Andy Laverne - Between Earth & Mars

Styles: Piano Jazz 
Year: 2000
File: MP3@320K/s
Time: 68:30
Size: 157,7 MB
Art: Front

(8:53)  1. Retrospect
(8:23)  2. Gardenia
(5:35)  3. On Green Dolphin Street
(8:15)  4. Tenderly
(6:04)  5. Blue in green
(8:32)  6. Tri-tones
(8:18)  7. Maiden voyage
(8:39)  8. Between Earth & Mars
(5:48)  9. B.E.

Like label mate Harold Danko, pianist Andy LaVerne possesses talent that should be commensurate with a much broader public awareness. One of sax legend Stan Getz’s favorite accompanists, LaVerne has built a sizable catalog for SteepleChase over the past two decades- some 18 strong- with Between Earth & Mars serving as a reunion with vibraphonist Dave Samuels. Also thrown into the mix is bassist Jay Anderson, who completes this rather atypical trio. Far away from his visibility as a past member of the popular group Spyro Gyra, Samuels contributes a singular performance that reminds us that he is indeed one of the finest practitioners of his craft.

LaVerne strives in this type of configuration as his style is strongly rooted in a deep sense of lyricism and an advanced harmonic knowledge. Anderson does enough to keep things buoyantly afloat to the point that a drummer just isn’t missed. The piano and vibes combination is a real winner- of course Gary Burton and Chick Corea taught us that long ago- and LaVerne and Samuels have developed attractive arrangements that make the most of a smart mix of contemporary standards and originals. “Blue In Green” is especially arresting in this new form, taken a bit faster than the original (check out another fine duo performance of this one by Burton and Ralph Towner). The title cut, a LaVerne tune, is also a highpoint, sporting an intense solo from Samuels. It may have taken almost a decade for LaVerne and Samuels to create a follow-up to Fountainhead but it was well worth the wait. ~ C.Andrew Hovan https://www.allaboutjazz.com/between-earth-and-mars-andy-laverne-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Andy LaVerne- piano, Dave Samuels- vibes, Jay Anderson- bass

Between Earth & Mars

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Oscar Peterson - An Oscar Peterson Christmas

Styles: Piano, Christmas
Year: 1995
File: MP3@320K/s
Time: 52:25
Size: 121,7 MB
Art: Front

(3:25)  1. God Rest Ye Merry, Gentlemen
(4:46)  2. What Child Is This?
(3:40)  3. Let It Snow
(3:48)  4. White Christmas
(3:14)  5. Jingle Bells
(2:49)  6. I'll Be Home for Christmas
(3:29)  7. Santa Claus Is Coming to Town
(3:16)  8. O Little Town of Bethlehem
(6:52)  9. Christmas Waltz
(3:56) 10. Have Yourself A Merry Little Christmas
(3:08) 11. Silent Night
(4:06) 12. Winter Wonderland
(3:33) 13. Away in a Manger
(2:17) 14. O Christmas Tree

Oscar Peterson takes it easy during his relaxed set. He had not completely recovered from his stroke but he was still an impressive pianist. Peterson, who is assisted by guitarist Lorne Lofsky, bassist David Young, and drummer Jerry Fuller, is joined by a 20-piece string section arranged and conducted by Rick Wilkins. The 14 holiday tunes (which include "God Rest Ye Merry Gentleman," "White Christmas," "Santa Claus Is Coming to Town" and "Have Yourself a Merry Little Christmas") are given tasteful and lightly swinging treatments and there are guest appearances by vibraphonist Dave Samuels and flugelhornist Jack Schantz. But no real surprises or chancestaking occurs and the music is mostly just pleasant. ~ Scott Yanow https://www.allmusic.com/album/an-oscar-peterson-christmas-mw0000179179

Personnel:  Oscar Peterson – piano; Dave Samuels – vibraphone (3, 4, 7, 10, 12); Jack Schantz – flugelhorn (5, 6, 13); Lorne Lofsky – guitar; David Young – double bass; Jerry Fuller – drums; String orchestra conducted and arranged by Rick Wilkins

An Oscar Peterson Christmas

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Dave Valentin - Sunshower

Styles: Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 52:52
Size: 123,8 MB
Art: Front

(5:47)  1. Reunion
(4:37)  2. Sunshower
(4:05)  3. Embers
(5:44)  4. Bandit
(4:15)  5. Porkchops
(5:40)  6. I Got It Bad And That Ain't Good
(6:31)  7. Subway Six
(6:47)  8. Sierra Madre
(3:36)  9. Feelin' Alright
(5:45) 10. Space Cadet

