Peter Leitch Quintet - Portraits and Dedications

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 58:47
Size: 139,2 MB
Art: Front

( 5:56) 1. Pepper
( 5:25) 2. Visage De Cathryn
( 4:36) 3. Modes for Wood
( 4:38) 4. Warm Valley
( 5:35) 5. Colorado
( 6:21) 6. Portrait of Sylvia
( 2:46) 7. The Winter of My Discontent
( 7:18) 8. A Blues For 'Nita
( 5:45) 9. The Bulldog
(10:22) 10. Shades of Stein

It often seems like the Dutch label Criss Cross is much more enlightened when it comes to recording talented young American jazz musicians than major labels within the U.S.A. Such is the case with guitarist Peter Leitch, who's heard leading this 1988 session.

With alto saxophonist Bobby Watson, pianist James Williams, bassist Ray Drummond, and drummer Marvin Smitty Smith added to the mix, great music was the only possible result. Leitch's "Pepper," a tribute to the late Pepper Adams (who gave him his first job in New York), is a brisk affair with sterling solos by all parties.

His easygoing samba "Portrait of Sylvia" adds Jed Levy's alto flute. Duke Ellington's "Warm Valley" is a soulful duet with Watson that is full of fun and features great interplay as well. Leitch captures the moody air of Alec Wilder's infrequently performed ballad "The Winter of My Discontent" in his solo interpretation. Recommended. By Ken Dryden
https://www.allmusic.com/album/portraits-and-dedications-mw0000429152

Personnel: Peter Leitch (Guitar); Jed Levy (Alto Flute); Bobby Watson (Alto Saxophone); Ray Drummond (Bass); Marvin "Smitty" Smith (Drums); James Williams (Piano).

Portraits and Dedications

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Curtis Fuller - Four On The Outside

Styles: Trombone Jazz

Year: 2008

File: MP3@320K/s

Time: 46:27

Size: 106,5 MB

Art: Front

( 4:49)  1. Four on the Outside

(12:58)  2. Suite Kathy

( 5:06)  3. Hello Young Lovers

( 7:44)  4. Little Dreams

( 8:14)  5. Ballad For Gabe-Wells

( 7:33)  6. Corrida Del Torro

While Curtis Fuller may have reached his peak in the 1960s, he continued to be an important voice well into the 1970s and beyond. This delightful set features him in a front line with Pepper Adams, and the trombone-baritone saxophone combination was a natural. (Curiously, few others have followed this intriguing coupling.) While there is no new ground broken, Adams and Fuller negotiate tunes mostly written by Fuller, with simple, yet elegant heads. The version of "Hello Young Lovers" is characteristically conservative, yet sharp and well rehearsed. Fuller's nasal tone, machine gun-like spurts, and focus on the middle range on his horn complements Adams' angular, boppish lines. The fine rhythm section of pianist James Williams, bassist Dennis Irwin, and drummer John Yarling never gets in the way, but lets the horns spread their wings. ~ Steve Loewy  http://www.allmusic.com/album/four-on-the-outside-mw0000464545

Personnel: Baritone Saxophone – Pepper Adams;  Bass – Dennis Irwin;  Drums – John Yarling;  Piano – James Williams;  Trombone – Curtis Fuller

Four On The Outside

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James Williams - Meet the Magical Trio

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 52:15
Size: 119,9 MB
Art: Front

(7:06) 1. Reedus' Rendezvous
(8:13) 2. Do Nothin' Till You Hear from Me
(3:56) 3. Fingers
(6:03) 4. Lazybird
(6:59) 5. Be Real Special
(7:27) 6. Arioso
(6:38) 7. Shenanigens
(5:50) 8. Single Petal of a Rose/A Flower Is a Lovesome Thing

While the first two Magical Trio sessions teamed pianist James Williams with classic veterans (bassist Ray Brown and either Art Blakey or Elvin Jones on drums), this outing matches him with a couple of talented younger musicians: bassist Charnett Moffett and drummer Jeff Watts. But, despite the change in personnel, the advanced straightahead music is not all that different from the earlier dates. Once again Williams contributes a few originals (four this time including a remake of "Arioso") and uplifts some older tunes. Highlights include Thad Jones' "Fingers," John Coltrane's "Lazybird" and a solo medley of "Single Petal of A Rose" and "A Flower Is a Lovesome Thing." Easily recommended. ~ Scott Yanow https://www.allmusic.com/album/meet-the-magical-trio-mw0000654922

