One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

---

Jim Rotondi Quintet - Introducing Jim Rotondi

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 57:20
Size: 132,0 MB
Art: Front

(7:43)  1. Ninny Melina
(8:45)  2. Woodoo
(5:01)  3. Make Believe
(7:36)  4. Little Flower
(6:15)  5. A Peck A Sec
(6:45)  6. Too Soon To Tell
(6:56)  7. Indian Summer
(8:16)  8. On The Que Tee

Trumpeter Jim Rotondi is a solid post-bop musician with a warm tone and an improvisational approach deeply steeped in the tradition of great jazz trumpeters. While the Butte, Montana native began piano lessons with his mother at age eight, it was the trumpet that became his main instrument from age 12 on. After graduating high school in 1980, Rotondi enrolled in the highly regarded jazz studies program at North Texas State University. In 1984, he earned first place in the International Trumpet Guild's jazz trumpet competition. Post-college, Rotondi toured with various ensembles including the Lionel Hampton Orchestra and Charles Earland's quintet. Eventually settling in New York City, Rotondi established himself as a mainstay in the city's vibrant jazz club scene.

In 1997, Rotondi joined forces with saxophonist Eric Alexander and drummer Joe Farnsworth to form the jazz super-group One For All with which he has recorded a large body of work. Also in 1997, he released his debut album, Introducing Jim Rotondi on the Dutch label Criss Cross. Since then he has released a steady stream of albums including Jim's Bop (1998), Excursions (2000), Destination Up (2001), New Vistas (2004), Iron Man (2006), Four of a Kind (2008), 1000 Rainbows (2010), and Hard Hittin' at the Bird's Eye (2013). In the 2000's, Rotondi began spending more time in Europe, eventually relocating to Graz, Austria where he holds a jazz professor position at the University of Music and Dramatic Arts. When not teaching, Rotondi remains an active touring a recording musician as both a solo artist and member of One For All. In 2016, he released Dark Blue on the Smoke Sessions Records. By Matt Collar https://www.allmusic.com/artist/jim-rotondi-mn0000852157/biography

Introducing Jim Rotondi

---

One for All - Big George

Styles: Straight-ahead/Mainstream
Year: 2024
Time: 59:17
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(6:59) 1. Chainsaw
(6:20) 2. In the Lead
(5:32) 3. Edgerly
(8:41) 4. Oscar Winner (feat. George Coleman)
(7:02) 5. My Foolish Heart (feat. George Coleman)
(6:39) 6. This I Dig of You (feat. George Coleman)
(6:08) 7. Cove Island Breeze (bonus track)
(5:53) 8. The Nearness of You (bonus track)
(5:59) 9. Leemo (bonus track)

The NYC-based ensemble One For All has carried the post bop mantle for over 25 years, featuring some of the most consistently solid musicians in recent memory: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, and drummer Joe Farnsworth, usually including bassist John Webber. A new album is always an event for the group’s longtime fans (like me), and I am happy to report that Smoke Sessions’ Big George, including the sax great George Coleman, finds them, and their guest, in good form.

Big George is meant as an homage to Coleman, who is often cited as a significant influence on a generation of players. Beloved among the NYC jazz clientele, the veteran saxophonist dominates the center portion of the new collection, including a terrific improvisation on the classic “My Foolish Heart,” which should be an early candidate for solo performance of the year.

As for the others, Rotondi’s appearance in the midst of a two-year recording splurge finds him as sharp as ever; Alexander, coming off an under-noticed alto excursion, holds tenor sway while respectfully stepping aside as Coleman demonstrates his lasting excellence; Davis continues his growth both in playing and composing; Hazeltine comps with the best and delivers tasteful solos that always mesh with the groove; and Farnsworth, especially, is energized and in his glory as a masterful support for people he clearly cherishes. Webber, as he has done in the past (notably during the band’s Criss Cross era) provides his own solid supportnothing fancy, but just right.

The album seems to be organized like a live event: the first three songs feature the classic ensemble; Coleman joins for three more; then the band closes out, nine selections in all lasting just under an hour.

Alexander’s “Chainsaw,” with a funky ambiance, sounds like a Lee Morgan outtake. Rotondi wastes little time reestablishing himself as a stalwart trumpet lead. Alexander and Davis follow with their own statements while Farnsworth embellishes the beat with Higgins-like precision.

Hazeltine’s “In the Lead” carries a soft Bossa cadence into a swinging post bop display led by Alexander. Again the remaining soloists add commentary while the energetic Farnsworth pounds away.

“Edgerly” is Davis’s composition and first lead solo, a lyrical statement matched by Rotondi’s response, Alexander’s relay run, and Hazeltine’s brief solo before Farnsworth bridges the proceedings.

Coleman is then called to the ‘stage’ for “Oscar Winner,” which became more appealing to me as a metaphoric representation of an actual award ceremony. The ensemble pronounces the theme music, and then Big George gives an acceptance speech when I imagined him being that winner, his solo took on a Clark Terry sheen as a colloquially grateful achiever. Davis then appears, perhaps, as the film producer, and the others as supporting cast.

But “My Foolish Heart” is the show stopper, even if the tune has been recorded over and over again. Coleman here channels another Coleman, Mr. Hawkins, starting low and soulfully advancing the melody before a solo lovingly supported by a well-recorded and mixed Hazeltine, Webber, and Farnsworth. The drummer’s affinity for tasteful support is noted as Coleman glides through his extended soliloquy.

