One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

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Dmitry Baevsky - The Composers

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 53:07
Size: 122,9 MB
Art: Front


(6:30) 1. Ojos de Rojo
(6:12) 2. Gaslight
(5:52) 3. Mister Chairman
(5:29) 4. To Whom it May Concern
(7:37) 5. Self Portrait (of the Bean)
(6:15) 6. Swift As the Wind
(4:17) 7. Smoke Signal
(6:02) 8. Three Wishes
(4:49) 9. Tears Inside

Personnel: Dmitry Baevsky: alto saxophone; Peter Bernstein: guitar; David Hazeltine: piano; John Webber: bass; Jason Brown: drums.

The Composers

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Joe Magnarelli - Persistence

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 57:16
Size: 132,2 MB
Art: Front

(6:06)  1. Presistence
(7:59)  2. the Village
(7:01)  3. I Had the Craziest Dream
(6:10)  4. D Train Boogaloo
(9:36)  5. Haunted Heart
(6:34)  6. You and the Night and the Music
(5:41)  7. Ballad for Barretto
(8:06)  8. Soul Sister

The stark black and white cover photo of trumpeter Joe Magnarelli peering out at you from the cover of Persistence emits a brooding and a blandness that is light years away from the robust, enjoyable musical experience offered by the music on the disc itself. Magnarelli, a first-call trumpeter among first-callers, leads an exciting group of other New York musicians (stars all) in eight selections originals and standards that are both intriguing and satisfying. There is such a sense of spontaneity and excitement in this recording that it gives the impression of being recorded live: each tune has that wonderful on-the-edge sense to it. "Persistence," the first cut (and one of five Magnarelli originals), sends you back in jazz time to a smoke-filled, excitement-laden, 1960s Blue Note session. After a hip intro and a Kenny Washington drum fill with echoes of Max Roach, the quintet steams ahead on the head. Heavenly shades of Art Blakey and the Jazz Messengers inspire the team as they roll it out for hard bop at its hottest. It's clear, as he fires away on his tasteful solos, that Magnarelli has regularly visited the jazz trumpet pantheon and tuned his ear to the greats. He is a player of excitement, inspiration, fire and control. The band is impeccable too. 

Baritone saxophonist Gary Smulyan shines throughout the session; his bellowing sound is never too heavy to swing. Washington's cymbal work is fireworks, worthy of Tony Williams. Pianist David Hazeltine fits in beautifully, both when comping and playing some marvellously engineered solos. Bassist Peter Washington is supremely solid always right there. "The Village" lays down an easy bossa nova groove under a lazy, carefree melodic line. Hazeltine builds a tasteful solo. No dragging here, only sway. Magnarelli cascades over the horn and constantly surprises the listener, never falling into cliche or hollow pyrotechnics in lieu of inspiration. Reaching into the Great American Songbook, "I Had the Craziest Dream" spotlights Magnarelli's beautiful soft swing approach. There's no hokey here, no schmaltzy vibrato or syrupy swinging. This track is on a par with a classic version by trumpeter Jack Sheldon. Magnarelli is pure taste. He uses rhythm and melody to construct his solos. Hazeltine's solo is a gem (catch the "Stella By Starlight"-copped cliche: cute!) There's a nice Washington solo too. "D Train Boogaloo," a funky blues head, sidewinders over a go-go beat and a Lee Morgan quote, spectacularly so. 

You can bet there are aspiring trumpeters out there who right now are transcribing, copping and wood-shedding Magnarelli licks. The Dietz-Schwartz standard "Haunted Heart" is given a bluesy feel. Magnarelli carries the lead with Smulyan haunting us with a second melodic take and a marvelously lyrical solo. The extended lines intrigue. Hazeltine's comps and interplay with the soloists are perfection before he goes tasteful on his own. The non-related Washingtons capitalize here together. "You and the Night and the Music"and the race flag! Magnarelli's Dizzy Gillespie ish Harmon mute work fires at a tempo reminiscent of Clifford Brown's "Cherokee" he even throws in a Brown lick drawn from that classic's intro. Magnarelli spent many years performing with the great bandleader Ray Barretto. His "Ballad for Barretto" has such a beautifully classic melodic approach similar to Benny Golson's "I Remember Clifford" that other instrumentalists will probably embrace this tune down the jazz road. 

Triple-metered over "Body and Soul" chord changes, "Soul Sister" opens with Magnarelli and Smulyan lightly carrying the melody. The superimposition of new melodic material over standard harmonic changes is as old as jazz. For Magnarelli to use his marvelous compositional chops to take such a standard and turn it into a hip waltz is slick genius. There are no gimmicks in Persistence. Magnarelli and his colleagues sound comfortably secure in themselves. All have paid dues in the shed, studios and pits, on the road and wherever. It's that persistence that results in performance perfection. Magnarelli presents us with an honest, no frills attempt at that goal. And, yes, he does indeed come close. Very, very close. A terrific, persistently satisfying disc. ~ Nicholas F.Mondello https://www.allaboutjazz.com/joe-magnarelli-persistence-by-nicholas-f-mondello.php

Personnel: Joe Magnarelli: trumpet; Gary Smulyan: baritone saxophone; David Hazeltine: piano; Peter Washington: bass; Kenny Washington: drums.

Persistence

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David Hazeltine - Blues Quarters, Vol.2

Styles: Piano Jazz, Hard Bop
Year: 2007
Time: 61:25
File: MP3 @ 320K/s
Size: 140,6 MB
Art: Front

(5:57) 1. Moment of Joy
(7:21) 2. But Here's the Thing
(7:03) 3. Inner Circle
(5:16) 4. Goin' Out of My Head
(7:56) 5. Embraceable You
(6:42) 6. Unforgettable
(6:20) 7. Suddenly It's Spring
(6:57) 8. The Second Blues Quarters
(7:49) 9. Blues for Us

A lot of water has passed under the proverbial bridge since the last time that David Hazeltine got together with Eric Alexander for the initial 1998 session billed as Blues Quarters Vol.1 (Criss 1188). As strong a showing as the pianist and his cohorts made on that initial release, I think all would agree this latest incarnation is even better, imbued with a maturation and musical camaraderie that has further developed due to countless numbers of gigs undertaken in the intervening years.