Flautist Dave Valentin is fast becoming as ubiquitous a player as his former teacher, Hubert Laws, used to be. Indeed, Valentin has become the flautist of choice on a great quantity of recent Latin jazz recordings by such varied artists as McCoy Tyner, Tito Puente, Elaine Elias and Dave Samuels. Not as distinctive as Laws (nor as notable as many reed players who blow flute part time), he is nevertheless a highly appealing player whose often simple melodies seem to inspire some superb improvisation that positively sings and dances. Valentin's Concord debut, Sunshower , is the first recording under the flautist's name since 1996's Primitive Passions. Like many of the 18 albums he recorded for GRP between 1979 and 1996, Valentin here weds jazz, pop and r & b with his own particular blend of smooth Latin sounds. In essence, the man knows how to craft a purely pleasurable listening experience. One part of the disc's success is that Valentin sounds very much at ease in this setting. Well he should, too, for he's featured along with his working quintet here, which features the under sung virtues of pianist Bill O'Connell's marvelous playing and catchy songwriting. This is an exceedingly well programmed disc. Valentin starts with "Reunion," his own appealing fusion redux, segues into the sprite Caribbean dance of Valentin and O'Connell's title track (recalling Columbia-era Laws) and heads gently toward the ultra-smooth "Embers" (featuring Rodriguez's popping bass and Ed Calle's Brecker-istics on tenor). From here, Valentin explores his varied interests with dedicated abandon. He goes full-on Latin with "Bandit," funky with "Porkchops" (Calle here sounds Sanborn-esque on alto), sweetly sensitive to Duke's "I Got It Bad," straight ahead on O'Connell's "Sierra Madre" (featuring guest guitarist Steve Khan) and genuinely witty on his funkified take on "Feelin' Alright" (also covered by Laws in 1970). The disc's high point is O'Connell's effervescent "Subway Six," a solid Latin groover  with one of the simplest heads ever conceived and reminiscent of Vince Guaraldi's Peanuts classic, "Skating." It features outstanding, breezy solos from the leader, the pianist and vibraphonist Dave Samuels (and closes with some fiery interjection from Valentin). Not as deep as Valentin has proven elsewhere to be, Sunshower is nevertheless hugely enjoyable music that will satisfy a variety of musical cravings and invite repeated listening.~ Douglas Payne https://www.allaboutjazz.com/sunshower-dave-valentin-concord-music-group-review-by-douglas-payne.php

Players: Dave Valentin: C flute, alto flute, piccolo on "Porkchops" and assorted flute sounds; Bill O'Connell: acoustic piano, electric piano, synthesizers; Ruben Rodriguez: electric bass, Ampeg Baby bass; Robbie Ameen: drums; Milton Cardona: congas, shakere and various percussion instruments with Dave Samuels: vibes; Steve Khan: electric and acoustic guitars; Ed Calle: alto sax, tenor sax; Rafael de Jesus: percussion on "Embers," "Porkchops" and "Feelin' Alright."

Sunshower

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Caribbean Jazz Project - Afro Bop Alliance

Styles: Latin Jazz, World Fusion 
Year: 2008
File: MP3@320K/s
Time: 60:46
Size: 142,1 MB
Art: Front

(4:55)  1. Rendezvous
(6:11)  2. Naima
(8:45)  3. Five For Elvin
(5:20)  4. Soul Sauce
(6:30)  5. Picture Frame
(8:35)  6. Stolen Moments
(4:55)  7. Birds Of A Feather
(7:42)  8. Afro Green
(7:52)  9. Bemsha Swing

Lionel Hampton was one of the first "real" jazz vibraphonists. In more recent years, Gary Burton has been among those who have kept the instrument an integral part of the jazz scene. However, another name is also synonymous with the instrument. That is Dave Samuels. A longtime member of Spyro Gyra who occasionally reunites with the group, performing on a few songs here and there for recordings, Samuels is a master of both the vibraphone and the marimba. He also, when desiring a certain effect, has used a mallet-triggered synthesizer. After a brief solo career that included such recordings as Living Colors (MCA, 1988) and Ten Degrees North (MCA, 1989), Samuels joined forces with pals Paquito D'Rivera on alto sax and clarinet and Andy Narell on steel pans, to form the Caribbean Jazz Project. D'Rivera and Narell are no longer with the group, but Samuels is still its leader. Afro Bop Alliance revisits nine songs previously recorded by CJP, done this time with the Maryland-based Afro Bop Alliance, a big band with a Latin sound. The set begins with a dynamic offering of "Rendezvous," a track Samuels wrote for the Africa-themed Ten Degrees North and later appeared on CJP's Grammy-nominated Here and Now Live in Concert (Concord, 2005). While the first two recordings are exceptional, this one is equally engaging. 