Then, almost as an encore, Coleman pushes the proceedings on Hank Mobley’s “This I Dig of You,” leading with hard bop verve as the other horns provide a chorus. The 89-year-old’s inventive approach is impressive, as he punctuates his runs with high and low notes, seemingly challenging his partners to match him. Hazeltine takes the hint first, and an itchy Farnsworth follows before Coleman and Davis can’t help but join in.

The final three items are listed as “Bonus Tracks” on the Bandcamp site. Davis’s “Cave Island Breeze” swings as the title implies. Perhaps inspired by Coleman’s performance, Alexander soulfully leads a rendition of “The Nearness of You.” The finale “Leemo” is a blues treat composed by Rotondi that sounds like a twist on “Dat Dere.” Webber gets the lead before the ensemble settles into a pleasurable groove, and this reviewer thinks the producers faded the recording too early.

One For All has been together long enough to have its own ‘eras’. My favorite is the Criss Cross era, when the band, in my estimation, swung harder and dug a bit deeper. This new release on Smoke Sessions would fit into that zone; with Big George along for the ride, Big George the album is a welcome return to form by one of America’s finest music collaborations.
https://www.chicagojazz.com/post/jazz-review-big-george-one-for-all-by-jeff-cebulski

Personnel: Jim Rotondi, trumpet; Eric Alexander, tenor saxophone; Steve Davis, trombone; David Hazeltine, piano; John Webber, bass; Joe Farnsworth, drums; George Coleman, guest tenor saxophone

Big George

---

Jim Rotondi Quintet - Over Here

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 52:23
Size: 120,5 MB
Art: Front

(5:35) 1. I'll Be Seeing You
(5:00) 2. Pete's 32
(7:43) 3. I Concentrate on You
(5:20) 4. Jim's Blues
(5:25) 5. Moclieda
(3:35) 6. Voice
(6:58) 7. Leemo
(7:09) 8. Father John
(5:34) 9. Happy Feet

By titling his eighth Criss Cross album Over Here!, trumpeter Jim Rotondi picks up on the sentiments he signified with The Move, his seventh for the label. “It doesn’t necessarily mean moving somewhere else, but rather returning home, playing tunes with a lot of straight-ahead swing and interesting chord sequences with guys I’m comfortable with,” Rotondi stated in the liner notes I wrote for that kinetic 2009 recital.

That’s an effective description of what transpires on Rotondi’s latest swinging affair. But although he wasn’t misdirecting, he wasn’t telling the whole story. As it turned out, The Move indeed foreshadowed Rotondi’s decision in 2010 to leave New York for Austria for a position as Professor of Trumpet at the University of Graz. As indicated by the current title (which references George M. Cohan’s 1917 flagwaver “Over There” and Rotondi’s father’s service in Europe during World War 2), Rotondi is ensconced on the Continent thirteen years later, augmenting pedagogical responsibilities with several trips a year to New York and other U.S. waystations, and also touring the jazz clubs of central Europe, Italy, France, Spain and the U.K.

In fact, Over Here stems from a ten-day sojourn by a band of four New York-trained masters that opened with a jazz cellar gig in the Viennese suburb Bruck an der Leitha, proceeded to Neuberg, Germany, doubled back to Vienna’s prestigious Porgy and Bess club, continued with a drive to tenor saxophone maestro Piero Odorici’s club in Bologna, and then transitioned to Udine for the recording session.https://www.challengerecords.com/products/16914145778748/Over%20Here

Personnel:Jim Rotondi - trumpet / fluegelhorn; Danny Grissett - piano; Rick Margitza - tenor saxophone; Joshua Ginsburg - bass; Vladimir Kostadinovic - drums

Over Here

---

Jim Rotondi - Finesse

Styles: Trumpet Jazz
Year: 2024
File: MP3@320K/s
Time: 76:52
Size: 176,0 MB
Art: Front

(7:31) 1. Ruth
(6:47) 2. Dark Blue
(8:02) 3. Ladybug
(4:18) 4. Designated Hitter
(7:47) 5. Falset
(0:40) 6. Before Curtis
(7:09) 7. For Curtis
(6:25) 8. Going To The Sun
(1:13) 9. Prelude for 14 Strings and Flute
(5:01) 10. Interlude
(7:31) 11. In Graz
(6:03) 12. Happy Feet
(8:19) 13. Miller Time

Here is an album of orchestral jazz that will inevitably make you think of film music, as it was still being made in the 80s. For his ninth album, Jim Rotondi pulled out all the stops, aided by a virtuoso orchestra conducted and arranged by Jakob Helling, all deeply immersed in the rich historical and musical tradition of Austria, where Rotondi currently resides and teaches. Rotondi also called upon his peers, the legendary trombonist Steve Davis, saxophonist Dick Oatts, and pianist Danny Grissett, who come from his prolific years spent in New York.

Ambiance! And yes, it’s all about ambiance, with numerous nods and references to past albums of various great jazz musicians. Sometimes it’s just with intentions, like in an introduction. For example, on the second track, the introduction reminds me of a Miles Davis album. The criteria for this genre are plentiful. The album’s title, Finesse, encapsulates the spirit required for this project and with which Rotondi approached the entire process. “I’m a musician known for recording projects straight out with small groups, in a less strictly organized style,” says Rotondi. “For me, this recording represents attention to every detail, hence the name Finesse.”

And that’s the case here. I dare not imagine the annotated orchestral scores in all directions, supporting an essential note or having an instrument start slightly offset. Such occurrences can be numerous, and that’s the delicate detail in the orchestra that allows the trumpet to reign at every moment, a task as essential as stage lighting. Finesse is also found in the precision of Jim Rotondi’s playing. After organizing an exhibition of his compositions performed with an orchestra and big band, Rotondi turned to Jakob Helling, an Austrian conductor, arranger, and trumpeter, who played an essential role in transforming this project into a recorded achievement.

