Ed Wiley, Jr. - Sassy

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 57:45
Size: 135,0 MB
Art: Front

(4:15)  1. Room 608
(5:28)  2. Stretchin' Out
(4:07)  3. Sassy
(6:41)  4. Little Girl Blue
(4:50)  5. Lazarus
(8:29)  6. No Greater Love
(3:08)  7. Max The Maximum
(4:17)  8. Billy Boy
(5:13)  9. Do You Know A Good Thing When You See One?
(4:51) 10. Blues For Duane
(2:20) 11. Here, There And Everywhere
(4:00) 12. Sassy - (Alternate Take)

One of the tracks on Sassy, the Lennon-McCartney tune “Here, There and Everywhere,” says much about Ed Wiley’s fourth release for Swing Records. The album was compiled from three sessions recorded between 1999 and 2000 in Brooklyn, New Jersey and Pennsylvania, and mixed in two Washington, D. C., studios. Not surprisingly the results are uneven. To Wiley’s credit, the one constant is his big, soulful Texas tenor. The other constants, despite an occasional clash of styles, include the adventurous minds of trumpeter Nicolas Payton, pianist Sir Roland Hanna and guitarist Mark Whitfield. Compare styles in the two versions of the title tune-a truly sassy line-that Wiley wrote in honor of Sarah Vaughan. B-3 organist Joey DeFrancesco propels the first version, while the second, lower and slower, relies on Whitfield’s guitar, but that soul-filled, down-home cushion is missing. Elsewhere, “Room 608,” a tricky bop line by Horace Silver, finds alto player Donald Harrison stealing some of the thunder from Wiley. 

It’s not meant to be a cutting session; Wiley is consistently generous with stretch-out room for his sidemen. “Lazarus” is interesting in that it begins with solos and ends with the written head for the ensemble. Included in four front lines is trombonist Al Grey, but he solos only on “No Greater Love.” Good to hear his Vic Dickenson inspired humor, but also bittersweet: he died before the CD was released. Overall, Wiley can be proud of this release, but he shouldn’t stray too far from his roots. ~ Harvey Siders https://jazztimes.com/reviews/albums/ed-wiley-jr-sassy/

Personnel: Ed Wiley Jr. - tenor saxophone; Roland Hanna - piano; Paul Bollenback - guitar; Al Grey - trombone; Nicholas Payton - trumpet; Donald Harrison - alto saxophone; Carl Allen - drums; Davey Yarborough - tenor saxophone.

Sassy

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George Freeman - The Good Life

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 50:55
Size: 116,9 MB
Art: Front

(11:05) 1. If I Had You
( 7:39) 2. Mr. D
( 6:03) 3. Up and Down
( 5:53) 4. Lowe Groovin'
( 3:56) 5. 1, 2, 3, 4
( 9:47) 6. Sister Tankersley
( 6:30) 7. The Good Life

For guitarist George Freeman, The Good Life has also been a long life. He was a nimble-fingered ninety-five-year-old plectrist when this splendid album was recorded in May and June 2022, which makes it all the more grievous to know it would be organ maestro Joey DeFrancesco's last recording date; he died of a heart attack some three months later at the relatively young age of fifty-one.

Freeman leads two trios here, the first with DeFrancesco on organ and Lewis Nash on drums (tracks 1-3), the second with Christian McBride on bass and Carl Allen on drums. Freeman plays a smooth and mellow guitar, using well-shaped single-note runs to underline his candid and always engaging point of view. DeFrancesco, meanwhile, is his usual incredibly animated and fleet-fingered self, lending ardor and intensity to what is already an admirable session. Nash is a remarkably astute and steady timekeeper, as is Allen. When McBride takes over for DeFrancesco, on the fourth track, there is a perceptible difference in modulation but none in musicianship. The beat simply goes on.

Freeman, DeFrancesco & Nash open with a soft and soulful reading of the standard "If I Had You," maintain that posture on the shuffling blues "Mr. D," and close with the album's lone flag-waver, "Up and Down," on which Nash and DeFrancesco brandish their superior chops while Freeman keeps pace in his more laid-back manner. "Lowe Groovin,'" which introduces the second trio, is relaxed and meditative, unlike the buoyant "1, 2, 3, 4," which follows. "Sister Tankersley" is another pensive anthem, as is "The Good Life," which closes the session. Allen is unassuming yet steady as a rock, while McBride's deep-toned bass is outstanding whether soloing or comping.

Although this album could have benefited from more up-tempo moments, that is a small complaint, as everything on offer is exemplary. So, four stars for all-around excellence, plus an unreserved recommendation. By Jack Bowers
https://www.allaboutjazz.com/the-good-life-george-freeman-highnote-records

Personnel: George Freeman - Guitar; Joey DeFrancesco: organ, Hammond B3; Christian McBride: bass; Lewis Nash: drums; Carl Allen: drums.

