Manhattan Trinity - Sunflower

Styles: Jazz, Post Bop
Year: 2008
File: MP3@320K/s
Time: 61:23
Size: 141,7 MB
Art: Front

(7:09) 1. The Pink Panther
(5:35) 2. Sunflower
(6:31) 3. Mr. Lucky
(6:08) 4. Whisling Away The Dark
(7:04) 5. Dreamsville
(5:32) 6. Moment To Moment
(5:37) 7. Days Of Wine And Roses
(4:38) 8. Two For The Road
(5:43) 9. Moon River
(7:22) 10. Autumn Kisses

This all-star ensemble featuring Cyrus Chestnut, Lewis Nash, and George Mraz has been performing and recording off and on since the mid-90s. The musical inspiration for the band is "The Great Trio" from the 70s featuring Hank Jones, Ron Carter, and Tony Williams. This ensemble has such a tight connection, that the performances can only be described as sublime. Eric Alexander sometimes joins the group as a special guest.https://www.jazzmusicarchives.com/artist/manhattan-trinity

Personnel: Cyrus Chestnut (piano); George Mraz (bass); Lewis Nash (drums)

Sunflower

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Carol Sloane - Midnight Sun

Styles: Vocal
Year: 1983
File: MP3@320K/s
Time: 57:22
Size: 132,6 MB
Art: Front

(3:06) 1. I'm Glad There Is You
(3:41) 2. They Can't Take That Away From Me
(4:32) 3. 'S Wonderful
(4:12) 4. But Not For Me
(3:51) 5. Honeysuckle Rose
(5:46) 6. Spring Is Here
(4:24) 7. Our Love Is Here To Say
(3:06) 8. Just In Time
(6:20) 9. Midnight Sun
(3:01) 10. It's All Right With Me
(4:39) 11. Lover Man
(3:54) 12. Teach Me Tonight
(2:19) 13. You'd Be So Nice To Come Home To
(4:26) 14. When I Fall In Love / Body And Soul

A fine, underrated jazz vocalist who got her start with Lambert, Hendricks & Ross

Carol Sloane started singing professionally when she was 14, and at 18, she toured Germany in a musical comedy. She was with the Les and Larry Elgart orchestra from 1958 to 1960, and, after appearing at a jazz festival in 1960, she was heard by Jon Hendricks, who later sent for her to sub for Annie Ross with Lambert, Hendricks and Ross. Sloane made a big impression at the 1961 Newport Jazz Festival and soon cut two records for Columbia. Unfortunately, her career never got going, and, except for a live set from 1964 released on Honey Dew, Sloane would not record again until 1977, instead working as a secretary in North Carolina and singing just now and then locally.

However,in the mid-'70s, she became more active again, caught on in Japan (where she began to record frequently), and her career finally got on more solid footing. Sloane's releases for Audiophile, Choice, Progressive, Contemporary, and, later, Concord feature a mature, bop-based singer with a sound of her own. Carol Sloane died on January 23, 2023 at a senior care facility in Stoneham, MA due to complications from a stoke she'd suffered two years earlier. She was 85 years of age.
https://www.jazzmusicarchives.com/artist/carol-sloane

Personnel: Carol Sloane / vocals; Roland Hanna / piano; Ken'ichi Yoshida / piano; George Mraz / bass

Midnight Sun

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Cyrus Chestnut, Renee Rosnes, George Mraz, Billy Drummond - Tribute To Duke Ellington

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:04
Size: 153,7 MB
Art: Front

(4:16)  1. C Jam Blues
(4:39)  2. Satin Doll
(7:49)  3. In A Sentimental Mood
(7:56)  4. Take the a Train
(7:57)  5. Angelica
(7:16)  6. Mood Indigo
(4:26)  7. Don't Get Around Much Anymore
(4:55)  8. The Star Crossed Lovers
(4:44)  9. Come Sunday
(6:58) 10. Caravan
(6:04) 11. Lotus blossom

An adept jazz pianist, Cyrus Chestnut balances his lithe technical skill with a robust, soulful style that speaks to his deep gospel roots and love of swinging hard bop. A native of Baltimore, Maryland, Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. By the age of nine, he was enrolled in the prep program at the Peabody Institute. He graduated from Berklee with a degree in jazz composition and arranging. Chestnut took his time, working with a number of top-notch musicians (Jon Hendricks, Betty Carter, Terence Blanchard, and Donald Harrison) before finally recording his first solo CD at the age of 30. His initial dates as a leader were recorded for the Japanese label Alfa (reissued on Evidence), and he became an Atlantic artist in 1994. 

