George Braith - The Complete George Braith Bluenote Sessions (2-Disc set)

The use of multiphonics in jazz has been mastered by very few players, and while at times shrill and thin, can be enlivening and exciting. Rahsaan Roland Kirk and Albert Mangelsdorff set the gold standard, while several trumpeters like Rayse Biggs and Corey Wilkes have tried it with two brass instruments, and contemporary saxophonist Jeff Coffin gives it ago. George Braith holds a singularly unique place in the pantheon of these stylistas, following the path of Kirk in playing two saxophones while combining bop and soul-jazz. This set represents the complete works of Braith on Blue Note in 1963 and 1964 from the albums Two Souls in One, Soul Stream, and Extension. While a consistently satisfying set, it does take some orientation and a bit of patience warming up to the duality presented on a combination of soprano, alto, straight alto aka the stritch, and tenor sax. The brilliant guitarist Grant Green and Braith's high school classmate Billy Gardner on the Hammond B-3 organ are heard throughout, with three different drummers per album. Braith wrote the bulk of the material, with an occasional cover or traditional song tossed in for good measure. Because of the uneven level of song choices overall, there are definitive standout cuts, but the Two Souls in One recording features the great drummer Donald Bailey, and that factor alone lifts the first five tracks. Theoretically, doing "Mary Ann" and "Mary Had a Little Lamb" brings the session down to a childish level. A unique version on alto only of the choppy, Latin shaded "Poinciana," the original light waltz "Home Street" with the dual horns agreeably merging together, and the 13 1/2 minute soprano sax jam "Braith-A-Way" lifts the cache of Braith's music. Hugh Walker on the drum kit stokes the rhythms for Soul Stream, six cuts that range from a stealth, slinky variation of "The Man I Love" (dedicated to assassinated Pres. John F. Kennedy,) the spatial ballad title track, the hot bop "Boop Bop Bing Bash" with Braith's woodwinds a tad bleating, and the Spanish castanet flavored traditional "Billy Told," adapted from the "William Tell Overture." Finally Clarence Johnston is the drummer on the final six selections, all originals save for a bop take of the Cole Porter standard "Ev'ry Time We Say Goodbye," which closely foreshadows the style of Kirk. Braith adopts a lilting quality for the spirit waltz "Nut City," paraphrases Dizzy Gillespie and Gil Fuller's "Things to Come" on "Extension," while Johnston proffers the perfect small shuffle beat on "Sweetville." "Out Here" is the most fun and playful tune of the entire collection, using pedal point start-stops, shifting bop lines, and tangents that stream out of the nimble beat. Grant Green is the true star here at a time where he was ultimately empowered as a sideman, and special attention must be given to the obscure but cozy and talented Gardner. Where the saxophonist's personal sound may not universally appeal to all, his style next to Kirk compares favorably. One of the truly lost figures of modern jazz, George Braith deserves a revisit, and this complete compilation is quite worthy of more attention as the years go passing by. ~Michael G. Nastos

Album: The Complete George Braith Bluenote Sessions (Disc 1)

Bitrate: 320K/s

Time: 57:19

Size: 131.2 MB

Styles: Post bop, Saxophone jazz

Year: 2000

[ 7:28] 1. Mary Ann

[ 6:54] 2. Home Street

[ 6:13] 3. Poinciana

[ 6:54] 4. Mary Had A Little Lamb

[13:25] 5. Braitth-A-Way

[ 5:22] 6. The Man I Love

[ 7:50] 7. Outside Around The Corner

[ 3:10] 8. Soul Stream

---

Album: The Complete George Braith Bluenote Sessions (Disc 2)

Bitrate: 320K/s

Time: 56:38

Size: 129.6 MB

Styles: Post bop, Saxophone jazz

Year: 2000

Art: Front

[6:20] 1. Boop Bop Bing Bash

[7:49] 2. Billy Told

[5:19] 3. Jo Anne

[5:52] 4. Nut City

[7:18] 5. Ethlyn's Love

[6:55] 6. Out Here

[6:35] 7. Extension

[5:59] 8. Sweetville

[4:27] 9. Eve'ry Time We Say Goodbye

The Complete George Braith Bluenote Sessions Disc 1, Disc 2                  

---

Paquito D'Rivera - Spice It Up!

