Lee Ritenour - The Captain's Journey

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 38:37
Size: 89,3 MB
Art: Front

(8:02)  1. The Captain's Journey
(5:53)  2. Morning Glory
(5:05)  3. Sugarloaf Express
(4:53)  4. Matchmakers
(5:27)  5. What Do You Want
(5:24)  6. That's Enough For Me
(3:49)  7. Etude

Guitarist Lee Ritenour had just switched from Epic to Elektra when he cut Captain's Journey in 1978. It was a followup to the successful crossover work Captain Fingers and used a similar strategy: tight, hook-laden arrangements, polished production, and minimal solo space. What individual things it has are dominated by Ritenour, a supremely talented guitarist who doesn't display that much of it with these arrangements. ~ Ron Wynn https://www.allmusic.com/album/the-captains-journey-mw0000120708

Personnel: Lee Ritenour – guitar, guitar synthesizer, rhythm arrangement; Dave Grusin – synthesizer , Minimoog, Rhodes piano , electric grand piano, piano; Ernie Watts – tenor and soprano saxophone; Ray Beckstein – flute, Eddie Daniels – flute Dave Valentin – flute David Foster – Rhodes piano, piano; Don Grusin – piano; Patrice Rushen – Rhodes piano , electric grand piano; Ian Underwood – synthesizer; Jay Graydon – guitar; Mitch Holder – guitar; Anthony Jackson – bass guitar Abraham Laboriel – bass guitar; Steve Gadd – drums; Alex Acuña – drums, percussion; Paulinho da Costa – percussion; Sue Evans – percussion; Steve Forman – percussion; Larry Rosen – percussion; Steve Thornton – percussion Patti Austin – vocals; Bill Champlin – vocals, vocal arrangement; Venette Gloud – backing vocal; Carmen Twillie – backing vocals; David Nadien – strings; Ed Walsh – programming

The Captain's Journey

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Don Sebesky - I Remember Bill - A Tribute To Bill Evans

Styles: Crossover Jazz, Hard Bop

Year: 1998

File: MP3@320K/s

Time: 78:34

Size: 183,6 MB

Art: Front

(4:46)  1. Waltz for Debby

(5:29)  2. I Remember Bill

(8:24)  3. So What

(4:07)  4. Quiet Now

(6:16)  5. All the Things You Are

(6:47)  6. Peace Piece

(5:58)  7. Bill, not Gil

(7:22)  8. Very Early

(4:22)  9. (T.T.T.T.) Twelve Tone Tune Two

(4:52) 10. Autumn Leaves

(5:06) 11. Blue in Green

(7:52) 12. I'm Getting Sentimental over You

(1:18) 13. Epilogue

(5:53) 14. Bill Evans Interview

Veteran arranger Don Sebesky crafts an often-glowing portrait of famed jazz pianist Bill Evans in this quite welcome orchestral jazz tribute. While he is too often derided (and unfairly) as the guy who mucked up Wes Montgomery and other CTI stars with strings and horn sections, Sebesky often presents subtle arrangements that offer keen respect for a soloist's musicianship. When a listener notices Sebesky's work, it's often in the occasional punctuation mark or interesting sound combinations he creates. But it's his respect for the featured musician that sets him apart and probably drew him to this project. Here, Sebesky has gathered a prominent collection of top-shelf jazz musicians, many of whom actually worked with Evans during his career. But one instrumentalist he did not recruit was a pianist. A wise move. This permits appropriate direction from the bassist and drummer and allows reliance on a rhythm player who is not burdened by aping or avoiding Bill Evans' style. Such daunting responsibility falls to the guitarist; in most cases, Larry Coryell, who is outstanding in his eight appearances here and, perhaps, emerges as this session’s real star.

The material is carefully drawn from Evans' originals and standards associated with the pianist. But, in a quest for variety, the result is something of a mixed bag. Standouts include sterling takes of "All the Things You Are" (with Lee Konitz), Sebesky's oddly-titled "Bill, Not Gil" and "T.T.T.T." (both featuring Bob Brookmeyer and Eddie Daniels) and, of course, "Waltz for Debby" (with Joe Lovano and Tom Harrell). But Sebesky achieves greatness with his transformation of Evans' lovely "Peace Piece" into an elegant adagio. Effectively coordinating strings, harp, percussion and Hubert Laws' flute, he has surely crafted one for the ages here. His boisterous take on "So What" (with solid contributions from Joe Lovano, Tom Harrell and Larry Coryell) is also worthwhile, but seems reminiscent of his showy work with Wes Montgemery. The three vocal tunes (separately featuring Chet Baker-like John Pizzarelli, Jeannie Bryson and the intolerable New York Voices), though, all are quite unnecessary and seem to break any mood Sebesky may have been aiming for. Still, it's refreshing to hear high-quality orchestral jazz being made in the late nineties  and one hopes Don Sebesky will be in the forefront of keeping it alive. ~ Douglas Payne https://www.allaboutjazz.com/i-remember-bill-a-tribute-to-bill-evans-don-sebesky-rca-victor-review-by-douglas-payne.php

Personnel: Tom Harrell: flugelhorn; Bob Brookmeyer: valve trombone; Joe Lovano: tenor sax; Lee Konitz: alto sax; Eddie Daniels: clarinet; Hubert Laws: flute; Larry Coryell, Ken Sebesky: guitar; John Pizzarelli: guitar, vocals. Marc Johnson, Eddie Gomez: bass; Joe LaBarbera, Marty Morell, Dennis Mackrel: drums; Toots Thielmans: harmonica; Sue Evans, Joe Passaro: percussion; Dave Samuels: vibraphone; New York Voices (Darmon Meader, Lauren Kinhan, Peter Eldridge, Kim Nazarian), Jeanie Bryson: vocals; with brass, woodwinds and strings.

