Jacky Terrasson - Moving On

Styles: Jazz
Year: 2024
Time: 53:33
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front

(4:45) 1. Besame Mucho
(3:30) 2. Est-ce que tu me suis ?
(2:45) 3. Moving On
(4:02) 4. Misty (NYC Take)
(2:57) 5. R&B
(4:01) 6. Happy
(3:36) 7. Solar
(4:55) 8. Love Light
(3:12) 9. My Baby Just Cares for Me (Pompignan Take)
(4:34) 10. Enfin
(3:30) 11. I Will Wait for You
(2:16) 12. Go Round
(4:12) 13. Af006
(4:19) 14. Edit (piaf)
(0:53) 15. Theme from New York, New York

Jacky Terrasson’s music has always been a marvelous melding of the complex and the understated. Moving On, his latest album, demonstrates both sides of this equation with fantastic results. There’s so much going on here. The theme of this recording comes from the pianist’s move back to France after spending a good portion of his career in New York City. The music demonstrates his love for both the push and pull of life. And the 15 songs on this set add to that yin–yang dichotomy, with two trios playing the tunes.

Bassist Sylvain Romano and drummer Lukmil Perez, the French trio, join Terrasson for six tunes. Bassist Kenny Davis and Alvester join him as the American trio. The music is complex, but in the pocket. His pianism serves both trios well, as Terrasson plays challenging passages with such ease that the listener can just sit back and feel a rush of sound wash over them. Terrasson kicks off the album with his French trio’s total and impressive reimagining of “Beseme Mucho,” the classic bolero written by Consuelo Velázquez.

Terrasson, Romano and Perez take the tune at a heartbreaking adagio, giving it an almost classical reverence. On the flip side, the American trio delivers the album’s title track as a fast-paced, raise-the-roof, feel-good jam demonstrating all the excitement that a new chapter in one’s life can offer. It’s a Terrasson original that flows with positive vibes, as do many of his compositions, like “R&B” or the slow-burning “Edit (Piaf)” from the album. Terrasson also treats us to some really great guest spots and standards.

Grégoire Maret joins in on truly fun version of the mega-hit “Happy,” complete with vocal spots by Camille Bertault and Karen Guiock Thuram. Drummer Billy Hart steps in for a turn on “Misty (NYC Take).” Other treats include “My Baby Just Cares For Me” with a terrific guest vocal by Guiock-Thuram; Est-ce que tu me suis?” with another terrific vocal by Bertault; and “Enfin,” a Terrasson original with Maret guesting. Hart also takes the drum chair for the album’s outro, “Theme From New York, New York.” It’s a fitting 53-second ditty to wrap up a thoughtful set that says “goodbye and thanks” to one home and “hello, can’t wait to see you” to a new one Terrasson’s love letter is beautifully delivered to both.By Frank Alkyer
https://downbeat.com/reviews/detail/moving-on

Moving On

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Jacky Terrasson and Stephane Belmondo - Mother

Styles: Piano And Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 44:31
Size: 102,7 MB
Art: Front

(4:39)  1. Hand In Hand
(4:49)  2. Lover Man
(3:45)  3. La chanson d'Hélène
(5:19)  4. In Your Own Sweet Way
(0:39)  5. Pic Saint-Loup
(5:27)  6. Mother
(2:26)  7. Fun Keys
(1:14)  8. Les valseuses (BOF "Les valseuses")
(3:44)  9. Souvenirs
(4:34) 10. You Don't Know What Love Is
(0:53) 11. Pompignan
(4:49) 12. You Are The Sunshine Of My Life
(2:06) 13. Que reste-t-il de nos amours ?

The album "Mother" is a collaboration with pianist Jacky Terrasson and trumpeter Stéphane Belmondo. Of the fourteen securities has an intimate atmosphere to the Impressionist musicality. The inspired dialogue of these two accomplices musicians brings a calm breathing conducive to peace. The collaboration of Jacky Terrasson and Stéphane Belmondo back to their beginnings in the world of jazz, there are nearly thirty years. A time when they already maintained a special musical relationship. They met six years ago for a concert in duo in the southwest of France in Festival of Saint-Emilion. Since they had the opportunity to cultivate their complicity and give birth to a world that belongs to them. "Mother" (Impulse! / Universal) whose output is announced for September 2, is the logical outcome of their reunion. Originally, Jacky Terrasson and Stéphane Belmondo recorded thirty titles to Recall Studios. After listening, they "realized that the ballads sounded beautifully," says the pianist. They therefore decided to keep the "slower songs" for "Mother".  More...translate by google http://www.latins-de-jazz.com/mother-par-jacky-terrasson-et-stephane-belmondo/

