John Beasley - Positootly!

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 49:16
Size: 113,3 MB
Art: Front

(5:04)  1. Caddo Bayou
(4:32)  2. Positootly!
(5:30)  3. Dindi
(6:40)  4. Black Thunder
(4:58)  5. Shatita Boom Boom
(5:28)  6. Tanguedia III
(4:53)  7. Elle
(4:45)  8. So Tired
(4:50)  9. The Eight Winds
(2:32) 10. Hope.. Arkansas

On Positootly!, pianist John Beasley explores a variety of styles for a thoroughly enjoyable and stimulating experience. Each track benefits immensely from the indelible touch of drumming great Jeff "Tain" Watts, in alliance here with percussionist Munyungo Jackson. Hailing from Louisiana, Beasley started playing in the late seventies, getting his seasoning with such jazz greats as Miles Davis, Freddie Hubbard and Dianne Reeves. Lately, he has gravitated towards composing for film and television, but he continues to release new music and tour with his band. This recording follows-up Letter to Herbie (Resonance, 2008), in which Beasley presented an impressionistic take on Herbie Hancock's music. Besides Watts and Jackson on drums, the musicians participating here are bassist James Genus, along with the blistering front line of saxophonist Bennie Maupin and trumpeter Brian Lynch. Most numbers are Beasley originals with three notable exceptions. The standout is a knockout rendition of, Argentine composer Astor Piazzolla's tango "Tanguedia III." On most selections, Beasley plays piano, but here he uses Fender Rhodes and synthesizer to create bandoneon accordion effects essential to tango. It's uniquely tango-jazz all the way in 2/4 start-stop fashion, building to a dynamic climax.

Other selections range from funk and soul to bop and bossa nova. Staying in a South American vein, Beasley puts forth his take on Antonio Carlos Jobim's "Dindi." Genus' bass sets the tone for this soft reflective piece, with the piano delivering softly swaying interludes. Watts and Jackson, as expected, add complexity to the beat. A further highlight is Beasley's "Black Thunder," dedicated to the late drummer Elvin Jones, and featuring Watts as a positive dynamo with pounding sticks. Maupin and Lynch deliver stirring solos as well. On Beasley's vigorous "The Eight Winds," Lynch's muted trumpet effectively leads the pianist into a burning,double-time solo, again resolutely backed by the churning drum duo. For hard boppers, there is Beasley's opener, "Caddo Bayou," featuring the whole band in this energized tribute to the leader's hometown. For soulful funk there is Bobby Timmons "So Tired," with Beasley again On Fender Rhodes, framing Maupin's strong tenor solo. Since positivity is the theme of this CD, it is fitting that it ends with the piano solo piece "Hope, Arkansas," Beasley's stately ode to Obama's presidency. ~ Larry Taylor https://www.allaboutjazz.com/positootly-john-beasley-resonance-records-review-by-larry-taylor.php

Personnel: John Beasley: piano, Fender Rhodes, synthesizer; Bennie Maupin: tenor and soprano saxophones; Brian Lynch: trumpet; James Genus: bass; Jeff "Tain" Watts: drums; Munyungo Jackson: percussion.

Positootly!

---

Robert Hurst - Presents: Robert Hurst

Styles: Jazz, Post Bop
Year: 1992
File: MP3@256K/s
Time: 67:09
Size: 123,2 MB
Art: Front

(6:20) 1. Down 4 the Cause
(6:28) 2. Detroit Red
(6:36) 3. Aycrigg
(4:41) 4. Joyce Faye
(1:23) 5. Incessant Lullaby
(7:53) 6. The Snake Charmer
(2:55) 7. Evidence
(5:54) 8. Walk of the Negress
(7:59) 9. Blue Freeze
(6:45) 10. Bert's Flirt
(7:24) 11. Devil's Night in Motown
(2:46) 12. Incessant Lullaby.... Bye

This set finds bassist Robert Hurst leading the Tonight Show All-Stars (with Branford Marsalis on various reeds and pianist Kenny Kirkland), plus trumpeter Marcus Belgrave and guest Ralph Miles Jones III (on bass clarinet and bassoon) through 11 of his originals and a solo bass version of Thelonious Monk's "Evidence." The music is complex and hard-driving, but the improvisations are rather cold and sometimes boring. Hurst, a superior bassist, is not a superior composer, and his compositions at best set moods. Of the supporting cast, the most distinctive voices are Belgrave and Jones; the latter has a colorful bass clarinet solo on "The Snake Charmer." This is a decent effort, but not all that essential.~Scott Yanowhttps://www.allmusic.com/album/robert-hurst-presents-robert-hurst-mw0000098147

Personnel: Bass – Robert Hurst; Bass Clarinet, Bassoon – Ralph Miles Jones III; Drums – Jeff "Tain" Watts; Piano – Kenny Kirkland; Sopranino Saxophone, Alto Saxophone, Tenor Saxophone, Clarinet – Branford Marsalis; Trumpet, Flugelhorn – Marcus Belgrave

