Steve Slagle, Kenny Drew Jr - Reincarnation

Styles: Saxophone And Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 70:49
Size: 163,3 MB
Art: Front

(10:48)  1. Reincarnation of a Lovebird
( 7:50)  2. Yesternite
(10:01)  3. Soultrane
( 6:55)  4. Sweet Pepper
( 7:21)  5. Afro Cubano
( 7:09)  6. Bess You Is My Woman Now
( 5:37)  7. Spirit of Miles
( 8:34)  8. Isfahan
( 6:30)  9. News Blues

B. 18 September 1951, Los Angeles, California, USA. Starting out playing saxophones while still very young, Slagle moved to the opposite side of the country where he studied at the Berklee College Of Music. Subsequently, and through the 70s, he worked with artists as diverse as Stevie Wonder, John Scofield and Machito. In the early years of the next decade he was with Woody Herman’s band, playing tenor saxophone, and also worked with Lionel Hampton, playing alto, and Charlie Haden, Carla Bley, Steve Kuhn, and Mingus Dynasty. At the end of the 80s he was musical director for the Ray Barretto Band. His first album as a leader was released in 1983, and during the 80s he often worked with a quartet featuring Jaco Pastorius (bass), Mike Stern (guitar) and Adam Nussbaum (drums). In the following decade Slagle recorded several sessions for SteepleChase Records, with musicians including Tim Hagans and Ryan Kisor (trumpets), Kenny Drew Jnr. (piano), Cameron Brown (bass), and Gene Jackson (drums). Slagle also co-leads a group with Dave Stryker (guitar), and works as lead altoist and chief arranger with the Mingus Big Band.

A brilliant stylist, who also plays soprano saxophone and clarinet, Slagle’s work indicates his abiding interest on the transitional music that followed hard bop into free jazz, although he is at his considerable best when he underpins these latter-day forms with the essence of the blues. His striking technical mastery of his instruments is always evident but it is never used for its own sake. Although adept on all the instruments in his arsenal, Slagle is perhaps must interesting on alto, where his sinuous solo lines create a musical atmosphere that is both demanding and compelling in its intensity. https://www.allmusic.com/artist/steve-slagle-mn0000033922/biography

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death.~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Reincarnation

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David Binney, Jeff Hirshfield - A Small Madness

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 44:15
Size: 102,3 MB
Art: Front

(6:06)  1. Dolores
(3:54)  2. The Mystery of Influence
(6:00)  3. Mallari
(5:07)  4. A Small Madness
(5:12)  5. Old Books
(1:55)  6. Renegade
(2:35)  7. Oddman
(2:55)  8. Useful Illusion
(5:43)  9. Left
(4:42) 10. Impossible Histories

Groove and lyricism to go. Perhaps Binney’s fine writing and arranging on his solo sets such as South and Balance as well as albums by Lan Xang have somewhat distracted attention from his alto playing. Listening to this set I’d say that it’s probably never sounded stronger, there is a fine blend of finesse and attack in both Binney’s phrasing and tone, it’s kind of Jan Garbarek meets Charlie Mariano. In Hirshfield he has a partner of equal drive and lightness of touch, his incisive yet finely controlled backbeat and snapping snare placing him on a similar plane to Jim Black, Bobby Previte and Tom Rainey. Touching on anything from funk to drum & bass to rolling bop, the dynamic duo create a personal, highly engaging world of sound to which Binney’s vivid electronic colours add a great deal. An energetic power surge, full of dionysian dynamism from what sounds like a lot more than two musicians. [Echoes, Kevin Le Gendre] https://davidbinney.bandcamp.com/album/a-small-madness

Personnel: Alto Saxophone, Electronics – David Binney; Drums – Jeff Hirshfield; Vocals – Tanya Henri (tracks: 3)

A Small Madness

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Harold Danko - Fantasy Exit

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 61:17
Size: 141,9 MB
Art: Front

( 9:08)  1. Hi-Fly
( 3:58)  2. Mrs. Parker of Kc
( 8:21)  3. Fantasy Exit
(10:21)  4. Born to Be Blue
( 8:17)  5. Smoke House
( 3:28)  6. Rocker
( 7:16)  7. Tea Time
( 8:00)  8. In and Out
( 2:23)  9. Lullaby

Trio dates are somewhat of a rarity for Harold Danko, but he makes the most of the opportunity on this 2002 session for Steeplechase. With bassist Michael Formanek and drummer Jeff Hirschfield, he chooses a wide range of jazz compositions, starting with a radically different, more free-flowing than usual approach to Randy Weston's "Hi Fly." Danko's arrangement of Jaki Byard's "Mrs. Parker of K.C." (first recorded by its composer on a date as a sideman with Eric Dolphy) adds many twists and turns to an already challenging work. On the other hand, he sticks closer to the beautiful melody of Mel Tormé's ballad "Born to be Blue," while proving that Gerry Mulligan's upbeat "Rocker" can be a successful vehicle without the presence of a horn. The leader's twisting post-bop original "Smoke House" is clearly inspired by Tadd Dameron's "Hot House" (which is in turn based on the chord changes to Cole Porter's "What Is This Thing Called Love?"). This highly recommended date is easily one of the best of Harold Danko's long career. 

