Tim Armacost - The Inevitable Note

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 71:07
Size: 163,1 MB
Art: Front

(9:05) 1. Lazy Afternoon
(6:08) 2. Since Before We Met
(8:56) 3. Work Wonk
(7:19) 4. Ramble In The Gramble
(9:43) 5. Yaomacost
(7:25) 6. I Love My Chiru
(8:48) 7. The Mayor's Counsel
(6:26) 8. A Sliver Of Silver
(7:12) 9. Lynn's Tune

Saxophonist Tim Armacost is a force to be reckoned with. He has slowly and steadily built a reputation and a body of work that has marked him out as a player of great originality and distinction. It is only to be hoped that recordings such as this will help propel his musical trajectory further.

In danger of becoming a musician’s musician, Armacost is very much his own man having processed his influences and distilled them into his own unique take on the modern jazz tradition. In his playing one can detect the influence of John Coltrane in the saxophonist’s steely tone, and the rhythmic dexterity and lyrical agility of Sonny Rollins, yet Armacost is able to project this in his own voice to which he adds his harmonic ingenuity.

Not prone to pyrotechnics, although he can turn up the heat when required, Armacost’s solos have a patient quality about them, and delivered if he all the time in the world to say what needs to be said before moving on.

With The Inevitable Note Armacost presents a neatly programmed set of contemporary hard bop with some cracking compositions that suit this new quintet very well indeed. Opening with ‘Lazy Afternoon’, the quintet settles into their groove. The theme is delivered with a commanding tenor statement for Armacost before he launches into his first solo of the album.

Immediately capturing the attention with a hard edged tone and melodic figures that never quite go where one might expect. This is followed by Joe Locke’s vibes solo that brings the pace down and releasing the tension built up by the saxophonist.

‘Ramble in the Gramble’ kicks off with a frantic bass riff that lifts the drummer and pianist carrying them along as the tenor picks up the theme. Armacost’s solo is a little more fragmentary as he rides the bass line that continues to propel the music along. Joe Locke’s vibes solo follows a similar path as the notes fly from his mallets, carefully building his melodic phrases over the tumultuous rhythm section.

Davis’s bass is again to the fore as he introduces ‘Yaomacost’ with his strong and full sound on the instrument gripping the attention. Switching to soprano saxophone, the playing is lyrical and tender from Armacost. If the tone is not as full as his tenor sound, his control and use of dynamics give his playing a lightness if touch that is most appealing. This can be evidenced on ‘A Sliver of Silver’ where his phrases tumble over each other in a lucid solo that generates real excitement.

Back on tenor, Armacost displays a gentle swagger on ‘The Mayor’s Counsel’ in a statement of real authority, as does a splendid solo from pianist Jim Ridl, once again propelled along with urgency and good taste by the bass and drums team of Kenny Davis and Rudy Royston.

Interestingly this fine album will be released not just digitally, but in the physical format of a 180gram LP, with no immediate plans to release on CD. For audiophiles everywhere a chance to add another quality album to the collection while the rest of us should make haste and dust off our turntables in readiness.By Nick Lea https://jazzviews.net/tim-armacost-the-inevitable-note/

Personnel: Tim Armacost (tenor & soprano saxophones); Joe Locke (vibraphone); Jim Ridl (piano); Kenny Davis (double bass); Rudy Royston (drums)

The Inevitable Note

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Dominick Farinacci - Lovers, Tales & Dances

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 60:55
Size: 139,7 MB
Art: Front

(4:22) 1. Don't Explain
(6:30) 2. Libertango
(5:52) 3. Estate
(6:27) 4. Vision
(5:09) 5. Ne Me Quitte Pas
(3:32) 6. E Lucevan Le Stelle
(3:53) 7. Erghen Diado (Song Of Schopsko)
(6:19) 8. Silent Cry
(3:54) 9. Love Dance
(3:41) 10. Bibo No Aozora
(6:51) 11. Lonely Woman
(4:18) 12. The Theme From The Pawnbroker

The mass appeal of a jazz recording does not necessarily compromise its value or its artistic integrity; it simply means that the artist has mastered the difficult task of balancing the creative and the commercial. Trumpeter Dominick Farinacci has done just that on his debut album, Lovers, Tales & Dances.

Farinacci sounds a lot like Clifford Brown, with the same lyricism albeit without the same range, mastery and fluidity. Some of the material also hints at Brown's recordings with strings and female vocalists. The tracks with string arrangement are a tad on the smooth side, but Farinacci's trumpet rescues them from becoming mundane through his brilliant improvisations. The vocal number is reminiscent of Helen Merrill with Clifford Brown (Emarcy, 19554), but singer Hilary Kole lacks Helen Merrill's emotional intensity. The leader elevates this track once again if not to the CD's high point then to a level where it does not sound out of place, despite adding little to the whole.

The choice of material again reflects the balance between artistic creativity and popular appeal. Songs vary from Jacques Brel's "Ne me quitte pas" and Astor Piazzolla's "Libertango," to the Billie Holiday standard, "Don't Explain," and Ornette Coleman's "Lonely Woman," which represents the real high point of this record.

The sidemen include Joe Lovano, Kenny Barron and Lewis Nash, but despite being in the company of masters, Farinacci not only maintains his own but remains the dominant voice throughout, successfully interacting with these seasoned veterans during the ensemble work.

