Wednesday, April 8, 2015

Richard Williams & Leo Wright Quintets - New Horn In Town + Blues Shout

Bitrate: MP3@320K/s
Time: 62:07
Size: 142.2 MB
Styles: Trumpet jazz, Saxophone jazz
Year: 2012
Art: Front

[6:16] 1. I Can Dream Can't I
[6:25] 2. I Remember Clifford
[4:58] 3. Ferris Wheel
[4:45] 4. Roucous Notes
[4:37] 5. Blues In Quandary
[8:43] 6. Over The Rainbow
[5:27] 7. Renita's Bounce
[5:00] 8. Blues Shout
[5:22] 9. A Night In Tunisia
[4:40] 10. The Wind
[5:51] 11. Two Moods

Tracks #1-7 are from the album “New Horn in Town” (Candid Stereo 9003). Recorded at Nola Penthouse Sound Studio, New York City, on November 19, 1960: Richard Williams, trumpet; Leo Wright, alto sax, flute, Richard Wyands, piano; Reggie Workman, bass; Bobby Thomas, drums.

Tracks #8-11 are taken from the album “Blues Shout” (Atlantic SD1358). Recorded in New York City, on May 25, 1960. Richard Williams, trumpet; Leo Wright, alto sax, Junior Mance, piano; Art Davis, bass; and Charlie Persip, drums. Gigi Gryce, arranger.

This CD features the leader recording premieres of trumpeter Richard Williams and reedman Leo Wright, whose emergence created quite a stir on the late Fifties jazz scene. Both played on each other’s debuts. Williams, whose power, range and ideas had impressed hugely with the Oliver Nelson and Gigi Gryce groups, made his expected appearance as leader with “New Horn in Town”, while Wright, whose direct, exciting alto and flute were showcased when he joined Dizzy Gillespie’s quintet in 1959, debuted with “Blues Shout”. Both were made in 1960 and fulfilled expectations of two rising young talents.

In these quintet sessions Williams displays his capacity for explosive and inventive playing, with the scope, sweep, conception, technique and the versatility of an assured young lion. Wright’s excellence is also self-evident, regardless of instrument; his style is straight-ahead, warm and emotional, uncluttered and flowing. To complete the success of these debut sessions, both rhythm sections provide vigorous, swinging support, with pianists Richard Wyands and Junior Mance adding further solo voices idiomatically on the button.

New Horn In Town + Blues Shout                

Pat Martino - All Sides Now

Bitrate: MP3@320K/s
Time: 51:49
Size: 118.6 MB
Styles: Post bop, Guitar jazz
Year: 1997
Art: Front

[5:02] 1. Too High
[5:52] 2. Two Of A Kind
[5:34] 3. Progression
[4:42] 4. I'm Confessin' (That I Love You)
[3:09] 5. Ellipsis
[3:53] 6. Both Sides Now
[7:46] 7. Ayako
[5:14] 8. Two Days Old
[7:40] 9. Outrider
[2:52] 10. Never And After

The Blue Note Records debut by guitarist extraordinaire Pat Martino is spotty at best. It is primarily a series of duets and ensemble settings with a wide array of top notch guitarists spanning different genres. This recording was co-produced by jazz/fusion critic Bill Milkowski along with Matt Resnicoff. The feeling here is that Mr. Martino had been granted a minimal amount of artistic control from the onset. What we have here is something short of a hack job!

The CD commences with the Stevie Wonder tune "Too High". Charlie Hunter provides his trademark bass/leslie guitar shtick and Martino takes care of the single note runs; therefore, dictating the melody line. All in all a harmless and uneventful rendition of this generally delightful Wonder composition. The 2nd cut, a Martino original features the master along with Tuck Andress, Andress provides some sympathetic acoustic strumming behind Martino's airy electric lead. A nice tune but altogether uninspiring. The affair procedes with a Martino original called "Progression" in essence it's a duet between Kevin Eubanks on acoustic and Martino again, on the electric. Eubanks is mixed behind Martino's over the top electric. A fairly nondescript outing with Eubanks mainly comping in the background. These two guitar greats take on the chemistry of oil and water on this cut. The styles are so distinctly opposite and the listener feels that these two are off in different directions. A forgettable tune nonetheless. "I'm Confessin'" is an effective and low key effort between Pat and Les Paul. One tune with acoustic guitarist Micheal Hedges is pleasant but Hedges remains fairly low in the mix. "Ellipsis" is a totally negligible duet between Martino and rock guitar great Joe Satriani. Satriani is in the wrong neighborhood and the song never gets off the ground. These guys sounded as though they didn't want to be there but perhaps the producer's thought it was a novel approach? Satriani opens with some heavy metal type distortion than Martino enters with his his "as expected" single note runs at this juncture Satriani reduces his playing to remedial comping in the background. This is a disaster! A huge mistake. Satriani is a gifted stylist in his own right but had no business being here. Perhaps 2 or 3 days in the studio may have produced something more meaningful but I seriously doubt it. Things proceed with Martino backing Cassandra Wilson's vocal rendition of Joni Mitchell's "Both Sides Now". Two more cuts in a quartet setting with "chops of doom" guitarist Mike Stern. "Ayako" is a Martino original and along with Stern there finally seems to be a hint of chemistry in the air. The best cut on the CD, "Outrider" again features Stern along with drummer Ben Perowsky and Scott Colley on bass. This is a fast paced cut. Martino and Stern proceed at a blistering pace. Things finally get moving and we've reached the second to last tune on the entire CD. The final cut is another abysmal duet with Satriani.

