Brandee Younger - Wax & Wane

Styles: Harp Jazz
Year: 2016
File: MP3@320K/s
Time: 26:40
Size: 62,0 MB
Art: Front

(4:42)  1. Soul Vibrations
(5:46)  2. Essence of Ruby
(2:04)  3. Ruby Echo
(3:15)  4. Afro Harping
(4:11)  5. Wax and Wane
(1:46)  6. Ebony Haze
(4:53)  7. Black Gold

Being a harpist on the jazz scene can’t be easy.  And though jazz, as much as any genre, takes a sincere stab at incorporating non-traditional instruments into the body of work, it’s a not a huge stretch to assume that a harpist has gotta work a bit harder than most to find ways to fit in.  Historically, there aren’t a lot of predecessors to glean wisdom from on a course to chart, and it’s not like the current scene is loaded with jazz harpists, so hoping for some gestalt action from fellow birds of a feather might be too much to expect.  But it’s in the context of those potential obstacles that it’s so encouraging when someone like Brandee Younger steps up with such creative abandon to express a bold vision, and it’s why it’s really easy to forget that there may have been some obstacles less than ordinary in her path getting there. Younger’s debut EP Prelude immediately displayed equal willingness to groove, swing and sway.  That was followed by the excellent live set Brandee Younger 4tet Live @ the Breeding Ground, an album that kicked up all kinds of sparks and heat.  A great live set recording is the kind of thing where you immediately go and check the tour page on the artist’s site to see if she’s performing in a town near you.  Younger’s Breeding Ground release elicits that kind of response.  It has all the electricity you want to feel from music and it has all the intelligence you want to excite your cortex.  And while much of the music sounds planted firmly in Today, Younger doesn’t turn her back on what came before.  The composition “Soul Vibrations,” a frequent tune performed by jazz harp trailblazer Dorothy Ashby, is a fixture in Younger’s repertoire.  Another trailblazer in jazz harp is Alice Coltrane… a different sound and a different approach than Ashby, yet Younger seamlessly insinuates her own sound onto the Coltrane composition “Blue Nile” and makes it part of the whole mix for some remarkable cohesion.  A mix, worth noting, that incorporates an impressive number of Younger originals.  Another Ashby tune Younger embraces is “Wax and Wane.”  It’s also the title of her newest release.

Younger’s take on a contemporary soul-jazz sound is positively addictive.  Where Live @ the Breeding Ground showed she has the ability to kick out flames and flash a sharp edge, Wax and Wane is proof that the music is still highly charged even when Younger chooses to lower the voltage and develop a flow that’s gift-wrapped for dance.  The trio of bassist Dezron Douglas, guitarist Mark Whitfield and drummer Dana Hawkins dig deep for a groove that’s light on its feet with “Essence of Ruby.”  And though it’s a tune just dripping with sunshine, the tenor sax of Chelsea Baratz reminds us that sometimes the heat of sunshine burns.  But perhaps most impressive, and enjoyable, is how the seemingly different goals of the rhythm section, tenor sax, and the duo interaction of Younger’s harp and Anne Drummond‘s flute work in tandem in a fluid construct, as if Younger’s crew were taking individual streams of water and weaving them into a flowing river. But then there’s a track like the elegant “Ruby Echo,” and the abundance of warmth generated by the melodic bursts from harp and strings… an elegance that remains when the thick grooves return on “Afro Harping.” The cinematic “Ebony Haze” recalls Alice Coltrane’s spiritual heavy works on the Impulse label.  Those early 1970’s recordings were melodically striking and maximized dramatic effect without risking its abiding sense of serenity.  It’s nifty that Younger shows she’s already got a handle on that approach to her instrument and compositions, but it’s that she’s able to drop that track right after the groove-heavy “Wax and Wane” and park it up against the fender of subsequent track “Black Gold,” with its drifting ambiance and punctuated tempos, that’s an entirely different level of creative deftness. Younger is showing all kinds of promise with her recordings to date, and it’s a seriously positive sign about the strength of the modern jazz scene that albums like Wax and Wane are getting a share of the spotlight. https://www.birdistheworm.com/recommended-brandee-younger-wax-and-wane/

Personnel:  Brandee Younger (harp), Anne Drummond (flute), Dezron Douglas (electric bass), Mark Whitfield (guitar), Dana Hawkins (drums), Chelsea Baratz (tenor sax) and Chargaux (violin, viola).

