Joe Lovano - Trio Fascination Edition One

Styles: Saxophone Jazz
Year: 1998
Time: 66:09
File: MP3 @ 320K/s
Size: 151,4 MB
Art: Front

(3:05) 1. New York Fascination
(6:44) 2. Sanctuary Park
(7:37) 3. Eternal Joy
(4:56) 4. Ghost of a Chance
(7:12) 5. Studio Rivbea
(4:59) 6. Cymbalism
(9:36) 7. Impressionistic
(7:15) 8. Villa Paradiso
(5:12) 9. 4 on the Floor
(9:28) 10. Days of Yore

Never predictable, Joe Lovano's saxophone artistry has him moving in all directions at once. Similarly, his ensembles have ranged from large to small, and this latest session features an excellent grouping. Presenting his own compositions, the 45-year-old leader draws upon nearly 30 years of professional experience and dedicates the album to those artists in Cleveland, Ohio who were there for him at the start. After performing with his father's band and attending the Berklee School of Music in Boston, Lovano's career went through the traditional phases that included experience with Lonnie Smith, Jack McDuff, Woody Herman, and Mel Lewis. Teaming with singer Judi Silvano in 1980, the saxophonist discovered a unique jazz presentation that employed the human voice as an instrument amid the timbres of a traditional ensemble. Combining tradition with avant-garde ideas, Lovano brings a unique sound to the modern mainstream. Three of the pieces on this album are extracted from a larger work that Lovano composed as part of a Jazz At Lincoln Center commission. “

Dave Holland works as a melodic counterpart to Lovano's saxophone lead. The bassist, who turned 52 last month, began his professional career in his native England before linking up with Miles Davis and later garnering associations with leading members of the modern jazz idiom, including Jack DeJohnette, Herbie Hancock, Sam Rivers, and Chick Corea. Elvin Jones accompanies with a light touch and subtle shadings; however, his periodic emphatic statements add a vital force needed for the balance this trio has attained. Jones, who turned 71 in September, is the younger brother of pianist Hank Jones and trumpeter Thad Jones. His name recognition stemming from his role in the John Coltrane quartet of the early 1960s, Jones has spent much of his career teaching and helping younger musicians to find their own voices in jazz.“

Joe Lovano chooses to present his familiar tenor saxophone sound on most tracks; the soprano saxophone is employed on "Eternal Joy," the alto sax on "Studio Rivbea" & "4 on the Floor," and the alto clarinet on "Impressionistic." Victor Young's "I Don't Stand a Ghost of a Chance With You" is presented in standard form with brushes and strolling bass in support. It's all about the melody, as Lovano offers his heartfelt interpretation of Ned Washington's lyrics. With the leader choosing alto clarinet and Holland using the bow, the trio performs "Impressionistic" with an ear on the melody and a hand on the arrhythmic pulse.

Jones provides a feature, using every facet of the drum set to create various textures while Lovano and Holland pair off with doubled melodic lines. Switching to alto sax at mid-stream, Lovano continues to deliver the session's highlight with a superb presentation from all three artists. For the most part, the album contains music from a jazz trio that is steeped in the hard bop tradition, willing & free to unleash creative feelings, and in agreement as to what constitutes the modern mainstream in jazz. Highly recommended.https://www.allaboutjazz.com/trio-fascination-joe-lovano-blue-note-records-review-by-jim-santella“

Personnel: Joe Lovano- tenor saxophone, soprano saxophone, straight alto clarinet; Dave Holland- acoustic bass; Elvin Jones- drums

Trio Fascination Edition One

---

Mark Whitfield - 7th Ave. Stroll

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 66:05
Size: 152,8 MB
Art: Front

(5:44) 1. Washington Square Thoroughfare
(8:09) 2. Harlem Nocturne
(6:45) 3. 7th Ave, Stroll
(7:00) 4. A Brooklyn Love
(6:46) 5. Businessman's Bounce
(4:20) 6. Spring In Manhattan
(5:37) 7. Sunday In New York
(4:54) 8. The Bowery Blues
(6:22) 9. Sunset At Waterside
(4:46) 10. Headin' To The Wes' Side
(5:36) 11. Autumn In New York

A talented guitarist influenced by George Benson and versatile enough to play straight-ahead jazz or R&B, Mark Whitfield was originally a bassist. At 15 he switched to guitar and soon won a scholarship to Berklee. After graduating from Berklee in 1987, Whitfield temporarily moved to Brooklyn and appeared at many sessions.

George Benson suggested he work for Jack McDuff and that association was a big break for Whitfield. He has since recorded as a leader for Warner Bros. and Verve, and as a sideman with many players including Jimmy Smith, Nicholas Payton, Ray Brown, and Courtney Pine.
https://www.jazzmusicarchives.com/artist/mark-whitfield

Personnel: Guitar – Mark Whitfield (tracks: 1 to 11); Bass – Christian McBride (tracks: 1, 3, 4, 6, 8, 10), Dave Holland (tracks: 2, 5, 7, 9, 11); Drums – Al Foster (tracks: 2, 5, 7, 9, 11), Gregory Hutchinson (tracks: 1, 3, 4, 6, 8, 10); Piano – Stephen Scott (5) (tracks: 1, 3, 4, 6, 8, 10), Tommy Flanagan (tracks: 2, 5, 7, 9, 11)

7th Ave. Stroll

---

Lew Tabackin Quartet - Desert Lady

Styles: Flute And Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 64:02
Size: 149,6 MB
Art: Front

(4:09)  1. Hot House
(9:40)  2. Pyramid
(8:04)  3. Serenade To Sweden
(7:19)  4. Chelsea Bridge
(3:57)  5. Johnny Come Lately
(9:55)  6. Desert Lady
(4:37)  7. A Bit Byas'd
(2:53)  8. You'll Never Know
(5:27)  9. Yesterdays
(7:57) 10. You Leave Me Breathless

