Conrad Herwig - The Latin Side of McCoy Tyner

Styles: Trombone Jazz
Year: 2024
Time: 59:40
File: MP3 @ 320K/s
Size: 138,0 MB
Art: Front

(6:52) 1. African Village
(5:29) 2. Passion Dance
(6:06) 3. Four by Five
(6:23) 4. Walk Spirit, Talk Spirit
(5:31) 5. Mellow Minor
(6:07) 6. Search for Peace
(5:44) 7. Peresina
(6:52) 8. Fly with the Wind
(5:56) 9. Blues on the Corner
(4:36) 10. Reaching Fourth

Trombonist Conrad Herwig has a great way of reworking older jazz tunes with a bold Latin Jazz vibe a project he's done with the music of Miles Davis, Wayne Shorter, and others and which here really explodes with a great soulful sensibility on the music of McCoy Tyner! Given the oft-modal, inherently rhythmic quality of most of Tyner's music, the match is a perfect one carried off here with a core group that's really wonderful Craig Handy on tenor and baritone, Alex Norris on trumpet, Bill O'Connell on piano, Ruben Rodriguez on bass, Robby Ameen on drums,and Camilo Molina on congas plus guest piano from Eddie Palmieri on just one track (despite his name being large on the cover!)

Conrad is the core throughout, and his trombone solos have a way of linking the modes of older Latin greats like Barry Rogers with the hardbop and spiritual jazz currents in the music. Titles include "Fly With The Wind", "Passion Dance", "Reaching Fourth", "Blues On The Corner", "Mellow Minor", and "Search For Peace".
© 1996-2024, Dusty Groove, Inc. https://www.dustygroove.com/item/175960/Conrad-Herwig:Latin-Side-Of-McCoy-Tyner

The Latin Side of McCoy Tyner

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Bill O'Connell - Live in Montauk

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 59:18
Size: 136,4 MB
Art: Front

( 6:29) 1. Do Nothing Till You Hear From Me (Live) (Feat. Randy Brecker)
(10:25) 2. Sparks (Live)
( 6:01) 3. Moanin' (Live)
( 8:59) 4. No Rhyme Or Reason (Live)
( 9:21) 5. One Finger Snap (Live)
( 6:41) 6. Ripty Boom (Live)
(11:19) 7. Tip Toes (Live) (Feat. Randy Brecker)

After years of gigging in the New York City area, while honing his credentials as a first-call contemporary jazz pianist, Bill O'Connell and his family moved to Montauk, the easternmost point on Long Island, where he expressed his appreciation of the area's many wonders by recording this impressive album at the celebrated Gosman's Dock, during the annual Hamptons Jazz Festival in August 2021.

It is essentially a quartet date with trumpeter Randy Brecker sitting in on two numbers, Duke Ellington's oft- recorded "Do Nothing till You Hear from Me" and O'Connell's nimble finale, "Tip Toes." The other members of the quartet are tenor saxophonist Craig Handy, bassist Santi Debriano and drummer Billy Hart, none of whom need be introduced to reasonably well-informed jazz enthusiasts.

O'Connell is cheerful and congenial at the keyboard, which well suits his choice of material and seems to please his companions too, as everyone plays with vigor and enthusiasm. Brecker, who remains at the top of his game after more than half a century in the spotlight, delivers typically sharp and resourceful solos on his two numbers, while Handy is as brash and outspoken as ever, reining in his more frenzied instincts most of the way (indulging them only on O'Connell's well-named "Sparks" and fast-moving "Tip Toes").

The group opens with O'Connell's Latinized arrangement of "Do Nothing," which precedes "Sparks," Bobby Timmons' well-traveled "Moanin'" (whose preamble is taken at a livelier-than-usual pace) and O'Connell's wistful ballad, "No Rhyme or Reason." Herbie Hancock's "One Finger Snap" is sunny and invigorating, Debriano's "Ripty Boom" a colorful and charming blues waltz. "Tip Toes" is the sort of finger-popping closer that leaves an audience pleading for more, and O'Connell and his companions lend it all the earnestness and energy they can muster.

O'Connell is persuasive throughout, Handy an able partner, Debriano and Hart a sturdy rhythm component. Together, they made sure the audience at Montauk was not short-changed, a promise that holds true for anyone who is moved to check out the recorded narrative of that splendid concert. By Jack Bowers https://www.allaboutjazz.com/live-in-montauk-bill-oconnell-savant-records__24171

Personnel: Bill O’Connell: piano; Craig Handy: tenor saxophone; Santi Debriano: bass; Billy Hart: drums

Special Guest: Randy Brecker: trumpet (tracks 1 & 7)

Live in Montauk

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Conrad Herwig - The Latin Side of Mingus

Styles: Trombone Jazz
File: MP3@320K/s
Time: 56:40
Size: 130,3 MB
Art: Front

(7:38) 1. Gunslinging Bird
(6:58) 2. Boogie Stop Shuffle
(5:50) 3. Don't Let It Happen Here
(8:46) 4. Goodbye Pork Pie Hat
(5:03) 5. Hora Decubitus
(7:16) 6. Duke Ellington's Sound of Love
(6:16) 7. All the Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother
(8:50) 8. Better Get Hit in Your Soul

After receiving four Grammy nominations for his highly successful series of recordings that "latinize" the music of John Coltrane, Miles Davis, Joe Henderson, Wayne Shorter, Herbie Hancock and Horace Silver, Conrad Herwig turns his attention to the legendary Charles Mingus. An imposing figure in jazz, Mingus was known for being complicated, volatile and a touched-by-genius innovator. As an homage to this influential artist, Conrad Herwig provides a fiery excursion into the world of Afro-Caribbean rhythms skillfully applied to Mingus' wildly imaginative compositions.

