Jared Gold - Out Of Line

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 50:55
Size: 117,8 MB
Art: Front

(5:32)  1. An Aperitif
(6:20)  2. Preachin'
(4:57)  3. Out Of Line
(4:52)  4. You Haven't Done Nothin'
(5:33)  5. It Is Well
(5:15)  6. Down South
(5:45)  7. The Stone Age
(5:44)  8. La-La (Means I Love You)
(6:52)  9. Skylark

Despite the implications that live within a title like Out Of Line, organist Jared Gold's third Posi-Tone release is rather in tune with the history and vibe of organ groups and all that goes with them. Gold is joined by some top notch east coast talent, in the form of guitarist Dave Stryker, drummer Mark Ferber and saxophonist Chris Cheek, and all four musicians seem to gel well from the very start. Gold might have eclectic tastes, with covers ranging from Hank Mobley's "An Aperitif" to Stevie Wonder's "You Haven't Done Nothin,'" but he covers nearly every style in the organ group playbook as he works his way through this nine-song program. The Mobley tune, originally on the saxophonist's lesser-known Third Season (Blue Note, 1967), starts things off with a bang. Gold and Cheek are as tight as can be, as they work their way through the head on this up-tempo number. 

Funk is a healthy part of any organ group's diet and Gold delivers the goods with "The Stone Age" and "You Haven't Done Nothin,'" the Wonder tune coming across as a looser, riff-based workout, while Gold's original is a bit more substantial. Cheek leads the charge, while the rhythm section has some greasy groove-making going on beneath him; the overall sound like a less aggressive version of Joshua Redman's Elastic Band. "Preachin'" is a superb gospel-soul number which highlights Gold's playing and writing, while "It Is Well" is churchy in a different, more reverent manner. This understated number sounds like a jazz take on a hymn, and it shows off a different side of Gold's personality. While Ferber's drums hint at bossa nova on the title track, nothing else on the disc really speaks of Brazil.  A soothing take on The Delfonics' "La-La (Means I Love You)," and an odd-metered arrangement of "Skylark" close the album. Gold's performance of The Delfonics' megahit reflects the understated quality of their rendition; "Skylark," on the other hand, is reshaped and molded to Gold's liking. Cheek and Gold are both in fine form on this one, and Ferber even gets to solo over an energized vamp, as the album draws to a close. ~ Dan Bilawsky https://www.allaboutjazz.com/out-of-line-jared-gold-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Jared Gold: Hammond B3; Dave Stryker: guitar; Chris Cheek: tenor saxophone; Mark Ferber: drums.

Out Of Line

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Brad Mehldau - Finding Gabriel

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 55:38
Size: 130,1 MB
Art: Front

(7:18)  1. The Garden
(4:01)  2. Born to Trouble
(4:38)  3. Striving After Wind
(5:21)  4. O Ephraim
(6:20)  5. St. Mark Is Howling in the City of Night
(6:47)  6. The Prophet Is a Fool
(4:32)  7. Make It All Go Away
(5:13)  8. Deep Water
(4:17)  9. Proverb of Ashes
(7:06) 10. Finding Gabriel

Brad Mehldau fans should be used to his shapeshifting ways by now. Rightfully acclaimed for his jazz trio recordings, it is the balance of his catalog that delivers a rounded portrait of the musician, from Largo and The Highway Rider to Mehliana: Taming the Dragon, and more. But Finding Gabriel marks his most idiosyncratically expansive release yet. Its thematically linked compositions were inspired by a close reading of Old Testament sources  Daniel, Hosea, Psalms, Ecclesiastes, and Job while considering our current sociopolitical era. He also experimented with the Oberheim OB-6 analog synth while composing, an instrument whose possibilities were new to him. It's used alongside acoustic and electric pianos, organ, xylophone, mores synths, and voice. His celebrated cast of guests includes trumpeter Ambrose Akinmusire, violinist Sara Caswell, saxophonist Joel Frahm, drummer Mark Guiliana, vocalists Becca Stevens, Kurt Elling, and Gabriel Kahane, and small string and horns sections. In addition to ensemble pieces, three tunes are performed by Mehldau as a one-man band. A repetitive melody on grand piano and analog synth introduces overture "The Garden," with Giuliana's kick drum offering an urgent pulse underneath. Next, Mehldau's, Stevens', and Kahane's voices sing wordlessly, like instruments, before Giuliana executes furious breakbeats and cymbal crashes. Akinmusire's smeared post-bop trumpet bleats are (like Gabriel's horn at the end of time) countered by contrapuntal reeds and winds. "Striving After Wind" is a fusion tune akin to something by Flying Lotus, with sweeping synths, electric pianos, and synthetic drums ballasted by entwined wordless vocals. 

