Showing posts with label George Coleman. Show all posts
Showing posts with label George Coleman. Show all posts

Saturday, March 30, 2024

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

Friday, June 30, 2023

George Coleman - Live at Smalls Jazz Club

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 71:02
Size: 163,3 MB
Art: Front

(11:26) 1. Four
( 6:27) 2. At Last
( 9:34) 3. My Funny Valentine
( 8:39) 4. Meditation
( 8:08) 5. Blues for Smalls
(11:17) 6. Nearness of You
( 7:10) 7. New York, New York
( 8:17) 8. When Sunny Gets Blue

If you are an aficionado of tenor saxophonists with a big, bold, biting tone who can run changes in the blink of an eye, then George Coleman is your man. Now in his 88th year, over the course of his long career, he has had a gamut of experiences including B.B. King (1952/1955-56), Max Roach (1958-59), Slide Hampton (1959-61) and Miles Davis (1963-64). His discography both as a leader/co-leader as well as a sideman covers a panoply of well-known jazz names, but recently the archivist label Reel To Real, under the guidance of saxophonist/producer Cory Weeds, uncovered a couple of unreleased 1970s Coleman sessions. Firstly, in 2020, The George Coleman Quintet in Baltimore (recorded in 1971), and in 2023 Shirley Scott Queen Bee: Live at the Left Bank (recorded in 1972) with Coleman on tenor sax.

Live at Smalls Jazz Club is a quartet session in which Coleman is supported by pianist Spike Wilner, bassist Peter Washington and the always swinging drummer Joe Farnsworth. The eight-tune track list consists of well recognized creations that have been associated with Coleman throughout his professional life starting with the Miles Davis composition "Four." Coleman opens the number with a sly introduction, after which he rips into a long solo with his usual energetic dashing style. The rhythm section is all in and full of propellant swing. The other Davis associated tune is Richard Rodgers' "My Funny Valentine." Coleman's interpretation is full of structural logic and artful restraint. Washington's bass is big and clear throughout.

The blues have been part of Coleman's repetoire since his early years with blues bands, and thus it is no surprise that his own composition "Blues For Smalls" is included in this session. And a rollicking blues it is, filled with Coleman's long, looping runs. Wilner fills his lengthy solo with surging energy, Farnsworth's slick drumming thrusts the number forward, while Washington is his usual clever self with his interjections. The final three tracks"The Nearness Of You," "New York, NewYork" and "When Sunny Gets Blue" continue with the stellar performances that Coleman and his cohorts laid down in the previous cuts. There is no diminution in Coleman's big saxophone sound and his improvisations continue to be crafty and expansive. By Pierre Giroux
https://www.allaboutjazz.com/live-at-smalls-jazz-club-george-coleman-george-coleman-cellar-music-group

Personnel: George Coleman: saxophone, tenor; Spike Wilner: piano; Peter Washington: bass; Joe Farnsworth: drums.

Live at Smalls Jazz Club

Wednesday, June 28, 2023

Terri Lyne Carrington - TLC & Friends

Styles: Straight-Ahead Jazz, Post Bop
Year: 1981/2023
File: MP3@320K/s
Time: 37:36
Size: 86,7 MB
Art: Front

(6:21) 1. What is This Thing Called Love
(5:31) 2. La Bonita
(5:49) 3. Seven Steps to Heaven
(7:17) 4. St. Thomas
(6:59) 5. Just the Way You Are
(5:37) 6. Sonnymoon For Two

Four-time Grammy-winner, NEA Jazz Master, composer, activist, and educator Terri Lyne Carrington’s remarkable debut album, recorded in October 1981 when she was just 16 years old, provides a rare glimpse into the early talents of this extraordinary multi-faceted artist.

Carrington’s very first session, TLC & Friends features an epic and enviable lineup of collaborators, including Kenny Barron on piano, George Coleman on saxophone, and Buster Williams on bass. Her father Sonny Carrington also contributes saxophone to the Sonny Rollins classic “Sonnymoon for Two.”

The album masterfully showcases Carrington's artistry as a drummer and composer, highlighted by the standout original track "La Bonita, a refreshing interpretation of Billy Joel's beloved composition, "Just The Way You Are,” alongside scorching renditions of standards like "Seven Steps To Heaven," and “What Is This Thing Called Love.

The Candid release features original liner notes by Terri Lyne and Sonny Carrington, and a new essay by Dianne Reeves. Though this album captures Carrington at the outset of an auspicious recording career, at the age of 16, she was nearly a veteran. Hailing from a family of musicians - in addition to her father, Carrington’s grandfather and fellow drummer Matt Carrington, performed with Chu Berry and Fats Waller Carrington first shared the stage with Rahsaan Roland Kirk at age five.

By ten she became the youngest musician in Boston ever to receive a union card, and was impressing audiences with Clark Terry and his All-Stars. At age eleven, Carrington was awarded a full scholarship to Berklee College of Music in Boston, when the school’s founders Lawrence and Alma Berk, heard her sit in with the great Oscar Peterson at the suggestion of Ella Fitzgerald (today Carrington teaches at the school and is the founder of the Berklee Institute of Jazz and Gender Justice).

