Kenny Drew Jr. - The Rainbow Connection

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 57:58
Size: 134,5 MB
Art: Front

( 5:42)  1. Confrontation
( 5:54)  2. There Is No Greater Love
( 7:07)  3. Serenity
( 4:18)  4. Boo Boo's Birthday
( 6:26)  5. Nelson Avenue Morning
( 6:20)  6. Coral Sea
( 5:18)  7. Rhythm - A - Ning
( 5:16)  8. The Rainbow Connection
(11:34)  9. Invitation

Kenny Drew, Sr. was so legendary a pianist that Kenny Drew, Jr. was bound to be compared to his father, however hard he fought to establish his own identity. And the fact that they played the same instrument didn't exactly discourage comparisons. But the son is very much his own man, and his individuality asserts itself on The Rainbow Connection, which was recorded when he was a month away from his 30th birthday. Drew has competent support in bassist Charnett Moffett, drummer Cody Moffett and trumpeter Terence Blanchard, and he proves that he's no clone of his father on material ranging from "Invitation" to the Thelonious Monk classics "Rhythm-A-Ning" and "Boo Boo's Birthday" (a difficult tune that, unlike "Rhythm-A-Ning," is far from well-known). Especially revealing is his interpretation of his father's haunting "Serenity." If anything would have encouraged Drew, Jr. to emulate Drew, Sr., it would be "Serenity," but he manages to do his own thing with it. Initially released by the Japanese Jazz City label, this decent post-bop/hard bop date was reissued on CD by Evidence in 1998. ~ Alex Henderson https://www.allmusic.com/album/the-rainbow-connection-mw0000035007

Personnel: Piano – Kenny Drew Jr.; Bass – Charnett Moffett; Drums – Codaryl "Cody" Moffett; Trumpet – Terence Blanchard

The Rainbow Connection

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Dianne Reeves - The Nearness of You

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 50:12
Size: 115,3 MB
Art: Front

(4:55) 1. Softly As In A Morning Sunrise
(5:41) 2. Like A Lover
(4:08) 3. How High The Moon
(8:05) 4. For All We Know
(3:19) 5. The Nearness of You/Misty
(6:18) 6. You Taught My Heart To Sing
(5:39) 7. Ancient Source
(9:02) 8. Spring Can Really Hang You Up The Most
(3:01) 9. Oh What A Freedom

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film's soundtrack.

Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD's I've heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical celebration of Nina Simone which also featured Lizz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama's State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and the Juilliard School. In 2018 the National Endowment for the Arts designated Reeves a Jazz Master the highest honor the United States bestows on jazz artists.
https://diannereeves.com/media/
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Personnel: Lead Vocals [Vocals] – Dianne Reeves; Acoustic Guitar – Kevin Eubanks (tracks: 2); Alto Saxophone – Greg Osby (tracks: 1, 4); Bass – Charnett Moffett (tracks: 1, 3 to 7), Tony Dumas (tracks: 9); Drums – Marvin Smitty Smith* (tracks: 1, 4, 6, 7), Michael Baker (2) (tracks: 9), Terri Lyne Carrington (tracks: 3, 5); Keyboards – David Torkanowsky (tracks: 9); Piano – Donald Brown (tracks: 1, 7), Mulgrew Miller (tracks: 3 to 6, 8); Tenor Saxophone – Gerald Albright (tracks: 9); Vibraphone – Bobby Hutcherson (tracks: 1, 7); Wind Chimes – Ron Powell (tracks: 2).

The Nearness of You

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Mulgrew Miller - Wingspan

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 54:18
Size: 124,5 MB
Art: Front

(5:38)  1. Wingspan
(6:48)  2. One's Own Room
(6:08)  3. The Eleventh Hour - Early Take
(5:25)  4. I Remember You
(7:55)  5. Soul-Leo
(7:32)  6. You're That Dream
(7:15)  7. Sonhos Do Brasil (Dreams Of Brazil)
(7:33)  8. The Eleventh Hour - Later Take

A beautiful set from Mulgrew Miller one of his greatest albums as a leader, and exemplary of the kind of underground jazz that was still bubbling strong in the 80s! The set features Miller's quintet with Kenny Garrett on alto and flute, Steve Nelson on vibes, Charnett Moffett on bass, and Tony Reedus on drums led by Miller in a range of expressive styles carried off with effortless ease. There's some really nice numbers on here with a gentle and soulful groove mixing vibes, piano, and alto in wonderful shades of colors and tone. Titles include "Sonhos Do Brasil", "Wingspan", "One's Own Room", "The Eleventh Hour", and "Soul Leo".  © 1996-2019, Dusty Groove Inc.https://www.dustygroove.com/item/476436/Mulgrew-Miller:Wingspan

