Conrad Herwig - The Latin Side of McCoy Tyner

Styles: Trombone Jazz
Year: 2024
Time: 59:40
File: MP3 @ 320K/s
Size: 138,0 MB
Art: Front

(6:52) 1. African Village
(5:29) 2. Passion Dance
(6:06) 3. Four by Five
(6:23) 4. Walk Spirit, Talk Spirit
(5:31) 5. Mellow Minor
(6:07) 6. Search for Peace
(5:44) 7. Peresina
(6:52) 8. Fly with the Wind
(5:56) 9. Blues on the Corner
(4:36) 10. Reaching Fourth

Trombonist Conrad Herwig has a great way of reworking older jazz tunes with a bold Latin Jazz vibe a project he's done with the music of Miles Davis, Wayne Shorter, and others and which here really explodes with a great soulful sensibility on the music of McCoy Tyner! Given the oft-modal, inherently rhythmic quality of most of Tyner's music, the match is a perfect one carried off here with a core group that's really wonderful Craig Handy on tenor and baritone, Alex Norris on trumpet, Bill O'Connell on piano, Ruben Rodriguez on bass, Robby Ameen on drums,and Camilo Molina on congas plus guest piano from Eddie Palmieri on just one track (despite his name being large on the cover!)

Conrad is the core throughout, and his trombone solos have a way of linking the modes of older Latin greats like Barry Rogers with the hardbop and spiritual jazz currents in the music. Titles include "Fly With The Wind", "Passion Dance", "Reaching Fourth", "Blues On The Corner", "Mellow Minor", and "Search For Peace".
© 1996-2024, Dusty Groove, Inc. https://www.dustygroove.com/item/175960/Conrad-Herwig:Latin-Side-Of-McCoy-Tyner

The Latin Side of McCoy Tyner

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Mingus Big Band - The Charles Mingus Centennial Sessions

Styles: Jazz, Big Band
Year: 2022
File: MP3@320K/s
Time: 63:30
Size: 146,2 MB
Art: Front

(7:22) 1. Work Song (Break The Chains)
(7:42) 2. The I Of Hurricane Sue
(1:01) 3. Intro To Nobody Knows The Bradley I Know
(5:46) 4. Nobody Knows The Bradley I Know
(8:15) 5. Meditations For Moses
(7:43) 6. All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother
(6:35) 7. Don’t Let It Happen Here
(6:49) 8. Profile Of Jackie
(8:21) 9. Hobo Ho
(0:22) 10. Intro To Wednesday Night Prayer Meeting
(3:29) 11. Wednesday Night Prayer Meeting

The legacy of Charles Mingus is continuing to be celebrated this year by his legacy bands. Now the Mingus Big Band has released The Charles Mingus Centennial Sessions, which marks the 100th anniversary of the bassist and composer’s birth with 22 of his compositions.

The work includes new arrangements of his timeless songs with narrations by Charles’s son Eric Mingus. The Charles Mingus Centennial Sessions was recorded with over 30 of the world’s leading musicians, rotating in the Mingus Big Band tradition, they say.

Bass on the album is handled by three men: Boris Kozlov, Andrew McKee, and Mike Richmond. Each has played an important role in the group. Kozlov has been in the band for over two decades and is the current co-leader of the group. McKee spent a decade in the ’90s and is featured on many recordings. When Mingus died in 1979, his widow Sue Mingus (who passed away in September 2022) launched the Legacy band with Mike Richmond in the bass seat.
https://www.notreble.com/buzz/2022/10/20/mingus-big-band-releases-the-charles-mingus-centennial-sessions/

Musicians: Dr. Alex Pope Norris, Tatum Greenblatt, Walter White, Philip Harper, Anthony Fazio, Jack Walrath, Alex Sipiagin - Trumpets; Conrad Herwig, Joe Fiedler, Robin Eubanks, Coleman Hughes - Trombones; David Taylor - Bass Trombone; Earl McIntyre - Bass Trombones & Tuba; Alex Foster (co-leader), Brandon Wright, David Lee Jones, Ron Blake, Alex Terrier - Alto Saxophones - Abraham Burton, Wayne Escoffery, Scott Robinson, Sam Dillon - Tenor Saxophones; Jason Marshall, Lauren Sevian - Baritone Saxophones; David Kikoski, Theo Hill - Piano; Boris Kozlov (co-leader), Andrew McKee, Mike Richmond - Bass; Adam Cruz, Donald Edwards, Johnathan Blake, Tommy Campbell - Drums; Eric Mingus, Renee Manning, Alex Foster - Vocals

The Charles Mingus Centennial Sessions

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Conrad Herwig - New York Hardball

Styles: Trombone Jazz
Year: 1989
File: MP3@320K/s
Time: 42:28
Size: 97,4 MB
Art: Front

(4:12) 1. Hardball
(4:52) 2. Vendetta
(6:17) 3. Zal
(4:39) 4. Code Blue
(3:52) 5. I'm Getting Sentimental Over You
(5:31) 6. Master's Image
(3:40) 7. Hey, New Day
(9:22) 8. Out Of Darkness, Into Light

This lesser-known set from the now-defunct Ken label features the fluent and creative trombonist Conrad Herwig, who is joined by the harmonically advanced pianist Richie Beirach, bassist Ron McClure and drummer Adam Nussbaum. The music ranges from introspective ballads to a swinging version of the lone standard "I'm Getting Sentimental Over You." Herwig is mostly in the spotlight and he rises to the occasion, excelling on the complex straight-ahead material.
By Scott Yanow https://www.allmusic.com/album/new-york-hardball-mw0000896298

Personnel: Trombone, Producer – Conrad Herwig; Bass – Ron McClure; Drums – Adam Nussbaum; Piano, Liner Notes – Richie Beirach

New York Hardball

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Conrad Herwig - The Latin Side of Mingus

Styles: Trombone Jazz
File: MP3@320K/s
Time: 56:40
Size: 130,3 MB
Art: Front

(7:38) 1. Gunslinging Bird
(6:58) 2. Boogie Stop Shuffle
(5:50) 3. Don't Let It Happen Here
(8:46) 4. Goodbye Pork Pie Hat
(5:03) 5. Hora Decubitus
(7:16) 6. Duke Ellington's Sound of Love
(6:16) 7. All the Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother
(8:50) 8. Better Get Hit in Your Soul

After receiving four Grammy nominations for his highly successful series of recordings that "latinize" the music of John Coltrane, Miles Davis, Joe Henderson, Wayne Shorter, Herbie Hancock and Horace Silver, Conrad Herwig turns his attention to the legendary Charles Mingus. An imposing figure in jazz, Mingus was known for being complicated, volatile and a touched-by-genius innovator. As an homage to this influential artist, Conrad Herwig provides a fiery excursion into the world of Afro-Caribbean rhythms skillfully applied to Mingus' wildly imaginative compositions.

