Klaus Doldinger - Blind Date (Back In New York)

Styles: Saxophone Jazz 
Year: 1999
File: MP3@320K/s
Time: 55:31
Size: 128,8 MB
Art: Front

(5:22)  1. Friendship
(5:26)  2. Blue Circle
(6:30)  3. Here to Be
(4:59)  4. East River Drive
(4:51)  5. September Song
(5:26)  6. Hasta manana
(6:20)  7. What's New ?
(6:19)  8. Blind Date
(4:37)  9. Erinnerung
(5:36) 10. Stop and Go

Klaus Doldinger, best-known for leading the excellent fusion group Passport in the 1970s and '80s, has had a diverse and episodic career. He started out studying piano in 1947 and clarinet five years later, playing in Dixieland bands in the 1950s. By 1961, he had become a modern tenor saxophonist, working with such top visiting and expatriate Americans as Don Ellis, Johnny Griffin, Benny Bailey, Idrees Sulieman, Donald Byrd, and Kenny Clarke, recording as a leader for Philips, World Pacific, and Liberty. However, in 1970, he initiated a long series of fusion-oriented sessions for Atlantic that featured his tenor, soprano, flute, and occasional keyboards with an electric rhythm section. In addition to writing music for films (including Das Boot) and television in Europe, Doldinger has remained active as a player who occasionally explores his roots in hard bop into the late '90s, but because he has always lived in Europe, he remains underrated in the U.S.~ Scott Yanow https://www.allmusic.com/artist/klaus-doldinger-mn0000101962/biography

Personnel: Tenor Saxophone [Tenor Sax], Soprano Saxophone [Soprano Sax] – Klaus Doldinger ; Bass – Ira Coleman; Drums – Victor Lewis; Featuring [Also Featuring], Percussion – Don Ernesto (tracks: 6, 8); Featuring [Also Featuring], Vibraphone [Vibraharp] – Stefon Harris (tracks: 4, 6, 7); Guitar – Peter Bernstein (tracks: 2, 4, 6, 8, 10); Piano – Kevin Hays

Blind Date (Back In New York)

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Dee Dee Bridgewater - This Is New

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 61:25
Size: 140,8 MB
Art: Front

( 3:47)  1. This Is New
( 5:36)  2. Lost In The Stars
( 6:31)  3. Bilbao Song
( 4:56)  4. My Ship
( 5:38)  5. Alabama Song
( 4:54)  6. The Saga Of Jenny
( 3:54)  7. Youkali
( 5:50)  8. I'm A Stranger Here Myself
( 4:17)  9. Speak Low
( 4:40) 10. September Song
(11:15) 11. Here I'll Say

JazzSet host Dee Dee Bridgewater has a new album: This is New, a collection of songs by German composer Kurt Weill. The CD, released in Europe at the end of May 2002, is now out in the US and worldwide! Dee Dee's interest in Weill dates to her performance at a centennial tribute concert in Poland in March of 2000. https://www.npr.org/programs/jazzset/ddcd.html

Personnel: Dee Dee Bridgewater - Vocals; André Ceccarelli - drums; Ira Coleman - double bass; Thierry Eliez - Hammond organ, piano; Minino Garay - percussion; Antonio Hart - flute, alto saxophone; Daniele Scannapieco; Denis Leloup - trombone; Juan José Mosalini - bandoneon; Louis Winsberg - guitar; Bernie Arcadio - String Arrangements; Cecil Bridgewater - Arranger, conductor

This Is New

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Joe Chambers - Landscapes

Styles: Jazz, Straight-ahead/Mainstream
Year: 2016
File: MP3@320K/s
Time: 59:56
Size: 138,1 MB
Art: Front

(5:03)  1. Epistrophy
(4:30)  2. The Outlaw
(6:02)  3. Never Let Me Go
(4:58)  4. Havana
(5:39)  5. Samba de Maracatu
(7:29)  6. Pas de trois
(4:49)  7. Airegin
(6:33)  8. Ecaroh
(4:48)  9. Underground (Railroad) System
(9:59) 10. Landscapes

