Larry Goldings, Kaveh Rastegar, Abe Rounds - Better

Styles: Jazz
Year: 2023
Time: 42:44
File: MP3 @ 320K/s
Size: 98,8 MB
Art: Front

(5:33) 1. Better
(4:00) 2. Yeah Yeah Yeah
(4:51) 3. Stockwell
(4:56) 4. Mary Lou
(5:30) 5. But Wait, There's Les
(4:19) 6. Bob James
(6:02) 7. Temple Bar
(3:37) 8. Reprise
(3:53) 9. I Want To Be Happy

I'm going to back to my roots for today's tip, so say hello to Larry Goldings, Kaveh Rastegar & Abe Rounds the funkiest trio that Daptone never signed, as they manage to put their own jazz juiced, soul soaked twist on those classic 20th grooves, ranging from sunny West coast smoothies, steamy organ menage a trois', reggae riddims & cinematic exotica for Ropeadope.
https://www.reddit.com/r/Jazz/comments/11snksp/larry_goldings_kaveh_rastegar_abe_rounds_better/

Personnel: Larry Goldings: Piano, Organ, Clavinet, Arp 2600, Arp String Ensemble, Prophet, Pocket Piano; Kaveh Rastegar: Fender Precision Bass, Fender Musicmaster Bass, Guitar on “Temple Bar”; Abe Rounds: Drums, Percussion, Oberheim RD-8 and Vermona DM-1 Drum Machines, Guitar on “Yeah Yeah Yeah” and “Les”, Arp 2600 on “Mary Lou”

Additional Musician: Bob Magnuson: Woodwinds on “Reprise” with parts arranged by John Sneider; Special thanks to Pete Min, John Sneider, Christine Kim, Sara Shirazi and Kirra Bennett.

Better

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Denise Donatelli - Whistling in the Dark - The Music of Burt Bacharach

Styles: Vocal
File: MP3@320K/s
Time: 41:26
Size: 95,7 MB
Art: Front

(4:43) 1. Whistling in the Dark
(4:20) 2. The Look of Love
(5:18) 3. In Between the Heartaches
(4:47) 4. Toledo
(4:24) 5. Anyone Who Had a Heart
(4:19) 6. Walk on By
(4:50) 7. In the Darkest Place
(4:37) 8. Mexican Divorce
(4:04) 9. A House Is Not a Home

The Burt Bacharach canon has always been fertile ground for artists of all kinds to explore. Stan Getz devoted an entire album to his fare. The big Bacharach hits are branded deep in the cultural psyche. Thus, the challenge that Grammy-nominated vocalist Denise Donatelli and producer Larry Klein have here is how to use a different ladle to invite you to imbibe from their recipe for Bacharach's musical champagne. The session offers four Bacharach/Hal David hits three hits with Dionne Warwick and one with Dusty Springfield and two lesser-known Bacharach and Elvis Costello pieces. If there's a theme across Bacharach's popular hits, it is romantic love and the boundless range of emotions love brings. However, on this session the mood is somewhat somber and less idealistic than the originals that flowed on AM frequencies decades ago in a different societal-cultural landscape.

The title track, originally done with a C+W sprinkle by Bacharach and Daniel Tashian, launches the session on a darker, "Twin Peaks"-tremeloed tone. "The Look of Love" is taken as original presented, albeit slightly reharmonized with a textural modality and a fine Anthony Wilson guitar solo. "In Between the Heartaches" is poetically darker than the 1966 Dionne Warwick take. "Toledo," and "In the Darkest Place," both Bacharach-Costello collaborations, are deeply dramatic items. "Mexican Divorce" is a Bacharach Brill Building classic that was originally recorded by "The Drifters" in the late 1950s (with pre-Bacharach Dionne Warwick and Whitney Houston's Mom, Cissy included on backup vocals).

On each of these and throughout the album, Donatelli is a rhapsode, a tale-teller and artist of the highest order. She has always been a singer of vocalized intimacy. Here, as is her trademark, she's being intimate with our ear (and, ensuingly, our hearts) via the poetry she delivers. Her diction and pitch are pure and her phrasing is almost instrumental. She carries her lines to the end where, based on the lyric, they either wring out every drop of emotional juice or just plain ring out. As for her all-around artistic chops, she could make Bacharach's "Beware of the Blob" become a lusciously seductive love song.

Interestingly, there are no up-tempo selections on the date. Leading one to further confirm there are "concept" elements at play. "Casino Royale" and "Raindrops Keep Falling on My Head" stayed home. The studio musicians are world class and the arrangements are such that the spotlight is on the vocalist. All are reserved in a minimalistic, yet colorful way. Think a beautiful Japanese watercolor. Whistling in the Dark may not appeal to listeners who prefer their Bacharach as originally birthed. However, in terms of vocal and production excellence, this take provides as all great art should an intelligent, involving, emotion-delivering perspective. Knowing Bacharach, he will assuredly raise a goblet and drink up. By Nicholas F. Mondello https://www.allaboutjazz.com/whistling-in-the-dark-the-music-of-burt-bacharach-savant-records

Personnel: Denise Donatelli: voice / vocals; Larry Goldings: piano; Thomas Dybdahl: synthesizer; Anthony Wilson: guitar; Larry Klein: guitar, acoustic; Vinnie Colaiuta: drums.

Whistling in the Dark - The Music of Burt Bacharach

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Rachael & Vilray - I Love A Love Song!

Styles: Vocal And Guitar Jazz
Year: 2023
Time: 45:48
File: MP3 @ 320K/s
Size: 105,8 MB
Art: Front

(3:31) 1. Any Little Time
(3:47) 2. Even In The Evenin'
(4:13) 3. Is A Good Man Real?
(3:16) 4. Just Two
(3:04) 5. Why Do I?
(3:14) 6. I'm Not Ready
(3:33) 7. Join Me In A Dream
(3:33) 8. Hate Is The Basis (Of Love)
(3:48) 9. A Love Song, Played Slow
(3:07) 10. Just Me This Year
(3:41) 11. I've Drawn Your Face
(3:25) 12. Goodnight My Love
(3:31) 13. Let's Make Love On This Plane (Full Band Version Bonus Track)

Harking back to the jazz of the 1940s and '50s, Rachael & Vilray's sophomore album, 2023's I Love a Love Song!, is a delightfully romantic and swinging homage to the golden era of traditional pop. Showcasing the talents of singer Rachael Price and singer/guitarist/songwriter Vilray Blair Bolles, Rachael & Vilray initially met while students at Boston's New England Conservatory before reconnecting around 2015 over their shared love of jazz standards and Tin Pan Alley pop. Although they've performed classic standards together (here, they take on Mack Gordon and Harry Revel's "Goodnight, My Love"), it's their knack for crafting their own swooning, literate songs in the traditional style of composers like Cole Porter and Johnny Mercer that makes their work so uniquely compelling.

