Five Play - Five Play Plus

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 56:20
Size: 130,1 MB
Art: Front

(4:33)  1. Theme From Mr. Broadway
(5:43)  2. That Old Feeling
(5:13)  3. Funk In A Deep Freeze
(8:17)  4. Crazy, He Calls Me
(6:12)  5. If I Only Had A Brain
(5:56)  6. Polka Dots And Moonbeams
(4:50)  7. Pure Imagination
(5:38)  8. Bud Powell
(4:26)  9. In The Wee Small Hours Of The Morning
(5:29) 10. On The Good Ship Lollipop

Here's another bright and swinging album by drummer Sherrie Maricle's able quintet, Five Play (a.k.a. DIVA Lite), encumbered at times by questionable mixing but as a whole quite engaging. For the group's second recording on Arbors, Maricle has assembled an international troupe of all-stars from the larger ensemble alto saxophonist Karolina Strassmayer hails from Austria, tenor Anat Cohen from Israel, bassist Noriko Ueda and drummer Tomoko Ohno from Japan and set aside room for guest shots by two members of DIVA's first-class trumpet section, Jami Dauber and Barbara Laronga, on five selections to lend color and variety to the two-reed front line (and to lend the album its title).  Every member of the group is impressive Cohen, Strassmayer and Ohno especially so on their showcase numbers, Cohen (clarinet) on "That Old Feeling, Strassmayer on "Crazy, He Calls Me, Ohno on the Arlen/Harburg classic from The Wizard of Oz, "If I Only Had a Brain. Dauber frames tasteful solos on Hank Mobley's "Funk in Deep Freeze, Leslie Bricusse/Anthony Newley's "Pure Imagination, and (muted) Richard Whiting/Sidney Clare's show-stopper for Shirley Temple, "On the Good Ship Lollipop. 

Laronga does the same on Chick Corea's boppish "Bud Powell and the standard "In the Wee Small Hours of the Morning (on which Ueda carries the melody). Maricle, who swings consistently in the style of her chief role model, the legendary Buddy Rich, bonds with Ohno and Ueda to form a taut and agile rhythm section on which Cohen, Strassmayer and their guests can always lean for support. As for the mixing gaffe alluded to earlier, it affects mainly Strassmayer on the quintet numbers, "Theme from Mr. Broadway and "Polka Dots and Moonbeams, wherein her alto sounds remote and is largely overshadowed by the more prominently recorded rhythm section. But that's hardly enough to put a damper on the session, which is lively and invigorating from start to finish, with sparkling group interplay and admirable solos by every member of the crew. If you've not heard Five Play before, this is a splendid way to get acquainted. 

~ Jack Bowers https://www.allaboutjazz.com/five-play-plus-five-play-arbors-records-review-by-jack-bowers.php

Personnel: Sherrie Maricle, leader, drums; Anat Cohen, tenor sax, clarinet; Karolina Strassmayer, alto sax, flute; Tomoko Ohno, piano; Noriko Ueda, bass. Special guests: Jami Dauber (3, 7, 10), Barbara Laronga (8-10), trumpet, flugelhorn.

Five Play Plus

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Mari Wilson - Pop Deluxe

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 54:13
Size: 125,0 MB
Art: Front

(0:56)  1. Island of Dreams (Intro)
(3:53)  2. Always Something There to Remind Me
(3:33)  3. I Couldn't Live Without Your Love
(4:48)  4. The Look of Love
(4:33)  5. Don't Sleep in the Subway
(4:41)  6. You're My World
(7:06)  7. 24 Hours from Tulsa
(4:32)  8. In Private
(3:45)  9. White Horses
(3:39) 10. Anyone Who Had a Heart
(4:37) 11. I Close My Eyes and Count to Ten
(4:54) 12. I Just Don't Know What to Do With Myself
(3:10) 13. Island of Dreams

2016 album from the British vocalist. Regarded by many as one of the UK's best pop singers and interpreters of songs, Mari Wilson (aka The Neasden Queen Of Soul) is releasing an album in which she brings her own unique take to some classic pop songs from British icons including Dusty Springfield, Petula Clark, Sandie Shaw and Cilla Black. The inspiration for Pop Deluxe came from Mari's memories of growing up, listening over and over to these songs on the Dansette in her bedroom whilst daydreaming of one day being on Top Of The Pops herself. Each of the chosen songs means something truly personal to Mari. Her decision to sing the 'White Horses' TV theme is firmly rooted in her childhood: "This song is almost in my DNA. When I would come home from school, my dad and I would always do the Evening News crossword and watch The White Horses TV Show - the theme tune would send shivers down my spine and still does. " 

