Dayna Stephens - Closer Than We Think

Styles: Saxophone Jazz
Year: 2024
Time: 53:23
File: MP3 @ 320K/s
Size: 124,5 MB
Art: Front

(5:15) 1. Bubbly
(6:09) 2. The Nomad
(4:47) 3. Ryland
(3:04) 4. Scrutiny
(4:12) 5. Placate
(5:51) 6. ESP
(4:06) 7. A New Spring
(5:47) 8. Te
(3:59) 9. Blue Poles
(6:47) 10. Back Home
(3:21) 11. Placate (Reprise)

Dayna Stephens is an extraordinary saxophonist, composer, and monumental educator, enjoying well-deserved recognition in the contemporary scene. Mentored by legends such as Terence Blanchard, Wayne Shorter, and Herbie Hancock, Stephens made a name for himself by winning the DownBeat Critics Poll for Rising Star Tenor Saxophonist in 2019. He is active in the New York jazz scene, teaching at the Manhattan School of Music and William Paterson University.

Here’s what you need to know about this remarkable saxophonist, equally exciting despite working in a different style than saxophonist Céline Bonacina. The analogy one can draw with Wayne Shorter precisely reflects a similarly rich musical approach; indeed, Dayna does not seek to please but imposes his style, born from an absolute richness stemming from a diverse and extensive cultural background. Due to the pace of the contemporary world, creating a coherent list of peers and mentors wasn’t feasible, initially disappointing Stephens. “We all play better when we play with people we perceive to be better than us,” says Dayna Stephens

“The frustration of not being able to do this consistently with the same personnel every time that was a hurdle I kept running into whenever I wanted to put something together.” But from this initial setback, a seed of inspiration began to sprout. Stephens who is a full-time educator in some of America’s most prestigious music conservatories thought about the places and people who had inspired him and realized that while he was inspired by his heroes, he received as much, if not more, inspiration from the students he had the privilege to teach. “When this paradigm shift occurred, there wasn’t really a question about the people I wanted to play with.”

Just these profound reflections show how deeply Dayna Stephens understands the foundation of an artist, which translates into this album with compositions and arrangements of extraordinary quality. Of course, this music is quite elitist; those seeking easily digestible tunes may pass it by, but others will have the pleasure not only of discovering the art of this saxophonist and composer but also his profound sensitivity.

Several composers’ works are featured on this album, and a distinct absence of piano can be noted on “Closer Than We Think.” When asked, Stephens remarked that much of the sonic palette of this album was inspired by Sonny Rollins’ timeless album, “The Bridge.” “My father bought me ‘The Bridge,’ and I fell in love, acknowledging the gravity, and sometimes even the playful and humorous expression that I felt from Sonny,” says Stephens. “This level of intimacy, warmth, and a sense of limitless possibilities is the source of my addiction to this music.” As for the saxophonist’s compositions, one of the tracks composed by Stephens on the album is “A New Spring,” emotionally linked to the composer himself. The melody was composed in Stephens’ head as he underwent one of his last dialysis sessions before receiving a kidney transplant. As Stephens sat in the dialysis chair, his brain spun the melody through a plethora of orchestration options, and each pleased him. Although it has been interpreted in different ways, the arrangement used on the album with its guitar-centric sonic landscape powerfully encapsulates the idea of reaching a new beginning.

Undoubtedly, this album is a reference for all fans of this musical genre, and as such, it becomes indispensable for enthusiasts of music with complex architecture.https://www.paris-move.com/reviews/dayna-stephens-closer-than-we-think-eng-review/

Personnel: Dayna Stephens: saxes & EWI; Emmanuel Michael : guitar; Kanoa Mendenhall: bass; Jongkuk Kim: drums; Jeremy Pelt: trumpet (track 6)

Closer Than We Think

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Vicki Burns - Lotus Blossom Days

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 54:31
Size: 126,8 MB
Art: Front

(3:48) 1. If You Never Fall in Love with Me / Del Sasser
(3:26) 2. Close Your Eyes
(4:06) 3. Love Spell
(4:44) 4. Lotus Blossom Days
(5:07) 5. Bittersweet
(2:53) 6. Watch Out / The Sidewinder
(5:06) 7. A Long Way to Go / Equinox
(3:56) 8. It's over Now / Well You Needn't
(6:36) 9. You Don't Have to Believe
(3:48) 10. This Time the Dream's on Me
(6:20) 11. Siren Song
(4:36) 12. Out of This World

Who knew "Del Sasser" had lyrics? Part of the joy of listening to new recordings is finding such things out. And Vicki Burns does a convincing job of it. In this intriguing compilation of standards yes, musicians can record from the Great American Songbook (GAS) without disgracing themselves, no matter what anyone says bop heads and originals, Vicki Burns acquits herself admirably. She is solid evidence that the singer makes the song, rather than the other way around.

For someone who took a hiatus from singing for five years, that is simply a commentary on how difficult the music business can be. One does not just deal with lousy pianos, unreliable sidemen, crooked contactors. temperamental conductors, and a frequently inattentive and ignorant audience. Everyone has an off night, which, inevitably defines them for some. All that not withstanding, make no mistake, Burns is a pretty fair vocalist. That does not necessarily mean that every tune here is a definitive version.

