Michael Dease - Out To Dinner - Different Flavors

Styles: Trombone Jazz
Year: 2019
File: MP3@320K/s
Time: 54:55
Size: 125,7 MB
Art: Front

(6:18) 1. Day Zero
(3:54) 2. Magic Square
(5:44) 3. Blue Sojourn
(3:34) 4. Skittles
(6:25) 5. Night Glow
(5:05) 6. Pay The Piper
(5:58) 7. Rio
(7:53) 8. Spun Around
(4:24) 9. Grave Concerns
(5:35) 10. Two Down

Listeners everywhere are invited to join the fun with the Out To Dinner band and audition a variety of their “Different Flavors.” Our trusty producer Marc Free continues on an ambitious course of cooking up a visionary series of demand building releases. This latest project features a musical menu of inspired presentations from a curated group with unique instrumentation.

It also prompts listeners to expand their sonic palettes to include this adventurous exploration of the jazz genre. This engagingly enjoyable album is a stellar quintet date featuring front line performances from vibraphonist Behn Gillece, trombonist Michael Dease and saxophonist Tim Green moving freely over the solid harmonic foundation of bassist Boris Kozlov and the explosive metrics of drummer Rudy Royston. With the menu full of “Different Flavors,” we are confident that the collaborative journey of Out To Dinner will bring delight to the ears of every jazz fan and hopefully encourage navigation steadily away from the known and familiar and towards the uncharted depths of modern collective improvisation.
https://www.posi-tone.com/otd/otd.html

Personnel: Michael Dease - trombone; Behn Gillece - vibraphone; Tim Green - alto saxophone; Boris Kozlov - bass; Rudy Royston - drums

Different Flavors

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Michael Dease - Swing Low

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 65:45
Size: 151,6 MB
Art: Front

(5:16) 1. Dancing In The Dark
(5:30) 2. Don't Look Back
(5:58) 3. Appreciation
(5:20) 4. Phibes' Revenge
(7:06) 5. Just Waiting
(6:00) 6. Melancholia
(7:13) 7. Galapagos
(6:11) 8. New Blues
(7:00) 9. Up High, Down Low
(4:11) 10. Julian's Tune
(5:56) 11. Embraceable You

Really rich sounds from reedman Michael Dease a baritone player, and one who handles the large horn with effortless ease taking us back to some of our favorite bari players of the 50s who could carve out a line as if they were swinging an alto or a tenor!

The rest of the group have an equally compact sort of vibe tight, yet always thoughtful, as they pack plenty into each of their solo spaces, while also coming across with that sharp sound as a whole that can make the best Posi-Tone sessions so great! Ingrid Jensen plays trumpet, Art Hirihara plays piano, Boris Kozlov handles bass, and Rudy Royston is on drums and on three tracks, Altin Senclar also joins the group on trumpet.

Titles include "New Blues", "Galapagos", "Appreciation", "Don't Look Back", "Melancholia", and "Just Waiting". © 1996-2023, Dusty Groove, Inc.

Musicians: Michael Dease - baritone saxophone; Ingrid Jensen - trumpet, flugelhorn; Altin Sencalar - trombone on #7,8,10; Art Hirahara - piano; Boris Kozlov - bass ; Rudy Royston - drums

Swing Low

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Michael Dease - The Other Shoe: The Music of Gregg Hill

Styles: Trombone Jazz
Year: 2023
File: MP3@320K/s
Time: 69:07
Size: 159,1 MB
Art: Front

( 3:28) 1. Wake Up Call
( 6:48) 2. Scooter's Dream
( 8:15) 3. Hello, Blues
( 5:38) 4. The Goodbye Blues
( 8:10) 5. The Sleeper
( 5:33) 6. The Classic
( 6:04) 7. Rio Mio
( 5:50) 8. Summer Nights
( 4:24) 9. Shorty's Tune
(14:53) 10. The Other Shoe

Perennial DownBeat Critics Poll winner, trombonist Michael Dease has embraced his role as a torchbearer for his mentors and the great jazz ancestors over his 15 deeply-swinging, state-of-the-art mainstream recordings. For 'The Other Shoe,' Dease teams with the formidable composer Gregg Hill, expanding his rhythmic & harmonic palette with a flexible, in-the-moment perspective while remaining true to the sensibilities at his musical core.

With the prodigiously talented pianist Geoffrey Keezer as a central foil, Dease brings along a wide-ranging collection of musicians, each specifically brought in for their unique outlooks and talents, including clarinetist Virginia MacDonald, Liany Mateo on bass, and drummer Colleen Clark, among others.
https://www.allaboutjazz.com/media/track-wake-up-call-by-michael-dease

Personnel: Michael Dease - trombone; Virginia MacDonald - clarinet ; Geoffrey Keezer - keyboards; Liany Mateo - bass; Colleen Clark - drums.

Additional Personnel : Luther Allison: piano and Fender Rhodes; Rodney Whitaker: bass; Kevin Jones: percussion; Gwendolyn Dease: percussion; Joel Perez: trombone.

The Other Shoe: The Music of Gregg Hill

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Ulysses Owens Jr. Big Band - Soul Conversations

Styles: Instrumental Jazz
Year: 2021
Time: 72:48
File: MP3 @ 320K/s
Size: 167,5 MB
Art: Front

(8:53) 1. Two Bass Hit
(5:59) 2. London Towne
(8:37) 3. Beardom X
(7:29) 4. Red Chair
(6:32) 5. Giant Steps
(5:51) 6. Language of Flowers
(8:20) 7. Human Nature
(4:46) 8. Girl Talk
(9:44) 9. Harlem Harlem Harlem
(6:33) 10. Soul Conversations

Drummer Ulysses Owens, Jr.'s Big Band comes out swinging on its debut recording, Soul Conversations, thundering through Michael Dease's incendiary arrangement of the Dizzy Gillespie/John Lewis flame-thrower, "Two Bass Hit." For more such heat, however, the listener must move forward to Track 5, John Coltrane's impulsive "Giant Steps," thence to Track 9 for Charles Turner III's earnest homage to "Harlem Harlem Harlem," on which he doubles as vocalist.

That's not to say that everything in between is less than pleasing, only more sedate. That includes a trio of charts by Owens ("Beardom X," "Red Chair," "Soul Conversations"), trumpeter Benny Benack III's sunny "London Towne," bassist Yasushi Nakamura's shapely ballad, "Language of Flowers," John Bettis/Steve Porcaro's multi-layered "Human Nature" (featuring guest vibraphonist Stefon Harris, as does "London Towne") and Neal Hefti's shopworn and patronizing "Girl Talk." Dependable as they are, one senses that the band is capable of more, but as Owens chose the material that must have been his purpose, and the outcome should be weighed on that basis.

