Bennie Wallace - Disorder At The Border: The Music Of Coleman Hawkins

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 65:22
Size: 150,4 MB
Art: Front

(11:36)  1. Disorder At The Border
( 8:55)  2. La Rosita
( 9:42)  3. Bean And The Boys
(10:01)  4. Honeysuckle Rose
( 8:25)  5. Body And Soul
(16:40)  6. Joshua Fit The Battle Of Jericho

This is a stomping band, as Coleman Hawkins said of the Fletcher Henderson orchestra he and the hitherto mostly awkward tenor saxophone grew up together with. Louis Armstrong and his hero the great cellist Pablo Casals inspired Hawkins' phrasing and timing, Art Tatum and J.S. Bach his harmonic command. His nickname "Bean" referred to high intelligence, he was an instrumental virtuoso with immense stamina and invention qua improviser, a passionate complex man never to be underrated.  The extraordinary "Joshua Fit the Battle of Jericho" which concludes this 2004 Hawkins centenary concert from Berlin is very appropriate. Swinging fiercely with mostly just Alvin Queen's magnificent drumming, Bennie Wallace exhibits his own stamina in impassioned tenor saxophone emulation of a Bach solo invention; and that's only the climax, after a startling arrangement and succession of stirring solos: an ideal centenary celebration. Wallace comes out of the Hawkins school: no imitator, where he sounds very like Hawkins that's a natural aspect of his own way, and what he's playing. On "Body and Soul" he's entirely individual, and has maybe never played more beautifully.  In this stomping band Stafford and Anderson can each sound like two men in ensemble, Anthony Wilson's bop-slanted arrangements are subtle or driving as appropriate, and Donald Vega's atmospheric, often extended piano introductions risk overshadowing his solo work elsewhere. Hawkins wasn't Henderson's only major soloist: I hadn't previously heard young Leali, Schroeder, Vega and Boller and want to hear more. Jesse Davis I know. Where he and Leali solo in succession then trade passages theye are plainly individual stylists.

That's on "Honeysuckle Rose," the one non-Wilson chart. Wallace organised it with reminiscences of Benny Carter's great arrangements and brilliant transcription of a passage James P. Johnson delivered in his piano solo recording of the number. Subtlety's one thing, but there's also none of that carefulness which can afflict deliveries of arrangements of music with a vintage. This is musical performance, and no pastiche. Listen to the bluesiness and slow stride of Vega's intrHenderson's recorded performances were restricted by technology: time limits. They couldn't unfold with the freedom, relaxation and fire Hawkins remembered. This is of course a live performance, nobody worried about finishing within any time limit, and the only "Disorder" was a word in the opening stomper's title. Stafford's immense tone powers in ensemble, and blazes in solo. The master colourist trombonist Anderson is involved in the one brief wobble, his sound and Wallace's don't blend in their brief ensemble unison on "La Rosita," whoops! But Anderson's solo immediately thereafter has an amazing transition from harshness to luminous transparency. He delivers a differently magnificent eruption on "Honeysuckle Rose," and preaches on "Joshua..." Wallace's tenor is properly to the fore throughout, with here an altoist, there Schroeder's baritone, performing a substantial solo as the middle section of an extended development Wallace himself has begun; and subsequently proceeds to bring to extended climax. He's a giant tenorist. This is a great and not merely stomping band. ~RoberR.Calder https://www.allaboutjazz.com/disorder-at-the-border-the-music-of-coleman-hawkins-bennie-wallace-enja-justin-time-review-by-robert-r-calder.php

Personnel: Bennie Wallace: tenor saxophone, leader; Brad Leali: alto saxophone; Jesse Davis: alto saxophones Adam Schroeder: baritone saxophone; Ray Anderson: trombone; Terell Stafford; trumpet; Donald Vega: piano; Danton Boller: bass; Alvin Queen: drums; Anthony Wilson: arranger.