Personnel: James Williams - piano; Charnett Moffett - bass; Jeff Watts - drums

Meet the Magical Trio

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James Williams, Emil Viklický - Together

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 44:11
Size: 102,5 MB
Art: Front

(5:58)  1. For My Nephews
(4:13)  2. One For J. W.
(6:29)  3. Blue In Dark-Green
(4:23)  4. You'D Be So Nice To Come Home To
(7:52)  5. Double Play
(4:44)  6. Softly, As In A Morning Sunrise
(5:53)  7. 1977 A. D.
(4:37)  8. Rhythm-a-Ning

This is one of the more unusual records in the sizable discography of James Williams; it is a 1981 duo piano session with Czech pianist Emil Viklicky, issued by the Supraphon label in Czechoslovakia. Viklicky became familiar with Williams' work during a visit to the U.S. in 1978 and later studied at Berklee, though after Williams had already left the faculty to work as a member of Art Blakey's Jazz Messengers. By the time of their 1981 meeting in the studio in Prague, each musician brought compelling originals to the session, as well as seeking to find new ground in time-tested standards and classic jazz compositions. Williams' intriguing jazz waltz "For My Nephews" proves to be a strong opener. Viklicky's driving bop tribute "One for J.W." also works extremely well. 

Cole Porter's "You'd Be So Nice to Come Home To" is tackled at a brisk tempo with a bossa nova undercurrent. The pianists devour Thelonious Monk's "Rhythm-A-Ning" with a playful interpretation. Whether or not this excellent record is still available in the Czech Republic, it is unlikely to be easy to find elsewhere.~ Ken Dryden https://www.allmusic.com/album/together-mw0000992579

Personnel:  Piano – Emil Viklicky, James Williams

Together

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James Williams - I Remember Clifford

Styles: Piano Jazz
Year: 1990
Time: 44:35
Size: 41,0 MB
Art: Front

(9:01)  1. As I Live And Breathe
(6:29)  2. I Remember Clifford
(5:29)  3. Take The Coltrane
(7:47)  4. Simone
(4:32)  5. Focus
(5:34)  6. Shelly
(5:40)  7. Sweet And Lovely

Pianist James Williams channeled the gospel and R&B influences of his youth to forge a soulful, deeply expressive approach to contemporary jazz. A gifted soloist and accompanist, he was also a respected producer and educator. Born in Memphis on March 8, 1951, Williams began piano lessons at age 13. A fan of Ray Charles, Stevie Wonder, and Ramsey Lewis, he spent six years as the organist with Memphis' Eastern Star Baptist Church before studying music education at Memphis State University. After befriending fellow pianists Mulgrew Miller and Donald Brown, Williams turned his focus to jazz, drawing influence from Hank Jones, Ahmad Jamal, and local legend Phineas Newborn. At just 22 Williams joined the faculty of Boston's Berklee School of Music, additionally backing touring jazz dignitaries like Milt Jackson, Art Farmer, and Sonny Stitt in groups led by colleague Alan Dawson. During his five years at Berklee, the pianist also developed his compositional skills, and in 1977 issued his first LP as a leader, the Zim label release Flying Colors. Williams joined Art Blakey's Jazz Messengers the following year, completing a lineup that included a young Wynton Marsalis. This iteration of Blakey's long-running group cut no fewer than ten LPs over the next four years. Upon exiting the Jazz Messengers Williams settled in New York City, where he collaborated with Dizzy Gillespie, Freddie Hubbard, and Kenny Burrell in addition to leading his own projects, among them his vocal/instrumental combo Intensive Care Unit, a group featuring saxophonist Bill Pierce, bassist Christian McBride, and drummer Tony Reedus. In 1987 Williams reunited with Blakey and bassist Ray Brown in the Magical Trio. Later incarnations included drummers Elvin Jones and Jeff "Tain" Watts. 