Despite the faults of a few, too-smooth string arrangements, an average vocal number and the debutant style of the leader, this impeccably mastered recording is a very promising first work by an artist who, if he maintains the momentum demonstrated here, may well become one the pillars of jazz in the near future.By Hrayr Attarian https://www.allaboutjazz.com/lovers-tales-and-dances-dominick-farinacci-koch-records-review-by-hrayr-attarian

Personnel: Dominick Farinacci: trumpet, flugelhorn; Joe Lovano: tenor saxophone; Joe Locke: vibraphone; Kenny Barron: piano; James Genus: bass; Marc Johnson: bass; Lewis Nash: drums; Jamey Haddad: percussion; Hilary Kole: vocals; Guilherme Monteiro: guitar; Rich DeRosa: strings and horns conductor.

Lovers, Tales & Dances

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Joe Locke - Makram

Styles: Vibes Jazz
Year: 2022
File: MP3@320K/s
Time: 62:16
Size: 142,9 MB
Art: Front

(7:04) 1. Love For Sale
(7:35) 2. Raise Heaven (for Roy)
(7:31) 3. Makram
(3:40) 4. Elegy For Us All
(6:45) 5. Tushkin
(9:06) 6. Shifting Moon
(7:57) 7. Song For Vic Juris
(7:35) 8. Interwoven Hues
(5:00) 9. Lush Life

While 10,000 hours of practice remains a popular adage for attaining a level of mastery in music, it does little to unpack the complexity of being a Jazz musician. Beyond any accounting of time or quality of dedication is the persistent and often mercurial quest for kinship. Whether that takes the form of mastering an instrument, nurturing an affinity for improvisation, or building intimacy within bands and the audiences they engage, kinship, and the connection it fosters, is indispensable to a life-long journey of refining an authentic musical identity.

After decades (past 100,000 hours in case you’re counting) as one of the most impactful vibraphonists in Jazz, with countless awards, critically acclaimed albums, and a remarkably diverse array of musical associations to his credit, Joe Locke brings us Makram; a recording glistening with the spirit, ingenuity, musicianship and inquisitiveness of an artist joyously embracing kinship as the foundation for making music entirely on his own terms. Locke’s quartet, (pianist Jim Ridl, bassist Lorin Cohen, and drummer Samvel Sarkisyan) is a unique musical fraternity, a group perfectly suited to the quality of compositions that make this recording so special.

Named after the talented Lebanese bassist Makram Aboul Hosn, the album opens with an uptempo arrangement of Cole Porter’s Love for Sale, a buoyant, tight, swinging base for crisp solos by Locke, Ridl and Sarkisyan. Soulful and melancholic, Raise Heaven is a lyrical homage to the late Roy Hargrove, reflecting the reverence with which the trumpeter approached ballads while at the same time giving a nod to his love of R&B, as evidenced by his work with the RH Factor. The song is buoyed by the delicate brass arrangement from trombonist and album co-producer, Doug Beavers.

Pivoting to a minor blues laced with an addictive Middle-Eastern melody managed in 5/4 time, the album’s title track Makram glides gracefully while maintaining a spirited rock-like energy. Sarkisyan expertly guides the song through searching solos by Ridl and Locke, accented wonderfully by Samir Nasr Eddine on oud and Bahaa Daou on riq, a smaller version of the tambourine. Delicate, somber and representative of our nation’s growing political vulnerability, Elegy For Us All speaks to Locke’s deep sadness for the growing dark influences he sees threatening democracy in the United States. Locke’s sweeping melody does well to describe the grief in watching ongoing attempts to roll back decades of gains made since the country’s Civil Rights era.

Penned in honor of his grandfather, Tushkin was composed by Samvel Sarkisyan, with a vibes/piano introduction written by Locke. The song features the gifted multi-instrumentalist Tim Garland on soprano saxophone, bass clarinet and flute. Stemming from the genius of John Coltrane’s Satellite, Shifting Moon has Locke deftly slaloming complex chord changes, while Sarkisyan’s percolating drumming shifts between a heavy 4/4 rock groove and 7/4 time. Guitarist, former collaborator, and friend Vic Juris is lovingly remembered by Jim Ridl with his Song For Vic Juris, a shimmering ballad that speaks to the legacy of Juris’ musical career.

Reminiscent of hardbop’s heyday, Lorin Cohen’s Interwoven Hues takes us home with a wonderful collaborative effort. By song’s end, everyone has soloed in ways that would make Horace Silver or Cedar Walton smile. A fitting epilogue, the set ends with Locke playing solo on Billy Strayhorn’s Lush Life. Dancing alone with his instrument, Locke delivers a signature performance that elegantly intertwines Strayhorn’s legacy with his own.

Within the galaxy of contemporary Jazz, albums often come with expectations that artists present their music in ways listeners can easily appreciate or readily understand. Makram’s orbit revolves around a slightly different sensibility, one where a gorgeous collage of music speaks to the meticulous preparation, world-class artistry and personal chemistry which Joe Locke is advancing at this point in his career. Challenging, complex, familiar but with a contemporary and international flare, this recording incorporates a dynamic quartet, effortless arranging spiced with just the right blend of instrumentation, curious meters, honorable sentiments and kinship - music that exemplifies Joe Locke’s intimate connection to his band, his audience, and most importantly himself. By Michael Ambrosino
https://joelocke.bandcamp.com/album/makram

Personnel: Joe Locke - vibes and additional keyboards; Jim Ridl - piano and keyboards; Lorin Cohen - acoustic and electric bass; Samvel Sarkisyan - drums and cymbals

Special Guests: Doug Beavers - trombone (2,4); Eric C. Davis - french horn (2,4); Jennifer Wharton - bass trombone and tuba (2,4); Samir Nasr Eddine - oud (3) Bahaa Daou - riq (3); Tim Garland - soprano saxophone, bass clarinet and flute (5)

Makram

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Joe Locke - Wire Walker

Styles: Vibraphone Jazz
Year: 1995
File: MP3@320K/s
Time: 58:58
Size: 135,9 MB
Art: Front

( 6:46) 1. A New Blue
( 4:57) 2. May You Shine
( 8:33) 3. Barbara
( 5:53) 4. Six Years Remembrance
( 9:49) 5. Stand Inside the Circle
(10:20) 6. A Time for Love
( 4:31) 7. Young and Foolish
( 8:06) 8. Wire Walker

Vibraphonist Joe Locke's career seemed to take off during his time working with Steeplechase, not only because of his formidable playing but his ability to vary his accompanists and the mix of music from one session to the next. This 1992 date features a rhythm section of Dave Kikoski, Ed Howard, and Marvin "Smitty" Smith, as well as saxophonist Danny Walsh.

