Clarence Penn - Behind the Voice

Styles: Jazz
Year: 2024
Time: 39:25
File: MP3 @ 320K/s
Size: 91,1 MB
Art: Front

(3:16) 1. Send One Your Love
(5:36) 2. Come Talk to Me
(4:09) 3. Growing Trade
(5:54) 4. Sometimes It Snows in April
(3:55) 5. Everlong
(4:59) 6. The Heart of the Matter
(3:49) 7. Why Can't It Wait Till Morning
(3:57) 8. Human Nature
(3:46) 9. You Are

Clarence Penn has been one of the most dynamic drummers in jazz since his New York City arrival 33 years ago. His work with Wynton Marsalis, Betty Carter, Diane Reeves and Michael Brecker has been extensively documented, as have his own musical explorations, including 2014's "Monk: The Lost Files." "Behind the Voice" goes a whole new direction as Penn unfurls inventive reimaginings of the works of influential drummers behind some of the greatest pop music created.

Songs by Phil Collins, Levon Helm, Stevie Wonder, Peter Gabriel & Dave Grohl receive expansive modern treatments through Penn's production along with a bevy of collaborators, including vocalists Kurt Elling, Aaron Marcellus & Toku, guitarists Adam Rogers & Gilad Hekselman, and many more. "... a celebration of their artistry, their passion, and their indelible mark on the music we cherish." "... gesture and space surging from a place of heart-felt and fluid integrity... Penn exudes such enthusiasm and love for the music-it is simply impossible not to feel uplifted." By Jazz Time https://www.amazon.com.au/Behind-Voice-Clarence-Penn/dp/B0D1CS2X5R

Behind the Voice

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Jon Faddis - Remembrances

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 67:14
Size: 154,5 MB
Art: Front

(7:06)  1. Sophisticated Lady
(6:06)  2. Laura
(7:23)  3. Speak Like a Child
(5:54)  4. Footprints
(5:58)  5. Naima
(6:35)  6. Johnny Bug
(6:47)  7. La Rosa Y El Sauce
(7:05)  8. In Your Own Sweet Way
(7:38)  9. Riverside Park
(6:38) 10. Goodbye

Jon Faddis speaks for himself on Remembrances. For many years critics thought of him as a Dizzy Gillespie clone. As director of The Carnegie Hall Jazz Orchestra he earned the distinction of being his own man. Carlos Franzetti, who arranged and conducted Portraits of Cuba (a Grammy winner for Paquito D’Rivera) uses his ingenious mastery again with Faddis. This disc is a well a conceived program of standards, both from the Great American Songbook and standards written by world class musicians. Franzetti chose instrumentation that is unique for a jazz group. The sidemen on this album are all excellent musicians in their own right. Here, you have Paquito D’Rivera playing soprano, tenor sax and the clarinet. His soprano solo on "In Your Own Sweet Way" is unmistakable, but still embraces the theme of the disc and enhances the music. Other instrumentation chosen for the group include bassoon, French horn, oboe, English horn, in addition to the sax section, rhythm section, and trombone. "Sophisticated Lady," "Laura," and the closer, "Goodbye," are all presented in a fresh way for a new generation. 

Faddis eschews high harmonics, rather embraces a relaxed manner that celebrates the ballads without disturbing their origins. "Footprints," "Naima," La Rosa Y El Sauce," and Franzetti’s own composition "Riverside Park," are all done with thought and conviction. Remembrances has "classic" potential and is sure to appeal to even the discerning jazz listener. Chesky recorded this CD at St. Peter’s Episcopal Church in New York City and it is yet another example of their commitment to harmonic perfection.
By Arthur C. Bourassa https://www.allaboutjazz.com/remembrances-jon-faddis-chesky-records-review-by-arthur-c-bourassa.php


Personnel: Jon Faddis - Trumpet, Flugelhorn, Paquito D'Rivera - Clarinet, Sax (Soprano), Sax (Tenor), Soprano (Vocal), Bill Easley - Clarinet, Sax (Tenor), George Young - Flute, Sax (Alto), John Clark - French Horn, Lawrence Feldman - Flute, Sax (Alto), Kenneth Hitchcock - Clarinet (Bass), Sax (Baritone), Dale Kleps - Flute, Sax (Alto), Clarence Penn - Drums, Jim Pugh - Euphonium, Trombone (Alto), Trombone (Tenor), Tenor Trombone, Stewart Rose - French Horn, Roger Rosenberg - Bassoon, Clarinet (Bass), Sax (Baritone), Peter Washington - Bass, David Hazeltine - Piano.

Remembrances

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Maria Schneider Orchestra - Sky Blue

Styles: Big Band
Year: 2007
File: MP3@320K/s
Time: 63:09
Size: 144,8 MB
Art: Front

(13:28) 1. The 'Pretty' Road
(10:00) 2. Aires de Lando
( 9:34) 3. Rich's Place
(21:57) 4. Cerulean Skies
( 8:08) 5. Sky Blue

There's a reason that composer/bandleader Maria Schneider calls her large ensemble an orchestra. The term "big band suggests a number of inherent expectations relating to historical tradition. Schneider's group may be configured like a big band five reeds, four trumpets, four trombones with an expanded rhythm section but the music she writes delves into territories considerably farther afield. Sky Blue is a logical follow-up to her Grammy Award-winning Concert in the Garden (ArtistShare, 2004), but there's been significant evolution as well.

Even more ambitious than its predecessor, Sky Blue doesn't completely leave behind the South American influences heard on Concert. The Peruvian-informed "Aires de Landro manages to mask its rhythmic complexity beneath a lush lyricism that's explored fully by clarinetist Scott Robinson. Robinson may be the primary soloist, but here as on the rest of Sky Blue the ensemble players manage to interpret Schneider's detailed arrangements while bringing their own personalities to every chart.

That's an important differentiator for Schneider's orchestra, made all the more significant considering that only seven members of an ensemble ranging from seventeen to twenty-one pieces are afforded delineated solos. Guitarist Ben Monder's subtle presence is often something more felt than heard, but it adds unmistakably to the ambience of pieces like the Americana-rich "The 'Pretty' Road, the closest thing to a conventional song form that Schneider's written, yet possessed of an orchestral depth made all the more vivid by Ingrid Jensen's remarkable trumpet and flugelhorn solo.