Everyone has different yardsticks: for example, Marlene Ver Plank's recording of Bernice Petkere's "Close Your Eyes" might be a personal favorite. Similarly, Carmen McRae owns "Well You Needn't," recorded with an All-Universe band. But Burns more than holds her own and then some. Her scatting does not sound as if she's reading from a how-to-do-it book. Burns may have learned from Ella Fitzgerald, but is not copying anyone. "Love Spell" is a Burns original, and if the changes sound familiar, her take on them is different. Burns' may not be the first vocal version of "Sidewinder," or even the most outré, but it is certainly credible.

Even "Equinox" has a previous vocal version, but Burns' is arguably more persuasive and interesting as a cover of the John Coltrane original. And do wait for her resolution, which is something. "This Time The Dream's on Me" really swings hard, with a lot of support from bassist Sam Bevan. "Siren Song" and "Out of This World" are both excellent.

The arrangements, mostly by Sam Bevan (perhaps the unsung hero here), are a major part of what makes this recording bounce along; the band is hip, tight, and well placed. For many, Vicki Burns will not be a known commodity, although this is her third recording. She has a great voice, and infectious swing, and a whole lot of chops. And a bright future. By Richard J Salvucci
https://www.allaboutjazz.com/lotus-blossom-days-vicki-burns-vibu-jazz

Personnel: Vicki Burns: voice / vocals; Art Hirahara: piano; Sam Bevan: bass; Billy Drummond: drums; Dayna Stephens: saxophone; Josh Deutsch: trumpet; Masaru Koga: flute; Nick Vayenas: trombone.

Lotus Blossom Days

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Kristiana Roemer - House of Mirrors

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 36:51
Size: 84,9 MB
Art: Front

(3:02) 1. House of Mirrors
(4:14) 2. Beauty is a wound
(4:46) 3. Virgin soil
(2:01) 4. Deine Hände
(4:57) 5. Dark night of the soul
(3:03) 6. Manchmal
(3:56) 7. Lullaby for N.
(5:54) 8. Sugar
(4:53) 9. Duke Ellington's sound of love

Kristiana Roemer is a young German singer whose voice has a lilt and plush texture reminiscent of Annette Peacock. On this, her first album, she uses her intriguing sound in the service of both conventional jazz tunes and floating, airy pieces which border on art songs. Most of the material here is her own writing, though some lyrics derive from others' poetry. In addition, she proves her jazz bona fides by including familiar tunes by Stanley Turrentine and Charles Mingus.

The suppleness of Roemer's jazz singing shows in her easy gliding on "Virgin Soil" and dreamy swoon on "Lullaby For N." Addison Frei' plays rich piano on both tracks. Dayna Stephens' gushing tenor sax highlights the former and Ben Monder adds chiming guitar to the latter. She also does right by the two non-originals, sounding sassy and seductive on Turrentine's "Sugar" and bringing a deep yearning feel to Mingus' "Duke Ellington's Sound of Love."

The other pieces are where Roemer's writing and voice stretch out. She sails over groaning bass and piano and jittery percussion on "Beauty Is A Wound," and sings simply and endearingly on "House Of Mirrors" over Frei's tinkling piano and Gilad Hekselman's bent guitar notes. On "Manchmal," taken from a Herman Hesse poem, she delicately sings in German as Frei and Monder quietly murmur under her. The guitarist is also a presence on "Dark Night of the Soul," accenting the surging piano repetitions which back Roemer's melodic flow. Drummer Adam Arruda and bassist Alexander Claffy are strong throughout the CD but their work here is really exceptional as they keep the song's tense pulse going.

Kristiana Roemer's voice has a combination of softness and firmness which conveys both strength and sensitivity. Her songs have a haunting, wistful feel which perfectly matches her sound. Her band here is fine at being either ethereal or swinging as the songs dictate . This is an excellent debut for her. By Jerome Wilson https://www.allaboutjazz.com/house-of-mirrors-kristiana-roemer-sunnyside-records

Personnel: Kristiana Roemer: voice / vocals; Addison Frei: piano; Alex Claffey: bass; Adam Arruda: drums; Ben Monder: guitar; Dayna Stephens: saxophone; Rogerio Boccato: percussion.

Additional Instrumentation: Gilad Hekselman (1); Ben Monder (5,6,7); Dayna Stephens (3,8); Rogerio Boccato (2).

House of mirrors

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Billy Drummond & Freedom of Ideas - Valse Sinistre

Styles: Jazz, Bop
File: MP3@320K/s
Time: 44:31
Size: 102,4 MB
Art: Front

(4:56) 1. Little Melonae
(7:00) 2. Never Ends
(6:13) 3. Valse Sinistre
(3:29) 4. Laura
(5:18) 5. Frankenstein
(3:15) 6. Changes For Trane & Monk
(5:50) 7. Clara's Room
(4:22) 8. Reconfirmed
(4:05) 9. Lawra

Valse Sinistre is so good that it almost feels irresponsible. Drummer Billy Drummond and his postbop quartet (saxophonist Dayna Stephens, pianist Micah Thomas, and bassist Dezron Douglas) are not only firing on all cylinders, but venturing into such daredevilry that you want to shout, “Are you guys insured?”