The group is clearly fired up on the opener, Jimmy Heath's "A New Blue," and easily maintain their momentum throughout the rest of the date. The lush treatment of Johnny Mandel's "A Time for Love" and his revival of the overlooked ballad "Young and Foolish" (inspired somewhat by pianist Bill Evans' trio arrangement) are also outstanding tracks. Locke contributed three originals; the very demanding post-bop "Wire Walker" proves that Locke's quintet can meet almost any musical challenge. Highly recommended. By Ken Dryden https://www.allmusic.com/album/wire-walker-mw0000436639

Personnel: Vibraphone – Joe Locke; Bass – Ed Howard; Drums – Marvin "Smitty" Smith; Piano – Dave Kikoski; Tenor Saxophone, Alto Saxophone – Danny Walsh

Wire Walker

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Pat Bianchi - In the Moment

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 59:54
Size: 138,3 MB
Art: Front

(3:43) 1. Humpty Dumpty
(7:20) 2. Blue Gardenia
(7:29) 3. Don't You Worry 'Bout a Thing
(3:46) 4. Mr. PM
(7:51) 5. Barracudas (General Assembly)
(5:25) 6. Crazy
(6:51) 7. No Expectations
(5:43) 8. I Want to Talk About You
(7:11) 9. Fall
(4:29) 10. Four in One

If you glance at the tracks listed here, you may be tempted to start out with two notable collaborations and one Willie Nelson-penned country classic. Not a bad move, as it turns out. The cameos by vocalist Kevin Mahogany, who died in late 2017, and guitar legend Pat Martino, organist Pat Bianchi’s mentor and bandmate, swiftly live up to expectations, albeit in sharply contrasting performances.

And the thoroughly reinvigorated reprise of Nelson’s “Crazy” somehow manages to salute both Patsy Cline and vintage organ-combo traditions with as much ingenuity as ease. It’s just one of several reminders of Bianchi’s flair for devising fresh, compact arrangements. Over the course of 10 tracks, Bianchi and a seasoned cast of session mates cover a lot of ground. Besides Nelson and Billy Eckstine the prime inspiration for Mahogany’s luxe, soulful rendering of “I Want to Talk About You” In the Moment features compositions by Chick Corea (“Humpty Dumpty”), Stevie Wonder (“Don’t You Worry ’Bout a Thing”), Miles Davis/Gil Evans (“Barracudas [General Assembly]”), Wayne Shorter (“Fall”), and Thelonious Monk (“Four in One”).

Throughout, Bianchi, guitarist Paul Bollenback, and drummer Byron Landham make an agile, tightly cohesive trio. The keyboardist and guitarist often display a mutual talent for offsetting resonating atmospherics with flashing chromaticism, while Landham is busy neatly negotiating dynamic tempo shifts and tricky rhythmic displacements. It soon becomes clear that the trio’s special guests are prepared for similar challenges. So don’t be surprised when guitarist Peter Bernstein, vibist Joe Locke, and drummer Carmen Intorre, Jr. suddenly snare, and reward, your attention. ~ Mike Joyce https://jazztimes.com/reviews/albums/pat-bianchi-in-moment-savant/

Personnel: Pat Bianchi (organ); Paul Bollenback (guitar); Byron Landham (drums). With special guests: Peter Bernstein (guitar); Carmen Intorre Jr.(drums); Joe Locke (vibes); Kevin Mahogany (vocal); Pat Martino, (guitar)

In the Moment

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Joe Locke, David Hazeltine Quartet - Mutual Admiration Society 2

Styles: Vibes Jazz
Year: 2009
File: MP3@320K/s
Time: 54:30
Size: 125,8 MB
Art: Front

(6:42)  1. Pharoah Joy
(8:28)  2. The Peacocks
(5:56)  3. One for Reedy Ree
(8:39)  4. Twelve
(6:02)  5. What's Not To Love?
(6:51)  6. Convocation
(5:35)  7. If It's Magic
(6:14)  8. Blues for Buddy

In the last year of the twentieth century, Sharp Nine Records released Mutual Admiration Society, a quartet date co-led by vibraphonist Joe Locke and pianist David Hazeltine, which also included bassist Essiet Essiet and drummer Billy Drummond. A brainchild of Sharp Nine honcho Marc Edelman, the collaboration between these two longtime friends was based on a desire to explore each other's strengths. Hazeltine was keen on interacting with the blues-oriented, earthy side of Locke's playing, as well as experiencing the vibraphonist's harmonically adventurous compositions. Locke welcomed the opportunity to interpret Hazeltine's arrangements and play off of the pianist's swinging, individualistic style. A few of the record's highlights included a deliberately paced, dreamlike version of the 1960s pop hit, "I Say a Little Prayer," Hazeltine's "Can We Talk?," which moved between funk and straightforward swing, and Locke's intriguing reharmonization of the standard "Spring Will Be a Little Late This Year." Locke and Hazeltine played a six night engagement at New York City's Sweet Basil in support of the record and then went their separate ways. Early this year, Edelman brought the quartet back into the studio and once again the co-leaders contribute the bulk of the material. The ringing chords which underlie the melody of Locke's "Pharoah Joy" resemble a revved up version of the foundation of Pharoah Sanders' "The Creator Has A Master Plan." 