He also founded his own production firm, Finas Sound, and with Miller and Brown launched the Contemporary Piano Ensemble, a group dedicated to preserving and promoting the music of Phineas Newborn. In 1999 William Paterson University named Williams its director of jazz studies; he remained with the school until he was diagnosed with the liver cancer that claimed his life on July 20, 2004. ~ Jason Ankeny https://www.allmusic.com/artist/james-williams-mn0000059027/biography

Personnel: James Williams (piano); Ronnie Burrage (drums);  Richard Davis (bass)

I Remember Clifford

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James Williams - After Ego

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 49:31
Size: 113,5 MB
Art: Front

(6:20)  1. Black Scholars
(6:49)  2. Alter Ego
(7:27)  3. Havana Days
(5:29)  4. Fourplay
(6:39)  5. A Touching Affair
(6:36)  6. Waltz For Monk
(6:43)  7. Beauty Within
(3:24)  8. Yours And Mine

Pianist James Williams learned a great deal from his stint with Art Blakey's Jazz Messengers and when he emerged from the group he was perfectly qualified to be a bandleader. His Sunnyside session features such up-and-coming players as guitarist Kevin Eubanks, the reeds of Billy Pierce and Bill Easley, bassist Ray Drummond, and drummer Tony Reedus on a set of original material. Five of the seven songs were composed by Williams, while the other two (including the memorable "Waltz for Monk") were contributed by Donald Brown. The frequently exciting music (high-quality modern hard bop) still sounds fresh. ~ Scott Yanow https://www.allmusic.com/album/alter-ego-mw0000106677

Personnel:  Piano – James Williams; Double Bass – Ray Drummond; Drums – Tony Reedus; Guitar – Kevin Eubanks; Tenor Saxophone, Alto Saxophone, Flute, Clarinet – Bill Easley; Tenor Saxophone, Soprano Saxophone – Billy Pierce

After Ego

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Rick Margitza - Work It

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 59:04
Size: 135,9 MB
Art: Front

(9:09)  1. Steppin' out
(7:53)  2. Work it
(9:47)  3. My foolish heart
(7:07)  4. Your lady
(8:02)  5. It could happen to you
(9:08)  6. Last season/Widows walk
(7:55)  7. A sour mystery of bird

One of the "young lions," Rick Margitza is an excellent tenor saxophonist most inspired by Wayne Shorter, Michael Brecker, and John Coltrane. He started on the violin when he was four (his grandfather was a cellist and his father a violinist with the Detroit Symphony), studied classical piano for a bit, and also played oboe before switching to tenor in high school. 

He attended Wayne State University, Berklee, the University of Miami, and finally Loyola University in New Orleans, where he lived and played for four years. Margitza toured with Maynard Ferguson and also Flora Purim and Airto before moving to New York in 1988. He spent part of 1988 in Miles Davis' group and then cut three sets as a leader for Blue Note during 1989-1991. His 1994 outing for Challenge found Margitza showing increasing individuality. ~ Scott Yanow https://www.allmusic.com/artist/rick-margitza-mn0000855174/biography

Personnel:  Rick Margitza (Tenor sax); George Mraz (Bass); James Williams (Piano); Billy Hart (Drums).

Work It

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Tal Farlow - Cookin' on all Burners

Styles: Guitar Jazz
Year: 1982
File: MP3@320K/s
Time: 42:01
Size: 96,6 MB
Art: Front

(3:34)  1. You'd Be So Nice to Come Home To
(5:05)  2. If I Should Lose You
(5:28)  3. I Wished on the Moon
(6:29)  4. I've Got the World on a String
(4:04)  5. Love Letters
(3:14)  6. Why Shouldn't I
(5:46)  7. Lullaby of the Leaves
(3:54)  8. Just Friends
(4:23)  9. I Thought About You

