Emanuele Cisi, Eric Reed - Clear Days, Windy Nights

Styles: Saxophone And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 57:46
Size: 132,6 MB
Art: Front

(6:54) 1. On a Clear Day
(7:06) 2. Work
(7:47) 3. Song for Iolanda
(5:30) 4. The End of a Love Affair
(7:48) 5. Juta's Walk
(5:28) 6. Last Night When We Were Young
(5:28) 7. On a Windy Night
(4:57) 8. The Silver House
(6:44) 9. On a Clear Day, Pt.2

Clear Days, Windy nights, Emanuele Cisi's latest recording effort, is a tribute to the ideas born and developed starting from the 1940s in the famous Fifty-second street of New York. Well played, authoritatively representative of a precise musical movement, the album aligns with the rigor that the style imposes on ethereal ballads ("Song for Iolanda" and "Last Night When We Were Young"), captivating fast themes ("The End of a Love Affair "), episodes taken from the Monk repertoire (" Work ") and medium swing in which space is given to the basic expressive foundations that the reference model imposes.

Accompanied soloism, original themes composed by the same leader mimetically adhering to the reference jazz genre, rhythmic drive with a good swing component represent the ingredients of this record production.

The saxophone style is characterized by the delicacy of the sound; the instrumental voice is characterized by being soft and unobtrusive. The phrasing can be discreet and exhaustive and allows Cisi to express himself perfectly within the post-boppistic climate of reference.

The authoritative pianist Eric Reed is the authoritative pianist Eric Reed who supports and constructively re-elaborates the aesthetic visions of the Turin saxophonist.The disc appear in only two tracks ("Work" and "The Silver House") the balanced trombone of the good Humberto Amesquita.

Although the project does not show any opening data towards elements extraneous to a codified lexicon, it is nevertheless pleasantly light. Clear Days, Windy nights hovers in a suspended time, in which the basic criteria on which the entire modern jazz tradition is based fluctuate; it is a sort of dogmatic example of musical modernism that does not need linguistic compromises or lexical interferences of any other nature to express itself: the whole album is well liked and listened to for what it wants to be. Translate by Google....By Luigi Sforza https://www.allaboutjazz.com/cleary-days-windy-nights-emanuele-cisi-abeat-records-review-by-luigi-sforza

Personnel: Emanuele Cisi: saxophone (tenor); Eric Reed: piano; Vincenzo Florio: double bass; Adam Pache: drums; Humberto Amesquita.

Clear Days, Windy Nights

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Karen Marguth - Until

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 52:59
Size: 122,6 MB
Art: Front

(4:13) 1. Comes love
(5:07) 2. Until
(5:23) 3. Black crow
(5:02) 4. What color is love
(3:42) 5. La ronda
(6:20) 6. Hearts and bones
(4:24) 7. Maureen
(4:08) 8. Close your eyes
(4:58) 9. Twistable turnable man
(5:35) 10. Old friends - Bookends
(4:03) 11. Days of wine and roses

Bay area vocalist and educator Karen Marguth hit the jazz recording scene with 2009's self-titled debut and has released a series of excellent albums. On 2015's Just You, Just Me is Marguth and bassist Kevin Hill build from the promise of previous efforts like her excellent Carrol Coates songbook A Way With Words by taking somewhat of a left turn. Taking cues from the bass and voice master, Sheila Jordan, she tackles classics like "You'd Be So Nice to Come Home To" "I Got it Bad," and "Imagination" perfectly capturing their melodic and rhythmic contours, and emotional essence in the sparsest of settings. She makes her greatest impact on her scat-laden rendition of the title track, a surprisingly blues-y and quite humorous rapid fire "Blues My Naughty Sweetie Taught Me," and fresh songs like her loping version of Phoebe Snow's "Harpo's Blues" and the charming Johnny Mercer tune "Love's Got Me in a Lazy Mood." Other inspired choices include takes on Nellie Lutcher and Rickie Lee Jones. Marguth is quite assured in a variety of modes, and she and Hill have faultless chemistry.

Most recent album: On 2021's Until (OA2), Marguth continues her eclectic approach interpreting Paul Simon's "Hearts and Bones" and "Old Friends/Bookends" with great clarity, exploring Latin rhythms on Maria Gomez's "La Ronda" and Sting's "Until," and swinging with aplomb ("Comes Love," "Close Your Eyes"). She also contributes the original tune "Maureen" and take listeners on a unique journey on Andrew Bird and Shel Silverstein's "Twistable Turnable Man.
"https://originarts.com/oa2/reviews/review.php?ReviewID=1091

Personnel: Karen Marguth: Vocal; David Aus: piano; Richard Giddens: bass; Pat Olvera: bass; Dan Feiszli: bass; Brian Hamada: drums; Nathan Guzman: drums; Gilbert Castellanos: trumpet; Mike Taylor: guitar; Eva Scow: mandolin; George Ramirez: percussion; Omar Ledezma, Jr.: percussion and vocals; John R. Burr: piano; Matt Finders: bass; Kelly Zaban Fasman: drums; Erik Jekabson: trumpet.

