Alex Sipiagin - Equilibrium

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 65:49
Size: 151,8 MB
Art: Front

( 7:28) 1. Mood 2
(10:58) 2. Equilibrium
( 7:29) 3. Evidence
( 9:02) 4. Sonhando Com O Meu Primeiro Amor
( 3:27) 5. Free 1
( 7:53) 6. High
( 7:26) 7. Good Morning
( 8:28) 8. Blues For Kids
( 3:34) 9. Free 2

Russian native Alex Sipiagin has been a first call trumpeter for several New York big bands for the past five years or so. A veteran of the Mingus Big Band, the Gil Evans Orchestra, and the Dave Holland Big Band, Sipiagin has been a favorite with critics but has yet to break though to the jazz public at large. Over the course of his three previous Criss Cross sides, the trumpeter has shown growth from a mainstream hard bop interpreter to an adventurous post bop progenitor.

Chock full of bristling improvisation, Equilibrium is arguably Sipiagin's best effort to date, and much of this is due to some fine writing no doubt influenced by Holland and a fantastic ensemble that includes saxophonist Chris Potter, pianist David Kikoski, and drummer Gene Jackson. Look no further than a run through Monk's "Evidence to hear that Sipiagin is not interested in run of the mill interpretations, but instead crafts arrangements and originals that are more about an elastic sense of time. Voicing the melody for two saxophones (Potter and David Binney) and his own muted trumpet, Sipiagin changes the rhythmic movement for a slightly off-kilter sound that suits the idiosyncratic nature of the piece to a tee.

Following the extroverted spirit of the opening "Mood 2, the title track, and the previously mentioned "Evidence, a dark and brooding "Sonhando Com O Meu Primeiro Amor by Brazilian heavyweight Toninho Horta finds Sipiagin at his lyrical best with a fat tone reminiscent of Freddie Hubbard. By contrast, the collective improvisation during two takes of "Free confirms that there are two sides to the trumpeter's personality and that he's not afraid to walk a musical tightrope without need for a safety net.

With a total being greater than the mere sum of its parts, Equilibrium serves as a complex and varied showcase for Alex Sipiagin and his top-notch crew of partners in crime. At the rate that he's going, there's no telling what even greater breakthroughs lie ahead for this forward-thinking musician. By C. Andrew Hovan
https://www.allaboutjazz.com/equilibrium-alex-sipiagin-criss-cross-review-by-c-andrew-hovan

Personnel: Alex Sipiagin (trumpet), Chris Potter (saxophones), David Binney (saxophones), David Kikoski (piano), Scott Colley (bass), Gene Jackson (drums)

Equilibrium

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Adam Rogers, David Binney - R&B

Styles: Guitar And Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 66:57
Size: 153,7 MB
Art: Front

(6:47)  1. Ah-Leu-Cha
(7:34)  2. Introspection
(6:35)  3. In Love In Vain
(7:05)  4. Africaine
(7:21)  5. Don't Misunderstand
(9:03)  6. Sippin' At Bell's
(7:23)  7. Skydive
(7:14)  8. My Ship
(7:50)  9. I Feel A Song Coming On

From his many Criss Cross dates as a leader to his extraordinary sideman work with Chris Potter, the late Michael Brecker and many more, Adam Rogers continues to blaze a path as one of jazz's most compelling guitarists. His longtime associate David Binney, alto saxophone great and an influential composer and producer, has also distinguished himself with numerous innovative sessions for Criss Cross and others. On R & B, Rogers and Binney unite to co-lead a lean and hard-swinging quartet with bassist Reuben Rogers (no relation) and drummer Gerald Cleaver. In a departure from their usual focus on original material, Rogers and Binney aim straight for bebop, ballads and classics by Thelonious Monk, Freddie Hubbard and Wayne Shorter, among others. ~ Editorial Reviews  http://www.amazon.com/R-Adam-Rogers-David-Binney/dp/B00US68XZA

Personnel: David Binney (alto saxophone); Adam Rogers (guitar); Gerald Cleaver (drums), David Binney (Saxophone).

R&B

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David Binney And Edward Simon - Oceanos

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 56:57
Size: 130,7 MB
Art: Front

(7:30)  1. We Dream Oceans
(9:13)  2. Impossible Question
(9:57)  3. Amnesia
(7:33)  4. El Parrandero
(5:11)  5. Govinda
(6:23)  6. Twenty Four Miles To Go
(3:37)  7. Impossible Question Reprise
(7:29)  8. Home

Reconvening the same core quartet as on Afinidad (Red, 2001), altoist David Binney and pianist Edward Simon demonstrate how a collaborative effort can bear the distinct imprint of each musician while, at the same time, possessing its own indelible stamp. Binney and Simon have emerged, over the past decade, as leaders in an evolving musical context informed by broader cultural concerns, often complex harmonic and rhythmic foundations, and a fresh thematic approach that's eminently lyrical yet steadfastly avoids the obvious. Both are fine soloists, able to combine a sense of the cerebral with deeper emotional resonance. Teamed with bassist Scott Colley and drummer Brian Blade, Océanos is a compellingly listenable album, despite some considerable challenges hidden underneath the covers. Binney's "We Dream Oceans" opens the disc with simmering intensity. Percussionist Pernell Saturnino augments Blade's delicate touch, while guitarist Adam Rogers and Binney double a theme that first stands alone but is ultimately countered by Luciana Souza's wordless vocals. Simon builds a lithely focused solo that gradually intensifies, leading to a recapitulation of the theme and a solo from Binney that's as much about the sound of the notes as the notes themselves, building to a fever pitch only to fade to a gentler coda. While there's plenty of solo space, Océanos is as much about composition and arrangement, with Binney and Simon making judicious use of the added guests. Binney's polyrhythmic and Latin-esque "El Parrandero" makes full use of the three-piece horn section, creating a sound that's at times sharply pointed, other times richly expansive, contrasting with "We Dream Oceans" where the horns are used only briefly to reinforce the tune's final figure. Simon's 9/4 "Impossible Question" is first heard in expanded form, with Rogers' acoustic guitar solo navigating the pianist's changes with ease and Blade delivering a short but energetic solo. Binney's most powerful improvisation of the set is heard on a later reprise; a shorter but more texturally lush version that's expanded to include the horn section and percussion. 