It's also interesting to ponder the fact that Hazeltine, Alexander, bassist Peter Washington, and drummer Joe Farnsworth have all built very prosperous careers over the past several years and have done so in a manner that is somewhat left of center from the norm. Historically, jazz musicians have gained prominence either through the forging of completely new paths that can also hold traps for alienating an audience or by recreating former styles in a retro manner that puts originality at a lesser premium. But while Hazeltine and his cohorts have steered clear from avant-garde leanings, preferring to work squarely within the bop tradition, they have expanded upon and refined the constraints of the mainstream in a way that has led to revitalization of a style that threatened to stagnate during the "young lions" craze of the late '80s and early '90s.

One of the incubators for this new music has been the group One For All, a sextet of leaders including Hazeltine and his friends from the disc at hand, the collective just recently celebrating an unprecedented ten-year run that culminated in its recent album The Lineup being honored as Recording of the Month in the November 2006 issue of Stereophile magazine, a prize usually reserved for classical or other more obscure releases. In his review of the disc, Robert Conrad commented strongly on the "headlong plunging urgency" of the music that he avows would not be possible without the "world-class blue-collar rhythm section [including] Hazeltine and Farnsworth." The point being that it is this same chemistry and common sense of purpose that makes Blues Quarters Vol.2 such a satisfying recital.

Like the first set, this latest offering goes for a combination of original tunes and some well-picked standards, but with an additional twist. On several tracks, the Latin rhythms of conguero Jose Alexis Diaz provide further seasoning that is aided and abetted by Hazeltine's coy arrangements. A veteran of New York's Latin scene, Diaz has been heard with many giants of the music including Tito Puente and Mario Bauza and can also be found on At the Main Event (Criss 1070) by trumpeter Brian Lynch.

"Moment of Joy" gets things started on a sunny note, this easy-going swinger boasting an atypical form with eight bars of an opening theme followed by a twelve-bar release that is then repeated. Statements by Alexander and Hazeltine precede a short testimonial by Washington, who proves not only to be a confident supporting player throughout but also a highly musical soloist.

Diaz makes his first appearance on the smoldering "But Here's the Thing," an Afro-Cuban groove that is built around sections of varying length, although the solos stick closely to the basic 16-bar structure of the head. Eric leads off with a typically refined solo full of rhythmic variety and textural variations such as upper register shouts and cries. Hazeltine follows before turning things over to Diaz, who blows over a percolating vamp with Farnsworth's rim clicks marking the clave.

Eric Alexander contributes "Inner Circle," a medium tempo number with a basic 24-bar form. This time around, Hazeltine takes the first several choruses before handing it off to Alexander. The two then take turns trading four bar exchanges with Farnsworth, an especially musical drummer who can always be counted on for statements that rely more on cogent phrasing and rhythmic resourcefulness than on mere displays of technical flash.

An iconic number directly associated with the feel good music of the 1960s, "Goin' Out of My Head" first hit the pop charts as performed by Little Anthony and the Imperials. Later, guitarist Wes Montgomery would see its potential for jazz fodder in a 1965 version arranged by Oliver Nelson. Alexander sits out on this one, but Diaz is back to help establish a lightly swinging bossa beat. This is just one example of Hazeltine's expertise in updating pop tunes of the '60s and '70s, an area which lately seems to have become his specialty.

Often considered the perfect litmus test for determining a jazz musician's potential for interpreting a ballad, "Embraceable You" is also one of George and Ira Gershwin's best-known pieces, the 1944 gem making its debut in the film Girl Crazy. Alexander delivers the melody with an appropriate degree of warmth and immediacy before the pace quickens at the start of Hazeltine's first solo chorus. The tempo stays up for Alexander's entrance and soon he's using the opening phrase as a launching point for further development, his unaccompanied cadenza bringing things in for a smooth landing.

"Unforgettable" will always be closely associated with Nat King Cole, his original version peaking as high as #12 on the Billboard charts back in 1952. Subsequent performances would include those by pianist Dick Hyman and vocal great Dinah Washington, but neither of these pack quite the visceral punch of Hazeltine's sagacious reworking here. With Diaz again on congas, the pace quickens for a fine series of solos from Alexander, Hazeltine, and Diaz in that order.

Looking for a number in waltz tempo, the quartet settles on "Suddenly, It's Spring," a seldom-heard standard that nonetheless can be heard in several jazz incarnations by instrumentalists such as Zoot Sims and Stan Getz and by several vocalists including Frank Sinatra and Chris Connor. Farnsworth's Latinesque embellishments accompany an opening vamp that subsequently leads into Alexander's delivery of the melody, the overall mood not unlike that of McCoy Tyner's "Three Flowers."

The universality of the blues that also happens to give the disc its title makes it presence strongly felt on the concluding two numbers. ""Blues Quarters 2" and "Blues for Us," the former not technically a blues and the latter definitely of the 12-bar variety, both make the most of one of the music's oldest and more enduring forms with some fluent soloing from everyone on board.

Of course it goes without saying that jazz has continued to struggle to find its place within a market that has changed dramatically over the past few years. In many ways, the presentation of jazz recordings from a historical perspective is directly opposed to current technological favorites such as iPods and MP3s. Because of this, it's doubtful that many jazz fans are looking to cram as many "tunes" into their pods as they can. Hazeltine and his close circle of friends have the opportunity to turn the tables on this current state of affairs as they continue to make music of the highest caliber. Blues Quarters 2 joins an already impressive body of work that is sure to stand the test of time even as the times are rapidly changing. By C. Andrew Hovan https://www.allaboutjazz.com/david-hazeltine-blues-quarters-vol2

Personnel: David Hazeltine (p), Eric Alexander (ts), Peter Washington (b) & Joe Farnsworth (d) plus Jose Alexis Diaz (congas on #2, 4 & 6)

Blues Quarters, Vol.2

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One for All - Big George

Styles: Straight-ahead/Mainstream
Year: 2024
Time: 59:17
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(6:59) 1. Chainsaw
(6:20) 2. In the Lead
(5:32) 3. Edgerly
(8:41) 4. Oscar Winner (feat. George Coleman)
(7:02) 5. My Foolish Heart (feat. George Coleman)
(6:39) 6. This I Dig of You (feat. George Coleman)
(6:08) 7. Cove Island Breeze (bonus track)
(5:53) 8. The Nearness of You (bonus track)
(5:59) 9. Leemo (bonus track)

The NYC-based ensemble One For All has carried the post bop mantle for over 25 years, featuring some of the most consistently solid musicians in recent memory: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, and drummer Joe Farnsworth, usually including bassist John Webber. A new album is always an event for the group’s longtime fans (like me), and I am happy to report that Smoke Sessions’ Big George, including the sax great George Coleman, finds them, and their guest, in good form.

