Tomasz Stanko New York Quartet - December Avenue

Styles: Trumpet Jazz
Year: 2017
Time: 64:21
File: MP3 @ 320K/s
Size: 154,1 MB
Art: Front

(4:13) 1. Cloud
(2:01) 2. Conclusion
(8:52) 3. Blue Cloud
(7:19) 4. Bright Moon
(5:05) 5. Burning Hot
(1:30) 6. David and Reuben
(6:26) 7. Ballad for Bruno Schulz
(4:05) 8. Sound Space
(6:33) 9. December Avenue
(6:08) 10. The Street of Crocodiles
(6:07) 11. Yankiels Lid
(5:58) 12. Young Girl in Flower

The elder statesman of modern Polish jazz, trumpeter and composer Tomasz Stańko has more than a forty year history with ECM. Dating back to his 1976 label debut, Balladyna, Stańko sounds to have arrived fully-formed, and in the company of Dave Holland and Finnish percussionist Edward Vesala. Stańko's trademark atmospheric and cerebral style is fully intact on December Avenue, his twelth album for Manfred Eicher's label.

Stańko's New York Quartet includes ECM artists David Virelles, whose Mbókò (2016) and Antenna (2016), amassed high praise, and Gerald Cleaver who has appeared on a number of the label's releases including those of Michael Formanek, Tim Berne, Roscoe Mitchell and Miroslav Vitous. Both were part of Stańko's Wisława project while bassist Thomas Morgan has been replaced by Reuben Rogers. The bassist's ties to the label are with Charles Lloyd on Rabo de Nube (2007), Mirror (2010) and Athens Concert (2011).

Stańko has long surrounded himself with a younger generation of top-rate musicians, helping to keep his own, introspective-leaning style, more open. Historically notably among those supporting players was the Lontano (ECM, 2006) group where the trumpeter was backed by the Marcin Wasilewski Trio who went on to substantial success. The New York Quartet has similarly brought out Stańko's considerable free improvisational skills but to a limited extent.

Virelles' meloncholy piano opens "Cloud," joined quickly by Stańko on a languid ballad that sets up the more spirited "Conclusion." On the latter we hear Rogers crafty introduction and Stańko's more animated playing but at just two- minutes, the piece doesn't quite live up to its energetic beginning. The pace doesn't accelerate again until "Burning Hot" where relative to the reflective stroll of the opening numbers the title is representative of Stańko's more inventive playing and the complex interaction with Virelles. "Ballad for Bruno Schulz" is essentially a Stańko/Virelles duo and the most appealling of the quiet compositions on December Avenue.

The minimal "Sound Space" leads to the energetic, boppish title track featuring a standout solo from Rogers and engaging contributions from both Stańko and Virelles, held together with some intricate and sophisticated work by Cleaver. "Yankiels Lid" is the most open of the twelve pieces and sees Virelles and Rogers at their most imaginative, while Stańko takes an accompanying role. "Young Girl In Flower" closes the album much as it began-a gentle ballad highlighted by Stańko's breathy signature style.

Stańko has been long been regarded for his ability to cover a wide range of emotions with his instrument and he can make the trumpet speak in tongues when he wishes to do so. But the avant-garde Stańko of circa Bluish (Power Bros., 1991) has long since been supplanted by the lyrically sophisticated minimalist of recent years. That mind-set works well in making his more visionary arrangements pop in the context of an entire album. December Avenue is strikingly balanced and tastefully performed by this well synergized quartet.By Karl Ackerman https://www.allaboutjazz.com/december-avenue-tomasz-stako-new-york-quartet-ecm-records-review-by-karl-ackermann

Personnel: Tomasz Stanko, trumpet; David Virelles, piano; Reuben Rogers; bass; Gerald Clayton, drums.

December Avenue

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Bill Frisell - Four

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 57:49
Size: 133,2 MB
Art: Front

(2:25) 1. Dear Old Friend (For Alan Woodard)
(5:15) 2. Claude Utley
(5:43) 3. The Pioneers
(3:46) 4. Holiday
(2:47) 5. Waltz For Hal Willner
(5:09) 6. Lookout For Hope
(6:17) 7. Monroe
(3:46) 8. Wise Woman
(3:48) 9. Blues From Before
(4:13) 10. Always
(3:03) 11. Good Dog, Happy Man
(4:49) 12. Invisible
(6:42) 13. Dog On A Roof

Two years after issuing his acclaimed trio album Valentine, Grammy Award-winning guitarist and composer Bill Frisell returns with ‘Four’, a stunning meditation on loss, renewal, and those mysterious inventions of friendship.

Frisell’s third album for Blue Note Records since signing with the label in 2019 proffers new interpretations of previously recorded originals as well as nine new tunes. The session brings together artists of independent spirits and like minds: Blue Note stablemates Gerald Clayton on piano and Johnathan Blake on drums, and longtime collaborator Greg Tardy on saxophone, clarinet, and bass clarinet. ‘This combination of people had been floating around in the back of my mind since before the pandemic,’ says the Brooklyn-based artist.

Guitarist Bill Frisell, on his third recording for Blue Note, expands the quiet, explorative music he delivered on 2020’s Valentine through a much different instrumental configuration. Much of the music is about loss, the deep ties of friendship, and a few that point to renewal. The music leans far more into contemporary jazz than into the kind of folk and Americana we associate with Frisell, but races do remain. There are 13 tracks, all composed by Frisell, nine of which are new and four reinvented from previous recordings.

Longtime collaborator Greg Tardy on tenor saxophone, clarinet, and bass clarinet is a major force along with Blue Note artists Gerald Clayton on piano and Johnathan Blake on drums. Conspicuously absent is a bassist, thus leading to much lighter, spacey sound that developed as Frisell entered the session, not with through-composed pieces, but fragments as he encouraged spontaneous and open interaction. Consider that five of these tracks feature clarinet, electric guitar, piano, and drums not a configuration one often hears. The music is highly textural and melodic, eschewing the conventional head-solo-solo-head but instead collectively building variation off melodies, or in some case, simply off chords.

Frisell developed the concept during the pandemic, during a time when we lost so many talented artists and friends, giving the album an overall melancholy tone. This is somewhat divergent, but it recalls for this writer the pop album from Australians Paul Kelly and Charlie Owen favorite funeral songs, 2017’s Death’s Dateless Night, which is vastly different musically but similar in tone and spirit, balancing the reverent with the celebratory. Suffice it to say that while folks often spend hours on playlists for a wedding, few would do the same for a funeral. Yet, if they did so, Frisell’s music should be at the top of such a list. Melancholy doesn’t necessarily imply maudlin.

There’s sublime, flowing beauty in these tracks, beginning with “Dear Old Friend,” written for Frisell’s childhood friend, Alan Woodard, who Frisell had known since the seventh grade. The title also applies to one of Frisell’s closest friends, the late cornetist and Blue Note artist Ron Miles, with whom Frisell had played frequently and to whom he dedicates the album. Tardy carries the angelic melody on clarinet, with a tone so airy and pure, that sounds flute-like. The melody itself has echoes of “Swing Low, Sweet Chariot” as Frisell and Clayton tenderly and texturally wrap Tardy’s lines. “Claude Utley,” written for Frisell’s painting friend who passed this past year, harnesses the same instrumentation but it is looser in terms of any distinct melody.

Tardy plays tenor on the elegiac “The Pioneers,” one of four where he plays that instrument, using bass clarinet on another, both tenor and bass clarinet on one, while yet another is a Clayton solo piano piece. This one is a great example of how Frisell and Clayton play contrapuntally and in call-and-response patterns to Tardy’s yearning melody. Similarly, Tardy’s long tenor tones in the contemplative “Invisible” leave plenty of space for the others, a tonal departure from Frisell on baritone guitar. “Holiday” moves away from the smooth into a joyous, playful, jagged, syncopated vein, proving to be a strong vehicle for Blake, one of the most versatile drummers in contemporary jazz. Clayton’s intro leads into a simple but memorable melody for Tardy’s tenor on “Waltz for Hal Willner.”

