Charles Tolliver - Paper Man

Styles: Trumpet Jazz
Year: 1968
File: MP3@320K/s
Time: 39:26
Size: 90,5 MB
Art: Front

(4:26)  1. Earl's World
(9:39)  2. Peace With Myself
(5:51)  3. Right Now
(6:08)  4. Household Of Saud
(7:08)  5. Lil's Paradise
(6:11)  6. Paper Man

Also released by the Freedom label, this was trumpeter Charles Tolliver's full-length album as a leader. One of the top brassmen to emerge during the era (although he never quite lived up to his potential), Tolliver had the fat tone of a Freddie Hubbard, the adventurous spirit of Woody Shaw and a somewhat original conception of his own that bridged the gap between hard bop and the avant-garde. 

He performs six of his originals with pianist Herbie Hancock, bassist Ron Carter, drummer Joe Chambers and (on three of the selections) altoist Gary Bartz. This explorative and stirring music is well worth investigating. ~ Scott Yanow https://www.allmusic.com/album/paper-man-mw0000874948

Personnel: Charles Tolliver - trumpet, producer, composer; Herbie Hancock - piano; Ron Carter - bass;  Joe Chambers - drums; Gary Bartz - alto saxophone

Paper Man

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Mike Nock, Marty Ehrlich - The Waiting Game

Styles: Piano, Clarinet And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 55:39
Size: 129,1 MB
Art: Front

(7:40)  1. The Waiting Game
(5:22)  2. Reconciliations
(5:37)  3. The Duke
(3:31)  4. Break Time
(5:34)  5. El Testamen de Amelia
(5:38)  6. Amhran Pheader Breathnach
(2:09)  7. 3 Postcards: Three Postcards: # 1
(1:50)  8. 3 Postcards: Three Postcards: # 2
(1:52)  9. 3 Postcards: Three Postcards: # 3
(4:29) 10. Like Spring
(3:00) 11. In The Moment
(5:01) 12. Jacanori
(3:51) 13. Snowy Morning Blues

Longtime friends and jammates since the '70s, Mike Nock and Marty Ehrlich finally got together to document their shared values. While Nock's witty notions are clear on the piano, it is Ehrlich who provides the surprises whether on alto or soprano sax, clarinet or bass clarinet. They form a partnership that languishes in subtleties and shaded nuance, well within modern mainstream or creative improvised guidelines, with occasional twists. Of the 13 selections there are two standards: Dave Brubeck's light swinging, clarinet driven evergreen tribute to Duke Ellington, "The Duke," and James P. Johnson's immortal "Snowy Morning Blues," with Ehrlich's potent alto inspiring Nock's classic striding. Two traditional folk melodies are also adapted; the pensive, hymnal, bass clarinet based "El Testamen de Amelia," and "Amhran Pheader Breathnach," with heavy modal piano and soprano waltzing along. Other 3/4 numbers include the spirit waltz for Ehrlich's soprano, "Reconciliations," and the more quiet, spaced notes by provided by alto sax or piano mixed with silence for emphasis in "In the Moment." Their most patient construct is prevalent on the title track a pained, longing soprano/piano duet laced with gut wrenching discourse and a reggae feel midway through, while the lithe alto sax bop of "Like Spring," playful bass clarinet call and response in "Jacanori," and the spontaneous time-shifting and romping improv that takes place during "Break Time" provide interesting contrasts. More cutting edge is the mini-suite "Postcards," with a quiet, long toned clarinet, inside piano string trade-outs, giddy and reckless abandon in the B section, and distinct point/counterpoint for resolution. These two brilliant musicians need little critical comment, their musicianship stands on its own high merit. Recommended. ~ Michael G.Nastos https://www.allmusic.com/album/the-waiting-game-mw0000055099

Personnel: Piano – Mike Nock; Alto Saxophone, Bass Clarinet, Clarinet – Marty Ehrlich.

The Waiting Game

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John Scofield - EnRoute

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 72:57
Size: 167,8 MB
Art: Front

( 8:24)  1. Wee
( 7:25)  2. Toogs
( 6:30)  3. Name That Tune
( 9:26)  4. Hammock Soliloquy
( 9:01)  5. Bag
( 6:39)  6. It Is Written
( 6:49)  7. Alfie
( 7:23)  8. Travel John
(11:15)  9. Over Big Top

Some artists are revolutionary, making periodic stylistic leaps that herald in a completely new direction or approach. Others are more evolutionary, with a gradual development that often unfolds over a number of years. John Scofield clearly falls in the second camp; while the context of his albums may vary wildly from one to the next, the actual meat of his style has matured at such a slow and steady pace that differentiation over the short term might be difficult to discern. But compare one of his earlier albums, like 1981's live trio recording Out Like a Light , with his new trio release, the live EnRoute , and you'll find an artist who has, in fact, made quantum leaps in his growth as a player, writer and bandleader. The two records share another common element, that of bassist Steve Swallow who, along with drummer Bill Stewart, lends an energy to the proceedings that is characteristic of many of Scofield's bands. But whereas Scofield has spent the last couple of years on jam-band turf with his younger quartet, this record returns him solidly to jazz territory, although with grooves from the New Orleans grease of "Hammock Soliloquy" and "Over Big Top" to the up-tempo swinger "Travel John"; from the straight-ahead blues of "Bag" to the tender reading of the Bacharach/David standard "Alfie," this is hardly a mainstream set. Aside from a clearly more mature linear conception, since the early '90s Scofield has also grown considerably as a chordal soloist. 

