Jack Walrath - Portraits in Ivory and Brass

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 68:44
Size: 157,7 MB
Art: Front

( 4:59)  1. Bess, You Is My Woman
( 4:55)  2. Epitaph For Seikolos
(10:14)  3. Shadows
( 9:43)  4. Kirsten
( 9:50)  5. Monk's Feet
(11:42)  6. Road to Sophia
( 9:30)  7. Blues in F
( 7:47)  8. Green Eyes

An often exciting, thoughtful trumpeter and good arranger, Jack Walrath has steadily gained attention and exposure through his contributions to outstanding sessions. Walrath began playing trumpet at nine, and studied at Berklee in the mid- and late '60s while working with other students and backing up R&B vocalists. He moved to the West Coast in 1969, and co-led the bands Change with Gary Peacock, and Revival with Glenn Ferris. Walrath also toured a year with Ray Charles. Walrath relocated to New York in the early 70s, and worked with Latin bands before playing with Charles Mingus from 1974 to 1979, an association that gave him a certain amount of recognition. Walrath contributed some arrangements and orchestrations to Mingus' final recordings. In the 1980s and '90s, he led his own bands, toured Europe with Dannie Richmond and the British group Spirit Level, worked with Charlie Persip's Superband and Richard Abrams, and helped keep the music of Charles Mingus alive by playing with Mingus Dynasty. Jack Walrath has recorded as a leader for Gatemouth, Stash, SteepleChase, Red, Muse, Spotlite, Blue Note, and Mapleshade; he is still improving with age.By Ron Wynn https://itunes.apple.com/us/artist/jack-walrath/id36602597#fullText

Personnel: Jack Walrath (trumpet); Larry Willis (piano).

Portraits in Ivory and Brass

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Steve Davis & Larry Willis - Alone Together

Styles: Trombone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:42
Size: 157,7 MB
Art: Front

(6:32) 1. Milestones
(4:13) 2. My Foolish Heart
(9:50) 3. Surrey with the Fringe on Top
(8:54) 4. Alone Together
(5:24) 5. The Day You Said Goodbye
(8:22) 6. United
(8:30) 7. We'll Be Together Again
(7:44) 8. UMMG
(9:10) 9. Short Cake

Trombonist Steve Davis has been a veteran of the New York scene for many years. Hailing from Binghamton, New York, he quickly established a presence as one of the best trombonists in the area as a teenager. Upon his arrival in New York City in the mid-1980s, Davis' talents were noticed by such luminaries as drummer Art Blakey and saxophonist Jackie McLean. Davis' quartet release on Mapleshade, Alone Together , is a tip of the hat to his former boss a wonderful quartet featuring pianist Larry Willis, bassist Nat Reeves and drummer Eric McPherson, all McLean alumni.

The fact that all these men are veterans of McLean's combo gives this session the feeling of a working band, and everyone plays at a high level. Davis and Willis have a great rapport together, with Willis' voicings adding depth to Davis' lines. Larry Willis may perhaps be best known as the pianist in trumpeter Woody Shaw's classic group, and as one of the most sensitive and nuanced disciples of Herbie Hancock.

Willis begins the quartet's take on "Milestones with a lovely introduction before Davis enters with the familiar Miles Davis (by way of John Lewis) melody. The rhythmic feel throughout the piece is refreshingly buoyant as McPherson molds and shapes the time at the bridge, a la a young Tony Williams, allowing for strong statements from Willis and Davis. Willis also creates rhythmic interest behind the trombone solo by often going against the time for tension and release.

The next cut, the classic standard "My Foolish Heart, is taken as a duet. Willis' warm chords frame Davis' dark, burnished tone as he stays close to the melody. The title track is taken with a quasi-Latin/boogaloo eighth note feel. Davis bleeds soul out of his horn with Curtis Fuller-like intensity, while McPherson provides strong commentary on the skins throughout. Fuller's influence is further felt on "United, taken from Art Blakey's book. Davis provides slashing phrasing reminiscent of the elder trombonist on classic Blakey albums such as Free For All (Blue Note, 1964), as McPherson keeps a strong swinging pulse on this fairly straightforward Wayne Shorter composition.

