Ferit Odman - Autumn in New York

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 45:12
Size: 104,2 MB
Art: Front

(7:09)  1. Step Lightly
(6:21)  2. Alter Ego
(5:22)  3. Autumn in New York
(7:43)  4. The Soulful Mr. Timmons
(4:52)  5. Hindsight
(6:41)  6. My Ideal
(7:01)  7. Changing of the Guard

Autumn in New York comes via Turkish drummer Ferit Odman who leads this session featuring an all-American band playing straight-ahead tunes but this is a far cry from a "drummer's date." Both members of the frontline trumpeter Terell Stafford and alto saxophonist Vincent Herring were referred to as "young lions" early in their careers, and sound very much at home throughout the set, their ensemble playing a testament that, by this point, they are clear mainstays of the scene. Stafford's tone is warm and personal, and his reading of the title tune is delivered with tender familiarity. The lyrics of the song are included in the liner notes, and the trumpeter's feature evokes a feeling of that special time in that special place. Herring still blows a hot, energetic, post-bop horn. Lyrics are also included for "My Ideal," a feature for the altoist, with Odman admitting he is still looking for that special someone. What he has found, however, is the best partner in a rhythm section that a drummer could hope for. Peter Washington has been holding down the anchor for well over 20 years now, and is certainly one of the most dependable timekeepers in the business, possessing a combination of full, round tone and a bouncy agility that has made him much sought after and highly regarded. When he does get a chance to blow, as he does on "My Ideal," he shows what a musical force he is, and his solo is a high point of the recording. 

Jazz has a long tradition of Americans going abroad, some for longer periods than others. Whether it is to live, work or play festivals, jazz remains largely an American art form, and an export which is still well-received in far-off places. Turkish musicians have been playing jazz for quite some time, with schools and conservatories for jazz studies popping up in the country. The best place to learn, however, will always be the bandstand. Odman has the vocabulary, is well-versed in the idiom and does a nice job of accompanying his band mates throughout. His main contribution as leader on this date, however, is in assembling the band and picking the tunes. He's done that well, and his visitors do their job wonderfully also. More sessions like this and perhaps there will be some "young lions" emerging amongst the young Turks.~ William Carey https://www.allaboutjazz.com/autumn-in-new-york-ferit-odman-equinox-music-and-entertainment-review-by-william-carey.php?width=1920

Personnel: Ferit Odman: drums; Terell Stafford: trumpet; Vincent Herring: alto saxophone; Anthony Wonsey: piano; Peter Washington: bass

Autumn in New York

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Joe Magnarelli - Lookin' Up!

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 55:38
Size: 127,8 MB
Art: Front

(4:55)  1. 44
(4:58)  2. Third Set
(5:33)  3. Inner Beauty
(5:58)  4. You Go To My Head
(6:41)  5. Blue Key
(6:23)  6. Easy Transition
(5:24)  7. Suddenly It's Spring
(2:57)  8. Mile's Mode
(6:51)  9. Darn That Dream
(5:54) 10. In Walked Lila

Trumpeter Joe Magnarelli has been a jazz scene stalwart for 30 years. Based in New York since 1986 he's worked with a broad range of musicians including Lionel Hampton, Jimmy Cobb and Michael Feinstein and has released a series of albums as leader. Lookin' Up! is his first recording for the Posi-Tone label and it proves to be a fine addition to that label's roster of top-flight straight-ahead jazz. Lookin' Up! is a quintet outing, with trombonist and fellow Posi-Tone artist Steve Davis sharing the front line with Magnarelli. The album has a full, rich, sound courtesy of producer Marc Free and engineer Nick O'Toole. It showcases the five musicians as a group and the result is powerfully seductive. Magnarelli and Davis form a strong front line punchy and tough on Magnarelli's "44" and John Handy's "In Walked Lila"; swinging on "You Go To My Head" and "Suddenly It's Spring." 

