George Colligan Trio - Living For The City

Styles: Piano Jazz
Year: 2011
Time: 66:11
File: MP3 @ 320K/s
Size: 151,5 MB
Art: Front

(9:27) 1. It Don't Mean A Thing If It Ain't Got That Swing
(7:20) 2. Water Babies
(9:06) 3. Living For The City
(7:25) 4. Close To You
(7:05) 5. I Can't Make You Love Me
(6:10) 6. Keep Me Hanging On
(7:20) 7. Along Came Betty
(6:31) 8. Cold Duck Time
(5:44) 9. The Girl From Ipanema

George Colligan is an advanced jazz pianist and composer who has done high-ranking work as a sideman and a leader. His most high-profile association, with vocalist Cassandra Wilson, began in 2000 and continues at the time of this writing. He has also played with Ravi Coltrane, Robin Eubanks, David Gilmore, Myron Walden, Steve Wilson, and many other stellar musicians, young and old. His own bands have boasted talents as formidable as Mark Turner and Kurt Rosenwinkel.

Born in New Jersey and raised mostly in Maryland, Colligan began his musical life on the trumpet, an instrument on which he still occasionally performs and records. (Colligan is also a viable jazz drummer.) He attended the Peabody Conservatory as a classical trumpet major but became increasingly drawn to jazz piano. In 1990 he attended the Banff Summer Jazz Workshop in Canada.

After several years as a freelancer in the Maryland area, Colligan relocated to New York, where his success has continued to mount. Colligan released his first two albums, 1996's Activism and 1997's Newcomer, on the Steeplechase label. Switching to the Fresh Sound New Talent label, he followed up in 1999 with Unresolved and in 2000 with Desire. Agent 99 appeared in summer 2001.
https://www.jazzmusicarchives.com/artist/george-colligan

Personnel: Piano – George Colligan; Bass – Joshua Ginsburg; Drums – E.J. Strickland

Living For The City

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George Colligan- King's Dream

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 66:48
Size: 153,2 MB
Art: Front

(6:05) 1. Clearing The Mind
(6:36) 2. Change
(5:47) 3. Daddy Go Bye Bye
(5:33) 4. Doom Sandwich
(7:46) 5. Golden Years
(5:21) 6. Blues For Dwayne Burno
(6:19) 7. King's Dream
(6:19) 8. Weightless, Rising Towards The Sun
(5:00) 9. Liam's Lament
(5:03) 10. Wishing For Things To Happen
(6:53) 11. Finally, A Rainbow

In this challenging era and complex world in which we live, we have to believe that good will and enlightenment will prevail over ignorance and hatred. By George Colligan

George Colligan expresses the complexities and conflicting emotions of our confusing, sometimes chaotic times with the November 11 release of King’s Dream (PJCE). Though not quite a sequel, the album builds on many of the themes presented on his previous solo album, 2018’s Nation Divided.

The 11 original compositions on King’s Dream (Colligan’s 36th album as a leader) are not all new: Some of them go as far back as 2008. But like all the best improvised jazz, the tunes become about the moment in which they’re being played in this case a very fraught moment. “It was and still is such an unusual time,” Colligan says. “Who knows what tomorrow brings? The music is a representation of that uncertainty.”

The variety of moods on the album help underscore that uncertainty. It moves from the wistful, bittersweet “Clearing the Mind” to the glorious funk of “Change”; from the hard-bitten “Blues for Dwayne Burno” to the lyrical balance of hope and trouble in “King’s Dream”; from the plaintive “Wishing for Things to Happen” to the sanguine “Finally a Rainbow.”

The title track of King’s Dream is also its centerpiece. Invoking the famous ideals of Dr. Martin Luther King Jr., the piece both echoes and questions that optimism, making for a statement both timely and timeless about American life while also serving as a microcosm for the album’s precarious position between glass-half-full and half-empty with glass-half-full perhaps taking the edge.

“In this challenging era and complex world in which we live, we have to believe that good will and enlightenment will prevail over ignorance and hatred,” Colligan writes in the album’s liner notes. “I don’t know whether music can make a difference, but I dedicate my album to those who believe in, as drummer Al Foster would say, ‘Peace, Love, and Jazz.’”

George Colligan was born December 29. 1969 in Summit, New Jersey, but considers his hometown to be Columbia, Maryland, where he grew up since about the age of 3. In the fourth grade he took up trumpet in the elementary school band, then got serious about the instrument in middle school around the time he discovered jazz from a neighbor who gave him a stack of Clifford Brown

Colligan went to Baltimore’s Peabody Institute, earning his degree in classical trumpet. While in Baltimore, though, he started teaching himself to play jazz licks on piano, soon getting gigs on the local scene, and suddenly found himself selling all his trumpets and becoming a professional pianist.

He shuttled back and forth between Baltimore and Washington, DC, mentoring with such musicians as Paul Carr, Gary Thomas, and Reuben Brown for several years before he made the leap to New York City in 1995. These associations meant that he already had some cachet on the New York scene when he arrived, and he was soon working with legendary figures like Eddie Henderson, Gary Bartz, and Lee Konitz, as well as recruiting the revered bassist Dwayne Burno and drummer Ralph Peterson for his own 1996 debut Activism.

His career continued to grow, collaborating fruitfully with other greats of his generation including Ingrid Jensen, Nicholas Payton, and Kurt Rosenwinkel; working under Jack DeJohnette, Buster Williams, Billy Hart, and Al Foster; and recording dozens of albums under his own name. In 2005, he married fellow pianist Kerry Politzer, and a few years later they moved to Winnipeg, Manitoba, where he began a career as a jazz educator.