As fine as the music is, the recording quality of this release, which is superb, deserves to be mentioned. The sound is dynamic and very much like a session at Rudy Van Gelder's original Hackensack living room studio combined with the intimacy of the many studio dates on Pablo. The recording is direct to two-track analog tape and minimally miked, capturing the nuances of Willis' piano, the woodiness of the bass, and all of the air control flowing through the trombone. Free of compression and other tweaks, this is how every new acoustic jazz album should sound. Overall, Steve Davis and his quartet have made an excellent album that is creative and soulful, sure to delight fans of the hard bop tradition. By CJ Shearn
https://www.allaboutjazz.com/alone-together-steve-davis-mapleshade-recordings-review-by-cj-shearn

Personnel: Steve Davis: trombone; Larry Willis: piano; Nat Reeves: bass; Eric McPherson: drums.

Alone Together

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Jay Rodriguez - Your Sound (Live at Dizzy's Club Coca-Cola)

Styles: Saxophone, Flute and Clarinet Jazz
Year: 2018
File: MP3@320K/s
Time: 62:54
Size: 145,0 MB
Art: Front

(9:53)  1. Ghost Dancer (Live)
(5:36)  2. Golden Earring (Live)
(5:01)  3. Clouds (Live)
(5:03)  4. All of You (Live)
(6:01)  5. Your Sound (Live)
(6:03)  6. When the Stars Fell (Live)
(6:51)  7. Spirits (Live)
(6:02)  8. Inolvidable (Live)
(7:22)  9. Lover (Live)
(4:58) 10. Let's Just Kiss and Say Goodbye (Live)

You might hear Jay Rodriguez and wonder, “Is there anything you can’t do?” The fact is, it might be tough to track down something along Jay’s musical continuum that he hasn’t done. A versatile bandleader, with flute, clarinet and saxophone chops, the Colombia-born, New York City-bred musician is profoundly talented and incredibly prolific. Since graduating from the New York School of Performing Arts and attending the New School of Jazz at its inception alongside Larry Goldings, Brad Mehldau and Roy Hargrove. He has had musical adventures in salsa with Celia Cruz, Tito Puente, Ray Barretto, Paquito D’Rivera, pop/hip-hop with Prince, Guru, the Wu-Tang Clan, DJ Premier and Groove Collective, straight-ahead with Doc Cheatham, Mingus Big Band, David Murray, Craig Harris, Jason Miles and Miles Davis. He has played alongside Joe Lovano, Gil Evans, Elvis Costello, Stevie Wonder, Bernie Worrell and Joan Osborne, to name a few. His original work is daring, groovy, breathtaking and soulful, sometimes all at once. His new recording, Your Sound: Live at Dizzy’s Club, captures all of lovely rawness in real time. Accompanied by Billy Harper on tenor sax, Larry Willis on piano. Eric Wheeler on bass, JT Lewis on drums and percussionist Billy Martin, Rodriguez frees himself up to showcase his work on saxes, flutes, and bass clarinet. The result is magical. Over his career, Rodriguez has tackled composition, arranging, accompanying, and leading. It is high time for the world to hear all the wonderful things Jay Rodriguez musician, personality, iconoclast, and innovator has to offer. https://musicians.allaboutjazz.com/your-sound-live-at-dizzys-club-coca-cola-jay-rodriguez

Personnel: Jay Rodriguez: saxophones, flute, bass clarinet;  Billy Harper: tenor saxophone;  Larry Willis: acoustic piano;  Eric Wheeler: acoustic bass;  J.T. Lewis: drums;  Billy Martin: percussion.

Your Sound (Live at Dizzy's Club Coca-Cola)

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Larry Willis - My Funny Valentine

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 63:38
Size: 146,1 MB
Art: Front

(5:46)  1. For Opener's
(3:18)  2. It could Happen to You
(6:31)  3. Blues for Wynton Kelly
(8:52)  4. Who's Kidding Who
(6:03)  5. Rhythm-A-Ning
(6:28)  6. Blood Count
(6:46)  7. My shining Hour
(5:45)  8. Lazy Afternoon
(8:02)  9. Ethiopia
(6:02) 10. My Funny Valentine

Although Larry Willis had played fusion and electric jazz-rock in the 1970s, the Willis heard on 1988's enjoyable, if conventional, My Funny Valentine is a more conservative post-bopper/hard bopper whose main reference points include McCoy Tyner, Tommy Flanagan, Wynton Kelly and Bill Evans. Willis plays the acoustic piano exclusively on this CD, and standards are a high priority. Nothing cutting-edge occurs, just straight-ahead jazz that's honest, warm and melodic. Most of the selections are trio numbers with bassist George Mraz and drummer Al Foster, although the pianist is joined by the passionate alto saxman Kenny Garrett on Thelonious Monk's "Rhythm-A-Ning," Garrett's insistent "For Openers" and Willis' haunting "Ethiopia." As a trio pianist, Willis is in good form on such often recorded standards as "My Funny Valentine," "Lazy Afternoon" and Billy Strayhorn's "Bloodcount" all of which demonstrate how sensitive a ballad player he can be. Initially released only in Japan by the Jazz City label, My Funny Valentine came out in the U.S. when the Philadelphia-based Evidence Music reissued it in 1998. ~ Alex Henderson https://www.allmusic.com/album/my-funny-valentine-mw0000198066