~ Ken Dryden https://www.allmusic.com/album/fantasy-exit-mw0000990767

Personnel: Piano – Harold Danko; Bass – Michael Formanek; Drums – Jeff Hirshfield

Fantasy Exit

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Harold Danko - The Feeling Of Jazz

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 71:06
Size: 163,5 MB
Art: Front

(10:58)  1. In a Sentimental Mood
(10:06)  2. Take the Coltrane
( 8:02)  3. Big Nick
( 9:51)  4. Stevie
(12:39)  5. My Little Brown Book
(10:44)  6. Angelica
( 8:43)  7. The Feeling of Jazz

This is an unusual CD. Pianist Harold Danko, tenor saxophonist Rich Perry, bassist Scott Colley, and drummer Jeff Hirshfield perform the same seven songs (in the same order) as Duke Ellington and John Coltrane did during the famous recorded meeting in 1962. These renditions are lengthier than the originals, and there is no attempt to imitate Duke and 'Trane, although their interpretations are purposely hinted at in places. In addition to "In a Sentimental Mood" and "Take the Coltrane," there are revivals of several songs that deserve to become standards: "Big Nick," "Stevie," and the catchy "Angelica." A very enjoyable outing. ~ Scott Yanow https://www.allmusic.com/album/the-feeling-of-jazz-mw0000095137

Personnel: Piano – Harold Danko; Bass – Scott Colley; Drums – Jeff Hirshfield; Tenor Saxophone – Rich Perry

The Feeling Of Jazz

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Harold Danko - Stable Mates

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 74:00
Size: 170,3 MB
Art: Front

(8:20)  1. Con Alma
(6:37)  2. Quietude
(8:46)  3. Windows
(8:06)  4. Gingerbread Boy
(9:41)  5. Dolphin Dance
(4:08)  6. Solar
(6:08)  7. Seven Steps to Heaven
(7:32)  8. Nostalgia in Times Square
(6:21)  9. Line for Lyons
(8:17) 10. Stablemates

It’s a shame that we see so little press for those few working bands currently in existence. It’s bad enough that money and schedules make it difficult to keep any kind of firm line-up in place for very long, making such business enterprises almost unviable these days. Little beyond their developing catalog of SteepleChase sides seems to suggest that the Harold Danko Quintet will be taking the world by storm any time soon, yet the group happens to be of the first rank when it comes to the kind of sympathetic and empathetic ensembles that were almost the norm back in the ‘50s and ‘60s. Together for most of the ‘90s, the Danko Quartet’s fifth set for SteepleChase, Stable Mates, gathers a selection of the type of tunes many developing jazz artists have used to cut their teeth on over the years. The Miles Davis connection is a strong one too, with “Solar” and “Seven Steps to Heaven” on tap, as well as classics from former Davis sidemen Chick Corea, Herbie Hancock, Victor Feldman, and Jimmy Heath. The sign of a group certain in its abilities and identity, there’s a sense of relaxed confidence that permeates. As a result, the previously mentioned “Seven Steps to Heaven,” which in lesser hands can merely be a lessen in pure speed, bounces at a medium tempo with the support of bassist Scott Colley’s well-placed “steps”. Saxophonist Rich Perry distinguishes himself once again with a liquid tone and seamless technique, the perfect match to Danko’s refined lyricism. Stable mates, band mates, whatever the terminology, the Harold Danko Quartet proves again that it’s all in the chemistry. ~ C.Andrew Hovan https://www.allaboutjazz.com/stable-mates-harold-danko-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Harold Danko- piano, Rich Perry- tenor saxophone, Scott Colley- bass, Jeff Hirshfield- drums

Stable Mates

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Alex Sipiagin - Images

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 51:02
Size: 117,6 MB
Art: Front

( 8:03)  1. Tarde
( 7:44)  2. Freaker
(11:57)  3. Little Dancer
( 3:26)  4. Song - 1
(12:34)  5. Novgorod Bells
( 7:15)  6. Midwestern Night Dream