The great tenor saxophonist and flutist Lew Tabackin is joined by pianist Hank Jones, bassist Dave Holland, and drummer Victor Lewis on this well-rounded program. The Concord CD has many highlights, including "Hot House," Duke Ellington's "Serenade to Sweden," Tabackin's "A Bit Byas'd," and "You Leave Me Breathless"; the leader's tenor in particular is in top form. Highly recommended to fans of straight-ahead jazz, this release gives one a strong sampling of Lew Tabackin's talents. ~  Scott Yanow  https://www.allmusic.com/album/desert-lady-mw0000208060

Personnel:  Flute, Tenor Saxophone – Lew Tabackin;  Piano – Hank Jones ;  Bass – Dave Holland;  Drums – Victor Lewis

Desert Lady

---

Kent Jordan - Essence

Styles: Flute Jazz
Year: 1988
File: MP3@160K/s
Time: 40:21
Size: 47,4 MB
Art: Front

(7:26) 1. Curtain Call
(5:01) 2. Essence
(5:27) 3. Rio
(4:33) 4. Well You Needn't
(4:51) 5. Moments Notice
(6:39) 6. Stella by Starlight
(6:21) 7. Stablemates

Flutist Kent Jordan's third Columbia set is far superior to his first two rather commercial efforts (No Question About It and Night Aire). Jordan is well-featured on four standards (including "Well You Needn't," which finds him switching effectively to piccolo, and "Moment's Notice"), two tunes by bassist Elton Heron, and Wayne Shorter's "Rio" in a variety of instrumental settings.

With such sidemen as pianists Kenny Barron and Billy Childs, guitarist Kevin Eubanks, bassists Dave Holland and Ron Carter, drummers Jack DeJohnette and Al Foster, and (on the opening "Curtain Call") trumpeter/brother Marlon Jordan and tenor saxophonist Branford Marsalis, among others, Jordan interacts with an all-star cast. Most of the music is fairly straight-ahead, and throughout, the flutist realizes some of the potential that was wasted on his first two recordings.~Scott Yanow https://www.allmusic.com/album/essence-mw000019508

Personnel: Flute – Kent Jordan; Bass – Dave Holland, Elton Heron; Drums – Al Foster, Tommy Campbell; Piano – Billy Childs, Kenny Barron; Tenor Saxophone – Branford Marsalis; Trumpet – Marlon Jordan

Essence

---

Miles Davis - The Lost Quintet

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:11
Size: 133,7 MB
Art: Front

( 7:18) 1. Directions
(10:27) 2. Bitches Brew
(25:26) 3. Sanctuary
(14:59) 4. Masqualero

Miles Davis (tpt), Wayne Shorter (ten, sop), Chick Corea (fender rhodes), Dave Holland (bs), Jack De Johnette (drs)

This is the long awaited release of Miles "Lost Quintet" recordings of 1969 on the occasion of its fiftieth anniversary. The recording date and venue was November 9th 1969 in Rotterdam just three months after the "Bitches Brew" original studio takes with the full band that were not released until March 1970. That incredible two disc recording followed the earlier game changer"In A Silent Way"in the same year and changed the career outcome of every single one of the players involved and as some would say "The whole face of jazz forever". The performance on this album was the last of a ten gig European tour which included two nights in London on the first and second of the month. The gathering of this core group from the earlier albums was the last ever time Miles would record with a small conventional group of instruments during the rest of his career.

The fifty eight minutes of live music here is just what you might expect from these five incredibly talented and creative musicians with the performance of Chick Corea perhaps the one that stands out slightly above the others. Things kick off with "Directions", a piece that Miles often opened up with during this period including the Copenhagen concert of the same year and released on the fortieth anniversary triple album edition of Bitches Brew and of course the subtitle of the original album. Here the rhythm instruments set the mode for the leaders fiery extended excursion into the far reaches of the trumpets capability. Wayne answers Miles, as he often did, within his self titled style of "egg scrambling" leaving no possible corner of the much hidden theme unexplored. All this rides above the increasingly violent but logical assault by Jack De Johnette on his heavy duty drum kit. Emerging from the hectic maelstrom of all that follows a re-visit to "Bitches Brew". At just over ten minutes long this seems a more considered version than the original studio recording which took up a full side on the vinyl edition. Miles opening solo, when did he ever not go first?, is almost from the fifties style, but soon drops into the more fragmented grove of the times over rolling drums along with probing inlays from Chick's keyboard plus a wonderful interlude from Wayne, again on tenor. Rampant applause ensues from the ecstatic Belgian masses.

Wayne Shorter, by common consent is a wonderful jazz composer as well as a master saxophonist. He has created some real masterpieces over the years, none greater than the wonderful "Sanctuary". This appears on a number of albums including B.B. plus a particularly fine take on Circle In The Round by the second great quintet with George Benson guesting. However none of them get such a thorough investigation as the twenty five minute plus version here. Miles is in his "Picasso like" sketching mode early on with Dave Holland in support, soon you realise that this is nothing at all like other versions of the piece as the leader upgrades both the tempo and tension over increasingly frantic drumming which continues under Wayne's soprano solo until things fall away with bass and drums having the final say. Perhaps this take is not the easiest listen of the piece, Miles always had the ability to shock and surprise and we must thank him for that. The closing cut of the album "Mastuero" is the standout track and seems to draw on many of the finest traits from earlier performances during 69. Miles un-muted solo is profound and purposeful over the rarely subdued rhythm team. Chick's contribution is hypnotic, everyone seems to be listening to each other here and although the overall style is entirely different there are times when the listener is reminded of Miles second great quintet with Coltrane. This disk is a heady reminder of the time back in the late sixties when Miles changed the shape of jazz once again, and is a valuable addition to any collection of the great man's music.~Jim Burlonghttps://www.jazzviews.net/miles-davis---the-lost-quintet.html

