Roy Hargrove - Nothing Serious

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 44:54
Size: 103,6 MB
Art: Front

(3:52)  1. Nothing Serious
(5:27)  2. A Day In Vienna
(5:25)  3. Trust
(4:59)  4. Camaraderie
(5:31)  5. Devil Eyes
(5:52)  6. The Gift
(6:52)  7. Salima's Dance
(6:53)  8. Invitation

Despite the nonchalance of its title, Nothing Serious may be Roy Hargrove's best disc yet. The first working band outing by the genre-leaping trumpeter since 1993's Of Kindred Souls features a cohesive quintet with alto saxophonist Justin Robinson, pianist Ronnie Mathews, bassist Dwayne Burno and drummer Willie Jones III, augmented on three selections by special guest trombonist Slide Hampton. The opening title track, composed by Venezuelan guitarist Leo Quintero, is a melodious Latin jazz tour de force with powerful solos by the always lyrical Hargrove, along with Robinson (employing a thick, convincing Dolphyesque tone) and the veteran Mathews, whose mastery of the Afro-Cuban idiom pushes the music to its highest level, particularly during his montuno section, where the horns riff and Jones thrashes with inspired abandon. Hampton joins the band for his "A Day In Vienna first recorded with Dexter Gordon a straight-ahead cooker with a harmonic richness reminiscent of Horace Silver. Hargrove's "Trust is an evocative ballad constructed of long legato lines and warm harmonies, with stirring solos by Burno, Robinson (flute) and the composer (flugelhorn). "Camaraderie, a second Hargrove original, opens ominously with a dissonant free-form introduction featuring a trumpet-saxophone dialogue over drums, before resolving into a hot boppish blowing section. Burno's "Devil Eyes, a genuinely innovative, daring reharmonization of the standard chord changes to "Angel Eyes framed with a vamp that recalls the introduction to Stevie Wonder's "Too High, inspires exciting solos by Robinson, Hargrove and Jones. "The Gift is an attractive line by Hargrove which abounds with beauty and drama, eliciting passionate playing from each of the group's members. Mathews' potent "Salima's Dance, first recorded by the pianist back in the late '70s, is more than worthy of revival. Hargrove lets loose on this modal composition with his most incendiary solo of the date, followed by Robinson, Hampton and the composer, each one equally electrifying. A series of exchanges with Jones and a collective improvisation by the horns drive the music to a compelling climax. A swinging sextet version of "Invitation closes this satisfying session, which may not seem very "serious" compared to today's many staid and sober recordings seeking the status of classical music. But it is certainly significant in its earnest documentation of a great set of joyous jazz. ~ Russ Musto https://www.allaboutjazz.com/nothing-serious-roy-hargrove-verve-music-group-review-by-russ-musto.php

Personnel: Roy Hargrove: trumpet, flugelhorn; Justin Robinson: alto saxophone, flute; Slide Hampton: trombone; Ronnie Matthews: piano; Dwayne Burno: bass; Willie Jones III: drums.

Nothing Serious

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Jimmy Greene - Gifts And Givers

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 63:44
Size: 146,9 MB
Art: Front

( 9:26)  1. Mr. McClean
( 7:37)  2. Greene Blues
( 8:49)  3. Forever
(10:10)  4. Magnolia Triangle
( 8:07)  5. 26-2
(10:18)  6. Blue Bossa/Boudreaux
( 9:14)  7. Eternal Triangle

It's probably time to cast aside labels like "up-and-coming" and "rising star" when describing Jimmy Greene. As Gifts and Givers makes clear, the Connecticut-born tenor saxophonist has definitely arrived. An inventive, technically-advanced mainstreamer, Greene made his mark in the bands of Horace Silver, Tom Harrell and Harry Connick Jr., as well as with younger studs like Jason Lindner and Avishai Cohen. On his fifth effort as a leader, he's paired with another young tenor titan, Marcus Strickland. The two saxophonists prove themselves a like-minded and well-matched pair as they lead an explosive rhythm section the superb drummer Eric Harland, bassist Reuben Rogers, guitarist Mike Moreno and promising young pianist Danny Grissett (now he is a "rising star") through a set of compelling originals and nicely varied standards, including John Coltrane's harmonically complex "26-2," New Orleans legend James Black's intricate "Magnolia Triangle" and Kenny Dorham's "Blue Bossa" (with Greene doubling on soprano sax). While they mostly steer away from the sort of twin-tenor battle popularized by Sonny Stitt and Gene Ammons, Greene and Strickland do get into some high-octane, old school jamming, notably on Stitt's bebop chestnut, "Eternal Triangle." 

The opening "Mr. McLean" is a rousing tribute to Greene's mentor, the great alto saxophonist Jackie McLean, with the two tenors expertly capturing McLean's intensity and unique inside-outside sensibility. All in all, it's an impressive outing that should help solidify Greene's reputation as one of the better tenor saxophonists of his generation. 

~ Joel Roberts https://www.allaboutjazz.com/gifts-and-givers-jimmy-greene-criss-cross-review-by-joel-roberts.php

Personnel: Jimmy Greene: tenor and soprano saxophones; Marcus Strickland: tenor saxophone; Mike Moreno: guitar; Danny Grissett: piano; Reuben Rogers: bass; Eric Harland: drums.