As a performer, Joe Chambers plays several roles on Landscapes. He stands front and center on the vibraphone, and he brings up the rear on trap kit. On “Havana” he ups the ante even further by adding bongos, marimba and congas to the mix. On the title track he sits at the piano for a solo recital. Chambers of course is skilled on all of them, and a formidable composer. The album has the potential to be a fiery session, yet it comes up short. Part of this might be attributed to the way it was made. Chambers laid down the drum tracks together with pianist Rick Germanson and bassist Ira Coleman, leaving room for the vibes and overdubbing them later, in crisp and captivating audio. But the drums get pushed back into the mix, in both sound and interaction, and the group doesn’t seem as engaged as it should be. “Havana” is more showcase than song, and a synthesizer loop diminishes its impact. Landscapes does have some strong moments. “Epistrophy” kicks off with a bembé groove before Coleman’s bass takes the spotlight. Chambers proves himself an introspective pianist on “Landscapes.” Two Horace Silver pieces raise the energy level. But the rest simply sounds a little too polite. It’s understandable why a drummer of Chambers’ authority wouldn’t want to cede the chair to someone else, but next time, doing so might add some spark to the session. 

~ By Mike Shanley https://jazztimes.com/reviews/albums/joe-chambers-landscapes/

Personnel: Drums, Congas, Bongos, Marimba, Vibraphone, Piano, Arranged By, Synthesizer, Producer – Joe Chambers; Piano – Rick Germanson; Bass – Ira Coleman; 

Landscapes

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Scott Wendholt - Through the Shadows

Styles: Trumpet Jazz
Year: 1994
File: MP3@320K/s
Time: 54:10
Size: 125,0 MB
Art: Front

(8:04)  1. Through the Shadows
(7:57)  2. Hour of the Pearl
(5:05)  3. Kaleidoscope
(5:33)  4. You Know I Care
(7:36)  5. Totem
(6:23)  6. Beatrice
(7:26)  7. Awaiting Spring
(6:01)  8. Just In Time

On trumpeter Scott Wendholt's second recording as a leader he has gathered together a group of his better-known peers  tenor saxophonist Don Braden, pianist Bruce Barth, bassist Ira Coleman, and drummer Billy Drummond  to perform five post-bop originals, two jazz classics, and one standard. In addition to proving himself an under-recognized talent on his chosen instrument, Wendholt displays promise as a composer, having written some challenging material for this recording. The title track begins as a ballad with the melody played by Braden on flute and Wendholt on muted trumpet that, after a brief drum interlude, begins a new melody played by trumpet and tenor sax over a driving Afro-Latin groove. 

"Hour of the Pearl" opens with a piano intro that segues into a relaxed swinger, while "Kaleidoscope" is a burning blues with a lightning-quick melody. Other favorites include a swinging version of Sam Rivers' "Beatrice" that features Wendholt's muted trumpet and a up-tempo, pianoless version of the standard "Just in Time." Drummond's drumset versatility stands out throughout this recording, showing why he is one of the busiest musicians on the jazz scene. Through the Shadows is a positive step in the development of this fine musician. ~ Greg Turner https://www.allmusic.com/album/through-the-shadows-mw0000613204

Personnel:  Trumpet – Scott Wendholt;  Bass – Ira Coleman;  Drums – Billy Drummond; Piano – Bruce Barth;  Tenor Saxophone, Flute – Don Braden

Through the Shadows

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Vincent Herring - Folklore: Live At The Village Vanguard

Styles: Saxophone Jazz 
Year: 1994
File: MP3@320K/s
Time: 57:35
Size: 131,9 MB
Art: Front

(6:37)  1. Folklore
(6:20)  2. Theme For Delores
(8:07)  3. The Girl Next Door
(8:13)  4. Romantic Journey
(8:14)  5. Fountainhead
(8:43)  6. Window Of Opportunity
(8:52)  7. This I Dig Of You
(2:26)  8. Mo's Theme

Known mainly for his session playing, Vincent Herring has released Folklore under his own name, recorded live at the legendary Village Vanguard in New York City. Herring has played with Art Blakey, Horace Silver and Dizzy Gillespie among many historical giants. On Folklore, he puts together an impressive band, including some of the new, major talents in jazz: Cyrus Chestnut (piano), Ira Coleman (bass), Carl Allen (drums) and promising Scott Wendholt (trumpet). 

