Charles McPherson - Reverence

Styles: Saxophone Jazz
Year: 2024
Time: 44:39
File: MP3 @ 320K/s
Size: 103,0 MB
Art: Front

(6:24) 1. Surge
(9:10) 2. Blues for Lonnie in Three
(7:03) 3. Come Rain or Come Shine
(7:28) 4. Dynamic Duo
(7:30) 5. Old Folks
(7:00) 6. Ode to Barry

Legendary alto saxophonist Charles McPherson makes his Smoke Sessions debut with an inspired new album, Reverence, dedicated to his lifelong mentor and friend Barry Harris.

These thrilling performances were captured in front of a live audience at Smoke Jazz Club and feature his quintet of Terell Stafford, Jeb Patton, David Wong, and Billy Drummond and represent the first of a series of live recordings scheduled for release to celebrate the 10th Anniversary of Smoke Sessions Records and the 25th anniversary of Smoke Jazz Club.

McPherson certainly reveals why he's been held in such reverence for the last 60 years. The set is a showcase for McPherson's gifts as both composer and soloist and bridges his deep and far-reaching exploration of the full jazz spectrum.https://www.amazon.co.uk/Reverence-Charles-McPherson/dp/B0CVTWTX8Q

Reverence

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Vicki Burns - Lotus Blossom Days

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 54:31
Size: 126,8 MB
Art: Front

(3:48) 1. If You Never Fall in Love with Me / Del Sasser
(3:26) 2. Close Your Eyes
(4:06) 3. Love Spell
(4:44) 4. Lotus Blossom Days
(5:07) 5. Bittersweet
(2:53) 6. Watch Out / The Sidewinder
(5:06) 7. A Long Way to Go / Equinox
(3:56) 8. It's over Now / Well You Needn't
(6:36) 9. You Don't Have to Believe
(3:48) 10. This Time the Dream's on Me
(6:20) 11. Siren Song
(4:36) 12. Out of This World

Who knew "Del Sasser" had lyrics? Part of the joy of listening to new recordings is finding such things out. And Vicki Burns does a convincing job of it. In this intriguing compilation of standards yes, musicians can record from the Great American Songbook (GAS) without disgracing themselves, no matter what anyone says bop heads and originals, Vicki Burns acquits herself admirably. She is solid evidence that the singer makes the song, rather than the other way around.

For someone who took a hiatus from singing for five years, that is simply a commentary on how difficult the music business can be. One does not just deal with lousy pianos, unreliable sidemen, crooked contactors. temperamental conductors, and a frequently inattentive and ignorant audience. Everyone has an off night, which, inevitably defines them for some. All that not withstanding, make no mistake, Burns is a pretty fair vocalist. That does not necessarily mean that every tune here is a definitive version.

Everyone has different yardsticks: for example, Marlene Ver Plank's recording of Bernice Petkere's "Close Your Eyes" might be a personal favorite. Similarly, Carmen McRae owns "Well You Needn't," recorded with an All-Universe band. But Burns more than holds her own and then some. Her scatting does not sound as if she's reading from a how-to-do-it book. Burns may have learned from Ella Fitzgerald, but is not copying anyone. "Love Spell" is a Burns original, and if the changes sound familiar, her take on them is different. Burns' may not be the first vocal version of "Sidewinder," or even the most outré, but it is certainly credible.

Even "Equinox" has a previous vocal version, but Burns' is arguably more persuasive and interesting as a cover of the John Coltrane original. And do wait for her resolution, which is something. "This Time The Dream's on Me" really swings hard, with a lot of support from bassist Sam Bevan. "Siren Song" and "Out of This World" are both excellent.

The arrangements, mostly by Sam Bevan (perhaps the unsung hero here), are a major part of what makes this recording bounce along; the band is hip, tight, and well placed. For many, Vicki Burns will not be a known commodity, although this is her third recording. She has a great voice, and infectious swing, and a whole lot of chops. And a bright future. By Richard J Salvucci
https://www.allaboutjazz.com/lotus-blossom-days-vicki-burns-vibu-jazz

Personnel: Vicki Burns: voice / vocals; Art Hirahara: piano; Sam Bevan: bass; Billy Drummond: drums; Dayna Stephens: saxophone; Josh Deutsch: trumpet; Masaru Koga: flute; Nick Vayenas: trombone.

Lotus Blossom Days

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Dr. Lonnie Smith - The Art Of Organizing

Styles: Hammond b-3 organ
Year: 2009
File: MP3@320K/s
Time: 64:31
Size: 148,0 MB
Art: Front

( 8:42)  1. When We Kissed At Night
( 7:20)  2. My Little Suede Shoes
( 9:20)  3. This Ain't Right
( 5:14)  4. Polka Dots And Moonbeams
( 7:44)  5. Softly As In A Morning Sunrise
( 8:21)  6. Turning Point
(11:11)  7. Night Song
( 6:36)  8. Too Damn Hot

Brace yourselves for The Art of Organizing, the very first appearance on Criss Cross by organ master Dr. Lonnie Smith. Guitarist Peter Bernstein and Billy Drummond, one of the more prolific and sensitive drummers of our time, completes the lineup. From his early days with George Benson and Lou Donaldson to the present day, Dr. Lonnie Smith has always been a driving force in jazz. The Art of Organizing, featuring Smith and trio on standards and a batch of strong new originals, is another contribution that will remain timeless. ~ Editorial Reviews  http://www.amazon.com/The-Organizing-Lonnie-Smith-Trio/dp/B002G5FLSS

Personnel: Dr. Lonnie Smith (Hammond b-3 organ); Peter Bernstein (guitar); Billy Drummond (drums).