The Lost Quintet

---

Kenny Barron - Without Deception

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 65:35
Size: 151,9 MB
Art: Front

(5:20) 1. Porto Alegre
(5:51) 2. Second Thoughts
(6:35) 3. Without Deception
(6:50) 4. Until Then
(6:48) 5. Speed Trap
(6:58) 6. Secret Places
(6:01) 7. Pass It On
(7:39) 8. Warm Valley
(8:27) 9. I Remember When
(5:03) 10. Worry Later

The strong rapport between pianist Kenny Barron and bassist Dave Holland can be felt all the way through Without Deception. Much like their previous collaboration, 2014’s The Art of Conversation, the music they create is often quiet and subdued. But this understatement pulls the listener closer, into the vastness of Barron’s melodic vocabulary and the drive that Holland gently exerts behind him, before the bassist steps forward to take one of many well-placed solos. With musical chemistry like that, any extra elements might seem unnecessary. Drummer Johnathan Blake, however, fits right in with Barron and Holland. Although he plays a second-line groove on Holland’s “Pass It On” and emphasizes the bossa nova of Barron’s “Porto Alegre,” in many other cases Blake plays around with the beat rather than merely stating it, adding more heft to the music.

Barron contributes four originals to the set. The contoured theme of the title track flows like one alluring statement; “Speed Trap,” on the other hand, gives his partner the chance to walk almost freely. Holland’s other contribution, “I Remember When,” emphasizes the lyrical quality of his writing. The trio also finds opportunity and inspiration in works by Mulgrew Miller (“Second Thoughts”), Duke Ellington (“Warm Valley”), and Barron’s protégé Sumi Tonooka (“Secret Places”). Thelonious Monk’s “Worry Later” downplays some of the composer’s eccentricities during the theme, but Barron sprawls across the keys and bar lines during his solo to acknowledge the source. Albums like Without Deception make clear why Barron and Holland are regarded as masters. Even while keeping things calm in a straight-ahead trio setting, they still pack a punch. https://jazztimes.com/reviews/albums/kenny-barron-dave-holland-trio-featuring-johnathan-blake-without-deception-dare2/

Personnel: Kenny Barron – piano; Dave Holland – bass; Johnathan Blake – drums

Without Deception

---

Geri Allen, Dave Holland, Jack DeJohnette - The Life Of A Song

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 65:29
Size: 150,6 MB
Art: Front

(5:55)  1. LWB's House (The Remix)
(8:08)  2. Mounts & Mountains
(8:15)  3. Lush Life
(6:13)  4. In Appreciation - A Celebration Song
(7:12)  5. The Experimental Movement
(4:40)  6. Holdin' Court
(4:05)  7. Dance Of The Infidels
(5:19)  8. Unconditional Love
(5:24)  9. The Life Of A Song
(4:33) 10. Black Bottom
(5:40) 11. Soul Eyes

Life of a Song is Geri Allen's first recording under her own name in six long years. She teams with the rhythm section of bassist Dave Holland and drummer Jack DeJohnette, whom she worked with on the late Betty Carter's stellar live date Feed the Fire in 1993. Allen composed eight of the album's 11 cuts, and the covers include Bud Powell's "Dance of the Infidels," Billy Strayhorn's "Lush Life," and Mal Waldron's "Soul Eyes." This last selection is augmented by the participation of Marcus Belgrave on flugelhorn, saxophonist Dwight Andrews, and trombonist Clifton Anderson. The album's title reflects the depth of commitment to the song forms inherent in jazz. Allen is in fine form here, and one can hear her various instrumental and vocal influences. The album swings, but looks underneath swing for its subtleties and its edges, too. The set opens with a playful, pianistic dissonance on "LWB's House (The Remix)" and lest punters be alarmed, the tune is not "remixed" at all, but is actually an earlier composition reworked. The bluesy funk here is augmented with Afro-Cuban rhythms and a series of tonal shifts where Allen is trying to emulate the African stringed instrument, the kora. Swing is inherent in every chorus, and Holland and DeJohnette keep the pace relaxed yet deeply focused. The interplay between Holland and Allen on "Mounts and Mountains" particularly during the bassist's solo passage are remarkable as she responds with a contrapuntal solo that draws on both Herbie Hancock and Ahmad Jamal. Elsewhere, on the Powell tune her facility to usher it in a relaxed, easy way, and then dazzle with her two-handed counterpoint in the solo showcase Allen's quick wit and dazzling chromatic command. The title cut, with its obvious Hancock homage in the head and swinging head, is one of the album's many high points. This is a trio date that has all the elements: an indefatigable lyricism and honesty of emotion, as well as beautiful colors and deft, even uncanny engagements among the three principals. What a welcome return for Allen, who expertly displays she's been refining her chops and listening deeply to her Muse these past six years. ~ Thom Jurek http://www.allmusic.com/album/the-life-of-a-song-mw0000151431

Personnel:  Geri Allen – piano;  Dave Holland – bass;  Jack DeJohnette – drums;  Marcus Belgrave – flugelhorn;  Dwight Andrews – saxophone;  Clifton Anderson – trombone.

