Willie Jones III - My Point Is...

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 53:55
Size: 127,7 MB
Art: Front

(6:43)  1. Manhattan Melodies
(7:47)  2. The Wind Of An Immortal Soul
(5:31)  3. Christina
(8:45)  4. My Point Is
(7:18)  5. The Maze
(5:43)  6. Early Morning
(4:30)  7. Peace
(7:34)  8. Blues For Dat Taz

Over the years, the name of Willie Jones III has really become one that makes us want to stop and check out a record and this time around, not only does the set feature Jones' name on the front but the quintet also includes great performances from Ralph Moore on tenor, Eddie Henderson on trumpet, Eric Reed on piano, and Buster Williams on bass! With a lineup like that, Reed just can't miss and the record takes us back to the kind of instant classics we were hearing from Henderson, Moore, and Reed twenty years back but given that sort of special vision that makes Willie both a great drummer and leader, one who's evolving into a one-man powerhouse of jazz given that he also produces and releases his records himself. And yet there's nothing smalltime about this set especially with Henderson and Moore in the lead, the latter of whom is always a treat to our ears. Titles include "Manhattan Melodies", "My Point Is", "The Wind Of An Immortal Soul", "The Maze", "Blues For Dat Taz", and "Early Morning".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/859299/Willie-Jones-III:My-Point-Is

Personnel:  Willie Jomes III, drums;  Eric Reed, piano;  Buster Williams, bass;  Eddie Henderson, trumpet;  Ralph Moore, tenor sax

My Point Is...

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Steve Turre - Sanyas

Styles: Trombone Jazz
Size: 114,0 MB
Time: 49:14
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Sanyas (13:18)
2. All the Things You Are (10:21)
3. Wishful Thinking ( 9:15)
4. Mr. Kenyatta ( 9:52)
5. These Foolish Things ( 6:24)

Trombonist and conch shell blower Steve Turre (who appears with a quintet at the Jazz Showcase from June 20 th through the 24 th ) has been called by allmusic.com “perhaps the most visible jazz trombonist of the 20 th and 21 st centuries.” Whether the website is referring to his recognizable facial hair features or his commanding stage presence, Turre has certainly crafted his own niche within the jazz world. Ever since his breakthrough album "Rhythm Within" in 1995, Turre has attracted fans worldwide with his deft mix of Latin and Eastern-infused compositions and interpretations, as well as his steady post bop chops.

But live material wasn’t part of his catalogue as a leader until recently, when "Sanyas" was released on Smoke Sessions Records. On this initial live release, one receives all the representations of Turre’s work, from straight-ahead bop to those exotic takes that flow through one’s soul. As a live recording, "Sanyas" is either too short at just over 49 minutes or refreshingly short, without any fluff or pretentious jamming.

What we get is a tidy and masterful display involving veteran musicians who have played with Turre before and are very comfortable with his music. As on Turre’s last album, "Generations" (Smoke Sessions), the cast of performers includes a septet consisting of Turre, Nicholas Payton on trumpet, Ron Blake on tenor sax, Isaiah J. Thompson on piano, Buster Williams on bass, and Lenny White on drums.

The album begins with the title cut, a composition first heard when Turre played with a key mentor, the late trumpet hero Woody Shaw. On this effort, the modal jazz stew opens with a horn cacophony that leads to a Williams a la Paul Chambers intro that sets up a repeating piano chord riff from Thompson, over which an Eastern-tinged horn line expresses the song. Turre’s punchy solo, aggressively accompanied by White, is answered by Blake’s deeply-textured response before Turre finishes with a shell coda.

“All the Things You Are” receives a quasi-big band swing treatment, and the horns deliver big time. Blake’s solo is a treat and Payton, who seems to have reclaimed his own bop chops, adds a spirited and crystal clear comment. The group’s interplay here is impressive, bolstered by Williams’ sturdy presence, Thompson’s stately riffing and soloing, and White’s energetic support.

A new ballad, “Wishful Thinking,” demonstrates Turre’s more lyrical side, with a tastefully restrained partner in Payton. Then Lee Morgan’s “Mr. Kenyatta” properly returns the ensemble back into exotic rhythm, with another conch shell solo added.

The CD/digital “bonus track” is “These Foolish Things,” which is rendered in soft swing, with Turre in plunger mode atop Williams’ lilting bass lines; Buster is, as usual, brilliant throughout the album.

"Sanyas" thus ends, leaving this listener with a craving for more. If you hear this album before Steve Turre, the continuously enticing trombonist, visits Chicago, you might start planning a visit to the Showcase to see and hear the consummate pro in action. If you can’t, this relatively brief but well-performed excursion can serve as a replacement for the time being.By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-steve-turre-sanyas-by-jeff-cebulski

Personnel: Steve Turre, trombone and conch; Nicholas Payton, trumpet; Ron Blake, tenor saxophone; Isaiah J. Thompson, piano; Buster Williams, bass; Lenny White, drums.

