Ernestine Anderson With The Clayton-Hamilton Orchestra - Boogie Down

Styles: Jazz, Vocal, Big Band
Year: 1989
File: MP3@320K/s
Time: 44:47
Size: 102,9 MB
Art: Front

(4:09)  1. Boogie Down
(6:39)  2. That Sunday That Summer
(4:40)  3. Love Walked In
(4:32)  4. Only Trust Your Heart
(2:16)  5. Day By Day
(4:45)  6. Nothing Ever Changes My Love For You
(3:24)  7. Wait Till You See Him
(6:17)  8. One Mint Julip
(8:01)  9. Le Blues

A solid but unspectacular effort, this CD matches singer Ernestine Anderson with the Clayton-Hamilton Jazz Orchestra. The big band is mostly heard in the background (except on the instrumental "Le Blues"), with the spotlight otherwise totally on the vocalist. Anderson sounds fine, but the material (which ranges from Al Jarreau's "Boogie Down" to "Love Walked In" and "One Mint Julep") offers few surprises, and she is not really smoothly integrated into the big band. However, the music still has its enjoyable moments.By Scott Yanow http://www.allmusic.com/album/boogie-down-mw0000204454

Personnel: Ernestine Anderson (vocals); Jim Hershman (guitar); Jeff Clayton (flute, oboe, alto saxophone); Bill Green (clarinet, alto saxophone); Herman Riley, Rickey Woodard (clarinet, tenor saxophone); Jack Nimitz (bass clarinet, baritone saxophone); Clay Jenkins, Oscar Brashear, Ray Brown , Snooky Young (trumpet, flugelhorn); George Bohannon, Thurman Green, Ira Nepus (trombone); Maurice Spears (bass trombone); Larry Fuller (piano); Jeff Hamilton (drums).

Boogie Down

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Houston Person - Reminiscing at Rudy's

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 57:24
Size: 132,2 MB
Art: Front

(4:57) 1. At Long Last Love
(6:50) 2. Again
(4:48) 3. Moon River
(5:27) 4. Put Your Head on My Shoulder
(4:12) 5. Why Did I Choose You
(4:17) 6. Nothing Ever Changes My Love for You
(6:15) 7. My Romance
(7:42) 8. I'll Let You Know
(7:01) 9. Please Send Me Someone to Love
(5:50) 10. Reminiscing at Rudy's

The "Rudy's" in the title of tenor saxophonist Houston Person's album, Reminiscing at Rudy's, is not a nightclub or other such venue but the New Jersey studio of celebrated recording engineer Rudy Van Gelder who died in 2016. As befits reminiscing, the bulk of the album's numbers are tender ballads, every one of which lands squarely in Person's amorous wheelhouse.

That is not to say the veteran tenor saxophone maestro who has recorded almost seventy albums as leader of his own groups is not comfortable or creative at other tempos, as he shows, for example, on Cole Porter's medium-paced "At Long Last Love," Henry Mancini's usually placid "Moon River" (presented here as a danceable foxtrot) and his own well-grooved finale, "Reminiscing at Rudy's." The truth is, Person is relaxed and confident in any milieu; he simply has a fondness for sensuous and warm-hearted love songs, and summons forth the utmost warmth and affection each of them has to offer.

As usual, Person is supported by a cannot-lose rhythm section whose members are guitarist Russell Malone, pianist Larry Fuller, bassist Matthew Parrish and drummer par excellence Lewis Nash who even sings possibly a first for him, at least on record on Marvin Fisher's "Nothing Ever Changes My Love for You," which was written for another pretty fair vocalist, Nat King Cole. While he is clearly no Cole nor would he claim to be Nash's smooth, even-tempered baritone is surprisingly good. He may have hit upon an unforeseen side gig.

Even though he is the session's unequivocal guiding light, Person gives everyone a chance to shine, and there are perceptive solos along the way by Fuller, Parrish and Malone, whose easygoing designs mirror Person's and enhance the group's fraternal mood. The most welcome ballad in these quarters is Lionel Newman's too-seldom-heard "Again," an exquisite melody first sung by Ida Lupino in the 1948 film noir, Roadhouse. The others include Paul Anka's "Put Your Head on My Shoulder," Herbert Martin's "Why Did I Choose You," Rodgers and Hart's "My Romance," Cedar Walton's "I'll Let You Know" and Percy Mayfield's "Please Send Me Someone to Love."