The Art Of Organizing

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Cyrus Chestnut, Renee Rosnes, George Mraz, Billy Drummond - Tribute To Duke Ellington

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:04
Size: 153,7 MB
Art: Front

(4:16)  1. C Jam Blues
(4:39)  2. Satin Doll
(7:49)  3. In A Sentimental Mood
(7:56)  4. Take the a Train
(7:57)  5. Angelica
(7:16)  6. Mood Indigo
(4:26)  7. Don't Get Around Much Anymore
(4:55)  8. The Star Crossed Lovers
(4:44)  9. Come Sunday
(6:58) 10. Caravan
(6:04) 11. Lotus blossom

An adept jazz pianist, Cyrus Chestnut balances his lithe technical skill with a robust, soulful style that speaks to his deep gospel roots and love of swinging hard bop. A native of Baltimore, Maryland, Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. By the age of nine, he was enrolled in the prep program at the Peabody Institute. He graduated from Berklee with a degree in jazz composition and arranging. Chestnut took his time, working with a number of top-notch musicians (Jon Hendricks, Betty Carter, Terence Blanchard, and Donald Harrison) before finally recording his first solo CD at the age of 30. His initial dates as a leader were recorded for the Japanese label Alfa (reissued on Evidence), and he became an Atlantic artist in 1994. 

A self-titled LP followed in 1998, with Tribute to Duke Ellington following a year later. In subsequent years, Chestnut remained busy, releasing Charlie Brown Christmas in 2000, the all-original Soul Food in 2001, You Are My Sunshine in 2003, Genuine Chestnut in 2006, and Cyrus Plays Elvis in 2007. The following year, he released Black Nile on Japan's M&I label. In 2013, he delivered the hard bop-infused Soul Brother Cool, which featured trumpeter Freddie Hendrix. The following year, he showcased his trio on the concert album Midnight Melodies, recorded live at Smoke in New York City. In 2015, Chestnut released his debut album for HighNote, the trio effort A Million Colors in Your Mind, which featured backing from bassist David Williams and drummer Victor Lewis. https://itunes.apple.com/br/artist/cyrus-chestnut/id157212#fullText

Personnel:  Cyrus Chestnut - Piano (Tracks 2, 4, 6, 7 and 9);  Renee Rosnes - Piano (Tracks 3, 5, 8, 10 and 11);  George Mraz – Bass;  Billy Drummond - Drums

Tribute To Duke Ellington

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Mike Richmond Cello Quartet - The Pendulum

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 65:57
Size: 152,3 MB
Art: Front

(6:43)  1. The Pendulum At Falcon's Lair
(6:21)  2. Cello Again
(8:59)  3. Two Litle Pearls
(6:18)  4. Laverne Walk
(7:28)  5. Why Not? That's What!
(7:00)  6. Tricotism
(7:32)  7. Tamalpais Love Song To The Winds
(6:39)  8. My Little Cello
(8:53)  9. Oscalypso

Not a record with four cellos in the lead but a set that features bassist Mike Richmond picking up the instrument in a glittering tribute to the genius of Oscar Pettiford! The set features all Pettiford compositions, played by a swinging group that features Peter Zak on piano, Jay Anderson on bass, and Billy Drummond on drums players who provide a warm core while Richmond mostly plucks the cello, and uses the instrument in wonderfully melodic ways that mixture of deep groove and lyrical swing that Pettiford brought to his most unique recordings of the 50s. Zak's piano has a harder bite, which makes for a nice contrast in tones and titles include "Why Not That's What", "Laverne Walk", "Cello Again", "The Pendulum At Falcon's Lair", "My Little Cello", "Tamalpais Love Song To The Winds", and "Oscalypso".  

© 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/837788/Mike-Richmond-Cello-Quartet:Pendulum

Personnel:  Mike Richmond (cello); Peter Zak (piano); Jay Anderson (bass); Billy Drummond (drums).

The Pendulum

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Billy Drummond & Freedom of Ideas - Valse Sinistre

Styles: Jazz, Bop
File: MP3@320K/s
Time: 44:31
Size: 102,4 MB
Art: Front

(4:56) 1. Little Melonae
(7:00) 2. Never Ends
(6:13) 3. Valse Sinistre
(3:29) 4. Laura
(5:18) 5. Frankenstein
(3:15) 6. Changes For Trane & Monk
(5:50) 7. Clara's Room
(4:22) 8. Reconfirmed
(4:05) 9. Lawra

Valse Sinistre is so good that it almost feels irresponsible. Drummer Billy Drummond and his postbop quartet (saxophonist Dayna Stephens, pianist Micah Thomas, and bassist Dezron Douglas) are not only firing on all cylinders, but venturing into such daredevilry that you want to shout, “Are you guys insured?”

This is only slight hyperbole. Starting on Jackie McLean’s “Little Melonae,” the band is already dancing on a tightrope with their warp-speed run through the complex composition. But then, Thomas charges out with an astonishing solo that goes everywhere at once—Drummond demonstrates his command simply by keeping pace. That’s just the opening salvo. The title track showcases another fine Thomas solo, but this one is overshadowed by a dark improvisation from Stephens’ soprano. It’s an instrument we often think of as letting a bit of light into the proceedings; not this time.By By Michael J. West https://jazztimes.com/reviews/albums/billy-drummond-freedom-of-ideas-valse-sinistre-cellar/

Personnel: Billy Drummond – drums; Dezron Douglas – bass; Micah Thomas – piano; Dayna Stephens – saxophones

Valse Sinistre

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Stephen Riley - My Romance

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 66:28
Size: 152,8 MB
Art: Front

(7:41) 1. Paul's Pal
(9:01) 2. Jitterbug Waltz
(8:06) 3. My Romance
(6:35) 4. My Little Suede Shoes
(5:05) 5. Steeplechase
(5:49) 6. Gentle Rain
(4:23) 7. Fall
(8:30) 8. Shiny Stockings
(5:27) 9. Rain Check
(5:46) 10. Recorda Me

"No matter what group Riley puts together for a record date, he merits top marks every time" Ken Dryden (The New York City Jazz Record) attested on Riley's Hold'em Joe, here saxophonist Riley put together his first-ever organ trio with Brian Charlette, one of the hottest B-3 players today.

