Charles McPherson - Reverence

Styles: Saxophone Jazz
Year: 2024
Time: 44:39
File: MP3 @ 320K/s
Size: 103,0 MB
Art: Front

(6:24) 1. Surge
(9:10) 2. Blues for Lonnie in Three
(7:03) 3. Come Rain or Come Shine
(7:28) 4. Dynamic Duo
(7:30) 5. Old Folks
(7:00) 6. Ode to Barry

Legendary alto saxophonist Charles McPherson makes his Smoke Sessions debut with an inspired new album, Reverence, dedicated to his lifelong mentor and friend Barry Harris.

These thrilling performances were captured in front of a live audience at Smoke Jazz Club and feature his quintet of Terell Stafford, Jeb Patton, David Wong, and Billy Drummond and represent the first of a series of live recordings scheduled for release to celebrate the 10th Anniversary of Smoke Sessions Records and the 25th anniversary of Smoke Jazz Club.

McPherson certainly reveals why he's been held in such reverence for the last 60 years. The set is a showcase for McPherson's gifts as both composer and soloist and bridges his deep and far-reaching exploration of the full jazz spectrum.https://www.amazon.co.uk/Reverence-Charles-McPherson/dp/B0CVTWTX8Q

Reverence

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Jeb Patton - New Strides

Bitrate: 320K/s

Time: 63:14

Size: 144.8 MB

Styles: Piano jazz

Year: 2009

Art: Front

[5:07] 1. Billy

[5:59] 2. My Ideal

[5:50] 3. The Music Goes On

[7:50] 4. Sir Roland

[5:21] 5. If Ever I Would Leave You

[8:37] 6. Last Night When We Were Young

[7:00] 7. Cloak And Dagger

[7:28] 8. Estate

[5:09] 9. Street Song

[4:49] 10. Dream Dancing

Though only in his early thirties at the time of these recording sessions, pianist Jeb Patton had already firmly established himself in the jazz world. This former student of the late Sir Roland Hanna and Jimmy Heath recorded as a sideman on CDs with Heath's small groups and big bands, the Heath Brothers, while he has also performed with many other artists. His second CD features two other talented young musicians, bassist David Wong and drummer Pete Van Nostrand, who also appeared on his debut effort. Patton chose a surprising opener, a breezy setting of the neglected pianist Reuben Brown's "Billy," a driving bop piece deserving of wider recognition. The pianist modifies the usually somber bossa nova ballad "Estate" by picking up the tempo, while Van Nostrand switches to brushes for Patton's robust, swinging arrangement of the show tune "If Ever I Would Leave You." Originals include his bluesy tribute to Hanna ("Sir Roland") and the snappy "The Music Goes On." Jimmy Heath plays soprano sax in a touching duo arrangement of "Last Night When We Were Young," while Albert "Tootie" Heath takes over on drums for his brother's playful blues "Cloak and Dagger" and the pianist's sauntering, Latin-flavored "Street Song." Jeb Patton is one of the most promising jazz musicians of his generation and this CD is a fine addition to his discography. ~ Ken Dryden

New Strides

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Mike Melito - To Swing is the Thing

Styles: Jazz, Swing
Year: 2023
File: MP3@320K/s
Time: 63:01
Size: 146,7 MB
Art: Front

(6:27) 1. You Said It
(4:57) 2. Big Red
(7:10) 3. A Bee Has Two Brains
(6:53) 4. Blue Key
(6:27) 5. Lush Life
(4:55) 6. Make Believe
(6:38) 7. Ruby My Dear
(7:57) 8. Straight Street
(5:52) 9. Three For Carson
(5:40) 10. Locke Bop

Twenty-eight years ago, in March 1994, Mike Melito's fellow Rochesterian, Chuck Mangione, presented a traveling festival in upstate New York. He hired Roy McCurdy to play with Nat Adderley - with whom McCurdy had played on 7 leaders, plus another 19 with Cannonball Adderley, between 1966 and 1979 - in a band that included pianist Don Menza and Rochester guitar stalwart Bob Sneider. He assigned Melito to the other act, James Moody, in a unit including then up-and-coming pianist Danilo Pérez.

Roy and I hit it off right away, Melito says. I'd obviously been checking him out for years. We played the same set of drums, same cymbals and I learned a lot about sound. He didn't talk to me about anything. I watched him, and figured out what he was doing that I wasn't. I believe you're a student forever. I work a lot on my sound, on my hands, on my cymbal beat. My goal has always been to sound as authentic as possible as a player and strive for the same sound as my heroes.

Melito offered this self-assessment after relating an encounter some thirty years ago with iconic drum conceptualist Max Roach, whom he'd studied closely since age 12, when Melito heard the 1947 Charlie Parker-Miles Davis-Roach classic Dewey Square on the first jazz record I ever bought on my own. Another Rochester friend, trumpeter John Sneider, had played Roach some tapes featuring Melito, and the maestro noticed.

