Bill Charlap Trio - And Then Again

Styles: Piano Jazz
Year: 2024
Time: 46:41
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(7:01) 1. And Then Again
(5:01) 2. All The Things You Are
(5:27) 3. 'Round Midnight
(6:22) 4. In Your Own Sweet Way
(6:05) 5. Darn That Dream
(7:23) 6. Sometimes I'm Happy
(4:03) 7. The Man I Love
(5:15) 8. (I Don't Stand) a Ghost of a Chance (With You)

Listening to pianist Bill Charlap is akin to hearing acoustic jazz in its purest form, and that's the overriding feeling you have while listening to his 2024 concert album And Then Again. Recorded live at the famed Village Vanguard in New York, the album features Charlap and his long-running trio with bassist Peter Washington and drummer Kenny Washington.

Together on and off since the '90s, they play with a swinging, urbane sophistication marked by a warm camaraderie and dancerly interplay. As a soloist, Charlap displays his deep grasp of straight-ahead jazz traditions, tackling a handful of gorgeous jazz standards. We get sparkling, brawny renditions of "All the Things You Are," "In Your Own Sweet Way," and "Darn that Dream." He also delves into Thelonious Monk's "'Round Midnight," evoking Monk's angular, cubist bop style but in his own nuanced way. In fact, what is so compelling about Charlap's playing is just how balanced it is.

He's clearly imbibed an array of influences, from Earl Hines and Teddy Wilson to Bud Powell and Bill Evans, yet he always sounds like himself and is never too indebted to any one performer. The album even opens with his title-track original, a spritely blues in the modern jazz tradition that finds him tumbling through a string of bebop and modal harmonies. Charlap closes out the evening with a dusky, harmonically lush take on "(I Don't Stand) a Ghost of a Chance with You," sinking into the song with a hushed reverie that clings to you long after the album ends.By Matt Collar
https://www.allmusic.com/album/and-then-again-mw0004313755#review

Personnel: Bill Charlap - piano, Peter Washington - bass, Kenny Washington - drums

And Then Again

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Joe Magnarelli - Persistence

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 57:16
Size: 132,2 MB
Art: Front

(6:06)  1. Presistence
(7:59)  2. the Village
(7:01)  3. I Had the Craziest Dream
(6:10)  4. D Train Boogaloo
(9:36)  5. Haunted Heart
(6:34)  6. You and the Night and the Music
(5:41)  7. Ballad for Barretto
(8:06)  8. Soul Sister

The stark black and white cover photo of trumpeter Joe Magnarelli peering out at you from the cover of Persistence emits a brooding and a blandness that is light years away from the robust, enjoyable musical experience offered by the music on the disc itself. Magnarelli, a first-call trumpeter among first-callers, leads an exciting group of other New York musicians (stars all) in eight selections originals and standards that are both intriguing and satisfying. There is such a sense of spontaneity and excitement in this recording that it gives the impression of being recorded live: each tune has that wonderful on-the-edge sense to it. "Persistence," the first cut (and one of five Magnarelli originals), sends you back in jazz time to a smoke-filled, excitement-laden, 1960s Blue Note session. After a hip intro and a Kenny Washington drum fill with echoes of Max Roach, the quintet steams ahead on the head. Heavenly shades of Art Blakey and the Jazz Messengers inspire the team as they roll it out for hard bop at its hottest. It's clear, as he fires away on his tasteful solos, that Magnarelli has regularly visited the jazz trumpet pantheon and tuned his ear to the greats. He is a player of excitement, inspiration, fire and control. The band is impeccable too. 

Baritone saxophonist Gary Smulyan shines throughout the session; his bellowing sound is never too heavy to swing. Washington's cymbal work is fireworks, worthy of Tony Williams. Pianist David Hazeltine fits in beautifully, both when comping and playing some marvellously engineered solos. Bassist Peter Washington is supremely solid always right there. "The Village" lays down an easy bossa nova groove under a lazy, carefree melodic line. Hazeltine builds a tasteful solo. No dragging here, only sway. Magnarelli cascades over the horn and constantly surprises the listener, never falling into cliche or hollow pyrotechnics in lieu of inspiration. Reaching into the Great American Songbook, "I Had the Craziest Dream" spotlights Magnarelli's beautiful soft swing approach. There's no hokey here, no schmaltzy vibrato or syrupy swinging. This track is on a par with a classic version by trumpeter Jack Sheldon. Magnarelli is pure taste. He uses rhythm and melody to construct his solos. Hazeltine's solo is a gem (catch the "Stella By Starlight"-copped cliche: cute!) There's a nice Washington solo too. "D Train Boogaloo," a funky blues head, sidewinders over a go-go beat and a Lee Morgan quote, spectacularly so. 

You can bet there are aspiring trumpeters out there who right now are transcribing, copping and wood-shedding Magnarelli licks. The Dietz-Schwartz standard "Haunted Heart" is given a bluesy feel. Magnarelli carries the lead with Smulyan haunting us with a second melodic take and a marvelously lyrical solo. The extended lines intrigue. Hazeltine's comps and interplay with the soloists are perfection before he goes tasteful on his own. The non-related Washingtons capitalize here together. "You and the Night and the Music"and the race flag! Magnarelli's Dizzy Gillespie ish Harmon mute work fires at a tempo reminiscent of Clifford Brown's "Cherokee" he even throws in a Brown lick drawn from that classic's intro. Magnarelli spent many years performing with the great bandleader Ray Barretto. His "Ballad for Barretto" has such a beautifully classic melodic approach similar to Benny Golson's "I Remember Clifford" that other instrumentalists will probably embrace this tune down the jazz road. 

