Joe Locke & 4 Walls of Freedom - Dear Life

Styles: Vibraphone Jazz
Year: 2004
File: MP3@320K/s
Time: 57:39
Size: 132,3 MB
Art: Front

(11:07)  1. Wind in Your Willow
( 7:37)  2. Dear Life
( 5:15)  3. Cut and Paste
( 5:48)  4. Eva
( 5:52)  5. Ennui
( 6:42)  6. For B.B.
( 3:25)  7. Manhattan Rain
( 5:54)  8. Malonius
( 5:54)  9. Verrazano Moon

Following one of the most critically acclaimed records of your career can be tough; doubly so when one of the key group members has tragically passed on. Vibraphonist Joe Locke, who scored big with 2003's 4 Walls of Freedom , was faced with exactly that challenge. Between the time the album was recorded and released tenor saxophonist Bob Berg met with a tragic accident, leaving the future of the ensemble in serious question. A year later Locke has managed to retain the feel of the original band while replacing two members and deliver Dear Life , another impassioned recording of contemporary post bop.  Also gone from the group is bassist James Genus, now replaced by Ed Howard, leaving Gary Novak the only other original member; but between him and Locke they manage to maintain their signature rhythmic drive. Howard doesn't swing quite as hard as Genus, nor does Scottish saxophonist Tommy Smith burn quite as bright as Berg, but they both bring their own personalities to the project, which results in an evolution of sorts. Smith may not have the same level of energy, but he does have a robust sound that combines some of the post-Coltrane elements of players like Berg and Michael Brecker with a bit of the Nordic cool of Jan Garbarek. His playing on the opening track, "Wind In Your Willow," is the perfect confluence of these two styles. Propelled by Novak's powerful drumming, this track comes closest to approximating the sheer energy and vitality of the first release.

But just because the album doesn't have the same kind of energy as the first record doesn't mean it isn't as intense or immediate. The title track is a poignant waltz featuring the kind of memorable melody that Locke is becoming known for. Locke's mallet work places him on a level with contemporary players including Steve Nelson and Stefon Harris, but his style is more direct, with a strong and absorbing lyrical sense. Unlike the first record, which consisted only of Locke compositions, Dear Life also features some interesting choices from other writers. "Cut and Paste," a more recent Ron Carter composition, is a relatively spare structure that provides the foundation for short but fiery solos from Locke, this time using his midi vibes, and Smith; Novak, a sadly underappreciated drummer, although clearly not by this ensemble, contributes some especially strong work. Smith's contribution, "For B.B.," demonstrates a more episodic writing style than Locke's; the tune's middle section also swings harder than anything else on the record, and Howard is a strong component. With an album that manages to retain the successful elements of its predecessor while, at the same time, going in new places with a revamped line-up, Dear Life is another noteworthy effort from Locke, who seems to be constantly gaining ground as a writer, composer and bandleader. ~ John Kelman https://www.allaboutjazz.com/dear-life-joe-locke-sirocco-music-limited-review-by-john-kelman.php
 

Personnel: Joe Locke: vibes, midi vibes, marimba; Tommy Smith: tenor saxophone; Ed Howard: acoustic bass; Gary Novak: drums.

Dear Life

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Elli Fordyce - Elli Fordyce Sings Songs Spun of Gold

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 53:16
Size: 122,5 MB
Art: Front

(2:35)  1. Let's Get Lost
(5:02)  2. Desafinado
(2:45)  3. Softly, as I Leave You
(2:50)  4. A Child Is Born/Waltz for Debby
(3:12)  5. Where Do You Start?
(3:21)  6. Where Am I Going?
(2:41)  7. Pick Yourself Up
(3:40)  8. Oops!
(3:14)  9. In the Wee Small Hours
(3:16) 10. Wave
(3:22) 11. My Heart Stood Still
(4:15) 12. Everything Happens to Me
(2:21) 13. Listen Here
(3:06) 14. I'll Remember April
(2:40) 15. I'm Old Fashioned
(2:50) 16. Where or When?
(1:58) 17. Long Ago and Far Away/Out of Nowhere

