John Colianni Trio - Blues-O-Matic

Styles: Piano Jazz 
Year: 1989
File: MP3@320K/s
Time: 53:03
Size: 124,3 MB
Art: Front

(4:48)  1. Blues-O-Matic (with Lew Tabackin)
(3:19)  2. Liza
(5:37)  3. My One and Only Love
(2:38)  4. All God's Chillun Got Rhythm (with Lew Tabackin)
(5:42)  5. Exactly Like You (with Lew Tabackin)
(5:20)  6. Riding High - You Do Something to Me
(4:52)  7. After All (with Lew Tabackin)
(5:58)  8. Long Count
(5:06)  9. I Want You All the Time
(4:23) 10. Ding Ding
(5:16) 11. Slicer

Piano. Steady mainstream player, noteworthy for excellent rhythmic skills. His tastes are even further in past than most neoboppers, reaching to swing and big band era for inspiration, as well as early days of bop. ~ Ron Wynn http://www.allmusic.com/artist/john-colianni-mn0000216450/biography

John Colianni Trio: John Colianni (piano), Lew Tabackin (tenor saxophone, flute), Lynn Seaton (bass), Mel Lewis (drums).

Blues-O-Matic

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Lew Tabackin Quartet - What A Little Moonlight Can Do

Styles: Saxophone And Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 56:34
Size: 130,9 MB
Art: Front

(5:14)  1. What A Little Moonlight Can Do
(7:22)  2. Easy Living
(6:51)  3. I Wished On The Moon
(5:02)  4. Love Letters
(7:48)  5. Poinciana
(5:13)  6. This Time The Dream's On Me
(7:35)  7. Broken Dreams
(6:04)  8. Leave Of Absinthe
(5:20)  9. Dig

The deep, smooth tenor sax tones of Ben Webster and Coleman Hawkins are clearly the models that Lew Tabackin patterns his playing after on this album featuring his quartet. The sax giants' influence can clearly be seen on "What a Little Moonlight Can Do," on which Tabackin plays above the melody, concluding with Webster's patented fluttering, whispering tone. Tabackin's playing throughout this session, irrespective of the tempo, is contemplative, exploring every nook and cranny, every nuance, every subtlety of the tune. He and his quartet travel winding roads of complex and interesting improvisations, always managing to return to the basic melody unscathed. He gives himself plenty of time for each journey, with most of the tunes running more than six minutes in length but never becoming boring or repetitive. Tabackin and his quartet caress "Easy Living," with Benny Green's piano getting significant exposure. "I Wished on the Moon," made famous by Billie Holiday, is done more like a tango than the swinging number it became in the hands of Lady Day. There are two non-standards on the album. Jimmy Knepper's "Leave of Absinthe," based on the chord changes to "Lullaby of the Leaves," is a vehicle for Tabackin's flute playing, while Tabackin's "Broken Dreams," commissioned by his wife, bandleader Toshiko Akiyoshi, is a lovely ballad, again with Green's piano in the vanguard. The rhythm section backing Tabackin is world-class, with Green, Peter Washington on bass, and Lewis Nash on drums. Playing professionally since the 1960s, Tabackin shows that almost 30 years later, he hasn't lost any of his passion for the music. ~ Dave Nathan https://www.allmusic.com/album/what-a-little-moonlight-can-do-mw0000118368

Personnel: Lew Tabackin (tenor saxophone, alto flute, flute), Benny Green (piano), Peter Washington (bass), Lewis Nash (drums)

What A Little Moonlight Can Do

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Lew Tabackin & Warne Marsh - Tenor Gladness

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 39:08
Size: 89,8 MB
Art: Front

(6:47) 1. Basic No. 2
(6:03) 2. Easy
(6:23) 3. March Of The Tadpoles
(8:22) 4. Hangin' Loose
(3:59) 5. New-ance
(7:31) 6. Basic 1

A great little session that features some of the best 70s work from these two tenorists a great little record that has Warn Marsh and Lew Tabackin really opening up next to each other! Toshiko Akiyoshi produced the album for the pair and although she plays piano on one track, most of the set is piano-less and opens with this great reed interplay over rhythms from Larry Bunker on drums and John Heard on bass a very cool setting that's kind of an update of older west coast modes, but with more 70s edges overall! Titles include "Basic #2", "Easy", "March Of The Tadpoles", and "Hangin Loose".
© 1996-2022, Dusty Groove, Inc.https://www.dustygroove.com/item/106220/Lew-Tabackin-Warne-Marsh:Tenor-Gladness

