Frank Foster - No Count

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 35:39
Size: 89,4 MB
Art: Front

(6:04)  1. Stop Gap
(5:14)  2. Excursion
(6:33)  3. Casa Del Marcel
(3:55)  4. Apron Strings
(8:58)  5. Alternative
(4:52)  6. Serenata

No Freddie Green either, but that's okay; the four horns carved out from the Count Basie band for this Frank Foster-led date get along just fine with drummer Kenny Clarke, bassist Eddie Jones, and guitarist Kenny Burrell. The set is a companion to Frank Wess' North, South, East...Wess, recorded by the same players at the same sessions. No Count, however, stays closer to Kansas City swing than the Wess release, which attempted, not altogether successfully, to update the sound with some nods to hard bop. Foster's charts provide for lots of interplay and counterpoint between the two trombones and two tenors. This gets around the potential for the similar ranges of the horns to bog down in tonal homogeneity. The natural, yet sophisticated, blues-based swing players spin out long, masterful lines. Trombonists Henry Coker and Bennie Powell are most effective in supporting roles. The rhythm section is what makes this date, though. The poised Clarke balances the blues feeling of the arrangements with a cool bopping, cymbal-driven pulse. Jones, too, is effective, even if he is a bit far down in the mix. Then there's Burrell, who pretty much steals the show, covering for the absent Count and Basie guitarist Freddie Green with some of the finest rhythm work to be heard anywhere. À la the Count, he also takes the occasional brief but impressive solo. ~ Jim Todd http://www.allmusic.com/album/no-count-mw0000100132

Personnel: Frank Foster (tenor saxophone); Frank Wess (tenor saxophone, flute); Bennie Powell, Henry Coker (trombone); Kenny Burrell (guitar); Eddie Jones (bass); Kenny Clarke (drums).

No Count

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Sarah Vaughan - Live At The Berlin Philharmonie 1969 (Remastered)

Styles: Vocal
File: MP3@128K/s
Time: 83:46
Size: 77,1 MB
Art: Front

(2:48) 1. A Lot of Livin' to Do
(3:43) 2. And I Love Him
(5:38) 3. Alfie
(2:28) 4. On a Clear Day
(5:00) 5. Passing Strangers
(6:07) 6. Misty
(2:05) 7. I Cried For You
(6:00) 8. My Funny Valentine
(2:47) 9. All Of Me
(4:49) 10. Tenderly
(5:06) 11. Fly Me To The Moon
(4:08) 12. Time After Time
(2:33) 13. The Trolley Song
(5:10) 14. By the Time I Get to Phoenix
(3:51) 15. The Sweetest Sounds
(5:01) 16. Polka Dots and Moonbeams
(2:37) 17. Day In, Day Out
(5:32) 18. What Now, My Love
(1:48) 19. I Had a Ball
(6:25) 20. Didn't We

This double disc release of Sarah Vaughan at the 1969 Berliner Jazztage combines two concerts from that day one previously televised and released on CD with another set of never before heard content on disc 2. At the end of the 1960s, Vaughan was without a record label, and while some say this is due to her falling out of favour as her voice darkened with age, others argue that it was the first time she was allowed to sing and do what she wanted. Vaughan toured a lot in these few years and played with her trio a setting which she much preferred to the big band pop stylings that were being pushed on her to record for Mercury and Roulette.

The thing about Sarah is that she not only had the musical knowledge and the harmonic understanding, but she also had the vocal technique to make her voice do pretty much anything she could imagine up in her creative mind. The more confident she became as an artist, the more we got to see this side of her. This concert at the Berlin Philharmonie is essentially the pinnacle of these elements coming together. She throws in crowd pleasing numbers like All of Me and Fly Me to the Moon, satisfies an audience request with My Funny Valentine and never forgets to include Tenderly. She’s never done it the same way twice and this is no exception.

On the Bacharach classic, Alfie, Vaughan dives into the deepest part of her range, filling every semibreve with her rich vibrato, creating phrases with so much emotional pull; from heartbreak to the warmest hug. The Sweetest Sounds has some funky hits and Vaughan’s sassy side comes to the forefront through the lyrics. Time After Time, usually done as a medium swing, is slowed right down and used as Vaughan’s playground of vocal delights, only accompanied by pianist Johnny Veith, and is met with whoops and hollers from the audience.

