One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

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Alexander Claffy - Memento

Styles: Jazz
Year: 2024
Time: 49:26
File: MP3 @ 320K/s
Size: 113,6 MB
Art: Front

(10:06) 1. Brother
( 8:32) 2. Tokyo
( 7:22) 3. Tassia
( 7:22) 4. Jinriksha
( 8:55) 5. This Nearly Was Mine
( 7:07) 6. Power Station

I’d like to open by thanking everyone who helped to make this album possible. You know exactly who you are and I couldn’t have made it without you.

“Memento”, derived from the concept of “Memento Mori” is my 10th leader effort. By the time this album has been released I’ll be 32 years old. In an age where releasing 50 minutes of consecutive music may seem archaic, I’m just doing my best to document a place and time in my growth and development. When the stars align and I see a group of musicians that can come together and document a sign of the times, I jump at the chance. Even if I myself am not in the exact shape I want to be to record, I’ll take that risk.

This document serves as a reminder of what high level musicianship is still coming out of New York City. To be able to have one of the world’s greatest geniuses, my brother, Kurt Rosenwinkel contributing to this record is a dream within itself. I did my best to assemble some of my favorite voices, and give a pallet which everyone could speak their minds onto.

The goal here was to bring some emotionally powerful music that reminds us each: to enjoy and be grateful. Every day could be your last. And that’s how I’m trying to consistently play and contribute art for the rest of my days. A musical “Memento Mori”, that translates that urgency into song. This Record is dedicated to the memory of my father, Joseph Francis Claffy.
Yours Truly, Alexander Claffy https://alexanderclaffymusic.bandcamp.com/album/memento

Personnel: Alexander Claffy - bass; Kurt Rosenwinkel - guitar; Jimmy Macbride - drums; Matt Chalk - alto sax (tracks 1, 5); Tim Brey - piano (tracks 1, 4-6); Dave Kikoski - piano (tracks 2, 3 & 4); Stacy Dillard - tenor saxophone (tracks 2 & 4); Eric Alexander - tenor saxophone (track 6); Simon Moullier - vibraphone (tracks 1, 2, 4 - 6)

Memento

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Something Else! - Soul Jazz

Styles: Bop
Year: 2024
Time: 50:54
File: MP3 @ 320K/s
Size: 117,1 MB
Art: Front

(4:56) 1. Filthy McNasty
(7:55) 2. Too Blue
(4:05) 3. Mean Greens
(4:57) 4. The Chicken
(7:05) 5. Driftin'
(7:23) 6. Slow Drag
(5:34) 7. Strasbourg/St. Denis
(8:57) 8. Naima (Bonus Track)

Jazz supergroup Something Else! is led by Vincent Herring, featuring some of the very best musicians today, playing some of the most iconic toe-tapping Soul Jazz songs ever created. This era of fantastic, rhythmic and soul warming music will be presented with new arrangements plus original compositions in the same genre.

The septet lineups draw from a pool of talented artists whose combined talents make for exciting, danceable and hugely enjoyable shows.

Alto Sax: Vincent Herring
Trumpet: Jeremy Pelt / Randy Brecker / Freddie Hendrix
Tenor sax: James Carter / Eric Alexander
Guitar: Paul Bollenback / Russell Malone
Piano: David Kikoski / Mike LeDonne
Bass: Essiet Essiet / Yasushi Nakamura
Drums: Lewis Nash / Jeff Watts / Johnathan Blake

"The jazz supergroup Something Else!, …then followed with top-shelf soul-jazz and swing… Every one of these musicians is elite it was an extraordinary set. “ ~ Glide Magazine

“…the band wears its hard-bop heart on its sleeve …It practically dares audiences to sit still and remain on their best behavior.” By Steve Futterman, The New Yorker
https://atljazzfest.com/artists/something-else/

Soul Jazz

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David Kikoski, Eric Alexander - Phoenix Rising

Styles: Piano And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 59:17
Size: 136,4 MB
Art: Front

(6:01)  1. Phoenix Rising
(5:21)  2. Kik It
(5:48)  3. Wichita Lineman
(7:57)  4. If I Were a Bell
(6:01)  5. Emily
(6:41)  6. Love for Sale
(6:33)  7. My One and Only Love
(7:26)  8. Lazy Bird
(7:25)  9. Willow Weep for Me

Pianist David Kikoski and tenor saxophonist Eric Alexander, among the brightest lights on New York City's jazz scene for more than two decades, have known each other for almost as many years but Phoenix Rising marks the first time they have recorded together. After listening, one observation springs immediately to mind: it's about time. A second premise is that the album swings and dazzles from start to finish but one would expect no less from such masters of the idiom, especially when the session benefits as well from the imposing presence of two more paragons, bassist Peter Washington and drummer Joe Farnsworth. That the level of musicianship is high throughout is also no surprise, as Kikoski and his colleagues have been honing their respective skills for many years as members of New York's elite and are unfazed and self-assured in the face of anything that threatens to impede their progress or disrupt their purpose. In their capable hands, excellence is not so much a goal as a given. After a brief aside, the quartet hastens briskly from the starting gate on "Phoenix Rising," co-written by Alexander and Kikoski, a theme that, in Alexander's words, is "all about Dave exploding back on the scene." Explode he does with a powerful two-fisted solo that precedes an equally emphatic statement by Alexander.

That's the first of no less than four burners on the menu. The others are Frank Loesser's "If I Were a Bell," Ann Ronell's "Willow Weep for Me" and John Coltrane's "Lazy Bird," on which Alexander's scorching solo would easily thaw an iceberg. The group is more laid-back but no less persuasive on the album's less heated numbers: Jimmy Webb's "Wichita Lineman," Johnny Mandel's "Emily" (on which Alexander sits out), Cole Porter's "Love for Sale" (set to a saucy Latin beat) and Guy Wood / Robert Mellin's "My One and Only Love." Alexander's nimble blues, "Kik It," rounds out the well-balanced program. Kikoski takes the first solo again, as he does on almost every number (well, it is his gig), and every solo is a model of tastefulness and technical brilliance. The last (and most lasting) impression is that these are four superior musicians, and that quartets simply can't blend together more seamlessly than this. Everyone listens carefully, responds apace, and enhances the group dynamic. Best of all, the music they have chosen to play is invariably bright and pleasing. Well done, gentlemen. ~ Jack Bowers https://delaware.allaboutjazz.com/phoenix-rising-david-kikoski-highnote-records-review-by-jack-bowers.php

Personnel: David Kikoski: piano; Eric Alexander: tenor saxophone (1-4, 6-9); Peter Washington: bass; Joe Farnsworth: drums.

