Steve Slagle - Dedication

Styles: Saxophone, Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 58:24
Size: 134,7 MB
Art: Front

(6:36)  1. Sun Song
(6:23)  2. Niner
(7:44)  3. Major in Come
(7:06)  4. Triste Beleza (Beautiful Sadness)
(6:45)  5. Opener
(5:59)  6. Watching Over
(4:19)  7. Corazon
(6:23)  8. Sofi
(7:04)  9. Charcoal Blues

Steve Slagle is one of those players that's often overlooked yet hard to forget. Why this sixty-five-year-old saxophonist who's constantly bringing energy and a spirit of exploration to the fore doesn't get the ink or marquees that come to his musical peers ten years his senior or several decades his junior is something of a head-scratcher. If you've seen him as a sideman, encountered him co-leading a band with guitarist Dave Stryker, checked out his duo work with pianist Bill O'Connell on The Power Of Two (Panorama Records, 2015), or heard any of his fine recent leader dates, like Evensong (Panorama Records, 2012) or Alto Manhattan (Panorama Records, 2016), it's fairly likely that you're wondering the same thing. While there's no firm explanation about Slagle's status, other than the fact that many jazz lovers are polarized and look only toward the "new thing" or focus exclusively on extreme longevity, there's no doubt that his name should be high on the list of stellar alto players plying their trade on the scene. This album, referencing both the man's steadfast study of his craft and the dedicatory nature of these songs, is but one more example of his strengths. With a stellar band by his side, Slagle delivers nine numbers that clearly point toward his influences, preferences, and experiences. "Sun Song," a bright and grooving calypso honoring the great Sonny Rollins, leads off the program. 

Then comes "Niner," a hip and angular tune taking its title from a nickname bestowed upon on Slagle by bassist Steve Swallow; "Major Come In," an up-tempo thriller given unto swing itself that works off of major chords in five different keys and runs on Bill Stewart's spang-a-lang ride work and Scott Colley's driving bass lines; "Triste Beleza (Beautiful Sadness)," a breezy bossa nova dedicated to "the great spirit of music from Brazil"; and "Opener," nodding toward saxophonist Jackie McLean, containing one of pianist Lawrence Fields' most memorable solos on the album, and featuring the leader on alto and flute. In all five cases, one thought rings true: Slagle remains consistently inventive as he uses his imagination and skill to color within, right on, and just outside the lines. The back-end of the album proves to be perfectly in line with what precedes it, presenting songs that are both grounded and intriguing. "Watching Over," for Marc Chagall, is straight-eighths and swirling colors, with the appealing Stryker-Slagle partnership in the spotlight. That duo's chemistry is then further highlighted on Stryker's Joe Zawinul dedication, "Corazon," where melodic directness acts as a cornerstone and bass and nylon strong acoustic create a supportive foundation for the alto's melodic musings. 

To finish things off this band delivers "Sofi," a soprano-fronted song in seven dedicated to Slagle's daughter, and Wayne Shorter's "Charcoal Blues," saluting the piece's composer and providing a welcome dose of earthy blowing. There may be saxophonists who've been in the game longer and/or pushed more boundaries, but you'd be hard-pressed to find a more dependably "on" player than Steve Slagle. By Dan Bilawsky https://www.allaboutjazz.com/dedication-steve-slagle-panorama-records-review-by-dan-bilawsky.php

Personnel: Steve Slagle: alto saxophone, flute (5), soprano saxophone (8); Lawrence FIelds: piano; Scott Colley: bass; Bill Stewart: drums; Roman Diaz: congo, percussion (1, 4, 5, 6, 7); Dave Stryker: electric guitar (2, 4, 6, 7, 8, 9), nylon string acoustic guitar (4, 7).

Dedication

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Wycliffe Gordon - Dig This!!

Styles: Trombone Jazz
Year: 2003
File: MP3@320K/s
Time: 68:14
Size: 156,3 MB
Art: Front

(6:02) 1. Dig This!!
(7:58) 2. Mahajual
(8:21) 3. Old Man Blooz Take 2
(7:24) 4. Limehouse Blues
(4:20) 5. The Beautiful Souls
(5:07) 6. Jookin' The Blooz
(7:32) 7. Lonnie's Lament
(5:23) 8. I can't Get Started
(5:22) 9. Cone's Tune
(2:52) 10. Blues Etude #2
(7:47) 11. Old Man Blooz Take 1

Wycliffe Gordon is a trombone player who knows his instrument from the primordial playing of Kid Ory and Honore Dutrey through giants like Jack Teagarden and J.J. Johnson up to and including today's best like Steve Turre. This ability is nowhere better illustrated than on this new CD covering music as classic as "Limehouse Blues" and "I Can't Get Started" and as new as the originals composed for this late 2002 recording date.

As a jazz historian/antiquarian, I admit that my taste runs to the familiarity of the standard chestnuts that greet me like an old friend even when dressed up in the latest style, yet there are still contemporary composer/arranger/players such as Wycliffe Gordon whose modern masterpieces could well qualify as tomorrow's classic staples. "Dig This" and "Old Man Blooz" (which appears here in two takes) are prime examples of the best of 21st century jazz standards in the making.

Again, given my taste for the early giants of this music, it's no surprise that leader/trombonist Gordon and guitarist Peter Bernstein are familiar names. Maybe this also accounts for the fact that I find the Hammond B-3 organist Sam Yahel a fascinating revelation. While too many of the "jazz electric organ" players I hear today are leaning on the bassist and/or drummer for rhythmic impetus, Yahel makes proper use of the Hammond's pedal board to underlay the bass line. Other players, tenor sax man Seamus Blake and drummer Bell Stewart, while not as startling on first listening as Yahel, fulfill their function in the ensemble.

Certain to cause comment and interest is Gordon's unaccompanied trombone solo, "Blues Etude #2." Gordon, like Anthony Braxton before him and Johann Sebastian Bach before him, has shown the power of an unaccompanied line supplying its own melody, harmony and rhythm.

Yet the track I'll keep returning to is Wycliffe Gordon's statement of "Limehouse Blues," which alternates between single and double time. In his distinctive arrangement of this hit tune of 1924 imported from the United Kingdom and defined in recordings by the Benny Goodman Sextet and by the Quintet of the Hot Club of France, Gordon has given new life to a classic which now becomes part of the contemporary repertoire.By Joe Klee. ttps://www.allaboutjazz.com/dig-this-wycliffe-gordon-criss-cross-review-by-joe-klee

Personnel: Wycliffe Gordon - Trombone; Peter Bernstein - Guitar; Seamus Blake - Tenor Sax; Bill Stewart - Drums; Sam Yahel - Hammond Organ.