The rhythm section pianist Anthony Wonsey, bassist Mike Karn and drummer Jason Brown provides the expert support that ensures the lead players shine as brightly as they can. Brown is the driving force, Karn's cool and reliable, Wonsey is a master of comping. Even without Magnarelli or Davis the three men hold the attention, establishing a groove or a mood with ease on their brief but cool intro to the leader's "Blue Key" for example, or during Karn's energetic solo on "Suddenly It's Spring." Magnarelli takes on the leader's role with aplomb. His playing is consistently superb. On his own "Inner Beauty" he's controlled yet romantic, characteristics that also define Wonsey's solo: on John Coltrane's "Miles' Mode" his muted trumpet flies over Karn and Brown's rhythmic foundation, the whole tune full of exuberant joy. Jimmy Van Heusen's "Darn That Dream" starts as a trumpet/piano duet then adds bass and drums from start to finish it's a graceful and lyrical reading of the old standard. Lookin' Up! closes with a fiery rendition of "In Walked Lila" which gives each musician a chance to loosen up and let rip. Five masterful talents, ten great tunes, that's Lookin' Up!. ~ Bruce Lindsay https://www.allaboutjazz.com/lookin-up-joe-magnarelli-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Joe Magnarelli: trumpet, flugelhorn; Steve Davis: trombone; Anthony Wonsey: piano; Mike Karn: bass; Jason Brown: drums.

Lookin' Up!

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Joe Magnarelli - If You Could See Me Now

Styles: Trumpet Jazz
Year: 2018
File: MP3@224K/s
Time: 62:08
Size: 101,8 MB
Art: Front

(6:33)  1. Lady Bird
(5:59)  2. On A Misty Night
(6:48)  3. Bula Beige
(6:12)  4. TheTadd Walk
(7:25)  5. If You Could See Me Now
(6:59)  6. The Dream Is You
(7:37)  7. I Think I'll Go Away
(8:59)  8. Sando Latino
(5:31)  9. Super Jet

This all-star band of trumpeter Joe Magnarelli, tenor saxophonist Ralph Moore, pianist Anthony Wonsey, bassist Dezron Douglas and drummer George Fludas breath new life into the compositions of the great Tadd Dameron. A supremely swinging affair, If You Could See Me Now includes two never before recorded Tadd Dameron tunes: The Dream Is You and Sando Latino. ~ Editorial Reviews https://www.amazon.com/If-You-Could-See-Now/dp/B07GGCZF5N

Personnel:  Joe Magnarelli on trumpet, Ralph Moore on tenor saxophone, Anthony Wonsey on piano, Dezron Douglas on bass and George Fludas on drums

If You Could See Me Now

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Nicholas Payton - Gumbo Nouveau

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 57:00
Size: 134,9 MB
Art: Front

(5:58)  1. Whoopin' Blues
(6:24)  2. When The Saints Go Marching In
(4:10)  3. Wild Man Blues
(6:31)  4. After You've Gone
(6:53)  5. Way Down Yonder In New Orleans
(4:01)  6. Down In Honky Tonk Town
(5:32)  7. I Gotta Right To Sing The Blues
(6:02)  8. Li'l Liza Jane
(3:34)  9. Weather Bird
(7:51) 10. St. James Infirmary

Only 22 at the time of this CD, Nicholas Payton had already quickly developed into a major trumpeter. Possessing a fat tone that is sometimes reminiscent of Freddie Hubbard, by the mid-'90s Payton had become New Orleans' latest significant contribution to jazz. On his second Verve release, Payton interprets and modernizes ten songs associated with his hometown and/or Louis Armstrong. Fortunately, Payton generally retains the flavor and joy of the original versions, even while he transforms much of the music into hard bop. To cite a few examples, "Whoopin' Blues" has parade rhythms, send-offs worthy of Lionel Hampton, and boppish solos, "Way Down Yonder in New Orleans" is taken as a slow and lightly swinging ballad, and "I Gotta Right to Sing the Blues" is turned into a jazz waltz. "Li'l Liza Jane" becomes a largely unrecognizable hard bop romp and this version of "When the Saints Go Marching In" is a bit melancholy, but "Wild Man Blues" is a real tour de force for the trumpeter and the duet between Payton and pianist Anthony Wonsey on "Weather Bird" has the leader liberally quoting from Louis Armstrong's classic version. Throughout the date, Payton is the lead voice, pianist Wonsey is the main supporting player, and there are occasional solos from altoist Jesse Davis and tenor saxophonist Tim Warfield. New Orleans jazz purists may not care for all of the updating, but the overall results are fresh and quite likable. Recommended. ~ Scott Yanow https://www.allmusic.com/album/gumbo-nouveau-mw0000183253

Personnel: Nicholas Payton (trumpet); Jesse Davis (alto saxophone); Tim Warfield (tenor saxophone); Anthony Wonsey (piano); Reuben Rogers (bass); Adonis Rose (drums).                 

