Glenn Close & Ted Nash - Transformation

Styles: Vocal And Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 77:23
Size: 178,8 MB
Art: Front

( 8:07) 1. Creation, Pt. I
( 5:13) 2. Creation, Pt. II
( 7:03) 3. Dear Dad/Letter
( 3:32) 4. Dear Dad/Response
( 5:37) 5. Preludes for Memnon
(11:18) 6. One Among Many
( 8:39) 7. Rising Out of Hatred
( 8:05) 8. A Piece by the Angriest Black Man in America
( 8:37) 9. Forgiveness
( 3:13) 10. Wisdom of the Humanities
( 7:54) 11. Reaching the Tropopause

Transformation is a multi-disciplinary work from saxophonist/composer Ted Nash, and iconic actress Glenn Close, exploring the multi-faceted and abstract theme of transformation. The works included examine the theme from both universal and individual conceptions. Music and literature at its best is clearly transformative for anyone experiencing it. Transformation is by essence, the highest and most illuminating expression of change. Nash embraced the project by creating a colorful and illustrative collection of pieces, embracing Close's curated literary selections recited by the fiercely talented cast of Wayne Brady, Amy Irving, Mathew Stevenson and Nash's son, Eli Nash. In doing so, he has brilliantly utilized the full range of sounds and full spectrum of colors of his collection of voices from the Jazz at Lincoln Center Orchestra.

Close's attraction and motivation to delve into the idea of transformation grew from her observation of the collective human psyche of current times. She explains, "I am acutely aware of the amount of violence, cynicism, stress and anxiety being pumped into our collective nervous systems. We are so fractured and in need of healing. I want to create an experience from which people are comforted, but also inspired, to discover their shared humanity."

The opening two connected pieces, "Creation Parts 1 and 2," take on transformation at the very beginning of the creation of matter and our world. Close chose "Tales From Ovid," by Ted Hughes to illuminate the conception, recited by both Close and Brady. Nash's musical framework for the piece is accented beautifully by alto saxophonist Sherman Irby, and trumpeter Wynton Marsalis. "One Among Many" shifts the focus from the primordial, to the individual, telling the story of Judith Clark's transformation from prison life to freedom in New York City. Amy Irving's recitation brings this stirring tale to an emotive clarity. Wayne Brady recites his own text on "A Piece By the Angriest Black Man in America (or How I Learned to Forgive Myself for Being a Black Man in America." Beginning with a finger snapping rhythm, Brady tells his very personal experience as a black man in modern America, with his well known humorous and whimsical wit and intelligence.

"Dear Dad/Letter," and "Dear Dad/Response" is a narration of the coming out letter for Nash's transgender son, Eli, and a father's loving response of love and support. Recited with poise and humor by Eli himself, the two pieces are beautifully honest and demonstrative of the very best of the human spirit. Nash delivers a father's loving response with his composition, but more importantly, with playing a response instrumentally on soprano saxophone that is as graphic and understandable a narrative as any spoken word performance could ever be. His son's personal transformation in a very powerful way illuminates the stated inspiration for all of the works skillfully created and performed in this collection. Nash's very colorful and visual compositions are reason enough to take on Transformation as a listener. His well crafted orchestral jazz is highlighted by the fine individual work of JALC members Tatum Greenblatt, Obed Calvaire, Victor Goines, Carlos Henriquez and the aforementioned Nimmer, Irby and Marsalis. Like so many recordings arising out of this period of history surrounding the worldwide Covid-19 pandemic, the recording is offered as an expression of transforming forms of hardship and despair into hope and light.By Paul Rauch
https://www.allaboutjazz.com/transformation-ted-nash-tiger-turn

Personnel: Ted Nash: saxophone; Glenn Close: voice / vocals; Wayne Brady: voice / vocals; Amy Irving: voice / vocals; Matthew Stevenson: voice / vocals; Wynton Marsalis: trumpet; Obed Calvaire: drums; Sherman Irby: saxophone; Marc Phaneuf: saxophone, baritone; Victor Goines: woodwinds; Mark Lopeman: saxophone, tenor; Paul Nedzela: saxophone; Ryan Kisor: trumpet; Tatum Greenblatt: trumpet; Marcus Printup: trumpet; Vincent Gardner: trombone; Elliot Mason: trombone; Christopher Crenshaw: trombone; Dan Nimmer: piano; Carlos Henriquez: bass.

Additional Instrumentation: Eli Nash - spoken word

Transformation

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Gregory Tardy - Sufficient Grace

Styles: Saxophone And Clarinet Jazz
File: MP3@320K/s
Time: 57:00
Size: 130,8 MB
Art: Front

(7:33) 1. The Omnipresent Cardiologist
(6:43) 2. For Deacon Rocky
(5:09) 3. I Choose You
(7:32) 4. A Tree and It's Fruit
(8:47) 5. The Intelligent Design
(4:23) 6. Sufficient Grace
(6:57) 7. Nick Hoot
(9:53) 8. Janel's Love Song

There's way more than sufficient grace going on here and a strongly soulful swing that really has the whole album coming together, right on the money! Maybe that's no surprise, though, given that the set's issued on the excellent WJ3 label from Willie Jones III, who plays drums at the core of the record, next to the bass of Sean Conly while Tardy carves out all these wonderfully fluid, feeling lines next to the trumpet of Marcus Printup who himself sounds better than usual, and makes for a perfect fit for Tardy. Keith Brown handles piano on the quintet session, all tunes are Tardy originals, and titles include "Tree & Its Fruit", "I Choose You", "For Deacon Rock", "The Omnipresent Cardiologist", "Janel's Love Song", and "Nick Hoot". © 1996-2022, Dusty Groove, Inc.https://www.dustygroove.com/item/125727