Dig This!!

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Seamus Blake - New York Factor Vol 1

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 45:16
Size: 104,3 MB
Art: Front

(7:19) 1. Alone Together
(7:54) 2. From The Heart
(5:33) 3. Waltz For Debby
(9:59) 4. Points Of A Star
(6:10) 5. Hearts Alone
(8:18) 6. Willow Weep For Me

New York based tenor saxophonist/composer Seamus Blake is recognized as one of the finest and most creative young players in jazz.

John Scofield, who hired him for his “Quiet Band,” calls him “extraordinary, a total saxophonist.” In February 2002, he took first place in the Thelonious Monk International Jazz Saxophone Competition in Washington D.C. As the winner, he performed with Wayne Shorter and Herbie Hancock.

Seamus Blake was born in England and raised in Vancouver, Canada. At age 21, while still a student at Boston's prestigious Berklee College, he was asked to record with legendary drummer Victor Lewis. After graduation, he moved to New York, where he rapidly established himself on the New York jazz scene.

Seamus has released six albums on Criss Cross Records, from his 1993 debut The Call to the 1995 premiere of the "Bloomdaddies," a “funky, alternative grunge jazz band”, to Way Out Willy, which was released in February 2007. He has also recorded as a leader for the Fresh Sound label. "Stranger Things have Happened" (now available on itunes) features Kurt Rosenwinkel as well as Jorge Rossy and Larry Grenadier from the Brad Mehldau trio. Fresh Sound also recorded a Bloomdaddies cd, " Mosh for Lovers" in 2001. In 2009 the Italian label, Jazz Eyes, released "Live in Italy", Seamus' most successful cd to date. It received 4 1/2 stars from Downbeat.

Blake is a long standing member of the Grammy nominated group, the Mingus Big Band, and is featured on the last six albums. He continues to play and record with the Victor Lewis Quintet, as well as with Bill Stewart and Kevin Hays. He has also performed and/or recorded with Franco Ambrosetti, Dave Douglas, Jane Monheit, Kenny Barron, Sam Yahel, Kurt Rosenwinkel, Michael Brecker, Randy Brecker, Pat Metheny, Joe Lovano, Joshua Redman, Brad Meldhau, Larry Grenadier, Wayne Krantz, Jorge Rossy, Jack Dejohnette, Brian Blade, Jeremy Pelt, Eric Reed, David Kikoski, Al Foster and many others.

Most recently Seamus has been touring with the Seamus Blake Electric Band which includes Scott Kinsey, Tim Lefebvre and Jordy Rossy.
https://www.allaboutjazz.com/musicians/seamus-blake

Personnel: Seamus Blake tenor saxophone; David Kikoski piano; Alex Claffy bass; Bill Stewart drums; Victor Lewis drums

New York Factor vol 1

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Larry Goldings,Peter Bernstein,Bill Stewart - Perpetual Pendulum

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 65:00
Size: 149,8 MB
Art: Front

(6:08) 1. United
(7:07) 2. Let's Get Lots
(5:03) 3. Libra
(5:28) 4. Prelude
(5:06) 5. FU Donald
(5:20) 6. Come Rain or Come Shine
(5:54) 7. Little Green Men
(5:35) 8. Reflections in D
(6:05) 9. Perpetual Pendulum
(5:25) 10. Lurkers
(7:43) 11. Django

Larry Goldings, Peter Bernstein, and Bill Stewart celebrate over three decades as a trio with PERPETUAL PENDULUM, a scintillating program combining clever originals with fresh takes on jazz classics. And, while 30 years is not quite an eternity in jazz terms, it might as well be they show no signs of slowing down.

PERPETUAL PENDULUM is also their debut release on Smoke Sessions, which has some historical significance related to their origins as a trio. Smoke Jazz & Supper Club, the label’s parent venue, was opened on the former site of Augie’s Jazz Bar, where Goldings, Bernstein and Stewart first performed together and established their rapport on a regular Thursday night gig starting in 1989. They also recorded this album at New York’s Sear Sound Studio A, which is where they recorded their second outing together, 1992’s "Light Blue" and was also 30 years after the release of their debut album, Goldings’ 1991 album "The Intimacy of the Blues."

If it’s hard to imagine a band with the kind of longevity that Goldings, Bernstein, and Stewart share, it’s even more rare to find one maintaining their brilliant level of musicianship and chemistry and that is not lost on the trio. “We all really dig each other, and that's probably the most important thing,” Goldings says in an attempt to explain the trio’s indefinable chemistry. There’s a lot of crossover in what we like to play and listen to, and our individual visions of jazz tend to align. It’s hard to say, because we never really discuss it; we just try to make good records. We came up together.”

Bernstein concurs. “I think we all share a pure feeling of gratitude. With these cats, I feel pressured to play my best because they’ve heard everything I can do. At the same time, I feel comfortable trying anything with them because I know whatever I do, they're going to hold it together. We’ve all grown through our individual experiences, but we always come back to this. And it's only getting better.”

Personnel: Larry Goldings - organ; Peter Bernstein - guitar; Bill Stewart - drums

Perpetual Pendulum

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Peter Bernstein - Heart's Content

Styles: Guitar Jazz
Year: 2003
File: MP3@256K/s
Time: 57:20
Size: 105,6 MB
Art: Front

(7:42) 1. Little Green Men
(7:09) 2. Heart's Content
(8:41) 3. Relativity
(8:12) 4. Consant Conversation
(7:12) 5. Dedicated To You
(8:32) 6. Simple As That
(6:59) 7. Public Domain
(2:50) 8. Blood Count

Jazz guitarist Peter Bernstein was born September 3, 1967, in New York City. He got his first break while attending the New School when he met Jim Hall, who recruited him for a concert of guitarists as part of the 1990 JVC Jazz Festival in New York. The show was recorded by MusicMasters and issued as Live at Town Hall, Vol. 2. Bernstein quickly began playing with other jazz musicians, notably appearing on albums by Lou Donaldson, Michael Hashim, Larry Goldings, Mel Rhyne, Jesse Davis, and Geoff Keezer. He recorded his first album as a leader, Somethin's Burnin', for Criss Cross on December 22, 1992, as part of quartet with Brad Mehldau (piano), John Webber (bass), and Jimmy Cobb (drums). After working with such artists as Patti Page, Walt Weiskopf, Brian Lynch, Laverne Butler, Eric Alexander, and Hendrik Meurkens in 1993-1994, he issued his second solo album, Signs of Life, on May 2, 1995, working again with Mehldau, along with Christian McBride (bass) and Gregory Hutchinson (drums). Further work as a sideman with Ghetto Philharmonic, Trudy Desmond, Teodross Avery, Joshua Redman, Kevin Mahogany, Grant Stewart, and Mike LeDonne preceded the release of his third album, Brain Dance, on June 24, 1997. This time, he led a quintet also containing Goldings (organ), Eric Alexander (tenor saxophone), Steve Davis (trombone), and Billy Drummond (drums). Prior to his fourth album, Earth Tones, Bernstein recorded with Ralph Lalama and Eric Comstock, among others. Earth Tones, issued August 25, 1998, found him fronting a trio with Goldings and Bill Stewart (drums).

