Chris Byars - Boptics

Styles: Saxophone Jazz
Year: 2024
Time: 62:49
File: MP3 @ 320K/s
Size: 144,6 MB
Art: Front

(5:56) 1. Bophthalmology
(6:35) 2. Melatonin'
(6:03) 3. Minor Boptics
(7:21) 4. 3 D Flat
(6:33) 5. eKat
(5:04) 6. Endure And Remain
(5:31) 7. Look Ahead
(7:01) 8. Clementsy
(7:29) 9. Emily Reno
(5:11) 10. Times Square Lights

Chris Byars was born Christopher Lawrence Byars in 1970 in New York City to musical parents Janita Byars (First Clarinet, American Symphony Orchestra) and James Byars (Oboe/English Horn, New York City Ballet Orchestra). In 1983, he adopted jazz as a musical departure from an early career as an opera singer, during which he performed dozens of productions for The New York City Opera and The Metropolitan Opera, including many high-pressure solo roles.

Byars earned Bachelor of Music (1990) and Master of Music (jazz studies, performance, 1992) degrees from Manhattan School of Music. Over the course of five decades, Byars has participated in musical productions from behind the scenes, as a sideman, as a leader, as a traveling artist, conductor, educator, arranger, and composer. Byars has traveled to 55 countries representing the Unites States as a Cultural Envoy for music outreach programmed by US Embassies. Chris co-directed recurrent outreach programs in Syria and in Cyprus, with the purpose of healing divisions and building goodwill towards the United States.

Byars has carefully balanced attention between works of the past and present. Performing with the quintet Across 7 Street in the 1990s, he regularly premiered new compositions while appearing steadily on Sundaynights at Smalls Jazz Club. Byars has composed five extended works as suites (several movements each), addressing local geographies, musical depictions of biographies, and visual art. The current working band is titled Chris Byars Original Sextet which denotes a departure from material written by others. One decade previous, Byars transcribed, arranged, performed, and recorded tributes to jazz greats Teddy Charles, Freddie Redd, Gigi Gryce, Lucky Thompson, Duke Jordan, Frank Strozier, and Jimmy Cleveland.

When possible, these subjects or their families were included as performers or listeners. During the pandemic, Byars continued to arrange and compose, writing Birdography for the NDR Big Band (Hamburg, Germany) and original material for an upcoming 2023 Steeplechase Records release entitled Look Ahead, Byars sought economic refuge within the sphere of civic service, personally interviewing and assisting over 10,000 citizens as a bilingual Contact Tracer for New York City, canvassing the Bronx as a Field Enumerator for the 2020 Decennial Census, and serving as a Spanish Interpreter of NYC Board of Elections.

In May 2022, his CD entitled Rhythm and Blues of the 20s was released for Steeplechase, featuring new original compositions and arrangements for the Chris Byars Original Sextet.
https://www.jazzmusicarchives.com/artist/chris-byars

Personnel: Chris Byars(tenor saxophone), Zaid Nasser(alto saxophone), Stefano Doglioni(bass clarinet), John Mosca(trombone), Ari Roland(bass), Keith Balla (drums)

Rhoda Scott - Paris - New York Disc 1 And Disc 2

Album: Paris - New York   Disc 1

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 58:19
Size: 134,6 MB
Art: Front

(3:08)  1. Moanin'
(3:43)  2. Il Est Mort Le Soleil
(7:41)  3. Medley from ''West Side Story''
(4:13)  4. Take A Ladder
(4:43)  5. Ebb Tide
(2:47)  6. What Kind Of Fool Am I?
(2:26)  7. Count Basie (Lil Darlin)
(6:38)  8. Splanky
(4:29)  9. Mach II
(3:26) 10. Fire And Brimstone
(5:08) 11. Jeremy
(6:30) 12. Delilah
(3:20) 13. Blues At The Bilboquet

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Album: Paris - New York  Disc 2

Time: 43:57

Size: 101,4 MB

(4:32)  1. Mach 2

(4:33)  2. Tanikka

(5:02)  3. Rhoda Map

(4:15)  4. R And R

(4:34)  5. Charlotte's Walz

(5:08)  6. Walkin' About

(7:26)  7. Take A Ladder

(4:24)  8. La La Solitude

(4:00)  9. Quand Je Monte Chez Toi

In 1967, following in the footsteps of Tadd Dameron and Quincy Jones, Rhoda Scott arrives in France to take classes with Nadia Boulanger. Barely a year later, she recorded her debut album Barclay, Take a Ladder duet with one of the best drummers of the moment, Daniel Humair. A long series of albums will follow, two of which are particularly distinguished by the presence of first-rate accompanists: Mach II (1971) in which his long-time accomplice, American saxophonist / flutist Joe Thomas and especially Rhoda Scott in New York, participate. (1976), the result of the collaboration between the virtuoso organist and the great orchestra of Thad Jones / Mel Lewis. Translate by Google https://www.amazon.fr/Paris-New-York-Rhoda-Scott/dp/B007JNN1LG

Personnel: Organ [Hammond] – Rhoda Scott; Alto Saxophone, Soprano Saxophone, Flute – Edward Xiques, Jerry Dodgion; Arranged By, Flugelhorn – Thad Jones; Baritone Saxophone – Pepper Adams; Bass – Bob Bowman ; Drums – Mel Lewis; Electric Piano – Harold Danko; Tenor Saxophone, Clarinet – Larry Schneider; Tenor Saxophone, Flute, Clarinet – Gregory Herbert; Trombone – Billy Campbell, Clifford Adams, Earl Mc Intyre, John Mosca; Trumpet – Al Porcino, Cecil Bridgewater, Earl Gardner, Lynn Nicholson

Paris - New York Disc 1,Disc 2

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Chris Byars - The Music Of Duke Jordan

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 66:46
Size: 154,7 MB
Art: Front

(6:07) 1. Jordanish
(7:15) 2. Undecided Lady
(6:54) 3. There's A Star For You
(5:22) 4. If I Did - Would You
(5:24) 5. The Bullet (Shinkansen)
(3:05) 6. Gabrielle's Wish
(4:07) 7. Lesson In Love
(6:32) 8. Paula
(9:07) 9. Glad I Met Pat
(6:41) 10. Sultry Eve
(6:07) 11. Table Chess

Award-winning saxophonist, composer, bandleader and educator Chris Byars, explores the music of another bebop great, this time pianist Duke Jordan.