Mother

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Jesse Davis - As We Speak

Styles: Saxophone Jazz 
Year: 1992
Time: 65:47
Size: 105,5 MB
Art: Front

(5:40)  1. Wake-Up Call
(6:55)  2. You are Too Beautiful
(6:50)  3. As We Speak
(4:44)  4. Quasimodo
(8:17)  5. Dear Druann
(7:59)  6. 'Tudes
(7:25)  7. Hipnotism
(6:14)  8. Lush Life
(6:04)  9. Recession Blues
(5:33) 10. I know that You Know

This is a good straight-ahead session that comprises the second album by alto saxophonist Jesse Davis, who hasn't gotten as much ink as many other young lion players. The menu features pre-rock and bop anthems, plus hard bop originals keyed by Davis' aggressive, often soothing solos and fine assistance from trombonist Robin Trowers, pianist Jacky Terrasson, guitarist Peter Bernstein, bassist Dwayne Burno, and drummer Leon Parker. ~ Ron Wynn https://www.allmusic.com/album/as-we-speak-mw0000614344

Personnel: Alto Saxophone – Jesse Davis;  Bass – Dwayne Burno; Drums – Leon Parker; Guitar – Peter Bernstein; Piano – Jacky Terrasson; Trombone – Robert Trowers

As We Speak

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Jacky Terrasson - A Paris

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 56:02
Size: 129,9 MB
Art: Front

(3:10)  1. Plaisir D'Amour
(4:24)  2. Les Chemins De L'Amour
(6:27)  3. Jeux Interdits
(8:52)  4. A Paris
(3:10)  5. I Love Paris In The Springtime
(4:20)  6. Que reste - t'il de nos amours?
(4:44)  7. Ne Me Quite Pas
(3:11)  8. La Vie En Rose
(2:00)  9. Nantes
(3:16) 10. La Marseillaise
(1:08) 11. Rue Des Lombards
(3:22) 12. L'Aigle Noir
(6:22) 13. I Love You More
(1:31) 14. Metro

Jacky Terrasson's 1999 album, What It Is, represented something of a risk. The young pianist's first three albums were barebones trio affairs that had won him rave reviews, whereas What It Is featured additional instruments and was more slickly produced. Gone, it seemed, was the sparse, acoustic approach that had originally given Terrasson his fame. But while this new direction yielded mixed results and left some fans a bit befuddled, one had to respect Terrasson's need to grow and evolve as an artist.Terrasson does much better with his follow-up, A Paris, an homage to the city of his youth and early adulthood. While not a return to the simple piano trio format (there are five guest musicians in addition to two alternating rhythm sections), the album has a spontaneous, natural sound that was lacking from the studio-centric What It Is. What's more, A Paris is packed with new and varied ideas that work, not to mention passionate, fiery playing throughout.Only the last two tracks are originals, the fewest ever on a Terrasson album. "Rue de Lombards," a funk fragment that sounds like an in-studio improvisation, is credited to Terrasson, drummer Terreon Gully, and bassist Remi Vignolo. The rest of the tracks are Terrasson's highly personal readings of songs from French culture. Most will not be familiar to American listeners, with the possible exception of "La Marseillaise" the French national anthem and the Edith Piaf classic "La Vie en Rose," played in a calypso feel by Terrasson and percussionist Minino Gara.Guitarist Bireli Lagrene's cameos on the bluesy title track and the swinging "Que Reste-T'Il de Nos Amours?" are nothing short of brilliant. The latter, which bears an uncanny likeness to Lerner & Loewe's "Almost Like Being in Love," features Terrasson on Fender Rhodes electric piano. Saxophonist Stefano di Battista also makes two fine appearances, playing tenor on the fast, tense "Jeux Interdits" and soprano on the lively and pretty "L'Aigle Noir," one of the two originals. Both Lagrene and Battista return for the brief, full-company finale, an intoxicating funk line by Terrasson titled "Métro." Another highlight is Terrasson resuscitating his funk version of Cole Porter's "I Love Paris," the only song by an American writer and the very one that led off Terrasson's 1994 debut album. Bassist Ugonna Okegwo and drummer Leon Parker, Terrasson's trio mates from his first three albums, both return to play on the Porter track, as well as the opening Piaf number "Plaisir d'Amour" and an exquisite reading of Jacques Brel's "Ne Me Quitte Pas." The latter briefly features Gregoire Maret on harmonica, who played on What It Is. Several rather short pieces are grouped right around the middle of the album, giving that part of the program a collage-like feel that can seem a bit superficial. That aside, Terrasson has pulled off something rare: a concept album that succeeds on a variety of creative levels. In the process, he's given exposure to several excellent European musicians, not to mention some beautiful French music that American audiences ought to hear. ~ David R.Adler https://www.allmusic.com/album/a-paris-mw0000621111