A self-titled LP followed in 1998, with Tribute to Duke Ellington following a year later. In subsequent years, Chestnut remained busy, releasing Charlie Brown Christmas in 2000, the all-original Soul Food in 2001, You Are My Sunshine in 2003, Genuine Chestnut in 2006, and Cyrus Plays Elvis in 2007. The following year, he released Black Nile on Japan's M&I label. In 2013, he delivered the hard bop-infused Soul Brother Cool, which featured trumpeter Freddie Hendrix. The following year, he showcased his trio on the concert album Midnight Melodies, recorded live at Smoke in New York City. In 2015, Chestnut released his debut album for HighNote, the trio effort A Million Colors in Your Mind, which featured backing from bassist David Williams and drummer Victor Lewis. https://itunes.apple.com/br/artist/cyrus-chestnut/id157212#fullText

Personnel:  Cyrus Chestnut - Piano (Tracks 2, 4, 6, 7 and 9);  Renee Rosnes - Piano (Tracks 3, 5, 8, 10 and 11);  George Mraz – Bass;  Billy Drummond - Drums

Tribute To Duke Ellington

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Roland Hanna & George Mraz - Romanesque

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 42:49
Size: 99,4 MB
Art: Front

(8:23) 1. Humoreske
(5:44) 2. Serenade
(6:10) 3. Reverie
(4:31) 4. Chant Sans Paroles, Op. 2, No. 3
(6:24) 5. Swan Lake
(8:39) 6. Yours Is My Heart Alone
(2:54) 7. Clair De Lune

Originally made for the Japanese Trio label and released domestically by Black Hawk, this was at least the sixth duet album that pianist Roland Hanna made with bassist George Mraz. Hanna takes seven classical melodies (including "Humoresque," "Reverie," "Swan Lake" and "Yours Is My Heart Alone") and transforms them into swinging and lyrical jazz, respecting the melodies but also coming up with fresh variations. Fine music.By Scott Yanow https://www.allmusic.com/album/romanesque-mw0000188145

Personnel: Piano – Roland Hanna; Bass – George Mraz

Romanesque

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Tony Lakatos - I Get Along With You Very Well

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 67:45
Size: 155,9 MB
Art: Front

(5:30) 1. Doctor, Lawyer, Indian Chief
(6:14) 2. Skylark (feat. Jimmy Scott (Vocal))
(4:37) 3. I Get Along With You Very Well
(5:34) 4. Georgia On My Mind
(3:03) 5. The Nearness Of You (feat. Jimmy Scott (Vocal))
(5:23) 6. Skylark
(5:52) 7. April In My Heart
(7:49) 8. Stardust (feat. Jimmy Scott (Vocal))
(5:32) 9. Little Break From Hoagy (feat. George Mraz, Adam Nussbaum)
(7:05) 10. The Nearness Of You
(3:10) 11. Heart And Soul
(4:39) 12. Big Breath
(3:11) 13. A Woman Likes To Be Told

Tony Lakatos,the great Hungarian jazz saxophone player was born on 13th November, 1958 in Budapest.His father was a fantastic Hungarian musician, a violinist.His brother, Roby Lakatos is a great violinist living in Brussels.

As for a start, Tony, then Tónika /Antal/ started learning to play the violin, as it was traditional in his family.To my knowledge,their family is one of the most outstanding gypsy musician families of Hungary, his ancestors can be traced back as belonging to the best violinist family, the Bihari family./I'm not quite sure of the name, though./ The little Tony got to like the saxophone,but his parents didn't approve of him changing his musical instrument.

At last, he still started playing, and he appeared at one of Hungary's jazz festivals at the age of 17 as a great talent and surprise for everyone. Eversince then he has played with all the most renowned Hungarian musicians like Szakcsi Lakatos Béla /piano/,Dresch Mihály /saxophone/,Pecek Lakatos Géza /drums/,Balázs Elemér /drums/,Lattmann Béla /bass guitar/ and numerous others.

He moved to Germany in 1985 /or so/ and has been living there since then, in Stuttgart.He has played with numerous American, German and European jazz musicians.He has had concerts all around Europe,USA and even in Japan. Tony Lakatos returns to Hungary quite often, so we are lucky to be able to listen to his inventive music.He does not only play jazz standards but also a great composer in his own right. Tony is married with two daughters, a good hearted, very nice person.
https://www.last.fm/music/Tony+Lakatos/+wiki

Personnel: Tony Lakatos - Tenor & Soprano Saxophones; George Mraz - Bass; Tim Lefebvre - Electric Bass; Adam Nussbaum - Drums; Jimmy Scott - Vocals

I Get Along With You Very Well

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Manhattan Trinity - Misty

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 52:15
Size: 120,1 MB
Art: Front

(5:59) 1. All of Me
(5:04) 2. Misty
(5:53) 3. Li'l Darlin'
(4:04) 4. You Are My Sunshine
(6:38) 5. The Happy Saint
(7:29) 6. Shiny Stockings
(6:42) 7. Tenderly
(4:44) 8. Through the Fire
(6:44) 9. The Very Thought of You
(5:39) 10. Take the a Train