Personnel:  Mulgrew Miller – piano; Charnett Moffett – bass; Tony Reedus – drums; Rudy Bird – percussion (tracks: 2 5 7); Kenny Garrett – saxophone, flute; Steve Nelson – vibraphone

Wingspan

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Manhattan Jazz Quintet - 25-Tribute to Art Blakey

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 54:06
Size: 123,9 MB
Art: Front

(5:51) 1. Les Liaisons Dangereuses
(9:15) 2. Moanin'
(6:00) 3. Mosaic
(7:09) 4. Blues for Buhaina
(6:17) 5. Quick Silver
(5:33) 6. Split Kick
(7:30) 7. Come Rain or Come Shine
(6:28) 8. Blues March

Manhattan Jazz Quintet, an all-star band led by pianist and arranger David Matthews and a brainchild of Japanese producer Shigeyuki Kawashima, celebrates its 25th anniversary with this strong tribute album to Art Blakey. This is also the super-group's second release from the Birds Records label, following the extremely successful V.S.O.P. which not only became Swing Journal Gold Disc but also won the prestigious magazine's 2008 Jazz Disc Silver Award. In addition to Matthews, the current edition of band features trumpeter Lew Soloff, tenor saxophonist Andy Snitzer, bassist Charnett Moffett and drummer Victor Lewis. They perform the quintessential tunes associated with Art Blakey and his Jazz Messengers, including "Moanin'", "Mosaic" and "Blues March," all arranged by Matthews with a few modern twists. According to the MJQ's tradition, Matthews also wrote an original tune "Blues For Buhaina," a funky blues dedicated to the legendary drummer. The all-star band sounds terrific here. The rhythm section provides kinetic grooves and pushes the entire group. The horn players' performances are inspired and intensely hot! The sound quality of the recording is also quite good. Recommended for fans of hard bop jazz! Produced by Shigeyuki Kawashima. Recorded at Sear Sound Studio, New York, February 27 & 28, 2009.~Swing Journal Gold Disc http://www.eastwindimport.com/product info.asp?ProductId=1186

Personnel: David Matthews (piano); Lew Soloff (trumpet); Andy Snitzer (tenor sax); Charnett Moffett (bass); Victor Lewis (drums)

25-Tribute to Art Blakey

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Charnett Moffett - Bright New Day

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 43:33
Size: 100,3 MB
Art: Front

(5:01)  1. Holy Spirit
(4:56)  2. Free the Slaves
(4:51)  3. Precious Air
(3:46)  4. O My God Elohim
(6:56)  5. Set It Free
(6:52)  6. Waterfalls
(3:25)  7. Netting
(7:43)  8. Bright New Day

Bassist Charnett Moffett has a catalog of solo recordings dating back 32 years, yet he may be best known for his touring and recording with guitarist Stanley Jordan. Such is the reality for rhythm instrumentalists, even ones whose recording credits include Wynton Marsalis, Branford Marsalis, and Ornette Coleman. On his latest release, Moffett who can impressively play every variety of acoustic and electric bass plays only a fretless electric instrument, which he utilizes to create a unique mix of jazz, folk, and chamber music with keyboardist Brian Jackson, violinist Scott Tixier, drummer Mark Whitfield, Jr., and guitarist/vocalist (and Motéma founder and president) Jana Herzen. When Jackson sticks to piano rather than synthesizers, as on the opener “Holy Spirit,” the disc evokes disparate European classical and acoustic Americana themes thanks to Moffett’s upright-like tones, the unplugged nature of Tixier and Whitfield’s instruments, and the sparse accompaniment of Herzen on a semi-hollowbody acoustic/electric guitar. On the subsequent “Free the Slaves,” Moffett’s funk bass line, Stanley Clarke-inspired solo, and chanted vocals help create a very different atmosphere. It’s a recurring pattern. The third track is the lone non-Moffett composition, Herzen’s “Precious Air,” which straddles pop and folk styles via her breathy lead vocal. “O My God Elohim” adds elements of gospel and Irish music, thanks to the 6/8-timed cadence of Moffett and Whitfield and dancing solos of Tixier. The disc only detours when Herzen becomes overly dissonant, but such moments are few and far between. The disc ends with the Mahavishnu Orchestra-inspired “Netting” and the title track, an anthemic piece that rides the ascending arpeggios of Tixier and Moffett. https://jazztimes.com/reviews/albums/charnett-moffett-bright-new-day-motema/

Bright New Day

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Courtney Pine - Modern Day Jazz Stories

Styles: Saxophone And Flute Jazz
Year: 1995
File: MP3@320K/s
Time: 59:00
Size: 136,1 MB
Art: Front