Disorder At The Border: The Music Of Coleman Hawkins

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The H2 Big Band - It Could Happen

Styles: Jazz, Vocal, Big Band
Year: 2015
File: MP3@320K/s
Time: 67:39
Size: 161,9 MB
Art: Front

(6:59)  1. Hocus Pocus
(6:55)  2. Black Lace Freudian Slip
(6:41)  3. C.P. You
(5:34)  4. The Look of Love
(6:30)  5. It Could Happen To You
(7:45)  6. The Healing Hymn
(5:19)  7. I Like You
(5:45)  8. Lynda B
(5:15)  9. B in C
(5:22) 10. Autobiography
(5:31) 11. You Go To My Head

As Shakespeare wrote, "That which we call a rose by any other name would smell as sweet." Who would dare argue with that? The point is that It Could Happen,the second recording by the H2 Big Band, is performed by a world-class ensemble. It's just not the H2 Big Band, which essentially remained home in Colorado save for its co-leaders, trumpeter Al Hood and pianist Dave Hanson. This is in fact a group of Los Angeles-based studio musicians and their kin masquerading as the H2 Big Band, and, make no mistake, doing a spot-on impersonation (in other words, smelling like a rose). And technically, as Hood and Hanson are present and accounted for, it is the H2 ensemble, or at least a close cousin thereof. As Shakespeare wrote . . .  To be fair (and accurate), one other member of the "regular" H2 Big Band is in the lineup: alto saxophonist Rich Chiaraluce who does his best to keep pace with trumpeter par excellence Carl Saunders on the memorable Johnny Burke / Jimmy van Heusen standard "It Could Happen to You," from which the album derives its name. Hanson wrote all the charts, and they are as bright and engaging as any big-band arrangements you're likely to encounter. He also composed three of the album's conclusive instrumental highlights "C.P. You," "Lynda B" and "B in C." The full band performs on eight tracks, smaller groups on the other three. A string section is added on "The Look of Love" and "Autobiography."

Even with so many thoroughbreds in the stable, the leaders apparently felt the band needed some extra horsepower (not true), so the well-known vocalist Rene Marie was enlisted to lend her talents to four numbers: Burt Bacharach / Hal David's "The Look of Love" and three of her own compositions, "Black Lace Freudian Slip," "I Like You" and "Autobiography." She's fine, in an unpretentious sort of way; enunciates clearly, respects a lyric and sings on-key. Rene Marie fares best on the fast-paced "I Like You," perhaps because it's the most charming of the four tunes on which she appears (enriched by Hanson's sharp arrangement). The "C.P." in Hanson's "C.P. You" is Cole Porter, the song his variation on Porter's standard "All of You." "Lynda B" is Hanson's salute to comic artist Lynda Barry, the bluesy "B in C" a tune originally written in the key of B but, Hanson notes, "a lot easier to play in C." The closing number is yet another high spot: Hanson's superb arrangement of the standard "You Go to My Head," with solo to match by alto Gary Foster.  Hanson, bassist Chuck Berghofer and drummer Joe LaBarbera comprise an unflagging rhythm section, and there are inspired solos along the way by Hood (featured on Jeff Jenkins' "Healing Hymn"), trombonists Andy Martin and Bob McChesney, tenors Rob Lockart and Brandon Fields, trumpeter Ron Stout and guitarist Larry Koonse. Even without their "regular" band, co-leaders Hanson and Hood have produced another unequivocal winner. Could they do any less? It Could Happen, but don't bet on it. ~ Jack Bowers https://www.allaboutjazz.com/it-could-happen-al-hood-dave-hanson-origin-records-review-by-jack-bowers.php
 

