Grant Stewart - Young At Heart

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:59
Size: 127,0 MB
Art: Front

(7:59) 1. Young At Heart
(8:36) 2. You're My Thrill
(6:13) 3. Roll On
(5:41) 4. Shades Of Jackie Mac
(7:00) 5. Repetition
(6:47) 6. Serenade To Sweden
(6:49) 7. Modinha
(5:52) 8. Jet Stream

Since moving from Toronto to New York at age 19, Grant Stewart has spent 15 years dutifully toiling in the city's jazz underground. Only over the past few years have we begun to hear some worthy examples of the tenor saxophonist's labor a release under his name for Criss Cross, a pair on the same label by Reeds and Deeds (a band he co-leads with Eric Alexander), and a couple on the Video Arts imprint. Although all of these discs are worth your discretionary income and time, 2007's In the Still of the Night (Sharp Nine) was a career-defining recording. From shrewd choices in material, a crack rhythm section, to Stewart's glowing solos, it was one of those rare instances in which everything came together in a near perfect manner. Sharp Nine owner/producer Marc Edelman wasted no time getting Stewart back in the studio, and he wisely decided there was no need to retool a winning formula. On Young at Heart, once again, Stewart is joined by pianist Tardo Hammer, bassist Peter Washington, and drummer Joe Farnsworth. The record is every bit as good as its predecessor in part because of Stewart's ability to sound at ease and establish his own identity on different kinds of material and at various tempos. There's stability and depth to his playing that sets him apart from a host of well-known, thirty-something tenor stylists who blow convoluted to a fault.

The tenor saxophonist's thoughtful interpretations of songs by Duke Ellington, Antonio Carlos Jobim, Neal Hefti, and others are complete in themselves. He lingers on the melodies instead of merely using them as a springboard for improvisation. Throughout the head of the title track, for example, Stewart deliberately moves thorough Hammer's lively accompaniment. A subdued rendition of "You're My Thrill" conveys a quiet resignation. Stewart's style of improvising is fresh, uncluttered, and cliche free. On medium and up tempo tracks like "Roll On," "Serenade to Sweden," "Shades of Jackie Mac," and "Jet Stream," he invariably plays a steady, evenly paced stream of ideas. One favorite device is burrowing into the rhythm section's thrust for an extended period before briefly easing up and gliding over them. Throughout the ballad "Modinha," Stewart's gift for spontaneous melodic invention is more pronounced, and so is his dramatic range. At one important juncture, he falls silent for what feels like an eternity before reaching a brief climax.By David A. Orthmann
https://www.allaboutjazz.com/young-at-heart-grant-stewart-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Grant Stewart: tenor saxophone; Tardo Hammer: piano; Peter Washington: bass; Joe Farnsworth: drums.

Young At Heart

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Alex Sipiagin - Moments Captured

Styles: Trumpet Jazz
Year: 2017
Time: 65:38
File: MP3 @ 320K/s
Size: 151,0 MB
Art: Front

(11:09) 1. Evija Bridge
(10:02) 2. Moments from the Past
(10:07) 3. Unexpected Reversal
(11:00) 4. Blues for Mike
( 5:16) 5. Breeze
( 8:39) 6. Bergen Road
( 9:22) 7. Dream

Trumpeter Alex Sipiagin's 12th outing as a leader for the esteemed Criss Cross label finds him returning to the three-horn front line format that he previously explored on the masterful "Destinations Unknown" (Criss Cross, 2011). Returning from that date are tenor giant Chris Potter and the unrelentingly groovy Eric Harland on drums. David Binney is Sipiagin's usual choice of alto players, (having appeared on three of his previous releases,) however this time around Will Vinson completes the horn section on alto sax. The remaining rhythm section roles are filled by keyboardist John Escreet and bassist Matt Brewer, both of whom are heard on electric and acoustic instruments and previously appeared on Sipiagin's 2015 release, "Balance 38-58."

This new music once again reinforces Sipiagin's status as one of jazz's top small group composers, with his distinctive style of intricate, knotty counterpoint, but with this release he explores new sounds within his compositional concept through Escreet's use of the Prophet 6 synthesizer. The instrument's importance in the music is immediately apparent on the opening track, "Evija Bridge." Beneath the complex and rhythmically-shifting horn line, Escreet adds further motion to the piece with wobbling chords from the synth and an extra layer of sound when the composition eventually gives way to a brief, but chaotic improvised section. After nuanced solos by Sipiagin and Vinson a written interlude leads into an astonishing solo from Potter. The solo is notable not only for Potter's signature crafty melodic playing, (which fans of his have come to expect,) but also for the fact Escreet doubles Potter's solo on synth via overdub. As David Adler points out in the excellent liner notes, this choice turns the improvised solo almost into a part of the composition itself, functioning rather like a soli in a big band chart.

Sipiagin adds another new element to his music in the form of Russian vocalist Alina Engibaryan, who contributes and performs the lyrics to the delicate and beautiful title track. The piece is a surprisingly simple ballad and once again features an interesting array of sounds from Escreet's synths. Engibaryan also appears on "Breeze," this time with wordless vocals reinforcing the main melody. The track is yet another interesting departure for Sipiagin in that there are no solos. Instead, the through-composed piece slowly builds with intricately woven horn lines that intersect with the tight, but restrained groove of the rhythm section, forming a subtly shifting and carefully balanced arc.

