Bennie Wallace - Moodsville

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 50:46
Size: 117,5 MB
Art: Front

(6:04)  1. I'll Never Smile Again
(5:39)  2. Con Alma
(4:30)  3. April In Paris
(7:02)  4. Milestones
(6:32)  5. When A Man Loves A Woman
(5:00)  6. Love For Sale
(5:57)  7. My Little Brown Book
(6:08)  8. I Concentrate On You
(3:51)  9. A Flower Is A Lovesome Thing

Here's another set of standards, a bunch of songs out of The Great American Songbook. The line-up: Tenor sax out in front of the piano/bass/drums rhythm section. Nothing earthshaking here... But it's done on this Moodsville, with such style and reverence, with a distinct muscular-toned tenor flavor. The three rhythm guys on the disc Mulgrew Miller on piano; Peter Washington, bass; and Lewis Nash doing the drum chores are all better known in jazz circles than leader/tenor man Bennie Wallace, but Wallace's talent keeps pace with his bandmates. He has put out a couple of fine CDs on the Enja label, another two on Blue Note; and also has done the sondtracks for the movies "Blaze"(1990) and "White Men Can't Jump" (1992). He has a deep, throaty, Coleman Hawkins-like tone, and an energetic and sometimes edgey, Dolphyesque approach to his soloing that contrasts beautifully with his relatively smoother accompaniment.

The leader/rhythm section tug-of-war is what makes the music. Mulgrew and crew at times smilingly seem to be in a reigning-in mode with leader Wallace to the benefit of the music. Wallace sounds like a free blower ensnared happily in an environment that is holding him back, just a bit. Melody is king here, though Wallace stretches it at times. The songs: "I'll Never Smile Again; "Dizzy's Con Alma"; an "April In Paris" that'll have you reaching for your "Hawk In Paris" CD, to contrast Manny Albam's lush orchestrations with Wallace's pared down approach; a reverent version of Miles Davis's "Milestones"; a hopped-up, Latinized take on Cole Porter's "Love for Sale": a couple of lovely (but aren't they all) Strayhorns: "Little Brown Book" and "A Flower is a Lovesome Thing". A fresh and distinctive revisitation of some American Classics, a must have CD for fans of Coleman Hawkins or Dexter Gordon's quartet work.By Dan McClenaghan https://www.allaboutjazz.com/moodsville-bennie-wallace-groove-note-records-review-by-dan-mcclenaghan.php

Personnel: Bennie Wallace, Tenor Sax; Mulgrew Miller, piano; Lewis Nash, drums; Peter Washington, bass

Moodsville

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Bennie Wallace - The Free Will

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 43:15
Size: 99,6 MB
Art: Front

(9:25)  1. The Free Will
(4:30)  2. Sophisticated Lady
(7:50)  3. Star Eyes
(6:13)  4. Back Door Beauty
(6:05)  5. Walter
(9:11)  6. Paslom

An early set as a leader from tenorist Bennie Wallace  and one of his most heartfelt albums ever! Wallace has a tone that hearkens back to the warm raspiness of the Ben Webster/Lester Young generation  yet he also blows with a freer, more open quality that's quite contemporary too  mixing free moments and swinging passages together easily, almost a bit like Archie Shepp during his return to tradition in the late 70s! The group here really stretch strongly to move with Wallace's vision a quartet that features Tommy Flanagan on piano, Eddie Gomez on bass, and Dannie Richmond on drums sometimes playing a lot more out than you might expect. Titles include "Star Eyes", "The Free Will", "Back Door Beauty", "Paslom", and "Walter". CD features three bonus alternate takes too! (Part of the Enja Jazz Master Works series!)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/880540/Bennie-Wallace:Free-Will

Personnel:  Bennie Wallace (saxophone), Tommy Flanagan (piano), Eddie Gomez (bass), Dannie Richmond (drums).

The Free Will

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Bennie Wallace - The Old Songs

Bitrate: MP3@320K/s
Time: 53:25
Size: 122.3 MB
Styles: Saxophone jazz
Year: 1993/2006
Art: Front

[5:59] 1. I Hear A Rhapsody
[5:42] 2. My One And Only Love
[6:07] 3. When You Wish Upon A Star
[5:31] 4. I Love You
[7:24] 5. At Lulu Whites (Blues Yamashita)
[6:43] 6. What's New
[6:12] 7. Love Letters
[4:54] 8. Skylark
[4:50] 9. Dancing In The Dark

Bass – Bill Huntington; Drums – Alvin Queen; Piano – Lou Levy; Tenor Saxophone – Bennie Wallace. Recorded at Capitol Records, Hollywood, CA January 18, 19 and 20, 1993.

