Vincent Gardner - The Good Book: Chapter One

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 62:28
Size: 144,3 MB
Art: Front

( 6:42) 1. Love Handles
(11:00) 2. The African Queen
( 8:43) 3. Shiny Stockings
( 5:56) 4. Mo' Joe
( 6:10) 5. The House That Love Built
( 7:50) 6. Sean's Jones Comes Down
( 8:14) 7. Que Pasa?
( 7:48) 8. C.P.W.

Although his major claim to fame up to this point has been time spent with the Lincoln Center Jazz Orchestra, trombonist Vincent Garner is a very likely candidate for the category of talent seeking of wider recognition. As a follow-up to his debut set Elbow Room (Steeplechase, 2006), this effort not only sheds light on his skills as a trombonist but also reminds us of the musical legacies of Frank Foster and Horace Silver. The Good Book: Chapter One brings back the quintet heard on Gardner's first disc (with Marc Cary replacing Aaron Goldberg on piano) while mining the catalogs of Foster and Silver and giving a coat of fresh paint to these attractive pieces.

Of the Foster tunes, it's "Shiny Stockings that gets the most sagacious reworking, use of space and syncopation, helping to alter a well-known line. Of more recent vintage, "Sean's Jones Comes Down is Foster's play on words as homage to the young trumpeter. Its form includes a few bars of ¾ thrown in to keep all on their toes, with Walter Blanding's soprano work proving to be a revelation in terms of his tone and ideas. As for Gardner's voice, he goes for a blend somewhere between swing stylists such as Vic Dickenson, Lawrence Brown and the bop sensibilities of J.J. Johnson. At times, his tone is slightly reminiscent of the warm timbre of a French horn.

The Silver numbers tap the less obvious and the disc is all the better for it. "African Queen is one of the highlights from Silver's Cape Verdean Blues (Blue Note, 1965) and Gardner and company stretch out for their own extended cruise abetted by the highly musical drumming of Quincy Davis. Joe Henderson's "Mo'Joe is another gem from the previously mentioned Cape Verdean set. As for the iconic "Que Pasa? from Song for My Father (Blue Note, 1964), the blend of soprano sax and trombone gives this reading a unique flavor, a quality that pretty much permeates the entire disc. This, of course, elevates the recital beyond your typical tribute album and bodes well for Gardner's further development as an individualist with something important to say. By C. Andrew Hovan https://www.allaboutjazz.com/the-good-book-chapter-one-vincent-gardner-steeplechase-records-review-by-c-andrew-hovan

Vincent Gardner: trombone; Walter Blanding: tenor and soprano sax; Marc Cary: piano; Greg Williams: bass; Quincy Davis: drums.

The Good Book: Chapter One

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Benito Gonzalez - Sing to the World

Styles: Contemporary Jazz
Year: 2021
File: MP3@320K/s
Time: 79:07
Size: 182,4 MB
Art: Front

( 4:56) 1. Sounds of Freedom
( 9:01) 2. Views of the Blues
( 6:34) 3. Father
( 9:19) 4. Offering
(10:32) 5. Visionary
( 5:48) 6. Smile
( 9:17) 7. Sing to the World
( 8:22) 8. 412
( 7:35) 9. Flatbush Avenue
( 7:39) 10. Colors

Unbridled rhythmic fury fueled by a rich harmonic underbelly is the essence of Sing To The World. Pianist Benito Gonzalez has once again assembled a vibrant cast that flourishes on ten original creations. Inventive and energetic, the ensemble gels in the moment and establishes interplay with rich and intelligent conversation. The depth and articulation comes as no surprise, with reference to his previous works as a leader and the seven years Gonzalez spent as a member of Kenny Garrett's band.

Powerhouse bassist Christian McBride aligned with alternately Jeff Tain Watts and Sasha Mashin to anchor and veraciously drive a rhythm section which was both the core and the springboard for Gonzalez, as well as trumpeter Nicholas Payton. Together they built a foundation of Afro-Latin sounds that echoed the ancestral spirits and authentic African dance beats. Playing modern jazz vibes over and within these torrid and variant beats created a fresh and sophisticated fusion sound of its own.