Personnel:  Piano, Producer – Jacky Terrasson; Bass – Rémi Vignolo, Ugonna Okegwo; Drums – Leon Parker, Terreon Gully; Guitar – Bireli Lagrene; Harmonica – Grégoire Maret; Marimba – Stefon Harris; Percussion – Minino Garay; Saxophone – Stefano di Battista

A Paris

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Eddie Harris - Freedom Jazz Dance

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 53:48
Size: 123,5 MB
Art: Front

(5:30)  1. Freedom Jazz Dance
(6:25)  2. Georgia on My Mind
(9:06)  3. Little Sunflower
(7:53)  4. Stars Fell on Alabama
(7:48)  5. Lisa Marie
(7:54)  6. Joshua Fit the Battle of Jericho
(9:10)  7. For All We Know

Eddie Harris' final "authorized" studio date, like most in the last decade-and-a-half of his life, is a conservative acoustic blowing session, trying one last time to capture the minds and hearts of bop-minded purists. Frankly, he never sounded better on tenor than he does here, his tone luminous, the freak high notes perfectly integrated into his uniquely swinging style, his ballad phrasing infused with an even more poignant singing quality. He had a crack backup piano trio in tow, anchored by his old cohort Billy Hart on drums (who sounds freer than ever), with the emerging Jacky Terrasson on piano and George Mraz on bass. Yet the CD's mainstream idiom is cautious in the extreme "Joshua Fit the Battle of Jericho" à la Trane is about as adventurous as this quartet gets (and Harris was into that style when it was current) and the only Harris original is the title tune, albeit superbly done. As a document of Eddie Harris in full bloom as a hard bopper, Freedom Jazz Dance is marvelous, but reveals only one side of this bewilderingly multi-faceted, innovative musician and as such, it is an incomplete memorial. [A Japanese version adds a bonus track.] ~ Richard S.Ginell https://www.allmusic.com/album/freedom-jazz-dance-mw0000090767  

Personnel: Tenor Saxophone – Eddie Harris;  Bass – George Mraz;  Drums – Billy Hart;  Piano – Jacky Terrasson

Freedom Jazz Dance

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Javon Jackson - For One Who Knows

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 49:59
Size: 114,6 MB
Art: Front

(8:02)  1. For One Who Knows
(5:46)  2. Etcetera
(5:33)  3. Angola
(7:25)  4. Notes in Three
(6:23)  5. Jane's Theme
(6:40)  6. Paradox
(5:48)  7. Useless Landscape
(4:19)  8. Formosa (Gorgeous)

This CD only has one fault, but it is a major one. It seems that no matter what he plays (whether it be an obscure song by Wayne Shorter, Herbie Hancock, Sonny Rollins, or Antonio Carlos Jobim, or one of his two originals), Javon Jackson sounds too close to comfort to Joe Henderson; in fact there are times when the tenor-saxophonist sounds identical. That is a real pity, for Jackson consistently shows the ability to take chances successfully, and his supporting cast (particularly pianist Jacky Terrasson and acoustic guitarist Fareed Haque), is quite strong. The music, essentially advanced hard bop with hints of the avant-garde, is stimulating and generally unpredictable. Now, if only Javon Jackson would put away his Joe Henderson records for a few years. ~ Scott Yanow https://www.allmusic.com/album/for-one-who-knows-mw0000176785

Personnel: Javon Jackson (tenor saxophone); Jacky Terrasson (piano); Fareed Haque (acoustic guitar); Peter Washington (bass); Billy Drummond (drums); Cyro Baptiste (percussion).      

For One Who Knows

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Jacky Terrasson - Smile

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 47:14
Size: 108,4 MB
Art: Front

(5:08)  1. Parisian Thoroughfare
(2:39)  2. Mo Better Blues
(6:54)  3. Smile
(4:05)  4. Sous le ciel de Paris
(3:04)  5. Isn't She Lovely?
(6:05)  6. The Dolphin
(5:45)  7. Nardis
(3:32)  8. Autumn Leaves
(3:15)  9. My Funny Valentine
(6:43) 10. 59

