Surf Cove Jazz Productions

What People Say About "Keeper Of The Flame"

EJazz Review

Surfcove Jazz, 2010
Review By: Geannine Reid

As the genre of vocal jazz continues to expand its horizons it actually defines the be-bop vocalist tradition with distinct clarity. In today’s genre of vocal jazz it ranges from pop vocalists singing standards, to cabaret, to folk infuses stylings and delightfully the be-bop vocalist. Lewis is certainly the latter, drenched in the language and tradition of her foremothers Ella, Carmen and Sarah.



So what makes Lewis unique? Hands down; it is the timbre of her voice, it is like a weathered horn that reaches into the longing in your soul and quenches the thirst of desired satisfaction.

“Keeper of the Flame” is a mid-tempo Latin cut, with well-placed hits and an undercurrent that keeps the cut in a forward motion. Each player is a key element to the success of this cut and each musician plays their role eloquently. Lewis’ voice is commanding and soars with elongated notes and short hits; the cut is a very successful opener.

“You Don’t Know What Love is” offers a playful groove, quite contrasting from the usual rendition. Lewis is fully engaged and offers a playful, yet attention grabbing rendition.
A widely recognized tune “Chega De Saudade (No More Blues)” is a wonderful accoutrement to the overall flow of the disc. The ensemble adeptly provides a flowing Latin beat for Lewis, as she eloquently conveys what is rumored to be the first Bossa nova song.

Keeper of the Flame will spice up any Latin/Jazz collection ably accompanied by the deft Gerard Hagen Trio and correctly spiced with be-bop vocalist Leslie Lewis. Add it to any occasion and you will immediately add class to the occasion.




Improjazznation Nation Magazine Review

Leslie Lewis with The Gerard Hagen Trio – KEEPER OF THE FLAME: All the way from groovin’ gentle to jumpin’ for joy, Leslie definitely keeps the fire going, and knows how to use her voice to wrap you up in her magic, no doubt about it.  I reviewed her most recently in issue # 86 For some reason, the picture on this CD cover makes me think “pixie”… would you agree?  Gerard Hagen’s piano work, as well as bass by Domenic Genova and drums/percussion from Jerry Kalaf (with special guest Gary Foster on alto sax, flute and alto flute) enhance Leslie’s bright-spirited performance, as they did on the earlier CD I reviewed from her.  10 grand tracks… just check out “Spring Is Here” to get a feel for what “real” jazz is!  I also enjoyed the lively “Chega De Saudade (No More Blues)“, as I’m sure you will.  My favorite, though, was the sultry “Speak Low“, which is (for this listener, anyway) the best example of how talented Leslie is!  I give this one a MOST HIGHLY RECOMMENDED, as well as the “PICK” of this issue for “sultriest jazz vocals”.  “EQ” (energy quotient) rating is a stellar 4.98.  Get more information at SurfCove Jazz label site – SCOPE this YOUTUBE thingie out, too!   Rotcod Zzaj


Leslie Lewis is reviewed by Straight No Chaser
Mon, 1 November 2010

A Keeper of the Flame

Female jazz singers seem to be divided into two worlds these days. There are those who follow the tradition of Ella, Sassy and Anita O’Day, and record standards or popular tunes with a classic jazz background. This would include Diana Krall, Jane Monheit, and Dianne Reeves. Thankfully we have legends like Dee Dee Bridgewater and Nancy Wilson recording them as well.
 
Then there are those who try to broaden the genre with covers of Baby Boomer favorites and present their music with less traditional jazz arrangements. These would include Cassandra Wilson, Lizz Wright, and Rene Marie. Karrin Allyson has a foot firmly in each camp.
 
Leslie Lewis, as can be gathered from the title of her new CD, Keeper of the Flame, stands firmly in the classics. Her latest release, recorded with the Gerard Hagen Trio, is heavy with selections from the Great American Songbook and the Great Brazilian Songbook (if there is such a thing) and shows her ready to follow in the classic singers’ footsteps.
 
Thanks to a guest appearance by flutist Gary Foster, the Brazilian numbers are the standouts on the CD. “Fotographia”, an Antonio Carlos Jobim classic, is given a lilting, swaying reading, Ms. Lewis’ voice soft as a breeze. Ivan Lins’ “The Island” features Hagen’s piano to great effect, with Ms. Lewis singing the yearning lyrics with feeling.
 
The CD wraps up with two classics – “Speak Low” and “Caravan” – which can stand with some of the fine interpretations of the past. The former song, one of my favorites, is taken at a slower tempo than expected, and Ms. Lewis’ vocals are an instrument to be reckoned with, curling seductively around the familiar lyrics. Foster’s saxophone solo brings it home, dancing over Jerry Kalaf’s subtle percussion.


Leslie Lewis is reviewed by The Borderland


The Borderland (Musicwatch Column)
Review By: John M. Peters
Leslie Lewis with the Gerard Hagen Trio - Keeper of the Flame (Surf Cove Jazz)
This is the second album by jazz vocalist Leslie Lewis received here at The Borderland, and once again she and her fellow musicians have created an album of classic vocal jazz. The emphasis on Keeper of the Flame is Latin rhythms and Brazilian music in particular, with several standards in the same style. Ms Lewis has a voice of the same quality as the great jazz divas [Ella, Sarah, and Dinah, and perhaps even a little Peggy on the more romantic songs], and she is ably supported by Gerard Hagen on piano, Domenic Genova on bass and Jerry Kalaf on drums, with Gary Foster guesting on flutes and sax. So the sound is very tight, but still swinging with a Latin beat.
Of the ten tracks on this new CD, most of the Brazilian songs are by Antonio Carlos Jobim [A Felicidade, Fotographia, Chega De Saudade], and the standards include Spring Is Here, Day By Day, Caravan, You Don't Know What Love Is, The Island, Keeper of the Flame, and Speak Low. The musicians fit around Ms Lewis's voice like a snug glove, and this is late night jazz of a high quality which just improves with repeated playing. Ms Lewis's has an earthy directness and is sexy enough to make any honest-to-God male heart skip several beats. I don't think I've heard a melodic jazz album to beat this during this year, and I can't commend Leslie Lewis high enough for creating such a lovely album of gently uplifting jazz.
For more information about this artist, album and availability visit:
www.surfcovejazz.com

Review From ALL VOCALS.COM
Leslie Lewis
Keeper of the Flame/Surf-Cove Jazz
Reviewed By: - Steven Harband

There is something magical about a truly authentic jazz recording with all the trimmings and in this case the trimming or icing is Leslie Lewis, ably supported by Gerard Hagen (piano), Domenic Genova (bass), Jerry Kalaf (drums/percussion), and special guest, Gary Foster (alto sax, flute, and alto flute).

Lewis has a very authentic jazz voice reminiscent of Carmen McRae, not to say that Lewis is a duplication of McRae, but her voice offers similar qualities. What is most pleasing in a jazz vocalist is the ability to create an organic, non-affected delivery with true jazz rhythm and tension. Lewis exhibits these qualities in spades, backed by an intuitive and technically articulate ensemble her latest release is duly entitled Keeper of the Flame.

Keeper of the Flame offers a nice mix of Latin and well-arranged standards. Some of those include a gorgeous rendition of "The Island" this cut will immediately transport you to a tropical paradise. Special guest Gary Foster weaves a palette of floating textures, complimenting the vocal prowess of Lewis in her elongated lines.

"You Don't Know What Love Is" is typically approached as a ballad, Lewis gives it a funky/bluesy treatment that offers a new look at this classic standard. Lewis digs in and caresses the track with sass and style. Her band of seasoned professional's serves it up hot.

