Terell Stafford, Dick Oatts, Bruce Barth, Tim Warfield - Fly with the Wind

Styles: Trumpet Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 36:47
Size: 84,7 MB
Art: Front

( 6:57) 1. All Members
(13:24) 2. Fly with the Wind
( 8:58) 3. Naima
( 7:26) 4. Yes I Can, No You Can't

Terell Stafford, Tim Warfield, Dick Oatts, Bruce Barth, Mike Boone and Justin Faulkner pay tribute to Philadelphia’s iconic jazz composers on Fly With the Wind. The second outing by the all-star Temple Jazz Sextet features inspired arrangements of compositions by John Coltrane, McCoy Tyner, Jimmy Heath and Lee Morgan.
https://www.jazziz.com/10-albums-you-need-to-know-april-2023/

Personnel: Terell Stafford, trumpet; Dick Oatts, alto saxophone; Bruce Barth, piano; Tim Warfield, tenor saxophone; Mike Boone, bass; Justin Faulkner, drums

Fly with the Wind

---

Bruce Barth - Dedication

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 44:00
Size: 101,6 MB
Art: Front

(4:00) 1. George’s Dance - for George Perry
(5:27) 2. Courage - for all of us
(3:53) 3. In Memoriam - for George Floyd & so many others
(7:29) 4. Let's Go - for McCoy Tyner
(5:38) 5. Better Days
(5:39) 6. Golden Glow
(6:17) 7. That’s How It Sometimes Goes - for Tommy Flanagan
(5:34) 8. Softly, in a Garden Path

So, what, or who, is the soulful pianist Bruce Barth dedicating this trio album to? In the liner notes, Barth mentions the memory of a dear friend Montez Coleman, but truth be told, with bassist Vincente Archer and drummer Montez Coleman, the sounds and styles are dedicated to a collection of inspirations.

Starting off is an upbeat tilt of the ivories to George Perry in "George's Dance" which has Barth and company tapping into their inner Three Sounds on a gospel strut. McCoy Tyner gets a tribute on the bold and dramatic modal "Let's Go" with Coleman snapping out the sticks, while "That's How It Sometimes Goes" is a classy dedication to the glassy Tommy Flanagan, with Barth glowing through the intro. The team gives a "poinciana" pulse to the spacious and hip "Better Days" and Archer is dreamy during "In Memoria" acknowledging George Floyd among others. Grace and lyricism prevail, with the album being an inspiration to being inspired itself.https://originarts.com/reviews/review.php?ReviewID=3335

Personnel: Bruce Barth - piano; Vicente Archer - bass; Montez Coleman - drums

Dedication

---

Ingrid Jensen - Vernal Fields

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 64:48
Size: 148,7 MB
Art: Front

(7:06)  1. Marsh Blues
(5:49)  2. Spookum Spook
(7:20)  3. Vernal Fields
(8:25)  4. Ev'ry Time We Say Goodbye
(6:12)  5. I Love You
(6:13)  6. The Mingus That I Knew
(7:25)  7. Stuck in the Dark
(7:13)  8. Christiane
(9:01)  9. By Myself

Although trumpeter Ingrid Jensen has a wide range and a potentially fiery style, she holds a great deal in reserve on her debut recording, letting one peek at her emotional intensity now and then but mostly making lyrical statements. Her supporting cast (altoist Steve Wilson, George Garzone on tenor, pianist Bruce Barth, bassist Larry Grenadier, and drummer Lenny White) is quite impressive and adds a great deal to the CD without taking the spotlight away from the leader. Ingrid Jensen sounds particularly strong on "Marsh Blues" and the standards "Ev'rytime We Say Goodbye," "I Love You," and an ironic "By Myself," but all nine selections have their moments. The music is basically advanced hard bop, with Jensen (when she is playing open) sounding like a logical successor to Freddie Hubbard and Woody Shaw while resembling her teacher, Art Farmer, a bit when utilizing a mute. This is an impressive beginning to what should be an important career. ~ Scott Yanow  http://www.allmusic.com/album/vernal-fields-mw0000173581

Personnel: Ingrid Jensen (trumpet, flugelhorn); Steve Wilson (soprano & alto saxophones); George Garzone (tenor saxophone); Bruce Barth (piano); Larry Grenadier (bass); Lenny White (drums).

Vernal Fields

---

Melissa Stylianou - No Regrets

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 56:23
Size: 131,1 MB
Art: Front

(4:34) 1. Nice Work If You Can Get It
(3:29) 2. Remind Me
(7:10) 3. I Got It Bad (Feat. Billy Drewes)
(5:07) 4. Humming To Myself
(5:14) 5. I Wish I Knew
(3:40) 6. Somebody's On My Mind (Feat. Anat Cohen and Linda Oh)
(3:31) 7. Down by the Salley Gardens (Feat. Matt Wilson)
(5:31) 8. A Nightingale Can Sing The Blues (Feat. Billy Drewes)
(8:06) 9. I'll Never Be The Same (Feat. Anat Cohen)
(6:30) 10. Polkadots and Moonbeams
(3:26) 11. I Mean You (Feat. Bruce Barth)

Canadian by birth and training, the singer Melissa Stylianou has been living in New York for a decade now, where she has made herself known and appreciated for her valuable collaborations ( Ben Monder , Chris Lightcap , Matt Wilson , Rodney Green ) and concerts in prestigious clubs like Blue Note, Iridium, Jazz Standard or Birdland. If in the previous four discs he faced a varied repertoire, alternating well-known standards with themes by Tom Waits , Biörk or Johnny Cash, in this No Regrets he chooses to immerse himself in tradition accompanied by a first-rate trio, including pianist Bruce Barth , the double bass playerLinda May Han Oh and drummer Matt Wilson . In some pieces the clarinetist Anat Cohen and the saxophonist Billy Drewes participate as guests. The record was also recorded in the most traditional way: live in a single session, with a double track recorder.

