Gloria Lynne - From My Heart to Yours

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 45:58
Size: 105,9 MB
Art: Front

(5:15) 1. Secret O' Life
(5:30) 2. My Funny Valentine
(3:27) 3. Evergreen
(3:41) 4. Wild Is the Wind
(3:27) 5. I Could Make You Care
(3:59) 6. Mountian Greenery
(4:29) 7. It's Magic
(4:01) 8. There Are Such Things
(3:12) 9. How Do You Keep the Music Playing?
(4:23) 10. Shangri-La
(4:29) 11. Can You Read My Mind

What a pleasure it is to hear an artist sing a song simply with no frills and a heartfelt and warm delivery. This is what Gloria Lynne has done on her new album, a collection of standards and a couple of surprise choices with a superb band of David "Fathead" Newman (flute), John di Martino (piano), Greg Skaff (guitar), Leon Lee Dorsey (bass), Vincent Ector (drums) and PJ Allen (tambourine).

Lynne is a seasoned performer experienced in lyrical interpretation with a vocal quality that gives her the necessary shading, allowing her to tell each song's story in a totally believable fashion. This she does in either two choruses of each song or the classic one-and-a-half chorus rendition.

The surprising material is James Taylor's "Secret O' Life," not traditional jazz material and done as a ballad, and "Can You Read My Mind?," one of the themes from the first Superman movie with music by John Williams and appropriate lyrics by Leslie Bricusse. The latter is a 'big' song, but is done here with a gospel feel over which Lynne can demonstrate her facility as the vocal builds. The remainder of the CD is an interesting mix of mostly ballads and a few lightly swinging numbers such as "Mountain Greenery" and "I Could Make You Care."

The di Martino arrangements are varied and never boring, each song approached individually and given only what is needed to back the vocal. He also displays a consummate ability to accompany a singer with just the right amount of tasty fills and a swinging solo on "There Are Such Things." Also worth mentioning is Newman's elegant flute on "Shangri-La" and Skaff's work on "How Do You Keep The Music Playing?" This is an offering that is wonderfully easy on the ears from a vocalist who knows how to sing from the heart. By Marcia Hillman https://www.allaboutjazz.com/from-my-heart-to-yours-gloria-lynne-highnote-records-review-by-marcia-hillman

Personnel: David "Fathead" Newman: flute; John di Martino: piano; Greg Skaff: guitar; Leon Lee Dorsey: bass; Vincent Ector: drums; P.J. Allen: tambourine (tracks 6 and 11).

From My Heart to Yours

---

Greg Skaff - Polaris

Styles: Guitar Jazz
Year: 2021
File: MP3@320K/s
Time: 45:01
Size: 103,7 MB
Art: Front

(4:29) 1. Old Devil Moon
(3:54) 2. Angelica
(5:11) 3. Little Waltz (Duo)
(3:48) 4. Paris Eyes
(5:22) 5. Yesterdays
(4:30) 6. Mr. R.C.
(4:18) 7. Lady of the Lavender Mist
(3:17) 8. Polaris
(5:03) 9. Little Waltz (Trio)
(3:05) 10. Caminando
(1:59) 11. Ill Wind

The pandemic year of 2020 brought with it very little in terms of artistic endeavors, thanks to lockdowns and stay home orders. Yet even under extreme conditions, guitarist Greg Skaff managed to commit to tape some genuinely sublime music that is sure to be remembered as one of 2021'a most memorable releases. Of course, Skaff has been at the forefront of modern jazz guitar since his first big break in the '80s working with the legendary Stanley Turrentine.

Not always getting the press garnered by peers such as Peter Bernstein or Russell Malone, Skaff nonetheless has been part of a healthy New York scene over the past several decades working with an iconic list of employers such as Freddie Hubbard, Bobby Watson, Dr. Lonnie Smith and Mike LeDonne. His own recordings cover a good deal of ground, often putting him in the popular organ combo format. His great run with the Zoho label began in 2004 and culminated with 2017's Soulmation

For Polaris, Skaff was looking to stretch out in a format he had not previously used the standard trio of just guitar, bass, and drums. Without another chording instrument, Skaff carries the job of providing both the melody and supporting chordal structures. If that was not a heady enough prospect, he wanted to bring into the fold jazz luminaries Ron Carter and Albert Tootie Heath. The first sessions came together in the summer of 2019, however the second date almost didn't happen, coming in March of 2020 just as New York City entered lockdown.

