Donny McCaslin - I Want More

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 43:01
Size: 100,4 MB
Art: Front

(5:37) 1. Stria
(4:23) 2. Fly My Space Ship
(4:31) 3. Hold Me Tight
(5:48) 4. Body Blow
(4:11) 5. Big Screen
(5:55) 6. Turbo
(5:10) 7. Landsdown
(7:22) 8. I Want More

Saxophonist, composer and bandleader Donny McCaslin has taken modernist directions in music that allowed him to carve out a niche of faithful devotees. His new album, I Want More, is an eclectic blowout, all tracked to blazing saxophone solos, oozy synth layers, and trance-like, sometimes even hard-hitting beats and rhythms. McCaslin’s extraordinary ensemble features keyboardist Jason Lindner, bassist Tim Lefebvre and drummer Mark Guiliana. All four had an important role in the outcome of David Bowie’s last album, Blackstar(ISO Records,2016).

“Stria” exposes an immediate catchy sound, with delayed saxophone riffs over a weave of synth lines that, together with bass and drums, build dynamic texture. Over time, it falls into a dance-pop/rock line that sustains an outgoing saxophone solo. It all sparks epic emotions. Like the aforementioned opener, “Fly My Spaceship” has Lindner’s hand in the electronic production. This particular piece blends the diverting glitch-hop vibe of Flying Lotus and the dub incursions of Jah Wobble and The Orb.

The energetic “Turbo” and the rousing “Landsdown” are rhythmic machines; the former is redolent of Nine Inch Nails’s industrial precision; while the latter, written by McCaslin and Lefebvre, alternates krautrock-infused electronic music with gentler string passages. Strings also appear on “Big Screen”, which is propelled by this big round backbeat outlined by Guiliana.

McCaslin ranges all the way through a concoction of genres. The pop/rock accessibility of “Hold Me Tight” provides strong bass lines that guide us through the harmony, and a breathtaking tenor statement with all that jazz. Co-penned by McCaslin and Lindner, “Body Blow” is a rich stew of progressive jungle-leaning EDM, funky breaks, and anthemic punk-rock. The riffery is powerful, the pulse gains trippy effects, the sound is dark and robust, and there’s an electronica-laden section that is both playful and explosive.

Wildly original, with a defiant and confident attitude, I Want More closes with the title track a spectacular funkified exercise with a soulful melody à-la Kamasi Washington that pushes genre boundaries as it maintains an abrasive dance mode alive but with cool tones.

McCaslin’s compact work worths its weight in artistry as well as in sound. The future of jazz? A valid current for sure, one that hits the spot thanks to its aural kaleidoscopic phenomena.
https://jazztrail.net/blog/donny-mccaslin-i-want-more-album-review

Personnel: Donny McCaslin: tenor saxophone; Jason Lindner: synths, wurlitzer; Tim Lefebvre: electric bass; Mark Guiliana: drums

I Want More

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Maria Schneider Orchestra - Sky Blue

Styles: Big Band
Year: 2007
File: MP3@320K/s
Time: 63:09
Size: 144,8 MB
Art: Front

(13:28) 1. The 'Pretty' Road
(10:00) 2. Aires de Lando
( 9:34) 3. Rich's Place
(21:57) 4. Cerulean Skies
( 8:08) 5. Sky Blue

There's a reason that composer/bandleader Maria Schneider calls her large ensemble an orchestra. The term "big band suggests a number of inherent expectations relating to historical tradition. Schneider's group may be configured like a big band five reeds, four trumpets, four trombones with an expanded rhythm section but the music she writes delves into territories considerably farther afield. Sky Blue is a logical follow-up to her Grammy Award-winning Concert in the Garden (ArtistShare, 2004), but there's been significant evolution as well.

Even more ambitious than its predecessor, Sky Blue doesn't completely leave behind the South American influences heard on Concert. The Peruvian-informed "Aires de Landro manages to mask its rhythmic complexity beneath a lush lyricism that's explored fully by clarinetist Scott Robinson. Robinson may be the primary soloist, but here as on the rest of Sky Blue the ensemble players manage to interpret Schneider's detailed arrangements while bringing their own personalities to every chart.

That's an important differentiator for Schneider's orchestra, made all the more significant considering that only seven members of an ensemble ranging from seventeen to twenty-one pieces are afforded delineated solos. Guitarist Ben Monder's subtle presence is often something more felt than heard, but it adds unmistakably to the ambience of pieces like the Americana-rich "The 'Pretty' Road, the closest thing to a conventional song form that Schneider's written, yet possessed of an orchestral depth made all the more vivid by Ingrid Jensen's remarkable trumpet and flugelhorn solo.

"Rich's Piece is, not surprisingly, a solo vehicle for tenor saxophonist Rich Perry, but this nine-minute tone poem is bolstered by pianist Frank Kimbrough's intuitive colors and Jay Anderson's fluid and sensitive bass work. Schneider's voicings and her choice of instruments to layer them seamlessly ebb and flow alongside Perry, sometimes becoming dramatically dominant, elsewhere underpinning Perry with sublime understatement.

But it's the episodic, 22-minute centerpiece "Cerulean Skies that elevates Blue Sky to masterpiece. Awash with complex colors and shifting ambiences, it begins in rich abstraction with a variety of bird sounds almost all created by members of the orchestrabefore settling into a sumptuous mix of counterpoint, polyrhythm and evocative melodism, setting the stage for a lengthy tenor solo from Donny McCaslin, who builds to near fever-pitch. Dissolving again into the ethereal, Gary Versace's accordion solo is as much texture as it is melody, with Kimbrough gradually shifting towards another folkloric Americana section initially rubato but finally propulsive for altoist Charles Pillow's vivid closing solo.