"Caravan" has an international flair and ere of intrigue. Bassist, Domenic Genova and drummer Jerry Kalaf lay down and throbbing and driving bass-line adding to the panache of the cut. The cut boils to a fever before Lewis' commanding vocals enter the scene. As a unit the group creates a powerful rendition of this well-covered standard, giving it a unique flavor and truly stamping the cut as their own.

Keeper of the Flame is well worth adding to your collection, and Lewis is a jazz vocalist who sets herself apart from the pack.

Personnel:
Leslie Lewis (vocals)
Gerard Hagen (piano)
Domenic Genova (bass)
Jerry Kalaf (drums/percussion)
Gary Foster (alto sax, flute, and alto flute).

Track Listing:
1. Keeper of the Flame 5:23
2. The Island 6:20
3. Spring Is Here 4:48
4. Day By Day 4:46
5. A Felicidade 3:45
6. You Don't Know What Love Is 4:06
7. Fotographia 4:05
8. Chega De Saudade (No More Blues) 6:02
9. Speak Low 6:43
10. Caravan


Jazz Times 10/08/10 • Albums • By Susan Frances
Leslie Lewis with The Gerard Hagen Trio
Keeper of the Flame

Perfecting dreamy jazz oases is vocalist Leslie Lewis’ specialty. She is accompanied by The Gerard Hagen Trio on her new CD, Keeper of the Flame comprised of Gerard Hagen on piano, Domenic Genova on bass, and Jerry Kalaf on drums and percussion. The album is vintage beaux jazz reminiscent of the likes of Lena Horne and Dinah Washington featuring a repertoire of classic jazz tunage including Richard Rodgers and Lorenz Hart’s “Spring Is Here” and Antonio Carlos Jobim’s “Fotographia” tweaked with modern swing-inspired tracks like “Keeper of the Flame” penned by Mark Levine and the bluesy soul shading of “Don’t Know What Love Is” by Don Raye and Gene de Paul. Lewis’ new album is conducive to candlelit supper club ambiences with an emphasis on Brazilian jazz. She offers audiences an escape into the tranquility of beaux jazz.

The tapping beats of “No more Blues (Chega de Saudade)” are shrouded in bluesy overtones that permeate a peppy vibe as Lewis breaks into a few bars of scat, which elevates into the feather-light swags that valance “Speak Low” and the percolating rhythm of “Caravan.” The deep timbres of Lewis’ register burrow along the chord progressions creating smoldering grill marks that make these tunes her own. The wispy flutters brushing across “The Island” produce a dreamy aura and the hopping strut of “Day By Day” are decked in flouncing piano keys. Lewis takes audiences back in time to when dreamy beaux jazz was all the rage, but she also treats classic tunes with a modern flare that makes them connect with contemporary audiences.

The caressing vibrations of Lewis’ dark timbres demonstrate a richness that is comparable to Lena Horne and Dinah Washington. Keeper of the Flame is Lewis’ follow up to her debut solo album Of Two Minds which was also recorded with The Gerard Hagen Trio. Lewis maintains a standard of excellence throughout both recordings that is admirable and worthy of beaux jazz status.

www.surfcovejazz.com


Jazz Society of Oregon Review
Jazzscene -- George Fendel

Keeper Of The Flame, Leslie Lewis, vocals.
So many singers. So few jazz singers. Not to worry. Lewis proves once again that she can play in the big leagues. With a smoky, rather low-pitched edge to her voice, Lewis works a well-crafted set with a couple of LA players who too often fly under the radar. Gerard Hagen is a gifted, multi-purpose pianist who needs to be heard from more often. On alto sax and flutes, there's Gary Foster, a voice so distinct, airy and ethereal, he's instantly recognizable. The group is completed by Domenic Genova, bass, and Jerry Kalaf, drums. But back to Leslie. Following the title tune, she delivers a sensitive take on Ivan Lins' "The Island." Other Brazilian tunes appear here and there. Among them "A Felicidade," "Fotogaraphia," and "Chega De Saudade (No More Blues)." But Lewis hardly neglects the standard book, with the likes of "Spring Is Here," "Day By Day" and "You Don't Know What Love Is." Lewis scores throughout with a mature timbre and seemingly "built-in" jazz chops.
Surf Cove Jazz, 2010, 51:32.




Jazz Times 09/25/10 • Albums • By Wilbert Sostre
CD Review: Leslie Lewis - Keeper of the Flame
Featured Artist: Leslie Lewis

CD Title: Keeper of the Fame

Year: 2010

Record Label: Surf Cove Jazz

Style: Jazz Vocals

Musicians: Leslie Lewis (vocals), Gerard Hagen (piano), Domenic Genova (bass), Jerry Kalaf (drums, percussion)

Review:
Leslie Lewis is all a good jazz singer should be. Her beautiful tone and classy phrasing on tracks like Day By Day, You Don't Know What Love Is and Speak Low evoke the sound of the classic jazz singers like Ella Fitzgerald and Sarah Vaughan.

On the title track, Keeper Of The Flame, Leslie's soulful voice plays beautifully with the melody and tempo changes with Jerry Kalaf adding a powerful drum solo. Her silky, smooth vocals on the jazzy version of Ivan Lins The Island hits you full of emotion.

The Brazilian influence can be heard all through this album, especially on the tracks Day By Day, the jazzy arrangements of Antonio Carlos Jobim's A Felicidade, Chega de Saudade and the sublime version of Fotografia. On these tracks at times one may hear echoes of the Ella Fitzgerald Sings Jobim album, both in tone and phrasing.

As a Puerto Rican I always enjoy listening to Juan Tizol's Caravan, one of the most recorded jazz classics. Leslie's vocals are just perfect on one of the best versions I have heard recently, with interesting rhythmic and harmonic choices.

Leslie Lewis' vocals are complimented perfectly by her husband, Gerard Hagen, and his trio, and special guest Gary Foster on sax.

Tracks: Keeper Of The Flame, The Island, Spring Is Here, Day By Day, A Felicidade, You Don't Know What Love Is, Fotografia, Chega De Saudade (No More Blues), Speak Low, Caravan

Reviewed by: Wilbert Sostre



Cashbox Magazine
Jazz Reviewed 9/14/10
Leslie Lewis
Keeper Of The Flame

The musical starmakers at Surf Cove Jazz are putting out a warning: Make way for the next big thing! Leslie Lewis has a hot one on her hands with "Keeper Of The Flame." A bona fide sure thing for jazz radio success, the album is packed with tracks destined for cooler iPods nationwide.
Working with The Gerard Hagen Trio, Lewis' voice is the foundation for a collection of songs meant to whisk the worries of the world away. It will have been a while since music seemed to be just what you were hoping for, and that's where I was at with "Keeper."
Of the tracks to select from, "Day by Day" stand out for me. If I were choosing a first single, this one would top the list. Perfect for a beachfront sunset.
Let Leslie Lewis make your night tonight with the songs from "Keeper Of The Flame." Leave the hard calls for another time.

Christopher Llewellyn Adams 5 Stars




Volume 33/Number 320
September 18, 2010
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
Copyright 2010 Midwest Record

SURF COVE JAZZ
LESLIE LEWIS/Keeper of the Flame: Sometimes it’s that little thing you see out of the corner of your eye when your ripping the mail open that will move a particular cd by an artist you don’t know to the top of the pile. In the case of jazz vocalist Lewis, she worked with the late John Bunch and had her last album issued in Japan by the Sinatra Society. There were some other interesting old school credits as well, but those were the ones that grabbed us. The set card veers from the standard diva dip in the classic songbook, often veering to the left, and she will not disappoint if you’ve never heard her before. A sweet throwback to the 50s thrush, Lewis is spot on throughout, merging Brazil with jazz into a delightfully supper club tasting brew. Just the thing for when you’re feeling like a grown up. Hot stuff.