Person, now nearing his eighty-eighth year, shows no sign of slowing down, playing with the awareness and unerring mastery of someone many years his junior. To put it another way, he is simply quite good at what he does, and what he has been doing for most of his adult life. Reminiscing at Rudy's is yet another melodic milestone in Person's long and impressive career.
By Jack Bowers https://www.allaboutjazz.com/reminiscing-at-rudys-houston-person-highnote-records

Personnel: Houston Person: saxophone, tenor; Russell Malone: guitar, electric; Larry Fuller: piano; Matthew Parrish: bass; Lewis Nash: drums.

Reminiscing at Rudy's

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John Pizzarelli - With A Song In My Heart

Styles: Vocal And Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 43:25
Size: 101,4 MB
Art: Front

(3:53) 1. With A Song In My Heart
(2:27) 2. This Can't Be Love
(4:36) 3. I Like To Recognize The Tune
(4:13) 4. It's Easy To Remember
(2:59) 5. Johnny One Note
(4:12) 6. Nobody's Heart
(4:25) 7. Happy Talk
(2:47) 8. Mountain Greenery
(3:40) 9. I Have Dreamed
(2:34) 10. The Lady Is A Tramp
(4:36) 11. She Was Too Good To Me
(2:59) 12. You've Got To Be Carefully Taught

John Pizzarelli salutes composer Richard Rodgers with this songbook including a dozen of his works. The vocalist/guitarist is accompanied by his trio, with Larry Fuller replacing Ray Kennedy, bassist Martin Pizzarelli, and drummer Tony Tedesco. Pizzarelli adds a personal touch to "I Like to Recognize the Tune" by altering Lorenz Hart's lyrics a bit, while also scatting up a storm in unison with his guitar. Bucky Pizzarelli is an added guest and soloist for "It's Easy to Remember," an intimate duet with the vocalist playing rhythm. Cesar Camargo Mariano takes over at the piano for the breezy bossa nova setting of "Happy Talk." Arranger Don Sebesky wrote the charts for the six tracks and a quartet of brass and reeds, highlighted by the snappy scoring of "The Lady Is a Tramp," recalling Pizzarelli's previous Telarc salute to Frank Sinatra (Dear Mr. Sinatra, in which he trades fours scatting with each of the horns). This release is a little short in the CD era, clocking in at just over 43 minutes, but there's never a dull moment.~ Ken Dryden https://www.allmusic.com/album/with-a-song-in-my-heart-mw0000793387

Personnel: John Pizzarelli – guitar, vocals; Larry Fuller – piano; Martin Pizzarelli – bass; Tony Tedesco – drums; John Mosca – trombone, baritone horn; Andy Fusco – alto saxophone, tenor saxophone, bass clarinet; Kenny Berger – baritone saxophone, bass clarinet; Tony Kadlech – trumpet, flugelhorn

Special guests: Bucky Pizzarelli – guitar (track 4); Cesar Camargo Mariano – piano (track 7); Don Sebesky – Swing Seven Arrangements

With A Song In My Heart

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Nicki Parrott - If You Could Read My Mind

Styles: Vocal
File: MP3@320K/s
Time: 55:36
Size: 128,7 MB
Art: Front

(5:48) 1. I Can See Clearly Now
(4:18) 2. Jolene
(4:42) 3. If You Could Read My Mind
(4:36) 4. Vincent
(4:32) 5. Every Breath You Take
(4:56) 6. The First Time Ever I Saw Your Face
(4:31) 7. You Belong To Me
(4:04) 8. We've Only Just Begun
(4:54) 9. This Girl's In Love With You
(4:42) 10. Do That To Me One More Time
(4:16) 11. Lean On Me
(4:11) 12. The Water Is Wide

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”.Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd.Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It.In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”.Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q.

Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001). Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia. Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble. https://musicians.allaboutjazz.com/nickiparrott

Nicki Parrott loves old pop songs with good lyrics and good melodies and decided to feature them into this jazz setting.