Let's hope that Pat Martino enjoys a longstanding and prosperous relationship with Blue Note. He's one of the great guitarists of our time. Unfortunately, he's not off to a good start with this poorly produced and unadventurous recording. Martino doesn't blend very well with an onslaught of guitar heroes. His voice is too distinctive on the instrument. ~Glenn Astarita

Pat Martino: guitar; Tuck Andress: guitar; Les Paul: guitar; Joe Satriani: guitar; Mike Stern: guitar; Charlie Hunter: guitar; Cassandra Wilson: vocal; and various support. Recording Date: June 1, 1996 - January 15, 1997

All Sides Now

Merle Haggard - Unforgettable

Bitrate: MP3@320K/s
Time: 40:41
Size: 93.2 MB
Styles: Country
Year: 2004
Art: Front

[3:07] 1. As Time Goes By
[3:30] 2. Gypsy
[3:02] 3. Unforgettable
[3:59] 4. Stardust
[3:18] 5. I Can't Get Started
[2:45] 6. Still Missing You
[3:21] 7. Pennies From Heaven
[3:58] 8. Cry Me A River
[3:05] 9. I'll Get By (As Long As I Have You)
[2:37] 10. You're Nobody 'til Somebody Loves You
[3:30] 11. What Love Can Do
[4:23] 12. Goin' Away Party

Merle Haggard is, as the great Duke Ellington used to say, "beyond category." Like the best, he is a genre-defying artist. There is a strong influence of both jazz and blues in Haggard's work, though it's usually labeled as country and western. For example, he phrases like a jazz singer and he features horns in his exceptional band, The Strangers—and, unlike almost all other country singers, he actually gives the band a chorus. Perhaps most importantly, he and the band swing. Like full-fledged jazz singers, Haggard phrases with the assurance of a singer who knows where the pulse is all the time.

Only now, however, as he approaches 68, has he decided to record a full set of standards from the Great American Songbook. Whereas jazz singers often search these old songs for a phrase or a melody they can elaborate and transform, Haggard lets the song do all the work; all he has to do is use his expressive voice to bring out the bruised tenderness present in most old songs, including "Stardust." In addition, he includes "As Time Goes By," and "I Can't Get Started," which are often selected by jazz-oriented singers. Haggard also swings gently through "Pennies From Heaven" (graced by Clint Strong's superb country-jazz guitar) and he brings new life to "Cry Me A River," exhibiting a world-weariness light years from Julie London's sultry original version. Haggard is not, of course, the first country artist to make this leap into standards. Willie Nelson, another C&W artist (and jazz fan), noted for his jazz phrasing, came out with his classic Stardust LP back in 1978; more recently, in 1998, country artist Lorrie Morgan, with her husky jazz timbre, released a CD titled Secret Love.

Unforgettable contains no surprises. Haggard is not stretching any envelopes, but this recording is filled with low-key piano-driven arrangements suited for a late-night smoky bar. Haggard's smooth and effortless voice, uncomplicated phrasing, and warm timbre give the lyrics a clear-headed beauty that is the hallmark of a performer with few pretensions. There are more technically gifted singers than Haggard, of course, but he does something that a lot of those technical singers cannot do, which is convey a helluva lot of truth and emotion. The key to anything touched by Haggard is honesty—whether he's explaining his sinful past in one of his own drinking and cheating songs, or breathing life into an old standard like "I'll Get By." ~Roger Crane

Joe Manuel: electric and acoustic guitar; Freddy Powers: drums, acoustic guitar; Kevin Price: cello; Joe Reed: bass; Clint Strong: electric guitar; Catherine Styron: piano; Redd Volkaert, acoustic guitar; Tony Savage: conductor, string arrangements; Terry Domingue, drums; Rose Katai, violin; Soo Kyong Kim, viola; Don Markum: saxophone, trumpet; Bruce McBeth, violin; B.B. Morse, bass; Bobby Wood, piano; Biff Adam, drums; Gary Church: trombone; Merle Haggard: electric guitar and vocals; other personnel.