Five years elapsed before the release of Heart's Content, Bernstein's fifth album as a leader, and he occupied the time working with a wide variety of musicians including Tom Aalfs, Group 15, Jimmy Cobb's Mob, David Bubba Brooks, Doug Lawrence, Sam Yahel, David Morgan, Jon Gordon, Michael Karn, Spike Wilner, Anna Lauvergnac, Harry Allen, Paula West, Nicholas Payton, Etta Jones, Béla Szakcsi Lakatos, Lee Konitz, Klaus Doldinger, and Ralph Bowen. Heart's Content, which was released May 27, 2003, was credited to "Peter Bernstein + 3," and the three were Mehldau, Bill Stewart, and Larry Grenadier (bass). The same year the album appeared, Bernstein could be heard on albums by Ryan Kisor, Wycliffe Gordon, Janis Siegel, and Martin Sasse, among others. Stranger in Paradise, Bernstein's sixth album, was released June 8, 2004, by the Japanese Tokuma label, and employed the same lineup as that on Heart's Content. In addition to musicians with whom he had recorded before, Bernstein appeared on albums by Jim Rotondi and Dr. Lonnie Smith in 2004 and Kathy Kosins in 2005. On August 23, 2005, Mel Bay released the DVD Peter Bernstein Trio Live at Smoke, taped at a jazz club on the Upper West Side of Manhattan. Monk Among his many sideman sessions in the mid-2000s, Bernstein added dates with Joe Magnarelli, Alvin Queen, Planet Jazz, Anton Schwartz, John Pisano, David "Fathead" Newman, Don Friedman, Cory Weeds, and Andrew Suvalsky to the list of his credits, along with repeat appearances with others. On January 13, 2009, the newly reactivated Xanadu label released Bernstein's seventh album, Monk, a tribute to Thelonious Monk featuring all Monk compositions. Although Monk was a pianist, of course, the Bernstein recording was made with a pianoless trio consisting of himself, Doug Weiss (bass), and Bill Stewart.

Personnel: Peter Bernstein (G); Brad Mehldau (P); Larry Grenadier (B); Bill Stewart (D)

Heart's Content

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Lavay Smith & Her Red Hot Skillet Lickers - One Hour Mama

Styles: Vocal, Swing, Big Band
Year: 1996
File: MP3@320K/s
Time: 48:03
Size: 110,3 MB
Art: Front

(3:10)  1. Oo Poppa Do
(3:51)  2. Blue Skies
(6:24)  3. New Blowtop Blues
(4:01)  4. What's The Matter With You?
(4:38)  5. Squeeze Me
(2:48)  6. And Her Tears Flowed Like Wine
(4:58)  7. Going To Chicago Blues
(3:11)  8. Between The Devil And The Deep Blue Sea
(5:24)  9. Downhearted Blues
(4:07) 10. Walk Right In, Walk Right Out ('The Walking Blues')
(5:25) 11. One Hour Mama

The current swing revival, a very healthy development that has given younger dancers an opportunity to jitterbug to four/four music has, ironically, resulted in quite a bit of erratic music. Some of the so-called swing bands are really just playing rockabilly, '50s pop, or mere imitations of Louis Prima and Cab Calloway mixed in with R&B from later periods. But there are a few groups that really are playing swing, including singer Lavay Smith & Her Red Hot Skillet Lickers. The talented Smith has an appealing voice that sometimes sounds close to Dinah Washington's, but it's also flexible enough to handle material ranging from Bessie Smith to Anita O'Day. And, although the singer gets top billing, her instrumentalists are just as strong. The debut set by the Red Hot Skillet Lickers features heated and romping solos by trombonist Larry Leight, altoist Bill Stewart, tenor Harvey Robb, and Noel Jewkes on tenor, clarinet and baritone, along with a driving four-piece rhythm section. Pianist/arranger Chris Siebert is responsible for the inventive charts, which are sometimes a combination of earlier recordings and always leave space for solos. The material includes some blues, swing standards (such as "Blue Skies," "Squeeze Me" and "Between the Devil and the Deep Blue Sea"), and lots of riffing. The music is a joy. The fact that Lavay Smith's San Francisco ensemble has been able to benefit from the swing revival shows that it is possible to perform music that is both popular and quite swinging. ~ Scott Yanow http://www.allmusic.com/album/one-hour-mama-mw0000035527

Personnel: Lavay Smith (vocals); Noel Jewkes (clarinet, tenor saxophone, baritone saxophone); Bill Stewart (alto saxophone, tenor saxophone); Chris Siebert (piano); Dan Foltz (drums).

One Hour Mama

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John Scofield, Steve Swallow, Bill Stewart - Swallow Tales

Styles: Guitar Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 52:52
Size: 121,7 MB
Art: Front

(9:29) 1. She Was Young
(5:24) 2. Falling Grace
(3:31) 3. Portsmouth Figurations
(9:24) 4. Awful Coffee
(7:10) 5. Eiderdown
(4:11) 6. Hullo Bolinas
(4:50) 7. Away
(4:30) 8. In F
(4:22) 9. Radio

It was Gary Burton who brought Steve Swallow with electric bass in tow into the teaching ranks of the Berklee College of Music in the early 1970s. Burton had already introduced Swallow's songs to the students, one of whom, a fresh-faced John Scofield, would go on to play and record with both men. Scofield and Swallow's musical partnership has proven the more durable, having begun in the late 1970s. Here, the former teacher and student pick up where they left on the Grammy-winning Country For Old Men (Impulse! 2016), with Scofield putting his inimitable stamp on nine Swallow originals. The nine straight-ahead tracks cover almost half a century of Swallow's career, from the early-mid 1960s, when Swallow was part of Burton's innovative groups, up until the early 2010s. Singable melody and harmonic depth are the common threads throughout. "She Was Young," originally tailored by Swallow to a poem by Robert Creeley a major influence and sung by Sheila Jordan on the album Home (ECM, 1980), is a beautiful feast. Bill Stewart no stranger himself to Scofield switches back and forth between brushes and sticks as the music waxes and wanes. Swallow keeps the melody flowing as Scofield, in top form, digs deep, but it is in the trio's extended workout where real sparks fly.

