Herbie Hancock, Michael Brecker, Roy Hargrove - Directions In Music: Live At Massey Hall

Styles: Piano, Saxophone And Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 78:27
Size: 183,1 MB
Art: Front

( 8:51)  1. The Sorcerer
( 6:34)  2. The Poet
(12:52)  3. So What / Impressions
( 8:17)  4. Misstery
( 7:30)  5. Naima
(10:27)  6. Transition
( 8:41)  7. My Ship
(15:11)  8. D Trane

True jazz enthusiasts are often purist by nature. So most of them tend to entertain remakes and tribute documents with a certain amount of trepidation. But enthusiasts and purists alike need not be concerned about the Hancock/Brecker/Hargrove document, Directions in Music: Celebrating Miles Davis and John Coltrane ' Live at Massey Hall. From the downbeat of the opening tune, "The Sorcerer," Herbie Hancock reminds us why he was and is one of the most sought after pianist in the genre. His deftness, technique and mastery of the instrument and the music holds this group together with the same quality that earned him attention while a sideman for Miles Davis in the '60s. He masterfully connects together this group's form, and its opening sets the tone for the whole recording. Whereas some don't consider Michael Brecker to be at the forefront of the classic jazz idiom, his presence on this record is no aberration. He definitely shines in a solo rendition of Coltrane's "Naima." He proves, that his study of the master tenor man's style has influenced his greatly. His own contribution to the project entitled, "D-Train," is a fifteen-minute epilogue. It meanders through different time signatures while holding steady to its defining rhythm. Herbie Hancock does some of his best work on the recording in the improv section. The young lion in the project is Roy Hargrove. The ever-emerging Grammy award-winning trumpeter continues the line of great players that spun the likes of Miles Davis. From is his first solo on "The Sorcerer," where he begins his playing away from the microphone and hits you with an unyielding fury of notes and sound, he entrances the listener. Hargrove's compositional contribution, "The Poet," is an obvious attempt, and by his own admission, to make use of space in the music  which happens to be a Miles Davis trademark. And like Davis, he seems to be searching for something in the music. His playing exemplifies his growth both as composer and soloist. This record also works very well as a live recording. The instant audience feedback lends energy to shaping the music. This is where Herbie Hancock's genius is most apparent in holding together the music. Drummer Brian Blades and bassist John Patitucci round out the rhythm section and fit in quite nicely. This ensemble did an excellent job of remembering, taking their influences and making the music their own. ~ Michael L.Nelson https://www.allaboutjazz.com/directions-in-music-roy-hargrove-verve-music-group-review-by-michael-l-nelson.php

Personnel: Herbie Hancock: piano; Michael Brecker: tenor saxophone; Roy Hargrove: trumpet, flugelhorn (2, 7); John Patitucci: bass; Brian Blades: drums.

Directions In Music: Live At Massey Hall

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Izaline Calister - Speransa

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 51:10
Size: 117,5 MB
Art: Front

(3:28)  1. Mi Pais
(4:02)  2. Gym
(3:25)  3. Pueblo Lanta
(3:32)  4. Kalor
(3:49)  5. Porfin
(3:30)  6. Awa
(4:07)  7. La la la
(4:40)  8. Speransa
(3:26)  9. Juny
(3:52) 10. Forsa
(4:05) 11. Amigu
(4:09) 12. Preteksto
(4:59) 13. Kadena enkantá

Dutch-Curacaoan singer/songwriter Izaline Calister issued her first full-length release, Sono di un Muhe, in 2000. In 2002 Mariposa was released on Easy C Productions, followed by Krioyo in 2004 and Kanta Hélele two years later. Both discs were issued on the Network label. The release of her fifth album, Speransa, found Calister reaching number 93 on the Dutch album charts in 2009. Two years later Di Fiesta was issued on the Brigadoon label. ~ Al Campbell https://itunes.apple.com/us/album/speransa/316698431

Personnel:  Izaline Calister - lead vocals, backing vocals; Randy Cordilia - vocals; Giovanca Ostiana - backing vocals; Neco Novellas - backing vocals; Tamara Nivillac - backing vocals; Praful - backing vocals; Bart Dewin - backing vocals; Ruud Breuls - flügelhorn; Ed Verhoeff - acoustic and electric guitars; Marc Bischoff - grand piano; Yerman Aponte - electric bass; Pernell Saturnino - percussion; Roël Calister - drums, percussion

Speransa

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Charlie Haden and Hank Jones - Come Sunday

Styles: Piano Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 42:28
Size: 104,7 MB
Art: Front

(4:25)  1. Take My Hand Precious Lord
(2:29)  2. God Rest Ye Merry Gentlemen
(2:58)  3. Down By The Riverside
(4:11)  4. Going Home
(2:08)  5. Blessed Assurance
(2:58)  6. It Came Upon The Midnight Clear
(2:53)  7. Bringing In The Sheaves
(1:56)  8. Deep River
(2:59)  9. Give Me That Old Time Religion
(2:29) 10. Sweet Hour Of Prayer
(3:56) 11. The Old Rugged Cross
(3:08) 12. Were You There When They Crucified My Lord
(2:16) 13. Nearer My God To Thee
(3:36) 14. Come Sunday

