Alex Sipiagin - Returning

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 55:00
Size: 126,2 MB
Art: Front

(10:56)  1. Returning
( 8:32)  2. Extra Chance
( 7:07)  3. Miniature
( 7:47)  4. Pictures
( 7:21)  5. Snova (Choba)
( 6:44)  6. Son of thirteen
( 6:30)  7. Turn Out the Stars

Some artists leap into visibility; others almost insidiously find their way into the public eye. Russian-born, New York-resident trumpeter Alex Sipiagin has made considerable strides in the past decade in establishing his reputation within the New York jazz community. He's been recruited for increasingly high profile gigs with the Mingus Big Band, Michael Brecker and, most notably, Dave Holland's big band touring and appearing on both What Goes Around (ECM, 2002) and Overtime (Dare2, 2005). With his own series of Criss Cross recordings, Spiagin has proven himself an ever-evolving voice in what some are calling "the new mainstream." Returning finds Sipiagin continuing to mine a more modernistic approach to the tradition one that favors original composition over retreads of standards, incorporating a richer compositional palette. Sipiagin doesn't eschew the standards repertoire entirely; each album features one or two compositions from artists like Mingus, Monk, and Evans. But like others of his generation, Sipiagin doesn't place these tunes on a pedestal, instead reinterpreting them with his own contemporary bent. Sipiagin and tenor saxophonist Seamus Blake wind their way in and around the familiar theme to Bill Evans' "Turn Out the Stars," but guitarist Adam Rogers' harmonic backdrop is more open-ended and ambiguous.

Sipiagin's own writing reflects his exposure to the inner workings of artists like Holland and Brecker, but also his own growing comfort level with complex meters and richer orchestration. In fact, the New York crew that includes Sipiagin, Rogers, and alto saxophonist David Binney seems to be reinventing the language of jazz. Sipiagin's title track may be metrically irregular, but it flows with effortless energy, thanks to drummer Antonio Sanchez's delicately tumultuous approach. Dramatic without resorting to obvious devices, Rogers, Blake, and Sipiagin work hard off each other at the core of the oblique "Miniature," where a more communal approach to soloing replaces individual delineation. That these artists are creating their own vernacular is further evidenced by the fact that Spiagin's three compositions feel completely of a kind with Rogers' "Pictures," despite the fact that it's a more complicated piece revolving around contrapuntal melodies from Blake, Sipiagin, and bassist Scott Colley. Even the light bossa of "Snova" and the equally Latin-inflected but more powerful "Son of Thirteen" two compositions written specifically for Sipiagin by Pat Metheny feel part of the same landscape. Metheny's ability to mask deeper complexity under a lyrical and accessible veneer is not lost on Sipiagin or Rogers. In fact, it's something of a litmus test for this new mainstream.

Reaching out to an audience is important, but never at the expense of one's own voice, and everyone on Returning demonstrates an ability to build solos either alone or collectively that are imaginative and innovative without losing sight of fundamentals like melody and construction. Sipiagin, whose warm tone almost renders invisible the difference between his trumpet and flugelhorn, is an evocative player whose avoidance of outspoken virtuosity belies his clearly advanced technique. The ever-compelling Returning is but further evidence of his continued ascension. ~ John Kelman  http://www.allaboutjazz.com/returning-alex-sipiagin-criss-cross-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn; Seamus Blake: tenor saxophone; Adam Rogers: guitar; Scott Colley: bass; Antonio Sanchez: drums.

Returning

---

Ralph Bowen - Dedicated

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 42:24
Size: 97,6 MB
Art: Front

(6:38)  1. Canary Drums
(5:35)  2. Pat
(7:00)  3. Qaiyam
(9:47)  4. Mr. Bebop
(9:22)  5. Prof.
(4:00)  6. E.R.

Tenor saxophonist Ralph Bowen's Dedicated is a project that was nurtured and produced by Posi-tone Records' founder Marc Free, who felt that Bowen was under-appreciated by the jazz public at large. Bowen has influenced hundreds of players through his teaching position at Rutgers, and many top jazz players know how skilled he is. Having heard him live several times, Free has long admired Bowen's sound and technical ability on his horn, and wanted people to really hear how good he was. This goal was accomplished by starting with the concept of basing the supporting ensemble around guitar, since Bowen's previous recordings were often accompanied by organ or piano. Free and Bowen discussed several names before agreeing that Adam Rogers would be a good choice, due in part to the excellent working relationship Bowen already had with Free, the musical trust they shared, and Rogers' ability to mix subtlety and intuition into an ensemble. The logical next step was to bring in John Patitucci (bass) and Antonio Sanchez (drums), since they had already played together with Rogers hundreds of times, both with Rogers as leader, and in other groups such as Chris Potter Underground. The musicians rehearsed together for 2 weeks in the making of this recording, and it was mixed for another 2 weeks, which is rare in the world of all-star jazz recordings. The well-matched timbre of the group's sound reveals that the time and care put into this project paid off. Bowen has a mastery of his instrument not unlike Michael Brecker, cites John Coltrane as his main influence, but plays with more nuance and reserve than either. He travels through the music and chooses to become part of the fiber of the group-sound, except on "E.R.," which is a solo piece that let's him weave his own song, from long drawn out tones to 32nd-note runs, syncopated triplets and reflection. That's why the choice of sidemen on this recording is so important. 