Joining Herwig is special guest trumpeter Randy Brecker together with long-time "Latin Side" band colleagues pianist Bill O'Connell, reedman Craig Handy and the trumpet/flugelhorn of Alex Sipiagin with the rhythm section of Luques Curtis, Robby Ameen and Camilo Molina. Collectively they bring a vibrant spirit and authority to this repertoire which is unique among today's salsa ensembles. Featured tunes run the gamut from the thoughtful and intimate "Duke Ellington's Sound of Love" to the unbridled joy of "Boogie Stop Shuffle" with the somewhat lop-sided introduction to the opening track, "Gunslinging Bird," being the perfect harbinger of things to come. This latest installment in Conrad Herwig's "Latin Side" series pays tribute to the work of Charles Mingus with progressive arrangements, propulsive rhythms, exciting solos and the consummate musicianship of the leader and his bandmates. Editorial Reviews https://www.amazon.com/Latin-Side-Mingus-Conrad-Herwig/dp/B0BB8HHK72

Personnel: Conrad Herwig - Trombone; Randy Brecker - Trumpet; Alex Sipiagin - Trumpet; Craig Handy - Saxophone; Bill O'Connell - Piano; Luques Curtis - Bass; Robby Ameen - Drums; Camilo Molina - Percussion

The Latin Side of Mingus

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Conrad Herwig, Richie Beirach, Jack DeJohnette - The Tip Of The Sword

Styles: Trombone Jazz
Year: 2011
File: MP3@320K/s
Time: 48:35
Size: 114,7 MB
Art: Front

(6:49) 1. Where The Tip Of The Sword Settles
(7:11) 2. Mastery Of The Mind
(6:28) 3. Thought Precedes Action
(7:30) 4. The Void
(6:50) 5. Inner Sincerity
(7:06) 6. Moonlight On The Water,Rebirth
(6:37) 7. Being, Non-Being

Much of trombonist Conrad Herwig’s activity in recent years has been focused on exploring the so-called Latin side of jazz giants like John Coltrane, Miles Davis, Wayne Shorter and Herbie Hancock. Though not without their charms, those albums’ central concept, by its very nature, tends to limit inventiveness; they exist in a box enforced by a demanding gimmick. Whether or not Herwig has begun to chafe at those restrictions, The Tip of the Sword takes off in a wholly opposite direction, driven largely by freedom and openness. Though all seven compositions are credited to Herwig, the material is defined by the interactions between the trombonist and his heavyweight counterparts, pianist Richie Beirach and drummer Jack DeJohnette.

All three play with a predictably impressive vigor, and a certain hectic momentum propels most of the tracks. That’s certainly true of the tense, antic opener, “Where the Tip of the Sword Settles,” during which Herwig’s bluster is met by Beirach’s caffeinated urgency and DeJohnette’s all-over-the-kit hyperactivity. “Mastery of the Mind” builds at a much more patient pace, Herwig wailing with breathiness and the occasional stuttering catch while DeJohnette dances around his cymbals and Beirach muses. But it’s “The Void,” the album’s literal centerpiece, that finds the trio reining itself in to its starkest point, beginning with a lengthy solo piano turn that basks in the instrument’s resonance. “Inner Sincerity” restores the brisk pace with DeJohnette’s ebullient rhythms, which bear traces of his globetrotting influences without suggesting any particular culture or style. https://jazztimes.com/reviews/albums/conrad-herwig-richie-beirach-jack-dejohnette-the-tip-of-the-sword/

Personnel: Conrad Herwig - trombone; Richie Beirach - piano; Jack DeJohnette - drums

The Tip Of The Sword

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Conrad Herwig - The Latin Side Of Joe Henderson

Styles: Trombone Jazz
Year: 2014
File: MP3@320K/s
Time: 59:28
Size: 137,3 MB
Art: Front

(11:45)  1. Recorda Me
( 9:56)  2. Mamacita
( 9:18)  3. Afro-Centric
(11:15)  4. Black Narcissus
( 8:52)  5. Blue Bossa
( 8:20)  6. Inner Urge

So what makes The Latin Side Of Joe Henderson different from trombonist Conrad Herwig's previous Latin Side albums? Well, for starters, Herwig played with Henderson for several years, an experience which gave him great insight into the music and the man who made it. Then there's the material itself. Henderson's music, more so than that of previous Latin Side honorees like Herbie Hancock or John Coltrane, is tailor-made for this type of project, as some of the songs already lean toward the Latin side. This album, recorded live at New York's Blue Note in July of 2012, gives Herwig and some other A-list musicians featured guest Joe Lovano and trumpeter Alex Sipiagin chief among them a chance to cut loose on six spicy numbers. Stellar arrangements, feisty percussive tides, and strong solos are all here, as expected, but that doesn't mean things are predictable. Plenty of surprises await. Herwig and company cook right out of the gate with a sizzling "Recorda Me." Hot saxophone work, fun exchanges between Herwig and Sipiagin, winning piano work from Bill O'Connell, and over-a-vamp soloing from drummer Robby Ameen and percussionist Richie Flores all help to make this a memorable one. Next comes the Latin hard bop blues of "Mamacita," which proves to be another album highlight, followed by "Afro-Centric," which features some tight ensemble work and memorable soloing. 