Many of the compositions mark an interesting step forward for Sipiagin, but there are still firm ties to his post-bop roots. "Bergen Road" finds the sextet on all acoustic instruments for the duration, and most recalls the intense post-bop compositional style and thrilling interplay of "Destinations Unknown." "Mike's Blues," is perhaps the best mix of old and new, with Escreet sounding off on acoustic piano and synthesizers. Sipiagin notes that the only real relation the tune has to a blues is its 12 bar form, and explains that the melody was built around a single phrase from one of Michael Brecker's solos. It is fitting then, that Potter is the first to solo, as he is considered by many to be the spiritual successor to Brecker, and he certainly lives up to that consideration with one of his finest solos on the record.

Overall the album is an interesting and largely very successful step forward for one of jazz's premier composers and improvisers. The Prophet 6 synthesizer offers a limitless range of new textures and colors that Sipiagin seamlessly incorporates into his established compositional palette and further augments the music with occasional vocals. The inclusion of lyrics in only one track feels slightly out of place in the context of the mostly instrumental and conceptually abstract nature of the rest of the music, but as a whole the album is an interesting new perspective on Sipiagin's distinctive compositional style.By Andrew Luhn
https://www.allaboutjazz.com/moments-captured-alex-sipiagin-criss-cross-review-by-andrew-luhn

Personnel: Alex Sipiagin: trumpet, flugelhorn; Will Vinson: alto sax, soprano sax; Chris Potter: tenor sax; John Escreet: Prophet 6 synth, Fender rhodes, piano; Matt Brewer: bass, electric bass; Eric Harland: drums; Alina Engibaryan: vocals

Moments Captured

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Diane Reeves - New Morning

Styles: Vocal Jazz
Year: 1997
Time: 74:36
File: MP3 @ 320K/s
Size: 172,0 MB
Art: Front

( 2:41) 1. Endangered Species
( 5:26) 2. Old Souls
( 8:38) 3. Body And Soul
( 7:45) 4. Yesterdays
( 5:57) 5. Love For Sale
( 5:58) 6. Nine
( 8:48) 7. Comes Love
( 7:49) 8. Both Sides Now
(11:22) 9. Nothing Will Be As It Was
(10:08) 10. Summertime

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film's soundtrack.

Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD's I've heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical celebration of Nina Simone which also featured Lizz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama's State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and the Juilliard School.In 2018 the National Endowment for the Arts designated Reeves a Jazz Master the highest honor the United States bestows on jazz artists.
https://www.allaboutjazz.com/musicians/dianne-reeves

New Morning

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Cory Weeds - Home Cookin'

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 39:19
Size: 90,7 MB
Art: Front

(5:35) 1. Home Cookin'
(5:00) 2. Corner Kisses
(6:02) 3. Blossoms In May
(5:06) 4. Power Station
(5:03) 5. Thedia
(5:36) 6. Lullaby Of The Leaves
(6:54) 7. Metamorphosis

Cory Weeds a prominent figure in the contemporary jazz scene, has made a remarkable statement with his Little Big Band's latest album Home Cookin'. The session showcases a vibrant collection of compositions/arrangements carefully curated to resonate with his personal journey, including those by Horace Silver, Thad Jones and Oliver Nelson, which are essential to him for a variety of reasons. The band comprises ten of his favorite world-class Vancouver, BC-based musicians.

These previously mentioned influential tracks have been ingeniously adapted to harmonize flawlessly within the intimate framework of the little big band format, beginning with Horace Silver's composition and title track, "Home Cookin." This stylish swinger arranged by Jill Townsend touches all the bases with subtly illustrated music driven by tight ensemble playing interspersed with solid solos from Weeds on tenor sax and Steve Kaldestad alto sax. The other Silver original is "Metamorphosis," on which Townsend has again developed an engaging harmonic chart that shows an understanding of the intricacies of Silver's style, propelled by the drumming of Jesse Cahill. Weeds and Kaldestad are the principal go-to soloists, with baritone saxophonist Dave Say coming along, stuffing his notes with weight and force.

Bill Weeds (Cory's father) wrote the composition "Corner Kisses," and it is a burner with the chart by Bill Coon. Weeds again shows he is an audacious saxophonist, with pianist Chris Gestrin exhibiting resourcefulness in his solo. "Power Station," composed and arranged by pianist Micheal Weiss, is a bouncy number that seems to fit perfectly with a small band as it has an engaging contemporary flair. Both Weeds and Gestrin fill the solo space with new angles of engagement. Thad Jones' composition is entitled "Thedia," and it comes to life with a chart by Bill Coons and Jill Townsend, adding extra depth to the album. Weeds uses the occasion to demonstrate his versatility and his ability to integrate his tenor voice into the little big band sound.

The closer is "Lullaby of the Leaves," arranged initially by Oliver Nelson but adapted and transcribed for the band by Fred Stride. In this wonderfully crafted arrangement, Weeds is out front, flexing his powers and a bustling declaratory spirit. Gestrin's interjection shows he is a compatible and estimable pianist. The album is a testament to the talent of Cory Weeds and his Little Big Band.
By Pierre Girou https://www.allaboutjazz.com/home-cookin-cory-weeds-cellar-music-group

Personnel: Cory Weeds - tenor saxophone; Chris Gestrin - piano; John Lee - bass; Jesse Cahill - drums; Steve Kaldestad - lead alto; James Danderer - tenor saxophone; Dave Say - baritone saxophone; Brian Harding - trombone; Jim Hopson - trombone; Brad Turner - trumpet; Chris Davis - trumpet

Home Cookin'

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