Phoenix Rising

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Eric Alexander - Timing Is Everything

Styles: Saxophone Jazz
Year: 2024
Time: 56:59
File: MP3 @ 320K/s
Size: 130,8 MB
Art: Front

(5:32) 1. After the Rain
(7:40) 2. But Beautiful
(6:20) 3. Serenade To A Cuckoo
(4:57) 4. Big G’s Monk
(3:22) 5. Sasquatch
(9:23) 6. Misty
(8:43) 7. Timing Is Everything
(5:12) 8. Evergreen
(5:46) 9. Someone

Black Vinyl 180 GramAlthough Eric has made several appearances on my label: One For All - Invades Vancouver, Michael Weiss - Persistence, The Heavy Hitters, Xaver Hellmeier - X-Man in New York and my record O Sole Mio, he has never appeared as a leader until now. When I started Cellar Live in 2000, recording a musician the stature of Eric Alexander was a dream Eric enjoyed long stints with some pretty incredible record labels over the years and I wasn't ready to play in the BIG leagues at that point.

But many incredible things have happened at the label since that time. And now that the opportunity to record him has come up, I am able to jump at the chance. Timing Is Everything is an appropriate title for both this recording, but, as Eric explains, for life in general. When you're playing jazz music, he continues, you can play all the right notes, but if you don't time them correctly, it's nothing...and when you do time them correctly, it's everything.

Similarly, when talking about life, Eric states, one of the few things that a human being possesses is their time. You don't own your life. You don't own your car. You only own your time. In order to have a fulfilled life, you have to protect your time and your timing. Timing is Everything because you can't get time back.By Editorial Reviews https://www.amazon.com/Timing-Everything-Black-Vinyl-Alexander/dp/B0CR1HPK9J

Personnel: Eric Alexander - tenor saxophone, producer; Rick Germanson - piano; Alexander Claffy - bass; Jason Tiemann - drums

Timing Is Everything

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David Hazeltine - Blues Quarters, Vol.2

Styles: Piano Jazz, Hard Bop
Year: 2007
Time: 61:25
File: MP3 @ 320K/s
Size: 140,6 MB
Art: Front

(5:57) 1. Moment of Joy
(7:21) 2. But Here's the Thing
(7:03) 3. Inner Circle
(5:16) 4. Goin' Out of My Head
(7:56) 5. Embraceable You
(6:42) 6. Unforgettable
(6:20) 7. Suddenly It's Spring
(6:57) 8. The Second Blues Quarters
(7:49) 9. Blues for Us

A lot of water has passed under the proverbial bridge since the last time that David Hazeltine got together with Eric Alexander for the initial 1998 session billed as Blues Quarters Vol.1 (Criss 1188). As strong a showing as the pianist and his cohorts made on that initial release, I think all would agree this latest incarnation is even better, imbued with a maturation and musical camaraderie that has further developed due to countless numbers of gigs undertaken in the intervening years.

It's also interesting to ponder the fact that Hazeltine, Alexander, bassist Peter Washington, and drummer Joe Farnsworth have all built very prosperous careers over the past several years and have done so in a manner that is somewhat left of center from the norm. Historically, jazz musicians have gained prominence either through the forging of completely new paths that can also hold traps for alienating an audience or by recreating former styles in a retro manner that puts originality at a lesser premium. But while Hazeltine and his cohorts have steered clear from avant-garde leanings, preferring to work squarely within the bop tradition, they have expanded upon and refined the constraints of the mainstream in a way that has led to revitalization of a style that threatened to stagnate during the "young lions" craze of the late '80s and early '90s.

One of the incubators for this new music has been the group One For All, a sextet of leaders including Hazeltine and his friends from the disc at hand, the collective just recently celebrating an unprecedented ten-year run that culminated in its recent album The Lineup being honored as Recording of the Month in the November 2006 issue of Stereophile magazine, a prize usually reserved for classical or other more obscure releases. In his review of the disc, Robert Conrad commented strongly on the "headlong plunging urgency" of the music that he avows would not be possible without the "world-class blue-collar rhythm section [including] Hazeltine and Farnsworth." The point being that it is this same chemistry and common sense of purpose that makes Blues Quarters Vol.2 such a satisfying recital.

Like the first set, this latest offering goes for a combination of original tunes and some well-picked standards, but with an additional twist. On several tracks, the Latin rhythms of conguero Jose Alexis Diaz provide further seasoning that is aided and abetted by Hazeltine's coy arrangements. A veteran of New York's Latin scene, Diaz has been heard with many giants of the music including Tito Puente and Mario Bauza and can also be found on At the Main Event (Criss 1070) by trumpeter Brian Lynch.

"Moment of Joy" gets things started on a sunny note, this easy-going swinger boasting an atypical form with eight bars of an opening theme followed by a twelve-bar release that is then repeated. Statements by Alexander and Hazeltine precede a short testimonial by Washington, who proves not only to be a confident supporting player throughout but also a highly musical soloist.

Diaz makes his first appearance on the smoldering "But Here's the Thing," an Afro-Cuban groove that is built around sections of varying length, although the solos stick closely to the basic 16-bar structure of the head. Eric leads off with a typically refined solo full of rhythmic variety and textural variations such as upper register shouts and cries. Hazeltine follows before turning things over to Diaz, who blows over a percolating vamp with Farnsworth's rim clicks marking the clave.

Eric Alexander contributes "Inner Circle," a medium tempo number with a basic 24-bar form. This time around, Hazeltine takes the first several choruses before handing it off to Alexander. The two then take turns trading four bar exchanges with Farnsworth, an especially musical drummer who can always be counted on for statements that rely more on cogent phrasing and rhythmic resourcefulness than on mere displays of technical flash.

An iconic number directly associated with the feel good music of the 1960s, "Goin' Out of My Head" first hit the pop charts as performed by Little Anthony and the Imperials. Later, guitarist Wes Montgomery would see its potential for jazz fodder in a 1965 version arranged by Oliver Nelson. Alexander sits out on this one, but Diaz is back to help establish a lightly swinging bossa beat. This is just one example of Hazeltine's expertise in updating pop tunes of the '60s and '70s, an area which lately seems to have become his specialty.

Often considered the perfect litmus test for determining a jazz musician's potential for interpreting a ballad, "Embraceable You" is also one of George and Ira Gershwin's best-known pieces, the 1944 gem making its debut in the film Girl Crazy. Alexander delivers the melody with an appropriate degree of warmth and immediacy before the pace quickens at the start of Hazeltine's first solo chorus. The tempo stays up for Alexander's entrance and soon he's using the opening phrase as a launching point for further development, his unaccompanied cadenza bringing things in for a smooth landing.

"Unforgettable" will always be closely associated with Nat King Cole, his original version peaking as high as #12 on the Billboard charts back in 1952. Subsequent performances would include those by pianist Dick Hyman and vocal great Dinah Washington, but neither of these pack quite the visceral punch of Hazeltine's sagacious reworking here. With Diaz again on congas, the pace quickens for a fine series of solos from Alexander, Hazeltine, and Diaz in that order.

Looking for a number in waltz tempo, the quartet settles on "Suddenly, It's Spring," a seldom-heard standard that nonetheless can be heard in several jazz incarnations by instrumentalists such as Zoot Sims and Stan Getz and by several vocalists including Frank Sinatra and Chris Connor. Farnsworth's Latinesque embellishments accompany an opening vamp that subsequently leads into Alexander's delivery of the melody, the overall mood not unlike that of McCoy Tyner's "Three Flowers."