Stylianou is a singer with a clear and sensual timbre, who manifests her jazz identity with a brilliant technique and an intense interpretative taste. His singing favors atmospheres of intimate colloquiality but knows how to soar in moments of whimsical rhythmic tension. The disc is a nice roundup of well-known standards and a few songs that are not very popular but with a valuable "historical curriculum." Among them we have "Somebody's on My Mind,"Billie Holiday is linked to her magical interpretation, the archaic "Humming to Myself" sung by Connee Boswell , or "A Nightingale Can Sing the Blues," linked to the languid versions of Peggy Lee and Julie London .

Melissa offers us successful versions of it, for elegance and sobriety, accompanied from time to time by Anat Cohen, Linda Oh and Billy Drewes. Another happy choice, which goes beyond the jazz tradition, is the traditional "Down by the Salley Gardens" sung with poetic intensity with only the accompaniment of the drums. Among the best known themes, we particularly appreciated the dynamic version of the Monkian "I Mean You," in duo with Bruce Barth. Translate By Google.... https://www.allaboutjazz.com/no-regrets-melissa-stylianou-anzic-records-review-by-angelo-leonardi.php

Personnel: Melissa Stylianou: vocals; Bruce Barth: piano; Linda Oh: double bass; Matt Wilson: drums. Guests: Anat Cohen: clarinet; Billy Drewes: alto sax.

No Regrets

---

Audrey Silver - Let Me Know Your Heart (New Link)

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 58:15
Size: 134,2 MB
Art: Front

(3:58)  1. When I Look in Your Eyes
(3:29)  2. Comes Love
(5:06)  3. Solsbury Hill
(3:35)  4. Plus Je T'embrasse
(4:02)  5. I Knew He Was There
(3:44)  6. Ever Since the World Ended
(5:14)  7. How Deep Is the Ocean
(4:05)  8. Giraffe Song
(4:53)  9. You Knew
(4:54) 10. Up Jumped Spring
(4:33) 11. Small Day Tomorrow
(3:09) 12. New Year's Eve
(3:41) 13. Let Me Know Your Heart
(3:44) 14. Can't We Be Friends

With a growing catalog of recordings and a warm, swinging performing style, Audrey Silver is one of the most elegantly creative singers in jazz today. Known for what Hot House Jazz has called “a velvet-laden timbre with impeccable phrasing,” Audrey has become renowned for her compelling takes on classic pop tunes as well as her own poignant originals.   Audrey’s composition style mines her vast musical experiences. She says “Songwriting comes from improvising if you can improvise in a melodic way, you can write a song.” Today, the New York City native releases her fourth album, Let Me Know Your Heart, which features her returning cast of players;  Bruce Barth on piano, trumpeter Marcus Printup, upright bassist Paul Beaudry, drummer Anthony Pinciotti, Tom Beckham on vibes and guitarist Marc Ciprut. The album’s collection of fourteen songs is centered artistically and emotionally on Audrey’s six newly-penned originals. Crediting musical luminaries as diverse as Bill Evans, Annie Lennox and Arnold Schoenberg as influences on her artistry, Audrey has found new challenges and satisfaction in becoming a songwriter. Receiving high praise for her vocal stylings, Jazz critics have reinforced a comparison she has heard her entire performing life, “Not since Karen Carpenter have I heard such a strong alto voice that is so pure and so convincing.”Audrey and her band will be celebrating the release of Let Me Know Your Heart with two sets of performance on Wednesday,  September 11th at The Zinc Bar in New York City. Tickets may be purchased here. https://don411.com/award-winning-vocalist-audrey-silver-releases-new-album-let-me-know-your-heart/#.XmTdTvRCeUk

Personnel: Bruce Barth on piano, trumpeter Marcus Printup, upright bassist Paul Beaudry, drummer Anthony Pinciotti, Tom Beckham on vibes and guitarist Marc Ciprut.