O's Place Jazz Magazine

Leslie Lewis    -   Keeper of the Flame    3/4
O's Notes: Jazz vocalist Leslie Lewis performs ten classic tunes in front of the Gerard Hagen Trio. The mood is light and packed with romantic interludes. Special guest Gary Foster does a fine job with accents on sax and flute. Lewis has a pleasant voice that is easy to enjoy on tunes like "Day By Day". Lewis adds some Latin flavor with a few Jobim tunes notably "Fotographia". We also enjoyed "Speak Low" in a balanced session.

-- 
D. Oscar  Groomes 
O's Place Jazz Magazine
http://www.OsPlaceJazz.com



What People Say About "Of Two Minds"


Cadence Magazine
Oct. Nov. Dec. 2009 pages 142-143

Peter Westbrook


Leslie Lewis is a different proposition. This is also her first recording, but the background she brings to it contains some solid Jazz credentials; among the people she has worked with are the Cleveland Jazz Orchestra, members of the Ellington Orchestra, John Bunch, Britt Woodman, Joe Wilder, Norris Turney, Harry Allen, and Patrice Rushen. This is no demo; it is a session that deserves national exposure and one that reflects Lewis’ wisdom in resisting the temptation to rush out and record prematurely. Indeed, Lewis comes across here as a mature artist. She is mature enough to collaborate here with another veteran of the L.A. Jazz scene, pianist Gerard Hagen, while still imposing her personality on the session. According to her press kit, the choice of material was Lewis’ she takes three Monk tunes along with some strong standards. Hagen may have had something to do with the choice of musicians-along with his trio Gerard brought in Gary Foster and some other excellent players who all have a chance to shine.

Lewis herself handles the vocals with admirable aplomb, displaying firm intonation and sure-footed time. She varies her delivery with some scatting, but used the technique judiciously, 16 measures on “In Walked Bud,” 32 on “Hello Young Lovers.” Lewis finds other ways to create variety, however, stretching the vocal line on “Honeysuckle Rose,” pitting herself against individual instruments- Stout’s trumpet on “I Got It Bad,” Foster’s alto flute on “Nature Boy.” And she has the courage to make her big finish a lovely ballad performance, with “But Beautiful,” rather than looking for a flag-waver. Again-mature thoughtful work.

I have written often that many performers find their feet by their third recordings. If her first recording is any indication, Leslie Lewis is well on her way.


I Love Leslie!
A drum roll and a strong recommendation for Leslie Lewis and her new CD, "Of Two Minds," the other mind (I'm guessing) being her music director and pianist, Gerard Hagen. The quality of the stellar players on the session----Gary Foster, Larry Koonse, Ron Stout et al---should give you some idea of the quality of Ms. Lewis' singing. Until a friend of mine sent me her new CD (her first) yesterday, I mostly knew her as a singer-pianist gigging around southern California hotels, etc., but had not really heard her work, except for a modest four track demo (which I liked). But her new CD is something else. Next month I'm contributing to a group article for a Japanese jazz magazine about the best singers to have come on the scene since 1990. Clearly already a seasoned pro, Leslie will definitely be on my list. She bears a natural slight resemblance to Carmen McRae, but mostly in the timbre of her voice. Otherwise, totally original all the way. Doesn't fall into the scat trap (too much), just far out enough, has a genial "sound," with good taste in repertoire (In Walked Bud, Well You Needn't, etc.), sings in tune, and. . . swings. And the placement of the vocals into the ensemble playing is worthy of the best of Betty Carter. Who could ask or anything more?

If convinced, curious, or just merely dubious, etc., you can check her out here.

(Without intending to do so, I guess I just wrote part of my entry for the Japanese jazz mag.)

POSTED BY BILL REED


Midwest Record Recap Reviews

LESLIE LEWIS/Of Two Minds: We learned a long time ago that there’s plenty of great jazz talent working in hotel bars across the country and even though we never heard of Lewis before, we now feel like going to the Four Season for a cocktail to see if she’s around. You can’t fault a girl for liking Monk and she certainly distinguishes herself on this set with it’s Monk overtones. A winning set for jazz vocal fans that are finding they just can’t keep listening to the same reissues forever. 3100 (Surf Cove Jazz)



Girl Singers Review

Leslie Lewis - Of Two Minds (Surf Cove Jazz)
Released - July, 2008

This Los Angeles area singer is matched with the Gerard Hagen Trio in a disc that showcases the work of Thelonius Monk on three of its nine tracks. Ms. Lewis versatility is evident in the two treatments blended into a single recording of “Nature Boy,” or the lightly swinging Rogers-Hammerstein “Hello, Young Lovers.”

Mr. Hagen has assembled a group of LA veterans to back this talented artist. My favorite tracks include the two mentioned, plus Monk’s “In Walked Bud.”

These aren’t kids, here. You’re in good hands with a great bunch of old pros.

This disc is recommended.


Run Off Groove #226 John Book

Now this is vocal jazz I enjoy listening to.
Her CDBaby pages says Leslie Lewis “A jazz singer with an instrument that can deliver whether it’s Monk, Ellington, or Jobim. She always makes a statement with her own point of view” and that is clearly obvious on Of Two Minds (Surf Cove Jazz), an album that features the Gerard Hagen Trio along with Larry Koonse, Gary Foster, Ron Stout, and Rob Lockart playing the kind of jazz you hope to be able to hear and understand on your death bed.

Lewis has the kind of spunk and classiness that comes from years of listening and singing this style of music, and if Hoda Kotb was a jazz singer, I’d imagine she would sing like this. Lewis sings with a fervor that makes you itch in all the right places, and is the ointment towards the spots that aren’t, listen to “I Got It Bad And That Ain’t Good” and it becomes perfectly clear that this one knows the blues because she’s probably been there, but also knows the goods because she’s been good and bad at the same time. “‘Round Midnight” and “But Beautiful” deserves massive airplay if the United States cared about their jazz origins, but it doesn’t so sadly she may be limited to NPR airplay. It makes me wish more people would be able to hear someone like her, because Leslie Lewis is just a personification of what jazz vocals is about, even when she jiggles her vocal chords in “I Got It Bad And That Ain’t Good”. She sometimes reaches for that hapa raspiness and I wish I could’ve heard more of that, but perhaps she’ll enhance that on the next one. Kathie Lee Gifford, step off. She would be capable of doing some soul music too, maybe next time. Uh, stroke it Lewis, stroke it! Of Two Minds is the album that will make having affairs worth it. Special recognition to Foster’s flute work in “Nature Boy”, the eden ahbez classic.



Metro Spirit

J. EDWARD SUMERAU

Leslie Lewis
"Of Two Minds"


AUGUSTA, GA - Sometimes we find a sound that seems to speak to a moment in a perfect way, but along the way we wonder if the same tune might play in another manner in another setting. Leslie Lewis can find such expression of mystery wrapped in vocal harmony on the latest release, "Of Two Minds."

Built upon a framework of Monk compositions, this record shows an artist at work in the process of growth and experimentation. Within the silky sweet chords, we find a smooth transition between the various ranges of vocal emotion Lewis can seem to offer at a whim. As a result, listeners will find themselves asking after each track if the song could have also been produced in the emotional response of an earlier tune.

Particular highlights include the melodies transformed in “Nature Boy,” “Hello Young Lovers” and “Well You Needn’t.” Further illumination of the power of this particular vocalist can be found in the range and strength of tracks like “How Deep is the Ocean” and “Honeysuckle Rose.”

Within this composition, Lewis finds a way to transcend the moment through vocalized emotional expression.


Jazzscene, Portland OR.