Personnel: Gregory Tardy - Tenor Saxophone, Bass Clarinet and Clarinet; Marcus Printup - Trumpet; Keith Brown - Piano; Sean Conley - Bass; Willie Jones III - Drums

Sufficient Grace

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Audrey Silver - Let Me Know Your Heart (New Link)

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 58:15
Size: 134,2 MB
Art: Front

(3:58)  1. When I Look in Your Eyes
(3:29)  2. Comes Love
(5:06)  3. Solsbury Hill
(3:35)  4. Plus Je T'embrasse
(4:02)  5. I Knew He Was There
(3:44)  6. Ever Since the World Ended
(5:14)  7. How Deep Is the Ocean
(4:05)  8. Giraffe Song
(4:53)  9. You Knew
(4:54) 10. Up Jumped Spring
(4:33) 11. Small Day Tomorrow
(3:09) 12. New Year's Eve
(3:41) 13. Let Me Know Your Heart
(3:44) 14. Can't We Be Friends

With a growing catalog of recordings and a warm, swinging performing style, Audrey Silver is one of the most elegantly creative singers in jazz today. Known for what Hot House Jazz has called “a velvet-laden timbre with impeccable phrasing,” Audrey has become renowned for her compelling takes on classic pop tunes as well as her own poignant originals.   Audrey’s composition style mines her vast musical experiences. She says “Songwriting comes from improvising if you can improvise in a melodic way, you can write a song.” Today, the New York City native releases her fourth album, Let Me Know Your Heart, which features her returning cast of players;  Bruce Barth on piano, trumpeter Marcus Printup, upright bassist Paul Beaudry, drummer Anthony Pinciotti, Tom Beckham on vibes and guitarist Marc Ciprut. The album’s collection of fourteen songs is centered artistically and emotionally on Audrey’s six newly-penned originals. Crediting musical luminaries as diverse as Bill Evans, Annie Lennox and Arnold Schoenberg as influences on her artistry, Audrey has found new challenges and satisfaction in becoming a songwriter. Receiving high praise for her vocal stylings, Jazz critics have reinforced a comparison she has heard her entire performing life, “Not since Karen Carpenter have I heard such a strong alto voice that is so pure and so convincing.”Audrey and her band will be celebrating the release of Let Me Know Your Heart with two sets of performance on Wednesday,  September 11th at The Zinc Bar in New York City. Tickets may be purchased here. https://don411.com/award-winning-vocalist-audrey-silver-releases-new-album-let-me-know-your-heart/#.XmTdTvRCeUk

Personnel: Bruce Barth on piano, trumpeter Marcus Printup, upright bassist Paul Beaudry, drummer Anthony Pinciotti, Tom Beckham on vibes and guitarist Marc Ciprut.

Let Me Know Your Heart

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Marcus Printup - Song For The Beautiful Woman

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 59:38
Size: 137,9 MB
Art: Front

(6:41)  1. The Inquiry
(7:14)  2. I Remember April
(6:37)  3. Song For The Beautiful Woman
(6:23)  4. Trauma
(6:17)  5. Presentation
(6:12)  6. Lonely Heart
(6:50)  7. Minor Ordeal
(6:47)  8. Speak Low
(6:34)  9. Dahomey Dance

Trumpeter Marcus Printup's debut as a leader in 1994 followed recordings as a part of the University of North Florida Jazz Ensemble and the Lincoln Center Jazz Orchestra. Accompanied by four other promising musicians in the early days of their careers, including pianist Eric Reed, alto saxophonist Walter Blanding, bassist Reuben Rogers and drummer Brian Blade, Printup puts together a tantalizing mix of originals and standards on this hard bop session, Song for the Beautiful Woman. His compositions include a driving blues "The Inquiry," a sauntering ballad inspired by a brief encounter with a stranger on a plane "Song for the Beautiful Woman," and the infectious "Presentation," which best showcases his already well-developed chops. So many jazz artists tackle "I'll Remember April" at breakneck tempos that they overlook the beauty of the piece; Printup chooses the less-traveled path with great success. His muted solo in "Speak Low" is fueled by Rogers' tasty lines. Marcus Printup's initial recording on his own will appeal greatly to fans of hard bop. ~ Ken Dryden https://www.allmusic.com/album/song-for-the-beautiful-woman-mw0000644448

Personnel: Trumpet – Marcus Printup; Bass – Reuben Rogers; Drums – Brian Blade; Piano – Eric Reed; Tenor Saxophone – Walter Blanding

Song For The Beautiful Woman

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Marcus Printup, Emil Viklicky - Jazz Na Hrade (Live)

Styles: Trumpet And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 58:52
Size: 135,5 MB
Art: Front

( 0:36)  1. Introduction by the President of the Republic, Vaclav Klaus
(12:01)  2. Highlands, Lowlands
(11:05)  3. In Holomoc Town
( 8:56)  4. Mystery of Man Blues
( 9:08)  5. Dolphin Dance
( 7:36)  6. Lasko, Boze, Iasko
( 9:25)  7. Body and Soul

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://www.allmusic.com/artist/marcus-printup-mn0000673081/biography

Personnel:  Marcus Printup - trumpet; Emil Viklicky - piano; František Uhlír - bass; Laco Tropp - drums

Jazz Na Hrade

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Wynton Marsalis - Big Train & The Lincoln Center Jazz Orchestra

