Aaron Goldberg - The Now

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 53:21
Size: 123,8 MB
Art: Front

(6:47)  1. Trocando Em Miudos
(5:02)  2. Yoyo
(5:02)  3. The Wind In The Night
(2:47)  4. E-Land
(5:17)  5. Perhaps
(4:55)  6. Triste Baía Da Guanabara
(2:48)  7. Background Music
(6:22)  8. Francisca
(6:16)  9. One's A Crowd
(8:00) 10. One Life

Hailed by Down Beat magazine for his quick-witted harmonic reflexes, fluid command of line and cut-to-the-chase sense of narrative logic, Aaron Goldberg has made his name as one of jazz s most compelling pianists, both as a bandleader and frequent collaborator with Joshua Redman, Wynton Marsalis, Kurt Rosenwinkel, Guillermo Klein and many more. On his new release The Now, Goldberg reunites with bassist Reuben Rogers and drummer Eric Harland, the virtuoso rhythm team going all the way back to his 1998 debut Turning Point. On their fifth outing together, the trio foregrounds a central truth about the art of playing jazz: that no two performances will be the same because the music is created, in Goldberg s words, in the dynamic plane of the present.

A jazz record is literally one moment in time, Goldberg explains. Each song captures those five minutes, and not more. This is especially counterintuitive when you think about iconic jazz recordings like Kind of Blue, where we can all sing every solo. That record would sound totally different, we d all be singing different solos, if it d been recorded five minutes later or even five seconds later. That aspect of jazz is what makes it magical for me. I think every time you make an album you contribute to this illusion that jazz operates like other forms of music, where you figure out the song, you practice it, you play it a million times, then you record the definitive version. Jazz doesn t work like that, and I felt it was time to explicitly wrestle with this in some thematic way. In every idiomatic zone from Brazilian ballads to roaring bebop, Goldberg and the trio have a way of spontaneously sculpting every bar as it flows by, like a wave on a river. That Rogers and Harland have also spent the last few years working with master saxophonist Charles Lloyd has deepened their communication and subtlety beyond measure. With Goldberg, they revel in the lesser-explored corners of jazz repertoire, bringing wit, explosive chops and also keen understatement to bear on the music at hand.~ Editorial Reviews http://www.amazon.com/The-Now-Aaron-Goldberg/dp/B00OUGOE1Q

The Now

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Aaron Goldberg - Unfolding

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 48:29
Size: 111,5 MB
Art: Front

(6:47)  1. Sea Shantey
(4:44)  2. Isabella Meets Wally
(5:09)  3. If and Only If
(6:36)  4. You Are the Sunshine of My Lif
(1:18)  5. Todd's Dream
(6:19)  6. P.B. & J.
(4:14)  7. MAO's Blues
(5:40)  8. Second Chance
(7:39)  9. Equinox

I’ve heard a number of masterful young pianists recently, and here’s another one. Like any perceptive keyboard artist, Aaron Goldberg writes poetry with his fingertips, evoking the same feelings of warmth and desire, sadness and joy that are common to the written or spoken word. Unfolding, Goldberg’s second J Curve album, consists of seven of his compositions, John Coltrane’s “Equinox” and Stevie Wonder’s “You Are the Sunshine of My Life.” It’s a picturesque and eventful journey on which he’s accompanied and inspired by longtime friends and associates Reuben Rogers (bass) and Eric Harland (drums). Goldberg, as we observed in a review of his first album, Turning Point, “plays with remarkable maturity and insight for one so relatively young” (he’s still in his mid–20s)  and it should be noted that he writes that way too; his compositions are as bright and sophisticated as they are charming and accessible. They include ballads (“If and Only If,” the brief but lovely “Todd’s Dream,” “Second Chance”), blues (“Isabella Meets Wally,” “MAO’s Blues”) and captivating tone poems (“Sea Shantey,” “P.B. & J.”). Goldberg does “wonders” with “Sunshine,” approaching the familiar melody from an acute angle before turning it into a quasi–bossa, while “Equinox,” the “first payment in an eternal debt to the composer,” is treated respectfully, almost reverentially, which is as it should be.

Rogers has a tasteful solo there, as he does on “Isabella Meets Wally,” while Harland unlimbers the heavy artillery to converse with Goldberg on “MAO’s Blues.” When not soloing, Rogers and Harlend give Goldberg a spacious comfort zone in which to maneuver, and there are no audible lapses by any of them. As was the case with Turning Point, the studio session is quite well recorded with remarkable clarity and balance, but the 48:24 playing time is less commendable. Aside from that small complaint, a marvelous second album by an exceptionally talented young musician.

By Jack Bowers https://www.allaboutjazz.com/unfolding-aaron-goldberg-j-curve-records-review-by-jack-bowers.php

Personnel: Aaron Goldberg: piano; Reuben Rogers: bass; Eric Harland: drums.