Unforgettable

Hollywood Blue Flames - Road to Rio (2-Disc Set)

The Hollywood Blue Flames emerged from the smoldering embers of The Hollywood Fats Band, arguably the best young blues band to come out of the 1970s, led by guitar phenomenon Michael “Hollywood Fats” Mann. Along with bassist Larry Taylor (fresh from Canned Heat), drummer Richard Innes (ex-Rod Piazza), Lloyd Glenn protégé Fred Kaplan on piano, and featuring the multi-talented Al Blake on harmonica and vocals, Hollywood Fats almost single-handedly ignited a traditional blues revival that still echoes loudly to this day. Whenever you hear the warm retro sounds of classic Chicago blues coupled with a swinging rhythm section and tasty-but-nasty guitar, you’re hearing the legacy of the Hollywood Fats Band. Sadly, Fats passed away unexpectedly in 1986, and the band members all went on to other successful musical ventures.

The Hollywood Blue Flames / Hollywood Fats Band music contained on “Road To Rio” and “Larger Than Life” stands on its own as some of the most enjoyable blues and roots music to be released in recent memory, but with the inclusion of the previously unheard live recordings, it’s also an important and historic document of musical geniuses whose likes we will not see again.

Album: Road to Rio Disc 1
Bitrate: MP3@320K/s
Time: 54:36
Size: 125.2 MB
Styles: Contemporary blues
Year: 2006

[3:45] 1. Road to Rio
[2:44] 2. Everybondy's Blues
[3:12] 3. Coffee Grindin' Man
[4:02] 4. Steady Rollin'
[3:53] 5. Long Black Cadillac
[3:04] 6. Gumbo Grinder
[2:52] 7. Gone Away
[4:19] 8. 3rd Degree Burn
[4:37] 9. Let's Rock a While
[2:38] 10. Dr. Blake's Boogie
[3:41] 11. Black Chili Pepper
[3:19] 12. Sharpest Man in Town
[2:24] 13. Junior's Boogie Rocket
[6:16] 14. Let Me Love You
[3:43] 15. Honeydripper

thank you kempen.
Road to Rio Disc 1

Album: Road to Rio Disc 2
Bitrate: MP3@320K/s
Time: 61:55
Size: 142.0 MB
Styles: Contemporary blues
Year: 2006
Art: Full

[3:56] 1. Fats Fries One
[5:00] 2. Nasty Boogie Woogie
[4:43] 3. Baby Let's Play House
[4:06] 4. Side Tracked
[3:59] 5. Kidney Stew Blues
[5:19] 6. Cleanhead Blue
[6:45] 7. Shake, Rattle and Roll
[3:41] 8. Rockinitis
[3:37] 9. This Little Voice
[8:15] 10. Love for Sale
[6:52] 11. Boogie Woogie Blues
[5:36] 12. Motel Time

thank you kempen.
Road to Rio Disc 2

Cheryl Russell - Quiet Nights

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 48:45
Size: 111,8 MB
Art: Front

(4:11)  1. Corcovado (Quiet Nights Of Quiet Stars)
(4:30)  2. All The Things You Are
(2:57)  3. Misty
(4:44)  4. Gentle Rain
(3:50)  5. East Of The Sun (West Of The Moon)
(3:14)  6. Blue Moon
(3:33)  7. How Insensitive (Insensatez)
(5:44)  8. What Are You Doing The Rest Of Your Life
(6:13)  9. Let's Face The Music and Dance
(4:32) 10. Moon River
(5:12) 11. I Thought About You (Live)

Cheryl Russell is a graduate of the Queensland Conservatorium of Music at Griffith University, where she completed post-graduate Music Studies specialising in Vocal Pedagogy and Jazz Voice. She is a highly respected Singing Teacher and Vocal Coach working on the Gold Coast. Cheryl is also the proud owner of Gold Coast Sound City  Music Education, a highly successful music school on the Gold Coast.  http://www.reverbnation.com/cherylrussell

Cheryl Russell is a Singer and Vocal Coach from Australia whose rich warm voice delights audiences through her love of smooth, romantic jazz standards, sensual latin and bossa nova love songs and uplifting inspirational repertoire. Cheryl's voice has often been described as “smooth as silk”, “sultry & sexy”, “relaxing & intimate”. Cheryl is a graduate of the Queensland Conservatorium of Music based at Griffith University, Brisbane. Cheryl completed post-graduate Music Studies specialising in Vocal Pedagogy and Jazz Voice. For nearly ten years Cheryl has been teaching Popular Contemporary Singing from two busy studios on the Gold Coast and Hinterland. 