Personnel: Nicki Parrott (vocal); Larry Fuller (piano); Lewis Nash (drums); Harry Allen (tenor sax); David Blenkhorn (acoustic and electric guitars)

If You Could Read My Mind

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Ernestine Anderson - Now and Then

Styles: Vocal Jazz
Year: 1993
File: MP3@224K/s
Time: 54:17
Size: 87,4 MB
Art: Front

(4:37)  1. Jazz Street
(5:20)  2. A Night In Tunisia
(5:48)  3. One Child
(5:09)  4. This Could Be Dangerous
(2:21)  5. This Can't Be Love
(5:12)  6. Wrong Number
(4:28)  7. Ain't No Easy Way
(4:51)  8. My Funny Valentine
(4:59)  9. Monte Carlo Nights
(6:41) 10. When It All Comes Down
(4:45) 11. I'll Be Seeing You

Positioned squarely in the mainstream, at home in the worlds of jazz and pop standards as well as the blues, comfortable with small groups and big bands, Ernestine Anderson regularly received a lot of airplay on traditional jazz radio stations. She fit those demographics well with her tasteful, slightly gritty, moderately swinging contralto; she rarely probed too deeply into emotional quagmires (and thus didn't disturb the dispositions of those who use the radio as background) but always gave listeners an honest musical account. Anderson's career actually got rolling in the embryonic R&B field at first; as a teenager, she sang with Russell Jacquet's band in 1943, and she moved on to the Johnny Otis band from 1947 to 1949, making her first recording with Shifty Henry's orchestra in 1947 for the Black & White label. In the '50s, however, she converted over to the jazz side, working with Lionel Hampton in 1952-1953 and recording with a band featuring Jacquet, Milt Jackson, and Quincy Jones in 1953, and with Gigi Gryce in 1955. Upon hearing the latter record, Rolf Ericson booked Anderson on a three-month Scandinavian tour; while in Sweden, she made a recording called Hot Cargo that, ironically, established her reputation in America. Once back in the U.S., she signed with Mercury and made a number of albums for that label until the early '60s.  She moved to England in 1965 and remained largely invisible on the American radar until 1975, when Ray Brown heard her sing at the Turnwater Festival in Canada. Brown became her manager, and got her to appear at the 1976 Concord Jazz Festival, which led to a Concord contract that immediately bore fruit with the albums Live from Concord to London and Hello Like Before. 

These and other comeback albums made her a top-flight jazz attraction in the U.S. again  this time for the long haul and in the '80s, she was recording with the Hank Jones Trio, George Shearing, Benny Carter, the Capp-Pierce Juggernaut, the Clayton-Hamilton Jazz Orchestra, and her own quartet. By 1992, she had attracted major-label attention once again, signing with Quincy Jones' Qwest outfit. For Koch, Anderson issued Isn't It Romantic in 1998. The live album I Love Being Here with You appeared in 2002, while 2003’s Love Makes the Changes found her signed to Highnote. The label released her album A Song for You in 2009. Anderson remained with the label for 2011's Nightlife, a live album that featured the singer in a number of small-group settings, with a guest appearance by labelmate Houston Person. Anderson passed away from natural causes on March 10, 2016 at the age of 87. ~ Richard S.Ginell  http://www.allmusic.com/artist/ernestine-anderson-mn0000200777/biography

Personnel: Ernestine Anderson (vocals); Arnold McCuller (vocals); Phil Upchurch, Ron Eschete, Paul Viapiano (guitar); Jimmy Z. (harmonica); Ernie Watts (saxophone); Lanny Morgan (alto saxophone); Oscar Brashear (trumpet); Geoff Stradling (keyboards, programming); Joe Sample, Larry Fuller (keyboards); Jim Keltner, Leon "Ndugu" Chancler (drums); Paulinho Da Costa (percussion); Terry Brooks, Petsye Powell, Petsye Powell-Huyghue, Cile Borman, Willard Pugh, Garrett Morris, Freda Morris, Pattie Brooks, Terry Wood (background vocals).

Now and Then

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Jessica Molaskey - A Kiss to Build a Dream On

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 61:13
Size: 142,2 MB
Art: Front

(3:46)  1. Happy Habit
(4:20)  2. Baby Medley
(3:28)  3. Hello Sunshine Hello
(4:12)  4. A Kiss to Build a Dream On
(3:17)  5. Louis
(4:09)  6. Tea for Two
(3:41)  7. Take Me to You
(4:13)  8. Breezin' Along With the Breeze
(3:48)  9. Isn't He Something
(3:46) 10. Hiding in Plain Sight
(3:07) 11. Four Leaf Clover
(5:51) 12. You're Nobody Till Somebody Loves You
(5:53) 13. Ain't Misbehavin'
(4:49) 14. Bye Bye Blues
(2:48) 15. Heart's Desire