It's a vibe they debuted on 2019's Rachael & Vilray and which they further perfect here. Even if their songs weren't so good (and they are) Price and Bolles can sing the heck out of a tune. Although best known for her funk-infused pop with Lake Street Dive, Price is a trained jazz singer whose dusky style evokes the cool, West Coast sound of icons like June Christy and Peggy Lee. Equally evocative, Bolles' warm, matter of fact tone brings to mind a relaxing blend of Dean Martin and Perry Como. They take turns leading songs throughout the album, often trading choruses, or as on the magical, Count Basie-esque "Just Two," sing in close harmony á la vocal groups like the Modernaires.

Other notable songs full of wry, melodic wordplay pop up throughout, as on Bolles' "Why Do I" in which Price compares her relationship woes to the animal world, singing "clams to my knowledge don't sigh/and moths ain't left wondering why/each time their fellow flies out, they needn't weep their eyes out/so why do I?" Also adding to the air of stylistic legitimacy are the duo's stellar backing ensemble featuring pianist Larry Goldings, bassist David Piltch, and drummer Joe La Barbera. Also joining them again is saxophonist/arranger Jacob Zimmerman and his horn section, all of which add to the old-school nightclub vibes Rachael & Vilray are going for.By Matt Collar https://www.allmusic.com/album/i-love-a-love-song%21-mw0003837217

Personnel: Vocals – Rachael Price, Guitar, Vocals – Vilray; Alto Saxophone, Clarinet – Jacob Zimmerman (tracks: 1, 4, 6, 7, 10); Bass – David Piltch; Drums – Joe LaBarbera; Piano, Organ, Celesta – Larry Goldings; Tenor Saxophone – Nate Ketner (tracks: 1, 7, 10); Trombone – Joey Sellers (tracks: 10); Trombone, Trumpet – Dan Barrett (3); Trumpet – Jim Ziegler (tracks: (Except track 10)

I Love A Love Song!

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Gerry Gibbs Thrasher Dream Trios - Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

Album: Songs From My Father: The Music Of Terry Gibbs Disc 1
Styles: Jazz, Bop
Year: 2021
File: MP3@320K/s
Time: 48:11
Size: 110,5 MB
Art: Front

(5:05) 1. Kick Those Feet
(5:07) 2. Smoke em Up
(4:04) 3. Bopstacle Course
(4:19) 4. Nutty Notes
(4:13) 5. Take It from Me
(7:54) 6. Sweet Young Song of Love
(5:03) 7. The Fat Man
(6:54) 8. Lonely Days
(5:27) 9. Hey Chick

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Album: Songs From My Father: The Music Of Terry Gibbs Disc 2
Time: 48:34
Size: 111,5 MB

(5:06) 1. Townhouse 3
(5:43) 2. T & S
(3:25) 3. 4 AM
(3:28) 4. Waltz For My Children
(4:35) 5. Hippie Twist
(5:53) 6. Lonely Dreams
(4:56) 7. For Keeps
(5:05) 8. Pretty Blue Eyes
(4:21) 9. Gibberish
(5:57) 10. Tango For Terry

Songs from My Father. What a marvelous idea! and not simply for the sentiment. Drummer Gerry Gibbs' father happens to be Hall of Fame vibraphonist (and sometime song writer) Terry Gibbs, who is still on the scene at ninety-seven (and, in fact, making a guest appearance on the first disc of this superlative two-CD set). Eighteen of the elder Gibbs' songs, written between 1949 and 1985 (and one more, "Tango for Terry," by the late Chick Corea) are performed by four of his son's well-chosen (and well-named) Thrasher Dream Trios, whose members include pianists Kenny Barron, Patrice Rushen, Geoff Keezer, Corea (the last recorded appearance before his passing in February 2021), organist Larry Goldings and bassists Ron Carter, Buster Williams and Christian McBride most, if not all, of whom will one day earn the same Hall of Fame status accorded Terry Gibbs.

As the elder Gibbs came of age in the bop era—gigging with a Who's Who of jazz luminaries including Woody Herman, Buddy Rich, Benny Goodman, Chubby Jackson, Mel Torme and Louie Bellson, and later leading his Los Angeles-based Dream Band most of his engaging themes can trace their roots to bop, and the trios take to them like ducks to water. The line-ups are traditional piano-bass-drums save for Dream Trio 3, on which Goldings' Hammond B3 organ complements Gibbs and pianist Rushen. Their appearances are close to evenly divided, with Trios 1 and 2 performing on four tracks each, Trios 3 and 4 on five apiece, and everyone (plus Terry Gibbs, whose extended vibes solo is as sharp and resourceful as ever) having an absolute blast on "Hey Chick," which closes the first disc. The title is no doubt coincidental, as the tune was written in 1961 when Corea was a mere twenty years old.

"Hey Chick" follows "Lonely Days," the nearest pretense to a ballad on the first disc. The same holds true for the most part on the second disc, as swinging is what Terry Gibbs was (and is) about. Trio 3 comes out blazing on the disc's sunny, samba-like opener, "Townhouse," wherein Goldings adds color with some bird-like special effects, as does Trio 2 on the lively "T&S," as Barron crafts a stunning solo while Gibbs and Williams lend rhythmic backbone. Gibbs, Keezer and McBride keep the fire burning on "4 AM," as they do on "For Keeps" and "Gibberish." "Waltz for My Children" (Trio 1), the disc's lone serenade, showcases Corea in typically masterful form. The first seven tracks on the first disc from "Kick Those Feet" (1964) to "The Fat Man" (1958) are exemplary, as are the others on the second disc, from the dynamic "Hippie Twist" to the well-grooved "For Keeps," and especially the melodious "Pretty Blue Eyes." While none has entered the rarefied pantheon of jazz standards, several could and even should be gauged by that barometer. At the very least, they should be played more often; they are that good. And so, it goes without saying, are the trios Gerry Gibbs has assembled to give them life. Songs from My Father is more than a marvelous idea; it is a musical treat from end to end, and a well-deserved show of appreciation from son to father for the guidance and wisdom that have assuredly helped shape his impressive career. By Jack Bowers https://www.allaboutjazz.com/songs-from-my-father-gerry-gibbs-thrasher-dream-trios-whaling-city-sound

Personnel: Gerry Gibbs: drums; Chick Corea: piano; Kenny Barron: piano; Patrice Rushen: keyboards; Geoffrey Keezer: keyboards; Larry Goldings: organ, Hammond B3; Ron Carter: bass; Buster Williams: bass; Christian McBride: bass; Terry Gibbs: vibraphone.

