Eric Alexander - The First Milestone

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 63:06
Size: 144,6 MB
Art: Front

(8:52)  1. Stand Pat
(7:06)  2. #34 Was Sweetness (for Walter Payton)
(7:36)  3. The First Milestone
(8:41)  4. The Towering Inferno
(8:55)  5. Night Song
(7:15)  6. Last Night When We Were Young
(7:56)  7. The Phineas Trane
(6:40)  8. I'm Glad There Was You

With the release of The First Milestone, Eric Alexander continues to make the transition from a young, hard-blowing tenor saxophonist to a mature soloist and leader of interesting small bands. Alexander is simply getting better at what he’s been doing quite well all along; that is, making high-energy music largely based on the spectrum of straight-ahead jazz of the 50s and 60s. Throughout the disc, his playing has its characteristic intensity, and his solos sound like complete statements rather than a fusion of disparate ideas. As always, Alexander has surrounded himself with bandmates (pianist Harold Mabern, guitarist Pat Martino, bassist Peter Washington, and drummer Joe Farnsworth) who push him to the limit and have something of their own to say. Alexander’s sheer joy in making music comes through loud and clear on several cuts, most notably the jaunty “Night Song,” and a funky version of “I’m Glad There Is You,” which is reminiscent of the sounds made during his tenure in the band of Hammond B3 organist Charles Earland. On both tunes, the liberties he takes on the melodies are as interesting as his improvised solos. 

“Last Night When We Were Young” gets a ballad treatment and doesn’t stray very far from that vein even when the tempo doubles in the middle of Alexander’s solo. “34 Was Sweetness,” a deliberate, virile stroll, is a fitting tribute to the late Walter Payton. The contrasting solo approaches of Martino and Mabern are important to the success of the disc. Although Martino appears on only four of the eight tracks, his impeccable single-note lines swing quietly but intensely. Mabern plays with an odd combination of abandon and delicacy, and even at its most restrained, his playing has a startling momentum.
By David A.Orthmann https://www.allaboutjazz.com/the-first-milestone-eric-alexander-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Eric Alexander- tenor saxophone, Pat Martino- guitar, Peter Washington- bass, Joe Farnsworth- drums

The First Milestone

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Lee Morgan - Sonic Boom

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 74:18
Size: 171,4 MB
Art: Front

(5:47)  1. Sneaky Pete
(7:11)  2. The Mercenary
(6:18)  3. Sonic Boom
(5:27)  4. Fathead
(7:16)  5. I'll Never Be The Same
(5:28)  6. Mumbo Jumbo
(4:50)  7. Free Flow
(5:42)  8. Stormy Weather
(6:09)  9. Mr. Johnson
(5:47) 10. The Stroker
(5:33) 11. Uncle Rough
(3:07) 12. Claw-Til-Da
(5:38) 13. Untitled Boogaloo

A quick inspection of the Lee Morgan discography unearths an obscure album sandwiched between 1966's The Rajah and 1967's The Procrastinator. The album, Sonic Boom, was recorded in 1967 yet remained silent in the Blue Note vaults for twelve years, resurfacing only twice, as an LP in 1979 and eleven years later as a CD. Both times, exposure to the public was brief, making Sonic Boom nearly irrelevant in the trumpeter's overall anthology. Yet the music here is nothing short of vintage Morgan, as evidenced on the latest reissue, a limited edition 24-bit remastered set. Serving his usual heady brew of jazz, blues and funk, the emphasis here is strictly hard-boppin' fun. Accompanying the leader are a stimulating crew that includes Cedar Walton on piano, David "Fathead" Newman on tenor, Ron Carter on bass, and Billy Higgins on drums. Tracks like "Sneaky Pete," "The Mercenary," and "Fathead" provide plenty of straight ahead muscle from the whole band, with Newman's gruff tenor work, in particular, pairing remarkably well with Morgan's horn. The true highlights, though, are in the searing title track and in the exceptionally sweet and sincere interpretation of the ballad "I'll Never Be The Same." While Morgan may best be celebrated for his charged, upbeat solos, his delicate touch on ballads merits equal praise, and, indeed, confirms that Morgan was something else.This latest reissue of Sonic Boom includes an additional seven tracks taken from a 1969 session, originally released on 1978's double LP version of The Procrastinator. 

Employing an entirely different set of musicians, the cast includes Julian Priester on trombone, George Coleman on tenor sax, Harold Mabern on piano, Walter Booker on bass, and Mickey Roker on drums. Though thematically similar, the bonus tracks are more progressive and funkier than the album's first half, with exceptional compositions by Coleman on "Free Flow," Priester on "The Stroker," and Mabern on the jive dance of "Uncle Rough." In comparing the two halves of the album, it is interesting to hear the changes upon the hard-bop idiom over the late 1960s. By 1969, funk and its inherent bass and drumbeats are more prevalent than before. Integrated into jazz, as heard here, the results are joyous. In the final analysis, Sonic Boom is an underrated gem. As such, fans of the trumpeter and of hard bop are advised to check out the album while it's still here. By Germein Linares https://www.allaboutjazz.com/sonic-boom-lee-morgan-blue-note-records-review-by-germein-linares.php

Personnel: Lee Morgan- trumpet; David "Fathead" Newman, George Coleman- tenor sax; Cedar Walton, Harold Mabern- piano; Ron Carter, Walter Booker- bass; Billy Higgins, Mickey Rokerdrums; Julian Priester- trombone

Sonic Boom

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Steve Davis, Eric Alexander, Mike DiRubbo, Harold Mabern, Nat Reeves, Joe Farnsworth - Crossfire

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 58:55
Size: 135,5 MB
Art: Front

(8:19) 1. Then and Now
(7:36) 2. From the Inside Out
(6:39) 3. Peacekeeper
(9:54) 4. Old Folks
(7:06) 5. Cousin Mary
(6:19) 6. Falling in Love with Love
(7:19) 7. This Nearly Was Mine
(5:39) 8. Con Alma

Steve Davis is one of the breed of young boppers whom have mastered the idiom. Here, the trombonist leads a group mostly culled from One for All, a conglomeration of extraordinary musicians who perform regularly together in the Big Apple. Veteran pianist Harold Mabern joins them, adding experience and depth. Davis plays a mean 'bone, strongly indebted to Curtis Fuller.