Wax & Wane

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Victor Gould - Clockwork

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 64:44
Size: 149,2 MB
Art: Front

(7:37)  1. Clockwork
(7:07)  2. Room
(5:20)  3. Chaancé
(5:18)  4. Blue Dales
(7:53)  5. The Return
(3:09)  6. Apostle John  (Prelude)
(8:58)  7. Apostle John
(0:44)  8. Sir Carter  (Intro)
(4:50)  9. Sir Carter
(5:36) 10. Nefertiti
(8:06) 11. Three Souls

There are lots of moving parts that make clocks tick. Each has its own function, harmoniously aligned with the others, and every single one helps to sustain the very concepts of time and flow. The analogy can clearly be drawn from these mechanisms behind timepieces to jazz in general, but it's rarely as obvious to the ears as it is on this album in particular. Pianist Victor Gould's debut utilizes a variety of large gears, pinions, and regulators to help fashion his own ideas. You just never know who'll be standing in for which of those parts. The high-octane combination of Gould, bassist Ben Williams, and drummer E.J. Strickland is at the center of each scene, but they're joined, at different times, by a variety of other musicians and instruments saxophones, trumpet, flute, strings, and percussion which help to create an intricate sonic mesh and add a variety of tonal colors to the mix. It's heady modernistic jazz language and high art rolled into one. The album opens on the title track, a bubbly Latin cauldron fired and forwarded by the aforementioned trio in cahoots with percussionist Pedrito Martinez. The pieces that follow "Room," a sunny yet contemplative work in three, and "Chaance," a mellow, strings-enhanced feature that puts the spotlight on Jeremy Pelt's flugelhorn and the composer's piano stand apart in mood and musical complexion, marking Gould as a composer of great ambition and skill. 

While shifting focal points, different emotional tides, and the track-to-track addition and subtraction of musicians all allow the listener to indulge in a variety of musical worlds and fantasies, Gould's voice rings true in each and every one . He excels at every turn, regardless of where those turns may lead. He brilliantly works the beautiful-to-brooding range on the prelude to "Apostle John"; he shows patience and restraint over a throbbing base/bass on that tune proper, standing in stark contrast to the raw intensity that comes from his colleagues; and he delivers a scene-stealer statement full of daring and darting maneuvers on "Blue Dales." It's easy to see what his A-list employers trumpeter Wallace Roney, drummer Ralph Peterson, and saxophonist Donald Harrison, among others see in Gould. He's got the musical world on a string, in his mind, and at his fingertips. ~ Dan Bilawsky https://www.allaboutjazz.com/clockwork-victor-gould-fresh-sound-new-talent-review-by-dan-bilawsky.php

Personnel: Victor Gould: piano; Jeremy Pelt: trumpet (1-3, 6-8, 11); Godwin Louis: alto saxophone (1-3, 5-8, 11); Myron Walden: tenor saxophone (1-3, 6-8, 11); Anne Drummond: flute (3, 7); Ben Williams: bass (1-5, 7, 9-11); E.J. Strickland: drums (1-5, 7-11); Pedrito Martinez: percussion (1, 4, 7); Yoojin Park: violin (3, 6, 7); Heejin Chang: viola (3, 6, 7); Veronica Parrales: cello (3, 6, 7).

