Eric Reed - The Dancing Monk

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 49:32
Size: 117,2 MB
Art: Front + Back

(4:04)  1. Ask Me Now
(3:46)  2. Eronel
(5:51)  3. Reflections
(4:47)  4. Light Blue
(6:02)  5. Ruby, My Dear
(4:57)  6. Pannonica
(4:25)  7. Ugly Beauty
(3:52)  8. The Dancing Monk
(6:58)  9. 'Round Midnight
(4:44) 10. Blue Monk

Every jazz pianist stands somewhere in the shadow of Thelonious Monk (1917-1982), and Eric Reed has embraced that shadow, with The Dancing Monk. Interpreting the near-mythic pianist/composer's music let alone making an entire album of his tunes poses significant challenges to any modern musician, and especially for a pianist. First, Monk's compositions are, indeed, challenging, in and of themselves; full of odd meters, syncopations, and some of the most counter-intuitive melodies ever written. Second, Monk's flat-fingered keyboard work was completely unique and uniquely intertwined with his music. His piano playing was an integral part of those songs and very much one of the major components of his greatness. It is difficult to imagine one without the other. Therein rests the conundrum. A modern pianist interpreting this music is faced with the daunting task of separating Monk's music from his piano playing, retaining the compositions, and then bringing something new to the party. The alternative is to risk simply making an analogue copy of performances that are now between forty and sixty years old. It takes real sensitivity to play this music in a fashion that retains what is great about the compositions, without butchering the performance with incongruous pianism. Of course, it is likely this exact challenge that keeps musicians regularly attempting this musical feat, with widely varying degrees of success. Happily, The Dancing Monk is largely successful. Reed is a technically gifted player which can be dangerous when over-employed on Monk's odd compositions but he manages to compliment the songs with performances that are sensitive to the material as well as being beautifully played. 

On "Eronel," he plays subtly rubato, adding a very Monk-like quality to the performance without directly imitating the source a very nice touch. "Light Blue," finds the piano in the background for a time, comping the melody as stated ably by bassist Ben Wolfe, before reemerging to take a smooth, flowing workout. On, "Ugly Beauty," drummer McClenty Hunter adds a very subtle Latin overtone, leaving the framework of the original intact, but adding a completely new flavor. Reed contributes exactly one original to the date, the title track, where, ironically, he most closely imitates Monk's playing style. It would be highly believable if presented as a long-lost Monk original but, as-is, it is a well-crafted homage to a genius. In the end, The Dancing Monk works because it takes a canon of unique and highly identifiable music and compliments it rather than trying to completely rework it. In the process, Reed has managed to make these songs sound fresh and interesting, and that might be the highest compliment that can be given to an entire album dedicated to the compositions of someone as singular as Thelonious Monk.~Greg Simmons http://www.allaboutjazz.com/php/article.php?id=39030#.U08fg1dSvro

Personnel: Eric Reed: piano; Ben Wolfe: bass; McClenty Hunter: drums.

Ben Wolfe Quintet - Live At Smalls

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 61:12
Size: 140,1 MB
Art: Front

( 7:26)  1. Block 11
( 7:36)  2. For The Great Sonny Clark
( 8:57)  3. Telescope
(11:12)  4. Contraption
( 8:41)  5. Unjust
( 3:12)  6. I'll Know You More
( 5:06)  7. Double Czech
( 7:57)  8. Coleman's Cab
( 1:01)  9. The Trade

In New York City, there's a popular venue known as Smalls Jazz Club. The Ben Wolfe Quintet introduces a series of performance recordings, simply titled Smalls Live. A Baltimore native, Wolfe's professional associations include Wynton Marsalis, Harry Connick, Jr. and Diana Krall. He is currently a faculty member at Julliard School of Music, Jazz Division. 

The high-energy, attention-grabbing "Block 11"one of nine songs, all composed and arranged by Wolfe begins the set, with Ryan Kisor's blistering trumpet inspiring thoughts of the late Freddie Hubbard. Pianist Luis Perdomo delivers a solo, accompanied only by Wolfe and drummer Gregory Hutchinson. The band slows to a near stop before shifting back into gear as tenor saxophonist Marcus Strickland follows with a passionate solo, supported by Hutchinson, as the song downshifts again for its conclusion. The band swings on the easygoing "Telescope," with trumpet and sax blending for the melody before splitting into layered leads. Strickland takes point for a pleasure jaunt while, after Perdomo's solo, Hutchinson shows his skills in a call-and-response with the rest of the group. Te closing "The Trade" is a brief duet for Wolfe and Hutchinson.