Unfolding

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Aaron Goldberg - Worlds

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 59:13
Size: 136,1 MB
Art: Front

( 8:05)  1. Lambada de Serpente
( 8:31)  2. Taurus
( 2:27)  3. Kianda's Song
( 5:05)  4. Unstablemates
( 5:10)  5. Modinha
( 5:28)  6. Salvador
( 4:26)  7. Oam's Blues
( 6:57)  8. Inutil Paisagem
(11:01)  9. Oud To Omer
( 1:58) 10. Between Worlds

Man, am I glad that pianist Aaron Goldberg and I never tried to apply for the same job. I'm not a musician, but you should see this guy's CV. While he was double-majoring at Harvard in history and science plus mind, brain and behavior, he was working with Betty Carter, gigging weekends in Boston and winning all kinds of awards, including the formidable-sounding Clifford Brown/Stan Getz Fellowship. After graduation (magna cum laude), he moved to New York and played with a bunch of top names, among them Joshua Redman. What next? Goldberg was a member of Wynton Marsalis's quintet and the Lincoln Center Jazz Orchestra. Ah, well, now we're onto something: he's one of those young fogeys, all chops and no soul. But, you know, the problem with this critique of the young conservatives is that, sure, Stanley Crouch (an intellectual guru to some) can be a pompous ass, but most of the players are damn good and indeed quite soulful. (And don't misunderstand me, Mr. Crouch: I mean that you are an often brilliant pompous ass.)
So, what about Worlds, Goldberg's third recording as leader? Is he stuck in the past? It's true that, listening to this album, you might think history had stopped with Everybody Digs Bill Evans. But for as long as the record is playing, these guys will have you convinced that maybe history should have stopped in 1958. Goldberg's playing is just delectable from start to finish. Admirers of Cecil Taylor or Marilyn Crispell might feel a kind of guilty pleasure digging his apparently retrograde style, but no guilt is necessary, and there's nothing retrograde about the style, either. The upside of the postmodern character of contemporary jazz is that all these stylistic strata can be sampled simultaneously. If you value the great piano trios, of which Evans's was surely the avatar, then go ahead and wallow in this trio's mastery of the idiom. And Goldberg's embrace of explicit and implicit Brazilian references contributes mightily to the unity and exuberance with which that mastery is expressed.

An essential ingredient in this record's success is the endlessly inventive interplay among the trio members: bassist Reuben Rogers and especially drummer Eric Harland play just as well as the leader, reminding us of the critical role played by bassists and drummers in great piano trios of times past. (Their CVs are not included in the press kit, but I'm reasonably confident that between them they hold a couple of biotechnology patents and/or Ivy League diplomas.) Plenty of young players are remarkably good sidemen, but it's relatively unusual that so young a leader can convey and communicate so coherent a musical vision over the length of an album. ~ Jeff Dayton-Johnson http://www.allaboutjazz.com/worlds-aaron-goldberg-sunnyside-records-review-by-jeff-dayton-johnson.php

Personnel: Aaron Goldberg: piano; Reuben Rogers: bass; Eric Harland: drums; Luciana Souza: vocals (3); Kurt Rosenwinkel: guitar (9).

Worlds

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Aaron Goldberg - At the Edge of the World

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 46:03
Size: 106,1 MB
Art: Front

(5:47)  1. Poinciana
(4:50)  2. Luaty
(5:20)  3. Isn't This My Sound Around Me
(8:22)  4. When You Are Near
(5:25)  5. Effendi
(4:26)  6. En La Orilla Del Mundo
(5:34)  7. Black Orpheus (Manhã De Carnaval)
(6:15)  8. Tokyo Dream

In a departure from his longstanding trio with Reuben Rogers and Eric Harland, virtuoso New York jazz pianist Aaron Goldberg ventures into new territory, luring idiosyncratic drummer/percussionist Leon Parker back from self-imposed obscurity in France. Together with bassist Matt Penman, Goldberg and Parker lead off with the Ahmad Jamal signature piece “Poinciana” and immediately make it their own, not least of all through Parker’s unique “embodirhythm” practice (percussion played literally on one’s body). 

Through selective use of body rhythm, vocal percussion, and a scaled-down drum set, Parker activates sonic and rhythmic possibilities that Goldberg seizes upon, whether they’re playing classics by McCoy Tyner (“Effendi”) and Bobby Hutcherson (“When You Are Near,” “Isn’t This My Sound Around Me”), Cuban and Brazilian gems, or sparkling originals by Goldberg himself (“Luaty,” “Tokyo Dream”). ~ Editor's Note https://itunes.apple.com/us/album/at-the-edge-of-the-world/1437570153

Personnel:  Piano – Aaron Goldberg;   Bass – Matt Penman;  Drums, Vocal Percussion – Leon Parker 

At the Edge of the World

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Aaron Goldberg - Turning Point

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 54:47
Size: 126,4 MB
Art: Front

(6:01)  1. Fantasy in D
(7:37)  2. Turning Point
(6:23)  3. Turkish Moonrise
(6:13)  4. Jackson's Actions
(7:39)  5. The Shadow of Your Smile
(6:12)  6. Con Alma
(6:14)  7. Head Trip
(8:24)  8. Mom's Tune

