Tom Harrell - Oak Tree

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 56:50
Size: 130,8 MB
Art: Front

(4:59) 1. Evoorg
(5:06) 2. Fivin'
(3:34) 3. Oak Tree
(3:48) 4. Tribute
(5:21) 5. Zatoichi
(5:05) 6. Sun Up
(4:29) 7. Improv
(5:22) 8. Shadows
(5:24) 9. Archaeopteryx
(7:01) 10. Robot Etude
(6:35) 11. Love Tide

Would it be overpraising Tom Harrell to describe his long recording career as practically peerless? Album after album, sometimes year after year, the Midwest-bred trumpet and flugelhorn virtuoso leading quartets, quintets, and sometimes even chamber orchestras has continued to release surprising new music. At 76, he’s still unearthing fresh sounds while digging deep into the jazz tradition, simultaneously referencing the brass players and bandleaders who preceded him and pointing to something new.

Oak Tree is yet another keeper. Joined by longtime bandmates Ugonna Okegwo on bass and Adam Cruz on drums, plus Venezuelan-born pianist Luis Perdomo, a relatively recent addition to his lineups, Harrell again offers a set of appealing, sometimes quirky originals. For opening track “Evoorg” (spell it backwards), he provides a master lesson in solo construction: Deploying a reassuringly warm trumpet tone, he alternates between melodic passages and waterfalling sprays of long phrases. He sometimes incorporates repetition, playing a string of similar phrases, each one configured slightly differently.

Harrell subtly nods to various influences. “Fivin’” has the leader mostly hitting the same note, playing the start-stop melody as the rhythm section shifts chords around him; it hints at Monk’s “Think of One,” combined with some ’70s electric-jazz flavors courtesy of Perdomo’s work on Rhodes. Tadd Dameron-style bop helps define “Improv,” with its deeply swinging groove fueling some of the album’s most inspired solos. “Archaeopteryx,” from its title to its high-flying improvisations, points to Charlie Parker.

The album ventures into varied stylistic terrain too. The aptly titled “Sun Up,” by rights the jazz anthem of the summer, is shaded in tropical colors, particularly reggae-tinted rhythms, and Okegwo sneaks in a sly quote of “Take Five.” And “Zatoichi,” named for the blind swordsman of Japanese pop culture, touches on free-jazz terrain. Like nearly everything else here, it slays. By Philip Booth
https://jazztimes.com/reviews/albums/tom-harrell-oak-tree/

Personnel: Tom Harrell: trumpet & flugelhorn; Luis Perdomo: piano & Fender Rhodes; Ugonna Okegwo: bass; Adam Cruz: drums

Oak Tree

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Ben Wolfe Quintet - Live At Smalls

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 61:12
Size: 140,1 MB
Art: Front

( 7:26)  1. Block 11
( 7:36)  2. For The Great Sonny Clark
( 8:57)  3. Telescope
(11:12)  4. Contraption
( 8:41)  5. Unjust
( 3:12)  6. I'll Know You More
( 5:06)  7. Double Czech
( 7:57)  8. Coleman's Cab
( 1:01)  9. The Trade

In New York City, there's a popular venue known as Smalls Jazz Club. The Ben Wolfe Quintet introduces a series of performance recordings, simply titled Smalls Live. A Baltimore native, Wolfe's professional associations include Wynton Marsalis, Harry Connick, Jr. and Diana Krall. He is currently a faculty member at Julliard School of Music, Jazz Division. 

The high-energy, attention-grabbing "Block 11"one of nine songs, all composed and arranged by Wolfe begins the set, with Ryan Kisor's blistering trumpet inspiring thoughts of the late Freddie Hubbard. Pianist Luis Perdomo delivers a solo, accompanied only by Wolfe and drummer Gregory Hutchinson. The band slows to a near stop before shifting back into gear as tenor saxophonist Marcus Strickland follows with a passionate solo, supported by Hutchinson, as the song downshifts again for its conclusion. The band swings on the easygoing "Telescope," with trumpet and sax blending for the melody before splitting into layered leads. Strickland takes point for a pleasure jaunt while, after Perdomo's solo, Hutchinson shows his skills in a call-and-response with the rest of the group. Te closing "The Trade" is a brief duet for Wolfe and Hutchinson.

