Bob Stewart - Goin' Home

Styles: Jazz, Post Bop, Tuba
Year: 1989
File: MP3@320K/s
Time: 49:43
Size: 114,2 MB
Art: Front

( 7:04)  1. Subi La Nas Alturas
( 6:14)  2. Art Deco
( 6:00)  3. Bell And Ponce
( 6:55)  4. Tunk
( 5:33)  5. Sugar Finger
( 5:17)  6. Sweet Georgia Brown Sweet
(12:37)  7. Priestess

The second recording by tuba player Bob Stewart's First Line Band is even better than the first. In 1988, Stewart's group also included trumpeter James Zoller, trombonist Steve Turre, guitarist Jerome Harris and either Buddy Williams or Ed Blackwell on drums; trumpeter Earl Gardner and John Clark on French horn have guest spots on this CD. The music ranges from the straightforward swing of Don Cherry's "Art Deco" and a good-humored "Sweet Georgia Brown" to a 12½-minute exploration of Billy Harper's "Priestess" and originals by Stewart, Olu Dara and Kelvyn Bell. Stimulating and often-surprising music that is generally more accessible than one might expect. ~ Scott Yanow https://www.allmusic.com/album/goin-home-mw0000653908

Personnel: Bob Stewart (tuba); James Zoller, Earl Gardner (trumpet); John Clark (French horn); Steve Turre (trombone); Jerome Harris (guitar).Buddy Williams, Ed Blackwell (drums); Frank Colon (percussion).

Goin' Home

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Stephen Scott - Aminah's Dream

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 57:19
Size: 132,5 MB
Art: Front

(6:32)  1. Aminah's Dream
(4:35)  2. Behind The Scenes
(6:38)  3. Young Confucius
(5:51)  4. Positive Images (Mother, Father)
(5:24)  5. The Pit And The Pendulum
(7:09)  6. When God Created Women
(4:48)  7. L'Ill Bro'... Life Goes On
(4:39)  8. You Are Too Beautiful
(4:58)  9. Moontrane
(6:40) 10. The Spur Of The Moment

One of the most promising of the "Young Lions," pianist Stephen Scott has a versatile style that can range from McCoy Tyner to Wynton Kelly without resorting to mere copying. On his second release as a leader, Scott holds his own during six trio performances with bassist Ron Carter and drummer Elvin Jones. The other four selections add four nonsoloing horns playing harmonies behind Scott's piano. With eight of the ten songs being his originals, this is a fine all-around showcase for the talented Stephen Scott. ~ Scott Yanow https://www.allmusic.com/album/aminahs-dream-mw0000618597

Personnel:  Piano, Co-producer – Stephen Scott (5); Alto Saxophone – Justin Robinson (tracks: 1,4,6,9); Bass – Ron Carter; Drums – Elvin Jones; Tenor Saxophone – Don Braden (tracks: 1,4,6,9); Trombone – Jamal Haynes (tracks: 1,4,6,9); Trumpet – Terell Stafford (tracks: 1,4,6,9); Tuba – Bob Stewart (tracks: 1)

Aminah's Dream

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Bill Frisell - Selected Recordings

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 76:37
Size: 177,1 MB
Art: Front

(5:10)  1. Mandeville
(3:02)  2. Introduction
(7:25)  3. India
(4:22)  4. Singsong
(4:35)  5. In Line
(5:47)  6. Resistor
(4:49)  7. Music I Heard
(8:04)  8. Tone
(4:40)  9. Lonesome
(6:29) 10. Alien Prints
(2:28) 11. Hangdog
(4:44) 12. Kind Of Gentle
(5:01) 13. Closer
(9:54) 14. Sub Rosa