The opening "Old Devil Moon" leaves no doubt that a simpatico relationship was established from the first note. Skaff had been working steady gigs with Carter's big band, but Heath and Carter have had few chances to get together over the years. Carter's huge tone fills in the spaces between Skaff's melody lines and Heath's ride cymbal propels the forward-moving momentum. Trading fours with the drummer, crisp snare drum accents echo naturally within the studio space, the recorded sound being another finely-carved facet of this jewel.

Heath drives the Ellington chestnut "Angelica" with his hybrid "Nawlins" groove. Skaff puts melody at a premium as he weaves together his filigreed phrases. The other number from the Ellington cannon, "Lady of the Lavender Mist" showcases the guitarist's lush chordal approach. Heath lightly feathers the beat with his eloquent brushwork. In a similar vein, "Yesterdays" opens with Skaff's burnished chordal work before giving way to Carter's extended statement.

Tipping his hat to the organ format he's favored for some time, Skaff offers up Larry Young's "Paris Eyes. The tune sparkles in this setting, complete with some tasty drum fills from Heath. The result of the drummer being late for the second session led to a fortuitous situation where Carter and Skaff tackled the bassist's "Little Waltz," first as a duo and then later again with Heath after he had arrived. Being in the moment, Skaff crafts unique statements in both versions, Carter's upward glissando closing the latter version on a sagacious note.

The significance of Skaff's original "Mr. R.C." will be immediately apparent to those in the know. Its open structure allows the guitarist to stretch out at a brisk tempo. The leader's title track also brings with it superb guitar lines, but its structure is based on a pedal tone that then breaks free during the turnaround. Skaff has stated he gathered bits and pieces of inspiration for this one from the late guitarist Vic Juris.

A beautiful parting statement, "Ill Wind," finds Skaff on his own. Considering what was yet to come in terms of the pandemic, the title seemed apropos for sure, but it also seems to come across with an optimistic tone that permeates the entire session.
By C. Andrew Hovan https://www.allaboutjazz.com/polaris-greg-skaff-smk-jazz

Personnel: Greg Skaff: guitar; Ron Carter: bass; Albert Tootie Heath: drums.

Polaris

---

Greg Skaff - Soulmation

Bitrate: MP3@320K/s
Time: 55:17
Size: 126.6 MB
Styles: Guitar jazz
Year: 2017
Art: Front

[5:33] 1. Conjure
[6:48] 2. Genmaicha
[4:19] 3. Soulmation
[3:49] 4. Mother Root
[3:39] 5. Smoke In The Sun
[3:49] 6. Bottom Feeder
[3:59] 7. Fleurette Africaine
[4:41] 8. Porcupine Hat
[4:44] 9. Talisman
[4:22] 10. Juke
[4:36] 11. Snake Oil
[4:54] 12. Somewhere In The Middle East

Greg Skaff: guitar; Fima Ephron: electric bass; Pat Bianchi: organ; Jonathan Barber: drums; Charley Drayton: drums (1, 2, 9, 10).

Guitarist Greg Skaff is all about the grease, grit, and grooves on Soulmation. It's a logical extension of his previous work—guitar-fronted organ group dates like East Harlem Skyline (Zoho Music, 2009) and 116th & Park (Zoho Music, 2012)—but it's a tad heavier, raunchier, and funkier than anything Skaff threw us on those records. His approach here is equal parts soul jazz, jam band, and unadulterated rock, nodding toward everybody from Grant Green to Lenny Kravitz to Jimi Hendrix.