Musically, there's nothing to complain about here, with Wolfe and his sidemen tight throughout the disc. The only negative is the packaging. Dark purple print over a solid black background makes it difficult to read song titles, players' instruments and other notes. Despite that, Live at Smalls scores big. ~ Woodrow Wilkins  

http://www.allaboutjazz.com/php/article.php?id=38413#.Uoz4KeJc_vs

Personnel: Ben Wolfe: acoustic bass; Marcus Strickland: tenor saxophone; Ryan Kisor: trumpet; Luis Perdomo: piano; Gregory Hutchinson: drums.

Live At Smalls

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David Gilmore - From Here to Here

Styles: Guitar Jazz
Year: 2020
File: MP3@320K/s
Time: 66:02
Size: 152,0 MB
Art: Front

( 6:36)  1. Focus Pocus
( 5:24)  2. Cyclic Episode
( 5:04)  3. Metaverse
( 7:20)  4. Child of Time
( 7:50)  5. When and Then
( 4:26)  6. Innerlude
( 4:48)  7. Interplay
( 7:20)  8. The Long Game
(10:07)  9. Free Radicals
( 7:01) 10. Libation

On his second Criss Cross record, From Here To Here, guitar master David Gilmore picks up where he left off on his well-received 2017 label debut, Transitions (Criss 1393). Here, joined by a quartet of New York all-stars comprising pianist Luis Perdomo, bassist Brad Jones, and drummer E.J. Strickland, Gilmore navigates 8 recently-penned originals as well as Sam Rivers' Cyclic Episodes and the Bill Evans-Jim Hall classic Interplay. Throughout the proceedings, Gilmore unfailingly displays virtuosic technical and conceptual chops, exhaustive harmonic knowledge, melodic gifts, luminous sound, and sense of focus and proportion. These qualities made him an indispensable sideman several decades ago during long-term engagements with Steve Coleman and Wayne Shorter -- they've only developed and evolved over time.~ Editorial Reviews https://www.amazon.com/Here-DAVID-GILMORE/dp/B07W47GFQL

Personnel: Guitar – David Gilmore;  Bass – Brad Jones; Drums – E.J. Strickland; Piano – Luis Perdomo

From Here to Here

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Camille Thurman - Origins

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 62:09
Size: 143,5 MB
Art: Front

(8:23)  1. Forward Motion
(3:40)  2. A Change of Mind
(5:56)  3. Indigo Moments
(6:06)  4. Origins
(4:46)  5. The Dreamweaverer
(1:30)  6. Anna's Joy
(4:01)  7. In Duetime
(5:46)  8. Kindred Minds
(1:10)  9. Felix's Groove
(5:54) 10. Jitterbug Waltz
(7:01) 11. Pursuit wth a Purpose
(4:58) 12. Please be Kind
(2:53) 13. Revisiting the Past