The universality of the blues that also happens to give the disc its title makes it presence strongly felt on the concluding two numbers. ""Blues Quarters 2" and "Blues for Us," the former not technically a blues and the latter definitely of the 12-bar variety, both make the most of one of the music's oldest and more enduring forms with some fluent soloing from everyone on board.

Of course it goes without saying that jazz has continued to struggle to find its place within a market that has changed dramatically over the past few years. In many ways, the presentation of jazz recordings from a historical perspective is directly opposed to current technological favorites such as iPods and MP3s. Because of this, it's doubtful that many jazz fans are looking to cram as many "tunes" into their pods as they can. Hazeltine and his close circle of friends have the opportunity to turn the tables on this current state of affairs as they continue to make music of the highest caliber. Blues Quarters 2 joins an already impressive body of work that is sure to stand the test of time even as the times are rapidly changing. By C. Andrew Hovan https://www.allaboutjazz.com/david-hazeltine-blues-quarters-vol2

Personnel: David Hazeltine (p), Eric Alexander (ts), Peter Washington (b) & Joe Farnsworth (d) plus Jose Alexis Diaz (congas on #2, 4 & 6)

Blues Quarters, Vol.2

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One for All - Big George

Styles: Straight-ahead/Mainstream
Year: 2024
Time: 59:17
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(6:59) 1. Chainsaw
(6:20) 2. In the Lead
(5:32) 3. Edgerly
(8:41) 4. Oscar Winner (feat. George Coleman)
(7:02) 5. My Foolish Heart (feat. George Coleman)
(6:39) 6. This I Dig of You (feat. George Coleman)
(6:08) 7. Cove Island Breeze (bonus track)
(5:53) 8. The Nearness of You (bonus track)
(5:59) 9. Leemo (bonus track)

The NYC-based ensemble One For All has carried the post bop mantle for over 25 years, featuring some of the most consistently solid musicians in recent memory: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, and drummer Joe Farnsworth, usually including bassist John Webber. A new album is always an event for the group’s longtime fans (like me), and I am happy to report that Smoke Sessions’ Big George, including the sax great George Coleman, finds them, and their guest, in good form.

Big George is meant as an homage to Coleman, who is often cited as a significant influence on a generation of players. Beloved among the NYC jazz clientele, the veteran saxophonist dominates the center portion of the new collection, including a terrific improvisation on the classic “My Foolish Heart,” which should be an early candidate for solo performance of the year.

As for the others, Rotondi’s appearance in the midst of a two-year recording splurge finds him as sharp as ever; Alexander, coming off an under-noticed alto excursion, holds tenor sway while respectfully stepping aside as Coleman demonstrates his lasting excellence; Davis continues his growth both in playing and composing; Hazeltine comps with the best and delivers tasteful solos that always mesh with the groove; and Farnsworth, especially, is energized and in his glory as a masterful support for people he clearly cherishes. Webber, as he has done in the past (notably during the band’s Criss Cross era) provides his own solid supportnothing fancy, but just right.

The album seems to be organized like a live event: the first three songs feature the classic ensemble; Coleman joins for three more; then the band closes out, nine selections in all lasting just under an hour.

Alexander’s “Chainsaw,” with a funky ambiance, sounds like a Lee Morgan outtake. Rotondi wastes little time reestablishing himself as a stalwart trumpet lead. Alexander and Davis follow with their own statements while Farnsworth embellishes the beat with Higgins-like precision.

Hazeltine’s “In the Lead” carries a soft Bossa cadence into a swinging post bop display led by Alexander. Again the remaining soloists add commentary while the energetic Farnsworth pounds away.

“Edgerly” is Davis’s composition and first lead solo, a lyrical statement matched by Rotondi’s response, Alexander’s relay run, and Hazeltine’s brief solo before Farnsworth bridges the proceedings.

Coleman is then called to the ‘stage’ for “Oscar Winner,” which became more appealing to me as a metaphoric representation of an actual award ceremony. The ensemble pronounces the theme music, and then Big George gives an acceptance speech when I imagined him being that winner, his solo took on a Clark Terry sheen as a colloquially grateful achiever. Davis then appears, perhaps, as the film producer, and the others as supporting cast.

But “My Foolish Heart” is the show stopper, even if the tune has been recorded over and over again. Coleman here channels another Coleman, Mr. Hawkins, starting low and soulfully advancing the melody before a solo lovingly supported by a well-recorded and mixed Hazeltine, Webber, and Farnsworth. The drummer’s affinity for tasteful support is noted as Coleman glides through his extended soliloquy.

Then, almost as an encore, Coleman pushes the proceedings on Hank Mobley’s “This I Dig of You,” leading with hard bop verve as the other horns provide a chorus. The 89-year-old’s inventive approach is impressive, as he punctuates his runs with high and low notes, seemingly challenging his partners to match him. Hazeltine takes the hint first, and an itchy Farnsworth follows before Coleman and Davis can’t help but join in.

The final three items are listed as “Bonus Tracks” on the Bandcamp site. Davis’s “Cave Island Breeze” swings as the title implies. Perhaps inspired by Coleman’s performance, Alexander soulfully leads a rendition of “The Nearness of You.” The finale “Leemo” is a blues treat composed by Rotondi that sounds like a twist on “Dat Dere.” Webber gets the lead before the ensemble settles into a pleasurable groove, and this reviewer thinks the producers faded the recording too early.

One For All has been together long enough to have its own ‘eras’. My favorite is the Criss Cross era, when the band, in my estimation, swung harder and dug a bit deeper. This new release on Smoke Sessions would fit into that zone; with Big George along for the ride, Big George the album is a welcome return to form by one of America’s finest music collaborations.
https://www.chicagojazz.com/post/jazz-review-big-george-one-for-all-by-jeff-cebulski

Personnel: Jim Rotondi, trumpet; Eric Alexander, tenor saxophone; Steve Davis, trombone; David Hazeltine, piano; John Webber, bass; Joe Farnsworth, drums; George Coleman, guest tenor saxophone

Big George

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Dee Daniels - State of the Art

Styles: Vocal
Year: 2013
File: MP3@320K/s
Time: 59:32
Size: 136,8 MB
Art: Front

(3:37) 1. Almost Like Being in Love
(5:13) 2. Cherokee
(5:50) 3. I Wonder Where Our Love Has Gone
(5:23) 4. He Was Too Good to Me
(4:03) 5. I've Got You Under My Skin
(4:32) 6. Night and Day
(3:21) 7. I Let a Song Go out of My Heart
(6:21) 8. Willow Weep for Me
(4:42) 9. Why Did I Choose You
(4:34) 10. Summer Wind
(7:19) 11. Loverman
(4:31) 12. How High the Moon

Dee Daniels should need no introduction. Unfortunately, she too often does. In a music climate clouded by jazz-singing sound-alikes, a vocalist brave enough to let her affinity for hard bop remain undiluted by easy-listening production values; a vocalist who wields her instrument brashly like a player, exploring extended techniques comparable to the most intrepid trumpeters’ and saxophonists’; such a vocalist is bound to appeal foremost to the hard-core jazz aficionado. But given the heights and depths of feeling that Ms. Daniels accesses through her phenomenal vocal range, and the insistent sense of swing that she and her band transmit, her appeal should be obvious to any pair of ears.