Songs From My Father: The Music Of Terry Gibbs Disc 1, Disc 2

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Larry Goldings,Peter Bernstein,Bill Stewart - Perpetual Pendulum

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 65:00
Size: 149,8 MB
Art: Front

(6:08) 1. United
(7:07) 2. Let's Get Lots
(5:03) 3. Libra
(5:28) 4. Prelude
(5:06) 5. FU Donald
(5:20) 6. Come Rain or Come Shine
(5:54) 7. Little Green Men
(5:35) 8. Reflections in D
(6:05) 9. Perpetual Pendulum
(5:25) 10. Lurkers
(7:43) 11. Django

Larry Goldings, Peter Bernstein, and Bill Stewart celebrate over three decades as a trio with PERPETUAL PENDULUM, a scintillating program combining clever originals with fresh takes on jazz classics. And, while 30 years is not quite an eternity in jazz terms, it might as well be they show no signs of slowing down.

PERPETUAL PENDULUM is also their debut release on Smoke Sessions, which has some historical significance related to their origins as a trio. Smoke Jazz & Supper Club, the label’s parent venue, was opened on the former site of Augie’s Jazz Bar, where Goldings, Bernstein and Stewart first performed together and established their rapport on a regular Thursday night gig starting in 1989. They also recorded this album at New York’s Sear Sound Studio A, which is where they recorded their second outing together, 1992’s "Light Blue" and was also 30 years after the release of their debut album, Goldings’ 1991 album "The Intimacy of the Blues."

If it’s hard to imagine a band with the kind of longevity that Goldings, Bernstein, and Stewart share, it’s even more rare to find one maintaining their brilliant level of musicianship and chemistry and that is not lost on the trio. “We all really dig each other, and that's probably the most important thing,” Goldings says in an attempt to explain the trio’s indefinable chemistry. There’s a lot of crossover in what we like to play and listen to, and our individual visions of jazz tend to align. It’s hard to say, because we never really discuss it; we just try to make good records. We came up together.”

Bernstein concurs. “I think we all share a pure feeling of gratitude. With these cats, I feel pressured to play my best because they’ve heard everything I can do. At the same time, I feel comfortable trying anything with them because I know whatever I do, they're going to hold it together. We’ve all grown through our individual experiences, but we always come back to this. And it's only getting better.”

Personnel: Larry Goldings - organ; Peter Bernstein - guitar; Bill Stewart - drums

Perpetual Pendulum

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Gerry Gibbs Thrasher Dream Trio - We're Back

Size: 174,7 MB
Time: 74:43
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz, Hard Bop
Art: Front

01. Too High (4:26)
02. What's Going On (6:24)
03. Where Is The Love (5:15)
04. Reasons (5:00)
05. Mighty Mighty (5:42)
06. Betcha By Golly, Wow (6:35)
07. My Cherie Amour (7:50)
08. Creepin (4:51)
09. Fantasy (4:36)
10. Living For The City - Overjoyed (6:31)
11. Brazilian Rhyme (1:03)
12. Runnin (5:48)
13. I Say A Little Prayer (4:56)
14. Pickin' Up The Pieces (4:57)
15. The Theme (0:42)

Drummer Gerry Gibbs must be in a "strike while the iron is hot" mode. Less than a year after his very successful Gerry Gibbs Thrasher Dream Trio (Whaling City Sound, 2013), featuring Ron Carter on bass and Kenny Barron on piano, he has reconvened with those jazz legends for a second go around. This time, with We're Back, the trio moves away from the jazz standard format and goes after some of the classic R& B hits from the 60s and 70s.

If that sounds like a good time, it is. Jazz can take itself too seriously, but with the likes of Stevie Wonder's "Too High," Marvin Gaye's "What's Goin' On ," Earth, Wind and Fire's "Mighty Mighty," and The Average White Band's "Pick Up the Pieces," a good time—from these guys—is guaranteed. The tunes are familiar to anyone who came up listening to Top 40 radio in those days, and they have the staying power of classics, appealing to a younger generation with an ear for classic sounds, making We're Back a "kick back and relax and soak your ears in great melodies and cool grooves" type of experience. The fact that they're laid down with an inspired, top level jazz feeling and skill level is the bonus.

Another big difference here is the inclusion of some top flight guests: Vibraphonist Warren Wolf, organist Larry Goldings and saxophonist Steve Wilson. Goldings adds a cool funk to the group's up-tempo take on "What's Goin' On," working alongside the buoyant pop of Warren Wolf's bright vibraphone. The pair also team up on strutting take on Stevie Wonder's "My Cherie Amour." Steve Wilson's alto sax—tart and tight—gets chased around the studio by Barron's exquisite piano on Earth, Wind and Fire's "Might Mighty," while Carter and Gibbs lay down a deep groove, and they do it again on the same group's "Fantasy."

The CD, which starts out on a high note with Stevie Wonder's "To High," keeps getting better as it rolls along. Hal David and Burt Bacharach's "I Say a Little Prayer," a smooth pop hit for Dionne Warwick, and a deep soul anthem from Aretha Franklin, a gets a taste of elegance here from the trio, especially from the ever-inventive Barron; and "Pick Up the Pieces," a huge radio hit for the Average White Band, features, again, the trio showing how to rip it up at a white hot pace.

They close it with the sole non-R & B tune, a forty-four second "beatbox" version of Miles Davis "Theme."

Excellent! ~by Dan McClenaghan

Personnel: Gerry Gibbs: drums; Ron Carter: bass; Kenny Barron: piano; Warren Wolf: vibraphone (2, 6, 7, 11, 12); Larry Goldings: Hammond B-3 organ (2, 7); Steve Wilson: alto saxophyone (5, 9).

We're Back

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Kathleen Grace, Larry Goldings - Tie Me to You

Styles: Vocal,Guitar And Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 40:00
Size: 92,3 MB
Art: Front

(3:29) 1. Tie Me to You
(3:10) 2. Where or When
(3:05) 3. Everywhere
(5:17) 4. John the Revelator
(3:52) 5. Berceuse
(3:53) 6. The Thrill Is Gone
(3:46) 7. Embarcadero
(5:06) 8. Love for Sale
(5:28) 9. What'll I Do
(2:49) 10. I'll Follow the Sun

For singer Kathleen Grace, vulnerability is a crucial virtue. Exploring themes of loss, discovery, love’s impermanence, and the need for personal reconstitution, she brings spare elegance to the fore during these highly affecting performances.

Working closely with pianist/organist Larry Goldings, Grace often strips pieces down to their essence. In many cases, all that remains is the naked heart of a woman in a state of becoming and the primary supports required for her journey. During the intimate title track, co-written by Grace and Goldings, those supports basically amount to some harpsichord-esque tack piano and string atmospherics. For the country-folk of the singer’s “Everywhere,” it’s her guitar and Gabe Witcher’s now-prominent violin. And on Darek Oleszkiewicz’s alluring “Embarcadero” (with lyrics from Grace), it’s the composer’s Argentine bass lines, with some light coloring around the edges.