Camille Thurman may have started as a vocalist, but on her Hot Tone debut, Origins, the flexes her breath, blowing through every instrument that transmits wind. Thurman rides the wave created by bassist/vocalist Mimi Jones, creator of Hot Tone Records with the release of her Balance (2014). A third artist makes a trio in this flood of music in drummer/percussionist Shirazette Tinnin who released her recording Humility at the same time. These three women have much to do with one another and each other's recordings. For Thurman's part, both her vocals and flute and reeds playing become ubiquitous. But it is on her own Origins that Thurman spreads a wide smile, revealing a broad and deep stylistic palette that goes a long way in blurring those said stylistic lines. Thurman reveals herself gradually on Origins. First off is a spikey hard bop original, "Forward Motion" featuring her big tenor sound (tipping a hat to Dexter Gordon and Sonny Stitt). Performed in as a tenor trio, "Forward Motion" is a lengthy rumination of the place of each instrument in the trio, both temporally and stylistically. Half regimented, Half free jazz and half 21st century bop, the piece sets the tone of the recording. Thurman loosens the laces after this definitive statement, producing a more contemporary and homogenous sound that sets up a jazz suite of sorts that directly signals a new and more integrated sound, one shared with Thurman by Jones and her Balance. "A Change of Mind" is a vocal feature where Thurman displays her sturdy, soul-infused voice singing mock vocalese over her own composition. Her tenor saxophone is colored more by Ben Webster by way of Michael Brecker, with a vermouth trace of John Coltrane. Thurman is at once serious and playful, weaving well calculated scat among her lyrics. This title cut is a complex bit of sleight-of-hand directed by pianist Luis Perdomo to a double time 4/4 solo section that is as much trad mainstream as it is 21st Century. Thurman covers and arranges Fats Waller's "Jitterbug Waltz," making it an off time relative of Sonny Rollins' "St. Thomas." Origins is finely produced and engineered to provides as shiny and sleek a sound as possible without sounding over-produced, a danger ubiquitous in modern recording. The presence of drummer Shirazette Tinnin adds a complicated organicness to the recording, one maintained and promoted by bassist Corcoran Holt and drummer Rudy Royston. This musical collaboration begins to redefine what "organicness" means in jazz, showing a drift or evolution toward the more refined and precise. This is jazz taking up where post-bop left off and heading in a melodic and probing direction. ~ C.Michael Bailey https://www.allaboutjazz.com/origins-camille-thurman-hot-tone-music-review-by-c-michael-bailey.php

Personnel: Camille Thurman: saxophones, flutes, vocals; Enoch Smith, Jr.: piano; Luis Perdomo: piano, Corcoran Holt: bass; Rudy Royston: drums; Shirazette Tinnin: drums and cajon; Brandee Younger: harp.

Origins

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Brian Lynch Latin Jazz Sextet - ConClave

Styles: Trumpet Jazz
Year: 2005
File: MP3@320K/s
Time: 70:19
Size: 161,4 MB
Art: Front

( 6:58)  1. Tom Harrell
( 6:28)  2. La Sitiera
( 9:47)  3. J.B's Dilemma
( 8:07)  4. Across The Bridge
( 8:36)  5. Liberated Brother
(13:00)  6. La Mulata Rumbera
( 7:23)  7. Awe Shocks
( 9:56)  8. Invitation

The spirit of the clave flows freely through the blood of Brian Lynch. For many years the veteran trumpeter has formed an extensive body of work flourishing in both straight-ahead and Latin jazz styles via associations with Phil Woods, Horace Silver, the Buena Vista Social Club, Eddie Palmieri, and many others. He also has worked with younger artists like drummer Dafnis Prieto, pianist Luis Perdomo, and saxophonist Miguel Zenon, who are also writing new chapters in pan Afro-Latin music.ConClave is Lynch's latest document of music, continuing in the vein of 2004's Que Viva Coltrane, a collaborative effort with trombonist Conrad Herwig. With the inventive horn arrangments and the rhythmic pulse of drums and percussion, this mix of new music is vibrant, danceable, and satisfying, due in much part to Lynch's leadership and a very hot band.The music is set ablaze from the start on "Tom Harrell with a bright sax/trumpet combo girded against a bopping tempo. But even when the tempo slows on the lovely "La Sietiera, the heat is still felt. This passion is maintained collectively and individually by the contributions of each musician. On "La Mulata Rumbera, which clocks in at thirteen minutes, all instruments move as one yet each expresses its own voice with detailed solos winding through labyrinth patterns. Lynch is to be commended for producing a recording which exemplifies good jazz, whether it's Latin or any other style. ~ Mark F.Turner https://www.allaboutjazz.com/conclave-brian-lynch-criss-cross-review-by-mark-f-turner.php

Personnel: Brian Lynch: trumpet; Ralph Bowen: tenor saxophone; Luis Perdomo: piano; Boris Kozlov: bass; Ruben Rodriguez: bass; Ernesto Simpson: drums; Roberto Quintero: percussion.