R.I.P.
Born:  June 12, 1957 
Died:  June 27, 2017

The Life Of A Song

---

Dave Holland Quintet - Prime Directive

Styles: Jazz, Post Bop   
Year: 2000
File: MP3@320K/s
Time: 75:59
Size: 175,3 MB
Art: Front

( 7:42)  1. Prime Directive
(13:15)  2. Looking Up
( 6:23)  3. Make Believe
(11:18)  4. A Searching Spirit
( 6:44)  5. High Wire
( 8:11)  6. Jugglers Parade
( 4:45)  7. Candlelight Vigil
(13:49)  8. Wonders Never Cease
( 3:48)  9. Down Time

You may have to wait a while between Dave Holland-led releases, but it's always worth it. Tremendous taste prevents Holland from making unsatisfying music. He is a great leader in the truest senses of the word  he gives his team space, trusts their abilities and judgment, yet all the while remains firmly in command and infuses the results with his own style and personality. Prime Directive is a wonderful jazz album. These 77 minutes and nine tracks do not cheat or disappoint. The straight-ahead tunes composed by double-bassist Holland and his talented band mates (one each) all bear Holland's distinctive rhythmic patterns and harmonics. A fine example is the title track, on which Robin Eubanks on trombone and Chris Potter on saxophones hold a stimulating musical conversation over the rhythm section's driving groove. For listeners who prefer a more deliberate pace, there's the searching, contemplative "Make Believe," with Steve Nelson's lovely vibraphone work appointing the mood. On the hopeful, "A Seeking Spirit," fans will be tapping along to the rhythmic feast offered up by the leader and his pace-setting partner Billy Kilson on drums. The melancholy "Candlelight Vigil" presents Holland at his bowed best. Finally, "Wonders Never Cease" finds the entire band at the height of their collective, improvisational prowess. Prime Directive is recommended; a great leader is, indeed, hard to find.~ Brian Bartolini https://www.allmusic.com/album/prime-directive-mw0000604627

Prime Directive

---

Kenny Wheeler Quintet - Butterfly Flutter By

Styles: Flugelhorn, Cornet Jazz
Year: 1988
File: MP3@320K/s
Time: 48:33
Size: 112,4 MB
Art: Front

(9:33)  1. Everybody's Song But My Own
(5:11)  2. We Salute The Night
(9:21)  3. Miold Man
(8:51)  4. Butterfly Flutter By
(8:23)  5. Gigolo
(7:14)  6. Little Fella

Recorded at a time when trumpeter Kenny Wheeler was playing regularly in bassist Dave Holland's band, this quintet outing with Holland, Stan Sulzman (who switches between soprano, tenor and flute), pianist John Taylor and drummer Billy Elgart features six of Wheeler's originals, some of which were written quite a few years before. "Everybody's Song But My Own" and "Flutter By, Butterfly" are probably the most memorable of the compositions but each of the performances (which feature consistently rewarding solos) are worth hearing.

 ~ Scott Yanow https://www.allmusic.com/album/flutter-by-butterfly-mw0000197545

Personnel: Kenny Wheeler - flugelhorn, cornet; Stan Sulzmann - soprano saxophone, tenor saxophone, flute; John Taylor - piano; Dave Holland - bass; Billy Elgart - drums

Butterfly Flutter By

---

Robin Eubanks and Mental Images - Get 2 It

Styles: Trombone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:30
Size: 169,7 MB
Art: Front

(8:02)  1. Metamorphos
(5:32)  2. Get 2 It
(5:23)  3. Essi
(2:16)  4. REM State
(6:38)  5. Blues for Jimi
(8:36)  6. Cross Currents
(5:57)  7. RNB-First Take
(6:26)  8. Sabanna
(8:53)  9. House of Jade
(5:13) 10. Reunion
(5:57) 11. Indo
(4:31) 12. AudioNotes

Robin Eubanks' electronic trombone is something else. Horn players have been trying for decades to create a vocal-like sound on their instruments. The plunger mute helped brass players when jazz was young. The electronic saxophone and EWI have allowed reed players to play harmony and create inspiring effects; yet, neither instrument has allowed sufficiently for vocal effects. Instead, flute players achieve their vocal effects through ' well ' vocalizing. Over the years, creative artists such as Lester Bowie have experimented with natural-sounding vocal sounds expressed through a horn. Eubanks' session comes a long way from early tailgate trombone and the timeless junior high school antics of creating kissing sounds or a horse's holiday neigh through the trumpet. Combining hard core electronic experimentation with down-to-earth trombone artistry, Eubanks brings his latest album to a wider audience. Singing the blues, he works the electronic trombone through "Blues for Jimi," resembling the wordless vocals of scat singing. The fascinating sounds, while somewhat eerie at times, are placed in a tasteful jazz environment. A blues organ trio supports Eubanks as it would any emotional singer. Only the title track contains actual vocal expression. The other vocal-like exhibitions are through the electronic trombone. Several selections place Eubanks' trombone in a sextet format with modern mainstream originals. His brother, Duane, joins on trumpet for some hard bop hitting. A propelling rhythm section drives both brothers forcefully. Samples of two of the album's tracks are available at the trombonist's mp3 site . Showing his true potential, Eubanks performs "Essie," a lovely trombone ballad, with Kevin Eubanks' acoustic guitar accompanying. Having recorded six CDs as a leader, Robin Eubanks has proven that he has an unyielding respect for jazz's traditions. Placed in this context, his highly individualized, singing, electronic trombone makes a warm addition to the jazz world and should encourage others to explore similar new avenues for expression. 