The remaining songs are mostly familiar, but few appear in expected form. Rodgers & Hart’s “Where or When” delivers a vertiginous high, with Goldings creating live, looping backgrounds on his glimmering pocket piano. The traditional boots-on-the-floor blues “John the Revelator” gets an added touch of swagger and sway. Cole Porter’s “Love for Sale,” anchored by bassist David Piltch’s wide beat and recast in three, markets yearning smartly from its new metric perch. And Lennon & McCartney’s “I’ll Follow the Sun” takes on a different light while serving as a sign of redemption at the end of this hard road. With a defining trait spelled out ever so clearly in her surname, Kathleen Grace offers personal truths with sensitivity and integrity. Her openness breeds absolute respect. ~ Dan Bilawsky https://jazztimes.com/reviews/albums/kathleen-grace-with-larry-goldings-tie-me-to-you-monsoon/

Personnel: Kathleen Grace – voice, guitar; Larry Goldings – piano, keyboards, organ, pocket piano, glockenspiel; David Piltch – bass; Gabe Witcher – violin ; Darek Oleszkiewicz – bass

Tie Me to You

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The Anthony Wilson Trio - Jack of Hearts

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 58:08
Size: 134,6 MB
Art: Front

(3:45)  1. Mezcal
(5:47)  2. Jack of Hearts
(5:44)  3. Hawkeyes
(7:43)  4. Carnegie Blues
(8:10)  5. Theme from Chinatown
(4:24)  6. Vida Perdida Acabou
(4:58)  7. Orange Crate Art
(4:09)  8. Harajuku
(7:36)  9. Zweet Zurzday
(5:49) 10. Homecoming

Jack of Hearts isn't the first Anthony Wilson album to feature an organist extensively; for example, he worked with the Los Angeles-based organist Joe Bagg on his 2005 release Savivity. But the guitarist has worked with acoustic pianists more often than organists (at least as of 2009), and Jack of Hearts is unusual in that it finds Wilson not using a pianist at all. On this early 2009 session, Wilson forms an intimate trio with Larry Goldings on organ and Jeff Hamilton or Jim Keltner on drums. 

In the '90s and 2000s, Goldings was one of the leading proponents of a post-Jimmy Smith aesthetic on the Hammond B-3. Goldings has been greatly influenced by the late Larry Young, who started out as a Smith disciple but evolved into an innovative, distinctive post-bop/modal player and went down in history as "The John Coltrane of the Organ." Of course, Goldings is not a clone of Young; he is most certainly his own person, but he shares Young's love of post-bop. So it isn't surprising that Goldings does a lot to shape the post-bop perspective that dominates Jack of Hearts. 

His presence is a major plus on material that was composed by Goldings and/or Wilson, and it is a major plus on memorable arrangements of Coleman Hawkins' "Hawkeyes" and two of Duke Ellington's lesser-known pieces ("Zweet Zursday" and "Carnegie Blues"). The fact that neither of those Ellington tunes is a standard speaks well of Wilson, who is smart enough to realize that one of the joys of the vast Ellington songbook is hearing all of the worthwhile Ellington compositions that didn't become standards. Jack of Hearts is a consistently engaging addition to Wilson's catalog. ~ Alex Henderson http://www.allmusic.com/album/jack-of-hearts-mw0000821393

Personnel: Anthony Wilson (guitar); Larry Goldings (celesta); Jeff Hamilton , Jim Keltner (drums).

Jack of Hearts

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Sara Gazarek - Thirsty Ghost

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 64:41
Size: 148,9 MB
Art: Front

(5:58)  1. Lonely Hours
(3:47)  2. Never Will I Marry
(4:47)  3. I'm Not the Only One
(4:18)  4. Easy Love
(5:43)  5. I Get Along Without You Very Well
(5:43)  6. I Believe (When I Fall in Love)
(4:34)  7. Jolene
(5:27)  8. Gaslight District
(6:59)  9. The River/River Man
(0:33) 10. Intro: Chrysalis
(5:53) 11. Cocoon
(6:11) 12. Distant Storm
(4:45) 13. Spinning Round

Sara Gazarek has been working as a professional jazz singer since 2004. You can find plenty of vintage YouTube clips of her singing Great American Songbook material in a breezy, polished manner. A few years ago, things began to happen in her life. There was near-death tragedy in her family, her marriage fell apart and she began to wonder about her professional future. On this, her sixth album, her reactions to all this have resulted in a broadening and deepening of her art. She sings here with a new-found power and earnestness and draws her repertoire from a wide array of sources including Stevie Wonder, Nick Drake and her own writing. The music on the set includes funky fusion tracks, acoustic ballads and hybrids of differing styles. Hoagy Carmichael's "I Get Along Without You Very Well" gets a simple treatment with wistful voice against a piano trio while Frank Loesser's "Never Will I Marry" is buoyed by a bubbly African rhythm. Cuts like"I'm Not The Only One" and Stevie Wonder's "I Believe When I Fall In Love" have plush electric funk or soul backing and are brought to life through the earnest humanity of Gazarek's singing. She shows a more subtle sensuality on "Easy Love," cooing over sophisticated jazz-pop led by Larry Goldings' organ and Stu Mindeman's piano. The drama really comes out in Dolly Parton's classic country ballad, "Jolene." Over a turbulent rumble of piano and drums, Gazarek's voice starts out intense and gets harder and angrier as the song goes on. By the end she is practically screaming at Jolene to keep away from her man.

Over its last few tracks, the CD takes a more philosophical turn. "Gaslight District" is a calming combination of jazz and folk impulses with Gazarek's vocal supported by sensitive reeds. The horn section also provides a soothing backdrop to her singing of a Sara Teasdale poem "The River" which segues into Nick Drake's magical "River Man" sung over a gently rocking electric piano. Bjork's typically dreamlike "Cocoon" allows Gazarek to stretch her voice in a weightless atmosphere surrounded by softly pulsing bass and percussion and ghostly electric piano. Finally she sings her own words over the open sky landscapes of Brad Mehldau's composition, "Distant Storm," her voice firm with quiet conviction as she climbs through the folk-tinged melody with help from a rich alto solo by Josh Johnson and an elegant vocal interlude by her friend and mentor, Kurt Elling. This is the finest music of Sara Gazarek's career to date. Her voice is still glossy and polished but now it also has purpose and maturity. She sounds like a woman who has faced challenges and survived. The music on these tracks goes in several different directions but the depth and honesty of Gazarek's singing ties them all together. As the picture on the CD cover suggests, this work comes directly from her heart. ~ Jerome Wilson https://www.allaboutjazz.com/thirsty-ghost-sara-gazarek-self-produced-review-by-jerome-wilson.php

Personnel: Sara Gazarek: voice; Stu Mindeman: piano, rhodes; Alex Boneham: bass; Christian Euman: piano; Josh Johnson: alto saxophone; Danny Janklow: alto saxophone; Ido Meshulam: trombone; Brian Walsh: bass clarinet; Erin Bentlage, Michael Mayo: background vocals; Keita Ogawa: percussion (2); Aaron Serfaty: percussion (6); Larry Goldings: organ (4,8); Kurt Elling: voice (12).

