David Kikoski & Eddie Gomez & Al Foster - Presage

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 52:52
Size: 121,5 MB
Art: Front

(8:12)  1. Hope
(8:34)  2. Blue TImes
(6:16)  3. In the Still of the Night
(5:58)  4. Presage
(8:34)  5. Dirty Dogs
(6:34)  6. I've Got you under my Skin
(4:37)  7. Doorways
(4:03)  8. A Nightingale Sang in Berkley Square

On this early effort, pianist David Kikoski is joined by bassist Eddie Gomez and drummer Al Foster. While Kikoski's use of synthesizers on several cuts dates the material to some degree, there's still some great playing and writing to be heard. There are also historical details worth mentioning: "Dirty Dogs" would later appear on Billy Hart's 1993 album Amethyst, and "Hope," the opening track, would later appear on Al Foster's 1997 album Brandyn (both of these later discs feature Kikoski himself).

In addition to these and three other solid originals, there are also swinging versions of two Cole Porter tunes, "In the Still of the Night" and "I've Got You Under My Skin," and a closing solo piano meditation on "A Nightingale Sang in Berkeley Square." Even though this is far from Kikoski's most mature work, his harmonic wizardry and stunning chops are very much in evidence. ~ David R.Adler http://www.allmusic.com/album/presage-mw0000619575

Personnel: David Kikoski - Piano, Synthesizers;; Eddie Gomez – Bass; Al Foster - Drums

Presage

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Art Pepper - So in Love

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 47:48
Size: 109,5 MB
Art: Front

( 6:26)  1. Straight No Chaser
( 6:49)  2. Blues for Blanche
(11:42)  3. So in Love
(12:17)  4. Diane
(10:33)  5. Stardust

This deluxe release from the classy (but long defunct) Artists House label, as with all of Art Pepper's recordings of his comeback years, is easily recommended. Actually all of the music on So in Love has been reissued in greatly expanded form in Pepper's massive 16-CD Galaxy box set. The original LP has lengthy versions of "So in Love," "Stardust," "Straight No Chaser" and two Pepper originals ("Diane" and "Blues for Blanche"). 

Assisted by two equally talented rhythm sections (pianists Hank Jones and George Cables, bassists Ron Carter and Charlie Haden, and drummers Al Foster and Billy Higgins), Pepper is in excellent form throughout the album, giving these songs heart-wrenching interpretations. 

~ Scott Yanow https://www.allmusic.com/album/so-in-love-mw0000622404

Personnel:  Art Pepper - alto saxophone;  George Cables (tracks 2, 3 & 5), Hank Jones (tracks 1 & 4) - piano;  Ron Carter (tracks 1 & 4), Charlie Haden (tracks 2, 3 & 5) - bass;  Al Foster (tracks 1 & 4), Billy Higgins (tracks 2, 3 & 5) - drums

So in Love

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Cecil Payne & Duke Jordan - Brooklyn Brothers

Styles: Saxophone And Flute Jazz

Year: 1973

File: MP3@320K/s

Time: 37:55

Size: 90,6 MB

Art: Front

(3:16)  1. Egg Head

(5:31)  2. I Should Care

(5:26)  3. Jordu

(4:29)  4. Jazz Vendor

(6:05)  5. Cu-Ba

(3:45)  6. I Want To Talk About You

(5:12)  7. Cerupa

(4:08)  8. No Problem

'Brooklyn Brothers is truly a meeting of kindred spirits in perfect harmony. Cecil Payne and Duke Jordan are self-effacing people, but their music is strong and it takes on an extra richness when they are together. This is perhaps the most wholly satisfying session they have put down in an association which spans four decades.' Mark Gardner, from the original LP liner notes. This 1973 recording was Payne and Jordan s seventh together, and was the first in the previous 11 years. Deluxe CD includes 16-page book with original liner notes essay by Mark Gardner and new essay by jazz journalist Ted Panken, plus extra photos and session notes. Original session Produced & Directed by Don Schlitten. Album design & cover photo by Don Schlitten.~ Editorial Reviews https://www.amazon.com/Brooklyn-Brothers-Cecil-Payne-Jordan/dp/B01D3LC2O4

Personnel:  Cecil Payne - Baritone Saxophone & Flute;  Duke Jordan - Piano;  Sam Jones - Bass;  Al Foster - Drums

Brooklyn Brothers

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Mark Whitfield - 7th Ave. Stroll

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 66:05
Size: 152,8 MB
Art: Front