Styles: Trumpet Jazz, Big Band
Year: 1999
File: MP3@320K/s
Time: 52:50
Size: 122,1 MB
Art: Front

(5:48)  1. All Aboard
(5:05)  2. Observation Car
(5:52)  3. Union Pacific Big Boy
(5:08)  4. Smokestack Shuffle
(2:50)  5. Northbound-Southbound
(2:23)  6. Dining Car
(2:24)  7. Night Train
(6:38)  8. Engine
(3:50)  9. Bullet Train
(3:27) 10. Sleeper Car
(2:10) 11. Station Call
(7:08) 12. The Caboose

All Aboard. In keeping with the Duke Ellington precedence, Wynton Marsalis has been composing longer and longer jazz pieces, music that approximates suites. Starting with The Majesty of the Blues (Columbia, 1989) and proceeding through Blue Interlude (Columbia, 1992), Citi Movement (Columbia, 1993), In This House, On This Morning (Columbia, 1994), Jump Start and Jazz (Columbia, 1997), and the Pulitzer Prize winning Blood on the Fields (Columbia 1997). Add to this list Big Train. Big Train is perhaps Marsalis most cogent and consistent composition in the suite genre. It is precisely composed and performed. Happy Go Lucky Special. The overwhelming influence here is Ellington. The rhythm of this disc is saturated with his unique saxophone express. What Marsalis brings to the mix is a more judicious use of space and the rhythm section. Ellington may never have written a note that was not necessary, but his compositions are busy pieces, even if blindingly brilliant. Marsalis, through the LCJO's rhythm section sets up an easy rhythm, sometimes chugging, sometimes walking, always propelling forward. If you find that hard to believe, compare "Union Pacific Big Boy,"Northbound-Southbound," and "Engine." But Ellington is not the only influence. "Smokestack Shuffle" is as much a Thelonious Monk piece as is "Friday the 13th." This disc is also quite instrument specific. As typical of a Marsalis composition, the listener is drowning in plunger-muted brass. Always a fan of the clarinet, Marsalis has written a good deal of clarinet into this piece with all of his reed players contributing on clarinet. This is a fun ride. The Big Train Reprise. Big Train is the fourth installment in the eight volume Swinging into the 21st Century set. It continues the provocatively creative trend that Marsalis has begun with the release of his Standards Volume 5 collection of Monk tunes. Marsalis is (not so) quietly creating a body of work within traditional jazz that should endure the future nicely. ~ C.Michael Bailey https://www.allaboutjazz.com/big-train-wynton-marsalis-columbia-records-review-by-c-michael-bailey.php?width=1920

Personnel: Wynton Marsalis: Trumpet and Director; Seneca Black: Trumpet; Ryan Kisor: Trumpet; Marcus Printup: Trumpet; Riley Mullins: Trumpet; Wayne Goodman: Trombone; Wycliffe Gordon: Trombone, Tuba; Ronald Westray: Trombone; Wessell Anderson: Alto and Sopranino Saxophone, Clarinet; Ted Nash: Alto and Soprano Saxophones, Piccolo, Clarinet, Bass Clarinet, Flute; Walter Blanding, Jr.: Tenor, Alto, and Soprano Saxophones, Clarinet; Victor Goines: Tenor, Alto, and Soprano Saxophones, Clarinet, Bass Clarinet; Joe Temperley: Baritone Saxophone, Bass Clarinet, Soprano Saxophone; Farid Barron: Piano; Rodney Whitaker: Bass; Herlin Riley: Drums; Roland Guerrero: Percussion; Doug Wamble: Guitar and Banjo.

Big Train

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Marcus Printup - Peace in the Abstract

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 64:29
Size: 148,5 MB
Art: Front

(7:17)  1. Your Time Has Come
(7:03)  2. Soul Vamp
(7:13)  3. I Will Sing of You
(5:59)  4. Deddy's Blues
(6:07)  5. Hot House
(8:20)  6. Amazing Grace
(8:36)  7. Peace in the Abstract
(8:32)  8. Everytime We Say Goodbye
(5:19)  9. Soul Mama

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://www.allmusic.com/artist/marcus-printup-mn0000673081/biography

Personnel:   Marcus Printup - trumpet; Gregory Tardy - tenor saxophone; Marc Cary - piano;  Kengo Nakamura - bass; Shinnosuke Takahashi - drums

Peace in the Abstract

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Wycliffe Gordon - The Search

Styles: Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 65:22
Size: 150,2 MB
Art: Front

(6:37)  1. Cheeky
(5:52)  2. What Is This Thing Called Love
(3:25)  3. He Looked Beyond My Fault (Danny Boy)
(5:29)  4. Frantic Flight
(7:16)  5. The Search (Part I and II)
(5:42)  6. Touch It Lightly
(4:31)  7. Georgia on My Mind
(2:49)  8. Sweet Georgia Brown
(5:14)  9. Blues for Deac'n Cone
(5:43) 10. Sign Me Up
(5:05) 11. Stardust
(5:22) 12. Ba-Lue Bolivar Ba-Lues
(2:12) 13. Rhythm-A-Ning