Binney's closer, "Home," begins with a poignant theme that unfolds gradually but keeps returning to the same four-chord pattern. Colley and Simon both deliver lyrical solos before returning to the theme, leading into a repetition of that same four-chord pattern as a foundation for Binney's final solo which, bolstered by the rest of the group, builds the "Home" to a powerful climax before ending on an etheral note. Continuing to collaborate periodically over the years acts as a yardstick of both individual growth and a shared aesthetic for Binney and Simon. Océanos is their best pairing yet an album that brings together two strong musical minds to create a whole that's truly greater than the sum of its parts. ~ John Kelman https://www.allaboutjazz.com/oceanos-david-binney-criss-cross-review-by-john-kelman.php?width=1920

Personnel: David Binney: alto saxophone; Edward Simon: piano; Scott Colley: bass; Brian Blade: drums; Luciana Souza: vocals (1, 2, 5, 6); Adam Rogers: guitar (2, 5); Shane Endsley: trumpet (3, 4, 7); Jesse Newman: trumpet (3, 4, 7); Alan Ferber: trombone (3, 4, 7); Pernell Saturnino: percussion (1, 4, 7).

Oceanos

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David Binney - Aliso

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 73:21
Size: 168,5 MB
Art: Front

( 7:57)  1. Aliso
( 7:56)  2. A Day In Music
( 8:53)  3. Toy Tune
( 9:16)  4. Strata
( 5:01)  5. Teru
( 6:30)  6. Fuchsia Swing Song
( 5:59)  7. Bar Life
( 7:46)  8. Think Of One
(13:59)  9. Africa

In a career now in its third decade, alto saxophonist David Binney's greatest accomplishment, despite being a player of no small worth, has been as a composer whose often knottily idiosyncratic tunes manage to remain not just accessible, but deeply compelling. From the earliest days of Lost Tribe through to last year's outstanding Third Occasion, Binney's distinctive compositional style has become a touchstone for players on the New York scene and beyond. It's not that he can't play directly in the tradition his own work couldn't come from anyplace but he just generally chooses not to. While past albums, including 2005's Bastion of Sanity (Criss Cross), have occasionally included songs from the standards repertoire, the saxophonist has never before released an album like Aliso, where five of its nine tracks are not Binney originals, taking up well over half of its 73-minute running time.  A function of its participants being unable to convene until the night before the recording, Aliso could be considered a tad schizophrenic. Binney's tunes are not exactly more direct, but they are less complex, encouraging even greater emphasis on blowing; a nice dovetail with music from Wayne Shorter, Thelonious Monk, Sam Rivers and John Coltrane. With a largely fixed quintet (only the piano chair is shared, between John Escreet and the more prevalent Jacob Sacks), Binney demonstrates his considerable alto prowess with both dark balladry and elegant swing (Shorter's "Teru" and "Toy Tune," respectively). 

He also shows a lesser-known ability to rip through changes coming fast and furious, on a burning take of Rivers' "Fuchsia Swing Song." The rest of the band also capably handles Binney's modern approach to the mainstream, especially bassist Eivind Opsvik and drummer Dan Weiss, who are rarely heard in straight-ahead settings. But for those jonesing for more of the Binney they've come to know and love, the saxophonist's four compositions more than do the trick. Guitarist Wayne Krantz last heard on a Binney album in 2002 (Balance, on ACT) and whose Krantz Carlock Lefebvre (Abstract Logix) was a 2009 fusion milestone sits out on most of the standards, but his contribution to the rest of Aliso is purposeful; uncanny in its ability to push and pull time, harmony and melody, all with a slightly gritty tone and idiosyncratic turn of phrase. Whether it's the more visceral groove of the title track which also features one of Binney's most effervescent solos of the set the more temporally elastic "A Day in Music" or metrically challenged "Bar Life," Krantz's inimitable playing supports Binney's assertion, "Wayne is one of my favorite musicians ever."  Krantz does join on a pedal-to-the-metal version of Coltrane's modal masterpiece, "Africa" the cover tune that aesthetically fits best with Binney's own writing, despite its inherent compositional simplicity. 

There's nothing wrong with being a little schizophrenic; not, at least, when the result is as unmistakably fine as Aliso an anomaly in Binney's discography, perhaps, but one that still remains a significant marker in his overall body of work. ~ John Kelman https://www.allaboutjazz.com/aliso-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Wayne Krantz: guitar; Jacob Sacks: piano (2-6, 8); John Escreet: piano (1, 7, 9); Eivind Opsvik: bass; Dan Weiss: drums.

Aliso

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David Binney, Jeff Hirshfield - A Small Madness

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 44:15
Size: 102,3 MB
Art: Front

(6:06)  1. Dolores
(3:54)  2. The Mystery of Influence
(6:00)  3. Mallari
(5:07)  4. A Small Madness
(5:12)  5. Old Books
(1:55)  6. Renegade
(2:35)  7. Oddman
(2:55)  8. Useful Illusion
(5:43)  9. Left
(4:42) 10. Impossible Histories

Groove and lyricism to go. Perhaps Binney’s fine writing and arranging on his solo sets such as South and Balance as well as albums by Lan Xang have somewhat distracted attention from his alto playing. Listening to this set I’d say that it’s probably never sounded stronger, there is a fine blend of finesse and attack in both Binney’s phrasing and tone, it’s kind of Jan Garbarek meets Charlie Mariano. In Hirshfield he has a partner of equal drive and lightness of touch, his incisive yet finely controlled backbeat and snapping snare placing him on a similar plane to Jim Black, Bobby Previte and Tom Rainey. Touching on anything from funk to drum & bass to rolling bop, the dynamic duo create a personal, highly engaging world of sound to which Binney’s vivid electronic colours add a great deal. An energetic power surge, full of dionysian dynamism from what sounds like a lot more than two musicians. [Echoes, Kevin Le Gendre] https://davidbinney.bandcamp.com/album/a-small-madness

Personnel: Alto Saxophone, Electronics – David Binney; Drums – Jeff Hirshfield; Vocals – Tanya Henri (tracks: 3)

A Small Madness

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David Binney - Here & Now

Styles: Saxophone Jazz 
Year: 2018
File: MP3@320K/s
Time: 41:59
Size: 97,2 MB
Art: Front

(2:28)  1. Forj
(4:46)  2. We Will See Our Way Through
(5:00)  3. To the Coast
(5:04)  4. Here & Now
(6:05)  5. Belgrade
(5:41)  6. Majesty
(6:29)  7. The Boats
(3:53)  8. Freeway
(2:28)  9. Forjtwo

Saxophonist David Binney is one of the most prolific jazz musicians on the scene today.The new album. Further compositional and musical explorations. Elements of a lot of Electronic music, improvisation. Featuring some fine musicians including Louis Cole. The new album Here & Now is a departure from earlier records. A direction that I am very into and excited about. It's much more electronic yet features live players too. I hope that you enjoy this album as much as I enjoyed making it! David Binney

Acclaimed as a considerable and highly individual compositional talent, saxophonist David Binney is one of the most prolific jazz musicians on the scene today. Winning praise from critics and colleagues alike. David's distinctive saxophone sound and innovative compositions have been heard from basement clubs in New York to jazz festivals in Europe and the world. In addition to his extensive work as a leader, he has been sought after as a sideman, appearing on record with Medeski, Martin & Wood, Uri Caine's Mahler Project, and hundreds of others. David has also appeared on stage with Aretha Franklin, at Carnegie Hall, and with Maceo Parker, to name a few. He has produced all of his own 22 albums, and many others including two of the Lost Tribe releases, Scott Colley's The Architect of the Silent Moment, and 8 Donny McCaslin releases, including the highly acclaimed Casting For Gravity, Fast Future, and Beyond Now. 