Personnel: Lew Tabackin, Warne Marsh – tenor saxophone; Toshiko Akiyoshi – piano; John Heard – bass; Larry Bunker – drums

Tenor Gladness

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Toshiko Akiyoshi & Lew Tabackin Big Band - Kogun

Styles: Piano And Saxophone
Year: 1974
File: MP3@320K/s
Time: 41:19
Size: 95,1 MB
Art: Front

( 9:13) 1. Elegy
(10:21) 2. Memory
( 6:48) 3. Kogun
( 5:48) 4. American Ballad
( 9:08) 5. Henpecked Old Man

As a writer known for her incorporation of traditional Japanese music into idiomatic big band writing, it is only on the title track of this 1974 recording that this propensity is exhibited. The rest of the album is dedicated to more traditional big band approaches, but, in the hands of Toshiko Akiyoshi, "traditional" techniques always manage to sound fresh. Few of the many twists and turns on display in the five songs off of Kogun fail either to surprise or to work. Although straight-ahead cookers such as "Elegy" (which features a wicked piano solo by the leader) succeed marvelously, it is when Akiyoshi turns to more unconventional writing techniques, such as the spoken word fragments that are interspersed throughout the extraordinary "Memory" or the endlessly shifting form and mood of "Kogun," that her muse is most clearly on display.

This is big band as orchestra, and it is evocative in a way that most other big band records simply are not. Although Akiyoshi's contributions are impossible to downplay, the reason for this record's sublimity must also rest in the orchestra itself, co-led by tenor (and hubby) Lew Tabackin. From trumpeter Bobby Shew to alto saxophonist Dick Spencer, the winds are uniformly excellent, and the rhythm section of Gene Cherico and Peter Donald cook without being heavy-handed. Kogun easily displays why Akiyoshi is such a treasure. It's a record that is simultaneously driving, romantic, and experimental, seductive in its implications and undeniable in its swing. A difficult combination, to be sure, but one for which Akiyoshi clearly has the winning formula.
By Daniel Gioffre https://www.allmusic.com/album/kogun-mw0000351554

Personnel: Toshiko Akiyoshi – piano; Lew Tabackin – tenor saxophone; Tom Peterson – tenor saxophone; Dick Spencer – alto saxophone; Gary Foster – alto saxophone; Bill Perkins – baritone saxophone; Bobby Shew – trumpet; John Madrid – trumpet; Don Rader – trumpet; Mike Price – trumpet; Charles Loper – trombone; Jim Sawyer – trombone; Britt Woodman – trombone; Phil Teele – bass trombone; Gene Cherico – bass; Peter Donald – drums; Scott Ellsworth – voice (on "Memory")

Kogun

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David Lahm - Jazz Takes on Joni Mitchell

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

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

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

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

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

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

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

Jazz Takes on Joni Mitchell

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Lew Tabackin With The Netherlands Metropole Orchestra - Pyramid

Styles: Jazz, Hard Bop
Year: 1999
File: MP3@256K/s
Time: 56:04
Size: 103,2 MB
Art: Front

(3:57)  1. Battle Royal
(5:04)  2. Isfahan
(6:04)  3. Speak Low
(6:28)  4. Broken Dreams
(3:55)  5. Night And Day
(6:58)  6. Yesterdays
(6:12)  7. Are You Real?
(6:03)  8. Pyramid
(6:07)  9. All Too Soon
(5:12) 10. Sweet And Lovely

Lew Tabackin's guest appearance with the Netherlands Metropole Orchestra is one of the most enjoyable in their series of collaborations with jazz soloists. Tabackin is a swinging tenor saxophonist and a top notch flute player as well, playing both on the exciting opener by Duke Ellington, "Battle Royal" and showcasing his lyrical flute on "Speak Low." In addition to his outstanding playing throughout the CD, he composed the haunting bittersweet ballad "Broken Dreams." Most of the arrangements by conductor Rob Pronk complement Tabackin's playing without overwhelming him with excessive strings. This is a very wellcrafted release worth purchasing. ~ Ken Dryden  http://www.allmusic.com/album/pyramid-mw0000667776

