Archie Shepp, Jason Moran - Let My People Go

Styles: Saxophone And Piano Jazz
File: MP3@320K/s
Time: 94:42
Size: 218,5 MB
Art: Front

( 8:20) 1. Sometimes I Feel Like a Motherless Child
( 6:10) 2. Isfahan
( 6:41) 3. He Cares
( 7:01) 4. Go Down Moses
(13:13) 5. Wise One
( 8:48) 6. Lush Life
( 8:31) 7. Round Midnight
( 3:12) 8. Ain't Misbehavin' - Bonus Track
(12:59) 9. Jitterbug Waltz - Bonus Track
( 9:38) 10. Ujama - Bonus Track
( 6:11) 11. Slow Drag - Bonus Track
( 3:51) 12. Sometimes I Feel Like a Motherless Child - Edit

Now an octogenarian, Archie Shepp's name is quite often spoken in the same sentence as that of John Coltrane. Shepp was born a decade after Trane and is associated with the great one's 'New Thing' and 'Fire Music.' His music though, post-Ascension (Impulse!, 1965), might be better equated to that of Billie Holiday, who was born, incidentally, a decade before Coltrane. Just as Holiday presented her music (especially in the later years) in a frank, warts-and-all manner, Shepp has for decades produced his message with a stark, candid and almost fragile delivery.

This fragility, or better yet vulnerability, is the essence Shepp cognoscenti covet. His unguardedness is on full display in these seven duos with Jason Moran. Culled from performances in 2017 and 2018, they draw a direct reference to the duos Shepp produced with Horace Parlan in the 1980s. Like the Parlan dates, this duo leans heavily on spirituals and standards. "Sometimes I Feel Like a Motherless Child," finds Shepp's soprano saxophone following the reverent opening by Moran, before Shepp sings the lyrics. The pair's performance builds upon Paul Robeson's rendition with a weight of world weariness. The same can be said of "Go Down Moses," which is delivered as a slow cortège of notes and voice. The pair tackle two Ellington-Strayhorn standards "Isfahan" and "Lush Life." The latter recalls the Coltrane and Johnny Hartman version from 1963, yet gets stripped down to its essential elements. The same approach is taken on Thelonious Monk's "Round Midnight," where Moran works from an unembellished framework and Shepp's tenor saxophone retells the much-loved story to listeners. Listeners have consumed it many times before, yet are keen for this comfort food. The highlight here may be Coltrane's "Wise One," where the two stretch out a bit on the thirteen-minute rendition. Shepp's tenor is robust yet delicate, and Moran's approach gets roisterous in support. This hour of music will certainly leave listeners wanting more.~ Mark Corroto https://www.allaboutjazz.com/let-my-people-go-archie-shepp-and-jason-moran-archie-ball-records

Personnel: Archie Shepp: saxophone; Jason Moran: piano.

Let My People Go

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Lonnie Plaxico - Emergence

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 63:33
Size: 147,9 MB
Art: Front

(0:31)  1. The Mahayana (Great Vehicle) - Interlude
(4:58)  2. Transformation
(4:05)  3. Delusion
(4:12)  4. Emergence
(1:00)  5. Paramita (To Arrive at the Other Side) - Interlude
(7:34)  6. Libertarian
(3:51)  7. Changing Line
(5:37)  8. Emancipation
(7:34)  9. Red Light District
(2:29) 10. Sokoni (From the Sea) - Interlude
(5:39) 11. Equilibrium
(1:02) 12. 2 Bass - Interlude
(4:44) 13. Inner Voice
(2:39) 14. Kalomo (The Unexpeced) - Interlude
(6:30) 15. Matrix
(1:00) 16. Oji (The Gift Bearer) - Interlude