On the solo "O Ephraim," synths, pianos, and Mehldau's (lovely) wordless singing juxtapose prog rock and jazz. Chiming keyboards introduce "St. Mark Is Howling in the City of Night" with Caswell's violin, funky breaks, and other strings ushering in a rockist frame that morphs into a minimalist piano theme accented by beats and classical strings. "The Prophet Is a Fool" is introduced by the crowd chanting "Build that wall!" in a jarring freeze frame of this historical moment; it's followed by a dialogue that underscores just who the subject is. Frahm delivers a fire-breathing tenor solo, followed by Akinmusire's as junglist rhythms underscore the tune's urgency. "Make It All Go Away" is a pillowy, near-pop melody with Stevens and Elling hovering alongside keys and drums. "Deep Water" is darker, a piece of neo-classical prog with violin and string trio and Mehldau's elliptical piano. Elling takes a killer sonically treated scat vocal on "Proverb of Ashes," with its backing track wedding EDM futurism to post-punk. Mehldau closes the set solo with the title track, a spoken prayer surrounded by angelic voices, shimmering pianism, mellotrons, synths, and percussion instruments concluding with a quote from the prophet Daniel. It will take several listens to appreciate all that takes place on Finding Gabriel, but that's as it should be. Mehldau is scratching an itch; whatever bothers him is provoking action that leads to a strange, ethereal space where the questions and answers of both history and mystery are not only provocative, but interchangeable. 

~ Thom Jurek https://www.allmusic.com/album/finding-gabriel-mw0003269321

Personnel:  Brad Mehldau – synthesizers (1–10), piano (1, 2, 5–10), Fender Rhodes (3, 4), Hammond B-3 organ (10), Musser Ampli-Celeste (4), Morfbeats gamelan strips (4), xylophone (6), Mellotron (10), drums (2, 4, 10), percussion (10), vocals (1, 2, 4, 5, 9, 10); Ambrose Akinmusire – trumpet (1, 6); Chris Cheek – baritone sax and tenor sax (1); Charles Pillow – baritone sax (6), alto sax and bass clarinet (1), soprano sax (1, 6); Joel Frahm – tenor sax (1, 6); Michael Thomas – alto sax and flute (1, 6); Sara Caswell – violin (5, 8); Lois Martin – viola (5, 8); Noah Hoffeld – cello (5, 8); Mark Guiliana – drums (1, 3, 5–9); Aaron Nevezie – effects (9); Kurt Elling – vocals (7, 9); Gabriel Kahane – vocals (1, 3, 5, 8); Becca Stevens – vocals (1, 3, 5, 7, 8); "Snorts" Malibu – vocals (9)

Finding Gabriel

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Jakob Bro - Daydreamer

Styles: Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 44:07
Size: 101,6 MB
Art: Front

(7:01)  1. Philadelphia
(4:43)  2. Countryside
(5:35)  3. Daydreamer
(4:38)  4. The Time Is Always Now
(4:46)  5. Highpoint
(6:00)  6. Optimistic
(6:30)  7. Everything All at a Time
(4:50)  8. Unfolded