The slightly reserved modern cool that each player is able to bring to the studio matches up with Bowen's playing style, and Posi-Tone's Free as producer and engineer Nick O'Toole serve as kind of sixth and seventh men on this project. Sanchez, for example, has demonstrated in his career with the Pat Metheny Group and on his solo work as well that he can play with subtlety, and make it exciting at the same time. It's not Elvin Jones-type crash and bang drumming; Sanchez often uses a light touch and many soft to medium cymbal strokes to bring out a more reflective artistic sound, but he enhances his playing by finding varied ways to communicate. Rogers' tone on guitar is also something that blends into the collective sound. His reserved style is modern, and full of potential sparks, leaving listeners keen to hear where he will go next. But he supports the songs, and is able to soar into several important solos that would only work if they were on par with Bowen's tenor sax riffs, and they very much are. John Patitucci is able fully to support the band by playing with a style that could be described as dark, full and round. He's like a prominent tree trunk that allows the rest of the players to branch out and ascend. Sean Jones adds trumpet to the mix on "Mr. Bebop," playing counterpoint through the head, and taking off on a solo midway through, introducing a new sound to the ensemble at just the right time. Dedicated consists of just six songs with a total recorded time of 42 minutes, a throwback to the days of Blue Note discs that tended to run short, but made up for it with quality. Each tune is dedicated to one of Bowen's mentors (Keith Blackley, Pat La Barbera, Jim Blackley, David Baker, William Fielder, and Eugene Rousseau). "The recent passing of a close friend and mentor left me with the distinct awareness of my personal need to acknowledge several of my contemporaries for their support and influence on my own musical development. Dedicated is a musical message of gratitude to my mentors for their time, patience, wisdom, knowledge and friendship." (Ralph Bowen). "One way or another we all have to find what best fosters the flowering of our humanity in this contemporary life and dedicate ourselves to that." (Joseph Campbell) ~ Blaine Fallis https://www.allaboutjazz.com/ralph-bowen-dedicated-by-blaine-fallis.php

Personnel: Ralph Bowen: tenor saxophone; Sean Jones: trumpet; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums.

Dedicated

---

Bob Sheppard - Close Your Eyes

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 50:06
Size: 115,8 MB
Art: Front

(6:16)  1. Close Your Eyes
(6:29)  2. Surface Tension
(6:15)  3. Goodbye
(6:07)  4. Brain Fog
(4:36)  5. Fast Company
(6:29)  6. Phantoms
(4:43)  7. Lightness
(5:23)  8. Gazelle
(3:41)  9. All in a Row

The distinction between East Coast and West Coast jazz is probably an outdated oversimplification. Yet it is hard not to think of Close Your Eyes as quintessentially Californian. Its airiness and clarity insinuate ocean breezes and sunlight. Bob Sheppard of Los Angeles is one of the most skilled multireed players in jazz. He is a studio musician, professor, clinician and first-call sideman (Freddie Hubbard, Joni Mitchell, Steely Dan, James Taylor). Close Your Eyes is a rare project under his own name, and the most complete document to date of his art. It is polished, sophisticated, intricately organized music. Alan Pasqua or John Beasley play piano and B3. Gabe Noel/Antonio Sánchez/Walter Rodriguez are on bass/drums/percussion. Guitarist Larry Koonse and trumpeter Alex Sipiagen join on two numbers each. But it doesn’t sound like a small-group session because Sheppard, who usually solos on tenor saxophone, overdubs himself on six other woodwind instruments to create layered horn backgrounds. Every tune is arranged into a tight, multifaceted design. People (East Coast people?) who require lots of blood and guts in their jazz might find performances like “Surface Tension” and “Brain Fog” and “Fast Company” too intellectual. But even such charts, with their high degree of difficulty, their tricky meters and clever unisons, get down to business when the solos kick in. Sipiagen and Koonse and Pasqua wait for their moments, then kill. Every Sheppard improvisation is a unique revelation of unpredictable finesse. In a lucid tenor saxophone tone, he dances among ideas like Baryshnikov. Kenny Barron’s “Phantoms” is perfectly quiet and ominous, but the best track is “Goodbye.” Like every piece on this album, it is precisely calibrated, but only to set up Sheppard, whose smeary, floating solo is an elegant, passionate iteration of melancholy. ~ Thomas Conrad https://jazztimes.com/reviews/albums/bob-sheppard-close-your-eyes/

Personnel: Bob Sheppard - Saxophone; Antonio Sanchez -Drums; Alan Pasqua - Piano & Organ; John Beasley- Piano & Organ; Larry Koonse- Guitar; Alex Sipiagen- Trumpet & Flugelhorn; Gabe Noel - Bass; Walter Rodriguez- Percussion

Close Your Eyes

---

Scott Colley - Architect Of The Silent Moment

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 56:34
Size: 130,2 MB
Art: Front

(7:29)  1. Usual Illusion
(7:50)  2. Strip Mall Ballet
(2:52)  3. El Otro
(7:14)  4. Architect Of The Silent Moment
(6:05)  5. Masoosong
(2:58)  6. Feign Tonal
(8:09)  7. From Within
(5:56)  8. Smoke Stack
(7:55)  9. Window Of Time

If an artist is the sum total of his experiences, then Scott Colley's reach is nearly limitless. In twenty years the bassist has appeared on nearly 150 albums, ranging from mainstream work with Jim Hall and Carmen McRae to more left-of-center projects with Andrew Hill and Greg Osby. His own releases have been migrating towards a more expansive viewpoint. On Architect of the Silent Moment Colley brings together a collection of players who share his appreciation for what's come before, but are just as concerned with what's to come. His core quartet features two artists who, despite considerable critical acclaim, have yet to achieve the greater recognition they deserve. Trumpeter Ralph Alessi is a consistently adventurous player who, with a rounded tone, lyrical disposition and unforced technique, rivals the better-known Dave Douglas. The increasingly ubiquitous Craig Taborn is an equally instinctive keyboardist whose roots in the tradition are often obscured by his bold and unrestrained mind-set. Antonio Sanchez, best-known for his work with guitarist Pat Metheny, is a malleable and increasingly in-demand drummer. He's established himself with a broad and stylistically expanding discography in the last decade. All three are as capable of tackling complex compositional constructs as freer flights of improvisation, and Colley challenges them on both fronts and more. Colley is a fine bassist, with a Dave Holland-like ability to make even the most challenging of shifting meters groove viscerally. But it's his writing (all but two pieces here are his) that makes Architect of the Silent Moment stand out. "Window of Time is a good example. It starts out in an open-ended modal fashion, with Alessi and saxophonist David Binney (a co-producer who leaves his own unmistakable signature) delivering Colley's knotty theme. 