This all-star ensemble featuring Cyrus Chestnut, Lewis Nash, and George Mraz has been performing and recording off and on since the mid-90s. The musical inspiration for the band is "The Great Trio" from the 70s featuring Hank Jones, Ron Carter, and Tony Williams. This ensemble has such a tight connection, that the performances can only be described as sublime.https://www.jazzmusicarchives.com/artist/manhattan-trinity

Personnel: Cyrus Chestnut (piano); George Mraz (bass); Lewis Nash (drums)

Misty

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Miriam Klein - By Myself

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 41:05
Size: 94,4 MB
Art: Front

(5:10)  1. Something to Remember You By
(3:33)  2. By Myself
(4:23)  3. Bei mir bist du schoen
(4:08)  4. Lush Life
(4:49)  5. Sophisticated Lady
(3:28)  6. There Is No Greater Love
(3:20)  7. Prelude to a Kiss
(3:50)  8. Mean to Me
(4:21)  9. It's a Sin to Tell a Lie
(3:57) 10. I'm Glad There Is You

Swisss vocalist Miriam Klein first came into the public eye when she performed in Paris in the 1950s with Dexter Gordon, Pierre Michelot, Don Byas and Art Simmons. Later she attended Music School in Vienna and went back to Switzerland to work with the ensembles of her husband, trumpeter and guitarist Oscar Klein. It was in the 1960s and 1970 that she became known internationally. In 1978 her album 'By Myself' was produced by concert management tycoon Horst Lippmann for the L+R label. Lippmann: This is the NEW Miriam Klein confident of her own way of singing. A Miriam Klein By Herself hence the album title. Jazz critic Markus Woelfle: It is her best recording and if she were an American lady and not a Swiss this album would be the pride of everyone's vocal collection. 

The emotional power of her voice and the rich shadings of her interpretations are highlighted by the perfect accompaniment of her inspired sidemen Roland Hanna and George Mraz. It is rare that a pianist offers such perfection and musical additions to a singer - the solos are brilliant and of perfect architecture without overpowering the vocalist. Miriam Klein celebrated her last triumph on her saxophonist son David's 'My Marilyn' album (ENJ-9422) and the label is proud to now present 'By Myself' for the first time on CD. http://akmuzik.com.tr/ak/catalog/showalbum.asp?album=JNKPMPQPO

Personnel: Vocals – Miriam Klein; Acoustic Bass – George Mraz; Piano – Sir Roland Hanna

By Myself

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Richie Beirach Trio - What Is This Thing Called Love

Bitrate: MP3@320K/s
Time: 57:54
Size: 132.6 MB
Styles: Bop, Contemporary jazz
Year: 1999
Art: Front

[4:52] 1. What Is This Thing Called Love
[6:19] 2. Leaving
[5:32] 3. Night And Day
[4:07] 4. Goodbye
[6:08] 5. Autumn Leaves
[6:11] 6. All The Things You Are
[3:53] 7. Pinocchio
[5:22] 8. Oh, What A Beautiful Morning
[7:26] 9. Nardis
[8:02] 10. On Green Dolphin Street

Double Bass – George Mraz; Drums – Billy Hart; Piano – Richie Beirach. Recorded at Sear Sound Studio in New York on June 18 and 19, 1999.

What a fantastic 'jazz piano trio' - yes George Mraz is truly a bassist delight, sympathetic, emotive, with improvised soloing thrown in. Virtuosic players all three, Billy Hart is one of the greatest drummers for modern jazz, creative, inventive, and progressive! Last but not least - the leader - Richie Beirach on piano - a consistently inventive pianist whose ability to play straight ahead or avant-garde and with lyricism makes him an original. ~John Herrmann

What Is This Thing Called Love

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Richie Beirach - Manhattan Reverie

Bitrate: MP3@320K/s
Time: 69:41
Size: 159.5 MB
Styles: Piano jazz
Year: 2006
Art: Front

[5:14] 1. You Don't Know What Love Is
[6:09] 2. On Green Dolphin Street
[6:40] 3. If I Were A Bell
[5:07] 4. Manhattan Reverie
[8:49] 5. Etude (No. 6 In E-Flat Minor, Op. 10)
[9:07] 6. Transition
[8:34] 7. Stella By Starlight
[5:37] 8. Veils
[6:30] 9. Blood Count
[7:52] 10. Footprints

Richie Beirach: piano; George Mraz: bass; Billy Hart: drums.

It was all in the eyes. They say peek into someone's eyes if you really want to see what they're about and how they're feeling. From the looks of things at a performance to celebrate his sixtieth birthday at Birdland at the end of August 2007, it seemed that Richie Beirach was feeling good. Sounded tops, too. This classically-trained veteran pianist was marking his sixth decade on earth with a little help from his friends—trio band mates, bassist George Mraz and drummer Billy Hart, expert rhythm makers also featured on this highly effective 2007 Japanese import from Venus Records, Manhattan Reverie. They all appeared to have a certain twinkle in their eyes, suggesting that they are very comfortable playing with each other, wise to each other's ways and that they were having a good time. It was kind of a nice message: Age has nothing to do with vitality or musical ability, except maybe, in this case, it adds to both of those things.

