Friday, November 16, 2018

Alex Sipiagin - Mirrors

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 64:43
Size: 148,3 MB
Art: Front

( 6:29)  1. Def I
( 8:40)  2. Tijuana Gift Shop
(13:17)  3. Travel
( 9:28)  4. Crossing
( 9:22)  5. Mirror
( 7:44)  6. Def II
( 9:40)  7. Mood One

A gifted, Russian-born jazz trumpeter, Alex Sipiagin is a dynamic soloist with a harmonically sophisticated approach influenced by the post-bop style of artists like Woody Shaw, Freddie Hubbard, and John Coltrane. Sipiagin initially came to wider recognition after placing fourth in the Thelonious Monk Institute's International Louis Armstrong Competition in 1990. Moving to New York, he quickly established himself as an in-demand sideman, working with such esteemed outfits as the Mingus Big Band and the Gil Evans Orchestra, as well as players like David Binney, Dave Holland, Conrad Herwig, and others. As a leader, he has issued a steady stream of highly regarded and hard-swinging albums, including 2001's Steppin' Zone, 2008's Out of the Circle, and 2010's Generations: Dedicated to Woody Shaw. He is also a member of the Criss Cross label's Jazz Messengers-style group Opus 5, with whom he has recorded a handful of albums such as 2012's Pentasonic and 2015's Tickle. His immense skills have brought him accolades including playing on the Michael Brecker Quindectet's Grammy-winning 2003 album Wide Angles and the Dave Holland Big Band's Grammy-nominated 2010 album Pathways. Away from performing, Sipiagin is also a committed educator, having taught at both NYU and the Groningen Prince Claus Conservatory, Academy of Music, Basel, Switzerland. Alexei "Sasha" Sipiagin was born on June 11, 1967 in Yaroslavl, U.S.S.R. Growing up, Sipiagin studied classical trumpet and played in a youth orchestra. At around age 15 he enrolled in a local music school, where he first encountered modern jazz. Inspired to study more jazz, Sipiagin auditioned and was accepted into the Moscow Music Institute at age 16, eventually graduating with his bachelor's degree in music. After college, Sipiagin's studies were waylaid for two years of compulsory service in the Soviet Army, after which he enrolled in the Gnessin Conservatory in Moscow. In 1990, Sipiagin competed and placed fourth in the Thelonious Monk Institute's International Louis Armstrong Competition in Washington, D.C. He not only won a Bach trumpet, presented to him by legendary jazz trumpeter Clark Terry, but also received much notice by critics and jazz musicians in the States. Buoyed by the attention, Sipiagin relocated to New York, where he found work with a bevy of ensembles including the Mingus Big Band, Mingus Dynasty, bassist Dave Holland's Big Band, Sextet, and Octet groups, as well as a cadre of top-echelon players including Larry Coryell, Conrad Herwig, David Binney, and others. He also made his debut as a leader, issuing Images in 1998, playing alongside Binney, Chris Potter, Scott Colley, and others.

He then moved to the Criss Cross label and issued 2001's Steppin' Zone, a hard-hitting acoustic jazz date featuring saxophonist Potter, pianist David Kikoski, bassist Colley, and drummer Jeff "Tain" Watts. More equally dynamic albums followed for Criss Cross, including 2002's Hindsight, 2005's Returning, and 2007's Prints. He also joined Michael Brecker on the saxophonist's Grammy-winning 2003 Quindectet album Wide Angles, and continued his long association with bassist Holland on the 2005 Big Band album Overtime. In 2008, Sipiagin, ever the adventurous journeyman, released Out of the Circle on Sunnyside, an album with various N.Y.C.-based musicians the trumpeter had not worked with closely before. He returned to Criss Cross in 2009 with the high-energy post-bop of Mirages, featuring saxophonist Seamus Blake, pianist Mulgrew Miller, bassist Boris Kozlov, and drummer Johnathan Blake. The trumpeter then paid homage to one of his main influences with Generations: Dedicated to Woody Shaw in 2010. A year later, he emerged with the sextet date Destinations Unknown alongside saxophonists Potter and Binney. Potter was also on board for Overlooking Moments in 2013. Around this time, Sipiagin made his debut with the Criss Cross label ensemble Opus 5, appearing on 2011's Introducing Opus 5 alongside saxophonist Seamus Blake, pianist David Kikoski, bassist Boris Kozlov, and drummer Donald Edwards. The group, which is modeled after Art Blakey's Jazz Messengers, has continued to work regularly, issuing 2012's Pentasonic, 2014's Progression, and 2015's Tickle. In 2014, Sipiagin debuted his New Path ensemble featuring Dutch vocalist Hiske Oosterwijk. The group returned in 2016 with New Path 2. The trumpeter also returned to his sextet work with 2015's Balance 38-58. Two years later, he issued Moments Captured with saxophonists Potter and Will Vinson, pianist John Escreet, bassist Matt Brewer, and drummer Eric Harland. ~ Matt Collar https://www.allmusic.com/artist/alex-sipiagin-mn0000619312/biography

Personnel:   Alex Sipiagin - trumpet, flugelhorn;  Seamus Blake - tenor saxophone;   Adam Rogers - guitar;   David Kikoski - piano;  Boris Kozlov - bass;  Johnathan Blake - drums.