Gumbo Nouveau

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Nicholas Payton - Nick@Night

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 71:42
Size: 167,4 MB
Art: Front

(5:46)  1. Beyond The Stars
(5:31)  2. Captain Crunch (Meets The Cereal Killer)
(8:39)  3. Faith > For Faith Evans
(4:34)  4. Pleasant Dreams
(0:55)  5. Interlude #1 (Turn Up The Funk)
(6:14)  6. Nick@Night
(5:24)  7. Somnia
(1:10)  8. Interlude #2 (Turn Out The Burn Out)
(6:51)  9. Prince Of The Night
(8:28) 10. Blacker Black's Revenge
(5:58) 11. Little Angel > For Christopher
(4:52) 12. Exquisite Tenderness
(7:13) 13. Sun Goddess

A working band Joy! It's uncommon today for major label to record their artist with his working band. But, surprisingly, Verve has done just that. Payton's quintet is a heavy swinging bop-oriented ensemble. This recording, like Miles' second great quintet, is more about band than it is about star. Individually its members have released records under their own names, but all are essentially this quintet. Of special note are Tim Warfield's Gentle Warrior and Adonis Rose's Song For Donise both on Criss Cross Records. Payton, a twenty-something trumpeter, makes this his fourth release as leader, but he is a veteran of the Lincoln City Jazz Orchestra, has won a Grammy Award for his duo with Doc Cheatham, and has toured extensively with Elvin Jones. Payton will be considered as the generation of trumpeter born of the Wynton Marsalis revolution. But coming from a musical New Orleans family, his father is bassist Walter Payton and mother a classical pianist, Payton was walking towards this destiny, perhaps Wynton merely opened some doors.The strong effort put forth by all involved both playing and composing makes this quintet candidate for best acoustic working outfit today. 

~ Mark Corroto https://www.allaboutjazz.com/nick-at-night-nicholas-payton-verve-music-group-review-by-mark-corroto.php

Personnel: Nicholas Payton: trumpet, flugelhorn; Tim Warfield: tenor and soprano saxophones; Anthony Wonsey: piano, harpsichord, celeste; Reuben Rogers: bass; Adonis Rose:drums.

Nick@Night

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Scott Wendholt - What Goes Unsaid

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:52
Size: 141,1 MB
Art: Front

(7:30)  1. Times Lines
(8:43)  2. Her Allure
(7:49)  3. Tangled Webs
(5:55)  4. What Goes Unsaid
(6:35)  5. Bright Moon
(6:43)  6. September in the Rain
(7:55)  7. B.G.
(9:38)  8. Blues on Hold

This solid quintet session is Wendholt's first since the release of 1997's excellent Beyond Thursday. All the tracks except for "September in the Rain" (played in a 5/4 arrangement) were written by Wendholt, in contrast to the thoroughly mixed format of the previous record. Wendholt's unabashedly straightahead writing, while not terribly original, takes some interesting twists and turns consider the busy, unison 16th-note lines that arise quite unexpectedly on the C section of "Her Allure." While What Goes Unsaid doesn't quite have the live, spontaneous spark that Beyond Thursday did, it is still an auspicious showcase for Wendholt's virtuosic horn, as well as that of tenor saxophonist Eric Alexander. Pianist Anthony Wonsey, drummer Dennis Irwin, and drummer Billy Drummond make for a sensitive and yet forceful rhythm section. Wendholt crafts a beautiful ballad melody on the title track, and at the other end of the spectrum, a fast, irresistible bop line on "Bright Moon." On the 6/8 hard bop vehicle "Tangled Webs," he begins his solo accompanied only by Irwin one of several instances of ensemble give-and-take that make the group well worth hearing. ~ David R.Adler https://www.allmusic.com/album/what-goes-unsaid-mw0000064495

Personnel: Scott Wendholt (trumpet); Eric Alexander (tenor saxophone); Anthony Wonsey (piano); Dennis Irwin (bass); Billy Drummond (drums)           

What Goes Unsaid

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Dick Oatts - Use Your Imagination

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 61:01
Size: 140,4 MB
Art: Front

(8:24)  1. Yesteryear
(8:39)  2. Do Da Day
(7:18)  3. Speaking Relative
(7:28)  4. Como Uno
(7:04)  5. Lossofyou
(7:07)  6. Use Your Imagination
(9:34)  7. Mideast Midwest
(5:23)  8. Game Show

Dick Oatts has a wonderful group here  a well-chosen quintet of musicians who really seem to open up the possibilities in each others' sound, especially when it comes to tone, texture, and color! Oatts is always great his raspy alto is deft, but always very personal too and it's offset here by the sparkling trumpet of Joe Magnarelli, who seems to be exploring a lot of fresh territory on the mostly-original tunes provided for the album by Dick. 