Bitrate: 320K/s
Time: 66:21
Size: 151.9 MB
Styles: Afro-Cuban jazz
Year: 2001
Art: Front

[3:32] 1. Chucho
[6:33] 2. Havana Cafe
[4:38] 3. The Peanut Vendor
[5:49] 4. A Night In Tunisia
[3:54] 5. Mambo A La Kenton
[5:04] 6. Echale Salsita
[4:18] 7. Drume Negrita
[5:29] 8. Tropicana Nights
[5:58] 9. Who's Smoking
[5:29] 10. Tico Tico
[5:04] 11. Portraits Of Cuba
[0:48] 12. Excerpt From 'aires Tropicales'
[5:42] 13. What Are You Doing Tomorrow Night
[3:57] 14. A Mi Que El Manisero

"I'm impressed anew ... by the technical and emotional equipoise of Paquito's alto, soprano, and clarinet improvisations: his lyric focus and fierce rhythmic drive, the ease of execution in navigating complex harmonic changes, the dancing undercurrent of South America and the Caribbean, the complex chromatic elisions and bluesy grooves of swing and bop, the steely articulation and dynamic control of a classically-trained saxophonist. I'm actually kind of stunned." ~Chip Stein

Spice It Up!

---

Frank Wess & Johnny Coles - Two At The Top (2-Disc set)

Collectors have eagerly anticipated the reissue of Uptown's jazz LPs from the 1980s, as they inevitably add valuable material from the original sessions, period photos, and expanded liner notes. Long one of Wess' favorite records as a leader, Two at the Top is one of the label's finest releases, a session pairing Frank Wess and the unjustly neglected Johnny Coles, accompanied by a potent rhythm section consisting of pianist Kenny Barron, bassist Reggie Johnson, and drummer Kenny Washington. Don Sickler contributed the superb arrangements, with the session focusing primarily on songs by jazz greats who came of age between the '40s and early '60s: Bud Powell, Tadd Dameron, Gigi Gryce, Kenny Dorham, and Benny Golson. Coles is afire in the brisk setting of Dorham's "Whistle Stop," with Barron's intricate solo immediately following him. Powell's "Celia" has tended to be overlooked because the pianist wrote so many memorable songs, but the band makes the most of this hidden gem, a sauntering performance showcasing Barron in bop mode. Wess is heard on alto sax in Gryce's "Nica's Tempo," taking charge with a spirited, driving solo. There's a tense Afro-Cuban undercurrent suggestive of Dizzy Gillespie in the introduction to Gryce's "Minority," long a jam session favorite, in which Coles and Wess (on alto sax) play with gusto. Dameron's "A Blue Time" is another under-appreciated gem by a prolific composer, where the co-leaders blend perfectly in the ensembles and add sparkling solos as well. The sole standard is a subdued, emotional scoring of Harold Arlen's "Ill Wind." There are five bonus tracks from the 1983 sessions, all first takes of songs featured on the original record, none of which are flawed.

The entire hour of music on disc two is previously unissued, coming from a well-preserved 1988 radio broadcast recorded live at Yoshi's in Oakland, California. Wess and Coles are joined by pianist Smith Dobson, bassist Larry Grenadier, and drummer Donald "Duck" Bailey. Since it is a live gig, there is plenty of time for extended improvisations, including a blistering take of Sam Jones' "One for Amos" that showcases Wess' strong chops on flute, followed by Coles' expressive trumpet, buoyed by the in-the-pocket rhythm section. Coles sits out Wess' "If You Can't Call, Don't Come," a slow ballad with a bittersweet air which the composer conveys effectively on tenor sax. The extended workout of "Minority" is another treasure from the broadcast, as is Buddy Montgomery's less well-known "Blues for David," a rollicking finale to this valuable 1988 Yoshi's set, and a terrific bonus to the expanded reissue of Two at the Top. ~Ken Dryden