Thirsty Ghost

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Doug Webb - Midnight

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 73:39
Size: 169,7 MB
Art: Front

(5:24)  1. Try A Little Tenderness
(6:16)  2. I'll Be Around
(6:16)  3. Fly Me To The Moon
(6:25)  4. You Go To My Head
(3:53)  5. The Boy Next Door
(8:56)  6. Crazy She Calls Me
(6:20)  7. Quasimodo
(8:47)  8. Emily
(4:02)  9. You Do Something To Me - bonus track
(8:05) 10. Ask Me Now - bonus track
(3:52) 11. There's A Small Hotel - bonus track
(5:17) 12. Trouble Is A Man - bonus track

Saxophonist Doug Webb leads a superb quartet on Midnight, creating a late-night atmosphere with a hint of nostalgia on a range of classic tunes. Webb's career stretches back for 30 years and includes work with some of the finest jazz musicians, including Bud Shanks, Horace Silver and Freddie Hubbard, as well as leading rock and pop acts including Rod Stewart. Midnight sees Webb joined by an equally talented rhythm section; the result is a true ensemble performance with every musician given the opportunity to stretch out and put their own individual stamp on the recording. Bassist Stanley Clarke and drummer Gerry Gibbs hold down the rhythmic center of the music with an inventive enthusiasm. Clarke, in particular, seems to relish his role in the traditional acoustic lineup, playing with verve. Their command of the rhythm is total, providing space and opportunity for the pianists to take on more of a lead role as well as delivering some exceptional solos. The tunes may be familiar, but the quartet makes each one sound fresh, even when playing them in what might be termed the "standard" fashion. Alec Wilder's "I'll Be Around" finds Webb playing in a style reminiscent of fellow tenor saxophonist Scott Hamilton, the solos by Webb and pianist Larry Goldings are rich and warm. By contrast, "Try a Little Tenderness," usually performed as a ballad by artists such as Otis Redding, is delivered in a swinging, up-tempo, style with a terrific tenor solo from Webb. 

Clarke's solos on "Crazy She Calls Me" and Charlie Parker's "Quasimodo" are positive, precise and affecting album highlights. He also takes the spotlight on Bart Howard's "Fly Me to the Moon." The arrangement is rather bland to that point, but Clarke's performance is an object lesson in how to play a bass solo to complement the mood of a tune. Goldings' bell-like piano chords on the closing bars of the tune are an inspired and delightful ending. "You Go To My Head" is a piano and saxophone duet, with pianist Joe Bagg playing on this tune, in a more angular and percussive contrast to Goldings elsewhere on the disc, and works exceptionally well in underpinning Webb. The third of the album's pianists, the young Sri Lankan Mahesh Balasooriya, joins the band for "The Boy Next Door," and brings yet another distinctive style to the group. Closer to Bagg's technique than Goldings, his chordal playing is economical and unselfish, and gives Gibbs the chance to create some inventive drum patterns. Webb puts his own musical identity on this album with confidence. His tone is welcoming, whether he's playing soprano, alto or tenor, and his solos are wonderfully melodic every note counts, with no need to overpower the music with unnecessary displays of complex runs or techniques. Production is exceptionally good, and the trademark Posi-Tone packaging adds to the rather nostalgic feel of the music. Midnight is a triumph of thoughtful yet romantic late night jazz. ~ Bruce Lindsay https://www.allaboutjazz.com/midnight-doug-webb-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Doug Webb: saxophones; Larry Goldings: piano (2, 3, 6-8); Stanley Clarke: bass; Gerry Gibbs: drums; Joe Bagg: piano (1, 4); Mahesh Balasooriya: piano (5).

Midnight

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Hugh Laurie - Didn't It Rain

Styles: Vocal, Guitar And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 52:54
Size: 122,5 MB
Art: Front

(4:23)  1. The St. Louis Blues
(2:55)  2. Junkers Blues
(3:27)  3. Kiss Of Fire
(4:28)  4. Vicksburg Blues
(4:17)  5. The Weed Smoker's Dream
(4:20)  6. Wild Honey
(5:26)  7. Send Me To The 'Lectric Chair
(3:03)  8. Evenin'
(2:52)  9. Didn't It Rain
(5:21) 10. Careless Love
(4:00) 11. One For My Baby
(4:17) 12. I Hate A Man Like You
(3:58) 13. Changes

After the huge success of his debut album, Let Them Talk, on which he celebrated and revived classic material from the world of NOLA blues, Hugh Laurie presents his second album, Didn't It Rain. Didn't It Rain sees Hugh Laurie depart the sounds of New Orleans as he follows the trajectory of the blues upstream and into the American heartland. It includes songs dating back to early pioneers W.C. Handy ("St Louis. Blues") and Jelly Roll Morton ("I Hate A Man Like You") to more recent artists such as Dr. John ("Wild Honey") and Alan Price of The Animals ("Changes"). Again produced by Joe Henry, Didn't It Rain was recorded at Ocean Way Studio in Los Angeles in January of 2013. Complemented with the heart and accomplishment of his supporting musicians the Copper Bottom Band - Jay Bellerose, Kevin Breit, Vincent Henry, Greg Leisz, Robby Marshall, David Piltch and Patrick Warren with Elizabeth Lea and Larry Goldings - the album also features several lead vocal performances from Guatemalan singer-songwriter Gaby Moreno and soul singer Jean McClain who has previously worked with artists as varied as Jimmy Cliff and Sheryl Crow. The album also highlights a very special guest in the shape of the Grammy-winning blues artist Taj Mahal who contributes vocals to a new take on Little Brother Montgomery's "Vicksburg Blues."~ Editorial Reviews https://www.amazon.com/Didnt-Rain-Hugh-Laurie/dp/B00DBRT4Z6

