Jack Jones Feat. Joey Defrancesco - ArtWork

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 78:09
Size: 180,3 MB
Art: Front

(6:03) 1. Fever
(4:45) 2. Hello
(4:55) 3. At Last
(5:21) 4. If Love Is Overrated
(3:29) 5. Not While I'm Around
(5:08) 6. She's Funny That Way
(6:17) 7. This Masquerade
(5:55) 8. If You Go Away
(6:10) 9. Empty Chairs
(6:10) 10. Lush Life
(4:23) 11. Free Again
(5:03) 12. Is That All There Is
(5:50) 13. Here's To Life
(4:20) 14. This Is All I Ask
(4:15) 15. One Day

If a singer's reputation is so impressive that he or she is able to enlist a full orchestra (with bassist John Clayton conducting) and the late organ maestro Joey DeFrancesco as featured soloist, that is certainly enough to warrant attention. The singer in this instance is two-time Grammy winner Jack Jones, the orchestra an assemblage of some of the Los Angeles area's finest musicians, enlarged by a thirty-member string section.

On one hand, Jones remains a smooth and personable interpreter of American popular song; on the other, he was nearing his eighty- fifth birthday when ArtWork was recorded, and he is more a stylist and storyteller than a songbird here. If pressed for a description, it must be that he more or less talks in rhythm and always on-key, and can still reach the required notes when necessary, even with some difficulty. Think Rex Harrison without the British accent or Robert Preston with less power.

Those who remember Jones from his heyday in the '50s and '60s may either warm to those memories and embrace the album, or lament the loss of the phrasing, control and animation that made his early recordings so remarkable. Either response is perfectly understandable, as this is not the same Jack Jones. Period. He simply does the best he can with what he has. For some, that may be more than enough; for others, not nearly enough. Make no mistake, Jones can still sing, simply not the way he used to. While the voice is not close to what it once was, experience has taught him warmth and pacing, and he makes the most of those skills.

When all is said and done, when one is a singer that is what he or she does. And Jones has always been a singer, taking his cue from father Allan Jones who starred in a number of films, including the Marx Brothers classic, A Night at the Opera; he recorded the hit song "The Donkey Serenade," introduced in that film. The younger Jones has had a long and illustrious career, and he pours whatever is left in the tank into every note on ArtWork. Even so, he is no more than a shadow of his younger self, which must be considered and acknowledged. As for the rest, DeFrancesco is superb as always on organ, tenor sax or trumpet, the orchestra smooth and dependable. For diehard fans of Jack Jones, ArtWork could be one last treasure to embrace.By Jack Bowers
https://www.allaboutjazz.com/artwork-jack-jones-featuring-joey-defrancesco-self-produced

ArtWork

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George Freeman - The Good Life

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 50:55
Size: 116,9 MB
Art: Front

(11:05) 1. If I Had You
( 7:39) 2. Mr. D
( 6:03) 3. Up and Down
( 5:53) 4. Lowe Groovin'
( 3:56) 5. 1, 2, 3, 4
( 9:47) 6. Sister Tankersley
( 6:30) 7. The Good Life

For guitarist George Freeman, The Good Life has also been a long life. He was a nimble-fingered ninety-five-year-old plectrist when this splendid album was recorded in May and June 2022, which makes it all the more grievous to know it would be organ maestro Joey DeFrancesco's last recording date; he died of a heart attack some three months later at the relatively young age of fifty-one.

Freeman leads two trios here, the first with DeFrancesco on organ and Lewis Nash on drums (tracks 1-3), the second with Christian McBride on bass and Carl Allen on drums. Freeman plays a smooth and mellow guitar, using well-shaped single-note runs to underline his candid and always engaging point of view. DeFrancesco, meanwhile, is his usual incredibly animated and fleet-fingered self, lending ardor and intensity to what is already an admirable session. Nash is a remarkably astute and steady timekeeper, as is Allen. When McBride takes over for DeFrancesco, on the fourth track, there is a perceptible difference in modulation but none in musicianship. The beat simply goes on.

Freeman, DeFrancesco & Nash open with a soft and soulful reading of the standard "If I Had You," maintain that posture on the shuffling blues "Mr. D," and close with the album's lone flag-waver, "Up and Down," on which Nash and DeFrancesco brandish their superior chops while Freeman keeps pace in his more laid-back manner. "Lowe Groovin,'" which introduces the second trio, is relaxed and meditative, unlike the buoyant "1, 2, 3, 4," which follows. "Sister Tankersley" is another pensive anthem, as is "The Good Life," which closes the session. Allen is unassuming yet steady as a rock, while McBride's deep-toned bass is outstanding whether soloing or comping.

Although this album could have benefited from more up-tempo moments, that is a small complaint, as everything on offer is exemplary. So, four stars for all-around excellence, plus an unreserved recommendation. By Jack Bowers
https://www.allaboutjazz.com/the-good-life-george-freeman-highnote-records

Personnel: George Freeman - Guitar; Joey DeFrancesco: organ, Hammond B3; Christian McBride: bass; Lewis Nash: drums; Carl Allen: drums.

