Black Art Jazz Collective - Truth To Power

Styles: Jazz, Big Band
Size: 144,2 MB
Time: 62:45
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Black Heart (5:49)
2. The Fabricator (6:16)
3. Truth To Power (8:20)
4. It's Alright (7:51)
5. Coming Of Age (5:29)
6. Dsus (5:29)
7. Code Switching (5:51)
8. Soliloquy (For Sidney Poitier) (4:20)
9. Lookin' For Leroy (6:45)
10. Blues On Stratford Road (6:30)

Many jazz fans break out in a sweat when they see the word “collective" in the name of a jazz group. One assumes the music is going to be avant-garde and free form to the point of incoherence. You'll be happy to know that that the Black Art Jazz Collective's new album Truth to Power (HighNote) is warmly stormy and soulfully engaging.

This collective is a sextet that has been around since 2014 and features topnotch musicians carrying on the tradition of black jazz of the 1960s and '70s that was both spirited and socially conscious. The album includes the following musicians on different tracks: Jeremy Pelt, Josh Evans and Wallace Roney Jr. (tp), James Burton III (tp), Wayne Escoffery (saxophones), Xavier Davis and Victor Gould (p,el p), Vincent Archer and Rashaan Carter (b) and Johnathan Blake and Mark Whitfield, Jr. (d).

tracks are: Black Heart; The Fabricator; Truth to Power; It's Alright; Coming of Age; Dsus; Code Switching; Soliloquy (for Sidney Poitier); Lookin' for Leroy; Blues on Stratford.

The music is hard-charging ("Truth to Power," “Dsus," “Lookin' for Leroy" and “Code Switching") and sensual ("It's Alright" and “Soliloquy for Sidney Poitier". In some places the group reminds me of Art Blakey and the Jazz Messengers with Wayne Shorter and in others the Jazz Crusaders.

Overall, the Black Art Jazz Collective has its own sound that delivers a strong message. This is jazz from a black point of view as I remember it in the 1960s and '70s, which means it's deeply felt and muscular in a poetic, meaningful way. Check it out. By Marc Myers
https://www.allaboutjazz.com/news/black-art-jazz-collective-and-39truth-to-power-and-39/

Personnel: Wayne Escoffery - (tenor saxophone); Jeremy Pelt - (trumpet); Josh Evans, Wallace Roney Jr; James Burton III - (trombone); Xavier Davis - (piano on tracks 1, 2, 4, 5, 9 & 10); Victor Gould - (piano on tracks 3, 6, 7 & 8); Vicente Archer - (bass on tracks 1, 2, 4, 5, 9 & 10); Rashaan Carter - (bass on tracks 3, 6, 7 & 8); Johnathan Blake - (drums on tracks 1, 2, 4, 5, 9 & 10); Mark Whitfield Jr - (drums on tracks 3, 6, 7 & 8).

Truth To Power

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Christian McBride's New Jawn - Prime

Styles: Post-Bop, Straight-Ahead Jazz
Year: 2023
File: MP3@320K/s
Time: 54:33
Size: 126,3 MB
Art: Front

(5:47) 1. Head Bedlam
(7:29) 2. Prime
(4:44) 3. Moonchild
(8:05) 4. Obsequious
(8:48) 5. Lurkers
(7:16) 6. The Good Life
(5:04) 7. Dolphy Dust
(7:17) 8. East Broadway Rundown

The second album from Christian McBride's outré quartet New Jawn, 2023's Prime is somehow even more expressive and harmonically adventurous than its predecessor. Unlike his other projects, including his trio and Grammy-winning big band, the bassist's New Jawn is a maverick ensemble whose frenetic sound shares little in common with the straight-ahead swing and modern jazz McBride is known for. This is exploratory, free-leaning post-bop and avant-garde jazz that's easily some of the most adventurous music of the bassist's career.

Once again joining him are trumpeter Josh Evans, saxophonist and bass clarinetist Marcus Strickland, and drummer Nasheet Waits. The album opens with a brassy yawp on McBride's "Head Bedlam," as Evans and Strickland scream at the sky while McBride and Waits pummel the ground below them. They build with a primal intensity until giving way to a slow, thumping funk groove over which they each solo with a menacing, snake-like attitude. Yet more-thrilling moments follow, as on "Obsequious" and "Dolphy Dust," propulsive free-bop workouts that evoke the dangerous alchemy of saxophonist Eric Dolphy's mid-'60s group with trumpeter Booker Little.