Musically, there's nothing to complain about here, with Wolfe and his sidemen tight throughout the disc. The only negative is the packaging. Dark purple print over a solid black background makes it difficult to read song titles, players' instruments and other notes. Despite that, Live at Smalls scores big. ~ Woodrow Wilkins  

http://www.allaboutjazz.com/php/article.php?id=38413#.Uoz4KeJc_vs

Personnel: Ben Wolfe: acoustic bass; Marcus Strickland: tenor saxophone; Ryan Kisor: trumpet; Luis Perdomo: piano; Gregory Hutchinson: drums.

Live At Smalls

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Frank Kimbrough Trio - Lonely Woman

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 60:58
Size: 139,9 MB
Art: Front

( 7:28)  1. Northwest
( 4:54)  2. Lonely Woman
( 7:44)  3. House Party Starting
( 8:27)  4. 727
( 4:13)  5. Falling Waltz
(10:36)  6. The Peacocks
( 5:34)  7. Pete & Repete
( 6:39)  8. 20 Bars
( 5:21)  9. Lonely in London

One of Frank Kimbrough's strong points has been his flexibility. The acoustic pianist can play with the crystalline elegance of Bill Evans and Keith Jarrett, but he's also quite capable of taking it "outside" and acknowledging the avant-garde contributions of Cecil Taylor and Marilyn Crispell. Kimbrough generally favors "inside" post-bop playing on Lonely Woman, an impressive trio date featuring bassist Ben Wolfe and drummer Jeff Williams. This threesome played around New York's Greenwich Village regularly in the late 1980s, and their strong rapport was a definite advantage when they entered the studio in 1988 to record this album. 

Kimbrough is at his most poetic and Evans-minded on Jimmy Rowles' "The Peacocks" and Wolfe's melancholy "Lonely In London," but things become very angular and abstract on Herbie Nichols' "House Party Startin'" and Wolfe's "Pete And Repeat." Also quite impressive is Kimbrough's haunting, introspective take on Ornette Coleman's "Lonely Woman." This CD is clearly among the pianist's finest achievements.~Alex Henderson http://www.allmusic.com/album/lonely-woman-mw0000177601

Personnel:  Piano – Frank Kimbrough;  Bass – Ben Wolfe;  Drums – Jeff Williams

Lonely Woman

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Eric Reed - The Swing and I

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 68:12
Size: 156,8 MB
Art: Front

(4:38)  1. The Swing and I
(7:03)  2. The Gemini Suite: The First Man - 'Scotty'
(2:25)  3. The Gemini Suite: The Second Man -'Frank Marshall'
(3:18)  4. The Gemini Suite: The Fourth Man -'Holden Caulfield'
(3:50)  5. Felix the Cat
(8:52)  6. Ahmad's Blues
(4:40)  7. Ka-Boose
(0:50)  8. Frenzia
(7:21)  9. A Spoonful of Sugar
(3:56) 10. Listen Here
(0:27) 11. Uncle Lucius' Interlude
(5:33) 12. Old Flame
(3:42) 13. Healing Hand
(2:34) 14. Evergreen
(3:22) 15. Big Dogs
(3:12) 16. Let Us Go into the House of the Lord
(0:58) 17. Acknowledgement
(1:25) 18. Praise #1

Pianist Eric Reed is one of a large number of talented musicians who emerged from Wynton Marsalis' bands to pursue a rewarding solo career in his own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson.