David Binney also put together and produces the band that became the band on David Bowie's Blackstar. He has won the DownBeat Critics Poll 3 different times in the Alto Saxophone category. And placed in Producer, Album etc.. As well as in the JazzTimes polls and polls worldwide. He has had front cover features in DownBeat, JazzTimes, and many other publications. Editorial Reviews https://www.amazon.com/Here-Now-DAVID-BINNEY/dp/B07SXQR6KW

Here & Now

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David Binney, Alan Ferber - In The Paint

Styles: Saxophone And Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:30
Size: 137,7 MB
Art: Front

(5:08)  1. Growin' Up
(6:03)  2. In The Paint
(5:34)  3. Everybody's Wonderland
(2:04)  4. Interlude I
(7:03)  5. Paris
(6:01)  6. Edinburgh
(4:43)  7. Ice Cave
(1:39)  8. Interlude II
(6:02)  9. La Taqueria
(5:06) 10. Magnolia
(1:27) 11. Lautir
(1:58) 12. Interlude III
(6:36) 13. Our Inventions

With an influence felt, perhaps, as much or more in the work of others than in his own record sales, alto saxophonist David Binney rarely co-leads groups, but his longstanding collaboration with pianist Edward Simon has been fruitful in more ways than one. Sharing compositional and conceptual duties frees him to focus more on his playing, and that's always a good thing, as Binney's innovative writing has sometimes overshadowed the fact that he's also a damn fine performer. Co-leading brings even greater breadth to the table, making In the Paint a first-time shared leadership with trombonist Alan Ferber another inspired pairing. Nearly 15 years Binney's younger, Ferber has been increasingly in the public eye on guitarist Charlie Hunter's succinct Gentlemen, I Neglected to Inform You You Will Not Be Getting Paid (Spire, 2010), bassist Todd Sickafoose's remarkable Tiny Resistors (Cryptogramophone, 2008) and percussionist/composer John Hollenbeck's equally outstanding Eternal Interlude (Sunnyside, 2009). He also guested on Binney's last album with Simon, Océanos (Criss Cross, 2007), but with In the Paint his voice is more definitive splitting compositional duties with Binney nearly down the middle, alongside an uncovered gem and three freely improvised alto/trombone duets that demonstrate the leaders' shared propensity for pulling surprising form from the ether. 

Despite being instantly recognizable, Binney's writing remains fresh and unpredictable. With a septet also featuring the twin-chordal attack of pianist John Escreet and vibraphonist Peter Schlamb, and a rhythm section powered by bassist Thomas Morgan and drummer Gerald Cleaver, the opening "Growin' Up" combines mixed meters and unhurried motivic development, built around unison lines that give way to knotty counterpoint, creating a propulsive, mid-tempo context for Binney's needle-threading solo. Ferber's title track is equally intricate, a syncopated bass line doubled by Escreet underpinning warm voicings and an equally unhurried melody that sets up an exhilarating alto solo that reaches comfortably into the horn's upper register before Ferber takes over, his burnished tone possessing a hint of grit as he lithely winds his way through the changes. Cleaver and Morgan swing with gentle authority on Binney's "Everybody's Wonderland," shifting seamlessly between 5/8 and 6/8, while Escreet takes a lengthy solo that confirms his status as another young player to watch. Schlamb, another up-and-comer, delivers an ethereal solo, filled with cascading lines, on Binney's "Paris," where darker colors support its serpentine melody. Unencumbered by preconception, Binney and Ferber engage on three spontaneous miniatures: the vivacious "Interlude I"; sparer "Interlude II"; and "Interlude III," where the two orbit around each other, occasionally intersecting. "Lautir" by the perennially overlooked woodwind multi-instrumentalist Makanda Ken McIntyre, best-known for his work with Eric Dolphy and Charlie Haden's Liberation Music Orchestra becomes a brief feature for Cleaver. Binney and Ferber's shared appreciation for complex yet eminently accessible writing performed by an ensemble rich in texture and a simmering rather than steaming approach makes In the Paint a captivating listen. A strong addition to Binney's discography, it's also clear notice that Ferber is an artist to watch beyond his inestimable appearances as a sideman. ~ John Kelman https://www.allaboutjazz.com/in-the-paint-david-binney-posi-tone-records-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Alan Ferber: trombone; John Escreet: piano; Peter Schlamb: vibes; Thomas Morgan: bass; Gerald Cleaver: drums.

In The Paint

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Alex Sipiagin - Images

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 51:02
Size: 117,6 MB
Art: Front

( 8:03)  1. Tarde
( 7:44)  2. Freaker
(11:57)  3. Little Dancer
( 3:26)  4. Song - 1
(12:34)  5. Novgorod Bells
( 7:15)  6. Midwestern Night Dream

"Alex Sipiagin is an amazing musician truly a multifaceted composer, arranger, producer, a wonderful lead trumpet player, and most of all, a completely original trumpet and flugelhorn soloist. As an improviser, he blends his Russian American background into something unique which, quite frankly, astounds me every time I hear him" ~ Randy Brecker, trumpeter. http://www.alexsipiagin.com/

Personnel: Trumpet, Flute, Producer, Arranged By – Alex Sipiagin; Alto Saxophone – David Binney; Bass – Scott Colley; Drums – Jeff Hirshfield; Guitar – Adam Rogers ; Piano, Accordion – Gil Goldstein; Tenor Saxophone – Chris Potter ; Trombone – Joshua Roseman

Images

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Donny McCaslin - In Pursuit

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:32
Size: 141,2 MB
Art: Front

( 4:13)  1. A Brief Tale
( 6:35)  2. Descarga
(10:00)  3. Madonna
( 8:10)  4. Sea Of Expectancy
( 5:11)  5. In Pursuit
( 4:34)  6. Village Natural
( 3:15)  7. Send Me A Postcard
( 7:47)  8. Fast Brazil
(11:42)  9. Festival In 3 Parts

