Lee Konitz,Tiziana Ghiglioni,Stefano Battaglia - So Many Stars

Styles: Vocal, Piano And Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 79:19
Size: 184,9 MB
Art: Front

(3:39)  1. Lone Lee into Free Duet
(2:39)  2. Lover Man (Take 2)
(6:41)  3. So Many Stars (Take 1)
(6:30)  4. While We're Young (Take 1)
(5:18)  5. My Foolish Heart (Take 1)
(7:14)  6. My Funny Valentine (Take 1)
(4:33)  7. My Romance (Take 3)
(5:40)  8. O Cantador (Take 1)
(8:15)  9. My Funny Valentine (Take 2)
(5:55) 10. I'll Wind
(6:03) 11. Summertime (Take 2)
(6:04) 12. From This Moment On
(7:44) 13. It Never Entered My Mind
(3:00) 14. Blues for Red Mitchell (Section 2)

Lee Konitz's prolific recordings for Philology are wide ranging, with no two sessions alike, and this free form date with singer Tiziana Ghiglioni and pianist Stefano Battaglia is no exception. Alternating between alto and soprano saxes, he is playing at his usual high level throughout the date. Ghiglioni begins "Lover Man" unaccompanied with a fragile tone that grows more so as Konitz's light toned alto sax joins her. Battaglia's bittersweet arrangement of "My Foolish Heart" features Konitz's haunting soprano sax set the mood before Ghiglioni finally makes her entrance. The moody reharmonization of the master take of "My Funny Valentine" is yet another highlight, while the alternate is more abstract. The softness of Ghiglioni's vocals invite comparison to Meredith D'Ambrosio, so it will probably be difficult for this enjoyable singer to achieve widespread attention, but her work is worth exploring. Producer Paolo Piangiarelli proves to be a discographer's dream as he not only labels which take was used for each song but also indicates when a solo was substituted from an alternate take. ~ Ken Dryden https://www.allmusic.com/album/so-many-stars-mw0000232613

Personnel:  Lee Konitz - alto saxophone, soprano saxophone; Tiziana Ghiglioni - vocals; Stefano Battaglia - piano.

So Many Stars

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Jaki Graham - From Now On

Styles: Vocal
Year: 1989
File: MP3@320K/s
Time: 44:39
Size: 103,4 MB
Art: Front

(3:44)  1. From Now On
(5:31)  2. Provocative
(5:01)  3. The Better Part Of Me
(4:51)  4. Faking The Feeling
(5:02)  5. I Still Run To You
(4:34)  6. Baby Don't You Want Me
(3:54)  7. I Want To Thank You (Heavenly Father)
(4:13)  8. First In Line
(3:13)  9. Every Little Bit Hurts
(4:33) 10. Nobody's Fool

A gifted British soul vocalist, Jaki Graham has seldom gotten the kind of songs that her great skills could turn into breakout hits. These are mostly disposable formula filler that she tries to elevate but can't, despite often stunning vocal treatments. She's a great producer away from being a star, and could certainly be a great disco diva with the right tracks. ~ Ron Wynn https://www.allmusic.com/album/from-now-on-mw0000654239

From Now On

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Joe Locke, David Hazeltine Quartet - Mutual Admiration Society

Styles: Vibes And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:48
Size: 137,7 MB
Art: Front

(9:09)  1. K-Man's Crew
(7:41)  2. I Say A Little Prayer
(5:24)  3. Can We Talk?
(9:05)  4. The Haze Factor
(6:46)  5. Tears In Her Heart
(8:12)  6. Spring Will Be A Little Late This Year
(6:48)  7. Diamonds Remain
(6:38)  8. For All We Know

This is a sparkling, deeply grooved session by four seasoned pros whose musical temperaments are perfectly harmonized. While Locke and Hazeltine, both 40, have known each other for more than a decade, Mutual Admiration Society marks their first collaborative effort in a recording studio, one in which the reciprocal esteem is evident from start to finish. Locke and Hazeltine are so harmoniously well matched that one sometimes wonders if they mightn’t be able to read each other’s thoughts. Also on the same wavelength are Essiet and Drummond whose unflagging support is an indispensable part of the album’s success. There’s no doubt, however, about who the leaders are Locke wrote three of the album’s eight selections, Hazeltine two others, and together they take most of the solos. Completing the program are the standards “Spring Will Be a Little Late” and “For All We Know” and the Burt Bacharach/Hal David pop hit, “I Say a Little Prayer” (taken at a slower tempo than we’d ever heard before). On the other hand, “For All We Know,” ordinarily a ballad, is played in an up-tempo Latin groove, which evens the score. Whatever the pace or mood, Locke and Hazeltine are clearly on their game, spinning many an engaging post–bop phrase while sounding nothing at all like that celebrated archetype of piano/vibes quartets, the MJQ. While Locke could perhaps pass for Milt Jackson, Hazeltine’s pianisms are far too warm blooded and percussive ever to be mistaken for the ultra composed John Lewis. After a relatively placid start, the session moves into high gear with Hazeltine’s “Can We Talk?” (I’d have led with that one) and continues apace with Locke’s “Haze Factor” and Hazeltine’s lovely ballad “Tears in Her Heart.” Frank Loesser’s “Spring Will Be a Little Late,” taken for a pleasant medium tempo stroll, is a highlight with tasteful solos by the co–leaders, another by Essiet and the usual superb backing from bass and drums. Locke’s “Diamonds Remain,” dedicated to the late Don Grolnick, is next, and the foursome caps its pleasantly swinging date with “For All We Know.” And for all we know, those who hear it may wish to add their names to the Locke/Hazeltine mutual admiration society. ~ Jack Bowers https://www.allaboutjazz.com/mutual-admiration-society-joe-locke-sharp-nine-records-review-by-jack-bowers.php