“After discussing the idea with composer/ arranger Jakob Helling, [he] got in touch with key musicians in Vienna, who were able to provide information about the rest of these musicians,” says Rotondi. “Clearly, at every level, without Jakob’s involvement, this project would never have come to fruition.”

The Helling/Rotondi duo works wonders. There is a kind of secret and invisible alchemy between these two artists. When you consider the demands of orchestral form, this work deserves respect. It’s a titanic undertaking of composition, arrangement, and orchestra direction to achieve such a brilliant result. It’s sheer genius! I mentioned it to you in late 2023, and 2024 will be a great year, not only where you might expect. Artists, sometimes barely known, are surprising us at the same level as Jim Rotondi, the ultimate proof of the great vitality of jazz, which has never been so well represented and is one of the most exciting artistic forms.
https://www.paris-move.com/reviews/jim-rotondi-finesse-eng-review/

Finesse

---

Steve Davis - Dig Deep

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 60:30
Size: 140,3 MB
Art: Front

(5:46) 1. One For All
(6:54) 2. Dig Deep
(7:47) 3. Little Boy's Bossa
(6:26) 4. Blues Noble
(5:18) 5. Detour Ahead
(7:06) 6. I Should Care
(7:02) 7. Summertime
(7:04) 8. Payne's Window
(7:02) 9. Trippin'

Steve Davis, currently a member of the Jackie McLean Quintet, is one of the major new voices on the trombone. On this, his 2nd leader date for Criss Cross, he shines in the company of the friends he usually plays with: Eric Alexander, Jim Rotondi, David Hazeltine, Nat Reeves and Joe Farnsworth.
By Editorial Reviews https://www.amazon.com/Dig-Deep-Steve-Davis/dp/B0000020OO

Personnel: Trombone – Steve Davis; Saxophone – Eric Alexander; Trumpet, Flugelhorn – Jim Rotondi; Bass – Nat Reeves; Drums – Joe Farnsworth; Piano – David Hazeltine

Dig Deep

---

Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

---

One For All - The Long Haul

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 66:24
Size: 152,3 MB
Art: Front

(12:10) 1. A Cry For Understanding
( 7:49) 2. The Long Haul
( 8:01) 3. Echoes In The Night
( 7:26) 4. The Poo
( 6:36) 5. The Good Life
( 7:29) 6. Stash
( 7:35) 7. Summer Nights
( 9:14) 8. Nothin' To It

Working within the broad parameters of hard-swinging, harmonically sophisticated small-band styles from the 40s, 50s, and 60s, the music of the sextetOne For Allalso reflects the experiences of the individual members outside of their cooperative band. An incomplete but telling list of leaders who have employed and influenced various members of the crew includes Cecil Payne, George Coleman, Art Blakey, Jackie McLean, Junior Cook, Slide Hampton, and Louis Hayes.

On The Long Haul, the band’s second release for Criss Criss (and fourth overall), they stake their claim to the tradition. The record comprises impressive material (six out of eight cuts were written by various band members) and arrangements, four primary soloists with something distinctive to say, and a rhythm section that responds to every exigency and shoots off sparks of its own. Most of all, aside from the skill and technique involved, the music possesses a fervency that is genuine: These guys love playing together and it shows.

The disc’s opening cut, “A Cry For Understanding,” composed by John Farnsworth, encompasses the band’s virtues. A slow, somber introduction convincingly executed by tenor saxophonist Eric Alexander and the rhythm section leads to all of the horns playing the theme at a brisk tempo. Alexander’s solo is a fine example of his continuing development. His full-bodied sound spreads out and takes up space without being overbearing, and he stays in absolute control while deliberately working through a variety of ideas that add up to a complete, satisfying whole. In comparison, trombonist Steve Davis’ approach is somewhat spare, skillfully playing off and interacting with pianist David Hazeltine’s chords and the snap of drummer Joe Farnsworth’s snare drum accents.

During a commanding, live wire turn, trumpeter Jim Rotondi frequently phrases on top the beat and occasionally takes brief, fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever mindful of Farnsworth’s and bassist Ray Dummond’s pulse, at first seems casual and then gradually hardens his touch, becoming more expansive and forceful. Backed only by Farnsworth’s brushes, Drummond completes the cycle of solos, integrating a snippet of the song “Wade In The Water,” into a smart, efficient statement.

Alexander’s rollicking tune “Stash,” the band’s first venture into the time signature of 5/4, is another of the disc’s standout cuts. It moves forward in a nice, lopsided manner, with the horns brazenly stating the melody, then giving way to a string of compact solos. First up is Alexander, who is clearly inspired by the odd meter, starting off with short, soulful phrases. When Hazeltine and Farnsworth signal a change in emphasis, he takes off in a series of sprints which ends in barrage of overblowing. Rotondi burns through the rhythmic thicket with ease, making his lines rhyme with call and response patterns. Initially taking more care than usual in placing his notes and letting the rhythm section fill in space, Davis’ solo gradually gains footing while working against the weight of Hazeltine’s stabbing chords. Over Drummond and Hazeltine’s vamp, Farnsworth slyly mixes rhythms that alternately refer to the pulse and create unrelated waves of percussive sound.By David A. Orthmann https://www.allaboutjazz.com/the-long-haul-one-for-all-criss-cross-review-by-david-a-orthmann

Personnel: Eric Alexander - -tenor sax; Jim Rotondi - trumpet, flugelhorn; Steve Davis - trombone; David Hazeltine - piano; Ray Drummond - bass; Joe Farnsworth - drums.

