Tom Scott & The L.A. Express - Smokin' Section

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 69:05
Size: 160,3 MB
Art: Front

( 4:59)  1. Smokin' Section
( 4:48)  2. I'll Still Be Lovin' You
( 5:50)  3. Cruisin' Bayou
( 4:46)  4. Lonely One
( 6:07)  5. Ode to Billy Joe
( 5:35)  6. If I Could Cry
( 7:55)  7. A Short Visit
( 5:55)  8. Just Takin' A Walk
( 6:33)  9. Lost Again
( 6:10) 10. The Beat Is On
(10:23) 11. TCB in "E"

I am puzzled by the marketing of the new Tom Scott albumSmokin' Sectionas "Tom Scott & the L. A. Express," since there seems to be no identifiable group "feel" to this program, and the tunes were recorded with three different contingents of studio musicians. But this quibble aside, this is one of Scott's best albums in years. His traditional funky groove is present on several songs such as the opening title track (with Scott's trademark multi-sax-layered sound) and "Just Takin' a Walk" with horn section. Scott's past work on the lyricon is recalled on "Lost Again," only now he blows a wind synthesizer. "Lonely One" and "If I Could Cry" showcase Scott in sensitive ballad settings better than anything I can recall throughout his entire recording career. The compositions (six of the eleven are by Scott) are particularly inspired and well-realized, in contrast to the funky head charts we're used to hearing. 

The use of singer Patti Smyth on "Ode to Billie Joe" seems like curious choices on both counts, but it's surprisingly effective; Scott's tenor sax adorns the emotive delivery by Smyth. The closest thing to a "group sound" happens on the closing cut, which was recorded live at the Blue Note club in Tokyo; band alumnus Max Bennett's (who contributed some of the best tunes in the original L.A. Express' repertoire) "TCB in E" is therealsmokin' section of this disc. It kicks butt!!! (Windham Hill Jazz 11379) ~ Dave Hughes https://www.allaboutjazz.com/smokin-section-tom-scott-windham-hill-records-review-by-dave-hughes.php

Personnel: Tom Scott, saxophones, strings, horns, woodwinds, WX-5 wind synthesizer; Buzzy Feiten, Paul Jackson Jr., Dean Parks, Wah-Wah Watson, Robbie Nevil, guitar; Tim Heintz, Alan Pasqua, Robbie Nevil, Steven Dubin, keyboards; John Pena, Andre Berry, Chuck Berghofer, bass; Harvey Mason, Vinnie Colaiuta, drums; Lenny Castro, Alex Acuna, Ralph MacDonald, percussion; Gary Grant, Oscar Brashear, trumpet; George Bohannon, trombone; Pete Christlieb, tenor sax; Joel Peskin, baritone sax; Phil Perry, Patti Smyth, lead vocals; Robbie Nevil, Phil Perry, Lynne Scott, Terry Wood, backgound vocals.

Smokin' Section

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Victor Goines - Twilight

Styles: Clarinet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 76:35
Size: 176,0 MB
Art: Front

(11:16)  1. Insights
( 6:06)  2. Autumn
( 9:52)  3. Joie de Vivre
( 5:45)  4. After Hours
( 6:00)  5. Twilight (Bolero)
( 9:32)  6. One for My Brother
(10:26)  7. In the Midst of the Morning
( 3:44)  8. Precious Forever
( 2:08)  9. Broken Lines
( 5:52) 10. Anniversary
( 5:50) 11. Twilight (Ballad)

With the documentation of his latest cd "Twilight", Victor Goines leaves no doubt that he is one of the most important men working in the jazz idiom today. His compositions are a reflection of a man in search of the betterment of himself and humanity. At 50 years of age, Goines is at that intersection of life where knowledge and understanding have become one. From his travels and life experiences, he fully understands the weight of his aesthetic statement. In the jazz world, this aesthetic of self-discovery has rung true from thought to thought, decade to decade, and more importantly, heart to heart. With Twilight, Goines fully illustrates that he has learned his lessons well both on and off the bandstand. The men who join Goines on this recording are bringing fresh perspectives to the music by the sheer velocity of their playing and passion. On each tune, they bring a unique interpretation of the moment to the crest of bright illumination. Aaron Diehl is the pianist on this date and one of the brightest things to happen in jazz in recent years. On this recording, Diehl provides Goines with a creative accompanist who stokes the fire on a moment's notice. In the bass seat, Goines engages two of the best young bassists working in jazz today. Yasushi Nakamura, who appears on the tracks After Hours and Insights, is quickly becoming one of the first call players on the New York scene. Philip Kuehn, who appears on the subsequent tracks of "Twilight', is a native of Lucernemines, Pennsylvania and has worked with Wynton Marsalis, Roy Hargrove, Tony Bennett and Jonathan Batiste. The drummer, Marion Felder, has quickly become one of the most in-demand drummers in jazz. Felder currently sits in the drum chair of the Count Basie Orchestra. In addition to his quartet, Goines employs two Chicago-based musicians who bring unquestionable Latin fire to the proceedings. Conguero Ruben Alavez has been a Windy City stalwart for more than four decades. A constant presence on the Chicago music scene, he has worked with everyone from Ramsey Lewis to Chuchito Valdes. Felipe Fraga is also one of Chicago's most recognized percussionists. Originally from the Curitiba state of Brazil, Felipe has worked with a myriad of artists including Robert Irving III, Wallace Roney and Joe Vasconcelos.