The band is tight, and plays with soulfulness and swing. The music is enjoyable and makes for a pleasant listen, yet doesn't break any new ground. Highlights from the set include the thoughtful "Theme for Delores," the fine Wendholt composition, "Window of Opportunity" and the fast-paced cover of Hank Mobley's "This I Dig of You." Of the players, Chestnut continues to impress as one of today's best pianists and provides the most interesting material on this set. Folklore is a solid effort. It will please many fans of live, bop-oriented jazz and not offend any. ~ Brian Bartolini https://www.allmusic.com/album/folklore-live-at-the-village-vanguard-mw0000112270

Personnel: Vincent Herring (alto & soprano saxophones); Scott Wendholt (trumpet); Cyrus Chestnut (piano); Ira Coleman (bass); Carl Allen (drums).

Folklore: Live At The Village Vanguard

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Carl Allen & Manhattan Projects - Picadilly Square

Bitrate: MP3@320K/s
Time: 57:39
Size: 132.0 MB
Styles: Bop, Straight ahead jazz
Year: 1993
Art: Front

[8:25] 1. Piccadilly Square
[4:12] 2. Autumn Leaves
[7:47] 3. 'round Midnight
[5:07] 4. Lullaby Of Birdland
[6:27] 5. Annie's Mood
[5:24] 6. The Biscuit Man
[4:03] 7. New Joy
[6:57] 8. What's New
[3:57] 9. In The Still Of The Night
[5:15] 10. Afterthoughts

Bass – Ira Coleman; Drums – Carl Allen; Flute, Alto Saxophone, Soprano Saxophone – Vincent Herring; Piano – Donald Brown; Trumpet – Freddie Hubbard (tracks: 1, 9), Roy Hargrove. Recorded 6 and 7 December 1989 at A&R Studio, New York

The music on this CD is very much in the Young Lions/modern hard bop vein. In this 1989 session, drummer Carl Allen leads a fairly young all-star group -- comprised of trumpeter Roy Hargrove, Vincent Herring on alto, soprano, and flute, pianist Donald Brown, and bassist Ira Coleman -- through five originals by bandmembers and five standards. Veteran trumpeter Freddie Hubbard sits in on "Piccadilly Square" (a rare chance for one to hear both Hubbard and Hargrove soloing on the same number) and "In the Still of the Night." Few surprises occur, but the musicians (particularly Herring) play up to expectations and fans of hard bop will enjoy this. ~Scott Yanow

Picadilly Square

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Vincent Herring - Evidence

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 56:51
Size: 130,4 MB
Art: Front

(5:24)  1. Mr. Wizard
(8:14)  2. I Sing A Song
(6:23)  3. Stars Fell On Alabama
(5:58)  4. Voyage
(7:39)  5. Hindsight
(6:36)  6. Never Forget
(7:49)  7. Evidence
(8:45)  8. Soul-Leo

The underrated but talented hard bop altoist Vincent Herring is in excellent form on the quintet date Evidence. While Herring's tone is as usual a bit reminiscent of Cannonball Adderley, he comes up with many fresh ideas and swinging phrases on the eight songs, which include two of his originals and one song from pianist Mulgrew Miller. Miller and trumpeter Wallace Roney also take consistently rewarding solos, with bassist Ira Coleman and drummer Carl Allen offering stimulating support. Highlights include Herring's warmth on "Stars Fell on Alabama" and the driving versions of "Voyage" and Cedar Walton's "Hindsight." Easily recommended to fans of Herring's straight-ahead playing. ~ Scott Yanow https://www.allmusic.com/album/evidence-mw0000690802?

Personnel: Vincent Herring: Alto Saxophone; Wallace Roney: Trumpet; Mulgrew Miller: Piano; Ira Coleman: Bass; Carl Allen: Drums.