Gifts And Givers

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Nicholas Payton - Textures

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 43:59
Size: 102,1 MB
Art: Front

(4:55)  1. Smooth
(5:09)  2. Sticky
(4:14)  3. Silky
(6:33)  4. Fuzzy
(5:16)  5. Hard
(4:04)  6. Wet
(3:56)  7. Rough
(2:56)  8. Greasy
(6:52)  9. Soft

All great art has a rhythm. Movement. A Pulse. Painting, Music, Dance, Martial Arts, Architecture, Sports. They all have, at their core, a rhythmic undertow. The strokes of a paint brush have a rhythm. They create patterns, lines, curves, shapes, forms, and ultimately a rhythmic flow. They create movement. Their movement create a feeling. Colors also create a rhythm. They make your eyes move from one component to another. They allow your mind to travel. To think. Ultimately a story is told. A feeling is created. A visual beat penetrates one’s mind and soul.What happens when master artist Nicholas Payton is a part of the artistic process of painter Anastasia Pelias? Textures is born. As Nicholas told me, “They are off the cuff tracks done in real time with an artist who paints.”  Nicholas takes the strokes of Anastasia’s brush and mirrors them with a beat. The visual beat becomes an aural beat. A pulse. A movement. The colors become harmonies. The strokes become rhythmic shifts. The two become synonymous with each other. As a listener, you find your own meaning. Every time you listen, a new layer of the story is unveiled. You start to get lost in the music. Have you ever just sat and watched the ocean? At first you see the sand, beach, and waves. Then, as your mind drifts, you start to see beyond the ocean.  You think about the depth of the ocean and its beauty. As the waves crash, one also begins to think of the past, present and future. No wave crashes the same place, or way, twice, yet each is perfect. Each has been here before, but returns in a whole new way.  It is brought to shore as it should.

It flows perfectly, yet is never quite predictable. Each wave has its own direction, and its own identity. Textures does the same. You look out into the horizon and see where the sky meets the water. You begin to reflect on the beauty in the world. This is Textures. Movement of a rhythmic undertow (ocean/waves), with harmony and colors on top (the sky and world). Textures is a master work of art. Created by a master artist. In this case Nicholas Payton uses an instrument he has yet to use on record. As he told me “I set up my keyboard and laptop and Anastasia has a blank canvas and we create a new work in real time.” Nicholas’ instrument here may appear to be a keyboard and laptop at first. But ultimately, his instrument is his mind and soul. Textures flows with perfect clarity, yet takes direction in ways one would not expect. The harmonies take shape in only the way Nicholas’ mind can.  The three basic elements of the mind intellect, feeling, and will are displayed as Nicholas searches from within, and let’s the music pour out of his body, and into our ears.  But once it hits our ears, we too, need to let it penetrate our hearts and soul, so that we can find ourselves. We can create our own work of art in our own mind. Textures exudes compassion. It is radiating with boundless light and compassion. It makes you reflect within to find peace and love. Begin to let the music enter your body. It is music to relax and think to, music to reflect on, and music to dance to. Textures, like an any great art, is drenched with rhythm. It has movement. A Pulse. Listen, as I did, over and over again. Find new meaning each time you listen. Find your own rhythm. https://nicholaspayton.wordpress.com/2016/06/26/textures/

Textures

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Lee Konitz - Pride

Styles: Saxophone Jazz 
Year: 2000
File: MP3@320K/s
Time: 67:34
Size: 155,5 MB
Art: Front

( 4:49)  1. Monkian' around
( 6:58)  2. Triste
( 7:04)  3. Come rain or come shine
(13:39)  4. Stellar
( 8:13)  5. Gundula
(11:54)  6. Once I had a secret love
( 8:04)  7. Lover man
( 6:50)  8. Zingaro

Throughout his career, altoist Lee Konitz has always had his ears open and been a musically curious improviser. His brand of relaxed freedom, tied to chordal improvisation but much freer than the usual beboppers, and his cool and distinctive sound have made him a jazz giant for decades. For this set, Konitz is teamed with three musicians (pianist/organist George Colligan, bassist Doug Weiss, and drummer Darren Beckett) with whom he had never played before. However, the combination work well on five standards and three Konitz songs. 

The music always swings, the rhythm section is supportive, and Konitz is as inventive as always. This is also one of the few sessions in which the altoist (on a few cuts) is backed by organ. ~ Scott Yanow https://www.allmusic.com/album/pride-mw0000966063

Personnel: Lee Konitz – alto saxophone; George Colligan – piano, organ; Doug Weiss – bass; Darren Beckett – drums

Pride

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Sylvia Vrethammar & Her Killer-Band - On Invitation Only

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 57:16
Size: 131,9 MB
Art: Front

( 2:15)  1. Just One of Those Things
( 3:52)  2. Só Danço Samba
( 3:50)  3. Moonlight
(13:09)  4. The World Is Calling
( 3:11)  5. Samba for Vinicius (Samba Pra Vinicius)
( 4:57)  6. Champagne, Champagne
( 4:37)  7. That's the Way of the World
( 4:33)  8. There Will Never Be Another You
( 3:35)  9. Eu Sei Que Vou Te Amar
( 3:11) 10. Immer die Boys
( 5:36) 11. The Girl from Ipanema (Garôta De Ipanema)
( 4:25) 12. The Samba in Me

Sylvia Vrethammar ( Uddevalla , 22 of August of 1945 ) is a Swedish singer . In 1974, its original English version of the mega-hit Y Viva España reached the top of the English charts, selling more than 1 million copies and remaining for 39 consecutive weeks on the charts, leading to an entry in the Guinness Book of Records . In 1985, he recorded the album Rio de Janeiro Blue in Brazil, rewriting some songs by Brazilian artists, among them, Luiz Gonzaga's The Chero Da Carolina , Que Bonito É , by Luís Bandeira and Antes Que Seja Tarde , by Ivan Lins. https://pt.wikipedia.org/wiki/Sylvia_Vrethammar

On Invitation Only

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