Let Me Know Your Heart

---

Bruce Barth - Hope Springs Eternal

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 67:22
Size: 154,9 MB
Art: Front

(8:48)  1. Hope Spring Eternal
(8:10)  2. Wondering Why
(9:20)  3. The Hour of No Return
(7:17)  4. Darn That Dream
(9:08)  5. The Epicurean
(8:16)  6. Up and Down
(7:58)  7. Full Cycle
(8:23)  8. The Revolving Door

On “Hope Springs Eternal” veteran East Coast pianist Bruce Barth is supported by a fine entourage consisting of Steve Wilson: alto/soprano saxophones/flute; Ed Howard: bass and Adam Cruz drums. The title cut leads off with Barth’s melodic touch and Wilson’s lush lyrical soprano. Barth is the pilot here as he’s prone to shift gears and investigate various avenues of melodic development while displaying enviable chops. Steve Wilson is a fine player and meshes well with Barth’s stylistic approach. Another Barth original composition “Hour Of No Return” is an up tempo burner. The rhythm section of Cruz and Howard are in superb form. They will jab and spar with Barth’s ever-evolving inventions. On “Hour Of No Return” Barth is the painter of colorful imagery. The pace is frenetic and eventually Wilson and Barth regroup to calm things down. Barth’s right hand is poetry in motion complimented by huge block chords. Steve Wilson cuts his alto to shreds in Barth’s “The Revolving Door” which is a bright, cheerful tune with a strong melody line. Barth’s “Up and Down” swings from the bottom up. Barth’s expressive and sweeping execution is at times reminiscent of McCoy Tyner; although, Barth’s identity is firmly established. Bruce Barth is a fine pianist and should benefit from Double-Time Records esteemed producer/educator Jamey Aebersold. I look forward to hearing more from Barth in the near future. ~ Glenn Astarita https://www.allaboutjazz.com/hope-springs-eternal-bruce-barth-double-time-jazz-review-by-glenn-astarita.php

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone, composer;  Ed Howard - Bass;  Adam Cruz - drums, composer

Hope Springs Eternal

---

Charles McPherson Quartet - Love Walked In

Styles: Saxophone Jazz 
Year: 2016
File: MP3@320K/s
Time: 52:01
Size: 120,1 MB
Art: Front

(5:43)  1. Love Walked In
(5:00)  2. The Song Is You
(4:44)  3. I´ll Take Romance
(5:24)  4. Nature Boy
(6:23)  5. Someone to Watch over Me
(4:13)  6. Bud Like
(7:32)  7. Embraceable You
(5:34)  8. Lover
(7:23)  9. Dancing in the Dark

Charles McPherson returns to the forefront of the jazz scene with Love Walked In, an album where the wisdom of this veteran and essential saxophonist is evident. Accompanied by a luxurious group of musicians that includes Bruce Barth on piano, Jeremy Brown on bass and Stephen Keogh on drums, McPherson offers a repertoire consisting mostly of jazz classics. 

This he does from his own vision, with all the weight that can be contributed to music by someone who comprises part of great jazz history and has been featured in some of its most remarkable pages. http://www.quadrantcorner.com/en/product/love-walked-in/

Personnel: Charles McPherson, Alto Sax; Bruce Barth, Piano; Jeremy Brown, Bass; Stephen Keogh, Drums

Love Walked In

---

Dave Stryker - Blue To The Bone II

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 62:13
Size: 143,3 MB
Art: Front

( 4:27)  1. Rockin' in rhythm
( 1:32)  2. Goin' to New Orleans - introduction
( 8:07)  3. Goin' to new Orleans
( 5:43)  4. Sittin' on top of the world
(11:22)  5. 24 for Elvin
( 6:40)  6. Mystery street
( 5:18)  7. The squeeze
( 8:28)  8. Mood
(10:33)  9. Mug shot

Considering that forty-something guitarist Dave Stryker has made over a dozen albums under his own name, leads a sharp quartet with Steve Slagle, and is in constant demand as a sideman working in the past with Stanley Turrentine, Jack McDuff, Javon Jackson, and Kevin Mahogany, you'd think he'd be practically a household name. Unfortunately that's not the case, but his first Blue to the Bone project from a few years back did seem to attract some critical plaudits and bring into the circle some added new fans. And now that the second offering in this series has just made its debut here in America, one can only hope that the good vibes just keep building. As great as the first set was, it's without hesitation that I deem this new one a valiant leap forward. For the neophyte, the concept is really quite simple- get together a modest-sized horn section, bring a B-3 along, and write some charts that accent a "blue" point of view. But while the prior record leaned a bit more on the classic 12-bar blues form, this set offers up a colorful diversity in terms of song structure. Of course, Stryker can get down with his bad self, as he more than adequately proves on a cover of Howlin' Wolf's "Sittin' On the Top of the World." Somehow the spicy gumbo of the Crescent City proves to be a perfect adjunct to the blues in Stryker's mind, with both originals "Mystery Street" and "Goin' To New Orleans" spurred on by Adam Nussbaum's "second line" drumming and the guitarist's processed tone, akin to a slide-steel at times. 

His solo spot on the former makes potent use of distortion and note bending. Balanced by an Ellington gem and a Steve Slagle original, a few tunes that have been previously recorded get a facelift too, including "Mood" and "24 For Elvin," an extended form with a modal quality to it that does indeed suggest Elvin Jones' work with the classic John Coltrane quartet. Sharing the solo honors with Stryker and equally beguiling in the long run are trumpeter Brian Lynch, alto saxophonist Steve Slagle, pianist Bruce Barth, and drummer Adam Nussbaum. They, along with the charts and an elation that the blues almost paradoxically provide, make for an end product that is indeed greater than the sum of the parts. Now, here's waiting with baited breath for the release of Stryker's latest project inspired by Miles Davis' Bitches Brew period. Bring it on SteepleChase! 

