Bobby Hutcherson - The Best Of The Blue Note Years

Styles: Vibraphone Jazz
Year: 2001
File: MP3@320K/s
Time: 69:14
Size: 159,1 MB
Art: Front

(3:33) 1. Blues Mind Matter
(5:10) 2. Little B's Poem
(8:05) 3. Bouquet
(6:16) 4. Ghetto Lights
(5:57) 5. Patterns
(4:44) 6. 'Til Then
(5:18) 7. Dave's Chant
(9:26) 8. Same Shame
(7:47) 9. Ummh
(6:25) 10. Houston St. Thursday Afternoon
(6:28) 11. Roses Poses

Quick. Name some jazz vibraphonists. Most of you would pick the legendary Lionel Hampton, who played in Benny Goodman's band, among others. Some of you would name Milt Jackson, who's one-fourth of the Modern Jazz Quartet. But what about Bobby Hutcherson?

Thumbing through some jazz history books, you might find a page or two mentioning his name in passing, which is a shame. Not many people can make the vibes swing or sing, and Hutcherson should be added to the list. The recently released Bobby Hutcherson: The Best of the Blue Note Years spans nearly a decade of recordings with the record label beginning in 1965. The liner notes includes some background information from Down Beat magazine correspondent Mitchell Feldman. Hutcherson glides through the 11 tracks from 11 different albums with the greatest of ease. His sidemen are no slouchers themselves, including pianists Herbie Hancock and Chick Corea, trumpeter Freddie Hubbard, saxophonists Sam Rivers and Harold Land, bassist Ron Carter, and drummers Billy Higgins and Joe Chambers.

On "Dave's Chant," it starts out with a Latin feel, but then jumps into cut-time swing, with Hutcherson playing a Charlie Parker-like solo on the vibes, paving the way for Land to take the solo reins. Hutcherson's mallets travel so fast along the vibes during "Patterns," one would wish a movie camera had been trained on him during the recording session in order to see the brilliance. He's also eager to branch into different genres, like on the funk-blues-injected "Ummh" or the Latin influence in "Rose Poses." But this collection doesn't merely showcase Hutcherson. In most cases, he backs off to let the other players shine. Listen to Hancock's amazing solos on "Little B's Poem" and "Bouquet," or Rivers' and Hubbard's solos on "Ghetto Lights." In all, it's a collection that features the best of this relatively unknown yet phenomenal vibraphonist. ~ Michael Fortuna https://www.allaboutjazz.com/the-best-of-the-blue-note-years-bobby-hutcherson-blue-note-records-review-by-michael-fortuna.php

Personnel: Bobby Hutcherson: vibes; Herbie Hancock: piano; Joe Henderson: alto saxophone; Freddie Hubbard: trumpet; Ron Carter: bass

The Best Of The Blue Note Years

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Topsy Chapman and The Pro's - My One and My Only Love

Styles: Vocal
Year: 2001
File: MP3@320K/s
Time: 60:37
Size: 140,5 MB
Art: Front

(3:31) 1. If Dreams Come True
(4:40) 2. Just a Little While to Stay Here
(4:39) 3. I Still Get Jealous
(4:03) 4. Someday You'll Be Sorry
(4:01) 5. Mood Indigo
(6:27) 6. Somewhere Over the Rainbow
(5:18) 7. I Can't Give You Anything but Love
(3:47) 8. Bye Bye Blues
(5:22) 9. Do You Know What It Means to Miss New Orleans
(5:08) 10. Baby Won't You Please Come Home
(5:08) 11. My One and Only Love
(3:01) 12. Deacon Jones
(5:27) 13. Solitude

The delightful musical One Mo'Time introduced singer Topsy Chapman to admiring audiences around the world. The production, which is set in 1920s New Orleans, reached cult status in its run at the old Toulouse Theater in the French Quarter in the 1980s before being exported to New York and then to Europe. Much of the local cast traveled with the play and thus Chapman, long-considered a living treasure in New Orleans, received some well-deserved exposure before a larger audience.

Chapman, who grew up not far from New Orleans in Kentwood, LA, was raised in the gospel music tradition. That gospel-tinged fervor is evident in her voice today, as she sings with some of the top musicians in the city of New Orleans. She still makes appearances at some of the popular gospel brunch venues around the city, but she mostly lends her elegant style to groups such as the Magnolia Brass Band, the Jim Cullum Jazz Band, and the Lars Edegran Orchestra. She gigs with the best of the best at venues in the Crescent City at popular clubs such as Donna's, Snug Harbor, and the Palm Court, as well as at the New Orleans Jazz and Heritage Festival, and the Satchmo Summerfest.

Chapman's affinity for the music of Armstrong is captured on her 2001 CD My One and Only Love. Recorded as Topsy Chapman and the Pros, the record does feature some real pros, such as Lucien Barbarin, Don Suhor, and Duke Heitger. The singer is joined on vocals by her two daughters, Yolanda "Peb" Windsay and Jolynda "Kike" Phillips. Among the selections are Armstrong's "Someday You'll Be Sorry" and "I Still Get Jealous." Another excellent release is Jazz in New Orleans: The Nineties. Working with Brian Carrick and his New Orleans Heritage Band, Chapman has made an uplifting record of gospel tunes such as "In the Sweet By and By" and "Just a Closer Walk With Thee." Her work with the Magnolia Jazz Band can be heard on their 1994 eponymous release, featuring jazz standards and popular tunes.