Personnel: Hugh Laurie – vocals, acoustic guitar, whistle, piano, Wurlitzer organ; Greg Leisz – acoustic guitar, electric guitar, lap steel guitar, dobro, mandola, mandolin; Patrick Warren – accordion, Hammond b-3 organ, pump organ, keyboards; Vincent Henry – vocals, harmonica, clarinet, bass clarinet, soprano saxophone, tenor saxophone, baritone saxophone; Jay Bellerose – drums, percussion; Larry Goldings – Hammond b-3 organ; Kevin Breit – acoustic guitar, electric guitar, lap steel guitar, tenor banjo, mandocello, mandola, mandolin, background vocals; Jean McClain – background vocals; Elizabeth Lea – trombone; David Plitch – upright bass, electric bass; Robby Marshall – clarinet, bass clarinet, alto saxophone, tenor saxophone

Didn't It Rain

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The Larry Goldings Trio - The Zombie Room

Size: 119,2 MB
Time: 50:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Piano Jazz
Art: Front

01. Tell The Wolves Im Home (4:37)
02. The Zombie Room (3:59)
03. Last Exit To Brooklyn (3:09)
04. When Nietzsche Wept (3:52)
05. I Dreamt The Snow Was Burning (2:58)
06. Sick Of Shadows (3:58)
07. In Watermelon Sugar (5:14)
08. Sorry I Ruined Your Orgy (4:22)
09. The Color Of Magic (5:49)
10. Lolita (4:54)
11. How To Lie With Statistics (4:07)
12. The Sky Is Everywhere (3:50)

Larry Goldings is a Grammy-nominated pianist, keyboardist, composer, and songwriter. Among jazz enthusiasts, Goldings' organ trio with Peter Bernstein and Bill Stewart has been recognized for charting new ground, with synergistic playing and hard-swinging yet thoughtful music. Goldings' talents have been sought-after by an impressive range of musicians including James Taylor, Norah Jones, John Mayer, Madeleine Peyroux, Melody Gardot, Tracy Chapman, Rickie Lee Jones, Charlie Haden, Steve Gadd, Herbie Hancock, Sia, Christina Aguilera, Elton John, and Leon Russell.

Larry has recorded 18 albums as a leader, hundreds more as a sideman, and has collaborated on a long-term basis with Maceo Parker, Jim Hall, Michael Brecker, and John Scofield. Goldings has been recording and touring with iconic singer-songwriter James Taylor since 2001, and is the featured musician on Taylor's One Man Band CD/DVD, the culmination of a two year world-wide tour with James and Larry in duet.

In 2007, Goldings received a Grammy nomination (Best Instrumental Jazz Album of the Year) for his live album Trio Beyond - Saudades (ECM) with John Scofield and Jack DeJohnette. His compositions have been recorded by Pat Metheny, Michael Brecker, John Scofield, Toots Thielemans, Jim Hall, Gaby Moreno, Bill DeMain, Jane Monheit, Spencer Day, Curtis Stigers, Mike Viola, Lea Michele, Sia, and others. The 2014 UK Songwriting contest awarded Larry, along with Dannielle DeAndrea and David Batteau, "Best Song" in the Jazz/Blues category for the composition, "High Dreams."

Goldings composed the music for the 2013 feature film Dealin' With Idiots, written and directed by Jeff Garlin (Curb Your Enthusiasm). His music graces the soundtracks of Seth Rogan's Neighbors, Judd Apatow's Funny People, as well as the films Space Cowboys, Proof, NBC's The Office, and most recently, an upcoming TBS sitcom, Your Family or Mine, for which Larry co-wrote the music. Goldings' music is frequently heard on NPR's critically-acclaimed This American Life.

Larry's most recent recording, Music From The Front Room, is a freshly untraditional piano trio outing, with Larry playing Steinway upright piano, and features David Piltch on bass, and Jay Bellerose on drums.

The Zombie Room

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Larry Goldings, Peter Bernstein, Bill Stewart - Toy Tunes

Styles: Piano, Post Bop
Year: 2018
File: MP3@320K/s
Time: 47:27
Size: 109,4 MB
Art: Front

(6:45)  1. Fagen
(6:10)  2. Don't Ever Call Me Again
(6:30)  3. Lullaby For B
(5:17)  4. I'm In The Mood For Love
(3:51)  5. And Now The Queen
(7:01)  6. Toy Tune
(6:16)  7. Calm
(5:34)  8. Maybe

Just look at the cover art the swirl of colors, the bodies drawn to the eye as misshapen designs, the beauteous blotches, the sturdy rhythms of angularity. In some ways it's almost inconceivable to imagine all of that acting as one, yet these images form a perfectly perceivable whole a picture that feels like home yet sits in its own space, artfully different yet accessible and inviting. It's a perfect parallel for the work of these three master musicians, collectively viewed as the most creatively durable organ trio in jazz. Together, organist Larry Goldings (who happened to create said album art), guitarist Peter Bernstein, and drummer Bill Stewart have been elevating the art of this musical format for more than a quarter of a century. This, their twelfth album in total and second on the Pirouet imprint, is but one more high point in a series of continuous peaks in this outfit's discography.

Toy Tunes takes off with "Fagen," a Goldings original nodding to Steely Dan's Donald Fagen. It's a somewhat sensitive offering that, while alluding to its honoree, adopts a loose vibe and a harmonic aura apart from Fagen's signature(s). Stewart's "Don't Ever Call Me Again" follows, coming into the picture with a skulking groove and a melody line that lays perfectly within its setting while also feeling somewhat displaced. It's vintage Stewart in its blend of intelligent design, rhythmic fervor, and surprise. Then Bernstein's harmonically vibrant "Lullabye For B" a beauty of a waltz written for his oldest son completes the album-launching triptych of originals.  Four of the five remaining tracks are covers, allowing for this trio's interpretive brilliance to shine through. "I'm In The Mood For Love" rides on the locomotive zest provided by Stewart's brush work; Carla Bley's "And Now The Queen" plays as a tale of questioning and arrival, living life on the outskirts while still remaining reachable; Wayne Shorter's "Toy Tune" offers innumerable pathways for these savvy improvisers to travel; and closer "Maybe" of Annie fame adopts a low key swing swagger in its step. The lone original on the second half of the album Stewart's aptly-titled "Calm" brings peace to the penultimate slot.  The beauty in following this trio's work rests in the fact that you somehow know what you're going to get without really having a clue. If that sounds like paradoxical play or a flirtation with the absurd, that's all the better to fit this band's vibe. ~ Dan Bilawsky https://www.allaboutjazz.com/toy-tunes-larry-goldings-pirouet-records-review-by-dan-bilawsky.php

Personnel: Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Toy Tunes

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Larry Goldings, Peter Bernstein, Bill Stewart - Ramshackle Serenade

Bitrate: MP3@320K/s
Time: 62:30
Size: 143.1 MB
Styles: B3 Organ jazz
Year: 2014
Art: Front

[5:46] 1. Roach
[8:41] 2. Luiza
[7:03] 3. Simple As That
[4:31] 4. Ramshackle Serenade
[8:18] 5. Mr. Meagles
[7:44] 6. Sweet And Lovely
[8:19] 7. Blue Sway
[6:13] 8. Useless Metaphor
[5:51] 9. Peace

Larry Goldings: Hammond organ; Peter Bernstein: guitar; Bill Stewart: drums.