Bennie Wallace has long had his own unique style, combining together the raspy tone of Ben Webster with the frequent wide interval jumps of Eric Dolphy. He has an explorative style that sound-wise looks back toward the swing era. Wallace started on clarinet when he was 12 and a few years later switched to tenor. He graduated from the University of Tennessee in 1968, and in 1971 moved to New York, where he debuted with Monty Alexander. Wallace gigged with Sheila Jordan, played with many avant-garde musicians, was in George Gruntz's Concert Jazz Band in 1979, and led his own trio/quartet on and off throughout the 1970s and '80s. He recorded frequently prior to 1985 for Enja, but his mid- to late-'80s Blue Note recordings are more memorable, for they find him infusing his appealing sound with touches of New Orleans R&B and a healthy dose of humor. In the '90s, Wallace began writing music for films, including White Men Can't Jump. He also stayed active on the jazz scene, releasing Old Songs in 1993 on JVC, Talk of the Town also in 1993 on Enja, and Someone to Watch Over Me in 1999 on Enja. In 2002 Wallace scored critical success with Moodsville and followed it up with the release of In Berlin, a recording of a 1999 appearance at the Berlin Jazz Festival. Since that time, Wallace has released studio albums including The Nearness of You in 2004 and the Coleman Hawkins-themed Disorder at the Border in 2007. ~ Scott Yanow

The Old Songs mc
The Old Songs zippy

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Bennie Wallace - S/T

Bitrate: MP3@320K/s
Time: 53:42
Size: 123.0 MB
Styles: Saxophone jazz
Year: 1998
Art: Front

[6:57] 1. Beyond The Bluebird
[5:12] 2. Serenade To Sweden
[6:32] 3. Little Surprise
[5:34] 4. Moon Song
[4:51] 5. Over The Rainbow
[6:04] 6. So In Love
[6:13] 7. Prelude To A Kiss
[7:19] 8. UMMG
[4:57] 9. Chelsea Bridge

Tommy Flanagan - Piano; Eddie Gomez - Bass; Alvin Queen - Drums; Bennie Wallace - Sax (Tenor). Recorded on April 29, 1998 - April 30, 1998, Clinton Recording Studios, New York, NY.

For this mostly relaxed date, tenor saxophonist Bennie Wallace (who plays pretty melodically throughout much of the session) is teamed with veteran pianist Tommy Flanagan, bassist Eddie Gomez and drummer Alvin Queen. Wallace does his best to temper some of his wilder interval jumps but it is such an integral part of his style that he does let loose in spots. The rhythm section is tight and tasteful and the quartet explores seven standards, plus an original apiece by Wallace ("Little Surprises") and Flanagan ("Beyond the Bluebird"). Other highlights include Duke Ellington's rarely played "Serenade to Sweden," "Moon Song" and "So in Love." ~Scott Yanow

Bennie Wallace mc
Bennie Wallace zippy

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Bennie Wallace - The Talk of the Town

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 48:47
Size: 111,8 MB
Art: Front

(6:17)  1. The Best Things in Life Are Free
(6:23)  2. It's the Talk of the Town
(4:30)  3. Thangs
(6:44)  4. I Concentrate on You
(5:38)  5. The Picayune
(4:22)  6. It Has Happened to Me
(5:38)  7. If I Lose
(9:11)  8. Blues Velvet

Bennie Wallace's unique approach to the tenor sax makes him one of the easiest players to identify, with a constantly probing attack from many different angles, mixing in a bit of dissonance but never losing sight of the melody. This 1993 studio session for Enja featured his working group at the time, including guitarist Jerry Hahn, bassist Bill Huntington and drummer Alvin Queen. His take of "The Best Things in Life are Free" finds him opening alone, then gradually expanding his full bodied tenor as the rhythm section joins in for this old chestnut. "It's the Talk of the Town" sticks closer to the original melody, with some lush accompaniment by Hahn. His "Thangs," an imaginative reworking of the chord changes to "All the Things You Are," showcases Huntington. The sassy New Orleans flavored strut "Picayune" and the exquisite ballad "If I Lose You" are two additional examples of Wallace's immense gifts as a composer. No longer available outside of Europe, this rewarding CD is highly recommended. ~ Ken Dryden https://www.allmusic.com/album/talk-of-the-town-mw0000105246

Personnel: Bennie Wallace (tenor saxophone); Jerry Hahn (guitar); Bill Huntington (bass); Alvin Queen (drums).