The Good Life

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Joey DeFrancesco - Joey DeFrancesco Plays Sinatra His Way

Styles: Hard Bop, Soul Jazz
Year: 2004
File: MP3@320K/s
Time: 53:25
Size: 122,9 MB
Art: Front

(5:38) 1. I Get a Kick out of You
(5:58) 2. Teach Me Tonight
(5:23) 3. Pennies from Heaven
(6:47) 4. What's New
(6:05) 5. Witchcraft
(5:37) 6. What Now My Love
(6:21) 7. Don't Worry 'Bout Me
(5:22) 8. Falling in Love with Love
(6:09) 9. Angel Eyes

Although he’s been on the Concord label for several years now, it seems that the well spring of material that Joey DeFrancesco cut for Joe Fields’ HighNote imprimatur continues to be harvested with the latest offering being this 1998 session recorded in 24-bit digital splendor by the legendary Rudy Van Gelder. Don’t look for the title on this one to provide much more than a unifying element for the tunes included, which just happen to be numbers that ‘Ol’ Blue Eyes’ recorded at some point during the span of his career. Known to vocalize somewhat himself, DeFrancesco does no singing here either. The emphasis is on the type of hard swinging groove music that has always been this organist’s main form of expression.

In the company of Houston Person (who led DeFrancesco to the Muse label many years ago), guitarist Melvin Sparks, and longtime drummer Byron Landham, our leading man delivers nine selections that all clock in at around the five to six minute length. With its clever opening vamp, “Pennies From Heaven” finds DeFrancesco at his boppish best, with Sparks weighing in with his own juicy chords in support (as well as a solo that includes a clever “shave and a hair cut” quote to boot). At the start of his career I happened to interview Joey and he commented on how much he dug the bass lines of Groove Holmes. That he’s developed his own way with those foot pedals is clear on this performance alone.

There’s really no need to analyze each individual track here, as anyone even remotely familiar with DeFrancesco will be aware of his mastery of the mighty B-3. Van Gelder’s sound job brings Joey and the guys right into your living room. This no frills affair may be short on the revolutionary, but it will surely please fans of DeFrancesco, Person, and Sparks.
By C. Andrew Hovan https://www.allaboutjazz.com/plays-sinatra-his-way-joey-defrancesco-review-by-c-andrew-hovan

Personnel: Joey DeFrancesco (organ), Houston Person (tenor sax), Melvin Sparks (guitar), Byron Landham (drums)

Joey DeFrancesco Plays Sinatra His Way

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Joey DeFrancesco - Trip Mode

Styles: Contemporary Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 58:23
Size: 182,3 MB
Art: Front

(4:31) 1. Trip Mode
(7:59) 2. Who Shot John
(4:36) 3. Arizona Sunrise
(6:39) 4. In That Order
(7:16) 5. Cuz U No
(7:02) 6. On Georgian Bay
(5:50) 7. The Touch Of Your Lips
(7:14) 8. Traffic Jam
(7:13) 9. What's Your Organ Player's Nam

Joey the Aggressor has emerged with this album. With new guitarist Dan Wilson and new drummer Jason Brown, the organist’s trio harkens back to-as liner-note writer Mark Ruffin points out-the Larry Young-Grant Green-Elvin Jones triumvirate of the late ’60s. This trio isn’t just burning, it’s hammering, thumping, thundering and laying down a profound hardcore groove. The title tune, which opens the album, sets the pace in terms of blitzing organ runs, volcanic drum eruptions and fiery guitar spurts that develop into fleet, organized lines. This kind of tough, jam-session sensibility also infuses Wilson’s “Who Shot John” and DeFrancesco’s “In That Order” and “Traffic Jam” (somewhat reminiscent of Eddie Harris’ “Freedom Jazz Dance”). But with the organist’s “Cuz U No,” the pace changes to a slow, swaying blues, evoking the emotional momentum inherent in gospel-fueled church services. Amen!

Additional performances feature DeFrancesco on piano and trumpet and as a vocalist. On all of these-his “Arizona Sunrise,” “On Georgian Bay,” “What’s Your Organ Player’s Name” and Ray Noble’s “The Touch of Your Lips”-bassist Mike Boone is added. DeFrancesco’s Miles Davis-influenced brass work has improved to the point that you might be fooled into thinking the trumpet is his primary instrument-as on “What’s Your Organ Player’s Name,” reminiscent of Davis’ electric period, with its backbeat, muted trumpet runs and organ funk. On “The Touch of Your Lips,” DeFrancesco’s singing has style, class and feeling. His piano playing is strong too, and considering his prowess on the organ there’s no reason to think otherwise. This is a fine album throughout, but the biggest impression comes from the aggression and soul of the new trio.https://jazztimes.com/reviews/albums/joey-defrancesco-trip-mode/

R.I.P.

