Ralph Alessi - Cognitive Dissonance

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 60:29
Size: 138,9 MB
Art: Front

(4:27)  1. Cognitive Dissonance
(4:28)  2. Buying, Selling
(2:55)  3. Dog Walking
(4:38)  4. Duel
(3:26)  5. A Plenty
(3:45)  6. One Wheeler Will
(3:47)  7. Sir
(3:42)  8. Goodbye Ruth's
(6:37)  9. Hair Trigger
(3:33) 10. Better Not To Know
(3:42) 11. Sunflower
(3:55) 12. Same Old Story
(4:45) 13. Option
(3:51) 14. Wait
(2:53) 15. Goodbye Ruth's (slow)

For his Cam Jazz debut, trumpeter Ralph Alessi recruits two key players from his sadly overlooked Look (Between the Lines, 2007). But while ubiquitous bassist Drew Gress (Marc Copland, Claudia Quintet) is a mainstay of Cognitive Dissonance, pianist Andy Milne only guests on the knottily themed but swinging "Sir" and a quirkily, near-unrecognizable version of Stevie Wonder's "Same Old Story." The rest of the album's fifteen tracks eleven by Alessi, in addition to a free-spirited yet surprisingly lyrical version of Sam Rivers' "Sunflower" and two collective improvs with Gress and drummer Nasheet Waits feature pianist Jason Moran, once again demonstrating his greater strengths as a sideman.The same needn't be said about Alessi who, along with fellow trumpeter Ron Miles, remains one of America's most perennially (and curiously) undervalued trumpeters. His plangent, warm and somehow compressed tone is just one compelling reason to check out bassist Scott Colley's Architect of the Silent Moment (Cam Jazz, 2007) (and his forthcoming 2010 Cam Jazz follow-up, Empire), guitarist Joel Harrison's The Wheel (Innova, 2008) and Gress' The Irrational Numbers (Premonition, 2008). With a relatively diminutive self-led discography, the avant-tinged trumpeter has also proven himself an astute bandleader and fine conceptualist, ranging from the oddly configured Vice & Virtue (RKM, 2003) to the more orthodox (but far from conventional) instrumental line-up of This Against That (RKM, 2002). Cognitive Dissonance covers a lot of ground in an hour. The irregularly metered but unfailingly grooving title track kicks things off on a high note, with Gress and Waits building an M-Base-centric foundation over which Moran's funkified piano sets a broad harmonic context. Alessi's impressive opening salvo sets the tone for an album where the soloists are challenged to say a great deal in a short timeframe, succeeding consistently. Despite only one track exceeding six minutes, with the majority ranging between three and four, there's never a sense of being hurried, as Alessi solos with equal invention over the even more rhythmically intricate "Buying, Selling" his even briefer solo (on a tune where the head occupies a full minute of its 2:56 running time) a muted combination of spare, swinging ideas and equal consideration of space, with Moran's staggered accompaniment leading to a similarly well-conceived solo, supported by the ever-pliant, ever-responsive Gress and Waits.

Alessi waxes lyrical on the balladic "Dog Waking" and tango-esque "One Wheeler Will," written for William Coltrane son of legendary saxophonist John Coltrane's son (and also very fine reed man) Ravi Coltrane. An inadvertent nod to expat Canadian trumpet icon Kenny Wheeler in the trumpeter's tone and expressive melancholy, "One Wheeler Will" also features a robust, yet metallic and Gary Peacock-like solo from Gress that's a Cognitive Dissonance highlight. With so much ground covered, it would be easy for Cognitive Dissonance to lose its focus, to become overly eclectic. But with Alessi's writing a challenging combination of memorable themes, harmonically and rhythmically tricky contexts and improvisational largess and an unfettered yet focused playing style that never succumbs to excess, Cognitive Dissonance easily deserves consideration alongside the music of better-known contemporaries like Dave Douglas. ~ John Kelman https://www.allaboutjazz.com/cognitive-dissonance-ralph-alessi-cam-jazz-review-by-john-kelman.php
 

Personnel: Ralph Alessi: trumpet; Drew Gress: double-bass; Jason Moran: piano (1-6, 8-11, 13-15); Andy Milne: piano (7, 12); Nasheet Waits: drums.