Triple-metered over "Body and Soul" chord changes, "Soul Sister" opens with Magnarelli and Smulyan lightly carrying the melody. The superimposition of new melodic material over standard harmonic changes is as old as jazz. For Magnarelli to use his marvelous compositional chops to take such a standard and turn it into a hip waltz is slick genius. There are no gimmicks in Persistence. Magnarelli and his colleagues sound comfortably secure in themselves. All have paid dues in the shed, studios and pits, on the road and wherever. It's that persistence that results in performance perfection. Magnarelli presents us with an honest, no frills attempt at that goal. And, yes, he does indeed come close. Very, very close. A terrific, persistently satisfying disc. ~ Nicholas F.Mondello https://www.allaboutjazz.com/joe-magnarelli-persistence-by-nicholas-f-mondello.php

Personnel: Joe Magnarelli: trumpet; Gary Smulyan: baritone saxophone; David Hazeltine: piano; Peter Washington: bass; Kenny Washington: drums.

Persistence

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Milt Hinton - The Basement Tapes

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
Time: 62:54
Size: 145,7 MB
Art: Front

(3:04)  1. Raincheck
(6:04)  2. A Time For Love
(4:11)  3. Johnny Comes Lately
(4:02)  4. Fascinating Rhythm
(4:35)  5. Blessed Assurance
(6:26)  6. Mona's Feeling Lonely
(3:55)  7. Order In The Court
(3:27)  8. Wade In The Water
(3:23)  9. Night And Day
(3:56) 10. As Long As I Live
(4:04) 11. Love Me Or Leave Me
(3:40) 12. Old Man Time
(6:26) 13. Summertime
(5:35) 14. Travelin' All Alone

In recent years, much of the attention given to late bass great Milt Hinton's career and legacy has been directed at his prowess as a jazz photographer. Nevertheless, we must not forget that behind those extraordinary photographs was an equally extraordinary musician. With Chiaroscuro's recent release of The Basement Tapes, jazz fans will find a welcome reaffirmation of Hinton's formidable gifts as both timekeeper and soloist. Composed of previously shelved material, the disc's 14 tracks offer up a broad slice of the spectrum of styles Hinton encountered over his illustrious career. On the swingin' side of things are two Billy Strayhorn pieces, "Raincheck" and "Johnny Come Lately" - taken at pace by Hinton with the help of Warren Vaché on trumpet and pianist Janice Friedman.

Both Vaché and Friedman offer keen lyrical insight and, with able hands, tend to Strayhorn's touching melodies. Hinton, meanwhile, occupies himself with tempo and swing. His bass walks - nay, runs - deftly across the rolling passes of the tunes, stopping only for an exquisite pair of solos. On "Fascinating Rhythm," a duet with drummer Kenny Washington, the listener is again dazzled by a prodigious display of rhythmic dexterity. Throughout the piece, Washington's traps snap, crackle and pop like the burning coals of a campfire, while Hinton's fat tone casts rounded shapes and bold colors over the playfully erratic Gershwin composition. Other highlights include a burning version of Frank Wess' "Order in the Court" and "Old Man Time," complete with Hinton's lighthearted vocals, Kenny Davern's mood-ified clarinet, guitarist Howard Alden's infectious strums (à la Freddie Green), and drummer Jackie Williams' strokes of skilled brushwork. Above all else, The Basement Tapes is a glaring testament to Hinton's rhythmic reliability. Like a monument at the center of town, his bass stands tall and firm carrying with it an unmistakable air of steadiness and permanency. ~Riel Lazarus https://www.allaboutjazz.com/the-basement-tapes-milt-hinton-chiaroscuro-records-review-by-riel-lazarus.php

Personnel: Milt Hinton - Bass; Howard Alden - Guitar; Kenny Davern - Clarinet; Warren Vache - Trumpet; Sylvia Syms - Vocals; Kenny Washington - Drums; Frank Wess - Flute, Tenor Sax; Jackie Williams - Drums; Janice Friedman - Piano; James Williams - Piano.

The Basement Tapes

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Kenny Burrell - Sanremo 1987

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 43:08
Size: 98,7 MB
Art: Front

(6:39) 1. Blues No.1
(7:32) 2. Summertime
(7:33) 3. Blues No.2
(6:25) 4. Ballad
(8:18) 5. Blue Bossa
(6:38) 6. Body & Soul

One of the leading exponents of straight-ahead jazz guitar, Kenny Burrell is a highly influential artist whose understated and melodic style, grounded in bebop and blues, made him in an in-demand sideman from the mid-’50s onward and a standard by which many jazz guitarists gauge themselves to this day. Born in Detroit in 1931, Burrell grew up in a musical family in which his mother played piano and sang in the Second Baptist Church choir and his father favored the banjo and ukulele. Burrell began playing guitar at age 12 and quickly fell under the influence of such artists as Charlie Christian, Django Reinhardt, Oscar Moore, T-Bone Walker, and Muddy Waters. Surrounded by the vibrant jazz and blues scene of Detroit, Burrell began to play gigs around town and counted among his friends and bandmates pianist Tommy Flanagan, saxophonists Pepper Adams and Yusef Lateef, drummer Elvin Jones, and others.