Jakob Bro (1978) is a Danish guitar player and composer living in Copenhagen, Denmark. He is currently leading a trio with Joey Baron and Thomas Morgan and a quartet with Palle Mikkelborg, Thomas Morgan and Jon Christensen. In the spring of 2018 the quartet released a highly acclaimed album Returnings through ECM Records. In October 2018 the trio will be releasing a new ECM album, Bay Of Rainbows, recorded at the Jazz Standard in New York. Bro is also working with his tentet with Jesper Zeuthen, Peter Laugesen, Andrew D’Angelo, Chris Speed, Kresten Osgood, Jakob Høyer, Thomas Morgan, AC, Nikolaj Torp-Larsen and Søren Kjærgaard and he is currently composing music for a new choir project together with his long time friend and associate trumpet player Jakob Buchanan. Jakob Bro is a former member of Paul Motian & The Electric Bebop Band (Garden of Eden, ECM – 2006) and of Tomasz Stanko’s Dark Eyes Quintet (Dark Eyes, ECM – 2009). He has released 15 records as a bandleader including musicians like Lee Konitz, Bill Frisell, Paul Motian, Kenny Wheeler, Paul Bley, Chris Cheek, Thomas Morgan, Ben Street, Mark Turner, Kurt Rosenwinkel, Andrew D’Angelo, Chris Speed, George Garzone, Craig Taborn, Oscar Noriega, David Virelles, Jon Christensen, Jesper Zeuthen, Anders Christensen, Peter Laugesen, Kresten Osgood, Jakob Høyer, Nicolai Munch-Hansen, Jonas Westergaard, Søren Kjærgaard, Nikolaj Torp Larsen and many more. He has toured in Japan, China, South Korea, Australia, Brazil, Argentina, Columbia, South Africa, USA and most of Europe. http://jakobbro.com/web/2018/09/bio/

Personnel: Jakob Bro (Guitar); Chris Cheek (Tenor Sax); Ned Ferm (Tenor Sax)(; Mads Hyhne (Trombone); Anders Christensen (Bass); Jeppe Gram (Drums)

Daydreamer

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Burak Bedikyan - Leap of Faith

Styles: Piano Jazz 
Year: 2015
File: MP3@320K/s
Time: 70:09
Size: 161,2 MB
Art: Front

(6:38)  1. Astral Traveller
(6:06)  2. Prelude No. 1 Birth Of Innocense
(5:53)  3. Hommage A Bud Et Francis
(7:33)  4. Ashes To Ashes
(9:17)  5. Leap Of Faith
(9:34)  6. Hydrogen Atom
(5:57)  7. Prelude No. 2 Lonely Planet
(7:37)  8. The Unspoken
(4:57)  9. Der Zor (Deir Ez-Zor)
(6:33) 10. Gravity

One of Turkey’s leading pianists Burak Bedikyan has been rapidly establishing himself as a star player on the international jazz scene since the release of his first SteepleChase Lookout album “Circle Of Life” SCCD 33109 (2013). For his second album here Bedikyan further showcases an exciting process of on-going development as a performer and composer with unique musical background.

“This is an interesting overture for the Turkish newcomer, but it sounds like there’s much more in reserve.” ~ John Fordham 

“Burak Bedikyan takes charge of the finest quartet recording for 2013, Circle Of Life… Bedikyan is a name to remember and an artist whose musical stock is an arrow pointing straight up!” ~ Brent Black

Personnel:  Piano – Burak Bedikyan; Bass – Ron McClure; Drums – Billy Drummond; Tenor Saxophone, Soprano Saxophone – Chris Cheek

Leap of Faith

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Seamus Blake - The Bloomdaddies

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 50:28
Size: 115,9 MB
Art: Front

(5:50)  1. Newton's Law
(6:05)  2. Hick as Heck
(3:35)  3. To Be Ornette to Be
(6:56)  4. Sing, Sing, Sing
(6:01)  5. Shelter
(9:49)  6. Trilogy: End of Time, Space Sh
(4:35)  7. Final Sauna
(7:33)  8. Do We?

Criss Cross is famous as one of the top European bop-oriented labels, so this particular release was a real departure. The music uses electronics a bit; the playing is open to the influences of the avant-garde and funk, and the instrumentation is a bit different: Seamus Blake and Chris Cheek on tenors, Jesse Murphy on electric bass and both Jorge Rossy and Dan Reiser on drums. With the exception of an eccentric version of "Sing, Sing, Sing," all of the tunes are originals by either Blake or Cheek, including such titles as "Hick As Heck," "Final Sauna" and "To Be Ornette to Be." An intriguing, if not essential set. ~ Scott Yanow http://www.allmusic.com/album/bloomdaddies-mw0000648376

Personnel: Seamus Blake (tenor saxophone); Chris Cheek (tenor saxophone); Jessie Murphy (bass guitar); Dan Reiser, Jorge Rossy (drums).