The trio, Veith on piano, Gus Mancuso on double bass and Eddy Pucci on drums are mostly just along for the ride on this day. They do a great job providing a blank canvas for Vaughan to paint her masterpieces. Veith’s stride-like stylings on ballads like Misty and Polkadots and Moonbeams fill the spaces and accompany her voice beautifully, and Mancuso and Pucci strap in for the up tempo numbers like I Cried for You, The Trolley Song and I Had a Ball that probably knocked even their socks off. Solos are not on the menu here but it’s not even noticeable; Vaughan’s artistry is more than enough. This album is a real treat, up there with Live at the Tivoli and Mr Kelly’s, and totally worth adding to the shelf. https://londonjazznews.com/2021/05/17/sarah-vaughan-live-at-the-berlin-philharmonie-1969/

Musicians: Sarah Vaughan, vocals; Johnny Veith, piano; Gus Mancuso, bass; Eddy Pucci, drums

Live At The Berlin Philharmonie 1969

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Terence Blanchard - Absence

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 64:57
Size: 155,7 MB
Art: Front

( 6:54) 1. Absence
( 6:03) 2. The Elders
( 5:37) 3. Fall
( 1:36) 4. I Dare You (Intro)
( 7:46) 5. I Dare You
( 1:32) 6. Envisioned Reflections (Intro)
( 2:35) 7. Envisioned Reflections
(10:43) 8. The Second Wave
( 5:22) 9. When It Was Now
( 7:17) 10. Dark Horse
( 7:06) 11. Diana
( 2:20) 12. More Elders

Trumpeter Terence Blanchard and the E-Collective's Absence is dedicated to saxophonist and composer Wayne Shorter, who for health reasons has been obliged to retire from performing, at least temporarily. Some people celebrating their 88th birthday, as Shorter did on August 25 2021, might not welcome being the dedicatee of an album with such a title. They might consider a more appropriate choice of words to be Presence or even I'm Feeling Fine Thanks For Asking. But you never know with Shorter who is, in many respects, in a category of his own and who, one hopes, had Absence run past him in advance by his label mate. Perhaps we should be thankful Blanchard's album is not titled Mr Gone, after Shorter's high school nickname. Anyway, there it is. Absence is dedicated to Shorter for "being brilliant" and one cannot argue with that. Shorter has been shining a light as a soloist and as a composer and arranger since the late 1950s under his own name and as a featured sideperson; Art Blakey's The Jazz Messengers (1959/1964), Miles Davis' second great quintet (1965/1968) and Weather Report (1971/1985) are among the latter highlights.

Blanchard has long had a penchant for string ensembles and the plugged-in E-Collective is augmented on all but one of these twelve tracks by the Turtle Island Quartet. The addition of a neo-classical string quartet to Blanchard's digital-age quintet three of whom, including Blanchard, double on synths works well. That said, the least effective track is the strings-only "The Second Wave," a busy but inconsequential piece written and arranged by violinist David Balakrishman, which runs just shy of eleven minutes; too long, particularly so on a forty-six minute album. On the upside, Blanchard's electro-acoustic arrangement of Shorter's "Fall," first heard on Miles Davis' Nefertiti (Columbia, 1968), is so striking that one cannot help wishing Absence was mostly, if not entirely, composed of Shorter pieces (more than half the tracks here were written by Blanchard and his colleagues, and are too often borderline overblown). For among modern reimaginings of Shorter's early work, this "Fall" is up there with the Robert Glasper-led Blue Note All-Stars' treatment of "Masqualero," first heard on Davis' Sorcerer (Columbia, 1967), on the All Stars' album Our Point Of View (Blue Note, 2017), which also benefited from the presence of original cast members Herbie Hancock on keys and Shorter himself on soprano saxophone.~Chris Mayhttps://www.allaboutjazz.com/absence-terence-blanchard-featuring-the-e-collective-blue-note-records

Personnel: Terence Blanchard: trumpet; Charles Altura: guitar; Fabian Almazan: piano; David Ginyard: bass; Oscar Seaton: drums; David Balakirshnan: violin; Benjamin von Gutzeit: viola; Gabe Terraciano: violin; Malcolm Parson: cello.

Absence

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