Eliane Elias - Eliane Elias Plays Jobim

Styles: Vocal And Piano Jazz
Year: 1989
Time: 58:02
File: MP3 @ 320K/s
Size: 132,9 MB
Art: Front

(4:46) 1. Waters Of March / Agua De Beber
(4:25) 2. One Note Samba
(3:00) 3. Don't Ever Go Away (Por Causa De Voce)
(3:03) 4. Sabiá
(5:11) 5. Passarim
(8:27) 6. Don't Ever Go Away
(6:32) 7. Desafinado
(5:31) 8. Angela
(8:52) 9. Children's Games
(5:46) 10. Dindi
(2:24) 11. Zingaro

This is not an album for those die-hard bossa fans. These popular Jobim tunes all were revisited by Elias with the goal of bridging the gap between Brazilian music and jazz; that goal was achieved. She affirms herself in this complex idiom, resulting in an album that can be enjoyed by any jazz connoisseur.

On this record, Elias responds successfully to all the challenges that come with interpreting a legendary artist like Jobim. Enriching Jobim's harmonies through her own musical wisdom, already in the album's first track ("Waters of March"/"Água de Beber"), she escapes from the trap of a conventional soothing rendition. Together with the talents of percussionist Naná Vasconcelos, she instills there a true Brazilian samba spirit, with its restless, somewhat aggressive quality. "Sabiá," usually recalled under Jobim's dense orchestration, receives a delicate ad-lib treatment that metamorphoses into a ballad.

"Desafinado," one of the best known Jobim tunes in America, may be the biggest surprise, with itsunstable jazz rhythm joined by creative re-harmonization. "Angela," a haunting, mysterious melody, is properly explored as a calm ballad. "Zíngaro," or "Retrato Em Preto E Branco," is faithful to its Brazilian sentiment in which a ballad feel menaces to take charge but is soon substituted by a typically Brazilian melancholy. "Samba de Uma Nota Só," in a funky interpretation, is not recognizable until they come to the bridge.

Then a samba feel takes place, with hot solos and cuíca interventions with the jazzy drumming of deJohnette's enriching the overall pancultural result. The album closes with Elias singing "Don't Ever Go Away" with her heartfelt tone backed by a piano that betrays the classical music tradition inherent to the formation of the Brazilian sensitivity. By Alvaro Neder
https://www.allmusic.com/album/eliane-elias-plays-jobim-mw0000315237#review

Personnel: Piano, Voice – Eliane Elias; Bass – Eddie Gomez; Drums – Jack DeJohnette

Eliane Elias Plays Jobim

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Joe Henderson - Power To The People (Remastered 2024)

Styles: Saxophone Jazz
Year: 2024
Time: 42:41
File: MP3 @ 320K/s
Size: 97,9 MB
Art: Front

(4:51) 1. Black Narcissus
(7:04) 2. Afro-Centric
(4:56) 3. Opus One-Point-Five
(4:55) 4. Isotope
(8:44) 5. Power To The People
(4:36) 6. Lazy Afternoon
(7:32) 7. Foresight And Afterthought

The late sixties were an exciting time for jazz, although not a lucrative one. Faced with a declining market share due to the popularity of rock music, jazz musicians were forced to find an audience by pursuing new avenues in composition and instrumentation.

Joe Henderson, a much beloved player for the Blue Note label was dropped in the late sixties. Orrin Keepnews, who certainly could recognize great talent when he saw it, signed him to his newly formed Milestone label. This 1969 release finds Henderson with a near perfect rhythm section. It features imaginative compositions that easily make it a highlight of the accomplished musician's career.

Power to the People is an appropriate title for a session filled with the sense of urgency and charisma found here. Henderson took a page from the compositional methods of the Miles Davis quintet from a few years back in that many of the compositions feature the same dark corners and ambiguous chord structures of that famous group. Only "Incognito" harkens back to an earlier time in Henderson's career.

Henderson has, for the most part, abandoned the harsh tone of his earlier releases for a more smoothed over sound, giving up nothing in confidence. Herbie Hancock and Ron Carter are session musicians here, featured both on acoustic and electric instruments.

Jack DeJohnette, another master who would contribute heavily to Miles' electric period, provides skilled drumming in the background. As an added bonus, two selections feature Mike Lawrence, a promising trumpeter who died in 1983.

As part of the Keepnews Collection, the sound on this release is superb. Carter is served especially well every note is clearly heard. Hancock's electric piano, at times both burbling in the background and providing an acid sting, is also crisp.

While signed to the Blue Note label, Henderson provided seminal releases in the accepted format. On many levels, Power to the People is more satisfying, a neglected gem that showcases an artist reaching for all that he can accomplish. By David Rickert
https://www.allaboutjazz.com/power-to-the-people-joe-henderson-review-by-david-rickert

Personnel: Joe Henderson — tenor saxophone; Mike Lawrence — trumpet (2, 5); Herbie Hancock — piano (3, 4, 6), Fender Rhodes (1, 2, 5); Ron Carter — double bass (1, 3, 4, 6, 7), electric bass (2, 5)Jack DeJohnette — drums

Power To The People (Remastered 2024)

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Joel Harrison - Anthem of Unity

Styles: Guitar Jazz
Year: 2023
Time: 50:22
File: MP3 @ 320K/s
Size: 116,3 MB
Art: Front

(8:16) 1. Anthem Of Unity
(4:35) 2. Survival Instinct
(5:30) 3. The Times They Are A-changin'
(5:08) 4. Today Is Tomorrow's Yesterday
(7:55) 5. Doxy
(4:21) 6. Migratory Birds
(8:31) 7. Parvati
(6:03) 8. Mohawk Valley Peace Dance

American guitarist/composer Joel Harrison showcases the pragmatic eclecticism that characterizes his music on Anthem of Unity, his 25th album as a leader. The disc features phenomenal rhythmic pulsations engendered by legendary drummer Jack DeJohnette, the adventurous melodicism of saxophonist Greg Tardy, and the extra harmonic color of organist Gary Versace, who, together with Harrison, creates colorful groove-centered tapestries.

Inspired by the influential late guitarist Mick Goodrick, the title track opens the album as an enjoyable concoction of funk, rock and Americana. The anthemic theme reveals a mild temperament but the solos by Tardy and Harrison are pure fire. In a similar tone but with a more incisive post-bop attack, “Survival Instinct” features another otherworldly tenor statement and the excellent underpinning of DeJohnette, who assures that his drum fills shine with a special energy.