The Bloomdaddies

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Mark Turner - The Music of Mercedes Rossy

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 70:56
Size: 162,7 MB
Art: Front

( 8:06)  1. Some Like to Love More Than Once
( 8:25)  2. Amidst a Yesteday's Presence
( 6:01)  3. Lost Ocean
( 7:16)  4. The Other Side of Time
( 8:10)  5. 1991
( 8:34)  6. Water Stones
( 2:46)  7. 6 d'Octubre
(10:02)  8. Gone But Not Forgotten
(11:31)  9. The Newcomer

Mark Turner is a post-bop tenor saxophonist most influenced by John Coltrane, but also notably Warne Marsh. Born November 10, 1965 in Ohio, Turner was raised in California and initially studied visual arts at Long Beach State, but decided instead to pursue music and transferred to Berklee. Turner moved to New York and worked with James Moody, Jimmy Smith, the TanaReid Quintet, Ryan Kisor, Jonny King, Leon Parker, and Joshua Redman. He recorded his first album as a leader, Yam Yam, in 1994; the follow-up, a self-titled effort, did not appear until 1998. 

In This World appeared later that same year, and in early 2000, he resurfaced with The Ballad Session. Cafe Oscurra appeared a year later. In 2004, the saxophonist teamed with bassist Larry Grenadier and drummer Jeff Ballard for the trio album Fly. Starting with 2012's All Our Reasons, Turner began a recording relationship with the storied European label ECM that resulted in several more albums, including 2012's Year of the Snake and 2014's piano-less quartet recording, Lathe of Heaven. ~ Steve Huey https://itunes.apple.com/us/artist/mark-turner/id723957#fullText

Personnel: Chris Cheek (tenor, soprano saxophone); Mark Turner (tenor saxophone); George Colligan (piano); Jordi Rossy (drums).

The Music of Mercedes Rossy

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Chris Cheek - Saturday Songs

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 65:57
Size: 151,6 MB
Art: Front

(5:13)  1. String Finger
(5:31)  2. Ginger Something
(4:52)  3. Eye Factory
(6:16)  4. Bucky's Blues
(6:50)  5. Either Way
(6:58)  6. Slow Ships
(3:59)  7. Saturday Songs
(4:58)  8. Alhambros
(5:37)  9. Forever Green
(4:40) 10. Strawberry Jam
(5:35) 11. While You Sleep
(5:22) 12. Windmill Hill

Sometimes, combining seriousness of intent and high musicianship with pure fun is just the thing one needs, and is exemplified by Saturday Songs from tenor saxophonist Chris Cheek. Cheek does not make a lot records as a leader (see Blues Cruise from 2006), but is on literally scores of albums as a sideman (see Paul Motian's Garden of Eden from 2006 and Chris Lightcap's Epicenter from 2015), or his own discography, which is not completely up to date. In any event, Saturday Songs shares quite a bit of the vibe of Lightcap's latest release. Here, as there we have a sterling band playing the leader's compositions and arrangements (with one exception, Tom Jobim's "Forever Green"), but with perhaps less of an inspirational connection among the tunes than Lightcap. The band is made up of guitarist Steve Cardenas (who played with Cheek on Garden of Eden, David Soler on pedal steel, Jorge Rossy on drums, vibes and marimba (perhaps best know from Brad Mehldau's trio) and Jaume Llombard on bass. Although this is Cheek's records, he allocates plenty of space for the others, and in fact, Soler almost steals the record.

While the tunes as a set do not overtly exhude "Americana," the ubiquitous presence of Soler's pedal steel does locate the record's overall feel within that genre (with the exception of "Saturday Song," which sounds decidedly exotic). On the other hand, "Alhambros" which references the Alhambra's architecture, does not sound either Indian or Islamic. The tracks are very easy to listen to, since the the details of construction and arrangement are so well woven into the texture, but are not "easy listening"; any number of them ought to get quite a bit of airplay. Each track has its own "personality" and the album contains a wide range of moods. Stand out tracks include "Bucky's Blues" which eventually becomes a coolly grooving jazzy blues, the nonchalant drive of "Ginger Something," the very pretty "While You Slept" with its long, unfolding melody, "Strawberry Jam"'s attractive higher energy and open improvisations and the slow and easy Jobim tune, "Forever Green." Picking these tunes out in no way is meant to diminish the others, since Saturday Songs will no doubt get played many times by anyone and everyone. ~ Budd Kopman https://www.allaboutjazz.com/saturday-songs-chris-cheek-sunnyside-records-review-by-budd-kopman.php

Personnel: Chris Cheek: tenor saxophone; Steve Cardenas: guitar; David Soler: pedal steel; Jaume Llombard: bass; Jorge Rossy: drums, vibes, marimba.

