Vanessa Rubin - The Dream Is You: Vanessa Rubin Sings Tadd Dameron

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 55:40
Size: 128,5 MB
Art: Front

(7:42)  1. Lady Bird
(2:34)  2. Kitchenette Across the Hall
(7:10)  3. If You Could See Me Now
(3:34)  4. Weekend
(4:17)  5. On a Misty Night
(4:04)  6. Never Been in Love
(5:18)  7. Next Time Around
(3:05)  8. Good Bait
(3:51)  9. Reveries Do Come True (The Dream Is You)
(5:07) 10. Whatever Possessed Me
(5:29) 11. You're a Joy
(3:23) 12. I Think I'll Go Away

Tadd Dameron is regarded as the great romantic of bebop-era jazz composers, a writer with a talent for creating smooth, memorable melodies that could evoke real emotion. Most of his works are known mainly as instrumentals but Vanessa Rubin has compiled lyrics written for some of his tunes, had new lyrics written for others and even provided words to one herself. This recording of her efforts is, surprisingly, the first ever all-vocal set of Tadd Dameron's music.  Rubin's singing is classy throughout, with hints of the subtle swing of Carmen McRae. She benefits from the backing of an eight-piece band playing charts by several of Dameron's friends and disciples, Frank Foster, Benny Golson, Jimmy Heath, Willie Smith and Bobby Watson. There are several familiar pieces like "Lady Bird" and "On A Misty Night" on hand, all played with swinging assurance. Willie Smith's version of "Good Bait," in particular, comes off breezily hip with the horns tightly arranged to sound like a much larger band. Benny Golson gives the classic ballad "If You Could See Me Now" an elegant arrangement, with the reeds and piano flowing gently behind Rubin's velvety voice, and Eddie Allen and Clifton Anderson taking pretty solo turns.  Lesser-known compositions are treated with the same care and style as the familiar ones. "Never Been In Love" is an elegant Latin-flavored ballad given a smoky, romantic sheen in Bobby Watson's arrangement, while "Weekend" is a swirling waltz sporting a brassy horn arrangement by Frank Foster not too far from some of the arranging on Dameron's own recordings. "You're A Joy" is a lush ballad with an unidentified flautist fluttering through the ensemble, and "Whatever Possessed Me" may be the single most beautiful track on the CD, thanks to Rubin's angelic singing and the swooning horns in Jimmy Heath's arrangement. Alex Harding's baritone is a secret weapon of this and many other tracks in the way his sax wraps around the horn ensembles like smoke, giving them a lush gravity. On the ballads "Reveries Do Come True," a romantic tango with Rubin's own lyrics, and "Next Time Around," a vocal version of "Soultrane," the horns lay out and Rubin is backed only by the rhythm section. John Cowherd's piano, Kenny Davis' bass and Carl Allen's drums all shine on these tracks with Cowherd's touch on "Next Time Around" being particularly lovely. Tadd Dameron is something of a neglected figure today but this set reminds us of the beauty and depth of his music, and shows how well it adapts to vocal treatments. It is also a reminder of how good a singer Vanessa Rubin is. ~ JEROME WILSON https://www.allaboutjazz.com/the-dream-is-you-vanessa-rubin-sings-tadd-dameron-vanessa-rubin-nibur-records-review-by-jerome-wilson.php

Personnel: Vanessa K. Rubin: vocals; John Cowherd; piano; Kenny Davis: bass; Carl Allen: drums; Eddie Allen: trumpet; Patience Higgins: tenor saxophone; Bruce Williams: alto saxophone; Clifton Anderson: trombone; Alex Harding: baritone saxophone.

