Charles Davis & The Cedar Walton Trio - Blue Gardenia

Styles: Saxophone And Piano Jazz
Year: 2003
Time: 46:09
File: MP3 @ 320K/s
Size: 106,6 MB
Art: Front

(5:30) 1. A Beautiful Friendship
(6:29) 2. Texas Moon
(5:27) 3. Bossa Joe
(5:48) 4. Stranded
(6:11) 5. Shadow Of The Sunset
(5:57) 6. Sabia
(4:38) 7. Blues For Yahoo
(6:06) 8. Blue Gardenia

Charles Davis- baritone saxophone, tenor saxophone; Cedar Walton- piano; Peter Washington- bass; Joe Farnsworth- drums.

Baritone saxophonist Charles Davis started out with Sun Ra in the early 1950s. Along the way, he’s paid his dues in the big bands of Clark Terry, Thad Jones/Mel Lewis, Illinois Jacquet and Lionel Hampton. He first played “Blue Gardenia” with Dinah Washington in the late ‘50s. As a leader, he’s only issued a few recordings: Dedicated To Tadd (West 54, 1979), Super 80 (Nilva, 1982), and Reflections (Red, 1990).

Now 70, Davis continues to exercise his instrumental voice as soloist; this time out he employs a 50-50 balance between baritone and tenor. The leader’s solo saxophone voice stands sweet and melodic, but the session turns uneven in places due to a few slips of pitch control on baritone. Cedar Walton, Peter Washington and Joe Farnsworth do more than their share to make up for it with a hands-down rock-solid foundation for each piece. On tenor, Davis sends a lovely melodic message that calls upon his vast experience for flavor. “Texas Moon” recalls time he’s spent on the road with Hank Crawford, while “Blues for Yahoo” moves more in the hard bop direction of New York City. Yahoo is the producer’s dog, who must have inherited Charlie Parker’s up-tempo grit. Either that, or he simply reminded Davis of Bird’s unique soul. Blue Gardenia, a solid straight-ahead album, swings with tradition and a true, blues-based spirit.By Jim santella

Blue Gardenia

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Gary Bartz Quintet - West 42nd Street

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 68:47
Size: 158,4 MB
Art: Front

( 8:51) 1. West 52nd Street
(19:10) 2. Speak Low
(11:45) 3. Its Easy to Remember
(10:02) 4. Cousins
(18:56) 5. The Night Has a Thousand Eyes

After a long period of indifferent recordings, altoist Gary Bartz started to fulfill his potential in the early '90s. Joined by a superb rhythm section (comprised of pianist John Hicks, bassist Ray Drummond, and drummer Al Foster) and trumpeter Claudio Roditi (whose restrained power complements rather than competes with Bartz), the altoist really stretches out, particularly on "Speak Low" and "The Night Has a Thousand Eyes" which both clock in at within seven seconds of 19 minutes apiece. Bartz is quite lyrical on a superior version of "It's Easy to Remember" and also takes inventive solos on his modal blues "Cousins" and Wilbur Harden's "West 42nd Street." A highly recommended.By Scott Yanow https://www.allmusic.com/album/west-42nd-street-mw0000073378

Personnel: Saxophone [Alto, Soprano] – Gary Bartz; Bass – Ray Drummond; Drums – Al Foster; Flugelhorn, Trumpet – Claudio Roditi; Piano – John Hicks

West 42nd Street

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Cecilia Coleman Big Band - Oh Boy!

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 59:08
Size: 135,8 MB
Art: Front

(5:19)  1. Liar, Liar
(5:25)  2. Dance
(5:09)  3. Pearl
(6:44)  4. Magpie
(4:08)  5. Walk Away
(9:52)  6. Lonesome Journey
(5:22)  7. Oh Boy!
(3:19)  8. Until Then
(4:44)  9. Princess
(4:03) 10. #1
(4:58) 11. Because

The phrase "Oh boy," can be a statement of excitement, an expression of an event that grabs your attention or, in this case, an appropriate reaction to the swinging orchestrations from the Cecilia Coleman Big Band. Oh Boy! is a powerful draw and the debut album from pianist/composer Coleman's new group, presenting thundering big band music of a contemporary nature. Best known for her various working quintet's that have produced five albums since 1992, Coleman formed the group in January 2010 after writing several big band charts for others which in turn, inspired a rehearsal band of her own. No novice to the large ensemble setting, the pianist previously recorded with the Mark Masters Ensemble of the American Jazz Institute. Though a longtime resident of New York City, Coleman is actually a native of Long Beach, CA, where she commutes regularly to teach at California State University at Long Beach. The Coleman band consists of friends and other musicians she has worked with since 1999, and boasts some of the finest players from the New York area. With renowned saxophonists Peter Brainin and Bobby Porcelli among the mix of musicians that also includes tenorist Stan Killian trombonists Matt McDonald, Sam Burtis and Broadway trumpeter Jeff Wilfore.