George Fendel

Of Two Minds, Leslie Lewis, vocals.
The first thing one notices is that Lewis is a jazz singer. She has that tough to define “something” which separates the jazz and pop worlds; phrasing, expressing real emotion in a lyric; knowing how much liberty to take -- these, I guess, are some of the qualities I look for. And Leslie Lewis gets it. On tunes ranging from “In Walked Bud” to “Honeysuckle Rose”; from “Well, You Needn’t” to “Hello Young Lovers” and several more, you’ll like the husky voiced, Ms. Lewis. Slightly reminiscent of Carmen McRae to these ears. Add formidable LA talent like Gerard Hagen, piano, Ron Stout, trumpet, and the brilliant Gary Foster on alto sax and flute, and you’re rewarded with sterling results.
Surf Cove Jazz, 2008, 41:29.


Jazz Review.com

CD Title: Of Two Minds

Year: 2008

Record Label: Surf Cove Jazz

Style: Straight-Ahead / Classic

Musicians:
Leslie Lewis - vocals, Gerard Hagen - piano, Jerry Kalaf - drums, Domenic Genova - bass, Larry Koonse - guitar, Gary Foster - alto saxophone and alto flute, Ron Stout - trumpet, Rob Lockhart - tenor saxophone



Review:
Jazz singer Leslie Lewis and the Gerard Hagen Trio come together beautifully on their latest release Of Two Minds, which feature nine cover tunes from iconic writers such as Duke Ellington, Rodgers and Hammerstein, and Eden Ahbez to name a few. Lewis entices listeners to kick up their heals and shimmy their hips playfully or sink pensively into their innermost thoughts with these songs. The music is classic swing done with a style reflective of an era that catapulted the likes of Ella Fitzgerald and Dizzy Gillespie. Whether Lewis is being flighty, reflective or metaphorical, she makes jazz music become a conduit for channeling human emotions.

Eden Ahbez’s storytelling narrative “Nature Boy” is twined into a beautifully moving piece in Lewis’ vocals, while she shimmies and dances flirtatiously through “In Walked Bud” and “Honeysuckle Rose.” Lewis’ vocal inflections touch the heart persuasively in Thelonious Monk’s timeless favorite “’Round Midnight.”

The Gerard Hagen Trio are wonderful at complementing Lewis’s graceful strokes and velvety alto textures. They do a classy rendition of Monk’s sassy swing number “Well You Needn’t” equipped with Lewis’ magnetic delivery, and then emulsify the wavy locks of Irving Berlin’s “How Deep Is The Ocean?” into a warm current. Their remake of Rodgers and Hammerstein’s “Hello Young Lovers” is reminiscent of Judy Garland’s gentle swing and earthy alto pitch. The final track “But Beautiful” is a torchlight melody that shows no fear of dreaming aloud, and instills that courage in its listeners.

Leslie Lewis and the Gerard Hagen Trio make for a lovely marriage in jazz circles. The band and Lewis complement each other beautifully, and instinctively know how to translate their beauty into lyrical forms. Lewis has enjoyed a productive stint as a lounge singer performing in ballrooms across the USA at such affluent hotels as the Ritz Carlton, Four Seasons, and Sheraton Universal. Additionally, she has sung with the Duke Ellington Orchestra and the Cleveland Jazz Orchestra. The Gerard Hagen Trio consisting of pianist Gerard Hagen, drummer Jerry Kala, and bassist Domenic Genova have been playing since 1997, and have received worldwide accolades for their two albums, 1997’s Far Horizons and 2001’s Stay Tuned. Of Two Minds is an amalgamation of swing jazz’s best attributes, and Leslie Lewis along the Gerard Hagen Trio and guest musicians guitarist Larry Koonse, brass player Ron Stout, and reed instrumentalists Gary Foster and Rob Lockhart are the right candidates to make this material radiate with the beauty of the originals.



Tracks: In Walked Bud, I Got It Bad And That Ain't Good, Nature Boy, Honeysuckle Rose, 'Round Midnight, Well You Needn't, How Deep Is The Ocean?, Hello Young Lovers, But Beautiful

Record Label Website: http://www.surfcovejazz.com

Artist's Website: http://www.gerardhagen.com

Listen or Buy: www.cdbaby.com/cd/leslielewis

Reviewed by: Susan Frances



ALL Music Guide

Review by Adam Greenberg
Usually a featured vocalist with an orchestra, a side vocalist with instrumental stars, or a dancer amongst a troupe, Leslie Lewis here presents her take on a number of classic pieces. In the choice of compositions, there's an almost even split between the straightforward, relaxed romances of the Great American Songbook (composers include Irving Berlin, Van Heusen, Rodgers & Hammerstein, etc.) and the off-kilter, exploratory pieces of Thelonious Monk. There's also a stray piece between the two extremes with Eden Ahbez's outstanding "Nature Boy." To her credit, Lewis is able to take on both ends of the spectrum. On the Monk pieces (and incidentally on Fats Waller's "Honeysuckle Rose," a favorite of Monk), she reverts to something of a Lambert, Hendricks & Ross sound, with a scat-like delivery masking a surprisingly smooth voice. "In Walked Bud," the opening track here, stands out as an excellent piece and one that won't often be done by vocalists. Her approach to the songbook pieces is a little more of a nightclub croon, bringing out a little bit of force to put behind the lyrics. Not a bad outing for Lewis, breaking the standard lounge singer aesthetic in favor of some more intimate artistry.


O's Place Jazz Newsletter

Leslie Lewis - Of Two Minds 4/4
O's Notes: Leslie is a traditional jazz singer. She bends the notes, soars and keeps the groove flowing. She gets tremendous support from her band that includes Gerald Hagen (p), Gary Foster (sax), Rob Lockart (ts), Ron Stout (t) and Jerry Kalaf (d). Leslie's renditions of "Round Midnight", "In Walked Bud" and "I Got It Bad And That Ain't Good" are memorable.

Borderland UK

Leslie Lewis & Gerard Hagen Trio - Of Two Minds (Surf Cove Jazz SCJ100) The jazz songbook is deep and varied, which is relief as this new album by Leslie Lewis cherry pick some of the greatest tunes from that hallowed songbook. Ms Lewis has one of those slightly husky and deep voices, giving these songs extra resonance and bounce. The Gerard Hagen Trio (Hagen on piano, Domenic Genova on bass and Jerry Kalaf on drums) support with panache while four other guest musicians (Rob Lockheart on tenor sax, Gay Foster on alto sax and flute, Ron Stout on trumpet and Larry Koonse on guitar), take solo slots on many of the tracks. Amongst the classic tunes on this album are In Walked Bud, Nature Boy, Honeysuckle Rose, Round Midnight, Hello Young Lovers and I Got It Bad And That Ain't Good. All performed in a late night intimate style where you can savour the groove of every word and note. If you are a devotee of the grand divas of the classic era of jazz (Ella, Sarah and Dinah) then I think you will find Of Two Minds of great interest, it is a confident album that won't fail to please and deserves wider exposure.


Of Two Minds is a solid album of jazz standards sung by vocalist Leslie Lewis, Eden Ahbez's "Nature Boy,” makes Of Two Minds well worth the price of admission. RIYL: Sarah Vaughan, Jon Hendricks (3 stars)"

WMEB Radio


Leslie Lewis' voice is in the tradition of great jazz vocalists, ala Carmen McRae. On Of Two Minds her dulcet tones grace a set of tight, swinging renditions of jazz standards and some Monk covers. Very enjoyable.

Mike Stratton, WLNZ

Leslie Lewis - OF TWO MINDS --Taking on the music of Thelonious Monk, Duke Ellington, Richard Rogers, and Jimmy Van Heusen is no small assignment. But Leslie Lewis and the Gerard Hagen Trio are up to the task. The album sparkles with devotion to the task at hand, and the sincerity of her voice shines on every cut.

