Anna Maria Jopek & Friends With Pat Metheny - Upojenie

Styles: Vocal And Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 80:00
Size: 191,2 MB
Art: Front

(3:32) 1. Cichy zapada zmrok
(4:50) 2. Przyp³yw, odp³yw, oddech czasu
(3:50) 3. Tam, gdzie nie siêga wzrok
(3:25) 4. Biel
(5:16) 5. Czarne s³owa
(2:46) 6. Letter From Home
(8:39) 7. Are You Going With Me?
(3:57) 8. Zupe³nie inna ja
(3:43) 9. Mania mienia
(6:58) 10. By on by³ tu
(4:49) 11. Upojenie
(3:54) 12. Piosenka dla Jasia
(3:22) 13. Me jedyne niebo
(2:26) 14. Polskie drogi
(4:31) 15. Je¿eli kochasz, to nie pamiêtaj mnie
(3:24) 16. Na d³oni
(4:30) 17. Nienasycenie
(3:14) 18. I pozostanie tajemnica
(2:44) 19. Licho

A cult favorite amongst Pat Metheny fans, Upojenie originally released by "Anna Maria Jopek & Friends with Pat Metheny" in the singer's native country of Poland by Warner Music in 2002 has been long overdue for greater international availability. The Nonesuch edition hasn't been remastered (it doesn't need it), but will still be of interest to Metheny fans for the inclusion of three bonus tracks (one studio, two live) that flesh it out to nearly 75 minutes. In contrast to the same-day reissue of Metheny's more spontaneous trio disc with bassist Dave Holland and drummer Roy Haynes, Question and Answer (Nonesuch, 2008), Upojenie's heavy production work more closely resembles a Pat Metheny Group project, although Metheny has never had a singer with as lovely a voice as Jopek's. Reworking material from Metheny's own back catalog in addition to traditional Polish songs and originals by Jopek, co-producer Marcin Kydrynski and other Polish writers, it's a soft, accessible album that spotlights Metheny's innate lyricism and Jopek's appealing tone. While others have put words to Metheny's music, most notably Kurt Elling's version of "Minuano" on Man in the Air (Blue Note, 2003), nobody has made it the focus of an album.

Sung in Polish, the meaning of the lyrics can only be gleaned from the liner notes, but what's most important is Jopek's voice. She's a star at home who deserves to be better-known abroad, with her ability to deliver in a pure, unaffected and subtly nuanced fashion making "Przyplyw, Odplyw, Oddech Czasu," based on Metheny's tender "Tell Her You Saw Me," from Secret Story (Nonesuch, 1992), all the more poignant. Metheny's often-covered ballad "Farmer's Trust" begins as a spare duet with Metheny on classical guitar, taking on a gentle, slightly bossa groove when bassist Darek Oleskiewicz and drummer Cezary Konrad enter, setting the stage for a beautifully constructed, melodic solo from pianist Leszek Mozdzer and a more dramatic build to the song's conclusion. Another Metheny favorite, "Are You Going With Me?" and a more radical, balladic reworking of "Me Jedyne Niebo" "Another Life" from Speaking of Now (Warner Bros., 2002) feature Metheny with his signature horn-like guitar synth, while "Zupelnie inna Ja" Secret Story's "Always and Forever" adopts a folksier vibe with the baritone guitar Metheny used exclusively on One Quiet Night (Warner Bros., 2003). In addition to the bonus tracks the balladic Polish Christmas Carol "Lulajze Jezniu," the spare duet "Na Calej Poloci Snieg" and considerably brighter album closer, "Szepty I Lzy" like Metheny's reissue of his classic Song X (1985, reissued by Nonesuch, 2005), the running order has been completely changed. There will be those who prefer the original sequence, but this version is improved by a certain seamless inevitability and narrative flow. Upojenie will appeal to fans of Metheny's more lushly produced Pat Metheny Group efforts, and bring overdue attention to Jopek a singer of pristine clarity and deserving of far greater recognition.~ John Kelman https://www.allaboutjazz.com/upojenie-pat-metheny-nonesuch-records-review-by-john-kelman

Personnel: Pat Metheny: 42 string Pikasso guitar (1, 6), electric guitar (2, 8), baritone guitar (3, 9), classical guitar (3, 7, 13), soprano guitar (4, 14), Roland guitar synthesizer (5, 6, 12), keyboards (5, 10), acoustic guitars (6, 10, 15), guitar synth (17), soprano acoustic guitar (16, 17); Anna Maria Jopek: voices (1-10, 12, 13, 15-17), choirs (4), "soap opera" vocals (5), backing vocals (6, 8, 12, 15), Fender Rhodes (6); Leszek Mozdzer: piano (2, 4-8, 11, 13, 15, 17), Pawel Bzim Zarecki: keyboards (2, 4-6, 8, 12, 15, 17), percussion (4), loops (4, 5), keyboard programming (10); Bernard Maseli: vibes (2); Darek Oleszkiewicz: acoustic bass (2, 4, 7, 8, 10, 12-14); Cezary Konrad: drums (2, 4-8, 10, 12, 13, 15, 17); Piotr Nazaruk: backing vocals (2), recorder (2), flute (4-6, 15), additional shaker (4), hammered dulcimer (5), additional male voices (15); Wojeich Kowalewski: shakers (2, 4-6, 15), temple blocks (2, 6), timpani (4), crotales (4, 6, 12), bongos (4, 6), tambourine (5), bells (5), vibraslap (5,12), congas (6), claves (6); Mateusz Pospieszalski: keyboards (2), loops (2, 12), orchestral chart (2, 12), conductor (2, 12); Marek Pospieszalski: turntables (2), classical guitar (8); String Ensemble: strings (2, 12); Marcin Pospieszalski: Fender jazz bass (5, 6, 15), loops (15); Henryk Miskiewicz: soprano saxophone (8, 9); Mino Cinelu: udu drum (8), triangle (8), shakers (8, 12), crotales (8), conga (12), wavedrum (12), percussion (17); Marek Napiorkowski: classical guitar (8), strumming guitar (17); Robert Kubiszyn: double-bass (17).

Upojenie

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Stan Getz, Bob Brookmeyer - Recorded Fall '61

Styles: Saxophone And Trombone Jazz
Year: 1961
File: MP3@320K/s
Time: 42:48
Size: 98,8 MB
Art: Front

(10:37)  1. Minuet Circa '61
( 4:46)  2. Who Could Care?
( 5:58)  3. Nice Work If You Can Get It
( 6:46)  4. Thump, Thump, Thump
( 6:59)  5. A Nightingale Sang In Berkeley Square
( 7:39)  6. Love Jumped Out

Stan Getz returned to the United States in 1961 after two years of living in Denmark and playing throughout Europe. That fall, while preparing for Focus, which was to become his favorite personal album, the tenorist went into the studio to recreate some of the quintet magic he and valve trombonist Bob Brookmeyer had produced in the mid-1950s. In fact, the group had recorded earlier in the year with Scott LaFaro on bass, but unhappy with his own playing, Getz refused to release the results. Due to LaFaro’s untimely death that summer, Getz enlisted John Neves to partner with pianist Steve Kuhn and drummer Roy Haynes for this subsequent session, Recorded Fall 1961.

It’s easy to see why Getz must have been pleased with the effort this time. His lines are relatively cliche-free and his fabulous tone, masterful technique and effortless swing are on display throughout. Brookmeyer, one of the most individualistic of improvisers, once again shows himself to be an ideal mate for Getz, combining a composer’s inventiveness with a Kansas City-bred earthiness and sense of swing. The trombonist also composed three tunes-“Minuet Circa ’61,” the ballad “Who Could Care?” and “Thump, Thump, Thump”-to go with his arrangements of a pair of standards and Buck Clayton’s “Love Jumped Out.” Getz liked the rhythm section so much that he continued to use them for his live engagements. Although Recorded Fall 1961 was released soon after its completion, this remastered reissue is part of Verve’s Master Edition series.

Nearly 30 years later, and a year before his death in 1991, Getz was still playing near the top of his form. With his cancer in remission, he was touring Europe with a quartet that included pianist Kenny Barron, bassist Alex Blake and drummer Terri Lyne Carrington. Synthesizer players Eddie Del Barrio and Frank Zottoli augmented the quartet on selections from Getz’s then recently released Apasionado, which featured Del Barrio’s electronically enhanced arrangements. Although some critics accused Del Barrio’s charts of being excessively pop-oriented, they did provide Getz with a congenial setting for his free-flowing lyricism. And at the Munich concert that comprises the first part of The Final Concert Recording, Getz imbues the five selections with his trademark passion and beauty despite a slight tendency to rely too heavily on some of his favorite melodic patterns. The other nine tracks on the two discs that constitute The Final Concert Recording exemplify quintessential small-group Getz. Digging in on the pop standards “What Is This Thing Called Love?” and “On a Slow Boat to China,” as well as the jazz compositions “Seven Steps to Heaven,” “Blood Count” (a Getz favorite), Barron’s “Voyage,” Thad Jones’ “Yours and Mine,” Johnny Mandel’s “El Cajon” and Benny Carter’s “People Time,” the quartet simply sparkles. Blake and Carrington provide a sometimes powerful, sometimes quietly urgent underpinning for Getz and Barron, and both soloists play with the confidence and polish expected of such consummate professionals. Although Barron had worked frequently with Getz, this occasion seems to have been particularly inspirational for him as he’s consistently all over the piano in an especially impressive display of invention. It seems fitting that Getz’s last recording, made a few months later, would feature just the two of them.https://jazztimes.com/archives/stan-getzbob-brookmeyer-recorded-fall-1961/

