Troy Roberts - Green Lights

Styles: Saxophone Jazz
Year: 2024
Time: 71:57
File: MP3 @ 320K/s
Size: 165,2 MB
Art: Front

( 8:06) 1. Green Lights
( 7:13) 2. The Question
( 5:56) 3. By Your Side
( 6:52) 4. Solar Panels
(10:07) 5. Harry Brown
( 9:21) 6. Jive Dumpling
( 9:04) 7. Up to No Good
( 6:31) 8. The Scotsman's Ballad
( 8:13) 9. Stretch Armstrong
( 0:30) 10. Soundcheckin'

There is an abundance of listenable music on Green Lights, the album from New York-based tenor saxophonist Troy Roberts his sixteenth as leader in sixteen years. Clearly, he must be doing something right.

That "something" includes playing graceful and eloquent tenor, mustering admirable sidemen for this quartet date, and focusing on largely agreeable music (Roberts wrote all of the album's ten generally likable songs). The sidemen in question are guitarist Paul Bollenback, bassist John Patitucci and drummer Jimmy Macbride. No guest artists, simply Roberts and rhythm, which is all that is needed to carry the day.

As leader and composer, much of the album's allure rests on Roberts' shoulders. While there is no questioning his competence at either task, neither is there sufficient cause based on what is presented here to raise him above a crowded field of contemporaries who have similar goals in mind. Comparisons aside, Roberts is simply quite good at what he does and that should be good enough to please most listeners.

The leader's comrades are exceptionally talented and responsive, lending the quartet a tight and synchronous vibe. Paticucci is metronomic, as always, while MacBride blends power and sensitivity to get the job done. Bollenback, meanwhile, coaxes several esoteric sounds from his guitar, none of which is unseemly or out of place. And to ice the cake, each of them is an accomplished soloist.

Roberts'themes are for the most part soft-flowing and sober, with an emphasis on burnished and tasteful sound. No flag-wavers here, with the possible exceptions of "Solar Panels" and "Stretch Armstrong," which turn up the heat while allowing Roberts and the others to flex their impressive chops. Another outlier is the chimerical "Harry Brown," on which the group veers off the beaten path for a few moments of more exploratory blowing before returning safely home. After "Stretch," the session ends with thirty seconds of light-hearted "Soundcheckin.'"

In sum, Green Lights is another very good recording by the talented Troy Roberts and his dexterous teammates, and well worth one's time.By Jack Bowers
https://www.allaboutjazz.com/green-lights-troy-roberts-self-produced/

Personnel: Troy Roberts - tenor saxophone, compositions; Paul Bollenback - guitar; John Patitucci - acoustic bass; Jimmy Macbride - drums

Green Lights

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Chick Corea Akoustic Band with John Patitucci & Dave Weckl - Live

Styles: Piano, Bop
Year: 2021
File: MP3@320K/s
Time: 134:43
Size: 312,4 MB
Art: Front

( 9:22) 1. Morning Sprite
( 7:30) 2. Japanese Waltz
( 7:13) 3. That Old Feeling
( 9:27) 4. In A Sentimental Mood
(14:22) 5. Rhumba Flamenco
(12:43) 6. Summer Night
( 7:30) 7. Humpty Dumpty
( 9:20) 8. On Green Dolphin Street
(11:44) 9. Eternal Child
(14:23) 10. You And The Night And The Music
( 8:31) 11. Monk's Mood
(12:08) 12. Humpty Dumpty
(10:25) 13. You’re Everything

A posthumous review of a live record sounds like an oxymoron. Particularly when it seems that Chick Corea was with us only yesterday. The sound of this record is lively, bright, and imbued with a richness of colors. The trio of Corea, bassist John Patitucci, and drummer Dave Weckl can take your breath away in an instant. This addition to their rich library is played with as much enthusiasm as it is heart, and with as much passion as it is a sense of fun. The question becomes is it good or is it great? That is for the listener to decide. This is a two live CD set, with only one song, "Humpty Dumpty," emerging from both sets. The trio dug in and played long and creative versions of just about everything, with each set featuring over an hour of hearty improvisational jazz.

Corea kicks off lightly with Patitucci and Weckl soon to follow in a modern take on the Corea composition "Morning Sprite." The nine plus minutes take touched on almost every edge and every corner of what was to come. It was a taste of what was in store. Corea was always concerned about setting the mood and having everyone feeling comfortable. Now placed in a receptive environment, the trio dances into Corea's "Japanese Waltz." Fluid and evenly paced this waltz has Patitucci in duo, with Weckl on brushes, inside the larger hypnotic and interactive trio movement. The pace is lifted as they groove into "That Old Feeling" with a bounce in their step. Weckl concludes with high end artistry that wasn't rushed despite the fiery bebop lines of Patitucci leading him in. Corea's note selection creatively had a Freddie Hubbardesque horn cadence to it. Like most musicians, he did a lot of transcribing. We can wonder if the progressions were knowingly horn centric or if they had just become a part of him.

Just at a moment when the trio could have raised the temperature a bit more, Corea slyly went the other direction with Duke Ellington's "In a Sentimental Mood." The familiar romantic theme is reset with warm lines and soft colors by Corea in solo. He gravitated ever so slightly back to the melody as his mates climbed on board. Their collective note selections and exchanges seem to make the tune melt around you. In no rush, the luscious serenade wrapped just under the ten minute mark. That pales in comparison to the over fourteen minutes of Corea's Latin laced "Rhumba Flamenco." Starting out close to the vest, the song bursted exponentially moments in with a Weckl pop that was pounced on by Corea and Patitucci. The beauty of improvised music. It could just as easily been Corea or Patitucci that led the direction, or the direction could have been different. No matter, they chase after each other with equal skill, passion, and fun. Three masters in their domain racing into a cloud of thunder. A jaw-dropped audience erupted at the conclusion of the driving selection that included an exquisite drum take from Weckl, Patitucci's powerful and tenacious grooves, and eight thousand (slight exaggeration) directional changes by Corea. This piece had show closer written all over it. But not on this night. Not with two more pieces on the playlist. Or was there a playlist? Maybe they were just calling out tunes. Either way, "Summer Night" was up next. The warm sensation of one of those summer nights that you wish would never end was encapsulated in a thirteen minutes plus treatment that has Patitucci finely fingering gently into a warm abyss. Corea embraced it moving with gradual advance into a seamless full swing trio. Corea's flurry of note selections were vivid and energizing, with Weckl and Patitucci playing in kind. "Summer Night" was the delicate balance of upper shelf performance and having a blast doing it. "Humpty Dumpty" made an appearance, with Patitucci and Weckl quickly out the gate in driving swing. The Corea classic found the master jetting on his keyboards with high speed changes on the fly, in a vast array of directions. The show closed with Patitucci really feeling and pushing the groove and Weckl furiously zinging around his kit in unison. Corea reengaged the melody again and again, buzzing mercurial lines of expression in between until it was time for Humpty to fall and call it a night.

Set two, also known as disc two, finds the trio in immediate full swing and groove. Their improvisational graces filling every lane "On Green Dolphin Street." The oft traveled road has been driven at many speeds by a litany of jazz greats over the years. Miles Davis, along with Bill Evans, and John Coltrane recorded what is often referred to as the definitive version in the late 1950's. Spirits were high right out the starting gate, this second night playing live at SPC Music Hall in St. Petersburg, Florida in 2018. Patitucci smoldering, with Weckl in hot pursuit, paved the way for Corea's customarily relentless pursuit of innovation. Polishing every corner at every seamlessly navigated turn, Corea shined brightly, leaving no doubt he was plugged in this night. With Patitucci's solo a taut extension of where he had been throughout the tune and Weckl's remarkable ability to play with robust energy while maintaining a balance in not overpowering his bandmates, this was an opening number of note. This was followed by Patitucci taking his bow to his strings. What emanated was a dark yet elegant pathway delving into Corea's "Eternal Child." The mood was dramatically set for Corea to solo from ground zero. In no rush, he exposes his deep emotional pallet with heart and sincerity. Patitucci and Weckl quietly emerge in support and the trio gently brings the poignant ballad to a close. The feel of a ballad continues with "You and The Night and The Music." That mood shifts quickly, however, when a more rapid tempo emerges. Corea pounces like white on rice and locks into a fourteen minutes plus riveting piece that thrusts open the floodgates of Corea's fertile imagination. The tune is also a showpiece for Weckl's explosive and fiery drumming. While he again demonstrates his command of power and finesse, it's the recipe that makes it cook. Weckl's bold and recognizable signature sound is defined by his dynamic blend of components forged inside the temperament of a refined artist.