With a heavy dose of horns, Joe McCarthy and Roberto Quintero splitting percussion duties, and Tim Stanley's trumpet solo, "Rendezvous" is more exciting than ever. John Coltrane's "Naima," which also was on Here and Now, is moderately paced. Samuels' vibraphone solo is the highlight, but the CJP rhythm section of McCarthy, Quintero and Max Murray on bass, complements the entire package. Steve Williams contributes an elegant soprano saxophone solo, underscored by soft horns. "Five for Elvin," another Samuels original, gives the percussionists plenty of room to stretch out. First, they underscore Samuels' marimba solo, complemented by Murray and pianist J.J. Wright. Later in the song, McCarthy and Quintero are out front, accompanied only by piano and bass, setting up the song's closing. Samuels and the rhythm section set up Oliver Nelson's "Stolen Moments." Luis Hernandez contributes a moving tenor sax solo, which gives way to Samuels on the marimba, punctuated by an amplified horn section. The horns then back off, leaving it to Samuels, pianist Harry Appelman and the rhythm section; Murray's bass stands out and the horns come back in to help close the song. Other tracks presented here are Dizzy Gillespie's "Soul Sauce," Thelonius Monk's "Bemsha Swing" and Samuels' "Picture Frame," "Birds of a Feather" and "Afro Green." Throughout, the Afro Bop horn section is strong but doesn't overpower CJP. Samuels, as he has done throughout his career, shows his versatility. Whether carrying the melody, stretching out on a solo or complementing the other musicians, he demonstrates why he is regarded as one of the world's leaders in jazz vibes and marimba. Afro Bop Alliance is an hour's worth of engaging music.~ Woodrow Wilkins https://www.allaboutjazz.com/afro-bop-alliance-dave-samuels-heads-up-international-review-by-woodrow-wilkins.php

Personnel: Dave Samuels: vibes, marimba; Steve Williams: lead alto, soprano saxophone, solo (2); Andy Axelrad: alto saxophone; Luis Hernandez: tenor saxophone, solos; Vince Norman: tenor saxophone; Rob Holmes: baritone saxophone; Chris Walter: lead trumpet; Nick Cooper: trumpet; Greg Reese: trumpet; Tim Stanley: trumpet, solo; Dan Drew: lead trombone; Jim McFalls: trombone; Mark Morgan: bass trombone; Harry Appelman: piano; J.J. Wright: piano (3); Max Murray: bass; Joe McCarthy: drums, percussion (bells, timbale, clave, chekere, shakers); Robert Quintero: percussion (congas, bongos, maracas).

Afro Bop Alliance

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Dave Valentin - Red Sun

Styles: Flute Jazz
Year: 1992
File: MP3@320K/s
Time: 44:28
Size: 104,4 MB
Art: Front

(5:21)  1. With A Little Help From My Friends
(5:12)  2. Red Sun
(3:47)  3. Two Steps Ahead
(5:17)  4. We'll Be Together Again
(4:34)  5. Beyond The Ridge
(4:29)  6. Lia's Song
(5:05)  7. Loco Motion
(6:23)  8. Little Sunflower
(4:15)  9. Pensativa

This was flutist Dave Valetin's 15th release for GRP and, as with his previous ones, it features impeccable musicianship, subtle funk grooves, some heated Latin rhythms and rather lightweight melodies. Despite some passionate moments, the music always sounds a bit controlled, never exceeding prescribed time limits or emotional boundaries. There are some strong moments of interest on this relatively pleasing CD, particularly a restrained melodic statement by trumpeter Arturo Sandoval on "We'll Be Together Again" and a groovin' version of "With a Little Help from My Friends."~ Scott Yanow https://www.allmusic.com/album/red-sun-mw0000097869

Personnel: Dave Valentin (flute); Jon Lucien (vocals); Bernd Schoenhart (guitar); Arturo Sandoval (flugelhorn); Steve Turre (trombone); Bill O'Connell (piano, synthesizer); Dave Samuels (vibraphone); Lincoln Goines (acoustic bass); Robby Ameen (drums, cymbals, percussion); Richie Morales (drums, cymbals); Milton Cardona (congas, cowbells, percussion); Sammy Figueroa (percussion); Steve Shapiro (programming).

Red Sun

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Gerry Mulligan - Idol Gossip

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 36:19
Size: 99,7 MB
Art: Front

(4:29)  1. Idol Gossip
(4:08)  2. Strayhorn 2
(3:33)  3. Walk On The Water
(4:30)  4. Waltzing Mathilda
(7:35)  5. Out Back Of The Barn
(5:37)  6. North Atlantic Run
(6:24)  7. Taurus Moon

This somewhat forgotten studio session finds Gerry Mulligan, 25 years after he first acheived fame with his quartet, playing six of his fairly recent compositions along with a version of "Waltzing Mathilda." With vibraphonist Dave Samuels and a four-piece rhythm section accompanying him, Mulligan performs such songs as "Walk on the Water," "Idol Gossip" and "Strayhorn 2;" the latter a reworking of his "Song for Strayhorn." Jeru proves to still be in prime form and plays a bit of soprano sax on this date along with his distinctive baritone. ~ Scott Yanow http://www.allmusic.com/album/idol-gossip-mw0000627325

Personnel: Gerry Mulligan (soprano saxophone, baritone saxophone); Mike Santiago, Bucky Pizzarelli (guitar); Hank Jones , Tom Fay (piano); Lionel Hampton, Dave Samuels (vibraphone); Grady Tate, Bobby Rosengarden (drums); Candido Camero (congas).