The gentler flow of "Black Narcissus" serves as a brief respite from the heat, but the temperature rises again with the musical one-two punch that brings the album to its end. First up is "Blue Bossa," which finds Sipiagin in fiery form and features a thrilling percussion breakdown over a vamp in seven. Then the group finishes off with "Inner Urge," which may be the best showcase for Herwig's writing; the band sounds like it's twice its true size here. Herwig finished a stint at the Blue Note with his Latin Side Of Horace Silver project shortly before this review went to press, so it's fairly certain that this won't be the final Latin Side release. This will, however, be hard to top. ~ Dan Bilawsky https://www.allaboutjazz.com/the-latin-side-of-joe-henderson-conrad-herwig-half-note-records-review-by-dan-bilawsky.php
 

Personnel: Conrad Herwig: trombone; Joe Lovano: tenor saxophone; Ronnie Cuber: baritone saxophone; Alex Sipiagin: trumpet; Bill O'Connell: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Richie Flores: percussion.

The Latin Side Of Joe Henderson

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Conrad Herwig - The Latin Side of Horace Silver

Styles: Trombone Jazz
Year: 2020
File: MP3@320K/s
Time: 78:58
Size: 182,0 MB
Art: Front

( 7:38) 1. Nica's Dream
(10:38) 2. Song for My Father
(11:39) 3. The Gods of Yoruba
( 8:11) 4. Peace
( 9:27) 5. The Cape Verdean Blues
(10:52) 6. Filthy McNasty
( 8:55) 7. Silver's Serenade
(11:34) 8. Nutville

New York-based trombonist Conrad Herwig began exploring the "Latin side" of various jazz musicians in 1996, with The Latin Side of John Coltrane, which earned him the first of four Latin Grammy Award nominations. Since then, Herwig has done the same for Miles Davis, Wayne Shorter, Herbie Hancock, Joe Henderson and, now, pianist Horace Silver. The formula is trim and solid; choose several of an artist's more notable compositions and recast them in a rhythmic Latin framework. For The Latin Side of Horace Silver, recorded live in 2017 (the notes don't say exactly where), arrangements are in the capable hands of Herwig (three), pianist Bill O'Connell (four) and Marc Stasio ("The Gods of the Yoruba").

This is basically an octet, which can sound larger or smaller than its size, depending on the context and the chart. (For examples of each, compare "Nica's Dream" or "Filthy McNasty" with "Peace" or "Silver's Serenade.") Herwig shares the front line with alto saxophonist Craig Handy, tenor saxophonist Igor Butman and trumpeter Alex Sipiagin. O'Connell plays the keyboard on five tracks, guest Michel Camilo on the other three, with Ruben Rodriguez on bass, Robby Ameen on drums and Richie Flores on congas. The other selections each of which, beyond any doubt, is well known to Silver's many fans are "Song for My Father" and "Nutville," which wraps up the concert.

The album's generous seventy-nine-minute running time affords ample room to stretch, and there are engaging south-of-the-border solos along the way by everyone on the front line, as well as by O'Connell, Camilo and Flores who also adds considerable energy and weight to the Latin pulse. The easygoing "Silver's Serenade" offers nearly nine minutes of (relative) calm, with Handy on flute and Sipiagin on flugelhorn (as they are on "Peace"). Even here, however, the Latin temperament holds sway and the rhythm never flags. Herwig, who has long been a champion of Latin music and culture, takes great pleasure in sharing that passion with others, and The Latin Side of Horace Silver looks to be a splendid candidate for a fifth Latin Grammy nomination.~Jack Bowers https://www.allaboutjazz.com/the-latin-side-of-horace-silver-conrad-herwig-savant-records

Personnel: Conrad Herwig: trombone; Alex Sipiagin: trumpet; Craig Handy: saxophone, alto; Igor Butman: saxophone, tenor; Bill O'Connell: piano; Michel Camilo: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Richie Flores: congas.

The Latin Side of Horace Silver

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Conrad Herwig - The Latin Side of John Coltrane

Styles: Trombone Jazz
Year: 1996
File: MP3@320K/s
Time: 70:04
Size: 161,0 MB
Art: Front

(1:17)  1. Blessing
(6:05)  2. A Love Supreme (Supremo Amor)
(6:52)  3. Blue Train
(9:38)  4. Afro-Blue
(4:41)  5. Naima
(7:59)  6. Satellite
(6:37)  7. Africa
(4:36)  8. After the Rain
(7:26)  9. Impressions
(7:44) 10. India
(5:43) 11. The Drum Thing
(1:20) 12. Blessing (Reprise)

A great idea beautifully executed by New York trombonist Conrad Herwig. The trombonist/arranger/musical director chooses Coltrane's most accessible material from a period that arguably spawned his best, most memorable work (1958-1964), devised simple, exploratory frameworks for each (recalling veteran Chico O'Farrill), then assembled an outstanding collection of musicians. In addition to Herwig's sinewy trombone, there's Brian Lynch on trumpet, Dave Valentin on flutes, Ronnie Cuber on baritone, Richie Beirach (who contributed to some of the arrangements), Danilo Perez and Eddie Palmeri on piano, Andy Gonzalez (from the Fort Apache Band) on bass and Milton Cardona on vocals and percussion. Selections are outstanding: "A Love Supreme," "Blue Train," (where Lynch trades fours with Herwig), "Afro Blue" (great flute solo by Valentine), "Naima" (beautifully featuring Beirach), "After The Rain," "Impressions" and "India." Throughout, Herwig solos flawlessly, with a sensitivity and fire that's reminiscent of the source of his tribute. Herwig's record, more than Joe Henderson's recent big-band event, sounds like a natural conclusion. The arrangements and performances work well together and the Latin environment seems a logical foundation for Coltrane's passions. One last note: Astor Place has done a beautiful job packaging The Latin Side of John Coltrane , sparing no expense for trendy art direction that recalls some of the very expensive covers Limelight Records put out in the mid 60s. Recommended. ~ Douglas Payne https://www.allaboutjazz.com/the-latin-side-of-john-coltrane-conrad-herwig-astor-place-review-by-douglas-payne.php

Personnel: Conrad Herwig - trombone, musical director;  Brian Lynch - trumpet;  Alex Sippiagin - trumpet;  Mike Ponella - trumpet;  Ray Vega - trumpet;  Dave Valentin - concert flute, alto flute, bass flute;   Ronnie Cuber - baritone saxophone;  Gary Smulyan - baritone saxophone;   Danilo Pérez - piano; Eddie Palmieri - piano;  Edward Simon - piano;  Richie Beirach - piano;   John Benitez - bass;   Andy González - bass;  Adam Cruz - drums;  Jose Clausell - timbales, percussion;  Richie Flores - congas;   Milton Cardona - vocals, bata, congas, percussion;  John Coltrane - tribute to, composer

