Something Else! - Soul Jazz

Styles: Bop
Year: 2024
Time: 50:54
File: MP3 @ 320K/s
Size: 117,1 MB
Art: Front

(4:56) 1. Filthy McNasty
(7:55) 2. Too Blue
(4:05) 3. Mean Greens
(4:57) 4. The Chicken
(7:05) 5. Driftin'
(7:23) 6. Slow Drag
(5:34) 7. Strasbourg/St. Denis
(8:57) 8. Naima (Bonus Track)

Jazz supergroup Something Else! is led by Vincent Herring, featuring some of the very best musicians today, playing some of the most iconic toe-tapping Soul Jazz songs ever created. This era of fantastic, rhythmic and soul warming music will be presented with new arrangements plus original compositions in the same genre.

The septet lineups draw from a pool of talented artists whose combined talents make for exciting, danceable and hugely enjoyable shows.

Alto Sax: Vincent Herring
Trumpet: Jeremy Pelt / Randy Brecker / Freddie Hendrix
Tenor sax: James Carter / Eric Alexander
Guitar: Paul Bollenback / Russell Malone
Piano: David Kikoski / Mike LeDonne
Bass: Essiet Essiet / Yasushi Nakamura
Drums: Lewis Nash / Jeff Watts / Johnathan Blake

"The jazz supergroup Something Else!, …then followed with top-shelf soul-jazz and swing… Every one of these musicians is elite it was an extraordinary set. “ ~ Glide Magazine

“…the band wears its hard-bop heart on its sleeve …It practically dares audiences to sit still and remain on their best behavior.” By Steve Futterman, The New Yorker
https://atljazzfest.com/artists/something-else/

Soul Jazz

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Tad Shull - Deep Passion

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 70:32
Size: 161,6 MB
Art: Front

( 8:18)  1. Tadpole
(11:11)  2. Big Ears
(10:50)  3. June Night
( 8:37)  4. Why
( 9:30)  5. Soul Stirrin'
( 8:02)  6. The Breeze And I
( 5:34)  7. Deep Passion
( 8:25)  8. The Eldorado Shuffle

Tad Shull is a tenor saxophonist, composer and bandleader with a number of records on Criss-Cross Jazz. His style combines the lush tone quality of the classic tenor saxophonists with the risk-taking harmonic approach of hard bop and beyond.After studying with David Liebman and Joseph Allard, Shull worked with the Widespread Depression Jazz Orchestra and the Smithsonian Jazz Repertory Ensemble. More recently he has fronted his own quartets. He has performed with Cab Calloway, Roy Eldridge, Dizzy Gillespie, Woody Herman, Eddie Higgins, Milt Hinton, Dave McKenna, Melvin Rhyne, and many others. Recordings under Tad Shull’s name on the Criss Cross label include “Deep Passion” and “In the Land of the Tenor.” He has two discs with the Tenor Triangle, featuring Ralph Lalama, Eric Alexander, and Tad Shull with the Melvin Rhyne Trio: “Tell It Like It Is ” and “Aztec Blues,” for which Shull composed the title cut. He also teamed with tenor saxophonist Mark Turner for “Two Tenor Ballads” and appeared as a special guest on Mel Rhyne’s Tomorrow Yesterday Today.

Tad Shull is Associate Director of the Center for Jazz Studies at Columbia University. The organization is a leader in generating and sharing knowledge on jazz and improvisation. Shull specializes in providing access to and organizing the enormous and growing storehouse of information on jazz on the Internet. He is Editor of Jazz Studies Online, which presents resources for educators, students, and researchers. He is also creator and manager of J-DISC, an online resource for information about jazz recordings, the people who made them, and the culture they arise from. New J-DISC initiatives include linking information on artists in J-DISC to other useful resources; exploring ways to identify and distinguish jazz audio using machine learning and other engineering and mathematical tools; and creating a forum for jazz experts to discuss jazz recordings and the legacy of jazz history they contain. http://www.tadshull.com/?page_id=2

Personnel: Tad Shull (tenor saxophone), Irvin Stokes (trumpet), Mike LeDonne (piano), Dennis Irwin (bass), Kenny Washington (drums).