Carrington would go on to perform with dozens of other legends including B.B. King, Dizzy Gillespie, Illinois Jacquet, Nat Adderley, Jon Hendricks, and many more before she was old enough to drive, and drum masters Art Blakey, Roy Haynes, Max Roach, Buddy Rich and Elvin Jones invited her to sit in with their bands.https://candidrecords.com/products/copy-of-new-standards-vol-1

Personnel: Drums, Arranged By, Design [Cover] – Terri Lyne Carrington; Bass – Buster Williams; Piano – Kenny Barron; Tenor Saxophone – George Coleman

TLC & Friends

Saturday, May 6, 2023

Shirley Scott - Queen Talk: Live at the Left Bank

Styles: Hard Bop, Soul Jazz
Year: 2023
File: MP3@320K/s
Time: 97:59
Size: 228,3 MB
Art: Front

(12:32) 1. Impressions
(10:44) 2. Never Can Say Goodbye
( 9:55) 3. Like Someone in Love
(14:45) 4. Witchcraft
( 6:37) 5. Blues By Five
( 9:08) 6. By The Time I Get To Phoenix
( 9:19) 7. Smile
( 8:04) 8. You Don't Mess Around with Jim
( 8:42) 9. Girl Talk
( 8:09) 10. Blues

Queen Talk is a fitting title for the current release from the archivist label Reel to Real Records as Hammond B-3 organist Shirley Scott had the soubriquet "Queen of the organ" at the height of her career. This limited-edition hand-numbered 180 gram 2-LP set produced by Zev Feldman and Cory Weeds presents a never-before-released live 1972 recording from the Famous Ballroom in Baltimore. Other heavyweights on this outline are tenor saxophonist George Coleman, drummer Bobby Durham and, for three tracks, vocalist Ernie Andrews.

A Philadelphia native, Scott began playing in and around the area at an early age and, at twenty-one, she was in a trio with John Coltrane, supporting a vocal group called Hildy & The Peptones. By the time of this live session, she had long established her bona fides through her association with tenor-men such as Eddie "Lockjaw" Davis and Stanley Turrentine as well as several iterations of her own trio.

Side A opens with John Coltrane's composition "Impressions" and races along at break-neck speed. There are lots of long hot-tempered lines and squealing by Coleman, while Durham is a whirling dervish on the drum kit. Scott deftly works her way into this ring, punching above her weight. The other track is "Never Can Say Goodbye," with a slightly more infectious tempo which is more open, appealing and in control. Everyone has their say and for the most part is readily understood.

Side B features the session's longest track, "Witchcraft," the Cy Coleman composition which became a big hit for Frank Sinatra. However, instead of the finger snapping tempo favoured by Sinatra, the trio decides they want to test each other's endurance. It is unclear who the winner (or loser) is but, by the end of the track, Coleman has shown he is a soloist of fluency and speed.

Side C has three decidedly different compositional forms starting with the Red Garland number "Blues By Five" then the Jimmy Webb pop tune "By The Time I Get To Phoenix," and finally Charlie Chaplin's composition "Smile." It might have been expected that these disparate numbers would produce different tempos, but that is not the case. Up tempo swing is the order of the day and each player dives in with glee.

Side D is all vocalist Ernie Andrews on "You Don't Mess Around with Jim," "Girl Talk" and "Blues." Throughout the three numbers, Andrews shows his versatility, vocal flexibility, and ability to sustain and fortify the energy in the room with the strength of his personality. A fitting wind up to a to a blistering session.By Pierre Giroux
https://www.allaboutjazz.com/queen-talklive-at-the-left-bank-shirley-scott-reel-to-real-records

Personnel: Shirley Scott: organ, Hammond B3; George Coleman: saxophone, tenor; Bobby Durham: drums; Ernie Andrews: voice / vocals.

Queen Talk: Live at the Left Bank

Friday, December 23, 2022

Lee Morgan - Sonic Boom

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 74:18
Size: 171,4 MB
Art: Front

(5:47)  1. Sneaky Pete
(7:11)  2. The Mercenary
(6:18)  3. Sonic Boom
(5:27)  4. Fathead
(7:16)  5. I'll Never Be The Same
(5:28)  6. Mumbo Jumbo
(4:50)  7. Free Flow
(5:42)  8. Stormy Weather
(6:09)  9. Mr. Johnson
(5:47) 10. The Stroker
(5:33) 11. Uncle Rough
(3:07) 12. Claw-Til-Da
(5:38) 13. Untitled Boogaloo

A quick inspection of the Lee Morgan discography unearths an obscure album sandwiched between 1966's The Rajah and 1967's The Procrastinator. The album, Sonic Boom, was recorded in 1967 yet remained silent in the Blue Note vaults for twelve years, resurfacing only twice, as an LP in 1979 and eleven years later as a CD. Both times, exposure to the public was brief, making Sonic Boom nearly irrelevant in the trumpeter's overall anthology. Yet the music here is nothing short of vintage Morgan, as evidenced on the latest reissue, a limited edition 24-bit remastered set. Serving his usual heady brew of jazz, blues and funk, the emphasis here is strictly hard-boppin' fun. Accompanying the leader are a stimulating crew that includes Cedar Walton on piano, David "Fathead" Newman on tenor, Ron Carter on bass, and Billy Higgins on drums. Tracks like "Sneaky Pete," "The Mercenary," and "Fathead" provide plenty of straight ahead muscle from the whole band, with Newman's gruff tenor work, in particular, pairing remarkably well with Morgan's horn. The true highlights, though, are in the searing title track and in the exceptionally sweet and sincere interpretation of the ballad "I'll Never Be The Same." While Morgan may best be celebrated for his charged, upbeat solos, his delicate touch on ballads merits equal praise, and, indeed, confirms that Morgan was something else.This latest reissue of Sonic Boom includes an additional seven tracks taken from a 1969 session, originally released on 1978's double LP version of The Procrastinator. 

Employing an entirely different set of musicians, the cast includes Julian Priester on trombone, George Coleman on tenor sax, Harold Mabern on piano, Walter Booker on bass, and Mickey Roker on drums. Though thematically similar, the bonus tracks are more progressive and funkier than the album's first half, with exceptional compositions by Coleman on "Free Flow," Priester on "The Stroker," and Mabern on the jive dance of "Uncle Rough." In comparing the two halves of the album, it is interesting to hear the changes upon the hard-bop idiom over the late 1960s. By 1969, funk and its inherent bass and drumbeats are more prevalent than before. Integrated into jazz, as heard here, the results are joyous. In the final analysis, Sonic Boom is an underrated gem. As such, fans of the trumpeter and of hard bop are advised to check out the album while it's still here. By Germein Linares https://www.allaboutjazz.com/sonic-boom-lee-morgan-blue-note-records-review-by-germein-linares.php