The stream of imaginative energy flows strong and true on Jacky Terrasson’s new recording, simply entitled Smile. The dazzling jazz pianist performs with panache and exuberance, adding his unique touch to a diverse mixture of contemporary and classic standards. The music remains true to Terrasson’s form, as it is somewhat of a return to the trio format of his early acclaimed recordings. His previous release A Paris paid homage to his childhood experiences in France and with more than a half dozen recordings on Blue Note; he continues to develop and grow into a unique pianist. Smile could easily be a case in point for music that expands on the conventional piano trio format. The trio features bassist Sean Smith and drummer Eric Harland on the bulk of the recording, with electric bassist Remi Vignolo on three tracks. The overall mood and tone is playful, unconventional, and free spirited. The recording begins with a trio work-out of “Parisian Thoroughfare,” with Terrasson weaving in and out of the melody with rapid and complex soloing. The next selection is a short but sweet rendition of Bill Lee’s “Mo Better Blues” from filmmaker Spike Lee’s movie of the same name, which is poignant and soulful. Terrasson includes subtle techniques on the title track, “Smile,” such as electric keyboards to enhance the music, but it’s his sheer inventiveness and musicianship that stamps his own signature throughout the recording. The success of this recording also lies in the choice of exceptional sidemen. Eric Harland, who is quickly making a name for himself as a dynamic drummer, once again proves his merit by delivering superb skills that match the complexity and range of the selections. His playing on Stevie Wonder‘s “Isn’t She Lovely”, transforms the ballad into a groove infused performance. Sean Smith‘s acoustic bass is full bodied and robust; as his soloing skill takes the spotlight on the “The Dolphin.” Remi Vignolo’s electric bass work sounds appropriate when used, and contributes potency and depth to the moving composition “Sous Le Ciel De Paris.” Many of these selections represent extensions from Terrasson’s recent live performances. Fortunately this spirit has spilled into the feel of the recording, with its strong sense of fun, spontaneity, and freshness. Willing listeners may find much to smile about here. Recommended. ~ Mark F.Turner https://www.allaboutjazz.com/smile-jacky-terrasson-blue-note-records-review-by-mark-f-turner.php

Personnel: Jacky Terrasson - piano;  Sean Smith - acoustic bass;  Eric Harland - drums;  Remi Vignolo - electric bass

Smile

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Art Taylor's Wailers - Wailin' At The Vanguard

Styles: Hard Bop, Post Bop
Year: 1993
File: MP3@320K/s
Time: 62:31
Size: 143,3 MB
Art: Front

( 0:14)  1. Street Intro
( 1:24)  2. A.T.'s Shout
( 0:25)  3. Bridge Theme
( 0:49)  4. Band Introductions
( 8:24)  5. Dear Old Stockholm
( 8:25)  6. Stressed Out
( 4:50)  7. So Sorry Please
( 0:20)  8. Bridge Theme
( 8:59)  9. Mr A.T. Revisted
( 0:36) 10. Interchat
( 5:07) 11. Sophisticated Lady
( 5:34) 12. In A Sentimental Mood
( 6:24) 13. Chelsea Bridge
(10:13) 14. Harlem Mardi Gras
( 0:40) 15. Bridge Theme-Salt Peanuts

Following the successful Mr. A.T., drummer Art Taylor found himself to be a modern-day Art Blakey by leading a youthful group known as Taylor's Wailers. Pianist Jacky Terrason is a versatile player with a distinct voice, who along with Taylor is the heart and soul of this band. Going back to the '50s, the leader fancied the dynamics of two saxophonists playing off of each other, which Abraham Burton and Willie Williams do exceedingly well here. Walter Bolden's compositions make for the most interesting moments here, in particular the "Bridge Theme" which is restated throughout. This is excellent hard bop played by a true master, and it's a shame that "Mr. A.T." passed away shortly after this recording was made. ~ Robert Taylor http://www.allmusic.com/album/wailin-at-the-vanguard-mw0000102016

Personnel: Arthur Taylor (drums), Abraham Burton (alto saxophone), Willie Williams (tenor saxophone), Jacky Terrasson (piano), Tyler Mitchell (acoustic bass).