Like Vince Mendoza quite possibly the only other artist writing for large ensembles today with as distinctive a voice Schneider's not without precedent. But while past innovators like Gil Evans and Bob Brookmeyer figure in who Schneider is, she's long since transcended those and other influences. Sky Blue is an album of remarkable depth and beauty an expansive, imagery laden experience, from an artist who's ready to be considered in the same breath as those who've been so important to her own development. By John Kelman
https://www.allaboutjazz.com/sky-blue-maria-schneider-artistshare-review-by-john-kelman

Personnel: Steve Wilson, Charles Pillow, Rich Perry, Donny McCaslin, Scott Robinson (sax, flauti e clarinetti); Tony Kadleck, Jason Carder, Laurie Frink, Ingrid Jensen (trombe e flicorni); Keith O'Quinn, Ryan Keberle, Marshall Gilkes (trombone); George Flynn (trombone basso); Ben Monder (chitarra); Frank Kimbrough (piano); Jay Anderson (basso); Clarence Penn (batteria); Gonzalo Grau, Jon Wikan (cajon e percussioni); Gary Versace (fisarmonica); Luciana Sousa (voce).

Sky Blue

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Boris Kozlov - First Things First

Styles: Crossover Jazz

File: MP3@320K/s

Time: 66:30

Size: 158,4 MB

Art: Front

(6:18) 1. Page One

(4:01) 2. Flow

(5:35) 3. The More Things Change

(6:51) 4. I.S. Adventure

(7:53) 5. Aftermath

(5:49) 6. Second Line Sally

(5:45) 7. Viscous

(7:13) 8. Mind Palace

(6:49) 9. Warm Sand

(7:39) 10. Once A Fog In Babylon

(2:32) 11. Eclipse

During the early days of pandemic-induced isolation, old folkways and techniques suddenly became new again (remember the shortages of baking yeast and canning supplies?). The old ways are nothing new at Posi-Tone records, which has maintained an unflagging allegiance to swing, juicy melodies and fiery playing. Those qualities, all present on bassist Boris Kozlov's First Things First, situate this recording firmly within Posi-Tone's house style, one that calls back to the glory days of Blue Note Records. So, it's no surprise that this session was made in the manner of classic Blue Note sessions.

Like those sessions, First Things First begins with a great rhythm section: pianist Art Hirahara and drummer Rudy Royston. Posi-Tone founder and producer Marc Free used them on trumpeter Alex Sipiagin's Upstream (2021) and on Maximum Enjoyment (2018) by the collective Something Blue. Joined by vibraphonist and occasional A&R guy Behn Gillece, they gathered for four days in August, 2020 to record sessions that would eventually be issued as Hirahara's Open Sky (2021) and Gillece's Still Doing Our Thing. (2021) According to Kozlov's notes to the recording, Free was so pleased with the results that the four became a house rhythm section for a number of Posi-Tone sessions recorded later that fall.

Like a college basketball team that starts five highly recruited seniors, this rhythm section plays with a balance of freedom and discipline that's rare in today's contingent, project-oriented bandscape. And when Free called Donny McCaslin to turn one of their sessions into Kozlov's Posi-Tone debut as a leader, the team was complete.

Despite their workload, there's no evidence of complaisance or routine on First Things First. Instead, the band's chemistry fuels joyous music making that explodes out of your speakers. It's as though they couldn't wait to get this music out. And given the isolation and grimness of the year, who can blame them?

Of the eleven tunes, six are by the leader, two by McCaslin and one each by Gillece and Hirahara, with Charles Mingus's "Eclipse" the lone non original. They cover a vast stylistic range. McCaslin's "Page One" is a modern update on the title cut Joe Henderson's iconic 1963 Blue Note album of the same name never had. Henderson is also evoked in Kozlov's "I.S. Adventure," but mainly in McCaslin's tumbling, cascading solo; the "I.S." of the title is Igor Stravinsky. The Moscow-born bassist looks back to his homeland again on "Once A Fog In Babylon," a suite of ancient Russian folk tunes that culminates in a thunderous, tornadic Royston solo.

Yet there are quieter moments, too, starting with "Flow," a serene showcase for flute, vibes, hand percussion and the composer's expressive electric bass. "Warm Sand" shows how group interplay can chart a throughline at a relaxed tempo, one that's just a few beats per minute easier than the flowing, Basie-esque stroll of Hirahara's sparkling "The More Things Change."

It seems almost obligatory these days to program a tune set to a New Orleans party beat, but McCaslin's "Second Line Sally" ups the ante on Hirahara's tootling B-3 and Kozlov's strutting bass with a swagger and energy that's pure Manhattan. It's musical shrimp po' boy served from a Times Square dirty water hotdog cart, and it's delicious as is the entire record.Can we please have another?~John Chacona https://www.allaboutjazz.com/first-things-first-boris-kozlov-posi-tone-records

Personnel: Boris Kozlov: bass; Donny McCaslin: saxophone, tenor; Art Hirahara: piano; Behn Gillece: vibraphone; Rudy Royston: drums.

First Things First

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Donny McCaslin - Blow.

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 55:10
Size: 127,2 MB
Art: Front

(4:29)  1. What About The Body
(4:53)  2. Club Kidd
(9:13)  3. Break the Bond
(4:30)  4. New Kindness
(4:02)  5. Exactlyfourminutesofimprovisedmusic
(6:18)  6. Tiny Kingdom
(4:22)  7. Great Destroyer
(5:52)  8. The Opener
(5:40)  9. Beast
(1:12) 10. Tempest
(4:33) 11. Eye of the Beholder