I Remember Bill - A Tribute To Bill Evans

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Eddie Daniels - Nepenthe

Styles: Clarinet Jazz
Year: 1989
File: MP3@320K/s
Time: 60:41
Size: 143,4 MB
Art: Front

(4:20)  1. Sun Dance
(6:08)  2. Equinox
(5:19)  3. Nepenthe
(6:39)  4. Waltz Of Another Color
(5:44)  5. Sueños (Dreams)
(4:05)  6. Chaser
(6:13)  7. The Only One
(6:15)  8. Soul Eyes
(5:57)  9. The Chant
(4:37) 10. Quiet Space
(5:21) 11. Reverie For A Rainy Day

One of the world's great clarinetists, Eddie Daniels is primarily in the spotlight during this modern jazz set. He is joined by guitarist Chuck Loeb (who is excellent in support and as a secondary solo voice), bassist John Patitucci, either Dave Weckl or Adam Nussbaum on drums, and percussionist Sammy Figueroa. They perform seven diverse Daniels originals (complex but swinging), plus two by Loeb and the standards "Soul Eyes" and "Equinox." This release is not as memorable as Daniels' flashier and more spectacular recordings (it is more mellow at times), but it does contain plenty of subtle creativity and effortless (but brilliant) clarinet solos. ~ Scott Yanow https://www.allmusic.com/album/nepenthe-mw0000207928

Personnel:  Clarinet, Producer – Eddie Daniels; Acoustic Bass, Bass [Six String] – John Patitucci; Drums – Adam Nussbaum;  Dave Weckl ; Electric Guitar, Acoustic Guitar – Chuck Loeb; Percussion – Sammy Figueroa

Nepenthe

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Eddie Daniels - Night Kisses: A Tribute To Ivan Lins

Styles: Clarinet, Flute, Tenor Sax
Year: 2020
File: MP3@320K/s
Time: 71:40
Size: 166,2 MB
Art: Front

(6:40) 1. A Voz Do Povo
(4:26) 2. Pano de Fundo
(5:09) 3. Mãos de Afeto
(4:24) 4. D'Aquilo Que Eu Sei
(6:01) 5. Velas Içadas
(4:47) 6. Dinorah, Dinorah
(5:02) 7. Cantor Da Noite
(6:38) 8. Quadras De Roda: O Passarinho Cantou
(4:23) 9. Amor
(6:03) 10. Lembra
(5:46) 11. Depois dos Temporais
(7:21) 12. A Noite
(4:53) 13. Ivante

Ever since the first wave of Jobim and Gilberto mania broke, the world has gratefully bathed in the inexhaustible flow of melody that emanates from Brazil. Ivan Lins is one of the Brazilian composers to have made a deep impression on the jazz world, along with Milton Nascimento, Edu Lobo, Dori Caymmi and Egberto Gismonti, (to whom Daniels recorded a tribute in 2018). Mark Murphy devoted an entire album (1986’s Night Mood) to the songs of Lins, and it’s easy to see why the Brazilian’s often melancholy compositions appealed to Murphy. The songs here are all from a relatively short but turbulent period 1977 to 1983 during which Brazil chafed under a brutal American-backed military dictatorship.

As the title suggests, this new album is a labour of love headed up by veteran clarinettist, flautist and saxophonist Eddie Daniels, whose pure, liquid tone cascades through every track. It should be said that lovers of cutting edge jazz are not the target audience for Night Kisses: there’s no dissonance, no tension it’s all melody, sweetened yet further by the Harlem Quartet string ensemble, who not only provide a soothing pad for Daniels and the rhythm section, but also sometimes offer a pseudo-classical introduction to the arrangements, as on A Noite. Piano duties are shared between Josh Nelson, Kuno Schmid, Dave Grusin and Bob James, each of whom has also arranged at least two of the tunes. Kevin Axt is the bass player, and Mauricio Zottarelli is on drums.

Personal favourites here include the opener A Voz Do Povo (The People’s Voice), which alternates between bossa and swing, and features great soloing from Daniels on flute and Nelson on piano. Of course, in any collection there will be absences: surprisingly there’s no sign here of Love Dance or Começar de Novo better known as The Island and it would have been nice to hear a Daniels version of Antes Que Seja Tarde (Before We Lose Tomorrow). But we do get Velas Içadas (Hoisted Sails) and Lembra. Curiously, the comprehensive and detailed sleeve notes, written by Daniels, Lins and label boss George Klabin, make much of Vitor Martins’ lyrics to the original compositions, and the danger he and Lins faced in writing songs which were seen at the time as subversive. “We used to have censors following us all the time and cutting our lyrics,” writes Lins. The two were forced to use a lot of metaphor to avoid expressing themselves too openly. “One trick was, write more lyric than you need because the censor needed to cut something. If they cut, they were happy.” The booklet even devotes many pages to the English translations of Martins’ lyrics. But although the songs were written to be sung, the album itself is entirely instrumental, and combined with its super-smooth arrangements, it’s all a little too rich and sugary, and rather lacking in the emotional punch that the human voice can provide.~Peter Jones https://londonjazznews.com/2020/10/22/eddie-daniels-night-kisses-a-tribute-to-ivan-lins/

Personnel: Eddie Daniels, clarinet, flute, tenor saxophone; Kuno Schmid, Bob James (10, 13), Dave Grusin (3, 11, 13), Josh Nelson (1, 8, 12), keyboards; Harlem Quartet, strings; Kevin Axt, bass; Mauricio Zottarelli, drums.

Night Kisses: A Tribute To Ivan Lins

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Eddie Daniels & Roger Kellaway - Duke at the Roadhouse: Live in Santa Fe

Styles: Clarinet, Saxophone and Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 50:54
Size: 117,1 MB
Art: Front

(7:05)  1. I'm Beginning to See the Light
(4:31)  2. Creole Love Call
(7:33)  3. Perdido
(3:22)  4. Duke At The Roadhouse
(6:20)  5. In a Mellow Tone
(9:09)  6. In a Sentimental Mood
(5:27)  7. Duke in Ojai
(4:47)  8. Mood Indigo
(2:38)  9. It Don't Mean a Thing

For a powerful adrenaline rush, it's hard to beat a full house (sixteen or seventeen single-minded musicians wailing in unison and swinging like there's no tomorrow), although there's a lot to be said for a pair of aces, too. That's the hand that's dealt on Duke at the Roadhouse: Live in Santa Fe, the aces in question being clarinetist / tenor saxophonist Eddie Daniels and pianist Roger Kellaway (with cellist James Holland raising the ante as a wild card on four numbers). As the title denotes, this is music for the most part associated with Duke Ellington, amplified by one original apiece by Daniels ("Duke at the Roadhouse") and Kellaway ("Duke in Ojai"). Ellington wrote (or co-wrote) seven numbers, the odd song out being Juan Tizol's "Perdido."