Wailin' At The Vanguard

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Jacky Terrasson & Cassandra Wilson - Rendezvous

Styles: Vocal And Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 49:01
Size: 112,8 MB
Art: Front

(5:47)  1. Old Devil Moon
(5:45)  2. Chan's Song
(4:47)  3. Tennessee Waltz
(5:06)  4. Little Boy Lost
(2:38)  5. Autumn Leaves
(4:59)  6. It Might As Well Be Spring
(3:25)  7. My Ship
(3:02)  8. I Remember You
(4:47)  9. Tea For Two
(5:29) 10. If Ever I Would Leave You
(3:09) 11. Chicago 1987

For this notable set, pianist Jacky Terrasson teams up with the smoky, chance-taking vocalist Cassandra Wilson, either Lonnie Plaxico or Kenny Davis on bass and percussionist Mino Cinelu. The music is quite impressionistic and atmospheric. Terrasson and Wilson stick to standards, but their renditions of such songs as "Old Devil Moon," "My Ship," "Tea for Two" and even "Tennessee Waltz" are quite haunting and floating, slightly disturbing and occasionally sensuous. Terrasson, who takes "Autumn Leaves" and "Chicago 1987" (the one non-standard) as solo pieces, was on his way to forming his own style, while Wilson had certainly found her niche. An intriguing matchup. ~ Scott Yanow http://www.allmusic.com/album/rendezvous-mw0000595600

Personnel: Jacky Terrasson (acoustic & electric pianos); Cassandra Wilson (vocals); Lonnie Plaxico, Kenny Davis (bass); Mino Cinelu (percussion).

Rendezvous

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Jacky Terrasson - Push

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 56:46
Size: 130,5 MB
Art: Front

(5:14)  1. Gaux Girl
(5:59)  2. Beat It/Body and Soul
(7:39)  3. Ruby My Dear
(3:36)  4. Beat Bop
(6:23)  5. 'Round Midnight
(4:10)  6. Morning
(7:00)  7. My Church
(4:13)  8. Say Yeah
(3:26)  9. You'd Be So Nice To Come Home To
(3:15) 10. Carry Me Away
(5:45) 11. O Café, O Soleil

There are three qualities about pianist Jacky Terrasson's music that make it irresistible and riveting. The first is that it dances interminably. Secondly, it is jagged and angular an epithet often used to describe the music of Thelonious Monk and which suits Terrasson well as, even with his singularly distinctive voice, he is genealogically connected. Finally, Terrasson has a penchant for a playful, almost puckish, interpretation, where humor is implicit. As such he negotiates all melodies, even those that are contemplative, with sparkling and almost child-like candor. Above all, of course, Terrasson plays piano with devastatingly beautiful expression, sublime technique and incomparable virtuosity.  Push, then, is absolutely classic Terrasson. It is full of double entendre, unbridled ideation and luminosity. Like Monk, his muse, Terrasson's solos are abstruse. This is because his purported approach is never linear, but is instead curved and if he can get away with it, inside out. He attacks melodies askance, sometimes taking cues for his solo excursions from the third or fourth line in a verse. He is decidedly phonetic in his choice of notes, when expressing melodic invention in a kind of "E Flat's Ah Flat too" sort of way. Thus, he sometimes makes the most unlikely sequence of notes fit mellifluously. His soloing seems to come from deep within his lean guts, careening through his lean body and gaunt shoulders, and flung as if waved on by a magical wand onto the keyboard, where his fingers settle their scores with the keys.

On Push, Terrasson saves some of his most inventive work for the Monk songs "Ruby My Dear," which is played with abject tenderness, as if pleading Monk's case for an old sweetheart, and "'Round Midnight," a magical crepuscular sketch, which gads about, ultimately losing its mind with lonely splendor. His harmonic treatment of "Beat It" and "Body and Soul," tagged together here, turns the fleetingly familiar phrases of the melodies into an ad libitum essay that ultimately enriches the music as it veers way off course before eventually returning to the original melodies, almost as a codicil. "My Church" and "Say Yeah" contain some refreshingly beautiful "preaching of the Gospel" amid dazzling improvised parts, the latter with vocals and the rhythmic inflections of Brazilian percussionist, Cyro Baptista one of several guest appearances. Terrasson's treatment of "You'd Be So Nice to Come Home To" is wonderfully irreverent full of crushed notes and mashed chords. "Carry Me Away" is elegiac and luminous, and features some wonderful percussion from Baptista, and guitar from Matthew Stevens. Also memorable is the work of the extraordinarily talented harmonicist Gregoire Maret, who whose solo on "Ruby My Dear" echoes the song's implicit heartbreak, and that of tenor saxophonist Jacques Schwarz-Bart on "Morning." But in the guts of the music is bassist Ben Williams and drummer Jamire Williams, who underscore its utter beauty throughout the album. ~ Raul D’Gama Rose https://www.allaboutjazz.com/push-jacky-terrasson-concord-music-group-review-by-raul-dgama-rose.php
 

Personnel: Jacky Terrasson: piano, keyboards, vocals; Ben Williams: bass; Jamire Williams: drums; Gregoire Maret: harmonica (3, 8); Jacques Schwarz-Bart: tenor saxophone (6); Matthew Stevens: guitar (8); Cyro Baptista: percussion (8, 10, 11).