Like Fuller, he sticks to the middle range of the horn, boasts a somewhat nasal tone, and plays smoothly at almost any tempo. He is also a good, if cautious, composer. Tenor saxophonist Eric Alexander continues to grow both in stature and skill, and contributes solidly with strong solos. While there is nothing revolutionary or new in the group's playing, there is a strong sense of camaraderie and precision that lifts this performance to a higher level. By Steve Loewy https://www.allmusic.com/album/crossfire-mw0000600873

Musicians: Steve Davis – trombone; Eric Alexander – tenor sax; Mike DiRubbo – alto sax; Harold Mabern – piano; Nat Reeves – bass; Joe Farnsworth – drums

Crossfire

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George Coleman Quartet - I Could Write A Book: The Music Of Richard Rogers

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:35
Size: 140,6 MB
Art: Front

(5:14)  1. Falling In Love With Love
(6:20)  2. My Funny Valentine
(6:50)  3. Lover
(5:20)  4. Bewitched
(4:51)  5. I Didn't Know What Time It Was
(6:06)  6. My Favorite Things
(7:57)  7. Have You Met Miss Jones
(3:38)  8. People Will Say We're In Love
(7:11)  9. I Could Write A Book
(3:47) 10. Medley: There's A Small Hotel / Where Or When / The Sweetest Sounds
(2:15) 11. Thou Swell

Inspired by a guest spot in a Carnegie Hall Jazz Band tribute to Rodgers and Hart, Coleman organized an entire album around the theme with a touch of Hammerstein too. It's a mostly mainstream hard bop session, with Coleman's slightly dry, plain-spoken tone on all three of his instruments soprano, alto and tenor lending an appropriately lyrical bend to the collection of well-known Rodgers standards; well, its mostly hard bop, "My Favorite Things" is cast perhaps inevitably in the modal Coltrane mold, with Coleman on soprano for good measure, and once in a great while, Coleman lets fly outside the changes. 

A fine, flexible rhythm section of veterans two fellow Memphis colleagues (pianist Harold Mabern, bassist Jamil Nasser) and one Angeleno drummer (Billy Higgins) sends Coleman on his way in style. As if in tribute to his rhythm section, Coleman sits out "People Will Say We're in Love" entirely and dukes it out with Higgins on a brief "Thou Swell." This is almost an echo of fellow saxman Joe Henderson's successful tribute formula of the early 1990s, although Henderson's CDs were somewhat more emotionally involving than this.~ Richard S.Ginell https://www.allmusic.com/album/i-could-write-a-book-the-music-of-richard-rodgers-mw0000039620

Personnel: Saxophone – George Coleman; Piano – Harold Mabern;  Bass – Jamil Nasser; Drums – Billy Higgins

I Could Write A Book: The Music Of Richard Rogers

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Joe Farnsworth Quartet - My Heroes: Tribute To The Legends

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 50:44
Size: 116,3 MB
Art: Front

(5:46) 1. George's Dilenma
(7:35) 2. Moanin'
(5:27) 3. No Fills
(4:44) 4. Syeeda's Song Flute
(1:43) 5. Here We Go, Here We Go
(6:23) 6. Cute
(3:38) 7. Two Bass Hit
(7:50) 8. Greensleaves
(3:02) 9. Musashi
(4:33) 10. Reflection

Joe Farnsworth is already regarded as one of the top jazz drummers in the world, but as far as he is concerned, he is just getting started. He is dedicated to the great tradition of jazz drumming as conceived by men like Max Roach, Roy Haynes, Elvin Jones, Billy Higgins and Arthur Taylor and it keeps him in the practice room trying to continue and extend it. Joe was born on February 21, 1968 in South Hadley, Massachusetts into an unusually musical family. His father was a renowned music teacher who immersed his five sons, and it became clear early on that, Joe as the youngest would choose a career in music and would ultimately be a great success. His eldest brother, John, a renowned trombone and saxophone player, exposed him at the age of 12, to the music of Count Basie, John Coltrain, Charlie Parker and the drumming of Tony Williams which led Joe to seek lessons with Alan Dawson out of Boston.

Ultimately enrolling in William Patterson College in New Jersey, he met and befriended Harold Mabern who introduced him to tenor saxophonist George Coleman. Both Harold and George became major influences on Farnsworth's playing. During this time, Joe also sought out and studied with Art Taylor and became friends with saxophonist Eric Alexander. After moving to New York City with brother James, a saxophonist for Ray Charles (1992-1999) when he unexpectedly passed away, Joe became the leader on Friday and Saturday nights as the infamous jazz club Augie's (now Smoke) where he would meet and play with Junior Cook, Cecil Payne, John Ore, Big John Patton, Harold Mabern, Eddie Henderson and John Jenkins. Joe's undeniable talent and hard work ethic started to pay off. He began working with Jon Hendriks in 1992 and then with Diana Krall off and on until he became a full member for a year and half from 1999-2000.

Joe Farnsworth is now known as one of the most recorded drummers on the scene, with over 70 cd's behind him, for musicians such as Wynton Marsalis, Cedar Walton, Pharoah Sanders, Eric Alexander and Benny Golson. His first recording as a leader, “Beautiful Friendship” (Crisscross Records) featured pianist Cedar Walton and trumpeteer Eddie Henderson while his second, “It's Prime Time” (88 Records) included special guest artists Ron Carter, Curtis Fuller, Benny Golson and Harold Mabern, Jr. At 38, Joe has already performed on most of the greatest American and international stages. He appears regularly at New York City clubs like The Village Vanguard (Wynton Marsalis, Cedar Walton), Blue Note (Johnny Griffin, Horace Silver), Birdland (Lou Donaldson), Iridium (George Coleman, Pharoah Sanders) and Jazz at Lincoln Center (Wynton Marsalis). In any given year he is likely to be found backing major artists at the leading jazz clubs and festivals all over the world.

Farnsworth, also a regular on the Jazz Festival scene, has played with Benny Green, Diana Krall (Montreal Jazz Festival), Curtis Fuller and Barry Harris (Northsea Jazz Festival), Pori Jazz Festival, Red Sea Festival and Umbria just to name a few. As a straight-ahead jazz musician, Joe has been compared to his idol “...not unlike Max Roach in his ability to combine furious playing with structural cogency, Farnsworth audaciously travels around the set, establishing unifying ideas without interrupting the barrage of strokes...”