Emergence begins with a bang but then goes gradually downhill. Plaxico alternates between acoustic and electric bass, and mightily tries to reconcile the jazz and funk elements of his vision. Although most tracks feature driving rhythms, incredibly intricate horn writing, and compelling solos, the album grows numbingly repetitive as it proceeds. On the jazz side, "Transformation" begins the record with riveting post-bop fire, while "Libertarian" and "Red Light District" provide new perspectives on the standards "Dear Old Stockholm" and "Love for Sale," respectively. On the funk side, "Delusion" and "Emancipation" stand out, recalling the dissonant colors heard on Sam Rivers' acclaimed 1999 album Inspiration. But Plaxico seems to run low on ideas by the time he gets to "Equilibrium," "Inner Voice," and Chick Corea's "Matrix." Six brief interludes featuring bass and/or percussion are interspersed throughout the program, yielding mixed results the most effective being "Paramita (to arrive at the other side)." Monster players abound, including the wonderful Don Braden on saxophones, Ralph Alessi on trumpet, and Jason Moran on piano. Emergence is also distinguished by several lesser known but highly capable musicians: Larry Lunetta on trumpet, Tim Hegarty on sax, Eric Lewis on piano and organ, Lionel Cordew on drums, and Jeffrey Haynes on percussion. Haynes produced the interludes, and noted vocalist Cassandra Wilson, for whom Plaxico has served as musical director, produced the main tracks. ~ David R.Adler https://www.allmusic.com/album/emergence-mw0000055907

Personnel:  Lonnie Plaxico (acoustic guitar, electric guitar, bass guitar); Tim Hegarty (saxophone, tenor saxophone); Don Braden (soprano saxophone, tenor saxophone); Ralph Alessi, Larry Lunetta (trumpet); Eric Lewis (piano, electric piano, organ); Jason Moran (piano); Lionel Cordew (drums, percussion); Jeff Haynes (percussion)

Emergence

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Greg Osby - Symbols of Light (A Solution)

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 53:23
Size: 122,9 MB
Art: Front

(5:22)  1. 3 for Civility
(5:42)  2. Repay in Kind
(6:57)  3. 'M'
(4:14)  4. The Keep
(3:15)  5. Golden Sunset
(5:03)  6. This Is Bliss
(6:29)  7. One Room
(4:39)  8. Northbound
(3:32)  9. Wild Is the Wind
(3:34) 10. Social Order
(4:30) 11. Minstrale Again (The Barefoot Tap Dance)

Both Ted Nash and Tom Harrell have explored the "double quartet" concept. Now we can add to the list Greg Osby, whose music sounds nothing at all like theirs. Supplementing his working quartet (Jason Moran, Scott Colley, Marlon Browden) with a string quartet, Osby heightens the dark, austere quality of his harmonies. This results in some of the most moving music of Osby’s career. On the whole, it’s more striking and focused than last year’s Invisible Hand. It also features some of Jason Moran’s best playing on record. Wisely, Osby doesn’t run the strings concept into the ground: Andrew Hill’s "Golden Sunset" is a sax/piano duo, as is the closing "Minstrale Again (The Barefoot Tapdance)." Strings appear only at the beginning of "One Room." And "Wild Is the Wind," the old Johnny Mathis hit, is performed without strings or drums. The sound of the album never gets old. Osby’s originals are strong, particularly "Northbound," which features his most inspired horn playing on the date. Other highlights include Moran’s "Repay In Kind" and Masabumi Kikuchi’s "M." ~ David Adler https://www.allaboutjazz.com/symbols-of-light-a-solution-greg-osby-blue-note-records-review-by-david-adler.php

Personnel:  Greg Osby - alto saxophone, soprano saxophone;  Jason Moran - piano;  Scott Colley - bass;  Marlon Browden - drums, percussion;  Christian Howes - violin;  Marlene Rice - violin;  Judith Insell - viola;  Nioka Workman - cello

Symbols of Light (A Solution)

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Greg Osby - Inner Circle

Styles: Saxophone Jazz 
Year: 2002
File: MP3@320K/s
Time: 45:59
Size: 105,4 MB
Art: Front

(4:58)  1. Entruption
(4:07)  2. Stride Logic
(4:14)  3. Diary of the Same Dream
(4:09)  4. Equalatogram
(6:36)  5. All Neon Like
(4:45)  6. Fragmatic Decoding
(4:41)  7. The Inner Circle Principle
(6:16)  8. Sons of the Confidential
(6:08)  9. Self-Portrait in Three Colors