~ Jim Santella https://www.allaboutjazz.com/get-2-it-robin-eubanks-rem-review-by-jim-santella.php

Personnel: Robin Eubanks (trombone & electric trombone); Duane Eubanks (trumpet); Kevin Eubanks (acoustic guitar); Maya Azucena (vocals); George Colligan, Michael Cain (keyboards); Lonnie Plaxico, Dave Holland (bass); Billy Kilson, Gene Jackson (drums); Mino Cinelu (percussion)

Get 2 It

---

Eric Person - Reflections

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:29
Size: 178,5 MB
Art: Front

(7:19)  1. Perfection
(6:39)  2. Mr.More Or Less
(6:11)  3. Friends Again
(4:50)  4. When Morning Comes
(9:15)  5. Implications
(4:38)  6. Extra Pressure
(4:09)  7. Reach!
(6:13)  8. Ancient Sun
(8:29)  9. K.T.
(8:00) 10. The Ringleader
(7:47) 11. Etc.
(3:54) 12. Next Love

Although it is not obvious from the outside of this CD, Reflections mostly contains previously released selections drawn from three of altoist Eric Person's Soul Note albums and two from the Distinction label. Person picked the numbers himself and feels that these performances are among the finest of his career. Based on their creativity, intensity, and brilliant playing, Person is correct. He is heard on both alto and soprano, mostly with several different piano-bass-drums rhythm sections. Flutist Jim Finn is on two selections, guitarist Cary DeNigris is on four, and the pianist is usually John Esposito. The post-bop playing is full of fire, high musicianship, and inventive ideas. Uplifting Reflections from being merely a "best of" set is the inclusion of three selections ("K.T.," "The Ringleader," and "Etc.") from a previously unreleased live performance in 1998. The live performances (pity that they are not extensive enough to fill up an entire CD by themselves) feature Person with trumpeter Dave Douglas in a particularly exciting quintet, rounding out a very impressive package. This CD is easily recommended to listeners not already owning Eric Person's Soul Note and Distinction recordings. ~ Scott Yanow https://www.allmusic.com/album/reflections-mw0001896342

Personnel: Eric Person — saxophones; John Esposito — piano; Dave Holland — bass; Dave Douglas — trumpet; Kenny Davis — bass;  Peter O’Brien — drums

Reflections

---

Charles Lloyd - Voice In The Night

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:15
Size: 157,0 MB
Art: Front

( 6:30)  1. Voice In The Night
( 4:42)  2. God Give Me Strength
( 7:45)  3. Dorotea's Studio
( 5:57)  4. Requiem
(11:41)  5. Pocket Full of Blues
( 9:26)   6. Homage
(15:22)  7. Forest Flower: Sunrise / Sunset
( 6:49)   8. A Flower Is A Lovesome Thing

Voice in the Night is a welcome homecoming for reedman Charles Lloyd. He hasn't recorded in a guitar-based group since his two tremendously underrated (and rockish) albums for A&M in 1972-73. Here, he also pleasingly revisits a good deal of his earlier (and still his most personable) material: "Forest Flower," from the famed quartet days of the late 60s, "Voice in the Night" and in the "Pocket Full of Blues" medley, "Island Blues" and "Little Sister's Dance." With the advantage of hindsight, Lloyd seems to sound warmer, somewhat romantic and a touch more inspired than usual with a guitar. Pianists seem to bring out Lloyd's more aggressive Coltrane-ish side and often permit him to easily dabble in longer, spacier themes with exotic instrumentation. Even though he sticks to tenor throughout here (his exceptional flute playing is sorely missed coupled with John Abercrombie's sensistive accompaniment), Lloyd sounds just right here: swinging and having fun too. This all-star aggregate, featuring Abercrombie on guitar, Dave Holland on bass and Billy Higgins on drums, recalls the other supergroup Lloyd captured on 1965's superb Of Course, Of Course (Columbia, not on CD). The earlier date featured iconoclastic guitarist Gabor Szabo, an excellent foil for any of Lloyd's moods (Szabo came to the Chico Hamilton group Lloyd directed at Lloyd's insistence in the early 1960s), with bassist Ron Carter and drummer Tony Williams. Lloyd, Abercrombie and Holland bring a far different, mellowed perspective to this music.

Voice in the Night suffers none of the austerity that rules much of ECM's recordings and a few of Lloyd's previous five ECM releases. Aside from toe-tapping interplay on the familiar songs, Lloyd and company offer lovely covers of Strayhorn's "A Flower is a Lovesome Thing" and, surprisingly, last year's Burt Bachrach/Elvis Costello hit, "God Give Me Strength." Quite often, though, the most interesting moments come on Lloyd's newest material: the off-kilter calypso of "Dorotea's Studio," "Homage" (a sterling Abercrombie showpiece) and "Requiem." However, anyone familiar with Lloyd's magisterial "Forest Flower" from the Chico Hamilton days, or, more likely from the famed quartet days, will certainly want to hear the beautiful version Lloyd, Abercrombie, Holland and Higgins offer here. It's worth the price of admission. Here's hoping the somewhat reclusive Lloyd is planning a sequel to Voice in the Night. This is a quartet that offers much to explore. ~ Douglas Payne https://www.allaboutjazz.com/voice-in-the-night-charles-lloyd-ecm-records-review-by-douglas-payne.php?width=1920

Players:  Charles Lloyd: tenor sax; John Abercrombie: guitar; Dave Holland: double bass; Billy Higgins: drums, percussion.