Personnel: Peter Tiehuis, Lex Bolderdijk (guitar); Joke Schonewille, Rosetty de Ruiter-Verwoerdt (harp); Herman Van Haaren, Arlia de Ruiter, Erica Korthals Altes, Denise Ruyters, Lucia Domski, Rudolf Vobornik, Dennis Koenders, Marianne Heuvel, Elisabeth Cats, Pauline Terlow, Wim Kok, Rami Koch, Marijn Rombout, Moortje Koch, Ernö Olah (violin); Anne-Mariue V.D. Bogaard, Mieke Honingh, Aimee Versloot, Michael Klier, Julia Jowett (viola); Hans Bonsel, Wim Grin, Olaf Groesz, Bastiaan Van Der Werf (cello); Friederike Darius, Janine Abbas, Mariel Bos (flute); Martin De Ruiter, Willem Luijt (oboe); Leo Van Oostrom, Marc Scholten, Leo Janssen, Max Boeree, Dick Vennik (saxophone); Jan Hollander, Jan Ppsthof, Henk Heijink, Ruud Breuls (trumpet); Wim Timmermans, Roel Koster (French horn); Paul Woesthuis, Jan Elsink, Bart Van Lier (trombone); Martin V.D. Berg (bass trombone); Cor Bakker, Hans Vroomans (piano, synthesizer); Eric Winkelmann, Arend Liefkes (double bass); Herman Rieken, Arno van Nieuwenhuize, Eddy Koopman, Cees Kranenburg, Mike Schäperclaus (drums, percussion).

Pyramid

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Lew Tabackin Quartet - Desert Lady

Styles: Flute And Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 64:02
Size: 149,6 MB
Art: Front

(4:09)  1. Hot House
(9:40)  2. Pyramid
(8:04)  3. Serenade To Sweden
(7:19)  4. Chelsea Bridge
(3:57)  5. Johnny Come Lately
(9:55)  6. Desert Lady
(4:37)  7. A Bit Byas'd
(2:53)  8. You'll Never Know
(5:27)  9. Yesterdays
(7:57) 10. You Leave Me Breathless

The great tenor saxophonist and flutist Lew Tabackin is joined by pianist Hank Jones, bassist Dave Holland, and drummer Victor Lewis on this well-rounded program. The Concord CD has many highlights, including "Hot House," Duke Ellington's "Serenade to Sweden," Tabackin's "A Bit Byas'd," and "You Leave Me Breathless"; the leader's tenor in particular is in top form. Highly recommended to fans of straight-ahead jazz, this release gives one a strong sampling of Lew Tabackin's talents. ~  Scott Yanow  https://www.allmusic.com/album/desert-lady-mw0000208060

Personnel:  Flute, Tenor Saxophone – Lew Tabackin;  Piano – Hank Jones ;  Bass – Dave Holland;  Drums – Victor Lewis

Desert Lady

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The Duke Pearson Big Band - Baltimore 1969

Styles: Piano Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 79:23
Size: 182,4 MB
Art: Front

(12:41)  1. Hi-Fly
( 8:18)  2. New Girl
( 7:10)  3. Eldorado
( 9:17)  4. In the Still of the Night
( 9:57)  5. Tones for Joan's Bones
(13:08)  6. Straight up and Down
( 7:17)  7. Ready When You Are C.B.
(11:35)  8. Night Song (Theme from Golden Boy)

The Duke Pearson Big Band of the late 1960s featured great soloists Donald Byrd, Burt Collins, Lew Tabackin, Frank Foster and Pepper Adams. Drummer Mickey Roker propelled the 16 piece band with fire. All this is on display at the April 1969 Baltimore concert issued for the first time on this CD. 

Where the studio recordings featured relatively short pieces, this concert presents the band stretching out in full force. Even 44 years later, this is big band jazz at its finest and a clear demonstration of Duke Pearson's great talents as a leader, pianist, composer and arranger.~ Editorial Reviews https://www.amazon.com/Baltimore-1969-Duke-Pearson-Band/dp/B00EKJRYNS

Personnel: Duke Pearson (piano); Jerry Dodgion, Al Gibbons (flute, alto saxophone); Frank Foster , Lew Tabackin (tenor saxophone); Pepper Adams (baritone saxophone); Jim Bossy, Donald Byrd, Joe Shepley, Burt Collins (trumpet, flugelhorn); Eddie Bert, Julian Priester, Joe Forst (trombone); Kenny Rupp (bass trombone); Bob Cranshaw (acoustic bass, electric bass); Mickey Roker (drums).