Born: April 10, 1971

Died: August 25, 2022

Trip Mode

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Houston Person & Joey DeFrancesco - The Party

Styles: Saxophone Jazz
Year: 1994
File: MP3@256K/s
Time: 53:09
Size: 97,4 MB
Art: Front

(9:59)  1. Love Me Tender
(6:06)  2. Blue Velvet
(7:17)  3. Blues for H.P.
(5:22)  4. Ceora
(5:59)  5. Impossible
(8:26)  6. Party's Over
(9:58)  7. True Blues

Good soul jazz and blues session, with young lion organist Joey DeFrancesco providing the funky undercurrent to tenor saxophonist Houston Person's thick, authoritative solos and Randy Johnston and Bertell Knox filling the spaces on bass and drums, plus Sammy Figueroa adding some Afro-Latin fiber for additional support.~Ron Wynn http://www.allmusic.com/album/the-party-mw0000278195

Personnel: Houston Person (tenor saxophone); Joey DeFrancesco (organ); Randy Johnston (guitar); Bertell Knox (drums); Sammy Figueroa (percussion, congas).

The Party

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Joey DeFrancesco - More Music

Styles: Jazz, Hard Bop
File: MP3@320K/s
Time: 65:26
Size: 152,8 MB
Art: Front

(3:39) 1. Free
(5:41) 2. Lady G
(6:41) 3. Just Beyond the Horizon
(7:29) 4. In Times of Reflection
(5:44) 5. Angel Calling
(7:24) 6. Where to Go
(4:38) 7. Roll With It
(4:14) 8. And If You Please
(6:05) 9. More Music
(7:10) 10. This Time Around
(6:37) 11. Soul Dancing

The mega-faceted jazz musician Joey DeFrancesco celebrated his 50th birthday in April, and has quite a résumé to show for it. More Music is his 39th studio album as a leader. Characteristically, he has delivered an effusive mainstream hard-bop/soul-jazz effort.

DeFrancesco plays organ, piano, keyboards, trumpet and tenor saxophone often more than one on the same track. That’s not doubling, that’s quintupling. And that doesn’t count his laid-back, everyman vocals on the standard-in-waiting, “And If You Please.” For good measure, DeFrancesco wrote and arranged all the material. Two highly simpatico players are all the support he needs. Lucas Brown plays organ, keyboards, acoustic and electric guitar. His comparatively restrained organ work countervails the leader’s unbridled effervescence. Drummer Michael Ode drives the entire affair with muscular swing. His 25-second solo intro to “Just Beyond the Horizon” is straight-up wild. No bassist necessary, by the way.

DeFrancesco plays his trumpet with spark (“Free”) and his tenor sax with warmth (on the ballad “Lady G” and the near-ballad “Angel Calling”), but no surprise it’s on Hammond B-3 that he shines brightest. He showcases that instrument on “Just Beyond the Horizon,” “Roll With It,” “Soul Dancing” and the title track, his fingers dancing across the keys with boundless swagger. https://www.jazziz.com/joey-defrancesco-more-music-mack-avenue/

More Music

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Frankie Valli - A Touch Of Jazz

Styles: Vocal
File: MP3@320K/s
Time: 43:18
Size: 99,9 MB
Art: Front

(5:43) 1. Try A Little Tenderness
(4:13) 2. Day By Day
(5:45) 3. Don't Take Your Love From Me
(4:13) 4. I'll Remember April
(5:55) 5. All Or Nothing At All
(5:02) 6. How High The Moon
(5:00) 7. We'll Be Together Again
(3:49) 8. Jeepers Creepers
(3:33) 9. The Last Request

The original Jersey boy himself, Frankie Valli, is a true American legend. His incredible career with the Four Seasons, as well as his solo success, has spawned countless hit singles. Frankie Valli & The Four Seasons have sold over 100 million records worldwide. On his latest solo outing, Valli turns to a passion of his-jazz. Featuring world-renowned jazz organist Joey DeFrancesco, A Touch of Jazz showcases Valli's indelible voice on some of his favorite tunes from the American Songbook.~ Opiniones editoriales https://www.amazon.com/Touch-Jazz-Frankie-Valli/dp/B0942DW3VX

Personnel: Frankie Valli - Vocal; Joey DeFrancesco - Organ

A Touch Of Jazz

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Paul Bollenback - Double Vision

Styles: Guitar Jazz
File: MP3@320K/s
Time: 53:00
Size: 122,5 MB
Art: Front

(4:55) 1. I Am Singing
(5:44) 2. Open Hand
(6:54) 3. Danny
(7:33) 4. Breaking the Girl
(5:07) 5. Reflections of Jaco
(3:16) 6. Lush Life
(6:00) 7. After the Love Has Gone
(6:35) 8. Thank You Mr. Hancock
(6:54) 9. Let Her Cry

Award-winning jazz guitarist Paul Bollenback developed a taste for the exotic over the course of a three-year period when his family lived in India. He was 11 years old when the family traveled to New Delhi, and years later the sounds and experiences of that early journey found their way into his first album from Challenge Records, Original Visions. His next release, Double Gemini, continued to stir up a buzz among critics, and it drew honors as CD of the Month from both WBGO, a Newark jazz station, and 20th Century Jazz Magazine. Bollenback remained with Challenge for his next project, Soul Grooves.