Apart from his focus on composing his own music, Chris Bryars has been highly interested in studying the vast repertoire of jazz composers of the 20th century. His endeavour has so far culminated in 'Blue Lights - The Music of Gigi Gryce' (SCCD31662), 'Lucky Strikes Again - The Chris Bryars Octet Plays the Music of Lucky Thompson' (SCCD31713) and his exploration of the music of Freddie Redd on 'Music Forever' (SCCD 31743). Now to add to this impressive list Chris Byars compiled eleven gems from the book of Duke Jordan (1922 - 2006), who was one of the early and most original bebop pianists. Israeli-born singer Yaala Ballin wrote lyrics and sang two of the Jordan melodies ("Sultry Eve" and "Lesson in Love").

Personnel: Chris Byars (alto saxophone), Stefano Doglioni (bass clarinet), John Mosca (trombone), Pasquale Grasso (guitar), Ari Roland (bass), Stefan Schatz (drums), Yaala Ballin (vocal - 4 & 7) and others

The Music Of Duke Jordan

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Chris Byars - Two Fives

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 66:01
Size: 152,4 MB
Art: Front

( 5:15)  1. Little India
( 5:02)  2. Taxi Bird
( 4:45)  3. Express
( 8:03)  4. Hello Pork Pie Hat
( 5:47)  5. Berk-Bop
( 8:07)  6. Danny Boy
(10:30)  7. Seabreeze
( 5:20)  8. Soultrane
( 6:15)  9. Lady Linda
( 6:52) 10. Crazeology

A lyrically swinging set from alto saxophonist Chris Byars one that often has his own instrument balanced alongside colorful tones from the guitar of Pasquale Grasso in a way that's angular, but always easygoing! 

The blend is very nice and augmented with additional bass clarinet from Stefano Doglioni and trombone from John Mosca both of whom can come together with ensemble performances that, with a nice bottom sound, often make the album feel richer than the number of players on the date and at other times, they step out singly, but with a tonal range that separates them a bit from the union of Byars and Grasso. The rest of the group features Ari Roland on bass and Stefan Schatz on drums and titles include "Little India", "Taxi Bird", "Seabreeze", "Berk Bop", "Hello Pork Pie Hat", and "Lady Linda". © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/770016

Personnel:  Chris Byars (alto saxophone) , Stefano Doglioni (bass clarinet) , John Mosca (trombone) , Pasquale Grasso (guitar) , Ari Roland (bass) , Stefan Schatz (drums)

Two Fives

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Andy Fusco - Vortex

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 61:03
Size: 140,9 MB
Art: Front

(6:00)  1. Vortex
(5:21)  2. Friends and Neighbors
(8:06)  3. Spring Can Really Hang You up the Most
(5:13)  4. Matador
(6:19)  5. When Lights Are Low
(5:56)  6. Desperado
(6:18)  7. In Your Own Sweet Way
(6:37)  8. All or Nothing at All
(4:36)  9. Tailspin
(6:32) 10. Windows

Vortex, Andy Fusco's fourth release on the SteepleChase imprint in as many years, is cause for celebration. Until recently, recordings by the veteran alto saxophonist as a leader have been few and far between. The date reunites Fusco with tenor saxophonist Walt Weiskopf, who composed four of the selections and arranged nine of the ten tracks. The Fusco/Weiskopf association began decades ago in the sax section of the Buddy Rich Big Band and eventually resulted in a number of noteworthy discs, mostly under Weiskopf's name, for Criss Cross Jazz. Weiskopf is a master at fashioning charts for small-to-mid-sized ensembles. His arrangements for Vortex radiate enthusiasm as well as the wisdom of decades of experience. Weiskopf finds ingenious ways of voicing four horns (his tenor, Fusco's alto, Joe Magnarelli's trumpet and John Mosca's trombone) on the core material, as well as deftly integrating riffs and longer written figures into some of the improvised solos. Part of the fun of listening to the record is discovering the placement and the degrees of emphasis in the lines he writes for the soloists or when he chooses to leave the players to an exemplary rhythm section comprised of pianist Peter Zak, bassist Mike Karn and drummer Jason Tiemann. Weiskopf's treatments of jazz standards by Dave Brubeck, Chick Corea and Grant Green, a couple of Great American Songbook favorites and his own compositions are novel yet never twist the songs beyond recognition. There's an impressive synergy between Fusco's alto and Weiskopf's arrangement on the head of the ballad "Spring Can Really Hang You Up The Most." 

As a whole the record is well organized and rich in detail, yet each track retains some the loose-limbed quality of a combo playing a late-night club set for themselves and a few aficionados. Apart from shining a spotlight on Fusco, an extended analysis of the soloists' virtues is beyond the scope of this review. Suffice it to say that each man has a distinct voice and makes essential contributions to the record. Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section. Portions of "Matador" and "All Or Nothing At All" are good examples of him laying back a bit, each note firmly in place and joined to Zak, Karn and Tiemann. Is it too much to ask that Fusco and this group make an appearance outside of the confines of the recording studio? Probably. From start to finish, Vortex is an exhilarating record. 

~ David A.Orthmann https://www.allaboutjazz.com/vortex-andy-fusco-steeplechase-records-review-by-david-a-orthmann.php

Personnel: Andy Fusco: alto saxophone; Walt Weiskopf: tenor saxophone; Joe Magnarelli: trumpet; John Mosca: trombone; Peter Zak: piano; Mike Karn: bass; Jason Tiemann: drums.