Orthman goes on to describe Joe's career including “...venerable leaders ranging from George Coleman to Benny Golson to Cedar Walton, who frequently call on him to light a fire under their bands. The ability to set all kinds of material in motion, minus fuss and clutter, has also placed him in a coterie of younger, tradition-minded musicians like Eric Alexander (a college classmate during the late 80's), Steve Davis, David Hazeltine and Jim Rotundi, a group of young players that are regulars at Smoke a jazz club in NYC.

In 2006, Japanese label, Commodore Records, will release Farnsworth's third cd, “Drumspeak”. which is sure to change the flavor of drums in jazz today. “Drumspeak” is touted as a festival of musical language incorporating traditional jazz with percussions, drums and various instruments from Japan, Latin-America, Africa and the U.S. Commodore Records will release “Drumspeak” later this year. https://www.allaboutjazz.com/musicians/joe-farnsworth

Personnel: Drums – Joe Farnsworth; Piano – Harold Mabern; Tenor Saxophone – Eric Alexander; Bass – Nat Reeves

My Heroes Tribute To The Legends

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Roy Brooks, Woody Shaw - Understanding

Styles: Post Bop, Trumpet Jazz
File: MP3@320K/s
Time: 123:33
Size: 283,6 MB
Art: Front

( 0:25) 1. Introduction
(21:34) 2. Prelude to Understanding
(20:10) 3. Understanding
(21:06) 4. Billie's Bounce
(23:18) 5. Zoltan
(32:25) 6. Taurus Woman
( 4:31) 7. The Theme

Roy Brooks was a preeminent hard-bop drummer who early on participated in seminal recording dates led by Horace Silver, Yusef Lateef and Sonny Stitt. In this release entitled Understanding, produced by Cory Weeds and Zev Feldman for Reel To Real Records, Brooks is documented live by The Left Bank Jazz Society at The Famous Ballroom in Baltimore on November 1, 1970. The limited-edition 180 gram 3-LP gatefold set of previously unreleased material, features a stellar band including trumpeter Woody Shaw, tenor saxophonist Carlos Garnett, pianist Harold Mabern and bassist Cecil McBee.

The start of the 1970s set out a movement towards freer improvisation to offer a path for expansion in harmony, structure and character. As a result, the listener was expected to adopt a new set of standards for listening, comprehending and dissecting the music. The five compositions that are presented in this recording fall into this category, and while they may appear to be arbitrary and unstructured, they do have a fundamental and textural construct. Additionally, the compositions are unusual in length, each taking the complete side of the LP. The playing is intense and demanding and the rhythm is propulsive, with Brooks ferocious behind the drum kit.

Disc One features two Brooks compositions, "Prelude to Understanding" and "Understanding." On the first, following a rubato introduction, the band begins its lengthy excursion into the lines, harmony and character of the number. Shaw is exhilarating, with intense playing for an extended period. He hardly seems to draw a breath. Mabern and McBee work together to build a rapport, while Brooks is working overtime to create a dynamic of rhythm, accents and shapes to move the number forward. With "Understanding," the style shifts to a 16+16 bar form with a Latin rhythm. Garnett dives into the fray with his high-tailing sound and fluent approach. McBee offers an extended fleet-fingered solo that has some similarities to flamenco strumming. Shaw and Mabern continue to demonstrate that they are soloists of energy and quicksilver brilliance.

Disc Two rides the Charlie Parker composition "Billie's Bounce" for a full twenty-one minutes. This bebop classic was written as a 12 bar blues, but the version offered here is a far cry from the original intent. The last two tunes are Shaw's "Zoltan" and Garnett's "Taurus Woman." The former is a 32 bar structure in the Lydian mode. Shaw is in full control as he tears through the changes. Brooks pushes the tempo up throughout the number, almost leaving Mabern behind. Garnett, of Panamanian heritage, is the key player in his own composition, one evolves into a Latin groove with Afro-Cuban references as created by Brooks. Garnett's tenor solo is coherent for the most part, although it does include what you might consider to be unnecessary squeals and squawking. The twenty page high-gloss booklet that accompanies this set is a treasure trove of information about the recording and the participants. There are photos, interviews, essays and stories, all of which add to the experience.~ Pierre Giroux https://www.allaboutjazz.com/understanding-roy-brooks-reel-to-real

Personnel: Roy Brooks: drums; Carlos Garnett: saxophone, tenor; Woody Shaw: trumpet; Harold Mabern: piano; Cecil McBee: bass.

Understanding

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George Freeman - Man & Woman

Styles: Guitar Jazz
Year: 1974
File: MP3@320K/s
Time: 43:24
Size: 99,5 MB
Art: Front

(5:12)  1. Till There Was You
(5:59)  2. You've Changed
(4:37)  3. I Ain't Got Nobody
(5:04)  4. Groovy Lady
(5:13)  5. Funny How Time Slips
(6:49)  6. Squeeze Me
(4:06)  7. Stardust
(6:19)  8. Georgia on My Mind

While Man & Woman embraces a mellower approach than guitarist George Freeman's other Groove Merchant dates, it's by no means the late-night boudoir record its erotic cover suggests the stripped-down, nuanced sound instead adheres to a relatively straightforward soul-jazz formula, more focused and earthbound in its orientation than the average Freeman session. Teaming here with pianists Harold Mabern and Kenny Barron, bassist Bob Cranshaw, and drummer Buddy Williams, the guitarist embraces the change of pace, settling comfortably into the music's slow, slinky grooves not only are his solos as imaginative as before, but they also boast a rippling sensuality otherwise absent from his previous records. ~ Jason Ankeny  http://www.allmusic.com/album/man-woman-mw0001213579

Personnel: George Freeman – guitar;  Harold Mabern - piano, electric piano;  Kenny Barron - electric piano;  Bob Cranshaw – bass;  Buddy Williams - drums

Man & Woman

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George Coleman - Danger High Voltage

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 68:10
Size: 157,2 MB
Art: Front

( 9:55) 1. Isn't She Lovely
(10:22) 2. Conservation
(13:31) 3. Portrait Of Jennie
( 5:06) 4. Simone
(10:03) 5. Tenderly
(12:42) 6. Follow Me
( 6:29) 7. Pretty Blues

George Coleman isn’t just the answer to the trivial pursuit question “Who were the tenor saxophonists in Miles Davis’ Band after John Coltrane and but before Wayne Shorter.” The correct answers; Hank Mobley, Sam Rivers, and George Coleman, if not achieving Miles Davis super-stardom all went on to significant careers. Miles suggested that Coleman left his sixties group because of tension. Davis said he played too perfect and that his bandmates were looking for more freedom and, one can suspect, a looser sound. My take is that George Coleman, like his Memphis jazz brother Harold Mabern, played with a blues/swing the aggressive young lions Herbie Hancock and Tony Williams were trying to eschew, for hipness sake. Like Mobley (now deceased) and more recently Rivers, Coleman has a gang of loyal devotees to his music.