Alessi's solo builds over an increasingly tumultuous rhythm section before the tune shifts to a rhythmically displaced backbeat. Adam Rogers' layered guitars, Taborn's B-3 and Alessi's long, rich tones take the tune out, suggesting a different kind of folksy Americana. Colley makes the complex accessible on the spacious "Masoosong, featuring Gregoire Maret, the most important harmonica player since Toots Thielmans. "Feign Tonal opens with a start-stop post bop theme before dissolving into more angular freedom, only to magically blend the two at its conclusion. Andrew Hill's "Smokestack, on the other hand, starts with an impressionistic duet between Taborn and pianist Jason Moran, before settling into an unexpectedly relaxed take that seamlessly shifts between straight and double-time swing. The group's modernistic integration of acoustic and electric textures represents an increasingly popular aesthetic. Like his blend of traditional and contemporary harmonic and rhythmic concepts, Colley clearly doesn't believe in mutual exclusivity. The beauty of Architect of the Silent Moment is its unequivocal sense of purpose, which avoids undue consideration and provides everyone with ample room to move. ~ John Kelman https://www.allaboutjazz.com/architect-of-the-silent-moment-scott-colley-cam-jazz-review-by-john-kelman.php

Personnel: Scott Colley: bass; Ralph Alessi: trumpet; Craig Taborn: piano, Fender Rhodes, Hammond B-3; Antonio Sanchez: drums. Special guests: Dave Binney: saxophone; Jason Moran: piano; Gregoire Maret: harmonica; Adam Rogers; guitar.

Architect Of The Silent Moment

---

Donny McCaslin - In Pursuit

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:32
Size: 141,2 MB
Art: Front

( 4:13)  1. A Brief Tale
( 6:35)  2. Descarga
(10:00)  3. Madonna
( 8:10)  4. Sea Of Expectancy
( 5:11)  5. In Pursuit
( 4:34)  6. Village Natural
( 3:15)  7. Send Me A Postcard
( 7:47)  8. Fast Brazil
(11:42)  9. Festival In 3 Parts

In the follow-up to his critically acclaimed Soar (Sunnyside, 2006), saxophonist Donny McCaslin continues to evolve his interest in blending advanced jazz harmony and improvisation with world music in general, and the rhythms of Latin and South America in particular. But while Soar's core quintet expanded to a nine-piece at times, here it remains intact, with the addition of producer/altoist David Binney creating a consistent sextet that forges an even stronger group identity. It's also an album composed entirely by McCaslin. All but the opening "A Brief Tale was funded, in part, by Chamber Music America's New Works: Creation and Presentation Program, creating an even stronger musical narrative. All these essentials a funded compositional opportunity, fixed personnel and the chance to evolve previously introduced interests make In Pursuit an even better record, with outstanding performances by everyone involved. "A Brief Tale begins as a tenor/drums/percussion trio, but just past the half-way mark Ben Monder enters with an Afro-tinged guitar pattern that quickly leads to the rest of the group in the pool, with McCaslin's overdubbed tenor creating a rich and compelling sonority that's a definitive characteristic of the entire record. On "Descarga, bassist Scott Colley solos in tandem with percussionist Pernell Saturnino and drummer Antonio Sanchez, before leading into a gentle yet undeniable groove that drives McCaslin and Binney's contrapuntal theme, a blend of saxophones and flutes that's as appealing as it is challenging. McCaslin's tone is robust no matter where he is in the tenor's range and, while he's a passionate soloist, he's driven by internal motivic ideas that create a focused story with every solo. 

While the majority of the highly accessible In Pursuit is about fluid ideas combined with muscular weight, there are times when the sextet goes to unexpected places. The title track begins with an idiosyncratic tenor/alto unison theme, but dissolves into a middle section of greater freedom where it's hard to know who Monder, with his harshly overdriven tone or McCaslin, exploring the entire range of his instrument is in pursuit of whom. That this cadre of New York musicians, including everyone here and others like Chris Potter, Adam Rogers and Alex Sipiagin, are creating a larger discography that has a marked aesthetic still distinguishable by the leaders of individual projects is remarkable and with rare precedent. McCaslin and Binney have been working together since the days of their cooperative 1990s group Lan Xang, and when they play in unison here it truly feels like a single voice. Binney is becoming an increasingly in-demand producer also co-producing Colley's superb Architect of the Silent Moment (CamJazz, 2007) and is developing a distinctive voice in that capacity. Still, while his earmarks are all over In Pursuit, it remains undeniably McCaslin's record, evidence of rapidly growing compositional and playing skills that are positioning him as one of his generation's most important tenorists. ~ John Kelman https://www.allaboutjazz.com/in-pursuit-donny-mccaslin-sunnyside-records-review-by-john-kelman.php

Personnel: Donny McCaslin: tenor saxophone, flute, alto flute; David Binney: alto saxophone; Ben Monder: guitars; Scott Colley: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion.