ConClave

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Conrad Herwig - The Latin Side Of Wayne Shorter

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 71:47
Size: 167,4 MB
Art: Front

( 6:56)  1. Ping Pong
( 8:52)  2. Tom Thumb
( 8:44)  3. El Gaucho
( 8:16)  4. Night Dreamer
( 8:02)  5. This Is For Albert
( 8:18)  6. Adam's Apple
(11:24)  7. Masqualero
(11:11)  8. Footprints

Luis Perdomo is the regular pianist in Conrad Herwig's septet. He delivers a sterling, elegant solo on "Ping Pong," the opening cut on The Latin Side of Wayne Shorter, recorded live at the Blue Note in New York. He anchors the first five songs with such skill that at the end of "This Is for Albert," Herwig singles him out for the audience's applause. Unfortunately, it's to say goodbye. When salsa legend Eddie Palmieri takes over on piano, the concert is sent into orbit. Perdomo never stood a chance.  "Adam's Apple" may not be Shorter's greatest composition, but Palmieri makes a convincing case with syncopated montuno vamps that drive drummer Robby Ameen's funky backbeat and inspire baritone saxophonist Ronnie Cuber's sly comments and robust soloing. Palmieri taps into "Masquelero"'s heart of darkness and Herwig's tone on trombone is elusive and introverted, before trumpeter Brian Lynch takes a note-bending solo that slides itself into the piano's rhythms like mortar. Herwig and Lynch's simpatico playing is the highlight of "Footprints," each of them winding similarly smooth and uncluttered solos around Pedro Martinez' congas. This is the third installment in Herwig's Latin Side series (following interpretations of Coltrane and Miles) and features silky virtuosic musicianship applied to intricate, intelligent, original compositions. Shorter's tunes are well-known and highly regarded as being flexible enough to suit a variety of instrumental lineups. Since he's gathered his own multi-horn groups in the past, the sound of these arrangements doesn't stray too far from his initial conceptions. But if you know a person who thinks jazz is difficult to get, lacks melody, or you can't dance to it, this is a CD that will change their mind. ~ Jeff Stockton https://www.allaboutjazz.com/the-latin-side-of-wayne-shorter-conrad-herwig-half-note-records-review-by-jeff-stockton.php

Personnel: Conrad Herwig: trombone; Brian Lynch: trumpet; Ronnie Cuber: baritone sax; Eddie Palmieri, Luis Perdomo: piano; Ruben Rodriguez: bass; Robby Ameen: drums; Pedro Martinez: congas.

The Latin Side Of Wayne Shorter

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Ari Ambrose - Chainsaw

Styles: Saxophone Jazz 
Year: 1999
File: MP3@320K/s
Time: 71:15
Size: 163,3 MB
Art: Front

( 7:02)  1. Chainsaw
( 9:35)  2. Come Rain Or Come Shine
( 7:52)  3. Blues For Madlong
( 7:50)  4. Ghost Of A Chance
( 6:19)  5. Giant Steps
( 7:49)  6. Think Of One
( 7:21)  7. Zingaro
( 7:10)  8. Wheels
(10:13)  9. Cotton Tail

Ari Ambrose with this his third CD is no longer a new comer who need an introduction. Although he is still young (26) and relatively new on the scene, there is no doubt that here is an artist with tremendous potential. As his former teacher saxophonist Dick Oatts puts it, “ Of all the young talents, his is the one that has given me the most pleasure…a great player….He’s truly immersed himself in the music in the best possible way… ” “ In this impressive leader debut, tenor saxophonist Ari Ambrose steps to the fore as a fully formed stylist. …At 26, the brash New Yorker is a master of his horn …” (Chuck Berg, JazzTimes)

