Mike Ledonne - Wonderful

Styles: Jazz
Year: 2024
Time: 56:01
File: MP3 @ 320K/s
Size: 129,3 MB
Art: Front

(8:45) 1. Let Us Go
(8:30) 2. Lonnie's Lament
(7:19) 3. Twinkies Organ Prelude / Wonderful
(6:26) 4. Put It Back
(6:05) 5. Bridge Over Troubled Water
(5:59) 6. Ain't Nothing Like The Real Thing
(5:48) 7. Make Someone Happy
(7:06) 8. Genesis

In jazz's rich tapestry, where tradition meets innovations, there emerged a convergence exemplified by the present release Wonderful! with the virtuosic Mike LeDonne's Groover Quartet + Gospel Choir, who embark on a transcendent journey into the heart of gospel- infused jazz. The project is informed by LeDonne's desire to offer a heartfelt tribute to his wife Margaret and daughter Mary to showcase the spirited and varied nature of the disability community. Participating in this harmonious affair are the long-time members of the Quartet, including tenor saxophonist Eric Alexander, guitarist Peter Bernstein and drummer Joe Farnsworth, with special guests Daniel Sadownick on percussion and Vincent Herring on alto saxophone plus an eleven-voice gospel choir.

The session opens with the gospel song "Let Us Go," and it is a barn burner from the opening notes. Filled with an uplifting, joyful spirit emanating from the choir's voices, the quartet, enhanced by Sadownick and Herring, picks up a fiery groove that elevates with a sense of spiritual resonance. The John Coltrane composition "Lonnie's Lament" was recorded in 1964 with his Quartet for an album entitled Crescent at the same Van Gelder Recording Studio as this release. With his clear-eyed approach, the expressive tenor player Alexander is at the forefront of this chart. LeDonne and Bernstein play their part in bringing this broad-based canvas to life.

The title track, "Wonderful," is paired with "Twinkies Organ Prelude," which brings the meditative choir and the meticulously flowing sound of the quartet together in the pleasure of the music. The gospel choir continues their assertive and open-minded approach with two popular songs: Paul Simon's "Bridge Over Troubled Water" and the Ashford & Simpson number "Ain't Nothing Like The Real Thing." Farnsworth's intense shuffle drumming sets up the former as Bernstein, LeDonne and Alexander each show a head-long but intelligent approach to improvisation. The latter swings along at a striking clip, with LeDonne and the quartet showing they are a briskly assertive ensemble.

The album closes with a LeDonne original "Genesis," a slashing number with Farnsworth's propulsive drumming leading the way. Alexander, Bernstein and LeDonne are drawn into this irresistible rhythmic inquiry, responding with vital, scintillating work. The band and the gospel choir have a mission to touch all who listen.By Pierre Giroux
https://www.allaboutjazz.com/wonderful-mike-ledonne-cellar-music-group/

Personnel: Mike LeDonne - Hammond B3 organ; Eric Alexander - tenor saxophone; Peter Bernstein - guitar; Joe Farnsworth - drums; Daniel Sadownick - percussion (Let Us Go & Put It Back); Vincent Herring - alto saxophone (Let Us Go)

Wonderful

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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

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Grant Stewart - Young At Heart

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:59
Size: 127,0 MB
Art: Front

(7:59) 1. Young At Heart
(8:36) 2. You're My Thrill
(6:13) 3. Roll On
(5:41) 4. Shades Of Jackie Mac
(7:00) 5. Repetition
(6:47) 6. Serenade To Sweden
(6:49) 7. Modinha
(5:52) 8. Jet Stream

Since moving from Toronto to New York at age 19, Grant Stewart has spent 15 years dutifully toiling in the city's jazz underground. Only over the past few years have we begun to hear some worthy examples of the tenor saxophonist's labor a release under his name for Criss Cross, a pair on the same label by Reeds and Deeds (a band he co-leads with Eric Alexander), and a couple on the Video Arts imprint. Although all of these discs are worth your discretionary income and time, 2007's In the Still of the Night (Sharp Nine) was a career-defining recording. From shrewd choices in material, a crack rhythm section, to Stewart's glowing solos, it was one of those rare instances in which everything came together in a near perfect manner. Sharp Nine owner/producer Marc Edelman wasted no time getting Stewart back in the studio, and he wisely decided there was no need to retool a winning formula. On Young at Heart, once again, Stewart is joined by pianist Tardo Hammer, bassist Peter Washington, and drummer Joe Farnsworth. The record is every bit as good as its predecessor in part because of Stewart's ability to sound at ease and establish his own identity on different kinds of material and at various tempos. There's stability and depth to his playing that sets him apart from a host of well-known, thirty-something tenor stylists who blow convoluted to a fault.

The tenor saxophonist's thoughtful interpretations of songs by Duke Ellington, Antonio Carlos Jobim, Neal Hefti, and others are complete in themselves. He lingers on the melodies instead of merely using them as a springboard for improvisation. Throughout the head of the title track, for example, Stewart deliberately moves thorough Hammer's lively accompaniment. A subdued rendition of "You're My Thrill" conveys a quiet resignation. Stewart's style of improvising is fresh, uncluttered, and cliche free. On medium and up tempo tracks like "Roll On," "Serenade to Sweden," "Shades of Jackie Mac," and "Jet Stream," he invariably plays a steady, evenly paced stream of ideas. One favorite device is burrowing into the rhythm section's thrust for an extended period before briefly easing up and gliding over them. Throughout the ballad "Modinha," Stewart's gift for spontaneous melodic invention is more pronounced, and so is his dramatic range. At one important juncture, he falls silent for what feels like an eternity before reaching a brief climax.By David A. Orthmann
https://www.allaboutjazz.com/young-at-heart-grant-stewart-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Grant Stewart: tenor saxophone; Tardo Hammer: piano; Peter Washington: bass; Joe Farnsworth: drums.