"Alex Sipiagin is an amazing musician truly a multifaceted composer, arranger, producer, a wonderful lead trumpet player, and most of all, a completely original trumpet and flugelhorn soloist. As an improviser, he blends his Russian American background into something unique which, quite frankly, astounds me every time I hear him" ~ Randy Brecker, trumpeter. http://www.alexsipiagin.com/

Personnel: Trumpet, Flute, Producer, Arranged By – Alex Sipiagin; Alto Saxophone – David Binney; Bass – Scott Colley; Drums – Jeff Hirshfield; Guitar – Adam Rogers ; Piano, Accordion – Gil Goldstein; Tenor Saxophone – Chris Potter ; Trombone – Joshua Roseman

Images

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Dave Stryker - Full Moon

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 64:55
Size: 149,4 MB
Art: Front

(8:45)  1. The sphinx
(5:52)  2. I mean you
(8:21)  3. Wise one
(5:40)  4. Leadbelly sez
(9:03)  5. Bayou blues
(8:58)  6. Deluge
(2:13)  7. Monk's mood
(8:18)  8. The disguise
(7:42)  9. Full moon

WASHINGTONIANS may know guitarist Dave Stryker's work by way of the soulful accompaniment he's provided saxophonist Stanley Turrentine in concert dates and recording sessions over the past decade, but his new quartet album, "Full Moon," presents a much broader picture of his exceptional talent and diverse tastes. Unlike some recordings that attempt to demonstrate a musician's stylistic reach, only to end up sounding contrived and disjointed, "Full Moon" is as cohesive as it is adventurous. The quartet's precise interplay, honed over a period of 10 years and four recordings, distinguishes each arrangement and manifests itself in both subtle and stirring forms, from the sly, conversational exchanges between Stryker, bassist Jay Anderson and drummer Jeff Hirshfield to the brash but precise unisons stated by Stryker and saxophonist Steve Slagle. In addition to this near telepathic level of teamwork, "Full Moon" consistently benefits from the resourcefulness and ingenuity Stryker and Slagle demonstrate as improvisers and from a series of truly distinctive arrangements. Among the best are a New Orleans funked-up version of Thelonious Monk's "I Mean You," Stryker's own languid musing "Bayou Blue," and Ornette Coleman's bop-inspired theme, "The Disguise." DAVE STRYKER -"Full Moon" (SteepleChase). Appearing Wednesday at Blues Alley with the Steve Slagle Quartet. To hear a free Sound Bite from this album, call 202/334-9000 and press 8109. ~ Mike Joyce https://www.washingtonpost.com/archive/lifestyle/1995/02/03/stryker-hits-mark-on-full-moon

Personnel:  Guitar – Dave Stryker; Alto Saxophone, Flute – Steve Slagle;  Bass – Jay Anderson; Drums – Jeff Hirshfield

Full Moon

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Harold Danko - Triple Play

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 64:08
Size: 147,8 MB
Art: Front

( 9:06)  1. Total Obsesson
( 6:47)  2. Sky Blues
( 6:15)  3. Mademoisselle Dreamy
( 5:16)  4. A Quiet Dawn
(10:48)  5. Triple Play
( 7:47)  6. Shallow Waters
( 4:12)  7. Classified Attachment
( 7:13)  8. Ancient and Distant
( 6:40)  9. Stream of Tears

Harold Danko sounds wonderful here with his long-established trio a group so well-matched, most of the songs on this set arose from collective improvisations during the recording sessions! Yet these aren't outside, avant tunes in which all players roam freely in space and instead, they're melodic, rhythmic, very tuneful extrapolations that are often based on older standards but which are so transformed, you can't really hear any roots of the originals as the players take flight in that magical collaborative creation that marks jazz at its best! Danko plays piano, Jay Anderson is on bass, and Jeff Hirshfield is on drums  and titles include "Sky Blues", "Stream Of Tears", "Shallow Waters", "Mademoiselle Dreamy", "Total Obsession", and "Ancient & Distant".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/865149/Harold-Danko:Triple-Play

Personnel:  Harold Danko - piano; Jay Anderson - bass; Jeff Hirshfield - drums

Triple Play

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Harold Danko - Tidal Breeze

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 62:25
Size: 143,9 MB
Art: Front

( 7:29)  1. Tidal breeze
( 7:06)  2. Blue Swedish wildflower
( 7:58)  3. Wayne Shorter
( 6:32)  4. McCoy's passion
( 7:00)  5. Swift shifting
( 8:50)  6. Personal cornucopia
( 5:23)  7. Soaring thru space
(12:02)  8. Pastoral landing