In 1951, Burrell made his recording debut on a combo session that featured trumpeter Dizzy Gillespie as well as saxophonist John Coltrane, vibraphonist Milt Jackson, and bassist Percy Heath. Although his talent ranked among the best of the professional jazz players at the time, Burrell continued to study privately with renowned classical guitarist Joe Fava and enrolled in the music program at Wayne State University. Upon graduating in 1955 with a B.A. in music composition and theory, Burrell was hired for a six-month stint touring with pianist Oscar Peterson’s trio. Then, in 1956, Burrell and Flanagan moved to New York City and immediately became two of the most sought-after sidemen in town, performing on gigs with such luminaries as singers Tony Bennett and Lena Horne, playing in Broadway pit orchestras, as well as recording with an array of legendary musicians including Coltrane, trumpeter Kenny Dorham, organist Jimmy Smith, vocalist Billie Holiday, and many others. Burrell made his recorded debut as a leader on the 1956 Blue Note session Introducing Kenny Burrell technically his second session for the label, but the first to see release. From the late ’50s onward, Burrell continued to record by himself and with others, and has appeared on countless albums over the years including such notable albums as 1957’s The Cats featuring Coltrane, 1963’s Midnight Blue featuring saxophonist Stanley Turrentine, 1965’s Guitar Forms with arrangements by Gil Evans, and 1968’s Blues The Common Ground.

Beginning in 1971, Burrell started leading various college seminars including the first regular course to be held in the United States on the music of composer, pianist, and bandleader Duke Ellington. He continued performing, recording, and teaching throughout the ’80s and ’90s, releasing several albums including 1989’s Guiding Spirit, 1991’s Sunup to Sundown, 1994’s Collaboration with pianist LaMont Johnson, 1995’s Primal Blue, and 1998’s church music-inspired Love Is the Answer. In 2001, Burrell released the relaxed quartet date A Lucky So and So on Concord and followed it up in 2003 with Blue Muse. He celebrated turning 75 years old in 2006 by recording a live date, released a year later as 75th Birthday Bash Live! In 2010, Burrell released another live album, Be Yourself: Live at Dizzy’s Club Coca-Cola, recorded at Lincoln Center’s smaller club-like venue. Besides continuing to perform, Burrell is the founder and director of the Jazz Studies Program at UCLA as well as President Emeritus of the Jazz Heritage Foundation. ~ Matt Collar https://www.bluenote.com/artist/kenny-burrell/

Personnel: Kenny Burrell - guitar; Dave Jackson - bass; Kenny Washington - drums

Sanremo 1987

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Bill Charlap Trio - Live At Flushing Town Hall

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 65:36
Size: 152,4 MB
Art: Front

( 4:46) 1. Godchild
( 5:49) 2. All Through The Night
( 5:49) 3. Sophisticated Lady
( 6:09) 4. An Affair To Remember
( 5:53) 5. Not A Care In The World
(10:05) 6. Too Late Now
( 7:41) 7. In The Still Of The Night
( 5:22) 8. Groovin' High
( 3:18) 9. Body And Soul
( 3:24) 10. Stay Right With It
( 7:16) 11. What Are You Doing The Rest Of Your Life

Flushing Town Hall presents the GRAMMY award-nominated Bill Charlap Trio, with GRAMMY award-winning pianist Bill Charlap, bassist Peter Washington and drummer Kenny Washington. Praised by The Guardian as“one of the best piano trios ever,”the Bill Charap Trio which celebrates its 25th anniversary in 2022, is considered one of the leading jazz groups. The trio’s most recent recording features them with Tony Bennett & Diana Krall on the chart-topping, GRAMMY-nominated Love is Here to Stay. The Bill Charlap Trio tours all over the world, and their New York engagements include regular appearances at Jazz at Lincoln Center and the Village Vanguard.
https://www.wbgo.org/community-calendar/event/bill-charlap-trio-at-flushing-town-hall-13-12-2021-11-36-36

Personnel: Bill Charlap - piano; Peter Washington - bass; Kenny Washington - drums

Live At Flushing Town Hall

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Mike LeDonne - Heavy Hitters

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:19
Size: 141,1 MB
Art: Front

(8:19) 1. Hub
(6:39) 2. A New Day
(7:30) 3. Silverdust
(5:25) 4. Un Dia Es Un Dia
(5:37) 5. Big Richard
(7:57) 6. Chainsaw
(6:14) 7. This Is Something New
(6:07) 8. Cedar Land
(7:27) 9. Bluesit

The self-titled debut from the Heavy Hitters, pianist Mike LeDonne's latest sextet, has the feel of a tribute album. However, unlike most recordings of that nature, there is no classic repertoire present, as all nine tracks are penned either by LeDonne or his colleague, tenor saxophonist Eric Alexander. Instead, it is a tribute to a sound that LeDonne and partners are aiming for: in this case, that of the iconic Blue Note label's 1950s-60s period, when artists such as Freddie Hubbard, Joe Henderson, Wayne Shorter, Herbie Hancock and many others effectively placed their stamp on midcentury jazz. From the bold yet straightforward design of the album's cover, to the choice of recording venue in fabled Blue Note producer Rudy Van Gelder's former studio, Heavy Hitters evokes that golden era of jazz with panache and top-quality musicianship.