The guitarist first got his hands on an instrument with nylon strings when he was seven years old. The guitar was a gift from his dad, who adored music as much as the younger Bollenback and also played the trumpet. At the age of 14, the budding guitarist headed home to the states with his family, where he discovered the delights of rock & roll. Around this time he started to play the electric guitar, another gift from his dad. When he discovered Miles Davis, it was a major turning point in his musical development.

Bollenback's education includes music studies at the University of Miami. He continued his studies with eight more years of private instruction under the tutelage of Asher Zlotnik in Baltimore. In 1993, the year that he embarked on a European tour, he received a National Endowment for the Arts grant, in conjunction with the Virginia Commission on the Arts, for "New Music for Three Jazz Guitars." The Washington Area Music Awards dubbed him Musician of the Year in 1997, the same year that he joined the music faculty at American University. SESAC honored two of his original pieces, "Romancin' the Moon" and "Wookies' Revenge," both of which were included on the album Reboppin' by Joey DeFrancesco, who returned the favor by appearing on Bollenback's Soul Grooves.

The Litchfield Jazz Festival Summer Music School installed Bollenback as artist-in-residence. He also is a featured artist on the bill of the Summer Guitar & Bass Workshop offered by Duquesne University. The guitarist has performed on numerous television programs, among them Entertainment Tonight, The Tonight Show, The Today Show, Joan Rivers, and Good Morning America. He has shared the stage with a long list of musical artists, including Charlie Byrd, Arturo Sandoval, Herb Ellis, Stanley Turrentine, Spyro Gyra's Scott Ambush, and Della Reese. ~ Linda Seida https://www.allmusic.com/artist/paul-bollenback-mn0000746344/biography

Personnel: Paul Bollenback - guitar; Joey DeFrancesco - organ; Ed Howard - bass; Terri Lyne Carrington – drums

Double Vision

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Paul Bollenback - Double Gemini

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

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

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

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

Double Gemini

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Joey DeFrancesco - The Street of Dreams

Styles: Jazz, Hard Bop
Year: 2005
File: MP3@320K/s
Time: 55:07
Size: 126,9 MB
Art: Front

(3:08)  1. How Little We Know
(3:42)  2. Twisted Blues
(6:02)  3. Incognito
(3:20)  4. Stop Leading Me On
(6:29)  5. Black Nile
(3:53)  6. The Street of Dreams
(6:05)  7. Puttin' on the Ritz
(5:45)  8. Moanin'
(4:03)  9. I Wish You Love
(7:07) 10. A Real Goodun'
(5:28) 11. What's New

Organist Joey DeFrancesco switched to a small label for this release. He is featured with his regular trio (with guitarist Paul Bollenback and drummer Byron Landham), guest bassist Keter Betts, and a six-piece horn section arranged by Horace Ott. Most unusual about this set is that DeFrancesco is also heard on piano, trumpet, and vocals. Unfortunately, his singing is more heartfelt than musical and brings down the value of the record. However, DeFrancesco's organ playing is as strong as ever and he is an underrated trumpeter most influenced by Miles Davis. Among the better selections are Wes Montgomery's "Twisted Blues," Wayne Shorter's "Black Nile," and "Moanin'." 

~ Scott Yanow https://www.allmusic.com/album/the-street-of-dreams-mw0000179292

Personnel: Organ – Joey DeFrancesco; Bass – Keter Betts; Bass Trombone – Dudley Hinote; Drums – Byron Landham; Guitar – Paul Bollenback; Saxophone – Pete Berrenbregge; Trombone – Doug Elliott , Rick Lillard; Trumpet – Bruce Gates, Rick Sigler

The Street of Dreams

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Andy Summers - Green Chimneys: The Music of Thelonius Monk

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 70:04
Size: 161,1 MB
Art: Front

(5:57)  1. Green Chimneys
(4:36)  2. Hackensack
(3:29)  3. Brilliant Corners
(3:55)  4. Monk's Dream
(5:41)  5. 'Round Midnight
(4:56)  6. Bemsha Swing
(5:31)  7. Shuffle Boil
(3:16)  8. Boo Boo's Birthday
(4:14)  9. Evidence
(5:15) 10. Ugly Beauty
(4:08) 11. Think of One
(3:17) 12. Light Blue
(2:50) 13. Ruby My Dear
(2:30) 14. Crepescule with Nellie
(4:36) 15. Locomotive
(3:10) 16. Off Minor
(2:37) 17. Ruby (Electric Version)