Bill Bruce, KFSR Fresno, CA.


What People Say About "FAR HORIZONS"

" ... command of his instrument and self-assurance are evident ... along with an appreciation for melody and an ability to swing. Far Horizons is an exciting debut for a gifted pianist and his accomplished young trio."
--Ken Borgers KLON Radio Long Beach, CA

"Pianist Hagen explores a menu of standards and originals with lyrical elegance on Resurgent Music's Far Horizons. Gary Foster's alto sax is heard to perfection on several selections."
--"Our Town" George Fendel Portland, OR

"Far Horizons features a perfect mixture of standards, jazz classics, and originals. Gary Foster is one of the undersung masters of the alto saxophone and he adds immeasurably to this date."
--Peter Coppach WDCB Radio Chicago Ill.

"Gerard Hagen Trio - Far Horizons some of my favorite tunes here - played beautifully, and when you add in Gary Foster, it's all very, very nice."
--Jack Simpson "Jazz on the Beach" WFIT Radio Florida

"Gerard Hagen has got a very solid thing going, and having Gary Foster along never hurt anyone."
--Lenny Mazel KCME Radio Colorado Springs

Gerard Hagen Far Horizons "Wow, where do these guys come from whom I have never heard of before? This CD is a keeper! Hagen is truly talented and gifted so that one wishes to hear (no, make that listen) multiple times. The trio all have big ears for one another and it plays out just like that. With Gary Foster on alto, as a special guest shot, the validity on this session is increased even more so. I SHOULD CARE and I HEAR A RHAPSODY most aired on my shows."
--Bruce Tater KETR Radio Texas

"While Gerard Hagen is a well known giant on the west coast, it was a pleasure to introduce him to my audience on Swingin' With Friends at WORD. He has been well received with requests for repeat plays on such tunes as IN WALKED BUD and I HEAR A RHAPSODY. Gar r Foster is outstanding on YOU AND THE NIGHT AND THE MUSIC. A trio that can swing, like this is always a good bet for a great musical evening, keep up the good work. It's groups like this that keep jazz alive."
--Larry Routt WOBO Radio Cincinnati

"I was previously exposed to this CD by friend Gary Foster and am delighted with the entire production. Anybody Gary endorses turns out to be the very best. This is a beautiful production.
--Larry Atkins KTXK Radio Texas

"Gerard Hagen Trio swings great and [has a] great feeling for ballads. Can't go wrong with the great Gary Poster."
--Ginney Coleman KCUR Radio Kansas City

"An excellent modern mainstream pianist, Gerard Hagen makes his debut as a leader on this trio/quartet set. Bassist Domenic Genova and drummer Jerry Kalaf give Hagen stimulating support, and altoist Gary Foster is in top form during his guest appearances, sounding a lot like Lee Konitz. Hagen, who is influenced by Bill Evans and Tommy Flanagan but mostly sounds like himself, performs seven standards that he reinvents with subtlety, one song by Halaf and two of his own originals. The thoughtful music swings, and although Hagen has impressive technique, he uses it to serve the music rather than the other way around. Overall this is an excellent outing."
-~Scott Yanow, All Music Guide


Jazzscene April 1999
Far Horizons, Gerard Hagen, piano. A new name to me, Gerard Hagen has produced a polished, lyrical sound in the Bill Evans tradition. Hagen's trio opts for material primarily from the standard and jazz books. Thus we're treated to Yesterdays, In Walked Bud, I Should Care, You And The Night And The Music, Voyage, I Hear A Rhapsody and Black Nile. Gary Foster owns one of the most individual and pure alto sounds anywhere, and this recording is enhanced by Gary's presence on several tunes. Having already mentioned the name of Bill Evans, I would draw your attention to a composition entitled September 15, 1980. This was the date of Evans' death, but this ballad, though poignant, is far from dirge-like. Hagen's originals include Far Horizons and Sheryl's Surprise, both attractively written melodies. It's always a joy to hear Gary Foster and we definitely need an encore from Gerard Hagen. Resurgent Music, 1998, PT. 53:41; ****1/2.
--George Fendel

L.A. Jazz Scene October 1998
CD REVIEWS
GERARD HAGEN Far Horizons (Resurgent)
Pianist Gerard Hagen's recording debut comes from a record label known for its respect of mainstream jazz and a consistently vigilant ear for quality. Tenor saxophonist Dan St. Marseille's small jazz label from Orange, California has featured local favorites such as Cecilia Coleman, Dewey Ernie, Doug MacDonald and David Sills. Hagen has been in Southern California for 15 years playing club dates; his trio includes bassist Domenic Genova, and drummer Jerry Kalaf. Alto saxophonist Gary Foster joins the trio on 5 tracks. Jerome Kern's "Yesterdays" opens the session with cool, straight-ahead piano trio jazz. Hagen keeps the session lively and imaginative while strolling in the spotlight as well as when comping behind solo work from bassist and drummer. Monk's "In Walked Bud" follows with a dramatic up-tempo arrangement that lets each member of the trio stretch out. Whether sweeping with the brushes or keeping time with the sticks, drummer Jerry Kalaf assists greatly with keeping the flow going straight ahead. Wayne Shorter's "Black Nile" presents its familiar melody from the piano keyboard along with bass solo and drum fours. Kenny Barron's "Voyage" features Foster's alto sax in a fast moving toe tapper. The saxophonist lends an exceptionally fluid and fast pace to "You and the Night and the Music." In a unique arrangement, saxophone and drummer are paired for an extended duet that finds each improvising comfortably. This is followed by a piano-bass duet that permits the listener to hear every nuance from the artists. Recommended
--Jim Santella

Jung on Jazz Sept. 1998
GERARD HAGEN Far Horizons
(Resurgent Music)
Born and raised in Bismarck, North Dakota, pianist Gerard Hagen had the privilege of coming from a musical family (as a rule, everyone played two instruments). Playing the trombone and piano, Hagen's interests in high school tended to delve into the rock and roll genre. It wasn't until his jazz band director turned him onto jazz that Hagen, at 18, shifted his course to devoting himself to playing jazz music. After an unimpressive trombone solo in college, Hagen turned his attention to the piano, listening to the harmonic styling of Bill Evans, Tommy Flanagan, Keith Jarrett, Herbie Hancock, and Kenny Barron. Hagen has steadily been a fixture in southland clubs for many years and releases Far Horizons, primarily a trio date with fellow Californians, bassist Domenic Genova, and drummer Jerry Kalaf, guest starring alto saxophonist Gary Foster.
Hagen elegantly walks through Jerome Kern's "Yesterdays," thoughtfully progressing along with the lyrical and harmonic sensibility of Bill Evans. The brush strokes of Kalaf help facilitate the melancholy longing of the tune. Foster initially makes his presence felt, opening a vibrant "I Should Care," surging to the upper registers and unveiling a dynamic solo before allowing the rest of the quartet to work their magic. Hagen's colorful splashes and mature subtleties make for yet another fine moment. The romantic "You And The Night And The Music" is the highlight of this delightful listening experience. Hagen and his quartet cohesively interact with one another and produce a mesmerizing portrait of sensitivity. Foster's sensual wit may be at the forefront of the foursome, but it is Hagen's gentle, seductive phrases that steal the show.
Occasionally, there are diamonds in the ruff, and every once in a great while there is a diamond worth searching for. Hagen's Far Horizons is one to ask the local record retailer for. Available at all fine Tower Records locations or by contacting Resurgent Music at resurgentmusic@earthlink-net, Far Horizons is a listening treasure.