Young At Heart

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David Kikoski, Eric Alexander - Phoenix Rising

Styles: Piano And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 59:17
Size: 136,4 MB
Art: Front

(6:01)  1. Phoenix Rising
(5:21)  2. Kik It
(5:48)  3. Wichita Lineman
(7:57)  4. If I Were a Bell
(6:01)  5. Emily
(6:41)  6. Love for Sale
(6:33)  7. My One and Only Love
(7:26)  8. Lazy Bird
(7:25)  9. Willow Weep for Me

Pianist David Kikoski and tenor saxophonist Eric Alexander, among the brightest lights on New York City's jazz scene for more than two decades, have known each other for almost as many years but Phoenix Rising marks the first time they have recorded together. After listening, one observation springs immediately to mind: it's about time. A second premise is that the album swings and dazzles from start to finish but one would expect no less from such masters of the idiom, especially when the session benefits as well from the imposing presence of two more paragons, bassist Peter Washington and drummer Joe Farnsworth. That the level of musicianship is high throughout is also no surprise, as Kikoski and his colleagues have been honing their respective skills for many years as members of New York's elite and are unfazed and self-assured in the face of anything that threatens to impede their progress or disrupt their purpose. In their capable hands, excellence is not so much a goal as a given. After a brief aside, the quartet hastens briskly from the starting gate on "Phoenix Rising," co-written by Alexander and Kikoski, a theme that, in Alexander's words, is "all about Dave exploding back on the scene." Explode he does with a powerful two-fisted solo that precedes an equally emphatic statement by Alexander.

That's the first of no less than four burners on the menu. The others are Frank Loesser's "If I Were a Bell," Ann Ronell's "Willow Weep for Me" and John Coltrane's "Lazy Bird," on which Alexander's scorching solo would easily thaw an iceberg. The group is more laid-back but no less persuasive on the album's less heated numbers: Jimmy Webb's "Wichita Lineman," Johnny Mandel's "Emily" (on which Alexander sits out), Cole Porter's "Love for Sale" (set to a saucy Latin beat) and Guy Wood / Robert Mellin's "My One and Only Love." Alexander's nimble blues, "Kik It," rounds out the well-balanced program. Kikoski takes the first solo again, as he does on almost every number (well, it is his gig), and every solo is a model of tastefulness and technical brilliance. The last (and most lasting) impression is that these are four superior musicians, and that quartets simply can't blend together more seamlessly than this. Everyone listens carefully, responds apace, and enhances the group dynamic. Best of all, the music they have chosen to play is invariably bright and pleasing. Well done, gentlemen. ~ Jack Bowers https://delaware.allaboutjazz.com/phoenix-rising-david-kikoski-highnote-records-review-by-jack-bowers.php

Personnel: David Kikoski: piano; Eric Alexander: tenor saxophone (1-4, 6-9); Peter Washington: bass; Joe Farnsworth: drums.

Phoenix Rising

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David Hazeltine - Blues Quarters, Vol.2

Styles: Piano Jazz, Hard Bop
Year: 2007
Time: 61:25
File: MP3 @ 320K/s
Size: 140,6 MB
Art: Front

(5:57) 1. Moment of Joy
(7:21) 2. But Here's the Thing
(7:03) 3. Inner Circle
(5:16) 4. Goin' Out of My Head
(7:56) 5. Embraceable You
(6:42) 6. Unforgettable
(6:20) 7. Suddenly It's Spring
(6:57) 8. The Second Blues Quarters
(7:49) 9. Blues for Us

A lot of water has passed under the proverbial bridge since the last time that David Hazeltine got together with Eric Alexander for the initial 1998 session billed as Blues Quarters Vol.1 (Criss 1188). As strong a showing as the pianist and his cohorts made on that initial release, I think all would agree this latest incarnation is even better, imbued with a maturation and musical camaraderie that has further developed due to countless numbers of gigs undertaken in the intervening years.

It's also interesting to ponder the fact that Hazeltine, Alexander, bassist Peter Washington, and drummer Joe Farnsworth have all built very prosperous careers over the past several years and have done so in a manner that is somewhat left of center from the norm. Historically, jazz musicians have gained prominence either through the forging of completely new paths that can also hold traps for alienating an audience or by recreating former styles in a retro manner that puts originality at a lesser premium. But while Hazeltine and his cohorts have steered clear from avant-garde leanings, preferring to work squarely within the bop tradition, they have expanded upon and refined the constraints of the mainstream in a way that has led to revitalization of a style that threatened to stagnate during the "young lions" craze of the late '80s and early '90s.

One of the incubators for this new music has been the group One For All, a sextet of leaders including Hazeltine and his friends from the disc at hand, the collective just recently celebrating an unprecedented ten-year run that culminated in its recent album The Lineup being honored as Recording of the Month in the November 2006 issue of Stereophile magazine, a prize usually reserved for classical or other more obscure releases. In his review of the disc, Robert Conrad commented strongly on the "headlong plunging urgency" of the music that he avows would not be possible without the "world-class blue-collar rhythm section [including] Hazeltine and Farnsworth." The point being that it is this same chemistry and common sense of purpose that makes Blues Quarters Vol.2 such a satisfying recital.

Like the first set, this latest offering goes for a combination of original tunes and some well-picked standards, but with an additional twist. On several tracks, the Latin rhythms of conguero Jose Alexis Diaz provide further seasoning that is aided and abetted by Hazeltine's coy arrangements. A veteran of New York's Latin scene, Diaz has been heard with many giants of the music including Tito Puente and Mario Bauza and can also be found on At the Main Event (Criss 1070) by trumpeter Brian Lynch.

"Moment of Joy" gets things started on a sunny note, this easy-going swinger boasting an atypical form with eight bars of an opening theme followed by a twelve-bar release that is then repeated. Statements by Alexander and Hazeltine precede a short testimonial by Washington, who proves not only to be a confident supporting player throughout but also a highly musical soloist.

Diaz makes his first appearance on the smoldering "But Here's the Thing," an Afro-Cuban groove that is built around sections of varying length, although the solos stick closely to the basic 16-bar structure of the head. Eric leads off with a typically refined solo full of rhythmic variety and textural variations such as upper register shouts and cries. Hazeltine follows before turning things over to Diaz, who blows over a percolating vamp with Farnsworth's rim clicks marking the clave.

Eric Alexander contributes "Inner Circle," a medium tempo number with a basic 24-bar form. This time around, Hazeltine takes the first several choruses before handing it off to Alexander. The two then take turns trading four bar exchanges with Farnsworth, an especially musical drummer who can always be counted on for statements that rely more on cogent phrasing and rhythmic resourcefulness than on mere displays of technical flash.

An iconic number directly associated with the feel good music of the 1960s, "Goin' Out of My Head" first hit the pop charts as performed by Little Anthony and the Imperials. Later, guitarist Wes Montgomery would see its potential for jazz fodder in a 1965 version arranged by Oliver Nelson. Alexander sits out on this one, but Diaz is back to help establish a lightly swinging bossa beat. This is just one example of Hazeltine's expertise in updating pop tunes of the '60s and '70s, an area which lately seems to have become his specialty.

