Chris Potter - Eagle's Point

Styles: Contemporary Jazz
Year: 2024
Time: 40:56
File: MP3 @ 320K/s
Size: 94,2 MB
Art: Front

(5:39) 1. Dream of Home
(7:05) 2. Cloud Message
(7:18) 3. Indigo Ildikó
(7:36) 4. Eagle's Point
(6:15) 5. Aria for Anna
(7:40) 6. Other Plans
(8:28) 7. Málaga Moon
(6:39) 8. Horizon Dance

The question that comes to mind after listening to Eagle's Point is this: why have the four musicians, who have known each other since the 1990s, never recorded together before? For the combination of Chris Potter, Brad Mehldau, John Patitucci and Brian Blade is a real meeting of minds; the stars are in perfect alignment.

Potter's previous release, Got The Keys To The Kingdom (Edition, 2023), was a live set, recorded at New York's Village Vanguard, and consisted entirely of covers. Eagle's Point is a studio recording and all the tunes are originals written for the occasion by Potter.

There is no bling to be heard here, no b.s., just gutsy substance. Across the album, Potter's writing and performance has an emphasis on exuberance but from time-to-time touches on the kind of gentle delicacy associated with pianist Bill Evans or composer Erik Satie; within every track, and indeed within most of the solos, the atmosphere moves between outgoing and intense to introspective and softly spoken (hear opener "Dream Of Home" on the YouTube below).

The quartet, each member listening hard to whoever is center stage, moves through these changes in perfect symmetry, like a small murmuration of starlings wheeling over a landscape. It is all gloriously consonant; the only suggestion of dissonance comes from Potter's broken notes in the final few seconds of the closing "Horizon Dance," a Sonny Rollins-esque romp which promises to break into a straight Saturday night calypso at any moment, but never quite does so.

Like all Potter's albums, Eagle's Point is something which will reward multiple replays, revealing new facets with every spin. By Chris May https://www.allaboutjazz.com/eagles-point-chris-potter-edition-records

Personnel: Chris Potter - Tenor saxophone, soprano saxophone, bass clarinet; Brad Mehldau - Piano; John Patitucci - Double Bass; Brian Blade - Drums

Eagle's Point

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Edward Simon, Scott Colley, Brian Blade - Steel House

Styles: Contemporary Jazz
Year: 2017
Time: 39:01
File: MP3 @ 320K/s
Size: 90,6 MB
Art: Front

(2:51) 1. Glad You`re Here
(7:17) 2. What if
(8:37) 3. Kingpin
(6:00) 4. 87.5% of You
(6:45) 5. Way of No Return
(7:29) 6. Country

There’s something compelling about a combo made up of sidemen, the guys whose job it is to set musical foundations rather than soak up the limelight. It isn’t just the fact that we enjoy seeing the journeymen take center stage. When the rhythm section takes over, and the foundation becomes an end in itself, we’re treated to a whole other side of jazz. That other side of jazz will be on full display when Steel House plays Pletscheeff Auditorium at the Seattle Art Museum on June 7.

Edward Simon, Scott Colley, and Brian Blade, the three men who make up Steel House, have all established themselves as gifted musicians in their own right. Simon, in particular, has experience as a soloist and bandleader. All three, however, are best known for the important work they’ve done backing other musicians. Simon has worked as a pianist with artists such as Bobby Hutcherson and Terence Blanchard. Bassist Scott Colley made a name for himself, playing with luminaries such as Herbie Hancock and Michael Brecker. Brian Blade has an equally impressive resume drumming for, among others, Wayne Shorter.

Their work together, though, isn’t quite like any of the work they’ve done for other artists. Steel House songs (and they seem most aptly described as songs) are melodic and lyrical. Some, like “What If” and “Country” from the band’s eponymous 2017 album, actually have lyrics (in both of those cases sung by the ethereal Genevieve Artadi). But the real root of that lyricism has to do with structure.

Steel House songs are organized around extended riffs musical phrases the sort of thing that might normally serve as the underpinnings of other kinds of jazz. Think about the openings to “Take Five” or “Watermelon Man.” Where a Dave Brubeck or a Herbie Hancock might run through those riffs a couple of times before letting soloists pick them apart and deconstruct them, Steel House transitions smoothly from one phrase to the next. Each one is fully formed, but the real charm has to do with the way they are strung together. It’s as though while exploring one groove, the trio finds its way magically into another. Phrases work as sentences. Sentences become paragraphs. Paragraphs link together to create whole musical essays.

That isn’t to say that those traditional jazz elements aren’t present. The close listener is rewarded with brilliant improvisational solos by all three instrumentalists. It’s just that the phrases themselves tend to shine through. Solos don’t dominate over the background but tend to reinforce the phrases themselves.

The result is a unique opportunity to examine the guts of a jazz tune, the way the rhythm section moves a song along from point to point. Beyond the uniqueness of the approach, the results are imminently listenable. Those musical phrases get into your head. They’re hummable. In the end, listening to Steel House is an exercise in learning, or re-learning, jazz itself. But it’s one of the more palatable learning experiences you’ll ever have.
BY MATTHEW ADKINS Steel House | Earshot Jazz

Personnel: Bass – Scott Colley; Drums – Brian Blade; Piano – Edward Simon; Vocals – Genevieve Artadi (tracks: 2)

Steel House

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Dave Pietro - Standard Wonder: The Music of Stevie Wonder

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 69:17
Size: 158,6 MB
Art: Front

(5:27) 1. Too High
(6:41) 2. All in Love Is Fair
(6:05) 3. Smile Please
(6:30) 4. Go Home
(4:34) 5. You and I (Interlude)
(7:47) 6. The Secret Life of Plants
(6:09) 7. Contusion
(5:22) 8. Happier Than the Morning Sun
(7:10) 9. Visions
(6:26) 10. Another Star
(3:34) 11. Overjoyed
(3:27) 12. Come Back as a Flower

A few of Stevie Wonder's songs have been performed by jazz musicians, but this CD by saxophonist Dave Pietro is one of the first extensive explorations of his work outside of pop. Pietro shifts between soprano, alto, and C-melody saxophones (the latter instrument hasn't been used very much in jazz since the '30s). Pietro's playing is very strong throughout the date, and his arrangements are first-rate, often contrasting sharply with the composer's original approaches.