Dedicated to the late drummer Tony Reedus, Hazeltine's "One For Reedy Ree" entails a throbbing, repetitive introduction followed by an angular melody with a few twists and turns. Based on Cole Porter's "Everything I Love," Locke's "What's Not To Love?" begins with a haunting figure, voiced at the low end of vibes and piano, that reappears in the midst of this bright, optimistic tune. Employing a Latin rhythm and pockets of straight-ahead swing, Hazeltine's "Blues For Buddy" is an up-tempo romp that breathlessly jams a handful of melodies into twenty-four bars. It's hard to imagine a bassist and drummer better suited to complement Locke and Hazeltine. Essiet and Drummond have so much to contribute, and the bulk of what they play doesn't sound overly assertive or particularly busy. They demonstrate many ways to swing, often subtly tightening or loosening the pressure behind the soloist during the course of a single chorus. Locke and Hazeltine are expansive, stimulating improvisers who stay in touch with everything going on around them. In the final analysis, however, it's the group's sound that makes the record special. Even on up-tempo tracks like "Convocation" and "Blues For Buddy," there's warmth and a centered vibe to the music. It's a pleasure to hear how they support one another (Hazeltine's comping behind Locke, for example, is marvelous), and always find common ground regardless of the feel or tempo of the material. Mutual Admiration Society 2 is a significant contribution to the jazz mainstream. Here's hoping another ten years don't have to go by for the next installment. ~ David A.Orthmann https://www.allaboutjazz.com/mutual-admiration-society-2-joe-locke-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Joe Locke: vibes; David Hazeltine: piano; Essiet Essiet: bass; Billy Drummond: drums.

Mutual Admiration Society 2

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Frank Kimbrough & Joe Locke - Saturn's Child

Styles: Piano And Vibraphone Jazz
Year: 1999
File: MP3@320K/s
Time: 63:06
Size: 145,1 MB
Art: Front

(7:04) 1. 727
(7:49) 2. Saturn's Child
(8:27) 3. Trouble Is a Gorgeous Dancer
(4:55) 4. Silence
(4:09) 5. Waltz for Lee
(8:03) 6. Empty Chalice
(8:24) 7. Sanibel Island
(9:35) 8. I Still Believe (In Love)
(4:36) 9. Midnight

Saturn's Child is one of several new releases brought to you by the brand new modern jazz-based "Omni Tone" label. Smart packaging, insightful liners and premium sound quality come to the forefront along with two splendid new releases by members of the "red-hot"New York Jazz Composers Collective. Along with trumpeter Ron Horton's Genius Envy (see Nov '99 AAJ review) we are enamored with the absolutely stunning duet performances by much in demand vibraphonist Joe Locke and a man who seemingly possesses the skilled hands of a surgeon behind the keys, pianist Frank Kimbrough.

Saturn's Child is a striking foray into supremely intuitive interplay and lush melodicism via charming and bittersweet phraseology coupled with the duo's sensitivity, compassion and mutual "musical" respect for one another which is evident from the opening moments of Frank Kimbrough's composition, "727". Light, airy thematic statements by Locke who is rapidly becoming one of the top session musicians in jazz besides a successful solo career rides the crest of the wave atop Kimbrough's rhythmically inclined left-hand chord voicings. Here and throughout, Kimbrough and Locke engage their thoughts and demonstrate uncanny synergy as they delicately articulate sleek, smooth passages which are at times, somber, pensive and in many instances, spiritually uplifting. Joe Locke's "Saturn's Child" features a poignant yet zestful theme through clear well stated unison lines as if the song was truly intended to be a bedtime lullaby.

Locke's serene "Trouble Is A Gorgeous Dancer" features a catchy melody all with a touch of class and finesse as the gentlemen alternate solo chores while ultimately converging to restate the endearing and quite memorable theme. Here, the recurring motif serves as a bridge for Kimbrough's inspiring and somewhat ethereal ruminations, displaying artful use of harmonics, tremolo and conveying somewhat of a majestic presence. These men perform as though they were seeking that ever elusive - "pot of gold", mainly from a musical and/or artistic standpoint. Perfection seems attainable on Saturn's Child as the story evolves on Kimbrough's "Waltz For Lee" while the duo create an affable, positive groove over a simple waltz motif. Lush romanticism on "Empty Chalice" and - ever so soft - poetry in motion on the light-as-a feather ballad "I Still Believe (In Love)" are magnetically appealing and further indicate the duo's powerful compositional skills. Accolades aside, Saturn's Child may be the logical heir to Chick Corea and Gary Burton's momentous and critically acclaimed "Crystal Silence" outing on the ECM label. Kimbrough and Locke have created a sparkling gem here... Saturn's Child is music of a higher order, a colossal effort!! Highly Recommended...~ Glenn Astarita https://www.allaboutjazz.com/saturns-child-joe-locke-omnitone-review-by-glenn-astarita.php

Personnel: Frank Kimbrough: piano; Joe Locke: vibraphone.