The Long Haul

---

One For All - Upward And Onward

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 65:16
Size: 150,1 MB
Art: Front

( 7:23) 1. D's Blues
( 7:05) 2. Perspective
(11:06) 3. We All Love Eddie Harris
( 5:55) 4. Epitome
( 4:39) 5. Just By Myself
(11:37) 6. John Coltrane
( 8:41) 7. Blues For Joe Don
( 8:47) 8. Upward And Onward

ONE FOR ALL, a cooperative sextet of some of the hot young players on the New York scene, present a swinging and soulfull performance in the hardbop tradition, but with evolving contemporary explorations that are indeed 'Upward and Onward'.

The group features crisp ensemble work and dynamic solo thrusts from young lions Eric Alexander, Jim Rotondi, Steve Davis and David Hazeltine backed by bassist Peter Washington and drummer Joe Farnsworth. All musicians of this group have recorded as leaders for Criss Cross on several occasions.

Personnel: Trumpet, Flugelhorn – Jim Rotondi; Trombone – Steve Davis; Tenor Saxophone – Eric Alexander; Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Upward And Onward

---

One For All - The End Of A Love Affair

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 58:31
Size: 134,3 MB
Art: Front

(7:35)  1. The End Of A Love Affair
(7:12)  2. Stolen Moments
(6:20)  3. Corcovado
(8:52)  4. How Are You?
(7:22)  5. Shinjuku Waltz
(6:05)  6. Skylark
(8:53)  7. The Eyes Have It
(6:10)  8. Street Of Dreams

Things just aren’t what they used to be and we’re not just talking about life these days post September 11th. From a jazz standpoint, the renaissance movement that was ushered in during the ‘80s seems to have run its course in many ways. The corporate pressures behind the major labels seem to be tightening their belts when it comes to jazz product. For so many years the reissue market alone was astounding and the ripple effect helped support contemporary rosters that are now getting smaller and smaller as the catalog boom seems to bottom out. All of this leads us to the disc at hand, which is presented by a group that seems to be beating the odds when it comes to the financial ups and downs of the current jazz scene. That One For All has remained a viable group since the mid-‘90s is remarkable enough in itself, let alone when you consider that each and every member of the group has any number of responsibilities as leaders of their own projects at any given time. Their first venture for the Japanese Venus label, The End of a Love Affair finds One For All in the kind of hard bop mode that the Japanese audiences embrace lock, stock, and barrel.

There’s even more of a focus on the type of standards that have not previously been explored by the group, namely “Skylark,” Jobim’s “Corcovado,” and Oliver Nelson’s “Stolen Moments.” Of course, what makes for an engaging listen is the manner in which the familiar becomes reborn and pianist David Hazeltine can take a lot of the credit for crafting arrangements chock-a-block full of altered chords and suspended rhythms that find new routes to well-known destinations.Three of the eight tunes on tap are originals and that’s where the sparks really start to fly. Hazeltine’s “How Are You?” grooves over a 12/8 Afro-Cuban feel that everyone navigates with ease, especially Steve Davis, who adds a smoldering solo that’s one of his best of the date. A rock solid support throughout, bassist Peter Washington steps up front for a harmonious statement that institutes the string of solos on Eric Alexander’s breezy “Shinjuku Waltz.” Then from the pen of Steve Davis, there’s the Blakey-inflected shuffle of “The Eyes Have It” (nice play on words, huh?), with combustible solo moments from Davis, Alexander and trumpeter Jim Rotondi. More detailed descriptions are really unnecessary for those familiar with the gentlemen that make up One For All; these guys have each developed their individual voices and are among the most in-demand musicians of the current set. And for the uninitiated, this set comes highly recommended as a consummate example of modern mainstream know-how. ~ C.Andrew Hovan  http://www.allaboutjazz.com/the-end-of-a-love-affair-one-for-all-review-by-c-andrew-hovan.php#.VD2A-RawTP8

Personnel: Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), Peter Washington (bass), Joe Farnsworth (drums)

The End Of A Love Affair

---

Jared Gold - All Wrapped Up

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 50:03
Size: 115,2 MB
Art: Front

(5:43) 1. My Sentiments Exactly
(5:28) 2. Get Out Of My Sandbox
(5:31) 3. Piece Of Mine
(6:39) 4. Midnight Snack
(7:04) 5. Dark Blue
(7:23) 6. Mama Said
(6:44) 7. Saudade
(5:27) 8. Just A Suggestion

There's a noticeable change in organist Jared Gold's sonic template of choice, before All Wrapped Up even begins. While two out of Gold's three prior releases were quartet outings that used saxophone as the lone horn voice, all three releases were rooted in the traditional organ trio instrumental format. A different guitarist graced each one of those records, with Randy Napoleon, Ed Cherry and Dave Stryker each putting their own unique stamp on Gold's music, but the organist clearly felt it was time to move on, with guitar nowhere to be found on this album. Instead, Gold turns to two stellar horn players (and label mates) to help flesh out his new sound. Saxophonist Ralph Bowen and trumpeter Jim Rotondi add their own singular voices to Gold's music as the organist creates the next chapter in his career as a leader.