Baltimore 1969

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Duke Pearson - Introducing Duke Pearson's Big Band

Bitrate: MP3@320K/s
Time: 75:17
Size: 172.3 MB
Styles: Bop, Big band, Piano jazz
Year: 1968/2000
Art: Front

[3:04] 1. Ground Hog
[6:01] 2. New Girl
[5:28] 3. Bedouin
[7:00] 4. Straight Up And Down
[2:56] 5. Ready When You Are C.B
[5:34] 6. New Time Shuffle
[2:32] 7. Mississippi Dip
[5:27] 8. A Taste Of Honey
[4:08] 9. Time After Time
[5:50] 10. Disapproachment
[5:30] 11. Tone's For Joan's Bones
[6:38] 12. Minor League
[4:24] 13. Here's That Rainy Day
[4:38] 14. Make It Good
[6:00] 15. Days Of Wine And Roses

Alto Saxophone, Flute, Bass Clarinet – Al Gibbons; Alto Saxophone, Flute, Piccolo Flute – Jerry Dodgion; Baritone Saxophone, Clarinet – Pepper Adams; Bass – Bob Cranshaw; Bass Trombone – Kenny Rupp; Drums – Mickey Roker; Piano – Duke Pearson; Tenor Saxophone – Frank Foster, Lew Tabackin; Trombone – Benny Powell, Garnett Brown, Julian Priester; Trumpet – Burt Collins, Joe Shepley, Marvin Stamm, Randy Brecker. Recorded At – Van Gelder Studio, Englewood Cliffs, New Jersey.

Duke Pearson had always displayed a flair for arranging, even on small combo albums, so it shouldn't have come as a surprise that he would attempt his own big band record. What is a surprise is how successful Introducing Duke Pearson's Big Band actually is. Pearson leads 13 other musicians through a selection of nine songs, including four originals, two contemporary jazz tunes by Chick Corea and Joe Sample, and three standards. His originals are continually unpredictable and memorable, and his arrangements, especially of the standards, are provocative and intriguing. While it might not appeal to fans of Pearson's wonderful small-group hard bop sessions, it is unquestionably an experiment that works, and one that confirms his remarkable skills and talents. ~Stephen Thomas Erlewine

Introducing Duke Pearson's Big Band

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Lew Tabackin - L'archiduc (Round About Five)

Styles: Saxophone and Flute Jazz
Year: 1996
File: MP3@320K/s
Time: 68:17
Size: 157,7 MB
Art: Front

(12:20)  1. Night & Day
(10:19)  2. Wise One
(11:49)  3. I Don't Want to Be Kissed
(10:31)  4. In a Sentimental Mood
( 6:22)  5. L'archiduc - Round About Five
(10:25)  6. Delilah
( 6:27)  7. Oleo

Those who maintain that the elusive art of Jazz improvisation has fallen on hard times and point to Sonny Rollins as perhaps the last of the daring modern day voices on saxophone may be overlooking someone. In other words, it could be rewarding to listen, for example, to Lew Tabackin who, like Rollins, has devised a singular Jazz vocabulary and loves to dance across the high wire without a net. Tabackin’s mode of expression, although derived from and leaning heavily on Jazz tradition, is wholly modern in outlook and, like all memorable improvisation, is consistently creative and surprising. Such is certainly the case on L’Archiduc, recorded live in 1994 at the Belgian nightspot which bears that name. Tabackin is simply marvelous throughout, whether on tenor or flute (“Wise One,” “Delilah”), and it is altogether appropriate that he should end the concert with an impassioned reading of Rollins’ blazer, “Oleo.” Tabackin is accompanied by a “local” rhythm section Belgians Philippe Aerts on bass, Félix Simtaine on drums and while they are splendid in support, I kept wishing that L’Archiduc was spacious enough to house a piano. As it is, Tabackin must shoulder most of the melodic load himself, with Aerts soloing occasionally and Simtaine only once. It’s a good thing Lew has plenty to say. The first 1:37 of Cole Porter’s “Night & Day” are his alone before Aerts and Simtaine enter the fray. Trane’s meditative “Wise One” is followed by the playful “I Don’t Want to Be Kissed (By Anyone But You),” Ellington’s luminous “Sentimental Mood” and a sunny work written especially for the occasion by Tabackin, “L’Archiduc Round About Five.” Tabackin takes a well–earned breather of sorts, switching to flute on Victor Young’s soulful “Delilah,” before charging headlong into “Oleo.” This is crisp, persuasive saxophone work that would give even the indomitable Sonny a run for his money. ~ Jack Bowers https://www.allaboutjazz.com/larchiduc-round-about-five-lew-tabackin-igloo-records-review-by-jack-bowers.php
 

