Frank Russell

Frank's quote, "The overall feel of the record is very groove heavy, with influences from contemporary, R&B, World and Latin styles. The tracks often have multiple bass lines happening, especially the track “Quick Pix,” which Russell wrote specifically for himself, Jones and Patterson in the “SMV mold.” - Announcement by Kevin Johnson, NoTreble.com

Frank Russell official website - Frank Russell official website

For Bass Players Only - Review by Jon Liebman - For Bass Players Only - Review by Jon Liebman

Review by Neil Tesser - Review by Neil Tesser

Review by Neil Tesser - Review by Neil Tesser

After experiencing their recent successful Jazz Festival (see our review and photos here), the Hyde Park Jazz Society has embarked upon a series of very high-profile sets at their weekly Sunday evening Checker Jazz gigs. This past Sunday was no exception, as master bassist Frank Russell brought his quintet to the Checkerboard Lounge for some Chicago-style, contemporary jazz.

Russell was joined on stage by a couple of Chicago's top musicians along with two young players who certainly will be heard from in the very near future. Although trumpeter Corey Wilkes is only 28 years old, he's a young veteran who joined Frank's group as a very special guest that evening. Other members of the quintet included guitarist Buddy Fambo, up-and-coming 22 year old keyboardist Greg Spero and East Coast-transplant, 24 year old drummer Makaya McCraven. This mixture of the generations really worked well together.

The set started with Corey Wilkes blowing full golden tones that make others sound like they are playing with one lung. Corey always plays with a vibrant spirit that whips up an interactive whirlwind behind him. Russell, meanwhile, played an array of bass instruments, including the acoustic and electric bass. Throughout the evening, he created a flowing, polyrhythmic pulse underneath the group that elevated the music. This writer witnessed a side of Russell previously not seen. He played some very serious, straight-ahead bass without losing the context of the song's melody, as is often the case with some bass players. Throughout his solos, he combined uncanny speed and horn-like facility, while seeming to gain energy . This was especially evident on Herbie Hancock's “Butterfly,” which also featured a fine flugelhorn solo by Corey.

The highlight of the first set was the group's rendition of “Killer Joe.” Special mention must be given to young phenom, Greg Spero on the electric keyboards. This young man really found his groove on this piece on this piece and had the relatively small, but very appreciative crowd begging for more at its conclusion. He really “walked” on the keys, displaying an arsenal of rapid-fire, fleet fingers that had all gasping for air. He played throughout the evening like a veteran beyond his years.

Buddy Fambo is a respected guitarist in the George Benson/ Wes Montgomery mode. When Fambo is playing, their legacies are in good hands. His call and response with Russell on Stanley Clarke's “Quiet Afternoon” was a sight to see. Fambo also stepped up on the beautiful ballad, “Poinciana.”

Although his opportunities to solos were less frequent, drummer McCraven held down the beat all evening long. He's an exciting drummer with plenty of positive energy and fueled the proceddings with his power-precision drumming.

Finally, yes, “Checker Jazz” at the Checkerboard Lounge on Sundays has found its niche in the Chicago Jazz scene. They have some exciting events planned over the next several weeks. Outstanding drummer, Ernie Adams heads an exceptional group of bandmates there on October 21st. He'll be joined by Henry Johnson on guitar, Stewart Miller on bass and Charles Johnson on piano. One of our favorite vocalists, Maggie Brown, closes out the month on October 28th, while future shows include the return of trumpeter Orbert Davis and veteran vocalist Joan Colasso. Chicago, take advantage of these gems in the near future! - JazzChicago.net - Story and Photos by James Walker, Jr.

After experiencing their recent successful Jazz Festival (see our review and photos here), the Hyde Park Jazz Society has embarked upon a series of very high-profile sets at their weekly Sunday evening Checker Jazz gigs. This past Sunday was no exception, as master bassist Frank Russell brought his quintet to the Checkerboard Lounge for some Chicago-style, contemporary jazz.

Russell was joined on stage by a couple of Chicago's top musicians along with two young players who certainly will be heard from in the very near future. Although trumpeter Corey Wilkes is only 28 years old, he's a young veteran who joined Frank's group as a very special guest that evening. Other members of the quintet included guitarist Buddy Fambo, up-and-coming 22 year old keyboardist Greg Spero and East Coast-transplant, 24 year old drummer Makaya McCraven. This mixture of the generations really worked well together.

The set started with Corey Wilkes blowing full golden tones that make others sound like they are playing with one lung. Corey always plays with a vibrant spirit that whips up an interactive whirlwind behind him. Russell, meanwhile, played an array of bass instruments, including the acoustic and electric bass. Throughout the evening, he created a flowing, polyrhythmic pulse underneath the group that elevated the music. This writer witnessed a side of Russell previously not seen. He played some very serious, straight-ahead bass without losing the context of the song's melody, as is often the case with some bass players. Throughout his solos, he combined uncanny speed and horn-like facility, while seeming to gain energy . This was especially evident on Herbie Hancock's “Butterfly,” which also featured a fine flugelhorn solo by Corey.

The highlight of the first set was the group's rendition of “Killer Joe.” Special mention must be given to young phenom, Greg Spero on the electric keyboards. This young man really found his groove on this piece on this piece and had the relatively small, but very appreciative crowd begging for more at its conclusion. He really “walked” on the keys, displaying an arsenal of rapid-fire, fleet fingers that had all gasping for air. He played throughout the evening like a veteran beyond his years.

Buddy Fambo is a respected guitarist in the George Benson/ Wes Montgomery mode. When Fambo is playing, their legacies are in good hands. His call and response with Russell on Stanley Clarke's “Quiet Afternoon” was a sight to see. Fambo also stepped up on the beautiful ballad, “Poinciana.”

Although his opportunities to solos were less frequent, drummer McCraven held down the beat all evening long. He's an exciting drummer with plenty of positive energy and fueled the proceddings with his power-precision drumming.

Finally, yes, “Checker Jazz” at the Checkerboard Lounge on Sundays has found its niche in the Chicago Jazz scene. They have some exciting events planned over the next several weeks. Outstanding drummer, Ernie Adams heads an exceptional group of bandmates there on October 21st. He'll be joined by Henry Johnson on guitar, Stewart Miller on bass and Charles Johnson on piano. One of our favorite vocalists, Maggie Brown, closes out the month on October 28th, while future shows include the return of trumpeter Orbert Davis and veteran vocalist Joan Colasso. Chicago, take advantage of these gems in the near future! - JazzChicago.net - Story and Photos by James Walker, Jr.