The Dream Is You: Vanessa Rubin Sings Tadd Dameron

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Ron Jackson - Flubby Dubby

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 61:54
Size: 143,0 MB
Art: Front

(7:11)  1. One for Melvin
(6:04)  2. The Look of You
(7:02)  3. The Long and Winding Road
(7:48)  4. Flubby Dubby
(7:49)  5. Love Ballad
(6:29)  6. Stars Fell On Alabama
(6:41)  7. Technophile
(7:13)  8. A Calypso Party
(5:33)  9. Get In the Country

New York-based urban guitarist Ron Jackson blends his soulful jazz sound with elements of R&B, funk and even a touch of the Caribbean mood on Flubby Dubby, his sixth album as leader. Leading his classic organ trio, also featuring organist Kyle Koeler and drummer Otis Brown III, the album was recorded live at Cecil's Jazz Club in West Orange, New Jersey, with alto saxophonist Bruce Williams and tenor luminary Don Braden augmenting the band on "The Long And Winding Road" and "Love Ballad." Guitarist Melvin Sparks, part of the burgeoning soul-jazz scene of the late '60s and early '70s, was a friend and mentor to Jackson, producing this date before passing away in March, 2011. The opening "One for Melvin," a swinging bluesy shuffle, serves as a moving dedication to a major influence in the guitarist's development. The swing continues on the grooving "The Look of You," with the trio taking turns soloing on the set's liveliest track. The Lennon/McCartney pop classic "The Long And Winding Road," travels in a different direction, pushed along by a new arrangement featuring Braden and Williams, who jazz up the music by laying down a saxophone background not normally associated with this piece.

The funk comes to life on the title track, recalling instrumental dance songs of James Brown's band with funk saxophonist Maceo Parker. Jackson provides another new arrangement to the R&B classic "Love Ballad," featuring delicious solos from the two guest saxophonists, to roaring applause from the audience. The guitarist himself is no slouch, peeling off one dynamic riff after another, leaving no doubt who's in charge. Serving as the set's gentle piece, "Stars Fell On Alabama" enters calmly and stays there, riding soft chords from the guitarist with warm organ phrasings shoring up the ballad. "A Calypso Party" suggests the music from a party on a cruise ship to the Islands, while the finale, "Get In The Country," ends the date on a funkier note. ~ Edward Blanco https://www.allaboutjazz.com/flubby-dubby-ron-jackson-self-produced-review-by-edward-blanco.php

Personnel: Ron Jackson: guitar; Kyle Koeler: Hammaond B-3 organ; Otis Brown III: drums; Don Braden: tenor saxophone (3, 5); Bruce Williams: alto saxophone (3, 5).

Flubby Dubby

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Russell Gunn - Smokin Gunn

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 56:49
Size: 130,6 MB
Art: Front

( 3:43)  1. (From the Freedom Suite) The Paris Masses Begin / the San Domingo Masse
( 4:24)  2. Amnesia
( 5:01)  3. El's Kitchen
( 7:49)  4. Groid
( 5:26)  5. Yvette
( 8:59)  6. Memory of Waterford
( 8:12)  7. The Beeach
( 2:51)  8. Delfeayo's Dilemma
(10:21)  9. Crescent

Following 1999's hip-hop/jazz foray Ethnomusicology, Vol. 1, trumpeter Russell Gunn returns to straight-ahead jazz on Smokin Gunn, where he's joined by altoist Bruce Williams, pianist Marc Cary, bassist Eric Revis, and drummer Terreon Gully. Compositionally, there's a distinct flavor of early Wynton Marsalis in Gunn's originals. One hears the influence of the elder trumpeter in the bashing, blistering tempo of "Groid," the modal changes of "Amnesia," and "The Beeach," and the odd phrase lengths of "El's Kitchen." Gunn even pays direct tribute to Marsalis with a brief trio rendition of "Delfeayo's Dilemma," a track off of Black Codes (From the Underground). The presence of Eric Revis, Branford Marsalis's bassist of choice at the time of this recording, makes the Marsalis connection even stronger. Gunn opens and closes the album with bold strokes, beginning with excerpts from his "Freedom Suite" (not to be confused with Sonny Rollins's) and ending with the Coltrane masterpiece "Crescent." (It's particularly refreshing to hear a trumpeter tackle something so closely identified with a tenor player.) But Smokin Gunn, despite its many highlights, falls short of being a major individual statement. That said, it's a very good way to encounter the hard-edged and inventive piano playing of Marc Cary. And anything with Terreon Gully at the drums is bound to swing like crazy. ~ David R.Adler https://www.allmusic.com/album/smokingunn-mw0000066429

Personnel: Russell Gunn (trumpet); Bruce Williams (alto saxophone); Marc Cary (piano); Eric Revis (bass); Terreon Gully (drums).