Personnel:  Tenor Saxophone – Ari Ambrose;  Bass – Carlo De Rosa;  Drums – Ari Hoeni;  Piano – Luis Perdomo

Chainsaw

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Luis Perdomo - Links

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 69:36
Size: 160,8 MB
Art: Front

(6:13)  1. Percy's Delight
(6:13)  2. Waiting Time
(7:46)  3. Crossmind Dreams
(5:01)  4. Profundo
(7:17)  5. The 'A' List
(6:47)  6. The Organ Grinder
(5:52)  7. Enigma
(4:49)  8. Three Card Molly
(7:05)  9. Melisma
(8:04) 10. Paco
(4:24) 11. Elena

It's traditional in almost all genres of music that the innovators are always given the most attention. This holds true in jazz as right now as artists like Robert Glasper, Rudresh Mahanthappa, and Darcy James Argue's Secret Society are praised for being bold innovators in the world of jazz. While innovation and boundary- pushing are necessary in the development of jazz, there is also great value in doing something traditionally, but executing it perfectly. Especially in jazz, which is so focused on improvisation, just as much innovation can occur in the solos the artists play as in blending of styles or new instrument combinations.

For his 2013 release, Links, New York based pianist, Luis Perdomo, put together about as traditional an small ensemble as you can get. The saxophone quartet has been a standard group in the jazz world almost as long as the word jazz has been around. Despite the traditional setup, the group's playing is anything but, as they work their way through these eleven tunes, with originals contributed by everyone in the group and a couple off-the-beaten-path classics. Alto saxophonist, Miguel Zenon, is a longtime friend and colleague of Perdomo's and was an obvious choice for this quartet. Bassist Dwayne Burno and drummer Rodney Green have also collaborated with Perdomo in the past, so this is a quartet we can expect a lot from. The album starts off with "Percy's Delight," an up-tempo little tune written by drummer Rodney Green. The melody quickly gives way to Perdomo's solo where he demonstrates his subtly unique voice on the piano. His time feel and phrasing are both amazing and he gives Green and Burno plenty to work with rhythmically. They dutifully respond to his playing and follow his lead well. We got a quick listen to Zenon as he played the melody but following Perdomo's solo he shows off his unique sound, strong and confident, yet breathy and slightly reserved at the same time. This first tune alone shows Zenon to be a great foil for Perdomo and sets a great tone for the rest of the album.

"Waiting Time" is a very pretty swing tune written by Harold Danko who was one of Perdomo's piano teachers. Rodney Green really has fun on this tune playing with the time of the swing feel, first on brushes during the melody before switching to sticks for the solos. Once again Perdomo and Zenon display their great connection as Perdomo seamlessly passes the baton to Zenon for his solo. "Crossmind Dreams" is a little contrapuntal theme by Perdomo which quickly dissolves into a floaty, free-time feel as the group follows Zenon's lead. However Zenon quickly guides the rhythm section into a driving swing. The group takes the same approach for Perdomo's solo giving him some room to explore before taking off on that driving swing feel. "Profundo" starts out as a rubato ballad, showcasing Zenon's expressiveness and control of the alto. It soon develops into a relaxed straight-eighth groove that provides the perfect canvas for Zenon's and Perdomo's solos. 'The A List' is another Perdomo original and one of the catchiest tunes on the album. Zenon's solo starts out basic and gives the group plenty of room to build in his solo until he ends with the catchy riff from the melody. With plenty of room to stretch out Perdomo proves that he has a real talent for motivic playing in his solo as he also guides the rhythm section to a crescendo before finishing the tune. The album continues with "The Organ Grinder," an obscure Woody Shaw tune that Perdomo has re-arranged for this quartet. Perdomo takes the melody in the A sections, creating an interesting effect by letting Zenon double the repeated bass riff. The medium swing tempo of the song finds the rhythm section settling into a fantastic groove and Perdomo plays one of his most inspired solos on the album, showing off his skill both for playing deep in the pocket, and playing some impressive hemiolas and playing with the time. 'Enigma' is a beautiful and restrained sraight-eighth ballad. The floating melody dissolves into a bass solo that is most memorable for a "Girl From Ipanema" quote that can't help but elicit an eye-roll.