Like Jeri Brown and Ranee Lee, two other singers with unashamed virtuoso leanings, Dee Daniels is an American who relocated long-term to Canada. In her case, this move came on the heels of a five-year musical pilgrimage to Holland and Belgium, where she built upon her gospel, r&b and rock roots to hone a career in straightahead jazz. For over two decades afterwards, she based that career in Vancouver, BC, releasing seven albums and a DVD. Just three years ago, to be closer to the action, Daniels moved south of the border to the Big Apple.

There in 2013 she recorded State of the Art, the Criss Cross Jazz label’s first-ever vocalist-led date after some 360 releases. That number symbolizes the completion of a full circle, for Dee Daniels apparently became aware of Criss Cross while living in Amsterdam in 1982, when the Dutch label’s catalogue consisted of a single album. The Criss Cross Jazz release schedule is modest, at this point encompassing about a dozen new albums yearly, but chances are that Daniels will reappear on the label before long: it has a proven track record of loyalty to its musicians, many of whom appear as both leaders and sidemen on numerous releases across the Criss Cross catalogue.

In common with labels like HighNote, Capri, Sharp Nine, Posi-Tone and Cellar Live, Criss Cross stands as a stronghold of straightahead jazz, a haven for players who prize the values of bebop and hard bop. For the first couple of years, label founder and producer Gerry Teekens employed the services of recording engineer Rudy Van Gelder in Englewood Cliffs, New Jersey. Since then the majority of albums have been engineered by another former optometrist of Dutch descent, Max Bolleman, who would accompany Teekens yearly from Holland to record Criss Cross artists in NYC. Latterly, sound engineering duties have devolved on other shoulders—in this case, on Max Ross’s. Ross also mastered the recording, which was mixed by Michael Marciano.

Recording quality is impeccably clear and full, keeping Ms. Daniels’ voice front and centre but giving her instrumentalists enough presence to confirm that they worked with her dynamically as a band, not passively as backup. On the earlier sessions with which I’m most familiar, Love Story (1999) and Feels SO Good! (2002), the singer is cited as co-producer. The sound on the first disc, recorded in Vancouver, is gorgeous: warm and transparent, enshrining a sense of intimacy among the players. The next album, recorded in New York, sounds comparatively rough, with a strident edge and tinny piano. The new Teekens production does not sound so delicately suspended beyond time and place as the Vancouver session; State of the Art conveys a more clinical atmosphere in which detail is sharply preserved with a brightness suiting the down-to-business hurly-burly of her new hometown.

The opening track asserts this sense of immediacy when Daniels explodes out of the starting gate: the pent-up energy that propels “Almost Like Being in Love” makes it sound almost like she and the band began the tune in medias res. This is one of two up-tempo standards briskly dispatched on State of the Art; the other ten tracks reside on the slow side. Daniels flaunts her chops early in the tune, scatting atop the buoyant accompaniment of pianist Cyrus Chestnut. The scatting gives way to an economical tenor solo by Eric Alexander, who cut his first album as a leader for Criss Cross in 1992 and has been contributing prolifically to the label as a sideman ever since. On the other fast number, “I Let a Song Go Out of My Heart,” Alexander’s sax trades quips with Alvester Garnett’s kit until the drummer breaks out in a solo display of varied rhythmic resource.

A major revelation on the new album is “Cherokee,” which Dee Daniels delivers more slowly than pretty much anyone. The tune has been recorded only occasionally by vocalists, including one of Dee’s major influences, Sarah Vaughan. Usually it serves as a showpiece for instrumentalists bent on exercising maximum technique at breakneck speed. Tribal tom-toms and dark piano notes open the piece with an air of exoticism befitting the fanciful lyrics. Like other female singers who’ve tackled the tune, Daniels addresses her words to a “sweet Indian warrior,” as opposed to the “sweet Indian maiden” originally specified. As always, on “Cherokee” her low notes are beautifully formed, ruminatively casting an autumnal spell with the help of Garnett’s brushwork and delicate cymbal washes, not to mention a piano solo where Chestnut calmly loiters along the keys.

The other notably languid display here is Daniels’ astonishing take on the warhorse “Willow Weep for Me.” Hers has already earned a place alongside my favourite renditions: Billy Bang (violin); Stanley Turrentine (tenor sax); and Tin Hat Trio (vocals by Willie Nelson). Abetted by Chestnut’s sparse accompaniment, Daniels’ soulfully haunted delivery brings the broken-hearted narrator to life, finding sympathetic desolation in the willow tree’s elaborate weeping. Her artful elongation of syllables and final imploring repetitions of “weep” infuse Ann Ronell’s audacious word-assemblage with keen feeling. In the sax solo, Alexander’s glistening tone supplies objective commentary, an entirely different sound from Houston Person’s on Love Story and Feels SO Good!, where the elder tenorist’s warm soulfulness closely complements Daniels’ dusky timbre.

In “Lover Man,” performed just as slowly as “Willow Weep for Me” and at even greater length, Daniels again hauntingly animates a lovelorn soul. She takes a ruminative approach, phrasing deliberately and ominously to impart an unexpected complexity: this lonely woman wants love but equally dreads its implications. Hear how Daniels drops her voice to draw out the word “strange” at 2:58, underlining this ambivalence. A quietly hair-raising moment. And listen to the final iteration of “Hugging and a-kissing/Oh, [look] what I’ve been missing,” where she lingers thoughtfully over her words, adding “look” with an air of irony as though doubting the value of desire.

Further highlights are too many to mention at length. There’s the brace of Sinatra-associated tunes: “Summer Wind,” with a masterfully undemonstrative piano solo from Chestnut; and Cole Porter’s “I’ve Got You Under My Skin,” sporting a dapper turn from Alexander. Trombonist Wycliffe Gordon, whose disc The Intimate Ellington (2013) boasted Daniels’ first Criss Cross appearance, lends a playful arrangement of another Porter number, “Night and Day.” Here, to stress the ineluctable recurrence of romantic longing, the singer matches wits with introductory drum embellishments that conjure beating tom-toms, ticking clocks and dripping raindrops. “Almost Like Being in Love” likewise wears a Gordon arrangement. The repertoire on Daniels’ disc was influenced too by Houston Person, who reportedly recommended a couple of numbers: “I Wonder Where Our Love Has Gone” and a comparative obscurity, “Why Did I Choose You.” The latter affords bassist Paul Beaudry his one spotlit moment, when he solos forthrightly against a distant trickle of piano keys.

