Ernie Watts - To The Point

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 66:48
Size: 154,4 MB
Art: Front

( 8:32)  1. Hot House
( 9:08)  2. Season Of Change
( 0:49)  3. Introduction
( 9:52)  4. For Michael
( 1:42)  5. Introduction
(11:30)  6. To The Point
( 7:57)  7. Road Shoes
( 0:18)  8. Introduction
( 6:04)  9. Nightscape
(10:51) 10. Reaching Up

After hearing saxophonist Ernie Watts' CD To The Point - Live At The Jazz Bakey , it's easy to imagine that he possesses superhuman talents similar to those held by members of the fictional Fantastic Four. He breathes fire, can cool with ice, whip up a storm, and shape his sax sound in ways otherworldly. This is a powerful, yet sensitive, technically Herculean, yet human, complex yet elegantly beautiful player no, a marvel.  Soloing as an intro to the bop classic "Hot House," a complex line laid over Cole Porter's "What Is This Thing Called Love?," Watts tells you right up front that he taps into an energy and spirit that is universal and highly charged, while never allowing his awesome technique to saturate creativity. Dig the faster than light arpeggiated riffs that give the illusion of multiphonics. Awesome. For years, Watts was the first call for reeds in the Hollywood studios, and after a decades long stint with Doc Severinsen and Johnny Carson's Tonight Show orchestra, Watts has moved closer to the point as a solo performer and as a featured member of bassist Charlie Haden's group. Here he's backed by a trio of Hollywood's, and the world's, best pianist David Witham (for years musical director for guitarist George Benson), bassist Bob Lett (of trumpeter Jack Sheldon's Orchestra) and drummer Bob Leatherbarrow. This group has performed together for over 20 years and it shows. The energy level is never let up. Watts' sensitivity and emotional control are spectacular on his own composition, "Season Of Change." There is a uniqueness about his sound vocal, lyric at all speeds, clean, classical. He brings the listener into his sound and solo creations. With such a colossus at the helm, the crew steps up beautifully. Witham's solos on this selection and elsewhere are tasteful, Lett also vocalises his solos and Leatherbarrow's time and touch are pure grace. 

"For Michael," a Watts and Leatherbarrow original dedicated to the late saxophonist Michael Brecker, expresses colors over a triple-metered rhythmic layer. Like Brecker, Watts fears no area on the instrument's range and wrings out tones across the range of the horn. Picking up on Watts, Witham's solo flows expressively. In an interlude between selections, Watts modestly tells those lucky to be at the Jazz Bakery gig that the title tune is a culmination, a moment of truth, wherein a musician's entire investment of time in their instrument is put right on the line. It is truth incarnate. And the truth here is that Watts, although he humbly states "I cannot be John Coltrane," is not only at the top of his game, but the top of the game. He approaches the doorstep to the saxophone pantheon with giant steps. "Road Shoes," a Watts original blues, aptly demonstrates that the composer can get down to root business and blow appropriately funky with the best of them. Witham's tasteful comping, Bob Leatherbarrow's drive and fills, and able support from Bruce Lett energize. The beautiful Jon Mayer ballad "Nightscape" displays an almost Ellingtonian melodic line that Watts covers beautifully, lyrically and vocally. Watts knows his saxophone roots oh so well. You hear shades of the great alto saxophonist Johnny Hodges, as well as Coltrane in Watts' beautifully classic, seductive sound. David Witham's pulsing vamp sends off "Reaching Up." Watts takes the lead and indeed reaches up improvisationally. The energy level across this CD is fever pitch. Watts and crew are indeed a Fantastic Four. The level of musicianship, improvisational skill and interplay among teammates is supreme. The recording and balance is excellent for a live session, so kudos to producer Tim Pinch as well. To The Point is an outstanding effort. And, yes, Ernie, Michael Brecker would, you feel, be very proud. ~ Nicholas F.Mondello https://www.allaboutjazz.com/ernie-watts-to-the-point-live-at-the-jazz-bakery-by-nicholas-f-mondello.php

Personnel: Ernie Watts, saxophones: David witham, piano; Bruce Lett, bass: Bob Leatherbarrow, drums.