"Another Star" features Pietro's superb C-melody sax in a modal setting that seems to occasionally hint at Miles Davis' "Nardis." His tasty soprano sax is a highlight of "The Secret Life of Plants," a song that could be overlooked by jazz fans who haven't heard Wonder's original record, because such a title might easily be mistaken for a typical new age release. The lively, Latin-flavored "Smile Please" and the lovely ballad "You and I-Interlude" are also highlights, but the dull electric piano keeps "All in Love Is Fair" (a favorite of pianist Marian McPartland, who has performed it many times) from reaching its full potential.

The strong supporting cast includes keyboardist David Berkman, trumpeter and flugelhornist Scott Wendholt, trombonist Pete McGuinness, guitarist Pete McCann, bassist Scott Colley, and drummer Brian Blade. One can easily imagine many more jazz musicians following Dave Pietro's lead in putting together a Stevie Wonder songbook of their own.By Ken Dryden
https://www.allmusic.com/album/standard-wonder-the-music-of-stevie-wonder-mw0000591513

Personnel: Dave Pietro - Soprano/Alto & C-melody Sax; Scott Wendholt - Trumpet/Flugelhorn; Pete McGuinness - Trombone; Pete McCann - Guitar; David Berkman - Piano/ Organ/ Fender Rhodes; Scott Colley - Bass; Brian Blade - Drums

Standard Wonder: The Music of Stevie Wonder

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Wolfgang Muthspiel/Scott Colley/Brian Blade - Dance of the Elders

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 45:32
Size: 105,4 MB
Art: Front

(10:47) 1. Invocation
( 4:15) 2. Prelude to Bach
( 5:56) 3. Dance of the Elders
( 7:40) 4. Liebeslied
( 4:57) 5. Folksong
( 4:52) 6. Cantus Bradus
( 7:02) 7. Amelia

Dance of the Elders is the third ECM trio album led by Austrian guitarist Wolfgang Muthspiel. It follows on from Angular Blues (2020), which had the same line-up of Scott Colley on double bass and Brian Blade on drums; and Driftwood (2014), on which the bassist was Larry Grenadier.

Of the first of these albums Muthspiel said, ‘I wanted to feature the liquidity and wide horizon of the guitar while also approaching the contrapuntal possibilities of a piano trio.’ Driftwood fully met this brief, Muthspiel’s classical and electric guitar ably supported by two highly sensitive and responsive conversationalists weaving an exquisite sonic filigree. And on the album Angular Blues, Muthspiel widened the horizon with techniques such as using delay to create intricate counterpoints.

But on Dance of the Elders the horizon feels even wider, especially on the first and longest piece, the hypnotic and aptly named Invocation. Electric guitar swells and tinkling bells are followed by a lullaby-like tune that drifts in and out of a hypnagogic soundscape of sparse bass solo, soft mallet rumblings and splashing cymbals, before concluding with a looped riff over which Muthspiel lays a sleepy, blues-tinged solo of heavily treated guitar.

So, broad in sonic palette but also mood, as the second piece attests. Prelude to Bach is played on classical guitar with a Ralph Towner-ish feel, supported by subtle splashes and scattered dabs from Brian Blade, and sawing arco bass from Scott Colley. It becomes vaguely baroque towards the end when bass and drums melt away to leave only solo guitar, but the track’s title is more evocative than descriptive. Muthspiel also plays classical guitar on the titular track Dance of the Elders, a graceful pas de deux between guitar and bass that kicks into an equally lovely pas de trois when the drums join in but perhaps flamenco is a better analogy than ballet, judging by the stop-time interlude of clapping and drums. Folksong has the sort of catchy melody Keith Jarrett might have penned; and Cantus Bradus (classical guitar again) is full of spirited arpeggiating.
https://londonjazznews.com/2023/11/20/wolfgang-muthspiel-dance-of-the-elders/

Featured Artists: Wolfgang Muthspiel - Guitars; Scott Colley - Double Bass; Brian Blade - Drums

Dance of the Elders

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Brian Blade & The Fellowship Band - Kings Highway

Styles: Post-Bop, Straight-Ahead Jazz
Year: 2023
File: MP3@320K/s
Time: 50:12
Size: 116,0 MB
Art: Front

( 4:44) 1. Until We Meet Again
( 5:04) 2. Catalysts
( 5:23) 3. People's Park
(13:00) 4. Kings Highway
( 4:20) 5. Look to the Hills
(15:05) 6. Migration
( 2:33) 7. God Be with You

The Merriam-Webster Dictionary defines fellowship as "community of interest, activity, feeling, or experience," which seems to state well what Brian Blade & The Fellowship Band have been doing, cultivating a certain sound for over 25 years. The community is drummer Brian Blade, pianist Jon Cowherd, saxophonist Melvin Butler, saxophonist and clarinetist Myron Walden, bassist and synthesizer player Christopher Thomas and guitarist Kurt Rosenwinkel. The interest and activity these folks share is playing music, specifically jazz music. Finally, the feeling or experience one gets from the music is one of joy and inspiration. One can only guess at the joy they experience performing together, but the music makes a strong case for it.

Listening to Kings Highway one can feel this fellowship, the solidarity of the musicians, their sense of purpose to achieve a feeling that goes beyond the notes or the technical abilities of the individual players. Not all jazz is like this. Often a particular soloist is forefront, supported by the others driving the leader's vision and solos to express themselves.

The opening track, Blades' "Until We Meet Again," starts with synth and then guitar and piano, bass, some brushes on the drums then the horns, building a repeating melody until the whole ensemble is playing boldly and solemnly together. The next track, "Catalysts," starts off more upbeat with the guitar and then the sax and later the synth taking us on a journey. One destination along the way is the next track, "People's Park," which, as with the previous track, written by pianist Jon Coward, is a quieter place for reflection and contemplation. Back on the highway we go again in the form of the 13-minute title track which has a jazz-rock fusion feel to it until it melts into a cool bass solo that leads into some great playing by the two sax players and finally the pianist expressing himself joyfully. "Kings Highway " is a standout cut and well picked to be the album's title. Now further down the road we "Look To The Hills," which starts out with railroad drumming leading to some more spiritual passages.