In Pursuit

---

Alex Sipiagin - Out of the Circle

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 63:45
Size: 146,7 MB
Art: Front

( 9:47)  1. Wind Dance
(10:29)  2. Afternoon Dreams
( 8:47)  3. Echoes of Thought
(10:41)  4. Out of the Circle
( 7:03)  5. Flash
( 9:07)  6. Syn
( 7:49)  7. Sketches of Myself

Over the course of seven years and six albums for Criss Cross, trumpeter Alex Sipiagin has been evolving as a player, writer and bandleader, with Prints (2007) his most fully realized effort to date. Still, the Dutch record label's insistence on short sessions usually only a single day imposes practical limitations on what its artists can accomplish on a larger scale. While Sipiagin continues to record for Criss Cross, the larger ensemble and more ambitious compositional scope of Out of the Circle his first release using the web-based ArtistShare model that's been so successful for artists like Maria Schneider is an album that simply couldn't have been made within Criss Cross' limited timeframe. Sipiagin expands his usual quintet/sextet approach to as large as a ten-piece, featuring players who are part of the same New York cadre bassist Scott Colley, guitarist Adam Rogers, drummer Antonio Sanchez and saxophonist/flautist Donny McCaslin alongside under-appreciated keyboardist Henry Hey, Dave Holland Big Band/Sextet co-conspirator Robin Eubanks on trombone, percussionist Daniel Sadownick, wife/vocalist Monday Michiru and well-known keyboardist/arranger Gil Goldstein on accordion. It's a potent combination, allowing Sipiagin the opportunity to explore more detailed compositional form while, at the same time, having the improvisational prowess available to keep things spontaneous throughout. Sipiagin remains an eminently lyrical writer and soloist, although the contexts on Out of the Circle are his most challenging yet. What's always been a strong suit for the trumpeter, in addition to an inviting tone on whatever horn variant he plays, is his ability to find singable melodies, thread-through-needle-like, over the most difficult of changes. His solo on the relaxed but constantly shifting harmonies of the episodic "Syn" is a perfect example as are the contributions of Goldstein and Rogers. 

Compositionally, Sipiagin explores a broader palette than usual, with a Brazilian undercurrent on more than one of the album's seven tracks, most notably the vocal track "Afternoon Dreams" and adventurous "Wind Dance," where Eubanks delivers the kind of characteristically unpredictable solo on which his reputation has been built over the past two decades. Sipiagin even approaches pop territory with Michiru's "Sketches of Myself" the only non-Sipiagin track although it's still firmly entrenched in the jazz sphere, with richly melodic solos from both Sipiagin and Hey. Michiru, who has her own ArtistShare projects in release, demonstrates, like Sipiagin, a more complex lyricism, and a pure voice focused on melody rather than gymnastics. Sipiagin's writing for a three-horn frontline is outstanding, with the horns-only (and multi-tracked) section following Sadownick's brief but inventive solo on "Syn" a marvel of contrapuntal and harmonic conception. While the inherent spontaneity of his Criss Cross recordings will continue to be an important part of who he is, let's hope that Sipiagin can continue to pursue the more ambitious direction of Out of the Circle. When paired with Prints, it's a potent one-two punch of complex yet accessible writing, beautiful arrangements with a keen attention to detail, and risk-taking solos for which Sipiagin deserves a broader audience. ~ John Kelman https://www.allaboutjazz.com/out-of-the-circle-alex-sipiagin-artistshare-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn, piccolo trumpet, bass trumpet; Donny McCaslin: tenor and soprano saxophone, flute; Robin Eubanks: trombone; Adam Rogers: guitars; Henry Hey: keyboards; Antonio Sanchez: drums; Daniel Sadownick: percussion; Scott Colley: bass; Gil Goldstein: accordion; Monday Michiru: vocals and programming.

Out of the Circle

---

Alex Sipiagin - From Reality and Back

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 71:14
Size: 163,3 MB
Art: Front

( 9:49)  1. Around the Bend
(10:03)  2. With the Tide
( 7:51)  3. From Reality and Back
(10:54)  4. End Of...
( 9:17)  5. Here and Now
( 7:41)  6. Chain Reaction
( 6:47)  7. Son Uvedeny Posle (Dream Seen Later)
( 8:50)  8. The Maze

From Reality And Back comes off as notable before a note of music ever reaches the ears. In fact, this album presents itself as a bit of a jazz PR dream: bassist Dave Holland makes a rare sideman appearance here, guitarist Pat Metheny contributed an original written strictly for this project ("Son, Uvedeny Posle"), and the rest of the band is rounded out by A-listers like pianist Gonzalo Rubalcaba, whose label 5passion serves as the record's home. After hearing all of that, it's tempting to say that trumpeter Alex Sipiagin is supremely lucky, but luck has little to do with this album's merits; better or more accurate to say that Sipiagin is skilled, motivated, talented and determined.  The Russian-born, Long Island-based Sipiagin is one of the most consistently creative trumpet forces on the scene today, but that's not news to most people who closely follow this art form. He's cemented his reputation as one of the best with a string of probing leader dates on the Criss Cross label, a stint with the late, great Michael Brecker, a thirteen-years-and-counting association with Holland and his band(s), and work with the Mingus Big Band. From Reality And Back is merely his latest foray into the great wide open, but words like "merely" downplay the significance of this outing; and make no mistake about it...this one is significant. 

Sipiagin spreads a wealth of musical ideas across eight tracks, creating music that's alternately edgy and clean cut, focused and far-reaching, and flexible and tight; the rhythm tandem of Holland and the indefatigable Antonio Sanchez on drums helps to rectify that last pair of opposing ideals, but everybody truly contributes to the broad scope of this record from the outset: Rubalcaba's electric piano creates the mood on the album-opening "Around The Bend," which balances its askance structure atop Holland's bass lines. Sanchez constantly twists and tweaks the rhythmic tides that he creates, and saxophonist Seamus Blake matches Sipiagin in the creativity department. Together, the two horn men run in stride, dovetail their lines, and take inspirational cues from all parties at play; they make for a formidable front line here and everywhere else. A list of highlights would have to include the brilliantly driven "End Of..." and Sipiagin's head-turner-of-a-solo on "With The Tide," but such lists are pointless when everything on a record could make the cut; not a weak spot can be found on From Reality And Back. ~ Dan Bilawsky https://www.allaboutjazz.com/from-reality-and-back-alex-sipiagin-5passion-review-by-dan-bilawsky.php

Personnel: Alex Sipiagin: trumpet; Seamus Blake: tenor saxophone; Gonzalo Rubalcaba: piano; Dave Holland: bass; Antonio Sanchez: drums.