Robert Hurst Presents: Robert Hurst

---

Paul Bollenback - Double Gemini

Styles: Guitar Jazz
File: MP3@320K/s
Time: 60:39
Size: 139,8 MB
Art: Front

(7:35) 1. Breaking the Girl
(6:02) 2. After the Love Has Gone
(7:53) 3. Double Gemini
(5:09) 4. Reflections of Jaco
(6:41) 5. Let Her Cry
(6:51) 6. So Many Stars
(5:45) 7. Open Hand
(6:03) 8. Field of Gold
(4:57) 9. I Am Singin'
(3:41) 10. Cat's Eye

Other than Sergio Mendes' "So Many Stars," the music on this CD will probably be quite unfamiliar to most jazz listeners. In addition to four originals by the leader-guitarist, there is a song apiece by The Red Hot Chili Peppers, Earth, Wind And Fire, Hootie And The Blowfish, Sting and Stevie Wonder. But the results actually fit securely into the soul jazz organ tradition. Guitarist Paul Bollenback, who has an appealing sound and an adaptable style, reharmonized some of the simpler pieces, stripped them of their pop rhythms and alternated swinging numbers with slower grooves. Although the strongest numbers are "So Many Stars" and the guitarist's solo rendition of his own "Cat's Eye," none of the selections are throwaways, and Wonder's "I Am Singin'" really cooks. Organist Joey DeFrancesco sounds fairly restrained and happy to be a sideman for a change, still showing off the strong influence of Jimmy Smith. Drummer Jeff "Tain" Watts is solid in support. Although it is doubtful if any of these songs (other than "So Many Stars") will catch on in the jazz world (the melodies are not overly strong), the performances on this disc are excellent and should interest soul-jazz collectors.~ Scott Yanow https://www.allmusic.com/album/double-gemini-mw0000030913

Personnel: Guitar – Paul Bollenback; Organ – Joey DeFrancesco; Drums – Jeff "Tain" Watts

Double Gemini

---

Joe Locke - Storytelling

Styles: Piano and Vibraphone 
Year: 2001
File: MP3@320K/s
Time: 54:28
Size: 125,4 MB
Art: Front

(6:33)  1. The Thrill Is Gone
(6:39)  2. Nature Boy
(7:55)  3. Hello Like Before
(5:09)  4. Who Killed Davey Moore?
(5:51)  5. Midnight Star
(7:30)  6. A Tale of Coincidence
(5:55)  7. Blame It On My Youth
(4:46)  8. I'll Be There
(4:06)  9. Don't Let It Bring You Down

In a disappointing shift from 2000's Beauty Burning, vibraphonist Joe Locke enlists vocalist Mark Ledford and keyboardist/co-producer Henry Hey for the pop-oriented Storytelling. Surrounding Locke and Ledford is a solid jazz ensemble: Hey, saxophonist Tim Garland, bassist Eric Revis, drummer Jeff "Tain" Watts, and guitarist Paul Bollenback. But there's a preponderance of contrived rock and Motown covers, including an eye-rolling "I'll Be There." (Is there a need for another remake after Mariah Carey's?) The standards are given fluffed-up, unexceptional treatments, although the ensemble passages toward the end of "The Thrill Is Gone" are a brief ray of light. "Midnight Star," with original words and music (and piano playing) by Locke, unfortunately doesn't rise above the morass, nor does his "A Tale of Coincidence," the only instrumental track. There's some fine playing on the record. Tim Garland's tenor break on Bob Dylan's "Who Killed Davey Moore?" is a highlight, and every solo by Locke, Hey, and Bollenback is an unfailing display of expertise. Ledford's singing voice, too, can be quite appealing  he sounded terrific on Don Byron's A Fine Line: Arias and Leider. But here he's saddled with lame material, and his presence rapidly becomes unwelcome. ~ David R. Adler https://www.allmusic.com/album/storytelling-mw0000001217

Personnel: Drums, Cymbal – Jeff "Tain" Watts ; Guitars – Paul Bollenback ; Piano – Joe Locke (tracks: 5); Piano, Hammond B3, Synthesizer – Henry Hey ; Saxophone, Bass Clarinet, Flute – Tim Garland; Trumpet, Vocals – Mark Ledford; Vibraphone – Joe Locke

Storytelling

---

Joe Locke - Beauty Burning

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 56:44
Size: 131,0 MB
Art: Front

(6:58)  1. Litha
(6:26)  2. Twilight
(7:31)  3. Pools Of Amber
(7:30)  4. Somewhere Waiting
(8:30)  5. Quiet As It's Kept
(5:45)  6. Where Is Love?
(6:37)  7. I - 95
(7:22)  8. Rasputainian Dance