Saturday Songs

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Chris Cheek - A Girl Named Joe

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 67:01
Size: 153,8 MB
Art: Front

(7:28)  1. Slide
(6:16)  2. September
(5:57)  3. Arctic Barbeque
(5:42)  4. Lowered
(7:37)  5. Late Green
(4:46)  6. Plant Dance
(6:28)  7. A Girl Named Joe
(7:15)  8. Then
(5:52)  9. Siege
(9:35) 10. Water Mile

Chris Cheek takes a bold step forward with this all-original date. With two tenors (Cheek and Mark Turner) and two drummers (Jordi Rossy and Dan Rieser), the instrumentation is somewhat unusual. Guitarist Ben Monder and bassist Marc Johnson complete the lineup. Johnson is an excellent choice, given the rock leanings of "Arctic Barbecue" and "Plant Dance," the dark folk elements of "Lowered," and even the country traces of the title track. 

With his own groups, Johnson has flirted with precisely this sort of eclecticism. Cheek's compositions, like Johnson's, are tuneful and surprising, full of moves you wouldn't expect from a jazz player. Perhaps it's his middle-American upbringing coming to the surface. On the jazzier side are Cheek's waltzes "September" and "Siege" and his closing 6/4 chart "Water Mile," which features probing solos from the two tenors. Monder's playing on every number is strong, as usual, not least on his own "Late Green," the album's most radical track and the only one not written by Cheek. ~ David R.Adler http://www.allmusic.com/album/a-girl-named-joe-mw0000046604

Personnel:  Chris Cheek, Mark Turner (tenor sax),  Ben Monder (guitar),  Marc Johnson (bass),  Jorge Rossy, Dan Rieser (drums).

A Girl Named Joe

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Chris Cheek - Vine

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 73:33
Size: 168,8 MB
Art: Front

( 9:11)  1. So It Seems
(13:06)  2. The Wing Key
( 6:39)  3. Vine
( 7:57)  4. Ice Fall
(10:35)  5. Granada
( 7:33)  6. Reno
( 8:56)  7. What's Left
( 9:32)  8. Not a Samba

Chris Cheek's sophistication as a writer takes a giant leap with Vine, his best album to date. Joining the saxophonist are two of the most talked-about instrumentalists in jazz, pianist Brad Mehldau and guitarist Kurt Rosenwinkel, as well as bassist Matt Penman and drummer Jorge Rossy. Mehldau plays acoustic piano on only three tracks; otherwise, his instrument of choice is the Fender Rhodes, which blends with Rosenwinkel's guitar in subtle, miraculous ways. "So It Seems" begins the album with winding melodies over a double-time feel and space-age chords that suggest club genres such as jungle and drum-n-bass. Rosenwinkel's solo is dirty and distorted; his expressive vocabulary takes some startling and highly original turns, such as falling off a note with an awkward wobble to end a phrase. In contrast, his solo on the quick 6/8 tune "Ice Fall" glistens with a clean tone and flawlessly executed lines. Mehldau is in top form throughout, getting around the Rhodes with consummate flair and playing beautiful piano behind Cheek's soprano sax on the final duo piece, "Not a Samba."

There's an epic side to Cheek's writing that we haven't quite heard prior to this album. In addition to "So It Seems," there's "The Wing Key," a Latin-tinged exploration that begins with a series of stunning tenor/guitar unison lines; "Granada," a more introspective piece with a Spanish-style hook at the end of the form; and "What's Left," a bright 12/8 piece that Mehldau, Cheek, and Rosenwinkel whip up in turn with brilliant solos. In contrast, "Vine" and "Reno" are simpler constructions, more similar to the folk and country elements heard on Cheek's previous album, A Girl Named Joe. Perhaps this is what it would have sounded like had Keith Jarrett ever happened to sit in with The Band.  It's not exactly surprising when a "dream team" of players such as this shines with instrumental brilliance. But it takes an artistic sensibility as focused and fully realized as Cheek's to work with the raw materials at hand and come up with something smashing. ~ David R.Adler http://www.allmusic.com/album/vine-mw0000528712

Personnel: Chris Cheek (soprano saxophone, tenor saxophone); Kurt Rosenwinkel (guitar); Brad Mehldau (piano, Fender Rhodes piano); Jorge Rossy (drums).