In fact, like her other two albums that I’ve mentioned, Dee’s State of the Art is all highlights nothing added merely to inch the CD towards a one-hour running time. If this disc is a statement definitive of Daniels’ present intent, it seems she’s concerned these days with finding greater subtlety within vocal constraints. Sure, the expressive means remain markedly more varied than most vocalists’, but just compare them to the extreme thrills and spills she delivered on Feels SO Good! where, for example, Daniels’ original tune “Love Ain’t Love Without You” offered the most passionately charged proof of stratospheric vocal reach that you’re likely to hear. State of the Art installs the master more introspectively in her workshop, still choosing from all the tools available, but only as appropriate to the task at hand. The tasks are assigned by the Great American Songbook: no originals this time, and no David/Bacharach songs (like “The Look of Love” on FSG!); just standards and near-standards whose lyrics Daniels inhabits so fully that you feel her coming to terms with whatever process they document. The songs emerge lived-in, lived-through, and with the Dee Daniels “wow” factor intact. What more can I say? Wow! https://wallofsound.ca/musicreviews/definitive-statement-dee-daniels-state-of-the-art-criss-cross-jazz-2013/

Personnel: Dee Daniels, vocal; Cyrus Chestnut, piano; Eric Alexander, tenor saxophone; Alvester Garnett, drums; and Paul Beaudry, bass.

State of the Art

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Bernie Senensky, Eric Alexander, Joe Farnsworth - Moment To Moment

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 67:41
Size: 155,2 MB
Art: Front

( 5:08) 1. Alexander’s Realtime Band
(15:02) 2. Speak Low
( 7:39) 3. Matchmaker
( 9:15) 4. Moment To Moment
(10:35) 5. Blues For E.J.
( 7:18) 6. Make Believe
( 8:57) 7. Stand Pat
( 3:44) 8. Alexander’s Realtime Band (Alt Take)

Canadian pianist Bernie Senensky's latest album, Moment to Moment, encompasses two quartet sessions recorded almost twenty years apart: the first in 2001, the second (live) in 2020. While the rhythm sections differ on each, the one constant (aside from Senensky) is the acclaimed tenor saxophonist Eric Alexander. If you are planning to have only one constant, Alexander is by any measure a superlative choice.

Alexander, whose solos are models of creativity and eloquence, seems to light a fire under Senensky who performs marvelously on every number while giving Alexander copious room to improvise (and granting him the first solo on most tracks). Senensky wrote three of the album's eight numbers, and they are excellent, especially the flag-waving "Alexander's Realtime Band," versions of which open and close the album. The others are the loping "Blues for E.J." and lyrical "Make Believe." For his part, Alexander composed the skittish burner "Stand Pat" as a tribute to his band mate and friend, the late guitarist Pat Martino.

Senensky and Alexander are blessed to have the support of not one but two blue-chip rhythm sections: bassist Dave Young and drummer Morgan Childs on "Speak Low" and "Blues for E.J." (showcasing Young's splendid arco bass) from 2020, bassist Kieran Overs and drummer Joe Farnsworth on the studio session from 2001. Speaking of bassists, Overs has his moment in the sun (and it is a bright one) on "Make Believe," while Childs sparkles on "Speak Low," Farnsworth on "Stand Pat." Alexander's solos, meanwhile, often extend for more than five minutes, and he never runs out of inspiration or passes up a persuasive turn of phrase. His statements on "Realtime Band" are textbook examples of how to unravel a theme and get it right.

On "Blues for E.J.," Senensky and Alexander prove that they can be as blue as needed, much as they cleave to the juggernaut that is "Alexander's Realtime Band" and do not let go until they have made their purpose crystal clear. The album's other songs, so far unmentioned, are Jerry Bock and Sheldon Harnick's "Matchmaker, Matchmaker" from the Broadway smash Fiddler on the Roof and Henry Mancini/Johnny Mercer's lovely ballad, "Moment to Moment" (from the film of that name), which lends the album its title. "Matchmaker," taken at precisely the correct tempo, spotlights typically impressive solos by Senensky (who leads off this time) and Alexander with staunch support from Overs and Farnsworth, while Alexander shows his tender side on "Moment to Moment" and Senensky frames a second amorous solo.

Alexander shows on every number why he has been ranked high in so many polls for more than two decades; he always comes to play, and never leaves an audience less than pleased and enlightened. Notwithstanding his towering presence, however, this is Senensky's date (or dates), and he demonstrates time and again why he is one of Canada's foremost jazz pianists, whether playing straight-ahead (as he does here) or avant-garde, as he has been known to do on other occasions. From Moment to Moment, Senensky enhances every note and phrase, as do Alexander who is always a pleasure to hear and those exemplary rhythm sections. Quartet sessions simply don't shine much brighter than this.By Jack Bowers
https://www.allaboutjazz.com/moment-to-moment-bernie-senensky-cellar-music-group__1010

Personnel: Bernie Senensky - piano; Eric Alexander - tenor saxophone; Kieran Overs - bass (tracks 1,3,4,6,7 & 8); Dave Young - bass (tracks 2 & 5); Joe Farnsworth - drums (tracks 1,3,4,6,7 & 8); Morgan Childs - drums (tracks 2 & 5)

Moment To Moment

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Junior Mance Trio & Eric Alexander - Groovin' Blues

Styles: Piano And Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 64:46
Size: 150,0 MB
Art: Front

( 7:16) 1. Night Train
( 7:03) 2. BlueBerry Hill
( 7:02) 3. Blues in the Closet
(11:14) 4. Lonely Avenue
( 4:04) 5. Blue 'n' Boogie
( 9:46) 6. I Got My Mojo Workin
( 7:53) 7. All Blues
( 6:15) 8. Bag's Groove
( 4:10) 9. America The Beautiful

Junior Mance was well-known for his soulful bluesy style, but was also expert at playing bop standards. He started playing professionally when he was ten. Mance worked with Gene Ammons in Chicago between 1947 and 1949, played with Lester Young (1950), and was with the Ammons-Sonny Stitt group until he was drafted. He was the house pianist at Chicago's Bee Hive (1953 to 1954), worked as Dinah Washington's accompanist (1954 and 1955), was in the first Cannonball Adderley Quintet (1956 to 1957), and then spent two years touring with Dizzy Gillespie (1958 to 1960).