I met Max and he gave me one of the greatest compliments I've ever received, Melito recounts. He said, 'You really know how to phrase; the snare drum...' and gave me a big hug. The 56-year-old master offers a highly personalized refraction of Roach's late 1950s investigations of the possibilities of 3/4 waltz time towards the end of his eighth self-released album, To Swing Is The Thing, a title that efficiently encapsulates the imperatives that have driven him through 40 years as a professional drummer.By Editorial Reviewshttps://www.amazon.com/Swing-Thing-Mike-Melito/dp/B0BVSDM92R

Personnel: Mike Melito- drums; Grant Stewart- tenor saxophone; Joe Magnarelli - trumpet and flugelhorn; Jeb Patton- piano; Neal Miner - bass

To Swing is the Thing

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New York Blue Note Quintet - A Weekend At Le Vauban Feat. Joe Magnarelli

Styles: Jazz, Post Bop
Year: 2021
File: MP3@320K/s
Time: 71:14
Size: 168,0 MB
Art: Front

( 9:23) 1. 81 Points
( 9:31) 2. Crystalline
( 8:44) 3. Turquoise Twice
( 7:41) 4. Ballad from Leadership Suite
( 7:03) 5. Minority
( 7:21) 6. The Last Time I Saw Paris
( 8:43) 7. All God's Children Got Rhythm
(11:40) 8. Star Eyes
( 1:04) 9. Cherokee

In February and March 2020, just before the pandemic, we did the second European tour with this quintet, for me truly a dream-team on and off the bandstand, bringing together five musicians from different parts of the world who share the same love: classic swinging “New York Blue Note Jazz.” New York has been the world capital of jazz since decades, I still remember the last days of August 2007 when I first got there and had the chance to listen to my idols such as Cedar Walton, Jimmy Cobb, Louis Hayes, and many more. One of them was Joe Magnarelli who I first heard with the Vanguard Jazz Orchestra on a Monday night, back then I never thought that I would play music with him more than 10 years later.

Joe Magnarelli has been one of the world’s leading trumpeters for three decades. He moved to New York in 1986 and has worked since then with the Lionel Hampton Big Band, Toshiko Akiyoshi, the Buddy Rich Band, Maria Schneider, the Vanguard Jazz Orchestra, and many more. Born in St. Petersburg, Dmitry Baevsky moved to New York in 1996 to study at the famous New School and has since become an integral part of the New York jazz scene. Jeb Patton is one of the outstanding pianists of the younger generation. He studied with Sir Roland Hanna and Jimmy Heath and is a permanent member of the “Heath Brothers” and the “Jimmy Heath Generations Quintet” since then. Further, he worked with Etta Jones, Peter Washington, Lewis Nash, Steve Nelson, Jimmy Cobb, Jackie McLean, Frank Wess, James Moody... His personal, swinging style, presents the entire history of jazz piano from Art Tatum through Phineas Newborn to Cedar Walton. I met Fabien Marcoz when I moved to Paris in 2012, he is one of the finest bassists in Europe and has accompanied many international jazz soloists including true giants such as Harold Mabern.

In the middle of our 2020-tour we got the real gift of doing a recording like in the old days. Jacques Person, organizer of the “Jazz at Le Vauban”-concerts, invited us to stay in Brest for two days to do a studio/live-album under the direction of our mutual friend Jordi Pujol, producer and owner of the internationally well-known jazz label “Fresh Sound Records” in Barcelona. The circumstances were perfect, we spent a wonderful weekend at “Le Vauban”; the concert venue was in the basement, the restaurant/bar on the ground floor and the hotel rooms just upstairs. Besides, Jacques Person took us to great restaurants in the area, so we could really enjoy, relax, have a good time and then focus on the music. We took a very early flight from Copenhagen to arrive in Brest on Saturday by noon, in the afternoon we already recorded a whole set of music under studio conditions without audience. On Sunday evening we did the sold-out concert for a wonderful and warm public, a memorable experience for all of us! What you hear on this release is the result of this “Weekend At Le Vauban”, our selection of two Saturday-no audience and seven Sunday-live tracks from these two days in Brest!

The repertoire of the band follows the timeless “Blue Note” recordings, including a nice variety of classics by masters such as Cedar Walton and Jimmy Heath, well-known standards and standard-arrangements (Minority, arranged by Jeb Patton) and two originals by Joe Magnarelli (81 Points, dedicated to Kobe Bryant) and Jeb Patton (Crystalline). All compositions require strong section playing on the melodies by Joe and Dmitry, supported by an active rhythm-section, and provide the perfect ground for extensive soloing for all the band members.

It was a great pleasure to be part of this, thanks to Jacques and Jordi for making it happen and to Mags, Dmitry, Jeb and Fabien for great playing and wonderful moments on the road! Very much looking forward to seeing you all again, having a glass of wine and of course playing music together!!! By Bernd Reiter https://www.freshsoundrecords.com/new-york-blue-note-quintet-albums/53681-a-weekend-at-le-vauban.html

The New York Blue Note Quintet are: Joe Magnarelli (trumpet), Dmitry Baevsky (alto sax), Jeb Patton (piano), Fabien Marcoz (bass), Bernd Reiter (drums).