Another aspect that must be considered is the circumstance under which the album was recorded: in concert at Dizzy's Club Coca Cola in New York. While that usually poses no problem, in this case the color and balance do the band no favors. The sound isn't for the most part displeasing; on the other hand, as with the choice of material, the over-all impression is that it could have been better. An accent here, a blemish there it all adds up to a sonic cushion that may be tolerable but is at times less than supportive.

There is no doubting, however, the band's aptitude or enthusiasm. There's an abundance of musical talent in New York, and Owens has stocked the band with proven heavyweights, a benefit that is readily apparent from the outset. "Two Bass Hit" could have set the tone, with spirited blowing by the ensemble and vigorous solos by tenor Diego Rivera, bass trombonist Wyatt Forhan, trumpeter Walter Cano, trombonist Dease, baritone Andrew Gutauskas and Owens himself, but the leader chose another route, moderating the pace and ardor considerably on "London Towne," "Beardom X" and "Red Chair" before re-engaging the accelerator on "Giant Steps," wherein Rivera and tenor Daniel Dickinson trade sturdy blows before Owens and trumpeter Giveton Gelin add earnest solos.

Alto Alexa Tarantino is showcased on "Language of Flowers," Gelin on "Girl Talk," and there are admirable solos elsewhere by Benack, trombonist Eric Miller, alto Erena Terakubo and trumpeter Summer Camargo (muted on "Harlem"). It's a sometimes choppy maiden voyage but one whose strengths far outnumber its weaknesses. Recommended for the exuberant flag-wavers, first-rate solos and sizeable number of impressive moments on the less-than-emphatic numbers.
https://www.allaboutjazz.com/soul-conversations-ulysses-owens-jr-big-band-outside-in-music

Personnel: Ulysses Owens, Jr.: drums; Walter Cano: trumpet; Benny Benack III: trumpet; Summer Camargo: trumpet; Giveton Gelin: trumpet; Alexa Tarantino: saxophone, alto; Erena Terakubo: saxophone, alto; Diego Rivera: saxophone; Daniel Dickinson: saxophone; Andrew Gutauskas: saxophone, baritone; Michael Dease: trombone; Eric Miller: trombone; Gina Benalcazar: trombone; Wyatt Forhan: trombone, bass; Stefon Harris: vibraphone; Takeshi Ohbayashi: piano; Yasushi Nakamura: bass; Charles Turner III: voice / vocals.

Soul Conversations

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Michael Dease - Best Next Thing

Styles: Trombone Jazz
File: MP3@320K/s
Time: 56:19
Size: 129,9 MB
Art: Front

(6:56) 1. Rainbow People
(4:42) 2. Parker's Brood
(4:47) 3. Tiktaalik
(4:06) 4. Doxy
(6:09) 5. Charly Jaye
(5:40) 6. Glory
(4:53) 7. One for Dease
(7:19) 8. With Love
(5:43) 9. Horse Trading
(6:00) 10. Lullaby for Rita

Michael Dease keeps the music moving forward toward the "Best Next Thing" on his ninth album for Posi-Tone. With clear purpose, Trombonist Michael Dease gathers together an assemblage of exceptional musicians to help him interactively explore the essence of the blues and reframe the abstract truths of jazz as the "Best Next Thing" for today's audience of listeners. Providing support in bringing this vision to fruition, the session features an all-star lineup of musicians including trumpeter Alex Sipiagin, alto saxophonist Rudresh Mahanthappa, pianist Renee Rosnes, bassist Boris Kozlov, and powerhouse drummer Rudy Royston.

As a band leader, Dease makes sure the entire session stays insightfully straight forward and refreshingly melodic throughout while he conducts his topnotch crew through a series of his new compositions and some inventive arrangements of selections crafted by Dease's musical mentors. With this latest release, Michael Dease not only confirms his status as a virtuoso soloist and one of the biggest stars in jazz today, but also demonstrates that he is clearly an artist for jazz fans to rely upon to bring them the "Next Best Thing" in jazz for years to come.https://posi-tone.com/bnthing/bnthing.html

Personnel: Michael Dease - trombone; Alex Sipiagin - trumpet; Rudresh Mahanthappa - alto sax; Renee Rosnes - piano; Boris Kozlov - bass; Rudy Royston - drums

Best Next Thing

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Dizzy Gillespie All-Star Big Band - I'm BeBoppin' Too

Styles: Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 68:16
Size: 157,1 MB
Art: Front

(2:37) 1. I'm BeBoppin' Too
(5:08) 2. Cool Breeze
(7:37) 3. Round Midnight
(5:38) 4. Manteca
(4:52) 5. Birks Works
(7:12) 6. If You Could See Me Now
(4:38) 7. Dizzy's Blues
(7:45) 8. Una Mas
(6:00) 9. I Can't Get Started
(4:55) 10. One Bass Hit
(6:19) 11. Tin Tin Deo
(5:30) 12. Lover Come Back To Me

Tribute bands are often bland affairs, because they become too predictable, while often omitting any artists who played with the deceased artist. Fortunately, this third CD by the Dizzy Gillespie All-Star Big Band mixes veterans who worked with the trumpeter and talented younger players who acquit themselves very well. Trombonist Slide Hampton contributed a fresh chart of Dizzy's "Manteca" that is a bit more introspective and less percussive and shouting, with potent solos by pianist Cyrus Chestnut. Tenor saxophonist Jimmy Heath scored the subtle, hip treatment of Kenny Dorham's "Una Mas," showcasing alto saxophonist Mark Gross, trombonist Douglas Purviance, and baritonist Gary Smulyan.

Vocalist Roberta Gambarini's solid performance of "'Round Midnight" (and Hampton's fresh arrangement) trump those who claim that this landmark Thelonious Monk composition is recorded all too often; there is always room for a top-notch recording such as this one. Gambarini also guests in Heath's setting of Tadd Dameron's bittersweet ballad "If You Could Seem Me Now" and Hampton's snappy setting of "Lover, Come Back to Me." Nor should the brass players be overlooked: Roy Hargrove's lush playing in "I Can't Get Started," plus his comic vocal in the jive piece "I'm BeBoppin' Too," are complemented by Greg Gisbert's searing trumpet and Michael Dease's brief, effective trombone solo. Recommended.~Ken Dryden https://www.allmusic.com/album/im-beboppin-too-mw0000820620

Personnel: Slide Hampton - musical director, trombone; James Moody - tenor sax, flute, vocals; Jimmy Heath - tenor sax; Antonio Hart - lead alto sax, flute; Gary Smulyan - baritone sax; Frank Greene - lead trumpet; Greg Gisbert - trumpet; Roy Hargrove - trumpet, vocals; Claudio Roditi - trumpet; Jason Jackson - lead trombone; Steve Davis - trombone; Michael Dease - trombone; Douglas Purviance - bass trombone; Cyrus Chestnut - piano; John Lee - bass, executive director; Lewis Nash - drums; Roberta Gambarini – vocals

I'm BeBoppin'Too

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Bria Skonberg - So Is the Day

Styles: Vocal And Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 63:26
Size: 148,1 MB
Art: Front