This is only slight hyperbole. Starting on Jackie McLean’s “Little Melonae,” the band is already dancing on a tightrope with their warp-speed run through the complex composition. But then, Thomas charges out with an astonishing solo that goes everywhere at once—Drummond demonstrates his command simply by keeping pace. That’s just the opening salvo. The title track showcases another fine Thomas solo, but this one is overshadowed by a dark improvisation from Stephens’ soprano. It’s an instrument we often think of as letting a bit of light into the proceedings; not this time.By By Michael J. West https://jazztimes.com/reviews/albums/billy-drummond-freedom-of-ideas-valse-sinistre-cellar/

Personnel: Billy Drummond – drums; Dezron Douglas – bass; Micah Thomas – piano; Dayna Stephens – saxophones

Valse Sinistre

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Adam Shulman Quartet - On Second Thought

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 54:24
Size: 125,1 MB
Art: Front

(7:33) 1. New Beginning
(7:10) 2. 78 Prosper Resolution
(5:32) 3. Bounce
(6:01) 4. The Little Ones
(5:06) 5. On Second Thought
(9:45) 6. For An Unknown Lady
(7:13) 7. Sara's Song
(6:01) 8. Going Home

With On Second Thought, the Adam Shulman Quartet breaks through with its first CD, a selection of thoughtful and eminently accessible originals by leader and pianist Shulman. It features eight melodic compositions, melding perfectly the group's talented musicians, which include Dayna Stephens on alto, John Wiitala on bass and Jon Arkin on drums. Shulman has been active in the San Francisco jazz scene since he moved there some six years ago, playing regularly in the Bay area with assorted groups. He paid his dues with renowned jazz artists such as Stefon Harris, Paula West and Bobby Hutcherson. On his site, Shulman praises Bill Evans as a huge influence on him. This can be heard in the melodic force and use of chord voicing, as Shulman borrows from both classical and popular forms. It is Stephens on tenor, though, who shines here.

With his warm, breathy tone, he is right out of the Lester Young school via Stan Getz and, currently, Harry Allen. On this album, he delivers a string of peerless solos. On his way to becoming one of the best, he is currently leading groups in the New York area which sometimes include pianist Taylor Eigsti. This praise is not to detract from Shulman, though. The two wonderfully complement each other, piano and sax weaving in and out of often contrapuntal, melodic configurations. Assuredly backing them are Wiitala's bass and Arkin's drums. The ensemble shows up best on "For An Unknown Lady. " Both Shulman and Stephens have strong solos, and, near the end, Shulman's repetitive chords support Stephens' powerful statement. The whimsical "Bounce" takes off from the children's tune "Inchworm" and goes with it, providing fodder for Stephens' imaginative ideas. After this, one looks forward to Shulman's next release.~Larry Taylorhttps://www.allaboutjazz.com/on-second-thought-adam-shulman-kabocha-records-review-by-larry-taylor

Personnel: Adam Shulman: piano; Dayna Stephens: tenor sax; John Wiitala: bass; Jon Arkin: drums.

On Second Thought

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Dayna Stephens - Right Now! Live at the Village Vanguard

Styles: Saxophone
Year: 2020
File: MP3@320K/s
Time: 100:11
Size: 231,3 MB
Art: Front

( 6:29) 1. Smoking Gun
( 6:22) 2. Tarifa
( 6:36) 3. Ran
( 7:33) 4. Contagious
( 9:06) 5. Radio-Active Earworm
( 7:46) 6. Faith Leap
( 5:32) 7. Lesson One
( 8:06) 8. Loosy Goosy
(11:13) 9. Planting Flowers
( 9:48) 10. JFK International
( 8:02) 11. You Are Me Blues
( 7:59) 12. The Beginning of an Endless Happy Monday
( 5:35) 13. Blakonian Groove

Dayna Stephens, ranked first-place Rising Star Tenor Saxophonist in the 2019 Downbeat Critics Poll, is proud to follow up his acclaimed 2020 trio release Liberty with his 10th album as a leader, Right Now! The Dayna Stephens Quartet Live at the Village Vanguard. Recorded at the historic New York club in February 2019, Right Now! finds Stephens fronting a brilliant quartet with Aaron Parks on piano, Ben Street on bass and Gregory Hutchinson on drums. “Playing the Vanguard was so special for me,” says Stephens. “The Vanguard was the first place I saw live musicians play, a videotape of the Johnny Griffin Quartet that I saw when I was 13. To lead my own group at the Vanguard is the highest honor that I, and the 13-year-old inside of me, could have ever imagined.” Much of the Right Now! repertoire comes from Stephens’ rich catalog as a leader, beginning with his 2007 debut The Timeless Now — on which “The Beginning of an Endless Happy Monday,” “Smoking Gun” (based on Monk’s “Evidence”) and “Contagious” were first heard. “In a way I see Right Now! as perhaps the bookend of this chapter in my evolution since The Timeless Now,” Stephens remarks, hinting at new directions to come. We also hear “Radio-Active Earworm” and “Loosy Goosy” from 2012’s Today Is Tomorrow and “JFK International” from 2013’s I’ll Take My Chances, revised and reinvented on the bandstand. “Every time I count off a tune it begins a new journey, even more so with different personnel,” Stephens says.