The Latin Side of John Coltrane

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Bill O'Connell, The Afro Caribbean Ensemble - Wind Off the Hudson

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 61:09
Size: 141,1 MB
Art:

(5:12)  1. Wind Off the Hudson
(7:57)  2. Gospel 6
(6:54)  3. Jerry's Blues
(5:38)  4. I Don't Have the Answer
(5:45)  5. Oye Como Va
(5:40)  6. Perdido
(5:34)  7. Got Cha
(5:40)  8. Transition
(5:47)  9. C Jam Blues
(6:58) 10. Discombobulation

Bill O'Connell has had plenty to say with his piano in recent times, basically knocking out a session a year for the Savant imprint. And with an exploration within the solo format, a trip with an augmented trio, and ventures promoting a medium-sized conglomerate of heavy-hitters, he's certainly traversed quite an expanse there. But, as Wind Off The Hudson clearly shows, he's still got room grow. The Afro Caribbean Ensemble his largest on-record gathering of late, and a group indicative of a broadened view point and reflective of his work as the director of a similar outfit at Rutgers University is something like his Latin Jazz All-Stars. It's just bigger and badder. A dectet with a massive sound, it can swell to the sonic proportions of a big band, as demonstrated on the lead-off title track; or it can slim down to the size of a combo, as heard periodically on the soulful follow-up, "Gospel 6."  These ranks contain enough firepower to overtake small countries the presence of saxophonists Craig Handy, Ralph Bowen and Gary Smulyan, plus trumpeter Alex Sipiagin and trombonist Conrad Herwig, should paint a clear enough picture of strength and each member of the band is put to good use. Need proof? Check out the hot-and-heavy rhythm section of O'Connell, bassist Lincoln Goines, drummer Robby Ameen and percussionist Roman Diaz backing a smoking Sipiagin (and other soloists) on "Jerry's Blues," a paean to the late Jerry Gonzalez. 

Or take note of the way Andrea Brachfeld's alto flute adds different weight and textural dimensions to the poignant "I Don't Have The Answers." It's one thing to have all of this serious talent in one place, but it's entirely something else to know how to deploy it all, as O'Connell most certainly does. Those first four numbers all originals point toward a fertile mind constructing ideas from a relatively clean slate. But O'Connell is just as likely to recontextualize or personalize classics as he is to build from scratch. Adding an artful rendering of "Oye Como Va," a "Perdido" with a vibrant new coat of paint, a "Transition" that underscores Eastern melodic allure with Latin jazz grounding, and a choppy, contrapuntal "C Jam Blues" operating far away from Ellington's vision, O'Connell stakes his claim as an arranger of note. On Wind Off The Hudson, it's hard to know whether to be most impressed with O'Connell's imaginative pen, fast-thinking fingers or smart contracting skills. 

But the album doesn't require a choice. Part of the beauty is being able to, at once, bask in the beauty of the writing, the heat provided by the man and the burn delivered by his esteemed band mates. ~ Dan Bilaswsky https://www.allaboutjazz.com/wind-off-the-hudson-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Andrea Brachfeld: flute (1, 3, 5, 7-10), alto flute (4); Craig Handy: alto saxophone (1-3, 6, 7, 9, 10), soprano saxophone (8); Ralph Bowen: tenor saxophone; Gary Smulyan: baritone saxophone; Alex Sipiagin: trumpet, flugelhorn (4); Conrad Herwig: trombone; Lincoln Goines: electric bass; Robby Ameen: drums; Romaz Diaz: congas (1-3, 5-10).

Wind Off the Hudson

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Bill O'Connell, The Latin Jazz All-Stars - Zócalo

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 59:49
Size: 137,7 MB
Art: Front

(5:42)  1. Big Sur
(6:47)  2. Joshua
(6:58)  3. Zócalo
(6:50)  4. For All We Know
(8:24)  5. Nothing but the Truth
(7:45)  6. 21st Century Blues
(5:42)  7. The Surrey with the Fringe on Top
(5:16)  8. Eric's Song
(6:21)  9. One Note Mambo

Latin jazz piano dynamo Bill O'Connell found a parallel between this gathering and Zócalo, the main plaza situated in the center of Mexico City; that square has long been a place where people meet to connect, celebrate and join together as one, and the same sense of togetherness and unity associated with that spot surrounds this recording. O'Connell and his simpatico sextet mates sizzle, swoon and soar as they explore the art of creation through communication. Sometimes connections manifest themselves in simple and common ways, as when bassist Luques Curtis bolsters an O'Connell solo while drummer Adam Cruz pushes and prods, but sometimes the connections are more intense, though in a less obvious way. When trombonist Conrad Herwig colors behind saxophonist Steve Slagle during "For All We Know," for example, the respect and love that these artists have for one another and for the music itself is clear as can be. When this band pushes the envelope and steps on the gas, as on the spirited re-write of "Joshua" and the fiesty "Nothing But The Truth," they create a powerful rhythmic undertow that can't help but suck in everything within earshot; the music is simply that powerful. Elsewhere, the material is poignant ("For All We Know), lighthearted ("The Surrey With The Fringe On Top") and luminescent ("Erik's Song"). O'Connell, Curtis, Cruz and conga player Richie Flores have a lot of chemistry and the horns really complement one another; Herwig's earthy trombone set against Slagle's focused alto or his piquant-to-pure soprano make for a winning combination. If the goal here was truly to let these folks share their musical thoughts and become one in the process, then mission accomplished for this fine group of musicians. ~ Dan Bilawsky https://www.allaboutjazz.com/zocalo-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Steve Slagle: alto saxophone (1, 3-5, 9), soprano saxophone (2, 6-8); Conrad Herwig: trombone; Richie Flores: congas; Luques Curtis: bass; Adam Cruz: drums; Roman Diaz: bata (2), vocals (2); Jadele MacPherson: vocals (2).