Frisell revisits his classic the noirish, 1988 “Lookout for Hope,” with Tardy on bass clarinet playing contrapuntally to the guitar and piano in a haunting fashion. “Monroe” shows the breadth of Frisell’s writing as the quartet sneakily climbs into blues, with Tardy on both the tenor and bass clarinet, articulating the theme on each. The reedist returns to tenor on the closing “Dog on the Roof,” a languid, mysterious, electronically fueled piece, bordering on free jazz, both gathering a casual funky momentum as it evolves.

“Wise Woman” echoes Ornette Coleman in its harmonic palette while “Blues from Before” is more jagged, syncopated, and searching in an even freer mode, with Tardy on exploring every possible reach of the clarinet between the two. The latter is very complex rhythmically, but Blake expertly navigates the quartet through it. This leads to a minimalist solo piano excursion by Clayton on “Always,” airy, edgy, and seriously contemplative. “Good Dog, Happy Man” gets a makeover from its 1990 version, as Frisell plays both acoustic and electric guitars and Tardy on clarinet trades cascading melodies with both the guitarist and pianist in this gently flowing, uplifting tune. https://jazzbluesnews.com/2022/11/11/cd-review-bill-frisell-four-2022-video-cd-cover/

Personnel: Bill Frisell: Guitar; Greg Tardy: Tenor Saxophone, Clarinet & Bass Clarinet; Gerald Clayton: Piano; Johnathan Blake: Drums

Four

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Charles Lloyd - Trios: Ocean

Styles: Saxophone And Flute Jazz
File: MP3@320K/s
Time: 41:23
Size: 95,2 MB
Art: Front

(12:19) 1. The Lonely One (Live)
( 8:53) 2. Hagar of the Inuits (Live)
(10:03) 3. Jaramillo Blues(Live)
(10:08) 4. Kuan Yin (Live)

Ocean is the second volume in saxophonist Charles Lloyd's 2022 Trios series, all recorded with different personnel. This one finds Anthony Wilson on guitar and Gerald Clayton on piano. Both men are members of his Kindred Spirits ensemble. The set was livestreamed during the pandemic on September 9, 2020 from the stage of the Lobero Theatre in Santa Barbara, California sans audience. Lloyd has spent his career integrating jazz, blues, and American styles with the music of other global traditions. One of his qualities is that no matter how far afield he travels, his clear, emotive tone keeps the music, no matter how exotic, readily and honestly accessible.

There are four long tunes here, all originals by Lloyd. Opener "The Lonely One" commences with spectral resonance as the tenor emits long breathy notes, Clayton builds sparse minor shapes as Wilson delivers soft, flamenco-esque arpeggios. After two minutes, Lloyd's horn introduces another theme that winds around the guitar as Clayton flows purposefully and distinctly around them with a deeply inquisitive solo. Moods and dynamics shift, shorter accents and solos emerge and retreat, and the band gels around Lloyd's mysterious, Latin-tinged modal assertions.

The saxophonist pulls out his mostly neglected alto in "Hagar of the Inuits." He improvises solo for a couple of minutes before a call-and-response exchange with Clayton whose knotty chords deliberately draw on Monk before Lloyd quotes briefly from John Coltrane's "A Love Supreme" and Wilson slips in spiky blues runs dictating the pianist's shift to a 21st century take on boogie woogie. "Jaramillo Blues (For Virginia Jaramillo and Danny Johnson)" was composed for two artists she's a painter,he's a sculptor. Lloyd leads this swinging 12-bar blues with the flute. Wilson's chordal vamps bridge Clayton's rhythmic keyboard. It's bright, with lots of subtle movement and tonal shading underneath. The sequential exchanges and turnarounds between pianist and guitarist are canny. Wilson's massive wall of shapes offers abundant textural support for Clayton's punchy, walking chordal solo. He seamlessly shifts to comping as the guitarist offers an elegantly articulated solo that touches on the jazz guitar's history from Charlie Christian to T-Bone Walker to Jim Hall.

Lloyd rejoins for the last few minutes as the conversation becomes sprightly and jovial. Closer "Kuan Yin" is titled for the Chinese goddess of mercy and compassion she is known as Tara in Tibetan Buddhism. Clayton introduces it by playing percussively, dampening the lower strings from inside the piano. He follows by establishing a minor-key rhumba rhythm with Wilson before Lloyd tentatively introduces the melody. Before long, he ratchets its intensity as the pianist cascades single-note runs and illustrative chords with colorful, gorgeously toned rhythmic articulation from the guitarist. Behind Lloyd they build to a dynamic group crescendo before whispering to a fade. Ocean offers a document of spontaneously created music-making of a very high order. A snapshot of a moment in time, the energy, creativity, and surprise offered here are a delight. By Thom Jurek https://www.allmusic.com/album/trios-ocean-mw0003770629

Personnel: Alto Saxophone, Tenor Saxophone, Alto Flute – Charles Lloyd; Guitar – Anthony Wilson; Piano – Gerald Clayton

Trios: Ocean

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Dayna Stephens - I'll Take My Chances

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 73:07
Size: 170,5 MB
Art: Front

(9:01)  1. Good Tree, Good Fruit
(7:20)  2. Jfk International
(8:15)  3. Adrift
(7:26)  4. Dirty
(7:59)  5. Unrequited I
(5:13)  6. Prelude to a Kiss
(7:12)  7. Field of Landmines
(9:11)  8. I'll Take My Chances
(4:42)  9. Weezy
(6:44) 10. Unrequited

For his second Criss Cross release I'll Take My Chances, saxophonist Dayna Stephens has put together an impressive recital showing off his skill for composition, arranging, and improvisation. The ten tunes presented here are a nice mix of Stephens's originals, an Ellington classic, and original tunes from contemporary pianists Brad Mehldau and Aaron Parks. The tunes all prove to be fantastic vehicles for Stephens to showcase his warm, soulful sound, and the prowess of the group he has put together for this recording. For the rhythm section Stephens joins pianist, Gerald Clayton, and bassist, Joe Sanders, both young players who have been attracting attention since their time at the Thelonious Monk Institute, where Stephens also studied. Drummer Bill Stewart has been a powerful presence in the New York jazz scene for twenty years now and he and Sanders seem to connect almost effortlessly on this album. Stephens completes the rhythm section with guitarist, Charles Altura, who has just recently come into the spotlight for his work on Chick Corea's The Vigil (Stretch Records, 2013). On his original tunes Stephens shows off his talent for writing interesting melodies. "JFK International" has a winding, unpredictable melody, obviously inspired by the hustle and bustle that can always be found in the airport. Appropriately, "Field of Landmines" has a light and careful feeling to it and Stephens explores some new sounds during his solo by using a chorus pedal, adding an interesting texture to this album. 