Vine

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Michael Rodriguez - Reverence

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 61:12
Size: 140,5 MB
Art: Front

(8:33)  1. Small Feats
(9:18)  2. Enchantment
(9:42)  3. Reverence
(7:29)  4. Wishful Thinking
(9:09)  5. Like Joe
(9:15)  6. Portrait Of Jennie
(7:43)  7. You Did

For his Criss Cross debut, 33-year-old trumpet virtuoso Michael Rodriguez assembles a world-class New York quintet of generational peers (pianist Gerald Clayton and drummer Rodney Green) and mid-career masters (tenor saxophonist Chris Cheek and bassist Kiyoshi Kitagawa) to perform six kinetic originals and a single standard, Portrait Of Jennie. Known for his creative melodic approach and pellucid tone via consequential engagements over the last decade with, among others, Charlie Haden's Liberation Music Orchestra, Gonzalo Rubalcaba, Bobby Watson, and Eddie Palmieri, Rodriguez blends youthful fire with a veteran's focus and mature intention, setting the tone for an immensely satisfying session. ~ Editorial Reviews https://www.amazon.com/Reverence-Michael-Rodriguez/dp/B00AP0K8RU

Personnel: Michael Rodriguez (Trumpet), Chris Cheek (Saxophone), Gerald Clayton (Piano), Kiyoshi Kitagawa (Bass) Rodney Green (Drums)

Reverence

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Chris Cheek - Blues Cruise

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 53:54
Size: 123,8 MB
Art: Front

(5:23)  1. Flamingo
(6:38)  2. Low Key Lighty
(6:49)  3. Coo
(5:45)  4. Squirrelling
(3:50)  5. Song of India
(6:21)  6. Falling
(7:46)  7. Blues Cruise
(6:09)  8. John Denver
(5:08)  9. The Sweetheart Tree

Even though he has turned in one stunning performance after another on albums by Paul Motian's Electric Bebop Band, Charlie Haden's Liberation Music Orchestra, Guillermo Klein's Los Gauchos and various lesser-known, though equally interesting ensembles, Chris Cheek is still a lurker. Your only good chance of seeing this reedman live is in New York or on the other side of the pond, where he makes frequent tours. The problem has nothing to do with Cheek's playing. It's the game: labels, distributors, publicists, writiers, editors. Nevertheless, Blues Cruise did get to me by some freakish fluke, and I've gotten to savor its pleasing variety of textures and styles. The erstwhile Brad Mehldau Trio is the backing band on Blues Cruise. Cheek couldn't have asked for a more empathetic and sensitive rhythm team for this program, which ranges from the calypso-tinged "Flamingo to the soft Rhodes-laden bossa-tango "Coo and the folk rock-informed "John Denver, which actually sounds like a convincing jazz version of what would otherwise be a rock song with electric guitars and bass. 

The title of this release would seem to imply that the tunes center around the blues, but they don't, really. Some have a bluesy flavor. But it seems to be more about the journey. The soprano ballads have a searching quality, while the tenor romps are more declaratory. The saxophonist's rich tone is the most notable constant throughout the record. It has a richness and flavor that's akin to a fine wine or cigar. The vivacity and frolicking quality of Cheek's breathy tenor owe much to the influence of Sonny Rollins, while his rhythmic flair draws equally from Eddie Harris. Comparisons to Chris Potter and Donny McCaslin also come to mind, but without all the shrieking and pyrotechnics. This record is a testament to the fact that no matter how far any player may be from the media limelight—and consequently the public consciousness a great soloist coupled with a terrific backing band can make for some of the freshest music you've ever heard. 