In 1991 and 1992, Reed worked with Freddie Hubbard and Joe Henderson as a sideman, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, in 1993 and 1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie Murphy/Martin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We. He recorded and played frequently during subsequent years, including a second volume with Gordon (We, Vol. 2) and several sessions for Savant. In 2009, Reed released the gospel-inspired Stand! and returned the following year with Plenty Swing, Plenty Soul, a duet album with Cyrus Chestnut. Beginning with 2011's The Dancing Monk, Reed embarked on an ongoing recording project of Thelonious Monk's music; a theme he revisited on 2012's Baddest Monk and 2014's The Adventurous Monk.~Steve Huey http://www.allmusic.com/artist/eric-reed-mn0000799352/biography

Personnel: Eric Reed (piano); Eddie Bailey (vocals); Ben Wolfe, Rodney Whitaker (acoustic bass); Greg Hutchinson (drums); Denise Morgan, Suzzane Williams, Beverly Taylor (background vocals).

The Swing and I

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Eric Reed - Musicale

Styles: Piano Jazz 
Year: 1996
File: MP3@320K/s
Time: 65:10
Size: 149,7 MB
Art: Front

( 7:29)  1. Black, as in Buhaina
( 4:27)  2. Longhair's Rumba
( 5:59)  3. Cosa Nostra (Our Thing)
( 5:20)  4. Frog's Legs
( 1:13)  5. Scandal I
( 4:14)  6. Pete and Repeat
( 3:38)  7. A Love Divine
( 3:44)  8. Baby Sis
( 1:06)  9. Scandal II
( 7:17) 10. Shug
( 4:06) 11. Upper Wess Side
( 1:56) 12. Scandal III
( 3:07) 13. No Sadness, No Pain
(11:28) 14. Blues to Come

It is easy to be fooled initially by pianist Eric Reed's latest recording. He starts off the set with an effective tribute to Art Blakey and sometimes takes solos that are influenced by McCoy Tyner's chord voicings, but the music on a whole is actually fresh and fairly original, rather than just a copy of the Blue Note years. Except for the final two numbers (pieces by James Leary and Wessell Anderson), all of the music was composed by Reed, and these range from somber ballads and solid swing to the upbeat church feel of "Baby Sis" (which has a heated wah-wah solo from guest trombonist Wycliffe Gordon). Half of the selections are trio numbers for Reed with bassist Ben Wolfe and drummer Gregory Hutchinson, while the remainder of the set has a two-horn quintet (except for altoist Wessell Anderson's ballad feature on "Upper Wess Side"). Anderson and trumpeter Nicholas Payton (who sounds more like Freddie Hubbard every day) make for a potent team, particularly when they solo together on "Pete and Repete." Although the three "Scandal" pieces, which are brief fragments of the same number, are a bit frivolous and certainly inconclusive, the remainder of the program serves as a strong example of modern mainstream jazz. Eric Reed continues to grow as an improviser and composer with each recording. ~ Scott Yanow https://www.allmusic.com/album/musicale-mw0000612195

Personnel: Piano – Eric Reed; Bass – Ben Wolfe, Ron Carter;  Drums – Gregory Hutchinson, Karriem Riggins;  Saxophone [Alto] – Wessell Anderson;  Trombone – Wycliffe Gordon;  Trumpet – Nicholas Payton        

Musicale

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Peter Anderson, Will Anderson - Correspondence

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 66:35
Size: 155,6 MB
Art: Front

(6:40)  1. Correspondence
(5:34)  2. Bread & Butter
(6:37)  3. You Have to Try It Once
(5:58)  4. Go Ahead!
(6:48)  5. I'll Keep Loving You
(6:33)  6. Meat of the Matter
(9:22)  7. Let's Get Out of Town
(6:22)  8. Contagious Curiosity
(5:23)  9. Shaw Nuff
(7:13) 10. Slipped Again

What’s a quick way for young jazz musicians to appear out of their league? Book some studio time with pianist Kenny Barron, bassist Ben Wolfe and drummer Kenny Washington. But saxophonists (and identical twins) Peter and Will Anderson consistently rise to the challenge on Correspondence, displaying a firm grounding in bop/postbop tradition and demonstrating impressive harmonic and rhythmic assurance. Robust tandem passages and fluid improvisations generate lots of color and contrast, with Peter, on tenor, and Will, on alto, reinvigorating “Shaw ’Nuff” and other jazz and pop classics. Better yet are the original tunes, such as Will’s ever-spiraling romp “Go Ahead!,” which point to an exceedingly bright future. In his liner notes, Phil Schaap recalls that the Andersons received A’s in his Origins of Jazz class at Juilliard; you can apply the same grade to this CD, the Andersons’ first as leaders. ~ Mike Joyce  http://jazztimes.com/articles/107967-correspondence-peter-will-anderson

Personnel: Will Anderson (alto saxophone); Peter Anderson (tenor saxophone); Kenny Barron (piano); Kenny Washington (drums).

