Terell Stafford, Dick Oatts, Bruce Barth, Tim Warfield - Fly with the Wind

Styles: Trumpet Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 36:47
Size: 84,7 MB
Art: Front

( 6:57) 1. All Members
(13:24) 2. Fly with the Wind
( 8:58) 3. Naima
( 7:26) 4. Yes I Can, No You Can't

Terell Stafford, Tim Warfield, Dick Oatts, Bruce Barth, Mike Boone and Justin Faulkner pay tribute to Philadelphia’s iconic jazz composers on Fly With the Wind. The second outing by the all-star Temple Jazz Sextet features inspired arrangements of compositions by John Coltrane, McCoy Tyner, Jimmy Heath and Lee Morgan.
https://www.jazziz.com/10-albums-you-need-to-know-april-2023/

Personnel: Terell Stafford, trumpet; Dick Oatts, alto saxophone; Bruce Barth, piano; Tim Warfield, tenor saxophone; Mike Boone, bass; Justin Faulkner, drums

Fly with the Wind

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Gary Smulyan - High Noon - The Jazz Soul Of Frankie Laine

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 70:50
Size: 165,1 MB
Art: Front

(6:17)  1. I'd Give My Life
(8:32)  2. High Noon
(7:21)  3. Torchin'
(6:51)  4. It Only Happens Once
(7:54)  5. Baby, Baby All The Time
(8:21)  6. When You're In Love
(6:28)  7. Put Yourself IN My Place, Baby
(6:38)  8. A Man Ain't Supposed To Cry
(6:31)  9. That Lucky Old Son
(5:52) 10. We'll Be Together Again

This tribute album by baritone saxophonist Gary Smulyan features his bebop-based nonet pulling inspiration from a 1956 album by pop singer Frankie Laine (1913-2007) and trumpeter Buck Clayton. As Laine's foray into jazz's '50s mainstream, Jazz Spectacular (Columbia) represented a piece of the singer's repertoire not as well-known as his pop music. It allowed him to interact with instrumentalists of the era who represented jazz authority and had little to do with themes such as "High Noon," "Mule Train," "Cool Water," "Rawhide," "Gunfight at the O.K. Corral" and the more recent "Blazing Saddles" and "3:10 to Yuma." Laine did not sing on the soundtrack for High Noon, but did record it as another of his Western-based hits.

On Smulyan's album, "High Noon" is hardly recognizable. While the ten songs come from a broad spectrum of Laine's career, each has been rearranged by Mark Masters to fit a nonet akin to that found on Miles Davis' The Birth of the Cool (Capitol, 1949), with similar instrumentation, a pervading blues quality and soulful soloing. Here, "High Noon"'s theme dances in and out of dense harmony and "gunfight" choruses traded between French horn and trombone, and alto sax and trumpet. On bass clarinet, Scott Robinson's lengthy intro clears the main street of town while Smulyan closes the piece with one big booming chorus after another. Laine wrote the lyrics for "A Man Ain't Supposed to Cry," "Torchin'" and "We'll Be Together Again," all which come with heavy blues overtones. Smulyan's horn sings like the original, his nonet providing plenty of jazz atmosphere, affixing a balance to the eclectic quality of Laine's emotional Italian-American crooning melded with whiplash cowboy stories. ~ Jim Santella  http://www.allaboutjazz.com/high-noon-the-jazz-soul-of-frankie-laine-gary-smulyan-reservoir-music-review-by-jim-santella.php
 

Personnel: Gary Smulyan: baritone saxophone; Mark Masters: arranger; Joe Magnarelli: trumpet; John Clark: French horn; Dick Oatts: alto saxophone; Scott Robinson: tenor saxophone, soprano saxophone, bass clarinet; John Fedchock: trombone; Pete Malinverni: piano; Andy McKee: bass; Steve Johns: drums.

High Noon: The Jazz Soul Of Frankie Laine

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Dick Oatts, Dave Santoro Quartet - Meru

Styles: Saxophone Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 63:49
Size: 146,5 MB
Art: Front

( 6:00) 1. Pale Blue
( 8:56) 2. Creeper
( 7:44) 3. Heckle and Jeckle
( 8:46) 4. South Paw
(10:21) 5. Meru
( 7:30) 6. Lasting Tribute
( 6:30) 7. Osmosis
( 8:01) 8. Leap of Faith

The partnership between veteran saxophonist Dick Oatts and bassist Dave Santoro produced this enjoyable 1996 studio session, accompanied by rising talent Bruce Barth on piano and marking the recording debut of drummer James (Jim) Oblan. Santoro and Oatts each contributed four songs, with Santoro's driving post-bop opener "Pale Blue" (seeming to be distantly inspired by "Giant Steps") and the playful "Osmosis" (featuring Oatts on soprano sax) being the most memorable tracks. Oatts' "Heckle and Jeckle" is a furious piece until it softens to spotlight solos by both Santoro and Oblan, while the saxophonist's mellow "Lasting Tribute" is an inspired ballad. The interaction between these musicians as well as their well-constructed solos make this Italian CD worth tracking down.~ Ken Dryden https://www.allmusic.com/album/meru-mw0000604386

Personnel: Bass – Dave Santoro; Drums – James (Jim) Oblan; Piano – Bruce Barth; Tenor Saxophone – Dick Oatts

Meru

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Dick Oatts - Simone's Dance

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 59:39
Size: 137,1 MB
Art: Front