Frank Russell, master bassist and master bandleader, continues to impress this writer with his leadership and outright ability to front an contemporary jazz band with his varied array of guitars. He also demonstrates his intellegence evident by the ace bandmates he surrounds himself with. On this evening, he assembled a top notch group of Chicago musicians who are leaders in their own right. Buddy Fambro having performed with the likes of Ramsey Lewis among others , held down the guitar slot, young phenom Greg Spero continued to excel on the keyboard, while Khari Parker, currently touring with Boz Scaggs, kept perfect time behind the drum kit and the ever present Corey Wilkes contributing with his trumpet and flugelhorn.

Frank started the set on the acoustic bass with a mellow solo that had a "flamenco" twinge before deferring to each of his bandmates for extended solos. This set the tone for the entire night as Russell let it be known that this would be a unified effort on the part of each member. During this first number, it didn't take Wilkes long to heat things up as he began hitting those stratospheric high notes that he's become associated with. Each bandmate engaged in nice interplay with drummer Parker on this inaugural selection.

"People Make The World Go Round", R&B song made famous by the "Stylistics in the 70s, was the next selection. Frank switched to the electric bass on this number and displayed a nice lead with his deep bass tones. At all times, he's able to maintain the basic melody, while also engaging in dramatic improvisation. They followed this number with Ramsey Lewis's classsic "In Crowd". Frank dedicated this to the late bassist Eldee Young who performed many years with Ramsey. It was during this number that Spero, had one of his many spectaculiar extended solos. He began with soft tickling of the "ivories" followed by interplay with Fambro and Parker. Not to be left out, Corey takes his turn blowing rapid fast pistol like chords.

Although Russell shared the spotlight throughout the evening with this exceptional group, there were also moments that he distinguished himself. One such moment was during the end of the first set when he was featured on Stanley Clarke's "Quiet Afternoon". Using a five string guitar, he quipped that about being a "frustrated" guitar players who plays the bass. He aquitted himself well with uncanny speed while gaining energy and ideas as he forged ahead. He was complimented by Fambro as they engaged in friendly bantering. The first set concluded with David Sanborn's "Maputo" featuring dynamic drummer Khari Parker. He demonstrated quick hands and instincts that revealed a melodic ingenuity on the drum kit. His power percision drumming was evident during the entire evening. Wilkes also displayed a soft touch with the trumpet using the muffled sound.

The second half of the Checker Jazz set was performed with the same vitality and gusto as the first. Actually, this group seemed to pick up steam as the night progressed. Miles Davis's "Seven Steps to Heaven" (also on Russell's "Covering all Basses" CD), was the first number and included long improvisational solos by Spero, Wilkes and Fambro. They even put a "Blusey" twist to the end of this classic Miles tune. The crowd roared its approval.

"Poinciana", also on Russell's CD, was well done with all sharing in the spotlight. This beautiful ballad included an delightful "call and response" between Russell and Wilkes. These guys know each other so well and are able to "play off " one and other without missing a beat. Toward the end of this number, they broke out into Herbie Hancock's funky "Chameleon." What a surprise that delighted all. Wilkes, was perhaps at his best with his rapid signature runs on this song. Khari Parker again demonstrated his expertise on the drums with a commanding solo that he exhibited throughout this entire performance.

Monks "Straight , No Chaiser" featured both Russell and Spero. Russell used his acoustic bass on this number which actually sounded like an upright bass. It's amazing how Russell is capable of producing such different sounds with his arsenal of string instruments. Spero uses his keyboards like a B-3 organ as he electrifies the crowd jumping between the keyboards primarily using his virtuostic right hand. This action brought the audience to its feet even before he concluded his solo. It was simply breath taking.

Although this set extended beyond the normal 11:00pm ending time, those remaining were rewarded with a reprise of the first set's "People Make the World Go Round." Fambro was afforded another opportunity to display his "Wes Montgomery" style and sound with the fleet fingers that he displayed throughout the evening. In addition, Wilkes and Russell also had their last shots at solos. When offered "a piece of this finale action," an exhausted Parker respectfully declined as he had just arrived in the city earlier in the day after being on the road w - JazzChicago.net - Story and Photos by James Walker, Jr.

Frank Russell, master bassist and master bandleader, continues to impress this writer with his leadership and outright ability to front an contemporary jazz band with his varied array of guitars. He also demonstrates his intellegence evident by the ace bandmates he surrounds himself with. On this evening, he assembled a top notch group of Chicago musicians who are leaders in their own right. Buddy Fambro having performed with the likes of Ramsey Lewis among others , held down the guitar slot, young phenom Greg Spero continued to excel on the keyboard, while Khari Parker, currently touring with Boz Scaggs, kept perfect time behind the drum kit and the ever present Corey Wilkes contributing with his trumpet and flugelhorn.

Frank started the set on the acoustic bass with a mellow solo that had a "flamenco" twinge before deferring to each of his bandmates for extended solos. This set the tone for the entire night as Russell let it be known that this would be a unified effort on the part of each member. During this first number, it didn't take Wilkes long to heat things up as he began hitting those stratospheric high notes that he's become associated with. Each bandmate engaged in nice interplay with drummer Parker on this inaugural selection.

"People Make The World Go Round", R&B song made famous by the "Stylistics in the 70s, was the next selection. Frank switched to the electric bass on this number and displayed a nice lead with his deep bass tones. At all times, he's able to maintain the basic melody, while also engaging in dramatic improvisation. They followed this number with Ramsey Lewis's classsic "In Crowd". Frank dedicated this to the late bassist Eldee Young who performed many years with Ramsey. It was during this number that Spero, had one of his many spectaculiar extended solos. He began with soft tickling of the "ivories" followed by interplay with Fambro and Parker. Not to be left out, Corey takes his turn blowing rapid fast pistol like chords.

Although Russell shared the spotlight throughout the evening with this exceptional group, there were also moments that he distinguished himself. One such moment was during the end of the first set when he was featured on Stanley Clarke's "Quiet Afternoon". Using a five string guitar, he quipped that about being a "frustrated" guitar players who plays the bass. He aquitted himself well with uncanny speed while gaining energy and ideas as he forged ahead. He was complimented by Fambro as they engaged in friendly bantering. The first set concluded with David Sanborn's "Maputo" featuring dynamic drummer Khari Parker. He demonstrated quick hands and instincts that revealed a melodic ingenuity on the drum kit. His power percision drumming was evident during the entire evening. Wilkes also displayed a soft touch with the trumpet using the muffled sound.

The second half of the Checker Jazz set was performed with the same vitality and gusto as the first. Actually, this group seemed to pick up steam as the night progressed. Miles Davis's "Seven Steps to Heaven" (also on Russell's "Covering all Basses" CD), was the first number and included long improvisational solos by Spero, Wilkes and Fambro. They even put a "Blusey" twist to the end of this classic Miles tune. The crowd roared its approval.