A beautifully recorded session that really percolates. This is essentially a quartet date (Goldberg, Turner, Rogers, Harland) with Josh Redman sitting in for Turner on “The Shadow of Your Smile,” Cook adding wordless vocals on “Fantasy in D” and “Mom’s Tune,” and Kalé making it a quintet on “Jackson’s Actions.” There’s one trio track, Dizzy Gillespie’s luminous “Con Alma,” and Goldberg moves to Fender Rhodes on “Jackson’s Actions” and “Mom’s Tune.” Goldberg, a protégé of Betty Carter who turns 25 this month, plays with remarkable maturity and insight for one so relatively young. For comparison’s sake only, he reminds me of Benny Green, whereas Turner brings to mind Joe Henderson. One has the feeling when listening to Goldberg that while the building blocks are firmly in place, he’s flying by the seat of his pants, and it’s that sense of spontaneity and surprise which frames the core of Jazz, after all  that makes what he has to say so consistently absorbing. He’s a capable writer too, and that’s a good thing, as five of the selections on Turning Point are his including the lovely ballad “Turkish Moonrise,” the quirky “Head Trip” and easygoing “Mom’s Tune.” Johnny Mandel wrote “Shadow of Your Smile,” Cedar Walton the picturesque “Fantasy in D.” Rogers and Harland were new names to me, but they’re a solid yet unassuming duo, and based on this performance we should be hearing much more from them. Redman’s name, on the other hand, is well known in Jazz circles, his reputation is widening, and it says something for Goldberg’s talent that he’s now a member of Redman’s working quartet. But a more convincing snapshot of that blossoming talent is embodied within this album, which marks an impressive debut for an up and coming young Jazz artist. ~ Jack Bowers https://www.allaboutjazz.com/turning-point-aaron-goldberg-j-curve-records-review-by-jack-bowers.php

Personnel: Aaron Goldberg: piano, Fender Rhodes electric piano (4, 8); Mark Turner: tenor saxophone; Joshua Redman: tenor saxophone (7); Reuben Rogers: acoustic bass; Eric Harland: drums; Carla Cook: vocals (1, 8); Karsh Kale: tablas (4).

Turning Point

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Jimmy Greene - Brand New World

Styles: Saxophone And Flute Jazz 
Year: 1999
File: MP3@320K/s
Time: 62:15
Size: 143,2 MB
Art: Front

(4:01)  1. Humpty Dumpty
(6:13)  2. Brand New World
(6:54)  3. Arise!
(8:29)  4. Renée
(6:39)  5. Mr. McLean
(6:48)  6. Never Let Me Go
(7:29)  7. Godsend
(8:10)  8. Dream, Little Boy, Dream
(7:29)  9. Darn That Dream

You may have caught some late night jazz at Small’s in New York’s Greenwich Village a few years ago and heard tenor saxophonist Jimmy Greene. You wondered who is this guy? Maybe you picked up the Live At Birdland disc last year to check out the new talent. Again Greene was front and center. I first heard rumor of the wonderkin, then was thrilled by him on trumpeter Darren Barrett’s First One Up (J Curve). The pair reminded me of early Wynton and Branford Marsalis band, which of course reminds us of the classic hard bop bands of Miles, Blakey, and Lee Morgan. Also released late last year was the surprisingly fresh Horace Silver disc Jazz Has A Sense Of Humor (Verve) where both Silver and Greene thrilled old time fans of the pianist. Greene, at the ripe age of 24 makes his debut as leader. His background and tutelage under Professor Jackie McLean since age 15 spawns more of that great Jackie Mac sound. In a solid first outing as leader, Greene surrounds himself with graduates of McLean’s bands Eric McPherson (drums) and Steve Davis (trombone) and his musical soulmate Darren Barrett (trumpet). The band opens with Chick Corea’s “Humpty Dumpty,” a burning bop classic, and besides two standards, all the compositions are Greene originals. For a debut, I cannot criticize his choice to follow a bop medium. After all, it was the most revolutionary movement in the short history of the genre. His concession to a “modern” sound was the limited inclusion of an electric Rhodes Synthesizer on “Arise!,” a throwback to the seventies sound of Freddie Hubbard and Joe Henderson. Greene handles a flute and Soprano saxophone with deft touch. I am anxious to follow this young and promising career. ~ Mark Corroto https://www.allaboutjazz.com/brand-new-world-jimmy-greene-rca-victor-review-by-mark-corroto.php

Personnel:  Tenor Saxophone, Flute, Soprano Saxophone – Jimmy Greene; Drums – Eric McPherson; Electric Bass, Acoustic Bass – Dwayne Burno; Percussion – Kahlil Kwame Bell; Piano, Synthesizer – Aaron Goldberg ; Trombone – Steve Davis ; Trumpet, Flugelhorn – Darren Barrett