(5:44) 1. Washington Square Thoroughfare
(8:09) 2. Harlem Nocturne
(6:45) 3. 7th Ave, Stroll
(7:00) 4. A Brooklyn Love
(6:46) 5. Businessman's Bounce
(4:20) 6. Spring In Manhattan
(5:37) 7. Sunday In New York
(4:54) 8. The Bowery Blues
(6:22) 9. Sunset At Waterside
(4:46) 10. Headin' To The Wes' Side
(5:36) 11. Autumn In New York

A talented guitarist influenced by George Benson and versatile enough to play straight-ahead jazz or R&B, Mark Whitfield was originally a bassist. At 15 he switched to guitar and soon won a scholarship to Berklee. After graduating from Berklee in 1987, Whitfield temporarily moved to Brooklyn and appeared at many sessions.

George Benson suggested he work for Jack McDuff and that association was a big break for Whitfield. He has since recorded as a leader for Warner Bros. and Verve, and as a sideman with many players including Jimmy Smith, Nicholas Payton, Ray Brown, and Courtney Pine.
https://www.jazzmusicarchives.com/artist/mark-whitfield

Personnel: Guitar – Mark Whitfield (tracks: 1 to 11); Bass – Christian McBride (tracks: 1, 3, 4, 6, 8, 10), Dave Holland (tracks: 2, 5, 7, 9, 11); Drums – Al Foster (tracks: 2, 5, 7, 9, 11), Gregory Hutchinson (tracks: 1, 3, 4, 6, 8, 10); Piano – Stephen Scott (5) (tracks: 1, 3, 4, 6, 8, 10), Tommy Flanagan (tracks: 2, 5, 7, 9, 11)

7th Ave. Stroll

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Al Foster - Reflections

Styles: Bop
File: MP3@320K/s
Time: 67:56
Size: 156,3 MB
Art: Front

(6:20) 1. T.S. Monk
(5:04) 2. Pent-Up House
(7:17) 3. Open Plans
(6:23) 4. Blues on the Corner
(5:32) 5. Anastasia
(8:21) 6. Six
(5:11) 7. Punjab
(6:56) 8. Beat
(4:51) 9. Alone and I
(5:36) 10. Half Nelson
(6:18) 11. Monk's Bossa

On Reflections, Foster revisits the work of several of those peers alongside an inspiring quintet of all-stars: Nicholas Payton, Chris Potter, Kevin Hays, and Vicente Archer.

Throughout the session he propels this supremely talented unit through fresh, vital treatments of well-known and less-traveled numbers by iconic legends Miles Davis, Herbie Hancock, Joe Henderson, Sonny Rollins, and McCoy Tyner, all of whom regarded Foster as their first-call drummer for long portions of his celebrated career at times competing for his services. Band members Payton, Potter, and Hays each contribute a tune apiece, while Foster penned three well-wrought songs, including two homages to Thelonious Monk that bookend the program.

It’s hard to overstate Foster’s contribution to the musical production of the aforementioned giants over his 60 years as a professional. But, as much as Foster likes to wax nostalgic about the past, it’s also evident on every note of this 68-minute gem that he’s fully committed to living in the moment and playing in the here and now. This follow-up to his well-received 2019 Smoke Sessions debut, INSPIRATIONS & DEDICATIONS, is Foster’s fifth leader recording and, as even the notoriously self-critical drummer surprisingly says, “It is my best record Yet." https://jazzbluesnews.com/2022/08/31/cd-review-al-foster-reflections-2022-video-cd-cover/

Personnel: Al Foster – drums; Nicholas Payton – trumpet; Chris Potter – tenor and soprano saxophone; Kevin Hays – piano and Fender Rhodes; Vicente Archer – bass

Reflections

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Kent Jordan - Essence

Styles: Flute Jazz
Year: 1988
File: MP3@160K/s
Time: 40:21
Size: 47,4 MB
Art: Front

(7:26) 1. Curtain Call
(5:01) 2. Essence
(5:27) 3. Rio
(4:33) 4. Well You Needn't
(4:51) 5. Moments Notice
(6:39) 6. Stella by Starlight
(6:21) 7. Stablemates

Flutist Kent Jordan's third Columbia set is far superior to his first two rather commercial efforts (No Question About It and Night Aire). Jordan is well-featured on four standards (including "Well You Needn't," which finds him switching effectively to piccolo, and "Moment's Notice"), two tunes by bassist Elton Heron, and Wayne Shorter's "Rio" in a variety of instrumental settings.