The Talk of the Town

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Bennie Wallace - Disorder At The Border: The Music Of Coleman Hawkins

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 65:22
Size: 150,4 MB
Art: Front

(11:36)  1. Disorder At The Border
( 8:55)  2. La Rosita
( 9:42)  3. Bean And The Boys
(10:01)  4. Honeysuckle Rose
( 8:25)  5. Body And Soul
(16:40)  6. Joshua Fit The Battle Of Jericho

This is a stomping band, as Coleman Hawkins said of the Fletcher Henderson orchestra he and the hitherto mostly awkward tenor saxophone grew up together with. Louis Armstrong and his hero the great cellist Pablo Casals inspired Hawkins' phrasing and timing, Art Tatum and J.S. Bach his harmonic command. His nickname "Bean" referred to high intelligence, he was an instrumental virtuoso with immense stamina and invention qua improviser, a passionate complex man never to be underrated.  The extraordinary "Joshua Fit the Battle of Jericho" which concludes this 2004 Hawkins centenary concert from Berlin is very appropriate. Swinging fiercely with mostly just Alvin Queen's magnificent drumming, Bennie Wallace exhibits his own stamina in impassioned tenor saxophone emulation of a Bach solo invention; and that's only the climax, after a startling arrangement and succession of stirring solos: an ideal centenary celebration. Wallace comes out of the Hawkins school: no imitator, where he sounds very like Hawkins that's a natural aspect of his own way, and what he's playing. On "Body and Soul" he's entirely individual, and has maybe never played more beautifully.  In this stomping band Stafford and Anderson can each sound like two men in ensemble, Anthony Wilson's bop-slanted arrangements are subtle or driving as appropriate, and Donald Vega's atmospheric, often extended piano introductions risk overshadowing his solo work elsewhere. Hawkins wasn't Henderson's only major soloist: I hadn't previously heard young Leali, Schroeder, Vega and Boller and want to hear more. Jesse Davis I know. Where he and Leali solo in succession then trade passages theye are plainly individual stylists.

That's on "Honeysuckle Rose," the one non-Wilson chart. Wallace organised it with reminiscences of Benny Carter's great arrangements and brilliant transcription of a passage James P. Johnson delivered in his piano solo recording of the number. Subtlety's one thing, but there's also none of that carefulness which can afflict deliveries of arrangements of music with a vintage. This is musical performance, and no pastiche. Listen to the bluesiness and slow stride of Vega's intrHenderson's recorded performances were restricted by technology: time limits. They couldn't unfold with the freedom, relaxation and fire Hawkins remembered. This is of course a live performance, nobody worried about finishing within any time limit, and the only "Disorder" was a word in the opening stomper's title. Stafford's immense tone powers in ensemble, and blazes in solo. The master colourist trombonist Anderson is involved in the one brief wobble, his sound and Wallace's don't blend in their brief ensemble unison on "La Rosita," whoops! But Anderson's solo immediately thereafter has an amazing transition from harshness to luminous transparency. He delivers a differently magnificent eruption on "Honeysuckle Rose," and preaches on "Joshua..." Wallace's tenor is properly to the fore throughout, with here an altoist, there Schroeder's baritone, performing a substantial solo as the middle section of an extended development Wallace himself has begun; and subsequently proceeds to bring to extended climax. He's a giant tenorist. This is a great and not merely stomping band. ~RoberR.Calder https://www.allaboutjazz.com/disorder-at-the-border-the-music-of-coleman-hawkins-bennie-wallace-enja-justin-time-review-by-robert-r-calder.php

Personnel: Bennie Wallace: tenor saxophone, leader; Brad Leali: alto saxophone; Jesse Davis: alto saxophones Adam Schroeder: baritone saxophone; Ray Anderson: trombone; Terell Stafford; trumpet; Donald Vega: piano; Danton Boller: bass; Alvin Queen: drums; Anthony Wilson: arranger.

Disorder At The Border: The Music Of Coleman Hawkins

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Bennie Wallace - Someone To Watch Over Me

Bitrate: MP3@320K/s
Time: 54:42
Size: 125.2 MB
Styles: Bop, Saxophone jazz
Year: 1999
Art: Front

[ 5:12] 1. Nice Work If You Can Get It
[ 5:46] 2. The Man I Love
[ 6:53] 3. Who Cares
[ 5:12] 4. Someone To Watch Over Me
[ 7:21] 5. I Was Doing All Right
[ 5:20] 6. How Long Has This Been Going On
[12:18] 7. It Ain't Necessarily So
[ 6:36] 8. I Loves You, Porgy

Bass – Peter Washington; Drums – Yoron Israel; Piano – Mulgrew Miller; Tenor Saxophone – Bennie Wallace. Recorded at Systems Two, NY on June 30 and July 1, 1998.