What an albatross to have the Police hanging round your neck. So when it's all over, the singer gets even more famous and corners the market in sophisticated JazzRock, the drummer gets on with spending the money and stretching into movies and session fun, and the guitarist gets to play whatever he wants. Which has varied from turn it up Progressive Rock to echo Summers' days in the Soft Machine to delicate Blues and Folk experiments. But Green Chimneys is another matter: it's a fine, accessible homage to the immortal Thelonius Monk from a British club jazzer who got very lucky in pop. Monk's mastery of compositional architecture - from the blues to the birth of bop - lifts good players toward the stars. On Green Chimneys, Summers even gets Sting in to schmooze his way through one classic, 'Round Midnight. Except that Sting gives an affecting, genuine performance, while Summers' bigger band strip down to etched-naked chords and sinister brushes waiting for Andy's "do I not like that?" solo. Add cello, trumpet, saxophones and organ to a guitar trio, and you never know what colour comes next. Evidence leads with a fat, tight horn trio stating a fast funk theme against Summer's stinging blues leads, dissolves into big band call and return, segues into a blues rock chorus or two and dances out of the room heading for where Jeff Beck plays Mingus. Then there's the Pat Metheny-on-that-peyote-he-got-from-Tom Waits of Bemsha Swing, or the New Orleans funeral band - on Hackensack - plugging directly into a mobile 240AC outlet while Joey DeFrancesco's B3 vamps its way through the crowd on a flatbed truck right behind the hearse. Or the way the band rhythmically collapse Three Blind Mice into the angular, stop-time Jazzfunk of Monk's Dream, and the outrageous blend of Metal and Jimmy Smith on Shuffle Boil, where Summer's tone and phrasing deliver the impact usually carried by distortion. This is a guitar fan's album, but if the straighter moments of Zappa's methodical madness and subtly-caged playing ever tickled your sweet spots, Green Chimneys will make you happy too. And if you saw Peter Erskine drum with the Yellowjackets in London recently, his endlessly inventive accents and effortless leaps from supportive to lyrical to driving to painterly will be a joy revisited. ~ Ian Nicolson https://www.allaboutjazz.com/green-chimneys-andy-summers-rca-victor-review-by-ian-nicolson.php

Personnel:  Guitar, Banjo, Guitar [Dobro] – Andy Summers; Cello – Hank Roberts; Double Bass, Bass – Dave Carpenter; Drums – Bernie Dresel, Peter Erskine; Organ [Hammond B-3] – Joey De Francesco; Saxophone [Soprano, Tenor], Clarinet – Steve Tavaglione; Trumpet – Walt Fowler

Green Chimneys: The Music of Thelonius Monk

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Joey DeFrancesco - In the Key of the Universe

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 58:28
Size: 134,9 MB
Art: Front

( 5:18)  1. Inner Being
( 6:42)  2. Vibrations in Blue
( 3:01)  3. Awake and Blissed
( 3:55)  4. It Swung Wide Open
( 5:05)  5. In the Key of the Universe
(11:00)  6. The Creator Has a Master Plan
( 7:52)  7. And So It Is
( 5:30)  8. Soul Perspective
( 4:47)  9. A Path Through the Noise
( 5:15) 10. Easier to Be

This is an important, even historic album. It marks unannounced the return of a great figure of the free jazz era, Pharoah Sanders. Saxophonist Albert Ayler once famously declared, "Trane was the Father, Pharoah was the Son, I am the Holy Ghost." Hammond organist Joey DeFrancesco has orchestrated Sanders' return from oblivion. Without it, the album would be just one more round of Hammond organ tunes that adhere to DeFrancesco's dictum "I just like to swing." Sanders is featured on three numbers: the title track; his own, perhaps best-known song, "The Creator Has A Master Plan"; and "And So It Is." Without in any way disturbing the album's main, happy-go-lucky thrust, these songs provide a glimpse back into another time when brave men sought to expand the music's and their own horizons. Sanders, aged 78, has distanced himself from those free jazz years. His website says: "Although he made his name with expressionistic, nearly anarchic free jazz in John Coltrane's late ensembles of the mid-60s, Sanders' later music is guided by more graceful concerns. The hallmarks of Sanders' playing at that time were naked aggression and unrestrained passion. In the years after Coltrane's death, however, Sanders explored other, somewhat gentler and perhaps more cerebral avenues without, it should be added, sacrificing any of the intensity that defined his work as an apprentice to Coltrane." Hats off to Joey DeFrancesco for this chance to re-evaluate Sanders' work. DeFrancesco's own numbers are executed with his customary panache. "Inner Being" and "Vibrations In Blue" test the limits of the instrumentation to emerge by and large unscathed. "Soul Perspective" is gentle and melodic, with Troy Roberts putting in some good work on tenor and soprano saxophones.  "A Path Through The Noise" speaks for itself it's meditative and calm with DeFrancesco taking a solo on trumpet, which he took up after gigging with Miles Davis as a very young man. ~ Chris Mosey https://www.allaboutjazz.com/in-the-key-of-the-universe-joey-defrancesco-mack-avenue-records-review-by-chris-mosey.php

Personnel: Joey DeFrancesco: organ, trumpet; Pharoah Sanders: tenor saxophone, vocal; Troy Roberts: soprano, alto and tenor saxophone, bass; Sammy Figueroa: percussion; Billy Hart: drums.