( 9:52) 1. Indigo Rays
( 7:00) 2. Simone's Dance
( 5:21) 3. Half Life
( 7:29) 4. Elohim
( 6:52) 5. Mel's Minor
( 4:47) 6. Reverse Locomotion
( 7:58) 7. Innocent Voice
(10:18) 8. Public Access

Richard Dennis Oatts (born April 2, 1953) is an American jazz saxophonist, multi-instrumentalist, composer, and educator. While growing up in Des Moines, Iowa, Oatts gained an interest in music from his father, Jack Oatts, who was a saxophonist himself and a respected music educator in the Midwest. After high school, Oatts attended Drake University for one year before dropping out and moving to Minneapolis to begin a career in music in 1972. In 1977, he was called by Thad Jones to join The Thad Jones/Mel Lewis Orchestra, which later became the Vanguard Jazz Orchestra. Oatts moved to New York City to join the band, first playing tenor saxophone, and began playing Monday nights with Jones and Lewis at the Village Vanguard, as well as touring in Europe with them. Eventually Oatts switched to playing alto saxophone in the band, and he continues to play with the Vanguard Jazz Orchestra at the Village Vanguard every Monday night. Oatts' work on woodwind instruments (saxophone, clarinet, flute) became more widely known when he led the crossover jazz group Flim & the BB's in the 1980s and '90s with bassist Jimmy "Flim" Johnson, drummer Bill Berg, and keyboardist Billy Barber. Since the 1970s, Oatts has released more than a dozen albums as a leader and co-leader, and he has appeared on over 100 albums as a sideman with Joe Henderson, Jerry Bergonzi, Eddie Gómez, Bob Brookmeyer, the Vanguard Jazz Orchestra, Joe Lovano and others, working extensively with Steeplechase Records. He has also accompanied Joe Williams, Sarah Vaughan, Mel Tormé, and Ella Fitzgerald. Oatts has taught at the Manhattan School of Music and has been artist-in-residence at the Amsterdam Conservatory. In 2006, he became a professor and artistic director of the jazz studies department at Temple University in Philadelphia. https://www.muziekweb.nl/en/Link/M00000063141/POPULAR/Dick-Oatts

Personnel: Dick Oatts - alto saxophone, writer; Bruce Barth - piano; Dave Santoro - bass, writer; James Oblon - drums

Simone's Dance

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Dick Oatts - Standard Issue, Vol. 2

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 59:24
Size: 136,7 MB
Art: Front

(12:47) 1. Stella by Starlight
(13:42) 2. On Green Dolphin Street
(16:20) 3. Love Thy Neighbor
( 3:46) 4. Moonlight in Vermont
(12:47) 5. You Stepped out of a Dream

During his long career, saxophonist Dick Oatts has been a capable sideman on many important dates. On this follow-up to his earlier Steeplechase CD, he explores familiar standards in live jams recorded between 1997 and 1999; with one exception, all of these tracks are extended blowing sessions. Starting off on alto sax, accompanied by bassist Dave Santoro and drummer James Oblon, Oatts' tone is soft during his initial choruses in "Stella By Starlight" before cutting loose with a driving solo; his reworking of the venerable chestnut "On Green Dolphin Street" is a treat. Pianist Harold Danko joins the trio for the last three songs, and Oatts switches to tenor sax for "Love Thy Neighbor," a great standard that had fallen somewhat out of favor among jazz musicians in the final decades of the 20th century. Oatts is every bit as accomplished on the larger instrument, with a fat, confident tone, while Danko's chops are also never in question. Following a rather brief but wild take of "Moonlight in Vermont" with Oatts back on alto, the CD wraps with a thorough workout of "You Stepped out of a Dream." ~ Ken Dryden https://www.allmusic.com/album/standard-issue-vol-2-mw0000969599

Personnel: Alto Saxophone, Tenor Saxophone – Dick Oatts; Bass – Dave Santoro; Drums – James Oblon; Piano – Harold Danko

Standard Issue, Vol. 2

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Vincent Gardner - The Good Book, Chapter Three

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:53
Size: 167,0 MB
Art: Front

(6:07)  1. Double Talk
(7:34)  2. Another Hair-Do
(6:27)  3. I Waited for You
(6:40)  4. Compulsion
(6:38)  5. One Bass Hit
(6:57)  6. Darn That Dream
(5:57)  7. Dizzy Atmosphere
(5:48)  8. Charlie's Wig
(7:12)  9. There'll Never Be Another You
(8:29) 10. Sid's Delight

This album is like the cotton of the advertisement, it does not deceive. It is the third volume that trombonist Vincent Gardner edits from his series 'The Good Book' and is dedicated to bebop. So white and bottled ...

Vincent R. Gardner was born in Chicago in 1972 and grew up in Hampton, Virginia. He comes from a family with strong musical roots, it was Mercer Ellington who hired him for his first professional job and from there he went to work with Wynton Marsalis and entered the famous Jazz at Lincoln Center Orchestra to which he still belongs.

'The Good Book' is a series of CDs that Gardner has dedicated to musicians or styles. The first was dedicated to the music of Frank Foster and Horace Silver, the second entitled 'Now' , was dedicated to the closest composers in time with songs by Marcus Roberts, Kenny Barron, Jeremy Pelt or Anthony Wonsley . Also added some composition of old acquaintances like Kurt Weil, Jimmy Heath or Victor Young . Now it is the turn of the bebop and seeing the wishes of Vincent Gardner we can imagine that he will not do anything wrong.