Sanyas

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Harold Land - The Peace-Maker

Styles: Saxophone And Flute Jazz
Year: 2006
File: MP3@320K/s
Time: 35:32
Size: 81,5 MB
Art: Front

(5:11)  1. The Peace-Maker
(3:37)  2. Stylin'
(4:51)  3. 40 Love
(3:40)  4. Angel Dance
(4:12)  5. Timetable
(3:26)  6. Imagine
(5:33)  7. The Aquarian
(4:58)  8. One for Nini

The first pairing of tenor saxophonist Harold Land and vibist Bobby Hutcherson crackles with the energy and joy of collaboration. Each spurs the other to new zeniths of creativity and craft, yielding one of the finest if little-known jazz LPs of its era. The Peace-Maker is a particularly apt title. The record's serene, supple contours glow with a lyricism that eschews the angularity of bop. Land's graceful sax melds perfectly with Hutcherson's warm, shimmering vibes to create a deeply soulful, even divine sound. His original compositions are no less thoughtful, galvanized by a yearning for harmony that embraces all senses of the term. ~ Jason Ankeny https://www.allmusic.com/album/the-peace-maker-mw0001881640

Personnel: Harold Land - tenor saxophone, flute; Bobby Hutcherson - vibraphone;  Joe Sample - piano;  Buster Williams - bass;  Donald Bailey - drums  

The Peace-Maker

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Terri Lyne Carrington - TLC & Friends

Styles: Straight-Ahead Jazz, Post Bop
Year: 1981/2023
File: MP3@320K/s
Time: 37:36
Size: 86,7 MB
Art: Front

(6:21) 1. What is This Thing Called Love
(5:31) 2. La Bonita
(5:49) 3. Seven Steps to Heaven
(7:17) 4. St. Thomas
(6:59) 5. Just the Way You Are
(5:37) 6. Sonnymoon For Two

Four-time Grammy-winner, NEA Jazz Master, composer, activist, and educator Terri Lyne Carrington’s remarkable debut album, recorded in October 1981 when she was just 16 years old, provides a rare glimpse into the early talents of this extraordinary multi-faceted artist.

Carrington’s very first session, TLC & Friends features an epic and enviable lineup of collaborators, including Kenny Barron on piano, George Coleman on saxophone, and Buster Williams on bass. Her father Sonny Carrington also contributes saxophone to the Sonny Rollins classic “Sonnymoon for Two.”

The album masterfully showcases Carrington's artistry as a drummer and composer, highlighted by the standout original track "La Bonita, a refreshing interpretation of Billy Joel's beloved composition, "Just The Way You Are,” alongside scorching renditions of standards like "Seven Steps To Heaven," and “What Is This Thing Called Love.

The Candid release features original liner notes by Terri Lyne and Sonny Carrington, and a new essay by Dianne Reeves. Though this album captures Carrington at the outset of an auspicious recording career, at the age of 16, she was nearly a veteran. Hailing from a family of musicians - in addition to her father, Carrington’s grandfather and fellow drummer Matt Carrington, performed with Chu Berry and Fats Waller Carrington first shared the stage with Rahsaan Roland Kirk at age five.

By ten she became the youngest musician in Boston ever to receive a union card, and was impressing audiences with Clark Terry and his All-Stars. At age eleven, Carrington was awarded a full scholarship to Berklee College of Music in Boston, when the school’s founders Lawrence and Alma Berk, heard her sit in with the great Oscar Peterson at the suggestion of Ella Fitzgerald (today Carrington teaches at the school and is the founder of the Berklee Institute of Jazz and Gender Justice).

Carrington would go on to perform with dozens of other legends including B.B. King, Dizzy Gillespie, Illinois Jacquet, Nat Adderley, Jon Hendricks, and many more before she was old enough to drive, and drum masters Art Blakey, Roy Haynes, Max Roach, Buddy Rich and Elvin Jones invited her to sit in with their bands.https://candidrecords.com/products/copy-of-new-standards-vol-1

Personnel: Drums, Arranged By, Design [Cover] – Terri Lyne Carrington; Bass – Buster Williams; Piano – Kenny Barron; Tenor Saxophone – George Coleman

TLC & Friends

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Orrin Evans - The Red Door

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:21
Size: 144,2 MB
Art: Front

(4:04) 1. Red Door
(7:11) 2. Weezy
(7:35) 3. Phoebe's Stroll
(9:15) 4. The Good Life
(4:36) 5. Big Small
(3:58) 6. Dexter's Tune
(4:12) 7. Amazing Grace
(5:15) 8. Feed the Fire
(4:25) 9. All the Things You Are
(2:43) 10. Smoke Rings
(5:22) 11. They Won't Go When I Go
(3:39) 12. I Have the Feeling I've Been Here Before

A most generous craftsman, composer and bandleader, pianist Orrin Evans never fails to bring out the best of whoever he chooses to create with. The Red Door is gratefully, and gracefully, no exception to that rule.

Whatever musical setting Evans chooses to practice his sinewy, r'n'b inflected post-bop insideman, big band, trio, quartet, duo, whatever a sweet animation propels his music and buoys the players gathered around him. In this case the two core units feature bass legend Buster Williams, drummer Gene Jackson, the late Wallace Roney on trumpet and fellow Philadelphian, tenor legend Larry McKenna. The other quintet features trumpeter Nicholas Payton, saxophonist/flutist Gary Thomas, bassist Robert Hurst and drummer Marvin "Smitty" Smith.

Just as it was a standout track on his second recording with the The Bad Plus, 2019's canny and expressive Activate Infinity (Edition Records), the lead-off title track carousels into consciousness with a brassy, staccato effervescence and witticism courtesy of Payton and Thomas, that Hurst, Evans and Smith quickly wrest control from, deconstruct, then return sprightly to the dance. As Immanuel Wilkins' saxophone did throughout Evan's previous highlight reel, 2021's The Magic of Now (Smoke Sessions Records) Thomas' flute becomes the voice of the circuitous and bluesy "Weezy."

