Eddie 'Lockjaw' Davis With Paul Gonsalves - Love Calls

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:53
Size: 84,7 MB
Art: Front

(2:09)  1. Love Is Here To Stay
(2:55)  2. When Sunny Gets Blue
(3:06)  3. If I Ruled The World
(2:23)  4. Time After Time
(5:11)  5. Just Friends
(2:35)  6. Don't Blame Me
(2:10)  7. I Should Care
(5:00)  8. The Man With The Horn
(4:06)  9. We'll Be Together Again
(3:14) 10. A Weaver Of Dreams
(2:59) 11. If I Should Lose You

Love Calls is an album by saxophonist Eddie "Lockjaw" Davis with Paul Gonsalves recorded in 1968 for the RCA Victor label. Think of "Lockjaw" Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity. If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Dimuendo and Crescendo In Blue at Newport 1956. It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.  

Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded. The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.

Personnel:  Eddie "Lockjaw" Davis, tenor sax;  Paul Gonsalves, tenor sax;  Roland Hanna, piano;  Ben Tucker, bass;  Grady Tate, drums;  Everett Barksdale, guitar

Love Calls

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Carmen Souza - Creology

Styles: Vocal, Piano And Guitar
Year: 2017
File: MP3@320K/s
Time: 43:32
Size: 100,6 MB
Art: Front

(4:50)  1. Ligria
(3:03)  2. Senhorinha
(3:07)  3. Upa Neguinho
(3:44)  4. Pretty Eyes
(3:28)  5. Mon di Deus
(3:39)  6. Xinxiroti
(3:17)  7. Tud Tem 1 Razão
(2:50)  8. London Light
(3:44)  9. Kem Ka Tem Cabeca
(4:24) 10. Homem Musica
(4:18) 11. Escuta Moçambique
(3:03) 12. Creology

The world tour of Carmen Souza , associated with the release of her eighth album, Creology, also hit Italy on five dates between April and May . The Portuguese singer of Cape Verdean origins confirms the association with his mentor and producer, the double bass player Theo Pascal, and with the percussionist Elias Kacomanolis. In some songs we add the very young son of Pascal, Zoe.The route is particularly rich in suggestions. Equipped with a very personal pronunciation and a unique interpretative ability, Carmen Souza highlights her chromatic qualities passing from baritonal glissando to falsetto excursions (up to harmonic singing) but she does not remain a prisoner of her prodigious technique. The repertoire (mostly original: his lyrics and music by Pascal) continues to orbit in that boundary land that combines jazz, traditional Brazilian and Caribbean music and African influences but each time it is fresh and engaging. More than in other records, Creology's path unfolds in a sincere and coherent manner, bringing more attention to tradition than to moments of self-celebration or to fusions of pop flavor (the only, vaguely acid jazz is "London Light"). The interpretations of the Souza highlight greater balance but continue to strike for the eccentricity of the diction, the evocativeness of the sounds, the expressive tension and the variety of solutions: his is among the most intense voices in the contemporary scene, beyond genres and labels. Its partners provide it with a colorful, highly effective and appropriate rhythmic fabric. The three non-original songs are "Upa Neguinho," tribute to Brazil by Edu Lobo, "Pretty Eyes" and "Homem Musica" of the Portuguese / Mozambican Orlanda Guilande. Translate by Google ~ Angelo Leonardi https://www.allaboutjazz.com/creology-review-by-angelo-leonardi.php

Personnel: Carmen Souza: voice, piano, guitar; Theo Pascal: bass, percussions, voice; Elias Kacomanolis: drums, percussions, voice; guest: Zoe Pascal: drums, percussions.

Creology

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David Binney - Bastion Of Sanity

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:11
Size: 176,9 MB
Art: Front

( 8:02)  1. Lester Left Town
(11:00)  2. Try
( 5:11)  3. Plan
( 9:42)  4. Bastion Of Sanity
( 4:45)  5. Last Minute
( 6:34)  6. Heaven
(12:21)  7. Gesturecalm
( 9:13)  8. Right Before
(10:18)  9. PF

Kicking things off with Wayne Shorter's "Lester Left Town," Bastion of Sanity might seem a decidedly mainstream affair. And, with a cover of Duke Ellington's "Heaven" halfway through the 77-minute set, that intuition might be right. With his quartet of 20-somethings pianist Jacob Sacks, bassist Thomas Morgan and drummer Dan Weiss, augmented for this recording by long-time collaborator Chris Potter on tenor saxophone alto saxophonist David Binney has been concentrating on honing a looser, more freely improvised group sound at his weekly Tuesday night sessions at the 55 Bar in New York's Greenwich Village for over a year-and-a-half. But while there is more than a passing nod to the traditional on Bastion of Sanity , the recording also fits comfortably within a growing body of work that includes '01's South and last year's Welcome to Life , two recordings that feature a more established roster, including Potter, guitarist Adam Rogers, drummer Brian Blade, bassist Scott Colley and keyboardists Uri Caine and Craig Taborn, alternatively. Binney's own compositions, which make up the balance of this new set, have always leaned towards complex form and irregular metres that, while providing space for soloing, focus more on improvisation within a predefined structure. While idiosyncratic arrangements still abound on Bastion of Sanity , this is an altogether looser blowing affair, with Binney's young crew offering proof that there is an important new wave of young players emerging on the New York scene. "Try" may fit most closely with Binney's writing on Welcome to Life in its longer form and episodic nature. Still, Binney and Potter both get the opportunity for more expansive soloing. 