Two terrific guests shared in the belated (his birthday was in May) festivities at Birdland —trumpeter Randy Brecker and the violinist Gregor Huebner. Whether live or on recording, Hart and Mraz supplied excellent support to Beirach's intricate, introspective and lively playing. Surprises of the show included explorations of Bartók and Bach, each offering gorgeously rendered improvisations. A tribute to the late Michael Brecker, in the form of a rearranged "old Russian folk song as Beirach described it, was moving and beautiful, if at moments almost painful to witness, a feeling heightened by the intensity of brother Randy's participation. These stunning, seemingly effortless endeavors were punctuated by exquisite soloing by Huebner.

The live event had been touted in some circles as an occasion also to mark the release of Manhattan Reverie so the repertoire sampled on the Friday before Labor Day was somewhat unexpected, as no pieces from the album were played in that particular set. But the recording merits repeated listening. It features several standards, including "You Don't Know What Love Is, "On Green Dolphin Street and "If I Were a Bell, all performed at breakneck pace. Somehow that works. In fact, for those of us out here who are a little love-weary (or even love-leery?) it was a welcome change of pace to hear a heart-crushing tune like "You Don't Know What Love Is zip by at such a clip. Would that the pain of lost love could breeze by like that. The Germany-based pianist's own title track is delicious and more gently realized, though a pretty violin accompaniment goes by uncredited. ~Laurel Gross

Manhattan Reverie

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Richie Beirach - Round About Federico Mompou

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 63:19
Size: 149,1 MB
Art: Front

(4:29) 1. Impressiones Intimas #1
(8:09) 2. Música Callada # 6
(2:13) 3. Fantasie on Musica Callada # 10
(6:37) 4. Música Callada # 10
(2:58) 5. Bass Fantasie on Música Callada # 1
(3:55) 6. Música Callada # 1
(1:48) 7. Música Callada # 27
(4:37) 8. Around Música Callada # 27
(3:13) 9. Fantasie on Música Callada # 19
(1:00) 10. Around Música Callada # 19
(3:42) 11. Música Callada # 19
(7:42) 12. Música Callada # 18
(1:58) 13. Fantasie on Música Callada # 18
(2:31) 14. Música Callada # 15
(8:19) 15. Música Callada # 22

Richard "Richie" Beirach (born May 23, 1947) is a jazz pianist and composer born in New York City. He initially studied both classical and jazz before entering the Berklee College of Music. In 1972 he began working with Stan Getz. He also worked with Chet Baker and in the 1990s worked well with Swedish saxophonist Henrik Frisk. He maintained an ongoing musical partnership with David Liebman from the 1970s to the 90s, in Lookout Farm, Quest and many duos. Richie Beirach's style is influenced by Art Tatum, Bill Evans, McCoy Tyner, Chick Corea and his earlier classical training. It is also individualistic with many touches all its own. Several of his compositions, "Leaving" and "Elm" for instance, have found their way into the jazz standard repertoire.
https://wn.com/richie_beirach_round_about_federico_mompou/musician

Personnel: Piano – Richie Beirach; Double Bass – George Mraz; Violin – Gregor Huebner

Round About Federico Mompou

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Harold Ashby Quartet - Harold Ashby Quartet

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 54:34
Size: 126,1 MB
Art: Front

(4:23)  1. Candy
(4:26)  2. Quickie
(5:02)  3. There Is No Greater Love
(3:59)  4. Dainty
(5:08)  5. Over the Rainbow
(4:31)  6. Pleading
(4:00)  7. Days of Wine and Roses
(3:49)  8. Cous Cous
(5:00)  9. There Is No Greater Love - Alt-Take 9
(4:04) 10. Days of Wine and Roses - Alt-Take 3
(6:19) 11. Pleading - Alt-Take 1
(3:47) 12. Dainty - Alt-Take 1

An excellent Ben Webster-inspired tenor saxophonist, Harold Ashby fit right in during his period with Duke Ellington. He had played in Kansas City (starting in 1946) and, in the early '50s, in Chicago. While most of his previous work was in R&B and blues bands, he was always a fine swing-based improviser. In 1957, Ashby moved to New York, met Ben Webster, and through the elder tenor was introduced to Duke Ellington. During the next decade he was on the periphery of Duke's world, playing with Mercer Ellington's short-lived band, recording with Ellington stars, and appearing in Duke's My People show. Ashby was more than ready when he joined Ellington in 1968, and he was a major asset to the band up until the leader's death. Ashby continued with Mercer Ellington into 1975, gigged with Benny Goodman and Sy Oliver, and performed often in Europe and led occasional record dates, including 1991's What Am I Here For? and 1999's Just For You, thus keeping the Ellington swing tenor legacy alive. After suffering a heart attack in May of 2003, Harold Ashby was hospitalized in his adopted home of New York. He passed away June 13, 2003 at the age of 78. ~ Scott Yanow https://www.allmusic.com/artist/harold-ashby-mn0000667414/biography