Evidence

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John Swana & Friends - S/T

Bitrate: MP3@320K/s
Time: 61:47
Size: 141.4 MB
Styles: Bop, Trumpet jazz
Year: 1992
Art: Front

[ 9:41] 1. Oleo
[ 7:52] 2. Before You
[ 7:16] 3. Darn That Dream
[ 6:19] 4. Out Of My Dreams
[ 6:19] 5. You Don't Know What Love Is
[ 8:42] 6. Straight, No Chaser
[ 5:28] 7. I Didn't Know What Time It Was
[10:07] 8. Pendulum At Falcon's Lair

John Swana (Tp / Flh); Tom Harrell (Tp / Flh)l Billy Pierce (Ts)l Mulgrew Miller (P)l Ira Coleman (B); Billy Drummond (D). Recorded December 15, 1991 in New York City, NY, USA by Max Bolleman

John Swana is one of the most exciting trumpeters to arrive for a decade,” declares Mark Gardner, co-author of Blackwell's Guide to Recorded Jazz. Born in Norristown, Pennsylvania, a suburb of Philadelphia, Swana took up Trumpet at the age of 11. He was drawn to jazz at the age of 17 after hearing Dizzy Gillespie, and the interest developed into a passion while he was in college. There he began transcribing the solos of Freddie Hubbard, Clifford Brown, Miles Davis, and Tom Harrell.

John Swana can be heard on recordings with: Benny Golson, Grover Washington Jr., Charles Fambrough, Craig Handy, Tito Puente, Bill O'Connell, Lenny White, Ricky Sabastian, Marlon Simon, Ed Simon, Dave Valentin, Cafe', Art Webb, Adam Holtzman, Ralph Bowen, Ron Blake, Peter Bernstein, Carl Allen, Mulgrew Miller, Benny Green, Kenny Barron, Tim Warfield, Lewis Nash, Clarence Penn, Kevin Hays, Chris McBride, Uri Caine, Peter Leitch, Marvin “Smitty” Smith, Ralph Peterson, Bobby Zankel, and Tom Harrell.

John Swana & Friends

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Magnus Lindgren - Souls

Styles: Flute Jazz

Year: 2013

File: MP3@320K/s

Time: 44:51

Size: 103,6 MB

Art: Front

(3:06)  1. Souls

(3:42)  2. Change All The Time

(4:29)  3. Creepin'

(3:42)  4. Rainy Day

(4:26)  5. Dreaming In New York

(4:00)  6. Barcelona

(4:15)  7. Small Stuff

(3:07)  8. Broken Heart

(4:17)  9. On A Sunday

(4:45) 10. Walk This Earth

(4:56) 11. Wrapped Around Your Finger

The Sweden Magnus Lindgren, saxophonist, flutist, clarinetist, composer and musical traveler will have his new album "Souls" out Nave: The recording took place in New York in collaboration with the voices of Gregory Porter, Ivan Lins and beautiful young Swedish jazz star Anna Christoffersson, among others. It highlights the talent of this artist / composer admired, among others, by Quincy Jones.

Personnel:  Magnus Lindgren - tenor sax, flute, alto flute, clarinet, bass clarinet, Rhodes, Wulitzer, vocals;  Leonardo Amuedo – guitars;  Ira Coleman – bass;  Rhani Krija – percussion;  Gregory Porter - vocals on track 1, 7, 8;  Rigmor Gustafsson - vocals on track 5;  Anna Christoffersson - vocals on tracks 1, 2, 4, 7, 8;  Marie Fredriksson - vocals on track 9;  Mark Reilly - vocals on track 4;  Ivan Lins - vocals on track 10

Souls

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Joe Chambers - Mirrors

Styles: Jazz, Straight-ahead/Mainstream 
Year: 1998
File: MP3@320K/s
Time: 53:24
Size: 126,2 MB
Art: Front