Personnel: Bob Brookmeyer - valve trombone; Stan Getz - tenor saxophone; Steve Kuhn - piano; John Neves - double bass; Roy Haynes - drums

Recorded Fall '61

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Joe Beck - The Journey

Styles: Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 62:19
Size: 142,8 MB
Art: Front

(6:43) 1. Killer Joe
(5:23) 2. Zanzibar
(5:51) 3. Quidado
(7:19) 4. Unspoken Words
(5:35) 5. So Long
(5:56) 6. I Don't Know
(4:18) 7. Prime Meridian
(4:52) 8. Body & Soul
(6:12) 9. The Journey
(4:19) 10. A Taste Of Honey
(5:47) 11. Invitation

At 45, Joe Beck bragged that The Journey contained "the best playing I've ever recorded." One tends to greet such lofty statements with a healthy amount of skepticism, but in this case, the artist had something to back it up. Even if The Journey isn't necessarily the best album Beck has ever recorded as a leader, it's certainly among his best. The guitarist's playing is confident and inspired throughout the post-bop/fusion album, and he definitely goes that extra mile on well-known standards like Bronislaw Kaper's "Invitation" and Benny Golson's "Killer Joe" as well as such Beck originals as the emotional "Quidado," the haunting "I Don't Know," and the intriguing title track. The fact that the Philadelphia native has enthusiastic support certainly doesn't hurt vibist Dave Samuels (of Spyro Gyra fame), bassist Chip Jackson, and drummer Terry Clarke all do their part to bring out the best in Beck. If you only own a few Beck CDs, The Journey should be among them.~ Alex Henderson https://www.allmusic.com/album/the-journey-mw0000263612

Personnel: Joe Beck - guitars; Dave Samuels - vibraphone; Chip Jackson - bass; Terry Clarke - drums

The Journey

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Brian Culbertson - The Trilogy, Pt. 1: Red

Styles: Smooth Jazz, R&B, Funk
Year: 2021
File: MP3@320K/s
Time: 55:25
Size: 127,2 MB
Art: Front

(6:52) 1. Feel the Love
(5:26) 2. Just Let Go
(4:45) 3. Come on Over
(5:09) 4. Infatuation
(5:59) 5. Deep in the Night
(5:20) 6. Whispers
(5:02) 7. Eyes Closed
(4:23) 8. Lost in You
(6:34) 9. One More Kiss
(5:50) 10. Dreamstate

Hitmaker Brian Culbertson never imagined hanging with fans online would lead to something of a collaborative masterclass spawning an album trilogy, but that’s how “The Trilogy” was conceived. The first album in the series, an intimate, passion-themed set titled “The Trilogy, Part 1: Red,” dropped Friday from BCM Entertainment. Written, produced and performed by Culbertson, the multi-instrumentalist credits members of his Hang Club with helping him craft the tracks, title the songs, and even assist with the cover artwork via weekly members-only YouTube Live sessions. As viewership for Culbertson’s Friday night Facebook Live show, The Hang, took off in the spring of 2020 while he was unable to tour, he hatched the idea of creating The Hang Club, providing exclusive perks and behind-the-scenes opportunities for tier two members and above, including access to smaller Monday and Wednesday night live streams via YouTube unlisted. The Monday night sessions evolved into somewhat of a masterclass at which “Professor BC,” as Hang Club members dubbed him, wrote songs with immediate input from the Hang Club.

“What was cool about it was I truly got instant fan feedback of what they were digging and what they may not like. I got to bring them along, educating the fanbase on what an early demo sounds like, which is nothing like a finished record. I had to educate everyone’s ears to understand where it starts - the beginning, middle and end - after it’s mastered and how it really transforms over time and gets better and better and better slowly. That’s been a fun part both from my side and for them,” said Culbertson about Hang Club members. As he wrote more material, Culbertson began to notice that the songs emotionally fell into three distinctive categories: passion, melancholy and hope. Then he envisioned assigning a color scheme to each theme: red, blue and white.

“When I first started the process, I did not have ‘The Trilogy’ in mind. I was just writing new songs at that point. I started writing a bunch and it slowly came into focus that they all sounded sonically similar in terms of the production style. However, the feeling that you would get from the songs became clear in three distinct groups. For instance, on ‘Red,’ all those songs were clearly about passion and love. Some of the songs were melancholy, sad really made you think…introspection. Then, the third section of songs were more fun, happy and hopeful. ‘The Trilogy’ mirrors a relationship arc. ‘Red’ is the steamy beginning, ‘Blue’ is the rocky middle, and ‘White’ is the ‘and they lived happily ever after.’” "The Trilogy, Part 1: Red” is an alluring, atmospheric listen. The rhythmic grooves churn seductively as deep bass and captivating melodies bathe and caress body, mind and soul. Romantic and desirous, steamy and intense, sultry and sexy.

Keeping with the cozy nature of the material, Culbertson plays most of the instruments himself, including piano, keyboards, Fender Rhodes, Wurlitzer, Hammond B3 organ, bass, drums and percussion, trombone, and even some guitar. The record includes contributions by guitarists Isaiah Sharkey, Randy Bowland and Darnell “Showcase” Taylor; bassists Alex Al and Rishon Odell, and vocalist Micaela Haley. Culbertson also surprises with dreamy, layered vocalese on “Infatuation” and a full lead wordless vocal on “Lost in You.” In fact, the latter made it onto the album at the urging of the Hang Club. https://thejazzworld.com/brian-culbertson-the-trilogy-part-1-red-out-now/

The Trilogy, Pt. 1: Red

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Champian Fulton, Stephen Fulton - Live from Lockdown

Styles: Vocal, Piano, Trumpet Jazz
File: MP3@320K/s
Time: 63:03
Size: 144,9 MB
Art: Front

(5:49) 1. I Hadn't Anyone Till You
(4:58) 2. You've Changed
(5:49) 3. Satin Doll
(4:01) 4. Blow Top Blues
(5:39) 5. Moonglow
(4:33) 6. What Is This Thing Called Love
(5:00) 7. What Will I Tell My Heart
(4:34) 8. Look for the Silver Lining
(4:19) 9. I Had the Craziest Dream
(8:24) 10. Pass the Hat
(4:18) 11. I'm Forever Blowing Bubbles
(5:03) 12. Midnight Stroll
(0:31) 13. A Message from Champian and Stephen

The multifaceted pianist and vocalist Champian Fulton is pleased to announce the release of her new album Live from Lockdown, due out September 10, 2021. After her captivating Sunday-evening webcasts took audiences by storm throughout the COVID-19 lockdown, Fulton decided to offer a permanent recording of her series. To be released digitally and as a limited edition compact disc, Live from Lockdown features a representative selection of some of the most popular sessions from Fulton and her steadfast collaborator, her father Stephen Fulton on flugelhorn and trumpet. A profound display of cheerful composure during an uncertain time, Live from Lockdown showcases the musicians’ sophisticated synchronicity among a collection of re-imagined jazz classics and Fulton originals. https://www.champian.net/live-from-lockdown

Personnel: Champian Fulton (p,vo); Stephen Fulton (flh,tp)

Live from Lockdown

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The Anita Kerr Singers - The Great Days Of The Big Bands

Bitrate: MP3@320K/s
Time: 48:44
Size: 111.6 MB
Styles: Vocal group harmonies, Easy Listening
Year: 2003
Art: Front

[2:10] 1. Take The 'A' Train
[3:47] 2. Begin The Beguine
[3:08] 3. 'round Midnight
[3:32] 4. Sunny Side Of The Street
[3:35] 5. Sentimental Journey
[2:50] 6. Hot Toddy
[3:47] 7. Stompin' At The Savoy
[2:31] 8. I'll Never Smile Again
[2:41] 9. String Of Pearls
[3:53] 10. Mood Indigo
[4:15] 11. Don't Get Around Much Anymore
[2:29] 12. Happiness Is A Thing Called Joe
[3:13] 13. I'm Getting Sentimental Over You
[3:23] 14. I've Got My Love To Keep Me Warm
[3:23] 15. Early Autumn

"I was born in Memphis, Tennessee. My mother and father were born in Italy and were around 12 and 15 years old when they immigrated to Mississippi with their families. They came to the USA to work on farms, and then as the years went by they migrated to Memphis. By that time my father owned a grocery store."