A Weekend At Le Vauban Feat. Joe Magnarelli

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Dmitry Baevsky - Soundtrack

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 65:38
Size: 150,6 MB
Art: Front

(4:46) 1. Evening Song
(3:58) 2. Vamos Nessa
(5:17) 3. Baltiyskaya
(5:22) 4. Grand Street
(4:30) 5. The Jody Grind
(5:27) 6. La Chanson De Maxence
(4:02) 7. Over and Out
(4:29) 8. Le Coiffeur
(3:47) 9. Invisible
(6:51) 10. Autumn in New York
(5:37) 11. Stranger in Paradise
(6:16) 12. Tranquility
(5:11) 13. Afternoon in Paris

A collection of songs, some of which are likely to be included in aficionados' play lists; interpretations that don't stray very far off the beaten path; and a band of players who share a vision of how the material should be handled. It's the recipe for many recordingspast, present and future within the mainstream of jazz. So, why does alto saxophonist Dmitry Baevsky's Soundtrack, an entry that readily fits this pattern, stand out from the crowd?

In Baevsky's scheme the melodies of popular songs from the 20th century, such as "La Chanson de Maxence" (AKA, "You Must Believe in Spring"), and "Stranger in Paradise," are worthy of special consideration. Though he possesses a jazz musician's proclivity for reconfiguring a melodic line, oftentimes minimal modifications are sufficient to put the song across. Two consecutive trips through "Evening Song" sound as if Baevsky is encouraging the listener to savor the differences. The often covered "Autumn in New York" succeeds on account of his deft blend of the melody and bop-influenced enhancements.

The same attention to detail applies to Baevsky's treatments of an array of tunes by venerable jazz musicians: Sonny Rollins' "Grand Street," Horace Silver's "The Jody Grind," Dexter Gordon's "Le Coiffeur," Ornette Coleman's "Invisible," Ahmad Jamal's "Tranquility" and John Lewis' "Afternoon in Paris." One distinguishing characteristic of Baevsky's approach to the jazz material (as well as the popular songs) is his regard for dynamics. In contrast to many contemporary saxophonists who sound as if they're demanding to be heard, he's more likely to come way down in volume then to roar, bark or bellow. For instance, the first time around "Grand Street" sounds as if Baevsky is revealing a soulful secret. Joined to his sensitivity to dynamics is the capacity to sound at one with the band on the heads. The music is all the better for his willingness to forsake being the center of attention. A couple of prime examples are "The Jody Grind" and "Tranquility."

"Evening Song" and "Afternoon in Paris," the tracks that bookend the record, best represent Baevsky's virtues as a soloist. The three choruses on "Evening Song" gradually move away from the haunting melody, as he leans into the medium tempo pulse, fashions edgy, well-proportioned lines, and integrates the sprinting runs that are an essential feature of his style. A rendering of "Afternoon in Paris" with only bass and drums displays a more adventuresome disposition. While the solo ultimately remains on solid ground, Baevsky scatters pithy comments throughout and, as if harnessing all his strength, reaches a startling climax at the beginning of the second chorus.

For all Baevsky's capabilities as a song interpreter and improviser, a considerable amount of the success of Soundtrack is due to the contributions of a first-rate band comprised of pianist Jeb Patton, bassist David Wong and drummer Pete Van Nostrand. Their united approach to "The Jody Grind" feels like a deeply grooving assembly of component parts. The breezy Latin quality they bring to "Le Coiffeur" amounts to an invitation to dance. The amiable, medium tempo swing of "La Chanson De Maxence" advances without any signs of stress or strife. Van Nostrand epitomizes good timekeeping, precise sticking, tasteful fills, as well as his placing strokes slightly beneath the bass line. Patton's perceptive accompaniment buoys the ensemble without taking up too much space. Wong's firm, muscular lines make a deep impression while working in tandem with Van Nostrand. Soundtrack is Baevsky's most accomplished recording to date, a sophisticated, invigorating piece of work that makes one look forward to his future endeavors.By David A. Orthmann https://www.allaboutjazz.com/soundtrack-dmitry-baevsky-fresh-sound-records

Personnel: Dmitry Baevsky: saxophone, alto; Jeb Patton: piano; David Wong: bass; Pete Van Nostrand: drums.

Soundtrack

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Peter & Will Anderson - Peter and Will Anderson: Featuring Jimmy Cobb

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 64:44
Size: 149,5 MB
Art: Front

(5:43)  1. Two For One
(5:17)  2. Hot and Cold
(7:37)  3. Blues for You
(7:10)  4. Rhythm in F
(7:08)  5. Autumn in New York
(5:13)  6. Pick Your Spot
(8:08)  7. Someday My Prince Will Come
(6:09)  8. Jeannine
(7:28)  9. Polka Dots and Moonbeams
(4:45) 10. I'll Tell You Later

Grammy Award-winning saxophonists and identical twins, Peter and Will Anderson document another burner of a recording on their Featuring Jimmy Cobb album, released within days of the passing of the legendary drummer in May 2020. The last surviving member of the Miles Davis band that recorded the ground-breaking jazz album Kind of Blue (Columbia, 1959), Jimmy Cobb passed away at age 91. While not originally designed as a tribute project, this album may well be one of the last recordings featuring Cobb, as his last album as leader, This I Dig of You (Smoke Sessions Records, 2019), was released in 2019. The Anderson brothers craft an exciting session of music, mixing six new originals and four standards in which each piece is a keeper. Accompanying Will, on alto saxophone, and brother Peter, on tenor sax, are Jeb Patton on the piano, David Wong on bass and, of course, Jimmy Cobb. The band opens in blistering fashion, cooking through the first four originals: "Two for One," "Hot and Cold," "Blues for You," and "Rhythm In F," where the bebop and hard bop sounds paint this canvas red hot.