At first listen, Blow sounds more like a rock album than a jazz one. The catchy "What About The Body" could arguably be mistaken for one of King Crimson's more vituperative numbers featuring Adrian Belew. Ryan Dahle's emotionally-charged vocals are equally at the forefront of the explosive "Club Kidd." But the selection also includes three instrumental tracks too, such as the grungy, anthemic "Break The Bond," the polyrhythmic "Beast," and "Exactlyfourminutesofimprovisedmusic" (which speaks for itself) all underpinned by Tim Lefebvre's pulsating bass lines. This is way different from McCaslin's previous albums Beyond Now ( Motéma Music, 2016), which exuded a ruminative quality, or its impressive predecessor Fast Future (Greenleaf, 2015). Then of course there was the 2016 paradigm shift that was David Bowie's Blackstar, which almost overnight transformed McCaslin from an imaginative and well-respected New York jazz saxophonist and composer into an internationally renowned musician, partly due to its principal's death two days after its release but also because his contribution helped make Bowie's swan song one of his best and certainly most poignant albums. The darkly melodramatic "Tiny Kingdom" offers semblances of Jim Morrison or even Bowie, whilst the airy pop-ish vocal harmonies on "Great Destroyer" channel R.E.M. or even, at a pinch, the Beach Boys. On "The Opener," featuring Mark Kozelek's (from Sun Kil Moon) spoken vocals, the hypnotic music and narrative are complemented by Kozelek's engaging voice. The closer, "Eye Of The Beholder" features sultry vocals by fellow Bowie collaborator Gail Ann Dorsey and is unequivocally beautiful; arguably, the album's masterstroke. ~ Roger Fabey https://www.allaboutjazz.com/blow-donny-mccaslin-motema-music-review-by-roger-farbey.php

Personnel: Donny McCaslin: tenor saxophone; Ryan Dahle, Jeff Taylor, Gail Ann Dorsey: vocals; Jason Lindner: synths, piano; Tim Lefebvre: electric bass; Mark Guiliana, Zach Danziger: drums, programming.

Blow.

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Donny McCaslin - The Way Through

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 56:06
Size: 129,9 MB
Art: Front

(6:01)  1. Skyward
(2:49)  2. San Lorenzo
(6:31)  3. Shadowlands
(5:59)  4. I Should Care
(7:50)  5. The Way Through
(3:57)  6. Break Tune
(3:23)  7. Free California
(5:40)  8. Fe Fo Fi Fum
(4:36)  9. What Remains
(3:30) 10. Woody And You
(5:46) 11. Flutter

The Way Through explores the many colors of jazz while at the same time respectfully stretching the music’s boundaries. Donny McCaslin, a tenor saxophonist with a rich, warm sound, is also an extremely skilled arranger with an interesting use of space. The basic instrumentation here is sax, bass, and drums, but there’s also sax duet improvisations, solo work by McCaslin, and judicious use of voice, steel pan, and sampler. McCaslin has many paints on his palette, and his selections are always tasteful and interesting. McCaslin combines original compositions with the standard “I Should Care,” Dizzy Gillespie’s “What Remains,” and Wayne Shorter’s “Fee Fo Fi Fum.” McCaslin is not afraid to take chances, and he is not afraid to mix styles and eras. A good example is his song “Break Tune” which, true to its title, breaks down the melody and explores the line between control and chaos. Here McCaslin uses a sampler, and the song is a successful merger of jazz and the new technology. The integration of acoustic and electronic instruments is still evolving, and McCaslin understands both well enough to take a positive step in harmonizing the two worlds. McCaslin’s other original compositions are equally notable. There’s “San Lorenzo,” which starts off with a slow, yearning sax and ends in ecstatic singing. 

The steel pan, vocals, and Latin rhythms combined with McCaslin’s lyrical playing make this song a real gem. Other originals include “Skyward,” which has a swinging melody and interesting chordal work, the meditative exploration “Shadowlands,” and the title track “The Way Through,” where McCaslin stretches out with pure tones and expressive lines. The recording ends with the wonderful “Flutter,” a duet improvisation with McCaslin and altoist David Binney that channels Eric Dolphy and highlights McCaslin’s imaginative playing. McCaslin explores a lot of territory on The Way Through , and whether he’s coloring inside the lines or disregarding them altogether, he always has something interesting to say. His assimilation of different styles and technologies is also compelling, and certainly worth watching. McCaslin is just shy of 40, which in the world of jazz is relatively young; it’s inspiring to hear him emerge as a leader, and listeners should look forward to more. ~ Florenze Wetzel https://www.allaboutjazz.com/the-way-through-donny-mccaslin-arabesque-jazz-review-by-florence-wetzel.php

Personnel: Donny McCaslin - Soprano Sax, Tenor Sax; Dave Binney - Alto Sax; Anders Bostrom - Flute, Alto Flute, Bass Flute; Scott Colley - Bass; Adam Cruz - Percussion, Drums, Marimba, Steel Pan; Doug Yates - Clarinet, Bass Clarinet; Luciana Souza - Vocals.

The Way Through

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Donny McCaslin - In Pursuit

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

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

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

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

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

In Pursuit

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Alex Sipiagin - Out of the Circle

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 63:45
Size: 146,7 MB
Art: Front

( 9:47)  1. Wind Dance
(10:29)  2. Afternoon Dreams
( 8:47)  3. Echoes of Thought
(10:41)  4. Out of the Circle
( 7:03)  5. Flash
( 9:07)  6. Syn
( 7:49)  7. Sketches of Myself

Over the course of seven years and six albums for Criss Cross, trumpeter Alex Sipiagin has been evolving as a player, writer and bandleader, with Prints (2007) his most fully realized effort to date. Still, the Dutch record label's insistence on short sessions usually only a single day imposes practical limitations on what its artists can accomplish on a larger scale. While Sipiagin continues to record for Criss Cross, the larger ensemble and more ambitious compositional scope of Out of the Circle his first release using the web-based ArtistShare model that's been so successful for artists like Maria Schneider is an album that simply couldn't have been made within Criss Cross' limited timeframe. Sipiagin expands his usual quintet/sextet approach to as large as a ten-piece, featuring players who are part of the same New York cadre bassist Scott Colley, guitarist Adam Rogers, drummer Antonio Sanchez and saxophonist/flautist Donny McCaslin alongside under-appreciated keyboardist Henry Hey, Dave Holland Big Band/Sextet co-conspirator Robin Eubanks on trombone, percussionist Daniel Sadownick, wife/vocalist Monday Michiru and well-known keyboardist/arranger Gil Goldstein on accordion. It's a potent combination, allowing Sipiagin the opportunity to explore more detailed compositional form while, at the same time, having the improvisational prowess available to keep things spontaneous throughout. Sipiagin remains an eminently lyrical writer and soloist, although the contexts on Out of the Circle are his most challenging yet. What's always been a strong suit for the trumpeter, in addition to an inviting tone on whatever horn variant he plays, is his ability to find singable melodies, thread-through-needle-like, over the most difficult of changes. His solo on the relaxed but constantly shifting harmonies of the episodic "Syn" is a perfect example as are the contributions of Goldstein and Rogers. 