A Thelonious Monk composition seemed inevitable. After all, the telepathic connection between Corea and Monk has long been discussed. "Monk's Mood" was instantly recognizable, with Corea well acquainted with the curiously melodic muse of Monk. His frameless approach seemed to invite the playful and quirky measures of Monk. Not surprisingly, Corea's soloing was at part an immersion into dissonance, while also an integration of their styles. It is easy to become so fixated that you hardly notice Patitucci and Weckl sliding in. Patitucci adds his own spice and quirk to the mix, elevating the epic piece even further. "Humpty Dumpty" is back in the house, and this time sticks around a bit longer. Part of the extension is at the front end, with Corea deftly soloing into a potent wonderland. Now into his own world, free of any boundaries, he spins a fantastical journey before Humpty even began to swing. Even more playful than before, Corea was having about as much as fun as possible, playfully engaging Patitucci and Weckl into interplay that was equally inventive, fun, rhythmic, and energetic. A highly intelligent conversation from the masterful trio. On this night "Humpty Dumpty" did not close out the show. Instead Corea invited his wife and singer Gayle Moran Corea on to the stage, as he had done so many times over the years. She took on the challenge of a very demanding ballad. Corea's composition "You're Everything" covers a lot of range even more when Corea is being playful with it. Half way through the first verse, she laughed and said "My those notes are hard to sing." After an instrumental run, she blistered the second verse with some astonishing high notes. The crowd erupted. Initially for Mrs. Corea's efforts, but then loud and genuine in appreciation of the evening's sensational serenade. Three elite musicians reuniting with the sole purpose of having fun. A celebration of life with longtime friends. The kind of evenings that could be magical...RIP Chick Corea.
~ Jim Worsleyhttps://www.allaboutjazz.com/live-chick-corea-concord-music-group

Personnel: Chick Corea: piano; John Patitucci: bass, acoustic; Dave Weckl: drums; Gayle Moran Corea: voice / vocals.

LIVE

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Alyssa Allgood - From Here

Styles: Vocal
Year: 2024
Time: 63:40
File: MP3 @ 320K/s
Size: 146,4 MB
Art: Front

(5:57) 1. Burn (For Betty)
(4:05) 2. Your Wings
(7:04) 3. Both Sides Now
(6:25) 4. Brave Little Flower
(5:15) 5. No Good
(4:20) 6. Other Side
(4:35) 7. Dream
(5:11) 8. On a Clear Day
(5:37) 9. Still Searching
(3:45) 10. Above All Else
(5:41) 11. Time Told
(5:39) 12. Turn to Gold

Acclaimed vocalist and songwriter offers a new view From Here, due April 19 on Next Records, in company of international jazz stars John Patitucci, Geoffrey Keezer, Kendrick Scott and Greg Ward

On her exhilarating fourth album, Alyssa Allgood strides confidently into the next phase of her impressive young career. Her rich, clear contralto comes as no surprise, thanks to her previous recordings, but she has taken her phrasing, improvising, and sense of swing up yet another notch. And while Allgood has included an increasing number of original compositions on each previous disc, From Here made up of nearly all original compositions finds her at a new pinnacle of personal expression and emotional observation.
“
These songs are reflections of my journey to understand and love myself more deeply, and to fully embrace my artistic vision as a bandleader, composer, and arranger,” says the Chicago-based Allgood. Those reflections concern such themes as embracing change, but also knowing when to stand pat; how to feel good about a breakup, and even better about finding love; the need to treat oneself with compassion, and the hard truth that even the hardships we overcome remain with us in small yet important ways.

Don’t think for a minute that the poetry of Allgood’s lyrics overshadows the propulsion and depth of her music. Sure, she taps into the vocal tradition of songful storytelling. But her immersion in the jazz aesthetic with its emphasis on spontaneity and improvisation, and on compositions informed by a rich harmonic and rhythmic language ensures that her messages swing hard too, and delight the intellect in the bargain.

Featuring some of music’s most lionized artists: GRAMMY winners John Patitucci and Geoffrey Keezer, dynamic drummer Kendrick Scott, saxophonist Greg Ward, and produced by acclaimed jazz vocalist Jeff Baker, ‘From Here’ finds Alyssa Allgood reaching a new pinnacle of personal expression, emotional observation, and artistic achievement. Staying true to her jazz roots, Allgood goes where few singers dare with an album featuring 10 original songs, boldly celebrating the traditions of soulful storytelling, spontaneity, and improvisation.

Working with musicians of this caliber allowed Allgood to approach the recording with greater freedom than ever. In her words, “Their musicianship propelled me to take greater risks in the music and to lead boldly with confidence and conviction. Their sense of exploration and connection radiates throughout every track. Recording my original music with these extraordinary musicians revealed the power of believing in myself and working to bring my dreams to life” assets that resound throughout the songs featured here.

The album springs to life with “Burn (For Betty),” a take-no-prisoners homage to Betty Carter, whose galvanic performances and self-determinative philosophy have been a source of inspiration for Allgood. True to Carter’s example, the track includes two ear-opening scat vocal solos; they bracket racetrack improvisations from Keezer and Ward, establishing a high-water mark for the entire album. Several songs speak to specific people and events in Allgood’s life, yet each message transcends the specifics in order to reach those listeners she’s never met. For instance, “Time Told,” a love song to her fiancé, stems from Allgood’s own experience in grounding love in patience and trust; but her realization contains a universal human truth, emphasized by Ward’s high-flying improvisation. “Turn to Gold” transforms a familiar trope falling autumn leaves as a metaphor for loss into a beacon for life’s next chapter, set to one of her loveliest melodies (and a particularly emotive solo from Patitucci).

On the other hand, there’s the harmonically inventive “Still Searching” which, Allgood remarks, encapsulates a central theme of From Here: the journey toward self-compassion: “It shows the darker, more complicated part of that process, the questions, the struggles, the failures.” (Allgood’s soaring improvisation suggests she’s found many of the answers.) There’s the clear-eyed regret of “Above All Else,” which conveys the need to excise a toxic relationship and the value in having done so another song drawn from her own experience but applicable to anyone who’s ever loved.

But we also get the charming, deceptively simple “Brave Little Flower,” inspired by the improbable sight of a small blossom growing between the boulders lining the shore of Lake Michigan. It’s a parable about fortitude and empowerment, set to a rangy melody in waltz time a song about “growing beyond where I was planted” that Allgood now considers her signature composition. Then she employs her whip-smart sense of fair play on the sassy revenge tune “No Good,” which has become a crowd favorite in performance. To top it off, the album includes two 1960s standards, each of them freshened by the light reharmonizations and changes in meter of Allgood’s arrangements: the Broadway hit “On a Clear Day,” and Joni Mitchell’s ageless “Both Sides Now.”

Allgood is quick to note that the album title has more than one meaning. “First, it refers to these songs coming from my heart,” she says. “It’s from this personal and vulnerable place that I share messages of love, strength, power and understanding and also acknowledge the pain, struggle, and doubt that makes the journey a triumph.” But the title also speaks to the fact that this album establishes a “pivotal moment in my career and a major step in my musical and artistic development. This album is a statement of who I am as a modern jazz vocalist: everything that happens next will be defined from here.”

Described by Downbeat Magazine as “assured and ddaring”, Chicago jazz vocalist and composer Alyssa Allgood stakes her claim amongst the most compelling singers in the modern jazz landscape with her exhilarating fourth album, From Here, her first recording on Next Records. Her three previous albums What Tomorrow Brings (Cellar Music, 2021), Exactly Like You (Cellar Music, 2018), and her self-released debut Out of the Blue (2016) trace a remarkable trajectory from a North Central College grad to a vocalist admired for the clarity of her instrument, the sureness of her phrasing, the range of her improvising, and the burgeoning depth of her interpretative skills.