These compositions could almost have been written for Scofield, who revels in the ever-bright melodic terrain, the effortless swing that Swallow and Stewart engender, and the changes that invite fresh improvisational impetus at every turn. Swallow's compositions are rooted, but always moving forward. They are also rather handsome. The aforementioned "She Was Young," and the exquisitely tender ballad "Away," are particularly gorgeous. Scofield is one of the most exciting electric guitarists of his generation, but he is often at his most alluring at relaxed tempi; the slower reworking of "Awful Coffee," which features a typically singsong solo from Swallow, and the gently strolling "Hullo Bolinas" reveal the nuance and soul in Scofield's broad-ranging vocabulary. The modern-day jazz standard "Falling Grace" sees Scofield and Swallow in expansive mode, their respective solos imbibed with the composition's underlying melodic charm. Stewart, a dynamic presence throughout, comes into the spotlight with a solo turn on "Eiderdown," but in truth, his ceaselessly inventive playing throughout the album is a constant source of surprise and delight. Here, Stewart employs his ride cymbal like a cracking whip that spurs Scofield on. "Radio," from the Times Square (ECM, 1978) album with Burton, Roy Haynes and Tiger Okoshi, sees Swallow's deceptive walking bass line and Stewart's more overtly fractured rhtyhms provide the friction that ignites Scofield's blue touch paper. Swallow Tales, Scofield's heartfelt homage to a significant figure in modern jazz, exudes the spontaneity and excitement arising from a single afternoon in the studio. Swallow's playing is as lithe as ever, while his compositions, channelled through such caring, intuitive hands, sound evergreen.~ Ian Patterson https://www.allaboutjazz.com/swallow-tales-john-scofield-ecm-records

Personnel: John Scofield: guitar; Bill Stewart: drums; Steve Swallow: bass.

Swallow Tales

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John Scofield - EnRoute

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 72:57
Size: 167,8 MB
Art: Front

( 8:24)  1. Wee
( 7:25)  2. Toogs
( 6:30)  3. Name That Tune
( 9:26)  4. Hammock Soliloquy
( 9:01)  5. Bag
( 6:39)  6. It Is Written
( 6:49)  7. Alfie
( 7:23)  8. Travel John
(11:15)  9. Over Big Top

Some artists are revolutionary, making periodic stylistic leaps that herald in a completely new direction or approach. Others are more evolutionary, with a gradual development that often unfolds over a number of years. John Scofield clearly falls in the second camp; while the context of his albums may vary wildly from one to the next, the actual meat of his style has matured at such a slow and steady pace that differentiation over the short term might be difficult to discern. But compare one of his earlier albums, like 1981's live trio recording Out Like a Light , with his new trio release, the live EnRoute , and you'll find an artist who has, in fact, made quantum leaps in his growth as a player, writer and bandleader. The two records share another common element, that of bassist Steve Swallow who, along with drummer Bill Stewart, lends an energy to the proceedings that is characteristic of many of Scofield's bands. But whereas Scofield has spent the last couple of years on jam-band turf with his younger quartet, this record returns him solidly to jazz territory, although with grooves from the New Orleans grease of "Hammock Soliloquy" and "Over Big Top" to the up-tempo swinger "Travel John"; from the straight-ahead blues of "Bag" to the tender reading of the Bacharach/David standard "Alfie," this is hardly a mainstream set. Aside from a clearly more mature linear conception, since the early '90s Scofield has also grown considerably as a chordal soloist. 

The roots of this style go as far back as his early '80s trio with Swallow, but his harmonic sense is now just that much deeper. Recorded during a weeklong engagement at New York City's Blue Note in December of 2003, the album manages to capture the energy that was clearly in the room at the time. This, in no small part, thanks to Stewart, who continues to be as inventive as always; of his generation he is arguably the drummer who most ably combines a solid footing in tradition with a more progressive rhythmic edge. But everyone rightly smokes. Scofield, armed only with a guitar, amp and whammy pedal, his one nod to the more effects-laden work with his quartet, burns through Swallow's contrapuntal "Name That Tune"; Swallow blends an ability to anchor with inciting Scofield to further heights; the riff-based "Over Big Top" gradually builds in intensity, never letting up over its eleven minute duration. Scofield has managed to attract a whole new generation of listeners to his music through his association with his current jam-band quartet. And the good news is that the success of that project has resulted in those same listeners checking out more straightforward projects like EnRoute. In a time where jazz is a marginalized genre, that's a remarkable achievement. ~ John Kelman https://www.allaboutjazz.com/enroute-john-scofield-verve-music-group-review-by-john-kelman.php

Personnel: John Scofield: guitar; Steve Swallow: electric bass; Bill Stewart: drums.

EnRoute

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Ron McClure - Never Forget

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 68:40
Size: 157,9 MB
Art: Front

(5:52)  1. Halfmoon Again
(7:28)  2. Hello Spring
(4:07)  3. Lament for Lost Heroes
(7:26)  4. Belle
(6:39)  5. Never Forget
(8:41)  6. Hey New Day
(6:12)  7. We'll Say Hello Again
(6:32)  8. Illusions Of ...
(6:23)  9. Stinky Fingers
(9:16) 10. Remember Me