Personnel: Lew Tabackin, tenor saxophone, flute; Philippe Aerts, bass; Félix Simtaine, Drums

L'archiduc (Round About Five)

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Lew Tabackin - Dual Nature

Styles: Saxophone And Flute Jazz 
Year: 2016
File: MP3@320K/s
Time: 45:24
Size: 104,6 MB
Art: Front

(7:30)  1. Euterpe
(5:53)  2. Yellow Is Mellow
(9:44)  3. Out Of This World
(9:28)  4. No Dues Blues
(6:56)  5. My Ideal
(5:50)  6. Russian Lullaby

The dual nature of Lew Tabackin as an otherworldly flutist and straight-ahead post-bop tenor saxophonist does merge into a common ground that can be simply spelled out as brilliant. Transcending his influences while also remaining true to them, Tabackin devotes three tracks apiece to his main instruments, alternating originals and standards with an outstanding quartet featuring the equally extraordinary pianist Don Friedman, reliable drummer Shelly Manne, and his favored bassist, Bob Daugherty. Hardly a split personality, it's more two sides of a coin in theory, as any jazz musician as extraordinary as Tabackin must explore his inner and outer soul. The flute side of his persona is more pronounced, exotic, atmospheric, and tinged with vibrato-drenched Asian flourishes. The impressionist Greek-based theme of pianist Bill Mays' "Euterpe" (goddess of music and poetry) sets the tone for this multicultural stance, a statuesque, somewhat busy, Rodin-type mysterious bronzed melody suggesting more than it states. Wife Toshiko Akiyoshi's big-band chart "Yellow Is Mellow" strips away the horns, leaving Tabackin's flute to muse lightheartedly in an easy swinging mood. Then "Out of This World" ramps up into a furious bop with some unusual off-minor vamps from Daugherty, with harmonies quickly sweetened over nearly ten minutes. The tenor side of Tabackin is easily identifiable on his original "No Dues Blues," a showstopping hard bopper with the influence of Sonny Rollins as the focal point, starting with a drum/sax duet, then rambling on. The ballad "My Ideal" offers ultimate tenderness, as Tabackin expresses the lineage between Coleman Hawkins, Ben Webster, and especially Lester Young. Again like Rollins, Irving Berlin's "Russian Lullaby" has that "Airegin" swagger of Rollins down pat fluid, warm, and effusive hard bop at its best. There's no need to overemphasize the impressive qualities Tabackin and his band possess, as it's all here for appreciative listeners to enjoy on this marvelous recording that has been issued on CD by Inner City one of two excellent efforts from this time period. ~ Michael G.Nastos https://www.allmusic.com/album/dual-nature-mw0000875878

Personnel: Tenor Saxophone, Flute, Alto Flute – Lew Tabackin; Bass – Bob Daugherty; Drums, Bells, Waterphone – Shelly Manne; Piano – Don Friedman

Dual Nature

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Duke Pearson - I Don't Care Who Knows It

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:00
Size: 138,7 MB
Art: Front

(3:11)  1. I Don't Care Who Knows It
(7:40)  2. Bloos
(6:38)  3. A Beautiful Friendship
(5:53)  4. Horn In
(6:38)  5. Canto Ossanha
(6:33)  6. Xibaba - Remastered
(6:58)  7. I Don't Know
(5:22)  8. O Amor En Paz (Once I Loved)
(1:59)  9. Upa Neguinho
(5:47) 10. Captain Bicardi
(3:17) 11. Theme From Rosemary's Baby

