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

Monday, August 21, 2023

Claire Daly & George Garzone - VuVu for Frances

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 59:45
Size: 137,5 MB
Art: Front

(6:22) 1. All the Way
(6:23) 2. Sweet Georgia Bright
(4:51) 3. Fools Rush In
(4:54) 4. People Will Say We're in Love
(4:06) 5. The Lonely Goatherd
(2:22) 6. Mood Indigo
(4:55) 7. Warm Valley / What Am I Here For
(4:43) 8. Hold Out Your Hand
(3:51) 9. Half Nelson
(3:47) 10. Harlem Nocturne (feat. Jon Davis)
(3:15) 11. The Very Thought of You
(4:49) 12. The Saga of Harrison Crabfeathers
(5:22) 13. Manhattan (feat. George Garzone)

Working jazz musicians have long been accustomed to the necessity of playing just about anything, in any setting, and Claire Daly is no exception. The intrepid baritone saxophonist has recorded tributes to Thelonious Monk and Rahsaan Roland Kirk and, in 2016, she even offered a distinctive take on Motown classics with 2468 West Grand Boulevard (Glass Beach Jazz). With the enviable versatility on her formidable horn which has brought her consistent acclaim, she now turns to more conventional jazz fare, uniting with tenor saxophonist George Garzone, a mentor and collaborator who brings his lighter touch to a wide-ranging, enjoyable set of standards and show tunes.

Daly's episodic work with Garzone goes back at least to 1998, when she appeared on his Moodiology (NYC Records), an album characteristic of Garzone's assertive style. Here he is much more subdued—indeed, the "VuVu" in this record's title is a neologism from Garzone which indicates his willingness to focus his contributions in a melodic, understated manner. Daly too stays largely within a restrained, lyrical temperament, suitable for a repertoire which ranges from Duke Ellington's "Mood Indigo" to Rodgers and Hart's "I'll Take Manhattan." Ironically, the one cut in which the two saxophonists turn it loose is the Rodgers & Hammerstein number "Lonely Goatherd," one of two tunes from that songwriting team (the other being "People Will Say We're in Love"). On "Goatherd," Daly's arrangement uses an odd-meter framework to unleash some ferocious playing from both saxophonists, particularly during their mutual improvisation toward the close of the track. In other respects, the two play it straight, hewing closely to the tunes of the classic repertoire.

The rest of the band includes pianist Jon Davis, bassist Dave Hofstra, and drummer David F. Gibson. They provide all the support needed to let Garzone and Daly do their thing and with the delicate touch required on pieces such as Duke Ellington's "Warm Valley," rendered gorgeously before transitioning into the briskly paced "What Am I Here For?" There are a few surprises here, including a brief vocal turn from Daly on Steve Kuhn's "Hold Out Your Hand," and Davis switching to keyboards for a vigorous treatment of Kuhn's modal "Saga of Harrison Crabfeathers." For the most part the quintet refrains from taking too many chances, preferring to let the melodies shine lambently. And there is nothing to fault them for in that regard; when Daly and Garzone generate their tender dialogue on "Fools Rush In," it is easy to appreciate the genuine reverence the two veterans bring to this material.By Troy Dostert
https://www.allaboutjazz.com/vuvu-for-frances-clare-daly-with-george-garzone-daly-bread

Personnel: Claire Daly: saxophone, baritone; George Garzone: saxophone, tenor; Jon Davis: piano; Dave Hofstra: bass; David F. Gibson: drums.

Additional Instrumentation: Daly: vocals (8); Davis: keyboards (12).

VuVu for Frances

Wednesday, July 24, 2019

Pete Zimmer - Prime of Life

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 55:13
Size: 127,5 MB
Art: Front

(7:02)  1. Prime of Life
(5:12)  2. One for G.G.
(6:23)  3. Tranquility
(6:36)  4. Carefree
(6:16)  5. Strollin' Down Bourbon Street
(5:51)  6. T.T.T.
(7:48)  7. Night Vision
(5:19)  8. Almost Home
(4:42)  9. The Three Petes

Prime of Life, drummer Pete Zimmer's fifth recording as a leader, has a clean, crisp, soulful sound. The players of the quartet all top-notch musicians meld their talents into a polished cohesion. Zimmer is a fine drummer capable of impeccable timekeeping and intricate, though usually subtle percussive flourishes. Zimmer's music, with its tight grooves, sounds like heartland jazz, like the quintessentially American sound of an organ trio without, in this case, the Hammond B3 breathing into the mix. Guitarist Peter Bernstein, who has worked extensively with organists Melvin Rhyne and Larry Goldings, is a tangy presence here, whether laying down a slow, thoughtful, single-noting solo on "Tranquility," or with his ringing, organ-like chording on "Carefree." George Garzone fronts this quartet outing. 