One of many fine outings by Harold Danko for Steeplechase, this quartet session is a bit different from most of his CDs for the label, as he mostly focuses on revisiting his older compositions. With the solid tenor saxophonist Rich Perry, bassist Scott Colley, and drummer Jeff Hirschfield rounding out this talented group, the pianist explores songs written during several different decades. His richly textured tribute "Wayne Shorter" is an excellent portrait featuring Perry, while the turbulent descending line of "McCoy's Passion" captures the energy of McCoy Tyner perfectly. The upbeat "Swift Shifting" is described by Danko as a blues of sorts, though few listeners will likely think of his driving post-bop anthem in that way. The one new song making its debut is the quirky "Personal Cornucopia," which alternates between its complex theme and soft, introspective passages for the rhythm section. ~ Ken Dryden https://www.allmusic.com/album/tidal-breeze-mw0000443423

Personnel:  Piano, Composed By – Harold Danko; Bass – Scott Colley; Drums – Jeff Hirshfield; Tenor Saxophone – Rich Perry

Tidal Breeze

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Walt Weiskopf - Exact Science

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 51:47
Size: 119,0 MB
Art: Front

(2:54)  1. Telltale
(4:35)  2. Jay-Walking
(4:59)  3. About You
(5:19)  4. Mr. Golyadkin
(5:58)  5. Intuition
(6:45)  6. Indecisive
(4:57)  7. Sad But True
(5:05)  8. Exact Science
(6:05)  9. Scenes from Childhood
(5:06) 10. Falling in Love with Love

A potent tenor saxophonist and composer firmly in the tradition of John Coltrane and Sonny Rollins, Walt Weiskopf was born in Augusta, GA, and grew up in Syracuse, NY. Upon moving to New York City, he joined the Buddy Rich Big Band in 1981 at the age of 21; two years later, Weiskopf signed on with the Toshiko Akiyoshi Jazz Orchestra, concurrently forming his own quartet with brother Joel on trumpet, Jay Anderson on bass, and Jeff Hirshfeld on drums. His debut, Exact Science, appeared in 1989, followed a year later by Mindwalking; Simplicity, released in 1992, topped the European jazz charts for four weeks. After 1993's A World Away, Weiskopf for the first time departed from original compositions to record 1995's Night Lights, a collection of standards; 1997's Song for My Mother, however, returned his own material to the forefront. 

A graduate of the Eastman School of Music in Rochester, NY, Weiskopf and fellow Eastman alum Ramon Ricker teamed in 1990 to write the books Coltrane: A Player's Guide to His Harmony and The Augmented Scale in Jazz; in 1994, Weiskopf also published Intervalic Improvisation, a player's guide for broadening the scope of modern jazz improvisation. In 1996, he joined drummer Rick Hollander's quartet, and as a headliner returned in 1999 with Anytown. Siren was issued a year later. ~ Jason Ankeny https://www.allmusic.com/artist/walt-weiskopf-mn0000237531/biography

Personnel:  Tenor Saxophone – Walt Weiskopf; Bass – Jay Anderson; Drums – Jeff Hirshfield; Piano – Joel Weiskopf

Exact Science

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Vic Juris, Dick Oatts, Jay Anderson, Jeff Hirshfield - Remembering Eric Dolphy

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 60:49
Size: 140,0 MB
Art: Front

(4:41)  1. Miss Ann
(7:51)  2. Vaults
(5:56)  3. Latin's Lamp
(7:24)  4. Emphasizing Eric
(7:19)  5. Tone Rose
(5:29)  6. South St. Exit
(6:33)  7. Something Sweet, Something Tender
(7:35)  8. He Me
(4:12)  9. Gentle
(3:44) 10. Out There

As a significant statement of its own by guitarist Vic Juris and his sympathetic ensemble, Remembering Eric Dolphy is an undeniable success. As the tribute affair its title suggests it proves to be far more illusive. For one thing, out of the ten selections only four happen to be Dolphy originals, while the rest are new compositions by Juris and reedman Dick Oatts. Although you can interpret the next point in two ways, it seems that the instrumentation is a bit unusual in that Dolphy never recorded with a guitarist. Still, Juris’ gumption for tackling this project and doing so in such an idiosyncratic manner is nothing to sneeze at. All of the foregoing aside, Juris’ writing is exceptionally strong throughout, touching on many moods. The catchiest of the lot are “Latin’s Lamp” and “He Me,” with the former not unlike Berlin’s “Remember” (is there some connection there to the album’s title?) and the latter making leaps towards some “giant steps” before changing directions. As for the Dolphy tunes, “South St. Exit” is probably the most unforgettable due to Oatt’s flute work and one ends up wishing his burnished tone on that instrument was heard from more than just on this one track. Juris’ guitar sound is strikingly similar to that of John Abercrombie. He arrives at a processed tone that on more than one occasion puts me in mind of such Abercrombie ECM sides as “Getting There” and “Current Events.” As for the rest of the crew, hats off to Oatts for not attempting to imitate Dolphy in any way and accolades to bassist Jay Anderson and drummer Jeff Hirshfield for being so responsive to the character of each composition. So once again, I’m not sure how well this works as a Dolphy homage but I am sure that this is one of Juris’ best records to date. ~ C.Andrew Hovan https://www.allaboutjazz.com/remembering-eric-dolphy-vic-juris-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Vic Juris- guitar; Dick Oatts- alto & soprano sax and flute; Jay Anderson- bass; Jeff Hirshfield- drums