While most of the new material was written by Gonzalez, there are two notable exceptions. The great trumpeter Roy Hargrove and Gonzalez often used to play together and developed a close relationship, both musically and personally. Hargrove wrote the tune "Father" which characterized that bond. They played it often together, always refining it. But the heartfelt melody was never recorded. Until now. "412" is a Watts composition. Watts connected with Gonzalez years ago when he appreciated the young pianist's spirit and respect for the notes. He sat down at the piano one day and showed or taught Gonzalez the melody. Like "Father" it was played a lot but never recorded. The tunes bring a sentimentality which blends well and creates a well sequenced directional change of pace from the mostly fiery tone of Gonzalez's fifth record as a leader.

While Gonzalez is relentlessly engaging throughout, his assault on his keys in no way interferes with his improvisational interface with his bandmates. These cats are very much paying attention to each other and responding in kind. A grand master of the bass, McBride leads and steadies a precise yet ultimately daring rhythm section which Gonzalez gloriously rides like a big kahuna at Big Sur. The robust energy and fine tuned skill sets of the members of the ensemble collectively elevated everyone to the top of their instrumental and conversational game. There is much to be said, much to be heard, and an abundance of joy along the way.By Jim Worsley
https://www.allaboutjazz.com/sing-to-the-world-benito-gonzalez-rainy-days-records

Personnel: Benito Gonzalez: piano; Nicholas Payton: trumpet; Josh Evans: trumpet; Christian McBride: bass; Essiet Essiet: bass; Sasha Mashin: drums; Jeff Tain Watts: drums; Makar Kashitsyn: saxophone.

Sing to the World

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John Abercrombie, Dave Creamer - Creatrix

Styles: Guitar Jazz
File: MP3@320K/s
Time: 74:10
Size: 170,2 MB
Art: Front

(10:27) 1. Your Eyes
( 9:38) 2. Creatrix
( 9:15) 3. Burrito Supreme
(10:29) 4. Sunny Muslin
( 8:05) 5. Blue Clouds Roll
(16:35) 6. Is Wayne Shorter Than Me
( 9:39) 7. Timeless

John Abercrombie's tying together of jazz's many threads made him one of the most influential acoustic and electric guitarists of the 1970s and early '80s; his recordings for ECM helped define that label's progressive chamber jazz reputation. Abercrombie's style drew upon all manner of contemporary improvised music; his style was essentially jazz-based, but also displayed a more than passing familiarity with forms that ranged from folk and rock to Eastern and Western art musics.

Abercrombie attended Boston's Berklee College of Music from 1962 to 1966. While at Berklee, the guitarist toured with bluesman Johnny Hammond. After relocating to New York in 1969, Abercrombie spent time in groups led by drummers Chico Hamilton and Billy Cobham. It was with the latter's Spectrum group that Abercrombie first received widespread attention. Abercrombie's first album as leader was Timeless, a trio album with drummer Jack DeJohnette and keyboardist Jan Hammer. That was followed by Gateway, another trio with DeJohnette, and bassist Dave Holland replacing Hammer.

Abercrombie continued to be active as the 21st century opened, releasing Cat 'n' Mouse in 2002, Class Trip in 2004, A Nice Idea (with pianist Andy LaVerne) in 2005, Structures (recorded with a single microphone) in 2006, and Third Quartet in 2007. Wait Till You See Her appeared in 2009. In 2011, the guitarist issued Speak to Me, a duet recording with pianist Marc Copland on the German Pirouet label. He followed it with the quartet recording Within a Song for ECM. His band on the date included drummer Joey Baron, saxophonist Joe Lovano, and bassist Drew Gress. Another quartet session appeared on the label in October of 2013.

Entitled 39 Steps, its lineup contained only one change, as Copland replaced Lovano. Uncharacteristically, he released Inspired, a collaborative setting with fellow guitarists Rale Micic, Peter Bernstein, and Lage Lund, for Artistshare in 2016, before returning to ECM with his regular quartet for Up and Coming early the following year; it would be his final recording. After years of health problems, including a stroke suffered in early 2017, Abercrombie succumbed to heart failure at home on August 22. He was 72. By Chris Kelsey https://www.allmusic.com/artist/john-abercrombie-mn0000214546/biography

Creatrix

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