Saturn's Child

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Rosario Giuliani, Joe Locke - Love in Translation

Styles: saxphone And Vibraphone Jazz
Year: 2020
File: MP3@320K/s
Time: 60:23
Size: 138,9 MB
Art: Front

(5:21) 1. Duke Ellington's Sound of Love
(6:59) 2. I Wish You Love
(5:24) 3. Love Letters
(6:39) 4. Love Is a Planchette
(6:20) 5. I Can't Help Falling in Love with You
(7:10) 6. The Hidden Force of Love
(6:15) 7. Raise Heaven
(5:13) 8. Love in Translation
(5:31) 9. Everything I Love
(5:27) 10. Tamburo

Love in Translation ”marks the return (with the Jando Music / Via Veneto Jazz label) of a splendid collaboration born in Umbria Jazz 20 years ago. They are two musicians of different nationalities, and perhaps of different characters, but who over time have become undisputed protagonists of the international jazz scene: the Italian saxophonist Rosario Giuliani and the American vibraphonist Joe Locke. Assisted by two other absolute masters in their instruments, bassist Dario Deidda and drummer Roberto Gatto, Rosario and Joe thus find themselves to seal the twentieth anniversary of their sparkling mutual interaction, which soon became friendship, with an intense, passionate, forged record. by their unrivaled musical talents.

As the title says,“Love in Translation” is a record based on the strongest and most indecipherable feeling: love. Among famous standards, such as "Duke Ellington's Sound of Love" by the great Charles Mingus, "Love Letters" by Victor Young and Edward Heyman and even a "Can't Help Falling in Love" that was in Elvis Presley's repertoire, there are also original songs, with two heartfelt tributes to two great musicians who unfortunately are no longer with us: "Raise Heaven" that Joe Locke wanted to dedicate to Roy Hargrove and "Tamburo" by Rosario Giuliani for Marco Tamburini. Here is a record so strong in feelings, but never "sentimental", promises to be one of the fundamental new recordings of 2020, and which will find its full celebration live at Umbria Jazz Winter 2019 in Orvieto.such as "Duke Ellington's Sound of Love" by the great Charles Mingus, "Love Letters" by Victor Young and Edward Heyman and even a "Can't Help Falling in Love" that was in Elvis Presley's repertoire, original songs also shine, with two heartfelt tributes to two great musicians who unfortunately are no longer with us: "Raise Heaven" that Joe Locke wanted to dedicate to Roy Hargrove and "Tamburo" by Rosario Giuliani for Marco Tamburini.

Here is a record so strong in feelings, but never "sentimental", promises to be one of the fundamental new recordings of 2020, and which will find its full celebration live at Umbria Jazz Winter 2019 in Orvieto.such as "Duke Ellington's Sound of Love" by the great Charles Mingus, "Love Letters" by Victor Young and Edward Heyman and even a "Can't Help Falling in Love" that was in Elvis Presley's repertoire, original songs also shine, with two heartfelt tributes to two great musicians who unfortunately are no longer with us: "Raise Heaven" that Joe Locke wanted to dedicate to Roy Hargrove and "Tamburo" by Rosario Giuliani for Marco Tamburini. Here is a record so strong in feelings, but never "sentimental", promises to be one of the fundamental new recordings of 2020, and which will find its full celebration live at Umbria Jazz Winter 2019 in Orvieto.with two heartfelt tributes to two great musicians who unfortunately are no longer with us: "Raise Heaven" that Joe Locke wanted to dedicate to Roy Hargrove and "Tamburo" by Rosario Giuliani for Marco Tamburini.

Personnel: Rosario Giuliani - alto and soprano saxophone; Joe Locke - vibraphone; Dario Deidda - bass; Roberto Gatto - drums

Love in Translation

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Joe Locke - Slander (And Other Love Songs)

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 55:36
Size: 127,9 MB
Art: Front

(8:08) 1. Song For Cables
(7:35) 2. Saturn's Child
(5:27) 3. Tuesday Heartbreak
(5:01) 4. Mission Impossible
(3:55) 5. Blue
(4:49) 6. Cecil B. DeBop
(9:03) 7. Slander
(6:36) 8. Can't Help Falling In Love
(4:58) 9. Second Story Man

This superb quintet session is the third, and undoubtedly best Milestone disc 39-year-old vibraphonist Joe Locke has released to date. Locke, a veteran of the Mingus Big Band and former Pepper Adams, Eddie Henderson, Dianne Reeve and Hiram Bullock sideman, has made his strongest personal statement with Slander (And Other Love Songs).

The influence of Bobby Hutcherson is overwhelming here especially as evidenced by the strong boppish originals Locke has crafted (the exceptional "Song for Cables," "Saturn's Child," "Cecil B. DeBop," "Second Story Man" and "Slander"). But Locke is a more aggressive, and at times, more interesting "inside" player.

The vibraphonist, whose inspiration comes from such horn players as Jackie McLean, Hank Mobley, John Coltrane and Steve Grossman, is aided by some exceptional folks here too. Pianist Billy Childs, who has walked this ground before with Freddie Hubbard and Bobby Hutcherson, is muscular and consistently interesting as he alternates between acoustic and electric pianos. Bassist Rufus Reid and drummer Jackson round out the rhythm section. But it is undersung guitarist Vic Juris - appearing on five of the nine tracks here, a sort of cross between early Pat Metheny and jazzier John Scofield - who is the second star here. His commentary is really something special, providing an edgy counterpoint to the mellifluous strength of Locke's melodic vibe work.

A nice surprise is Locke's improving take on strong source material. In the past he's taken well-known works - like film themes or Henry Mancini's music - and found more than his share of sap to squeeze. But on Slander, he reworks, rethinks and reinvents Lalo Schifrin's "Mission: Impossible," refashions Joni Mitchell's "Blue" into a lovely piano/vibe duet and manages to restructure the pop hit, "Can't Help Falling In Love," transcending each into something truly personal. Nice touch.