The musicians do not disguise their musical debts. The crackling opener, "Hub," will have Hubbard fans going back to revisit classic gems such as Hub-Tones (Blue Note, 1963) or Breaking Point (Blue Note, 1964), and the Horace Silver vibes run deep on "Silverdust," with a hard-bop head that sails along effortlessly and with an undeniable groove. Elsewhere other jazz legends are acknowledged, as "Cedar Land" is built over a chord progression from pianist Cedar Walton's "Holy Land," while "This is Something New" is adapted from an unfinished tune by saxophonist George Coleman.

Projects of this sort invariably take the risk of becoming mere exercises in nostalgia, reminding us of the unsurpassed greatness of the titans of old. While there are moments here in which that can happen, as a listener temporarily forgets that they are hearing something recorded not in 1965 but in 2022, the abundance of strong playing throughout the disc is more than enough to maintain interest.

LeDonne's solos are terrific, but perhaps even more impressive is his comping, which is consistently inventive and rhythmically tenacious: check out his work underneath the soloists on the Latin-hued "Un Dia es un Dia" as evidence, where he digs in with zest to keep the music moving. The horns, which include not only Alexander but also alto saxophonist Vincent Herring and trumpeter Jeremy Pelt, bring plenty of fireworks to the proceedings; but they are also able to carve out more pensive ruminations as well.

Alexander's heartfelt statement on the lovely ballad "Big Richard" is a case in point. And the bass-drums tandem of Peter Washington and Kenny Washington is tough to beat, with impeccable instincts for swing and groove. All in all, this is a satisfying release that extracts a lot of fine contributions from musicians who are indeed among the "heavy hitters" of their generation. Fans of classic jazz will very much appreciate the spirit and dedication on display here. By Troy Dostert
https://www.allaboutjazz.com/heavy-hitters-heavy-hitters-cellar-music-group

Personnel: Mike LeDonne: organ, Hammond B3; Eric Alexander: saxophone, tenor; Jeremy Pelt: trumpet; Vincent Herring: saxophone; Peter Washington: bass; Kenny Washington: drums; Rale Micic: guitar.

Heavy Hitters

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Wycliffe Gordon - Boss Bones

Styles: Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 62:28
Size: 144,2 MB
Art: Front

(6:01) 1. Spop
(5:36) 2. The Nick Of Time
(8:39) 3. Recorda-me
(8:37) 4. Another Slow One
(6:12) 5. Stardust
(8:08) 6. Wheatleigh Hall
(6:48) 7. Here's That Rainy Day
(7:32) 8. Nica's Dream
(4:52) 9. Anthropology

Jazz trombonist Wycliffe Gordon has established himself as a major soloist, mostly because of his fine work with the Lincoln Center Jazz Orchestra. Gordon’s approach draws upon the sounds of jazz’s New Orleans origins (vocalized growls, smears, etc.) along with the advances of bebop and beyond.

Bones Tones is an unusual album in that it features another trombonist in its “horn section,” namely Andre Hayward, also a member of the Lincoln Center band. Whereas some jazz albums try to impress with the listener with capital-S seriousness, BONES is a swinging, joy-filled frolic through classic jazz standards (by Parker, Gillespie, and Horace Silver) and a few bracing Gordon originals. By Mark Keresman https://www.allmusic.com/album/boss-bones-mw0000785115

Personnel: Wycliffe Gordon (Trombone), Andre Hayward (Trombone) Mike LeDonne (Piano), John Webber (Bass), Kenny Washington (Drums)

Boss Bones

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Houston Person - The Art and Soul, Vol.1, Vol.2, Vol.3.

Album: The Art and Soul, Vol. 1
Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:52
Size: 121,5 MB
Art: Front

(4:51) 1. You Do Something To Me
(6:53) 2. I Don't Stand A Ghost Of A Chance
(3:54) 3. You're A Sweetheart
(6:49) 4. Maybe You'll Be There
(4:56) 5. All The Things You Are
(5:28) 6. You're My Everything
(5:39) 7. Skylark
(4:36) 8. I Only Have Eyes For You
(5:35) 9. Everything I Have Is Yours
(4:05) 10. Wonder Why

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Album: The Art and Soul, Vol. 2
Time: 54:34
Size: 125,4 MB

(5:50) 1. Do Nothing Till You Hear from Me
(5:05) 2. Here's That Rainy Day
(4:15) 3. Isn't It Romantic?
(5:48) 4. Fools Rush In
(6:36) 5. It Had to Be You
(6:13) 6. But Beautiful
(5:59) 7. For All We Know
(5:48) 8. Blue Moon
(4:42) 9. Bewitched
(4:13) 10. Don't Get Around Much Anymore

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Album: The Art and Soul, Vol. 3
Time: 55:20
Size: 127,2 MB

(6:07) 1. Sentimental Journey
(5:09) 2. Where Are You?
(4:32) 3. There's A Small Hotel
(6:43) 4. Tenderly
(6:06) 5. Be My Love
(6:08) 6. It Might As Well Be Spring
(5:05) 7. My Funny Valentine
(6:27) 8. Gentle Rain
(4:04) 9. Mack The Knife
(4:56) 10. The Very Thought Of You

The Art and Soul of Houston Person is an irresistible combination of the celebrated tenor saxophonist and the Great American Songbook. The 30 songs on this generous three-CD set were culled by Person from ten of his HighNote CDs, with the addition of four new songs recorded in spring, 2008. The songs feature an array of talented sidemen, including pianist Bill Charlap, bassists Ron Carter and Ray Drummond and drummer Grady Tate. If that isn't compelling enough, all the tracks were mixed, edited and mastered by the eminent Rudy Van Gelder in his legendary Englewood Cliffs studio.