Voice In The Night

---

Dave Holland Quintet - Points Of View

Styles: Jazz, Post Bop 
Year: 1998
File: MP3@320K/s
Time: 71:01
Size: 163,3 MB
Art: Front

( 9:18)  1. The Balance
(10:54)  2. Mr. B.
( 8:48)  3. Bedouin Trail
( 8:23)  4. Metamorphos
(10:12)  5. Ario
( 9:40)  6. Herbaceous
( 6:53)  7. The Benevolent One
( 6:49)  8. Serenade

The eight compositions which make up Points of View are so varied that this in itself becomes a hallmark of Dave Holland's style here. Consistency instead comes from the interaction of the players, whom Holland's arrangements give ensemble roles during each other's solos; from the unusual instrumentation, used both for frank exoticism ("Bedouin Trail", "Serenade") and to leaven more traditional compositions with surprise. The soloists are imaginative, and swinging on those tunes where swing is part of the picture. Holland and Kilson power the ensemble, Holland with his rich tone, Kilson with clarity and a fine percussionist's melodic sense, both with impeccable time."The balance" seemingly begins with the sound of a bass tuning, as if for a live date, with the other players joining in with an improvised ensemble worthy of Mingus. The tune turns into a characteristic opener, but with a difference: swift and exciting, to be sure, but with a tricky time signature and a restlessness about settling on a major or minor mode."Mr. B" is like one of those great 1950's hard bop tunes seen through a post-modern prism, Holland playing a walking bass line throughout."Bedouin trail," beginning with Eubanks high on the trombone, almost a French horn sound, moves into a medium tempo clave groove. The virtues of Holland's group stand out in this sensous tune, which seems almost to suspend time."Metamorphosis" alternates rapidly between swing and funk, terms that don't do justice either to the edgy composition or the impassioned improvisations.The rhythm section opens "Ario" with an ostinato feel, moving eventually into a Latin groove. As usual on this recording, the horn parts belie the small group size. Likewise the vibes' fills provide a bigger than usual sound in the percussive/chordal instrument's role: richer than a piano, fuller than a guitar. The track shifts between the mellowness of a medium-tempo ballad and a series of climaxes."Herbaceous" has a samba-then-swing feel, opened up by spontaneity and virtuosity of the ensemble, making for a tumultuous ride. "The benevolent one" begins out of tempo as a duet between Nelson's ringing vibes and Holland's bowed bass, before turning into a ballad, with Kilson's brushes shimmering like aspen leaves. The rhythm section is nearly equal in the foreground during the solos, giving the tune a chamber-music intimacy "Serenade" concludes the recording with a taste of Latin folk-music, the marimba trilling a simple melody over the initially unchanging harmony implied by Holland's repetitive bass figure. This track's optimistic serenity, played only by the rhythm section, creates yet another musical world among the several in this unusual and brilliantly realized production. ~ Larry Koenigsberg https://www.allaboutjazz.com/points-of-view-dave-holland-ecm-records-review-by-larry-koenigsberg.php

Personnel: Dave Holland, bass; Robin Eubanks, trombone; Steve Wilson, soprano and alto saxophone; Steve Nelson, vibraphone and marimba; Billy Kilson, drums

Points Of View

---

Dave Holland - Drum-a-Bye Baby

Styles: Vocal, Post Bop
Year: 2013
File: MP3@320K/s
Time: 66:27
Size: 153,9 MB
Art: Front

(4:00)  1. Rhythm of the Night
(6:02)  2. Slumbertown
(5:34)  3. A' Noite
(5:00)  4. Bein' a Kid
(5:00)  5. In You an Angel (feat. David LaMotte)
(5:27)  6. Kalimba Bimba
(4:43)  7. Kojo Rockabye
(6:06)  8. Waltzin' in the Milky Way
(3:13)  9. Soft Stone
(5:26) 10. Dreamin' Switch (feat. Elise Witt)
(5:30) 11. La La Lullaby
(4:38) 12. When Carpets Fly
(5:41) 13. Counting Drums (Better Than Counting Sheep)

Created with all drums/percussion and vocals, Drum-A-Bye Baby features world music style instrumentals and new, original songs inspired by Dave’s own personal experiences with his daughter. Each track is inspired by a different world music genre and over 100 instruments from around the world are featured on the project. While Dave's gentle vocals are featured on many of the tracks, he also calls on a couple of folk singer-songwriter notables, Elise Witt & David LaMotte, to lend their talents to the mix. With the addition of lush background vocals ( by Megan Weatherford & Jonathan Payne) skillful producing (by Jonathan Payne) and Dave's creative compositions, Drum-A-Bye Baby promises to be a collection of songs your family will enjoy, time and time again. https://store.cdbaby.com/cd/drumabyebaby

Drum-a-Bye Baby

---

Dave Liebman - Fire

Styles: Saxophone, Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 69:34
Size: 159,7 MB
Art: Front

( 8:42)  1. Flash!!
(32:35)  2. Fire
( 9:12)  3. Sparks
( 6:42)  4. Flames
( 7:24)  5. Inferno
( 4:56)  6. Ashes

The Elements: Fire
The four elements found in the natural world (Air, Fire, Water, Earth) represent the ultimate example of duality, observed in both nature and humankind. Whether it is called yin.yang, nigh/day (any opposing pari), the principle remains the same. As Yoda, the Star Wars sage said: "There are always two!!"Extreme manifestation of this duality pertaining to the element of air are realized as tornadoes, hurricanes and cyclones; the for the water element as floors and blizzards; the earth as earthquakes and for fire, conflagration. Equally on the opposite side there are the life-giving and sustaining qualities of air, water, fire and the earth... all gifts of nature granted to the human species. Conceptually, this music alludes to one aspect of the duality of the fire element. Sparks begin the process, evolving into flames, progressing to an inferno... finally ashes remain as a testament to fire's destructive legacy, but with the understanding that fire is also realized as heat, light and sustenance.