Only two of the eight tracks that compose this work weren’t penned by Harrison, namely, “The Times Are A-Changin’” and “Doxy”, by Bob Dylan and Sonny Rollins, respectively. The former, a protest folk tune, waltzes smoothly with jazzy colors; the latter, served with jazz and funk ingredients at the base, boasts its heavenly melody with transparency and a laid-back groovy feel.

“Migratory Birds” develops in five and at some point places a heart-reaching flute at the center in unison with guitar, whereas “Today is Tomorrow’s Yesterday” swings energetically with casual post-bop fling. Before bringing the album to a close with “Mohawk Valley Peace Dance”, a blues rock incursion with a saucy wah-wah guitar solo on top of a dub substratum, Harrison offers “Parvati”, a rousing fusion with a great melodic theme, chromatic shifts, and a drum intro that’s quite interesting to hear.

Versatility abounds in a record that, not reaching the levels of America at War (Sunnyside, 2020), consistently satisfies. https://jazztrail.net/blog/joel-harrison-anthem-of-unity-album-review

Personnel: Joel Harrison: guitar; Greg Tardy: tenor saxophone, flute; Gary Versace: Hammond B-3 organ, piano; Jack DeJohnette: drums.

Anthem of Unity

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Noah Haidu - Standards

Styles: Piano Jazz
Year: 2023
Time: 56:28
File: MP3 @ 320K/s
Size: 130,7 MB
Art: Front

(5:11) 1. Old Folks
(4:01) 2. Just In Time
(4:24) 3. Beautiful Friendship
(6:06) 4. All The Way
(5:47) 5. Someday My Prince Will Come
(5:30) 6. You And The Night And The Music
(6:55) 7. Ana Maria
(4:32) 8. Skylark
(6:02) 9. Thought About You
(1:17) 10. Last Dance I
(6:38) 11. Last Dance II

In 1983, Keith Jarrett, Gary Peacock and Jack DeJohnette released the first of their album of standards, Standards Vol. 1 (ECM). The trio's harmonic ideas, insight and collective musicianship went on to become the benchmark for reworking these well- known American songs. Together they recorded 21 albums over three decades.

Inspired by that trio's work and celebrating the 40th anniversary of that release, pianist & composer, Noah Haidu, has released Standards. He is joined by bassists Buster Williams and Peter Washington, drummer Lewis Nash and guest saxophonist Steve Wilson. In many ways, Standards could be considered the companion release to Slowly: Song for Keith Jarrett (Sunnyside, 2021), Haidu's heartfelt tribute following Jarrett's debilitating illness. After recording that album, Haidu felt drawn to the trio format in his live performances and this release has evolved from that time spent on the road.

Starting with relaxed piano and melodic bass, the album opener, "Old Folks," subtly changes to a faster pace as Nash's drums drive the tune forward. "Just in Time," follows with Williams' fluent bass lines and Nash's fluid drumming contributing in equal part to Haidu's eloquent piano touch. "A Beautiful Friendship" opens with supple bass and swings throughout. Haidu's delicate style comes to the fore in the gentle "All the Way" as Nash and Williams hold back just enough to let the track breathe. Having played on the first four tracks, Williams makes way for Washington to take up bass duties for the rest of the album. He starts with a fluent improvisation, along with Haidu, on "Someday My Prince Will Come."

Haidu then picks the perfect moment to introduce acclaimed saxophonist, Steve Wilson on two tracks. The mood immediately changes as his alto takes centre stage on the fast moving "You and the Night and the Music." The Wayne Shorter composition, "Ana Maria" follows. Shorter wrote this piece for his wife, who passed away, along with their niece, on TWA flight 800. The playing is soulful and reverent and as Haidu states: "With the loss of Ana Maria, Dalila and of Wayne himself, this song now embodies the narrative of loss in so many ways."

Hoagy Carmichael's "Skylark" is a solo piano piece and is admirably executed. Haidu is at his bluesy best while Washington and Nash provide compelling support on the uplifting "I Thought About You." The album could end there, but another change sees Wilson return on "Last Dance I" and "Last Dance II." These are both Haidu compositions rather than standards. Named after a Jarrett recording and composed in tribute to his Standards trio and their final concert at the New Jersey Performing Arts Center. They feature energised solos from Wilson and Haidu. The contemporary feel adds another facet to the album.

Many of the tracks featured on the album were part of Jarrett, Peacock and DeJohnette's catalogue. They are all played with vitality and appropriate respect. The variety of mood and texture, the track sequencing and the use of the different musicians, all ensure that the album sustains interest throughout. They have served Haidu with inspiration for a connection which he has distilled into a clear contemporary musical statement of his own. Highly recommended.By Neil Duggan
Noah Haidu: Standards album review @ All About Jazz

Standards

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Eliane Elias - Brazilian Classics

Styles: Vocal, Piano, Brazilian Jazz, Bossa Nova
Year: 2003
File: MP3@320K/s
Time: 72:45
Size: 169,2 MB
Art: Front

(5:10)  1. Passarim
(3:50)  2. Chega De Saudade
(5:08)  3. Carioca Nights (Noites Cariocas)
(3:54)  4. Garota De Ipanema (Girl From Ipanema)
(7:50)  5. Milton Nascimento Medley
(4:46)  6. Waters Of March / Aqua De Beber
(4:23)  7. One Note Samba
(4:14)  8. Crystal And Lace
(2:09)  9. Jazz 'n' Samba (So Danço Samba)
(4:59) 10. Brazil (Aquarela Do Brasil)
(3:10) 11. Iluminados
(5:14) 12. Jet Samba (Samba Do Aviao)
(3:46) 13. Wave
(6:39) 14. Black Orpheus (Manhã De Carnaval)
(5:48) 15. Dindi
(1:37) 16. O Polichinelo (Clown)

Now that longtime Blue Note pianist/singer Eliane Elias has left the label for RCA/Bluebird, several compilations of her work are being released, including the present item, Brazilian Classics. A cynic might note “just in time for Christmas,” but even if its release is motivated mainly by marketing concerns, the CD provides a useful, focused troll through Elias’s back catalogue. Although Elias has ranged far and wide in her recordings (which include hard bop, pop-jazz, and classical pieces), this is the music with which she is most associated  bossa/jazz classics from the songbooks of Jobim, Nascimento, and others from her native Brazil. Elias is at home with this material and her piano work is muscular and confident. As such, the best tracks on the album are the instrumentals that feature her in a trio setting, mostly with bassist Eddie Gomez and drummer Jack DeJohnette. Throughout punchy and inventive takes on “Passarium,” “One Note Samba,” and “Black Orpheus,” Elias goes toe-to-toe with the rhythm section, with exciting results. Her tendency to introduce subtle reharmonizations and rhythmic variations keeps these well-worn tunes from sounding like boring retreads.

