangements yet having the sound and spirit of the original period….The impressive performances of the large ensemble and its excellent solos coupled with well-crafted arrangements showcase the vision of Dameron.
Scott Yanow on Facebook
THE TOP JAZZ RECORDINGS OF 2023 (at least some of them!)
There are so many jazz releases each year (a minimum of 200 per month) that compiling a “Best Of” list that everyone would agree upon is difficult if not impossible. Many other writers, when compiling their “Best Of” lists, tend to emphasize cutting edge and avant-garde jazz. I prefer to cast a wider net, including releases that are creative within the context of many styles and approaches from trad jazz, swing, bop, and post-bop to vocalists and Latin-flavored jazz.
Below (in alphabetical order) are my picks for 2023: 25 new releases and 20 albums of reissues and historical music (some of which were previously unreleased). Readers can certainly argue for the inclusion of dozens of other superb recordings for there are hundreds that I would recommend as well worth owning. Suffice it to say that these 45 albums are among my favorites and are each memorable in their own way.
THE TOP 25 NEW JAZZ RELEASES OF 2023
-----------------------------------------------------------
Benny Benack III. – Third Time’s The Charm – Bandstand Presents
Kris Berg – Perspective – Summit
Laila Biali – Your Requests – Imago
Jane Bunnett and Maqueque – Playing With Fire – Linus Entertainment
Gunhild Carling – Good Evening Cats! – Self-Released
Emmet Cohen – Uptown In Orbit – Mack Avenue
George Coleman – Live At Smalls Jazz Club – Cellar Music
Chick Corea Elektric Band – The Future Is Now – Candid
Antoine Drye – Retreat To Beauty – Cellar Music
Kent Engelhardt & Stephen Enos – Central Avenue Swing/Our Delight – Madd For Tadd
Noah Haidu – Standards – Sunnyside
Connie Han – Secrets Of Inanna – Mack Avenue
Anthony Hervey – Words From My Horn – Outside In Music
Aline Homzy – Eclipse - Elastic
Danny Jonokuchi Big Band – Voices – Outside In Music
Jon-Erik Kellso and the EarRegulars – Live At The Ear Inn – Arbors
James Brandon Lewis – For Mahalia, With Love – Tao Forms
Oz Noy – Triple Play – Abstract Logix
Planet D Nonet – Blues To Be There – East Lawn
Quartet San Francisco & Gordon Goodwin - Raymond Scott Reimagined – Violinjazz
John Scofield – Uncle John’s Band – ECM
Veronica Swift - Veronica Swift – Mack Avenue
Ohad Talmor – Back To The Land – Intakt
Sam Taylor – Let Go – Cellar Music
JD Walter – What The World Needs Now – Arkadia
THE TOP 20 REISSUES AND HISTORICAL JAZZ RELEASES OF 2023
-----------------------------------------------------------------------
Toshiko Akiyoshi – Toshiko’s Blues 1953-1957 – Fresh Sound
Walter Bishop Jr. – Bish At The Bank – Reel To Reel
Dave Brubeck Quartet – Live From The Northwest 1959 – Brubeck Editions
Sonny Clark – The Complete Blue Note Sessions – Mosaic
John Coltrane with Eric Dolphy – Evenings At The Village Gate - Impulse
Miles Davis – In Concert at the Olympia Paris 1957 – Fresh Sound
Bill Evans – Treasures – Elemental Music
Digby Fairweather – Notes From A Jazz Life Volume 3 - Acrobat
Bill Henderson – Senor Blues – Complete Recordings 1958-1961 – Fresh Sound
Jazz At The Philharmonic – The Complete Jam Sessions 1950-1957 – Mosaic
Dan Levinson – Celebrating Bix – Turtle Bay
Loren McMurray – The Moaninest Moan Of Them All – Archeophone
Jay Migliori – Equinox – Omnivore
Mulgrew Miller – Solo In Barcelona – Storyville
Boots Mussulli – 1954-1956 Quartet Sessions – Fresh Sound
Roy Palmer – The Almost Forgotten New Orleans Hot Trombonist – Upbeat
Michel Petrucciani – The Montreux Years – Montreux Sounds/BMG
Sonny Rollins – Go West! – Craft Recordings
Hazel Scott – Collected Recordings 1939-57 – Acrobat
Ethel Waters – Stormy Weather – Acrobat
Kent Engelhardt & Stephen Enos – Central Avenue Swing & Our Delight
Top 10 Critics poll selection Cadence Magazine
Dear Kent and Stephen:
Congrats on your top 10 listing in Cadence. Support your listing with a discounted full page ad.
Space is limited so place your order today. We also have the back cover available for $399.
Let us know if you want us to build the ad at no extra charge.
YOUR AD WILL APPEAR IN
Cadence Magazine Annual Print Edition
January 2023 quarterly online edition.
--
Cadence, the Independent Journal of Creative Improvised Music
Since 1976
www.cadencejazzmagazine.com
cadencemagazine@gmail.com
503-975-5176
P.O. Box 13071
Portland, OR 97213