"Rich's Piece is, not surprisingly, a solo vehicle for tenor saxophonist Rich Perry, but this nine-minute tone poem is bolstered by pianist Frank Kimbrough's intuitive colors and Jay Anderson's fluid and sensitive bass work. Schneider's voicings and her choice of instruments to layer them seamlessly ebb and flow alongside Perry, sometimes becoming dramatically dominant, elsewhere underpinning Perry with sublime understatement.

But it's the episodic, 22-minute centerpiece "Cerulean Skies that elevates Blue Sky to masterpiece. Awash with complex colors and shifting ambiences, it begins in rich abstraction with a variety of bird sounds almost all created by members of the orchestrabefore settling into a sumptuous mix of counterpoint, polyrhythm and evocative melodism, setting the stage for a lengthy tenor solo from Donny McCaslin, who builds to near fever-pitch. Dissolving again into the ethereal, Gary Versace's accordion solo is as much texture as it is melody, with Kimbrough gradually shifting towards another folkloric Americana section initially rubato but finally propulsive for altoist Charles Pillow's vivid closing solo.

Like Vince Mendoza quite possibly the only other artist writing for large ensembles today with as distinctive a voice Schneider's not without precedent. But while past innovators like Gil Evans and Bob Brookmeyer figure in who Schneider is, she's long since transcended those and other influences. Sky Blue is an album of remarkable depth and beauty an expansive, imagery laden experience, from an artist who's ready to be considered in the same breath as those who've been so important to her own development. By John Kelman
https://www.allaboutjazz.com/sky-blue-maria-schneider-artistshare-review-by-john-kelman

Personnel: Steve Wilson, Charles Pillow, Rich Perry, Donny McCaslin, Scott Robinson (sax, flauti e clarinetti); Tony Kadleck, Jason Carder, Laurie Frink, Ingrid Jensen (trombe e flicorni); Keith O'Quinn, Ryan Keberle, Marshall Gilkes (trombone); George Flynn (trombone basso); Ben Monder (chitarra); Frank Kimbrough (piano); Jay Anderson (basso); Clarence Penn (batteria); Gonzalo Grau, Jon Wikan (cajon e percussioni); Gary Versace (fisarmonica); Luciana Sousa (voce).

Sky Blue

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Cyrus Chestnut - The Dark Before the Dawn

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 57:20
Size: 131,7 MB
Art: Front

(7:30)  1. Sentimentalia
(3:27)  2. Steps of Trane
(6:19)  3. The Mirrored Window
(4:42)  4. Baroque Impressions
(2:36)  5. A Rare Gem
(4:09)  6. Call Me Later
(5:36)  7. Wright's Rolls and Butter
(2:53)  8. It Is Well (With My Soul)
(5:36)  9. Kattin'
(4:58) 10. Lovers' Paradise
(3:06) 11. My Funny Valentine
(6:22) 12. The Dark Before the Dawn

Cyrus Chestnut's The Dark Before the Dawn is a mature, versatile album. Chestnut and his trio members Steve Kirby (bass) and Clarence Penn (drums) provide their fortunate listeners with a little bit of everything on this collection. Chestnut pays homage to John Coltrane, and his brilliant "Giant Steps," on the lightning fast "Steps of Trane," and gives J.S. Bach a swinging, 21st century twist on the interesting "Baroque Impressions." "My Funny Valentine" is slow and spacious and represents Chestnut's best ballad playing to date. Mix in originals such as the confident "Sentimentalia," the pretty "The Mirrored Window," the playful "Call Me Later" and the show-stopping "Kattin'." Kirby lays down a rock-solid musical foundation and Penn generates the rhythmic fire, but it is Chestnut who breathes life and soul and meaning into these tunes. He has the unique ability to make complicated music both approachable and enjoyable. The listener won't realize it, but will eventually notice their toes tapping and their fingers snapping to this recommended set. ~ Brian Bartolini https://www.allmusic.com/album/the-dark-before-the-dawn-mw0000125513

Personnel: Cyrus Chestnut (piano); Steve Kirby (bass); Clarence Penn (drums).

The Dark Before the Dawn

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Tim Warfield - Jazz Is ...

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 70:13
Size: 161,9 MB
Art: Front

(11:55)  1. Silence - The Angels Are Crying
( 8:14)  2. Origins
(10:24)  3. My Shining Hour
( 9:32)  4. The Magic Bag
( 8:43)  5. Tune # 2
(10:28)  6. My Old Country
(10:54)  7. Until Further Notice

Although it exists solely for the purposes of recordings and the occasional live gig, Tim Warfield’s quintet (Warfield- tenor saxophone; Nicholas Payton- trumpet; Cyrus Chestnut- piano; Tarus Mateen- bass; Clarence Penn- drums) has been a marvel to hear over the course of four albums dating back to the critically acclaimed A Cool Blue from 1995. They say the highest compliment that can be paid a jazz artist is the attainment of an individual voice, and in this regard Warfield stands head and shoulders above many of his peers. With a breathy and soulful timbre, his tenor voice is immediately identifiable; his compositions seek to explore a vociferous and spiritual platform that harkens back to the days of Coltrane. Unfolding in the way that a fine novel reveals itself over the course of many chapters, “Silence- The Angels Are Crying” opens with a whisper before unleashing several solo segments taken at a headier tempo. With a ‘60s Milesian flair, “Origins” possesses a catchy stop-and-go melody and a relaxed gait that allows for several extended forays. By contrast, “My Shinning Hour” is almost all Warfield and a tour-de-force it is, filled with exciting climaxes and those upper register ‘cries’ that give the saxophonist his emotional base. With an opening melody that very briefly recalls “Star Eyes,” Warfield’s “Tune #2” moves at a relaxed pace and lets Payton bask in the limelight for awhile. Just listen to the way the trumpeter paces himself and uses space to give a lesson in improvisation at the highest pinnacle. 

Then Warfield enters with that characteristic swagger and a velvet cushion provided by Mateen and Penn. Rounding things out are “The Old Country,” which finds vibe man Stefon Harris in Hutcherson mode during a well-crafted spot; and “Until Further Notice,” another wonder of shifting tempos and a perfect forum for the multifaceted brilliance of Clarence Penn. At its best, this latest installment in the saga of the Tim Warfield group is yet another lesson in the integrity and complexity that can be achieved with working groups who clearly understand the foundations of jazz. ~ C.Andrew Hovan https://www.allaboutjazz.com/jazz-is-tim-warfield-criss-cross-review-by-c-andrew-hovan.php

Personnel: Tim Warfield (tenor sax), Nicholas Payton (trumpet), Stefon Harris (vibes), Cyrus Chestnut (piano), Tarus Mateen (bass), Clarence Penn (drums)

Jazz Is ...