In the follow-up to his critically acclaimed Soar (Sunnyside, 2006), saxophonist Donny McCaslin continues to evolve his interest in blending advanced jazz harmony and improvisation with world music in general, and the rhythms of Latin and South America in particular. But while Soar's core quintet expanded to a nine-piece at times, here it remains intact, with the addition of producer/altoist David Binney creating a consistent sextet that forges an even stronger group identity. It's also an album composed entirely by McCaslin. All but the opening "A Brief Tale was funded, in part, by Chamber Music America's New Works: Creation and Presentation Program, creating an even stronger musical narrative. All these essentials a funded compositional opportunity, fixed personnel and the chance to evolve previously introduced interests make In Pursuit an even better record, with outstanding performances by everyone involved. "A Brief Tale begins as a tenor/drums/percussion trio, but just past the half-way mark Ben Monder enters with an Afro-tinged guitar pattern that quickly leads to the rest of the group in the pool, with McCaslin's overdubbed tenor creating a rich and compelling sonority that's a definitive characteristic of the entire record. On "Descarga, bassist Scott Colley solos in tandem with percussionist Pernell Saturnino and drummer Antonio Sanchez, before leading into a gentle yet undeniable groove that drives McCaslin and Binney's contrapuntal theme, a blend of saxophones and flutes that's as appealing as it is challenging. McCaslin's tone is robust no matter where he is in the tenor's range and, while he's a passionate soloist, he's driven by internal motivic ideas that create a focused story with every solo. 

While the majority of the highly accessible In Pursuit is about fluid ideas combined with muscular weight, there are times when the sextet goes to unexpected places. The title track begins with an idiosyncratic tenor/alto unison theme, but dissolves into a middle section of greater freedom where it's hard to know who Monder, with his harshly overdriven tone or McCaslin, exploring the entire range of his instrument is in pursuit of whom. That this cadre of New York musicians, including everyone here and others like Chris Potter, Adam Rogers and Alex Sipiagin, are creating a larger discography that has a marked aesthetic still distinguishable by the leaders of individual projects is remarkable and with rare precedent. McCaslin and Binney have been working together since the days of their cooperative 1990s group Lan Xang, and when they play in unison here it truly feels like a single voice. Binney is becoming an increasingly in-demand producer also co-producing Colley's superb Architect of the Silent Moment (CamJazz, 2007) and is developing a distinctive voice in that capacity. Still, while his earmarks are all over In Pursuit, it remains undeniably McCaslin's record, evidence of rapidly growing compositional and playing skills that are positioning him as one of his generation's most important tenorists. ~ John Kelman https://www.allaboutjazz.com/in-pursuit-donny-mccaslin-sunnyside-records-review-by-john-kelman.php

Personnel: Donny McCaslin: tenor saxophone, flute, alto flute; David Binney: alto saxophone; Ben Monder: guitars; Scott Colley: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion.

In Pursuit

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Alex Sipiagin - Destinations Unknown

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 74:46
Size: 171,5 MB
Art: Front

( 8:35)  1. Next Stop - Tsukiji
(11:42)  2. Videlles
(11:52)  3. Tempest in A Tea Cup
(11:14)  4. Fermata Scandola
(11:30)  5. Calming
(12:50)  6. Fast Forward
( 7:00)  7. Meu Canario Vizinho Azul

Life on the road can often wear musicians down, but it can also inspire them to great heights. Trumpeter Alex Sipiagin's travels took him to Taiwan, Spain, Italy, France, Japan and Holland in the months preceding the recording session for this album in January, 2011 and each one of those locales helped to stir his creative impulses. This gripping session of heart-pounding jazz, which possesses the edge and attitude delivered by New York modernists, is the end result of a compositional process that began in each one of those distant places, and Sipiagin's sojourns in foreign lands helped to produce what may very well be his most bracing music yet. The three-horn frontline from the trumpeters' Equilibrium (Criss Cross, 2009), featuring alto saxophonist David Binney and tenor saxophonist Chris Potter, is reunited here, and sparks fly frequently. When all three men collide, they craft snaking lines that weave and bob in vibrant fashion ("Videlles"), but it only takes two to tango, as demonstrated by Potter and Binney on Sipiagin's "Fast Forward." Both saxophonists take pleasure in giving one another a near-simultaneous tongue-lashing as their flights of fancy reach fever pitch. 

While Sipiagin's shared history with both saxophonists certainly contributes to the frenetic-but-focused sound of the frontline, it's his relationship with the rhythm section that helps to shape the music from the ground up. Bassist Boris Kozlov and Sipiagin have shared more than record dates, with both men having attended the Gnessin Conservatory in Moscow together and rooming together after they came to the United States in the '90s, and Kozlov is completely locked into his longtime friend's musical mindset. His bass riffs help to establish direction in odd-metered surroundings ("Videlles" and "Fermata Scandola") and his hook-up with drummer Eric Harland is palpable. Harland who has worked with Sipiagin in bassist Dave Holland's sextet continues to be the sorcerer of kaleidoscopic groove-tweaking, as he constantly toys with the beat using expansive rhythmic ideals and his stellar technique to serve each song. Craig Taborn's Fender Rhodes often shimmers in a relaxed fashion, in deference to the more heated statements from the horn players, but he cooks albeit with a slightly lower flame when it counts ("Fermata Scandola"). When he switches to piano, as on the mystical and propulsive "Fast Forward," his playing takes on a paranoid intensity that fires up the rest of the band. While the lengthy works on this album prove to be complex labyrinths of time, space and sound, they never lose direction. Sipiagin's trumpet serves as the compass that always points in the right direction, as his band travels to Destinations Unknown. ~ Dan Bilawsky https://www.allaboutjazz.com/destinations-unknown-alex-sipiagin-criss-cross-review-by-dan-bilawsky.php

Personnel: Alex Sipiagin: trumpet; Chris Potter: tenor saxophone; David Binney: alto saxophone; Craig Taborn: piano, fender rhodes; Boris Kozlov: bass; Eric Harland: drums.

Destinations Unknown

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David Binney - Bastion Of Sanity

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:11
Size: 176,9 MB
Art: Front

( 8:02)  1. Lester Left Town
(11:00)  2. Try
( 5:11)  3. Plan
( 9:42)  4. Bastion Of Sanity
( 4:45)  5. Last Minute
( 6:34)  6. Heaven
(12:21)  7. Gesturecalm
( 9:13)  8. Right Before
(10:18)  9. PF

Kicking things off with Wayne Shorter's "Lester Left Town," Bastion of Sanity might seem a decidedly mainstream affair. And, with a cover of Duke Ellington's "Heaven" halfway through the 77-minute set, that intuition might be right. With his quartet of 20-somethings pianist Jacob Sacks, bassist Thomas Morgan and drummer Dan Weiss, augmented for this recording by long-time collaborator Chris Potter on tenor saxophone alto saxophonist David Binney has been concentrating on honing a looser, more freely improvised group sound at his weekly Tuesday night sessions at the 55 Bar in New York's Greenwich Village for over a year-and-a-half. But while there is more than a passing nod to the traditional on Bastion of Sanity , the recording also fits comfortably within a growing body of work that includes '01's South and last year's Welcome to Life , two recordings that feature a more established roster, including Potter, guitarist Adam Rogers, drummer Brian Blade, bassist Scott Colley and keyboardists Uri Caine and Craig Taborn, alternatively. Binney's own compositions, which make up the balance of this new set, have always leaned towards complex form and irregular metres that, while providing space for soloing, focus more on improvisation within a predefined structure. While idiosyncratic arrangements still abound on Bastion of Sanity , this is an altogether looser blowing affair, with Binney's young crew offering proof that there is an important new wave of young players emerging on the New York scene. "Try" may fit most closely with Binney's writing on Welcome to Life in its longer form and episodic nature. Still, Binney and Potter both get the opportunity for more expansive soloing. 