That career continued on to a job at Oregon’s Portland State University, where Colligan moved in 2011 and remains today. In addition to his academic work, he has become a mainstay of the Portland jazz scene as a drummer as well as a pianist. (He’s the drummer on Kerry Politzer’s latest CD, In a Heartbeat, also on PJCE Records.) Indeed, although King’s Dream is a solo album, it is also a collaboration with a longtime Portland colleague, pianist Randy Porter, who recorded, mixed, and mastered the album at his Heavywood Studio. By Terri Hinte https://www.allaboutjazz.com/news/pianist-composer-george-colligans-kings-dream-his-36th-album-as-a-leader-and-5th-as-a-solo-pianist-due-november-11-on-pjce-records/

King's Dream

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George Colligan - The Newcomer

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 67:05
Size: 154,5 MB
Art: Front

( 7:38)  1. The Big Push
( 8:17)  2. Submersion
( 8:56)  3. The Newcomer
(11:30)  4. #10
( 9:28)  5. So in Love
( 8:46)  6. Empty Canvas
( 7:30)  7. Ricardo's Tune
( 4:57)  8. Evidence

A veteran of groups led by saxophonist Gary Bartz and vocalists Vanessa Rubin and Cassandra Wilson, pianist George Colligan's second recording for Steeplechase is also his first leading a quintet. Colligan is joined by trumpeter Ingrid Jensen, tenor saxophonist Mark Turner, bassist Dwayne Burno, and drummer Billy Drummond as they perform an unusual program of five originals, three by Colligan, one standard, an up-tempo rendition of Cole Porter's "So in Love," and two jazz classics. Originally a trumpeter, the Herbie Hancock-influenced pianist proves himself quite proficient on his chosen instrument, contributing an excellent solo on Wayne Shorter's overlooked "The Big Push." 

Other favorites include the complex "Empty Canvas," where each soloist gets a different meter to play over; "Ricardo's Tune," a Latin-influenced melody that swings on the bridge and during the solos' and one of the fastest versions of Thelonius Monk's "Evidence" that one will ever hear. A fine musical statement from an emerging talent. 

~ Greg Turner https://www.allmusic.com/album/newcomer-mw0000413639

Personnel:   George Colligan - piano; Ingrid Jensen - trumpet, flugelhorn; Mark Turner - tenor saxophone; Dwayne Burno - bass; Billy Drummond - drums

The Newcomer

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Lonnie Plaxico - West Side Stories

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 65:27
Size: 151,5 MB
Art: Front

( 6:41)  1. West Side Stories
( 7:22)  2. Climb Every Mountian
( 3:30)  3. I Want It To Be
( 6:27)  4. Robin's Dance
( 3:45)  5. One Less Bell To Answer
(10:06)  6. Funkadelic
( 6:03)  7. I Want To Know What Love Is
( 3:50)  8. Longer
( 7:15)  9. Duke It Out
( 6:56) 10. Speaking In Tongues
( 3:27) 11. Your Love Speaks To Me

West Side Stories, Lonnie Plaxico's eleventh recording as a leader, draws from memories of growing up in Chicago and listening to a variety of sounds from the '70s R&B, popular music and smooth jazz as well as his collaboration in the development of advanced M-Base musical concepts in the '80s. To coin a phrase from none other than the Godfather of Soul, James Brown, Plaxico might just be one the hardest working bassists in the business. He is a player with clear abilities, intensity and keen ideas who has contributed to many recordings, including releases by Art Blakey's Jazz Messengers, Greg Osby and Cassandra Wilson.

The credits for the recording suggest an M-base class reunion. Prominent stars like vocalist Cassandra Wilson and saxophonists Gary Thomas and Steve Coleman bring their progressive skills to the project. Starting with the title track, "West Side Stories, you get a hint of Plaxico's flair for music off the beaten path, complete with turbulent ostinato patterns and killer horn arrangements. Even though the bass is somewhat lost the in mix, the band handles the complex arrangement precisely, thanks to tight writing and performance. Bringing back the memories of yesteryear, covers include Burt Bacharach's "One Less Bell to Answer (featuring Steve Coleman's alto sax and Cassandra Wilson's smoky vocals) and a jazz radio-friendly version of the '70s rock group Foreigner's hit "I Want To Know What Love Is (featuring Carla Cook on vocals). Though Plaxico brings the funk on a number of tunes impressively via some serious thumb-slapping on his electric axe, upbeat joints like "Speaking in Tongues Out become exhausting and repetitious. Yet the slower tunes, "I Want It to Be and the smooth "Your Love Speaks to Me, both sung by Wilson, linger all the more in this somewhat mixed bag of new and old grooves by a clearly talented bassist.~ Mark F.Turner https://www.allaboutjazz.com/west-side-stories-lonnie-plaxico-plaxmusic-review-by-mark-f-turner.php

Personnel: Lonnie Plaxico: all basses, keyboard (3); Cassandra Wilson:vocals (3,5,8,11); Carla Cook: vocals (7); Gary Thomas: tenor sax (1,2,4,6,7,9,10); Ravi Coltrane: alto sax (6); Steve Coleman: alto sax (5,8); Gary Pikard: tenor sax (8); David Lee Jones: alto sax (11); Alex Norris: trumpet (1,2,4,6,7,9,10); Jeff Hermason: trumpet (8); Kenny Growhowski: drums; Jeff Haynes:percussion (3,8,11); Khalil Kwame Bell:percussion (6,7,11); George Colligan:B3 organ, piano, Fender Rhodes.