Brand New World

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Darren Barrett - Deelings

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 57:54
Size: 134,7 MB
Art: Front

(5:47)  1. Creative Locomotion
(6:25)  2. Her Gentle Way
(6:45)  3. Eirlav
(4:06)  4. There Will Never Be Anouther You
(9:49)  5. C Minor Joint
(8:32)  6. Middle East
(7:27)  7. I'm Glad There Is You
(6:37)  8. I Sent the Fax
(2:23)  9. Dee's Theme

You don't have to be signed to Blue Note to embrace a Blue Note type of sound. Take Darren Barrett, for example. Deelings, the trumpeter's second album as a leader, was recorded for the Cincinnati-based J Curve label, not Blue Note. But it is impossible to listen to this post-bop/hard bop CD without thinking of the Blue Note sound of the late '50s and '60s. The writing has a strong Jazz Messengers influence, and Barrett's brassy, big-toned trumpet playing recalls such Clifford Brown-influenced Blue Note trumpeters as Freddie Hubbard and Lee Morgan. The strong Blue Note influence isn't all that surprising when you consider that Deelings was produced by Donald Byrd, who also recorded for Blue Note and was, like Hubbard and Morgan, a Jazz Messenger with a Brown-minded sound. Deelings is hardly groundbreaking, but while Barrett isn't the most original player in the world, the "Young Lion" deserves credit for playing as soulfully as he does. Obviously, the recordings of Brown, Hubbard, and Morgan have made him realize that feeling should be as important to an improviser as technique. Barrett also deserves credit for doing most of the writing himself; the only overdone standards that he embraces on this CD are "I'm Glad There Is You" and "There Will Never Be Another You." The latter has been heard countless times as a high-speed barnburner, but Barrett approaches it as a ballad. Deelings isn't a masterpiece, but it's an enjoyable, if derivative, example of how influential the classic Blue Note sound continues to be. 

~ Alex Henderson https://www.allmusic.com/album/deelings-mw0000587156

Personnel: Darren Barrett- trumpet; Jimmy Greene- tenor saxophone; Aaron Goldberg- piano; Reuben Rogers- bass; John Lankin- drums.

Deelings

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Darren Barrett - First One Up

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 65:30
Size: 152,0 MB
Art: Front

(5:44)  1. First One Up - Take 1
(5:33)  2. Word! Dr. Byrd
(7:59)  3. Impossible
(5:20)  4. 2 to 4
(6:29)  5. Grand Ravine
(6:45)  6. Up Down - Inside Out
(5:11)  7. Conceta Elfreda
(5:41)  8. A New Day Comes
(7:15)  9. Reflections
(6:45) 10. First One Up - Take 2
(2:42) 11. Dee's Theme

This is the debut recording by trumpeter Darren Barrett who in ’97 won the annual international Jazz competition sponsored by the Thelonious Monk Institute. The man clearly has exceptional chops and enthusiasm to match but he leaves an inescapable impression that what is being said has been recited many times before, often with deeper awareness and broader substance. In other words, purposeful as Barrett and his companions are, there’s nothing notably fresh or absorbing in their repertoire, which consists here of eight original compositions by Barrett (“First One Up” is performed twice) and one each by Steve Allen (“Impossible”) and Thelonious himself (“Reflections”). Barrett sounds much like several of his more recent predecessors (Roy Hargrove, Nicholas Payton, Marcus Printup, Terence Blanchard, Wallace Roney and others) with the obligatory nods toward Freddie Hubbard, Donald Byrd, Lee Morgan and other old line boppers. One of the drawbacks is that Barrett’s compositions, while earnest in their intent, haven’t much meat on their bones and thus serve mainly as routine springboards for improvisation. 

Another is that pianist Goldberg could use a more delicate touch to great advantage (and is that him or his piano making those strange noises while he solos?). Barrett’s front line partners, Greene (on eight tracks) and Garrett (on three), are quite capable but stylistically inseparable from many of their contemporaries. Make no mistake, Barrett shows great promise and gives an exceedingly good account of himself throughout, and First One Up may one day be seen in retrospect as the wellspring of an uncommonly productive career. For now, however, we must observe that “promising” is about as suitable a word as discretion will allow. The more acclamatory phrases may come later. ~ Jack Bowers https://www.allaboutjazz.com/first-one-up-darren-barrett-j-curve-records-review-by-jack-bowers.php

Personnel: Darren Barrett, trumpet; Aaron Goldberg, piano; Jimmy Greene, tenor, soprano sax; Kenny Garrett, alto sax (1, 6, 10); Reuben Rogers, bass; John Lamkin, drums.

