The Cedar Walton Sextet - Bambino: Plays the Music of Art Blakey

Styles: Hard Bop
Year: 1993
File: MP3@320K/s
Time: 49:47
Size: 114,4 MB
Art: Front

(10:09) 1. Arabia
( 8:12) 2. Wee Dot
( 7:20) 3. If I Had You
(16:06) 4. Blues March
( 7:58) 5. Along Came Betty

Cedar Walton's sextet recorded this session before an appreciative audience at Sweet Basil in New York in 1993. Joining the pianist for this date were trumpeter Philip Harper, tenor saxophonist Javon Jackson, trombonist Steve Turre, bassist David Williams and drummer Billy Higgins. The recording was taped during two August nights at the club; alto saxophonist Lou Donaldson appears on "Wee Dot" and "If I Had You."

Four of the sextet are alumni of Art Blakey's Jazz Messengers; moreover, Lou Donaldson's work experience with Blakey predates the founding of his Jazz Messengers. Horace Silver was with the ensemble at that time (the early 1950s) and likes to refer to The Jazz Messengers as "the Art Blakey College of Musical Education." Blakey's working unit remained at the vanguard of hard bop for 36 years, and included well-known jazz artists such as Benny Golson, Jackie McLean, Curtis Fuller, Lee Morgan, Cedar Walton, Freddie Hubbard, Keith Jarrett, Wayne Shorter, Chick Corea, and Wynton Marsalis (Blakey, who passed away in October 1990, used to introduce himself to audiences as "Mrs. Blakey's bambino, Arturo").

Curtis Fuller's "Arabia" features Turre's expressive trombone. J.J. Johnson's "Wee Dot" includes Walton's exciting hard bop piano work and fours from the ever-tasteful Billy Higgins. "If I Had You" is a gentle ballad that features Donaldson. Benny Golson's "Blues March" and "Along Came Betty" provide the most excitement, as each soloist pushes the envelope. Harper and Jackson are particularly creative in their solo spots, weaving quiet mouse-like lines together and building them into uproarious shouts. Art Blakey taught them well.By Jim Santella
https://www.allaboutjazz.com/bambino-cedar-walton-evidence-music-review-by-jim-santella

Personnel: Piano – Cedar Walton; Alto Saxophone, Guest – Lou Donaldson (tracks: 2, 3); Bass – David Williams (2); Drums – Billy Higgins; Tenor Saxophone – Javon Jackson; Trombone – Steve Turre; Trumpet – Philip Harper

Bambino: Plays the Music of Art Blakey

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Eastern Rebellion - Simple Pleasure

Styles: Bop, Post Bop
Year: 1993
File: MP3@320K/s
Time: 56:20
Size: 129,5 MB
Art: Front

(5:31) 1. In The Kitchen
(6:36) 3. Dear Ruth
(6:09) 4. Simple Pleasure
(5:24) 5. Sixth Avenue
(7:18) 6. My Ideal
(6:24) 7. All The Things You Are
(7:04) 8. My Man's Gone Now
(4:29) 9. Theme For Ernie

A wonderful title for this album of understated brilliance a strong early 90s offering from Walton's Eastern Rebellion group, done in a mode that's very similar to their initial Timeless recordings of the 70s! The quartet this time around features Walton's piano alongside the drums of co-founder Billy Higgins plus bass by David Williams, and tenor by Ralph Moore, fresh off of some excellent work as a leader for the Landmark label in the late 80s.

The tracks are all long and inventive soulbop at its best, with titles that include "Roni's Decision", "In The Kitchen", "Dear Ruth", "Simple Pleasure", and "Sixth Avenue". © 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/514346/Eastern-Rebellion:Simple-Pleasure

Personnel: Cedar Walton on piano, Billy Higgins on drums, David Williams on bass, and Ralph Moore on saxophones

Simple Pleasure

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Larry Willis - How Do You Keep The Music Play

Styles: Piano Jazz 
Year: 1992
File: MP3@320K/s
Time: 63:20
Size: 146,7 MB
Art: Front

(5:04)  1. Gloria's step
(7:33)  2. How do you keep the music playing
(6:23)  3. All of you
(7:33)  4. Northwest
(7:49)  5. Slick Rick
(7:29)  6. Missing you
(5:24)  7. Ezekial saw the wheel
(7:23)  8. Dance cadaverous
(8:36)  9. Alone together

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn https://www.allmusic.com/artist/larry-willis-mn0000114935/biography

Personnel: Larry Willis – piano; David Williams – bass; Lewis Nash – drums

R.I.P.
Born: December 20, 1942

Died: September 29, 2019

How Do You Keep The Music Play

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David 'Fathead' Newman - Davey Blue

Styles: Flute And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 53:39
Size: 123,0 MB
Art: Front