West Side Stories

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George Colligan - Constant Source

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 69:15
Size: 159,3 MB
Art: Front

( 7:57)  1. Tarantula
( 7:10)  2. Saga
( 6:43)  3. I'm Getting Sentimental Over You
( 5:13)  4. Flint Michigan
( 9:12)  5. Pitchrider
(13:27)  6. Void
( 9:25)  7. My Eyes That Cried
(10:05)  8. Constant Source

When it comes to spotting young talent worthy of wider recognition, it’s often those small independent labels who are responsible for giving the youngsters some visibility. This also makes for a good situation in terms of the artist because he/she, more often than not, has more control over the artistic integrity of the final product, something that is not as easily achieved when spending the big corporate dollars. The downside, however, is that the coffers for publicity are on the small side when you’re hooked up with the little independent guy. SteepleChase producer Nils Winther apparently liked what he heard when first checking out George Colligan because he gave the pianist a chance to cultivate his original voice as a vital SteepleChase artist. While not as visible here in the U.S. as those guys with the major label contracts, Colligan shows signs of becoming one of the best pianists and composers of his generation. The last Colligan SteepleChase from the back catalog to see a domestic release, Constant Source is arguably among his boldest statements. With a resonant front line pairing of alto and tenor sax (played by Jon Gordon and Mark Tuner respectively), Colligan and his crack rhythm section pull out all the stops via a ten selection set of originals (albeit a reworking of “I’m Getting Sentimental Over You”). The whole program is made up of beefy and well-developed charts that forgo the trite and customary.

sounds just like its name, with counterpoint between bass and the piano’s low end adding to the mysterious vibe. Perhaps the catchiest of the lot, “Saga” utilizes a captivating piano vamp that launches the head and subsequent solos, ultimately settling into a hybrid bossa groove. The third tune of the program is an atypical ballad entitled “Flint Michigan,” although both the CD label and the tune list on the back have the cut incorrectly listed as track number four. Showing just how adept he is at drastically altering standards, Colligan takes “I’m Getting Sentimental Over You” and turns it into a medium tempo romp in seven, with the bridge alternating between 4/4, 6/4, and a 5/8 tag. Two pieces hint at the impact of Colligan inspiration Gary Thomas. “Pitchrider” speaks in terms of ‘70s fusion, complete with George’s use of Fender Rhodes, while “Void” clocks in at over 13 minutes and contains dense passages of collective interplay that are punctuated by Howard Curtis’ acute drum work. The electric piano shows up again on the slow and spacey “My Eyes That Cried,” with the title track leaving a postscript in regards to Colligan’s compositional gifts, penned in the odd meter of 5/4. For the present, Colligan has proved a valuable sideman to vocalist Cassandra Wilson, saxophonist Don Braden, and trombonist Robin Eubanks. His already impressive oeuvre will be supplemented shortly by a new release on the Fresh Sound label and a forthcoming SteepleChase trio date. In the meantime, Constant Source, not to mention his other SteepleChase sides, finds Colligan speaking with an authority and maturation that belies his youth.~ C.Andrew Hovan https://www.allaboutjazz.com/constant-source-george-colligan-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: George Colligan (piano and Fender Rhodes), Jon Gordon (alto & soprano saxophones), Ed Howard (bass), Howard Curtis (drums)

Constant Source

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George Colligan - The Endless Mysteries

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 69:40
Size: 160,9 MB
Art: Front

(7:48)  1. Waiting for Solitude
(6:50)  2. Song for the Tarahumera
(8:25)  3. Her Majesty
(9:08)  4. Liam's Lament
(7:32)  5. It's Hard Work!
(3:14)  6. Thoughts of Ana
(3:34)  7. Outrage
(7:57)  8. The Endless Mysteries
(6:28)  9. When the Moon Is in the Sky
(8:38) 10. If the Mountain Was Smooth, You Couldn't Climb It

Not all piano trios are democracies-all too often, the bassist and drummer play second-fiddle roles. That’s not the case with The Endless Mysteries, released last fall. Although the pianist and nominal leader, George Colligan, wrote all 10 tracks on this, his 24th album as leader, The Endless Mysteries reflects an equal partnership between himself, bassist Larry Grenadier and the drummer, the irrepressible Jack DeJohnette. This even split of responsibilities isn’t exactly a surprise, as DeJohnette (whose touring band includes Colligan) has put in three decades as part of Keith Jarrett’s trio while Grenadier is a longstanding member of Brad Mehldau’s. With Colligan, though, even more than with their other employers, the rhythm section is intent on forging directions. 

This is evident on the title track, a gentle ballad that finds Colligan laying out the theme and then, in no time, handing the reins over to DeJohnette and then to Grenadier. The bassist’s richly melodic solo early on gives Colligan a gentle nudge: He leaves the chordal pattern he’s been restating since the beginning and, for the remainder of the piece, continues to investigate new routes that the composition might follow. On the sprightly “Her Majesty,” DeJohnette’s frisky bossa-nova rhythm fragments into something wholly disordered midway through, cueing an explosive Grenadier solo and, eventually, a chattering flurry from Colligan that brings it to a decisive finish. “Outrage” is outright chaos, a three-and-a-half-minute free-for-all, while “Song for the Tarahumera” is a swingfest. 

It’s not all teamwork though. “Thoughts of Ana,” inspired by the Newtown shootings whose victims included Ana Márquez-Greene, the daughter of jazz saxophonist Jimmy Greene, is the recording’s most moving statement: Colligan alone, solemn and ruminative. It’s a reminder, perhaps, that amid the daily noise sometimes we need to slow down, take a moment to reflect and simply speak to ourselves. Inspirational and exhilarating all-around. ~  By Jeff Tamarkin https://jazztimes.com/reviews/albums/george-colligan-the-endless-mysteries/

Personnel: Piano, Melodica, Composed By, Producer – George Colligan; Acoustic Bass – Larry Grenadier; Drums – Jack DeJohnette

The Endless Mysteries

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Dave Ballou - The Floating World

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:58
Size: 140,7 MB
Art: Front

( 8:54)  1. All the things you are
( 6:25)  2. Bronk
( 5:52)  3. Pannonica
( 6:38)  4. Memories of you
( 5:40)  5. Don and Dewey
(10:02)  6. I hear a rhapsody
( 5:46)  7. The floating world
( 7:50)  8. Time remembered
( 3:49)  9. Plan