Allgood first made her name in such legendary Chicago clubs as the Green Mill and the Jazz Showcase, through residences at Winter’s Jazz Club where she has delved into the songbooks of jazz’s classic divas (Ella Fitzgerald, Carmen McRae, Dinah Washington) and at the internationally renowned Chicago Jazz Festival. Appearances followed New York’s famed Birdland and at Jazz at Lincoln Center Shanghai (China). She was a semifinalist in the 2015 Shure Montreux Jazz Voice Competition, where jazz icon Al Jarreau led the jury, before winning the Inaugural Ella Fitzgerald Jazz Voice Competition (2017) and the David Baker Memorial Scholarship offered through the Jazz Education Network (2022). Closer to home, she was a 2016 Jazz Improvisation Fellow of the Luminarts Cultural Foundation in Chicago and was named Best Jazz Entertainer in the Chicago Music Awards (2019).

Increasingly also known as an educator, arranger, and composer, Allgood is an adjunct lecturer at the University of Illinois Chicago, where she directs the vocal jazz ensemble and teaches private lessons as well as a jazz arranging course. She is a highly sought-after clinician and has presented masterclasses at many esteemed institutions including the Jazz Education Network Conference, the Illinois Music Educators Association, the Iowa Choral Directors Association, Anchor Music’s Vocal Jazz Academy, Jazzvoice.com, the University of Chicago and Drake University. She holds a Master of Music in Jazz Studies from DePaul University, where she served as a Graduate Assistant.https://lydialiebman.com/index.php/2024/02/19/new-release-alyssa-allgoods-from-here-is-due-out-april-19-2024-via-next-records/

From Here

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Chris Potter - Eagle's Point

Styles: Contemporary Jazz
Year: 2024
Time: 40:56
File: MP3 @ 320K/s
Size: 94,2 MB
Art: Front

(5:39) 1. Dream of Home
(7:05) 2. Cloud Message
(7:18) 3. Indigo Ildikó
(7:36) 4. Eagle's Point
(6:15) 5. Aria for Anna
(7:40) 6. Other Plans
(8:28) 7. Málaga Moon
(6:39) 8. Horizon Dance

The question that comes to mind after listening to Eagle's Point is this: why have the four musicians, who have known each other since the 1990s, never recorded together before? For the combination of Chris Potter, Brad Mehldau, John Patitucci and Brian Blade is a real meeting of minds; the stars are in perfect alignment.

Potter's previous release, Got The Keys To The Kingdom (Edition, 2023), was a live set, recorded at New York's Village Vanguard, and consisted entirely of covers. Eagle's Point is a studio recording and all the tunes are originals written for the occasion by Potter.

There is no bling to be heard here, no b.s., just gutsy substance. Across the album, Potter's writing and performance has an emphasis on exuberance but from time-to-time touches on the kind of gentle delicacy associated with pianist Bill Evans or composer Erik Satie; within every track, and indeed within most of the solos, the atmosphere moves between outgoing and intense to introspective and softly spoken (hear opener "Dream Of Home" on the YouTube below).

The quartet, each member listening hard to whoever is center stage, moves through these changes in perfect symmetry, like a small murmuration of starlings wheeling over a landscape. It is all gloriously consonant; the only suggestion of dissonance comes from Potter's broken notes in the final few seconds of the closing "Horizon Dance," a Sonny Rollins-esque romp which promises to break into a straight Saturday night calypso at any moment, but never quite does so.

Like all Potter's albums, Eagle's Point is something which will reward multiple replays, revealing new facets with every spin. By Chris May https://www.allaboutjazz.com/eagles-point-chris-potter-edition-records

Personnel: Chris Potter - Tenor saxophone, soprano saxophone, bass clarinet; Brad Mehldau - Piano; John Patitucci - Double Bass; Brian Blade - Drums

Eagle's Point

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John Patitucci - Soul of the Bass

Styles: Jazz fusion, Post-bop
Year: 2019
File: MP3@320K/s
Time: 37:47
Size: 90,3 MB
Art: Front

(2:23) 1. Soul Of The Bass
(2:37) 2. Seeds Of Change
(2:00) 3. Morning Train (Spiritual)
(3:30) 4. The Call
(3:40) 5. Mystery Of The Soul
(1:44) 6. Morocco
(2:27) 7. Elvin
(3:14) 8. Earth Tones
(2:48) 9. Seeds Of Change Reprise
(5:44) 10. Allemande in D minor
(3:51) 11. Sarab
(1:47) 12. Trust
(1:55) 13. Truth

Take a look at the long musical lineage paved by the titans of bass, and invariably there's a point where each turns inward to express themselves with just their hands and their instrument, unaccompanied. ForJohn Patitucci that time is now. Soul of the Bass, Patitucci's 16th solo record, is his most intimate and revealing.

Centered around melodic, concise improvisations on acoustic bass, the sound of wood, skin on string and open air serve to heighten the expressiveness of the melodies. Patitucci explains, "I think as you get older you prioritize the sound and the feel of everything you play, which if rendered with integrity, will result in a clarity that communicates to the listener and draws them in."

Patitucci continues his trailblazing ways on his 6-string electric bass guitar, offering a stirring interpretation of the Allemande from Bach's "Cello Suite No. 5," and exploring new sonic terrain by applying his six as a color to some of his acoustic bass inventions. In the record's most dramatic departure, John throws down an R&B groove with drummer Nate Smith, layering additional bass guitars on top, in a historic nod to the instrument.By Editorial Reviews https://www.amazon.com/Soul-Bass-John-Patitucci/dp/B07NRH6PZJ

Personnel: John Patitucci, six-string electric bass, electric bass, piccolo electric bass, bass; Nate Smith, drums (4, 9); Greisun, vocals (11); Isabella Patitucci, vocals (11); Sachi Patitucci, cello (13).

Soul of the Bass

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Wayne Shorter - Footprints - Live

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 63:31
Size: 146,4 MB
Art: Front

( 5:32) 1. Sanctuary
( 8:28) 2. Masquelero
( 7:59) 3. Valse Triste
( 5:01) 4. Go
( 9:29) 5. Aung San Suu Kyi
( 7:55) 6. Footprints
( 8:28) 7. Atlantis
(10:36) 8. Ju Ju

Could saxophonist Wayne Shorter have known that the songs he wrote and recorded back in the '60s would be fresher than ever over 30 years later? Of course not, but he cranks them out on his new disc Footprints Live! with confident, fresh, Scope-tinged breath. Perhaps the jazz icon didn't realize how timeless his tunes would be, but he knew he'd never lose his cool.

Last year Shorter put together a group of fine musicians pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade a group that resulted in Shorter's first-ever live recording. Give Footprints Live!a spin and get a taste of the juicy, ripe fruit of this acoustic quartet. Fearless leaps toward the next sonic apex keep the players in unconflicting paths to a metaphysical freedom. Blade can feel it and he's not afraid to express it with frequent whoops and "whoas," and percussive outbursts.

But Footprints Live!isn't all jubilance and joy. Shorter gets real solemn sometimes, in that soft, beau-tiful way he lets the notes linger like incense smoke in the sweet air. And the way Perez shimmers around the sax sounds, on moments like the end of "Footprints," is forlorn gorgeousness redefined. The creativity and spontaneous spirit of the group recalls the Miles Davis Quintet that Shorter played with in the late '60s. Polyphonic confluence on songs like "Masquelero" and "JuJu" level into sultry, gaze-inducing rhythms.

These songs are sensual in ways that only the taste buds would know. Shorter and Perez’ interplay is like seltzer clear and effervescent. Patitucci's dynamite bass solos ascend into sheer exuberance. With a naked, flung into the wind way, these musicians express themselves completely, and their unrestrained nature creates constant inspiration. Each moment on Footprints Live! seems new, and the genre known as jazz rejuvenates itself once again. This review first appeared in the June 2002 issue of All About Jazz. By Celeste Sunderland https://www.allaboutjazz.com/footprints-live-wayne-shorter-verve-music-group-review-by-celeste-sunderland

Personnel: Wayne Shorter: tenor and soprano saxophones; Danilo Perez: piano; John Patitucci: bass; Brian Blade: drums

Footprints - Live

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Lewis Porter, Terri Lyne Carrington, John Patitucci, Tia Fuller - Beauty & Mystery

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 70:25
Size: 162,0 MB
Art: Front

( 3:28)  1. Prologue
(10:22)  2. Birthplace (feat. Tia Fuller)
( 8:15)  3. Bye Bye Blackbird
( 7:23)  4. People Get Ready
( 9:43)  5. Blues for Trane and McCoy (feat. Tia Fuller)
( 7:43)  6. 1919
( 7:39)  7. Chasing Lines
( 4:07)  8. Dazzling Raga
( 5:54)  9. From Giovanni to Jimmy
( 5:46) 10. Day Is Done

A somber, modern/Romanticist solo piano "Prologue" beautifully opens jazz scholar, historian, and accomplished pianist Lewis Porter's Beauty & Mystery, his fourth disc as a session leader.  Accompanied throughout this often inspired recording by bassist John Pattitucci, sought after Grammy-winner and frequent trio companion drummer Terri Lyne Carrington and high-flying, rep-rising saxophonist Tia Fuller, Porter unleashes his vast knowledge of John Coltrane, and the multitude of jazz avenues on a frothy mix of original covers and time tested covers. Led by repeated rhythmic motifs, Fuller gives a full blown Trane-like workout on soprano sax on the burbling bitonality of "Birthplace." "People Get Ready" unwinds effortlessly as Porter and Pattitucci immerse themselves in Curtis Mayfield's elegant, secular hymn, taking turns reciting the verses and chorus. Fuller's fiery, the-sky-is-the-limit alto swirls and powers the rolling vamp "Blues for Trane and McCoy" and rewards the listener with a challenging extended duo passage with Porter that recalls many Trane/Tyner glories. 