( 1:24)  1. Prelude - The Water Of Life
( 4:21)  2. The 37th Chamber
( 4:56)  3. Don't 'Xplain
( 8:48)  4. Dah Blessing
( 5:58)  5. In The Garden Of Eden - Thinking Inside Of You
(10:36)  6. Creation Stepper
( 7:33)  7. Absolution
( 3:50)  8. Each One - Must) Teach One
( 6:39)  9. The Unknown Warrior - Song For My Forefathers
( 3:41) 10. I've Known Rivers
( 1:09) 11. Outro - Guiding Light

On his return to Antilles and his debut with the Verve Group, Courtney Pine reaches out to unchartered musical zones, reflecting the sound of the street in a modern mix of pop, hip hop and jazz music. Described as Courtney's most focused album to date, Modern Day Jazz Stories combines the worlds of jazz and hip hop, utilizing the traditional sounds of jazz instruments simultaneously with turntables, but without overdubs. Full album to ship to jazz and college radio. ~ Editorial Reviews https://www.amazon.com/Modern-Jazz-Stories-Courtney-Pine/dp/B000004703

Personnel: Saxophone [Tenor], Saxophone [Soprano], Flute – Courtney Pine; Double Bass – Charnett Moffett; Drums, Percussion – Ronnie Burrage; Guitar – Mark Whitfield; Piano [Acoustic], Organ [Hammond B3] – Geri Allen; Trumpet – Eddie Henderson; Voice – Cassandra Wilson

Modern Day Jazz Stories

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Charnett Moffett - Treasure

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 53:26
Size: 123,3 MB
Art: Front

(5:38)  1. Swing Street
(7:59)  2. The Celebration
(7:15)  3. The Things of Swing
(6:33)  4. Say La
(3:44)  5. Beam Me Up
(3:21)  6. Praise
(3:19)  7. Country Blues
(2:45)  8. Down Up Blues
(3:59)  9. Say La La
(3:23) 10. Treasure
(2:56) 11. Sound Healing I
(2:28) 12. Sound Healing II

Treasure is the eleventh solo release for veteran bassist Charnett Moffett. Much like his previous efforts, the focus here is on the New York native's jaw-dropping technique on both upright and electric fretless bass. Mixed in with the traditional jazz instrumentation of bass, piano, guitar and drums, Moffett utilizes the more unconventional sounds of tablas, tamboura and sitar to enhance this all-original set of eclectic, swinging music. Although Moffett's performance throughout the disc will undoubtedly make bass players do a double-take, the music reveals much more than mere bass indulgence. Even on the solo bass tracks ("Country Blues," "Sound Healing I," "Sound Healing II"), Moffett's composing emphasizes groove and melody. The opening "Swing Street" maintains an accessible appeal with a funky momentum, in spite of blazing, effects-driven bass licks. The monster-chops showcase "Beam Me Up" reveals a fondness for the late Jaco Pastorius, with Moffett in commanding form on fretless bass. Adding to the tune's intensity is bass clarinetist Oran Etkin and drummer Denardo Coleman, a long-time Moffett musical collaborator. Another frequent associate of Moffett, guitarist Stanley Jordan, makes a guest appearance on two tracks, "The Celebration" and "The Things of Swing," the latter featuring some of the session's most inspired playing. Another bright moment comes with "Say La La," a lengthy, drone-based groove, where Moffett shares melodic duty with Kugo harpist Tomoko Sugawara, aided by sitarist Anjana Roy and Angela Moffett on tambura. Treasure is a welcome addition to Moffett's recorded output. Once again, he continues to find fresh, innovative ways to bring the bass front-and-center.~ John Barron https://www.allaboutjazz.com/treasure-charnett-moffett-motema-music-review-by-john-barron.php

Personnel: Charnett Moffett: upright bass, fretless electric bass, piccolo electric bass; Casimir Liberski: piano (4); Denardo Coleman: drums (1, 5); Rodney Holms: drums (2, 3, 4, 6); Moa Moffett: drums (8), tablas (2, 11, 12); Stanley Jordan (2, 3); Angela Moffett: Tamboura (1-4, 8, 9, 12), vocals (4); Oran Etkin: bass clarinet (1, 3, 5); RJ Avallone: trumpet (2); Irwin Hall: tenor saxophone (2); Anjana Roy: sitar (4, 9); Amareia Moffett: vocals (4); Tomoko Sugawara: Kugo Harp (9); Jana Herzen: didgeridoo (8).