Daniels penned "Roadhouse" to honor a time in 1966 when, as a new member of the Thad Jones / Mel Lewis Orchestra, he was invited to play in a jam session with Ellington at a nightclub in Greenwich Village, an experience he has never forgotten. While Kellaway doesn't say what led him to write "Duke in Ojai," there must be a story there too. Daniels, who has become almost a full-time clarinetist since his tenure with the Jones / Lewis Orchestra, shows on "In a Mellow Tone" and "Sophisticated Lady" that he can still wield a mean tenor sax. He has "Lady" to himself (with Kellaway comping trimly), and his unaccompanied intro, lasting a minute and a half, is a gem among gems. Also worth noting is how easily Kellaway, who can swing with the best of them, slips into Ellington's more high-toned dinner jacket to produce subtle motifs that blend erudition with elegance.

The duo cut loose only on the closing theme, "It Don't Mean a Thing," and even here the customary exuberance is held somewhat in check, perhaps in deference to the session's sobriety quotient. In every respect, the temper is unmistakably Ellingtonian, from "I'm Beginning to See the Light" through "Creole Love Call," "Perdido," "In a Sentimental Mood," "Mood Indigo," Daniels' tenor showpieces and the two originals. The addition of a cello, suggested by Daniels, was enthusiastically endorsed by Kellaway, who wrote Holland's solos (he takes a couple) in advance. The album was (superbly) recorded in October 2012 at Santa Fe's Lensic Theatre as a benefit for the city's Center for Therapeutic Riding, which uses horses to help young people with disabilities recuperate. Whatever the cause, Daniels and Kellaway have dealt themselves a winning hand, one that is well worth betting on. ~ Jack Bowers  http://www.allaboutjazz.com/duke-at-the-roadhouse-live-in-santa-fe-eddie-daniels-ipo-recordings-review-by-jack-bowers.php#.VD8LAxawTP9
 

Personnel: Eddie Daniels: clarinet, tenor saxophone; Roger Kellaway: piano; James Holland: cello.

Duke at the Roadhouse: Live in Santa Fe

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Eddie Daniels & Roger Kellaway - A Duet Of One

Styles: Clarinet And Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 73:10
Size: 167,8 MB
Art: Front

( 8:51)  1. I'm getting Sentimental Over You
( 7:39)  2. Slow Dance
( 7:32)  3. Adagio Swing
(11:16)  4. I want to Be Happy
( 7:32)  5. New Orleans
( 6:12)  6. This is the Time
( 6:10)  7. After You've Gone
( 8:11)  8. Blue Waltz
( 4:29)  9. Love of My Life
( 5:16) 10. We'll Always Be Together

In 2005, longtime collaborators Eddie Daniels and Roger Kellaway reunited at Los Angeles' Jazz Bakery to try their skills without the comfort of bass or drums. Luckily, they were up to the challenge more than ever. The result, A Duet of One, presents two musicians who blend melody and spontaneity so well that they could improvise a symphony together. From the first moments of "I'm Getting Sentimental Over You," Daniels and Kellaway establish a foundation that only grows tighter, as the clarinet asks and the piano answers through the head. Both play with a delicate touch. Paquito D'Rivera writes, in his excellent liner notes, that the two had never played the tune before, making the result still more impressive. Piano and clarinet swap unaccompanied solo statements with the ease of dialogue, slowing tempos and changing dynamics, before returning to the classic melody. Kellaway is a real treat to hear, an underrated player with a sound that mixes touches of Art Tatum and Tin Pan Alley with distinctly modern swing. He consistently finds the right spot for every key, up and down the board. Meanwhile, Daniels' flawless technique belies the subtlety of his tone. His sound is always clean, whether at deep lows or glass cracking highs. At any given moment, he can quote delicate classical repertoire, or reach down for some soul, as he does on "Adagio Swing" with bluesy catcalls and fingers flying.

But for all the individual abilities on display, the songs live on the give-and-take between players. An 11-minute "Why Was I Born?" transforms the original tune into lyrical repartee. The conversation is carried by a chromatic triplet motif that passes from clarinet to piano, and vice versa, like a warming bottle. They pull it through the octaves, mix in clever twists, and make redefining a standard seem easy. "New Orleans" finds Daniels' clarinet laying sweet improv with soft dynamics, suggesting a big city mournfulness brought down South. The stalking steps of "This is the Time," repeated in round, leap into a tremendous Kellaway solo, full of subtle, angular choices. Both players swap flourishes and trills before launching into a rollicking "After You've Gone" that features wild clarinet blowing. The sound is decent for a live album. Some of Kellaway's wonderfully subtle touches are nearly lost, particularly on a subpar sound system. Daniels sounds perfect though, down to the whispery clicks of his keys, and the crowd is warm without being overbearing.

The mellow "Blue Waltz" is a masterpiece of breathy intonations and romantic piano flourishes. The set closes with "We'll Always Be Together," an upbeat, Latin-tinged number. Daniels puts on a show of elegant technique as Kellaway eases him along to a rousing end. But before the melody is fully restated, Daniels breaks away to once again recreate the tune, as if a few extra lines need adding before he hops offstage. It's a fitting end to a deeply enjoyable album. ~ Warren Allen  http://www.allaboutjazz.com/a-duet-of-one-eddie-daniels-ipo-recordings-review-by-warren-allen.php

Personnel: Eddie Daniels: clarinet; Roger Kellaway: piano.

A Duet Of One

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Eddie Daniels - Brief Encounter

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 42:37
Size: 99,5 MB
Art: Front

(5:34) 1. Brief Encounter
(5:37) 2. A Child Is Born
(9:20) 3. Path
(5:22) 4. Sway
(8:15) 5. There Is No Greater Love
(8:26) 6. Ligia

Eddie Daniels splits his time almost equally on this underrated LP between tenor, flute and clarinet. Joined by keyboardist Andy Laverne, bassist Rick Laird and drummer Billy Mintz, Daniels is in consistently creative form on the six selections with highlights include his clarinet on the uptempo "There Is No Greater Love" and his work on four overdubbed flutes (one of which is a bass flute) for a haunting rendition of "A Child Is Born." It seems strange that it would still be another eight years before Eddie Daniels gained recognition as a masterful improviser and technician for in 1977 he was already pretty much there. Recommended. ~ Scott Yanow https://www.allmusic.com/album/brief-encounter-mw0000197209

Personnel: Bass – Rick Laird; Clarinet, Flute, Tenor Saxophone – Eddie Daniels; Drums – Billy Mintz; Synthesizer [String Ensemble], Electric Piano [Fender Rhodes] – Andy Laverne

Brief

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Thad Jones, The Mel Lewis Orchestra - All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live)

Album: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live)  Disc 1

Styles: Jazz, Hard Bop 

Year: 2016

File: MP3@320K/s

Time: 48:36

Size: 112,0 MB

Art: Front

(13:22)  1. Back Bone

( 4:22)  2. All My Yesterdays

( 5:51)  3. Big Dipper

( 4:49)  4. Mornin' Reverend

(14:25)  5. The Little Pixie

( 5:45)  6. Big Dipper

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Album: All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard (Live) Disc 2

Time: 76:51

Size: 177,2 MB

( 4:38)  1. Low Down

( 5:25)  2. Lover Man (Oh Where Can You Be?)