A resourceful and flexible bassist, Ron McClure has thrived in hard bop, jazz-rock, and free and bebop sessions and bands. One of the finest upper register players on either acoustic or electric, his rhythmic skills are tremendous. McClure has also been an active educator since the early '70s, teaching at Berklee and Long Island University and doing workshops both nationally and internationally. He started on piano at age five, and later played accordion and bass. McClure studied privately with Joseph Iadone and attended the Hartt School of Music, graduating in 1963. He later studied composition with Hall Overton and Don Sebesky. McClure played with Buddy Rich in the mid-'60s, and worked and recorded with Marian McPartland, Herbie Mann, and Maynard Ferguson during that same period. McClure played in Wyton Kelly's band in 1966, then joined Charles Lloyd in 1967. The Lloyd group also included Keith Jarrett and Jack DeJohnette, and enjoyed unusual popularity and publicity for a late-'60s jazz band. They were the first American group to play at a Soviet jazz festival, and also appeared at the Fillmore, one of the few jazz acts to play there. McClure was a founding member of the jazz-rock band the Fourth Way -- with Michael White, Mike Nock, and Eddie Marshall -- in 1968. They got a good response at the Newport and Montreux festivals in 1970, but disbanded in 1971 after a three-year stint. During the '70s, McClure played with Joe Henderson, Gary Burton, Mose Allison, Jack DeJohnette, Dave Liebman, Thelonious Monk, Tony Bennett, and Jarrett. He recorded with Jerry Hahn, Julian Priester, Cal Tjader, and the Pointer Sisters, and spent three years with Blood, Sweat & Tears in the mid-'70s. McClure played and recorded with George Russell, Tom Harrell, John Scofield, John Abercrombie, Mark Gray, Jimmy Madison, Adam Nussbaum, Richie Bierarch, Vincent Herring, Kevin Hayes, Bill Stewart, and Michel Petrucciani in the '80s and '90s. McClure has done sessions as a leader for Ode, Bellaphon, EPC, Steeplechase, and Ken Music. He has a few dates available on CD. ~ Ron Wynn https://www.allmusic.com/artist/ron-mcclure-mn0000831201/biography 

Personnel: Bass – Ron McClure; Alto Saxophone – Vincent Herring; Drums – Bill Stewart; Piano – Kevin Hays; Trumpet – Eddie Henderson

Never Forget

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Jon Gordon - Jon Gordon Quartet

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 76:53
Size: 177,5 MB
Art: Front

( 5:48)  1. One For Charles
( 7:30)  2. The Trust Of A Child
( 6:23)  3. Evidence
( 6:04)  4. Time Trap
( 6:25)  5. What's New
( 6:53)  6. Land Of Ephysus
( 7:18)  7. My Shining Hour
(10:07)  8. Earth Song
( 5:36)  9. Pass It On, Jon
(14:46) 10. Jazzspeak

Jon Gordon's U.S. debut as a leader is an impressive start. Clearly one to watch on his main instrument, alto sax, he kicks things off with an uptempo, somewhat exotic original, "One for Charles." He also has a nice sound on the soprano on his engaging ballad "The Trust of a Child." The strong supporting cast was a functioning quartet at the time of the recording: pianist Kevin Hays, bassist Scott Colley and drummer Bill Stewart. Gordon was also clearly inspired by his former teacher, Phil Woods, who is present on several tracks, including an original dedicated to the younger man, "Pass It On, Jon." ~ Ken Dryden https://www.allmusic.com/album/the-jon-gordon-quartet-mw0000932334

Personnel:  Alto Saxophone, Soprano Saxophone – Jon Gordon;  Alto Saxophone – Phil Woods; Bass – Scott Colley; Drums – Bill Stewart; Piano – Kevin Hays

Jon Gordon Quartet

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Dayna Stephens - I'll Take My Chances

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(9:01)  1. Good Tree, Good Fruit
(7:20)  2. Jfk International
(8:15)  3. Adrift
(7:26)  4. Dirty
(7:59)  5. Unrequited I
(5:13)  6. Prelude to a Kiss
(7:12)  7. Field of Landmines
(9:11)  8. I'll Take My Chances
(4:42)  9. Weezy
(6:44) 10. Unrequited

For his second Criss Cross release I'll Take My Chances, saxophonist Dayna Stephens has put together an impressive recital showing off his skill for composition, arranging, and improvisation. The ten tunes presented here are a nice mix of Stephens's originals, an Ellington classic, and original tunes from contemporary pianists Brad Mehldau and Aaron Parks. The tunes all prove to be fantastic vehicles for Stephens to showcase his warm, soulful sound, and the prowess of the group he has put together for this recording. For the rhythm section Stephens joins pianist, Gerald Clayton, and bassist, Joe Sanders, both young players who have been attracting attention since their time at the Thelonious Monk Institute, where Stephens also studied. Drummer Bill Stewart has been a powerful presence in the New York jazz scene for twenty years now and he and Sanders seem to connect almost effortlessly on this album. Stephens completes the rhythm section with guitarist, Charles Altura, who has just recently come into the spotlight for his work on Chick Corea's The Vigil (Stretch Records, 2013). On his original tunes Stephens shows off his talent for writing interesting melodies. "JFK International" has a winding, unpredictable melody, obviously inspired by the hustle and bustle that can always be found in the airport. Appropriately, "Field of Landmines" has a light and careful feeling to it and Stephens explores some new sounds during his solo by using a chorus pedal, adding an interesting texture to this album. 

The fact that Stephens's original, "I'll Take My Chances," comes directly after "Field of Landmines" may strike some listeners as humorous but the song itself sets a serious tone and sets a perfect backdrop for Stephens's rich tone. "Dirty," another Stephens original stands out on this album and finds Gerald Clayton accompanying from the Hammond B3. Stephens does his best to live up to the tune's name with a soulful bari sax solo. For the centerpiece of the album Stephens recruited vocalist, Becca Stephens, to lend her delicate voice to his treatment of the classic Ellington tune, "Prelude to a Kiss." Though piano and guitar have a history for stepping on each other's toes in this type of a group setting, Clayton and Altura do remarkable job of complimenting each other rather than getting in each other's way on this tune. With this album Dayna Stephens adds another credit to his growing discography and proves himself a force to be reckoned with, not only as a soloist, but also as a composer, arranger, and band-leader. The other members of his quintet interpret Stephens's music with confidence and authority and accompany him well. Hopefully we can look forward to hearing Stephens develop even more as a composer and improviser in the years to come. ~ Andrew Luhn https://www.allaboutjazz.com/ill-take-my-chances-dayna-stephens-criss-cross-review-by-andrew-luhn.php

Personnel: Dayna Stephens: Tenor and Baritone saxophones; Charles Altura: Guitar; Gerald Clayton: Piano/Hammond B3 Organ; Joe Sanders: Bass; Bill Stewart: Drums; Becca Stevens: Vocals

I'll Take My Chances

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Andrew Rathbun - Character Study

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 61:20
Size: 141,5 MB
Art: Front