First One Up

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Eli Degibri Quintet - In The Beginning

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 59:09
Size: 157,2 MB
Art: Front

(6:48)  1. In The Beginning
(6:15)  2. Painless
(5:49)  3. Shoohoo
(8:47)  4. Last Summer
(4:55)  5. Dance Attempts
(3:42)  6. Cherokee
(8:18)  7. Song For Roni
(4:11)  8. All The Things You Are
(5:33)  9. With You
(1:49) 10. With You - Epilogue
(2:58) 11. Fin

Young tenor saxophonist Eli Degibri brings a seasoned and somewhat unique approach to his debut recording, In The Beginning. While it's impressive that the Israeli native performed in circles with names such as Herbie Hancock, Al Foster, and the Mingus Big Band, it is more impressive to hear his own style and development come to the forefront. Paying your dues on the bandstand is one thing but leading a band and creating your own music is quite another. While In The Beginning rings with the familiar Coltrane sound, the music is delivered with thoughtful and refined performances that help to distinguish Degibri from other tenor saxophonists. It's not necessarily the sound of his horn, but more the other aspects of his style which captures attention. Soulful, poignant, and delivered with stark control, Degibri has clearly honed the finer attributes of his instrument. The eleven compositions span a tight area of modern jazz styles. The majestic "In the Beginning" carries a pervasive undulating guitar riff as the tenor sax sings the melody. On "Painless" the rhythm section shines bright as drummer Jeff Ballard and bassist Ben Street support each soloist on the lovely ballad. For those who prefer their post bop with a new outlook, the colorful "Shoohoo" should fit the bill, with its quirky interchanges that spin off some interesting guitar, drum and sax solos.

The recording's sound quality is also a factor: the delicate nuance of each instrument's sound is captured. On the duo "On All the Things You Are," the free-flowing sound of the bass and saxophone are exquisite. Another added element is the skillful presence of notable guitarist Kurt Rosenwinkel, who delivers an array of effects that enhance but never overpower the music. All things considered this is a strong and memorable debut from an emerging artist who warrants a closer listen. ~ Mark F.Turner https://www.allaboutjazz.com/in-the-beginning-eli-degibri-blue-moon-review-by-mark-f-turner.php

Personnel: Eli Degibri: tenor saxophone; Aaron Goldberg: piano; Kurt Rosenwinkel: guitar; Jeff Ballard: drums; Ben Street: bass.

In The Beginning

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Jimmy Greene - Introducing Jimmy Greene

Styles: Saxophone Jazz
Year: 2000
File: MP3@256K/s
Time: 57:44
Size: 106,1 MB
Art: Front

(7:12)  1. No Doubt
(7:47)  2. Con Alma
(6:47)  3. Spring Can Really Hang You Up The Most
(6:06)  4. Nelba's Struggle
(6:26)  5. Re-Affirmation
(8:16)  6. I Love You
(8:47)  7. My Flower
(6:20)  8. Fly Little Bird Fly

Over the years, Criss Cross can be proud of its track record when it comes to fostering new talent and launching new artists. Some of the names who got their start while on the label and who now enjoy active careers include Eric Alexander, Benny Green, Peter Leitch, Kenny Garrett, John Swana, and Jim Rotondi. Now add to that list the name of Jimmy Greene. This graduate of Jackie McLean’s program at the Hartt School and current member of Horace Silver’s quintet actually has the double advantage of having two debut recordings currently on the new release docket, one for RCA and this Criss Cross title that was actually recorded in 1997.  Introducing Jimmy Greene has all the earmarks to suggest that Greene is a new voice that demands our attention, yet I’m sure that he’d freely admit he’s made strides since this set. His bold tone and broad range leads to an almost liquid-like conception that comes through with deceptive ease. He’s not a bad writer to boot and his arrangements here are workmanlike, if not downright catchy. “Con Alma” gets a sprightly treatment not unlike a classic version from Wes Montgomery’s Bumpin’. The standard “I Love You” also gets a new facade via its rich three-horn voicings, although one would have hoped to hear both Swana and Davis utilized more throughout. Greene’s one ballad statement, “Spring Can Really Hang You Up the Most,” is a real beauty, complete with extended cadenza at the close. As for the rest of Greene’s cohorts, Swana and Davis are already well- known, while pianist Aaron Goldberg and bassist Darrell Hall are two up-and-comers. Rounding out the group, Eric McPherson is a fellow Hartt grad that has been tearing things up as of late. Keep an eye and ear out for Greene and these guys, we’re sure to hear a lot from them in the future.~ C.Andrew Hovan https://www.allaboutjazz.com/introducing-jimmy-greene-jimmy-greene-criss-cross-review-by-c-andrew-hovan.php

Personnel: Jimmy Greene- tenor sax, John Swana- trumpet & flugelhorn, Steve Davis- trombone, Aaron Goldberg- piano, Darrell Hall- bass, Eric McPherson- drums

Introducing Jimmy Greene

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Adonis Rose - On The Verge

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 63:03
Size: 144,8 MB
Art: Front

(8:04)  1. Robin In Pink I
(9:18)  2. Liyah's Blues
(9:20)  3. Lies In Beauty
(6:39)  4. Shed
(7:28)  5. Gingerbread Boy
(8:57)  6. Robin In Pink II
(7:40)  7. On The Verge
(5:33)  8. Shades Of Light

