Darren Barrett - First One Up

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 65:30
Size: 152,0 MB
Art: Front

(5:44)  1. First One Up - Take 1
(5:33)  2. Word! Dr. Byrd
(7:59)  3. Impossible
(5:20)  4. 2 to 4
(6:29)  5. Grand Ravine
(6:45)  6. Up Down - Inside Out
(5:11)  7. Conceta Elfreda
(5:41)  8. A New Day Comes
(7:15)  9. Reflections
(6:45) 10. First One Up - Take 2
(2:42) 11. Dee's Theme

This is the debut recording by trumpeter Darren Barrett who in ’97 won the annual international Jazz competition sponsored by the Thelonious Monk Institute. The man clearly has exceptional chops and enthusiasm to match but he leaves an inescapable impression that what is being said has been recited many times before, often with deeper awareness and broader substance. In other words, purposeful as Barrett and his companions are, there’s nothing notably fresh or absorbing in their repertoire, which consists here of eight original compositions by Barrett (“First One Up” is performed twice) and one each by Steve Allen (“Impossible”) and Thelonious himself (“Reflections”). Barrett sounds much like several of his more recent predecessors (Roy Hargrove, Nicholas Payton, Marcus Printup, Terence Blanchard, Wallace Roney and others) with the obligatory nods toward Freddie Hubbard, Donald Byrd, Lee Morgan and other old line boppers. One of the drawbacks is that Barrett’s compositions, while earnest in their intent, haven’t much meat on their bones and thus serve mainly as routine springboards for improvisation. 

Another is that pianist Goldberg could use a more delicate touch to great advantage (and is that him or his piano making those strange noises while he solos?). Barrett’s front line partners, Greene (on eight tracks) and Garrett (on three), are quite capable but stylistically inseparable from many of their contemporaries. Make no mistake, Barrett shows great promise and gives an exceedingly good account of himself throughout, and First One Up may one day be seen in retrospect as the wellspring of an uncommonly productive career. For now, however, we must observe that “promising” is about as suitable a word as discretion will allow. The more acclamatory phrases may come later. ~ Jack Bowers https://www.allaboutjazz.com/first-one-up-darren-barrett-j-curve-records-review-by-jack-bowers.php

Personnel: Darren Barrett, trumpet; Aaron Goldberg, piano; Jimmy Greene, tenor, soprano sax; Kenny Garrett, alto sax (1, 6, 10); Reuben Rogers, bass; John Lamkin, drums.

First One Up

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Honi Gordon - Vocal & Jazz Essentials

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 34:00
Size: 78,9 MB
Art: Front

(2:31)  1. Ill Wind (You're Blowing Me No Good)
(5:19)  2. My Kokomo
(3:22)  3. Cupid
(5:01)  4. Why Try to Change Me Now
(2:43)  5. Lament of the Lonely
(3:27)  6. Why
(3:43)  7. Love Affair
(4:38)  8. Strollin'
(3:10)  9. Walkin' (Out the Door)

Honi Gordon was among the one-album wonders of jazz; the obscure, bop-oriented singer recorded only one LP as a solo artist (1962's little-known Honi Gordon Sings). But her lack of exposure was not due to a lack of talent. Gordon, the daughter of vocalist/composer George Gordon, had an appealing style that was influenced by Sarah Vaughan, Ella Fitzgerald, and Billie Holiday, as well as Annie Ross. There were also hints of Chris Connor in some of her performances. Gordon first sang professionally in the early '50s, when she became a member of a jazz vocal group called the Gordons. That outfit was a family affair, consisting of Honi Gordon as well as her father and two brothers. Though the group didn't sell a lot of records, it attracted the attention of Charles Mingus and did some recording with the famous bassist/pianist/bandleader. Pianist Mary Lou Williams was also an admirer of the group, as was bandleader/vibist Lionel Hampton. Nonetheless, the Gordons were unable to sustain a long career, and they broke up. By the early '60s, Honi Gordon was pursuing a solo career. She recorded her first solo album, Honi Gordon Sings, for Prestige in 1962, employing such noteworthy jazzmen as acoustic bassist George Duvivier, drummer Ed Shaughnessy, and the eclectic pianist Jaki Byard. The album was quite promising; Gordon showed herself to be a strong interpreter of lyrics on material that ranged from Mingus' "Strollin'" and the standard "Ill Wind" to her father's "My Kokomo." But, unfortunately, Gordon's first solo album was also her last after Honi Gordon Sings, she never recorded again as a solo artist. In 1991, Fantasy reissued Honi Gordon Sings on CD for the limited editions line of its Original Jazz Classics (OJC) series. ~ Alex Henderson https://www.allmusic.com/artist/honi-gordon-mn0000821836

Vocal & Jazz Essentials

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Illinois Jacquet - Night Out

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 50:34
Size: 117,2 MB
Art: Front

(4:28)  1. Harlem Nocturne
(6:12)  2. Las Vegas Blues
(4:24)  3. Robbin's Nest (Radio Edit)
(3:12)  4. Flying Home
(5:56)  5. Have You Met Miss Jones?
(2:35)  6. The Fluke
(5:06)  7. Achtung
(5:49)  8. Lullaby of the Leaves
(6:42)  9. Can't We Be Friends
(3:14) 10. Nite Out
(2:51) 11. No Sweet