From Reality and Back

---

Pat Metheny - Day Trip

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 68:08
Size: 156,7 MB
Art: Front

(5:49)  1. Son Of Thirteen
(8:00)  2. At Last You're Here
(5:21)  3. Let's Move
(6:01)  4. Snova
(7:31)  5. Calvin's Keys
(4:36)  6. Is This America?
(9:08)  7. When We Were Free
(7:47)  8. Dreaming Trees
(4:50)  9. The Red One
(9:03) 10. Day Trip

While the trio format isn't new to guitarist Pat Metheny, Day Trip does represent a number of firsts. And with only one minor quibble, if it's not the best trio record he's released since Bright Size Life (ECM, 1976), it's pretty darn close. It's his first trio record to consist of all-original material. And, with the exception of the simmering waltz "When We Were Free," from Pat Metheny Group's Quartet (Nonesuch, 1996) and the rock/reggae-tinged "The Red One," from I Can See Your House from Here (Blue Note, 1994), Metheny's collaboration with John Scofield, the remaining eight tunes appear on a Metheny album for the first time. True, the bossa nova-inflected "Snova" and fierier "Son of Thirteen" first surfaced on Alex Sipiagin's Returning (Criss Cross, 2005); but these stripped down but no less harmonically rich versions contrast with the trumpeter's twin-horn quintet takes, opening up in completely different ways, especially on "Snova," where Metheny's warm, hollow-body electric creates a more expansive feel than Adam Rogers' nylon-string acoustic on Sipiagin's version. Day Trip and Returning are also linked by the common element of Antonio Sanchez who, appearing here and with Metheny on last year's reunion tour with Gary Burton, is the first Metheny Group drummer recruited by the guitarist for a variety of other projects. It's no surprise that the ever-flexible and vibrant Sanchez is Metheny's drummer of choice these days. 

He may bristle with energy on the knotty and high-speed "Let's Move," but he's equally capable of gentle brushwork on the Americana-informed "Is This America? (Katrina 2005)," further evidence of Metheny's innate ability to write lyrical and instantly memorable song forms.  Bassist Christian McBride fleshes out the group and, while one hesitates to draw comparisons to illustrious bassists in previous Metheny trios, he's undeniably the perfect closing side to this equilateral triangle. His robust tone anchors "When We Were Free" and the ambling swing of the blues-based "Calvin's Keys," and he's the first acoustic bassist to go arco with Metheny, delivering an economically melodic solo on "Is This America?" As ever, Metheny manages to sound unmistakably, well, Metheny, while continuing to break new ground gradually; his increasing ability to self-accompany sounds occasionally overdubbed despite this being a live in the studio recording made in just one day. His hollow-body tone dominates, but he brings out nylon-string and steel-string acoustics respectively for "Is This America?" and the more harmonically complex ballad, "Dreaming Trees." Only "The Red One" and the latter half of "When We Were Free" both using his horn-like guitar synth seem out of place amidst the lush textures heard throughout the rest of the album. This is, however, a minor criticism on an album recorded unlike previous trio studio discs after significant road-testing of the material. Day Trip's distinguishing characteristics aside, it's the guitarist's most well-honed trio to date, and if a minor misstep prevents it from being his definitive trio disc, it's still a fine addition to the half dozen trio records he's released since 1976. ~ John Kelman https://www.allaboutjazz.com/day-trip-pat-metheny-nonesuch-records-review-by-john-kelman.php

Personnel: Pat Metheny: guitars, guitar synth; Christian McBride: acoustic bass; Antonio Sanchez: drums.

Day Trip

---

Donny McCaslin - Declaration

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 63:44
Size: 146,2 MB
Art: Front

(9:30)  1. M
(9:14)  2. Fat Cat
(7:42)  3. Declaration
(6:59)  4. Uppercut
(7:20)  5. Rock Me
(8:20)  6. Jeanina
(6:40)  7. 2nd Hour
(7:57)  8. Last Night Gospel

Venturing into unexplored territory, New York-based tenor saxophonist Donny McCaslin's third recording for Sunnyside Records is a marked departure from his previous release, the stripped-down trio session Recommended Tools (Greenleaf, 2008). Augmenting his working ensemble with an understated brass section, Declaration showcases McCaslin's stellar skills as an improviser while demonstrating his mettle as a burgeoning writer and arranger. Renowned for his Olympian tenor solos, McCaslin's facile interpretive abilities were honed under the tutelage of George Garzone and Billy Pierce at Berklee, and documented as a sideman in the company of such luminaries as David Binney, Dave Douglas, Danilo Pérez and Maria Schneider. McCaslin comes into his own as a composer on this panoramic session, which highlights his creative virtuosity as soloist and writer in a variety of settings. Joined by pianist Edward Simon and a four-piece brass choir, McCaslin's augmented quintet interprets these multi-hued compositions with brio. As veterans of McCaslin's previous Sunnyside dates, In Pursuit (2007) and Soar (2006), guitarist Ben Monder, bassist Scott Colley, drummer Antonio Sanchez and percussionist Pernell Saturnino lend this session a congenial sensibility filled with lyrical panache.


New to this longstanding core line-up, Simon proves as valuable a foil for McCaslin as Monder. Restrained and economical, Simon delivers billowy narrative soliloquies on "M" and "2nd Hour," offering serene contrast to the leader's fervid cadences. Whether amplifying McCaslin's muscular phrasing with scorching fretwork on the appropriately titled "Rock Me," or unveiling gossamer filigrees on the lush ballad "Jeanina," Monder's chameleonic versatility is peerless. Embracing a wealth of genres and styles, the anthem-like opener "M" showcases the leader's pneumatic tenor, while "Fat Cat" demonstrates McCaslin and Simon's expertise navigating percolating Latin rhythms. The opulent harmonies of "Jeanina" and the plaintive Americana of the title track are the inverse of "Uppercut" and "2nd Hour" labyrinthine post-bop excursions fraught with oblique angles and ingenious arrangements. Indicative of their titles, "Rock Me" is an electrified rave-up, with "Late Night Gospel" one of McCaslin's most compelling tunes an ascending blues meditation featuring Simon and Monder's silver-toned lyricism buoyed by soulful brass accompaniment. Considered one of the reigning mainstream tenor stylists of the post-Michael Brecker generation, Declaration is a bold new step for McCaslin, proving his abilities as a developing composer and arranger of note and opening new vistas on an already promising career. ~ Troy Collins https://www.allaboutjazz.com/declaration-donny-mccaslin-sunnyside-records-review-by-troy-collins.php