The sessions that comprise I Don't Care Who Knows It date from 1969 and 1970 (with one stray track from a 1968 session with Bobby Hutcherson), when Duke Pearson was experimenting with Latin jazz, soul-jazz, and funk; they are also the second-to-last dates the pianist ever recorded for Blue Note. Working with a fairly large group that included bassist Ron Carter, drummer Mickey Roker, saxophonists Jerry Dodgion, Frank Foster, Lew Tabackin, trumpeter Burt Collins, trombonist Kenny Rupp, and occasionally vocalist Andy Bey, Pearson plays the electric piano throughout the majority of the album. As expected, the music swings with an understated funk, with the band alternating between standard hard-bop and mellow, soulful grooves. On the whole, I Don't Care Who Knows It is fairly uneven the sessions don't set well together, but work well as individual sets. Nevertheless, there is enough good material here to make it worthwhile for soul-jazz, Latin-jazz and, especially, Pearson aficionados. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/i-dont-care-who-knows-it-mw0000181100

Personnel:  Duke Pearson - piano, electric piano, arranger; Burt Collins - trumpet (tracks 1-6 & 8); Kenny Rupp - trombone (tracks 1-5); Jerry Dodgion - flute, alto flute, alto saxophone (tracks 1-8, 10 & 11); Al Gibbons - flute (tracks 6 & 8); Lew Tabackin - tenor saxophone, flute (tracks 1-5, 7 & 10); Frank Foster - tenor saxophone, alto clarinet (tracks 1-5); Bobby Hutcherson - vibes (tracks 6-8, 10 & 11); Sam Brown (track 11), Ralph Towner (tracks 7 & 10) - acoustic guitar; Dorio Ferreira - guitar, percussion (track 9); Al Gafa (tracks 6-8 & 10), Wally Richardson (tracks 7 & 10) - guitar; Bob Cranshaw - bass (tracks 6-8, 10 & 11); Ron Carter - bass (tracks 1-5); Bebeto Jose Souza - bass (track 9); Mickey Roker - drums (tracks 1-8, 10 & 11), percussion (track 9); Airto Moreira - percussion, vocals (track 5-8, & 10), drums (track 9); Stella Mars - vocals (track 8); Andy Bey - vocals (track 1); Flora Purim - vocals (track 9)

I Don't Care Who Knows It

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Jimmy Heath Big Band - Turn Up The Heath

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 73:52
Size: 170,3 MB
Art: Front

(7:02)  1. Big P
(7:16)  2. Heritage Hum
(9:23)  3. Gemini
(4:52)  4. Like A Son
(8:59)  5. I'm Glad There's You
(8:06)  6. One For Juan
(6:29)  7. Project S
(6:42)  8. Sources Says
(8:47)  9. No End
(6:12) 10. Basic Birks

Back in the early '90s I asked tenor saxophonist Jimmy Heath if he planned a followup to his Grammy-nominated album, Little Man Big Band (Verve, 1992). As I recall, he smiled politely but didn't really answer the question. Now he has and with an exclamation point. Describing how his latest superb album, Turn Up the Heath, came about, Jimmy writes, "The Jazz Masters award [from NEA and IAJE] in 2003 made it possible. As to why: "...there were so many orchestrations I wanted to document. There are also special people he wanted to praise and remember, and it is entirely appropriate that Heath should begin with "Big P, a brisk and warmhearted salute to his late brother, bassist Percy Heath. "Gemini was written for Heath's daughter, Roslyn; "Basic Birks for Dizzy Gillespie; "Like a Son for alto saxophonist Antonio Hart; "Heritage Hum for "my people, and the snappy samba "One for Juan for that ubiquitous purveyor of Colombian coffee, Juan Valdez. Completing the program are Heath's "Project S and "Sources Say," and his arrangements of Kenny Dorham's "No End and the standard "I'm Glad There Is You (the last an exquisite showpiece for Heath's fluent, evocative tenor and Jeb Patton's lucid piano). Heath's tenor is also heard on "Heritage Hum, "Gemini, "One for Juan, "Project S and "Basic Birks, his soprano on "No End. As for his colleagues, Heath says he met many of them "while playing with the Dizzy Gillespie Alumni All-Star Band, a reasonable assertion, as each one is an all-star, whether soloing or hunkering down as a member of the ensemble. The rhythm section, comprised of Patton, bassist Peter Washington and drummer Lewis Nash, is as solid and perceptive as they come, and Washington does Percy's memory proud on "Big P. The remarkable cavalcade of commendable improvisers includes Patton; Washington; Hart; trumpeters Greg Gisbert, Sean Jones, Terell Stafford and Michael Philip Mossman; trombonists Benny Powell, Slide Hampton, Steve Davis, Jason Jackson and John Mosca; alto Mark Gross; tenors Charles Davis, Bobby LaVell and Andres Boiarsky; baritones Jay Branford and Gary Smulyan; and flutist Lew Tabackin, a standout on "Gemini. Heath's charts are delightful, fairly bursting with energy and good humor, and if I have my personal favorites, I'm sure you will too. Even fourteen years onward, this is one sequel that was well worth the wait. Turn Up the Heath, crank up the volume, relax and enjoy.
 