The more inward-looking "Plan," on the other hand, is a through-composed ballad that has its precedence in Wayne Shorter's "Nefertiti," with the horns repeating the theme while the rhythm section, in particular Weiss who demonstrates his depth of versatility here, as he did on guitarist Rez Abassi's recent Snake Charmer provides the improvisational impetus. The title track, even with its elliptical theme stated in unison by Binney and Potter a characteristic of much of Binney's writing opens up even further. With the stronger emphasis on swing that is arguably the foundation of this set, differentiating it from his other recordings, Binney demonstrates a rich vocabulary, echoing the darker tone of early influences including Gary Bartz and Bennie Maupin. More audacious than usual during his solo, Binney is supported only by Morgan, who, at 22, is already a remarkably mature player maintaining forward motion while, at the same time, being intuitively responsive and Weiss, whose light cymbal work is redolent of DeJohnette's early ECM work. On "Gesturecalm" Sacks mirrors the progressive approach of Andrew Hill while remaining firmly planted in the mainstream. Different than his other recordings, while at the same time completely in character, Bastion of Sanity finds Binney in a more open-ended context which he'll hopefully continue to explore alongside the more structured intricacies of his other work. ~ John Kelman https://www.allaboutjazz.com/bastion-of-sanity-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone; Chris Potter: tenor saxophone; Jacob Sacks: piano; Thomas Morgan: bass; Dan Weiss: drums.

Bastion Of Sanity

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David Binney - Welcome To Life

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 51:40
Size: 119,3 MB
Art: Front

( 5:41)  1. Soldifolier
( 7:27)  2. Welcome To Life
( 7:37)  3. Lisleil
(11:21)  4. Frez
( 4:16)  5. Our Time Together
( 7:33)  6. Sintra
( 4:44)  7. Enchantress
( 2:57)  8. Ici

Chris Potter, Brian Blade, Scott Colley, Craig Taborn, Adam Rogers, David Binney ultra-contemporary modern jazz composers, the latest winners in the Downbeat players poll, or jazzers deserving of a modicum of the hype swirling around the plus band of the moment? All of these, but also the list of participants on Binney's outstanding new Welcome to Life, issued on his own Mythology imprint. These all-stars have been at it for some time now, so this effort potentially marks their full transition in the minds of fans and critics alike from the "emerging" to the "established" category. In fact, all should be classified in the elite of the current vanguard, especially Binney, who released his first recording as a leader some fifteen years ago. Appearing on more than fifty recordings and gigging with everyone from Aretha to Zorn implies the wide-ranging skill set that Binney has perfected to deal with his modern jazz muse. "Welcome to Life" propels us into the moment with unison piano and bass, conveying the tenor and alto horn section forward. Stating strongly together initially, the horns then alternate leading and following, leaning out over a sparser rhythm section breakdown, adding tension before releasing back to the gallop. This technique also introduces Adam Rogers' angular electric guitar solo, brimming with his almost-futuristic phraseology, amalgamating without appropriating the electric guitar's history of influence. Craig Taborn's done much the same on piano, drawing freely on his choruses here from Powell, Monk, Hancock, Tyner, Corea, and Jarrett, while settling in on none. As players, all have that quality, drawing on the influences and inspiration of the greats to the point where lineage is broken and to the artistic place where chops become such a given they cease to matter. So much so, for instance, you won't be distracted by Rogers' expertise on acoustic slide or Binney's frightening facility on alto as notes blur into one, but rather become enraptured in the embrace of "Lisliel." Romance continues in the spiraling spell of the "Enchantress," spurred forward by Taborn's sequenced progression and lush voicings, abetting Rogers' bopped-out Martin steel and Colley's velvety turn. Binney's compositional acumen knows no stylistic bounds and leaves no loose ends, like "Frez," which seamlessly links M-BASE rhythmic explorations to ECM's pastoral lyricism. A sobering indication of the current state of jazz affairs is included on the jacket: "Please visit davidbinney.com , mythologyrecords.com and artistshare.com . Tell your friends, as this is our future as musicians and listeners. We are on our own, as individual artists to bring music to the world. Please support us if you like what you hear"-Welcome to Life indeed! Invigorating that someone like Binney can so openly articulate and confront where we're at. On a release of this caliber, this statement confirms what we should acknowledge things are going to get worse in the jazz marketplace before they get better. But with new standard-bearers like Binney and company firmly holding and boldly reinventing the mantle, things are bound to get better a whole lot faster.~ Phil DiPietro https://www.allaboutjazz.com/welcome-to-life-david-binney-mythology-records-review-by-phil-dipietro.php

Personnel: David Binney-alto, Chris Potter-tenor sax, Brian Blade-drums, Scott Colley-bass, Craig Taborn-piano, Adam Rogers-guitar

Welcome To Life

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Ray LeVier - Ray's Way

Bitrate: MP3@320K/s
Time: 61:51
Size: 141.6 MB
Styles: Contemporary jazz
Year: 2008
Art: Front

[5:33] 1. Ray's Way
[4:03] 2. Manahatta
[9:23] 3. You Never Know
[5:45] 4. Song For Nury
[8:04] 5. Blues In The Closet
[8:23] 6. Bait Tone Blues
[7:21] 7. Ralph's Piano Waltz
[5:48] 8. Echoing
[7:27] 9. Wing And A Prayer

DAVE BINNEY - saxophone (1,3,4,6); FEDERICO TURRENI - soprano sax (8); JOHN ABERCROMBIE - guitar (1,2,4,7,8); MIKE STERN - guitar (3,5,6,9); JOE LOCKE - vibes (1,2,4,7,8); FRANCOIS MOUTIN - bass (1,2,3,4,6,7,8); NED MANN - bass (5,9); RAY LEVIER - drums.