The fact that Stephens's original, "I'll Take My Chances," comes directly after "Field of Landmines" may strike some listeners as humorous but the song itself sets a serious tone and sets a perfect backdrop for Stephens's rich tone. "Dirty," another Stephens original stands out on this album and finds Gerald Clayton accompanying from the Hammond B3. Stephens does his best to live up to the tune's name with a soulful bari sax solo. For the centerpiece of the album Stephens recruited vocalist, Becca Stephens, to lend her delicate voice to his treatment of the classic Ellington tune, "Prelude to a Kiss." Though piano and guitar have a history for stepping on each other's toes in this type of a group setting, Clayton and Altura do remarkable job of complimenting each other rather than getting in each other's way on this tune. With this album Dayna Stephens adds another credit to his growing discography and proves himself a force to be reckoned with, not only as a soloist, but also as a composer, arranger, and band-leader. The other members of his quintet interpret Stephens's music with confidence and authority and accompany him well. Hopefully we can look forward to hearing Stephens develop even more as a composer and improviser in the years to come. ~ Andrew Luhn https://www.allaboutjazz.com/ill-take-my-chances-dayna-stephens-criss-cross-review-by-andrew-luhn.php

Personnel: Dayna Stephens: Tenor and Baritone saxophones; Charles Altura: Guitar; Gerald Clayton: Piano/Hammond B3 Organ; Joe Sanders: Bass; Bill Stewart: Drums; Becca Stevens: Vocals

I'll Take My Chances

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Patrick Cornelius - Maybe Steps

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 56:09
Size: 129,6 MB
Art: Front

(4:43)  1. Christmas Gift
(5:32)  2. Maybe Steps
(2:32)  3. Bella's Dreaming
(6:26)  4. Brother Gabriel
(4:47)  5. Shiver Song
(6:08)  6. Into The Stars
(6:17)  7. A Day Like Any Other
(5:51)  8. Echoes Of Summer
(4:55)  9. My Ship
(3:59) 10. Conception
(4:54) 11. Le Rendez-vous Final

Maybe Steps is alto saxophonist Patrick Cornelius' third album, and his first for the excellent Los Angeles-based Posi-Tone Records. He's joined by the talented rhythm section of pianist Gerald Clayton, bassist Peter Slavov and drummer Kendrick Scott in a graceful and melodically strong performance, mostly of his original tunes. Cornelius' compositions swing gracefully, with seemingly effortless ease on the part of all of the musicians. "Maybe Steps" typifies this relaxed groove; the tune also appears on Cornelius' second album, Fierce (Whirlwind Recordings, 2010) where it was characterized by a brighter sound and Michael Janisch's tough bass line. This new version is more effective, the subtle playing of Clayton, Slavov and Scott providing a perfectly judged backdrop to Cornelius' warm alto. On "Echoes of Summer," Cornelius is joined by guitarist Miles Okazaki, the two instruments complementing each other sonically and giving added depth to its melody. Ispired by Cornelius' baby daughter, "Bella's Dreaming" is a lovely ballad that displays the saxophonist's masterful control of his instrument. "Brother Gabriel," which Cornelius first recorded with the Transatlantic Collective on Travelling Song (Woodville Records, 2009), gets its inspiration from singer/songwriter Peter Gabriel's reflective and downbeat "Here Comes The Flood." Once again, Cornelius produces a beautifully controlled performance, this time on a tune that is a touch more intense than most in this collection. "Le Rendez-vous Final" swings gently, thanks especially to Scott's drumming, and yet it carries an air of sadness that is somehow at odds with this rhythm.  Pianist Asen Doykin duets with Cornelius on an understated and delicate performance of Kurt Weill's melancholic "My Ship"; slow, measured and emotive, it's a superb interpretation of this classic song. Sir George Shearing's "Conception" is more upbeat, driven by Scott's percussion and given added depth, once again, by Okazaki's deft guitar work. Cornelius' star continues to rise. Maybe Steps is his strongest outing yet, demonstrating his all-too-rare ability to combine the writing of memorable and accessible tunes with a performance that engages with, and enhances, their beauty and emotional connection. ~ Bruce Lindsay https://www.allaboutjazz.com/maybe-steps-patrick-cornelius-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Patrick Cornelius: alto saxophone; Gerald Clayton: piano; Peter Slavov: bass; Kendrick Scott: drums; Mile Okazaki: guitar (6, 8); Assen Doykin: piano (9).

Maybe Steps

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Diana Krall - Christmas Songs

Styles: Vocal, Piano, Christmas
Year: 2005
File: MP3@320K/s
Time: 44:50
Size: 103,1 MB
Art: Front

(3:25)  1. Jingle Bells
(4:01)  2. Let It Snow
(4:23)  3. The Christmas Song
(3:14)  4. Winter Wonderland
(3:07)  5. I'll Be Home for Christmas
(3:34)  6. Christmas Time Is Here
(2:53)  7. Santa Claus Is Coming to Town
(4:19)  8. Have Yourself a Merry Little Christmas
(4:32)  9. White Christmas
(4:10) 10. What Are You Doing New Year's Eve
(3:27) 11. Sleigh Ride
(3:40) 12. Count Your Blessings Instead of Sheep

On her first full-length Christmas album, pianist/vocalist Diana Krall delivers a smoky, sophisticated, and slightly melancholy album perfectly suited to accompany egg nog cocktails and romantic afterglow holiday affairs. Although there isn't anything unexpected on Christmas Songs Irving Berlin's "Count Your Blessings Instead of Sheep" is as close to obscure as it gets Krall coos life into such standards as "Have Yourself a Merry Little Christmas," "What Are You Doing New Year's Eve," and "I'll Be Home for Christmas." It also doesn't hurt that she gains top-notch support from the Clayton-Hamilton Orchestra, whose urbane arrangements help bring to mind similar works by such iconic vocalists as Nat King Cole, June Christy, and Frank Sinatra. But it's not all deep sighs and bedroom eyes; on the contrary, Krall keeps things swinging with such uptempo numbers as the joyous "Jingle Bells," "Winter Wonderland," and the Blossom Dearie-inflected "Santa Claus Is Coming to Town." If you like your holiday albums cool and classy, Christmas Songs is a stocking stuffer that's sure to please. 

~ Matt Collar https://www.allmusic.com/album/christmas-songs-mw0000703424

Personnel:  Diana Krall - piano, vocals, arranger

The Clayton/Hamilton Jazz Orchestra: Jeff Hamilton - drums; Robert Hurst - upright bass; Anthony Wilson - guitar; Gerald Clayton - piano on "Santa Claus Is Coming to Town"; Tamir Hendelman - piano on "Sleigh Ride", fender rhodes on "What Are You Doing New Year's Eve"; Jeff Clayton - alto saxophone, flute; Keith Fiddmont - alto saxophone, clarinet; Rickey Woodard - tenor saxophone solos, clarinet; Charles Owens - tenor saxophone, clarinet; Adam Schroeder - baritone saxophone, bass clarinet; Rick Baptist - trumpet

Christmas Songs

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John Scofield - Combo 66

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 60:34
Size: 139,8 MB
Art: Front

(7:32)  1. Can’t Dance
(7:21)  2. Combo Theme
(5:32)  3. Icons At The Fair
(7:59)  4. Willa Jean
(5:39)  5. Uncle Southern
(6:08)  6. Dang Swing
(8:52)  7. New Waltzo
(5:04)  8. I’m Sleeping In
(6:23)  9. King Of Belgium

John Scofield is one of today’s most versatile guitarists, accumulating accolades and prestigious awards in contemporary jazz, jam band, and popular music. Heck, he’s even made an excellent gospel album. For Combo 66, coinciding with his 66th birthday on September 28 he enlists the support of long-time drummer Bill Stewart, bassist Vincente Archer and pianist/organist Gerald Clayton. Together, in typical Scofield fashion, they imbue jazz with elements from other genres imaginatively and unpredictably. Scofield is on a creative roll, having won two Grammys for 2016’s Country for Old Men and last year’s stellar effort Hudson with good friends Jack DeJohnette, Larry Grenadier, and John Medeski. As you probably know, he often collaborates with Gov’ Mule and with Medeski, Martin, and Wood too. He’ll unexpectedly appear on albums from Americana artists too, such as his guest appearance on multi-instrumentalist Phil Madeira’s Providence. The well-liked and respected Scofield gets and accepts lots of invitations. These are all Scofield originals. He credits the album title to both his birthday and as he says, “And 66 is the coolest jazz number you can get because if you hit 66 you’re doing ok. Remember all the great records from the 60s? Brasil 66. “Route 66.” It hit me that it would be poetic to use that title.” One part groove, one part melody, one part improvisation, the interaction amongst the musicians defies the fact that this is the first time this unit has recorded together. Drummer Bill Stewart is the anchor, having been with Scofield since 1992’s What We Do. Upright bassist Vincente Archer is a regular in Robert Glasper’s Trio while the keyboardist Clayton is the son of bassist John Clayton of the Clayton-Hamilton Jazz Orchestra. Scofield indicates that is often difficult to match piano and guitar because both instruments are percussive in nature. He admires Clayton for his ability to marry a contemporary approach with the old school touch and feel of Tommy Flanagan or Hank Jones. 