Five of the eight compositions on the album come from Gold, and the funkiest fare stands out above the rest. "Mama Said" starts off with both horns working through the hip head, as drummer Quincy Davis lays down an easy funk beat and things get even more soulful as solos are passed around. The album-closing "Just A Suggestion" has a few more rhythmic turns in the mix, but moves in a similar direction. Bowen's solo is the clear highlight on this one and his passion for the music is palpable.

While more than half of the material comes from Gold, each member of the band contributes one piece. Davis delivers a relaxed swinger ("Piece Of Mine"), but Bowen's "Midnight Snack"is a rhythmic rollercoaster ride, where the groove terrain is in a constant state of flux though everyone knows exactly what they're doing as the rhythmic underpinnings continually shift. Rotondi's "Dark Blue" follows, a mellow swinger that's the calm after the storm.

When All Wrapped Up reaches its conclusion, two things are abundantly clear: this newfound quartet format hasn't dampened or diminished the creative enthusiasm shown on Gold's earlier releases; and the album continues the steady evolution of one of jazz's most prominent rising star organists.~ Dan Bilawskyhttps://www.allaboutjazz.com/all-wrapped-up-jared-gold-posi-tone-records-review-by-dan-bilawsky

Personnel: Jared Gold: organ; Ralph Bowen: saxophone; Jim Rotondi: trumpet; Quincy Davis: drums.

All Wrapped Up

---

One for All - Invades Vancouver!

Styles: Jazz, Straight-Ahead/Mainstream  
Year: 2010
File: MP3@320K/s
Time: 67:44
Size: 155,9 MB
Art: Front

( 8:32)  1. Big G
( 9:04)  2. Up the Middle
( 7:54)  3. Open and Shut
( 7:30)  4. Dear Ruth
(14:12)  5. Nemesis
( 9:27)  6. For Cedar
( 8:04)  7. Moments Notice
( 2:59)  8. Prime Time

While nominally a studio-only group of leaders, One for All here turn in a live set demonstrating that it's good for any band to get in front of people now and then. This by-now long-lived sextet (even the rotating bass chair seems to have settled with John Webber) has a very set idea of what it is as a traditional hard bop small-band jazz ensemble with three horns  saxophonist Eric Alexander, trumpeter Jim Rotondi, and trombonist Steve Davis and rhythm section with pianist David Hazeltine and drummer Joe Farnsworth joining Webber. The tunes are in standard form, with a head followed by several solos handed around the band. Thus, Rotondi's "Big G" opens things with successive Alexander, Davis, Rotondi, and Hazeltine showcases. Webber doesn't get his own solo until Alexander's "Open and Shut," following the saxophonist and Hazeltine. The group pays tribute to Cedar Walton on both his "Dear Ruth" and Hazeltine's "For Cedar," sandwiched around Alexander's lengthy "Nemesis," which allows plenty of room for Farnsworth to solo. Another primary influence is cited in John Coltrane's "Moments Notice," which is, in effect, the closer, since Farnsworth's brief "Prime Time" is the accompaniment to the band introductions. This is a democratic group that allows everybody a say, and they all prove themselves capable; that also means, however, that there isn't that much of a group identity. ~ William Ruhlmann http://www.allmusic.com/album/invades-vancouver%21-mw0002099466
 

Personnel:  Eric Alexander tenor saxophone, Jim Rotondi trumpet, Steve Davis trombone, David Hazeltine piano, John Webber bass, Joe Farnsworth drums

Invades Vancouver!

---

George Coleman - Danger High Voltage

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 68:10
Size: 157,2 MB
Art: Front

( 9:55) 1. Isn't She Lovely
(10:22) 2. Conservation
(13:31) 3. Portrait Of Jennie
( 5:06) 4. Simone
(10:03) 5. Tenderly
(12:42) 6. Follow Me
( 6:29) 7. Pretty Blues

George Coleman isn’t just the answer to the trivial pursuit question “Who were the tenor saxophonists in Miles Davis’ Band after John Coltrane and but before Wayne Shorter.” The correct answers; Hank Mobley, Sam Rivers, and George Coleman, if not achieving Miles Davis super-stardom all went on to significant careers. Miles suggested that Coleman left his sixties group because of tension. Davis said he played too perfect and that his bandmates were looking for more freedom and, one can suspect, a looser sound. My take is that George Coleman, like his Memphis jazz brother Harold Mabern, played with a blues/swing the aggressive young lions Herbie Hancock and Tony Williams were trying to eschew, for hipness sake. Like Mobley (now deceased) and more recently Rivers, Coleman has a gang of loyal devotees to his music.

Coleman has been part of many significant groups (Lionel Hampton, Elvin Jones, Horace Silver, Jimmy Smith, Chet Baker, Max Roach, and Cedar Walton and recordings (Herbie Hancock’s Maiden Voyage, and Miles Davis’ Four And More, My Funny Valentine, & Live at Antibes ). His output as a leader has been sparse (for such a great talent), with his last release being the Telarc recording I Could Write A Book: The Music Of Richard Rodgers (1998). His Octet, which has been around in some form or an other since 1973, has criminally been recorded only a few times. The Two And Four recording company rights a wrong in the debut release by Coleman’s Octet. The disc opens with Stevie Wonder’s “Isn’t She Lovely,” the octet laying such a driving blues groove you barely notice Coleman doesn’t take a solo until nearly four minutes into the song. It’s that Memphis sound that hooks you from the get-go. Harold Mabern’s piano swings so hard throughout, there is not much that could go wrong here.