Personnel: Harold Ashby (ts); Don Friedman (p); George Mraz (b); Ronnie Bedford (d)

Harold Ashby Quartet

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Larry Willis - My Funny Valentine

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 63:38
Size: 146,1 MB
Art: Front

(5:46)  1. For Opener's
(3:18)  2. It could Happen to You
(6:31)  3. Blues for Wynton Kelly
(8:52)  4. Who's Kidding Who
(6:03)  5. Rhythm-A-Ning
(6:28)  6. Blood Count
(6:46)  7. My shining Hour
(5:45)  8. Lazy Afternoon
(8:02)  9. Ethiopia
(6:02) 10. My Funny Valentine

Although Larry Willis had played fusion and electric jazz-rock in the 1970s, the Willis heard on 1988's enjoyable, if conventional, My Funny Valentine is a more conservative post-bopper/hard bopper whose main reference points include McCoy Tyner, Tommy Flanagan, Wynton Kelly and Bill Evans. Willis plays the acoustic piano exclusively on this CD, and standards are a high priority. Nothing cutting-edge occurs, just straight-ahead jazz that's honest, warm and melodic. Most of the selections are trio numbers with bassist George Mraz and drummer Al Foster, although the pianist is joined by the passionate alto saxman Kenny Garrett on Thelonious Monk's "Rhythm-A-Ning," Garrett's insistent "For Openers" and Willis' haunting "Ethiopia." As a trio pianist, Willis is in good form on such often recorded standards as "My Funny Valentine," "Lazy Afternoon" and Billy Strayhorn's "Bloodcount" all of which demonstrate how sensitive a ballad player he can be. Initially released only in Japan by the Jazz City label, My Funny Valentine came out in the U.S. when the Philadelphia-based Evidence Music reissued it in 1998. ~ Alex Henderson https://www.allmusic.com/album/my-funny-valentine-mw0000198066

Personnel: Larry Willis – piano; Kenny Garrett – alto saxophone; George Mraz – bass; Al Foster – drums

My Funny Valentine

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Pepper Adams - Urban Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 39:21
Size: 91,0 MB
Art: Front

(6:27)  1. Dexter Rides Again
(4:44)  2. Urban Dreams
(7:18)  3. Three Little Words
(6:55)  4. Time on My Hands
(7:04)  5. Pent Up House
(6:51)  6. Trentino

Musicians frequently become associated with the attributes of their instruments. Charles Mingus was hulking and imposing, just like his bass. Art Blakey had the propulsive, authoritative personality of his drums. Paul Desmond was urbane and laidback, just like the sound of his sweet-toned alto. There are, of course, exceptions to these sorts of correlations. Take Pepper Adams for instance. Slight of frame, particularly in his later years, Adams physical presence was the apotheosis of his chosen axe. Hefting his baritone horn with rail-thin arms, he coaxed out growling guttural lines seemingly at odds with his stature and appearance. Like a lion tamer subjugating a savage beast, he made the weighty sax a complete instrument of his bidding. His tone and phrasing, muscular and blues-based, were far removed from his generation's other skinny guy with a big horn, Gerry Mulligan. Sadly, for whatever reason, Adams' opportunities to record as a leader were far less frequent than those afforded Mulligan. The situation likely has a lot to do his willingness to lend his talents to the causes of other colleagues. Even the quintet he co-led with Donald Byrd at the dawn of the '60s found him taking a second slot on the marquee. The '70s and '80s weren't much better, but Adams did find the occasional resources to record. This reissued Palo Alto date comes from relatively late in his career, but his abilities are hardly diminished. A blue chip rhythm section fronted by pianist Jimmy Rowles, an Adams associate since the '50s, does more than simply supply support, and each member of the quartet has room to solo. The six chosen tunes are all fine blowing vehicles and Adams makes certain that there's space for amicable improvisation. "Dexter Rides Again" finds the band at rollicking gallop with clocking a brisk pace through the changes beside Rowles' light comping and the steady bobbing bass line of George Mraz. Billy Hart stokes the aggressive beat further with steady snare accents. "Urban Dreams," the brief original ballad of the set, rolls out the leader's romantic side. His throaty tone braids through the melody as Hart's brushes further embellish on the amorous implications. Two standards arrive next "Three Little Words" voiced velociously and "Time is on My Hands" taken at another slow drawl tempo each one showing off the band's consummate skill with repertory material. Adams can't resist packing an ample amount of blues punch into both. Rollins' racetrack worthy "Pent Up House" proves even better terrain for the band's high-speed inclinations. Adams once again burns through the changes leaving a smoldering melodic trail in his wake. His lush Latin burner "Trentino" takes the session out. No alternate takes or unreleased tunes, just the original album served up with warm 24 bit mastering. Pepper Adams' memory lives on in this immensely enjoyable and easily recommendable album. ~ Derek Taylor https://www.allaboutjazz.com/urban-dreams-pepper-adams-palo-alto-review-by-derek-taylor.php

Personnel: Pepper Adams: baritone saxophone; Jimmy Rowles: piano; George Mraz: bass; Billy Hart: drums.