Smokin Gunn

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Russell Gunn - Ethnomusicology Vol 1

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 55:35
Size: 128,9 MB
Art: Front

(4:25)  1. 74 Miles Away - Intro
(7:55)  2. Shiva
(7:52)  3. Sybil's Blues
(0:24)  4. Dj Apollo Interlude
(6:41)  5. Woody 1 : On The New Ark
(7:06)  6. The Blackwidow Blues
(6:02)  7. Doll
(6:44)  8. Folkz
(1:04)  9. Andre Heyward Interlude
(7:17) 10. Mr Hurt

Few attempts at a jazz and hip hop union have ever been successful or satisfying. Maybe it's one school's inability to understand the other or the problematic potential of getting two such different audiences in the same room. But, somehow, the maverick 28-year-old trumpeter Russell Gunn has made it work with Ethnomusicology, one of the finest and most original jazz documents to come along in some time. On this, his first Atlantic set, Gunn departs distinctively from his previous Muse and High Note releases, coupling his protean roar with hard-funk rhythms, electric instrumentation and even DJ Apollo's turntables. Most startling of all, though, is how traditional and timeless it all sounds: like jazz modes and bop phrasing filtered through r & b rhythms and hip hop stylization (mercifully not the reverse, which ruins any good attempt). But consider that Gunn's résumé includes contributions to both Wynton Marsalis's opera Blood on The Fields and the funk of brother Branford's diametrically opposed Buckshot LeFonque. And while he's held court (and his own) with legends like James Moody and Jimmy Heath, Gunn grew up idolizing L.L. Cool J and has gone on to record hits with Maxwell and Lou Reed. So nothing about Ethnomusicology should surprise. Still, it does. It's thoroughly invigorating and inviting. Consistently, throughout, Gunn explores the jazz tradition with insight and reverence and through his masterful delivery comes up with something that has plenty of street credibility too.

Appropriately, Gunn introduces his concept with Joe Zawinul's "74 Miles Away" (originally performed by Cannonball Adderley, who, with Woody Shaw, seems to steer Gunn's jazz approach here). Replete with a P-Funk-style helium sermonette ("all that's required is an open mind and two ears"), "74 Miles Away" is especially notable for a delicious taste of the trumpeter's ever elegant phrasing. It is Gunn's gift for melody which is often most memorable as the beats rescind or disappear altogether, as on the lovely and hit-worthy ballad "Doll," a feature for Gunn's flugelhorn and Special EFX-man Chieli Minucci's guitar.

But it is the muscular rhythms and aggressive funk that most dominate Ethnomusicology. Sample the relentless ostinatos of the modal "Folkz" or the Indian drone of "Shiva," both fine features for the commanding horns of Gregory Tardy, Bruce Williams and Andre Heyward. Gunn's conceptions reach sonic perfection in no small measure to the awesome powers of his like-minded rhythm section: James Hurt on piano, Rodney Jordan on bass and, most especially, the diversely imaginative drummer Woody Williams. They are especially noteworthy on the disc's best tracks: the razor-sharp Cannonball funk of "Sybil's Blues" (featuring a brief chat on the blues from, of all people, Wynton Marsalis!), the surprisingly straight-forward yet danceable (!) cover of Woody Shaw's "Woody 1: On The New Ark" (from Shaw's neglected 1979 masterwork, Woody III ) and Branford Marsalis's "The Blackwidow Blues," beautiful bop that would make Art Blakey proud (even as it samples Jeru the Damaja's "Da Bichez"!). Having just noticed all the exclamations used above, it's worth noting that Ethnomusicology is brimming with such arresting punctuation. Gunn may have been intending dancefloor fluff or, more likely, an electric redux on straight-ahead jazz. But he's crafted something more substantial that might actually serve to bridge the gap between the old and the new as we transition into jazz's second century. Ethnomusicology is quite an achievement. ~ Douglas Payne https://www.allaboutjazz.com/ethnomusicology-volume-1-russell-gunn-atlantic-jazz-review-by-douglas-payne.php