Personnel: Lee Morgan- trumpet; David "Fathead" Newman, George Coleman- tenor sax; Cedar Walton, Harold Mabern- piano; Ron Carter, Walter Booker- bass; Billy Higgins, Mickey Rokerdrums; Julian Priester- trombone

Sonic Boom

Tuesday, October 25, 2022

George Coleman Quintet - Blues Inside Out

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 75:46
Size: 174,4 MB
Art: Front

(15:27) 1. Tune Up
(14:30) 2. Venus Fly Trap (Waltz)
(11:30) 3. Nancy (With The Laughing Face)
(14:57) 4. Blues Inside Out
(10:14) 5. Never Let Me Go
( 9:05) 6. Oleo

A masterful improviser with an ear for both blues-informed lyricism and adventurous harmonics, saxophonist, composer, arranger, and educator George Coleman is one of the most respected musicians to emerge out of the hard bop era. A Memphis native known for his adept speed and big, warm tone, Coleman first came to prominence playing with drummer Max Roach's quintet. Later, he achieved fame as a member of Miles Davis' quintet in the early '60s. After ceding his place in Davis' group to Wayne Shorter, Coleman carved out his own distinctive place in the jazz pantheon, and as a bandleader in his own right. Albums like 1978's Amsterdam After Dark, 2000's Danger High Voltage, and 2016's The Master Speaks are the epitome of hard-swinging acoustic jazz. Born in Memphis, Tennessee in 1935, Coleman was largely self-taught on the saxophone and drew early inspiration from artists like Charlie Parker and Sonny Stitt. Growing up, he found himself surrounded by a bevy of future jazz luminaries including trumpeter Booker Little, pianist Harold Mabern, and saxophonists Hank Crawford, Frank Strozier, and Charles Lloyd. He developed quickly, and in 1952 garnered his first major job touring with blues guitarist/vocalist B.B. King. After a final stint with King in 1955, Coleman relocated to Chicago along with trumpeter Little. Settling quickly into the vibrant Windy City jazz scene, he found work with Gene Ammons, Johnny Griffin, Walter Perkins' MJT + 3, and others. In 1957, he made his record debut, appearing on trumpeter Lee Morgan's City Lights. The following year, he joined organist Jimmy Smith for House Party and The Sermon!

Around this time, Coleman caught the ear of drummer Roach, who invited him to join his ensemble. Coleman moved to New York, as did Little, who soon became part of the group as well, replacing trumpeter Kenny Dorham. Together, the Memphis pair appeared on several of Roach's albums including Max Roach + 4 at Newport (1958), Award-Winning Drummer (1958), and The Many Sides of Max (1959). In 1959, Coleman left Roach to join trombonist Slide Hampton's octet. He spent two years with Hampton, touring Europe and developing his composing and arranging skills, a formative period that would later influence the sound of his own octet. In 1963, following a brief stint with organist Wild Bill Davis, Coleman was invited to join Miles Davis' quintet. For two years, Coleman toured and recorded with Davis, playing alongside pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. During this period, he appeared on several of Davis' most well-known albums including Seven Steps to Heaven (1963), Miles Davis in Europe (1964), My Funny Valentine (1965), and Four & More (1966). After parting ways with Davis in 1964, Coleman embarked on an extended period of freelance work in New York, during which time he performed with such artists as Lionel Hampton, Betty Carter, Chet Baker, Shirley Scott, Charles McPherson, and others. Around this time, he appeared on such albums as Herbie Hancock's Maiden Voyage (1965), Lee Morgan's The Procrastinator (1967), Nina Simone's Silk and Soul (1967), Reuben Wilson's Love Bug (1969), and more.

During the '70s, Coleman continued to tour and record, appearing regularly with drummer Elvin Jones, trumpeter Charles Tolliver, bassist Charles Mingus, and others. He began leading his own groups and spent many years in Europe, regularly playing festivals and concert halls. Despite, or perhaps because of, his success as a sideman, Coleman's own recorded output didn't pick up until the 1970s. In 1975, he joined pianist Cedar Walton for Eastern Rebellion, Vol. 1, followed by several more solo dates including his 1977 octet album Big George, 1977's Dynamic Duo with pianist Tete Montoliu, 1979's Playing Changes, and 1979's Amsterdam After Dark. In the '80s, Coleman kept a busy live schedule, often appearing with a small group featuring his longtime collaborator pianist Harold Mabern or with his larger octet. He released several more albums including Manhattan Panorama (1985) and At Yoshi's (1987). Also in the '80s, he started teaching more regularly, both privately and on the university level, where he began leading workshops and masterclasses around the country.

The '90s were a fruitful decade for Coleman, who continued to split his time between performing and teaching. He also found time to record a handful of albums: My Horns of Plenty (1992), Blues Inside Out (1997), and I Could Write a Book: The Music of Richard Rodgers (1998). Ever adventurous, Coleman even branched out into acting, appearing in the 1992 sci-fi film Freejack with Mick Jagger and Anthony Hopkins. He also garnered a small role in 1996's The Preacher's Wife alongside Denzel Washington and Whitney Houston. In 2000, he re-formed his octet for Danger High Voltage. Two years later, he joined several Davis band alumni, including bassist Ron Carter, for the concert tribute album Four Generations of Miles. Arriving in 2014, Down for the Count found him paired with guitarist John Webber. The following year, Coleman's many achievements as a performer and educator were recognized when he was named an NEA Jazz Master along with longtime Memphis cohort Charles Lloyd. In 2016, he delivered A Master Speaks, recorded live at Smoke in N.Y.C. A second Smoke Sessions release, The Quartet, arrived in 2019 and featured pianist Harold Mabern, who died just prior to the album's release. ~ Mattn Collar https://www.allmusic.com/artist/george-coleman-mn0000642196/biography

Personnel: George Coleman - tenor saxophone, writer;; Peter King - alto saxophone; Julian Joseph - piano; Dave Green - piano; Mark Taylor - drums

Blues Inside Out

Sunday, October 23, 2022

George Coleman Quartet - I Could Write A Book: The Music Of Richard Rogers

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:35
Size: 140,6 MB
Art: Front