Often considered the perfect litmus test for determining a jazz musician's potential for interpreting a ballad, "Embraceable You" is also one of George and Ira Gershwin's best-known pieces, the 1944 gem making its debut in the film Girl Crazy. Alexander delivers the melody with an appropriate degree of warmth and immediacy before the pace quickens at the start of Hazeltine's first solo chorus. The tempo stays up for Alexander's entrance and soon he's using the opening phrase as a launching point for further development, his unaccompanied cadenza bringing things in for a smooth landing.

"Unforgettable" will always be closely associated with Nat King Cole, his original version peaking as high as #12 on the Billboard charts back in 1952. Subsequent performances would include those by pianist Dick Hyman and vocal great Dinah Washington, but neither of these pack quite the visceral punch of Hazeltine's sagacious reworking here. With Diaz again on congas, the pace quickens for a fine series of solos from Alexander, Hazeltine, and Diaz in that order.

Looking for a number in waltz tempo, the quartet settles on "Suddenly, It's Spring," a seldom-heard standard that nonetheless can be heard in several jazz incarnations by instrumentalists such as Zoot Sims and Stan Getz and by several vocalists including Frank Sinatra and Chris Connor. Farnsworth's Latinesque embellishments accompany an opening vamp that subsequently leads into Alexander's delivery of the melody, the overall mood not unlike that of McCoy Tyner's "Three Flowers."

The universality of the blues that also happens to give the disc its title makes it presence strongly felt on the concluding two numbers. ""Blues Quarters 2" and "Blues for Us," the former not technically a blues and the latter definitely of the 12-bar variety, both make the most of one of the music's oldest and more enduring forms with some fluent soloing from everyone on board.

Of course it goes without saying that jazz has continued to struggle to find its place within a market that has changed dramatically over the past few years. In many ways, the presentation of jazz recordings from a historical perspective is directly opposed to current technological favorites such as iPods and MP3s. Because of this, it's doubtful that many jazz fans are looking to cram as many "tunes" into their pods as they can. Hazeltine and his close circle of friends have the opportunity to turn the tables on this current state of affairs as they continue to make music of the highest caliber. Blues Quarters 2 joins an already impressive body of work that is sure to stand the test of time even as the times are rapidly changing. By C. Andrew Hovan https://www.allaboutjazz.com/david-hazeltine-blues-quarters-vol2

Personnel: David Hazeltine (p), Eric Alexander (ts), Peter Washington (b) & Joe Farnsworth (d) plus Jose Alexis Diaz (congas on #2, 4 & 6)

Blues Quarters, Vol.2

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Jim Snidero - For All We Know

Styles: Saxophone Jazz
Year: 2024
Time: 53:27
File: MP3 @ 320K/s
Size: 123,0 MB
Art: Front

(7:56) 1. For All We Know
(5:14) 2. Naima
(6:21) 3. Love For Sale
(6:32) 4. Blackberry Winter
(5:19) 5. Parker's Mood
(6:33) 6. Willow Weep For Me
(7:58) 7. My Funny Valentine
(7:32) 8. You Go To My Head

The cover photo on Jim Snidero's For All We Know features the saxophonist holding his horn out in front of his body as if he is offering it to us as a holy relic. Holy it is when he plays it; a relic it is not.

The album is Snidero's first recorded offering in a trio setting sax, bass and drums. No chording instrument. His partners in chordlessness, Peter Washington and Joe Farnsworth bass and drums, respectively are a perfect choice, guys who have played with everybody from Art Blakey, McCoy Tyner, Tommy Flanagan, Cedar Walton and so many more. They were also Snidero's bandmates on the masterful Live At the Deer Head Inn (Savant, 2021). Some called that disc a masterpiece. They may have been right.

Snidero's tone is strikingly pure, showcased all the more in the spare trio setting. Tonal beauty stood out in his previous masterpiece, Strings (Milestone Records), released originally in 2002 and re-released in a slightly buffed-up form in 2021 on the Savant label. It is even more apparent on For All We Know, with the altoist playing the familiar standards, from the title tune opener through John Coltrane's "Naima" to Charlie Parker's (there has to be a Bird song here) "Parker's Mood." Throw in Cole Porter's "Love For Sale," Rodgers and Hart's "My Funny Valentine," and the old war horse "Willow Weep For Me" and you have a classic set, played with reverence and an unmatchable feel for melodic beauty.

2024's release of For All We Know sees Jim Snidero entering his fifth decade of jazz artistry. Excellent sounds from start to finish, especially his Savant Records output that began in 2007 with Tippin'. His sound like Charlie Parkers,' Art Peppers' and Lee Konitz's is something special, like that holy relic he is holding out is made of gold, the twenty-four-carat type.By Dan McClenaghan
https://www.allaboutjazz.com/for-all-we-know-jim-snidero-savant-records

Line-up/Musicians: Jim Snidero (alto saxophone); Peter Washington (bass); Joe Farnsworth (drums)

For All We Know

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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

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Bernie Senensky, Eric Alexander, Joe Farnsworth - Moment To Moment

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 67:41
Size: 155,2 MB
Art: Front

( 5:08) 1. Alexander’s Realtime Band
(15:02) 2. Speak Low
( 7:39) 3. Matchmaker
( 9:15) 4. Moment To Moment
(10:35) 5. Blues For E.J.
( 7:18) 6. Make Believe
( 8:57) 7. Stand Pat
( 3:44) 8. Alexander’s Realtime Band (Alt Take)

Canadian pianist Bernie Senensky's latest album, Moment to Moment, encompasses two quartet sessions recorded almost twenty years apart: the first in 2001, the second (live) in 2020. While the rhythm sections differ on each, the one constant (aside from Senensky) is the acclaimed tenor saxophonist Eric Alexander. If you are planning to have only one constant, Alexander is by any measure a superlative choice.

Alexander, whose solos are models of creativity and eloquence, seems to light a fire under Senensky who performs marvelously on every number while giving Alexander copious room to improvise (and granting him the first solo on most tracks). Senensky wrote three of the album's eight numbers, and they are excellent, especially the flag-waving "Alexander's Realtime Band," versions of which open and close the album. The others are the loping "Blues for E.J." and lyrical "Make Believe." For his part, Alexander composed the skittish burner "Stand Pat" as a tribute to his band mate and friend, the late guitarist Pat Martino.

Senensky and Alexander are blessed to have the support of not one but two blue-chip rhythm sections: bassist Dave Young and drummer Morgan Childs on "Speak Low" and "Blues for E.J." (showcasing Young's splendid arco bass) from 2020, bassist Kieran Overs and drummer Joe Farnsworth on the studio session from 2001. Speaking of bassists, Overs has his moment in the sun (and it is a bright one) on "Make Believe," while Childs sparkles on "Speak Low," Farnsworth on "Stand Pat." Alexander's solos, meanwhile, often extend for more than five minutes, and he never runs out of inspiration or passes up a persuasive turn of phrase. His statements on "Realtime Band" are textbook examples of how to unravel a theme and get it right.