Coleman has been part of many significant groups (Lionel Hampton, Elvin Jones, Horace Silver, Jimmy Smith, Chet Baker, Max Roach, and Cedar Walton and recordings (Herbie Hancock’s Maiden Voyage, and Miles Davis’ Four And More, My Funny Valentine, & Live at Antibes ). His output as a leader has been sparse (for such a great talent), with his last release being the Telarc recording I Could Write A Book: The Music Of Richard Rodgers (1998). His Octet, which has been around in some form or an other since 1973, has criminally been recorded only a few times. The Two And Four recording company rights a wrong in the debut release by Coleman’s Octet. The disc opens with Stevie Wonder’s “Isn’t She Lovely,” the octet laying such a driving blues groove you barely notice Coleman doesn’t take a solo until nearly four minutes into the song. It’s that Memphis sound that hooks you from the get-go. Harold Mabern’s piano swings so hard throughout, there is not much that could go wrong here.

Percussionist Daniel Sadowick augments the octet of two tenors, alto, and baritone saxophones, trumpet, piano bass and drums. His hand drumming along with master bassist Ray Drummond, George’s son on drums and the aforementioned Mabern, are a rhythm section with a blues predilection. Their take on the standard “Tenderly,” arranged by Ned Otter, is a rapid paced reworking which sheds every ounce of sentimentality for passionate swing. This is an octet that thinks it’s a quartet. They regard changes most little big bands would never attempt and apply generous space rarely heard in octet recordings. Highlights include trumpeter Jim Rotondi’s solo on “Portrait Of Jenny,” Coleman’s “Pretty Blues” with full-horn front split off into a call-and response, and Frank Foster’s composition “Simone” with the coltrane-esqe solo by Ned Otter. Maybe Miles Davis was right; George Coleman’s playing is too perfect. Not perfect, as in the criticism of Wynton Marsalis’ unemotional playing. But perfect in the sense of Dizzy Gillespie’s always playing the correct note at the right time. Coleman’s timing is faultless, and no one could ever say his horn is indifferent. This Memphis tenor has a large blues sound with enough passion to get your ass dancing.~ Mark Corroto https://www.allaboutjazz.com/danger-high-voltage-george-coleman-two-and-four-review-by-mark-corroto.php

Personnel: Tenor Saxophone – George Coleman, Ned Otter ; Trumpet – Jim Rotondi; Piano – Harold Mabern; Acoustic Bass – Ray Drummond; Alto Saxophone – Adam Brenner; Baritone Saxophone – Gary Smulyan; Percussion – Daniel Sadownick

Danger High Voltage

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George Coleman - Manhattan Panorama

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 59:43
Size: 137,4 MB
Art: Front

( 3:31) 1. Mayor Koch
(19:12) 2. New York Suite
( 6:12) 3. Subway Ride
( 6:03) 4. El Barrio
( 9:39) 5. New York Housing Blues
(15:04) 6. Ray Of Light

Why George Coleman is not immediately mentioned when the discussion turns to great tenor sax veterans is baffling, because there are not many better mainstream/blues stylists. Other than a good-natured but ultimately empty vocal, Coleman was routinely brilliant on every number during this live Village Vanguard set originally issued on Theresa vinyl. Pianist Harold Mabern's bluesy, vibrant phrases and bassist Jami Nasser's supple licks and accompaniment are ably punctuated by Idris Muhammad's capable drumming. There is a no-nonsense (the opener aside), no-frills attitude exemplifed by the quartet. ~ Ron Wynn https://www.allmusic.com/album/manhattan-panorama-mw0000201197

Personnel: Alto Saxophone – George Coleman; Bass – Jamil Nasser; Drums – Idris Muhammad; Piano – Harold Mabern

Manhattan Panorama

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George Coleman - The Quartet

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 73:31
Size: 169,3 MB
Art: Front

( 6:27) 1. Paul's Call
( 6:05) 2. I Wish You Love
( 8:25) 3. Prelude to a Kiss
( 6:17) 4. Lollipops and Roses
(12:05) 5. East 9th Street Blues
(10:59) 6. When I Fall in Love
( 5:54) 7. Along Came Betty
(10:16) 8. You've Changed
( 6:57) 9. Triste

It took nearly 20 years for tenor saxophonist George Coleman to bring his working quartet (featuring the late pianist Harold Mabern, in one of his final recording sessions, along with bassist John Webber and drummer Joe Farnsworth) into the studio. That wait time is the only real complaint about The Quartet. It’s as straight-ahead an album as it gets, created by an octogenarian who despite being an NEA Jazz Master remains undervalued in his greatness. Greatness is assuredly the only word applicable to the player behind this samba-fied take of “I Wish You Love.” Coleman trips the light fantastic, plotting his phrases carefully and concisely, always mindful of the beat but slipping ahead and behind as each phrase dictates. For all his light touch, though (here as well as on sweeter pieces, like “You’ve Changed”), he also applies a gruff growl to the edge of his tone. On the intro to “You’ve Changed,” he even tweaks that growl into dissonant, faintly avant-garde whines. It’s a warning that even though he can retract them, Coleman still has claws.