Originally from Manhattan, Elli Fordyce is a highly accomplished vocalist and actor. She has performed all over the New York Metro area, other US and North American cities and nearby islands, including an appearance at the New York Cabaret Convention and in festivals. Elli also has numerous acting credits, among them: Film September 12th, TV Cappelle's Show, and Off-Off-Broadway Theatre Guys & Dolls. Prior to returning to New York in 1979, Elli left her musical journey several times. The first to devote time to family; unexpectedly, the next followed a devastating accident on a snowy highway en route to a gig when the car carrying her quartet and equipment crashed into a disabled truck in 1976. A successful year-long tour of "Elli Fordyce And Her Favorite Things" ended abruptly and left several kinds of scars. Soon after, Elli stopped singing for 15 years ("Not even ‘Happy Birthday,’ not even in the shower," she'll say) and focused firmly on much needed physical, emotional and spiritual healing. But for Elli, music was not over. A ginger-colored Yorkie puppy named Dindi (pronounced Gingy, meaning "little jewel" in Portuguese as well as the title of Elli's favorite Jobim bossa nova) brought her back. She discovered that Dindi loved hearing Elli sing the song. Inspiration renewed, Elli joined a cabaret workshop taught by the brilliant MAC-Award-winning singer/songwriter Lina Koutrakos and, soon after, came under the spell of Barry Harris, renowned jazz pianist and educator, to whom she gives much of the credit for putting her squarely back on the path meant for her, making comeback inevitable.

And back she Is! Her first CD, "Something Still Cool" (after an 8-year birthing period), was an overnight sensation, getting rave reviews. "Whatever the term means ... you know it when you hear it. And Elli Fordyce is cool! ... as implied in the title, once cool, always cool, vintage cool ... Ms. Fordyce has the spirit and voice of one of the blessed, the spirit and stamina of eternal song." (Bob Gish, Jazz Improv-New York); "Fordyce's voice is lovely with strong command, a natural rhythmic touch and just a touch of a rough edge ... scatting with aplomb, she also shows a knack for the south-of-the-border sound .... a true showcase for a singer whom one wishes would have never had to give up singing for so long ... better late than never ... heartfelt version of "Something Cool" ... doesn't sing by rote, and her vocal ideas are full of imagination and personality, but neither does she detract from the beauty of the melody ... it is clear that Elli Fordyce knows ... the real meaning of 'cool.'" (Brad Walseth, www.jazzchicago.net) "I am enjoying your music so much! Your CD was a great surprise for me. I always [love] discovering great talent for our audience ... very lucky to have your new tracks for their enjoyment at radioIO." (drmike, www.radioIO.com). A wonderful review by Rob Lester may also be read at http://www.talkinbroadway.com/sound/march2708.html and Rob also named the CD one of his Top-Ten-Vocal picks for 2008. The CD has been nominated as well for a MAC (Manhattan Association of Cabarets & Clubs) Award, the winner of which will be announced on May 18th at BB King’s in MAC's Award Ceremony. With the release of "Songs Spun Of Gold," many of Elli's dreams since she was 3 years old are unfolding and she’s frequently heard to say, "It's never too late!" "In the light, she dances to silent music. Songs that are spun of gold somehow in her own little head." Those lyrics by Gene Lees on the bridge of "Waltz for Debby" are the inspiration for the title of this CD, and for it's title tune by the genius Bill Evans. http://www.cdbaby.com/cd/ellifordyce2

Elli Fordyce Sings Songs Spun of Gold

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George Wallington - The New York Scene

Styles: Piano Jazz 
Year: 1957
File: MP3@320K/s
Time: 39:17
Size: 90,2 MB
Art: Front

(5:27)  1. In Salah
(6:14)  2. Up Tohickon Creek
(4:55)  3. Graduation Day
(7:12)  4. Indian Summer
(8:05)  5. 'Dis Mornin'
(7:21)  6. Sol's Ollie

Before he retired from music in 1960, pianist George Wallington led a series of excellent bop-based quintet albums. For this particular CD (a reissue of a date originally put out by New Jazz), Wallington heads a group featuring altoist Phil Woods, trumpeter Donald Byrd, bassist Teddy Kotick and drummer Nick Stabulas. With the exception of the standard "Indian Summer," the repertoire is pretty obscure (with now-forgotten originals by Byrd, Woods and Mose Allison in addition to "Graduation Day") but of a consistent high quality. The emphasis is on hard-swinging and this set should greatly please straightahead jazz fans. ~ Scott Yanow http://www.allmusic.com/album/the-new-york-scene-mw0000707494

Personnel: George Wallington (piano); Donald Byrd (trumpet); Phil Woods (alto saxophone); Teddy Kotick (bass); Nick Stabulas (drums).