On "Blues for E.J.," Senensky and Alexander prove that they can be as blue as needed, much as they cleave to the juggernaut that is "Alexander's Realtime Band" and do not let go until they have made their purpose crystal clear. The album's other songs, so far unmentioned, are Jerry Bock and Sheldon Harnick's "Matchmaker, Matchmaker" from the Broadway smash Fiddler on the Roof and Henry Mancini/Johnny Mercer's lovely ballad, "Moment to Moment" (from the film of that name), which lends the album its title. "Matchmaker," taken at precisely the correct tempo, spotlights typically impressive solos by Senensky (who leads off this time) and Alexander with staunch support from Overs and Farnsworth, while Alexander shows his tender side on "Moment to Moment" and Senensky frames a second amorous solo.

Alexander shows on every number why he has been ranked high in so many polls for more than two decades; he always comes to play, and never leaves an audience less than pleased and enlightened. Notwithstanding his towering presence, however, this is Senensky's date (or dates), and he demonstrates time and again why he is one of Canada's foremost jazz pianists, whether playing straight-ahead (as he does here) or avant-garde, as he has been known to do on other occasions. From Moment to Moment, Senensky enhances every note and phrase, as do Alexander who is always a pleasure to hear and those exemplary rhythm sections. Quartet sessions simply don't shine much brighter than this.By Jack Bowers
https://www.allaboutjazz.com/moment-to-moment-bernie-senensky-cellar-music-group__1010

Personnel: Bernie Senensky - piano; Eric Alexander - tenor saxophone; Kieran Overs - bass (tracks 1,3,4,6,7 & 8); Dave Young - bass (tracks 2 & 5); Joe Farnsworth - drums (tracks 1,3,4,6,7 & 8); Morgan Childs - drums (tracks 2 & 5)

Moment To Moment

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David Hazeltine/Peter Washington\Joe Farnsworth - Blues for Gerry

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:09
Size: 142,9 MB
Art: Front

(6:31) 1. Here Again
(5:50) 2. Tangerine
(7:36) 3. Blues for Gerry
(6:43) 4. Firm Roots
(7:12) 5. Body and Soul
(6:01) 6. It Could Happen to You
(4:46) 7. Skylark
(5:29) 8. Minor Disturbance
(5:40) 9. You Know I Care
(6:16) 10. Here We Go

A longtime member of the Criss Cross family, pianist David Hazeltine began recording for the label in the mid 1990s. Since then he has released around 30 Criss Cross albums, including eight as leader. During this time, bassist Peter Washington and drummer Joe Farnsworth, who complete the trio on Blues For Gerry, have been frequent comrades in arms.

Sadly, Criss Cross founder Gerry Teekens passed in 2019. The good news is that his son Jerry has taken over the reins and the label is once again recording new albums, as well as reissuing back-catalogue gems (see here).

Blues For Gerry is Hazeltine's first recording for the label since 2010 and it confirms why Teekens Snr. held him in such high regard. The pianist is not in the business of frightening the horses, but within the framework provided by jazz standards and the Great American Songbook, he digs deep and comes up with the goods. As he says about "Body And Soul" in the liner notes here, "I'm not shying away from overplayed music."

This is, rather surprisingly, the first time Hazeltine has recorded the Johnny Green standard, and its 7:13 exposition is among the best tracks on the album. Others include Hoagy Carmichael's "Skylark" and Buddy Montgomery's "Here Again." Of the three Hazeltine originals, the title tune, at 7:37 the longest track, is also more than solid.
Other source composers are Victor Schertziner ("Tangerine"), Cedar Walton ("Firm Roots"), Jimmy Van Heusen ("It Could Happen To You") and Duke Pearson ("You Know I Care.")

At no point does Hazeltine feel the need to adorn familiar material with mere complexity. What you hear is what you get, and what you get is what it is.
By Chris May https://www.allaboutjazz.com/blues-for-gerry-david-hazeltine-criss-cross

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Blues for Gerry

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George Coleman - Live at Smalls Jazz Club

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 71:02
Size: 163,3 MB
Art: Front

(11:26) 1. Four
( 6:27) 2. At Last
( 9:34) 3. My Funny Valentine
( 8:39) 4. Meditation
( 8:08) 5. Blues for Smalls
(11:17) 6. Nearness of You
( 7:10) 7. New York, New York
( 8:17) 8. When Sunny Gets Blue

If you are an aficionado of tenor saxophonists with a big, bold, biting tone who can run changes in the blink of an eye, then George Coleman is your man. Now in his 88th year, over the course of his long career, he has had a gamut of experiences including B.B. King (1952/1955-56), Max Roach (1958-59), Slide Hampton (1959-61) and Miles Davis (1963-64). His discography both as a leader/co-leader as well as a sideman covers a panoply of well-known jazz names, but recently the archivist label Reel To Real, under the guidance of saxophonist/producer Cory Weeds, uncovered a couple of unreleased 1970s Coleman sessions. Firstly, in 2020, The George Coleman Quintet in Baltimore (recorded in 1971), and in 2023 Shirley Scott Queen Bee: Live at the Left Bank (recorded in 1972) with Coleman on tenor sax.

Live at Smalls Jazz Club is a quartet session in which Coleman is supported by pianist Spike Wilner, bassist Peter Washington and the always swinging drummer Joe Farnsworth. The eight-tune track list consists of well recognized creations that have been associated with Coleman throughout his professional life starting with the Miles Davis composition "Four." Coleman opens the number with a sly introduction, after which he rips into a long solo with his usual energetic dashing style. The rhythm section is all in and full of propellant swing. The other Davis associated tune is Richard Rodgers' "My Funny Valentine." Coleman's interpretation is full of structural logic and artful restraint. Washington's bass is big and clear throughout.

The blues have been part of Coleman's repetoire since his early years with blues bands, and thus it is no surprise that his own composition "Blues For Smalls" is included in this session. And a rollicking blues it is, filled with Coleman's long, looping runs. Wilner fills his lengthy solo with surging energy, Farnsworth's slick drumming thrusts the number forward, while Washington is his usual clever self with his interjections. The final three tracks"The Nearness Of You," "New York, NewYork" and "When Sunny Gets Blue" continue with the stellar performances that Coleman and his cohorts laid down in the previous cuts. There is no diminution in Coleman's big saxophone sound and his improvisations continue to be crafty and expansive. By Pierre Giroux
https://www.allaboutjazz.com/live-at-smalls-jazz-club-george-coleman-george-coleman-cellar-music-group

Personnel: George Coleman: saxophone, tenor; Spike Wilner: piano; Peter Washington: bass; Joe Farnsworth: drums.