Correspondence

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Ben Wolfe - From Here I See

Bitrate: MP3@320K/s
Time: 55:14
Size: 126.5 MB
Styles: Contemporary jazz
Year: 2013
Art: Front

[6:28] 1. The Good Doctor
[6:30] 2. Angela
[6:22] 3. Baby Tiger
[1:43] 4. Interlude
[5:37] 5. So Lovely
[4:34] 6. Mellow As You Please
[1:59] 7. Lovely Lady
[4:04] 8. Who's Lily
[6:18] 9. How You Love
[5:53] 10. Two-Beat Numba
[3:35] 11. From Here I See
[2:04] 12. 12 More

BEN WOLFE, bass; ORRIN EVANS, piano; DONALD EDWARDS, drums; JD ALLEN, tenor. Special Guests: WYNTON MARSALIS, trumpet (01 & 05); RUSSELL MALONE, guitar (02 & 08); MARCUS STRICKLAND, soprano (11 & 12); CYRUS BEROUKHIM, violin; OWEN DALBY, violin; KENJI BUNCH, viola; GREG HESSELINK, cello.

If you were to initially mistake From Here I See for a leaderless small-combo session with strings, chances are Ben Wolfe would be pleased. The bassist-composer isn’t merely in self-effacing form on this outing—he puts into play a group of top-flight musicians who adroitly and discreetly follow suit. As Branford Marsalis comments in his accompanying liner notes, “… there is no overplaying … no massive technical displays of prowess or excessively long solos on the entire recording. The single focus seems to be on serving the melody.”

Yes, the melodies—that’s where the album’s chief allure resides. Though Wolfe solos sparingly, his imprint here is evident throughout the album’s dozen selections—tunes that may or may not have been written with precisely this lineup in mind. It’s hard to imagine, however, Wolfe wishing for a more striking take on his gorgeous ballad “Angela,” a melody softly illuminated and embellished by guitarist Russell Malone, or a more appealing performance of the waltzing “Who’s Lily?,” a splendid showcase for Malone, pianist Orrin Evans and its composer.

Likewise, Wolfe takes full advantage of the remaining talent gathered, providing trumpeter Wynton Marsalis with more than ample inspiration on two cuts, the highlight being the lyrical gem “So Lovely.” The Baltimore-bred bassist also neatly accommodates his reedmen—JD Allen and, on two particularly enjoyable tracks, Marcus Strickland. Drummer Donald Edwards, dependable as ever, rounds out the rhythm section. As for the string quartet, it’s far from intrusive, often helping reveal the melodic charms inherent in Wolfe’s writing. ~Mike Joyce

From Here I See

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Kevin Mahogany - Another Time Another Place

Styles: Jazz, Vocal
Year: 1997
File: MP3@320K/s
Time: 48:41
Size: 111,9 MB
Art: Front

(5:59)  1. Big Rub
(5:03)  2. Free
(4:51)  3. Goodbye Pork Pie Hat
(2:21)  4. Cloudburst
(4:21)  5. I Believe She Was Talkin' 'Bout Me
(5:57)  6. Nature Boy
(4:48)  7. In the Wee Small Hours of the Morning
(4:17)  8. Another Time, Another Place
(5:17)  9. Fix It in the Mix
(5:42) 10. Parker's Mood/Kansas City