"Twilight" is a collection of ten original compositions from Goines' pen that spans that range of human emotion. Regardless of the tempo, Goines and company deliver the goods from note to note and bar to bar. The set begins with 'Insights'. On this composition, Goines begins with his tenor saxophone, darkly romantic - simultaneously brooding and searching with profound elegance and élan. It features a middle section with a beautiful flamenco turnaround that's both arresting and sensuous to the core. 'Autumn' is a song that signals the time of year when the burnish of summer is coming to an end and leaves are turning sepia brown. 'Joie de Vivre' is one of the most beautiful ballads Goines has written and recorded in recent memory. This is a love song for hearts that beat as one. 'After Hours' is an uptown burner that features Goines' return to one of his first loves - the alto saxophone. It reminds this writer of the kind of songs that are always employed during jam sessions. 'Twilight' is taken in two distinctly views. The first is a bolero, which illustrates an excursion into the beauty of Cuba. The second is submitted as a ballad and serves as the finale of the recording. It presents Goines in full romantic posture and reflection. 'One For My Brother' is a majestic jazz waltz that evokes similar feeling that John Coltrane brought to so many of his compositions. From the first notes, the spiritual vibe is unmistakable. 'In the Midst of the Morning' is another one of Goines' recent compositions that shows his ability to mesh human emotion through music. Goines is a master tunesmith. Much like Benny Golson and Jimmy Heath, once you hear his songs, you'll find yourself whistling them long after first hearing them. 'Precious Forever' is a beautiful ballad that Goines penned almost seven years ago. 

The statement is both tender and loving an exquisite example of Goines' ballad mastery via the sound of Ben Webster and Sonny Rollins. 'Broken Lines' is a bebop line which sounds like Bechet meets Monk. The tune is very reminiscent of the great Alvin Batiste - both in its spirit and compositional complexity. A descending line of 4/4 counterpoint, Goines plays inside and out while Diehl feeds block chords of dissonance over the blues frame of the composition. 'Anniversary' is a celebration of life via the Caribbean groove line. This tune deftly illustrates the impression of Goines' visits to Brazil and its cultural ties to his naive New Orleans. With this recording, Victor Goines clearly illustrates that he has spent a great deal of time in the woodshed - not only sharpening his battle axes, but consciously melding his life experiences into a cogent statement that is both bold and intoxicating. Yes, Victor Goines is one of the premiere thinkers in jazz music. And after listening to "Twilight", I'm quite sure you'll agree he has a lot to say as well. 

~ Wesley Norris https://store.cdbaby.com/cd/victorgoines1

Personnel: Victor Goines - clarinet, soprano saxophone, alto saxophone, tenor saxophone; Aaron Diehl - piano;  Yasushi Nakamura - bass; Philip Kueh - bass;  Marion Felder - drums

Twilight

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Bill Evans - Half Moon Bay

Styles: Piano Jazz 
Year: 1998
File: MP3@320K/s
Time: 52:40
Size: 122,1 MB
Art: Front

(0:41)  1. Introductions
(6:25)  2. Waltz For Debby
(5:46)  3. Time Remembered
(6:05)  4. Very Early
(4:47)  5. Autumn Leaves
(5:17)  6. What Are You Doing The Rest Of Your Life
(5:12)  7. Quiet Now
(6:35)  8. Who Can I Turn To (When Nobody Needs Me)
(4:47)  9. How My Heart Sings
(6:59) 10. Someday My Prince Will Come

It's hard to believe pianist Bill Evans (1929-1980) has been gone nearly as many years as his interesting recording career lasted. In that time, Evans's influence has become one of the most pervasive of twentieth century pianists and he endures as one of the most distinctive of jazz practitioners. In addition to the many known and famed recordings Evans made, many more that were taped privately or never issued are now beginning to become available. Half Moon Bay is one such previously unavailable recording that catches the Evans trio live at the Bach Dancing and Dynamite Society, an intimate living-room style club in Half Moon Bay, California, on November 4, 1973. On this beautiful and welcome occasion, Evans is heard in the familiar long-time company of bassist Eddie Gomez and drummer Marty Morell. Clearly the trio is relaxed and enjoying themselves and, as the notes declare, "playing beyond themselves." 