Spiritual is a word that comes to mind often when listening to this band. Though this recording feels more fusion inspired at times than previous albums, there is always a return to a sound with a palpable sense of a searching for holiness, for truth, for fellowship, not only amongst the players, but with the listeners as well. The album ends with a spiritual hymn and prayer named "God Be With You," written by William G. Tomer (the only track not written by Blade or Cowherd) and setting a final, beautiful, solemn tone to the record. With this record Brian Blade and The Fellowship Band invite the listener along to join their fellowship on a musical highway of life, and so we should. By Cary Tenenbaum https://www.allaboutjazz.com/kings-highway-brian-blade-and-the-fellowship-band-stoner-hill

Personnel: Brian Blade: drums; Melvin Butler: saxophone; Jon Cowherd: piano; Kurt Rosenwinkel: guitar; Christopher Thomas: bass, acoustic; Myron Walden: saxophone.

Kings Highway

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Billy Childs - The Winds of Change

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 52:34
Size: 120,7 MB
Art: Front

( 6:21) 1. The Great Western Loop
(10:32) 2. The Winds Of Change
( 8:02) 3. The End Of Innocence
( 7:12) 4. Master Of The Game
( 7:33) 5. Crystal Silence
( 6:45) 6. The Black Angel
( 6:05) 7. I Thought I Knew

On 2023's The Winds of Change, Billy Childs embraces a thrilling, deeply sophisticated post-bop sound that evokes his work from the early '70s and '80s with artists like Freddie Hubbard and J.J. Johnson. The Winds of Change marks his third album with the jazz-friendly Mack Avenue label, following 2017's Grammy-winning Rebirth and 2020's Acceptance. As with those records, here Childs leads a small group, this time a veritable all-star ensemble featuring trumpeter Ambrose Akinmusire, bassist Scott Colley, and drummer Brian Blade.

Together,they delve into a mix of originals and covers inspired by Childs' longtime passion for film music, especially the moody West Coast film noir, neo-noir, and hard-boiled soundtracks associated with composers like Jerry Goldsmith, Michel Legrand, and Bernard Herrmann. The opening "The Great Western Loop" (perhaps a reference to Alfred Hitchcock's North by Northwest?) begins with a spiraling piano riff offset by big, chunky, dark bass hits and Akinmusire's climbing trumpet melody. It's a kinetic, harmonically rich composition that wouldn't sound out of place on any of Freddie Hubbard's fusion-influenced albums.

That song along with the shimmering, late-afternoon balladry of the title track and the slow-churning "The End of Innocence" also feel like a song cycle. Part of this is due to the empathetic interplay between Childs and Akinmusire, who both play with a painterly touch, their shadowy harmonies caressing the vast cityscapes and West Coast mountain ranges the songs seem to conjure. Just as evocative are the covers, including an airy take of Chick Corea's 1972 composition "Crystal Silence" where Akinmusire's breathy trumpet veritably traces the glassy surface of Childs' chordal lake.

There's also a roiling, militaristic rendition of Kenny Barron's "The Black Angel," originally featured on the aforementioned Hubbard's 1970 album of the same name, a further affirmation of the deeply personal influences at play on The Winds of Change.By Matt Collar https://www.allmusic.com/album/the-winds-of-change-mw0003900312

The Winds of Change

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Wayne Shorter - Footprints - Live

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 63:31
Size: 146,4 MB
Art: Front

( 5:32) 1. Sanctuary
( 8:28) 2. Masquelero
( 7:59) 3. Valse Triste
( 5:01) 4. Go
( 9:29) 5. Aung San Suu Kyi
( 7:55) 6. Footprints
( 8:28) 7. Atlantis
(10:36) 8. Ju Ju

Could saxophonist Wayne Shorter have known that the songs he wrote and recorded back in the '60s would be fresher than ever over 30 years later? Of course not, but he cranks them out on his new disc Footprints Live! with confident, fresh, Scope-tinged breath. Perhaps the jazz icon didn't realize how timeless his tunes would be, but he knew he'd never lose his cool.

Last year Shorter put together a group of fine musicians pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade a group that resulted in Shorter's first-ever live recording. Give Footprints Live!a spin and get a taste of the juicy, ripe fruit of this acoustic quartet. Fearless leaps toward the next sonic apex keep the players in unconflicting paths to a metaphysical freedom. Blade can feel it and he's not afraid to express it with frequent whoops and "whoas," and percussive outbursts.

But Footprints Live!isn't all jubilance and joy. Shorter gets real solemn sometimes, in that soft, beau-tiful way he lets the notes linger like incense smoke in the sweet air. And the way Perez shimmers around the sax sounds, on moments like the end of "Footprints," is forlorn gorgeousness redefined. The creativity and spontaneous spirit of the group recalls the Miles Davis Quintet that Shorter played with in the late '60s. Polyphonic confluence on songs like "Masquelero" and "JuJu" level into sultry, gaze-inducing rhythms.

These songs are sensual in ways that only the taste buds would know. Shorter and Perez’ interplay is like seltzer clear and effervescent. Patitucci's dynamite bass solos ascend into sheer exuberance. With a naked, flung into the wind way, these musicians express themselves completely, and their unrestrained nature creates constant inspiration. Each moment on Footprints Live! seems new, and the genre known as jazz rejuvenates itself once again. This review first appeared in the June 2002 issue of All About Jazz. By Celeste Sunderland https://www.allaboutjazz.com/footprints-live-wayne-shorter-verve-music-group-review-by-celeste-sunderland

Personnel: Wayne Shorter: tenor and soprano saxophones; Danilo Perez: piano; John Patitucci: bass; Brian Blade: drums

Footprints - Live

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John Patitucci Trio - Live in Italy

Styles: Jazz fusion, Post-bop
Year: 2022
File: MP3@320K/s
Time: 52:04
Size: 120,2 MB
Art: Front

(12:03) 1. Visa (Live)
( 4:07) 2. Out West (Live)
( 8:23) 3. Three Pieces Of Glass (Live)
(14:10) 4. Mali (Live)
( 4:10) 5. Echoes Of Scarlatti: In Memory Of Chick Corea (Live)
( 9:08) 6. Without A Song

Jazz bass icon John Patitucci had a fruitful tour of Italy in July of 2021, and now the rest of the world gets to hear the magic that happened along the way. His new album, Live In Italy, features him alongside saxophonist Chris Potter and drummer Brian Blade, whom he calls the some of the greatest musicians in the history of jazz.