Big George is meant as an homage to Coleman, who is often cited as a significant influence on a generation of players. Beloved among the NYC jazz clientele, the veteran saxophonist dominates the center portion of the new collection, including a terrific improvisation on the classic “My Foolish Heart,” which should be an early candidate for solo performance of the year.

As for the others, Rotondi’s appearance in the midst of a two-year recording splurge finds him as sharp as ever; Alexander, coming off an under-noticed alto excursion, holds tenor sway while respectfully stepping aside as Coleman demonstrates his lasting excellence; Davis continues his growth both in playing and composing; Hazeltine comps with the best and delivers tasteful solos that always mesh with the groove; and Farnsworth, especially, is energized and in his glory as a masterful support for people he clearly cherishes. Webber, as he has done in the past (notably during the band’s Criss Cross era) provides his own solid supportnothing fancy, but just right.

The album seems to be organized like a live event: the first three songs feature the classic ensemble; Coleman joins for three more; then the band closes out, nine selections in all lasting just under an hour.

Alexander’s “Chainsaw,” with a funky ambiance, sounds like a Lee Morgan outtake. Rotondi wastes little time reestablishing himself as a stalwart trumpet lead. Alexander and Davis follow with their own statements while Farnsworth embellishes the beat with Higgins-like precision.

Hazeltine’s “In the Lead” carries a soft Bossa cadence into a swinging post bop display led by Alexander. Again the remaining soloists add commentary while the energetic Farnsworth pounds away.

“Edgerly” is Davis’s composition and first lead solo, a lyrical statement matched by Rotondi’s response, Alexander’s relay run, and Hazeltine’s brief solo before Farnsworth bridges the proceedings.

Coleman is then called to the ‘stage’ for “Oscar Winner,” which became more appealing to me as a metaphoric representation of an actual award ceremony. The ensemble pronounces the theme music, and then Big George gives an acceptance speech when I imagined him being that winner, his solo took on a Clark Terry sheen as a colloquially grateful achiever. Davis then appears, perhaps, as the film producer, and the others as supporting cast.

But “My Foolish Heart” is the show stopper, even if the tune has been recorded over and over again. Coleman here channels another Coleman, Mr. Hawkins, starting low and soulfully advancing the melody before a solo lovingly supported by a well-recorded and mixed Hazeltine, Webber, and Farnsworth. The drummer’s affinity for tasteful support is noted as Coleman glides through his extended soliloquy.

Then, almost as an encore, Coleman pushes the proceedings on Hank Mobley’s “This I Dig of You,” leading with hard bop verve as the other horns provide a chorus. The 89-year-old’s inventive approach is impressive, as he punctuates his runs with high and low notes, seemingly challenging his partners to match him. Hazeltine takes the hint first, and an itchy Farnsworth follows before Coleman and Davis can’t help but join in.

The final three items are listed as “Bonus Tracks” on the Bandcamp site. Davis’s “Cave Island Breeze” swings as the title implies. Perhaps inspired by Coleman’s performance, Alexander soulfully leads a rendition of “The Nearness of You.” The finale “Leemo” is a blues treat composed by Rotondi that sounds like a twist on “Dat Dere.” Webber gets the lead before the ensemble settles into a pleasurable groove, and this reviewer thinks the producers faded the recording too early.

One For All has been together long enough to have its own ‘eras’. My favorite is the Criss Cross era, when the band, in my estimation, swung harder and dug a bit deeper. This new release on Smoke Sessions would fit into that zone; with Big George along for the ride, Big George the album is a welcome return to form by one of America’s finest music collaborations.
https://www.chicagojazz.com/post/jazz-review-big-george-one-for-all-by-jeff-cebulski

Personnel: Jim Rotondi, trumpet; Eric Alexander, tenor saxophone; Steve Davis, trombone; David Hazeltine, piano; John Webber, bass; Joe Farnsworth, drums; George Coleman, guest tenor saxophone

Big George

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David Hazeltine - Ballads and Blues Volume I

Styles: Piano Jazz
Year: 2024
Time: 23:33
File: MP3 @ 320K/s
Size: 54,3 MB
Art: Front

(5:25) 1. Felicia’s Blues
(5:32) 2. Just Things
(6:16) 3. When I Fall In Love
(6:19) 4. Blues De Troye

David Hazeltine is one of a handful of contemporary pianists who has mastered all of the major musical skills, from improvisation and technique, to accompaniment, arranging, and composition. Even more impressive, David is the rare artist able to innovate in each category. Thus it’s no surprise that he’s the most recorded contemporary jazz pianist of our time, having recorded thirty five cd’s as a leader and hundreds more as a sideman, on various major labels globally. A Milwaukee native, David was playing the clubs as a preteen, and before he’d even come of age he was already grabbing the attention and respect of jazz legends like Sonny Stitt, and Chet Baker. They urged him to make the move to New York City, which he did in 1992.

Beautifully complex and memorable:

The mark of a true artist, David’s style appeals to a wide range of musical tastes and levels of sophistication. His melodies and harmonies are beautifully complex and memorable. As a composer and instrumentalist, he has developed a signature style that is readily recognizable. His cooperative group “One For All” featuring tenor great Eric Alexander, has attained critical acclaim with their impressive 16 cd discography, and live concerts worldwide including appearances at the North Sea Jazz Festival and the Newport Jazz Festival.

Hazeltine is one of the most sought after pianists today. He has worked with some of the world’s most respected jazz legends including James Moody, Eddie Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw. David is known for taking a familiar or unexpected song and making it new, making it his own. He effortlessly transfers this skill from song to stage. Whether he’s composing or interpreting, accompanying or leading, you are certain to end the set remembering the sounds of David Hazeltine.

Carrying the art forward:

A brilliant teacher, David is also determined to carry the art forward to the next generation. Formerly an Associate Professor at Berklee, he currently teaches at SUNY-Purchase in New York. David is also a highly skilled clinician, and has served on the Jamey Aebersold Summer Jazz Camp faculty for the past 15 years. His teaching has had a major impact on many of today’s young professional pianists including Ben Markley, who published his doctorate “The David Hazeltine Method” based on his lessons with Mr. Hazeltine. Hal Leonard has published the new “Real Book - Enhanced Edition”, featuring David’s own re-harmonizations of 200 well known standards. Lessons from David are also available on his online workshops; check out his sessions on harmony at www.jazzpianomastery.com, and on the essentials of bebop at www.mymusicmasterclass.com.
https://www.davidhazeltine.com/biography

Personnel: David Hazeltine - piano; Neal Miner - bass; Pete Van Nostrand - drums

Ballads and Blues Volume I

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David Hazeltine/Peter Washington\Joe Farnsworth - Blues for Gerry

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:09
Size: 142,9 MB
Art: Front

(6:31) 1. Here Again
(5:50) 2. Tangerine
(7:36) 3. Blues for Gerry
(6:43) 4. Firm Roots
(7:12) 5. Body and Soul
(6:01) 6. It Could Happen to You
(4:46) 7. Skylark
(5:29) 8. Minor Disturbance
(5:40) 9. You Know I Care
(6:16) 10. Here We Go

A longtime member of the Criss Cross family, pianist David Hazeltine began recording for the label in the mid 1990s. Since then he has released around 30 Criss Cross albums, including eight as leader. During this time, bassist Peter Washington and drummer Joe Farnsworth, who complete the trio on Blues For Gerry, have been frequent comrades in arms.