Skaff wastes no time getting down to business on this one. He kicks things off with a funky gem ("Conjure") that calls to mind the music that Medeski, Martin & Wood produced with John Scofield. It's a performance that's indicative of the attitude surrounding the album, yet the sound of that song doesn't define the record. No single track could. Skaff is far too cagey to be pigeonholed, altering his direction in slight and not-so-subtle ways from song to song. One number might present like a meeting of Stevie Wonder, Grand Funk Railroad, and Delbert McClinton ("Soulmation"), the next may slam and shred with controlled abandon ("Mother Root"), and the one after that may appear as waltzing jazz poetry riding on a psychedelic fusion flow (Jan Hammer's "Smoke In The Sun").

Everything is on the table here, and it's quite a spread to take in. Skaff and company ably construct Jeff Beck-meets-Living Colour hybrids ("Bottom Feeder"), manufacture slinky-and-dreamy tastes of Ellingtonia ("Fleurette Africaine"), shoot out sizzling swingers ("Porcupine Hat"), and engage in jams that marry roadhouse aesthetics to more advanced harmonic language ("Talisman"). Virtually nothing is left unexplored across these tracks.

If there's a single idea at the heart of this album, it's that a musician unbound is like a musician heretofore unheard. Whether discussing the leader, his regular on-record collaborators like organist Pat Bianchi and drummer Charley Drayton, or Skaff album newbies like bassist Fima Ephron and drummer Jonathan Barber, that thought rings true. One can never really know the full weight of an artist's thoughts and skills until they're unleashed, so no truer picture of this guitarist (and his friends) may exist. Soulmation is truly a summation of what Greg Skaff is all about. ~Dan Bilawsky

Soulmation

---

Greg Skaff - Soulmation

Size: 130,0 MB
Time: 55:16
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Soul, Jazz Rock
Art: Front

01. Conjure (Feat. Charley Drayton & Pat Bianchi) (5:33)
02. Genmaicha (Feat. Charley Drayton & Pat Bianchi) (6:46)
03. Soulmation (Feat. Fima Ephron & Jonathan Barber) (4:19)
04. Mother Root (Feat. Fima Ephron & Jonathan Barber) (3:49)
05. Smoke In The Sun (Feat. Fima Ephron & Jonathan Barber) (3:38)
06. Bottom Feeder (Feat. Fima Ephron & Jonathan Barber) (3:46)
07. Fleurette Africaine (Feat. Fima Ephron & Jonathan Barber) (4:01)
08. Porcupine Hat (Feat. Fima Ephron & Jonathan Barber) (4:43)
09. Talisman (Feat. Pat Bianchi & Charley Drayton) (4:43)
10. Juke (Feat. Fima Ephron & Charley Dreyton) (4:24)
11. Snake Oil (Feat. Fima Ephron & Jonathan Barber) (4:35)
12. Somewhere In The Middle East (Feat. Fima Ephron & Jonathan Barber) (4:54)

Guitarist Greg Skaff is all about the grease, grit, and grooves on Soulmation. It's a logical extension of his previous work—guitar-fronted organ group dates like East Harlem Skyline (Zoho Music, 2009) and 116th & Park (Zoho Music, 2012)—but it's a tad heavier, raunchier, and funkier than anything Skaff threw us on those records. His approach here is equal parts soul jazz, jam band, and unadulterated rock, nodding toward everybody from Grant Green to Lenny Kravitz to Jimi Hendrix.

Skaff wastes no time getting down to business on this one. He kicks things off with a funky gem ("Conjure") that calls to mind the music that Medeski, Martin & Wood produced with John Scofield. It's a performance that's indicative of the attitude surrounding the album, yet the sound of that song doesn't define the record. No single track could. Skaff is far too cagey to be pigeonholed, altering his direction in slight and not-so-subtle ways from song to song. One number might present like a meeting of Stevie Wonder, Grand Funk Railroad, and Delbert McClinton ("Soulmation"), the next may slam and shred with controlled abandon ("Mother Root"), and the one after that may appear as waltzing jazz poetry riding on a psychedelic fusion flow (Jan Hammer's "Smoke In The Sun").

