Milt Hinton - Laughing At Life

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 54:48
Size: 130,2 MB
Art: Front

(7:17)  1. A Child Is Born
(5:46)  2. Sweet Georgia
(4:23)  3. Brown
(4:32)  4. Laughting At Life
(4:05)  5. Prelude To A Kiss
(3:04)  6. Indiana
(5:04)  7. Mona's Feeling Lonely
(4:20)  8. Jon John
(4:33)  9. Old Man Harley
(4:52) 10. Just Friends
(6:52) 11. The Judge And The Jury

Milt Hinton's major label debut as a leader (at age 85), other than a 1955 date for Victor, finds the great bassist utilizing two separate rhythm sections on a variety of standards. In addition to fine solos from pianists Richard Wyands and Derek Smith, there are guest appearances by trumpeter Jon Faddis (who defies his stereotype by sounding closer here to Roy Eldridge than to Dizzy Gillespie) and veteran Harold Ashby whose warm tenor recalls Ben Webster. Even if Hinton's three vocals are one too many, his singing has its charm. The finale "The Judge and the Jury" adds four other bassists for a very musical tribute to one of the few veterans of the 1920s still to be heard in his prime in the mid-'90s. ~ Scott Yanow https://www.allmusic.com/album/laughing-at-life-mw0000628214

Personnel:  Bass, Vocals – Milt Hinton;  Bass – Brian Torff, Lynn Seaton, Rufus Reid, Santi Debriano;  Drums – Alan Dawson, Dave Ratajczak, Terry Clark;  Piano – Derek Smith, Richard Wyands;  Saxophone [Tenor] – Harold Ashby ;  Trumpet, Flugelhorn – Jon Faddis

Laughing At Life

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Jon Faddis - Remembrances

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 67:14
Size: 154,5 MB
Art: Front

(7:06)  1. Sophisticated Lady
(6:06)  2. Laura
(7:23)  3. Speak Like a Child
(5:54)  4. Footprints
(5:58)  5. Naima
(6:35)  6. Johnny Bug
(6:47)  7. La Rosa Y El Sauce
(7:05)  8. In Your Own Sweet Way
(7:38)  9. Riverside Park
(6:38) 10. Goodbye

Jon Faddis speaks for himself on Remembrances. For many years critics thought of him as a Dizzy Gillespie clone. As director of The Carnegie Hall Jazz Orchestra he earned the distinction of being his own man. Carlos Franzetti, who arranged and conducted Portraits of Cuba (a Grammy winner for Paquito D’Rivera) uses his ingenious mastery again with Faddis. This disc is a well a conceived program of standards, both from the Great American Songbook and standards written by world class musicians. Franzetti chose instrumentation that is unique for a jazz group. The sidemen on this album are all excellent musicians in their own right. Here, you have Paquito D’Rivera playing soprano, tenor sax and the clarinet. His soprano solo on "In Your Own Sweet Way" is unmistakable, but still embraces the theme of the disc and enhances the music. Other instrumentation chosen for the group include bassoon, French horn, oboe, English horn, in addition to the sax section, rhythm section, and trombone. "Sophisticated Lady," "Laura," and the closer, "Goodbye," are all presented in a fresh way for a new generation. 

Faddis eschews high harmonics, rather embraces a relaxed manner that celebrates the ballads without disturbing their origins. "Footprints," "Naima," La Rosa Y El Sauce," and Franzetti’s own composition "Riverside Park," are all done with thought and conviction. Remembrances has "classic" potential and is sure to appeal to even the discerning jazz listener. Chesky recorded this CD at St. Peter’s Episcopal Church in New York City and it is yet another example of their commitment to harmonic perfection.
By Arthur C. Bourassa https://www.allaboutjazz.com/remembrances-jon-faddis-chesky-records-review-by-arthur-c-bourassa.php


Personnel: Jon Faddis - Trumpet, Flugelhorn, Paquito D'Rivera - Clarinet, Sax (Soprano), Sax (Tenor), Soprano (Vocal), Bill Easley - Clarinet, Sax (Tenor), George Young - Flute, Sax (Alto), John Clark - French Horn, Lawrence Feldman - Flute, Sax (Alto), Kenneth Hitchcock - Clarinet (Bass), Sax (Baritone), Dale Kleps - Flute, Sax (Alto), Clarence Penn - Drums, Jim Pugh - Euphonium, Trombone (Alto), Trombone (Tenor), Tenor Trombone, Stewart Rose - French Horn, Roger Rosenberg - Bassoon, Clarinet (Bass), Sax (Baritone), Peter Washington - Bass, David Hazeltine - Piano.

Remembrances

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Charles Mingus - The Lost Album From Ronnie Scott's

Styles: Bop, Post Bop
File: MP3@320K/s
Time: 145:32
Size: 334,2 MB
Art: Front

( 1:01) 1. Introduction
(30:44) 2. Orange Was The Color Of Her Dress (Then Silk Blues)
(19:52) 3. Noddin' Ya Head Blues
(29:57) 4. Mind-Reader's Convention In Milano (Aka Number 29)
( 0:44) 5. Ko Ko (Theme)
(35:00) 6. Fables Of Faubus
( 7:35) 7. Pops (When The Saints Go Marching In)
(18:33) 8. The Man Who Never Sleeps
( 2:02) 9. Air Mail Special

After the emotional and economic bankruptcies of the late 1960s that nearly took him out of the picture entirely, 1972 broke well for Charles Mingus. He had re-signed with Columbia and delivered the revered Let My Children Hear Music. (He would, a year later, be part of the great Clive Davis jazz purge of 1973 which included Keith Jarrett, Bill Evans, and, some argue Ornette Coleman.) Grants and commissions were coming in and his music, in all its bold, gnarly, swooning vehemence, was being performed far and wide. His irascible, erotic, and essential autobiography, Beneath the Underdog, had finally been published. More and more, Sue Mingus was becoming the edifying force in his life, a beacon for his health, his creativity, his business. Most importantly, as first evidenced by Charles Mingus And Friends In Concert (Columbia, 1972) it was all coming together for him onstage.

Even though his multiple demons (all the usual human foibles but magnified by genius) were never too far from the forefront of his garrulous self, history, while it often casts shade on even our most beloved icons, has been kind to Mingus. He's recognized in the same breath as Duke Ellington, Charles Ives, and Claude Debussy. Now, just in time for a loud and rowdy celebration of his 2022 centennial (April 22) and Record Store Day (April 23) another very sweet slice of history is heard gloriously on The Lost Album from Ronnie Scott's.

Why it takes fifty years for music of this muscle and magnitude to be released is just one of the great eternal questions, but here it is so let's rejoice. Fully authorized by Jazz Workshop, Inc., and given the full Resonance Records grand treatment: interviews with Charles McPherson, Eddie Gomez, Christian McBride; anecdotes from Mary Scott, Sue Mingus, and Fran Lebowitz, as well as archival and production liner notes. But it's the music that spins the head, spikes the pulse, and whips the carpet out from under one. It's what Mingus would want.

So it's the two nights in August at the end of a successful European run and the players are in flux but wasn't flux at the crux of Mingus' most inspired moments? Nineteen year old trumpeter Jon Faddis was not only trying to hone his young brilliance, he was trying to do so through the Mingus maze. Little known pianist John Foster succeeds Jaki Byard and drummer Roy Brooks has taken over for Mingus stalwart Dannie Richmond, who left to soak in some short lived pop rock with Mark Almond Band. It begins as most great jazz moments do. Immediately. Ronnie Scott intros the sextet. Mingus rumbles a happy birthday, thanks the audience for letting their claps be recorded, and it's off to the races with the unapologetic zest and swagger of "Orange Was the Color of Her Dress, Then Silk Blues," a full half hour of stunning, multi-part alchemy. Foster proves he's up to the task, keeping up with the turns and tides precipitated by alto saxophonist Charles McPherson and his tenor counterpart, Bobby Jones.

Variation upon variation. Creation on the fly. "Ysabel's Table Dance" (one of the many glories from Tijuana Moods (RCA, 1962) knits in and out of the general creative mayhem. There's some church, some New Orleans, some breakdowns and fanfares. Faddis and Foster, with Jones on soprano sax, hold court, hand off. Mingus guides and goads. It's an unstoppable momentum that moves into a burly bass solo intro "Noddin' Ya Head Blues" a slow, low down blues that brings Foster to the vocal forefront telling his woman "I need it every morning, I need it every night" as the horns slink and slur. So expansive is the setting that Brooks gets a musical saw solo, as well he should.

Spoiler alert: From here The Lost Album from Ronnie Scott's just gets better and better. Cascading for another riotous half hour, the recently minted Mingus twister "Mind-Readers' Convention in Milan" puts one and all to the test and just can't be described with any real justice. It needs to be heard. It needs to be experienced.

Though by its very nature any jazz moment can be considered one of kind, the barely contained madcappery that ensues in this truly one-for-the-ages performance of the seismic "Fables of Faubus" is the stuff of legend. It noodles, it sprawls, it quarrels. It reaches for the London skies and returns to the stage with ether to burn. Mingus roils as Faddis blows beyond his years, the saxophones cut and weave, Foster veers from stride to barroom to bop and Brooks drives headlong into the hijinks. In a word, remarkable. Ditto The Lost Album from Ronnie Scott's.~Mike Jurkovic https://www.allaboutjazz.com/the-lost-album-from-ronnie-scotts-charles-mingus-resonance-records__7280

Personnel: Charles Mingus: bass, acoustic; Charles McPherson: saxophone, alto; Bobby Jones: saxophone, tenor; Jon Faddis: trumpet; John Foster: piano; Roy Brooks: drums.

The Lost Album From Ronnie Scott's

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Jon Faddis - Legacy

Styles: Trumpet Jazz
Year: 1985
File: MP3@320K/s
Time: 42:22
Size: 98,0 MB
Art: Front

(5:36)  1. West End Blues
(5:38)  2. Little Jazz
(6:03)  3. A Night In Tunisia
(4:45)  4. Instigator
(3:31)  5. Things To Come
(7:02)  6. A Child Is Born
(4:10)  7. Li'l Darlin'
(5:32)  8. Whisper Not

After too long a period in the studios, talented trumpeter Jon Faddis returned to jazz with this brilliant effort. Best known for his ability to closely emulate his idol, Dizzy Gillespie (far from an easy feat), Faddis pays tribute to Gillespie with "Night in Tunisia" and "Things to Come." However, he also does a close imitation of Roy Eldridge on "Little Jazz," pays homage to Louis Armstrong on "West End Blues," shows sensitivity on Thad Jones' "A Child Is Born," and performs three other numbers. 

With the assistance of tenor saxophonist Harold Land, pianist Kenny Barron, bassist Ray Brown, and drummer Mel Lewis, Jon Faddis is in superb form throughout this outstanding release, his definitive recording. ~ Scott Yanow https://www.allmusic.com/album/legacy-mw0000187987

Personnel: Jon Faddis - trumpet, flugelhorn;  Kenny Barron - piano; Ray Brown - bass; Harold Land - tenor saxophone;  Mel Lewis - drums

Legacy

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David Sanborn - Straight To The Heart

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 52:11
Size: 120,2 MB
Art: Front

( 6:45)  1. Hideaway
( 5:09)  2. Straight to the Heart
( 6:27)  3. Run for Cover
(10:39)  4. Smile
( 5:07)  5. Lisa
( 6:51)  6. Love & Happiness
( 7:04)  7. Lotus Blossom
( 4:06)  8. One Hundred Ways

With bassist Marcus Miller acting as producer and some memorable tunes being performed (most notably "Hideaway" and "Straight to the Heart"), this is one of altoist David Sanborn's better R&B-ish recordings. Joined by keyboardist Don Grolnick, guitarist Hiram Bullock, bassist Miller, drummer Buddy Williams and various guest musicians, Sanborn sounds fairly inspired and is in top form. ~ Scott Yanow https://www.allmusic.com/album/straight-to-the-heart-mw0000649716

Personnel: David Sanborn – alto saxophone; Don Grolnick – keyboards; Hiram Bullock – guitar, background vocals; Buddy Williams – drums; Marcus Miller – bass guitar, synthesizer, background vocals; Ralph MacDonald – percussion (3, 5, 8); Errol Bennett – percussion (2); Michael White – percussion (6); Michael Brecker – tenor saxophone (8); Randy Brecker – trumpet (8); Jon Faddis – trumpet (8); Hamish Stuart – lead vocals (6); Lani Groves – background vocals (8); Frank Floyd – background vocals (8); Vivian Cherry – background vocals (8)

Straight To The Heart

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Les McCann - Another Beginning

Styles: Piano, Clarinet Jazz
Year: 1974
File: MP3@320K/s
Time: 42:58
Size: 101,2 MB
Art: Front

( 4:00)  1. Maybe You'll Come Back
( 3:18)  2. The Song Of Love
(10:30)  3. When It's Over
( 3:37)  4. Somebody's Been Lying 'Bout Me
( 5:24)  5. Go On And Cry
( 5:23)  6. My Soul Lies Deep
( 3:43)  7. The Morning Song
( 6:59)  8. Someday We'll Meet Again

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic. McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra. McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~ Scott Yanow https://itunes.apple.com/au/album/another-beginning/204677906

Personnel:  Les McCann- (Vocals, Piano, Electric Piano, Clarinet, Synthesizer);  Jon Faddis, Joe Wilder- (Trumpet);  Herbie Hancock- (Piano);  Chuck Rainey- (Electric Bass);  Cissy Houston- (Background Vocals).

Another Beginning

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The Count Basie Orchestra - All About That Basie

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

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

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

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

All About That Basie

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Grover Washington, Jr. - All The King's Horses

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 32:12
Size: 74,4 MB
Art: Front

(3:50)  1. No Tears, In The End
(3:49)  2. All The King's Horses
(5:07)  3. Where Is The Love
(3:05)  4. Body And Soul (Montage)
(4:25)  5. Lean On Me
(7:03)  6. Lover Man
(4:50)  7. Love Song 1700

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. 

Then there's the gorgeous and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk  is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.

~ Thom Jurek https://www.allmusic.com/album/all-the-kings-horses-mw0000314316

Personnel:  Grover Washington Jr. – tenor and alto saxophone;  Bob James – arranger, conductor, electric piano, Harpsichord;  Richard Tee – organ;  Arthur Clarke, Pepper Adams – baritone saxophone;  John Frosk, Alan Rubin, Ernie Royal, Marky Markowitz, Marvin Stamm, Snooky Young, Jon Faddis – trumpet, flugelhorn;  Paul Faulise, Tony Studd, Wayne Andre – trombone;  Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge – French horn;  George Marge – alto saxophone, flute, English horn, oboe;  Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini – guitar;  Margaret Ross – harp;  Ron Carter – bass;  Gordon Edwards – bass;Bernard Purdie – drums;  Billy Cobham – drums;  Airto Moreira – percussion;  Ralph MacDonald – congas;  Richard Dickler, Emanuel Vardi – viola;  Alexander Cores, Bernard Eichen, Irving Spice, Joe Malin, John Pintaualle, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman – violin;  Charles McCracken, George Ricci – cello

All The King's Horses

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John Tropea - Short Trip to Space

Styles: Guitar Jazz
Year: 1977
File: MP3@320K/s
Time: 36:27
Size: 85,4 MB
Art: Front

(3:12)  1. The Funk You See, Is the Funk You Do!
(4:15)  2. Can't Hide Love
(3:43)  3. Southside
(5:18)  4. You Can't Have It All
(7:14)  5. Short Trip to Space
(6:16)  6. Blue Too
(2:06)  7. Love's Final Moment
(4:20)  8. Twist of the Wrist

John Tropea is one of the most admired and highly regarded guitar players of his generation. His playing shows a vast knowledge and respect for the tradition of the instrument as well as an original style that continues to define how the guitar best serves a wide variety of musical styles. He is a musician’s musician who attracts the finest players for his own projects. Tropea has written for and played with major recording artists from around the world. In his long career, his contributions to other artist’s successes have been numerous, including his solo work with Deodato, (2001 theme), projects with Laura Nyro, Harry Chapin (Cat’s in the Cradle), Paul Simon (Fifty Ways), Alice Cooper (Goes to Hell), Eric Clapton (Journey Man), Dr. John, and many others. He is also a composer, arranger, and producer whose vital work is ably demonstrated by his personal projects. Tropea has a deserved worldwide reputation as an artist of quality among both audiences and other musicians. Tropea began guitar studies at the age of 12. His musical education continued at Berklee School of Music in Boston, where he studied jazz guitar, harmony, composition, and big band arranging. Immediately after arriving in Boston, Tropea began playing live R & B and jazz gigs with many different bands in the area, including The Three Degrees. Influenced by Wes Montgomery, Johnny Smith, Louis Bonfa, Pat Martino, and George Benson, it was at this time that Tropea began to absorb those influences into an original style of his own. Also among his mentors at the time were the great B3 organ players Jack McDuff and Jimmy Smith. After Berklee, Tropea recorded and toured with Deodato. Moving to New York in 1967, Tropea quickly became one of the most sought after session players. He soon became a peer among New York’s finest studio musicians. As well as world touring, Tropea wrote and produced three critically acclaimed solo albums with TK records. His first solo album “Tropea,” was released in 1975, followed by “Short Trip to Space,” and “To Touch You Again.” With those early recordings and other projects, Tropea formed close musical alliances with other great New York musicians including: David Spinozza, Warren Bernhardt, David Sanborn, Randy and Michael Brecker, Steve Gadd, Anthony Jackson, Don Grolnick, and Richard Tee (Tropea played in The Richard Tee band).

During this time Tropea also wrote and arranged music for film and broadcast advertising. With his frequent co-producer and friend Will Lee, Tropea went on to release “Simple Way to say ‘I Love You,’ and “Something Old, New, Borrowed and Blues” Live gigs from that era by The Tropea Band at Mikell’s, in New York City, remain legendary. Along with his own projects, Tropea currently plays with the Original Blues Brothers Band. Recently, Tropea has formed an astonishing band that not only gives voice to his “standard influences” but also defines him as a player, composer, and arranger of consummate musicianship and exciting presence. “When I was in college at Berklee School of Music, I was introduced to the Hammond B3 Bands and it was a heavy influence in my development. At this time in my life now, it is my passion to continue to play with this format.” Tropea’s band plays live regularly these days and has produced two CDs, “Standard Influence,” and “Standard Influence II/Rock Candy,” both “must haves” in any CD collection. Made up of world-class players, this is no pick up band; this is a REAL band that plays with the refined sense of ensemble one finds in the finest string quartet or chamber music group. Made up of: Ronnie Cuber, baritone sax, Clint de Ganon, drums, or Steve Gadd, drums, Anthony Jackson, electric bass, Dave Mann, tenor sax, Lou Marini, tenor sax, and Chris Palmaro, Hammond B3; everyone in this band is a virtuoso, yet no one ever over-plays.

While the band has a refined sense of time and a compelling groove that makes it impossible to sit still while listening, the arrangements have, at the same time, a transparency that allows the listener in, where all the intricacies become apparent. The sound is always balanced. You hear what everyone is playing. The musicians in this band know how to use space in their playing. And while all the solo playing is creative, musical, and virtuosic, it is the rhythmic component, the sense of accent, the power of the ensemble playing that drives this group to astonishing heights of excitement. The comping, the back up playing, is as vital, as intricate, as interesting as the solo playing integrated with it. Here is a refined group of musicians whose playing complements one another, whose aim is the sound, the quality of the band as a whole. They achieve this goal to the highest degree.  The band plays jazz, R&B, and Funk standards, along with original compositions. But each tune is made up of an original, tightly constructed, and sophisticated arrangement. This quality is a delight for the listener and makes an audience eagerly look forward to the next tune and what wonderful surprises that next tune will bring. Don’t look for long solos, endless choruses from this band. That is not what they are about. There is no dross here. While the band demonstrates complete understanding and mastery of a variety of musical styles, they play entirely without cliché. And this band knows how to program a set. Offering a wide dynamic balance, The Tropea Band plays with a savvy and wit that is appreciated by its audiences. Continually bringing new elements and surprises with each new tune, they know how to drive a set to an unbelievably energetic and satisfying conclusion. With the respect he has gained from some of the finest musicians playing today, Tropea has been able to put together a group that shares his vision, that continues to re-define venerable traditions, and that makes music together that is of lasting beauty and significance. Tropea has once again gotten back to his live audience, as well as those who follow his recordings, and with this band, he has found his apotheosis. https://store.cdbaby.com/cd/johntropea5

Personnel:  Guitar – David Spinozza , John Tropea;  Bass – Richard Davis, Will Lee ;  Drums – Rick Marotta, Steve Gadd ;  Keyboards – Don Grolnick;  Organ – Leon Pendarvis;  Percussion – Ralph MacDonald, Rubens Bassini;  Producer – John Tropea;  Reeds – George Young , Lew Delgatto, Lou Marini, Michael Brecker;  Trombone – Dave Taylor, Sam Burtis;  Trumpet – Alan Rubin, Jon Faddis, Randy Brecker;  Tuba – Tony Price ;  Vibraphone – Mike Mainieri

Short Trip to Space

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Chuck Mangione - Land of Make Believe

Styles: Trumpet Jazz
Year: 1973
File: MP3@320K/s
Time: 39:04
Size: 91,1 MB
Art: Front

( 7:38)  1. Legend Of The One-Eyed Sailor
( 3:37)  2. Lullaby For Nancy Carol
( 7:23)  3. El Gato Triste
( 4:07)  4. The Gloria From The Mass Of St. Bernard
( 3:52)  5. As Long As We're Together
(12:24)  6. Land Of Make Believe

Though much less expansive than Mangione's other Mercury concerts (only 37 minutes on a single CD or LP), Land of Make Believe is the most successful of the lot, a winning combination of attractive tunes, big-thinking orchestrations, just enough jazz content, and a genuinely felt sense of idealism. Here there is no dead weight; all of the material is very engaging and the combined forces of Mangione's quartet and the Hamilton (Ontario) Philharmonic are on fire. The performance of Mangione's "Legend of the One-Eyed Sailor" still exerts a ferocious jolt of life-affirming energy, "El Gato Triste" is an attractive Latin number, and the buoyant "Gloria" from The Mass of St. Bernard with the Horsehead Chamber Singers makes one want to hear more. The childlike title tune has both a touching sense of naïveté and a lot of drive in key spots credit expert drummer Joe LaBarbera with the latter and Esther Satterfield's clear-eyed Nancy Wilson-like vocals made her famous for a time. This would be Mangione's most irresistible attempt at embracing the whole world of music and for awhile, it was possible to believe that he would become a major unifying figure in American music. Alas, thus far this would be the last full flowering of that promise. ~ Richard S.Ginell https://www.allmusic.com/album/land-of-make-believe-mw0000192140

Personnel:  Chuck Mangione - Flugelhorn, Mixing, Orchestration, Conductor, Arranger;  Joseph C. Crupi - Conductor, Director;  Marta Hidy - Concert Master, Violin;  Gap Mangione - Electric Piano, Toy Instruments;  Cello: Edgar Hayes, Zdenek Konicek;  Flute: Ned Corman, Ron Davis, Paula Elliott, Gordon Johnson, Gerry Niewood, Ray Ricker, Joe Romano, Jeff Tkazyik,;  Tuba: Charles Daellenbach;  Trombone: Eugene Watts, Bill Reichenbach Jr., Janice Robinson, Art Linser III,;  French Horn: Robert Hansen, Gregory Hustis, Graeme Page, Brad Warnaar;  Trumpet: Jon Faddis, Jeff Tyzik, Fred Mills, Ronald Romm;  Viola: Barbara Hustis, Jaroslav Karlovský, Ann Armin;  Violin: David Hung, Rudolph Kalup, Christine Haarvig, Beth Gorevic, Natalie Mysko, Margaret Neufeld, Kathryn Wunder, Michel Zaitzeff;  Tenor Sax: Ron Davis, Ray Ricker, Joe Romano;  Tenor Vocals: Ron Berger, Scott Bump, Jeff Bowlby, Steve Russell;  Alto Vocals: Kathleen Collins, Barbara Hendricks, Terry Lodge;  Soprano Vocals: Jan Walp,;  Bass Vocals: Russ Cembrinski, Michael Cleveland, Jim Smith, Jeff Wilber, Jim Wilber;  Electric Bass: Al Johnson;  Drums: Joe LaBarbera;  Bassoon: Tom Elliot, John Courtney;  String Bass: David Young, Jack McFadden;  Guitar, Guitar (Acoustic), Piano (Electric), Unknown Contributor Role: Don Potter

Land of Make Believe

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Grover Washington Jr - Soul Box

Bitrate: MP3@320K/s
Time: 68:17
Size: 156.3 MB
Styles: Fusion, Funk, Soul Jazz
Year: 1973/2008
Art: Front

[ 3:42] 1. Aubrey
[13:17] 2. Masterpiece
[15:57] 3. Trouble Man
[ 6:04] 4. You Are The Sunshine Of My Life
[11:12] 5. Don't Explain
[ 9:54] 6. Easy Living Ain't Nobody's Business If I Do
[ 8:08] 7. Taurian Matador

Alto Saxophone, Tenor Saxophone, Soprano Saxophone – Grover Washington, Jr.; Arco Bass – Richard Davis, Ron Carter; Bass – Ron Carter; Bass Trombone – Alan Raph, Paul Faulise, Tony Studd; Bassoon – Donald McCourt; Cello – Charles McCracken, George Ricci, Seymour Barab; Drums – Idris Muhammad; Flute, Clarinet, Clarinet [Contra Bass], Bass Saxophone – Wally Kane; Flute, Piccolo Flute – Hubert Laws; Flute, Piccolo Flute, Clarinet, Bass Clarinet, Oboe, English Horn – Romeo Penque; Flute, Piccolo Flute, Oboe – George Marge; Flute, Piccolo Flute, Recorder – Harvey Estrin; French Horn – Brooks Tillotson, Jim Buffington, Peter Gordon; Guitar – Eric Gale; Organ – Richard Tee; Percussion – Airto, Dave Friedman, Phil Kraus, Ralph MacDonald; Piano, Electric Piano – Bob James; Trombone – Santo Russo, Wayne Andre; Trumpet – Bernie Glow, John Frosk, Jon Faddis, Randall Brecker; Viola – Alfred Brown, Emanuel Vardi, Theodore Israel; Violin – Charles Libove, David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman; Vocals – Barbara Massey, Bernard Thacker, Eileen Gilbert, Maeretha Stewart, Randolph Peyton, Bill Eaton.

The early work of alto saxophonist and composer Grover Washington, Jr. is a rare and beautiful thing to behold. His entire Kudu period, marked by the albums Inner City Blues, All the King's Horses, Soul Box, Mister Magic, and Feels So Good, is brilliant, solid urban groove jazz played with grace, mean chops, and slippery funkiness. Soul Box, a double LP recorded in 1973, has Creed Taylor's production enhanced by a symphony orchestra and full-blown jazz band arranged and conducted by Bob James. Some of the session men include Ron Carter, Billy Cobham, Eric Gale, Idris Muhammad, Airto, and Richard Tee. Soul Box only contains seven cuts. Among them are truly innovative reads of Billy Cobham's "Taurian Matador," Stevie Wonder's "You Are the Sunshine of My Life," a side-long jam on Marvin Gaye's "Trouble Man" (the album's centerpiece and masterpiece), and the deep funk of Norman Whitfield's "Masterpiece." "Trouble Man," however, is the cut on which all the contradictions of the session come to bear and are resolved due in large part to Washington's deeply lyrical improvising and James' ability to layer an orchestra into a groove. There are cadenzas written in after choruses that bring the orchestra in to accent the sketchy funk in the tune and bring out its deep blue hues. When Washington gets to the front of it all, he lets go like he's crying from the heart. On other tracks, the orchestra adds the right drama or sweetness -- as it does on Wonder's cut -- but Washington makes them grittier, with soloing that sidles up to the melody before reinventing it. For its length, Soul Box is a modern classic for its instrumental and arrangement invention and for its deeply emotional bounty. ~Thom Jurek

Soul Box mc
Soul Box zippy

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Eric Alexander - Song Of No Regrets

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 55:07
Size: 128,0 MB
Art: Front

(6:11)  1. But here's the thing
(5:59)  2. These three words
(5:49)  3. Grinder
(2:54)  4. Corazon perdido
(6:44)  5. Mais que nada
(7:27)  6. Boom zoom
(5:31)  7. Song of no regrets
(7:19)  8. Cede's shack
(7:10)  9. Up, up and away

Eric Alexander, who has been wielding as impressive a tenor saxophone as anyone on the scene for more than two decades, returns to the studio for what seems the umpteenth time with an abundant stockpile of point-blank pleasures on Song of No Regrets, an essentially Latin-grooved session that leaves room on the first two numbers for the superlative trumpet work of guest artist Jon Faddis. One of Alexander's strengths, and perhaps the one that has caused him to be so consistently underrated when the talk turns to contemporary tenor masters, is that he makes everything seem so implausibly easy. The technique and fluency are such that there's literally nothing Alexander can't do on his horn. Ballads? No one plays them with more warmth and understanding. Barn-burners? No tempo is too rapid to outpace his dexterous fingers. As for solos, Alexander's are models of perception and tastefulness. Oh, and he also composes ("Grinder," "Corazon Perdido," "Boom Zoom"), arranges and even plays organ on Stevie Wonder's "These Three Words."

Even with Faddis lending a Diz-inspired hand (open on pianist David Hazeltine's "But Here's the Thing," muted and open on "Three Words"), Alexander leaves no doubt who's in charge, soloing with his customary power, perception and panache while "backing" himself with some emphatic organ phrases on "Three Words." Buoyant Latin rhythms are predominant on "Grinder," "Mas Que Nada" and "Boom Zoom," a framework that is enriched by the splendid talents of percussionist Alex Diaz. Sergio Mendes' "Song of No Regrets," a soulful ballad, shows Alexander's tender side, then it's back to swinging as usual on drummer Joe Farnsworth's shuffling "Cede's Shack" and Jimmy Webb's classic "Up, Up and Away," introduced by the Fifth Dimension in 1967 (and never sounding better, even without Marilyn McCoo on board). As always, Alexander is afforded a wide comfort zone by his longtime colleagues and friends Hazeltine, Farnsworth and bassist John Webber, and as always, he makes the most of it. In the perennial sweepstakes among straight-ahead small-group sessions, Song of No Regrets is a clear and decisive prize winner. ~ Jack Bowers https://www.allaboutjazz.com/song-of-no-regrets-eric-alexander-highnote-records-review-by-jack-bowers.php

Personnel: Eric Alexander: tenor saxophone, organ (2); Jon Faddis: trumpet (1, 2); David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums; Alex Diaz: conga, bongos, auxiliary percussion.

Song Of No Regrets

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Jon Faddis, Barcelona Jazz Orquestra - Dizzy's Business

Bitrate: MP3@320K/s
Time: 48:00
Size: 109.9 MB
Styles: Big band, Trumpet jazz
Year: 2014
Art: Front

[5:31] 1. Groovin' High
[5:50] 2. Birks Works
[3:07] 3. Groovin' For Nat
[5:33] 4. I Remember Clifford
[4:29] 5. Tin Tin Deo
[4:24] 6. Whisper Not
[3:08] 7. If You Could See Me Now
[4:01] 8. Jordu
[8:53] 9. A Night In Tunisia
[3:01] 10. If You Could See Me Now

Jon Faddis (born July 24, 1953) is an American jazz trumpet player, conductor, composer, and educator, renowned for both his playing and for his expertise in the field of music education. Upon his first appearance on the scene, he became known for his ability to closely mirror the sound of trumpet icon Dizzy Gillespie, who was his mentor along with Stan Kenton trumpeter Bill Catalano.

Jon Faddis was born in Oakland, California, in 1953. At 18, he joined Lionel Hampton‘s big band before joining the Thad Jones/Mel Lewis Orchestra as lead trumpet. After playing with Charles Mingus in his early twenties, Faddis became a noted studio musician in New York City, appearing on many pop recordings in the late 1970s and early 1980s. One such recording was “Disco Inferno” with the Players Association in which he plays trumpet recorded in 1977 on the LP “Born to Dance”. In the mid-1980s, he left the studios to continue to pursue his solo career, which resulted in albums such as Legacy, Into The Faddisphere and Hornucopia. As a result of his growth as a musician and individual artist, he became the director and main trumpet soloist of the Dizzy Gillespie 70th Birthday Big Band and Dizzy’s United Nation Orchestra; from 1992 to 2002, Faddis led the Carnegie Hall Jazz Band (CHJB) at Carnegie Hall, conducting more than 40 concerts in ten years, during which time the CHJB presented over 135 musicians, featured over 70 guest artists, and premiered works by over 35 composers and arrangers at Carnegie Hall. Faddis also led the Dizzy Gillespie Alumni All-Stars and the Dizzy Gillespie Alumni All-Stars Big Band from their inception through 2004, when he was appointed artistic director of the Chicago Jazz Ensemble (CJE), based at Columbia College Chicago in Illinois.

For over a decade, Jon Faddis has taught – and continues to teach – at The Conservatory of Music at Purchase College-SUNY, in Westchester, New York, where he teaches trumpet, classes, and an ensemble. Remaining true to the tradition of honoring mentors, he also leads master classes, clinics and workshops around the world; he often will bring promising students along to his gigs and allow the students to sit in, and also has produced a number of CDs for up-and-coming musicians.

Dizzy's Business mc
Dizzy's Business zippy

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