One of the great tenors, Illinois Jacquet's 1942 "Flying Home" solo is considered the first R&B sax solo, and spawned a full generation of younger tenors (including Joe Houston and Big Jay McNeely) who built their careers from his style, and practically from that one song. Jacquet, whose older brother Russell (1917-1990) was a trumpeter who sometimes played in his bands, grew up in Houston, and his tough tone and emotional sound defined the Texas tenor school. After playing locally, he moved to Los Angeles where, in 1941, he played with Floyd Ray. He was the star of Lionel Hampton's 1942 big band ("Flying Home" became a signature song for Jacquet, Hampton, and even Illinois Jacquet' successor Arnett Cobb), and also was with Cab Calloway (1943-1944) and well featured with Count Basie (1945-1946). Jacquet's playing at the first Jazz at the Philharmonic concert (1944) included a screaming solo on "Blues" that found him biting on his reed to achieve high-register effects; the crowd went wild. He repeated the idea during his appearance in the 1944 film short Jammin' the Blues. In 1945, Jacquet put together his own band, and both his recordings and live performances were quite exciting. He appeared with JATP on several tours in the 1950s, recorded steadily, and never really lost his popularity. In the 1960s, he sometimes doubled on bassoon (usually for a slow number such as "'Round Midnight") and it was an effective contrast to his stomping tenor. In the late '80s, Jacquet started leading an exciting part-time big band that only recorded one album, an Atlantic date from 1988. Through the years, Illinois Jacquet (whose occasional features on alto are quite influenced by Charlie Parker) has recorded as a leader for such labels as Apollo, Savoy, Aladdin, RCA, Verve, Mercury, Roulette, Epic, Argo, Prestige, Black Lion, Black & Blue, JRC, and Atlantic. Illinois Jacquet died on July 22, 2004. ~ Scott Yanow https://www.allmusic.com/artist/illinois-jacquet-mn0000770629/biography

Night Out

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Bill Cunliffe - Bill Plays Bud

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 61:06
Size: 146,1 MB
Art: Front

(6:16)  1. Melancholia
(5:26)  2. Un Poco Loco
(8:49)  3. Polka Dots and Moonbeams
(4:25)  4. Comin' Up
(6:05)  5. Hallucinations
(3:46)  6. Tempus Fugit
(4:49)  7. Sure Thing
(6:01)  8. 52nd Street Theme
(3:51)  9. Borderick
(3:09) 10. Dusk at Saudi
(4:17) 11. Willowgrove
(4:06) 12. Glass Enclosure

Bouncing With Bill. Chick Corea's recent tribute to Be Bop pioneer Bud Powell, Remembering Bud Powell (Concord/Stretch 9012-2) was a welcome tribute to the Charlie Parker/Dizzy Gillespie of the piano. Bud Powell, while constantly being critically acknowledged, has had relatively few program recordings of his music by other musicians. Joining Corea in recognizing Powell is the East Coast-West Coast pianist Bill Cunliffe. Standard and Nonstandard Fare. The Cunliffe and Corea recordings share several Powell originals. Both boast "Tempus Fugit," "Glass Enclosure," and "Dusk in Saudi." "Willow Grove" is also represented on both discs. Each pianist includes a personal composition. But, where Corea confines himself to all original compositions; Cunliffe chooses to explore both rarer Powell compositions and jazz standards closely associated with Powell. "Coming Up" and "Sure Thing" are rarely heard Powell vehicles that are brought out for closer inspection by Cunliffe. "Tempus Fugit" and "Hallucinations" along with "Un Poco Loco" are capably interpreted, often with the original Powell arrangements. Ralph Moore and More. Tenor Saxophonist Ralph Moore proves he is empathetic with both Powell and Cunliffe. His muscular support and solos on "Polka Dots and Moonbeams" and "52nd Street Theme" make this already excellent disc a gem. Dave Carpenter provides a solid bottom upon which Cunliffe rocks and croons; while Joe La Barbera and Papo Rodriguez provide the rhythmic direction. The music herein is personally played by musicians of great substance. The modest Naxos price should make this fine recording a must have. Naxos Jazz. This recording is among the third wave of Naxos Jazz releases, all of which have been review within these electric pages by this critic. I have found that all of these recordings have been of a very high quality. All, for the most part, have been recorded live direct to two track digital, preserving that special spontaneity that is jazz. Naxos Jazz has also provided a wide variety of styles and performances, all executed superbly. The other recent Naxos Jazz recordings include Donny McCaslin's Exile and Discovery (Naxos Jazz 86014-2), Clifford Adams' The Master Power (Naxos Jazz 86015-2), the Mike Nock Quintet's Ozboppin' (Naxos Jazz 86019-2), Flipside's Flipside (Naxos Jazz 86013-2), and Larry Karush's Art of the Improviser (Naxos Jazz 86011-2). ~ C.Michael Bailey https://www.allaboutjazz.com/bill-plays-bud-bill-cunliffe-naxos-review-by-c-michael-bailey.php?width=1920

Personnel: Bill Cunliffe: Piano, Ralph Moore: Tenor Saxophone, Dave Carpenter: Acoustic Bass, Joe La Barbera: Drums, Papo Rodriguez: Percussion

Bill Plays Bud

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