Slander (And Other Love Songs), the tenth of Joe Locke's solo discs since his 1983 debut, is a memorable representation of what good contemporary mainstream jazz can accomplish. And, if things are right in the world, it should help Joe Locke ascend to become one of the more important figures in contemporary jazz. Recommended.~ Douglas Payne https://www.allaboutjazz.com/slander-and-other-love-songs-joe-locke-fantasy-jazz-review-by-douglas-payne.php

Personnel: Joe Locke Vibes; Billy Childs; Piano: Vic Juris; Guitar: Rufus Reid; Bass: Gene Jackson; Drums.

Slander (And Other Love Songs)

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Joe Locke - Storytelling

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

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

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

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

Storytelling

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Joe Locke - Beauty Burning

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

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

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

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

Beauty Burning

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Victor Provost - Bright Eyes

Styles: Contemporary Jazz
Year: 2017
File: MP3@320K/s
Time: 58:38
Size: 134,9 MB
Art: Front

(4:58)  1. Eastern Standard Time
(7:13)  2. Ella Nunca Tiene Una Ventana
(4:22)  3. Fitt Street
(6:48)  4. Bright Eyes
(6:21)  5. Pan in Harmony
(6:05)  6. Homenaje
(6:08)  7. Fete Antillaise
(5:56)  8. Twenty
(1:01)  9. Intro for Chelle
(5:03) 10. Song for Chelle
(4:38) 11. La Casa de Fiesta

Just as Béla Fleck has done for the banjo and Laurie Anderson has done for the violin, steel pan player Victor Provost showcases his main instrument in contexts that are different from the one in which many listeners were first introduced to it. Although there are definitely Caribbean influences on Bright Eyes, Provost (who grew up on St. John in the Virgin Islands) is also deeply devoted to jazz. The result is a great jazz album that happens to feature steel pan as opposed to a great steel pan album that incorporates jazz. Provost and his band Alex Brown (piano), Zach Brown (bass) and Billy Williams Jr. (drums) get help from percussionist Paulo Stagnaro on six of the 11 cuts. Other guest contributors include Paquito D’Rivera (alto saxophone), Ron Blake (soprano saxophone), Tedd Baker (tenor saxophone), Joe Locke (vibraphone), Etienne Charles (trumpet) and John Lee (guitar). On the title track, Provost offers the same elegant mixture of hypnotic speed and seductive melodicism on steel pan that Locke has developed on vibraphone; the combination of the two instruments here is dazzling. The original tune “Twenty” illustrates the leader’s mastery of a slow tempo, while a fiery rendition of Tom Glovier’s “La Casa De Fiesta” becomes a high-octane blowing session for Provost, Alex Brown, Blake and Charles. We can’t wait to hear what Provost does next. ~ Bobby Reed http://downbeat.com/reviews/detail/bright-eyes

Personnel:  Victor Provost - steel pan; Alex Brown - piano; Zach Brown - bass;  Billy Williams, Jr. - drums; Paquito D'Rivera - alto saxophone; Joe Locke - vibraphone; Ron Blake - soprano saxophone; Etienne Charles - trumpet; Paulo Stagnaro - percussion; Tedd Baker - tenor saxophone; John Lee - guitar

Bright Eyes

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Eddie Henderson - Phantoms

Styles: Trumpet Jazz 
Year: 1994
File: MP3@320K/s
Time: 59:34
Size: 137,1 MB
Art: Front

( 7:21)  1. Beauty in the bambles
( 5:59)  2. Little girl blue
(10:57)  3. Phantoms
( 8:27)  4. In walked Lila
( 8:01)  5. Jitterbug waltz
( 8:10)  6. Naima
( 5:40)  7. Dolphin dance
( 4:54)  8. Milestones

The master trumpeter from Herbie Hancock’s first band made his first recording for SteepleChase after several years’ absence from the scene. Evolving from the Miles Davis sound of the late 60s Henderson’s playing has developed into a very intriguing personal style.  “ This must be among his best recordings ….” (Jazz Journal)

Personnel: Trumpet – Eddie Henderson; Bass – Wayne Dockery; Drums – Victor Lewis; Piano – Kenny Barron; Vibraphone – Joe Locke 

Phantoms

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Joe Locke, David Hazeltine Quartet - Mutual Admiration Society

Styles: Vibes And Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 59:48
Size: 137,7 MB
Art: Front

(9:09)  1. K-Man's Crew
(7:41)  2. I Say A Little Prayer
(5:24)  3. Can We Talk?
(9:05)  4. The Haze Factor
(6:46)  5. Tears In Her Heart
(8:12)  6. Spring Will Be A Little Late This Year
(6:48)  7. Diamonds Remain
(6:38)  8. For All We Know