Percussionist Daniel Sadowick augments the octet of two tenors, alto, and baritone saxophones, trumpet, piano bass and drums. His hand drumming along with master bassist Ray Drummond, George’s son on drums and the aforementioned Mabern, are a rhythm section with a blues predilection. Their take on the standard “Tenderly,” arranged by Ned Otter, is a rapid paced reworking which sheds every ounce of sentimentality for passionate swing. This is an octet that thinks it’s a quartet. They regard changes most little big bands would never attempt and apply generous space rarely heard in octet recordings. Highlights include trumpeter Jim Rotondi’s solo on “Portrait Of Jenny,” Coleman’s “Pretty Blues” with full-horn front split off into a call-and response, and Frank Foster’s composition “Simone” with the coltrane-esqe solo by Ned Otter. Maybe Miles Davis was right; George Coleman’s playing is too perfect. Not perfect, as in the criticism of Wynton Marsalis’ unemotional playing. But perfect in the sense of Dizzy Gillespie’s always playing the correct note at the right time. Coleman’s timing is faultless, and no one could ever say his horn is indifferent. This Memphis tenor has a large blues sound with enough passion to get your ass dancing.~ Mark Corroto https://www.allaboutjazz.com/danger-high-voltage-george-coleman-two-and-four-review-by-mark-corroto.php

Personnel: Tenor Saxophone – George Coleman, Ned Otter ; Trumpet – Jim Rotondi; Piano – Harold Mabern; Acoustic Bass – Ray Drummond; Alto Saxophone – Adam Brenner; Baritone Saxophone – Gary Smulyan; Percussion – Daniel Sadownick

Danger High Voltage

---

One For All - Return of the Lineup

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2009
File: MP3@320K/s
Time: 54:32
Size: 125,7 MB
Art: Front

(7:15)  1. Jackpipe
(6:38)  2. But Not For Me
(6:04)  3. Silver and Cedar
(6:37)  4. Treatise For Reedus
(6:02)  5. Dear Ruth
(7:22)  6. Forty-Four
(8:07)  7. Road to Marostica
(6:24)  8. Blues For JW

One for All is a band of New York-based veterans who've played with one another in various combinations, as well as making a number of CDs together under this name with little change in personnel, and of whom all but one are founding members. Featuring tenor saxophonist Eric Alexander, trombonist Steve Davis, and trumpeter Jim Rotondi in the front line, plus a rhythm section with pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. While each of them (save Webber) works and records often as an individual bandleader, there is an incredible blend of inspired solos, fresh compositions, and arrangements, along with a spirit of cooperation where no egos get in the way of great music. 

Hazeltine's peppy "Treatise for Reedus" is an uptempo salute to the talented drummer, who died suddenly at the premature age of only 49 a few days prior to this recording session. Alexander's Latin-flavored "Road to Marostica" features tight ensemble work and invigorating solos, while he was also responsible for the updated treatment of George Gershwin's "But Not for Me." This is a rewarding date by a sextet that is always ready to give their all. ~ Ken Dryden https://www.allmusic.com/album/return-of-the-lineup-mw0000814360

Personnel: Piano – David Hazeltine; Tenor Saxophone – Eric Alexander; Trombone – Steve Davis ; Trumpet, Flugelhorn – Jim Rotondi; Bass – John Webber; Drums – Joe Farnsworth

Return of the Lineup

---

Jim Rotondi - Destination Up

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 59:39
Size: 136,9 MB
Art: Front

( 5:41)  1. Designated Hitter
(10:10)  2. Evening Shades Of Blue
( 6:08)  3. Last Ditch Wisdom
( 6:47)  4. Miller Time
( 8:43)  5. Park Avenue Petite
( 6:25)  6. Remember
( 6:45)  7. Reverence
( 8:55)  8. Yams

Among the current crop of mainstream jazz trumpeters, Jim Rotondi stands head and shoulders above the crowd. With a crackling extroverted style akin to that of Lee Morgan, Rotondi possesses an incisive harmonic sense and the knack for telling a story. Via his work with the hard bop collective One For All and a reliable set of albums as a leader for Criss Cross, Rotondi has emerged as a major talent deserving of wider recognition. Rotondi’s first release for Sharp Nine also happens to be among his best to date, feeling very much like a classic in the making. That should come as no surprise considering the ensemble makeup, with the trumpeter sharing lead with vibraphonist Joe Locke. In the same way that Bobby Hutcherson added so much to classic Blue Notes such as Grant Green’s Idle Moments or Joe Henderson’s Mode For Joe, Locke provides a lush carpet that enhances the advanced charts. Holding down the fort, Mulgrew Miller, Peter Washington, and Joe Farnsworth form a tight-knit rhythm team, with the latter two gentlemen especially familiar with Rotondi’s modus operandi. It’s another old buddy, trombonist/composer Steve Davis who sits in on two tracks and contributes one of the date’s finest compositions, “Evening Shades of Blue.” Typical of Davis’ distinguished writing, this long form tune with a catchy tag is the longest performance of the disc and allows all key members a chance to stretch out at length. Equally enticing are three tunes from Rotondi’s pen, including the bop-tinged “Designated Hitter,” a bluesy tribute to Mulgrew Miller entitled “Miller Time,” and the lovely waltz “Reverence.” As for appreciating Rotondi’s maturity as a soloist, look no farther than “Park Avenue Petite,” a ballad feature that finds the trumpeter taking his time, looking for the silence between phrases, and holding our interest in a way that only the finest improvisers can. In similar fashion, Rotondi avoids the flashy technical displays and other trite inventions and maybe that’s what makes Destination Up such a keeper. ~ C.Andrew Hovan https://www.allaboutjazz.com/destination-up-jim-rotondi-sharp-nine-records-review-by-c-andrew-hovan.php