Jazz fans searching for a quintessential forward-thinking artist should look no further than the musical musings of Mr. Greg Osby. He's an artist who will not be satisfied with the status quo. Distinguished as an alto saxophone stylist, his voice is unique and easily recognizable among the masses. His recordings of the past few years have all been modern exercises in jazz music that are entertaining, cerebral, and illuminating. As any successful visionary, he has surrounded himself with like-minded individuals who continue to push the envelope of jazz; such as piano extraordinaire Jason Moran and vibraphonist Stefon Harris. His previous recording Symbols of Light (A Solution), which implemented a string quartet into his eclectic mix, was one of 2001's top jazz picks.  Inner Circle continues on the same high level that Osby has been operating at throughout his career. His music is progressively expanding into new boundaries on the ubiquitous jazz theme. It swings, grooves and moves with a distinctive style. The recording features Osby originals with covers by Euro-Pop sensation Bjork and famous bassist Charles Mingus. The title Inner Circle could easily refer to one of the tightest set of young musicians paving the jazz path today. The musicians have been featured on recordings by Jason Moran and Stefon Harris. Bassist Taurus Mateen and drummer Eric Harland comprise one of the most dynamic and talented rhythm sections on the scene today. Osby and Moran have formed a unique and wonderful symbiosis over the past few years that allows for freedom and expression with wide possibilities. Stefon Harris' vibe work just keeps getting better. All the compositons are creative with odd patterns and complex arrangements that never leave the listener too far, and will also encourage a deeper appreciation for the art form. The many highlights include the circuitous and hypnotic "Fragment Decoding" and the brilliant "Inner Circle Principle" with its memorable solos expressed by each musician. With Osby at the helm, one can only anticipate the next move in his forward progression. ~ Mark F.Turner https://www.allaboutjazz.com/inner-circle-greg-osby-blue-note-records-review-by-mark-f-turner.php

Personnel: Greg Osby: Alto Saxophone; Jason Moran: Piano; Stefon Harris: Vibraphone; Tarus Mateen: Bass; Eric Harland: Drums

Inner Circle

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Greg Osby - Banned in New York

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 58:11
Size: 133,6 MB
Art: Front

(12:54)  1. 13th Floor
(13:24)  2. Pent-Up House
(11:47)  3. I Didn't Know About You
(14:09)  4. Big Foot
( 2:42)  5. Big Foot (excerpt)
( 3:12)  6. 52nd Street Theme

“Banned in New York” is Greg Osby’s 4th Blue Note release and was recorded live at an undisclosed venue in New York City. A surprisingly good recording considering the lone piece of equipment was a “mini-disk recorder” placed on a table in front of the band. Nevertheless, Osby and his exceptional band flaunt their range of musical gifts on this fast paced up-beat excursion.Osby’s original composition “13th Floor” opens the set in glowing fashion. Pianist Jason Moran sets the pace with huge “McCoy Tyner-esque” block chords, a quick dexterous right hand and astute phrasing. Here, Moran clearly identifies himself as a shrewd band mate and crafty improviser. He possesses the skills that could easily project him into numerous session dates and share the limelight with others twice his age. A mid-tempo number, “13th Floor” also features some burning heat from Osby’s alto while the rhythm section of Atsushi Osada (b) and Rodney Green (d) handle the peaks and valleys. Osada and Green seem ready to explode here but opt to tease and insinuate while displaying consideration for Osby’s articulate yet sinewy phraseology.The Quartet also performs admirable renditions of Sonny Rollins’ “Pent Up House”, Monk’s 52nd Street Theme and Duke Ellington’s sublime “I Didn’t Know About You”. Charlie Parker’s “Big Foot” is given classic be-bop treatment. On “Big Foot” Osby brandishes his superior chops while making it all sound so easy."Banned In New York” is being sold at a reduced price and is several notches above your proverbial home grown analog bootleg recording. A quality effort, which receives high, marks for representing Osby’s terrific band as a serious “live” act minus some of the normal fluff and cosmetics. Nice work guys! ...Recommended. ~ Glenn Astarita https://www.allaboutjazz.com/banned-in-new-york-greg-osby-blue-note-records-review-by-glenn-astarita.php