With such sidemen as pianists Kenny Barron and Billy Childs, guitarist Kevin Eubanks, bassists Dave Holland and Ron Carter, drummers Jack DeJohnette and Al Foster, and (on the opening "Curtain Call") trumpeter/brother Marlon Jordan and tenor saxophonist Branford Marsalis, among others, Jordan interacts with an all-star cast. Most of the music is fairly straight-ahead, and throughout, the flutist realizes some of the potential that was wasted on his first two recordings.~Scott Yanow https://www.allmusic.com/album/essence-mw000019508

Personnel: Flute – Kent Jordan; Bass – Dave Holland, Elton Heron; Drums – Al Foster, Tommy Campbell; Piano – Billy Childs, Kenny Barron; Tenor Saxophone – Branford Marsalis; Trumpet – Marlon Jordan

Essence

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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 gem. ~ 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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David Hazeltine - The Time is Now

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 64:20
Size: 151,7 MB
Art: Front

(6:45)  1. The Time is Now
(5:25)  2. The Odd Couple
(5:44)  3. Smoke Gets in Your Eyes
(6:45)  4. Cabin in the Sky
(5:08)  5. Blues for Eddie
(5:09)  6. Don't Let Me Be Lonely Tonight
(5:35)  7. When I'm Here with You
(4:41)  8. The Parlayer
(7:47)  9. In a Sentimental Mood
(6:24) 10. Muse of Montgomery
(4:53) 11. Signals

If you’re going to put together a rhythm section for a piano trio date, you could certainly do a lot worse than Ron Carter and Al Foster. Although the two gentlemen are getting up there in the years (bassist Carter is 81, drummer Foster 74; pianist David Hazeltine himself just turned 60), both are still sharp, instinctual players who adapt easily to any given situation. Hazeltine and Foster first did some gigs together at Smoke in New York in 2016 and with Carter aboard, cut the 11 tracks on a single date in the spring of this year it was the trio’s first time playing together.Unsurprisingly, the music flows easily. Save for a few adventures that take him off the beaten path his “Smoke Gets in Your Eyes” here takes some thrilling detours Hazeltine is a relatively conventional, albeit outstanding pianist who prefers to keep his melodies in check. Six of these songs are self-penned, the others come from sources ranging from Duke Ellington to James Taylor, and while all musicians demonstrate superior technique and confidence as a leader, Hazeltine is largely content to keep the arrangements and performances within bounds. 

No one here needs to strut the liner notes indicate that it’s his 34th leader session, after all and the music is better for it. One place the trio does toy with the formula is with its reading of the Neal Hefti/Sammy Cahn theme from The Odd Couple. Slowed to a shuffling pace, it provides an opportunity for the trio to rethink a familiar tune from the inside out, and both Hazeltine and Carter enjoy seeing how far they can go without losing sight of the original intent. “Blues for Eddie,” meanwhile (a nod to Eddie Harris), is all about Carter, and who’s gonna complain about that? ~ Jeff Tamarkin https://jazztimes.com/reviews/albums/david-hazeltine-time-is-now-smoke-sessions/

Personnel: David Hazeltine - Piano; Ron Carter - Bass; Al Foster - Drums

The Time is Now

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The Monty Alexander Trio - Zing!

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 34:23
Size: 79,2 MB
Art: Front

(2:51) 1. Zing!
(5:51) 2. You're My Everything
(4:09) 3. Once Upon a Time
(3:54) 4. Always True to You In My Fashion
(3:21) 5. The Magnificent Seven
(4:12) 6. Bossa Nova Do Marilla
(3:40) 7. Small Fry
(3:06) 8. Girl Talk
(3:16) 9. Nocturne In E-Flat

Pianist Monty Alexander was 23 when he recorded his lone album for RCA, just his third recording of what would be a very productive career. Alexander, who at that point in time was most influenced by Oscar Peterson and Ahmad Jamal, already showed a great deal of maturity in his playing, as effective on uptempo tunes as he was on ballads. Last reissued as a French RCA, this outing matches Alexander in trios with either Victor Gaskin or Bob Cranshaw on bass and Roy McCurdy or Al Foster on drums. The repertoire ranges from the pianist's title cut and Cole Porter's "Always True to You In My Fashion" to some show tunes, Neal Hefti's "Girl Talk," and Chopin's "Nocturne In E-Flat," which is turned into jazz. A strong effort that is long overdue to be reissued on CD.~Scott Yanowhttps://www.allmusic.com/album/zing%21-mw0000870960

Personnel: Piano – Monty Alexander; Bass – Bob Cranshaw, Victor Gaskin; Drums – Al Foster, Roy McCurdy

Zing!