The Good Life

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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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Benny Golson - One Day, Forever

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 62:35
Size: 144,1 MB
Art: Front

( 5:08) 1. One Day, Forever
( 6:18) 2. Blue Walk
( 7:54) 3. Killer Joe
( 6:59) 4. Are You Real?
( 4:46) 5. Sad To Say
( 9:18) 6. Out Of The Past
( 4:13) 7. Blues Alley
( 7:36) 8. Along Came Betty
(10:20) 9. On Gossamer Wings

Benny Golson’s latest Arkadia release, One Day, Forever, arose from a taping of some of Golson’s previous band members from the Jazztet: Art Farmer and Curtis Fuller. At the end of a European tour, they were so rushed they that they didn’t record long enough to fill an entire CD. Arkadia owner Bob Karcy kept the tape in the can, and he and Golson kept that recording in mind, in the intervening five years, during which Farmer passed. After Golson wrote some new original music, it was agreed that the tapes from the “Whisper Not 40 Years Of Benny Golson” European tour would finally be heard by the public.

The result is a CD in three mentalities, all of which are contained by Golson’s imagination: the famous sextet sound that produced numbers like “Killer Joe,” a string orchestra backing Shirley Horn as she sings the words to Golson’s new music, and a piano piece introducing Golson’s first classical composition. While not consistent in theme, One Day, Forever does reveal in startling contrast the creative curiosity of Benny Golson.

Joined by Geoff Keezer, Dwayne Burno and Joe Farnsworth, the Jazzteters recall the longevity of Golson’s contributions to the jazz vocabulary. Not confined just to the famous Jazztet works, the group entertained European audiences with some of Golson’s compositions for Art Blakey, like “Along Came Betty” and “Are You Real?”

Golson and Farmer never worked together again, although they remained close friends, so much so that Golson wrote “One Day, Forever” as a reminiscence of Farmer’s wife, who passed a few years before he did. As Horn sings it, sadly and tentatively with lots of space as always, “One Day, Forever” could allude to the abstract concept of loss of intimacy which, of course, it does. By broadening the idea, Golson has expanded the sense of aloneness to apply to anyone who experiences loss. “Sad To Say,” again, is, well, sad, and the cellos reinforce the sense of guardedness and hurt. The melancholy of Golson’s new music has found a perfect outlet in the delicacy and woundedness of Shirley Horn’s style.

The surprise, even for those who expect it, is Lara Downes’ ten-minute premier of Golson’s piano étude, which would be expected in a recital hall rather than on a jazz CD. Certainly, one could say that One Day, Forever contains something for everyone.

The interesting aspect of the CD, though, is the darkening of Golson’s musical interests, with their melancholy themes and their veering away from the brightness, bustling energy and optimism that marked his work in the fifties.By AAJ Staff https://www.allaboutjazz.com/one-day-forever-benny-golson-arkadia-jazz-review-by-aaj-staff

Personnel: Benny Golson, tenor sax; Shirley Horn, vocals; Art Farmer, trumpet; Curtis Fuller, trombone; Mulgrew Miller, Geoff Keezer, Lara Downes, piano; Ron Carter, Dwayne Burno, bass; Carl Allen, Joe Farnsworth, drums.

One Day, Forever

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Mary Stallings - Live At The Village Standard

Bitrate: MP3@320K/s
Time: 65:25
Size: 149.7 MB
Styles: Vocal jazz
Year: 2001/2013
Art: Front

[4:27] 1. I Love Being Here With You
[6:24] 2. You're Sensational
[4:52] 3. Street Of Dreams
[7:17] 4. A Sunday Kind Of Love
[5:24] 5. The Gypsy In My Soul
[4:23] 6. You're My Thrill
[5:30] 7. The Thrill Is Gone
[6:43] 8. All Night Long
[5:07] 9. Let's Face It/Everything I Love
[3:18] 10. Slow Hot Wind
[7:06] 11. Lullaby Of The Leaves
[4:49] 12. I Didn't Know About You

Recording Date; September 28-30, 2000. Mary Stallings: vocals; Eric Reed: piano; Ron Blake: tenor saxophone; Vicente Archer: bass; Carl Allen: drums.

Mary Stallings belongs to that lost generation of jazz singers whose careers imploded when the rock/folk/pop explosion of the mid-1960s sucked all of the oxygen out of jazz. From the early 1970s onward, Ms. Stallings generally confined her activities to the San Francisco Bay area so that she could raise her daughter. She returned to full-time singing at the end of the 1980s and finally came to the attention of the national jazz audience with the 1994 release of the aptly titled I Waited for You on Concord Jazz. Despite her three superb albums for the label, Concord Jazz foolishly allowed Ms. Stallings’s contract to lapse, and, for a while, it seemed that she would once again disappear into regional obscurity. Fortunately, real talent always finds a way to rise to the surface. Five years after her last album, Ms. Stallings has returned with a new CD on the MAXJAZZ label.