Personnel: Jeff Tower: conductor;  Al Hood: co-leader, trumpet, flugelhorn;  Dave Hanson: co-leader, piano, synthesizer;  Wayne Bergeron: trumpet;  Carl Saunders: trumpet; Ron Stout: trumpet;  Gary Foster: alto sax, flute, clarinet; Rich Chiaraluce: alto sax, flute;  Rob Lockart: tenor sax, flute;  Brandon Fields: tenor sax, flute;  Adam Schroeder: baritone sax, bass clarinet;  Bob Sheppard: saxophones (1);  Andy Martin: trombone;  Bob McChesney: trombone;  Alex Iles: trombone;  Bill Reichenbach: bass trombone;  Larry Koonse: guitar (3, 4, 9, 10);  Chuck Berghofer: bass; Joe LaBarbera: drums; Luis Conte: percussion (4). Strings (tracks 4, 10) – Robert Peterson: violin; Jerry Hilera: violin; Ed Persi: viola; John Acosta: cello. Special Guest – Rene Marie: vocals (2, 4, 7, 10).

It Could Happen

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Bob Mintzer All L.A. Band - All L.A. Band

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:12
Size: 143,7 MB
Art: Front

(5:51)  1. El Caborojeno
(5:25)  2. Havin' Some Fun
(4:29)  3. Home Basie
(5:09)  4. Ellis Island (feat. Adam Schroeder & Michael Stever)
(6:08)  5. Original People
(7:15)  6. New Rochelle (feat. Russ Ferrante)
(4:44)  7. Runferyerlife (feat. Bob McChesney)
(8:36)  8. Latin Dance
(5:23)  9. Slo Funk (feat. Bob Sheppard)
(9:07) 10. Tribute (feat. Russ Ferrante & Michael Stever)

Even though saxophonist Bob Mintzer's name rests alone atop the marquee, the All L.A. Band is actually a mutual collaboration with acclaimed drummer Peter Erskine, one of Mintzer's colleagues in the Jazz Studies department at the University of Southern California. Besides occupying the drum chair, Erskine produced the album, while Mintzer composed and arranged its ten handsome themes. Among the musical styles closest to Mintzer's heart are Afro-Cuban and funk, and there is plenty of both on All L.A. Big Band (whose members all live and work in the L.A. area). Mintzer has chosen the cream of the crop for this enterprise with predictable results. A trumpet section can hardly go wrong with Wayne Bergeron calling the shots, nor can a trombone section supervised by Bob McChesney. Interestingly, Mintzer has chosen to use only three saxophones: alto Bob Sheppard, baritone Adam Schroeder and himself on tenor. As for the rhythm section, pianist Russell Ferrante, guitarist Larry Koonse, bassist Edwin Livingston and percussionist Aaron Serfaty are deftly navigated through every shoal by the ever-vigilant Erskine.

Mintzer's Afro-Cuban penchant is represented by the sunny opener, "El Caborojeno," as well as "Ellis Island" and "Latin Dance," funk by the aptly named "Slo Funk" (written some forty years ago for the Buddy Rich band), "Home Basie" and "New Rochelle" (composed for Mintzer's smaller group, the Yellowjackets). "Havin' Some Fun" is a laid-back riff in the Basie style, "Original People" a reggae / swing amalgam, "Runferyerlife" (previously heard on Mintzer's album Old School: New Lessons) an old-fashioned take-no-prisoners barn-burner (enfolding one of Mintzer's best solos and a rapid-fire outburst by McChesney). The album closes with the easy-moving "Tribute," an homage to trumpeter Thad Jones and the many other superb musicians who cut their jazz teeth the Basie band. Although soloists aren't named, that's beside the point, as no one can deny that's Mintzer on tenor, Sheppard on alto, Schroeder on baritone, McChesney on trombone or Ferrante on piano and together they account for every ad lib aside from a couple by the trumpets, and who is answerable for them is anyone's guess. What is paramount is that the All L.A. Band is splendid, and that Mintzer and Erskine have designed a consistently impressive album that should gladden the heart of anyone who is a champion of contemporary big bands. ~ Jack Bowers https://www.allaboutjazz.com/all-la-band-bob-mintzer-fuzzy-music-review-by-jack-bowers.php
 

Personnel: Bob Mintzer: leader, tenor saxophone; Wayne Bergeron: trumpet; James Blackwell: trumpet; John Thomas: trumpet; Chad Willis: trumpet; Michael Stever: trumpet; Bob Shepard, Adam Schroeder: saxophones; Bob McChesney: trombone; Erik Hughes: trombone; Julianne Gralle: trombone; Craig Gosnell: bass trombone; Russ Ferrante: piano; Larry Koonse: guitar; Edwin Livingston: bass; Peter Erskine: drums; Aaron Serfaty: percussion.