The Rhythm Section
My roots with Dave Holland and Jack DeJohnette go back to the late 1960's. I met Dave in London in 1967 when I was visiting Europe for a few months. With Jack it was about that time we met at jam session in New York. My first album as a leader ("First Visit") was recorded in Japan while I was with Miles Davis and they were with Stan Getz along with my long time partner, pianist Richie Beirach. (Also there was the 1988 "Trio + 1" recording with Dave, Jack and my wife Caris Visentin on oboe. When Dave came to New York joining Miles Davis' group in 1968 he ended up living on the second floor of a loft building where I was the first tenant, eventually joined by Chick Corea on the first floor... 138 W. 19th Street. Of course Jack and Dave have gone on to be recognized as one of the classic bass/drum combinations in jazz history and individually two of the greatest artists on their instruments. Jack especially is a force of nature. Besides the programmatic aspect of the recording as described above, there was in my mind the idea of re-creating the feeling of the music we played in the loft days from that early period, featuring a heavy dose of free jazz inspired by Coltrane's seminal recording "Ascension". There were many sessions that might feature several horn players "soloing" together (Mike and Randy Brecker, Terumasa Hino, Bob Berg, Steve Grossman, etc) all embracing the free spirit of the late 60's period both in the real world and musically. At the same time the so-called "fusion" movement with Miles at the head became popular along with the rock/jazz horn band phenomenon... 10 Wheel Drive (the group I played in), Chicago, Blood, Sweat Tears, etc... These contemporary activities co-existed with the jazz tradition we were all still learning about, since many of the original masters were still very active. Quite an exciting period!! If I must say so, we have all definitely improved in the ensuing decades, especially when it comes to playing "free jazz"... the ability to play less, to play soft, to express a feeling above all .... in sum demonstrating maturity at its highest level. For this recording the opportunity to have Kenny Werner join Jack and Dave in the rhythm section was a blessing as he fit right into the very open and loose scenario I was looking for. Playing and communing with these great artists was an honor and privilege.

Dave Liebman
Special thanks to Kurt Renker for his many years of support in both the practical and musical realms; to John Fishell who is my first call engineer; to mix master, Florian Van Volxem; and as always to Caris and Lydia for their ever-present support.
Note: Along with the recordings "Water- Giver of Life" from the later 90's featuring Pat Metheny, "Air" (all available on the internet), and the present Fire" what remains is "Earth" which will conclude my series on the elements. http://davidliebman.com/home/new_releases/fire/

Personnel:  Dave Liebman (ts, ss, wooden flute, c-flute);  Kenny Werner (p);  Dave Holland (b);  Jack DeJohnette (ds)

Fire

---

Bill Frisell - Selected Recordings

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 76:37
Size: 177,1 MB
Art: Front

(5:10)  1. Mandeville
(3:02)  2. Introduction
(7:25)  3. India
(4:22)  4. Singsong
(4:35)  5. In Line
(5:47)  6. Resistor
(4:49)  7. Music I Heard
(8:04)  8. Tone
(4:40)  9. Lonesome
(6:29) 10. Alien Prints
(2:28) 11. Hangdog
(4:44) 12. Kind Of Gentle
(5:01) 13. Closer
(9:54) 14. Sub Rosa

Whatever the musical context, guitarist Bill Frisell has always been a team player. From the edgy avant-garde of Naked City to the deeply melodic music of the Ginger Baker Trio and several wide-ranging groups of his own, he's proven repeatedly that he has the versatility and perceptiveness to fit into wildly different surroundings. His ECM work has for the most part been of the quiet, melodic sort. Since he last recorded under his own name for the label in 1987, he's forged onward with a more country/blues orientation on his own recordings. Some critics have slapped the term "Americana" on this new material, but Frisell dismisses the label: "People say this has come into my playing in recent years. I think it's been there all along." Perhaps so. Regardless, this set documents a fertile period during the '80s when Frisell was finding his own voice. In his solo recordings, Frisell prizes space and texture. The solo guitar piece "Introduction" (from the Paul Motian band recording Psalm ) has as much silence as sound. "In Line" (from Frisell's record of the same name) explores extremes of timbre and pitch overlaid on a solid, pulsing acoustic foundation. Then there's his work with saxophonist Joe Lovano and drummer Paul Motian. In trio or quintet settings, these players have a very rare kind of cohesion. Surely Lovano has developed his sound substantially since the '80s this material emphasizes his sure grasp of melody, but it lacks the deftness of tone and angularity of phrasing which he acquired in the '90s. But in some sense, the '80s were golden years for these players. They deliver some of their strongest, most memorable playing on these tunes. Frisell's work with trumpeter Kenny Wheeler (documented here on three tunes from 1984's Rambler ) has a sharper edge, more extreme in tone and color than the rest of the collection. Frisell plays here and there with effects to thicken atmospheric backgrounds and sharpen his crispy improvisations. You can hear the roots of his post-ECM music in the soft blues of "Lonesome" and the stretched, gossamer meanderings of "Alien Prints." Just in case you thought you had Frisell pinned down, he tosses out "Hangdog," a punchy, dissonant fragment from the same record, 1987's Lookout for Hope.  The luminaries: Paul Motian, Joe Lovano, Jan Garbarek, Eberhard Weber, Kenny Wheeler, Joey Baron, Lee Konitz, Dave Holland, Paul Bley, John Surman. (Definitely in the big leagues.) The big surprise: Frisell on banjo on "Hangdog." He turns the instrument inside out and it works. (Note: this disc represents the fifth volume of :rarum, a series of artist-picked compilations from ECM Records. It comes with brief notes by the artists, an extensive biography, and discographical information.) ~ AAJ Staff https://www.allaboutjazz.com/rarum-selected-recordings-of-bill-frisell-bill-frisell-ecm-records-review-by-aaj-staff.php

Personnel: Bill Frisell: guitars, banjo, guitar synth; Joe Lovano: ts; Billy Drewes: as; Ed Schuller: b; Paul Motian: d; Jan Garbarek: ss; Eberhard Weber: b; Michael DiPasqua: d; Kenny Wheeler: tpt, ct; Bob Stewart: tuba; Jerome Harris: bg; Hank Roberts: cello; Kermit Driscoll: bg; Joe Baron: d; Lee Konitz: as; Dave Holland: b; Paul Bley: p; John Surman: ss; Jamie McCarthy: recorder; Roger Heaton: cl; Alexander Balanescu: v; Martin Allen: vb; John White: p; Gavin Bryars: b.