“The chemistry between the three of us is born out of decades of playing together in different ensembles, and also as a trio at times,” Patitucci writes. “The freedom, connection and our shared influences make this trio one of my favorite groups to play in, ever. The venues that we played in throughout Italy, many outdoors, were very inspiring throughout this tour.”

A master of the six-string electric and double bass, Patitucci and his trio explore a variety of musical landscapes on the album. The song list ranges from a classic Charlie Parker blues called “Visa” to new compositions such as “Out West” and “Three Pieces of Glass”.

“‘Three Pieces of Glass’ is a piece inspired by a book that was suggested to me by a pastor friend,” Patitucci shares. “The three pieces of glass in our modern society are the phone, the computer and the television. The effects of these devices, positive and negative, are being felt in real time and are of great consequence in our world.”
https://www.notreble.com/buzz/2022/09/22/john-patitucci-trio-live-in-italy-now-available/

John Patitucci Trio: Live in Italy

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Joshua Redman, Brian Blade, Christian McBride, Brad Mehldau - LongGone

Styles: Saxophone, Piano Jazz, Post Bop

Year: 2022
File: MP3@320K/s
Time: 47:16
Size: 144,6 MB
Art: Front

( 7:21) 1. Long Gone
( 6:21) 2. Disco Ears
( 8:18) 3. Statuesque
( 6:00) 4. Kite Song
( 6:31) 5. Ship to Shore
(12:42) 6. Rejoice

The second album from Joshua Redman's reunited '90s quartet, 2022's LongGone is another warmly relaxed affair showcasing the group's seasoned sophistication. When they first debuted on 1994's Moodswing, they were a cadre of up-and-coming young lions. Almost 30 years later, the lineup of saxophonist Redman, pianist Brad Mehldau, bassist Christian McBride, and drummer Brian Blade is essentially a supergroup of four of the most acclaimed and recognizable jazz musicians of their generation. It's not just that each of them are uber-talented improvisers, which is certainly true. It's that they've grown into four solo artists, primarily for their work as leaders, each with a distinctive and influential style of their own. All of which makes their decision to reunite (as they first did on 2020's RoundAgain) such a delightfully democratic surprise.

As with RoundAgain, there's a sense of jovial familiarity about LongGone, as if the quartet just picked up where they left off with MoodSwing. It's a vibe that's particularly apparent on "Kite Song," a rambling composition with a spindly Paul Desmond-esque melody that nicely evokes the title as Redman and Mehldau tumble as if through clouds, dipping into jaunty swing, folky asides, flourishes of atonal classicism. Also engaging, the opening title track is a tough midtempo swinger in which Redman dances with lithe athleticism over McBride and Blade's fat trampoline groove. We also get "Disco Ears," a wicked modal swinger in the late-'60s hard bop style, while the classical-inflected ballad "Statuesque" moves with spare, stentorian reverence as if the band are playing to a black-and-white slideshow of images from their past. Most of LongGone feels deeply organic, with Redman and his bandmates feeding off each other and working to build something cohesive and bigger than their individual contributions.By Matt Collar https://www.allmusic.com/album/longgone-mw0003772896

Personnel: Joshua Redman (saxophone), Brad Mehldau (piano), Christian McBride (bass), and Brian Blade (drums)

LongGone

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Dave Stryker - As We Are

Styles: Guitar Jazz
File: MP3@320K/s
Time: 55:55
Size: 130,1 MB
Art: Front

(1:10) 1. Overture
(6:13) 2. Lanes (feat. Brian Blade)
(8:58) 3. River Man (feat. Sara Caswell)
(6:28) 4. Hope (feat. John Patitucci)
(5:52) 5. Saudade (feat. Julian Shore)
(7:17) 6. One Thing at a Time (feat. Julian Shore)
(5:45) 7. As We Were (feat. John Patitucci)
(7:17) 8. Dreams Are Real
(6:52) 9. Soul Friend (feat. Sara Caswell)

Pat Metheny has a section of his website entitled "Pat Recommends," where he discusses jazz guitarists whom he believes are "making the best music of their careers" on their recent recordings. Dave Stryker is one of the musicians Metheny mentions, and this is certainly an accurate assessment. Dave Stryker has established himself as one of the foremost guitarists in jazz, and with As We Are, he adds another important contribution to his discography. Stryker has a phenomenal work ethic. He's been playing professionally since the seventies, and has worked with an impressive list of artists, including Jack McDuff, Stanley Turrentine, Eliane Elias, and many others.

He's also had a successful solo career, including his popular Eight Track (2016) series, Blue Soul (2020) with Bob Mintzer and the WDR Big Band, and Baker's Circle (2021), all on Strikezone Records. Along with these accomplishments, he is an Adjunct Professor of Jazz guitar at the Jacobs School of Music at Indiana University, the Mason Gross School of the Arts at Rutgers University, and the John J. Cali School of Music at Montclair State University. He is also actively involved in providing online jazz guitar tutorials. As We Are marks Stryker's 34th album as a leader, and it proves that he is a continuously evolving artist whose music just seems to get better with each release. Here he teams up with bassist John Patitucci, pianist Julian Shore, and drummer Brian Blade. Along with these musicians, Stryker has added a string quartet, featuring Sara Caswell and Monica K. Davis on violin, Benni von Gutzeit on viola, and Marika Hughes on cello.

Although primarily recognized as a guitarist, As We Are highlights Stryker's talents in composition as well. Almost all of the selections included are Stryker originals, and they show a slightly different side of his music. While many of his past recordings feature a groove-oriented small group setting, the instrumentation here relies heavily on string arrangements. Obviously, incorporating strings into jazz is nothing new, but Stryker's approach is somewhat different from many traditional string arrangements. As he explains, "I always wanted to do something where strings would really be integrated into the music, not a coloring or sweetening that comes later." The interaction of the string quartet with the traditional group format helps give the album a slight film soundtrack feel, and the artwork seems to reflect its musical narrative. The cover shows what appears to be a series of windows, drawing the eye from one room to another. Each song seems to tell its own story, but they are all connected through a central thread.