(4:10)  1. Keep Me In The Back Of Your Mind
(7:35)  2. So Is The Day
(7:30)  3. Hip Check
(4:03)  4. I Wish I Hadn't Forgotten
(4:48)  5. Have A Little Heart
(3:45)  6. Far Away
(5:12)  7. Penny In Your Pocket
(4:29)  8. Let Yourself Go
(5:49)  9. Chilliwack Cheer
(4:08) 10. Big Yellow Taxi
(7:48) 11. Gymnopedie
(4:03) 12. My Friend

It's a rare talent that can straddle and dare request membership in the trumpet artist continuum emanating from Louis Armstrong and progressing down through his "Neo Orleans" progeny: Byron Stripling, Wynton Marsalis and Nicholas Payton (whose big band trumpet section Skonberg graces). However, with her bravura performance on So is the Day, Bria Skonberg confirms that she is not only indeed a triple threat musician player, vocalist and composer but also that that esteemed lineage, consummate entertainers all, would heartily approve her membership. This stunningly beautiful British Columbia native plays (and writes and sings) at levels of excellence and maturity far beyond her years. Whether it's plunging and growling away, soaring across the horn's range ferociously, or delivering beautifully constructed lyrical solo lines, Skonberg demonstrates solid chops and great command of her instrument. Displaying artistic flexibility and fire, she unabashedly channels Armstrong, Cootie Williams, Warren Vache, and other legendary players. It's also obvious that Skonberg is an admiring student of the vocal tradition, too. She exhibits stylistic shades of Peggy Lee, Dinah Washington, and Diana Krall. She has a beautiful voice both soul sultry and innocent sweet and an instrumentalist's feel for melodic line and rhythm. Her vocal and horn chops intertwine seamlessly. "Have a Little Heart" is a perfect example. An insightfully versatile composer, Skonberg delivers nine engaging originals, all stylistically unique. 

She's done her homework; the forms and lyric phrasings are classic. "I Wish I Hadn't Forgotten" frames Skonberg with guest John Pizzarelli, a perfect vocal partner, on an elegant guy/gal swinger. "Penny in Your Pocket" grinds blue with Scott Elias' organ. "Hip Check" (a sidewinder turned inside out to 5/4 time) and "Chilliwack Cheer" deal Cajun spice. "Far Away," the most contemporary of her originals, modulates dreamily. Three well-known selections are given refreshed presentations performed with verve. Joni Mitchell's "Big Yellow Taxi" shines with a bouncy Caribbean groove and a beauty of a Skonberg flugelhorn solo. "Let Yourself Go" and Erik Satie's over-recorded "Gymnopedie" are done in Latin-esque treatments. Skonberg's supporting crew is stellar throughout, and seems to relish placing Skonberg in the spotlight. Swinging woodwind artist Victor Goines, trombone stars Wycliffe Gordon and Michael Dease, and a rhythm section of (terrific) pianist Jeff Lashway, the versatile Randy Johnston on guitar, bassist Kelly Friesen, and drummer Ulysses Owens, Jr. collectively and individually energize. So is the Day, while tipping a hat to tradition, appropriately pushes Bria Skonberg to the forefront of today's musical talents. She has it all so does this superb recording. ~ Nicholas F.Mondello  

http://www.allaboutjazz.com/so-is-the-day-bria-skonberg-random-act-records-review-by-nicholas-f-mondello.php
 

Personnel: Bria Skonberg: trumpet, flugelhorn, vocals; Victor Goines: tenor saxophone, clarinet, flute; Wycliffe Gordon: trombone (1, 9); Michael Dease: trombone (11); Jeff Lashway: piano; Scott Elias: organ (7);Randy Johnston: guitar; Kelly Friesen: bass; Ulysses Owens, Jr.: drums; Roland Guerrero: percussion; John Pizzarelli: guitar, vocals (4).

So Is the Day

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Michael Dease - Grace

Bitrate: MP3@320K/s
Time: 68:42
Size: 157.3 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[1:42] 1. Discussao
[6:31] 2. Blues On The Corner
[5:40] 3. In A Mist
[8:26] 4. I Talk To The Trees
[7:10] 5. Four
[4:09] 6. Tippin'
[5:30] 7. Setembro
[5:28] 8. 26-2
[5:56] 9. Toys
[5:56] 10. Love Dance
[6:16] 11. Grace
[5:53] 12. Salt Song

Michael Dease: trombone, valve trombone; Roger Squitero, Circle Rhythm: vocals, percussion; Mark Whitfield: guitar, acoustic guitar; Yotam: acoustic guitar, electric guitar; Sharel Cassity: alto flute, alto saxophone; Eric Alexander: tenor saxophone; Roy Hargrove: trumpet, flugelhorn; Claudio Roditi: flugelhorn; Steve Davis: trombone; Cyrus Chestnut: piano; Gene Jackson: drums.

Michael Dease is to the trombone what Harry Allen is to the tenor saxophone. Lyrical, traditional, well-studied and broad based, both artists can equally get their freak on when necessary. Dease's trombone style contains many influences, but like many conservatory-trained musicians, Dease has had the time and practice to develop is own potent voice. Emerging among a class of young musicians that include Sharel Cassity and Carol Morgan, Dease presents as a neo-traditionalist with pristine chops and a universal exposure (both bandstand and didactic) to music providing him a virtual library from which to draw. Technically, that is all well and good as a description; but what does Dease sound like? Dease's previous recordings, Dease Bones (Astrix Media, 2007) and Clarity (Blues Back Records, 2008) found Dease honing his already very capable craft. His voice and tone have become perfectly rounded with a rich and creamy timbre superbly captured on the Jobim opener, "Discussao."

Bix Beiderbecke's "In A Mist" is post-modern updated by Dease, making it both more densely impressionistic and swinging at the same time, proving that the two not need mutually exclusive. Dease allows himself ample room for exploration with a reigned-in rhythm section providing the propulsion without getting in the way. Dease approaches Miles Davis' "Four" where he doubles on trombone and tenor saxophone. More ballad than bebop, Dease's treatment is languid and moody like an opiate nod. Cyrus Chestnut holds the piece together with a concise solo before Dease does his best Scott Hamilton.