While we're on the subject of the Classic Quartet, Pattitucci's artistry is on full, glorious display on the robust Porter/Pattitucci composition "From Giovanni to Jimmy," a fitting dedication to Coltrane bassist Jimmy Garrison. Free-wheeling interplay highlights "Chasing Lines" a re-arrangement of British bandleader/composer Ray Noble's "Cherokee." Porter again delves deep into his musical knowledge incorporating raga and jazz on "Dazzling Raga." 

Porter's lyrical waltz, "Day is Done" closes out Beauty & Mystery, a disc of highly expressed individualism.~ Mike Jurkovic https://www.allaboutjazz.com/beauty-and-mystery-lewis-porter-altrisuoni-review-by-mike-jurkovic.php

Personnel: Lewis Porter: piano; John Pattitucci: bass; Terri Lyne Carrington: drums: Tia Fuller: soprano and alto sax.

Beauty & Mystery

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John Patitucci Trio - Live in Italy

Styles: Jazz fusion, Post-bop
Year: 2022
File: MP3@320K/s
Time: 52:04
Size: 120,2 MB
Art: Front

(12:03) 1. Visa (Live)
( 4:07) 2. Out West (Live)
( 8:23) 3. Three Pieces Of Glass (Live)
(14:10) 4. Mali (Live)
( 4:10) 5. Echoes Of Scarlatti: In Memory Of Chick Corea (Live)
( 9:08) 6. Without A Song

Jazz bass icon John Patitucci had a fruitful tour of Italy in July of 2021, and now the rest of the world gets to hear the magic that happened along the way. His new album, Live In Italy, features him alongside saxophonist Chris Potter and drummer Brian Blade, whom he calls the some of the greatest musicians in the history of jazz.

“The chemistry between the three of us is born out of decades of playing together in different ensembles, and also as a trio at times,” Patitucci writes. “The freedom, connection and our shared influences make this trio one of my favorite groups to play in, ever. The venues that we played in throughout Italy, many outdoors, were very inspiring throughout this tour.”

A master of the six-string electric and double bass, Patitucci and his trio explore a variety of musical landscapes on the album. The song list ranges from a classic Charlie Parker blues called “Visa” to new compositions such as “Out West” and “Three Pieces of Glass”.

“‘Three Pieces of Glass’ is a piece inspired by a book that was suggested to me by a pastor friend,” Patitucci shares. “The three pieces of glass in our modern society are the phone, the computer and the television. The effects of these devices, positive and negative, are being felt in real time and are of great consequence in our world.”
https://www.notreble.com/buzz/2022/09/22/john-patitucci-trio-live-in-italy-now-available/

John Patitucci Trio: Live in Italy

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Chick Corea - The Montreux Years

Styles: Piano Jazz
File: MP3@320K/s
Time: 84:26
Size: 193,9 MB
Art: Front

( 7:51) 1. Fingerprints
(13:41) 2. Bud Powell
(11:46) 3. Quartet No. 2 (Pt. 1)
( 4:31) 4. Interlude
( 4:41) 5. Who’s Inside the Piano
( 7:14) 6. Dignity
(10:07) 7. America (Continents Pt. 4)
(14:10) 8. New Waltz
(10:19) 9. Trinkle Tinkle

If there is anything more ambitious than curating an extensive, comprehensive collection covering the history of an artist, it is collating selected works which vividly outline a particular timeline or theme. Chick Corea's The Montreux Years is a fine example of the latter; this seventh edition in the archive series devoted to the iconic festival not only reflects the late composer and pianist's technical skills, but also his eclectic stylistic tastes. And that is not to mention his fondness for collaborations in all manner of settings.

Eight cuts from six performances, with a running time of about seventy-four minutes, somewhat belies the twelve year chronology of The Montreaux Years. The late esteemed musician first appeared at the iconic festival in 1972, then almost two dozen times thereafter, an extended sequence of events which lent itself to exactly the kind of rotating presentations of which this set is a microcosm.

Corea's inimitable combination of formality and playfulness is potent throughout. And it is not just readily on the Akoustic Band's "Quartet #2 (Pt. 1)," but also (literally) at the opposite end of the musical spectrum on "Interlude;" unfortunately, this overlong audience call-and-response, in the company of the Elektric Band, illustrates the man's penchant for crowd-pleasing as an end in itself. As throughout this CD, on "America (Continents Pt.4)" the sound of the recording has all the realism of the room in which the musicians are playing, no doubt due to the MOA process used in the restoration and mastering of the audio by Tony Cousins.

That latter cut is the closest this anthology gets to a solo piano piece here but, fortunately, a snippet of the man alone at the ivories at the outset of "Dignity" mitigates the absence of such a track. On this dedication to the author's mother, the invigorating interplay with drummer Jeff Ballard and bassist Avishai Cohen balances the tranquility of the leader's interval, while saxophonist Bob Berg's high-flying interlude during the final track, just over fourteen minutes of "New Waltz," also makes for a fittingly rousing close.

The liner notes for The Montreaux Years could have been better conceived and executed to more fully align with the music to which they are devoted. Rather than filling many of the fourteen pages inside the hardbound covers with sentimental reminiscences, more pertinent details about the respective timelines of the groups that appear in the set (and perhaps even some discographical info) would accurately place the ensembles within the chronology of Corea's career; such scholarly information would have been more in line with the borderline deluxe design of the package with its 3D lettering on the outer front cover alongside Joe Weghon's colorful art (which also appears on the compact disc itself).

Fortunately, such academic criticism becomes moot when listening to the likes of the easy-going shuffle of The Freedom Band's take on "Bud Powell," especially as it so dramatically contrasts the New Trio's rollicking opening of "Fingerprints." The Montreux Years is a suitably celebratory historical homage to one of the most iconic jazz musicians of our time. By Doug Collette https://www.allaboutjazz.com/the-montreux-years-chick-corea-bmg/

Personnel: Chick Corea: piano; Frank Gambale: guitar; Eric Marienthal: saxophone, soprano; Bob Berg: saxophone; Kenny Garrett: saxophone, alto; Tim Garland: saxophone; Hans Glawischnig: bass; Christian McBride: bass; John Patitucci: bass, acoustic; Avishai Cohen: bass; Marcus Gilmore: drums; Dave Weckl: drums; Roy Haynes: drums; Jeff Ballard: drums; Tom Brechtlein: drums; Gary Novak: drums.

The Montreux Years

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Andy LaVerne Feat. John Patitucci, Bob Sheppard, Dave Weckl - Pleasure Seekers

Styles: Piano Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 53:51
Size: 127,7 MB
Art: Front

(5:17) 1. Pleasure Seekers
(5:54) 2. Pleasure Centre
(4:45) 3. Chestnuts
(5:33) 4. My Name Only
(4:00) 5. Parisian Thoroughfare
(7:15) 6. Sticky Mike's Frog Bar
(4:23) 7. Triple 3 Double 2
(7:42) 8. Kissing Thru Glass
(5:22) 9. Reverse Osmosis
(3:35) 10. Clearer, Cleaner, Safer, Greener

On this CD, keyboardist Andy Laverne performs eight of his own compositions, one song co-written with guitarist Chuck Loeb, and Bud Powell's "Parisian Thoroughfare." Laverne's arrangements for the quartet (which also includes Bob Sheppard on tenor and various reeds, bassist John Patitucci and drummer Dave Weckl) use light funky rhythms and put an emphasis on melodic improvising.