More atmospheric are tracks like "The Lurkers," with its bowed bass, and "Moonchild," with its airy, baroque trumpet and bass clarinet harmonies. Along with the originals, they dive into spry readings of Ornette Coleman's "The Good Life" and Sonny Rollins' "East Broadway Rundown." The Coleman and Rollins' covers work to underline the influences at play in New Jawn, showing just how adept McBride and his group are at pulling from jazz' avant-garde past while continuously pushing towards its expansive, improvisational future. By Matt Collar
https://www.allmusic.com/album/release/prime-mr0005872356

Personnel: Christian McBride: bass (all tracks);Josh Evans: trumpet (all tracks); Marcus Strickland: tenor sax (2, 4, 6-8); bass clarinet (1, 3, 5); Nasheet Waits: drums (all tracks)

Prime

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Benito Gonzalez - Sing to the World

Styles: Contemporary Jazz
Year: 2021
File: MP3@320K/s
Time: 79:07
Size: 182,4 MB
Art: Front

( 4:56) 1. Sounds of Freedom
( 9:01) 2. Views of the Blues
( 6:34) 3. Father
( 9:19) 4. Offering
(10:32) 5. Visionary
( 5:48) 6. Smile
( 9:17) 7. Sing to the World
( 8:22) 8. 412
( 7:35) 9. Flatbush Avenue
( 7:39) 10. Colors

Unbridled rhythmic fury fueled by a rich harmonic underbelly is the essence of Sing To The World. Pianist Benito Gonzalez has once again assembled a vibrant cast that flourishes on ten original creations. Inventive and energetic, the ensemble gels in the moment and establishes interplay with rich and intelligent conversation. The depth and articulation comes as no surprise, with reference to his previous works as a leader and the seven years Gonzalez spent as a member of Kenny Garrett's band.

Powerhouse bassist Christian McBride aligned with alternately Jeff Tain Watts and Sasha Mashin to anchor and veraciously drive a rhythm section which was both the core and the springboard for Gonzalez, as well as trumpeter Nicholas Payton. Together they built a foundation of Afro-Latin sounds that echoed the ancestral spirits and authentic African dance beats. Playing modern jazz vibes over and within these torrid and variant beats created a fresh and sophisticated fusion sound of its own.

While most of the new material was written by Gonzalez, there are two notable exceptions. The great trumpeter Roy Hargrove and Gonzalez often used to play together and developed a close relationship, both musically and personally. Hargrove wrote the tune "Father" which characterized that bond. They played it often together, always refining it. But the heartfelt melody was never recorded. Until now. "412" is a Watts composition. Watts connected with Gonzalez years ago when he appreciated the young pianist's spirit and respect for the notes. He sat down at the piano one day and showed or taught Gonzalez the melody. Like "Father" it was played a lot but never recorded. The tunes bring a sentimentality which blends well and creates a well sequenced directional change of pace from the mostly fiery tone of Gonzalez's fifth record as a leader.

While Gonzalez is relentlessly engaging throughout, his assault on his keys in no way interferes with his improvisational interface with his bandmates. These cats are very much paying attention to each other and responding in kind. A grand master of the bass, McBride leads and steadies a precise yet ultimately daring rhythm section which Gonzalez gloriously rides like a big kahuna at Big Sur. The robust energy and fine tuned skill sets of the members of the ensemble collectively elevated everyone to the top of their instrumental and conversational game. There is much to be said, much to be heard, and an abundance of joy along the way.By Jim Worsley
https://www.allaboutjazz.com/sing-to-the-world-benito-gonzalez-rainy-days-records

Personnel: Benito Gonzalez: piano; Nicholas Payton: trumpet; Josh Evans: trumpet; Christian McBride: bass; Essiet Essiet: bass; Sasha Mashin: drums; Jeff Tain Watts: drums; Makar Kashitsyn: saxophone.