"Poinciana", also on Russell's CD, was well done with all sharing in the spotlight. This beautiful ballad included an delightful "call and response" between Russell and Wilkes. These guys know each other so well and are able to "play off " one and other without missing a beat. Toward the end of this number, they broke out into Herbie Hancock's funky "Chameleon." What a surprise that delighted all. Wilkes, was perhaps at his best with his rapid signature runs on this song. Khari Parker again demonstrated his expertise on the drums with a commanding solo that he exhibited throughout this entire performance.

Monks "Straight , No Chaiser" featured both Russell and Spero. Russell used his acoustic bass on this number which actually sounded like an upright bass. It's amazing how Russell is capable of producing such different sounds with his arsenal of string instruments. Spero uses his keyboards like a B-3 organ as he electrifies the crowd jumping between the keyboards primarily using his virtuostic right hand. This action brought the audience to its feet even before he concluded his solo. It was simply breath taking.

Although this set extended beyond the normal 11:00pm ending time, those remaining were rewarded with a reprise of the first set's "People Make the World Go Round." Fambro was afforded another opportunity to display his "Wes Montgomery" style and sound with the fleet fingers that he displayed throughout the evening. In addition, Wilkes and Russell also had their last shots at solos. When offered "a piece of this finale action," an exhausted Parker respectfully declined as he had just arrived in the city earlier in the day after being on the road w - JazzChicago.net - Story and Photos by James Walker, Jr.

What a pleasant surprise for this listener when he attended his first Hyde Park Jazz Society set at its new venue, Room 43, at 1043 East 43rd St. on the city's South Side. This lovely intimate banquet hall gives this room the semblance of a night club setting. In addition, their limited "jazz bites" venue also hit the spot for this near capacity crowd. By the way, the jazz wasn't bad either.
Frank "thunder thumbs" Russell and his bandmates thoroughly entertained this Hyde Park crowd with about two and a half hours of 'foot tapping' music which included a "Billie Jean" selection in memory of the recently departed musical icon Micheal Jackson.

Frank was joined on the bandstand by keyboardist Greg Spero, drummer Frank Parker, Jr. and longtime partner, guitarist Peter Lerner. And if that wasn't sufficient, several guest artists, including percussionist Tony Carpenter, guitarist Henry Johnson, and vocalists Yvonne Gage and Nick Berry joined the fray throughout the evening.

Russell began the set with a "warm-up" on his acoustic bass producing a flamenco like sound that was well supported by first of many extended solos by dynamic young keyboardist, Greg Spero. That was followed by "Poinciana", an all time classic made famous by Ahmad Jamal which Russell recorded on his "Covering All Bases" CD. Lerner had his way on this selection, which delighted this sophisticated jazz crowd.

Vocalist Yvonne Gage's beautiful rendition of "Night and Day", proceeded their tribute to Micheal Jackson with "Billie Jean". The audience really appreciated this appropriate gesture to the "King of Pop".

The first set concluded with Russell displaying his 5-string bass on "Georgy Porgy" with a nice 'call and response between Russell and Lemer on Stanley Clarke's "Quiet Afternoon". What a climatic way to wind up the first set.!!!!

Energetic percussionist Tony Carpenter (with his 'bag of instruments') was the first guest to join the band during the 2nd set. They opened with "Sunny" as all ensemble members had lively solos.

Bassist Marcus Miller's "Jean Pierre" resulted in friendly bantering between Russell and Carpenter, with Lerner joining in toward the conclusion . Lerner and Russell have such great 'chemistry' and seem to recognize one another's moves.

Vocalist Nick Berry sang a nice version of Marvin Gaye's "What's Going On" before "bringing the house down" with a raspy B.B. King blues selection. Those assembled loved it. Not to be outdone, Yvonne Gage returned to the stage to belt out the Etta James classic "At Last".

This outstanding 2nd set came to a wonderful ending when Russell's boyhood buddy, guitarist Henry Johnson, displayed his world class skill on "I've Got Rhythm", and Herbie Hancock's "Sly".

Yes, the Hyde Park Jazz Society has indeed found a wonderful new "home" at Room 43, which is located at 1043 E. 43rd. in Chicago. Bronzeville favorite, Maggie Brown, will take center stage on July 12th at "Jazz at Room 43".

For detailed information about future Hyde Park Jazz Society's events, refer to their website at www.hydeparkjazzsociety.org.



- JazzChicago.net - Story and Photos by James Walker, Jr.

What a pleasant surprise for this listener when he attended his first Hyde Park Jazz Society set at its new venue, Room 43, at 1043 East 43rd St. on the city's South Side. This lovely intimate banquet hall gives this room the semblance of a night club setting. In addition, their limited "jazz bites" venue also hit the spot for this near capacity crowd. By the way, the jazz wasn't bad either.
Frank "thunder thumbs" Russell and his bandmates thoroughly entertained this Hyde Park crowd with about two and a half hours of 'foot tapping' music which included a "Billie Jean" selection in memory of the recently departed musical icon Micheal Jackson.

Frank was joined on the bandstand by keyboardist Greg Spero, drummer Frank Parker, Jr. and longtime partner, guitarist Peter Lerner. And if that wasn't sufficient, several guest artists, including percussionist Tony Carpenter, guitarist Henry Johnson, and vocalists Yvonne Gage and Nick Berry joined the fray throughout the evening.

Russell began the set with a "warm-up" on his acoustic bass producing a flamenco like sound that was well supported by first of many extended solos by dynamic young keyboardist, Greg Spero. That was followed by "Poinciana", an all time classic made famous by Ahmad Jamal which Russell recorded on his "Covering All Bases" CD. Lerner had his way on this selection, which delighted this sophisticated jazz crowd.

Vocalist Yvonne Gage's beautiful rendition of "Night and Day", proceeded their tribute to Micheal Jackson with "Billie Jean". The audience really appreciated this appropriate gesture to the "King of Pop".

The first set concluded with Russell displaying his 5-string bass on "Georgy Porgy" with a nice 'call and response between Russell and Lemer on Stanley Clarke's "Quiet Afternoon". What a climatic way to wind up the first set.!!!!

Energetic percussionist Tony Carpenter (with his 'bag of instruments') was the first guest to join the band during the 2nd set. They opened with "Sunny" as all ensemble members had lively solos.

Bassist Marcus Miller's "Jean Pierre" resulted in friendly bantering between Russell and Carpenter, with Lerner joining in toward the conclusion . Lerner and Russell have such great 'chemistry' and seem to recognize one another's moves.

Vocalist Nick Berry sang a nice version of Marvin Gaye's "What's Going On" before "bringing the house down" with a raspy B.B. King blues selection. Those assembled loved it. Not to be outdone, Yvonne Gage returned to the stage to belt out the Etta James classic "At Last".

This outstanding 2nd set came to a wonderful ending when Russell's boyhood buddy, guitarist Henry Johnson, displayed his world class skill on "I've Got Rhythm", and Herbie Hancock's "Sly".