Zócalo

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Bill O'Connell, The Latin Jazz All-Stars - Imagine

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 59:27
Size: 137,1 MB
Art: Front

(5:45)  1. Optimism
(6:43)  2. Stepping Stones
(7:46)  3. Imagine
(6:48)  4. Shaman's Dance
(6:57)  5. Missing Mr. Berrios
(6:23)  6. Jigsaw
(6:38)  7. 25 Years
(5:20)  8. Willow Weep for Me
(7:03)  9. Whitecaps

It's curious that Bill O’Connell’s 11th album as a leader is titled after the revered John Lennon anthem covered within, because it’s atypical of most of his work. O’Connell’s stock-in-trade is bop-tempered Afro-Cuban rhythm, and few traces of such surface during the elegant float through the song. But what the pianist and his sextet do with “Imagine” instead is more valuable than giving it a stock clave coating. About midway through the nearly nine-minute rumination, following saxophonist Steve Slagle and trombonist Conrad Herwig’s subtle, repeated restating of the theme, O’Connell carries it away, his impeccably phrased solo leaving Lennon far behind. By the time Slagle returns to wrap it, the reimagining of “Imagine” is unrecognizable, becoming this sextet’s own, and a highlight of the set. O’Connell’s original compositions are handled with similar spirit and inventiveness. The ballad “Missing Mr. Berrios,” a wistful tribute to the late drummer and percussionist Steve Berrios, again leaves it up to the hornmen to provide shape, O’Connell only detouring from the simple chord pattern that’s been providing the foundation briefly enough to let us know he’s there. Of the uptempo numbers, both “Stepping Stones” and especially the closing “Whitecaps” afford the brawny rhythm team of bassist Luques Curtis, drummer Richie Barshay and percussionist Richie Flores (the last two returnees from O’Connell’s previous effort) ample opportunity to flex. That latter tune is closer to what we’ve come to expect from Bill O’Connell, but by the time we’ve gotten to it, he’s made it clear that perhaps what we should really expect from him is only the unexpected. ~ By Jeff Tamarkin https://jazztimes.com/reviews/albums/bill-oconnell-and-the-latin-jazz-allstars-imagine/

Personnel: Bill O'Connell (Piano); Luques Curtis (Bass); Richie Barshay (Drums); Richie Flores (Percussion); Steve Slagle (Soprano Saxophone, Alto Saxophone); Conrad Herwig (Trombone).

Imagine

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Michael Dease - Bonafide

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 63:48
Size: 147,5 MB
Art: Front

(5:00)  1. Pearls
(6:05)  2. Theme For Basie
(4:59)  3. Rufus McWhitman
(5:18)  4. Tenor Madness
(4:21)  5. Batista's Groove
(6:00)  6. Coexist
(4:45)  7. Forge Ahead
(6:13)  8. Alpha
(8:55)  9. In Walked Wayne
(6:08) 10. Nós
(5:59) 11. The Real Deal

Michael Dease just seems to grow and grow with each new record  not just in sound and fresh ideas, but also in spirit which is especially the case here, on a set that brings in a few other trombonists to the ensemble! The core group has Michael's tight, soulful trombone in a quartet with David Hazeltine on piano, Todd Coolman on bass, and EJ Strickland on drums a rhythm trio as sharp as you'd imagine and various tracks bring in contributions from Marshall Gilkes and Conrad Herwig on trombones, and Gina Benalcazar on bass trombone! Only one of the album's tracks features four trombones, two more feature three trombonists, and three more feature two trombonists and tenorist Sam Dillon also makes an appearance on two of the tracks that just feature Dease on trombone. Phew that's a lot of musical playbooking from us and it's a lot easier to just let the record spin and enjoy the interaction, which shapes the sound nicely in ways that are different than some of Dease's usual albums. Titles include "Forge Ahead", "Coexist", "The Real Deal", "Alpha", and "Rufus McWhitman" all by Dease plus "Pearls", "Theme For Basie", "Batista's Groove", and "Nos" the bossa classic from Johnny Alf.  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/898068/Michael-Dease:Bonafide

Personnel:  Michael Dease - trombone;  Marshall Gilkes - trombone;  Conrad Herwig - t.bone;  Gina Benalcazar - bass t.bone;  Sam Dillon - tenor sax;  David Hazeltine - piano;  Todd Coolman - bass; EJ Strickland - drums

Bonafide

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Conrad Herwig - The Latin Side Of Wayne Shorter

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 71:47
Size: 167,4 MB
Art: Front

( 6:56)  1. Ping Pong
( 8:52)  2. Tom Thumb
( 8:44)  3. El Gaucho
( 8:16)  4. Night Dreamer
( 8:02)  5. This Is For Albert
( 8:18)  6. Adam's Apple
(11:24)  7. Masqualero
(11:11)  8. Footprints

Luis Perdomo is the regular pianist in Conrad Herwig's septet. He delivers a sterling, elegant solo on "Ping Pong," the opening cut on The Latin Side of Wayne Shorter, recorded live at the Blue Note in New York. He anchors the first five songs with such skill that at the end of "This Is for Albert," Herwig singles him out for the audience's applause. Unfortunately, it's to say goodbye. When salsa legend Eddie Palmieri takes over on piano, the concert is sent into orbit. Perdomo never stood a chance.  "Adam's Apple" may not be Shorter's greatest composition, but Palmieri makes a convincing case with syncopated montuno vamps that drive drummer Robby Ameen's funky backbeat and inspire baritone saxophonist Ronnie Cuber's sly comments and robust soloing. Palmieri taps into "Masquelero"'s heart of darkness and Herwig's tone on trombone is elusive and introverted, before trumpeter Brian Lynch takes a note-bending solo that slides itself into the piano's rhythms like mortar. Herwig and Lynch's simpatico playing is the highlight of "Footprints," each of them winding similarly smooth and uncluttered solos around Pedro Martinez' congas. This is the third installment in Herwig's Latin Side series (following interpretations of Coltrane and Miles) and features silky virtuosic musicianship applied to intricate, intelligent, original compositions. Shorter's tunes are well-known and highly regarded as being flexible enough to suit a variety of instrumental lineups. Since he's gathered his own multi-horn groups in the past, the sound of these arrangements doesn't stray too far from his initial conceptions. But if you know a person who thinks jazz is difficult to get, lacks melody, or you can't dance to it, this is a CD that will change their mind. ~ Jeff Stockton https://www.allaboutjazz.com/the-latin-side-of-wayne-shorter-conrad-herwig-half-note-records-review-by-jeff-stockton.php

Personnel: Conrad Herwig: trombone; Brian Lynch: trumpet; Ronnie Cuber: baritone sax; Eddie Palmieri, Luis Perdomo: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: congas.