Joining Herwig is special guest trumpeter Randy Brecker together with long-time "Latin Side" band colleagues pianist Bill O'Connell, reedman Craig Handy and the trumpet/flugelhorn of Alex Sipiagin with the rhythm section of Luques Curtis, Robby Ameen and Camilo Molina. Collectively they bring a vibrant spirit and authority to this repertoire which is unique among today's salsa ensembles. Featured tunes run the gamut from the thoughtful and intimate "Duke Ellington's Sound of Love" to the unbridled joy of "Boogie Stop Shuffle" with the somewhat lop-sided introduction to the opening track, "Gunslinging Bird," being the perfect harbinger of things to come. This latest installment in Conrad Herwig's "Latin Side" series pays tribute to the work of Charles Mingus with progressive arrangements, propulsive rhythms, exciting solos and the consummate musicianship of the leader and his bandmates. Editorial Reviews https://www.amazon.com/Latin-Side-Mingus-Conrad-Herwig/dp/B0BB8HHK72

Personnel: Conrad Herwig - Trombone; Randy Brecker - Trumpet; Alex Sipiagin - Trumpet; Craig Handy - Saxophone; Bill O'Connell - Piano; Luques Curtis - Bass; Robby Ameen - Drums; Camilo Molina - Percussion

The Latin Side of Mingus

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Gato Barbieri - Che Corazon

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:06
Size: 132,1 MB
Art: Front

(0:37)  1. Introduction
(5:01)  2. Cristiano
(5:05)  3. I Want You
(4:02)  4. Seven Servants
(5:24)  5. Blue Eyes
(5:34)  6. Eclipse
(4:31)  7. 1812
(4:41)  8. The Woman On The Lake
(5:49)  9. Rosa
(3:50) 10. Sweet Glenda
(5:00) 11. Encounter
(4:15) 12. Auld Lang Syne
(3:12) 13. Finale

When Gato Barbieri re-emerged on Columbia in 1997 after a long hiatus from recording, long-time followers wondered whether he would record straight-ahead jazz or embrace the type of lush pop-jazz he had recorded for A&M in the late 1970's. The distinctive tenor saxman opted to go the commercial route, but he kept his dignity intact. 1997's Que Pasa picked up where Barbieri's A&M output left off, and he has a very similar CD in Che Corazon. With guitarist Chuck Loeb producing, he delivers another album of sleek, romantic mood music. To be sure, pop-jazz instrumentals like "Blue Eyes," "Sweet Glenda" and "The Woman on the Lake" aren¹t in a class with Barbieri's challenging, often brilliant post-bop and avant-garde jazz of the 1960s and early 1970s. But they're tastefully done, and they demonstrate that commercial mood music doesn't have to be elevator music. You can think of Che Corazon as "smooth jazz with a brain."~ AAJ Staff https://www.allaboutjazz.com/che-corazon-gato-barbieri-columbia-records-review-by-aaj-staff.php

Personnel: Gato Barbieri (tenor saxophone); Chuck Loeb (conductor, guitar); Frank McComb (vocals); Mitchel Forman, Bill O'Connell (piano); Mike Ricchiuti (keyboards); Will Lee, Ron Jenkins, Mark Egan, Mario Rodriguez, John Beale (bass); Lionel Cordew, Wolfgang Haffner, Robbie Gonzalez, Dave Rataczek (drums); David Charles, Sam Figueroa, Richie Flores (percussion); Carmen Cuesta, Peter Valentine (background vocals).

Che Corazon

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Bill O'Connell - Love For Sale

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 56:36
Size: 130,6 MB
Art: Front

(5:19)  1. Ping Pong
(6:25)  2. Have You Met Miss Jones?
(6:41)  3. Love Dance
(4:29)  4. Well You Needn't
(6:59)  5. Slow Motion
(4:31)  6. Casaba
(4:59)  7. Love For Sale
(5:52)  8. Old Folks
(5:07)  9. Sweet Love
(6:11) 10. Like Someone In Love

A veteran jazz pianist from New York City, Bill O'Connell is gifted soloist and bandleader known for his long-running Latin jazz big band. Born in New York City on August 22, 1953, O'Connell grew up in suburban Port Washington, Long Island. After high school, he studied classical piano at Oberlin College in Ohio but has lived in the New York area most of his life. O'Connell has not played Latin jazz exclusively and worked as a sideman with such luminaries as tenor saxophonist Sonny Rollins and the late trumpeter Chet Baker. However, he does have his share of Latin credentials; along the way, he has played with New York trumpeter Jerry Gonzalez's Fort Apache Band and crossed paths with flutist Dave Valentin, Argentinean tenor saxophonist Gato Barbieri, and the late Cuban percussion master Mongo Santamaria. As a pianist, O'Connell is known for a lyrical approach that owes something to Keith Jarrett, Bill Evans, and Chick Corea as well as Herbie Hancock. But it should be stressed that O'Connell is not the sort of jazzman who only sees himself as a soloist; in fact, his albums have underscored his talents as an arranger, bandleader, and composer. O'Connell can as Duke Ellington often put it use his band as his instrument. Much of his bandleading/arranging inspiration comes from Latin greats like Mongo Santamaria, Tito Puente, Machito, Ray Barretto, and Eddie Palmieri (all of whom are identified with Afro-Cuban jazz as well as salsa). As a leader, O'Connell debuted in 1978 with an LP titled Searching for the small Inner City label He then joined longtime associate flutist Dave Valentin's band, touring and recording for several years before returning to his solo work with 1993's Lost Voices on Creed Taylor's CTI Records (with Taylor himself serving as producer). 

Several of O'Connell's big-band albums also appeared in the mid-'90s with Jazz Alive and Unfinished Business. O'Connell also continued working with Valentin, and played on albums by Charles Fambrough, Jon Lucien, and others. In the 2000's, O'Connell signed with the independent Random Chance Records (a small, New York-based label with a fondness for jazz and blues). Black Sand, O'Connell's first album for Random Chance, came out in 2001; that disc was followed by Latin Jazz Fantasy in 2004. Four years later, he returned with the trio album Triple Play, featuring Valentin and percussionist Richie Flores. Rhapsody in Blue followed in 2010. 