Beautifully recorded, Live at the Village Vanguard captures Mary Stallings in full flight. Her full-bodied, textured alto recalls Carmen McRae while her phrasing and intonation have clearly been influenced by Dinah Washington. Although she does have some of Ms. Washington’s bracing intensity, Ms. Stallings’s phrasing is more relaxed and agile. As befits a singer who spent four years (1969-1972) as the featured vocalist with the Count Basie Orchestra, Ms. Stallings swings hard. “I Love Being Here With You” and “Lullaby of the Leaves” are textbook examples of how a singer can push a rhythm section rather than the other way around. Ms. Stallings also displays an impressive command of dynamics. Her ballads, usually performed sotto voce, have a brooding, introspective quality. The restraint of her ballad singing is such that when she does unleash the full power of her voice the effect can be startling. Although she continually stretches and bends the tunes, Ms. Stallings respects the basic melodic structure of her material.

Mary Stallings sustains an enviable level of quality throughout this live CD although some of the material does prove resistant to her talents. It is probably difficult for a singer to find new things to do with “Street of Dreams” or “A Sunday Kind of Love.” Still, Ms. Stallings does manage to shake the dust off of “Gypsy in My Soul,” “Everything I Love,” and especially “The Thrill is Gone.” While there are no obscurities in her repertoire, there are some less frequently encountered tunes like Cole Porter’s “You’re Sensational,” Henry Mancini’s “Slow Hot Wind” and Curtis Lewis’s “All Night Long.” The arrangements are reasonably straightforward and the instrumentalists are uniformly good. Both pianist Eric Reed and tenor saxophonist Ron Blake take good advantage of their numerous opportunities to solo.

Live at the Village Vanguard marks the welcome return of Mary Stallings to the national jazz stage. Let’s hope that this time she’ll stay around for a good long while. ~Matthew Bahl

Live At The Village Standard

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Billy Taylor & Gerry Mulligan - Live at MCG

Styles: Piano And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 68:35
Size: 160,1 MB
Art: Front

(6:11)  1. Stompin' At The Savoy
(4:57)  2. Just You Just Me
(7:11)  3. Darn That Dream
(5:11)  4. All The Things You Are
(8:19)  5. Laura
(7:27)  6. Line For Lyons
(8:10)  7. Body And Soul
(6:14)  8. Indiana (Back Home Again In Indiana)
(8:23)  9. Come Sunday
(6:28) 10. Capricious

The typical jazz listener easily tires of hearing standards covered by newer artists. However, it's occasionally good to hear the masters revisit some of these old compositions a way of staying connected. Jazz legends Billy Taylor and Gerry Mulligan have done that with Live at MCG. The Manchester Craftsmen's Guild is a non-profit organization in Pittsburgh, USA whose mission is to preserve, present and promote jazz. In doing so, MCG brings in artists such as Taylor and Mulligan to entertain and educate the jazz public. Taylor is a pianist, composer, teacher, lecturer, radio and television personality, recording artist and author. His career began in 1944, and he's enjoyed working alongside such musical powerhouses as Charlie Parker, Dizzy Gillespie and Miles Davis. Mulligan, who passed away in 1996, was an arranger, composer, saxophonist and conductor, and has shared the stage or studio with icons including Louis Armstrong, Count Basie, Lester Young, Duke Ellington, Dave Brubeck and Billie Holliday. Live at MCG captures the pair, backed by Taylor's regular sidemen, during a series of 1993 concerts at the MCG Music Hall. The ensemble performs ten songs, including two originals. Mulligan's baritone sax carries most of the lead on the delightful "Stompin' at the Savoy, though Taylor also licks his chops. 

Drummer Carl Allen helps underscore "Just You Just Me with some crisp work on the cymbals and snare. Bassist Chip Jackson opens up during Taylor's solo. One of the original songs is Mulligan's "Line for Lyons. Here, the quartet functions more as a unit than on most other tracks. Mulligan carries the lead, but Taylor, Allen and Jackson also give strong performances. Again, Jackson shows his skills during Taylor's solo, and later delivers a solo of his own. The other original is Taylor's "Capricious, an energetic closer to this collection. As with "Line for Lyons, the foursome is more of a unit than on other tracks. Allen's rim shots and variances on the toms and cymbals help give this an extra kick. Live at MCG serves a dual purpose: It entertains while providing a subliminal lesson in improvisation, a hallmark of jazz past and present. Having these two masters work together enhances the experience. ~ Woodrow Wilkins https://www.allaboutjazz.com/live-at-mcg-billy-taylor-mcg-jazz-review-by-woodrow-wilkins.php

Personnel: Billy Taylor; piano; Gerry Mulligan; baritone saxophone; Chip Jackson; bass; Carl Allen; drums.

Live at MCG

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Arkadia Jazz All-Stars - It's About Love

Styles: Jazz Contemporary
File: MP3@320K/s
Time: 69:43
Size: 160,8 MB
Art: Front

(6:44) 1. Mood Indigo
(5:48) 2. A Summer Affair
(4:38) 3. My Cherie Amour
(8:37) 4. My Funny Valentine
(5:06) 5. Round Midnight
(4:27) 6. It's Really All About Love
(5:18) 7. The More I See You
(6:02) 8. Interlude
(5:53) 9. Passionata
(6:28) 10. Ask Me Now
(4:51) 11. I Want to Talk About You
(5:46) 12. A Perfect Couple

It could be said that jazz is really the musical language of Love. Like any quest, you have to seek jazz out, it never comes to you, and it may take a long time to truly understand its message but as soon as you hear it, you know you’ve found love. Jazz, like all personal relationships, has so many moods that it may confound you at first, but once you get to know it, there’s no turning back. Much of the repertoire of jazz has been dedicated to love and Arkadia Jazz All-Stars have recorded an album that celebrates the romantic, intimate side of jazz, and musically explores the unanswerable question: What is Love?