(10:08)  3. Ah, That's Freedom

( 4:28)  4. Don't Ever Leave Me

( 6:15)  5. Willow Weep for Me

( 5:51)  6. Mean What You Say

(12:45)  7. Once Around

( 4:02)  8. Polka Dots & Moonbeams

( 5:49)  9. Mornin' Reverend

( 4:25) 10. All My Yesterdays

(12:59) 11. Back Bone

Offering: Live at Temple University (Resonance Records, 2014), Getz/Gilberto '76 (Resonance Records, 2016), Moments in Time (Resonance Records, 2016)...and these are just the most recent (not to forget several Wes Montgomery) releases. Resonance Records steps up (again) and releases what can only be considered the apotheosis of live jazz performance, All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard. Before even considering the music, there is the captured ambiance. Recorded by a then 19-year old amateur engineer, George Klaban, the period technology may be lacking by today's standards. Maybe even Klaban's amateur status could call things into question. However, the results provide the listener with a very intimate listening experience that only lacks the smell of just-lit Lucky Strikes and Cutty Sark on the rocks. Klaban's gig pack included a Crown Professional two Track stereo tape recorder, an Ampex four-input mixer and six mics (Neumann U67, Bayer and AKG professional mics and an Electro Voice 654 Dynamic, the last used for the bass). Klaban details that he placed one mic each for the reeds, trombones, and trumpets, the fourth for the bass, the fifth for the piano and the last for the leader, Thad Jones. The result of this alchemic paradigm is a presence, not in the audience, but up over the middle of the band looking (hearing) down (a physical impossibility given the compressed confines of the Village Vanguard).

Nonetheless, the sound and atmosphere is electrically charged and immediate. The sound is spacious enough to get up and walk around in, passing through all of the sections. It is musical arrangement as subatomic metaphor...each musical element interacting with and against one another to produce a compounded product of rare substance and beauty. It is immediately evident that there is something special taking place. Queue up the first performance of the Thad Jones composition and arrangement "Back Bone" and listen. Alto saxophonist Jerry Dodgion spits out an unaccompanied blues chorus of spurred on with shouts and encouragement from the band with Thad Jones himself anticipating the entry of the whole band with a grand, "Yeah!" This is unbridled joy in music making. Evidence of Bill Basie is all over the charts, in both the riffing and solos. Altoist Jerome Richardson introduces "Little Dipper" twice and pianist (and Thad Jones' brother) Hank Jones channel the spirit of the still living Count Basie. This is, simply, what live music is all about: invention, spontaneity, improvisation, and spring freshness. Hear from where all big band since has come. ~ C.Michael Bailey https://www.allaboutjazz.com/all-my-yesterdays-the-debut-1966-recordings-at-the-village-vanguard-thad-jones-resonance-records-review-by-c-michael-bailey.php

Personnel: Thad Jones – flugelhorn; Mel Lewis – drums; Hank Jones – piano; Richard Davis – bass; Sam Herman – guitar; Jerome Richardson – alto saxophone, soprano saxophone, clarinet, bass clarinet, flute; Jerry Dodgion – alto saxophone; Joe Farrell – tenor saxophone, clarinet, flute; Eddie Daniels – tenor saxophone, clarinet, bass clarinet; Pepper Adams – baritone saxophone; Snooky Young – trumpet; Jimmy Owens – trumpet; Bill Berry – trumpet; Jimmy Nottingham – trumpet; Bob Brookmeyer – trombone; Jack Rains – trombone; Garnett Brown – trombone; Cliff Heather – trombone

All My Yesterdays: The Debut 1966 Recordings at the Village Vanguard(Live)Disc1,Disc2

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Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13)  1. Dedication
( 3:07)  2. It Only Happens Every Time
( 6:42)  3. Tiptoe
( 4:09)  4. A Child Is Born
( 3:37)  5. Us
( 7:57)  6. Ahunk Ahunk
(10:38)  7. Fingers
( 5:09)  8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel:  Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins  - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

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Calabria Foti - In The Still Of The Night

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:09
Size: 115,0 MB
Art: Front

(4:07)  1. Just one of those things
(3:40)  2. Miss Otis regrets
(4:09)  3. Anything goes
(5:14)  4. What is this thing called love
(4:35)  5. Night and day
(5:22)  6. I concentrate on you
(4:43)  7. Ev'ry time we say goodbye
(3:18)  8. Get out of town
(4:14)  9. It's alright with me
(5:41) 10. So in love
(4:01) 11. In the still of the night

With In the Still of the Night, vocalist Calabria Foti joins the ranks of Ella Fitzgerald, Frank Sinatra, Oscar Peterson, and many others -vocalists and instrumentalists who have dived deeply into the Cole Porter canon. It takes a very special talent to deftly probe the poetic and pithy romantic lingo that the Classic material offers. So, while that ocean is Trench deep, how is one to pluck new musical perspectives and give old ones a novel patina? Foti, along with a cadre of musicians of same mind, does so and strikes it rich here. Launching into things with a marvelous Latin-tinged send-up of "Just One of Those Things," we get the immediate idea that this run-through of Porter's material 11 of his greatest from Broadway and Hollywood -is going to be a fine and unique ride. Whether it is a "fabluelous" send up of "Miss Otis Regrets" or any of the rest, the selections here are delivered with an elegantly restrained texture that's spearheaded by Foti's marvelously versatile and in-command chops.  While Foti's voice is pitch-perfect and liquid gold, the keen thing about her effort stylistically is her extraordinary rhythmic and dynamic sense and the manner in which she plays with the beat ("Anything Goes," "Night and Day"). A careful listen yields an almost Chet Baker-esque approach to time. Key words in each lyric line are subtlely emphasized and de-emphasized with an instrumentalist's flair ("What is This Thing Called Love," "Every Time We Say Goodbye" with neat cello quotes of "Goodbye" and "My One and Only Love" -and "Get Out of Town"). There's no saccharine served at this table. That's no surprise, since Foti is a heralded violinist, as well as a premier chanteuse. Ever get that sense you're experiencing a memorable musical candlelight dinner conversation? You will here. ("I Concentrate on You," "In the Still of the Night"). It's luscious stuff. The ensemble on the session all crème and superb throughout includes producer/arranger pianist Michael Patterson (an outstanding job), guitarist Gene Bertoncini, bassist Ike Sturm, cellist Richard Locker, and drummer Jared Schonig. Cameos across the date by clarinetist Eddie Daniels and trombonist Bob McChesney add savory fill material always in perfect synch with what's going on. There's no stepping on heels in this dance. In the Still of the Night is certainly a fine addition to those aforementioned classic Songbook albums of the Greats and one that entices and enthralls with sublime taste. It is indeed the genuine turtle soup. ~ Nicholas F.Mondello https://www.allaboutjazz.com/in-the-still-of-the-night-calabria-foti-moco-records-review-by-nicholas-f-mondello.php

