Eric Person And Meta-Four - Extra Pressure

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 72:31
Size: 167,2 MB
Art: Front

( 6:32)  1. The Pull
( 5:11)  2. Fall Out
( 5:23)  3. Personal Blues
( 4:54)  4. There Will Be Better Days
( 6:18)  5. Song of September
(10:29)  6. This Devotion
( 7:20)  7. Perfection
( 8:59)  8. Plummett
( 4:41)  9. Special Someone
( 8:24) 10. Constellation
( 4:16) 11. Extra Pressure

What are the exact parameters of post bop? For a term that’s trundled about as frequently as this one there’s a decided lack of consensus as to its meaning. The phrase itself isn’t much help. ‘After bop’ covers basically everything that followed and arose out of bebop’s beginnings over a half-century ago. Further narrowing reveals that post bop music has connections to bebop but in some way has moved beyond the original boundaries of the music. By this broad definition the music of Eric Person and Meta-Four fit firmly into the framework of post bop. But rather than dwell on the demarcations of what he’s doing, Person dispenses with definitions and turns his attentions to simply making music of lasting quality. I first encountered Person’s playing on Dave Holland’s “Dream of the Elders” (ECM) and was impressed by his ability to remain lyrical even in the midst of heated improvisation. It’s a talent that served him soundly as a sideman and carries over equally well into his work as a leader. This disc marks his fourth solo disc after a trio of recordings for Soul Note and the first on his own Distinction Records. 

The quartet featured is Person’s new working unit and is comprised of three other players whose interests are evenly aligned with his own. Moving across a program consisting completely of originals the four players engage in tight interplay that negates their relatively short time together as a group. Person divides his energies between alto and soprano and often shapes beautifully engineered solos that favor the higher registers of his horn. Esposito’s tactful keys serve as swinging support in conjunction with the loose rhythmic accompaniment of Henderson and Strickland. The pianist sounds particularly energized on his own “Personal Blues” which also features strong solos from Person and Henderson. Strickland’s funk-infused traps fuel Person’s “There Will Be Better Days” with a taut syncopation and Person’s silver-toned soprano also locks into the foot-tapping, hopeful groove. On “Song of September” the band shifts smoothly into ballad mode. Person caresses the melody on alto with a soothing gentleness of spirit that still carries an underlying edge. “This Devotion” alights on a supple bass solo by Henderson before moving into an extended passage highlighting Person’s sprightly soprano and a later interlude by Esposito. “Special Someone” is similarly light hearted thanks to the amicable blend of soprano and piano. The closing title track leaves things off in an open-ended state contributing to the feeling that these are players who have much more to say and will be using future forums to continue their discourse. The piece also contributes to the anticipation that will no doubt presage Person’s next release. With “Extra Pressure” Person and his partners have created another addition to his growing discography worthy of praise and investigation. Anyone with an interest in that dubiously titled style of jazz known as post-bop would be well served by seeking this disc out for perusal. ~ Derek Taylor https://www.allaboutjazz.com/extra-pressure-eric-person-distinction-review-by-derek-taylor.php

Personnel: Eric Person- alto & soprano saxophones; John Esposito- piano; Carlos Henderson- bass; E.J. Strickland- drums.

Extra Pressure

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Miriam Klein - Ladylike

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 39:33
Size: 91,1 MB
Art: Front

(4:47)  1. Comes Love
(3:20)  2. What a Little Moonlight Can Do
(4:42)  3. You've Changed
(5:05)  4. The Man I Love
(2:09)  5. Big Stuff
(7:54)  6. Fine and Mellow
(3:31)  7. I Cried for You
(3:50)  8. Yesterdays
(4:10)  9. Body and Soul

Miriam Klein (27 March 1937 in Basel) is a Swiss jazz singer. Miriam Klein gained fame for the first time, when she appeared on the scene in Paris with Pierre Michelot, Don Byas and Art Simmons in the 1950s. After education at the music school in Vienna, she went back to Switzerland and has sung in the group of her husband Oscar Klein since 1963. In 1960s and 1970s, she gained international fame as a singer. In 1973, her famous album Lady Like was published. The album was dedicated to Billie Holiday. In the album, she performed with the musicians Roy Eldridge, Dexter Gordon and Slide Hampton. She recorded also music with Albert Nicholas (1971) and Wild Bill Davison (1976). In 1977, Klein worked with Fritz Pauer's trio and in 1978 with Roland Hanna and George Mraz in her album By Myself. In 1981/82, she made a tour with Kenny Clarke, Hanna and Isla Eckinger. In 2001, she took part in My Marlin, the album of her son David Klein. https://en.wikipedia.org/wiki/Miriam_Klein