Street, who played bass on The Timeless Now as well as Liberty, brings his deep insight and effortless flow to the music at every step, complementing Hutchinson’s supple and joyously interactive swing. There are also five songs from Liberty (including “Loosy Goosy” as well), but in contrast to Liberty’s sparser trio versions of “Tarifa,” “Ran,” “Faith Leap” and Aaron Parks’ own “Planting Flowers,” we now hear Parks added to the mix. “In trio the conversation tends to be based more around rhythm,” Stephens notes. “Aaron adds a patient rhythmic and harmonic depth that I find really engaging. His solo on ‘Faith Leap’ knocks me out every time I hear it. And ‘Planting Flowers,’ which he wrote at age 15, is just one of the most perfect tunes I’ve ever played, and it works at many different tempos and approaches.” There are new compositions as well: “Lesson One,” a fiery midtempo homage to Stephens’ Bay Area mentor John Spingarn; “You Are Me Blues,” which refers to the human tendency to “forget about our unity as a species”; and the closing “Blakonian Groove,” a dedication to Stephens’ friend, neighbor and Kenny Barron Quintet bandmate, drummer Johnathan Blake. While Stephens plays soprano on “Tarifa” and alto on “Faith Leap” and “Endless Happy Monday,” Right Now! is mainly a showcase for his distinctively warm and agile tenor, revealing traces of many pivotal influences including Charlie Rouse, Sonny Rollins, Joe Henderson, Lester Young and more. Another sound emerges as well, on “Blakonian Groove” and “Radio-Active Earworm”: the Nyle Steiner Electronic Wind Instrument (EWI), which brings a wealth of alternate textures and colors to the band’s sound. “My EWI sound is directly influenced by the Leslie speaker that comes often with a Hammond B3 organ,” Stephens explains. “I also use guitar pedals and iPad sound generators and can get lost in it for hours at a time. This period of social distancing has driven me even deeper into sound design. My next recording is with the EWI-focused band Pluto Juice and will be out sometime in winter 2020.” https://daynastephens.bandcamp.com/album/right-now-live-at-the-village-vanguard

Personnel: Dayna Stephens, saxophone; Aaron Parks, piano;Ben Street, bass; Gregory Hutchinson, drums

Right Now! Live at the Village Vanguard

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Al Foster - Inspirations & Dedications

Styles: Jazz, Post Bop 
Year: 2019
File: MP3@320K/s
Time: 66:00
Size: 152,4 MB
Art: Front

(6:42)  1. Cantaloupe Island
(5:39)  2. Ooh, What You Do to Me
(5:01)  3. Simone's Dance
(5:54)  4. Samba de Michelle
(5:31)  5. Kierra
(4:48)  6. Douglas
(1:38)  7. Brandyn
(2:42)  8. Our Son
(4:21)  9. Song for Monique
(5:00) 10. Jazzon
(5:35) 11. Bonnie Rose
(7:25) 12. Aloysius
(5:40) 13. Jean-Pierre

On paper Al Foster's  resume as a supporting artist reads better than most other jazz drummers. He's recorded albums with Dexter Gordon, Art Pepper, Frank Morgan, Sonny Rollins, McCoy Tyner, among a plethora of others. Chances are, those who aren't familiar with his name have heard him somewhere, and for the first time since 2002, they can hear him on Inspirations And Dedications as a band leader. As its title suggests, the album is a somewhat autobiographical release. With its 66-minute runtime divided into 13 tracks, the disc is lengthy without becoming bloated. Foster's quintet is a top-tier group of musicians, including trumpeter Jeremy Pelt, saxophonist Dayna Stephens, pianist Adam Birnbaum, and bassist Doug Weiss. The group plays well together, offering a pleasant sound which pushes the lengthy album along at a quick pace, their consistency never allowing for a lull. Rather than featuring a standout single, each song on this crowded release contributes more to a whole. At its finish, Inspirations and Dedications seems not to be a somber reflection on a life lived, but a celebration of it.  Eight of the aforementioned dedications take the form of family. "Simone's Dance" and "Samba de Michelle" feature some of his heaviest drum work on this release, with the latter being a swinging cymbal-driven tune. 

"Kierra" offers a cool, mellow vibe, while "Song For Monique" is a new composition sounding as if it could have been lifted from the early 1960s. Dayna Stephens leads the group through a catchy melody, while Jeremy Pelt seizes an opportunity to solo. The drummer's now classic "Bonnie Rose," a tribute to his wife of over 40 years, receives a more mellow reimagining led by Birnbaum and Weiss, contrasting starkly with the more energetic treatment it received on Chris Potter's Pure (Concord, 1994). Foster and Birnbaum condense the drummer's 1997 composition "Brandyn" into a brief duet prelude to "Our Son," a grief-soaked elegy for the child he lost in 2017. 

Though these two songs comprise under four minutes of the album's runtime, they serve as an emotional counterbalance to the rest of Inspirations and Dedications. The quintet doesn't pull their punches here, and their sincerity lends authenticity to the entire production. Self-referential yet still humble, Foster also penned a composition in his own name, titled "Aloysius." The tune opens with an pensive drum solo before Stephens takes up the melody. Bookending the album are homages to the drummer's 1980s bandmates. Herbie Hancock's "Cantalope Island" opens things up, while he later revisits Miles Davis' "Jean-Pierre," which he played with Davis' quintet on the trumpeter's Grammy-winning We Want Miles (Columbia, 1982). The latter retains just enough of the original's attitude to be an upbeat finale. Al Foster doesn't use Inspirations and Dedications to solidify his position as one of jazz's legendary drummers. He doesn't have to. Instead, he utilizes the album to pay homage to his history within the genre. His friends, his family, and his colleagues all receive treatment, and now more than ever, it becomes apparent how great the breadth of his footprint has been. ~ Peter Hoetjes https://www.allaboutjazz.com/inspirations-and-dedications-al-foster-smoke-sessions-records-review-by-peter-hoetjes.php