There are two relative soft spots on this album with the first belonging to the Anderson treatment of the Vernon Duke classic "Autumn In New York." On "Someday My Prince Will Come," and the time-honored standard from Duke Pearson, "Jeanine," the boys are wild with phenomenal call and response performances. The Jimmy Van Heusen standard "Polka Dots & Moonbeams," occupies the other mellow piece of the set with Will teeing off on the alto, marking this rendition of the piece as one of the finest. The brothers play in unison on the final track, "I'll Tell You Later," capping off an incredible session of hard-core bebop the way it was intended to be performed. The rhythm section, and especially Cobb, provide an amazing performance. As for the twins, we've heard the phrase "brothers in arms." Well, in this case it's "brothers in bebop," for Will and Peter Anderson Featuring Jimmy Cobb is one outstanding recording and remembrance of a legend.~ Edward Blanco https://www.allaboutjazz.com/featuring-jimmy-cobb-peter-and-will-anderson-outside-in-music

Personnel: Peter Anderson: saxophone, tenor; Will Anderson: saxophone, alto; Jimmy Cobb: drums; Jeb Patton: piano; David Wong: bass.

Peter and Will Anderson: Featuring Jimmy Cobb

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Kristen Lee Sergeant - Smolder

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 48:04
Size: 110,5 MB
Art: Front

(4:50)  1. True
(5:17)  2. Balm / Burn
(5:50)  3. Afterglow
(4:16)  4. I'm Beginning to See the Light
(5:36)  5. Midnight Sun
(4:38)  6. It's All Right with Me
(3:58)  7. Show Me
(5:08)  8. Sconsolato
(4:59)  9. Smoke Gets in Your Eyes (These Foolish Things)
(3:28) 10. The Best Is yet to Come

Sometimes it takes an entire album, or even a few, to appreciate an artist's depth. But in the case of vocalist Kristen Lee Sergeant, you can get there in a song. Her morphing take on '80s new wave outfit Spandau Ballet's "True," revealing a theatrical streak and some pure and pliable pipes, does the job and then some. As an arranger Sergeant paints with beauty and perspective there, matching Ted Nash's alto flute to Jeb Patton's piano and making artful use of Jody Redhage Ferber's cello; and as a singer she balances passion and poise in her uncovering of the song's hidden angles and inner truths. It's a real achievement, and the first of many smart performances on Smolder. Regardless of what material she's working with, Sergeant makes her mark by molding a song and owning its intentions with wisdom and clarity. On "Balm/Burn" she works a seam that soothes and seduces all at once. Through "Afterglow" she explores post-romance in ruminative fashion, with Nash's alto saxophone shadowing her mood and upping the ante. During "I'm Beginning To See The Light" she shows a lighter side and more flexible phrasing, connecting with bassist Cameron Brown's supportive lines. And during the reduced-gravity introduction of "Midnight Sun," her vocal certainty in the face of the unknown helps to light the way. With the exception of Jimmy Woode's bossa-ballad "Sconsolato," the second half of the album focuses on classics that should be largely familiar to jazz-loving ears. But familiarity breeds a stretch here, as Sergeant expertly toys with form and flow. "It's All Right With Me" changes tempos and makes some sharp turns, with drummer Jay Sawyer steering with style and Sergeant stopping and shifting on a dime. And "Show Me" is twisted and tweaked, too. A shifting of gears and a play on moods carries the song to unexpected places. The parting selections further illustrate Sergeant's vision of personalized narrative embedded within known quantities. Binding "These Foolish Things" and "Smoke Gets In Your Eyes," she creates an unbroken ideal laced with cello charms. And adding Afro-Cuban sway to "The Best Is Yet To Come," she raises a glass to optimism on her way out. With insightful offerings and stylish arrangements, Smolder truly stands apart. Kristen Lee Sergeant is most certainly deserving of greater recognition. ~ Dan Bilawsky https://www.allaboutjazz.com/smolder-kristen-lee-sergeant-plastic-sax-records-review-by-dan-bilawsky.php

Personnel: Kristen Lee Sergeant: vocals, arrangements; Jeb Patton: piano; Cameron Brown: bass; Jay Sawyer: drums; Ted Nash: alto flute/alto saxophone; Jody Redhage Ferber: cello; Rogerio Boccato: percussion.

Smolder

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Jimmy Heath Big Band - Turn Up The Heath

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 73:52
Size: 170,3 MB
Art: Front

(7:02)  1. Big P
(7:16)  2. Heritage Hum
(9:23)  3. Gemini
(4:52)  4. Like A Son
(8:59)  5. I'm Glad There's You
(8:06)  6. One For Juan
(6:29)  7. Project S
(6:42)  8. Sources Says
(8:47)  9. No End
(6:12) 10. Basic Birks