The organ trio setting propels Riley's unique sound to a new dimension.

"Riley continues to surprise listeners with his creative settings of familiar jazz."~Ken Dryden on 'Friday The 13th'https://www.propermusic.com/sccd31932-my-romance.html

Personnel: Stephen Riley: tenor saxophone; Brian Charette: B-3 Hamond organ; Billy Drummond: drums

My Romance

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Jim Snidero - Close Up

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:33
Size: 125,1 MB
Art: Front

(6:13)  1. Close Up
(6:42)  2. I Should Care
(8:41)  3. Nippon Blue
(5:30)  4. Windswept
(6:02)  5. Blues for the Moment
(7:34)  6. Reality
(7:22)  7. Prisoner of Love
(6:26)  8. Smash

Prose laureate Whitney Balliett coined the phrase "the sound of surprise" as an encomium for jazz. Like most of his peers, saxophonist Jim Snidero shoots regularly for this ideal. His new Milestone effort flirts with the target but doesn't quite hit the bull's-eye. An accessible program of original tunes shored up by two standards, each cogently arranged to accentuate his talents and those of his rhythm section, makes for a winsome template. The guest tenor of former label mate Eric Alexander further stacks the deck in Snidero's favor. Despite these valuable trappings, the session still registers simply as a praiseworthy post bop outing rather than one for the ages. The album's title track establishes a promising opening mood, building from a theme that's funky in the old school Horace Silverish sense of the word. Both horns solo, with Alexander's robust Trane-styled inflections garnering the slight edge. Hazeltine's jaunty ivories round out the pecking order, ending with a rhapsodic flourish atop a syncopated support of Drummond's tight traps play. Snidero handles both balladic standards without Alexander's aid, starting with a frisky up-tempo reading of "I Should Care" that highlights his lustrous tone and mercurial phrasing. "Prisoner of Love" rolls out with a similar attention to nuance and mood, bolstered by the sensitive touch of Drummond's gossamer brushes. Alexander earns first crack at "Nippon Soul" after a slippery unison head, spooling out another note-packed Coltrane-indebted solo that also carries rich tonal pigments of Shorter. Snidero answers with an equally piquant urgency, sketching sweeping pirouettes above the ripe bass throb of Gill, who then turns in a striking solo of his own.  

A trifecta of Snidero originals comes next, with the crisp Latin-flavored bounce of "Windswept" leading the pack. "Blues for the Moment" trades on the immediacy reflected in its title with another tightly scripted theme that leads into ebullient extemporizations for each of the horns. The succinctly-titled "Smash" closes the date on an appropriately energetic note as the five men pay homage to the questing hard bop sound of the Sixties. In less symbolic terms it's also a reminder of a painful injury Snidero sustained while remodeling his home. A briskly twisting tandem head bleeds directly into another string of galloping solo statements. Hazeltine and the rest of the rhythm section tail the horns closely the entire way and sustain a streamline momentum. Snidero makes mention in the notes of a desire to explore more abstract musical directions in the future. Considering the level of acumen he brings to so-called mainstream fare, it's a potential course that would certainly suit him. ~ Derek Taylor https://www.allaboutjazz.com/close-up-jim-snidero-review-by-derek-taylor.php

Personnel:  Jim Snidero- alto saxophone;  David Hazeltine- piano;  Paul Gill- bass;Billy Drummond- drums;  Eric Alexander- tenor saxophone.

Close Up

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Scott Wendholdt - Jam Session Vol.5

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 62:30
Size: 157,0 MB
Art: Front

( 6:27)  1. Dig
( 8:22)  2. Up jumped spring
( 5:51)  3. Body and Soul
( 8:02)  4. Strikezone
( 4:47)  5. If you could see me now
( 5:57)  6. After Thought
( 4:31)  7. The Duke Ellington Sound Of Love
(10:01)  8. World Wide Web
( 8:27)  9. Onion Straw

The Danish Steeplechase imprint has long recognized the fertile dynamics of jam sessions, fronting the resources for many in its roster of players to convene in just such supportive surroundings. Volumes 5 and 6 in the continuing series offer up vernal combinations and surprises while upholding producer Nils Winther’s credo of “positively no rehearsal.” Volume 5 follows the template of past entries, at least in theory, focusing on a single frontline instrument, in this particular case the trumpet. Earlier volumes, incidentally, have focused on saxophone and guitar. Fortunately Wendholt, Gisbert and Ballou are markedly different stylists on their respective brass and the resulting diversity dispels any sense of homogeneity from the bandstand. The first two players have close ties to the mainstream tributaries of bop and hard bop, while Ballou straddles these strains and also shows a strong affinity for freer forms of improvisation. Laverne heads up the rhythm section with sensitivity and poise, while Anderson and Drummond fulfill their support roles in equally amicable fashion. 