Pianist Anthony Wonsey blocks things out strongly with his work on the keys bringing in a soulful, stepping vibe that's mighty nice  before soaring out on his own solos too. And bassist Ugonna Okegwo rounds out the snapping rhythms provided by drummer Chris Smith making for a pair who's sense of timing really inspires the others. Titles include "Como Uno", "Speaking Relative", "Do Da Day", "Yesteryear", "Lossofyou", and "Midwest Mideast".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/861588

Personnel:  Dick Oatts - alto saxophone;  Joe Magnarelli - trumpet;  Anthony Wonsey - piano;  Ugonna Okegwo - bass;  Chris Smith - drums.

Use Your Imagination

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Adonis Rose Quintet - Song for Donise

Styles: Jazz, Post Bop
Year: 1997
File: MP3@224K/s
Time: 56:42
Size: 91,0 MB
Art: Front

(7:21)  1. Dia's Blues
(6:46)  2. Estrella del Mar
(6:28)  3. Seventy Ninth Street
(7:29)  4. Song for Donise
(6:27)  5. Reflections
(8:31)  6. My Foolish Heart
(6:47)  7. E.S.P.
(6:48)  8. Love Walked In

A veteran of groups led by trumpeters Terence Blanchard and Nicholas Payton, this is drummer Adonis Rose's debut as a leader. For Song for Donise, he gathered his colleagues from Payton's quintet Payton, tenor saxophonist Tim Warfield, pianist Anthony Wonsey, and bassist Reuben Rogers to perform five post-bop originals, two standards, and one jazz classic, Miles Davis and Wayne Shorter's "ESP," played at an incredibly fast tempo. As this is a working band that has toured regularly and has recorded under Payton's name on Verve, the group's sound becomes the recording's focus, although the feel seems looser and more energetic than on Payton's recordings, best exemplified by the interplay between Payton and Warfield on "Dia's Blues," an up-tempo number on which Payton and Warfield play different melodies and solo collectively. Other highlights include Wonsey's "Seventy Ninth Street," an up-tempo swinger built on some well-placed drum hits on which Wonsey quotes Leon Parker's "B.B.B.B" during his solo, and the Shorter-ish "Reflections," also written by Wonsey. This is a very good debut from a fine young musician. ~ Greg Turner http://www.allmusic.com/album/song-for-donise-mw0000038289

Personnel: Adonis Rose (drums); Tim Warfield (tenor saxophone); Nicholas Payton (trumpet); Anthony Wonsey (piano); Reuben Rogers (bass).

Song for Donise

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Nicholas Payton - Payton's Place

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 71:27
Size: 164,2 MB
Art: Jazz

(5:54)  1. Zigaboogaloo
(5:26)  2. The Three Trumpeteers
(6:29)  3. Back To The Source
(5:13)  4. A Touch Of Silver
(7:09)  5. Concentric Circles
(5:07)  6. Li'l Duke's Strut
(5:39)  7. Time Traveling
(5:38)  8. With A Song In My Heart
(9:40)  9. Paraphernalia
(4:18) 10. Brownie A La Mode
(5:23) 11. People Make The World Go Round
(5:25) 12. The Last Goodbye