The current "youth" movement in jazz has produced many young artists with exceptional talent and brilliant futures. Saxophonist, pianists, bassists, trumpeters, and trombonists all abound and seem assured of carrying jazz into the 21st century safely with the proper respect and passion. However, for all of the talent distributed across jazz, none has seemed to surface in the guise of a real male jazz singer. Harry Connick and John Pizzarelli had emerged as the heirs to the crooning of Mel Torme and Frank Sinatra, but no heirs seem available to carry on the traditions of Joe Williams, Johnny Hartman, and Jimmy Rushing. Until now. With his brilliant new album Another Time Another Place, Kevin Mahogany steps confidently up and assumes the title of heir apparent. And as this album demonstrates, the art of the male jazz singer is in fine hands indeed. With his second album for Warner Brothers, Mahogany takes a turn away from the genre mixing that dominated his first album for the label and plants himself firmly in the spotlight as the next great male jazz singer. From the opening track, an original scatting romp called "Big Rub," Mahogany demonstrates the full gammet of skills for the male jazz singer. On "Big Rub" he scats effortlessly, interplaying with tenor man Joe Lovano as the rhythm section lays down a jumpin' groove. 

On the final track "Parker's Mood / Kansas City" Mahogany opens up and lets loose with the sheer immensity of his voice, recalling the great blues shouters of Kansas City. Mahogany's frequent comparisons with Joe Williams come to mind listening to the end of "Kansas City", as well as during his surprisingly sublime duet with country star Randy Travis, "I Believe She Was Talkin' Bout Me." Travis and Mahogany banter back and forth over the same woman with both men oozing confidence, and Mahogany displaying his strong skills for vocal improvisation. Mahogany's unique ability to mix genre's without sounding trite or lounge-ish have been well documented throughout his short career. However, what Kevin brings new to the table this time is a talent for standards.

 And at that, standards his way. "Nature Boy" swings at a pace reminiscent of Johnny Hartman's versions, and "In The Wee Small Hours Of The Morning" glides gently on, with Mahogany showing off his emotional depth and phrasing. The highlight of the disc though, is Mahogany's vocal version Charles Mingus's tribute to Lester Young "Goodbye Pork Pie Hat." Mahogany glides comfortably along with the hauntingly beautiful melody, putting real emotion into the lyrics. Throughout the song Mahogany voice (and Lovano's tenor) transport the listener to a dark and smoky club, near closing time; just the atmosphere the song was meant to portray.Throughout the disc, Mahogany's musical compatriots shine with the same brilliance as the singer. Lovano displays the feel for the tenor that has made him one of the most popular and revered jazzmen today. The rhythm section of Cyrus Chestnut on piano, Ben Wolfe on bass, and Clarence Penn on drums swing and sway as if they've been playing together for years. Special kudos go to guitarist Dave Stryker whose work is reminiscent of Kenny Burrell, with a feathery touch on the ballads and authoritative swing throughout. Chestnut's piano also stands out, showing off his skills as both accompanist and soloist.

Overall, this disc is highly, highly recommended. The art of jazz singing is a difficult one to master. Singing jazz with swing is even harder. Mahogany however, swings and scats confidently, interacting with the other musicians and the song itself. His touch for ballads is confident as well, allowing him to immerse himself fully in the song and its subject, pulling from his voice the big emotions of this big man. Kevin, welcome to the big time. We're glad you're here.Very highly recommended - 4 1/2 out of 5. ~ AAJ Staff  http://www.allaboutjazz.com/another-time-another-place-kevin-mahogany-warner-bros-review-by-aaj-staff.php

Personnel : Kevin Mahogany - vocals, Joe Lovano - tenor saxophone; Cyrus Chestnut - piano; Ben Wolfe - bass; Clarence Penn - drums; Randy Travis - vocals

Another Time Another Place

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Ben Wolfe - The Whisperer

Styles: Straight-ahead/Mainstream
Year: 2015
File: MP3@320K/s
Time: 59:55
Size: 137,8 MB
Art: Front

(4:04)  1. Heroist
(6:00)  2. Hat in Hand
(4:40)  3. Community
(5:57)  4. Love Is Near
(5:14)  5. S.T.F.U.
(5:55)  6. Camelot's Lean
(7:01)  7. Chronos
(3:49)  8. All the Things You Are
(6:12)  9. The Whisperer
(5:33) 10. Becoming Brothers
(2:28) 11. The Balcony
(2:57) 12. If Only