Jazz Improv
Gerard Hagen Trio
FAR HORIZONS
Gerard Hagen is obviously influenced by the late Bill Evans. Domenic Genova's bass work immediately catches your ear. Jerry Kalaf, in addition to being a tasty drummer, is a prolific composer as well. "Sept 15, 1980" is his. The date is the day Bill Evans passed away. As a trio these three meld together for a enjoyable recording consisting of compositions by Thelonious Monk, Wayne Shorter, Kenny Barron, two Hagen originals and the afore- mentioned Kalaf tune, plus four standards that are given beautiful treatments. Alto saxophonist Gary Foster, a personal favorite of this writer joins the trio for several tracks. His Desmond/ Konitz like tone is a gas. His solo opening to "You And The Night" is somethin' else.
"9/15/80," a very poignant piece, showcases his warm alto, and Hagen's passionate piano. Barron's "Voyage" chums along in fine fashion with a colorful solo from Kalaf. Dig the bass-ics by Genova on "Rhapsody" at. the beginning and end. The bass/alto is a nice touch.
A fine debut recording for Hagen and company.
--By "Stix" Leonard

Cadence Magazine
Gerard Hagen Far Horizons, Resurgent Music
Hagen is a bright-toned Bill Evans-style pianist, although his take on "In Walked Bud" is unexpectedly stentorian, introduced and concluded by a repeating dissonant cluster. Otherwise he is more restrained, alternating between sunny an moony phrases. He is at his mooniest on "Sept. 15, 1980," the date of Evans' death. The tracks with Gary Foster, especially "Sept. 15,1980" (at one end of the spectrum) and Kenny Barron's "Voyage," (at the other), crackle with particular energy: Hagen lays out at the beginning of "You and the Night and the Music," and Foster and Kalaf raise more sparks by themselves. They're not Trane and Rashied, but it's a nice moment. When Hagen returns, the clarity and sharpness of Foster's tone become the perfect compliment to his approach. As for Genova, he is solid throughout, and his moment comes with a cool walking solo on "I Hear a Rhapsody." A pleasant recording.
--Robert Spencer

Jazz News
GERARD HAGEN
Far Horizons Resurgent Music
Each member of the Gerard Hagen trio participates equally with ample solo work and a balance of varied support work. From Southern California, the trio insures that Hagen's recording debut is a comfortable listen for the mainstream fan. Alto saxophonist Cary Foster joins the trio on 5 tracks.
Hagen's compositions Sheryl's Surprise and Far Horizons show a preference for the lyrical side of mainstream piano playing. The former is performed a capella and the latter is performed with the augmented trio. Both Foster and Hagen connect their phrases with sweeping motion; the saxo- phonist remains light and delicate while the pianist s style is somewhat more forceful. Bassist Genova extends and enhances the lyrical nature cf the ensemble's performance. After a dreamy rubato piano introduction, Kalaf's composition Sept. 15, 1980 becomes a feature number for Foster who waltzes gracefully around the saxophone. I Should Care lopes along unfettered as a trio gathering, while I Hear A Rhapsody reveals individual improvisiation from each of the four artists. Recommended.
--Jim Santella

What People Say About "STAY TUNED"

Jazz Improv
GERARD HAGEN
STAY TUNED--Sea Breeze Jazz SB-3049. Sea Breeze Jazz, P.O. Box 1910, Pisino Beach, CA 93448-1910; Website:www.seabreezeiazz.com
Warne-ing; Sweet And Lovely; Confirmation,Bass (And Tenor) Tune; Alone Together; Like Someone In Love; Beautiful Love; Eiderdown; Up Jumped Spring; Bailing.
PERSONNEL: Gerard Hagen, piano; Domenic Genova, Henry Franklin, bass; Jerry Kalaf, drums; Chuck Manning. tenor saxophone; Larry Koonse, guitar.
"a source of ideas ... continuous depth throughout each track"
As Jazz Improv presents in this issue the country's breadth of jazz piano talent, some well known and some should-be-known, Gerald Hagen represents the Los Angeles scene. Recording his second album as a leader, Hagen performs with a clarity and spur of the moment response to just-occurring ideas as he admires, and then reshapes, ten tunes. Always in front as the leader of the tunes, Hagen nonetheless allows the other members of his group to shine, some of whom, such as Jerry Kalaf and Larry Koonse, have already recorded separately on the Sea Breeze Jazz label.
The excellence of Hagen's work on Stay Tuned is of such a high level that one would have expected him to be better known beyond the West Coast. Starting the album with "Warneing," a tune written over the changes of "What Is This Thing Called Love," Hagen at first employs a block-chord technique reminiscent of Shearing's, especially when Koonse plays the top notes of the chords as well. But when Hagen breaks loose into solos, it becomes evident that he is possessed of a swing and improvisational imagination that causes the listener to pay attention. Avoiding musical cliches and never repeating himself, Hagen seems to be a source of ideas, approachable while attaining, continuous depth throughout each track. Sure enough, on "Warne-ing." Hagen's and Koonse's extended solos evolve into a trading of fours with drummer Kalaf.
Speaking of whom, Kalaf, while making the melodic instrumentalists sound even better with his sympathetic energy, is an important part of the CD as well. Not only did Kalaf help master the recordings, but also he composed two of the more interesting tunes: "Bass (And Tenor) Tune" and "Bailing." Both expand upon an intriguing musical concept for fulfillment, "Bass (And Tenor) Tune" swirling in a 6/8 minorkeyed whirlwind of ever-increasing intensity and cohesion; and, "Bailing" involving the extension of long-and-then-halting melodic lines over light percussive colors. In addition, Kalaf's technique is such that he chooses just the right embellishments for Hagen's work, softly brushing the cymbals on "Beautiful Love" or subtly rumbling behind Hagen during his rubato introductions, such as the one on "Sweet And Lovely."
Consisting of mature musicians with an instinctive knowledge of where the others in the group may go, Hagen's trio (or, quintet on some tracks) moves as a solid yet flexible unit. On "Eiderdown," for instance, Koonse and Hagen trade the melodic lines, one minimally accompanying the other, before rejoining for a final statement before the solo section. Or, on "Alone Together," Hagen's always-entrancing lead-in consisting of chord substitutions and unhurried exposition with its internal harmonies evolves into Mannings' affecting tenor sax solo, unfailingly in the groove while he generates his own fire.
Hagen's reassuring touch, whether in the buildup of his solos or in the densely chorded lead-ins to the tracks, makes effective use of the instrument in expressing his thoughts, even as the technical precision of his attack invites analysis. Stay Tuned is a well thought-out CD that is consistent in its richness and confident performance, even as the spirit of the tunes may change to suit the intentions of the composers.
--Bill Donaldson

LA Jazz Scene
GERARD HAGEN TRIO
Stay Tuned
(Sea Breeze Jazz)
As a jazz fan I am always grateful when performers document their trajectory by recording. It's been three years since their well-received debut album Far Horizons appeared on the Resurgent Music label. After four years of playing together, bassist Domenic Genova, composers Jerry Kalaf (drums) and Gerard Hagen (piano) lined up special guests Chuck Manning, Larry Koonse and Henry Franklin to produce their latest offering, a program of both standards and two Kalaf originals.
Gary Foster's "Warne-ing" swings off the disk as the trio provides a foil for Larry Koonse's lickety-split guitar picking.
Sweet and Lovely" opens with a new nwist, broadly phrased, that then springs into a jaunty tempo. The standard lets the soloists strut within a familiar vehicle. Hagen's melodic lines go down so smoothly.
With Manning on board the trio takes on Charlie Parker's "Confirmation."The rich motific tapestry of Kalaf's "Bass (and Tenor) Tune" is also graced by Chuck Manning's sax.
The seemingly lost in limerence piano intro to "Alone Together" gives way to Henry Franklin's driving bass work.
"Like Someone in Love," "Beautiful Love" and "Eiderdown" by Steve Swallow are followed by "Up Jumped Spring" as a radiant, fresh jazz waltz.
You can catch the Gerard Hagen Trio live (no cover) and pick up your own copy of their new entry from 8 PM to midnight on Tuesday, October 30 at Steamers Cafe in Fullerton.
--Cathy Jensen