Think of all the great jazz quintets over the years that have used trumpet, tenor saxophone, piano, bass, and drums. They're at the core of the answer to the "What is Jazz?" question, and Nicholas Payton's fourth release as leader honors that tradition. Along with tenor saxophonist Tim Warfield, pianist Anthony Wonsey, bassist Reuben Rogers and drummer Adonis Rose, the young trumpeter weaves his modern mainstream compositions around echoes of jazz legends; nine of these twelve pieces are Payton's originals. The trumpeter's father, New Orleans bassist Walter Payton, saw to it that his son was exposed to good music from his earliest years. Receiving his first trumpet at age four, sitting in on his father's rehearsals at the house, and performing with his father's jazz ensemble while still in grammar school, Payton had encouragement to suit his talent. Payton attended the New Orleans Center for Creative Arts and the University of New Orleans, but it's the encouragement from family and friends such as Clark Terry, Ellis and Wynton Marsalis, and Doc Cheatham, that seems to have made its mark on the talented youngster; Payton turns 25 this year. Guest Joshua Redman replaces Warfield on "A Touch of Silver" alongside the walking bass, swinging drummer and loping piano accompaniment. He and Payton work well together as a team. The effect is smooth and relaxed, yet they offer the listener just enough spice to keep it interesting. Wynton Marsalis assumes Warfield's chair on "Brownie a la Mode" as the two trumpeters engage in a good-natured cutting contest. "With a Song in my Heart" is performed up-tempo with guest Roy Hargrove sharing the spotlight. "The Three Trumpeters" brings the three together in an easy-going exchange. 

While Marsalis and Payton have distinctively brassy tones, Hargrove's contrasts and serves to round off the edges. Each trumpeter uses a gentle vibrato; they approach accented figures differently, and Marsalis supplies a few 1/2-valve phrases. Payton is in good "trumpet-tooting" company, good mainstream quintet company, and has already made quite a mark on the jazz world. Highly recommended. ~ Jim Santella https://www.allaboutjazz.com/paytons-place-nicholas-payton-verve-music-group-review-by-jim-santella.php?width=1920

Personnel: Nicholas Payton (trumpet); Joshua Redman, Tim Warfield (tenor saxophone); Roy Hargrove, Wynton Marsalis (trumpet); Anthony Wonsey (piano); Adonis Rose (drums).

Payton's Place

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Carmen Lundy - Something to Believe In

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 46:58
Size: 108,0 MB
Art: Front

(4:16)  1. In Love Again
(5:52)  2. Something to Believe In
(5:23)  3. Windmills of Your Mind
(2:53)  4. Happiness Is
(4:07)  5. Wild Child
(7:31)  6. I Loves You Porgy
(5:35)  7. Vu Ja De
(2:32)  8. A Gift of Love
(5:17)  9. It Might as Well Be Spring
(3:28) 10. Moody's Mood for Love

Something to Believe In could and should be the breakout album for veteran opera-trained vocalist Carmen Lundy. This is not to imply that Ms. Lundy doesn’t already possess a large group of devoted admirers, but this disc will go a long way to solidify her position as one of the finest jazz singers performing today; whether singing her own compositions, or bringing new interpretation and meaning to a standard tune, Lundy is hard not to believe in. Coincidentally all the songs here are about love. The title track, written by Lundy and Rich Meitin, is a sensual duet between her and Anthony Wonsey on piano. It’s a relaxed, slow-paced song whose melody sticks to you for a long time after the song ends. Wonsey knows when to take center stage and when to accentuate Lundy’s impeccable phrasing. On Lundy’s interpretation of the Michael Legrand classic "Windmills of Your Mind," a personal favorite, the vocalist is joined by Wonsey, drummer Victor Lewis, bassist Curtis Lundy, percussionist Mayra Casales, and violinist Regina Carter but unfortunately on just two others. Contributing gypsy-like floating phrases that sound like an elusive wind rushing round and round and round, Carter kicks a fast-paced rendition of "Windmills of Your Mind" up several levels.  Saxophonist Mark Shim blows tenor and soprano on four songs: the classic Gershwin tune "I Loves You Porgy"; an up-tempo Lundy original, "Vu Ja De"; "Wild Child"; and the opener, "In Love Again," another Ms. Lundy composition. Something to Believe In is immediately likeable, a quality that only expands through repeated listenings. ~ Rich Friedman https://www.allaboutjazz.com/something-to-believe-in-carmen-lundy-review-by-rich-friedman.php
 

Personnel: Carmen Lundy: Vocals, Percussion; Curtis Lundy: Bass Myra Casales: Percussion, Background Vocals; Anthony Wonsey: Piano, Fender Rhodes; Regina Carter: Violin; Victor Lewis: Drums; Mark Shim: Soprano and Tenor Saxophones.