Live at Smalls Jazz Club

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Joe Farnsworth - In What Direction Are You Headed?

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:53
Size: 142,5 MB
Art: Front

( 7:13) 1. Terra Nova
( 9:29) 2. Filters
(10:33) 3. In What Direction Are You Headed
( 5:00) 4. Composition 4
( 7:24) 5. Anyone but You
( 6:44) 6. Safe Corners
( 5:31) 7. Bobby No Bags
( 9:55) 8. Someday We'll All Be Free

I have been listening to music accompanied by the esteemed drummer Joe Farnsworth for over 30 years, especially via a favorite ensemble, One For All. I know he is good, but how good wasn’t clear to me until now.

Farnsworth, who will be leading a band at the Jazz Showcase from May 11th through the 14th, has always been “a drummer’s drummer,” capable of providing stalwart support of most any ensemble.

Generally known for his “old school” pocket behind post-bop performers, Farnsworth’s new album In What Direction Are You Headed? Is a wily departure from his usual fare, involving a new generation of players while keeping a veteran rhythm core at the center, creating a plaiting of generations.

On In What Direction are some of the finest contemporary talents: featured guitarist Kurt Rosenwinkel, altoist Immanuel Wilkins (whose appearance at last year’s Jazz Festival was woefully undersold), and keyboardist Julius Rodriguez. At the bass helm is Robert Hurst, who has moved forward from his crucial Marsalis experience to become a respected support player.

The album’s title, and title cut, comes from an attempt to bridge those generations, a way for Farnsworth to indicate to his homies that he is not straying far away from his roots but wants to move forward to involve the top tier of current musicians steeped in multi-genre upbringings. Farnsworth first played the tune with the late, sorely-missed, pianist Harold Mabern at the Vanguard. Joe then asked Mabern’s son Michael (who provides an enjoyable conversation with Farnsworth as the liner notes) if he could use the tune on the new album as a way to establish a musical trope.

Rosenwinkel’s presence invigorates Farnsworth and provides a clear subtext to the proceedings: this is not your dad’s music, but we do remember your dad. The world-recognized guitarist gets three compositions here, and his guitar is definitely not representing another version of Grant Green.

And on Mabern’s “In What Direction Are You Headed?”, the bridge is built. Rodriguez opens with a funky Fender Rhodes riff that leads to a brightly-rendered melody from both Rosenwinkel and Wilkins, an arrangement that occurs frequently. As the two meander through the bars, the playing becomes more elastic, fushionesque. Rodriguez gets the first solo while Farnsworth sounds like Buddy Rich during his “trying to be cool in the 60’s” period (not meant to be pejorative). Wilkins lets loose with a postmodern squall before Rosenwinkel steps on the effect box to render a lovely, angular statement.

Farnsworth also has a solo opportunity (one of three in the selections) that builds on his first one, an eye-opening display during selection two, Rosenwinkel’s “Filters.”

Wilkins’ contribution “Composition 4” (placed, of course, fourth on the listing) is the quietest of the songs, showcasing the album’s juxtaposition of sax and guitar. Wilkins has the melodic lead, as Rosenwinkel adds shimmering comp atop Rodriguez’s folky acoustic fills.

Rodriguez’s “Anyone But You” is the bop tune that demonstrates the youths’ ability to travel quickly, with Rosenwinkel especially impressive with his McLaughlin-like display; Wilkins, likewise. Does Farnsworth keep up? Impressively, yes. And Rodriguez is impressive, too. Any questions about how the “new generation” can deal with the “old” are answered here.

The album opener “Terra Nova” and “Safe Corners,” both Rosenwinkel compositions, are reflective tone poems that suggest geographical influences. Both have slightly Latin touches and comparatively are more austere in arrangement while gorgeous as soundscapes.

On “Bobby Low Bags” Farnsworth gives Hurst a chance to shine, and the bassist relishes the moment in bluesland. Meanwhile, Wilkins displays his bop chops, something I wasn’t sure he could pull off. Rosenwinkel, with guitar effect applied, follows through with his rejoinder, while Rodriguez shares his own piano offering before Farnsworth finishes with a short solo. Here, again, sax and guitar coalesce as Hurst completes the tune.

The closer, Donnie Hathaway’s “Someday We’ll All Be Free,” is clearly symbolic, one more bridge to join sides. The soulful ballad gets an ornate, upper registered greeting from Wilkins while Rodriguez morphs Philly soul as Rosenwinkel carries forth with an effected solo that replaces Hathaway beautifully. You’d think Wilkins picked up a soprano for this one, but it’s just another way for him to demonstrate his facility, while Hurst carries the song with his own lyrical backup.

We’ve been treated with some great music in 2023 so far, but this album blew me away unexpected but welcomed, nonetheless. Joe Farnsworth, in excellent form, not only evinces his wide talent but also his wisdom, casting a vision for our jazz future that doesn’t eschew the genre’s blues roots while still advancing. In What Direction Are You Headed? Is both a good question and an essential album for the 21st Century. By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-joe-farnsworth-in-what-direction

Personnel: Joe Farnsworth, drums; Immanuel Wilkins, alto sax; Kurt Rosenwinkel, guitar; Julius Rodriguez, piano and fender Rhodes; Robert Hurst, bass

In What Direction Are You Headed?

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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

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Jim Snidero Feat. Kurt Rosenwinkel - Far Far Away

Styles: Saxophone And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 54:09
Size: 126,1 MB
Art: Front

(6:59) 1. Far Far Away
(7:38) 2. Infinity
(7:00) 3. It Might as Well Be Spring
(6:56) 4. Nowhere to Hide
(7:52) 5. Obsession
(5:16) 6. Pat
(4:45) 7. Search for Peace
(7:41) 8. Little Falls

Far Far Away brings us ever so close to the genius of Jim Snidero. An incandescent affair built upon the pillars of new partnership and continuing collaboration, it showcases a marked consistency in craftsmanship and inventiveness that leaves no doubt as to this artist's place in the jazz firmament. Of course, seasoned listeners need no reminders about his elevated status. The vaunted alto saxophonist has been delivering dynamic performances as a leader on record for the better part of four decades, winning critics over and gaining plenty of fans with that work. Snidero's Blue Afternoon (Criss Cross, 1989) was rightly tagged as a modern classic through its inclusion in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums; he turned plenty of heads playing atop his own arresting orchestral arrangements on Strings (Miles-tone, 2003/Savant, 2021), which received the highest "Le Choc" review from Jazz Magazine (France) and saw the music and its creator cited as "belonging to a very exclusive club (Fischer, Ogerman, Sauter) of great successes in the genre"; and at the height of the COVID-19 pandemic, when gigging opportunities were risky and scarce, he found a way and triumphed with Live at the Deer Head Inn (Savant, 2021), earning serious admiration and a rare 5-star review in DownBeat Magazine.