Personnel: Calabria Foti: vocals; Michael Patterson: piano; Eddie Daniels: clarinet; Gene Bertoncini: guitar; Richard Locker: cello; Bob McChesney: trombone; Ike Sturm: bass; Jared Schonig: drums. 

In The Still Of The Night

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Eddie Daniels - The Five Seasons

Styles: Clarinet Jazz
Year: 1995
File: MP3@320K/s
Time: 65:55
Size: 154,1 MB
Art: Front

(4:02)  1. Spring I
(6:55)  2. Spring II
(4:26)  3. Spring III
(8:16)  4. Summer I
(2:41)  5. Summer II
(4:05)  6. Summer III
(8:14)  7. Autumn I
(2:43)  8. Autumn II
(5:23)  9. Autumn III
(4:40) 10. Winter I
(2:10) 11. Winter II
(6:19) 12. Winter III
(5:54) 13. The Fifth Season

This is an interesting jazz version of Vivaldi's The Four Seasons. The great clarinetist Eddie Daniels performs with the Los Angeles Chamber Orchestra (whose personnel and instrumentation is unidentified) plus pianist Alan Broadbent, bassist Dave Carpenter, and drummer Peter Erskine. The arrangements by Jorge Calandrelli put each of the seasons in three movements, alternating between straight classical interpretations and jazz improvising off of the melodies. 

Calandrelli also contributed a closing "The Fifth Season." Daniels plays brilliantly throughout, but the music comes across as a bit trivial, alternating between two very different idioms and rarely trying to mix them together. Better to get Eddie Daniels' Breakthrough album (which is a better third stream effort) instead. ~ Scott Yanow https://www.allmusic.com/album/the-five-seasons-mw0000184664

Eddie Daniels (Clarinet); Bernard Rubenstein (Conductor); Alan Broadbent (Piano); Dave Carpenter (Bass); Peter Erskine (drums); Los Angeles Chamber Orchestra.

The Five Seasons

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Eddie Daniels - Heart of Brazil: A Tribute to Egberto Gismonti

Styles: Clarinet And Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 77:09
Size: 177,6 MB
Art: Front

(5:08)  1. Loro (Parrot)
(5:51)  2. Baiao Malandro (Badass Baiao)
(6:07)  3. Agua e Vinho (Water and Wine)
(5:11)  4. Ciranda (Folk Dance)
(4:23)  5. Folia (Revelry)
(5:52)  6. Maracatu (Sacred Rhythm)
(5:59)  7. Adagio
(5:45)  8. Tango Nova (New Tango)
(6:02)  9. Choro
(4:40) 10. Tango
(7:36) 11. Cigana (Gypsy Woman)
(7:44) 12. Trem Noturno (Night Train)
(6:45) 13. Auto-Retrato (Self-Portrait)

When Resonance Records' George Klabin pitched Eddie Daniels on this project saluting Egberto Gismonti, the legendary reedist was enthused yet somewhat trepidatious. Gismonti's music a sui generis form of fantasia that proves evocative in its blending of Brazilian forms, a jazz harmonist's argot, and European classical languages is no easy nut to crack or translate. But Daniels, of course, is no slouch. A doyen of the clarinet and an expert at navigating tricky divides like the potentially deadly jazz-classical fault line, he proved more than up to the task. Heart Of Brazil finds Daniels primarily interpreting music that Gismonti produced in the '70s and early '80s. The settings, put together by the likes of ace arrangers Ted Nash, Kuno Schmid, and Josh Nelson, are ravishing; the core quartet Daniels, Nelson on piano, Kevin Axt on bass, and Mauricio Zottarelli on drums sets the music aloft; and the strings of the Harlem Quartet prove absolutely integral, weaving in, out, around, and through these spellbinding songs. Once merely a hypothetical dream project for Klabin, his aspirations have been realized and, perhaps, exceeded. Opening on "Lôro (Parrot)," a song penned in honor of Hermeto Pascoal, Daniels' clarinet genially bounds around in concert with Nelson's keys while outwardly projecting unbridled virtuosity and warmth. Then the strings introduce "Baião Malandro (Badass Baião)," a number bolstered by Axt's lively bass. It offers Daniels and Nelson some room to open up, all the while nodding to the titular form painted with a variegated scheme.  "Água e Vinho (Water and Wine)" marks the first appearance of Daniels' tenor, emulating the male voice in this most hauntingly beautiful of scenarios. 

He holds onto that horn for "Ciranda (Folk Dance)," playing on passion over dawning rubato, but he returns to his clarinet when things heat up on the wildly expansive "Folia (Revelry)." That showpiece par excellence a bold and audacious bricolage with a genius arrangement from Nelson proves to be a real standout on an album full of them.  As the program progresses, so too does the feasibility of each song offering a world unto itself. "Maracatú (Sacred Rhythm)" draws on its eponymous Afro-Brazilian form and rhythm(s) while offering a melodious high ground and teetering motifs; "Adágio" is impressionism set free on a starlit walkway, influenced by Ravel and unabashedly romantic in its embrace of strings; "Chôro" coasts in with the gentlest of introductions before adopting its namesake style in its breeziest state; and "Cigana (Gypsy Woman)" paints a beautifully pensive picture of the roaming Romany. Every gift from Gismonti proves completely distinctive in nature, and each of these arrangements and performances illuminates the core qualities of his compositions.  