The opener “Can’t Dance” is a swinging tune, titled by the witty Scofield because “I can’t dance.” “Combo Theme” bears a Henry Mancini kind of soundtrack melody offset by Scofield’s solo which is by turns melodic and dissonant. His “Icons at the Fair” brings in recognizable sounds. It’s purposely reminiscent of Herbie Hancock’s arrangement of Simon and Garfunkel’s “Scarborough Fair” on The New Standard, on which Scofield played. His chord structures and progressions for this tune nod to Hancock and Miles. As he moves into “Willa Jean,” “Uncle Southern” and “Dang Swing” you’ll hear touches of country and blues before “New Waltzo” brings in some blaring rock, especially in the power chords, as Clayton provides a swirling B3 in support. Then, to calm it down, we get the rare Scofield ballad, “I’m Sleepin’ In,” titled, as are most by John’s wife, Susan. This, and the bonus track “Ringing Out” (if you’re lucky enough to get digitally) is the epitome of Clayton’s delicate touch on piano as he softly plays behind Scofield’s lead on the former while soloing on the latter. The closer, “King of Belgium” is dedicated to the iconic jazz harmonica wizard Toots Thielemans, also known to have a great sense of humor, reflected in Scofield’s witty guitar lines.  This is a light, fun, completely accessible outing that will leave you smiling. It fits beautifully with Scofield’s self-described approach that goes like this, “I am so deadly serious about jazz, but the fact of the matter is jazz only works if you are relaxed and don’t give a shit. If you try too hard it doesn’t work. Humor really helps me get to a better place with music.”  Scofield’s place is one that we can enjoy too. https://glidemagazine.com/214022/john-scofield-returns-with-imaginative-bold-combo-66-album-review/

Personnel: John Scofield (guitar); Gerald Clayton (piano,/organ); Vicente Archer (bass); Bill Stewart (drums).

Combo 66

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VA - Oscar, With Love: The Songs Of Oscar Peterson

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 178:47
Size: 412,8 MB
Art: Front

(6:18)  1. The Contessa (Makoto Ozone)
(3:39)  2. Blues For Smedley (Robi Botos)
(5:43)  3. Celine's Waltz (Oliver Jones, Dave Young)
(5:11)  4. Bossa Beguine (Gerald Clayton)
(3:31)  5. Cool Walk (Benny Green)
(8:16)  6. Dream Of Me (Michel Legrand)
(4:34)  7. Sushi (Renee Rosnes, Bill Charlap)
(3:00)  8. If I Love Again (Ramsey Lewis)
(3:49)  9. On Danish Shore (Justin Kauflin)
(8:51) 10. Ballad For Benny Carter (Kenny Barron)
(2:28) 11. A Little Jazz Exercise (Makoto Ozone)
(5:56) 12. Tranquille (Monty Alexander, Dave Young)
(4:58) 13. Take Me Home (Hiromi)
(3:35) 14. Announcement (Bill Charlap)
(5:20) 15. If You Only Knew (Benny Green)
(6:39) 16. Love Ballade (Renee Rosnes)
(5:22) 17. The Gentle Waltz (Monty Alexander, Dave Young)
(6:14) 18. Summertime (Justin Kauflin)
(6:22) 19. Laurentide Waltz (Ramsey Lewis)
(4:58) 20. Morning (Gerald Clayton)
(7:59) 21. Harcourt Nights (Michel Legrand)
(4:19) 22. Wheatland (Robi Botos)
(5:11) 23. Why Think About Tomorrow (Oliver Jones, Dave Young)
(6:28) 24. One For Oscar (Chick Corea)
(5:06) 25. The Smudge (Kenny Barron)
(4:58) 26. Sir Lancewell (Lance Anderson)
(4:13) 27. Dear Oscar (Makoto Ozone)
(6:03) 28. I Remember OP (Oliver Jones, Dave Young)
(4:03) 29. Oscar's New Camera (Hiromi)
(2:38) 30. OP's Boogie (Lance Anderson)
(4:28) 31. Trust (Monty Alexander, Dave Young)
(4:03) 32. Emmanuel (Robi Botos)
(3:13) 33. Look What You’ve Done To Me (Audrey Morris)
(3:16) 34. Goodbye Old Friend (Dave Young)
(5:18) 35. Hymn To Freedom (Gerald Clayton)
(2:29) 36. When Summer Comes (Robi Botos)

To mark the ninetieth anniversary of the legendary jazz pianist Oscar Peterson's birth (August 15, 2015), Peterson's widow, Kelly Peterson, produced a tribute album for the ages: Oscar, with Love, a marvelous three-disc set comprising ten never-before-recorded Peterson compositions, nineteen of his better-known works and seven compositions written especially for him, performed by sixteen contemporary piano masters on Peterson's personal Boesendorfer Imperial piano at his private studio in Mississauga, Ontario, Canada. Makoto Ozone has the honor of opening Disc 1 with a warm-hearted reading of Peterson's lovely ballad, "The Contessa." He is followed, in order, by a veritable who's who of noteworthy (no pun intended) keyboard artists: Robi Botos, Oliver Jones, Gerald Clayton, Benny Green, Michel Legrand, Renee Rosnes, Bill Charlap, Ramsey Lewis, Justin Kauflin, Kenny Barron, Monty Alexander, Hiromi, Chick Corea, co-producer Lance Anderson and Peterson's close friend, Chicagoan Audrey Morris. While most tracks showcase the solo piano, Peterson's longtime bassist, Dave Young, accompanies Jones ("Celine's Waltz," "Why Think About Tomorrow," "I Remember OP"), Alexander ("Tranquille," "The Gentle Waltz") and performs alone on "Goodbye Old Friend." Morris plays and sings on "Look What You've Done to Me," while Charlap and Rosnes appear separately on "Announcement" and "Love Ballade," respectively, and together on "Sushi."

The songs written for Peterson include Corea's earnest "One for Oscar" (composed especially for this album), and his bravura performance, which leads off Disc 3, is one of the set's myriad highlights. As for others, any song on which Barron, Jones, Legrand, Lewis, Charlap or Rosnes are in the driver's seat is almost by definition a highlight, and none of them is less than inspired, nor are Ozone, Alexander, Anderson, Botos, Clayton, Green, Hiromi, Kauflin or Morris. Jones, who like Peterson was born in Montreal, is closest to his fellow Canadian in spirit, and even though he was roughly eighty years old when the album was recorded, plays with the agility and vigor of someone many years his junior. Lewis, another newly minted octogenarian, shows no deference to Father Time on his opulent features, "If I Love Again" and "Laurentide Waltz," while the (now) eighty four year old Legrand is sublime on "Dream of Me" and "Harcourt Nights." That's not to demean the (relatively) younger lions Botos, Clayton, Hiromi and Kauflin each of whom makes an auspicious impression. And for brio emblematic of Peterson himself, dig Ozone's busy fingers on "Dear Oscar" and "A Little Jazz Exercise." This is an album on which every participant seems entirely aware that he or she is not merely playing another song but is offering his or her homage to one of the most renowned jazz pianists who ever lived. That fondness and appreciation are palpable from start to finish, which is one (of many) reasons why Oscar, with Love is an album to be applauded and treasured. Others include immaculate sound, splendid packaging, erudite and inclusive liner notes by Basie trumpeter Scotty Barnhart, and warm personal remembrances by Peterson's daughter, Celine. An exemplary tribute worthy of the name and the monarch to whom it is inscribed. ~ Jack Bowers https://www.allaboutjazz.com/oscar-with-love-oscar-peterson-two-lions-records-review-by-jack-bowers.php

Personnel: Monty Alexander: piano; Lance Anderson: piano; Kenny Barron: piano; Robi Botos: piano; Bill Charlap: piano; Gerald Clayton: piano; Chick Corea: piano; Benny Green: piano; Hiromi: piano; Oliver Jones: piano; Justin Kauflin: piano; Michel Legrand: piano; Ramsey Lewis: piano; Audrey Morris: piano, vocal; Makoto Ozone: piano; Renee Rosnes: piano; Dave Young: bass.