Ben Wolfe is the man responsible for double bass duties for some of the most popular names in jazz. As well as his six previous albums as leader, in a recording career that extends back to the '80s Wolfe can also be heard on a fist-full of recordings by Harry Connick Jr, Diana Krall and Wynton Marsalis among others. What keeps him gainfully employed by some of the jazz world's biggest hitters? The Whisperer, a superb combination of great tunes and great playing, soon answers that question. Wolfe's partners on The Whisperer pianist Orrin Evans, drummer Donald Edwards and saxophonist Stacy Dillard might not be as world-renowned as Krall, Marsalis and company, but they're prodigiously talented. Like Wolfe they all have impeccable taste, never over-playing, always supportive of each other. Evans' comping is a masterclass in timing and effectiveness, Edwards is equally capable of combining with Wolfe to create and maintain the pulse or to spring from Wolfe's steady bass rhythm to weave his percussion around the melody.

Wolfe's talents as a writer are also much in evidence with the exception of a mournful take on Jerome Kern's "All The Things You Are" the tunes are Wolfe's own. "Hat In Hand" and "Camelot's Lean," featuring Dillard on soprano, demonstrate the quartet's laid-back, controlled, playing. The sound becomes noticeably warmer when Dillard moves to tenor sax on the melancholy "Love Is Near," Dillard's silky tone giving the number a softness that contrasts with the cooler soprano. "Heroist," anchored by Evans' emphatic left hand and featuring Dillard's wildest soprano, "The Balcony" tenor and piano interweaving melodies built on the pulse of bass and drums and the moody "Chronos" showcase a more up-tempo side. "The Whisperer" is a mid-tempo swinger Wolfe and Edwards set up a sense of urgency, Evans' comping evokes added suspense and Dillard's tenor completes the noir-ish atmosphere. For drama, it's the album's star attraction. 

Trumpeter Josh Evans joins in for "S.T.F.U." Over Edwards and Wolfe's bouncing, cheerful, rhythm, Dillard's soprano and Evans' trumpet engage in a conversation, or perhaps it's an argument, before coming together for the closing section. As for the rather enigmatic title "Some Things Feel Unusual," or "Sunny Times For Us" perhaps? It doesn't really matter: probably best to keep quiet about it. The Whisperer, by contrast, deserves to have its appearance shouted from the rooftops: a fine recording. 

~ Bruce Lindsay http://www.allaboutjazz.com/the-whisperer-ben-wolfe-posi-tone-records-review-by-bruce-lindsay.php
 

Personnel: Ben Wolfe: bass; Orrin Evans: piano; Stacy Dillard: soprano saxophone, tenor saxophone; Donald Edwards: drums; Josh Evans: trumpet (5).

The Whisperer

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Tim Warfield - Spherical

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 65:06
Size: 149,6 MB
Art: Front

( 8:59)  1. Blue Hawk
( 7:46)  2. Oska T
( 6:49)  3. That Old Man
( 5:48)  4. Gallop's Gallop
( 9:24)  5. Off Minor I
( 5:09)  6. Ugly Beauty
( 5:58)  7. Coming on the Hudson
(11:21)  8. Off Minor II
( 3:47)  9. 'Round Midnight

Thelonious Monk tribute albums are certainly nothing new in the jazz world. As early as 1961, Eddie "Lockjaw" Davis and Johnny Griffin recorded Lookin' at Monk and pianist Bud Powell recorded Portrait of Thelonious. Even while his career was still going strong, Monk's importance as a composer and influence on other jazz musicians was already clear. Today Monk's legendary status as one of jazz's most important figures is still clear. As far as I know, there is no hard data to back up the fact, but few jazz artists would argue with the claim that Monk is probably the most-covered jazz composer of all time. On this most recent outing, Spherical, saxophonist Tim Warfield tackles music written and inspired by Monk. With seven previous releases on the Criss Cross label and multiple appearances as a sideman, Warfield returns to the label with a cast of familiar names for his dedication to Thelonious Sphere Monk. Joining Warfield on this album is trumpet legend Eddie Henderson, making his first re-appearance on the label since 1998. 