Yes, the Hyde Park Jazz Society has indeed found a wonderful new "home" at Room 43, which is located at 1043 E. 43rd. in Chicago. Bronzeville favorite, Maggie Brown, will take center stage on July 12th at "Jazz at Room 43".

For detailed information about future Hyde Park Jazz Society's events, refer to their website at www.hydeparkjazzsociety.org.



- JazzChicago.net - Story and Photos by James Walker, Jr.

No matter how often this listener observes Frank Russell, he never disappoints. He brings heat and energy to all of his sets and the performance of Frank and his accomplished band mates at Hyde Park Jazz Society's weekly Sunday night soiree was no exception.The group included Charles Rick Heath (aka Mr. Smooth) on drums Peter Lerner on guitar, and Greg Spero on Keyboard.
Frank, a native of the music rich Gary, Indiana often performs with this aggregate, and it shows. This is a tight unit, with each artist a leader in his own right. Prior to this gig, they performed an afternoon set and was ready to "cook" as soon as they began with John Coltrane's "Impressions". As would be the case all night, they alternated on extended solos from the top. Although Russell is the leader, this is certainly an "equal opportunity" ensemble.

"Poinciana," Ahmad Jamal's signature number, was next on the menu. This was one of four songs they played that's on Frank outstanding "Covering All Bases" CD. Frank performed this number with his new five-string electric bass. This was a beautiful piece with maestro Russell putting the finishing touch on this classic standard.

There were many highlights during the first set with their rendition of Herbie Hancock's "Butterfly" being one. "Mr.Smooth", Charles Heath demonstrated that one does not have to rapid fire on the drum kit for affect. His gentle touch on the snare drum was a sight to see. This observer never tires watching him keep time. Russell added a little "funk" to this number.

Frank dedicated "Sailing" to the McClendon family of Gary who recently lost their parents during a senseless home invasion and murder. Frank produced a mellow "flamenco" sound with his bass. He often utilizes the full range of his instrument to produce different sounds.

They concluded the first set with Pat Martino's version of "Sunny". This was certainly a crowd pleaser with Heath demonstrating his "rapid fire" side on the drum kit.

Second set began with Chick Corea's Latin-tinged "Spain". Both Lerner and Spero excited the crowd with excellent extended solos. These guys were on point all night with an exclamation point on "Spain".

Frank added another funk number with Hancock's "Sly", which again allowed Spero to do his best Hancock impression. By now the crowd is ecstatic!!! Spero's such a fine young talent and continues to improve his craft, especially when performing with veterans like Frank Russell.

Before sharing the stage with a few guest artist, Russell and Lerner 'dueled' on Stanley Clarke's "Quiet Afternoon". What a beautiful sight see the two of them face to face with their "cring" instruments.

Keyboardist Billy Foster from Gary was the first guest to join the group as they played "Stella by Starlight". He was followed by another keyboardist, Larry Hanks, and vocalist Barbara Gogins. Gogins recently was featured at Room 43, and as usual, had the crowd "hooting" with her version of "Stormy Monday".Barbara's such an entertainer and a pure pleasure to watch.

This exceptional evening of music was concluded with Russell dedicating "Pretty as a Roz" to his lovely wife Rosalind, and "Amazing Grace". What an appropriate note to end this Sunday set with this beautiful Spiritual.

The next edition of Hyde Park Jazz Society's Sunday set takes place this Sunday at Room 43 featuring multi reediest Eric Schneider and honoring trumpeter Art Hoyle and radio personality Cliff Kelley.

Please refer to www.hydeparkjazzsociety.org for details about future events.

- JazzChicago.net - Story and Photos by James Walker, Jr.

No matter how often this listener observes Frank Russell, he never disappoints. He brings heat and energy to all of his sets and the performance of Frank and his accomplished band mates at Hyde Park Jazz Society's weekly Sunday night soiree was no exception.The group included Charles Rick Heath (aka Mr. Smooth) on drums Peter Lerner on guitar, and Greg Spero on Keyboard.
Frank, a native of the music rich Gary, Indiana often performs with this aggregate, and it shows. This is a tight unit, with each artist a leader in his own right. Prior to this gig, they performed an afternoon set and was ready to "cook" as soon as they began with John Coltrane's "Impressions". As would be the case all night, they alternated on extended solos from the top. Although Russell is the leader, this is certainly an "equal opportunity" ensemble.

"Poinciana," Ahmad Jamal's signature number, was next on the menu. This was one of four songs they played that's on Frank outstanding "Covering All Bases" CD. Frank performed this number with his new five-string electric bass. This was a beautiful piece with maestro Russell putting the finishing touch on this classic standard.

There were many highlights during the first set with their rendition of Herbie Hancock's "Butterfly" being one. "Mr.Smooth", Charles Heath demonstrated that one does not have to rapid fire on the drum kit for affect. His gentle touch on the snare drum was a sight to see. This observer never tires watching him keep time. Russell added a little "funk" to this number.

Frank dedicated "Sailing" to the McClendon family of Gary who recently lost their parents during a senseless home invasion and murder. Frank produced a mellow "flamenco" sound with his bass. He often utilizes the full range of his instrument to produce different sounds.

They concluded the first set with Pat Martino's version of "Sunny". This was certainly a crowd pleaser with Heath demonstrating his "rapid fire" side on the drum kit.

Second set began with Chick Corea's Latin-tinged "Spain". Both Lerner and Spero excited the crowd with excellent extended solos. These guys were on point all night with an exclamation point on "Spain".

Frank added another funk number with Hancock's "Sly", which again allowed Spero to do his best Hancock impression. By now the crowd is ecstatic!!! Spero's such a fine young talent and continues to improve his craft, especially when performing with veterans like Frank Russell.

Before sharing the stage with a few guest artist, Russell and Lerner 'dueled' on Stanley Clarke's "Quiet Afternoon". What a beautiful sight see the two of them face to face with their "cring" instruments.

Keyboardist Billy Foster from Gary was the first guest to join the group as they played "Stella by Starlight". He was followed by another keyboardist, Larry Hanks, and vocalist Barbara Gogins. Gogins recently was featured at Room 43, and as usual, had the crowd "hooting" with her version of "Stormy Monday".Barbara's such an entertainer and a pure pleasure to watch.

This exceptional evening of music was concluded with Russell dedicating "Pretty as a Roz" to his lovely wife Rosalind, and "Amazing Grace". What an appropriate note to end this Sunday set with this beautiful Spiritual.

The next edition of Hyde Park Jazz Society's Sunday set takes place this Sunday at Room 43 featuring multi reediest Eric Schneider and honoring trumpeter Art Hoyle and radio personality Cliff Kelley.

Please refer to www.hydeparkjazzsociety.org for details about future events.

- JazzChicago.net - Story and Photos by James Walker, Jr.