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Frank Morgan All-Stars - Reflections

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:36
Size: 121,6 MB
Art: Front

(7:37) 1. Old Bowl, New Grits
(7:16) 2. Reflections
(6:12) 3. Starting Over
(6:51) 4. Black Narcissus
(9:10) 5. Sonnymoon For Two
(6:15) 6. O.K.
(9:12) 7. Caravan

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended.~ Scott Yanow https://www.allmusic.com/album/reflections-1988-mw0000654231

Personnel: Frank Morgan – alto saxophone; Joe Henderson – tenor saxophone; Bobby Hutcherson – vibes; Mulgrew Miller – piano; Ron Carter – bass; Al Foster – drums

Reflections

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Bill Evans - The Alternative Man

Styles: Saxophone Jazz 
Year: 1987
File: MP3@320K/s
Time: 48:51
Size: 113,1 MB
Art: Front

(5:45)  1. The Alternative Man
(4:37)  2. The Path Of Least Resistance
(5:40)  3. Let The Juice Loose
(4:31)  4. Gardiners Garden
(3:24)  5. Survival Of The Fittest
(6:21)  6. Jojo
(5:41)  7. The Cry In Her Eyes
(5:24)  8. Miles Away
(7:23)  9. Flight Of The Falcon

The fact that Bill Evans' years as a Miles Davis sideman had so positive an effect on him is evident on The Alternative Man  an unpredictable fusion date that, although overproduced at times, is full of spirited blowing and adventurous composing. Ranging from the reggae-influenced "The Path of Resistance" to the addictive "Let the Juice Loose!" to the angular "Jojo," Evans' material is consistently impressive. A Michael Brecker disciple but definitely his own man, Evans tends to be robust and aggressive on tenor and more reflective on soprano. Guest John McLaughlin (electric guitar) is characteristically persuasive on the poetic "Flight of the Falcon."~ Alex Henderson https://www.allmusic.com/album/the-alternative-man-mw0000191774

Tracks 5 & 9: Bill Evans - tenor & soprano saxes; Clifford Carter - keyboards; Michell Forman - piano; John McLaughlin - guitar; Mark Egan - bass; Danny Gottlieb - drums; Manolo Badrena - percussion, space tines

Other players include: Hiram Bullock - guitar; Marcus Miller - bass; Al Foster - drums

The Alternative Man

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George Adams - Paradise Space Shuttle

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 41:17
Size: 95,7 MB
Art: Front

( 4:46)  1. Intentions
( 4:27)  2. Send In the Clowns
( 6:55)  3. Metamorphosis For Mingus
( 4:12)  4. Paradise Space Shuttle
( 6:49)  5. City Of Peace
(14:05)  6. Funk-A-Roonie-Peacock

Tenor saxophonist George Adams played with such verve and wit that virtually every solo he played was a delight. Unfortunately, as is the case here, he sometimes participated in contexts that didn't quite match the quality of his performances. Here, he's backed by a decent and sympathetic (if not always inspiring) rhythm section, and some of the tunes  such as the tear-jerking "Send in the Clowns"  are near perfect. Yet, one-third of this short recording is filled by a tune called "Funk-A-Roonie-Peacock," which, while a lot of fun, sounds like commercial filler. The saxophonist contributes a lengthy vocal, suitable for the disco but likely to disappoint many of his followers. Elsewhere, there's a sense of spontaneity that borders on informality, but Adams is excellent throughout. ~ Steve Loewy https://www.allmusic.com/album/paradise-space-shuttle-mw0000900968

Personnel: Tenor Saxophone – George Adams;  Bass – Don Pate; Drums – Al Foster; Piano – Ron Burton

Paradise Space Shuttle

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Eli Degibri - Israeli Song

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 56:51
Size: 131,0 MB
Art: Front

(6:51)  1. Unrequited
(6:26)  2. Mr. R.C.
(5:23)  3. Judy the Dog
(5:46)  4. Jealous Eyes
(6:26)  5. Manic Depressive
(4:24)  6. Bebop
(3:51)  7. Liora
(4:18)  8. Look What You Do to Me
(4:19)  9. Third Plane
(4:21) 10. Somewhere over the Rainbow
(4:40) 11. Israeli Song