(5:14)  1. Falling In Love With Love
(6:20)  2. My Funny Valentine
(6:50)  3. Lover
(5:20)  4. Bewitched
(4:51)  5. I Didn't Know What Time It Was
(6:06)  6. My Favorite Things
(7:57)  7. Have You Met Miss Jones
(3:38)  8. People Will Say We're In Love
(7:11)  9. I Could Write A Book
(3:47) 10. Medley: There's A Small Hotel / Where Or When / The Sweetest Sounds
(2:15) 11. Thou Swell

Inspired by a guest spot in a Carnegie Hall Jazz Band tribute to Rodgers and Hart, Coleman organized an entire album around the theme with a touch of Hammerstein too. It's a mostly mainstream hard bop session, with Coleman's slightly dry, plain-spoken tone on all three of his instruments soprano, alto and tenor lending an appropriately lyrical bend to the collection of well-known Rodgers standards; well, its mostly hard bop, "My Favorite Things" is cast perhaps inevitably in the modal Coltrane mold, with Coleman on soprano for good measure, and once in a great while, Coleman lets fly outside the changes. 

A fine, flexible rhythm section of veterans two fellow Memphis colleagues (pianist Harold Mabern, bassist Jamil Nasser) and one Angeleno drummer (Billy Higgins) sends Coleman on his way in style. As if in tribute to his rhythm section, Coleman sits out "People Will Say We're in Love" entirely and dukes it out with Higgins on a brief "Thou Swell." This is almost an echo of fellow saxman Joe Henderson's successful tribute formula of the early 1990s, although Henderson's CDs were somewhat more emotionally involving than this.~ Richard S.Ginell https://www.allmusic.com/album/i-could-write-a-book-the-music-of-richard-rodgers-mw0000039620

Personnel: Saxophone – George Coleman; Piano – Harold Mabern;  Bass – Jamil Nasser; Drums – Billy Higgins

I Could Write A Book: The Music Of Richard Rogers

Monday, December 27, 2021

Ahmad Jamal - Live In Paris 1996

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:33
Size: 137,9 MB
Art: Front

(14:07) 1. Bellows
(11:02) 2. Patches
(12:05) 3. Autumn Leaves
(12:23) 4. Devil's In My Den
( 9:55) 5. There's A Lull In My Life

In this glorious live document from 1996, the master pianist/composer/bandleader breaks from the trio format to feature guitar, violin, the great Manolo Badrena on percussion, and the thrilling sax work of George Coleman.~Editorial Reviewshttps://www.amazon.com/Live-Paris-1996-Ahmad-Jamal/dp/B00009WVTF

Ahmad Jamal - Piano; Calvin Keys - Guitar; Joe Kennedy Jr. - Violin; Yoron Israel - Drums; George Coleman - Tenor Saxophone; Jeff Chambers - Bass; Manolo Badrena - Percussion

Live In Paris 1996

Wednesday, December 1, 2021

Nicholas Payton - Smoke Sessions

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 67:23
Size: 154,7 MB
Art: Front

(7:43) 1. Hangin' and a Jivin'
(7:03) 2. Big George
(6:48) 3. Levin's Lope
(6:51) 4. No Lonely Nights
(6:30) 5. Lullaby for a Lamppost (for Danny Barker), Pt. 1
(6:23) 6. Lullaby for a Lamppost (for Danny Barker), Pt. 2
(4:35) 7. Q for Quincy Jones
(5:29) 8. Gold Dust Black Magic
(6:39) 9. Turn-a-Ron
(9:19) 10. Toys

Nicholas Payton has a new project called Smoke Sessions. The album has its roots in Payton’s love of Miles Davis’ 1966 album Four & More. Payton has convened two legendary musicians who played with Davis on that album, bassist Ron Carter and special guest saxophonist George Coleman. He asked Coleman to contribute a pair of tunes. (A third contributor to Four & More, pianist Herbie Hancock, is represented by the composition “Toys).” Rounding out the quartet is drummer Karriem Riggins with Payton filling the keyboard chair and playing the trumpet. Payton explains, “Miles Davis’ ‘Four’ & More was the album that really inspired me to take up music seriously,” Payton explains. “Ever since then, Ron Carter has been an idol and a favorite musician of mine. As long as I’ve been leading bands, I’ve patterned my choice of bassists by the metric of how much Ron they have in their playing. When I’ve looked for pianists in my band over the years, it’s often predicated on how much Herbie they have in their sound. So, this album is really a dream come true for me.”

“Hangin’ and a Jinvin’” is our first taste of the project and instantly establishes that Payton will not preset a straight-ahead album. Instead, he keeps the feels contemporary with a blend of swing, funk, soul, and hip-hop influences. With Riggins’ drum fluidity and Carter’s rock-solid time feel on the bass, this is brought to life. Payton starts on the Fender Rhodes. Playing with tiny motifs and shifting chords, one can hear Carter’s basslines following wherever Payton may lead. Payton eventually switches to the trumpet, and that is when things really heat up. Payton and Carter have strong communication with each other, and it is a delight to hear. Carter explains, “Listen to him play trumpet. He’s listening to my response to what he does if the trumpet players of today want to try to put him in a place, he should be up there because he listens to what the bass player contributes to his solo.”

“Big George” is the first track on which saxophonist George Colman appears, “Turn-a-Ron” is Coleman’s second guest spot; both are excellent. Speaking of “Big George,” Payton says, “I feel like George didn’t get as much credit as he deserved for being a part of Miles’s experimentations in alternate changes and chord progressions,” Payton says. “That’s why the songs on the album with George tend to be basically four-bar vamps – those four-bar turnarounds and what they would do with them were so influential in changing the landscape of how musicians play chord changes. It was important to me to get into that stuff that they did back in the 60s. George being there was like the cherry on top.” “Big George” is a medium groove that does just that, explores the harmonic possibilities of a simple set of changes between the big ears of this jaunty ensemble. Payton stays on the Rhodes for this one and lets Carter and Colman take the lead.