Ladylike

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Jesse Davis - They Call Me Mr. Lonely

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 36:08
Size: 84,5 MB
Art: Front

(2:38)  1. They Call Me Mr. Lonely
(2:41)  2. Stormy
(2:25)  3. Didn't We
(3:20)  4. Sonny
(3:02)  5. The Flip Side Of Love
(3:41)  6. This Is My Life
(2:46)  7. Moving Along
(2:48)  8. The Masquerade Is Over
(2:57)  9. Simple As I Am
(3:38) 10. Medley - You Make Me So Very Happy / Can't Take My Eyes Off You
(2:55) 11. Funny How Time Slips Away
(3:10) 12. Loving Games

A former student of Ellis Marsalis at the New Orleans Center for Creative Arts, Jesse Davis is one the most respected musicians in New Orleans. In addition to leading his own group, Davis has performed with such stellar jazz musicians as Jack McDuff, Major Holley, Cecil Payne, Illinois Jacquet, Chico Hamilton, Junior Mance, Kenny Barron, Cedar Walton, Nicholas Payton, and Roy Hargrove. He toured in 1996 along with Phil Woods, Charles McPherson, and Gary Bartz in the group Sax Machine. Playing saxophone since the age of 11, when he received his first instrument from his tuba-playing brother, Davis initially dreamed of becoming a professional football player. Turning to music after breaking his collarbone, he received a full scholarship to study music at Northeastern Illinois University. He continued his studies briefly at William Patterson College in Wayne, New Jersey, before transferring to the New School in New York, where he studied with jazz historian Ira Gitler. While still a student, he received awards for his solo performances at Notre Dame, Wichita State, N.Y.U., Southern University, and Loyola. In 1989, he received a Most Outstanding Musician award at the Down Beat Music Festival in Philadelphia. Recording with his own quartet since 1991, Davis led the band in more than 50 shows in Spain, France, Italy, and the U.K. in 1993, 1994, and 1995. He returned to New Orleans in 1996. Davis made his acting debut in the Robert Altman film Kansas City. ~ Craig Harris https://www.allmusic.com/artist/jesse-davis-mn0000845855/biography

They Call Me Mr. Lonely

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Sebastian Sternal - Home

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:52
Size: 140,1 MB
Art: Front

(2:24)  1. I Am the Ocean
(3:28)  2. Go
(3:52)  3. Sand
(5:16)  4. Home
(2:32)  5. Gravity
(5:37)  6. Winter
(5:15)  7. Alias
(7:02)  8. All of You
(6:25)  9. Fade Away
(4:38) 10. Solita
(3:37) 11. Talking Politics
(4:44) 12. Baloo Boo Boo
(4:57) 13. Twin Song

Sebastian Sternal should be well recognised on these pages as we reviewed his both Echo Jazz wining orchestral projects here as well as a calm and charming duo entitled Canada or quartet recording with his friend Frederick Koster. Here he continues to explore his fascination in jazz piano trio classic approach. And to make it even more exiting both of his partners are top piano trios members. Grenadier is a bass pillar of Brad Meldhau’s group when Burgwinkel is an extremely mighty drum-force  of the Pablo Held Trio, among the others. As should be expected then those three are perfectly merged in together here and they are all feeling easy like a fish in a water. From an opening I am the Ocean intro’s however it becomes clear that it is not going to be another modal piano game. Sternal’s approach gains vastly from his symphonic landscapes and this path attracts his colleagues in crime vastly with their capability to follow whatever comes. Go is a super modern piece with fascinating piano fingering coming more from the classical music than from choppy or beefy rich jazz school represented by others. Accordingly following bass riffs as well as spacious drumming are up to tempo. Additionally rhythmic landscapes set by drummer are the quality of its own. 