When Broadway actress Jessica Molaskey met jazz guitarist/vocalist John Pizzarelli, an engaging partnership (both musical and marital) was formed. Molaskey enjoyed the musical family she married into, including father and guitarist Bucky and brother-in-law/bassist Martin, all of whom join her on her first CD for a purely jazz label. Rounding out the band is the talented young violinist Aaron Weinstein, a swinging, sensitive player in the Stéphane Grappelli tradition whose maturity on his instrument belies his youth. One of Molaskey's greatest strengths is her effortless ability to convey the emotion of each song without overdoing it, while her vocals are always right on the money. She also chose quite a few pieces that have long fallen into obscurity, including the upbeat "Happy Habit," the brightly swinging "Hello Sunshine Hello" (which interpolates "You Are My Sunshine" and utilizes multi-tracked vocals), and "Breezin' Along with the Breeze." John joins her for an intimate vocal duet of "Tea for Two" that includes the oft-omitted verse, along with their warm original "Hiding in Plain Sight," the latter adding guest Larry Fuller on piano. She also chose a pair of Stephen Sondheim songs, offering a playful rendition of "Everybody Loves Louis" (from Sunday in the Park with George and the sentimental ballad "Isn't He Something" (from Bounce. Jessica Molaskey will warm an audience of any size with this superb release. ~ Ken Dryden http://www.allmusic.com/album/a-kiss-to-build-a-dream-on-mw0000797982

Personnel:  Jessica Molaskey-vocals;  John Pizzarelli-guitar, vocal duets (6, 10);  Bucky Pizzarelli-guitar;  Martin Pizzarelli-bass;  Aaron Weinstein-violin;  Larry Fuller-piano (10)

A Kiss to Build a Dream On

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Jessica Molaskey - Sitting In Limbo

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 44:57
Size: 103,6 MB
Art: Front

(3:58)  1. Sitting In Limbo
(3:10)  2. Heavy Cloud, No Rain
(4:16)  3. Summer, Highland Falls
(3:00)  4. Ooh Child
(2:13)  5. I Want To Be Happy / Sometimes I'm Happy
(3:12)  6. There Will Never Be Another You
(4:31)  7. Knowing You
(3:31)  8. I'm Gonna Sit Right Down and Write Myself A Letter
(4:48)  9. The Circle Game / Waters Of March
(3:35) 10. Walkin' After Midnight
(4:11) 11. Hearts and Bones
(4:26) 12. Morning Has Broken / I Woke Up One Early Morning

Singer Jessica Molaskey's fourth album, Sitting in Limbo, has been well received. She is guitarist/vocalist John Pizzarelli's wife, and together they have won the New York City Nightlife Award for "Best Musical Duo" in both 2007 and 2008. Molaskey is a very polished vocalist whose specialty is Broadway musicals, currently appearing in a revival of Stephen Sondheim's Sunday in the Park with George, which opened in Manhattan in February, 2008. Her jazz credentials are enhanced by her frequent appearances and recordings such as this one, with her husband's working combo, but she is really an artist even more comfortable in a theatrical or cabaret setting. A similar comparison could be made for the late career of Rosemary Clooney, who was re-invented by Concord Records during the last two decades of her life, through her many jazz-associated albums. However, even Clooney came from a big band setting prior to her string of pop hits in the 1950s. Sitting in Limbo is a thematic album, using the lyrics of Jimmy Cliff's title tune to reflect a place "between heaven and hell" with an interesting choice of mostly pop material. On Paul Simon's "Hearts and Bones," based upon an autobiographical lyric that reflects upon Simon's failed marriage and a journey to New Mexico with actress/writer Carrie Fisher (."..One and one-half wandering Jews, Free to wander wherever they choose..."). Billy Joel's "Summer, Highland Falls" is interleaved with Jobim's uncredited "Tristeza," with the word "sadness" appearing in both songs but with different meanings.