The collection is full of high points, with several songs particularly worth noting. The upbeat opener, "You Do Something to Me," showcases Person's golden warmth and impeccable swing. The song also features John di Martino's exquisite touch on piano and John Burr's fluid bass. The same group shines on "I Don't Stand a Ghost of a Chance," elegantly capturing the song's quiet longing. Person exhibits a poignant tenderness and drummer Jerome Jennings adds just the right backup with incredibly spacious brushwork. "Sentimental Journey" is a joyful toe-tapper; "Here's That Rainy Day" explores the rich undertones of melancholy and "Blue Moon" is surprisingly upbeat, with Person's tenor fat and happy. And don't miss "Mack the Knife," a duet with Ron Carter where the two musicians turn the song inside out and trade lines with fluent ease.

In a 2004 interview, Person defined jazz as, "something that, when the end of the day comes, after a hard and frustrating day out in the world, relieves you. Relaxes you and makes you feel good." The Art and Soul of Houston Person is exactly that kind of music, a treasure chest of luscious, soothing sound. By Florence Wetzel https://www.allaboutjazz.com/the-art-and-soul-of-houston-person-highnote-records-review-by-florence-wetzel

Personnel: John di Martino: piano; Jon Burr: bass; Jerome Jennings: drums; Richard Wyands: piano; Ray Drummond: bass; Kenny Washington: drums; Russell Malone: guitar; Grady Tate: drums; Stan Hope: piano; George Kaye: bass; Chip White: drums; Ron Carter: bass; Peter Washington: bass; Paul Bollenback: guitar; Per-ola Gadd: bass; Bill Charlap: piano.

The Art and Soul,Vol.1,Vol.2, Vol.3

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Jan Lundgren - In New York

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 61:47
Size: 141,8 MB
Art: Front

(7:27) 1. Negotiations
(5:26) 2. East Of The Sun
(7:02) 3. Autumn In New York
(7:36) 4. Stablemates
(4:52) 5. The Gypsy
(7:29) 6. Straight Street
(5:12) 7. M.Z.
(5:51) 8. Cherokee
(4:35) 9. I Can't Get Started
(6:14) 10. This Is For Albert

In sports, coaches like to talk about “putting yourself in position to win.” Jan Lundgren has done exactly that with In New York. He borrowed Bill Charlap’s rhythm section of Peter Washington and Kenny Washington, one of the finest active piano-trio support systems. He recorded at Nola Studios with engineers Jim Czak and Bill Moss and got superb full-bandwidth sound. He assembled a stimulating program of originals, songbook classics (“East of the Sun,” “Autumn in New York,” “I Can’t Get Started”), and jazz standards by saxophonists (Golson’s “Stablemates,” Coltrane’s “Straight Street,” Shorter’s “This Is for Albert”).

Win he does. My only previous exposure to Lundgren’s work was a rather bland album of Swedish folksongs called Landscapes. But on In New York, with the Washingtons smoothing paths for him like two sweepers on the world champion Swedish curling team, Lundgren effortlessly glides and streaks over these songs. His versions of the three songbook pieces are rich, comprehensive and elegantly detailed. The positive energy is powerful and exhilarating. Even Lundgren’s “M.Z.,” for Monica Zetterlund, a wheelchair-bound Swedish singer who died tragically in an apartment fire in 2005, is much more about celebrating her life than mourning her death.
By Thomas Conrad https://jazztimes.com/archives/jan-lundgren-in-new-york/

Personnel: Jan Lundgren (piano); Peter Washington (bass); Kenny Washington (drums)

In New York

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Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

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Lee Konitz - The Lee Konitz Nonet

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 61:33
Size: 142,0 MB
Art: Front

( 0:41)  1. Fanfare
(10:55)  2. Chi-Chi
( 5:04)  3. If You Could See Me Now
( 3:19)  4. Sometimes I'm Happy
( 5:26)  5. Giant Steps
( 4:46)  6. April/April Too
( 7:25)  7. Who You
( 5:00)  8. Stryker's Dues
( 3:42)  9. Fourth Dimension
( 4:43) 10. Struttin' with Some Barbecue
( 0:50) 11. Hymn Too
( 9:35) 12. Jazzspeak

The Lee Konitz Nonet never really prospered, but they recorded several excellent albums. With such top players as flügelhornist John Eckert, trombonist Jimmy Knepper, and baritonist Ronnie Cuber in the group, and colorful arrangements provided by Sy Johnson, this band's repertoire was as wide as one would expect from a Konitz band. Whether it be the Louis Armstrong-associated "Struttin' with Some Barbeque," a Lester Young-inspired "Sometimes I'm Happy," Charlie Parker's "Chi-Chi," "Giant Steps," or some newer originals, the results are frequently superb.
By Scott Yanow; https://www.allmusic.com/album/the-lee-konitz-nonet-mw0000597017

Personnel: Lee Konitz – alto saxophone, arranger; Burt Collins – trumpet, flugelhorn, piccolo trumpet; John Eckert – flugelhorn; Jimmy Knepper – trombone; Sam Burtis – bass trombone, tuba; Ronnie Cuber – baritone saxophone; Ben Aronov – piano; Knobby Totah – bass; Kenny Washington – drums; Sy Johnson – arranger

The Lee Konitz Nonet

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David Lahm - Jazz Takes on Joni Mitchell