Somewhat less successful are the tracks featuring her vocals. While her thin yet husky delivery is appropriately unstudied on Só Danço Samba,” it can’t quite carry “Chega De Saudade” or “Girl From Ipanema” convincingly. Having Elias’s young daughter sing on “Ponta de Areia” was not the wisest of decisions either, bringing to mind, as it does, grade school recitals best left forgotten. That said, however, Brazilian Classics is an appealing listen, thematically unified and impeccably produced. The hardcore jazz fan may do better with Elias’s Plays Jobim album, from which many of the best tracks with Gomez and DeJohnette are taken. But bossa nova fanatics, or maybe those wishing for a warm Brazilian breeze in the dead of winter, will enjoy this generous selection of Elias’s work.By Joshua Weiner https://www.allaboutjazz.com/brazilian-classics-eliane-elias-blue-note-records-review-by-joshua-weiner.php

Personnel: Eliane Elias, piano, vocals; Eddie Gomez, Marc Johnson, bass; Jack DeJohnette, Peter Erskine, drums; Michael Brecker, sax; Cafe, percussion

Brazilian Classics

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Ron Blake - Shayari

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 69:21
Size: 159,5 MB
Art: Front

(5:39)  1. Waltz For Gwen
(8:41)  2. Atonement
(6:03)  3. Come Sun
(5:54)  4. Hanuman
(4:30)  5. What Is Your Prayer For?
(6:45)  6. Of Kindred Souls
(6:04)  7. Please Be Kind
(7:15)  8. 76
(2:00)  9. Remember The Rain
(7:23) 10. The Island
(4:52) 11. Teddy
(1:01) 12. Abhaari (Pt. I)
(3:08) 13. Abhaari (Pt. II)

There's an attention to sonic detail and aural space on tenor saxophonist Ron Blake's Shayari that would be more expected from the ECM label than from Detroit's Mack Avenue Records. But Mack Avenue, through Blake and his producer/pianist Michael Cain, has given us a CD strong on tone and mood, intimate and introverted without being lightweight or insubstantial. The intimacy flows from the instrumentation: All the tracks are trios save for three duos, and all but one scant-minute track feature tenor sax and piano. There is a lived-in feel about this record as well, as Blake revisits some of his earlier compositions in a more ruminative frame of mind, such as "Waltz for Gwen," with hand percussion (Jack DeJohnette or Gilmar Gomes) shading the leader's dry, urbane sax tone.

"Of Kindred Souls," originally recorded with Roy Hargrove's band, becomes a conversational trio with Regina Carter's violin joining tenor sax and piano. A heavier spiritual vibe informs "Atonement," tenor soloing over a fraught piano ostinato and DeJohnette's bundled sticks on cymbals, and "Hanuman," where Blake's tenor becomes surprisingly staccato over toms and rumbling piano. But for the most part, Blake's tenor is dry and airy, with a yearning tone akin to polite Coltrane. Emotions here are definitely subdued. Ivan Lins' "The Island," with Gomes punctuating on frame drum, is breezily seductive; Christian McBride's bass brings smooth swing to Bobby Hutcherson's "Teddy and the tenor/piano duet on "Please Be Kind the only American pop standard is a model of easy grace.By George Kanzler
https://www.allaboutjazz.com/shayari-ron-blake-mack-avenue-records-review-by-george-kanzler.php


Personnel: Ron Blake: tenor saxophone; Michael Cain: piano; Regina Carter: violin (6); Jack DeJohnette: drums (2, 4, 8, 12, 13); Gilmar Gomes: percussion (1, 3, 10); Christian McBride: bass (5, 11).

Shayari

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Keith Jarrett - Always Let Me Go (Live In Tokyo) Disc 1, Disc 2

Album: Always Let Me Go (Live In Tokyo) Disc 1

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 61:06
Size: 140,2 MB
Art: Front

(32:12)  1. Hearts In Space
( 3:34)  2. The River
(16:18)  3. Tributaries
( 9:01)  4. Paradox

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Album: Always Let Me Go (Live In Tokyo) Disc 2

Time: 76:22

Size: 175,1 MB

(34:25)  1. Waves

(14:04)  2. Facing East

(14:51)  3. Tsunami

(13:00)  4. Relay

Recorded live in Tokyo in April 2001, Always Let Me Go is Keith Jarrett's 149th concert in Japan. Joined by his long-standing partners Gary Peacock and Jack DeJohnette, these performances are playful, explosive, somber, and completely improvised. After 20 years of working together, they trust each other (and the audience) enough to deliver over two hours of unscripted music. DeJohnette prowls through his drums like a restless cougar: he chatters, scuffles, and pounces on the skins with agility. Likewise, Peacock spoons out a concrete foundation of bass; one that bubbles as it spreads through the cracks in Jarrett's 88 keys (which serve the pianist so very well). For listeners familiar with the trio's Inside Out CD, here is the same idea further elaborated on. "Hearts in Space" spirals out of the starting gate with geometrical tremors, as three virtuosos all start their respective engines and read each other's pulses over the course of 32 minutes. The trio effortlessly glide from mood to mood in synchronization to deliver a ballad in the eye of a hurricane, then dismount into straight-ahead swing. "The River" is a stoic hymn, a richness of melancholy in deep scarlet blue. It is Jarrett's only solo here, as brief as it is rewarding. "Paradox" rides the crest of bebop in a simmering stew to close out the first disc with a punch that stops on a dime. There are enough recurring themes here to call it a standard of sorts, and the musicians quickly assume the proper formation as they've done thousands of times before. Disc two opens with "Waves," another half-hour marathon of moods that evolves seamlessly between chromatic stillness, manic fluttering, and gunpowder bop. DeJohnette clearly sets the tone for "Facing East" a syncopated clockwork of beat, as Jarrett pinwheels in like-minded percussives with Peacock flipping through volumes of frets. Next comes the aptly titled "Tsunami," which swells and bursts with power before finally subsiding to fractured stillness. It is the fire in the musicians' bellies perhaps the darkest and most ferocious passage of the album. As is often the case, Jarrett's distant vocals pinch the air from time to time. Although purists may wince at this additional layer of seasoning, there's no denying his expression comes out of the deepest level of commitment. It is this same commitment that fuels so much of the album. With the knowledge that Always Let Me Go is live and improvised, it adds a rewarding layer of understanding and appreciation, as few musicians can deliver such diamonds with so little structure in place. Song for song, the symbiosis is a marvel to behold and the audience knows it. These are gods at play, and the lightning bolts they toss around are awe-inspiring. ~ Glenn Swan https://www.allmusic.com/album/always-let-me-go-live-in-tokyo-mw0000662266