Back in the early '90s I asked tenor saxophonist Jimmy Heath if he planned a followup to his Grammy-nominated album, Little Man Big Band (Verve, 1992). As I recall, he smiled politely but didn't really answer the question. Now he has and with an exclamation point. Describing how his latest superb album, Turn Up the Heath, came about, Jimmy writes, "The Jazz Masters award [from NEA and IAJE] in 2003 made it possible. As to why: "...there were so many orchestrations I wanted to document. There are also special people he wanted to praise and remember, and it is entirely appropriate that Heath should begin with "Big P, a brisk and warmhearted salute to his late brother, bassist Percy Heath. "Gemini was written for Heath's daughter, Roslyn; "Basic Birks for Dizzy Gillespie; "Like a Son for alto saxophonist Antonio Hart; "Heritage Hum for "my people, and the snappy samba "One for Juan for that ubiquitous purveyor of Colombian coffee, Juan Valdez. Completing the program are Heath's "Project S and "Sources Say," and his arrangements of Kenny Dorham's "No End and the standard "I'm Glad There Is You (the last an exquisite showpiece for Heath's fluent, evocative tenor and Jeb Patton's lucid piano). Heath's tenor is also heard on "Heritage Hum, "Gemini, "One for Juan, "Project S and "Basic Birks, his soprano on "No End. As for his colleagues, Heath says he met many of them "while playing with the Dizzy Gillespie Alumni All-Star Band, a reasonable assertion, as each one is an all-star, whether soloing or hunkering down as a member of the ensemble. The rhythm section, comprised of Patton, bassist Peter Washington and drummer Lewis Nash, is as solid and perceptive as they come, and Washington does Percy's memory proud on "Big P. The remarkable cavalcade of commendable improvisers includes Patton; Washington; Hart; trumpeters Greg Gisbert, Sean Jones, Terell Stafford and Michael Philip Mossman; trombonists Benny Powell, Slide Hampton, Steve Davis, Jason Jackson and John Mosca; alto Mark Gross; tenors Charles Davis, Bobby LaVell and Andres Boiarsky; baritones Jay Branford and Gary Smulyan; and flutist Lew Tabackin, a standout on "Gemini. Heath's charts are delightful, fairly bursting with energy and good humor, and if I have my personal favorites, I'm sure you will too. Even fourteen years onward, this is one sequel that was well worth the wait. Turn Up the Heath, crank up the volume, relax and enjoy.
 

Personnel: (Tracks 1,2,4-7) Jimmy Heath: leader, tenor sax; Frank Greene, Nick Marchione, Michael Philip Mossman, Terell Stafford: trumpet; Mark Gross: alto sax, flute; Antonio Hart: alto, soprano sax, flute; Bobby LaVell, Charles Davis: tenor sax; Jay Branford: baritone sax; John Mosca, Slide Hampton, Benny Powell: trombone; Douglas Purviance: bass trombone; Jeb Patton: piano; Peter Washington: bass; Lewis Nash: drums. (3,8-10) Jimmy Heath: leader, tenor sax; Greene, Mossman, Greg Gisbert, Sean Jones: trumpet; Gross: alto sax, flute; Hart: alto, soprano sax, flute; LaVell, Andres Boiarsky: tenor sax; Gary Smulyan: baritone sax; Mosca, Steve Davis, Jason Jackson: trombone; Purviance: bass trombone; Patton: piano; Washington: bass; Nash: drums. Guest artists: Lew Tabackin: flute (3); Joe Gonzales: congas (2)

Turn Up The Heath

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Jeb Patton - Tenthish, Live In New York

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 55:54
Size: 130,6 MB
Art: Front

(5:19)  1. Zec
(4:52)  2. Tenthish
(6:03)  3. Third Movement
(6:13)  4. This Can't Be Love
(3:45)  5. Reflections In D
(5:55)  6. Sophisticated Lady
(6:04)  7. Johnny Come Lately
(5:29)  8. I'll Never Stop Loving You
(8:55)  9. Royal Garden Blues / Kelly Blue
(3:15) 10. Overtime

Recorded at New York's Mezzrow, in the heart of Greenwich Village, the Jeb Patton Trio delights with clever arrangement of jazz classics and some lesser known gems from the likes of Thad Jones and Phineas Newborn Jr. Tenthish was recorded in front of an audience of 35 invited guests and the trio including bassist David Wong and drummer Rodney Green are clearly enjoying the proceedings. ~ Editorial Reviews https://www.amazon.com/Tenthish-Live-New-York-Patton/dp/B07FNR8TH8

Personnel: Jeb Patton on piano; David Wong on bass, Rodney Green on drums

Tenthish, Live In New York

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Dmitry Baevsky & Jeb Patton - We Two

Styles: Saxophone And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 51:05
Size: 117,9 MB
Art: Front

(3:54)  1. Swingin' The Samba
(5:41)  2. Something For Sonny
(3:59)  3. Inception
(5:21)  4. Le Sucrier Velours
(4:42)  5. All Through The Night
(7:24)  6. Don’t Let The Sun Catch You Cryin’
(5:17)  7. Fools Rush In
(4:17)  8. The Serpent's Tooth
(4:18)  9. Quasimodo
(6:08) 10. You'd Be So Easy To Love

Rarely have two musicians given the impression of making their artistic proximity so manifest. Alto saxophonist Dmitry Baevsky and pianist Jeb Patton have known each other for many years. They met at a young age in New York, driven by a same thirst to learn the language of jazz and to make it their idiom of predilection. What better way for these two musicians to reveal their entente than in a tête-à-tête? What better context than a one-on-one, in which they elaborate the music together, privileging careful listening to one another other, a dialogue, a complementarity? The complicity is obvious between Jeb Patton’s elegant and articulated piano playing and Dmitry Baevsky’s vivid, precise and lyrical alto saxophone. The complicity is obvious between Jeb Patton’s elegant and articulated piano playing and Dmitry Baevsky’s vivid, precise and lyrical alto saxophone. Magnificently recorded, they have achieved a classic and everlasting album that marks the meeting of two contemporary jazz masters, simply called ‘We Two’.