Players: Russell Gunn: trumpet, flugelhorn, organ bass, Vox, Human Beatbox, tambourine; Gregory Tardy: tenor sax, flute, bass clarinet; Bruce Williams: alto sax, e flat clarinet, cowbell; Andre Heyward: trombone; Chieli Minucci: guitar; James Hurt: piano, Fender Rhodes, organ; Rodney Jordan: bass; Woody Williams: drums; Khalil Kwame Bell: percussion; DJ Apollo: turntables.

Ethnomusicology  Vol 1

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Cecil Brooks III - For Those Who Love to Groove

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 67:10
Size: 154,7 MB
Art: Front

(4:06)  1. Get Lonely
(5:43)  2. Mother And Child
(4:53)  3. Stay One Step Ahead
(4:03)  4. Browne James
(3:31)  5. Sweet Summer Breeze
(5:06)  6. Can We Talk
(7:11)  7. Lakumbe's Theme
(6:06)  8. Adreena
(4:32)  9. Swamp Run
(4:19) 10. Yvette
(6:35) 11. Hill District
(2:32) 12. Body And Soul
(2:20) 13. I Gan't Get Started
(2:53) 14. Tenderly
(3:14) 15. Sanj's Smoke Shop

On drummer Cecil Brooks III's Savant debut he is joined by tenor saxophonist Don Braden, alto saxophonist Bruce Williams, trumpeter Riley Mullins, and organist Radam Schwartz to perform ten originals by the group members, two pop songs, and a ballad medley. While Brooks is a modern hard bop drummmer in the tradition of Art Blakey, he chooses to stay in the background for most of this recording, while Schwartz plays strong basslines that are essential to creating the groove that is this recording's focus. Favorites include the soulful finger poppin' grooves of "I Get Lonely," a pop hit for Janet Jackson; "Can We Talk," a pop hit for Tevin Campbell; the exotic grooves of "Browne James" and "Lakumbe's Theme"; and the up-tempo burning grooves of "Swamp Run" and "Hill District." This is different from the bop, blues, and ballads that most organ-based groups play, which makes it an enjoyable listening experience. ~ Greg Turner https://www.allmusic.com/album/for-those-who-love-to-groove-mw0000251490

Personnel: Cecil Brooks III (drums); Bruce Williams (alto saxophone); Don Braden (tenor saxophone); Riley Mullins (trumpet); Radam Schwartz (organ)

For Those Who Love to Groove

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Bruce Williams - Private Thoughts

Size: 135,2 MB
Time: 58:05
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Mata Leon (4:24)
02. Private Thoughts (5:03)
03. Premonitions (4:36)
04. Forever Asking Why (5:03)
05. Old Forester (5:41)
06. Last Visit In The Mirror (3:50)
07. The Void (6:01)
08. The Price We Pay For Peace (7:02)
09. I Still Carry On (6:07)
10. View Through A Street (6:23)
11. Past Tense (3:49)

Williams' fourth recording as a leader is his first featuring solely original music. The Bard College and Juilliard Jazz professor has graced the horn sections of The World Saxophone Quartet, as well as groups led by Stanley Cowell and the like. On Private Thoughts, Bruce Williams asserts himself as a stirring composer and triumphantly underscores the emotion, and acceptance of life's fragility. Bruce Williams: alto & soprano saxophone, Josh Evans: trumpet, Frederick Hendrix: trumpet & flugelhorn, Brad Williams: guitar, Brandon McCune: piano, Alan Palmer: piano, Chris Berger: bass, Vincent Ector & Chris Beck: drums.

Private Thoughts

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