~ Editorial Reviews https://www.amazon.com/Pop-Deluxe-Mari-Wilson/dp/B01C68SMY4

Pop Deluxe

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Ted Curson - Plenty Of Horn

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 39:18
Size: 91,1 MB
Art: Front

(2:52)  1. Caravan
(6:16)  2. Nosruc Waltz
(4:22)  3. The Things We Did Last Summer
(3:41)  4. Dem's Blues
(4:20)  5. Ahma ( See Ya )
(3:33)  6. Flatted Fifth
(3:55)  7. Bali - H'ai
(5:03)  8. Antibes
(5:12)  9. Mr Teddy

An excellent and flexible trumpeter, Ted Curson will always be best known for his work with Charles Mingus' 1960 quartet (which also included Eric Dolphy and Dannie Richmond). He studied at Granoff Musical Conservatory; moved to New York in 1956; played in New York with Mal Waldron, Red Garland, and Philly Joe Jones; and recorded with Cecil Taylor (1961). After the 1959-1960 Mingus association (which resulted in some classic recordings), Curson co-led a quintet with Bill Barron (1960-1965), played with Max Roach, and led his own groups. He spent time from the late '60s on in Europe (particularly Denmark) but had a lower profile than one would expect after returning to the U.S. in 1976. 

He led sessions for Old Town (1961), Prestige, Fontana, Atlantic, Arista, Inner City, Interplay, Chiaroscuro, and several European labels. Curson died of a heart attack on November 4, 2012. He was 77 years old. ~ Scott Yanow https://itunes.apple.com/gb/album/plenty-of-horn-remastered/915587792

Personnel:  Ted Curson (trumpet), Bill Barron (tenor sax on #5 & 6), Eric Dolphy (flute on #3 & 7), Kenny Drew (piano), Jimmy Garrison (bass), Roy Haynes (drums on #5 & 6), Danny Richmond (drums on #3 & 7) and Pete La Roca (drums on #1,2,4,8 & 9).

Plenty Of Horn

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Horace Silver - Live At Newport '58

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 44:46
Size: 103,1 MB
Art: Front

( 0:44)  1. Introduction By Willis Connover
(13:10)  2. Tippin'
(11:47)  3. The Outlaw
( 8:42)  4. Señor Blues
(10:21)  5. Cool Eyes

For a jazz artist of such longevity, pianist Horace Silver has precious few live recordings as leader. Before Paris Blues: Olympia Theater, Paris, 1962 (Fantasy, 2003) was released, Silver's single live recording was Doin' The Thing At The Village Gate (Blue Note, 2006/1961). This fact makes any newly discovered and released live recording somewhat of an event. Enter Horace Silver Live At Newport '58. Horace Silver Live At Newport '58 aurally details July 6, 1958 at the Newport Jazz Festival. The Horace Silver Quintet closed that Sunday afternoon's performances with a 40-minute set drawn from music Silver was composing and recording during at the time. The performance falls between Silver's recording of Further Explorations (Blue Note, 1958) and Finger Poppin' (Blue Note, 1959) and includes "The Outlaw" from that session and "Tippin'," recorded on June 15, 1958 for the b-side of the vocal version of "Senor Blues" (Bill Henderson, vocals). This performance is notable for the presence of trumpeter Louis Smith, who served as a bridge between Donald Byrd and Blue Mitchell. This represents the only full performance by Smith as part of Silver's quintet and one of the only times that "Tippin'" was recorded live by its original quintet. To be sure, Smith is neither Byrd nor Mitchell. He is a lightning bolt briefly illuminating the jazz sky with force and brilliance. This earliest example of live Silver shows the leader fully formed as a stage personality. If Horace Silver can be described as anything, it would be as his music is described: "funky cool." Horace Silver is part of the hard bop trinity, along with trumpeter Miles Davis and drummer Art Blakey. This trio ushered in a more accessible form of be-bop, making it acceptable to a wider audience by their infusion of blues and gospel elements. Hard bop was the first jazz genre to tax the confines of description. It is a more subtle artifact of jazz evolution than the earthquake which produced be-bop, which was a major mutation of jazz genes. Hard bop is extroverted where be-bop is introverted. It is muscular and brash, loose and sensual or frankly sexual music, particularly in the blues. 