Starting off with Benny Golson’s sublime reading of Duke Ellington’s Mood Indigo, the stage is set for romance. The nylon strings of Nigel Clark are featured next in the breezy A Summer Affair, capturing the smoldering flame of passion. Joanne Brackeen performs Stevie Wonder’s pop standard My Cherie Amour in her own dynamic and totally individual way, and Randy Brecker’s Grammy Nominated performance on My Funny Valentine is a moment of real beauty. Both artists bring new depth to several of the all time great love songs. Paul Tobey’s sensitive and insightful rendition of Monk’s Round Midnight is rhapsodic, using subtle dissonances to create tension, released by his flowing lines.

T.K. Blue’s original composition, It’s Really All About Love features the flute, an instrument often tied with romanticism. The More I See You by Mary Pearson expresses the sentiment of undying love that we all long to have, as does the masterful ballad Interlude by the Billy Taylor Trio. Passionata was an unfinished composition by Kenny Drew Sr. that was completed and recorded by his son, Kenny Drew Jr., and is a testament to familial love. Eric Reed’s rendition of Monk’s Ask Me Now is a sparse, yet tender and eloquent doctrine on the state of love. David Liebman and Vic Juris show their gentle sides on the sparkling I Want To Talk About You, while pianist Uli Lenz’s mesmerizing A Perfect Couple brings this recording to a romantic close and is the perfect denouement for this CD, “It’s About Love.”

What happens to us when we fall in love, and when we hear or see something that kindles our passions? Our outlook on life becomes filled with possibilities. Jazz mirrors our life experiences, and we should try to remember that in our collective consciousness. As in our personal relationships, jazz is about the joy and creation of beauty and human emotion in real time. Share this music with someone; it has something to do with discovery and hope. It has something to do with love.

Whether looking surround yourself with beautiful ballads, or to set the mood for a romantic evening, or simply looking for a special Valentines Day gift all year round, “It’s About Love” is a wonderful collection that provides both the romantic atmosphere and world class music from some of the most influential sounds in Jazz.
https://arkadiajazzallstars.com/product/arkadia-jazz-all-stars-its-about-love/

Personnel: Carl Allen: Drums; James Weidman: Piano; Santi Debriano: Bass; Kenny Drew Jr.: Piano; Eric Reed: Piano; Peter Washington: Bass; Lewis Nash: Drums; Rodney Whitaker: Bass; Dave Liebman: Soprano sax; Vic Juris: Guitar; Dean Johnson: Bass; Ron Vincent: Drums;

It's About Love

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Vince Jones - One Day Spent

Styles: Vocal And Trumpet Jazz
Year: 1990
File: MP3@320K/s
Time: 43:46
Size: 100,9 MB
Art: Front

(4:47) 1. Detour Ahead
(3:09) 2. Let's Get Lost
(5:29) 3. I Wish You Love
(4:20) 4. Since I Fell for You
(5:10) 5. The After Thought
(4:42) 6. I Thought About You
(3:40) 7. Time After Time
(3:51) 8. Never Let Me Go
(4:46) 9. Save Your Love for Me
(3:47) 10. There'll Never Be Another You

This CD was recorded in New York,the recording process was in three parts one day to rehearse,one day to record and one day to mix. Hence the title “One Day Spent” the ambiguity of the title is realised in the beautiful ballads. The players on this recording were the best available of the young “New Breed”players on the NY jazz scene. Benny Green, Charnett Moffat, Carl Allen, Dale Barlow and myself put together an elegant performance of these jazz standards. This CD hit the US billboard charts reaching number 14 selling over 100,000 CD’s. https://www.vincejones.com.au/album/one-day-spent/

Musicians: Benny Green – piano; Dale Barlow – tenor sax; Carl Allen – drums; Charnett Moffatt – double bass; Vince Jones – trumpet & vocals

One Day Spent

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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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Arkadia Jazz All-Stars - Thank You, Joe! (Our Tribute to Joe Henderson)

Styles: Jazz Contemporary
Year: 2000
File: MP3@320K/s
Time: 55:56
Size: 129,2 MB
Art: Front

(6:20) 1. Mamacita
(4:16) 2. Isfahan
(6:26) 3. Gazelle
(7:12) 4. The Kicker
(6:28) 5. Ask Me Now
(6:01) 6. Recorda Me
(3:53) 7. Isotope
(8:38) 8. Inner Urge
(6:38) 9. Granted

This 2000 release titled Thank You, Joe! Our Tribute to Joe Henderson represents Arkadia's fourth in a series of "tributes" to jazz artists who have made a conspicuous difference to this constantly evolving musical art form. On this recording, seasoned veterans such as trumpeter Randy Brecker and pianist Joanne Brackeen coalesce with some of the more prominent stars to emerge out of the '80s and '90s jazz scene for a hearty tribute to the great saxophonist Joe Henderson.