Urban Dreams

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Chuck Redd - All This And Heaven Too

Styles: Vibraphone Jazz
Year: 2002
File: MP3@320K/s
Time: 62:40
Size: 144,9 MB
Art: Front

(4:31)  1. How About You'
(5:42)  2. More Than You KNow
(5:47)  3. They Say It's Wonderful
(7:10)  4. Indian Summer
(5:32)  5. Three In One
(5:51)  6. All This And Heaven Too
(5:13)  7. Speaking Of Sounds
(7:21)  8. Barbados
(4:39)  9. I Know Why
(4:51) 10. Bennie's Pennies
(5:59) 11. Once Is Not Enough

When one learns that vibraphonist Chuck Redd got his start as a drummer in the Charlie Byrd Trio, it's easy to understand where he began developing his taste. All This and Heaven Too, his second album as a leader, even resembles a particular Byrd album that he played on in 1998, Au Courant. Like that album, Redd has combined vibraphones with guitar and bass for an intimate but spunky sound. Four of the tracks are filled out a bit by Ken Peplowski on either tenor sax or clarinet. The album gets a bouncy start with "How About You?" before delving into the quieter "More Than You Know." Redd's solos are filled with melody and lovingly realized, while Gene Bertoncini, switching between the electric and acoustic guitar, injects his leads with rhythm and soul. George Mraz's bass holds it all together, offering a steady underpinning to the trio. While song choices like Irving Berlin's "They Say It's Wonderful" reveal the band's interest in traditional forms, the group also tackles Charlie Parker's "Barbados." It only made sense that once classic forms of jazz became established in the '80s and '90s, instruments assigned to the dustbin clarinets, acoustic guitars, and vibraphones would make a comeback. Chuck Redd and friends, however, accomplish much more than a rehashing of yesteryear on All This and Heaven Too. While fans of older jazz styles will enjoy the album, anyone interested in superbly executed music should give it a listen. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/all-this-and-heaven-too-mw0000660148

Personnel: Chuck Redd - vibraphone;  Ken Peplowski - clarinet, tenor saxophone; Gene Bertoncini - guitar, acoustic guitar; George Mraz - bass

All This And Heaven Too

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John Bunch - It's Love in the Spring

Styles: Piano Jazz 
Year: 2018
File: MP3@320K/s
Time: 49:21
Size: 114,9 MB
Art: Front

(4:09)  1. It's Love in the Spring
(4:11)  2. Celia
(4:29)  3. Cincinnati Slick
(4:04)  4. Emily
(6:27)  5. Struttin' with Some Barbecue
(5:38)  6. Dream Dancing
(5:55)  7. Night Mist Blues
(3:43)  8. Jubilee
(4:55)  9. Cincinnati Slick - Alt-Take 2
(5:45) 10. It's Love in the Spring - Alt-Take 2

John Bunch (1921-2010) was already in his mid-thirties before he made his first recordings, but he lasted long enough to leave behind a strong musical legacy. A member of the Woody Herman Orchestra in 1957, he worked along the way with Maynard Ferguson, Eddie Condon, Tony Bennett (1966-72), Benny Goodman, Buddy Rich, and Gene Krupa. In the 1970s when the rise of Scott Hamilton and Warren Vaché launched the comeback of small-group swing, Bunch was utilized on many sessions despite being twice as old as many of the movement’s pacesetters. He led over 20 record dates of his own during 1975-2009. A flexible swing pianist who had no difficulty playing with both Ruby Braff and Louie Bellson, Bunch was an asset to every group in which he appeared. It’s Love In The Spring, which was recorded March 1, 1977, teams Bunch in a drumless trio with guitarist Cal Collins and bassist George Mraz on eight songs plus two previously unreleased alternate takes. The repertoire covers a wide ground, from “Struttin’ With Some Barbecue” and Hoagy Carmichael’s “Jubilee” (both of which are taken as romps) to Bud Powell’s “Celia” and “Emily.” Bunch, who contributed two originals, works very well in this setting, guitarist Collins has many fine solos, and bassist Mraz holds everything together quite well. The variety of songs and tempos make It’s Love In The Spring a very satisfying listen and an excellent example of John Bunch’s tasteful and swinging piano. ~ Scott Yanow https://syncopatedtimes.com/john-bunch-its-love-in-the-spring/