The Newport performance is book ended with two classic be-bop constructions shot through with hard bop swagger. "Tippin'" is a classic AABA composition after Gershwin's "I Got Rhythm." It sports a complicated head and assertive soloing, and it swings with a jackhammer momentum, driven by the muscular drumming of Louis Hayes, who prefaces Tony Williams a decade later. "Cool Eyes" is similarly constructed with a devilishly complex Horace Silver head. Both pieces illustrate how hard bop was born out of be-bop. Those pieces performed between are the heart of hard bop, compositions that adopt challenging structures and time signatures. "The Outlaw"is pure genius, carefully constructed to convey the maximum drama. It stirs blues, Tin Pan Alley, church, and disorder at the border into a potent cocktail intended to weaken one's knees after the first shot. That soloists can spin their respective wares over these challenges is a credit to their musicianship. "Senor Blues" needs little introduction. It is the minor key blues of "Birk's Works" introduced to "My Little Red Shoes" with plutonium added for a slow burn. "Senor Blues" showcases its composer, allowing him to demonstrate the universe of his composing and pianist talents. If the late 1950s has a soundtrack, it would be "Senor Blues." Horace Silver Live At Newport '58 joins three other recent releases from trumpeter Dizzy Gillespie/saxophonist Charlie Parker, pianist Thelonious Monk and saxophonist John Coltrane as one of the most significant new finds in jazz. It appropriately casts Horace Silver as a significant jazz composer and reminds the modern listener that there are still giants among us, no matter how briefly. ~ C.Michael Bailey https://www.allaboutjazz.com/horace-silver-live-at-newport-58-by-c-michael-bailey.php?width=1920

Personnel: Horace silver: piano; Louis Smith; trumpet; Junior Cook: tenor Saxophone; Gene Taylor: bass; Louis Hayes: drums.

Live At Newport'58

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Pat Patrick & The Baritone Saxophone Retinue - Sound Advice

Styles: Saxophone And Flute Jazz
Year: 2015
File: MP3@320K/s
Time: 47:37
Size: 110,8 MB
Art: Front

(0:50)  1. Stablemates - Intro
(7:05)  2. Funny Time
(4:42)  3. Uptightedness
(9:26)  4. Eastern Vibrations
(7:05)  5. Sabia
(8:46)  6. East of Uz
(8:32)  7. The Waltz
(1:08)  8. Stablemates

Baritone saxophonist and flautist Pat Patrick was a member of Sun Ras's Arkestra for 35 years, and also played with Duke Ellington, Eric Dolphy, Thelonious Monk, and John Coltrane; in 1977 he assembled this 12-piece band with 8 baritone sax players, 4 of them doubling on flute, to present incredible versions of original work and modern standards. "Originally released in 1977 by Sun Ra's El Saturn label, this 2017 reissue includes printed inner sleeve. As composer, bandleader, and full-time member of the Sun Ra Arkestra, Pat Patrick was a visionary musician whose singular contribution to the jazz tradition has not yet been fully recognized. As well as holding down the baritone spot in the Arkestra for 35 years, Patrick played flute and alto, composed in both jazz and popular idioms, and was a widely respected musician, playing with Duke Ellington, Eric Dolphy, Thelonious Monk, and John Coltrane, with whom he appeared on Africa/Brass (1961). But he is best known for his crucial contributions to key Sun Ra recordings including Angels and Demons at Play (1967), Jazz in Silhouette (1959), and The Nubians of Plutonia (1967), among dozens of others. But as a bandleader, Patrick only released one LP the almost mythical Sound Advice, recorded with his Baritone Saxophone Retinue, a unique gathering of baritone saxophone masters including Charles Davis and Rene McLean. Sound Advice is a deep-hued exploration of this special instrument, a lost masterpiece of Arkestrally-minded Ellingtonia on which higher adepts of the lower cosmic tones are heard in rare conference. Unissued since original release, this unique jazz masterpiece now returns to the limelight. Released in collaboration with the Pat Patrick estate."-Artyard

Personnel:  Pat Patrick - Baritone saxophone, flute; Rene McLean - Baritone saxophone, flute; George Barrow - Baritone saxophone, flute; Reynold Scott - Baritone saxophone, flute;  Charles Davis - Baritone saxophone;  Mario Rivera - Baritone saxophone;  Kenny Rogers - Baritone saxophone;  James Ware - Baritone saxophone;  Hilton Ruiz - Piano;  Steve Solder - Drums;  Jon Hart - Bass;  Babafemi Humphreys - Conga

Sound Advice

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