Album Review: Rob Dehlinger and the Alpha Rhythm Kings – Party Time (Alpha Rhythm Kings)

Rob Dehlinger (lead vocals, trumpet, percussion, Hammond B-3, background vocals, foley); Fil Lorenz (tenor sax, background vocals, foley); Steve Steinberg (tenor sax, background vocals); Carroll Ashby (trombone, background vocals, foley); Josh Workman (guitar); John Cocuzzi (piano); Richard Nelson Hall ( piano, foley); Hardy Hemphill (piano); Aaron Germain (upright bass); Danny Gerz (upright bass, background vocals, foley); Michael Henning (drums, background vocals, foley); Vince Littleton (drums); Bob Skye (bongos, congas); Adam Munoz (foley).

During the 1940s, bandleaders scaled down ensemble sizes, moving to smaller seven or eight-piece units. This was primarily a result of wartime economics. Smaller, more flexible groups such as Cab Calloway’s, Louis Jordan’s, Wynonie Harris’ and others played hep to the jump, jive and jitterbug dance craze. And, as more blues selections infused into that style, an early form of R’n’B emerged that peaked in the 1950s, crossing into the mainstream of popular music. Rob Dehlinger’s and the Alpha Rhythm Kings’ Party Time brings us back to those dance-hopping days with eleven tracks, including a number of creative originals, all superbly performed.  

Late Night Chicago Radio with Denny Farrell (Nov. 12-18)

Jimmy Smith: Blues in the Night.

Nina Simone: My Baby Just Cares for me.

Count Basie: April in Paris.

Ella Fitzgerald/Louis Armstrong: Summertime.

Sarah Vaughan: Misty.

Chet Baker: Everything Happens to me.

Getz/Gilberto: Girl From Ipanema.

Paul Desmond/Jim Hall: Easy Living.

Diana Krall: Peel me a Grape.

Oscar Peterson: Night Train.

Lee Morgan: Blue Gardenia.

Louis Armstrong: What a Wonderful World.

LISTEN 24/7.

Album review: Joe Chambers - Double Exposure (Time Traveller Recordings)

Joe Chambers (piano, elec. piano, tabla, cymbal, drums); Larry Young (organ, synthesizer)

Another trip down those mean streets by Jazz Detective Jev Feldman to delve once more into the buried treasures of the Muse catalogue and, once again, he hits pay dirt.

This time it's the 1978 pairing of pianist/percussionist Joe Chambers and Hammond legend Larry Young on organ and synth. Not your usual coupling but, nevertheless, enthralling stuff that grows on you with repeated listening.

Take you partners ...

Came across this clipping from The Sun circa early 1960s. Can't imagine why I bought that particular paper! The clipping got me thinking as to which dancehall in Leeds did Miss J.L.B. and her friend go to? One of the Meccas perhaps? There were two in Leeds. What was the name of the band, and, crucially, who were the two trumpet playing Lotharios? Lance

Album review: John Coltrane - The Tiberi Tapes (Impulse)

Back in the day, Charlie Parker fanatic Dean Benedetti would surreptitiously record Bird at whatever club he was playing in. Benedetti was so obsessed with Parker that he switched the machine off when any of the other musicians were soloing.

Former Woody Herman tenor saxist Frank Tiberi was similarly taken with the music of John Coltrane and captured the great man on 80 reel to reel recordings whether in concert, practicing or wherever he had access. Fortunately Tiberi had the sense and the courtesy not to blank out any of the other musicians involved.

Album review: Woody Shaw - Love Dance (Time Traveller)

Woody Shaw (trumpet); Steve Turre (trombone); René McLean (alto/soprano sax); Billy Harper (tenor sax); Joe Bonner (piano); Cecil McBee (bass); Victor Lewis (drums); Guilherme Franco (perc.); Tony Waters (organ) 

Originally released in 1976 on the Muse label and reissued on that seeker of wisdom and truth Zev Feldman's Time Traveller label it's a slam dunk contender for reissue of the year. How could it not be with such a line-up?

Sitting north of hard bop and south of jazz rock it's as near to perfection as you're going to get from any band working that side of the street.

Five compositions, three from inside the band, capture modern jazz at its zenith.

Greg Abate-Alan Barnes Quintet @ Brighton College - Nov. 4

© Stevie Mayhook

Greg Abate (alto sax, flute); Alan Barnes clarinet, alto sax/baritone sax);  Nic Saunders (grand piano!) Oz Dechaine (double bass); Simon Whittaker (drums)

As I was due to spend a couple of days  visiting family in the Brighton area and as Greg Abate was doing a gig at a venue close to where my daughter lives it seemed to be a gig well worth going to! 

The concert started at 8.00pm - one set with a 10.00pm finish - in  the Cairns Theatre,  a small venue  with  a grand piano  being played tonight by Nic Saunders who I had not seen before but whose work I liked. The bass player was up to scratch - very agile fingers! The drummer was another stranger to me and I thought  maybe the drums could have used one more mic. The ceiling was very high in the theatre which may have affected the sound.   

Classic Jazz Party 2026: Evening @ The Village Hotel - Nov. 6

A full house for Friday's evening session opened with the first of the weekend's Piano Professor sets. Morten Gunnar Larsen's typically elegant set holding the audience spellbound. 

Victoria Spivey with Red Allen featured Parisian vocalist Nicolle Rochelle and New Yorker Mike Davis, as Henry 'Red' Allen (cornet). Ms Rochelle is a star attraction here in West Allotment and first time visitors to the CJP, of which there were many, were very impressed - as was to be expected! 

Album review: Gary Bartz NTU Troop – I've Known Rivers and Other Bodies (Jazz Dispensary/Craft Recordings – Top Shelf Series 180-gram double vinyl)

Gary Bartz (saxes, voice); Hubert Eaves (piano, keys); Stafford James (bass); Howard King (drums)

There are certain recordings that do far more than capture a moment in musical history. They reflect the social and political landscape of their time, the aspirations of a generation and the determination of musicians to make their voices heard. Gary Bartz's I've Known Rivers and Other Bodies, recorded live at the Montreux Jazz Festival in 1973, is undoubtedly one of those albums. More than half a century later, it returns to vinyl in a beautifully presented edition that reminds us just how extraordinary, and indeed how relevant, this music remains.

The early 1970s were a remarkable period for jazz. The boundaries that had once separated genres were becoming increasingly blurred, with musicians drawing inspiration from African rhythms, funk, soul, rock and the burgeoning world of electronic instruments. Miles Davis had already challenged convention with Bitches Brew, while Pharoah Sanders and the spiritual legacy of John Coltrane were taking jazz into territory that was as much about personal enlightenment and cultural identity as it was about musical exploration.

Stockport Jazz

This Sunday Stockport Jazz welcomes the Counterpoint Quintet to the Moor Club featuring Helen Pillinger (tenor saxophone) and Carole Williams (piano and trombone) with Peter Hartley (bass), Paul Hartley (guitar) and Tim Franks (drums). 

Sunday November 15th 2026

8-10pm, doors open at 7.30pm

£5 entry on the door, all welcome

The Moor Club, 35 Heaton Moor Road, Stockport SK4 4PB  (next to the Elizabethan PH)