Pepper Adams, Donald Byrd - Motor City Scene

Styles: Saxophone And Trumpet Jazz
Year: 1961/2013
File: MP3@320K/s
Time: 42:46
Size: 98,4 MB
Art: Front

(10:12)  1. Stardust
(10:42)  2. Philson
( 8:03)  3. Trio
( 8:34)  4. Libeccio
( 5:12)  5. Bitty Ditty

A reissue of a session originally released in 1961, Motor City Scene is an excellent example of the wealth of talent in the Detroit area during the 40s, 50s, and 60s. Co-led by trumpeter Donald Byrd and baritone saxophonist Pepper Adams, the cast includes a veritable who’s who of jazzmen on their respective instruments: pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Paul Chambers, and the drums of Louis Hayes. The opening cut, Hoagy Carmichael’s ballad “Star Dust,” is music to get lost in. With Adams and Burrell laying out, we’re treated to Byrd’s majestic tone, reverence for the song’s melody, and exquisite sense of drama. Not to be outdone, Flanagan makes a lovely statement of his own before Byrd enters for a second solo and takes the tune out. Adams shines on his own composition “Philson,” when he begins lazily and then develops lines with his customary bite and precision. Chambers’ rock solid walking bass and Hayes’ crackling snare drum accents ignite an up-tempo version of Errol Garner’s “Trio,” in which Burrell takes three striking choruses of single note lines. The highlight of the session is another Adams’ tune, “Libeccio.” The alternating Latin and straight jazz sections seem to bring out the best in all of the soloists who are clearly inspired by Hayes’ fills. The session ends with “Bitty Ditty,” a memorable composition by another Detroit area jazzman, Thad Jones, which features some of Flanagan’s best playing on the date. The five cuts and (by today’s standards) short playing time of Motor City Scene left me wanting more.~ David A.Orthmann https://www.allaboutjazz.com/motor-city-scene-donald-byrd-rhino-records-review-by-david-a-orthmann.php?width=1920

Personnel: Trumpet – Donald Byrd; Saxophone – Pepper Adams; Drums – "Hey" Lewis;  Bass – Paul Chambers ; Guitar – Kenny Burrell; Piano – Tommy Flanagan

Motor City Scene

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James Williams, Emil Viklický - Together

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 44:11
Size: 102,5 MB
Art: Front

(5:58)  1. For My Nephews
(4:13)  2. One For J. W.
(6:29)  3. Blue In Dark-Green
(4:23)  4. You'D Be So Nice To Come Home To
(7:52)  5. Double Play
(4:44)  6. Softly, As In A Morning Sunrise
(5:53)  7. 1977 A. D.
(4:37)  8. Rhythm-a-Ning

This is one of the more unusual records in the sizable discography of James Williams; it is a 1981 duo piano session with Czech pianist Emil Viklicky, issued by the Supraphon label in Czechoslovakia. Viklicky became familiar with Williams' work during a visit to the U.S. in 1978 and later studied at Berklee, though after Williams had already left the faculty to work as a member of Art Blakey's Jazz Messengers. By the time of their 1981 meeting in the studio in Prague, each musician brought compelling originals to the session, as well as seeking to find new ground in time-tested standards and classic jazz compositions. Williams' intriguing jazz waltz "For My Nephews" proves to be a strong opener. Viklicky's driving bop tribute "One for J.W." also works extremely well. 

Cole Porter's "You'd Be So Nice to Come Home To" is tackled at a brisk tempo with a bossa nova undercurrent. The pianists devour Thelonious Monk's "Rhythm-A-Ning" with a playful interpretation. Whether or not this excellent record is still available in the Czech Republic, it is unlikely to be easy to find elsewhere.~ Ken Dryden https://www.allmusic.com/album/together-mw0000992579

Personnel:  Piano – Emil Viklicky, James Williams

Together

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Jon Gordon - Evolution

Styles: Saxophone Jazz
Year: 2009
Time: 63:48
Size: 103,2 MB
Art: Front

( 1:31)  1. Prelude (Grace)
( 9:16)  2. Evolution
( 7:56)  3. Shane
( 9:23)  4. Currents
(10:02)  5. Bloom
( 6:21)  6. One for Liam
( 2:55)  7. Contemplation
( 7:40)  8. Veil
( 8:40)  9. Individuation

Evolution, from saxophonist and composer, Jon Gordon, is a fine record. It sparkles with mature ideas, unbridled creativity, and soul-searching profundity. There is also polished musicianship throughout. This is where the special quality of the music of this record lies that it is not just built on an ediface of ideas suggested by its title, but on the superb development and delivery of these through an extravagantly aural suite. To that extent this work is not unlike some others including the John Hollenbeck Large Ensemble Eternal Interlude (Sunnyside Records, 2009) or even George Russell much earlier, African Game (Blue Note, 1986), albeit on a relatively smaller scale. Essentially, though, like those other landmark recordings, this one too is a kind of "Book of Ways." Its composer and musicians posit that the only constant in life is change. Although almost completely composed throughout, the music, is largely played in an idiom best suited deliver such a message jazz. As it progresses the music spins interminably and even elastically turning over harmonically several times before it concludes in an explosive crescendo. That instruments, specifically the three sets of strings, usually associated with chamber music are added on some tracks in no way interferes with the inherent swing of the performance. The start of the record is spiritual:

"Prelude" is subtitled "Grace." This short overture is somber, sways gently, proferring balance for "Evolution," which follows immediately. The strings continue to provide occasional accents to this piece, central to the whole record. The music undulates with contrapuntal, inward looking sections. Gordon's alto saxophone solo emerges about 2m 48s into the piece, from behind a bleating bass clarinet, moaning trombone, and ponderous strings. Navigating peaks and troughs in expressive harmonics about 2 minutes later in a stark fading note, Gordon hands over to pianist, Sean Wayland who makes sparkling runs and arpeggios, developing the evolution until the ensemble returns toward the end, to leave the piece somewhat hanging on a minor chord, with good reason. "Currents," "Bloom," "Contemplation," and "Veil" are all thematically and sonically connected individual works. It is still all about change, and the score continues to be somber, stiriring and yet radiant. A certain kinetic energy emboldens the music throughout. Though evenly expressed the ensemble does leave ample room for a "breakout" of sorts. "Currents" features a splendid trombone solo by Alan Ferber The trombonist is critical to the composition, but sadly, he does not solo more than just twice. His instrument is the most human speechlike of all and despite Kristin Berardi's fine vocals would have added exponentially to the music.  "Shane" and "One for Liam" (brilliant solos including those by pianist Bill Charlap) are portraits of Gordon's children, a step in the evolution of "self" and thus key to this suite. This culmination is majestically expressed in "Individuation," from its superb bass clarinet intro and trombone counterpoint to the dramatic conclusion of this work. ~ Raul D'Gama Rose https://www.allaboutjazz.com/evolution-jon-gordon-artist-share-review-by-raul-dgama-rose.php

Personnel: Jon Gordon: alto saxophone, soprano saxophones, piano (1); John Ellis: tenor saxophone (2, 4, 5, 8, 9); Doug Yates: bass clarinet (2, 4, 5, 8, 9); Dave Smith: trumpet (2, 4, 5, 8, 9); Alan Ferber: trombone (2, 4, 5, 8, 9); Sara Coswell: violin (1, 2, 7); Andie Springer: violin (1, 2, 7); Jody Redhage: cello (1, 2, 7); Nate Radley: guitar (2, 4, 5, 8, 9); Sean Wayland: piano (2, 4, 5, 8, 9); Matt Chohesy: bass (2, 4, 5, 8, 9); Mark Ferber: drums (2, 4, 5, 8, 9); Rogerio Boccato: percussion (2, 4, 5, 8, 9); Kristin Berardi: vocals (4, 5); Bill Charlap: piano (3, 6).

Evolution

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Jim Snidero - Waves of Calm

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 49:39
Size: 114,0 MB
Art: Front

(3:29)  1. Waves of Calm
(8:54)  2. Truth
(6:13)  3. Old Folks
(6:55)  4. Visions
(5:23)  5. I Fall in Love Too Easily
(6:33)  6. Dad Song
(6:28)  7. If I Had You
(5:40)  8. Estuary

Saxophonist Jim Snidero turns his adept post-bop skills inward on the introspective, if still engaging 2019 session Waves of Calm. The album, which comes on the heels of several exuberant projects including 2016's Miles Davis-influenced MD66, and 2018's Jubilation! Celebrating Cannonball Adderley, is in part a response to his father's battle with Parkinson's Disease  a struggle that ended with his passing shortly after the album was finished. While by no means a ballads album, though there are several here including a gorgeously moving rendition of "Old Folks," Waves of Calm is a work of far-eyed rumination that leaves plenty of room for searching, harmonically creative improvisation. Joining Snidero once again is his Jubilation! bandmate trumpeter Jeremy Pelt, as well as pianist Orrin Evans, bassist Nat Reeves, and drummer Jonathan Barber. Together they play with a warmth and style that is the epitome of post-bop sophistication. In some ways, the album is a balanced mix of the influences Snidero has been investigating since the early 2010s. Both "Visions," which features Evans on Fender Rhodes, and the angular "Truth" evoke Miles Davis' late-'60s modalism. Similarly, "Dad Song" is dusky Latin groover that brings to mind the classic hard bop recordings of Horace Silver. Equally evocative is the languid title track, which pulls the listener along as if floating on a boat in a soft evening breeze. As the title implies, Waves of Calm is the sound of Snidero taking a deep, tension-relieving breath before jumping back into the flow of life. ~ Matt Collar https://www.allmusic.com/album/waves-of-calm-mw0003253530

Personnel: Jim Snidero, alto saxophone; Jeremy Pelt, trumpet (2, 4, 6, 8); Orrin Evans, piano, Fender Rhodes; Nat Reeves, bass; Jonathan Barber, drums.

Waves of Calm

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