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Kate McGarry + Keith Ganz Ensemble - What to Wear in the Dark

Styles: Vocal and Guitar Jazz
Year: 2021
File: MP3@320K/s
Time: 61:48
Size: 145,7 MB
Art: Front

(5:08) 1. Dancing in the Dark
(7:49) 2. Barrytown
(7:31) 3. Both Sides Now
(5:52) 4. God Moves on the City
(6:48) 5. The 59th Street Bridge Song (Feeling Groovy)
(4:15) 6. Desperado
(5:45) 7. On the Road to Find Out
(7:26) 8. Anthem
(4:47) 9. Here Comes the Sun
(6:23) 10. It Happens All the Time in Heaven

Let us start with a nod to Steely Dan, the rock/jazz group headed up by Walter Becker and Donald Fagen, a pair of tunesmiths who hit a career zenith in the early 1970s with albums like Can't Buy A Thrill (1972), Countdown To Ecstasy (1973), Pretzel Logic (1974) and Aja (1974), all on ABC Records. The group drew in top jazz artists to help craft their albums saxophonists Wayne Shorter and Tom Scott, guitarists Larry Carlton and Lee Ritenour, drummers Steve Gadd and Rick Marotta shaping high-polish productions featuring catchy melodies and cerebral lyrics to form up their pop/rock artistry.

Taking a tangent off from this digression we run into vocalist Kate McGarry's What To Wear In the Dark. Comparisons to Steely Dan? Beautiful production, meticulous arrangements and a bunch of top notch jazz players Gary Versace on keyboards, Ron Miles on cornet, Clarence Penn on drums, Keith Ganz of the Keith Ganz Ensemble on guitars creating the backdrops for McGarry's pure-toned everywoman deliveries on tunes mostly familiar, shaped into often unconventional readings of (again, mostly) pop/rock tunes of the 1960s and 1970s.

McGarry offers up her distinctive take on Steely Dan's "Barrytown," Paul Simon's "The 59th Street Bridge Song (Feelin' Groovy)," The Eagles' "Desperado" and George Harrison's "Here Comes the Sun." She picks her composers well, opening with the one Great American Songbook tune of the set, "Dancing in The Dark," featuring a spare arrangement with Gary Versace's sighing accordion playing prominently in the mix.

McGarry has the rare ability to deliver a tune with remarkable immediacy like she is singing it just for you. She sings "Barrytown" with a bounce in her step, with a hopeful self assurance, a clear-eyed aplomb. On Joni Mitchell's "Both Sides Now" McGarry's delivery is angelic, the harp (actually Keith Ganz' acoustic guitar) in a perfect, heavenly simpatico with the singer's inward-looking vocal.

Then there is "Life, I love you," a line from Paul Simon's "The 59th Street Bridge Song (Feelin' Groovy)." It is one of Simon's happiest tunes. McGarry opens with a minute long, rapid fire rant (penned by pianist Hal Galper) about the travails of the working jazz artist, backed by Ron Miles' scratchy cornet complaint, before shifting into the simple melody in which she sings that "Life, I love you," line, drawing, apparently, on the balm the tune served up for her during difficult times.

The set wraps up with "It Happens All The Time In Heaven," penned in part by McGarry, from "The Subject Tonight Is Love" by poet Daniel Ladinsky. Again, she sings just for you, with a beautifully spare and crisp arrangement featuring Versace on organ and Ganz on acoustic guitar, closing up a masterfully-produced, highlight-filled recording. By Dan McClenaghan https://www.allaboutjazz.com/what-to-wear-in-the-dark-kate-mcgarry-keith-ganz-ensemble-resilience-music-alliance

Personnel: Keith Ganz: guitar; Kate McGarry: voice / vocals; Ron Miles: cornet; Gary Versace: piano; Obed Calvaire: drums; Sean Smith: bass, acoustic; Clarence Penn: drums; Becca Stevens: voice / vocals; Erin Bentlage: voice / vocals; Michelle Willis: voice / vocals; Christian Euman: drums; James Shipp: percussion.

What to Wear in the Dark

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Adam Rogers - Art Of The Invisible

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 61:03
Size: 140,0 MB
Art: Front

(6:31)  1. Long Ago (And Far Away)
(7:53)  2. Absalom
(6:41)  3. Bobo
(5:30)  4. The Aleph
(6:31)  5. The Invisible
(6:54)  6. Cathedral
(7:54)  7. Book Of Sand
(6:27)  8. In Broad Daylight
(6:37)  9. The Unvanquished

What's the best way to find out who's the best guitarist in New York? Simple-ask a few apple-based guitarists (or any other instrumentalists, for that matter). I've conducted an informal poll and the answer I've gotten more often than not is the leader here, who I've counted among the world's finest plectrists for almost a decade now. 2002 is shaping up to be nothing less than the "Year of Adam Rogers," with a hefty role taken in fantastic new releases by Scott Colley and Alex Sipiagin and notable appearances on Chris Potter's Traveling Mercies , The Mingus Big band's Tonight at Noon and a fairly well-received debut by Miss Norah Jones. Now, finally, Criss Cross Jazz gives us the long deserved and long overdue debut by quite simply, one of the world's finest guitarists- ever.

Adam's been developing his incredible gifts in a variety of genres throughout his career, and clearly finds fascination and inspiration in all musical places; from fusion to pop to mainstream to ethnic to avant-garde. This record finds him at his essence-swinging, mainstream, contemporary, small group, post-bop guitar nirvana. Guitar lovers-stop right now and buy this one before anything else this year because Adam's put himself right at the head of New York's, and therefore the world's, elite cadre of incredible players pushing the instrument's future forward. Highlights? The entirety of the outing swings incredibly hard or waxes gorgeously soft, with one standard and eight originals from Adam's mighty pen. Seems as though Mr. Rogers has known all along that composition, not merely prodigious technique on the instrument, is at the core of consequence on the musical map. That said, his skills as a pure player are absolutely mind-boggling, with long lines and phraseology extending the lineage of Martino, Montgomery and Benson, extruding a tone from a Gibson ES-335 so phat and warm it could be coming from a jazz box three times the width. One of the instrument's great compers as well, he relinquishes that role for the most part here to the refined and harmonically astute pianist Eduardo Simon. What a quartet he's assembled- Michael Brecker Band mates Clarence Penn, who stirs and swings the date hard and is full of surprises on the kit, and Scott Colley, a complete player with velvety tone on acoustic bass, round out the band.