Miles Davis’ “Dig” delivers perfect fodder for the three front men to flex their embouchres and each solos brightly in loose succession. Gisbert’s tart tone contrasts with Ballou’s more rounded note runs, but it’s Wendholt who proves the smoothest of the three, peeling off buttery streams that dance and cavort against the bustling rhythm before a string of expressive exchanges takes the tune out. Freddie Hubbard’s statuesque standard “Up Jumped Spring” serves as well-chosen follow-up, as Ballou and Wendholdt don their mellow ballad hats and blow soothingly through the tune’s demulcent changes. Laverne’s elegant but understated comping acts as accommodating foil. All three also enjoy a tune apiece, individually. Wendholt steps up first, trying his hand at a romance-laden rundown of “Body and Soul,” and the rhythm section shines right alongside him, fitting his solo improvisations like hand in glove. For Gisbert it’s a lovely reading of the Tad Dameron chestnut “If You Could See Me Now.” Reclining on the plush changes, the trumpeter eases back into a solo of measured restraint and makes full use of his instrument’s satin tone. Ballou proves the most adventurous of the three, tackling Mingus’ “The Duke Ellington Sound of Love” and capturing the spirit of both departed composers in the gilded bell of his horn. A pair of Laverne-penned originals provides clever interludes while still fitting seamlessly into the overall programmatic scheme. On “Afterthought” Ballou’s pitch-perfect appraisal of the theme paves a path for the composer’s own brief but beguiling variation and a stately unison close. The somewhat regrettably titled “World Wide Web” belies the triviality of its name through another circle of outstanding brass statements and even a rare solo turn from Anderson. Everything comes together on the closer, Ballou’s “Onion Straw,” a modal tune built on dark structures reminiscent of Andrew Hill’s Sixties work for Blue Note, opening plenty of space for blowing. Trumpet fans take note: this disc is chock full of the sort of spot on playing that the instrument was designed and built for. ~ Derek Taylor https://www.allaboutjazz.com/jam-session-volume-5-various-steeplechase-records-review-by-derek-taylor.php

Personnel: Scott Wendholt- trumpet; Dave Ballou- trumpet; Greg Gisbert- trumpet; Andy Laverne- piano; Jay Anderson- bass; Billy Drummond- drums.

Jam Session  Vol.5

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George Colligan - The Newcomer

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 67:05
Size: 154,5 MB
Art: Front

( 7:38)  1. The Big Push
( 8:17)  2. Submersion
( 8:56)  3. The Newcomer
(11:30)  4. #10
( 9:28)  5. So in Love
( 8:46)  6. Empty Canvas
( 7:30)  7. Ricardo's Tune
( 4:57)  8. Evidence

A veteran of groups led by saxophonist Gary Bartz and vocalists Vanessa Rubin and Cassandra Wilson, pianist George Colligan's second recording for Steeplechase is also his first leading a quintet. Colligan is joined by trumpeter Ingrid Jensen, tenor saxophonist Mark Turner, bassist Dwayne Burno, and drummer Billy Drummond as they perform an unusual program of five originals, three by Colligan, one standard, an up-tempo rendition of Cole Porter's "So in Love," and two jazz classics. Originally a trumpeter, the Herbie Hancock-influenced pianist proves himself quite proficient on his chosen instrument, contributing an excellent solo on Wayne Shorter's overlooked "The Big Push." 

Other favorites include the complex "Empty Canvas," where each soloist gets a different meter to play over; "Ricardo's Tune," a Latin-influenced melody that swings on the bridge and during the solos' and one of the fastest versions of Thelonius Monk's "Evidence" that one will ever hear. A fine musical statement from an emerging talent. 

~ Greg Turner https://www.allmusic.com/album/newcomer-mw0000413639

Personnel:   George Colligan - piano; Ingrid Jensen - trumpet, flugelhorn; Mark Turner - tenor saxophone; Dwayne Burno - bass; Billy Drummond - drums

The Newcomer

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Gary Smulyan - Hidden Treasures

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:48
Size: 137,4 MB
Art: Front

(4:30)  1. Stretch In F
(7:08)  2. Wail Bait
(5:30)  3. Bud's Idea
(3:09)  4. A Woman Always Understands
(5:48)  5. House Of Chan
(6:24)  6. Omicron
(6:19)  7. A Rose For Wray
(6:46)  8. Off The Cuff
(5:43)  9. Jahbero
(8:27) 10. Fifth House

Hidden Treasures smokes from the very first cut. Joined here by bassist Christian McBride and drummer Billy Drummond, Gary Smulyan makes a major statement with every new release. He eschewed smaltz for hard swing on Gary Smulyan with Strings. On Blues Suite he played fiery baritone sax with a brass section. He led a straight-ahead, take-no-prisoners quintet on The Real Deal.  On Hidden Treasures his pared-down ensemble produces such a plethora of rhythmic and harmonic colors that a piano isn't missed. The gritty might of Smulyan's blowing is like a blast of coffee chased by McBride's brown sugar arco and pizzicato flights and Drummond's smooth chocolate milk accompaniment, stirring a fine blend on sticks and brushes throughout.  Their groove on Quincy Jones' "Wail Bait" strolls the tempo a notch lower than the high-velocity opener. McBride shares the melody line with Smulyan on "Bud's Idea" with striking ease. "A Woman Always Understands" is a brief romantic reverie; Phil Woods' "House of Chan" is a showcase yet again for McBride's mastery, finding Smulyan spurred by breaks and Drummond's bebop bombs.