Dease does get his bebop on for Oscar Peterson's "Tippin'" playing J.J. Johnson fast, taking corners like Curtis Fuller. His fluid chops are on display on this song with a taut and effusive solo where he is able to exercise his considerable solo prowess. It is as a balladeer that Dease excels and where his true strength lies, as demonstrated on the two Ivan Lins compositions "Setembro" and "Love Dance." Dease's lone composition, the title piece, is a mid-tempo swinger that sums up well what Dease's finely crafted jazz is all about. C. Michael Bailey

Grace

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Michael Dease - Coming Home

Styles: Trombone Jazz
Year: 2013
File: MP3@320K/s
Time: 69:07
Size: 158,5 MB
Art: Front

(6:59)  1. Solid Gold
(5:46)  2. Motherland
(7:46)  3. Blues Etude
(4:56)  4. In A Sentimental Mood
(7:01)  5. Good & Terrible
(7:43)  6. Lifewish
(6:42)  7. The Shade Of The Cedar Tree
(3:41)  8. Just In Time
(6:30)  9. All Heath
(5:41) 10. The Release
(6:18) 11. Take It To The Ozone

Trombonist Michael Dease's Coming Home is the evolutionary culmination of all of the small group work of which he has been a part. Dease's musical personality reveals itself fully on the disc, one he has populated with a very fine band and thoughtfully composed and selected pieces for that band. Dease's previous work as a leader on Dease Bones (Astrix Media, 2007), Clarity (Blues Back Records, 2008) and Grace (Legacy Jazz Productions, 2011), as well as with multi-reedist Sharel Cassity on Just For You (DW Records , 2009) and Relentless (Legacy Jazz Productions, 2009). Where Curtis Fuller is the patriarch, Wycliffe Gordon the earthy keeper of the flame (and Dease's teacher) and Luis Bonilla the Latin soul of the trombone, Dease is its intellectual heart. Following his fellow Augusta Georgia trombonist teacher to Juilliard, Dease established himself as part of an ambitious group of young musicians who were combining smarts, chops, bandstand and practice and translating that into recordings. Members of this group include Sharel Cassity, trumpeter Carol Morgan, and pianist Orrin Evans.

Dease's compositional and performance approaches are ruled by passionate precision. His playing is exact and well practiced. His tone is expansive and uniform through all registers. These characteristics are demonstrated immediately on the opening tune, "Solid Gold" where Dease shows great velocity in both head and solo playing. He adds mass to this velocity, creating an infectious momentum when playing with a mute as on Duke Ellington's "In a Sentimental Mood." Tony Lustig drops in with his tenor saxophone for the piece giving it a throaty presence. Lustig adds foundation to "Good and Terrible" with his crack baritone playing. His solo is at once gentle and virile on this angular, post-bop piece. Alto saxophonist Steve Wilson turns the gas on high, navigating Dease's complex circuitry. Dease rolls up his sleeves and gets his hands dirty on a searing performance of Oscar Peterson's "Blues Etude." While playing with his typical precision in the head, Dease begins to properly slur and wail in his solo, throwing off notes like pale blue sparks. He shares his solo space with bassist Christian McBride who amply demonstrates why he is Christian McBride and no one else. The instructive presence of pianist Renee Rosnes is heard throughout this fine disc as its timekeeper and drummer Ulysses Owens, Jr. Dease could not have put together a better band for this recording. He has come fully into his own as a leader. ~ C.Michael Bailey  http://www.allaboutjazz.com/coming-home-michael-dease-d-clef-records-review-by-c-michael-bailey.php

Personnel: Michael Dease: trombone; Steve Wilson: alto saxophone; Renee Rosnes: piano; Christian McBride: bass; Ulysses Owens, Jr.: drums; Eric Alexander: tenor saxophone: tenor saxophone (11); Tony Lustig: tenor saxophone (4), baritone saxophone (5); Andrew Swift: percussion (10).

Coming Home

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Sharel Cassity - Relentless

Styles: Flute And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 47:27
Size: 108,9 MB
Art: Front

(4:01)  1. Say What!?
(6:24)  2. Still
(7:10)  3. Relentless
(4:36)  4. Call to Order
(5:20)  5. Love's Lament
(5:37)  6. Song of Those Who Seek
(5:36)  7. No Turning Back
(8:39)  8. On the Nile

Sharel Cassity's second release as a leader gives the alto saxophonist a bit more opportunity to show off her chops, as she adds both soprano sax and flute, while she also focuses extensively on her own compositions, something she omitted from her debut CD, Just for You. Though very youthful in appearance, she's a seasoned musician who started playing young, then detoured from her initial plan to finish her music education at Berklee by opting to play in New York City, where she earned a bachelor's degree at the New School and a master's degree at Juilliard. She has also toured with the all-female Diva big band and Jimmy Heath's big band. Old friend Michael Dease is once again on hand playing trombone, while trumpeter Jeremy Pelt appears on several tracks, with a top-notch rhythm section consisting of veteran pianist Orrin Evans, bassist Dwayne Burno, and drummer E.J. Strickland. Cassity begins on soprano with her delightful brisk blues "Say What?," an intricate number that inspires stimulated improvising all around. Dease, who wrote several numbers for the leader's debut date, penned the warm bossa nova"Relentless," which includes an expanded group with the leader on flute, guests Don Braden on alto flute, flügelhornist Thomas Barber (who also appeared on Just for You), and tenor saxophonist Andres Boyarsky. Cassity's emotional alto sax fits the mood of her bittersweet ballad "Love's Lament," with lush backing by Evans. Cassity doubles on soprano sax and flute (the latter only in the introduction) in Charles Tolliver's enticing, exotic "On the Nile," a harmonically rich arrangement that recalls the power of driving post-bop of the mid-'60s. This is a fine effort by Sharel Cassity, who is clearly one to watch. ~ Ken Dryden https://www.allmusic.com/album/relentless-mw0000824850

Personnel: Sharel Cassity (flute, soprano saxophone, alto saxophone); Don Braden (alto flute); Andres Boyarsky, Andres Boiarsky (tenor saxophone); Jeremy Pelt (trumpet); Thomas Barber (flugelhorn); Michael Dease (trombone); Orrin Evans (piano); E.J. Strickland (drums).

Relentless

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Michael Dease - Give It All You Got

Styles: Trombone Jazz
File: MP3@320K/s
Time: 57:43
Size: 133,4 MB
Art: Front

(5:47) 1. A Sliver Of Silver
(5:18) 2. The Next Level
(4:58) 3. Parker's Fancy
(5:23) 4. Word To The Wise
(5:58) 5. Dave's Boogie-Down
(6:08) 6. Ritmo De Brevard
(4:56) 7. Lake Toxaway Getaway
(5:58) 8. Zanderfied
(7:05) 9. Climb The Mountain
(6:08) 10. Transylvania County Funk Parade

Recalling many of those great Blue Note albums with trombonist Curtis Fuller and Art Blakey, Give It All You Got, the eighth Posi-Tone release by one of today’s leading voices on the trombone, Michael Dease, carries that infectious soul-jazz vibe and percolates with similar energy. Dease has appeared over 200 recordings wirh groups as diverse as Grammy winning artists David Sanborn, Christian McBride, Michel Camilo, and Alicia Keys. This one garners inspiration from his life in jazz education.. It focuses on North Carolina’s The Jazz Institute at Brevard Music Center, which is a two-week summer intensive workshop for 80 dedicated students that follow Dease’s custom-designed curriculum for traditional and progressive jazz study. Most of the musicians on the album are Brevard faculty members as well. The renowned trombonist and two-time Grammy award winner currently serves as Associate Professor of Jazz Trombone at the renowned Michigan State University jazz program and has also been on faculty at Queens College CUNY, The New School and Northeastern University. Many of Dease’s current and former students are enjoying successful careers in the music world. Always an informed, but forward-thinking musician, Dease learned the craft from trombone legends Wycliffe Gordon and Joseph Alessi and his extensive resume is far too reaching to cover in this space. Dease’s opener “Sliver of Silver” was inspired by a 2018 visit to Brevard by famed trumpeter Randy Brecker, who played with the piano icon when first coming up.