Deep Passion

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Mike LeDonne - Heavy Hitters

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:19
Size: 141,1 MB
Art: Front

(8:19) 1. Hub
(6:39) 2. A New Day
(7:30) 3. Silverdust
(5:25) 4. Un Dia Es Un Dia
(5:37) 5. Big Richard
(7:57) 6. Chainsaw
(6:14) 7. This Is Something New
(6:07) 8. Cedar Land
(7:27) 9. Bluesit

The self-titled debut from the Heavy Hitters, pianist Mike LeDonne's latest sextet, has the feel of a tribute album. However, unlike most recordings of that nature, there is no classic repertoire present, as all nine tracks are penned either by LeDonne or his colleague, tenor saxophonist Eric Alexander. Instead, it is a tribute to a sound that LeDonne and partners are aiming for: in this case, that of the iconic Blue Note label's 1950s-60s period, when artists such as Freddie Hubbard, Joe Henderson, Wayne Shorter, Herbie Hancock and many others effectively placed their stamp on midcentury jazz. From the bold yet straightforward design of the album's cover, to the choice of recording venue in fabled Blue Note producer Rudy Van Gelder's former studio, Heavy Hitters evokes that golden era of jazz with panache and top-quality musicianship.

The musicians do not disguise their musical debts. The crackling opener, "Hub," will have Hubbard fans going back to revisit classic gems such as Hub-Tones (Blue Note, 1963) or Breaking Point (Blue Note, 1964), and the Horace Silver vibes run deep on "Silverdust," with a hard-bop head that sails along effortlessly and with an undeniable groove. Elsewhere other jazz legends are acknowledged, as "Cedar Land" is built over a chord progression from pianist Cedar Walton's "Holy Land," while "This is Something New" is adapted from an unfinished tune by saxophonist George Coleman.

Projects of this sort invariably take the risk of becoming mere exercises in nostalgia, reminding us of the unsurpassed greatness of the titans of old. While there are moments here in which that can happen, as a listener temporarily forgets that they are hearing something recorded not in 1965 but in 2022, the abundance of strong playing throughout the disc is more than enough to maintain interest.

LeDonne's solos are terrific, but perhaps even more impressive is his comping, which is consistently inventive and rhythmically tenacious: check out his work underneath the soloists on the Latin-hued "Un Dia es un Dia" as evidence, where he digs in with zest to keep the music moving. The horns, which include not only Alexander but also alto saxophonist Vincent Herring and trumpeter Jeremy Pelt, bring plenty of fireworks to the proceedings; but they are also able to carve out more pensive ruminations as well.

Alexander's heartfelt statement on the lovely ballad "Big Richard" is a case in point. And the bass-drums tandem of Peter Washington and Kenny Washington is tough to beat, with impeccable instincts for swing and groove. All in all, this is a satisfying release that extracts a lot of fine contributions from musicians who are indeed among the "heavy hitters" of their generation. Fans of classic jazz will very much appreciate the spirit and dedication on display here. By Troy Dostert
https://www.allaboutjazz.com/heavy-hitters-heavy-hitters-cellar-music-group

Personnel: Mike LeDonne: organ, Hammond B3; Eric Alexander: saxophone, tenor; Jeremy Pelt: trumpet; Vincent Herring: saxophone; Peter Washington: bass; Kenny Washington: drums; Rale Micic: guitar.

Heavy Hitters

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Wycliffe Gordon - Boss Bones

Styles: Trombone Jazz
Year: 2009
File: MP3@320K/s
Time: 62:28
Size: 144,2 MB
Art: Front

(6:01) 1. Spop
(5:36) 2. The Nick Of Time
(8:39) 3. Recorda-me
(8:37) 4. Another Slow One
(6:12) 5. Stardust
(8:08) 6. Wheatleigh Hall
(6:48) 7. Here's That Rainy Day
(7:32) 8. Nica's Dream
(4:52) 9. Anthropology

Jazz trombonist Wycliffe Gordon has established himself as a major soloist, mostly because of his fine work with the Lincoln Center Jazz Orchestra. Gordon’s approach draws upon the sounds of jazz’s New Orleans origins (vocalized growls, smears, etc.) along with the advances of bebop and beyond.