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 62:02
Size: 143,7 MB
Art: Front

(7:03) 1. Solid Love
(6:44) 2. Song for Sharon
(6:14) 3. Edith and the Kingpin
(5:56) 4. Coyote

(7:19) 5. Blue Motel Room
(7:32) 6. The Blonde in the Bleachers and the Vamp from Hell
(5:23) 7. The Fiddle and the Drum
(6:57) 8. Solid Love (alternate version)
(8:50) 9. Shadows and Light

I somehow forgot just how intertwined pop star Joni Mitchell’s music has been with jazz. Maybe its because my sister bought the new Joni Mitchel records, and I only listened to them from the bedroom across the hall, that I didn’t memorize her album covers. But looking back on Mitchell’s work, up pops Bud Shank, Larry Carlton, and Jaco Pastorious. Her Mingus record was more a love offering than a musical statement.

Now, twenty-years later she’s back, singing on Herbie Hancock’s Gershwin tribute, and is paid homage to on trumpeter Dave Douglas’ Moving Portraits (DIW/Japan). Add to that, this tribute from producer/pianist David Lahm. The musicians include saxophonists Lew Tabakin and Thomas Chapin, trumpeter Randy Brecker, violinist Mark Feldman, and drummer Kenny Washington. Lahm effortlessly moves from a Kansas City styled opener “Solid Love” to a Jaco Pastorious tribute “Coyote.”

Chapin, a saxophonist we lost last year to cancer is haunting but so is Lew Tabakin. Wow, his straight-ahead jazz is so very expressive. On “Blue Motel Room,” he compliments organist Mike LeDonne and William Galison’s harmonica to slide the blues into your back pocket. Lahm reveals Joni Mitchell as a true jazzbo, something that could have wrecked her career so many years ago. By Mark Corroto https://www.allaboutjazz.com/jazz-takes-on-joni-mitchell-david-lahm-arkadia-jazz-review-by-mark-corroto

Personnel: David Lahm: Piano; Randy Brecker: Trumpet; Lew Tabackin: Tenor sax; Thomas Chapin: Alto sax/flute; Mark Feldman: Violin; Friedman: Vibraphone; William Galison: Harmonica; Roger Rosenberg: Sax/clarinet; Ron Vincent: Drums; Peter Herbert: Bass; Ed Naumeister: Trombone; Mike LeDonne: Organ; Kenny Washington: Drums; Peter Washington: Bass

Jazz Takes on Joni Mitchell

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Andy Bey - Ain't Necessarily So

Bitrate: 320K/s
Time: 66:42
Size: 152.7 MB
Styles: Vocal
Year: 2007
Art: Front

[0:29] 1. Intro
[7:00] 2. Ain't Necessarily So
[9:24] 3. Hey, Love
[5:22] 4. All The Things You Are
[9:08] 5. I Let A Song Go Out Of My Heart
[9:02] 6. If I Should Lose You
[9:20] 7. On Second Thought
[8:37] 8. Brother, Can You Spare A Dime
[8:15] 9. Someone To Watch Over Me

Singer Andy Bey is less well known as a pianist, but nowadays he leads his trio from the piano stool, his instrumental wanderlust having an equal capacity to his voice for taking a saunter down the less familiar alleyways. This live album was recorded a decade back at Birdland, in what was effectively Bey's first significant New York residency as a leader. He's joined by bassist Peter Washington and drummer Kenny Washington on most of the numbers, with sticksman Vito Lesczak sitting in on two tracks.

Bey's set is standard-based, unlike his more out-there work in the 1970s, but in a cunningly subversive way, he manages to tinker with even the most familiar material, literally unstitching it until it slides down from the bandstand, where it will then wrap its tender tendrils around both the audience or the armchair listener. Choices that include "All The Things You Are," "Brother, Can You Spare A Dime? and the title track don't end up sounding tiresomely routine, but take on a freshness that is now increasingly difficult to maintain.

Bey is blessed with a commanding voice that can easily swoop from a falsetto down to a vibrato-ed thundering, taking his phrasing from gospel, blues and soul, then projecting it as if from a theatrical stage, or even a pulpit. The piano is used as an extension of this technique, underlining, answering or repeating his vocal lines. This produces the unnerving effect of a combined sense of conservative old-fashioned-ness and a bold tearing up of the sacrosanct songbook. There aren't too many parallels to point out. Maybe Mark Murphy, because of his shared sense of time-displacement and his instinctive coolness.

Bey threw an album release party at New York's Blue Note in December, 2007, and his set list still remained very similar. Could this be because he hasn't changed much in a decade, or is he merely attempting to reflect the album's contents? Even some of the between-song banter remained almost exactly the same. His braids are now longer, bunched behind a pirate scarf, Bey draped in a slick suit. His rhythm team has changed—Joe Martin on bass and Lesczak handling the sticks throughout. These two were in tune with Bey's sensitivity, as he scanned these familiar songs from his little notebook or launched off into an involved instrumental that revealed his similarly winding way on the piano keys. If anything, the personal live experience seemed even more conceptual, as Bey exuded the aura of an almost totally unpredictable, abstract artist, yet from within a traditional jazz milieu. ~Martin Longley

Andy Bey: vocals, piano; Peter Washington: bass; Kenny Washington, Vito Lesczak: drums.