Personnel: Donny McCaslin: tenor saxophone, alto flute (1, 8); Edward Simon: acoustic piano, organ (5); Ben Monder: guitar; Scott Colley: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion (2); Alex "Sasha" Sipiagin: trumpet, flugelhorn (1, 2, 3, 5, 7); Chris Komer: French horn (1, 2, 3, 5); Marshall Gilkes: trombone (1, 2, 3, 5, 7, 8); Marcus Rojas: tuba (3, 5, 7, 8), bass trombone (1); Tatum Greenblatt: trumpet (1).

Declaration

---

Lisa Hilton - Nocturnal

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 51:40
Size: 119,5 MB
Art: Front

(3:28)  1. Nocturnal
(4:51)  2. A Spark in the Night
(5:50)  3. Seduction
(3:57)  4. Whirlwind
(4:31)  5. Willow Weep for Me
(4:36)  6. Where Is My Mind
(5:39)  7. Midnight Sonata Symphony of Blues
(4:56)  8. Midnight Sonata Desire
(4:27)  9. Midnight Sonata Midnight Stars
(4:56) 10. Twilight
(4:23) 11. An August Remembered

Acclaimed composer/pianist/band leader Lisa Hilton has completed her eighteenth release, Nocturnal with her most impressive band to date Hilton again on keys, with Antonio Sanchez/drums, Terell Stafford/trumpet, Gregg August/bass and J.D. Allen on tenor sax. It will be released January 22nd, 2016. The eleven tracks show a remarkable emotional depth and clarity from all band members with plenty of virtuosic moments. “We were trying to explore the multiple layers of human emotions musically,” Hilton explains. For lovers of tradition, the title track Nocturnal, Whirlwind and the classic, Willow Weep for Me allow for Stafford’s fluid trumpet and flugelhorn and Allen’s deep Detroit tenor tone to shine. The Latin flavored, A Spark in the Night, showcases Sanchez and August and their extensive Latin backgrounds in a catchy and appealing way, while Twilight is impressionistic. A surprise choice is The Pixies’ Where is my Mind? so simply stated then turning in another direction by the finale. It’s on the bluesy Seduction and the tender An August Remembered that Hilton’s flowing lines and melodic ideas are highlighted. Also included is Hilton’s Midnight Sonata for piano, bass and drums: I. Symphony of Blues II.

Desire, and III. Midnight Stars. Midnight Sonata merges a classical form with the freedom of American jazz and blues in a trans-genre style. Hilton was inspired by iconic American composers such as George Gershwin, Duke Ellington and Dave Brubeck, who also composed in classical forms. The result is appealing to both jazz and classical fans. Midnight Sonata was also written to communicate an emotional depth not normally found in sonatas. While the sonata form is in tact, Hilton and her trio used improvisation, blues, modal washes, shifting key centers, free jazz, impressionism and extended technique in creating a refreshing yet familiar vibe.  http://photos.allaboutjazz.com/gallery_image.php?id=159370

Personnel:  Lisa Hilton (piano);  Antonio Sanchez (drums);  Terell Stafford (trumpet);  Gregg August (bass);  J.D. Allen (saxophone)

Nocturnal

---

Johanna Grussner - No More Blues

Styles: Jazz, Vocal
Year: 2004
File: MP3@320K/s
Time: 47:25
Size: 109,2 MB
Art: Front

(6:54)  1. Out Of This World
(4:16)  2. The Touch Of Your Lips
(5:03)  3. My Ship
(3:18)  4. No More Blues
(5:44)  5. The Very Thought Of You
(4:18)  6. I'm Old Fashioned
(3:28)  7. Help
(5:45)  8. The First Time Ever I Saw Your Face
(4:52)  9. Hallelujah I Just Love Him So
(3:43) 10. Desafinado

Honestly, I do not know what thrills me more, the fact that Johanna Grussner's No More Blues makes a great companion disc to Peter Cincotti's On the Moon or the fact that it is the first Naxos Jazz release in two years. Let's address the second fact first. Naxos Records began Naxos Jazz in the late 1990s with the hope of replicating the same phenomenal success that the label's classical side has experienced. The result was sixty plus releases that I have written on in the past. The label has lain dormant for the past two years and now reemerges with the hope that the independent market is more receptive than at that time. This reemergence takes the form of a new vocal release by the beautiful Finnish chanteuse Johanna Grussner. Ms. Grussner makes No More Blues a notable recording in her choice of repertoire and instrumentation. The selections on this recording are eclectic and well chosen, ranging from the well covered "The Touch of Your Lips" and "The Very Thought of You" to the less frequently recorded "My Ship" and "The First Time Ever I Saw Your Face." The big surprises lie in the pop covers, "Help" and "Hallelujah I Just Love Him So," which treat the pop icons well and will surprise and delight. In her choice of instrumentation, Grussner forgoes the standard piano trio or quartet for the guitar variety. 