Jazz Scene Portland OR KMHD Radio
Stay Tuned, Gerard Hagen, piano.
Some time back I reviewed an earlier album by Gerard Hagen and I recall that I was most impressed with him at that time. I've not wavered in that opinion with this new release. He's a player who recognizes the value of space, and he also happens to possess a great touch and an overall high sense of musicality His basic trio is joined here and there by guests Chuck Manning on tenor and Larry Koonse on guitar and all account very well for themselves. The album kicks off with a Gary Foster line on the changes to What Is This Thing Called Love. It's called Warne-ing (for tenorman Warne Marsh) and employs an especially nice ride for Hagen and Koonse. Sweet And Lovelv is taken at a modest, walking tempo while Confirmation introduces Manning's tenor in cool, controlled fashion. Other highlights include Alone Together, Like Someone In Love, Beautiful Love and Up Jumped Spring. Hagen handles solo and comping tasks with skill, energy and class. Next time vou're in LA, check the jazz listings and see where he's playing.
Sea Breeze, 2001; Playing Time- 65:36, ****
--George Fendel

All Music Guide
GERARD HAGEN Stay Tuned
Sea Breeze Records
Gerard Hagen's Stay Tuned establishes two distinctive jazz climates. When the group gets into original or jazz standard material, it takes on a progressive jazz mien. "Bass (and Tenor) Tune" is a thoughtful and musically broad-minded interchange between the forward-looking bass of Domenic Genova and guest artist Chuck Manning on tenor. The trio puts on another face when it comes to the classic standards. Not that they play them straightforward, note for note. Hagen's pianistic extemporizing on "Beautiful Love" is delightful as he executes fluttering runs, putting the entire keyboard into play.
Nonetheless, there is a mainstream jazz feeling about it, with a flavor not unlike that embedded in early groups headed by Kenny Drew. In addition to Manning, the experienced and respected guitar styling of Larry Koonse enhances a couple of cuts. The major contribution comes on Steve Swallow's "Eiderdown," where he and Genova, a bass player of considerable talent, work in tandem to produce an engaging chorus or two. Hagen has a special way with the piano that sets him apart from today's young lions. He is gently respectful of melody, avoiding pianistic gymnastics and chord bashing. "Up Jumped Spring," as much as any track, captures the precious singing tones Hagen gets out of the instrument. Even when another member of the trio starts to blaze, such as Jerry Kalaf's drums on "Sweet and Lovely," the piano player holds himself in check. The session is in no way limited to thoughtful ruminations. Hagen leads the way, with Koonse's clear, ringing guitar in tow, on a tastefully swinging "Warne-ing," Gary Foster's paean to Warne Marsh. Based on this excellent multi-dimensional outing, Hagen shows he is a stylist to be reckoned with.
--Dave Nathan
All About Jazz January 17, 2002

REVIEWS Stay Tuned

The Gerard Hagen Trio (Sea Breeze)
It’s easy to Stay Tuned when one hears Jazz as handsomely crafted as that played by pianist Gerard Hagen, his trio and guests — tenor Chuck Manning, guitarist Larry Koonse and bassist Henry Franklin. This is one of those special albums on which every component slides neatly into place and everyone has his chance to shine. Having said that, it should be noted that there is nothing here that can be construed as setting Hagen and his companions apart from many another group whose members are as enthusiastic and talented as they. In other words, there are no transcendent voices here; everyone is simply quite good at what he does, which entails softening his voice when required and improvising at a consistently high level. Hagen, bassist Domenic Genova and drummer Jerry Kalaf (who wrote “Bass [and Tenor] Tune” and “Bailing Out”) have been playing together for about four years and have developed a close rapport that encourages ease of movement within an orderly framework. Hagen sidesteps monotony by adding Larry Koonse’s bracing guitar on four selections, Chuck Manning’s supple tenor sax on three others. Bassist Henry Franklin, who sat in for Genova during a recent trio gig in San Francisco, does the same on Charlie Parker’s “Confirmation” and the Howard Dietz / Arthur Schwartz standard “Alone Together.” The trio is “alone together” on three numbers, “Sweet and Lovely,” “Beautiful Love” and a charmingly graceful reading of Freddie Hubbard’s “Up Jumped Spring.” Koonse adds spice whenever he appears, especially on the sunny opener, Gary Foster’s “Warne–ing,” and is a paragon of mellow swing on Johnny Burke / Jimmy van Heusen’s “Like Someone in Love.” Hagen, a romanticist with a mean right hand, is never less than impressive, while Kalaf and Genova (or Franklin) offer a strong rhythmic backbone on which to maneuver. A well–cooked serving of trio Jazz (with tasty side dishes) that’s a pleasure to digest.
Contact: Sea Breeze Records, P.O. Box 1910, Pismo Beach, CA 93448–1910. Phone 818–489–2055.
Track Listing: Warne–ing; Sweet and Lovely; Confirmation; Bass (and Tenor) Tune; Alone Together; Like Someone in Love; Beautiful Love; Eiderdown; Up Jumped Spring; Bailing (65:36).
Personnel: Gerard Hagen, piano; Domenic Genova, bass; Jerry Kalaf, drums. Special guests — Chuck Manning, tenor saxophone; Larry Koonse, guitar; Henry Franklin (3, 5), bass.
--Jack Bowers

Really nice trio/quartet. An excellent program, very well done by all. I'm familiar with Henry Franklin's past work but I'm happy to meet the other guests.
--Jack Simpson, Jazz on the Beach

Gerard Hagen is another artist drawing listeners here at WOBO, particularly his "Sweet and Lovely". It swings delicately with a strong rhythm background.
--Larry Routt WOBO Radio, Cincinnati, OH

A very solid and swinging date from obviously experienced players.
--Lenny Mazel, KCME Radio, Colorado Springs, CO

They cook on these ten songs with good help from guest artists ... Hagen shines on the softer mellow cuts like "Up Jumped Spring". It's very nicely balanced.
--D. Oscar Groomes, O's Place Jazz Newsletter, Maplewood, NJ

PERFORMANCE REVIEWS

L.A. Jazz Scene May 2006
LESLIE LEWIS QUARTET AT CAVALLINO RISTORANTE
Jazz vocalist Leslie Lewis is one of those rare finds. She has a contralto voice, producing a dynamic and lovely sound. She just naturally struts on most of her songs as she sings them. She hails from East Orange, New Jersey and her vocal influences are the inimitable Nancy Wilson and Cleo Laine. The Gerard Hagen Trio accompanied her, with special guest, tenor sax man, Chuck Manning.
Pianist Hagen played several solo warm up tunes before the set started, including "Sweet and Lovely" and "If You Could See me Now." It was inspiring to hear such fine piano playing. His trio, with Domenic Genova on bass and drummer Jerry Kalaf has been together now eleven years and produced several CDs --all recommended. These three musicians have impressive individual credits as well.
The Hagen trio started with two numbers, "How My Heart Sings" and "Autumn Leaves," providing some tasty and mellow sounds. Lewis kicked off the first set with an outstanding version of "On the Sunny Side of the Street." Lewis has the good taste in picking a selection of the best tunes from the popular American standards: "I've Got You Under My Skin," "The Very Thought of You" and "Try a Little Tenderness". She added impressive high notes while singing "'They Can't Take That Away From Me." Genova did some eloquent bass lines and Kalaf provided super rhythmic drumming.
Joining the quartet was surprise guest, Chuck Manning on tenor saxophone. Manning added some magical ambiance to the room with his sax playing in both "Just in Time" and "Days of Wine and Roses." My favorite ballad, of this night's performance was "Don't Go To Strangers." Lewis did some significant scatting throughout I the piece. The audience was very appreciative and responsive to Lewis and her musicians. Other excellent selections included Horace Silver's "Song For My Father," with lyrics sung by Lewis, "I Thought About You," Ellington's "I Got It Bad and That Ain't Good" and "The Song Is You," ending a superb evening of jazz.
Lewis and the Hagen Trio are in the process of making their first CD together, which will be out later this year. See Hagen's website: www.gerardhagen.com. The Cavallino website shows upcoming jazz schedules and their Italian cuisine: www.cavallinoristorante.com. This quartet has more upcoming performances at Cavallino in the near future. Definitely recommended.
--Glenn A. Mitchell