Push

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Jacky Terrasson Jazz Trio - Lover Man

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 53:51
Size: 123,7 MB
Art: Front

(5:18)  1. Donna Lee
(4:35)  2. Nardis
(2:22)  3. First Child
(9:43)  4. In Your Own Sweet Way
(2:15)  5. Wall
(7:09)  6. Lost
(5:50)  7. Broadway
(7:43)  8. Lover Man
(2:29)  9. Close Enough For Love
(6:24) 10. Love For Sale

Jacky Terrasson finds new routes into familiar compositions on these 1993 sessions for the Japanese Venus label. Well accompanied by bassist Ugonna Okegwo and drummer Leon Parker, the pianist dives head first into a rousing, if unusual version of Charlie Parker's "Donna Lee," initially kicking off an explosive vamp to play against its theme, though he eventually discards the vamp in favor of a more conventional, though thoroughly post-bop approach to this bop classic. Likewise, Terrasson introduces Miles Davis with a good bit of drama, even if he is more direct in his improvised introduction than Bill Evans was in his final years. The pianist's arrangement of Dave Brubeck's "In Your Own Sweet Way" is particularly haunting, with his surprising chords in the bassline, then eases up a bit as he gets into a funky mood. Terrasson has just as much fun with standards like "Broadway" and "Love for Sale," while also proving himself as a promising composer with two strong originals. ~ Ken Dryden http://www.allmusic.com/album/lover-man-mw0000520805

Personnel:  Jacky Terrasson – piano;  Ugonna Okegwo – bass;  Leon Parker - drums

Lover Man

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Various Artists - Bob Belden's Shades Of Blue

Styles: Contemporary Jazz, Post-Bop
Year: 1996
File: MP3@320K/s
Time: 70:40
Size: 162,3 MB
Art: Front

(6:54)  1. Dianne Reeves, Geri Allen - Maiden Voyage
(5:34)  2. Jacky Terrasson - Un Poco Loco
(5:49)  3. John Scofield - Tom Thumb
(2:36) 4. Cassandra Wilson, Ron Carter - Joshua Fit De Battle Ob Jericho
(8:21)  5. Tim Hagans, Bob Belden - Siete Ocho
(7:40)  6. Marcus Printup - You've Changed
(5:36)  7. Holly Cole, Javon Jackson - Hum Drum Blues
(5:56)  8. Geoff Keezer - 2300 Skiddoo
(6:08)  9. Renee Rosnes - Song For My Father
(6:51) 10. Kurt Elling - Tanganyika Dance (The Man From Tanganyika)
(4:41) 11. T.S. Monk, Ron Carter - Evidence
(4:29) 12. Eliane Elias - Una Mas

In 1994, producer-tenor saxophonist Bob Belden received the unusual assignment of putting together a variety of all-star groups to revisit tunes associated with the Blue Note legacy. From November 1994 to March 1995 he recorded most of Blue Note's then-current roster, documenting 39 compositions in all. Twelve are on this CD, while many of the others have been released in Japan. Each of the dozen numbers uses a different group and they are generally consistent, if not filled with surprises. Dianne Reeves, Cassandra Wilson, Holly Cole, and Kurt Elling are heard on vocal features (Reeves and Elling fare best), trumpeter Marcus Printup shows off his warm tone on "You've Changed," and, in a performance that brings back the "Bitches Brew" era (and is both the most modern and the most dated of these interpretations), Belden, trumpeter Tim Hagans and three keyboardists explore Andrew Hill's "Siete Ocho." 

Of the many pianists who are featured on this set (including Geri Allen, Jacky Terrasson, Renee Rosnes, and Eliane Elias), Geoff Keezer's fairly free improvisation on Herbie Nichols' "2300 Skidoo" is the most memorable. Quite unusual is the complete absence of any of the quintet or sextet lineups that were almost a trademark of Blue Note in the '50s and '60s, and the relatively few trumpet and saxophone solos. Sure to be a collector's item, this CD is not essential but it has enough variety to keep the interest of most jazz listeners. ~ Scott Yanow  http://www.allmusic.com/album/shades-of-blue-mw0000184479

Bob Belden's Shades Of Blue

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Jacky Terrasson - Take This

Size: 103,6 MB
Time: 44:34
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Piano Jazz
Art: Front

01. Kiff (3:34)
02. Un Poco Loco (4:12)
03. Take Five (Take 1) (5:10)
04. Come Together (3:22)
05. Dance (3:17)
06. Blue In Green (2:58)
07. November (6:22)
08. Take Five (Take 2) (4:11)
09. Maladie D'amour (3:13)
10. Somebody That I Used To Know (3:32)
11. Letting Go (4:39)

Pianist/composer Jacky Terrasson makes his Impulse! label debut with the February 24, 2015 release of Take This, a sparkling new album that captures the quintessence of his multifaceted musical makeup, which draws upon modern post-bop, pop, hip-hop, European classical, and African and Afro-Caribbean rhythms and melodies. Terrasson will celebrate with release event performances at Dizzy’s Club Coca-Cola at Jazz Lincoln Center in New York City March 13-15. Further tour dates will be announced shortly.