Idol Gossip

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Caribbean Jazz Project - Here And Now: Live In Concert (Disc 1) And (Disc 2)

Mallet man Dave Samuels' career has ranged from the experimental, ECM-ish vibe of his '70s Double Image group to an artistically questionable association with the commercially viable smooth jazz group Spyro Gyra. And while those who knew just how much Samuels was capable of were more than a little surprised to see him maintain a long-term relationship with such a lightweight group, he managed to remain credible, always being critically singled out, even as Spyro Gyra itself was often dismissed. But, while Samuels' years with Spyro Gyra might have confused his fans, as did a string of equally lightweight solo albums for MCA and GRP, he did succeed in attaining greater visibility than he would have, had he continued with his bolder work of the '70s and '80s. And so, when he formed the Caribbean Jazz Project in '01 with the debut release Paraiso, Samuels appeared to have, in embracing Afro-Cuban music, found the perfect middle ground: accessible enough to appeal to larger audiences, but adventurous enough, in its own way, to help re-establish some credibility with the cognoscenti. Fans of more oblique idioms may still find the Caribbean Jazz Project too lightweight, but the fact is that amongst the captivating rhythms and engaging melodies, there's more than meets the eye.

And while the three previous studio efforts have had charms to recommend, the new double live set, Here and Now - Live in Concert, may be the best of the bunch. Back from '02's The Gathering and '03's Birds of a Feather are pianist Dario Eskenazi and percussionist Roberto Quintero, who, along with Samuels, are beginning to forge a group identity that the more guest-laden studio releases lacked. Rounding out the sextet are percussionist Mark Walker, known for his work with the genre-busting Oregon, but proving to be a highly capable Latin drummer as well; bassist Oscar Stagnaro, who combines unerring groove with fleet-fingered virtuosity; and the outstanding Argentinean ex-pat trumpeter Diego Urcola. And while the playing is universally top notch, it's Urcola who stands out, no surprise to anyone who has heard his remarkable '03 release, Soundances, which blended newfound urban roots in New York City with his folkloric background. It is, in fact, the way that Samuels manages to blend his Afro-Cuban concerns with other styles that makes Caribbean Project so distinctive. While Samuels' own compositions range from the aptly titled 5/4 tribute "Five for Elvin to the more overt cha-cha of "Arthur's Dance, it's his clever arrangements of Oliver Nelson's "Stolen Moments, Coltrane's "Naima, and Monk's "Bemsha Swing that really show the height of his invention, making them fit seamlessly within the overall groove-centricity. And with the excitement of live performance making every track sparkle, Here and Now perfectly combines adventure with accessibility. It's hard not to like. It looks as though Samuels has finally found the perfect middle ground between reaching a wider audience and maintaining greater artistic integrity. ~ John Kelman https://www.allaboutjazz.com/here-and-now-live-in-concert-dave-samuels-concord-picante-review-by-john-kelman.php

Personnel: Dave Samuels (vibes, marimba), Diego Urcola (trumpet, flugelhorn), Dari Eskenazi (piano), Oscar Stagnaro (bass), Mark Walker (drums), Roberto Quintero (congas, percussion).

Album: Here And Now: Live In Concert (Disc 1)

Styles: Latin Jazz
Year: 2005
File: MP3@320K/s
Time: 62:51
Size: 145,9 MB
Art: Front

( 6:55)  1. Rendevouz
( 9:45)  2. Stolen Moments
(10:16)  3. Turnabout
( 8:03)  4. Arthur's Dance
( 8:29)  5. The Gathering
( 9:13)  6. Picture Frame
(10:07)  7. Bemsha Swing

Here And Now: Live In Concert (Disc 1)
Album: Here And Now: Live In Concert (Disc 2)

Year: 2005
File: MP3@320K/s
Time: 69:47
Size: 161,7 MB

(11:18)  1. One Step Ahead
( 7:35)  2. Mariella's Dream
(10:49)  3. On The Road
( 6:26)  4. Five For Elvin
( 9:51)  5. Naima
( 9:52)  6. Night In Tunisia
(13:53)  7. Caravan (bonus track)

Here And Now: Live In Concert (Disc 2)

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Caribbean Jazz Project - Paraíso

Styles: Latin Jazz
Year: 2001
File: MP3@320K/s
Time: 69:09
Size: 163,3 MB
Art: Front