The roots of this style go as far back as his early '80s trio with Swallow, but his harmonic sense is now just that much deeper. Recorded during a weeklong engagement at New York City's Blue Note in December of 2003, the album manages to capture the energy that was clearly in the room at the time. This, in no small part, thanks to Stewart, who continues to be as inventive as always; of his generation he is arguably the drummer who most ably combines a solid footing in tradition with a more progressive rhythmic edge. But everyone rightly smokes. Scofield, armed only with a guitar, amp and whammy pedal, his one nod to the more effects-laden work with his quartet, burns through Swallow's contrapuntal "Name That Tune"; Swallow blends an ability to anchor with inciting Scofield to further heights; the riff-based "Over Big Top" gradually builds in intensity, never letting up over its eleven minute duration. Scofield has managed to attract a whole new generation of listeners to his music through his association with his current jam-band quartet. And the good news is that the success of that project has resulted in those same listeners checking out more straightforward projects like EnRoute. In a time where jazz is a marginalized genre, that's a remarkable achievement. ~ John Kelman https://www.allaboutjazz.com/enroute-john-scofield-verve-music-group-review-by-john-kelman.php

Personnel: John Scofield: guitar; Steve Swallow: electric bass; Bill Stewart: drums.

EnRoute

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Sarah McKenzie - Secrets of My Heart

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 57:57
Size: 133,8 MB
Art: Front

(4:39)  1. You Only Live Twice
(6:09)  2. You and the Music
(3:16)  3. De Nada
(4:17)  4. Secrets of My Heart
(3:34)  5. It's All About Love
(5:17)  6. Till the End of Time
(4:40)  7. You Must Believe in Spring
(4:44)  8. A Beautiful Friendship
(3:58)  9. I Fell in Love with You
(5:28) 10. Come on Home
(3:12) 11. My True Love Is You
(8:38) 12. The Gershwin Medley

Australian pianist, singer, composer Sarah McKenzie became well established globally with her Impulse! 2017 Paris in the Rain and now returns on an independent label with the half originals/half covers Secrets of My Heart. She reunites with noted Australian composer, arranger, and events music director Chong Lim who produced her first two projects. This was recorded in New York City with a core quartet of French bassist Pierre Boussaguet, guitarist Dan Wilson and drummer Donald Edwards. Tenor saxophonist Troy Roberts, vibraphonist Warren Wolf, cellist Judy Redhage, flutist Danilo Caymmi and percussionists James Mack and Brazilian percussionist Rogerio Bocatto also support McKenzie on select tunes. Both Wilson and Roberts are from Joey DeFrancesco’s band. There are plenty of gems in her originals, but we’ll take the covers first. She opens with John Barry and Leslie Bricusse’s “You Only Live Twice” ( a theme from the James Bond film of the same name) that showcases both her vocal talents and sprightly piano touch. She delivers her interpretation of the Stanley Styne/Donald Kahn classic “A Beautiful Friendship” and shows her bluesy side, with scintillating guitar from Wilson, on Dinah Washington’s “Come on Home.” The closing track is a dazzling piano medley of her Gershwin favorites, snippets of “Rhapsody in Blue,” “Summertime,” “The Man I Love,” and “I Got Rhythm.” McKenzie is grateful for the opportunity to travel globally to play her music and nods to the iconic composer with whom she spent time in France, Michel Legrand, as she covers “You Must Believe in Spring.” McKenzie hails from Melbourne, studied at Boston’s Berklee College of Music and began her career in Europe, first in Paris and then in London. 

Steeped with strong knowledge of the Great American Songbook, she says that this album reveals her time spent in Europe from a harmonic standpoint, pointing, as one example to Legrand’s style being influenced by Debussy and Ravel. Now to her originals, or as McKenzie says, “Ultimately this album is about me embracing the unknown and going with love.”  The title track, with its supple bossa nova rhythm and large backing cast is about reticence while being pulled in multiple directions. Using rather dark imagery, here is a sample of her lyrics  “Kept in a box/Locked in a darken room/Buried beneath the places where roses bloom/Sinking so slowly/Drifting apart/Just like the secrets of my heart.” She alternates between this type of dark imagery and more hopeful messages, the latter not coming quite as naturally to her. She does render her “I Fell in Love with You” in upbeat fashion with glistening piano and wonderful guitar from Wilson. Wilson and McKenzie shine again on the guitar/vocal duet “My True Love Is You,” a pensive ballad, showcasing her sultry side. Her other ballad, also an original is “You and the Music” which she cites as the album’s anthem. While that one channels Cole Porter, she challenges herself with putting lyrics to a fast tempo bebop tune in the bluesy “It’s All About Love.” Her favorite track is the Brazilian tinged “’Till the End of Time,” written in Rio de Janeiro where she collaborated with musicians who has played with Jobim. It features some stirring tenor from Roberts. She also wrote “DeNada” in Brazil and it has one of her strongest piano solos. McKenzie is exploring with a fearless eclectic approach. With her gift for composing, her sparking piano work and elegant vocal delivery, she seems right at home with these accompanists. ~ Jim Hynes https://www.makingascene.org/sarah-mckenzie-secrets-of-my-heart/

Secrets of My Heart

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