Vortex

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Chris Byars - A Hundred Years from Today

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 64:25
Size: 149,0 MB
Art: Front

(8:14)  1. Intention
(5:16)  2. A Hundred Years from Today
(6:08)  3. San Juan Hill
(5:24)  4. Money Can't Buy
(7:40)  5. All the Things Are Redd
(5:48)  6. Lovelace
(5:21)  7. Elevated Tracks
(5:27)  8. Flight
(5:52)  9. Incognito
(9:11) 10. Mountain Top

Intentional or not, it’s a sobering thought experiment considering the current state of regional, national, and global affairs: Will the humans still inhabiting the planet a century hence be living in an egalitarian ecotopia or a desiccated totalitarian wasteland? Very probably the answer is something in-between those extremes. A Hundred Years from Today is also the title of saxophonist/composer Chris Byars’ latest Steeplechase venture (his tenth) and a hoary Victor Young show tune first published in 1933. Byars knows his jazz history better than most and the session is interspersed with all sorts of underlying meaning throughout the nine inventively arranged originals that join the Young-scripted heirloom. The date differs from Byars past projects as well in terms of personnel. Contractual conflicts precluded guitarist and band regular Pasquale Grasso from taking part, so the leader retooled the tunes to compensate for his chordal absence. Reduced to a sextet, the group still has a broad and varied sound forwarded by the returning horns of trombonist John Mosca, altoist Zaid Nasser, and bass clarinetist Stefano Doglioni. Bassist Ari Roland and drummer Phil Stewart are both first call prospects when a Byars date comes up as well and neither man disappoints in his appointed role. Byars fields tenor for the duration, but his charts are just as likely to tap his colleagues for solo honors as the brisk Lucky Thompson-dedicated “Intention” makes conclusively clear through salvos from everyone. Other tunes carry different dedicatees. 

“San Juan Hill” doffs figurative beret to Monk in honoring the pianist’s native neighborhood through an intricate 34-bar architecture. Stewart is particularly prominent here, bridging gaps with crisp fills and keeping a cantilevering time. “Money Can’t Buy” honors Tadd Dameron in another 34-bar circuit this time grafted to a ballad tempo and another string of concise solos with Nasser’s piquant alto constructions the standout. “All the Things are Redd” reveals both its honoree (Freddie Redd) and its chordal sourcing (“All the Things You Are”) in a single titular swoop and benefits from another nimble exchange of fours between drummer and horns. Byars’ many years as a fixture at Smalls, a Greenwich Village jazz club, brought him into direct contact with a handful of criminally-unsung first generation hard-boppers. Answering to the first name Jimmy, “Lovelace” was one of the most demanding and dedicated among them. The piece borrows from the bebop staple “Tune Up” and honors the late drummer through a rapid-fire exchange of solo statements anchored by Stewart’s blurred sticks. Bud Powell, Charlie Parker, Gigi Gryce, and Dizzy Gillespie earn honorifics through subsequent tracks capping with the cerulean-hued “Mountain Top” where Byars’ once again tests his bandmates’ mettle on an obstacle course sprint peppered with incisive solos. Conditions a century from now remain far from certain, but there’s both certainty and quality to be had herein. ~ Derek Taylor https://dustedmagazine.tumblr.com/post/185108605202/chris-byars-a-hundred-years-from-today

Personnel: Chris Byars (tenor saxophone), John Mosca (trombone), Zaid Nasser (alto saxophone), Stefano Doglioni (bass clarinet), Ari Roland (bass), Phil Stewart (drums)

A Hundred Years from Today

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Monica Zetterlund - It Only Happens Every Time

Styles: Vocal 
Year: 2016
File: MP3@320K/s
Time: 36:53
Size: 85,7 MB
Art: Front

(5:12)  1. It Only Happens Every Time
(3:38)  2. Long Daddy Green
(4:37)  3. Silhouette
(5:06)  4. He Was Too Good To Me
(4:07)  5. The Groove Merchant
(4:14)  6. Love To One Is One To Love
(4:16)  7. Happy Again
(5:40)  8. The Second Time Around

Swedish singer Monica Zetterlund is backed by the Thad Jones-Mel Lewis Orchestra on the Inner City LP It Only Happens Every Time. Her phrasing is precise, but her vocal style doesn't always blend well with the big band. Jones' "It Only Happens Every Time" comes off under-rehearsed, as if the chart is still in a state of flux, a similar problem that occurs during "The Second Time Around." Better is the swinging treatment of "Long Daddy Green" and the tearjerker ballad "He Was Too Good to Me." Sadly, none of the instrumental soloists is identified, though Pepper Adams shines on baritone sax in two compositions by the late Lars Gullin, one of Europe's best players of the instrument; this was also Adams' final recording with the band. Overall, this is a good, though hardly essential record. ~ Ken Dryden https://www.allmusic.com/album/it-only-happens-every-time-mw0000852532

Personnel:  Monica Zetterlund – vocals; Thad Jones – flugelhorn; Mel Lewis – drums; Harold Danko – piano; Rufus Reid – bass; Jerry Dodgion – saxophone, flute; Ed Xiques – saxophone, flute, clarinet; Rich Perry – saxophone, flute, clarinet; Dick Oatts – saxophone, flute, clarinet; Pepper Adams – saxophone; Frank Gordon – trumpet; Earl Gardner – trumpet; Jeff Davis – trumpet; Larry Moses – trumpet; Earl McIntyre – trombone; John Mosca – trombone; Clifford Adams – trombone; Billy Campbell – trombone

It Only Happens Every Time

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Chris Byars - The Music of Frank Strozier

Styles: Saxophone And Flute Jazz
Year: 2017
File: MP3@320K/s
Time: 69:53
Size: 160,9 MB
Art: Front

(8:33)  1. Extension 27
(7:07)  2. Neicy
(6:43)  3. Remember Me
(4:39)  4. Idle One
(7:25)  5. For Chris
(9:52)  6. Long Night
(6:53)  7. Just Think It Over
(6:48)  8. Some Other Time
(4:01)  9. Ollie
(7:48) 10. Will I Forget