After a few months with the Eddie "Lockjaw" Davis/Johnny Griffin group, Mance formed his own trio and was primarily a leader. He led sessions for Verve, Jazzland, Riverside, Capitol, Atlantic, Milestone, and Polydor, among other labels. In the '80s, Mance joined the faculty at the New School in New York City, teaching as part of their Jazz program. He also continued to record, issuing his last album, For My Fans, It’s All About You, in 2015, one year before he retired from music. Junior Mance died on January 17, 2021 in his home in Manhattan after a struggle with Alzheimer’s disease; he was 92 years old. https://www.allmusic.com/artist/junior-mance-mn0000252026/biography

Personnel: Junior Mance - piano; Eric Alexander - tenor saxophone; Chip Jackson - bass; Idris Muhammad - drums,

Groovin' Blues

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Steve Davis - Dig Deep

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 60:30
Size: 140,3 MB
Art: Front

(5:46) 1. One For All
(6:54) 2. Dig Deep
(7:47) 3. Little Boy's Bossa
(6:26) 4. Blues Noble
(5:18) 5. Detour Ahead
(7:06) 6. I Should Care
(7:02) 7. Summertime
(7:04) 8. Payne's Window
(7:02) 9. Trippin'

Steve Davis, currently a member of the Jackie McLean Quintet, is one of the major new voices on the trombone. On this, his 2nd leader date for Criss Cross, he shines in the company of the friends he usually plays with: Eric Alexander, Jim Rotondi, David Hazeltine, Nat Reeves and Joe Farnsworth.
By Editorial Reviews https://www.amazon.com/Dig-Deep-Steve-Davis/dp/B0000020OO

Personnel: Trombone – Steve Davis; Saxophone – Eric Alexander; Trumpet, Flugelhorn – Jim Rotondi; Bass – Nat Reeves; Drums – Joe Farnsworth; Piano – David Hazeltine

Dig Deep

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Eric Alexander - A New Beginning - Alto Saxophone with Strings

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 48:28
Size: 121,9 MB
Art: Front

(4:41) 1. Blues for Diane
(5:40) 2. Embraceable You
(4:53) 3. All My Tomorrows
(7:21) 4. Maybe September
(4:53) 5. To Love and Be Loved
(3:44) 6. Anita
(4:43) 7. She Was Too Good to Me
(5:40) 8. Too Late Now
(6:48) 9. Blues for Diane (Alternate Take)

As difficult times often beget new beginnings, the COVID-19 quagmire gave birth to alto saxophonist Eric Alexander. To some, a tenor-to-alto switch may not seem to be a newsworthy matter, but for the initiated it's the stuff of headlines. An inveterate tenor at the apex of the scene for more than three decades, Eric put the alto away in his teen years and never looked back.

"But with the dearth of opportunities to play during the pandemic, I started to work on it," he confesses. After successfully pitching the idea of using his second saxophone-with-strings project as a debut on alto, the present recording is quite simply astounding. Working with his regular rhythm section and adding ace string arrangements, this altoist delivers one revelatory performance after another.By Editorial Reviews
https://www.amazon.com/New-Beginning-Alto-Saxophone-Strings/dp/B0BX4LVZ1V?source=ps-sl-shoppingads-lpcontext&ref_=fplfs&psc=1&smid=ATVPDKIKX0DER

A New Beginning - Alto Saxophone with Strings

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Mike LeDonne - Heavy Hitters

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:19
Size: 141,1 MB
Art: Front

(8:19) 1. Hub
(6:39) 2. A New Day
(7:30) 3. Silverdust
(5:25) 4. Un Dia Es Un Dia
(5:37) 5. Big Richard
(7:57) 6. Chainsaw
(6:14) 7. This Is Something New
(6:07) 8. Cedar Land
(7:27) 9. Bluesit

The self-titled debut from the Heavy Hitters, pianist Mike LeDonne's latest sextet, has the feel of a tribute album. However, unlike most recordings of that nature, there is no classic repertoire present, as all nine tracks are penned either by LeDonne or his colleague, tenor saxophonist Eric Alexander. Instead, it is a tribute to a sound that LeDonne and partners are aiming for: in this case, that of the iconic Blue Note label's 1950s-60s period, when artists such as Freddie Hubbard, Joe Henderson, Wayne Shorter, Herbie Hancock and many others effectively placed their stamp on midcentury jazz. From the bold yet straightforward design of the album's cover, to the choice of recording venue in fabled Blue Note producer Rudy Van Gelder's former studio, Heavy Hitters evokes that golden era of jazz with panache and top-quality musicianship.

The musicians do not disguise their musical debts. The crackling opener, "Hub," will have Hubbard fans going back to revisit classic gems such as Hub-Tones (Blue Note, 1963) or Breaking Point (Blue Note, 1964), and the Horace Silver vibes run deep on "Silverdust," with a hard-bop head that sails along effortlessly and with an undeniable groove. Elsewhere other jazz legends are acknowledged, as "Cedar Land" is built over a chord progression from pianist Cedar Walton's "Holy Land," while "This is Something New" is adapted from an unfinished tune by saxophonist George Coleman.

Projects of this sort invariably take the risk of becoming mere exercises in nostalgia, reminding us of the unsurpassed greatness of the titans of old. While there are moments here in which that can happen, as a listener temporarily forgets that they are hearing something recorded not in 1965 but in 2022, the abundance of strong playing throughout the disc is more than enough to maintain interest.

LeDonne's solos are terrific, but perhaps even more impressive is his comping, which is consistently inventive and rhythmically tenacious: check out his work underneath the soloists on the Latin-hued "Un Dia es un Dia" as evidence, where he digs in with zest to keep the music moving. The horns, which include not only Alexander but also alto saxophonist Vincent Herring and trumpeter Jeremy Pelt, bring plenty of fireworks to the proceedings; but they are also able to carve out more pensive ruminations as well.

Alexander's heartfelt statement on the lovely ballad "Big Richard" is a case in point. And the bass-drums tandem of Peter Washington and Kenny Washington is tough to beat, with impeccable instincts for swing and groove. All in all, this is a satisfying release that extracts a lot of fine contributions from musicians who are indeed among the "heavy hitters" of their generation. Fans of classic jazz will very much appreciate the spirit and dedication on display here. By Troy Dostert
https://www.allaboutjazz.com/heavy-hitters-heavy-hitters-cellar-music-group

Personnel: Mike LeDonne: organ, Hammond B3; Eric Alexander: saxophone, tenor; Jeremy Pelt: trumpet; Vincent Herring: saxophone; Peter Washington: bass; Kenny Washington: drums; Rale Micic: guitar.

Heavy Hitters

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Eric Alexander - The First Milestone

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 63:06
Size: 144,6 MB
Art: Front

(8:52)  1. Stand Pat
(7:06)  2. #34 Was Sweetness (for Walter Payton)
(7:36)  3. The First Milestone
(8:41)  4. The Towering Inferno
(8:55)  5. Night Song
(7:15)  6. Last Night When We Were Young
(7:56)  7. The Phineas Trane
(6:40)  8. I'm Glad There Was You

With the release of The First Milestone, Eric Alexander continues to make the transition from a young, hard-blowing tenor saxophonist to a mature soloist and leader of interesting small bands. Alexander is simply getting better at what he’s been doing quite well all along; that is, making high-energy music largely based on the spectrum of straight-ahead jazz of the 50s and 60s. Throughout the disc, his playing has its characteristic intensity, and his solos sound like complete statements rather than a fusion of disparate ideas. As always, Alexander has surrounded himself with bandmates (pianist Harold Mabern, guitarist Pat Martino, bassist Peter Washington, and drummer Joe Farnsworth) who push him to the limit and have something of their own to say. Alexander’s sheer joy in making music comes through loud and clear on several cuts, most notably the jaunty “Night Song,” and a funky version of “I’m Glad There Is You,” which is reminiscent of the sounds made during his tenure in the band of Hammond B3 organist Charles Earland. On both tunes, the liberties he takes on the melodies are as interesting as his improvised solos. 