The Latin Side Of Wayne Shorter

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Conrad Herwig - The Latin Side Of Herbie Hancock

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 66:12
Size: 153,4 MB
Art: Front

(10:16)  1. Oliloqui Valley
( 5:33)  2. One Finger Snap
( 8:52)  3. Butterfly
( 6:58)  4. The Sorcerer
( 9:22)  5. Actual Proof
( 8:42)  6. Maiden Voyage
( 9:30)  7. Cantaloupe Island
( 6:55)  8. Watermelon Man

Trombonist and bandleader Conrad Herwig has quite colorfully and majestically explored the Latin side of some of modern music's most enduring composers and performers, and herewith adds his survey of Herbie Hancock's compositional catalog to previous Latin sets that honored Miles Davis and Wayne Shorter. "It's a little daunting in the sense that these tunes are so iconic," Herwig admits. "I grew up idolizing Herbie's music. His tunes became the new standards for a whole generation of post-Coltrane players." To navigate this territory, recorded in performance at the Blue Note in NYC, Herwig turned to two old friends: Trumpeter Randy Brecker, who first played with Herwig three decades ago; and pianist Eddie Palmieri, one of Latin jazz's reigning piano masters and one of Herwig's Latin jazz advisors for more than two decades. He also brought one new friend onboard: pianist Bill O'Connell, a veteran of classic sessions by Mongo Santamaria, Jerry Gonzalez, and others. O'Connell and Herwig either split or shared all these Latin Hancock arrangements. Brecker's trumpet burns through the group's collective descarga on "The Sorcerer" like a flame through tissue paper, while O'Connell takes charge with a powerful improvised passage that refracts Hancock's original tune into shards of melodic light. Brecker's and Herwig's intertwined improvisational passages only send these shards flying higher and brighter.

But Herwig's closing trilogy, a howling ensemble hurricane, is simply as good as Latin jazz gets. O'Connell's arrangement strings tethers the familiar "Maiden Voyage" melody to soft horns that float in harmonic space, the shadow of a passing cloud that gently darkens the rhythm section's roiling sea, with Craig Handy on flute, Brecker on trumpet so soft that your ears hear flugelhorn, and O'Connell on piano, painting brilliant solo strokes. More than a beautiful rendition, "Maiden Voyage" rediscovers this jazz classic. Palmieri jumps back in to help fire the remainder back up to a torrid Latin boil. Latin rhythms illuminate the sweet funky insides of "Cantaloupe Island," which, after Palmieri's two-fisted piano excursion, culminates in a blazing percussion/horn breakdown; with no piano or bass to anchor them to the percussion rhythms, Handy, Brecker and Herwig are left free to scatter and soar skyward like untethered birds. In a torrent, "Watermelon Man" pours out from the aftermath of "Cantaloupe," highlighted by Palmieri's spirited dialogue with the rhythm and percussion instruments. Even on just the strength of these last three tunes, Herwig's Latin Hancock presents tremendously rewarding, eye-opening and ear-popping, new interpretations of classic jazz pieces. ~ Chris M.Slawecki https://www.allaboutjazz.com/the-latin-side-of-herbie-hancock-conrad-herwig-review-by-chris-m-slawecki.php

Personnel: Conrad Herwig: trombone; Craig Handy: saxophones, flute, bass clarinet; Mike Rodriguez: trumpet; Bill O'Connell: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: percussion; Eddie Palmieri: piano; Randy Brecker: trumpet.

The Latin Side Of Herbie Hancock

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The Brian Lynch/Eddie Palmieri Project - Simpático

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(7:54)  1. The Palmieri Effect
(5:25)  2. Que Seria La Vida
(8:52)  3. Guajira Dubois
(6:03)  4. Jazz Impromptu
(8:39)  5. Paginas De Mujer
(8:18)  6. Slippery
(8:24)  7. Jazzucar
(6:15)  8. Tema Para Marissa
(6:50)  9. Freehands

Two decades of working as a highly accomplished trumpeter in Eddie Palmieri's Latin jazz band has culminated for Brian Lynch with this completely ravishing recording alongside his musical mentor. While the name of the group might raise the question of "who's on first?", rest assured that this is an inspired collaboration with the less-celebrated Lynch firmly at the helm. Most of the tunes are his, and the versions of Palmieri's pieces are marked by Lynch's hand. In fact, this album marshals some playing from Palmieri, particularly on the tumbling "The Palmieri Effect," which opens the album with a roar from Palmieri's piano, that I've missed from some recent discs under Palmieri's leadership. While the program of Simpatico is clearly Latin jazz and Palmieri's salsified McCoy Tynerisms are resplendently prominent throughout, there are lovely selections that wouldn't be expected on a Palmieri album. One example is the Lynch original "Jazz Impromptu," which has a sound you'd expect from a hard-blowing Blue Note session from decades ago. The bop roots in Lynch's original compositions are even evident in a guajira-chacha like "Guajira Dubois," where guest alto saxophonist Phil Woods, hardly a supreme Latin jazzman, brings an interesting bop sensibility to the proceedings.

The seventeen musicians (in addition to the superstar Palmieri) are all playing at the top of their game, bringing out an acute brilliance in Lynch's playing that I've never heard so thrillingly projected. But the biggest surprise among this crowd of talent is the Mexican-American diva Lila Downs. Her vocals have a dusky sensuality and subtle understatement that compels re-visioning just how extroverted a great Latin jazz vocalist need be. Lynch may have revolutionized the already rising career of Downs by showcasing her in a context so far removed from her own recordings, which are deeply rooted in traditional Mexican song.  

