Wynton Marsalis - Big Train & The Lincoln Center Jazz Orchestra

Styles: Trumpet Jazz, Big Band
Year: 1999
File: MP3@320K/s
Time: 52:50
Size: 122,1 MB
Art: Front

(5:48)  1. All Aboard
(5:05)  2. Observation Car
(5:52)  3. Union Pacific Big Boy
(5:08)  4. Smokestack Shuffle
(2:50)  5. Northbound-Southbound
(2:23)  6. Dining Car
(2:24)  7. Night Train
(6:38)  8. Engine
(3:50)  9. Bullet Train
(3:27) 10. Sleeper Car
(2:10) 11. Station Call
(7:08) 12. The Caboose

All Aboard. In keeping with the Duke Ellington precedence, Wynton Marsalis has been composing longer and longer jazz pieces, music that approximates suites. Starting with The Majesty of the Blues (Columbia, 1989) and proceeding through Blue Interlude (Columbia, 1992), Citi Movement (Columbia, 1993), In This House, On This Morning (Columbia, 1994), Jump Start and Jazz (Columbia, 1997), and the Pulitzer Prize winning Blood on the Fields (Columbia 1997). Add to this list Big Train. Big Train is perhaps Marsalis most cogent and consistent composition in the suite genre. It is precisely composed and performed. Happy Go Lucky Special. The overwhelming influence here is Ellington. The rhythm of this disc is saturated with his unique saxophone express. What Marsalis brings to the mix is a more judicious use of space and the rhythm section. Ellington may never have written a note that was not necessary, but his compositions are busy pieces, even if blindingly brilliant. Marsalis, through the LCJO's rhythm section sets up an easy rhythm, sometimes chugging, sometimes walking, always propelling forward. If you find that hard to believe, compare "Union Pacific Big Boy,"Northbound-Southbound," and "Engine." But Ellington is not the only influence. "Smokestack Shuffle" is as much a Thelonious Monk piece as is "Friday the 13th." This disc is also quite instrument specific. As typical of a Marsalis composition, the listener is drowning in plunger-muted brass. Always a fan of the clarinet, Marsalis has written a good deal of clarinet into this piece with all of his reed players contributing on clarinet. This is a fun ride. The Big Train Reprise. Big Train is the fourth installment in the eight volume Swinging into the 21st Century set. It continues the provocatively creative trend that Marsalis has begun with the release of his Standards Volume 5 collection of Monk tunes. Marsalis is (not so) quietly creating a body of work within traditional jazz that should endure the future nicely. ~ C.Michael Bailey https://www.allaboutjazz.com/big-train-wynton-marsalis-columbia-records-review-by-c-michael-bailey.php?width=1920

Personnel: Wynton Marsalis: Trumpet and Director; Seneca Black: Trumpet; Ryan Kisor: Trumpet; Marcus Printup: Trumpet; Riley Mullins: Trumpet; Wayne Goodman: Trombone; Wycliffe Gordon: Trombone, Tuba; Ronald Westray: Trombone; Wessell Anderson: Alto and Sopranino Saxophone, Clarinet; Ted Nash: Alto and Soprano Saxophones, Piccolo, Clarinet, Bass Clarinet, Flute; Walter Blanding, Jr.: Tenor, Alto, and Soprano Saxophones, Clarinet; Victor Goines: Tenor, Alto, and Soprano Saxophones, Clarinet, Bass Clarinet; Joe Temperley: Baritone Saxophone, Bass Clarinet, Soprano Saxophone; Farid Barron: Piano; Rodney Whitaker: Bass; Herlin Riley: Drums; Roland Guerrero: Percussion; Doug Wamble: Guitar and Banjo.

Big Train

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Diane Tell - Chimères

Styles: Vocal
Year: 1982
File: MP3@320K/s
Time: 36:32
Size: 84,7 MB
Art: Front

(4:20)  1. Souvent longtemps énormément
(3:31)  2. Tes yeux
(4:55)  3. La falaise
(3:38)  4. Mon ami-e
(3:06)  5. Les trottoirs du boulevard St-Laurent
(4:36)  6. On a beau
(3:56)  7. Les différents
(4:23)  8. Le bonhomme digital
(4:04)  9. L'addition s.v.p.

Born in Quebec, Diane Tell learned to play the guitar at youg age and moved to Montreal where she performed in bars around the area and gradually gained popularity. Diane's album "En Fleche" appeared in 1980 and sold 150,000 copies with hit single "Si j'étais un homme". Listening to her 2 albums "En flêche" and "Chimeres" (1982), is a pure pleasure for a westcoast music fan. Diane seems to have been inspirated by Foster/Graydon/pages sounds and melodies at this period of her life. https://noted.blogs.com/photos/westcoast_from_france/chimere.html

Musicians: Background vocals: Diane TELL, Carl MARSH, Karen YOUNG; Piano, keyboards: Carl MARSH, Stéphane MONTANARO - Guitars: Jean Marie BENOIT - Drums: Paul BROCHU - Percussions: Jimmy TANAKA - Bass: Bob WRAY - Horns: Alan RUBEN, Jon FADDIS, Jim PUGH, George YOUNG, David TAYLOR, Lewis SOLOFF - Wind instruments: Julian FERNANDEZ, Adolfo BORNHTEIN, Gratiel ROBITAILLE, Ugène HUSARUK, Marc BELANGER, William LUNN, Jean Luc MORIN, Michael CARPENTIER .