In this third chapter of the 'Good Book' we find perfect performances of songs like 'Double Talk' by Fast Navarro, 'Another Hair-Do' and 'Charlie´s Wig' by Charlie Parker, 'Compulsion' by Miles Davis or 'Dizzy Atmosfere 'by Gillespie among others. Ten portions of bebop cleanly played by Marsalis string musicians such as Ryan Kisor on trumpet, Peter Washington on double bass or Ali Jackson on drums, Gardner's companions on 'Lincoln', plus the addition of musicians such as Dick Oatts on sax or pianist Peter Zak .If you like bebop do not hesitate, this album will be your favorite of the year, if not, you will enjoy a nice portion of tall bebop. http://www.distritojazz.com/discos-jazz/vincent-gardner-the-book-of-bebop-the-good-book-chapter-three

Musicians: Vincent Gardner (trombone), Ryan Kisor (trumpet), Dick Oatts (alto sax), Peter Zak (piano), Peter Washington (double bass), Ali Jackson (drums).

The Good Book, Chapter Three

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Dick Oatts & Jerry Bergonzi - Saxology

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 59:51
Size: 137,5 MB
Art: Front

(9:19)  1. Cheepo Steaks
(6:33)  2. Cranial Bypass
(9:19)  3. King Henry
(9:36)  4. L.W.
(9:05)  5. In Passing
(9:02)  6. Mobius
(6:54)  7. Flight Of The Dodo

The meeting of alto saxophonist Dick Oatts and tenor saxophonist Jerry Bergonzi pairs the two veterans in a quartet with bassist Dave Santoro (a frequent collaborator on record dates with Oatts) and drummer Tom Melito. Santoro penned five of the CD's seven tracks, starting with the upbeat, cool "Cheepo Steaks," which has a perky unison line and terrific solos all around. By contrast, the bassist's "Cranial Bypass" is an insistent cooker built upon its opening riff. Santoro's "Flight of the Dodo" sounds like something written by a student of Lennie Tristano, an intricate workout which sounds like it could be an elaborate, well-disguised takeoff on the changes to "All the Things You Are." Oatts' subtle "In Passing" has an infectious quality, with an underlying broody air, while his "King Henry" gradually builds steam, resulting in the most provocative solos of the session. Highly recommended! ~ Ken Dryden https://www.allmusic.com/album/saxology-mw0001724563

Personnel:  Tenor Saxophone – Jerry Bergonzi; Alto Saxophone – Dick Oatts; Bass – Dave Santoro; Drums – Tom Melito

Saxology

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Terell Stafford - New Beginnings

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 58:32
Size: 134,7 MB
Art: Front

(7:24)  1. Soft Winds
(5:00)  2. I Don't Wanna Be Kissed
(7:05)  3. He Knows How Much You Can Bear
(6:10)  4. Selah (New Beginnings Suite)
(5:01)  5. La Maurier (New Beginnings Suite:)
(6:18)  6. Berda's Bounce (New Beginnings Suite:)
(7:08)  7. Blame It On My Youth
(5:59)  8. The Touch Of Your Lips
(8:22)  9. Kumbaya

Named after a suite composed for the Dayton, OH, arts organization Cityfolk, New Beginnings buckles under the weight of its diverse choice of material, just holding together due to the musicians' expertise. Terell Stafford bounces between trumpet and flügelhorn, the choice of material ranges from standards to funk, and there must have been a rotating door for the four saxophonists. Luckily, our leader is a "musician's musician," so if listeners consider it a chance to sit in on Stafford's class at Temple, they'll be rewarded. Stafford steps up slowly to Fletcher Henderson's "Soft Winds" before having some fun, assuredly stretching notes before handing it over to Jesse Davis and Harry Allen's more relaxed and soulful approaches. It's a great opener, with solos being bounced back and forth to introduce the players quickly. Mulgrew Miller is in fine form throughout the record, placing his solo between the beats on "I Don't Wanna Be Kissed" and providing ample support for the leads elsewhere. Derrick Hodge's acoustic bass is spot-on, but less compelling when he switches to electric for the anemic funk of "Selah," the "New Beginnings Suite" opener. The three-song suite could be taken apart without anyone noticing, but its structure does allow the sideman ample room to explore on an already sideman-friendly record. Stafford slinks across Stephen Scott's wonderful arrangement of "Kumbaya" and Steve Wilson's brilliant soprano pushes the whole band toward a rapturous ending. It's definitely the album's winner, and as a closer it leaves the listener exalted. ~ David Jeffries https://www.allmusic.com/album/new-beginnings-mw0000035813

Personnel: Trumpet, Flugelhorn – Terell Stafford; Acoustic Bass, Electric Bass – Derrick Hodge; Alto Saxophone – Dick Oatts, Jesse David;  Alto Saxophone, Soprano Saxophone – Steve Wilson;  Drums – Dana Hall; Piano – Mulgrew Miller; Tenor Saxophone – Harry Allen

New Beginnings

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Monica Zetterlund - It Only Happens Every Time

Styles: Vocal 
Year: 2016
File: MP3@320K/s
Time: 36:53
Size: 85,7 MB
Art: Front

(5:12)  1. It Only Happens Every Time
(3:38)  2. Long Daddy Green
(4:37)  3. Silhouette
(5:06)  4. He Was Too Good To Me
(4:07)  5. The Groove Merchant
(4:14)  6. Love To One Is One To Love
(4:16)  7. Happy Again
(5:40)  8. The Second Time Around