Compositionally, it's full of layers. Listen to "Cathedral" for heart rendering piano and crystalline single note work emphasizing Rogers' mastery of linear phraseology, especially his uncanny ability to speed up and slow down the tempo of any given line and return to the phrase at precisely the right nanosecond. On "Book of Sand" he brings authentic classical technique to the fore while "Broad Daylight" and "Bobo" take Martino's and Montgomery's way with a minor blues to the next level, indeed. I had the pleasure of sitting stage side for Michael Brecker's Boston run last year. After that incredible string of performances, I remember leaving the club thinking Adam had nudged the bar delimiting the role of the small-group guitarist in a pianoless quartet up just a little further than it had been prior to that day. With Art of the Invisible, he's accomplished nothing less than raising the bar for all of mainstream jazz guitardom. ~ Phil DiPietro https://www.allaboutjazz.com/art-of-the-invisible-adam-rogers-criss-cross-review-by-phil-dipietro.php

Personnel: Adam Rogers- guitar, Scott Colley-bass, Edward Simon-piano, Clarence Penn-drums

Art Of The Invisible

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Randy Brecker - 34th N Lex

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 56:57
Size: 131,4 MB
Art: Front

(6:29)  1. 34th N Lex
(4:21)  2. Streeange
(5:37)  3. Shanghigh
(3:36)  4. All 4 Love
(3:59)  5. Let It Go
(7:42)  6. Foregone Conclusion
(5:11)  7. Hula Dula
(5:33)  8. The Fisherman
(5:01)  9. Give It Up
(4:36) 10. Tokyo Freddie
(4:48) 11. The Castle Rocks

Randy Brecker's last release ( Hangin' in the City ) was one strange puppy, a handful of serviceable tunes wound tightly around the convoluted perversion of "Randroid," the trumpeter's streetwise cabbie alter-ego. Brecker wisely got back to the groove this time around, leaving this disc's few vocals to more capable hands. The result is a highly entertaining album showcasing his strong suits of trumpet playing and composition, yet still maintaining a 21st century sensibility. The ensembles range from quartet to octet in size, all sounding much more than their sum thanks to Brecker's arranging skills. His trumpet and flugelhorn are the centerpieces most of the time, with outstanding contributions from brother Michael, bassist Chris Minh Doky, Ronnie Cuber, David Sanborn, Fred Wesley and other compadres. The leader must be one of the hippest white guys in the business, having nailed various aspects of black popular music down pat. Hip-hop beats color "All 4 Love" without sounding generic; a muted Brecker recalls Miles around the time of Star People, while J Phoenix's layered vocals bring a more fashionable vibe. Makeeba Mooncycle paints vocal accents and scattered words onto the canvas of "Streeange," giving the impression, if nothing else, of a mere phone call in the background. Less stereotypical urban sounds are also explored. The intro to "Foregone Conclusion" briefly recalls "Somewhere Out There" but blessedly moves into more appealing territory. "Tokyo Freddie" is a breakneck slice of neo-bop; "The Fisherman" leans close to Weather Report; heavy percussion and George Whitty's electric piano contribute to the intense urgency of "Hula Dula." These rank among Brecker's best compositions and will hopefully stay in his repertoire for some time. Low points: the rather uninteresting "Give It Up," which would fare better were it not imbedded among so many stronger compositions, and the general sense of sameness among the many minor keys and dark moods. High marks to Adam Rogers' cookin' guitar on "Shanghigh," Ronnie Cuber on the title track, and the whole bloody band for negotiating the difficult rhythms of "Let It Go." One of Brecker's best releases in a career full of hills and valleys; bravo for a successful evaluation of the state of jazz today. ~ Todd S.Jenkins https://www.allaboutjazz.com/34th-n-lex-randy-brecker-esc-records-review-by-todd-s-jenkins.php?width=1920

Personnel: Randy Brecker: Trumpet & flugelhorn (6). Michael Brecker: Tenor Sax (1-3,5-11). David Sanborn: Alto sax (1,5,7,8). Ronnie Cuber: Baritone sax (1,5,7). Ada Roviatti: Tenor sax (11). Trombone: Fred Wesley (3,5,9,10) & Michael Davis. Guitar: Adam Rogers (1-3,5-9) & Chris Taylor (2). Bass: Chris Minh Doky (1,3,6,7,10). Bass, keyboards, guitar and percussion programming: Gary Haasse (2,4,9). Drums, keyboards, bass & percussion programming: George Whitty (1-3,5-8,10,11). Drums: Clarence Penn (3,6,10). Drum Programming: Zach Danziger (2,4,9). Voice: Makeeba Mooncycle (2). Vocals: J. Phoenix (4).

34th N Lex

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Tim Warfield - Eye Of The Beholder

Bitrate: MP3@320K/s
Time: 68:24
Size: 156.6 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[ 8:52] 1. Blues For Mr. Bill
[ 9:19] 2. The Undaunted
[ 2:46] 3. Tide A Dish I
[10:29] 4. I Remember You
[ 8:58] 5. The Backwards Step
[ 3:23] 6. Tide A Dish-II
[ 7:53] 7. Ramona's Heart
[ 7:58] 8. Second Thoughts
[ 8:41] 9. Forever, One Day At A Time

Tim Warfield (Ts / Ss); Nicholas Payton (Tp); Cyrus Chestnut (P); Rodney Whitaker (B); Clarence Penn (D). Recorded October 9, 2012 in Brooklyn, NY.

On Eye Of The Beholder, his seventh leader recording for Criss Cross (and 12th label appearance overall), tenor and soprano saxophonist Tim Warfield draws on musical relationships that have shaped his artistry from the very start. Pianist Cyrus Chestnut and drummer Clarence Penn, both of whom appeared on Warfield's 1994 debut and several other sessions, bring their powerful and sensitive presence to this new quintet date. Rodney Whitaker provides an unshakable yet flexible foundation on bass. Trumpet great Nicholas Payton, who featured Warfield in his own incendiary quintet of the mid to late '90, comes on board and contributes brilliant playing as well as original music.

Highlights include the exploratory Blues For Mr. Bill, the sumptuous ballad Ramona's Heart, and inspired reworkings of Payton's The Backwards Step, Marlon Jordan's The Undaunted and the standard I Remember You.