On Beauty Burning, the fourteenth release under his own name, it's clear that vibraphonist Joe Locke was interested in making a good recording rather than merely providing a showcase for his own considerable talents. The disc is a thoughtful mixture of intimate, finely tuned ensemble playing and capable solos by the leader, pianist Frank Kimbrough, bassist Ray Drummond, drummer Jeff "Tain" Watts, and guitarist Paul Bollenback. Recording shortly after the band (minus Bollenback) played an engagement in New York, their empathy and willingness to listen to one another is evident on every cut. With the exception of Bollenback, each musician contributes at least one tune, and the material also includes compositions by Chick Corea, Darrell Grant, and Lional Bart. At his most assertive, such as on the lively "Litha," Locke's long, skittering lines are balanced by reflective, blues influenced passages. Kimbrough's solo on the same track sustains the vibraphonist's momentum, and Watts backs them both with insistent rhythms. "Twilight" is smooth jazz with substance, with Locke playing more deliberately and displaying considerable intelligence and wit. His "Somewhere Waiting" (which would make a great theme for a movie soundtrack) features a fine solo turn by Drummond. The bassist's "I-95" is mysterious-sounding stroll in which Watts fuels Locke's busy, intense solo. The empathy between Locke and Kimbrough on last year's release, Saturn's Child (OmniTone), is once again apparent in the ballad "Where Is Love." Their duet is filled with understated pleasures, such as Locke's beautiful voicing of the melody, his figures behind Kimbrough's graceful solo, and their penchant for augmenting and finishing each other's phrases. ~ David A.Orthmann https://www.allaboutjazz.com/beauty-burning-joe-locke-sirocco-music-limited-review-by-david-a-orthmann.php?width=1920

Personnel: Joe Locke: vibraphone; Frank Kimbrough: piano; Ray Drummond: bass; Jeff “Tain” Watts: drums; Paul Bollenback: guitar.

Beauty Burning

---

Greg Murphy Trio - Bright Idea

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 75:14
Size: 174,8 MB
Art: Front

(7:24)  1. Softly, as in a Morning Sunrise (From "The New Moon")
(3:47)  2. Happy (From "Despicable Me 2")
(7:20)  3. Bright Idea
(6:27)  4. Earthlings
(2:42)  5. 24K Magic
(4:58)  6. Street Cats
(5:08)  7. Finer Things
(7:08)  8. For My Mom
(4:39)  9. Straight No Blues
(8:37) 10. Moving Violation
(6:09) 11. Well, of All Things
(6:36) 12. Untitled Original 11383
(4:13) 13. Juneteenth Notes

The truly bright idea on keyboardist Greg Murphy’s Bright Idea was to bring in drummer Jeff “Tain” Watts. It isn’t just that Watts is a legendarily powerful player who, after making his name with the Marsalis brothers, went on to energize albums by Michael Brecker, Danilo Pérez, David Kikoski, and others; he also fits well with Eric Wheeler, Murphy’s regular bass player. Listen to the two work together on the album-opening “Softly, as in a Morning Sunrise” and the chemistry is obvious. The modal variation Murphy devised for the tune’s minor-key groove gets turbocharged by Watt’s churning, Blakey-style polyrhythms. What could have come off as just a pleasant, hard-bop take on an old chestnut is not only sparked into life but made to sizzle. The best bits of Bright Idea follow suit, with Murphy’s workmanlike solos given a jolt of energy that lifts everything a notch higher. There’s a lovely swagger to their take on Bruno Mars’ “24K Magic,” while their reading of the recently discovered John Coltrane tune “Untitled Original 11383” is strong and convincing. Even the Pharrell Williams earworm “Happy” takes on heft thanks to the grounding Watts and Wheeler provide. ~ J.D. Considine https://jazztimes.com/reviews/albums/greg-murphy-trio-bright-idea/

Personnel:  Piano, Keyboards – Greg Murphy; Bass – Eric Wheeler; Drums – Jeff "Tain" Watts

Bright Idea

---

Jimmy Greene - Flowers: Beautiful Life, Vol. 2

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 63:38
Size: 146,8 MB
Art: Front

(3:50)  1. Big Guy
(6:26)  2. Stanky Leg
(4:20)  3. Flowers
(7:17)  4. Second Breakfast
(4:19)  5. Fun Circuits
(6:38)  6. Stink Thumb
(5:17)  7. Someday
(7:52)  8. December
(5:30)  9. Amantes
(5:59) 10. Something About You
(6:04) 11. Thirty-Two