Anita Kerr was the vocal embodiment of the "Nashville Sound" which dominated country music throughout the mid-'50s and '60s. Along with the Jordanaires, her group, the Anita Kerr Singers, were the seminal backing vocal unit of the era, and it is estimated that at their early-'60s peak, they graced fully one-quarter of all of the records coming out of Nashville's studios. After touring Europe in 1964, she moved to California the next year to focus her energies on freelance production and songwriting, even as two of the Singers' LPs, We Dig Mancini and Southland Favorites, were winning Grammy awards (in the Vocal Group and Gospel categories, respectively). In the later years of the decade, Kerr teamed with poet Rod McKuen for a series of mood-music records, titled The Sea, The Earth, and The Sky, for which the Singers were renamed the San Sebastian Strings and Singers. At the same time, the group were featured weekly on the Smothers Brothers' sketch comedy program. By the 1970s, Kerr produced a number of easy listening records before moving to her second husband Alex Grob's native Switzerland to compose music for films. Eventually, she returned to Memphis. ~ Jason Ankeny

The Great Days Of The Big Bands

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Jim Snidero - Strings

Styles: Saxophone And Flute Jazz
Year: 2003
File: MP3@320K/s
Time: 55:49
Size: 127,8 MB
Art: Front

(4:59)  1. Slipping Away
(7:04)  2. Dawn
(7:39)  3. On The Bank
(5:12)  4. Torrent
(7:15)  5. Theme For Ernie
(9:33)  6. Forever Gone
(7:01)  7. Ventura
(7:04)  8. It's The Talk Of The Town

By staying in touch with his roots as a hard blowing alto saxophonist and leader of razor-sharp small bands, Jim Snidero has successfully married a ten-piece string section and a conventional jazz quartet. His arrangements of six original compositions (including the three-part “River Suite”) and two standards entail a constant shifting between the relative freedom of improvisation, and the tighter organization made necessary by the larger ensemble. The recording’s primary soloist, Snidero consistently radiates excitement and a beboper’s willingness to take risks on ballads (“Theme For Ernie,” “Forever Gone”) and upbeat material (“Slipping Away,” “Ventura”). These liberties are enhanced by the fact that he never allows the strings to become too dense or overly prominent yet, his writing for the section is often full, lush, and beautiful. During “It’s The Talk Of The Town,” for example, they lay out for an entire chorus, then return and serve as a muted foil for the leader’s flight. Another important factor in the recording’s success is an excellent, responsive rhythm section. Pianist Renee Rosnes (who contributes several fine solos), bassist Paul Gill, and drummer Billy Drummond are just right for Snidero’s elastic group conception, mixing a flowing, unforced sense of motion with more concentrated swing. Drummond, in particular, is brilliant. At times his brushes on the snare or a stick to the ride cymbal are barely audible; in other instances, like on “Torrent,” his persistent accents to the drums take charge and confront the ensemble and soloists. ~ David A.Orthmann https://www.allaboutjazz.com/strings-jim-snidero-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Jim Snidero (arranger, alto saxophone, flute); Mark Feldman, Joyce Hammann, Cenovia Cummings, Paul Woodiel, Sue Lorensten (violin); Ralph Farris, Kenji Bunch (viola); Thomas Ulrich, Mary Wooten (cello); Renee Rosnes (piano); Paul Gill (bass); Billy Drummond (drums).

Strings

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Joan Chamorro, Joan Martí - Joan Chamorro Presenta Joan Martí

Styles: Mainstream Jazz
File: MP3@320K/s
Time: 69:27
Size: 161,5 MB
Art: Front

(5:10) 1. The Night Has a Thousand Eyes
(3:32) 2. Stardust
(3:10) 3. Cedar’s Blues
(3:52) 4. Like Someone In Love
(7:44) 5. Jeannine
(3:27) 6. Água de Beber
(5:21) 7. On a Misty Night
(4:48) 8. Like Sonny
(3:26) 9. Jackie
(3:58) 10. Cloudy
(4:28) 11. Nature Boy
(4:42) 12. Marshmallow
(6:55) 13. Stars Fell On Alabama
(5:37) 14. The Last Train From Overbrook
(3:09) 15. Indian Summer

I remember when I met Joan Martí. He was 7 years old and he was already a serious, responsible and very orderly person, with a special sense of humor. We laughed a lot in class. I was being serious, like him. He had a great ability to concentrate. He was constant. Demanding with what was asked of him and demanding with himself. All these characteristics he continues to maintain now, 15 years later, when this CD is released. He was part of Sant Andreu between 2010 and 2020 and I continue to count on him for other projects. We always laugh when we remember that he spent a year playing Bill Bailey's first alto. Those were other times and we all learned our homework. They to play the sax, falling in love little by little with jazz, and I to try to teach better. His evolution was so great that he soon became a fundamental musician in the orchestra. He has led the string of saxophones, with a very fine, powerful sound, with the right vibrato at every moment, expressive as well as sober. He has alternated the alto sax with the tenor, the soprano, the clarinet, the flute, which has become important in his panoply of instruments, as well as the voice, with which he has a long way to go to develop.

As a soloist, he has recorded his evolution and know-how in several of the jazzings in recent years, and also in some of the performances of his fellow orchestras, such as the one who sees the light parallel to his, Marçal's. Perramon. I am really very happy that our paths crossed and that I was able to witness the personal and musical growth of a great person and a great musician that, I am sure, we will hear about. The CD that we present is a marvel, a balance between arrangements for various instruments (mostly by Joan Monné) and quartet or quintet themes, also paying tribute to the great tenors in jazz history. I would highlight the participation of Joe Magnarelli, Perico Sambeat and Carlos Martín as guest soloists and also the rhythmic base with Joan Monné, David Xirgu and, in some songs, Josep Traver.

The vocal part is also important in some songs, by Andrea Motis, Joana Casanova and Joan Martí himself. As well as the original arrangement for the entire Sant Andreu Jazz Band, by Joan Martí himself, of the beautiful Indian Summer song. If they ask me for an alto sax that leads, that does good solos, that reads at sight, that doubles with other instruments and that is serious with the work, I do not doubt it, automatically without thinking, I say: “Call Joan Martí, you will not regret"~Joan Chamorro Translate By Google https://santandreujazzband.bandcamp.com/album/joan-chamorro-presenta-joan-mart

Joan Chamorro Presenta Joan Martí

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Roseanna Vitro - Sing a Song of Bird

Styles: Vocal
File: MP3@320K/s
Time: 60:35
Size: 139,7 MB
Art: Front

(4:55) 1. People Chase
(5:14) 2. The Scatter
(3:21) 3. Bird’s Song
(4:42) 4. Parker’s Mood
(5:22) 5. Grapple With The Apple
(4:49) 6. Audubon’s New Bluebird
(4:43) 7. Sheila, Jazz Child
(6:43) 8. Quasimodo
(4:31) 9. Now’s The Time
(6:17) 10. Yardbird Suite
(4:27) 11. Ko Ko / Cherokee
(5:26) 12. These Foolish Things

Vocalist Roseanna Vitro is a favorite among jazz aficionados and musicians alike. That’s why Cedar Walton has said, “Roseanna Vitro, one of my favorite vocalists, sings with a great feeling for jazz. Her readings on major compositions are monumental.” Her outsized talents and passion for the music are matched only by the generosity of her spirit, which shines beautifully on her newest recording Sing a Song of Bird, a celebration of the great and inimitable Charlie Parker. Vitro conceived this project driven by a desire to develop new lyrics to Parker tunes. She chose to share the microphone with three of her mentors, bebop jazz legends Sheila Jordan, Bob Dorough, and Marion Cowings, each of whom take solo turns with their soulful interpretations of several compositions by Bird. Sing a Song of Bird has taken a long time to come to fruition. It was recorded in two sessions, the first in 2017 and the second in 2021.

Vitro had seen Jordan many times on the New York City jazz scene. She has held Jordan in the highest regard, not only for her singing, but also who she is as a person. Vitro says, “I love everything about Sheila. She is a shining example for young or older jazz singers all over the world. She treats everyone with love and dignity, plus she proudly carries the soul and spirit of Charlie Parker's music.” Vitro and Dorough are both natives of Arkansas. They first met in 1998, when they were inducted into the Arkansas Jazz Hall of Fame. They soon became friends, and Vitro recorded his song “Nothing Like You” on her 1994 release, Softly. But she had never worked with Dorough, nor had she worked with Jordan. So Vitro conceived of the Bird album as a way to share the stage with two of her favorite artists.

Jordan and Dorough were thrilled with the opportunity to appear on the same bill with each other and Vitro, and the chemistry was apparent right from their first gig at the Deerhead Inn in the Poconos. Vitro relates the story of one of their last gigs, “Bob was such a beautiful soul. We were scheduled to do a show at Kitano in New York, but Bob pulled out. He was very ill with cancer and was going into hospice. It was terrible news. The show was booked and I had already hired a replacement, when I got call from Bob asking me if I still wanted him to do the show because he didn’t die and they kicked him out of hospice. He showed up and was amazing.”

Because Dorough’s health was failing, Vitro quickly organized a session to document his vocalese to Parker’s “Bluebird” and lyrics to “Red Cross.” Vitro is known as one of the premier interpreters of lyrics, and her concept for the album was to sing several Bird tunes with fresh lyrics. She and her husband Paul Wickliffe, who is also a master recording engineer and producer of this album, wrote new lyrics to some tunes, as did Dorough and Jordan. Vitro relates, “I flipped when I first heard Bob’s masterpiece, ‘Audubon's New Bluebird.’ Bob had started writing the lyrics years ago, but never got around to finishing. Although he had wanted to finalize them for years, making the album was the impetus he needed to finally complete them. He was 94 years young when he finished the lyrics and recorded with us. It was worth the wait.”

Vitro assembled some of the top East Coast musicians for the first session, including Mark Gross on alto saxophone, who is featured on two Grammy- winning albums of Dave Holland, pianist Jason Teborek, prolific bassist Dean Johnson, and veteran jazz drummer Bill Goodwin, well-known for 30 years with Phil Woods. Unfortunately, the album was put on hold after Bob Dorough’s passing, in addition to many life changes, including Covid-19. When it looked like the worst of the pandemic was behind us, Vitro arranged for a second session with a new band. She brought on board an old friend, jazz singer Marion Cowings, a master of scat and vocal technique. Vitro says, “Jon Hendricks loved Marion. He possesses an extraordinary voice, interpreting bebop music with clear diction and heart.”