They never quite come all the way out, though a good bit of them are bared on the spontaneously composed “East 9th Street Blues.” He still phrases judiciously (though not for lack of ideas: the tenor solo comprises 17 choruses), but punctuates with guttural moans, shrieks, and even some lowdown honking. That same tune, though, also shows how Coleman’s chemistry with his band is crucial to his magic. Farnsworth’s popping accents become the wireframes from which the sax hangs, and Webber’s bass provides the contour (which it will do even more on the closing “Triste”). In particular, Coleman’s relationship with Mabern, his fellow Memphian and 70-year collaborator, is glorious. The pianist turns even the saxophonist’s longer and more linear lines into conversation; he also makes his own steely vamps on “Paul’s Call” sound tailored to Coleman’s extemporizations, and he approaches the jaunty “Prelude to a Kiss” with the energy of a playful duet.~ Michael J.West https://jazztimes.com/reviews/albums/george-coleman-the-quartet-smoke-sessions/

Personnel: George Coleman (ts); Harold Mabern (p); John Webber (b); Joe Farnsworth (ds)

The Quartet

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Harold Mabern - Mabern Plays Mabern

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 69:53
Size: 160,4 MB
Art: Front

( 9:44)  1. Mr. Johnson
( 8:00)  2. The Iron Man
( 7:34)  3. Lover Man
(11:56)  4. The Lyrical Cole-Man
( 8:53)  5. Edward Lee
( 5:59)  6. It's Magic
( 7:34)  7. The Beehive
(10:09)  8. Rakin' and Scrapin'

A tad more subdued than the barn-burning The Iron Man: Live At Smoke (Smoke Sessions Records, 2019), Mabern Plays Mabern still manages to jump full throttle from where that defining recording left us, with a lush, lyrical intensity and a vital, legacy-culling energy which plays as an exquisite coda to the pianist's long, outstanding career.  Alive with the same stylist's intuition and unbridled spirit which found him cutting through the ranks with such contemporaries as Charles Lloyd and Steve Coleman, and had him sitting on many notable sessions with, among others, Lee Morgan, Freddie Hubbard, Archie Shepp and Sarah Vaughan, the 81-year-old gentleman bopper takes to the spotlight and the stage, and celebrates our common humanity joyously with a virile drive that will surely stun young lions half his age.

Riding rubato into his rollicking tribute to J.J. Johnson, stalwart saxophonist Eric Alexander launches into the first of many flights of high-stakes frenzy as Mabern comps raucously behind him, buoyed by long-standing bassist John Webber and drummer Joe Farnsworth on high heat. The guest addition of trombonistSteve Davis gives the performance added zest, to the great delight of the Smoke audience. Mabern and Alexander trade blows (and Farnsworth solos for all he is worth) on "The Lyrical Cole-Man" a fevered nod to Coleman, whom he remained close friends with till the end. 1968's "Rakin' and Scrapin" makes its second, though lengthier rock solid appearance in as many recordings. Mabern's big hands swing a lot like, well, the Mabern of '68. Webber and Farnsworth hold steady with a soulful groove as Alexander sails and wails along. "The Beehive" buzzes as Alexander and special guestVincent Herring's winding alto sax leap and bound, play tag, and fuel each other's performance. A fitting farewell, indeed. ~ Mike Jurkovic https://www.allaboutjazz.com/mabern-plays-mabern-harold-mabern-smoke-sessions-records

Personnel: Harold Mabern: piano; Eric Alexander: saxophone, tenor; John Webber: bass, acoustic; Joe Farnsworth: drums; Steve Davis: trombone; Vincent Herring: saxophone.

Mabern Plays Mabern

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Jimmy Cobb - This I Dig of You

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 66:53
Size: 154,2 MB
Art: Front

(5:46)  1. This I Dig of You
(6:51)  2. Blood Wolf Moon Blues
(6:38)  3. I'm Getting Sentimental Over You
(4:58)  4. My Old Flame
(7:05)  5. Cheese Cake
(8:03)  6. Edward Lee
(6:22)  7. Somewhere in the Night
(6:35)  8. Yesterdays
(8:13)  9. I'll Wait and Pray
(6:17) 10. Full House

Is there a ride cymbal more integral to solid groove-making on more jazz recordings and performances than the one(s) played by drummer Jimmy Cobb, the last surviving musician from the sessions for Miles’ Kind of Blue? Cobb, also heard with the likes of Dizzy Gillespie, Dinah Washington, Sarah Vaughan, John Coltrane, and Cannonball Adderley over the decades, creates a special kind of graceful, creative, forward-moving swing when he locks in with a bassist and rhythm section (as I discovered firsthand, playing with the master trappist at a 2000 memorial concert for Nat Adderley in Florida). At 90, Cobb still has it, as he handily demonstrates on This I Dig of You, leading and driving a quartet on an uncluttered, frills-free program dominated by standards, some of which he’s been playing for decades. For these warmly recorded, intimate-sounding recordings, he’s joined by several musicians with whom he’s previously collaborated: pianist Harold Mabern and two former students of Cobb’s at the New School in New York, bassist John Webber and guitarist Peter Bernstein.

As a soloist, Cobb shines most when he’s most in the moment, directly responding to rhythmic and harmonic ideas tossed up by bandmates, as during the trading-bars sections on the title track, a fast-moving hard bop tune by Hank Mobley, and “Yesterdays,” a Cobb favorite. His deft touch as a ballad player enlivens “My Old Flame,” and he reinvigorates two tunes for which he drummed on the original recordings: Wes Montgomery’s bluesy “Full House,” one of several showcases for Bernstein’s agile, sometimes provocative soloing, and the Coltrane-associated “I’ll Wait and Pray.” Bernstein’s laidback “Blood Wolf Moon Blues,” which features a particularly buoyant improvisation by Webber, is the sole new original on the album, which also includes Mabern’s soul-jazz gem “Edward Lee,” in honor of Lee Morgan. Of This we dig. https://jazztimes.com/reviews/albums/jimmy-cobb-this-i-dig-of-you-smoke-sessions/

Personnel: Drums – Jimmy Cobb;  Bass – John Webber; Guitar – Peter Bernstein; Piano – Harold Mabern

R.I.P.
Born: 20. Januar 1929 in Washington, D.C;
Died: 24. Mai 2020 in New York

This I Dig of You

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Lee Morgan - Live At The Lighthouse Disc1, Disc2, Disc3

Album: Live At The Lighthouse Disc 1

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 63:16
Size: 145,4 MB
Art: Front

( 2:00)  1. Introduction By Lee Morgan
(15:16)  2. The Bee Hive
(22:42)  3. Absolutions
(11:22)  4. Peyote
(11:53)  5. Speedball

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Album: Live At The Lighthouse Disc 2

Time: 64:44

Size: 148,7 MB

(17:50)  1. Nommo

(18:58)  2. Neophilia

(13:01)  3. Something Like This

(14:54)  4. I Remember Britt

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Album: Live At The Lighthouse Disc 3