Cheryl is presently advancing further professional music studies at Central Queensland University. Cheryl is currently in the studio recording her debut album. This long anticipated album expresses Cheryl's love of romantic ballads from the 1930's & 40's along with some seductive Latin love songs. This blend of romance and sensuality creates a wonderfully intimate and dreamy listening experience. Perfect for lovers, and lovers of fine music.

Susanne Menzel & Klaus Ignatzek - Mariposa

Styles: Vocal And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 61:02
Size: 140,4 MB
Art: Front

(5:02)  1. Things to Dig
(5:23)  2. Mariposa
(4:18)  3. Fort, Nur Fort
(5:37)  4. Between Lines
(3:59)  5. Rain in Vain
(3:55)  6. Time Will Tell
(4:39)  7. Whats the Use
(4:39)  8. Wishing (You) Well
(5:38)  9. View from Above
(4:37) 10. Sound of the Sea
(5:16) 11. Silent Reverie
(3:26) 12. Change of Time
(4:27) 13. Lifes Clover

Daring improvisation and a variety of moods and rhythms can listen as well as and the seamless interplay between the singer and pianist. "Mariposa" which are 13 beautiful songs where the music always comes from Klaus Ignatzek and lyrics of singer Menzel were written. Sometimes trendy and catchy, sometimes profound and poetic, these pieces are created, which always sounds through the Great American Songbook. There is no question here a duo presented a work that is full of emotion and the audience touched intensive. 

Klaus Ignatzek is a virtuoso pianist and experienced the European jazz scene and can refer to a variety of phonograms. His imaginative improvisations can be heard on "Mariposa". Susanne Menzel studied among others in the US jazz singing and performed in numerous bands as guest soloist with. Just as Ignatzek she teaches at the Carl von Ossietzky University in Oldenburg. On "Mariposa" she amazes with aesthetic phrasing and her delicate timing. "Mariposa" was recorded in the MPS studio in Villingen. Translate by google  http://www.klausignatzek.de/klaus-ignatzek/mit-susanne-menzel/

Personnel:  Susanne Menzel – vocals;  Klaus Ignatzek - piano

Tim Warfield - Spherical

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 65:06
Size: 149,6 MB
Art: Front

( 8:59)  1. Blue Hawk
( 7:46)  2. Oska T
( 6:49)  3. That Old Man
( 5:48)  4. Gallop's Gallop
( 9:24)  5. Off Minor I
( 5:09)  6. Ugly Beauty
( 5:58)  7. Coming on the Hudson
(11:21)  8. Off Minor II
( 3:47)  9. 'Round Midnight

Thelonious Monk tribute albums are certainly nothing new in the jazz world. As early as 1961, Eddie "Lockjaw" Davis and Johnny Griffin recorded Lookin' at Monk and pianist Bud Powell recorded Portrait of Thelonious. Even while his career was still going strong, Monk's importance as a composer and influence on other jazz musicians was already clear. Today Monk's legendary status as one of jazz's most important figures is still clear. As far as I know, there is no hard data to back up the fact, but few jazz artists would argue with the claim that Monk is probably the most-covered jazz composer of all time. On this most recent outing, Spherical, saxophonist Tim Warfield tackles music written and inspired by Monk. With seven previous releases on the Criss Cross label and multiple appearances as a sideman, Warfield returns to the label with a cast of familiar names for his dedication to Thelonious Sphere Monk. Joining Warfield on this album is trumpet legend Eddie Henderson, making his first re-appearance on the label since 1998. 

Ben Wolfe and Clarence Penn take the bass and drums chairs, respectively. The choice of pianist is obviously an important one on any work dedicated to Monk, and Warfield could not have filled the position with a better choice than Orrin Evans. Without ever sounding like he is trying to directly emulate Monk, Evans channels the spirit and humor of his idiosyncratic playing. The album opens with Monk's slow swing blues "Bluehawk." Evans begins the soloing with a succinct but characteristic solo that centers around intervallic leaps and disjointed, crooked melodies. Warfield follows for an equally entertaining solo, creating an interesting sound between his full-bodied, Coltrane-esque tenor sound and his Monk-like stabs of melodic abstraction. Penn holds the band together, keeping constantly on top of Wolfe's rock-steady walking line while also keeping up a constant dialogue with the soloists. The second track, "Oska T" is also a standout with the band hammering out Monk's simple, but memorable melody. Here Henderson takes the first solo and shines brilliantly with plenty of playful interplay with Evans. The band presents two takes of Monk's classic "Off Minor" which move freely in very different directions after the forceful statement of the melody. The second take morphs into a feel that almost seems to channel the classic Coltrane quartet during Warfield's intense solo.