Chimères

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The Slide Hampton Octet - Two Sides of Slide

Styles: Trombone Jazz 
Year: 1961
File: MP3@320K/s
Time: 72:28
Size: 168,5 MB
Art: Front

(9:10)  1. Newport
(3:24)  2. Autumn Leaves
(4:00)  3. Althea
(4:21)  4. Jazz Corner
(3:00)  5. Sometimes I Feel Like a Motherless Child
(5:53)  6. Go East, Young Man
(3:42)  7. Patricia
(4:10)  8. Woodyn' You
(3:45)  9. There's a Boat Dat's Leavin' Soon for New York
(3:47) 10. Bess, You Is My Woman Now
(4:32) 11. Summertime
(2:36) 12. I Love You Porgy
(4:53) 13. It Ain't Necessarily So / The Cloister (Dance Suite)
(4:39) 14. Part I Impression
(4:11) 15. Part II Obsession
(2:57) 16. Part III Expression
(3:20) 17. Part IV Possession

The two octets Slide Hampton uses on this recording are quite similar in content but different in the way they execute this music, and much of it has to do with the distinct difference in personnel, and the two years that separate their recording dates. The first half deals with hard to post-bop modifications and the way the group approaches a bridge between the two, while the other end of the program concentrates on interpretations the music written by George Gershwin, plus an extended four-part suite written by Hampton. These dual sides of Slide Hampton combine to form a complete picture of what the emerging arranger and trombonist offered as a individualist aside from peers (Quincy Jones, J.J. Johnson, Lalo Schifrin, et. al.) who concentrated on movie soundtracks. The sessions from 1959 include Bernard McKinney on the baritone horn, three different drummers (Kenny Dennis, Charlie Persip, and Pete LaRoca) on select tracks, and fledgling young trumpeters Booker Little and Freddie Hubbard, even though Burt Collins does all of the lead brass work with Hampton. "Newport" starts the set in a modal walk, the intro initially similar to "You Don't Know What Love Is," then merges into a steady streaming freight train jam. Four other Hampton originals range from the Latin unison call outs and boogaloo/bop "Althea" (assumedly for tennis star Althea Gibson), the regal "Go East, Young Man" based on the changes of "Milestones," the much quieter post-bopper "Jazz Corner," and the simple straight bop of "Patricia." 

Standards "Autumn Leaves," "Sometimes I Feel Like a Motherless Child," and "Woody 'n' You" feature add-ons from the originals like chatty, choppy horns, more anthemic than normal hues, and a harder, abundant, modified line, respectively. A slightly less potent but still talented lineup from 1961 plays the five Gershwin pieces, with "There's a Boat Dat's Leavin' Soon for New York" again richly enhanced with a little rock & roll beat tossed in; "Summertime" is performed via high drama, and "It Ain't Necessarily So" is dressed in Latin trim. George Coleman is the lone artist besides Hampton and baritone saxophonist Jay Cameron on the entire date, and the always effervescent tenor saxophonist gets a laid-back solo during "I Loves You Porgy." The "dance" suite "The Cloister" is impressionistic within ballad, easy swing, slightly urgent waltz, and frantic bop segments, with some call and response at the end. Other than some drum fills from Lex Humphries, the piece is played to strict tolerances, and over some 14 minutes, is not as memorable as the other tracks, although hinting at future projects of Hampton's. As solid musically as any mainstream jazz fan might need, this is an important prelude to other large ensemble projects Slide Hampton assembled, and deserves repeat listenings to fully reap its rewards. ~ Michael G.Nastos https://www.allmusic.com/album/two-sides-of-slide-hampton-mw0000369027

ON TRACKS [1-8]: Recorded in New York, 1959: SLIDE HAMPTON, trombone; FREDDIE HUBBARD, BOOKER LITTLE, BURT COLLINS, trumpet; BERNANRD McKINNEY, baritone horn; GEORGE COLEMAN, tenor sax & clarinet; JAY CAMERON, baritone sax, bass clarinet; GEORGE TUCKER, bass; PETE LaROCA, KENNY DENNIS, CARLIE PERSIP, drums

ON TRACKS [9-17]: Recorded in New York, 1961: SLIDE HAMPTON, BEN JACOBS-EL, trombone; HOBART DOTSON, WILLIE THOMAS, trumpet; GEORGE COLEMAN, tenor sax; JAY CAMERON, baritone sax; EDDIE KAHN, bass; LEX HUMPHRIES, drums

Two Sides of Slide

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Grachan Moncur III - Inner Cry Blues

Styles: Vocal, Trombone Jazz 
Year: 2007
File: MP3@320K/s
Time: 60:55
Size: 140,0 MB
Art: Front