Eye Of The Beholder mc
Eye Of The Beholder zippy

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Cyrus Chestnut - Revelation

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 60:09
Size: 138,0 MB
Art: Front

(6:24)  1. Blues for Nita
(6:26)  2. Elegie
(6:11)  3. Lord, Lord, Lord
(3:28)  4. Macdaddy
(2:46)  5. Sweet Hour of Prayer
(7:22)  6. Little Ditty
(6:25)  7. 187
(6:39)  8. Dilemmas
(2:43)  9. Revelation
(5:07) 10. Proverbial Lament
(6:34) 11. Cornbread Pudding

On Revelation, Cyrus Chestnut offers 60 minutes of tasty, gospel- and blues-infused trio music. Both accessibility and virtuosity mark Chestnut's jazz playing, and his affinity for spirituals, hymns and down-home blues is evident in his emotional approach. He is fond of building momentum almost as if he were an evangelical preacher with repetitive and extended right-hand runs, and is most effective on the quicker, faster paced numbers. For this album, he is joined by Christopher J. Tomas (bass) and Clarence Penn (drums). The trio communicates well and swings hard. Nine of the 11 tracks on this, Chestnut's first release for Atlantic, are originals. Three of the album's best tracks are the bright, exciting "Elegie," the delicate solo vehicle, "Sweet Hour of Prayer" (backed only by Penn's brushes) and the pretty, original "Proverbial Lament." Many of the other tracks are played at faster tempos, none faster than "Macdaddy," on which he flexes his considerable chops. Revelation is a clean, enjoyable set led by a very promising young pianist. ~ Brian Bertolini https://www.allmusic.com/album/revelation-mw0000108247

Personnel: Cyrus Chestnut (piano); Christopher J. Thomas (bass); Clarence Penn (drums).

Revelation

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Makoto Ozone - Pandora

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 66:46
Size: 154,0 MB
Art: Front

( 5:15)  1. You Never Tell Me Anything!
( 5:24)  2. Lullaby for Rabbit
( 5:47)  3. Reunion
( 5:10)  4. Sofi
( 6:13)  5. If I Had Known...
( 6:50)  6. Brazilian Sketch
( 6:34)  7. Pennillium
( 6:41)  8. Blessing the World
(10:17)  9. Pandora
( 4:06) 10. Tiffany's Waltz
( 4:24) 11. Around the Corner

Makoto Ozone and the Trio is joined by the award-winning saxophonist Branford Marsalis on Pandora. His trio Clarence Penn on drums and James Genus on bass who has replaced Kiyoshi Kitagawa plays 11 original compositions written by either Ozone or Penn. Of particular interest is Ozone's performance on "Pennillium," which displays his strong musical personality with excellent piano artistry: arpeggios, authentic cadences, and chord stylings. While Penn's expertise and sensitive brushwork highlights the harmony of "Sofi," Genus still has some work to do as far as applying his bass colors to Ozone's piano stylings with the right contrast. However, this can certainly be attributed to his newness with the group. Overall, Pandora is very good due to Marsalis' excellence on "Reunion" and the title track, as well as the songwriting skills of both Penn and Ozone. ~ Paula Edelstein http://www.allmusic.com/album/pandora-mw0000587251

Personnel:  Makoto Ozone (piano);  Branford Marsalis (soprano saxophone, tenor saxophone);  Clarence Penn (drums).

Pandora

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Clarence Penn - Penn's Landing

Styles: Jazz, Post Bop
Year: 1997
File: MP3@256K/s
Time: 60:59
Size: 112,5 MB
Art: Front

( 6:57)  1. C.P. Time
(10:36)  2. Re: Evaluation
( 7:02)  3. April's Fool
(11:46)  4. Penn's Landing
( 9:24)  5. One For Tony
( 6:38)  6. Quick Fix
( 8:33)  7. Barbara Anastasia

On drummer Clarence Penn's debut as a leader, he has gathered the talents of bassist Rodney Whitaker, tenor saxophonist Ron Blake, and trumpeter John Swana to perform seven post-bop originals three by Penn, two by Blake, and one each by Swana and Whitaker with satisfying results. The underrated Swana and Blake play with passion and great skill as always but, due to the absence of piano, Penn's muscular drumming and Whitaker's huge-toned bass consistently stand out throughout this recording. Favorites include the up-tempo burners "C.P. Time" and "Quick Fix"; "One for Tony," Whitaker's dedication to the late drummer Tony Williams; and the medium-tempo title track, Penn's homage to John Coltrane and Elvin Jones, which captures the spirit of these great musicians without resorting to imitation. All in all, this is a fine debut that makes one eager for Penn's next one. ~ Greg Turner http://www.allmusic.com/album/penns-landing-mw0000033565

Personnel: Clarence Penn (drums); Ron Blake (tenor saxophone); John Swana (trumpet, flugel horn); Rodney Whitaker (bass).

Penn's Landing

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Tim Warfield - Gentle Warrior

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 65:49
Size: 150,8 MB
Art: Front

( 6:53)  1. I've Grown Accustomed to Your Face
( 5:17)  2. Adonis
( 6:35)  3. Subliminal Being I
( 5:55)  4. Constant J
( 7:35)  5. Lani
(19:52)  6. The Grim Reaper's Rapture
( 6:02)  7. Time to Let Go
( 7:36)  8. Subliminal Being II

Tenor saxophonist Tim Warfield's third Criss Cross recording represents a positive step in his growth as an artist. On Gentle Warrior, he plays with the same musicians who were on his previous two recordings: trumpeter Terell Stafford, pianist Cyrus Chestnut, bassist Tarus Mateen, and drummer Clarence Penn, with special guest Nicholas Payton sharing the trumpet duties with Stafford. Together they perform five Warfield originals, two different takes of Penn's "Subliminal Being," and the standard "I've Grown Accustomed to Your Face," played with a medium slow groove. This song, along with Warfield's ballad "Lani," displays Warfield's romantic big-toned tenor, while up-tempo burners "Constant J" and "Time to Let Go" display a more energetic side of his musical personality. The recording's tour de force is Warfield's "The Grim Reaper's Rapture." It begins with a fierce collective improvisation that segues into a medium tempo, with a six-note repeating phrase played by bass and piano over which the haunting melody is played, and features intense solos by Warfield and Chestnut. This recording is an excellent example of Warfield's versatility as a composer and player, and is one of 1998's best releases. ~ Greg Turner http://www.allmusic.com/album/gentle-warrior-mw0000044018

Personnel: Tim Warfield (tenor saxophone); Nicholas Payton, Terell Stafford (trumpet); Cyrus Chestnut (piano); Clarence Penn (drums).