In the Key of the Universe

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Joey DeFrancesco - Goodfellas

Styles: Jazz, Hard Bop
Year: 1999
File: MP3@320K/s
Time: 54:45
Size: 126,7 MB
Art: Front

(5:29)  1. Speak Softly Love
(4:14)  2. Volare
(5:13)  3. Fly Me To The Moon
(5:10)  4. All The Way
(4:13)  5. Whack 'Em
(4:04)  6. Malafemmena
(3:49)  7. Young At Heart
(5:12)  8. O Solo Mio
(4:32)  9. Evidence
(6:09) 10. Goodfellas
(4:44) 11. Ya See What I'm Sayin'?
(1:51) 12. Whack 'Em (Reprise) / Tarentella

When you spend your youth growing up in South Philadelphia, the music of Frank Sinatra and the earlier music that influenced him has to have a major lasting impact on you. The timeless nature of standards such as "Young At Heart," "Fly Me to the Moon" and "All The Way" cannot be ignored. Other significant crooners such as Perry Como, Dean Martin, and Tony Bennett have extended the feelings we harbor that these songs will live forever. For his latest album, 28-year-old organist Joey DeFrancesco adds in a little ethnic Italian folk scenery and some Godfather movie theme spice to these standards. The result is an enjoyable trio session that pays its respects to the tradition while folding in a mainstream jazz background. The trio’s best example of mixing the cauldron thoroughly is "O Solo Mio" with its ride cymbal and walking bass. Guitar and organ sound off effectively; the arrangement even includes a Basie ending. DeFrancesco’s Hammond B-3 is particularly hot on "Fly Me to the Moon," as the unit improvises on a familiar theme. Similarly, Frank Vignola swings heartily on most tracks; he’s particularly effective on the blues-based "Whack ‘em." Joe Ascione takes his share of fours and extended solos; the drummer’s steady driving force is particularly notable on "Malafemmena" with its hefty modified New Orleans shuffle beat. 

The title track is a tribute to another Philadelphia "godfather" organist Jimmy Smith. One of DeFrancesco’s mentors and a favorite driving force all over the world, Smith has a way with the blues that won’t quit. The trio captures this mood quite well, swings with passion throughout the session, and does a bang-up job of bringin’ home the good-natured fun. ~ Jim Santella https://www.allaboutjazz.com/goodfellas-joey-defrancesco-concord-music-group-review-by-jim-santella.php

Personnel: Joey DeFrancesco- Hammond B-3 organ; Frank Vignola- guitar; Joe Ascione- drums.

Goodfellas

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Joey DeFrancesco - All Of Me

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 44:36
Size: 102,5 MB
Art: Front

(4:20)  1. Blues For J.
(4:31)  2. Close To You
(6:00)  3. Carbon Copy
(7:03)  4. All Of Me
(4:06)  5. 30th Street Station
(6:16)  6. One For C.C.
(5:59)  7. L.G. Blues
(6:17)  8. Petala

Organist Joey DeFrancesco's debut as a leader would be impressive even if he had not been 17 at the time! DeFrancesco, whose sound has always been strongly influenced by Jimmy Smith (sounding like an exact duplicate on "All of Me"), is backed by an eight-piece horn section on two songs and a 16-piece string section on three others but more important to the music is the playing of guitarist Lou Volpe, drummer Buddy Williams and the electric bass of Alex Blake. Houston Person's tenor is also a strong asset on two of the eight numbers in a program that ranges from swing to more modern funk. A strong start to a colorful career. ~ Scott Yanow https://www.allmusic.com/album/all-of-me-mw0000204330

All Of Me

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The Count Basie Orchestra - All About That Basie

Styles: Jazz, Big Band, Swing
Year: 2018
File: MP3@320K/s
Time: 48:11
Size: 110,9 MB
Art: Front

(4:40)  1. Everyday I Have The Blues
(4:26)  2. Can't Hide Love
(3:38)  3. My Cherie Amour
(3:24)  4. Don't Worry ‘Bout Me
(4:25)  5. Tequila
(4:53)  6. Hallelujah
(3:53)  7. April In Paris
(3:08)  8. Honeysuckle Rose
(4:35)  9. Hello
(4:56) 10. Sent For You Yesterday
(6:08) 11. From One To Another

The Legendary Count Basie Orchestra celebrates their 80th anniversary as the premiere big band in jazz with a collection of classic material a twist on a few modern hits (Adele, Leonard Cohen, Stevie Wonder, and others). Special guests include: Stevie Wonder, Carmen Bradford, Kurt Elling, Take 6, Jamie Davis, Jon Faddis, Wycliffe Gordon, Joey DeFrancesco, Eric Reed, Rickey Woodard, and Gregg Field. ~ Editorial Reviews https://www.amazon.com/About-That-Basie-Count-Orchestra/dp/B07FDVCMHP