Alto saxophonist Frank Strozier’s music is dyed-in-the-wool hard bop how could late-’50s jazz from blues-and-gospel Memphis be anything else? As such, it’s a bit jarring to hear his compositions juxtaposed with Chris Byars’ classically informed arrangements. Trombone, bass clarinet, oboe and guitar assail the material on The Music of Frank Strozier, along with Byars’ alto and flute. But the hybrid works. Byars simultaneously softens the edges of Strozier’s tunes, then sharpens them again. On the opening “Extension 27,” Pasquale Grasso’s guitar acts as a sedative, the charming bed of chords sounding much like a soft-touch piano against Stefan Schatz’s brushwork and in Grasso’s delicately constructed solo. But on top, Byars, with a salt-and-vinegar sound in his alto, and trombonist John Mosca attack with adrenaline, and Stefano Doglioni applies a coarse edge with his bass clarinet. James Byars’ oboe leavens “Remember Me” simply by virtue of being an oboe but then Doglioni and Mosca pull the tune into swing so determined it approaches grimness. By the time of “Long Night” and “Ollie,” these orchestral textures sound like they were made to play the blues. “Ollie,” a ballad, is really Byars’ alto feature, and he hits it hard. Still, Grasso’s accompaniment reeks of bent notes and bluesy substitutions, and the horns squeeze together in soulful pathos, Mosca especially shining. As might be expected, the mellower qualities do hold sway when Byars picks up the flute. Yet he has a light prance of an approach to the instrument, so that even as he gives a softer side to “Neicy” or the rhumba “For Chris,” Byars kicks up the tune’s rhythmic side as well. That’s an impressive balance, and a masterful one. ~ Michael J. West https://jazztimes.com/reviews/albums/chris-byars-music-frank-strozier-steeplechase/

Personnel:  CHRIS BYARS alto saxophone, flute; JOHN MOSCA trombone; STEFANO DOGLIONI bass clarinet; JAMES BYARS oboe; PASQUALE GRASSO guitar; ARI ROLAND bass; STEFAN SCHATZ drums

The Music of Frank Strozier

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Jimmy Heath Big Band - Turn Up The Heath

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 73:52
Size: 170,3 MB
Art: Front

(7:02)  1. Big P
(7:16)  2. Heritage Hum
(9:23)  3. Gemini
(4:52)  4. Like A Son
(8:59)  5. I'm Glad There's You
(8:06)  6. One For Juan
(6:29)  7. Project S
(6:42)  8. Sources Says
(8:47)  9. No End
(6:12) 10. Basic Birks

Back in the early '90s I asked tenor saxophonist Jimmy Heath if he planned a followup to his Grammy-nominated album, Little Man Big Band (Verve, 1992). As I recall, he smiled politely but didn't really answer the question. Now he has and with an exclamation point. Describing how his latest superb album, Turn Up the Heath, came about, Jimmy writes, "The Jazz Masters award [from NEA and IAJE] in 2003 made it possible. As to why: "...there were so many orchestrations I wanted to document. There are also special people he wanted to praise and remember, and it is entirely appropriate that Heath should begin with "Big P, a brisk and warmhearted salute to his late brother, bassist Percy Heath. "Gemini was written for Heath's daughter, Roslyn; "Basic Birks for Dizzy Gillespie; "Like a Son for alto saxophonist Antonio Hart; "Heritage Hum for "my people, and the snappy samba "One for Juan for that ubiquitous purveyor of Colombian coffee, Juan Valdez. Completing the program are Heath's "Project S and "Sources Say," and his arrangements of Kenny Dorham's "No End and the standard "I'm Glad There Is You (the last an exquisite showpiece for Heath's fluent, evocative tenor and Jeb Patton's lucid piano). Heath's tenor is also heard on "Heritage Hum, "Gemini, "One for Juan, "Project S and "Basic Birks, his soprano on "No End. As for his colleagues, Heath says he met many of them "while playing with the Dizzy Gillespie Alumni All-Star Band, a reasonable assertion, as each one is an all-star, whether soloing or hunkering down as a member of the ensemble. The rhythm section, comprised of Patton, bassist Peter Washington and drummer Lewis Nash, is as solid and perceptive as they come, and Washington does Percy's memory proud on "Big P. The remarkable cavalcade of commendable improvisers includes Patton; Washington; Hart; trumpeters Greg Gisbert, Sean Jones, Terell Stafford and Michael Philip Mossman; trombonists Benny Powell, Slide Hampton, Steve Davis, Jason Jackson and John Mosca; alto Mark Gross; tenors Charles Davis, Bobby LaVell and Andres Boiarsky; baritones Jay Branford and Gary Smulyan; and flutist Lew Tabackin, a standout on "Gemini. Heath's charts are delightful, fairly bursting with energy and good humor, and if I have my personal favorites, I'm sure you will too. Even fourteen years onward, this is one sequel that was well worth the wait. Turn Up the Heath, crank up the volume, relax and enjoy.
 

Personnel: (Tracks 1,2,4-7) Jimmy Heath: leader, tenor sax; Frank Greene, Nick Marchione, Michael Philip Mossman, Terell Stafford: trumpet; Mark Gross: alto sax, flute; Antonio Hart: alto, soprano sax, flute; Bobby LaVell, Charles Davis: tenor sax; Jay Branford: baritone sax; John Mosca, Slide Hampton, Benny Powell: trombone; Douglas Purviance: bass trombone; Jeb Patton: piano; Peter Washington: bass; Lewis Nash: drums. (3,8-10) Jimmy Heath: leader, tenor sax; Greene, Mossman, Greg Gisbert, Sean Jones: trumpet; Gross: alto sax, flute; Hart: alto, soprano sax, flute; LaVell, Andres Boiarsky: tenor sax; Gary Smulyan: baritone sax; Mosca, Steve Davis, Jason Jackson: trombone; Purviance: bass trombone; Patton: piano; Washington: bass; Nash: drums. Guest artists: Lew Tabackin: flute (3); Joe Gonzales: congas (2)

Turn Up The Heath

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Andy Fusco - Whirlwind

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:55
Size: 144,6 MB
Art: Front

( 6:22)  1. Acceptance
( 7:49)  2. Count's The Thing
( 7:13)  3. Waltz For Judy
(10:27)  4. Django
( 6:35)  5. The Touch of Your Lips
( 8:33)  6. Whirlwind
( 7:55)  7. How About Me
( 7:56)  8. In Dominic's Time

The opportunity to listen to six recently released discs on the venerable SteepleChase label (and the SteepleChase LookOut branch) is a little like reading an anthology of short stories by distinguished authors from a particular year or period. You get a hearty helping of vital, mature voices, most of whom operate somewhere in the jazz mainstream, without too much of an overlap of the artists' values, proclivities, and preferences. By and large, each leader and his cohort make a legitimate claim to the listener's attention. Founder/producer Nils Winther should be given credit for continuing to present memorable work, mostly by veteran artists who otherwise might remain undocumented. From the perspective of a longtime fan of alto saxophonist Andy Fusco (and of each member of his band as well), it's difficult to comprehend why Whirlwind wasn't issued for over twelve years after it was initially recorded. The briefest of back-stories is that trombonist John Mosca of the Vanguard Jazz Orchestra brought the original tape to Nils Winther, who recognized the music's value and took care of the business of getting it out and available to the public. Whirlwind is one of those rare releases that exceeds craft and competence, and establishes its own reasons for being. Among other things, it's a bottomless well of a jazz record. The more you play it, the more discoveries you make. The music offers multiple perspectives and can be enjoyed in a number of ways.