Personnel:  Keith Jarrett – piano; Gary Peacock - bass; Jack DeJohnette - drums

Always Let Me Go (Live In Tokyo)Disc 1, Disc 2

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Keith Jarrett, Gary Peacock, Jack DeJohnette - Tribute Disc 1, Disc 2

Album: Tribute Disc 1
Styles: Piano Jazz, Bop
Year: 1990
File: MP3@320K/s
Time: 54:27
Size: 128,4 MB
Art: Front

(13:14) 1. Lover Man
(11:19) 2. I Hear a Rhapsody
( 6:05) 3. Little Girl Blue
( 9:32) 4. Solar
(14:16) 5. Sun Prayer

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Album: Tribute Disc 2
Time: 60:38
Size: 144,0 MB

(10:08) 1. Just in Time
( 8:26) 2. Smoke Gets in Your Eyes
( 8:08) 3. All of You
( 7:02) 4. Ballad of the Sad Young Men
( 8:57) 5. All the Things You Are
( 7:08) 6. It's Easy to Remember
(10:46) 7. U Dance

Pianist Keith Jarrett has paid all sorts of tributes through his career, nodding to Ornette Coleman, Miles Davis, and Bill Evans. But on this two-CD set, Jarrett picks particular versions of tunes to play off. So he pays homage to Lee Konitz on "Lover Man" and Sonny Rollins on "All the Things You Are." His formula for the tributes makes the music surprisingly engaged, dropping lyrical twists in his nod to Anita O'Day and cool loops when tipping Jim Hall. Where some of the so-called Standards Trio recordings veer into impressionism without regard to direction, this collection maintains tempered balance, even finding a classic Jarrett groove on "Sun Prayer," which drummer Jack DeJohnnette drives with a taut rhythmic clip. Alas, the tune fades in the groove's midst. But the package is barely any less strong for the fade and, in fact, stands above most of the other standards recordings.~Andrew Bartlett Opiniones editoriales https://www.amazon.com/Tribute-Keith-Jarrett/dp/B0000031VY

Personnel: Keith Jarrett – piano; Gary Peacock - bass; Jack DeJohnette - drums

Tribute Disc 1,Disc 2

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Bobby Timmons - Do You Know The Way?

Styles: Piano Jazz
Year: 1968
File: MP3@320K/s
Time: 40:55
Size: 95,5 MB
Art: Front

(5:54) 1. The Spanish Count
(5:38) 2. I Won't Be Back
(4:25) 3. Last Night When We Were Young
(4:08) 4. Do You Know The Way To San Jose?
(7:44) 5. Come Together
(5:01) 6. Something To Live For
(4:26) 7. Soul Time
(3:35) 8. This Guy's In Love With You

Bobby Timmons came out of Philadelphia at age 19, with a funky gospel tinged piano style, flavored with blues and hard bop. He would, in a recording career that would only span a short time frame, contribute to some of the best recordings on the legendary Blue Note sessions of the ’50’s , and be a member of two of the premier bands of that time, Art Blakey and the Jazz Messengers, and the Cannonball Adderley Quintet.

Robert Henry Timmons was born in Philadelphia in 1935, raised by his grandfather who was a minister in a church. The young Timmons began formal piano lessons at age six, and was the organist at his grandfathers’ church. This early formative period would certainly be a factor in his piano approach. He was be able to innovate and improvise on his gospel foundations and brought them into jazz. He had the lyricism of a Bud Powell in his solos, (who didn’t in the 50’s) combined with a very dominant left hand which was reminiscent of the stride and boogie players, but it was his sense of that down home chording and timing that really identified him.

His musical resume for the period between 1956 and 1969 is very impressive. He was with Kenny Dorham and the Jazz Prophets in 1956, which also included Kenny Burrell on guitar. In the years ’56 through ’57 he was with Chet Baker. The year 1957 would be a very productive and busy one as he worked and recorded with Hank Mobely, Sonny Stitt, Lee Morgan, and Curtis Fuller. In the same year and into ’58 was in Maynard Fergusons’ band, and also did session dates with Art Pepper and Kenny Burrell. He took over the piano chair in Art Blakey and the Jazz Messengers in 1958 at the age of 23. It was in period, that he wrote the classic “Moanin”, that would be a defining tune for that band, and one of his signature tunes throughout his career. He jumped over to the Cannonball Adderley Quintet in ’59 where he then wrote two big hits for them in “Dis Here” and “Dat Dere”. He stayed with Addelry into ’60 then rejoined the Messengers.

He stayed with the Messengers into ’61 then he began a solo career and worked with a trio format for a lot of his own recordings which continued up to 1969. Also in ’60 he did a lot of work with Nat Adderly, Arnet Cobb, The Young Lions, Lee Morgan, and Johnny Griffin. His output was amazing for the time, as it seems in looking at the chronological order of dates, he must have been constantly in the studio, this not counting the live dates on the road. His work is available on the Blue Note, Prestige, and Riverside labels, and many others as reissues and compilations. Quite an achievement by any standard! During the mid 60’s he would continue as leader of his own band and recording trios, and produced an extensive body of work in that period alone. He was able to find work in the smaller venues and clubs into the early ‘70’s where he was still in demand. His piano style would go on to influence Les McCann and Ramsey Lewis, and certainly a lot of the players in the ‘70’s with what would later be called funky or soul fused variations.

Bobby Timmons died of liver ailments in New York in 1974, at the age of 38. Though many would be led to believe that he was just another tragic figure in the annals of jazz, I don’t adhere to that line of thought, and measure and admire the man for his sheer volume of work, his participation and contribution with two of the best ensembles, and his influence, to whatever degree in jazz piano. https://www.allaboutjazz.com/musicians/bobby-timmons

Personnel: Bobby Timmons - piano; Joe Beck - guitar; Bob Cranshaw - electric bass; Jack DeJohnette - drums

Do You Know The Way?

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Ron Carter, Gonzalo Rubalcaba, Jack DeJohnette - Skyline

Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 60:39
Size: 139,2 MB
Art: Front

(6:51) 1. Lagrimas Negras
(9:02) 2. Gypsy
(6:41) 3. Silver Hollow
(6:43) 4. Promenade
(3:26) 5. Novia Mia
(4:45) 6. Quite Place
(7:36) 7. Ahmad the Terrible
(7:54) 8. Siempre Maria
(7:36) 9. RonJackRuba

Substantial yet serene, sophisticated yet soothing, Skyline oozes with the earthiness of New York City. Here, Ron Carter, Jack DeJohnette, and Gonzalo Rubalcaba merged their broad skills into an assemblage of erudite conversations, each package wrapped with beauty and delicate care. Of the many common threads heard in this collection, none could be more precious than time. Yes, of course, the trio had a wealth of rich pockets, but the reference is made to time of another nature. They were in no rush. They let the music develop at its own pace. Good things come to those who wait. In the case of Skyline, that would be great things.