Time: 55:44

Size: 128,1 MB

(13:47)  1. Aon

(16:06)  2. Yunjanna

(12:10)  3. 416 East 10th Street

(13:39)  4. The Sidewinder - Live

This double LP, which was trumpeter Lee Morgan's next-to-last recording, contains four lengthy side-long explorations by the trumpeter's regular quintet of the period (with Bennie Maupin on tenor, flute and bass clarinet, pianist Harold Mabern, bassist Jymie Merritt and drummer Mickey Roker). The music is very modal-oriented and probably disappointed many of Morgan's longtime fans but he had gotten tired of playing the same hard bop-styled music that he had excelled at during the past decade and was searching for newer sounds. The influence of the avant-garde and early fusion is also felt in spots but the trumpeter's sound was still very much intact and he takes some fiery solos that still sound lively decades later. ~ Editorial Reviews https://www.amazon.com/Live-at-Lighthouse-Lee-Morgan/dp/B000005H1P

Players Include: Lee Morgan (trumpet); Bennie Maupin (flute, tenor saxophone); Harold Mabern (piano); Jymie Merritt (bass); Mickey Roker (drums); Jack DeJohnette (drums)

Live At The Lighthouse Disc 1, Disc 2, Disc 3

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The New York All-Stars - Burnin' in London

Styles: Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 62:46
Size: 144,5 MB
Art: Front

( 7:08)  1. Almost Like Being in Love
(10:04)  2. I Could Have Danced All Night
(11:58)  3. Nightlife in Tokyo
( 9:44)  4. It's Magic
(12:18)  5. The Night Has a Thousand Eyes
(11:32)  6. Summertime

Who would have thought that in this day and age a contemporary hard-bop / post-bop live CD could sound so good? Recorded live at London's Pizza Express Jazz Club on 20th and 21st November 2017 this little gem qualifies as a winner for the sheer visceral excitement conjured-up by its four participants. Senior partner in the band is veteran pianist Harold Mabern, registering a sprightly 81 years at the time of recording, whose playing here is absolutely incandescent. His former pupil, tenorist Eric Alexander cooks-up smoking, full-bodied saxophone throughout. Bassist Darryl Hall (not to be confused with Daryl Hall the rock musician) and Austrian born Bernd Reiter on drums complete the line-up and provide truly excellent accompaniment. The set kicks-off with a rousing, memorable version of Frederick Loewe's "Almost Like Being In Love" and is immediately followed by Loewe's hit from My Fair Lady "I Could Have Danced All Night," taken at a satisfyingly frenetic pace. However, things take an even more exhilarating turn with Mabern's original composition "Nightlife In Tokyo," the minor chord structure providing a perfect backdrop for Alexander's biting tenor. The sixties pop tune "The Night Has A Thousand Eyes" is given a fresh re-working and remains in the listener's memory far longer than would have been thought imaginable. Another highlight is an energised and cliché-eschewing version of George Gershwin's "Summertime" in which Alexander manages to insert some quotes from "A Love Supreme." This fast-paced interpretation may well be one of the most original versions of that standard ever recorded, with the All-Stars channelling the sound of the classic Coltrane quartet, at times . The New York All-Stars confound all expectations and clearly demonstrate that this kind of jazz, which is very much alive, can really burn through any barriers. Hence the wholly accurate title. ~ Roger Farbey https://www.allaboutjazz.com/burnin-in-london-new-york-all-stars-featuring-eric-alexander-and-harold-mabern-ubuntu-music-review-by-roger-farbey.php

Personnel: Eric Alexander: tenor saxophone; Harold Mabern: piano; Darryl Hall: bass; Bernd Reiter: drums.

Burnin'in London

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George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty

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Harold Mabern - The Iron Man: Live at Smoke

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 103:12
Size: 237,9 MB
Art: Front

( 7:32)  1. A Few Miles From Memphis
( 8:07)  2. I Get a Kick Out of You
( 4:48)  3. I Know That You Know
( 4:44)  4. I Remember Clifford
( 9:28)  5. T-Bone Steak
( 8:48)  6. Almost Like Being In Love
( 5:48)  7. Dear Lord
( 9:44)  8. Nightlife in Tokyo
( 9:00)  9. She's Out of My Life
(10:31) 10. How Insensitive
( 5:06) 11. Mr. P.C.
( 6:34) 12. On a Clear Day (You Can See Forever)
( 7:14) 13. You Are Too Beautiful
( 5:41) 14. Rakin' and Scrapin'

Hard-bopping pianist Harold Mabern may have made his recording debut in 1959 with drummer Walter Perkins' quintet and led his first session in 1968 for Blue Note on the soulful A Few Miles From Memphis but here he is, at 82, playing with straight-ahead, youthful joie de vivre on the story telling, life affirming, two-disc set The Iron Man: Live at Smoke.  Working as hard as ever with his long standing trio of tenor saxophonist and former student Eric Alexander, bassist John Webber and drummer Joe Farnsworth, Mabern, on this last night of an exhilarating three-week residency that saw his rep re-ascend, covers all the bases and revels in his song-filled autobiography. His signature "A Few Miles From Memphis" and "Rakin' and Scrapin,'" two full fledged, hot blooded boogies, bookend The Iron Man: Live at Smoke and the music in between never lets you down. John Coltrane gets a special nod with a sonorous, rolling read of "Dear Lord" and a robust, crowd pleasing "Mr. PC." Add to that Alexander's gifted, often biting Coltrane-inspired runs and Webber's swing-blues bass circa Jimmy Garrison and yes, as he often, if not always, is, Coltrane's in the room taking it all in. "Nightlife in Tokyo," another Mabern claim to fame, effortlessly sways to and fro from a deceptive Oriental tinge to a grand American boogie/swing. Farnsworth keeps a tight rein on things here while Mabern and Webber carry the day. Alexander gets his licks in too and shines on the quieter "You Are Too Beautiful" and "She's Out of My Life." No one goes home disappointed and The Iron Man: Live at Smoke proofs it. ~ Mike Jurkovic https://www.allaboutjazz.com/the-iron-man-live-at-smoke-harold-mabern-smoke-sessions-records-review-by-mike-jurkovic.php

Personnel: Harold Mabern: piano; Eric Alexander: tenor saxophone; John Webber: bass; Joe Farnsworth: drums.