On Donald Byrd's "Omicron," the three players trade inspired eights, fours and twos. The bossa "A Rose for Wray" by Harold Vick has Smulyan in the mood with a sly embedded quote of "I Love You." Judicious use of space is the place on Jim McNeely's unorthodox "Off the Cuff." Tadd Dameron's "Jahbero," based on the "All the Things You Are" changes, takes the trio right back into the pocket. John Coltrane's "Fifth House" rounds out a select set of tunes that are hidden treasures by virtue of their relative obscurity. But they've found a home on this top-flight recording by Smulyan. You may find that each song has an air of familiarity, since each is actually based on a better-known composition. ~ Greg Thomas  http://www.allaboutjazz.com/hidden-treasures-gary-smulyan-reservoir-music-review-by-greg-thomas.php
 

Personnel: Gary Smulyan: baritone saxophone; Christian McBride: bass; Billy Drummond: drums.

Hidden Treasures

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Joe Locke, David Hazeltine Quartet - Mutual Admiration Society 2

Styles: Vibes Jazz
Year: 2009
File: MP3@320K/s
Time: 54:30
Size: 125,8 MB
Art: Front

(6:42)  1. Pharoah Joy
(8:28)  2. The Peacocks
(5:56)  3. One for Reedy Ree
(8:39)  4. Twelve
(6:02)  5. What's Not To Love?
(6:51)  6. Convocation
(5:35)  7. If It's Magic
(6:14)  8. Blues for Buddy

In the last year of the twentieth century, Sharp Nine Records released Mutual Admiration Society, a quartet date co-led by vibraphonist Joe Locke and pianist David Hazeltine, which also included bassist Essiet Essiet and drummer Billy Drummond. A brainchild of Sharp Nine honcho Marc Edelman, the collaboration between these two longtime friends was based on a desire to explore each other's strengths. Hazeltine was keen on interacting with the blues-oriented, earthy side of Locke's playing, as well as experiencing the vibraphonist's harmonically adventurous compositions. Locke welcomed the opportunity to interpret Hazeltine's arrangements and play off of the pianist's swinging, individualistic style. A few of the record's highlights included a deliberately paced, dreamlike version of the 1960s pop hit, "I Say a Little Prayer," Hazeltine's "Can We Talk?," which moved between funk and straightforward swing, and Locke's intriguing reharmonization of the standard "Spring Will Be a Little Late This Year." Locke and Hazeltine played a six night engagement at New York City's Sweet Basil in support of the record and then went their separate ways. Early this year, Edelman brought the quartet back into the studio and once again the co-leaders contribute the bulk of the material. The ringing chords which underlie the melody of Locke's "Pharoah Joy" resemble a revved up version of the foundation of Pharoah Sanders' "The Creator Has A Master Plan." 

Dedicated to the late drummer Tony Reedus, Hazeltine's "One For Reedy Ree" entails a throbbing, repetitive introduction followed by an angular melody with a few twists and turns. Based on Cole Porter's "Everything I Love," Locke's "What's Not To Love?" begins with a haunting figure, voiced at the low end of vibes and piano, that reappears in the midst of this bright, optimistic tune. Employing a Latin rhythm and pockets of straight-ahead swing, Hazeltine's "Blues For Buddy" is an up-tempo romp that breathlessly jams a handful of melodies into twenty-four bars. It's hard to imagine a bassist and drummer better suited to complement Locke and Hazeltine. Essiet and Drummond have so much to contribute, and the bulk of what they play doesn't sound overly assertive or particularly busy. They demonstrate many ways to swing, often subtly tightening or loosening the pressure behind the soloist during the course of a single chorus. Locke and Hazeltine are expansive, stimulating improvisers who stay in touch with everything going on around them. In the final analysis, however, it's the group's sound that makes the record special. Even on up-tempo tracks like "Convocation" and "Blues For Buddy," there's warmth and a centered vibe to the music. It's a pleasure to hear how they support one another (Hazeltine's comping behind Locke, for example, is marvelous), and always find common ground regardless of the feel or tempo of the material. Mutual Admiration Society 2 is a significant contribution to the jazz mainstream. Here's hoping another ten years don't have to go by for the next installment. ~ David A.Orthmann https://www.allaboutjazz.com/mutual-admiration-society-2-joe-locke-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Joe Locke: vibes; David Hazeltine: piano; Essiet Essiet: bass; Billy Drummond: drums.

Mutual Admiration Society 2

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Jim Snidero - Strings

Styles: Saxophone And Flute Jazz
Year: 2003
File: MP3@320K/s
Time: 55:49
Size: 127,8 MB
Art: Front

(4:59)  1. Slipping Away
(7:04)  2. Dawn
(7:39)  3. On The Bank
(5:12)  4. Torrent
(7:15)  5. Theme For Ernie
(9:33)  6. Forever Gone
(7:01)  7. Ventura
(7:04)  8. It's The Talk Of The Town

By staying in touch with his roots as a hard blowing alto saxophonist and leader of razor-sharp small bands, Jim Snidero has successfully married a ten-piece string section and a conventional jazz quartet. His arrangements of six original compositions (including the three-part “River Suite”) and two standards entail a constant shifting between the relative freedom of improvisation, and the tighter organization made necessary by the larger ensemble. The recording’s primary soloist, Snidero consistently radiates excitement and a beboper’s willingness to take risks on ballads (“Theme For Ernie,” “Forever Gone”) and upbeat material (“Slipping Away,” “Ventura”). These liberties are enhanced by the fact that he never allows the strings to become too dense or overly prominent yet, his writing for the section is often full, lush, and beautiful. During “It’s The Talk Of The Town,” for example, they lay out for an entire chorus, then return and serve as a muted foil for the leader’s flight. Another important factor in the recording’s success is an excellent, responsive rhythm section. Pianist Renee Rosnes (who contributes several fine solos), bassist Paul Gill, and drummer Billy Drummond are just right for Snidero’s elastic group conception, mixing a flowing, unforced sense of motion with more concentrated swing. Drummond, in particular, is brilliant. At times his brushes on the snare or a stick to the ride cymbal are barely audible; in other instances, like on “Torrent,” his persistent accents to the drums take charge and confront the ensemble and soloists. ~ David A.Orthmann https://www.allaboutjazz.com/strings-jim-snidero-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Jim Snidero (arranger, alto saxophone, flute); Mark Feldman, Joyce Hammann, Cenovia Cummings, Paul Woodiel, Sue Lorensten (violin); Ralph Farris, Kenji Bunch (viola); Thomas Ulrich, Mary Wooten (cello); Renee Rosnes (piano); Paul Gill (bass); Billy Drummond (drums).