Personnel: Larry Willis – piano; Kenny Garrett – alto saxophone; George Mraz – bass; Al Foster – drums

My Funny Valentine

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Larry Willis - How Do You Keep The Music Play

Styles: Piano Jazz 
Year: 1992
File: MP3@320K/s
Time: 63:20
Size: 146,7 MB
Art: Front

(5:04)  1. Gloria's step
(7:33)  2. How do you keep the music playing
(6:23)  3. All of you
(7:33)  4. Northwest
(7:49)  5. Slick Rick
(7:29)  6. Missing you
(5:24)  7. Ezekial saw the wheel
(7:23)  8. Dance cadaverous
(8:36)  9. Alone together

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn https://www.allmusic.com/artist/larry-willis-mn0000114935/biography

Personnel: Larry Willis – piano; David Williams – bass; Lewis Nash – drums

R.I.P.
Born: December 20, 1942

Died: September 29, 2019

How Do You Keep The Music Play

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Larry Willis Trio - The Big Push

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 52:55
Size: 122,0 MB
Art: Front

(6:27)  1. The Surrey with the Fringe on Top
(6:36)  2. Today's Nights
(6:25)  3. The Day You Said Goodbye
(6:12)  4. Just Wait and See
(5:45)  5. Annika's Lullaby
(7:44)  6. I Have a Dream
(4:00)  7. Everything I Have Is Yours
(4:39)  8. The Big Push
(5:02)  9. Poppa Nat

Pianist Larry Willis has been on over 300 sideman sessions and led eighteen of his own albums since 1970, fifteen of them since 1989. Willis has been in involved in many sub-genres of jazz, largely in the earlier years including jazz-rock fusion and the avant-garde. He was the pianist for Blood Sweat & Tears in the early '70s, Sonny Fortune in the late '70s, and David "Fathead" Newman, Carla Bley and Nat Adderley in the '80s. His albums have appeared on Groove Merchant, Audioquest, Brunswick and Mapleshade. In choosing a trio for The Big Push, Willis selected drummer Al Foster, his old student partner from the High School of Music & Art in Manhattan, and the in-demand bassist Buster Williams. The tunes are a combination of a few sturdy standards, two originals and jazz standards. Beginning with an untempo version of the Rodgers & Hammerstein classic "The Surrey with The Fringe on Top," Willis and company find out what makes its wheels turn; his tribute to former employer Nat Adderley is a poignant "Poppa Nat." Buster Williams steps in frequently to provide fine support for Willis, notably on the ballads and mid-tempo tracks; Al Foster supplies just the right touch for the cookers as well as the tastefulness needed on the ballads. ~ Michael P.Gladstone   https://www.allaboutjazz.com/the-big-push-larry-willis-highnote-records-review-by-michael-p-gladstone.php

Personnel: Larry Willis: piano; Buster Williams: bass; Al Foster: drums.

The Big Push

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Steve Davis - Gettin' It Done

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 57:13
Size: 132,6 MB
Art: Front

(6:58)  1. Village Blues
(5:12)  2. Gettin' It Done
(6:24)  3. Steppin' Easy
(6:39)  4. Sunny
(6:49)  5. Alike
(8:35)  6. The Beacon
(8:15)  7. Longview
(8:17)  8. Wishes