Ben Wolfe and Clarence Penn take the bass and drums chairs, respectively. The choice of pianist is obviously an important one on any work dedicated to Monk, and Warfield could not have filled the position with a better choice than Orrin Evans. Without ever sounding like he is trying to directly emulate Monk, Evans channels the spirit and humor of his idiosyncratic playing. The album opens with Monk's slow swing blues "Bluehawk." Evans begins the soloing with a succinct but characteristic solo that centers around intervallic leaps and disjointed, crooked melodies. Warfield follows for an equally entertaining solo, creating an interesting sound between his full-bodied, Coltrane-esque tenor sound and his Monk-like stabs of melodic abstraction. Penn holds the band together, keeping constantly on top of Wolfe's rock-steady walking line while also keeping up a constant dialogue with the soloists. The second track, "Oska T" is also a standout with the band hammering out Monk's simple, but memorable melody. Here Henderson takes the first solo and shines brilliantly with plenty of playful interplay with Evans. The band presents two takes of Monk's classic "Off Minor" which move freely in very different directions after the forceful statement of the melody. The second take morphs into a feel that almost seems to channel the classic Coltrane quartet during Warfield's intense solo.

Warfield switches over to soprano for a delicate re-working of "Ugly Beauty" in which the band shows off its restraint and lyricism. Also on the delicate side of things, is the album closer, a faithful reading of "Round Midnight" that lets Warfield take the spotlight with his soulful, meaty tone and intimate vibrato. Though the idea is nothing new, the approach and treatment of this Monk tribute album is exceptional. Warfield and co. make the classic tunes their own and draw inspiration and attitude from the mentality of Monk. They approach the music with a sense of adventure and playfulness that draws the listener in and holds his attention. Fans of Monk won't be disappointed, nor will fans of any of the members of this band. ~ Andrew Luhn http://www.allaboutjazz.com/spherical-dedicated-to-thelonious-sphere-monk-tim-warfield-criss-cross-review-by-andrew-luhn.php

Personnel: Tim Warfield: Tenor sax, Soprano sax; Eddie Henderson: Trumpet; Orrin Evans: Piano; Ben Wolfe: Bass; Clarence Penn: Drums

Spherical

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Ben Wolfe - No Strangers Here

Styles: Straight-ahead/Mainstream
Year: 2008
File: MP3@320K/s
Time: 49:55
Size: 114,5 MB
Art: Front

(7:20)  1. The Minnick Rule
(2:31)  2. No Strangers Here
(3:52)  3. Milo
(3:34)  4. No Pat No
(7:55)  5. The Filth
(3:29)  6. Circus
(5:29)  7. Blue Envy
(7:17)  8. Rosy & Zero
(3:42)  9. Jackie Mac
(4:41) 10. Groovy Medium

Ever since the seminal Charlie Parker With Strings (Mercury 1950), numerous artists have attempted to add symphonic strings to jazz ensembles. Some have succeeded, but many have failed to capture a proper balance, resulting in string arrangements that sound superfluous. Bassist Ben Wolfe's fifth album, No Strangers Here, is one example of a successful merger of two worlds acoustic jazz quartet and classical string quartet. A compelling bassist, Wolfe came to prominence as a sideman for Harry Connick Jr., Wynton Marsalis and Diana Krall. He currently teaches at Julliard and is a member of the Jazz at Lincoln Center Orchestra. Augmenting a jazz combo with strings is not a novel idea for Wolfe, whose previous album, My Kinda Beautiful (Planet Arts Records, 2004) featured a brass heavy jazz octet with an eight piece string section. 

An extended suite, "From Here I See," was commissioned by the Rubin Museum and revolved around a jazz quartet/string quartet combo. Another long-form composition, "Contradiction: Music for Sextet" was the result of a commission from Chamber Music America. Wolfe's core quartet features saxophonist Marcus Strickland, pianist Luis Perdomo and drummer Greg Hutchinson, all rising stars on the New York scene who execute Wolfe's tightly arranged compositions with palpable commitment and panache. In addition, Wolfe regularly augments the quartet with a traditional string quartet, as well as a handful of special guests. At their most vigorous, Wolfe's pieces recall the forward thinking hard-bop of a mid-60s Blue Note date. "The Minnick Rule" and "Circus" are labyrinthine swingers filled with hairpin rhythmic shifts and understated string accents that resound with dramatic flair. A nostalgic air often permeates the session; the subtly integrated strings reinforce Wolfe's romantic side by adding a layer of euphonious lyricism to his sumptuous writing, most notably on the title track and "Blue Envy." The special guest appearances are well integrated. 