Strings

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Stanley Cowell - Reminiscent (Plus a Xmas Suite)

Styles: Piano Jazz, Christmas
Year: 2015
File: MP3@320K/s
Time: 64:59
Size: 149,9 MB
Art: Front

( 4:10) 1. Intermezzo
( 6:05) 2. Re-Confirmed
( 7:54) 3. A Child Is Born
(10:02) 4. Medley: A Xmas Suite
( 6:44) 5. Peace
( 9:06) 6. Midnight Diversion
( 3:33) 7. Hear with Me
( 6:48) 8. Time
( 5:11) 9. Reminiscent
( 5:21) 10. Sweet Song

'Reminiscent' includes a featured program of Christmas melodies ("A Xmas Suite") as well as Stanley Cowell originals and compositions by Brahms, Thad Jones and Richie Powell. His trio includes the acclaimed bassist Jay Anderson and drummer Billy Drummond. Since his retirement in 2013 from the professorship at the prestigious Rutgers University, where he led its jazz department, pianist/composer Stanley Cowell has been increasingly active on the scene both in concerts and recordings.

In a glittering career Cowell has recorded for labels such as Strata-East - the cult jazz label he started with Charles Tolliver, ECM, Galaxy, and as a sideman on Blue Note, Atlantic, Muse, Impulse! and many others. He has recorded with an array of jazz stars, including Bobby Hutcherson, Stan Getz, Johnny Griffin, Art Pepper, Max Roach, Charles Tolliver and Clifford Jordan. "It's a great pleasure to hear Stanley Cowell's It's Time: a finely crafted collection of mostly originals that is at once sophisticated, both aggressive and pensive, and simply fascinating to listen to."
~ Greg Simmons, All About Jazz(on 'It's Time') https://www.amazon.es/Reminiscent-Plus-Suite-Stanley-COWELL/dp/B011Q9HDCG

Personnel: Stanley Cowell (piano, thumb piano), Jay Anderson (bass), Billy Drummond (drums)

Reminiscent (Plus a Xmas Suite)

R.I.P.
Born: 05-05-1941
Died: 17-12-2020

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Stephen Riley - Friday the 13th

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 68:50
Size: 158,9 MB
Art: Front

( 9:25)  1. Love For Sale
(10:49)  2. Four
( 8:58)  3. Freedom Jazz Dance
( 5:11)  4. Friday The 13th
( 6:38)  5. Hoe Down
( 7:20)  6. Round About Midnight
( 8:53)  7. Our Man Higgins
( 6:13)  8. Willisee
( 5:18)  9. Gingerbread Boy

Several subjective connotations are gleanable from the title of saxophonist Stephen Riley’s latest album as a leader for Steeplechase. First, there’s the numerical reference reflecting his thirteenth session as a leader for the Danish label. More transparently, Friday the 13th is a Thelonious Monk composition, at once part of the program and reflective of Riley’s open-ended approach to the pieces selected for the project in sum. It’s also a sardonic (if probably unintentional) metaphor for the past four luckless years of American political life. Riley’s brand of jazz has always been the opposite of that disastrously fractious debacle, and instead ripe with amicable collaboration, inquisitive exploration, and equity-minded improvisation. Only eighteen-months have elapsed since Riley’s band hit the studio, but the gestation period for the date may still feel painfully protracted for anyone familiar with the players. Riley and cornetist Kirk Knuffke have been circling around the promise of a piano-free quartet encounter for years. The tenorist’s early recordings emphasized bass and drums accompaniment and his last added the trumpet of Joe Magnarelli to an already potent crew. Knuffke had something of unrelated dry run eight-years ago in the company of elder Ted Brown, a tenorist whose sound has much in common with Riley by way of Warne Marsh. The two played together on a steady string of projects under the leadership of guitarist Pierre Dørge, and vocalists Allegra Levy and Steve Herring before finally landing in the studio in undiluted association.

The collective strength of the program’s nine pieces makes the delay behind this occasion almost instantly forgivable. Tonally and harmonically, Riley and Knuffke are like siblings separated at birth. Each ekes exacting, breath-suffused phrasing from his instrument that is saturated in striated textures and billowy warmth. The opening tandem salvos on “Love for Sale” are the first of many examples of just how well they mesh in the complementary investigation of a melodic line. “Four” is even more intentionally diffuse on the surface as a loose string of diaphanous solos starting with a richly nuanced Riley soliloquy reveals an umbrella logic in execution grounded by bassist Jay Anderson’s shading and shadow commentary. Knuffke absorbs it all patiently before taking talkative wing himself on the tail end. Eddie Harris’ “Freedom Jazz Dance,” “Oliver Nelson’s “Hoe Down,” and Dewey Redman’s “Willisee” almost sound like classic Ornette Coleman performances in terms of the amount of melodic equilibrium achieved between the players. Drummer Billy Drummond’s propulsive snare rolls kick off the former, supporting a staggered statement of the theme by the horns that’s plump with playful swagger and deceptively slippery in terms of rhythmic center. The Nelson tune is bright and bouncy, too, with a barn dance vamp giving way to another Riley reverie built from cotton candy phrases that glom together into a confectionary aural gestalt. Knuffke and Riley are a directly collaborative pairing now and their partnership politely demands many more dates like this one. ~ Derek Taylor https://dustedmagazine.tumblr.com/post/616199901347545088/stephen-riley-friday-the-13th-steeplechase