~ C.Andrew Hovan https://www.allaboutjazz.com/blue-to-the-bone-ii-dave-stryker-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Dave Stryker- guitar, Brian Lynch- trumpet, Steve Slagle- alto sax & flute, Clark Gayton- trombone, Bob Parsons- baritone saxophone, Bruce Barth- piano & organ, Jay Anderson- bass, Adam Nussbaum- drums

Blue To The Bone II

---

Bruce Barth Quintet - In Focus

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:10
Size: 143,4 MB
Art: Front

(8:04)  1. I Hear Music
(5:45)  2. Escapade By Night
(7:53)  3. Nefer Bond
(5:17)  4. I Got It Bad
(6:27)  5. In Search Of
(5:32)  6. Pinocchio
(5:33)  7. Louise
(5:25)  8. Persistence
(7:05)  9. Wildflower
(5:05) 10. Secret Name

Bruce Barth's recording debut as a leader was an auspicious one, though it probably wasn't as widely distributed as it might have been by a U.S. label. Accompanied by a number of other talented young players (Steve Wilson on alto and soprano sax, trumpeter Scott Wendholdt, bassist Robert Hurst, and drummer Lewis Nash), the pianist works magic with time-tested standards such as his adventurous post-bop treatment of "I Hear Music" and a rhapsodic solo interpretation of Duke Ellington's "I Got It Bad (And That Ain't Good)." His trio arrangement of Wayne Shorter's "Pinocchio" is suspenseful yet full of energy, while another Shorter composition, "Wildflower," shows just a hint of McCoy Tyner's influence on his playing. Barth's original works are also worth investigating, especially the sauntering "Nefer Bond" (named for his cat) and the tender ballad "Louise," which features an intriguing blend of Wilson's soprano sax and Wendholt's trumpet. The overall strength of this initial recording as a leader by Bruce Barth make it worth the search. ~ Ken Dryden https://www.allmusic.com/album/in-focus-mw0000621670

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone; Scott Wendholt - trumpet; Robert Hurst - bass; Lewis Nash - drums

In Focus

---

Bruce Barth featuring Jerry Bergonzi - Sunday

Styles: Piano And Saxophone Jazz 
Year: 2018
File: MP3@320K/s
Time: 54:57
Size: 127,7 MB
Art: Front

( 7:30)  1. Blue Cube
(11:25)  2. Sunday
( 8:28)  3. Double Billed
(13:10)  4. Afternoon in Lleida
( 6:41)  5. Refuge
( 7:41)  6. Laura

American pianist and composer Bruce Barth pulls together a fine quartet and an attractive repertoire for this superbly recorded 2017 performance. Combining latin and swing styles, the music is rich with atmosphere and brims with joyous sounds and solos. Spanish label Blau Records specialise in recording live shows in as much fidelity as possible. This latest project was recorded at the Espai de la Música Mestre Villa in Bencàssim on 13 May 2017, and brings together a quartet led by Barth and tenor saxophonist Jerry Bergonzi.  Five of the six tracks are originals by one or other, and both are clearly comfortable in their writing roles. Bergonzi’s opening Blue Cube jumps off in a relaxed latin style with a rich-toned sax melody and solo, culminating in a round of audience applause which comes as a shock to those (such as me) who haven’t read the sleeve notes and assume this must be a studio date, so well-balanced and rich is the overall sound. Barth’s Sunday continues the latin feel with its 6/8 lilt, Bergonzi’s solo again building nicely before Barth’s own turn on the piano. Barth has a beautiful style in his soloing, well paced, varied and creating tension-and-release sections which put me in mind of Bill Evans; block chords suddenly giving way to swinging runs, which turn into swirling ostinatos. It’s extremely listenable and rewarding stuff. Drummer Stephen Keogh gets a solo here, plenty of cymbals to the fore as he keeps the groove moving along. The originals keep coming with Bergonzi’s Double Billed, a swinging affair which gives Barth room to stretch out. Double bassist Mark Hodgson’s solo comes across particularly well, again well caught by the mics, sonorous and full. Afternoon In Lleida, another Barth number, is a slower affair, redolent of the Spanish afternoon, starting gently and building into a series of climaxes before subsiding into gentle harmonies. (Perhaps it was that sort of afternoon…?) Refuge is a clean and simple ballad, which serves as a good counterpoint to the drama that has gone before.  The album closes with Bergonzi’s arrangement of David Raksin’s immortal standard Laura. Bergonzi takes the original film score tune and takes it nicely into the band’s sound, with dramatic chords behind the tune before Barth at last get to take the first solo.  All in all this is a very enjoyable collection, beautifully recorded and full of atmosphere. ~ Mark McKergow http://www.londonjazznews.com/2018/03/cd-review-bruce-barth-quartet-ft-jerry.html

Personnel:  Bruce Barth piano; Jerry Bergonzi saxophone;  Mark Hodgson bass; Stephen Keogh drums