Trombonist Steve Davis has never had a problem getting things done. He instantly joined the slide-wielding elite when he graduated from the Hartt School's Jackie McLean Institute in 1989 and joined up with drummer Art Blakey's Jazz Messengers. That gig jump-started his career and he's never looked back. Stints with McLean and pianist Chick Corea followed, helping to raise his profile within the jazz community, and a steady stream of sideman work, leader offerings and dates with the collective super band known as One for All, along with teaching responsibilities at his alma mater, continue to keep him in constant motion. While it's exhausting just trying to keep up with Davis' work and accomplishments, he doesn't seem to have trouble taking it all in stride. Davis gets the job done every time he picks up his horn and this date is no exception. For the appropriately titled Gettin' It Done, he put together a horns-plus-rhythm group that swings like mad and churns out solo after exciting solo. Davis focuses on his own compositions on this date, but includes a pair of covers that come from vastly different sources. Saxophonist John Coltrane's infrequently played "Village Blues" kicks things off and gets the solo juices flowing. Drummer Billy Williams has a little bit of Elvin Jones in his swing feel on this one, and pianist Larry Willis has a vague hint of McCoy Tyner in him, but nobody apes the original recording. Bobby Hebb's covered-to-death "Sunny," which pops up mid-album, still pleases after all these years and the band sounds like it's having a blast with it. The other six tunes put Davis the composer on equal footing with Davis the performer. "Gettin It Done'" is a thrilling burner, while "Steppin' Easy" is a carefree number that lives up to its name, "Alike" is a pleasant ballad that puts Davis' warm and focused tone on display, and "The Beacon" is a funky journey that proves to be an album highlight. In this age of lengthy albums, it's rare that an artist leaves you wanting more, but Davis does just that. Gettin' It Done is another sterling date from one of today's treasured figures of trombone. ~ Dan Bilawsky https://www.allaboutjazz.com/gettin-it-done-steve-davis-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Steve Davis: trombone; Josh Bruneau: trumpet, flugelhorn; Mike DiRubbo: alto saxophone; Larry Willis: piano; Nat Reeves: bass; Billy Williams: drums.

Gettin' It Done

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Buddy Terry - Lean on Him

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 43:18
Size: 99,4 MB
Art: Front

( 5:55)  1. Lean on Me (Lean on Him)
( 5:39)  2. Holy, Holy, Holy
( 3:13)  3. Climbing Higher Mountains
( 4:52)  4. Amazing Grace
(10:17)  5. Inner Peace
( 5:45)  6. Precious Lord, Take My Hand
( 7:34)  7. Love Offering

One of the fullest albums we've ever heard from saxophonist Buddy Terry a set that has him blowing along with a set of soulful larger backings sometimes with a bit of gospel overtones as well! The lineup on the album's pretty darn hip players who include Larry Willis on electric piano, Jay Berliner on guitar, Ernie Hayes on organ, Wilbur Bascomb on Fender bass, Bernard Purdie on drums, and Lawrence Killian on percussion plus added vocals from a group that includes Dee Dee Bridgewater, Alphonse Mouzon, and Peaches Wilson! Buddy arranges and conducts and while his tenor and soprano get some space in the arrangements, the overall sound is more focused on the full spirit of the group. Titles include "Lean On Me (Lean On Him)", "Love Offering", "Inner Peace", "Amazing Grace", "Precious Lord, Take My Hand", "Holy Holy Holy", and "Climbing Higher Mountains".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/850259/Buddy-Terry:Lean-On-Him

Personnel:  Buddy Terry - tenor saxophone, soprano saxophone, flute, arranger;  Eddie Henderson - trumpet, flugelhorn;  Jay Berliner - electric guitar;  Larry Willis - piano, electric piano;  Ernie Hayes - organ;  Wilbur Bascomb - electric bass;  Bernard Purdie - drums;  Lawrence Killian - percussion;  Alphonse Mouzon, Dee Dee Bridgewater - vocals

Lean on Him

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Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

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Russell Malone - Wholly Cats

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 63:45
Size: 146,3 MB
Art: Front

( 7:56)  1. Wholly Cats
(10:20)  2. I Concentrate On You
( 6:54)  3. Carousel
( 2:33)  4. Swing Low, Sweet Chariot
(10:33)  5. Off The Top
( 7:43)  6. Four In One
( 6:13)  7. After All
( 7:40)  8. Chitlin Blues
( 3:52)  9. Yesterdays

Russell Malone recording this studio date for Venus in 1995, though it was several years before the Japanese label got around to issuing it. Joined by an excellent rhythm section consisting of Larry Willis, Rodney Whitaker, and Yoron Israel, Malone is not afraid to go into lengthy exploration of an old favorite like "I Concentrate on You." Malone delves into jazz compositions of several generations, including a furious take of Benny Goodman's "Wholly Cats," an easygoing interpretation of Mulgrew Miller's wistful ballad "Carousel," and a virtuoso performance of Thelonious Monk's challenging "Four in One." 

