Reviews
Joe Knipes, Jazz Improv Magazine
Fall 2005
This is the second release from Chicago area pianist and composer Jo Ann Daugherty. As is immediately evident, Miss Daugherty is capable of writing and performing a variety of original compositions that surprise and delight the listener. She is also adept at choosing sidemen who convey her intentions well.
For his opening solo on “Out of Round,” guitarist Neal Alger comes off like the undersung New Yorker Anthony Michael Peterson. With what sounds like a solid-body guitar, and possibly using his fingers to pluck the strings, Alger delivers an angular improvisation. Daugherty appears on piano next, and she picks up the angular cues set forth by Alger for her own adventures. The first comment that comes to mind when listening is simply: “Yeah-she swings!” As the song heads toward its conclusion, trading of phrases ensues between Alger and Daugherty while Ryan Bennett joins in adding his own percussive thoughts.
Daugherty adds Top Notch Accompanist to her list of skills with thoughtful support on the great original “Oak Creek.”
A medium up-tempo Nawlins groove gets things started on “Harold’s Tune,” which very much sounds like something John Scofield might have written a decade ago. That’s not to say there’s anything remotely dated sounding here, simply a point of reference. Jo Ann Daugherty’s left hand bass figures are strong and pronounced during the statement of the theme. With a sense of intrigue, the pianist takes her time developing her solo, yet there is never a sense that she is being tentative.
Next up is “Myrrh,” a light waltz with Paliga’s soprano saxophone in the lead. Piano and bass team up especially well on this one to buttress the horn lines. Daugherty turns in a flowing and more active, driving piano solo than can be heard on the previous songs here. The saxophonist is next up, on soprano this time, as Bennett switches to sticks for a change of texture. Daugherty’s interaction with Paliga is inventive and playful, and never intrudes on the soloist’s development of statement.
“WMD” proves it is possible to place a brooding melodic theme on an up-tempo composition. The dynamite arrangement gives each of the horns a unique voice in the ensemble. Check out the great ostinato figures from the rhythm section underneath. For one of his rare appearances on the album, Tito Carrillo turns in a very strong trumpet solo.
Before going further, I should add that this is a really enjoyable album with no pretense, nothing to bang you over the head with. Just honest, swinging music of different grooves, time feels, and moods. Some of the honesty I refer to comes through on “WMD,” as it sounds for a split-second like Daugherty might have a struggle with the time on one improvised passage, but she manages to avoid tripping. This kind of risk-taking and propulsion of will is rare in a lot of jazz recording today.
“Pearl,” written in tribute to slain journalist Daniel Pearl, though not a sad or somber piece, is nevertheless provocative.
“Part 4, Part2” begins with an introduction from bassist Lorin Cohen, who is aided by left-hand only piano, marching snare and a bouncy horn line on top. Tito Carrillo’s trumpet squares off nicely with Mitch Paliga’s tenor and Ryan Bennett’s exciting drums to add much excitement to the album’s overall tone and greatly lifting this song into another dimension. Our drummer finally gets a full solo here and employs dynamics and shading to great effect before bringing about a return to the theme. Finally, trumpet and tenor follow the melody with more interplay and the song comes to an abrupt halt.
For the penultimate number, Larry Kohut performs the melody to “Still” on bass, adding variety to the rendering of the nine originals that comprise this album.
The appropriately named “Heading Out” invites Neal Alger to return for his bookend feature, where he doubles the piano melody on this swinger and lays down and agile and provocative solo.
This recorded effort from Jo Ann Daugherty is a very enjoyable, unpretentious statement from a performer who has a lot to say and knows how to deliver the goods. When it’s all over, all one can ask for is: “More, please!”
Scott Yanow, Allmusic.com
Jo Ann Daugherty is an excellent modern mainstream pianist. Based in Chicago and influenced a little bit by Bill Evans (although she has her own sound in general), Daugherty is also a talented composer, as witness her nine originals on this well-rounded release. The witty and circular “Out of Round” and the New Orleans parade feel of “Harold’s Tune” are among the highlights. In addition to the pianist’s core trio, the most impressive sideman is Mitch Paliga, particularly on soprano. Overall, this is an impressive debut and a strong step forward for Jo Ann Daugherty.
Doug Ramsey, Rifftides
(from the ARTSJOURNAL weblog on piano trios by Doug Ramsey, noted jazz journalist and Bill Evans expert)
Ms. Daugherty is from Missouri and lives in Chicago. There is only one trio track on her CD. The horns and guitar are all good, and so are her tunes, but that trio track, “Harold’s Tune,” is a gem. I had never heard of her when I put the disc on. I love surprises like this. Jo Ann Daugherty deserves—no, we deserve—a trio album, pronto. Read the article and more here.
Paul Oberlin, Jazzreview.com
Jazzreview.com readers who live outside of the Chicago area will probably be unfamiliar with Jo Ann Daugherty and her music. Raised as a Midwestern farm girl, she attended Truman State University in Missouri. Daugherty moved to Chicago in 1998, where she got involved with the Chicago Jazz Composers Collective, a group of local musicians who perform monthly at the famous Green Mill jazz club.