Cognitive Dissonance

---

Tia Brazda - Bandshell

Styles: Vocal

Year: 2015

File: MP3@320K/s

Time: 28:44

Size: 66,3 MB

Art: Front

(3:36)  1. Shine

(2:35)  2. Hard Luck

(2:59)  3. Just Like That

(2:58)  4. Old-Fashioned Love

(3:32)  5. Bandshell

(2:36)  6. All Mixed Up

(2:25)  7. Waste of Time

(2:32)  8. Mr. Mystery

(2:52)  9. Breathe Easy

(2:35) 10. All For You

Tia Brazda’s debut, full-length album ‘Bandshell’ debuted at #1 on the iTunes Jazz Chart in Canada and features some of the country's jazz greats, including Marc Rogers on bass, Chris Gale on saxophone, William Sperandei on trumpet, William Carn on trombone, Mark McLean on drums, as well as Miranda Mulholland (Great Lake Swimmers) on fiddle. The album demonstrates Tia’s growth as a performer and songwriter, showcasing a more sophisticated sound while still featuring the saucy dance numbers her fans have come to expect. ~ Editorial Reviews https://www.amazon.com/Bandshell-Tia-Brazda/dp/B0167OF8YU

Bandshell

---

Gerald Wilson - Everywhere

Styles: Jazz, Big Band
Year: 1968
File: MP3@320K/s
Time: 33:49
Size: 77,8 MB
Art: Front

(4:45)  1. Everywhere
(6:10)  2. Out of This World
(2:42)  3. Pretty Polly
(2:59)  4. M. Capetillo
(4:17)  5. Little Bit of Soul
(3:12)  6. Do I Love You?
(4:21)  7. Del Oilvar
(5:20)  8. Mini Waltz

Very hip stuff from Gerald Wilson – about as tight and hard as you can get for 60s big band work! The players on the set aren't listed clearly, but we can be sure that they're some of Gerald's usual contemporaries the best of the mid 60s LA soul jazz and avant bop scene, all working together to craft some incredibly groovy tunes with a high degree of soul. The album has lots of nice instrumental touches, from electric harpsichord to vibes to guitar, all woven through the mostly original tunes that make up the set. Tracks include "M Capetillo", "Del Olivar", "Little Bit Of Soul", "Do I Love You", and "Mini Waltz". (Cover has light wear.) © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/49998

Personnel:  Gerald Wilson - arranger, conductor;  Gary Barone (tracks 2, 3, 6 & 8), Bobby Bryant (tracks 2, 3, 6 & 8), Dick Forrest, Steve Huffsteter (tracks 1, 4, 5 & 7), Bill Mattison (tracks 1, 4, 5 & 7), Alex Rodriguez – trumpet;  Thurman Green, Lester Robertson, Frank Strong – trombone;  Mike Wimberly - bass trombone;  William Green - flute, piccolo;  Ramon Bojorquez, Henry DeVega (tracks 2, 3, 6 & 8) - alto saxophone;  Anthony Ortega - alto saxophone, flute, alto flute;  Hadley Caliman, Harold Land - tenor saxophone;  Richard Aplanalp - baritone saxophone;  Bobby Hutcherson – vibraphone;  Jack Wilson - piano, organ;  Joe Pass – guitar;  Stanley Gilbert (tracks 2, 3, 6 & 8), Buddy Woodson (tracks 1, 4, 5 & 7) – bass;  Frank Butler (tracks 2, 3, 6 & 8), Carl Lott (tracks 1, 4, 5 & 7) – drums;  Moises Obligacion - congas (tracks 1, 4, 5 & 7);  Hugh Anderson - percussion

Everywhere

---

Miles Davis And John Coltrane - Play Richard Rodgers

Styles: Trumpet And Saxophone Jazz
Year: 1968
File: MP3@256K/s
Time: 35:39
Size: 66,9 MB
Art: Front

(5:21)  1. It Never Entered My Mind
(6:57)  2. Spring Is Here
(6:02)  3. My Funny Valentine
(9:02)  4. Surrey with The Fringe On Top
(3:05)  5. Blue Room
(5:09)  6. I Could Write a Book

Grammy Award winner Miles Davis was a major force in the jazz world, as both a trumpet player and a bandleader. Instrumental in the development of jazz, Miles Davis is considered one of the top musicians of his era. Born in Illinois in 1926, he traveled at age 18 to New York City to pursue music. Throughout his life, he was at the helm of a changing concept of jazz. Winner of eight Grammy awards, Miles Davis died on September 28, 1991 from respiratory distress in Santa Monica, California.  The son of a prosperous dental surgeon and a music teacher, Miles Davis was born Miles Dewey Davis III on May 26, 1926, in Alton, Illinois. Davis grew up in a supportive middle-class household, where he was introduced by his father to the trumpet at age 13. Davis quickly developed a talent for playing the trumpet under the private tutelage of Elwood Buchanan, a friend of his father who directed a music school. Buchanan emphasized playing the trumpet without vibrato, which was contrary to the common style used by trumpeters such as Louis Armstrong, and which would come to influence and help develop the Miles Davis style. Davis played professionally while in high school. When he was 17 years old, Davis was invited by Dizzy Gillespie and Charlie Parker to join them onstage when the famed musicians realized they needed a trumpet player to replace a sick bandmate. Soon after, in 1944, Davis left Illinois for New York, where he would soon enroll at the Juilliard School (known at the time as the Institute of Musical Art). While taking courses at Juilliard, Davis sought out Charlie Parker and, after Parker joined him, began to play at Harlem nightclubs. During the gigs, he met several musicians whom he would eventually play with and form the basis for bebop, a fast, improvisational style of jazz instrumental that defined the modern jazz era. More...https://www.biography.com/people/miles-davis-9267992