The chemistry between members of the quintet and their collective wisdom is on a level seldom attained on contemporary mainstream jazz recordings.  In terms of personnel and execution the recording is a prequel of sorts to Sight To Sound (Criss Cross), Walt Weiskopf's magnum opus recorded just a few months after, which featured Fusco who once mentored Weiskopf in the reed section of Buddy Rich's Big Band Mosca, pianist Joel Weiskopf (Walt's brother), and drummer Billy Drummond. The late Dennis Irwin is the bassist in Fusco's group. Walt Weiskopf's fingerprints are also on Whirlwind, in the form of two of his compositions, the title track and "Waltz For Judy."  It simply doesn't pay to make any blanket statements about the efforts of the record's primary soloists. Fusco, Mosca, and Weiskopf all have a knack for adapting their styles to the material at hand. Fusco's tone keening, tightly wound, sometimes sounding as if he's yanking notes out of the horn conditions much of what he plays. His phrases throughout "Count's The Thing" are measured, balanced, and contain a sense of urgency. A treatment of Irving Berlin's "How About Me" patient, romantic, and searching is a brilliant example of bebop balladry. Particularly on "Count's The Thing," Mosca manages to be everywhere at once, slippery and direct within the space of a couple of bars, without ever sounding particularly notey or busy. Throughout "In Dominic's Time" the trombonist creates something new and consistently breaks ground while clearly staying inside of the tune's parameters. Joel Weiskopf's virtues include a medium weight touch and the ability to swing with authority (he's so simpatico with Irwin and Drummond) without playing a lot of notes. Check out the title track for an example of a turn that's more effusive and emphatic then some of his other efforts on the record. It's enjoyable to isolate some of the couplings within the ensemble. Joel Weiskopf's sensitive, knowing comping amidst Fusco's solos often anticipates or inspires the saxophonist's next move.

Fusco's "Count's The Thing" improv and his turn on "How About Me" are good examples of their rapport. Contrary to conventional wisdom regarding the necessity of a drummer's diminished role behind a piano soloist, some of Drummond's most aggressive and effective playing on the record is behind Weiskopf. For instance, during John Lewis' "Django," accents to the snare and toms carry just the right amount of weight and spread out a bit, giving the music a slightly agitated vibe that never turns excessive. In other instances, such as the title track, he executes extended, contrapuntal lines behind the pianist. The widely imitated Coltrane/Jones saxophone and drum segments are given a new lease on life during a part of the head and some of Fusco's solo during "Whirlwind." In particular, the duo creates a long percussive rush, as Drummond chews on and spits out Fusco's litany of brief, agitated phrases.  It was indeed an exceptionally fine day in the studio. Many thanks to Nils Winther for enabling Whirlwind to escape the dustbin of history. ~ David A.Orthmann https://www.allaboutjazz.com/six-recent-steeplechase-releases-by-david-a-orthmann.php

Personnel:  Andy Fusco -  alto saxophone;  John Mosca -  trombone;  Joel Weiskopf - piano;  Dennis Irwin -  bass;  Billy Drummond -  drums

Whirlwind

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Christopher Hollyday - And I'll Sing Once More

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 61:20
Size: 141,9 MB
Art: Front

(6:40)  1. Heroes
(4:39)  2. Hate the Roommate
(5:23)  3. The Sound of Music
(4:19)  4. Storm
(9:59)  5. Beyond the Barren Lands
(8:25)  6. Chant
(5:55)  7. Nefertiti
(7:03)  8. Let the Moon Stand Still
(8:51)  9. The Very Thought of You

By the time he recorded his fourth Novus release, alto saxophonist Christopher Hollyday, who often sounded like a particularly abrasive version of his teacher Jackie McLean, was starting to show some individuality. Then 22, Hollyday is heard on this set with a 14-piece group that includes six brass, Scott Robinson on reeds, violinist Mark Feldman and two Indian percussionists. He performs four originals, two by pianist Kenny Werner and three standards, exploring the area between hard bop and post-bop. Shortly after this set, Hollyday was dropped by Novus and began a long hiatus from recording. ~ Scott Yanow https://www.allmusic.com/album/and-ill-sing-once-more-mw0000075218

Personnel:  Christopher Hollyday - alto saxophone;  Scott Robinson - tenor & baritone saxophones, flute, clarinet;  Earl Gardner - trumpet, flugelhorn;  Scott Colley - bass;  Mark Feldman - violin;  Douglas Purviance - bass trombone;  Ed Neumeister - trombone;  Ron Savage - drums;  Joe Mosello - trumpet, flugelhorn;  John Mosca - trombone;  Eric Charry - tanpura;  Janey Haddad - talking drum, caxixi, Indian bells, frame drum;  Kenny Werner - piano

And I'll Sing Once More

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Chris Byars - New York City Jazz

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 64:45
Size: 148,8 MB
Art: Front

(5:59)  1. Transfiguration
(8:10)  2. Quick Turnaround
(6:01)  3. Dawn in the City
(8:12)  4. Hot Dog
(6:48)  5. No Message
(9:08)  6. Chess
(5:13)  7. Bridge of Locks
(5:50)  8. The General's Song
(9:21)  9. B.G.'s Holiday

Chris Byars, the award winning alto saxophonist, composer, arranger, jazz historian and a 100% native New Yorker set out to "curate the state of jazz to create a sort of time capsule" for this album. What Byars successfully presents here is the genuine creative aspiration that prevails in world's most diverse and competitive artistic environment.