Sing to the World

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Brandon Goldberg - In Good Time

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 66:46
Size: 153,5 MB
Art: Front

( 7:21) 1. Authority
( 5:45) 2. Circles
(10:35) 3. Time
( 3:36) 4. Nefertiti
( 6:03) 5. Monk's Dream
( 5:00) 6. Stella by Starlight
( 8:59) 7. El Procrastinador
( 7:12) 8. Someone to Watch over Me
( 9:08) 9. Ninety-Six
( 3:04) 10. Send in the Clowns

Pianist Brandon Goldberg may not have the seasoned years behind him yet, (In Good Time finds him brewing with ideas most fifteen-year-olds never tackle) but it is no more a beloved veteran than the late Ralph Peterson who, via a wisely archived voice mail, urges the young man "What's up Brandon, gimme a shout man we hook up later this week!" The drummer and cat supreme then wishes him "Peace" and a split second later the barnstorming, deftly pugilistic "Authority" kicks off Goldberg's emergent sophomore release.

It is a no-nonsense, full-on opener which finds Peterson and Goldberg squaring off and bolstering the springy unison lines of trumpeter Josh Evans and saxophonist Stacy Dillard before they too sail off headlong into solo land. The seemingly ever-present bass of Luques Curtis whose balancing tones can be heard on such fine recent releases as Lisa Hilton's Transparent Sky (Ruby Slippers Productions, 2021) and Peterson's affirmative, final recording as a leader, Raise Up Off Me (Onyx Productions, 2021) holds the fort and In Good Time moves blithely on from there.

Though definitely in a quintet state of mind, "Circles" becomes a stately, sepia-tinted meditation between Goldberg (whose ear for lyrical accompaniment again surpasses his age) and Dillard's fluid logistics. Peterson's controlled shadings and Evans' poignant announcement nearly steal "Time" but, vets that they are, the two give way to Goldberg's intuitive comping, before Evans (echoing his mentor Jackie McLean) blows the tune to its conclusion. The ensemble then vigorously take on Wayne Shorter's languid "Nefertiti" and jump particularly high on, what else, Thelonious Monk's heightened "Monk's Dream."

A perhaps too somber "Send In the Clowns" (with guest trumpeter Antoine Drye) closes the record, but it is the preceding two of Goldberg's five originals, the tempo crazy "El Procrastinador" and the snappy, spirited hijinks of "Ninety-Six" that continue Goldberg's evolution. Filled and fired by the pianist's wizened yet youthful enthusiasm, Dillard, Curtis, and Evans run the bop gamut on "Ninety-Six" while Peterson holds "El Procrastinator" to its 7/4 course, but burns the map along the way. That is how you teach the next generation. By Mike Jurkovic https://www.allaboutjazz.com/in-good-time-brandon-goldberg-self-produced

Personnel: Brandon Goldberg: piano; Josh Evans: trumpet; Stacy Dillard: saxophone; Luques Curtis: bass, acoustic; Ralph Peterson: drums; Antione Drye: trumpet.

In Good Time

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Josh Evans - Portrait

Styles: Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 72:11
Size: 167,4 MB
Art: Front

( 5:21)  1. Albany Ave.
( 7:30)  2. Ray Mac Left Town
( 5:11)  3. Tehran
( 5:05)  4. Chronic Mistakes
( 6:16)  5. Spring is Here
( 7:03)  6. Beatnik
( 6:56)  7. The Lamp is Low
( 8:53)  8. Ballad
(12:04)  9. The Moment of Truth
( 7:46) 10. Good Mornin'

The artist Picasso once said “the way I paint is my way of keeping a diary.” Much like Picasso, Josh Evans’ “Portrait” is a musical diary suggesting a close relationship between art and life. “Portrait” takes us through a remarkable musical journey with uncompromising integrity, creating a masterpiece. Evans shares with the listener his important and influential relationships with Rashied Ali, Jackie McLean, and Raymond “Dr. Rackle” Williams, whose musical talent is evident throughout the CD. “Portrait” marks the debut recording of Josh Evans as a musical leader and encompasses something very special that upon listening evokes a realization that the world of jazz resides in this musician; with deep roots in the knowledge of the music and his own self-awareness. Listeners are engulfed in rhythms, melodies, & textures of music that is special for an artist to achieve. This CD contains intensity of performance and the intimacy of a late night jazz scene. This long anticipated recording reveals a new and fresh approach to music that as Josh himself would describe, “had nothing to do with anything you could put on paper; it was about creating music.” Josh Evans “Portrait” is a recording everyone will want in their music collection. https://store.cdbaby.com/cd/joshevans