The somewhat underappreciated saxophonist seems to fall into the "musicians' musician" category, like Joe Henderson prior to the late saxophonist's late-career breakout recording, So Near, So Far (Musings for Miles) (Verve, 1992). Like Henderson, Garzone solos with a labyrinthine eloquence, smoking in front of bassist Peter Slavov's always solid, always subtle pulse and Zimmer's relentless simmer on "T.T.T.," one of three tunes Garzone contributes to this otherwise all-Zimmer-penned outing. Where Garzone's "T.T.T" runs hot, Zimmer's "Night Vision" rides on a cool and laidback cruise control. It's a fluid roll, like a big new American-made sedan following its headlights along a freshly-paved highway, on a straight shot through the darkness over gentle rises and falls."Almost Home," at just a notch above ballad tempo, features Garzone's most beautiful blowing, and a very piquant solo by Bernstein, leading into the controlled burn of the closer, "The Three Petes," with Garzone the group's only "non-Pete" serving up another of his engagingly circuitous saxophone soliloquies. ~ Dan McClenaghan https://www.allaboutjazz.com/prime-of-life-pete-zimmer-tippin-records-review-by-dan-mcclenaghan.php

Personnel: Pete Zimmer: drums; George Garzone: tenor saxophone; Peter Bernstein: guitar; Peter Slavov: bass.  

Prime of Life

Friday, July 19, 2019

Pete Zimmer - Judgment

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 59:01
Size: 136,0 MB
Art: Front

( 7:24)  1. The Mingus That I Knew
( 5:08)  2. Down or Up
( 6:56)  3. To My Papa
( 3:56)  4. 8 A.M. Wednesday Spirit
(10:01)  5. Judgment
( 6:55)  6. Dot Dot
( 6:19)  7. Bye Bye Blackbird
( 7:03)  8. Tutti Italiani
( 5:13)  9. Cut Off

Drummer and bandleader Pete Zimmer hasn't lost a step in getting his product to the people. Arriving in New York around the time of 9/11, he understandably found it difficult to get a record deal. So he created his own label, Tippin', on which Judgment is Zimmer's third release. He essentially keeps the same personnel from his last album (Burnin' Live At The Jazz Standard, Tippin' 2005), with the addition of his former employer, saxophonist George Garzone. On paper, this combo is the same one that has provided quality bebop on two prior albums in what can only be interpreted as an homage to groups like Art Blakey & The Jazz Messengers and the Horace Silver Quintet. George Garzone remains the wild card, inasmuch as he is a free blower. Thus it is quite a revelation to announce that Garzone provides several positive turning points on this album Garzone plays on six of the nine compositions (he wrote four of these tunes). He does get the opportunity to take the music out in a limited fashion on "8 A.M. Wednesday Spirit," in a duet with Zimmer's drums, but also builds to a point at which he invokes the spirit of John Coltrane live at the Vanguard circa 1961. Also, for another duet with Zimmer on the standard "Bye Bye Blackbird," Garzone again plays in a post-Coltrane style. In contrast, his solo work on the opening "The Mingus That I Knew" and especially on the title tune is lyrical and appropriately surging. On the latter, Garzone outduels Joel Frahm in back-to-back solos. On his ballad "To My Papa," Garzone shows how to deliver a superior ballad treatment. The opening track, "The Mingus That I Knew," features the shifting rhythm of "Peggy's Blue Skylight" and, what else, a bass solo by David Wong, who emulates Mingus' idiosyncratic playing. Trumpeter Michael Rodriguez presents the melody line on Toru Dodo's "Dot Dot" and then launches into a beautifully stated solo. Zimmer has a few solo opportunities here, and on his previous albums, he didn't take space for himself. But on Judgment, in addition to the two drum/sax duets with Garzone, Pete Zimmer steps forward and rightly so announces his presence. ~ Michael P.Gladstone https://www.allaboutjazz.com/judgment-pete-zimmer-tippin-records-review-by-michael-p-gladstone.php

Personnel: Pete Zimmer: drums; George Garzone: tenor saxophone; Michael Rodriguez: trumpet; Joel Frahm: tenor saxophone; Toru Dodo: piano; John Sullivan: bass; David Wong: bass.