A year later, he delivered the follow-up to Triple Play, Triple Play Plus Three, which showcased a rotating lineup of guests including Valentin, clarinetist Paquito D'Rivera, vibraphonist Dave Samuels, and others. O'Connell then joined his Latin Jazz All-Stars for a series of albums including 2013's Zocalo, 2014's Imagine, and 2016's Heart Beat. In 2017, he delivered the intimate solo concert album, Monk's Cha Cha: Solo Piano Live. ~ Alex Henderson https://www.allmusic.com/artist/bill-oconnell-mn0000085005/biography

Personnel:  Bill O'Connell (Piano, Synthesizer); Joey Baron, Robert Amean (Drums); Lincoln Goines (Bass); Giovanni Hidalgo (Percussion); Dave Valentin (Flute); Alex Foster (Soprano Sax).

Love For Sale

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Conrad Herwig - The Latin Side Of Joe Henderson

Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 59:28
Size: 137,3 MB
Art: Front

(11:45)  1. Recorda Me
( 9:56)  2. Mamacita
( 9:18)  3. Afro-Centric
(11:15)  4. Black Narcissus
( 8:52)  5. Blue Bossa
( 8:20)  6. Inner Urge

So what makes The Latin Side Of Joe Henderson different from trombonist Conrad Herwig's previous Latin Side albums? Well, for starters, Herwig played with Henderson for several years, an experience which gave him great insight into the music and the man who made it. Then there's the material itself. Henderson's music, more so than that of previous Latin Side honorees like Herbie Hancock or John Coltrane, is tailor-made for this type of project, as some of the songs already lean toward the Latin side. This album, recorded live at New York's Blue Note in July of 2012, gives Herwig and some other A-list musicians featured guest Joe Lovano and trumpeter Alex Sipiagin chief among them a chance to cut loose on six spicy numbers. Stellar arrangements, feisty percussive tides, and strong solos are all here, as expected, but that doesn't mean things are predictable. Plenty of surprises await. Herwig and company cook right out of the gate with a sizzling "Recorda Me." Hot saxophone work, fun exchanges between Herwig and Sipiagin, winning piano work from Bill O'Connell, and over-a-vamp soloing from drummer Robby Ameen and percussionist Richie Flores all help to make this a memorable one. Next comes the Latin hard bop blues of "Mamacita," which proves to be another album highlight, followed by "Afro-Centric," which features some tight ensemble work and memorable soloing. 

The gentler flow of "Black Narcissus" serves as a brief respite from the heat, but the temperature rises again with the musical one-two punch that brings the album to its end. First up is "Blue Bossa," which finds Sipiagin in fiery form and features a thrilling percussion breakdown over a vamp in seven. Then the group finishes off with "Inner Urge," which may be the best showcase for Herwig's writing; the band sounds like it's twice its true size here. Herwig finished a stint at the Blue Note with his Latin Side Of Horace Silver project shortly before this review went to press, so it's fairly certain that this won't be the final Latin Side release. This will, however, be hard to top. ~ Dan Bilawsky https://www.allaboutjazz.com/the-latin-side-of-joe-henderson-conrad-herwig-half-note-records-review-by-dan-bilawsky.php
 

Personnel: Conrad Herwig: trombone; Joe Lovano: tenor saxophone; Ronnie Cuber: baritone saxophone; Alex Sipiagin: trumpet; Bill O'Connell: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Richie Flores: percussion.

The Latin Side Of Joe Henderson

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Steve Slagle, Bill O'Connell - The Power of Two

Styles: Saxophone, Flute And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 53:29
Size: 126,9 MB
Art: Front

(4:12)  1. Good News
(6:09)  2. One Life
(3:46)  3. Peri's Scope
(3:58)  4. I'll Wait and Pray
(5:09)  5. A New Day
(7:07)  6. KD, Jr. (In Memory of Kenny Drew, Jr.)
(4:28)  7. The Power of Two
(5:20)  8. The Duke
(6:51)  9. Circle
(5:27) 10. Into Your Grace
(0:56) 11. Whistling Spirits

The initial impetus behind the creation of this recording was the passing of Kenny Drew Jr., an exceptional and underappreciated pianist who saxophonist Steve Slagle worked with, both in the Mingus Big Band and on one of his own leader dates Reincarnation (SteepleChase, 1994). On the day his friend passed, Slagle penned "KD JR.," later sending it to Bill O'Connell, another of his piano-playing colleagues. That got the ball rolling for this, the first duo date in Slagle's discography. Slagle and O'Connell have worked together on a number of O'Connell recordings in recent years Rhapsody In Blue (Challenge Records, 2010), Zocalo (Savant, 2013), and Imagine (Savant, 2014) but those recordings were all Latin Jazz-based. Here, while operating as a twosome, they avoid that area. Instead, they engage in dialogue that's grounded in earthy exhibitions, soulful moods, and implied if not outright stated swing of the low key variety. There's a breezy take on a Dave Brubeck classic ("The Duke"), an angular and slightly Monk-ish jaunt ("The Power Of Two"), an odd and unnerving miniature ("Whistling Spirits"), a pleasant stroll through an infrequently covered Miles Davis number ("Circle"), and, of course, Slagle's tribute to his dearly departed friend ("KD JR."). 

While less experienced musicians often try to overcompensate and fill every space when working in exposed settings like this, Slagle and O'Connell don't have this problem. There's an extremely relaxed quality to this music, and it's that easygoing vibe that makes this such an attractive date. These two manage to create music that's uplifting ("A New Day"), reflective ("Into Your Grace"), and wholly inviting. While there are no displays of sheer strength to be found here, there's no denying the power of this pair.~ Dan Bilawsky https://www.allaboutjazz.com/the-power-of-two-steve-slagle-panorama-records-review-by-dan-bilawsky.php

Personnel: Steve Slagle: alto saxophone, flute (3, 8, 11); Bill O'Connell: piano.

Thank you my friend!