There will be those fans of Tennessee tenor saxophonist Wallace who may hear this as an anomalous aside in his career of playing mostly progressive modern jazz. Others may view it a logical step, a concept album dedicated to the music of George Gershwin. What this reviewer finds fascinating about it is that Wallace plays so flexibly within the melodic intent of these well-worn lines, yet always finds a way to make them all his own. There's a certain restraint, and the simple approach is more refined due to the centered focus provided by the always brilliant pianist Mulgrew Miller, rock-solid bassist Peter Washington, and witty drummer Yoron Israel.

Miller's attention-grabbling persona is most clearly present on his arpeggiated intros of the warm waltz take on "Who Cares?" and the mad love-tinged ballad "I Loves You Porgy." Songs such as the ballad version of "How Long Has This Been Going On?" and the easy swing of "The Man I Love" seem like sleepwalking, when in fact these expert musicians can easily play them with effortless elegance. Wallace evokes sonic images of the masters with similar aplomb; he uses wonderful Coleman Hawkins-like embellishments during the title track played with Miller sans rhythm section, and goes into deep blue Ben Webster territory during the lightly swung "I Was Doing Alright." Wallace cannot be completely tamed, though; the 12-minute-plus piece, churning Afro-Cuban switching to steady, driving swing in the bridge, has Wallace in fever pitch with stretched, angular, rambling melodicism, and Miller similarly all over the place as well. Wallace practices typical octave leaping on his solo of the fairly straight-laced melody line of "Nice Work If You Can Get It," proving he can embrace both cool and animated aspects of improvisation.

There's little chaos or bombast, which might disappoint longtime listeners, but instead a nice balance that Wallace attains while retaining the unique flourishes that have made him one of the more recognizable players in jazz. ~Michael G. Nastos

Someone To Watch Over Me

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Bennie Wallace, Dave Holland & Elvin Jones - Big Jim's Tango

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 38:38
Size: 88,5 MB
Art: Front

( 5:41)  1. Big Jim Does The Tango For you
( 5:57)  2. My Heart Belongs To Daddy
( 9:41)  3. Green & Elloy
( 4:46)  4. Monroe County Moon
(12:31)  5. The Free Will

Bennie Wallace has long had his own unique style, combining together the raspy tone of Ben Webster with the frequent wide interval jumps of Eric Dolphy. He has an explorative style that sound-wise looks back toward the swing era. Wallace started on clarinet when he was 12 and a few years later switched to tenor. He graduated from the University of Tennessee in 1968, and in 1971 moved to New York, where he debuted with Monty Alexander. Wallace gigged with Sheila Jordan, played with many avant-garde musicians, was in George Gruntz's Concert Jazz Band in 1979, and led his own trio/quartet on and off throughout the 1970s and '80s. 

He recorded frequently prior to 1985 for Enja, but his mid- to late-'80s Blue Note recordings are more memorable, for they find him infusing his appealing sound with touches of New Orleans R&B and a healthy dose of humor. In the '90s, Wallace began writing music for films, including White Men Can't Jump. He also stayed active on the jazz scene, releasing Old Songs in 1993 on JVC, Talk of the Town also in 1993 on Enja, and Someone to Watch Over Me in 1999 on Enja. In 2002 Wallace scored critical success with Moodsville and followed it up with the release of In Berlin, a recording of a 1999 appearance at the Berlin Jazz Festival. Since that time, Wallace has released studio albums including The Nearness of You in 2004 and the Coleman Hawkins-themed Disorder at the Border in 2007. Bio ~ https://itunes.apple.com/us/artist/bennie-wallace/id215522732#fullText

Personnel: Bennie Wallace (tenor saxophone); Dave Holland (bass); Elvin Jones (drums).