Personnel:  Josh Evans -Trumpet;  Ray McMorrin - Tenor Saxophone;  Lawrence Clark - Tenor Saxophone;  Alan Jay Palmer - Piano;  Theo Hill - Piano;  Dezron Douglas - Bass;  Ralph Peterson - Drums

Portrait

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Christian McBride - Christian McBride’s New Jawn

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 57:49
Size: 133,8 MB
Art: Front

(2:49)  1. Walkin' Funny
(9:55)  2. Ke-Kelli Sketch
(5:34)  3. Ballad of Ernie Washington
(5:00)  4. The Middle Man
(7:44)  5. Pier One Import
(5:35)  6. Kush
(7:21)  7. Seek The Source
(5:19)  8. John Day
(8:30)  9. Sightseeing

Christian McBride was looking for a new musical challenge. So he decided to form a band that would play without the use of chords. The bassist explains, "Every major group I've been a part of for the last ten years, whether it's been with Pat Metheny or Chick Corea, or my own projects, there's been nothing but chords. So, I wanted to see what happens if I just pull the chords out altogether."  The result is Christian McBride's New Jawn. The name derives from the black Philadelphian slang term jawn meaning "thing," as in "do your thing." The band comprises McBride, trumpeter Josh Evans, saxophonist Marcus Strickland, and drummer Nasheet Waits. McBride says he chose the name New Jawn because the band's members "had grit under their fingernails" and he wanted a name that wasn't "buttoned up" like Quartet. The band's only (golden) rule: no chords. McBride's other recent bands have included: Inside Straight, featuring alto/soprano saxophonist Steve Wilson; a trio featuring the phenomenal young pianist Christian Sands; an 18-piece big band; and the experimental group A Christian McBride Situation with pianist Patrice Rushen, saxophonist Ron Blake and vocalist Alyson Williams. No doubt about it, McBride's almost as hard-working as was the the late James Brown. 

He has also played as a sideman on around 300 albums and is artistic director of the Newport Jazz Festival, having succeeded founder George Wein in that role in 2016. The New Jawn kick off with McBride's "Walkin' Funny," the staggering rhythm and stuttering of the horns implying a drunken, unsteady gait. Next up: "Ke-Kelli Sketch," a portrait of drummer Nasheet Waits' wife that Waits describes as "an aural Picasso." McBride is to the fore with Waits right up there with him, then Evans and Strickland take over and it all becomes a tad formless, perhaps a flaw of the no chords approach (or maybe they just wanted it that way). "The Ballad of Ernie Washington" is named for the pseudonym Thelonious Monk used when his cabaret card was revoked in the mid-1950s. The number is so respectful Monk might not have approved but it's one of the standout tracks, along with "The Middleman" and "Pier One Import."  The proceedings conclude with Wayne Shorter's fast-paced "Sightseeing." Strickland plays an interesting, freewheeling solo with McBride working hard in behind him. Evans takes over, then leaves McBride to get on with it, which he does in his usual no-frills, muscular but intelligent fashion. ~ Chris Mosey https://www.allaboutjazz.com/christian-mcbrides-new-jawn-christian-mcbride-mack-avenue-records-review-by-chris-mosey.php

Personnel: Christian McBride: bass;  Marcus Strickland: saxophone;  Josh Evans: trumpet;  Nasheet Waits: drums.

Christian McBride’s New Jawn

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Brian Lynch - Madera Latino: A Latin Jazz Perspective on the Music of Woody Shaw

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 109:28
Size: 251,3 MB
Art: Front

(10:25)  1. Zoltan
( 7:32)  2. Sweet Love of Mine
(11:17)  3. Time Is Right
( 8:28)  4. Just a Ballad for Woody
( 8:34)  5. In a Capricornian Way
( 9:08)  6. Blues for Woody and Khalid
( 9:06)  7. Tomorrow's Destiny
( 9:57)  8. Joshua C.
( 8:28)  9. On the New Ark
(11:11) 10. Song of Songs
(15:18) 11. Madera Latino Suite