Remembering Eric Dolphy

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Steve Laspina - Eclipse

Styles: Jazz, Post Bop
Year: 1994
File: MP3@320K/s
Time: 64:13
Size: 147,3 MB
Art: Front

(7:20)  1. Inside out
(8:31)  2. New life
(6:17)  3. What?
(3:27)  4. Eclipse
(9:22)  5. Just so you know
(5:47)  6. And now I know
(8:58)  7. When I return
(7:01)  8. Just a phase
(7:26)  9. In search of Peace

Bassist Steve LaSpina (b. March 24, 1954 in Texas) is one of the leading figures of New York’s jazz scene today. Following his first leader album on SteepleChase, LaSpina surrounds himself with the same empathic sidemen as the previous album and continues to concentrate on his own compositions which “ focus on nuance and subtlety ” (JazzTimes).

Besides leading his own group presented here, Steve works regularly with Richie Beirach, Bob Brookmeyer, Tommy Flamagan, Dave Liebmann among others.

Personnel: Steve LaSpina (bass); Billy Drewes (tenor saxophone, alto saxophone, clarinet, bass clarinet);  Marc Copland (piano);  Jeff Hirshfield (drums).

Eclipse

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John Abercrombie & Andy Laverne Quartet - Now It Can Be Played

Styles: Guitar And Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 66:47
Size: 153,3 MB
Art: Front

(7:46)  1. Now It Can Be Played
(8:29)  2. I Wish I Knew
(8:33)  3. Shadow and Fog
(7:32)  4. John's Waltz
(9:09)  5. Cat Nap
(8:08)  6. Yesterdays
(7:57)  7. Labour Day
(9:08)  8. Waltz King

John Abercrombie and Andy LaVerne had worked together on a number of occasions with each other, and with bassist Steve LaSpina and drummer Jeff Hirschfield, though Now It Can Be Played marked the first occasion for all four musicians to work together on a recording session. The standard "I Wish I Knew" is a sparkling example of their listening to one another, while the influence of the late Bill Evans is obvious in LaVerne's solo. Their setting of "Yesterdays" is a bit unconventional, taking an angular post-pop approach that opens up new possibilities within this decades-old standard. LaVerne contributed several originals, including the intricate "Shadows and Fog" and the exotic "Waltz King." Abercrombie penned the mid-tempo cooker "Labour Day" and "John's Waltz," the latter previously recorded by the composer with LaVerne for their duo CD Natural Living. This is a fine date that is filled with many interesting twists. ~ Ken Dryden https://www.allmusic.com/album/now-it-can-be-played-mw0000916762

Personnel: John Abercrombie (guitar); Andy LaVerne (piano); Jeff Hirshfield (drums).

Now It Can Be Played

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Fred Hersch Trio - Heartsongs

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 59:33
Size: 136,9 MB
Art: Front

(8:33)  1. The Man I Love
(3:33)  2. Fall
(6:16)  3. Lullabye
(3:13)  4. Free For Three
(5:07)  5. Heartsong
(7:36)  6. Infant Eyes
(4:26)  7. Beam Me Up
(4:31)  8. I Mean You
(5:34)  9. Evanessence
(7:00) 10. Rain Waltz
(3:39) 11. The Sphinx

Before Fred Hersch's star rose during the 1990s, resulting in several Grammy nominations, he was quietly establishing himself as one of the most lyrical up-and-coming pianists, as he demonstrates on these 1989 studio sessions. Accompanied by bassist Michael Formanek and drummer Jeff Hirschfield, he surprises the listener right away with a fresh approach to the oft-heard standard "The Man I Love," gliding over Hirschfield's adept brushwork and Formanek's soft, spacious bassline. Wayne Shorter's "Infant Eyes" also benefits from Hersch's minimalist approach, shimmering in an arrangement in which the leader and the bassist alternate solos. But Hersch best demonstrates his considerable gifts as a composer. "Heartsong" is a captivating work that he has sometimes played in a solo setting, though this trio version proves to be explosive. "Evanessence" is a gorgeous tribute to the late Bill Evans, with a superb solo by Formanek reminiscent of Scott LaFaro's fleet performances with Evans. Although Fred Hersch has made released many memorable CDs since this Sunnyside release, this fine effort is also well worth investigating. ~ Ken Dryden https://www.allmusic.com/album/heartsongs-mw0000690846