All L.A. Band

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Michael Lington - Soul Appeal

Styles: Saxophone Jazz, Smooth Jazz
Year: 2014
File: MP3@320K/s
Time: 53:41
Size: 123,4 MB
Art: Front

(4:51)  1. Soul Appeal
(4:44)  2. Taking Off
(5:11)  3. Uptown Groove
(4:44)  4. Gonna Love You Tonite (feat. Kenny Lattimore)
(4:38)  5. Manhattan Nights
(5:17)  6. In the Pocket
(5:25)  7. Leave Me You (feat. Ryan Shaw)
(5:27)  8. Going Home
(4:46)  9. Double Down
(5:41) 10. Memphis Soul Stew
(2:51) 11. Follow Your Heart

The most recent release from Michael Lington, Soul Appeal, contains elements of jazz, instrumentals and soulful melodies that really bring this album to life. Soul Appeal has strong jazz influences and that is the main highlight of every track on the album. The album has a way of combining these more classical elements of music into a way that feels modern and upbeat. The record also features a variety of other musicians that come together to form a jam band session feel. So, it feels organic that these artists come together in order to produce this high quality of musicianship. Lington plays the alto and tenor sax on the record, which stand out on every track. Other musicians that are featured on Soul Appeal include Shedrick Mitchell, Paul Jackson Jr., Ray Parker Jr. and Phil Hamilton. 

At times, the album does have a very classic, throwback feel when the alto and tenor sax highlighted like on tracks like "Manhattan Nights" and "Follow Your Heart," but overall the album has a more modern and strong creative tone that can be felt in the musicianship and arrangements. The tracks that will really appeal to more Top 40-driven fans will be "Gonna Love You Tonite" and "Leave Me You," which features the vocals of Ryan Shaw. "Gonna Love You Tonite" features the vocal work of Kenny Lattimore. It is refreshing to hear the influences and styles that are often sampled for popular songs in 2014 brought back to life in its full glory once again. Other stand out tracks on the album include "Uptown Groove," "Going Home" and "Double Down." ~ Chelsea Lewis  http://thecelebritycafe.com/reviews/2014/07/michael-lingtons-soul-appeal-album-review

Personnel: Michael Lington (alto saxophone, tenor saxophone); Paul Jackson, Jr., Ray Parker, Jr., Phil Hamilton (guitar); Adam Schroeder (baritone saxophone); Michael Stever (trumpet); Barry Eastmond (piano), Fender Rhodes (piano), Wurlitzer (organ); Shedrick Mitchell (Hammond b-3 organ); Teddy Campbell (drums); Lenny Castro (percussion).

Soul Appeal

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Adam Schroeder - A Handful Of Stars

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 65:45
Size: 151,4 MB
Art: Front

(7:30)  1. I Don't Wanna Be Kissed (By Anyone But You)
(7:33)  2. Midwest Mash
(7:21)  3. Pensive Miss
(6:02)  4. Jessica's Birthday
(6:30)  5. I Happen To Be In Love
(4:38)  6. Hidden Within
(5:31)  7. Just In Time
(6:33)  8. Nascimento
(4:55)  9. A Handful Of Stars
(3:56) 10. Just A Sittin' & A Rockin'
(5:12) 11. It's All Right With Me