Review and photos by James Walker, Jr., Copyright 2010

Veteran bassist Frank Russell and his bandmates of guitarist Peter Lerner, keyboardist Greg Spero, and drummer Charles "Rick" Heath, returned to the Regal for an outstanding night of "smokin" jazz. This group had previously appeared at this Rick Heath produced Wednesday set earlier in the summer during one of our rain storms. No such problem on this occasion as the only storm present was these four gentlemen breezing through the Regal with two sets that had those in attendance longing for more upon their completion.
Heath launched this series this summer but it continues to be one of the Southside's best kept secrets and surprise. Each week, he books some of the city's finest musicians at this fabled theater yet only sparse crowds have supported his valiant effort to keep jazz alive on the Southside.

Nevertheless, those in attendance last week were very appreciative of the outstanding effort of Russell's group as he opened up the first set strumming his accoustic bass guitar to the sounds of "Caravan." It didn't take Lerner long to warm up with a nice extended solo of this, one of Duke Ellington's classic numbers. Russell got the max with this flamenco sound as Heath finished the number with rapid fire action on his drum kit.

Throughout this evening, Russell demonstrated his versatility by using three distinctly different basses. On several occasions, he brought out his five string bass that allowed him to produce a "high C" sound on such numbers like "Georgy Porgy" and Stanley Clarke's "Quiet Afternoon." It was on the later number that Russell and Lerner closed out the first set with an infectious "call and response" segment that received a rousing ovation from the audience. These two have played together for years and appear to really enjoy their interaction.

Other first set highlights included Horace Sliver's "Senior Blues" where Spero had his finest moment with strong phrases and rapid fire lines. Heath again concluded this number with his patented smooth and graceful action with his sticks unlike any other drummer in Chicago. It's always a pleasure to watch his unique attack of the "skins."

The second set began with another Silver number, "Nutville" where again Lerner set the tone with his fleet fingers and Heath demonstrated a little muscular action on the drum kit to the delight of the audience. This was followed by Ahmad Jamal's "Poinciana." Both Russell and Spero had highlight solos on this well done classic. This was one of several songs performed tonight that can also be found on Russell's excellent Covering All Basses CD.

Vocalist Gail Pettis, former Chicago resident now residing in Seattle, was coaxed by Russell to render a blues number which demonstrated her "scatting" talents. Pettis appeared at this venue the previous week. She's a talented vocalist and had some in the audience asking for a return engagement at the Regal.

This outstanding set came to a conclusion with Russell and Heath both producing marvelous extended solos on Miles Davis's "So What."

For details about future "Jazz'n" events, refer to www.chicagoregal.com
- JazzChicago.net - Review and photos by James Walker, Jr.

Review and photos by James Walker, Jr., Copyright 2010

Veteran bassist Frank Russell and his bandmates of guitarist Peter Lerner, keyboardist Greg Spero, and drummer Charles "Rick" Heath, returned to the Regal for an outstanding night of "smokin" jazz. This group had previously appeared at this Rick Heath produced Wednesday set earlier in the summer during one of our rain storms. No such problem on this occasion as the only storm present was these four gentlemen breezing through the Regal with two sets that had those in attendance longing for more upon their completion.
Heath launched this series this summer but it continues to be one of the Southside's best kept secrets and surprise. Each week, he books some of the city's finest musicians at this fabled theater yet only sparse crowds have supported his valiant effort to keep jazz alive on the Southside.

Nevertheless, those in attendance last week were very appreciative of the outstanding effort of Russell's group as he opened up the first set strumming his accoustic bass guitar to the sounds of "Caravan." It didn't take Lerner long to warm up with a nice extended solo of this, one of Duke Ellington's classic numbers. Russell got the max with this flamenco sound as Heath finished the number with rapid fire action on his drum kit.

Throughout this evening, Russell demonstrated his versatility by using three distinctly different basses. On several occasions, he brought out his five string bass that allowed him to produce a "high C" sound on such numbers like "Georgy Porgy" and Stanley Clarke's "Quiet Afternoon." It was on the later number that Russell and Lerner closed out the first set with an infectious "call and response" segment that received a rousing ovation from the audience. These two have played together for years and appear to really enjoy their interaction.

Other first set highlights included Horace Sliver's "Senior Blues" where Spero had his finest moment with strong phrases and rapid fire lines. Heath again concluded this number with his patented smooth and graceful action with his sticks unlike any other drummer in Chicago. It's always a pleasure to watch his unique attack of the "skins."

The second set began with another Silver number, "Nutville" where again Lerner set the tone with his fleet fingers and Heath demonstrated a little muscular action on the drum kit to the delight of the audience. This was followed by Ahmad Jamal's "Poinciana." Both Russell and Spero had highlight solos on this well done classic. This was one of several songs performed tonight that can also be found on Russell's excellent Covering All Basses CD.

Vocalist Gail Pettis, former Chicago resident now residing in Seattle, was coaxed by Russell to render a blues number which demonstrated her "scatting" talents. Pettis appeared at this venue the previous week. She's a talented vocalist and had some in the audience asking for a return engagement at the Regal.

This outstanding set came to a conclusion with Russell and Heath both producing marvelous extended solos on Miles Davis's "So What."

For details about future "Jazz'n" events, refer to www.chicagoregal.com
- JazzChicago.net - Review and photos by James Walker, Jr.