(11:36)  1. G Train (For Duke Ellington)
(10:23)  2. Inner City Blues
(10:00)  3. Hilda
( 8:39)  4. A For Pops (For Louis Armstrong)
(11:25)  5. Blue Rondo (For Jackie McLean)
( 8:49)  6. Sonny's Back!: I. Sonny's Back / II. Clifford Browning

Given the small number of recordings under his own name, and how sporadically those have appeared, that Grachan Moncur III has released a follow-up to his fine 2004 offering Exploration in just three short years is remarkable in and of itself. The former set was filled with all-stars and legends from Billy Harper and Gary Bartz to Ray Drummond and Andrew Cyrille. Tim Hagans, Gary Smulyan, and John Clark were also part of that octet proceeding. The scene on Inner Cry Blues is a different one. Moncur's best-known sideman here is vibraphonist Ben Adams, who has issued three solid dates under his own name on his tiny Lunar Module imprint, where this disc appears as well. Other members of the group are Sameer Gupta on drums, Erik Jekabson on trumpet, tenor Mitch Marcus, and bassist Lukas Vesely. The subtitle of Inner Cry Blues is "Dedication Album, Volume 1." Of the six cuts, here four are dedicated to jazz legends: "G Train" for Duke Ellington, "A for Pops" for Louis Armstrong, the two-part suite "Sonny's Back" for Sonny Rollins, and, of course, "Blue Rondo" for longtime friend and collaborator the late Jackie McLean. This is one of those Moncur dates that walks the tightrope. It walks the inside line of post-bop and modal jazz a lot. In fact, it never strays far from them. But the sense of space, color, and texture in his compositions pushes their boundaries a bit. All of these tunes range on the long side; the shortest, "A for Pops," is over eight-and-a-half minutes. The two-part suite for Rollins is 8:49, and the others are at or over the ten-minute mark. This is a plus. Since this is a young band, Moncur's rule of conduction is apparent everywhere here. He allows solo space, plenty of it in fact, but as with his best music it is seamless, without messy edges and quick-change corners. It's all about flow here, and yes, it does swing, everywhere, subtly, with introspection, elegance and grace. "G Train," with its three horns and vibes front line, offers a breezy if somewhat elaborate lithe melody for the rest of the players to get behind. The role of Vesely's bass is unusual, it's right in front of the mix on this session, and here it leads the band in a relaxed mid-tempo groove that unfolds in all sorts of interesting harmonic ways. Moncur's own solo, right in the blues pocket, is full of short, choppy lines, whereas Adams, on the vibes, struts out elongated, complex lines that never lose their rhythmic focus. The title track is a soul blues that has as much to do with New Orleans funeral music as it does with Southern soul in general. The entire cut feels like a coda, but develops from there without losing that feel. 

The stops and starts are all pronounced, even exaggerated, and the arco work by Vesely just unfolds so slowly and beautifully. It is a rich tune that keeps bits and pieces of ragged but right blowing directly in the mix: check the tone on Marcus' tenor and Jekabson's trumpet. They could bust out at any moment, but they keep playing these phrases repetitively and each soloist stays right in the blues with his fills throughout. "Hilda" begins as a strolling, old-school swing tune, with a catchy, almost nursery rhyme phraseology in the lyric. Gupta's kit work, pops in and out of the box on the rhythm, breaking it, double- and triple-timing it with a restrained hand, adding to the dancing, swing feel of the cut. Moncur sings on a pair of these cuts  the Armstrong and Rollins tributes but it works. His voice isn't great, but in terms of the informal, laid-back feeling of this date it just inserts itself as another part of the equation, grooving right in time and space and lending immeasurably to its fingerpopping charm. Though everything here is hip, full of soul and groove as well as execution, "Blue Rondo," for McLean, is the brightest moment. The interplay between the three horns and vibes is actually rather astonishing. There are call and response lines in the melody, all winding around one another, and some of these are in an uncanny counterpoint. Moncur uses tropes from both his own and McLean's hard bop music, pushing at the edges to bring them back into the center of the music's roots without losing his sense of space and stretched time. It's not just a fitting tribute, it's a mad, swinging affair with huge wood by Vesely and wonderful, lush add-ins from Adams. Marcus' solo hints at the edges that McLean and Moncur were looking at in the early to mid-'60s, but never loses the center of the rhythm, either. In sum, Inner Cry Blues is a welcome return from a composer, bandleader, arranger, and soloist we hear far too little from. This set has everything a jazz fan would want, and has enough compelling rhythmic invention and hard blues thematics to interest a younger generation whose tastes range from hip-hop to funk and R&B. Not because this music is any of those things, it's not. It's tough post- and hard bop jazz that is fresh, spirited, cool, and timeless. It will appeal to anyone with half an ear for the real thing. ~ Thom Jurek https://www.allmusic.com/album/inner-cry-blues-mw0000491239

Personnel:  Grachan Moncur III - trombone, vocals; Erik Jekabson - trumpet; Mitch Marcus - tenor saxophone; Ben Adams - vibraphone, producer; Lukas Vesely - bass; Sameer Gupta - drums

Inner Cry Blues

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