Clockwork

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Ada Rovatti - Disguise

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 64:55
Size: 149,6 MB
Art: Front

(7:19)  1. Ghost Stories
(6:59)  2. Alone in Traffic
(8:09)  3. TBA
(3:02)  4. Smile (Sax Solo Intro)
(5:53)  5. Smile
(8:08)  6. Moving Forward
(6:36)  7. Halfway
(5:12)  8. Tripping Step
(7:57)  9. Stairway to Heaven
(5:36) 10. Gentle Giant

An initial spin of saxophonist Ada Rovatti's Disguise says she hasn't lost a step since 2009's The Green Factor (Piloo Records). There's still the judicious funk grooves, the tight arrangements, and catchy and distinctive melodies that make for an engaging and edifying listening experience. And she's still a wonderfully soulful saxophonist. These are quintet, quartet and sextet offerings. In small group jazz outings, there has to be something that sets the effort apart. With Rovatti especially on Disguise that "something" is her arrangements, beginning with "Ghost Stories," one of eight (out of ten tunes) Rovatti originals. Bassist Janek Gwizdala, drummer Dana Hawkins and pianist Oli Rockberger lay down a terrific groove. Trumpeter Miles Davis, in his 1980's mode, would have loved this. His muted horn would have fit right in contemporary funk; but the secret here is Rovatti's sax joined by flutist {Anne Drummond}} for some ghostly harmony, playing a very memorable unison melody. Drummond is spirited in her solo, and makes an argument for more flute-in-the-front line outings. Rovatti doesn't step out until three and a half minutes in. She smolders beautifully in front of the shimmer of Rockberger's electric keys.  "Alone in Traffic" is surprisingly upbeat, considering the title. Maybe the composer (Rovatti) enjoys time alone on the expressways. She is joined here by trumpeter Randy Brecker, with his expansive, cool tone. If Brecker is cool, Rovatti is hot. Her solo cranks the thermostat up fifteen degrees in front of the controlled stumble of the drums and bass. "TBA" features Rovatti on soprano sax. Her tone is clean, gorgeous not always the case with the "straight horn." And her front line partner, Zach Brock on violin, gives the tune a sharp modern edge. His sound, playing alongside Rovatti, sounds like electronic spicing rather than singing strings. Stepping out on his solo he sears it, with a stretchy, elastic, brash sound. A funky, fabulously-arranged gem of a tune. Two familiar non-originals are included. Charlie Chaplin's "Smile," with a lonely, late night three minute intro by Rovatti on tenor. This is a quartet, the saxophonist and the rhythm section, and Rovati shows she can play the classic ballad with loads of emotion, with the rhythm guys flying free when she steps out. The there's "Stairway to Heaven," from the Led Zepplin songbook. She joined here by Randy Brecker again, with Adam Rogers on guitar (if it's Led Zepplin, you've got to have a guitar) on a fairly straight forward, very jazzy turn on the song. The disc closes with ballad full of contemplative joy, "Gentle Giant." Rovatti's tenor has a classic, expressive robustness. Could this be an Ode to Randy Brecker, Rovatti's husband and partner in music? Might be.~ Dan McClenaghan https://www.allaboutjazz.com/disguise-ada-rovatti-piloo-records-and-productions-llc-review-by-dan-mcclenaghan.php

Personnel: Ada Rovatti: tenor and soprano saxophones, composer/arranger; Janek Gwizdala: bass; Dana Hawkins: drums; Leo Genovese: piano (2, 3, 4, 8); Oli Rockberger: piano (1, 6, 10); Adam Rogers: guitar (9); Zach Brock: violin (3, 8); Anne Drummond: flute (1, 6); Randy Brecker: trumpet (2, 6, 9); Dean Brown: guitar (10).