Personnel: Jim Rotondi (trumpet, flugelhorn), Joe Locke (vibes), Steve Davis (trombone),Mulgrew Miller (piano), Peter Washington (bass), Joe Farnsworth (drums)

Destination Up

---

Charles Earland Tribute Band - Keepers of the Flame

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:06
Size: 138,4 MB
Art: Front

( 6:42)  1. Deja Vu
( 7:43)  2. Memorial Day
( 6:37)  3. What Love Has Joined
( 7:25)  4. South Philly Groove
( 5:34)  5. On the Stairs
( 7:42)  6. The Closer I Get to You
( 7:52)  7. The Summit
(10:28)  8. Pick Up the Pieces

Organist Charles Earland, who died in December 1999, was known as “The Mighty Burner.” The intensity of his swing resembled that of the late Art Blakey on drums. An exponent of soul-jazz, Earland was a master of the organ’s foot pedals. His band, usually two or three horns plus guitar and drums, conveyed a big, kicking ensemble sound. The Charles Earland Tribute Band steps in without letdown where the organist left off. With Joey DeFrancesco in the organ seat and five former sidemen from Earland’s band aboard, this album swings hard, with conviction and intelligence. Drummer Vincent Ector organized the group, which features trumpeter James Rotondi, tenor saxophonist Eric Alexander and guitarist Bob DeVos (alternating with Pat Martino). Percussionist Kevin Jones, a nonalum, appears on four of the eight tracks. Three well-known hits from the ’70s-“Deja Vu” (originally sung by Dionne Warwick), “The Closer I Get to You” (originally sung by Roberta Flack and Donny Hathaway) and the Average White Band’s “Pick Up the Pieces”-recall Earland’s ability to find his own jazz groove on pop material. Both hornmen, members of the organist’s final group, sizzle especially well on “Pick Up the Pieces.” Martino, a member of Earland’s first organ group and the most famous participant on the album, performs on three cuts. His “On the Stairs” is a challenging original that each soloist successfully conquers. DeFrancesco, who initiated the current jazz-organ renaissance a decade ago, suggests Earland without slavishly imitating him. His solos are a bit busier than were Earland’s, but his ensemble sound is perfect. The arrangements, uncredited, deserve special mention for their full-sounding harmonies and rhythmic punch. ~ Owen Cordle https://jazztimes.com/reviews/albums/charles-earland-tribute-band-keepers-of-the-flame/

Personnel:  Jim Rotondi - trumpet;  Eric Alexander - tenor sax;  Joey DeFrancesco - organ;  Pat Martino , Bob DeVos - guitar;  Vince Ector - drums

Keepers of the Flame

---

Kyle Eastwood - Paris Blue

Styles: Jazz, Post Bop
Year: 2004
File: MP3@320K/s
Time: 55:31
Size: 127,4 MB
Art: Front

(3:38)  1. Big Noise (From Winnetka)
(5:56)  2. Marrakech
(5:48)  3. Muse
(6:43)  4. Le Point Royal
(6:26)  5. Solferino
(5:33)  6. Cosmo
(8:15)  7. Paris Blue
(7:17)  8. Big Noise Remix
(5:51)  9. Marrakech Remix

At last! A recording firmly planted in the jazz tradition of Charles Mingus, but updated and as fresh as this morning's brew. Bassist Kyle Eastwood has brought together a collection of (mostly) original compositions and mixed them with programmed or hip-hop rhythms underneath a mainstream horn section to create an accessible yet challenging listen. On the original "Marrakech," Michael Stevens' keyboards and programming create an exotic Middle Eastern flavor that melds perfectly with the serpentine soprano sax and mourning duduk. "Solferino" creates a mood of haunting moonlight sonatas, featuring the dark and forboding tenor saxophone of Doug Webb. A Freddie Hubbard-like Jim Rotondi spits out bullets over a CTI-era keyboard backdrop on "Cosmo." Eastwood even digs up the Swing Era classic "Big Noise" with whistles and all, grooving it with a heavy beat that is a perfect counterbalance to the bop solos by Webb and trumpeter Lee Thornberg. Paris Blue has something for everyone: creativity, deep grooves and excellent lead solos. Something new is rising from Eastwood. ~ George Harris https://www.allaboutjazz.com/paris-blue-kyle-eastwood-rendezvous-review-by-george-harris.php

Personnel: Kyle Eastwood: bass; Vinnie Colaiuta, Kendall Kay: drums; Jim Rotondi, Lee Thornberg: trumpet; Michael Stevens: keyboards; Alan Pasqua, John Beasley: piano.

Paris Blue

---

Cory Weeds Quintet - Everything's Coming Up Weeds

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:04
Size: 120,0 MB
Art: Front

(6:33)  1. B.B.'s Blue Blues
(7:19)  2. Biru Kirusai
(5:42)  3. Ella's Walk
(5:22)  4. Little Unknown One
(5:59)  5. I've Never Been in Love Before
(5:48)  6. Bailin' on Lou
(4:44)  7. 323 Shuter
(5:14)  8. Cyclaman
(5:20)  9. The Pour