Bones Tones is an unusual album in that it features another trombonist in its “horn section,” namely Andre Hayward, also a member of the Lincoln Center band. Whereas some jazz albums try to impress with the listener with capital-S seriousness, BONES is a swinging, joy-filled frolic through classic jazz standards (by Parker, Gillespie, and Horace Silver) and a few bracing Gordon originals. By Mark Keresman https://www.allmusic.com/album/boss-bones-mw0000785115

Personnel: Wycliffe Gordon (Trombone), Andre Hayward (Trombone) Mike LeDonne (Piano), John Webber (Bass), Kenny Washington (Drums)

Boss Bones

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David Lahm - Jazz Takes on Joni Mitchell

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

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

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

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

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

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

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

Jazz Takes on Joni Mitchell

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Chris Flory, Mike LeDonne, Mark Taylor - Word On The Street

Bitrate: MP3@320K/s
Time: 61:03
Size: 139.8 MB
Styles: Swing, Guitar jazz
Year: 1996
Art: Front

[5:40] 1. When You Grow To Old To Dream
[4:39] 2. Snibor
[6:38] 3. Comes Love
[5:05] 4. Crazy, He Calls Me
[4:53] 5. Taps Miller
[4:58] 6. You Don't Know Me At All
[6:10] 7. I'm A Fool To Want You
[7:10] 8. Going To Meetin'
[8:10] 9. Don't You Know I Care (Or Don't You Care To Know)
[7:35] 10. The Touch Of Your Lips

Chris Flory (guitar); Mike LeDonne (organ); Mark Taylor (drums). Recorded at Sear Sound, New York, New York on September 22, 1996.

Especially inspired by guitarist Bill Jennings and organist Wild Bill Davis, Flory swings relentlessly, often serving up a generous blues helping. On this recording he opts for the organ trio format, relying on the talents of B-3 pilot Mike LeDonne and drummer Mark Taylor.

The tunes themselves, generally not associated with the organ trio, constitute one of the more obvious aspects that set this album apart. “Comes Love” gets a Latin make over and finds Flory swinging hard over clave rhythm rim shots and a lush organ cushion. He particularly burns on Basie’s “Taps Miller,” a brisk rhythm changes workout that also features LeDonne’s fancy footwork on the B-3’s pedals and Taylor’s tight, succinct fills. But Flory can also play it soft and sensitive, as he demonstrates on “I’m A Fool To Love You,” where he renders the melody with lyrical single notes and octaves before taking the tempo up a notch for the solos. A grooving, refreshing blend of tradition, subtle creativity, and fiery fretwork. ~Jim Ferguson

Word On The Street

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Mike LeDonne, The Groover Quartet + Big Band - It's All Your Fault

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 51:27
Size: 118,6 MB
Art: Front

(6:34) 1. It's All Your Fault
(6:44) 2. Matador
(6:09) 3. Rock with You
(6:54) 4. Still
(5:33) 5. Party Time
(5:17) 6. Bags and Brown
(6:20) 7. Biggest Part of Me
(7:53) 8. Blues for Jed

One of the coolest, grooviest settings for the Hammond of Mike LeDonne that we've heard in years a set that mostly features him working with a larger ensemble, at a level that brings back some of the great 60s sessions from Jimmy Smith and Oliver Nelson! Yet given Mike's touch on the keys, and the more contemporary mode of the groove, there's a nicely different vibe here not just retro jazz organ with big band, but a new chapter in the book balanced here with work from LeDonne's Groover Quartet which features work from Eric Alexander on tenor, Peter Bernstein on guitar, and Joe Farnsworth on drums. All three of those players are also in the larger group and if you're keeping track, the set features five big band numbers, and three quartet tunes. Titles include "Matador", "It's All Your Fault", "Bags & Brown", "Blues For Jed", "Rock With You", and "Party Time". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/983958/Mike-LeDonne:It%27s-All-Your-Fault