Compositionally, Sipiagin explores a broader palette than usual, with a Brazilian undercurrent on more than one of the album's seven tracks, most notably the vocal track "Afternoon Dreams" and adventurous "Wind Dance," where Eubanks delivers the kind of characteristically unpredictable solo on which his reputation has been built over the past two decades. Sipiagin even approaches pop territory with Michiru's "Sketches of Myself" the only non-Sipiagin track although it's still firmly entrenched in the jazz sphere, with richly melodic solos from both Sipiagin and Hey. Michiru, who has her own ArtistShare projects in release, demonstrates, like Sipiagin, a more complex lyricism, and a pure voice focused on melody rather than gymnastics. Sipiagin's writing for a three-horn frontline is outstanding, with the horns-only (and multi-tracked) section following Sadownick's brief but inventive solo on "Syn" a marvel of contrapuntal and harmonic conception. While the inherent spontaneity of his Criss Cross recordings will continue to be an important part of who he is, let's hope that Sipiagin can continue to pursue the more ambitious direction of Out of the Circle. When paired with Prints, it's a potent one-two punch of complex yet accessible writing, beautiful arrangements with a keen attention to detail, and risk-taking solos for which Sipiagin deserves a broader audience. ~ John Kelman https://www.allaboutjazz.com/out-of-the-circle-alex-sipiagin-artistshare-review-by-john-kelman.php

Personnel: Alex Sipiagin: trumpet, flugelhorn, piccolo trumpet, bass trumpet; Donny McCaslin: tenor and soprano saxophone, flute; Robin Eubanks: trombone; Adam Rogers: guitars; Henry Hey: keyboards; Antonio Sanchez: drums; Daniel Sadownick: percussion; Scott Colley: bass; Gil Goldstein: accordion; Monday Michiru: vocals and programming.

Out of the Circle

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Donny McCaslin - Casting For Gravity

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 63:49
Size: 148,5 MB
Art: Front

(7:20)  1. Stadium Jazz
(6:19)  2. Says Who
(7:40)  3. Losing Track Of Daytime
(4:13)  4. Alpha And Omega
(5:51)  5. Tension
(5:52)  6. Praia Grande
(8:32)  7. Love Song For An Echo
(3:58)  8. Casting For Gravity
(7:25)  9. Bend
(6:34) 10. Henry

If saxophonist Donny McCaslin stuck a toe into the ocean of electric jazz with his previous album Perpetual Motion (Greenleaf, 2010), then with Casting For Gravity he dives headfirst into the sea. But don't worry, with his musical dexterity and adeptness on horn, he is in no danger of sinking. In fact, he takes to these waters like a thirsty horse. The saxophonist of choice for the band leaders including trumpeter Dave Douglas, singer Kate McGarry, and composers/arrangers Ryan Truesdell, and Maria Schneider, McCaslin grew up in California listening to fusion, pop, and bands like Tower Of Power that infused R&B and funk into their jazz horn section. For awhile in the 1990s, he played in a revived version of vibraphonist Mike Mainieri's Steps Ahead. Steps Ahead, with its various lineups that included saxophonist Michael Brecker, keyboardist Don Grolnick and drummers Peter Erskine and Steve Gadd, is the touchstone for this recording. That is, a time when fusion was not a dirty word.

The saxophonist surrounds himself with talent here, starting with producer/saxophonist David Binney, a fellow saxophonist and former member of the 1990s collective Lan Xang, with McCaslin. The album opens with the oxymoronic "Stadium Jazz," a melodic burner with ever- changing rhythms, and finds drummer Mark Guiliana powering all things ablaze. The pair feed off each other throughout, trading rounds on "Tension," as electric bassist Tim Lefebvre tinkers in thunder-making. The inspiration here is both the jazz fusion of Weather Report and the electronica of bands like Aphex Twin and Boards Of Canada, whose song, "Alpha And Omega," gets covered here, with keyboardist Jason Lindner's spooky synths and McCaslin's processed, echo-y effects. As the song progresses the electronics threaten and bully the affair, all the while McCaslin Enduring on a short, four-minute song that begs for a longer live production. Like jazz giant Wayne Shorter, McCaslin's sound suffers no ill effects of fusion, nor is he compromised by the genre. He goes toe-to-toe with the electric funk on "Says Who" and sails above the changes on the tour de force "Praia Grande." On the thoughtful closer "Henry," a softer tone is called, with Linder on electric piano and McCaslin delivering his trademark runs. ~ Mark Corroto https://www.allaboutjazz.com/casting-for-gravity-donny-mccaslin-greenleaf-music-review-by-mark-corroto.php

Personnel: Donny McCaslin: tenor saxophone; Jason Lindner: electric piano, acoustic piano, synthesizers; Tim Lefebvre: electric bass; Mark Guiliana: drums.

Casting For Gravity

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Donny McCaslin Trio - Recommended Tools

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 65:20
Size: 150,7 MB
Art: Front

(7:53)  1. Recommended Tools
(9:14)  2. Eventual
(6:37)  3. Late Night Gospel
(4:09)  4. Excursion
(5:18)  5. Isfahan
(5:39)  6. The Champion
(6:27)  7. Margins Of Solitude
(6:48)  8. 3 Signs
(6:27)  9. 2nd Hour Revisited
(6:44) 10. Fast Brazil