His one original is the strident "Chitlin Blues," a duo track with a delicious exchange between the guitarist and Whitaker's humorous arco bass. Among his unaccompanied selections are a spacious yet subtle rendition of the spiritual "Swing Low, Sweet Chariot" and an intricate treatment of "Yesterdays." Recommended. ~ Ken Dryden https://www.allmusic.com/album/wholly-cats-mw0000533023

Personnel:  Electric Guitar – Russell Malone;  Bass – Rodney Whittaker; Drums – Yoron Israel;  Piano – Larry Willis

Wholly Cats

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Louis Hayes - Nightfall

Styles: Jazz, Post Bop 

Year: 1991

File: MP3@320K/s

Time: 63:23

Size: 145,5 MB

Art: Front

( 4:32)  1. Route 88 East

( 8:30)  2. Sun Showers

( 7:46)  3. Nightfall

( 9:12)  4. Marie Antoinette

(10:45)  5. There's Something About You I Don't Know

( 5:49)  6. André

(10:26)  7. I Waited For You

( 6:19)  8. The Spoiler

A superior hard bop drummer best known for supporting soloists rather than taking the spotlight himself, Louis Hayes led a band in Detroit as a teenager and was with Yusef Lateef during 1955-1956. He had three notable associations: Horace Silver's Quintet (1956-1959), the Cannonball Adderley Quintet (1959-1965), and the Oscar Peterson Trio (1965-1967). Hayes often teamed up with bassist Sam Jones, both with Adderley and Peterson and in freelance settings. He led a variety of groups during the 1970s, including quintets co-led by Junior Cook and Woody Shaw, and appeared on many records through the years with everyone from John Coltrane and Cecil Taylor to McCoy Tyner, Freddie Hubbard, and Dexter Gordon. He started leading his own sessions beginning in the '70s, including 1974's Breath of Life, 1977's Real Thing, and 1979's Ichi-Ban. Other well-received albums followed, including 1983's Colour, 1989's Una Max, 1994's Blue Lou, and 1996's Louis at Large. Hayes continued to stay busy in the 2000s, releasing albums like 2002's Dreamin' of Cannonball and 2009's Time Keeper. On his 2017 Blue Note album, Serenade for Horace, Hayes paid tribute to his friend and former boss the late pianist Horace Silver. ~ Scott Yanow https://www.allmusic.com/artist/louis-hayes-mn0000237496/biography

Personnel: Louis Hayes (drums); Gerald Hayes (alto saxophone); Eddie Allen (trumpet); Larry Willis (piano).

Nightfall

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Robin Kenyatta - Stompin' At The Savoy

Styles: Flute And Saxophone Jazz
Year: 1974
File: MP3@320K/s
Time: 37:38
Size: 88,3 MB
Art: Front

(2:28)  1. Stompin' At The Savoy
(3:07)  2. Smooth Sailing
(9:59)  3. The Need To Smile
(2:29)  4. Two Bass Blues
(5:23)  5. Neither One Of Us
(4:32)  6. Mellow In The Park
(3:59)  7. Jessica
(5:37)  8. River Boat

A great blend of older jazz styles and the sweet 70s funk of Robin Kenyatta served up with a hip sort of sparkle overall! There's a few familiar jazz modes in here that definitely live up to the spirit of the title but most of the record is more open, laidback, and somewhat spiritual thanks to help from a hip lineup that includes Billy Harper on tenor sax, Dwight Brewster and Larry Willis on electric piano, Winston Wright on organ, Lew Soloff on trumpet, and Jimmy Knepper on trombone! Some of the best tracks here are surprisingly open and earthy almost pointing back towards Kenyatta's Until album, but a bit more inside and other cuts have a warmer sort of 70s glow, more in the mode that Robin was hitting on other Atlantic albums of the time. Titles include "The Need To Smile", "Mellow In The Park", "Jessica", "River Boat", "Two Bass Blues", and "Smooth Sailing". © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/475315

Personnel: Robin Kenyatta (flute, saxophone, soprano saxophone, alto saxophone); Tasha Thomas, Robin Clark, Carl Hall (vocals); David Spinozza (guitar, electric guitar); Hux Brown (guitar); Billy Harper (tenor saxophone); Lew Soloff (trumpet, flugelhorn); Jimmy Knepper (trombone); Gladstone Anderson, Neville Hinds, Sonelius Smith (piano); Dr. John (electric piano, keyboards); Dwight Brewster, Larry Willis (electric piano); Winston Wright (organ); Ron Carter (bass instrument, acoustic bass, upright bass, electric bass); Lewis Worrell, Walter Booker (acoustic bass); Chuck Rainey, Jackie Jackson (electric bass); Alphonse Mouzon, Winston Grennan, Bernard "Pretty" Purdie (drums); Gilmore Digap (congas, tambourine); Guilherme Franco, Ralph MacDonald, Joao Palma (percussion).