Mirrors

Josephine Sanges - Finding Beauty (Celebrating Ann Hampton Callaway)

Styles: Vocal
Year: 2017
File: MP3@256K/s
Time: 65:43
Size: 120,9 MB
Art: Front

(4:15)  1. Finding Beauty
(4:43)  2. Bring Back Romance
(3:25)  3. That Old Black Magic
(2:26)  4. Ding Dong the Witch is Dead
(3:06)  5. Music
(4:14)  6. At the Same Time
(2:58)  7. Lullaby of Birdland
(4:02)  8. It's All Right with Me
(3:17)  9. Out of This World
(2:59) 10. Twisted
(3:32) 11. Come Take My Hand
(3:39) 12. I've Dreamed of You
(2:54) 13. I Gaze in Your Eyes
(2:53) 14. Hip to Be Happy
(4:33) 15. Love and Let Love
(4:08) 16. Perfect
(3:57) 17. How High the Moon
(4:33) 18. Bring Back Romance (Alternate Version)

In May of 2016, while I was thinking about putting a new show together, Deb Berman called and very excitedly said she had an idea. “How about doing a show celebrating the music of Ann Hampton Callaway?” While still being a cabaret neophyte, I wasn’t at all sure I was up to it. Being a fan of Ann’s music and lyrics for quite some time, I knew the challenges involved. Her music is smart, technically accomplished; her lyrics rich and multi-dimensional. But as Ann says in one of her original songs, “take the time to listen and feel”. And the more I let my ‘inner noise’ quiet down and began to live with the idea, the more thrilled I became. After much discussion, and under Deb’s insightful direction, we had a show! The first task how to make Ann’s music my own? As a singer and interpreter she is in a class by herself, all but unapproachable in jazz improvisation, with an instrument that can shade any passage with infinite nuances. Working with my musical director, John Cook, we came up with arrangements for that show and, now, for this album that enabled me to put my own signature on ten of Ann’s original songs, in addition to standards from the American Songbook that she’s recorded throughout the years. My gratitude? It’s endless…where to begin? First of all, to my dear friend and director, Deb Berman, who handed me an awesome project on a silver platter. Seldom do you walk into a first meeting where your entire show is virtually done for you. Thanks for the roadmap and all of your support, Deb! To the band, Dave Pietro, who’s sultry and silky saxophone made good tracks into perfection… Todd Isler’s subtle percussion that gave form and structure where we needed it most… Sean Harkness, who conjured up the most delicious harmonic invention on the spot…Laura Intravia, whose sumptuous flute caresses the ear like velvet…Tom Hubbard, for his enormous contribution of rock solid musicianship, along with an endearing personal manner that made every day in the studio a pure joy. To Sean Swinney, our sound engineer, who in addition to giving us his consummate expertise took an active personal interest in making this project the best it could be.To John M. Cook, my musical director, whose brilliant arrangements, dazzling accompaniment and wholehearted dedication made this a purely magical collaboration? Your enduring friendship, encouragement, and faith in my ability mean the world to me. And, lastly, to Ann Hampton Callaway…for your unsurpassed generosity of time and spirit. Your open heart and ability to inspire are without equal. https://store.cdbaby.com/cd/josephinesanges

Finding Beauty

Jim Rotondi - Destination Up

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 59:39
Size: 136,9 MB
Art: Front

( 5:41)  1. Designated Hitter
(10:10)  2. Evening Shades Of Blue
( 6:08)  3. Last Ditch Wisdom
( 6:47)  4. Miller Time
( 8:43)  5. Park Avenue Petite
( 6:25)  6. Remember
( 6:45)  7. Reverence
( 8:55)  8. Yams