Saxophonist Eli Degibri's name may be the least familiar one on the cover of Israeli Song. His quartet mates on this superb disc are of the highest level; it would be hard to find higher profile or finer accompanists. With that lineup two legendary stars in drummer Al Foster and bassist Ron Carter and, in pianist Brad Mehldau, a newer huge talent who keeps gathering momentum it becomes a matter, for the leader, of holding his own. He does so with high energy, aplomb and originality, with both his playing and composing. Degibri penned six of the eleven tunes in the set, but the quartet kicks off with Mehldau's "Unrequited," offered originally on the pianist's Art of the Trio, Volume 3: Songs (Warner Brothers, 1998). Degibri, on soprano saxophone, gives the tune a yearning mood in front of Mehldau's adroit accompaniment and extraordinary solo, evolving from pensive sadness and peaking with anguish, before settling, perhaps, into wistful acceptance. Full of smooth flowing jauntiness, Degibri's "Mr. R.C." features the saxophonist on tenor. Another Degibri-penned gem, "Judy the Dog," rushes full speed ahead, with the leader's tenor sending out flurries of notes in a well-told story, beginning with a smolder and gathering into high flames. The saxophonist covers Dizzy Gillespie's classic "Bebop" in a duet with Foster. The pair seems to push each other into new territories two eloquent musicians arguing a point, batting ideas and back and forth, and coming to a tentative agreement in the end. "Manic Depressive," written by Degibri and Barak Mori, wends its way through the bluesy wee hours, on a tune that sounds like something Ben Webster would have dug into a delivery by the leader and his cohorts full of feeling and deep down soul. Foster and Carter each contribute a tune to the set: the drummer's funky and upbeat "Look What You Do To Me," and bassist's quirky and tight-grooved "Third Plane," which gives the leader another chance to stretch out on tenor. Degibri explores the ever-familiar "Somewhere Over the Rainbow," played straight in simple, beautiful glory, with just a hard-blowing tenor horn and Carter's big, solid bass lines. Degibri then wraps things up with the title tune, an inward piece featuring the leader's tenor and Meldau's lovely, near-classical piano explorations. Degibri, with four previous CDs as a leader to his name, has crafted his breakout set with Israeli Song. ~ Dan McClenaghan https://www.allaboutjazz.com/israeli-song-eli-degibri-anzic-records-review-by-dan-mcclenaghan.php

Personnel: Eli Degibri: tenor and soprano saxophones; Brad Mehldau: piano; Ron Carter: bass; Al Foster: drums.

Israeli Song

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Larry Willis - My Funny Valentine

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 63:38
Size: 146,1 MB
Art: Front

(5:46)  1. For Opener's
(3:18)  2. It could Happen to You
(6:31)  3. Blues for Wynton Kelly
(8:52)  4. Who's Kidding Who
(6:03)  5. Rhythm-A-Ning
(6:28)  6. Blood Count
(6:46)  7. My shining Hour
(5:45)  8. Lazy Afternoon
(8:02)  9. Ethiopia
(6:02) 10. My Funny Valentine

Although Larry Willis had played fusion and electric jazz-rock in the 1970s, the Willis heard on 1988's enjoyable, if conventional, My Funny Valentine is a more conservative post-bopper/hard bopper whose main reference points include McCoy Tyner, Tommy Flanagan, Wynton Kelly and Bill Evans. Willis plays the acoustic piano exclusively on this CD, and standards are a high priority. Nothing cutting-edge occurs, just straight-ahead jazz that's honest, warm and melodic. Most of the selections are trio numbers with bassist George Mraz and drummer Al Foster, although the pianist is joined by the passionate alto saxman Kenny Garrett on Thelonious Monk's "Rhythm-A-Ning," Garrett's insistent "For Openers" and Willis' haunting "Ethiopia." As a trio pianist, Willis is in good form on such often recorded standards as "My Funny Valentine," "Lazy Afternoon" and Billy Strayhorn's "Bloodcount" all of which demonstrate how sensitive a ballad player he can be. Initially released only in Japan by the Jazz City label, My Funny Valentine came out in the U.S. when the Philadelphia-based Evidence Music reissued it in 1998. ~ Alex Henderson https://www.allmusic.com/album/my-funny-valentine-mw0000198066

Personnel: Larry Willis – piano; Kenny Garrett – alto saxophone; George Mraz – bass; Al Foster – drums

My Funny Valentine

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Miles Davis - Star People

Styles: Trumpet Jazz
Year: 1983
File: MP3@320K/s
Time: 58:53
Size: 135,6 MB
Art: Front

(11:03)  1. Come Get It
(10:07)  2. It Gets Better
( 8:33)  3. Speak
(18:46)  4. Star People
( 5:51)  5. U 'n' l
( 4:30)  6. Star on Cicely