The compositions featured on As We Are show a wide range of jazz influences. From the Brazilian flavors of "Hope" or "Saudade" to "One Thing At A Time," with its 60s classic Herbie Hancock and Wayne Shorter undertones, the album has many effective nuances. Along with these influences, Stryker also includes a beautiful cover of Nick Drake's "River Man." Throughout the album, the level of musicianship is impressive. Each of the players here is in top form. Stryker's guitar technique is excellent as always, and even though the musical style might be a bit different from what some might expect from him, this album is among his finest achievements. As Stryker points out, "it's my dream project," and As We Are is a deeply satisfying album on many levels. This is definitely one of the most thought-provoking and beautifully-crafted albums to come along in recent times.~KYLE SIMPLER https://www.allaboutjazz.com/as-we-are-dave-stryker-strikezone-records

Personnel: Dave Stryker: guitar; John Patitucci: bass, acoustic; Julian Shore: piano; Brian Blade: drums; Sara Caswell: violin; Monica K. Davis: violin; Benni von Gutzeit: viola; Marika Hughes: cello.

As We Are

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David Binney And Edward Simon - Oceanos

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 56:57
Size: 130,7 MB
Art: Front

(7:30)  1. We Dream Oceans
(9:13)  2. Impossible Question
(9:57)  3. Amnesia
(7:33)  4. El Parrandero
(5:11)  5. Govinda
(6:23)  6. Twenty Four Miles To Go
(3:37)  7. Impossible Question Reprise
(7:29)  8. Home

Reconvening the same core quartet as on Afinidad (Red, 2001), altoist David Binney and pianist Edward Simon demonstrate how a collaborative effort can bear the distinct imprint of each musician while, at the same time, possessing its own indelible stamp. Binney and Simon have emerged, over the past decade, as leaders in an evolving musical context informed by broader cultural concerns, often complex harmonic and rhythmic foundations, and a fresh thematic approach that's eminently lyrical yet steadfastly avoids the obvious. Both are fine soloists, able to combine a sense of the cerebral with deeper emotional resonance. Teamed with bassist Scott Colley and drummer Brian Blade, Océanos is a compellingly listenable album, despite some considerable challenges hidden underneath the covers. Binney's "We Dream Oceans" opens the disc with simmering intensity. Percussionist Pernell Saturnino augments Blade's delicate touch, while guitarist Adam Rogers and Binney double a theme that first stands alone but is ultimately countered by Luciana Souza's wordless vocals. Simon builds a lithely focused solo that gradually intensifies, leading to a recapitulation of the theme and a solo from Binney that's as much about the sound of the notes as the notes themselves, building to a fever pitch only to fade to a gentler coda. While there's plenty of solo space, Océanos is as much about composition and arrangement, with Binney and Simon making judicious use of the added guests. Binney's polyrhythmic and Latin-esque "El Parrandero" makes full use of the three-piece horn section, creating a sound that's at times sharply pointed, other times richly expansive, contrasting with "We Dream Oceans" where the horns are used only briefly to reinforce the tune's final figure. Simon's 9/4 "Impossible Question" is first heard in expanded form, with Rogers' acoustic guitar solo navigating the pianist's changes with ease and Blade delivering a short but energetic solo. Binney's most powerful improvisation of the set is heard on a later reprise; a shorter but more texturally lush version that's expanded to include the horn section and percussion. 

Binney's closer, "Home," begins with a poignant theme that unfolds gradually but keeps returning to the same four-chord pattern. Colley and Simon both deliver lyrical solos before returning to the theme, leading into a repetition of that same four-chord pattern as a foundation for Binney's final solo which, bolstered by the rest of the group, builds the "Home" to a powerful climax before ending on an etheral note. Continuing to collaborate periodically over the years acts as a yardstick of both individual growth and a shared aesthetic for Binney and Simon. Océanos is their best pairing yet an album that brings together two strong musical minds to create a whole that's truly greater than the sum of its parts. ~ John Kelman https://www.allaboutjazz.com/oceanos-david-binney-criss-cross-review-by-john-kelman.php?width=1920

Personnel: David Binney: alto saxophone; Edward Simon: piano; Scott Colley: bass; Brian Blade: drums; Luciana Souza: vocals (1, 2, 5, 6); Adam Rogers: guitar (2, 5); Shane Endsley: trumpet (3, 4, 7); Jesse Newman: trumpet (3, 4, 7); Alan Ferber: trombone (3, 4, 7); Pernell Saturnino: percussion (1, 4, 7).

Oceanos

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Wolfgang Muthspiel, Scott Colley, Brian Blade - Angular Blues

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 53:54
Size: 124,0 MB
Art: Front

(7:20)  1. Wondering
(5:55)  2. Angular Blues
(5:15)  3. Hüttengriffe
(7:42)  4. Camino
(3:50)  5. Ride
(6:52)  6. Everything I Love
(7:41)  7. Kanon in 6/8
(3:34)  8. Solo Kanon in 5/4
(5:41)  9. I'll Remember April

Guitarist Wolfgang Muthspiel's fourth leader date for ECM Records and his second trio outing for that storied imprint, following Driftwood (ECM Records, 2014) is a marvel of ingenious interplay, musical sensitivity and absolute sincerity. Joining forces with drummer Brian Blade, a longtime band mate, and bassist Scott Colley, a playing partner from the '90s, Muthspiel delves into the deepest recesses of his mind and sound, delivering a program which is as absorbing as it is refreshing.  Recorded in Tokyo after a three-night, six-set run at that city's Cotton Club, Angular Blues provides a picture of an outfit which is at once relaxed and attentive. The opener "Wondering," with Colley's warm and wide bass in a featured role is marked by gossamer graces and substantial suggestions, as all three parties weave and dance in five while taking to shadows and light. Switching gears with the title track, Muthspiel and company actively engage in somewhat evasive maneuvers, which have a quirky brilliance and mercurial character all their own, while owing acknowledged debts to both Chick Corea's Three Quartets (Warner Music, 1981) and the music of Thelonious Monk. Then, trading in shifty ideals for pure beauty, the trio delivers the soothing "Hüttengriffe." With gorgeous slow-flow aesthetics and a less-is-more outlook, it's easily one of the most attractive tunes on the record (and in Muthspiel's entire catalog).