Sunday

---

Jerry Bergonzi - Convergence

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:50
Size: 124,1 MB
Art: Front

(8:11)  1. Lend Me a Dream
(5:12)  2. I've Got a Crush on You
(5:25)  3. Squid Ink
(4:38)  4. Stoffy
(3:17)  5. Silent Flying
(4:51)  6. Osiris
(5:28)  7. Mr. Higgins
(5:17)  8. Ddodd
(7:52)  9. Convergence
(3:35) 10. Seventh Ray

Saxophonist Jerry Bergonzi has become one of the most reliable recording artists in jazz. In between his day job as a Berklee College of Music professor, and performing, he turns out a great album or two every year. Featuring mostly tenor horn, Convergence follows dutifully in that pattern. The album splits between a classic piano-based quartet and the more risky piano-less trio with equally good results. Bergonzi, who also overdubs soprano sax for a few tracks, has no problem carrying the trio, revealing no weaknesses in an unforgiving, nowhere-to-hide lineup. The lone cover on the album, George Gershwin and Ira Gershwin's, "I've Got A Crush On You," starts with a straight-through reading of the melody, before becoming a platform for the kind of first-rate improvisation expected from Bergonzi, his horn warm and forceful, as he expands over the rhythm section, reaching out but never breaking too far away. It's a beautiful rendering of a classic. "Stoffy," another trio track, opens with a film-noir-ish bass vamp that supports a more unconventional melody and improvisational statement. The result is equally fine, hanging together as a fully realized statement. Bergonzi's writing, throughout the album, is organized, logical and tight, making Convergence as notable for its composition as for its improvisation.  The rest of the album plays out on this pattern, with a just a couple of exceptions. This is Bergonzi's date, and he does not cede the leadership duties often. Pianist Bruce Barth joins the proceedings for three tracks, adding some lovely background comps and taking a really solid solo on "Convergence." The rhythm section bassist David Santoro and drummer Andrea Michelutti supports the entire disc without flaw. As a musician, Bergonzi is as competent on soprano as he is his main instrument. Overdubbing the straight horn on "Osiris," the saxophonist uses it to emphasize the melody, and to add some harmony that would be impossible in a trio, for a musically compelling result. His workout on soprano is as skilled as anything else on the album, and the overdubbing is seamless. Bergonzi manages to harmonize and interact with himself in a manner that were it a recording of two horn players might recall the psychically intertwined interplays of the Gerry Mulligan/Chet Baker quartets, dipping and diving over each other, completely in sync. There is no fault with the music here it's excellent across the board but it would be interesting to hear what this might have sounded like with two musicians actually interacting with each other, rather than one player playing along with something previously recorded.  Convergence showcases Bergonzi's considerable talents as a writer and improviser, and is worthy of his already impressive recording legacy. This effort enhances his position as one of the most important artists in jazz today, and is truly one of the first great jazz albums of 2011. ~ Greg Simmons https://www.allaboutjazz.com/convergence-jerry-bergonzi-savant-records-review-by-greg-simmons.php

Personnel: Jerry Bergonzi: tenor and soprano saxophones; Bruce Barth; piano (1,3 9); David Santoro: bass; Andrea Michelutti: drums.

Convergence

---

Scott Wendholt - Through the Shadows

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 54:10
Size: 125,0 MB
Art: Front

(8:04)  1. Through the Shadows
(7:57)  2. Hour of the Pearl
(5:05)  3. Kaleidoscope
(5:33)  4. You Know I Care
(7:36)  5. Totem
(6:23)  6. Beatrice
(7:26)  7. Awaiting Spring
(6:01)  8. Just In Time

On trumpeter Scott Wendholt's second recording as a leader he has gathered together a group of his better-known peers  tenor saxophonist Don Braden, pianist Bruce Barth, bassist Ira Coleman, and drummer Billy Drummond  to perform five post-bop originals, two jazz classics, and one standard. In addition to proving himself an under-recognized talent on his chosen instrument, Wendholt displays promise as a composer, having written some challenging material for this recording. The title track begins as a ballad with the melody played by Braden on flute and Wendholt on muted trumpet that, after a brief drum interlude, begins a new melody played by trumpet and tenor sax over a driving Afro-Latin groove. 

"Hour of the Pearl" opens with a piano intro that segues into a relaxed swinger, while "Kaleidoscope" is a burning blues with a lightning-quick melody. Other favorites include a swinging version of Sam Rivers' "Beatrice" that features Wendholt's muted trumpet and a up-tempo, pianoless version of the standard "Just in Time." Drummond's drumset versatility stands out throughout this recording, showing why he is one of the busiest musicians on the jazz scene. Through the Shadows is a positive step in the development of this fine musician. ~ Greg Turner https://www.allmusic.com/album/through-the-shadows-mw0000613204

Personnel:  Trumpet – Scott Wendholt;  Bass – Ira Coleman;  Drums – Billy Drummond; Piano – Bruce Barth;  Tenor Saxophone, Flute – Don Braden

Through the Shadows

---

Bruce Barth - Somehow It's True

Bitrate: MP3@320K/s
Time: 57:31
Size: 131.7 MB
Styles: Bop, Piano jazz
Year: 2000
Art: Front