There's a move afoot in the jazz world to expand the parameters of Latin jazz, with Hilary Noble, Rebecca Cline and Dafnis Prieto among the prime instigators. In his own sweet way, in spite of being less radical conceptually in breaking out of a traditional Latin jazz style than those three musicians, Lynch is triumphantly pushing Latin jazz boundaries. This is a magnificent recording, whatever label you pin on it, and it makes you hope for more Lynch collaborations with his mentor in the near future. ~ Norman Weinstein https://www.allaboutjazz.com/simpatico-eddie-palmieri-artistshare-review-by-norman-weinstein.php

Personnel: Brian Lynch: trumpet; Eddie Palmieri: piano; Lila Downs: vocals; Phil Woods: alto saxophone; Donald Harrison: alto saxophone; Conrad Herwig: trombone; Giovanni Hidalgo: congas; Dafnis Prieto: drums; other players including Gregory Tardy, Mario Rivera, Boris Kozlov, Ruben Rodriguez, Luques Curtis, Robby Ameen, Pedro Martinez, Johnny Rivero, Edsel Gomez, Marvin Diz, Pete Rodriguez.

Simpático

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Conrad Herwig - Unseen Universe

Styles: Trombone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:17
Size: 159,5 MB
Art: Front

(6:34)  1. The Tesseract
(8:30)  2. From Another Dimension
(8:38)  3. Unseen Universe
(9:17)  4. Triangle
(8:12)  5. All Is One
(5:19)  6. Rebirth
(6:18)  7. Circumstantially Evident
(7:39)  8. The Magic Door
(7:46)  9. Three Degrees Of Freedom

Conrad Herwig's dazzling trombone chops and intelligent compositions make Unseen Universe, his third Criss Cross release, a stirring success. His sextet can maneuver around tight corners and yet attack with the force of a band twice its size. With Alex Sipiagin on trumpet, Seamus Blake on tenor and soprano sax, David Kikoski on piano, James Genus on bass, and Jeff "Tain" Watts on drums, Herwig can be sure of the group's ability to bring lushly orchestrated charts to life and improvise with sterling clarity and brilliance. Conceptually, with the title track and also with pieces called "The Tesseract," "From Another Dimension," "Triangle," and "The Magic Door," Herwig seems preoccupied with geometry and some of its metaphysical implications. Even as he draws heavily on the '60s Blue Note sound as established by figures like Joe Henderson and Herbie Hancock, Herwig stretches the limits of modern mainstream jazz with this all-original set. ~ David R.Adler https://www.allmusic.com/album/unseen-universe-mw0000105512

Conrad Herwig Sextet: Conrad Herwig (trombone); Seamus Blake (tenor saxophone); Alexander Sipiagin (trumpet); David Kikoski (piano); James Genus (bass); Jeff "Tain" Watts (drums).

Unseen Universe

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Don Braden - The New Hang

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 64:43
Size: 148,2 MB
Art: Front

(7:24)  1. Through The Fire
(5:57)  2. Without A Song
(7:00)  3. When I Fall In Love
(6:32)  4. The Traveler
(8:13)  5. No Complaints
(5:39)  6. Wish List
(7:02)  7. Release
(4:39)  8. Mother's Wish
(4:36)  9. Code Blue
(7:35) 10. The New Hang

The ever youthful Don Braden has released his 12th recording as a leader, The New Hang , a splendid collection which showcases not only his prowess as one of jazz' tenor ambassadors but the prowess of a stellar supporting cast. Things start off with a surprisingly jaunty and upbeat version of Chaka Khan's "Through the Fire." Braden swings during his solo, moving in and around the melody as drummer Cecil Brooks III thrashes behind him. Organist Kyle Koehler follows and lays down the law with his gritty solo turn. The standard "Without A Song" is played at a joyful up-tempo with everyone burning through their solos, especially Koehler. This is followed by another standard, "When I Fall In Love," a lovely duet between Braden and Koehler which features textures from blues and gospel.  "The Traveler" is another burner where Braden blows like crazy as the rhythm section drives him. Trombonist Conrad Herwig's fiery solo takes over to add spice to the already simmering gumbo. The tune shifts with the bass line defining the funk groove which lies dormant. "Wish List" finds Braden playing in an appropriately wistful tone. The song features another great Koehler solo and excellent drumming by Brooks. The band shifts into an R&B mode with "Release." Braden springs fountains of invention from his horn, triumphantly seizing the upper register like a prize.  Braden shifts tempo on "Mother's Wish," which he plays with a clear, strong, confident tone. "Code Blue" is another excellent horn interplay and even more dynamic drumming by Brooks. The disc ends with the title track, a standard blues with more hot tenor from the leader and more great down-in-the-trenches work by Koehler. From straight-ahead jazz to gospel, up-tempo to ballads, there's no musical style to which Braden can't apply his technical mastery and boundless imagination. Herwig, Koehler and Brooks complete the stellar ensemble work, making The New Hang a thoroughly enjoyable listen. ~ Terrell Kent Holmes https://www.allaboutjazz.com/the-new-hang-don-braden-review-by-terrell-kent-holmes.php

Personnel:  Don Braden: tenor sax;  Conrad Herwig: trombone;  Kyle Koehler: organ;  Cecil Brooks III: drums.

The New Hang

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Susannah McCorkle - Someone To Watch Over Me: The Songs Of George Gershwin

Bitrate: MP3@320K/s
Time: 61:35
Size: 141.0 MB
Styles: Jazz vocals
Year: 1998
Art: Front

[5:23] 1. They Can't Take That Away From Me
[4:15] 2. Who Cares
[4:18] 3. Someone To Watch Over Me
[4:51] 4. It Ain't Necessarily So
[5:20] 5. How Long Has This Been Going On
[1:13] 6. I Got Rhythm Intro
[3:37] 7. I Got Rhythm
[3:37] 8. Love Walked In
[3:44] 9. I Loves You Porgy
[4:58] 10. They All Laughed
[3:07] 11. Summertime
[4:13] 12. 's Wonderful
[4:49] 13. I Was Doing All Right
[4:01] 14. I Got Plenty O' Nuthin'
[4:03] 15. Will You Remember Me Drifting Along With The Tide

Alto Saxophone [Alto Sax], Flute [Alto Flute] – Jerry Dodgion; Bass – Dick Sarpola, Steve Gilmore; Drums – Rich DeRosa; Guitar – Howard Alden; Tenor Saxophone, Flute [Alto Flute] – Chris Potter;Trombone – Conrad Herwig; Trumpet, Flugelhorn – Randy Sandke; Vocals – Susannah McCorkle.