Album: Two At The Top (Disc 1)
Bitrate: 320K/s
Time: 77:14
Size: 176.8 MB
Styles: Mainstream jazz
Year: 2012

[5:58] 1. Whistle Stop
[5:33] 2. Morning Star
[4:59] 3. Celia
[6:37] 4. Nica's Tempo
[5:44] 5. Minority
[6:31] 6. Ill Wind
[6:08] 7. Stablemates
[4:15] 8. An Oscar For Oscar
[6:48] 9. A Blue Time
[4:16] 10. An Oscar For Oscar (Take One)
[5:01] 11. Stablemates (Take One)
[5:05] 12. Minority (Take One)
[4:36] 13. Whistle Stop (Take One)
[5:36] 14. Morning Star (Take One)

Two At The Top (Disc 1)

---

Album: Two At The Top (Disc 2)
Bitrate: 320K/s
Time: 60:14
Size: 137.9 MB
Styles: Mainstream jazz
Year: 2012
Art: Front

[14:37] 1. One For Amos (Live)
[ 9:25] 2. If You Can't Call, Don't Come (Live)
[ 9:03] 3. Morning Star (Live)
[12:09] 4. Minority (Live)
[14:57] 5. Blues For David (Live)

Two At The Top (Disc 2)

---

Deborah Brown & The Eric Ineke Jazzxpress - For The Love Of Ivie

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 52:28
Size: 120,8 MB
Art: Front

(5:59)  1. Mood Indigo
(5:29)  2. My Old Flame
(3:37)  3. I'm Checkin' Out, Goom-Bye
(3:07)  4. Stormy Weather
(3:16)  5. It Don't Mean A Thing (If It Ain't Got That Swing)
(7:09)  6. Your Love Has Faded
(4:13)  7. I'm Satisfied
(3:19)  8. Solitude
(3:17)  9. Black Beauty
(3:30) 10. It Was A Sad Night In Harlem
(4:11) 11. All God's Chillun
(5:16) 12. I Got It Bad And That Ain't Good

Ivie Anderson was Duke Ellington's mainstay singer from 1931 to 1942, melding the depth of Billie Holiday with the sophisticated attitude of Lena Horne. Deborah Brown is one of the finest modern jazz vocalists ever to grace live venues and recording studios. In common with Anderson, she is a musician's vocalist, having played with the likes of Slide Hampton, Cedar Walton, Clark Terry, Johnny Griffin, Michel Legrand, Toots Thielemans and Roy Hargrove, amply showing the respect in which she is regarded by the players, as well as her great adaptability. With For The Love Of Ivie , Brown takes Anderson's repertoire in a modern direction swinging, scatting, and crooning with a group of outstanding European musicians, its core consisting of drummer Eric Ineke's Jazz Xpress, one of the continent's best groups. Well-recorded and mastered, with sensitive and responsive instrumentalists, the recording tastefully transcends Anderson and the Duke, mirroring the many moods and idioms of jazz, from blues, Latin and swing to bebop and beyond, with Brown delivering her typically disciplined yet lively and swinging interpretations. 

Few singers, if any, can match her unwavering precision, timing, vocal technique, and synchronization. Throughout this album, she sings intelligently, with resonant voice, and controlled expression of emotion, backed up with lively accompaniment and solos that pleasingly frame Brown's voice. It's all together a moveable jazz songfest.In addition to the Ellington classics like "Mood Indigo," "It Don't Mean a Thing if it Ain't Got That Swing," and "I Got It Bad and That Ain't Good," the album includes Billy Strayhorn's "Your Love Has Faded," featuring superb trombone work by Bart Van Lier, and standards like "My Old Flame" and "Stormy Weather." An instrumental version of Ellington's "Black Beauty" shows off the sidemen's talents, while Brown's artful rendition of the lovely blues-oriented ballad, "It Was a Sad Night in Harlem," is a dark horse number. 