[ 0:34] 1. Criss Cross
[10:06] 2. Tom Tom Thing
[ 7:45] 3. Estate
[ 5:15] 4. Somehow It's True
[ 5:59] 5. Solitude
[ 0:32] 6. Criss Cross
[ 9:17] 7. Triste
[ 6:47] 8. Light Blue
[ 0:34] 9. Criss Cross
[ 6:16] 10. We See
[ 1:32] 11. Solitude
[ 2:50] 12. Criss Cross

Bruce Barth's third Double-Time release features Terell Stafford on trumpet and flugel, Adam Kolker on tenor and soprano sax (and alto clarinet), Ugonna Okegwo on bass, Duduka DaFonseca on percussion, and Billy Hart on drums. In a rather ingenious move, Barth intersperses three 30-second solo piano takes of Monk's "Criss Cross" throughout the program, finally giving us a nearly full-length take as the finale. Furthering the Monk theme, he also offers a trio rendition of "We See" and a full-band version of "Light Blue." Two standard bossas also appear: a mellow trio reading of "Estate" and a lively take on Jobim's "Triste" in seven. There are only three Barth originals, but they range widely, from the 6/8 modal fury of "Tom Tom Thing" to the melodic solo piano feature "Somehow It's True" to the quasi-free-form "Solitude," the last of which is reprised toward the end of the program. The consistently stellar playing and the uncommon conceptual moves make this one of Barth's most refreshing efforts to date. ~David R. Adler

Somehow It's True mc
Somehow It's True zippy

---

Terell Stafford - Brotherlee Love

Bitrate: MP3@320K/s
Time: 75:54
Size: 173.7 MB
Styles: Trumpet jazz
Year: 2015
Art: Front

[ 8:06] 1. Hocus Pocus
[ 7:23] 2. Mr. Kenyatta
[ 8:52] 3. Petty Larceny
[ 8:57] 4. Candy
[ 7:28] 5. Yes I Can, No You Can't
[12:26] 6. Favor
[ 6:43] 7. Stop Start
[ 6:14] 8. Carolyn
[ 9:40] 9. Speedball

Terell Stafford: trumpet; Tim Warfield: saxophone; Bruce Barth: piano; Peter Washington: bass; Dana Hall: drums.

Over the past several decades, trumpeter Terell Stafford has built a solid reputation based on the fact that he is a thoroughly accomplished musician who has been heard in the bands of Bobby Watson, Matt Wilson, The Clayton Brothers, and Dana Hall. Although he has digested the complete history of the jazz trumpet cannon, Stafford remains his own man with a style and approach that is squarely his own. This fact is important because in endeavoring to pay tribute to the iconic Lee Morgan, Stafford does not merely copy. He honors Morgan's legacy while speaking in his own voice.

Stafford has assembled a varied and sagacious collection of numbers clearly associated with Morgan. He makes these pieces his own not by grafting on new structures or dramatically altering the forms. Instead, the trumpeter uses the inspiration of these classics to deliver his own stories. From out of the gate, "Hocus Pocus" announces that the fiery personality of Morgan himself is injected in Stafford's own approach to the material.

The original "Mr. Kenyatta" comes on more like a boogaloo than this new version. Stafford puts more of a bossa groove onto the number. Tenor saxophonist Tim Warfield speaks with authority and full-bodied tone, his sinewy closing line then picked up by Stafford to launch his own solo. Bruce Barth barrels along nicely with some two-fisted runs. "Petty Larceny," which Art Blakey fired up to perfection on his own The Freedom Rider LP, also seems more cooled out here, although Stafford worries a six-note phrase in the best Morgan tradition. While Morgan offered "Candy" as a medium tempo swinger on his LP of the same name, Stafford goes for more of a ballad like approach. Drummer Dana Hall sits out on this one, while Peter Washington submits a wonderfully melodic solo. The bassist also updates the funky "Yes I Can, No You Can't" in a way that inspires Barth to one of his best statements on the disc. The lengthiest cut of the set, "Favor" is a waltz time original by Stafford that really shows how the use of dynamics can give added texture and depth to any performance. Often today's music comes across at a single, continuous sound level. The fact that Stafford and crew are thinking about the nuances of live performance as it transfers to a recording are further signs of their maturity.

Rounding out the set, Stafford goes deep for the ballad "Carolyn." Both "Stop Start" and "Speedball" put Warfield in the spotlight, reminding us how much of a hard bop master we have in this tough tenor. Hall gets his say on the former, where his solo is bolstered by some fancy bass drum footwork. Tastefully produced by John Clayton, Brotherlee Love shows how it's done when it comes to assembling a musical homage. ~C. Andrew Hovan

Brotherlee Love mc
Brotherlee Love zippy

---

Steve Davis - The Jaunt

Styles: Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 69:09
Size: 160,6 MB
Art: Front

(7:30)  1. Blues For Ant-Man
(7:33)  2. Angel Eyes
(7:19)  3. Nobody Knows The Trouble I've Seen
(7:45)  4. The Jaunt
(8:53)  5. J Mac's Dream
(7:27)  6. I Didn't Know What Time It Was
(7:27)  7. Little Dreams
(5:28)  8. 26-2
(9:43)  9. The King Is The Man Who Can