Swedish singer Monica Zetterlund is backed by the Thad Jones-Mel Lewis Orchestra on the Inner City LP It Only Happens Every Time. Her phrasing is precise, but her vocal style doesn't always blend well with the big band. Jones' "It Only Happens Every Time" comes off under-rehearsed, as if the chart is still in a state of flux, a similar problem that occurs during "The Second Time Around." Better is the swinging treatment of "Long Daddy Green" and the tearjerker ballad "He Was Too Good to Me." Sadly, none of the instrumental soloists is identified, though Pepper Adams shines on baritone sax in two compositions by the late Lars Gullin, one of Europe's best players of the instrument; this was also Adams' final recording with the band. Overall, this is a good, though hardly essential record. ~ Ken Dryden https://www.allmusic.com/album/it-only-happens-every-time-mw0000852532

Personnel:  Monica Zetterlund – vocals; Thad Jones – flugelhorn; Mel Lewis – drums; Harold Danko – piano; Rufus Reid – bass; Jerry Dodgion – saxophone, flute; Ed Xiques – saxophone, flute, clarinet; Rich Perry – saxophone, flute, clarinet; Dick Oatts – saxophone, flute, clarinet; Pepper Adams – saxophone; Frank Gordon – trumpet; Earl Gardner – trumpet; Jeff Davis – trumpet; Larry Moses – trumpet; Earl McIntyre – trombone; John Mosca – trombone; Clifford Adams – trombone; Billy Campbell – trombone

It Only Happens Every Time

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Eddie Gomez - Power Play

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 43:31
Size: 100,1 MB
Art: Front

(5:39)  1. Power Play
(3:53)  2. Loco Motive
(5:15)  3. Spanish Flower
(5:04)  4. Mel
(5:46)  5. Amethyst
(5:02)  6. Mr. Go
(3:50)  7. Very Early
(3:58)  8. W. 110th St.
(4:59)  9. Forever

Eddie Gomez (born October 4, 1944) is a jazz bassist. He was born in Santurce, Puerto Rico; he emigrated with his family at a young age to the United States and grew up in New York. He started on double bass in the New York City school system at the age of eleven and at age thirteen went to the New York City High School of Music and Art. He went on to study with Fred Zimmerman. He played in the Marshall Brown-led Newport Festival Youth Band from 1959 to 1961, and was later educated at Juilliard.His impressive resumé includes performances with jazz giants such as Miles Davis, Dizzy Gillespie, Bill Evans, Gerry Mulligan, Benny Goodman, Buck Clayton, Marian McPartland, Paul Bley, Wayne Shorter, Jeremy Steig, Herbie Hancock, Tony Williams, Chick Corea and Carli Muñoz. Time Magazine lauded: “Eddie Gómez has the world on his strings”. Eddie Gómez would spend a total of eleven years with Bill Evans Trio which included performances throughout the United States, Europe, and the Orient, as well as dozens of recordings. Two of the Trio's recordings won Grammy awards. In addition, he was a member of the Manhattan Jazz Quintet.His career mainly consists of working as an accompanist, a position suited for his quick reflexes and flexibility.In addition to working as a studio musician for many famous jazz musicians, he has recorded as a leader for Columbia Records, Projazz and Stretch. Most of his recent recordings as a leader, are co-led by jazz pianist Mark Kramer. https://musicians.allaboutjazz.com/eddiegomez

Personnel:  Bass – Eddie Gomez; Drums – Steve Gadd,, Al Foster; Keyboards – LeeAnn Ledgerwood; Tenor Saxophone – Michael Brecker; Flute; Michael Cochrane - Soprano Saxophone – Dick Oatts; Flute – Jeremy Steig

Power Play

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Dick Oatts - South Paw

Styles: Saxophone Jazz 
Year: 2001
File: MP3@320K/s
Time: 63:44
Size: 147,0 MB
Art: Front

(7:59)  1. King Henry
(7:23)  2. One for Jack
(8:45)  3. Reconcile
(7:29)  4. Raised nine ball
(8:39)  5. South paw
(8:00)  6. Totomlane
(9:17)  7. What's new
(6:06)  8. Barbarian

Dick Oatts' fourth SteepleChase outing is wholly original, save for an unusual, vamp-based reading of "What's New" that winds up sounding a little like "Bemsha Swing." Joining the saxophonist are his regular rhythm mates, bassist Dave Santoro and drummer James Oblon, along with trumpeter Joe Magnarelli, who proves to be a stirring presence throughout. In this sparse and harmonically suggestive environment one really gets to soak in the wonderful timbre of the horns although pianist Harold Danko makes three strong guest appearances, adding variety to the session. Highlights include the placid and melodic waltz "Reconcile," the challenging, up-tempo "Raised Nine Ball," and the lightly bouncing, unorthodox title track. Oatts plays alto sax almost exclusively, recalling at times the silky, rich tones of Lee Konitz and Paul Desmond; he switches to tenor for the closing "Barbarian," a tricky, ever-modulating blues. ~ David R.Adler https://www.allmusic.com/album/south-paw-mw0001250092

Personnel:  Alto Saxophone, Tenor Saxophone – Dick Oatts; Bass – Dave Santoro; Drums – James Oblon; Piano – Harold Danko; Trumpet – Joe Magnarelli

