Bob Mintzer Quartet - Quality Time

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:50
Size: 138,2 MB
Art: Front

(6:25)  1. Quality Time
(5:30)  2. Overlap
(7:05)  3. Few Good Notes
(5:55)  4. Emit A1
(6:10)  5. All Is Quiet
(4:45)  6. Bop Boy
(5:36)  7. Groovetown
(6:04)  8. Gather the Spirit
(7:19)  9. Bossa
(4:56) 10. Family

As “quality time” is wholly subjective, others may find time spent with saxophonist Bob Mintzer’s quartet(s) far more pleasurable than I. On the one hand, Mintzer is a first rate player, consistently resourceful and well respected by his fellow musicians; on the other, he seldom manages to induce even the slightest response from my emotional nerve center even though I’ve appreciated some of his big band endeavors such as Latin from Manhattan, Art of the Big Band and Big Band Trane. Hard to explain? Sure it is. All the notes are enfolded properly in place, and the music flows as evenly as it should, but a key ingredient seems to be missing call it personality, charisma or whatever. The upshot is that Mintzer dances nimbly around these ears without ever fashioning a secure impression. Not his fault, of course, but mine. He is, after all, merely delivering the message; it falls on my shoulders to receive and decipher it, something I’ve never been wholly able to accomplish. Would that it were otherwise, but it’s not. As for the music on Quality Time, Mintzer’s new release on TVT, it’s largely straight ahead and well mannered. Mintzer penned eight of the charts, co wrote “Emit al” (on which he plays tenor, bass clarinet and EWI) with Ferrante, Haslip and Kennedy, and rounds out the program with a traditional hymn, “Gather the Spirit.” Rhythmically, Mintzer alternates between the rock shuffle cadences so often employed by his longtime colleagues, the Yellowjackets, and more sophisticated backdrops, as on “A Few Good Notes,” on which he plays soprano; the ballad “All Is Quiet,” the fast moving “Bop Boy” and the bluesy “Groovetown.” There are two rhythm sections (with Ferrante, Haslip and Kennedy sitting in on “Emit al” and “Family”), and each might best be described as workmanlike but amorphous aside from a couple of respectable solos by Markowitz and Ferrante, this is Mintzer’s date, and they are there to lend support, which they do. Quality Time is a commendable session, well planned and carried out. I regret that it didn’t push any of my buttons. ~ Jack Bowers https://www.allaboutjazz.com/quality-time-bob-mintzer-tvt-review-by-jack-bowers.php?width=1920

Personnel: Bob Mintzer, tenor, soprano saxophones; Phil Markowitz, piano; Jay Anderson, bass; Peter Erskine, drums, except tracks 4 & 10

Quality Time

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Eileen Farrell - Sings Johnny Mercer

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 47:41
Size: 109,8 MB
Art: Front

(2:24)  1. Too Marvelous for Words
(4:30)  2. Skylark
(2:42)  3. I'm Shadowing You
(3:22)  4. Moon River
(3:00)  5. I Remember You
(3:47)  6. Laura
(4:10)  7. You Grow Sweeter as the Years Go By
(3:16)  8. I'm Old Fashioned
(4:55)  9. I Thought About You
(3:22) 10. Weekend of a Private Secretary
(3:58) 11. Day In, Day Out
(4:50) 12. Early Autumn
(3:17) 13. Autumn Leaves

Another in a series of works with noted operatic singer Eileen Farrell turning to works by pre-rock composers. Her renditions of Johnny Mercer songs were delivered peerlessly, although she didn't always provide the emotional shadings and textures others brought to the lyrics. The 1991 album again featured arrangements by Loonis McGlohon, as well as Manny Albam on four tunes, and a slightly altered instrumental lineup. ~ Ron Wynn https://www.allmusic.com/album/eileen-farrell-sings-johnny-mercer-mw0000074649

Personnel:  Eileen Farrell - vocals; Loonis McGlohon - piano; Doug Burns - acoustic bass; Bill Stowe - drums; Jim Pugh - trombone; Joe Negri - guitar; Phil Thompson - flute, alto saxophone; Doug Henry - tenor saxophone, bass clarinet; Jon Thornton - trumpet

Sings Johnny Mercer

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Dave Frishberg - By Himself

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 58:56
Size: 136,9 MB
Art: Front