Nagel Heyer knows a good thing when it sees or rather, hears it. It has brought trombonist Wycliffe Gordon to the studio or captured him at live performances several times during the year, either, as here, as a leader or as a sideman with other Nagel Heyer jazz artists. Judging from the play list expand Gordon's recorded output. Consequently, the CD's agenda includes not only some classic standards, but modern music by Thelonious Monk, a couple of blues things and five originals by Gordon. Gordon and his colleagues clearly enjoy the diverse list they have been asked to perform. There's musical testifyin' on the traditional Sign Me Up where Gordon displays his agility on the Tuba. Then comes the dripping corn pone, chicken gravy Southern blues on "Blues for Deac'n Cone" with the piano of Eric Reed and the bass trombone of Roger Floreska getting important air time. We also hear Gordon on the didgeridoo. So what's a didgeridoo? This long, straight instrument has been used for many years in the playing of traditional aboriginal music. It's a big thing in Australia to the point of being the subject of several of its own web sites. It is the main instrument on Gordon's "The Search" and variously sounds like a mouth organ, drum, a tightly strung fiddle and some others I can't quite place. But it is unique and when used in combination with other instruments like Winard Harper's drum, it is important to the statement Gordon wants to make through this composition.  Other to note include a beautiful haunting rendition of "Stardust" by Gordon and Reed with their contrasting styles giving some new life to this classic tune and a swinging Gordon composed "Cheeky". Confident in his expertise as a trombonist, Gordon is not averse to inviting other significant players of that instrument to join him on this CD. All these trombones recall those J. J. Johnson/Kai Winding Octet recordings from the 1960's. The trombone choir approach is used effectively on "Danny Boy". This is a top flight album of excellent music skillfully arranged and played with imagination and verve. Highly recommended. ~ Dave Nathan https://www.allaboutjazz.com/the-search-wycliffe-gordon-review-by-dave-nathan.php?width=1536

Personnel: Wycliffe Gordon : trombone, tuba, didgeridoo; Marcus Printup: trumpet; Ron Westray: trombone; Delfeayo Marsalis: trombone; Jen Krupa: trombone; Dave Gibson: trombone; Roger Floreska : bass trombone; Victor Goines: tenor saxophone; Walter Blanding, Jr.: tenor saxophone; Ted Nash: alto saxophone, flute; Eric Reed: piano; Rodney Whitaker: bass; Winard Harper: drums, percussion; Herlin Riley: drums, percussion.

The Search

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Paradigm Shift - Shifting Times

Bitrate: MP3@320K/s
Time: 51:37
Size: 118.2 MB
Styles: Soul-Jazz-Funk
Year: 2004
Art: Front

[4:02] 1. Sandu
[5:03] 2. Yesterdays
[4:10] 3. Sanibel Breeze
[5:28] 4. Half A World Away
[6:10] 5. Shifting Times
[6:25] 6. Big Brother
[4:56] 7. First Shift
[3:57] 8. Simplistic Blues
[2:54] 9. Why Not Scrambled
[5:50] 10. Petra's Lament
[2:37] 11. My Foolish Heart

Melvin Henderson (guitar), Gerry Youngman (organ, flugelhorn), Ted Poor (drums), Wycliffe Gordon (trombone), Joe Locke (vibraphone), Marcus Printup (trumpet), Bill Tiberio (saxophones).

A paradigm shift implies a move into a new framework, and so the organ trio Paradigm Shift is probably misnamed, as there is nothing particularly evolutionary about what it does. Shifting Times is, however, a captivating session of mainly original compositions that owes a great deal to the Blue Note soul jazz of the late '60s. Equal parts Jimmy Smith, Grant Green and Donald Byrd, Paradigm Shift does manage to pay homage without being completely imitative, and that is where the shift may come in; as reverential as Shifting Times is, it succeeds in feeling completely contemporary.

Guitarist Melvin Henderson, organist Gerry Youngman (who also doubles on flugelhorn), and drummer Ted Poor make up Paradigm Shift, but they enlist the assistance of some high profile players to juice up a session that is, quite simply, a load of fun, with sumptuous grooves and solid playing from all. Trombonist Wycliffe Gordon plays hard and heavy on four tracks, growling vigorously on "Sandu." Trumpeter Marcus Printup jabs and parries with Gordon on the same track, plays it lyrical on the Crusaders-informed "Half a World Away," and contributes a piercing muted solo on "First Shift." Vibraphonist Joe Locke pays tribute to Bobby Hutcherson on "Yesterdays" and the slap-happy "Big Brother."

Henderson is a capable player in the Grant Green vein, although there are smatterings of Kenny Burrell, and even Wes Montgomery, in what he does. His tone is clean and warm, and his ideas flow effortlessly, with a spare economy that occasionally lights a fire, as on the up-tempo "Why Not Scrambled." Youngman, an energetic and vivacious organist throughout the set, manages to play his flugelhorn brightly yet tenderly on "My Foolish Heart," which finds him in duet with Henderson. Poor is a groove-centric drummer, equal parts swing and backbeat.

While Paradigm Shift may not break down any musical barriers, these players know how to have a good time, and that is evident throughout Shifting Times. There's a party atmosphere to the record that makes it an entertaining listen. Playful and unassuming, Shifting Times is the perfect music when you're looking for something to engage the body as well as the mind. ~John Kelman

Shifting Times mc
Shifting Times zippy

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Brianna Thomas - You Must Believe In Love

Bitrate: MP3@320K/s
Time: 67:02
Size: 153.4 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[5:48] 1. Bye Bye Blackbird
[4:59] 2. Don't Be That Way (Feat. Russell Malone)
[7:27] 3. Love Doesn't Die (Feat. Wycliffe Gordon)
[5:31] 4. I Should Have Known (Feat. Wycliffe Gordon)
[4:03] 5. Daydream
[6:45] 6. Lover Of My Soul (Feat. Riza & Marcus Printup)
[6:38] 7. Never Dreamed You'd Leave In Summer
[6:39] 8. In A Mellow Tone
[6:03] 9. Stardust
[8:06] 10. Bree's Blues
[4:57] 11. You Must Believe In Spring