Muthspiel works with acoustic guitar on that opening third of the album a choice which adds to the quiet and nuanced draw of the music but electric guitar owns the remainder of the program. In some places when he comps behind Colley on "Camino," for example the difference is almost unnoticeable. But the subtle boost in presence, timbre and tonal sustain all become a bit more apparent when he's out front there and in feistier settings, like "Ride." Ultimately, though, Muthspiel's personality remains intact and persuasive, regardless of which instrument he chooses to use. While Angular Blues focuses on original music with those first five numbers, the dynamic "Kanon in 6/8" and the mesmerizing "Solo Kanon in 5/4" all originating from Muthspiel's pen and mind the guitarist breaks from the norm of his previous ECM efforts by including a pair of standards in this set. "Everything I Love," with one of Colley's most memorable solos and some playful trading with Blade, and the album-ending "I'll Remember April," prioritizing melody and vibe, both prove to be standouts and complementary inclusions.
 

Calling this Muthspiel's strongest set for Manfred Eicher's lauded label may downplay the strengths of its forerunners, but that doesn't make it any less true. Angular Blues, both aligned with and apart from that which precedes it, is a winner through and through. ~ Dan Bilawsky https://www.allaboutjazz.com/angular-blues-wolfgang-muthspiel-ecm-records

Personnel: Wolfgang Muthspiel: guitar; Scott Colley: bass, acoustic; Brian Blade: drums.

Angular Blues

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Kevin Hays - 7th Sense

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 63:55
Size: 147,2 MB
Art: Front

(5:50)  1. Take The D Flat Train
(6:57)  2. Seventh Sense
(7:13)  3. Three Pillars
(8:24)  4. My Man's Gone Now
(5:47)  5. Interlude
(7:08)  6. Space Acres
(5:06)  7. Little B's Poem
(7:57)  8. East Of The Sun
(4:33)  9. Makyo
(4:57) 10. Black Narcissus

Pianist Kevin Hays' style mixes together the influences of Bill Evans and McCoy Tyner and he helps define the modern mainstream on this Blue Note disc. The quintet set also features plenty of solo space from vibraphonist Steve Nelson and the excellent tenorman Seamus Blake. 

Opening with three Hays originals and also including Hindermith's "Interlude" (which finds the group sounding a little like the Modern Jazz Quartet) and such standards as "My Man's Gone Now" and "East of the Sun," the music pays tribute to the past without becoming predictable or overly derivative. It's a fine release. ~ Scott Yanow https://www.allmusic.com/album/seventh-sense-mw0000114092

Personnel: Kevin Hays - piano;  Seamus Blake - tenor saxophone; Steve Nelson - vibraphone; Doug Weiss - bass; Brian Blade -drums

7th Sense

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Brian Blade & The Fellowship Band - Body And Shadow

Styles: Jazz, Post Bop 
Year: 2017
File: MP3@320K/s
Time: 31:44
Size: 73,2 MB
Art: Front

(3:03)  1. Within Everything
(3:09)  2. Body and Shadow - Noon
(4:32)  3. Traveling Mercies
(1:20)  4. Have Thine Own Way, Lord - Solo
(1:14)  5. Have Thine Own Way, Lord - Band
(1:43)  6. Body and Shadow - Morning
(8:21)  7. Duality
(2:57)  8. Body and Shadow - Night
(5:20)  9. Broken Leg Days

Brian Blade & The Fellowship Band celebrates its 20th anniversary in 2017. Body and Shadow is only their fifth album: they have not recorded prolifically, but each one has been worth the wait. The group occupies a unique space: the sound of Americana (chiefly folk music) is dominant, but played with a jazz sensibility. Despite the considerable technical firepower in the band, it has always kept the focus on the ensemble sound rather than on soloists. For this outing drummer Brian Blade and keyboardist Jon Cowherd have nearly equal compositional input, and the group welcomes a new member in Denver-based guitarist Dave Devine. Blade gets the first word with "Within Everything," an elegiac slow tune with a haunting melody. The first of the "Body and Shadow" entries is next Noon, later followed by Morning and Night. These are gentle explorations of similar material, rather minimal until a theme finally appears in the last one. Cowherd's first contribution is "Traveling Mercies," another folksong-like tune which nonetheless includes a dramatic, contrasting bridge. The feeling of contrast is even stronger in the aptly-titled "Duality," which is made up of two contrasting sections. The longest selection by far, it also has the most pronounced jazz feel. The first half features a long, joyful piano solo by the composer; the second half spotlights alto saxophonist Myron Walden in an electrifying solo turn.  The group's previous album Landmarks (Blue Note, 2014) featured a rare cover, a hymn-like treatment of the traditional song "Shenandoah." This time they up the ante with an actual hymn: "Have Thine Own Way, Lord." Cowherd plays it solo on harmonium first, then the entire band continues the feeling with Blade's arrangement. That it fits in with the original music so well is a testament to the deep traditional roots of the Fellowship Band's music. They have never been a long-winded bunch, but this is an especially succinct collection: the nine tracks run only a little over half an hour. Not a minute is wasted. ~ Mark Sullivan https://www.allaboutjazz.com/body-and-shadow-brian-blade-blue-note-records-review-by-mark-sullivan.php

Personnel: Brian Blade: drums; Jon Cowherd: piano, harmonium, mellotron; Chris Thomas: bass; Melvin Butler: tenor saxophone; Myron Walden: alto saxophone, bass clarinet; Dave Devine: guitar.

Body And Shadow

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Marcus Printup - Song For The Beautiful Woman

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 59:38
Size: 137,9 MB
Art: Front

(6:41)  1. The Inquiry
(7:14)  2. I Remember April
(6:37)  3. Song For The Beautiful Woman
(6:23)  4. Trauma
(6:17)  5. Presentation
(6:12)  6. Lonely Heart
(6:50)  7. Minor Ordeal
(6:47)  8. Speak Low
(6:34)  9. Dahomey Dance