While Joe Henderson rose through the ranks during the '60s he did not enjoy the fame and success that several of his peers were receiving, yet Henderson gradually emerged as a gifted stylist who melded a silken, atmospheric tone with distinctive and altogether enviable chops. Additionally, the saxophonist has garnered a reputation as a shrewd and rather prolific composer. Here, the music of Joe Henderson serves as the framework for this upbeat and smartly produced set featuring some of the artist's more recognizable compositions. With the bossa nova-tinged "Mamacita," pianist Eric Reed, trumpeters Randy Brecker and Terrell Stafford, and tenor saxophonist Javon Jackson pursue poetic lyricism and impassioned soloing while Brecker and Stafford alternate and trade vicious fours on the bop burner, "The Kicker." Overall, the musicians engage Henderson's aura with bold enthusiasm and conviction as they eternalize the saxophonist's significance via strong soloing and finely crafted arrangements that sustain interest throughout~Glenn Astaritahttps://www.allmusic.com/album/thank-you-joe%21-our-tribute-to-joe-henderson-mw0000067831

Personnel: Eric Reed-piano, Javon Jackson-tenor sax, Randy Brecker-trumpet, Carl Allen-drums, Steve Nelson-vibraphone, Terrell Stafford-trumpet, Renato Thoms-percussion, Rodney Whitaker-bass, Carl Allen-drums

Thank You, Joe!(Our Tribute to Joe Henderson)

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Xavier Davis - Dance of Life

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 62:05
Size: 143,1 MB
Art: Front

(5:28)  1. The Plan Unknown
(6:28)  2. The Nearness of You
(6:09)  3. Time After Time
(6:42)  4. You've Got a Friend
(7:07)  5. Jitterbug Waltz
(8:02)  6. Old Folks
(4:59)  7. Dance of Life
(8:06)  8. Where or When
(3:10)  9. Long Ago and Far Away
(5:51) 10. I Love You

An excellent modern jazz date, this session features pianist Xavier Davis and his quartet playing modernized versions of eight standards (including "The Nearness of You," "Jitterbug Waltz," "Where or When," and Carole King's "You've Got a Friend") plus two of Davis' originals. Along with the leader, the lead voice is frequently Don Braden on tenor and soprano, with fine support from bassist Dwayne Burno and drummer Carl Allen. No new revelations occur, but the musicians make the vintage standards sound fairly new and fresh and there are many fine solos from Davis and Braden. ~ Scott Yanow https://www.allmusic.com/album/the-dance-of-life-mw0000667046

Personnel: Piano – Xavier Davis; Bass – Dwayne Burno; Drums – Carl Allen; Saxophone – Don Braden

Dance of Life

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Eric Alexander - The Battle: Live at Smoke

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 60:33
Size: 139,5 MB
Art: Front

(12:49)  1. Blues up and Down
(10:48)  2. Road Song
( 9:37)  3. Firm Roots
( 8:08)  4. Ritual Dance
(11:07)  5. Shirley's Song
( 8:01)  6. Eleven Years

Without a doubt, Eric Alexander is one of the most hardworking and serious young tenor saxophone players out there. To see him perform live is to witness technical fluency combined with up-tempo and hard boppin' intensity. This recording, taped live at Smoke in New York, finds him joined by the equally talented Vincent Herring on alto sax. The first track sets the stage for the whole session. "Blues Up And Down is the classic stomping blues showcased by Gene Ammons and Sonny Stitt on Boss Tenors (Verve, 1961), but with a few added harmonic curveballs. Since Alexander and Herring play different instruments, the final exchanges between the two demonstrate their ability to feed off, rather than upstage each other. In that sense these two musicians are not engaged in an actual battle, but rather a motivational exercise that puts them both at the top of their game. They do the same in an easy tempo on Wes Montgomery's "Road Song, with bassist John Webber laying down the structure and Mike LeDonne showcasing piano voicings that some have associated with to McCoy Tyner. "Ritual Dance, a composition by the drummer Carl Allen, lets Eric Alexander draw from his Coltrane influences by double-timing on his solo and even throwing in a quick reference to "Mr P.C." "Shirley's Song provides a relaxing ballad before the group ends the "battle just as it started, with "Eleven Years. ~ Alain Londes https://www.allaboutjazz.com/the-battle-live-at-smoke-eric-alexander-highnote-records-review-by-alain-londes.php

Personnel: Eric Alexander: tenor saxophone; Vincent Herring: alto saxophone; Mike LeDonne: piano; John Webber: bass; Carl Allen: drums.