Range of Motion is Daugherty’s second release and a significant evolution from her debut, a trio outing of standards and originals. Daugherty wrote all nine tracks and the instrumentation has been expanded to include guitar, saxophones, trumpet and trombone. The key element here is diversity. The instrumental groupings include two trios, four quartets, two quintets and a sextet. But it’s the myriad of styles and influences that show off Daugherty’s creative style.
The album begins and ends with a couple of quartet tunes featuring guitarist Neal Alger. “Out of Round” has a modern Monk-like flavor; while “Heading Out” has a blues/gospel influence in the spirit of the Gene Harris Quartet. Daugherty is a selfless composer; the piano doesn’t dominate the music here at all. Both piano trios highlight the rhythm section and the interplay of the instruments. The funky “Harold’s Tune” has a terrific bass solo from Lorin Cohen, while “Still” highlights graceful bass playing from Larry Kohut and delicate brush and mallet work from Ryan Bennett. Mitch Paliga plays tenor and soprano sax on five of the tunes, while Tito Carillo (trumpet) and Tom Garling (trombone), contribute to two tunes each. One small error: the notes have the trumpet and trombone reversed on tracks two and seven.
Range of Motion signals the maturation of Jo Ann Daugherty as a musician and composer. Her playing is sensitive and restrained, never flashy. She writes accessible, intelligent music that you enjoy immediately, yet subtle details are uncovered with repeated listening. For jazz fans that enjoy discovering new and talented artists, Range of Motion is warmly recommended.
John Kreicbergs, The Pitch
CRITIC’S CHOICE
Published: Thursday, October 20, 2005
Caveats, qualifiers and disclaimers run rampant among jazz aficionados, and Kansas City-turned-Chicago pianist Jo Ann Daugherty has likely heard them all. She’s been called a “stunning surprise” (one writer’s attempt to dismiss her provincial status as a Midwestern native) and been outed by a reviewer as “a fox,” as if her considerable improv and compositional chops didn’t warrant attention on their own. Some even claim that her latest disc, Range of Motion, has to be compared to Thelonious Monk and Bill Evans in order to be understood. Instead of listening to these odd dialogues, check out the command Daugherty displays from the bench as a soloist and bandleader; it’s clear that few canned comments can capture the real essence of what she has to offer. Daugherty is the sum of her environment, abilities and influences, but the result — her music — goes far beyond any simple equations. See the article here.
Paul Abella, Chicago Jazz Magazine
Chicagoans are a lucky bunch if they like jazz. Since the beginning of jazz, we’ve been blessed with having many of the best and brightest stars in the jazz field play at our corner bars and jazz clubs. And while Chicago can boast quite a large number of great saxophonists, guitarists, trumpeters, big band arrangers, bass players and drummers, we’ve gotten more than our fair share of wonderful pianists. With her second release, her first on BluJazz records, Jo Ann Daugherty puts her name on that list.
The album is called Range of Motion, and it’s an honest name for an album that boasts this kind of, well…range. She’s well connected with her trio on this album, and throughout the course of it she features some pretty heavy players like Neal Alger, Tom Garling, Tito Carillo, and Mitch Paliga. Its’ an all-star cast, and she writes well for it, and keeps up admirably.
The hard part about reviewing a consistently engaging album is that it’s difficult to note the stand-out tracks when they’re all pretty much stand-out songs. But two deserve special mention. “Out of Round,” besides being a great leadoff song and a nice piece for both her and Alger to sink their teeth into, also wins the prize for the most aptly titled tune yet this year. It’s completely solid in its conception, and yet, seemingly on purpose, it feels just a bit wobbly, which gives it a bit of charm. Also, all three horns come out for one song, “WMD,” which shows off not only some great playing, but also some very tasty writing for horns, which is no easy task. And yet, Daugherty handles it with ease.
One certainly hopes to hear more from Ms. Daugherty in the coming months and years, and this disc is highly recommended.
Alan Drouot
Jazz Institute of Chicago Newsletter
I had heard of but not actually heard pianist Jo Ann Daugherty before playing her new and second CD Range of Motion. Seeing her name frequently on Pops for Champagne listings I had always thought—with a good dose of prejudice I must confess—that she was catering to the cocktail crowd. Listening to her new work, I have come to realize how mistaken I was. Her latest opus showcases her many qualities. She writes excellent tunes that are catchy enough to be remembered and substantial enough to hold the listener’s attention over repeated listening. The moods are just as varied as her playing—her warbles and progressions are most effective. Over the course of the program, she leads various formations going from the trio to the sextet and everything in between. The larger ensembles are evidence that she can create endearing voicings. Although the music is consistently delightful, some pieces can be singled out. A nice New Orleans strut pervades through the excellent “Harold’s Tune.” “WMD” is another well-crafted composition with inspired contributions by trumpeter Tito Carrillo, trombonist Tom Garling and the leader herself. “Part 4, Part 2” shows her skill as a leader; her minimal interjections open up solutions for the soloists; tenor sax Mitch Paliga and trumpeter Carrillo are engaged in a fiery dialogue and drummer Ryan Bennett is featured in his only and quite focused solo. The aptly-titled “Still” is a great feature for the melodious bass of Lorin Cohen, one of the two bassists Daugherty used for the session—the other being the equally-talented and versatile Larry Kohut. [Editorial interjection—“Still” features the melodiousness of Mr. Kohut. -jd] “Heading Out” is a perfect hard-swinging closer powered by Neal Alger’s guitar. Impressive from beginning to end, Range of Motion comes easily recommended.