Personnel:  Dmitry Baevsky, alto saxophone;  Jeb Patton, piano

We Two

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Dmitry Baevsky - The Day After

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 67:22
Size: 155,0 MB
Art: Front

(6:39)  1. Would You?
(6:37)  2. Minor Blues 012
(5:30)  3. Chant
(6:38)  4. Minor Delay
(7:20)  5. Hotel Baudin
(5:06)  6. The Wise Ones
(6:36)  7. The Day After
(5:39)  8. Four Seven Nine One
(9:33)  9. Delilah
(7:39) 10. I've Told Ev'ry Little Star

Imagine a group that, in large measure, references the bebop revolution of nearly seventy-five years ago, yet steers clear of the pitfalls of nostalgia, hero worship, and blatant imitation, and ultimately wins the day with an adroit blend of teamwork and compelling individual voices. For those who believe that nothing good can come from contemporary players choosing to work an all-too-familiar vein of the jazz tradition, I suggest a visit with Dmitry Baevsky's band. Over the past several years, the alto saxophonist's quartet featuring pianist Jeb Patton, bassist David Wong, and drummer Joe Strasser, has often performed at Smalls Jazz Club in New York City. The fruits of their labor are documented for the first time in The Day After, Baevsky's sixth record date as a leader. One of the record's primary strengths is the lasting impression made by the heads, leaving no doubt that they're as important as the solos that follow. The material feels lived-in, savored, respected, as opposed to expediently worked up for the record date. The group fully realizes a number of expressive perspectives. Baevsky's "Would You?," the opening track, is a graceful, courtly jazz waltz. Duke Pearson's "Chant" manages to wax shrewd and soulful without being too obvious about it. Patton's lickety-split "The Wise Ones" contains a number of dazzling twists and turns. Tom McIntosh's "The Day After" is a convincingly melancholy ballad. Victor Young's "Delilah" evinces a seductive, unhurried vibe. Much of the substance in these tracks lies in the details, such as the easy, natural sounding ways in which Patton supports and/or joins Baeveky in playing the melodies. Or, the exemplary hook-up between Wong and Strasser, in which the bassist lays down a sturdy, feel-good foundation that enables the drummer to use every component of his kit to make all manner of remarks about a song while remaining in the pocket.

The band's primary soloists, Baevsky and Patton, emerge in ways that display an acute awareness of the group as a whole. Throughout his turn on "Would You?," Baevsky persuasively asserts himself without becoming particularly verbose or forceful; often leaving enough space between tart, relatively concise phrases to allow the voices of each accompanying instrument to take effect. The title track finds him in an assertive ballad mode, gradually expanding and imaginatively building in strength without completely breaking ties to the tune's the melody. Patton's "Chant" solo is noteworthy for stability amidst changes in velocity and emphasis, as he leans against Wong's earthy walking bass, suddenly skips away from it with breathless single note lines, and invariably finds unexpected places to snap back into place. 

Left to his own devices at the onset of Baevsky's "Rollin'" and near the end of "Delilah," Strasser makes a deep impression with meticulous sticking and mallet strokes, a genuine feel for structure, and the ability to tell a story minus any extraneous details. For anyone who appreciates shrewdly chosen material, a cohesive, interactive group sound, and solos that are nicely integrated into the whole presentation, I heartily recommend The Day After. ~ David A. Orthmann https://www.allaboutjazz.com/the-day-after-dmitry-baevsky-jazz-family-review-by-david-a-orthmann.php

Personnel: Dmitry Baevsky: alto saxophone; Jeb Patton: piano; David Wong: bass; Joe Strasser: drums.

The Day After

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Sachal Vasandani - We Move

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 59:49
Size: 137,9 MB
Art: Front

(6:08)  1. Escape/There's A Small Hotel
(3:25)  2. No More
(4:54)  3. Don't Worry About Me
(3:39)  4. Every Ocean, Every Star
(4:47)  5. We Move
(3:40)  6. Once In A While/Horizons
(3:28)  7. There Are Such Things
(2:21)  8. By The River St. Marie
(4:20)  9. Ring Road (Back To You)
(4:53) 10. Royal Eyes
(5:33) 11. Monk's Dream
(4:58) 12. I'd Let You Know
(4:40) 13. Heartbeat
(2:57) 14. Travelin' Light