The New York Scene

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Rotem Sivan - Enchanted Sun

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 48:29
Size: 112,7 MB
Art: Front

(7:23)  1. Here With You
(3:47)  2. There Without
(4:15)  3. Rodent's Blues
(5:32)  4. Isn't It Romantic?
(4:07)  5. Scene #5
(7:36)  6. How Long Has This Been Going On?
(4:02)  7. Keep Breathing
(5:59)  8. Enchanted Sun
(5:43)  9. Sun-Song

Is this destined to be one of the great undiscovered albums of the year? Released with little fanfare on Steeplechase's Lookout strand back in June, Enchanted Sun has picked up precious few reviews. Maybe it is just the summer slumber. Let us hope so, for the debut recording from Israeli-born, New York-based guitarist Rotem Sivan and his trio deserves to get n.o.t.i.c.e.d.  Unusually for a modern guitar-led album, there are no loops, no effects, no overdubs, no turntablists, no fusionism. There is nothing inherently wrong with any of those things (except fusionism, obviously). But how refreshing it is to hear classicism such as this. The first point of reference which suggests itself is the work of guitarist Johnny Smith on Roulette in the 1950s. Sivan favours radiant, upper register, single-note lines over Smith's lush, chorded treatments, but he casts the same ineffably romantic spell. The second point of reference is the trio clarinetist Jimmy Giuffre led at the 1958 Newport Festival (immortalised in the documentary film Jazz on a Summer's Day). The presence of guitarist Jim Hall in Giuffre's trio is incidental here; it is the buoyant, limber freshness of the trio's overall performance that resonates.

Of the nine tracks on the album, only two are covers: George Gershwin's "How Long Has This Been Going On?" and Richard Rodgers' "Isn't It Romantic?" Eighty-one years after it was written, Rodgers' piece receives another definitive performance. The rest of the tunes were written by Sivan, who, more often than is decent for someone so young, approaches the same melodic heights as the composers of those two treasures from the standards repertoire. If you could hear a great perfume an understated dream weaver such as Guerlain's Après l'Ondée or L'Artisan Parfumeur's Timbuktu it would sound like this. Like those two olfactory masterpieces, Enchanted Sun is concerned with luminescence rather than impact, and the shimmer lingers long. A captivating debut. 

~ Chris May https://www.allaboutjazz.com/enchanted-sun-rotem-sivan-steeplechase-lookout-review-by-chris-may.php
 

Personnel: Rotem Sivan: guitar; Sam Anning: bass; Rajiv Jayaweera: drums.

Enchanted Sun

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Richard Elliot - Summer Madness

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 44:09
Size: 101,7 MB
Art: Front

(4:03)  1. Cachaca
(4:19)  2. Breakin' It Down
(4:22)  3. Europa (Earth’s Cry Heaven’s Smile)
(3:58)  4. West Coast Jam
(4:31)  5. Harry the Hipster
(4:25)  6. Slam-O-Rama
(4:43)  7. Back to You
(5:11)  8. Ludicrous Speed
(4:08)  9. Summer Madness
(4:26) 10. Mr. Nate’s Wild Ride

When tenor saxophonist Richard Elliot began preparing Summer Madness, his follow-up to 2014’s critically acclaimed Lip Service, he knew exactly what he wanted to do. First and foremost, it had to be funky. “When I was growing up in the ’70s and first learning to play the saxophone,” he says, “I was mostly attracted to instrumentally based R&B and to jazz that had R&B roots. This record definitely goes down that path, leaning more on the funk side.” He also knew precisely who he wanted to accompany him on the new music. “I wanted to involve my band,” Elliot says. “A lot of artists tour with a group of musicians, and then when it’s time to make a record they hook up with a producer and go into the studio and use completely different people that maybe they’ve never even met before. I feel that if you’re lucky enough to have a regular group of musicians that you work with, and you don’t draw on their talent and their inspirations, you’re short-changing yourself.” Summer Madness, set for release on September 9, 2016 via Heads Up, a division of Concord Music Group, is a new kind of Richard Elliot recording. For one thing, the cast includes two other horn men augmenting Elliot’s signature sax work: trumpeter/trombonist Rick Braun, who also produced the album and, on several tracks, baritone saxophonist Curt Waylee. Most importantly though, the music was created from scratch as Elliot and his handpicked musicians formulated and honed their ideas in the studio, with Braun’s ultra-capable guidance. For Elliot, recruiting the additional players and having the entire band plus a well-respected veteran producer help him shape the music was integral to the project’s success.