As per usual with Resonance, the packaging has its place in the story and comes to also represent the seriousness of intentions behind the project. With an introduction from Klabin, detailed program notes from the esteemed James Gavin, and a translated interview Gavin held with Gismonti in early 2018, the liners amplify the brilliance of this album and the need it fills. ~ Dan Bilawsky https://www.allaboutjazz.com/heart-of-brazil-eddie-daniels-resonance-records-review-by-dan-bilawsky.php

Personnel: Eddie Daniels: clarinet, tenor saxophone; Josh Nelson: piano; Kevin Axt: bass; Mauricio Zottarelli: drums; Harlem Quartet: Ilmar Gavilan violin; Melissa White: violin; Jamey Amador: viola; Felix Umansky: cello.

Heart of Brazil: A Tribute to Egberto Gismonti

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Gordon Goodwin's Big Phat Band - The Phat Pack

Styles: Big Band
Year: 2006
File: MP3@320K/s
Time: 75:12
Size: 173,6 MB
Art: Front

(6:07)  1. Cut n’ Run
(3:39)  2. Too Close For Comfort
(6:36)  3. Count Bubba’s Revenge
(6:13)  4. Play That Funky Music
(6:39)  5. The Phat Pack
(4:47)  6. Hunting Wabbits 2 (A Bad Hare Day)
(7:36)  7. La Almeja Pequena (The Little Clam)
(6:53)  8. Get in Line
(5:09)  9. Attack of the Killer Tomatoes
(5:30) 10. Under the Wire
(6:28) 11. Whodunnit?
(5:20) 12. It Was a Very Good Year
(4:08) 13. Ever Braver, Ever Stronger (An American Elegy)

The suave and irrepressible Rat Pack, whose urbane image was shrewdly nurtured for so many years by Ol' Blue Eyes, meistersinger Frank Sinatra himself, is no longer with us. Luckily, we have as partial solace The Phat Pack, the convivial third recording by jack-of-all-trades Gordon Goodwin's Big Phat Band. Goodwin bows respectfully to his illustrious predecessors by reprising two songs closely associated with members of the Rodent Gang, Sinatra's "It Was a Very Good Year" and Sammy Davis Jr.'s "Too Close for Comfort," also appending an evocative title song that could have served as the Pack's overture in a cabaret or concert hall. One of the more engaging aspects of any album by Goodwin's exemplary ensemble is that one never knows quite what to expect from moment to moment as the music veers in a heartbeat from straight-ahead swing to funk, Latin, neo-hip shuffle and back again not to mention such wild anomalies as "Hunting Wabbits 2," Goodwin's quirky salute to Elmer Fudd and those incomparable Warner Bros. cartoons from the '40s and '50s (for "Hunting Wabbits 1," see the BPB's previous album, XXL). Needless to say, the all-star band is razor-keen throughout, lending power and charisma to Goodwin's personable compositions and charts. 

Soloists aren't named, but that has to be Eric Marienthal's nimble soprano on "Wabbits," his aggressive alto on "Get in Line" and "Attack of the Killer Tomatoes," Andy Martin's supple trombone on "Tomatoes," Wayne Bergeron's screaming trumpet on "La Alma Pequena (The Little Clam)." That's ironic, as clams are almost never a part of Bergeron's musical diet. As usual, Goodwin has invited several well-known guest artists to sit in, and all of them are superb. Vocalist Dianne Reeves positively nails "Too Close for Comfort," alto David Sanborn is suitably raunchy on "Play That Funky Music," ace clarinetist Eddie Daniels burns rubber on the grueling "Under the Wire," and the vocal group Take 6 takes charge on "It Was a Very Good Year." Another Goodwin staple is the patriotic finale, in this case the poignant "Ever Braver, Ever Stronger (An American Elegy)." So much to say, so little space remaining. Highlights (besides those already mentioned) include "Cut 'n Run," "Count Bubba's Revenge," "Whodunnit?" Well, let's be honest. Everything else. And it should be noted that the disc is accompanied by a DVD with soundtrack, photos, lyrics and other extras. Alas, I was unable to play my copy, as it requires a compatible Direct Show DVD player, which I don't have. As Sinatra would have intoned, "That's Life." Goodwin's debut album, Swingin' for the Fences, was Grammy-nominated, XXL earned one (in a minor category), and if this isn't a leading contender for the top big band prize, I'll eat broccoli (yuck!) with my supper (please don't tell my wife I said that). ~ Jack Bowers https://www.allaboutjazz.com/the-phat-pack-gordon-goodwin-immergent-records-review-by-jack-bowers.php

Personnel: Gordon Goodwin: leader, composer, arranger, piano, tenor saxophone; Wayne Bergeron, Dan Fornero, Bob Summers, Dan Savant, Pete DeSiena (4,6,12): trumpet; Eric Marienthal: alto, soprano saxophone, flute; Sal Lozano: alto saxophone, flute, piccolo; Brian Scanlon, Jeff Driskill: tenor saxophone, clarinet; Jay Mason: baritone saxophone, bass clarinet; Andy Martin, Alex Iles, Charlie Morillas, Craig Ware, Craig Gosnell (2): trombone; Grant Geissman, Carl Verheyen (4): guitar; Rick Shaw: acoustic, electric bass; Bernie Dresel, Ray Brinker (10,11,13): drums; Luis Conte, Brad Dutz (4,6,12): percussion. Special guests: Dianne Reeves (2): vocal; David Sanborn (4): alto saxophone; Eddie Daniels (10): clarinet; Take 6 (12): vocal.

The Phat Pack

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The Eddie Daniels Quartet - Mean What You Say

Bitrate: MP3@320K/s
Time: 68:25
Size: 156.6 MB
Styles: Mainstream jazz, Clarinet jazz
Year: 2005
Art: Front

[6:24] 1. Mean What You Say
[7:12] 2. It Had To Be You
[6:15] 3. Passion Flower
[2:49] 4. Nagasaki
[7:23] 5. My One And Only Love
[3:01] 6. Why You...
[6:56] 7. Azure
[6:09] 8. The Touch Of Your Lips
[5:27] 9. You And The Night And The Music
[6:46] 10. I'm Getting Sentimental Over You
[4:07] 11. My Little Suede Shoes
[5:51] 12. How Deep Is The Ocean

Eddie Daniels: clarinet, tenor saxophone; Hank Jones: piano; Richard Davis: bass; Kenny Washington: drums.