Coming after Sand slows almost into the border of de-fragmentation. It’s almost like a piano tune anatomy lesson with the surgeons precision of drum bits lines precise like a scalpel’s cuts with the firm grip of the bass catch. Title piece takes my imagination from the piano trio territory to the landscape I remember from Pat Matheny’s Group with Sternal Burgwinkel conversation bringing back memories of  dialogues between Lyle Mays and Paul Wertigo from his 70’s super-group. Gravity comes as a more dance piece, but groovy passages that Sternal plays here holds on groups voice strongly. Following Winter gives more opened space for Larry to shine and his bass walk is here both, lyrical and incredibly charming. Jonas is a drummer that every bass-man is dreaming about. Sound-scapes he creates around the bass lines as well the ground prepared under the piano lines are striking like thunder. This is probably he most elegiac piece, reminding me with its intensity cooperation between Tord Gustavsen and Mat Eilertsen. Allias falls into similar territory but bass had been given much more narrative capacity here, which had been very well used indeed. All of You , the only standard on this CD tributes its author obviously but as it comes from musicians like those here we are not getting usual approach based on the choral quotes. Pretty much opposite. Sternal with friends are acting here like psychologists researching the subject, dragging pieces of memories from your head, touching moments and referring to this secret associations which All of Us are holding inside of our most private inner space. It comes in a similar way as the Masabumi Kikuchi’s trio used to build up momentum. Quote with anti-quote, hold the line with minimalist touch but an incredible emotional tension. I could continue finding connections and revealing paths for you another page but it would be sadistic to take all this pleasure out of you. Instead I am leaving it here as it is. Needless to say that what we are finding on this recording is a real treasure chest. Full of absolute erudition and understanding of what happened in the jazz and classical piano world during the last hundred years. Cherry picking from this Master Cake is a real debauchery for everyone who loves to rob Sweet- shops. http://jazzpress.gpoint-audio.com/2017/10/sebastian-sternal-home-feat-larry-grenadier-jonas-burgwinkel-realised-31stof-march-2017-label-traumton-records-jazz/

Personnel:  Piano – Sebastian Sternal; Bass – Larry Grenadier; Drums – Jonas Burgwinkel

Home

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Claude Bolling - Suite For Flute And Jazz Piano Trio

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 34:12
Size: 79,0 MB
Art: Front

(5:18)  1. Baroque And Blue
(7:45)  2. Sentimentale
(5:22)  3. Javanaise
(3:54)  4. Fugace
(3:03)  5. Irlandaise
(5:09)  6. Versatile (with Bass Flute)
(3:40)  7. Veloce

Jean-Pierre Rampal may never get down and dirty on this album, considered "his first jazz recording," but the music is nonetheless infectious, breezy, playful, and crystal clear. The legendary flutist is so technically accomplished that anything too "swinging" from him seems a bit stiff, but this is where drummer Marcel Sabiani, bassist Mel Young, and legendary jazz pianist (and friend of Duke Ellington) Claude Bolling take over, all making these compositions seem jazzier than they are on paper. As an example, both "Baroque and Blue" and "Sentimentale" flirt with the morning air, with themes that somewhat separate Rampal's fluttering passages from all the hipster riffs. Track for track, note for note, there is nothing substandard about these "clazzical" hybrids. "Fugace" is a great countermelody express elevator, delightful in its energy and polish. "Javanaise" takes it slow enough for Charlie Brown to waltz about on the ice-skating rink. "Versatile" is a bouncy little trapeze act on the bass flute, and "Véloce" is a fantastic race to the wedding altar, a fantastic balance of tension and release, a nail-biter, a Buster Keaton melodrama, a cream pie in the face, and a precise exclamation mark to close the album. Here and there, Bolling and company manage to get Rampal to loosen his tie. Slightly. It's not quite jazz, but it's still spellbinding music. ~ Glenn Swan https://www.allmusic.com/album/claude-bolling-suite-for-flute-and-jazz-piano-trio-mw000062386

Personnel: Piano – Claude Bolling; Bass [String Bass] – Max Hédiguer; Drums – Marcel Sabiani; Flute – Jean-Pierre Rampal

Suite For Flute And Jazz Piano Trio

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