Oscar, With Love: The Songs Of Oscar Peterson

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Gerald Clayton - Tributary Tales

Bitrate: MP3@320K/s
Time: 63:34
Size: 145.5 MB
Styles: Piano jazz
Year: 2017
Art: Front

[5:53] 1. Unforeseen
[6:08] 2. Patience Patients
[1:07] 3. Search For
[4:13] 4. A Light
[0:34] 5. Reach For
[6:39] 6. Envisionings
[1:05] 7. Reflect On
[3:06] 8. Lovers Reverie
[5:48] 9. Wakeful
[7:42] 10. Soul Stomp
[6:55] 11. Are We
[1:26] 12. Engage In
[7:04] 13. Squinted
[5:46] 14. Dimensions Interwoven

Tributary Tales is an apt title for the most accomplished and adventurous album yet from pianist Gerald Clayton, a scion of SoCal jazz royalty. The music is forever moving, riding streams of intriguing, pleasing sounds — ambling grooves, burrowing piano solos and colorful and often unpredictable multi-saxophone lines. All are tributaries of a highly personal music that’s clearly drawn from jazz tradition but headed in new, unexpected directions. It’s brainy, yes, but heavy on emotional content, too.

“Soul Stomp” exemplifies this collection of original compositions, all written and arranged by Clayton. The track opens with a playful piano figure and oozing organ. Then a modified R&B groove kicks in under a swaying melody provided by saxophonists Logan Richardson on alto and Ben Wendel on tenor. Clayton’s searching piano improvisation follows, as do sections featuring alternating sax solos, Joe Sanders’ bowed-bass figures, large-ensemble swells and a return to the theme. Tumbling, hyperactive percussion underscores the elongated, twisting sax lines of “Unforeseen,” the album’s opener, while “A Light” thrives on dizzying bebop sax figures fueled by Justin Brown’s groove-digging urban trap-kit propulsion. The silky, large-ensemble textures of “Lovers Reverie” provide a bed for the expressive spoken-word incantations of Aja Monet and Carl Hancock Rux; the two reprise their roles on the pensive closer, “Dimensions: Interwoven.”

Dayna Stephens’ baritone sax adds a chunky bottom to the slippery themes and solos of “Wakeful,” and Sachal Vasandani’s wordless vocals lend an exotic aura to the multi-hued “Squinted.” For extra measure, Clayton offers several short, improvised pieces. All are integral to an album-length journey that feels like a natural segue from 2013’s Life Forum, if worlds away from 2009’s Two-Shade, Clayton’s debut (a trio recording with Brown and Sanders). Tributary Tales presents a fresh chapter in a brilliant career.

Tributary Tales mc
Tributary Tales zippy

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Ben Wendel - What We Bring

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 46:29
Size: 120,3 MB
Art: Front

(6:08)  1. Amian
(4:31)  2. Fall
(5:17)  3. Spring
(4:55)  4. Doubt
(6:23)  5. Song Song
(6:43)  6. Soli
(5:50)  7. Austin
(6:39)  8. Solar

Ben Wendel can be considered the kind face of the Kneebody -band high-voltage adrenaline which is a founding member-feature that highlights mainly in his work as a leader. This is also the case of thisWhat We Bringalbum in which he makes use of the talent of Gerald Clayton , pianist who embodies the large group of musicians anchored to the straight ahead tradition and committed to refreshing it with the ferments of contemporaneity. What We Bring says Wendel in the cover notes is a work dedicated to teachers of the past and current musicians who have influenced not only musically. But we do not find in it any trace of nostalgia or commemorative rhetoric only a good dose of affection and a strong personality. As it happens in the initial "Amian." The references to the coltraniana "Naima" suggest nothing of the incipit, then the song stands out for other shores, on the wings of one of the leader full of pathos and essential, sweet without fuss, the original mood recreated to perfection but pulsating own life. And so, song after song, Wendel offers his personal perspective of jazz that has been and of jazz that will be, without clamor or revolutions, with the brilliance and good taste that distinguish it, as highlighted by the "Solar," perfect davisiana conclusion for a class album.~ Vicenzo Roggero https://www.allaboutjazz.com/what-we-bring-ben-wendel-motema-music-review-by-vincenzo-roggero.php

Personnel: Ben Wendel: sax (tenor), bassoon; Gerald Clayton: piano; Joe Sanders: double bass; Henry Cole: battery; Nate Wood: percussion.

What We Bring

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Ben Wendel - Frame

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 61:21
Size: 141,5 MB
Art: Front

(5:38)  1. Chorale
(7:25)  2. Clayland
(7:06)  3. Con Alma
(5:05)  4. Backbou
(5:56)  5. Jean and Renata
(8:09)  6. Blocks
(8:20)  7. Frame
(8:08)  8. Leaving
(5:29)  9. Julia

There is a beautiful and mysterious quality to multi-instrumentalist Ben Wendel's Frame. It is as if the hot breath from one of his horns has blown some ancient film away to reveal an iridescent object that begins to oscillate and spin, changing colors and hues, mesmerizing as it spins and swings with uncharacteristic swagger. All this seems both real and unreal as Wendel's singular, hypnotic voice unfurls. The saxophonist inhabits a sound as close to singing through the reed as is humanly possible. In so doing, he has perfected vocalizing in the manner of Nat "King" Cole combined with Ben Webster. Such is the velvet and whispering nature of Wendel's tone and texture. Of course, the colors that emerge from the bell of his horn are another matter. These come from a soulful palette that includes such a myriad of hues that they are difficult to count. His musical canvas is so filled with a riot of colors that a musical carnival ensues. Wendel is also a composer of considerable invention and ingenuity. This album is not called Frame for nothing. For here, the idiom of jazz forms the outer perimeter of the music. The material in the frame is an ever changing painting a moveable feast for the ear, heart and soul. Wendel paints with fey colors; his music has the effect of fluttering gently like a diaphanous water color work that is wet and dripping as it morphs from one legato passage to another. Thus the work here appears to form a suite of songs all with beginnings and middles and ends that are tantalizing and drive into the center of the heart. The music of "Chorale," for instance, is like a shimmering dart aimed at that sweet spot in the soul where every ache is unforgettable. 

Nothing describes that feeling better than Wendel's extraordinarily touching re-imagining of Dizzy Gillespie's classic missive, "Con Alma." The saxophonist/bassoonist is a fine writer of passionate portraits. Two of his finest are "Jean and Renata" and "Julia." The former paints a playful picture of two characters. Their differences are highlighted by Wendel's inner counterpoint, the two musical lines entwined like a DNA molecule that pirouettes magically to describe the two ladies in question. "Julia" is much more circumspect, as if the composer is portraying someone whom he has a deepening respect for. His melodic line here is more somber and upward-looking. The musicians on Frame have a marvelous sympathy for, and understanding of, the overall concept of the album. Thus, they play well within themselves while supporting the thesis that the music must swirl and swoop within the framework of an idiom that is constantly changing. In so doing, they create music that is as elastic as jazz will ever be. ~ Raul D'Gama Rose https://www.allaboutjazz.com/frame-ben-wendel-sunnyside-records-review-by-raul-dgama-rose.php

Personnel: Ben Wendel: saxophones, bassoon, melodica; Gerald Clayton: piano (1-3); Tigran Hamasyan: piano (4,6,7); Nir Felder: guitar; Adam Benjamin: piano (1,4,6,7), Fender Rhodes (8,9); Ben Street: bass; Nate Wood: drums.