   “I didn’t want to direct them,” he says. “I wanted to bring them in and let them be part of the process the writing, the arranging and to do it all together. I had a lot of confidence that these guys are mature enough musically. Everybody brought what they do to the table and we all put our heads together. We didn’t have rehearsals first, we didn’t have writing sessions first. We booked some days in the studio and the music just poured out.” The result of these impromptu jams seven new originals and three classic interpretations is unquestionably one of the most electrifying and gratifying recordings of Richard Elliot’s three-plus-decade solo career. From the opening salvo, a super-funkified take on Spyro Gyra’s “Cachaca,” through the closing “Mr. Nate’s Wild Ride,” spotlighting bassist Nathaniel Phillips, who wrote the track along with Elliot and Braun, Summer Madness is one of those albums that simply takes hold the moment you press play and never lets go. Along the way it touches down on a variety of moods and styles, from Latin- and African-inspired funk to soul jazz, even flirting with fusion on the hard-driving, appropriately titled “Ludicrous Speed.”  A couple of sparkling ballads pay tribute to heroes of Elliot’s going back to his earliest days of musical discovery: “Europa,” on which he honors one of his saxophone inspirations, the late Gato Barbieri who famously remade the Carlos Santana-penned track in his own image, and the title track “Summer Madness,” a mid-’70s hit for funk titans Kool & the Gang. Among the original compositions, “Harry the Hipster,” says Elliot, “is reminiscent of songs that had cool, recurring melodies and a funky pulse the idea was not to wrap yourself up in how much complexity you could put into the song, but how much feeling and groove can you put into the song?” Another highlight, the band-written “West Coast Jam,” is Elliot’s nod to yet another influence, the late leader of funk trailblazers Zapp, Roger Troutman, while “Breakin’ It Down,” which arrives early on Summer Madness, is designed, he says, to bridge the genres of funk and contemporary jazz, with which Elliot has long been associated. “I sort of formulated that theory later though,” he confesses. “When we were making the music we were just making it.”

   It should come as no surprise to Elliot’s longtime fans that he would, at some point in his career, choose to celebrate funk in such a dedicated, decisive way. It was, after all, with the legendary Tower of Power that many first heard the saxophone virtuosity of Richard Elliot. Although he was born in Scotland and grew up in Los Angeles, where he started playing saxophone while in middle school, his five-year run with the Bay Area institution ToP during the 1980s was when Richard Elliot first came to prominence. “I learned more about being a musician, about being a performer, about being a team player in a horn section, about how to make a statement when you step out and do a solo, from being with Tower of Power than from any other group or artist I ever worked with,” Elliot says, adding that it was “initially terrifying” to find himself among some of the most accomplished and highly respected musicians on the funk/R&B scene. In fact, he learned enough from working with them, Elliot says now, to know that he was ready to go off on his own when he did. “Leaving Tower of Power was the hardest decision I ever made,” he says now, but great things were to follow almost immediately. By the late ’80s, Elliot  had launched his solo career and was signed to Blue Note Records, where he worked with the legendary record executive Bruce Lundvall, an early champion of Elliot’s work. Since then, Elliot has released more than 20 albums as a leader, and has also polished his chops serving as a sideman for a considerable list of diverse giants, including Motown hitmakers Smokey Robinson and the Temptations. One of Elliot’s favorite projects was the collaborative 2013 release Summer Horns, which found him teaming up with fellow sax-slingers Dave Koz, Gerald Albright and Mindi Abair the album was nominated for a Grammy in the category of Best Pop Instrumental Album. Throughout all of his music, Richard Elliot has always strived to achieve one certain goal. “Miles Davis said, ‘The hardest thing for a musician to do is sound like himself.’ That stuck with me,” Elliot says. “If you fixate on a single influence, you tend to sound like someone who’s trying to sound like that person. I never know if I’ve achieved that goal but on occasion I’ve had someone come up to me and say, ‘I heard a song on the radio and I knew it was you.’” Summer Madness puts a bit of a new twist on the classic Richard Elliot sound, but you won’t doubt for a single second who you are hearing. http://www.richardelliot.com/

Summer Madness

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