Smoke Sessions allows Payton to engage with two icons of jazz, Ron Carter and George Colman. The result is the multi-instrumentalist brings his trademark approach of contemporary styles to the elegance and time-honored tradition that these two giants represent. The elastic groove of Payton’s Fender Rhodes and trumpet playing is in full force here. Payton concludes, was “like a pinch-myself moment… I used to pretend I was playing with [these musicians] when I was a child, and now it’s happening. I literally felt like I was walking on air. To have someone I’ve listened to on record and admired from afar actually be a part of something that I created was just beyond my wildest imagination. I remained in a dream state for a couple of months afterward".~Icrom Bigrad https://jazzsensibilities.com/reviews/nicholas-payton/

Personnel: Nicholas Payton, trumpet, Fender Rhodes; Ron Carter, bass; Karriem Riggin, drums; Guest: George Coleman, tenor saxophone

Smoke Sessions

Saturday, September 25, 2021

Don Patterson - Dem New York Dues

Styles: Jazz, Hard Bop
Year: 1968
Time: 78:41
Size: 116,4 MB
Art: Front

( 6:57) 1. Little Shannon
( 6:39) 2. Opus De Don
( 7:28) 3. Dem New York Dues
( 9:22) 4. Sir John
( 9:48) 5. Stairway To The Stars
( 7:21) 6. Oh Happy Day
( 8:51) 7. Perdido
( 3:44) 8. Good Time Theme
(13:42) 9. Hip Trip
( 4:44) 10. Blue 'n Boogie

Despite claims to the contrary, organist Don Patterson was very much of the Jimmy Smith school, a hard-driving player with fine improvising skills but lacking a distinctive sound of his own. This CD (which reissues two complete LPs) features Patterson in prime form in a quintet with trumpeter Blue Mitchell, Junior Cook on tenor, and guitarist Pat Martino, and with a separate group that features trumpeter Virgil Jones and both George Coleman and Houston Person on tenors. Although "Oh Happy Day" is a throwaway, Patterson's spirited renditions of the blues and standards make this a fairly definitive example of his talents.~Scott Yanow https://www.allmusic.com/album/dem-new-york-dues-mw0000177249

Personnel: Organ – Don Patterson; Tenor Saxophone – George Coleman, Houston Person, Junior Cook; Trumpet – Blue Mitchell, Virgil Jones; Drums – Billy James; Frankie Jones; Guitar – Pat Martino

Dem New York Dues

Thursday, June 3, 2021

George Coleman Quintet - The George Coleman Quintet in Baltimore

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 46:54
Size: 107,8 MB
Art: Front

(11:49) 1. Afternoon in Paris
(10:26) 2. Sandu
( 5:13) 3. I Got Rhythm
( 9:55) 4. Body & Soul
( 9:29) 5. Joy Spring

Recorded live at Baltimore’s Famous Ballroom in May of 1971, this set captures the redoubtable tenor man with a well-oiled ensemble trumpeter Danny Moore, pianist Albert Dailey, bassist Larry Ridley, and drummer Harold White playing with such unerring synchronicity that a listener might be excused for assuming that most of the arrangements had been laid out beforehand. Not so, according to Coleman’s testimonial in the liner notes: “[W]e didn’t do much written stuff … it was going to sound like an arrangement, which it was, but it wasn’t written … we just went in and played.”

Coleman and Moore set the tone from the start with their intro to John Lewis’ “Afternoon in Paris,” interweaving in dual improvisation before melding into a unison statement of the theme, which then segues into Coleman’s solo: bright with good humor, dancing gaily through the tune’s harmonic architecture, probing with quick-minded precision yet never sounding academic or dry. Moore expands on the freewheeling mood, interspersing a few smears to add a tinge of hipster irony. Dailey then invokes a more pastoral feel before breaking into a jubilantly swinging main passage, as Ridley and White lay down a tight rhythmic framework.

The ensemble brings similar freshness to such standards as Clifford Brown’s “Joy Spring” (featuring a duo workout between Coleman and White) and “Sandu” (on which Moore, rather than attempt to emulate Brown’s technical legerdemain, structures his solo in a circular fashion, returning to a stated theme and exploring fresh harmonic implications with each iteration). Especially notable is “I Got Rhythm,” reimagined as a high-octane, boppified workout. Coleman plunges through the changes with daunting dexterity, nodding only obliquely to the original theme; Dailey leaps into the fun, skittering with joyful abandon; and White contributes a wide-spectrum solo, as melodic as it is percussive. Overall, it’s the set’s most jaw-dropping technical display yet, as throughout, relaxed, unforced, and devoid of pretension or self-indulgence.~ By David Whiteis https://jazztimes.com/reviews/albums/the-george-coleman-quintet-in-baltimore-reel-to-real/

Featuring: GEORGE COLEMAN tenor saxophone, DANNY MOORE trumpet, ALBERT DAILEY piano, LARRY RIDLEY bass, HAROLD WHITE drums

The George Coleman Quintet in Baltimore

Sunday, February 7, 2021

Gemma Sherry - Let's get serious

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 44:31
Size: 105,2 MB
Art: Front

(3:23) 1. Blossom's blues
(3:16) 2. Give me the simple life
(3:05) 3. Too much in love to care
(5:38) 4. Try your wings
(3:21) 5. The alley cat song
(5:16) 6. The gentleman is a dope
(4:06) 7. Why don't you do right
(5:10) 8. Whatever Lola wants
(3:09) 9. Straighten up and fly right
(4:42) 10. Go away little boy
(3:20) 11. The doodlin song

A perfect response to challenge and change. In the parlance of the agrarian American South, Gemma Sherry is "makin' hay while the sun shines. Let's Get Serious is the singer's light-as-air, coquettishly coy wink at the COVID-19 pandemic a wink as opposed to any other response, as Sherry is a true Lady. The title of her third full-length (in 2020 alone) recording is deliciously ironic as the tone is anything but. Globally, this release is best defined in the Nat King Cole classic "Straighten Up and Fly Right:" light, sophisticated, ready-made for entertainment and consideration. Sherry showed up in 2020 with Songs I Love (Tunley Records), a collection of carefully selected standards that define exactly Sherry's musical inspirations. Sherry exposes her heart from the beginning with songs clearly important to her. The singer follows this debut with the surprise Gemma Sherry Sings Bossa Nova (Tunley Records, 2020), singing these Brazilian classics with a pristine voice. Sherry has two great artistic advantages: a perfect ear for melody and a voice so clearly realized and experienced that she could sing a telephone book, should one exist anymore. In that metaphor, her repertoire is derived from a similar, simpler time when martinis were served dry, asked for or not. She encompasses classic beauty and urbanity. This is Mad Men music, has the series been more light-hearted.