The asymmetric rhythms belonging to the Afro-Cuban tradition substantiate this extraordinary double CD by Brian Lynch , who with Woody Shaw shares the sad destiny of being a great musician, but not very exposed to the light of the big stages. With the missing trumpet player, Lynch also shares a love for an all-round expressive dimension, capable of incorporating both a lyrical and nocturnal dimension, and a more energetic figure. The work in question is emblematic in this sense, which incorporates the polyrhythmic trend of Afro-Cuban percussion with the more canonical symmetric times of jazz. The result is a gripping work where everything works wonders and once again confirms the whole class of the leader. As a common denominator, Lynch's rare ability to infuse with his mobile solism what seems to be the essence of jazz: communicative, pathos, ability to transmit deep emotions contained in the unrepeatable and unique moment of jazz improvisation. His big band fully captures and manages to return all the expressive figure of Shaw, as oblique and irregular as lyric and peaceful. His compositions are here revisited with admirable intelligence and originality to give rise to a project of stringent consistency and rigor. An unmissable album that adequatamante pays homage to the masterful artistic figure of a complete and ductile musician, who made the most important business cards of refined refinement and technique. ~ Maurizio Zerbo https://www.allaboutjazz.com/a-latin-jazz-perspective-on-music-of-woody-shaw-bryan-lynch-hollistic-musicworks-review-by-maurizio-zerbo.php

Personnel: Brian Lynch, Sean Jones, Dave Douglas, Diego Urcola, Etienne Charles, Mike Rodriguez, Josh Evans, Philip Dizack, Bryan Davis: trumpet; Zaccai Curtis: piano; Luques Curtis: double bass; Obed Calvaire: battery; Pedrito Martinez, Little Johnny Rivero, Anthony Carrillo: percussion.

Madera Latino: A Latin Jazz Perspective on the Music of Woody Shaw

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Louis Hayes - Serenade For Horace

Styles: Jazz, Post Bop

Year: 2017

File: MP3@320K/s

Time: 59:00

Size: 135,5 MB

Art: Front

(4:53)  1. Ecaroh

(5:20)  2. Señor Blues

(5:51)  3. Song For My Father (feat. Gregory Porter)

(4:08)  4. Hastings Street

(5:14)  5. Strollin'

(5:55)  6. Juicy Lucy

(5:03)  7. Silver's Serenade

(6:44)  8. Lonely Woman

(5:01)  9. Summer In Central Park

(5:49) 10. St. Vitus Dance

(4:56) 11. Room 608

This gem of a tribute album is, in the words of the poet Wordsworth, a "recollection in tranquility" conceived and led by drummer Louis Hayes in memory of his beloved lifelong friend, pianist Horace Silver. In 1956, Silver invited Hayes to New York City from his native Detroit to join the Horace Silver Quintet, which produced a series of ground-breaking Blue Note albums. Now, at 80, Hayes' drumming is as superb and as youthful as ever, a reason in itself to have this album. He brings together a group of seasoned, dedicated musicians to honor Silver, not by imitating or outdoing him, but by playing his music with great fidelity to Silver's ideas and the hard bop period which he helped to innovate. Thankfully, Hayes had the wisdom neither to copy nor expound upon but definitely emulate Silver's contribution in many respects. Pianist Tom Lawton has aptly summarized Silver's unique playing as follows: "Horace had a mixture of a very guttural approach to bebop: a percussive right-hand attack and often very raw, drum-like left-hand accents, (best example: "Opus de Funk"). He also explored a funky, gospel-tinged, soul and groove influenced music ("Song For My Father") that had a unique feel because of his father's origin in the island of Cape Verde." The Cape Verde Islands off the coast of West Africa were slave trade transit points to South America and the Caribbean and where Creole culture -so important to jazz originated, and which shares the Portuguese influence with Brazil. Silver composed his well- known "Song for My Father" after a trip to Brazil that profoundly influenced his subsequent playing. Silver was a prolific composer, sometimes adding his own lyrics. Most of his originals on this album are from the extended and extensive Blue Note recordings between 1952 and 1981. "Ecaroh" (Horace spelled backwards!) and "Room 608" are from the pre-Hayes Jazz Messenger period in which hard bop was literally invented. The album provides a retrospective that is firmly rooted in Silver and hard bop, but is more laid back and less feisty than the original Silver recordings.