With the exception of "Chestnuts" (based on "All the Things You Are"), the chord changes are all new. Somehow the quartet (which had only first come together just a few days earlier) sounds like a regularly working band. Overall, this is a pleasing session of accessible yet reasonably explorative jazz.By Scott Yanow https://www.allmusic.com/album/pleasure-seekers-mw0000265528

Personnel: Piano – Andy LaVerne (tracks: 1-10); Acoustic Bass, Electric Bass – John Patitucci (tracks: 1-10); Saxophone, Clarinet, Flute – Bob Sheppard (tracks: 1-10); Drums – Dave Weckl (tracks: 1-10)

Pleasure Seekers

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Ralph Bowen - Dedicated

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 42:24
Size: 97,6 MB
Art: Front

(6:38)  1. Canary Drums
(5:35)  2. Pat
(7:00)  3. Qaiyam
(9:47)  4. Mr. Bebop
(9:22)  5. Prof.
(4:00)  6. E.R.

Tenor saxophonist Ralph Bowen's Dedicated is a project that was nurtured and produced by Posi-tone Records' founder Marc Free, who felt that Bowen was under-appreciated by the jazz public at large. Bowen has influenced hundreds of players through his teaching position at Rutgers, and many top jazz players know how skilled he is. Having heard him live several times, Free has long admired Bowen's sound and technical ability on his horn, and wanted people to really hear how good he was. This goal was accomplished by starting with the concept of basing the supporting ensemble around guitar, since Bowen's previous recordings were often accompanied by organ or piano. Free and Bowen discussed several names before agreeing that Adam Rogers would be a good choice, due in part to the excellent working relationship Bowen already had with Free, the musical trust they shared, and Rogers' ability to mix subtlety and intuition into an ensemble. The logical next step was to bring in John Patitucci (bass) and Antonio Sanchez (drums), since they had already played together with Rogers hundreds of times, both with Rogers as leader, and in other groups such as Chris Potter Underground. The musicians rehearsed together for 2 weeks in the making of this recording, and it was mixed for another 2 weeks, which is rare in the world of all-star jazz recordings. The well-matched timbre of the group's sound reveals that the time and care put into this project paid off. Bowen has a mastery of his instrument not unlike Michael Brecker, cites John Coltrane as his main influence, but plays with more nuance and reserve than either. He travels through the music and chooses to become part of the fiber of the group-sound, except on "E.R.," which is a solo piece that let's him weave his own song, from long drawn out tones to 32nd-note runs, syncopated triplets and reflection. That's why the choice of sidemen on this recording is so important. 

The slightly reserved modern cool that each player is able to bring to the studio matches up with Bowen's playing style, and Posi-Tone's Free as producer and engineer Nick O'Toole serve as kind of sixth and seventh men on this project. Sanchez, for example, has demonstrated in his career with the Pat Metheny Group and on his solo work as well that he can play with subtlety, and make it exciting at the same time. It's not Elvin Jones-type crash and bang drumming; Sanchez often uses a light touch and many soft to medium cymbal strokes to bring out a more reflective artistic sound, but he enhances his playing by finding varied ways to communicate. Rogers' tone on guitar is also something that blends into the collective sound. His reserved style is modern, and full of potential sparks, leaving listeners keen to hear where he will go next. But he supports the songs, and is able to soar into several important solos that would only work if they were on par with Bowen's tenor sax riffs, and they very much are. John Patitucci is able fully to support the band by playing with a style that could be described as dark, full and round. He's like a prominent tree trunk that allows the rest of the players to branch out and ascend. Sean Jones adds trumpet to the mix on "Mr. Bebop," playing counterpoint through the head, and taking off on a solo midway through, introducing a new sound to the ensemble at just the right time. Dedicated consists of just six songs with a total recorded time of 42 minutes, a throwback to the days of Blue Note discs that tended to run short, but made up for it with quality. Each tune is dedicated to one of Bowen's mentors (Keith Blackley, Pat La Barbera, Jim Blackley, David Baker, William Fielder, and Eugene Rousseau). "The recent passing of a close friend and mentor left me with the distinct awareness of my personal need to acknowledge several of my contemporaries for their support and influence on my own musical development. Dedicated is a musical message of gratitude to my mentors for their time, patience, wisdom, knowledge and friendship." (Ralph Bowen). "One way or another we all have to find what best fosters the flowering of our humanity in this contemporary life and dedicate ourselves to that." (Joseph Campbell) ~ Blaine Fallis https://www.allaboutjazz.com/ralph-bowen-dedicated-by-blaine-fallis.php

Personnel: Ralph Bowen: tenor saxophone; Sean Jones: trumpet; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums.

Dedicated

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Dave Stryker - As We Are

Styles: Guitar Jazz
File: MP3@320K/s
Time: 55:55
Size: 130,1 MB
Art: Front

(1:10) 1. Overture
(6:13) 2. Lanes (feat. Brian Blade)
(8:58) 3. River Man (feat. Sara Caswell)
(6:28) 4. Hope (feat. John Patitucci)
(5:52) 5. Saudade (feat. Julian Shore)
(7:17) 6. One Thing at a Time (feat. Julian Shore)
(5:45) 7. As We Were (feat. John Patitucci)
(7:17) 8. Dreams Are Real
(6:52) 9. Soul Friend (feat. Sara Caswell)

Pat Metheny has a section of his website entitled "Pat Recommends," where he discusses jazz guitarists whom he believes are "making the best music of their careers" on their recent recordings. Dave Stryker is one of the musicians Metheny mentions, and this is certainly an accurate assessment. Dave Stryker has established himself as one of the foremost guitarists in jazz, and with As We Are, he adds another important contribution to his discography. Stryker has a phenomenal work ethic. He's been playing professionally since the seventies, and has worked with an impressive list of artists, including Jack McDuff, Stanley Turrentine, Eliane Elias, and many others.

He's also had a successful solo career, including his popular Eight Track (2016) series, Blue Soul (2020) with Bob Mintzer and the WDR Big Band, and Baker's Circle (2021), all on Strikezone Records. Along with these accomplishments, he is an Adjunct Professor of Jazz guitar at the Jacobs School of Music at Indiana University, the Mason Gross School of the Arts at Rutgers University, and the John J. Cali School of Music at Montclair State University. He is also actively involved in providing online jazz guitar tutorials. As We Are marks Stryker's 34th album as a leader, and it proves that he is a continuously evolving artist whose music just seems to get better with each release. Here he teams up with bassist John Patitucci, pianist Julian Shore, and drummer Brian Blade. Along with these musicians, Stryker has added a string quartet, featuring Sara Caswell and Monica K. Davis on violin, Benni von Gutzeit on viola, and Marika Hughes on cello.

Although primarily recognized as a guitarist, As We Are highlights Stryker's talents in composition as well. Almost all of the selections included are Stryker originals, and they show a slightly different side of his music. While many of his past recordings feature a groove-oriented small group setting, the instrumentation here relies heavily on string arrangements. Obviously, incorporating strings into jazz is nothing new, but Stryker's approach is somewhat different from many traditional string arrangements. As he explains, "I always wanted to do something where strings would really be integrated into the music, not a coloring or sweetening that comes later." The interaction of the string quartet with the traditional group format helps give the album a slight film soundtrack feel, and the artwork seems to reflect its musical narrative. The cover shows what appears to be a series of windows, drawing the eye from one room to another. Each song seems to tell its own story, but they are all connected through a central thread.

The compositions featured on As We Are show a wide range of jazz influences. From the Brazilian flavors of "Hope" or "Saudade" to "One Thing At A Time," with its 60s classic Herbie Hancock and Wayne Shorter undertones, the album has many effective nuances. Along with these influences, Stryker also includes a beautiful cover of Nick Drake's "River Man." Throughout the album, the level of musicianship is impressive. Each of the players here is in top form. Stryker's guitar technique is excellent as always, and even though the musical style might be a bit different from what some might expect from him, this album is among his finest achievements. As Stryker points out, "it's my dream project," and As We Are is a deeply satisfying album on many levels. This is definitely one of the most thought-provoking and beautifully-crafted albums to come along in recent times.~KYLE SIMPLER https://www.allaboutjazz.com/as-we-are-dave-stryker-strikezone-records

Personnel: Dave Stryker: guitar; John Patitucci: bass, acoustic; Julian Shore: piano; Brian Blade: drums; Sara Caswell: violin; Monica K. Davis: violin; Benni von Gutzeit: viola; Marika Hughes: cello.