Personnel:  Greg Osby - alto saxophone;  Jason Moran - piano;  Atsushi (Az'Shi) Osada - bass;  Rodney Green - drums

Banned in New York

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Ralph Alessi - Cognitive Dissonance

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 60:29
Size: 138,9 MB
Art: Front

(4:27)  1. Cognitive Dissonance
(4:28)  2. Buying, Selling
(2:55)  3. Dog Walking
(4:38)  4. Duel
(3:26)  5. A Plenty
(3:45)  6. One Wheeler Will
(3:47)  7. Sir
(3:42)  8. Goodbye Ruth's
(6:37)  9. Hair Trigger
(3:33) 10. Better Not To Know
(3:42) 11. Sunflower
(3:55) 12. Same Old Story
(4:45) 13. Option
(3:51) 14. Wait
(2:53) 15. Goodbye Ruth's (slow)

For his Cam Jazz debut, trumpeter Ralph Alessi recruits two key players from his sadly overlooked Look (Between the Lines, 2007). But while ubiquitous bassist Drew Gress (Marc Copland, Claudia Quintet) is a mainstay of Cognitive Dissonance, pianist Andy Milne only guests on the knottily themed but swinging "Sir" and a quirkily, near-unrecognizable version of Stevie Wonder's "Same Old Story." The rest of the album's fifteen tracks eleven by Alessi, in addition to a free-spirited yet surprisingly lyrical version of Sam Rivers' "Sunflower" and two collective improvs with Gress and drummer Nasheet Waits feature pianist Jason Moran, once again demonstrating his greater strengths as a sideman.The same needn't be said about Alessi who, along with fellow trumpeter Ron Miles, remains one of America's most perennially (and curiously) undervalued trumpeters. His plangent, warm and somehow compressed tone is just one compelling reason to check out bassist Scott Colley's Architect of the Silent Moment (Cam Jazz, 2007) (and his forthcoming 2010 Cam Jazz follow-up, Empire), guitarist Joel Harrison's The Wheel (Innova, 2008) and Gress' The Irrational Numbers (Premonition, 2008). With a relatively diminutive self-led discography, the avant-tinged trumpeter has also proven himself an astute bandleader and fine conceptualist, ranging from the oddly configured Vice & Virtue (RKM, 2003) to the more orthodox (but far from conventional) instrumental line-up of This Against That (RKM, 2002). Cognitive Dissonance covers a lot of ground in an hour. The irregularly metered but unfailingly grooving title track kicks things off on a high note, with Gress and Waits building an M-Base-centric foundation over which Moran's funkified piano sets a broad harmonic context. Alessi's impressive opening salvo sets the tone for an album where the soloists are challenged to say a great deal in a short timeframe, succeeding consistently. Despite only one track exceeding six minutes, with the majority ranging between three and four, there's never a sense of being hurried, as Alessi solos with equal invention over the even more rhythmically intricate "Buying, Selling" his even briefer solo (on a tune where the head occupies a full minute of its 2:56 running time) a muted combination of spare, swinging ideas and equal consideration of space, with Moran's staggered accompaniment leading to a similarly well-conceived solo, supported by the ever-pliant, ever-responsive Gress and Waits.

Alessi waxes lyrical on the balladic "Dog Waking" and tango-esque "One Wheeler Will," written for William Coltrane son of legendary saxophonist John Coltrane's son (and also very fine reed man) Ravi Coltrane. An inadvertent nod to expat Canadian trumpet icon Kenny Wheeler in the trumpeter's tone and expressive melancholy, "One Wheeler Will" also features a robust, yet metallic and Gary Peacock-like solo from Gress that's a Cognitive Dissonance highlight. With so much ground covered, it would be easy for Cognitive Dissonance to lose its focus, to become overly eclectic. But with Alessi's writing a challenging combination of memorable themes, harmonically and rhythmically tricky contexts and improvisational largess and an unfettered yet focused playing style that never succumbs to excess, Cognitive Dissonance easily deserves consideration alongside the music of better-known contemporaries like Dave Douglas. ~ John Kelman https://www.allaboutjazz.com/cognitive-dissonance-ralph-alessi-cam-jazz-review-by-john-kelman.php
 

Personnel: Ralph Alessi: trumpet; Drew Gress: double-bass; Jason Moran: piano (1-6, 8-11, 13-15); Andy Milne: piano (7, 12); Nasheet Waits: drums.