Those offerings demonstrate an extraordinary level of artistic achievement over wide spans, as Snidero successfully charted his way through vastly different territories in his thirties, mid-forties and sixties. And with many dates in his enviable discography branching out into other areas a celebration of the organ combo on Tippin' (Savant, 2007), a look at modernistic flow in Stream of Consciousness (Savant, 2013), an intrepid immersion in Korean culture for Project-K (Savant, 2020) those highlights provide just a mere glimpse of his capabilities when in command. The portrait of Snidero truly broadens with every single entry in his catalog, and that obviously includes this landmark 25th recording.

On Far Far Away, legend meets legend for an incredible journey to the outer limits. Returning to the studio after his triumphs on the stage, the renowned altoist joins forces with inimitable guitar hero Kurt Rosenwinkel. It's a pairing that's as unlikely as it is intriguing, opening the doors of possibility for the saxophonist: "For me, Kurt is one of the great jazz figures of the 21st century. His concept of sound and phrasing are so original and compelling, yet his playing is firmly grounded in the tradition. Achieving that combination is no small feat. There's just so much there that I wanted to take advantage of as a composer."

Opting to write new material tailored to Rosenwinkel's cut, Snidero eyes the horizon and what lies beyond. And in bringing back the ace rhythm section from Live at the Deer Head Inn forward-thinking pianist Orrin Evans, in-demand bassist Peter Washington and sterling drummer Joe Farnsworth he acknowledges a winning combination of musicians while refocusing their efforts: "The live record was really all about the moment 'A token of hope, a prayer for the return of live gigs,' as London Jazz News so eloquently put it. It was just getting up there, relaxing and playing tunes that would hopefully bring some joy to folks during some difficult times. With the addition of Kurt, and the focus on originals now, this album is really quite different."

Illustrating that truth right out of the gate, Snidero sets a course to the stars for the title track. The first of many pieces to capitalize on Rosenwinkel's signature sonics, it spotlights both frontline members as euphoric soloists, highlights some significant chemistry in their matchup, and provides additional space for Evans and Farnsworth to shine. Dialing things back for the follow-up the cobalt-shaded "Infinity" the quintet plays toward straight-time seduction as it crests waves of its own creation. Reflecting the very nature of the Snidero-and-Rosenwinkel partnership, those opening numbers offer contrast while proving complementary. Switching gears with a subtly reharmonized look at Rodgers and Hammerstein's "It Might as Well Be Spring," the leader delights in the opportunity to bare his soul on one of his favorite ballads. The album's lone dip into the Great American Songbook, and one of the finest examples of Snidero's sound on record, it proves to be a model of class and sensitivity.

Returning to the realm of originals, the saxophonist delivers three consecutive winners from as many angles. The bounding "Nowhere to Hide," ripe with harmonic tension and conflicting extensions, brings piquancy to the center of the picture as Snidero's pointed lead, Rosenwinkel's liquid heat and Evans' down-the-middle designs each make strong impressions. Then "Obsession" arrives, taking shape around a simmering funk feel and serving as the only one of its kind on the playlist. Dynamic comping and interplay on the rhythm side help to create arched expressions within its well constructed framework, ultimately supporting and encouraging those at the fore. Closing this trifecta of new compositions with "Pat" a blues-based gem tapping into the spirit of the legendary Pat Martino everybody takes a moment to give due respect to a dearly departed jazz guitar icon and his enduring influence.

Adopting a reflective stance in the penultimate presentation, Snidero looks to the late McCoy Tyner's ever-relevant "Search for Peace." A breathtaking ballad that gives pause to admire both music and message, it's a perfect vehicle to accentuate the leader's tender side, Rosenwinkel's singing strings and Washington's purposeful pizzicato. Then it's back to new wonders with "Little Falls," a swinging sendoff that's right in everybody's wheelhouse. Washington's walking lines and Farnsworth's ride cymbal lay the groundwork as the group's core soloists captivate through the beauty of their ideas. Demonstrating clear direction, this exit piece, much like everything preceding it, speaks to Snidero's great attention to detail with this project: "I spent quite a bit of time thinking about the band's sound while writing how to layer certain elements such as timbre, harmony and range, to both blend and (sometimes) conflict, creating more depth. It's about putting it all together while being musical and projecting warmth. That's what I value most of all." Not surprisingly, that comes through in the wondrous mix on Far Far Away. By Dan Bilawsky https://www.allaboutjazz.com/far-far-away

Personnel: Jim Snidero: saxophone, alto; Kurt Rosenwinkel: guitar; Orrin Evans: piano; Peter Washington: bass; Joe Farnsworth: drums.

Far Far Away

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Eric Alexander - The First Milestone

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 63:06
Size: 144,6 MB
Art: Front

(8:52)  1. Stand Pat
(7:06)  2. #34 Was Sweetness (for Walter Payton)
(7:36)  3. The First Milestone
(8:41)  4. The Towering Inferno
(8:55)  5. Night Song
(7:15)  6. Last Night When We Were Young
(7:56)  7. The Phineas Trane
(6:40)  8. I'm Glad There Was You

With the release of The First Milestone, Eric Alexander continues to make the transition from a young, hard-blowing tenor saxophonist to a mature soloist and leader of interesting small bands. Alexander is simply getting better at what he’s been doing quite well all along; that is, making high-energy music largely based on the spectrum of straight-ahead jazz of the 50s and 60s. Throughout the disc, his playing has its characteristic intensity, and his solos sound like complete statements rather than a fusion of disparate ideas. As always, Alexander has surrounded himself with bandmates (pianist Harold Mabern, guitarist Pat Martino, bassist Peter Washington, and drummer Joe Farnsworth) who push him to the limit and have something of their own to say. Alexander’s sheer joy in making music comes through loud and clear on several cuts, most notably the jaunty “Night Song,” and a funky version of “I’m Glad There Is You,” which is reminiscent of the sounds made during his tenure in the band of Hammond B3 organist Charles Earland. On both tunes, the liberties he takes on the melodies are as interesting as his improvised solos. 