On this 1983 release, Miles Davis rediscovers the blues. He really stretches out on "Star People," making dramatic use of silence and placing each note carefully. "Come Get It" is also memorable although "U 'n' I" (which had the potential to catch on) is only heard in a truncated version. In general Davis is in fine form on this set and, although saxophonist Bill Evans is barely heard from (many of his solos were edited out), the contrasting guitars of Mike Stern and John Scofield hold one's interest. ~ Scott Yanow https://www.allmusic.com/album/star-people-mw0000023240

Personnel: Miles Davis – trumpet, keyboards; John Scofield – electric guitar; Mike Stern – electric guitar; Bill Evans – tenor & soprano saxophone; Marcus Miller – electric bass; Tom Barney – electric bass; Al Foster - drums; Gil Evans – arranger (uncredited)

Star People

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Larry Willis Trio - The Big Push

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 52:55
Size: 122,0 MB
Art: Front

(6:27)  1. The Surrey with the Fringe on Top
(6:36)  2. Today's Nights
(6:25)  3. The Day You Said Goodbye
(6:12)  4. Just Wait and See
(5:45)  5. Annika's Lullaby
(7:44)  6. I Have a Dream
(4:00)  7. Everything I Have Is Yours
(4:39)  8. The Big Push
(5:02)  9. Poppa Nat

Pianist Larry Willis has been on over 300 sideman sessions and led eighteen of his own albums since 1970, fifteen of them since 1989. Willis has been in involved in many sub-genres of jazz, largely in the earlier years including jazz-rock fusion and the avant-garde. He was the pianist for Blood Sweat & Tears in the early '70s, Sonny Fortune in the late '70s, and David "Fathead" Newman, Carla Bley and Nat Adderley in the '80s. His albums have appeared on Groove Merchant, Audioquest, Brunswick and Mapleshade. In choosing a trio for The Big Push, Willis selected drummer Al Foster, his old student partner from the High School of Music & Art in Manhattan, and the in-demand bassist Buster Williams. The tunes are a combination of a few sturdy standards, two originals and jazz standards. Beginning with an untempo version of the Rodgers & Hammerstein classic "The Surrey with The Fringe on Top," Willis and company find out what makes its wheels turn; his tribute to former employer Nat Adderley is a poignant "Poppa Nat." Buster Williams steps in frequently to provide fine support for Willis, notably on the ballads and mid-tempo tracks; Al Foster supplies just the right touch for the cookers as well as the tastefulness needed on the ballads. ~ Michael P.Gladstone   https://www.allaboutjazz.com/the-big-push-larry-willis-highnote-records-review-by-michael-p-gladstone.php

Personnel: Larry Willis: piano; Buster Williams: bass; Al Foster: drums.

The Big Push

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Al Foster - Inspirations & Dedications

Styles: Jazz, Post Bop 
Year: 2019
File: MP3@320K/s
Time: 66:00
Size: 152,4 MB
Art: Front

(6:42)  1. Cantaloupe Island
(5:39)  2. Ooh, What You Do to Me
(5:01)  3. Simone's Dance
(5:54)  4. Samba de Michelle
(5:31)  5. Kierra
(4:48)  6. Douglas
(1:38)  7. Brandyn
(2:42)  8. Our Son
(4:21)  9. Song for Monique
(5:00) 10. Jazzon
(5:35) 11. Bonnie Rose
(7:25) 12. Aloysius
(5:40) 13. Jean-Pierre

On paper Al Foster's  resume as a supporting artist reads better than most other jazz drummers. He's recorded albums with Dexter Gordon, Art Pepper, Frank Morgan, Sonny Rollins, McCoy Tyner, among a plethora of others. Chances are, those who aren't familiar with his name have heard him somewhere, and for the first time since 2002, they can hear him on Inspirations And Dedications as a band leader. As its title suggests, the album is a somewhat autobiographical release. With its 66-minute runtime divided into 13 tracks, the disc is lengthy without becoming bloated. Foster's quintet is a top-tier group of musicians, including trumpeter Jeremy Pelt, saxophonist Dayna Stephens, pianist Adam Birnbaum, and bassist Doug Weiss. The group plays well together, offering a pleasant sound which pushes the lengthy album along at a quick pace, their consistency never allowing for a lull. Rather than featuring a standout single, each song on this crowded release contributes more to a whole. At its finish, Inspirations and Dedications seems not to be a somber reflection on a life lived, but a celebration of it.  Eight of the aforementioned dedications take the form of family. "Simone's Dance" and "Samba de Michelle" feature some of his heaviest drum work on this release, with the latter being a swinging cymbal-driven tune. 