Disguise

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Stefon Harris - African Tarantella

Styles: Vibraphone Jazz
Year: 2006
File: MP3@320K/s
Time: 54:43
Size: 125,6 MB
Art: Front

( 6:03)  1. Thanks for the Beautiful Land on the Delta
( 6:00)  2. Portrait of Wellman Braud
( 3:55)  3. Bourbon Street Jingling Jollies
( 5:46)  4. Sunset and the Mocking Bird
( 4:57)  5. The Single Petal of a Rose
( 6:56)  6. Memoirs of a Frozen Summer
( 9:00)  7. African Tarantella
(10:19)  8. Dancing Enigma
( 1:43)  9. Untitled

Given the number of tribute albums coming out these days, it's refreshing to see an artist reference lesser-known works and take a road less-travelled in terms of approach. Vibraphonist Stefon Harris' African Tarantella enlists a streamlined instrumental configuration to rework excerpts from Duke Ellington's 1970 "The New Orleans Suite" and 1958 "The Queen's Suite," along with parts of his own commissioned "The Garner Meditations." The result is less cerebral than The Grand Unification Theory (Blue Note, 2003), but no less ambitious. The Grand Unification Theory was a sweeping work stylistically an impressive disc that left some listeners in the cold after his more approachable Blue Note releases A Cloud of Red Dust (1998) and BlackActionFigure (1999). For the past couple of years he's toured significantly on the heels of Evolution (2004) with his fusion-centric group Blackout, which has found him just as capable of a visceral groove as headier pursuits. African Tarantella, while unequivocally a mainstream record, is the happy marriage of both, making it his strongest effort to date. 

When you've got the right people, you can do anything. Drummer Terreon Gully and bassist Derrick Hodge Harris' Blackout bandmates have emerged, seemingly out of nowhere, in the past couple of years, to be a highly flexible rhythm team. They're capable of more traditional swing on "Portrait of Wellman Braud," but on "Thanks for the Beautiful Land on the Delta," Gully's light but modernistic backbeat updates Ellington for the new millennium. That's not, however, the only piece that illustrates Ellington's timeless potential. With a nonet featuring piano, trombone, flute, clarinet, viola and cello, Harris contemporizes Ellington harmonically, creating a distinctive textural alternative to Ellington's horn-heavy arrangements. There are enough instruments here to respect the crux of Ellington's work, but it feels lighter and more open-ended. On "The Single Petal of a Rose" Harris is accompanied only by Hodge, and this simultaneous mix of vibes and marimba makes for one of the disc's high points respecting the original, but displaying an even greater sense of calm. Harris' voice is the most dominant on the recording, but there are opportunities for others to shine as well. Greg Tardy's solo on "Thanks for the Beautiful Land on the Delta" positions him as one of the most important clarinettists to emerge since Don Byron. While mostly arranged, Anne Drummond's lush flute dominates Harris' own balladic "Memoirs of a Frozen Summer," while pianist Xavier Davis' solo on the up-tempo but never hurried title track suggests that he is like many of the players in the ensemble a relatively young talent worth watching. The trick to successful homage is reverence that remains personal. Between new arrangements of existing work and his own compositional contributions, Harris has created an album that pays tribute to a clear source of inspiration but also goes to places that Ellington might never have imagined. ~ John Kelman https://www.allaboutjazz.com/african-tarantella-dances-with-duke-stefon-harris-blue-note-records-review-by-john-kelman.php

Personnel: Stefon Harris: vibraphone, marimba; Xavier Davis: piano; Derrick Hodge: bass; Terreon Gully: drums; Anne Drummond: flute; Greg Tardy: clarinet; Steve Turre: trombone; Jonah Chung: viola; Louise Dublin: cello.

African Tarantella

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Stefon Harris - Evolution

Styles: Vibraphone Jazz
Year: 2004
File: MP3@320K/s
Time: 67:18
Size: 154,8 MB
Art: Front

(5:54)  1. Nothing Personal
(6:20)  2. For Him, for Her
(6:21)  3. Until
(7:47)  4. Red-Bone Netti-Bone
(5:48)  5. A Touch of Grace
(7:17)  6. Summertime
(7:28)  7. Blackout
(6:07)  8. The Lost Ones
(6:36)  9. King Tut's Strut
(5:15) 10. Message to Mankind
(2:19) 11. Montara