L.A.Jazz Scene
VENTURA VANGUARD CONCERT AT LAUREL THEATRE FEATURED THE GERARD HAGEN TRIO
VENTURA - Will Thompson's Ventura Vanguard at the Laurel is proving to be just the ticket for jazz aficionado. Thompson who, over the years, has dabbled in oroanizing and promoting jazz concerts. The secret to his current success appears to be to rent a smaller venue, book top players; then fill the room with fans. it seems to be working just fine, thank you, in light of his fourth concert in the current series on August 14, which featured the Gerard Hagen Trio. Recent successful Thompson concerts starred the trios of Pete Jolly and Theo Saunders and the Jonathan Dane Quartet.

Pianist Hagen. whose regular trio includes bassist Domenic Genova and drummer Jerry Kalaf, also works on occasion with guitarist Larry Koonse and bassist Henry "Skipper" Franklin, two of the jazz scene's luminaries. It was with the latter two that he performed in the Laurel Theatre's downstairs room on this recent gig.

The cozy room, which has all the necessary accouterments, has a seating capacity for only 50 persons, creating an intimate setting for the audience and the musicians. It is further enhanced with a Gallery of paintings and, on this particular evening, a display of fine jazz pictures by photographers Joel Milder and Gilbert Sanchez.

The concert proved to be an excellent and entertaining blending of talents for the room-filled crowd of local jazz supporters, there in a theater-type ambience to listen to and appreciate the musicians' playing of familiar jazz tunes. The group opened with "Autumn Leaves" then stepped up the tempo with "Oleo," followed by a duet of Franklin and Koonse doing "Round Midnight". It was an impressive showing of their command of their instruments, as was Hagen's ballad style, piano rendering of his composition, "Sheryl's Sunrise," a tune dedicated to his wife. Amongst the several other numbers played during the well-balanced two set program were: "In Walked Bud", Voyage", "Beautiful Love", "Whisper Not", "I Love You", "Solar", "Like Someone in Love" and "Warne-ing."

It was a reciprocally good evening for the musicians, and the audience. The players appreciated the fact that the people were focused on listening to their efforts, and the listeners were glad to be doing just that without the noise distractions so common in most jazz clubs.
--Bob Agnew

L.A.Jazz Scene April 2000
STEAMERS CAFE PIANO SERIES
The Gerard Hagen trio is blessed with two talented composers, one at the piano and Jerry Kalaf on drums. A third of the tracks on their Far Horizons recording with Gary Foster on alto sax is original material. "Bass Tune," a chart by Kalaf, featured veteran Putter Smith, who sat in for Domenic Genova on bass for their appearance last month. This was a tune that only got better with your eyes wide shut to hear the aurora borealis dance across the midnight sky.
The trio was a living jazz laboratory, cooking with the seemingly effortless ease of consummate musicians through both the familiar and the, as yet unrecorded. Monk is irrisistable and the trio swung hard and connected on "In Walked Bud," also featured on the disc. Whether it was Cole or Kern, these guys kept pulling an endless supply of different textures out of their bag, fascinating the crowd with the way the pices matched or contrasted, weaving intensities together, never the same way.
--Cathy Jensen

New Times Jan.27-Feb.2 2000
Today's corporate culture, where everyone's a free agent has unfortunately filtered into the jazz world. With a lack of steady work for bands, most players jump in with various ad hoc outfits at a moment's notice, and as a result, musicians often don't see themselves as part of a unit, working for the greater good of the music. Orange County pianist Gerard Hagen does his best to counter that; ever since he heard the Bill Evans Trio in college, the 40-year-old Hagen know he wanted to work in a trio, The seamless synchronicity of Evans, bassist Eddie Gomez, and drummer Elliott Zigmund remains a working model for Hagen, whose own trio plays a free show at the L.A. County Museum of Art on Friday. Hagen's compatriots bassist Dominic Genova and drummer Jerry Kalaf - are also team players who compose and look for the pretty notes. Kalaf has long drummed with the Jazz Tap Ensemble, and his rhythms spark the Hagen trio. He's also a prolific writer, with an ear toward lyrical melodies and nice chord changes. Its rare that a drummer is ias attuned to internal voice movements as Kalaf, and that only makes the bond with Genova and Hagen more profound. Until their next album - and it's about time for a follow-up to their fine Far Horizons - this is one of your best chances to hear a modern rarity; a jazz trio that's an actual unit.
--Kirk Silsbee

Orange County/LA Times
JAZZ REVIEWS Out of the Rough and Into the Clear Outdoor Laguna Market an Idyllic Setting for Gerard Hagen to Show He's Become a Smooth Improviser
Gerard Hagen has been doing his homework. A few years ago when he was playing with sax man Dan St. Marseilles' quintet, the Lake Form resident was a promising jazz pianist whose playing had some rough edges. Sunday, on the outdoor stage at Laguna Village Market, Hagen worked with a trio and showed that most of those edges have been sanded smooth. That means he's now a spiffier, more complete improviser, and a better musician in general. The setting for Hagen's afternoon performance was idyllic. The market-a rustic assemblage of shops and a restaurant nestled in a grove of protective eucalyptuses-is situated 100 feet above the Pacific Ocean on Coast Highway, just east of downtown. The market's bandstand, a white, wooden hexagonal shaped affair, is parked on a grassy plot, below the market's bricked pauo. Add ocean breezes and a mostly cloudless sky and you have a delightful atmosphere in which to hear music.
Hagen seemed to prosper here, despite playing a rather limited -sounding Roland U-20 portable synthesizer; it ranged from attractive bell-like tones to complaining, whiny notes. The leader was solidly surrounded by upright bassist Chris Colangelo and drummer Dick Weller-two very empathetic partners-and together, for the final set, the threesome explored a program of jazz classics, pop standards and originals.
Wayne Shorter's prancing "Children of the Night," first recorded by Art Blakey's Jazz Messengers on the superb 1961 "Mosaic" album, was a challenging opener. A difficult tune that Hagen and company made appear easy, "Children" swayed between a tension -building section, underpinned by Colangelo's fat bass sound that offered a repetitive figure, and a "release," where the tune goes to surging swing time and the music flows.
Hagen, his gray locks wafting in the wind as he bent his head sideways over his instrument, soloed deftly, his lines moving gracefully in and out of the composition's subtle corners. He began his phrases with punchy thoughts, expanded those initial ideas by rhythmically and melodically juxtaposing them-turning them this way, then that to create an energized stream of sound. These statements were always concluded cleanly.
The keyboardist's accompaniment was just so. Colangeio's pliant-toned lines formed a buttress to the Hagen's improvisation, and Weller provided light cymbal taps and effervescent drum accents, giving Hagen firm but very elastic support. On "Children," Colangelo offered one of several excellent ent solos. He worked in the upper range of his instrument, his perfectly picked notes coming in neat packages that were rhythmically on the m