Sadly, Criss Cross founder Gerry Teekens passed in 2019. The good news is that his son Jerry has taken over the reins and the label is once again recording new albums, as well as reissuing back-catalogue gems (see here).

Blues For Gerry is Hazeltine's first recording for the label since 2010 and it confirms why Teekens Snr. held him in such high regard. The pianist is not in the business of frightening the horses, but within the framework provided by jazz standards and the Great American Songbook, he digs deep and comes up with the goods. As he says about "Body And Soul" in the liner notes here, "I'm not shying away from overplayed music."

This is, rather surprisingly, the first time Hazeltine has recorded the Johnny Green standard, and its 7:13 exposition is among the best tracks on the album. Others include Hoagy Carmichael's "Skylark" and Buddy Montgomery's "Here Again." Of the three Hazeltine originals, the title tune, at 7:37 the longest track, is also more than solid.
Other source composers are Victor Schertziner ("Tangerine"), Cedar Walton ("Firm Roots"), Jimmy Van Heusen ("It Could Happen To You") and Duke Pearson ("You Know I Care.")

At no point does Hazeltine feel the need to adorn familiar material with mere complexity. What you hear is what you get, and what you get is what it is.
By Chris May https://www.allaboutjazz.com/blues-for-gerry-david-hazeltine-criss-cross

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Blues for Gerry

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Billy Peterson And David Hazeltine - Next Door

Styles: Bop,Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 51:20
Size: 122,3 MB
Art: Front

(5:54) 1. You Make Me Feel So Young
(7:15) 2. The Boy Next Door
(4:16) 3. Show Type Tune
(3:59) 4. Ruby My Dear/Pannonica
(5:12) 5. Tones For Joan's Bones
(7:37) 6. Clockwise
(3:37) 7. Dexterity/C.T.A.
(5:41) 8. Good Bait
(2:31) 9. Thanks Jim
(5:12) 10. Cedars Blues

Billy Peterson is one of the premier, most celebrated bass players in the world. His uncompromising talents as a performer have brought him widespread recognition, as well as his plenty credits as a composer, arranger and producer. So it is no surprise that the world-renowned bassist is quite often also compared with a chameleon, but not only as he can fill many positions, but also as he is at home in several genres of music weather it be rock, pop, R&B, soul, jazz, folk or country. Peterson´s contributions to the music scene are inestimable and his imagination and boundless enthusiasm behind the bass are singular and stunning. During his extensive musical career, the permanently in-demand bassist has worked with many internationally famous, acclaimed artists, among them Carlos Santana, Bob Dylan, Neil Young, Prince, Les Paul or Steve Miller, just to name a few.

Growing up in a household of professional musicians, his talent revealed itself early on while being introduced to a variety of instruments. Already at age 9, he began singing national commercial spots, which was only one of his countless early public musical endeavors. At age 14, Peterson had a live changing event when his mother, the late Jeanne Arland Peterson, taught him how to harmonize the old Irish lullaby, the “danny-boy”, which set Peterson on a quest for a much deeper harmonic understanding and helped him to arrange the orchestration for the 9th grade school band. In the mid-sixties he made his first experiences with the electric bass; this was also the time when Peterson first picked up the upright bass. Taking an interest in any instrument that crossed his path; Peterson studied simultaneously drums (with Elliot Fine of the Minnesota Symphony Orchestra) and keyboards (with Ernie Garvin from CBS radio Minneapolis, MN) while still in junior high school. These early influences were the foundation for what was to follow.

At just 16 years of age, Peterson joined The Righteous Brothers, during their peak period of success, on a summer tour in 1967. He also went on a tour with the prominent Lawrence Welk show All-Stars. Throughout his high school years, Peterson continued to play bass and drums in a variety of local orchestras, combos, R&B bands and big bands including bands of his father Willie Peterson, who was a prominent band-leader and Minnesotan jazz pianist. After graduation, Peterson started playing bass with Billy Wallace, pianist of trumpet-legend Clifford Brown, until 1973. The same year, he co-founded, with saxophonist Bob Rockwell, the acclaimed band Natural Life with which he recorded three albums for Celebration Records and went on several US tours from 1974 to 1978. During this time, Peterson was also among the first musicians to record on 3M's first, revolutionary digital tape machine.

It was in the mid 1970s, when the bassist´s pop career really began to flourish. In 1974, Peterson began to work with Leo Kottke, the great folk guitarist, becoming the bassist on Kottke's three albums for Capitol Records and Chrysalis. And on it went in 1975, when Peterson certainly made it to the top being the electric and upright bassist on Bob Dylan's legendary multi-platinum, Grammy winning album “Blood On The Tracks” for Columbia Records, whose internationally acclaimed single “Tangled up in Blue” topped the pop charts in 1975, and in 2000 it was ranked 49 on the “Top 100 Rock and Roll Songs ever recorded” by the Rolling Stone magazine´s December issue.

One year later, in 1976, he was invited to join the Gibson guitar staff; so Peterson went on to record and perform with guitar legends such as BB King, Johnny Smith, Les Paul, Lenny Breau, and Howard Roberts. In the late 70´s, Peterson first met, introduced by Prince´s producer David Rifkin, Ben Sidran, at the time keyboardist and producer of the Steve Miller Band and keyboardist of The Rolling Stones. This should become the beginning of an inspiring musical partnership that has remained strong till today.

The late 70s and early 80s were consumed with music from all genres and angles. In 1981, Peterson released his first solo album “Threshold of Surrender”. He continued to tour Europe with various artists and was also the in-house bassist for the famous “Sound 80” recording studio in Minneapolis, where Minneapolis´s most successful singers ever were recording at the time: Prince, Bob Dylan and Cynthia Johnson (the famous singer of the #1 hit Funkytown). During that time Peterson recorded many albums plus national radio and TV commercials; his performances ranged from solo bass to playing with a full symphony orchestra.