Featuring Take 6, Kurt Eling, Carmen Bradford, Jon Faddis, Wycliffe Gordon, Jamie Davis, Joey Defrancesco and Stevie Wonder…

All About That Basie

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Clint Holmes - Rendezvous

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 51:35
Size: 118,5 MB
Art: Front

(5:21)  1. Stop This Train
(6:56)  2. At The Rendezvous
(4:49)  3. I Loves You Porgy/There's A Boat That's Leavin' Soon For New York
(4:31)  4. Every Time We Say Goodbye
(5:28)  5. All Of Me
(3:38)  6. Say Something
(4:27)  7. Maria
(3:33)  8. The Perfect Trance
(4:06)  9. Marie
(5:18) 10. My Way
(3:21) 11. What You Leave Behind

Clint Holmes’ original charge was simply to make a great album. But the underlying objective, sometimes mentioned just slyly, was to make it great enough to be nominated for a Grammy.With “Rendezvous,” Holmes not only met, but exceeded those goals.The latest release from the popular Vegas showman and interpreter of songs has been nominated for a pair of Grammy Awards, as the field was announced Tuesday morning. Two songs from “Rendezvous” are on the list of nominees for Best Arrangement, Instruments and Vocals: “Every Time We Say Goodbye,” his duet with jazz great Jane Monheit; and “I Loves You Porgy/There’s A Boat That’s Leavin’ Soon For New York” from “Porgy and Bess,” which Holmes recorded with another acclaimed jazz vocalist, Dee Dee Bridgewater. The arranger on “Every Time We Say Goodbye,” Jorge Calandrelli, is a six-time Grammy winner known for his work on “The Color Purple.” Holmes, producer Gregg Field, master pianist and composer Shelly Berg, and pianist/sax man/composer Gordon Goodwin teamed for the arrangement on “Porgy and Bess.” Field himself has won three Grammys in his five nominations, and as a topnotch drummer also toured with the Count Basie Orchestra in the early 1980s and the Basie Orchestra backed Holmes on “Rendezvous.” 

“This is an incredible feeling and a real achievement for everyone who made the album happen,” Holmes said Tuesday morning. “As you know, this was a long process, and receiving a Grammy nomination is something we really did want, even if we felt we didn’t want to jinx our chances by talking about it.” “Rendezvous” was recorded and mixed over a 2 ½-year period at Capitol Records. The album was largely a jazz project, especially with the contributions from Monheit, Bridgewater and sax master Dave Koz (who wrote the music to Holmes’ “What You Leave Behind”). But there is a significant pop feel to “Rendezvous,” too, which actually prevented the album from being considered in nomination in the jazz field (if an album is deemed 51 percent pop by Grammy officials, it is entered into the open pop categories). Thus, Holmes is in what he calls “tall cotton” with his fellow nominees. Also entered in his category are the cast of “La La Land” and Justin Hurwitz with “Another Day of Sun,” Seth MacFarlane and arranger Joel McNeely for “I Like Myself,” and Randy Newman with “Putin.” Newman is a two-time Academy Award winner and has been nominated for 20 Oscars. He’s also won six Grammys and three Emmys. “It would be a long shot, but this whole album has been a long shot,” said Holmes, who hopes to attend the Jan. 28 ceremony in New York. “But we are nominated. I’ll now always be a Grammy nominee, and it feels good.”https://www.reviewjournal.com/entertainment/entertainment-columns/kats/clint-holmes-rendezvous-receives-a-pair-of-grammy-noms/

Dee Dee Bridgewater, Jane Monheit, Ledisi, Joey DeFrancesco, Dave Koz and Patti Austin help bring the veteran crooner’s story to life on Clint Holmes’ album, “Rendezvous.”

Rendezvous

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Charles Earland Tribute Band - Keepers of the Flame

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

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

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

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

Keepers of the Flame

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Didier Lockwood - Storyboard

Styles: Violin, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 54:31
Size: 126,4 MB
Art: Front

(7:35)  1. Thought Of A First Spring Day
(4:40)  2. Back To Big Apple
(5:45)  3. En Quittant Kidonk
(7:42)  4. Mathilde
(4:51)  5. Tableau D'une Exposition
(6:59)  6. 'Serie B'
(3:58)  7. Storyboard
(4:52)  8. Irremediablement
(8:06)  9. Spirits Of The Forest

This is a diverse CD that rewards repeated listening. Violinist Didier Lockwood's most rewarding recording in several years also features Joey DeFrancesco on organ and trumpet, bassist James Genus and guest Steve Wilson (doubling on alto and soprano) on the first three numbers. The biggest revelation of the set is that Lockwood takes a credible alto solo on "Serie B." Performing his originals along with a few obscurities, the violinist shows a great deal of versatility, sometimes distorting his tone to get a rockish sound and other times swinging hard. The music (well worth checking out) is fresh and contains its share of surprises.~ Scott Yanow https://www.allmusic.com/album/storyboard-mw0000619396

Personnel:  Didier Lockwood - violin, alto saxophone;   Steve Gadd - drums;   Joey DeFrancesco - organ, trumpet;  James Genus - bass;  Steve Wilson - soprano saxophone, alto saxophone;  Denis Benarrosch - percussion.