(6:08)  1. The Golden Fool
(6:49)  2. Team of Rivals
(8:49)  3. Alphabet Deaf and Forever Blind
(7:09)  4. His Quiet Determination
(7:09)  5. Etcetera
(9:28)  6. The Long Awakening
(6:40)  7. Character Study
(9:05)  8. Turmoil

Jazz saxophonist Andrew Rathbun was born and raised in Toronto, in 1991 earning a Canada Council for the Arts grant to study in Boston, where he attended the New England Conservatory under the tutelege of Jimmy Guiffre and George Russell. Playing and recording with artists including Jeff Hirshfield, Kenny Wheeler, John Abercrombie and Ingrid Jensen, from 1994 to 1997 Rathbun also taught at the University of Maine before moving on to the Amadeus Conservatory in Westchester, NY; his solo debut Scatter Some Stones followed in 1999. The experimental True Stories came out the next year, offering two Margaret Atwood poems set to music. The heady and complex Sculptures was released two years later.~ Jason Ankeny https://itunes.apple.com/us/album/character-study/1444115015

Personnel:  Andrew Rathbun -  tenor saxophone; Tim Hagans -  trumpet; Gary Versace -  piano; Jay Anderson - bass; Bill Stewart - drums

Character Study

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John Scofield - Combo 66

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 60:34
Size: 139,8 MB
Art: Front

(7:32)  1. Can’t Dance
(7:21)  2. Combo Theme
(5:32)  3. Icons At The Fair
(7:59)  4. Willa Jean
(5:39)  5. Uncle Southern
(6:08)  6. Dang Swing
(8:52)  7. New Waltzo
(5:04)  8. I’m Sleeping In
(6:23)  9. King Of Belgium

John Scofield is one of today’s most versatile guitarists, accumulating accolades and prestigious awards in contemporary jazz, jam band, and popular music. Heck, he’s even made an excellent gospel album. For Combo 66, coinciding with his 66th birthday on September 28 he enlists the support of long-time drummer Bill Stewart, bassist Vincente Archer and pianist/organist Gerald Clayton. Together, in typical Scofield fashion, they imbue jazz with elements from other genres imaginatively and unpredictably. Scofield is on a creative roll, having won two Grammys for 2016’s Country for Old Men and last year’s stellar effort Hudson with good friends Jack DeJohnette, Larry Grenadier, and John Medeski. As you probably know, he often collaborates with Gov’ Mule and with Medeski, Martin, and Wood too. He’ll unexpectedly appear on albums from Americana artists too, such as his guest appearance on multi-instrumentalist Phil Madeira’s Providence. The well-liked and respected Scofield gets and accepts lots of invitations. These are all Scofield originals. He credits the album title to both his birthday and as he says, “And 66 is the coolest jazz number you can get because if you hit 66 you’re doing ok. Remember all the great records from the 60s? Brasil 66. “Route 66.” It hit me that it would be poetic to use that title.” One part groove, one part melody, one part improvisation, the interaction amongst the musicians defies the fact that this is the first time this unit has recorded together. Drummer Bill Stewart is the anchor, having been with Scofield since 1992’s What We Do. Upright bassist Vincente Archer is a regular in Robert Glasper’s Trio while the keyboardist Clayton is the son of bassist John Clayton of the Clayton-Hamilton Jazz Orchestra. Scofield indicates that is often difficult to match piano and guitar because both instruments are percussive in nature. He admires Clayton for his ability to marry a contemporary approach with the old school touch and feel of Tommy Flanagan or Hank Jones. 

The opener “Can’t Dance” is a swinging tune, titled by the witty Scofield because “I can’t dance.” “Combo Theme” bears a Henry Mancini kind of soundtrack melody offset by Scofield’s solo which is by turns melodic and dissonant. His “Icons at the Fair” brings in recognizable sounds. It’s purposely reminiscent of Herbie Hancock’s arrangement of Simon and Garfunkel’s “Scarborough Fair” on The New Standard, on which Scofield played. His chord structures and progressions for this tune nod to Hancock and Miles. As he moves into “Willa Jean,” “Uncle Southern” and “Dang Swing” you’ll hear touches of country and blues before “New Waltzo” brings in some blaring rock, especially in the power chords, as Clayton provides a swirling B3 in support. Then, to calm it down, we get the rare Scofield ballad, “I’m Sleepin’ In,” titled, as are most by John’s wife, Susan. This, and the bonus track “Ringing Out” (if you’re lucky enough to get digitally) is the epitome of Clayton’s delicate touch on piano as he softly plays behind Scofield’s lead on the former while soloing on the latter. The closer, “King of Belgium” is dedicated to the iconic jazz harmonica wizard Toots Thielemans, also known to have a great sense of humor, reflected in Scofield’s witty guitar lines.  This is a light, fun, completely accessible outing that will leave you smiling. It fits beautifully with Scofield’s self-described approach that goes like this, “I am so deadly serious about jazz, but the fact of the matter is jazz only works if you are relaxed and don’t give a shit. If you try too hard it doesn’t work. Humor really helps me get to a better place with music.”  Scofield’s place is one that we can enjoy too. https://glidemagazine.com/214022/john-scofield-returns-with-imaginative-bold-combo-66-album-review/

Personnel: John Scofield (guitar); Gerald Clayton (piano,/organ); Vicente Archer (bass); Bill Stewart (drums).

Combo 66

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David Kikoski - Details

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 67:51
Size: 155,5 MB
Art: Front

(12:13)  1. In Your Own Sweet Way
( 7:35)  2. Detachment
( 9:09)  3. 7/4 Ballad
( 6:17)  4. Inner Urge
( 6:00)  5. Juriki
( 6:45)  6. Adorable You
( 5:45)  7. K's Blues
( 6:52)  8. Presage
( 7:09)  9. Tag Blues

David Kikoski has earned his chops backing everyone from legends like Roy Haynes (two decades and counting) to young gun David Sanchez. Though he can commandeer a set when he wants (an astoundingly fractured, nearly chaotic barrelhouse blues piano solo is all that remains in memory of the last Pat Martino gig I caught), by nature he's a team player: gently tenacious exploration and ethereal post-bop empathy are this Berklee grad's true bread and butter. Thus Details , as you might expect from its title, is loaded with both. It's a trio disc, and for this kind of patient investigation, Kikoski could scarcely have filled out the group better. Bass man Larry Grenadier and drummer Bill Stewart provide the pianist with a near-telepathic unity that lifts the disc immediately above the ordinary. (Stewart, whose extensive trio forays with keyboardist Larry Goldings have prepared him magnificently for this kind of work, seems particularly alert.) From the group's leisurely twelve-minute stroll through Dave Brubeck's "In Your Own Sweet Way," to its thoughtful, intense work on Joe Henderson's great "Inner Urge," and through the host of tricky Kikoski originals that comprise the remainder of the material, ideas flow free and quick and no subtle shift goes unnoticed. (Even Kikoski's single-track detour on electric keyboard, "K's Blues," comes off.) Short on flash but loaded with exquisite three-way rapport, Details is a dreamy, first-rate disc from a player deserving more attention. ~ AAJ Staff https://www.allaboutjazz.com/details-dave-kikoski-criss-cross-review-by-aaj-staff.php

Personnel: Dave Kikoski: Piano;  Larry Grenadier: Bass;  Bill Stewart: Drums. 