South Paw

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Vic Juris, Dick Oatts, Jay Anderson, Jeff Hirshfield - Remembering Eric Dolphy

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 60:49
Size: 140,0 MB
Art: Front

(4:41)  1. Miss Ann
(7:51)  2. Vaults
(5:56)  3. Latin's Lamp
(7:24)  4. Emphasizing Eric
(7:19)  5. Tone Rose
(5:29)  6. South St. Exit
(6:33)  7. Something Sweet, Something Tender
(7:35)  8. He Me
(4:12)  9. Gentle
(3:44) 10. Out There

As a significant statement of its own by guitarist Vic Juris and his sympathetic ensemble, Remembering Eric Dolphy is an undeniable success. As the tribute affair its title suggests it proves to be far more illusive. For one thing, out of the ten selections only four happen to be Dolphy originals, while the rest are new compositions by Juris and reedman Dick Oatts. Although you can interpret the next point in two ways, it seems that the instrumentation is a bit unusual in that Dolphy never recorded with a guitarist. Still, Juris’ gumption for tackling this project and doing so in such an idiosyncratic manner is nothing to sneeze at. All of the foregoing aside, Juris’ writing is exceptionally strong throughout, touching on many moods. The catchiest of the lot are “Latin’s Lamp” and “He Me,” with the former not unlike Berlin’s “Remember” (is there some connection there to the album’s title?) and the latter making leaps towards some “giant steps” before changing directions. As for the Dolphy tunes, “South St. Exit” is probably the most unforgettable due to Oatt’s flute work and one ends up wishing his burnished tone on that instrument was heard from more than just on this one track. Juris’ guitar sound is strikingly similar to that of John Abercrombie. He arrives at a processed tone that on more than one occasion puts me in mind of such Abercrombie ECM sides as “Getting There” and “Current Events.” As for the rest of the crew, hats off to Oatts for not attempting to imitate Dolphy in any way and accolades to bassist Jay Anderson and drummer Jeff Hirshfield for being so responsive to the character of each composition. So once again, I’m not sure how well this works as a Dolphy homage but I am sure that this is one of Juris’ best records to date. ~ C.Andrew Hovan https://www.allaboutjazz.com/remembering-eric-dolphy-vic-juris-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Vic Juris- guitar; Dick Oatts- alto & soprano sax and flute; Jay Anderson- bass; Jeff Hirshfield- drums

Remembering Eric Dolphy

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Dave Valentin - Tropic Heat

Styles: Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 47:54
Size: 111,3 MB
Art: Front

(4:40)  1. My Favorite Things
(6:12)  2. Sweet Lips
(5:05)  3. Don Q
(6:10)  4. Danzon For My Father
(4:55)  5. Mr. Evil
(4:45)  6. Bello Amanecer
(6:15)  7. Sam's Groove
(4:01)  8. Tasty Mango
(5:48)  9. Sangria

Flutist Dave Valentin's 16th album for GRP is one of his best. His regular group (a quartet with pianist Bill O'Connell, bassist Lincoln Goines, and drummer Robbie Ameen) is augmented by two percussionists and an excellent seven-member horn section that consists of the reeds of Dick Oatts, Mario Rivera, and David Sanchez; trombonist Angel "Papo" Vasquez; and three trumpeters, including Charlie Sepulveda. All of the horns get their opportunities to solo and the result is a particularly strong Latin jazz session. Valentin continues to grow as a player and he cuts loose on several of these tracks. ~ Scott Yanow https://www.allmusic.com/album/tropic-heat-mw0000625229

Personnel: Dave Valentin - flute; Bill O'Connell - piano; Milton Cardona - congas, percussion; Mario Rivera - tenor saxophone, bass clarinet, vocals; Piro Rodriguez - trumpet;  Bernd Schoenhart - acoustic guitar;  David Sanchez - tenor saxophone;  Robby Ameen - drums;  Dick Oatts - alto & tenor saxophones

Tropic Heat

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Gary Smulyan Nonet - Saxophone Mosaic

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 55:20
Size: 127,7 MB
Art: Front

(7:48)  1. Apache Dance
(8:20)  2. Olivia's Arrival
(6:55)  3. Speculation
(8:10)  4. The Wind
(5:28)  5. Smoke Signal
(5:54)  6. Stockholm Sweetnin'
(3:09)  7. Springsville
(9:32)  8. Fingers

Gary Smulyan has gradually emerged as one of the top successors to the deep-toned baritonist Pepper Adams. For this Cross Cross CD Smulyan uses a saxophone section partly drawn from the Mel Lewis Orchestra (Dick Oatts on alto and soprano, altoist Billy Drewed, tenors Ralph Lalama and Richie Perry and baritonist Scott Robinson) and a fine rhythm section. The arrangements of Bob Belden are a major factor in the date's success as he successfully revives a variety of obscurities from the 1950s including Quincy Jones's "Stockholm Sweetnin'," Johnny Carisi's "Springsville" and Horace Silver's "Speculation" in colorful fashion. Whlie some of the songs are primarily features for Smulyan, the other saxophonists also have their chances to be heard and, even if the liner notes unfortunately do not identify the exact soloists, this is a well-conceived and easily recommended bop session. ~ Scott Yanow https://www.allmusic.com/album/saxophone-mosaic-mw0000177782

Gary Smulyan Nonet: Gary Smulyan (baritone saxophone); Bob Belden (conductor); Dick Oatts (soprano & alto saxophones, flute); Billy Drewes (alto saxophone, flute, clarinet); Ralph Lalama (tenor saxophone, flute, clarinet); Richie Perry (tenor saxophone); Scott Robinson (baritone saxophone, bass clarinet); Mike LeDonne (piano); Dennis Irwin (bass); Kenny Washington (drums).