While rhythm is as fundamental to mainstream jazz as changes and melody, to denizens of New Orleans it's even more elemental. Drummer Adonis Rose may have left the Crescent City in the wake of Hurricane Katrina, but it hasn't changed the approach he's honed on two previous releases as a leader Song for Donise (Criss Cross, 1998) and The Unity (Criss Cross, 1999). On the Verge brings back three collaborators from these earlier releases trumpeter Nicholas Payton, saxophonist Tim Warfield and bassist Reuben Rogers but Rose changes pianists this time, enlisting the increasingly ubiquitous pianist Aaron Goldberg and a relative newcomer, vibraphonist Warren Wolf (last hear on trumpeter Jeremy Pelt's Identity (MaxJazz, 2005)). The result, while never short on groove, covers considerable dynamic territory rather than being as consistently hard-hitting as one might expect from a drummer-led session. That's not to say there isn't some bodacious energy to be found on this largely original set of eight tunes, featuring four from Rose and one each from Goldberg and Warfield. The fiery 9/8 theme of Rose's modal title track is urgently propelled by Rogers and Rose, who light a serious fire under Goldberg's Tyner-esque solo, Warfield's potent tenor and a vibrant solo from Wolf that suggests, if there's any justice, that he'll be heard more from and soon. Rose takes his most visceral solo of the set over Goldberg and Rogers' ostinato before curiously ending, seemingly in mid-sentence. 

Rose's "Liyah's Blues swings hard, with a straightforward stop/start melody that opens up for strong solos from everyone, but especially Payton, whose tradition-centricity is equally expanded by his forward-reaching ideas, supported and urged on by Rose, Goldberg and Rogers. The shifting tempos and cued sections of an imaginative take on Jimmy Heath's "Gingerbread Boy make it fit within the context of the originals, and breathes new life into this enduring classic. Elsewhere the material ranges from the deceptive simplicity of Warfield's late-night ballad, "Lies in Beauty, to the organic and relaxed 5/4 pulse of Goldberg's "Shed. Two extended versions of Rose's soft but nevertheless rhythmically insistent "Robin in Pink blend the cerebral with passionate understatement, while the set closes with flautist Hubert Laws' "Shades of Light, its gentle Latin vibe acting like a cool-down from the workout of the preceding title track. On the Verge is a down-the-middle set of contemporary straight-ahead jazz that's not likely to shake any foundations or introduce any significant innovations. But with a set of engagingly diverse material and committed performances by Rose's sextet, it's an album that makes a case for the continued validity and modernity of the mainstream tradition. ~ John Kelman https://www.allaboutjazz.com/on-the-verge-adonis-rose-criss-cross-review-by-john-kelman.php

Personnel: Adonis Rose: drums; Nicholas Payton: trumpet; Tim Warfield: tenor and soprano saxophones; Warren Wolf: vibraphone; Aaron Goldberg: piano; Reuben Rogers: bass.

On The Verge

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Vincent Gardner - The Good Book Chapter Two: The Book Of Now

Styles: Trombone Jazz

Year: 2011

File: MP3@320K/s

Time: 63:06

Size: 147,1 MB

Art: Front

(10:04)  1. A Servant Of The People

( 7:49)  2. Calypso

(10:02)  3. 466-64 (Freedom Fighters)

( 9:57)  4. Speak Low

( 8:39)  5. Like A Son

( 7:25)  6. Love Letters

( 9:08)  7. The Paper Chase

Vincent Gardner's The Good Book series is a refreshing change from many jazz CDs by up-and-coming artists, in that he is not only exploring standards and familiar jazz works, but also overlooked gems by musicians currently on the scene. The trombonist assembled a top-shelf quintet consisting of saxophonist Walter Blanding, pianist Aaron Goldberg, bassist Neil Caine, and drummer Ulysses Owens. It's not every day that someone records one of pianist Marcus Roberts' pieces, but his "A Servant of the People" is a perfect vehicle for Gardner's expressive chops. Fans of Kenny Barron will be very familiar with his "Calypso," a lighthearted, infectious work that showcases Goldberg, Blanding (on soprano), and the leader. Jimmy Heath's compositions have long been favorites of jazz musicians, so the breezy "Like a Son" is another uncovered treasure as well, a hip bop tune with a few twists. Kurt Weill's "Speak Low" has been a standard for decades and Gardner's spacious playing in this easygoing treatment is complemented by Blanding's rich soprano sax. Victor Young's "Love Letters" isn't as well known, though Goldberg's lush backing to Gardner's melancholy horn conveys its message without lyrics in the introduction, though a quick tempo change turns it into an upbeat cooker. It is clear that Vincent Gardner is destined to be one of the greats of his generation on trombone. ~ Ken Dryden http://www.allmusic.com/album/the-good-book-chapter-two-the-book-of-now-mw0002195036

Personnel: Vincent Gardner (trombone); Walter Blanding (soprano saxophone, tenor saxophone); Aaron Goldberg (piano); Ulysses Owens (drums).