The venerable trio tradition has long been viewed as a proving ground for the talents of upcoming tenor saxophonists. Thrust into the spotlight with minimal accompaniment, the stripped-down setting provides microscopic attention to an improviser's melodic ingenuity, harmonic subtlety and sense of rhythm; free of harmonic restraints, there is no room for error. His seventh release as a leader, Recommended Tools is tenor saxophonist Donny McCaslin's first trio session, and his first recording for part-time employer, trumpeter Dave Douglas' Greenleaf Music. According to Douglas, "I asked Donny McCaslin to write and record the Great American Tenor Trio record, half jokingly. Well, he delivered, with a stunning set of music." On par with some of the best albums made in this format, this date offers ample proof of McCaslin's improvisational mettle. His skills honed in collaboration with some of the most creative minds in the mainstream arena, McCaslin has proven himself to be a fearless inside/outside player, able to drift between stylistic realms with ease. Indicative of his talents, Gary Burton, Ken Schaphorst, Maria Schneider and Douglas have all employed McCaslin in their ensembles. Bassist Hans Glawischnig and drummer Johnathan Blake form McCaslin's elastic rhythm section. A kindred spirit, Glawischnig's previous album, Panorama (Sunnyside, 2008) revealed a blend of intricate post bop and Latin traditions reminiscent of McCaslin's In Pursuit (Sunnyside, 2007). The bassist's stalwart phrasing and robust tone provide the trio with an unwavering bottom end. A relatively new face on the scene, Blake's playing is sure to turn heads especially his melodic solos on "Eventual" and "Fast Brazil." The spirited blues of the title track and the intensifying drama of "Eventual" set the stage for stunning feats of virtuosity from the leader as McCaslin uncoils spiraling sheets of sound. Glawischnig and Blake balance careful listening with nimble interplay, parrying the leader's circuitous salvos and setting up dynamic countermeasures that keep the structures in continuous flux. A peerless virtuoso, McCaslin's fluid cadences avoid stock phrases to extrapolate emotionally charged variations from his distinctive melodies and unorthodox chord changes. His unaccompanied solo cadenza on "The Champion" is a testament to his creative prowess that displays a remarkable technique driven by a singular harmonic and thematic sensibility. A thrilling session, the set brims with labyrinthine improvisations and turbulent interaction, such as the angular high-wire theatrics of "Excursion" and the rousing momentum of "2nd Hour Revisited," yet McCaslin and company also understand the value of restraint. "Late Night Gospel" revels in soulful Americana and "Margins of Solitude" offers edgy introspection, while a gorgeous rendition of Billy Strayhorn's sublime "Isfahan" unfolds with exotic lyricism. A brilliant take on the hallowed tenor trio tradition, Recommended Tools is not only a high water mark for McCaslin, but one of the most beguiling records of the year. ~ Troy Collins https://www.allaboutjazz.com/recommended-tools-donny-mccaslin-greenleaf-music-review-by-troy-collins.php

Personnel: Donny McCaslin: tenor saxophone; Hans Glawischnig: double bass; Johnathan Blake: drums.

Recommended Tools

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Donny McCaslin - Seen From Above

Bitrate: MP3@320K/s
Time: 58:30
Size: 133.9 MB
Styles: Contemporary jazz
Year: 2006
Art: Front

[6:34] 1. Manresa
[6:52] 2. Seen From Above
[5:09] 3. Second Line Sally
[5:38] 4. These Were Palaces
[6:48] 5. Mick Gee
[5:54] 6. Strange Pilgrim
[7:43] 7. Going To The Territory
[6:44] 8. Frontiers
[7:03] 9. September Song

When tenor saxophonist Donny McCaslin hits his stride, he can hold his own with the best of them. On his first recording for the “Arabesque Recordings” label, titled Seen From Above, and second as a leader, the saxophonist incorporates some of the hard nosed voicings and complex time signatures also exhibited in the fine band, “Lan Xang”. - An outfit, that features the blazing dual sax attack of McCaslin and saxophonist David Binney.

Along with drummer Jim Black, bassist Scott Colley and guitarist Ben Monder, McCaslin struts his broad, weighty tone amid scathing lines and cunning improvisation atop solid funk-rock beats on the album’s opener, “Manresa” and throughout most of these upbeat tracks. Here, the band deviates from a traditional ho-hum style of interplay, marked by shifty time signatures, ominous yet altogether innocent themes and searing ensemble work, enhanced by the potent and ever so creative rhythmic developments of Black and Colley.

Monder and McCaslin implement rapid fire, odd-metered unison choruses on the turbo charged composition, “Mick Gee” as the band creates loads of impact via tense themes and beefy lines. With “Going To The Territory”, the saxophonist is ablaze as he reworks the melody while displaying a husky tone to coincide with his shrewd utilization of various registers and altogether expressionistic approach, while Monder counters with electrified aplomb. Overall, McCaslin delivers the knockout blow in prominent fashion! Recommended. ~Glenn Astarita

Seen From Above mc
Seen From Above zippy

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Donny McCaslin - Declaration

Styles: Saxophone Jazz 
Year: 2009
File: MP3@320K/s
Time: 63:44
Size: 146,2 MB
Art: Front

(9:30)  1. M
(9:14)  2. Fat Cat
(7:42)  3. Declaration
(6:59)  4. Uppercut
(7:20)  5. Rock Me
(8:20)  6. Jeanina
(6:40)  7. 2nd Hour
(7:57)  8. Last Night Gospel

Venturing into unexplored territory, New York-based tenor saxophonist Donny McCaslin's third recording for Sunnyside Records is a marked departure from his previous release, the stripped-down trio session Recommended Tools (Greenleaf, 2008). Augmenting his working ensemble with an understated brass section, Declaration showcases McCaslin's stellar skills as an improviser while demonstrating his mettle as a burgeoning writer and arranger. Renowned for his Olympian tenor solos, McCaslin's facile interpretive abilities were honed under the tutelage of George Garzone and Billy Pierce at Berklee, and documented as a sideman in the company of such luminaries as David Binney, Dave Douglas, Danilo Pérez and Maria Schneider. McCaslin comes into his own as a composer on this panoramic session, which highlights his creative virtuosity as soloist and writer in a variety of settings. Joined by pianist Edward Simon and a four-piece brass choir, McCaslin's augmented quintet interprets these multi-hued compositions with brio. As veterans of McCaslin's previous Sunnyside dates, In Pursuit (2007) and Soar (2006), guitarist Ben Monder, bassist Scott Colley, drummer Antonio Sanchez and percussionist Pernell Saturnino lend this session a congenial sensibility filled with lyrical panache.