(2:57)  1. I Want To Be A Sideman
(4:07)  2. Ain't She Sweet
(4:15)  3. Last Night When We Were Young
(2:59)  4. You Took Advantage Of Me
(4:18)  5. Saratoga Hunch
(4:26)  6. Groovin' High
(5:40)  7. It Shouldn't Happen To A Dream
(2:21)  8. Can't Take You Anywhere
(5:40)  9. My Swan Song
(8:11) 10. Kansas City Medley: How Long, How Long Blues / I Want A Little Girl / Jumpin' The Blues / Gee Baby, Ain't I Good To You' / Confessin' The Blues / Sometimes I Am Happy
(3:29) 11. I Could Care Less
(3:18) 12. Jump For Joy
(3:36) 13. The Trouble With Me Is You
(3:33) 14. I'll Never Smile Again

Somewhat like Nat King Cole, whose “unforgettable” vocal stylings made him wealthy and famous but changed him from a Jazz pianist to a popular entertainer, Dave Frishberg’s virtuosity as a pianist has been overshadowed by other concerns, namely his well known talents as a singer / songwriter whose hip lyrics always leave one smiling knowingly and nodding his / her head in appreciation. So a couple of decades have passed since Frishberg, once best known as the house pianist at New York’s Half Note cafe, where he accompanied many of Jazz’s brightest stars in the ’60s and early ’70s, last recorded an album that showcases his piano playing. Ten of the fourteen selections on By Himself feature Frishberg’s solo piano; the others (“I Want to Be a Sideman,” “Saratoga Hunch,” “Can’t Take You Nowhere,” “I Could Care Less”) are vocals with lyrics, of course, by Frishberg (“Care Less” was co authored with kindred spirit Bob Dorough). Make no mistake, Frishberg is a gifted pianist, but he’s fortunate to have those other talents to fall back on. What I mean is, when he’s writing and singing he’s unmistakably Dave Frishberg; when he’s playing he could be any one of hundreds, if not thousands, of similarly well endowed keyboard artists. There’s nothing in his competent but otherwise unremarkable approach to the piano that screams “Frishberg” and makes him stand out in an already overcrowded arena. For that reason, good as his playing is, it’s the vocals that leave the strongest impression on By Himself. Frishberg is undoubtedly sharp enough to realize that, which may be why he hasn’t recorded a “piano” album in so many years and why he chose to include some of his inimitable songs with words on this one. As a change of pace for Frishberg fans, this is creditable; as an album of solo piano it’s no better or worse than many others that are crammed into the Jazz bins at record stores across the country. ~ Jack Bowers https://www.allaboutjazz.com/by-himself-dave-frishberg-arbors-records-review-by-jack-bowers.php

Personnel: Dave Frishberg, piano, vocals.

By Himself

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Ferit Odman - Dameronia With Strings

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:17
Size: 97,6 MB
Art: Front

(4:28)  1. On a Misty Night
(6:57)  2. If You Could See Me Now
(3:50)  3. Just Plain Talkin'
(4:40)  4. Smooth as the Wind
(6:46)  5. Look, Stop & Listen
(5:26)  6. You're a Joy
(5:01)  7. Our Delight
(5:04)  8. Soultrane

In his latest album Dameronia With Strings, Ferit Odman pays tribute to the great Tadd Dameron. He treats listeners to a smorgasbord of Dameron jazz a sparkling kind that soothes the soul but pumps the heart. Accompanied by an outstanding group of musicians, namely trumpeter Terell Stafford, composer and guitarist David O'Rourke, pianist Danny Grissett, bassist Peter Washington, and a string sextet, the Turkish jazz drummer made Dameron relevant to young jazz artists today. In "Just Plain Talkin,'" Odman reinvents Dameron's blues into bold jazz with a duet of bass and drums midway through and a sleek percussion solo towards the end. An upbeat piano adds more vigor to the already dynamic jazz tunes of the song. "Just Plain Talkin'" is the kind of music that tells a story from its opening rhythms to the end. It intrigues listeners, making them ever so in tuned with every beat, note, and strum. 