Trombonist Steve Davis, who was 28 at the time of this recording, makes his debut as a leader on The Jaunt. A veteran of both Art Blakey & the Jazz Messengers and Jackie McLean's sextet, Davis has a hard bop style reminiscent of Curtis Fuller and J.J. Johnson. He swings throughout this excellent quintet/sextet session, which also features tenor saxophonist Eric Alexander, pianist Bruce Barth, bassist Ugonna Okegwo, drummer Eric McPherson, and (on three of the nine numbers) altoist Mike DiRubbo. Davis and Alexander in particular work together quite well, performing four originals by the leader (including the title cut), Curtis Fuller's "Little Dreams," John Coltrane's "26-2," "Angel Eyes," "Nobody Knows the Trouble I've Seen," and "I Didn't Know What Time It Was." The music is often very much in the Jazz Messengers' vein and the hard boppish solos are quite creative and generally colorful. An excellent debut for Steve Davis. ~ Scott Yanow https://www.allmusic.com/album/the-jaunt-mw0000648368 

Steve Davis Quintet: Steve Davis (trombone); Eric Alexander (tenor saxophone); Bruce Barth (piano); Ugonna Okegwo (bass); Eric McPherson (drums).

The Jaunt

---

Bruce Barth Quartet - Where Eagles Fly

Bitrate: MP3@320K/s
Time: 58:16
Size: 133.4 MB
Styles: Post bop, Piano jazz
Year: 1999
Art: Front

[ 5:59] 1. Identity Crisis
[ 6:33] 2. San Francisco Holiday
[ 5:13] 3. Secret Name
[ 5:23] 4. Autum Leaves
[12:00] 5. Where Eagles Fly
[ 3:59] 6. For Mercedes
[ 7:19] 7. Transparency
[ 7:25] 8. 3 More Minors
[ 4:21] 9. You've Changed

Bass – Pat O'Leary; Drums – Adam Cruz; Piano – Bruce Barth; Soprano Saxophone – Sam Newsome. Recorded November 9,1998 At Moraleda Studios,Barcelona.

Bruce Barth, born September 7, 1958 in Pasadena, California, is a jazz pianist. He has played the piano since the age of five. Barth's career had included major work with ensembles, as well as solo work. He has recorded on the Enja, Fresh Sound, and MAXJAZZ labels.

Where Eagles Fly mc
Where Eagles Fly zippy

---

Jackie Messina - Necessary Arrangements

Bitrate: MP3@320K/s
Time: 54:25
Size: 124.6 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[3:38] 1. Inchworm
[4:12] 2. I Feel Pretty
[3:38] 3. Easy Street
[4:47] 4. Wild Is The Wind
[4:34] 5. Quiet Now
[4:19] 6. Little B's Poem
[3:46] 7. Surrey Wtih A Fringe On Top
[4:27] 8. I Believe In You
[4:17] 9. I'm A Fool To Want You
[4:25] 10. Baltimore Oriole
[4:46] 11. Alfie
[4:02] 12. Slow, Hot Wind
[3:27] 13. Show Me

Original arrangements breathe new life into an unusual choice of jazz standards sung with charm, wit, and authenticity. Vibrant solos by Bruce Barth, piano, Will Galison, harmonica, Paul Beaudry and Ed Howard, bass.

Jackie Messina breezes her way through thirteen songbook gems with sexy panache and a wink in her eye. Her tasteful re-imaginings of the melodies we know and love are both logical and magical. Backed by a stellar ensemble, Jackie swings lightly inside smart arrangements that perfectly highlight each story as well as her lovely voice. ~ Amy London

Necessary Arrangements mc
Necessary Arrangements zippy

---

Bruce Barth - East & West

Bitrate: MP3@320K/s
Time: 58:46
Size: 134.5 MB
Styles: Piano jazz
Year: 2001
Art: Front

[6:19] 1. At The Ranch
[5:42] 2. I'm Old Fashioned
[5:17] 3. Riding Off..
[6:37] 4. Sundown Time
[7:04] 5. The Lexter
[3:51] 6. Ask Me Now
[5:30] 7. The Dude
[7:48] 8. A Joyful Noise (For Jw)
[4:00] 9. My Shining Hour
[6:33] 10. Let's Call This

Alto Saxophone, Soprano Saxophone, Clarinet – Steve Wilson; Bass – Ugonna Okegwo; Drums – Al Foster; Piano, Producer – Bruce Barth; Soprano Saxophone – Sam Newsome; Tenor Saxophone, Bass Clarinet – Adam Kolker; Trumpet, Flugelhorn – Terell Stafford. Recorded December 3-4, 2000.

Pianist Bruce Barth is a producer for MAXJAZZ. He has been instrumental in producing the highly successful Vocal Series for the label. He now steps halfway out of the sound booth and gets behind his piano to produce, with the help of an all-star cast, jazz of great complexity, thoughtfulness and sensitivity. I don't know if Mr. Barth is doing anything different, but the refinement in this music seems to elevate it to a level somewhere well-beyond what usually crosses my desk. That is saying a lot because I have listened to precious little bad music.