The Power of Two

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Bill O'Connell, The Afro Caribbean Ensemble - Wind Off the Hudson

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 61:09
Size: 141,1 MB
Art:

(5:12)  1. Wind Off the Hudson
(7:57)  2. Gospel 6
(6:54)  3. Jerry's Blues
(5:38)  4. I Don't Have the Answer
(5:45)  5. Oye Como Va
(5:40)  6. Perdido
(5:34)  7. Got Cha
(5:40)  8. Transition
(5:47)  9. C Jam Blues
(6:58) 10. Discombobulation

Bill O'Connell has had plenty to say with his piano in recent times, basically knocking out a session a year for the Savant imprint. And with an exploration within the solo format, a trip with an augmented trio, and ventures promoting a medium-sized conglomerate of heavy-hitters, he's certainly traversed quite an expanse there. But, as Wind Off The Hudson clearly shows, he's still got room grow. The Afro Caribbean Ensemble his largest on-record gathering of late, and a group indicative of a broadened view point and reflective of his work as the director of a similar outfit at Rutgers University is something like his Latin Jazz All-Stars. It's just bigger and badder. A dectet with a massive sound, it can swell to the sonic proportions of a big band, as demonstrated on the lead-off title track; or it can slim down to the size of a combo, as heard periodically on the soulful follow-up, "Gospel 6."  These ranks contain enough firepower to overtake small countries the presence of saxophonists Craig Handy, Ralph Bowen and Gary Smulyan, plus trumpeter Alex Sipiagin and trombonist Conrad Herwig, should paint a clear enough picture of strength and each member of the band is put to good use. Need proof? Check out the hot-and-heavy rhythm section of O'Connell, bassist Lincoln Goines, drummer Robby Ameen and percussionist Roman Diaz backing a smoking Sipiagin (and other soloists) on "Jerry's Blues," a paean to the late Jerry Gonzalez. 

Or take note of the way Andrea Brachfeld's alto flute adds different weight and textural dimensions to the poignant "I Don't Have The Answers." It's one thing to have all of this serious talent in one place, but it's entirely something else to know how to deploy it all, as O'Connell most certainly does. Those first four numbers all originals point toward a fertile mind constructing ideas from a relatively clean slate. But O'Connell is just as likely to recontextualize or personalize classics as he is to build from scratch. Adding an artful rendering of "Oye Como Va," a "Perdido" with a vibrant new coat of paint, a "Transition" that underscores Eastern melodic allure with Latin jazz grounding, and a choppy, contrapuntal "C Jam Blues" operating far away from Ellington's vision, O'Connell stakes his claim as an arranger of note. On Wind Off The Hudson, it's hard to know whether to be most impressed with O'Connell's imaginative pen, fast-thinking fingers or smart contracting skills. 

But the album doesn't require a choice. Part of the beauty is being able to, at once, bask in the beauty of the writing, the heat provided by the man and the burn delivered by his esteemed band mates. ~ Dan Bilaswsky https://www.allaboutjazz.com/wind-off-the-hudson-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Andrea Brachfeld: flute (1, 3, 5, 7-10), alto flute (4); Craig Handy: alto saxophone (1-3, 6, 7, 9, 10), soprano saxophone (8); Ralph Bowen: tenor saxophone; Gary Smulyan: baritone saxophone; Alex Sipiagin: trumpet, flugelhorn (4); Conrad Herwig: trombone; Lincoln Goines: electric bass; Robby Ameen: drums; Romaz Diaz: congas (1-3, 5-10).

Wind Off the Hudson

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Bill O'Connell, The Latin Jazz All-Stars - Zócalo

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 59:49
Size: 137,7 MB
Art: Front

(5:42)  1. Big Sur
(6:47)  2. Joshua
(6:58)  3. Zócalo
(6:50)  4. For All We Know
(8:24)  5. Nothing but the Truth
(7:45)  6. 21st Century Blues
(5:42)  7. The Surrey with the Fringe on Top
(5:16)  8. Eric's Song
(6:21)  9. One Note Mambo

Latin jazz piano dynamo Bill O'Connell found a parallel between this gathering and Zócalo, the main plaza situated in the center of Mexico City; that square has long been a place where people meet to connect, celebrate and join together as one, and the same sense of togetherness and unity associated with that spot surrounds this recording. O'Connell and his simpatico sextet mates sizzle, swoon and soar as they explore the art of creation through communication. Sometimes connections manifest themselves in simple and common ways, as when bassist Luques Curtis bolsters an O'Connell solo while drummer Adam Cruz pushes and prods, but sometimes the connections are more intense, though in a less obvious way. When trombonist Conrad Herwig colors behind saxophonist Steve Slagle during "For All We Know," for example, the respect and love that these artists have for one another and for the music itself is clear as can be. When this band pushes the envelope and steps on the gas, as on the spirited re-write of "Joshua" and the fiesty "Nothing But The Truth," they create a powerful rhythmic undertow that can't help but suck in everything within earshot; the music is simply that powerful. Elsewhere, the material is poignant ("For All We Know), lighthearted ("The Surrey With The Fringe On Top") and luminescent ("Erik's Song"). O'Connell, Curtis, Cruz and conga player Richie Flores have a lot of chemistry and the horns really complement one another; Herwig's earthy trombone set against Slagle's focused alto or his piquant-to-pure soprano make for a winning combination. If the goal here was truly to let these folks share their musical thoughts and become one in the process, then mission accomplished for this fine group of musicians. ~ Dan Bilawsky https://www.allaboutjazz.com/zocalo-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Steve Slagle: alto saxophone (1, 3-5, 9), soprano saxophone (2, 6-8); Conrad Herwig: trombone; Richie Flores: congas; Luques Curtis: bass; Adam Cruz: drums; Roman Diaz: bata (2), vocals (2); Jadele MacPherson: vocals (2).