This effectively brings out the bossa nova quality of the singer's intentions and adds a particular synergy to the title tune and "Desafinado." This theme extends to the untethered "The First Time Ever I Saw Your Face" and the rocking "Out of This World," which unconsciously mimics Cincotti's cover of "St. Louis Blues" on his On the Moon. Like Cincotti, Ms. Grussner covers a Ray Charles standard, "Hallelujah I Just Love Him So." She delivers the piece in a sultry fashion over the gutbucket guitar-bass-trio rhythm section. Her use of this ensemble is not unlike that of Cassandra Wilson, only more disciplined. Disciplined is how I would describe this recording, but not boring. This is a superb album deserving of anyone's year-end list. This is hyper-smart music that should satisfy the most critical among us. ~ C.Michael Bailey  http://www.allaboutjazz.com/no-more-blues-johanna-grussner-naxos-review-by-c-michael-bailey.php 
 

Personnel:  Johanna Grussner-Vocals;  Hans Glawishinig-Bass;  Antonio Sanchez-Drums;  Miles Okazaki-Guitar and  Paul Pesonen-Guitar

No More Blues

---

Diego Urcola - Viva

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 69:04
Size: 158,5 MB
Art: Front

(6:51)  1. Tango Azul
(7:32)  2. Viva
(5:40)  3. Afroraffo
(8:11)  4. El Camino
(7:06)  5. Blues For Jimmy
(6:42)  6. 40/40
(6:55)  7. Sound for Sore Ears
(7:39)  8. Adios nonino
(7:35)  9. Gringo dance
(4:49) 10. Emilia

American jazz fans sometimes neglect talented instrumentalists from other countries, and with Viva, trumpeter Diego Urcola reminds us that there are other Argentine horn players besides Gato Barbieri.

Born in Buenos Aires, Diego Urcola began studying music at age nine, eventually earning degrees from Argentina's Conservatorio Nacional de Música, Berklee College of Music, and the City University of New York. His big break came when legendary Latin jazz maestro Paquito D'Rivera needed a replacement for trumpeter Claudio Roditi. A faculty member at Berklee recommended Urcola, who has now been with D'Rivera for fifteen years. Urcola has also performed with numerous other luminaries. Recorded in November 2005, Viva is Urcola's third album as a leader, and he refers to the lineup on this session as his "dream band." His sidemen are well-established players and bandleaders in their own right, particularly pianist Edward Simon and bassist Avishai Cohen. Several big names appear as guests, notably Jimmy Heath, Urcola's academic advisor while he was working on his Master's Degree at CUNY. D'Rivera plays alto sax and clarinet on three tracks. Urcola makes no bones about his indebtedness to this mentor, asserting "I wouldn't be here if it weren't for Paquito."

Another longtime friend on this session is Conrad Herwig, a former band mate in the United Nations Orchestra. Calling him a "trombone god," Urcola recounts that while in Argentina with D'Rivera, Herwig met a woman whom he subsequently married. Now fluent in Spanish, Herwig has become "half Argentinian," declares Urcola. Vibraphonist Dave Samuels, who has worked with Urcola in the Caribbean Jazz Project, appears on two tracks. Samuels points out that while they "all knew each other and some ... had already played together, this particular combination was new, different and fresh." The result is a relaxed atmosphere that nonetheless has a comfortably charged energy familiar without being rote, experimental yet assured. Like Barbieri, Urcola integrates the loping, slightly asymmetrical rhythms of the tango into the jazz idiom. 

All but one of the album's ten cuts (including three by Urcola) were written by Argentine composers: Guillermo Klein, Juan Raffo and Astor Piazzolla. A Latinized version of Heath's "Sound for Sore Ears" partakes in this overall spirit. "I like to bring ... my country into the mix," says Urcola, patriotic while never parochial, "but foremost I'm a jazz musician." The album opens with Urcola's "Tango Azul." An opening bass vamp with a pleasant 7/4 hiccup leads into a modal vehicle that evokes Kind of Blue. 

Appropriately, the tune's highlight is a solo by Herwig, known for exploring Miles' Latin side. Another subtle rhythmic experiment is Raffo's "Gringo Dance," a tricky 3/4 piece "with all kinds of different bars added in," according to Urcola. "Blues for Jimmy" features Heath's urbane tenor, and D'Rivera provides two delightful reacquaintances with the clarinet on "40/40" and "Emilia." Reflective ballads like "El Camino" and "Adios Nonino" nicely balance the up-tempo cuts on this well-produced, interestingly eclectic offering. ~ Victor Verney  http://www.allaboutjazz.com/viva-diego-urcola-cam-jazz-review-by-victor-verney.php

Personnel: Diego Urcola: trumpet, flugelhorn; Edward Simon: piano; Avishai Cohen: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion; Jimmy Heath: tenor saxophone (5,7); Paquito D'Rivera: alto saxophone, clarinet (3,6,10); Conrad Herwig: trombone (1,4,5,9); Dave Samuels: marimba, vibes (3,8).

Viva

---

Alex Sipiagin - Generations: Dedicated To Woody Shaw

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 67:14
Size: 154,3 MB
Art: Front

(8:41)  1. Greenwood I
(5:48)  2. Obsequious
(5:49)  3. Cassandranite
(7:33)  4. Beyond All Limits
(8:35)  5. Windy Bahn
(7:11)  6. Katrina Ballerina
(7:12)  7. Chance
(8:13)  8. Blues For Wood
(8:07)  9. Greenwood II

Alex Sipiagin pays it forward with his eighth Criss Cross release, Generations, dedicated to the late Woody Shaw, a lesser celebrated but brilliant trumpeter who performed with artists including Anthony Braxton, Chick Corea, Eric Dolphy, Andrew Hill. A fiery stylist with perfect pitch and lyricism, Shaw was admired by peers and emulated by up-and-comers as Sipiagin confirms, "Even now, many years later, every time I listen to Woody, I always find something new and inspiring." Sipiagin is also a stylist himself; an exceptional player and leader whose clarion horn has been called upon by bassist Dave Holland and saxophonist Michael Brecker. The trumpeter's band members are also leaders who have appeared on many of his releases, and were all members of various Brecker groups over the years, including the rhythmic underpinning of bassist Boris Kozlov and drummer Antonio Sanchez. 