Personnel: Tenor Saxophone – Stephen Riley; Trumpet – Kirk Knuffke;  Bass – Jay Anderson; Drums – Billy Drummond

Friday the 13th

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Mike Richmond - La Vie En Rose

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 67:11
Size: 154,5 MB
Art: Front

(9:31)  1. I'm Getting Sentimental over You
(9:53)  2. Stranger in Paradise
(8:30)  3. Come Sunday
(6:33)  4. How Deep Is the Ocean
(7:37)  5. Zingaro
(7:52)  6. Love Is A-Many Splendored Things
(9:00)  7. Duke Ellington's Sound of Love
(8:13)  8. La Vie En Rose

Rich, round tones from Mike Richmond one of the few improvising cellists we know in jazz a musician who can pluck the instrument with all the depth of a bassist, and whose work here takes us back to classics in the tiny genre by Ron Carter, Oscar Pettiford, and Eldee Young! The setting is lean, and the cello lines are clean really inflected with a mix of melodic and rhythmic vibes the latter of which are underscored by deeper conventional bass work by Jay Anderson, in a quartet with Peter Zak on piano and Billy Drummond on drums! The lineup have a great way of swinging gently, as Richmond moves between plucking and bowing on titles that include "Stranger In Paradise", "Come Sunday", "La Vie En Rose", "Duke Ellington's Sound Of Love", and "Zingaro".  © 1996-2020, Dusty Groove, Inc. https://www.dustygroove.com/item/934085/Mike-Richmond:La-Vie-En-Rose

Personnel:  Mike Richmond - cello;  Peter Zak - piano;  Jay Anderson - bass;  Billy Drummond - drums

La Vie En Rose

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The Marty Ehrlich Quartet - Song

Styles: Saxophone, Clarinet Jazz
Year: 2001
File: MP3@320K/s
Time: 50:26
Size: 116,2 MB
Art: Front

( 5:04)  1. Waltz
( 9:55)  2. The Price of the Ticket
( 5:29)  3. Day of the Dark Bright Light
( 8:20)  4. Blue Boye's Blues
( 6:00)  5. I Pity the Poor Immigrant
(10:20)  6. Fauve
( 5:16)  7. The Falling Rains of Life

Reedsman Marty Ehrlich enlists pianist Uri Caine, bassist Michael Formanek, and drummer Billy Drummond for this lyrical, swinging, accessible set. After opening with Robin Holcomb’s melancholy "Waltz" (a feature for Ehrlich’s brilliant bass clarinet), the quartet embarks on a trilogy of Ehrlich-penned pieces. "The Price of the Ticket," inspired by James Baldwin, begins with a beautifully orchestrated rubato section before breaking into a burning swing tempo, laying a foundation for incisive solos by Ehrlich (on alto), Caine, and Drummond. "Day of the Dark Bright Light" opens with duo ruminations from Caine and Formanek and evolves into a slow and straightforward waltz. And "Blue Boye’s Blues," dedicated to the late Julius Hemphill, is a bout of free jazz featuring special guest Ray Anderson on trombone. Chaotic sounds give way to an unaccompanied trombone passage, then an out-of-left-field, Motown-like progression that carries the piece to the end. Ehrlich then leads the band through a gospel-tinged reading of Bob Dylan’s "I Pity the Poor Immigrant." The song, from 1968’s John Wesley Harding, contains the immortal line, "who passionately hates his life, and likewise fears his death." Sustaining the penultimate chord with intensity before landing softly on the final, conclusive note, the group gets to the heart of Dylan’s bitterly told tale. Next is a ten-minute-plus original called "Fauve," the album’s high point, with the leader on soprano. The piece moves through an impressionistic rubato into fast, bright swing and eventually back again to rubato. Caine then introduces an unexpected 6/8 section, an inspired detour that ultimately concludes the piece. Wrapping up the session is "The Falling Rains of Life," with Ehrlich back on bass clarinet where he started, delighting in the contours of Jaki Byard’s achingly beautiful melody. Song is marred only by the fact that the piano and bass aren’t nearly present enough on the recording. Otherwise, it’s a major statement by Marty Ehrlich. ~ David Adler https://www.allaboutjazz.com/song-marty-ehrlich-enja-records-review-by-david-adler.php

Personnel:  Alto Saxophone, Soprano Saxophone, Bass Clarinet – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Billy Drummond; Piano – Uri Caine

Song

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Donald Brown - Wurd on the Skreet

Styles: Piano Jazz 
Year: 1995
File: MP3@320K/s
Time: 67:34
Size: 156,1 MB
Art: Front

(6:53)  1. Shadow Chasers
(6:00)  2. Judgement Day
(7:01)  3. Grammy's Bathwater
(7:08)  4. L's Bob
(6:32)  5. Granny's Bathwater
(6:39)  6. Easley Said and Done
(7:11)  7. The Thing about Harold Mabern
(6:14)  8. For the lack of a Better world
(4:39)  9. Pressing the Issue
(9:12) 10. Wurd on the Skreet