In 2012, saxophonist Jimmy Greene lost his six-year-old daughter Ana Grace Marquez-Greene when she was murdered alongside 20 of her schoolmates during the shooting at Sandy Hook Elementary School in Newtown, Connecticut. Poignantly, he paid tribute to Ana on his soulful 2014 album Beautiful Life. For 2017's buoyant follow-up, Flowers: Beautiful Life, Vol. 2, Greene continues to draw inspiration from his daughter's short life, this time exploring her love of dance. Joining Greene here is a stellar lineup featuring pianist Renee Rosnes, bassists John Patitucci and Ben Williams, drummers Otis Brown III and Jeff "Tain" Watts, guitarist Mike Moreno, percussionist Rogerio Boccato, and guest vocalists Jean Baylor and Sheena Rattai. If the first Beautiful Life found Greene in an understandably grief-stricken and deeply poetic state of mind, Flowers reveals a man who will never fully let go of his pain, but who is much more connected to the memory of his daughter's vitality and love of life than the tragedy of her death. This vitality is reflected in the animated grooves and lively melodies Greene brings to Flowers. There's also an experimental vibe here, with Greene bending his largely acoustic post-bop sound a bit more heavily toward fusion, as on the knotty groover "Fun Circuits." Similarly, "Stink Thumb," with its spacy Rhodes keyboard, brings to mind the '70s jazz of Herbie Hancock's Mwandishi band. Even the far-eyed, soprano saxophone feature "Something About You" explodes mid-song into a choppy, angular improvisation. Still, there is a bittersweet tinge to the proceedings reflected in the languid, Latin flow of "Amantes" and the yearning vocal ballad "Someday." Remarkably, on Flowers: Beautiful Life, Vol. 2, Greene remains a productive, positive-minded artist whose music, and memory, have only deepened in their harmonic, rhythmic, and spiritual grace. ~ Matt Collar https://www.allmusic.com/album/flowers-beautiful-life-vol-2-mw0003019114

Personnel:  Jimmy Greene (soprano, alto, tenor and baritone saxes);  Jean Baylor & Sheena Rattai (vocals);  Rogerio Boccato (percussion);  Otis Brown III & Jeff `Tain` Watts (drums & percussion);  Kevin Hays & Renee Rosnes (piano and Rhodes electric piano);  Mike Moreno (guitar);  John Pattitucci & Ben Williams (bass).

Flowers: Beautiful Life, Vol. 2

---

Lew Soloff - Rainbow Mountain

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 72:50
Size: 167,2 MB
Art: Front

( 9:30)  1. Frog Legs
( 9:36)  2. Rainbow Mountain
( 7:53)  3. Don't Speak
( 8:58)  4. Up from the Skies
( 7:04)  5. Quiero No Puedo
( 4:56)  6. Suzie Q
(10:23)  7. Starmaker
( 4:47)  8. Born on the Bayou
( 3:40)  9. Stairway to Heaven
( 5:56) 10. Tout Va Lews

Rainbow Mountain is a current example of a blowing session, featuring groove-oriented material, including a number of songs borrowed from the rock arena (Led Zeppelin’s “Stairway to Heaven,” John Fogerty’s “Born on the Bayou,” Jimi Hendrix’s “Up From the Skies”). The album rewards casual listening, mainly due to the high skill level and musicality of the participants. Soloff has been one of the best and most complete jazz trumpeters on the scene for a very long time, while Lou Marini, best known for his appearance in the first Blues Brothers movie, comes across well on saxes and flute, and contributes a lovely ballad, “Starmaker.” Joe Beck’s tastefully chorused guitar is the glue that holds the ensemble together, while electric bassist Mark Egan and drummer Danny Gottlieb (the Sly & Robbie of groove jazz) keep the beat lively while avoiding monotony. This CD would make a good gift for someone who harbors the typical prejudices against jazz: that it’s boring, old-fashioned or lacking in connections to post-rock musical culture. In New York, you occasionally hear young groups playing in a style similar to this, but seldom at such length, or as masterfully. As for whether this is jazz or pop, I can’t put it any more eloquently than Chip Stern did in his excellent liner notes. ~ Greg Robinson https://jazztimes.com/reviews/albums/lew-soloff-and-company-rainbow-mountain/

Personnel:  Trumpet – Lew Soloff, Miles Evans;  Bass – Mark Egan, Will Lee;  Drums – Danny Gottlieb, Jeff "Tain" Watts ;  Guitar – Hiram Bullock, Joe Beck;  Organ – Paul Shaffer;  Saxophone, Flute – Lou Marini;  Synthesizer – Delmar Brown

Rainbow Mountain

---

Rodney Jones - Dreams And Stories

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 55:24
Size: 127,8 MB
Art: Front

(4:44)  1. Star Eyes
(4:36)  2. Leana's Song
(3:42)  3. Happy Blue
(4:52)  4. The Song Is You
(5:38)  5. Blue Days, Blue Dreams
(3:12)  6. Five For The Duck
(4:08)  7. While We Dream
(5:46)  8. Summertime
(5:57)  9. Serena
(5:34) 10. No Time For The Blues
(3:10) 11. Blues When You Need Them
(3:58) 12. Road Song

This excellent set, which features guitarist Rodney Jones on his melodic originals, blues, ballads, and a few standards, sounds as if it were recorded in 2005 except for one fact. Pianist Kenny Kirkland, who passed away prematurely in 1998, is in the quartet. Surprisingly no date is included in the liner notes, so the 1985 date given for the previously unreleased set is just an educated guess, since it is mentioned that bassist Marc Johnson was new in town at the time of the recording. It is a joy to hear some "new" Kirkland solos but the contributions of Jones, Johnson, and drummer Jeff "Tain" Watts (who is very subtle throughout) should not be overlooked either. Jones' songs are excellent, with "Blue Days, Blue Dreams" and "While We Dream" in particular being rewarding ballads that should be covered by others. Recommended.~ Scott Yanow https://www.allmusic.com/album/dreams-and-stories-mw0000349061

Personnel: Rodney Jones (guitar); Marc Johnson (bass instrument); Kenny Kirkland (piano); Jeff "Tain" Watts (drums).