Personnel: Fred Hersch (piano); Mike Formanek (bass); Jeff Hirshfield (drums)

Heartsongs

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Rich Perry - Gone

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 65:28
Size: 150,5 MB
Art: Front

(11:32)  1. Gone With the Wind
( 8:10)  2. Theme for Ernie
( 8:20)  3. Don't Blame Me
(12:16)  4. Emily
( 7:50)  5. You Say You Care
( 8:40)  6. Estate
( 8:37)  7. Nancy With the Laughin' Face

Like many American jazz musicians, Rich Perry has found abundant opportunities to record for the Danish label Steeplechase. The tenor saxophonist and alum of the Thad Jones/Mel Lewis Orchestra (among many other bands) is heard leading a quartet full of regular collaborators consisting of pianist Harold Danko (with whom Perry also often appears on the pianist's own Steeplechase CDs), bassist Jay Anderson, and drummer Jeff Hirschfield. The session is dominated by familiar standards, though Perry chooses atypical paths in their explorations of them. "Gone with the Wind" is frequently subjected to rather breezy treatments, while the tenor saxophonist prefers to simmer the music in an extended post-bop workout. His approach to "Don't Blame Me" has a strolling undercurrent backing his whimsical tenor. The lovely "Emily" is another extended workout, though it never loses its lyricism, highlighted by Danko's lush solo. The spacious setting of the ballad "You Say You Care" conveys the sense of melancholy perfectly, as does their haunting rendition of the bittersweet bossa nova "Estate." The music throughout the date comes across so effortlessly that it wouldn't be surprising to learn that the musicians completed everything in one or two takes and left the studio early. ~ Ken Dryden https://www.allmusic.com/album/gone-mw0000832907 

Personnel: Rich Perry (tenor saxophone); Harold Danko (piano); Jeff Hirshfield (drums).

Gone

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Louis Smith - Louisville

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 60:16
Size: 139,8 MB
Art: Front

(7:08)  1. Buzzy
(6:52)  2. Isfahan
(6:38)  3. Algo Bueno
(8:19)  4. I'll Close My Eyes
(7:46)  5. Ande
(6:35)  6. For All We Know
(8:06)  7. Days Of Wine And Roses
(8:49)  8. Scrapple From The Apple

Louis Smith’s Louisville (Steeplechase) is a no-frills, straightahead exercise in postbop. Smith and altoist Jon Gordon provide an excellent front line, with tight playing on heads, backed effectively by pianist Michael Cochrane, bassist Calvin Hill and drummer Jeff Hirshfield. The tune selections show imagination, from the neglected (Charlie Parker’s “Buzzy”) to the familiar (“Scrapple From the Apple”) to the in-between (Dizzy Gillespie’s “Algo Bueno,” better known as “Woody ‘n’ You”). Smith has a penchant for ballads with interesting changes (“For All We Know” and “I’ll Close My Eyes”), including a reverent reading of Billy Strayhorn’s lovely “Isfahan.” The lone original is Smith’s “Ande,” an uptempo reworking of the changes to “Indiana” that allows him to show that at 73 he’s lost none of his fluidity, none of his improvisational skill and none of his ability to swing at any tempo. ~ Harve Siders https://jazztimes.com/reviews/briefs/louis-smith-quintet-louisville/ 

Personnal: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Cochrane (piano); Calvin Hill (bass); Jeff Hirshfield (drums).

Louisville

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Frank Kimbrough - Rumors

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 53:33
Size: 123,0 MB
Art: Front

(8:22)  1. Six
(5:31)  2. TMI
(7:06)  3. Hope
(5:41)  4. Rumors
(7:52)  5. Sure As We're Here
(6:35)  6. Forsythia
(6:23)  7. Over
(6:00)  8. For Andrew