It takes no time at all to get into Evolution , Stefon Harris’ fifth album for Blue Note, the young vibraphonist’s fourth as leader and his first with his new band. Immediately the music breaks into a sprint. And its appeal is equally as instantaneous. There is no acclimation period, no finger-drumming developmental warm-up, no amusing 30-second intro track. So it’s funny that this disc should bear the title Evolution , by all Darwinian or Lamarckian accounts an excruciatingly slow transformative process. But this, it seems, is the point Harris wants to make. Jazz music even his own has been swimming in the ooze of heady theory and generic territory-staking long enough. It’s high time an observable change took place. Blackout, Harris’ fresh line-up (named thus because they are “about blacking out the narrow views surrounding and constricting the definition of jazz”), is notably well suited to such a task. Don Grolnick’s “Nothing Personal” is transformed into a fleet-footed groove featuring Marc Cary’s soulful keyboard licks, which are at times reminiscent of Baby Face Willette. Harris contributes a radiant vibe line to match that of saxophonist Casey Benjamin. Darryl Hall raps out a tight, thumping funk on his acoustic bass. The energy is clearly that of classic hard bop, but the sound is utterly contemporary. The Gershwin standard “Summertime” is hazy, soporific, a bit like what you might expect from an electro-lounge DJ. In strictly jazz terms, it’s closer in execution to Charlie Parker’s lolling renditions than Trane’s skittish version of the same from My Favorite Things. Elsewhere we come to a lullaby cover of Sting’s “Until” a quiet declaration that everything from the popular to the esoteric is fair game in this evolutionary quest. 

Original compositions include the jaunty, freewheeling title track and “King Tut’s Strut,” something like a ride aboard an ancient Egyptian starship. Particularly striking is the exotic sway of “For Him, For Her,” during which Harris sounds out a slow-burning marimba romance atop the undulating rhythmic structure provided by drummer Terreon Gully and percussionist Pedro Martinez. Listeners may agree that Evolution is what Harris’ sprawling, overly ambitious The Grand Unification Theory (2003) was trying to be; or perhaps should have been. It’s more than just an issue of titular semantics. Evolution amalgamates a number of widely varying genres and performance styles, yet it sounds so seamless, cohesive and well, unified as to be cut from the same bolt of musical cloth. Using an instrumentation that is by no means unusual, it brings together the most distinctive and valuable characteristics found in the whole of jazz and beyond. This was precisely what its predecessor lacked. And if natural selection has its way, this disc will be one worth keeping for posterity. ~ Eric J. Iannelli https://www.allaboutjazz.com/evolution-stefon-harris-blue-note-records-review-by-eric-j-iannelli.php

Personnel: Stefon Harris: vibraphone, marimba; Casey Benjamin: alto saxophone (1, 2, 3-7, 9); Marc Cary: Fender Rhodes and keyboards (1, 2, 4-9); Darryl Hall: acoustic bass; Terreon Gully: drums; Anne Drummond: flute and alto flute, Xavier Davis: piano and Fender Rhodes (3, 10); Pedro Martinez: percussion, vocals (9).

Evolution

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Anne Drummond - Like Water

Bitrate: MP3@320K/s
Time: 32:21
Size: 74.1 MB
Styles: Brazilian jazz
Year: 2009
Art: Front

[4:30] 1. Aquelas Coisas Todas
[4:25] 2. Like Water
[3:30] 3. Frevo
[3:18] 4. Curumim
[4:13] 5. Lazy Afternoon
[3:57] 6. Afoxamba
[4:19] 7. Bossa For Copacabana
[4:06] 8. Spring

Anne Drummond: flute; Klaus Mueller: piano (1-7); Xavier Davis: piano (8); Paul Meyers: guitar (2, 5); Nilson Matta: bass (3, 6, 7, 8); Duduka Da Fonseca: drums (3, 6-8) and percussion (1, 7): Tom Chiu: violin (2, 5, 6, 8); Dave Eggar: cello (1, 2, 5, 6, 8).