Personnel: John Bunch (p); Cal Collins (g); George Mraz (b)

It's Love in the Spring

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McCoy Tyner - Plays John Coltrane At The Village Vanguard

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 66:22
Size: 152,4 MB
Art: Front

(12:17)  1. Naima
( 7:07)  2. Moment's Notice
(12:27)  3. Crescent
( 3:43)  4. After The Rain
(12:18)  5. Afro Blue
(11:08)  6. I Want To Talk About You
( 7:20)  7. Mr. Day

First off, for those who might assume this record was some never-before released Tyner Impulse record from the 60s please calm down...it's actually a Tyner record of the recent era when he recorded for Impulse, evidently residue from the contract he was under before having moved onto Telarc. So-not the Tyner of such memorable records as Today and Tommorrow or Inception, not that classic 60s Impulse recorded sound, but...a good record nonetheless and one that has its own certain value both in the Tyner discography and in the realm of Trane tribute records. This live set from the Village Vanguard was recorded in 1997 on John Coltrane's 71st birthday (the fact we are now in the annum of his 75th birthday makes it all the more timely). Tyner is accompanied here by the excellent bassist, George Mraz, and the spunky rhthymic force of Al Foster on drums. Both players have been part of the McCoy Tyner trio in recent years as Tyner has branched out from having only longtime associates Avery Sharpe and Aaron Scott in his trio. Foster, in fact, was featured on a recent Telarc trio record along with the bassist Stanley Clarke. These trio mates serve McCoy Tyner well, indeed, better than Sharpe and Scott do but that's no major revelation; people have observed for years that Tyner's trio didn't exactly feature musicians on his same footing. In any event, what the gains are made are obvious in terms of musicianship. Mraz is inobtrusive and respectful of McCoy's own volume level, providing uncomplicated but solid basslines, while Al Foster is simply exemplary in the way that he will constantly stir up bluster but never overwhelm. 

Generally speaking then-these musicians stay out of Tyner's way and only do what is needed to accentuate his playing. There's a certain conservatism here, but Tyner's former trio, in contrast, often had the feeling of a rock act because the three musicians tended to move less as a unit, more as one soloist after another. The trio's program of tunes and compositions made famous by Trane is well-rounded but there's nothing faintly offbeat in terms of tune selection. "Mr Day," also know as "Ug 'Gainst the Wall" is the closest thing, as a rather southern-sounding blues penned by Trane. Nevertheless, the classic Trane repertoire is well-represented here with thoughtful, stately renditions of "Naima," "I Want to Talk About You," and "After the Rain." A case could be made that the set is too ballad-heavy, but then you realize one isn't in real position to argue with how Tyner wants to honor Trane, his old boss. "Crescent" and "Afro Blue" are the two cuts which feature the McCoy Tyner many think of-driving, banging fifths in the left hand, and sideways right-hand work that sounds at somewhere around Mach 5. That said, "Afro Blue" is probably the choice cut on the record; great Mraz solo, and dramatic build-ups here. "Mr Day" aka "Up Against the Wall"-is fine for its chordal dynamism-we see here clearly why McCoy's left hand is the envy of so many jazz pianists. Finally-"Moment's Notice" stands as the only track that seems somewhat insubstantial. Overall, this set is a good representative of late-period Tyner some feel that is a qualification in itself; however to longtime Tyner fans who still appreciate his work, or to those new to this dramatic style of jazz piano, this record should provide some decent listening. It's not essential as a Trane tribute record (as Impulse(Verve) has tried to market it)-though. There are much more important Trane tribute records out there, including several that McCoy has been involved with himself. ~ AAJ Staff https://www.allaboutjazz.com/plays-john-coltrane-at-the-village-vanguard-mccoy-tyner-universal-music-group-review-by-aaj-staff.php?width=1920

Personnel: McCoy Tyner-Piano. George Mraz-Bass. Al Foster-drums.

Plays John Coltrane At The Village Vanguard

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Andy LaVerne Quartet - Four Miles

Styles: Piano Jazz
Year: 1996
File: MP3@224K/s
Time: 70:13
Size: 112,9 MB
Art: Front

(8:28)  1. When you wish upon a star
(4:52)  2. Summertime
(8:22)  3. Maiden voyage
(7:32)  4. Some say my prince will come
(6:41)  5. Song for my father
(7:41)  6. All blues
(7:58)  7. Mr Syms
(7:26)  8. Cantaloupe island
(4:29)  9. Round midnight
(6:40) 10. On green dolphin street