Cognitive Dissonance

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José James - Yesterday I Had The Blues: The Music of Billie Holiday

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 48:57
Size: 112,4 MB
Art: Front

(5:48)  1. Good Morning Heartache
(5:55)  2. Body And Soul
(5:09)  3. Fine And Mellow
(5:23)  4. I Thought About You
(5:36)  5. What A Little Moonlight Can Do
(3:22)  6. Tenderly
(6:39)  7. Lover Man
(6:12)  8. God Bless The Child
(4:48)  9. Strange Fruit

José James has a reputation as a 21st century musical renaissance man. He's issued a remarkably consistent series of records that blur the lines between soul, funk, dance music, jazz, and rock. In addition, in 2010, he released For All We Know, a fine collection of jazz standards in duet with Belgian pianist Jef Neve. It is from this place that James releases Yesterday I Had the Blues: The Music of Billie Holiday. In his liner essay he cites Holiday as the artist who made him aspire to be a jazz singer. Accompanied by pianist Jason Moran, drummer Eric Harland, and bassist John Patitucci, James delivers a program of beauty and restraint for the centennial of her birth. James, who has the ability to accomplish startling vocalese and scat techniques, brings none it. He offers these songs with nuance, subtlety, and grace, allowing his considerable discipline to inform his readings. He doesn't imitate Holiday because no one could, though many have tried but instead showcases how she opened herself to the songs themselves, and imbued them not only with sophistication but the cavernous honesty of emotional experience. 

"Good Morning Heartache" is elegantly paced and sparsely articulated. It emerges from the shadows just enough to reveal how deep these blues go and James responds to them with his own inimitable phrasing. In "Body and Soul," passion simmers with longing and disconsolate heartache as Moran layers his chords with gentle fills. They anchor James, keeping him from slipping beneath the weight of the emotional waves. In return, he allows the material to speak through him with slight skillful improvisational touches. In "What a Little Moonlight Can Do," this fine band flexes its muscles. Moran sprints through harmonically inventive runs atop Patitucci's frenetic comping as Harland adds elastic syncopation to bop. James doesn't enter until halfway through and glides through the lyric, creating contrast without limiting the swing. The slow, simmering "Lover Man" builds and dissipates tension several times in coming from the blues' deep well. On "God Bless the Child," the pianist opts for a Fender Rhodes. James uses this change to the song's advantage. He finds the seam in the lyric just as Holiday did and allows it to carry him inside the gorgeous melody, and everything gels.

"Strange Fruit" is a song covered and badly interpreted so many times it's nearly painful to hear any version but Holiday's. Until now. Accompanied only by trancelike handclaps and a chorale of (his own) hummed backing vocals in four-part gospel harmony, James imbues his haunted reading with moral authority and harrowing impact. James' phrasing is chilling. His accusation, like Holiday's before him, comes through the painful bewilderment of delivering the lyric, not overdramatization of it. On Yesterday I Had the Blues, James stays exceptionally close to the spirit of Holiday's work. 

He does so without embalming her music as a museum piece or smothering his own voice, thereby adding a real contribution to her legacy. This is his most intimate, powerful, and masterful date. ~ Thom Jurek  http://www.allmusic.com/album/yesterday-i-had-the-blues-the-music-of-billie-holiday-mw0002805344

Personnel: José James, vocals;  Jason Moran, piano, Fender Rhodes, piano; Eric Harland, drums.