Personnel: Al Foster: drums; Jeremy Pelt: piano; Dayna Stephens: saxophone; Adam Birnboum: trumpet; Doug Weiss: bass

Inspirations & Dedications

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Dayna Stephens - I'll Take My Chances

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(9:01)  1. Good Tree, Good Fruit
(7:20)  2. Jfk International
(8:15)  3. Adrift
(7:26)  4. Dirty
(7:59)  5. Unrequited I
(5:13)  6. Prelude to a Kiss
(7:12)  7. Field of Landmines
(9:11)  8. I'll Take My Chances
(4:42)  9. Weezy
(6:44) 10. Unrequited

For his second Criss Cross release I'll Take My Chances, saxophonist Dayna Stephens has put together an impressive recital showing off his skill for composition, arranging, and improvisation. The ten tunes presented here are a nice mix of Stephens's originals, an Ellington classic, and original tunes from contemporary pianists Brad Mehldau and Aaron Parks. The tunes all prove to be fantastic vehicles for Stephens to showcase his warm, soulful sound, and the prowess of the group he has put together for this recording. For the rhythm section Stephens joins pianist, Gerald Clayton, and bassist, Joe Sanders, both young players who have been attracting attention since their time at the Thelonious Monk Institute, where Stephens also studied. Drummer Bill Stewart has been a powerful presence in the New York jazz scene for twenty years now and he and Sanders seem to connect almost effortlessly on this album. Stephens completes the rhythm section with guitarist, Charles Altura, who has just recently come into the spotlight for his work on Chick Corea's The Vigil (Stretch Records, 2013). On his original tunes Stephens shows off his talent for writing interesting melodies. "JFK International" has a winding, unpredictable melody, obviously inspired by the hustle and bustle that can always be found in the airport. Appropriately, "Field of Landmines" has a light and careful feeling to it and Stephens explores some new sounds during his solo by using a chorus pedal, adding an interesting texture to this album. 

The fact that Stephens's original, "I'll Take My Chances," comes directly after "Field of Landmines" may strike some listeners as humorous but the song itself sets a serious tone and sets a perfect backdrop for Stephens's rich tone. "Dirty," another Stephens original stands out on this album and finds Gerald Clayton accompanying from the Hammond B3. Stephens does his best to live up to the tune's name with a soulful bari sax solo. For the centerpiece of the album Stephens recruited vocalist, Becca Stephens, to lend her delicate voice to his treatment of the classic Ellington tune, "Prelude to a Kiss." Though piano and guitar have a history for stepping on each other's toes in this type of a group setting, Clayton and Altura do remarkable job of complimenting each other rather than getting in each other's way on this tune. With this album Dayna Stephens adds another credit to his growing discography and proves himself a force to be reckoned with, not only as a soloist, but also as a composer, arranger, and band-leader. The other members of his quintet interpret Stephens's music with confidence and authority and accompany him well. Hopefully we can look forward to hearing Stephens develop even more as a composer and improviser in the years to come. ~ Andrew Luhn https://www.allaboutjazz.com/ill-take-my-chances-dayna-stephens-criss-cross-review-by-andrew-luhn.php

Personnel: Dayna Stephens: Tenor and Baritone saxophones; Charles Altura: Guitar; Gerald Clayton: Piano/Hammond B3 Organ; Joe Sanders: Bass; Bill Stewart: Drums; Becca Stevens: Vocals

I'll Take My Chances

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Kenny Barron - Concentric Circles

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 66:13
Size: 152,4 MB
Art: Front

(4:51)  1. DPW
(7:26)  2. Concentric Circles
(5:39)  3. Blue Waters
(5:28)  4. A Short Journey
(8:15)  5. Aquele Frevo Axé
(4:43)  6. Von Hangman
(7:00)  7. In the Dark
(5:16)  8. Baile
(5:54)  9. L's Bop
(6:51) 10. I'm Just Sayin'
(4:44) 11. Reflections

Pianist Kenny Barron celebrates his 75th birthday with his Blue Note debut, 2018's sophisticated quintet album, Concentric Circles. An 11-time Grammy-nominated artist, Barron is a journeyman performer with over five decades of highly regarded work under his belt, including stints with titans like Dizzy Gillespie, James Moody, Stan Getz, and many others. He brings all of that experience to bear here with a largely original set of swinging, harmonically nuanced compositions. Backing him are his longtime bandmates bassist Kiyoshi Kitagawa and drummer Johnathan Blake, along with added quintet members trumpeter Mike Rodriguez and saxophonist Dayna Stephens. In a sense, Concentric Circles is a continuation of Barron's recent trio albums 2015's Interplay and 2016's Book of Intuition, both of which showcased his lithe improvisational skills, and deft sense of group interplay. Here, he expands that approach, offering up richly arranged melodies and songs that touch upon forward-thinking post-bop ("Concentric Circles"), atmospheric modality ("A Short Journey"), and buoyant Latin rhythms ("Baile"). Having already grabbed attention on albums with artists like Miguel Zenón, Bebo Valdés, and Charlie Haden, trumpeter Rodriguez remains a quietly ascending star-in-the-making here, blessed with a warm, puckered tone and knack for engaging, architectural lines. His bluesy solo on the hard-boppish "Blue Waters," and his tender flügelhorn turn on Caetono Veloso's ballad "Aquele Frevo Axe" are supremely engaging. Similarly, Stephens continues to prove he's one of the most inventive and accomplished players of his generation, offering up spiraling, vocal-like improvisations throughout. Together, they spar on "Baile" and take divergent, yet complementary paths on the roiling, funky "L's Bop." While Barron has never sounded anything short of virtuosic, his skills have only deepened over the years. He commands the album, framing his musicians with richly textured chord voicings one minute, and launching into evocative improvisational asides the next. What's particularly refreshing is how immediate and of-the-moment the album feels. Concentric Circles is the sound of a jazz master continuing to push forward, buoyed by his bandmates and the lessons of the past.