Throughout Alfredson’s sizzling B3 gives the proceedings a different color than those Blue Note recordings referenced earlier but this straight-ahead hard bop is terrific whether listening to Tardy’s tenor on “The Next Level” or the leader making his own poignant statements. “Parker’s Fancy,” written by drummer Luther S. Allison is not about Bird, but instead for Dr. Andrew Parker of the Institute. It’s familiar sounding groove fits as easily here as it could have in that glorious soul-jazz era of the early ‘60s with sparkling turns from trumpeter Stanco, Tardy, and the leader. Dease’s “Word to the Wise” is a mid-tempo piece with the leader in conversation with Alfredson until Tardy enters midway and the entire sextet brings it home. “Dave’s Boogie-Down,” as title suggests, is a white-hot burner, written by Alfredson but named for David Sanborn, with whom Dease toured extensively. This one features a blistering solo from altoist Sharel Cassity, one of Dease’s most inspired spots, with Tardy and Alfredson on fire as well, bringing it all to an explosive boil before the abrupt end. We then find the soothing Brazilian tones of “Ritmo De Brevard,” a nod to both Brazilian music and especially Dease’s mentor, the late Claudio Roditi as heard in the reverent tones near the end. “Lake Toxaway Getaway” is another Alfredson composition named for LakeToxaway Country Club where the jazz students from Brevard perform a 90-minute show as part of the curriculum. This is joyous tune, capturing the excitement of the students riding the “big ol’ white school bus” making the mountain climb to the site.

“Zanderfied,” named for the founders of the Institute, features an especially soulful Stanley Turrentine-like take from Tardy and the only guitar spot, a bluesy one, for Randy Alexander. “Climb the Mountain,” by Stanco, is Dease’s favorite track, as true to its name, it just keeps building, beginning rather calmly with turns from all three horns before Alfredson sets the stage for the crescendo, the last notes reflecting a deep exhale, as they have reached the summit. “Transylvania County Funk Parade,” the closer, written on the spot by Dease, is an ode to the collective band members roots in blues and soul. Tardy is on fire pushed by Owens Jr. Dease and Alfredson keep the cauldron boiling before the ensemble takes it out. In his notes Dease has this – “Dig these origins: Tardy/NOLA, Stanco/Detroit, Ulysess/JAX, Alfredson & Brooklyn/Lansing, Luther/Charlotte, Gwen/STL, Sharel/OKC, Napoleon/Ann Arbor (we’ll let that one slide) & Dease/Augusta, GA. These are places that like their Blues and Brevard’s Transylvania County is right in there.” This is one smoking session! Highly recommended.~ Jim Hynes https://www.makingascene.org/michael-dease-give-it-all-you-got/

Personel: Michael Dease – trombone; Anthony Stanco – trumpet/flugelhorn; Gregory Tardy – tenor saxophone; Jim Alfredson – organ; Ulysses Owens, Jr. – drums; Gwendolyn Dease – congas/triangle; Brooklyn Dease – percussion; Luther Allison – drums; Sharrel Cassity – alto saxophone; Randy Napoleon – guitar

Give It All You Got

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Posi-Tone Swingtet - One for 25

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 67:35
Size: 155,7 MB
Art: Front

(5:25)  1. You Dig
(5:58)  2. Eudaimonia
(3:33)  3. Avalanche Suspended
(7:16)  4. For Morgan
(6:05)  5. Dry Clean Only
(5:43)  6. Projection
(5:00)  7. Schlep City
(6:43)  8. Big Pictures
(4:42)  9. Extraction
(6:29) 10. Major Waltz
(5:53) 11. Simón
(4:43) 12. Where With All

One of the few large group sessions ever recorded by the Posi-Tone label, but a set that definitely keeps the soulful vibe of the well-respected imprint  as you might guess from the "Swinget" in the group's name! The lineup is a nonet, but moves with the energy of the smaller combos on the label  no surprise, as players include Farnell Newton on trumpet, Michael Dease on trombone, Diego Rivera on tenor, Patrick Cornelius on alto, Lauren Sevian on baritone, Art Hirahara on piano, Theo Hill on piano and Fender Rhodes, Boris Kozlov on bass, and Rudy Royston on drums! The rhythm players are more than enough to keep things moving  and the group soars strongly through a set of original material that allows plenty of room for the very strong individual voices in the lineup  titles that include "Simon", "Major Waltz", "Dry Clean Only", "You Dig", "Avalanche Suspended", "Projection", and "Where With All".  © 1996-2020, Dusty Groove, Inc. https://www.dustygroove.com/item/945683/Posi-Tone-Swingtet:One-For-25

One for 25

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Tom Tallitsch - All Together Now

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 52:25
Size: 121,6 MB
Art: Front

(4:30)  1. Passages
(3:24)  2. The Night They Drove Old Dixie Down
(5:07)  3. Slippery Rock
(4:47)  4. Big Sky
(5:58)  5. Border Crossing
(4:16)  6. Curmudgeon
(3:40)  7. Uncle Remus
(4:41)  8. Medicine Man
(5:15)  9. Greasy over Easy
(5:07) 10. Dunes
(5:35) 11. Arches

All Together Now the sixth overall effort from tenor saxophonist Tom Tallitsch, and his third for the Posi-tone imprint is a well-balanced musical affair built around a surefooted and wholly capable sextet. Tallitsch works with a rhythm section and two other horns here, creating smart and uncluttered settings that showcase the musicians without boxing them in. He works various stylistic angles into his compositions, touching on myriad moods in the process. There's a driving tune that vacillates between swing and Latin feels ("Passages"), an up-tempo burner ("Border Crossing"), a soulful twist on a Frank Zappa number ("Uncle Remus"), a truncated take on a classic from The Band ("The Night They Drove Old Dixie Down"), and a loping swing jaunt ("Greasy Over Easy"). In each of the aforementioned instances, and elsewhere on the album, Tallitsch manages to include some simple yet effective arranger's touches harmonized horns here, background riffs there, shifting textures, and more while stilling retaining the vibe of a solos-for-everyone session. And with the string of solos on the album opener, he makes it clear that there will be room to blow on this one. Each and every piece gives pause to admire different soloists and/or musical relationships. One number might bring to light the differences and similarities between Tallitsch's tenor approach and Mike DiRubbo's alto work ("Slippery Rock"), another may see pianist/organist Brian Charette ripping through the music while tossing out a choice quote ("Border Crossing"), and a third may find bassist Peter Brendler and Charette working in a reflective space ("Arches"). And that's just a brief sampling of what happens in each of those pieces. The bigger picture in each number is about the balance between personalized expression and group dynamics, as All Together Now speaks to Tallitsch's talents as player and writer, the individual viewpoints of his band mates, and the collective spirit that comes through in these performances. ~ Dan Bilawsky https://www.allaboutjazz.com/all-together-now-tom-tallitsch-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Tom Tallitsch: tenor saxophone; Michael Dease: trombone; Peter Brendler: bass; Mike DiRubbo: alto saxophone; Brian Charette: piano; Mark Ferber: drums.