Sherry expands her band stable with names new to her but not at large. Guitarist Paul Bollenbeck, pianist Rick Germanson, drummer George Coleman, and bassist Eric Wheeler. Wanting to select from lesser covered songs, the singer, nevertheless, plants some well-known ringers. Devoting much of the recording to songs like "The Alley Cat Song," "Try Your Wings," and "Doodlin' Song" and other tunes enjoying only sparse attendings over the last 50 years, Sherry includes "Give Me The Simple Life" and "Straighten Up and Fly Right" as proof of her grounding. She surprises with an innocently flirtatious performance of the Carole King-Gerry Goffin "Go Away Little Boy." The singer closes things with "The Doodling Song," featuring vibraphonist Joseph Doubleday, sung with coquettish delight. Let's Get Serious is Gemma Sherry's artistic gift to a worn world, one with hope and grace built in, so we remember what to expect on the other side of challenge.~C.Michael Bailey https://www.allaboutjazz.com/lets-get-serious-gemma-sherry-tunley-records

Personnel: Gemma Sherry: voice / vocals; Paul Bollenback: guitar; Rick Germanson: piano; Eric Wheeler: bass; George Coleman Jr.: drums; Joseph Doubleday: vibraphone.

Let's get serious

Wednesday, January 6, 2021

George Coleman - Danger High Voltage

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 68:10
Size: 157,2 MB
Art: Front

( 9:55) 1. Isn't She Lovely
(10:22) 2. Conservation
(13:31) 3. Portrait Of Jennie
( 5:06) 4. Simone
(10:03) 5. Tenderly
(12:42) 6. Follow Me
( 6:29) 7. Pretty Blues

George Coleman isn’t just the answer to the trivial pursuit question “Who were the tenor saxophonists in Miles Davis’ Band after John Coltrane and but before Wayne Shorter.” The correct answers; Hank Mobley, Sam Rivers, and George Coleman, if not achieving Miles Davis super-stardom all went on to significant careers. Miles suggested that Coleman left his sixties group because of tension. Davis said he played too perfect and that his bandmates were looking for more freedom and, one can suspect, a looser sound. My take is that George Coleman, like his Memphis jazz brother Harold Mabern, played with a blues/swing the aggressive young lions Herbie Hancock and Tony Williams were trying to eschew, for hipness sake. Like Mobley (now deceased) and more recently Rivers, Coleman has a gang of loyal devotees to his music.

Coleman has been part of many significant groups (Lionel Hampton, Elvin Jones, Horace Silver, Jimmy Smith, Chet Baker, Max Roach, and Cedar Walton and recordings (Herbie Hancock’s Maiden Voyage, and Miles Davis’ Four And More, My Funny Valentine, & Live at Antibes ). His output as a leader has been sparse (for such a great talent), with his last release being the Telarc recording I Could Write A Book: The Music Of Richard Rodgers (1998). His Octet, which has been around in some form or an other since 1973, has criminally been recorded only a few times. The Two And Four recording company rights a wrong in the debut release by Coleman’s Octet. The disc opens with Stevie Wonder’s “Isn’t She Lovely,” the octet laying such a driving blues groove you barely notice Coleman doesn’t take a solo until nearly four minutes into the song. It’s that Memphis sound that hooks you from the get-go. Harold Mabern’s piano swings so hard throughout, there is not much that could go wrong here.

Percussionist Daniel Sadowick augments the octet of two tenors, alto, and baritone saxophones, trumpet, piano bass and drums. His hand drumming along with master bassist Ray Drummond, George’s son on drums and the aforementioned Mabern, are a rhythm section with a blues predilection. Their take on the standard “Tenderly,” arranged by Ned Otter, is a rapid paced reworking which sheds every ounce of sentimentality for passionate swing. This is an octet that thinks it’s a quartet. They regard changes most little big bands would never attempt and apply generous space rarely heard in octet recordings. Highlights include trumpeter Jim Rotondi’s solo on “Portrait Of Jenny,” Coleman’s “Pretty Blues” with full-horn front split off into a call-and response, and Frank Foster’s composition “Simone” with the coltrane-esqe solo by Ned Otter. Maybe Miles Davis was right; George Coleman’s playing is too perfect. Not perfect, as in the criticism of Wynton Marsalis’ unemotional playing. But perfect in the sense of Dizzy Gillespie’s always playing the correct note at the right time. Coleman’s timing is faultless, and no one could ever say his horn is indifferent. This Memphis tenor has a large blues sound with enough passion to get your ass dancing.~ Mark Corroto https://www.allaboutjazz.com/danger-high-voltage-george-coleman-two-and-four-review-by-mark-corroto.php

Personnel: Tenor Saxophone – George Coleman, Ned Otter ; Trumpet – Jim Rotondi; Piano – Harold Mabern; Acoustic Bass – Ray Drummond; Alto Saxophone – Adam Brenner; Baritone Saxophone – Gary Smulyan; Percussion – Daniel Sadownick

Danger High Voltage

Monday, December 14, 2020

George Coleman - Manhattan Panorama

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 59:43
Size: 137,4 MB
Art: Front

( 3:31) 1. Mayor Koch
(19:12) 2. New York Suite
( 6:12) 3. Subway Ride
( 6:03) 4. El Barrio
( 9:39) 5. New York Housing Blues
(15:04) 6. Ray Of Light