Stompin' At The Savoy

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Dr. Lonnie Smith, Larry Willis, Ramon Morris - The Best Of The Funky Blues From The Groove Merchant Vault Vol. 2

Bitrate: MP3@320K/s
Time: 56:21
Size: 129.0 MB
Styles: Blues, Jazz, Funk
Year: 2012
Art: Front

[4:31] 1. Larry Willis - Out On The Coast
[6:24] 2. Larry Willis - Inner Crisis
[6:45] 3. Larry Willis - 153rd Street Theme
[7:12] 4. Larry Willis - Journey's End
[6:17] 5. Ramon Morris - Sweet Sister Funk
[5:32] 6. Ramon Morris - Wijinia
[5:21] 7. Ramon Morris - Don't Ask Me
[6:25] 8. Ramon Morris - Sweat
[7:50] 9. Dr. Lonnie Smith - Good Morning

The Best Of The Funky Blues From The Groove Merchant Vault

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Steve Davis Quintet - Live at Smalls

Styles: Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 66:34
Size: 152,5 MB
Art: Front

(14:27)  1. Surrey with a Fringe on Top
(15:53)  2. Spirit Waltz
(21:38)  3. Nature Boy / To Wisdom the Prize
(14:34)  4. Daydream / Outro

Steve Davis has been a member of Art Blakey and The Jazz Messengers as well as a member of The Jackie McLean group. In this live date, he is joined by master pianist Larry Willis, who does not disappoint. Also in the band are Michael DiRubbo, Gerald Cannon and Willie Jones III. ~ Editorial Reviews https://www.amazon.com/Steve-Davis-Quintet-Smalls-featuring/dp/B003NKU9LY

Personnel:  Steve Davis – Trombone;  Mike DiRubbo – Alto;  Larry Willis – Piano;  Gerald Cannon – Bass;  Willie Jones III - Drums

Live at Smalls

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Roy Hargrove - Moment to Moment

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 68:38
Size: 157,5 MB
Art: Front

(6:06)  1. You Go to My Head
(5:48)  2. Always and Forever
(5:25)  3. Natural Wonders
(6:17)  4. Moment to Moment
(5:51)  5. I'm a Fool to Want You
(5:34)  6. How Insensitive
(5:57)  7. I'm Glad There Is You
(6:11)  8. A Time for Love
(5:57)  9. The Very Thought of You
(5:58) 10. Peri
(4:07) 11. I Fall in Love Too Easily
(5:23) 12. Another Time

A public figure or celebrity has "made it" when his face appears on the cover of TIME magazine or perhaps when a parade in her honor is held in New York. For a jazz artist, 'making it' means recording with an orchestra. Charlie Parker With Strings may have been the first in a long line of jazz records to court the romance of a string section. For trumpeters, Clifford Brown and Chet Baker's orchestral albums come to mind. Trumpeter Roy Hargrove was known early in his career (1989 or so) as a hard-bop descendant of Clifford Brown. His early Novus recordings (the best being The Vibe ) showed a fire in his belly for all things breakneck. A natural talent, Hargrove developed his lyrical side with explorations of the jazz tradition, the albums Family (1995) and an often overlooked trio (with Stephan Scott and Christian McBride) tribute to the music of Charlie Parker entitled Parker's Mood displayed a matured horn. His Cuban jazz record, Crisol opened a new door and returned the fire to his music with a Latin sound. Lately he has been working with a big band, I suspect a recording of which should surface soon. 

Hargrove has reached a jazz pinnacle, his story has made the cover of jazz magazines and this With Strings record is his parade. But for Hargrove and his bandmates, the twelve ballads presented sound like a Ferrari driven at 10mph. His band, which includes the Cannonball Adderley descendant Sherman Irby and a pure hard-bop rhythm section seem to ooze energy restraining themselves. Moment To Moment, better than anything Terence Blanchard has produced, is Hargrove's ticket to score upcoming movies. 

