Friday, January 28, 2022

Jack McDuff - Goodnight, It's Time To Go

Styles: Hard Bop, Soul Jazz
Year: 1961
File: MP3@128K/s
Time: 36:11
Size: 33,4 MB
Art: Front

( 6:18) 1. Goodnight, It's Time To Go
( 4:53) 2. Sanctified Waltz
( 6:24) 3. Mcduff Speaking
(10:52) 4. A Smooth One
( 7:42) 5. I'll Be Seeing You

This 1961 date was organist Jack McDuff's first with his regular working band. That group included two players who would become synonymous with the organ combo, soul-jazz sound: tenor saxophonist Harold Vick and the up-and-coming guitarist Grant Green. Vick's tough, versatile, if not particularly distinctive, sound is well-suited to McDuff's needs. Green, however, is by far the more interesting contributor. On this date, his gifts are already well developed, including his skillful use of space and a singular ability to find or create a tune's rhythmic core. Unlike his 1960 debut, McDuff does without a bass player here, using his organ pedals instead, as he would in live performance. When his feet do the walking, McDuff becomes a complete player, locking in on grooves that could never be matched by a hired gun brought in on bass. The highlights are the McDuff originals: "Sanctified Waltz," a gospel-influenced piece that avoids the holy roller excesses that often encumber such numbers, and "McDuff Speaking," a full-tilt, soul-jazz gem.~ Jim Todd https://www.allmusic.com/album/goodnight-its-time-to-go-mw0000865700

Personnel: Jack McDuff - organ; Harold Vick - tenor saxophone; Grant Green - guitar; Joe Dukes - drums

Goodnight, It's Time To Go

The Le Coq All Stars - The Jazz All Stars Vol.1

Styles: Jazz
File: MP3@320K/s
Time: 52:29
Size: 121,6 MB
Art: Front

(9:33) 1. Theme for Flotus
(9:27) 2. Tu Wero Nui
(5:13) 3. Log Jammin
(4:30) 4. There You Go
(4:55) 5. Afro Blue
(4:33) 6. Caravan
(7:58) 7. Rockin and Rhthym
(6:15) 8. Avalon

The gigless times of 2020 the year of the Covid-19 pandemic could have brought musicians and the industry to their collective knees, gasping for air. Instead, it resulted in more new music than ever before. It filled our lungs with fresh air. It filled our hearts and souls, not to mention our ears. New businesses opening, defying the odds and pursuing their dreams, is a relevant factor. Le Coq Records, emerging in 2020, boldly presents an all-star ensemble featuring many of the world's finest jazz musicians as its virgin voyage on the jazz scene. Someone once said, "Go big or go home." The anonymous quote was not lost on owner and founder Piero Pata. He wisely didn't micro-manage, instead letting the cats do their thing, and allowing it to come together in an organic manner.

Legendary drummer Vinnie Colaiuta heads a big and notable cast. He also plays his ass off! Pianists John Beasley and Bill Cunliffe both play and contribute compositions to the project. Saxophonists Bob Sheppard, Brandon Fields, and Ralph Moore, drummers Marvin "Smitty" Smith and Joe Labarbera, trumpeters Terell Stafford and Wayne Bergeron, bassist John Patitucci, percussionist Alex Acuña, and guitarist Jake Langley are among the powerhouse stable of thoroughbreds. Incorporating a nice mix of originals and timeless classics, the latter included two big bites from the Duke Ellington collection. "Rockin' and Rhythm" and "Caravan" are both brightly arranged by Cunliffe. Andy James provided the lone vocal on the outing, with a reminiscent-of-the-era sound on "Caravan."

The performance was culled from a series of "live in the studio" shows. The band starts in on the music with a sustained groove that intermittently packs a wallop in "Theme for Flotus." A loose and relaxed feel pervades, centered around a very tight Colaiuta and Patitucci pocket. The Beasley-penned composition was first performed at the White House in 2016 as part of International Jazz Day's segment, Jazz at the White House. The closing number, on that night, "Theme for Flotus" was written for, and in honor of, Michelle Obama. On this night it created quite the forum for Colaiuta to play freely and creatively.

In truth, creative expression is to be found throughout this performance and is the backbone of the record. "Tu Wero Nui" and "There You Go" are both Cunliffe originals. They are prime examples of tunes being written and arranged with horn section freedom in mind. They draft the improvisational axis in a full, yet deftly controlled, spin. Patitucci and Acuna are alone on center stage for a duet on "Afro Blue." Patitucci's arrangement of the Mongo Santamaria composition encouraged freedom of expression. Consequently, Acuna and Patitucci engage in a conversation of depth and richness.

Perhaps best know for his work with Joey DeFrancesco, guitarist Langley wields his axe sharply on his written contribution to the collaboration. "Log Jammin'" has the upswing the title would imply, as well as a soulful growl uncaged from Langley's jazz vibe collection. The operation is deftly driven at a steady and controlled pace by "Smitty" Smith, while Beasley's Fender Rhodes counterpoints were the perfect compliments to Langley's leads.

The record closes with a bouncy and, most importantly, respectful, arrangement by saxophonist Rick Margitza, of the Al Jolson co-write "Avalon." A classy tip of the hat to jazz history that was presented with a fresh coat of paint that in no way tarnishes its vintage luster. Le Coq puts themselves on the map by both being passionate enough to put a project of this magnitude together their first time out, and for trusting the all-star personnel to pull it off. Referring to it as "Volume One" also insinuates that there will be a "Volume Two." Having a little confidence is a good thing. ~Jim Worsley https://www.allaboutjazz.com/the-jazz-all-stars-volume-1-the-jazz-all-stars-le-coq-records

Personnel: Vinnie Colaiuta: drums; John Beasley: piano; Bill Cunliffe: piano; John Patitucci: bass, acoustic; Marvin "Smitty" Smith: drums; Alex Acuña: drums; Jake Langley: guitar; Terell Stafford: trumpet; Wayne Bergeron: trumpet; Brandon Fields: saxophone; Bob Sheppard: saxophone, tenor; Chris Colangelo: bass; Ralph Moore: saxophone; Rick Margitza: saxophone, tenor; Rich Eames: piano; Michael Dease: trombone; Charles McNeal: saxophone, alto; Kye Palmer: trumpet; Adam Schroeder: saxophone, baritone; Bob McChesney: trombone.

