Dorothy Ashby - Django/Misty

Styles: Harp Jazz
Year: 1984
File: MP3@320K/s
Time: 34:03
Size: 78,4 MB
Art: Front

(5:00)  1. Django
(3:24)  2. Softly, as in a Morning Sunrise
(4:52)  3. Round Midnight
(3:43)  4. Blues for Mr. K
(5:48)  5. My Favourite Things
(4:10)  6. September in the Rain
(3:45)  7. Misty
(3:19)  8. Amor en Paz

Django/Misty is a studio album by jazz harpist Dorothy Ashby released via the Philips Records label in 1984.  The album is named after two famous jazz compositions. https://en.wikipedia.org/wiki/Django/Misty

Personnel:  Harp – Dorothy Ashby

Django/Misty

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Perry Smith Quintet - New Angel

Size: 124,7 MB
Time: 53:44
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Rise And Fall (7:01)
02. Deep Water (6:45)
03. New Angel (7:30)
04. Lullaby For Freedom (1:20)
05. Monk's World (6:23)
06. Notes For Nostalgia (0:45)
07. The Old Road (8:41)
08. Graceful Spirit (6:37)
09. Lucid Night (7:16)
10. Hope For Peace (1:22)

At the core of everything that guitarist/composer Perry Smith does is the desire to create personal and musical connections with the artistic community. That’s true of the community he’s built around his inclusive weekly series in Brooklyn, “The Nest Session;” it’s behind his decision to use social media as a means of reaching out, not cutting off. And it lies at the very heart of his third album as a leader, New Angel — both in the close relationships he shares with his bandmates and in his desire to make the sometimes heady concepts of modern jazz something accessible and deeply personal.

New Angel marks the debut of the gifted guitarist’s stellar new quintet, which features saxophonist Jon Irabagon, pianist Glenn Zaleski, bassist Matt Aronoff and drummer Allan Mednard. While they’ve all played together in a variety of contexts, Smith’s decision to bring together this particular group stems directly from their shared experiences at Nest Sessions jams, which he and Aronoff have co-led for more than three years.

The band’s thrilling chemistry is vividly apparent from the opening moments of “Rise and Fall,” whose title makes the tune’s shifting moods and tempos sound deceptively simple. The gentle, memorable melody is prime evidence of Smith’s gift for crafting compositions that embrace the listener while providing plenty of spark for improvisation.

“Deep Water” is a much knottier outing; its title, in fact, reflects the challenge that confronts the quintet in its harmonic complexity and sharp, treacherous angles. “Playing this song can feel like, ‘We’re in deep water right now,'” Smith admits. “That’s always been a tradition in jazz: the idea that you’re pushing yourself to try to explore something new while still trying to create something musical.”

If the title track seems to hang in the air like an unanswered question, that may be due to the fact that it’s the earliest piece on the album, one that Smith started working on as he turned 30, met the woman who would become his wife, and found himself facing many of the larger “what ifs” in life. “New Angel” may be a reference to his now-wife, but more broadly it’s a reference to a spirit of freshness and change.

The spikiness of “Monk’s World” immediately evokes the keen-edged genius and eyebrow-arched joy of the great Thelonious Monk. Smith wrote the piece on the chord changes of Monk’s classic “Epistrophy” as a way of paying homage to the legendary pianist’s outsized influence. “In my experience on the jazz scene in New York,” Smith says, “musicians are always more excited about playing Monk’s tunes than anybody else’s — more than even Coltrane or Wayne Shorter or Herbie. I think it has to do with the playful nature of his songs and the cool, creative melodies that he wrote, which open a lot of freedom in the landscape.”

Presaged by Smith’s introspective, soulful “Notes for Nostalgia,” “The Old Road” is a wistful rumination on the composer’s early days growing up in the California Bay Area. A similarly reflective spirit pervades “Lucid Night,” where the incisive melody suggests a certain brooding clarity.

“Graceful Spirit” returns the album to the theme of connection and community. It was specifically inspired by the eloquence and example of former President Barack Obama, but more generally muses on the idea of grace and empathy as powerful and necessary qualities in a leader — whether of the free world or of a scintillating and passionate jazz quintet.

New Angel

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Eddie Daniels & Roger Kellaway - Duke at the Roadhouse: Live in Santa Fe

Styles: Clarinet, Saxophone and Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 50:54
Size: 117,1 MB
Art: Front

(7:05)  1. I'm Beginning to See the Light
(4:31)  2. Creole Love Call
(7:33)  3. Perdido
(3:22)  4. Duke At The Roadhouse
(6:20)  5. In a Mellow Tone
(9:09)  6. In a Sentimental Mood
(5:27)  7. Duke in Ojai
(4:47)  8. Mood Indigo
(2:38)  9. It Don't Mean a Thing

For a powerful adrenaline rush, it's hard to beat a full house (sixteen or seventeen single-minded musicians wailing in unison and swinging like there's no tomorrow), although there's a lot to be said for a pair of aces, too. That's the hand that's dealt on Duke at the Roadhouse: Live in Santa Fe, the aces in question being clarinetist / tenor saxophonist Eddie Daniels and pianist Roger Kellaway (with cellist James Holland raising the ante as a wild card on four numbers). As the title denotes, this is music for the most part associated with Duke Ellington, amplified by one original apiece by Daniels ("Duke at the Roadhouse") and Kellaway ("Duke in Ojai"). Ellington wrote (or co-wrote) seven numbers, the odd song out being Juan Tizol's "Perdido."