Treasure

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Kenny Garrett - Black Hope

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

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

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

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

Black Hope

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Kevin Eubanks - Turning Point

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 50:51
Size: 116,8 MB
Art: Front

(5:21)  1. Turning Point (Part I)
(4:44)  2. Aftermath (Part II)
(4:49)  3. Initiation (Part III)
(7:04)  4. New World Order
(5:07)  5. Colors of One
(5:46)  6. Spiral Ways
(6:42)  7. Freedom Child
(6:29)  8. On My Way to Paradise
(4:46)  9. Lingering Destiny

Turning Point is a highly appropriate title for this album. After recording his share of commercial fluff for GRP, Kevin Eubanks switched to Blue Note with this heartfelt CD and strived for excellence instead of going out of his way to avoid it. Creativity, personal improvising, and spontaneity are main ingredients of the album, which unites the talented electric and acoustic guitarist with bass explorer Dave Holland and drummer Marvin "Smitty" Smith, among others. Like so much intellectual jazz, Point requires several listenings in order to be fully appreciated.~ Alex Henderson https://www.allmusic.com/album/turning-point-mw0000612760

Personnel: Kevin Eubanks (guitar); Marlon Jordan (trumpet); Kent Jordan (flute); Dave Holland, Charnett Moffett (bass); Marvin "Smitty" Smith, Mark Mondesir (drums).

Turning Point

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Kenny Garrett - Happy People

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 61:28
Size: 140,8 MB
Art: Front

(5:25)  1. Song For DiFang
(5:12)  2. Happy People
(5:52)  3. Tango In 6
(5:11)  4. Ain't Nothing But The Blues
(3:41)  5. Song #8
(5:32)  6. Halima's Story
(4:41)  7. Monk-ing Around
(5:59)  8. A Hole in One
(4:49)  9. Thessalonika
(7:03) 10. Asian Medley
(7:59) 11. Brother B. Harper

Just going over the press material for this album, I got the distinct impression that there was a pretentious sense of crossover appeal in the mix with verbiage that in effect claimed Garrett was trying to bridge the gap between jazz, hip hop, and world music. As for the music itself, let's just say that too much of what constitutes this mixed bag is simply unbecoming to an artist of Garrett's stature. Co-producer Marcus Miller shares much of the responsibility for this cloying affair, with slap bass and banal vocals as part of the minefield, not to mention a pretentious dedication to Tiger Woods. Only when Bobby Hutcherson is present and on the cathartic "Brother B. Harper" do we really get a sense of Garrett's great talent, a talent that seems to have been sublimated for the most part since 1996's Pursuance. ~ C.Andrew Hovan https://www.allaboutjazz.com/happy-people-kenny-garrett-warner-bros-review-by-c-andrew-hovan.php

Personnel: Kenny Garrett (saxophones), Marcus Miller (bass), Charnett Moffett (bass), Vernon Brown (piano), Chris Dave (drums), Marcus Baylor (drums), Bobby Hutcherson (vibes), Jean Norris (vocals)

Happy People

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Charnett Moffett - Internet

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 72:27
Size: 168,5 MB
Art: Front

(3:51)  1. G.E.M.
(3:12)  2. Icon Blues
(3:48)  3. PTL
(4:25)  4. Kings and Queens
(1:54)  5. Coral
(4:39)  6. Free Raga
(5:31)  7. Jubilant
(4:59)  8. Rain Drops
(4:12)  9. Triumph
(5:20) 10. Mr. O. C.
(3:24) 11. Wishful Thinking
(6:10) 12. Happy Dreams
(3:36) 13. Internet
(5:48) 14. Universal March
(4:22) 15. Enjoy Your Life
(2:51) 16. Star-Spangled Banner
(4:18) 17. RAS

Nine years have passed since Charnett Moffett 's debut album, later featured in the role of bass player of Ornette Coleman and McCoy Tyner. As for its ninth CD as a leader, two distinct reads are required for the attention of the reviewer, called to evaluate both the expressive brilliance of musicians and the goodness of the project. Of course, Moffett's exquisitely solos are characterized by two salient features: a sharp double-bass effect, accompanied by a powerful and frustrating phrasing, though exuberant. Although energetic and dynamic, his music is not up to the solo figure and will arouse the interest of those who love crossover sounds, cross between canonical jazz and fusion.  Not to be exploited in all the expressive potentials is his remarkable trio, featuring the excellent pianist Stephen Scott, who is also involved in the acidic and granular side of the electric instrumentation. It is pleasing (re) to listen to an underrated artist whose tracks had been lost after the encouraging engravings for the Verve of the '90s. To him and to his wise use of the organ in jazz style, it is best to have a pleasant disc, but not very original on the compositional level. Translate by google ~ AAJ Italy /staff https://www.allaboutjazz.com/internet-charnett-moffett-piadrum-records-review-by-aaji-staff.php

Personnel: Eric McPherson: drums; Charnett Moffett: bass guitar, vocals, fretless bass, acoustic bass, bass; Maria Sartori-Spencer: vocals.