"Three Card Molly" is an interesting Elvin Jones tune that this group interprets in their own way. It seems to almost be leaning more toward a Latin feel but then shifts into a hard driving swing. Appropriately (since it's an Elvin Jones tune) the centerpiece of this song is a tasteful drum solo from Green. 'Melisma' is a beautiful ballad written by Dwayne Burno and the melody is beautifully interpreted by Zenon, however the tune falls into the trap of sounding a little too similar to some of the earlier ballads on the record and ends up being fairly forgettable. Zenon and Perdomo both play great solos where the rhythm section plays around with some double-time feels that help save the tune from being average. Miguel Zenon's "Paco" has a nice easy swing to it and provides a bit of a new direction on the album with it's waltz feel. The 3/4 time signature proves to be an interesting addition for this group as Rodney Green gets creative with keeping the time. "Elena," the album closer, is a simple theme written by bassist Mimi Jones, who happens to be Perdomo's wife. The shortest song on the album, it serves as a sort of tag to end the performance. This is an album of modern jazz, but it's jazz with a lot of traditional influence and approach. It doesn't rely on any 'gimmicks' for its originality but instead relies on the strength of the improvisers and of the group as a whole to really bring innovation to the music. Perdomo and Zenon's special relationship shines through in their playing and this album is well worth listening to, just to hear how well these two play together. ~ Andrew Luhn https://www.allaboutjazz.com/luis-perdomo-links-by-andrew-luhn.php
 

Personnel: Luis Perdomo: piano; Miguel Zenon: saxophone; Dwayne Burno: bass; Rodney Green: drums.

Links

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Luis Perdomo - The 'Infancia' Project

Bitrate: MP3@320K/s
Time: 56:51
Size: 130.2 MB
Styles: Piano jazz
Year: 2012
Art: Front

[7:20] 1. The Other Left
[6:31] 2. Berimvela
[4:52] 3. Solar
[4:45] 4. Happy House
[7:14] 5. Comedia
[6:15] 6. Un Poco Loco
[7:03] 7. Meggido Girl
[5:51] 8. Mind And Time
[6:56] 9. Major General

Luis Perdomo: piano, Fender Rhodes; Mark Shim: tenor saxophone; Andy Gonzalez: bass; Ignacio Berroa: drums; Mauricio Herrera: percussion.

Pianist Luis Perdomo's presence is marked by attributes that include lyricism, depth and adaptability. The onetime member of saxophonist Ravi Coltrane's quartet has worked on many releases for artists like trombonist Steve Turre and saxophonist Miguel Zenon. His visibility is coming more into focus with The Infancia Project, which the New York-based pianist avoided making for many years over concerns of being typecast as "just another" Latin jazz musician. While the project's flavor is influenced by the rich ethnic sounds of Perdomo's upbringing in Caracus, Venezuela, it identifies both the pianist's past and present, one that is deep-rooted yet equally progressive, as witnessed on 2012's A Universal Mind, which featured drum great Jack DeJohnette, and 2006's dual-rhythm section Awareness, both on Coltrane's RKM label. The set benefits from both the pianist's fine playing and his carefully chosen session players, starting with the first bars of the"The Other Left," its complex clave rhythms provided by percussionist Mauricio Herrera and drummer Ignacio Berroa. Bassist Andy Gonzalez introduces saxophonist Ornette Coleman's "Happy House," here transformed into an alluring groove-dance, while edgy trade-offs between Perdomo and Mark Shim's exceptional deep toned saxophone on trumpeter Miles Davis' "Solar" demonstrate the fire and verve that elevates the entire set beyond any typecast recording.