Gentle Warrior

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Joel Harrison 7 - Search

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 58:12
Size: 133,3 MB
Art: Front

(11:18)  1. Grass Valley and Beyond
(15:00)  2. A Magnificent Death
( 8:24)  3. All The Previous Pages Are Gone
( 6:24)  4. The Beauty of Failure
( 8:26)  5. Whipping Post
( 6:19)  6. O Sacrum Convivium
( 2:18)  7. Search

For over a decade, Joel Harrison has been steadily expanding his palette as a composer, although his penchant for unorthodox instrumental combinations and multicultural folk forms encompass only one facet of his inclusive aesthetic. Harrison's most recent efforts have borrowed heavily from Western neo-classical tenets; The Wheel (Innova, 2008) included an expansive five movement suite for jazz quintet and string quartet, while The Music of Paul Motian (Sunnyside, 2011) featured stately arrangements performed by two electric guitarists and a traditional string quartet. Search contains some of Harrison's most seamlessly integrated writing for disparate forces to date. Supported by an archetypal jazz rhythm section, comprised of pianist Gary Versace, bassist Stephan Crump and drummer Clarence Penn, Harrison is joined by tenor saxophonist Donny McCaslin and two string players: violinist Christian Howes and cellist Dana Leong, who have both collaborated with the guitarist in similar contexts before.

The septet's broad instrumental palette lends the album a wide dynamic range that keenly exploits Harrison's versatile gifts as a composer; he solos infrequently however, allowing his sidemen ample opportunity to express themselves. Harrison's harmonious contrapuntal themes underscore the bulk of the record, as typified on the panoramic opener, "Grass Valley and Beyond," where Versace's prismatic cadences and McCaslin's intervallic salvos paint a vibrant aural canvas; the saxophonist's dramatic altissimo crescendos and multiphonic flourishes punctuate the proceedings like rich impasto accents. Howes and McCaslin engage in spirited interplay with the cagey rhythm section on the capricious swinger "All the Previous Pages Are Gone," while "A Magnificent Death" and "The Beauty of Failure" exhibit a range of classicist tendencies; the former ascends from hypnotic minimalist motifs to a rapturous climax, the later weaves lyrical thematic variations into a romantic coda. 

The session concludes with two unrelated, but unexpectedly complementary covers: a vivacious reading of Allman Brothers Band's "Whipping Post" and a sublime interpretation of Olivier Messiaen's "O Sacrum Convivum." The classic rock staple is given respectful treatment, but surprisingly, it's Leong's sinuous cello that drives the bluesy number, bolstered by Penn's pugilistic drumming. Conversely, Harrison's introspective fretwork accentuates the mystical ethereality of Messiaen's recast choral motet, setting the stage for the titular closer, a fugue-like postlude for solo piano that incisively encapsulates the date's multifaceted approach reconfirming Harrison's sophisticated compositional acumen in the process. ~ Troy Collins  https://www.allaboutjazz.com/search-joel-harrison-sunnyside-records-review-by-troy-collins.php
 

Personnel: Joel Harrison: guitar; Donny McCaslin: tenor saxophone; Gary Versace: piano, Hammond B-3; Christian Howes: violin; Dana Leong: cello; Stephan Crump: bass; Clarence Penn: drums.

Search

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Chiara Civello - Last Quarter Moon

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 48:24
Size: 111,4 MB
Art: Front

(4:57)  1. Here Is Everything
(4:23)  2. The Wrong Goodbye
(5:33)  3. Ora
(3:05)  4. Caramel
(6:26)  5. Parole Incerte
(4:13)  6. Last Quarter Moon
(4:19)  7. Nature Song
(3:04)  8. In Questi Giorni
(1:37)  9. Sambaroma
(4:15) 10. Trouble
(3:48) 11. Outono
(2:37) 12. I Won't Run Away

While she's a fresh and exotic voice on the recording scene, the multi-talented, Italian-born, internationally minded singer and musician has been keeping great company. With a vocal range and style that quickly bring Dianne Reeves to mind, she's recorded with Tony Bennett and James Taylor; so impressed Burt Bacharach that he collaborated here on the lush, emotional ballad "Trouble"; snagged legendary rock producer Russ Titelman to helm the recording; and is roundly adored by no less than '80s pop queen Cyndi Lauper, who crowed, "This record is haunting and she's just fantastic...her voice just captivates you." What Cyndi says. Civello's not quite as crisp vocally as Lizz Wright, but her jazz-soul heart is in the same place while traversing many borders singing in English, Italian, and Portuguese. While gently swinging numbers like the Brazilian-flavored, hypnotic "Ora" are more compelling, slower and smokier tunes like "Parole Incerte" offer her deepest modes of expression. Her skills as a songwriter are firmly on display, but she chooses a few interesting, somewhat obscure covers in samba-flavored cuts like Suzanne Vega's graceful "Caramel" and Rosa Passos/Fernando DeOliveira's "Outono." That sort of globe-trotting will set her apart from the pack of great female singers currently dotting the jazz landscape. ~ Jonathan Widran http://www.allmusic.com/album/last-quarter-moon-mw0000397350

Personnel: Chiara Civello (vocals, shaker, percussion); Adam Rogers (guitar); Mark Stewart (cello); Alain Mallet (melodica, piano, Fender Rhodes piano); Miguel Zenón (alto saxophone); Larry Goldings (Hammond b-3 organ); Rob Mounsey (keyboards); Mike Mainieri (vibraphone); James Genus, Ben Street (bass instrument); Clarence Penn, Steve Gadd , Dan Rieser (drums); Jamey Haddad (percussion, bells); Alex Alvear (background vocals).