"Kierra" offers a cool, mellow vibe, while "Song For Monique" is a new composition sounding as if it could have been lifted from the early 1960s. Dayna Stephens leads the group through a catchy melody, while Jeremy Pelt seizes an opportunity to solo. The drummer's now classic "Bonnie Rose," a tribute to his wife of over 40 years, receives a more mellow reimagining led by Birnbaum and Weiss, contrasting starkly with the more energetic treatment it received on Chris Potter's Pure (Concord, 1994). Foster and Birnbaum condense the drummer's 1997 composition "Brandyn" into a brief duet prelude to "Our Son," a grief-soaked elegy for the child he lost in 2017. 

Though these two songs comprise under four minutes of the album's runtime, they serve as an emotional counterbalance to the rest of Inspirations and Dedications. The quintet doesn't pull their punches here, and their sincerity lends authenticity to the entire production. Self-referential yet still humble, Foster also penned a composition in his own name, titled "Aloysius." The tune opens with an pensive drum solo before Stephens takes up the melody. Bookending the album are homages to the drummer's 1980s bandmates. Herbie Hancock's "Cantalope Island" opens things up, while he later revisits Miles Davis' "Jean-Pierre," which he played with Davis' quintet on the trumpeter's Grammy-winning We Want Miles (Columbia, 1982). The latter retains just enough of the original's attitude to be an upbeat finale. Al Foster doesn't use Inspirations and Dedications to solidify his position as one of jazz's legendary drummers. He doesn't have to. Instead, he utilizes the album to pay homage to his history within the genre. His friends, his family, and his colleagues all receive treatment, and now more than ever, it becomes apparent how great the breadth of his footprint has been. ~ Peter Hoetjes https://www.allaboutjazz.com/inspirations-and-dedications-al-foster-smoke-sessions-records-review-by-peter-hoetjes.php

Personnel: Al Foster: drums; Jeremy Pelt: piano; Dayna Stephens: saxophone; Adam Birnboum: trumpet; Doug Weiss: bass

Inspirations & Dedications

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Bobby Hutcherson - In The Vanguard

Styles: Vibraphone Jazz
Year: 1987
File: MP3@320K/s
Time: 55:25
Size: 127,5 MB

Art: Front

( 6:44)  1. Little Niles
( 7:56)  2. Estate
( 7:32)  3. Well, You Needn't
(10:23)  4. Young and Foolish
(10:02)  5. Some Day My Prince Will Come
( 7:44)  6. Witchcraft
( 5:02)  7. I Wanna Stand Over There

The reissue of Bobby Hutcherson's live Village Vanguard session from December 5-6, 1986 isn't the first. It's such a fine album that it's been issued quite a few times and has garnered high ratings. 32 Jazz has included Bob Blumenthal's original liner notes in which he lists several from the long list of jazz artists who've recorded live sessions at The Village Vanguard. Hutcherson's hard bop session features a lot of "blowing" by the leader on both marimba and vibes. His rhythm section on this date supports him well and provides an experienced conversation. Speaking of conversations, Fred Jung's interview with Hutcherson provides valuable insight into this session leader who got his start by laying bricks one summer in L.A. to save the money for his first set of vibes. Moving freely between vibraphone and marimba throughout the session, Hutcherson fills the traditional front line role by himself. The rhythm section is a thrill from start to finish, but leaves most of the soloing to the leader. Barron shines on "I Wanna Stand Over There," a hard-driving hard bop vehicle. The quartet oozes rich harmony on the long slow ballad "Young And Foolish," while "Some Day My Prince Will Come" waltzes excitedly with all-around high spirit. Recommended, Hutcherson's session features a seasoned rhythm section along with his full-speed-ahead front line "blowing."~ Jim Santella https://www.allaboutjazz.com/in-the-vanguard-bobby-hutcherson-32-records-review-by-jim-santella.php

Personnel: Bobby Hutcherson: vibraphone, marimba; Kenny Barron: piano; Buster Williams: bass; Al Foster: drums.

In The Vanguard

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McCoy Tyner - Plays John Coltrane At The Village Vanguard

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 66:22
Size: 152,4 MB
Art: Front

(12:17)  1. Naima
( 7:07)  2. Moment's Notice
(12:27)  3. Crescent
( 3:43)  4. After The Rain
(12:18)  5. Afro Blue
(11:08)  6. I Want To Talk About You
( 7:20)  7. Mr. Day