Kudos to Blujazz for supporting local artists who can pen creative music that remains accessible.
Kevin Rabas, JAM Magazine
Oct/Nov 2005
Jo Ann Daugherty’s second album, Range of Motion, is full of solid, melodic tunes performed by top-notch players. Daugherty, who could be found performing in Kansas City a few years ago, moved to Chicago, where she is joined by her husband, who plays drums on the album, another Kansas Citian, Ryan Bennett.
Daugherty said she was new to the business of music when she performed in Kansas City, remarking that “I was pretty green. I got a good training…in Kansas City. But I was right out of school…learning how to be a musician, while I was there—putting a life together. And I am eternally grateful for the people who played with me while I was there…It was a great place to be.”
However, since then Daugherty has moved to Chicago and started a song writing group, the Chicago Jazz Composers Collective, and she has been playing with some heavy hitting players, such as Neal Alger, Tom Garling, Tito Carillo, Mitch Paliga, who are featured on the album.
The album’s first track, “Out of Round” is both complex and catchy. It moves along at a moderate pace, and the initial guitar work of Neal Alger keeps the melody interesting and bright. Daugherty follows with a measured, compelling but light response, which Bennett complements with short interludes on drums that nicely bridge that boundary between crafty comping and short soloing.
Daugherty said “Part 4, Part 2” is a tune that was inspired by a composition of Mitch Paliga’s, a suite in five parts. The tune is lively, full of great motion. Lorin Cohen starts the tune with a quick riff that is slightly reminiscent of the melodic line of John Coltrane’s A Love Supreme . Bennett joins on drums with some soft, sticked snare work. Carillo’s trumpet work beckons and calls out, fueling the exchanges that take place in this tune. Bennett solos on the tune, building a fine melodic pallet between the high and low toms and bass drums, rolling from the toms to the bass drum tastefully, demonstrating exquisite shaping and build.
Daugherty said she wrote “Still” in order to “explore to the upper register of the bass,” aiming on this album to write for two bass players, Lorin Cohen and Larry Kohut. Kohut’s driving, playful lines on the aptly named “Heading Out,” make this tune memorable, and the group’s momentum make this a fine, hard grooving, energetic finale to a compelling album.
Daugherty and her group will be performing on October 22 at the Blue Room. Daugherty said, “We miss K.C.,” and talked about a sort of homesickness musicians she knows who also once called K.C. their home had one day last summer “when it was 100 degrees and humid.” They sought each other out to commiserate. So, come out and hear what her album features, and more, live. Daugherty’s album and more information about the band can be found at http://www.joanndaugherty.com/ .
Christopher Bussman, CJLO Radio review
Jo Ann Daugherty’s debut album Range of Motion is a stunning surprise from a tiny jazz label out of Chicago called BluJazz. Chicago once was, and still is, one hell of a jazz town. The Chicago scene is one of the few old bastions of jazz still thriving in North America. From venerable elders like Von Freeman to upstarts like young Ms. Daugherty here, the jazz currently coming out of Chicago is well worth checking out.
As for Range of Motion, it is an exquisite little gem of original compositions ranging from more traditional bop and post-bop tunes to more experimental ECM-style arrangements in the vein of the legendary Art Ensemble of Chicago. This is a very diverse record and the playing throughout is uniformly excellent.
Jo Ann Daugherty is the most exciting pianist to come down the pike in awhile. Her style is akin to Monk in its deft manipulation of melody and in the eccentricities of her tone, and yet is also wholly accessible and would be welcome to the ears of any Oscar Peterson fan. That’s heavy praise, but Jo Ann Daugherty deserves it – and not just only for being and accomplished pianist, but one hell of a songwriter too.
Very few jazz artists now or ever manage to write a whole album’s worth of tunes. There’s always the occasional standard or cover thrown in to demonstrate their chops on someone else’s tune. While these interpretations can be great, do we really need another version of “Stella by Starlight” or “A Child is Born”? Jo Ann Daugherty has written tunes that could be standards in their own right and she’s not afraid, like such truly inventive forbearers as Mingus, Roach, and Haden to get political with her jazz. “WMD” is an excellent example of this. Speaking on the motives of her songwriting, Daugherty says that you can “make references to how you feel at a particular moment or what you’re thinking about.” (Truman Index, 16/09/04) “WMD” makes those feelings and references clear and is the highlight of the album.
And did I mention she’s a fox?