Everything's Coming Up Weeds, the 50th release from the Cellar Live stable, is a stellar recording featuring an extraordinary quintet. At first blush, it recalls the energy and fervor of wonderful Benny Golson bands and, if the memory can be stretched a wee bit further, also some memorable sessions of Jazztet or even a Jazz Messengers middle passage. The date is led by the big tenor sound of Cory Weeds saxophonist, broadcaster, jazz impresario extraordinaire and owner of Canada's leading West Coast nightspot, The Cellar Restaurant and Jazz Club. There is also excellent work from pianist Ross Taggart, trumpeter Jim Rotundi, bassist John Webber and drummer Willie Jones III.  There are several remarkable aspects to this record. First, the writing of the originals is of the very highest order. The music is wonderfully crafted with an extraordinary ear for tonal colors and rhythmic textures, whether it is a blues such as Taggart's "BB's Blue Blues," which appears to be an oblique tribute to Thelonious Monk, or an exotic narrative from Rotundi, "Biru Kirusai," which is almost a title in Bunga Emas (the language of Malaysia) and conjures up images of the sights and smells of exquisite Southeast Asia. The highlight, of course, is Weed's writing, which is mature and exquisitely crafted, with a fine sense of the sonority and sliding elegance of the tenor saxophone. On his "Little Known One," Weeds paints sonic images of Dexter Gordon. And like Gordon, Weeds is able to bend his fat sound to practically cry at the most tender moments of the song.

On Frank Loesser's "I've Never Been in Love Before," Cory Weeds establishes his mastery over the ballad, digging deep into his horn an extracting a genuine, glowing warmth that few tenor saxophonists today have been able to summon, even in balladry. Weeds also exhibits remarkable command of the bebop rhythm with his "Bailin' On You" and "323 Shuter." His chart, "The Pour," sounds like a classic tune from a Jazz Messengers songbook. But make no mistake, this is all Cory Weeds. This is, in fact, the second remarkable aspect of this record. It is bursting with ideas and superb expression. Few small ensembles playing today complement each other with sensitivity to each other's sound. It is like an Duke Ellington band, where each of the players, like alchemists, forge tones that meld into one another. The interplay is almost seamless, with Taggart's "Cyclaman" and Weeds' "The Pour" bringing that molten sound of the quintet to sublime fruition. This is also a wonderfully tongue-in-cheek title: Everything's Coming Up Weeds. If anything, there is jazz in full bloom here, end-to-end. ~ Raul D’Gama Rose https://www.allaboutjazz.com/everythings-coming-up-weeds-cory-weeds-cellar-live-review-by-raul-dgama-rose.php

Personnel: Cory Weeds: tenor saxophone; Jim Rotundi: trumpet; Ross Taggart: piano; John Webber: acoustic bass; Willie Jones III: drums.

Everything's Coming Up Weeds

---

1 For All - Wide Horizons

Bitrate: MP3@320K/s
Time: 57:11
Size: 130.9 MB
Styles: Contemporary jazz
Year: 2002
Art: Front

[7:20] 1. The Nomad
[8:05] 2. Nemesis
[7:34] 3. Wide Horizons
[6:13] 4. Infant Eyes
[6:50] 5. Central Park South
[7:00] 6. The Conformist
[7:29] 7. Cold Smoke
[6:37] 8. A Calling

Eric Alexander (Ts); Jim Rotondi (Tp / Flh); Steve Davis (Tb); David Hazeltine (P); Peter Washington (B); Joe Farnsworth (D). Recorded December 20, 2002 in Brooklyn, NY, USA by Max Bolleman.

A frontline consisting of Eric Alexander's tenor sax, the trumpet and fluegelhorn of Jim Rotondi, and trombonist Steve Davis executes the band's arrangements of original compositions (plus two jazz standards) with elan, as well as blowing spirited solos. Stimulating the horns, pianist David Hazeltine, bassist Peter Washington, and Joe Farnsworth on drums comprise a first-class rhythm section that completes the ensemble's unique sound.

Wide Horizons

---

Alexis Cole with One For All - You'd Be So Nice To Come Home To

Bitrate: MP3@320K/s
Time: 56:10
Size: 128.6 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[4:17] 1. Golden Earrings
[5:31] 2. I Will Wait For You
[5:31] 3. Moon River
[6:06] 4. Delilah
[5:18] 5. Cry Me A River
[5:38] 6. Alone Together
[5:20] 7. A Beautiful Friendship
[3:47] 8. All The Things You Are
[4:44] 9. So In Love
[5:15] 10. You've Changed
[4:36] 11. You'd Be So Nice To Come Home To

Bass – John Webber; Drums – Joe Farnsworth; Piano – David Hazeltine; Tenor Saxophone – Eric Alexander; Trombone – Steve Davis; Trumpet – Jim Rotondi; Vocals – Alexis Cole. Recorded at Avatar Studios in New York on April 28 & 29, 2010.

Alexis Cole, born into a musical family in Queens, New York, began her professional career after obtaining a master's degree from the Aaron Copland School of Music at Queens College. She has performed with Slide Hampton, Rufus Reid and Harry Pickens among others, and so far released four CDs on independent labels. Following her superb debut from the Japanese Venus Records (Someday My Prince Will Come, available on HQCD and vinyl LP), her eagerly awaited second album is something of a coup - she recorded the entire album with the all-star hard bop group One For All! As far as I know, the supergroup that includes Eric Alexander and David Hazeltine has never accompanied a singer for an entire album!

The familar standards are tastefully and intelligently arranged, and Cole's attractive voice and the ability to swing are in full display. Her voice is rich and strong. She has impeccable technique and control, and a confident jazz style that hints an influence from Carmen McRae. And, as expected, the ensemble and solo work of the band is simply phenomenal! A rare album that satisfies fans of vocal jazz and fans of serious hardbop, instrumental jazz!

You'd Be So Nice To Come Home To

---