But it may well be "Phoebe's Stroll" that we remember The Red Door for in the years ahead. A jaunty, trio workout of everything that makes Evans tick his quotable, neo-pop melodicism, his patient way with time, his keen, articulate framing and sense of communal dance all in one seven plus minute slice of perfection. It's a grand gesture and sure to be a setlist perennial.

Geri Allen's antic "Feed the Fire" gets the full-on quintet treatment as Thomas and Payton play cat and mouse around Smith and Hurst's elusive current and Evans' pronounced freneticism. Ditto "Smoke Rings." With Buster Williams providing the smooth, second set of the night groove, McKenna, uncurls an entrancing, deep blue solo that defines "The Good Life." Ever a shaman of the collective, Evans brings onboard Jazzmeia Horn who, as has become custom, delivers a slyly impassioned reading of Bill McHenry's feminine forward lyric for Evans' "Big Small," which originally appeared sans lyrics on Flip the Script (Posi-Tone Records, 2012)

A substantive tribute to those whom Evans claims has gotten him to the pinnacle he inhabits right now and to those who will help him carry it forward, (including Sy Smith and Alita Moses, The Red Door is a masterful high point in a career that continues to climb. By Mike Jurkovic
https://www.allaboutjazz.com/the-red-door-orrin-evans-smoke-sessions-records__14893

Personnel: Orrin Evans: piano; Robert Hurst: bass; Marvin "Smitty" Smith: drums; Gary Thomas: saxophone; Nicholas Payton: trumpet.

Additional Instrumentation: Nicholas Payton: trumpet (1, 2, 5, 10); Gary Thomas: tenor sax (1, 5, 10) flute (2); Robert Hurst: bass (1-3, 5-8, 10, 12); Marvin “Smitty” Smith: drums (1-3, 5-8, 10, 12); Wallace Roney: trumpet (9); Larry McKenna: tenor sax (4); Buster Williams: bass (4, 9); Jazzmela Horn: vocal (5); Sy Smith: vocal (7); Alita Moses: vocal (11).

The Red Door

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Billy Childs, Buster Williams, Carl Allen - Skim Coat

Bitrate: MP3@320K/s
Time: 53:58
Size: 123.5 MB
Styles: Mainstream jazz, Piano jazz
Year: 1999
Art: Front

[4:02] 1. Surrey With The Fringe On Top
[5:49] 2. The Winds Of Change
[6:35] 3. You Don't Know What Love Is
[5:44] 4. Every Time We Say Good-Bye
[6:44] 5. Skim Coat
[7:28] 6. Heroes
[7:52] 7. Love Dance
[5:19] 8. Deja
[4:21] 9. Deceptacon

Skim Coat brings together three highly compatible players: Billy Childs (piano), Buster Williams (bass) and Carl Allen (drums). It’s a thoughtful but accessible modern jazz album—the perfect accompaniment to a pot of coffee and the Sunday newspaper. Metropolitan Records owner Stan Chovnick recruited this trio on the strength of its performance at a 1998 jazz educators conference in New York. A year later the educators were still buzzing about the band's appearance in the Big Apple, and it's easy to hear why. These three players share a special chemistry.

Childs’playing is often compared to Herbie Hancock’s, but the L.A. native has been carving out his own niche for some time now. He's a monster pianist, and his two songs here are high points on the album. Williams is an assertive bassist who’s played with Hancock, Sonny Stitt, Kenny Barron, Sarah Vaughan and dozens more. The veteran bassist contributes three diverse tunes to Skim Coat. Can't forget Allen, an experienced drummer in the Art Blakey mold who lends plenty of texture to these nine tracks. The trio creates a sense of unfolding emotion on these tunes, four of which are covers. "Surrey With the Fringe on Top" and Childs’ "The Winds of Change" are very different tracks, but each follows a similar pattern: Childs establishes the melodic theme before plunging into a spirited bop segment, which segues into a crisp response from Williams. Allen pushes a strong undercurrent before Childs restates the theme. "Surrey" is recognizable but bop-oriented, with a hint of Bud Powell.

"You Don’t Know What Love Is" is given a heady post-bop treatment. The title track is a skittery number with varying tempos and unexpected turns. The trio plays it straight on Cole Porter's "Every Time We Say Goodbye," a gorgeous slow waltz. Bass solos seldom thrill me, but Buster Williams delivers a real beauty here, and all of his solos on Skim Coat are intense but direct. Williams' composition "Deja" is a radiant reverie, and the CD closes with his fast bop ramble "Deceptacon."

Childs impresses throughout. He communicates the comfortable essence of each melody before escorting the listener to different stimulating places. Childs is a piano man to watch closely in the 2000s. As a soundtrack for meditative relaxation, Skim Coat is hard to beat. This is substantive mainstream jazz delivered from the heart. ~Ed Kopp

Skim Coat

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Buster Williams & Kenny Barron - The Complete Two as One

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 95:04
Size: 218,0 MB
Art: Front

(11:05) 1. All of You
(11:27) 2. This Time the Dream's on Me
( 3:49) 3. Some Day My Prince Will Come
(15:51) 4. I Love You
( 8:28) 5. My Funny Valentine
(11:03) 6. Will You Still Be Mine?
( 9:57) 7. Some Day My Prince Will Come (Take 2)
(12:43) 8. On a Green Dolphin Street
(10:36) 9. There Is No Greater Love