All Together Now

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Nick Hempton - Odd Man Out

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 64:05
Size: 147,3 MB
Art: Front

(4:44)  1. Nice Crackle
(5:45)  2. Five Ways Through Harsimus Cove
(4:37)  3. The Winnie Blues
(5:24)  4. Day Dream
(6:37)  5. The Set-Up
(4:55)  6. Fifth Floor Run-Up
(5:58)  7. Nights and Mornings
(7:42)  8. The Slip
(5:33)  9. A Bicycle Accident
(6:48) 10. Streetlight Lament
(5:57) 11. Blue Shadows

So, just who is the Odd Man Out? It's not exactly one of the great enigmas of modern times, but it's something to ponder. Not for too long, though, for time will be much better spent enjoying the music. Odd Man Out is the third album from saxophonist Nick Hempton and his band and it represents a notable step forward for what was already an impressive and hugely enjoyable ensemble. So what's changed since Hempton's second album The Business (Posi-Tone Records, 2011)? In many ways it's business as usual on Odd Man Out: same label, same band, same straight-ahead, swinging, approach, same combination of originals plus two covers. Hempton is once again staring out from the right side of the cover, although he now sports a neatly-trimmed beard and a quizzical eyebrow. But there's a bit more stylistic breadth, a few extra surprises, on album number three. Trombonist Michael Dease is a very welcome guest. Paired with Hempton's tight, dry saxophone tone Dease's open, warm trombone really helps to enrich the sound, whether it's on up-tempo numbers such as "Nice Crackle" or slinky groovers like "The Set-Up," which also features a good-humored Dease solo. Duke Ellington and Billy Strayhorn's "Day Dream" written for alto saxophonist Johnny Hodges proves to be a terrific vehicle for Hempton's more considered and reflective side. The ballad is a duet between Hempton and Art Hirahara, with the pianist providing a beautifully judged accompaniment to the saxophonist's melodic interpretation of the tune. Hempton's own "Nights And Mornings" offers another chance for him to show his skills as a balladeer, this time on a film-noirish tune full of images of rainstorms and lonely streets. There are some odd little twists, too. "Five Ways Through Harsimus Cove" sounds at first as though Hempton's soundtracking the progress of a cat burglar in a '60s crime caper. "A Bicycle Accident" has an improvised feel, resolving gradually to the album's more characteristic straight-ahead sound then pausing briefly before kicking in with a selection of moods and grooves a little Latin, a spot of R&B and eventually ending with the plaintive sound of Dan Aran's cymbals. Randy Newman's "Blue Shadows" (from the 1986 movie Three Amigos) adds a bit of country to the mix. Marco Panascia's jaunty bass line and Aran's rat-a-tat percussion set things up for a Roy Rogers vocal, so it's almost a surprise when Hempton's saxophone enters instead. Although it would probably be even more of a surprise if Rogers did suddenly burst into song. ~ Bruce Lindsay https://www.allaboutjazz.com/odd-man-out-nick-hempton-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Nick Hempton: alto saxophone, tenor saxophone; Michael Dease: trombone; Art Hirahara: piano; Marco Panascia: double bass; Dan Aran: drums.

Odd Man Out

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Tom Tallitsch - Ride

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 57:41
Size: 136,1 MB
Art: Front

(4:58)  1. Ride
(3:19)  2. Life On Mars
(3:57)  3. Rubbernecker
(4:35)  4. Rain
(5:33)  5. The Giving Tree
(3:45)  6. Ten Years Gone
(6:16)  7. El Luchador
(7:19)  8. The Myth
(6:08)  9. Knuckle Dragger
(5:35) 10. The Path
(6:09) 11. Turtle

Tenor saxophonist Tom Tallitsch has been on a roll lately. He’s been writing some of the most memorable tunes in jazz over the last couple of years. His latest album, Ride, is streaming at Spotify; tomorrow night, Feb 20 he’s at the Garage (99 7th Ave. South, 1 to Christopher St/Sheridan Square). for happy hour starting at 6 PM, leading a quartet with Jordan Piper on piano, Ariel De La Portilla on bass and Paul Wells on drums. Then next month, on March 27 at 8 PM Tallitsch leads a monstrously good sextet including Mike DiRubbo, David Gibson, Brian Charette, Peter Brendler and Mark Ferber at Victor Baker Guitars, 38-01 23rd Ave, Astoria (N/Q to Ditmars) for a live youtube broadcast. The band on the album is just as good. Art Hirahara is one of the most instantly recognizable pianists in jazz right now, drawing on styles as diverse as the neoromantics, Asian folk and funk. Bassist Peter Brendler continues to build a resume of some of the best recording dates and groups in New York in recent years. Trombonist Michael Dease is another in-demand guy, with nuance to match raw power; drummer Rudy Royston has finally been getting long-deserved critical props, and pushes this date along with characteristic wit and thrill-ride intensity. The album’s title track kicks it off, a brisk, edgy Frank Foster-esque shuffle with some tumbling around from the rhythm section, an expansively uneasy Tallitsch solo echoed by Hirahara followed by a machinegunning Royston Rumble. Rubbernecker, a caffeinated highway theme with subtle tempo shifts, moves up to a spiral staircase sprint from Hirahara. Rain, a plaintive pastoral jazz waltz, is anchored by Hirahara’s sober gospel chords and Royston’s stern cymbals. The Giving Tree, another brisk shuffle, works a vampy, nebulously funk-influenced tune a lot of 70s and 80s fusion bands were shooting for something like this but couldn’t stay within themselves enough to pull it off. The Myth, a rippling, lickety-split piano-fueled shuffle, is sort of a more uneasy, modal take on a similar theme. El Luchador, a wry, tongue-in-cheek Mexican cha-cha, gets some surprisingly pensive rapidfiring sax that Dease follows with a hair-trigger response once he’s finally given the chance.  Dease fuels the droll Knuckle Dragger with an infusion of wide-eyed cat-ate-the-canary blues. The somewhat ironically titled The Path is the album’s most challenging, labyrinthine track, but Royston keeps it on the rails. The album winds up with Turtle and its kinetically romping mashup of latin-inflected drive and moody modalities. There are also two stunningly successful rock instrumentals here. The band does Life On Mars as straight-up, no-BS art-rock anthem Tallitsch’s wistful timbre nails the bittersweetness of the Bowie original. Led Zep’s Ten Years Gone rises with majestic twin horn harmonies from Tallitsch and Dease while the rhythm is totally straight-up, it’s closer to jazz than the Bowie cover. https://newyorkmusicdaily.wordpress.com/tag/tom-tallitsch-ride/