As We Are

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Eddie Daniels - Nepenthe

Styles: Clarinet Jazz
Year: 1989
File: MP3@320K/s
Time: 60:41
Size: 143,4 MB
Art: Front

(4:20)  1. Sun Dance
(6:08)  2. Equinox
(5:19)  3. Nepenthe
(6:39)  4. Waltz Of Another Color
(5:44)  5. Sueños (Dreams)
(4:05)  6. Chaser
(6:13)  7. The Only One
(6:15)  8. Soul Eyes
(5:57)  9. The Chant
(4:37) 10. Quiet Space
(5:21) 11. Reverie For A Rainy Day

One of the world's great clarinetists, Eddie Daniels is primarily in the spotlight during this modern jazz set. He is joined by guitarist Chuck Loeb (who is excellent in support and as a secondary solo voice), bassist John Patitucci, either Dave Weckl or Adam Nussbaum on drums, and percussionist Sammy Figueroa. They perform seven diverse Daniels originals (complex but swinging), plus two by Loeb and the standards "Soul Eyes" and "Equinox." This release is not as memorable as Daniels' flashier and more spectacular recordings (it is more mellow at times), but it does contain plenty of subtle creativity and effortless (but brilliant) clarinet solos. ~ Scott Yanow https://www.allmusic.com/album/nepenthe-mw0000207928

Personnel:  Clarinet, Producer – Eddie Daniels; Acoustic Bass, Bass [Six String] – John Patitucci; Drums – Adam Nussbaum;  Dave Weckl ; Electric Guitar, Acoustic Guitar – Chuck Loeb; Percussion – Sammy Figueroa

Nepenthe

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John Patitucci - Line by Line

Styles: Jazz fusion, Post-bop
Year: 2006
File: MP3@320K/s
Time: 67:04
Size: 153,8 MB
Art: Front

(4:08) 1. The Root
(4:12) 2. Agigato
(6:28) 3. Circular
(6:26) 4. Folklore
(5:54) 5. Dry September
(3:27) 6. Nana
(9:38) 7. Theme and Variations for 6-string Bass and Strings
(6:53) 8. Line by Line
(5:58) 9. Evidence
(3:18) 10. Jesus is on the Mainline
(3:56) 11. Incarnation
(3:51) 12. Soaring
(2:50) 13. Tone Poem

John Patitucci's Line by Line is mostly a quiet and thoughtful affair. The performances often feature close interplay between the bassist and guitarist Adam Rogers, with stimulating support from drummer Brian Blade and occasional guest appearances by the great tenor Chris Potter. The music is adventurous but often lyrical, with Patitucci being a key soloist but not completely dominating the performances, giving his sidemen plenty of space of their own. It is interesting to hear the mellow-toned Rogers rocking out a bit on Thelonious Monk's "Evidence." In addition to a Patitucci-Rogers duet on "Nana" and a closing solo electric bass solo on "Tone Poem," two selections add a string quartet and one has a string quintet. Of these, "Theme and Variations for 6-String Bass and Strings" is a major third stream work that reminds listeners that John Patitucci is a very skilled composer in addition to being one of jazz's finest bassists. Recommended. This CD was nominated in 2007 for a Grammy award as Best Jazz Instrumental Album (Individual or Group).~Scott Yanowhttps://www.allmusic.com/album/line-by-line-mw0000762571

Personnel: John Patitucci – double bass, six-string bass guitar; Chris Potter – tenor saxophone; Adam Rogers – electric guitar, nylon-string guitar; Jeremy McCoy – double bass; Brian Blade – drums; Richard Rood – violin; Elizabeth Lim-Dutton – violin; Lawrence Dutton – viola

Line by Line

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John Patitucci & Andy James - An Evening with John Patitucci & Andy James

Styles: Jazz, Post Bop
File: MP3@256K/s
Time: 82:48
Size: 152,2 MB
Art: Front

(4:23) 1. Autumn In New York
(7:08) 2. Besame Mucho
(3:08) 3. I Love You And Dont You Forget It
(5:07) 4. To Dream As One
(4:41) 5. Moonlight In Vermont
(5:09) 6. Day Dream
(5:46) 7. Blackbird
(3:19) 8. When I'm With You
(6:05) 9. Will You Still Love Me Tomorrow
(4:12) 10. Unchain My Heart
(6:22) 11. Fire Rain
(4:19) 12. Burn For Love
(5:30) 13. Some Other Time
(4:26) 14. Laura
(4:00) 15. More Than You Know
(5:02) 16. My Heart Belongs To Daddy
(4:03) 17. Angel Eyes

On An Evening with John Patitucci & Andy James, two gifted performers join forces to conjure an intimate evening of captivating music. At a time when jazz aficionados around the world have been starved for musical experiences, the album recreates the sultry atmosphere of a candlelight nightclub as some of the most revered musicians in modern jazz perform classic standards. Due out November 5 via Le Coq Records, An Evening with John Patitucci & Andy James features nearly 90 minutes of scintillating music featuring an incomparable ensemble. In addition to James’ mesmerizing vocals and Patitucci’s bass mastery, the album boasts arrangements by piano great Bill Cunliffe for an ensemble that includes saxophonists Chris Potter and Rick Margitza, trumpeter Terell Stafford, guitarists Chico Pinheiro and Jake Langley, keyboardists John Beasley and Jon Cowherd, percussionist Alex Acuña, drummers Vinnie Colaiuta, Marcus Gilmore and Marvin “Smitty” Smith, along with powerful horn and string sections.

“I wanted people to just sit back and enjoy a listening experience of serene pleasure,” declares James. “John and I tried to create something easy to listen to that would leave people feeling good afterwards. I recorded the album in anticipation that people wouldn’t something too complicated at this time we all find ourselves in.” Jazz singing and Flamenco dance have been parallel passions throughout Andy James’ life. Flamenco took prominence during what she now refers to as “act one” of her artistic life. She became renowned as a world-class Flamenco dancer, enjoying a successful career dancing with husband and partner Piero Pata in Madrid. For “act two,” James relocated to the U.S. and focused on her singing career, renewing collaborations with the great jazz musicians who had crossed her path while they traveled through Europe. She and Pata launched Le Coq Records, releasing a series of albums ranging in style from the elegance of the female jazz swing tradition to vintage R&B to the post-bop urgency of the classic Blue Note era.

An estimable professional family has quickly found a home at the label, with Patitucci, Acuña and Cunliffe playing key roles on a number of releases and several musicians making recurring appearances from one recording to the next. On An Evening With…, Patitucci proves an ideal partner for James, bringing his revered tone and musical vision to the project and convening the ideal musicians for each piece.“When choosing personnel for any project,” Patitucci explains, “I try to find the greatest musicians that I have longstanding relationships with, in order to have the opportunity to get more deeply into the music at hand.” Over the course of a career lasting four decades, Patitucci has forged essential collaborations with some of the most acclaimed artists in jazz and beyond, most notably long-lasting partnerships with iconic saxophonist Wayne Shorter and the late Chick Corea.

Speaking of James, Patitucci says, “Andy is a very generous and flexible collaborator. She has a great love for the Great American Songbook. When she sings, her phrasing is reminiscent of so many of the great singers that I grew up listening to. The style that she sings in provides the opportunity to write arrangements for larger orchestrations.”James returns the compliment. “John is very important to my whole performance. Without John’s playing I would have been restricted in the way I could sing and approach every song in the album. John Patitucci brings a deep sound that allows me the freedom to sing with a lot of mood or feeling in my voice. He gives me a lot of space to create a meaningful performance.”

From the intoxicatingly lush opener “Autumn in New York,” with Patitucci’s robust bass matched by a fervent tenor solo by Potter, to the last-call balladry of “Angel Eyes” that closes the set, An Evening with John Patitucci & Andy James features countless classic songs along with a few surprises, including the smoldering James and Pata-penned love song “Burn for Love.”As she did on her previous release, Tu Amor, James reaches into her Latin influences on “Besame Mucho.” In addition to a number of well-known jazz standards James stretches the American Songbook to encompass great pop and rock classics like The Beatles’ “Blackbird” and James Taylor’s “Fire and Rain.”