To The Point

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Barbara Morrison, Houston Person - A Sunday Kind of Love

Styles: Vocal And Saxophone Jazz 
Year: 2013
File: MP3@320K/s
Time: 54:26
Size: 126,1 MB
Art: Front

(4:41)  1. I'm Just a Lucky so and So
(3:46)  2. Soft Winds
(3:54)  3. The Green Door
(4:55)  4. Good Morning Heartache
(5:19)  5. A Sunday Kind of Love
(3:23)  6. On the Sunny Side of the Street
(5:27)  7. I Cover the Waterfront
(4:53)  8. My Romance
(3:50)  9. Polka Dots and Moonbeams
(4:28) 10. I Love You for Sentimental Reasons
(5:25) 11. Smile / Make Someone Happy
(4:21) 12. Let's Stay Together

While no female vocalist will likely ever match Dinah Washington’s brilliance at blending jazz and blues, Barbara Morrison has come closest. At age 60, she continues to rival Washington’s beam-rattling slither and thrust, though on gentler selections there’s the enticing suggestion of Billie Holiday blended with the late-career majesty of Maxine Sullivan. In 2005, Morrison teamed with tenor saxophonist Houston Person for a killer live recording at the Dakota in Minneapolis. At last reunited, they remain an ideal match, whether softly tracing the heartache of “I Cover the Waterfront” or emblazoning a Dinah-worthy reading of the title tune. Ably assisted by what Morrison refers to as her “automatic A team”-pianist Stuart Elster, bassist Richard Simon and drummer Lee Spath-the pair proves delightfully unpredictable across their 12-track playlist. They sandwich a swirling “Polka Dots and Moonbeams” between creamy treatments of “My Romance” and “(I Love You) For Sentimental Reasons,” and offset a growly “I’m Just a Lucky So and So” with an oxymoronically propulsive “Soft Winds” and a deeply moving “Good Morning Heartache.” Most surprising, and delightful, is their transformation of deejay Jim Lowe’s mid-’50s novelty hit, “The Green Door,” into a sly, bluesy cooker in the spirit of Morrison’s one-time boss Ray Charles. ~ Christopher Loudon https://jazztimes.com/reviews/albums/barbara-morrison-a-sunday-kind-of-love/

Personnel:  Vocals, Producer – Barbara Morrison; Tenor Saxophone, Producer – Houston Person; Drums – Lee Spath; Piano – Stewart Elster

A Sunday Kind of Love

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Bobby Hutcherson - In The Vanguard

Styles: Vibraphone Jazz
Year: 1987
File: MP3@320K/s
Time: 55:25
Size: 127,5 MB

Art: Front

( 6:44)  1. Little Niles
( 7:56)  2. Estate
( 7:32)  3. Well, You Needn't
(10:23)  4. Young and Foolish
(10:02)  5. Some Day My Prince Will Come
( 7:44)  6. Witchcraft
( 5:02)  7. I Wanna Stand Over There

The reissue of Bobby Hutcherson's live Village Vanguard session from December 5-6, 1986 isn't the first. It's such a fine album that it's been issued quite a few times and has garnered high ratings. 32 Jazz has included Bob Blumenthal's original liner notes in which he lists several from the long list of jazz artists who've recorded live sessions at The Village Vanguard. Hutcherson's hard bop session features a lot of "blowing" by the leader on both marimba and vibes. His rhythm section on this date supports him well and provides an experienced conversation. Speaking of conversations, Fred Jung's interview with Hutcherson provides valuable insight into this session leader who got his start by laying bricks one summer in L.A. to save the money for his first set of vibes. Moving freely between vibraphone and marimba throughout the session, Hutcherson fills the traditional front line role by himself. The rhythm section is a thrill from start to finish, but leaves most of the soloing to the leader. Barron shines on "I Wanna Stand Over There," a hard-driving hard bop vehicle. The quartet oozes rich harmony on the long slow ballad "Young And Foolish," while "Some Day My Prince Will Come" waltzes excitedly with all-around high spirit. Recommended, Hutcherson's session features a seasoned rhythm section along with his full-speed-ahead front line "blowing."~ Jim Santella https://www.allaboutjazz.com/in-the-vanguard-bobby-hutcherson-32-records-review-by-jim-santella.php

Personnel: Bobby Hutcherson: vibraphone, marimba; Kenny Barron: piano; Buster Williams: bass; Al Foster: drums.