Come Sunday continues the dialog between two jazz masters bassist Charlie Haden and pianist Hank Jones that began with 1995's Steal Away (Verve). The topic of discussion concerns hymns, spirituals, and beloved tunes which are, without a doubt, personal and familiar to both musicians. Jones (the elder sibling of jazz luminaries Elvin Jones and Thad Jones) was the son of a devout Baptist deacon while Haden grew up performing in his family's radio show, which included country and American folk music. Though conversational in tone, the date's significance is understated more than just two renowned musicians playing together. Recorded shortly before his death in 2010, it is one of Jones' final recordings, and serves as a reminder of his lyrical touch, accompanied here by Haden's empathy and resonance.  Any indications of Jones health were nonexistent. At 91, his melodicism and technical abilities continue to astound, whether swinging gracefully on "Down by the Riverside" or gently on "Bringing In The Sheaves," as Haden's workmanship guides with unassuming assurance. The two seemed to be enjoying themselves immensely, keeping the tunes pretty much intact but also illuminating their inner qualities, as the swanky cadence of "Give Me That Old Time Religion" silently echoes the song's sentiment, "It's good enough for me."  There are moments, such as the duo's powerful exchange in "Were You There When They Crucified My Lord?" and the serenity in "Nearer My God To Thee," that speak of the musicians' delicate and self-effacing approach. At first, the two seasonal songs "God Rest Ye Merry, Gentlemen" and "It Came Upon A Midnight Clear" seem totally out of place, but ultimately fit perfectly within the context of this time-weathered set. 

While the covers are taken primarily from sacred compositions, the tunes transcend both religious and secular boundaries and can be appreciated on many levels. From the duo's unobtrusive interpretations to the way in which the Jones and Haden communicate, the melodies contain a quiet magic whose crowning jewel is found in the beloved title track, written by the great Duke Ellington. It is an apropos sentiment to this moving release. ~ Mark F. Turner https://www.allaboutjazz.com/come-sunday-charlie-haden-emarcy-review-by-mark-f-turner.php

Personnel: Charlie Haden: bass; Hank Jones: piano.

Come Sunday

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Joe Williams - Feel the Spirit

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 54:21
Size: 125,0 MB
Art: Front

(5:43)  1. In the Beginning/My Lord
(5:11)  2. Feel the Spirit
(4:49)  3. Go Down Moses/Wade in the Water
(3:47)  4. Great Camp Meeting
(5:12)  5. Were You There?
(4:18)  6. Walk with Me
(4:16)  7. I Couldn't Hear Nobody Pray
(3:56)  8. In My Heart
(3:11)  9. Little David
(5:13) 10. His Eye Is on the Sparrow
(4:25) 11. Pass It On
(3:32) 12. The Lord's Prayer
(0:41) 13. Doxology

Joe Williams had been wanting to record an album of spirituals since 1957 and this is it. The veteran singer gives a blues feeling and swing to the traditional pieces which range from the rollicking title cut to "Go Down Moses," "I Couldn't Hear Nobody Pray" and "The Lord's Prayer." He is assisted by Marlena Shaw (a particularly effective partner on three of the numbers) and a five-piece chorus on four other songs. The backing usually features Patrice Rushen getting organ sounds out of her synthesizer. Despite the one-message content, the music has more variety than one might expect and Joe Williams acquits himself very well on this sincere and heartfelt effort. ~ Scott Yanow https://www.allmusic.com/album/feel-the-spirit-mw0000174115

Personnel: Joe Williams - vocals;  Marlena Shaw - vocals; Patrice Rushen - synthesizer; Jerry Peters - piano; Phil Upchurch - guitar; Abraham Laboriel - bass; Harvey Mason - drums

Feel the Spirit

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Roy Brooks - The Free Slave

Styles: Jazz, Post Bop
Year: 1970
File: MP3@320K/s
Time: 46:05
Size: 106,0 MB
Art: Front

(12:15)  1. The Free Slave
(10:55)  2. Understanding
( 9:08)  3. Will Pan's Walk
(13:45)  4. Five for Max

Originally released on the Muse label, this album is of vital importance not only because it is one of Brooks' few dates as leader, but also because it introduced much of the jazz world to trumpeter Woody Shaw, tenor saxophonist George Coleman, pianist Hugh Lawson, and bassist Cecil McBee. Recorded at the Left Bank Jazz Society in Baltimore, MD, Brooks and company reflect the music of the day, from straight post-bop and soul-jazz to ultra-modern sounds and unique percussion musings. There are four lengthy selections three written by Brooks, one by McBee. The set starts with the title track, which features soaring horn lines and a steady feel-good boogaloo fueled by ostinato piano and bass. Coleman's smooth tenor and Shaw's pungent trumpet contrast each other to good effect on this number. "Understanding" features a head where lead trumpet meets harmonious tenor. Shaw's trumpet solo intensifies Brooks' lovelight beat, and the piece ends in ticktock mode with counterpointed horns and delirious gong ringing. "Will Pan's Walk" has the seeds of a classic, with McBee's heavy ostinato contrasting Lawson's delicate shadings. On the finale, "Five for Max," Brooks cops many of Max Roach's signature trappings and adds a few of his own, including using a breath-a-tone device that allows him to heighten or lower the pitch of his drums by exhaling or inhaling through a pair of plastic tubes. Brooks can drive 'em completely wild and does on this exciting piece of modal modern jazz. Of course, Coleman, Shaw, Lawson, and McBee are nothing less than world-class. This is a band for the ages. ~ Michael G.Nastos https://www.allmusic.com/album/the-free-slave-mw0000037801

Personnel:  Roy Brooks - drums;  Woody Shaw - trumpet;  George Coleman - tenor saxophone;  Hugh Lawson - piano;  Cecil McBee - bass

The Free Slave

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