Mary Halvorson Quintet - Bending Bridges

Styles: Jazz, Avant-Garde
Year: 2012
File: MP3@320K/s
Time: 68:34
Size: 157,4 MB
Art: Front

( 7:48)  1. Sinks When She Rounds The Bend (No. 22)
( 7:58)  2. Hemorrhaging Smiles (No. 25)
( 8:03)  3. Forgotten Men In Silver (No. 24)
(10:14)  4. Love In Eight Colors (No. 21)
( 7:50)  5. The Periphery Of Scandal (No. 23)
( 4:49)  6. That Old Sound (No. 27)
( 6:52)  7. Sea Cut Like Snow (No. 26)
( 7:08)  8. Deformed Weight Of Hands (No. 28)
( 7:48)  9. All The Clocks (No. 29)

For the sophomore effort from her quintet, guitarist Mary Halvorson reprises the winning formula of Saturn Sings (Firehouse 12, 2010). Again, there is a mix of pieces for the full ensemble and for Halvorson in trio; and, again, the end result defies classification, touching on spidery improv, jazz tradition and avant rock in a cleverly idiosyncratic brew. Only this time out, she is even more successful. Her writing has developed, unveiling appealing tunes enlivened by arrangements which extract the best from the resources at her disposal.

In spite of the presence of illustrious saxophonist Jon Irabagon, Halvorson proves the star soloist, sounding like no one else. Her crisp, single line picking, alternately springy and spiky, remains readily identifiable after just a few notes, notwithstanding her diversity of pitch flexing effects and attacks. Bassist John Hébert and drummer Ches Smith create a synergetic response to the leader's discursive approach. Hébert anchors through a fleet-ingered, muscular tone, while the drummer ably accompanies Halvorson wherever she goes, whether needing rocky energy or nervy clatter. Irabagon and trumpeter Jonathan Finlayson appear on five of the nine selections. Neither is flashy. Finlayson's lean statements and fanfares provide a cooling balm while the reedman's trajectory is never straightforward. He sets challenges for himself which he meets with fluent ease, spinning keening Ornette-ish melodies one moment and abrasive distortion the next.

Halvorson's knotty charts, with their countless unpredictable twists and varied backdrops, breed responsive and involved interplay. The pick of the quintet tracks is the opener, "Sinks When She Rounds The Bend." Typical of the relentless switchbacks, the nagging bittersweet theme first gives way to a short triumphal passage from the guitarist, and then a rippling, unaccompanied spot for Hébert, before building to a firestorm of skronk, the fervor dissipating to nothing in an unexpectedly understated finish. The turbulent "Love In Eight Colors" features Irabagon's most compelling statement: he starts with clipped plosive tones (which sound as if they are played backwards) before extending into an undulating legato which disintegrates into a litany of distorted blurts.

Of the trio outings, "Forgotten Men In Silver" is particularly fine. A deceptively simple air emerges from a scratchy bass/drum interlude before being subjected to characteristic deconstruction, while on "That Old Sound," the languor is spiked by an insistent, questioning jangle which sets the mood for the ensuing interaction. But really, each cut repays close attention. How could Bending Bridges be improved? Perhaps only by featuring the full quintet throughout.
By John Sharpe http://www.allaboutjazz.com/php/article.php?id=41983#.Ui0TTD-wVw8

Personnel: Mary Halvorson: guitar; Jonathan Finlayson: trumpet; Jon Irabagon: alto saxophone; John Hébert: bass; Ches Smith: drums.

Bending Bridges

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Steve Smith and Buddy's Buddies - Steve Smith and Buddy's Buddies

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 58:41
Size: 134,9 MB
Art: Front

(7:08)  1. Nutville
(7:37)  2. Norwegian Wood
(6:39)  3. New Blues
(6:45)  4. Airegin
(7:02)  5. How Do You Keep The Music Playing
(5:03)  6. You Stepped Out Of A Dream
(6:36)  7. Moments Notice
(6:41)  8. Cool
(5:06)  9. Ya Gotta Try

When thinking of drummer Buddy Rich, the first thing that comes to mind is a screaming big band propelled by the master. However, Rich also recorded in small group settings, and it's this facet of the drum legend's musical personality that Steve Smith and his friends explore on this CD. Teaming up with four alumni of the Buddy Rich band from the 1970s and '80s, Smith takes on the difficult task of filling Rich's drum chair for this impressive set. It's great to hear saxophonist Steve Marcus cooking again. He and alto saxophonist Andy Fusco provide the perfect frontline, blending seamlessly on the ensemble passages, then taking off in their distinctive solo styles. Marcus gets out there on his soprano and tenor while Fusco locks in closer, only to rise on "Airegin." Pianist Lee Musiker shows talent that deserves wider recognition, providing a fat chordal underpinning one moment and soaring through an inventive solo the next. Bassist Anthony Jackson brings impressive credentials to the gig and delivers a solid bottom throughout. Steve Smith shines in each setting, never aping Rich directly, yet still conjuring images of Rich (and the great Billy Cobham as well) with his facile, polyrhythmic yet swinging approach. His brushwork will surprise those who think of Smith only as a high-energy rock and fusion drummer. 