Sachal Vasandani's second CD shows he is maturing as a jazz singer and composer, continuing to refine his approach while landing safely in flat fields of open expanse. His voice rarely wavers or explores upper or lower registers; rather, it stays within a comfort zone that avoids much of a challenge. This consistency serves his songs and his audience well, working within a current trend of singers who stay within specific rhythmic boundaries and don't really push the envelope. Vasandani is helped by pianist Jeb Patton and a backing trio that has been with the vocalist for almost a decade, while co-producers John Clayton and guitarist Doug Wamble give him a bit of a push here and there, mixing up standards with subtle originals. The title track shows the most originality in a steady, repeating, and wistful mode; "Ring Road" (contributed by drummer Quincy Davis) has Vasandani in a playful, ever cool mood; and "Don't Worry About Me" has that contemporary hip-hop rhythm originated by Ahmad Jamal under the singer's slick, level-headed style. The old Joe Williams number "By the River St. Marie" is bopped hard within the controlled dynamics of Vasandani's voice, and he goes for some scat on the intro of the combo tune "Once in a While" and Patton's "Horizons." The group covers the chestnuts "No More" and Thelonious Monk's "Monk's Dream," both with lyrics penned by Jon Hendricks, but the results are not optimal or perfect. Where the singer is most convincing crops up in an elegant, confident manner on "Escape/There's a Small Hotel," but especially during "There Are Such Things," a serene interpretation that comes straight from the heart. The most unusual arrangement is more in a baroque or chamber style on the low-key "Royal Eyes," which merges effectively into a small samba. After two recordings, Sachal Vasandani has found somewhat of a niche, but needs to ramp it up creatively and take more chances in order to stand out from the small group of contemporary male jazz vocalists. ~ Michael G.Nastos http://www.allmusic.com/album/we-move-mw0000824179

Personnel: Sachal Vasandani (vocals); Doug Wamble (guitar, keyboards, programming); Dayna Stephens (tenor saxophone, baritone saxophone); Vincent Gardner (trombone); Jeb Patton (piano, organ, Wurlitzer organ); David Wong (acoustic bass); Justin Brown , Quincy Davis (drums).

We Move

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Percy Heath - A Love Song

Styles: Straight-ahead/Mainstream
Year: 2004
File: MP3@320K/s
Time: 40:45
Size: 93,5 MB
Art: Front

( 3:15)  1. A Love Song
( 3:23)  2. Watergate Blues
( 6:25)  3. Django
( 5:19)  4. Century Rag
( 3:36)  5. No More Weary Blues
(13:24)  6. Suite for Pop...
( 5:20)  7. Hanna's Mood

It’s an encouraging sign for all octogenarians when one of their own, a man who has a musical career that spans more than six decades, finally releases an album under his own name at the age of eighty. That man is Percy Heath, and with A Love Song he finally gets to play things exactly as he hears them, which is with a quartet alongside another bassist, allowing Heath plenty of room to solo, on both bass and cello. A Love Song is an engaging album that also gives Heath the opportunity to concentrate on his own originals;  four of the seven tracks are penned by Heath, another written by pianist Jeb Patton, with John Lewis’s “Django” and Sir Roland Hanna’s “Century Rag” thrown in for good measure. 

Brother Tootie Heath (drums) and Peter Washington (bass) provide a warm background on this collection of mainstream tunes. But the two stars of the show are Patton, a young pianist with a penchant for the romantic as demonstrated on his own “Hanna’s Mood," and, of course, Percy Heath, whose bass playing completely defines the session. Opening with the solo title track, Heath immediately demonstrates the warm tone, lyrical sense and impeccable intonation that has made him such an in-demand artist on over three hundred recordings, including seminal works with Cannonball Adderley, Miles Davis, Dizzy Gillespie and, of course, his group of over forty years, the Modern Jazz Quartet. And, while he has spent most of his time in the mainstream, it is interesting to note that he has always been prepared to stretch his boundaries, playing on more outside recordings including John Coltrane’s Avant Garde. But it is in the mainstream where he has made his name, and that is where he concentrates his effort on A Love Song.

While Heath’s “Watergate Blues” has been recorded several times before, this is the first time that it has been played with the bass stating the melody. In fact, Heath’s bass is the predominant voice on the whole recording; while Patton gets a few choice solos, it is Heath’s voice that is the essence; his reading of “Django” is tender; his playing on “No More Weary Blues” vibrant, buoyant. The centrepiece of the recording is “Suite For Pop,” a four-movement suite dedicated to Heath’s father. From the more dark and brooding “Prelude” and “Lament,” which reflect Heath’s sadness at his father’s passing, emerge “Rejoice” and “Celebration,” which do just that; Heath is a master at conveying emotions in his writing and playing. 

A Love Song finally places Heath, a performer who has literally influenced generations of bassists, front-and-centre. With a mainstream program that is as revealing as it is fun, as passionate as it is intelligent, Heath proves why he has, in the course of over sixty years, remained in such high demand. He combines musical integrity with a purely playful nature that makes him a joy to hear. And at eighty years old and still going strong, we can only hope that he’ll have more opportunities to correct the wrong of a lifetime and record more as a leader.~ John Kelman http://www.allaboutjazz.com/a-love-song-percy-heath-review-by-john-kelman.php

Personnel: Percy Heath (bass, cello), Jeb Patton (piano), Peter Washington (bass)

A Love Song

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Jeb Patton - A Lovesome Thing