Zócalo

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Bill O'Connell - Triple Play

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 57:39
Size: 133,1 MB
Art: Front

(4:17)  1. Triple Play
(6:29)  2. Flying By
(5:54)  3. Machu Picchu
(6:02)  4. A Call for Sanity
(4:31)  5. Just in Time
(5:48)  6. Second Son
(6:32)  7. Cravo E Canela
(5:35)  8. You've Changed
(6:15)  9. Afro Blue
(6:10) 10. Dansette

Pianist/Composer Bill O'Connell has long been a vital part of the New York Jazz scene. It is refreshing to see that he is given a rare opportunity to lead an ensemble on Triple Play, an unusual trio setting for O'Connell along with flutist Dave Valentin and Latin percussionist Richie Flores. O'Connell has only been given this opportunity sporadically and his efforts are preserved on indie labels, Inner City, CTI and two sessions for Random Chance. The pianist has worked with a wide variety of musicians but has expressed a preference for a Latin jazz ambiance and was with Mongo Santamaria for more than two years beginning in 1977. O'Connell has been the musical director for Dave Valentin for more than two decades. The enjoyment of listening to Triple Play is to hear the cohesiveness of these three musicians as they convene on an inspired Latin jazz session. In his liner notes Felipe Luciano suggests the difference between Latin jazz and jazz Latino. In jazz Latino, the music is a result of the harmonies of big band jazz and bebop while Latin Jazz is a music form that plays for the dancer and requires that the listener must pay attention to hear the music without forgetting the "The tradition of the clave in one's inner ear." Not a bad suggestion at all for this album inasmuch as there is a lot of musical room and space in this ensemble that only employs piano/flute/congas. The music on this album is provided by five originals from O'Connell, one from Valentin, two standards, a Milton Nascimento tune and a jazz standard from Mongo Santamaria. It is indeed difficult to say which instrument contributes the most to this session which is probably the most positive sign of any finished album. Flores, an accomplished but little publicized Latin percussionist, shows his versatility throughout the album and plays the cajón on "Machu Picchu," enlivens on timbales on two tracks and on congas elsewhere. Flores appears in a duet with O'Connell on Santamaria's "Afro Blue" and lays out on "Dansette" which is an O'Connell/Valentin duet. Dave Valentin is probably one of the most popular jazz flutists today although many may categorize much of his music as stemming from a smooth jazz preference. Be that as it may, Valentin has done for Latin jazz what Herbie Mann accomplished for the genre during the 1950s and '60s and on his most recent efforts, Come Fly With Me (HighNote, 2006) and World on a String (HighNote, 2005) the vibe is strictly mainstream Latin jazz. Ultimately the above observations can be shelved while listening to Triple Play as O'Connell and company let the music speak for itself. ~ Michael P.Gladstone https://www.allaboutjazz.com/triple-play-bill-oconnell-highnote-records-review-by-michael-p-gladstone.php

Personnel: Bill O'Connell: piano; Dave Valentin: flute, alto flute; Richie Flores: congas, cajón (3), timbales (6, 10).

Triple Play

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Bill O'Connell, The Latin Jazz All-Stars - Imagine

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 59:27
Size: 137,1 MB
Art: Front

(5:45)  1. Optimism
(6:43)  2. Stepping Stones
(7:46)  3. Imagine
(6:48)  4. Shaman's Dance
(6:57)  5. Missing Mr. Berrios
(6:23)  6. Jigsaw
(6:38)  7. 25 Years
(5:20)  8. Willow Weep for Me
(7:03)  9. Whitecaps

It's curious that Bill O’Connell’s 11th album as a leader is titled after the revered John Lennon anthem covered within, because it’s atypical of most of his work. O’Connell’s stock-in-trade is bop-tempered Afro-Cuban rhythm, and few traces of such surface during the elegant float through the song. But what the pianist and his sextet do with “Imagine” instead is more valuable than giving it a stock clave coating. About midway through the nearly nine-minute rumination, following saxophonist Steve Slagle and trombonist Conrad Herwig’s subtle, repeated restating of the theme, O’Connell carries it away, his impeccably phrased solo leaving Lennon far behind. By the time Slagle returns to wrap it, the reimagining of “Imagine” is unrecognizable, becoming this sextet’s own, and a highlight of the set. O’Connell’s original compositions are handled with similar spirit and inventiveness. The ballad “Missing Mr. Berrios,” a wistful tribute to the late drummer and percussionist Steve Berrios, again leaves it up to the hornmen to provide shape, O’Connell only detouring from the simple chord pattern that’s been providing the foundation briefly enough to let us know he’s there. Of the uptempo numbers, both “Stepping Stones” and especially the closing “Whitecaps” afford the brawny rhythm team of bassist Luques Curtis, drummer Richie Barshay and percussionist Richie Flores (the last two returnees from O’Connell’s previous effort) ample opportunity to flex. That latter tune is closer to what we’ve come to expect from Bill O’Connell, but by the time we’ve gotten to it, he’s made it clear that perhaps what we should really expect from him is only the unexpected. ~ By Jeff Tamarkin https://jazztimes.com/reviews/albums/bill-oconnell-and-the-latin-jazz-allstars-imagine/

Personnel: Bill O'Connell (Piano); Luques Curtis (Bass); Richie Barshay (Drums); Richie Flores (Percussion); Steve Slagle (Soprano Saxophone, Alto Saxophone); Conrad Herwig (Trombone).

Imagine

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Steve Hobbs - Spring Cycle

Styles: Vibraphone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:43
Size: 146,9 MB
Art: Front

(6:27)  1. Blued Swings
(8:22)  2. Spring Cycle
(6:08)  3. Rough And Ready
(6:35)  4. Para Mis Padres
(5:41)  5. On The Street Where You Live
(5:34)  6. Jean
(5:01)  7. Mr. P.C.
(8:28)  8. Loon Lake
(5:52)  9. Crosswinds
(5:31) 10. Marionettes

Who says universities create an ivory tower mentality? Educator and vibes master Steve Hobbs has put out a delectably enjoyable CD of accessible, yet thought-provoking music. Employing a front line of Tom Harrell (trumpet, flugelhorn), Dave Valentin (flute), and Bob Malach (tenor), his lighter than air thematic statements serve as a perfect foil to the percussive underpinnings of Hobbs and pianist Bill O'Connell. All of Hobbs' compositions are catchy, memorable, and thoroughly enjoyable. The modal "Blued Swings," with its sophisticated interplay between Valentin and Harrell, is breezy. The lithe and lively melody line of "Spring Cycle" will stay in your mind long after the CD is over. Ditto for "Para Mis Padres," with its lovely and breathy flute melody. The originals by O'Connell are just as well crafted, coherently weaving in the solos as if they were part of the composition. The driving "Crosswinds," strutting "Marionettes," and rhythm-shifting "Loon Lake" all fit into the mainstream category, with excellently defined solos provided by Harrell and Malach. The only potential indulgence regarding this record relates to the listener, who may want to put it on over and over. ~ George Harris https://www.allaboutjazz.com/spring-cycle-steve-hobbs-random-chance-records-review-by-george-harris.php

Personnel: Steve Hobbs: vibraphone; Tom Harrell: trumpet, flugelhorn; Bob Malach: tenor saxophone; Dave Valentin: flute; Bill O'Connell: piano; Peter Washington: bass; John Riley: drums; Steve Berrios: percussion.