Adam Schroeder makes his debut as a leader with A Handful of Stars. Following a number of giants who have played the baritone sax, Schroeder's approach is closest to that of Gerry Mulligan, due to his emphasis on the big reed as a melodic instrument, plus his preference for a pianoless quartet. Schroeder, who has recorded with Clark Terry, Bennie Wallace, Taylor Eigsti, Anthony Wilson, and the Clayton-Hamilton Jazz Orchestra, recruited the co-leaders from the latter band, bassist John Clayton and drummer Jeff Hamilton, plus guitarist Graham Dechter (also a Clayton-Hamilton sideman). "I Don't Wanna Be Kissed" is a perfect example of a great song that has been overlooked by jazz musicians; Schroeder's robust baritone sizzles in Josh Nelson's lightly swinging arrangement. Cole Porter's "I Happen to Be in Love" is another forgotten gem worthy of attention; Gerald Clayton's scoring of it reveals its potential, accented by the tasty solos of Schroeder, Dechter, and John Clayton. 

The baritone saxophonist is also up to the challenge of familiar works. His novel duo setting of Duke Ellington's "Just A-Sittin' and A-Rockin'" opens with his reed accompanied by Clayton's whimsical arco bass, though Clayton does alternate playing pizzicato as well. The leader's cooking setting of the standard "Just in Time" pulses with energy, with Dechter's solo showing shades of the great Bucky Pizzarelli. Schroeder's compositions are also potent. The breezy funk vehicle "Midwest Mash" recalls the groove sound popularized in the late '60s and early '70s, showcasing Dechter's bluesy solo. Schroeder's lush ballad "Hidden Within" was jointly arranged by the saxophonist and guitarist, where his horn almost seems to whisper. This is a well-conceived debut by the talented Adam Schroeder. ~ Ken Dryden  http://www.allmusic.com/album/a-handful-of-stars-mw0002006357

Personnel: Adam Schroeder (baritone saxophone); Graham Dechter (guitar); Jeff Hamilton (drums).

A Handful Of Stars

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Adam Schroeder - Let's

Bitrate: 320K/s
Time: 60:49
Size: 139.2 MB
Styles: Saxophone jazz
Year: 2014
Art: Front

[6:38] 1. Hello Bright Sunflower
[5:36] 2. In The Middle Of A Kiss
[6:25] 3. Just Clap Your Hands
[5:38] 4. You & I
[6:52] 5. Wrap Your Troubles In Dreams
[5:10] 6. A Hawkeye, A Hoosier, & Two Cali Cats
[1:42] 7. Contemplation (Intro)
[7:02] 8. Patient Endurance, Steady Hope
[5:24] 9. Let's
[6:37] 10. Southside Samba
[3:40] 11. The Smulyan Spectacles

Somewhere between Pepper Adams and Gary Smulyan is that harmonic happy place where you will find one of the finest bari players hanging out, Adam Schroeder. Does anyone remember melody? Adam Schroeder and a band that includes bassist John Clayton, drummer Jeff Hamilton and rising star in guitarist Anthony Wilson ride the groove of a melodic swing and an improvisational mother load of lyrical fun. Jazz was made for dancing and if your top tapping receptors don't seem to be engaged about :30 seconds in then perhaps you are waiting on your autopsy report.

Schroeder is a brilliant technician but most importantly he has the artistic soul of a giant that allows free reign of lyrical intent. The bands chemistry and innate ability to occasionally play follow the leader is deceptively subtle. Make no mistake, this formidable 4tet is a collective that gives no quarter and asks for none in return. This is why we play and enjoy music. The funky Schroeder original "Just Clap Your Hands" speaks for itself. Musicians are notorious for their sense of humor and sometimes they are even funny. The Schroeder smoker "A Hawkeye, A Hoosier, & Two Cali Cats" borders on infectious with an old school swing you just don't hear enough of anymore.

While the fun is off the charts, this is serious business. The music runs the show including stellar covers of "Southside Samba" and a dangerous but delightful reharm of the Stevie Wonder tune "You & I." There are a great many baritone saxophone players working the scene today, problem is there are not that many players that stick with you. Adam Schroeder is an artist that will stay with you long after the final tune. One of the finests instrumentalists I have heard this year and Let's will definitely be on my year end best of 2014!

Let's 

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