In 1986, Ben Sidran produced Steve Miller´s album “Born to be Blue” on Capitol Records with Peterson on bass. Shortly after Peterson became a full member of the Steve Miller Band, which he continued to be for the next 23 years. From 1987 to 2011 the Steve Miller Band toured mainly during the spring and summer months and Peterson played bass on the albums “Wide River”, “Steve Miller Band Box Set”, “Bingo!”, “Let Your Hair Down“, amongst others. During those years, he also continued to tour, mainly Europe and Japan, with Ben Sidran in the fall and winter months.

In 1990, Peterson joined the Go Jazz record label as an artist, producer and arranger, working on numerous recordings with artists such as pianist and vocalist Georgie Fame, guitarist Phil Upchurch or saxophonist Lee Konitz. It also was time for a reunion with Leo Kottke; so Peterson wrote a composition for a project called “Mid Air”. Shortly after, Prince, at the time also known as “The Artist”, contacted Peterson to create a string arrangement for his band the New Power Generation with Rosie Gaines as lead vocals. So Peterson came up with a soulful orchestral re-harmonization of Bryan Adams's hit “Everything I Do I Do It For You”. Peterson´s original compositions, arrangements and re-harmonizations have been featured on many major record labels. No wonder that in the mid 2000´s he got the call to compose and arrange for Donny Osmond to perform for the Queen of England in Edinburgh, Scotland.

At the 1993 Earthquake Relief concert in San Francisco he performed with Carlos Santana and Neil Young. He played with folk singer and songwriter Pete Seeger on “Well May the World Go”, a record which he also produced. A long-lasting collaboration with Minnesota jazz legend Irv Williams started in the early ´90s, since then Peterson has been the upright bassist on over 7 albums of the now 94-year-old saxophonist. Peterson's love for jazz encouraged him to help some fellow artists to open a jazz club. In 1996, the famous Artist Quarter opened its doors in St. Paul, Minnesota, becoming Peterson's “home base” while not on tour, where he joined local and visiting musicians until its closing in 2013.

Peterson became the musical director for the international independent production company Megabien Entertainment in 2003, through which he is involved in various events, international artist recordings and TV productions. In 2004, he served as the musical director for the three-part Legends Rock TV show (www.legends-rock.com) with guest artists Billy Preston, Sam Moore and Tony Joe White, produced by Megabien Entertainment in the south of France. His filmography includes also the 2008 video documentary “Steve Miller Band: Live from Chicago”. Further, in 2012 he served as the co-host of the Funkytown TV documentary (www.funkytown.us) along with host Cynthia Johnson, which showcases the Twin Cities´ finest artists and musicians.

Apart from several television appearances, the 21-century has also been consumed with involvements on numerous albums, among them “American Made World Played” of Les Paul (2005), “Let's Stay Here” of Oleta Adams (2009) or the Steve Miller Band albums “Bingo” (2010) and “Let Your Hair Down” (2011). In 2012, Peterson made the album “I´ve Been Ringing You” together with drummer Dave King and pianist Bill Carrothers, which received large national recognition; the trio´s debut album was named “Record of the Year” in the New York City Jazz Record (formerly All About Jazz), got a 4.5 stars (out of 5) review in Downbeat, a review in the New York Times and JazzTimes within “minutes” after its release, amongst other significant reviews and recognitions.

Peterson, as a member of the famous Minneapolis family of musicians “The Peterson Family” (www.thepetersonfamily.info), has been inducted into the Mid-American Music Hall of Fame in 2008.
By Monika Hurka https://www.allaboutjazz.com/musicians/billy-peterson

Next Door

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Jon Faddis - Remembrances

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

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

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

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


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

Remembrances

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Steve Davis - Dig Deep

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 60:30
Size: 140,3 MB
Art: Front

(5:46) 1. One For All
(6:54) 2. Dig Deep
(7:47) 3. Little Boy's Bossa
(6:26) 4. Blues Noble
(5:18) 5. Detour Ahead
(7:06) 6. I Should Care
(7:02) 7. Summertime
(7:04) 8. Payne's Window
(7:02) 9. Trippin'

Steve Davis, currently a member of the Jackie McLean Quintet, is one of the major new voices on the trombone. On this, his 2nd leader date for Criss Cross, he shines in the company of the friends he usually plays with: Eric Alexander, Jim Rotondi, David Hazeltine, Nat Reeves and Joe Farnsworth.
By Editorial Reviews https://www.amazon.com/Dig-Deep-Steve-Davis/dp/B0000020OO

Personnel: Trombone – Steve Davis; Saxophone – Eric Alexander; Trumpet, Flugelhorn – Jim Rotondi; Bass – Nat Reeves; Drums – Joe Farnsworth; Piano – David Hazeltine

Dig Deep

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David Hazeltine Trio - Live In Cologne

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 53:06
Size: 122,1 MB
Art: Front

( 9:22) 1. Midnight Waltz
( 7:51) 2. Blues for Eddie
( 8:17) 3. I Wish I Knew
( 9:55) 4. My Ship
(10:08) 5. Ask Me Now
( 7:31) 6. Pearls

Biography

David Hazeltine is one of a handful of contemporary pianists who has mastered all of the major musical skills, from improvisation and technique, to accompaniment, arranging, and composition. Even more impressive, David is the rare artist able to innovate in each category. Thus it’s no surprise that he’s the most recorded contemporary jazz pianist of our time, having recorded thirty five cd’s as a leader and hundreds more as a sideman, on various major labels globally. A Milwaukee native, David was playing the clubs as a preteen, and before he’d even come of age he was already grabbing the attention and respect of jazz legends like Sonny Stitt, and Chet Baker. They urged him to make the move to New York City, which he did in 1992.

Beautifully complex and memorable

The mark of a true artist, David’s style appeals to a wide range of musical tastes and levels of sophistication. His melodies and harmonies are beautifully complex and memorable. As a composer and instrumentalist, he has developed a signature style that is readily recognizable. His cooperative group “One For All” featuring tenor great Eric Alexander, has attained critical acclaim with their impressive 16 cd discography, and live concerts worldwide including appearances at the North Sea Jazz Festival and the Newport Jazz Festival.

Hazeltine is one of the most sought after pianists today. He has worked with some of the world’s most respected jazz legends including James Moody, Eddie Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw. David is known for taking a familiar or unexpected song and making it new, making it his own. He effortlessly transfers this skill from song to stage. Whether he’s composing or interpreting, accompanying or leading, you are certain to end the set remembering the sounds of David Hazeltine.