Saxophone Mosaic

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Dial & Oatts, Rich De Rosa & The WDR Big Band - Rediscovered Ellington: New Takes On Duke's Rare And Unheard Music

Size: 177,6 MB
Time: 76:44
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz, big Band
Art: Front

01. Hey, Baby (10:40)
02. Let The Zoomers Drool ( 8:23)
03. I Like Singing ( 9:23)
04. Just A Gentle Word Will Do ( 7:24)
05. Introspection ( 9:11)
06. Kiki ( 8:30)
07. Love Came ( 7:29)
08. Kcor ( 8:24)
09. I Must Be Mad ( 7:16)

Pianist Garry Dial and saxophonist Dick Oatts have teamed up frequently in recent years as "Dial and Oatts," on some occasions to record their own material (Dial and Oatts, 1990) and on others to breathe new life into classic jazz repertoire (Dial and Oatts Play Cole Porter, 1993). Their latest, Rediscovered Ellington, is of course an example of the latter, as the two combine forces with arranger/conductor Rich DeRosa and the WDR Big Band to tackle nine pieces in the Duke Ellington songbook that have been either under-recorded or are only now getting their first recorded exposure. Rather than going the repertory route via slavish imitation, the approach here involves re-imagining these songs through creative arrangements that are largely successful in bringing a contemporary big-band sensibility to this slice of Ellingtonia.

All of the pieces here are from the vaults of Tempo Music, the publishing company that Ellington himself ran and which his sister Ruth took over after Duke's death in 1974. There's a fairly wide time-frame represented, with early tracks like "Hey, Baby" and "Let the Zoomers Drool" dating from the 1940s and later pieces like "KCOR" and "I Must Be Mad" coming from the 1960s. To be sure, it's not top-shelf Ellington: these pieces aren't likely to rival any of the true masterpieces in Ellington's body of work. The value of the album thus ultimately hinges on the strength of the arrangements and the quality of musicianship on display. And on both counts it is quite compelling overall.

When at its best, the WDR Big Band is indeed top-notch: precise, dynamically expansive, and capable of navigating the most complex charts without a hitch. So Dial and Oatts have a terrific palette with which to work, and they take full advantage of it. The album's opener, "Hey, Baby" is perhaps the strongest cut on the record: under DeRosa's expert guidance and Oatts's splendid work on the soprano sax, the band takes a fairly run-of-the-mill melody and transforms it into a 10-minute tour-de-force, with an emotional richness and musical depth that rewards repeated listening. Compare the best- known rendition of the tune found on the Rosemary Clooney/Ellington Orchestra record Blue Rose (from 1956) with this one and you can easily appreciate DeRosa's remarkable arranging talents. On a gentler note, "I Like Singing," taken from a musical Ellington co-wrote with Herbert Martin called Saturday Laughter, is a lovely ballad with an air of melancholy and some fantastic harmonic color from the band; another excellent slower-tempo piece is "Love Came," this one co-written by Billy Strayhorn (who inexplicably isn't given this credit on the album). Previously unrecorded pieces "Introspection" and "Kiki" are delightful mid-tempo tracks that feature superb arrangements and invigorating energy from the WDR band. The ensemble writing for "Kiki" is especially strong, with terrific pacing and multilayered voicings throughout.

Not all of the songs receive this degree of creative re-imagining, however. While it's got a great title, "Let the Zoomers Drool" is more or less a standard blues number, and it's not really given a whole lot extra by the band, although Dial does get a chance to showcase his piano chops convincingly. "Just a Gentle Word From You Will Do," another previously unrecorded piece, is provided a fairly light, Latin-flavored treatment, with Oatts taking a turn on flute this time—but again, there isn't quite enough here to make the performance memorable. Finally, the album's closer, "I Must Be Mad" is built around a piano/alto sax duet between Dial and Oatts. The tune is pleasant enough and it definitely highlights the two musicians' strong rapport, but the piece is unexceptional by Ellington's lofty standards and it doesn't rise to the level of the stronger cuts on the record.

The above limitations notwithstanding, most of the music here is very, very good: even second (or third) tier Ellington is pretty fine stuff! Kudos should go to Dial, Oatts, DeRosa and the WDR Big Band for the passion and dedication they brought to this commendable project. ~Troy Dostert

Personnel: Garry Dial: piano, arranger; Dick Oatts: soprano sax, alto sax, flute, arranger; Rich DeRosa: conductor, arranger, big band orchestrations; Johan Horlen: alto sax, flute, clarinet; Karolina Strassmayer: alto sax, flute; Olivier Peters: tenor sax, clarinet; Paul Heller: tenor sax, clarinet; Jens Neufang: bari sax, bass sax, bass clarinet; Andy Haderer: lead trumpet; Wim Both: alt lead trumpet; Rob Bruynen: trumpet; Ruud Breuls: trumpet; John Marshall: trumpet; Ludwig Nuss: lead trombone; Shannon Barnett: trombone; Andy Hunter: trombone; Mattis Cederberg: bass trombone, tuba; John Goldsby: bass; Hans Dekker: drums.