She also added famed saxophonist Gary Bartz to the mix. Bartz’s history with McCoy Tyner plus his compositions and recordings are well- known in the jazz world. Also in the band are two-time Grammy winner, pianist Alan Broadbent, and swingin’ drummer Alvester Garnett. Bassist Dean Johnson, who appears on the first session, completes the band. Vitro opens the album with “People Chase,” based on “Steeplechase,” with a tale of how the “human race is like a horse race” written by Paul Wickliffe. Vitro and Dorough trade scats on “The Scatter,” with new lyrics by Dorough sung to Bird’s “Red Cross.” “Bird’s Song” (“Relaxin’ at Camarillo”) by Sheila Jordan, is a history of Bird and the musicians who were on the scene. Jordan sang with Bird and her singing on the tune is a master class in bebop phrasing. Cowing’s rich, baritone voice breathes new life into “Parker’s Mood,” with the original lyrics by King Pleasure.

“Audubon's New Bluebird,” based on “Bluebird,” is a prime example of the wit, personality, and immense songwriting talents of Dorough. Vitro finally gets her chance to perform with Jordan on “Sheila, Jazz Child,” based on “Cheryl” with the original first verse lyrics by Gary Brocks, followed by Wickliffe’s ending two verses. On “Quasimodo,” Jordan adds her own original lyrics that describe how important Bird’s music has been to her. Vitro takes a solo turn on “Grapple with the Apple,” based on “Scrapple From the Apple,” re-imagined as a bossa nova with Wickliffe’s lyrics about a New Yorker flying to the beach to escape the madness. Cowings really swings on “Now’s the Time,” singing Jon Hendricks’ well-known lyrics with one verse by Eddie Jefferson.

Vitro sings Bird lyrics to “Yardbird Suite.” “Koko/Cherokee” is an instrumental tune featuring the magnificent Gary Bartz. Vitro saved “These Foolish Things” for the closer. Although it’s not a Charlie Parker tune, she wanted to sing these beautiful lyrics with Bob and Sheila. This song speaks to the joy and love they shared together in this special moment. It is a unique and memorable recording with three legends singing together.

Sing a Song of Bird is a special recording that goes beyond being a mere tribute album – it’s legacy. Dorough was 94 and Jordan was 89 when they recorded the heartfelt stories from their lives. Their status as jazz legends is uncontested. Dorough is no longer with us, but Jordan is still going strong, with a busy schedule and performances around the world. Marion Cowings may be heard for the first time here, but we’re sure it won’t be the last. And, of course, we are very lucky to have Roseanna Vitro still making music and dedicated to exploring new avenues of creativity, as she will for years to come. https://www.allaboutjazz.com/news/famed-vocalist-roseanna-vitro-releases-sing-a-song-of-bird-feat-sheila-jordan-bob-dorough-marion-cowings

Featuring Sheila Jordan, Bob Dorough, Marion Cowings, Gary Bartz, Mark Gross

Sing a Song of Bird

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Pat Metheny - Trio 99->00

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 65:22
Size: 150,6 MB
Art: Front

(5:37) 1. (Go) Get It
(7:54) 2. Giant Steps
(4:43) 3. Just Like The Day
(8:28) 4. Soul Cowboy
(4:35) 5. The Sun In Montreal
(6:19) 6. Capricorn
(5:30) 7. We Had A Sister
(5:24) 8. What Do You Want?
(5:29) 9. A Lot Of Livin' To Do
(5:30) 10. Lone Jack
(5:48) 11. Travels

There's really no surefire way to avoid all the hyperbole when discussing the exploits of the multi-faceted Pat Metheny. He is a genuine musician in all sense of the word, capable of distinguishing himself in everything he does, from soundtracks to avant-garde jazz. That he also happens to hit on a judicious mix that finds him popular with those who probably couldn't tell the difference between John Coltrane and Sonny Stitt is not an accident. For all his technical proficiency and ingeniousness, Metheny is at once a very emotionally-based player, able to bring a tear to the eye or a rousing shout to the voice. Over the course of some 20 years of recording, Metheny has utilized the trio format on only three other occasions prior to Trio 99-00 - on 1975's Bright Size Life, Rejoicing from the mid-'80s, and the more recent Question and Answer. And as distinguished as each one of these releases is in Metheny's catalog, arguably this latest trip into "trio land" is his finest hour.Taking nothing away from his venerable sidemen on the previous albums, it occurs to this reviewer that the talents of Larry Grenadier and Bill Stewart, both a bit younger than Metheny, inspire him in a fresh and distinct manner. Obviously the connection was there, because all the tracks were first takes that were committed to tape without so much as a listen to the playback.

As with all of Metheny's work, much thought was given to the selection of tunes. The majority of the cuts are originals, some new and others making a repeat performance, such as "Travels", "Lone Jack", and "We Had a Sister". In addition, there's the Metheny take on such standards as "Giant Steps" (with shifting accents over a light bossa groove), Wayne Shorter's "Capricorn", and the showtune "A Lot of Livin' To Do". On three of the disc's ten tracks, Metheny utilizes the acoustic guitar in an almost folkloric manner. Bringing to mind similar efforts from the Travels album (the title track of which is reprised here), one can't help but be moved by the shear beauty and heartfelt timbre the guitarist achieves. Completing the triumvirate, "We Had a Sister" was written for Joshua Redman's second record, Wish, while the dark and brooding "Just Like the Day" was inspired by the trio's tour of Italy. Throughout the proceedings, Grenadier and Stewart are fully-participating partners and each gets the lion's share of solo space as well. Stewart's forays, in particular, seem so well suited to Metheny's modus operandi- quirky and pointed and far from the customary (check out his spots on "What Do You Want?" and "Lone Jack"). As refined as Trio 99-00 is, it wouldn't be a surprise if this one made it on a lot of people's lists as a highpoint of the jazz year 2000.~C.Andrew Hovan https://www.allaboutjazz.com/trio-99-00-pat-metheny-warner-bros-review-by-c-andrew-hovan

Personnel: Pat Metheny: guitar; Larry Grenadier: bass; Bill Stewart: drums.

Trio 99->00

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Jan Garbarek - Legend of the Seven Dreams

Styles: Saxophone, Flute Jazz 
Year: 1988
File: MP3@320K/s
Time: 54:49
Size: 125,6 MB
Art: Front

(13:37)  1. He Comes from the North
( 5:03)  2. Aichuri, The Song Man
( 8:12)  3. Tongue of Secrets
( 8:07)  4. Brother Wind
( 1:49)  5. It's Name Is Secret Road
( 7:19)  6. Send Word
( 6:55)  7. Voy Cantando
( 1:15)  8. Mirror Stone I
( 2:29)  9. Mirror Stone II

Though in step with its time, this release suffers from excessive reliance on ambient synthesizers, which litter much of the recording, rendering it only slightly more interesting than many of the Windham Hill new age recordings of the same era. Unfortunate, because the disc opens with strength and gradually peters out by the end. The disc opens with "He Came From the North," which features a melody based on a traditional Lapp joik from the artist's native Norway and progresses into a longer section with an interplay that is both sparse and rhythmic. The sax line here is astonishingly beautiful. The second piece, "Alchuri, the Song Man," a sax and percussion piece, is energetic and lively as well. And from here the energy gradually diminishes. Much can be attributed to popular styles of the time, but this release simply does not stand up to other music of its genre that came later. ~ Mark Allender https://www.allmusic.com/album/legend-of-the-seven-dreams-mw0000202347

Personnel: Jan Garbarek (soprano & tenor saxophones, flute, percussion); Nana Vasconcelos (vocals, percussion); Rainer Bruninghaus (keyboards); Eberhard Weber (bass)

Legend of the Seven Dreams

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Pee Wee Ellis - Sepia Tonality

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 47:31
Size: 111,5 MB
Art: Front

(4:14)  1. What Are You Doing The Rest Of Your Life
(5:57)  2. I Should Care
(4:26)  3. Stardust
(4:15)  4. Sepia Tonality
(3:41)  5. Cleaning Windows
(3:36)  6. Cherry Red
(6:37)  7. Body And Soul
(4:20)  8. Prayer Of Love
(4:48)  9. Why Not
(5:34) 10. Come Rain Or Come Shine

A versatile composer, arranger, saxophonist and keyboard player, a musician whose repertoire encompasses all manner of music from jazz through soul and funk to stadium rock, Alfred Pee Wee Ellis stands distinctive in any company. Born in Bradenton, Florida in 1941, Pee Wee was raised in Lubbock, Texas where he played his first public show in 1954 while still in Junior High School. His family moved to Rochester, NY, the following year, where he continued to play professionally throughout High School. He also met Sonny Rollins at this time, and spent the summer of 1957 under his masterful tutelage - a pivotal experience. “A great sax player, he taught me a lot and I still listen to him”. Returning to Florida after graduation he formed his own ensemble, Dynamics Incorporated. He also worked on the carny circuit at this time, laying the foundation of his career as a bandleader and musical director, writer and arranger, and by now multi-instrumentalist, with tenor saxophone as his principal musical voice. It was during this period that he first came to the notice of James Brown. Back in New York, Pee Wee was working with The Sonny Payne Trio in 1965 when he got ‘the call’ from his close friend Wayman Reed to join the James Brown Revue, then the hottest, most sensational and successful head-buster on the R&B circuit, and fast becoming an international phenomenon. “I stood there in the wings and I thought, I should have bought a ticket. 

