Artist:     Jerry Vivino

Album:     Coast to Coast

Label:     BluJazz

Release Date:     5.22.2018

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Every so often Jerry Vivino likes to step away from his late night TV role in Conan O’Brien’s band to make a jazz album. While Jerry is lesser known than his bandleading brother Jimmy, he is every bit as versatile across genres,but loves his opportunities to play straight-ahead jazz, as he does here on Coast to Coast. The title is completely apropos, as the New Jersey born-and-raised Vivinos made their reputation in and around New York, but due to their long-running TV gig, have spent the last decade on the West Coast. So, in keeping with the title, Jerry has split the album selections essentially in half, featuring players from both coasts.

Vivino either wrote or co-wrote seven of these ten tunes, choosing also to cover a few standards. The catalyst for the album was a conversation that Vivino had with 91 year old jazz guitar legend Bucky Pizzarelli, who grew up with Vivino’s dad, Jerry Sr., and whose son Martin Pizzarelli works with Vivino as a bassist. Bucky wanted to record, so they did two of Bucky’s favorite standards, “Body and Soul” and “Honeysuckle Rose.” They also recorded a Vivino original entitled “Paterson,” the birthplace of both families. Martin plays bass and long-time Vivino cohorts Ken Levinsky (piano) and Karl Latham (drums) round out the quintet. As you listen to Vivino’s full-bodied tenor tone, it’s reminiscent of Hank Mobley, and on some of the other West Coast tracks, shades of both Dexter Gordon and Stand Getz. The fourth East Coast tune was co-written with Vivino’s daughter Natalia and Levinsky, originally as a pop ballad, here transformed into a jazz waltz, with Vivino on soprano sax and Mark Sganga on guitar.

Vivino has a regular spot at L.A.’s jazz club The Baked Potato, and that, together with his high-profile TV gig enables him to play with many West Coast players. Pianist Andy Langham wrote two with Vivino, the opening title track and one called “Spud Time,” both straight-ahead tunes with typical West Coast swing, and featuring John Leftwich (bass), Bernie Dresel (drums), and Ron Stout (trumpet). This same unit also complements Vivino on his original tune “Sam I Am,” paying homage to saxophonist Sam Butera and Jerry Vivino’s friend Sam Arroyo. It’s more in the bop mode, with Vivino indicating that he borrowed the changes to Bird’s “Donna Lee.” The other West Coast tune came about rather accidentally, whens Vivino was visiting L.A. pianist Mitch Forman. Bassist Kevin Axt happened to be present, so they recorded “Here’s That Rainy Day” with Vivino on alto flute. Again, Vivino’s tone is full and beautiful.

At this point there were four tracks from each coast and four different groups playing. Thinking about how blessed he was to be among so many talented players, Vivino couldn’t help but think back to some other stalwarts he played with. He revisited sessions he cut with late trumpeter Lew Soloff (Blood Sweat & Tears) in the 2007/2008 period. Two tracks were pulled from Vivino’s archives, remixed and renamed as “Lew’s Blues” and Category-5,” with familiar New York-based players Brian Charette (piano), Kermit Driscoll (bass), and Shawn Pelton (drums). If you listen to only one track on this album, don’t miss Soloff’s explosive entrance and solo on “Lew’s Blues.”

If you were expecting R&B, blues, or other variations on the Vivino sound then look elsewhere. This is thoughtful, pure straight ahead jazz that stays true throughout.

—Jim Hynes