The first tune, "Ecaroh" presages the whole album. Hayes' drumming is superb and measured, in contrast to the banal prestidigitation we hear too often. His swing is lighter and more subtle than in the Silver era, perhaps influenced a bit by Elvin Jones. The horn players Abraham Burton on tenor saxophone and Josh Evans on trumpet, vibraphonist Steve Nelson, and bassist Dezron Douglas are completely in service of the music rather than inserting their own idiosyncracies. Next, the iconic "Señor Blues" is a tad slower than on the Silver recording Live at Newport '58 (Blue Note, 2008). Hayes and the group emphasize the R&B influence over the Latin rhythm implied in the title. The saxophone and trumpet work is sharp and clean, echoing Silver Newport cohorts Junior Cookand Louis Smith. Guest vocalist Gregory Porter does a fine if understated delivery of "Song for My Father" with inflections that bear a distinct resemblance to Kurt Elling. The Brazilian samba rhythm that influenced Silver in writing this song comes through clearly. Dee Dee Bridgewater's version (Love and Peace: A Tribute to Horace Silver, Verve, 1995) is faster and more intense. Porter is closer to Silver's intention, but Silver's inspired piano improvisations on this song are well worth going back to for their own sake. At the suggestion of the producer Maxine Gordon, Hayes wrote one original for the collection. "Hastings Street" was stimulated by his memories of Detroit and is a "classic" hard bop tune that is a prefect vehicle for solos, in this case by Burton, Evans, and Nelson. Some feather-like vibes comping by Nelson adds a special touch, and there is some generous co-improvising at the end, something Silver liked to do in his arrangements. "Strollin'" is a virtual replica of the Horace Silver Quintet version on Horace-Scope (Blue Note, 1960) with Junior Cook on tenor and Blue Mitchell on trumpet. "Juicy Lucy" features an outstanding saxophone solo by Burton. The group does a straightforward version of "Silver's Serenade," while Silver's "Lonely Woman" (not the Ornette Coleman tune) is notable for Bryant's extended piano tribute to Silver, which one has been waiting for all along! Silver had a sunny disposition on most days, and "Summer in Central Park" is, as the title suggests, a pleasant sunny day walk in the park. The title of the next tune, "St. Vitus Dance," portends something different but turns out not to be so. St Vitus Dance is a disease characterized by rapid, uncoordinated jerking movements. The version on this album swings so well that it is a cure for that disease rather than a symptom of it! The album ends with "Room 608," a fast-paced strictly bebop tune which shows the important Bud Powell influence on Silver. Silver could have become just another great bebop player, but he was wise enough to pursue his own voice, which, if we can judge from the lyrics of "Song for My Father," is a striving that came from the advice of his dad. And Louis Hayes is to be thanked for adhering to his stated goal: a loving remembrance and tribute to Horace Silver rather than a flashy post- modern pot-boiler. ~ Victor L.Schermer https://www.allaboutjazz.com/serenade-for-horace-by-victor-l-schermer.php

Personnel: Louis Hayes: drums and leader; Abraham Burton: tenor saxophone; Josh Evans: trumpet; Steve Nelson: vibraphone; David Bryant: piano; Dezron Douglas: bass. (Gregory Porter, vocalist, on Song for My Father.”)

Serenade For Horace

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Josh Evans - Hope And Despair

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 72:25
Size: 166,6 MB
Art: Front

(5:36)  1. Steps
(3:42)  2. Lake Superior
(8:48)  3. Bad Dream
(7:32)  4. Prayer For The Innocent
(8:55)  5. Good Morning
(2:00)  6. So Long Sterling
(3:09)  7. Hope And Despair
(8:27)  8. Clark Street
(8:14)  9. Chronic Mistakes
(2:03) 10. Gone But Not Forgotten
(7:41) 11. 1984
(6:14) 12. Nji Lule

As on his debut release, Portrait, Hope and Despair showcases Evans'considerable compositional capabilities. 'I'm definitely trying to play more of my own music. I wanted to have a complete range of songs and feelings,' he says. 'Everything here is something about my life. They're all originals except for the last one (the beautiful 'NjiLule', a traditional Albanian folksong arranged for quintet by the trumpeter). ~ Editorial Reviews https://www.amazon.com/Hope-Despair-Josh-Evans/dp/B010U4V93W

Personnel:  Josh Evans - trumpet. Abrahan Burton - saxophone, Rashaan Carter - bass, David Bryant - piano, Eric McPherson -drums, Lummie Span - alto sax.

Hope And Despair

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