Brown grew up in Kansas City (where she now resides), spent time in New Orleans, and was later based in Holland, where she mentored students such as JD Walter. Harking back to the days of swing and bebop, this album reflects Brown's KC roots enhanced by the European experience. Topping off the album's high quality are excellent liner notes, session photographs, and a precious photograph of Ellington and Anderson with band members, at what appears to be a train station in The Hague, Netherlands. A great way to listen to this album is to pair it off with Ivie Anderson with Duke Ellington and His Famous Orchestra (EPM, 1996). In particular, Anderson's melancholic version of "Mood Indigo" includes a signature solo by Ben Webster, and contrasts sharply with Brown's Latin-spiced rendition. It's also fun to contemplate which of them merits the seven-second exclamation, "That's the Version!" which Brown tacked onto her CD. ~ Victor L.Schermer  http://www.allaboutjazz.com/for-the-love-of-ivie-a-tribute-to-ivie-anderson-deborah-brown-challenge-records-review-by-victor-l-schermer.php#.U-6wkmNryKI
 

Personnel: Deborah Brown: vocals, piano; Benjamin Herman: alto saxophone; Bart Van Lier: trombone; Sjoerd Dijkhuizen: clarinet, bass clarinet, tenor saxophone, baritone saxophone; Rik Mol: trumpet, flugelhorn; Rob Van Bavel: piano; Eric Ineke: drums, cymbals, percussion.

For The Love Of Ivie

---

Dave Santoro - The New Standard

Styles: Straight-ahead/Mainstream,Jazz
Year: 2001
File: MP3@320K/s
Time: 68:12
Size: 156,7 MB
Art: Front

(10:11)  1. I've Never Been In Love Before
( 7:16)  2. I Remember You
(12:35)  3. Witchcraft
( 7:35)  4. All Of You
( 9:04)  5. How About You
( 7:51)  6. Let's Pretend
( 6:39)  7. You're Too Marvelous For Words
( 6:56)  8. The Best Thing For You

Bassist Dave Santoro has formed a "standards" quartet that effectively expands the philosophy of Keith Jarrett's Standards Trio. Jarrett, along with drummer Jack DeJohnette and bassist Gary Peacock represent a "standards" unit, reinterpreting the great American songbook. They have had the market cornered in performing standards for the last 20 years. Santoro makes this concept one better with the addition of tenor saxophonist Jerry Bergonzi, who is charged with reharmonizing the same American Songbook. This has resulted in three recordings for Double-Time Records, of which The New Standard is the third. Dave Santoro has had a long relationship with Jerry Bergonzi, beginning their respective standards love affair on Bergonzi's Blue Note release, Standard Gonz (96256, 1989). This was followed up in 1999 with The Dave Santoro Standards Band (Double Time Records, 151) and with The Dave Santoro Standards Band II (Double Time Records, 165, 2000). The former of these recordings offers a vastly reharmonized "On Green Dolphin Street" that was to set the stage for the next two recordings. The present recording contains eight blissfully realized standards, none of which clock in at less than six minutes. 

The band has a casual, well-practiced swing, making their collective musicality sound easy. This recording sounds the least like a bassist-led affair than any other I have recently heard. Part of the reason for this is the relatively little soloing Santoro performs and the large amount of space the leader affords Bergonzi and pianist Chicco. Both men sound fresh and bright, choosing all of there notes intelligently and dynamically. Bergonzi, whose tone has long associated with a substantial Coltrane influence, proves down right lyrical in a full-throated sort of way that makes his playing more attractive than that of the master. The two lengthiest pieces, "I've Never Been in Love Before" and "Witchcraft" provide copious example of the piano-tenor intuition in this band. Santoro purrs slightly behind the beat, giving the music a hesitant momentum that is thick and dense. 