New to this longstanding core line-up, Simon proves as valuable a foil for McCaslin as Monder. Restrained and economical, Simon delivers billowy narrative soliloquies on "M" and "2nd Hour," offering serene contrast to the leader's fervid cadences. Whether amplifying McCaslin's muscular phrasing with scorching fretwork on the appropriately titled "Rock Me," or unveiling gossamer filigrees on the lush ballad "Jeanina," Monder's chameleonic versatility is peerless. Embracing a wealth of genres and styles, the anthem-like opener "M" showcases the leader's pneumatic tenor, while "Fat Cat" demonstrates McCaslin and Simon's expertise navigating percolating Latin rhythms. The opulent harmonies of "Jeanina" and the plaintive Americana of the title track are the inverse of "Uppercut" and "2nd Hour" labyrinthine post-bop excursions fraught with oblique angles and ingenious arrangements. Indicative of their titles, "Rock Me" is an electrified rave-up, with "Late Night Gospel" one of McCaslin's most compelling tunes an ascending blues meditation featuring Simon and Monder's silver-toned lyricism buoyed by soulful brass accompaniment. Considered one of the reigning mainstream tenor stylists of the post-Michael Brecker generation, Declaration is a bold new step for McCaslin, proving his abilities as a developing composer and arranger of note and opening new vistas on an already promising career. ~ Troy Collins https://www.allaboutjazz.com/declaration-donny-mccaslin-sunnyside-records-review-by-troy-collins.php

Personnel: Donny McCaslin: tenor saxophone, alto flute (1, 8); Edward Simon: acoustic piano, organ (5); Ben Monder: guitar; Scott Colley: bass; Antonio Sanchez: drums; Pernell Saturnino: percussion (2); Alex "Sasha" Sipiagin: trumpet, flugelhorn (1, 2, 3, 5, 7); Chris Komer: French horn (1, 2, 3, 5); Marshall Gilkes: trombone (1, 2, 3, 5, 7, 8); Marcus Rojas: tuba (3, 5, 7, 8), bass trombone (1); Tatum Greenblatt: trumpet (1).

Declaration

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Ken Schaphorst Big Band - Purple

Styles: Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 72:37
Size: 171,6 MB
Art: Front

(12:41)  1. Uprising
( 7:15)  2. With You, Then Without
( 8:14)  3. Blues Almighty
( 7:39)  4. Jobim
( 9:27)  5. Subterranean
( 6:14)  6. Purple
( 5:07)  7. Bats
( 7:09)  8. My Island
( 8:48)  9. Bounce

Unlike some Jazz composers who write unpretentious big–band charts designed to serve as springboards for soloists, Ken Schaphorst approaches the task with soloists in mind but focuses always on orchestral textures and colors, employing improvisation as an integral element in the over all compositional makeup. Instead of playing “outside” the chart with rhythm accompaniment, as is so often the case, Schaphorst’s soloists usually must adapt to its nuances, tailoring their approach to suit its particular needs without sacrificing warmth or creativity. Sometimes it works, sometimes it doesn’t and the outcome rests in every case on the essential magnetism of Schaphorst’s charts. As this is always a matter of personal taste, what is written here should be considered as one person’s imperfect opinion. In brief, I found much of Schaphorst’s new release, Purple, heavy handed and unimpressive. It is only when the composer steps aside and lets things breathe (as on parts of “Job im,” “Bats,” “My Island” and “Bounce”) that the ensemble responds with intensity and emotion. Elsewhere, its best efforts are subsumed by those very components that should lend the session its strength and charisma. While Schaphorst’s purpose is to weave orchestra and soloists into an organic whole, in pursuing it he too often loses sight of the cardinal purpose of Jazz, which is to swing. Purple swings only at times, and those times occur without exception when Schaphorst loosens the reins and lets the musicians gallop at their own pace and in their own direction. The most agreeable solos (trumpeter Gravish, tenor McCaslin on “Bats,” pianist Caine and trombonist Roseman on “My Island,” trombonist Hasselbring, tenor Blake, trumpeter Ballou on “Bounce,” the uncredited trumpet on “Jobim”) are produced under those circumstances. McCaslin is less effective on “Uprising,” Caine likewise on “Purple,” while guitarist Shepik is showy but irksome on “Blues Almighty” and organist! Medeski is on the whole unimpressive. There are some invigorating moments on Purple, but not enough of them to earn this reviewer’s endorsement. Again, that is only one listener’s opinion. ~ Jack Bowers https://www.allaboutjazz.com/purple-ken-schaphorst-review-by-jack-bowers.php

Personnel:  Doug Yates, alto sax, clarinet, bass clarinet;  Jay Brandford, alto sax, clarinet;  Donny McCaslin, Seamus Blake, tenor sax;  Andy Laster, baritone sax, clarinet;  Dave Ballou, John Carlson, Andy Gravish, Cuong Vu, trumpet, flugelhorn;  Josh Roseman, Curtis Hasselbring, Dave Taylor, trombone;  Chris Creswell, bass trombone

Purple

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Joel Harrison 7 - Search

Styles: Guitar Jazz
Year: 2011
File: MP3@320K/s
Time: 58:12
Size: 133,3 MB
Art: Front

(11:18)  1. Grass Valley and Beyond
(15:00)  2. A Magnificent Death
( 8:24)  3. All The Previous Pages Are Gone
( 6:24)  4. The Beauty of Failure
( 8:26)  5. Whipping Post
( 6:19)  6. O Sacrum Convivium
( 2:18)  7. Search

For over a decade, Joel Harrison has been steadily expanding his palette as a composer, although his penchant for unorthodox instrumental combinations and multicultural folk forms encompass only one facet of his inclusive aesthetic. Harrison's most recent efforts have borrowed heavily from Western neo-classical tenets; The Wheel (Innova, 2008) included an expansive five movement suite for jazz quintet and string quartet, while The Music of Paul Motian (Sunnyside, 2011) featured stately arrangements performed by two electric guitarists and a traditional string quartet. Search contains some of Harrison's most seamlessly integrated writing for disparate forces to date. Supported by an archetypal jazz rhythm section, comprised of pianist Gary Versace, bassist Stephan Crump and drummer Clarence Penn, Harrison is joined by tenor saxophonist Donny McCaslin and two string players: violinist Christian Howes and cellist Dana Leong, who have both collaborated with the guitarist in similar contexts before.