Storyboard

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Dan Adler, Joey DeFrancesco, Byron Landham - Back To The Bridge

Bitrate: MP3@320K/s
Time: 64:10
Size: 146.9 MB
Styles: Guitar jazz
Year: 2010
Art: Front

[5:11] 1. Silver And Gold
[6:32] 2. Oh, Look At Me Now
[5:24] 3. Joy Spring
[5:18] 4. Back To The Bridge
[6:52] 5. Good Old Days
[7:44] 6. A Beautiful Friendship
[7:15] 7. Yatzanu At (We Left Slowly)
[5:07] 8. Between Jobs
[6:34] 9. I've Never Been In Love Before
[8:08] 10. The Smudge

Dan Adler: guitar; Joey DeFrancesco; organ; Byron Landham: drums.

Guitarist Dan Adler's debut, All Things Familiar (Emdan Music, 2009), demonstrated his formidable skills, and brought together a noteworthy roster of artists, such as saxophonist Grant Stewart, to fill out a quintet lineup. For his followup, the Israeli-born, New York-based six stringer pares things down and goes with an organ trio format, enlisting the most renowned and recognizable organist of the modern era, Joey DeFrancesco, and longtime drummer, Byron Landham.

The music, as might be expected, is largely made up of swinging songs in the mid-to-up-tempo range, and plenty of the songs adhere to the predictable form of head-solo-solo—sometime solo trading with drums—head. The good thing is that performance trumps occasional form predictability every time, and with players this good, it's hard not to be impressed. In addition, Adler does find ways to spice things up, regardless of some relatively conventional structures. His tempo twists and retooling work on Clifford Brown's "Joy Spring" create one such moment. Book-ending "A Beautiful Friendship" with some NOLA notions, superbly delivered by Byron's crushed snare drum sounds, represents another. The inclusion of a chill-inducing, mournful Israeli-standard/ballad, "Yatzanu At (We Left Slowly)," decidedly atypical fare for an organ album, is, yet, a third.

DeFrancesco's jaw-dropping technique and lightning quick reflexes show up here and there with a quick mid-solo run, but he largely reins in those tendencies and works, in a more sympathetic manner with, what Adler lays out for him. Sometimes, as on "Oh, Look At Me Now," the well-crafted organ bass lines are as easily noticed as any other work from DeFrancesco. Adler, likewise, demonstrates terrific facility and a clean-toned clarity throughout his playing. He self-edits with great taste, never overplaying or throwing in needless licks. Landham's snappy swing, clean brushwork and quick thinking give spark to these songs. When he pulls a reverse Art Blakey, playing a de-cresendoing press roll during the solo trading on "Oh, Look At Me Now," he demonstrates intelligence in simplicity.

Other highlights include a Sonny Rollins-style calypso original from Adler ("Between Jobs"), snappy version of "I've Never Been In Love Before"—which gives the guitarist a chance to throw in a quick "Surrey With The Fringe On Top" quote—and the album opener, "Silver And Gold," a tribute to pianist Horace Silver. It's hard to think of the organ trio tradition without thinking of the blues, and Adler closes the album with "The Smudge"—a mid-tempo blues vehicle from the late Oscar Peterson. Back To The Bridge is a fine showcase for Adler's writing, arranging and guitar playing skills, and presents ten tracks of organ trio music in all its glory. ~Dan Bilawsky

Back To The Bridge mc
Back To The Bridge zippy

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Joey DeFrancesco - Reboppin'

Size: 175,8 MB
Time: 75:22
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz, Hammmond Organ
Art: Front

01. Sister Sadie (6:08)
02. Reboppin' (3:36)
03. Romancin' The Moon (5:38)
04. Big Bad Jim (4:49)
05. Someday My Prince Will Come (3:31)
06. New Blues (6:34)
07. Esp (5:01)
08. Evidence (4:56)
09. Family Jam (4:25)
10. Naima (3:51)
11. Bye Bye Blackbird (5:19)
12. Wookie's Revenge (6:34)
13. Just Friends (8:00)
14. That's All (6:53)

Organist Joey DeFrancesco had an opportunity on his fourth Columbia project to mostly perform with his own group, a trio consisting of guitarist Paul Bollenback and drummer Byron Landham. Among the guests on a few selections are trumpeter Jim Henry, tenor saxophonist Tony Malaby and, on "Family Jam," guitarist Johnny DeFrancesco (Joey's brother) and organist John DeFrancesco (their father). Special treats are Joey DeFrancesco's effective trumpet solos on four of the 14 selections; highlights overall include "Sister Sadie," "Big Bad Jim," "Evidence" and "Bye Bye Blackbird." ~by Scott Yanow

Reboppin'

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