Being the product of a French father and an American mother, the 49-year-old Terrasson has built a distinguished, two-decade plus career by threading musical links between various cultures and nationalities. On Take This, he convenes a truly international band featuring American bassist Burniss Travis, Cuban-born drummer Lukmil Perez, Malian percussionist Adama Diarra, and Afro-French vocalist and human beatbox virtuoso Sly Johnson, forming a hip cosmopolitan combo that represents jazz’s expansive global mindedness while still affirming its African-American roots.

Take This boasts four Terrasson originals starting off with the opening, “Kiff,” on which Terrasson pairs his jovial piano and keyboard melodies with Johnson’s lissome, wordless vocals. Terrasson deftly infuses Afro-Cuban melodicism on the delightful “Dance,” which also provides the perfect vehicle for Diarra’s splendid percussion work alongside Johnson’s shadowy beatbox ingenuity. “November” bounces to vivacious yet sensitive Caribbean beat propelled by Perez and Travis as Terrasson unravels labyrinthine passages marked by cogent melodicism and spry rhythms. Terrasson reveals his balladry mastery on the sensual “Letting Go.”

The album also contains nine surprising covers that range from inventive takes on a handful of jazz standards – Bud Powell’s “Un Poco Loco,” the Miles Davis/Bill Evans ballad “Blue In Green” and Paul Desmond’s “Take Five”— a riveting piano-vocal duo rendition of the Beatles’ “Come Together,” an ebullient reading of Henri Salvador’s 1950 French-Caribbean hit, “Maladie D’Amour” and a jazz/hip-hop makeover of Gotye’s 2011 international pop hit, “Somebody That I Used to Know.”

Throughout, Terrasson enlivens the music with sleek improvisations, rhythmic fluidity and an impeccable touch – all of which have become hallmarks to his singular sound. He also ignites a rapport with his band mates that favors memorable and importantly meaningful musical dialogue over callow pyrotechnics, making Take This another welcoming musical adventure in Terrasson’s oeuvre.

About Jacky Terrasson:
Jacky Terrasson (born 1965) is an internationally renowned Franco-American pianist, composer and bandleader, who recorded his debut as a leader in 1992. The following year, he won the Thelonious Monk International Piano Competition then toured with the legendary Betty Carter, both of which propelled him to the top echelon of the jazz world. In addition to releasing 10 memorable albums on Blue Note Records between 1994-2007, he’s recorded for Concord Records and Universal France. During his distinguished career, Terrasson has also worked with notable jazz artists such as Cassandra Wilson, Stefon Harris, Dee Dee Bridgewater, Jimmy Scott and Dianne Reeves.

Take This

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Jacky Terrasson - Reach

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:11
Size: 131,3 MB
Art: Front

(5:32)  1. I Should Care
(3:20)  2. The Rat Race
(5:20)  3. Baby Plum
(5:56)  4. (I Love You) For Sentimental Reasons
(9:00)  5. Smoke Gets In Your Eyes/ Reach
(8:47)  6. Happy Man
(6:13)  7. First Affair
(4:24)  8. Just One Of Those Things
(8:34)  9. All My Life

The talented young pianist Jacky Terrasson and his trio (with bassist Ugonna Okegwo and drummer Leon Parker) find something new to say on a few standards (including a rare up-tempo version of "For Sentimental Reasons") and introduce five of Terrasson's originals. Although he has does not have an original style yet, Terrasson displays a great deal of potential for the future. Highlights include "I Should Care," "Just One of Those Things," and a medley of his "Reach" with "Smoke Gets in Your Eyes." ~ Scott Yanow  http://www.allmusic.com/album/reach-mw0000646792

Personnel: Jacky Terrasson (piano); Ugonna Okegwo (bass); Leon Parker (drums).