Playing a few simple bars and disguising what's to come, Coleman introduces "Liar, Liar," a truthfully explosive piece featuring Frank Basile' s blistering baritone saxophone solo, to brassy accompaniment. The enthralling "Dance" follows with the same electricity, delivering another forceful statement and readily affirming the album's muscular sound. "Magpie" is a sprawling, melody-rich sweet tune, with pronounced voices from the reeds and horns in a more mid-tempo arrangement. "Lonesome Journey" is the project's most sophisticated and ambitious piece, containing its share of twists and turns throughout the almost ten-minute duration. The title track reveals the swinging upbeat and lively texture that made it the disc's natural title choice. All is not swing however, as the balladic "Until Then" and the lightly-structured "Because" offer a departure from the main thrust of the album, as well as featuring brief but sparkling solo work from the pianist. Cecilia Coleman never set out to become a big band leader, stating that it was "never a dream of mine to have a big band," but the Cecilia Coleman Big Band is her new reality and Oh Boy!, what a swinging affair, this very first recording effort turns out to be. This is classic big band music infused with a bolt of raw energy and mounds of excitement.By Edward Blanco http://www.allaboutjazz.com/oh-boy-cecilia-coleman-self-produced-review-by-edward-blanco.php

Personnel: Cecilia Coleman: piano; Tim Givens: bass; Jeff Brillinger: drums; Peter Brainin: soprano saxophone; Bobby Porcelli: alto saxophone, flute; Stephan Kammerer: alto saxophone, flute; Geoff Vidal: tenor saxophone; Stan Killian: tenor saxophone; Frank Basile: baritone saxophone; Jeff Wilfore: trumpet; Hardin Butcher: trumpet; Kerry Mackillop: trumpet; John Eckert: trumpet; Don Sickler: trumpet (4); Matt McDonald: trombone; Mike Fahn: trombone; Sam Burtis: trombone; Joe Randazzo: trombone.

Oh Boy!

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Carol Welsman - Inclined

Bitrate: 320K/s
Time: 48:33
Size: 111.2 MB
Styles: Vocal jazz
Year: 1997
Art: Front

[3:45] 1. Beyond The Sea
[4:58] 2. Samba De Uma Nota So
[4:56] 3. Fever
[6:27] 4. La Fiesta
[5:58] 5. Inclined
[5:30] 6. I'll Be Around
[4:19] 7. Fais Comme L'oiseau
[5:20] 8. Wings To Fly
[6:38] 9. New Day
[0:38] 10. Twinkle Twinkle Little Star

It's getting harder and harder to break into the overcrowded jazz recording scene, and for a young vocalist, the odds must seem especially daunting. With ingenue Diana Krall already making waves, and audiophile favorites Holly Cole and Cassandra Wilson selling recordings in great numbers, even a great talent such as Carol Welsman must have felt the odds against her. Through the formation of welcarmusic, she did what many fine and versatile musicians are turning to self-promotion. With the quality and presentation of her second album, Inclined, Carol Welsman has succeeded brilliantly.Carol has a beautiful and accurate voice which is sensitive to the various styles that she presents on her album. With the first track, Carol literally blows through the speakers, singing an up-tempo version of My Favorite Things. It sets a high standard of what is to follow. Other vocal highlights include Carol's gentle version of the One Note Samba - underlying her gorgeous vocal with unfailingly beautiful piano work. She sings a downright erotic version of Fever, with sophisticated changes that help erase some of the more unsavory covers I have heard. Also included is a stunning version of Alec Wilder's, I'll Be Around, and a particularly Spanish version of Chick Corea's, La Fiesta. Carol is fluent in French and Italian, and with her fluency in French, she beautifully interprets Fais Comme L'Oiseau. With all the performances, there are none of the feelings of embarrassment that come with the affectations of so many jazz singers. Carol's intuitive style suffers none of that nonsense. Her songs are very well chosen, showcasing her diction and exemplary breath control, and give the listener insight into the wonderful lyrics. This is the real power of a communicator, and Carol Welsman has it in spades.

Carol has surrounded herself with excellence. The accompaniment work, from Toronto jazz and session virtuosi, is wonderful. They support her throughout, with very tasteful solos and a rock-solid rhythmic foundation. The solos by sax-player Phil Dwyer and flugelhorn-master Guido Basso are, in turn, swinging, subtle, and beautiful. Listen to the amazing Basso and his perfectly chosen notes in I'll Be Around. It just doesn't get any better! The rhythm section, even with slight changes in personnel from song to song, is remarkably consistent. Their playing demonstrates a difficult and under-appreciated art, while complimenting the swing and subtlety of Carol's interpretations.

The recording is warm, yet punchy, and allows the rhythmic complexities to come through. Where it really shines is in capturing the true beauty of Carol Welsman's voice. Changes in tessitura, subtle inflections, and the honesty with which she sings the lyrics will not go unnoticed. The quality of the songs on the album speaks for itself. Unfortunately, Carol's three original numbers, while very pleasant, may not sustain interest on repeated hearings. What did grip, however, was her arrangement of Twinkle Twinkle Little Star - not a tune that readily comes to mind for a sophisticated jazz treatment! She does her great arrangement so beautifully that I predict your repeat button will get some serious wear. The "401 Singers" add the perfect backdrop to Carol's stunning vocal. With this song, "simple elegance" is the phrase that comes to mind. Rhythm is integral to the musical success of a jazz album, and, as producer, Gord Sheard allows rhythmic energy to invade the recording. With this conception, he does Carol Welsman (who also co-produces) and her colleagues proud. As listener, you will be touched by the beauty of Carol's voice, and as participant, your fingers will be snapping in all tempos. What more could you ask for? By Anthony Kershaw

Carol Welsman - Piano/Vocals; George Koller, Colin Barrett, Danny Columby - Bass; Mark Kelso - Drums; Rob Piltch, Kevin Breit, John Findlay - Guitars; Phil Dwyer - Soprano/Tenor Saxophones; Al Heatherington, Brian Leonard - Percussion; Synthesizers - Gordon Sheard.

Inclined

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