A wonderful little date from pianist Kenny Barron one that has him working in drumless duo mode, with only the bass of Buster Williams for accompaniment! The tunes are often quite long, and it's beautiful to hear the way Kenny stretches out on the keys buoyed up warmly by Williams' trademark tone basslines that are soft on bite, and round on sound drenched with soul throughout, and creating a subtle pulse that the presence of a drum would only ruin! Barron has a wonderful way of being pensive at points, while still moving things forward strongly and titles include "All Of You", "This Time The Dream's On Me", "I Love You", and "My Funny Valentine". © 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/148032/Kenny-Barron-Buster-Williams:Complete-Two-As-One-180-gram-pressing

Personnel: Kenny Barron - (piano); Buster Williams - (bass)

The Complete Two as One

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Buster Williams - Ain't Misbehavin'

Bitrate: MP3@320K/s
Time: 46:41
Size: 106.9 MB
Styles: Bop
Year: 2010
Art: Front

[6:24] 1. Ain't Misbehavin'
[8:27] 2. When The Sky Is Clear
[7:06] 3. Dreams Come True
[9:29] 4. So Falls The Past
[6:34] 5. Betcha By Golly Wow
[8:38] 6. Seascape

One of jazz's most valuable sidemen, Buster Williams has flourished through many periods of changing fashions in jazz. Best known since the 1980s for his solid, dark tone and highly refined technique on the acoustic bass, the jazz-rock generation knew him as the mobile anchor of Herbie Hancock's exploratory Mwandishi Sextet from 1969 to 1973, doubling on acoustic and electric basses sometimes attached to electronic effects devices.

Williams learned both the double bass and the drums from his father, but having been enormously impressed by Oscar Pettiford's recordings, he ultimately decided to concentrate on the bass. After studying theory and composition at Philadelphia's Combs College of Music in 1959, Williams joined Jimmy Heath's unit the following year and played with Gene Ammons and Sonny Stitt in 1960 and 1961, as well as behind singers Dakota Staton (1961-1962), Betty Carter (1962-1963), Sarah Vaughan (1963), and Nancy Wilson (1964-1968). The gig with Wilson prompted a move to Los Angeles, where the Jazz Crusaders used him for concert dates and recordings from 1967 to 1969, and he also played briefly with Miles Davis in 1967 and the Bobby Hutcherson/Harold Land quintet. Moving to New York in 1969, Williams joined Hancock's sextet, appearing on all of his Warner Bros. albums, as well as The Prisoner (Blue Note), Sextant (Columbia) and with trumpeter Eddie Henderson's spinoff group on Capricorn and Blue Note. Over a five-year period (1976-1981), Williams led numerous recording sessions for Muse, Denon, and Buddah while continuing to freelance before, during, and after that span. In the '80s, he was a member of both the Timeless All-Stars and Sphere, writing a number of compositions for the latter. Among the musicians for whom he has played from the '80s onward are Kenny Barron, Frank Morgan, Stanley Cowell, Steve Turre, Emily Remler, and Larry Coryell. ~bio by Richard S. Ginnell

Ain't Misbehavin'

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Buster Williams - Joined At The Hip

Styles: Jazz, Post Bop 
Year: 2002
File: MP3@320K/s
Time: 52:46
Size: 124,1 MB
Art: Front

(5:55)  1. Yardbird Suite
(5:54)  2. Joined At The Hip
(7:53)  3. Scrapple From The Apple
(3:12)  4. Magic Samba
(6:26)  5. What Is This Thing Called Love/Hot House
(5:19)  6. Leo
(5:13)  7. Moose The Mooche
(8:02)  8. Francis Dances
(4:48)  9. Relaxin At Camarillo

Buster Williams’ latest combo session, Joined at the Hip (TCB) is further evidence of his firm anchoring skill and tasteful, hornlike solos. It also reveals his disdain for the limelight, generously granting more stretch-out room to his colleagues-in this case, alto saxophonist Steve Wilson, pianist Carlos McKinney and drummer Ali Muhammad Jackson Jr. Since it evolved into a tribute to Charlie Parker, Wilson gets the Bird’s share of solo space and proves to be an outstanding descendant of Parker. The concept can be an ear-opener for the unhip: The quartet reveals the origin of “What Is This Thing Called Love?” when Wilson follows that melody with the Parker line from “Hot House.” More instructive is “Scrapple From the Apple.” No mere juxtaposition: McKinney plays “Honeysuckle Rose” straight while Wilson jauntily overlays the bop line as Williams and Jackson add a mild Latin accent. This is Wilson’s moment to shine, but you can’t take your ears off Williams’ growling walk, bent tones and impeccable intonation. https://jazztimes.com/reviews/bassology/buster-williams-quartet-joined-at-the-hip/

Personnel: Buster Williams (bass); Steve Wilson (soprano saxophone, alto saxophone); Carlos McKinney (piano); Ali Muhammad Jackson, Jr. (drums).

Joined At The Hip

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Jeremy Pelt - The Art of Intimacy, Vol. 2: His Muse

Styles: Vocal, Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 50:52
Size: 116,8 MB
Art: Front

(6:30) 1. …For Whom I Love So Much
(5:19) 2. Slow Hot Wind
(3:04) 3. If I Ruled the World
(4:38) 4. I Can't Escape from You
(6:08) 5. There'll Be Other Times
(4:57) 6. Don't Love Me
(6:40) 7. Blues in Sophistication
(4:33) 8. Two Different Worlds
(4:25) 9. When She Makes Music
(4:34) 10. Two for the Road

Playing jazz is a lot like love itself, it is as much about poignancy as it is about joy, whether we listen to a torch song or read a love poem by Shelley, we experience their creator's pain or we share in their euphoria.