Internet

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Charnett Moffett - The Bridge

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 55:28
Size: 129,0 MB
Art: Front

(2:02)  1. Caravan
(3:26)  2. Eleanor Rigby
(1:56)  3. Black Codes
(3:01)  4. Fragile
(1:20)  5. Haitian Fight Song
(4:25)  6. Kalengo
(1:09)  7. Bow Song
(3:59)  8. Jousha Fought the Battle of Jericho
(3:07)  9. Skip Hop
(1:45) 10. The Slump
(4:18) 11. Monk Medley
(2:06) 12. Oversun
(1:58) 13. Swinging Etude
(4:08) 14. Walk Spirit, Talk Spirit
(3:43) 15. Truth
(2:41) 16. The Bridge (Solo Bass Works)
(0:44) 17. Nature Boy
(2:06) 18. Things Ain't What They Used To Be
(2:55) 19. All Blues
(4:27) 20. Free Your Mind

The sound of Charnett Moffett's bass resonates almost instantly straight to the depths of the soul. Over his career, Moffett has played in a tremendous variety of settings and explored seemingly every avenue, alley, and obscure landscape of both the upright and electric bass. Now with his first solo bass CD, The Bridge, audiences can experience Moffett's artisanship in its most concentrated form. Comprised of 20 pieces, The Bridge covers a lot of territory, acting as a portrait of Moffett's musical experience. Included on the album are touchstones to the many stages of his long career, from his early work with Wynton Marsalis to his run with the Manhattan Jazz Quartet, to his explosive experiments as a bandleader, as well as his partnership with McCoy Tyner. However, though touching on these various aspects of his development, it is not a simple march through time, but instead a distillation of the various components into a captivating whole. Moffett begins with a blistering take on "Caravan," followed immediately by "Eleanor Rigby" which in Moffett's hands undergoes a kind of sublimation that exposes the devastating salience of the original's commentary on the human condition. This ability to pair down and purify represents one of Moffett's signature abilities which he applies throughout The Bridge. A second powerful example is his brief 44-second rendition of "Nature Boy." Boldly approaching this classic, Moffett inverts the more usual jazz methodology of expanding on a tune's basic parts to instead render it into its most essential, emotive elements.

The remaining 18 selections continue this pattern, tapping both icons of the jazz repertoire, like Charles Mingus' "Haitian Fight Song" and a medley of Thelonious Monk works, and pop tunes like Sting's "Fragile." Moffett also contributes 8 original compositions that provide some additional standout moments, such as the Middle Eastern-themed piece "Kalengo" on which Moffett integrates pizzicato and bowed techniques in a virtuoso display. In fact, Moffett's bow work on this and several other pieces, including Miles Davis' "All Blues" and the closing, electric-tinged "Free Your Mind," represent some of the most redolent passages on the album. No recording can capture the distinct and uncannily haunting sound of Moffett's tone when experienced live, but The Bridge is an exceptionally actualized statement delivered by the practiced hand of a master during a resurgence of his creative powers. (It should be noted that The Bridge will be followed closely by an ensemble album, and was previewed by a marathon run of solo performances in New York.) In the end, as impressive as Moffett's technical facility on the bass and compositional talents are, it is his emotive clarity, the ability to cut to the core, that ultimately captures the imagination and moves the listener's inner being. His is a rare capacity to reach out sometimes with only one perfectly articulated note to touch the deepest aspects of our spirits and carry us forward. ~ Franz Matzner https://www.allaboutjazz.com/the-bridge-charnett-moffett-motema-music-review-by-franz-a-matzner.php
 

Personnel: Charnett Moffett: Bass

The Bridge

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Charnett Moffett - Spirit of Sound

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 47:02
Size: 108,2 MB
Art: Front

(2:48)  1. Bassland
(1:28)  2. Seeker of Truth
(3:32)  3. Opera
(4:03)  4. Hope
(4:38)  5. Natural Heritage
(4:53)  6. Swing Raga
(6:43)  7. Blues Walk Groove
(5:30)  8. Overpass
(4:09)  9. Lonely Woman
(3:47) 10. For Those Who Know
(5:26) 11. Spirit of Sound