Befitting a long overdue reunion, the trio chose to play with old friends. Familiar tunes were reimagined and reenergized with the clearly abundant joy of playing together. A snareless DeJohnette created the necessary Afro-Cuban bolero feel for the timeless standard "Lagrimas Negras." Rubalcaba crescendoed softly and again vigorously, while Carter deftly raised the conversational bar. Carter then reached into his hip-pocket for "Gypsy." A tune first recorded some forty years ago with Chick Corea and DeJohnette, had a luster to it, a shiny new coat. Carter's walking bass allowed Rubalcaba to freely move about. Articulating every note, Rubalcaba again took his time, and explored the boundaries of Carter's stellar composition. It was time for DeJohnette to look into his treasure trove. Out came "Silver Hollow." Well sequenced, Rubalcaba was now able to move deeply in turnabout. The mesmerizing tune heightened his emotional scale, eliciting a heartfelt dive, anchored by Carter's steady, sturdy core. Years before, Rubalcaba wrote a piece dedicated to Carter. There was an entirely different vibe this time around with Carter actually playing on "Promenade." The circumstances and the depth of composition coupled to keep the sentiment and warmth of the recording session intact.

After a return to the Afro-Cuban sound of "Novia Mia," the trio transitioned to "A Quiet Place." This vintage Carter work of art was given a makeover. Its appeal, however, was mostly steeped in the grace of connectivity. The trio had reached a zenith of collective happiness and ease of conversation. In 1984, DeJohnette had honored Ahmad Jamal in song with his composition, "Ahmad the Terrible." Rubalcaba had both the pleasure and the challenge of adding his own voice, while capturing a screen shot of Jamal. With DeJohnette's groovy patterns and flair to play off, Rubalcaba moved brightly and boldly, succeeding on both counts. While Carter, forever the centerpiece, the rock, the engaging conversationalist, propelled the vocabulary. After the recording session was finished, or so they thought, the trio stayed in the studio and continued to play. They weren't recording anymore, just having fun noodling around together. Well, perhaps accidentally on purpose, it was still recording. It turned out to be the final track. "RonJackRuba" is the epitome of improvisation. Completely off the cuff, just messing with some grooves. It resulted in a cool fly-on-the-wall moment to be shared by all. ~Jim Worsleyhttps://www.allaboutjazz.com/skyline-gonzalo-rubalcaba-5passion

Skyline is a breath of fresh air, the very definition of jazz. Three cool cats chilling out and digging on each other. Skyline is a Grammy-worthy project.

Personnel: Gonzalo Rubalcaba: piano; Ron Carter: bass; Jack DeJohnette: drums.

Skyline

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Michael Brecker - Don't Try This At Home

Styles: Saxophone Jazz
Year: 1988
File: MP3@128K/s
Time: 55:34
Size: 52,3 MB
Art: Front

(7:43) 1. Itsbynne Reel
(7:51) 2. Chime This
(7:46) 3. Scriabin
(4:59) 4. Suspone
(9:30) 5. Don't Try This At Home
(7:13) 6. Everything Happens When You're Gone
(5:10) 7. Talking To Myself
(5:20) 8. The Gentleman & Hizcaine

Michael Brecker's second album as a leader is almost the equal of his first. Surprisingly, only one song ("Suspone") uses his working quintet of the period (which consists of guitarist Mike Stern, pianist Joey Calderazzo, bassist Jeff Andrews and drummer Adam Nussbaum) although those musicians also pop up on other selections with the likes of pianists Don Grolnick and Herbie Hancock, bassist Charlie Haden, drummer Jack DeJohnette and violinist Mark O'Connor. Brecker (on tenor and the EWI) is in superb form, really ripping into the eight pieces (mostly group originals). Recommended.~Scott Yanowhttps://www.allmusic.com/album/dont-try-this-at-home-mw0000197612

Personnel: Michael Brecker – tenor saxophone, Mike Stern – guitar; Don Grolnick – piano; Herbie Hancock – piano; Joey Calderazzo – piano; Jim Beard – synthesizer, piano ; Mark O'Connor – violin; Charlie Haden – bass; Jeff Andrews – fretless electric bass; Jack DeJohnette – drums; Adam Nussbaum – drums; Peter Erskine – drums; Judd Miller – synthesizer programming

Don't Try This At Home

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Conrad Herwig, Richie Beirach, Jack DeJohnette - The Tip Of The Sword

Styles: Trombone Jazz
Year: 2011
File: MP3@320K/s
Time: 48:35
Size: 114,7 MB
Art: Front

(6:49) 1. Where The Tip Of The Sword Settles
(7:11) 2. Mastery Of The Mind
(6:28) 3. Thought Precedes Action
(7:30) 4. The Void
(6:50) 5. Inner Sincerity
(7:06) 6. Moonlight On The Water,Rebirth
(6:37) 7. Being, Non-Being

Much of trombonist Conrad Herwig’s activity in recent years has been focused on exploring the so-called Latin side of jazz giants like John Coltrane, Miles Davis, Wayne Shorter and Herbie Hancock. Though not without their charms, those albums’ central concept, by its very nature, tends to limit inventiveness; they exist in a box enforced by a demanding gimmick. Whether or not Herwig has begun to chafe at those restrictions, The Tip of the Sword takes off in a wholly opposite direction, driven largely by freedom and openness. Though all seven compositions are credited to Herwig, the material is defined by the interactions between the trombonist and his heavyweight counterparts, pianist Richie Beirach and drummer Jack DeJohnette.