Perdomo explores diverse moods and shapes, from the pulsating interpretation of pianist Bud Powell's "Un Poco Loco" to the tranquil trio take of J.A. Espino's "Comedia." There are fireworks, yet also frosty grooves ("Berimvela," "Mind Time") that feature Perdomo on Fender Rhodes, his lithesome keying, Shim's throaty voicing, and the rhythm section's infectious grooves providing a low-temperature heat. DeJohnette's "closing Major General" demands an encore from this group. It's a breathtaking whirlwind, featuring a rousing drum solo from Berroa. The timing forThe Infancia Project is right, yet long overdue; here's hoping Perdomo records again with this excellent ensemble. ~Mark Turner

The 'Infancia' Project

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Steve Turre - Woody's Delight

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:29
Size: 155,0 MB
Art: Front

( 6:45)  1. Woody's Delight
( 7:07)  2. Something For Sweets
( 8:01)  3. In Retrospect
( 4:06)  4. Luna
( 6:25)  5. Annette's For Sure
( 8:37)  6. Adios Mi Amigo
( 7:20)  7. Manny's Mambo
( 8:16)  8. 3 For Woody
(10:47)  9. Brother Bob

Trombonist and master of musical shells Steve Turre has been playing professionally since he was 13, working with a variety of bandleaders including Rahsaan Roland Kirk, Ray Charles, and Chico Hamilton, although he credits his musical maturity to his eight-year tenure with trumpeter Woody Shaw (which began when he was in his thirties). Turre recorded 14 albums with Shaw and it is to Shaw's influence and memory that the album's title refers. Turre wrote eight of the nine compositions here. The wildly diverse program includes five trumpeters Claudio Roditi, Jon Faddis, Wallace Roney, Chocolate Armenteros, and Freddie Hendrix three keyboard players, four bass players (including Buster Williams), two drummers, and three bongo, timbales, and conga percussionists. Faddis' fiery acrobatics are heard on the title track a skittering, jaunty blues in G-minor and on "Something for Sweets" (for Harry "Sweets" Edison), a strolling Basie-esque blues where both Faddis and Turre use mutes. Roney is showcased on "In Retrospect," a shimmering, mysterious, ethereal ballad that Turre wrote for him, reflecting the influence of Miles Davis on the trumpeter. Roney also appears on "Luna," which reflects the influence of Shaw's ambitious compositional style and use of extreme harmonic intervals on Turre. Perhaps the most beautiful entry on the set is Roditi's jazz-samba "Annette's for Sure," with bassist Nilson Matta and drummer Duduka Da Fonseca (who also plays berimbau). 

Together the band creates an authentic samba atmosphere that is underscored by Venezuelan pianist Luis Perdomo and Turre's shells. There is a killer Latin number here too in "Manny's Mambo," dedicated to Oquendo Turre also spent time in Conjunto Libre. The trumpeter here is 83-year-old legend Chocolate Armenteros. Both men and pianist Perdomo play moñas like the house is burning down, as percussionists and drummer underscore the joyous dance feel. "Adios Mi Amigo" is a Latin ballad written for Turre's late colleague and friend, pianist Hilton Ruiz. Roditi's solo is achingly beautiful and is underscored by Turre's use of the plunger mute and Andy Gonzalez's bassline. Youthful up-and-comer Hendrix is showcased on the final two cuts here, the modal "3 for Woody," and the deep, bluesy swing of "Brother Bob." Woody's Delight is not a mere tribute to Shaw's influence on Turre (though that would be enough); it displays the trombonist's wide angle and ambitious compositional and arranging skills with true flourish. The music here is all soulfully articulated and expertly performed, the album some of Turre's finest work. ~ Thom Jurek http://www.allmusic.com/album/woodys-delight-mw0002280215