Spring Cycle

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Dave Valentin - Tropic Heat

Styles: Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 47:54
Size: 111,3 MB
Art: Front

(4:40)  1. My Favorite Things
(6:12)  2. Sweet Lips
(5:05)  3. Don Q
(6:10)  4. Danzon For My Father
(4:55)  5. Mr. Evil
(4:45)  6. Bello Amanecer
(6:15)  7. Sam's Groove
(4:01)  8. Tasty Mango
(5:48)  9. Sangria

Flutist Dave Valentin's 16th album for GRP is one of his best. His regular group (a quartet with pianist Bill O'Connell, bassist Lincoln Goines, and drummer Robbie Ameen) is augmented by two percussionists and an excellent seven-member horn section that consists of the reeds of Dick Oatts, Mario Rivera, and David Sanchez; trombonist Angel "Papo" Vasquez; and three trumpeters, including Charlie Sepulveda. All of the horns get their opportunities to solo and the result is a particularly strong Latin jazz session. Valentin continues to grow as a player and he cuts loose on several of these tracks. ~ Scott Yanow https://www.allmusic.com/album/tropic-heat-mw0000625229

Personnel: Dave Valentin - flute; Bill O'Connell - piano; Milton Cardona - congas, percussion; Mario Rivera - tenor saxophone, bass clarinet, vocals; Piro Rodriguez - trumpet;  Bernd Schoenhart - acoustic guitar;  David Sanchez - tenor saxophone;  Robby Ameen - drums;  Dick Oatts - alto & tenor saxophones

Tropic Heat

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Dave Valentin & Herbie Mann - Two Amigos

Styles: Flute Jazz 
Year: 1990
File: MP3@320K/s
Time: 49:45
Size: 116,8 MB
Art: Front

(5:57)  1. Bronx Bad Boys
(5:47)  2. Moonlight Walk
(5:53)  3. Jesse's Samba
(4:51)  4. First Date
(2:59)  5. RamboThe Cat
(5:24)  6. Two Amigos
(7:06)  7. Old Hill (Morro Velho)
(4:03)  8. Savana
(7:41)  9. Obsession

What a perfectly titled release, as Valentin and Mann's camaraderie on their five duets here is all at once playful and poignant, with healthy doses of improvisation thrown in for good measure. Bill O'Connell's standout solo piano sparkles throughout the sweet grooves of "Jesse's Samba" and the rousing eight minute closer "Obsession," but it is Valentin's perky way with the airy textures of his instrument which powers this flavorful collection. "Old Hill" begins as an improv laden duet with O'Connell and shows that Valentin is equally comfortable on moodier lines. Also enjoyable is the brassy "Savanna," on which Mann and Valentin trade of sweet eight bar solos. Two Amigos should appeal to lovers of Latin music and jazz flute, as well as anyone in the mood for a refreshing departure from the same old pop-jazz. ~ Jonathan Widran https://www.allmusic.com/album/two-amigos-mw0000689855

Personnel:  Herbie Mann, Dave Valentin (Flute); Robert Ameen (Drums); Oskar Cartaya (Bass Electric); Tony Cintron (Drums); Mark Falchook (Keyboards); Sammy Figueroa (Percussion); Lincoln Goines (Bass); Bill O'Connell (Piano); Marc Quiñones (Percussion); Rubén Rodríguez (Bass).

Two Amigos

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Dave Valentin - Sunshower

Styles: Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 52:52
Size: 123,8 MB
Art: Front

(5:47)  1. Reunion
(4:37)  2. Sunshower
(4:05)  3. Embers
(5:44)  4. Bandit
(4:15)  5. Porkchops
(5:40)  6. I Got It Bad And That Ain't Good
(6:31)  7. Subway Six
(6:47)  8. Sierra Madre
(3:36)  9. Feelin' Alright
(5:45) 10. Space Cadet

Flautist Dave Valentin is fast becoming as ubiquitous a player as his former teacher, Hubert Laws, used to be. Indeed, Valentin has become the flautist of choice on a great quantity of recent Latin jazz recordings by such varied artists as McCoy Tyner, Tito Puente, Elaine Elias and Dave Samuels. Not as distinctive as Laws (nor as notable as many reed players who blow flute part time), he is nevertheless a highly appealing player whose often simple melodies seem to inspire some superb improvisation that positively sings and dances. Valentin's Concord debut, Sunshower , is the first recording under the flautist's name since 1996's Primitive Passions. Like many of the 18 albums he recorded for GRP between 1979 and 1996, Valentin here weds jazz, pop and r & b with his own particular blend of smooth Latin sounds. In essence, the man knows how to craft a purely pleasurable listening experience. One part of the disc's success is that Valentin sounds very much at ease in this setting. Well he should, too, for he's featured along with his working quintet here, which features the under sung virtues of pianist Bill O'Connell's marvelous playing and catchy songwriting. This is an exceedingly well programmed disc. Valentin starts with "Reunion," his own appealing fusion redux, segues into the sprite Caribbean dance of Valentin and O'Connell's title track (recalling Columbia-era Laws) and heads gently toward the ultra-smooth "Embers" (featuring Rodriguez's popping bass and Ed Calle's Brecker-istics on tenor). From here, Valentin explores his varied interests with dedicated abandon. He goes full-on Latin with "Bandit," funky with "Porkchops" (Calle here sounds Sanborn-esque on alto), sweetly sensitive to Duke's "I Got It Bad," straight ahead on O'Connell's "Sierra Madre" (featuring guest guitarist Steve Khan) and genuinely witty on his funkified take on "Feelin' Alright" (also covered by Laws in 1970). The disc's high point is O'Connell's effervescent "Subway Six," a solid Latin groover  with one of the simplest heads ever conceived and reminiscent of Vince Guaraldi's Peanuts classic, "Skating." It features outstanding, breezy solos from the leader, the pianist and vibraphonist Dave Samuels (and closes with some fiery interjection from Valentin). Not as deep as Valentin has proven elsewhere to be, Sunshower is nevertheless hugely enjoyable music that will satisfy a variety of musical cravings and invite repeated listening.~ Douglas Payne https://www.allaboutjazz.com/sunshower-dave-valentin-concord-music-group-review-by-douglas-payne.php