(4:44)  1. Tu-Way-Pock-E-Way
(6:05)  2. Mirrors
(7:24)  3. Caravanserai
(7:09)  4. Ruth
(5:52)  5. Mariposa
(5:43)  6. Lady In My Life
(3:43)  7. Circles
(5:17)  8. Come Back To Me
(7:24)  9. Ruthless

Drummer Joe Chambers, 56, recorded his first Blue Note sessions as a youthful twenty year old, deeply immersed in the New York City jazz scene. While the 1960s were healthy years for the drummer’s professional development, the decade included many distractions for the jazz world. Fusion with rock music and the electronic revolution in equipment introduced many changes and several rifts. The music survived to witness its ‘90s comeback and usher in a generation of young lions. Leaders with whom Chambers worked and recorded in his early years include Joe Henderson, Bobby Hutcherson, Freddie Hubbard, Wayne Shorter, and Chick Corea. They’ve survived the changes as well, and each of them has remained true to his original ideas. Fred Jung’s interview with Joe Chambers contains a revealing look at the drummer’s spirit and professional goals. Seven of the nine pieces are the leader’s compositions. The two exceptions are pop favorites "Lady in My Life" and "Come Back to Me." "Mirrors" takes modern mainstream to its core with ride cymbal, walking bass, and solos from tenor saxophone, trumpet, piano & bass. "Caravanserai" issues a Middle Eastern mood, while "Mariposa" clears the air with a fast-moving arrangement led by Vincent Herring’s soprano sax. The quintet moves lightly but quickly, and in all directions at once - like a butterfly. As the ending nears, Chambers steps up to solo and the piece appears to have attracted a whole swarm of tiny butterflies. For "Circles" and "Lady in My Life" the leader adds vibraphone to the mix. His lyrical two-mallet approach is a little too percussive for the ballad. It’s more appropriate on "Circles," however, as Chambers gives the ensemble a rest and multi-tracks two vibraphones and drum set to provide a syncopated percussion adventure that’s similar to the work he’s done with Max Roach and M’Boom. There’s no hidden connection between "Ruth" and "Ruthless." One is a soft modal ballad featuring Herring’s alto and tempered by brushes and a bass interlude. The other is at the core of straight-ahead jazz, driven hard and culminating in fours with the drummer. Highly Recommended. ~ Jim Santella https://www.allaboutjazz.com/mirrors-joe-chambers-blue-note-records-review-by-jim-santella.php

Personnel: Joe Chambers- drums, vibraphone; Mulgrew Miller- piano; Ira Coleman- bass; Vincent Herring- tenor saxophone, alto saxophone, soprano saxophone; Eddie Henderson- trumpet.

Mirrors

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Ulf Wakenius - New York Meeting

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 63:55
Size: 146,6 MB
Art: Front

(5:46)  1. Berni's Tune
(9:11)  2. The way you look tonight
(5:53)  3. Crazy he calls me
(7:43)  4. Nature of business
(5:11)  5. Spartacus
(7:38)  6. New York Meeting
(6:47)  7. Jet Lag
(6:19)  8. Angel Eyes
(9:22)  9. Georgia On My Mind

Even though he has had a spot with the Oscar Peterson Quartet since 1997 and has been on four Ray Brown CDs, including Some of My Best Friends Are...Guitarists, Ulf Wakenius has not yet gained the name recognition accorded to other European guitarists such as Philip Catherine. It's hard to figure out why, given his prodigious talent, which he displays in the company of fine New York jazz musicians, plus Danish pianist Niels Lans Doky. Wakenius favors the cleaner-cut to guitar. Individual notes can be heard and chords are not overly complex. He shows his harmonic creativity on such cuts as "The Way You Look Tonight." This cut has Wakenius making exceptional use of space, understanding that the guitar has to stop and breathe every now and then rather than demonstrating how fast and furious the axe can be played. Wakenius shows a kinder and gentler side on a sort of off-center offering of "Crazy He Calls Me" where he gets a more resonant electric sound on his acoustic guitar. The rhythm section of Ira Coleman and Billy Hart keeps the momentum going on a tough rendition of "Nature of Business," with Hart using cymbals, snares, and bass drums to control the motion of the music. The piece de resistance is a nine-minute excursion by solo guitar of "Georgia on My Mind" where the melody is more often than not hinted at rather than explicitly stated. It's quite amazing as the guitar player reveals aspects of Hoagy Carmichael's rather uncomplicated piece of music that one was never aware of. Wakenius has been active since 1975, so he's no new kid on the block. This album should get this fine Swedish guitarist the recognition he has earned. ~ Dave Nathan http://www.allmusic.com/album/new-york-meeting-mw0001273219