~ Matt Collar https://www.allmusic.com/album/concentric-circles-mw0003167648   

Personnel: Kenny Barron: Piano; Dayna Stephens: Saxophone; Mike Rodriguez: Trumpet; Kiyoshi Kitagawa: Bass; Johnathan Blake: Drums.

Concentric Circles

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Danny Grissett - Remembrance

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 54:50
Size: 126,0 MB
Art: Front

(5:10)  1. Woody'n You
(6:41)  2. Lament for Bobby
(5:03)  3. Prelude to a Kiss
(5:26)  4. Gallop's Gallop
(6:07)  5. Renatus
(5:47)  6. Just Enough
(7:22)  7. A Friend Indeed
(7:48)  8. Digital Big Foot
(5:22)  9. Detour Ahead

Pianist Danny Grissett is fantastic here not just bursting out with so many deft colors and changes on both piano and Fender Rhodes, but also really showing some great strengths as a leader too! One of those strengths is the way he puts together the tunes especially the more familiar numbers, which feel completely fresh here augmented by some wonderful work on both soprano and tenor sax from Dayna Stephens, who's almost the co-star of the record especially when he takes on a tune from the lead! The quartet's balanced out nicely by Bill Stewart on drums and Vicente Archer on bass all players who really seem to "get" each other in the best way possible. In addition to Grissett's original tunes "Renatus", "Lament For Bobby", "Digital Big Foot", and "A Friend Indeed" the set also features versions of "Just Enough", "Prelude To A Kiss", "Detour Ahead", and "Gallop's Gallop". © 1996-2017, Dusty Groove, Inc. 

https://www.dustygroove.com/item/854211/Danny-Grissett:Remembrance

Personnel:  Danny Grissett  piano, fender Rhodes;  Dayna Stephens soprano, tenor saxophon;  Vicente Archer bass;  Bill Stewart  drums

Remembrance

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Theo Hill - Live At Smalls

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 68:25
Size: 159,2 MB
Art: Front

( 8:49)  1. Ellipse
( 9:55)  2. Teeth
( 7:54)  3. Four by Five
( 5:25)  4. Naima's Lullaby
( 7:07)  5. Iris
( 7:15)  6. Promise of the Sun
(12:56)  7. Mantra
( 9:00)  8. Without A Song

Theo Hill: Live at Smalls is pianist Theo Hill's debut recording as a leader on the SmallsLIVE label. On this set, Hill is joined by saxophonists Dayna Stephens and Myron Walden, bassist Joe Sanders and drummer Rodney Green. The recording pays homage to Hill's first appearance as a professional pianist in NYC at Smalls Jazz Club. After graduating cum-laude from the prestigious Jazz Conservatory at Suny Purchase University in 2004, he has toured extensively throughout five different continents and has been featured at hundreds of venues across the globe. ~ Editorial Reviews https://www.amazon.com/Theo-Hill-Live-at-Smalls/dp/B00QSX2VQ4

Personnel:  Theo Hill – Piano;  Dayna Stephens - Tenor Sax/EWI;  Myron Walden - Alto Sax;  Joe Sanders – Bass;  Rodney Green - Drums

Live At Smalls

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Sachal Vasandani - We Move

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 59:49
Size: 137,9 MB
Art: Front

(6:08)  1. Escape/There's A Small Hotel
(3:25)  2. No More
(4:54)  3. Don't Worry About Me
(3:39)  4. Every Ocean, Every Star
(4:47)  5. We Move
(3:40)  6. Once In A While/Horizons
(3:28)  7. There Are Such Things
(2:21)  8. By The River St. Marie
(4:20)  9. Ring Road (Back To You)
(4:53) 10. Royal Eyes
(5:33) 11. Monk's Dream
(4:58) 12. I'd Let You Know
(4:40) 13. Heartbeat
(2:57) 14. Travelin' Light