(9:11)  1. One Step Ahead
(7:10)  2. Naima
(7:03)  3. Maluco
(9:34)  4. Caravan
(7:24)  5. El Tacaño
(6:52)  6. Five For Elvin
(5:23)  7. Second Opinion
(6:10)  8. Jamboree
(6:23)  9. Cá-Ni-Mo!
(3:56) 10. Obaricoso / Ritmos, Colores, Y Sentidos

This is possibly the most intricate, intellectual, and compositionally advanced Latin jazz that's been made to date. Certainly the tri-leaders of the group - vibraphonist Dave Samuels, flautist Dave Valentin, and guitarist Steve Khan - are in the top echelon of performers on their respective instruments, and all have played in a unusually broad range of musical settings throughout their performing careers, and they bring all these resources to this release. The three principals contribute well-thought-out, technically advanced jazz solos - lovers of all flavors of jazz will find a lot to marvel at and digest here. They also call in a couple technical whizes for guest spots: trombonist Conrad Herwig on "Caravan" and "Naima" and Ray Vega on flugelhorn on "Naima." 

But there's another factor at work here behind the prodigious talent of the front line. The team of percussionists keep the proceedings solidly in the groove with equally intricate, constantly percolating congas and timbales. In fact, a drum set is used only occasionally. The players are so perfectly coordinated and interconnected, not just with each other, but with the requirements of the melodies or the soloists. There is no repetition, no "push Play and let it go" here at all. The rhythmic complexity is astonishing. And when they step forward for the occasional percussion break, it's breathtaking. The percussion on the finale, a medley of Mongo Santamaria's "Obaricoso and Richie Flores' "Ritmos, Colores, y Sentidos" is simply stunning. They're also recorded very well. If there is a fault to be found with this CD, it might be that it's almost too perfect. It's so intellectual, so polished, so studied and so intricate that it borders on losing the raw energy that so much Latin music has to offer. But overall, this CD is tremendously rewarding. It raises the bar on several levels: the compositions (most by Samuels or Khan) and arrangements, the depth of the solos, the state-of-the-art percussion. This is heavy stuff. It merits multiple listenings in order to focus on different instruments each time around. ~ Dave Hughes https://www.allaboutjazz.com/paraiso-dave-samuels-concord-music-group-review-by-dave-hughes.php

Personnel: Dave Samuels - vibes and marimba; Dave Valentin - flute; Steve Khan - guitar and guiro; Ruben Rodriguez- bass; Richie Flores - congas, shakere; Luisito Quintero - timbal kit, percussion; Dafnis Prieto - timbal kit, drums; Poncho Sanchez - congas; Conrad Herwig - trombone; Ray Vega - flugelhorn.

Paraíso

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Rita Coolidge - And So Is Love

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 51:28
Size: 118,4 MB
Art: Front

(4:20)  1. Come Rain Or Come Shine
(5:27)  2. Save Your Love For Me
(6:02)  3. Cry Me A River
(3:22)  4. I Thought About You
(4:50)  5. We're All Alone
(4:41)  6. Estate
(3:54)  7. More Than You Know
(5:11)  8. Sentimental Journey
(3:32)  9. The Masquerade Is Over
(2:59) 10. I Don't Know Enough About You
(2:46) 11. Don't Smoke In Bed
(4:20) 12. Don't Go To Strangers

It seems increasingly common for once-popular artists to resurface years after their heyday. What's so interesting is how they resurface. Who would've imagined Rita Coolidge, like other popular '70s singers, re-emerging 30 years down the line as a singer of jazz classics? But Coolidge, like Debby Boone before her, has done exactly that, releasing a collection of classic songs on Concord Records. Backed by a small jazz combo, And So Is Love has a classy feel to it, but it's Coolidge's resonant vocals that bring the set together. While most of the material is older, and a number of pieces like "Cry Me a River" and "Come Rain or Come Shine" come from the golden age of song, she also includes Boz Scaggs' "We're All Alone" and makes it work. In fact, "We're All Alone" is one of the highlights of the album, with Coolidge transforming it into a lovely jazz standard. 

Her performance here also leads one to pause: are there other songs of recent vintage that would like old standards work just as well in a jazz context. Another icon from the past shows up Herb Alpert on "Estate" to lend his trademark trumpet style to the song's Latin mood. For old fans, mainstream jazz fans, and anyone who appreciates classy treatments of classic songs, Coolidge's And So Is Love is an enjoyable listen. ~ Ronnie D.Lankford,Jr.  http://www.allmusic.com/album/and-so-is-love-mw0000656613

Personnel: Rita Coolidge (vocals); Chuck Berghofer, Darek Oles, Dave Carpenter (bass instrument); Larry Koonse, Sandro Albert (guitar); Stefanie Fife (cello); Bob Sheppard (flute, alto flute, soprano saxophone); Ronnie Cuber (baritone saxophone); Herb Alpert (trumpet); Russell Ferrante (piano, synthesizer); Alan Pasqua (piano); Dave Samuels (vibraphone); Ralph Humphrey, Terri Lyne Carrington (drums); Alex Acuña (percussion).