Trumpeter Marcus Printup's debut as a leader in 1994 followed recordings as a part of the University of North Florida Jazz Ensemble and the Lincoln Center Jazz Orchestra. Accompanied by four other promising musicians in the early days of their careers, including pianist Eric Reed, alto saxophonist Walter Blanding, bassist Reuben Rogers and drummer Brian Blade, Printup puts together a tantalizing mix of originals and standards on this hard bop session, Song for the Beautiful Woman. His compositions include a driving blues "The Inquiry," a sauntering ballad inspired by a brief encounter with a stranger on a plane "Song for the Beautiful Woman," and the infectious "Presentation," which best showcases his already well-developed chops. So many jazz artists tackle "I'll Remember April" at breakneck tempos that they overlook the beauty of the piece; Printup chooses the less-traveled path with great success. His muted solo in "Speak Low" is fueled by Rogers' tasty lines. Marcus Printup's initial recording on his own will appeal greatly to fans of hard bop. ~ Ken Dryden https://www.allmusic.com/album/song-for-the-beautiful-woman-mw0000644448

Personnel: Trumpet – Marcus Printup; Bass – Reuben Rogers; Drums – Brian Blade; Piano – Eric Reed; Tenor Saxophone – Walter Blanding

Song For The Beautiful Woman

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Mark Turner - In This World

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 60:26
Size: 139,7 MB
Art: Front

(7:33)  1. Mesa
(7:18)  2. Lennie Groove
(8:02)  3. You Know I Care
(6:48)  4. The Long Road
(6:45)  5. Barcelona
(7:56)  6. In This World
(5:02)  7. Days of Wine and Roses
(4:45)  8. Bo Brussels
(6:13)  9. She Said, She Said

A horde of promising young sax players has emerged in the 1990s, but only a few players have begun to find their voices. Mark Turner is one young saxman whose Muse has kept pace with his talent. The 33-year-old tenor saxophonist leads a band of clever young musicians on this thoughtful release, his second for Warner Brothers. Turner has developed a unique style inspired by John Coltrane's modal flights and Warne Marsh's unpredictable chordal experiments. This time Turner delivers six originals and three covers, and each track is energized by the incredibly powerful presence of Brad Mehldau on piano. In This World offers complicated music, a point that's reinforced by Mehdlau's pedantic liner notes. Take the pianist's description of the opening track, entitled "Mesa:" "Opting for mediant relationships instead of dominant-tonic, and casting a mixolydian blur on the dominant seventh chord with the added fourth, he (Turner) conjures a world of half-lights and shadows, filled with achy, suffused longing." Translation: "Mesa" is an ethereal piece that evokes a desert. Complex as these songs are, there is also something inherently tranquil about them. Unlike the majority of young reed players, Turner is not so intent on dazzling us with technique. He's smart enough to be subtle, and his vision takes in the total ensemble. Most of his solos sound like conversations rather than monologues, and most are played at the high end of the tenor sax register. Like Coltrane, Turner started out on alto before he switched to tenor. The young saxman has a very warm tone and an almost spiritual feel for his instrument, qualities that have earned him great respect among his peers. It's telling that Joshua Redman played on his debut ( Mark Turner ) released earlier this year, and that the great James Moody teamed with him on the excellent Warner Jams, Volume Two in 1997. 

Now he's landed Mehldau, the hottest young pianist in jazz. Perhaps owing to the time the two spent together in the TanaReid band, the rapport between Mehldau and Turner seems almost telepathic. They snake their way through this Trane-like terrain with inspired synergy. Dexterous support is provided by Larry Grenadier on bass and New Orleans native Brian Blade on drums. The latter is an intense musician who contributes ambience as well as rhythms. Drummer Jorge Rossy also plays on two cuts, while inventive guitarist Kurt Rosenwinkel appears on three. Besides "Mesa," highlights among the nine tracks include "You Know I Care," a beautiful ballad written by Duke Pearson; "Days of Wine and Roses," which is given a fast-paced treatment; "The Long Road," a multi-hued piece and one of three cuts that feature Mehldau on electric piano; and "Bo Brussels," a wild free-form improvisation. "Lennie Groove" is derived from Lennie Tristano's "Lennie's Pennies," and it showcases some incredibly complex interplay between Turner and Mehldau and intriguing solos by each. My favorite track is "Barcelona," a Turner original that swings in noble fashion. The title track includes a gorgeous serpentine duet between Turner and Rosenwinkel. A cover of the Beatles' "He Said, She Said" even has a Ringo-like back beat. Mark Turner stands with James Carter, Joshua Redman and Chris Potter as one of the most talented  and focused  post-bop saxophonists to emerge in the 1990s. While casual jazz fans might find In This World a difficult listen, anybody who's into Coltrane, Tristano, or Marsh should really dig it. ~ Ed Kopp https://www.allaboutjazz.com/in-this-world-mark-turner-warner-bros-review-by-ed-kopp.php

Personnel:  Mark Turner – tenor saxophone; Brad Mehldau – piano, electric piano; Kurt Rosenwinkel – guitar; Larry Grenadier – bass; Brian Blade – drums; Jorge Rossy – drums

In This World

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Brian Blade - Brian Blade Fellowship

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 61:59
Size: 142,7 MB
Art: Front

( 9:31)  1. Red River Revel
( 7:26)  2. The Undertow
(11:06)  3. Folklore
( 4:21)  4. In Spite Of Everything
( 7:46)  5. Lifeline
( 9:11)  6. Mojave
( 4:34)  7. If You See Lurah
( 8:00)  8. Loving Without Asking

Brian Blade Fellowship is an impressive debut as a leader for Brian Blade, one of the best young jazz drummers of the '90s. Producer Daniel Lanois doesn't follow jazz conventions, letting Blade run wild and blend genres, as on "Folklore," where the adventurous, searching jazz meets pygmy chants. All across the album, there is the sigh of a steel guitar, which adds an unusual, exotic texture to a debut that is uniquely daring and richly rewarding. ~ Leo Stanley https://www.allmusic.com/album/brian-blade-fellowship-mw0000037563

Personnel:  Brian Blade – drums; Melvin Butler – soprano and tenor saxophones; Jon Cowherd – piano, Wurlitzer; Dave Easley – pedal steel guitar; Daniel Lanois – mando guitar; Jeff Parker - acoustic guitar; Christopher Thomas – acoustic bass; Myron Walden – alto saxophone; Kurt Rosenwinkel – electric Guitar

Brian Blade Fellowship

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Darrell Grant - The Territory

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 60:34
Size: 140,2 MB
Art: Front