Wall Street Journal stated Brianna Thomas "may be the best young straight ahead jazz singer of her generation". Born and raised in Peoria, Illinois, was selected to participate in the prestigious Betty Carter Jazz Ahead Program, an elite artist in residence program for musicians and composers at the Kennedy Center in Washington DC. Ms. Thomas moved to NYC in 2007 to attend The New School University and has since established herself as a talented vocalist on the music scene. Since graduating college in 2011, Ms. Thomas has performed with many jazz greats including: Clark Terry, Wycliffe Gordon, Wynton Marsalis, Russell Malone, The Legendary Count Basie Orchestra, Michael Feinstein and longtime hero Dianne Reeves. Ms.Thomas also continues to perform worldwide for venues and was a 2014 musical ambassador touring South East Asia for the "American Music Abroad" program, as a guest vocalist with The Amigos Band - singing folk, bluegrass, gospel and jazz. She teaches with JALC's Jazz For Young People Program to educate students in New York City School's about the importance of Jazz in American History and Today.

The ensemble is Brianna Thomas, vocal, Allyn Johnson, piano, Yasushi Nakamura, bass, Ulysses Owens, Jr., drums, with special guests Russell Malone, guitar, Marcus Printup, trumpet, Wycliffe Gordon, trombone, Nick Grinder, trombone, Tivon Penticott, tenor sax, and Riza Printup, harp. ~Grady Harp

NEW LINK! You Must Believe In Love

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Marcus Printup - Lost

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 64:01
Size: 147,5 MB
Art: Front

(7:21)  1. G Wiz
(7:12)  2. Hopscotch
(9:15)  3. Soul Street Parade
(8:34)  4. Lost
(6:16)  5. Black Bossa
(6:32)  6. Homey's Idea
(8:54)  7. What you Talkin Bout
(9:53)  8. To the Mountain Top

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://itunes.apple.com/us/album/lost/id949976771

Personnel: Marcus Printup,trumpet; Shantawn Kendrick,tenor sax; Helen Sung,piano;   Ben Williams,bass; Ulysses Owens,drums

Lost

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Marcus Printup - Bird of Paradise: The Music of Charlie Parker

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 64:15
Size: 147,5 MB
Art: Front

(5:16)  1. Stupendous
(4:10)  2. Now's the Time
(5:51)  3. Lover Man Take 2
(4:08)  4. Bird of Paradise
(5:43)  5. Donna Lee
(7:04)  6. Parker's Mood
(6:45)  7. The Hymn
(6:02)  8. Quasimodo
(5:52)  9. Lover Man Take 1
(6:00) 10. Confirmation
(7:18) 11. Bird Feathers

A generation ago, tribute albums to Charlie Parker often featured extended passages of Bird’s solos transcribed for one or more horns, or bands mirroring the traditional Parker bebop small groups of alto sax, trumpet, piano, bass and drums. And musicians on them paid close homage to Parker by playing in a decidedly neo-bop style. You won’t find much, if any, of that here. Trumpeter Marcus Printup presents a repertoire of tunes written and/or performed by Parker, many of them familiar Bird lines. But Printup’s band (Kengo Nakamura, bass; Shinnosuke Takahashi, drums) eliminates piano; the only additional chording instrument is Riza Hequibal’s harp on five of the 11 tracks, but it comps on only three. Saxophonist Ted Nash is on nine tracks, but he’s mainly on tenor, playing alto on only two. And instead of the razzle-dazzle breathless excitement of charging through the changes of classic bop, Printup and Nash solo with more tonal and timbral variety, sacrificing sheer velocity for expressive sounds and fewer notes. It’s a creatively fertile way to revisit Bird’s music. 

That music is still memorable and welcome today, as Printup reminds us with the delightfully sly “Quasimodo,” Bird’s tongue-in-cheek title for his invention on the chords of “Embraceable You,” and that tricky, swirling blues line “Bird Feathers.” Printup gives a twist to two of Parker’s most familiar tunes, adding a harp and bass intro to “Now’s the Time” (source of “The Hucklebuck”) and heraldic harp intro and coda to “Parker’s Mood,” an iconic Bird line the trumpeter plays himself, also soloing personally, letting Nash’s tenor reference Bird’s famed solo. “Stupendous” (on “’S Wonderful” changes) opens the CD with a less-familiar line that Printup and Nash tear into, sharing and overlapping ideas in a sequence of fours and tandem exchanges. Their speedy workout on “Confirmation” is another highlight, featuring Nash’s most Bird-like alto outing. Printup’s two takes on “Lover Man,” one open, one muted, with just the rhythm section and comping harp, are emotionally resonant ballad interludes. ~ George Kanzler  http://jazztimes.com/articles/18263-bird-of-paradise-the-music-of-charlie-parker-marcus-printup

Personnel: Marcus Printup: trumpet, Ted Nash: alto sax, tenor sax; Kengo Nakamura: bass; Shinnosuke Takahashi: drums; Riza Herbqibal: harp.

