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The Lewis Porter/Phil Scarff Group: Three Minutes to Four Jazz Weekly Review

By: George Harris, December 4, 2017

Lewis Porter plays piano while Phil Scarff mixes tenor, soprano and sopranino sax with the Indian strung tamboura as they co-lead a quartet of originals with John Funkouser/b and Bertram Lehmann/dr. With the tamboura, Scarff creates some South Asian moods that mix well with jazz as on the “Raga Bhairavi” with his soprano sax and the “Skies of South Africa Suite” that have him on tenor and soprano as the rhythm team lurks with luminosity. Porter’s piano leads on the cantering “Journey” and delivers mysterious mood for Scarff’s serpentine tenor on “Oliver” with the team bops and Funkhouser delivers a deep groove on the Indian bopper “Bageshri.” Intriguing and exotic without a hint of gimmickry.


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Classic Old School Session man…Reggie Young

By: George W Harris

October, 1, 2017

With a career spanning 3 score years and including work ranging from BB King to Elvis, Etta James and Roy Orbison, session guitarist Reggie Young delivers a classy instrumental album that oozes style and substance. He teams with buddies like Clayton Ivey-Catherine Marx-Jim Brown-Mike Rojas/key, David Hood-David Hungate-Dennis Belfield/b, Chad Cromwell-Shannon Forrest/dr, Jennifer Lynn Young/cel and a Jim Horn-led sax section teamed with Steve Herman/tp and Charles Rose/tb. Throughout the seven tracks, Young takes you through a sumptuous mix of soul, country and jazzy blues, never pretentious, and always swingingly professional.

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To Check out Reggie Young’s album, Forever Young, click here

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“This one’s a keeper,” Jazz Weekly Reviews Plucky Strum’s Departure

The duo of guitarist Sheryl  Bailey and bassist Harvie S creates some clever and melodic moments on this intimate collection of tunes. The selection of songs, as the delivery, is imaginative, ranging from rich bass work on a spacey read of Joni Mitchell’s “The Hissing of Summer Lawns” and a clever read of Crosby Stills and Nash’s “Suite: Judy Blue Eyes” to hip boppers like “Cranshaw” and mellow “Now I Know.” Bailey goes acoustic and electric, with a clear tone on the peppy “Sublime” and relaxed and patient on electric during “Good Ole Days.” This one’s a keeper.”

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