Players: Dave Valentin: C flute, alto flute, piccolo on "Porkchops" and assorted flute sounds; Bill O'Connell: acoustic piano, electric piano, synthesizers; Ruben Rodriguez: electric bass, Ampeg Baby bass; Robbie Ameen: drums; Milton Cardona: congas, shakere and various percussion instruments with Dave Samuels: vibes; Steve Khan: electric and acoustic guitars; Ed Calle: alto sax, tenor sax; Rafael de Jesus: percussion on "Embers," "Porkchops" and "Feelin' Alright."

Sunshower

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Bill O'Connell - Signature

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 48:30
Size: 111,3 MB
Art: Front

(4:58)  1. Main Street
(4:42)  2. Hit Or Miss
(4:02)  3. Dina
(5:38)  4. Tell Me Again
(4:08)  5. Alfalfa Sez
(5:36)  6. Angels At Play
(3:44)  7. Jazz Eyes
(4:44)  8. St. Croix
(5:01)  9. Cyclone
(5:54) 10. Sammy's Song

Pianist Bill O'Connell is not exactly a household name but his CD is quite memorable. The quality of the originals (seven by O'Connell, three from bassist Charles Fambrough and one from soprano saxophonist Howard Alston) is strong, the melodies are often catchy, Grover Washington, Jr., has two good outings on soprano and O'Connell's work on piano and electric keyboards does a very effective job of combining together aspects of both so-called contemporary jazz and hard bop. This is accessible jazz that is also creative.~ Scott Yanow https://www.allmusic.com/album/signature-featuring-bill-oconnell-mw0000095608

Personnel:  Bill O'Connell (Keyboards, Piano);  Howard Alston Sax (Soprano);  Pablo Batista (Bongos, Conga, Percussion);  Charles Fambrough (Bass, Bass Acoustic);  Rick Sebastian (Drums);  Grover Washington Jr. Sax (Soprano).

Signature

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Dave Valentin - Come Fly with Me

Styles: Flute Jazz
Year: 2006
File: MP3@320K/s
Time: 48:35
Size: 112,7 MB
Art: Front

(5:48)  1. Come Fly with Me
(4:53)  2. Twinkle Toes
(4:31)  3. Enciendido
(5:45)  4. Mind Games
(5:52)  5. If You Could See Me Now
(5:51)  6. Easy Street
(5:55)  7. Tu Pañuelo
(5:46)  8. House of the Sun
(4:10)  9. Song for My Brothers

Flutist Dave Valentin is a New Yorker who has capitalized upon a plethora of easy-to-take Latin-lite albums over the years, largely for the GRP label. The emphasis that Valentin lent those GRP albums was fusion-ish, with the perfectly syncopated sounds of smooth Latin jazz and R&B. Of the seventeen albums Valentin has recorded since 1980, only a handful have fallen outside of this categorization. The flutist also led dates on the more authentic Latin RMM label and one date on Concord Records. It is no coincidence that some of his best reviews have come from his two most recent dates for the mainstream HighNote label. There is no direct clue in the material chosen for Come Fly With Me; several tunes are originals from long-time Valentin pianist/arranger Bill O'Connell, along with two standards. Due to the specific personnel on this date, the true nature of the music is of a higher order. Some of the best Latino players are present, including percussionists Milton Cardona and Richie Flores, along with popular trombonist Papo Vazquez. Drummer Robbie Ameen and tenor saxophonist Chris Barretto (Ray's son) appear on the Tadd Dameron ballad "If You Could See Me Now." In a typical setting, the title tune, long associated with Frank Sinatra, features Dave Valentin's lilting, almost pop/jazz flute. In a nutshell, this is an Afro-Cuban gig, not a commercial or funk groove-type album. ~ Michael P.Gladstone https://www.allaboutjazz.com/come-fly-with-me-dave-valentin-highnote-records-review-by-michael-p-gladstone.php

Personnel: Dave Valentin: flute; Chris Barretto: tenor sax (5); Papa Vazquez: trombone; Bill O'Connell: piano; Liquez Cutris: acoustic bass; Robby Ameen: drums; Milton Cardona, Richie Flores: percussion.

Come Fly with Me

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Bill O'Connell - Jazz Latin

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 63:09
Size: 158,4 MB
Art: Front

(5:19)  1. Obama Samba
(8:09)  2. Just One Of Those Things
(5:01)  3. It's OK
(7:34)  4. Footprints
(7:03)  5. Goodbye My Friend
(6:25)  6. Quicksand
(5:53)  7. Tip Toes
(5:26)  8. Puttin' On The Ritz
(3:44)  9. Mom's Song
(6:26) 10. Zingaro
(2:05) 11. What Is This