~ Matt Merewitz https://www.allaboutjazz.com/blues-cruise-chris-cheek-fresh-sound-new-talent-review-by-matt-merewitz.php

Personnel: Chris Cheek: saxophones;  Brad Mehldau: piano, Fender Rhodes, electric keyboard;  Larry Grenadier: bass;  Jorge Rossy: drums, hand percussion.

Blues Cruise

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Chris Cheek - I Wish I Knew

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 52:49
Size: 121,4 MB
Art: Front

(7:00)  1. I Wish I Knew
(5:59)  2. At Long Last Love
(6:21)  3. Skylark
(7:53)  4. Stairway to the Stars
(6:12)  5. I'll Be Seeing You
(6:16)  6. Garden Floor
(5:32)  7. Time Remember
(4:49)  8. I Don't Want to Set the World on Fire
(2:44)  9. What'll I Do

It has long been said that one can tell a mature jazz musician from an up-and-coming one in the way they handle ballads. Most younger players have a tendency to play too many notes with excessive energy, often filling in all the spaces during the slower tempos. Chris Cheek, who judging by the photo on his CD cover is in his 20s or early 30s, is a major exception. Teamed up with guitarist Kurt Rosenwinkel, bassist Chris Higgins and drummer Jordi Rossy in a pianoless quartet, Cheek mostly performs the standards-oriented program at slow speeds and he is not shy of letting his notes ring. Often sounding a bit like Stan Getz, Cheek draws out plenty of emotion from such songs as "I Wish I Knew," "Skylark" and "Stairway to the Stars." While guitarist Rosenwinkel (who has a cool tone but a modern style) provides most of the fire on the ballads, Cheek comes across on a medium-tempo "I'll Be Seeing You" with some advanced melodic improvising a la Warne Marsh. He shows the most individuality on his original "Garden Floor" and Bill Evans' "Time Remembered," closing off the date with an achingly emotional yet restrained version of "What'll I Do." This easily recommended CD was released in 1997 as part of the Spanish Fresh Sound label's "New Talent" series. ~ Scott Yanow http://www.allmusic.com/album/i-wish-i-knew-mw0000666990

Personnel:  Chris Cheek – sax tenor;  Kurt Rosenwinkel – guitar;  Chris Higgins – bass;  Jordi Rossy - drums

I Wish I Knew

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Seamus Blake, Chris Cheek & Reeds Ramble - Let's Call The Whole Thing Off

Size: 144,2 MB
Time: 62:14
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Let's Call The Whole Thing Off (9:03)
02. Choro Blanco (5:41)
03. Lunar (7:39)
04. La Cancion Que Falta (9:37)
05. Limehouse Blues (8:04)
06. Surfboard (8:33)
07. Count Your Blessings (8:07)
08. Little Evil (5:26)

Deepening a two-tenor partnership that dates back to the mid-'90s, saxophonists Seamus Blake and Chris Cheek follow up their quintet release "Reeds Ramble" with Let's Call the Whole Thing Off, featuring the same powerful band lineup (Ethan Iverson on piano, Matt Penman on bass, Jochen Rueckert on drums).

While they stand apart as gifted soloists, Blake and Cheek always flourish as a team, bringing luster to every tune with their lyrical unison melodies and beautifully harmonized theme statements.

Spontaneity plays a big role, as it should when improvisers of this caliber get together (Iverson's versatility and off-kilter eloquence comes through with particular strength).

But foremost, what distinguishes this group is the logic and efficiency of its arrangements, whether slow and spacious or brisk and complex; from originals and modernist classics to standards of '20s and '30s vintage.

MC
Ziddu

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Seamus Blake & Chris Cheek Quintet - Reeds Ramble

Size: 143,5 MB
Time: 61:52
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz
Art: Front

01. Na Carreira (7:47)
02. 1974 Blues (7:02)
03. Holodeck Waltz (6:06)
04. Blue Moose (6:24)
05. De Dah (6:20)
06. 'til I Die (7:31)
07. I Surrender Dear (7:26)
08. All About Me (6:32)
09. Lady In Languor (6:41)

Fellow saxophonists Seamus Blake and Chris Cheek have thrived as leaders, sidemen, big band soloists and much else, contributing to the creative health of the jazz scene over the last 20 years. As a pair they worked on the exploratory groove-oriented project The Bloomdaddies (CRC 1110) back in 1995. but with Reeds Ramble Blake and Cheek reunite in an acoustic setting, buoyed by the extraordinary Ethan Iverson of the Bad Plus on piano, making his first Criss Cross appearance. Drummer Jochen Rueckert, too, makes his first label appearance, teaming-up with in-demand bassist Matt Penman, a valued presence on Criss Cross sessions led by Jonathan Kreisberg, John Ellis and Zach Brock.

