Dave Scott - Brooklyn Aura

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 69:34
Size: 160,1 MB
Art: Front

( 2:14)  1. Prologue 2
(13:34)  2. Persistance
(12:22)  3. Non Adherence
(15:50)  4. Eccentricities
(11:43)  5. Brooklyn Aura
(13:48)  6. 11th Street Obstruction

Trumpeter Dave Scott is a shade different from peers on the Steeplechase roster in his preference for patience over prolificacy. Brooklyn Aura is only his fourth album for the Danish label in the last decade. As with the earlier outings Scott handles composerly duties, but deviates from the line-up of his earlier efforts in placing fresh recruits Jacob Sacks and Satoshi Takeishi in the piano and drum chairs respectively. Regulars Rich Perry and bassist John Hebert are returnees with the former’s tenor serving as a supple front line foil to Scott’s probing and polished modulations. Six pieces succeed in the difficult stylistic hat trick of leaning retro without sounding reductive or redundant.“Prelude” primes the players for the demanding itinerary ahead with a swirling, fanfare-styled series of horn unisons that folds directly into the prodding rhythm section introduction to “Persistence”. Scott’s burnished phrases echo the insistence intimated by the piece’s title, pushing and flexing against a propulsive vamp forwarded by Sacks. Hebert and Takeishi stoke the tension, tracing tightening concentric circles that signal Perry’s precision ensemble entry. An ensuing tenor solo interlude limns oblique phraseology in line with vintage Wayne Shorter as Sacks and Hebert drop out leaving just drums as restless accompaniment. Several more switches and sleights of instrument slide by and the overall effect echoes classic searching Sixties postbop as spun from confident 21st century sensibilities. The album’s four other pieces occupy comparably expanded space and Scott makes the most of the capaciousness to pack in plenty of subtle surprises and challenging obstacles for his colleagues. “Non Adherence” builds from an incremental cadence on the back of Hebert’s bass and Sack’s rigid left hand as composer and Perry peel off eliding asides. Once again the intrinsic agility and rounded smoothness of Scott’s brass works as a beguiling textural counterweight to the dark and brooding undercurrents at work in the music. “Eccentricities”, the balladic title piece and “11th Street Obstruction” collectively offer up another forty-plus minutes of labyrinthine, constantly active and reactive communication. Comparisons to the aforementioned Shorter and Andrew Hill are dots to connect, but Scott keeps the enterprise keenly personal, proving that a project’s proper time in the creative incubator is reliably worth the cost in wait. ~ Derek Taylor https://dustedmagazine.tumblr.com/post/137286929598/dave-scott-brooklyn-aura-steeplechase
 

Personnel:  Trumpet, Composed By – Dave Scott; Bass – John Hebert; Drums – Satoshi Takeishi; Piano – Jacob Sacks; Tenor Saxophone – Rich Perry

Brooklyn Aura

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Dave Grusin - Night-Lines

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 44:41
Size: 104,1 MB
Art: Front

(5:12)  1. Power Wave
(4:11)  2. Thankful N' Thoughtful
(4:15)  3. Theme From "St. Elsewhere"
(5:07)  4. Haunting Me
(3:35)  5. Secret Place
(5:05)  6. Night-Lines
(4:16)  7. Tick Tock
(4:01)  8. Kitchen Dance
(4:35)  9. Somewhere Between Old And New York
(4:19) 10. Bossa Baroque

Night-Lines is an album by American pianist Dave Grusin released in 1984, recorded for the GRP label. The album reached No. 4 on Billboard's Contemporary Jazz chart. The album's cover is from the November 1983 issue of Electronic Fun with Computers & Games. https://en.wikipedia.org/wiki/Night_Lines_(album)
 

Personnel:  Dave Grusin - piano, synthesizers; Ed Walsh - synthesizers; David Sanborn - saxophone; Marcus Miller - bass; Lincoln Goines - bass; Buddy Williams - drums; Rubens Bassini - percussion; Phoebe Snow - vocals; Randy Goodrum - vocals

Night-Lines

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Ralph Peterson - The Fo'tet Plays Monk

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 57:43
Size: 132,4 MB
Art: Front

(5:58)  1. Jackie-ing
(4:37)  2. Skippy
(9:15)  3. Epistrophy
(4:34)  4. Played Twice
(4:06)  5. Light Blue
(3:32)  6. Criss Cross
(5:18)  7. Four in One
(5:36)  8. Monkin' Around
(3:41)  9. Spherically Speaking
(5:23) 10. Well You Needn't
(5:38) 11. Brilliant Corners