Personnel: Ulf Wakenius - electric/acoustic guitar;  Niels Lan Doky – piano;  Ira Coleman – bass;  Billy Hart - drums

New York Meeting

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Monty Alexander - Caribbean Circle

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 58:19
Size: 135,8 MB
Art: Front

(1:05)  1. Tradewinds Talk
(6:45)  2. Hurricane Come And Gone
(7:12)  3. Caribbean Circle
(5:05)  4. Consider
(1:15)  5. Cowboys Talk
(8:45)  6. Cowboy Ska Medley
(4:45)  7. Three Little Birds
(5:49)  8. Oh Why? (In Memory Of M.D. Davis)
(1:29)  9. Satchmo Talk
(7:32) 10. When The Saints Go Marching In
(4:38) 11. Mango Walk (Old Fork Song)
(3:54) 12. Sweet Georgia Brown

First-rate example of connecting diverse styles and traditions. Alexander, a solid soloist well versed in Caribbean music, integrates rhythms from the islands into his solos, yet retains the jazz edge and drive. A great supporting cast as well which includes Slide Hampton and Jon Faddis. ~ Ron Wynn http://www.allmusic.com/album/caribbean-circle-mw0000119670

Personnel: Monty Alexander (whistling, piano); Dave Glasser, (alto saxophone); Frank Foster (tenor saxophone); E. Dankworth, Jon Faddis (trumpet); Slide Hampton (trombone); Ira Coleman (acoustic bass); Anthony Jackson (electric bass); Othello Molineax (drums, steel drum); Herlin Riley, Robert Thomas, Jr., Steve Ferrone (drums); Othello Molineaux (steel drum); Marjorie Whylie (percussion).

Caribbean Circle

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Dee Dee Bridgewater - Prelude To A Kiss: The Duke Ellington Album

Styles: Jazz, Vocal
Year: 1996
File: MP3@320K/s
Time: 52:13
Size: 121,0 MB
Art: Front

(2:26)  1. Midnight Indigo
(5:02)  2. I'm Beginning To See The Light
(4:15)  3. Bli-Blip
(3:30)  4. Fleurette Africaine
(3:52)  5. Prelude To A Kiss
(4:29)  6. Caravan
(4:20)  7. Solitude
(4:27)  8. Mood Indigo
(4:16)  9. Night Creature: Fast
(7:28) 10. Night Creature: Andante Misterioso
(3:52) 11. Night Creature: Moderato - Faster Swing - Moderato
(4:11) 12. Come Sunday

This release is more properly identified as a various artists compilation, which includes the pop sounds of the Hollywood Bowl Orchestra. Most of the orchestrations and arrangements are pleasant, even if they're not blatantly original. Alto saxophonist Bobby Watson is superb on "Mood Indigo" and the exotic "Fleurette Africaine." 

The orchestra does a fine job with the rarely heard suite "Night Creature." Singer Dee Dee Bridgewater shines frequently; backed by a superb quartet including Wynton Marsalis, she delivers a delightful cover of "I'm Beginning To See The Light." But it is her hypnotic, chanting introduction, backed by Middle Eastern percussion and Steve Turre's conch shells, that gives this release an occasional freshness usually lacking in similar Ellington tributes. ~ Ken Dryden http://www.allmusic.com/album/prelude-to-a-kiss-the-duke-ellington-album-mw0000611119

Personnel: Dee Dee Bridgewater (vocals); The Hollywood Bowl Orchestra; John Mauceri (conductor); Robert Sadin, Slide Hampton, Alan Broadbent, Henry Martin, Clare Fischer (arrangers); Hassan Hakmoun (vocals, gimbra, percussion); Charles McPherson, Bobby Watson (alto saxophone); Wynton Marsalis (trumpet); Steve Turre (shells); Bruce Dukov (concertmaster); Cyrus Chestnut (piano); Robert Sadin (organ); Vincent Nguini (guitar); Ira Coleman (bass, drums); Jeff Hamilton (drums); Cyro Baptista (percussion).

