Ralph Bowen - Five

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 63:50
Size: 146,5 MB
Art: Front+ Back

( 9:59)  1. Step Lightly
( 7:46)  2. Baby Girl
( 7:58)  3. First Hiatus
( 9:43)  4. Free Time
( 7:13)  5. Blues Cruz
(12:28)  6. Drowning Man
( 8:40)  7. Rahsaan's Run

A member of Out of the Blue in the 1980s and an oft-employed freelancer in the ‘90s, Canada-born saxophonist Ralph Bowen has been steadily blazing his own path through the mainstream jazz scene. With FIVE, Bowen continues his reinvigoration of the jazz organ group sound, with leanings not toward classic soul-jazz (Jimmy Smith, Jimmy McGriff) but rather towards the more adventurous end of the spectrum (Larry Young), namely hard bop with tinges of fusion. Bowen’s combo, including ultra-modern organ ace Sam Yahel and guitarist Peter Bernstein, burns brightly and intelligently throughout. ~ Mark Keresman http://www.allmusic.com/album/five-mw0000785118
 

Personnel: Ralph Bowen (tenor saxophone); Peter Bernstein (guitar); John Swana (trumpet); Sam Yahel (organ); Dana Hall (drums).

Five

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Susie Meissner - Tea For Two

Bitrate: MP3@320K/s
Time: 66:05
Size: 151.3 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[3:20] 1. If I Were A Bell
[7:06] 2. Tea For Two
[4:40] 3. Mean To Me
[2:42] 4. Moonlight Saving Time
[6:52] 5. Laura
[4:10] 6. Love Is Here To Stay
[4:04] 7. Moonglow
[2:33] 8. Just You, Just Me
[4:51] 9. Everything I Love
[6:46] 10. Guess I'll Hang My Tears Out To Dry
[4:50] 11. I Didn't Know Time It Was
[4:46] 12. Crazy He Calls Me
[4:55] 13. Triste
[4:22] 14. Say It Isn't So

A major jazz and swing singer, Susie Meissner always seems to have a smile in her voice. In addition to her very appealing tone and impeccable musicianship, the enthusiasm that she displays when she performs is infectious. She always swings and is an excellent improviser yet the lyrics that she interprets are very important to her. "When I perform a song," says Susie, "I want to express the emotions of the words so the listener is experiencing the lyrics the way that the writer intended. I'm never casual about the lyrics." Her skill at reviving and revitalizing classic songs is very much in evidence throughout her finest recording, Tea For Two.

Since the New York-based Susie Meissner also performs regularly in Philadelphia, particularly at Chris' Jazz Café, for her latest recording she decided to feature some of Philly's best jazz musicians along with a few guests. Heard along the way are such greats as tenor-saxophonist Larry McKenna (a Philadelphia legend), valve trombonist John Swana, trumpeter Freddie Hendrix, guitarist Paul Meyers and clarinetist Ken Peplowski plus the superb rhythm section of pianist John Shaddy, bassist Lee Smith and drummer Dan Monaghan.

Tea For Two

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Joe Magnarelli & John Swana - New York Philly Junction

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 59:50
Size: 137,3 MB
Art: Front

( 6:36)  1. New York-Philly Junction
( 6:33)  2. Giants
( 7:24)  3. My Old Flame
( 7:02)  4. Lou Ann
( 7:20)  5. From Now On
( 7:50)  6. Eagles
( 6:25)  7. They Say It's Wonderful
(10:39)  8. If Ever I Would Leave You