Ain't Necessarily So

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Charlie Rouse & Red Rodney - Social Call

Styles: Saxophone and Trumpet Jazz
Year: 1984
File: MP3@320K/s
Time: 59:09
Size: 135,7 MB
Art: Front

(6:23)  1. Little Chico
(5:48)  2. Social Call
(6:31)  3. Half Nelson
(4:46)  4. Greenhouse
(9:35)  5. Darn That Dream (take 1)
(6:16)  6. Casbah
(6:32)  7. Social Call
(7:12)  8. Darn That Dream (take 2)
(6:01)  9. Half Nelson

Tenor saxophonist Charlie Rouse, 59 at the time, is in top form for this bop-oriented set. Teamed up with trumpeter Red Rodney, pianist Albert Dailey, bassist Cecil McBee and drummer Kenny Washington, Rouse performs Don Sickler arrangements of four jazz standards (including "Half Nelson" and Tadd Dameron's "Casbah"), plus an obscurity ("Greenhouse") and his own "Little Chico." Old friends Rouse and Rodney work off each other very well, and the results are swinging and enjoyable.
~Scott Yanow http://www.allmusic.com/album/social-call-mw0000038083

Personnel: Charlie Rouse (tenor saxophone); Red Rodney (trumpet, flugelhorn); Albert Dailey (piano); Kenny Washington (drums).

Social Call

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Bill Charlap Trio - Street of Dreams

Styles: Piano Jazz
File: MP3@320K/s
Time: 45:34
Size: 105,0 MB
Art: Front

(6:48) 1. The Duke
(6:17) 2. Day Dream
(4:49) 3. You're All the World to Me
(5:15) 4. I'll Know
(4:00) 5. Your Host
(5:27) 6. Out of Nowhere
(7:34) 7. What Are You Doing the Rest of Your Life?
(5:20) 8. Street of Dreams

Celebrating 24 years together, pianist Bill Charlap’s trio with the Washingtons (bassist Peter and drummer Kenny no relation) comes as close as any piano trio can to batting a thousand. Even their less inspired efforts, whether onstage or on record, still bear the marks of high-level professionalism and empathy that only a long-lived and prolific ensemble can develop.

And Street of Dreams is not one of their less inspired efforts. If anything, the degree of inspiration on opener “The Duke” alone could carry the whole album. Charlap finds new reserves of depth and nuance in the fond reverence of Dave Brubeck’s paean to Ellington, and that’s without considering the rhythmic oneupmanship of his and Kenny Washington’s interplay during the pianist’s solo.
~ Michael J.Westhttps://jazztimes.com/reviews/albums/bill-charlap-street-of-dreams-blue-note/

Personnel: Bass – Peter Washington; Drums – Kenny Washington; Piano – Bill Charlap

Street of Dreams

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Richard Wyands Trio - Lady Of The Lavender Mist

Bitrate: MP3@320K/s
Time: 42:27
Size: 97.2 MB
Styles: Bop, Piano jazz
Year: 2002/2011
Art: Front

[5:44] 1. Softly, With Feeling
[6:38] 2. Flamingo
[6:12] 3. When I Fall In Love
[4:48] 4. So In Love
[5:51] 5. Lady Of The Lavender Mist
[7:31] 6. I Didn't Know What Time It Was
[6:11] 7. Born To Be Blue

Richard Wyands, Piano; Peter Washington, Bass; Kenny Washington, Drums.

Best known as a hard bop pianist side-man, this album represents Wyands’ 2002 success as lead, laying down a smooth sophisticated sound.

Lady Of The Lavender Mist

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Plas Johnson, Red Holloway - Keep That Groove Going!

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 55:11
Size: 127,7 MB
Art: Front

(6:05) 1. Keep That Groove Going!
(4:11) 2. Stuffy
(6:47) 3. Serenade In Blue
(4:12) 4. Go Red Go
(7:22) 5. Bretheren!
(8:40) 6. Pass The Gravy
(6:33) 7. Jammin' For Mr. Lee
(5:02) 8. Cry Me A River
(6:15) 9. Dream A Little Dream Of Me

A number of shopworn lines might be used to characterize Keep That Groove Going!, a session co-led by Plas Johnson and Red Holloway. Bromides such as “A battle between two veteran tenor saxophonists,” and “A heady combination of blues and bebop” contain more than a grain of truth, yet ultimately obscure the larger picture. Beneath the emotionally charged surface of both Johnson and Holloway’s playing lies a wellspring of intelligence and good taste. Guided by an exceptionally tight rhythm section consisting of Hammond B-3 organist Gene Ludwig, guitarist Melvin Sparks, and drummer Kenny Washington, the septuagenarians tackle a diverse program that refutes the notion that there are artistic limitations in sustaining a groove.

It only takes a few bars of Johnson and Holloway’s jubilant unison statement on Coleman Hawkins’ “Stuffy” to realize something special is happening. Holloway starts the solos by digging right into the medium tempo and builds an edifice consisting of short phrases that wallow in his rich tone, leaving plenty of space for the rhythm section to fill. All the while Washington nips at his heels with prickly accents on the snare drum. Inspired by Ludwig’s comping, Johnson fashions a droll statement out of long bent notes and brief passages that flash on and off like an irregular neon sign. Using the metallic click of Washington’s hi-hat as a rhythmic guidepost, Ludwig’s all-too-brief turn swings intensely without ever breaking into a sweat.