Terell Stafford's buttery trumpet soars on the spirited opening cut and offers supportive nuance on the wistful closer. Saxophonist Branford Marsalis and drummer Jeff "Tain" Watts provide muscle to the escalating drama of the noirish "The Filth" while Marsalis' soprano waxes lyrical on the effervescent "Milo." Victor Goines enriches the lush "Blue Envy" with his poetic bass clarinet. The album's string quartet tour-de-force, "Rosy & Zero," regales with expansive sonorities. Alternating austere chamber music inflected excursions with blistering post-bop interludes, the piece unfolds like a long lost, albeit highly successful, Third Stream experiment. From bittersweet nostalgia to cinematic drama, No Strangers Here encapsulates an array of moods, textures and dynamics. Reminiscent of the string augmented ensembles of Max Roach and Charles Mingus, Wolfe's double quartet emboldens the jazz tradition with neo-classical overtones, yet never fails to swing. To quote Wynton Marsalis, "Ben Wolfe swings with authority."     

~ Troy Collins http://www.allaboutjazz.com/no-strangers-here-ben-wolfe-maxjazz-review-by-troy-collins.php
 

Personnel: Ben Wolfe: bass; Marcus Strickland: tenor and soprano saxophone; Luis Perdomo: piano; Greg Hutchinson: drums; Cyrus Beroukhim: violin; Jesse Mills: violin; Kenji Bunch: viola; Wolfram Koessell: cello; Branford Marsalis: tenor and soprano saxophone (3, 5); Terell Stafford: trumpet (1, 10); Victor Goines: bass clarinet (7); Jeff "Tain" Watts: drums (5).

No Strangers Here

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Ben Wolfe - From Here I See

Styles:  Straight-ahead/Mainstream
Year: 2013
File: MP3@320K/s
Time: 55:54
Size: 128,0 MB
Art: Front

(6:33)  1. The Good Doctor
(6:32)  2. Angela
(6:25)  3. Baby Tiger
(1:47)  4. Interlude
(5:40)  5. So Lovely
(4:38)  6. Mellow As You Please
(2:02)  7. Lovely Lady
(4:08)  8. Who's Lily?
(6:22)  9. How You Love
(5:57) 10. Two-Beat Numba
(3:36) 11. From Here I See
(2:09) 12. 12 More

If you were to initially mistake From Here I See for a leaderless small-combo session with strings, chances are Ben Wolfe would be pleased. The bassist-composer isn’t merely in self-effacing form on this outing he puts into play a group of top-flight musicians who adroitly and discreetly follow suit. As Branford Marsalis comments in his accompanying liner notes, “… there is no overplaying … no massive technical displays of prowess or excessively long solos on the entire recording. The single focus seems to be on serving the melody.” Yes, the melodies that’s where the album’s chief allure resides. Though Wolfe solos sparingly, his imprint here is evident throughout the album’s dozen selections tunes that may or may not have been written with precisely this lineup in mind. It’s hard to imagine, however, Wolfe wishing for a more striking take on his gorgeous ballad “Angela,” a melody softly illuminated and embellished by guitarist Russell Malone, or a more appealing performance of the waltzing “Who’s Lily?,” a splendid showcase for Malone, pianist Orrin Evans and its composer.  

Likewise, Wolfe takes full advantage of the remaining talent gathered, providing trumpeter Wynton Marsalis with more than ample inspiration on two cuts, the highlight being the lyrical gem “So Lovely.” The Baltimore-bred bassist also neatly accommodates his reedmen JD Allen and, on two particularly enjoyable tracks, Marcus Strickland. Drummer Donald Edwards, dependable as ever, rounds out the rhythm section. As for the string quartet, it’s far from intrusive, often helping reveal the melodic charms inherent in Wolfe’s writing. ~ Mike Joyce  http://jazztimes.com/articles/93065-from-here-i-see-ben-wolfe.

Personnel: Ben Wolfe: acoustic bass; Cyrus Beroukhim, Owen Dalby (violin); Kenji Bunch (viola); Greg Hesselink (cello); JD Allen (tenor saxophone); Orrin Evans (piano); Donald Edwards (drums).

From Here I See

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