The presence of Hank Jones permeates this recording so much that the Eddie Daniels Quartet may be better titled the Hank Jones-Eddie Daniels Quartet on Mean What You Say. In fact, the whole quartet, rounded out with bassist Richard Davis and drummer Kenny Washington, is top-drawer, which goes a long way in making Mean What You Say one of the finest mainstream jazz recordings of the year. Covering the Swing Era and bebop, Mean What You Say is no mere blowing session. The performances are precise and houghtful.

Eddie Daniels is considered foremost among performing clarinetists. He also plays a pretty mean tenor saxophone. Daniels opens the recording with Thad Jones's "Mean What You Say, allowing Jones' elder brother Hank an extended introduction. The piece provides a microcosm of the rest of the recording. Daniels plays tenor with a tightly focused, cylindrically dense tone. He navigates the head and solo fluidly. Jones's piano contains the history of jazz, from Lil Hardin Armstrong and Earl Hines to Junior Mance and Gene Harris. The piece sports traded eights among everyone, with a nuclear swing.

That was just the beginning. Daniels plays clarinet on the lion's share of the disc, beginning with a beautifully nostalgic "It Had to be You. Jones bounces with stride accents while Washington's ride cymbal dictates the swing time. Billy Strayhorn's "Passion Flower is delicately supported by Washington's supple brushwork and Richard Davis's fat bass notes. "Why You...," based on a simple blues motif, is an original penned by Daniels and Jones that allows the principals to stretch out. The eights traded in this piece are thrilling. The two also attack bebop on the Charlie Parker vehicle "My Little Suede Shoes. Mean What You Say is a superb recording which deserves consideration as one of the best of the year. ~C. Michael Bailey

Mean What You Say mc
Mean What You Say zippy

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Don Sebesky - Moving Lines

Styles: Contemporary Jazz, Big Band 
Year: 1984
File: MP3@320K/s
Time: 41:47
Size: 96,5 MB
Art: Front

( 4:27)  1. Claire's Song
( 6:22)  2. Cherokee
( 5:16)  3. Moondreams
( 5:11)  4. I Go To Rio/Mardi Gras
(13:40)  5. Malaguena
( 6:50)  6. Skyliner

As a composer, arranger and conductor, he has worked with such orchestras as the London Symphony, the Chicago Symphony, the Boston Pops, The New York Philharmonic, the Royal Philharmonic of London, and the Toronto Symphony.  His Broadway theater credits include Porgy and Bess (London production by Trevor Nunn), Sinatra At The Palladium, Sweet Charity, Kiss Me Kate (2000 Tony Award), Bells Are Ringing, Flower Drum Song, Parade, The Life, Cyrano, The Goodbye Girl, Will Rogers Follies,  and Sinatra At Radio City. Among his film credits are The Rosary Murders (starring Donald Sutherland), Hollow Image (starring Morgan Freeman), The Last of the Belles (starring Susan Sarandon), Let's Get Lost (starring Chet Baker “ Best Documentary at the Cannes Film Festival), The People Next Door (starring Eli Wallach and Julie Harris), Time Piece (Jim Henson Productions “ Academy Award nomination for Best Short Subject).  For television, Sebesky's work has included Allegra's Window on Nickelodeon (Emmy nomination), The Edge of Night on ABC (Emmy nomination), and Guiding Light on CBS (Emmy nomination).  As a recording artist, Sebesky's work includes nine recordings under his own name, all of which were GRAMMY nominated.  Included are Giant Box, Rape of El Morro, Full Cycle, Moving Lines, Symphonic Sondheim, I Remember Bill (1999 GRAMMY Award), and Joyful Noise (winner of two GRAMMY Awards in 2000). Sebesky has also created the music for many well known commercials.  Among the companies he has represented are:  Corning (Clio Award), Hanes, Hallmark, Dodge Trucks, General Electric (Clio Award), Hershey's, Cheerios, Calvin Klein (Clio Award), Nike, Oil of Olay, Pepsi and Kodak.  Sebesky is the author of the best selling orchestration text book, The Contemporary Arranger. http://www.donsebeskymusic.com/about.htm

Personnel:  Electric Piano, Conductor, Arranged By, Producer – Don Sebesky;  Acoustic Bass, Electric Bass – Jay Leonhart;  Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Alex Foster;  Baritone Saxophone, Bass Clarinet, Flute, Clarinet – Roger Rosenberg;  Bass Trombone, Horn [Baritone], Tuba – Alan Raph;  Drums, Percussion – Jimmy Madison;  Electric Guitar [12 String], Acoustic Guitar [12 String] – Ken Sebesky;  Leader, Piano [Acoustic];  Tenor Saxophone, Clarinet, Flute, Piccolo Flute, Flute [Alto & Bass] – Eddie Daniels;  Trombone, Horn [Baritone] – Jimmy Pugh;  Trumpet, Flugelhorn – Barry Ries, Brian O'Flaherty

Moving Lines

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Eddie Daniels - Morning Thunder

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 43:51
Size: 106,6 MB
Art: Front

(6:19)  1. Side 1. Good Morning, Bahia
(4:41)  2. Hold Tight, Don't Let Go
(7:18)  3. Lost In The Rain
(3:53)  4. Morning Thunder
(4:28)  5. Side 2. Carnival Lady
(5:13)  6. Lindas
(7:23)  7. Forget The Woman
(4:31)  8. Midnight At The Caravelle

This is an odd and rather interesting record. Eddie Daniels, who at the time was still largely unknown, plays clarinet and occasional alto in commercial settings while backed by a large rhythm section, reeds, strings and even some voices; typical for an overproduced Columbia album of the period. The material is largely forgettable but Daniels' clarinet playing is so brilliant that he completely overcomes the surroundings and drastically uplifts the music. Although not on the level of his upcoming GRP projects, this out-of-print LP is surprisingly rewarding. ~ Scott Yanow http://www.allmusic.com/album/morning-thunder-mw0000899954

Personnel:  Saxophone – Eddie Daniels;  Acoustic Bass – Rufus Reid;  Bass – Anthony Jackson;  Drums – Buddy Williams, Steve Gadd;  Guitar – Bob Rose;  Keyboards – Jorge Dalto;  Percussion – Jimmy Maelen, Nicky Marrero

Morning Thunder

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Phoebe Snow - Never Letting Go