Some of Holloway and Johnson’s most memorable playing occurs during their respective ballad features. Holloway doesn’t so much play the melody of “Serenade in Blue” as he caresses it, resembling something out of a heavenly dream. With a pointed note here and jagged phrase there, his solo moves in a virile swagger; eventually culminating in a succession of blues based declarations. Breaking out from his usual pensive manner, Ludwig follows, sounding uncharacteristically frisky by playing brisk lines that threaten to lose control before coming back into the fold. His ominous chords provide a fitting introduction to Johnson’s stunning performance of “Cry Me a River.” The first time around, the tenor saxophonist poignantly plays the initial part of the melody, hitting the first note hard and bending it before continuing as if exhausted from the effort. Johnson’s repeat of the same section is startling in its use of the bebop lexicon, sounding like a brief outpouring of anguish.~ AAJ Staff https://www.allaboutjazz.com/keep-that-groove-going-plas-johnson-fantasy-jazz-review-by-aaj-staff.php

Personnel: Red Holloway--tenor saxophone; Plas Johnson--tenor saxophone; Gene Ludwig--organ; Melvin Sparks--guitar; Kenny Washington--drums.

Keep That Groove Going!

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The Tenor Triangle With the Melvin Rhyne Trio - Tell It Like It Is

Styles: Jazz, Post Bop
Year: 1993
File: MP3@320K/s
Time: 63:03
Size: 145,0 MB
Art: Front

( 8:56)  1. Tell It Like It Is
(10:21)  2. Thing One
( 9:12)  3. Minor Changes
(8:02) 4. Ballad Medley-when Sunny Gets Blue - Cherokee - Memories Of You
( 7:15)  5. Lazy Bird
(12:06)  6. Body and Soul
( 7:07)  7. The Eternal Triangle

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. “Old hat,” some will say, but so what? There’s plenty of music here, and a game of “who do you hear?” to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of ‘Trane in Alexander. Your mileage may vary, as they say on the ‘Net-but whoever you hear, you’ll hear plenty you like. ~ Bill Bennett https://jazztimes.com/archives/the-tenor-triangle-with-the-melvin-rhyne-trio-aztec-blues/

Personnel: Eric Alexander (tenor saxophone), Ralph Lalama (tenor saxophone), Tad Shull (tenor saxophone), Melvin Rhyne (Hammond organ), Peter Bernstein (guitar), Kenny Washington (drums)

Tell It Like It Is

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The Tenor Triangle With the Melvin Rhyne Trio - Aztec Blues

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 69:16
Size: 159,3 MB
Art: Front

(12:23)  1. Cedar's Blues
(11:52)  2. 'nother Fu'ther
(10:16)  3. The Song Is You
( 7:56) 4. Ballad Medley - But Beautiful-it Could Happen To You-I thought About You
( 6:16)  5. Melvin's Masquerade
(11:28)  6. Aztec Blues
( 9:02)  7. To The Chief

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. “Old hat,” some will say, but so what? There’s plenty of music here, and a game of “who do you hear?” to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of ‘Trane in Alexander. Your mileage may vary, as they say on the ‘Net-but whoever you hear, you’ll hear plenty you like. ~ Bill Bennett https://jazztimes.com/archives/the-tenor-triangle-with-the-melvin-rhyne-trio-aztec-blues/

Personnel: Tenor Saxophone – Eric Alexander, Ralph Lalama, Tad Shull;  Organ – Melvin Rhyne; Drums – Kenny Washington; Guitar – Peter Bernstein

Aztec Blues

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Ralph Moore - Furthermore

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 49:04
Size: 113,7 MB
Art: Front

(7:59)  1. Hopscotch
(8:00)  2. Monk's Dream
(8:08)  3. 310 Blues
(5:56)  4. Phoebe's Samba
(6:57)  5. Girl Talk
(7:44)  6. Into Dawn
(4:17)  7. Line D

Tenor saxophonist Ralph Moore offers up a satisfying array of neo hard bop numbers on Furthermore which features some of the up and coming stars of the Wynton Marsalis retro trad jazz school, including trumpeter Roy Hargrove, pianist Benny Green, and bassist Peter Washington, as well as veteran drummers Kenny Washington (Peter's brother) and Victor Lewis. The CD opens with the thematically rich Moore original "Hopscotch" (reminiscent of Coltrane's "Moment's Notice") and works its way through Green's driving "Phoebe's Samba" and Hargrove's Wayne Shorter inspired mood piece "Into Dawn," with all three tunes providing prime vehicles for the innovative yet restrained soloing of these young players. Abetted by streamlined sound production, the urbane and cool mood of this recording crystallizes in Moore's sinuous tenor lines and mellifluous tone heard to great effect on his readings of Neal Hefti's pop gem "Girl's Talk" and his own "310 Blues." 

Moore and company leave the full-blown delivery of Ben Webster and Coltrane behind in favor of economical performances, and as was the case with many of the original hard bop albums, it takes its cues from Sonny Rollins' Saxophone Colossus and Lee Morgan's Sidewinder. Furthermore does not break the mold so much as provide a pleasurable listening experience of the highest order. A potential dinner party classic; subtle enough not to disturb the guests, but provocative enough to elicit comments.~ Stephen Cook https://www.allmusic.com/album/furthermore-mw0000309674

Personnel: Tenor Saxophone – Ralph Moore;  Trumpet – Roy Hargrove (tracks: 1,3,4,6);  Bass – Peter Washington;  Drums – Kenny Washington (tracks: 1,3,5), Victor Lewis (tracks: 2, 4, 6,7);  Piano – Benny Green

Furthermore

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