Everything is on the table here, and it's quite a spread to take in. Skaff and company ably construct Jeff Beck-meets-Living Colour hybrids ("Bottom Feeder"), manufacture slinky-and-dreamy tastes of Ellingtonia ("Fleurette Africaine"), shoot out sizzling swingers ("Porcupine Hat"), and engage in jams that marry roadhouse aesthetics to more advanced harmonic language ("Talisman"). Virtually nothing is left unexplored across these eleven tracks.

If there's a single idea at the heart of this album, it's that a musician unbound is like a musician heretofore unheard. Whether discussing the leader, his regular on-record collaborators like organist Pat Bianchi and drummer Charley Drayton, or Skaff album newbies like bassist Fima Ephron and drummer Jonathan Barber, that thought rings true. One can never really know the full weight of an artist's thoughts and skills until they're unleashed, so no truer picture of this guitarist (and his friends) may exist. Soulmation is truly a summation of what Greg Skaff is all about. ~by Dan Bilawsky

Personnel: Greg Skaff: guitar; Fima Ephron: electric bass; Pat Bianchi: organ; Jonathan Barber: drums; Charley Drayton: drums (1, 2, 9, 10).

Soulmation

---

Greg Skaff - Blues And Other News

Bitrate: MP3@320K/s
Time: 50:54
Size: 116.5 MB
Styles: Jazz guitar
Year: 1996
Art: Front

[5:26] 1. Walk The Walk
[4:51] 2. Johnny Come Lately
[3:34] 3. Red Dirt
[6:06] 4. My Man's Gone Now
[6:30] 5. Ya Dig
[4:57] 6. In Walked Bud
[5:43] 7. Knaptown Vibe
[3:32] 8. Comin' At Ya
[6:12] 9. Highway 70
[4:00] 10. Jig Saw

Born in Wichita, guitarist Greg Skaff is a neo-modernist whose no-nonsense style is spiced with healthy dollops of blues and bop. Alto saxophonist Bobby Watson, another Kansan and Skaff's current employer, offers this assessment: "Greg is the most versatile and imaginative guitarist I've played with. He has one foot in the past and one foot in the future, so anything the music calls for...he's there!" Now that's an endorsement!

Among the gems are a seriously swinging "Walk the Walk," whose loamy contours Wes Montgomery would have felt at home with. For contrast, Skaff's poignant evocation of the William Warfield/Leontyne Price version of "My Man's Gone Now" transforms melancholy into tremulous, palpable hope. Throughout, group interactions are tight yet loose, and always swinging.

Although reflecting his work with such earthy essayists as Stanley Turrentine, Gloria Lynn and Ruth Brown, Skaff also digs into the contemporary lexicon forged by John Abercrombie and John Scofield. Here, abetted by fellow New Yorkers Bruce Barth (piano), Tony Scherr (bass) and Greg Hutchinson (drums), Skaff brightens the boulevard with strolls at once up-town and down. It's an exuberant and expansive debut. ~Chuck Berg

Blues And Other News

---

Marty Elkins - Fuse Blues

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 58:10
Size: 133,8 MB
Art: Front

(3:47)  1. Day In, Day Out
(5:59)  2. Born to Be Blue
(2:54)  3. Soon
(4:08)  4. Never Never Land
(3:15)  5. You're Blase
(4:26)  6. Stars Fell On Alabama
(6:58)  7. Moonray - No Moon At All
(3:41)  8. In the Wee Small Hours of the Morning
(4:25)  9. As Long as I Live
(3:36) 10. When Your Lover Has Gone
(4:50) 11. We'll Be Together Again
(5:12) 12. Fuse Blues
(4:54) 13. There's No You

Whitebread in a Good Way. Marty Elkins swings her ass off. In a gentle sort of way, I might add. She has got a Betty Carter delivery that is just inside of the ballpark of the boldness of Carter. Elkins is very exact, taking some chances vocally, but only those she is confident of claiming. This is no mean criticism, Marty Elkins is Anita O'Day without the hyperkinetic scat. There is nothing to not enjoy (double negatives and all). Gosh, I can really find little wrong with this disc. Elkins has done her homework and she is accomplished in all corners of her craft. "Day In, Day Out" is a straight-ahead romp, "Stars Fell on Alabama" is almost colloquial and "In The Wee Small Hours" sounds as if it could have been included in the score of The Wizard of Oz with "Over The Rainbow". 