All three play with a predictably impressive vigor, and a certain hectic momentum propels most of the tracks. That’s certainly true of the tense, antic opener, “Where the Tip of the Sword Settles,” during which Herwig’s bluster is met by Beirach’s caffeinated urgency and DeJohnette’s all-over-the-kit hyperactivity. “Mastery of the Mind” builds at a much more patient pace, Herwig wailing with breathiness and the occasional stuttering catch while DeJohnette dances around his cymbals and Beirach muses. But it’s “The Void,” the album’s literal centerpiece, that finds the trio reining itself in to its starkest point, beginning with a lengthy solo piano turn that basks in the instrument’s resonance. “Inner Sincerity” restores the brisk pace with DeJohnette’s ebullient rhythms, which bear traces of his globetrotting influences without suggesting any particular culture or style. https://jazztimes.com/reviews/albums/conrad-herwig-richie-beirach-jack-dejohnette-the-tip-of-the-sword/

Personnel: Conrad Herwig - trombone; Richie Beirach - piano; Jack DeJohnette - drums

The Tip Of The Sword

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Miles Davis - The Lost Quintet

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:11
Size: 133,7 MB
Art: Front

( 7:18) 1. Directions
(10:27) 2. Bitches Brew
(25:26) 3. Sanctuary
(14:59) 4. Masqualero

Miles Davis (tpt), Wayne Shorter (ten, sop), Chick Corea (fender rhodes), Dave Holland (bs), Jack De Johnette (drs)

This is the long awaited release of Miles "Lost Quintet" recordings of 1969 on the occasion of its fiftieth anniversary. The recording date and venue was November 9th 1969 in Rotterdam just three months after the "Bitches Brew" original studio takes with the full band that were not released until March 1970. That incredible two disc recording followed the earlier game changer"In A Silent Way"in the same year and changed the career outcome of every single one of the players involved and as some would say "The whole face of jazz forever". The performance on this album was the last of a ten gig European tour which included two nights in London on the first and second of the month. The gathering of this core group from the earlier albums was the last ever time Miles would record with a small conventional group of instruments during the rest of his career.

The fifty eight minutes of live music here is just what you might expect from these five incredibly talented and creative musicians with the performance of Chick Corea perhaps the one that stands out slightly above the others. Things kick off with "Directions", a piece that Miles often opened up with during this period including the Copenhagen concert of the same year and released on the fortieth anniversary triple album edition of Bitches Brew and of course the subtitle of the original album. Here the rhythm instruments set the mode for the leaders fiery extended excursion into the far reaches of the trumpets capability. Wayne answers Miles, as he often did, within his self titled style of "egg scrambling" leaving no possible corner of the much hidden theme unexplored. All this rides above the increasingly violent but logical assault by Jack De Johnette on his heavy duty drum kit. Emerging from the hectic maelstrom of all that follows a re-visit to "Bitches Brew". At just over ten minutes long this seems a more considered version than the original studio recording which took up a full side on the vinyl edition. Miles opening solo, when did he ever not go first?, is almost from the fifties style, but soon drops into the more fragmented grove of the times over rolling drums along with probing inlays from Chick's keyboard plus a wonderful interlude from Wayne, again on tenor. Rampant applause ensues from the ecstatic Belgian masses.

Wayne Shorter, by common consent is a wonderful jazz composer as well as a master saxophonist. He has created some real masterpieces over the years, none greater than the wonderful "Sanctuary". This appears on a number of albums including B.B. plus a particularly fine take on Circle In The Round by the second great quintet with George Benson guesting. However none of them get such a thorough investigation as the twenty five minute plus version here. Miles is in his "Picasso like" sketching mode early on with Dave Holland in support, soon you realise that this is nothing at all like other versions of the piece as the leader upgrades both the tempo and tension over increasingly frantic drumming which continues under Wayne's soprano solo until things fall away with bass and drums having the final say. Perhaps this take is not the easiest listen of the piece, Miles always had the ability to shock and surprise and we must thank him for that. The closing cut of the album "Mastuero" is the standout track and seems to draw on many of the finest traits from earlier performances during 69. Miles un-muted solo is profound and purposeful over the rarely subdued rhythm team. Chick's contribution is hypnotic, everyone seems to be listening to each other here and although the overall style is entirely different there are times when the listener is reminded of Miles second great quintet with Coltrane. This disk is a heady reminder of the time back in the late sixties when Miles changed the shape of jazz once again, and is a valuable addition to any collection of the great man's music.~Jim Burlonghttps://www.jazzviews.net/miles-davis---the-lost-quintet.html

The Lost Quintet

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Franco Ambrosetti Band - Lost Within You

Styles: Trumpet Jazz, Post Bop
File: MP3@320K/s
Time: 72:48
Size: 167,3 MB
Art: Front

(10:36) 1. Peace
( 7:12) 2. I'm Gonna Laugh You Right Outta My Life
( 6:52) 3. Silli in the Sky
( 7:35) 4. Love Like Ours
( 6:56) 5. Dreams of a Butterfly
(11:25) 6. Body and Soul
( 7:19) 7. People Time
( 7:42) 8. Flamenco Sketches
( 7:07) 9. You Taught My Heart to Sing

Lost Within You is a masterpiece of smoldering passion and beauty ignited by the exquisite trumpet and flugelhorn melodies of Franco Ambrosetti. Ambrosetti assembled an enviable ensemble: bassist Scott Colley and drummer Jack DeJohnette in the rhythm section, plus guitarist John Scofield, and Renee Rosnes and Uri Caine switching turns as pianist. But the star of Lost Within You is Ambrosetti's haunting, delicate and graceful sound, revealed in one masterful ballad after another. "Miles Davis was one of the great inspirations for that," Ambrosetti recalls. "From listening to Miles play ballads, I started to understand and I was able to go inside the ballad and play these long notes that he was playing. Miles showed me how you stretch the notes out like you're really singing or crying, and I think I can express my feelings better that way."

DeJohnette sketches an abstract introductory framework on piano to the opening "Peace," from which Ambrosetti's trumpet rises up like shimmering heat to meet and complete. When the rest of the ensemble settles in, the mood shifts from beautiful to transcendent jazz music. Solo drums curiously open the classic "Body and Soul," but bass and piano quickly settle down into a slow-rolling tempo and a mood that's both ballad and blue although DeJohnette insists on busting up the middle section with harder and sharper beats. Caine builds up funky blue offbeats and phrases and then crosses them together to build more complex melodies and harmonies in his solo. But Caine is only the second-best soloist here. Ambrosetti's sound thoroughly ghosts Davis' moody brooding: part smoldering anger, part aching sadness, part bitter loneliness, and part peaceful resignation. That's a lot to pack into a sound, but Ambrosetti does it.

Rosnes jumps in on "Flamenco Sketches," a landmark of Davis' work with pianist Bill Evans, and her melancholic deep touch is perfect for this mood and for highlighting Scofield's guitar alongside the Spanish tinges of this tune. Rosnes' thoughtful fire also polishes the middle piano trio section into a warm glow. McCoy Tyner's "You Taught My Heart to Sing" closes Lost Within You. A love song and the word "sing" are entirely appropriate to end a set of music like this. Rosnes, Scofield and Ambrosetti all stretch out in solos like housecats settling down for a nap, with Scofield's guitar drifting in and out of the blues and the leader's horn so softly but clearly articulating each note that it almost sounds like whispered speech.
~CHRIS M.SLAWECKI https://www.allaboutjazz.com/lost-within-you-franco-ambrosetti-unit-records3619

Personnel: Franco Ambrosetti: trumpet; John Scofield: guitar; Renee Rosnes: piano; Uri Caine: piano; Scott Colley: bass; Jack DeJohnette: drums; The Franco Ambrosetti Band: band/orchestra.