It was that much of a privilege to be so close to James Brown and that band” says Pee Wee now of his first exposure to the revue. Playing alto sax and organ Pee Wee quickly became an integral element in James’ expanding vision, writing arrangements and horn charts, and he was instantly promoted to bandleader when Nat Jones quit in January 1967. That very same day Pee Wee arranged Brown’s R&B Top 5 Hit, “Let Yourself Go” (from which, 'There Was A Time' was born), and then turned the soul world on its head with Brown’s follow-up, “Cold Sweat.” This was a million selling Number 1 Hit in the autumn of 1967 and it redefined the parameters of popular music. Brown had been out on a musical limb since 1964, with unconventional hits such as “I Got You (I feel Good)” and “Papa’s Got a Brand New Bag,” but Nat Jones’ arrangements had not taken him over the edge. Pee Wee’s “Cold Sweat” propelled James Brown into a new dimension musically, and founded a funk revolution that is still being copied and sampled the world over 30 years on. Pee Wee continued to be a mainspring in James Brown’s musical direction for the next two and a half years, co-writing and arranging the majority of the ‘Godfather’s’ single hits and album tracks during that period and also interjecting commercial success into the instrumental releases of the James Brown Band ('In the Middle', 'Popcorn', 'Soul Pride' and 'The Chicken'.) Pee Wee left the Revue in September of 1969, basing himself in New York and cutting a quick single for the Nashville label, Sound Stage 7, called “Moonwalk” backed with “That Thing”- this is now a sought after ‘rare groove.’ 

He moved to CTI’s Kudu label as musical director and arranger and worked with many of their roster including George Benson and Hank Crawford, and in particular, the exceptional Esther Philips, for whom he was musical director through a five year period. During the 70s Pee Wee continued as arranger and conductor for musicians like Sonny Stitt, and began to concentrate on his own projects such as an album called “Pass The Butter,” for Motown’s Natural Resources label. This led in 1976, to Pee Wee’s first album, “Home in the Country” recorded for Savoy/Arista just before he located to California’s Bay Area. Here he formed a band with David Liebman in 1977. Mark Isham had played with Pee Wee on the road with Esther, and had been in the band with David, so when Van Morrison needed some horns on a song he was working on, called 'Troubadours', Mark recommended Pee Wee. And so began a long-term relationship that was to produce much significant music - 'Into the Music', 'Live in Belfast', 'Beautiful Vision', 'Inarticulate Speech of the Heart', and 'Common One'. “Van gave me the freedom to put the horn charts together. I liked that”, says a modest Pee Wee of his contribution to some of the finest music from the 80s. During this decade, via Bobby Byrd and the JB Allstars, Pee Wee regrouped with Fred Wesley and Maceo Parker from the James Brown days to form the JB Horns. This line-up worked from 1988 and into the 90s, recording “Pee Wee, Fred and Maceo,” “The JB Horns,” and “I Like It Like That” in 1991, “Funky Good Time Live In Tokyo,” in 1992, and the hit albums, “Life on Planet Groove,” “Roots Revisited,” and “Mo Roots,” with the Roots Revisited Ensemble. Pee Wee resumed his solo recording career in 1992, with yet another formidable line-up of New York musicians on “Blues Mission,” which teamed him again with Clyde Stubblefield - the original ‘Funky Drummer’. Pee Wee’s next solo album was released the following year and was another departure - a jazz trio album recorded live in Koln, Germany with bassist Dwayne Dolphin and Bruce Cox on drums. Entitled “Twelve and More Blues,” this CD backtracks to Pee Wee’s musical roots and then moves straight ahead in a be-bop direction, tackling both jazz standards and his own original compositions with virtuosity and vitality. 

The album was chosen as one of the ten Best Jazz Albums of 1993 by the New York Times. Sampling of his songs by Salt 'n' Pepa, KMC KRU and Dodge City Productions, and a sell-out week at Ronnie Scott's in London in the summer of '93, with an astonishing group of young British musicians, sketched out the footprint for Pee Wee's movement from funk into jazz and beyond - 'a modern version of jazz, a little north of funk and well south of fusion' - as Musician Magazine put it. This movement was soon consolidated with a quartet album “Sepia Tonality,” recorded in New York in early 1994 and featuring Pee Wee on tenor, with Rodney Jones on Guitar, Will Boulware on organ and Grady Tate on Drums. A second trio album from Koln was recorded live during a Pee Wee Ellis Assembly Trio tour of Europe in the spring of '94. Called “Yellin' Blue,” it attracted much critical acclaim in Europe. Pee Wee's path had crossed Van Morrison's many times since the 1980s, particularly when Van called on the JB Horns to play with his band, so it was only natural that when Pee Wee relocated to the West Country in England he should rejoin Van on stage and in the studio. Pee Wee arranged the horns and played on Van's 1995 return to critical and commercial success, “Days Like This.” He followed this up working with Van on his subsequent albums, the jazz-orientated, “How Long Has This Been Going On,” and the Mose Allison tribute, “Tell Me Something.” Pee Wee, however, did not ignore his own career and in 1996 a new solo album on Minor Music hit the streets. Entitled, “A New Shift,” the CD was recorded in Germany . 

More studio work with Van Morrison followed later that year, and the resultant CD, “The Healing Game,” was released in 1997. Pee Wee's arrangements and solos turned the album into an instant classic and gave Van some of his strongest material ever for his stage performances. 1997 also saw the release of Pee Wee's “What You Like.” Recorded with the Assembly and the NDR Bigband, it also features Van Morrison and Fred Wesley. In the autumn Pee Wee became Van's Musical Director, arranging and developing Van's stage and studio sound, and also promoting “What You Like,” by touring in France and Germany with the Assembly. Since the turn of the new century Pee Wee had released “Ridin’ Mighty High,” (2001) “Live and Funky,” (2002) and “Different Rooms,” in 2005. Most recently he has performed with, and arranged for, the Miami based Spam All Stars with whom he will be performing live in 2007. He also played several successful dates with Fred Wesley in the UK in 2006 and they played together again in London and Europe in 2007. Pee Wee Ellis’ distinguished career has embraced some of the most important musical movements of recent decades, from jazz to funk, via the blues and a touch of rock. After almost forty years in the music business he is one of the most acclaimed saxophonists of his generation and one of the most sought-after arrangers and MD’s in the industry. His musical range and pursuit of excellence has gained him renown among his peers and the enduring respect of ensuing generations of musicians and fans. http://musicians.allaboutjazz.com/peeweeellis

Personnel: Pee Wee Ellis (tenor saxophone); Rodney Jones (guitar); Howard Johnson (tuba); Will Boulware (organ); Grady Tate (drums).

R.I.P

Born: April 21, 1941, Bradenton, Florida, United States

Died: September 24, 2021

Sepia Tonality

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Patti Wicks - Love Locked Out

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 60:42
Size: 139,4 MB
Art: Front

(5:26)  1. Love Locked Out
(4:27)  2. After You
(4:45)  3. I Have the Feeling I've Been Here Before
(4:36)  4. An Empty Glass
(4:54)  5. Body And Soul
(3:41)  6. Where Were You in April?
(4:53)  7. If You Could See Me Now
(4:09)  8. I Never Told You
(5:09)  9. It Never Entered My Mind
(2:42) 10. I Told You So
(3:51) 11. Would You Believe?
(4:14) 12. Blue Gardenia
(4:56) 13. When Summer Turns To Snow
(2:52) 14. On Second Thought

The term “torch singer” isn’t heard much nowadays but it’s an apt description of Patti Wicks, who sings from the heart, not the ego and plays great piano too. She’s at her best on this album of sad-eyed ballads that, in her words, “expresses the driving force of all humanity, the need and desire to love and be loved.” The moods of love vary from euphoria to heartbreak, and it is the latter emotion on which most of these songs are based. Wicks’ husky voice and unassuming style are perfectly tailored to express that painful sentiment, and she gently summons the listener to feel the sadness and the pain in every lyric.  Unlike most other contemporary singers (those who have read my reviews know how I feel about them as a whole), Wicks doesn’t bend or alter a lyric to suit her purpose, nor does she forswear passion for pyrotechnics. She simply sings, allowing the words to flow freely from a wellspring of knowledge and experience that is known as living. Her range is somewhat limited, leading one to wonder if she’ll be able to reach that next note, but she always does. In that respect, Wicks reminds me of Fred Astaire, Louis Armstrong or Jimmy Durante, three others whose voices seemed unfit for singing until one heard them sing. As each of them proved, and Wicks affirms, when it comes to getting the most out of one’s pipes, there’s a lot to be said for sincerity and soulfulness. Besides singing and playing marvelously, Wicks has a knack for uncovering and burnishing long-neglected nuggets, and there are a number of them here including Cole Porter’s “After You,” Ray Noble/Max Kesler’s “Love Locked Out,” Luiz Bonfa/Dick Manning’s “An Empty Glass,” two gems by Duncan Lamont, “Where Were You in April?” and “I Told You So,” and two more by Cy Coleman (“On Second Thought” and “Would You Believe?“) More familiar but no less charming are Rodgers and Hart’s “It Never Entered My Mind,” Tadd Dameron’s “If You Could See Me Now” and Bob Russell/Lester Lee’s “Blue Gardenia.” Wicks is accompanied on most selections by bassist Keter Betts and drummer Joe LaBarbera, who do what is necessary while keeping a decidedly low profile, as befits the album’s wistful makeup. In reviewing one of her earlier albums ( Room at the Top ), I portrayed Wicks as “an uncommonly gifted Jazz pianist who deserves far wider recognition and applause than she’ll probably ever earn.” Aside from amending the description to read “pianist-slash-singer,” that opinion remains unchanged. ~ Jack Bowers https://www.allaboutjazz.com/love-locked-out-patti-wicks-maxjazz-review-by-jack-bowers.php
 

Personnel: Patti Wicks, vocals, piano; Keter Betts, bass; Joe LaBarbera, drums.