The choice of material is good, with a number of mostly familiar pieces mingled among a couple of lesser-known chestnuts. This was one of the best small group jazz recordings of 1999, overlooked perhaps as a mere "tribute" recording. This album actually offers a smoking set of great music by a quintet that sounds like they've been playing together for years. ~ Jim Newsom https://www.allmusic.com/album/steve-smith-buddys-buddies-mw0000246930

Personnel: Steve Smith (drums); Steve Marcus (soprano & tenor saxophones); Andy Fusco (alto saxophone); Lee Musiker (piano); Anthony Jackson (bass).

Steve Smith and Buddy's Buddies

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Cécile McLorin Salvant - The Window

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 70:22
Size: 162,1 MB
Art: Front

(5:11)  1. Visions
(2:09)  2. One Step Ahead
(2:34)  3. By Myself
(4:55)  4. The Sweetest Sounds
(5:53)  5. Ever Since The One I Love's Been Gone
(2:05)  6. A Clef
(3:10)  7. Obsession
(3:21)  8. Wild Is Love
(3:00)  9. J'ai L'Cafard
(7:10) 10. Somewhere
(4:29) 11. The Gentleman Is A Dope
(3:47) 12. Trouble Is A Man
(3:20) 13. Were Thine That Special Face
(5:00) 14. I've Got Your Number
(3:28) 15. Tell Me Why
(1:10) 16. Everything I've Got Belongs To You
(9:34) 17. The Peacocks

Cécile McLorin Salvant has one of the most powerful voices in jazz. Which doesn't make her always easy to listen to. Sometimes she instills new meaning to an old lyric, other times she tries too hard and goes over the top. Still, at least she tries. She comes from Miami, daughter of a Haitian father and a French mother. Aware of the power of her voice from an early age, she trained in classical music, but then fell in love with the voice of Sarah Vaughan when she was 14. "I just wanted to sound as much like her as I possibly could," she recalls. She went on to win an assortment of awards, including, in 2010, the Thelonious Monk International Jazz Vocals Competition, and attracted rave reviews. Wynton Marsalis says of her, "You get a singer like this once in a generation or two." That's a maybe. Singers that impress you are not necessarily those you'll want to hear again and again. Especially when they go into diva screech mode. But McLorin Salvant says: "I never wanted to sound clean and pretty. In jazz, I felt I could sing these deep, husky lows if I want, and then these really tiny, laser highs if I want, as well." On The Window, her fifth album, she is accompanied on nearly all tracks by pianist Sullivan Fortner. On only one, "The Peacocks," is anyone else present, this being Melissa Albana playing wispy tenor saxophone. The sparse setting grows tiresome. Highlights? There are plenty: "Ever Since The One I Love's Been Gone," singing to a live audience; "Wild Is Love," "The Gentleman Is A Dope," "Trouble Is A Man" and "I've Got Your Number" and "Everything I've Got Belongs To You." On Richard Rodgers' "The Sweetest Sounds," she is upstaged by a magnificent solo by Fortner. She sings in French on two numbers, her own "A Clef" and "J'ai L'Cafard," on which Fortner plays organ. Leonard Bernstein's "Somewhere," from West Side Story, suffers from being given the big treatment and "Were Thine That Special Face" is Cole Porter at his most precious and should have been left in the dusty vault from which it was taken. ~ Chris Mosey https://www.allaboutjazz.com/the-window-cecile-mclorin-salvant-mack-avenue-records-review-by-chris-mosey.php

Personnel: Cecile McLorin Salvant: vocals; Sullivan Fortner: piano; Melissa Aldana: tenor saxophone.

The Window

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Ragan Whiteside - Thrill Ride

Styles: Flute Jazz
File: MP3@320K/s
Time: 33:57
Size: 79,9 MB
Art: Front

(4:12) 1. Thrill Ride
(4:06) 2. Off the Cuff
(4:14) 3. A Toast at Sunset
(4:01) 4. Don't You Worry 'bout a Thing
(4:20) 5. Lucky Drawz
(4:06) 6. Around the Corner
(4:18) 7. Full Court Press
(4:39) 8. Natural High

Flute-playing soul-jazz phenomenon Ragan Whiteside releases a brand-new single, “Thrill Ride,” the title track from her forthcoming album, on her label, Randis Music. Written and produced by Dennis Johnson, Bob Baldwin, and Whiteside, the single will be available on May 6, 2022, on all digital download and streaming platforms including Spotify, Apple Music, Tidal, Deezer, and more.

