Roxy Coss - Disparate Parts

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 61:51
Size: 238,0 MB
Art: Front

(1:09) 1. February (Take 3)
(6:35) 2. Part I: The Body
(6:02) 3. Part II: The Mind
(4:42) 4. Part III: The Heart
(6:19) 5. Part IV: The Spirit
(1:06) 6. February (Take 5)
(5:56) 7. Disparate Parts
(7:26) 8. Ely, MN
(1:17) 9. February (Take 1)
(6:34) 10. Mabes
(5:50) 11. Sunburn
(1:41) 12. February (Take 4)
(5:48) 13. Warm One
(1:21) 14. February (Take 2)

Let's just get thing one out into the open right away: Disparate Parts has plenty of balls to spare.

Saxophonist Roxy Coss' acute, teasingly biting tone and rich, no boundaries disposition to composing and jamming has placed her high in the generational echelon of new and challenging players. She willingly and unapologetically blends and blurs the lines to suit any and all missives, and the fourteen fireballs heard loud and clear on Disparate Parts broach nothing less. Commandeering the same team of trusted cohorts that broke sharply into view on 2018's impactful The Future Is Female (Posi-Tone) and 2019's fiercely defining Quintet (Outside In) guitarist Alex Wintz, pianist/keyboardist Miki Yamanaka, bassist Rick Rosato and drummer Jimmy Macbride hold no bars as they charge headlong into the ever cresting Disparate Parts.

Coss, seven months pregnant and ready to rumble with the best of them at recording time, opens the set briskly with "February (Take 3)," only to enter a vaguer formlessness which serves as the launch pad for the explosive "The Body." Hitting hard and often, the track crunches like classic grunge only to give way to a succession of romping, bandstand hand-offs. But Coss and company quickly pull the rug out, as Wintz blasts into a feverish slicing solo. It is startling! It is exhilarating! It is the great noise of young humans breaking from the folly of their warring elders who have locked them down for two whole years.

"The Mind" swirls into consciousness as if working its own equilibrium from the monumental track before it. With her Rhodes geared to overdrive, Yamanaka carries the tune like Chick Corea, like Herbie Hancock, like Joe Zawinul in grand fusion fervor. Coss telegraphs over Yamanaka's insistence as Macbride and Rosato drive and drive and drive. "The Heart" and "The Spirit," the last two entries to Coss's conceived suite, culminate in yet another singular Wintz solo as Coss implores or her soprano and the rhythm section washes over it all.

The full-on, hard bop animated title track finds Coss's strident solo serving to blow clear the way for Wintz's fleet fingered filigree and even shimmering Rhodes work by Yamanaka, who seems particularly charged up on this set. But truth be told and with such stunning evidence as Wintz's prosaic "Ely, MN," Yamanaka's "Sunburn," where Wintz and Coss are absolutely heroic in their playing and 3/4 timed tribute to Harold Mabern, "Mabes," and Macbride's reflexive, "Warm One" that can be said for one and all, which makes Disparate Parts as complete and forceful a statement as it can humanly be. By Mike Jurkovic https://www.allaboutjazz.com/disparate-parts-roxy-coss-outside-in-music

Personnel: Roxy Coss: saxophone, tenor; Alex Wintz: guitar; Miki Yamanaka: piano; Rick Rosato: bass, acoustic; Jimmy Macbride: drums.

Disparate Parts

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Tony Kofi Quartet - Silent Truth

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:24
Size: 124,7 MB
Art: Front

(5:27)  1. Giants
(4:11)  2. Dante
(4:54)  3. Cicada
(5:16)  4. First Breath
(6:50)  5. If I Spoke My Mind
(6:49)  6. Oont
(5:00)  7. Unremoved
(7:30)  8. Inner Truth
(3:19)  9. Disharmony
(5:04) 10. Bishop's Move

Saxophonist Tony Kofi is that increasingly rare thing on the British jazz scene, a player who didn't spend three years "learning" the music at an academic institution, but who discovered it, and developed his gift for it, mostly on the bandstand. True, Kofi did once spend a year at Berklee College of Music on a full scholarship, but the bulk of his learning curve came earlier, in workshops and on gigs in his hometown, Nottingham, and later, in the real-world finishing schools of the London-based Jazz Warriors and Tomorrow's Warriors. As he tells it, Kofi came to the alto saxophone, his main instrument, via a near miracle. Having left school, he was working as an apprentice carpenter on a building site. One day, he fell three floors through the empty shell of the building. He should have died, but didn't and on the way down his mind flashed on a brilliantly illuminated alto. Kofi knew that, if he survived, the alto was his destiny. The Silent Truth is Kofi's third album as leader, following Plays Monk (All Is Know) (Specific Jazz, 2004), which featured the same quartet on a set of Thelonious Monk compositions, and Future Passed (Specific Jazz, 2006), a brilliant, irresistible celebration of late 1950s/early 1960s saxophone/organ groove combos. This time, Kofi's urgent, testifying alto played in a heavily vocalized style peopled by the likes of Charlie Parker, Lou Donaldson, Cannonball Adderley, Earl Bostic and Dudu Pukwana is featured on a set of band originals generally, but not exclusively, inspired by the more visceral end of the hard bop of the 1960s. The exceptions are pianist Jonathan Gee's acerbic "Disharmony" and lovely Pat Metheny-esque ballad "Cicada," and bassist Ben Hazleton's pretty "Oont," on which Kofi plays soprano. Most of the tempos are up, as established with the swinging funk of Kofi's opening "Giants," in which his riffing, multi-tracked horns trade hard-driving fours with drummer Winston Clifford. But even when the pace is more measured, as on "Cicada," "Oont" and the intimate, after-hours vibe of Kofi's "First Breath," it feels like everything could boil over at a moment's notice. Kofi solos with his trademark soulful lyricism, and gives plenty of solo time to the outstanding Gee, here most frequently in Horace Silver/Bobby Timmons/Les McCann sanctified funk mode. If the parameters, as on Kofi's previous albums, are mostly retro, the impact of the music is again wholly of today. Kofi deals not so much with the past as with the eternal truths of jazz music swing, in-the-moment lyricism, the lust for life and he continues to find compelling ways to express them. His albums are heartfelt, unpretentious explosions of joy, and precisely what the doctor ordered. ~ Chris May https://www.allaboutjazz.com/the-silent-truth-tony-kofi-specific-jazz-review-by-chris-may.php