The music of Thelonious Monk has influenced the entire spectrum of modern jazz. Tributes to Monk's music have been recorded by a wide variety of artists, from vocalist Carmen McRae to saxophonist Steve Lacy and musical auteur Hal Wilner. The rather unique line-up of the Ralph Peterson Fo'tet (drums/sax/vibraphone/bass) is refreshing on this program of Monk and Monk-inspired material. The Fo'tet Plays Monk (Ralph Peterson, drums; Belden Bullock, bass; Bryan Carrott, vibraphone; Steve Wilson, soprano sax) brings an adventurous creativity to a set of well-chosen tunes. Ralph Peterson is a fiery leader on drums and his arrangements look at the more familiar tunes from a fresh angle. "Jackie-ing", the disc opener, is given a funky New Orleans groove, while the time signature of "Epistrophy" is stretched to 7/4. On "Light Blue", Peterson lays down an African-influenced beat over the sinuous melody. The solos by Carrott and Wilson are consistently amazing throughout. Bullock lays down an unerring pulse with his dark woody bass sound. As always, Ralph Peterson creates rhythmic firestorms that are full of musical ideas and will have you smilingly in search of the One! The Fo'tet Plays Monk is a dazzling tribute to the music of Thelonious Sphere Monk. Very highly recommended. ~ Rick Bruner https://www.allaboutjazz.com/the-fotet-plays-monk-ralph-peterson-evidence-music-review-by-rick-bruner.php?width=1920

Personnel: Drums, Leader [Musical Director] – Ralph Peterson, Jr.;  Bass – Belden Bullock; Soprano Saxophone – Steve Wilson;  Vibraphone – Bryan Carrott

The Fo'tet Plays Monk

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Hilde Louise Asbjørnsen - Red Lips, Knuckles and Bones

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 46:53
Size: 108,3 MB
Art: Front

(3:09)  1. Red Lips
(3:49)  2. Never Know You Too Well
(1:08)  3. A Swing of It's Own Intro
(3:05)  4. A Swing of It's Own
(5:00)  5. Water Wall
(3:28)  6. Make Some Shine
(3:34)  7. Don't Fight the Undertow
(4:52)  8. The Man Had a Gun
(4:17)  9. Pink Push Wagon
(4:11) 10. Lazy Afternoon
(3:48) 11. Return to Start
(6:26) 12. Rich

You could be forgiven for thinking I have chosen to review the latest Alison Krauss record if you only listened to the country-tinged opening track Red Lips from Hilde Louise Asbjørnsen’s Red Lips, Knuckles and Bones. This enjoyable album does have one foot firmly in the world of Americana, but the base is still recognisably jazz on the Norwegian vocalist’s eleventh album, continuing in the tradition of Scandinavian singers such as Karin Krog, Laila Dalseth and Nora Brockstedt and younger profiles such as Silje Nergaard and Solveig Slettahjell. Asbjørnsen has a large palette to work from, being a jazz singer with roots in music across all sorts of genres cabaret, country, folk, rock and pop. Here she has largely written her own set of songs, often focusing on the power of femininity in contemporary life. 'When I put my red lips on, I can do just anything… I can start a hurricane; I can make a grown man sing… I could hurt a fly'. They also reflect personal losses suffered in her life over the past few years, specifically the death of close friend and contemporary artist Hariton Pushwagner (who was also something of a sixties and seventies pop icon in Norway). Despite these bereavements there is a feisty refusal to give up on this record, which at times verges upon music theatre in its sense of drama; so the tribute to Pushwagner and others who have departed receive a jaunty tribute on the track Pink Push Wagon: `We're surely running out of time / Fresh proof is tumbling down in line / gone’. With her unique phrasing, Asbjørnsen’s style balances between a crooning, pop, country approach and more traditional jazz. Her band make these stylistic jumps appear seamless, with the touchstone appearing to be swinging sixties jazz, and features her regular collaborators: Jens Fossum (bass), Svein Erik Martinsen (guitar) who also sings a duet with Asbjørnsen on the opening track, Hermund Nygård (drums) and co-producer Anders Aarum. The fine tenor saxophonist Knut Riisnæs' appears on three of the songs as well. A Swing of its Own, a song written for the Oslo Jazz Festival's 30th anniversary, highlights Asbjørnsen’s facility for a catchy tune, and provides an excellent solo turn for Martinsen’s moody guitar. Make Some Shine is light and catchy, with the full band joining in on the chorus; along with Red Lips it would be on Radio 2 in a just world. ~ Matt Groom https://www.prestomusic.com/jazz/articles/2637--recording-of-the-week-hilde-louise-asbjornsen-red-lips-knuckles-and-bones

Red Lips, Knuckles and Bones

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