Prelude To A Kiss: The Duke Ellington Album

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Laurent de Wilde - Over The Clouds

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:55
Size: 123,8 MB
Art: Front

(7:55)  1. Prelude to a Kiss
(7:35)  2. Over the Clouds
(6:42)  3. Fe Fe Naa Efe
(4:57)  4. Le bon médicament
(6:00)  5. Edward K
(6:23)  6. Some Kinda Blues
(4:16)  7. Irafrica
(6:45)  8. New Nuclear Killer
(3:18)  9. Over the Clouds (Radio Edit)

Dividing his time between the United States and France, Laurent de Wilde has found a welcoming audience in both countries. His third solo album, Open Changes, resulted in de Wilde receiving a Django Reinhardt Award for Best French Musician of 1992. In addition to leading his own group, de Wilde has worked as a session player for Reggie Workman, Ralph Moore, Greg Osby, Joshua Redman, Dee Dee Bridgewater, Aldo Romano, André Ceccarelli, Harold Land, and Tom Harrell. His first four albums featured tenor saxophonist Joe Coleman, drummer Jack DeJohnette, and trumpet player Eddie Henderson. His fifth release, Spoon-a-Rhythm, released in 1997, featured St. Thomas-born drummer Dion Parson and former Miles Davis and Weather Report percussionist Bobby Thomas Jr.. Born in Washington, D.C., de Wilde moved to France before his fifth birthday. After studying philosophy at Ecole Normale Superieure in Paris, he returned to the United States to attend Long Island University. 

While there, he met and befriended pianist Joey Calderazzo. Settling in New York, de Wilde was mentored by such influential pianists as Jim McNeely, Kirk Lightsey, and Mulgrew Miller. A member of Eddie Henderson's band in 1986, he recorded his debut solo album, Off the Boat, the following year. He followed with the impressive solo albums Odd and Blue in 1989 and Colors of Manhattan in 1990. Signing with Sony Jazz France in 1994, he released his fourth album, The Back Burner, in 1995. De Wilde authored a biography of influential jazz pianist Thelonious Monk in 1996, which received a Charles DeLaunay Prize for Best Book on Jazz.~Craig Harris http://www.allmusic.com/artist/laurent-de-wilde-mn0000785373/biography

Personnel:  Laurent de Wilde, piano;  Ira Coleman, bass;  Clarence Penn, drums

Over The Clouds

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Antonio Faraò - Black Inside

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 54:30
Size: 125,0 MB
Art: Front

(2:09)  1. Memories
(6:03)  2. Black Inside
(9:36)  3. Latin Dance
(6:09)  4. Just In Time
(5:42)  5. Basel
(6:14)  6. Sweet
(4:42)  7. Brother Kenny
(4:20)  8. Chaotic Romance
(5:45)  9. Dumb Show
(3:45) 10. My One And Only Love

Italian-born pianist Antonio Faraò's debut as a leader, 1999's Black Inside, is a fine post-bop piano trio record in the manner of Bill Evans' classic sides with Scott LaFaro and Paul Motian. Bassist Ira Coleman and drummer Jeff "Tain" Watts are solid accompanists whose occasional solos never overstay their welcome (Coleman's solo interlude in the lengthy "Latin Dance" is marvelously restrained, and a wonderful counterpoint to Faraò's impressive extended solo, which echoes the cerebral coolness of Paul Bley as well as the melodic invention of Dave Brubeck), but this is Faraò's record all the way. Opening with the unfortunately brief solo piano miniature "Memories," the ten original tunes are impressively varied, from the fusion-ish melodicism of "Basel" to the atmospheric languor of "Dumb Show." Faraò is doing little that's genuinely new or inventive, but neither is he content to merely ape his influences or, even worse, shoot for crossover blandness, making Black Inside (what's up with that title?) one of the more satisfying mainstream jazz debuts of its era. ~ Stewart Mason  http://www.allmusic.com/album/black-inside-mw0000242507

Personnel: Antonio Farao (piano); Ira Coleman (bass); Jeff "Tain" Watts (drums).