Personnel: Tony Kofi: alto, soprano and baritone saxophones; Jonathan Gee: piano; Ben Hazleton: double-bass; Winston Clifford: drums.

Silent Truth

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Mike Clark - Mike Clark Plays Herbie Hancock

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 46:14
Size: 106,4 MB
Art: Front

(7:18) 1. Toys
(7:10) 2. Speak Like A Child
(4:01) 3. Dual Force
(7:17) 4. Dolphin Dance
(5:24) 5. Sorcerer
(5:31) 6. Chan's Song Never Said
(5:55) 7. Empty Pockets
(3:34) 8. Actual Proof

The music of Herbie Hancock has affected the lives of generations of jazz performers. Like many of these musicians, it was the opportunity to play with the great pianist/composer that introduced the great drummer Mike Clark to the jazz world at large. To show his appreciation, Clark presents a selection of his favorite Hancock pieces performed with a trio on his new recording, Mike Clark Plays Herbie Hancock.

Mike Clark was a burgeoning professional drummer in the Bay Area during the late 1960s. He regularly played post-bop gigs with Woody Shaw and Bobby Hutcherson, but it was in organ trios and funky gigs with his friend, bassist Paul Jackson, that really cemented Clark’s standing on the scene.

At the time, Hancock’s ground-breaking, electric Mwandishi ensemble broke up due to financial constraints. Hancock began to regroup a smaller, funkier ensemble and hired Jackson. Hancock initially had Harvey Mason for the drum chair, but his work constraints wouldn’t allow him to join. Jackson recommended Clark for the group and the Headhunters were born.

Clark’s tenure with Hancock and the Headhunters broke the drummer into the jazz consciousness and allowed him to do some revolutionary things on his instrument. Eventually, the pull of acoustic jazz playing was too much for Clark to deny and he settled in New York City and joined its incredible jazz scene. Clark remains indebted to Hancock for opening the door to a wider audience. Hancock also introduced Clark to the study of Buddhism.

Though he was known for his association with some of Hancock’s funkiest music, it was the sophisticated contemporary sounds of Hancock’s 1960s Blue Note recordings that Clark appreciated most. Clark knew that if he recorded any of his former boss’s music, it would be these pieces that he would love to take on.

Once Clark decided he wanted to go for the project, he knew just the musicians he would incorporate in a trio. Bassist Leon Lee Dorsey and pianist Jon Davis have been longtime collaborators, open to any stylistic challenge and, mostly importantly, they always swing. It just so happened that Dorsey had studio time available at Manhattan Sky Studio in New York City at the beginning of June 2022, where the trio convened and recorded a program of Hancock tunes in one or two takes, apiece.

The pieces the trio selected for the recording were pared down from a longer list of pieces they considered. Interestingly, the majority of the pieces come from Hancock’s mid to late 1960s releases on Blue Note, the outliers being “Empty Pockets” from 1962 and Buster Williams’s “Dual Force (Firewater)” from Hancock’s The Prisoner.

The recording begins with a stately version of “Toys,” Davis taking a sweeping approach on the classic from Hancock’s 1968 album, Speak Like a Child, that Clark has been playing since he was a teenager. From the same album, “Speak Like a Child,” is a gorgeously insistent piece that seems to play itself. Buster Williams’s grooving “Dual Force” provides a fantastic harmonic bed for the trio to explore. Davis’s brave suggestion to perform the highly played chestnut “Dolphin Dance” as a ballad stimulated the trio into a unique and wonderful performance.

Hancock’s “The Sorcerer” was another piece that Clark just had to play on the recording because of its sophisticated, harmonic approach. Composed for the 1980 movie Round Midnight, Stevie Wonder and Hancock’s “Chan Song” is reborn with a shuffle arrangement at the suggestion of Davis, harking back to Clark’s days of playing with blues legends during a period in Texas. The original Takin’ Off version of “Empty Pockets” remains a Clark favorite and he finds himself swinging like his hero, Billy Higgins, on the trio’s updated take. The recording concludes with “Actual Proof,” a piece that Clark provided the original drum beat on for Thrust. Here the trio takes another approach, stripping the piece down, making it more conceptual and angular.

The singular experience that Mike Clark received playing with Herbie Hancock does not outweigh the influence of the legendary pianist’s compositional gifts to Clark’s musical world. The great drummer chose to honor Hancock by playing pieces that continue to inspire him on his new Mike Clark Plays Herbie Hancock.

Personnel: Mike Clark - drums; Jon Davis - piano; Leon Lee Dorsey - bass

Mike Clark Plays Herbie Hancock

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