And it is Jeremy Pelt's understanding of this dichotomy of passion and restraint that makes this album so compelling. The set list is as all-encompassing as a love affair - from the straight-ahead feeling of "I Can't Escape from You" to the breathless stillness of his muted trumpet on "There'll Be Other Times." His sly, half-valve effects on "Blues in Sophistication" show an impish delight while Henry Mancini's "Slow Hot Wind" throbs with an ever so discreet Latin feel.

This may be considered a "with strings" record but Pelt does not allow it to descend into a vibrato-laden string sound. There is an unusually classical feel to this album with the string quartet supporting, reinforcing and commenting on Pelt's playing rather than sugar-coating it. Buddy Rich once said, "Jazz should be treated the same as classical music." He was right. He "got it" and, as evidenced herein, so does Jeremy Pelt.

Personnel: Jeremy Pelt: trumpet, vocal; Victor Gould: piano; Buster Williams: bass; Billy Hart: drums; Chico Pinheiro: guitar (track 10 only), String Ensemble arranged & conducted by David O'Rourke

The Art of Intimacy, Vol. 2: His Muse

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Buster Williams - Crystal Reflections

Styles: Jazz, Post Bop
Year: 1976
File: MP3@320K/s
Time: 49:45
Size: 114,2 MB
Art: Front

( 7:20)  1. Prism
( 9:30)  2. The Enchanted Flower
( 5:21)  3. I Love You
( 5:38)  4. I Dream Too Much
(11:47)  5. Vibrations
( 3:29)  6. My Funny Valentine
( 6:38)  7. I Dream Too Much

Bassist Buster Williams is well featured here on this pretty, interesting set from 1976, his second disc as a leader. Crystal Reflections concentrates on exploratory duets with keyboardist Kenny Barron (the exceptional Barron original, "The Enchanted Flower"), pianist Jimmy Rowles (two versions of "I Dream Too Much") and vibraphonist Roy Ayers ("My Funny Valentine"). Elsewhere, Williams combines with Barron, Ayers and drummer Billy Hart for three impressionistic pieces: William's sensitive "Prism," Cole Porter's "I Love You" and Roy Ayers's Spyro Gyra-like "Vibrations." Even when Williams overdubs synthesizer and female voices overtop "Prism" or when Roy Ayers doubles up on sythn for "Virgo," the effect is sensitively considered and the result is quite a positive contribution to the success of each piece. This set is much more likely to appeal to fans of Kenny Barron, Jimmy Rowles or Roy Ayers. But bassist Williams proves himself a worthy leader here. He's a sympathetic, melodic player whose perceptive and intuitive string work is often simple and effective, never showy and very much a beneficial part of the whole. Like the title suggests, this is music that is as pretty as it is intelligent. Recommended. ~ Douglas Payne https://www.allaboutjazz.com/crystal-reflections-buster-williams-32-records-review-by-douglas-payne.php

Personnel: Buster Williams: bass, synthesizer; Kenny Barron: piano, electric piano; Jimmy Rowles: piano; Roy Ayers: vibes, synthesizer; Billy Hart: drums; Nobu Urushiyama: percussion; Suzanne Klewan: voice.

Crystal Reflections

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Buster Williams Quartet - Lost In A Memory

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 59:37
Size: 138,7 MB
Art: Front

(4:20)  1. A Different Place
(9:04)  2. Lost in a Memory
(7:53)  3. Deja
(7:03)  4. I Thought About You
(4:16)  5. Why Should I Pretend
(5:29)  6. Skim Coat
(5:05)  7. Ambiance and Pie
(9:54)  8. Christina
(6:27)  9. Tunnel Wind

Bassist Buster Williams contributed eight of the nine selections (all but the standard "I Thought About You") for this well-conceived set of advanced straight-ahead jazz. Williams (who had recently turned 50) teams up with vibraphonist Stefon Harris, pianist Geri Allen and drummer Lenny White. Harris is mostly the lead voice and the group does sound at times a little like the Modern Jazz Quartet, due to the identical instrumentation. Williams takes a surprisingly effective vocal on his "Why Should I Pretend" and otherwise is mostly in the background behind Harris and Allen. Due to the excellent originals, this is one of Buster Williams' strongest dates as a leader. ~ Scott Yanow https://www.allmusic.com/album/lost-in-a-memory-mw0000606488

Buster Williams Quartet: Buster Williams (vocals, bass); Stefon Harris (vibraphone); Geri Allen (piano); Lenny White (drums).       