Frame

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Frank Wess Nonet - Once Is Not Enough

Bitrate: MP3@320K/s
Time: 62:31
Size: 143.1 MB
Styles: Contemporary jazz
Year: 2009
Art: Front

[5:38] 1. Once Is Not Enough (Feat. Scott Robinson)
[8:21] 2. Sara's Song (Feat. Steve Turre, Peter Washington)
[7:35] 3. You Made A Good Move (Feat. Gerald Clayton, Frank Greene)
[6:57] 4. Dementia, My Darling (Feat. Frank Wess, Michel Weiss)
[5:43] 5. Sweet And Lovely (Feat. Ted Nash, Scott Robinson)
[9:09] 6. Backfire (Feat. Terell Stafford, Winard Harper)
[9:41] 7. Lush Life (Feat. Frank Wess, Rufus Reid)
[2:47] 8. Fly Me To The Moon (In Other Words) (Feat. Scott Robinson)
[6:37] 9. Tryin' To Make My Blues Turn Green

Frank Wess: tenor saxophone, flute; Frank Greene: trumpet; Terell Stafford: trumpet; Steve Turre: trombone; Ted Nash: alto saxophone, flute; Scott Robinson: bass saxophone, baritone saxophone, flute; Gerald Clayton: piano; Michael Weiss: piano; Peter Washington: bass; Rufus Reid: bass); Winard Harper: drums.

Known affectionately as "Magic" to his professional colleagues, saxophonist/flautist Frank Wess is a living legend in the jazz world. His résumé includes stints with Billy Eckstine, the Clark Terry Big Band and a decade performing with the Count Basie Orchestra, and he is recognized as one of the first major flautists to have an impact on the music. Once Is Not Enough is an audacious recording that follows his most recent collaboration with Hank Jones on Hank and Frank II (Lineage Records, 2009), with six original compositions and three covers tastefully arranged to feature the many soloists on his hand-picked nine-piece ensemble. Among the members of the Frank Wess Nonet are trumpeters Terell Stafford and Frank Greene, trombonist Steve Turre, altoist Ted Nash and baritone/bass saxophonist Scott Robinson, with bassist Peter Washington, pianist Gerald Clayton and drummer Winard Harper rounding out the rhythm section. Guests Michael Weiss (piano) and Rufus Reid (bass) sub for Clayton and Washington, respectively, on two tracks.

Though well established as a premier flautist, Wess has also made his mark as a Lester Young-influenced tenor saxophonist; it is as a sax man that he predominates here, though he also plays flute on selected tracks. The "magic" begins right off the bat on the opening title piece—one of four arranged by drummer Dennis Mackrel—a swinging bebop burner showcasing Wess on the lead backed up by the five-piece horn section that relinquishes the stage to Robinson's lively baritone voice. The swinging sounds continue on "Sara's Song," where Turré's trombone emerges as the first soloist, setting up strong bass work from Washington, and Harper's rumbling pounding of the drums, all bolstered by superb background horns. There's more of the same on the perky "You Made A Good Move," another Wess original where the saxophonist leads the music with a regal solo performance. All is not swing, however, as the leader provides mellow music with the light original, "Dementia, My Darling," dedicated to his granddaughter, Nicole; Wess leaves the original ensemble format, preferring a quartet that features guests Weiss and Reid. Employing this same quartet setting, Wess delivers a second ballad with his creative arrangement of Billy Strayhorn's time-honored classic, "Lush Life." Wess takes to the flute on two of the three standards offered here ("Sweet and Lovely," and "Fly Me To The Moon (In Other Words)"), demonstrating his skills on the instrument that forged the prominence he so richly deserves.

It's easy to understand why Frank Wess would title this album Once Is Not Enough, as it clearly refers to the superlative charts and world-class cast of players that make listening to this session only once merely one fix in a lifelong addiction to such fine music. ~Edward Blanco

Once Is Not Enough

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Melissa Morgan - Until I Met You

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 46:44
Size: 163,5 MB
Art: Front

(5:56)  1. Save Your Love For Me
(4:53)  2. Is You Is or Is You Ain't My Baby
(4:31)  3. Until I Met You
(3:11)  4. He Loves Me I Think
(3:40)  5. The Lamp Is Low
(3:24)  6. Cool Cool Daddy
(3:38)  7. A Sleepin' Bee
(3:30)  8. Yes, I Know When I've Had It
(4:53)  9. I Wonder
(5:22) 10. I Just Dropped By To Say Hello
(3:40) 11. The More I See You

Many young jazz vocalists reach into the book of standards for their first recording. Melissa Morgan follows the tradition, but in a way that works to her advantage. Morgan, 29, grew up on Teaneck, N.J. She became a jazz fan upon hearing her grandmother's old records the music of such inspirational vocalists as Nancy Wilson, Billie Holiday, Dinah Washington and Sarah Vaughan. A 2004 semi-finalist in the Thelonius Monk International Jazz Competition, Morgan performed before a panel of judges that included Quincy Jones, Al Jarreau, Kurt Elling, Dee Dee Bridgewater and Flora Purim. For her debut, Until I Met You, Morgan is accompanied by the quartet of Gerald Clayton on piano, Randy Napoleon on guitar, Joe Sanders on bass and Kevin Kannar on drums. A slightly slower-than-usual pace is heard in the arrangement of "Save Your Love for Me." Morgan's voice at first is flutelike, but as the song warms up, so does her emphasis. The core quartet is complemented nicely by trumpeter Christian Scott, whose middle solo is crisp, clean, and comfortably loud without being overpowering.

Sassy is the theme for "Is You Is or Is You Ain't My Baby." Morgan begins with a finger-snapping count as the backing quartet adds to the feel, particularly Sanders and Clayton. During the piano solo, Kannar mixes it up on the drums and cymbals, punching here and subtly striking there. As Clayton builds, the other musicians also crank it up before backing off when Morgan reenters. Scott and tenor saxophonist Ben Wendel help on "Cool Cool Daddy" as Morgan delivers like a classic blues singer. The sass is in high gear and evident in the play of all musicians. Wendel and Scott add to the enjoyment of this piece with solos, as well as their answers to Morgan's calls. Already a lively piece, the energy picks up even more to set up the songs emphatic ending.  "Yes, I Know When I've Had It" has a Latin vibe. Scott and Wendel are joined by alto saxophonist Tim Green and trombonist Francisco Torres. The horn section brilliantly supports Morgan and the rhythm quartet. During the middle break, the horns play as a group before ceding the lead to Green. Throughout, Kannar kicks in some action on the toms. The tendency of new recording artists to cover standards can work against them as they're not giving the audience anything they haven't heard. However, Morgan succeeds with the combination of her vocal style and free-spirited arrangements. Until I Met You, named for the Donald Wolf and Freddie Green classic, is an excellent introduction to Morgan. 

~ Woodrow Wilkins https://www.allaboutjazz.com/until-i-met-you-melissa-morgan-telarc-records-review-by-woodrow-wilkins.php

Personnel: Melissa Morgan: vocals; Gerald Clayton: piano; Randy Napoleon: guitar (1-4, 9); Joe Sanders: bass; Kevin Kannar: drums; Christian Scott: trumpet (1, 3, 6, 8); Tim Green: alto saxophone (3, 5, 8); Ben Wendel: tenor saxophone (3, 6, 8); Francisco Torres: trombone (3, 8).