On his third release, trumpeter Dave Ballou opts for a standard quartet, with George Colligan on piano, Doug Weiss on bass, and Darren Becket on drums. Ballou's original compositions are less prevalent this time around, and a casual glance at some of the titles  "All the Things You Are," "I Hear a Rhapsody" suggests that The Floating World might be more middle-of-the-road than his previous efforts. That's only partially true, as Ballou can't resist throwing curves. His four originals are decidedly left of center particularly "Bronk," which appears early on. His flugelhorn reading of Thelonious Monk's "Pannonica" (sans Colligan) is fabulous, and his trumpet/piano duo rendition of Eubie Blake's "Memories of You" is inspired on a multitude of levels. Other highlights include Colligan's thunderous solo on "I Hear a Rhapsody" and Ballou's melodic insight on the Bill Evans classic "Time Remembered." Despite its low and inconsistent recording level, The Floating World is superb, proving Ballou's ability to say something very different each time he's heard from. ~ David R.Adler https://www.allmusic.com/album/the-floating-world-mw0001170149

Personnel: Dave Ballou - Trumpet; George Colligan - piano, Doug Weiss - bass,  Darren Beckett - drums.

The Floating World

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Robin Eubanks and Mental Images - Get 2 It

Styles: Trombone Jazz
Year: 2001
File: MP3@320K/s
Time: 73:30
Size: 169,7 MB
Art: Front

(8:02)  1. Metamorphos
(5:32)  2. Get 2 It
(5:23)  3. Essi
(2:16)  4. REM State
(6:38)  5. Blues for Jimi
(8:36)  6. Cross Currents
(5:57)  7. RNB-First Take
(6:26)  8. Sabanna
(8:53)  9. House of Jade
(5:13) 10. Reunion
(5:57) 11. Indo
(4:31) 12. AudioNotes

Robin Eubanks' electronic trombone is something else. Horn players have been trying for decades to create a vocal-like sound on their instruments. The plunger mute helped brass players when jazz was young. The electronic saxophone and EWI have allowed reed players to play harmony and create inspiring effects; yet, neither instrument has allowed sufficiently for vocal effects. Instead, flute players achieve their vocal effects through ' well ' vocalizing. Over the years, creative artists such as Lester Bowie have experimented with natural-sounding vocal sounds expressed through a horn. Eubanks' session comes a long way from early tailgate trombone and the timeless junior high school antics of creating kissing sounds or a horse's holiday neigh through the trumpet. Combining hard core electronic experimentation with down-to-earth trombone artistry, Eubanks brings his latest album to a wider audience. Singing the blues, he works the electronic trombone through "Blues for Jimi," resembling the wordless vocals of scat singing. The fascinating sounds, while somewhat eerie at times, are placed in a tasteful jazz environment. A blues organ trio supports Eubanks as it would any emotional singer. Only the title track contains actual vocal expression. The other vocal-like exhibitions are through the electronic trombone. Several selections place Eubanks' trombone in a sextet format with modern mainstream originals. His brother, Duane, joins on trumpet for some hard bop hitting. A propelling rhythm section drives both brothers forcefully. Samples of two of the album's tracks are available at the trombonist's mp3 site . Showing his true potential, Eubanks performs "Essie," a lovely trombone ballad, with Kevin Eubanks' acoustic guitar accompanying. Having recorded six CDs as a leader, Robin Eubanks has proven that he has an unyielding respect for jazz's traditions. Placed in this context, his highly individualized, singing, electronic trombone makes a warm addition to the jazz world and should encourage others to explore similar new avenues for expression. 

~ Jim Santella https://www.allaboutjazz.com/get-2-it-robin-eubanks-rem-review-by-jim-santella.php

Personnel: Robin Eubanks (trombone & electric trombone); Duane Eubanks (trumpet); Kevin Eubanks (acoustic guitar); Maya Azucena (vocals); George Colligan, Michael Cain (keyboards); Lonnie Plaxico, Dave Holland (bass); Billy Kilson, Gene Jackson (drums); Mino Cinelu (percussion)

Get 2 It

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Ronnie Cuber - Straight Street

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 71:20
Size: 163,7 MB
Art: Front

(11:01)  1. Groovin' High
(10:24)  2. Miles' Mode
( 9:18)  3. Gloria's Step
(10:17)  4. Summertime
( 9:04)  5. Spiral
(10:12)  6. All the Things You Are
( 8:58)  7. Straight Street
( 2:03)  8. Battery Blues

A searing session of hardbop of the sort that baritone saxophonist Ronnie Cuber hardly got to cut in his early days as a leader but which has really been his strong calling card in more recent decades! We love Cuber in a mode like this and the tracks are all quite long, and very open with a quality that's similar to some of the live material he's done for the Steeplechase label marked with the same sort of fluid, inventively-blown solos throughout! Ronnie gets plenty of time in the lead as you might find on a Dexter Gordon 70s session for the label but the rest of the group is great too, and features George Colligan on piano, Cameron Brown on bass, and Joe Farnsworth on drums. Titles include "Mile's Mode", "Gloria's Steps", "Summertime", "Spiral", "Straight Street", and "Battery Blues".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/906628/Ronnie-Cuber:Straight-Street

Personnel: Ronnie Cuber (baritone saxophone), George Colligan (piano), Cameron Brown (bass), Joe Farnsworth (drums).