"Smooth as the Wind" is a magical masterpiece with an underlying sensuous drum roll. Another classic from Dameron, this composition recalls old Hollywood glamour. Odman's well-timed ripples flow smoothly with the trumpet's enticing tune. It starts off slow, but then gradually becomes upbeat before pulling back once again. It ends with a buoyant crescendo that will leave you in awe as if you've just seen an ochre sunset with multiple tones blending seamlessly. Odman shows off his jazz-drumming prowess in his reimagining of Dameron's "Look, Stop & Listen." The percussion leads the way in this song with the 33-year-old drummer exhibiting pure beat brilliance. The way it merged with the piano was extraordinary. Dameron has had a special spot for drummers and this composition was created to highlight the talent of jazz drummer Philly Joe Jones. In the same way, this song showcases Odman's skillful coordination and impeccable rhythm as he hits the perfect percussion at the right time without a beat going off or out of sync. The title "Look, Stop & Listen" encapsulates the entire experience as it mesmerizes the listener and makes everything seem to stop, as it demands undivided attention. Hurried but not harried, the upbeat tempo will awaken the senses with a unique jazz music that vibrates with a mix of feathery and ferocious beat. Odman is a master of subtlety and grandeur. His gentle drumming resonates despite the presence of other instruments and his loud beats harmonize with the same intensity. This all-instrumental jazz album will captivate listeners the same way Dameron enchanted his followers. Besides, who needs words when every note and beat speaks to you in ways you never thought possible. ~ Jim Olin https://www.allaboutjazz.com/dameronia-with-strings-ferit-odman-review-by-jim-olin.php

Personnel: Ferit Odman: percussion, drums; Terell Stafford: trumpet; David O’Rourke: guitar; Danny Grisett: piano; Peter Washington: bass.

Dameronia With Strings

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Lonnie Plaxico - Rhythm & Soul

Styles: Jazz, Post Bop
Year: 2003
File: MP3@224K/s
Time: 59:22
Size: 95,6 MB
Art: Front

(5:14)  1. Rhythm & Soul
(6:24)  2. Kyeko
(5:36)  3. The Time
(6:20)  4. Slow Dance
(5:36)  5. Always Crazy
(5:41)  6. Don't Explain
(3:06)  7. Soul Eye's
(5:43)  8. Dark Side
(5:32)  9. I'll Wait And Pray
(5:37) 10. Weather Report
(4:29) 11. 'Tis So Sweet

Lonnie Plaxico is a tremendous bassist and session man. His eighth album as a leader spotlights his brilliance in several areas, from gently, yet substantially backing vocalists to working both alone and with large combos. Plaxico uses Mal Waldron’s “Soul Eyes” as a set piece to demonstrate his impressive solo bass facility, delivering a stunning melodic embellishment, then a dazzling improvisation working off it. On “‘Tis So Sweet,” a traditional gospel tune, he smoothly glides underneath vocalist Aneilia Lomax and pianist Arene Lomax, punctuating and extending their leads while turning the song into a majestic concluding work. The disc’s small-group pieces tend to be either intimate ballads, such as the poignant cover of “Don’t Explain” or “I’ll Wait and Pray,” where the unison interaction between Plaxico, pianist/organist George Colligan and drummer Billy Kilson is augmented by careful, intense playing from either trumpeter Jeremy Pelt or tenor/soprano saxophonist Marcus Strickland. The edgier, looser pieces feature bigger units, mainly sextets, on “The Time,” “Weather Report” and “Slow Dance,” but most notably the first-rate octet number “Always Crazy.” Rather than simply churning out another hard blowing piece, Plaxico reserves solos for Pelt and Strickland, getting fiery, expressive and disciplined statements from them, and strong complementary efforts from everyone else. Though the sextet tunes, particularly “Weather Report,” are crisply played, they’re not quite as explosive or memorable as “Always Crazy,” which stands as the best number on a very good record. https://jazztimes.com/reviews/albums/lonnie-plaxico-rhythm-and-soul/

Personnel:  Double Bass, Electric Bass – Lonnie Plaxico; Drums – Billy Kilson; Piano – Arene Lomax; Piano, Organ – George Colligan; Tenor Saxophone – Wayne Escoffery; Tenor Saxophone, Soprano Saxophone – Marcus Strickland; Trumpet – Alex Sipiagin, Jeremy Pelt; Vocals – Aneilia Lomax (tracks: 11)

Rhythm & Soul

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