The Monterey Jazz Festival Chamber Orchestra, whose arrangements were written by Larry Willis, Gil Goldstein, and Cedar Walton, are tastefully minimal. Perhaps the recording venue, the Monterey Peninsula, and the music choice: Mandel, Cahn, Mancini, Jobim, Dorsey, and Methany-ballads account for the quixotic feelings exuded here. A first-class recording and beautiful sound mark Hargrove's sophistication as an artist. He has painted the final scene to a very heartbreaking melancholy film in my mind. I couldn't watch it everyday, but it certainly serves it's purpose. ~ Mark Corroto https://www.allaboutjazz.com/moment-to-moment-roy-hargrove-verve-music-group-review-by-mark-corroto.php

Personnel: Roy Hargrove - Trumpet, Flugelhorn;  Sherman Irby - Alto Saxophone;  Larry Willis - Piano;  Gerald Cannon - Bass; Willie Jones, III -  Drums;

Moment to Moment

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Larry Willis Trio - Let's Play

Styles: Piano Jazz
Year: 1991
File: MP3@256K/s
Time: 66:52
Size: 122,7 MB
Art: Front

( 9:08)  1. I Hear a Rhapsody
( 6:48)  2. Who Can I Turn to?
(11:57)  3. Let's Play
( 7:31)  4. No Blues
( 6:35)  5. Anne
( 9:00)  6. The Children of Harlem
( 8:19)  7. Bess You is My Woman Now
( 7:31)  8. Nardis

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn and Michael G. Nastos https://itunes.apple.com/ng/artist/larry-willis/id3273573#fullText

Personnel:  Bass – Santi Debriano;  Drums – Victor Lewis;  Piano – Larry Willis

Let's Play

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Larry Willis - Heavy Blue

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 61:08
Size: 140,5 MB
Art: Front

( 8:17)  1. To Wisdom, The Prize
( 6:33)  2. Winther Blue
( 6:32)  3. Earthlings
( 8:37)  4. When I Fall In Love
(10:07)  5. Nightfall
( 6:26)  6. Heavy Blue
( 7:17)  7. Ballad For Frederick
( 7:15)  8. Habiba

Once identified with on-the-edge free music, keyboardist Larry Willis had a profitable flirtation with fusion in the '70s, then moved to hard bop in the '80s and '90s. Willis' playing has been frenetic, ambitious, and interesting, but during his jazz-rock and fusion days it was funky but greatly restrained and simplistic. A devotee of Herbie Hancock, Willis has found a good balance, with expertly constructed modal solos and also lyrical, relaxed statements. Willis graduated from the Manhattan School of Music in the early '60s, then played with Jackie McLean and Hugh Masekela. He recorded with Lee Morgan and McLean in the mid-'60s, and worked with Kai Winding and Stan Getz, as well as recording with Robin Kenyatta in 1969. Willis turned to synthesizer and electric piano in the '70s, doing sessions with Cannonball Adderley, Earl May, Joe Henderson, Richard "Groove" Holmes, and Masekela again. He joined Blood, Sweat & Tears in 1972, recorded with Alphonse Mouzon in both 1972 and 1973, and did dates as a leader and freelance session musician. Willis also recorded with Ryo Kawasaki and Sonny Fortune in the late '70s, and with David "Fathead" Newman and Carla Bley in the '80s. Willis toured and recorded with Nat Adderley in the '80s and joined Woody Shaw's quintet in 1986. He's done sessions as a leader for Groove Merchant, Steeplechase, Audioquest, Brunswick, and Mapleshade, among others, including Blue Fable and Offering on Highnote in 2007 and 2008, respectively. ~ Ron Wynn and Michael G. Nastos https://itunes.apple.com/us/artist/larry-willis/id3273573#fullText

Heavy Blue

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Eddie Henderson - Flight Of Mind

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 60:51
Size: 141,8 MB
Art: Front

(6:34)  1. Flight Of Mind
(9:19)  2. Goodbye
(7:09)  3. Eduard
(4:25)  4. Un Bel Di Vedremo
(8:29)  5. Lament For Booker
(8:52)  6. Torre-Adore
(9:10)  7. Portrait Of Jenny
(6:51)  8. L + M

Eddie Henderson was one of the few trumpeters who was strongly influenced by Miles Davis' work of his early fusion period. He grew up in San Francisco, studied trumpet at the San Francisco Conservatory of Music, but was trained to be a doctor when he permanently chose music. Henderson worked with John Handy, Tyrone Washington, and Joe Henderson, in addition to his own group. He gained some recognition for his work with the Herbie Hancock Sextet (1970-1973), although his own records (which utilized electronics) tended to be commercial. After Hancock broke up his group, Henderson worked with Art Blakey and Mike Nock, recorded with Charles Earland, and later, in the 1970s, led a rock-oriented group. In the '90s, he returned to playing acoustic hard bop (touring with Billy Harper in 1991) while also working as a psychiatrist. ~ Scott Yanow https://itunes.apple.com/bw/artist/eddie-henderson/id1102634#fullText

Personnel: Eddie Henderson (trumpet); Larry Willis (piano); Ed Howard (bass); Victor Lewis (drums).