Bird of Paradise: The Music of Charlie Parker

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Marcus Printup - Ballads - All Night

Styles: Trumpet Jazz
Year: 2010
File: MP3@224K/s
Time: 58:21
Size: 93,8 MB
Art: Front

(6:38)  1. Miles Away
(5:08)  2. Emily
(8:03)  3. Memory Box
(8:28)  4. Lullaby For Nanay
(6:36)  5. Love As Is
(4:46)  6. Corcovado
(9:56)  7. The Nearness Of You
(8:44)  8. Blues All Night

After a flurry of promising CDs for Blue Note at the beginning of his career, trumpeter Marcus Printup has found a home with the Danish label Steeplechase, which has given him pretty much free rein to hire musicians and choose material for his record dates. This mostly ballad date features a number of less familiar names, including rising young pianist Dan Nimmer, trombonist Chris Crenshaw, and harpist Riza Hequibal, varying the lineup a bit from one track to the next. Printup's tone and his reserved playing style add polish to each of the ballads, whether using open or muted horn. The blend between the leader and Crenshaw works very well in his original "Miles Away." "Blues All Night" showcases bassist Carlos Henríquez, while Crenshaw's sassy muted solo recalls some of the great trombonists from Duke Ellington's orchestra, and the leader is effective in both open and muted solos, followed by Nimmer's laid-back yet blues-drenched solo. Printup is hardly the first jazz musician to include a harp in a small-group setting, though it is still the exception rather than the rule on jazz record dates. His duets with Hequibal include moving settings of the standard "Emily" and the bossa nova gem "Corcovado" (arranged by Hequibal), while she is present on several of the other tracks as well. This is another potent date by Marcus Printup. ~ Ken Dryden http://www.allmusic.com/album/ballads-all-night-mw0001961336

Personnel:  Marcus Printup (Trumpet);  Chris Chrenshgaw (trombone);  Dan Nimmer (Piano);  Carlos Henriquez (bass); Quincy Davis (drums);  Riza Printup (harp)

Ballads

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Marcus Printup - A Time for Love

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 65:17
Size: 149,9 MB
Art: Front

( 6:25)  1. Blue Bossa
( 6:44)  2. Besame Mucho
( 6:02)  3. I Remember Clifford
( 6:16)  4. A Time for Love
( 7:34)  5. Bewitched, Bothered and Bewildered
( 7:54)  6. Song for My Father
(10:40)  7. Maiden Voyage
( 6:59)  8. Dahil Sa'yo
( 6:38)  9. It Might as Well Be Spring

Marcus Printup's fifth CD for Steeplechase was inspired by the few tracks featuring harpist Riza Hequibal (his wife) on his previous CD for the label; this time around, it's just the two of them and bassist Kengo Nakamura. While there have been a few jazz harpists since the 1940s, the instrument is still a rarity. The trumpeter and flügelhornist has benefited from producer Nils Winther's interest in recording him on a regular basis, while Printup has delivered several outstanding sessions for Winther. The chemistry between the musicians is readily apparent from the opening track, a breezy take of Kenny Dorham's "Blue Bossa," with strong solos all around and the lack of additional players never being an issue. Printup's emotional trumpet in "I Remember Clifford" and "A Time for Love" is buoyed by Hequibal's shimmering harp. The strings give the sassy, light arrangement of Horace Silver's normally percussive "Song for My Father" a step in a new direction. Hequibal almost sounds like a guitarist at times in "Maiden Voyage." Printup switches to flügelhorn for the heartfelt "It Might as Well Be Spring," making the most of his spacious scoring of this timeless standard. Highly recommended. ~ Ken Dryden http://www.allmusic.com/album/a-time-for-love-mw0002106087

Personnel: Marcus Printup (trumpet, flugelhorn); Riza Hequibal (harp).

A Time for Love

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Marcus Printup - UNveiled

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 64:13
Size: 148,0 MB
Art: Front

(6:41)  1. Eclipse
(6:15)  2. When Forever Is Over
(5:56)  3. Dig
(7:09)  4. Say It Again
(4:23)  5. Leave Your Name And Number
(6:42)  6. Unveiled
(5:44)  7. Stablemates
(7:39)  8. Soulful
(3:57)  9. M & M
(7:04) 10. Yes Or No
(2:38) 11. Amazing Grace

Marcus Printup gained his initial recognition for his playing with pianist Marcus Roberts' group. His second Blue Note recording as a leader features his attractive trumpet in a quintet with Roberts, the Paul Gonsalves-inspired tenor of Stephen Riley, bassist Reuben Rogers and the young drummer Jason Marsalis. Printup at this point already had a fairly orignal sound of his own which was slightly influenced by Wynton Marsalis. His technique is impressive on the date as is his warmth and consistently creative ideas. Printup contributed seven mostly straightahead originals to the well-rounded and continually interesting modern mainstream set (including the brooding ballad "When Forever Is Over," athe catchy "Leave Your Name And Number" and the funky title cut). "M & M," a major/minor blues duet with pianist Roberts which looks back to the 1920's, is a definite highlight. Printup also performs jazz standards by Miles Davis (a swinging "Dig"), Benny Golson and Wayne Shorter along with an emotional version of the traditional "Amazing Grace." This CD gives one an excellent sampling of Marcus Printup's hard bop-oriented playing. ~ Scott Yanow http://www.allmusic.com/album/unveiled-mw0000185728

Personnel:  Bass – Ruben Rogers;  Drums – Jason Marsalis;  Piano – Marcus Roberts;  Tenor Saxophone – Stephen Riley;  Trumpet – Marcus Printup

UNveiled

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Marcus Printup - Young Bloods

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 60:11
Size: 138,3 MB
Art: Front

(7:46)  1. En Route
(7:37)  2. The bishop
(7:02)  3. My Foolish Heart
(7:06)  4. Young Bloods
(8:19)  5. How Great Thou Art
(6:32)  6. In Your Own Sweet Way
(8:11)  7. Au Privave
(7:36)  8. Greasy