New York drummer Ray LeVier brings together some of the world?s most creative jazz voices for his debut recording as a leader. With guitarists Mike Stern and John Abercrombie, saxophonist Dave Binney, vibist Joe Locke, and Francois Moutin on bass, among others, LeVier has produced a stirring and cohesive album of original music. From the hard-hitting grooves on several of Mike Stern's contributions to the flowing and fresh reading of John Abercrombie?s classic "Ralph's Piano Waltz," "Ray's Way" stands as an inspired introduction to a gifted composer, drummer and producer.

Ray's Way

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David Binney - Barefooted Town

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 55:28
Size: 127,6 MB
Art: Front

( 9:42)  1. Dignity
( 7:25)  2. Seven Sixty
(10:51)  3. The Edge of Seasons
( 7:42)  4. Barefooted Town
( 7:35)  5. Secret Miracle
( 5:22)  6. A Night Every Day
( 6:48)  7. Once, when she was here

Politics isn't the only thing that increasingly demands clear vision and steadfast commitment (even if it isn't getting it). In the jazz world where the changing landscape makes getting heard one challenge, acceptance by a broader culture that views "jazz" as a dirty word another it takes artists with unshakable resolve to stay the course. David Binney has not only honed an instantly recognizable compositional language without the trappings of predictability, he's become a mentor for younger artists, mixing and matching from a gradually increasing cadre of players. Binney continues alternating between releases on his own Mythology label where the saxophonist has the luxury of time to fashion ambitious work like Graylen Epicenter (2011) and more reductionist sets for The Netherlands' Criss Cross label, where just one day to record means the altoist has to make, if not concessions, then certainly compromises. On the basis of Barefooted Town, however, whatever Binney sacrifices to get everything done in eight hours in no way dilutes the strength of his message. It's no lighter on the compositional front than the broader palette of his Mythology recordings are in retaining the kind of open space necessary to maximize the people with whom Binney regularly collaborates.

Binney brings back a number of players with whom he's worked increasingly in recent years, in particular Dan Weiss, who's been on all of Binney's Criss records since 2005's Bastion of Sanity, and for good reason: there seems little this drummer can't do, effortlessly combining cymbal-driven delicacy with more powerful twists and turns on the episodic "The Edge of Seasons." Initially waxing lyric, the 11-minute piece shifts, just as quickly, to an almost funky thematic section of layered meters before opening up to an extended solo from Binney newcomer David Virelles, suggesting that this pianist largely associated with Cuban music, but clearly possessing a much broader reach combines lithe linear dexterity with choppy chords informed by his roots, but taken much farther than past collaborators ever made possible. The three-horn frontline combines, on the inevitably building title track, long-toned melodic baton-passing with unison and occasionally expanding harmony as a foundation for Weiss' equally patient marvel of a constructed solo, with Mark Turner's subsequent spot making this tenor saxophonist's relatively below-the-radar position all the more curious. More than just a distinctive writer, Binney proves similar virtuosic mettle on "Secret Miracle," sharing the solo space with trumpeter Ambrose Akinmusire on another piece that, despite its mathematical idiosyncrasies, flows naturally; its melody so singable that Binney adds his voice to the mix, as he does at the end of the title track. The horns rarely stray from playing unison doing otherwise might dilute the intrinsic strength of Binney's constructed themes with the exception of "A Night Every Day," where overlapping lines create shifting harmonies, and the intertwining duality of the powerful opener, "Dignity." Binney may create music of no small compositional complexity, but at its core is a lyricism so strong that, amidst impossible to ignore ensemble and solo performances, Barefooted Town's greatest strength may well be in its unforgettable melodies, which remain unforgettable, long after it's over. ~ John Kelman https://www.allaboutjazz.com/barefooted-town-david-binney-criss-cross-review-by-john-kelman.php

Personnel: David Binney: alto saxophone, voice; Ambrose Akinmusire: trumpet; Mark Turner: tenor saxophone; David Virelles; piano; Eivind Opsvik: bass; Dan Weiss: drums.

Barefooted Town

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David Binney - The Time Verses

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 65:58
Size: 153,6 MB
Art: Front

( 0:26)  1. Dawn
(10:56)  2. Walk
( 5:11)  3. Arc
( 0:25)  4. Morning Tide
( 8:58)  5. Strange Animal
( 7:26)  6. Seen
( 0:25)  7. Noon Tide
( 6:08)  8. The Reason To Return
( 6:12)  9. Time Takes It's Time
( 0:19) 10. Evening Tide
(11:24) 11. Where Worlds Collide
( 6:17) 12. Fifty Five
( 1:16) 13. Arc Reprise
( 0:27) 14. Dusk

A slightly different album than usual from saxophonist David Binney a set that still features plenty of the leader's great work on alto sax, but which also includes a few electric textures, and sampled sonic moments elements used sparely, on short tracks before the main instrumental moments but in a way that adds a nice degree of color to the record, but without getting in the way of the jazz performance! The piano of Jacob Sacks is also a key part of the album's sense of sound and the core group also features Eivind Opsvik on bass and Dan Weiss on drums. Jen Shyu joins on vocals for the track "Seen" and other titles include "Fifty Five", "The Reason To Return", "Dawn", "Arc", "Strange Animal", and "Time Takes Its Time". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/824766/David-Binney:Time-Verses

Personnel:  David Binney (Saxophone);  Jacob Sacks (Piano);  Eivind Opsvik (Bass);  Dan Weiss (Drums).

The Time Verses

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Joel Harrison & Anupam Shobhakar, Multiplicity - Leave The Door Open

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 59:09
Size: 136,6 MB
Art: Front

( 9:50)  1. The Translator
( 7:04)  2. Leave The Door Open
( 8:06)  3. Madhuvanti
(11:27)  4. Mulitplicity
( 6:20)  5. Spoonful
( 3:19)  6. Kemne Avul
( 3:24)  7. Turning World
( 3:48)  8. Devil Mountain Blues
( 5:46)  9. Deep River

If but a single word must describe guitarist/composer Joel Harrison it's restless; one look at his discography, from his "breakthrough" Free Country (ACT, 2003) to the 19-piece big band of Infinite Possibility (Sunnyside, 2013) and it's clear that this Guggenheim Fellowship Award winner isn't content in any one place for long. Leave the Door Open may be his first album of 2014 and yet another departure, this time exploring an improv-heavy kind of world music sourced from the East and West in collaboration with Indian sarodemaster Anupam Shobhakar but there's another album on the horizon that focuses on Harrison the guitarist (Mother Stump, coming on Cuneiform in May), and yet another already in the can, equally different, and looking for a label.  Harrison's work is always collaborative, but other than covering classic songs from the past, more often than not the guitarist is the sole composer. Leave the Door Open is, then, another anomaly in a career filled with them: a recording that splits compositional duties with Shobhakar in a group called Multiplicity, in addition to bringing in some unique interpretations of an old blues standard, one rearranged piece each from the American and Indian traditions, and a collaborative composition from the two leaders. It's a heady brew that doesn't so much find a meeting point where East and West meet as it does blow the door open between the two, allowing the music to seamlessly ebb and flow from and towards both sides, creating something that's the sum total of both but equally reverent to their individual touchstones.