Personnel: (Tracks 1,2,4-7) Jimmy Heath: leader, tenor sax; Frank Greene, Nick Marchione, Michael Philip Mossman, Terell Stafford: trumpet; Mark Gross: alto sax, flute; Antonio Hart: alto, soprano sax, flute; Bobby LaVell, Charles Davis: tenor sax; Jay Branford: baritone sax; John Mosca, Slide Hampton, Benny Powell: trombone; Douglas Purviance: bass trombone; Jeb Patton: piano; Peter Washington: bass; Lewis Nash: drums. (3,8-10) Jimmy Heath: leader, tenor sax; Greene, Mossman, Greg Gisbert, Sean Jones: trumpet; Gross: alto sax, flute; Hart: alto, soprano sax, flute; LaVell, Andres Boiarsky: tenor sax; Gary Smulyan: baritone sax; Mosca, Steve Davis, Jason Jackson: trombone; Purviance: bass trombone; Patton: piano; Washington: bass; Nash: drums. Guest artists: Lew Tabackin: flute (3); Joe Gonzales: congas (2)

Turn Up The Heath

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Lew Tabackin & His Tokyo Friends - In A Sentimental Mood

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 64:41
Size: 150,3 MB
Art: Front

( 6:21)  1. But Not For Me
( 6:02)  2. Laura
( 6:01)  3. When Your Lover Has Gone
( 6:19)  4. All This and Heaven Too
( 4:45)  5. Will You Still Be Mine?
( 6:42)  6. Speak Low
( 6:53)  7. Sophisticated Lady
( 6:36)  8. Stablemates
(10:01)  9. In A Sentimental Mood
( 4:57) 10. Frolic Sam

Lew Tabackin is one of the few jazz musicians who has been able to develop completely different musical personalities on two instruments. As a tenor saxophonist, he is a hard-driving, tough-toned player reminiscent of Sonny Rollins, Don Byas, and sometimes, tone-wise, Ben Webster. But as a flutist, he sounds like a highly expressive master of Asian classical music. Whether heard as the main soloist with his wife Toshiko Akiyoshi's jazz orchestra or jamming with a small group, Tabackin has been a masterful player for the past several decades.

Tabackin studied at the Philadelphia Conservatory from 1958-1962 as a flute major. After serving in the Army and moving to New York in 1965, he worked with Maynard Ferguson, the Thad Jones-Mel Lewis Orchestra, Joe Henderson, Elvin Jones, and the Tonight Show Band, among others. From 1968-1969, he was a main soloist with the Danish Radio Orchestra. After marrying Toshiko Akiyoshi, he toured Japan with her (1970-1971). When they moved to Los Angeles in 1972, they formed her orchestra, which, thanks to Akiyoshi's arrangements and Tabackin's solo talents, became one of the top jazz big bands. In 1982, they relocated to New York, where the orchestra has continued on a part-time basis. Lew Tabackin has since played in many different small groups, remaining a brilliant improviser. He has recorded as a leader on an occasional basis through the years, most notably for Inner City (1974-1977), Ascent (1979), and Concord (starting in 1989). ~ Scott Yanow https://www.allmusic.com/artist/lew-tabackin-mn0000215652/biography

Personnel: Lew Tabackin - tenor sax;  Tsuyoshi Yamamoto – piano;  Yoshio "Chin" Suzuki – bass;  Jimmie Smith - drums