Sparkling work from trumpeter Marcus Printup a player who can blow with great power when needed, but also hit these slinky, soulful moments too a balance that only seems to get better and better with each new record! There's a bit of Freddie Hubbard in that approach, but Printup's definitely his own man too and can step easily into bolder, more spiritual passages especially when working with a group this great as the lineup includes Patrick Bartley on alto, Coleman Hughes on trombone, Allyn Johnson on piano, Dezron Douglas on bass, and Ulysses Owens on drums! Owens and Douglas really hold things together wonderfully with a style that's sophisticated, yet always swinging especially on some of the album's boldest tracks. Titles include the great originals "En Route", "The Bishop", "Greasy", and "Young Bloods" plus a wonderful take on "In Your Own Sweet Way", done at a level that really opens the tune up with the horns! © 1996-2016, Dusty Groove, Inc. https://www.dustygroove.com/item/771441

Personnel: Marcus Printup (trumpet), Patrick Bartley (alto saxophone), Coleman Hughes (trombone), Allyn Johnson (piano), Dezron Douglas (bass), Ulysses Owens (drums)

Young Bloods

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Diane Schuur - Music Is My Life

Styles: Vocal Jazz
Year: 1999
File: MP3@320K/s
Time: 57:02
Size: 131,0 MB
Art: Front

(8:01)  1. Invitation
(3:13)  2. You'd Be So Nice To Come Home To
(4:36)  3. That Old Devil Called Love
(9:06)  4. Bewitched, Bothered and Bewildered
(3:14)  5. Keepin' Out Of Mischief Now
(5:17)  6. Good Morning Heartache
(3:58)  7. I Only Have Eyes For You
(5:42)  8. Nardis
(4:12)  9. Music Is My Life
(6:17) 10. If You Could See Me Now
(3:19) 11. Somewhere Over The Rainbow

While most jazz singers probably do not improvise enough, in the case of Diane Schuur, the less she gets away from the melody the better. The reason is obvious: Schuur has a beautiful voice but she rarely seems to know what to do with it! Her improvising can be screechy and erratic. Fortunately, Schuur mostly sticks to the themes on this strong release. Utilizing a variety of top jazz musicians, including pianist Alan Broadbent (Schuur plays piano herself on two songs) and tenor saxophonist Nino Tempo (who always emulates Stan Getz), Schuur mostly uplifts standards on her colorful outing. She goes a bit over the top with her singing on "Invitation" but her versions of "Bewitched, Bothered and Bewildered," "Keepin' Out of Mischief Now" and "If You Could See Me Now" are quite lovely, and she takes "Over the Rainbow" as a haunting, unaccompanied vocal. This is one of her better releases and an excellent example of what her live shows were like during 1998-1999.~Scott Yanow http://www.allmusic.com/album/music-is-my-life-mw0000047988

Personnel: Diane Schuur (vocals, acoustic & electric pianos); Jeff Clayton (alto saxophone); Nino Tempo (tenor saxophone); Marcus Printup (trumpet); Ira Napis (trombone); Emil Richards (vibraphone); Alan Broadbent (piano); Dean Parks (guitar); Roger Hines, Chuck Berghofer (bass); David Gibson, Larance Marable, John Guerin (drums).

Music Is My Life

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Dianne Reeves - Bridges

Styles: Jazz, Vocal
Year: 1999
File: MP3@320K/s
Time: 61:05
Size: 141,7 MB
Art: Front

(5:20)  1. In Your Eyes
(5:51)  2. I Remember
(5:19)  3. Suzanne
(5:30)  4. Goodbye
(5:34)  5. Bridges
(6:22)  6. River
(2:23)  7. Olokun
(4:39)  8. Testify
(6:51)  9. Mista
(5:25) 10. 1863
(7:45) 11. Make Someone Happy

Dianne Reeves is such a talented and warm singer that many jazz fans wish that she would stick to performing jazz. Reeves, here, mostly performs music that is folk and pop oriented, sincere renditions that actually have very little improvisation. Only the closing, "Make Someone Happy" (which has a trumpet solo from Marcus Printup) is jazz oriented. Otherwise, Reeves sings pieces that apparently mean a lot to her (including a couple songs that might be autobiographical) with a band that has appearances by keyboardists Billy Childs, George Duke and Eddie Del Barrio, altoist Kenny Garrett, bassist Stanley Clarke, drummer Terri Lynn Carrington and others.~Scott Yanow http://www.allmusic.com/album/bridges-mw0000239132

Personnel:  Bass – Reginald Veal (tracks: 1 to 6, 9, 10, 11), Stanley Clarke (tracks: 8);  Bongos – Manolo Badrena (tracks: 2);  Drums – Brian Blade (tracks: 2, 3, 4, 5, 6), Terri Lyne Carrington (tracks: 1, 9, 10, 11);  Electric Piano – George Duke (tracks: 9);  Guitar – Romero Lubambo (tracks: 1, 3, 4, 5, 6, 9) Harmonica – Jimmy Zavala (tracks: 9);  Percussion – Manolo Badrena (tracks: 3, 5, 6), Munyungo Jackson (tracks: 1, 8, 9, 10);  Piano – Billy Childs (tracks: 1, 3, 7), Eduardo Del Barrio (tracks: 10), George Duke (tracks: 8, 11), Mulgrew Miller (tracks: 2, 4, 5, 6);  Producer – George Duke ;  Saxophone – Kenny Garrett (tracks: 3, 6);  Trumpet – Marcus Printup (tracks: 11);  Vibraphone, Marimba [Bass] – Joe Locke (tracks: 6);  Vocals – Dianne Reeves