On the fifth of six Concord albums (a surprising amount of activity considering that he only played locally in the New England area during most of 1957-1975), the brilliant bop-based guitarist Tal Farlow performs concise renditions (none over six and a half minutes in length) of nine standards with pianist James Williams, bassist Gary Mazzaroppi, and drummer Vinnie Johnson. Highlights of the excellent straight-ahead date include "You'd Be So Nice to Come Home To," "I've Got the World on a String," "Love Letters," and "Just Friends." ~ Scott Yanow https://www.allmusic.com/album/cookin-on-all-burners-mw0000184177

Personnel:  Tal Farlow – guitar;  James Williams – piano;  Gary Mazzaroppi – bass;  Vinnie Johnson – drums

Cookin' on all Burners

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Greg Abate - Bop City Live at Birdland

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 72:02
Size: 165,5 MB
Art: Front

(5:02)  1. Bop City
(5:05)  2. Minorism
(4:16)  3. What is this thing called love?
(7:58)  4. The Gypsy
(8:17)  5. Peaks Beaks
(5:11)  6. Basting The Bird
(6:17)  7. Andromeda
(6:38)  8. These Foolish Things
(7:46)  9. The Young 'uns
(5:23) 10. Opportunity
(6:36) 11. Gemini Mood
(3:27) 12. Sax O'Blues

Journeyman saxophonist Greg Abate makes a decent modern hard bop recording on this 1992 session. His playing is solid and sometimes frenetic, but also derivative. The compositions are straightforward and long enough for Abate and cast to make effective solos, yet short enough not to become tiring. He has a first-rate rhythm section with pianist James Williams, bassist Rufus Reid, and drummer Kenny Washington. ~ Ron Wynn https://www.allmusic.com/album/bop-city-live-at-birdland-mw0000602278   

Personnel: Greg Abate (soprano saxophone, alto saxophone, tenor saxophone); James Williams (piano); Rufus Reid (bass instrument); Kenny Washington (drums).

Bop City Live at Birdland

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Javon Jackson - Me and Mr. Jones

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 57:16
Size: 131,4 MB
Art: Front

( 6:31)  1. Me and Mr. Jones
(11:11)  2. The Masquerade is Over
( 7:31)  3. Theme for Penny
( 8:31)  4. Opus One-Point-Five
( 8:04)  5. A Certain Attitude
( 8:54)  6. A Free Man?
( 6:31)  7. Buzz-At

Already possessing a very distinctive tenor sax sound, Javon Jackson's debut as a leader is an exceptional effort. Jackson, 26 at the time of the recording, joined forces with 40-year-old James Williams, 19-year-old Christian McBride and 64-year-old Elvin Jones to create a powerful musical statement that bridges the generations. "Mr. Jones" refers to the master drummer, whose presence and energy are felt throughout the recording, especially on the medium swingers "The Masquerade Is Over" and Williams' "A Certain Attitude," as well as on the title track and "Theme for Penny," two uptempo Jackson originals that begin with brief drum solos. Also making his presence felt is McBride, whose tone, time, and imagination belie his age. One of 1992's best releases. ~ Greg Turner https://www.allmusic.com/album/me-and-mr-jones-mw0000085280  

Personnel: Javon Jackson (tenor saxophone); James Williams (piano); Elvin Jones (drums, Christian McBride (bass).             

Me and Mr. Jones

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Rickey Woodard - The Tokyo Express

Bitrate: MP3@320K/s
Time: 63:39
Size: 145.7 MB
Styles: Bop, Saxophone jazz
Year: 1992/2008
Art: Front

[ 6:38] 1. Recorda-Me
[ 5:49] 2. The Very Thought Of You
[ 7:39] 3. Just Friends
[ 8:55] 4. Sand Dance
[ 8:06] 5. Easy Living
[ 6:33] 6. Groovy Samba
[ 8:15] 7. Polka Dots And Moonbeams
[11:41] 8. The Tokyo Express

Alto Saxophone – Rickey Woodard; Bass – Christian McBride; Drums – Joe Chambers; Piano – James Williams (2); Tenor Saxophone – Rickey Woodard.