In A Sentimental Mood

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The Carnegie Hall Jazz Band - The Carnegie Hall Jazz Band

Bitrate: MP3@320K/s

Time: 61:25

Size: 140.6 MB

Styles: Bop, Swing, Big band

Year: 1996/2006

Art: Front

[ 8:22] 1. In The Mood

[ 4:47] 2. It Never Entered My Mind

[ 7:05] 3. Shiny Stockings

[ 9:59] 4. Giant Steps

[10:05] 5. Frame For The Blues

[10:39] 6. Sing, Sing, Sing

[ 5:03] 7. Getting Sentimental Over You

[ 5:22] 8. South Rampart Street Parade

Alto Saxophone – Frank Wess (tracks: 1, 6); Alto Saxophone, Clarinet, Flute – Jerry Dodgion; Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Dick Oatts; Baritone Saxophone – Gary Smulyan; Bass – Peter Washington; Bass Trombone – Doug Purviance; Drums – Lewis Nash; Piano – Renee Rosnes; Tenor Saxophone – Lew Tabackin (tracks: 4); Tenor Saxophone, Clarinet, Flute – Ralph Lalama; Tenor Saxophone, Flute – Ted Nash; Trombone – Dennis Wilson, Slide Hampton, Steve Turre; Trumpet, Flugelhorn – Byron Stripling, Earl Gardner, Lew Soloff, Ryan Kisor. Recorded with a two microphone Cello recording system. Recorded at Sony Studios, New York City.

The ONLY recording of the CARNEGIE HALL JAZZ BAND is a rewarding experience to any jazz lovers ears. The music director for the ensemble was trumpeter Jon Faddis, and for the most part he has done an admirable job producing this along with Newport Jazz impressario, Goerge Wein. 8 tunes with 5 arrangers (Jim McNeely, Garnett Brown, Slide Hampton, Frank Foster and the unknown to my background at least, Randy Sandke). The band unlike others of its ilk, emphasizes classics (in the jazz and pop venues) instead of originals. However, there lies the knocking off of one star to this CD. The originals are not the way you might want to hear them played. Usually thats a good thing, but in some cases ,i.e. IN THE MOOD, the opening number, it can get a little jarring. That aside, the muscianship is top notch. Frank Wess, Jon Faddis, Ted Nash, Jerry Dodgion, Lew Tabackin, Renee Rosnes, to name a few in this band, turn in some fine solos.

This is not a "live" album even though it may look like it is at first glance. Recorded at Sony Music Studio B in NYC with a minimal amount of takes (according to the notes) with no post production or "mixing" which is a rarity today. ~Daddyojazz

The Carnegie Hall Jazz Band   

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Howard Alden - Take Your Pick

Styles: Guitar Jazz
Year: 1996
File: MP3@320K/s
Time: 61:41
Size: 142,3 MB
Art: Front

(7:05)  1. I Concentrate On You
(7:02)  2. U.M.M.G. (Upper Manhattan Medical Group)
(6:48)  3. House Party Starting
(4:25)  4. Warm Valley
(5:59)  5. The Gig
(4:53)  6. My Funny Valentine
(7:16)  7. Sweet And Lovely
(6:55)  8. You're My Thrill
(6:35)  9. How Deep Is The Ocean?
(4:40) 10. After All

Although best-known for his work in mainstream swing settings, guitarist Howard Alden has long been interested in later periods of jazz. On this superior outing, he doubles on seven-string acoustic and electric guitars (which allow him to add basslines). Lew Tabackin is on four of the ten numbers (three on tenor, one on flute) and pianist Renee Rosnes appears on six songs (including a duet with Alden on "Warm Valley"), while bassist Michael Moore and drummer Bill Goodwin are on seven. Alden takes "My Funny Valentine" and "After All" as unaccompanied solos but it is his meetings with Tabackin, particularly on exciting versions of two complex Herbie Nichols songs ("House Party Starting" and "The Gig") that are most notable. Recommended. ~ Scott Yanow http://www.allmusic.com/album/take-your-pick-mw0000089860

Personnel: Howard Alden (acoustic & electric guitars); Lew Tabackin (tenor saxophone, flute); Renee Rosnes (piano); Michael Moore (bass); Bill Goodwin (drums).

Take Your Pick

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