And So Is Love

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Diego Urcola - Viva

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 69:04
Size: 158,5 MB
Art: Front

(6:51)  1. Tango Azul
(7:32)  2. Viva
(5:40)  3. Afroraffo
(8:11)  4. El Camino
(7:06)  5. Blues For Jimmy
(6:42)  6. 40/40
(6:55)  7. Sound for Sore Ears
(7:39)  8. Adios nonino
(7:35)  9. Gringo dance
(4:49) 10. Emilia

American jazz fans sometimes neglect talented instrumentalists from other countries, and with Viva, trumpeter Diego Urcola reminds us that there are other Argentine horn players besides Gato Barbieri.

Born in Buenos Aires, Diego Urcola began studying music at age nine, eventually earning degrees from Argentina's Conservatorio Nacional de Música, Berklee College of Music, and the City University of New York. His big break came when legendary Latin jazz maestro Paquito D'Rivera needed a replacement for trumpeter Claudio Roditi. A faculty member at Berklee recommended Urcola, who has now been with D'Rivera for fifteen years. Urcola has also performed with numerous other luminaries. Recorded in November 2005, Viva is Urcola's third album as a leader, and he refers to the lineup on this session as his "dream band." His sidemen are well-established players and bandleaders in their own right, particularly pianist Edward Simon and bassist Avishai Cohen. Several big names appear as guests, notably Jimmy Heath, Urcola's academic advisor while he was working on his Master's Degree at CUNY. D'Rivera plays alto sax and clarinet on three tracks. Urcola makes no bones about his indebtedness to this mentor, asserting "I wouldn't be here if it weren't for Paquito."

Another longtime friend on this session is Conrad Herwig, a former band mate in the United Nations Orchestra. Calling him a "trombone god," Urcola recounts that while in Argentina with D'Rivera, Herwig met a woman whom he subsequently married. Now fluent in Spanish, Herwig has become "half Argentinian," declares Urcola. Vibraphonist Dave Samuels, who has worked with Urcola in the Caribbean Jazz Project, appears on two tracks. Samuels points out that while they "all knew each other and some ... had already played together, this particular combination was new, different and fresh." The result is a relaxed atmosphere that nonetheless has a comfortably charged energy familiar without being rote, experimental yet assured. Like Barbieri, Urcola integrates the loping, slightly asymmetrical rhythms of the tango into the jazz idiom. 

All but one of the album's ten cuts (including three by Urcola) were written by Argentine composers: Guillermo Klein, Juan Raffo and Astor Piazzolla. A Latinized version of Heath's "Sound for Sore Ears" partakes in this overall spirit. "I like to bring ... my country into the mix," says Urcola, patriotic while never parochial, "but foremost I'm a jazz musician." The album opens with Urcola's "Tango Azul." An opening bass vamp with a pleasant 7/4 hiccup leads into a modal vehicle that evokes Kind of Blue. 

Appropriately, the tune's highlight is a solo by Herwig, known for exploring Miles' Latin side. Another subtle rhythmic experiment is Raffo's "Gringo Dance," a tricky 3/4 piece "with all kinds of different bars added in," according to Urcola. "Blues for Jimmy" features Heath's urbane tenor, and D'Rivera provides two delightful reacquaintances with the clarinet on "40/40" and "Emilia." Reflective ballads like "El Camino" and "Adios Nonino" nicely balance the up-tempo cuts on this well-produced, interestingly eclectic offering. ~ Victor Verney  http://www.allaboutjazz.com/viva-diego-urcola-cam-jazz-review-by-victor-verney.php

Personnel: Diego Urcola: trumpet, flugelhorn; Edward Simon: piano; Avishai Cohen: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion; Jimmy Heath: tenor saxophone (5,7); Paquito D'Rivera: alto saxophone, clarinet (3,6,10); Conrad Herwig: trombone (1,4,5,9); Dave Samuels: marimba, vibes (3,8).

Viva

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The Caribbean Jazz Project - Island Stories

Styles: Latin Jazz
Year: 1997
File: MP3@320K/s
Time: 65:17
Size: 153,4 MB
Art: Front

(4:27)  1. Bluellespie
(6:24)  2. Sadie's Dance
(9:29)  3. Calabash
(4:56)  4. Tjaded Motion
(7:18)  5. Zigzag
(5:57)  6. Andalucia
(7:33)  7. Shadow Play
(5:52)  8. Libertango
(6:24)  9. The Lost Voice
(6:55) 10. Grass Roots