As ever, Harrison's choice of band mates is astute: the ever versatile keyboardist Gary Versace brings harmonic abstraction and rich color, few able to touch his ability to get past the Hammond organ's soul-drenched jazz tradition and employ it in a more purely textural fashion adaptable to any context; bassist Hans Glawischnig's associations may, more often, be better known than he is, but whether playing in trio with Donny McCaslin or exploring Puerto Rican plena music with Miguel Zenon, he's proven a flexible and creative anchor; drummer/tablaist Dan Weiss may be the most intrinsically suited, having studied Indian music extensively, migrating a traditional tabla solo to drum kit on Tintal Drum set Solo (Chhandayan, 2005). Guests include saxophonist David Binney, who elevates Harrison's opening epic "The Translator" with a solo that picks up where Versace's combination of virtuosity and thematic construction leaves off, shooting it into the stratosphere as the pianist, Glawischnig and Weiss provide the extra boost. But Multiplicity really belongs to Harrison and Shobhakar, whether exploring the meshing of Shobhakar's microtonally capable sarode with electric guitar (Harrison's dark-hued title track); turning to Eastern linearity (Shobhakar's "Mudhuvanti"), the composer's solo building to a whirling dervish of a climax only to later engage in an incendiary, set-defining duet with Weiss; or re-harmonizing bluesman Willie Dixon's classic "Spoonful" into a lyrical ballad where Shobhakar's viscerally bent notes blend seamlessly with Harrison's National steel guitar slide.  With Harrison and Shobhakar's stylistic confluence, intuitive interpretive skills and compelling compositional abilities, Leave the Door Open is a Harrison project that, hopefully, won't be a one-time affair. ~ John Kelman https://www.allaboutjazz.com/leave-the-door-open-joel-harrison-whirlwind-recordings-ltd-review-by-john-kelman.php
 

Personnel: Joel Harrison: electric, National steel, acoustic and baritone guitars; Anupam Shobhakar: sarode; Gary Versace: piano, Hammond B-3organ, accordion; Hans Glawischnig: acoustic and electric bass; Dan Weiss: drums, tabla; David Binney: alto saxophone (1, 3); Todd Isler: percussion (6, 8); Bonnie Chakraborty: voice (6); Chandrashekar Vase: voice (4).

Leave The Door Open

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Joel Harrison - Urban Myths

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 55:38
Size: 128,9 MB
Art: Front

( 6:35)  1. You Must Go Through a Winter
( 6:06)  2. 125 and Lenox
(11:18)  3. Mood Rodeo
( 7:58)  4. Last Waltz for Queva
( 6:19)  5. Straight No Chaser Variatioons
( 8:44)  6. Between the Traveler and the Setting Sun
( 5:00)  7. Urban Myths
( 3:35)  8. High Expectation Low Return

With a string of outstanding records that began with his personal look at the music of George Harrison on Harrison on Harrison (HighNote, 2005), continued with an all-original pairing with guitarist Nguyen Le on Harbor (HighNote, 2007) and culminated with the ambitious The Wheel (Innova, 2008), guitarist Joel Harrison has, over the last few years, been setting an increasingly high bar both compositionally and as a player.Most remarkable is that he's managed, each time, to reach that bar and, in many cases, surpass it. Urban Myths may be an homage of sorts, but it still possesses his personal imprint, avoiding the retro feel of so many others of its kind. Instead, this largely original tribute to electric music of the mid-to-late '70s from legends including Joe Zawinul, Herbie Hancock, Wayne Shorter and John McLaughlin is as modern as they come, while still unmistakably referencing the music that Harrison grew up with back in the day.

Urban Myths has grooves aplenty, but they're couched in the kind of episodic writing that's been an increasing Harrison trademark, turning what is largely an impressive blowing session for friends including altoist David Binney and über-violinist Christian Howes into a series of intriguing compositions that transcend mere heads or vamp-based jams. What traces of Harrison's influences exist are so subsumed in his expansive approach to writing that they're more elemental than direct. Not unlike Binney, Harrison finds new ways to couch his roots in complex structures, as on the fiery "You Must Go Through a Winter," where Howes' fervent solo is supported by the relentless energy of bassist Stephan Crump and drummer Jordan Person. The groove gets darker and greasier on "125 and Lenox," with a staggered melody that concurrently references Shorter and, during Daniel Kelly's Rhodes solo, Headhunters-era Hancock though the rhythm section's open-ended approach is like nothing either artist did in the day. "Mood Rodeo" finds an odd nexus between mid-'70s Miles Davis and Jean-Luc Ponty's irregular metered fusion again, despite sounding like neither of these players, with writing of far greater compositional weight. "Last Waltz for Queva" may be a countrified ballad, but its innate lyricism goes beyond western roots with a melody that's sophisticated yet simple; a tad oblique, but equally memorable and singing.

Harrison delivers some of his best solos to date. His blues-drenched Telecaster on "Last Waltz" navigates its gospel-inflections with deep feeling, while his massively overdriven solo on "125 and Lenox" is the definition of reckless abandon; a visceral foil for solos throughout from Binney and Howes that match Harrison's unbridled passion and clear invention. Urban Myths may appear, on the surface, less challenging than Harbor or The Wheel, but Harrison nevertheless manages to create a more contemporary tribute to decade-old music more often aimed at lengthy soloing. Skewed as only Harrison can, Urban Myths is an homage with a difference, and continues to assert his growing reputation as a writer and performer of great significance. ~ John Kelman https://www.allaboutjazz.com/urban-myths-joel-harrison-highnote-records-review-by-john-kelman.php
 

Personnel: Joel Harrison: guitar; David Binney: alto saxophone; Christian Howes: violin; Daniel Kelly: keyboards; Stephan Crump: acoustic bass; Jordan Person: drums; Fima Ephron: electric bass (2, 8); Ambrose Akinmusire: trumpet (4, 5, 7); Corey King: trombone (4, 5, 7); Jerome Sabbag: tenor saxophone (4, 5).