Last Quarter Moon

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Joey Calderazzo - Secrets

Styles: Piano Jazz

Year: 1995

File: MP3@320K/s

Time: 46:46

Size: 107,3 MB

Art: Front

(5:42)  1. Secrets

(4:32)  2. No One Knows I'm Here

(6:07)  3. Aurora

(4:55)  4. Scriabin

(7:36)  5. Echoes

(5:13)  6. Filles De Kilimenjaro

(5:34)  7. Last Visit Home

(7:03)  8. ATM

Joey Calderazzo may not have achieved the acclaim of some of the pianists of his generation like Benny Green and Bill Charlap, but he has consistently created CDs that stand the test of time. These 1995 sessions for Audio Quest feature him leading a variety of different ensembles ranging from trios to octets with potent arrangements by Bob Belden. Six of the eight tracks are Calderazzo's compositions, highlighted by the infectious horn lines in his rhythmic "Echoes" and the wistful air of "Last Visit Home." His trio with bassist James Genus and drummer Clarence Penn are afire in his driving "No One Knows Why I'm Here" and the explosive "ATM." Belden's setting of Miles Davis' "Filles de Kilimenjaro" has an exotic air with the addition of guitarist Fareed Haque and Charles Pillow's English horn. This is a rewarding disc that deserves to be more widely known.~Ken Dryden http://www.allmusic.com/album/secrets-mw0000645669

Personnel: Joey Calderazzo (piano); Tim Ries (soprano saxophone, flute); Charlie Pillow (tenor saxophone, English horn, bass clarinet); Tim Hagans (trumpet, flugelhorn); Earl McIntyre (bass trombone, tuba); John Clark (French horn); Tomas Ulrich (cello); Fareed Haque (guitar); James Genus (bass); Clarence Penn (drums).

Secrets

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Edward Simon, Scott Colley, Clarence Penn - A Master's Diary

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 52:15
Size: 120,0 MB
Art: Front

(6:02)  1. Eugenia's Theme
(7:36)  2. Passeggiata nel Parco
(5:53)  3. In Cerca di Cibo
(3:09)  4. Nel Parco
(3:36)  5. Diario di un Maestro
(5:23)  6. Valzer Lento
(6:20)  7. Eugenia's Theme
(6:34)  8. Passeggiata nel Parco (Reprise)
(3:41)  9. Diario di un Maestro
(3:56) 10. In Cerca di Cibo

Creative jazz pianist, composer, and bandleader Edward Simon was born in Punta, Cardón, Venezuela in 1969, first traveling to the United States in 1981 at 12 years of age and attending the Performing Arts School in Philadelphia, Pennsylvania. After graduating at age 15, he studied classical piano and music performance under a scholarship at Philadelphia’s University of the Arts, then moved on to the Manhattan School of Music, where he studied jazz piano and music performance. By 1988 he was performing and recording professionally; Simon made his first recorded appearance on the 1988 Greg Osby album Mind Games, and the following year he joined saxophonist Bobby Watson's Horizon ensemble, remaining with the band until 1994 and appearing on such Watson albums as The Inventor (1990), Present Tense (1992), and Midwest Shuffle (1994). 

Upon departing Watson's group, Simon became a member of trumpeter Terence Blanchard's band between 1994 and 2002; the pianist can be heard on a number of Blanchard albums, including Romantic Defiance and the score to the Spike Lee-directed movie Clockers (both 1995), The Heart Speaks (1996), the score to the Kasi Lemmons film Eve's Bayou (1997), and Let's Get Lost (2001). During these years, Simon also appeared on recordings by the likes of guitarist Kevin Eubanks, alto saxophonist Dave Binney, flutist Herbie Mann, and tenor saxophonist Mark Turner. Simon's debut as a leader arrived in 1994 with Beauty Within on the Audioquest label; the album also introduced listeners to the Edward Simon Group, a trio featuring the pianist accompanied by electric bassist Anthony Jackson and drummer Horacio "El Negro" Hernández. The following year found Simon recording and releasing an eponymous sophomore album with a new trio featuring bassist Larry Grenadier and drummer Adam Cruz, along with occasional support from Turner on tenor saxophone and Milton Cardona on percussion. Simon expanded his ensemble beyond the post-bop piano trio format for 1998's La Bikina, including both Turner and Binney on saxophones and Diego Urcola on trumpet in addition to drummer/percussionist Cruz, bassist Ben Street, percussionist Pernel Saturnino, and Cardona contributing vocals. 

However, the ensuing years would see Simon continue to explore the possibilities of the piano-bass-drums trio with a series of recordings including 2003's The Process (with bassist John Patitucci and drummer Eric Harland); 2004's Simplicitas (with bassist Avishai Cohen and drummer Adam Cruz); and 2006's Unicity, 2009's Poesía, and 2013's Trio Live in New York at Jazz Standard (all with Patitucci and drummer Brian Blade). Meanwhile, Simon and Binney co-founded the collaborative creative jazz quartet Afinidad in 2000; the band (with bassist Scott Colley and drummer Brian Blade) released an eponymous debut in 2001 and Océanos in 2007. In 2003 Simon founded Ensemble Venezuela, an ambitious project melding creative jazz with the traditional musics of his home country, and in 2005 he received a Chamber Music America commission to compose Venezuelan Suite for the ensemble. Simon assembled ten musicians (including saxophonist Turner and drummer Cruz) from the United States, Venezuela, and Colombia to record the suite at Brooklyn's Systems Two studio in 2012; the album Venezuelan Suite was released by the Sunnyside label in January 2014. Simon is also a member of the SF Jazz Collective. ~ Dave Lynch https://itunes.apple.com/ph/artist/edward-simon/id7370451#fullText

Personnel: Edward Simon ( Piano );  Clarence Penn ( Drums );  Diego Urcola ( Trumpet, Flugelhorn );  Scott Colley ( Bass )

A Master's Diary

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Adam Rogers - Allegory

Styles: Straight-ahead/Mainstream
Year: 2003
File: MP3@320K/s
Time: 72:54
Size: 167,5 MB
Art: Front

( 8:19)  1. Confluence
(10:01)  2. Phyrigia
( 4:07)  3. Was
( 7:53)  4. Genghis
( 3:50)  5. Angle Of Repose
( 9:48)  6. Orpheus
( 7:03)  7. Red Leaves
( 8:46)  8. Cleveland
( 9:06)  9. Purpose
( 3:56) 10. Angle Of Repose - Reprise

After establishing a solid reputation as part of the fusion collective Lost Tribe and as a sideman with the likes of Michael and Randy Brecker, Ravi Coltrane, and others, guitarist Adam Rogers is flexing his considerable chops as a leader. Allegory , his sophomore effort, adds tenor saxophonist Chris Potter to Rogers' quartet with pianist Edward Simon, bassist Scott Colley, and drummer Clarence Penn. It features ten original compositions that display his quirky, syncopated melodies and clean, fluid guitar style over driving (and often odd-time) rhythms. Potter's saxophone adds weight to the melodies, many of them played in unison with Rogers' guitar. The arrangements are straight-ahead with pronounced heads and solo sections. But the interplay between the musicians and their improvisatory abilities keeps things unpredictable. On "Phyrigia," Colley plays a thematic bass solo over the Eastern-like changes, and Potter blisters through the upper registers of the tenor during his lead, prodded by Penn's flourishes. "Genghis" also features a guitar-saxophone melody, which slowly unfolds over a plodding, funky groove.