Sachal Vasandani's second CD shows he is maturing as a jazz singer and composer, continuing to refine his approach while landing safely in flat fields of open expanse. His voice rarely wavers or explores upper or lower registers; rather, it stays within a comfort zone that avoids much of a challenge. This consistency serves his songs and his audience well, working within a current trend of singers who stay within specific rhythmic boundaries and don't really push the envelope. Vasandani is helped by pianist Jeb Patton and a backing trio that has been with the vocalist for almost a decade, while co-producers John Clayton and guitarist Doug Wamble give him a bit of a push here and there, mixing up standards with subtle originals. The title track shows the most originality in a steady, repeating, and wistful mode; "Ring Road" (contributed by drummer Quincy Davis) has Vasandani in a playful, ever cool mood; and "Don't Worry About Me" has that contemporary hip-hop rhythm originated by Ahmad Jamal under the singer's slick, level-headed style. The old Joe Williams number "By the River St. Marie" is bopped hard within the controlled dynamics of Vasandani's voice, and he goes for some scat on the intro of the combo tune "Once in a While" and Patton's "Horizons." The group covers the chestnuts "No More" and Thelonious Monk's "Monk's Dream," both with lyrics penned by Jon Hendricks, but the results are not optimal or perfect. Where the singer is most convincing crops up in an elegant, confident manner on "Escape/There's a Small Hotel," but especially during "There Are Such Things," a serene interpretation that comes straight from the heart. The most unusual arrangement is more in a baroque or chamber style on the low-key "Royal Eyes," which merges effectively into a small samba. After two recordings, Sachal Vasandani has found somewhat of a niche, but needs to ramp it up creatively and take more chances in order to stand out from the small group of contemporary male jazz vocalists. ~ Michael G.Nastos http://www.allmusic.com/album/we-move-mw0000824179

Personnel: Sachal Vasandani (vocals); Doug Wamble (guitar, keyboards, programming); Dayna Stephens (tenor saxophone, baritone saxophone); Vincent Gardner (trombone); Jeb Patton (piano, organ, Wurlitzer organ); David Wong (acoustic bass); Justin Brown , Quincy Davis (drums).

We Move

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Dayna Stephens - Gratitude

Size: 120,1 MB
Time: 51:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Emilie (7:54)
02. In A Garden (6:06)
03. Amber Is Falling (8:14)
04. Woodside Waltz (5:45)
05. We Had A Sister (6:56)
06. The Timbre Of Gratitude (4:32)
07. Isfahan (2:50)
08. Don't Mean A Thing At All (3:31)
09. Clouds (5:47)

Of the many ways one could express Gratitude, I struggle forming adequate words. When expressing such an important emotion they never seem to quite capture the essence of whats really burning to be understood. The seemingly infinite possible mixtures of notes rhythms and textures given to us by musical expression, however, while still not 100% representative of my personal experienced Gratitude, shines a much brighter light on how humbled and lucky I am to be surrounded by so many angels of compassion and inspiration. It’s been a long night walking through dense forrest, but being surrounded by a sea of candles held by so many gracious people singing "the sun is on its way up” helped illuminate the path to a better place. For them and you I hope this music comes close to expressing how eternally grateful I am for the opportunity given to extend my journey of inspired existence.
One thing that unites every song on this record is they were all at one time or another ear worms that stuck around for a while, and often returned for lengthy stays. Another uniting factor is that they all have to my ear enchanting beautiful singable melodies, and give me a strong sense of sentiment. When we recorded these songs I was conflictingly full of hope peace and uncertainty. Hope that my years would be extended, peace that I was lucky to have made it that far with lots a great moments and experiences despite the circumstances, yet uncertainty because it wasn’t yet clear how the journey was going to continue. Now after so much warmth love peace and connection has been given to me by countless I am saturated with gratitude, perhaps completing a circle that started with those ingredients. ~Dayna Stephens

The 1st song Emilie was introduced to me by violinist/composer Olivier Manchon. He dedicates it to his sister Emilie and its got a nice simple melody that when combined with the plesantly unexpected harmony create a beautiful song to connect with.

In A Garden was written by Aaron Parks, and i’ve had the pleasure of playing this song with him on several occasions. It often paints scenes for me one would find in a fantasy movie. Some of the visuals in the Robin Williams movie What Dreams May Come come to mind.

Amber Is Falling (Red and Yellow) was written by vocalist/composer Michelle Amador, and has been on my favorites list since the mid two thousandzies when we played it in San Francisco in her group Michelle Amador and the True Believers.

Woodside Waltz refers to a city in Northern California called Woodside which has tons of great scenic views of the SF bay through tall redwood trees. While recording it we discovered the recording studio called the Club House Rhinebeck NY had a tack piano which was perfect for bringing out the essence of this gem written Julian Lage. We were all even willing to all tune down our instruments a dozen or so cents flat to match the turning of the piano which hadn’t been tuned in some time.

We Had A Sister is a hauntingly beautiful song by Pat Metheny that I heard as a young beginning saxophone student on Joshua Redman’s second release entitle “Wish”. It’s a song i’ve always wanted to play.

Gratitude

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Quincy Davis - Songs In The Key of Q

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 56:21
Size: 129,3 MB
Art: Front

(10:48)  1. Everybody's Peace
( 8:31)  2. Walnut Creek
( 4:25)  3. Soar
( 3:12)  4. Ponder This
( 8:16)  5. Cold Rain
( 5:03)  6. See You Tomorrow
( 3:52)  7. Epiphany
( 5:52)  8. Matter Factual
( 5:16)  9. Erica's Song
( 1:01) 10. Ponder This (Reprise)

This is a wonderful debut album by Quincy Davis, who has long been highly regarded as one of the great jazz drummers of his generation. In this album, listeners can finally enjoy a compelling glimpse into the mind and soul of Davis as a composer. Davis' music can be described as very "melodic, sophisticated, introspective, soulful and catchy". His playing can be described as simply "refreshing". While the roots of jazz are deeply embedded throughout the album, you will hear no cliches what-so-ever. http://www.cdbaby.com/cd/quincydavis

He is joined by a stellar band: Dayna Stephens (tenor sax), Warren Wolf (vibraphone), Xavier Davis (piano), Vicente Archer (bass) and Richie Goods (electric bass, 1 track).