Personnel:  Tom Tallitsch - tenor sax;  Michael Dease - trombone;  Art Hirahara - piano;  Peter Brendler - bass;  Rudy Royston - drums

Ride

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Michael Dease - Bonafide

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 63:48
Size: 147,5 MB
Art: Front

(5:00)  1. Pearls
(6:05)  2. Theme For Basie
(4:59)  3. Rufus McWhitman
(5:18)  4. Tenor Madness
(4:21)  5. Batista's Groove
(6:00)  6. Coexist
(4:45)  7. Forge Ahead
(6:13)  8. Alpha
(8:55)  9. In Walked Wayne
(6:08) 10. Nós
(5:59) 11. The Real Deal

Michael Dease just seems to grow and grow with each new record  not just in sound and fresh ideas, but also in spirit which is especially the case here, on a set that brings in a few other trombonists to the ensemble! The core group has Michael's tight, soulful trombone in a quartet with David Hazeltine on piano, Todd Coolman on bass, and EJ Strickland on drums a rhythm trio as sharp as you'd imagine and various tracks bring in contributions from Marshall Gilkes and Conrad Herwig on trombones, and Gina Benalcazar on bass trombone! Only one of the album's tracks features four trombones, two more feature three trombonists, and three more feature two trombonists and tenorist Sam Dillon also makes an appearance on two of the tracks that just feature Dease on trombone. Phew that's a lot of musical playbooking from us and it's a lot easier to just let the record spin and enjoy the interaction, which shapes the sound nicely in ways that are different than some of Dease's usual albums. Titles include "Forge Ahead", "Coexist", "The Real Deal", "Alpha", and "Rufus McWhitman" all by Dease plus "Pearls", "Theme For Basie", "Batista's Groove", and "Nos" the bossa classic from Johnny Alf.  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/898068/Michael-Dease:Bonafide

Personnel:  Michael Dease - trombone;  Marshall Gilkes - trombone;  Conrad Herwig - t.bone;  Gina Benalcazar - bass t.bone;  Sam Dillon - tenor sax;  David Hazeltine - piano;  Todd Coolman - bass; EJ Strickland - drums

Bonafide

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Doug Webb - Fast Friends

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 55:37
Size: 129,8 MB
Art: Front

(4:23)  1. Last Trane To Georgia
(4:57)  2. Friends Again
(4:35)  3. High Groove, Low Feedback
(5:15)  4. Surfing The Webb
(6:23)  5. Ah-Leu-Cha
(4:31)  6. Dease Things
(5:48)  7. Dream Stepper
(5:04)  8. A Night In Tunisia
(5:07)  9. Dig Doug
(4:35) 10. The Things We Did Last Summer
(4:53) 11. Nopolo

Doug Webb is a heck of a great tenorist here deft, tight, yet wonderfully soulful and open too really the completeness of an old school player on his instrument but without ever sounding old school at all! The tunes are a mix of Webb originals, standards, and bop classics and Doug handles them all with a freshness that's great quick-moving energy that's full of color and life, balanced by work from bandmates Michael Dease on trombone, Mitchel Forman on piano, Chris Colangelo on bass, and Roy McCurdy on drums. The combination of Dease's trombone and Webb's tenor is especially great  and titles include "Last Trane To Georgia", "Dease Things", "Dream Stepper", "Nopolo", "Dig Doug", "Surfing The Webb", and "High Groove Lo Feedback".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/896220/Doug-Webb:Fast-Friends

Personnel:  Doug Webb - sax;  Michael Dease - trombone;  Mitchel Forman - piano;  Chris Colangelo - bass;  Roy McCurdy - drums

Fast Friends

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Behn Gillece - Walk Of Fire

Styles: Vibraphone Jazz 
Year: 2017
File: MP3@320K/s
Time: 58:11
Size: 137,8 MB
Art: Front

(4:59)  1. Walk Of Fire
(5:16)  2. Fantasia Brasileira
(6:06)  3. Bag's Mood
(5:11)  4. Dauntless Journey
(5:40)  5. Battering Ram
(6:55)  6. Reflective Current
(4:50)  7. Something New
(6:35)  8. Specter
(6:35)  9. Break Tune
(5:59) 10. Celestial Tidings

Vibraphonist Behn Gillece thrives on the camaraderie of modern hard-bop. He came to prominence co-leading various ensembles with tenor saxophonist Ken Fowler, frequently changing rhythm sections on their four discs together for Posi-Tone. Walk of Fire is Gillece’s third for the label as the sole leader since then. It might just be the best of the bunch and, not coincidentally, features a septet, his largest working group thus far, performing 10 of his original tunes. Gillece writes sturdy melodies with familiar chord changes, so that a galvanizing frisson can be established by different textures slotted into the arrangements. The themes surge as a procession of soloists take turns against the template. It doesn’t hurt that the three-member horn section consists of Posi-Tone headliners both established (trombonist Michael Dease, saxophonist Walt Weiskopf) and up-and-coming (trumpeter Bruce Harris). Their solo transitions are seamless and buttery on the opening title song and “Dauntless Journey”compositions that retain a simmering pace, a relaxed tension arising from the taut communication of pros at work. Gillece indulges two of his longstanding affections: the creamy sophistication of Brazilian music, on the samba “Fantasia Brasileira”; and the quicksilver stroll of Milt Jackson on “Bags Mood,” neatly abetted by some laidback phrasing from Harris. The rhythm section snares the spotlight at various points in passing: Jason Tiemann’s drum and cymbal fills on “Battering Ram,” Adam Birnbaum’s extended piano solo to cap “Something New,” and a sans-horns quartet rendition of “Reflective Current.” Gillece is a tasteful four-mallet stylist who prefers to gracefully surf the mainstream current rather than dazzle with speed and affectation. That said, when you pay attention, both his ensemble work throughout the disc and his solos on tracks like “Walk of Fire,” “Bags Mood” and “Specter” steadily unveil the depth of his abundant technique and dogged imagination. The camaraderie here includes the listener.~ Britt Robson  https://jazztimes.com/reviews/albums/behn-gillece-walk-of-fire/
 

Personnel:  Behn Gillece - vibraphone;  Michael Dease - trombone;  Walt Weiskopf - tenor sax;  Bruce Harris - trumpet;  Adam Birnbaum - piano;  Clovis Nicolas - bass;  Jason Tiemann - drums.