Most outspoken in the rhythm section is Greg Skaff on guitar. He makes all things mellow, providing a plush bedrock rhythm. Herb Pomeroy played his tasteful trumpet and Houston Person, his tenor saxophone. But the true star here is Elkins. She is a unique talent. ~ C.Michael Bailey  http://www.allaboutjazz.com/fuse-blues-marty-elkins-review-by-c-michael-bailey.php

Personnel: Marty Elkins: Vocals; Herb Pomeroy: Trumpet; Houston Person: Tenor Saxophone; Tardo Hammer: Piano; Greg Skaff: Guitar; Dennis Irwin: Bass; Mark Taylor: Drums.

Fuse Blues

---

Greg Skaff - Ellington Boulevard

Styles: Jazz
Year: 2004
File: MP3@320K/s
Time: 64:32
Size: 148,8 MB
Art: Front

(6:22)  1. Baku
(7:31)  2. Rambler
(6:06)  3. Super 80
(7:13)  4. Blues For Mr. T
(6:28)  5. Delphia
(9:13)  6. Inception
(7:15)  7. Poundcake
(6:45)  8. Isfahan
(7:35)  9. Highway 54

Recording studios can be cold and uninviting places. Without the ambience of a live room and an eager audience, some artists are challenged to capture the fire and the energy that results from the feedback of a receptive group of listeners. As wonderful as many studio recordings are, they don't always succeed in portraying what the group is really about. Watching Hudson Music's video of The Peter Erskine Trio Live at Jazz Baltica versus any of the trio's ECM recordings show, for example, a very different group. The sterility of the studio doesn't appear to be problematic for guitarist Greg Skaff. Add the clink of glass, the occasional cough and the scrape of chair against floor and Ellington Boulevard is so hot, so full of life that it could easily have been recorded in a club. It combines the energy of a live recording with the greater control over sound that is possible in the recording studio the best, then, of both possible worlds.  

Ellington Boulevard , released last year as Blues for Mr. T and now reissued by ZOHO Records, pays tribute to the late Stanley Turrentine, a one-time employer of Skaff and inspiration for this set of high octane bop, soul grooves and blues. Teamed with organist Mike Le Donne and drummer Joe Farnsworth, Skaff creates a set that moves from the more complex post bop of "Baku" to the comfortable swing of "Rambler" and the light shuffle of the title track. As a guitarist, Skaff's precedence lies in Wes Montgomery and Grant Green, but by way of George Benson and Pat Martino. With a tone that is less thick, less dark than Martino's he still tends to favour rapid sixteenth-note runs and the occasional repeated phrase for emphasis. But unlike Martino Skaff settles more gently into a ballad, as he does in his bluesy reading of Freddie Hubbard's "Delphia." Still, like Martino he also favours tempo shifts within a tune, as he does on the Hubbard piece. Le Donne is equally capable of navigating the sometimes circuitous charts that Skaff chooses. 

He swings the bottom end hard on McCoy Tyner's "Inception," yet is equally capable of greasy funk on Skaff's own "Poundcake." And Farnsworth, heard recently on Eric Alexander's Dead Center , proves that the best drummers have the breadth of vision to cover everything from the tender Ellington/Strayhorn ballad "Isfahan" to Skaff's soul jazz closer, "Highway 54." But what makes this a most satisfying date is how completely committed the trio is. 

The ring of truth is loud and clear on this recording; there's not a wasted phrase, nor a note that doesn't feel like the right and only choice. Ellington Boulevard is another fine record from Skaff, who, along with Vic Juris, Dave Stryker and Richie Hart, is leading the vanguard of contemporary post bop guitarists on the New York scene. ~ John Kelman   

http://www.allaboutjazz.com/php/article.php?id=15322#.UofEl-Jc_vs

Personnel: Greg Skaff (guitar), Mike Le Donne (Hammond B-3 organ), Joe Farnsworth (drums)

Ellington Boulevard

---