"Chris Byars has done a remarkable job reviving these neglected compositions of Frank Strozier while also putting his own stamp on them with his inventive arrangements." - Ken Dryden, New York City Jazz on (SCCD31824 'The Music of Frank Strozier')

Personnel:  Chris Byars alto saxophone, Flute;  John Mosca trombone;  Stefano Doglioni bass clarinet;  Pasquale Grasso guitar;  Ari Roland bass;  Stefan Schatz drums

New York City Jazz

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Chris Byars Octet - Night Owls

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 59:39
Size: 139,3 MB
Art: Front

(5:07)  1. All or Nothing at All
(4:54)  2. Inevitable
(5:15)  3. Gnid
(4:30)  4. Manhattan Valley
(6:41)  5. In Da Funhouse
(5:14)  6. Blue Gardenia
(4:45)  7. Night Owls
(3:12)  8. Way You Look Tonight
(4:04)  9. Nancy
(4:53) 10. Conception
(5:39) 11. Village Beauty
(5:21) 12. Let's Kiss and Make Up

What a delightful octet Chris Byars has put together in New York. Its straight-ahead design means that everyone has an influential voice for every performance, soloing frequently. Each artist is a standout soloist as well as a contributor for the group's cohesive voice. Band arrangements can make the difference between a so-so rehearsal band and a memorable unit. Byars' octet benefits both from superb arranging and excellent soloing. Along with voicing that introduces creative harmony and a seamless drive, the octet's positive attitude emits intuitive sparks. Trombonist John Mosca delivers melodic spears that sail linearly through the night, while pianist Sacha Perry pursues Monk-like twists and turns. Baritone saxophonist Mark Lopeman saunters gracefully with a forceful bottom punch, while trumpeter Richie Vitale soars high on a mellow cloud. "Blue Gardenia" features piano in a warm recollection of jazz's harmonic invention. The arrangement holds several pleasant surprises. "All or Nothing at All" features Byars' tenor in a spirited, passionately driving solo section. His fluid approach and boundless energy prove inspiring. "Night Owls" features bassist Neal Miner and saxophonist Lopeman in a thrilling romp that sums up the band's straight-ahead character through new compositions. This piece and four others come from the pens of band members. "The Way You Look Tonight" drives at blazing speed with brief solo stretches from everyone. It's quite a treat. The program brings timeless mainstream jazz to the forum, with fresh ideas to season the recipe just right.~ Jim Santella https://www.allaboutjazz.com/night-owls-chris-byars-smalls-records-review-by-jim-santella.php


Personnel: Chris Byars: tenor saxophone, flute, clarinet; Gary Pribek: alto saxophone, flute; Mark Lopeman: baritone saxophone; John Mosca: trombone; Richie Vitale: trumpet, flugelhorn; Sacha Perry: piano; Neal Miner: bass; Andy Watson: drums.

Night Owls

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Walt Weiskopf - Day In Night Out

Styles: Saxophone And Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 59:42
Size: 139,2 MB
Art: Front

(4:42)  1. Day In Night Out
(5:54)  2. West Side Waltz
(5:27)  3. City Of Sin
(6:42)  4. Blue In Two
(5:36)  5. Walk In The Woods
(6:03)  6. Off Yellow
(6:00)  7. Lean And Green
(7:17)  8. Heather On The Hill
(6:01)  9. Solid Citizen
(5:57) 10. I Got It Bad And That Ain't Good

Most of us find that there are certain musicians who speak to us through their music in a profound way that makes for a special connection. These are the artists who find a prominent space in our collections because we continuously seek out all of their current musical endeavors. For this reviewer, saxophonist Walt Weiskopf has always been a musician to watch. Not to take anything away from other jazz saxophonists, but Weiskopf's musical persona is the complete package. He has an identifiable sound, chops aplenty, great ideas, and a strong emotional base that is often absent in other technically gifted players. Beginning with 1993's Simplicity, Weiskopf has led a strapping and diverse series of albums for Criss Cross that rank among the finest the label has to offer. Additionally, his name has been getting out there more frequently these days as he continues to perform with rock icon Steely Dan.

His first large ensemble work since Siren (Criss Cross, 2000), Day In Night Out brings back a few familiar faces from his previous nonet records, but ultimately opts for a smaller unit composed of some new friends. As usual, the emphasis here is on Weiskopf's own unique compositions and a few sagacious reworkings of select standards. The title track opens up the program with one of Walt's signature licks, namely a tightly voiced serpentine melody with the saxophone choir speaking and breathing as one. Harmonized backing lines soon follow and the whole thing ends up sounding much larger than the sum of these few parts. Weiskopf has a wonderful knack for working in three quarter time and "West Side Waltz" is just the latest example of his prowess. It's also a great place to hear the palette of colors he uses in creating his canvas which, in this case, finds the humming of flutes figuring prominently in the mix.

Rich textures and hues mark the slower numbers such as "City of Sin" and "Off Yellow," where Weiskopf gives as much prominence to the ensemble structures as he does to the solos. It's interesting to note that in the liners, the saxophonist comments on the influence of Don Sebesky and the CTI albums of the '70s. He comments on the iconic arranger's skill of achieving a large sound with a small number of musicians and that's exactly what Weiskopft attains in his work here, as heard in the cacophony he generates on the opening gambit of "Lean and Green." Equally intriguing are the horn accents that punctuate a splendid reading of "Heather on the Hill," yet another standard to get the red carpet treatment arranging wise from Weiskopf.