This is a sparkling, deeply grooved session by four seasoned pros whose musical temperaments are perfectly harmonized. While Locke and Hazeltine, both 40, have known each other for more than a decade, Mutual Admiration Society marks their first collaborative effort in a recording studio, one in which the reciprocal esteem is evident from start to finish. Locke and Hazeltine are so harmoniously well matched that one sometimes wonders if they mightn’t be able to read each other’s thoughts. Also on the same wavelength are Essiet and Drummond whose unflagging support is an indispensable part of the album’s success. There’s no doubt, however, about who the leaders are Locke wrote three of the album’s eight selections, Hazeltine two others, and together they take most of the solos. Completing the program are the standards “Spring Will Be a Little Late” and “For All We Know” and the Burt Bacharach/Hal David pop hit, “I Say a Little Prayer” (taken at a slower tempo than we’d ever heard before). On the other hand, “For All We Know,” ordinarily a ballad, is played in an up-tempo Latin groove, which evens the score. Whatever the pace or mood, Locke and Hazeltine are clearly on their game, spinning many an engaging post–bop phrase while sounding nothing at all like that celebrated archetype of piano/vibes quartets, the MJQ. While Locke could perhaps pass for Milt Jackson, Hazeltine’s pianisms are far too warm blooded and percussive ever to be mistaken for the ultra composed John Lewis. After a relatively placid start, the session moves into high gear with Hazeltine’s “Can We Talk?” (I’d have led with that one) and continues apace with Locke’s “Haze Factor” and Hazeltine’s lovely ballad “Tears in Her Heart.” Frank Loesser’s “Spring Will Be a Little Late,” taken for a pleasant medium tempo stroll, is a highlight with tasteful solos by the co–leaders, another by Essiet and the usual superb backing from bass and drums. Locke’s “Diamonds Remain,” dedicated to the late Don Grolnick, is next, and the foursome caps its pleasantly swinging date with “For All We Know.” And for all we know, those who hear it may wish to add their names to the Locke/Hazeltine mutual admiration society. ~ Jack Bowers https://www.allaboutjazz.com/mutual-admiration-society-joe-locke-sharp-nine-records-review-by-jack-bowers.php

Personnel: Joe Locke, vibes; David Hazeltine, piano; Essiet Essiet, bass; Billy Drummond, drums

Mutual Admiration Society

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Kenny Barron, Joe Locke - But Beautiful

Styles: Piano And Vibraphone Jazz
Year: 1991
File: MP3@320K/s
Time: 71:56
Size: 166,2 MB
Art: Front

(5:57)  1. On a Misty Night
(8:08)  2. You Don't Know What Love Is
(7:53)  3. Spring Is Here
(3:43)  4. Single Pedal of a Rose
(9:03)  5. But Beautiful
(7:04)  6. The Island
(6:26)  7. Nancy with the Laughing Face
(7:53)  8. I've Grown Accustomed to Her Face
(8:35)  9. My Foolish Heart
(7:09) 10. Stolen Moments

Vibraphonist Joe Locke's intention was to make an instrumental CD of ballads while maintaining "a vocal quality in the music," as he explains in his liner notes, whether or not the songs played actually have lyrics. It doesn't take long for the listener to affirm the results of his duo date with the consummate pianist Kenny Barron; this is a lively release where both musicians "sing" on their respective instruments. Their interpretations of classic jazz compositions begin with the opener, a jaunty, strutting take of Tadd Dameron's "On a Misty Night." The sensuous arrangement of Duke Ellington's "A Single Petal of a Rose" finds Barron holding the pedal a tad longer than usual to slow the decay of his chords as Locke slowly and softly interweaves his voicings into this magical piece. Oliver Nelson's "Stolen Moments" is not the type of work that one envisions hearing in a duo setting, but Locke and Barron fill the studio with a foot-tapping, blues-infected performance. 

Other tracks stick pretty much to ballads, including a slowly savored arrangement of the bittersweet "You Don't Know What Love Is," a majestic "Spring Is Here" that has a slightly Latin-tinged rhythm, and a breathtaking "But Beautiful." This strongly recommended CD should be considered a high-priority acquisition for fans of Joe Locke and/or Kenny Barron. ~ Ken Dryden https://www.allmusic.com/album/but-beautiful-mw0000231205

Personnel: Kenny Barron - piano; Joe Locke - vibraphone

But Beautiful

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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

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Ray LeVier - Ray's Way

Bitrate: MP3@320K/s
Time: 61:51
Size: 141.6 MB
Styles: Contemporary jazz
Year: 2008
Art: Front

[5:33] 1. Ray's Way
[4:03] 2. Manahatta
[9:23] 3. You Never Know
[5:45] 4. Song For Nury
[8:04] 5. Blues In The Closet
[8:23] 6. Bait Tone Blues
[7:21] 7. Ralph's Piano Waltz
[5:48] 8. Echoing
[7:27] 9. Wing And A Prayer

DAVE BINNEY - saxophone (1,3,4,6); FEDERICO TURRENI - soprano sax (8); JOHN ABERCROMBIE - guitar (1,2,4,7,8); MIKE STERN - guitar (3,5,6,9); JOE LOCKE - vibes (1,2,4,7,8); FRANCOIS MOUTIN - bass (1,2,3,4,6,7,8); NED MANN - bass (5,9); RAY LEVIER - drums.

New York drummer Ray LeVier brings together some of the world?s most creative jazz voices for his debut recording as a leader. With guitarists Mike Stern and John Abercrombie, saxophonist Dave Binney, vibist Joe Locke, and Francois Moutin on bass, among others, LeVier has produced a stirring and cohesive album of original music. From the hard-hitting grooves on several of Mike Stern's contributions to the flowing and fresh reading of John Abercrombie?s classic "Ralph's Piano Waltz," "Ray's Way" stands as an inspired introduction to a gifted composer, drummer and producer.

Ray's Way

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Paradigm Shift - Shifting Times

Bitrate: MP3@320K/s
Time: 51:37
Size: 118.2 MB
Styles: Soul-Jazz-Funk
Year: 2004
Art: Front

[4:02] 1. Sandu
[5:03] 2. Yesterdays
[4:10] 3. Sanibel Breeze
[5:28] 4. Half A World Away
[6:10] 5. Shifting Times
[6:25] 6. Big Brother
[4:56] 7. First Shift
[3:57] 8. Simplistic Blues
[2:54] 9. Why Not Scrambled
[5:50] 10. Petra's Lament
[2:37] 11. My Foolish Heart

Melvin Henderson (guitar), Gerry Youngman (organ, flugelhorn), Ted Poor (drums), Wycliffe Gordon (trombone), Joe Locke (vibraphone), Marcus Printup (trumpet), Bill Tiberio (saxophones).