The Battle: Live at Smoke

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Carl Allen, Rodney Whitaker - Work To Do

Styles: Straight-Ahead Jazz
Year: 2009
File: MP3@320K/s
Time: 64:03
Size: 147,8 MB
Art: Front

(6:06)  1. Work to Do
(6:29)  2. Speak to My Heart
(7:03)  3. For Garrison (Both)
(6:24)  4. Giving Thanks
(5:30)  5. What's Going On
(6:58)  6. Eleanor Rigby
(6:49)  7. With You I'm Born Again
(6:38)  8. Grahamstown
(3:03)  9. A Time for Love
(8:57) 10. Relativity

On Carl Allen and Rodney Whitaker's Work to Do, their second collaboration with Mack Avenue Records, the musicians focus on groove, beauty and respect for the tradition. Allen and Whitaker provide a swinging backdrop for some of New York's finest and most respected musicians, including guitarist Rodney Jones and saxophonist Vincent Herring, two very distinctive contributors to the album. Joined by five other accomplished artists, the A-list lineup combines to make an electrifying 9-piece ensemble. Work to Do features 11 tracks, including reworked pop-classics and originals that range from achingly beautiful tunes to those possessing an energized post-bop feel. Highlights include Whitaker's hard-bop original "For Garrison," written for his son, who was named after jazz legend Jimmy Garrison. Here, the melody played by both Chandler and Herring is supported rhythmically by Allen who also provides suspense through his fills, which lead the band into an unbreakable and energized swing feel for the solo section. The The Beatles' "Eleanor Rigby," is uniquely interpreted with the band switching effortlessly between 5/4 and 4/4 throughout, and which Herring uses to his advantage to create a truly impressive solo. On Johnny Mandel's "Time for Love," Jones' sensitivity as a player is heard through the enchanting lines which accompany Whitakers' bowed melody. Finally, for the bonus track, Allen and Whitaker play a duo a version of "For Garrison," displaying their effortless musical partnership. Although Work to Do may not be categorized as an innovative album, it does possess remarkable musicality throughout, created by a group of players who have an obvious love for making music together and enjoy an array of different styles as long as it feels good.~ Angela Davis https://www.allaboutjazz.com/work-to-do-carl-allen-and-rodney-whitaker-mack-avenue-records-review-by-angela-davis.php

Personnel: Personnel:Carl Allen: drums; Rodney Whitaker: bass; George Colligan: piano; Rodney Jones: acoustic and electric guitars; Dorsey "Rob" Robinson: B3 organ; Brandon Lee: trumpet; Kirk Whalum: tenor and soprano saxophone; Vincent Chandler: trombone; Vincent Herring: alto and soprano saxophone.

Work To Do

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Carl Allen & Manhattan Projects - The Dark Side Of Dewey

Styles: Post Bop, Straight-Ahead Jazz
Year: 1992
File: MP3@320K/s
Time: 51:51
Size: 119,1 MB
Art: Front

(4:42)  1. Opening Statement
(7:02)  2. All Blues
(7:02)  3. My Funny Valentine
(7:03)  4. Three For Rhonda
(5:23)  5. Mr. Wizard
(6:33)  6. Dear Old Stockholm
(6:31)  7. Just Squeeze Me
(7:33)  8. The Dark Side Of Dewey

Despite the inclusion of Carl Allen's moody title cut, this tribute to Miles Davis is mostly pretty happy, with four selections taken from Davis' repertoire of the 1950s and early '60s ("All Blues," "My Funny Valentine," "Dear Old Stockholm," and "Just Squeeze Me") plus a few complementary originals by bandmembers. Trumpeter Nicholas Payton (even if he does not sound like Davis) and altoist Vincent Herring make for a potent team, while pianist Mulgrew Miller and bassist Dwayne Burno join Allen in keeping the music moving. No surprises occur, but there are plenty of fine solos throughout this modern mainstream set. ~ Scott Yanow https://www.allmusic.com/album/the-dark-side-of-dewey-mw0000181090

Personnel:  Drums – Carl Allen; Alto Saxophone – Vincent Herring; Bass – Dwayne Burno; Piano – Mulgrew Miller; Trumpet – Nicholas Payton

The Dark Side Of Dewey

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Mack Avenue SuperBand - Live from the Detroit Jazz Festival

Styles: Jazz, Big Band
Year: 2015
File: MP3@320K/s
Time: 59:16
Size: 136,5 MB
Art: Front

( 0:59)  1. Introduction
( 9:49)  2. Riot
(10:31)  3. The Struggle
( 7:53)  4. A Mother's Cry
(11:25)  5. Santa Maria
( 7:01)  6. For Stephane
( 1:17)  7. Introduction to Bipolar Blues Blues
(10:17)  8. Bipolar Blues Blues

Bands fostered by labels and sourced from their stables are nothing new. The concept itself has always carried great possibility, but many a label has dropped the ball on the artistic responsibility side of the equation. At their worst, these types of get-togethers have come off as incongruous gatherings that are crudely slapped together. The concerts and/or albums that often fall into that category typically have one thing in common: they're there to make a quick buck and nothing else really matters. But not every label gathering is made for that purpose. A label band, when done right, can help to showcase artists while displaying and furthering a sense of community. The Mack Avenue Superband projects prove that point.  So what exactly makes this album and its two antecedents work while other such projects have failed miserably? There's no easy answer, but organization and attention to detail may very well be the keys to success. This gathering may take place on one fine day, but the band's music director bassist Rodney Whitaker starts to formulate a plan several months ahead of time, reaching out to the musicians to put together a program where everybody has input. So while the seven musicians featured on this album may not be the most stylistically well-matched on paper, with relatively straight ahead players, a gypsy jazz guitarist, and a smooth-gospel saxophone star joining forces, they're all on the same page from beginning to end and there's a spirit of togetherness here that's refreshing to encounter on such an offering.  