One of many fine alumni of Art Blakey's Jazz Messengers to develop into leading bands of his own, Donald Brown has also been very successful as a composer, arranger, and pianist. Since the end of his association with the now defunct Muse, Brown has recorded a series of exciting sessions for the French-owned Space Time, including these 1995 outings. The exciting opener, "Shadow Chasers," is an uptempo romp mixing hard bop, post-bop, and a Latin tinge as well, with terrific solos by trumpeter Bill Mobley, alto saxophonist Manny Boyd, soprano saxophonist Sam Newsome, and the leader. The delicate "Granny's Bathwater" is introduced by Brown with a thoughtful solo that is full of love; Manny Boyd soon joins him with his warm, lyrical flute, with the piece taking on a brisk waltz setting as the full band is added. Brown's "Song for My Mother" showcases Newsome again on soprano in this richly voiced ballad. "Easley Said and Done" suggests a voice of protest initially, though it quickly segues into a brisk hard bop vehicle. "Wurd on the Skreet," dedicated to Brown's brother Ramone, manages to convey funkiness in a sophisticated composition. Mobley contributed the tense but swinging "Judgement Day," in which he switches to flügelhorn. The rhythm section includes bassist Essiet Essiet (known for his great work with Bobby Watson & Horizon), drummer Billy Drummond, and percussionist Daniel Sadownick, all of whom help to provide a firm foundation for the soloists throughout this highly recommended CD. ~ Ken Dryden https://www.allmusic.com/album/wurd-on-the-skreet-mw0000222875

Personnel: Piano, Producer – Donald Brown; Alto Saxophone, Soprano Saxophone, Flute – Manny Boyd; Bass – Essiet Essiet; Drums – Billy Drummond; Tenor Saxophone, Soprano Saxophone – Sam Newsome; Trumpet, Flugelhorn – Bill Mobley

Wurd on the Skreet

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Joe Locke, David Hazeltine Quartet - Mutual Admiration Society

Styles: Vibes And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:48
Size: 137,7 MB
Art: Front

(9:09)  1. K-Man's Crew
(7:41)  2. I Say A Little Prayer
(5:24)  3. Can We Talk?
(9:05)  4. The Haze Factor
(6:46)  5. Tears In Her Heart
(8:12)  6. Spring Will Be A Little Late This Year
(6:48)  7. Diamonds Remain
(6:38)  8. For All We Know

This is a sparkling, deeply grooved session by four seasoned pros whose musical temperaments are perfectly harmonized. While Locke and Hazeltine, both 40, have known each other for more than a decade, Mutual Admiration Society marks their first collaborative effort in a recording studio, one in which the reciprocal esteem is evident from start to finish. Locke and Hazeltine are so harmoniously well matched that one sometimes wonders if they mightn’t be able to read each other’s thoughts. Also on the same wavelength are Essiet and Drummond whose unflagging support is an indispensable part of the album’s success. There’s no doubt, however, about who the leaders are Locke wrote three of the album’s eight selections, Hazeltine two others, and together they take most of the solos. Completing the program are the standards “Spring Will Be a Little Late” and “For All We Know” and the Burt Bacharach/Hal David pop hit, “I Say a Little Prayer” (taken at a slower tempo than we’d ever heard before). On the other hand, “For All We Know,” ordinarily a ballad, is played in an up-tempo Latin groove, which evens the score. Whatever the pace or mood, Locke and Hazeltine are clearly on their game, spinning many an engaging post–bop phrase while sounding nothing at all like that celebrated archetype of piano/vibes quartets, the MJQ. While Locke could perhaps pass for Milt Jackson, Hazeltine’s pianisms are far too warm blooded and percussive ever to be mistaken for the ultra composed John Lewis. After a relatively placid start, the session moves into high gear with Hazeltine’s “Can We Talk?” (I’d have led with that one) and continues apace with Locke’s “Haze Factor” and Hazeltine’s lovely ballad “Tears in Her Heart.” Frank Loesser’s “Spring Will Be a Little Late,” taken for a pleasant medium tempo stroll, is a highlight with tasteful solos by the co–leaders, another by Essiet and the usual superb backing from bass and drums. Locke’s “Diamonds Remain,” dedicated to the late Don Grolnick, is next, and the foursome caps its pleasantly swinging date with “For All We Know.” And for all we know, those who hear it may wish to add their names to the Locke/Hazeltine mutual admiration society. ~ Jack Bowers https://www.allaboutjazz.com/mutual-admiration-society-joe-locke-sharp-nine-records-review-by-jack-bowers.php

Personnel: Joe Locke, vibes; David Hazeltine, piano; Essiet Essiet, bass; Billy Drummond, drums

Mutual Admiration Society

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Rich Perry Quartet - Left Alone

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 61:28
Size: 141,5 MB
Art: Front

(10:32)  1. Infant Eyes
( 8:15)  2. Tripping
( 7:11)  3. Left Alone
( 5:35)  4. When Will the Blues Leave
( 8:28)  5. Long Ago and Far Away
( 7:32)  6. Bemsha Swing
( 6:58)  7. My One and Only Love
( 6:54)  8. Big Foot

A fine young veteran tenor player, Rich Perry went on the road in 1975 with the Glenn Miller ghost band. In 1976, he moved to New York and joined the Thad Jones/Mel Lewis orchestra. He went on to play with a wide variety of top players including Chet Baker, Machito, Bob Moses, Jack McDuff, Billy Hart, Eddie Gomez, Tom Harrell, the Mel Lewis big band, and Harold Danko. Rich Perry first recorded as a leader in 1993 for SteepleChase. ~ Scott Yanow https://www.allmusic.com/artist/rich-perry-mn0000288248/biography

Personnel: Rich Perry - tenor saxophone; Frank Kimbrough - piano; Jay Anderson - bass; Billy Drummond - drums

Left Alone

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