Bassist Charnett Moffett's first two releases on the Motéma imprint came out two years apart; his third and fourth releases for the same label The Bridge: Solo Bass Works (Motéma Music, 2013) and the outing under discussion here arrive a mere three months apart. His working pace has clearly quickened, but the quality of the music hasn't suffered for it. Both The Bridge: Solo Bass Works and Spirit Of Sound present an artist, interpreter, composer and conceptualist in his prime. Moffett used his first release of 2013 to showcase his virtuosity and skill in delivering songs. His high level bass chops are also on display here, but this album is about creating soundscapes, not out-and-out songs. (Middle) Eastern tinged auras, circling patterns and swirling ideals are all part of this production, and "production" is the key word in that statement; Moffett, label head/label mate/duo partner Jana Herzen and manager/producer Mary Ann Topper shaped the album and gave it a glistening, celestial vibe. The personnel on Spirit Of Sound changes from track to track, as various family members and label mates drop in and out, but the consistent presence of Moffett on bass(es), Angela Moffett on tamboura, and Max Moffett on drums creates a supportive foundation throughout. In a traditional sense, the guests are underutilized, but in the context of this album concept, they deliver what's expected. Amareia Moffett adds some wordless vocals to the underwhelming "Opera," Tessa Souter does the same on the bouncy, hippie-ish "Natural Heritage," and Herzen follows suit on the semi-psychedelic "Swing Raga." Angela Moffett rounds out the vocalist roster, reciting E. E. Cummings' words on "Seeker Of Truth" and Emily Dickinson's work on "Hope." Babatunde Lea adds some percussive coloring on a few tracks, pianist Marc Cary makes an appearance on one piece and multi-reedist Oran Etkin shows up twice, but none of them make a big splash; they simply fit into the overall musical formula of the day. Much of this music is overly repetitious in nature, with vamping patterns aplenty, but Moffett's ever-stupendous bass work is the X factor that brings excitement and a sense of surprise into the picture. His technique, taste and overall conception for construction turns the potentially-bland into a flavorful sonic stew. ~ Dan Bilawsky https://www.allaboutjazz.com/spirit-of-sound-charnett-moffett-motema-music-review-by-dan-bilawsky.php

Personnel: Charnett Moffett: acoustic upright bass, fretless electric bass, piccolo bass guitar, vocals; Angela Moffett: tamboura, spoken word (2, 4); Charnett "Max" Moffett: drums, tabla, vocals (4); Marc Cary: piano (10); Oran Etkin: clarinet (4), tenor saxophone (8); Babatunde Lea: percussion (4, 6, 8); Amareia Moffett: vocals (3); Tessa Souter: vocals (5); Jana Herzen: vocals 6).

Spirit of Sound

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Charnett Moffett - Music From Our Soul

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 60:53
Size: 142,3 MB
Art: Front

(3:56)  1. Music From Our Soul
(5:20)  2. Freedom
(7:05)  3. Mood Indigo
(3:40)  4. So What?
(5:09)  5. Come And Play
(3:39)  6. Love In The Galaxies
(4:38)  7. We Are Here To Play
(4:58)  8. Mediterranean
(5:30)  9. For Those Who Know
(6:55) 10. Just Need Love
(1:02) 11. Celestial Dimensions
(2:53) 12. Sound World Suite
(5:27) 13. Freedom Swing
(0:35) 14. Love For The People Encore

Bassist Charnett Moffett is one of those figures that we tend to take for granted, mostly because it seems like he's simply always been here. The once-upon-a-time child prodigy has been omnipresent on the scene since the mid '80s, holding down the low end for jazz's elite while bringing strength, consistency, and creativity to the fore through his bass work. A short list of Moffett's employers and colleagues reads like a jazz history lesson saxophonists Ornette Coleman and Kenny Garrett, drummers Tony Williams and Art Blakey, pianists McCoy Tyner and Mulgrew Miller, guitarists Kevin Eubanks and Sonny Sharrock, and multiple Marsalis men have all called on the bassist at one time or another but he's not merely a sideman du jour. Moffett has made more than a few splashes on his own, releasing a dozen or so albums as a leader, and he's spent plenty of time headlining at notable venues and events. He's been a musical rock and pillar for the past thirty years, and Music From Our Soul celebrates that fact. For this occasion, Moffett assembled a program of music that capitalizes on his many strengths while also highlighting his varied musical exploits and excursions in the present day. There are performances that were recorded live at New York's Jazz Standard, showcasing the trio of Moffett, pianist Cyrus Chestnut, and drummer Victor Lewis; numbers with guitarist Stanley Jordan and drummer Mike Clark that were captured in a live studio setting; recordings from a run of shows at Seattle's Jazz Alley, where Moffett and Jordan combined forces with iconic saxophonist Pharoah Sanders and drumming powerhouse Jeff "Tain" Watts; and pieces plucked from Moffett's performance at the 40th International Bern Jazz Festival in 2015, featuring a quartet that includes Jordan, Chestnut, and Watts. When taken as a whole, all of it serves as a portrait of an artist in midlife Moffett turned fifty on June 10, 2017 and a statement of dominance from one of the most technically gifted and imaginative bass players on the planet.