Until I Met You

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Michael Rodriguez - Reverence

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 61:12
Size: 140,5 MB
Art: Front

(8:33)  1. Small Feats
(9:18)  2. Enchantment
(9:42)  3. Reverence
(7:29)  4. Wishful Thinking
(9:09)  5. Like Joe
(9:15)  6. Portrait Of Jennie
(7:43)  7. You Did

For his Criss Cross debut, 33-year-old trumpet virtuoso Michael Rodriguez assembles a world-class New York quintet of generational peers (pianist Gerald Clayton and drummer Rodney Green) and mid-career masters (tenor saxophonist Chris Cheek and bassist Kiyoshi Kitagawa) to perform six kinetic originals and a single standard, Portrait Of Jennie. Known for his creative melodic approach and pellucid tone via consequential engagements over the last decade with, among others, Charlie Haden's Liberation Music Orchestra, Gonzalo Rubalcaba, Bobby Watson, and Eddie Palmieri, Rodriguez blends youthful fire with a veteran's focus and mature intention, setting the tone for an immensely satisfying session. ~ Editorial Reviews https://www.amazon.com/Reverence-Michael-Rodriguez/dp/B00AP0K8RU

Personnel: Michael Rodriguez (Trumpet), Chris Cheek (Saxophone), Gerald Clayton (Piano), Kiyoshi Kitagawa (Bass) Rodney Green (Drums)

Reverence

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Clarence Penn & Penn Station - Monk: The Lost Files

Styles: Straight-ahead/Mainstream
Year: 2014
File: MP3@320K/s
Time: 52:57
Size: 121,8 MB
Art: Front

(3:15)  1. Well You Needn't
(5:04)  2. Green Chimney
(3:48)  3. Evidence
(3:43)  4. Friday the 13th
(6:09)  5. I Mean You
(4:12)  6. In Walked Bud
(6:16)  7. Hackensack
(5:13)  8. Bemsha Swing
(6:18)  9. Think of One
(5:34) 10. Rhythm-a-Ning
(3:21) 11. Solato's Blues

A well-established creative paradigm exists to justify Clarence Penn & Penn Station's recording Monk: The Lost Files. "Classical" music is often considered that music, composed long ago, that has stood the test of time, remaining viable to the public in recordings and live performance. These composers of this music tend to be Europeans from the last Millennium. It is the only logical jump to include American jazz composers like Duke Ellington, Charlie Parker and our focus here, Thelonious Monk as composers of "Classical" music.

In traditional Classical music, it is common for the performer (at least since Franz Liszt and Niccolo Paganini) to provide their personal spin on the music. Jazz, of course, takes this practice a step further in improvisation. Monk's music remains a rich loam of material from which new ideas spring from the minds of thoughtful and intelligent interpreters. Drummer Clarence Penn is such an interpreter. His approach is bold, yet respectful, not unlike Monk's himself.

Penn's approach to Monk is to challenge the composer and his compositions rhythmically, almost mathematically. Penn does not so much reharmonize Monk's material as he does re-accenting it. Penn moves the stresses in the music around. When listening to the opening "Well You Needn't" the listen will recognize Monk's craggy head, but it has been polished and made more regimented by Penn's arrangement. The remainder of the song is a dramatic updating. The bridge and soloing sections incorporate the spoken word and a Stanton Moore-like percussion environment, catalyzing a funky momentum.

"In Walked Bud" is transformed using the Fender Rhodes. Slowed down and performed with a deliberate attention to the piece's harmonic skeleton, pianist Donald Vega exposes the spirit of Monk's homage to his friend Bud Powell. An ethereal trio performance that shines like newly pressed steel. It is played as lightly as a ballad with Penn carefully outlining the rhythmic direction. Fractured are "I Mean You" and "Bemsha Swing" both featuring Chad Lefkowitz-Brown's tenor saxophone. The former is as regimented as a Jacksonian seizure while the latter takes on a relaxed post bop feel in portions. It is all Monk and all Penn. ~ C.Michael Bailey  http://www.allaboutjazz.com/monk-the-lost-files-clarence-penn-origin-records-review-by-c-michael-bailey.php

Personnel: Chad Lefkowitz-Brown: saxophones; Donald Vega: piano; Gerald Clayton: Fender Rhodes (5); Yasushi Nakamura: basses; Clarence Penn: drums.

Monk: The Lost Files

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Annie Sellick - Street Of Dreams

Styles: Jazz, Vocal
Year: 2009
File: MP3@320K/s
Time: 47:41
Size: 109,6 MB
Art: Front

(3:27)  1. Cloudburst
(4:29)  2. Do It Again
(4:05)  3. Tristeza
(5:34)  4. I Know You Oh So Well
(3:56)  5. I Love Paris
(4:21)  6. Some Cats Know
(4:07)  7. Spring Will Be A Little Late This Year
(4:51)  8. Mambo-Italiano
(4:03)  9. Street of Dreams
(4:59) 10. I Keep Goin' Back to Joe's
(3:44) 11. Look Out For Love

Annie Sellick shines in full force on “Street of Dreams.” After taking some time to explore the swing band genre with her group “Annie and the Hot Club,” she hits the jazz scene hard. GAME ON! As with all previous recordings, Ms. Sellick throws herself completely into each arrangement. Her intense energy powers through it all, whether smoking up tempo or slithering through the vocal and bass lines of a sultry ballad. The music keeps all ears “locked in the moment.” “Street of Dreams” holds to Ms. Sellick’s high standards of musicianship, creativity and respect for the tradition. Two stellar trios lend their support. This first is Gerald Clayton, piano with Dan Lutz on Bass and Kevin Kanner on Drums (same trio as on Ms. Sellick’s live CD “A Little Piece of Heaven”) and Jeff Hamilton, Drums with Tamir Hendleman on Piano and Christoph Luty on Bass. Both casts bring unique talent and blend of style. Ms. Sellick floats between both with ease. The result is pure “ear candy” and testifies to the caliber of musicians who want to work with Ms. Sellick.

“Street of Dreams” weaves through eleven compositions some well known standards and others not so well known. But each one jumps to life with the interpretation and energy that Annie Sellick brings. CD pops open with a funky slow fizz on Lambert, Hendricks, and Ross “Cloudburst”. Shortly in, Kevin Kanner’s drum verse jumps out of the blocks, releases the bubbles and the tune swings to action. The obvious joy in Ms. Sellick’s voice blossoms the tune to its full flower. Switching gears. Chrisoph Luty’s rich molasses-like bass introduction on George Gershwin’s “Do It Again” lays a thick foundation for Ms. Sellick to work. By varying her tempo and exploring her vocal range, ‘tis easy to visualize a cat after a mid-day nap stretching for places seemingly out of reach. The result just feels good. On Gilberto Astrud’s “Tristeza” (Portuguese for “sadness”) and “Mambo-Italiano,” we hear Ms. Sellick’s comfort not only with Latin rhythm and lyrics but also with improvisational exchanges, showing her personality and light-hearted humor whenever possible. Sweet! Her band mates understand interpretation and create the musical atmosphere of the village cafe’ where these compositions belong.

“Spring Will Be Little Late This Year”, “I Know You Oh So Well” and “I Keep Going Back to Joe’s” illustrate Ms. Sellick’s mastery of ballads and living the lyrics. The listener easily becomes a believer. Just listen.Who doesn’t love Paris? Well “I Love Paris” gets even better in a rhythmic, waltz feel. The ensemble then tears into a straight ahead groove that showcases their swingability only later to waltz their way out of the City of Lights. Ahh! Songs with double meanings are the lyricist’s genious. “Some Cats Know” by Jerry Leiber and Mike Stoller is a greasy, torchy tune that on the first listen the message is either clear or it is not. The title says it all.