Bridges

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Various Artists - Bob Belden's Shades Of Blue

Styles: Contemporary Jazz, Post-Bop
Year: 1996
File: MP3@320K/s
Time: 70:40
Size: 162,3 MB
Art: Front

(6:54)  1. Dianne Reeves, Geri Allen - Maiden Voyage
(5:34)  2. Jacky Terrasson - Un Poco Loco
(5:49)  3. John Scofield - Tom Thumb
(2:36) 4. Cassandra Wilson, Ron Carter - Joshua Fit De Battle Ob Jericho
(8:21)  5. Tim Hagans, Bob Belden - Siete Ocho
(7:40)  6. Marcus Printup - You've Changed
(5:36)  7. Holly Cole, Javon Jackson - Hum Drum Blues
(5:56)  8. Geoff Keezer - 2300 Skiddoo
(6:08)  9. Renee Rosnes - Song For My Father
(6:51) 10. Kurt Elling - Tanganyika Dance (The Man From Tanganyika)
(4:41) 11. T.S. Monk, Ron Carter - Evidence
(4:29) 12. Eliane Elias - Una Mas

In 1994, producer-tenor saxophonist Bob Belden received the unusual assignment of putting together a variety of all-star groups to revisit tunes associated with the Blue Note legacy. From November 1994 to March 1995 he recorded most of Blue Note's then-current roster, documenting 39 compositions in all. Twelve are on this CD, while many of the others have been released in Japan. Each of the dozen numbers uses a different group and they are generally consistent, if not filled with surprises. Dianne Reeves, Cassandra Wilson, Holly Cole, and Kurt Elling are heard on vocal features (Reeves and Elling fare best), trumpeter Marcus Printup shows off his warm tone on "You've Changed," and, in a performance that brings back the "Bitches Brew" era (and is both the most modern and the most dated of these interpretations), Belden, trumpeter Tim Hagans and three keyboardists explore Andrew Hill's "Siete Ocho." 

Of the many pianists who are featured on this set (including Geri Allen, Jacky Terrasson, Renee Rosnes, and Eliane Elias), Geoff Keezer's fairly free improvisation on Herbie Nichols' "2300 Skidoo" is the most memorable. Quite unusual is the complete absence of any of the quintet or sextet lineups that were almost a trademark of Blue Note in the '50s and '60s, and the relatively few trumpet and saxophone solos. Sure to be a collector's item, this CD is not essential but it has enough variety to keep the interest of most jazz listeners. ~ Scott Yanow  http://www.allmusic.com/album/shades-of-blue-mw0000184479

Bob Belden's Shades Of Blue

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Marcus Printup - Desire

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 70:49
Size: 162,4 MB
Art: Front

(8:02)  1. Along the Way
(9:58)  2. El Gato Travieso
(7:51)  3. Desire
(5:46)  4. One Note Samba
(7:29)  5. Visions
(2:33)  6. Melancholia
(7:16)  7. I Can't Help It
(6:13)  8. Bee Dub Blues
(7:37)  9. Rebirth
(7:59) 10. You've Got a Friend

Few husbands relish the sound of their wives harping on in the background but not, I suspect, Mr Marcus Printup, an ace trumpet player, whose wife is an equally accomplished musician in her own right, a classically trained harpist endowed with a virtuoso talent. At first sight the idea of teaming jazz trumpet with harp might seem like something of a novelty. It certainly isn’t common but utilising the harp in a jazz context isn’t without precedent ; one remembers the `Les Jazz Modes` group fronted by French horn player, Julius Watkins and tenor saxist , Charlie Rouse, which intelligently employed the talent of harpist Janet Putman to add ensemble colour. Then there were the recordings made by Dorothy Ashby in which the harp took a front line role in the exposition of both melody and improvisational development.  Notwithstanding these pioneering efforts the harp will never be a mainline jazz instrument, unlike other stringed instruments namely the violin and cello it appears to lack the ability to effect chordal dissonances which are so importance in the tension building process of jazz improvisation. Nevertheless, Mrs Printup makes a convincing case for the harp’s utilisation in this context for no other reason than the smouldering intensity she brings to the deliverance of the seductive themes presented in this superb recording.

Most of the tunes have a Latin-American ambience which benefit from the flamenco like cascades of sound initiated by the harp as well as the lute like harmonies which back the forthright sound of Mr Printup’s trumpet which comes over with the subtlety and power of a latter day Roy Eldridge, in both open and muted formats. Some of these are compositions by Mr and Mrs  but there is also a delicious and memorable version on that familiar Jobim classic, `One Note Samba`. My personal favourites are covers of two Stevie Wonder favourites: `Visions` and `I Can’t Help It` and a wonderful rendition of Carol King’s `You’ve Got a Friend`. Having extolled the virtues of Mrs Printup’s contribution I’m slightly ashamed to say that the track that most arrested my attention is a duet between Marcus and his bassist, Ben Williams, which is a blues of timeless integrity that links all the verities of jazz expression from Armstrong to the young giants of the contemporary pantheon in which Marcus Printup deserves a prominent place.

~ Euan Dixon  http://www.jazzviews.net/marcus-printup---desire.html

Personnel:  Marcus Printup (trumpet);  Riza Printup (harp);  Ben Williams (bass);  E.J. Strickland (drums)

Desire

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