An important part of the Molaskey/Pizzarelli performances live or in studio is their interrelated duets. Here two Vincent Youman/ Irving Caesar tunes "I Want to Be Happy" and "Sometimes I'm Happy" are sung by each of the vocalists. Elsewhere, Molaskey renders Joni Mitchell's "The Circle Game" while Pizzarelli does Jobim's vocally complex "Waters of March." Finally, Cat Stevens' "Morning Has Broken" is sung alongside the Pizzarelli/Molaskey original "I Woke Up One Early Morning." All of these tunes represent contrasting views that are reflected in Jimmy Cliff's lyrics on the title tune: "..I don't know where life will take me, but I know where I've been..." Pizzarelli's group is augmented by pianist/organist Larry Goldings on half of the selections (in lieu of Larry Fuller) and the presence of the always dependable and lyrical tenor saxophonist, Harry Allen. Bassist Martin Pizzarelli and drummer Tony Tedesco complete the roster. Disregarding labels and sub-genres, this is Jessica Molaskey's finest album in terms of concept and execution. ~ Michael P.Gladstone https://www.allaboutjazz.com/sitting-in-limbo-jessica-molaskey-ps-classics-review-by-michael-p-gladstone.php

Personnel: Jessica Molaskey: vocals; John Pizzarelli: guitar, vocals; Larry Goldings: piano and organ (1, 2, 4, 6, 8, 12); Larry Fuller: piano (3, 5-7, 9, 10); Martin Pizzarelli: bass; Tony Tedesco:drums; Harry Allen: saxophone.

Sitting In Limbo

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Rebecca Kilgore - Rebecca Kilgore's Lovefest at the Pizzarelli Party

Styles: Vocal Jazz
Year: 2011
File: MP3@320K/s
Time: 60:23
Size: 138,5 MB
Art: Front

(5:01)  1. How Are You Fixed for Love
(5:27)  2. Middle of Love
(3:11)  3. Loads of Love
(5:15)  4. Let There Be Love
(4:29)  5. Where Is Love?
(5:02)  6. It's Love
(4:58)  7. That Tired Routine Called Love
(5:02)  8. Love Is a Necessary Evil
(5:16)  9. That Old Devil Called Love
(4:45) 10. Take Love Easy
(7:49) 11. Down With Love / Hooray for Love
(4:03) 12. Something Like Love

One can almost hear Rebecca Kilgore smiling as she sings. Since she launched her jazz career, she's been a jazz party favorite and has often displayed a penchant for digging up forgotten songs. For these 2010 sessions, she shares the spotlight with some of her regular collaborators on record dates (most of whom she's shared the stage with as well), including guitarists Bucky and John Pizzarelli, bassist Martin Pizzarelli, tenor saxophonist Harry Allen, pianist Larry Fuller, drummer Tony Tedesco, and violinist Aaron Weinstein, with love being a common theme in the music. The little licks added behind her vocals in the swinging opener, "How Are You Fixed for Love," demonstrate the natural chemistry of the musicians. The haunting ballad "Where Is Love?," written for the movie Oliver!, is a warm feature with John Pizzarelli's soft guitar; Tedesco adds gentle brushwork, while Weinstein detours into "Who Will Buy?" from the same film in his brief solo.

Kilgore's lively approach to Matt Dennis' "That Tired Routine Called Love" makes one wonder why jazz singers have overlooked this gem for so long. Harry Allen's sassy tenor is the perfect accompaniment to the singer in her swinging take of Duke Ellington's obscure "Take Love Easy." There isn't a weak spot throughout this enjoyable CD, something Rebecca Kilgore fans have long come to expect when giving her latest release its initial spin. ~ Ken Dryden  http://www.allmusic.com/album/lovefest-at-the-pizzarelli-party-mw0002087161

Personnel: Rebecca Kilgore, vocal; John Pizzarelli, guitar; Bucky Pizzarelli, guitar; Martin Pizzarelli, bass; Aaron Weinstein, violin; Harry Allen, tenor sax; Larry Fuller, piano; Tony Tedesco, drums.

Rebecca Kilgore's Lovefest at the Pizzarelli Party

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Larry Fuller - Larry Fuller

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 60:39
Size: 139,2 MB
Art: Front

(4:29)  1. At Long Last Love
(5:18)  2. Parking Lot Blues
(3:35)  3. Daahoud
(4:19)  4. Both Sides Now
(6:40)  5. Django
(4:57)  6. Hymn to Freedom
(5:39)  7. Reflections in D / Prelude to
(4:18)  8. C Jam Blues
(4:36)  9. Old Folks
(6:33) 10. Old Devil Moon
(6:27) 11. Close Enough for Love
(3:42) 12. Celia

Bassist Ray Brown sure knew how to pick his pianists. While each player who manned the 88s in Brown's trio displayed a different personality, all had Swiss watch timing and shared an affinity for the blues and effulgent swing. It didn't take more than a few seconds to hear that when Gene Harris was on the bench, delivering church-y proclamations and earth-shaking tremolos, and it was equally noticeable when Benny Green put his hands to good use, displaying the Oscar Peterson-esque athleticism that remains his calling card. And while there isn't very much recorded evidence to cover pianist Larry Fuller's time with Brown, it's clear that he possesses all of those traits that Brown looked for in a pianist.