Lost In A Memory

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Houston Person - The Talk of the Town

Styles: Saxophone Jazz
Year: 1987
File: MP3@320K/s
Time: 39:41
Size: 91,3 MB
Art: Front

(7:26)  1. Only Trust Your Heart
(6:07)  2. Everything Happens to Me
(6:53)  3. Almost Like Being in Love
(7:25)  4. It's the Talk of the Town
(4:18)  5. Just for You
(7:30)  6. I'll Never Be Free

This Muse recording differs from many of tenor saxophonist Houston Person's previous ones in that Person is backed by a piano rather than an organ; he sounds inspired by the "new" setting. Person heads a sextet also including trumpeter Cecil Bridgewater, pianist Stan Hope, bassist Buster Williams, drummer Grady Tate and percussionist Ralph Dorsey. They perform the tenor's "Just for You" and five standards, with the highlights including Benny Carter's "Only Trust Your Heart," "Almost Like Being in Love" and a blues-drenched version of "It's the Talk of the Town." A particularly strong effort by the very consistent tenor great. ~ Scott Yanow https://www.allmusic.com/album/the-talk-of-the-town-mw0000199461

Personnel: Houston Person - tenor saxophone; Cecil Bridgewater - trumpet; Stan Hope - piano; Buster Williams - bass; Grady Tate - drums; Ralph Dorsey - percussion

The Talk of the Town

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Lee Konitz - Yes, Yes Nonet

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 40:27
Size: 93,7 MB
Art: Front

(6:07) 1. Dearth Of A Nation
(6:15) 2. Languid
(8:06) 3. Footprints
(5:15) 4. Stardust
(6:35) 5. Primrose Path
(4:35) 6. Noche Triste
(3:31) 7. My Buddy

It was a tragedy that Lee Konitz's versatile nonet was not able to succeed commercially. Just like its leader, the group was able to stretch from swing standards, bop and cool jazz to freer improvisations and challenging originals. This SteepleChase release (featuring the nonet when it was comprised of such fine players as trumpeters Tom Harrell and John Eckert, trombonists Jimmy Knepper and Sam Burtis, baritonist Ronnie Cuber, pianist Harold Danko, bassist Buster Williams and drummer Billy Hart in addition to Konitz on alto and soprano) features the group at its best on such pieces as "Footprints," "Stardust," "My Buddy" and four songs by Jimmy Knepper. It's an excellent outing from a somewhat neglected group. By Scott Yanow https://www.allmusic.com/album/yes-yes-nonet-mw0000651370

Personnel: Lee Konitz – alto saxophone, soprano saxophone; John Eckert, Tom Harrell – trumpet, flugelhorn; Jimmy Knepper – trombone; Sam Burtis – bass trombone; Ronnie Cuber – baritone saxophone, soprano saxophone; Harold Danko – piano; Buster Williams – bass; Billy Hart – drums

Yes,Yes Nonet

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Willie Jones III - Groundwork

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:43
Size: 98,4 MB
Art: Front

(4:41)  1. Git'cha Shout On
(6:10)  2. Hindsight
(6:48)  3. Dear Blue
(5:23)  4. Toku Do
(4:43)  5. Charity
(6:27)  6. Groundwork
(4:02)  7. New Boundary
(4:25)  8. Jamar

Drummer Willie Jones III is releasing a new album, Groundwork, dedicated to the late Cedar Walton, Ralph Penland, Mulgrew Miller and Dwayne Burno, influences on Jones who have passed in recent years. Jones’ sixth album as a leader and the 17th release on WJ3 Records, is now available on iTunes and Amazon.com and will be in stores on February 19. On Groundwork, according to a press release, Jones explores the works of Walton, his former bandleader; Penland, an early mentor; and Burno, Jones’ contemporary and former band mate. 

The album also includes original tunes by Buster Williams, Eric Reed and more. Musicians on the recording include Williams (bass) and Eddie Henderson (trumpet), Reed (piano), Warren Wolf (vibes) and Stacy Dillard (saxophones).  https://jazztimes.com/news/drummer-willie-jones-iii-dedicates-new-album-to-departed-influences/

Personnel:  Drums – Willie Jones III;  Bass – Buster Williams; Piano – Eric Reed; Tenor Saxophone – Stacy Dillard; Trombone – Steve Davis; Trumpet – Eddie Henderson; Vibraphone – Warren Wolf

Groundwork

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Cyrus Chestnut - Natural Essence

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 63:14
Size: 145,5 MB
Art: Front

(5:33)  1. Mamacita
(7:12)  2. It Could Happen to You
(6:15)  3. Faith Amongst the Unknown
(6:57)  4. I Cover the Waterfront
(7:34)  5. I Remember
(8:01)  6. Dedication
(9:06)  7. My Romance
(6:21)  8. Toku-do
(6:11)  9. Minority

Thanks also to a formidable rhythm, with Natural Essence Cyrus Chestnut signs one of the most convincing works of his discography. Maintaining the link with the tradition of swing, this trio rhythmically and dynamically defines dynamic tension. To this is added a vibrant communicative vis and the new imprinting, with a swinging average time, in the imaginative rereading of "It Could Happen To You" and "I Cover The Waterfront." Through sophisticated harmonizations, the American pianist ascends the way he knows how to touch and revive the deeper strings of the interpreted standards. 

Its elegant touch, rhythmically incisive, illuminates the solid interplay of a perfect equilibrium formation. His blues feeling pervades every song interpreted, to make us savor the most authentic and genuine roots of jazz. Thanks to a skilful use of dynamics, tension and distension alternate to innervate also the episodes mentioned above, at a slow pace. ~ Maurizio Zerbo https://www.allaboutjazz.com/natural-essence-cyrus-chestnut-highnote-records-review-by-maurizio-zerbo.php?width=1920

Personnel: Cyrus Chestnut: piano; Buster Williams: double bass; Lenny White: battery.