In The Vanguard

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Jeremy Pelt - Jeremy Pelt The Artist

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 45:39
Size: 104,7 MB
Art: Front

(6:53)  1. The Rodin Suite, Pt. 1: L'appel Aux Armes
(1:59)  2. The Rodin Suite, Pt. 2: Dignity And Despair (Burghers Of Calais)
(5:59)  3. The Rodin Suite, Pt. 3: I Sol Tace (Gates Of Hell)
(2:33) 4. The Rodin Suite, Pt. 4: Camille Claudel (L'eternel Printemps)
(4:46)  5. The Rodin Suite, Pt. 5: Epilogue
(3:41)  6. Ceramic
(6:54)  7. Feito
(5:57)  8. Watercolors
(6:53)  9. As Of Now

Showcasing a five-part suite based on the work of French sculptor Auguste Rodin, Jeremy Pelt's 2019 album, The Artist, finds the trumpeter translating his love of the visual arts into a set of deeply textured compositions that touch upon harmonically rich modalism, driving post-bop, and lyrical balladry. Beginning with the hypnotic "The Rodin Suite, Pt. 1: L'Appel aux armes," which translates fittingly as "the call to arms," The Artist evokes the '70s jazz of artists like Woody Shaw and Bobby Hutcherson. It's a sound Pelt has long embraced, at least as far back 2013's fusion-influenced Water and Earth, and one that he has increasingly made his own. Which is to say, while The Artist brings to mind the vibes, keyboard, and groove-oriented aesthetics of '70s jazz, it never sounds like pastiche, and remains a nuanced palette for Pelt to draw from. Adding rich colors to this palette are Pelt's bandmates: pianist Victor Gould, bassist Vicente Archer, guitarist Alex Wintz, marimba player Chien Chien Lu, and percussionist Ismel Wignall. 

Together they play with a deft sense of group interplay that's as much the focus as Pelt's own improvisatory prowess and balmy tone. In fact, Pelt bows out of "The Rodin Suite, Pt. 2: Dignity and Despair (Burghers of Calais)" altogether, allowing Gould to lead the ensemble with his gem-tone keyboard warmth. "The Rodin Suite, Pt. 3: I sol tace (Gates of Hell)" is perhaps the most fusion-sounding track as the trumpeter paints the song's intro with thick wah-wah and echo pedal-dipped lines against a backdrop of woody marimba and conga, before settling into an arid, slow-burn noir groove. Similarly evocative is "The Rodin Suite, Pt. 4: Camille Claudel (L'Éternel printemps)," whose sparkling chimes, fuzzy marimba, and drawn-out dual guitar and trumpet melody conjure the image of sculptor Camille Claudel (Rodin's muse and partner), framing her tragic story in a haze of sadness and midday languor. Elsewhere, Pelt continues to pull inspiration from the visual arts, offering up the buoyant Latin rhythms of "Ceramic," the propulsive swing of "Feito," and the exuberant harmonic spirals of "Watercolors." With The Artist, Pelt has crafted an album that engages your attention and captivates your imagination much in the same way Rodin's famed sculptures continue to fascinate audiences. ~ Matt Collar https://www.allmusic.com/album/the-artist-mw0003243463

Personnel: Jeremy Pelt, trumpet; Victor Gould, piano; Vicente Archer, bass; Allan Menard, drums; Alex Wintz, guitar; Chien Chien Lu, vibraphone and marimba; and Frank Locrasto, Fender-Rhodes. 

Jeremy Pelt The Artist

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