Everybody involved with this album knows the drill and comes prepared. Whitaker, his longtime drumming partner Carl Allen, Hot Club of Detroit guitarist Evan Perri, and pianist Aaron Diehl have all been on board for both of the previous incarnations of this group; vibraphonist Warren Wolf and saxophonists Tia Fuller and Kirk Whalum have each taken part in one of these gatherings before. Here, they all gel beautifully in various combinations. Whalum and Fuller blow atop the rhythm section with vim and vigor on the former's "Bipolar Blues Blues"; Wolf and Perri prove to be surprisingly well-matched partners, locking in together on Herbie Hancock's "Riot" and pulling from the same stylistic bag on Perri's Spanish-tinged, Chick Corea-esque "For Stephanie"; Wolf's vibes, Fuller's soprano, and Whalum's flute meld and move gently atop the light Latin flow below on Whitaker's "A Mother's Cry"; and Diehl's gifts as a genre-blind player with exquisite taste and an enormous musical vocabulary come to the surface on his own "Santa Maria," a piece which opens on three-and-a-half minutes of expression-rich piano exploration before taking shape as a swinger that vacillates between lightheartedness and resoluteness. This edition of the Mack Avenue Superband has much to offer, proving that the difference between success and failure with label bands rests with the execution and the chemistry. With sound planning and the right participants, a label concoction can be a very good thing. ~ Dan Bilawsky https://www.allaboutjazz.com/live-from-the-detroit-jazz-festival-2014-mack-avenue-superband-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Rodney Whitaker: music director, acoustic bass; Carl Allen: drums; Aaron Diehl: piano; Tia Fuller: alto saxophone, soprano saxophone; Evan Perri: guitar; Kirk Whalum: tenor saxophone, flute; Warren Wolf: vibraphone.

Live from the Detroit Jazz Festival

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Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

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Freddie Hubbard & Woody Shaw - Double Take

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 44:00
Size: 101,4 MB
Art: Front

(4:27)  1. Sandu
(4:54)  2. Boperation
(6:21)  3. Lament For Booker
(6:26)  4. Hub-Tones
(8:07)  5. Desert Moonlight
(5:28)  6. Just A Ballad For Woody
(8:15)  7. Lotus Blossom

Other than their joint appearance as sidemen on Benny Golson's Time Speaks in 1983, Freddie Hubbard and Woody Shaw had never recorded together before Double Take. At this point in their evolution, Hubbard still gets the edge (his range is wider and he cannot be surpassed technically). Although Shaw tended to play more harmonically sophisticated lines and is remarkably inventive, they are both trumpet masters. 

Their meeting on Double Take was more of a collaboration than a trumpet battle; in fact, the brass giants only trade off briefly on "Lotus Blossom." ~ Scott Yanow https://www.allmusic.com/album/double-take-mw0000192018

Personnel:  Freddie Hubbard: trumpet, flugelhorn;  Woody Shaw: trumpet;  Kenny Garrett: alto saxophone, flute;  Mulgrew Miller: piano;  Cecil McBee: bass;  Carl Allen: drums

Double Take

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Buster Williams Quartet - Live At The Montreux Jazz Festival 1999

Styles: Jazz, Post Bop 
Year: 1999
File: MP3@320K/s
Time: 58:44
Size: 136,4 MB
Art: Front

( 9:53)  1. Tokudo
(13:45)  2. The More I See You
( 1:15)  3. Announcement
(12:04)  4. You And The Night And The Music
( 7:08)  5. Christine
(14:37)  6. Rhythm-A-Ning

Venerable jazz bassist and session musician of choice, Buster Williams steers this thoroughly swinging quartet through a set of vibrant standards and original compositions along with an ace front line consisting of pianist Mulgrew Miller and vibist Steve Nelson. Recorded live in 1999 at the Montreux Jazz Festival, the bassist once again exhibits his seasoned musical persona via fluent lines, limber soloing, and a comprehensive sense of swing. Meanwhile, Nelson and Miller share most of the soloing opportunities as they consistently demonstrate a keen harmonic relationship atop drummer Carl Allen's masterstrokes and the leader's sinewy walking bass patterns. Hence, Nelson's deft articulations in concert with Miller's swirling clusters and impacting block chords provide an abundance of contrasting elements, as the synergistic interaction provides the winning edge. However, it is all about refinement and a relaxed sense of urgency as the musicians make every note and subtle nuance speak encyclopedic volumes amid the occasional burst of fireworks. No frills or hidden agendas here. Just small ensemble jazz music performed with a touch of class and sophistication. ~ Glenn Astarita https://www.allmusic.com/album/live-at-the-montreux-jazz-festival-1999-mw0000119665