Straight Street

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Don Byron - Do The Boomerang: The Music Of Junior Walker

Styles: Clarinet Jazz, Post Bop 
Year: 2006
File: MP3@320K/s
Time: 51:24
Size: 118,9 MB
Art: Front

(5:08)  1. Cleo's Mood
(4:39)  2. Ain't That The Truth
(3:09)  3. Do The Boomerang
(3:20)  4. Mark Anthony Speaks
(4:53)  5. Shotgun
(7:21)  6. There It Is
(5:21)  7. Satan's Blues
(2:48)  8. Hewbie Steps Out
(3:55)  9. Pucker Up, Buttercup
(3:59) 10. Tally-Ho
(3:51) 11. What Does It Take (To Win Your Love)
(2:55) 12. (I'm A) Roadrunner

Anybody interested in Don Byron gets his range, and his willingness to try almost anything that tickles his fancy, whether it be klezmer, swing, funk, out jazz, blues or funky soul. He explores and leaves his mark on something and moves on. From Music for Six Musicians and Tuskegee Experiments to Nu Blaxploitation and Bug Music, from Fine Line: Arias and Lieder and Plays the Music of Mickey Katz to Ivey-Divey, Byron has explored not usually reverently -- his inspirations and curiosities with mixed results, but it's the investigation that counts for him in the first place. Do the Boomerang: The Music of Junior Walker is a curious outing in that Walker didn't always write his own material, but he wrote enough of it (five cuts on this set) and, like Byron, put an indelible stamp on anything he took on, from singing to blowing the saxophone. Byron assembled a dream band for this offering that includes guitarist David Gilmore, B-3 organist George Colligan, drummer Rodney Jones and bassist Brad Jones as the core group. The guests who augment the proceedings are Curtis Fowlkes, Chris Thomas King and Dean Bowman. Is the music reverent? Nope; but it's totally recognizable as Walker's. Byron doesn't set out to re-create anything exactly. His concern is for that thing he can't put his finger on, and discovering the place where the magic happens. But this is no academic set of Walker tunes, it's funky, it swings, and the grooves are deep and wide. Walker was a killer vocalist and Byron enlisted bluesman King on four cuts (he plays guitar on a pair as well) and Bowman. 

The set begins on a late-night smoky groove with "Cleo's Mood," the B-3 carries it in with Gilmore's guitar playing in the gaps before the tune's melody slithers to the fore with Byron and Bowman, and from here it's the blues as read through post-bop, soul-jazz, and the ghost of Leon Thomas through Bowman's vocal solo that sounds right at home here. Byron is in the pocket with this band. They aren't reaching for margins, but exploring how much was in Walker's music to begin with, there are traces of many things in the tune, and Byron finds them all. Digging into the classic "Shotgun," King's vocal delivery on the title track struts and steps to Byron's clarinet floating in the boundaries as Colligan's B-3 and Gilmore's meaty guitar heighten the groove to the breaking point. On "Shotgun," Byron plays it close to home and King's vocal is brilliant. This, like the title cut, is a dance tune on par with James Brown's; the lyrics are particularly compelling for the times we live in. Walker acknowledged the influence James Brown had on him readily and on "There It Is," both Bowman and King pump themselves to front this band that is so greasy and nasty one would never know that this is Byron's group. This joint burns the house down, baby! While there isn't a dud in the set, other big standouts include "Satan's Blues," "Pucker Up, Buttercup," and the ballad "What Does It Take (To Win Your Love.)" 

Here the bass clarinet is distracting for a moment, but transposing the opening saxophone part and letting King and Gilmore play sweet and slow lays a fine ground for both the hypnotic B-3 chart and King's lonesome vocal. Byron uses clipped, right phrasing with the airiness of his horn, solos around the fringes of the tune, and brings it back inside and underscores the fact that this is a soul tune. King's vocal could have been a bit tougher and leaner, but that's a really small complaint. Ending the set on Holland-Dozier-Holland's "Roadrunner" takes it out on a honking high point. Byron's done justice not only to Walker here, but to his Muse and to the grand tradition of funky jazz records on Blue Note hopefully they'll get it in the A&R department and bring the groove back wholesale. This baby is a smoking slab of greasy soul with a jazzman's sense of adventure. ~ Thom Jurek https://www.allmusic.com/album/do-the-boomerang-the-music-of-junior-walker-mw0000729295

Personnel: Bass Clarinet – Don Byron; Clarinet – Don Byron;  Bass – Brad Jones; Drums, Tambourine – Rodney Holmes; Guitar – Chris Thomas King, David Gilmore; Organ [Hammond B-3] – George Colligan; Saxophone [Tenor] – Don Byron;  Trombone – Curtis Fowlkes; Vocals – Chris Thomas King , Dean Bowman

Do The Boomerang: The Music Of Junior Walker

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George Colligan - Small Room

Styles: Piano Jazz 
Year: 1999
File: MP3@320K/s
Time: 70:52
Size: 163,7 MB
Art: Front

(4:51)  1. I Love Music
(7:25)  2. Afterthought
(6:28)  3. Exile's Gate
(4:35)  4. Elves
(6:10)  5. The Dolphin
(6:02)  6. When Your Lover Has Gone
(4:49)  7. Small Room
(4:21)  8. Rule's End
(3:37)  9. Voyage
(5:29) 10. Quincy
(6:37) 11. Some Other Time
(5:22) 12. Caravan
(4:59) 13. Only Trust Your Heart

Time out for a personal pitch regarding one of the most imaginative up-and- coming pianists on the contemporary jazz scene. Thirty-year-old New Jersey native, George Colligan has compiled quite a resume, what with offers for sideman gigs from Gary Thomas, Lee Konitz, Freddy Cole, Billy Hart, and Steve Wilson, not to mention a magnificent spate of recording activity that includes two sessions as a leader for Fresh Sound and another baker's dozen for SteepleChase. Problem is that very few outside the immediate circle have any familiarity with Colligan at all, and that's a shame because he's such a stimulating player. While his past efforts for SteepleChase have put him in either trio (please check out Activism ) or large group settings (sample The Newcomer ), the recently-issued Small Room is a tour-de-force for Colligan's talents as a solo pianist. A virtual textbook on developing a set, the thirteen selections performed here bring out many sides of Colligan's personality and keep the attention level at peak performance. Along the way, you'll find everything from the mainstream swing of Kenny Barron's "Voyage" to more exploratory cuts such as "Afterthought" and Gary Thomas' "Exile's Gate." The lush romantic side also beams through with radiant takes of "Some Other Time" and "Only Trust Your Heart." Clocking in at a tad bit over seventy minutes, Small Room was recorded in Denmark by SteepleChase owner and producer Nils Winther in 1998 and the overall recording quality is absolutely grand- focused, yet not too dry. As someone who as a rule typically avoids solo discs, the highest compliment I can give this set is that I never once reached for the remote and that's saying a lot! ~ C.Andrew Hovan https://www.allaboutjazz.com/small-room-george-colligan-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: George Colligan – piano