Timing is everything, whether discussing music, sports or life in general, and this certainly proves to be the case with the recording of Rumors. In September of 2009, jazz photographer and occasional producer Jimmy Katz made a last minute offer to record pianist Frank Kimbrough in a setting of his choice. Kimbrough, having just played with bassist Masa Kamaguchi and drummer Jeff Hirshfield at the Kitano in New York City, yearned to connect with these musicians again before Kamaguchi returned to his home in Barcelona. The timing proved to be perfect and the chemistry between these three musicians is on full display across these eight tracks. While seven of these pieces come from Kimbrough's pen, the album starts off with "Six," written by Catalan composer Federico Mompou and unfolding with Hirshfield's slow cymbal dance. Kimbrough's delivery shows an uncluttered sense of melodic brilliance, making this an engaging performance. "TMI," no doubt referencing the popular abbreviation for "Too Much Information," betrays Kimbrough's fondness for piano visionaries like Thelonious Monk, Andrew Hill and Herbie Nichols. Quirky, sea-sawing melodic snippets collide as the trio shows off its elastic sense of time. While performing as one interactive entity on this song, "Hope" begins as a showcase for Kimbrough. Kamaguchi and Hirshfield enter this performance with a fragile sense of being, and support Kimbrough during his comforting and consonant travels. Eventually, bass and piano converse and create some touching musical moments. 

The title track begins with some slight hints of the Far East. As the music grows, Hirshfield's ride cymbal work becomes more furious and he rains down on the group with a percussive storm. Kamaguchi's pulsing, insistent bass presence helps to provide a sense of consistency in these stormy moments. Kimbrough creates a two-handed dance on "Sure As We're Here," with Hirshfield providing some skittering brushwork. "Forsythia" a plant that often signals the arrival of spring shows deep, beautiful, organic musical growth. An expansive and open feeling pervades this piece, with Kamaguchi blending well with Kimbrough, and the clear ring of the bass and piano seeming to linger in the air. "Over," with its spiky, jagged beginning, starts off like a three-way boxing match. Each man jabs and prods with his instrument, but things change when Hirshfield takes over, owning the music until Kamaguchi gets his turn. A shower of notes seems to descend from all places as the piece tumbles toward its conclusion. "For Andrew" is six minutes of solemn, absorbing sound. Sensitivity and reverence travel through this piece, as each musician adds to the emotional impact and flow. This recording session might have been coordinated at the last minute, but it's hard to imagine finer musical conversations being crafted with all the planning time in the world. ~ Dan Bilawsky https://www.allaboutjazz.com/rumors-frank-kimbrough-palmetto-records-review-by-dan-bilawsky.php
 

Personnel: Frank Kimbrough: piano; Masa Kamaguchi: bass; Jeff Hirshfield: drums.

Rumors

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Dick Oatts, Garry Dial - Dial & Oatts Play Cole Porter

Styles: Saxophone And Piano Jazz
Year: 1993
File: MP3@224K/s
Time: 62:27
Size: 100,2 MB
Art: Front

(7:29)  1. Ev'rything I Love
(5:00)  2. So in Love
(7:05)  3. I Love You
(6:30)  4. All of You
(6:00)  5. Down in the Depths
(5:52)  6. What Is This Thing Called Love?
(4:44)  7. At Long Last Love
(5:28)  8. Ridin' High
(4:35)  9. Let's Do It (Let's Fall in Love)
(5:47) 10. Goodbye Little Dream, Goodbye
(3:52) 11. Too Much Is Just Right

Born and raised in the state of Iowa, Dick Oatts was brought up in a musical family. He was introduced to the saxophone by his father Jack Oatts, a respected jazz educator and saxophonist. After high school, Dick attended Drake University and in 1972 he began his professional career in Minneapolis/St. PaOatts moved to NYC in 1977. Shortly there after, joined the Thad Jones / Mel Lewis Orchestra. Since then, he has toured, recorded,and performed as a sideman in small groups with Bob Brookmeyer, Red Rodney, Eddie Gomez, Mel Lewis, Jerry Bergonzi, Joe Lovano, Dom Salvador, Vic Juris, Soren Moller, Terell Stafford, Ray Mantilla, Jon Faddis, David Berkman, Flim & the BBs, Ray Mantilla, Fred Hersch, Joe Morello, Lalo Schiffrin and several others. His Big Band and large ensemble experience include Thad Jones/Mel Lewis Orch,, The Mel Lewis Jazz Orch., Vanguard Jazz Orchestra, Carnegie Hall Jazz Band, Jon Faddis Jazz Band, Tito Puente, Lester Bowie, Sam Jones/Tom Harrell, Jim McNeely, Kenny Wheeler, Joe Lovano Paquito D'Rivera,and Gunther Schuller. Oatts has been a featured artist with the Metropole Orchestra, WDR Big Band, Stockholm Jazz Orchestra,Danish Radio Big Band, Millenium Jazz Orch., Norboten Radio big band, High Coast Jazz Orchestra, RIAS Radio big band, Concerto BouOrchestra, Mats Holmquist/Dick Oatts Orchestra, Rome Radio, UMO big band, Winnipeg Jazz Band, and the Wellington Jazz Orch. Oatts has accompanied such vocalists as Joe Williams, SaraVaughn. Ella Fitzgerald, Mel Torme, Neena Freelon, and Milton Nascimento. He has recorded solos for R&B artist, Luther Vandross and Everything but the Girl.