Drummer Tom Melito plays the dozens with his band members by trading eights with them and never giving an inch. In cooperation with Santoro, Melito propels the group in a sure and stalwart manner. Santoro's solos, when he takes them, are lyrical with no wasted notes. He does not over play. Tasteful harmonics and a sure time characterize Santoro's playing, illustrating his smart but homespun approach. His choice of material also betrays his common intelligence. The New Standard is thoroughly satisfying. It is a down the middle-of- the-road treat. ~ C.Michael Bailey  http://www.allaboutjazz.com/the-new-standard-dave-santoro-double-time-jazz-review-by-c-michael-bailey__14775.php#.U-6j6mNryKI

Personnel: Dave Santoro: Bass; Jerry Bergonzi: Tenor Saxophone; Renato Chicco: Piano; Tom Melito: Drums.

The New Standard

---

Clifford Brown - The Definitive Clifford Brown

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 75:58
Size: 174,4 MB
Art: Front

(3:40)  1. Easy Living
(6:57)  2. Wee Dot
(7:43)  3. Jordu
(7:38)  4. I Get A Kick Out Of You
(6:48)  5. Joy Spring
(4:01)  6. Daahoud
(5:21)  7. I've Got You Under My Skin
(4:09)  8. He's My Guy
(5:14)  9. Born To Be Blue
(3:22) 10. Stardust
(5:43) 11. Cherokee
(9:12) 12. I'll Remember April
(6:04) 13. The Scene Is Clean

Trumpeter Clifford Brown had a brief career. He started playing jazz in the late '40s but was killed in a car accident in 1956 (along with pianist Richie Powell, younger brother of Bud). In that short time his interest in expanding the bebop medium is apparent on The Definitive Clifford Brown. Several of the legendary hard bop quintet sides he recorded with Max Roach for Emarcy are featured as well as his warm tone mixing beautifully with string arrangements and backing up vocalists Helen Merrill, Dinah Washington, and Sarah Vaughan. The Definitive Clifford Brown is a well rounded introduction providing a glimpse into the full spectrum of a career cut tragically short. ~ Al Campbell  http://www.allmusic.com/album/the-definitive-clifford-brown-mw0000223919

Personnel: Clifford Brown (trumpet); Dinah Washington, Helen Merrill, Sarah Vaughan (vocals); Barry Galbraith (guitar); Gigi Gryce (flute, alto saxophone); Herbie Mann (flute); Herb Geller, Lou Donaldson (alto saxophone); Harold Land, Paul Quinichette, Sonny Rollins, Charlie Rouse (tenor saxophone); Danny Bank (baritone saxophone); Clark Terry, Maynard Ferguson (trumpet); John Richard Lewis, Horace Silver, Jimmy Jones , Junior Mance, Richie Powell (piano); Max Roach, Osie Johnson, Roy Haynes, Art Blakey (drums).

The Definitive Clifford Brown

---

Claudio Roditi - Milestones

Styles: Hard bop, Jazz
Year: 1992
File: MP3@320K/s
Time: 69:28
Size: 159,4 MB
Art: Front

(10:41)  1. Milestones
(12:57)  2. I'll Remember April
(14:06)  3. But Not For Me
( 9:27)  4. Pent-Up House
(10:58)  5. Brussels in the Rain
(11:16)  6. Mr. P.C.

There aren't many trumpeters around more animated and energetic than Claudio Roditi. His searing solos and equally fiery accompaniment have been featured in several bands, and he takes center stage on Milestones. Besides his solos, the disc has some first-rate songs and an even better group. Alto saxophonist Paquito D'Rivera, pianist Kenny Barron, bassist Ray Drummond, and drummer Ben Riley would constitute a great band by themselves, and are no less playing with Roditi. ~ Ron Wynn  http://www.allmusic.com/album/milestones-mw0000092275

Personnel: Claudio Roditi (flugelhorn); Kenny Barron (piano); Ray Drummond (bass guitar); Ben Riley (drums); Paquito d'Rivera (alto saxophone).

Milestones

---