Judgment

Thursday, May 31, 2018

Joe Lovano Nonet - On This Day at the Vanguard

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 69:38
Size: 163,2 MB
Art: Front

( 9:33)  1. At The Vanguard
( 8:12)  2. Focus
( 7:39)  3. After The Rain
(14:13)  4. Good Bait
( 5:26)  5. Laura
(15:26)  6. On This Day (Just Like Any Other)
( 9:05)  7. My Little Brown Book

"Ah, they don't make records like this anymore," you might find yourself sighing upon first hearing On This Day At The Vanguard. But look at the liner notes: the artist is Joe Lovano, and this fantastic album was recorded live at the Village Vanguard in September of 2002. This is the same nonet with which Lovano recorded the Grammy-winning 52nd Street Themes a few years back. While that record was a well-conceived and well-executed exploration of composer/arranger Tadd Dameron's legacy, there was something a bit restrained about it, as if the nonet were still finding its sound together. This live album is a decidedly looser, more exciting affair, delivering on the promise of the earlier record. Right from the start of the first track, a punchy Lovano original called "At The Vanguard," it's clear that this group has found its groove. At times recalling Gerry Mulligan's Concert Jazz Band (whose excellent 1962 Vanguard album was recently rereleased by Verve), the soloists' explorations are punctuated by encouraging brass blasts from the band, beautifully maintaining the energy level as the tune rolls along. Lovely arrangements of the chestnut "Laura" (by Willie "Face" Smith) and Coltrane's "After The Rain" (by altoist Steve Slagle) allow the nonet's members to demonstrate their ability to finesse a ballad. 

The latter is especially wonderful, with a mysterioso intro arising straight out of the "classic quartet" playbook before the group enters to put their own stamp on the tune. But the heart of the album is two 15-minute up-tempo tunes: an unbelievably exciting, rollicking version of Dameron's "Good Bait" which features a fabulous solo by baritonist Scott Robinson (which really gets the crowd going), among many other great ones; and the Lovano original "On This Day (Just Like Any Other)." This tune, dedicated to the late Billy Higgins, begins with a free episode for drums and two saxophones that recalls the classic Ornette Coleman group in which Higgins played, continuing with simple themes based on the syllables of the title and Higgins' name, explored freely to great effect by the group. A quartet version of "My Little Brown Book" closes the album with a late night feel, Lovano playing in his most reflective voice. The quality of the nonet's playing rises to a consistently high level throughout the disc, but special mention must be made of Lewis Nash's impeccable drumming, especially the funky little hi-hat punctuations that continually stoke the engines of the up-tempo tunes, and John Hicks' tasteful piano comping. After listening to this record, one can't help but feel grateful for Joe Lovano's presence in modern jazz. Thanks to him, they do make records like this anymore. ~ Joshua Weiner https://www.allaboutjazz.com/on-this-day-at-the-vanguard-joe-lovano-blue-note-records-review-by-joshua-weiner.php

Personnel: Joe Lovano- Tenor Saxophone,Steve Slagle: Alto Saxophone, George Garzone: Tenor Saxophone, Ralph Lalama: Tenor Saxophone, Scott Robinson: Baritone Saxophone, Barry Ries: Trumpet,Larry Farrell: Trombone, John Hicks: Piano, Dennis Irwin: Bass, Lewis Nash: Drums

On This Day at the Vanguard

Wednesday, November 29, 2017

George Garzone - The Fringe in New York

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 51:12
Size: 191,9 MB
Art: Front

(5:03)  1. Tribute To Trane
(6:06)  2. Between Two Cities
(6:29)  3. Slip + Slide
(7:45)  4. Anthony Goes To Mardi Gras
(4:50)  5. Plus One
(7:42)  6. A Fox In The Woods
(2:03)  7. Ultra Tempo
(5:23)  8. We Don't Know Why
(5:48)  9. Central Park West

Sometime after the death of John Coltrane and before the rise of the conservative button-down star as repertoire performer, the influence that Trane had over jazz waned. It’s not that he was forgotten, but that his music required such a commitment from a musician that it must have scared away most by sheer intimidation. Within the past twenty years, musicians like Joe Lovano, Dewey Redman, Pharoah Sanders, David S. Ware, Roy Campbell, Julius Hemphill, and George Garzone have taken up the challenge and beauty of Coltrane. In George Garzone’s case, Coltrane has never been far afield from his own voice. With his band (of 25 years), The Fringe, he exercised the more free improvisational aspects of Coltrane. As a sideman to Danilo Perez, Joe Lovano, George Russell, Gunther Schuller, Rachel Z, Jack DeJohnette, Billy Hart, and even Jamaaladeen Tacuma I always heard the Coltrane spirit in his playing. Garzone has always possessed an expansive warm tone that moves from inside to out-jazz with relative ease. Like Trane, his music resonates from what must be a warm and beautiful soul.