Among the current crop of mainstream jazz trumpeters, Jim Rotondi stands head and shoulders above the crowd. With a crackling extroverted style akin to that of Lee Morgan, Rotondi possesses an incisive harmonic sense and the knack for telling a story. Via his work with the hard bop collective One For All and a reliable set of albums as a leader for Criss Cross, Rotondi has emerged as a major talent deserving of wider recognition. Rotondi’s first release for Sharp Nine also happens to be among his best to date, feeling very much like a classic in the making. That should come as no surprise considering the ensemble makeup, with the trumpeter sharing lead with vibraphonist Joe Locke. In the same way that Bobby Hutcherson added so much to classic Blue Notes such as Grant Green’s Idle Moments or Joe Henderson’s Mode For Joe, Locke provides a lush carpet that enhances the advanced charts. Holding down the fort, Mulgrew Miller, Peter Washington, and Joe Farnsworth form a tight-knit rhythm team, with the latter two gentlemen especially familiar with Rotondi’s modus operandi. It’s another old buddy, trombonist/composer Steve Davis who sits in on two tracks and contributes one of the date’s finest compositions, “Evening Shades of Blue.” Typical of Davis’ distinguished writing, this long form tune with a catchy tag is the longest performance of the disc and allows all key members a chance to stretch out at length. Equally enticing are three tunes from Rotondi’s pen, including the bop-tinged “Designated Hitter,” a bluesy tribute to Mulgrew Miller entitled “Miller Time,” and the lovely waltz “Reverence.” As for appreciating Rotondi’s maturity as a soloist, look no farther than “Park Avenue Petite,” a ballad feature that finds the trumpeter taking his time, looking for the silence between phrases, and holding our interest in a way that only the finest improvisers can. In similar fashion, Rotondi avoids the flashy technical displays and other trite inventions and maybe that’s what makes Destination Up such a keeper. ~ C.Andrew Hovan https://www.allaboutjazz.com/destination-up-jim-rotondi-sharp-nine-records-review-by-c-andrew-hovan.php

Personnel: Jim Rotondi (trumpet, flugelhorn), Joe Locke (vibes), Steve Davis (trombone),Mulgrew Miller (piano), Peter Washington (bass), Joe Farnsworth (drums)

Destination Up

Jorge Rossy - Stay Here

Styles: Vibraphone Jazz
Year: 2016
File: MP3@320K/s
Time: 51:35
Size: 118,3 MB
Art: Front

(5:49)  1. Who Knows About Tomorrow
(4:32)  2. Portrait
(4:05)  3. Artesano
(5:16)  4. Blessed
(2:00)  5. Mark's Mode
(5:48)  6. The Newcomer
(6:19)  7. W Waltz
(4:23)  8. Pauletta
(7:04)  9. Mmmyeah
(6:15) 10. Stay Here

Jorge Rossy’s work as a drummer has been so celebrated that casual listeners may be unaware of his chops as a multi-instrumentalist. His repertoire of skills includes trumpet and piano, and Stay There further extends his range to vibraphone and marimba. He’s joined for this 10-track excursion by a sterling band that has previously toured as the Jorge Rossy Vibes Quintet: tenor saxophonist Mark Turner, guitarist Peter Bernstein, bassist Doug Weiss and drummer Al Foster. Rossy’s approach to the mallets is as clean and melodically engaged as his drumming. He tackles his solos from a shade behind the beat, giving his lines the subtlest flavoring of tension and drama. The vibraphonist is also the composer of seven of this album’s tracks, his tunes providing his musicians plenty of airy, open ground on which to interact and assert themselves. “Portrait” proceeds from Bernstein’s burnished intro to reverb-heavy Rossy atmospherics and wailing phrases from Turner. Foster guides the malleable dynamics of “Who Knows About Tomorrow” with equal parts lightness of touch and rhythmic force. On “MMMyeah,” the drummer’s tinging cymbals mesh with Weiss’ firm-handed flow to craft a steady-rolling undercurrent for sharp-edged solos from Bernstein and Rossy. Turner’s gift for emotional clarity is spotlighted on the understatedly mysterious “Mark’s Mode,” and the title track’s smooth, shuffling rhythm sets up a Rossy solo that is simultaneously his most straightforward and expressive playing of the album. Guillermo Klein’s “ArteSano” offers chiming marimba chords, African-inflected support from Foster and a bracing solo by Weiss. 

“The Newcomer,” composed by Rossy’s sister Mercedes, is a pensive ballad coaxing gently felt statements from Weiss, Bernstein and an especially warm-toned Turner. Foster contributes the breezy “Pauletta,” where Rossy adds glistening accents and Bernstein takes a quietly cheerful solo. The tune’s effect epitomizes the entire album: easily enjoyable music, unimpeachably well played. ~ Matt R.Lohr https://jazztimes.com/reviews/albums/jorge-rossy-stay/
 
Personnel:  Jorge Rossy - vibes, marimba;  Mark Turner- tenor saxophone;  Peter Bernstein - guitar;  Doug Weiss - bass, Al Foster - drums.

Stay Here