( 6:10)  1. Cellar Groove
( 6:47)  2. Cristo Redentor
( 5:33)  3. For Stanley
( 5:49)  4. A Child is Born
( 5:34)  5. Black
( 4:17)  6. Amandla
(13:00)  7. Davey Blue
( 6:26)  8. Freedom Jazz Dance

This excellent session does a fine job of showing off David "Fathead" Newman's jazz talents. Newman is heard on tenor sax on four selections, taking two songs apiece on flute and alto. Joined by pianist Cedar Walton, the fine if underrated vibraphonist Bryan Carrott, bassist David Williams, and drummer Kenny Washington, Newman stretches out on such numbers as "Cellar Groove," "Cristo Redentor," "Freedom Jazz Dance," and a tribute to Stanley Turrentine, "For Stanley," sounding at his prime on each of his instruments. Recommended. ~ Scott Yanow https://www.allmusic.com/album/davey-blue-mw0000657383

Personnel:   David "Fathead" Newman - flute, alto saxophone, tenor saxophone, producer;  Bryan Carrott - vibraphone;   Cedar Walton - piano;  David Williams - bass;   Kenny Washington - drums

Davey Blue

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Freddie Hubbard - Bolivia

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 48:07
Size: 123,6 MB
Art: Front

( 8:45)  1. Homegrown
( 6:58)  2. Bolivia
( 6:34)  3. God Bless the Child
( 7:33)  4. Dear John
(10:02)  5. Managua
( 8:13)  6. Third World

Freddie Hubbard is in decent but not quite prime form on this CD; his tone was starting to decline ever so gradually. His sidemen were quite strong (Ralph Moore on tenor, altoist Vincent Herring, pianist Cedar Walton, bassist David Williams and drummer Billy Higgins), the material is superior (highlighted by "Bolivia," Hubbard's "Dear John" and a few of his recent Latin-flavored originals) and overall the music is satisfying enough to make this a recommended disc to fans of the modern mainstream. ~ Scott Yanow https://www.allmusic.com/album/bolivia-mw0000268232

Personnel:  Freddie Hubbard – trumpet;  Vincent Herring – alto saxophone;  Ralph Moore – tenor saxophone;  Cedar Walton – piano;  David Williams – bass;  Billy Higgins – drums

Bolivia

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Christopher Hollyday - Christopher Hollyday

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 60:33
Size: 138,9 MB
Art: Front

(6:47)  1. Appointment in Ghana
(8:25)  2. Omega
(5:42)  3. Bloomdido
(4:43)  4. This Is Always
(6:35)  5. Ko-Ko
(7:05)  6. Little Melonae
(8:19)  7. Embraceable You
(6:37)  8. Blues Inn
(6:16)  9. Bebop

Altoist Christopher Hollyday's first release for Novus (following a few small-label sets) immediately made him one of the top Young Lions of the era. Nineteen at the time, Hollyday was clearly strongly influenced by Jackie McLean (one of his main teachers), but holds his own with an all-star group comprised of trumpeter Wallace Roney, pianist Cedar Walton, bassist David Williams, and drummer Billy Higgins. Performing two of McLean's originals ("Appointment in Ghana" and "Omega") and five bop standards, the young saxophonist shows plenty of potential and fares quite well.~ Scott Yanow https://www.allmusic.com/album/christopher-hollyday-mw0000653669

Personnel:  Saxophone [Alto] – Christopher Hollyday;  Bass – David Williams ;  Drums – Billy Higgins;  Piano – Cedar Walton;  Trumpet – Wallace Roney

Christopher Hollyday

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Steve Grossman, Cedar Walton Trio - A Small Hotel

Bitrate: MP3@320K/s
Time: 62:25
Size: 142.9 MB
Styles: Bop, Saxophone jazz
Year: 1993
Art: Front

[6:06] 1. Why Don't I
[7:30] 2. Body And Soul
[6:20] 3. There's A Small Hotel
[7:45] 4. Let's Cool One
[5:34] 5. Ceora
[5:15] 6. Someday My Prince Will Come
[5:58] 7. Blues For Francis
[8:34] 8. Nicoletta
[5:40] 9. Lady Bird
[3:38] 10. Monk's Mood

Bass – David Williams; Drums – Billy Higgins; Piano – Cedar Walton; Tenor Saxophone – Steve Grossman. Recorded March 4, 6, 1993 at Van Gelder Studios, Englewood Cliffs.

Saxophonist Steve Grossman hasn't been a regular on the New York scene for many years but a crash  course sampling of the many sessions he has recorded with the likes of Miles Davis, Elvin Jones, McCoy Tyner, Barry Harris and Michel Petrucciani for starters as well as under his name as a soloist and with his own groups shows how much excellent playing he has under his belt.