Garzone augments his Fringe trio with vibraphonist Mike Mainieri of Steps Ahead fame. Mainieri of late, has acted as producer and label chief for NYC Records and he recorded two glorious (Frisell-like) American Diary records which presents jazz as quasi-folk/classical music. Let’s talk about how this disc opens and closes, it is of course bookended by Trane. Garzone’s composition “Tribute To Trane” starts this affair and a six-minute (by my count way too short) “Central Park West” ends it. 

In between Garzone delivers music of varied Coltrane influence, like the Dolphy-esque “Plus One” and a taste for the outside on “We Don’t Know Why.” Mainieri’s influence harkens back to the Blue Note sound, both the bop and post-bop of Bobby Hutcherson, even sounding like the piano of McCoy Tyner. Garzone knows the calm and the fury. He quells the thunderous drumming Bob Lockwood on “A Fox In The Woods” with a pacific ‘Stellar Regions’ saxophone chant and runs the energy jams down on “Ultra Tempo” in an expected (and anticipated) Fringe fashion. Recorded in studio, this music begs for a live venue, extended soloing, and a voltage meter. ~ Mark Corroto https://www.allaboutjazz.com/the-fringe-in-new-york-george-garzone-nyc-records-review-by-mark-corroto.php

Personnel: George Garzone: tenor saxophone, soprano saxophone, alto saxophone; John Lockwood: bass; Bob Gullotti: drums; Mike Mainieri: vibraphone.

The Fringe in New York

Tuesday, November 28, 2017

George Garzone & Trio Da Paz - Night of My Beloved

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 58:55
Size: 135,3 MB
Art: Front

(7:30)  1. Felicidade
(5:56)  2. Gentle Rain
(4:11)  3. Choro
(5:59)  4. Pra Dizer Adeus
(5:50)  5. Alone
(6:10)  6. A Noite do Meu Bem (Night of My Beloved)
(5:48)  7. Falando de Amor
(6:06)  8. Ballad for Lana
(5:35)  9. The Shadow of Your Smile
(5:50) 10. Fotografia

George Garzone is a marvelous tenor saxophonist who is also known as a highly regarded educator. Some of people he has taught includes Branford Marsalis, Mark Turner, Joshua Redman, and many more. Garzone's debut album arrived fairly late in 1995 with the main influences coming from Stan Getz and John Coltrane. For this exceptional release, Garzone tapped into his love of Getz as he was paired with Trio da Paz, a superlative Brazillian trio led by the prominent guitarist, Romero Lubambo. In addition, piano expert Kenny Werner also joins this outstanding group of musicians. The casual listener might mistake this album as background music but that would be wrong. A sharp listener will pick up and savor the music being played by these masters. Each musician is tuned in to each other and aware of the right moment to play each note. This is an album that rewards deep listening.

Personnel:  George Garzone (tenor sax); Kenny Werner (piano); Romero Lubambo (guitar); Nilson Matta (bass); Duduka Da Fonseca (drums).

Night of My Beloved

Monday, November 27, 2017

George Garzone - Quintonic

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 44:25
Size: 101,8 MB
Art: Front

(4:54)  1. Gargonzola
(7:41)  2. Crystal Ball
(6:28)  3. Idiosyncrasies
(5:49)  4. Restless
(7:46)  5. Ellwood
(6:07)  6. Abeid from Zanzibar
(5:37)  7. The Gargoyle Returns