Rogers displays his classical guitar technique on "Red Leaves," a spacious ballad that also features a lyrical bass solo. "Angle of Repose" is another unhurried piece with room for the musicians to explore the sparse melodic movement. Conversely, "Cleveland" is an energetic piece with melodic twists and turns over which the musicians solo adeptly. To celebrate the release of Allegory , Rogers performed two sold-out sets at the Jazz Gallery last month. Bassist James Genus and drummer Jeff "Tain" Watts provided the rhythm for him and Potter. As on the recording, "Confluence" kicked things off and Watts' relentless ride-cymbal propelled the leader's first solo. Watts and Potter had several spirited exchanges and the drummer seemed to push the saxophonist to dig deeper into the tunes and Potter ably accepted the challenge. 

The bluesy vamp "Purpose" got an especially raucous workout, highlighted by Watts' only solo of the first set. The show had a raw, kinetic energy often originating from the rhythm section, which provided a solid foundation for the soloists. The crowd's approval during the live performance, as well as the solid tunes on Allegory, show that Rogers has developed nicely into a role as leader with a promising future.~Sean Patrick Fitzell http://www.allaboutjazz.com/allegory-adam-rogers-criss-cross-review-by-sean-patrick-fitzell.php

Personnel: Scott Colley - bass; Chris Potter - tenor sax; Clarence Penn - dums; Adam Rogers - guitar; Edward Simon - piano.

Allegory

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Adam Rogers Quintet - Apparition

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 60:35
Size: 138,9 MB
Art: Front

( 8:44)  1. Labyrinth
( 6:40)  2. Tyranny Of Fixed Numbers
( 7:49)  3. Persephone
( 7:59)  4. Continuance
(10:42)  5. The Maya
( 2:59)  6. Appartitions
( 7:27)  7. Amphora
( 8:12)  8. Moment In Time

Kurt Rosenwinkel, Ben Monder, and Liberty Ellman are just a few of the notable modern day guitarists who are making own their marks in technique and ability. Adam Rogers also falls into this category, but the question remains for any artist: how does one distinguish his own identity? Rogers' new release may not sound altogether different from some of the postmodern bop variations, but it is distinct in its balance of both the art of high composition and performance. With chops honed as a sideman on many recording sessions, Rogers' hollowbody fretboard prowess competes with some of the best, but he stands out the most compositionally with detailed, complex, and interesting ideas. This is clearly the trend he's taken on his two previous recordings as a leader Art of the Invisible (2002) and Allegory (2003) so if you're looking for the standard fare, think again. 

Rogers has recorded with a core group of players who all have extensive resumes as both sidemen and leaders. Clarence Penn is a versatile drummer with innate skills; Scott Colley is an in-demand bassist who's performed on numerous recordings; Edward Simon combines a most interesting jazz and Latin feel with a classic style; and Chris Potter's horn prowess speaks for itself. These guys have bonded and cooked together, and Apparitions continues in the same creative flow. The aptly named opening "Labyrinth is packed with sudden twists and turns. Unison sax/guitar lines evolve into defined solo spaces; Rogers leads the way with rapid and intricate notes, prefacing other hearty spots by the sax and drums. "The Maya shows how the group executes the depth of the expert rhythm section. The mood can change quickly from hot tempos to icy moments, as on the dark title piece." Continuance may appease those looking for Wes Montgomery-like grooves, but with added detail, multiple cadence changes, and some incendiary solos from everyone. Two other interesting cuts include "Tyranny of Fixed Numbers, where Rogers shows his lighting-quick skills on a distorted Stratocaster, and its acoustic counterpart, "Moment in Time, where the guitarist explores his steel-string persona.~Mark F.Turner http://www.allaboutjazz.com/apparitions-adam-rogers-criss-cross-review-by-mark-f-turner.php

Personnel: Adam Rogers: guitar; Chris Potter: tenor saxophone; Edward Simon: piano; Scott Colley: double bass; Clarence Penn: drums.

Apparition

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Laurent de Wilde - Over The Clouds

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:55
Size: 123,8 MB
Art: Front

(7:55)  1. Prelude to a Kiss
(7:35)  2. Over the Clouds
(6:42)  3. Fe Fe Naa Efe
(4:57)  4. Le bon médicament
(6:00)  5. Edward K
(6:23)  6. Some Kinda Blues
(4:16)  7. Irafrica
(6:45)  8. New Nuclear Killer
(3:18)  9. Over the Clouds (Radio Edit)

Dividing his time between the United States and France, Laurent de Wilde has found a welcoming audience in both countries. His third solo album, Open Changes, resulted in de Wilde receiving a Django Reinhardt Award for Best French Musician of 1992. In addition to leading his own group, de Wilde has worked as a session player for Reggie Workman, Ralph Moore, Greg Osby, Joshua Redman, Dee Dee Bridgewater, Aldo Romano, André Ceccarelli, Harold Land, and Tom Harrell. His first four albums featured tenor saxophonist Joe Coleman, drummer Jack DeJohnette, and trumpet player Eddie Henderson. His fifth release, Spoon-a-Rhythm, released in 1997, featured St. Thomas-born drummer Dion Parson and former Miles Davis and Weather Report percussionist Bobby Thomas Jr.. Born in Washington, D.C., de Wilde moved to France before his fifth birthday. After studying philosophy at Ecole Normale Superieure in Paris, he returned to the United States to attend Long Island University. 

While there, he met and befriended pianist Joey Calderazzo. Settling in New York, de Wilde was mentored by such influential pianists as Jim McNeely, Kirk Lightsey, and Mulgrew Miller. A member of Eddie Henderson's band in 1986, he recorded his debut solo album, Off the Boat, the following year. He followed with the impressive solo albums Odd and Blue in 1989 and Colors of Manhattan in 1990. Signing with Sony Jazz France in 1994, he released his fourth album, The Back Burner, in 1995. De Wilde authored a biography of influential jazz pianist Thelonious Monk in 1996, which received a Charles DeLaunay Prize for Best Book on Jazz.~Craig Harris http://www.allmusic.com/artist/laurent-de-wilde-mn0000785373/biography

Personnel:  Laurent de Wilde, piano;  Ira Coleman, bass;  Clarence Penn, drums

Over The Clouds

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