Throughout her career, singer Susannah McCorkle recorded many "songbook" sets dedicated to the music of a particular composer or lyricist. She followed up sets of Cole Porter and Irving Berlin in 1997 with a full program of George Gershwin's music. On this CD, McCorkle performs 15 Gershwin songs in settings ranging from an octet that includes tenor saxophonist Chris Potter, trumpeter Randy Sandke, trombonist Conrad Herwig, and altoist Jerry Dodgion to duets with guitarist Howard Alden ("I Loves You, Porgy"), bassist Dick Sarpola ("I Was Doing All Right" and "Love Walked In"), and her musical director, pianist Allen Farnham (a medley of "Will You Remember Me?" and "Drifting Along with the Tide"). Even when singing such well-known tunes as the title cut, "How Long Has This Been Going On," "I Got Rhythm" (to which she adds an introduction explaining Ira Gershwin's method of coming up with lyrics), and "'S Wonderful," McCorkle comes up with fresh variations and subtle creativity. Although one wishes that she had unearthed more Gershwin obscurities, listeners should be grateful that Susannah McCorkle recorded a long string of easily recommended vocal jazz albums during her lifetime. ~Scott Yanow

Someone To Watch Over Me

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Orrin Evans' Captain Black Big Band - Mother's Touch

Styles: Piano Jazz, Big Band
Year: 2014
File: MP3@320K/s
Time: 50:12
Size: 115,9 MB
Art: Front

(7:16)  1. In My Soul
(4:30)  2. Explain It to Me
(2:07)  3. Mother's Touch Pt. I
(7:35)  4. Dita
(4:05)  5. Tickle
(7:44)  6. Maestra
(6:55)  7. Water Babies
(1:56)  8. Mother's Touch Pt. II
(7:58)  9. Prayer for Columbine

The studio-versus-stage argument will forever rage on in music, but it really shouldn't. Each setting has its advantages and disadvantages. The jazz community has forever favored the stage, as many feel that jazz is meant to be experienced and created in the moment, with artist(s) feeding off the room and creating here-and-gone sounds. That preference is completely understandable, but the studio has its advantages; clarity, balance, and the right working conditions can often only be found there. The first two releases from pianist Orrin Evans' Captain Black Big Band both speak in similar fashion, but they're a study in contrasts between the studio and the stage. Neither one suffers from the disadvantages connected to either setting, but Mother's Touch certainly benefits from the sonic focus that can only be attained in a studio. The band's thrilling eponymous debut had the spark that comes with music recorded live, and most of that music was two-dimensional, with focus shifting between soloist and ensemble. Mother's Touch, in contrast, is multidimensional and far more nuanced in its presentation. Every single voice in every single section speaks with clarity, helping the ear to experience the brilliant juxtapositions that take place.  "Dita" is as good a tune as any to illustrate how the studio serves this music. In a live setting, listeners might be taken by the soloists and the pristine-and-gorgeous horn voicings on this song, only to have the moment ruined by a mediocre sound system, noisy-and-disinterested patrons, clinking silverware, or an overzealous bartender with ice to dole out. Thankfully, no such thing can happen here.

Mother's Touch presents six Evans originals along with one tune apiece from drummer Donald Edwards ("Tickle"), bassist Eric Revis ("Maestra"), and iconic saxophonist-composer Wayne Shorter ("Water Babies"). Evans and company wade in spiritual waters during "In My Soul," and they make quick shifts in feel and style during "Explain It To Me," which has a quirky piano introduction, straight sections, swing sections, and passages constructed of three bars of 7/8 and one bar of 4/4. The brief title tracks "Mother's Touch Part I" and "Mother's Touch Part II" pass quickly and contain solo escapades atop rubato rumblings. The aforementioned "Dita," however, stays with the listener; Evans and alto saxophonist Todd Bashore shoot straight for the heart on that breathtaking tune. The second half of the album starts with the raging "Tickle," which takes flight with saxophone runs and band punctuations. An understated funkiness carries "Maestra" along, "Water Babies" alternately simmers and smokes, and "Prayer For Columbine" surprises with its resolute spirit. Instead of dwelling on the tragedy that took place, Evans focuses on the we-shall-carry-on spirit that often follows horrific events. It's the perfect way to end this album. ~ Dan Bilawsky https://www.allaboutjazz.com/mothers-touch-orrin-evans-posi-tone-records-review-by-dan-bilawsky.php
 

Personnel: Tanya Darby: trumpet; Duane Eubanks: trumpet; Tatum Greenblatt: trumpet; Brian Kilpatrick: trumpet; Fabio Morgera: trumpet; Mark Allen: saxophone; Todd Bashore: saxophone; Dog Dehays: saxophone; Stacy Dillard: saxophone; Tim Green: saxophone; Victor North: saxophone; Marcus Strickland: saxophone; David Gibson: trombone; Conrad Herwig: trombone; Andy Hunter: trombone; Stafford Hunter: trombone; Brent White: trombone; Orrin Evans: piano; Zaccai Curtis: piano (3,8); Luques Curtis: bass; Anwar Marshall: drums; Ralph Peterson: drums (2). Additional arrangements by: Todd Bashore, Todd Marcus, David Gibson, and Gianluca Renzi.

Mother's Touch

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Conrad Herwig - Hieroglyphica

Bitrate: MP3@320K/s
Time: 60:21
Size: 138.1 MB
Styles: Trombone jazz
Year: 2001
Art: Front

[10:04] 1. Hieroglyphica
[ 6:39] 2. The Orange Dove
[ 5:22] 3. Solar Circle
[ 4:59] 4. Quiet Mountain
[ 8:50] 5. Island Of The Day Before
[ 6:22] 6. The Intruder
[ 7:04] 7. The Antipodes
[10:58] 8. The Eleventh Hour

Trombonist extraordinaire Conrad Herwig continues his spiritual journey here on his fourth Criss Cross recording, Hieroglyphica. Long reknowned for his superb work with Slide Hampton's World of Trombones, the Mingus Big Band, Eddie Palmieri and, more recently, Joe Lovano and Tom Harrell, Conrad Herwig's trombone playing is bold, brash and unpredictable.

Through musical conversations with the wonderful rhythm section of Bill Charlap (piano), James Genus (bass) and Gene Jackson (drums), Conrad's Hieroglyphica speaks equally well to Herwig's prowess as a leader and composer. Hieroglyphica is the real thing: full of compelling ideas, attitude and groove.

Hieroglyphica

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