The choices certainly inspire passionate playing from James and Patitucci’s guests, with standouts including Rick Margitza’s soaring solo on “Fire and Rain,” Terell Stafford’s heart-wrenching take on “Moonlight in Vermont,” and the soulful playing of Potter and John Beasley on the Gerry Goffin/Carole King favorite “Will You Still Love Me Tomorrow.” “The songs came naturally,” James explains. “I just wanted to sing some beautiful songs. The mood I had in mind when choosing these songs was one of love I just wanted people to find love with each other again after the era of Covid!” https://bassmagazine.com/artists/john-patitucci-announces-new-album-an-evening-with-john-patitucci-andy-james

An Evening with Andy James & John Patitucci

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Suzanne Pittson - Out Of The Hub: The Music Of Freddie Hubbard

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 68:43
Size: 158,3 MB
Art: Front

(6:51) 1. Our Own (Gibraltar)
(8:18) 2. Up Jumped Spring
(6:10) 3. Out Of The Hub (One Of Another Kind)
(9:18) 4. Bright Sun (Lament For Booker)
(4:22) 5. True Visions (True Colors)
(5:46) 6. You're My Everything
(6:57) 7. We're Having A Crisis
(5:51) 8. Moment To Moment
(4:53) 9. Lost And Found (The Melting Pot)
(4:19) 10. Like A Byrd (Byrd Like)
(5:53) 11. Betcha By Golly, Wow!

The vocalese and scatting tradition is alive and well in singer Suzanne Pittson. With Out of the Hub: The Music of Freddie Hubbard, Pittson continues to establish herself as one of the best singers on today's jazz scene. Out of the Hub includes tunes written by or associated with trumpet legend Freddie Hubbard, with Pittson writing or co-writing five lyrics, which Hubbard approved just three months before his passing in 2008. To honor Hubbard, Pittson recruited a group of extraordinaire musicians, including trumpeter Jeremy Pelt and bassist John Patitucci, who add along with saxophonist Steve Wilson and the rest of Pittson's quintet dazzling improvisations throughout.

More than just a singer, Suzanne Pittson is a jazz musician. With a fluid phrasing and stunning tone, Pittson use her voice as another instrument, improvising and playing with the melodies. Pittson's striking sense of melody and amazing vocal range allow her to express a vast palette of colors and textures on swinging tracks like "True Vision," "You're My Everything" and "We're Having a Crisis," and on ballads including "Bright Sun," Moment to Moment" and "Betcha by Golly, Wow!" Following in the steps of the great Ella Fitzgerald, Pittson is also a master of the scatting technique, as shown on "Our Own" and "Out of the Hub." All the arrangements are by pianist/husband Jeff Pittson, and the cover design is a creation of their son Evan, who also wrote the lyrics to "Out of the Hub."~ Wilbert Sostre https://www.allaboutjazz.com/out-of-the-hub-the-music-of-freddie-hubbard-suzanne-pittson-vineland-review-by-wilbert-sostre.php

Personnel: Suzanne Pittson: voice; Jeremy Pelt: trumpet, flugelhorn; Steve Wilson: alto saxophone, soprano saxophone; Jeff Pittson: piano; John Patitucci: bass; Willie Jones III: drums

Out Of The Hub: The Music Of Freddie Hubbard

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Kenny Werner & Roseanna Vitro - Delirium Blues Project: Serve or Suffer

Styles: Contemporary Jazz
Year: 2008
File: MP3@320K/s
Time: 60:26
Size: 139,2 MB
Art: Front

(5:59) 1. What Is Hip
(9:05) 2. Goodnight Nelda Grebe, the Telephone Company Has Cut Us Off
(7:40) 3. Blue
(4:24) 4. Be Cool
(8:07) 5. Half Moon
(5:13) 6. In the Dark
(4:45) 7. Cheater Man
(6:42) 8. Everybody's Cryin' Mercy
(8:26) 9. Don't Ever Let Nobody Drag Your Spirit Down

This all-star jazz-meets-R&B project, recorded live at the Blue Note in August '07 is orchestrated by vocalist Roseanna Vitro and pianist Kenny Werner who contributes several head-spinning arrangements of familiar blues, rhythm and blues, and not-quite-blues. The album certainly gets an "A" for effort. "I found the writing process fascinating. Some of the tunes were very familiar in their original recorded versions, but I still wanted to give them a new spin," enthuses Werner. "That required me to honor the essence of what made them work the first time around whether they were funky or nasty or rockin."Werner's opening rearrangement of the '70s R&B classic "What is Hip?" comes blasting out like a cannonball and smartly retains most of the original Tower of Power horn chart, which maximizes the considerable punch of the Delirium all-star horns: Ray Anderson (trombone), Randy Brecker (trumpet), James Carter (tenor sax) and Geoff Countryman (baritone sax, bass clarinet). "Cheater Man" similarly plays rough and tumble but with the big-band R&B meets blues sound of Roomful of Blues, especially when the horns play cat-and-mouse with Rocky Bryant's whippersnap snare in the bridge.

Joni Mitchell's "Be Cool" fits Vitro's voice and delivery best, with Werner's arrangement wafting comfortably in Mitchell's ethereal and floating jazz-pop fusion, bobbing like a balloon after air punches from its horn chart. Werner's take on "Blue," co-written by Jon Hendricks, echoes the classic "big band with vocalist" sound: Overlaying horns harmonize the introduction, then step aside for Vitro's dance with Werner's acoustic piano to time softly kept by brushes; Vitro steps aside in turn for James Carter's well-trimmed alto solo. Arranged to a rousing blend of classic blues styles the chugging locomotive of electric Chicago blues lugging a boxcar bursting with New Orleans brass "Don't Ever Let Nobody Drag Your Spirit Down" proves the perfect closer. Vitro tugs and pulls with all her might though she sometimes seems a bit overmatched if not by Werner's arrangements then by the material (Lil Green's "In the Dark," for example). Even so, Werner and guitarist Adam Rogers rip off electric blues solos almost as torrid as the call and response between Brecker and Anderson, who proceeds to blow out all the windows with his trombone solo rampage. ~ CHRIS M. SLAWECKI https://www.allaboutjazz.com/serve-or-suffer-delirium-blues-project-half-note-records-review-by-chris-m-slawecki.php

Personnel: Kenny Werner: keyboards, arrangements; Roseanna Vitro: vocals; Randy Brecker: trumpet; James Carter: tenor sax; Ray Anderson: trombone; Geoff Countryman: baritone sax; Adam Rogers: guitar; John Patitucci: acoustic bass, electric bass; Rocky Bryant: drums.

Delirium Blues Project: Serve or Suffer

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Randy Brecker, Eric Marienthal - Double Dealin'

Styles: Tumpet And Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 49:17
Size: 114,5 MB
Art: Front

(4:10)  1. Double Dealin’
(5:05)  2. 3 Deuces
(4:48)  3. Fast Lane
(5:34)  4. Mind The Fire - For Chuck
(5:52)  5. Sambop
(4:30)  6. You Ga (Ta Give It)
(5:39)  7. True North
(4:34)  8. The Hipster
(4:15)  9. Jetlagged
(4:46) 10. Habañero

It can be difficult for two giants to share space without colliding into each other. It alternatively can be a bold mix of dynamic forces. Double Dealin' (Shanachie, 2020) robustly falls into the second category. It took many years for Randy Brecker and Eric Marienthal to finally find the right project to come together on. The long wait is rewarded with energetic performances in this funk and groove extravaganza. The title track kicks the record off with more than a splash of what was to follow. Brecker's signature sound pops in new digs and is met by the gliding sophistication of Marienthal's melodic tapestry. Marienthal's own engaging solo is capped by the horn section in a tune that establishes what is to be the thread of the record. "Double Dealin'" is one of five Marienthal and George Whitty co-writes on the album. Whitty, who produced the record, contributed the tune "3 Deuces" to the record. The horn section floats through this Whitty arrangement that features a silky solo from Marienthal. Whitty is to be noted as producing, arranging, composing and playing throughout the record. His skillset left a major imprint on the core foundation of this record.