The septet's broad instrumental palette lends the album a wide dynamic range that keenly exploits Harrison's versatile gifts as a composer; he solos infrequently however, allowing his sidemen ample opportunity to express themselves. Harrison's harmonious contrapuntal themes underscore the bulk of the record, as typified on the panoramic opener, "Grass Valley and Beyond," where Versace's prismatic cadences and McCaslin's intervallic salvos paint a vibrant aural canvas; the saxophonist's dramatic altissimo crescendos and multiphonic flourishes punctuate the proceedings like rich impasto accents. Howes and McCaslin engage in spirited interplay with the cagey rhythm section on the capricious swinger "All the Previous Pages Are Gone," while "A Magnificent Death" and "The Beauty of Failure" exhibit a range of classicist tendencies; the former ascends from hypnotic minimalist motifs to a rapturous climax, the later weaves lyrical thematic variations into a romantic coda. 

The session concludes with two unrelated, but unexpectedly complementary covers: a vivacious reading of Allman Brothers Band's "Whipping Post" and a sublime interpretation of Olivier Messiaen's "O Sacrum Convivum." The classic rock staple is given respectful treatment, but surprisingly, it's Leong's sinuous cello that drives the bluesy number, bolstered by Penn's pugilistic drumming. Conversely, Harrison's introspective fretwork accentuates the mystical ethereality of Messiaen's recast choral motet, setting the stage for the titular closer, a fugue-like postlude for solo piano that incisively encapsulates the date's multifaceted approach reconfirming Harrison's sophisticated compositional acumen in the process. ~ Troy Collins  https://www.allaboutjazz.com/search-joel-harrison-sunnyside-records-review-by-troy-collins.php
 

Personnel: Joel Harrison: guitar; Donny McCaslin: tenor saxophone; Gary Versace: piano, Hammond B-3; Christian Howes: violin; Dana Leong: cello; Stephan Crump: bass; Clarence Penn: drums.

Search

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Donny McCaslin - Fast Future

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 55:36
Size: 127,7 MB
Art: Front

(5:54)  1. Fast Future
(5:55)  2. No Eyes
(9:30)  3. Love and Living
(6:38)  4. Midnight Light
(2:16)  5. 54 Cymru Beats
(5:56)  6. Love What is Mortal
(6:58)  7. Underground City
(4:32)  8. This Side of Sunrise
(1:28)  9. Blur
(6:25) 10. Squeeze Through

Saxophonist Donny McCaslin brought a fresh perspective to the acoustic-electronic jazz soundscape with 2012's Casting for Gravity (Greenleaf Music) which earned a Grammy nomination for "Best Instrumental Jazz Solo" for the track "Stadium Jazz." Thankfully it was not a one-off as McCaslin reassembles the tightly knit band and savvy production from saxophonist David Binney in Fast Future, a release that continues the groove factor. Like its predecessor, the music pulsates with energy as McCaslin's tenor powers over funky riffs, spaced-out backgrounds, and crisp beats provided by drummer Mark Guiliana, and bassist Tim Lefebvre while Jason Lindner colors things with copious keyboards embellishments. But there are also a few surprises. For one, there's the inclusion of wordless voice harmonies in the hard driving title track and the affecting spoken word performed by artist Jana Dagdagan on "Love What is Mortal." 

Next comes the appeal of Electronic Dance Music in "54 Cymru Beats" and the reggae shaded "Squeeze Thru" as McCaslin cites EDM musicians/composers Aphex Twin and Skrillex as influences alongside jazz/electronic giants Herbie Hancock and Weather Report as the band stretches out and kills "This Side of Sunrise" and "Blur" with spot on performances and improvisation. In summary, McCaslin's Fast Future further suggests that the lines between acoustic jazz and electronica are at times blurred and that music regardless of its instrumentation can find common ground. ~ Mark F. Turner https://www.allaboutjazz.com/fast-future-donny-mccaslin-greenleaf-music-review-by-mark-f-turner.php
 

Personnel: Donny McCaslin: tenor saxophone; Jason Lindner: keyboards; Tim Lefebvre: bass; Mark Guiliana: drums.

Fast Future

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Donny McCaslin - Beyond Now

Styles: Saxophone Jazz, Fusion
Year: 2016
File: MP3@320K/s
Time: 63:02
Size: 147,3 MB
Art: Front

(7:14)  1. Shake Loose
(6:24)  2. A Small Plot of Land
(7:52)  3. Beyond Now
(4:52)  4. Coelacanth 1
(8:51)  5. Bright Abyss
(4:05)  6. Faceplant
(8:41)  7. Warszawa
(8:11)  8. Glory
(6:48)  9. Remain

A graduate of the Berklee School of Music, Donny McCaslin (born Donald Paul McCaslin) has had a saxophone in his hands from his earliest years and has integrated the entire range of sounds that a tenor sax can produce into his repertoire: from mainstream modern to funky fusion to laid-back balmy ballads, all flavored with his own experimental style. McCaslin's father originally taught high-school English but favored being a jazz musician, playing the vibraphone and piano in local gigs with young McCaslin in the audience. When he was only 12 years old, McCaslin joined his father's group. By the time he was in high school he had formed his own band, and was selected to play at the Monterey Jazz Festival for three years in a row. During high school he also performed with an eight-piece salsa band, and spent much time at the Kuumbwa Jazz Center, where nationally known jazz artists gathered. 