Yesterday I Had The Blues: The Music of Billie Holiday

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Jason Moran - All Rise: A Joyful Elegy for Fats Waller

Styles: Vocal And Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 43:47
Size: 100,8 MB
Art: Front

(0:20)  1. Put Your Hands On It
(2:53)  2. Handful Of Keys
(6:10)  3. Jitterbug Waltz
(4:58)  4. Sheik Of Araby/I Found A New Baby
(3:42)  5. Ain't Misbehavin'
(4:03)  6. Yacht Club Swing
(2:36)  7. Lulu's Back In town
(4:05)  8. Two Sleepy People
(5:07)  9. The Joint Is Jumpin'
(3:46) 10. Honeysuckle Rose
(4:19) 11. Ain't Nobody's Business
(1:43) 12. Fats Elegy

Jason Moran is an artist who is not afraid to look back while constantly pressing forward. The 2010 MacArthur Fellow is a leading jazz pianist with moments of kinetic energy, agility, and sensitivity, the likes of his one-time teacher, the great Jaki Byard. Whether performing with varied ensembles and musicians, bringing new perspectives as the Artistic Director for Jazz at The Kennedy Center or combining freestyle jazz with live skateboarders in San Francisco, Moran's passion and capacity is having an impact in the way jazz is seen and heard. All Rise: A Joyful Elegy for Fats Waller re-envisions the music of the colorful pianist, singer, and entertainer who shook things up during the Harlem Renaissance in the 1920s and 1930s. Fats Waller's bright musical canvas is the perfect outlet for Moran's multicolored ideas; a boisterous amalgam of blues, jazz, and house music, reshaping famous Waller tunes like "Ain't Misbehaving" and "The Joint Is Jumpin." 

The recording harnesses Waller's infectious spirit caring less about the demarcation between musical genres while putting emphasis on Waller's incredible talents. In collaboration with respected multi-genre musician/vocalist MeShell NdegeOcello, the release is an extension of ideas that came to fruition in 2011 through the Harlem Stage commissioned Fats Waller Dance Party. Ongoing dates at venues and universities found people eager to put their dance shoes on and Moran donning an oversized papier-mâché mask of Waller's head as the band provided hot grooves. The signal that All Rise is anything but nostalgic arrives in the low pitched hip-hop processed voice in the funky "Put Your Hands on It" which sets up "Ain't Misbehavin'" with its snazzy horn arrangement, Moran jazzing it on Rhodes as Ndegeocello's sensual voice brings the song's famous lyrics. 

The musicians also include varied vocalists, members of Moran's Bandwagon trio Taurus Mateen on electric bass and drummer Nasheet Waits, and a tight horn section with heightened contributions from trombonist Josh Roseman and trumpeter Leron Thomas. The reworking of Waller's 1929 "Honeysuckle Rose" hits the sweet spot, the perfect combination of laid-back funkiness, smooth arranging and a soulful vamp. Though Waller was well known for his songwriting, Moran sheds light on his musicianship in "Lulu's Back in Town" with a riveting display of pianistic bravura and "Handful of Keys" where he adds his own virtuosic flair to Waller's well known stride-piano solo piece. Moran proves once again that jazz is a transformative art-form in his unique arrangement of Waller's "Jitterbug Waltz." The tune is almost unrecognizable yet gorgeously reshaped as saxophonist Steve Lehman adds a rousing solo to Moran's touching version. Regardless of the era in which created, music still has the ability to move listeners in varied ways whether to sing, dance, or simply listen in a new way. ~ Mark F.Turner  http://www.allaboutjazz.com/all-rise-a-joyful-elegy-for-fats-waller-jason-moran-blue-note-records-review-by-mark-f-turner.php#.VDfwRBawTP8
 

Personnel: Lisa Harris: vocals; Charles Haynes: drums, vocals; Stephen Lehman: saxophone; Tarus Mateen: bass; Jason Moran: Rhodes, piano, Wurlitzer; Meshell Ndegeocello: vocals; Josh Roseman: trombone; Leron Thomas: trumpet, vocals; Nasheet Waits: drums.

All Rise:  A Joyful Elegy for Fats Waller

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