Rediscovered Ellington

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Dick Oatts - Use Your Imagination

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 61:01
Size: 140,4 MB
Art: Front

(8:24)  1. Yesteryear
(8:39)  2. Do Da Day
(7:18)  3. Speaking Relative
(7:28)  4. Como Uno
(7:04)  5. Lossofyou
(7:07)  6. Use Your Imagination
(9:34)  7. Mideast Midwest
(5:23)  8. Game Show

Dick Oatts has a wonderful group here  a well-chosen quintet of musicians who really seem to open up the possibilities in each others' sound, especially when it comes to tone, texture, and color! Oatts is always great his raspy alto is deft, but always very personal too and it's offset here by the sparkling trumpet of Joe Magnarelli, who seems to be exploring a lot of fresh territory on the mostly-original tunes provided for the album by Dick. 

Pianist Anthony Wonsey blocks things out strongly with his work on the keys bringing in a soulful, stepping vibe that's mighty nice  before soaring out on his own solos too. And bassist Ugonna Okegwo rounds out the snapping rhythms provided by drummer Chris Smith making for a pair who's sense of timing really inspires the others. Titles include "Como Uno", "Speaking Relative", "Do Da Day", "Yesteryear", "Lossofyou", and "Midwest Mideast".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/861588

Personnel:  Dick Oatts - alto saxophone;  Joe Magnarelli - trumpet;  Anthony Wonsey - piano;  Ugonna Okegwo - bass;  Chris Smith - drums.

Use Your Imagination

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Dick Oatts, Garry Dial - Dial & Oatts Play Cole Porter

Styles: Saxophone And Piano Jazz
Year: 1993
File: MP3@224K/s
Time: 62:27
Size: 100,2 MB
Art: Front

(7:29)  1. Ev'rything I Love
(5:00)  2. So in Love
(7:05)  3. I Love You
(6:30)  4. All of You
(6:00)  5. Down in the Depths
(5:52)  6. What Is This Thing Called Love?
(4:44)  7. At Long Last Love
(5:28)  8. Ridin' High
(4:35)  9. Let's Do It (Let's Fall in Love)
(5:47) 10. Goodbye Little Dream, Goodbye
(3:52) 11. Too Much Is Just Right

Born and raised in the state of Iowa, Dick Oatts was brought up in a musical family. He was introduced to the saxophone by his father Jack Oatts, a respected jazz educator and saxophonist. After high school, Dick attended Drake University and in 1972 he began his professional career in Minneapolis/St. PaOatts moved to NYC in 1977. Shortly there after, joined the Thad Jones / Mel Lewis Orchestra. Since then, he has toured, recorded,and performed as a sideman in small groups with Bob Brookmeyer, Red Rodney, Eddie Gomez, Mel Lewis, Jerry Bergonzi, Joe Lovano, Dom Salvador, Vic Juris, Soren Moller, Terell Stafford, Ray Mantilla, Jon Faddis, David Berkman, Flim & the BBs, Ray Mantilla, Fred Hersch, Joe Morello, Lalo Schiffrin and several others. His Big Band and large ensemble experience include Thad Jones/Mel Lewis Orch,, The Mel Lewis Jazz Orch., Vanguard Jazz Orchestra, Carnegie Hall Jazz Band, Jon Faddis Jazz Band, Tito Puente, Lester Bowie, Sam Jones/Tom Harrell, Jim McNeely, Kenny Wheeler, Joe Lovano Paquito D'Rivera,and Gunther Schuller. Oatts has been a featured artist with the Metropole Orchestra, WDR Big Band, Stockholm Jazz Orchestra,Danish Radio Big Band, Millenium Jazz Orch., Norboten Radio big band, High Coast Jazz Orchestra, RIAS Radio big band, Concerto BouOrchestra, Mats Holmquist/Dick Oatts Orchestra, Rome Radio, UMO big band, Winnipeg Jazz Band, and the Wellington Jazz Orch. Oatts has accompanied such vocalists as Joe Williams, SaraVaughn. Ella Fitzgerald, Mel Torme, Neena Freelon, and Milton Nascimento. He has recorded solos for R&B artist, Luther Vandross and Everything but the Girl.

As a Steeplechase recording artist, Oatts has recorded 10 solo CDs and 5 co-led CDs. He has recorded 3 CDs on the DMP label with co-leader and pianist, Garry Dial and another on the Temple Univ. record label entitled "That Music Always Round Me". Oatts and Terell Stafford are co-leaders on "Bridging the Gap" on Planet Arts. Dave Santoro and Oatts are co-leaders on "Meru" on Red Records. For the past 35 years, Oatts has appeared at College Jazz Festivals as a soloist and clinician throughout the United States, Canada, Mexico, South America, Europe, Mid-East, Japan, New Zealand, Australia, and Taiwan. Oatts is a professor at the Boyer School of Music and Dance at Temple University and has been an "Artist in Residence" at the Amsterdam Conservatory since 1998. https://www.dickoattsmusic.com/mobile/bio.php

Personnel: Garry Dial (piano), Dick Oatts (tenor & alto saxophones), Jay Anderson (bass), Jeff Hirshfield (drums).