During the course of nearly twenty-five years, the Criss Cross imprint has sustained an enviable reputation for recording promising talent from the East Coast (particularly New York City) jazz mainstream. Some of the music's rising stars, such as Chris Potter and Seamus Blake, made their debuts as leaders for Gerry Teekens' venerable Holland-based label. Even more impressive is Teekens' willingness to document the progress of some of the artists on a continuing basis, from their days as young lions and into middle age, when the years of persistence and hard work begin to pay off in significant artistic dividends.  New York-Philly Junction is co-led by trumpeters Joe Magnarelli and John Swana, both of whom have recorded as leaders and sidemen for Criss Cross since the early nineteen-nineties. The session is a reprise of a 1998 date (released as Philly-New York Junction ) that included four other of the label's regulars, pianist Joel Weiskopf, tenor saxophonist Eric Alexander, bassist Peter Washington, and drummer Kenny Washington. The material is well chosen, the ensemble playing leaves nothing to be desired, and the rhythm section stays alert and unobtrusive; however, it's the four primary soloists (three horns and piano) that makes the new recording top drawer. The three choruses he takes on the title track are quintessential Magnarelli. The trumpeter moves from one short segment to another, occasionally emitting sounds like long sighs. He frequently starts to develop a line, goes off on a convoluted tangent, and then comes back as if suddenly remembering to finish the original thought. Though the first three notes coming out of his horn are plump and certain, his ballad rendition of the standard "My Old Flame" sounds emotionally vulnerable. He's played the tune countless times, yet Magnarelli remains enamored of Johnson and Coslow's ode to a lost love, and takes liberties without violating its essence. During the eight measures preceding the bridge, he flashes a number of brief, pointed asides before once again finding the heart of the song. Magnarelli's solo on "Eagles" is firmly based in a recognizable, bebop-oriented vocabulary, but is nonetheless very personal. Listen closely and he gets under your skin. As the solo progresses changes in emphasis and direction are constant; however, he's very organized, the ideas fit, and he leaves nothing to question. In an instant, lines move from skittering this way and that to sounding decidedly pronounced. The rhythm section wisely stays out of his way. Weiskopf, in particular, comps sparsely and lays out altogether for a long stretch.

John Swana's solo on his spry, medium tempo composition "Eagles" is one of those marvelous instances in which everything coming out of the horn makes perfect sense and feels just right. The path of the solo is so clear that it almost doesn't sound improvised. Spinning witty and inventive melodies, Swana's totally at ease with the horn, the tune's changes, and the rhythm section. Spurred by Kenny Washington's snare drum accents and varied cymbal textures, his forward drive never sounds forced or labored. Even several sixteenth-note runs (something that, in his earlier work, Swana often overused) come off as playful instead of contrived. The first seven bars of Swana's wistful improvisation during Tom Harrell's "From Now On" are blissfully devoid of any tension. Working different registers of the horn, he juxtaposes long tones and pregnant pauses. Just when it seems as if Swana is simply going to fade away, he begins a series of winding lines (none of which last very long) that all gradually slow down to a standstill. In addition to his sensitivity as an accompanist, Weiskopf is a confident, orderly soloist who never sounds rushed or labored. During "New York-Philly Junction" the pianist has something different to say on each of three choruses. 

He begins by gracefully sliding from phrase to phrase, evoking blues locutions without becoming excessive. During the second chorus persistent clumps of chords jounce against Peter Washington's irregular bass line and Kenny Washington's patchwork of beats. In the last chorus, Weiskopf unleashes a whirlwind of precisely executed single note lines that wind down, as if he's trying to reverse direction and back out of the solo. His wonderful introduction to "My Old Flame" doesn't contain any hint of the melody; he nonetheless graciously guides us to the song. Melding single notes and chords into a dreamy perfection, the four measures are both purposeful and timeless. The chords ring a little; there's a brief, telling silence after the second bar; and despite the brevity Weiskopf's around long enough to allow us to admire his firm touch. The four choruses he takes during "Eagles" constitute an extended burst of creativity in an unassuming guise. Weiskopf refrains from pounding the keyboard; his changes in dynamics are both subtle and effective. He becomes marginally more assertive as the solo progresses, but the degrees of emphasis aren't dramatic. As he knits together themes with ease, the pianist is clearly interested in the solo as a whole rather than reaching for affected climaxes. The performance comes off as one continuous chain of thought. He strays briefly from Peter Washington's stalwart pulse, and then comes back into the fold without any loss of continuity. There's an epic quality to Alexander's seven choruses of saxophone athleticism on "Giants," Swana's variant of John Coltrane's "Giant Steps." It's good to hear him temper a tendency to squeeze too much information in a single presentation. In this case he's a methodical thinker, in complete control of his emotions as well as the instrument. Tightly woven variations of a handful of motifs display a balance between rigid discipline and finesse. Alexander pauses a few times in the first chorus, then stays in constant forward motion. His eighth-note lines become increasingly dense in texture despite their rapidity. By the sixth chorus the grand sweep of his blowing is nearly overwhelming; he then downshifts and concludes with a quote from "Giant Steps."~ David A.Orthmann https://www.allaboutjazz.com/joe-magnarelli-and-john-swana-new-york-philly-junction-by-david-a-orthmann.php

Personnel: Joe Magnarelli—trumpet; John Swana—trumpet; Eric Alexander—tenor sax; Joel Weiskopf—piano; Peter Washington—bass; Kenny Washington—drums.

New York Philly Junction

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John Swana & Friends - S/T

Bitrate: MP3@320K/s
Time: 61:47
Size: 141.4 MB
Styles: Bop, Trumpet jazz
Year: 1992
Art: Front

[ 9:41] 1. Oleo
[ 7:52] 2. Before You
[ 7:16] 3. Darn That Dream
[ 6:19] 4. Out Of My Dreams
[ 6:19] 5. You Don't Know What Love Is
[ 8:42] 6. Straight, No Chaser
[ 5:28] 7. I Didn't Know What Time It Was
[10:07] 8. Pendulum At Falcon's Lair

John Swana (Tp / Flh); Tom Harrell (Tp / Flh)l Billy Pierce (Ts)l Mulgrew Miller (P)l Ira Coleman (B); Billy Drummond (D). Recorded December 15, 1991 in New York City, NY, USA by Max Bolleman

John Swana is one of the most exciting trumpeters to arrive for a decade,” declares Mark Gardner, co-author of Blackwell's Guide to Recorded Jazz. Born in Norristown, Pennsylvania, a suburb of Philadelphia, Swana took up Trumpet at the age of 11. He was drawn to jazz at the age of 17 after hearing Dizzy Gillespie, and the interest developed into a passion while he was in college. There he began transcribing the solos of Freddie Hubbard, Clifford Brown, Miles Davis, and Tom Harrell.

John Swana can be heard on recordings with: Benny Golson, Grover Washington Jr., Charles Fambrough, Craig Handy, Tito Puente, Bill O'Connell, Lenny White, Ricky Sabastian, Marlon Simon, Ed Simon, Dave Valentin, Cafe', Art Webb, Adam Holtzman, Ralph Bowen, Ron Blake, Peter Bernstein, Carl Allen, Mulgrew Miller, Benny Green, Kenny Barron, Tim Warfield, Lewis Nash, Clarence Penn, Kevin Hays, Chris McBride, Uri Caine, Peter Leitch, Marvin “Smitty” Smith, Ralph Peterson, Bobby Zankel, and Tom Harrell.

John Swana & Friends

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Jimmy Greene - Introducing Jimmy Greene

Styles: Saxophone Jazz
Year: 2000
File: MP3@256K/s
Time: 57:44
Size: 106,1 MB
Art: Front

(7:12)  1. No Doubt
(7:47)  2. Con Alma
(6:47)  3. Spring Can Really Hang You Up The Most
(6:06)  4. Nelba's Struggle
(6:26)  5. Re-Affirmation
(8:16)  6. I Love You
(8:47)  7. My Flower
(6:20)  8. Fly Little Bird Fly

Over the years, Criss Cross can be proud of its track record when it comes to fostering new talent and launching new artists. Some of the names who got their start while on the label and who now enjoy active careers include Eric Alexander, Benny Green, Peter Leitch, Kenny Garrett, John Swana, and Jim Rotondi. Now add to that list the name of Jimmy Greene. This graduate of Jackie McLean’s program at the Hartt School and current member of Horace Silver’s quintet actually has the double advantage of having two debut recordings currently on the new release docket, one for RCA and this Criss Cross title that was actually recorded in 1997.  Introducing Jimmy Greene has all the earmarks to suggest that Greene is a new voice that demands our attention, yet I’m sure that he’d freely admit he’s made strides since this set. His bold tone and broad range leads to an almost liquid-like conception that comes through with deceptive ease. He’s not a bad writer to boot and his arrangements here are workmanlike, if not downright catchy. “Con Alma” gets a sprightly treatment not unlike a classic version from Wes Montgomery’s Bumpin’. The standard “I Love You” also gets a new facade via its rich three-horn voicings, although one would have hoped to hear both Swana and Davis utilized more throughout. Greene’s one ballad statement, “Spring Can Really Hang You Up the Most,” is a real beauty, complete with extended cadenza at the close. As for the rest of Greene’s cohorts, Swana and Davis are already well- known, while pianist Aaron Goldberg and bassist Darrell Hall are two up-and-comers. Rounding out the group, Eric McPherson is a fellow Hartt grad that has been tearing things up as of late. Keep an eye and ear out for Greene and these guys, we’re sure to hear a lot from them in the future.~ C.Andrew Hovan https://www.allaboutjazz.com/introducing-jimmy-greene-jimmy-greene-criss-cross-review-by-c-andrew-hovan.php

Personnel: Jimmy Greene- tenor sax, John Swana- trumpet & flugelhorn, Steve Davis- trombone, Aaron Goldberg- piano, Darrell Hall- bass, Eric McPherson- drums

Introducing Jimmy Greene

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Clarence Penn - Penn's Landing

Styles: Jazz, Post Bop
Year: 1997
File: MP3@256K/s
Time: 60:59
Size: 112,5 MB
Art: Front

( 6:57)  1. C.P. Time
(10:36)  2. Re: Evaluation
( 7:02)  3. April's Fool
(11:46)  4. Penn's Landing
( 9:24)  5. One For Tony
( 6:38)  6. Quick Fix
( 8:33)  7. Barbara Anastasia

On drummer Clarence Penn's debut as a leader, he has gathered the talents of bassist Rodney Whitaker, tenor saxophonist Ron Blake, and trumpeter John Swana to perform seven post-bop originals three by Penn, two by Blake, and one each by Swana and Whitaker with satisfying results. The underrated Swana and Blake play with passion and great skill as always but, due to the absence of piano, Penn's muscular drumming and Whitaker's huge-toned bass consistently stand out throughout this recording. Favorites include the up-tempo burners "C.P. Time" and "Quick Fix"; "One for Tony," Whitaker's dedication to the late drummer Tony Williams; and the medium-tempo title track, Penn's homage to John Coltrane and Elvin Jones, which captures the spirit of these great musicians without resorting to imitation. All in all, this is a fine debut that makes one eager for Penn's next one. ~ Greg Turner http://www.allmusic.com/album/penns-landing-mw0000033565

Personnel: Clarence Penn (drums); Ron Blake (tenor saxophone); John Swana (trumpet, flugel horn); Rodney Whitaker (bass).

Penn's Landing

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Ralph Bowen - Soul Proprietor

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 70:34
Size: 161,8 MB
Art: Front

(10:27)  1. Invitation
( 6:57)  2. Soul Proprietor
( 8:50)  3. My Ideal
( 6:57)  4. Spikes
( 8:55)  5. Under A Cloud
( 8:22)  6. The First Stone
( 9:45)  7. Inner Urge
( 6:08)  8. Meltdown
( 4:10)  9. Peace

As revolutionary as the compact disc has been to the music industry, sometimes you really can have too much of a good thing. More specifically, I can’t help but echo what producer Michael Cuscuna once told me about new releases. He bemoaned the fact that many of today’s discs are just too long, wearing out their welcome way before concluding their run, and I can’t help but admit that after about 50 minutes or so my attention starts to wander. So what does all this have to do with saxophonist Ralph Bowen’s most recent Criss Cross session as a leader? Well, at just about 70 minutes in duration, Soul Proprietor is definitely on the long side, but it holds up extremely well thanks to a great program of standards and originals and a cohesive ensemble that locks in tight for the duration. Bowen first came to the fore as a member of the hard bop unit Out Of the Blue in the ‘80s. Since then the saxophonist has kept a low profile, active mainly as a college educator, yet his stature as a mature soloist has not diminished. Although he had previously recorded a set for Criss Cross many years ago, Soul Proprietor is a return to form and it features an outstanding rhythm section with organist Sam Yahel, guitarist Peter Bernstein, and drummer Brian Blade. As an added bonus, trumpeter John Swana fills out the front line on several tracks giving things an updated groove in the lineage of Larry Young’s Unity.


Bowen’s husky tone brings on “Invitation” with confidence, Swana quickly falling into the mix with his own distinctive voice. Things unfold in a relaxed manner, Bowen preferring to use space rather than cramming every beat with rapid flurries of notes. Peter Bernstein opens the title track and sings the melody in uncluttered fashion before stepping aside for Bowen to launch his initial gambit. “My Ideal” and “Peace” are spots where Bowen really gets to shine, the former a ballad feature and the latter a solo tour-de-force chock full of harmonics and over blowing. “Spikes” emerges as a cleverly disguised line built on Rhythm changes and at one point Swana and Bowen go at it without any accompaniment, their intertwined lines uniting in stimulating counterpoint. With a section in the odd meter of 7/2, Bowen’s “Meltdown” tackles Coltrane’s changes from “Countdown” but in a sage new way that offers a real challenge to all.  Of course, Yahel and Blade have worked together regularly, most recently as members of Josh Redman’s current trio, while the two joined forces with Bernstein on Yahel’s Criss Cross debut. Thankfully, Bowen and Swana have harnessed the power of this trio and the whole proves to be even greater than the sum of the individually gifted parts. ~ C.Hovan Andrew http://www.allaboutjazz.com/soul-proprietor-ralph-bowen-criss-cross-review-by-c-andrew-hovan.php

Personnel: Ralph Bowen (tenor sax), John Swana (trumpet), Peter Bernstein (guitar), Sam Yahel (organ), Brian Blade (drums).

Soul Proprietor

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Clarence Penn - Play-Penn

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 67:28
Size: 154,8 MB
Art: Front

( 6:59)  1. Teo
( 5:05)  2. Grace-Ann
( 9:42)  3. You Must Believe in Spring
( 6:37)  4. Blues for Paris
( 6:13)  5. The Charm
( 5:09)  6. Consistent-Seay
( 8:28)  7. Red Alert
( 8:45)  8. Essence
(10:26)  9. Preston's Theme

Change is a necessary factor in the musical development of jazz musicians and listeners. It's the fuel for the creative process that expands the boundaries for this thing we call jazz music. Clarence Penn's 1997 debut recording Penn's Landing, won him critical acclaim in many jazz circles. The essence of that recording highlighted an immensely talented drummer who displayed deep skills in musical composition,arrangement, and musicianship. Penn's group for that session featured a piano-less quartet that was in many cases more creative and tight than most typical jazz ensemble with keys. The piano was not missed at all. In fact, it was a refreshing change that in many aspects allowed more freedom. The extremely talented musicians for that session were trumpeter John Swana, Ron Blake on sax, and Rodney Whitaker on bass. The recording featured a heavy swing and post bop orientation with tight arrangements that transcended the typical jazz quartet. Mr. Penn has been changing in one form or another throughout his musical career, whether playing with the Detroit Civic Symphony, to touring and recording with jazz statesmen such as Makoto Ozone, Michael Brecker, or Dave Douglas.

For the new recording, Penn expresses himself even further with the same musicians on his debut, but with a lighter feel. This is jazz that can't be easily classified into a particular category. There are various traces of many influences e.g. Monk, Coltrane, Elvin Jones, and Mingus, but Penn propels his own voice cloud and clear. Penn also added new flavor with the addition of notable European guitarist Jesse Van Ruller whose hollow body expertise sparked new texture to the already talented group. Selections such as Monk's timeless "Teo" are given Penn's personal stamp as well as more mellow selections like the dreamy cut, "The Charm". The musicians are all up to the challenge of change. Swana on trumpet is as smooth and free as ever and contributes one of the session's most aggressive selections, "Red Alert". Rodney Whitaker is one of today's top bassists and shines thought out the recording giving choice solos as well. Ron Blake is a killer saxophonist who displays great depth and soul throughout the recording. Jesse Van Ruller, a Thelonious Monk Competition guitar winner; swings, grooves, and flows throughout the session with skill and talent which shows why he won the prestigious award. Clarence Penn shows exceptional skills that are still evolving. The evidence of Penn's talent is displayed throughout the recording with great aplomb. Intricate solos, exquisite rhythms, percussive exploits, and tender brush strokes showcase the multifaceted Penn. The listener is treated to a musician who adapts to change in a creative way. It will be interesting to see what changes are in store from the ever changing skills of Clarence Penn. Recommended. ~ Mark F.Turner  http://www.allaboutjazz.com/play-penn-clarence-penn-criss-cross-review-by-mark-f-turner.php

Personnel: Clarence Penn (drums); Ron Blake (tenor saxophone); John Swana (trumpet); Jesse Van Ruller (guitar); Rodney Whitaker (bass).

Play-Penn

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John Swana - On Target

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 67:28
Size: 154,7 MB
Art: Front

(7:18)  1. Through My Eyes
(8:15)  2. Mud Puppy
(8:30)  3. Sweet Sadness
(6:37)  4. On Target
(7:19)  5. View From Above
(6:20)  6. When Love Was You And Me
(7:35)  7. Jitterbug Waltz
(9:14)  8. Suspended Sentence
(6:16)  9. Philly Jazz

For On Target , Swana has assembled an unusal quartet, featuring guitarist Jesse Van Ruller, bassist John Patitucci, and drummer Eric Harland. The references to Art Farmer's early '60s combo with Jim Hall are not to be denied and like Farmer, Swana is not only impressive in his ability to carry much of the solo load but also in the sagacious ways he voices the heads. Seven of the nine tracks come from the trumpeter's pen and each one taps a different stylistic mood. "Sweet Sadness" finds Swana at his lyrical best, while the expansive "Suspended Sentence" simmers quite well at medium tempo. Quite different from all his other Criss Cross sides, On Target further consolidates Swana's individuality. It's a quieter, gentler record with many treats in store. ~ C.Andrew Hovan  http://www.allaboutjazz.com/john-swana-on-target-and-new-york-philly-junction-by-c-andrew-hovan.php#.VGrFuMmHmtg

Personnel: John Swana (trumpet), Jesse Van Ruller (guitar), John Patitucci (bass), Eric Harland (drums)

On Target

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John Swana - Tug Of War

Bitrate: 320K/s

Time: 69:06

Size: 158.2 MB

Styles: Post bop, Trumpet jazz

Year: 1999

Art: Front

[ 7:59] 1. Freddie

[10:02] 2. Tug Of War

[ 7:57] 3. Vic Arpeggio

[ 8:05] 4. Innocence

[ 8:01] 5. Pure Bliss

[ 7:22] 6. Smile

[ 6:38] 7. Puss 'n' Boots

[ 7:25] 8. Pure Imagination

[ 5:33] 9. Quick Fix

On Philadelphia-based trumpeter John Swana's sixth Criss Cross recording, the Philadelphia-based trumpeter joins forces with drummer and fellow Philadelphian Byron Landham and other musical peers -- tenor saxophonist Chris Potter, pianist David Hazeltine, and bassist Dwayne Burno -- to perform a good mixture of up-tempo swingers, medium swingers, and ballads, with seven of the nine selections written by Swana. Highlights include "Freddie" -- dedicated to Freddie Hubbard but reminiscent of Wayne Shorter's classic composition "Black Nile" -- "Vic Arpeggio," a humorous swinger named after a character on a TV comedy, the slow blues "Puss 'n Boots," and the up-tempo "Quick Fix." Tug of War exemplifies the high-quality modern mainstream jazz usually found on this Dutch label and is a welcome addition to the Swana discography. ~Greg Turner

Recorded December 17, 1997 & December 14, 1998 in New York City, NY, USA & Brooklyn, NY, USA by Max Bolleman

Tug Of War

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John Swana - Bright Moments

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 72:05
Size: 165,5 MB
Art: Front

(4:42)  1. Wilbert
(6:21)  2. Chillin' Out
(6:45)  3. Road Trippin'
(7:44)  4. Ferris Wheel
(5:24)  5. Shrack's Corner II
(8:10)  6. Bright Moments
(8:06)  7. Inevitable Encounter
(6:47)  8. Everything I Have Is Yours
(7:04)  9. KD
(6:27) 10. Open Highway
(4:31) 11. Shrack's Corner I

Trumpeter John Swana's Philadelphia hard bop roots are clearly evident on this set of originals that takes definite cues from the distinctive sound of Art Blakey's Jazz Messengers in bygone days. The title is not a reference to Rahsaan Roland Kirk's classic album, but a concept suggested to the leader by organist Trudy Pitts. With a solid, burnished, and clear tone, Swana and his sextet featuring twin tenor saxes in Eric Alexander and Grant Stewart swing strongly through original mainstream jazz that is lyrically tuneful and harmonically rich. Where tracks like "Wilbert" (for ex-Philadelphia Eagles NFL running back Wilbert Montgomery) and "Road Trippin'" reflect that fleet-foot hard bop image, others tend to be effortlessly bluesy or soulful. This simple but direct approach is a rarity in contrast with modern mainstream, complex jazz, but Swana is not so much looking back as he is keeping the straight-ahead home fires burning. ~ Michael G.Nastos  http://www.allmusic.com/album/bright-moments-mw0000752017

Personnel: John Swana (trumpet, flugelhorn); Eric Alexander, Grant Stewart (tenor saxophone); David Hazeltine (piano); Peter Washington (bass instrument); Kenny Washington (drums).

Bright Moments

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John Swana - John Swana & Friends

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 61:40
Size: 141,6 MB
Art: Front

( 9:40)  1. Oleo
( 7:49)  2. Before You
( 7:15)  3. Darn That Dream
( 6:18)  4. Out Of My Dreams
( 6:18)  5. You Don't Know What Love Is
( 8:42)  6. Straight, No Chaser
( 5:27)  7. I Didn't Know What Time It  Was
(10:07)  8. Pendulum At Falcon's Lair

John Swana is one of the most exciting trumpeters to arrive for a decade,” declares Mark Gardner, co-author of Blackwell's Guide to Recorded Jazz. Born in Norristown, Pennsylvania, a suburb of Philadelphia, Swana took up Trumpet at the age of 11. He was drawn to jazz at the age of 17 after hearing Dizzy Gillespie, and the interest developed into a passion while he was in college. There he began transcribing the solos of Freddie Hubbard, Clifford Brown, Miles Davis, and Tom Harrell. Swana has performed and toured with the Mingus Big Band. He has also played with well known jazz names such as Don Patterson, Shirley Scott, Mickey Roker, Stanley Turrentine, Harold Mabern, Cecil Payne, Johnny Coles, Ralph Peterson, Charles Fambrough, Bobby Watson, Trudy Pitts, Bootsie Barnes, Craig Handy, Chris Potter, Stephen Scott, Tim Warfield, Eric Alexander, Sam Newsome, Brad Mehldau,Vincent Herring, Uri Caine, Tim Armacost, Peter Leitch, Peter Bernstein, Ravi Coltrane, Ralph Bowen, Terrel Stafford, Seamus Blake, and Robin Eubanks. 

He has also been heard with Freddie Hubbard, Phil Woods, Ronnie Cuber, Eddie “Lockjaw” Davis, Clark Terry, Frank Foster, John Faddis, Slide Hampton, J.J. Johnson, Bob Minzer, and Charlie Persip. John Swana can be heard on recordings with: Benny Golson, Grover Washington Jr., Charles Fambrough, Craig Handy, Tito Puente, Bill O'Connell, Lenny White, Ricky Sabastian, Marlon Simon, Ed Simon, Dave Valentin, Cafe', Art Webb, Adam Holtzman, Ralph Bowen, Ron Blake, Peter Bernstein, Carl Allen, Mulgrew Miller, Benny Green, Kenny Barron, Tim Warfield, Lewis Nash, Clarence Penn, Kevin Hays, Chris McBride, Uri Caine, Peter Leitch, Marvin “Smitty” Smith, Ralph Peterson, Bobby Zankel, and Tom Harrell. http://musicians.allaboutjazz.com/johnswana

Personnel: John Swana (trumpet, flugelhorn); Bill Pierce (tenor saxophone); Tom Harrell (trumpet, flugelhorn); Mulgrew Miller (piano); Billy Drummond (drums).

John Swana & Friends

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John Swana & Joe Magnarelli - Philly - New York Junction

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 68:53
Size: 158,1 MB
Art: Front

(8:38)  1. Fat Cat
(8:06)  2. In Balance
(7:44)  3. Growing Pains
(7:12)  4. Philly - New York Junction
(6:28)  5. Pannonica
(9:56)  6. I've Never Been In Love Before
(7:53)  7. Lollipops And Roses
(6:21)  8. Ughy Beauty
(6:31)  9. Buffalo

On this collaboration of Criss Cross recording artists, trumpeters John Swana and Joe Magnarelli join forces with tenor saxophonist Eric Alexander, pianist Joel Weiskopf, bassist Peter Washington, and drummer Kenny Washington, all veterans of many Criss Cross recording sessions, to perform four originals by the band members, three jazz classics, and two standards. Both Swana and Magnarelli are skilled improvisers on their chosen instruments and active performers on their city's respective jazz scenes. Philadelphia resident Swana has a slightly darker tone and plays the longer phrases, and Alexander's energetic tenor sax is a nice contrast to the twin trumpets. Favorites include Swana's up-tempo blues "Fat Cat," Magnarelli's introspective "Growing Pains," the swinging title track based on the changes to "Star Eyes," and the medium shuffle of Kenny Dorham's "Buffalo." This is a welcome addition to both player's discographies. ~ Greg Turner  http://www.allmusic.com/album/philly-new-york-junction-mw0000043151

Personnel: John Swana (trumpet, flugelhorn); Eric Alexander (tenor saxophone); Joe Magnarelli (trumpet, flugelhorn); Joel Weiskopf (piano); Kenny Washington (drums).

Philly - New York Junction

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