Natural Essence

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Steve Turre - Generations

Styles: Trombone Jazz
File: MP3@320K/s
Time: 70:18
Size: 162,5 MB
Art: Front

(8:46) 1. Planting the Ceed
(6:58) 2. Dinner with Duke
(6:34) 3. Blue Smoke
(4:54) 4. Smoke Gets in Your Eyes
(5:01) 5. Don D.
(8:30) 6. Pharoah's Dance
(8:29) 7. Flower Power
(6:54) 8. Good People
(6:04) 9. Sweet Dreams
(8:04) 10. Resistance

Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters Art Blakey, Rahsaan Roland Kirk, Woody Shaw and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars. On his new album, Generations, Turre brings the eras together, inviting still-vital legends to join a gifted band of rising starts to pay tribute to the elders who have helped shape his sound.

Generations features players including the trombonist’s own son, drummer Orion Turre, as well as trumpeter Wallace Roney Jr., whose late father was a close friend and collaborator of Turre’s. In addition, the youthful core band includes pianist Isaiah J. Thompson and bassist Corcoran Holt.

Over the course of the album this stellar group is joined by saxophonist James Carter, guitarists Ed Cherry and Andy Bassford, keyboardist Trevor Watkis, bassists Buster Williams and Derrick Barnett, drummers Lenny White and Karl Wright, and percussionist Pedrito Martinez.

“There's a balance between youth and age,” Turre says, “Age brings wisdom and knowledge, and youth brings enthusiasm and energy. Playing with each of them stretches me in a different way. The elders stretch me in ways of wisdom, but the youngsters fire it up. All of that is inspiring.”

That inspiration bears fruit in one of the most scintillating and eclectic recordings of Turre’s storied career. “I always like to play with musicians that challenge me,” Turre concludes. “So, coming up, I would usually play with people older than me. My challenge now comes from the youthful energy of the younger players. Jazz is not dead!”

Personnel: Steve Turre - trombone & shells (7); Wallace Roney Jr. - trumpet (1, 2, 3, 5, 6, 7, 9, 10) flugel (8); Emilio Modeste - tenor & soprano sax (1, 2, 3, 5, 6, 7, 8, 10); James Carter - tenor saxophone (9); Ed Cherry - guitar (3); Isaiah J. Thompson - piano; Corcoran Holt, bass (1, 2, 5, 6, 7, 10); Buster Williams, bass (3, 4, 8, 9); Orion Turre - drums (1, 2, 4, 6, 9, 10); Lenny White - drums (3, 7, 8); Pedrito Martinez, percussion (4, 6, 8); Andy Bassford, guitar (5); Trevor Watkis, Rhodes (5); Derek Barnett - electric bass (5); Karl Wright, drums (5)

Generations

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Gerry Gibbs Thrasher Dream Trios - Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

Album: Songs From My Father: The Music Of Terry Gibbs Disc 1
Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 48:11
Size: 110,5 MB
Art: Front

(5:05) 1. Kick Those Feet
(5:07) 2. Smoke em Up
(4:04) 3. Bopstacle Course
(4:19) 4. Nutty Notes
(4:13) 5. Take It from Me
(7:54) 6. Sweet Young Song of Love
(5:03) 7. The Fat Man
(6:54) 8. Lonely Days
(5:27) 9. Hey Chick

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Album: Songs From My Father: The Music Of Terry Gibbs Disc 2
Time: 48:34
Size: 111,5 MB

(5:06) 1. Townhouse 3
(5:43) 2. T & S
(3:25) 3. 4 AM
(3:28) 4. Waltz For My Children
(4:35) 5. Hippie Twist
(5:53) 6. Lonely Dreams
(4:56) 7. For Keeps
(5:05) 8. Pretty Blue Eyes
(4:21) 9. Gibberish
(5:57) 10. Tango For Terry

Songs from My Father. What a marvelous idea! and not simply for the sentiment. Drummer Gerry Gibbs' father happens to be Hall of Fame vibraphonist (and sometime song writer) Terry Gibbs, who is still on the scene at ninety-seven (and, in fact, making a guest appearance on the first disc of this superlative two-CD set). Eighteen of the elder Gibbs' songs, written between 1949 and 1985 (and one more, "Tango for Terry," by the late Chick Corea) are performed by four of his son's well-chosen (and well-named) Thrasher Dream Trios, whose members include pianists Kenny Barron, Patrice Rushen, Geoff Keezer, Corea (the last recorded appearance before his passing in February 2021), organist Larry Goldings and bassists Ron Carter, Buster Williams and Christian McBride most, if not all, of whom will one day earn the same Hall of Fame status accorded Terry Gibbs.

As the elder Gibbs came of age in the bop era—gigging with a Who's Who of jazz luminaries including Woody Herman, Buddy Rich, Benny Goodman, Chubby Jackson, Mel Torme and Louie Bellson, and later leading his Los Angeles-based Dream Band most of his engaging themes can trace their roots to bop, and the trios take to them like ducks to water. The line-ups are traditional piano-bass-drums save for Dream Trio 3, on which Goldings' Hammond B3 organ complements Gibbs and pianist Rushen. Their appearances are close to evenly divided, with Trios 1 and 2 performing on four tracks each, Trios 3 and 4 on five apiece, and everyone (plus Terry Gibbs, whose extended vibes solo is as sharp and resourceful as ever) having an absolute blast on "Hey Chick," which closes the first disc. The title is no doubt coincidental, as the tune was written in 1961 when Corea was a mere twenty years old.