Lost Within You

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Bill Evans - Live at Ronnie Scott's

Styles: Piano Jazz
Year: 1968/2020
File: MP3@320K/s
Time: 99:41
Size: 230,5 MB
Art: Front

(4:58) 1. A Sleeping Bee
(3:01) 2. You're Gonna Hear From Me
(4:53) 3. Yesterdays
(4:45) 4. Turn Out the Stars
(5:53) 5. My Man's Gone Now
(4:46) 6. Emily (Version 1)
(4:59) 7. Spring is Here
(5:58) 8. Embraceable You
(4:25) 9. For Heaven's Sake
(6:26) 10. Someday My Prince Will Come
(5:49) 11. Quiet Now
(6:52) 12. Round Midnight
(3:57) 13. Stella By Starlight
(5:24) 14. Alfie
(3:21) 15. You're Gonna Hear From Me (Version 2)
(5:00) 16. Very Early
(4:13) 17. Emily (Version 2)
(4:57) 18. Waltz for Debby
(4:34) 19. Autumn Leaves
(5:20) 20. Nardis

Bill Evans’ Sunday at the Village Vanguard and Waltz for Debby are undoubtedly two of the finest-crafted live recordings in jazz; the musicianship is legendary, the recording pristine. Yet listening to Live at Ronnie Scott’s, a “new” live album that captures Evans with his mythic 1968 trio bassist Eddie Gomez and drummer Jack DeJohnette can make those two earlier albums sound a little sterile by comparison.

The 20 tracks heard on Ronnie Scott’s are culled from a multitude of nights over a four-week engagement that the Evans-Gomez-DeJohnette trio had at the London club in 1968, recorded by DeJohnette with a four-track tape machine and a mic set up between the bass and piano. The audio, even after production work by DeJohnette and Zev Feldman, still hisses and audience chatter can be prominent, yet those qualities make this live album feel more alive. Without the formal trappings of an “official” recording, the group can just play; can defy expectation or necessity to let the music take them where it will. On numbers like “Yesterdays,” the drums roar with a raw, almost punkish ferocity, reflecting the trio’s heightening intensity as they entwine in a collectively improvised rapture. Gomez’s fingers dance across the bass strings almost subconsciously, spryly braiding the melody of “Embraceable You” into a balloon animal of a solo that maintains the original’s lightness but holds a captivating new form.

But it’s on “‘Round Midnight” where this trio reaches its zenith. The role of rhythm section was already fluid in Evans’ groups, but here any distinction of timekeeper versus soloist melts away by the song’s two-minute mark. Time is implied, kept by the constant internal pulse of the group as the three musicians thread their own melodies together. A minute later, it’s hard to tell which of them leads as each voice, in constant motion, rises to meet the latest prompt from its fellows.~ Jackson Sinnenberg https://jazztimes.com/reviews/albums/bill-evans-live-at-ronnie-scotts-resonance/

Personnel: Piano – Bill Evans; Bass – Eddie Gomez; Drums – Jack DeJohnette.

Live at Ronnie Scott's

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Chet Baker - She Was Too Good To Me (CTI Records 40th Anniversary Edition)

Styles: Vocal And Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 40:33
Size: 93,9 MB
Art: Front

(7:02) 1. Autumn Leaves
(4:40) 2. She Was Too Good to Me
(6:06) 3. Funk In Deep Freeze
(5:27) 4. Tangerine
(4:05) 5. With a Song in My Heart
(3:54) 6. What'll I Do
(4:28) 7. It's You Or No One
(4:48) 8. My Future Just Passed

Producer Creed Taylor wisely avoided trying to shoehorn Chet Baker into the slick, fusion-oriented mid-'70s CTI Records sound. Fronting an all-star combo featuring Bob James' twinkling electric piano and Paul Desmond's lyrical alto sax, Baker remains true to his eternally hip '50s sides, tackling a bouncy, gently swinging "Autumn Leaves" and a cool, cerebral take on Hubert Laws' "Funk In Deep Freeze." Baker's two airy vocals, the wistful title track and the haunted "What'll I Do," testify to his gentle way with a ballad. ~ Editors’ Notes https://music.apple.com/us/album/she-was-too-good-to-me-40th-anniversary-edition/394301173

Personnel: Trumpet, Vocals – Chet Baker; Alto Saxophone – Paul Desmond ; Arranged By, Conductor – Don Sebesky; Bass – Ron Carter; Cello – George Ricci, Jesse Levy, Warren Lash; Drums – Jack DeJohnette (tracks: 5, 6, 7 ), Steve Gadd (tracks: 1 to 4, 8); Electric Piano – Bob James; Flute [Alto], Oboe [D'amore] – George Marge; Flute, Clarinet – Romeo Penque; Flute, Flute [Alto] – Hubert Laws; Vibraphone – Dave Friedman; Violin – Barry Finclair, David Nadien, Emanuel Green, Harold Kohon, Harry Glickman, Herbert Sorkin, Lewis Eley, Max Ellen, Paul Gershman

She Was Too Good To Me (CTI Records 40th Anniversary Edition)

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George Colligan - The Endless Mysteries

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 69:40
Size: 160,9 MB
Art: Front

(7:48)  1. Waiting for Solitude
(6:50)  2. Song for the Tarahumera
(8:25)  3. Her Majesty
(9:08)  4. Liam's Lament
(7:32)  5. It's Hard Work!
(3:14)  6. Thoughts of Ana
(3:34)  7. Outrage
(7:57)  8. The Endless Mysteries
(6:28)  9. When the Moon Is in the Sky
(8:38) 10. If the Mountain Was Smooth, You Couldn't Climb It

Not all piano trios are democracies-all too often, the bassist and drummer play second-fiddle roles. That’s not the case with The Endless Mysteries, released last fall. Although the pianist and nominal leader, George Colligan, wrote all 10 tracks on this, his 24th album as leader, The Endless Mysteries reflects an equal partnership between himself, bassist Larry Grenadier and the drummer, the irrepressible Jack DeJohnette. This even split of responsibilities isn’t exactly a surprise, as DeJohnette (whose touring band includes Colligan) has put in three decades as part of Keith Jarrett’s trio while Grenadier is a longstanding member of Brad Mehldau’s. With Colligan, though, even more than with their other employers, the rhythm section is intent on forging directions. 