Spring has sprung in the city of Chicago, and what better way to shake off the rust of a long ugly winter than to hit one of the many fine jazz clubs in our fair city. Rather than sitting in front of the tube again watching annoying wannabee American idols, you truly owe it to yourself to get out and catch some of the exciting local and national acts in one of the many friendly and comfortable nightclubs in ChiTown.
Photographer John Broughton is out in the jazz clubs almost every night and he shares some great photos from his visits. So sit back and take a virtual club tour of some of these great Windy City hotspots and check out some of the talented artists that perform on a nightly basis for our lucky audiences.
~~~~~~~~~~
For those not aware of Frank Russell - he is considered to be one of the greatest funk bassists in the world - spoken of in the same breath with folks like Marcus Miller and Larry Graham - and he lives and performs here in Chicago! Catching Frank is an exciting experience as his fingers fly up and down the fretboard on songs like his great "Georgy Porgy," and don't blink or you'll miss 50 notes. But he can also make his bass sing - as on his version of Christopher Cross' "Sailing." On Friday, April 9, Frank and drummer extraordinaire Rick Heath were laying down the grooves at Andy's, while keyboardist Greg Spero and guitarist Peter Lerner rounded out this exceptional combo. Meanwhile, R&B singer Nicholas Barron (backed by these furious funkmeisters) whipped the crowd into a frenzy by performing an ultra-hot medley of Al Green and Stevie Wonder tunes. We were there for a rare occurrence as the entire crowd (John and I included) were pulled onto the dancefloor by the lovely ladies - and everyone in Andy's was dancing up a storm. Fortunately, John's photos of yours truly doing the "funky chicken" are not included (your check is in the mail, you blackmailer, you). The conveniently located Andy's (11 E. Hubbard) is well-known as one of the most popular jazz clubs in Chicago - and they feature great jazz 7 nights a week. Andy's complete schedule can be found at www.andysjazzclub.com.





- JazzChicago.net - Story by Brad Walseth; All photos by John Broughton

Spring has sprung in the city of Chicago, and what better way to shake off the rust of a long ugly winter than to hit one of the many fine jazz clubs in our fair city. Rather than sitting in front of the tube again watching annoying wannabee American idols, you truly owe it to yourself to get out and catch some of the exciting local and national acts in one of the many friendly and comfortable nightclubs in ChiTown.
Photographer John Broughton is out in the jazz clubs almost every night and he shares some great photos from his visits. So sit back and take a virtual club tour of some of these great Windy City hotspots and check out some of the talented artists that perform on a nightly basis for our lucky audiences.
~~~~~~~~~~
For those not aware of Frank Russell - he is considered to be one of the greatest funk bassists in the world - spoken of in the same breath with folks like Marcus Miller and Larry Graham - and he lives and performs here in Chicago! Catching Frank is an exciting experience as his fingers fly up and down the fretboard on songs like his great "Georgy Porgy," and don't blink or you'll miss 50 notes. But he can also make his bass sing - as on his version of Christopher Cross' "Sailing." On Friday, April 9, Frank and drummer extraordinaire Rick Heath were laying down the grooves at Andy's, while keyboardist Greg Spero and guitarist Peter Lerner rounded out this exceptional combo. Meanwhile, R&B singer Nicholas Barron (backed by these furious funkmeisters) whipped the crowd into a frenzy by performing an ultra-hot medley of Al Green and Stevie Wonder tunes. We were there for a rare occurrence as the entire crowd (John and I included) were pulled onto the dancefloor by the lovely ladies - and everyone in Andy's was dancing up a storm. Fortunately, John's photos of yours truly doing the "funky chicken" are not included (your check is in the mail, you blackmailer, you). The conveniently located Andy's (11 E. Hubbard) is well-known as one of the most popular jazz clubs in Chicago - and they feature great jazz 7 nights a week. Andy's complete schedule can be found at www.andysjazzclub.com.





- JazzChicago.net - Story by Brad Walseth; All photos by John Broughton

Chicago native Frank Russell has been playing bass since age 14. Throughout his illustrious career, Frank has performed with Art Porter, Freddie Hubbard, Ramsey Lewis, Ladysmith Black Mambazo, Alphonse Mouzon, Mike Wolf, Willie Pickens and many others. He has also recorded five CDs with Chicago guitarist Henry Johnson and is a past recipient of the Hennessy Best of Chicago Jazz Search. Frank’s debut CD, Covering All Basses, was released in 2005.


FBPO: Your path to the bass was a roundabout one, preceded by drums, guitar and sax. We're glad things ended up the way they did! What made you settle on the bass?


FR: I grew up in a house where some of my first memories as a child were hearing music and seeing covers of Miles Davis and John Coltrane albums on the walls. My dad, who played acoustic bass as a teenager, was a big influence on me. Mom, too, sang around the house and had quite a pleasant voice. I remember hearing her singing Shirley Bassey songs. We would visit my relatives’ homes, where music was always a big part of our gatherings. I remember being six years old and hearing Gene Chandler singing "Duke of Earl" on the radio at my grandmother's home. And all the Motown music at my aunt and uncle’s home, as they lived downstairs from us.


Around the same time, I saw the Beatles on the Ed Sullivan show and asked my dad for a guitar, which he bought for me that Christmas. I started guitar lessons soon after that. I had to practice at home while my brothers and cousins got to watch Batman! I was mad at the time, but I am grateful now. Soon after, I received a drum set, which I played until high school, along with the sax.
I had a girlfriend who was a singer in a band and their bass player quit. She knew I played guitar and asked if I could play bass. I said "Sure," not having played one before. I figured it would be easier, as there were fewer strings. Little did I know! At the age of fourteen I began my career as a bass guitarist. I have never thanked her, so I will do it now. Her name is Charlotte Gibson and she has gone on to be an Emmy Award-winning writer for the soaps. I had to learn thirty songs in about two weeks and did my first professional paid show a short time later.


I got all the albums of bass players of the day, starting with Verdine White, Larry Graham and Stanley Clarke, and immersed myself in listening to them all day. Larry was a particular favorite. I learned my slap technique from listening to him. Eventually, I discovered one of my greatest bass guitar heroes, Jaco Pastorius. I also admired Anthony Jackson, Louis Johnson, Alphonso Johnson and other great players.


FBPO: How do you think growing up in Chicago influenced you, musically?


FR: I was born in Chicago, but grew up in Hammond, Indiana and then Gary, Indiana. I was always playing some instrument or another for as long as I can remember. I had groups where I showed all the members, including my brothers, how to play their instruments – guitar, bass or drums. I do believe playing guitar gave me a sense of melody while drums gave me a sense of time. I incorporate both of them into my bass playing today. I know a lot of bass players who played drums first and they all say it added to their overall musicianship.


I had great musician friends in Gary, like pianist Billy Foster, guitarists Henry Johnson and Larry Campbell and drummers Roberts Gates and Lannie Turner. There was a bass player from Gary named Johnny Red who could play "Teen Town" way before anyone else in the neighborhood could.


I played with some well-known artists through my connection with Bill Foster. They included Dee Clark, Dee Dee Warwick, the Spaniels and lots of others. Later, moving back to Chicago, I started playing with people like Ken Chaney and Henry Johnson. I met all my friends from Miles Davis’ band at Terry Morrisette’s house, a drummer friend. It was at Terry’s house where I met Randy Hall, Bobby Irving and Vince Wilburn. They had just done Miles Davis’ comeback album, The Man With The Horn, and they were big heroes of mine. I played that record until the grooves wore out. That meeting was very monumental to me.


I also met Darryl Jones and Richard Patterson that year. These guys are both great influences on me. Sometimes after a gig we would all go to my apartment and play bass until the wee hours of the morning. I remember Darryl being really into Victor Bailey who was playing with Steps Ahead at the time.


I met Darryl after filling in for him in the band Windsong, when he got sick one night and he couldn't make the gig. A few weeks after that, Darryl got the call from Miles Davis. And the rest is history.


I met Richard Patterson when he was playing with Chicago pianist, Ken Chaney. Richard went on the road and recommended me as his replacement in Ken Chaney's group, in which I've been playing for over 28 years. Ken has had some of the great - For Bass Players Only - Interview by Jon Liebman

Chicago native Frank Russell has been playing bass since age 14. Throughout his illustrious career, Frank has performed with Art Porter, Freddie Hubbard, Ramsey Lewis, Ladysmith Black Mambazo, Alphonse Mouzon, Mike Wolf, Willie Pickens and many others. He has also recorded five CDs with Chicago guitarist Henry Johnson and is a past recipient of the Hennessy Best of Chicago Jazz Search. Frank’s debut CD, Covering All Basses, was released in 2005.