“Look Out For Love” is a story of advice to the guy who may or may not be looking for love. The choice is in the listener’s heart. Sassy and classy, like everything Annie Sellick does. “Street of Dreams” is a tricky tune with the vocals left out there to find a place to settle. There is perfect safety however with the trio swinging hard underneath. Pleasingly added to this arrangement is the well voiced, plunger-mute trumpet of Rob McGaha who expertly navigates the “Street.” One of Ms Sellick’s unique traits is how much control she has over her voice. Whether managing to a slight crack of the lyric, introducing subtle vibrato or moving from beautiful tone to speaking and smiling a line, Ms. Sellick is always under control with perfect grace. Never does an ounce of Annie Sellick’s energy go wasted. No preservatives, nothing processed just pure, organic, passionate music.Thank you, Annie Sellick! These are my comments. I welcome yours.~ Bruce Pulver http://jazztimes.com/community/articles/28026-cd-review-of-annie-sellick-s-street-of-dreams

Musicians: Annie Sellick, Vocals;  Gerald Clayton, Piano;  Kevin Kanner, Drums; Dan Lutz, Bass; Jeff Hamilton, Drums;  Christoph Luty, Piano;  Tamir Hendelman, Bass;  Rob McGaha, Trumpet

Street Of Dreams

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Roy Hargrove Big Band - Emergence

Styles: Trumpet Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 70:03
Size: 160,5 MB
Art: Front

( 4:15)  1. Velera
( 5:33)  2. Ms. Garvey, Ms. Garvey
( 6:00)  3. My Funny Valentine
( 6:37)  4. Mambo For Roy
(13:36)  5. Requiem
( 6:59)  6. September In The Rain
( 5:56)  7. Everytime We Say Goodbye
( 3:29)  8. La Puerta
( 5:51)  9. Roy Allan
( 7:17) 10. Tschpiso
( 4:26) 11. Trust

As a trumpeter, composer, and an arranger, Roy Hargrove has been a mainstay of the contemporary music scene in a variety of formats for nearly two decades. Nevertheless, his big band experience has been limited mostly to his appearances with the Dizzy Gillespie All-Star Big Band, with which he has most ably proved himself an heir to the late trumpet legend's mantle. Hargrove has been steadily accumulating big band experience in his own right since 1995, however, and Emergence is therefore most aptly titled, for it represents Hargrove's full-fledged emergence into the large ensemble idiom. While the tone poem "Requiem," by composer and trombonist Frank Lacy, was probably intended as the CD's tour de force, it's a major disappointment. After a most promising brass fanfare, with an arpeggiated woodwind countermelody reminiscent of Ravel's "Daphnis et Chloe," "Requiem" lapses into an eight-minute ostinato vamp under self-indulgent alto and trombone solos, accompanied only by the rhythm section. Eight minutes is an unusually long time for the full band to lay out, and Hargrove's own contribution is limited to a few brief exchanges with the trumpet section. The saving grace is the recapitulation of the opening tutti. 

On the other hand, the remainder of Emergence exhibits Hargrove in full flight as captain of his 19-piece ensemble. Arrangements have been furnished by baritone saxophonist Jason Marshall (the hard-bopping "Ms. Garvey, Ms. Garvey"), bass trombonist Max Siegel (a Stan Kenton esque interpretation of the Rodgers and Hart classic "My Funny Valentine"), the iconic Cuban pianist Chucho Valdes ("Mambo for Roy"), and Hargrove himself. "September In the Rain," which features Hargrove on both Harmon-muted trumpet and a mellow vocal, appears to have been arranged in a Count Basie -inspired vein by pianist Gerald Clayton. Clayton, in fact, is the son of composer, arranger, bassist, and co-leader John Clayton of Los Angeles' Clayton/Hamilton Jazz Orchestra, a major inspiration for Hargrove's aggregation. Vocalist Roberta Gambarini, Hargrove's erstwhile colleague with both the Gillespie band and jam sessions at NYC's Jazz Gallery, adds her velvet voice to Cole Porter's "Every Time We Say Goodbye" and the Spanish-language "La Puerta." On the latter track, she is reminiscent of Linda Ronstadt on her early-1990s Latino-jazz romp Frenesi (Elektra, 1992). Hargrove also seems to have absorbed influences ranging from McCoy Tyner ("Tschipiso") to Gerald Wilson ("Roy Allan") and Billy Strayhorn ("Trust") in the band's full-voiced sonorities. Emergence definitely proves that Hargrove, 39 years old at the time of this recording, is ready to add his name to the list of large ensemble leaders. ~ Robert J.Robbins  http://www.allaboutjazz.com/emergence-roy-hargrove-emarcy-review-by-robert-j-robbins.php

Personnel: Roy Hargrove: leader, composer, arranger, trumpet, fluegelhorn, vocal; Frank Greene: trumpet and flugelhorn; Greg Gisbert, : trumpet and flugelhorn; Darren Barrett: trumpet and flugelhorn; Ambrose Akinmisure: trumpet and flugelhorn; Jason Jackson: trombone; Vincent Chandler: trombone; Saunders Sermons: trombone; Max Siegel: bass trombone, arranger; Bruce Williams: alto saxophone, flute; Justin Robinson: alto saxophone, flute; Norbert Stachel: tenor saxophone, flute; Keith Loftis: tenor saxophone, flute; Jason Marshall: baritone saxophone, flute, reeds; Gerald Clayton: piano, arranger; Saul Rubin: guitar; Danton Boller: bass; Montez Coleman: drums; Roberta Gambarini: vocals.

Emergence

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Gerald Clayton - Bond: The Paris Sessions

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 70:12
Size: 161,1 MB
Art: Front

(7:44)  1. If I Were a Bell
(3:44)  2. Bond: The Cast
(5:04)  3. Bootleg Bruise
(6:14)  4. Major Hope
(4:00)  5. Bond: Fresh Squeeze
(3:48)  6. Snake Bite
(6:31)  7. Sun Glimpse
(1:15)  8. Which Persons?
(6:42)  9. 3D
(4:35) 10. Nobody Else But Me
(3:39) 11. All the Things You Are
(3:42) 12. Bond: The Release
(3:30) 13. Shout and Cry
(4:50) 14. Round Come Round
(4:48) 15. Hank

Gerald Clayton has been one of the bright lights of his generation, playing with the Clayton Brothers (co-led by his father and uncle) and accompanying instrumentalists (Roy Hargrove, Don Braden, and Ambrose Akinmusire), jazz vocalists (Roberta Gambarini, Diana Krall, and Melissa Morgan), jazz-pop singers (Michael Bublé and Reneé Olstead), in addition to leading his own band and composing. His second release as a leader is a trio session with bassist Joe Sanders and drummer Justin Brown, plus some solo piano tracks. His interpretations of standards are remarkably fresh, considering how often they have been recorded in a jazz setting. He sets up "If I Were a Bell" with a subtle vamp as he slowly works his way into it, delivering a witty performance well supported by his sidemen. 

Clayton, while not totally eschewing the famous introduction to "All the Things You Are" added by Dizzy Gillespie, does rework it into a more subtle harmonic device before delving directly into the song, with a tense, understated approach that simmers but never reaches the boiling point. His solo take of "Nobody Else But Me" is full of intricately interwoven lines while still swinging like mad. Where Clayton really stands apart from young musicians of his generation is as a composer. He shows a surprising maturity for his age, as his pieces display a wealth of stylistic influences yet retain memorable themes that hold one's interest as well. Highlights including his dramatic three-part suite, his Impressionist "Sun Glimpse," and the touching lyrical ballad "Hank." ~ Ken Dryden  http://www.allmusic.com/album/bond-the-paris-sessions-mw0002109351

Personnel: Gerald Clayton (piano); Justin Brown (drums).

Bond:The Paris Sessions

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