Why George Coleman is not immediately mentioned when the discussion turns to great tenor sax veterans is baffling, because there are not many better mainstream/blues stylists. Other than a good-natured but ultimately empty vocal, Coleman was routinely brilliant on every number during this live Village Vanguard set originally issued on Theresa vinyl. Pianist Harold Mabern's bluesy, vibrant phrases and bassist Jami Nasser's supple licks and accompaniment are ably punctuated by Idris Muhammad's capable drumming. There is a no-nonsense (the opener aside), no-frills attitude exemplifed by the quartet. ~ Ron Wynn https://www.allmusic.com/album/manhattan-panorama-mw0000201197

Personnel: Alto Saxophone – George Coleman; Bass – Jamil Nasser; Drums – Idris Muhammad; Piano – Harold Mabern

Manhattan Panorama

Thursday, December 3, 2020

George Coleman - A Master Speaks

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 66:03
Size: 153,1 MB
Art: Front

(12:40) 1. Invitation
( 6:54) 2. The Shadow Of Your Smile
( 6:56) 3. Blues For B.B. (Feat. Peter Bernstein)
( 6:00) 4. Blondie's Waltz
( 6:39) 5. You'll Never Know What You Mean To Me
( 8:07) 6. Darn That Dream
( 5:15) 7. Sonny's Playground
( 8:00) 8. These Foolish Things
( 5:28) 9. Time To Get Down

Like the pronouncements of a sage, legendary tenor saxophonist George Coleman's new recording A Master Speaks communicates both wisdom and wonder that bespeaks Coleman's half century in music. At 80-years-old, Coleman sounds, as ever, both vital and timeless. He's obviously invigorated by the deep sense of swing and classic hard-bop feel of the quartet he's assembled. A Master Speaks is Coleman's first release as a leader in nearly 20 years and first recording since the 2002 all-star live tribute album Four Generations of Miles. The rarity of the session is remarkable in itself; even more special is the fact that it grew out of a desire shared by Coleman and his son, drummer George Coleman Jr., to finally record together.

They're joined by a stellar band featuring pianist Mike LeDonne and bassist Bob Cranshaw, with guitarist Peter Bernstein making a special guest appearance. A man of few words, Coleman nonetheless conveys his thoughts with unparalleled eloquence when he speaks through his instrument, as profoundly evidenced by the nine tracks on A Master Speaks, his long overdue return to the studio.
https://www.amazon.com.au/MASTER-SPEAKS-GEORGE-COLEMAN/dp/B01C4HDL0M

Personnel: Tenor Saxophone – George Coleman; Bass – Bob Cranshaw; Drums – George Coleman, Jr. ; Guitar – Peter Bernstein; Piano – Mike LeDonne

A Master Speaks

Monday, November 23, 2020

George Coleman - The Quartet

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 73:31
Size: 169,3 MB
Art: Front

( 6:27) 1. Paul's Call
( 6:05) 2. I Wish You Love
( 8:25) 3. Prelude to a Kiss
( 6:17) 4. Lollipops and Roses
(12:05) 5. East 9th Street Blues
(10:59) 6. When I Fall in Love
( 5:54) 7. Along Came Betty
(10:16) 8. You've Changed
( 6:57) 9. Triste

It took nearly 20 years for tenor saxophonist George Coleman to bring his working quartet (featuring the late pianist Harold Mabern, in one of his final recording sessions, along with bassist John Webber and drummer Joe Farnsworth) into the studio. That wait time is the only real complaint about The Quartet. It’s as straight-ahead an album as it gets, created by an octogenarian who despite being an NEA Jazz Master remains undervalued in his greatness. Greatness is assuredly the only word applicable to the player behind this samba-fied take of “I Wish You Love.” Coleman trips the light fantastic, plotting his phrases carefully and concisely, always mindful of the beat but slipping ahead and behind as each phrase dictates. For all his light touch, though (here as well as on sweeter pieces, like “You’ve Changed”), he also applies a gruff growl to the edge of his tone. On the intro to “You’ve Changed,” he even tweaks that growl into dissonant, faintly avant-garde whines. It’s a warning that even though he can retract them, Coleman still has claws.

They never quite come all the way out, though a good bit of them are bared on the spontaneously composed “East 9th Street Blues.” He still phrases judiciously (though not for lack of ideas: the tenor solo comprises 17 choruses), but punctuates with guttural moans, shrieks, and even some lowdown honking. That same tune, though, also shows how Coleman’s chemistry with his band is crucial to his magic. Farnsworth’s popping accents become the wireframes from which the sax hangs, and Webber’s bass provides the contour (which it will do even more on the closing “Triste”). In particular, Coleman’s relationship with Mabern, his fellow Memphian and 70-year collaborator, is glorious. The pianist turns even the saxophonist’s longer and more linear lines into conversation; he also makes his own steely vamps on “Paul’s Call” sound tailored to Coleman’s extemporizations, and he approaches the jaunty “Prelude to a Kiss” with the energy of a playful duet.~ Michael J.West https://jazztimes.com/reviews/albums/george-coleman-the-quartet-smoke-sessions/

Personnel: George Coleman (ts); Harold Mabern (p); John Webber (b); Joe Farnsworth (ds)

The Quartet

Tuesday, November 17, 2020

George Coleman - Bongo Joe

Styles: Jazz, Post Bop
Year: 1969
File: MP3@320K/s
Time: 49:46
Size: 115,6 MB
Art: Front

(3:20) 1. I Wish I Could Sing
(5:21) 2. Science Fiction
(7:17) 3. Innocent Little Doggy
(5:52) 4. Cool It Right
(3:53) 5. Listen at That Bull
(2:35) 6. Crazy with Love
(4:49) 7. Great (Instrumental)
(5:53) 8. Transistor Radio
(6:23) 9. Eloise
(4:19) 10. Dog Eat Dog

A crazed, primal record, Bongo Joe is a deserved cult classic; beating wildly on oil drums, George Coleman delivers bizarre raps including "Innocent Little Doggie" and "Transistor Radio" hilarious, edgy stuff. ~ Jason Ankeny https://www.allmusic.com/album/bongo-joe-mw0000088723