As a Steeplechase recording artist, Oatts has recorded 10 solo CDs and 5 co-led CDs. He has recorded 3 CDs on the DMP label with co-leader and pianist, Garry Dial and another on the Temple Univ. record label entitled "That Music Always Round Me". Oatts and Terell Stafford are co-leaders on "Bridging the Gap" on Planet Arts. Dave Santoro and Oatts are co-leaders on "Meru" on Red Records. For the past 35 years, Oatts has appeared at College Jazz Festivals as a soloist and clinician throughout the United States, Canada, Mexico, South America, Europe, Mid-East, Japan, New Zealand, Australia, and Taiwan. Oatts is a professor at the Boyer School of Music and Dance at Temple University and has been an "Artist in Residence" at the Amsterdam Conservatory since 1998. https://www.dickoattsmusic.com/mobile/bio.php

Personnel: Garry Dial (piano), Dick Oatts (tenor & alto saxophones), Jay Anderson (bass), Jeff Hirshfield (drums).

Dial & Oatts Play Cole Porter

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Vic Juris - Night Tripper

Bitrate: MP3@320K/s
Time: 66:43
Size: 152.7 MB
Styles: Post bop, Guitar jazz
Year: 1995
Art: Front

[4:51] 1. I Heard You Cried Last Night
[5:44] 2. Dekooning
[8:36] 3. Liebeslied
[5:21] 4. Next Victim
[9:49] 5. Estate
[4:06] 6. Night Tripper
[6:16] 7. Without You
[7:45] 8. Falling In Love With Love
[7:00] 9. For Harry
[7:11] 10. Marigold

Bass – Steve LaSpina; Drums – Jeff Hirshfield; Guitar – Vic Juris; Piano – Phil Markowitz. Recorded April 1994.

During some of the selections on his SteepleChase CD, guitarist Vic Juris displays an echoey tone reminiscent of John Scofield while on a few other numbers he has a dryer and subtle acoustic sound. Juris' improvising is on a high level, performing "Estate," "Falling in Love With Love," two obscurities, and six group originals (four of which are his) with creativity. His sidemen (pianist Phil Markowitz, bassist Steve LaSpina, and drummer Jeff Hirshfield) are alert and have quick reactions. Two high points are the eccentric "Dekooning" and a tasteful bossa nova rendition of "Estate," numbers that best show off Juris' impressive flexibility. ~Scott Yanow

Night Tripper

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Harold Danko Quintet - Oatts & Perry

Styles: Piano Jazz
Year: 2005
File: MP3@256K/s
Time: 66:24
Size: 123,6 MB
Art: Front

(10:18)  1. Softly As In A Morning Sunrise
( 8:48)  2. Like Sonny
( 8:14)  3. Evol Deklaw Ni
( 6:31)  4. Peace
( 9:11)  5. I Mean You
( 9:04)  6. Unit 7
( 8:01)  7. Tidal Breeze
( 6:13)  8. Don't Get Sassy

Not long after saxophonists Dick Oatts and Rich Perry joined the Thad Jones/Mel Lewis Orchestra, pianist Harold Danko (who was already in the band) was very impressed with their abilities, and he began to conceive of a record date featuring both men by the early '80s, though it wouldn't come to fruition for another quarter century. Together with his regular rhythm section (bassist Michael Formanek and drummer Jeff Hirschfield), they dove headfirst into a date featuring Danko's intriguing arrangements. The tense, extended workout of "Softly, as in a Morning Sunrise" (the session's only standard) finds both Oatts (alto) and Perry (tenor) departing from conventional approaches and engaging in a live series of exchanges with the leader. John Coltrane's "Like Sonny" (one of his less frequently performed works) lets the quintet reveal its possibilities. Horace Silver's dreamy ballad "Peace" and Thelonious Monk's snappy "I Mean You" also are in good hands, with fine solos all around. It's only natural that the group would explore some of the repertoire of the Jones/Lewis band, with a spirited interpretation of Jones' well-named blues "Don't Get Sassy" and the cheerful, loping ballad "Evol Deklaw Ni." The pianist's one original of the date is the brisk "Tidal Breeze," providing a brief showcase for Formanek and highlighted by the saxophonist's adventurous solos. This rewarding CD is well worth investigating. ~ Ken Dryden http://www.allmusic.com/album/oatts-perry-mw0000543335

Personnel:  Harold Danko (piano); Dick Oatts (alto saxophone); Rich Perry (tenor saxophone); Michael Formanek (bass instrument); Jeff Hirshfield (drums).

Oatts & Perry

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