Listening to vibraphonist Stefon Harris's outstanding African Tarantella (Blue Note, 2006), flautist Anne Drummond's work can often fly under the radar. Her importance on these recordings, however, can't be overstated: she often provides the textural glue that makes the group gel, and the only reason her fine flute work might not be more obvious is because of the lack of solo space she is given. Like Water, her debut as a leader, emphasizes the gentler side of Brazilian jazz. While plenty of people might feel the need to fill up a CD and play as much as possible to prove themselves on their first album, Drummond is comfortable in her skin and values the group dynamic over the individual on this concise, thirty-two minute recording. Performing with Kenny Barron's Canta Brasil provided the seeds of inspiration for this project, and two key performers from the pianist's group, bassist Nilson Matta and drummer/percussionist Duduka Da Fonseca, are along for the ride here.

Drummond wrote three pieces for the album and co-wrote another ("Spring") with Mark Bordenet. The title track benefits from her warm and unobtrusive string arrangement, with guitarist Paul Meyers adding some beautiful solo work and the flautist graceful and tender throughout. Meyers appears one last time on "Lazy Afternoon," and pianist Klaus Mueller provides a gentle and soothing piano solo. The rhythm section joins in on "Afoxamba," with Da Fonseca and Matta providing an instantly appealing, authentic groove. Drummond's joy and energy is immediately noticeable and her playing is passionate throughout. The blend between the pizzicato string line, at the outset of "Spring," and the rest of the musicians is intoxicating. Pianist Xavier Davis makes his lone appearance here, providing a touching solo.

The four other pieces are, for the most part, bright and bouncy. Toninho Horta's "Aquelas Coisas Todas" opens the album, with Drummond's flute sounding vibrant and fresh as she glides over the rhythm men. Egberto Gismonti's "Frevo" is three-and-a-half minutes of musical magic; Drummond's playing is electric, and her blend and chemistry with Mueller is astounding. Whether he's running through a unison rhythmic line with Drummond, comping behind her or playing his own solo, Mueller is always exhilarating. "Curumin" is a flute and piano duo performance that further highlights the rapport between Drummond and Mueller. Matta's "Bossa for Copacabana" is a subtle, gently gliding piece that benefits greatly from Da Fonseca's touch and feel. Whether interpreting her own works or other compositions, Drummond demonstrates a unified vision and strong melodic sense throughout Like Water. ~Dan Bilawsky

Like Water

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Nilson Matta's Brazilian Voyage - Copacabana

Bitrate: 320K/s

Time: 50:03

Size: 114.6 MB

Styles: Brazilian jazz

Year: 2010

Art: Front

[7:19] 1. Baden

[5:43] 2. Trenzinho Do Caipira

[5:05] 3. Águas Brasileiras

[4:23] 4. Brazil (Aquarela Do Brasil)

[2:59] 5. Pantanal

[6:27] 6. Copacabana

[4:53] 7. Saci Pererê

[7:18] 8. I Can See Forever

[5:53] 9. Asa Branca Baião

Nilson Matta is one of the most in-demand bassists for record dates encompassing Brazilian music, in addition to being a leader and also a member of the group Trio da Paz. This is only Matta's third CD under his own name, but it is a truly international session, with Americans Harry Allen (tenor sax) and Anne Drummond (flute), German pianist Klaus Mueller, plus fellow Brazilians Murico Zottarelli (drums) and percussionist Ze Mauricio. Matta composed "Baden" as a tribute to the late Brazilian guitarist/composer Baden Powell, a feature for the rhythm section that delves into a Bach-like fugue. 20th century composer Heitor Villa-Lobos penned "Trenzinho do Caipira ("The Little Train of the Caipira") as a part of his "Bachianas Brasileiras" suite, though this famous theme takes on a very different flavor with Matta's jazzy adaptation, which prominently features Allen and Drummond in the mix. The leader showcases his arco playing in his virtuoso solo masterpiece "Pantanal," at times suggesting a country hoedown à la Aaron Copland. Matta doubles on acoustic guitar in his delightful, easygoing bossa nova "Copacabana," with Allen conjuring the spirit of Stan Getz. Allen contributed the original ballad "I Can See Forever," written with the influence of the saudade style and suggesting a gorgeous sunset on a warm, romantic evening. Copacabana is a memorable date that reveals new facets with each hearing.