Dial & Oatts Play Cole Porter

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Harold Danko Quintet - Oatts & Perry

Styles: Piano Jazz
Year: 2005
File: MP3@256K/s
Time: 66:24
Size: 123,6 MB
Art: Front

(10:18)  1. Softly As In A Morning Sunrise
( 8:48)  2. Like Sonny
( 8:14)  3. Evol Deklaw Ni
( 6:31)  4. Peace
( 9:11)  5. I Mean You
( 9:04)  6. Unit 7
( 8:01)  7. Tidal Breeze
( 6:13)  8. Don't Get Sassy

Not long after saxophonists Dick Oatts and Rich Perry joined the Thad Jones/Mel Lewis Orchestra, pianist Harold Danko (who was already in the band) was very impressed with their abilities, and he began to conceive of a record date featuring both men by the early '80s, though it wouldn't come to fruition for another quarter century. Together with his regular rhythm section (bassist Michael Formanek and drummer Jeff Hirschfield), they dove headfirst into a date featuring Danko's intriguing arrangements. The tense, extended workout of "Softly, as in a Morning Sunrise" (the session's only standard) finds both Oatts (alto) and Perry (tenor) departing from conventional approaches and engaging in a live series of exchanges with the leader. John Coltrane's "Like Sonny" (one of his less frequently performed works) lets the quintet reveal its possibilities. Horace Silver's dreamy ballad "Peace" and Thelonious Monk's snappy "I Mean You" also are in good hands, with fine solos all around. It's only natural that the group would explore some of the repertoire of the Jones/Lewis band, with a spirited interpretation of Jones' well-named blues "Don't Get Sassy" and the cheerful, loping ballad "Evol Deklaw Ni." The pianist's one original of the date is the brisk "Tidal Breeze," providing a brief showcase for Formanek and highlighted by the saxophonist's adventurous solos. This rewarding CD is well worth investigating. ~ Ken Dryden http://www.allmusic.com/album/oatts-perry-mw0000543335

Personnel:  Harold Danko (piano); Dick Oatts (alto saxophone); Rich Perry (tenor saxophone); Michael Formanek (bass instrument); Jeff Hirshfield (drums).

Oatts & Perry

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Harold Danko - Oatts & Perry III

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 73:46
Size: 171,0 MB
Art: Front

( 8:08)  1. Epistophy
( 6:45)  2. Chelsea Bridge
(11:03)  3. Well You Needn't
( 9:09)  4. High Priest
( 9:14)  5. Contemplation
( 6:41)  6. Dance of the Infidels
( 8:57)  7. Straight No Chaser
( 6:08)  8. Quietude
( 7:37)  9. Dis Here

“ This album is a true sleeper. the date is beautifully planned and recorded …”, commented Thomas Conrad of JazzTimes on the first “Oatts & Perry” (SCCD 31588) released in 2006. Following the equally highly acclaimed sequel “Oatts & Perry II” (SCCD 31689) of 2010 this latest addition to Harold Danko’s favorite project proves again the pianist/leader Danko’s endless ideas to keep the perfect conversation going between Dick Oatts (alto) and Rich Perry (tenor), arguably the two best on the scene today.

Personnel: Harold Danko (piano), Dick Oatts (alto saxophone), Rich Perry (tenor saxophone), Michael Formanek (bass), Jeff Hirshfield (drums)

Oatts & Perry III

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Harold Danko - Oatts & Perry II

Styles: Piano Jazz
Year: 2009
File: MP3@256K/s
Time: 67:31
Size: 124,4 MB
Art: Front

( 7:51)  1. Ain't Nothin' Nu
( 7:30)  2. Blue Swedish Wildflower
( 8:48)  3. Suspended Sentence
( 6:18)  4. Soon
( 7:12)  5. Chest Frenzy
( 9:25)  6. Gregory Is Here
( 9:58)  7. Sid's Ahead
(10:27)  8. I Remember You

Harold Danko met alto saxophonist Dick Oatts and tenor saxophonist Rich Perry while all three were members of the Thad Jones/Mel Lewis Orchestra. Over the years, they have had opportunities to play together, with Perry and Danko appearing on each other's CDs a number of times and a successful 2005 record date entitled Oatts & Perry. So it was only natural that the pianist desired to have both reedmen together for a follow-up recording, which took place in early 2009, adding Danko's regular bassist, Michael Formanek, and drummer, Jeff Hirschfield. It is hardly surprising that the three men would have an affinity for the music of Thad Jones, and the late drummer's driving, rarely recorded "Ain't Nothin' Nu" proves to be a great opener, with terrific solos all around. Danko's "Blue Swedish Wildflower" might sound like a Wayne Shorter piece to the uninitiated, but this lovely work was written back in the 1970s when the pianist was playing with Jones and Lewis. Formanek's understated solo and the intricate harmonies of the two saxes in the ensembles make this ballad glisten. Shorter is represented with his demanding "Suspended Sentence" (a demanding work penned for a Lee Morgan session), with solid interplay by the saxophonists. Horace Silver's "Gregory Is Here" is another forgotten gem, with great support by the rhythm section. Standards aren't ignored, represented by an intimate setting of Richard Rodgers' "Soon" and a lengthy exploration of "I Remember You" that has Oatts showing a bit of influence from Lee Konitz. This rewarding date should lead to future studio reunions of the full quintet. ~ Ken Dryden http://www.allmusic.com/album/oatts-perry-vol-2-mw0002014016

Personnel: Dick Oatts (alto saxophone); Rich Perry (tenor saxophone); Harold Danko (piano); Jeff Hirshfield (drums).

Oatts & Perry II

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