A Small Hotel

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Cedar Walton - Manhattan Afternoon

Bitrate: MP3@320K/s
Time: 55:30
Size: 127.1 MB
Styles: Bop, Piano jazz
Year: 1993
Art: Front

[8:58] 1. There Is No Greater Love
[7:29] 2. St. Thomas
[7:55] 3. Skylark
[7:47] 4. The Newest Blues
[6:57] 5. When Love Is New
[5:36] 6. I Mean You
[6:58] 7. Afternoon In Paris
[3:46] 8. The Theme

Cedar Walton (P); David Williams (B); Billy Higgins (D). Recorded December 26, 1992 in New York City, NY, USA by Max Bolleman.

One of the most valued of all hard bop accompanists, Cedar Walton was a versatile pianist whose funky touch and cogent melodic sense graced the recordings of many of jazz's greatest players. He was also one of the music's more underrated composers; although he was always a first-rate interpreter of standards, Walton wrote a number of excellent tunes ("Mosaic," "Ugetsu," and "Bolivia," to name a few) that found their way into Art Blakey's book during the pianist's early-'60s stint with the Jazz Messengers. In addition to his many quantifiable accomplishments, Walton is less well known as the first pianist to record, in April 1959 with John Coltrane, the tenorist's daunting "Giant Steps" — unlike the unfortunate Tommy Flanagan a month later, Walton wasn't required to solo, though he does comp magnificently.

Walton was first taught piano by his mother. After attending the University of Denver, he moved to New York in 1955, ostensibly to play music. Instead, he was drafted into the Army. Stationed in Germany, Walton played with American musicians Leo Wright, Don Ellis, and Eddie Harris. After his discharge, Walton moved back to New York, where he began his career in earnest. From 1958-1961, Walton played with Kenny Dorham, J.J. Johnson, and Art Farmer's Jazztet, among others. Walton joined Blakey in 1961, with whom he remained until 1964. This was perhaps Blakey's most influential group, with Freddie Hubbard and Wayne Shorter. Walton served time as Abbey Lincoln's accompanist from 1965-1966 and made records with Lee Morgan from 1966-1968; from 1967-1969, Walton served as a sideman on many Prestige albums as well. Walton played in a band with Hank Mobley in the early '70s and returned to Blakey for a 1973 tour of Japan.

Walton's own band of the period was called Eastern Rebellion, and was comprised of a rotating cast that included saxophonists Clifford Jordan, George Coleman, and Bob Berg; bassist Sam Jones; and drummer Billy Higgins. From the '80s onward, Walton continued to lead his own fine bands, releasing numerous albums including The Maestro in 1980, Cedar Walton Plays in 1986, and Composer in 1996, followed a year later by Roots, featuring trumpeter Terence Blanchard and saxophonist Joshua Redman. In 2001 Walton released The Promise Land, his debut for Highnote, which was followed by Latin Tinge in 2002, Underground Memoirs in 2005, and Seasoned Wood with trumpeter Jeremy Pelt in 2008. Walton was joined by saxophonist Vincent Herring on Voices Deep Within in 2009. Herring was also featured along with trombonist Steve Turre on The Bouncer in 2011. Cedar Walton died at his home in Brooklyn on August 19, 2013; he was 79 years old.

Manhattan Afternoon mc
Manhattan Afternoon zippy

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Cedar Walton, David Williams - Duo

Bitrate: MP3@320K/s
Time: 77:30
Size: 177.4 MB
Styles: Piano jazz
Year: 1991/2010
Art: Front

[ 5:33] 1. I Mean You
[ 5:51] 2. Pannonica
[ 6:25] 3. Stablemates
[ 9:54] 4. Lament
[ 6:19] 5. N. P. S
[ 6:59] 6. My Old Flame
[ 5:47] 7. St. Thomas
[10:47] 8. Hagy
[ 6:43] 9. Blues For Alberto
[ 5:16] 10. I've Grown Accustumed To Your Face
[ 7:52] 11. Ruby My Dear

One of Cedar Walton's best recordings, this album pairs him with his long-time colleague, bassist David Williams. The communication between Walton and Williams is superb. "Pannonica" is a beautiful Thelonious Monk ballad, on which both players sound confident. Walton is a modest player, playing only what makes sense. On trombonist J. J. Johnson's "Lament," a lovely orchestral sweep on the piano is followed by some sumptuous chords leading into some upper-register tinkling, before a brilliantly quick run brings us back to lushly textured playing. David Williams' bass solo features spare use of vibrato, perfect intonation, and deep feeling. "Hagy" is an interesting, sad original with a deep rock groove. Walton's playing is modal and atmospheric over Williams's pedal points, and the pianist plays the strings inside the piano to excellent effect. Also unusual is Williams bass solo (which sounds like a bagpipe!), played over a ruminative pedaled piano passage.

Duo mc
Duo zippy

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