Details

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Larry Goldings, Peter Bernstein, Bill Stewart - Toy Tunes

Styles: Piano, Post Bop
Year: 2018
File: MP3@320K/s
Time: 47:27
Size: 109,4 MB
Art: Front

(6:45)  1. Fagen
(6:10)  2. Don't Ever Call Me Again
(6:30)  3. Lullaby For B
(5:17)  4. I'm In The Mood For Love
(3:51)  5. And Now The Queen
(7:01)  6. Toy Tune
(6:16)  7. Calm
(5:34)  8. Maybe

Just look at the cover art the swirl of colors, the bodies drawn to the eye as misshapen designs, the beauteous blotches, the sturdy rhythms of angularity. In some ways it's almost inconceivable to imagine all of that acting as one, yet these images form a perfectly perceivable whole a picture that feels like home yet sits in its own space, artfully different yet accessible and inviting. It's a perfect parallel for the work of these three master musicians, collectively viewed as the most creatively durable organ trio in jazz. Together, organist Larry Goldings (who happened to create said album art), guitarist Peter Bernstein, and drummer Bill Stewart have been elevating the art of this musical format for more than a quarter of a century. This, their twelfth album in total and second on the Pirouet imprint, is but one more high point in a series of continuous peaks in this outfit's discography.

Toy Tunes takes off with "Fagen," a Goldings original nodding to Steely Dan's Donald Fagen. It's a somewhat sensitive offering that, while alluding to its honoree, adopts a loose vibe and a harmonic aura apart from Fagen's signature(s). Stewart's "Don't Ever Call Me Again" follows, coming into the picture with a skulking groove and a melody line that lays perfectly within its setting while also feeling somewhat displaced. It's vintage Stewart in its blend of intelligent design, rhythmic fervor, and surprise. Then Bernstein's harmonically vibrant "Lullabye For B" a beauty of a waltz written for his oldest son completes the album-launching triptych of originals.  Four of the five remaining tracks are covers, allowing for this trio's interpretive brilliance to shine through. "I'm In The Mood For Love" rides on the locomotive zest provided by Stewart's brush work; Carla Bley's "And Now The Queen" plays as a tale of questioning and arrival, living life on the outskirts while still remaining reachable; Wayne Shorter's "Toy Tune" offers innumerable pathways for these savvy improvisers to travel; and closer "Maybe" of Annie fame adopts a low key swing swagger in its step. The lone original on the second half of the album Stewart's aptly-titled "Calm" brings peace to the penultimate slot.  The beauty in following this trio's work rests in the fact that you somehow know what you're going to get without really having a clue. If that sounds like paradoxical play or a flirtation with the absurd, that's all the better to fit this band's vibe. ~ Dan Bilawsky https://www.allaboutjazz.com/toy-tunes-larry-goldings-pirouet-records-review-by-dan-bilawsky.php

Personnel: Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Toy Tunes

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Jonathan Kreisberg - Nine Stories Wide

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 55:20
Size: 127,8 MB
Art: Front

(7:17)  1. Summertime
(5:32)  2. Just in Time
(6:43)  3. Dana
(7:57)  4. My Ideal
(5:48)  5. Juju
(7:29)  6. That Reminds Me
(4:37)  7. Fever Vision
(4:30)  8. Michelle
(5:22)  9. Relaxing at Camarillo

Jonathan Kreisberg is an exciting young guitarist whose two latest releases will go a long way toward affirming his prominent place in the jazz landscape.Nine Stories Wide is a multi-layered program of old and new classics blended with originals. "Summertime" opens with a forbidding bass line by Larry Grenadier over Kreisberg's small intro over the theme. It's clear from this song that Kreisberg is a master of space: how to give it to his band mates and how to fill it effectively without wasting it. Drummer Bill Stewart lays down some fine licks and Grenadier adds a fine plucked solo. "Just In Time" is a burner that opens with a quicksilver statement, the trio plays the theme, then Kreisberg builds a challenging solo over Grenadier's power walking and Stewart's ride cymbal-driven comping. Kreisberg's original "Dana" is a bossa nova groove, with crisp single-note phrasing leading to spitfire harmonic runs. "My Ideal" is delivered with warmth and reverence. The trio handles Wayne Shorter's "Juju" with gusto, with Stewart recalling Elvin Jones' thrashing on the drums and Kreisberg inventing clever chord play over the classic melody. The other classics the group plays, "Michelle" and "Relaxing At Camarillo," are both arranged to Kreisberg's specs, that is, with carefully planned spacing so that the melodies are recognizable but stretched suitably enough so that the trio can weave its magic without constraint. ~ Terrel Kent Holmes https://www.allaboutjazz.com/jonathan-kreisberg-nine-stories-wide-and-unearth-by-terrell-kent-holmes.php

Personnel: Jonathan Kriesberg: guitar; Larry Grenadier: bass; Bill Stewart: drums.

Nine Stories Wide

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Larry Goldings, Peter Bernstein, Bill Stewart - Ramshackle Serenade

Bitrate: MP3@320K/s
Time: 62:30
Size: 143.1 MB
Styles: B3 Organ jazz
Year: 2014
Art: Front

[5:46] 1. Roach
[8:41] 2. Luiza
[7:03] 3. Simple As That
[4:31] 4. Ramshackle Serenade
[8:18] 5. Mr. Meagles
[7:44] 6. Sweet And Lovely
[8:19] 7. Blue Sway
[6:13] 8. Useless Metaphor
[5:51] 9. Peace

Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Ramshackle Serenade finds this group covering a lot of ground. The album opens with Goldings' "Roach"—a slow blues in five—which proves to be one of the standout performances. Goldings and Bernstein both cook while Stewart masterfully slices up the time in endlessly inventive ways. The trio then visits Brazilian territory with Jobim's "Luiza," throws one down the middle with Bernstein's aptly-titled "Simple As That," and works in a rhythmically floating environment on "Ramshackle Serenade." The title track is all about rubato rumination, as Goldings and Bernstein paint melodies while Stewart lightly colors in the background. Goldings' "Mr. Meagles," sitting at the midpoint of the album, is a great example of the way this trio manages to create music that speaks relatively softly and carries a mean groove; it's low flame music that can still cause third degree burns.