Personnel: Steve Turre: trombone and shells; John Faddis: trumpet (1, 2); Wallace Roney: trumpet (3, 4); Claudio Roditi: trumpet (5, 6); Chocolate Armenteros: trumpet (7);  Freddie Hendrix: trumpet (8, 9);  Xavier Davis: piano (1 – 4, 8, 9);  Luis Perdomo: piano (5, 6, 7);  Aruan Ortiz: Fender Rhodes (4); Buster Williams: bass (1 – 4); Andy Gonzalez: bass (6, 7); Corcoran Holt: bass (8, 9); Nilson Matta: bass (5); Dion Parson: drums (1 – 4, 8, 9); Duduka Da Fonseca: drums and percussion (5, 6); Jimmy Delgado: timbales and conga (6, 7); Pedro Martinez: bongos and campana; George Delgado: conga (7).

Woody's Delight

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Luis Perdomo - Pathways

Bitrate: MP3@320K/s
Time: 60:15
Size: 137.9 MB
Styles: Piano jazz
Year: 2008
Art: Front

[5:46] 1. Speak Low
[5:46] 2. Unexpected
[6:03] 3. Shine
[5:40] 4. Fulia Chant
[6:31] 5. Almost Like Being In Love
[5:50] 6. Piensa En Mi
[6:14] 7. Chimanta
[5:16] 8. Baby Steps
[4:56] 9. Sunrise
[5:35] 10. Slap
[2:33] 11. Oblivion

For the first Criss Cross release under his own name, the remarkable Venezuelan-born, New York-based pianist Luis Perdomo has chosen to Interact with an immensely talented pair of longtime friends --- bassist Hans Glawischnig and drummer Eric McPherson --- in a program that includes eight well-crafted originals, two compositions sourced from the Broadway stage and a particularly memorable Bud Powell tune. A youthful veteran, who's already shared bandstands with Ray Barretto, Dafnis Prieto, David Sanchez, Jerry Gonzalez, Miguel Zenón, and Ravi Coltrane.

With Pathways, he demonstrates his mastery not only on Latin-tinged material but also on straightahead jazz that is, by turns, rhapsodic, gently propulsive and downright boppish.

Pathways

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Luis Perdomo - Spirits And Warriors

Size: 141,1 MB
Time: 60:44
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz
Art: Front

01. Face Up (5:10)
02. Sensei (7:38)
03. Aura (6:37)
04. Ralph (6:19)
05. Her Eyes (7:10)
06. Year One (7:43)
07. Glass Bead Games (6:53)
08. Little Church (4:48)
09. Portrait Of Jenny (8:20)

For his fourth Criss Cross recording, pianist Luis Perdomo offers a swinging affair, on which a crackling quintet of New York first-callers interprets seven originals by the leader (the centrepiece is the well-wrought six-piece "Spirits and Warriors Suite" that gives the CD its title), Clifford Jordan's iconic jazz standard "Glass Bead Games," and the classic ballad "Portrait of Jenny".

Propelled by drum grandmaster Billy Hart and bassist Ugonna Okegwo, who lock in like life-long partners, tenor saxophonist Mark Shim and trumpeter Alex Sipiagin, a Criss Cross regular, uncork cogent solos, some inflamed, some nuanced.

Perdomo, plays throughout with the old soul clarity, grit, maturity and freshness that have earned him deep respect from the best and brightest representatives of the hardcore jazz and Afro-Caribbean practitioners on the international playing field.

Personnel: Luis Perdomo (piano), Alex Sipiagin (trumpet, fluegelhorn), Mark Shim (tenor saxophone, EWI - 5), Ugonna Okegwo (bass), Billy Hart (drums)

MC
Ziddu

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