FBPO: Your path to the bass was a roundabout one, preceded by drums, guitar and sax. We're glad things ended up the way they did! What made you settle on the bass?


FR: I grew up in a house where some of my first memories as a child were hearing music and seeing covers of Miles Davis and John Coltrane albums on the walls. My dad, who played acoustic bass as a teenager, was a big influence on me. Mom, too, sang around the house and had quite a pleasant voice. I remember hearing her singing Shirley Bassey songs. We would visit my relatives’ homes, where music was always a big part of our gatherings. I remember being six years old and hearing Gene Chandler singing "Duke of Earl" on the radio at my grandmother's home. And all the Motown music at my aunt and uncle’s home, as they lived downstairs from us.


Around the same time, I saw the Beatles on the Ed Sullivan show and asked my dad for a guitar, which he bought for me that Christmas. I started guitar lessons soon after that. I had to practice at home while my brothers and cousins got to watch Batman! I was mad at the time, but I am grateful now. Soon after, I received a drum set, which I played until high school, along with the sax.
I had a girlfriend who was a singer in a band and their bass player quit. She knew I played guitar and asked if I could play bass. I said "Sure," not having played one before. I figured it would be easier, as there were fewer strings. Little did I know! At the age of fourteen I began my career as a bass guitarist. I have never thanked her, so I will do it now. Her name is Charlotte Gibson and she has gone on to be an Emmy Award-winning writer for the soaps. I had to learn thirty songs in about two weeks and did my first professional paid show a short time later.


I got all the albums of bass players of the day, starting with Verdine White, Larry Graham and Stanley Clarke, and immersed myself in listening to them all day. Larry was a particular favorite. I learned my slap technique from listening to him. Eventually, I discovered one of my greatest bass guitar heroes, Jaco Pastorius. I also admired Anthony Jackson, Louis Johnson, Alphonso Johnson and other great players.


FBPO: How do you think growing up in Chicago influenced you, musically?


FR: I was born in Chicago, but grew up in Hammond, Indiana and then Gary, Indiana. I was always playing some instrument or another for as long as I can remember. I had groups where I showed all the members, including my brothers, how to play their instruments – guitar, bass or drums. I do believe playing guitar gave me a sense of melody while drums gave me a sense of time. I incorporate both of them into my bass playing today. I know a lot of bass players who played drums first and they all say it added to their overall musicianship.


I had great musician friends in Gary, like pianist Billy Foster, guitarists Henry Johnson and Larry Campbell and drummers Roberts Gates and Lannie Turner. There was a bass player from Gary named Johnny Red who could play "Teen Town" way before anyone else in the neighborhood could.


I played with some well-known artists through my connection with Bill Foster. They included Dee Clark, Dee Dee Warwick, the Spaniels and lots of others. Later, moving back to Chicago, I started playing with people like Ken Chaney and Henry Johnson. I met all my friends from Miles Davis’ band at Terry Morrisette’s house, a drummer friend. It was at Terry’s house where I met Randy Hall, Bobby Irving and Vince Wilburn. They had just done Miles Davis’ comeback album, The Man With The Horn, and they were big heroes of mine. I played that record until the grooves wore out. That meeting was very monumental to me.


I also met Darryl Jones and Richard Patterson that year. These guys are both great influences on me. Sometimes after a gig we would all go to my apartment and play bass until the wee hours of the morning. I remember Darryl being really into Victor Bailey who was playing with Steps Ahead at the time.


I met Darryl after filling in for him in the band Windsong, when he got sick one night and he couldn't make the gig. A few weeks after that, Darryl got the call from Miles Davis. And the rest is history.


I met Richard Patterson when he was playing with Chicago pianist, Ken Chaney. Richard went on the road and recommended me as his replacement in Ken Chaney's group, in which I've been playing for over 28 years. Ken has had some of the great - For Bass Players Only - Interview by Jon Liebman

Next time some non-bass-playing musician makes a joke about us playing nothing but 1-5-1-5 all the time, whip out a copy of Frank Russell’s Covering All Basses as a reminder – or, perhaps, a first-time lesson – in just how versatile the bass can be. Russell’s debut offering provides a mix of standards and originals, highlighting the first-call Chicagoan’s diversity as a bass player. His command of the slapping technique, fretless and acoustic bass guitar is well documented in this collection that includes pop rock, latin, 70s-style funk, straight-ahead swing -- even a waltz. After one listen, it becomes clear that Covering All Basses is appropriately titled.

One of the real beauties of this collection is how smoothly it all flows, despite the variety of the selections. Surrounding himself with an “A” band helps Russell add to this consistency. Frank’s long-time associate, guitarist Henry Johnson, plays on most of the tunes, along with keyboardists Bob Long and Mike Logan and drummers Robert Gates and Ernie Adams.

Russell proves skillful at upper-range solos and melodies, as in the CDs opener, “Georgy Porgy” and demonstrates strong fretless ability on Chick Corea’s “500 Miles High” and the classic jazz standard, “Someday My Prince Will Come.” Herbie Hancock’s “Butterfly” is one of several smooth-sounding quartet pieces on the disk, comprised of piano, guitar, bass and drums. “Ladysmith Parade” is a short interlude tribute to the South African singing group, Ladysmith Black Mambazo, with whom Frank performed for six years.

Russell provides two original compositions on the album. The first is “Future Excursions,” which he co-wrote with Johnson, and features Frank’s lead and fretless bass playing. The second is “Pretty As A Roz,” an easy groove, beautifully rendered with Frank’s lead bass melodies and solos.

A sequence of jazz standards follows, beginning with “Poinciana,” featuring Johnson’s exquisite guitar and Logan’s lush string accompaniment. The Miles Davis/Victor Feldman classic “Seven Steps to Heaven,” featuring Ari Brown on saxophone and Ken Chaney on piano, is a straight-ahead, hard-swinging arrangement, with Frank laying it down on acoustic bass guitar and Greg Rockingham on the drums. The same band plays on “Prince” (sans Brown) and the Benny Golson classic, “Whisper Not.” The Antonio Carlos Jobim standard, “Quiet Nights of Quiet Stars,” showcases Frank’s lead and acoustic bass guitar, once again accented by Mike Logan’s strings, as well as Ernie Adams’ percussion.

The album concludes with Herbie Hancock’s “Sly,” from his ’70s funk Headhunters LP, featuring both fretless and an extended slap bass solo, along with the signature 1970s Fender Rhodes, supplied by Bob Long. This tune, which also includes a beautiful guitar solo from Johnson, truly captures the essence of the genre and makes for a strong closer.