As a leader, Weiskopf is more than generous with sharing the solo space. Prominent in the mix are Andy Fusco, a firebrand with a sound that nods towards James Spaulding, and Gary Smulyan, heir apparent to the burly style of the late, great Pepper Adams. Filling some big shoes is drummer Kendrick Scott, since Weiskopf usually prefers the company of modern powerhouse Billy Drummond. What Scott may lack in visceral punch, he more than makes up for in a swinging beat and crisp sound that shades his accompaniment to the needs of the arrangement. Weiskopf himself is so fluent that he is able to execute anything and his tone retains its weight regardless of range. A thoroughly accomplished work from start to finish, Day In Night Out can be appreciated for its technical virtuosity, bur remains surprisingly accessible. It not only sets a benchmark for jazz that functions within the tradition, but speaks with individuality and emotional attachment. Need one ask for anything more? ~ C.Andrew Hovan https://www.allaboutjazz.com/day-in-night-out-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf: tenor sax and flute; Andy Fusco: alto sax, flute, clarinet; Gary Smulyan: baritone sax; Michael Leonhart: trumpet; John Mosca: trombone; Peter Zak: piano; Doug Weiss: bass; Kendrick Scott: drums.

Day In Night Out

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Chris Byars Octet - Music Forever

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 54:37
Size: 125,3 MB
Art: Front

(8:25)  1. Somewhere/Music Forever
(7:59)  2. Minor Interlude
(8:04)  3. Time to Smile
(4:45)  4. Just A Ballad For My Baby
(8:11)  5. Emily Reno
(9:01)  6. Old Spice
(8:09)  7. The Thespian

Chris Byars has enjoyed exploring great jazz compositions that have been overlooked by other bandleaders. He found a mother lode by undertaking a CD of material by pianist Freddie Redd, who had a flurry of activity as a recording artist from the mid-'50s to the mid-'60s, before leaving for Europe and only sporadically recording since then. The tenor saxophonist arranged eight of Redd's compositions for his octet, a strong group including trumpeter Scott Wendholt, trombonist John Mosca, alto saxophonist Zaid Nasser and baritone saxophonist Mark Lopeman, with pianist Sacha Perry, bassist Ari Roland, and drummer Stefan Schatz making up the rhythm section. Byars fleshes out Redd's music with thoughtful, lively arrangements, while the solos are short and passed quickly from one player to the next and the ensembles are tight. The snappy "Minor Interlude" moves at a brisk clip, with potent solos by the brass and reed players, along with Ari Roland's Paul Chambers-like arco bass. The jaunty "Time to Smile" deserved to become a hard bop staple, and Byars' harmonically rich arrangement adds to its luster. "Emily Reno" is a lesser-known Redd piece from the 1970s, showcasing Perry's potent bop chops and Mosca's robust trombone. With so many players striving to make a splash with CDs full of originals, it is refreshing to see musicians like Chris Byars who enjoy delving for buried treasures from throughout the history of jazz. ~ Ken Dryden http://www.allmusic.com/album/music-forever-mw0002399341

Personnel: Zaid Nasser (alto saxophone); Chris Byars (tenor saxophone); Mark Lopeman (baritone saxophone); Scott Wendholt (trumpet); John Mosca (trombone); Sacha Perry (piano); Stefan Schatz (drums).

Music Forever

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Chris Byars Octet - Lucky Strikes Again: Plays The Music Of Lucky Thompson

Styles: Saxophone Jazz
Year: 2011
File: MP3@256K/s
Time: 62:41
Size: 117,2 MB
Art: Front

(1:30)  1. Theme
(5:39)  2. Munsoon
(6:46)  3. Old Reliable
(4:59)  4. Passionately You
(4:27)  5. Tiptop
(4:02)  6. Fanfare
(6:09)  7. Minik Koosh
(3:48)  8. Notorious Love
(5:48)  9. Another Whirl
(3:51) 10. Could I Meet You Later
(3:41) 11. Just One More Chance
(4:25) 12. Two Steps Out
(7:30) 13. Down The Stretch

If a theorem states: "three harmonizing saxophones create compelling, rich, sonic textures," then the proof is the Chris Byars Octet's homage to saxophonist Lucky Thompson, Lucky Strikes Again. Lucky Thompson (1924-2005) is primarily remembered as a bebop saxophonist, but he was also a fine and underrated composer, leading small and mid-sized bands. Byars has collected ten of Thompson's compositions using the same small big band instrumental mix: three sax's, two brass, and the rhythm section. The instrumental mix is crucial to the sound of this album, which is defined by the harmonics of that three-sax frontline. The greatest challenge to performing this music was the lack of written scores. To recreate them, Byars resorted to transcribing fifty-year-old NDR radio broadcast tapes. According to Byars' liner notes, "When you transcribe like that it is the most sincere form of listening and learning experience because you are in the chair of the composer and you can see and understand the decisions he made in slow motion."  The transcription effort pays off with a jumping set highlighting powerful, complex harmonies. "Could I Meet You Later" uses the full instrumentation to build the melody, and then applies it as background for the reed solos. The beauty of the horns isn't simply the harmonies, but the way those harmonies are staggered, building into chords in rolling sequences.  There is plenty of room for the individuals to shine here as well. Byars' work on both tenor and soprano saxophone is faultless, and Mark Lopeman's baritone is a double threat a standout soloist, he also anchors the reed section with rock-solid bass weight.  Lucky Strikes Again coaxes a huge sound out of five horns, a credit to the quality of the arrangements. They're musically expansive, getting the most out of the instruments at hand, but are also compact and well-organized, with only one running more than seven minutes. Byars has put together a set of concise, rewarding tracks with a band that turns in a terrific performance of outstanding material. ~ Greg Simmons https://www.allaboutjazz.com/lucky-strikes-again-steeplechase-records-review-by-greg-simmons.php

Personnel: Chris Byars: tenor and soprano saxophone; Scott Wendholt: trumpet; John Mosca: trombone; Zaid Nasser: alto saxophone; Mark Lopeman: baritone saxophone; Sacha Perry: piano; Ari Roland: bass; Stefan Schatz: drums.