Love Locked Out

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Milt Jackson, J.J. Johnson, Ray Brown - Jackson, Johnson, Brown & Company

Styles: Vibraphone, Trombone, Bop
Year: 1983
File: MP3@VBR ~253K/s
Time: 38:36
Size: 75,8 MB
Art: Front

(8:27) 1. Jaybone
(5:04) 2. Lament
(5:49) 3. Our Delight
(5:34) 4. Bags' Groove
(4:48) 5. Watch What Happens
(5:10) 6. My One And Only Love
(3:41) 7. The Jumpin' Blues

The interplay between vibraphonist Milt Jackson and trombonist J.J. Johnson is the main reason to acquire this set. With fine backup from pianist Tom Ranier, guitarist John Collins, bassist Ray Brown and drummer Roy McCurdy, Jackson and Johnson are in top form on a variety of bop standards, including Johnson's "Lament," "Our Delight," "Bags Groove" and "My One and Only Love." Enthusiastic, consistently swinging music from some of the best.~Scott Yanow https://www.allmusic.com/album/jackson-johnson-brown-company-mw0000188200

Personnel: Trombone – J.J. Johnson; Vibraphone – Milt Jackson; Bass, Producer – Ray Brown; Drums – Roy McCurdy; Guitar – John Collins; Piano – Tom Ranier

Jackson, Johnson, Brown & Company

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Pat Metheny - Side-Eye NYC (V1.IV)

Styles: Guitar Jazz
File: MP3@320K/s
Time: 62:45
Size: 144,5 MB
Art: Front

(13:47) 1. It Starts When We Disappear
( 5:26) 2. Better Days Ahead
( 7:12) 3. Timeline
( 5:34) 4. Bright Size Life
( 6:16) 5. Lodger
( 5:07) 6. Sirabhorn
( 7:43) 7. Turnaround
(11:37) 8. Zenith Blue

Pat Metheny burst onto the jazz scene in the 1970s as a guitar wunderkind, playing in vibraphonist Gary Burton’s band before establishing a career as a leader that’s been successful and influential by every conceivable metric. Now, with his new band Side-Eye, the 67-year-old guitarist is working with a rotating group of younger musicians. In the press materials for Side-Eye NYC (V1.IV), he explains that when he was a young player himself he’d benefited from older musicians like Burton hiring him and giving him a chance to develop through what he described as “the prism of their experiences.” He’s now interested in playing with those of a different generation “where there seems to be some kind of kinship happening.”

A live album recorded in New York City before the pandemic hit, Side-Eye NYC (V1.IV) spotlights two gifted rising stars: pianist/keyboardist James Francies and drummer Marcus Gilmore. More than half the album contains new material, and the rest features novel takes on some of Metheny’s older compositions. The trio enthusiastically dives into and explores a range of musical styles, bookending the collection with two new pieces: the electronica-tinged “It Starts When We Disappear” and the kaleidoscopic “Zenith Blue.” Originally featured on saxophonist Michael Brecker’s 1999 album Time Is of The Essence, “Timeline” gets turned into a soul-jazz outing here, and Metheny delivers some ferocious rock guitar on “Lodger.”

Metheny and his bandmates bring energy and fresh perspectives to the music on this album, whether it’s previously unheard or a decades-old favorite. The Side-Eye concept is a great setting for the leader, and a dream gig for any young musician who gets to play in the group and benefit from Metheny’s experience the way he benefited from his elders all those years ago.~ Lucy Tauss https://jazztimes.com/reviews/albums/pat-metheny-side-eye-nyc-v1-iv-modern/

Side-Eye NYC (V1.IV)

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Don Patterson - Dem New York Dues

Styles: Jazz, Hard Bop
Year: 1968
Time: 78:41
Size: 116,4 MB
Art: Front

( 6:57) 1. Little Shannon
( 6:39) 2. Opus De Don
( 7:28) 3. Dem New York Dues
( 9:22) 4. Sir John
( 9:48) 5. Stairway To The Stars
( 7:21) 6. Oh Happy Day
( 8:51) 7. Perdido
( 3:44) 8. Good Time Theme
(13:42) 9. Hip Trip
( 4:44) 10. Blue 'n Boogie

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith school, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This CD (which reissues two complete LPs) features Patterson in prime form in a quintet with trumpeter Blue Mitchell, Junior Cook on tenor, and guitarist Pat Martino, and with a separate group that features trumpeter Virgil Jones and both George Coleman and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents.~Scott Yanow https://www.allmusic.com/album/dem-new-york-dues-mw0000177249

Personnel: Organ – Don Patterson; Tenor Saxophone – George Coleman, Houston Person, Junior Cook; Trumpet – Blue Mitchell, Virgil Jones; Drums – Billy James; Frankie Jones; Guitar – Pat Martino

Dem New York Dues

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Newport Parker Tribute All Stars - From the Newport Jazz Festival Tribute to Charlie Parker

Styles: Jazz, Bop
Year: 1967
File: MP3@320K/s
Time: 48:14
Size: 111,2 MB
Art: Front

( 1:41) 1. Spoken Introduction By Father O'Connor
(11:22) 2. Buzzy
( 8:48) 3. Now's the Time
( 6:06) 4. Reminiscences: Father O'Connor And Musician
( 5:48) 5. Wee
( 0:26) 6. Closing Announcement By Father O'Connor
( 7:29) 7. Embraceable You
( 6:31) 8. Old Folks

Although it is not apparent from the outside of this CD, these performances are actually taken from two separate occasions. Trumpeter Howard McGhee, trombonist J.J. Johnson, Sonny Stitt (sticking to tenor), pianist Harold Mabern, bassist Arthur Harper Jr. and drummer Max Roach are heard at the 1964 Newport Jazz Festival jamming on three songs in tribute to Charlie Parker: "Buzzy," "Now's the Time" and "Wee." In-addition the MC, Father Norman O'Connor gets a few of the veterans to say a few words about Bird. The remainder of the CD features altoist Jackie McLean with his quartet at a studio session in 1967 performing searing ballad versions of "Embraceable You" and "Old Folks." A very interesting and well-rounded program, worth picking up.~Scott Yanow https://www.allmusic.com/album/from-the-newport-jazz-festival-tribute-to-charlie-parker-mw0000651975

Personnel: Bass – Arthur Harper, Jr., Scott Holt; Drums – Billy Higgins, Max Roach; Leader, Alto Saxophone – Jackie McLean; Tenor Saxophone – Sonny Stitt; Trombone – J.J. Johnson; Trumpet – Howard McGhee

From the Newport Jazz Festival Tribute to Charlie Parker

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Charlie Hunter, Chinna Smith, Ernest Ranglin - Earth Tones

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 57:31
Size: 132,1 MB
Art: Front

(5:48)  1. Long Bay
(9:15)  2. What I Am
(4:13)  3. Mestre' Tata
(6:45)  4. Live Got the Handle
(5:07)  5. One Foundation
(7:23)  6. Fade Away
(6:31)  7. Passion Dance
(8:29)  8. Rivers Of Babylon
(3:56)  9. Island In the Sun

It's been nearly a decade since Charlie Hunter collaborated with other guitarists (the great T.J. Kirk band of the mid-'90s), but Earth Tones finds him revisiting the format with very different results. T.J. Kirk was a fun band, but there was a bit of shtick involved: they brought an outgoing fusion sensibility (and a good bit of humor) to the music of Thelonious Monk, James Brown, and Rahsaan Roland Kirk. Earth Tones is something far more sublime. Hunter got together with legendary Jamaican guitarists Ernest Ranglin and Chinna Smith for an easygoing set of (mostly) covers that largely tread the kind of Jamaican-flavored jazz that Ranglin's been known for for years. There are some reggae and dub elements here and there, but you'd be hard-pressed to call it a reggae album. Recorded with very few overdubs, the cooperative arrangements are perfect, with plenty of space for everyone and the players almost finishing each other's thoughts. Hunter's guitar always has a bit of Leslie effect on it (remember, he's throwing down the basslines at the same time!), Chinna sticks to acoustic, and Ranglin plays with his trademark clean electric sound, so it's really easy to pick out who's doing what and compare their different styles.

