Ivo Perelman - Tenorhood

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 46:51
Size: 107,7 MB
Art: Front

( 7:50)  1. For Mobley
( 9:04)  2. For Webster
( 5:29)  3. For Coltrane
( 3:31)  4. Tenorhood
( 8:06)  5. For Ayler
(12:48)  6. For Rollins

For this meditation session, we ask you not to think about the legends of the tenor saxophone. Just listen to the interplay between Ivo Perelman and drummer Whit Dickey. Press play, and ignore the track titles dedicated to Hank Mobley, Ben Webster, John Coltrane, Albert Ayler, and Sonny Rollins  Why? Because, the saxophonist did just that when he created Tenorhood, a totally improvised collection of pieces the pair recorded in 2014. The Brazilian-born, New York resident has released music on a scale not seen since David Murray's campaigns of the 1990s, producing more than 20 albums in the last four years. Dickey has been a part of five of the sessions. As with all his later work, this music is improvised. A switch is flipped and the magic happens. With Tenorhood, he created these titles after playback  Perelman hearing the gestures and fragments of his tenor saxophone heroes within his own creations.

The pleasure here is finding those gestures in this music. The easiest to recognize is "For Ayler," a sound Perelman has conjured from his earliest days. Listen again to Soccer Land (Ibeji, 1994) and Albert Ayler's spirit is ever present in the wail and yowl of the master. Then there's "For Coltrane," and certainly no modern player has escaped feeling the weight of John Coltrane's music in life. Perelman and Dickey exercise the music of Intersteller Space (Impulse!, 1967), Dickey is a dynamo here, but more importantly, he is as much an accompanist to Perelman as pianist Matthew Shipp. He can color his sound, support, or challenge the saxophonist. He is even given all of the title track to solo with mallets and cymbals. There is spirit here, and life. The beauty of Ben Webster and the swing of Hank Mobley, both laid out in only barely recognizable signals. The pair end with Sonny Rollins. Perelman works that upper altissimo register that both he and Rollins are famous four. If you listen to Tenorhood with the openness of a meditator's mind, you are certain to hear all the spirits that inhabit the person that is Ivo Perelman. ~ Mark Corroto https://www.allaboutjazz.com/tenorhood-ivo-perelman-whit-dickey-leo-records-review-by-mark-corroto.php

Personnel: Ivo Perelman: tenor saxophone; Whit Dickey: drums.

Tenorhood

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Ann-Margret - Bachelors' Paradise

Styles: Vocal
Year: 1963
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(2:33)  1. Bachelor In Paradise
(2:47)  2. I Wanna Be Loved
(2:30)  3. Something to Remember
(2:09)  4. Paradise
(2:56)  5. Lovin' Spree
(3:02)  6. You Took Advantage of Me
(2:26)  7. Let Me Entertain You - From the Warner Brothers Movie "Gypsy"
(2:45)  8. Never on Sunday - (From the Jules Dassins Motion Picture "Never on Sunday")
(2:36)  9. Romance in the Dark
(2:59) 10. Call Me Darling
(3:14) 11. Hold Me
(4:29) 12. Mr. Wonderful - From "Mr. Wonderful"

On April 9, 1962, 20-year-old Ann-Margret earned a standing ovation for her performance of the Oscar-nominated title song to the Bob Hope comedy Bachelor in Paradise at the annual Academy Awards ceremony, another stepping stone on her way to stardom. Perhaps because it was still promoting her as a pop/rock singer, RCA Victor Records, her record label, which was just releasing its second Ann-Margret LP, On the Way Up, took a while to retool her image as more of a middle-of-the-road traditional pop singer, and it wasn't until her fourth album, released the year following the Oscar show, that a recording intended to capitalize on the "Bachelor in Paradise" triumph appeared. The Ann-Margret of Bachelors' Paradise was very different from the one who had hit the Top 20 with the bluesy "I Just Don't Understand" less than two years earlier. This was no distaff Elvis Presley, with Chet Atkins behind the glass and the Jordanaires on background vocals; this was a nightclub chanteuse working with an orchestra and performing a bunch of pop standards written by the likes of Rodgers & Hart ("You Took Advantage of Me" from the 1928 musical Present Arms) and Styne and Sondheim ("Let Me Entertain You" from the 1959 musical Gypsy and its just-released film version). The point of consistency between the younger Ann-Margret and the mature 21-year-old who made Bachelors' Paradise was her kittenish sexuality, which was even more accentuated by this lush ballad approach. One of the LP's songs was "Lovin' Spree," a 1954 hit for Eartha Kitt, and Ann-Margret displayed Kitt's strong influence, though without the older singer's predatory bite. This new direction might have led to recording success if Ann-Margret had pursued it; instead, she continued to focus on movies, in particular her latest vehicle, the film adaptation of Bye Bye Birdie. ~ William Ruhlmann https://www.allmusic.com/album/bachelors-paradise-mw0000468962

Bachelors'Paradise

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Rick Margitza - Hands Of Time

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 50:39
Size: 116,7 MB
Art: Front