The fleet-fingered lines, liquid tone, and harmonic perspicacity that are universally recognized as hallmarks of Moffett's work are all here for the viewing. His massive chops and flexibility are on display on the large majority of these pieces and his rapport with these different groups is evident. He supports Sanders' atavistic wails and exhibits a coiled connection to Jordan on "Freedom Swing," moves from mellow and melodious environs to a bluesy barroom and back again on Duke Ellington's "Mood Indigo," hits the gas pedal with Chestnut and Lewis on the feisty "Come And Play," explores pan-African cool on the title track, and gleefully mixes it up with Watts, Chestnut, and Jordan on the rocketing and explosive "For Those Who Know." Sound quality and balance understandably vary a bit from place to place here you can't source an album from three different live venues and a studio without encountering that issue to some degree but musical quality remains incredibly high throughout. Moffett reached the summit three decades ago and he's still right there, bass in hand and fingers at the ready. He remains a giant on his instrument and a stalwart figure in jazz. ~ Dan Bilawsky https://www.allaboutjazz.com/music-from-our-soul-charnett-moffett-motema-music-review-by-dan-bilawsky.php
 

Personnel: Charnett Moffett: acoustic bass, electric bass; Pharoah Sanders: tenor saxophone (1, 7, 13); Stanley Jordan: guitar (1, 2, 4, 5-10, 12, 13), piano and keyboards (1, 7, 13); Cyrus Chestnut: piano and keyboards (2, 3, 5, 8, 10); Jeff "Tain" Watts: drums (1, 2, 7-10, 12, 13); Victor Lewis: drums (3, 5); Mike Clark: drums (4, 6).

Music From Our Soul

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Wynton Marsalis - Black Codes

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 50:54
Size: 135,6 MB
Art: Front

(9:32)  1. Black Codes
(9:08)  2. For Wee Folks
(6:47)  3. Delfeayo's Dilemma
(6:45)  4. Phryzzinian Man
(5:36)  5. Aural Oasis
(7:40)  6. Chambers of Tain
(5:23)  7. Blues

This is probably the best Wynton Marsalis recording from his Miles Davis period. With his brother Branford (who doubles here on tenor and soprano) often closely emulating Wayne Shorter and the rhythm section (pianist Kenny Kirkland, bassist Charnett Moffett, and drummer Jeff Watts) sounding a bit like the famous Herbie Hancock-Ron Carter-Tony Williams trio, Wynton is heard at the head of what was essentially an updated version of the mid- to late-'60s Miles Davis Quintet (despite Stanley Crouch's pronouncements in his typically absurd liner notes about Marsalis' individuality). The music is brilliantly played and displays what the "Young Lions" movement was really about: young musicians choosing to explore acoustic jazz and to extend the innovations of the pre-fusion modern mainstream style. Marsalis would develop his own sound a few years later, but even at age 23 he had few close competitors. ~ Scott Yanow http://www.allmusic.com/album/black-codes-from-the-underground-mw0000188478

Personnel : Wynton Marsalis (trumpet);  Branford Marsalis (tenor saxophone);  Kenny Kirkland (piano);  Ron Carter, Charnett Moffett (bass);  Jeff "Tain" Watts (drums).

Black Codes

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Manhattan Jazz Quintet - Manhattan Jazz Quintet

Styles: Jazz, Big Band
Year: 1984
File: MP3@320K/s
Time: 40:07
Size: 92,2 MB
Art: Front

(8:59)  1. Summertime
(3:11)  2. Rosario
(8:26)  3. Milestones
(9:22)  4. My Favorite Things
(5:43)  5. Airegin
(4:25)  6. Summer Waltz

The Manhattan Jazz Quintet are an unusual group in that they very rarely perform as a unit in the United States (much less Manhattan) but have been a major hit in Japan, both for their recordings and occasional tours. Originally comprised of leader/pianist David Matthews, trumpeter Lew Soloff, tenor saxophonist George Young, bassist Eddie Gomez, and drummer Steve Gadd, the band (which emphasizes straight-ahead hard bop swinging) first came together in 1983 at the suggestion of the King label and the top Japanese jazz magazine Swing Journal. To everyone's surprise, its first recording (simply called Manhattan Jazz Quintet) became such a big seller that it was awarded Swing Journal's annual 1984 Gold Disk Award as the number one album in Japan. Several years later the group broke up when Gomez and Gadd needed more time to pursue their individual projects and all of the quintet members later became quite successful in their own careers but this edition of the MJQ recorded reunions in 1990 (which found John Scofield guesting on a few selections) and in 1993. Victor Lewis replaced Gadd that year, and subsequently Young was replaced by Andy Snitzer and Gomez by Charnett Moffett. The Manhattan Jazz Quintet recorded primarily for King in Japan (those dates were mostly made available in the U.S. by Projazz) during the 1980s, although they cut some later recordings among the comparative very few that actually took place in Manhattan!  for the Sweet Basil label. During the new millennium the Manhattan Jazz Quintet have recorded regularly for Video Arts. ~ Scott Yanow http://www.allmusic.com/artist/manhattan-jazz-quintet-mn0000674690/biography