Dreams And Stories

---

Kurt Elling - The Questions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 65:13
Size: 149,9 MB
Art: Front

(8:05)  1. A Hard Rain's A-Gonna Fall
(3:46)  2. A Happy Thought
(6:12)  3. American Tune
(4:10)  4. Washing Of The Water
(6:18)  5. A Secret In Three Views
(6:54)  6. Lonely Town
(9:04)  7. Endless Lawns
(6:07)  8. I Have Dreamed
(6:24)  9. The Enchantress
(8:11) 10. Skylark

How does one grapple with existence and its juxtaposition against the present state of affairs? That's the question that hangs heaviest over The Questions. While vocalist Kurt Elling didn't come into this production with a theme in mind, he discovered a through line in the act of wrestling with difficulties and dreams in this age of marked unreason and unrest. With these ten songs he explores that topic to the fullest, coloring the music with his signature blend of authority and understanding.

 A mixture of tones inquiring and knowing sets this meditation on humanity and our times in motion with "A Hard Rain's A-Gonna Fall." Bob Dylan's difficult truths by way of Elling's passionate delivery immediately become the cynosure of ears and minds, though co-producer Branford Marsalis's soprano solo and drummer Jeff "Tain" Watts' pelting finish certainly garner attention. What follows an examining and affirming smile at life in pianist Stu Mindeman's musical setting of poet Franz Wright's " A Happy Thought," a gorgeous treatment of "American Tune" that recasts the Paul Simon classic as a treatise on immigration wrapped in hope's light and trapped in fear's web, and a hymn-like interpretation of Peter Gabriel's "Washing Of The Water" that's as emotive as anything in Elling's discography greatly furthers the image of the artist playing with the powers of enlightenment and doubt.  Through the remainder of the album, Elling paints with the various shades of perception, poetry, and philosophy that he knows so well. The bluesy resonance of "A Secret In Three Views" belies the deep thinking behind his Rumi-inspired lyrics to Jaco Pastorius' "Three Views Of A Secret," "Lonely Town" utilizes lighthearted sounds to frame the topic of solitude, "Endless Lawns" uses pianist-composer Carla Bley's "Lawns" as the musical basis for an arc that includes turmoil and release, and "I Have Dreamed" speaks to a yearning for love to bloom. Then the album closes with "The Enchantress," a work nodding toward matriarchal figures both Marsalis' and Elling's and taking directional cues from poet Wallace Stevens' "The Idea Of Order At Key West," and a toned-down "Skylark," bringing the title of this album into lyrical consideration in a subdued light. The core band members and notable guests all make the weight of their contributions felt along the way here, but Elling manages to carry the weight of the world in his voice. He may not have the answer to all of the questions, but he certainly makes you think about them. ~ Dan Bilawsky https://www.allaboutjazz.com/the-questions-kurt-elling-okeh-review-by-dan-bilawsky.php

Personnel: Kurt Elling: vocals; Stu Mindeman: piano, Hammond B-3 organ; Joey Calderazzo: piano (4, 6, 9); John McLean: acoustic guitar, electric guitar; Clark Sommers: bass; Branford Marsalis: saxophones; Marquis Hill: trumpet, flugelhorn; Jeff "Tain" Watts: drums.

Thank You my Friend!

The Questions

---

Kenny Kirkland - Kenny Kirkland

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 62:37
Size: 143,6 MB
Art: Front

(8:07)  1. Mr. J.C.
(3:32)  2. Midnight Silence
(1:35)  3. El Rey
(6:02)  4. Steepian Faith
(6:49)  5. Celia
(6:01)  6. Chance
(5:39)  7. When Will the Blues Leave
(8:36)  8. Ana Maria
(7:48)  9. Revelations
(5:19) 10. Criss Cross
(3:04) 11. Blasphemy

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments. ~ Scott Yanow https://www.allmusic.com/album/kenny-kirkland-mw0000676542

Personnel: Kenny Kirkland (piano, keyboards); Branford Marsalis (soprano & tenor saxophones); Charnett Moffet, Robert Hurst, Christian McBride (bass); Steve Berrios (drums, percussion); Jeff "Tain" Watts (drums); Don Alias (bongos, percussion); Jerry Gonzalez (congas, percussion).