First off, for those who might assume this record was some never-before released Tyner Impulse record from the 60s please calm down...it's actually a Tyner record of the recent era when he recorded for Impulse, evidently residue from the contract he was under before having moved onto Telarc. So-not the Tyner of such memorable records as Today and Tommorrow or Inception, not that classic 60s Impulse recorded sound, but...a good record nonetheless and one that has its own certain value both in the Tyner discography and in the realm of Trane tribute records. This live set from the Village Vanguard was recorded in 1997 on John Coltrane's 71st birthday (the fact we are now in the annum of his 75th birthday makes it all the more timely). Tyner is accompanied here by the excellent bassist, George Mraz, and the spunky rhthymic force of Al Foster on drums. Both players have been part of the McCoy Tyner trio in recent years as Tyner has branched out from having only longtime associates Avery Sharpe and Aaron Scott in his trio. Foster, in fact, was featured on a recent Telarc trio record along with the bassist Stanley Clarke. These trio mates serve McCoy Tyner well, indeed, better than Sharpe and Scott do but that's no major revelation; people have observed for years that Tyner's trio didn't exactly feature musicians on his same footing. In any event, what the gains are made are obvious in terms of musicianship. Mraz is inobtrusive and respectful of McCoy's own volume level, providing uncomplicated but solid basslines, while Al Foster is simply exemplary in the way that he will constantly stir up bluster but never overwhelm. 

Generally speaking then-these musicians stay out of Tyner's way and only do what is needed to accentuate his playing. There's a certain conservatism here, but Tyner's former trio, in contrast, often had the feeling of a rock act because the three musicians tended to move less as a unit, more as one soloist after another. The trio's program of tunes and compositions made famous by Trane is well-rounded but there's nothing faintly offbeat in terms of tune selection. "Mr Day," also know as "Ug 'Gainst the Wall" is the closest thing, as a rather southern-sounding blues penned by Trane. Nevertheless, the classic Trane repertoire is well-represented here with thoughtful, stately renditions of "Naima," "I Want to Talk About You," and "After the Rain." A case could be made that the set is too ballad-heavy, but then you realize one isn't in real position to argue with how Tyner wants to honor Trane, his old boss. "Crescent" and "Afro Blue" are the two cuts which feature the McCoy Tyner many think of-driving, banging fifths in the left hand, and sideways right-hand work that sounds at somewhere around Mach 5. That said, "Afro Blue" is probably the choice cut on the record; great Mraz solo, and dramatic build-ups here. "Mr Day" aka "Up Against the Wall"-is fine for its chordal dynamism-we see here clearly why McCoy's left hand is the envy of so many jazz pianists. Finally-"Moment's Notice" stands as the only track that seems somewhat insubstantial. Overall, this set is a good representative of late-period Tyner some feel that is a qualification in itself; however to longtime Tyner fans who still appreciate his work, or to those new to this dramatic style of jazz piano, this record should provide some decent listening. It's not essential as a Trane tribute record (as Impulse(Verve) has tried to market it)-though. There are much more important Trane tribute records out there, including several that McCoy has been involved with himself. ~ AAJ Staff https://www.allaboutjazz.com/plays-john-coltrane-at-the-village-vanguard-mccoy-tyner-universal-music-group-review-by-aaj-staff.php?width=1920

Personnel: McCoy Tyner-Piano. George Mraz-Bass. Al Foster-drums.

Plays John Coltrane At The Village Vanguard

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Andy LaVerne Quartet - Four Miles

Styles: Piano Jazz
Year: 1996
File: MP3@224K/s
Time: 70:13
Size: 112,9 MB
Art: Front

(8:28)  1. When you wish upon a star
(4:52)  2. Summertime
(8:22)  3. Maiden voyage
(7:32)  4. Some say my prince will come
(6:41)  5. Song for my father
(7:41)  6. All blues
(7:58)  7. Mr Syms
(7:26)  8. Cantaloupe island
(4:29)  9. Round midnight
(6:40) 10. On green dolphin street

Despite the CD's title, most of the music on this date does not have any close connection to Miles Davis; in fact five of the ten songs were not even recorded by Davis. In addition, trumpeter Randy Brecker, who joins the Andy Laverne Trio (which is comprised of pianist Laverne, bassist George Mraz and drummer Al Foster) sounds closer to Freddie Hubbard and Lee Morgan than to Davis. However, if one does not think about the tribute aspect (or lack of), the music is quite enjoyable. Laverne and Brecker have many fine solos within the hard-bop tradition on such numbers as "When You Wish Upon a Star," "Maiden Voyage," "All Blues" and "Cantaloupe Island." An excellent modern straight-ahead date that falls just a little short of being essential. ~ Scott Yanow https://www.allmusic.com/album/four-miles-mw0000025762

Personnel:  Piano – Andy Laverne; Bass – George Mraz; Drums – Al Foster; Trumpet, Flugelhorn – Randy Brecker

Four Miles

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