A veteran jazz pianist from New York City, Bill O'Connell is gifted soloist and bandleader known for his long-running Latin jazz big band. Born in New York City on August 22, 1953, O'Connell grew up in suburban Port Washington, Long Island. After high school, he studied classical piano at Oberlin College in Ohio but has lived in the New York area most of his life. O'Connell has not played Latin jazz exclusively and worked as a sideman with such luminaries as tenor saxophonist Sonny Rollins and the late trumpeter Chet Baker. However, he does have his share of Latin credentials; along the way, he has played with New York trumpeter Jerry Gonzalez's Fort Apache Band and crossed paths with flutist Dave Valentin, Argentinean tenor saxophonist Gato Barbieri, and the late Cuban percussion master Mongo Santamaria. As a pianist, O'Connell is known for a lyrical approach that owes something to Keith Jarrett, Bill Evans, and Chick Corea as well as Herbie Hancock. But it should be stressed that O'Connell is not the sort of jazzman who only sees himself as a soloist; in fact, his albums have underscored his talents as an arranger, bandleader, and composer. O'Connell can as Duke Ellington often put it use his band as his instrument. Much of his bandleading/arranging inspiration comes from Latin greats like Mongo Santamaria, Tito Puente, Machito, Ray Barretto, and Eddie Palmieri (all of whom are identified with Afro-Cuban jazz as well as salsa). As a leader, O'Connell debuted in 1978 with an LP titled Searching for the small Inner City label He then joined longtime associate flutist Dave Valentin's band, touring and recording for several years before returning to his solo work with 1993's Lost Voices on Creed Taylor's CTI Records (with Taylor himself serving as producer). Several of O'Connell's big-band albums also appeared in the mid-'90s with Jazz Alive and Unfinished Business. O'Connell also continued working with Valentin, and played on albums by Charles Fambrough, Jon Lucien, and others. https://itunes.apple.com/us/album/jazz-latin/1362075186

Jazz Latin

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Conrad Herwig - The Latin Side Of Herbie Hancock

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 66:12
Size: 153,4 MB
Art: Front

(10:16)  1. Oliloqui Valley
( 5:33)  2. One Finger Snap
( 8:52)  3. Butterfly
( 6:58)  4. The Sorcerer
( 9:22)  5. Actual Proof
( 8:42)  6. Maiden Voyage
( 9:30)  7. Cantaloupe Island
( 6:55)  8. Watermelon Man

Trombonist and bandleader Conrad Herwig has quite colorfully and majestically explored the Latin side of some of modern music's most enduring composers and performers, and herewith adds his survey of Herbie Hancock's compositional catalog to previous Latin sets that honored Miles Davis and Wayne Shorter. "It's a little daunting in the sense that these tunes are so iconic," Herwig admits. "I grew up idolizing Herbie's music. His tunes became the new standards for a whole generation of post-Coltrane players." To navigate this territory, recorded in performance at the Blue Note in NYC, Herwig turned to two old friends: Trumpeter Randy Brecker, who first played with Herwig three decades ago; and pianist Eddie Palmieri, one of Latin jazz's reigning piano masters and one of Herwig's Latin jazz advisors for more than two decades. He also brought one new friend onboard: pianist Bill O'Connell, a veteran of classic sessions by Mongo Santamaria, Jerry Gonzalez, and others. O'Connell and Herwig either split or shared all these Latin Hancock arrangements. Brecker's trumpet burns through the group's collective descarga on "The Sorcerer" like a flame through tissue paper, while O'Connell takes charge with a powerful improvised passage that refracts Hancock's original tune into shards of melodic light. Brecker's and Herwig's intertwined improvisational passages only send these shards flying higher and brighter.

But Herwig's closing trilogy, a howling ensemble hurricane, is simply as good as Latin jazz gets. O'Connell's arrangement strings tethers the familiar "Maiden Voyage" melody to soft horns that float in harmonic space, the shadow of a passing cloud that gently darkens the rhythm section's roiling sea, with Craig Handy on flute, Brecker on trumpet so soft that your ears hear flugelhorn, and O'Connell on piano, painting brilliant solo strokes. More than a beautiful rendition, "Maiden Voyage" rediscovers this jazz classic. Palmieri jumps back in to help fire the remainder back up to a torrid Latin boil. Latin rhythms illuminate the sweet funky insides of "Cantaloupe Island," which, after Palmieri's two-fisted piano excursion, culminates in a blazing percussion/horn breakdown; with no piano or bass to anchor them to the percussion rhythms, Handy, Brecker and Herwig are left free to scatter and soar skyward like untethered birds. In a torrent, "Watermelon Man" pours out from the aftermath of "Cantaloupe," highlighted by Palmieri's spirited dialogue with the rhythm and percussion instruments. Even on just the strength of these last three tunes, Herwig's Latin Hancock presents tremendously rewarding, eye-opening and ear-popping, new interpretations of classic jazz pieces. ~ Chris M.Slawecki https://www.allaboutjazz.com/the-latin-side-of-herbie-hancock-conrad-herwig-review-by-chris-m-slawecki.php

Personnel: Conrad Herwig: trombone; Craig Handy: saxophones, flute, bass clarinet; Mike Rodriguez: trumpet; Bill O'Connell: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: percussion; Eddie Palmieri: piano; Randy Brecker: trumpet.

The Latin Side Of Herbie Hancock

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Bill O'Connell - Latin Jazz Fantasy

Bitrate: MP3@320K/s
Time: 55:18
Size: 126.6 MB
Styles: Piano jazz
Year: 2004
Art: Front

[6:44] 1. Barcelona
[6:03] 2. Fast Eddie
[5:27] 3. After The Dust Settled
[8:52] 4. Latin Jazz Fantasy
[5:56] 5. Maybe Tommorow
[5:25] 6. Pogo Sticks
[4:01] 7. Laurie
[5:48] 8. Wind It Up
[4:07] 9. 6 For Claude
[2:50] 10. El Yunque

Jazz pianist Bill O'Connell has established a well-earned reputation as an innovative composer of jazz and Latin jazz, along with being a veteran working musician. Features long-time associate Dave Valentin on flutes, Bobby Maloch on tenor sax, bassists Charles Fambrough, David Fink and Lincoln Goines, along with drummers and percussionists Steve Barrios, Milton Cardona and Kim Plainfield. With Latin jazz fantasy, O'Connell pulls out all the stops and has created a compelling tour de force, composing songs for small groups and large orchestra with a full string and horn section. It's not only big, but it churns, bubbles and rocks.

Latin Jazz Fantasy mc
Latin Jazz Fantasy zippy

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