Styles: Vocal
Year: 1977
File: MP3@320K/s
Time: 33:22
Size: 77,5 MB
Art: Front

(3:23)  1. Love Makes A Woman
(3:37)  2. Majesty Of Life
(3:55)  3. Ride The Elevator
(4:05)  4. Something So Right
(3:15)  5. Never Letting Go
(3:02)  6. We're Children
(3:33)  7. The Middle Of The Night
(3:55)  8. Electra
(4:33)  9. Garden Of Joy Blues

Phoebe Snow made it onto the soul charts with her version of Barbara Acklin's 1968 hit "Love Makes a Woman" (#87), which served as the leadoff track of her fourth album. But the record marked a fall-off in both her commercial success and her artistic accomplishment. The tasty studio musicians and Phil Ramone's pop-jazz production were still in place, and Snow remained a remarkable singer, but her synthesis of styles was beginning to seem not so much inspired as muddled. ~ William Ruhlmann http://www.allmusic.com/album/never-letting-go-mw0000308963

Personnel:  Phoebe Snow - vocals, acoustic guitar;  Hugh McCracken, Steve Burgh, Steve Khan – guitar;  Will Lee, Tony Levin – bass;  Ken Ascher, Richard Tee, Bob James – keyboards;  Chris Parker, Grady Tate, Steve Gadd – drums;  Ralph MacDonald – percussion;  Michael Brecker - tenor saxophone;  Phil Woods - alto saxophone;  Hubert Laws – flute;  Eddie Daniels – clarinet;  Gwen Guthrie, Lani Groves, Patti Austin - background vocals;  Kenny Loggins - vocals on "We're Children"

Never Letting Go

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The Thad Jones-Mel Lewis Orchestra - Basie, 1969

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Trumpet jazz

Year: 1969/1995

Art: Front

[10:53] 1. Second Race

[ 4:29] 2. Don't Ever Leave Me

[ 9:23] 3. The Waltz You Swang For Me

[11:09] 4. That's Freedom

[ 4:56] 5. Come Sunday

[11:48] 6. Don't Get Sassy

[ 6:47] 7. Bible Story

[ 8:22] 8. Groove Merchant

Jerome Richardson, Jerry Dodgion, Eddie Daniels, Joe Farrell, Pepper Adams (saxes, woodwinds); Thad Jones; Snooky Young, Jimmy Nottingham, Richard Williams (trumpets); Bob Brookmeyer, Garnett Brown, Tom McIntosh, Cliff Heather (trombones); Roland Hanna (piano), Richard Davis (bass), Mel Lewis (drums). Recorded in 1970 at the Village Vanguard in NYC, and was originally titled "Village Vanguard Live Sessions 3.

This live concert, broadcast over Swiss radio and released for the first time on this 1995 CD, features the Thad Jones/Mel Lewis Orchestra at its prime. The remarkable all-star group includes two first trumpeters (Snooky Young and Al Porcino) and such soloists as trumpeters Richard Williams, Danny Moore and Thad Jones, trombonist Jimmy Knepper, Jerome Richardson on soprano, Jerry Dodgion on flute and alto, baritonist Pepper Adams, pianist Roland Hanna, bassist Richard Davis and tenor great Joe Henderson whose short stint with the band was long enough to include this European tour. Highlights of the superior set include "Second Race," "The Waltz You Swang For Me," "Don't Get Sassy" and "Groove Merchant." Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.

Basie, 1969   

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Eddie Daniels - Blackwood

Styles: Clarinet Jazz
Year: 1989
File: MP3@320K/s
Time: 46:34
Size: 109,7 MB
Art: Front

(4:30)  1. Blackwood
(4:50)  2. Cruise
(4:57)  3. Heartsong
(4:45)  4. P.I.
(4:54)  5. Toucan Dance
(5:37)  6. Black Diamond Run
(5:30)  7. Clara's Heart
(5:09)  8. Walking The Line
(0:54)  9. Blackwood (Reprise)
(5:24) 10. Blue Waltz

Eddie Daniels is such a monster on the clarinet that all of his GRP recordings are worth acquiring. This one, however, due to the somewhat commercial nature of some of the tunes (and the lightly funky rhythm sections), is of lesser interest compared to the classics such as Breakthrough. Daniels sounds fine but he is far better than much of the material (generally written by either the clarinetist, Rob Mounsey or Dave Grusin). ~ Scott Yanow http://www.allmusic.com/album/blackwood-mw0000200138

Personnel: Eddie Daniels (clarinet); Dave Grusin (piano); Rob Mounsey (keyboards); Steve Khan (guitar); Dave Weckl (drums).

Blackwood

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Eddie Daniels & Gary Burton - Benny Rides Again

Styles: Vibraphone And Clarinet Jazz
Year: 1992
File: MP3@320K/s
Time: 58:39
Size: 135,8 MB
Art: Front

(3:42)  1. Sing, Sing, Sing
(5:44)  2. Stompin' At The Savoy
(4:12)  3. Moonglow
(3:51)  4. Airmail Special
(5:13)  5. Let's Dance
(4:07)  6. Slipped Disc
(5:29)  7. Memories Of You
(3:01)  8. Avalon
(5:22)  9. In A Mist
(4:55) 10. Grand Slam
(3:33) 11. After You've Gone
(5:47) 12. Goodbye
(3:37) 13. Knockin' On Wood

During 1991-92, clarinetist Eddie Daniels and vibraphonist Gary Burton teamed up on a tour, performing a tribute to Benny Goodman and Lionel Hampton. Never mind that they sound nothing at all like their predecessors. On the CD that resulted from the collaboration, the duo use pianist Mulgrew Miller (who sounds much more like McCoy Tyner than Teddy Wilson), bassist Marc Johnson and drummer Peter Erskine for 11 songs associated with the King of Swing plus Bix Beiderbecke's "In a Mist." Actually the most memorable selection is "Knockin' on Wood," which has nothing to do with Goodman or Hampton (it was a feature for Red Norvo) and features Burton romping on a xylophone. Other highlights include a surprisingly brief "Sing, Sing, Sing," "Airmail Special," "Slipped Disc" and "Avalon." ~ Scott Yanow  http://www.allmusic.com/album/benny-rides-again-mw0000073047

Personnel:  Bass – Marc Johnson;  Clarinet – Eddie Daniels;  Drums, Percussion – Peter Erskine;  Piano – Mulgrew Miller;  Vibraphone, Xylophone – Gary Burton

Benny Rides Again

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