Warfield switches over to soprano for a delicate re-working of "Ugly Beauty" in which the band shows off its restraint and lyricism. Also on the delicate side of things, is the album closer, a faithful reading of "Round Midnight" that lets Warfield take the spotlight with his soulful, meaty tone and intimate vibrato. Though the idea is nothing new, the approach and treatment of this Monk tribute album is exceptional. Warfield and co. make the classic tunes their own and draw inspiration and attitude from the mentality of Monk. They approach the music with a sense of adventure and playfulness that draws the listener in and holds his attention. Fans of Monk won't be disappointed, nor will fans of any of the members of this band. ~ Andrew Luhn http://www.allaboutjazz.com/spherical-dedicated-to-thelonious-sphere-monk-tim-warfield-criss-cross-review-by-andrew-luhn.php
Personnel: Tim Warfield: Tenor sax, Soprano sax; Eddie Henderson: Trumpet; Orrin Evans: Piano; Ben Wolfe: Bass; Clarence Penn: Drums

Spherical

Whit Williams' Big Band - 'Now's The Time' Big Band

Styles: Jazz, Big Band
Year: 2008
File: MP3@320K/s
Time: 58:54
Size: 135,5 MB
Art: Front

(5:00)  1. This Is What It Is
(5:25)  2. Una Mas
(6:06)  3. I Remember Tangle
(7:49)  4. Losing Game
(6:46)  5. Without You, No Me
(4:24)  6. The Radiator Man Is Well
(6:20)  7. A Day In Copenhagen
(4:29)  8. Diana
(5:12)  9. Get Home Before Dark
(7:18) 10. Little Rootie Tootie

Here's more proof of the vitality of the regional jazz scene around this country. Veteran saxophonist and jazz educator Whit Williams began this big band in Baltimore in 1981 and over the years it has accompanied Aretha Franklin and played Ellington's "Night Creature" with the Baltimore Symphony Orchestra. Here guests Jimmy Heath (tenor sax) and Slide Hampton (trombone) also contribute four and three (respectively) of the ten charts on the CD. Tenor saxophonist Gary Thomas and alto saxophonist Charlie Young are also credited as guest soloists.

A rundown of solos by track would have been nice, but since the featured tenor sax on Heath's "Losing Game" doesn't sound like the composer or Thomas, we can assume it's Williams. The tune a kissing cousin of Harry Warren's "This Is Always" is a model of the classic big band ballad frame/showcase for a tenor saxophonist. Unless Young also plays baritone sax, the solo on Heath's Latin swinger, "This Is What It Is," credited to him in the notes, is probably also by Williams, since it shares the robust vibrato of the "Losing Game" tenor lead. Matching the quality of the guests' solos are those from the band, especially the trumpets, both the uncredited one on Williams' "I Remember Tangle" and Don Junker's on Hampton's cubistic chart of Monk's "Little Rootie Tootie."

Three of Heath's four arrangements (and one of Hampton's) have AfroLatin accents, including time shifts in and out of 4/4 swing on "Without You, No Me," all executed admirably by the big band. It sounds equally accomplished negotiating Hampton's complexities, which include bouncing ball theme tosses across sections, rhythm dropouts and extended preludes and interludes. As the Michelin Guide might say of a restaurant, worthy of a side trip to hear. ~ George Kanzler  http://www.allaboutjazz.com/featuring-slide-hampton-and-jimmy-heath-whit-williams-summit-records-review-by-george-kanzler.php
Personnel: Whit Williams: leader, composer, arranger, reeds; Don Junker, Joe Palonzo, Michael Thomas, Eli Asher: trumpet; Jimmy Battallata, Jimmy Kearns, Russel Kirk: alto sax; Howard Burns: tenor sax; Gary Thomas: tenor sax, flute; Steve Swann: baritone sax; Jay Gibble, Richard Ore, Bill Holmes: trombone; Bernie Robier: bass trombone; Charlie Etsel: piano; Earnest Barnes: bass; Harold Summey: drums. Special guests: Slide Hampton: trombone; Jimmy Heath: tenor sax; Charlie Young: alto sax.