Small Room

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Lee Konitz - Pride

Styles: Saxophone Jazz 
Year: 2000
File: MP3@320K/s
Time: 67:34
Size: 155,5 MB
Art: Front

( 4:49)  1. Monkian' around
( 6:58)  2. Triste
( 7:04)  3. Come rain or come shine
(13:39)  4. Stellar
( 8:13)  5. Gundula
(11:54)  6. Once I had a secret love
( 8:04)  7. Lover man
( 6:50)  8. Zingaro

Throughout his career, altoist Lee Konitz has always had his ears open and been a musically curious improviser. His brand of relaxed freedom, tied to chordal improvisation but much freer than the usual beboppers, and his cool and distinctive sound have made him a jazz giant for decades. For this set, Konitz is teamed with three musicians (pianist/organist George Colligan, bassist Doug Weiss, and drummer Darren Beckett) with whom he had never played before. However, the combination work well on five standards and three Konitz songs. 

The music always swings, the rhythm section is supportive, and Konitz is as inventive as always. This is also one of the few sessions in which the altoist (on a few cuts) is backed by organ. ~ Scott Yanow https://www.allmusic.com/album/pride-mw0000966063

Personnel: Lee Konitz – alto saxophone; George Colligan – piano, organ; Doug Weiss – bass; Darren Beckett – drums

Pride

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Lonnie Plaxico - Melange

Styles: Jazz, Post Bop
Year: 2001
File: MP3@320K/s
Time: 60:54
Size: 140,5 MB
Art: Front

(4:44)  1. Squib Cakes
(4:57)  2. Melange
(5:09)  3. Darkness
(7:22)  4. Short Take
(5:28)  5. Miles II
(5:43)  6. Paella
(5:31)  7. Sunday Morning
(5:34)  8. Beloved
(6:37)  9. T.O.P.
(4:59) 10. Patois
(4:45) 11. Windy City

Lonnie Plaxico’s Blue Note debut is similar in thrust to last year’s Emergence (Savant). The emphasis is on funk, yet the frequent complexity of Plaxico’s writing harks back to his M-Base roots, especially on tunes like "Short Takes," "T.O.P.," "Patois," and the title track. Apparently the disc grew out of two different sessions the first with Tim Ries on sax and Lew Soloff on trumpet, the second with regular band members Marcus Strickland and Jeremy Pelt in their stead. George Colligan handles the main piano and keyboard duties, with Helen Sung contributing a couple of stunning solos along the way. Lionel Cordew and Jeffrey Haynes play drums and percussion, respectively, as they did on the previous record. As was the case with Emergence, Plaxico begins to repeat himself as the record wears on. And the opening cover of "Squib Cakes," by Tower of Power, seems insubstantial next to the original material. That said, the improvisation is often hair-raising, and the ballads, "Darkness" and "Beloved," are effective changes of pace. On the flip side, the speed-funk finale, "Windy City," is a blast. ~ David Adler https://www.allaboutjazz.com/melange-lonnie-plaxico-blue-note-records-review-by-david-adler.php

Personnel: Lonnie Plaxico- Bass, Lew Soloff- Trumpet (tracks 1-5), Jeremy Pelt- trumpet (tracks 6-11). Tim Ries- Saxophone (tracks 1-5), Marcus Strickland- Saxophone (tracks 6-11) George Colligan- piano, keyboards (except #5), Helen Sung- piano, keyboards (#2, 5, 6), Lionel Cordew- drums, Jeffrey Haynes- percussion.

Melange

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Lonnie Plaxico - Rhythm & Soul

Styles: Jazz, Post Bop
Year: 2003
File: MP3@224K/s
Time: 59:22
Size: 95,6 MB
Art: Front

(5:14)  1. Rhythm & Soul
(6:24)  2. Kyeko
(5:36)  3. The Time
(6:20)  4. Slow Dance
(5:36)  5. Always Crazy
(5:41)  6. Don't Explain
(3:06)  7. Soul Eye's
(5:43)  8. Dark Side
(5:32)  9. I'll Wait And Pray
(5:37) 10. Weather Report
(4:29) 11. 'Tis So Sweet

Lonnie Plaxico is a tremendous bassist and session man. His eighth album as a leader spotlights his brilliance in several areas, from gently, yet substantially backing vocalists to working both alone and with large combos. Plaxico uses Mal Waldron’s “Soul Eyes” as a set piece to demonstrate his impressive solo bass facility, delivering a stunning melodic embellishment, then a dazzling improvisation working off it. On “‘Tis So Sweet,” a traditional gospel tune, he smoothly glides underneath vocalist Aneilia Lomax and pianist Arene Lomax, punctuating and extending their leads while turning the song into a majestic concluding work. The disc’s small-group pieces tend to be either intimate ballads, such as the poignant cover of “Don’t Explain” or “I’ll Wait and Pray,” where the unison interaction between Plaxico, pianist/organist George Colligan and drummer Billy Kilson is augmented by careful, intense playing from either trumpeter Jeremy Pelt or tenor/soprano saxophonist Marcus Strickland. The edgier, looser pieces feature bigger units, mainly sextets, on “The Time,” “Weather Report” and “Slow Dance,” but most notably the first-rate octet number “Always Crazy.” Rather than simply churning out another hard blowing piece, Plaxico reserves solos for Pelt and Strickland, getting fiery, expressive and disciplined statements from them, and strong complementary efforts from everyone else. Though the sextet tunes, particularly “Weather Report,” are crisply played, they’re not quite as explosive or memorable as “Always Crazy,” which stands as the best number on a very good record. https://jazztimes.com/reviews/albums/lonnie-plaxico-rhythm-and-soul/