Black Inside

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Laurent De Wilde, Eddie Henderson, Ira Coleman - Colors Of Manhattan

Bitrate: MP3@320K/s
Time: 55:41
Size: 127.5 MB
Styles: Post bop
Year: 1999/2011
Art: Front

[6:57] 1. Everytime We Say Goodbye
[5:02] 2. Olde Devil Moon
[7:35] 3. Goodbye
[5:22] 4. El Gaucho
[8:54] 5. Fleurette Africaine
[7:44] 6. Armaggedon
[7:29] 7. For All We Now
[6:34] 8. You've Changed

EDDIE HENDERSON, trumpet, flugelhorn; LAURENT DE WILDE, piano; IRA COLEMAN, bass; LEWIS NASH, drums.

Came across this wonderful cd recently by legendary jazz trumpeter Eddie Henderson and haven't had it out of my player since. Recorded & released in 1990 on the French IDA label, it's a gorgeous quartet date featuring Dr.Henderson (he's a psychiatrist as well) on trumpet and flugelhorn, French pianist Laurent De Wilde (a new name for me) on acoustic piano, Ira Coleman on bass, and the great Lewis Nash on drums. There are eight selections on the release, including standards by Cole Porter ("Everytime We Say Goodbye"), Gordon Jenkins ("Goodbye"), Burton Lane ("Old Devil Moon"), Carl Fisher ("You've Changed"), J. Fred Coots ("For All We Know"), Duke Ellington ("Fleurette Africaine") and two pieces by saxophonist/composer Wayne Shorter ("El Gaucho" and "Armageddon"). The instinctive interplay between the four musicians produces a marvelous, dreamy atmosphere upon which the tunes float with an easy laid-back quality that is stimulating, as well. De Wilde and Henderson have an obvious affinity with each other on the recording and it's no coincidence, as he was Eddie's pianist for years before this session took place at "Le Studio" in New York City. In 1987, they had recorded a quintet album together on IDA called "Off The Boat". Henderson's trumpet and flugelhorn playing on "Colors of Manhattan" is effortless, sublime, and remarkable throughout. His muted horn on the great standard "Goodbye" is poignant and heartfelt, supported with De Wilde's gentle, sensitive piano backing. Duke Ellington's classic "Fleurette Africaine" -("African Flower")- was also performed on his landmark 1963 "Money Jungle" album and was suggested for this session by producer Philippe Vincent. Once again, Henderson is great on flugelhorn and the rhythm section of Coleman and Nash are strong and effective in invoking the original African feel of the piece. The two Wayne Shorter tunes, "El Gaucho" and "Armageddon", were both previously recorded on two of Shorter's 1960's Blue Note albums ("El Gaucho" on 1966's "Adam's Apple" lp and "Armageddon" from 1964's "Night Dreamer"). The quartet's performances with these two pieces are sophisticated, relaxed, and exquisite. "Armageddon", in particular, features extended, gravitating, well-developed solo's that display most clearly WHY this recording is so stellar. I have been a huge fan of Eddie Henderson's playing since his 70's cosmic fusion and funk work with not only Herbie Hancock's "Mwandishi" band but also his own solo albums from that era right up to his more acoustic jazz releases in recent years. Based onthe fine performances and production on "Colors of Manhattan", I will get the other IDA release Henderson madewith pianist Laurent De Wilde, "Off The Boat", along with the live 2003 quartet date with Henderson & De Wildeon the French Marge label called "Echoes". The superb arranging on "Colors of Manhattan" was by De Wilde andbass player Ira Coleman. It was beautifully recorded, as well. Elegant and highly recommended. ~James K. Stewart

Colors Of Manhattan

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