Lucky Strikes Again: Plays The Music Of Lucky Thompson

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Chris Byars - Blue Lights

Styles: Flute And Saxophone Jazz
Year: 2009
File: MP3@256K/s
Time: 61:27
Size: 113,0 MB
Art: Front

( 7:04)  1. Luck Swing
( 6:17)  2. Sans Souci
(10:47)  3. Al-Ghashiyah
( 6:52)  4. The Infant Song
( 8:16)  5. Baba's Blues
( 8:09)  6. Shabozz
( 7:07)  7. Blue Lights
( 6:52)  8. Anne Marie

During a relatively brief career, alto saxophonist/composer Gigi Gryce was one of the promising contributors to hard bop, though he suddenly stopped playing and composing to take up music education. Though Gryce wrote a number of important works that have been frequently explored by other jazz artists, alto saxophonist Chris Byars chose to record seven of his lesser known works, in the process, discovering several previously unrecorded compositions, premiering one of them. Joined by two of his frequent collaborators, pianist Sacha Perry and bassist Ari Roland, plus trombonist John Mosca and drummer Stefan Schatz, Byars utilizes the composer's arrangements as written, though a bassline was not included in the charts. Gryce's enchanting "Al-Ghashiyah" is the undiscovered gem, blending a peppy opening and closing with an exotic central section. The leader switches to flute for the Latin-flavored introduction to "Sans Souci" (derived from the changes to "Out of Nowhere"), though the chart quickly shifts into a midtempo bop setting showcasing Perry, with the leader's father James Byars added on oboe in the ensemble sections. Byars is equally skilled on tenor in the driving blues "Blue Lights." Roland adds a taste of Paul Chambers with his solid arco technique on several tracks. This is an excellent tribute to an unjustly neglected jazz musician. ~ Ken Dryden http://www.allmusic.com/album/blue-lights-mw0000833156

Personnel: Chris Byars (flute, alto saxophone, tenor saxophone); John Mosca (trombone); Sacha Perry (piano); Stefan Schatz (drums).

Blue Lights

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Chris Byars - Bop-ography

Styles: Saxophone Jazz
Year: 2010
File: MP3@256K/s
Time: 62:07
Size: 115,1 MB
Art: Front

( 5:19)  1. Festival
( 5:59)  2. Straight Ahead
( 6:20)  3. Lost Love
( 4:29)  4. Himalayan Sunrise
( 6:07)  5. Nature Boy
( 6:39)  6. Minority
( 6:33)  7. Indra
(20:38)  8. Bop-Ography

An equally skilled player on both alto and tenor saxes, Chris Byars leads a tantalizing pianoless quartet, using regular collaborators John Mosca on trombone, bassist Ari Roland, and drummer Stefan Schatz. After an earlier tribute to composer Gigi Gryce, Byars continues with three more of his songs, adding octogenarian vibraphonist Teddy Charles for the enticing slow blues "Straight Ahead" (with its meandering theme, it is anything but), while the leader's father is added on English horn in the ensembles for the breezy take of Gryce's well-known bop vehicle "Minority." Byars' exotic "Indra" features Schatz on kanjira (an Indian tambourine-like instrument, but without the metal rim) is full of twists and turns in its infectious theme, and his majestic "Himalayan Sunrise" has a Far Eastern air (with the backgrounds provided by both Mosca and Byars, Sr. on English horn) and rich harmonies often found in '50s jazz. This is yet another fine date by Chris Byars. ~ Ken Dryden http://www.allmusic.com/album/bop-ography-mw0001983527

Personnel: Chris Byars (alto saxophone, tenor saxophone); John Mosca (trombone); Stefan Schatz (drums); James Byars (oboe);  Teddy Charles (vibes);  Ari Roland (bass).

Bop-ography

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Freddie Redd - With Due Respect

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 62:59
Size: 144,6 MB
Art: Front

(6:49)  1. A Night In Nalen
(7:09)  2. Reminiscing
(7:20)  3. Blue Hue
(3:20)  4. With Due Respect
(7:16)  5. I'm Gonna Be Happy
(7:13)  6. O.D.
(6:23)  7. Olé
(8:10)  8. Lady J. Blues
(9:16)  9. Melanie

Freddie Redd is one of the last living links to the golden age of modern jazz. He started playing the piano after hearing Charlie Parker in the 1940s and made his mark on the scene in 1959 with his score for Jack Gelber's avant-garde play "The Connection." This told the story of a group of junkies, most of them jazz musicians, waiting for their man. When he arrives, everyone shoots up and one of the company dies from an overdose. Happy days! It was later turned into a movie. Redd starred in both play and film. Initially, Gelber wanted the musicians to improvise on blues and standards but when the play was being cast met Redd who suggested an original score which would attempt to depict musically what was happening on stage. The idea was deemed to work well, one critic likening the Redd-Gelber collaboration to that of Kurt Weill and Bertolt Brecht. Alas, posterity didn't agree. During the years that followed, kitchen sink drama went where else? down the drain. Redd continued playing in New York and in Europe but was never able to equal the notoriety fame, if you like he'd experienced with "The Connection."

So in the end he stopped trying to and concentrated instead on writing and playing intelligent, swinging music. At the age of 88, he's still doing just that. Here the "forgotten" pianist/composer leads a sextet of far younger musicians in an excellent, varied program of his own compositions, dusted off and arranged for the modern age by saxophonist Chris Byars. In the opening number, "A Night In Nalen," based on the chords of "Cherokee," Redd captures the restless energy generated at the old Stockholm bop venue, paying a brief homage to Bud Powell in the second chorus. But this album is no easy trip down memory lane. The accent is on creating something new, not old, borrowed or blue. Byars' father, James, a member of the New York City Ballet Orchestra, plays oboe on "Reminiscing," the best track, with a lovely, lilting theme and lazy, "old time" feel that has little to do with bebop. And it's interesting to compare "O.D," from Redd's score for "The Connection" with the same song on his 1961 Blue Note album of music from the play, which featured Jackie McLean on alto a new take but based firmly on the original. In the sleeve note, Byars explains Redd's music as a fusion of the 32-bar AABA popular music framework with jazz and blues. He says, "From a songwriting perspective it's like Bird meets Cole Porter. These tunes are built for speed." The title track reflects on the ups and downs of Redd's life in music with no bitterness, just resignation. To Byars the last word: "Freddie is a storyteller, in his solos and as a composer." ~ Chris Mosey https://www.allaboutjazz.com/with-due-respect-freddie-redd-steeplechase-records-review-by-chris-mosey.php

Personnel:  Freddie Redd: piano;  John Mosca: trombone;  Chris Byars: alto saxophone, flute;  Stefano Doglioni: bass clarinet;  James Byars: oboe;  Jay Anderson: bass;  Billy Drumond: drums.

With Due Respect

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