Carrying the art forward

A brilliant teacher, David is also determined to carry the art forward to the next generation. Formerly an Associate Professor at Berklee, he currently teaches at SUNY-Purchase in New York. David is also a highly skilled clinician, and has served on the Jamey Aebersold Summer Jazz Camp faculty for the past 15 years. His teaching has had a major impact on many of today’s young professional pianists including Ben Markley, who published his doctorate “The David Hazeltine Method” based on his lessons with Mr. Hazeltine. Hal Leonard has published the new “Real Book - Enhanced Edition”, featuring David’s own re-harmonizations of 200 well known standards. Lessons from David are also available on his online workshops; check out his sessions on harmony at www.jazzpianomastery.com, and on the essentials of bebop at www.mymusicmasterclass.com.
https://www.davidhazeltine.com/biography

Live In Cologne

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Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

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David Hazeltine - A World For Her

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 63:14
Size: 145,2 MB
Art: Front

(10:45) 1. My Foolish Heart
( 5:02) 2. This One's For Bud
( 9:52) 3. A World For Her
( 6:00) 4. Moment's Notice
( 8:58) 5. Soul Eyes
( 7:28) 6. Old Devil Moon
( 7:21) 7. What'll I Do
( 7:44) 8. Bitter Sweet

Pianist David Hazeltine is the leader of this straight-ahead quartet date, contributes two originals, and is in superior form, but tenor saxophonist Javon Jackson often steals the show. Jackson, who in other settings sometimes hints strongly at Joe Henderson, on this occasion looks more toward late-'50s John Coltrane, particularly on a beautifully interpreted version of "Soul Eyes" and Trane's "Moment's Notice."

Other highlights include an extended "My Foolish Heart," Hazeltine's rightfully boppish "This One's for Bud," and "What'll I Do." Hazeltine and Jackson are joined by bassist Peter Washington and either Louis Hayes or Joe Farnsworth on drums, with vibraphonist Steve Nelson making a guest appearance on "Old Devil Moon." The music is quite enjoyable and very well played, one of Javon Jackson's finest recordings and a superior outing for David Hazeltine. ~Scott Yanow https://www.allmusic.com/album/a-world-for-her-mw0000250980

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth; Louis Hayes; Tenor Saxophone – Javon Jackson; Vibraphone – Steve Nelson

A World For Her

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One For All - The Long Haul

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 66:24
Size: 152,3 MB
Art: Front

(12:10) 1. A Cry For Understanding
( 7:49) 2. The Long Haul
( 8:01) 3. Echoes In The Night
( 7:26) 4. The Poo
( 6:36) 5. The Good Life
( 7:29) 6. Stash
( 7:35) 7. Summer Nights
( 9:14) 8. Nothin' To It

Working within the broad parameters of hard-swinging, harmonically sophisticated small-band styles from the 40s, 50s, and 60s, the music of the sextetOne For Allalso reflects the experiences of the individual members outside of their cooperative band. An incomplete but telling list of leaders who have employed and influenced various members of the crew includes Cecil Payne, George Coleman, Art Blakey, Jackie McLean, Junior Cook, Slide Hampton, and Louis Hayes.

On The Long Haul, the band’s second release for Criss Criss (and fourth overall), they stake their claim to the tradition. The record comprises impressive material (six out of eight cuts were written by various band members) and arrangements, four primary soloists with something distinctive to say, and a rhythm section that responds to every exigency and shoots off sparks of its own. Most of all, aside from the skill and technique involved, the music possesses a fervency that is genuine: These guys love playing together and it shows.

The disc’s opening cut, “A Cry For Understanding,” composed by John Farnsworth, encompasses the band’s virtues. A slow, somber introduction convincingly executed by tenor saxophonist Eric Alexander and the rhythm section leads to all of the horns playing the theme at a brisk tempo. Alexander’s solo is a fine example of his continuing development. His full-bodied sound spreads out and takes up space without being overbearing, and he stays in absolute control while deliberately working through a variety of ideas that add up to a complete, satisfying whole. In comparison, trombonist Steve Davis’ approach is somewhat spare, skillfully playing off and interacting with pianist David Hazeltine’s chords and the snap of drummer Joe Farnsworth’s snare drum accents.

During a commanding, live wire turn, trumpeter Jim Rotondi frequently phrases on top the beat and occasionally takes brief, fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever mindful of Farnsworth’s and bassist Ray Dummond’s pulse, at first seems casual and then gradually hardens his touch, becoming more expansive and forceful. Backed only by Farnsworth’s brushes, Drummond completes the cycle of solos, integrating a snippet of the song “Wade In The Water,” into a smart, efficient statement.

Alexander’s rollicking tune “Stash,” the band’s first venture into the time signature of 5/4, is another of the disc’s standout cuts. It moves forward in a nice, lopsided manner, with the horns brazenly stating the melody, then giving way to a string of compact solos. First up is Alexander, who is clearly inspired by the odd meter, starting off with short, soulful phrases. When Hazeltine and Farnsworth signal a change in emphasis, he takes off in a series of sprints which ends in barrage of overblowing. Rotondi burns through the rhythmic thicket with ease, making his lines rhyme with call and response patterns. Initially taking more care than usual in placing his notes and letting the rhythm section fill in space, Davis’ solo gradually gains footing while working against the weight of Hazeltine’s stabbing chords. Over Drummond and Hazeltine’s vamp, Farnsworth slyly mixes rhythms that alternately refer to the pulse and create unrelated waves of percussive sound.By David A. Orthmann https://www.allaboutjazz.com/the-long-haul-one-for-all-criss-cross-review-by-david-a-orthmann

Personnel: Eric Alexander - -tenor sax; Jim Rotondi - trumpet, flugelhorn; Steve Davis - trombone; David Hazeltine - piano; Ray Drummond - bass; Joe Farnsworth - drums.

The Long Haul

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One For All - Upward And Onward

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 65:16
Size: 150,1 MB
Art: Front

( 7:23) 1. D's Blues
( 7:05) 2. Perspective
(11:06) 3. We All Love Eddie Harris
( 5:55) 4. Epitome
( 4:39) 5. Just By Myself
(11:37) 6. John Coltrane
( 8:41) 7. Blues For Joe Don
( 8:47) 8. Upward And Onward

ONE FOR ALL, a cooperative sextet of some of the hot young players on the New York scene, present a swinging and soulfull performance in the hardbop tradition, but with evolving contemporary explorations that are indeed 'Upward and Onward'.