Personnel:  Double Bass, Electric Bass – Lonnie Plaxico; Drums – Billy Kilson; Piano – Arene Lomax; Piano, Organ – George Colligan; Tenor Saxophone – Wayne Escoffery; Tenor Saxophone, Soprano Saxophone – Marcus Strickland; Trumpet – Alex Sipiagin, Jeremy Pelt; Vocals – Aneilia Lomax (tracks: 11)

Rhythm & Soul

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Carl Allen, Rodney Whitaker - Work To Do

Styles: Straight-Ahead Jazz
Year: 2009
File: MP3@320K/s
Time: 64:03
Size: 147,8 MB
Art: Front

(6:06)  1. Work to Do
(6:29)  2. Speak to My Heart
(7:03)  3. For Garrison (Both)
(6:24)  4. Giving Thanks
(5:30)  5. What's Going On
(6:58)  6. Eleanor Rigby
(6:49)  7. With You I'm Born Again
(6:38)  8. Grahamstown
(3:03)  9. A Time for Love
(8:57) 10. Relativity

On Carl Allen and Rodney Whitaker's Work to Do, their second collaboration with Mack Avenue Records, the musicians focus on groove, beauty and respect for the tradition. Allen and Whitaker provide a swinging backdrop for some of New York's finest and most respected musicians, including guitarist Rodney Jones and saxophonist Vincent Herring, two very distinctive contributors to the album. Joined by five other accomplished artists, the A-list lineup combines to make an electrifying 9-piece ensemble. Work to Do features 11 tracks, including reworked pop-classics and originals that range from achingly beautiful tunes to those possessing an energized post-bop feel. Highlights include Whitaker's hard-bop original "For Garrison," written for his son, who was named after jazz legend Jimmy Garrison. Here, the melody played by both Chandler and Herring is supported rhythmically by Allen who also provides suspense through his fills, which lead the band into an unbreakable and energized swing feel for the solo section. The The Beatles' "Eleanor Rigby," is uniquely interpreted with the band switching effortlessly between 5/4 and 4/4 throughout, and which Herring uses to his advantage to create a truly impressive solo. On Johnny Mandel's "Time for Love," Jones' sensitivity as a player is heard through the enchanting lines which accompany Whitakers' bowed melody. Finally, for the bonus track, Allen and Whitaker play a duo a version of "For Garrison," displaying their effortless musical partnership. Although Work to Do may not be categorized as an innovative album, it does possess remarkable musicality throughout, created by a group of players who have an obvious love for making music together and enjoy an array of different styles as long as it feels good.~ Angela Davis https://www.allaboutjazz.com/work-to-do-carl-allen-and-rodney-whitaker-mack-avenue-records-review-by-angela-davis.php

Personnel: Personnel:Carl Allen: drums; Rodney Whitaker: bass; George Colligan: piano; Rodney Jones: acoustic and electric guitars; Dorsey "Rob" Robinson: B3 organ; Brandon Lee: trumpet; Kirk Whalum: tenor and soprano saxophone; Vincent Chandler: trombone; Vincent Herring: alto and soprano saxophone.

Work To Do

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George Colligan, Jesper Bodilsen - Twins

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 61:08
Size: 140,8 MB
Art: Front

(6:04)  1. Twins
(6:52)  2. Nobody else but me
(6:40)  3. Behind the door
(6:32)  4. Wrap your troubles in dreams
(9:18)  5. Consolation
(4:43)  6. Scandinavian rhythm
(6:26)  7. Heavens of a hundred days
(8:13)  8. So tender
(6:16)  9. Arioso

As a composer and pianist of considerable merit, George Colligan has been written about here before, as he has developed quite a catalog of releases for both the Spanish Fresh Sound and Danish SteepleChase labels. Able to remake himself in subsequent works, his efforts for SteepleChase range from savvy trios ( Activism with Dwayne Burno and Ralph Peterson and Stomping Ground with Drew Gress and Billy Hart) to audacious hard bop quintets highlighting the work of peers such as tenor man Mark Turner (i.e. The Newcomer and Constant Source ). Managing to create quite a good deal of excitement in the duo format of just piano and bass, Colligan has hit his stride once again with Twins, featuring Danish bass virtuoso Jesper Bodilsen. Recorded by SteepleChase front man Nils Winther in Denmark during the winter of 2000, this collection of nine pieces clocks in at just a tad over an hour and includes not only two Colligan originals, but also some well-chosen pieces from fellow pianists Keith Jarrett, James Williams, and John Stetch. "Arioso" swings energetically in an advanced style. Even a swing chestnut like "Wrap Your Troubles in Dreams" takes on an unsullied and contemporary face via Colligan's sophisticated harmonic sense. The remarkable thing is that as technically proficient as he is, Colligan's playing is always presented with grounded passion and logic. In other words, he has really developed his own voice. A real keeper all the way around, Twins is yet another fine collection to add to Colligan's already imposing body of work. ~ C.Andrew Hovan https://www.allaboutjazz.com/twins-george-colligan-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: George Colligan (piano) & Jesper Bodilsen (bass)

Twins

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Rich Perry - O Grande Amor

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 66:03
Size: 151,9 MB
Art: Front

( 7:47)  1. Nardis
(10:00)  2. On Green Dolphin Street
( 8:47)  3. Be anything
(10:27)  4. 29, Rue Jacob
( 7:58)  5. The peacocks
( 8:35)  6. O grande amor
(12:25)  7. Stella by starlight

Rich Perry is undoubtedly one of the most original voices on tenor saxophone today. 