Fuller's time with Brown was relatively short lasting a bit over two years, from the dawn of this century until the bassist's passing in the summer of 2002 but he made an impact on Brown's music during that time. More importantly, Brown made an impact on him. So much so, in fact, that Fuller's two leader sessions to date are essentially made from the Ray Brown Trio mold. The first Easy Walker (Pony Boy, 2005) found Fuller working with a trio that included Brown and drummer Jeff Hamilton, who worked extensively in Brown's trio and employed Fuller in his own trio during the '90s. The second this eponymous date finds Fuller delivering wonderfully showy material balanced out by thoughtful breathers. For this one, he teams up with veteran bassist Hassun Shakur and drummer Gregory Hutchinson, another Ray Brown Trio alum.

The opening salvo of "At Long Last Love," "Parking Lot Blues" and "Daahoud" immediately makes it clear that Fuller doesn't mess around. Chops, class, and in-the-pocket ensemble play are all on full display. There's plenty to marvel at on those three, with Fuller's sprinting right hand runs, commanding left hand, and mastery of independence running high on the list. And just when it seems that this is a date built on full-out swing and high-spirited romps, Fuller starts throwing change-ups. Joni Mitchell's "Both Sides Now" gives everybody a chance to calm down and reflect; "Django," starting and ending in semi-MJQ fashion, really swings in the middle; and "C Jam Blues," which follows an appropriately-measured "Reflections In D/Prelude To A Kiss," is a rollicking solo piano showcase. There's virtually nothing missing here. Looking for something poignant and romantic that still manages to move along? Try "Close Enough For Love." Want to hear some burning bop? Look no further than the album-ending "Celia," a smoking performance that gives Hutchinson some well-deserved space to shine and finds the leader in fine form. Ray Brown may be gone, but the legacy of his trio is safe in the hands of people like Larry Fuller. ~ Dan Bilawsky  http://www.allaboutjazz.com/larry-fuller-larry-fuller-capri-records-review-by-dan-bilawsky.php#.VF1gzMmHmtg

Personnel: Larry Fuller: piano; Hassan Shakur: bass; Greg Hutchinson: drums.

Larry Fuller

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Larry Fuller Trio - Easy Walker

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 54:04
Size: 124,3 MB
Art: Front

(5:28)  1. Groove Yard
(3:21)  2. In Like Flynn
(3:26)  3. Hymne a L' Amour
(4:05)  4. Ray's Idea
(6:26)  5. Easy Walker
(4:14)  6. Caravan
(6:11)  7. Compassion
(8:01)  8. Honey Suckle Rose
(6:34)  9. Consider
(6:13) 10. Candy's Blues

If I were a musician blessed with talent and the motivation required to fully develop it, then I would be faced with an infinite number of choices upon entering the recording studio. Able to play almost anything, what would I choose? Luckily, being in a group with Ray Brown, Jeff Hamilton and Larry Fuller would simplify matters considerably. I would be required to play bebop and blues, and swing my butt off in the process. Such a scenario is fun to dream about, but Easy Walker, pianist Larry Fuller’s first CD as a leader, is the real deal. Recorded in ’98 with Brown and Hamilton, it features ten tunes, including two Fuller originals (“In Like Flynn” and “Candy’s Blues”) that showcase the Seattle-area pianist’s incredible facility and uncanny sense of swing. Larry Fuller was the last pianist to play with Ray Brown, and it’s easy to imagine this recording as his fond farewell to the late, great bassist. Many of the arrangements are vintage Ray, and a few of the composers, including Billy Taylor and Milt Jackson, were his friends and contemporaries. However, farewell or not, the fact is that no one enjoyed working with Ray Brown more than Larry, who told me in 2000, “It’s a dream to play with Ray.” You can hear it in the music. ~ Jason West  http://www.allaboutjazz.com/easy-walker-larry-fuller-pony-boy-records-review-by-jason-west.php#.VBTT2RawTP8

Personnel: Larry Fuller, piano; Ray Brown, bass; Jeff Hamilton, drums.

Easy Walker

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