Kenny Kirkland

---

Conrad Herwig - Unseen Universe

Styles: Trombone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:17
Size: 159,5 MB
Art: Front

(6:34)  1. The Tesseract
(8:30)  2. From Another Dimension
(8:38)  3. Unseen Universe
(9:17)  4. Triangle
(8:12)  5. All Is One
(5:19)  6. Rebirth
(6:18)  7. Circumstantially Evident
(7:39)  8. The Magic Door
(7:46)  9. Three Degrees Of Freedom

Conrad Herwig's dazzling trombone chops and intelligent compositions make Unseen Universe, his third Criss Cross release, a stirring success. His sextet can maneuver around tight corners and yet attack with the force of a band twice its size. With Alex Sipiagin on trumpet, Seamus Blake on tenor and soprano sax, David Kikoski on piano, James Genus on bass, and Jeff "Tain" Watts on drums, Herwig can be sure of the group's ability to bring lushly orchestrated charts to life and improvise with sterling clarity and brilliance. Conceptually, with the title track and also with pieces called "The Tesseract," "From Another Dimension," "Triangle," and "The Magic Door," Herwig seems preoccupied with geometry and some of its metaphysical implications. Even as he draws heavily on the '60s Blue Note sound as established by figures like Joe Henderson and Herbie Hancock, Herwig stretches the limits of modern mainstream jazz with this all-original set. ~ David R.Adler https://www.allmusic.com/album/unseen-universe-mw0000105512

Conrad Herwig Sextet: Conrad Herwig (trombone); Seamus Blake (tenor saxophone); Alexander Sipiagin (trumpet); David Kikoski (piano); James Genus (bass); Jeff "Tain" Watts (drums).

Unseen Universe

---

René Marie - Vertigo

Bitrate: MP3@320K/s
Time: 66:55
Size: 153.2 MB
Styles: Jazz vocals
Year: 2001
Art: Front

[5:18] 1. Them There Eyes
[6:25] 2. Surrey With The Fringe On Top
[4:54] 3. I'd Rather Talk About You
[5:15] 4. Don't Look At Me Like That
[6:38] 5. I Only Have Eyes For You
[4:01] 6. It's All Right With Me
[7:55] 7. Vertigo
[5:32] 8. Detour Ahead
[7:34] 9. Moonray
[6:22] 10. Blackbird
[6:58] 11. Dixie Strange Fruit

Bass – Robert Hurst (tracks: 1-7, 9-11); Bass Clarinet – Chris Potter (2) (tracks: 6); Drums – Jeff "Tain" Watts (tracks: 1-4, 7, 9-11); Guitar – John Hart (tracks: 4,5); Percussion – Jeffrey Haynes (tracks: 4, 5, 7, 11); Piano – Mulgrew Miller (tracks: 2-14, 7-10); Tenor Saxophone – Chris Potter (2) (tracks: 7, 9); Trumpet – Jeremy Pelt (tracks: 4, 10); Vocals – René Marie. Recorded on February 22 & 23, 2001 at Avatar Studios, New York

Rene Marie's second CD for MaxJazz is, for the most part, a very enjoyable CD. This extremely gifted singer has a very appealing voice and is a talented arranger as well. Her playful arrangement of "Them There Eyes," with bassist Robert Hurst and drummer Jeff "Tain" Watts, is very refreshing, with some fine scat singing, too. Her unusually deliberate and rather sexy take of "The Surrey With the Fringe on Top" adds pianist Mulgrew Miller and also has some fine scat singing, too. Her Latin chart for "I Only Have Eyes for You" proves catchy, with some tasty guitar playing from John Hart. "It's All Right With Me" is slowed to a snail's pace with Chris Potter's noodling bass clarinet and Hurst's brooding bass backing her powerful vocal. "Vertigo," another Marie original, is easily the most exciting piece on the session. The only occasion when she follows anything resembling an expected path is her lush treatment of the ballad "Detour Ahead" in a memorable duet with Miller. There are some weak spots. The original "Don't Look at Me Like That" is monotonous filler; while the Beatles' "Blackbird" is drastically rewritten with a tedious vamp that gives the song a somewhat ominous sound, but it grows tiresome quickly. The medley of "Dixie" (a song reviled by most African-Americans) and "Strange Fruit" (with its dramatic description of lynching) invites controversy. She sings "Dixie" a cappella with a possible touch of sarcasm, then the band is added for the shift into the piece that was first put on the map by Billie Holiday, introduced with almost a funeral march-like cadence. Somehow Rene Marie's lovely voice seems inappropriate for this song, as she doesn't reflect the anguish of its lyrics very consistently. Even with these reservations, this is a highly recommended CD. ~Ken Dryden

Vertigo

---

Jeff 'Tain' Watts - Megawatts

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 52:11
Size: 122,2 MB
Art: Front

(6:45)  1. Black Nile
(6:14)  2. Alycia
(5:42)  3. The Impaler
(5:16)  4. Rainbow
(4:49)  5. Kasploosh
(5:32)  6. You And The Night And The Music
(7:31)  7. Dance Of The Niblets
(6:32)  8. Opal Rose
(3:45)  9. Blooski