Reach

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Cindy Blackman - In The Now

Styles: Hard Bop, Jazz
Year: 1998
File: MP3@320K/s
Time: 63:56
Size: 146,5 MB
Art: Front

( 6:48)  1. In The Now
( 3:25)  2. A Banana For Ron
( 6:44)  3. Passage
(15:05)  4. A King Among Men
( 7:28)  5. Sophia
( 7:17)  6. Prince Of Darkness
( 4:37)  7. Happy House
( 4:33)  8. A Strawberry For Cindy, A
( 7:56)  9. Let Love Rule

Sometimes it takes the loss of a parent to bring about a heightened sense of maturity and clarity of purpose in oneself. In many ways, Tony Williams was Cindy Blackman's spiritual father, certainly her biggest role model. His passing has inspired the drummer-composer to go deep within and reflect on Tony's contribution as well as her own gifts. The result of that introspection is her most profound and heartfelt statement to date. Tony's influence looms large on her sixth album as a leader. There was a time, back in the early '80s, when Blackman played like she had something to prove. She's gotten well beyond that now. While her playing is still aggressive, her touch is more brisk and her ideas more organically integrated into the fabric of the compositions. Like Tony, she is a thinking, reacting drummer who propels the music forward while shaping and coloring it from measure to measure with well-placed tom and snare accents and cymbal splashes. 

In the Now features her most mature, interactive playing on record while also highlighting her evolving sophistication as a composer. Jacky Terrasson's use of Fender Rhodes on Blackman originals like "Passage" and the title track, as well as on a savvy cover of pop star Lenny Kravitz's "Let Love Rule," immediately triggers a Miles in the Sky/Filles de Kilimanjaro vibe. Ron Carter's pedalling and walking basslines complete the connection to that time and place. Ravi Coltrane responds to this surging, expansive attitude with some probing and highly personal work on tenor (and soprano on "Passage"), with a few nods to Joe Lovano along the way. The centerpiece of this excellent album is "A King Among Men," Cindy's heartfelt tribute to her hero, Williams. The 15-minute suite moves through a variety of moods marked by her conversational approach to the kit. Coltrane's tenor playing is particularly lyrical here as well as on swinging renditions of Wayne Shorter's "Prince of Darkness" and Ornette Coleman's "Happy House." The brooding ballad "Sophia" is a fine example of Blackman's alluring brushwork, underscored by Carter's sparse, zenlike presence on bass, while she holds nothing back on the dynamic go-for-it traps showcase "A Strawberry for Cindy."  After years of trying to find her own place in the music, Cindy Blackman arrives in high style with In the Now. ~ Bill Milkowski   http://jazztimes.com/articles/8709-in-the-now-cindy-blackman

Personnel: Cindy Blackman (drums); Ravi Coltrane (soprano & tenor saxophones); Jacky Terrasson (piano), Fender Rhodes (piano); Ron Carter (bass).

In The Now

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Rigmor Gustafsson/ Jacky Terrasson Trio - Close to You

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 51:04
Size: 117,3 MB
Art: Front

(4:03)  1. Close to You
(2:42)  2. Walk on By
(3:38)  3. Move Me No Mountain
(4:13)  4. So Amazing
(4:10)  5. I'll Never Fall in Love Again
(3:56)  6. Much Too Much
(2:42)  7. Odds and Ends
(4:11)  8. Alfie
(3:39)  9. What the World Needs Now
(4:53) 10. Windows of the World
(2:22) 11. Always Something There to Remind Me
(3:07) 12. Raindrops Keeps Falling on My Head
(3:46) 13. I Just Don't Know What to Do with Myself
(3:35) 14. World of My Dreams

The Swedish singer Rigmor Gustafsson sounded just dandy throughout 2003's I Will Wait for You. She sounds even better when teamed with exemplary French pianist Jacky Terrasson on Close to You (ACT Music). Billed as a celebration of Dionne Warwick, it's really more an homage to the combined genius of Bacharach and David, since several of the selected songs were more famously recorded by artists other than Warwick, including "Raindrops Keep Falling on My Head" (B.J. Thomas), "What the World Needs Now" (Jackie DeShannon) and "I Just Don't Know What to Do With Myself" (originally done to near-suicidal perfection by Dusty Springfield). Weaving through such pop chestnuts (along with such later, lesser-known delights as Luther Vandross' "So Amazing" and Jerry Ragovoy's "Move Me No Mountain"), Gustafsson suggests Blondie's Debbie Harry after a big gulp of Astrud Gilberto and a Julie London chaser. She is as cool and bracing as a northern breeze on a sunny Stockholm afternoon. ~ Christopher Loudon   http://jazztimes.com/articles/15665-close-to-you-rigmor-gustafsson

Close to You

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