Ranglin's fluid melodic lines contrast nicely with Smith, who makes some surprising yet wonderful note choices and wild intervalic leaps in his solos. Sharing the spotlight, there's less of Hunter's soloing than on his "proper" albums, but his playing is always fantastic and he lays down some big fat basslines. Drummer Shawn Pelton is ultra-supportive on drums and contributes tasteful drum programming that sometimes bubbles up from underneath, while session percussionist Manolo Badrena adds just the right accents. This album has the casual feel of a one-off affair, but that certainly doesn't mean it's any less enjoyable than Hunter's myriad other projects. In fact, this would have to rank right up there with his best, although one wouldn't necessarily consider this a Charlie Hunter project; it's a true collaboration. Regardless, putting these guys together was a stroke of genius. ~ Sean Westergaard http://www.allmusic.com/album/earth-tones-mw0000703553

Personnel:  Acoustic Guitar – Earl "Chinna" Smith;  Drum Programming – Shawn Pelton;  Drums – Shawn Pelton;  Electric Guitar – Ernest Ranglin;  Guitar [8-String] – Charlie Hunter; Percussion – Manolo Badrena

Earth Tones

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Various Artists - João Gilberto Eterno

Styles: Bossanova
File: MP3@320K/s
Time: 53:17
Size: 124,7 MB
Art: Front

1. Daniel Jobim - Garota de Ipanema (Dora Morelenbaum) (4:39)
2. Mônica Salmaso - Chega de Saudade (Guinga) (4:24)
3. Mario Adnet - Izaura (Antonia Adnet) (4:34)
4. Moreno Veloso - Bim Bom (2:37)
5. Jean Charnaux - Um Abraço no Bonfá (2:35)
6. ADNETs - Hô-Bá-Lá-Lá (3:09)
7. Joao Donato - Minha Saudade (Antonia Adnet) (2:47)
8. Rosa Passos - Doralice (2:32)
9. Goro Ito - João Marcelo (2:04)
10. Leila Pinheiro - Você e Eu (3:06)
11. ADNETs - Pra Que Discutir Com Madame (3:28)
12. Febian Reza Pane - Valsa (Bebel- Como São Lindos os Youguis) (3:20)
13. Joyce Moreno - Estate (5:46)
14. Mika Stoltzman - All of Me (Richard Stoltzman) (3:49)
15. Lisa Ono - Valsa da Despedida (Febian Reza Pane) (4:17)

Having had his arrangements and compositions recorded by an impressive list of artists ranging from Tom Jobim to Joyce to Leny Andrade, Mário Adnet has been more visible internationally since the '90s. In 1974, Adnet started to study music theory. Completing high school studies in the U.S., he moved to Austria and continued his musical studies at the Vienna School of Music. Adnet teamed up with Cláudio Nucci from 1977 to 1979. In the next year, he released his first album together with pianist and composer Alberto Rosenblit. In 1981, he was a finalist in TV Globo's MPB 81 and, until 1982, he was an arranger for Polygram. In 1983, he started to arrange for several artists like Joyce, Vinícius Cantuária, and Cláudio Nucci. His second album (and first solo one), the independent Planeta Azul (1984), was awarded by the Independent Producers Association. In 1990, Joyce, Lisa Ono, Clara Sandroni, Leny Andrade, and Trio da Paz launched his songs in the U.S., Europe, and Japan. In 1994, Tom Jobim recorded Adnet's arrangement of "Maracangalha" (by Dorival Caymmi) on his last CD, Antonio Brasileiro, which got a Grammy. Together with Djavan and Jorge Ben Jor, Adnet performed in 1994 in Miami. That same year, his CD Pedra Bonita (with special guests Tom Jobim, Joyce, Paulo Moura, Ivan Lins, Lisa Ono, and his sister Maúcha Adnet) was launched in Japan, where he performed the next year through several cities with Ono. In 1998, his soundtrack to the film Buena Sorte (Tânia Lamarca) won first prize in the II Brazilian Film Festival of Miami.~ Alvaro Neder https://www.allmusic.com/artist/mario-adnet-mn0000953716/biography

João Gilberto Eterno

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Joe Pass, J.J. Johnson - We'll Be Together Again

Styles: Guitar And Trombone Jazz
Year: 1983
File: MP3@320K/s
Time: 45:04
Size: 106,6 MB
Art: Front

(3:39) 1. Wave
(4:25) 2. We'll Be Together Again
(5:03) 3. Naked As A Jaybird
(4:10) 4. Blue Bossa
(5:47) 5. Limehouse Blues
(5:29) 6. How Long Has This Been Going On?
(4:25) 7. Bud's Blues
(2:33) 8. Nature Boy
(4:23) 9. Solar
(5:07) 10. When Lights Are Low

Few would argue with the statement that there is not an excess of guitar-trombone duet albums. In fact, in terms of instrumentation, this date (which has been reissued on CD) may very well be somewhat unique in jazz history. Trombonist J.J. Johnson had already been the pacesetter on his instrument for nearly 40 years at the time, while guitarist Joe Pass proved in the 1970s that he could make his axe fulfill all the roles of an orchestra. Still, the strong success of this inspired outing is a bit of a surprise. While Pass often adds walking lines behind Johnson, the trombonist sometimes plays long tones behind the guitarist's solos. Most exciting are the spots where the two share the lead equally. Other than Bud Powell's "Bud's Blues" and Johnson's "Naked as a Jaybird," the duo sticks to standards. But obviously, these versions sound quite a bit different than usual. Highlights include "Wave," "Limehouse Blues," "Nature Boy," and "When Lights Are Low." Highly recommended.~Scott Yanow https://www.allmusic.com/album/well-be-together-again-mw0000267680

Personnel: Guitar – Joe Pass; Trombone – J.J. Johnson

We'll Be Together Again

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Sophie Alour - Time For Love

Bitrate: MP3@320K/s
Time: 47:38
Size: 109.1 MB
Styles: Ballads, Saxophone jazz
Year: 2016
Art: Front

[3:24] 1. Nos Cendres
[5:29] 2. I Loves You, Porgy
[4:19] 3. The Second Time Around
[4:49] 4. Left Alone
[4:39] 5. Skylark
[4:58] 6. Ev'ry Time We Say Goodbye
[3:54] 7. Stars Fell On Alabama
[4:33] 8. Answer Me
[3:57] 9. I'm Old Fashioned
[3:37] 10. A Time For Love
[3:54] 11. Comptine

Sophie Alour (ts,ss); Sandro Zerafa (g); Sylvain Romano (b); Dédé Ceccarelli (ds); Stéphane Belmondo (tp); Rhoda Scott (org); Glenn Ferris (tb); David El Malek (ts); Alain Jean-Marie (p). QUINTET ALLEGRIA: Anne-Cécile Cuniot flûte traversière; Catherine Coquet hautbois et cor anglais; Gaëlle Burgelin clarinette; Cécile Hardouin basson; Camille Lebrequier cor.

"Time for Love", Sophie Alour's new opus is an album devoted to ballads and especially those immortalized by Shirley Horn, Joni Mitchell, Ella Fitzgerald or Nina Simone. Surrounded by the very best jazz musicians in France (Stéphane Belmondo, David El Malek (who is in charge of the musical direction of the project), and a wind quintet arranged by François Théberge, Rhoda Scott, Alain Jean-Marie, Dédé Ceccarelli) Sophie Alour confirms its sensitivity and expressiveness in the Jazz ballads. Time for Love is a great collective adventure that will hit the road of France and elsewhere, throughout the 2018/2019 season.

Time For Love

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Marty Grosz & His Hot Combination - Marty Grosz & His Hot Combination

Styles: New Orleans Jazz Revival
Year: 2006
File: MP3@320K/s
Time: 70:28
Size: 162,1 MB
Art: Front

( 4:14)  1. Alabamy Home
( 4:52)  2. Did I Remember?
( 4:02)  3. If It Ain't Love
( 4:34)  4. You
( 4:55)  5. What'll I Do?
( 4:59)  6. Don't Let It Bother You
( 3:59)  7. I'd Rather Be With You
( 4:09)  8. Murder In The Moonlight
( 7:01)  9. Four Or Five Times
( 4:40) 10. Life Begins When You're In Love
( 6:06) 11. Spoken Introduction To Just A Gigolo
( 3:39) 12. Just A Gigolo
(10:00) 13. Spoken Introduction To English Blues
( 3:11) 14. English Blues

Marty Grosz is a fine guitar player and singer, and has earned a solid rep as a purveyor of classic jazz styles. He's joined on Marty Grosz and His Hot Combination by a number of other players associated with classic styles, including clarinetist Ken Peplowski and trumpeter Jon-Erik Kellso. The main idea of the album, then, is fairly straightforward: surround yourself with great players, choose a handful of standards, and play your heart out. The collection begins with a spry, instrumental take on Dave Ringle and Duke Ellington's "Alabamy Home" before delving into a fine vocal version of Harold Adamson and Walter Donaldson's "Did I Remember?"

The track list includes lots of love songs and a neat take on "Just a Gigolo," revealing that Grosz has a romantic sensibility tinged with humor. The only item that distracts from the proceedings is Grosz's lengthy spoken introductions to "Just a Gigolo" and "English Blues." While both are more like funny monologues than introductions proper, they're too long and serve to interrupt the flow of music. Otherwise, Marty Grosz and His Hot Combination is a lovely album that reveals how joyful jazz was before the modern era. ~ Ronnie D.Lankford  

http://www.allmusic.com/album/marty-grosz-and-his-hot-combination-mw0000408647.

Personnel: Marty Grosz (vocals, guitar); Ken Peplowski (clarinet, tenor saxophone); Jon-Erik Kellso (trumpet); James Dapogny (cornet, piano); Arnie Kinsella (drums).

Marty Grosz & His Hot Combination

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Pat Metheny - Down In Texas (Live Houston '81)

Styles: Guitar Jazz
File: MP3@320K/s
Time: 147:55
Size: 339,3 MB
Art: Front

( 8:10) 1. Phase Dance
( 7:44) 2. Better Days Ahead
( 8:41) 3. The Windup
(11:40) 4. James
( 8:29) 5. Offramp
( 9:12) 6. It's For You
( 7:48) 7. The Bat Part ll
( 7:27) 8. Ozark
( 9:07) 9. Turnaround
(18:18) 10. Goin' Ahead
( 9:16) 11. Jaco
(15:53) 12. Au Lait (Suite)
(13:14) 13. San Lorenzo
( 8:41) 14. (Cross The) Heartland
( 4:08) 15. American Garage

In jazz terms, the Missouri born guitarist Pat Metheny is a global superstar. A musician who has always divided opinion, his forty eight album releases in a forty five year career to date have attracted thirty six Grammy Award nominations.