"Fast Lane" is funk in fifth gear. Dave Weckl and John Patitucci join in and somehow avoid a speeding ticket driving this number hard and creating a furious rhythm section pace for Brecker and Marienthal to ride. Their connectivity is never more apparent, as Brecker plays with gusto and Marienthal reaches in for a growl. It's a high wire act from start to finish. Sequencing to a slow down, the beautifully sentimental "Mind the Fire" is offered as a tribute to late guitarist Chuck Loeb. A long-time friend and band mate of both Brecker and Marienthal, Loeb had a special character to his playing that was honored in this Whitty/Marienthal composition. Played with heart and elegance, Brecker's understated grace brings a soft emotional current to this warm remembrance. The ensemble skyrocketed back to the high-end funk and groove display with Brecker's saucy "Sambop." Brecker breathes life into a nourishing solo, flourishing into a tantalizing, sensational riff that bridges to Marienthal. Grateful for the set-up, Marienthal ignites into a powder keg of his own in this funky barn burner. Patitucci and Weckl's resilient and energetic push are key to this tune's flavor and rhythmic cadence.

Brecker's second compositional entry to Double Dealin' is "You Ga (To Give It)." They give us an exhilarating funk rush that is laced with spirited note selections by Brecker and Marienthal. It's a tune that swings hard with improvisational bliss. The sophisticated "True North" manages to take you to a different place while staying in the bounds, or the aforementioned thread, of the record. The Whitty/Marienthal co-write is to be noted for its synergy and delightfully intelligent play from the horn section as a unit. Some big playing with some big chops by both Brecker and Marienthal as they gravitated due north with significant interplay. It would be remiss not to mention Patitucci's acoustic bass treatment on this number. Whitty's "The Hipster" is just a whole lot of fun. All aboard the funk train. The groovin' locomotive shimmies down the tracks with abandon and no stops along the way. Brecker's trip to the hardware store pays off, as he gets down and blows freely with a plunger mute. Some really great vibes on this tune make for some chill beats and cool moments. Whitty sneaking in to stretch out on a solo is a well-placed secret weapon. Well conducted, everyone is indeed on board and riding in first class. Brecker's wife, talented saxophonist Ada Rovatti, brought a song to the mix entitled "Jetlagged." Slick licks from Brecker and Marienthal are employed here in a song that has more umph than the sleepy title might imply. Creatively written and arranged, it is notable that Rovatti wrote engaging parts for each member of the ensemble. The riffs spew out off of tight edges in perhaps the most wonderfully complex piece on the record.

Double Dealin' finishes in the high style that was ridden and presented from top to bottom. Not surprisingly, "Habanero" is hot and spicy. The fifth Whitty/Marienthal offering is certainly a leave 'em wanting more conclusion. Brecker and Marienthal seize the moment and leave nothing on the table. Brecker did what Brecker does. A note selection gem performed with verve. Marienthal responds in a brisk and flavorful manner with an effervescent solo of his own. The word double is represented here in the scope of appreciation or listening methodology. There is plenty of meat on the bone for the jazz aficionado that wants to dig deep. 

Also, there is the opportunity to just take it easy, ride the grooves, and have some fun/funk. In a year dampened by pandemic woes, Brecker and Marienthal opt to raise spirits in presenting this high-end celebration of music and life. ~ Jim Worsley https://www.allaboutjazz.com/double-dealin-randy-brecker-and-eric-marienthal-shanachie-records

Personnel: Randy Brecker: trumpet; Eric Marienthal: saxophone; George Whitty: keyboards; Dave Weckl: drums; John Patitucci: bass.

Double Dealin'

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Chick Corea Elektric Band - Eye of the Beholder

Styles: Piano Jazz 
Year: 1988
File: MP3@320K/s
Time: 53:28
Size: 122,9 MB
Art: Front

(2:43)  1. Home Universe
(4:51)  2. Eternal Child
(2:58)  3. Forgotten Past
(4:55)  4. Passage
(7:55)  5. Beauty
(1:53)  6. Cascade - Part I
(5:18)  7. Cascade - Part II
(5:50)  8. Trance Dance
(6:38)  9. Eye of the Beholder
(6:54) 10. Ezinda
(3:26) 11. Amnesia

During an era when the word "fusion" was applied to any mixture of jazz with pop or funk, Chick Corea's Elektric Band reinforced the word's original meaning: a combination of jazz improvisations with the power, rhythms and sound of rock. Eye of the Beholder, which found guitarist Frank Gambale, saxophonist Eric Marienthal and bassist John Patitucci displaying increasingly original solo voices, is one of this group's finest recordings and ranks with the best fusion of the latter half of the 1980s. ~ Scott Yanow  https://www.allmusic.com/album/eye-of-the-beholder-mw0000652324

Personnel: Chick Corea – synthesizer, piano, arranger, keyboards, producer, engineer, liner notes, mixing; Frank Gambale – guitar; Eric Marienthal – saxophone; John Novello – synthesizer (track 2 only); John Patitucci – bass;  Dave Weckl – drums

Eye of the Beholder

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Steve Khan - The Green Field

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 77:21
Size: 178,2 MB
Art: Front

( 9:22)  1. El Vinon
( 8:09)  2. Congeniality
( 7:31)  3. Riot
( 7:46)  4. Fist in Glove
( 7:21)  5. Cosecha Lo Que Has Sembrado
( 7:58)  6. Sanctuary/Nefertiti
( 5:25)  7. Eronel
( 5:38)  8. You Stepped out of a Dream
(18:07)  9. The Green Field (El Prado Verde)

Nine years have passed since guitarist Steve Khan last released an album as a leader. But he hasn't been inactive, touring with artists like Terri Lyne Carrington and Greg Osby and co-leading the Caribbean Jazz Project. However, it's been far too long since he's released an album putting his immediately recognizable style front and centre. Khan may not have the cachet of peers like Pat Metheny and John Scofield, but from the first notes of the recording, it's clear that this is nobody but Steve Khan. His distinctive, at times almost pianistic approach makes his less prominent position mysterious. Hopefully The Green Field, his most fully realized record to date, will reach the greater audience he so richly deserves. Khan reunites with bassist John Patitucci and drummer Jack DeJohnette, who last played together on Got My Mental (Evidence, 1996). While the trio has only worked together during rehearsals and recording sessions for these two releases, these musicians share a remarkable chemistry. Nowhere is this more evident than on the free bop of the eighteen-minute title track. Also featuring percussionist/vocalist Manolo Badrena, a key collaborator who was instrumental in Khan's Eyewitness group, "The Green Field" may be the freest piece that Khan has ever recorded. Though clear motifs strategically emerge, it's as much about texture as thematic development, which is all the more remarkable during the moments when the quartet magically coalesces, before heading off into greater uncharted territories.  

The title track's liberated free play may feel new to Khan's fans, but rest assured, his strong sense of groove is also in full force. The modal "El Viñón opens with a vamp featuring Khan's unique voicings and DeJohnette playing all around the time, but ultimately resolves into a middle section where Patitucci and DeJohnette swing amiably behind Khan's relaxed, behind- the-beat linearity. The guitarist leans to carefully constructed lines that selflessly serve the music, but every now and then he lets loose with lightening speed, just to let you know the chops are there when needed. His ability to seamlessly intersperse strong melodies and vivid chordal phrases has become a defining characteristic, and he's never done it better. The same can be said for Khan's writing. "Fist in Glove is a blues so radically altered harmonically as to be nearly unrecognizable, while "Cosecha lo que Has Sembrado, with guest percussionists Ralph Irizarry and Robert Quintero, viscerally mines the Afro-Cuban territory that's been part of Khan's musical continuum for years. Equally remarkable is Khan's reinvention of material by Thelonious Monk, Herbie Hancock, Ornette Coleman and Wayne Shorter. Cleverly integrating Shorter's "Sanctuary and "Nefertiti into a seamless whole, Khan demonstrates an uncanny ability to distinctly interpret well-known material. If it wasn't so familiar, you'd think he'd written it himself. Maybe Khan's avoidance of musical grandstanding explains why he's never achieved the popularity of his peers. But The Green Field is mature and imaginative, showcasing him at the top of his game. ~ John Kelman https://www.allaboutjazz.com/the-green-field-steve-khan-tone-center-review-by-john-kelman.php

Personnel: Steve Khan: guitar; John Patitucci: acoustic bass; Jack DeJohnette: drums; Manolo Badrena; percussion, voice; Ralph Irizarry: timbales (3,5,6,8); Roberto Quintero: congas, percussion (3,5,6,8).

The Green Field

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