Despite the CD's title, most of the music on this date does not have any close connection to Miles Davis; in fact five of the ten songs were not even recorded by Davis. In addition, trumpeter Randy Brecker, who joins the Andy Laverne Trio (which is comprised of pianist Laverne, bassist George Mraz and drummer Al Foster) sounds closer to Freddie Hubbard and Lee Morgan than to Davis. However, if one does not think about the tribute aspect (or lack of), the music is quite enjoyable. Laverne and Brecker have many fine solos within the hard-bop tradition on such numbers as "When You Wish Upon a Star," "Maiden Voyage," "All Blues" and "Cantaloupe Island." An excellent modern straight-ahead date that falls just a little short of being essential. ~ Scott Yanow https://www.allmusic.com/album/four-miles-mw0000025762

Personnel:  Piano – Andy Laverne; Bass – George Mraz; Drums – Al Foster; Trumpet, Flugelhorn – Randy Brecker

Four Miles

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Rick Margitza - Hands Of Time

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 50:39
Size: 116,7 MB
Art: Front

(7:31)  1. Hands Of Time
(5:47)  2. Hip Bop
(6:54)  3. Embraceable You
(7:06)  4. How Things Are At Home
(8:33)  5. Forty Five Pound Hound
(6:56)  6. At Long Last
(7:49)  7. Cultural Elite

For this modern straight-ahead set, Rick Margitza (heard on both tenor and soprano) performs six of his challenging originals plus "Embraceable You." The latter, whose melody is given some altered notes that do not help and make things sound sour, is a low point. However, Margitza sounds much stronger on his originals, particularly the boogaloo "Hip Bop," the medium-tempo blues "Forty Five Pound Hound," and the joyful "At Long Last." His rhythm section is excellent (bassist George Mraz is particularly responsive to the saxophonist's playing), and Margitza sounds in prime form, showing individuality on both of his horns. ~ Scott Yanow https://www.allmusic.com/album/hands-of-time-mw0000645101

Personnel: Saxophone – Rick Margitza;  Double Bass – George Mraz; Drums – Al Foster; Piano – Kevin Hays

Hands Of Time

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Rick Margitza - Work It

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 59:04
Size: 135,9 MB
Art: Front

(9:09)  1. Steppin' out
(7:53)  2. Work it
(9:47)  3. My foolish heart
(7:07)  4. Your lady
(8:02)  5. It could happen to you
(9:08)  6. Last season/Widows walk
(7:55)  7. A sour mystery of bird

One of the "young lions," Rick Margitza is an excellent tenor saxophonist most inspired by Wayne Shorter, Michael Brecker, and John Coltrane. He started on the violin when he was four (his grandfather was a cellist and his father a violinist with the Detroit Symphony), studied classical piano for a bit, and also played oboe before switching to tenor in high school. 

He attended Wayne State University, Berklee, the University of Miami, and finally Loyola University in New Orleans, where he lived and played for four years. Margitza toured with Maynard Ferguson and also Flora Purim and Airto before moving to New York in 1988. He spent part of 1988 in Miles Davis' group and then cut three sets as a leader for Blue Note during 1989-1991. His 1994 outing for Challenge found Margitza showing increasing individuality. ~ Scott Yanow https://www.allmusic.com/artist/rick-margitza-mn0000855174/biography

Personnel:  Rick Margitza (Tenor sax); George Mraz (Bass); James Williams (Piano); Billy Hart (Drums).

Work It

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Kenny Barron Trio - Minor Blues

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 72:56
Size: 168,0 MB
Art: Front

(6:35)  1. Minor Blues
(6:57)  2. Beautiful Love
(6:54)  3. Emily
(9:03)  4. For Heaven's Sake
(8:20)  5. How Deep Is The Ocean
(8:37)  6. Too Late Now
(6:33)  7. Don't Explain
(6:25)  8. Hush - A - Bye
(6:51)  9. I've Never Been In Love Before
(6:37) 10. My Ideal

Kenny Barron was honored as an NEA Jazz Master on January 12, 2010, and it was a recognition that was due. Since entering the jazz scene in the early '60s, he has made his mark as a sideman (especially with Dizzy Gillespie and Stan Getz), solo pianist, leader, and composer. These 2009 sessions pair him with frequent collaborator Ben Riley and fellow veteran George Mraz on bass. While most of the focus is on familiar standards, the opener is Barron's slinky "Minor Blues," in which Barron and Mraz both shine backed by Riley's brushwork, though the drummer switches to sticks for his breaks. The leader's jaunty take of "Emily" and driving treatment of "How Deep Is the Ocean?" sizzle. His richly textured setting of "Too Late Now" doesn't require its lyrics to get across the mood of the song, while his breezy Latin arrangement of Billie Holiday's "Don't Explain" casts this ballad in a new light. This is yet another fine example of Kenny Barron's superb chops in a small-group setting. ~ Ken Dryden https://www.allmusic.com/album/minor-blues-mw0001969830

Personnel:  Kenny Barron – piano; George Mraz – bass; Ben Riley – drums

Minor Blues

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