"Gargonzi", "Berzone" call em whatcha like, the tenor sax duo of George  Garzone and Jerry Bergonzi from "Beantown" (Boston, Mass) quite excite on this 2014 disc. This CD appears to  be have been sponsored by the Danish Music Publishers Society and features a more than able rhythm section of pianist Carl Winther (who not only produced the date but penned four of the tracks) Johnny Aman on bass, and Anders Mogensen on drums. The front line hornmen sport an "obbledeygobbeldy" manneristic which refers to a post-Coltrane technique (also developed by Dave Liebman, Steve Grossman, Bill Evans,et al) which involves  a pumping off of the lower notes in order to get a ricochet-like effect escalating vertically to higher registers of the horn. Mind you this might be an anorakian pursuit of interest for saxophonists, but it is difficult to pull off and does have a distinctive and rather emotional, fiery edge to it. It sits well with both Garz and Gonz possessing dark and somewhat hollow, echoey tonal qualities which offer a refreshing contrast to the plethora of brighter, shimmery and brittle sounds that so many contemporary saxists have today. Winther's "Crystal Ball" has a gentle medium bluesy groove with a pensive and moody horn line that  leads to heroic solos all round. Bergonzi contributed two pieces, the melodic "Idiosyncrasies" and the brisk 12 bar burner, "Ellwood" which offset Winther's repertoire nicely. Everything is well controlled throughout with squeaks, squeals and even the odd honk. Quality stuff indeed. ~  Frank Griffith http://www.jazzviews.net/george-garzonejerry-bergonzi---quintonic.html

Personnel:  George Garzone, Jerry Bergonzi- tenor sax; Carl Winther- piano; Johnny Aman- bass; Anders Morgensen- Drums

Quintonic

Friday, June 2, 2017

George Garzone - One Two Three Four

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 49:17
Size: 113,2 MB
Art: Front

(4:38)  1. Ballad for Trane
(3:20)  2. Head Now
(5:02)  3. I Remember You
(6:06)  4. Central Park West
(5:50)  5. Hey, Open Up
(4:24)  6. Falling Grace
(4:02)  7. Stablemates
(2:07)  8. Fox in the Woods
(2:13)  9. The Melody of Ayn, Piece One
(6:19) 10. Giant Steps
(3:04) 11. Tribute to Trane
(2:07) 12. Melody of Ayn, Piece Two

A powerful tenor saxophonist whose adventurous flights with his longtime band the Fringe have made him a legend in the Boston area, George Garzone has spent most of his life as a jazz educator. He began on the tenor when he was six, played in a family band, and attended music school in Boston. Garzone first formed his trio the Fringe (a group that in the mid-'90s also included founding member Bob Gullotti on drums and bassist John Lockwood) back in 1972. In addition, Garzone has guested in many situations, touring Europe with Jamaaladeen Tacuma and gigging with Danilo Perez, Joe Lovano, Jack DeJohnette, Rachel Z, and John Patitucci, among others. In 1995, he recorded a fine tribute to Stan Getz on NYC called Alone; Four's and Two's followed a year later and in 1999, Garzone returned with Moodiology. Fringe in New York was released in summer 2000. ~ Scott Yanow https://itunes.apple.com/us/artist/george-garzone/id6049910#fullText

Personnel: George Garzone (soprano saxophone, tenor saxophone); Chris Crocco (guitar); Pete Zimmer (drums).

One Two Three Four

Wednesday, May 31, 2017

George Garzone Quartet - Demetrio’s Dream

Styles: Saxophone Jazz
Year: 2003
File: MP3@224K/s
Time: 67:56
Size: 109,5 MB
Art: Front

(6:30)  1. Foggy Night
(6:03)  2. Funkey
(8:33)  3. Eleanor
(6:28)  4. Angela
(7:29)  5. Friends In Paris
(6:09)  6. Laputa
(5:59)  7. Danza di notte
(4:23)  8. Lovely
(7:17)  9. Another Kind Of Blues
(9:00) 10. Blues For Ted

A powerful tenor saxophonist whose adventurous flights with his longtime band the Fringe have made him a legend in the Boston area, George Garzone has spent most of his life as a jazz educator. He began on the tenor when he was six, played in a family band, and attended music school in Boston. Garzone first formed his trio the Fringe (a group that in the mid-'90s also included founding member Bob Gullotti on drums and bassist John Lockwood) back in 1972. In addition, Garzone has guested in many situations, touring Europe with Jamaaladeen Tacuma and gigging with Danilo Perez, Joe Lovano, Jack DeJohnette, Rachel Z, and John Patitucci, among others. In 1995, he recorded a fine tribute to Stan Getz on NYC called Alone; Four's and Two's followed a year later and in 1999, Garzone returned with Moodiology. Fringe in New York was released in summer 2000. ~ Scott Yanow http://www.allmusic.com/artist/george-garzone-mn0000647361/biography

Personnel:  Tenor Saxophone – George Garzone;  Contrabass – John Lockwood;  Drums – Bob Gullotti;  Guitar – Rick Peckham

Demetrio’s Dream