Styles: Piano Jazz

Year: 2006

File: MP3@320K/s

Time: 52:38

Size: 120,9 MB

Art: Front

(6:09)  1. Love Walked In

(3:37)  2. Worlds Apart

(6:06)  3. Flower Is A Lovesome Thing

(3:15)  4. Begin The Beguine

(4:41)  5. Relaxin' At Camarillo

(6:51)  6. Hanna's Mood

(7:11)  7. TF

(3:55)  8. Wise Ones

(5:04)  9. Fantasy In F-Sharp Minor

(5:44) 10. Yemenja

Described as both a “young phenom…on piano” and an “absolute great,” Jeb Patton has earned a well-regarded reputation in the international jazz community. The multi-talented Patton is known as a “player of great expression” and “not one to tread the predictable,” as well as a “simpatico accompanist” for The Heath Brothers, an “innovative” arranger, and one who “cuts…[an] impressive swath on his composition, ‘Hanna’s Mood,'” a tribute to his late teacher, Sir Roland Hanna. Jeb Patton graduated magna cum laude with a Bachelor of Arts and Sciences degree with a major in music from Duke University, where he studied piano with Tibor Szasz, Douglas Buys, and Jane Hawkins. As a member of the Duke Jazz Ensemble under Paul Jeffrey, he performed with and/or arranged for more than 60 professional jazz artists, including 48 musicians from New York and more than 12 international jazz musicians from Italy, Monaco, and Portugal.

Studying under Sir Roland Hanna and Jimmy Heath, Jeb earned his Master of Arts degree, summa cum laude, in 1997 from the Aaron Copland School of Music, Queens College, City University of New York, where he also received the Louis Armstrong Award for composition from the ASCAP Foundation. Since graduating, Jeb has toured throughout the United States and abroad with the Heath Brothers and with Jimmy Heath’s Generations Quintet, performing in theaters, festivals, concert halls, colleges, and clubs. Since moving to New York in 1996, Jeb has also played with Etta Jones, the Faddis/Hampton/Heath Sextet, Winard Harper’s group, and Antonio Hart’s Quintet, Paul West, Rufus Reid, Peter Washington, Lewis Nash, Steve Nelson, Ralph Peterson, John Ore, Jimmy Cobb, Lonnie Plaxico, Carl Allen, Kyoshi Kitigawa, Jackie Mclean, Frank Wess, James Moody, Terell Stafford, Sean Jones, Diego Urcola, Jeremy Pelt, Gerald Cannon, Willie Jones III, Steve Davis, Keter Betts, Eddie Locke, Marlene Verplank, among others. Major national and international festival appearances with the Heath Brothers include Savannah Music Festival (2005), New Orleans Jazz and Heritage (2005), Tri C Festival (2005), Newport (Rhode Island, 2004), Mt. Hood (Oregon, 2004), Charlie Parker Festival (NYC 2004, 2002), Atlanta (Georgia, 2004), Baden-Baden Festival (Germany, 2003), 8th Salzburg Jazz Autumn Festival (Austria, 2003), 45th Annual Monterey Jazz Festival (California, 2002), 3rd Annual Healdsburg Jazz Festival (California, 2001), North Sea Jazz Festival (Holland, 2000), Äarhus Jazz Festival (Denmark, 2000), the Pori Festival (Finland, 1999), Graz “Jazz-Sommer” (Switzerland, 1999), and Wiggin Jazz Festival (England, 1999),

Recent New York City metro area appearances with the Heath Brothers include “Birds of a Feather: A Charlie Parker Tribute,” at the New Jersey Performing Arts Center, May 21, 2004, (also featuring the Roy Haynes Quintet), and the January 24, 2004, NEA Jazz Masters Award Concert. Other notable New York City performances include the Opening Nights of Jazz at Lincoln Center, Jimmy Heath’s 75th Birthday Celebration, October 19 and 20, 2001; and Jazz at Lincoln Center, Duo Series with Percy Heath in the Stanley Kaplan Penthouse, February 1 through 3, 2001. Performances in 2003 included a concert at the Chamber Music Hall in Berlin that was broadcast on Berlin Jazz Radio and a concert series in Rome. In September 2000, Jeb traveled to Greece with the Carnegie Hall Jazz Band under the direction of Jon Faddis and at the invitation of the Consulate General of the USA to perform Ellington’s “Black, Brown and Beige Suite.” He has also appeared on three S.S. Norway Jazz Cruises as part of the Jimmy Heath Big Band, with Jimmy’s small band, and with the Heath Brothers.

Career highlights also include performing with Antonio Hart at the Kennedy Center in October 2003 at the National Visionary Leadership Project Gala and Awards Dinner. As protégés of Jimmy Heath, the duo performed a medley of all Jimmy Heath compositions in honor of Heath being named a Visionary in the Performing Arts. Inspired by the late Sir Roland Hanna, Patton is also very involved with classical music. Recent classical performances include a solo recital at Queensborough Community College featuring the Chopin Ballades and two performances with the New York Philomusica. These concerts featured Ellington’s concerto, A New World A-Comin’ arranged for chamber ensemble, Haydn Piano Trio in Eb major, and a premiere of a chamber piece by Michael Berkeley. In addition, Patton performed Ellington’s concerto with the Queens College Orchestra in honor of Sir Roland Hanna, and has performed extensively with Coleridge-Taylor Perkinson’s New Black Music Repertory Ensemble. Patton is currently studying classical piano with Lawrence Schubert. Presently, when Jeb is not on the road with the Heath Brothers, he teaches musicianship and piano at Queensborough Communtiy College. Duties also include substituting for professors at Queensborough and Queens Colleges, giving lectures on jazz history, music appreciation, and coaching ensembles. ~ Bio  http://www.jebpatton.com/bio/

A Lovesome Thing

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