“Last Night When We Were Young” gets a ballad treatment and doesn’t stray very far from that vein even when the tempo doubles in the middle of Alexander’s solo. “34 Was Sweetness,” a deliberate, virile stroll, is a fitting tribute to the late Walter Payton. The contrasting solo approaches of Martino and Mabern are important to the success of the disc. Although Martino appears on only four of the eight tracks, his impeccable single-note lines swing quietly but intensely. Mabern plays with an odd combination of abandon and delicacy, and even at its most restrained, his playing has a startling momentum.
By David A.Orthmann https://www.allaboutjazz.com/the-first-milestone-eric-alexander-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Eric Alexander- tenor saxophone, Pat Martino- guitar, Peter Washington- bass, Joe Farnsworth- drums

The First Milestone

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Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

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Judy Niemack - What's Love?

Styles: Vocal
File: MP3@320K/s
Time: 62:47
Size: 144,5 MB
Art: Front

(5:25) 1. Feelin’ It In Your Bones
(5:06) 2. Firefly
(4:17) 3. For All We Know
(4:25) 4. Catalyst
(5:01) 5. I’m Moving On
(5:35) 6. What’s Love Got to Do With It
(4:46) 7. Just When I Thought
(4:39) 8. With You
(5:07) 9. Let Life Lead You
(4:27) 10. Blues That Soothe My Soul
(4:34) 11. I’ll Love Again
(4:38) 12. Born to Be Blue
(4:40) 13. Right Here, Right Now

Jazz vocalist Judy Niemack presents a collection of rhapsodic romantic songs on her upcoming album release, What’s Love, due out October 28 on Sunnyside Records. Following Niemack’s lauded 2018 release New York Stories with pianist Jim McNeely and Danish Radio Big Band, What’s Love represents a vulnerable side of the lifelong vocalist’s artistry. In an embrace of her distinctive sound, Niemack’s rich collection of original lyrics paired with select standards offers a glimpse into her resilient and inventive vocal prowess.

An exploration of the healing powers of love, What’s Love presents as a musical reconciliation with the boundless, yet relatable, challenges that continually loop through our lives. While conceptually, What’s Love is a beacon of effervescence, its sound is both capricious and exhilarating. Niemack takes to exploring the many varieties of love in her life on each selection, while also seizing an opportunity to explore her vocal range. Her trademark sound clear, yet warm with a cloudy edge is softer here. Employing this lower timbre, Niemack is keenly aware of her newfound sense of expression: “I haven’t lost my high notes, but gained lower ones,” she adds.

Niemack is joined among the highest level of jazz musicianship for the affair; What’s Love hosts Peter Bernstein on guitar, Sullivan Fortner on piano, Doug Weiss on bass, Joe Farnsworth on drums and Eric Alexander on alto saxophone.

“This is my view of love which, of course, is unique,” the singer, author and professor shares while discussing her inspiration for the title, which also borrows from her arrangement of the Tina Turner hit, “What’s Love Got To Do With It, a high moment on the date for the leader, who takes a slower and more contemplative approach to Turner’s question.

“Michelangelo famously said that he saw the sculpture hidden in a piece of marble and simply revealed it by taking away the stone, bit by bit. Composing for me is similar I have a feeling I want to express, which leads to a poem, words, which then are set to music that I discover on the piano. It just comes to me. My songs grow out of emotion.”

An overt lyrical message of moving ahead after loss, the track “I’m Moving On” gives generous space for each band member to contribute solos that grapple with the notion of moving forward, making the track a more gentle and evocative standout off the record. With Bernstein and Fortner at the instrumental helm, Niemack’s gifted scatting is guided effortlessly throughout “I’ll Love Again” and “Right Here, Right Now” are two examples, where lush instrumentation is met by silken vocal intonations.

While recording at the Van Gelder, Alexander joined the band as a special guest alto saxophonist. He contributes his optimistic original composition “Let Life Lead You.” Though the cheerful message was originally penned ‘Little Lucas,’ a note to Alexander’s son, Niemack was galvanized by its universality. Contributing a new lyric and title, she sings about embracing risk and remaining grateful in moments of opportunity a key sentiment that prevails across the record.

Highlighting her propensity for articulation and translucence as a songwriter and vocalist, Niemack outrivals herself on What’s Love. A deliberate and tasteful meditation on life's various chapters, What’s Love captures the essence of a talent with an unrequited passion for the sounds of storytelling. Judy Niemack, through her confident command and glistening vocal range, is inviting us to think about what ‘love’ means, yet by her own seamless and magical invention, once we accept her call, all we really have to do is listen.

Personnel: Judy Niemack - vocals; Peter Bernstein - guitar; Sullivan Fortner - piano; Doug Weiss - bass; Joe Farnsworth - drums; Eric Alexander - alto saxophone (9)

What's Love?

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Steve Davis, Eric Alexander, Mike DiRubbo, Harold Mabern, Nat Reeves, Joe Farnsworth - Crossfire

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 58:55
Size: 135,5 MB
Art: Front

(8:19) 1. Then and Now
(7:36) 2. From the Inside Out
(6:39) 3. Peacekeeper
(9:54) 4. Old Folks
(7:06) 5. Cousin Mary
(6:19) 6. Falling in Love with Love
(7:19) 7. This Nearly Was Mine
(5:39) 8. Con Alma

Steve Davis is one of the breed of young boppers whom have mastered the idiom. Here, the trombonist leads a group mostly culled from One for All, a conglomeration of extraordinary musicians who perform regularly together in the Big Apple. Veteran pianist Harold Mabern joins them, adding experience and depth. Davis plays a mean 'bone, strongly indebted to Curtis Fuller.

Like Fuller, he sticks to the middle range of the horn, boasts a somewhat nasal tone, and plays smoothly at almost any tempo. He is also a good, if cautious, composer. Tenor saxophonist Eric Alexander continues to grow both in stature and skill, and contributes solidly with strong solos. While there is nothing revolutionary or new in the group's playing, there is a strong sense of camaraderie and precision that lifts this performance to a higher level. By Steve Loewy https://www.allmusic.com/album/crossfire-mw0000600873

Musicians: Steve Davis – trombone; Eric Alexander – tenor sax; Mike DiRubbo – alto sax; Harold Mabern – piano; Nat Reeves – bass; Joe Farnsworth – drums

Crossfire

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One For All - The Long Haul

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 66:24
Size: 152,3 MB
Art: Front

(12:10) 1. A Cry For Understanding
( 7:49) 2. The Long Haul
( 8:01) 3. Echoes In The Night
( 7:26) 4. The Poo
( 6:36) 5. The Good Life
( 7:29) 6. Stash
( 7:35) 7. Summer Nights
( 9:14) 8. Nothin' To It

Working within the broad parameters of hard-swinging, harmonically sophisticated small-band styles from the 40s, 50s, and 60s, the music of the sextetOne For Allalso reflects the experiences of the individual members outside of their cooperative band. An incomplete but telling list of leaders who have employed and influenced various members of the crew includes Cecil Payne, George Coleman, Art Blakey, Jackie McLean, Junior Cook, Slide Hampton, and Louis Hayes.