Rickey hails from Nashville and was born into a family of musicians and was taught the saxophone and piano by his father. With his sisters, brothers, cousins, uncles and anybody in the neighborhood who wanted to play or sing, they formed a family band in the roadhouses and clubs of Tennessee. His earlier gigs were in blues and R&B but leaning toward jazz. Influenced by the big explosive style of Gene Ammons, Coleman Hawkins and Hank Mobley and the intellectualism of John Coltrane, Rickey has developed a distinctive, soulful and seductive style. By his late twenties he was a permanent member of the Ray Charles Band and toured worldwide for seven years. He currently works with the Clayton Hamilton Jazz Orchestra, Frank Capp's Juggernaut Big Band. Rickey is also a popular visitor to Europe and the UK - and the international jazz festival circuit. In addition to playing the tenor, Rickey also plays the alto and soprano saxophones, along with the clarinet, flute and guitar. Rickey has performed worldwide with such legends as Frank Sinatra, Ella Fitzgerald, Ernestine Anderson, Benny Carter, and Horace Silver.

The Tokyo Express

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The Art Farmer Quintet - Blame It on My Youth

Styles: Jazz, Mainstream Jazz

Year: 1988

File: MP3@320K/s

Time: 47:34

Size: 109,2 MB

Art: Front

(7:09)  1. Blame It on My Youth

(9:53)  2. Fairytale Countryside

(6:03)  3. The Smile of The Snake

(8:21)  4. Third Avenue

(6:21)  5. Summer Serenade

(4:35)  6. Progress Report

(5:09)  7. I'll Be Around

This is one of the better Art Farmer recordings of the 1980s, which is saying a great deal, for the flugelhornist is among the most consistent of all jazz musicians. The two ballads that open and close this set ("Blame It on My Youth" and "I'll Be Around") give Farmer an opportunity to display his warm and attractive sound (with fine support from pianist James Williams, bassist Rufus Reid and drummer Victor Lewis), while the other five pieces (Benny Carter's "Summer Serenade" and more obscure material) add the great tenor saxophonist (and so-so soprano player) Clifford Jordan to the group. It's an enjoyable and very successful outing. ~ Scott Yanow  http://www.allmusic.com/album/blame-it-on-my-youth-mw0000198252

Personnel: Art Farmer (flugelhorn); Clifford Jordan (tenor, soprano saxophone, tenor saxophone); Jack Williams, James Williams (piano); Rufus Reid (acoustic bass); Victor Lewis (drums).

Blame It on My Youth

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Emily Remler - Take Two

Styles: Guitar Jazz

Year: 1982

File: MP3@320K/s

Time: 44:27

Size: 102,1 MB

Art: Front

(4:54)  1. Cannonball

(4:58)  2. In Your Own Sweet Way

(6:48)  3. For Regulars Only

(5:23)  4. Search for Peace

(6:50)  5. Pocket Wes

(6:41)  6. Waltz for My Grandfather

(2:30)  7. Afro Blue

(6:20)  8. Eleuthra

Emily Remler's second recording as a leader finds the 24-year-old guitarist still very much playing in the Wes Montgomery vein, although showing her own musical personality here and there. She is joined by pianist James Williams, bassist Don Thompson, and drummer Terry Clarke on a challenging set of material filled with obscurities. Certainly such numbers as Cannonball Adderley's "Cannonball," Dexter Gordon's "For Regulars Only," McCoy Tyner's "Search for Peace," and Monty Alexander's "Eleuthra" are rarely performed. Better known are "In Your Own Sweet Way" and "Afro Blue"; Remler also contributes two originals. Throughout the date the guitarist displays a great deal of potential, much of which would sadly go unrealized due to her early death. ~ Scott Yanow  http://www.allmusic.com/album/take-two-mw0000076188

Personnel: Emily Remler (guitar), James Williams (piano), Don Thompson (bass), Terry Clarke (drums).