A paradigm shift implies a move into a new framework, and so the organ trio Paradigm Shift is probably misnamed, as there is nothing particularly evolutionary about what it does. Shifting Times is, however, a captivating session of mainly original compositions that owes a great deal to the Blue Note soul jazz of the late '60s. Equal parts Jimmy Smith, Grant Green and Donald Byrd, Paradigm Shift does manage to pay homage without being completely imitative, and that is where the shift may come in; as reverential as Shifting Times is, it succeeds in feeling completely contemporary.

Guitarist Melvin Henderson, organist Gerry Youngman (who also doubles on flugelhorn), and drummer Ted Poor make up Paradigm Shift, but they enlist the assistance of some high profile players to juice up a session that is, quite simply, a load of fun, with sumptuous grooves and solid playing from all. Trombonist Wycliffe Gordon plays hard and heavy on four tracks, growling vigorously on "Sandu." Trumpeter Marcus Printup jabs and parries with Gordon on the same track, plays it lyrical on the Crusaders-informed "Half a World Away," and contributes a piercing muted solo on "First Shift." Vibraphonist Joe Locke pays tribute to Bobby Hutcherson on "Yesterdays" and the slap-happy "Big Brother."

Henderson is a capable player in the Grant Green vein, although there are smatterings of Kenny Burrell, and even Wes Montgomery, in what he does. His tone is clean and warm, and his ideas flow effortlessly, with a spare economy that occasionally lights a fire, as on the up-tempo "Why Not Scrambled." Youngman, an energetic and vivacious organist throughout the set, manages to play his flugelhorn brightly yet tenderly on "My Foolish Heart," which finds him in duet with Henderson. Poor is a groove-centric drummer, equal parts swing and backbeat.

While Paradigm Shift may not break down any musical barriers, these players know how to have a good time, and that is evident throughout Shifting Times. There's a party atmosphere to the record that makes it an entertaining listen. Playful and unassuming, Shifting Times is the perfect music when you're looking for something to engage the body as well as the mind. ~John Kelman

Shifting Times mc
Shifting Times zippy

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Joe Locke - Present Tense

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 61:43
Size: 141,6 MB
Art: Front

(10:04)  1. Massada/Summer Night
( 8:31)  2. The Good Life
( 7:35)  3. Present Tense
( 8:42)  4. All Of You
( 2:38)  5. Heart Of Nowhere
( 6:53)  6. You Say You Care
( 6:24)  7. Beatrice Rose
(10:52)  8. Smoke And Mirrors

On his third CD, vibraphonist Joe Locke leads a solid quartet which includes pianist Kenny Werner, bassist Ron McClure, and drummer Ronnie Burrage. Locke's virtuosity on his instrument is demonstrated throughout the date. The opening medley begins with a solo by the leader of "Masada" (an introspective piece written by a friend of his, saxophonist Danny Wilensky) and the rhythm section joins him as he segues into a brisk take of the waltz "Summernight." Tenor saxophonist Larry Schneider is added on several tracks, including a dark but swinging take of "All of You" and a turbocharged run through "You Say You Care." Locke also wrote several originals, including the unpredictable "Smoke and Mirrors," which was originally written as an introduction to Miles Davis' "Nardis," and a brief duet with Werner, "Heart of Nowhere." This 1990 release was an early indicator of Joe Locke's arrival on the jazz scene, which was followed by many additional strong studio sessions as the 20th century drew to a close. Post-bop fans should consider this CD an essential acquisition. ~ Ken Dryden http://www.allmusic.com/album/present-tense-mw0000436629

Personnel: Joe Locke (vibraphone); Larry Schneider (alto & tenor saxophones); Kenny Werner (piano); Ron McClure (bass); Ronnie Burrage (drums).

Present Tense

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Bob Rockwell - Reconstruction

Styles: Saxophone Jazz
Year: 1990
File: MP3@224K/s
Time: 67:01
Size: 107,6 MB
Art: Front

( 5:18)  1. Straight On
( 7:35)  2. All Or Nothinbg At All
( 7:26)  3. As Blues
( 7:30)  4. Jo
( 7:43)  5. Deedle Lum
(10:54)  6. How Long Has This Been Going On
( 8:49)  7. Reconstruction
( 4:34)  8. Love Eyes
( 7:09)  9. Serenata

Rockwell was raised in Minneapolis, and in his early career he toured the U.S. in various rock and rhythm and blues bands. He worked in Las Vegas in the late 1960s and early 1970s, then moved to New York City, where he played with Thad Jones and Mel Lewis, Tito Puente, Ben Sidran, Freddie Hubbard, Ray Drummond, Billy Hart, Rufus Reid, Victor Lewis, Ron McClure, Tom Harrell, Chuck Israels, John Hicks, Al Foster, Anthony Cox, Bill Dobbins, Keith Copeland, Clint Houston, and Richie Beirach.  After settling in Copenhagen, Rockwell released a large number of albums on jazz label SteepleChase Records. He has also worked in Europe with Ernie Wilkins, Kenny Drew, Alex Riel, Marilyn Mazur, Kenny Wheeler, Jan Kasperson, and Jesper Lungaard.  https://en.wikipedia.org/wiki/Bob_Rockwell

Personnel: Bob Rockwell (soprano & tenor saxophones); Joe Locke (vibraphone); Rufus Reid (bass); Victor Lewis (drums)

Reconstruction

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