The more inward-looking "Plan," on the other hand, is a through-composed ballad that has its precedence in Wayne Shorter's "Nefertiti," with the horns repeating the theme while the rhythm section, in particular Weiss who demonstrates his depth of versatility here, as he did on guitarist Rez Abassi's recent Snake Charmer provides the improvisational impetus. The title track, even with its elliptical theme stated in unison by Binney and Potter a characteristic of much of Binney's writing opens up even further. With the stronger emphasis on swing that is arguably the foundation of this set, differentiating it from his other recordings, Binney demonstrates a rich vocabulary, echoing the darker tone of early influences including Gary Bartz and Bennie Maupin. More audacious than usual during his solo, Binney is supported only by Morgan, who, at 22, is already a remarkably mature player maintaining forward motion while, at the same time, being intuitively responsive and Weiss, whose light cymbal work is redolent of DeJohnette's early ECM work. On "Gesturecalm" Sacks mirrors the progressive approach of Andrew Hill while remaining firmly planted in the mainstream. Different than his other recordings, while at the same time completely in character, Bastion of Sanity finds Binney in a more open-ended context which he'll hopefully continue to explore alongside the more structured intricacies of his other work. ~ John Kelman https://www.allaboutjazz.com/bastion-of-sanity-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Chris Potter: tenor saxophone; Jacob Sacks: piano; Thomas Morgan: bass; Dan Weiss: drums.

Bastion Of Sanity

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Art Van Damme - So Nice!

Styles: Accordian Jazz
Year: 1979
File: MP3@320K/s
Time: 38:00
Size: 87,6 MB
Art: Front

(2:46)  1. Perdido
(3:14)  2. Poka dots and moonbeams
(2:27)  3. Mountain greenery
(3:29)  4. We've only just begun
(2:55)  5. So nice (Summer Samba)
(4:11)  6. So what's new
(3:22)  7. On a clear day (You can see forever)
(3:47)  8. How insensitive
(2:35)  9. Work song
(4:01) 10. Moonlight in Vermont
(2:03) 11. A man and a woman
(3:05) 12. Quiet nights of quiet stars

Jazz accordion-master, Van Damme plays much more than cool/accordion mush. In fact, he was an innovator during 60s post-bop. He is an unsung hero.~ Michael G.Nastos https://www.allmusic.com/artist/art-van-damme-mn0000601311/biography

Personnel:  Art van Damme - accordion;  Siegfried Schwab - guitar;  Heribert Thusek - vibes;  Eberhard Weber - bass;  Charly Antolini - drums

So Nice!

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Chuck Brown - Unadorned

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 44:05
Size: 101,2 MB
Art: Front

(3:15)  1. Judgment Day
(2:30)  2. Slave to Your Love
(2:19)  3. Feeling's Gone Away
(3:08)  4. If I Could Show You
(2:55)  5. Just to Do What You Said
(2:50)  6. Creed/Lead On
(3:20)  7. What Must They Do?
(1:28)  8. The Value of Life
(3:21)  9. Grace
(2:40) 10. Stone Heart
(1:34) 11. Kigali: Tears for the Children
(2:35) 12. The Empty Swing
(2:08) 13. Pete and Repeat
(3:10) 14. Drawing Down Dark
(2:07) 15. Nightfall in Pamplona
(2:27) 16. Say The Word
(2:13) 17. Who Do You Think Will Answer?

Melodic, relaxing solo piano music. Chuck Brown began writing songs at the age of 13. His first composition, Judgment Day, is included on this album. He has gone on to write over 200 songs, both instrumental and songs with lyrics, and has released several albums in the solo piano, children's music and Christian pop music genres. "Unadorned" was his first commercial release, recorded in 1997. The location of the recording was Tejas Studios (Franklin, TN), located in a barn on the estate of Amy Grant and Gary Chapman. The album was recorded in a single 14-hour day. While he has gone on to record several albums since, a number of people still point to this simple, uncluttered solo piano collection as their favorite.~ Editorial Reviews https://www.amazon.com/Unadorned-Chuck-Brown/dp/B00CICEZI6

Chuck Brown began writing songs at the age of 13. His first composition, Judgment Day, is included on this album. He has gone on to write over 200 songs, both instrumental and songs with lyrics, and has released several albums in the solo piano, children's music and Christian pop music genres."Unadorned" was his first commercial release, recorded in 1997. The location of the recording was Tejas Studios (Franklin, TN), located in a barn on the estate of Amy Grant and Gary Chapman. The album was recorded in a single 14-hour day. While he has gone on to record several albums since, a number of people still point to this simple, unclutter solo piano collection as their favorite. https://store.cdbaby.com/cd/chuckbrown5

Unadorned

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