Personnel:  Bass – Buster Williams;  Drums – Carl Allen;  Piano – Mulgrew Miller;  Vibraphone – Steve Nelson

Live At The Montreux Jazz Festival 1999

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Brian Lynch - Tribute to The Trumpet Masters

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 67:24
Size: 155,5 MB
Art: Front

( 7:12)  1. Woody Shaw
( 7:51)  2. Eclipse
( 7:27)  3. Bus Stop Serenade
( 7:49)  4. Tom Harrell
( 6:05)  5. Elusive
(10:48)  6. Search for The New Land
( 6:05)  7. Tribute to Blue
( 9:19)  8. Charles Tolliver
( 4:44)  9. Opening Statement

From stints with Horace Silver and Art Blakey to those with such Latin luminaries as Hector LaVoe and Eddie Palmieri, trumpeter Brian Lynch has learned his lessons well. First turning a few heads with his solid series of dates as a leader for Criss Cross, Lynch made the move to the fledgling Sharp Nine label in 1995. There he would record his first volume of quartet recordings, Keep Your Circle Small, to be followed two years later with the multifaceted Spheres of Influence. Spheres would prove to be a hard act to follow, owing to its elaborate and far-ranging implications, yet Lynch’s second set of quartet recordings as documented on the newly issued Tribute to the Trumpet Masters is far from being any kind of letdown. In fact, it not only acts as a solid homage but also testifies to Lynch’s talent as a lead voice. There have been relatively few records in the jazz annals sporting just a trumpeter with rhythmic backing (standouts for this reviewer would have to include Kenny Dorham’s Quiet Kenny and Ted Curson’s Fire Down Below ). The instrument is a demanding one and it’s often easier to include a saxophone in the front line to balance out the leadership chores. But as he did on Keep Your Circle Small, Lynch once again proves that the quartet setting can be a viable one for trumpet.

Lynch has also shrewdly avoided just picking out tunes by the trumpeters he’s chosen to spotlight. Out of the nine cuts on the disc, over half of them are Lynch originals and each one sports a title that lays claim to the artist being feted. The most impressive of these are the sprightly “Woody Shaw” and the propulsive bossa of “Tom Harrell,” which recalls such Harrell compositions as “Moon Alley” and “Sail Away.” Freddie Hubbard’s “Eclipse” provides a magnificent ballad forum for Lynch and both Booker Little’s “Opening Statement” and Lee Morgan’s “Search For the New Land” are valuable pieces seldom if ever done by modern day players. Lynch is extraordinary throughout in both lead and solo statements, with motivated backing coming from pianist Mulgrew Miller, bassist Essiet Essiet, and drummer Carl Allen. In fact, this may be Miller’s finest work of recent vintage; he absolutely tears it up on the aforementioned “Woody Shaw.” So while there may be a few years of delay between releases from Lynch, they’re always worth the wait and his recent Sharp Nine dates have yet to disappoint. ~ C.Andrew Hovan https://www.allaboutjazz.com/tribute-to-the-trumpet-masters-brian-lynch-sharp-nine-records-review-by-c-andrew-hovan.php

Personnel: Brian Lynch- trumpet, Mulgrew Miller- piano, Essiet Essiet- bass, Carl Allen- drums

Tribute to The Trumpet Masters

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Benny Golson - Up Jumped Benny

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 71:32
Size: 164,8 MB
Art: Front

( 8:48)  1. Up Jumped Spring
( 8:47)  2. Stablemates
( 0:23)  3. Talk Intro
(10:45)  4. Tiny Capers
( 0:24)  5. Talk Intro
(15:22)  6. I Remember Clifford
( 6:32)  7. For Old Time Sake
(10:02)  8. Whisper Not
(10:25)  9. Gypsy Jingle Jangle

Benny Golson had not appeared on an American jazz label in a long time, so Bob Karcy of Arkadia Jazz stepped in where others feared to tread, issuing this live gig from a jazz club somewhere in Switzerland on the last day of a tour. Armed with a rhythm section of competent young players (Kevin Hays, piano; Dwayne Burno, bass; Carl Allen, drums), Golson takes his dusky tenor sax tone frequently into Coltrane extended harmonic country when the tempos are up, his head figuratively in the clouds above the occasionally combustible trio. Yet he also ruminates in an almost withdrawn manner at ballad tempo on a lengthy treatment of his jazz standard "I Remember Clifford," concluding with a quiet solo elegy for Brownie based on a tenor (the vocal species) aria from Puccini's Tosca. Stanley Crouch's liner notes are full of his usual respect-your-elders blather and the sound quality is boxy, but Golson's fans will feel fortunate to have this. ~ Richard S.Ginell https://www.allmusic.com/album/up-jumped-benny-mw0000595037

Personnel: Benny Golson (tenor saxophone); Kevin Hays (piano); Dwayne Burno (bass); Carl Allen (drums).

Up Jumped Benny

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