R.I.P.
Born: March 20, 1936, Memphis, Tennessee, United States
Died: September 19, 2019

The Iron Man: Live at Smoke

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Harold Mabern - The Leading Man

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 55:01
Size: 126,2 MB
Art: Front

(5:24)  1. Yes or No
(4:40)  2. Save the Best for Last
(6:48)  3. Full House
(6:27)  4. She/Mr.Lucky
(7:36)  5. Alone Together
(6:11)  6. The Man from Hyde Park
(6:17)  7. B & B
(7:17)  8. T-Bone Steak
(4:17)  9. Mercury Retro

Since his emergence onto the New York scene in 1959, pianist Harold Mabern has become one of the few true living jazz stylists on the piano. Having played with everyone from Lionel Hampton to Miles Davis, Sonny Rollins, Wes Montgomery, and Lee Morgan, Mabern has the experience and the depth of knowledge sufficient to be called a master. There is no one on the scene who sounds like him, and his sense of lyricism, rhythm, time, and the entire range of dynamics in his playing attract other players as well as listeners. The Leading Man, issued in 1993, is considered a classic, both for its selection of material and the performances of the various ensembles Mabern assembled for the date. But there is something else, too nowhere in Mabern's recorded catalog is there a performance like this from him. His playing, while always inspired, is revelatory in its sense of full orchestration and the shifting timbres of his solos against the bassline (played by Ron Carter). Also on this set are drummer Jack DeJohnette, alto man Bill Easley, fellow Memphian and trumpeter Bill Mobley, guitarist Kevin Eubanks, and vocalist Pamela Baskin-Watson. With the exception of DeJohnette and Carter, all the other players rotate on this stunning collection. The standout track is Montgomery's "Full House," which features Eubanks and Mabern trading eights, then fours, then slipping into solo breaks at the same time, in close harmony and gliding through the arpeggios like a skater on ice. The medley of "She" and "Mr. Lucky," by George Shearing and Henry Mancini, respectively, is a chance for Mabern to show both his lyrical and dynamic abilities by tracing the melodies of each tune through the other, then harmonically combining them in rhythmic patterns of graceful elegance. Easley gets the chance to reveal the depth of his modal style on Wayne Shorter's "Yes or No." Mabern slips phrases from McCoy Tyner's comp book into the body of the tune, but the harmonic architecture and the interval changes in and out of mode are all his. Easley sets the bar high and delivers by blowing through those harmonies, not inside them. There is a bit of everything here, from the aforementioned exercises to the greasy funk of Jimmy Smith's "T-Bone Steak" to Mabern's compositions such as "B&B," where Mobley plays with the emotion of Chet Baker and the melodic chops of Fats Navarro. The last tune, "Mercury Retro," is one of Mabern's too. A piano solo, it begins as an exercise in dissonant counterpoint, transforming itself inside of five minutes into a jazz ballad that becomes a boogie-woogie blues to a classical rondo and even a prelude and fugue; it's just amazing. You never get the feeling the guy is showing off, either. The Leading Man proves beyond the shadow of a doubt that Mabern is just that. ~ Thom Jurek https://www.allmusic.com/album/the-leading-man-mw0000121742

Personnel: Harold Mabern – piano; Ron Carter – bass; Jack DeJohnette – drums;  Bill Mobley – trumpet, flugelhorn; Bill Easley – alto sax; Kevin Eubanks – guitar; Pamela Baskin-Watson – vocals

R.I.P.
Born: March 20, 1936, Memphis,Tennessee,United States
Died: September 19, 2019

The Leading Man

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Cory Weeds - Live At Frankie's Jazz Club

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 65:15
Size: 149,9 MB
Art: Front

(8:22)  1. Bluesanova
(6:39)  2. Mood Malody
(6:55)  3. Gypsy Blue
(6:10)  4. Consequence
(7:24)  5. Fabienne
(7:28)  6. Formidable
(8:15)  7. Up Tight's Creek
(5:21)  8. Tolypso
(8:38)  9. The Three Minros

Yes, this is saxophonist/master of all livelihoods Cory Weeds' quintet, the year is 2018, and the group is beyond a doubt Live at Frankie's Jazz Club in Vancouver, British Columbia. But close your eyes, open your ears and it's the unapologetic re-creation of a quintessential hard-bop session from the historic Blue Note / Prestige years of the 1950s-60s. Indeed, to underscore the point, the quintet's pianist is the venerable Harold Mabern who actually performed and/or recorded back in the day with such giants as Lee Morgan, Jackie McLean, Freddie Hubbard, Tina Brooks and a who's who of celebrated masters from a glorious age that may never return but whose legacy rests secure in the earnest hands of Weeds and his dexterous teammates. The buoyant concert gets under way on an assertive note with Morgan's walking "Bluesanova" (introduced by Michael Glynn's resonant bass) and segues into Mal Waldron's lyrical "Mood Malody" before delving into impressive original compositions by Brooks, McLean, Walter Davis Jr. and Swiss alto overseer George Robert. 

Davis' three-quarter time "Formidable" is one of several highlights with the ensemble in lock-step to undergird perceptive solos by Weeds, Terell Stafford and Glynn. Brooks' freewheeling "Up Tight's Creek," which follows, offers more of the same with Stafford's nimble trumpet brightening the landscape, Weeds in blue-chip form and Glynn adding another thoughtful statement. McLean, whose high-speed "Consequence" is heard earlier in the program, caps the evening with his sunny Caribbean-flavored "Tolypso" and "The Three Minors," whose irrepressible tempo and boppish licks epitomize the time in which it was written. Weeds, Stafford and Mabern are in superior form again, as is drummer Julian MacDonough who adds another driving solo on "Consequence." Robert (Weeds' longtime mentor who died far too soon, in 2016) wrote the handsome ballad "Fabienne," on which Weeds is featured, Brooks the smooth, Latin-leaning "Gypsy Blue," wherein Stafford, Weeds and Mabern are at their self-controlled and lyrical best. 

While tipping their hats to the past, Weeds and his able colleagues prove conclusively that music of this caliber is essentially timeless. A superior concert in every respect, one that should especially gladden the hearts of those who call to mind with fondness the short-lived but incomparable era of hard-bop jazz. ~ Jack Bowers https://www.allaboutjazz.com/live-at-frankies-jazz-club-cory-weeds-cellar-live-review-by-jack-bowers.php

Personnel: Cory Weed: alto saxophone; Terell Stafford: trumpet; Harold Mabern: piano; Michael Glynn: bass; Julian Macdonough: drums.