Personnel:  Lew Soloff (trumpet) George Young (tenor sax) David Matthews (piano) Charnett Moffett (bass) Steve Gadd (drums)

Manhattan Jazz Quintet

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Rachel Z - Trust The Universe

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 61:39
Size: 141,2 MB
Art: Front

(7:29)  1. Nardis
(5:16)  2. I Won't Cry 4 Us
(5:01)  3. Monk's Other Women
(7:01)  4. Inamorata
(4:21)  5. Under The Suit
(6:12)  6. Forgive Me
(3:42)  7. Save My Soul
(3:56)  8. Go!
(4:59)  9. One Night
(4:29) 10. Trust The Universe
(4:56) 11. When The Cats Away
(4:11) 12. Iyakutanda

Keyboardist Rachel Z divides her debut CD into mainstream and contemporary sections, but in reality she plays basically the same in both sessions, emphasizing her acoustic work in a style most influenced by Chick Corea, Herbie Hancock, and occasionally Bill Evans. The music is usually soulful enough for the jazz lite listener and contains just enough chance-taking for more serious jazz collectors. Nothing too unexpected occurs, but this enjoyable set has some fine solos from the leader and the contrasting saxophones of David Sanchez and David Mann.~Scott Yanow http://www.allmusic.com/album/trust-the-universe-mw0000094905

Personnel: Rachel Z (piano, keyboards); David Mann (soprano saxophone, alto saxophone, tenor saxophone); David Sanchez (soprano saxophone, tenor saxophone); Charnett Moffett (acoustic bass); Victor Bailey (electric bass); Al Foster, Lenny White (drums); Gumbi Ortiz (percussion).

Trust The Universe

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Charnett Moffett - The Art of Improvisation

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 59:01
Size: 135,5 MB
Art: Front

(3:25)  1. We Pray
(5:07)  2. Moses
(5:10)  3. The Story
(5:05)  4. Dreams
(5:45)  5. Elements of Life
(4:44)  6. Call For Peace
(4:57)  7. The Awakening
(5:34)  8. Swing Rock
(4:28)  9. Enlightenment Part I
(7:26) 10. Enlightenment Part II
(3:50) 11. The Art of Improvisation
(3:23) 12. Star Spangled Banner

A fascinating recording, The Art of Improvisation is as mysterious as it is a showcase for the formidable bass playing skills of its leader Charnett Moffett; his playing on electric and acoustic basses has a grounded, vocal quality he always seems to be singing through his instruments. Even when he is playing a fusillade of notes (and Moffett does have fleet fingers), the feel of various folk musics (Asian, Middle Eastern, African, even Celtic) are invoked, as heard through both parts of "Enlightenment." "Part I" starts with a floating, meditative mood, building in speed and emotional intensity over a pedal tone. "Part II" becomes a duet of bass and drums, using the melodic materials of "Part I" in an approach similar to that of a sitar/tabla duet. 

Moffett's bass again sings a duet with Tibetan vocalist Yunchen Lhamo on "Call for Peace," a striking track of such sincerity it begs for more. "Dream," another fascinating composition, features a poet's recitation over a sonic landscape that sounds as if it could have been recorded in the '60s or '70s a cross between the Last Poets and music found at the Creative Music Studio. The title track, of course reminds listeners of Ornette Coleman's 1961 album, The Art of the Improvisers; Charnett, after all, is a contraction of Charles as in drummer Charles Moffett, his father and Ornette, Charles Moffett's boss circa 1965. And the bassist's version of the "Star Spangled Banner" convincingly revives the spirit of Hendrix's Woodstock version of the national anthem. 

Moffett doesn't take the usual route of making a recording that's a concise collection of tunes. He stretches out on his basses more than any other bassist/bandleader dares to. And though Moffett can remind one of Jaco Pastorius, James Jamerson, Milt Hinton, Charlie Haden, Stanley Clarke or an Edgar Meyer none would have made an album with this kind of directness. ~ Francis Lo Kee  http://www.allaboutjazz.com/the-art-of-improvisation-charnett-moffett-motema-music-review-by-francis-lo-kee.php

Personnel: Charnett Moffett: basses; Will Calhoun: drums Yungchen Lhamo: vocal; Scott Brown: piano; Pat Jones: guitar. Steve Barnes: guitar. Eric McPherson: drums. Charnette Max Moffett: drums. Robert Joseph Avalon: trumpet.

The Art of Improvisation

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