The second half of the album contains a "Sweet And Lovely" that grows hotter over time, a pair of originals—Stewart's hip-and-intoxicating "Blue Sway" and Bernstein's lively "Useless Metaphor"—and an album-closing look at Horace Silver's oft-covered "Peace." After all these years, this trio still manages to make magic whenever it hits the studio. It doesn't get much better than this. ~Dan Bilawsky

Ramshackle Serenade mc
Ramshackle Serenade zippy

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John Patitucci - Now

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 70:23
Size: 161,5 MB
Art: Front

(9:10)  1. Now
(8:55)  2. Grace
(6:16)  3. Out Of The Mouths Of Babes
(6:03)  4. Hope
(9:29)  5. Labor Day
(8:59)  6. Espresso
(7:39)  7. Forgotten But Not Gone
(5:26)  8. Search For Peace
(4:30)  9. Giant Steps
(3:51) 10. Miya

Bassist Patitucci's third release for Concord Jazz is essentially a quartet date with tenors Chris Potter (five tracks) and Michael Brecker (two) augmenting the rhythm section. The horns take a break on the last three tracks, McCoy Tyner's "Search for Peace" (a trio), Trane's "Giant Steps" (Patitucci, Stewart) and Patitucci alone on his own composition, "Miya." Patitucci, a proud parent, dedicated the album to his then two-month-old daughter, Sachi Grace, as several of the titles would indicate "Grace," "Out of the Mouths of Babes," "Labor Day," for example. Patitucci is a fine player; I wish his talents as a composer were more congenial. Of the tunes on Now, all but "Peace" and "Giant Steps" are his, and none leaves much of an impression. And so it is up to the improvisers, chiefly Potter, Brecker and Scofield, to carry the day (with Patitucci contributing the occasional chorus as well, especially on the last three selections). Brecker meanders through the slow-paced "Hope" without much purpose, and fares only marginally better on the opaque "Labor Day." Potter also appears to be going through the motions; we've heard him play with far more passion and resolve on other occasions - although the music isn't exactly fashioned to let him roam free. Scofield is a taste we've yet to acquire, and sharp as Patitucci is, a bass solo is still a bass solo. The quartet tracks sound excessively busy, and it's actually a relief when Patitucci pares things down for the last three numbers, on which he plays a Yamaha 6-string electric bass, which doesn't sound too far removed from the guitar. That's a good thing, as Patitucci must delineate the melody on "Giant Steps" (a tune that fairly begs for a horn) and the classical-sounding "Miya" (where overdubbing turns him into a duo). Some may find this largely subdued and elliptical session a pure delight; others (such as we) shall place it gently on a shelf and leave it there. ~ Jack Bowers https://www.allaboutjazz.com/now-john-patitucci-concord-music-group-review-by-jack-bowers.php

Personnel: John Patitucci, bass; Michael Brecker, Chris Potter, tenor saxophones; John Scofield, guitar; Bill Stewart, drums.

Now

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Peter Bernstein - Earth Tones

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 66:49
Size: 154,2 MB
Art: Front

(8:58)  1. Metamorphosis
(7:56)  2. Sublime Indifference
(6:23)  3. Dragonfly
(6:09)  4. Who Can I Turn To (When Nobody Needs Me)
(9:58)  5. Acrobat
(7:37)  6. How Deep Is The Ocean?
(6:05)  7. Breakthrough
(5:53)  8. Pivot
(7:45)  9. Carrot Cake

?Peter Bernstein led four albums for the Swiss Criss Cross label during 1992-1997. His fourth effort has him heading a trio with organist Larry Goldings and drummer Bill Stewart. Some of the selections are very much in the soul/jazz tradition, since the Jimmy Smith influence can be heard now and then in Goldings' playing and Bernstein's main influence is Wes Montgomery. However, some of the originals are more advanced and the music still sounds pretty fresh. Among the highlights are Bernstein's ironically titled "Sublime Indifference," Goldings' tricky "The Acrobat," Hank Mobley's "The Breakthrough," and a relaxed version of "How Deep Is the Ocean."~ Scott Yanow https://www.allmusic.com/album/earth-tones-mw0000600871

Personnel: Peter Bernstein (guitar); Larry Goldings (Hammond B-3 organ); Bill Stewart (drums).

Earth Tones

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Danny Grissett - Remembrance

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 54:50
Size: 126,0 MB
Art: Front

(5:10)  1. Woody'n You
(6:41)  2. Lament for Bobby
(5:03)  3. Prelude to a Kiss
(5:26)  4. Gallop's Gallop
(6:07)  5. Renatus
(5:47)  6. Just Enough
(7:22)  7. A Friend Indeed
(7:48)  8. Digital Big Foot
(5:22)  9. Detour Ahead

Pianist Danny Grissett is fantastic here not just bursting out with so many deft colors and changes on both piano and Fender Rhodes, but also really showing some great strengths as a leader too! One of those strengths is the way he puts together the tunes especially the more familiar numbers, which feel completely fresh here augmented by some wonderful work on both soprano and tenor sax from Dayna Stephens, who's almost the co-star of the record especially when he takes on a tune from the lead! The quartet's balanced out nicely by Bill Stewart on drums and Vicente Archer on bass all players who really seem to "get" each other in the best way possible. In addition to Grissett's original tunes "Renatus", "Lament For Bobby", "Digital Big Foot", and "A Friend Indeed" the set also features versions of "Just Enough", "Prelude To A Kiss", "Detour Ahead", and "Gallop's Gallop". © 1996-2017, Dusty Groove, Inc. 

https://www.dustygroove.com/item/854211/Danny-Grissett:Remembrance

Personnel:  Danny Grissett  piano, fender Rhodes;  Dayna Stephens soprano, tenor saxophon;  Vicente Archer bass;  Bill Stewart  drums

Remembrance

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