Personnel: Joe Locke, vibes; David Hazeltine, piano; Essiet Essiet, bass; Billy Drummond, drums

Mutual Admiration Society

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Hank Crawford - Indigo Blue

Styles: Saxophone, Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 34:55
Size: 81,3 MB
Art: Front

(6:26)  1. All Alone And Blue
(5:31)  2. The Very Thought Of You
(5:22)  3. Things Ain't What They Used To Be
(6:08)  4. Funny
(6:31)  5. Indigo Blue
(4:55)  6. Just For A Thrill

Hank Crawford's Indigo Blue was released in August of 1983, less than a year after his excellent comeback set, Midnight Ramble, and proves that his renewed sense of creativity was no fluke. Here he teams once more with Dr. John on piano and organ and drummer Bernard Purdie. Melvin Sparks took over the guitar chair from Calvin Newborn, and Wilber Bascombe, Jr. holds down the rhythm section on bass. In addition, a horn section that includes David "Fathead" Newman, Danny Moore, Howard Johnson, and Martin Banks, arranged by Crawford, follows the same recipe as Midnight Ramble. The performances here are solid, truly impressive. Crawford plays sweet and slow as well as honking mean in getting at the root source of straight-ahead jazz and soul-jazz: the blues. And speaking of blues, the opener, "All Alone and Blue," is a barrelhouse of nasty guitar and organ work with Crawford's alto walking the bar while playing a mean solo. It's quite a changeup to open a set with but the only other thing you could do is close with it. This is followed by a gorgeous reading of Ray Noble's "The Very Thought of You," all slow, deep, and refined with only Crawford's alto allowed to bring in the edges. But there are more surprises as Crawford and band tackle Willie Nelson's "Funny" and reveal both the blues and jazz roots in the tune. 

The swing between Dr. John and Sparks in the title track is truly canny, and Crawford's response in blowing shows it. This one is in the cut, and the groove is everywhere. The bittersweet ballad "Just for a Thrill" ends the set, with some of the sweetest and most lyrical piano and alto playing either man had done on a record until that time. Indigo Blue is a winner; it's hungry and elegant, sophisticated and swaggering. It's a trademark recording by Hank Crawford. ~ Thom Jurek https://www.allmusic.com/album/indigo-blue-mw0000187873

Personnel: Hank Crawford - alto saxophone, electric piano, arranger, conductor; Dr. John - piano, organ; Melvin Sparks - guitar; Wilbur Bascomb - bass;  Bernard Purdie - drums;  David "Fathead" Newman - tenor saxophone;  Howard Johnson - baritone saxophone; Martin Banks - trumpet; Danny Moore - trumpet.

Indigo Blue

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Walt Weiskopf Quartet - Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 69:49
Size: 161,0 MB
Art: Front

( 6:50)  1. Man of Many Colors
(10:49)  2. Little Minor Love Song
( 9:27)  3. Dizzy Spells / Jay-Walking
( 7:52)  4. Blues in the Day
( 8:47)  5. Scottish Folk Song
( 7:52)  6. Blame It On My Youth
( 8:41)  7. Love for Sale
( 9:29)  8. Breakdown

Walt Weiskopf led a quartet with pianist Renee Rosnes, bassist Paul Gill, and drummer Tony Reedus in the spring of 2008 at the University of South Carolina. Although the musicians knew the live concert documented here was being recorded, the recording was initially intended for archival needs rather than as a commercial release. Around the time that the tenor saxophonist realized how good the performances were from the concert, Reedus collapsed and died from an embolism upon his return from a European tour in November 2008. The quartet members are at their very best throughout this concert, as they bring life to Weiskopf's compositions with their brilliant improvising and on the money accompaniment. There are two standards, an expressive "Blame It on My Youth," featuring Weiskopf's powerful solo, and a lighthearted, breezy "Love for Sale." Aside from the traditional "Scottish Folk Song" (introduced by the leader with Gill playing arco), played at a loping, nostalgic tempo, the remaining tracks are primarily Weiskopf's compositions. One exception is Rosnes' brilliant "Dizzy Spells" (a delicious reworking of the late trumpeter's "Con Alma"), which is combined in a medley with an extended workout of Weiskopf's "Jay-Walking." Other highlights include the tricky, constantly shifting "Blues in the Day" and the turbulent post-bop vehicle "Breakdown." Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/recorded-live-april-8-2008-koger-hall-university-of-south-carolina-mw0002120267

Personnel:  Tenor Saxophone – Walt Weiskopf; Piano – Renee Rosnes;  Bass – Paul Gill; Drums – Tony Reedus

Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

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