Adam Rogers, another leader in his own right, is the perfect complement to Sipiagin's warm tonality; a guitarist who continues to unveil his superlative skills on the similarly themed Due Reverence (Posi-Tone, 2010), saxophonist Ralph Bowen's tribute to other lesser-known but influential musicians. The trumpeter's group is convincing, with a persuasive mix of fresh Sipiagin originals and Shaw reworks that are pristine reflections and contrasts of both musicians. Rogers cooks up a funky riff throughout Sipiagin's "Greenwood I" and "Greenwood II" (an alternate take and a nod to older recordings), as the trumpeter throws down melodic notes with cool precision, shifting between multiple changes of swing. "Windy Bahn" is another original, initially sketched on the trumpeter's computer, a composition that features jagged tempo changes. The spirit of the great B3 organist Larry Young, with whom Shaw frequently performed, looms on three tracks Young's "Obsequious," as well as Shaw's "Cassandranite" and "Beyond All Limits." 

They're perfect examples of the elders' progressive ideas in structure and harmony, along with the keen arrangements with which Sipiagin highlights each musician the trumpeter's lucidity, Sanchez's detailed traps, Kozlov's meaty yet lithesome fingerings, and Rogers' liquid maneuvers. Referencing Shaw's biography and Sipiagin's liner notes, some historical points concerning these jazz musicians is noteworthy: First, Shaw felt an immediate connection to another forerunner, trumpeter Clifford Brown, who died in June 1956, the same month and year he started playing. Second, the first time Sipiagin heard Shaw was around 1985, while studying in Russia; four years before Shaw's untimely passing in 1989. From one impactful connection to the next; the music continues its vitality. ~ Mark F.Turner  http://www.allaboutjazz.com/generations-alex-sipiagin-criss-cross-review-by-mark-f-turner.php
 

Personnel: Alex Sipiagin: trumpet, flugelhorn; Adam Rogers: guitar; Boris Kozlov: bass; Antonio Sanchez: drums.

Generations: Dedicated To Woody Shaw

---

Hendrik Meurkens & Gabriel Espinosa - Celebrando (Feat. Anat Cohen, Antonio Sanchez)

Styles: Brazilian Jazz
Year: 2012
File: MP3@320K/s
Time: 54:20
Size: 126,7 MB
Art: Front

(5:01)  1. La Esperanza
(4:51)  2. Slow Breeze
(3:04)  3. Frenzelosa (Choro No. 2)
(6:13)  4. Odessa in April
(4:52)  5. Pa Rio
(6:33)  6. Out of Reach
(5:17)  7. La Puerta
(4:26)  8. She Lives in Brazil
(4:58)  9. Maya Roots
(5:48) 10. Mountain Drive
(3:13) 11. Celebrando

Harmonica master Hendrik Meurkens and bass virtuoso Gabriel Espinosa collaborate for a tribute of Brazilian jazz on Celebrando, which means "celebrating" in both Portuguese and Spanish. It's an appropriate title for this album, as it celebrates the distinctiveness of the genre and the influence it has had on musicians, audiences and the development of world music. It also pays a special salute to the many stellar musicians appearing on the album, all of whom have devoted a portion of their careers exploring the music. Completing the theme of the session, the recording also serves to celebrate the 100th album from Jochen Becker's New York-based label, Zoho Music. The international significance of this project cannot be overlooked, considering that the German-born Meurkens joins the Mexican-born Espinosa on this special album, also featuring Israeli-born saxophonist/clarinetist Anat Cohen and Mexican-born drummer Antonio Sanchez as special guests. Rounding out the personnel are three Americans, a Russian pianist (Misha Tsiganov) and the only Brazilian-born player of the crew, drummer Mauricio Zottarelli. What they share in common is an affinity for Brazilian jazz and a willingness to lend their collective voices to this celebration. Alison Wedding is an enchanting scat singer who opens the set with the light Espinosa bossa, "La Esperanza," supported by Tsiganov's tender Fender Rhodes phrasings and Meurkens' brisk harmonica lines. The delightful "Slow Breeze" mirrors the starter but at a slower tempo, once again featuring Wedding's scatting vocals, Tsiganov on piano and trumpeter Jim Seeley. 

Cohen lends her clarinet to the choro-styled "Frenzelosa (Choro No. 2)" as she also does on "Pa Rio" and the earthly "Maya Roots," a three-part harmony mixing the voice, clarinet and harmonica. Cohen's only performance on tenor comes with Tsiganov's "Out Of Reach," where she tears off one solid solo after another. Meurkens' "Odessa In April," a reprise from previous recordings, is clearly one of the melodic gems of the disc featuring more vocal scatting over Seeley's gorgeous flugelhorn and tasteful harmonica. The bassist delivers a humbling vocal performance on the beautiful "La Puerta," singing Luis Demetrio's lyrics in Spanish to Meurkens harmonica accompaniment. The pianist showcases his mettle on his other contribution of the album, "She Lives In Brazil" a romping up-tempo samba where his quick right hand delivery is superb. Seeley on the muted horn and Wedding's well-placed scatting along with Meurkens' furious harmonica performance, are the other highlights of this piece. The album begins to wind down with "Mountain Drive," one of Meurkens most popular tunes first performed on Amazon River (Blue Toucan Records, 2004), and closes with Espinosa's festive title trackpenned, oddly enough, for 2012, the year of the Mayans. Nevertheless, while the music of Celebrando reveals no obvious clues to the celebrant nature of the recording, Meurkens and Espinosa provide many resounding reasons to celebrate the wonderful world of Brazilian jazz. ~ Edward Blanco   http://www.allaboutjazz.com/celebrando-zoho-music-review-by-edward-blanco.php#.U2QysleS-PM

Personnel: Hendrik Meurkens: harmonica; Gabriel Espinosa: bass, vocals (5-9, 11); Anat Cohen: clarinet (3, 5, 9), tenor saxophone (6); Jim Seeley: trumpet, flugelhorn; Alison Wedding: vocals; Molly Blythe: background vocals; Misha Tsiganov: piano, Fender Rhodes; Antonio Sanchez: drums; Mauricio Zottarelli: drums (1, 4, 8, 10, 11), percussion.

Celebrando

---