Jerry Bergonzi - Tenor of the Times

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 49:42
Size: 114,6 MB
Art: Front

(6:25)  1. Acookarache
(7:32)  2. You're My Everything
(8:39)  3. Bob Berg
(6:07)  4. Cadiz
(7:50)  5. Stumbelina
(7:01)  6. Skull Shining
(6:05)  7. The Tomb

This effort from tenor saxophonist Jerry Bergonzi offers little in the way of new ideas or creativity. He seems mired in the world of John Coltrane, in many instances replicating the master's phrasing and sound. The instrumentation of the album is also the same as Coltrane's classic quartet (tenor, piano, bass, and drums). To compare the two groups would be silly, however, given that the latter unit cut its albums over four decades ago."You're My Everything," the only tune not composed by the leader, shows off Bergonzi's full-bodied tone, and his solo is full of rapidly executed arpeggios. The quirky-metered "Acookarache" displays Bergonzi incorporating elements of Sonny Rollins (in terms of rhythmic playfulness) and Joe Henderson (phrasing). Unfortunately, the aforementioned moments are the only real highlights to this disc. Bergonzi's rhythm section is largely uninspired, and several tunes plod along in lackluster fashion, eschewing any sense of swing. Pianist Renato Chicco delivers largely cliche-filled solos that meander and lack any sort of excitement. There are, however, a number of competent solos from the bass of Dave Santoro, most of which are crisp pizzicato affairs. Andrea Michelutti's drumming is unassertive; it lacks the fire that could inspire the group as a whole to better results. What I find particularly annoying is not the fact that Bergonzi is influenced by Coltrane (scores of saxophonists and jazz musicians are), but that he imitates him so closely, to the point of slavishness. If jazz is about developing one's own unique voice, Bergonzi has a long way to go, at least based on this recording. ~ Paul Ryan https://www.allaboutjazz.com/tenor-of-the-times-jerry-bergonzi-savant-records-review-by-paul-ryan.php

Personnel: Jerry Bergonzi: tenor saxophone; Renato Chicco: piano; Dave Santoro: bass; Andrea Michelutti: drums.

Tenor of the Times

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Beverly Kelly - Essential Jazz Masters

Styles:  Vocal
Year: 2012
File: MP3@320K/s
Time: 41:03
Size: 95,5 MB
Art: Front

(3:25)  1. I Get a Kick Out of You
(2:30)  2. You and the Night and the Music
(4:55)  3. Embraceable You
(2:47)  4. Lover, Come Back to Me
(3:01)  5. The Man I Love
(2:14)  6. I Wish I Knew
(4:31)  7. I'm Glad There Is You
(2:50)  8. This Love of Mine
(3:22)  9. Sometimes I'm Happy
(3:35) 10. But Not for Me
(3:53) 11. Spring Is Here
(4:00) 12. You Don't Know What Love Is

Bev Kelly made a strong impression in the 1950s as a jazz singer, and has made a few musical comebacks since then while pursuing other careers. Kelly started studying classical piano when she was five, continuing through high school. She also studied classical voice at 14 and four years later was awarded a vocal scholarship to Cincinnati's Conservatory of Music. During 1954-1957, she was part of a group billed as "The Pat Moran Trio featuring Bev Kelly." All four musicians (which included pianist Moran) sang in four-part harmony. They recorded two albums for Bethlehem and were part of an ambitious multi-artist recording of the music from Porgy and Bess. In late 1957, Kelly recorded her first album as a leader. She went out on her own, recording two albums for Riverside (Love Locked Out and Bev Kelly in Person) and working in San Francisco with pianist Flip Nunez and altoist Pony Poindexter. In 1961 when she was 27, Kelly decided to stop performing so as to raise her son. She settled in the Los Angeles area where she wrote music and poetry, worked as a professional photographer, did some session work, and was a vocal coach. In 1966, she returned to singing in clubs on a part-time basis, performing with local greats including trombonist Frank Rosolino and pianist Hampton Hawes. In 1972 she made three albums for Reader's Digest in London and a few years later she worked with Al Williams' quintet in Long Beach. During 1978-1980 she was an investor in the Jazz Safari, a club in Long Beach where she occasionally performed. Bev Kelly earned a Doctorate in Psychology in 1984, becoming a psychotherapist. She has mostly stayed retired from music since then, although in 2002 she recorded Portrait of Nine Dreams, a set of autobiographical poems. ~ Scott Yanow https://www.allmusic.com/artist/bev-kelly-mn0000062718

Essential Jazz Masters

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Fourplay - Yes, Please!

Styles: Jazz, Crossover Jazz 
Year: 2000
File: MP3@320K/s
Time: 63:15
Size: 145,0 MB
Art: Front

(6:26)  1. Free Range
(5:49)  2. Double Trouble
(4:33)  3. Once Upon a Love
(6:27)  4. Robo Bop
(6:59)  5. Blues Force
(5:33)  6. Save Some Love for Me
(8:11)  7. Fortress
(4:05)  8. Go with Your Heart
(5:15)  9. Poco a Poco
(4:20) 10. A Little Fourplay [feat. Sherree]
(5:33) 11. Lucky