"Hey Chick" follows "Lonely Days," the nearest pretense to a ballad on the first disc. The same holds true for the most part on the second disc, as swinging is what Terry Gibbs was (and is) about. Trio 3 comes out blazing on the disc's sunny, samba-like opener, "Townhouse," wherein Goldings adds color with some bird-like special effects, as does Trio 2 on the lively "T&S," as Barron crafts a stunning solo while Gibbs and Williams lend rhythmic backbone. Gibbs, Keezer and McBride keep the fire burning on "4 AM," as they do on "For Keeps" and "Gibberish." "Waltz for My Children" (Trio 1), the disc's lone serenade, showcases Corea in typically masterful form. The first seven tracks on the first disc from "Kick Those Feet" (1964) to "The Fat Man" (1958) are exemplary, as are the others on the second disc, from the dynamic "Hippie Twist" to the well-grooved "For Keeps," and especially the melodious "Pretty Blue Eyes." While none has entered the rarefied pantheon of jazz standards, several could and even should be gauged by that barometer. At the very least, they should be played more often; they are that good. And so, it goes without saying, are the trios Gerry Gibbs has assembled to give them life. Songs from My Father is more than a marvelous idea; it is a musical treat from end to end, and a well-deserved show of appreciation from son to father for the guidance and wisdom that have assuredly helped shape his impressive career. By Jack Bowers https://www.allaboutjazz.com/songs-from-my-father-gerry-gibbs-thrasher-dream-trios-whaling-city-sound

Personnel: Gerry Gibbs: drums; Chick Corea: piano; Kenny Barron: piano; Patrice Rushen: keyboards; Geoffrey Keezer: keyboards; Larry Goldings: organ, Hammond B3; Ron Carter: bass; Buster Williams: bass; Christian McBride: bass; Terry Gibbs: vibraphone.

Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

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Charles Sullivan - Re-Entry

Styles: Trumpet Jazz
Year: 1976
File: MP3@320K/s
Time: 71:24
Size: 164,9 MB
Art: Front

(12:15)  1. Re-Entry
( 9:52)  2. Body & Soul
( 8:23)  3. Carefree
( 7:39)  4. Waltz For Crickent
( 8:01)  5. Mabe's Way
(14:24)  6. Body & Soul
(10:47)  7. Carefree

A most underrated trumpeter, Charles Sullivan has excellent technique, fine tone, a bright shimmering sound, and simply has not gotten the credit he deserves. Sullivan studied at the Manhattan School of Music in the 60s, played with Lionel Hampton and Roy Haynes in the late 60s, then toured briefly as Count Basie's lead trumpeter in 1970 and with Lonnie Liston Smith in 1971. 

He played with Sy Oliver in 1972 and toured Europe and recorded with Abdullah Ibrahim in 1973, then worked and recorded with Sonny Fortune, Carlos Garnett, Bennie Maupin, Ricky Ford, Eddie Jefferson and Woody Shaw through the remainder of the 70s. This rare session from August 1976 has him leading a fine band with sax man Rene McLean together with the Kenny Barron Trio. ~ Editorial Reviews https://www.amazon.com/Re-Entry-Charles-Sullivan/dp/B002ZXZJRE

Personnel:  Charles Sullivan - trumpet; Kenny Barron - piano; Buster Williams - bass; Billy Hart - drums; René McLean - alto saxophone, tenor saxophone

Re-Entry

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Etta Jones - Doin' What She Does Best

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 62:54
Size: 145,8 MB
Art: Front

(3:53) 1. Laughing At Life
(3:56) 2. Orange Colored Sky
(4:56) 3. Crazy He Calls Me
(3:33) 4. It Could Happen To You
(4:25) 5. I Saw Stars
(5:47) 6. I'm In The Mood For Love
(3:12) 7. I'm Gonna Lock My Heart And Throw Away The Key
(4:34) 8. I'll Be Seeing You
(5:14) 9. My Romance
(4:14) 10. I Laughed At Love
(3:31) 11. East Of The Sun
(5:50) 12. The Man That Got Away
(4:00) 13. What A Little Moonlight Can Do
(5:43) 14. Gone Again

Singer Etta Jones made a comeback while with Muse in the 1970s and '80s, recording more than a dozen albums and teaming up with tenor saxophonist Houston Person (who also produced her sessions). This superior sampler has 14 of her very best recordings from that era.

Person's tenor both complements and contrasts with Jones' voice, and the frameworks/arrangements along with the singer's distinctive phrasing uplift these standards. Her renditions of songs like "Crazy He Calls Me," "I Saw Stars," "I'm Gonna Lock My Heart (And Throw Away the Key)," "My Romance," "East of the Sun (And West of the Moon)," and "The Man That Got Away" are quite definitive. In fact, these are among the very best (and most enjoyable) recordings of Jones' long career.
~Scott Yanowhttps://www.allmusic.com/album/doin-what-she-does-best-mw0000040165

Personnel: Vocals – Etta Jones; Bass – Buster Williams, George Duvivier, Milt Hinton, Sam Jones; Congas, Percussion – Lawrence Killian; Drums – Cecil Brooks III, Frankie Jones, Grady Tate, Idris Muhammad, Jimmy Cobb, Walter Davis Jr.; Guitar – Jimmy Ponder, Melvin Sparks; Keyboards – Sonny Phillips; Percussion – Ralph Dorsey; Piano – Cedar Walton, Stan Hope; Tenor Saxophone – Cedar Walton; Tenor Saxophone – Houston Person; Vibraphone – George Devens

Doin' What She Does Best

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