“Last Night When We Were Young” gets a ballad treatment and doesn’t stray very far from that vein even when the tempo doubles in the middle of Alexander’s solo. “34 Was Sweetness,” a deliberate, virile stroll, is a fitting tribute to the late Walter Payton. The contrasting solo approaches of Martino and Mabern are important to the success of the disc. Although Martino appears on only four of the eight tracks, his impeccable single-note lines swing quietly but intensely. Mabern plays with an odd combination of abandon and delicacy, and even at its most restrained, his playing has a startling momentum.
By David A.Orthmann https://www.allaboutjazz.com/the-first-milestone-eric-alexander-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Eric Alexander- tenor saxophone, Pat Martino- guitar, Peter Washington- bass, Joe Farnsworth- drums

The First Milestone

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Benny Golson - One Day, Forever

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 62:35
Size: 144,1 MB
Art: Front

( 5:08) 1. One Day, Forever
( 6:18) 2. Blue Walk
( 7:54) 3. Killer Joe
( 6:59) 4. Are You Real?
( 4:46) 5. Sad To Say
( 9:18) 6. Out Of The Past
( 4:13) 7. Blues Alley
( 7:36) 8. Along Came Betty
(10:20) 9. On Gossamer Wings

Benny Golson’s latest Arkadia release, One Day, Forever, arose from a taping of some of Golson’s previous band members from the Jazztet: Art Farmer and Curtis Fuller. At the end of a European tour, they were so rushed they that they didn’t record long enough to fill an entire CD. Arkadia owner Bob Karcy kept the tape in the can, and he and Golson kept that recording in mind, in the intervening five years, during which Farmer passed. After Golson wrote some new original music, it was agreed that the tapes from the “Whisper Not 40 Years Of Benny Golson” European tour would finally be heard by the public.

The result is a CD in three mentalities, all of which are contained by Golson’s imagination: the famous sextet sound that produced numbers like “Killer Joe,” a string orchestra backing Shirley Horn as she sings the words to Golson’s new music, and a piano piece introducing Golson’s first classical composition. While not consistent in theme, One Day, Forever does reveal in startling contrast the creative curiosity of Benny Golson.

Joined by Geoff Keezer, Dwayne Burno and Joe Farnsworth, the Jazzteters recall the longevity of Golson’s contributions to the jazz vocabulary. Not confined just to the famous Jazztet works, the group entertained European audiences with some of Golson’s compositions for Art Blakey, like “Along Came Betty” and “Are You Real?”

Golson and Farmer never worked together again, although they remained close friends, so much so that Golson wrote “One Day, Forever” as a reminiscence of Farmer’s wife, who passed a few years before he did. As Horn sings it, sadly and tentatively with lots of space as always, “One Day, Forever” could allude to the abstract concept of loss of intimacy which, of course, it does. By broadening the idea, Golson has expanded the sense of aloneness to apply to anyone who experiences loss. “Sad To Say,” again, is, well, sad, and the cellos reinforce the sense of guardedness and hurt. The melancholy of Golson’s new music has found a perfect outlet in the delicacy and woundedness of Shirley Horn’s style.

The surprise, even for those who expect it, is Lara Downes’ ten-minute premier of Golson’s piano étude, which would be expected in a recital hall rather than on a jazz CD. Certainly, one could say that One Day, Forever contains something for everyone.

The interesting aspect of the CD, though, is the darkening of Golson’s musical interests, with their melancholy themes and their veering away from the brightness, bustling energy and optimism that marked his work in the fifties.By AAJ Staff https://www.allaboutjazz.com/one-day-forever-benny-golson-arkadia-jazz-review-by-aaj-staff

Personnel: Benny Golson, tenor sax; Shirley Horn, vocals; Art Farmer, trumpet; Curtis Fuller, trombone; Mulgrew Miller, Geoff Keezer, Lara Downes, piano; Ron Carter, Dwayne Burno, bass; Carl Allen, Joe Farnsworth, drums.

One Day, Forever

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David Hazeltine - A World For Her

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 63:14
Size: 145,2 MB
Art: Front

(10:45) 1. My Foolish Heart
( 5:02) 2. This One's For Bud
( 9:52) 3. A World For Her
( 6:00) 4. Moment's Notice
( 8:58) 5. Soul Eyes
( 7:28) 6. Old Devil Moon
( 7:21) 7. What'll I Do
( 7:44) 8. Bitter Sweet

Pianist David Hazeltine is the leader of this straight-ahead quartet date, contributes two originals, and is in superior form, but tenor saxophonist Javon Jackson often steals the show. Jackson, who in other settings sometimes hints strongly at Joe Henderson, on this occasion looks more toward late-'50s John Coltrane, particularly on a beautifully interpreted version of "Soul Eyes" and Trane's "Moment's Notice."

Other highlights include an extended "My Foolish Heart," Hazeltine's rightfully boppish "This One's for Bud," and "What'll I Do." Hazeltine and Jackson are joined by bassist Peter Washington and either Louis Hayes or Joe Farnsworth on drums, with vibraphonist Steve Nelson making a guest appearance on "Old Devil Moon." The music is quite enjoyable and very well played, one of Javon Jackson's finest recordings and a superior outing for David Hazeltine. ~Scott Yanow https://www.allmusic.com/album/a-world-for-her-mw0000250980

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth; Louis Hayes; Tenor Saxophone – Javon Jackson; Vibraphone – Steve Nelson

A World For Her

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Judy Niemack - What's Love?

Styles: Vocal
File: MP3@320K/s
Time: 62:47
Size: 144,5 MB
Art: Front

(5:25) 1. Feelin’ It In Your Bones
(5:06) 2. Firefly
(4:17) 3. For All We Know
(4:25) 4. Catalyst
(5:01) 5. I’m Moving On
(5:35) 6. What’s Love Got to Do With It
(4:46) 7. Just When I Thought
(4:39) 8. With You
(5:07) 9. Let Life Lead You
(4:27) 10. Blues That Soothe My Soul
(4:34) 11. I’ll Love Again
(4:38) 12. Born to Be Blue
(4:40) 13. Right Here, Right Now

Jazz vocalist Judy Niemack presents a collection of rhapsodic romantic songs on her upcoming album release, What’s Love, due out October 28 on Sunnyside Records. Following Niemack’s lauded 2018 release New York Stories with pianist Jim McNeely and Danish Radio Big Band, What’s Love represents a vulnerable side of the lifelong vocalist’s artistry. In an embrace of her distinctive sound, Niemack’s rich collection of original lyrics paired with select standards offers a glimpse into her resilient and inventive vocal prowess.