The Good Book Chapter Two: The Book Of Now

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Vincent Gardner - Elbow Room

Styles: Trombone Jazz
Year: 2005
File: MP3@320K/s
Time: 75:10
Size: 173,0 MB
Art: Front

( 7:24)  1. DoomZoom
( 7:24)  2. Snake Charmin'
( 8:03)  3. I Guess I'll Hang My Tears Out To Dry
( 7:17)  4. Can You Read My Mind?
(10:16)  5. Four And One
( 9:03)  6. Blubber
( 7:16)  7. W. M. II
( 8:22)  8. Relaxin' At Camarillo
(10:01)  9. Liberia

Trombonist Vincent Gardner, an alumnus of the Lincoln Center Jazz Orchestra, makes an impressive debut as a leader on Elbow Room, a balanced mix of standards and challenging originals. Joining him in his quintet are saxophonist Walter Blanding, pianist Aaron Goldberg, bassist Greg Williams and drummer Quincy Davis. The band gets off to a light-footed start on the Dixieland-inflected "Doomzoom. Gardner stretches out on his crisp solo and Blanding's tenor passage is gritty without being grating. "Snake Charmin' is something of a long distance bop conversation between Gardner and Blanding's soprano sax, anchored expertly by the rhythm section. Gardner's soulful touch on "I Guess I'll Hang My Tears Out To Dry blends with Davis' gentle brushstrokes and Williams' plucked solo to underscore the song's melancholy theme. The splendid "Can You Read My Mind? begins with a Mighty Mouse fanfare, then jumps right into Gardner and Blanding engaging in a dynamic, Latin-tinged trombone/soprano dialogue.

The group's clever reading of Monk's "Four and One is equally spirited, with excellent soloing all around. One would expect blues and sadness on a tune entitled "Blubber, but Blanding sprints out of the box exuberantly, Gardner follows with arguably his best playing of the date, and Goldberg is absolute quicksilver, with Davis finally getting some real light on the drums. And the band's slick interpretation of Coltrane's "Liberia, particularly with two horns, gives the song an added dimension. Gardner plays with maturity and confidence, and his supporting members are excellent, but the standout here is Aaron Goldberg, whose solid comping and sometimes dazzling solos enhance the disc. Goldberg plays ascending notes to open "Relaxin' at Camarillo instead of the standard descending intro; and on "Liberia he cleverly frames his stylistic homage to McCoy Tyner within his own keyboard idiom. These inspired elements give Elbow Room added depth, resulting in a top-flight maiden voyage for Gardner.~ Terrell Kent Homes https://www.allaboutjazz.com/elbow-room-vincent-gardner-steeplechase-records-review-by-terrell-kent-holmes.php
 

Personnel: Vincent Gardner: trombone; Walter Blanding: tenor & soprano saxophones; Aaron Goldberg: piano; Greg Williams: bass; Quincy Davis: drums.

Elbow Room

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Joshua Redman - Beyond

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 73:38
Size: 169,2 MB
Art: Front

( 7:34)  1. Courage (Asymmetric Aria)
( 5:50)  2. Belonging (Lopsided Lullaby)
( 4:27)  3. Neverend
( 9:06)  4. Leap Of Faith
( 9:05)  5. Balance
(11:00)  6. Twilight ... And Beyond
( 6:13)  7. Stoic Revolutions
( 6:22)  8. Suspended Emanations
( 7:05)  9. Last Rites Of Rock 'N' Roll
( 6:52) 10. A Life?

Joshua Redman debuts a new quartet on this formidable set of originals. Pianist Aaron Goldberg, bassist Reuben Rogers, and drummer Gregory Hutchinson quickly establish themselves as a killer unit on "Courage (Asymmetric Aria)" and "Belonging (Lopsided Lullaby)", two fast and busy odd-metered romps. Interestingly, Redman plays alto on the latter, as well as on the gripping "Stoic Revolutions." Goldberg's solos are sparkling throughout, especially on "Courage" and the medium-fast "Last Rites of Rock 'n' Roll." Fellow tenor man Mark Turner sits in for the lively "Leap of Faith." The remaining tracks range from the inspired balladry of "Neverend" to the ineffable hipness of "Suspended Emanations." Although it is probably Redman's finest album to date, Beyond still doesn't rise to the level of true greatness in the field of composition. It would be hard for even a genius to measure up to the industry hype that has surrounded Redman for nearly a decade. But this makes it even more essential that critics evaluate Redman's work just as they would that of any other brilliant and hard-working, yet far more obscure, figure on the scene. This is not to take anything away from Redman, but rather to keep matters in their proper perspective. We might see Redman's face on far more magazine covers, but is his writing better than, say, Reid Anderson's or Patrick Zimmerli's? Redman himself would likely be the first to say no.~ David Adler https://www.allaboutjazz.com/beyond-joshua-redman-warner-bros-review-by-david-adler.php

Personnel: Joshua Redman (soprano, alto & tenor saxophones); Mark Turner (tenor saxophone); Aaron Goldberg (piano); Reuben Rogers (bass); Gregory Hutchinson (drums).