He has been the recipient of twenty outright Grammy awards, and is the only person to win in ten different categories. The sixty five year old’s musical career began in 1974 and his first major release, a trio recording “Bright Size life” with Jaco Pastorius on bass and drummer Bob Moses two years later, remains to this day a “go-to” album for legions of guitar enthusiasts. Total World wide sales of his albums exceed 20 million, his major period of success being with his fusion based group, known as “The Pat Metheny Group” or” PMG”, which was in existence for over three decades from 1977 and regularly filled large arenas and festival fields across the globe.

As well as “PMG”, plus his own duo’s, trio’s and quartet’s, Pat has also co-led bands with many other major players including Brad Mehldau, Ornette Coleman and Christian McBride, but it was with the recently departed Wisconsin born pianist and composer Lyle Mays that he formed a career long musical relationship, including this album, with its intriguing title that has been remembered by most jazz enthusiasts, whether they are Pat Metheny devotees or not. Its a mighty album throughout, with the Brazilian percussionist Nana Vasconcelos having a major part to play and elevating it to an iconic level.

The centre piece is of course the title track which occupies the whole of side one. It manages to be an ambient low tempo work while at the same time being both exciting and having the rare capacity to draw the listener into the somewhat mysterious musical landscape. From the leaders double bass intro’ (on an instrument he played only rarely) its easy to get hooked on the ethereal and mysterious musical conversations that abound between the twelve instruments at the trio’s disposal. There is no sense of urgency in the music, there doesn’t need to be, with nearly twenty one minutes of playing time, just constant invention and re-invention including a passage at high tempo and volume for three minutes or so half way through before calmer waters are revisited. Its a piece that gives much to the attentive listener and continues to expose more of its secrets with every listen.

Side two of the album is a little more upbeat and in line with the output we have expected from the Metheny fusion groups down the years. Ozark is a strong dramatically themed number with Lyle’s keyboards to the fore, followed by the Bill Evans tribute September 15th,(the day that the great pianist died in 1980). There is an orchestral backdrop to this with profound and poignant exchanges between piano and guitar. From the acoustic opening from the leader on Its For You the mood is very laid back and light with background vocals and broad low key chords from the synthesizer preceding an amplified solo from Pat that pointed the way to his expansive guitar style of future decades. The final track is the brief but melodic Estupenda Graca, another low key excursion to conclude an album that stands on its own, due in part to the impact of its title track, but also begins to form the style that has led to the continued success of all Pat Metheny Groups. http://jazzbluesnews.com/2021/05/26/cd-review-pat-metheny-down-in-texas-live-houston-81-2021-video-cd-cover/

Personnel: Pat Metheny (electric & acoustic six & twelve string guitars, bass); Lyle Mays (piano, synthesizer, organ, auto harp); Nana Vasconcelos (berimbau, percussion, drums, vocals)

Down In Texas (Live Houston '81)

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Sonny Stitt, Don Patterson - Legends Of Acid Jazz vol 2

Styles: Saxophone Jazz, Hard Bop
Year: 1998
File: MP3@320K/s
Time: 71:36
Size: 166,4 MB
Art: Front

(4:54) 1. Ratio And Proportion
(4:33) 2. Airegin
(6:15) 3. Little Angie
(4:43) 4. My Man String
(5:24) 5. Funk In 3/4
(6:05) 6. It's You Or No One
(6:02) 7. All The Things You Are
(3:29) 8. Lover Man
(5:39) 9. P.S. I Love You
(5:25) 10. Stella By Starlight
(5:34) 11. Bye Bye Blackbird
(4:01) 12. Over The Rainbow
(5:53) 13. Candy
(3:33) 14. Strike Up The Band

Two-fer CD reissue combines two 1968 sessions, both featuring Stitt and Patterson, that were recorded on consecutive days (September 23-24, 1968), although one was issued under Patterson's name and the other under Stitt's. The first six songs were issued as the Patterson LP Funk You!, on which Patterson leads a date that also has Sonny Stitt and Charles McPherson on saxes and Pat Martino on guitar. The other players get about as much space as Patterson, and as 1960s jazz with organ goes, this is pretty straight-ahead and boppish, rather than soul-jazz (as so much organ jazz from that decade was). For the bop factor, listen especially to the cover of Sonny Rollins' "Airegin," on which Martino in particular shines. Patterson does get in a more soulful mood on his composition "Little Angie," which has an elegiac mood somewhat similar to occasional slow instrumentals cut by Booker T. & the MG's during that period. The other eight songs were issued as the Stitt LP Soul Electricity!, an album that got its name because, for this session, Stitt plugged his alto and tenor saxophones into a Varitone attachment. What came out, though, was not fusion by any means, but a pretty straight-ahead session that found Stitt his usual competent self. The program is actually on the conservative side, leaning toward standards. Stitt's quartet is rounded out by Don Patterson on organ, Billy Butler on guitar, and Billy James on drums. This isn't the most logical package Stitt's half is more straight-ahead in flavor and, more importantly, neither album fits too well into the soul-jazz or acid jazz category but for fans of either artist, the material is worth hearing.~ Richie Unterberger https://www.allmusic.com/album/legends-of-acid-jazz-sonny-stitt-don-patterson-vol-2-mw0000602490

Personnel: Alto Saxophone, Tenor Saxophone – Sonny Stitt; Organ – Don Patterson; Alto Saxophone – Charles McPherson; Drums – Billy James; Guitar – Billy Butler, Pat Martino.

Legends Of Acid Jazz vol 2

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Sophie Alour - Uncaged

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 49:04
Size: 113,8 MB
Art: Front

(6:26) 1. Uncaged
(4:11) 2. Comptine
(4:07) 3. Haunted Part 1
(3:57) 4. Haunted Part 2
(6:49) 5. Sparkling Water
(2:45) 6. Snow In May
(4:24) 7. Sadrak
(5:26) 8. Nos cendres
(1:56) 9. Guerrier
(4:26) 10. Addict
(4:32) 11. Goodbye

Sophie Alour was born in 1974, she learned the saxophone by herself after she studied the clarinet at Quimper Music School in France. She learned jazz "on stage". In 2004, Rhoda Scott approached her to form her lady quartet, and the same year she played in the Wynton Marsalis' Big Band. She recorded her first album in 2005 'Insulaire', in 2007 she recorded 'Uncaged' with pianist Laurent Coq, double bass player Yoni Zelnik and drummer Karl Jannuska. She won several awards for this album and got the "Young Talent Django D'Or 2007". She has performed all around the world, exploring her repertoire, looking for its limits. She came back with 'Opus 3' in 2010 , closer to the jazz tradition. For her last album 'Géographie des rêves', Sophie Alour has decided to play with Yoann Loustalot (tp and flugelhorn), Nicolas Moreau (double bass), Stéphan Caracci (vibraphone) and Frederic Pasqua (drums). https://www.jazzmusicarchives.com/artist/sophie-alour

Uncaged

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Steve Kuhn - At This Time

Styles: Piano Jazz 

Year: 2016

File: MP3@320K/s

Time: 58:50

Size: 137,3 MB

Art: Front

(6:32)  1. My Shining Hour

(9:19)  2. Ah Moore

(6:10)  3. The Pawnbroker

(7:33)  4. All the Rest is the Same

(5:48)  5. The Feeling Within

(5:51)  6. Carousel

(5:47)  7. Lonely Town

(5:44)  8. This is New

(6:02)  9. I Waited for You

The wonderful and deeply satisfying At This Time... brings together pianist Steve Kuhn leading a trio comprised of electric bassist Steve Swallow and the ubiquitous (and always smiling drummer) Joey Baron. The immediate impulse for the recording was an extended set by this trio at Birdland, in New York City in 2015. Swallow and Kuhn go back forty years to Kuhn's ECM debut, Trance, with Kuhn knowing Baron for more than twenty years. This trio also recorded Kuhn's latest ECM release, Wisteria in 2012. The set list comes from the tunes played at the gig, and, even though these players all know each other very well, this very feeling of familiarity is enhanced by the fact that they had just played together. Granted, pros can be called together on short notice to play live or record and perform admirably, but there is an ineffable something about the atmosphere created by this album that gives it its special sound. The nine tracks are mostly in the six-minute range, with Kuhn's "All The Rest Is The Same" taking seven and a half minutes, and "Ah Moore" by Al Cohn reaching over nine minutes, so there is quite enough room for stretching out. However, the record feels as if it flies by, primarily because of the multitude of details that fit together perfectly and which flow ever forward. There is not a moment of fluff or indecision; each tracks sounds like first take, spontaneous creation with nothing to improve upon by trying again. This feeling of spontaneous perfection is only enhanced by the quality of the recording itself -the piano is crystalline (as is Kuhn's touch), Swallow's amazingly smooth electric bass sound is centered and full, but soft on the edges, while Baron knows exactly what to do and when to do it. The tunes themselves range from the well known opener, "My Shining Hour" to lesser known standards such as Kurt Weil's "This Is New," "Lonely Town" by Leonard Bernstein and Quincy Jones' "The Pawnbroker" among others. The Kuhn originals are placed in the middle of the set, with the perfect choice of "The Feeling Within" being performed solo, adding just the right touch of intensity. At This Time... will command attention without demanding it, and the attentive listener will find much in which to revel many times over. ~ Budd Kopman https://www.allaboutjazz.com/at-this-time-steve-kuhn-sunnyside-records-review-by-budd-kopman.php

Personnel: Steve Kuhn: piano; Steve Swallow: electric bass; Joey Baron: drums.

At This Time

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