Urban Myths

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Stan Killian - Unified

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(7:30)  1. Twin Dark Mirror
(8:17)  2. Elvin's Sight
(6:32)  3. Unified
(9:30)  4. Center
(6:42)  5. Isosceles
(7:52)  6. Window Of Time
(7:01)  7. Eternal Return

Unified is tenor saxophonist Stan Killian's third album and his debut for the Sunnyside label. It's high-quality, straight-ahead modern jazz, played with a real swing by Killian and his band, and enlivened by the contributions of three top-drawer guest horn players. Leader/composer Killian hails from Texas, home of Texas tenors like Arnett Cobb and Illinois Jacquet. Killian's own sound certainly has a big, wide open, feel to it but there's a gentleness there as well, a warmth and friendliness of tone. Venezuelan pianist Benito Gonzalez has a lightness of touch that enables him to create some delicate but swinging solos, as well as some finely tuned rhythms. Killian and Gonzalez play on all seven tunes, interlacing their instrumental lines with a skill and confidence that suggests a longstanding musical relationship. Bassists Corcoran Holt and Bryan Copeland, and drummers Darrell Green and McClenty Hunter share rhythm section duties. Whatever the combination of players, each of the quartets is impressive in its own right the rhythm playing of Gonzalez, Hunter and Holt that underpins Killian's lyrical solo on "Center" being particularly fine. The addition of a guest player to each of the numbers simply puts icing on the musical cake.

The three guest musicians on Unified are all bona fide stars of modern jazz and they more than repay Killian's invitation. Of the two trumpeters, Jeremy Pelt's brighter sound is a fine contrast to Killian's. Roy Hargrove's tone is a little warmer, less bell-like, and complements rather than contrasts with the tenor player. David Binney adds alto sax to three numbers, his sound also complementing Killian and adding depth to their unison playing. On Gonzalez's "Elvin's Sight" dedicated to drummer Elvin Jones and featuring excellent percussion from Green the pair swings beautifully, while on the hauntingly dreamlike "Unified," both saxophonists give controlled but emotionally engaging performances. The guests on Unified all play beautifully, and their presence certainly attracts attention. But Killian's own contributions as lead musician/writer are stylish and engaging, and the core quartets on the album demonstrate their ability to stand alone as musical ensembles , just as the album title suggests. ~ Bruce Lindsay https://www.allaboutjazz.com/unified-stan-killian-sunnyside-records-review-by-bruce-lindsay.php
 

Personnel:  Stan Killian: tenor saxophone;  Benito Gonzalez: piano;  Corcoran Holt: bass (1, 4, 5, 7);  Bryan Copeland: bass (2, 3, 6);  Darrell Green: drums (1-3, 5, 6);  McClenty Hunter: drums (4, 7);  Roy Hargrove: trumpet (1, 5);  Jeremy Pelt: trumpet (4, 7);  David Binney: alto saxophone (2, 3, 6).

Unified

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David Binney - Balance

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 60:13
Size: 142,5 MB
Art: Front

(6:35)  1. Balance
(4:55)  2. Marvin Gaye
(6:49)  3. Arlmyn Trangent
(7:50)  4. I'll Finally Answer
(1:34)  5. Midnight Sevilla
(5:39)  6. Speedy's 9 Is 10
(5:25)  7. We Always Cried
(4:18)  8. Lurker
(4:44)  9. Rincon
(4:18) 10. Fidene
(3:06) 11. Arlmyn Trangent Reliv
(4:54) 12. Perenne

Alto saxophonist David Binney's follow-up to his extraordinary CD South offers a different approach overall while retaining the fresh contemporary style that underlines his status as an innovator and unique voice. Pianist Uri Caine is retained, drummer Jim Black takes over for Brian Blade, tenor saxophonist Donny McCaslin teams with Binney on two tracks, Tim LeFebvre is a new addition on electric bass guitar, and Wayne Krantz is in for Adam Rogers on electric guitar. To Binney, balance is an elusive commodity, and nearly impossible to maintain. His love for the fusion and funk music of the '70s is translated into modern terms and gradations. On the high-end level of complexity, the title track displays repeat themes in varying modes and shifting accented tempos, mixed meters, and a funky underpinning completely slowing on the bridge. The chase is on during "Speedy's 9 Is 10" with Binney and McCaslin in hot pursuit, interrupted by the steel guitar of Rogers during his lone cameo appearance on the CD with bassist Fima Ephron. A wild dissected funk delivered by Black during "Fidene" is shaded by creature-feature and groping electronic sounds. There are a few soul ballads that frame Binney's tart alto better than the larger group pieces, and Caine's pretty piano is also showcased in "We Always Cried" and "Perenne." An expanded ensemble with guest Peck Almond elicits clarion calls in 10/8 time during the short "Midnight Sevilla," and there are two takes of the fun and funky "Arlmyn Trangent," again with the wonderful McCaslin. Black is a constant source of rhythmic drive and inventiveness, giving Binney a large palette to paint broad color strokes. While not as vital as South, Balance is a worthy addition to the discography of one of the top performers in modern progressive jazz.~Michael G.Nastos http://www.allmusic.com/album/balance-mw0000998909

Personnel:  Alto Saxophone – Jon Haffner (tracks: 1);  Alto Saxophone, Tenor Saxophone – David Binney;  Bass – Fima Ephron (tracks: 6, 11), Tim Lefebvre;  Brass – Peck Almond;  Drums – Jim Black;  Guitar – Adam Rogers (2) (tracks: 6,12), Wayne Krantz;  Piano, Synthesizer – Uri Caine;  Sounds [Broom] – Kenny Wollesen (tracks: 12);  Tenor Saxophone – Donny McCaslin (tracks: 5,6,8,9);  Vocals – Tanya Henri

Balance

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Leila Olivesi, David Binney - Utopia

Styles: Contemporary Jazz
Year: 2015
File: MP3@320K/s
Time: 56:16
Size: 129,2 MB
Art: Front

(6:27)  1. Le Monde De Cyrano (feat. David Binney)
(6:42)  2. Sunland (États Et Empires Du Soleil)
(6:30)  3. Night and Day
(9:29)  4. Revolutions
(8:01)  5. Con Calma (feat. David Binney)
(6:11)  6. Symphonic Circle (feat. David Binney)
(7:46)  7. Lune (États Et Empires De La Lune) [feat. David Binney]
(5:07)  8. Summer Wings

For her fourth album as a leader, pianist and vocalist, Leila Olivesi takes her inspiration from Etats et Empires du Soleil et de la Lune, a novel by 17th Century writer Cyrano de Bergerac. Combining social criticism, adventure novel and philosophical discourse, it is a major work of the time and it foreshadows science fiction. Olivesi's Utopia is a similarly modern work written in the universal language of music. 

She is joined by Manu Codjia on guitar and Yoni Zelnik on bass, and American saxophonist David Binney for three tracks. ~ Editorial Reviews http://www.amazon.com/Utopia-Leila-Olivesi/dp/B00TE80ZZO

Personnel:  Alto Saxophone – David Binney (tracks: 1, 5 to 7);  Contrabass – Yoni Zelnik;  Drums – Donald Kontomanou;  Guitar – Manu Codjia;  Piano – Leïla Olivesi;  Vocals – Leïla Olivesi (tracks: 2, 5)

Utopia

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