Selected Recordings

---

Didier Lockwood - New York Rendez-Vous

Styles: Violin Jazz
Year: 1995
File: MP3@320K/s
Time: 56:22
Size: 135,9 MB
Art: Front

(4:45)  1. Jiggling In Central Park
(7:30)  2. Waltzy
(5:25)  3. Cousin William
(6:49)  4. Anatole Blues
(5:28)  5. Gordon
(6:16)  6. Reminesence
(7:02)  7. Don't Drive So Fast
(5:46)  8. Estern Dance
(7:17)  9. Tom Thumb

Here is a fusion record that will delight lovers of the best violinist of the genre to have emerged since Jean-Luc Ponty. With a great melodic ease never faulted and an exemplary phrasing, Didier Lockwood imposes his particular lyricism served by some sizes including a superlative rhythm (Dave Holland / Peter Erskine) and two elders of the group of Miles (Dave Liebman on saxophone, Mike Stern on guitar) whose bassist was also a part. A superb "Anatole Blues" and a cover of "Tom Thumb" by Wayne Shorter should delight fans of Steps Ahead. ~ Hervé Comte https://www.amazon.fr/York-Rendez-Vous-anglais-Didier-Lockwood/dp/B000024HUO

Personnel:  Didier Lockwood (Paintings, Violin);  Peter Erskine (Drums;  Gil Goldstein (Accordion);  Dave Holland (Bass);  Dave Kikoski (Piano);  David Liebman (Saxophone);  Mike Stern (Guitar).

New York Rendez-Vous

---

Gary Bartz - The Red And Orange Poems

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 58:39
Size: 136,3 MB
Art: Front

(7:01)  1. By Myself
(9:26)  2. Nusia's Poem
(5:55)  3. I'm Gonna Laugh You Right Out Of My Life
(6:44)  4. J Seas
(9:55)  5. Relentless
(4:11)  6. Along The Twelve Tone Row
(5:57)  7. Soulmate
(9:24)  8. But Not For Me

Alto veteran Gary Bartz may not have made it as big as originally predicted, but as shown on this 1994 studio date, he developed a sound of his own and was always capable of coming out with exciting yet thoughtful music. Joined by such associates as trumpeter Eddie Henderson, John Clark on French horn, pianist Mulgrew Miller, bassist Dave Holland, drummer Greg Bandy and percussionist Steve Kroon, Bartz is in excellent form on a variety of standards (including "By Myself" and "But Not for Me") and originals.~ Scott Yanow https://www.allmusic.com/album/red-orange-poems-mw0000122640   

Personnel: Gary Bartz (alto saxophone); Eddie Henderson (trumpet, flugelhorn); John Clark (French horn); Mulgrew Miller (piano); Dave Holland (bass); Greg Bandy (drums); Steve Kroon (percussion

The Red And Orange Poems

---

Roy Haynes - Love Letters

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 56:38
Size: 130,1 MB
Art: Front

(3:48)  1. The Best Thing For You
(6:28)  2. That Old Feeling
(7:15)  3. Afro Blue
(7:31)  4. Que Pasa?
(6:33)  5. How Deep Is The Ocean
(7:42)  6. Love Letters
(5:46)  7. My Shining Hour
(7:13)  8. Stompin' At The Savoy
(4:18)  9. Shades Of Senegal 2

At 77, Roy Haynes is agile, active and still draws a stellar cast of musicians. Those represented on this recording span a generation, and each one endows the music with his own vivid imprint. The division between the players as partners in the adventure of music draws on their strengths and their pliability within the working environ. The chemistry gets going, bonds are forged and a song is given a whole new dynamic. The end result is a veritable feast for the senses. Guitarist John Scofield settles comfortably in the mainstream as he gets into "That Old Feeling," his notes falling in gentle beauty before Dave Holland come in speaking his own language and turning down the tempo slightly. Scofield comes back, picking up the sway with straight ahead explorations before handing things over to Kikoski. Here is a pianist who is completely focused, his playing without fuss yet chockfull of endearing ideas. Haynes, Holland and Scofield etch quite a different picture on "Afro Blue." Scofield spins rhythmic complexities that are invigorated by Holland. The momentum builds and when the tune has been fully essayed, the experience is riveting. Kenny Barron is an elegant and eloquent pianist. He is perfectly cast in the mould, scintillating in the denouement of "The Best Thing For You," with Redman essaying a liquid tenor study in shaded dynamics. The trade-offs between the two on "My Shining Hour" are something to yearn for; McBride, who opens in harmonic closeness on the arco with Redman, gets his say with a lyrical essay in the synthesis of time. Haynes has it all to himself on the last track. His use of timbre, his shading, the accents forge his vision. His control, now as ever, is absolute.~ Jerry D'Souza https://www.allaboutjazz.com/love-letters-roy-haynes-eighty-eights-review-by-jerry-dsouza.php

Personnel: Roy Haynes: drums; Kenny Barron: piano (1, 4, 5, 7); Dave Holland: bass (2, 3, 6, 8); Dave Kikoski: piano (2, 8); Christian McBride: bass (1, 4, 5, 7); Joshua Redman: tenor saxophone (1, 4, 7); John Scofield: guitar (2, 3, 6, 8).

Love Letters

---

Kevin Eubanks - Turning Point

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

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

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

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

Turning Point

---