Songs In The Key of Q

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Dayna Stephens - Today Is Tomorrow

Bitrate: 320K/s
Time: 68:11
Size: 156.1 MB
Styles: Saxophone jazz
Year: 2012
Art: Front

[6:43] 1. Skylark
[6:36] 2. Kwooked Stweet
[5:53] 3. Radio-Active Earworm
[8:14] 4. De Pois Do Amor, O Vazio
[4:45] 5. Loosy Goosy
[7:33] 6. Black Narcissus
[6:26] 7. Haden's Largo
[6:00] 8. Hard-Boiled Wonderland
[8:27] 9. The Elite
[7:31] 10. Cartoon Element

A Bay Area native, tenor saxophonist Dayna Stephens makes his auspicious debut on the Criss Cross label with Today Is Tomorrow --- a soaring, lyrical, deeply swinging collection of originals and jazz classics (Hoagy Carmichael's Skylark, Joe Henderson's Black Narcissus).

As a 2003 graduate of the Thelonious Monk Institute, Stephens had the opportunity to work with the likes of Dave Holland, Wayne Shorter and Herbie Hancock, who helped strengthen his complex sensibility as a composer and improviser. In recent years Dayna has appeared with the likes of Carlos Santana, Kenny Barron, Terence Blanchard, Gretchen Parlato and many others.

Joining Stephens on Today Is Tomorrow is a stellar cast, featuring Aaron Parks on piano and the sturdy rhythm section of Kiyoshi Kitagawa on bass and Donald Edwards on drums. Supplementing the lineup are Julian Lage, one of the jazz scene's most exciting newcomers on guitar, and Michael Rodriguez, a fiery trumpeter with credits including Charlie Haden and Gonzalo Rubalcaba. Stephens pilots them through the set with finesse and heart, proving himself a player quickly on the rise.

Dayna Stephens (Ts); Michael Rodriguez (Tp / Flh) [2,6]; Julian Lage (G) [4,6,7]; Raffi Garabedian (Ts) [3]; Aaron Parks (P); Kiyoshi Kitagawa (B); Donald Edwards (D).

Today Is Tomorrow

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Gretchen Parlato - The Lost And Found

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 62:31
Size: 143,7 MB
Art: Front

(3:46)  1. Holding Back The Years
(5:30)  2. Winter Wind
(5:24)  3. How We Love
(6:02)  4. Juju
(3:04)  5. Still
(6:14)  6. Better Than
(1:54)  7. Alô, Alô
(4:59)  8. Circling
(4:57)  9. Henya
(1:45) 10. In A Dream Remix
(3:17) 11. All That I Can Say
(3:23) 12. Me And You
(4:11) 13. Blue In Green
(4:39) 14. The Lost And Found
(3:19) 15. Without A Sound

Gretchen Parlato is emerging as the most important jazz singer since Cassandra Wilson. Her vocal approach is so unique and her repertoire so eclectic that she stands to create a jazz vocal genre unto herself. After placing first in the 2004 Thelonious Monk International Jazz Vocals Competition, Parlato released her eponymous debut, self-produced, in 2005. Warmly received, she followed her freshman effort up in 2009 with In a Dream (Obliqsound), her critical gravity growing. And those are just Parlato's recordings as leader. She has been a featured vocalist on many records, including David Binney's Greylen Epicenter (Mythology, 2010) and Esperanza Spalding's Chamber Music Society (Concord Music Group, 2010). Much anticipated, The Lost and Found appears, revealing Parlato's sonic evolution toward an end very different from Wilson's. Where Wilson has intently explored the earthy, organic nature of the music she sings, Parlato has entered the laboratory to distill her music to its bare essence: a whisper, a scent, an echo, a suggestion. Her light, no-pressure approach better reveals the harmonic metaphysics of the songs she sings, whether originals or standards.  

The Lost and Found draws much from her two previous releases. Parlato's Wayne Shorter fixation that prompted her to include the saxophonist's "Juju/Footprints" medley on her first recording, and "ESP" on In A Dream, reprises "Juju" alone on The Lost and Found. The fondness that Parlato has for impressionistic music manifests itself in her version of Miles Davis/Bill Evans "Blue in Green," and a cover of Simply Red's "Holding Back The Years," rendered as diaphanous mist, Parlato's light voice perfect for the role. The singer's reprise of "Juju," possesses a crystalline translucence, made acute by Dayna Stephens' wandering saxophone and pianist Taylor Eigsti's run-rampant sonic investigations. Her soft voice provides stark contrast to its support, making for an edgy affair all the way around. Lauren Hill's "All That I Can Say," a successful vehicle for Mary J. Blige, proves equally successful for Parlato, who imparts a lighter contemporary vibe to the song. Parlato is a young and vibrant artist, from whom we are only beginning to hear, and whose future is bright, indeed. ~ C.Michael Bailey  

http://www.allaboutjazz.com/the-lost-and-found-gretchen-parlato-obliqsound-review-by-c-michael-bailey.php#.U-_ji2OumE4

Personnel: Gretchen Parlato: vocals; Taylor Eigsti: piano; Derrick Hodge, Alan Hampton: bass; Kendrick Scott: drums; Dayna Stephens: tenor saxophone.

The Lost And Found

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