Ramshackle Serenade finds this group covering a lot of ground. The album opens with Goldings' "Roach"—a slow blues in five—which proves to be one of the standout performances. Goldings and Bernstein both cook while Stewart masterfully slices up the time in endlessly inventive ways. The trio then visits Brazilian territory with Jobim's "Luiza," throws one down the middle with Bernstein's aptly-titled "Simple As That," and works in a rhythmically floating environment on "Ramshackle Serenade." The title track is all about rubato rumination, as Goldings and Bernstein paint melodies while Stewart lightly colors in the background. Goldings' "Mr. Meagles," sitting at the midpoint of the album, is a great example of the way this trio manages to create music that speaks relatively softly and carries a mean groove; it's low flame music that can still cause third degree burns.

The second half of the album contains a "Sweet And Lovely" that grows hotter over time, a pair of originals—Stewart's hip-and-intoxicating "Blue Sway" and Bernstein's lively "Useless Metaphor"—and an album-closing look at Horace Silver's oft-covered "Peace." After all these years, this trio still manages to make magic whenever it hits the studio. It doesn't get much better than this. ~Dan Bilawsky

Ramshackle Serenade mc
Ramshackle Serenade zippy

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Till Brönner - At The End Of The Day

Styles: Vocal And Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 49:27
Size: 113,6 MB
Art: Front

(3:39)  1. And I Love Her
(4:22)  2. After You've Gone
(3:35)  3. Human
(2:36)  4. I'm Through With Love
(3:26)  5. Summer Breeze
(3:16)  6. We Said It All
(3:07)  7. Your Life
(3:40)  8. I'm Only Human
(4:37)  9. Space Oddity
(5:03) 10. If I Saw You Tomorrow
(3:07) 11. I Wanna Be Around
(3:56) 12. Everybody's Got To Learn Sometime
(4:57) 13. Air

At the End of the Day is an album of light jazz covers of rock songs, which turned out to be a fun idea on the surface, but with little depth beneath. To Till Brönner's credit, he tried to push the envelope quite a bit at the track selection stage if the Beatles are an expected selection, and Bowie more or less so too, the Killers are a potentially exciting choice, and the addition of sexy goth metal kings Type O Negative who contribute "Summer Breeze"sounds like a one-way ticket to postmodern joy land. The thing is, however, all the picks really lend themselves well to pop-jazz renditions with all the required attributes sentimental crooning (competent, but appropriately tame), midtempo rhythms, background strings, and sweet, lulling melodies. Brönner throws in some trumpet, of course that's his thing but this only boosts the '80s ballad vibe of the record. At the End of the Day would be a welcome soundtrack for a trip to a nice restaurant a godsend if you're on a date but musically, it's not nearly as challenging as the track list would lead you to believe.

Chances are, those unaware of the album being a set of covers would never realize that, taking it simply for nice background music as cohesive as Muzak is supposed to be, and with little in the way of oddities, space or otherwise. It's still a great record in its own weight class soft, laconic, unobtrusive, and pleasant, possibly even beautiful. But it fails to escape the ultimate pitfall of cover albums the music is nice, but you still get the urge to listen to the originals if you recognize any. ~ Alexey Eremenko https://www.allmusic.com/album/at-the-end-of-the-day-mw0002078934    

Personnel:  Vocals, Flugelhorn – Till Brönner;  Bass – Timothy Lefebvre;   Drums – Martijn Vink;  Guitar – Frank Kuruc, Henrik Menzel;  Keyboards – Andreas Herbig, Arne Schumann;  Organ – Larry Goldings;  Piano – Roberto Di Gioia.

At The End Of The Day

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Peter Bernstein - Earth Tones

Styles: Guitar Jazz
Year: 1997
File: MP3@320K/s
Time: 66:49
Size: 154,2 MB
Art: Front

(8:58)  1. Metamorphosis
(7:56)  2. Sublime Indifference
(6:23)  3. Dragonfly
(6:09)  4. Who Can I Turn To (When Nobody Needs Me)
(9:58)  5. Acrobat
(7:37)  6. How Deep Is The Ocean?
(6:05)  7. Breakthrough
(5:53)  8. Pivot
(7:45)  9. Carrot Cake

?Peter Bernstein led four albums for the Swiss Criss Cross label during 1992-1997. His fourth effort has him heading a trio with organist Larry Goldings and drummer Bill Stewart. Some of the selections are very much in the soul/jazz tradition, since the Jimmy Smith influence can be heard now and then in Goldings' playing and Bernstein's main influence is Wes Montgomery. However, some of the originals are more advanced and the music still sounds pretty fresh. Among the highlights are Bernstein's ironically titled "Sublime Indifference," Goldings' tricky "The Acrobat," Hank Mobley's "The Breakthrough," and a relaxed version of "How Deep Is the Ocean."~ Scott Yanow https://www.allmusic.com/album/earth-tones-mw0000600871

Personnel: Peter Bernstein (guitar); Larry Goldings (Hammond B-3 organ); Bill Stewart (drums).

Earth Tones

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Bobby Previte's Weather Clear Track Fest - Hue And Cry

Styles: Jazz, Post Bop
Year: 1993
File: MP3@320K/s
Time: 57:55
Size: 133,4 MB
Art: Front

( 4:05)  1. Hubbub
( 5:59)  2. Smack-Dab
( 6:04)  3. Move Heaven And Earth
(14:10)  4. 700 Camels
( 7:03)  5. Valerie
(13:16)  6. Hue And Cry
( 7:15)  7. For John Laughlan And All That We Stood For.

Hue and Cry features an eight-strong, all-star version of Bobby Previte's Weather Clear, Track Fast band and results in one of his finest efforts as a leader. Along with Henry Threadgill, Previte, in the late '80s and early '90s, was one of the leading figures of avant-garde jazz, using mid-sized groups to explore complex compositional ideas more than as solo vehicles. He's also extremely adept at tension-and-release structures, often using what might have been an introductory riff for anyone else as an extended phrase, wringing out every bit of melody from it, and leaving the listener in a juicy state of anticipation for the eventual burst into the central theme. Previte uses an interesting pairing up in this band, with Don Byron and Marty Ehrlich often both playing clarinet, Robin Eubanks and Eddie Allen on brass, and, most prominently, Anthony Davis on piano alongside Larry Goldings' organ. Goldings is particularly out front on many of the pieces here, giving the band a very different cast from their earlier recording. 