Whatever the musical context, guitarist Bill Frisell has always been a team player. From the edgy avant-garde of Naked City to the deeply melodic music of the Ginger Baker Trio and several wide-ranging groups of his own, he's proven repeatedly that he has the versatility and perceptiveness to fit into wildly different surroundings. His ECM work has for the most part been of the quiet, melodic sort. Since he last recorded under his own name for the label in 1987, he's forged onward with a more country/blues orientation on his own recordings. Some critics have slapped the term "Americana" on this new material, but Frisell dismisses the label: "People say this has come into my playing in recent years. I think it's been there all along." Perhaps so. Regardless, this set documents a fertile period during the '80s when Frisell was finding his own voice. In his solo recordings, Frisell prizes space and texture. The solo guitar piece "Introduction" (from the Paul Motian band recording Psalm ) has as much silence as sound. "In Line" (from Frisell's record of the same name) explores extremes of timbre and pitch overlaid on a solid, pulsing acoustic foundation. Then there's his work with saxophonist Joe Lovano and drummer Paul Motian. In trio or quintet settings, these players have a very rare kind of cohesion. Surely Lovano has developed his sound substantially since the '80s this material emphasizes his sure grasp of melody, but it lacks the deftness of tone and angularity of phrasing which he acquired in the '90s. But in some sense, the '80s were golden years for these players. They deliver some of their strongest, most memorable playing on these tunes. Frisell's work with trumpeter Kenny Wheeler (documented here on three tunes from 1984's Rambler ) has a sharper edge, more extreme in tone and color than the rest of the collection. Frisell plays here and there with effects to thicken atmospheric backgrounds and sharpen his crispy improvisations. You can hear the roots of his post-ECM music in the soft blues of "Lonesome" and the stretched, gossamer meanderings of "Alien Prints." Just in case you thought you had Frisell pinned down, he tosses out "Hangdog," a punchy, dissonant fragment from the same record, 1987's Lookout for Hope.  The luminaries: Paul Motian, Joe Lovano, Jan Garbarek, Eberhard Weber, Kenny Wheeler, Joey Baron, Lee Konitz, Dave Holland, Paul Bley, John Surman. (Definitely in the big leagues.) The big surprise: Frisell on banjo on "Hangdog." He turns the instrument inside out and it works. (Note: this disc represents the fifth volume of :rarum, a series of artist-picked compilations from ECM Records. It comes with brief notes by the artists, an extensive biography, and discographical information.) ~ AAJ Staff https://www.allaboutjazz.com/rarum-selected-recordings-of-bill-frisell-bill-frisell-ecm-records-review-by-aaj-staff.php

Personnel: Bill Frisell: guitars, banjo, guitar synth; Joe Lovano: ts; Billy Drewes: as; Ed Schuller: b; Paul Motian: d; Jan Garbarek: ss; Eberhard Weber: b; Michael DiPasqua: d; Kenny Wheeler: tpt, ct; Bob Stewart: tuba; Jerome Harris: bg; Hank Roberts: cello; Kermit Driscoll: bg; Joe Baron: d; Lee Konitz: as; Dave Holland: b; Paul Bley: p; John Surman: ss; Jamie McCarthy: recorder; Roger Heaton: cl; Alexander Balanescu: v; Martin Allen: vb; John White: p; Gavin Bryars: b.

Selected Recordings

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Arthur Blythe Trio - Spirits in the Field

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:51
Size: 134,0 MB
Art: Front

( 6:33)  1. One Mint Julep
( 7:26)  2. Miss Nancy
(10:59)  3. Odessa
( 9:29)  4. Rambler
( 3:24)  5. Spirits in the Field
( 6:37)  6. Lenox Avenue Breakdown
( 7:23)  7. Ah George, We Hardly Knew You
( 5:55)  8. Break Tune #2

On this live club date, recorded at the Bim Huis in Amsterdam, Blythe and his combo (tubaist Bob Stewart and drummer Cecil Brooks III) perform a nice cross section of his most familiar material. Blythe's husky, virile alto sax has never sounded better, and though the recording quality is a little thin, the music comes roaring through the speakers nonetheless. The good-time swinger "One Mint Julep" kicks things off, and is followed by the rambling bopper "Miss Nancy," which is the leader at perhaps his most quintessential. The showstopper is a reworked, energized "Odessa," on which Brooks uses his mallets to fine effect, Stewart blows a minimal but insistent tuba, and Blythe unfurls more of his startling improvisational legerdemain. A quirky, elusive 9/8 rhythm informs the tuba modality of "Rambler," and the title track sports a sneaky melody and a short but free discourse without drums. The trio digs right in on "Lenox Avenue Breakdown," even dispensing with an intro. The slow waltz "Ah George, We Hardly Knew You" (written by Don Pullen for George Adams) and the funky and fat "Break Tune #2" close this satisfying set. In his insightful liner notes, Francis Davis questions Blythe's diminished cachet among critics. That he's moved back home to San Diego from New York City might be an issue, but it doesn't detract from the fact that Blythe's sound and vision remain as fresh and vital as ever. ~ Michael G.Nastos https://www.allmusic.com/album/spirits-in-the-field-mw0000605222

Personnel:  Arthur Blythe – alto saxophone;  Bob Stewart – tuba;  Cecil Brooks III – drums.