Going for radio adds the week of May 9th, “Thrill Ride” features an ensemble of today’s top musicians including guitarist Phil Hamilton and drummer Richard Harrison, also known as the artist RAH.

“Thrill Ride” takes the listener on an exciting musical journey, with unexpected twists and turns fueled by occasional deviations from the standard four-on-the-floor. The driving flute melody places the typically quiet instrument in a different light, matching the energy of the drums throughout the song.

The music video, slated for release in May, follows Whiteside as she experiences various thrill rides on the way to her show. As a fan of sketch comedy, she wanted to do something completely goofy.

“We wanted to create a song that was atypical for flute and show how exciting this instrument can be,” says Whiteside. “As for the video, music can be so serious at times. I wanted to have fun with it. I grew up watching Saturday Night Live and that inspired the silly, lighthearted vibe of the video.”

Through two challenging years of the global pandemic, 2021 still proved to be a banner year for Whiteside, who released her hit single, “Off The Cuff,” where it spent 17 weeks on the charts and peaked at No. 7 on the Billboard Smooth Jazz Airplay chart, making it her seventh consecutive Billboard Top 10 hit. The single also reached No. 5 on RadioWave, No. 3 on Media Base, and No.5 on Smooth Jazz Network. “Off The Cuff” will also be featured on Thrill Ride.

As she continued to impact the music charts, the native New Yorker also charted at No. 1 on the Billboard Smooth Jazz Airplay chart for her collaboration with Kim Scott and Althea René of Ashford and Simpson’s classic anthem, “I’m Every Woman.” She also co-wrote Bob Baldwin’s top-charting hit “B Positive” with production partners Dennis Johnson and Baldwin. Whiteside is also featured on “This Time Around” with contemporary jazz artist Jarez, from his latest project, J Funk City.

In the summer and fall, the classically trained flutist has a series of upcoming concert dates including Mother’s Day Wine and Jazz at the Hayti Heritage Center in Durham, NC (May 7); Marcus Anderson’s Jazz and Coffee Escape in Asheville, NC (Saturday, August 6); Ferrario Elmira Jazz Festival in Elmira, NY (Saturday, August 13); Jazz in the Park in Hunstville, AL (September 4) with additional dates to be announced in the coming weeks.

Meanwhile, as the host of her four-hour Saturday morning radio show on Atlanta’s NPR affiliate radio station Jazz 91.9 WCLK, Ragan Whiteside’s show is growing exponentially with an increase of listeners and supporters internationally.

With a streak of seven career records on Billboard’s Top 10, which includes “JJ’s Strut,” “Reminiscing,” “Jam It,” “Early Arrival,” “See You At The Get Down,” and “Off The Cuff” and the Billboard No. 1 song, “Corey’s Bop.” Whiteside was also a featured artist on two Billboard No. 1 hits, “I’m Every Woman,” and Willie Bradley’s “It’s On Now.” Whiteside has released five albums to her repertoire including the 2020 five-track EP Five Up Top, 2017’s Treblemaker, 2014’s Quantum Drive, 2012’s Evolve, and 2007’s Class Axe. The instrumentalist, composer, and vocalist was also a finalist for the Smooth Jazz Network’s Artist of the Year, and for two consecutive years, she remained in the Top 5 in Billboard’s Top Smooth Jazz Songs Year-End chart issue the only woman to rise into the year-end Top 5 in the male-dominated world of jazz.

Originally from Mt. Vernon, New York, Whiteside was mentored during high school by members of the National Association of Negro Musicians, participated, and ultimately won Silver at the NAACP’s ACT-SO (Academic, Cultural, Technological and Scientific Olympics) competitions for young people. She continued her education at the Cleveland Institute of Music before transferring to the highly competitive HARID Conservatory in Florida. After graduation, she attended a show at a local jazz club and met keyboardist and producer Bob Baldwin, who encouraged her to pursue a career as a contemporary instrumentalist.

Baldwin became a mentor and introduced her to Dennis Johnson, who owned a recording studio. Johnson and Baldwin have since become Whiteside’s frequent songwriting collaborators. Since then, Whiteside has blazed a trail in contemporary music by fusing inspired flute melodies and breathtaking solos with hip upbeat grooves.
In the fall of 2020, she added yet another highlight to her résumé when she began hosting her own Saturday morning radio show on Atlanta’s WCLK 91.9 FM. https://tntribune.com/contemporary-jazz-flute-phenomenon-ragan-whiteside-releases-new-single-thrill-ride/

Thrill Ride

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