Barth's compositions have an old time feel while remaining strictly contemporary. "At The Ranch" evokes a "Hot Fives and Sevens" temperament in the head and middle Miles feel in the solos. This duplex philosophy is further explored in the standards "I'm Old Fashioned" and "My Shining Hour". The disc is saxophone heavy, with all but the baritone represented. Adam Kolker, who spends most of his time in the tenor chair, pulls out the bass clarinet to provide a Harry Carney/Eric Dolphy ambience. Likewise soprano saxophonist Sam Newsome adds a Coltrane flair to the whole affair. Newcomer Terell Stafford, hot off his recent Nagel Heyer release Fields of Gold proves why he is the new next-best-thing-to-sliced-bread. ~C. Michael Bailey

East & West mc
East & West zippy

---

Scott Wendholt - From Now On

Styles: Trumpet Jazz
Year: 1996
File: MP3@256K/s
Time: 66:25
Size: 122,7 MB
Art: Front

(4:45)  1. From Now on...
(6:54)  2. Magnolia Tones
(8:55)  3. Solar
(9:02)  4. In a Sentimental Mood
(6:35)  5. At the Falls
(8:24)  6. Times Past
(5:54)  7. Dear Old Stockholm
(8:33)  8. Promise
(7:17)  9. I Remember You

Trombonist Steve Armour appears on From Now On… Scott Wendholt Quartet/Sextet [1123] and he made these observations about Scott in the liner notes to the recording:  “ …, I believe that the closer an artists gets to artistic success not financial or critical success of their art as a commodity, but success in creating the artistic statement he or she envisions the more their art will reflect who they are as people. In his life and in his art Scott carries always an athletic grace and confidence, a certain surety of step and of motion. There is a straightforward clarity and honesty reflected in his demeanor, refreshingly free of the back-slapping, toothy-grinned veneer of so many Jazz status-seekers, as well as in his music.” From any number of perspectives, then, getting more familiar with the music of Scott Wendholt is a gratifying experience. As a step in that direction, a viewing of the following video will bring you closer to it as on it Scott renders a striking version of Mal Waldron’s Soul Eyes with Vincent Herring on alto saxophone, Kevin Hays on piano, Dwayne Burno on bass and Bill Drummond on drums. The track is from Scott’s The Scheme of Things Criss Cross CD [1078].

Personnel: Trumpet – Scott Wendholt;  Alto Saxophone – Steve Wilson;  Bass – Larry Grenadier;  Drums – Billy Drummond;  Piano – Bruce Barth;  Tenor Saxophone, Soprano Saxophone – Tim Ries (tracks: 3, 4, 7. 9);  Trombone – Steve Armour.

From Now On

---

Terell Stafford Quintet - Taking Chances: Live at the Dakota

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 77:15
Size: 177,3 MB
Art: Front

( 7:35)  1. A Nick Off the Mark
( 8:51)  2. Pegasus
(11:20)  3. Taking a Chance on Love
(10:37)  4. Jesus Loves Me
(11:12)  5. Blues for J.T.
( 8:17)  6. Old Folks
( 8:05)  7. Paper Trial
(11:16)  8. Shake It for Me

With his rich trumpet tone and delicate manner, Terell Stafford brought his quintet into Minneapolis' Dakota Bar and Grill in June, 2005 for this well-received concert performance. They got the sound just right, and the musicians provided their audience with an unforgettable experience. Stafford plays it cool. He's got no axe to grind, no pretense of machismo to blast forth, and no reason to imitate the newest tricks on the block. He's a conservative. The trumpeter has the chops to do whatever he wants to, but he prefers to keep it simple with this recommended album. Genuine melody and a pious desire for all things lyrical keep Stafford and his quintet on track for a timeless look at the beauty of jazz from the inside. Tradition, a love of the familiar, and a bit of the original give the trumpeter's program plenty of variety. He caresses a mellow ballad with the same sensuous manner that he employs on up-tempo romps. Surprisingly, he takes "Jesus Loves Me to heart with an outside approach that lights creative fires along the way. Stafford's bright trumpet picks this one up a few notches as he explores the potential of passion. It's a veritable suite of changing moods that puts everyone to work on a challenge. As is usually the case, audience reaction seems to push the quintet even harder. Blues for J.T. finds the band scoring high marks for its powerful groove and magnetic pull. Here, Stafford shows his best side as he loosens up and pours it out naturally. If ever there was a genuine guy, this is the one. He reaches deep down inside and comes up with a blues to move you soundly. The trumpeter's warm, golden sound resonates like magic. It's the kind of balm that brings warmth to the soul. The album certainly has its hot spots, and working a place like the Dakota Bar and Grill can do that for you. Glad to see such success for such a deserving artist and his quintet. Jim Santella https://www.allaboutjazz.com/taking-chances-live-at-the-dakota-terell-stafford-maxjazz-review-by-jim-santella.php

Personnel: Terell Stafford: trumpet; Tim Warfield: tenor and soprano saxophones; Bruce Barth: piano; Derrick Hodge: bass; Dana Hall: drums.

Taking Chances: Live at the Dakota

---