Only the ambitious "700 Camels" fails to cohere completely; the remainder of the tracks all have both imaginative writing and (at the least) solid playing and soloing. On the other hand, the similarly lengthy title track pulls all the right switches, layering material in a rich fabric and hurtling toward a satisfying climax. The closing number is an unusual dirge, with Previte playing a martial rhythm, Davis trickling out single notes like rainfall, and Ehrlich keening on soprano. Recommended! ~ Brian Olewnick  https://www.cduniverse.com/search/xx/music/pid/1497658/a/hue+and+cry.htm

Personnel: Bobby Previte (drums), Marty Ehrlich (alto & tenor saxophones, clarinet, bass clarinet), Don Byron (baritone saxophone, clarinet), Eddie Allen (trumpet), Robin Eubanks (trombone), Anthony Davis (piano), Larry Goldings (organ), Anthony Cox (bass)

Hue And Cry

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Larry Goldings - Whatever It Takes

Bitrate: MP3@320K/s
Time: 64:36
Size: 147.9 MB
Styles: Post bop, B3 Organ jazz
Year: 1995
Art: Front

[5:49] 1. Big Brother
[6:03] 2. If You Want Me To Stay
[6:13] 3. Willow Weep For Me
[7:42] 4. Boogie On Reggae Woman
[5:46] 5. That's Enough
[6:08] 6. Wrappin' It Up
[6:40] 7. Slo-Boat
[7:06] 8. Up For Air
[5:12] 9. Prayer
[7:52] 10. Yipes!

Larry Goldings is one of the most promising of the younger organists. Although he was originally known as a pianist, Goldings has been mostly concentrating on organ, including a high-profile stint as a member of John Scofield's quartet. For his Warner Bros. debut, Whatever It Takes, Goldings is teamed with guitarist Peter Bernstein and drummer Bill Stewart for ten numbers, five of which include some notable guests. Two songs match together the soulful altos of Maceo Parker and David Sanborn, young tenor giant Joshua Redman is on three other numbers (including "Yipes," which also includes Parker), and there are two appearances by trombonist Fred Wesley. The music features a lot of appealing grooves that look back to the classic Hammond organ era of the 1960s while remaining contemporary. ~Scott Yanow

Whatever It Takes

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Maceo Parker - Life on Planet Groove

Styles: Saxophone Jazz 
Year: 1992
File: MP3@320K/s
Time: 75:58
Size: 174,2 MB
Art: Front

(16:39)  1. Shake Everything You've Got
(11:27)  2. Pass The Peas
( 3:45)  3. I Got You (I Feel Good)
( 7:08)  4. Got To Get U
( 8:58)  5. Addictive Love
( 6:21)  6. Children's World
( 7:23)  7. Georgia On My Mind
(14:13)  8. Soul Power '92

A scorching album of funky grooves from Maceo Parker, assisted by the rest of the JB's on backing horns. The album was recorded in concert at a club called Stadtgarten in Cologne, Germany, and the crowd seems just as responsive in most ways as any Atlanta mob. Along with the JB horns, Vincent Henry accompanies on bass throughout the album/concert. The album starts out with an original Maceo composition, then moves into a pair from his old boss James Brown. After that, there's another Maceo number, a cover of "Addictive Love," a rendition of "Georgia on My Mind," and a composition undertaken by a veritable army of funk veterans. 

This is probably just about the best solo Maceo Parker album there is, at least until the release of Funkoverload. If you're a funk fan, or a soul-jazz fan, this album might just provide what you need. Maceo on his own always provides a nice collection of soul and funk, and this one is no exception. ~ Adam Greenberg https://www.allmusic.com/album/life-on-planet-groove-mw0000088479

Personnel:  Maceo Parker - alto saxophone, vocals; Candy Dulfer - alto saxophone;  Larry Goldings - Hammond organ;  Vincent Henry - bass, alto saxophone;  Rodney Jones – guitar;  Pee Wee Ellis - flute, tenor saxophone, vocals;  Kym Mazelle – vocals;  Kenwood Dennard – drums;  Fred Wesley - trombone, vocals

Life on Planet Groove

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Larry Goldings, Harry Allen - When Larry Met Harry

Bitrate: MP3@320K/s
Time: 52:34
Size: 120.4 MB
Styles: Piano Jazz, Saxophone jazz
Year: 2011
Art: Front

[3:12] 1. Morning Has Broken
[4:49] 2. Slo-Boat
[3:02] 3. The Look Of Love
[4:10] 4. Lucky Am I
[3:53] 5. Benny's Dream
[6:44] 6. Sous Le Ciel De Paris
[5:40] 7. Salad Days
[4:09] 8. Miles Above
[4:13] 9. Bud's In Bloom
[5:11] 10. I Can See Forever
[4:26] 11. Valse D'antan
[3:00] 12. Hester Street, 1896

Larry Goldings: piano, bells, vibes, organ; Harry Allen: tenor saxophone; Doug Weiss: bass (3, 5, 6, 8, 10, 11); Neil Miner: bass (2, 4, 7, 9); Andy Watson: drums.

There is always a place in the world for beautifully played jazz, where the saxophonist doesn't sound like he's trying to inflict pain on his horn, and the pianist just hits all the right notes. Tenor player Harry Allen and his keyboard partner, Larry Goldings, are the musicians, and the album is When Larry Met Harry.

Of the twelve tracks on the record, eight were penned by Goldings, which is noteworthy because they would sound right at home with a 1950s Ben Webster combo playing standards. They are mostly slow to mid-tempo tunes with an emphasis on melody and tasteful presentation. Mercifully, the affair never dips into a syrupy morass, even on "Benny's Dream," which features a string section in the background—a potential kitschy trap. The device, which is only deployed on this track, adds just enough effect to compliment the tune without overwhelming it.

"Bud's In Bloom," the most up-tempo song of the set, shows off some solid bebop chops in the tradition of Charlie Parker's best compositions, but without any frenetic eruptions to upset the overall tone of the record. This band can cook, but it does so in good taste. One of the few covers on the date, Burt Bacharach's "The Look of Love," brings the syncopated bounce of the rhythm section—drummer Andy Watson and bassist Doug Weiss—forward into the mix, as the leaders lay back on a song that's as much about the notes that aren't played as the ones that are.

Despite its generally laconic pace, this is a tautly performed album. The musicians are clearly in sync with each other, and there are virtually no musical loose ends in evidence. Allen is a buttery, warm player with an elegant tone, and a gentle but insistent presentation. Goldings sticks mostly to the piano, but overlays some very subtle keyboard accents throughout. The production values are very strong, with a natural presentation and big wide soundstage. The piano, in particular, sounds very full and lifelike, captured with all of its harmonic textures intact. ~Greg Simmons

When Larry Met Harry

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