Take Two

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James Williams - Magical Trio 2

Styles: Hard Bop, Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 53:42
Size: 123,2 MB
Art: Front

( 3:41)  1. Bohemia After Dark
( 6:41)  2. Too Late Now
( 6:12)  3. A Portrait of Elvin
( 6:14)  4. Roadlife
( 7:29)  5. In the Open Court
( 8:37)  6. You Are Too Beautiful
(10:02)  7. Lullabye of the Leaves
( 4:41)  8. Bohemia After Dark (Alternate Take)

The second of pianist James Williams' three Magical Trio releases features him interacting with bassist Ray Brown and drummer Elvin Jones on trio renditions of three of his originals (including "A Portrait of Elvin") plus four fresh standards. The spontaneous results are quite stimulating and the matchup between these masterful musicians (who do not play together very often) on the straightahead set is quite successful. ~ Scott Yanow 

Personnel:  James Williams – piano;  Ray Brown – bass;  Elvin Jones - drums

Magical Trio 2

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James Williams, Art Blakey, Ray Brown - Magical Trio 1

Styles: Hard Bop, Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 50:08
Size: 115,1 MB
Art: Front

(7:35)  1. Hammerin'
(5:54)  2. Buhaina, Buhaina
(6:26)  3. The Night We Called it a Day
(6:53)  4. The Soulful Mr. Timmons
(5:09)  5. Love Letters
(5:57)  6. Mean What You Say
(6:10)  7. You're Lucky to Me
(6:01)  8. J's Jam Song

The first of three CDs headed by pianist James Williams that feature his Magical Trio (a recording group rather than a regular band), this strong outing matches the inventive hard bop stylist with bassist Ray Brown and his former employer, drummer Art Blakey. They perform three of Williams' compositions (including "The Soulful Mr. Timmons"), one piece by Brown, Thad Jones' "Mean What You Say," three underplayed standards plus the trio's ad-lib "J's Jam Song." A high-quality modern mainstream outing. ~ Scott Yanow Rovi  http://www.artistdirect.com/nad/store/artist/album/0,,186199,00.html

James Williams (piano), Ray Brown (bass), Art Blakey (drums)

Magical Trio 1

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James Williams Magical Trio - Awesome!

Styles: Piano Jazz
Year: 2000
File: MP3@224K/s
Time: 65:29
Size: 105,2 MB
Art: Front

(6:30)  1. It's Alright With Me
(7:37)  2. Quietude
(6:56)  3. Time After Time
(4:06)  4. Lonely Moments
(3:50)  5. Somebody Loves Me
(7:00)  6. Give Me The Simple Life
(7:02)  7. Sophisticated Lady
(6:16)  8. Go Tell It On The Mountain
(7:52)  9. Sweet And Lovely
(8:14) 10. Sonnymoon For Two

The title of pianist James Williams 1992 recording with tenor saxophonists George Coleman, Joe Henderson and Billy Pierce is James Williams Meets The Saxophone Masters (DIW/Columbia). This millenium, the designation “master” certainly belongs to Williams. The Memphis born musician was raised on Gospel and R&B, but soon turned to the music of the hometown pianists Harold Mabern and Phineas Newborn for jazz inspiration. He did an extended stint as Art Blakey’s pianist (1977-81). After leaving the Messengers he began the Magic Trio, recording with Ray Brown and Art Blakey. Elvin Jones replace Blakey for number two, the he tried two young(er) cats in Charnett Moffett and Tain Watts, for three. He has also created two ambitious projects: The Contemporary Piano Ensemble, which recorded four pianists, Harold Mabern, Mulgrew Miller, Geoff Keezer, and Williams in tribute to Phineas Newborn and his I.C.U., a jazz Gospel band that blends the sacred with the secular for some moving music.

This reunion of The Magic Trio finds Williams reunited with bassist Ray Brown and drummer Elvin Jones. Recorded ten years after the trio’s initial session, the ten tracks elicit a wow factor reserved usually for the likes of Tommy Flanagan and Hank Jones. James Williams, like the aforementioned peers, speaks the language of the modern mainstream piano. Working with the hall-of-fame Brown and Jones, Williams chose classic composers, Cole Porter, George Gershwin, Sonny Rollins, and Thad Jones, as the common ground for the band’s interplay. As there is no competition between musicians, the session acts as a loving reunion of three master musicians. ~ Mark Corroto  http://www.allaboutjazz.com/awesome-james-williams-magical-diw-review-by-mark-corroto.php

Personnel: James Williams (piano), Ray Brown (bass), Elvin Jones (drums).

Awesome !

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