The group features crisp ensemble work and dynamic solo thrusts from young lions Eric Alexander, Jim Rotondi, Steve Davis and David Hazeltine backed by bassist Peter Washington and drummer Joe Farnsworth. All musicians of this group have recorded as leaders for Criss Cross on several occasions.

Personnel: Trumpet, Flugelhorn – Jim Rotondi; Trombone – Steve Davis; Tenor Saxophone – Eric Alexander; Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Upward And Onward

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Erena Terakubo - A Time For Love

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 52:09
Size: 119,8 MB
Art: Front

(5:12)  1. Time After Time
(4:06)  2. Folklore
(5:22)  3. Road Song
(5:11)  4. A Time For Love
(4:54)  5. Won't Have To Say Goodbye
(3:43)  6. Golden Oolong
(4:52)  7. 88
(5:09)  8. Soon
(6:34)  9. On A Misty Night
(7:02) 10. In A Sentimental Mood

A Time For Love is a wonderful snapshot of this rapidly developing artist. There are many highlights on this recording. One of them is "On A Misty Night", an elegant song written by Tadd Dameron. It's a perfect composition for Erena and the group. She tips her hat to Sonny Stitt weaving dynamic lines into the fabric of the song. The solos on this tune are wonderful from everyone in this strong crew of first-rate musicians. Listen to Lewis Nash's ride cymbal throughout this track and you will understand why he is considered one of the best! The title track on A Time For Love is a superb song that brings out the best playing in everyone. I love David Hazeltine's melodic musical statement on the tune. Erena comes through with her passionate alto melting into the core of the song, grooving hard throughout. "88" is a heartfelt, upbeat song written for Yasohachi "88" Itoh. In his lifetime he produced recordings for Art Farmer, Roy Haynes, Clark Terry, Count Basie, Hank Jones, Tony Williams, Abbey Lincoln, Terumasa Hino, and many more. Yasohachi's love for jazz and ear for excellent talent moved him to record and produce Erena first three records. He surrounded her with some of the world's best jazz musicians including Kenny Barron, Christian McBride, Jimmy Cobb, and Ron Carter and introduced the world to Erena Terakubo in grand fashion! If A Time For Love is your introduction to Erena Terakubo, enjoy going on a musical journey. You will be moved by her skills and passionate sound. As Phil Woods said to after hearing her for the first time, "Who the hell is that?" It's Erena Terakubo! The traditions of this music are in good hands. Through her passion, creativity, and dedication, Erena has already become a world-class jazz musician. http://www.erenaterakubo.com/

Personnel: Erena Terakubo, Saxophone;  David Hazeltine, piano;  David 'Happy' Williams, bass;  Lewis Nash, drums

A Time For Love

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Jim Snidero - Close Up

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:33
Size: 125,1 MB
Art: Front

(6:13)  1. Close Up
(6:42)  2. I Should Care
(8:41)  3. Nippon Blue
(5:30)  4. Windswept
(6:02)  5. Blues for the Moment
(7:34)  6. Reality
(7:22)  7. Prisoner of Love
(6:26)  8. Smash

Prose laureate Whitney Balliett coined the phrase "the sound of surprise" as an encomium for jazz. Like most of his peers, saxophonist Jim Snidero shoots regularly for this ideal. His new Milestone effort flirts with the target but doesn't quite hit the bull's-eye. An accessible program of original tunes shored up by two standards, each cogently arranged to accentuate his talents and those of his rhythm section, makes for a winsome template. The guest tenor of former label mate Eric Alexander further stacks the deck in Snidero's favor. Despite these valuable trappings, the session still registers simply as a praiseworthy post bop outing rather than one for the ages. The album's title track establishes a promising opening mood, building from a theme that's funky in the old school Horace Silverish sense of the word. Both horns solo, with Alexander's robust Trane-styled inflections garnering the slight edge. Hazeltine's jaunty ivories round out the pecking order, ending with a rhapsodic flourish atop a syncopated support of Drummond's tight traps play. Snidero handles both balladic standards without Alexander's aid, starting with a frisky up-tempo reading of "I Should Care" that highlights his lustrous tone and mercurial phrasing. "Prisoner of Love" rolls out with a similar attention to nuance and mood, bolstered by the sensitive touch of Drummond's gossamer brushes. Alexander earns first crack at "Nippon Soul" after a slippery unison head, spooling out another note-packed Coltrane-indebted solo that also carries rich tonal pigments of Shorter. Snidero answers with an equally piquant urgency, sketching sweeping pirouettes above the ripe bass throb of Gill, who then turns in a striking solo of his own.  

A trifecta of Snidero originals comes next, with the crisp Latin-flavored bounce of "Windswept" leading the pack. "Blues for the Moment" trades on the immediacy reflected in its title with another tightly scripted theme that leads into ebullient extemporizations for each of the horns. The succinctly-titled "Smash" closes the date on an appropriately energetic note as the five men pay homage to the questing hard bop sound of the Sixties. In less symbolic terms it's also a reminder of a painful injury Snidero sustained while remodeling his home. A briskly twisting tandem head bleeds directly into another string of galloping solo statements. Hazeltine and the rest of the rhythm section tail the horns closely the entire way and sustain a streamline momentum. Snidero makes mention in the notes of a desire to explore more abstract musical directions in the future. Considering the level of acumen he brings to so-called mainstream fare, it's a potential course that would certainly suit him. ~ Derek Taylor https://www.allaboutjazz.com/close-up-jim-snidero-review-by-derek-taylor.php

Personnel:  Jim Snidero- alto saxophone;  David Hazeltine- piano;  Paul Gill- bass;Billy Drummond- drums;  Eric Alexander- tenor saxophone.

Close Up

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David Hazeltine - The Jobim Songbook in New York

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 60:13
Size: 138,2 MB
Art: Front

(6:44)  1. Dreamer
(6:31)  2. Once I Loved
(5:26)  3. Meditation
(4:38)  4. Quiet Nights
(6:56)  5. Dindi
(6:24)  6. Wave
(4:50)  7. One Note Samba
(5:17)  8. Desafinado
(5:15)  9. Caminhos Cruzados
(3:58) 10. O Grande Amor
(4:13) 11. The Girl from Ipanema

On this project, pianist David Hazeltine takes on the music of the late Jobim (who would have turned eighty in 2007) by looking at the music from an American point of view, without the typical bossa nova elements. Most of the music presented here is well-known, from "The Girl from Ipanema to "Quiet Nights of Quiet Stars (titled "Quiet Nights on the CD), but what Hazeltine does here is augment the classical influence that the songs' writer brought to them. "Jobim borrows from classical sources, Hazeltine comments in the liners. "Studying classical piano opens my mind and wipes the slate clean.  One of the highlights is "Wave, which begins with the melody popularized in the US by Frank Sinatra. "One Note Samba makes good use of its syncopated beat to showcase the talents of bassist Nat Reeves and drummer Joe Farnsworth.  "Caminhos Cruzados (Crossed Paths) is a song from Jobim's early partnership with Newton Mendonça that did not become a household tune. The song's original lyrics speak of a lover who needs to call an affair off because he is tired of the other partner's attitude towards him (a recurring theme in bossa nova). Hazeltine uses the melody's sad tone to his advantage, playing slow notes to enhance its feel.