Megawatts has had a somewhat chequered past. Originally recorded in 1991, contractual difficulties made it necessary to release the record without Jeff "Tain" Watts’ name on the marquee. Consequently, the album never received the attention it deserved, and this is a shame because aside from being Watts’ first album as a leader, it represents one of only two trio albums that the late pianist Kenny Kirkland recorded. It would be worth the investment for that alone, but the truth is, in the post bop arena, this is as good as it gets. What can one say about Watts? Among his generation he has developed into one of the hardest swinging drummers around. While he asserts his presence throughout the programme he is less direct and more subtle than, for example, Ralph Peterson. But like Peterson he has an innate ability to maintain groove while playing in a more open fashion; one would be hard pressed to find a backbeat, even on bassist Charles Fambrough’s more insistent “Opal Rose.” Watts also distinguishes himself with ears that make him sensitive to the subtlest variations on the part of his band mates; he pushes and pulls behind Kirkland on Keith Jarrett’s “Rainbow,” creating a delicate sense of tension. Like Watts, Fambrough is a hard-swinging player, which is no surprise, given that he spent his formative years playing with the likes of McCoy Tyner and Art Blakey. A remarkable bassist with an oblique solo style, he is also a fine writer, with an angular harmonic sensibility, as evidenced on “Kasploosh.”

Kirkland was one of the most important pianists of his generation before his untimely death at the age of forty-three. His versatility and almost encyclopaedic knowledge of music saw him perform with artists as diverse as Miroslav Vitous, Branford Marsalis and Sting. Regardless of the context he always brought a strong sense of swing to the table. But while reactionaries like Wynton Marsalis, who rigidly asserts 4/4 swing as one of the fundamental definers of jazz, make it a restrictive element, Kirkland used it to liberate whatever he played, and combined it with a lyrical sensibility and virtuoso capability that, nevertheless, always kept the essence of the song in clear view. His performance on Megawatts constitutes some of his most exposed work, also representing some of his best ensemble playing. Megawatts is one of those sessions that could easily have fallen through the cracks, but thankfully Sunnyside Records has seen fit to reissue it and remind us that the essence of true jazz is not just about swing; it is about commitment, interaction and dedication to the tune. Watts, Fambrough and Kirkland approach every piece on the album with reverence, coupled with an exploratory verve that makes this session well worth revisiting. ~ John Kelman https://www.allaboutjazz.com/megawatts-jeff-tain-watts-sunnyside-records-review-by-john-kelman.php

Personnel: Jeff "Tain" Watts (drums);  Kenny Kirkland (piano);  Charles Fambrough (bass)

Megawatts

---

Jeff 'Tain' Watts - Bar Talk

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 70:28
Size: 161,9 MB
Art: Front

(4:20)  1. JC Is The Man (Part 1)
(8:37)  2. Vodville
(5:49)  3. Stevie In Rio
(9:52)  4. Mr. JJ
(6:06)  5. Side B
(8:16)  6. Kiss
(5:07)  7. JC Is The Man (Part 2 )
(5:31)  8. Laughin' & Talkin' (with Higg)
(8:05)  9. Tonality Of Atonement
(8:42) 10. ...Like The Rose

Now here’s a guy (and a group) that can play: Jeff “Tain” Watts, who is quite simply one hell of a drummer, is an artist growing in popularity but building impressive skill and power after having served as a supporting player for the likes of such prominent jazz masters as pianist McCoy Tyner and guitarist George Benson. In the terrific Bar Talk , working with Ravi Coltrane (tenor), David Budway (piano), James Genus (bass), Paul Bollenback (guitar) and Gregoire Maret (harmonica), Watts creates music that forgets to play it safe and the listeners are the beneficiaries. Adding to this pedigree are awesomely performing guest stars: Branford Marsalis, Micahel Brecker, Hiram Bullock, Robert Thomas, Jr., and Joey Calderazzo. Wow.

Watts and his group play not simply with vibrancy, but employ a virtuoso command of music that allows them to try new things, and do so with coherency and sheer command. In the constant varying of tempo changes and improvisational bravado alone, they deliver on the broken promises of their contemporaries in sustaining their invention all throughout rather than sparringly. There’s the kind of marvelously sloppy, anything-goes dexterity akin to Wayne Shorter in opening number “JC is The Man” (which JC Coltrane or the man upstairs are they referring to, one wonders), which is smoothly contrasted as soon as the third cut, “Stevie In Rio” (a Stevie Wonder tribute), which pays particular attention to Maret’s terrific use of harmonica and the quietly yet wonderfully lush guitar backbone provided by Bollenback. Budway’s very assured piano playing provides winning touches, and all throughout, Watts’ drumming unquestionably is the guiding force. That’s just one track, but you’ll find such attention to detail, clarity and invention in anything these boys play. 