Beyond

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Wayne Escoffery - Times Change

Bitrate: MP3@320K/s
Time: 61:09
Size: 140.0 MB
Styles: Saxophone jazz
Year: 2001
Art: Front

[9:54] 1. Came Back Lucky
[6:51] 2. Beatrice
[6:25] 3. After You've Gone
[7:59] 4. That's All
[6:49] 5. Times Change
[6:30] 6. Dawn
[8:55] 7. Triste
[7:43] 8. Water Pistol

Wayne Escoffery's debut disc features a fine quartet, with Aaron Goldberg on piano, Joel Forbes on bass, and Carl Allen on drums. Brandishing a weighty tenor sax tone, Escoffery leads the group through three originals and five inspired cover arrangements. The laid-back but fiercely swinging "Come Back Lucky" starts off the session, followed by a relatively bright "Beatrice," a full-tilt "After You've Gone," and a touching "That's All." Back-to-back originals follow; the first, "Times Change," is a rhythmically involved swinger, while "Dawn" mellows things out and features the leader on soprano sax. Winding down, the group offers a 7/4 reading of Jobim's "Triste," with a funky modal vamp thrown in. Goldberg then sits out the finale, "Water Pistol," a satisfying mid-tempo rhythm changes tune by Yusef Lateef. Overall, the sound of the recording could be warmer, but Escoffery displays a highly impressive command of the music and the instrument. ~David R. Adler

Times Change

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Aaron Goldberg - Home

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 61:05
Size: 140,1 MB
Art: Front

(6:02)  1. Cancion Por La Unidad Latino Americana
(7:07)  2. Shed
(7:35)  3. Homeland
(2:53)  4. I Mean You
(6:20)  5. The Rules
(7:55)  6. Luiza
(5:43)  7. Isn't She Lovely
(4:03)  8. The Sound of Snow
(8:00)  9. Aze's Bluzes
(5:23) 10. A Time For Love

Home by the young pianist Aaron Goldberg, is a gorgeous album of songs. The music here proffers many moods. It is sharp, and probes the density of emotions from happiness, and one's unique identity, to the loss of both. It is a poignant search for a home for the heart, the soul and the restless mind. The original music is brave and although performed by a trio (or quartet) has a feel of being conceived on a large canvas of colors and tonal textures. These are exquisitely interpreted by the pianist, bassist Reuben Rogers whose sense of melodic and harmonic expansion is admirable and drummer Eric Harland, the astute keeper of the pulse of the song. And then there is the amazing Mark Turner, who stars on three tracks.

On "Canción por la Unidad Latino America," a glorious anthem first recorded by the visionary Cuban musician, Pablo Milanés on Grandes Exitos in 1996, Turner brings the dream-like yearning of the song to life in the virtually falsetto glissandos of his tenor. While the song is performed sans Milanés' grandly idealistic lyrics, the emotional rendering by Goldberg's trio, with Turner as a co-leading voice, recall its elemental grandeur. As an anthem, it ranks with Charlie Haden exquisite "Ballad of the Fallen" from his 1983 ECM album of the same name. Turner continues his beautiful wail on Goldberg's mesmerizing chart, "The Rules" and gives a thoughtful performance on "Aze's Bluzes," a track complete with the clever reference to John Coltrane A Love Supreme (Impulse!, 1965).

A sure sign that Goldberg's star is on the rise comes in performances that define his pianistic intelligence and unbridled virtuosity. "The Rules" his hauntingly beautiful "The Sound of Snow" is a masterful exercise in visualization and tonal majesty that clearly defines the composer's genius. The pianist's interpretive skills are flashed forward on Thelonious Monk challenging, "I Mean You," which Goldberg renders as a reflective, cracked crystal maze. The other songs that showcase Goldberg's uncanny skill for the unexpected are Stevie Wonder "Isn't She Lovely," Antonio Carlos Jobim pensive ballad, "Luiza," where the pianist is sublimely heartrending, and Johnny Mandel "A Time For Love," where he expresses lofty emotions, as does Harland in his role as percussion colorist.

This album also showcases a mature trio, one that captures the high energy, sophistication and sheer wonder of music in the same great manner of Keith Jarrett famous Standards Trio. The performances, by each of the musicians, are flawless. The addition of Turner adds a shadowy vocal element to the otherwise instrumental music.Whether as a trio or a quartet, the musicians' ability to communicate with each other is virtually telepathic. As a result, Home could very well contain some of Aaron Goldberg's best work alongside his other trio, the one he is probably better known for OAM, with bassist Omer Avital and Spanish drummer Marc Miralta. ~ Raul D’Gama Rose http://www.allaboutjazz.com/home-aaron-goldberg-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Aaron Goldberg: piano; Reuben Rogers: bass; Eric Harland: drums; Mark Turner: tenor saxophone (1, 5, 9).

Home

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