Bongo Joe

Friday, November 6, 2020

Brandi Disterheft, George Coleman - Surfboard

Styles: Post Bop, Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 64:17
Size: 148,6 MB
Art: Front

(4:03) 1. Surfboard
(2:57) 2. Prelude to Coup de Foudre
(3:51) 3. Coup de Foudre
(6:50) 4. My Foolish Heart
(4:31) 5. Nanã
(3:51) 6. Manhattan Moon
(3:36) 7. The Pendulum at Falcon's Lair
(4:42) 8. On Broadway
(5:20) 9. Speak Low
(5:24) 10. One Dream
(5:05) 11. Portrait of Porto
(3:42) 12. Where or When
(5:43) 13. Del Sasser
(4:37) 14. Reveries

Award-winning Canadian jazz contrabassist, singer, and composer Brandi Disterheft and her Trio have unveiled their new single, “Surfboard” along with a video for the release.

Featuring the legendary saxophonist George Coleman (Miles Davis, Herbie Hancock), “Surfboard” is a Brazilian Jazz album showcasing Juno Award winning Brandi Brandi Disterheft’s inventive writing, power-socket bass playing, and sweet ethereal vocals alongside Portinho the “James Brown of Brazilian Funk Samba” on drums (Harry Belafonte, Paquito De Rivera) this trio shines with slick vignette arrangements paying homage to composers from Carlos Jobim to bassist Sam Jones. The title track from her forthcoming album, Surfboard set for release October 2020 via Justin Time Records the single and its surrounding body of work are touted among Disterheft’s most accomplished yet. Joined by two octogenarian masters virtuoso tenor saxophonist George Coleman and the definitive Brazilian drummer Portinho and world-class pianist Klaus Mueller, Disterheft authoritatively and organically guides the flow on a varied program that reflects her capacious interests. On “Surfboard,” most notably, the artists nothing short of shine with their slick vignette arrangements and fitting homages to composer and co-creator of bossa nova Carlos Jobim, and bassist Sam Jones throughout. Inspired by documentary tandem surfing footage for the video, Portinho shines his signature groove on this pull from the Brazilian Songbook Standards with unrivaled finesse. http://jazzbluesnews.com/2020/11/01/cd-review-brandi-disterheft-with-george-coleman-surfboard-2020-video-cd-cover/

Personnel: Brandi Disterheft, double bass; George Coleman, saxophone; Klaus Mueller, piano; Portinho, drums

Surfboard

Thursday, June 11, 2020

Brian Charette,George Coleman - Groovin' With Big G

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 69:13
Size: 159,5 MB
Art: Front

( 8:19)  1. Stella By Starlight
( 6:14)  2. Body And Soul
( 7:30)  3. On A Misty Night
( 8:27)  4. Alligator Boogaloo
( 8:21)  5. Maiden Voyage
( 7:02)  6. Father And Son
(10:00)  7. Autumn Leaves
( 8:45)  8. Never Let Me Go
( 4:32)  9. Tenor Madness

Groovin' With Big G was destined to come about. When a young Brian Charette was cutting his teeth on jazz piano gigs in his home state of Connecticut in the early '90s, he wound up working dates with drummer George Coleman Jr. The two struck up a friendship, and Coleman's encouragement helped Charette make the leap to New York a few years later. Coleman even let the budding pianist crash in his rehearsal studio for a spell.  Some time later, after transitioning into the world of jazz organ and going all in with the purchase of a Hammond B3, Charette's instrument took residence in that very same studio. There, this pair was free to practice and jam to its heart's content. On one particularly memorable occasion in said spot, the drummer's famed father George Coleman, Sr., the Memphis Mafia tenor titan known for his unflagging attitude and virtuosity dropped in to play with them. Whether they knew it or not at the time, the seeds for this album were planted at that very point.

Fast-forward more than two decades and we come to the moment when those aforementioned seeds began to sprout. The younger Coleman called Charette to see if he could join the elder in a gig in the saxophonist's hometown of Memphis, Tennessee. That fruitful collaboration, ultimately, led to this one. A wonderfully limber outing wedding the Colemans with Charette and ace guitarist Vic Juris, Groovin' With Big G maintains the jam session vibe that these men are so accustomed to. The tunes, save for a soulful "Father And Son" credited to Charette and shaped by this foursome, are all jazz warhorses. But this crew doesn't view these standards with a sense of "been there, done that" apathy. Instead, these musicians make a few tweaks here and there, saddle up, and enjoy seeing where the ride takes them. 

A comfortably swinging "Stella By Starlight" sets things in motion and leads to a light-as-air "Body And Soul," a performance modified with a waltzing gait ; a streamlined trip through Tadd Dameron's "On A Misty Night" ends with an arrival at Lou Donaldson's "Alligator Boogaloo," where some zany Charette-isms lighten up the outro; and the closing triptych a low-temperature "Autumn Leaves" enlivened by a vamping send-off, an appropriately tender "Never Let Me Go," and a quick jaunt through "Tenor Madness" offers all parties some room to shine in various lights. As if we need a reminder about the saxophone-wielding Coleman's stature, Charette also includes a take on Herbie Hancock's "Maiden Voyage" as the centerpiece. It nods to Coleman's work on the original while inhabiting its own dreamy space. There's such a natural fit from musician to musician and band to song here, and that shouldn't come as a real surprise. These men are in their element when digging into chestnuts like these, and this quartet is top-shelf all the way. The chance to hear Brian Charette grooving with George Coleman, Sr. and company is simply priceless. ~ Dan Bilawsky https://www.allaboutjazz.com/groovin-with-big-g-brian-charette-steeplechase-records-review-by-dan-bilawsky.php

Personnel:  Brian Charette: Hammond B3 organ; George Coleman: tenor saxophone; Vic Juris: guitar; George Coleman Jr.: drums.

Groovin' With Big G

Thursday, November 7, 2019

George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty