Bill Mays - Mays In Manhattan

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 64:36
Size: 152,0 MB
Art: Front

(7:46) 1. Manhattan
(5:22) 2. Summer In Central Park
(6:25) 3. U.M.M.G. (Upper Manhattan Medical Group)
(9:34) 4. New York State Of Mind
(6:33) 5. All Accross The City
(6:48) 6. Sunday In New York
(6:19) 7. 317 E. 32nd St.
(9:35) 8. Autumn In New York
(6:12) 9. '39 World's Fair

Bill Mays is a California native, but like many jazz musicians, he was drawn to live in New York City. This session is made up of songs about the Big Apple, though they come from a wide range of composers: Broadway, jazz, and pop. On four of the tracks, Mays expands his trio to a sextet, adding alto saxophonist Jon Gordon, trombonist Ed Neumeister, and trumpeter/flügelhornist Marvin Stamm.

The boisterous take of Richard Rodgers' "Manhattan" makes it seem like a cool, breezy spring day. Stamm switches to flügelhorn for Billy Joel's "New York State of Mind," in which Neumeister adds a mute (for the introduction) to carry on the "ya-ya" tradition begun by Duke Ellington's star trombonist, Tricky Sam Nanton; the piece then shifts gears to suggest a leisurely stroll in the park on a sunny day. The trio selections include a brisk interpretation of Billy Strayhorn's "U.M.M.G." (showcasing bassist Sean Smith extensively) and Lennie Tristano's tricky "317 East 32nd Street." This highly recommended CD has unfortunately been deleted from the Concord catalog.
By Ken Dryden https://www.allmusic.com/album/mays-in-manhattan-mw0000085036

Personnel: Piano – Bill Mays; Alto Saxophone – Jon Gordon (tracks: 1, 4, 6, 8); Bass – Sean Smith; Cornet – Marvin Stamm (tracks: 6); Drums – Tim Horner; Flugelhorn – Marvin Stamm (tracks: 4, 8); Trombone – Ed Neumeister (tracks: 1, 4, 6, 8); Trumpet – Marvin Stamm (tracks: 1).

Mays In Manhattan

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George Colligan - Constant Source

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 69:15
Size: 159,3 MB
Art: Front

( 7:57)  1. Tarantula
( 7:10)  2. Saga
( 6:43)  3. I'm Getting Sentimental Over You
( 5:13)  4. Flint Michigan
( 9:12)  5. Pitchrider
(13:27)  6. Void
( 9:25)  7. My Eyes That Cried
(10:05)  8. Constant Source

When it comes to spotting young talent worthy of wider recognition, it’s often those small independent labels who are responsible for giving the youngsters some visibility. This also makes for a good situation in terms of the artist because he/she, more often than not, has more control over the artistic integrity of the final product, something that is not as easily achieved when spending the big corporate dollars. The downside, however, is that the coffers for publicity are on the small side when you’re hooked up with the little independent guy. SteepleChase producer Nils Winther apparently liked what he heard when first checking out George Colligan because he gave the pianist a chance to cultivate his original voice as a vital SteepleChase artist. While not as visible here in the U.S. as those guys with the major label contracts, Colligan shows signs of becoming one of the best pianists and composers of his generation. The last Colligan SteepleChase from the back catalog to see a domestic release, Constant Source is arguably among his boldest statements. With a resonant front line pairing of alto and tenor sax (played by Jon Gordon and Mark Tuner respectively), Colligan and his crack rhythm section pull out all the stops via a ten selection set of originals (albeit a reworking of “I’m Getting Sentimental Over You”). The whole program is made up of beefy and well-developed charts that forgo the trite and customary.

sounds just like its name, with counterpoint between bass and the piano’s low end adding to the mysterious vibe. Perhaps the catchiest of the lot, “Saga” utilizes a captivating piano vamp that launches the head and subsequent solos, ultimately settling into a hybrid bossa groove. The third tune of the program is an atypical ballad entitled “Flint Michigan,” although both the CD label and the tune list on the back have the cut incorrectly listed as track number four. Showing just how adept he is at drastically altering standards, Colligan takes “I’m Getting Sentimental Over You” and turns it into a medium tempo romp in seven, with the bridge alternating between 4/4, 6/4, and a 5/8 tag. Two pieces hint at the impact of Colligan inspiration Gary Thomas. “Pitchrider” speaks in terms of ‘70s fusion, complete with George’s use of Fender Rhodes, while “Void” clocks in at over 13 minutes and contains dense passages of collective interplay that are punctuated by Howard Curtis’ acute drum work. The electric piano shows up again on the slow and spacey “My Eyes That Cried,” with the title track leaving a postscript in regards to Colligan’s compositional gifts, penned in the odd meter of 5/4. For the present, Colligan has proved a valuable sideman to vocalist Cassandra Wilson, saxophonist Don Braden, and trombonist Robin Eubanks. His already impressive oeuvre will be supplemented shortly by a new release on the Fresh Sound label and a forthcoming SteepleChase trio date. In the meantime, Constant Source, not to mention his other SteepleChase sides, finds Colligan speaking with an authority and maturation that belies his youth.~ C.Andrew Hovan https://www.allaboutjazz.com/constant-source-george-colligan-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: George Colligan (piano and Fender Rhodes), Jon Gordon (alto & soprano saxophones), Ed Howard (bass), Howard Curtis (drums)

Constant Source

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Jon Gordon - Jon Gordon Quartet

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 76:53
Size: 177,5 MB
Art: Front

( 5:48)  1. One For Charles
( 7:30)  2. The Trust Of A Child
( 6:23)  3. Evidence
( 6:04)  4. Time Trap
( 6:25)  5. What's New
( 6:53)  6. Land Of Ephysus
( 7:18)  7. My Shining Hour
(10:07)  8. Earth Song
( 5:36)  9. Pass It On, Jon
(14:46) 10. Jazzspeak

Jon Gordon's U.S. debut as a leader is an impressive start. Clearly one to watch on his main instrument, alto sax, he kicks things off with an uptempo, somewhat exotic original, "One for Charles." He also has a nice sound on the soprano on his engaging ballad "The Trust of a Child." The strong supporting cast was a functioning quartet at the time of the recording: pianist Kevin Hays, bassist Scott Colley and drummer Bill Stewart. Gordon was also clearly inspired by his former teacher, Phil Woods, who is present on several tracks, including an original dedicated to the younger man, "Pass It On, Jon." ~ Ken Dryden https://www.allmusic.com/album/the-jon-gordon-quartet-mw0000932334

Personnel:  Alto Saxophone, Soprano Saxophone – Jon Gordon;  Alto Saxophone – Phil Woods; Bass – Scott Colley; Drums – Bill Stewart; Piano – Kevin Hays

Jon Gordon Quartet

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Jon Gordon - Evolution

Styles: Saxophone Jazz
Year: 2009
Time: 63:48
Size: 103,2 MB
Art: Front

( 1:31)  1. Prelude (Grace)
( 9:16)  2. Evolution
( 7:56)  3. Shane
( 9:23)  4. Currents
(10:02)  5. Bloom
( 6:21)  6. One for Liam
( 2:55)  7. Contemplation
( 7:40)  8. Veil
( 8:40)  9. Individuation

Evolution, from saxophonist and composer, Jon Gordon, is a fine record. It sparkles with mature ideas, unbridled creativity, and soul-searching profundity. There is also polished musicianship throughout. This is where the special quality of the music of this record lies that it is not just built on an ediface of ideas suggested by its title, but on the superb development and delivery of these through an extravagantly aural suite. To that extent this work is not unlike some others including the John Hollenbeck Large Ensemble Eternal Interlude (Sunnyside Records, 2009) or even George Russell much earlier, African Game (Blue Note, 1986), albeit on a relatively smaller scale. Essentially, though, like those other landmark recordings, this one too is a kind of "Book of Ways." Its composer and musicians posit that the only constant in life is change. Although almost completely composed throughout, the music, is largely played in an idiom best suited deliver such a message jazz. As it progresses the music spins interminably and even elastically turning over harmonically several times before it concludes in an explosive crescendo. That instruments, specifically the three sets of strings, usually associated with chamber music are added on some tracks in no way interferes with the inherent swing of the performance. The start of the record is spiritual:

"Prelude" is subtitled "Grace." This short overture is somber, sways gently, proferring balance for "Evolution," which follows immediately. The strings continue to provide occasional accents to this piece, central to the whole record. The music undulates with contrapuntal, inward looking sections. Gordon's alto saxophone solo emerges about 2m 48s into the piece, from behind a bleating bass clarinet, moaning trombone, and ponderous strings. Navigating peaks and troughs in expressive harmonics about 2 minutes later in a stark fading note, Gordon hands over to pianist, Sean Wayland who makes sparkling runs and arpeggios, developing the evolution until the ensemble returns toward the end, to leave the piece somewhat hanging on a minor chord, with good reason. "Currents," "Bloom," "Contemplation," and "Veil" are all thematically and sonically connected individual works. It is still all about change, and the score continues to be somber, stiriring and yet radiant. A certain kinetic energy emboldens the music throughout. Though evenly expressed the ensemble does leave ample room for a "breakout" of sorts. "Currents" features a splendid trombone solo by Alan Ferber The trombonist is critical to the composition, but sadly, he does not solo more than just twice. His instrument is the most human speechlike of all and despite Kristin Berardi's fine vocals would have added exponentially to the music.  "Shane" and "One for Liam" (brilliant solos including those by pianist Bill Charlap) are portraits of Gordon's children, a step in the evolution of "self" and thus key to this suite. This culmination is majestically expressed in "Individuation," from its superb bass clarinet intro and trombone counterpoint to the dramatic conclusion of this work. ~ Raul D'Gama Rose https://www.allaboutjazz.com/evolution-jon-gordon-artist-share-review-by-raul-dgama-rose.php

Personnel: Jon Gordon: alto saxophone, soprano saxophones, piano (1); John Ellis: tenor saxophone (2, 4, 5, 8, 9); Doug Yates: bass clarinet (2, 4, 5, 8, 9); Dave Smith: trumpet (2, 4, 5, 8, 9); Alan Ferber: trombone (2, 4, 5, 8, 9); Sara Coswell: violin (1, 2, 7); Andie Springer: violin (1, 2, 7); Jody Redhage: cello (1, 2, 7); Nate Radley: guitar (2, 4, 5, 8, 9); Sean Wayland: piano (2, 4, 5, 8, 9); Matt Chohesy: bass (2, 4, 5, 8, 9); Mark Ferber: drums (2, 4, 5, 8, 9); Rogerio Boccato: percussion (2, 4, 5, 8, 9); Kristin Berardi: vocals (4, 5); Bill Charlap: piano (3, 6).

Evolution

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Louis Smith - Louisville

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 60:16
Size: 139,8 MB
Art: Front

(7:08)  1. Buzzy
(6:52)  2. Isfahan
(6:38)  3. Algo Bueno
(8:19)  4. I'll Close My Eyes
(7:46)  5. Ande
(6:35)  6. For All We Know
(8:06)  7. Days Of Wine And Roses
(8:49)  8. Scrapple From The Apple

Louis Smith’s Louisville (Steeplechase) is a no-frills, straightahead exercise in postbop. Smith and altoist Jon Gordon provide an excellent front line, with tight playing on heads, backed effectively by pianist Michael Cochrane, bassist Calvin Hill and drummer Jeff Hirshfield. The tune selections show imagination, from the neglected (Charlie Parker’s “Buzzy”) to the familiar (“Scrapple From the Apple”) to the in-between (Dizzy Gillespie’s “Algo Bueno,” better known as “Woody ‘n’ You”). Smith has a penchant for ballads with interesting changes (“For All We Know” and “I’ll Close My Eyes”), including a reverent reading of Billy Strayhorn’s lovely “Isfahan.” The lone original is Smith’s “Ande,” an uptempo reworking of the changes to “Indiana” that allows him to show that at 73 he’s lost none of his fluidity, none of his improvisational skill and none of his ability to swing at any tempo. ~ Harve Siders https://jazztimes.com/reviews/briefs/louis-smith-quintet-louisville/ 

Personnal: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Cochrane (piano); Calvin Hill (bass); Jeff Hirshfield (drums).

Louisville

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Louis Smith - Bopsmith

Styles: Trumpet Jazz
Year: 2001
File: MP3@256K/s
Time: 59:03
Size: 108,4 MB
Art: Front

( 4:41)  1. Val's Blues
( 8:37)  2. For Heaven's Sake
( 9:11)  3. The Way You Look Tonight
(10:26)  4. I Love You
( 8:10)  5. Ed's Love
(10:00)  6. A Ghost of a Chance
( 7:55)  7. Sweet Clifford

He’s one of the guys you probably never knew was still around. Trumpeter Louis Smith has become the stuff of legend, especially among Blue Note collectors who proudly cherish the two sets for the label that bear his name. In Michigan, where he currently resides, Smith is somewhat of a household name among jazz fans and he’s usually on hand for Detroit’s Ford International Jazz Festival. For many years now, the trumpeter has also been a favorite of SteepleChase producer Nil Winther and a sizable catalog of Smith led sessions have been the result, with The Bopsmith being the most recent.  Although past Smith SteepleChase sides have found him working with such names as Vincent Herring, Kenny Washington, George Cables, and Junior Cook, this may be one of the most finely integrated units to back Smith to date. Alto saxophonist Jon Gordon’s tart sound fits in ever so nicely with Smith’s decidedly bebop outlook, while pianist Michael Weiss provides the kind of tasty support that has made him a favorite accompanist to such performers as the incomparable Johnny Griffin. Finally, bassist Jay Anderson and drummer Joe Farnsworth form a tightly knit rhythm team that keeps things moving along properly.  No surprises here as to the material, with bop and standards the order of the day. Even Smith’s two originals, “Val’s Blues” and “Ed’s Love” (the title is a play on words involving the name of Detroit deejay Ed Love, although the liners don’t allude to this fact) are squarely in the mainstream. This is where one could pick a bone of contention if feeling inclined to do so. There’s a manner of similitude to much of the material that prevents this from becoming a five star affair, yet bop fans will still find much to enjoy and the individual contributions of the band members are definitely worth a listen. ~ C.Andrew Hovan https://www.allaboutjazz.com/the-bopsmith-louis-smith-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Louis Smith (trumpet); Jon Gordon (alto saxophone); Michael Weiss (piano); Joe Farnsworth (drums).

Bopsmith

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John Fedchock - New York Big Band

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 74:51
Size: 174,3 MB
Art: Front

( 7:53)  1. Limehouse Blues
( 7:23)  2. The Grove City Groover
( 5:55)  3. La Parguera
( 4:29)  4. Ruby, My Dear
( 8:58)  5. Blues Du Jour
(11:46)  6. Caravan
( 4:34)  7. Nefertiti
( 5:55)  8. Louie's Cheese Party
( 7:57)  9. Nightshades
( 4:32) 10. My Foolish Heart
( 5:24) 11. Flintstoned

John Fedchock is best-known as a former trombonist and occasional arranger with Woody Herman's orchestra, but the release of this "Reservoir" set should also give him a reputation as an important big-band leader in his own right. Fedchock, who provided arrangements for all 11 selections (six jazz standards and five of his originals), gathered together quite an interesting variety of jazzmen for this date. Included among the personnel are many players who have led sessions of their own, including altoist Jon Gordon, Rick Margitza and Rich Perry on tenors, baritonist Scott Robinson, trumpeter Tim Hagans, and (on three numbers) percussionist Jerry Gonzalez. Fedchock's arrangements give his big band a unified group sound and leave plenty of room for the soloists. Among the highlights are a race through "Limehouse Blues" (which has a torrid tenor-baritone tradeoff by Perry and Robinson), a thoughtful feature for Tim Hagans on "Nefertiti," the heated tenor of Rick Margitza on "Caravan," altoist Mark Vinci's showcase on "My Foolish Heart," and the leader's many colorful trombone solos. This straight-ahead set (which also includes Fedchock's "Blues Du Jour," the calypso feel of "Louie's Cheese Party," and a slightly demented romp on the "Flintstones Theme" that is retitled "Flintstoned") is consistently swinging, enjoyable, and easily recommended. ~ Scott Yanow http://www.allmusic.com/album/new-york-big-band-mw0000183131

Personnel: John Fedchock (trombone); Jon Gordon (soprano saxophone, alto saxophone); Mark Vinci (alto saxophone); Rich Perry, Rick Margitza (tenor saxophone); Scott Robinson (baritone saxophone); Greg Gisbert, Tim Hagans, Barry Ries, Tony Kadleck (trumpet, flugelhorn); George Flynn , Keith O'Quinn, Clark Gayton (trombone); Joel Weiskopf (piano); Dave Ratajczak (drums); Jerry Gonzalez (percussion).

New York Big Band

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Ken Peplowski - A Good Reed

Styles: Clarinet And Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 59:37
Size: 137,5 MB
Art: Front

( 7:46)  1. Luck Be A Lady
( 7:07)  2. Dream Theme
(17:25)  3. Homage Concerto For Clarinet
( 7:08)  4. Deep
( 6:14)  5. I've Never Been In Love Before
( 7:53)  6. Purple Gazelle
( 6:00)  7. Royal Garden Blues

Featuring the seventeen-minute "Homage Concerto For Clarinet And Jazz Orchestra" with Loren Schoenberg's big band backing clarinetist Ken Peplowski, this session is well-balanced, with four numbers by the leader's small group and four with the large ensemble. Peplowski plays clarinet on three tracks; tenor saxophone on the other four. His experience with the Tommy Dorsey ghost orchestra under Buddy Morrow's direction, working some with Benny Goodman, and more recently with Rosemary Clooney, Mel Torme, and as a duo with Howard Alden, has gained the clarinetist considerable exposure; this is his fourteenth Concord Records album as a leader. On tenor saxophone, Peplowski maintains a quiet posture on "Luck Be A Lady" and "I've Never Been In Love Before." The latter is arranged by guitarist James Chirillo, includes Schoenberg's big band, and features a delightful bass clarinet solo by Danny Bank. 

Bassist Greg Cohen composed "Dream Theme" with the random qualities of a stereotypical dream in mind; it features Peplowski's dreamy tenor, the composer's lyrical bass solo, and pianist Ben Aronov's dreamy keyboard work as well. The "Homage Concerto for Clarinet and Jazz Orchestra" in three movements was written by Chirillo and naturally infuses a classical bent. The names of each movement, "Swing," "Elegy," and "Driving," give one a feel for what is being accomplished. It is Peplowski's strong point, and the big band backs him capably. Duke Ellington's "Purple Gazelle" finds guest tenorist Loren Schoenberg beside the quartet of clarinetist Peplowski, pianist Aronov, bassist Cohen, and drummer Chuck Redd. With a Latin rhythm and a unique Monkish piano outing, the clarinet and tenor saxophone trade phrases and work very well together. The full orchestra returns for the final track, Duke Ellington's arrangement of "Royal Garden Blues." Up-tempo, yet relaxed with a swing, the big band works out behind the confident and imaginative clarinet solos by Ken Peplowski. ~ Jim Santella https://www.allaboutjazz.com/a-good-reed-ken-peplowski-concord-music-group-review-by-jim-santella.php?width=1920

Personnel: Ken Peplowski (clarinet, tenor saxophone); James Chirillo, Paul Meyers (guitar); Jon Gordon , Steve Wilson (flute, alto saxophone); Doug Lawrence, Mark Lopeman (clarinet, tenor saxophone); Danny Bank (bass clarinet, baritone saxophone); Loren Schoenberg (tenor saxophone); John Edkert, Greg Gisbert, Tony Kadleck, Bob Millikan (trumpet); Eddie Bert, Bobby Pring, Mike Christianson (trombone); Tim Newman (bass trombone); Dick Katz, Benny Aronov (piano); Chuck Redd (drums)

A Good Reed

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Jon Gordon & Bill Charlap - Contrasts

Styles: Piano And Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 53:13
Size: 122,4 MB
Art: Front

(8:37)  1. Stardust
(6:53)  2. Young At Heart
(3:11)  3. Bye Ya
(5:26)  4. For Sue
(5:30)  5. These Foolish Things
(3:01)  6. Contrasts
(5:54)  7. I Fall In Love Too Easily
(6:41)  8. Compensation
(6:24)  9. Over The Rainbow
(1:32) 10. Epilogue

A precocious, well- studied pianist, trading eights with two alto giants. The common denominator in both of these recent releases would at first glance appear to be pianist Bill Charlap. However, the relationship goes much deeper. Alto saxophonist Jon Gordon was a school chum of Charlap's at New York City's High School for the Performing. Phil Woods's was Gordon's principle teacher and produced Contrasts for Double-Time records. The disc was recorded in Phil Wood's home. Phil Woods's mentions Voyage in the liner notes for Contrasts and recorded voyage aboard the Queen Elizabeth II with Bill Charlap's working trio. Bill Charlap has been a member of Phil Woods's Quintet since 1995. Thus this is music that runs deep. Bill Charlap is fresh off of his success with an earlier duet outing with Warren Vaché, 2gether. 

On that recording, Charlap proved an encyclopedic knowledge with the American Songbook both in terms of content and performance. He, while being considerable younger than the veteran Vaché, played with a keenly intelligent empathy, never sounding out of place. Here Charlap's empathy surpasses that which he showed Vaché. Having known Gordon for so long paid off. Contrasts is a fine duet recital of standards and originals. Jon Gordon has a very interesting dry tone compared to that of his mentor Woods. Gordon sounds like an amalgam of Frank Morgan and Johnny Hodges with an edge of Art Pepper. Not exactly a "wounded bird" as Morgan's tone was once described. Gordon's tone is parchment fine, maybe a 'wounded bird" with an IQ of 160. Gordon and Charlap approach their material much in the same way, very respectfully and with heightened sensitivity. 

This results in dramatically performed music that is never melodramatic. Charlap is a ballad performer on par with Fred Hersch and Hersch's muse, Bill Evans. This philosophy dovetails perfectly with Gordon's approach. Made up of mostly standards, Contrasts, offers jazz from the confines of the duet that is never claustrophobic or smothered. Both men allow one another plenty of space to look for the right notes. "Stardust" is taken as a lengthy dissertation on nostalgia. "Young at Heart is innocence in carnate. "Over the Rainbow" may be the perfect ballad for these balladeers. "For Sue" was written by West Coaster Jack Montrose for Jon Gordon's mother. It is performed like an unbroken sigh. This is a alto-piano duet disc on par with Art Pepper's Goin' Home and Frank Morgan's Double Image. ~ C.Michael Bailey  http://www.allaboutjazz.com/contrasts-with-jon-gordon-voyage-with-phil-woods-bill-charlap-double-time-jazz-review-by-c-michael-bailey.php

Personnel:  Jon Gordon: Alto Saxophone; Bill Charlap: Piano.

Contrasts

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Pete Mcguiness - A Voice Like A Horn

Styles: Vocal And Trombone Jazz
Year: 2013
File: MP3@320K/s
Time: 45:51
Size: 105,2 MB
Art: Front

(5:57)  1. Yesterdays
(6:48)  2. Oh, You Crazy Moon
(6:49)  3. Never Let Me Go
(5:05)  4. 49Th Street
(5:45)  5. Birk's Works
(4:49)  6. Tea For Two
(4:20)  7. I've Grown Accustomed To Her Face
(6:14)  8. Who Cares?

"Did you hear the one about the singing trombonist?." It's not even a joke because there have been many a fine trombonist that also sing, to wit: beginning with the inestimable Jack Teagarden. Then there's Billy Eckstine, Wycliffe Gordon, Henry Darragh, Natalie Cressman, and one Pete McGuinness who releases his third recording as leader, Voice Like A Horn. It is McGuinness' vocal abilities that are showcased on this recording, where the singer is supported by a piano trio augmented with special guests. McGuinness is best known for his association with the Pete McGuinness Jazz Orchestra, whose First Flight (Summit, 2007) was roundly well received at All About Jazz. McGuinness has appeared as a sideman on some forty recordings and has sung with the likes of the Jimmy Heath Big Band and the Manhattan vocal project. Voice Like A Horn is made up of a single original and seven standards that showcase McGuinness' curious vocal cross of Chet Baker's vibrato-less delivery coupled with Kurt Elling's fearless attack on convention. 

All selections were given ample time for development, the lion's share being five minutes or longer. The disc opens with Jerome Kern's "Yesterdays." McGuinness opens fire with a machine-gun scat that could light a fire over a thundering piano support. A good start, to be sure. Both "Oh, You Crazy Moon," featuring the set's best ensemble arranging, and trumpeter Bill Mobley's "49th Street, which allows McGuinness to properly demonstrate his scat prowess, find the trombonist joined by the trumpeter and saxophonist Jon Gordon. Dizzy Gillespie's minor blues, "Birk's Works," join "49th Street" as a scat showcase, McGuinness' delivery is as smooth as a single malt, neat, recalling the vocal calisthenics of Lambert, Hendricks & Ross. Bassist Andy Eulau has his best solo, extended between the scat singing. McGuinness turns in a performance of "Tea For Two" that rivals that of Anita O'Day at Newport, 1958. His delivery is precise at speed and speed is the key operative. Voice Like A Horn has many charms and should appeal to a broad jazz listening public. McGuinness might prove to be the next thing in male jazz vocals, an area needing new and bolder talent. ~ C.Michael Bailey  http://www.allaboutjazz.com/voice-like-a-horn-pete-mcguinness-summit-records-review-by-c-michael-bailey.php#.U_4G6mMfLP8
 

Personnel: Pete McGuiness: vocals and trombone; Jon Gordon: alto saxophone, flute (2, 4); Bill Mobley: trumpet (2, 4); Ted Kooshian: piano; Andy Eulau: bass; Scott Newmann: drums.

A Voice Like A Horn

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Jon Gordon - The Things You Are

Bitrate: 320K/s
Time: 58:00
Size: 132.8 MB
Styles: Saxophone jazz
Year: 2007
Art: Front

[7:06] 1. I Should Care
[5:39] 2. Alone Together
[6:08] 3. I Can't Give You Anything But Love
[3:38] 4. Arco
[6:35] 5. All The Things You Are
[8:43] 6. Something To Live For
[2:18] 7. On This Day
[5:43] 8. Invitation
[3:04] 9. Embraceable You
[9:01] 10. Artistshare (Bonus Track)

Jon Gordon studied with Phil Woods and also won first place in the 1996 Thelonious Monk International Jazz Saxophone Competition, while also recording an impressive series of CDs for several different labels. But Gordon takes a new direction with The Things You Are, omitting a pianist, choosing to play with an outstanding rhythm section consisting of guitarist Ben Monder, bassist Joe Martin, and either Billy Drummond or Bill Campbell on drums. The spacy treatment of the standard "I Should Care" increases the melancholy air of the song, while the hard-charging approach to "Alone Together" is a wild roller coaster ride. He switches to soprano sax for his originals "Arco" and "On This Day," both of which are haunting abstract works. The saxophonist is consistently at the top of his game throughout these sessions. Don't miss out on this masterpiece! ~Ken Dryden

The Things You Are 

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