An exploration of the healing powers of love, What’s Love presents as a musical reconciliation with the boundless, yet relatable, challenges that continually loop through our lives. While conceptually, What’s Love is a beacon of effervescence, its sound is both capricious and exhilarating. Niemack takes to exploring the many varieties of love in her life on each selection, while also seizing an opportunity to explore her vocal range. Her trademark sound clear, yet warm with a cloudy edge is softer here. Employing this lower timbre, Niemack is keenly aware of her newfound sense of expression: “I haven’t lost my high notes, but gained lower ones,” she adds.

Niemack is joined among the highest level of jazz musicianship for the affair; What’s Love hosts Peter Bernstein on guitar, Sullivan Fortner on piano, Doug Weiss on bass, Joe Farnsworth on drums and Eric Alexander on alto saxophone.

“This is my view of love which, of course, is unique,” the singer, author and professor shares while discussing her inspiration for the title, which also borrows from her arrangement of the Tina Turner hit, “What’s Love Got To Do With It, a high moment on the date for the leader, who takes a slower and more contemplative approach to Turner’s question.

“Michelangelo famously said that he saw the sculpture hidden in a piece of marble and simply revealed it by taking away the stone, bit by bit. Composing for me is similar I have a feeling I want to express, which leads to a poem, words, which then are set to music that I discover on the piano. It just comes to me. My songs grow out of emotion.”

An overt lyrical message of moving ahead after loss, the track “I’m Moving On” gives generous space for each band member to contribute solos that grapple with the notion of moving forward, making the track a more gentle and evocative standout off the record. With Bernstein and Fortner at the instrumental helm, Niemack’s gifted scatting is guided effortlessly throughout “I’ll Love Again” and “Right Here, Right Now” are two examples, where lush instrumentation is met by silken vocal intonations.

While recording at the Van Gelder, Alexander joined the band as a special guest alto saxophonist. He contributes his optimistic original composition “Let Life Lead You.” Though the cheerful message was originally penned ‘Little Lucas,’ a note to Alexander’s son, Niemack was galvanized by its universality. Contributing a new lyric and title, she sings about embracing risk and remaining grateful in moments of opportunity a key sentiment that prevails across the record.

Highlighting her propensity for articulation and translucence as a songwriter and vocalist, Niemack outrivals herself on What’s Love. A deliberate and tasteful meditation on life's various chapters, What’s Love captures the essence of a talent with an unrequited passion for the sounds of storytelling. Judy Niemack, through her confident command and glistening vocal range, is inviting us to think about what ‘love’ means, yet by her own seamless and magical invention, once we accept her call, all we really have to do is listen.

Personnel: Judy Niemack - vocals; Peter Bernstein - guitar; Sullivan Fortner - piano; Doug Weiss - bass; Joe Farnsworth - drums; Eric Alexander - alto saxophone (9)

What's Love?

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Steve Davis, Eric Alexander, Mike DiRubbo, Harold Mabern, Nat Reeves, Joe Farnsworth - Crossfire

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 58:55
Size: 135,5 MB
Art: Front

(8:19) 1. Then and Now
(7:36) 2. From the Inside Out
(6:39) 3. Peacekeeper
(9:54) 4. Old Folks
(7:06) 5. Cousin Mary
(6:19) 6. Falling in Love with Love
(7:19) 7. This Nearly Was Mine
(5:39) 8. Con Alma

Steve Davis is one of the breed of young boppers whom have mastered the idiom. Here, the trombonist leads a group mostly culled from One for All, a conglomeration of extraordinary musicians who perform regularly together in the Big Apple. Veteran pianist Harold Mabern joins them, adding experience and depth. Davis plays a mean 'bone, strongly indebted to Curtis Fuller.

Like Fuller, he sticks to the middle range of the horn, boasts a somewhat nasal tone, and plays smoothly at almost any tempo. He is also a good, if cautious, composer. Tenor saxophonist Eric Alexander continues to grow both in stature and skill, and contributes solidly with strong solos. While there is nothing revolutionary or new in the group's playing, there is a strong sense of camaraderie and precision that lifts this performance to a higher level. By Steve Loewy https://www.allmusic.com/album/crossfire-mw0000600873

Musicians: Steve Davis – trombone; Eric Alexander – tenor sax; Mike DiRubbo – alto sax; Harold Mabern – piano; Nat Reeves – bass; Joe Farnsworth – drums

Crossfire

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Patty Lomuscio - Star Crossed Lovers

Styles: Vocal
File: MP3@320K/s
Time: 41:37
Size: 95,9 MB
Art: Front

(4:20) 1. Lullaby (For Ambra)
(4:08) 2. Star Crossed Lovers
(3:37) 3. This Can't Be Love
(6:34) 4. Left Alone
(5:09) 5. You're My Everything
(4:40) 6. E Se
(4:23) 7. Cedar's Blues
(5:24) 8. Body & Soul
(3:17) 9. Love Walked In

The Italian singer Patty Lomuscio had long dreamed of making an album in New York with pianist Kenny Barron. Now she has done so. Alongside Barron is drummer Joe Farnsworth, bassist Peter Washington and Vincent Herring on alto saxophone.

The title track, comes across really well. Lomuscio's talents start to shine through and then with the next offering, "This Can't Be Love," it becomes obvious that a certain British Dame has influenced this Mediterranean songstress: her scatting is reminiscent of Cleo Laine and indeed so is the general style here. Joe Farnsworth's drum solo is also really enjoyable. A Billie Holiday song fills slot four with piano and sax solos bringing extra enjoyment to "Left Alone."

"You're My Everything," which comes from the 1931 revue The Laugh Parade is competently sung. Conversely, unless one speaks Italian, one won't understand the lyrics of "E Se." It was written for Lomuscio by her friend Mario Rosini and its meaning is close to her father. It would not sound amiss in a James Bond film as the hero walks into a cocktail bar and sees the beautiful woman singing on the stage.

"Body and Soul" is another 1930s composition, this time penned by Edward Heyman, Robert Sour and Frank Eyton. Last is the George and Ira Gershwin number "Love Walked In." Patty Lomuscio has produced an emotional and enjoyable album. By Paul Beard https://www.allaboutjazz.com/star-crossed-lovers-patty-lomuscio-challenge-records

Personnel: Patty Lomuscio: voice / vocals; Kenny Barron: piano; Vincent Herring: saxophone; Peter Washington: bass; Joe Farnsworth: drums.

Star Crossed Lovers

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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

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