Something to Believe In

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Anthony Wonsey - Anthonyology

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 56:41
Size: 130,1 MB
Art: Front

(5:37)  1. Inception
(5:08)  2. In the Blue of the Evening
(6:05)  3. Faces of a Clown
(5:24)  4. Temperance
(4:46)  5. Conception
(7:05)  6. Black Fairy Tales
(6:17)  7. Autumn Nocturne
(6:02)  8. Hey Jimmy
(4:41)  9. Daahoud
(5:32) 10. It Might as Well Be Spring/Sweet Lorraine

Originally released in Japan in 1995, this is pianist Anthony Wonsey's debut as a leader. On Anthonyology, the Chicago native enlists the services of bassist Christian McBride and drummer Carl Allen to perform three originals, three standards, and four jazz compositions. Only 24 at the time of this recording, Wonsey doesn't dazzle with technique, but displays lyricism and soulfulness in the tradition of influences Hank Jones, Tommy Flanagan, and Mulgrew Miller, while McBride and Allen, two-thirds of pianist Benny Green's trio during the early '90s, offer solid support. Favorites include up-tempo versions of McCoy Tyner's "Inception" and Clifford Brown's "Daahoud"; a swinging version of Wynton Kelly's rarely played "Temperance"; and Wonsey's "Hey Jimmy," a relaxed swinger named for a Boston cab driver who taught Wonsey some of Bud Powell's music. This is a delightful debut from a fine young musician. ~ Greg Turner http://www.allmusic.com/album/anthonyology-mw0000190385

Personnel:  Anthony Wonsey (piano); Christian McBride (bass); Carl Allen (drums).

Anthonyology

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Anthony Wonsey - Open the Gates

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 73:29
Size: 168,5 MB
Art: Front

( 7:42)  1. Xavier's Arrival
( 5:51)  2. My Heart Is with You I
( 8:02)  3. Invitation
( 7:50)  4. A Song for Audrey
( 9:17)  5. Open the Gates
( 9:21)  6. Big Bertha
( 7:10)  7. Into the Blacklight
( 5:48)  8. My Heart Is with You II
(12:25)  9. Blues for Russell and Polly

A native of Chicago, 27-year-old pianist Anthony Wonsey is one of those uniquely blessed musicians who has chops to burn, a big heart, and the ability to all make it sound so smooth and effortless. His two previous recordings, done in Japan and reissued in the States on Evidence, should have sounded a joyful noise regarding a player of significant abilities, but failed to attract much attention. Then he hooked up with trumpet phenom Nicholas Payton and heads began to turn. With the release of Open the Gates, it is now doubtful that Wonsey will remain an unknown entity for very long. There's a refreshing breath of originality that pervades much of Wonsey's work here and his writing, in particular, is strong and cliché free. As for his piano playing, just look out, because the man has it covered- from stride to avant! Duke Pearson's seldom-heard "Big Bertha" receives a transcendent trio performance that starts in stride fashion and then works its way towards a deep and bluesy groove that locks in tight and holds on for dear life. The other trio cut here, "Invitation", also gets revamped and the results are anything but a retread. The remainder of the date finds Wonsey fronting a quintet with old boss Nicholas Payton and seasoned tenor saxophonist Ron Blake. The title track goes for broke with a catchy vamp that launches the theme and then recapitulates as a closing backdrop for drummer Nasheet Waits' pyrotechnic displays. Payton's "Into the Blacklight" hints at vintage Miles, circa '65-'66, and two takes of Wonsey's "My Heart is With You" recall the bucolic whimsy of a classic Wayne Shorter melody. Throughout it all, Wonsey leads with an authority and confidence that is rare for a player of his age. It all adds up to an impressive "opening of the gates" for a talent that we'll be surely hearing more from as the years go by. In the meantime, treasure this one for all its worth. ~ C.Andrew Hovan https://www.allaboutjazz.com/open-the-gates-anthony-wonsey-criss-cross-review-by-c-andrew-hovan.php

Personnel: Anthony Wonsey- piano, Nicholas Payton- trumpet, Ron Blake- tenor saxophone, Gerald Cannon- bass, Nasheet Waits- drums, John Webber- bass (tracks 3 and 6 only), Willie Jones III- drums (tracks 3 and 6 only)

Open the Gates

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Jazz Incorporated - Live At Smalls

Styles: Jazz, Hard-Bop
Year: 2010
File: MP3@320K/s
Time: 58:21
Size: 134,9 MB
Art: Front

( 8:11)  1. Punsu
( 8:33)  2. Is That So?
( 7:37)  3. Woody 'n You
(10:32)  4. We Kiss in a Shadow
(10:50)  5. Hey Jimmy
(12:36)  6. Shout!