"The Girl From Ipanema may be the best-known Brazilian song of all time, with thousands of renditions. Hazeltine's take utilizes a fast-paced modern jazz beat that comes in, does its job and ends in the length of a pop single just over four minutes.  The Jobim Songbook in New York is not for strict bossa nova fans. It is, instead, a jazz disc made with an open mind. Hazeltine dares to find new elements in songs ingrained into the fabric of popular music. ~ Ernest Barteldes  www.allaboutjazz.com/the-jobim-songbook-in-new-york-david-hazeltine-chesky-records-review-by-ernest-barteldes.php

Personnel: David Hazeltine: piano; Nat Reeves: bass; Joseph Farnsworth: drums.

The Jobim Songbook in New York

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One For All - The End Of A Love Affair

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 58:31
Size: 134,3 MB
Art: Front

(7:35)  1. The End Of A Love Affair
(7:12)  2. Stolen Moments
(6:20)  3. Corcovado
(8:52)  4. How Are You?
(7:22)  5. Shinjuku Waltz
(6:05)  6. Skylark
(8:53)  7. The Eyes Have It
(6:10)  8. Street Of Dreams

Things just aren’t what they used to be and we’re not just talking about life these days post September 11th. From a jazz standpoint, the renaissance movement that was ushered in during the ‘80s seems to have run its course in many ways. The corporate pressures behind the major labels seem to be tightening their belts when it comes to jazz product. For so many years the reissue market alone was astounding and the ripple effect helped support contemporary rosters that are now getting smaller and smaller as the catalog boom seems to bottom out. All of this leads us to the disc at hand, which is presented by a group that seems to be beating the odds when it comes to the financial ups and downs of the current jazz scene. That One For All has remained a viable group since the mid-‘90s is remarkable enough in itself, let alone when you consider that each and every member of the group has any number of responsibilities as leaders of their own projects at any given time. Their first venture for the Japanese Venus label, The End of a Love Affair finds One For All in the kind of hard bop mode that the Japanese audiences embrace lock, stock, and barrel.

There’s even more of a focus on the type of standards that have not previously been explored by the group, namely “Skylark,” Jobim’s “Corcovado,” and Oliver Nelson’s “Stolen Moments.” Of course, what makes for an engaging listen is the manner in which the familiar becomes reborn and pianist David Hazeltine can take a lot of the credit for crafting arrangements chock-a-block full of altered chords and suspended rhythms that find new routes to well-known destinations.Three of the eight tunes on tap are originals and that’s where the sparks really start to fly. Hazeltine’s “How Are You?” grooves over a 12/8 Afro-Cuban feel that everyone navigates with ease, especially Steve Davis, who adds a smoldering solo that’s one of his best of the date. A rock solid support throughout, bassist Peter Washington steps up front for a harmonious statement that institutes the string of solos on Eric Alexander’s breezy “Shinjuku Waltz.” Then from the pen of Steve Davis, there’s the Blakey-inflected shuffle of “The Eyes Have It” (nice play on words, huh?), with combustible solo moments from Davis, Alexander and trumpeter Jim Rotondi. More detailed descriptions are really unnecessary for those familiar with the gentlemen that make up One For All; these guys have each developed their individual voices and are among the most in-demand musicians of the current set. And for the uninitiated, this set comes highly recommended as a consummate example of modern mainstream know-how. ~ C.Andrew Hovan  http://www.allaboutjazz.com/the-end-of-a-love-affair-one-for-all-review-by-c-andrew-hovan.php#.VD2A-RawTP8

Personnel: Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), Peter Washington (bass), Joe Farnsworth (drums)

The End Of A Love Affair

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David Hazeltine - The Time is Now

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 64:20
Size: 151,7 MB
Art: Front

(6:45)  1. The Time is Now
(5:25)  2. The Odd Couple
(5:44)  3. Smoke Gets in Your Eyes
(6:45)  4. Cabin in the Sky
(5:08)  5. Blues for Eddie
(5:09)  6. Don't Let Me Be Lonely Tonight
(5:35)  7. When I'm Here with You
(4:41)  8. The Parlayer
(7:47)  9. In a Sentimental Mood
(6:24) 10. Muse of Montgomery
(4:53) 11. Signals

If you’re going to put together a rhythm section for a piano trio date, you could certainly do a lot worse than Ron Carter and Al Foster. Although the two gentlemen are getting up there in the years (bassist Carter is 81, drummer Foster 74; pianist David Hazeltine himself just turned 60), both are still sharp, instinctual players who adapt easily to any given situation. Hazeltine and Foster first did some gigs together at Smoke in New York in 2016 and with Carter aboard, cut the 11 tracks on a single date in the spring of this year it was the trio’s first time playing together.Unsurprisingly, the music flows easily. Save for a few adventures that take him off the beaten path his “Smoke Gets in Your Eyes” here takes some thrilling detours Hazeltine is a relatively conventional, albeit outstanding pianist who prefers to keep his melodies in check. Six of these songs are self-penned, the others come from sources ranging from Duke Ellington to James Taylor, and while all musicians demonstrate superior technique and confidence as a leader, Hazeltine is largely content to keep the arrangements and performances within bounds. 

No one here needs to strut the liner notes indicate that it’s his 34th leader session, after all and the music is better for it. One place the trio does toy with the formula is with its reading of the Neal Hefti/Sammy Cahn theme from The Odd Couple. Slowed to a shuffling pace, it provides an opportunity for the trio to rethink a familiar tune from the inside out, and both Hazeltine and Carter enjoy seeing how far they can go without losing sight of the original intent. “Blues for Eddie,” meanwhile (a nod to Eddie Harris), is all about Carter, and who’s gonna complain about that? ~ Jeff Tamarkin https://jazztimes.com/reviews/albums/david-hazeltine-time-is-now-smoke-sessions/

Personnel: David Hazeltine - Piano; Ron Carter - Bass; Al Foster - Drums

The Time is Now

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