Copacabana

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Anne Drummond (Feat. Benny Green, Brandi Disterheft & Kassa Overall) - Revolving

Styles: Jazz
Year: 2013
File: MP3@320K/s
Time: 36:24
Size: 86,8 MB
Art: Front

(4:29)  1. French Folk
(3:29)  2. Elan
(5:25)  3. Harold Land
(4:05)  4. Rustic Room
(1:00)  5. Interlude (French Folk)
(4:18)  6. Magic Beans
(4:39)  7. Early
(0:44)  8. Interlude (Revolving)
(5:37)  9. Revolving
(2:33) 10. Um a Zero

“...(Drummond's) fine technique is imbued with spirit and imagination.”
-JazzTimes

New York-based flutist and pianist Anne Drummond established her career with multiple recordings and international tours with Kenny Barron, Stefon Harris and many others throughout the early 2000s. With "Revolving," she draws from her repertoire of favorite originals to create a warm and diverse recording. Playing alto and soprano flutes as well as piano, she executes her concise, colorful melodies with an ease that is also reflected in the artistry of her world-class bandmates. Pianist Benny Green offers sweeping satisfaction with two of his first recorded originals. Percussionist Keita Ogawa lays down worldly grooves, and Brandi Disterheft serves the music with exceptional bass work. Guitarist Vic Juris, cellist Dave Eggar, drummer Kassa Overall, and pianist David Chesky also contribute great meaning and insight to this eclectic and sweeping set of original compositions.
http://originarts.com/recordings/recording.php?TitleID=82647

Revolving

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Anne Drummond - Like Water

Bitrate: 320K/s
Time: 32:13
Size: 73.8 MB
Styles: Flute jazz, New Age
Year: 2009
Art: Front

[4:27] 1. Aquelas Coisas Todas
[4:25] 2. Like Water
[3:27] 3. Frevo
[3:18] 4. Curumim
[4:13] 5. Lazy Afternoon
[3:55] 6. Alexamba
[4:19] 7. Bossa For Copacabana
[4:06] 8. Spring

Anne Drummond has gained her greatest exposure by working and recording with Kenny Barron and Stefon Harris and the flutist is looking to expand her horizons with her first full CD as a leader. Drummond is more conservative than most jazz musicians who focus on flute, taking an understated, lyrical approach rather than focusing on fast runs and overblowing. Her focus is on Brazilian music, while she utilizes two members of Trio da Paz (bassist Nilson Matta and percussionist Duduka Da Fonseca. Pianist Klaus Mueller contributed the snappy arrangement of "Aquelas Coisas Todas," though Drummond is a bit buried in the mix near the beginning of the track. Matta penned the infectious "Bossa for Copacabana," in which Drummond delivers her best solo of the date. She also penned several originals for the session, including the elegant, lovely bossa nova "Like Water," the sauntering and relaxing "Lazy Afternoon" (which is buoyed by Mueller's solo), plus the playful ballad Spring, which has a sporadic rainfall incorporated throughout the piece. With this admirable effort, Anne Drummond comes across as a talented instrumentalist and composer who is willing to share the spotlight with her fellow musicians, good advice for any up-and-coming jazz musician. Recording information: Kampo Studios, NY (06/2007-09/2007). Photographer: David Bergman. Arrangers: Klaus Mueller ; Anne Drummond. Personnel: Anne Drummond (flute); Paul Meyers (guitar); Tom Chiu (violin); Dave Eggar (cello); Klaus Mueller , Xavier Davis (piano); Duduka Da Fonseca (drums, percussion)

Like Water

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