They're introspective and intuitive by nature. But here they seem to revel in this warm, inviting atmosphere and explore each other's music beautifully together. The disc begins with a more playful than usual version of Evans's well-known "Waltz for Debby," and displays that ever-evolving Evans essence on expert renditions of "Very Early," "Autumn Leaves," "Quiet Now," "Who Can I Turn To" and "Someday My Price Will Come." A special treat here is the trio's cover of Earl Zanders' (writer of "Elsa," included here and "How My Heart Sings, which is not here) "Sareen Jurer," a song Evans didn't seem to record elsewhere and a prominent showcase for bassist Gomez's entrancing bowed solo. Gomez is, in fact, prominently featured throughout, taking marvelous solos on "Autmns Leaves" and "Who Can I Turn To" too. 

Well recorded and produced, Half Moon Bay is a welcome addition to the burgeoning Bill Evans catalog and presents a compelling argument for the notability of this trio, featuring bassist Eddie Gomez, as one of the pianist's three best. Recommended. 

~ Douglas Payne https://www.allaboutjazz.com/half-moon-bay-bill-evans-fantasy-jazz-review-by-douglas-payne.php

Players: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums.

Half Moon Bay

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Darius Brubeck - Years Ago

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 55:11
Size: 127,2 MB
Art: Front

(6:02)  1. Autumn in Our Town
(6:53)  2. Years Ago
(5:43)  3. In the Spanish Mode
(5:31)  4. For Iola
(4:31)  5. The Rainbow
(5:07)  6. October
(4:46)  7. I Saw Your Father
(7:06)  8. Mamazala
(5:39)  9. More Than You Know
(3:48) 10. Caravan

The title track "Years Ago" by Duke Makasi implies reflection and moving on. We often play this worldly, wistful ballad and also “Mamazala”, written by Zim Ngqawana while still a student. My own South African tune “The Rainbow” was written in the 80’s when I was performing and teaching there. It celebrates the defiantly diverse jazz club of the same name. The tunes "October" and “In the Spanish Mode” are from the 70’s and Matt Ridley’s distinctive bass sound sets the mood for both. Further back in time are Dave Brubeck’s “Autumn in Our Town” and the standard, “More Than You Know” framing O’Higgins’ moving soliloquy. My father’s “For Iola” is a tribute to my mother and my new composition “I Saw Your Father” is dedicated to the many people who tell me they saw Dave ‘years ago’. This quartet has been on the road for 10 years, and the ‘caravan’ moves on with fine and fleet brushwork from Wesley Gibbens. Darius Brubeck October 2016 https://store.cdbaby.com/cd/dariusbrubeck6

Personnel: Darius Brubeck (piano); Dave O’Higgins (saxes); Matt Ridley (bass); Wesley Gibbens (drums)

Years Ago

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Rigmor Gustafsson - Come Home

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 53:38
Size: 123,5 MB
Art: Front

(3:49)  1. Big Yellow Taxi
(5:35)  2. I Think of You
(4:36)  3. Take a Little Turn
(4:29)  4. The Light Years
(5:14)  5. This Time
(3:53)  6. Wuthering Heights
(4:22)  7. Twist in My Sobriety
(4:43)  8. Lovely
(5:14)  9. Winter Doesn't End
(4:05) 10. Enjoy the Day
(7:33) 11. Come Home

Come Home marks Swedish jazz vocalist Rigmor Gustafsson’s return to the studio after a four-year hiatus. Working with a cadre of longtime lyricists, she funnels a deluge of new songs into a creative reservoir edged by the fabulous trio of Jonas Östholm on piano, Martin Höper on bass, and Chris Montgomery on drums. Behind Gustafsson’s technical prowess beats a troubadour’s heart. Songs like “I Think Of You” and “Take A Little Turn” crosshatch sly chord changes with unfiltered cadences and find her adapting to various subject matter with ease. Her band is equally responsive, softening her urgencies and heightening her melancholies. Guest harpist Margareta Bengtsson adds sparkle to “The Light Years,” one of the album’s strongest turns, while Östholm’s pianism draws a bold underline from start to finish. Much of the lyrical content plays with time, as over the gorgeous colorations of Höper and Montgomery on “Winter Doesn’t End” and “Enjoy The Day.” Whether in the upbeat bossa nova of “Lovely” or the anthemic title track, Gustafsson handles moods with distinct personality, especially on the set’s lovingly arranged covers. Both Joni Mitchell’s “Big Yellow Taxi” and Kate Bush’s “Wuthering Heights” highlight Gustafsson’s talent for simultaneously mimicking her source and being herself, but nowhere so deeply as on “Twist In My Sobriety,” which turns Tanita Tikaram’s classic into a plush groove. Featuring the accordion of Lisa Långbacka, it pays tribute to an era not so much bygone as buried under our current malaise. Tyran Grillo http://downbeat.com/reviews/detail/come-home

Come Home

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