The vocalist also appears on Cubanismo!'s 2000 CD Mardi Gras Mambo-Cubanismo! in New Orleans. Chapman really fits in the groove, especially on her danzon-style duet with John Boutté, "It Do Me Good." In 2002, Chapman was nominated for Best Female Jazz Vocalist in the prestigious Best of New Orleans Awards given by Gambit magazine. With several records out there, personal appearances, and glowing reviews in journals from Ebony to the New York Times, her star is shining brighter than ever.~ Rose of Sharon Witmer https://www.allmusic.com/artist/topsy-chapman-mn0000792037/biography

Personnel: Topsy Chapman vocals, Jolynda (Kike) Philips vocals, Yolanda "Peb" Windsay vocals, Duke Heitger trumpet, Lucien Barbarin trombone, Don Suhor clarinet + alto sax, Rickie Monie piano, Mark Brooks bass, Ocie Davis drums.

My One and My Only Love

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Stanley Cowell - Live at Keystone Korner Baltimore

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 71:53
Size: 165,3 MB
Art: Front

(12:39) 1. Cal Massey
( 6:49) 2. Charleston Rag
(11:59) 3. Montage For Toledo
( 4:51) 4. Equipoise
( 5:11) 5. It's Time
(12:14) 6. Banana Pudding
( 9:33) 7. No Illusions
( 8:33) 8. This Life

A real standout set from pianist Stanley Cowell one of his few dates in recent years to feature more than a trio lineup and recorded in a live setting that really seems to ignite some old school fires in Stanley's music! Make no mistake Cowell is always wonderful but there's a nice edge to his compositions here, as Stanley hits a bit harder, and drives things along to match the energy from the trumpet of Freddie Hendrix and alto of Bruce Williams who play in a lineup that also features Tom DiCarlo on bass and Vince Ector on drums.

Sunny Cowell performs a beautiful vocal version of the classic "Equipoise" maybe worth the price of the album alone and other tracks include "Cal Massey", "Montage For Toledo", "This Life", "Banana Pudding", "No Illusions", and a take on the Max Roach tune "It's Time". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/969232/Stanley-Cowell:Live-At-Keystone-Korner-Baltimore

Personnel: Piano – Stanley Cowell; Alto Saxophone – Bruce Williams ; Bass – Tom DiCarlo; Drums – Vincent Ector; Trumpet – Freddie Hendrix; Vocals – Sunny Cowell

Live at Keystone Korner Baltimore

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Frank Kohl - The Crossing

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 58:38
Size: 134,9 MB
Art: Front

(6:17) 1. The Crossing
(6:50) 2. O Grande Amour
(7:23) 3. The Masquerade Is Over
(5:06) 4. The Goodbye
(6:41) 5. Yesterday's
(9:17) 6. Middle of Nowhere
(6:11) 7. Sojourn
(5:28) 8. New Moon
(5:19) 9. Brigas Nuncas Mais

Guitarist Frank Kohl has consistently put forth meaningful and eminently well-conceived guitar releases. His latest album titled The Crossing presents a dual guitar and upright bass approach. Kohl from the Seattle Washington jazz scene has collaborated on several albums with bassist Steve LaSpina, the two are joined by guitarist John Stowell. The album is introspective and offers mature and seasoned performances by all. Kohl and Stowell have a unique bond with each guitarist being their own unique stylist, but both coming from the traditional Barney Kessel style of jazz guitar approach.

The Crossing is Kohl’s fifth leader album, filled with equity of original and comely standards the listener is treated to a trio that displays masterful collaboration, each taking on their role with panache and impeccable artistry. Kohl’s originals are filled with fresh ideas and composed with an inclination of the jazz guitar tradition.

His arrangements of tastefully chosen standards ring with promise atmospheric delight. For example, Antonio Carlos Jobim’s “O Grande Amour” is given a relaxed playthrough by the trio. LaSpina has a breezy bossa nova feel that both Kohl and Stowell embellish. Both have the rhythmic language of the bossa nova mastered in both their accompanying and single-note playing. It is interesting to hear how both guitarists approach the melody, Kohl plays the melody first, with Stowell performing it the last time. Each has their own unique way of bringing out the charm of the Jobim melody. Stowell solos first; his lines are carefully constructed around the harmony and maintains a flowing eight-note pattern. Kohl’s solo has a wide range of techniques and colors, from rhythmically repeated notes to chordal statements.

“Middle of Nowhere” is a Kohl original with a straight-eight feel provided by LaSpina. The melody is catchy and joyful. The two guitarists have outstanding interaction on this track. Both speak the same jazz language, and that gives them the ability to complement each other. Hearing these two guitarists perform is going to be a treat for all jazz guitar fans. Kohl once again proves his acumen for writing smartly constructed originals adorning them with equally styled arrangements of standards. At first, I was unsure of the two guitarists’ idea, but Kohl and Stowell prove they are both masters of collaboration, each contributing to the success of a dual guitar sound. LaSpina per usual is nothing less than magical. It is easy to hear why artists such as the Mel Lewis’s orchestra (1978–82), Stan Getz (1986-87), Jim Hall (from 1988), Andy LaVerne (from 1989), and Benny Carter (latter half of the 1990s) called upon his bass predilection. The Crossing is worth the journey. Partake and enjoy. https://5fingerreview.com/frank-kohl-the-crossing-review/

Personnel – Frank Kohl: guitar; John Stowell: guitar and nylon string guitar; Steve LaSpina: contrabass

The Crossing

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