Daniels penned "Roadhouse" to honor a time in 1966 when, as a new member of the Thad Jones / Mel Lewis Orchestra, he was invited to play in a jam session with Ellington at a nightclub in Greenwich Village, an experience he has never forgotten. While Kellaway doesn't say what led him to write "Duke in Ojai," there must be a story there too. Daniels, who has become almost a full-time clarinetist since his tenure with the Jones / Lewis Orchestra, shows on "In a Mellow Tone" and "Sophisticated Lady" that he can still wield a mean tenor sax. He has "Lady" to himself (with Kellaway comping trimly), and his unaccompanied intro, lasting a minute and a half, is a gem among gems. Also worth noting is how easily Kellaway, who can swing with the best of them, slips into Ellington's more high-toned dinner jacket to produce subtle motifs that blend erudition with elegance.

The duo cut loose only on the closing theme, "It Don't Mean a Thing," and even here the customary exuberance is held somewhat in check, perhaps in deference to the session's sobriety quotient. In every respect, the temper is unmistakably Ellingtonian, from "I'm Beginning to See the Light" through "Creole Love Call," "Perdido," "In a Sentimental Mood," "Mood Indigo," Daniels' tenor showpieces and the two originals. The addition of a cello, suggested by Daniels, was enthusiastically endorsed by Kellaway, who wrote Holland's solos (he takes a couple) in advance. The album was (superbly) recorded in October 2012 at Santa Fe's Lensic Theatre as a benefit for the city's Center for Therapeutic Riding, which uses horses to help young people with disabilities recuperate. Whatever the cause, Daniels and Kellaway have dealt themselves a winning hand, one that is well worth betting on. ~ Jack Bowers  http://www.allaboutjazz.com/duke-at-the-roadhouse-live-in-santa-fe-eddie-daniels-ipo-recordings-review-by-jack-bowers.php#.VD8LAxawTP9
 

Personnel: Eddie Daniels: clarinet, tenor saxophone; Roger Kellaway: piano; James Holland: cello.

Duke at the Roadhouse: Live in Santa Fe

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Mike Levine - Just Chillin'

Styles: Piano Jazz
File: MP3@320K/s
Time: 53:58
Size: 124,5 MB
Art: Front

(4:24) 1. Let's Do This
(4:08) 2. Gliding
(3:45) 3. Reflection
(4:39) 4. Miami
(3:39) 5. Just Chillin
(3:41) 6. I Found You
(4:36) 7. Summer
(3:27) 8. Soul Gumbo
(3:43) 9. Eleanor Rigby
(4:32) 10. Star Gazing (Vocal Version)
(3:53) 11. Simple Samba
(3:48) 12. Nice and Easy
(5:38) 13. On Ramp

A proponent of the more relaxing side of the jazz spectrum, pianist and keyboardist Mike Levine presents his fourth album as leader, offering thirteen primarily original pieces falling decidedly within the smooth jazz category. A talented composer, Levine's music seems to eschew the core jazz tenet of improvisation in favor of catchy melodies perfect for those chilling-out moments that overwhelm us all sooner or later. A first-call musician by anyone's count, Levine draws on his vast experience performing in various genres and in many formats from trios to big band in designing this special album. A well-established artist in Miami and the south Florida area, he calls on thirty musicians, playing in different formats, to complete this effort. From flautist Nestor Torres, and saxophonist Andy Snitzer to altoist Ed Calle as well as guitarists Steve Oliver and Randy Bernsen, among them. In reaching out to friends, including several musicians from the talent-rich Miami jazz scene, Levine assembles an impressive cast.

Opening up with the apropriately titled "Let's Do This," Levine and band do just that on a lively, percussive chart featuring Snitzer, whose exquisite solo moments slide right into the second piece, "Gliding," where guitarist Oliver takes over the tune with his light string work on a charming chart. The pianist's melodic lines come shining through. Paying tribute to the city he has called home for a long time, Levine plays joyfully and humbly on his own "Miami," accompanied well by the great Nestor Torres. Definitely a shoulder-moving number, the title track is one of the keepers of the set featuring the leader on keyboards. Other like tunes include "I Found You," "Summer" and "Star Gazing," featuring a vocal duet from LeNard Rutledge and Wendy Petersen.