( 1:13)  1. Introduction
( 5:56)  2. Mvt. 1 Hymn to the Four Winds
( 6:04)  3. Mvt. 2 Daybreak At Fort Rock
( 3:10)  4. Mvt. 3 Missoula Floods
( 4:03)  5. Missoula Floods, Pt. 2
( 5:58)  6. Mvt. 4 Rivers
(10:13)  7. Mvt. 5 Chief Joseph's Lament
( 5:48)  8. Mvt. 6 Stones Into Blossoms
( 7:12)  9. Mvt. 7 Sundays At the Golden West
( 2:37) 10. Mvt. 8 Aftermath (Interlude)
( 8:14) 11. Mvt. 9 New Land

The Territory marks Grant's seventh CD as a leader and his first since 2007's critically acclaimed "Truth and Reconciliation," which was selected one of the top 10 CDs' of the year by The Village Voice jazz critics poll. The nine-member ensemble includes Grant's long-time collaborators Grammy award-winning drummer Brian Blade, Grammy award-winning saxophonist Steve Wilson and celebrated vibraphonist Joe Locke, as well as renowned cellist Hamilton Cheifetz, Chicago bassist Clark Sommers, Portland vocalist Marilyn Keller, trumpeter Thomas Barber, and bass clarinetist Kirt Peterson. The Territory captures Grant in an exciting 2013 world premiere performance presented by Chamber Music Northwest in front a sold-out audience at Portland's Kaul Auditorium. https://www.darrellgrant.com/the-territory-album

Personnel: Darrell Grant, piano; Joe Locke, vibraphone & marimba; Steve Wilson, flute, alto flute, soprano & alto saxophone; Brian Blade, drums; Clark Sommers, bass; Marilyn Keller, vocals; Hamilton Cheifetz, cello; Thomas Barber, trumpet; Kirt Peterson, bass clarinet, tenor saxophone

The Territory

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Brian Blade Fellowship - Perceptual

Styles: Post Bop, Straight-Ahead Jazz  
Year: 2000
File: MP3@320K/s
Time: 53:56
Size: 124,2 MB
Art: Front

(6:28)  1. Perceptual
(7:56)  2. Evinrude-Fifty (Trembling)
(6:44)  3. Reconciliation
(9:10)  4. Crooked Creek
(2:40)  5. Patron Saint Of Girls
(1:06)  6. The Sunday Boys (Improvisation)
(9:09)  7. Variations Of A Bloodline: From The Same Blood / Fellowship (Like Brothers) / Mustangs (Class Of 1988)
(8:21)  8. Steadfast
(2:17)  9. Trembling

Far from your typical young jazz artist, drummer Brian Blade seems almost bent on avoiding classification. He's been found in the studio and/or on the road with such disparate employers as Joshua Redman, Bob Dylan, Seal, and Joni Mitchell. With technical prowess of obvious proportions, Blade is equally reticent about flashy drum displays, content to merely color and prod the composition at hand. All of this is as much apparent in his sideman stints as it is with his two Blue Note dates as a leader, Perceptual being the latest offering by his collective known as The Brian Blade Fellowship. A more varied and ultimately satisfying affair than the group's 1998 debut, Perceptual is still nonetheless a dark and brooding journey that has as its underlying theme society's current lack of humanity and value for young lives, keyboardist Jon Cowherd's "Reconciliation" being directly influenced by the shootings in Paducah, Kentucky. Much of what comprises this hour-long recital is of a restrained and pensive nature and those hoping for lengthy drum solos and the typical "burn-out" type of improvisations will have to look elsewhere. In fact, very little of the material here swings in the conventional sense, save for sections of "Steadfast" and the 5/4 lilt of "Crooked Creek." The one new addition to this group since the last record is that of guitarist Kurt Rosenwinkel and it's a curious one. I say this in consideration of the clear association between the spirit of this set and that of Rosenwinkel's own recent The Enemies of Energy. Stretching the comparisons even further, the Nordic strains of Jan Garbarek's musical personality (not to mention an overall chamber- like quality akin to the ECM mantra) are more than hinted at during the lengthy suite, "Variations of a Bloodline." All of this is not to suggest mere rote regurgitation on Blade's part, but to provide point of reference for the uninitiated.In the final analysis, Perceptual is a very likable and intoxicating brew that benefits from a collective sound that finds no one person in particular dominating the proceedings. The key will be for Blade, Rosenwinkel, and other purveyors of these latest musical developments to make sure they don't run aground much in the same way that the renaissance fostered by Marsalis and his ilk during the '80 led to many dead-end roads. ~ C.Andrew Hovan https://www.allaboutjazz.com/perceptual-brian-blade-blue-note-records-review-by-c-andrew-hovan.php

Personnel: Brian Blade- drums, guitar & vocals; Melvin Butler- tenor & soprano saxophone; Jon Cowherd- piano & keyboards; Dave Easley- pedal steel guitar; Kurt Rosenwinkel- electric & acoustic guitars; Christopher Thomas- bass; Myron Walden- alto sax & bass clarinet; Daniel Lanois- guitars (tracks 8 & 9 only); Joni Mitchell- vocal (track 8 only)

Perceptual

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Kenny Garrett - Black Hope

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 65:54
Size: 154,3 MB
Art: Front

( 6:08)  1. Tacit Dance
( 4:09)  2. Spanish Go-round
(10:04)  3. Computer G
( 7:39)  4. Van Goghs Left Ear
( 3:53)  5. Black Hope
( 7:01)  6. Jackie And The Bean Stalk
( 4:46)  7. Run Run Shaw
( 5:24)  8. 2 Step
( 4:53)  9. Bone Bob
( 4:42) 10. Books And Toys
( 5:34) 11. Bye Bye Blackbird
( 1:35) 12. Last Sax

Alto saxophonist Kenny Garrett hasn't been as heavily publicized as his fellow young lions, but he can play with as much authority, conviction, and sheer energy as anyone. Only some uneven material keeps his '92 album from being exceptional, and even on the weak songs, Garrett's playing forces you to pay attention. ~ Ron Wynn https://www.allmusic.com/album/black-hope-mw0000082568

Personnel:  Kenny Garrett: alto saxophone, soprano saxophone;  Joe Henderson: tenor saxophone;  Kenny Kirkland: piano, synthesizer;  Donald Brown: synthesizer;  Charnett Moffett: bass;  Brian Blade, Ricky Wellman: drums;  Don Alias: percussion

Black Hope

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