Big Jim's Tango

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Bennie Wallace - The Nearness Of You

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 52:08
Size: 119,8 MB
Art: Front

(9:23)  1. Come Rain or Come Shine
(5:06)  2. Willow Weep For Me
(4:18)  3. Crazy He Calls Me
(3:52)  4. Cocktails for 2
(4:58)  5. Why Was I Born
(5:56)  6. The Nearness of You
(4:40)  7. You Were Never Lovelier  I'm Old Fashioned
(5:20)  8. My Fair Lady  I've Grown Accustomed to Your Face
(3:59)  9. Some Other Spring
(4:33) 10. 'Tis Autumn

In their quest to beef up a CD’s exposure, good-intentioned industry insiders can sometimes unintentionally steer an album down a dead-end path. On the cover of Bennie Wallace’s The Nearness of You, a voluptuous woman clings to his shoulder looking seductively at his sax. The liner notes feature another babe in a low-cut evening dress resting on a piano with a sax. Viagra-infused lounge lizards trying to impress their first dates with their impeccable taste in mood music and Park Avenue dinner party hostesses seeking lightly rendered jazz standards that won’t overpower the table talk are the established target audiences for this CD. The industry folks just don’t get it: Bennie Wallace (tenor sax), Kenny Barron (piano) and Eddie Gomez (bass) are just too talented to be pigeon-holed into a straight-ahead, mostly easy listening standards album. 

Basically, it’s a nice album but not something that excites the senses, starts the juices flowing or forces you to confront new interpretations and ideas. In sum, it’s a pleasant disc but not one you’ll want to pop into the player on a regular basis. Having offered that much criticism, I would be remiss not to say that there are moments here that are truly delightful. Take for example, Kenny Barron’s soulful blues playing on Ann Ronell’s "Willow Weep for Me." Or Wallace and Gomez’s outstanding duo on Sam Coslow’s and Arthur Johnson’s "Cocktails for Two." The last track, Henry Nemo’s "’Tis Autumn," includes fine solos by all three musicians. ~ Rich Friedman   http://www.allaboutjazz.com/the-nearness-of-you-bennie-wallace-enja-records-review-by-rich-friedman.php#.U3I46ihnAqY

Personnel: Bennie Wallace: Tenor Saxophone; Eddie Gomez: Bass; Kenny Barron: Piano.

The Nearness Of You

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Bennie Wallace - Someone to Watch over Me

Styles: Jazz
Label: Enja
Year: 1999
File: MP3@320K/s
Time: 54:48
Size: 125,4 MB
Art: Front

( 5:13)  1. Nice Work If You Can Get It
( 5:46)  2. The Man I Love
( 6:53)  3. Who Cares
( 5:11)  4. Someone To Watch Over Me
( 7:21)  5. I Was Doing All Right
( 5:20)  6. How Long Has This Been Going On
(12:18)  7. It Ain't Necessarily So
( 6:42)  8. I Loves You Porgy

There will be those fans of Tennessee tenor saxophonist Wallace who may hear this as an anomalous aside in his career of playing mostly progressive modern jazz. Others may view it a logical step, a concept album dedicated to the music of George Gershwin. What this reviewer finds fascinating about it is that Wallace plays so flexibly within the melodic intent of these well-worn lines, yet always finds a way to make them all his own. There's a certain restraint, and the simple approach is more refined due to the centered focus provided by the always brilliant pianist Mulgrew Miller, rock-solid bassist Peter Washington, and witty drummer Yoron Israel.

Miller's attention-grabbling persona is most clearly present on his arpeggiated intros of the warm waltz take on "Who Cares?" and the mad love-tinged ballad "I Loves You Porgy." Songs such as the ballad version of "How Long Has This Been Going On?" and the easy swing of "The Man I Love" seem like sleepwalking, when in fact these expert musicians can easily play them with effortless elegance. Wallace evokes sonic images of the masters with similar aplomb; he uses wonderful Coleman Hawkins-like embellishments during the title track played with Miller sans rhythm section, and goes into deep blue Ben Webster territory during the lightly swung "I Was Doing Alright." Wallace cannot be completely tamed, though; the 12-minute-plus piece, churning Afro-Cuban switching to steady, driving swing in the bridge, has Wallace in fever pitch with stretched, angular, rambling melodicism, and Miller similarly all over the place as well. Wallace practices typical octave leaping on his solo of the fairly straight-laced melody line of "Nice Work If You Can Get It," proving he can embrace both cool and animated aspects of improvisation.

There's little chaos or bombast, which might disappoint longtime listeners, but instead a nice balance that Wallace attains while retaining the unique flourishes that have made him one of the more recognizable players in jazz.~Michael G. Nastos  http://www.allmusic.com/album/someone-to-watch-over-me-mw0000246401 .

Personnel: Bennie Wallace (tenor saxophone); Mulgrew Miller (piano); Peter Washington (bass); Yoron Israel (drums).

Someone to Watch over Me

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