Personnel:  Bass – Paul Chambers, Percy Heath;  Drums – "Philly" Joe Jones, Jimmy Cobb, Roy Haynes;  Piano – John Lewis, Red Garland;  Tenor Saxophone – John Coltrane;  Trumpet – Miles Davis, Wilbur Hardin

Play Richard Rodgers

---

Christian McBride Big Band - Bringin' It

Styles: Jazz, Post-Bop
Year: 2017
File: MP3@320K/s
Time: 69:00
Size: 161,1 MB
Art: Front

( 6:37)  1. Gettin' To It
( 5:59)  2. Thermo
( 6:59)  3. Youthful Bliss
( 6:09)  4. I Thought About You
(10:09)  5. Sahara
( 4:43)  6. Upside Down
( 6:25)  7. Full House
( 6:16)  8. Mr. Bojangles
( 4:37)  9. Used 'Ta Could
( 3:55) 10. In the Wee Small Hours of the Morning
( 7:06) 11. Optimism

Where and how does Christian McBride find the time to do what he does? His plate is full about nine times over, what with his work as bassist, composer, bandleader, educator, jazz advocate, public speaker, radio personality, DJ, and Artistic Director for the Newport Jazz Festival. It's no wonder that it took him six years to get this juggernaut of a big band back together in the studio. This album serves as the long-awaited follow-up to The Good Feeling (Mack Avenue, 2011), the group's Grammy-winning debut. And like its lauded predecessor, Bringin' It presents a tight and tasty program of music designed by McBride and bolstered by his bass. Everything you've come to expect from this musical dynamo taste, punch, humor, intelligence, solid gold grooves, an appreciation for lyricism is here for the taking. Styles and settings vary greatly from track to track and moment to moment, but this ensemble is remarkably consistent through it all. McBride looks to the funky side of life on "Gettin' To It," an album opener that finds trumpeter Freddie Hendrix and guitarist Rodney Jones stealing the show, and he delivers a solidly swinging take on Freddie Hubbard's "Thermo" that recalls his time spent working with that trumpet icon. Then he brings his wit into full view with "Youthful Bliss." Unexpected detours that seemingly come out of left field a quick drop into Brazil, a classically-oriented flute finger-bender make for a wild ride. They enliven the atmosphere and keep everybody on their toes.

The leader takes a compositional cue or two from the great Maria Schneider with his harmonically moored vision of "I Thought About You," a feature for trumpeter Brandon Lee, and he eschews the desert in favor of the jungle on McCoy Tyner's "Sahara," giving drummer Quincy Phillips the greenlight to take charge. As on The Good Feeling, vocalist Melissa Walker drops in for a pair of tunes "Upside Down" and "Mr. Bojangles," bookending a nod to Wes Montgomery in the form of "Full House" and she doesn't disappoint. The final stretch of the album proves no less memorable than what precedes it. The soul quotient is exceeded with "Used 'Ta Could," an earthy number showcasing saxophonist Steve Wilson and trombonist Michael Dease; Sinatra's late night clarity comes through in McBride's vision of "In The Wee Small Hours," a number resting on his lyrical arco lines and featuring Dan Pratt's tenor; and the band swings its way home through trombonist Steve Davis' arrangement of "Optimism." This album is proof positive that big band jazz can be entertaining without actually pandering or diluting itself. Whether putting a new coat of paint on material from his past, nodding to his influences and mentors, or looking to the classics for inspiration, Christian McBride proves artfully inventive while drawing us in with his magnetic personality. Bringin' It is a meritorious musical feast just waiting to be consumed. No real surprise there. Everything this man touches turns to gold. ~ Dan Bilawsky https://www.allaboutjazz.com/bringin-it-christian-mcbride-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Christian McBride: bass; Steve Wilson: alto saxophone, soprano saxophone, flute; Todd Bashore: alto saxophone, flute, piccolo; Ron Blake: tenor saxophone, flute; Dan Pratt: tenor saxophone, flute; Carl Maraghi: baritone saxophone, bass clarinet; Frank Greene: trumpet; Freddie Hendrix: trumpet; Brandon Lee: trumpet; Nabate Isles: trumpet; Steve Davis: trombone (11); Michael Dease: trombone; Joe McDonough: trombone (1-10); James Burton: trombone; Douglas Purviance: bass trombone; Xavier Davis: piano; Quincy Phillips: drums; Rodney Jones: guitar; Melissa Walker: vocals (6, 8); Brandee Younger: harp (10).

Bringin' It

---