There's no doubt that Fourplay is, collectively, one of the most talent-laden ensembles in contemporary jazz today. But their output to date, while always accessible to the masses, has alternated between interesting, worthwhile comtempo fare (their eponymous debut CD and their third release, Elixir ) and more watered-down, commercially-oriented "smooth jazz" ( Between the Sheets and 4 ). On their latest CD Yes, Please! , we get some of each. The disc gets off to a promising start with "Free Range," "Double Trouble," and "Robo Bop" the breezy melodies are supported with some interesting harmonies and creative background fills (Bob James trademarks) and some good group interplay. Larry Carlton's pensive, singing guitar caresses the lines of the ballad "Once Upon a Love." Carlton displays his bluesier side on "Blues Force," though James' solo seems stilted and awkward. The disc's radio offerings, however, reach new lows in sterile banality. Female background vocalists seductively coo "Save Some Love for Me (Tonight)" repeatedly over a plodding drum loop. The saccharine seduction resumes on "A Little Foreplay." Throughout this disc, mellow is the word. The tempos range from slow to medium, and the dynamics rarely reach above mezzoforte. While the musicianship is impeccable and there are interesting touches here and there, it's a very relaxed, placid outing. (Warner Bros. 47694) ~ Dave Hughes https://www.allaboutjazz.com/yes-please-fourplay-warner-bros-review-by-dave-hughes.php

Personnel: Bob James, keyboards; Larry Carlton, guitar; Nathan East, bass; Harvey Mason, drums; Sherree, vocal on "A Little Foreplay"

Yes, Please!

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Florin Niculescu - Django Tunes

Styles: Violin Jazz
Year: 2010
File: MP3@320K/s
Time: 47:16
Size: 109,0 MB
Art: Front

(3:43)  1. Coquette
(2:44)  2. Brick Top
(3:11)  3. Lentement Mademoiselle
(3:56)  4. Sweet Chorus
(3:09)  5. Souvenirs
(3:21)  6. Dream of You
(4:24)  7. Impromptu
(4:39)  8. Vamp
(4:16)  9. Tears
(3:19) 10. Double Scotch
(2:12) 11. Nuit Saint-Germain-Des-Prés
(4:19) 12. Porto Cabello
(3:57) 13. Vipers Dream

Violinist Florin Nicolescu recorded this set of Django Reinhardt compositions in his native Romania and in Paris, accompanied by a shifting complement of sidemen that included various combinations of two guitarists, two pianists, a bassist, and a drummer. The arrangements are unusual; typically, a musician this enamored of Reinhardt will tend to duplicate the Quintet du Hot Club de France's traditional lineup: one lead guitar, two rhythm guitars, violin, and bass. But Nicolescu has opted for a more standard jazz rhythm section even as he plays in a style heavily influenced by (though not strictly imitative of) Reinhardt's famous partner Stéphane Grappelli. The result is quite effective, though it would have been even more so if the production style made the rhythm instruments a bit more audible and the echo on the violin less pronounced. But some listeners will find the arrangements themselves to be problematic; a large part of what made Reinhardt's music so thrillingly engaging was the relentless, driving beat generated by the twin rhythm guitars, and the more restrained comping of the piano coupled with a less insistent drum set often means a less viscerally powerful sound. But Nicolescu does a fine job of keeping the energy levels high, and his combination of taste and technique is especially impressive on "Sweet Chorus," the swaggering "Double Scotch," and the beautiful composition "Brick Top." "Tears" features a particularly elegant and lovely guitar solo, though unfortunately, the liner notes do not identify the soloists. This may not be the best introduction to the Reinhardt/Grappelli oeuvre, but Nicolescu's slightly different take on this venerable tradition is well worth hearing. ~ Rick Anderson https://www.allmusic.com/album/django-tunes-mw0002014679

Personnel: Violin – Florin Niculescu; Bass – Darryl Hall; Drums – Bruno Ziarelli; Guitar – David Reinhardt, Samson Schmitt; Piano – Florent Gac, Thüryn Mitchell

Django Tunes

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Ralph Peterson Jr - Back to Stay

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 58:57
Size: 136,1 MB
Art: Front

(5:40)  1. Back to Stay
(3:57)  2. From Within
(9:50)  3. Apple's Eye
(4:21)  4. Did You Notice
(4:59)  5. Miles' Mode
(5:55)  6. Surrender
(9:04)  7. Soul Eyes
(6:00)  8. Is That So?
(3:50)  9. Inner Evolution
(5:17) 10. Hidden Treasures

Drummer Ralph Peterson Jr.'s ninth recording as a leader, his first for Sirocco Jazz, and his fifth featuring his Fo'tet, is a energy filled session with former OTB bandmate Ralph Bowen replacing Steve Wilson on soprano sax, plus group regulars vibraphonist Bryan Carrott and bassist Beldon Bullock performing seven originals by the group members and three jazz classics. Peterson's aggressive drumming, consisting of his driving cymbal beat, well-placed snare and tom accents, and powerful cymbal crashes, is always a joy to hear and he sounds better than ever. Back to Stay is also Peterson's Fo'tet debut on trumpet, once his primary instrument, playing a surprisingly good solo on a beautiful version of Mal Waldron's "Soul Eyes." Tenor saxophonist Michael Brecker guests on "Soul Eyes" and contributes a passionate solo on the burning title track, based on a 7/4 bass vamp. Other favorites include Bullock's "From Within," a medium tempo number that alternates between 7/4 and 4/4 swing; John Coltrane's "Miles Mode, complete with drum breaks; the Afro-Caribbean flavored "Surrender"; and Carrott's complex "Hidden Treasures, where Peterson also plays on djembe and cowbell. Back to Stay is a welcome return to recording for Peterson and one of 1999's best releases. ~ Greg Turner https://www.allmusic.com/album/back-to-stay-mw0000604524

Personnel: Drums, Percussion - Ralph Peterson Jr; Soprano Saxophone – Ralph Bowen; Tenor Saxophone – Michael Brecker; Vibraphone, Marimba – Bryan Carrott; Bass – Beldon Bullock;

Back to Stay

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