Until

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Alvin 'Red' Tyler - Graciously

Bitrate: MP3@320K/s
Time: 45:09
Size: 103.4 MB
Styles: New Orleans R&B, Saxophone jazz
Year: 1987/2011
Art: Front

[4:49] 1. Count 'em
[5:23] 2. Cutie Pie
[6:57] 3. Graciously
[5:11] 4. Here's That Rainy Day
[4:30] 5. If My Shoes Hold Out
[4:50] 6. Greystoke
[5:18] 7. Like So Many Others
[8:07] 8. Dreamsville

This is the second of two late-'80s straight jazz dates by Alvin "Red" Tyler, better known for his years toiling in the city's R&B studios. Tyler savored the opportunity to do more than play short bursts, demonstrating his expansive skills on the disc's eight cuts. While the soulfulness remained in his tone, Tyler proved he could handle hard bop chord changes, build and complete ideas, and head a jazz combo. The cuts "Dreamsville," "Here's That Rainy Day," and "Like So Many Others" emphasize the jazz connection, but the R&B and blues base comes through on "Cutie Pie" and "Count 'Em." This is nicely played, at times above-average, jazz from a celebrated veteran getting to show another side of his musical personality. ~Ron Wynn

Graciously

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Neil Swainson - Fire in the West

Styles: Contemporary Jazz
File: MP3@320K/s
Time: 59:47
Size: 137,5 MB
Art: Front

(5:46) 1. Fire in the West
(5:09) 2. Fool's Gold
(7:41) 3. Cascades
(7:26) 4. Standing Back
(5:31) 5. Fell Among Thieves
(5:06) 6. Kyushu
(7:53) 7. Late Afternoon
(6:04) 8. Near North
(4:51) 9. Gone Away
(4:18) 10. Silver Mine

It hardly seems possible, but it took thirty-five years for Canadian bassist extraordinaire Neil Swainson to lead a sparkling quintet in this new recording of Swainson original compositions entitled Fire In The West. His prior recording from 1987 was called 49th Parallel and received little attention at the time. However it was re-released as an LP in 2020 by Reel to Real Records and it generated some welcomed critical reviews. Accompanying Swainson in this outing was a blue-chip rhythm section of pianist Renee Rosnes and drummer Lewis Nash, with a first rate front line of trumpeter Brad Turner and tenor saxophonist Kelly Jefferson.

The session opens with the title track "Fire In The West" which was inspired by a flight over the forest fires which were raging in the Okanagan Valley of British Columbia at the time. This up tempo tune begins with some Turner and Jefferson unison playing which states the theme, before each of the principals takes a solo turn, working out their ideas. All of this was nicely done, while Swainson's sturdy hand maintained the composition's rhythmic pulse. As will be evident throughout the album, Swainson was a fan of the front line pairings that predominated in the '50s, with the bands of Miles Davis, {Art Blakey}} and {Horace Silver}} so, accordingly, his compositional structures reflect this dynamic.

Some of the charts Swainson created have implied dedications to a variety of influences and influencers. "Fell Among Thieves," which could be classified as a lament, is carried throughout by Jefferson's compelling mournful tenor saxophone with Rosnes providing support in a svelte linear style. The title is meant to convey how good people often fall into difficult company. "Kyushu" is a musical reflection on time the composer spent on the Japanese island of the title. Laid out in a relaxing swinging tempo, the band delivers a straight ahead rhythmic feel which supports the improvisations offered by Turner, Jefferson and Rosnes. Finally, in an acknowledgement to Horace Silver, one of his musical influences, Swainson penned "Silver Mine." The bop-fashioned line charges out of the gate in a full-fisted attack. The solos taken by Turner and Jefferson are down the center and Rosnes delivers a single note excursion which is filled with Silver nuggets. In summation, a musical excursion well worth the wait.By Pierre Giroux https://www.allaboutjazz.com/fire-in-the-west-neil-swainson-neil-swainson-cellar-records

Personnel: Neil Swainson: bass, acoustic; Renee Rosnes: piano; Lewis Nash: drums; Brad Turner: trumpet; Kelly Jefferson: saxophone, tenor.

Fire in the West

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