On the record: Elias Haslanger Kicks Are For Kids (Heart Music). The Austin saxophonist's fourth release bears his name on the cover, but what jumps out at you with the opening tones of the first track, is Edwin Livingston's bass. This is what a cohesive band should sound like. On that first number, after the bass groove is down, the drums (played by J.J. Johnson, who anchors the whole thing beautifully) gracefully jump in, in cool-jazz style, and the piece begins to bounce with a mellow swing. Then enter the leads, trumpet (Tito Carillo), sax, and piano (Fred Sanders), in tight harmony. Haslanger's is a classic-sounding jazz with a serious groove that will grab you with its quiet confidence. The whole album continues impressively from top to bottom. At 28, the saxaphonist's compositions are marked by a studied melodic authority as well as an easy-going elegance. Besides the title track, I especially enjoyed the standard-ish "Eugene and Marie" and Haslanger's controlled, emotive playing on "Free for Three" which bobs and weaves from its opening easy roll onto wilder, freer places. The venerable Ellis Marsalis contributes graceful piano on the album's lone cover song, a gentle version of Duke Ellington's "Just Squeeze Me."
Santiago Jimenez, Jr. Corridos de la Frontera (Watermelon). This latest batch of songs from the son of one of conjunto's greatest legends has the polka bounce characteristic of the style, but not much of the energy that makes you want to jump along with it. Santiago is as capable as his father -- if not as eminent -- on the accordion as well as at handling the swaying, breezy Mexican melodies of the vocals -- and the album is a pleasant listen. But something failed to grab me. Maybe it was that the tempos were generally unmodulated and plodding. Maybe it was the lack of dynamic variation. But after the first few songs I found myself tuning out, wishing for something more spicy and flavorful.
On the record: Elias Haslanger Kicks Are For Kids (Heart Music). The Austin saxophonist's fourth release bears his name on the cover, but what jumps out at you with the opening tones of the first track, is Edwin Livingston's bass. This is what a cohesive band should sound like. On that first number, after the bass groove is down, the drums (played by J.J. Johnson, who anchors the whole thing beautifully) gracefully jump in, in cool-jazz style, and the piece begins to bounce with a mellow swing. Then enter the leads, trumpet (Tito Carillo), sax, and piano (Fred Sanders), in tight harmony. Haslanger's is a classic-sounding jazz with a serious groove that will grab you with its quiet confidence. The whole album continues impressively from top to bottom. At 28, the saxaphonist's compositions are marked by a studied melodic authority as well as an easy-going elegance. Besides the title track, I especially enjoyed the standard-ish "Eugene and Marie" and Haslanger's controlled, emotive playing on "Free for Three" which bobs and weaves from its opening easy roll onto wilder, freer places. The venerable Ellis Marsalis contributes graceful piano on the album's lone cover song, a gentle version of Duke Ellington's "Just Squeeze Me."
Santiago Jimenez, Jr. Corridos de la Frontera (Watermelon). This latest batch of songs from the son of one of conjunto's greatest legends has the polka bounce characteristic of the style, but not much of the energy that makes you want to jump along with it. Santiago is as capable as his father -- if not as eminent -- on the accordion as well as at handling the swaying, breezy Mexican melodies of the vocals -- and the album is a pleasant listen. But something failed to grab me. Maybe it was that the tempos were generally unmodulated and plodding. Maybe it was the lack of dynamic variation. But after the first few songs I found myself tuning out, wishing for something more spicy and flavorful.