(7:31)  1. Hands Of Time
(5:47)  2. Hip Bop
(6:54)  3. Embraceable You
(7:06)  4. How Things Are At Home
(8:33)  5. Forty Five Pound Hound
(6:56)  6. At Long Last
(7:49)  7. Cultural Elite

For this modern straight-ahead set, Rick Margitza (heard on both tenor and soprano) performs six of his challenging originals plus "Embraceable You." The latter, whose melody is given some altered notes that do not help and make things sound sour, is a low point. However, Margitza sounds much stronger on his originals, particularly the boogaloo "Hip Bop," the medium-tempo blues "Forty Five Pound Hound," and the joyful "At Long Last." His rhythm section is excellent (bassist George Mraz is particularly responsive to the saxophonist's playing), and Margitza sounds in prime form, showing individuality on both of his horns. ~ Scott Yanow https://www.allmusic.com/album/hands-of-time-mw0000645101

Personnel: Saxophone – Rick Margitza;  Double Bass – George Mraz; Drums – Al Foster; Piano – Kevin Hays

Hands Of Time

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Dave Frishberg - Do You Miss New York? Live at Jazz at Lincoln Center

Styles: Vocal, Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 58:04
Size: 137,4 MB
Art: Front

(3:57)  1. Quality Time
(3:07)  2. I Was Ready
(1:00)  3. Jaws, Introduction
(2:35)  4. Jaws
(0:16)  5. Do You Miss New York' Introduction
(3:56)  6. Do You Miss New York'
(1:46)  7. Oklahoma Toad, Introduction
(3:57)  8. Oklahoma Toad
(2:47)  9. Little Did I Dream
(6:32) 10. Swinging The Classics Medley
(4:15) 11. The Hopi Way
(0:10) 12. The Difficult Season, Introduction
(3:56) 13. The Difficult Season
(3:26) 14. Zanzibar
(1:39) 15. Eastwood Lane, Introduction
(3:53) 16. Eastwood Lane
(0:39) 17. Eastwood Lane, Parody
(3:18) 18. My Country Used To Be
(3:00) 19. I Want To Be A Sideman
(0:35) 20. Heart's Desire, Introduction
(3:08) 21. Heart's Desire

With his fun, freewheeling approach to puns and sophisticated word play, Dave Frishberg never seems to take himself too seriously. There may be tender moments in his songs, as with "Little Did I Dream," but the punchline is never far behind. Do You Miss New York? is a lovely set performed before an appreciative audience at the Lincoln Center in 2002. There are stylish cuts, like "Quality Time," that turn tired clichés inside out and upside down, and more traditionally minded pieces, like "I Was Ready," are about falling in love. Frishberg shows his endless imagination on oddities like "Jaws," an unlikely theme song for the movie of the same name, and "Oklahoma Toad," a Western-styled jazz song about a toad and a bug. Frishberg accompanies himself with piano and even shows he's a sensitive player on the six-minute "Swinging the Classics." Since these songs were recorded in December, he also offers his version of a holiday song with "The Difficult Season," a song that aptly captures the melancholy mood that descends on many at that time of year. Fans of Frishberg's innovative lyrics will be happy to have a new live disc, while Do You Miss New York? will also work as a fine intro to those unfamiliar with his smart and deft lyrical constructions. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/do-you-miss-new-york-live-at-jazz-at-lincoln-center-mw0000041437

Personnel: Dave Frishberg - Piano,Vocals, Producer

Do You Miss New York? Live at Jazz at Lincoln Center

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Tim Warfield - Jazzland

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 68:48
Size: 158,7 MB
Art: Front

( 6:00)  1. Lenny's Lens
( 6:24)  2. Theme for Malcolm
( 6:13)  3. Sleeping Dancer, Sleep On
(10:36)  4. Ode to Billie Joe
( 6:42)  5. He Knows How Much I Can Bear
(10:52)  6. Tenderly
( 6:31)  7. Shake It for Me
( 8:23)  8. Wade in the Water
( 7:04)  9. Hipty Hop

You'll know you're in Jazzland from the very first note of this excellent set from saxophonist Tim Warfield as the music has this wonderfully-wrapped sound that comes from his work on tenor and soprano sax, the trumpet of Terrell Stafford, and the Hammond of Pat Bianchi! The three musicians in the frontline all have this key contemporary vibe so that they're not just working through older shades of soul jazz, and instead use the setting to really open up some great colors and moods all with a quality that's as warmly soulful as Warfield's other records, and which definitely lives up to Stafford's legacy too! 

The group also features Byron Landham on drums and Daniel Sadownick on percussion and titles include "Shake It For Me", "Hippity Hop", "Lenny's Lens", "Theme For Malcolm", "Sleeping Dancer Sleep On", and "Ode To Billie Joe".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/877589/Tim-Warfield:Jazzland

Personnel:  Tim Warfield - tenor saxophone, soprano saxophone, composer; Terell Stafford - trumpet, flugelhorn;  Pat Bianchi - Hammond organ; Byron Landham - drums

Jazzland

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