Jazz Incorporated is a collective ensemble co-led by Jazz drum legend Louis Hayes and trumpet player Jeremy Pelt. This contemporary hard-bop quartet plays repertoire from the legacy of their drummer as well as standards and originals. The energy during these sets was electric and the house was packed. Louis Hayes demonstrates the authoritative swing that has established his legend. He has been the driving force behind bands led by Cannonball Adderly, Horace Silver and Freddie Hubbard. Jeremy Pelt plays with an effortless majesty and true jazz conviction to each phrase. Pianist Anthony Wonsey delivers impeccable accompaniment and some sparkling solos. Dezron Douglas makes his second SmallsLIVE appearance proving why he is rapidly becoming the first call bassman for the top-shelf groups. The music is exciting, accessible and full of life. ~ Editorial Reviews https://www.amazon.com/Jazz-Incorporated-Live-at-Smalls/dp/B004NWHVLC

Personnel: Jeremy Pelt (trumpet); Anthony Wonsey (piano); Louis Hayes (drums).

Live At Smalls

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Anthony Wonsey Trio - Blues For Hiroshi

Bitrate: MP3@320K/s

Time: 56:50

Size: 130.1 MB

Styles: Piano jazz

Year: 2004

Art: Front

[5:18] 1. Damn That Reality

[5:41] 2. Waltz For Debby

[6:17] 3. Brother Hiroshi

[6:58] 4. Just In Time

[9:25] 5. The Peacocks

[5:14] 6. Just You, Just Me

[6:37] 7. Black Fairy Tales

[6:51] 8. Nobody Else But Me

[4:25] 9. Relaxin' At Camarillo

Anthony Wonsey (piano), Richie Goods (bass), Tony Reedus (drums).

Sharp Nine Records' slogan is "Straight ahead and in the pocket." How well does Sharp Nine's offering from Anthony Wonsey fit the bill? In the last decade, pianist Anthony Wonsey has been associated with prominent names like Nicholas Payton, Wallace Roney and the late Elvin Jones' Jazz Machine. So it's a surprise that Blues for Hiroshi is only the second album under Wonsey's leadership. (The album is the trio's first American release.) The disc is nicely paced with three originals and six standards that display Wonsey in a variety of mainstream settings from waltzes, ballads, bop and the blues and even a little stride.

The album opens with Wonsey's "Damn That Reality," his hard bop take on "Darn That Dream," with Goods and Reedus nicely kicking along the tempo. Next comes the ghost of Bill Evans in "Waltz for Debby," dragging his chain of "Bill Evans chords" mixed with your basic Wynton Kelly-type bop. "Brother Hiroshi" is dedicated to Hiroshi Imaizumi, Wonsey's patron, who has provided extensive exposure for the pianist at his Tokyo clubs. The modal-but-funky tune, coupled with Wonsey's locked hands chording and anachronistic mannerisms make it an interesting side-dish, but rather unmemorable. Wonsey offers a welcome change of pace with "Just In Time": the out-of-tempo piano intro gives way to a lively swing as Reedus grabs his brushes. Goods contributes a melodic, nimble solo here. Jimmy Rowles' lovely tune "The Peacocks" is a little disappointing. The beautiful melody can easily be made cloying in the wrong hands. Wonsey thankfully misses that mine, but errs on the side of caution. His touch (or is it the instrument?) fails to tap into the sensitivity of the line. "Just You, Just Me" is delightful collaboration between Wonsey, Monk, and Nat King Cole, with another solo spot for Goods. The third original is Wonsey's "Black Fairy Tales," a dreamy rubato reverie that segues into an impressionistic waltz. "Nobody Else But Me" begins with some Tin Pan Alley-style stride—perhaps the way it was played when Oscar Hammerstein and Jerome Kern wrote it for Showboat in 1927. Then Wonsey swings it when bass and brushes after a chorus. Wonsey cedes the spotlight to Goods and Reedus for some unexceptional solos. The trio goes out with Bird's blues "Relaxin' at Camarillo." If you're expecting some fire-breathing bebop here, you need to readjust your sights to something more like a swing-to-bop JATP session. Oscar Peterson's got nothing to worry about here, though. ~David S. Birk

Blues For Hiroshi

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