This is evident on the title track, a gentle ballad that finds Colligan laying out the theme and then, in no time, handing the reins over to DeJohnette and then to Grenadier. The bassist’s richly melodic solo early on gives Colligan a gentle nudge: He leaves the chordal pattern he’s been restating since the beginning and, for the remainder of the piece, continues to investigate new routes that the composition might follow. On the sprightly “Her Majesty,” DeJohnette’s frisky bossa-nova rhythm fragments into something wholly disordered midway through, cueing an explosive Grenadier solo and, eventually, a chattering flurry from Colligan that brings it to a decisive finish. “Outrage” is outright chaos, a three-and-a-half-minute free-for-all, while “Song for the Tarahumera” is a swingfest. 

It’s not all teamwork though. “Thoughts of Ana,” inspired by the Newtown shootings whose victims included Ana Márquez-Greene, the daughter of jazz saxophonist Jimmy Greene, is the recording’s most moving statement: Colligan alone, solemn and ruminative. It’s a reminder, perhaps, that amid the daily noise sometimes we need to slow down, take a moment to reflect and simply speak to ourselves. Inspirational and exhilarating all-around. ~  By Jeff Tamarkin https://jazztimes.com/reviews/albums/george-colligan-the-endless-mysteries/

Personnel: Piano, Melodica, Composed By, Producer – George Colligan; Acoustic Bass – Larry Grenadier; Drums – Jack DeJohnette

The Endless Mysteries

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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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Steve Khan - The Green Field

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 77:21
Size: 178,2 MB
Art: Front

( 9:22)  1. El Vinon
( 8:09)  2. Congeniality
( 7:31)  3. Riot
( 7:46)  4. Fist in Glove
( 7:21)  5. Cosecha Lo Que Has Sembrado
( 7:58)  6. Sanctuary/Nefertiti
( 5:25)  7. Eronel
( 5:38)  8. You Stepped out of a Dream
(18:07)  9. The Green Field (El Prado Verde)

Nine years have passed since guitarist Steve Khan last released an album as a leader. But he hasn't been inactive, touring with artists like Terri Lyne Carrington and Greg Osby and co-leading the Caribbean Jazz Project. However, it's been far too long since he's released an album putting his immediately recognizable style front and centre. Khan may not have the cachet of peers like Pat Metheny and John Scofield, but from the first notes of the recording, it's clear that this is nobody but Steve Khan. His distinctive, at times almost pianistic approach makes his less prominent position mysterious. Hopefully The Green Field, his most fully realized record to date, will reach the greater audience he so richly deserves. Khan reunites with bassist John Patitucci and drummer Jack DeJohnette, who last played together on Got My Mental (Evidence, 1996). While the trio has only worked together during rehearsals and recording sessions for these two releases, these musicians share a remarkable chemistry. Nowhere is this more evident than on the free bop of the eighteen-minute title track. Also featuring percussionist/vocalist Manolo Badrena, a key collaborator who was instrumental in Khan's Eyewitness group, "The Green Field" may be the freest piece that Khan has ever recorded. Though clear motifs strategically emerge, it's as much about texture as thematic development, which is all the more remarkable during the moments when the quartet magically coalesces, before heading off into greater uncharted territories.  

The title track's liberated free play may feel new to Khan's fans, but rest assured, his strong sense of groove is also in full force. The modal "El Viñón opens with a vamp featuring Khan's unique voicings and DeJohnette playing all around the time, but ultimately resolves into a middle section where Patitucci and DeJohnette swing amiably behind Khan's relaxed, behind- the-beat linearity. The guitarist leans to carefully constructed lines that selflessly serve the music, but every now and then he lets loose with lightening speed, just to let you know the chops are there when needed. His ability to seamlessly intersperse strong melodies and vivid chordal phrases has become a defining characteristic, and he's never done it better. The same can be said for Khan's writing. "Fist in Glove is a blues so radically altered harmonically as to be nearly unrecognizable, while "Cosecha lo que Has Sembrado, with guest percussionists Ralph Irizarry and Robert Quintero, viscerally mines the Afro-Cuban territory that's been part of Khan's musical continuum for years. Equally remarkable is Khan's reinvention of material by Thelonious Monk, Herbie Hancock, Ornette Coleman and Wayne Shorter. Cleverly integrating Shorter's "Sanctuary and "Nefertiti into a seamless whole, Khan demonstrates an uncanny ability to distinctly interpret well-known material. If it wasn't so familiar, you'd think he'd written it himself. Maybe Khan's avoidance of musical grandstanding explains why he's never achieved the popularity of his peers. But The Green Field is mature and imaginative, showcasing him at the top of his game. ~ John Kelman https://www.allaboutjazz.com/the-green-field-steve-khan-tone-center-review-by-john-kelman.php

Personnel: Steve Khan: guitar; John Patitucci: acoustic bass; Jack DeJohnette: drums; Manolo Badrena; percussion, voice; Ralph Irizarry: timbales (3,5,6,8); Roberto Quintero: congas, percussion (3,5,6,8).

The Green Field

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Bill Evans - Smile With Your Heart: The Best of Bill Evans on Resonance

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 69:27
Size: 159,8 MB
Art: Front

(5:13)  1. Someday My Prince Will Come
(5:07)  2. Yesterdays
(4:21)  3. Mother of Earl
(3:32)  4. You're Gonna Hear from Me
(4:51)  5. Baubles, Bangles and Beads
(6:58)  6. My Funny Valentine
(8:34)  7. Nardis
(5:14)  8. Very Early
(4:53)  9. Turn out the Stars
(3:53) 10. Polka Dots and Moonbeams
(8:49) 11. RE: Person I Know
(7:57) 12. Waltz for Debby

In celebration of its 10-year anniversary, Resonance is launching a series of compilations culled from its vast catalog highlighting both living artists as well as jazz greats of the past. The artwork for the first 4 titles in the series is by the acclaimed Japanese artist, Takao Fujioka, who is also the chief editor of Way Out West magazine in Japan. His artwork has graced countless album covers, and he has had exhibitions all over the world. Smile With Your Heart focuses on the jazz icon Bill Evans and includes material from his four album releases on Resonance Records. ~ Editorial Reviews https://www.amazon.com/Smile-Your-Heart-Evans-Resonance/dp/B07QXTFT7Q

Personnel: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums (1-3, 10-12); Jack DeJohnette: drums (4-9).

Smile With Your Heart: The Best of Bill Evans on Resonance

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