The second recording by this co-op group (which has three leaders in steel drummer Andy Narell, Dave Samuels on marimba and vibes and Paquito D'Rivera tripling on alto, clarinet and soprano) crosses a lot of boundaries. Designed as a musical tour through Latin America, the music ranges from a tribute to Cal Tjader and Astor Piazzolla's "Libertango" to "Andalucia" (better known as "The Breeze and I") and "Bluellespie" (which fuses together parts of several Dizzy Gillespie-associated songs). The blend between the vibes and steel drums is unique, the rhythm section (pianist Dario Eskenazi, bassist Oscar Stagnaro, drummer Mark Walker and percussionist Pernell Saturnino) is versatile and exciting, and D'Rivera's soprano playing in particular is impressive. Easily recommended to all jazz listeners. ~ Scott Yanow  

http://www.allmusic.com/album/caribbean-jazz-project-island-stories-mw0000617230

Personnel: Paquito d'Rivera (clarinet, soprano saxophone, alto saxophone); Dario Eskenazi (piano); Dave Samuels (vibraphone, marimba); Mark Walker (drums); Pernell Saturnino (congas, percussion); Andy Narell (steel pan).

Island Stories

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Caribbean Jazz Project - Birds Of A Feather

Styles: Jazz
Year: 2003
File: MP3@320K/s
Time: 61:50
Size: 144,9 MB
Art: Front

(5:04)  1. Birds Of A Feather
(5:29)  2. On The Road
(8:29)  3. Turnabout
(6:06)  4. Against The Law
(6:04)  5. Tell Me A Bedtime Story
(7:38)  6. Valencia 1
(6:02)  7. Picture Frame
(5:59)  8. Blue
(5:51)  9. Weird Nightmare
(5:03) 10. Minor Mood

A brassier, busier and a wee bit more aggressively urban Caribbean Jazz Project is featured on Birds of a Feather (Concord Picante). Dave Samuels is now leading this new lineup with Ray Vega on trumpet, Dario Eskenazi on piano and special guests guitarist Romero Lubambo, trumpeter Randy Brecker, drummer Mark Walker and percussionist Cafe. Bassist Ruben Rodriguez, percussionist Robert Quintero and drummer Dafnis Prieto round out the gang. The Brazilian "Valencia 1," with flutelike melodic harmonization, Lubambo's rapid note firings and a jazzy and percussively correct trumpet solo, is just a sampling of what the tropical-inflected crew can do in that territory. They are just as meritorious in their other Carioca explorations on "Turnabout" and "Picture Frame." Headed by a custom-made danzon figure, "Weird Nightmare" romps into an oddly metered sizzle, while on "Blue" everyone shines through in an updated guaguanco that fades into a hypermodern percussive coda skin slapping passage. The writing must be commended through and through. It brings forth fresh vistas from familiar Latin outcroppings and the supergroup readily assimilates its superior level. This is a cooker of a release, with depth to boot, fortified by great melodicism and peerless changes. ~ Javier Quinones  http://jazztimes.com/articles/14306-birds-of-a-feather-caribbean-jazz-project

Personnel: Romero Lubambo (guitar); Ray Vega (trumpet, flugelhorn); Randy Brecker (trumpet); Dario Eskenazi (piano); Dave Samuels (vibraphone, marimba); Dafnis Prieto (drums, timbales); Mark Walker (drums); Robert Quintero (congas, percussion).

Birds Of A Feather

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Michael Franks - Barefoot on the Beach

Styles: Vocal, Jazz Pop
Year: 1999
File: MP3@320K/s
Time: 62:33
Size: 155,3 MB
Art: Front + Back

(5:04)  1. Barefoot On The Beach
(4:48)  2. Heart Like An Open Book
(6:13)  3. Now Love Has No End
(5:52)  4. The Fountain of Youth
(5:04)  5. When You Smiled At Me
(6:12)  6. Double Talk
(7:24)  7. Every Time She Whispers
(4:27)  8. Why Spring Ain't Here
(6:21)  9. A Walk In The Rain
(4:40) 10. Mr. Smooth
(6:23) 11. Like Moon Behind A Cloud