Reeds Ramble

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The Swallow Quintet - Into the Woodwork

Styles: Jazz
Label:  Ecm Records
Year: 2013
File: MP3@320K/s
Time: 56:20
Size: 129,9 MB
Art: Front

(5:19)  1. Sad Old Candle
(5:03)  2. Into the Woodwork
(5:35)  3. From Whom It May Concern
(5:02)  4. Back in Action
(4:43)  5. Grisly Business
(2:49)  6. Unnatural Causes
(2:53)  7. The Butler Did It
(4:26)  8. Suitable for Framing
(5:29)  9. Small Comfort
(5:33) 10. Still There
(5:35) 11. Never Know
(3:47) 12. Exit Stage Left

In the press sheet for Steve Swallow's Into the Woodwork, the award-winning electric bassist is quoted, saying: "Good humor before and after the red light goes on is very important. Music-making should be fun, after all." Those fortunate enough to see Swallow with Steve Kuhn and Joey Baron this past summer including a memorable stop at the 2013 TD Ottawa Jazz Festival experienced this ethos first-hand, as smiles and outright laughter defined a performance that was, indeed, great fun, but just as deep musically the ultimate consequence of musicians so relaxed with each other that nothing can get in the way. Into the Woodwork may lack the visuals, but it's clear that this quintet is having just as much fun, and is comfortable enough together to allow anything to happen albeit within the structures of Swallow's writing. 

Other than life/music partner Carla Bley focusing solely on organ and begging the question why she doesn't do so more often this is a new constellation under the Swallow marquee, but guitarist Steve Cardenas and saxophonist Chris Cheek have intersected before, both with each other and with Swallow and Bley, in Paul Motian's Electric Bebop Band and Charlie Haden's Liberation Music Orchestra, respectively. Drummer Jorge Rossy best-known for his decade-long tenure with Brad Mehldau was a late addition, writing Swallow after hearing of the nascent quartet to ask if he might join in, and his melodic approach makes him the perfect choice to drive this book of 12 new Swallow compositions. Swallow's has already achieved a place in the history books for memorable compositions like "Falling Grace," "Olhos del Gato" and "Como en Vietnam," but it's too early to tell if any of Into the Woodwork will join that rarefied group. Still, the through-composed, dark-hued "Sad Old Candle," vivacious title track, balladic "From Who It May Concern" and drum-heavy "Back in Action" Rossy's call-and-response with the rest of the group occupying a full half of its five-minutes before a quirky, dissonant theme resolves into Cheek's fiery solo, driven by Swallow and Rossy's effortless, unrelenting swing are individually memorable while, segued together as a 21-minute suite, contribute to Into the Woodwork greater continuity. 

The same approach links the blues-drenched "Grisly Business," brighter "Unnatural Causes" and ambling "The Butler Did It," before a brief pause leads into the album's closing tracks, joined together for 25 episodic minutes. In the midst of these five tunes, following Cardenas' warm-toned, melody-centric solo, "Still There" features Bley liberally and mischievously quoting the American folk song "I've Been Working on the Railroad" and the military "Taps."That's just one example of Into the Woodwork's relentless spontaneity ... and good humor. The writing may be deep and the playing even deeper Swallow's bass rarely feeling this rich or filled with ideas but at its heart is a group that more than likely shares the same onstage smiles and laughter that Swallow did with Kuhn. It's been 13 years since Swallow last recorded with a full-sized quintet, but Into the Woodwork represents a new group and repertoire that easily stands amongst his best work in a career now entering its sixth decade.~John Kelman 

http://www.allaboutjazz.com/php/article.php?id=45165#.UikneT-wVw8

Personnel: Chris Cheek: tenor saxophone; Steve Cardenas: guitar; Carla Bley: organ; Steve Swallow: bass; Jorge Rossy: drums.

Into the Woodwork

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