Walk Of Fire

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Wycliffe Gordon - Dreams of New Orleans

Styles: Trombone And Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 72:32
Size: 170,0 MB
Art:

(4:33)  1. When the Saints Go Marching In
(4:17)  2. Darktown Strutters' Ball
(5:34)  3. St. Louis Blues
(4:08)  4. Chinatown
(6:24)  5. Panama
(3:10)  6. Lil' Liza Jane
(7:07)  7. Some of These Days
(4:02)  8. Tiger Rag
(4:52)  9. Avalon
(5:12) 10. Royal Garden Blues
(5:53) 11. St. Louis Blues
(5:36) 12. Won't You Come Home Bill Bailey
(4:54) 13. Back Home Again in Indiana
(2:44) 14. Down by the Riverside
(4:05) 15. Sweet Papa, Mama's Getting Mad

Trombone player Wycliffe Gordon is best known for his work with the Lincoln Center Jazz Orchestra, under the direction of jazz maestro, Wynton Marsalis. The versatile trombonist can scat, multi-note, slide, and plunge, just like he stepped out of the 1930s. Gordon has played with many jazz luminaries, including Dizzy Gillespie, Joe Henderson, Branford Marsalis,Lionel Hampton, Tommy Flanagan, and Shirley Horn. His musical colleagues call him "Pine Cone," since he grew up in the piney woods of Georgia. It must have been this Ellington era quality that caught the ears of jazz educator Wynton Marsalis, who heard Gordon play while the trumpeter was giving a workshop at Gordon's alma mater, Florida A&M University. Their fortuitous meeting resulted in Gordon joining the Wynton Marsalis Septet, as well as the Lincoln Center Jazz Orchestra, in 1989. As a member of the illustrious band, Gordon contributed as both musician and composer. Gordon, who like Charles Mingus says he hears music in his head all the time, has managed to write some of it down, and then hear it performed all over the world by the Lincoln Center Jazz Orchestra. Whether they know it or not, National Public Radio fans are familiar with the musician's work: In 1993, Gordon composed the NPR theme song. Gordon, an admirer of Louis Armstrong, J.J. Johnson, and Jack Teagarden, prefers the melodic approach to playing and composition. The listener can hear that on any of his outstanding recordings. His first outing was with fellow trombonist Ron Westray on their 1996 release, Bone Structure. More good things came with Slidin' Home, recorded in 1999. Joined by Victor Goines, Eric Reed, Rodney Whitaker, Herlin Riley, Milt Grayson, Joe Temperley, and Randy Sandke, Gordon really struts his stuff on this one, showing a wide range of influences from big band to gospel.

The Search, recorded in 2000, ranges as far and wide as the title suggests, and includes Gordon holding forth on the didgeridoo. Gordon, whose father was the pianist at the church the trumpeter grew up in, devotes himself to his gospel roots on The Gospel Truth, (2000). What You Dealin' With, (2001), continues in a jazz vein with original compositions and jazz standards. Gordon's 2002 release We may be his best yet, as the trombonist collaborates with pianist Eric Reed on jazz and gospel tunes. Besides performing and educating at his own music school in his hometown of Augusta, GA, Gordon has another important project: writing the score for the Oscar Micheaux 1925 silent film, Body and Soul. Paul Robeson starred in the movie about race, religion, and small town life in the South. Gordon drew upon his own Southern upbringing to produce music from the church, the bars, and the home, to be performed by the Lincoln Center Jazz Orchestra. Gordon has begun to evidence an interest in vocalizing, something which he says he plans to do increasingly. The results are sure to be top drawer, as the exuberant Wycliffe Gordon throws himself into things, body and soul. ~ Rose of Sharon Witmer  https://itunes.apple.com/us/album/dreams-of-new-orleans/557724173

Personnel: Wycliffe Gordon (trombones, trumpet, vocals), Jon Erik-Kellso (trumpet, backing vocals), Adrian Cunningham (clarinet, soprano saxophone), Michael Dease (trombone, tenor and baritone saxophone, trumpet, backing vocals), Matt Munisteri (guitar, banjo, vocals), Ibanda Ruhumbika (tuba), Marion Felder (drums)

Dreams of New Orleans

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Michael Dease - Reaching Out

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 54:56
Size: 126,2 MB
Art:

(5:03)  1. Something In Common
(3:55)  2. Live And Let Die
(5:56)  3. Morning Shade
(4:57)  4. Tipping Point
(4:17)  5. More Than Words
(4:18)  6. Double Luminosity
(4:43)  7. The Takeover
(5:48)  8. Ballad
(6:11)  9. The Chameleon Eye
(4:15) 10. Blackfoot
(5:28) 11. Water Runs Dry

Somebody has to be the keeper of the flame, right? In jazz, an art form that has only recently passed the century mark, that responsibility has seemed to diminish in importance. It's not that music schools aren't churning out graduates versed in the traditional repertory, and post-modern players aren't constantly pushing the envelope of possibilities. It's just that we need more musicians like Michael Dease who, to quote Art Blakey, play jazz that "washes away the dust of everyday life." With Reaching Out, his fifth for Posi-Tone Records (a label whose mission is to throw accelerant on that flame) he doubles down on the joy of music making. He seems to always find kindred souls who share in his vision, as shown in previous recordings with the veterans Renee Rosnes, Lewis Nash, Steve Wilson, Christian McBride, and Rodney Whitaker. Here, he recruits two giants of the saxophone Ralph Bowen and Walt Weiskopf to interact with some younger talent players that have the makings of true believers.

What we mean by that is Dease prioritizes the happiness in his jazz. Take the opener, Cedar Walton's "Something In Common," or Steve Turre's "Blackfoot." Both are pieces that are overflowing with a joyful swing. The latter composition, modeled after "Cherokee," is delivered at an auctioneer's hyperspeed with Bowen and Dease chasing drummer Zach Adleman's turbocharged tempo. There is a return to the hipness factor in this music. Dease's original, "The Chameleon Eye," grabs memories of Lee Morgan's funkiness and injects some Herbie Hancock-like rhythm-intensive lines. The composition features the young and talented vibraphonist Behn Gillece (check out his Walk Of Fire (2017)). What makes Dease stand out is his love of melody and ability to craft arrangements to accentuate such. Perfect examples are the three cover tunes, Babyface's "Water Runs Dry," Paul and Linda McCartney's "Live And Let Die," and the 1990s hair metal band Extreme's "More Than Words." McCartney's title track to the James Bond movie of the same name is given all of the dramatic effect of the original, from it's most gentle beginnings to the soulful dramatics and swinging interludes. All of the covers here could, with lesser arrangements, become schmaltzy or sentimental. But like the masters, Coltrane's take on "My Favorite Things" or Miles' "Surrey With the Fringe On Top," Dease champions familiar music and makes it new again. ~ Mark Corroto https://www.allaboutjazz.com/reaching-out-michael-dease-posi-tone-records-review-by-mark-corroto.php

Personnel: Michael Dease: trombone; Ralph Bowen: tenor saxophone; Walt Weiskopf; tenor saxophone, alto saxophone; Behn Gillece: vibraphone; Luther Allison: piano; Peter Brendler: bass; Zach Adleman: drums.

Reaching Out

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