Covering All Basses is not only educational for bass players who want to hear the “right” way to groove in every style, but it’s an enjoyable recording with great tunes and great playing. Give it a try!

Review by Jon Liebman
- For Bass Players Only - Review by Jon Liebman

Next time some non-bass-playing musician makes a joke about us playing nothing but 1-5-1-5 all the time, whip out a copy of Frank Russell’s Covering All Basses as a reminder – or, perhaps, a first-time lesson – in just how versatile the bass can be. Russell’s debut offering provides a mix of standards and originals, highlighting the first-call Chicagoan’s diversity as a bass player. His command of the slapping technique, fretless and acoustic bass guitar is well documented in this collection that includes pop rock, latin, 70s-style funk, straight-ahead swing -- even a waltz. After one listen, it becomes clear that Covering All Basses is appropriately titled.

One of the real beauties of this collection is how smoothly it all flows, despite the variety of the selections. Surrounding himself with an “A” band helps Russell add to this consistency. Frank’s long-time associate, guitarist Henry Johnson, plays on most of the tunes, along with keyboardists Bob Long and Mike Logan and drummers Robert Gates and Ernie Adams.

Russell proves skillful at upper-range solos and melodies, as in the CDs opener, “Georgy Porgy” and demonstrates strong fretless ability on Chick Corea’s “500 Miles High” and the classic jazz standard, “Someday My Prince Will Come.” Herbie Hancock’s “Butterfly” is one of several smooth-sounding quartet pieces on the disk, comprised of piano, guitar, bass and drums. “Ladysmith Parade” is a short interlude tribute to the South African singing group, Ladysmith Black Mambazo, with whom Frank performed for six years.

Russell provides two original compositions on the album. The first is “Future Excursions,” which he co-wrote with Johnson, and features Frank’s lead and fretless bass playing. The second is “Pretty As A Roz,” an easy groove, beautifully rendered with Frank’s lead bass melodies and solos.

A sequence of jazz standards follows, beginning with “Poinciana,” featuring Johnson’s exquisite guitar and Logan’s lush string accompaniment. The Miles Davis/Victor Feldman classic “Seven Steps to Heaven,” featuring Ari Brown on saxophone and Ken Chaney on piano, is a straight-ahead, hard-swinging arrangement, with Frank laying it down on acoustic bass guitar and Greg Rockingham on the drums. The same band plays on “Prince” (sans Brown) and the Benny Golson classic, “Whisper Not.” The Antonio Carlos Jobim standard, “Quiet Nights of Quiet Stars,” showcases Frank’s lead and acoustic bass guitar, once again accented by Mike Logan’s strings, as well as Ernie Adams’ percussion.

The album concludes with Herbie Hancock’s “Sly,” from his ’70s funk Headhunters LP, featuring both fretless and an extended slap bass solo, along with the signature 1970s Fender Rhodes, supplied by Bob Long. This tune, which also includes a beautiful guitar solo from Johnson, truly captures the essence of the genre and makes for a strong closer.

Covering All Basses is not only educational for bass players who want to hear the “right” way to groove in every style, but it’s an enjoyable recording with great tunes and great playing. Give it a try!

Review by Jon Liebman
- For Bass Players Only - Review by Jon Liebman

Frank is a longtime friend and I was excited to hear of his solo record debut. He draws on all of the positive elements of the Chicago music scene without falling into any local limitations. The tracks groove heavily with the assistance of his solid bass lines. The arrangements are fresh and well chosen to highlight his inventive melodic approach and lyrical solos. He references the soulfulness of the blues along with the edge of the urban landscape both of which we were lucky enough to have as our part developmental proving ground. I'm delighted but not surprised by this stellar effort from Frank. I can't wait to hear what he comes up with next!

---Darryl Jones--- - Darryl Jones

Stanley Clarke, Brian Bromberg, Gerald Veasley: Is there something special about bassist that make them great leaders for smooth jazz records? Consider adding Chicago's Frank Russell to that list. Russell's tasteful, horn- like solos, played on fretted and fretless basses, sing over his thick groves. The vibe is smooth, and the playing is anything but boring"

---Greg Olwell--- - Bass Player Magazine

Jaco Pastorius, Stanley Clarke, Marcus Miller and Darryl Jones are known as the greatest bass player on the planet. With your debut release you have joined their ranks in all areas except mass notoriety, which is forthcoming as long as you keep on covering all “bassist.” By focusing your prowess as a composer (music painter) and interpreter of other works, you have created the perfect vehicle to contextually express your special brand of lyricism and melodic sensitivity juxtaposed with raw “groove-ology” and well-informed swing. I don’t envy your challenge to out do yourself on the next CD; nevertheless I am confident that you will make sure that you are “Covering All Basses.”

---Robert Irving III, Musical Director / Keyboardist for Miles Davis, 1983 – 1988--- - Robert Irving III

Frank Russell, master bassist and master bandleader, continues to impress this writer with his leadership and outright ability to front a contemporary jazz band with his varied array of guitars. He also demonstrates his intelligence evident by the ace band mates he surrounds himself with. On this evening, he assembled a top notch group of Chicago musicians who are leaders in their own right. It's amazing how Russell is capable of producing such different sounds with his arsenal of string instruments.

---James Walker, Jr., Jazzchicago.net---
- Jazzchicago.net

Frank Russell really lives-up to the title of this very first CD “Covering All Basses” recently released under his name. Russell is the Hammond Bishop Noll High alum (’75) who has become a critically acclaimed bassist. Russell does literally cover all basses-acoustics, fretless and 4 and 5 string electric instruments while moving with ease (covering all basses) thru traditional, urban and Latin jazz arrangement. His sensational work on 5 string electric bass compares to that of a guitarist to the point of being superb and that reveals a fluid creativity not commonly found among most bass players.

---Chuck Deggans, The Gary Crusader---
- The Gary Crusader

Jazz radio programmers, here you have a gem, The CD, “Covering All Basses,” is an excellent collection of warm contemporary jazz comparable in tone to acoustic jazz. Frank Russell is one of the greatest of a generation of Chicago electric bass players. On his light years over due debut recording Frank has created an album of the real deal Chicago-style contemporary jazz. Frank plays in the pocket, on time, push to groove, magnificent tone electric bass. For the complete Frank Russell experience, see him live, he is one of the escapees from Monster Bass Island.

---Dave Freeman, Jazz DJ, Record Producer & Writer---
- Liner Notes

Frank Russell, master bassist and master bandleader, continues to impress this writer with his leadership and outright ability to front a contemporary jazz band with his varied array of guitars. He also demonstrates his intelligence evident by the ace band mates he surrounds himself with. On this evening, he assembled a top notch group of Chicago musicians who are leaders in their own right. It's amazing how Russell is capable of producing such different sounds with his arsenal of string instruments.

---James Walker, Jr., Jazzchicago.net---
- Jazzchicago.net