Spirits in the Field

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Bob Stewart - Connections: Mind the Gap

Styles: Jazz, Post Bop, Tuba
Year: 2014
File: MP3@320K/s
Time: 63:42
Size: 148,0 MB
Art: Front

(0:56)  1. Red
(5:02)  2. Simone
(1:40)  3. Aqua
(7:18)  4. Bush Baby
(5:16)  5. Fishin' Blues
(2:52)  6. The Poet
(7:49)  7. Odessa
(3:56)  8. Libertango
(2:03)  9. Purple
(3:03) 10. Monk's Mood
(5:39) 11. Nothing to Say
(2:55) 12. Makina
(7:06) 13. Hand by Hand
(7:01) 14. Jump Monk
(1:00) 15. Red 2

Master tuba player and educator Bob Stewart recognizes how fortunate he has been to be affiliated with musical legends and peers who have displayed generosity in allowing him to present his unique conception of tuba playing to receptive audiences. His new recording Connections Mind The Gap is at once a tribute to those artists representing various styles with whom Stewart was able to ply and develop his trade and it is also a forum to suggest and increase the repertoire for aspiring tuba players. Connections Mind The Gap is a varied collection of pieces that range from a five movement piece entitled In Color that Stewart commissioned from young composer Jessie Montgomery to pieces written by or performed by talented musicians the tuba player has played with over his forty year career. Though the compositions span classical, blues and jazz, the common denominator and uniting element is the tuba. Stewart hardly needs an introduction. His career has been one of seeking challenges and passing on knowledge. His tuba has been featured on recordings from the jazz mastery of musicians like Gil Evans, Charles Mingus and Lester Bowie to the rock and blues inflections of Taj Mahal and Elvis Costello. Stewart has also been an active educator for just as long and has recently become a faculty member at the Juilliard School in New York City.

Stewart has been leading his own ensemble First Line Band since 1989. The current iteration of the group includes longtime member/guitarist Jerome Harris and the highly regarded drummer Matt Wilson, both of whose intuitive styles are perfect foils for Stewart s playing. Stewart also includes his son, the fantastic violinist Curtis Stewart, in the ensemble. Keeping with the original brass led formation of the First Line Band, Stewart adds trumpeter Randall Haywood and trombonist Nick Finzer for a number of tracks. In addition to the First Line Band, Stewart introduces the PUBLIQuartet, a string quartet (of which his son is a founding member), which accompanies Stewart on a five-part composition entitled In Color composed by former member, violinist Jessie Montgomery. The piece was commissioned by Stewart and was written with his abilities as the focus: Montgomery and Stewart held multiple listening sessions where she studied Stewart s extended harmonics and other techniques that she would incorporate into her compositions. This makes these tone poems about Stewart as much as they are about Montgomery. On the recording, the classical and jazz materials enable each other. There are aural elements that tie the performances together, most importantly the tuba. There are intentional elemental and spatial gaps, however. Obviously, there are stylistic leaps from jazz to classical to blues but there are also spaces between tracks that signal stylistic departures, thus the title. ~ Editorial Reviews https://www.amazon.com/Connections-Mind-Gap-Bob-Stewart/dp/B00KVF59CI

Personnel:  Tuba – Bob Stewart;  Cello – Amanda Goekin (tracks: 1, 3, 6, 9, 12);  Drums – Matt Wilson;  Guitar – Jerome Harris;  Trombone – Nick Finzer (tracks: 13, 14);  Trumpet – Randall Haywood (tracks: 13, 14); Viola – Nick Revel (tracks: 1, 3, 6, 9, 12);  Violin – Curtis Stewart, Jannina Norpoth (tracks: 1, 3, 6, 9, 12)

Connections: Mind the Gap

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