Together as a team or separate as soloists, this crew is as about as promising and passionate as they come nowadays. Several tracks refreshingly break the five-minute mark (hey, regular pop rock rarely breaks the three minute barrier), and each cut manages to dip into some kind of jazz flavor, from the bluesy aura of “Side B,” to the genuine virtuosity of “Mr. JJ,” in which Ravi Coltrane’s saxophone is the highlight, conjuring up a passion and proficiency eerily similar to his father, all-time-great John Coltrane. Higher praise is not necessary. Helpful readers have informed the critic that "JC" refers to James Carter.  ~ Paul West https://www.allaboutjazz.com/bar-talk-jeff-tain-watts-columbia-records-review-by-paul-west.php

Personnel: Jeff "Tain" Watts (guitar) Ravi Coltrane (tenor) David Budway (piano) James Genus (bass) Paul Bollenback (guitar) Gregoire Maret (harmonica)

Bar Talk

---

Jeff 'Tain' Watts - Detained At The Blue Note

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 70:53
Size: 164,3 MB
Art: Front

(13:47)  1. 107 Steps
(10:56)  2. JC Is The Man
(11:54)  3. Mr. JJ
(19:03)  4. Sigmund Groid
(15:10)  5. ...Like The Rose

On Detained at the Blue Note , Jeff "Tain" Watts' first live outing as a leader, the effusive drummer lets loose with one of the most unrestrained performances he's ever released. Watts' uninhibited style of drumming is best heard in the intimate club setting in which this disc was recorded. The outgoing Tain is inspired by the interaction with a live audience and the listeners respond in kind as the music escalates in intensity, delivering climax after climax to their roaring approval. Opening with Bjork's "107 Steps," the quintet featuring saxophonist Marcus Strickland, pianist Dave Kikoski, guitarist David Gilmour and bassist Eric Revis engage in a liberated dance on the Latinish line, driven relentlessly by the leader's inexorable rhythms. The date's other four tracks reinvent Watts' compositions from his earlier studio dates. "JC Is The Man" from Bar Talk is appropriately a dedication to a former Zinc Bar mixologist (Jean Claude) and not John Coltrane, although the music is most certainly, like most of Watts' compositions, Trane influenced. The group bookends the song with a good-humored vocal chorus; in between they settle into a groove with Gilmore's guitar and Kikoski's keyboards setting a more Milesian mode. 

Watts introduces the "powerful and soulful" Kenny Garrett, who joins the band for "Mr. JJ," raising the excitement level another point with a passionate Coltrane-Sanders inspired solo that culminates in an electrifying duet with the explosive Watts. Strickland holds his own on tenor, once again proving that he is the leading up-and-coming saxophonist on the scene today. Citizen Tain's "Sigmund Groid" receives a thorough treatment on a nineteen-minute examination of Watts' thoughtful melody, featuring a searing extended solo by Garrett. The closing "Like The Rose," a moving ballad by Watts, begins with a beautiful bluesy piano prelude from Kikoski that introduces the leader's vocal recitation of his lyrics, which are almost Shakespearean in their romanticism. Garrett and Gilmore get downright funky on the body of the tune, gamboling joyously over a Tain backbeat that spirals into a whirlwind that drives Gilmore's guitar and Kikoski's keyboards into a frolicking frenzy before returning to the tune's tender words. Few live dates succeed on the level of this one. Watts' ability to capture the hearts and souls of listeners with music that remains uncompromising in its creativity is a shining example to all who aspire to reach a wider audience without sacrificing their integrity. ~ Russ Moto https://www.allaboutjazz.com/detained-at-the-blue-note-jeff-tain-watts-half-note-records-review-by-russ-musto.php

Personnel: Jeff "Tain" Watts (drums, vocal), Kenny Garrett (alto saxophone), Dave Kikoski (piano, synthesizer), Eric Revis (bass), David Gilmore (guitar), Marcus Strickland (tenor saxophone)

Detained At The Blue Note

---

Jeff "Tain" Watts - Wattify

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 40:55
Size: 94,3 MB
Art: Front

(5:32)  1. Plop Life
(6:22)  2. Dingle Dangle
(4:47)  3. Koolie Blue
(5:56)  4. Mini Driva
(6:57)  5. Laura Elizabeth
(5:20)  6. Monkey Paw Yelp
(5:59)  7. Farley Rides Again

Jeff "Tain" Watts came to fame as drummer with the early Wynton Marsalis band. He has been greatly in demand ever since, playing and recording with such musicians as Geri Allen, Ricky Ford, Robin Eubanks, Betty Carter, McCoy Tyner, Gary Thomas, and Branford Marsalis, among others. He made his debut as a leader for the Sunnyside label in 1991 and joined the Tonight Show Band when Branford Marsalis became its director. Jeff Watts is both a virtuosic and a subtle drummer who is versatile enough to fit into many settings. ~ Scott Yanow https://itunes.apple.com/us/album/wattify/id1141277116

Wattify

---