On The Long Haul, the band’s second release for Criss Criss (and fourth overall), they stake their claim to the tradition. The record comprises impressive material (six out of eight cuts were written by various band members) and arrangements, four primary soloists with something distinctive to say, and a rhythm section that responds to every exigency and shoots off sparks of its own. Most of all, aside from the skill and technique involved, the music possesses a fervency that is genuine: These guys love playing together and it shows.

The disc’s opening cut, “A Cry For Understanding,” composed by John Farnsworth, encompasses the band’s virtues. A slow, somber introduction convincingly executed by tenor saxophonist Eric Alexander and the rhythm section leads to all of the horns playing the theme at a brisk tempo. Alexander’s solo is a fine example of his continuing development. His full-bodied sound spreads out and takes up space without being overbearing, and he stays in absolute control while deliberately working through a variety of ideas that add up to a complete, satisfying whole. In comparison, trombonist Steve Davis’ approach is somewhat spare, skillfully playing off and interacting with pianist David Hazeltine’s chords and the snap of drummer Joe Farnsworth’s snare drum accents.

During a commanding, live wire turn, trumpeter Jim Rotondi frequently phrases on top the beat and occasionally takes brief, fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever mindful of Farnsworth’s and bassist Ray Dummond’s pulse, at first seems casual and then gradually hardens his touch, becoming more expansive and forceful. Backed only by Farnsworth’s brushes, Drummond completes the cycle of solos, integrating a snippet of the song “Wade In The Water,” into a smart, efficient statement.

Alexander’s rollicking tune “Stash,” the band’s first venture into the time signature of 5/4, is another of the disc’s standout cuts. It moves forward in a nice, lopsided manner, with the horns brazenly stating the melody, then giving way to a string of compact solos. First up is Alexander, who is clearly inspired by the odd meter, starting off with short, soulful phrases. When Hazeltine and Farnsworth signal a change in emphasis, he takes off in a series of sprints which ends in barrage of overblowing. Rotondi burns through the rhythmic thicket with ease, making his lines rhyme with call and response patterns. Initially taking more care than usual in placing his notes and letting the rhythm section fill in space, Davis’ solo gradually gains footing while working against the weight of Hazeltine’s stabbing chords. Over Drummond and Hazeltine’s vamp, Farnsworth slyly mixes rhythms that alternately refer to the pulse and create unrelated waves of percussive sound.By David A. Orthmann https://www.allaboutjazz.com/the-long-haul-one-for-all-criss-cross-review-by-david-a-orthmann

Personnel: Eric Alexander - -tenor sax; Jim Rotondi - trumpet, flugelhorn; Steve Davis - trombone; David Hazeltine - piano; Ray Drummond - bass; Joe Farnsworth - drums.

The Long Haul

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Caesar Frazier - Tenacity: As We Speak

Styles: Soul, Jazz
File: MP3@320K/s
Time: 47:46
Size: 110,2 MB
Art: Front

(4:38) 1. Dat Dere
(5:05) 2. Mergin' Traffic
(6:07) 3. Festival el Spanol
(5:17) 4. Just Passin' Thru
(6:56) 5. Polka Dots & Moonbeans
(1:07) 6. Dat Dere (Reprise)
(4:51) 7. A Thought in Minor
(4:19) 8. Excuse Me
(3:14) 9. One Easy Morning
(6:08) 10. Poinciana

Hailing from Indianapolis, Ceasar Frazier was a funky soul-jazz organist who recorded several albums for the Eastbound/Westbound label family during the '70s. First making his mark in 1972 with one of saxman Lou Donaldson's funkier bands, Frazier cut his first album Hail Ceasar! later that year, which featured musicians commonly associated with the Prestige label's jazz-funk outings Melvin Sparks (guitar), Houston Person (tenor), and Idris Muhammad (drums).

The follow-up, Ceasar Frazier '75, featured the likes of guitarist Cornell Dupree and drummer Bernard "Pretty" Purdie; the album's key track, "Funk It Down," was later sampled by jazz-obsessed hip-hoppers Gang Starr for their "Ex-Girl to the Next Girl." In 1978, Frazier resurfaced as a smooth soul/disco vocalist with the LP Another Life, and while he showed some affinity for the idiom, it failed to reinvent him as a commercial force outside the jazz-funk marketplace. In addition to recording on his own, Frazier also played keyboards in Marvin Gaye's backing band. Thanks to the rare-groove revival, his rare original LPs now fetch generous sums on the collectors'market.
~Steve Huey https://www.allmusic.com/artist/ceasar-frazier-mn0000536319/biography

Tenacity: As We Speak

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Charles Earland - I Ain't Jivin', I'm Jammin'

Styles: Jazz, Post Bop
Year: 1992
File: MP3@320K/s
Time: 58:37
Size: 134,5 MB
Art: Front

( 6:55) 1. I Ain't Jivin', I'm Jammin'
( 8:47) 2. Thinking Of You
( 6:20) 3. City Lights
( 3:50) 4. One For Andre
( 7:11) 5. World Of Competition
( 8:16) 6. Sweety Pie
( 7:11) 7. Tell Like It Is
(10:03) 8. Cease The Bombing

The easy-going and the laid-back dominate I Ain't Jivin', I'm Jammin', an album that isn't quite in a class with Black Talk!, Whip Appeal or Unforgettable, but is nonetheless a welcome addition to Charles Earland's catalogue. The improviser swings hard and passionately on Wayne Shorter's "Tell It Like It Is," but his mellow side wins out on such congenial, groove-oriented jazz/R&B fare as pianist Neal Creque's "Cease the Bombing" and the originals "Sweety Pie," "World of Competition" and "Thinking of You." Even at his most relaxed, though, Earland's music is undeniably gritty. Among the noteworthy soloists employed this time are trombonist Clifford Adams, guitarist Oliver Nevels and the promising young tenor & soprano saxman Eric Alexander. ~ Alex Henderson https://www.allmusic.com/album/i-aint-jivin-im-jammin-mw0000118692

Personnel: Electric Organ, Keyboards – Charles Earland; Bass – Darryl Jones; Drums – Steve Cobb; Guitar – Oliver Nevels; Percussion – Tony Carpenter; Tenor Saxophone, Soprano Saxophone – Eric Alexander; Trombone – Clifford Adams

I Ain't Jivin', I'm Jammin'

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