Countless musical trends have steamrolled by since this wry singer songwriter with the cool and collected, wistful onionskin voice first graced the adult music world in the mid-'70s with The Art of Tea and its cryptic hit, "Popsicle Toes." Yet Franks has stood his ground, growing as an observational lyricist while his relaxed demeanor stays pretty much the same, and charmingly so. While varying his backing instrumental tracks to fall somewhere between classic, subtle brassy Steely Dan ("The Fountain of Youth" features Yellowjacket saxman Bob Mintzer kicking it up with trumpeter Larry Lunetta) and colorful smooth jazz vibes (Bob James, Dave Samuels, and Chuck Loeb crackle behind the bemused frustration story "Double Talk"), the joy of his writing approach is found in his song structure. Franks just doesn't buy into the Top 40 school of "hook or forget it" songwriting. He's more interested in weaving quirky, even esoteric images over solid grooves. "You could jump a DC-8 and probably be here by eight" sets the tone for the frolic of the title track. Everything is fair game from references to Ingrid Bergman and Rhett Butler looks on "Heart Like an Open Book" to congratulating Ponce De Leon for the youthful drive of his lover on "The Fountain of Youth." He's quite the humorist, too, telling a cheating mate on "Double Talk" that "each time you lie your profile grows/it looks just like Pinocchio's." "Mr. Smooth" is a crisp commentary on a stuck-up man who thinks he's a god somehow. So that even when Franks is expressing displeasure, his heart is light. He covers all the aspects of love from the supreme joy of "Now Love Has No End" to "Why Spring Ain't here" but the minute he starts to boil over, he's back to the beach, having a blast. It's the kind of spring in your step music Franks fashioned his career out of.~ Jonathan Widran  http://www.allmusic.com/album/barefoot-on-the-beach-mw0000239499

Personnel: Michael Franks, vocals; Jay Azzolina, guitar; Jim Beard, string synth; Charles Blenzig, keyboards and drum/percussion programming; Michael Brecker, sax; Randy Brecker, trumpet; David Charles, percussion; Brian Dunne, drums; Steve Gadd, drums; Wolfgang Haffner, cymbals; Jimmy Haslip, bass and keyboards; Chris Hunter, alto sax and flute; Jim Hynes, flugelhorn; Bob James, keyboards; Bashiri Johnson, percussion; Birch Johnson, trombone; Steve Khan, guitar; Will Lee, bass and background vocals; Chuck Loeb, guitar; Larry Lunetta, trumpet; David Mann, flute; Bob Mintzer, saxophone; Jeff Mironov, guitar; Chris Palmaro, keyboards; John Patitucci, bass; Shawn Pelton, drums; Mike Ricchiuti, keyboards; Dave Samuels, vibraphone; Valerie Simpson, vocal (duet on "Now Love Has No End"); Andy Snitzer, saxophone; Tawatha Agee, Carmen Cuesta, Lani Groves, backgroung vocals.

Barefoot on the Beach

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Bill O'Connell - Triple Play Plus Three

Bitrate: 320K/s
Time: 59:50
Size: 137.0 MB
Styles: Piano jazz
Year: 2011
Art: Front

[6:44] 1. Sweet Sophie Rose
[6:41] 2. Bill's Blues
[4:39] 3. Crazy Samba
[5:47] 4. 'Round Midnight
[6:09] 5. Non-Sense
[5:48] 6. Lake Road
[5:47] 7. Cobblestones
[5:47] 8. Speak Low
[5:26] 9. Mr. Ep
[6:59] 10. La Playa

Pianist Bill O'Connell's Triple Play (Savant, 2008) turned traditional notions of piano trio instrumentation on their head, and this album is a logical outgrowth and expansion of that particular project. While that outing had a consistent three man line-up that married O'Connell's piano with conga drummer/percussionist Richie Flores' engaging rhythm work and the fine flute playing of Dave Valentin, Triple Play Plus Three uses Valentin's spot as a revolving hot seat. The flautist returns for three numbers, including a mellow alto flute feature ("Lake Road") and an energetic romp dedicated to the great Eddie Palmieri ("Mr. E.P."), but elsewhere, his position is assumed by two equally elite Latin jazz musicians.

Vibraphonist Dave Samuels and Paquito D'Rivera, who keeps his saxophone in its case here and sticks to clarinet, take turns filling Valentin's vacated post, and they both bring something fresh and different to this format. Samuels' solos place him front and center in the mix, but his ensemble play is all about blending into the overall musical mesh. Whether coasting through an unhurried, odd-metered blues ("Bill's Blues") or fighting his way through an up-tempo muscle-flexing number ("Non-Sense"), Samuels always knows when to say his piece or simply step back into the shadows.

D'Rivera's two appearances aren't nearly enough, but they paint O'Connell as one who believes in the "always leave them wanting more" mindset. "Sweet Sophie Rose"—named after O'Connell's daughter—is a lively number that manages to showcase all three men as soloists, while also highlighting the strong rapport shared between them as a single unit, and their take on "'Round Midnight" rivals the best of them.

While the A-list artists that occupy the rotating spot may help to bring attention to this album, the connection between O'Connell and Flores is really at the heart of this project. Both men view rhythm as a language unto itself, rather than a subtext for presenting melody, and they don't need a third person to help them prove it. O'Connell and Flores go at it mano a mano on what may be the most rhythmically potent "Speak Low" that has ever been recorded, and it proves to be one of the standout tracks on the album.

Bill O'Connell: piano; Richie Flores: congas; Paquito D' Rivera: clarinet (1, 4); Dave Samuels: vibraphone (2, 5, 7, 10); Dave Valentin: flute (3, 9), alto flute (6).

Triple Play Plus Three

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