He studied with Paul Contos and Brad Hecht, accomplished members of his father's groups, and was influenced by the likes of John Coltrane, Michael Brecker, and Sonny Stitt. McCaslin's technique and expression allowed him to tour with all-star youth ensembles through Europe and Japan, and won him a full scholarship to Berklee College of Music starting in 1984. His main influences there included Gary Burton, Herb Pomeroy, Billy Pierce, George Garzone, and Joe Viola. During his senior year at Berklee he joined vibraphonist Burton's quintet, and for four years the group toured Europe, Japan, North America, and South America. During 1991, after moving to New York City, McCaslin became a member of Steps Ahead, and played with them for over three years. Michael Brecker, formerly of Steps Ahead, had been one of McCaslin's teenage idols; now McCaslin was replacing him. McCaslin co-wrote two of the compositions that appeared on the group's album Vibe. During those same years McCaslin actively gigged with top jazz artists and groups, such as the Gil Evans Orchestra, George Gruntz Concert Jazz Band, the Danilo Perez Quartet, the Maria Schneider Jazz Orchestra, and Santi Debriano's Panamaniacs, plus he appeared on many recordings. 

In 1996 McCaslin was featured with John Medeski (organ), Doug Yates (clarinet), and Uri Caine (piano) in Ken Schaphorst's big-band work "Uprising." Three years later Naxos Records released the piece on Purple, and the jazz media gave McCaslin's solo work rave reviews. During 1997 McCaslin joined with David Binney (alto), Scott Colley (bass), and Kenny Wollesen (drums) to form Lan Xang, an experimental jazz collective that released Mythology. The name Lan Xang symbolizes freedom, the bandmembers' concept of experimental jazz. 

In 2000 Lan Xang released Hidden Gardens and they continue to play gigs together, presenting unique forays in group improvisation. In 1998 Naxos released Exile and Discovery, McCaslin's first solo record. Playing with him were Ugonna Okegwo (bass), Bruce Barth (piano), and Billy Drummond (drums).Arabesque Records released 2000's Seen from Above, an album in which McCaslin integrates blues, swing, and fusion, reflecting his skill both as a composer and a soloist.Way Through, released by Arabesque in September 2003, was his third solo album. Donny McCaslin's reputation, technical skills, and artistic gifts are unique, attracting a long list of collaborators with whom he has performed and recorded. The saxophonist's goal is to develop his composing skills and expressive abilities further as a group leader and bandmember in a variety of ensemble settings. ~ Eleanor Ditzel https://itunes.apple.com/us/artist/donny-mccaslin/id4478381#fullText

Personnel:  Donny McCaslin (Saxophone);  Tim Lefebvre (Bass);  Mark Guiliana (Durms);  Jason Lindner (Piano).

Beyond Now

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Maria Schneider Orchestra - The Thompson Fields

Size: 178,7 MB
Time: 77:25
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Big Band
Art: Front

01. Walking By Flashlight (5:01)
02. The Monarch And The Milkweed (12:07)
03. Arbiters Of Evolution (13:59)
04. The Thompson Fields (10:00)
05. Home (7:46)
06. Nimbus (9:29)
07. A Potter's Song (5:29)
08. Lembrança (13:30)

There's a wealth of information to be found inside the beautiful packaging that accompanies this release, but a brief Theodore Roosevelt quote may be the most telling piece of text to be found there. It reads: "There is nothing more practical in the end than the preservation of beauty, than the preservation of anything that appeals to the higher emotions in mankind." That really says it all about this artist and her work, for there is nobody more capable of harnessing emotions in music and projecting and preserving the beauty and power of the natural world in sound than Maria Schneider. She's demonstrated that time and again, and she does it once more on this awe-inspiring release.

The Thompson Fields arrives after a lengthy gestation: eight years after the last Maria Schneider Orchestra album the stunning Sky Blue (ArtistShare, 2007). But if it takes Schneider that long to give proper birth to this quality of recorded music, so be it. You can't rush perfection, and this music is as close as you can get to that lofty and unattainable goal. Across these eight tracks, the Maria Schneider Orchestra puts ornithological ideals into play ("Arbiters Of Evolution"), works with nebulous themes and foreboding thoughts ("Nimbus"), takes a trip into Brazilian territory ("Lembranca"), pays tribute to one of its own dearly departed members ("A Potter's Song"), and bottles the attractively complex lingering scents of nostalgia and sentimentality.

As always, the singular personalities in this band help to elevate the music. Gary Versace's accordion wistfully traces its way across vast landscapes; Frank Kimbrough's piano is elemental, conjuring thoughts of gentle winds and the morning dew; Scott Robinson turns the alto clarinet into a thing of elegance and beauty ("Walking By Flashlight"); Marshall Gilkes' trombone and Greg Gisbert's fluegelhorn each balance the weighty and the wondrous in their expressions, eventually crossing paths while cresting the waves of the orchestra ("The Monarch And The Milkweed"); and guitarist Lage Lund draws on light and energy, spinning them both back out in controlled fashion. Those are just a few of the notable names, roles, and deeds, but those descriptions, admittedly, fall short. No words can properly convey the wonders embedded in this music.

Maria Schneider is truly fearless in her expression of self, creating grand statements and musical reveries built from intimate memories, thoughts, and feelings. Her willingness to share these experiences, her unparalleled skills at molding them into music, and the talents of the musicians who populate her orchestra all contribute to the success that is The Thompson Fields. ~´ Dan Bilawsky

Personnel: Steve Wilson: alto saxophone, soprano saxophone, clarinet, flute, alto flute; Dave Pietro: alto saxophone, soprano saxophone, clarinet, flute, alto flute, bass flute, piccolo; Rich Perry: tenor saxophone; Donny McCaslin: tenor saxophone, clarinet, flute; Scott Robinson: baritone saxophone, bass clarinet, alto clarinet, clarinet; Tony Kadleck: trumpet, fluegelhorn; Greg Gisbert: trumpet, fluegelhorn; Augie Haas: trumpet, fluegelhorn; Mike Rodriguez: trumpet, fluegelhorn; Keith O'Quinn,: trombone; Ryan Keberle: trombone; Marshall Gilkes: trombone; George Flynn: bass trombone; Gary Versace: accordion; Lage Lund: guitar; Frank Kimbrough: piano; Rogerio Boccato: percussion (8); Clarence Penn: drums; Jay Anderson: bass.

The Thompson Fields 

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