Flight Of Mind

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Branford Marsalis - The Steep Anthology

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 74:13
Size: 170,5 MB
Art: Front

( 6:09)  1. Doctone
( 6:10)  2. Maria
( 7:05)  3. Royal Garden Blues
( 9:28)  4. Evidence (Live)
( 7:48)  5. Cain & Abel
( 8:17)  6. Spartacus
( 6:48)  7. No Backstage Pass
( 6:34)  8. Sidney In Da Haus
(10:42)  9. The Dark Keys
( 5:08) 10. Three Little Words

A fierce fighter as well as a gentle balladeer, Branford Marsalis makes every note count. He gets the meaning across naturally without unneeded repetition and without unnecessary embellishment. A true entertainer and a gifted artist, he communicates with his audience easily. Thus, Columbia had ample worthwhile examples to choose from for this anthology. With his father at the piano, the saxophonist interprets “Maria” with passion and understanding. His control of the soprano instrument ranks right up there. Whether following in Sidney Bechet’s footsteps or emulating an operatic voice, Marsalis makes the instrument work as an extension of his physical presence. Monk provides inspiration for Marsalis’ tenor as he soars through “Evidence” with Kenny Kirkland at the piano, Robert Hurst on bass, and Jeff Watts on drums. The quartet pours it on. From a live session at the Village Vanguard, this piece wears emotion on its shirtsleeves. Marsalis is in his groove.

Good training helps. The Marsalis background is unique. But it’s Branford’s heart that wins out on these examples from his jazz career. His original “Spartacus” soars on a suite-like journey through distant lands with a cool outlook. His “No Backstage Pass,” from his debut album, takes the tenor on a similar trip. This one, without piano, draws its inspiration from Bird and Diz and Trane. Ron Carter walks the bass, as Marvin “Smitty” Smith rides the cymbals and snare. Marsalis puts what he learned on the bandstand with Art Blakey to good use.  With Wynton on trumpet, Branford converses through his original “Cain & Abel” in an up-tempo, New Orleans swing setting. Hurst and Watts contribute Crescent City shimmers, as the two Marsalis brothers work out their natural experience comfortably. Thinking alike, they provide a textbook solution. At times moody and dark, at times traditional and light, Marsalis provides us with an eclectic program that buoys our spirits. ~ Jim Santella https://www.allaboutjazz.com/the-steep-anthology-branford-marsalis-columbia-records-review-by-jim-santella.php

Personnel: Branford Marsalis- soprano saxophone, tenor saxophone; Wynton Marsalis- trumpet; David Sagher- trombone; Wessel Anderson- alto saxophone; Ellis Marsalis, Larry Willis, Kenny Kirkland- piano; Ron Carter, Eric Revis, Robert Hurst, Reginald Veal, Milt Hinton- bass.

The Steep Anthology

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Jackie McLean - Right Now!

Styles: Saxophone Jazz
Year: 1965
File: MP3@320K/s
Time: 48:11
Size: 111,4 MB
Art: Front

( 6:08)  1. Eco
(10:12)  2. Poor Eric
(10:34)  3. Christel's Tune
( 9:29)  4. Right Now
(11:47)  5. Right Now (alt tk)

With the exception of a beautiful ballad version of Larry Willis' "Poor Eric," the music here (also available in Mosaic's four-disc Jackie McLean box set) is hard-charging, intense, and fairly free. The altoist was at the peak of his powers during this period and, inspired by the versatile rhythm section (pianist Larry Willis, bassist Bob Cranshaw, and drummer Clifford Jarvis), he plays explorative versions of his own "Eco," Willis' "Christel's Tune," and Charles Tolliver's "Right Now"; an alternate version of the latter is added on the reissue. This date offers a particularly strong example of McLean's unique inside/outside music of the 1960s. ~ Scott Yanow  http://www.allmusic.com/album/right-now!-mw0000675287

Personnel: Jackie McLean (alto saxophone); Larry Willis (piano); Bob Cranshaw (bass); Clifford Jarvis (drums).

Right Now!

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