The doctor is in the house when Dr. Ed Calle lends his high-pitch alto saxophone on the rousing "Soul Gumbo." Levine provides a delicate touch on Lennon-McCartney's "Eleanor Rigby" with fusion guitarist Aaron Lebos powering the track with his rock-styled riffs. The relaxing tunes wind down the set on the stellar "Simple Samba" and "Nice and Easy," and closes with "On Ramp," bringing one marvelous session to a smooth ending. But not for long: Mike Levine's Just Chillin is one of those albums that creates a distinct musical appetite which only repeated spins can satisfy.~ Edward Blanco https://www.allaboutjazz.com/just-chillin-mike-levine-self-produced

Personnel: Mike Levine: piano; Andy Snitzer: saxophone; Steve Oliver: guitar; Ed Calle: saxophone; Will Lee: bass; Nestor Torres: flute; Randy Bernsen: guitar; Lindsey Blair: guitar; Wendy Petersen: voice / vocals; Lee Levin: drums; Richard Bravo: percussion; Carlomagno Araya: drums; Jimmy Madina: percussion; Dan Warner: guitar; Aaron Lebos: guitar; Rene Toledo: guitar; Nicky Orta: bass, electric; Rafael Valencia: bass; Julio Hernandez: bass; LeNard Rutledge: voice / vocals.

Just Chillin'

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Stephan Thelen - Fractal Guitar 2

Styles: Guitar Jazz, Fusion
File: MP3@320K/s
Time: 73:46
Size: 169,3 MB
Art: Front

(14:08) 1. Cosmic Krautrock
( 7:58) 2. Fractal Guitar 2
(12:03) 3. Mercury Transit
(14:54) 4. Ladder To The Stars
(12:29) 5. Celestial Navigation
(12:12) 6. Point Orf Inflection

Guitarist and composer Stephan Thelen's Fractal Guitar (MoonJune Records, 2018) found him stepping outside of his role in the band Sonar in a big way. An absolute feast of multiple guitars with electronic effects, live looping and soundscaping, it also featured a star-studded group of guest guitarists (not to mention a grooving rhythm section). The good news is that almost all of them are back for the second instalment, along with some new friends. The original album was largely created via file sharing, a process ideally suited to pandemic conditions. So, in that sense, the procedure was surprisingly similar to the first album; if anything this one is a bit more "live" in that one track was partially recorded by a core group of musicians in a room (back in the halcyon days of November 2019). "Cosmic Krautrock" opens the set with a familiar odd-meter groove. New drummer Andy Brugger (who alternates with Thelen's Sonar band mate Manuel Pasquinelli) is joined in the rhythm section by new touch-guitar U8 player Stefan Huth on bass, along with percussionist Andi Pupato. Pupato played on one track on the first album, but here he plays on all of the tracks, providing significant rhythmic continuity to the group sound. Solo highlights include Markus Reuter's heavily processed touch guitar, Jon Durant's blast of high energy guitar, Pupato's atmospheric percussion interlude (over soundscapes and feedback guitar), and Bill Walker's final psychedelic guitar solo.

The title tune, of course, features Thelen's fractal guitar (a rhythmic delay that creates cascading delay patterns), as well as Reuter's glitchy touch guitar, Barry Cleveland's melodic 12-string guitar, and the first of several striking Durant fretless guitar solos. "Mercury Transit" is marked by quite a bit of solo space for the composer, first in the opening section (with Cleveland's bowed guitar and keyboardist Fabio Anile, a new recruit), then with e-bow. "Ladder To The Stars" is built upon Anile's striking 11/8 bass line, played by Andy West. This is the track built upon a live session, with West, Chris Muir's electric guitar and live looping, Thelen's electric guitar, and guitarist Henry Kaiser (who plays a wild glitched solo near the end). "Point Of Inflection" closes the album with Cleveland as co-composer (also playing bowed guitar, a memorably melodic solo, and a lovely fuzz guitar ensemble), and no less than three David Torn solos. Once again, Thelen and his collaborators have crafted a banquet of odd-meter grooves (which always feel completely natural) and guitars, guitars, guitars! Enthusiastically recommended to fans of the first installment. Thelen has mentioned a number of contributions that will appear in the remix version something to look forward to.~ Mark Sullivanhttps://www.allaboutjazz.com/fractal-guitar-2-stephan-thelen-moonjune-records

Personnel: Stephan Thelen: guitar, electric; David Torn: guitar, electric; Markus Reuter: guitar, electric; Henry Kaiser: guitar, electric; Jon Durant: guitar, electric; Bill Walker: guitar, electric; Barry Cleveland: guitar, electric; Chris Muir: guitar, electric; Fabio Anile: keyboards; Stefan Huth: guitar, electric; Andy West: bass, electric; Andi Pupato: percussion; Manuel Pasquinelli: drums; Andy Brugger: drums.

Additional Instrumentation: Stephan Thelen: electric guitar, choppy organ, granular synth, programming, fractal guitar, e-bow, keyboards; David Torn: electric guitar, live looping; Markus Reuter: touch guitar U8, soundscapes; Henry Kaiser: electric guitar; Jon Durant: electric guitar, cloud guitar, fretless guitar, VCS3 guitar: Bill Walker: electric guitar, live looping, lap steel; Barry Cleveland: 6 & 12-string guitar, bowed guitar, Revox loops; Chris Muir: electric guitar, live looping; Fabio Anile: keyboards, electric piano; Stefan Huth: touch guitar U8 (bass); Andy West: bass guitar; Andi Pupato: percussion; Manuel Pasquinelli: drums; Andy Brugger: drums

Fractal Guitar 2

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