The Jazz All Stars Album Vol.1

Gaucho - Deep Night

Bitrate: MP3@320K/s
Time: 56:50
Size: 130.1 MB
Styles: Gypsy jazz
Year: 2009
Art: Front

[4:30] 1. Tea For Two
[2:50] 2. Noto Swing
[4:01] 3. Bossa Dorado
[2:58] 4. Darktown Strutter's Ball
[4:05] 5. Two Deuces
[2:52] 6. Tico Tico
[3:24] 7. Russian Lullaby
[5:49] 8. Bei Dir War Es Immer So Schoen
[3:48] 9. Some Of These Days
[4:51] 10. St. Louis Blues
[4:24] 11. Deep Night
[2:58] 12. Valse A Bambula
[3:01] 13. The Sheik Of Araby
[3:46] 14. Dark Eyes
[3:25] 15. Memories Of You

With Deep Night, the San Francisco sextet Gaucho takes its rightful place as one of the most creative and joyously syncopated ensembles inspired by legendary Gypsy jazz guitarist Django Reinhardt and the rhythmic drive and collective improvisation of the New Orleans swing music and the 'gut bucket' sound. Originally a trio featuring guitarists Dave Ricketts, Michael Groh and stand-up bassist Ari Munkres, Gaucho quickly attracted a dazzling cast of improvisers, including accordion ace Rob Reich, drummer/percussionist Pete Devine, and reed expert Ralph Carney, a brilliantly expressive player best known for his many recordings with Tom Waits. The repertoire ranges from early American Songbook standards and classic blues to vintage Latin American hits and Tin Pan Alley pop numbers.

Deep Night

Nicole Henry - So Good, So Right: Nicole Henry LIVE

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 61:00
Size: 139,7 MB
Art: Front

(4:40)  1. Stuck in the Middle With You
(4:37)  2. So Good, So Right
(4:29)  3. Neither One of Us
(2:32)  4. Big Yellow Taxi
(4:33)  5. Waiting in Vain
(4:44)  6. Use Me
(4:46)  7. Fire and Rain
(4:03)  8. Love Don't Live Here Anymore
(7:29)  9. Spirit in the Dark
(5:16) 10. Sorry Seems to Be the Hardest Word
(3:53) 11. Home
(5:33) 12. Sweet Love
(4:19) 13. Landslide

Most people who feel that they were born in the wrong time also believe that they would have fit better in some time in the past. I guess that’s because the past is a formed concept in our minds while the future is just an opaque notion. The past has already happened, and we can look back the attitudes, the clothes the culture and other aspects and say ‘I belong there.’ Of course, such beliefs by those of us who were not actually alive at that time require a degree of editing. In many ways the “good old days” were more old than good. Yes, it would have been great take in a show at Small’s Paradise in the 1920s, hanging out with the Harlem Renaissance artists and thinkers. However, that means that I would be a black man in America in the 1920s and we all know what a hassle that could be.

Still, an artist such as Nicole Henry can be forgiven if she feels like an analog girl in a digital world to quote a line from another artist who fits uncomfortably in the current epoch. Henry’s embrace of the music of the 1970s, as demonstrated on her live album So Good So Right, illustrates the ways that musical styles of the 1970s are more attuned to the gifts that Henry brings to the table. In many ways musical tastes have flipped 180-degrees from the musicianship, lyricism, soulful vocals and sophisticated glamour displayed by artists who strode across the 1970s musical stage.

Similar to singers such as Nancy Wilson, Henry brings a jazz sense of timing and phrasing to her vocals. That is heard in the swaying version of “Waiting in Vain” featured on So Good So Right (Henry fans might recall that she included a version of the Bob Marley classic on her studio album Embraceable). Like Aretha Franklin, Henry can speak a variety of musical languages, and this allows her to shift genres. Henry opens the live set with a funky version of the Stealers Wheel classic “Stuck in the Middle With You.” Henry’s treatment of the tune makes me curious of what she would do with my favorite Rafferty tune, “Baker Street.” She transforms Joni Mitchell’s folksy environmental anthem “Big Yellow Taxi” into a head bopping number that fuses blues and gospel.

While Henry showcases her ability to reimagine a number such as “Stuck in the Middle With You,” she plays it straight on her renditions of Brenda Russell’s “So Good So Right” and the Gladys Knight and the Pips classic, “Neither One of Us.” One aspect of crafting a successful live show lies in the artist’s understanding of when it is appropriate to get forward leaning on an arrangement and when to play it straight. Henry’s honest interpretation of these two classics captures the sense of contentment at the start of a relationship and the pathos of stark realization that is always in attendance at a relationships end.

Being a person who grew up listening to many of these tunes, I have always loved the music of the 1970s. I believe that the decade is underrated musically due largely to the great music made during the 1960s, but the 70s showed a particular strength in terms of musical variety musicianship, lyricism and the overall quality of performers. And while nothing can substitute for the originals, you don’t have to lower your expectations to enjoy listening to a master interpreter such as Henry rework these classics. Recommended. ~ Howard Dukes   http://www.soultracks.com/nicole-henry-so-good-so-right-review

So Good, So Right: Nicole Henry LIVE