“ Rich Perry continues to surprise us with his thoughtful, well shaped and passionate excursions. O Grande Amor is another of his CDs you will want to play repeatedly ….” (Mark Gardner – from the linernotes)

Personnel: Rich Perry - tenor saxophone; George Colligan - piano; Doug Weiss - bass; Darren Beckett - drums

O Grande Amor

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Don Braden - Gentle Storm

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 58:15
Size: 133,7 MB
Art: Front

(5:59)  1. Secret Love
(6:24)  2. Gentle Storm
(6:21)  3. Never Can Say Goodbye
(4:21)  4. What Are You Doing The Rest Of Your Life
(7:58)  5. This Masquerade
(4:52)  6. The Hunter
(7:53)  7. Willow Weep For Me
(5:48)  8. Two Of A Kind
(2:57)  9. My Foolish Heart
(5:37) 10. Speed Ball

Don Braden has come a long way since his days at Harvard, where he studied engineering along with playing in the university's jazz band. Over two decades into his career in jazz at the time of these recording sessions, the tenor saxophonist is very much at the top of his game. Joined by pianist George Colligan, bassist Joris Teepe and drummer Cecil Brooks III, who have all worked together on a number of occasions, Braden assembles a terrific program. He recasts the standard "Secret Love" as a turbulent post-bop vehicle, with Colligan showing shades of McCoy Tyner. Braden's laconic, blues-drenched setting of another standard, "Willow Weep For Me," features some of his most heartfelt playing of the date. Braden offers a punchy take of Lee Morgan's hard bop masterpiece, "Speedball." Not many artists could take a hit from the pop group The Jackson Five and turn it into meaningful jazz, but Braden's bluesy treatment of "Never Can Say Goodbye," in a mid-tempo groove, works perfectly. Leon Russell's "This Masquerade" has been tackled by jazz players with mixed success; the tenorist's punchy, soulful arrangement makes it one of the better interpretations. Braden switches to alto flute for a warm rendition of "My Foolish Heart," accompanied solely by Teepe. The leader's originals are just as valuable. "Gentle Storm" is a low key, lyrical bossa nova, while "The Hunter" is an intricate duet with Teepe. ~ Ken Dryden https://www.allaboutjazz.com/gentle-storm-don-braden-highnote-records-review-by-ken-dryden.php

Personnel: Don Braden: tenor sax, alto flute; George Colligan: piano; Joris Teepe: bass, Cecil Brooks III: drums.

Gentle Storm

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George Colligan Trio - Stomping Ground

Bitrate: MP3@320K/s
Time: 66:02
Size: 151.2 MB
Styles: Piano jazz
Year: 1998
Art: Front

[7:24] 1. Right Now
[6:44] 2. I Fall In Love Too Easily
[8:28] 3. Duchess
[8:45] 4. What Are You Doing The Rest Of Your Life
[5:12] 5. Upper Manhattan Medical Group
[5:17] 6. For Jan
[7:41] 7. Stomping Ground
[9:20] 8. The Peacocks
[7:08] 9. The Priestess

Bass – Drew Gress; Drums – Billy Hart; Piano – George Colligan. Recorded September 1997.

One of the best-kept secrets in jazz, pianist George Colligan has developed an intrepid attitude that goes hand-in-hand with a strong sense of identity. That was just as apparent on his first date as a leader for SteepleChase, Activism, as it is on this latest excursion into trio territory. Tunes such as Charles Tolliver’s “Right Now” or Billy Harper’s “The Priestess” were not really created for the piano, their lines voiced more easily by a horn player, yet Colligan fashions his own interpretations by making up for a scarcity in melodic content via a full exploitation of the rhythmic capabilities of the piano. In fact, Colligan’s style is distinguished by a graceful equilibrium, his harmonic knowledge complemented by an advanced sense of rhythm that is rare for a pianist.

With chops to spare, Colligan tackles a distinctive if slightly obscure set of numbers while welding the uncommon ability to bring new life into each interpretation. In his hands, the pop ditty “What Are You Doing the Rest of Your Life” emerges without the banal sentimentality and with every possible nuance wrung from its structure. Imagine McCoy Tyner mixed with just a dash of Cecil Taylor, if you will. Yet, Colligan can manage a heartfelt ballad without a hitch too, a lovely take on Kenny Wheeler’s “For Jan” a beautiful case in point.

Of course, to get down with the serious business at hand no less than a world class rhythm section will do. No problem there- bassist Drew Gress and drummer Billy Hart follow every hairpin turn, even anticipating Colligan’s moves at times. What we have here is 66 ½ minutes of piano trio jazz at the pinnacle of perfection. ‘Nuff said! ~Andrew Hovan

Stomping Ground mc
Stomping Ground zippy

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Ron McClure - New Moon

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 66:32
Size: 158,1 MB
Art: Front

(5:54)  1. Half A Nice Day
(8:34)  2. Kalman's Dance
(7:37)  3. Hostile Terrain
(8:05)  4. Better Late Than Never
(7:39)  5. It's Always Now
(8:46)  6. New Moon
(7:24)  7. Lotus
(7:02)  8. Let's Went
(5:26)  9. Ulala

Ron McClure has been a valuable sideman since shortly after his arrival in New York City in 1964, while he has found regular opportunities to record as a leader since he started working with Steeplechase in the late '80s. This 2007 session expands his earlier trio with veteran tenor saxophonist Rich Perry and up-and-coming pianist George Colligan (both of whom also record as leaders for the label) by adding the in-demand drummer Billy Drummond. Although McClure chose nine originals for the recording date, it is not about his ego, as they are stimulating charts that allow everyone sufficient space to play, though each of them prefers to pass the baton rather than attempt the all-too-common marathon solos that run out of steam too early. The happy, easygoing swinger "Half a Nice Day" contrasts with the tense post-bop "Kalman's Dance." 

The breezy midtempo "Better Late Than Never" conveys the essence of the constant rush in a metropolis, while McClure's lush ballad "New Moon" features his understated bass accompanied by Colligan's sparse piano and Drummond's whispering brushes. This is another excellent date by Ron McClure. ~ Ken Dryden https://www.allmusic.com/album/new-moon-mw0000832902 

Personnel: Ron McClure (bass);  Rich Perry (tenor saxophone); George Colligan (piano); Billy Drummond (drums).

New Moon

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