Live At Frankie's Jazz Club

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Archie Shepp - The Cry Of My People

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 42:56
Size: 99,3 MB
Art: Front

(4:39)  1. Rest Enough (Song To Mother)
(6:29)  2. A Prayer
(2:56)  3. All God's Children Got A Home In The Universe
(5:28)  4. The Lady
(5:43)  5. The Cry Of My People
(0:35)  6. African Drum Suite, Pt. 1
(7:32)  7. African Drum Suite, Pt. 2
(9:30)  8. Come Sunday

Archie Shepp is an artist whose work, while not always successful, nevertheless remains compelling and worth a listen. The Cry of My People is not his best effort, but one can respect his maverick approach to jazz scholarship that resists classification and challenges the notion of what can be defined as jazz. This album comes from a period in the early seventies where Shepp was absorbing all manner of black music from gospel to blues to Ellington into his compositions. The result is an recording that is consistently interesting, although a bit schizophrenic. Employing a very large ensemble that includes a choir and string section along with an expanded jazz group, Shepp stubbornly refuses to mix his influences, yet he obviously views them all as part of a vast continuum of musical expression. Listeners may be bewildered by the opening “Rest Enough,” a straightforward gospel tune, and equally puzzled by the segue into “A Prayer,” a brooding instrumental composed by Cal Massey, who arranged the album and died shortly after completing his work. After another gospel tune comes “The Lady,” a bleak tune with a suitably resigned vocal by Joe Lee Wilson. The first half of the record veers from the exuberance of the gospel music to the haunting beauty of a more mainstream jazz sound, yet Shepp remains the guiding force with his stinging, restless attack on both tenor and soprano sax, a dizzying squall of powerful notes. Further resisting categorization, the second side embraces the dissonant chanting and ominous drone of African music on the title track and the “African Drum Suite.” Although challenging, this side teeters between being repetitive and jarring, yet it's redeemed at the end by a lovely treatment of Ellington’s “Come Sunday,” featuring a great vocal by Wilson and fiery, passionate soloing by Shepp, showing why he was so highly regarded by artists such as Coltrane. Those who peg Shepp as a member of the avant-garde may be surprised by how accessible The Cry of My People is, regardless of whether or not they can embrace the adventurous nature or social consciousness of his work. Clearly his approach isn’t for everyone. Shepp fans, of course, will be delighted to see this one back in print. ~ David Rickert https://www.allaboutjazz.com/the-cry-of-my-people-archie-shepp-impulse-review-by-david-rickert.php

Personnel: Archie Shepp - tenor and soprano saxophone; Harold Mabern, Dave Burrell - piano; Charles McGhee - trumpet; Charles Greenlee, Charles Stephens - trombone;  Cornell Dupree - guitar;  Ron Carter - electric bass; Jimmy Garrison - bass; Bernard Purdie - drums;  Beaver Harris - drums;  Nene DeFense, Terry Quaye - congas, percussion, tambourine; Guilherme Franco - berimbau, Brazilian percussion;  Peggie Blue, Joe Lee Wilson - lead vocals; Andre Franklin, Mildred Lane, Mary Stephens, Barbara White, Judith White - backing vocals; John Blake, Gayle Dixon, Leroy Jenkins, Lois Siessinger, Noel DeCosta, Jerry Little - violin;  Patricia Dixon, Esther Mellon - cello

The Cry Of My People

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Cecil Payne - Payne's Window

Styles: Saxophone, Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 73:45
Size: 169,3 MB
Art: Front

(9:25)  1. Spiritus Parkus
(4:26)  2. Martin Luther King Jr.
(7:38)  3. James
(8:49)  4. That's It Blues
(7:38)  5. Payne's Window
(7:09)  6. Southside Samba
(4:38)  7. Lover Man
(8:46)  8. Tune Up
(7:06)  9. Delillah
(8:05) 10. Hold Tight

Cecil Payne turns seventy-seven this month. Most people who are lucky enough to reach such an advanced age have long since retired from their craft. Payne has chosen a different path and judging from the sturdy work on this disc he isn't showing many signs of slowing down in his twilight years. After over a half century in the jazz trenches he's still delivering his signature brand of versatility and style to his instrument. And as on his earlier Delmark releases he's shaped a band that effectively bridges the generations. My first exposure to Payne's playing was on Coltrane's "Dakar where he rounded out a formidable horn section alongside Pepper Adams in a baritone sax combo that was tough to beat when that classic record was released and still is. Ever since hearing that album harboring a lasting appreciation for his oeuvre has been easy. Throughout his lengthy career he has balanced an enviable agility on the weighty reed with a rustic affinity for the blues and a gracious willingness to shape his sound to the setting he's in. He could play scalding hot runs or just as effortlessly change up and blow a breezy blue-tinged ballad. Over the intervening years Payne has unavoidably slowed a little in his attack, but he's traded some of the quicksilver veracity of youth for a sureness of tone that is contagious among his compatriots. The bucolic bite of his sax delivers the perfect impetus for the group to take flight. Along for the ride is a solid crew of supporters. Alexander is no stranger to spirited blowing sessions and he delivers his usual high level of empathy and improvisational ingenuity. 

On many of the tunes he favors the lower registers of his horn and his lines fit snugly against Payne's own deep-toned musings. Mabern shares distinction along with Payne as another elder statesman of hard bop. His emotive accompaniment is frequently the common denominator in the relaxed approach the group takes on most of the numbers. Webber and Farnsworth fill in the rhythmic blanks with skill and sensitivity. As for the program of tunes, they are mainly basic blowing vehicles, but the emphasis here is rightfully on inspired playing, not on compositional complexity. The opening "Spiritus Parkus lights the flames with rollicking solos from everyone save Farnsworth and over the course of the next sixty minutes the sextet continually delivers the goods. Standouts include the gentle ballad "Martin Luther King, Jr. and a dusky quartet reading of "Loverman, which features Payne as the only horn. "That's It Blues is another winner thanks mainly to Davis' cobalt slurs which slither deftly against Farnsworth's light cymbals. Regrettably Payne's featherweight flute only crops up Gershwin's "Delilah and would have been well served by more exposure. All things considered though this disc is a treat from start to finish and is easily recommended. Take a leisurely look through Payne's propitious window and you're guaranteed to be pleased by what you see. 

~ Derek Taylor https://www.allaboutjazz.com/paynes-window-cecil-payne-delmark-records-review-by-derek-taylor.php

Personnel: Cecil Payne, baritone saxophone, flute; Eric Alexander, tenor saxophone; Steve Davis, trombone; Harold Mabern, piano; John Webber, bass; Joe Farnsworth, drums.

Payne's Window

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