It's All Your Fault

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Mike LeDonne - The Groover

Styles: Jazz, POst Bop
Year: 2009
File: MP3@320K/s
Time: 61:56
Size: 143,4 MB
Art: Front

(6:59) 1. Rock With You
(6:36) 2. Blues For McCoy
(6:39) 3. Little Mary
(8:24) 4. I'm Goona Make You Love Me
(7:17) 5. Deep Blue
(5:43) 6. Sunday in New York
(6:03) 7. Bopsolete
(7:58) 8. The Groover
(6:14) 9. On the Street Where You Live

What kind of music "grooves" exactly? Look no further. Hammond B3 organist Mike LeDonne teams with a group of accomplished musicians to put together an album that simply grooves hard all the way to the final chord. Reminiscent of Jimmy Smith and Charles Earland, LeDonne plays with conviction and soulfulness on an album that sounds more like a jam session than a studio release. From the first few bars, it is clear that the casting of this album is impeccable. Guitarist Peter Bernstein's warm, robust sound blends so well with LeDonne's that at times it is difficult to pick out his playing. Drummer Joe Farnsworth complements all the other musicians well, making this group sound even better than it is. Tenor saxophonist Eric Alexander's focused tone is darkened up a bit for this recording, resulting in a well-balanced palette of tonal colors. The catchy opening track, "Rock With You," is almost too arranged and could stand to have a bit more of LeDonne's blowing and less of Alexander's backgrounds in the closing minute. Immediately after, the listener is thrust into a tune better characterized as a burner than a groover, "Blues for McCoy," which lets Alexander do what he does best rip through an up-tempo tune with poise.

The real gem of this album is a simple, child-like melody written by Benny Golson for LeDonne's daughter, entitled "Little Mary." Golson even included an introduction that sounds like music at a carnival, offering a mindset of innocence of joy. As if catching their breath from the last track, all members stay true to the tune and don't get excessively harmonically sophisticated or feel the need to prove themselves. It is very refreshing to hear modern jazz musicians take a simple tune and play some truly beautiful, melodic lines without getting caught up in taking their improvisation outside the changes. "I'm Gonna Make You Love Me" leaves something to be desired from LeDonne but Bernstein weaves in and out of the straight-forward progression utilizing a tasty variety of articulation and phrasing. Things get slowed down with LeDonne's original "Deep Blue," where Bernstein again shines. His guitar seems to have the ability to connect with the unique characteristics of every tune he plays. This one is the type of mournful outpouring of the soul that comes at three o'clock in the morning, laid back and reflective.

The most progressive and riveting of all the pieces is the LeDonne powerhouse "Bopsolete," which he fearlessly tears through, without the support of Bernstein or Farnsworth, for a sublime minute long adventure. Farnsworth treats the listener to a melodic and well-structured solo before LeDonne and Alexander join together on the finger-busting head to close out the tune. The title track is a shuffle-style LeDonne original that grooves like no other on this album. The patience shown by Alexander and Bernstein shows their maturity when it comes to tasteful improvisation. LeDonne employs a nice mixture of traditional bluesy lines with a modern intervallic approach. Farnsworth and LeDonne find their strongest chemistry on this track. Closing with a more modern take on "On the Street Where You Live" is somewhat anti-climactic: the track swings hard but doesn't exactly "groove." Regardless, it is a joy to listen to all soloists weave with invention through a more difficult harmonic structure. This album often comes across like a modern parnership between Jimmy Smith and tenor saxophonist Stanley Turrentine, but with a modern twist. To make it even better, LeDonne got his hands on an outstanding guitarist and drummer to boot. These four musicians recorded previously on LeDonne's "Smokin' Out Loud" (High Note, 2004) and "On Fire" (Savant, 2006). Of the three discs, this is without question the most mature. LeDonne sounds more like a B3 player, and less like a pianist attempting to play B3, every time he records with this group.~ Sean Coughlin https://www.allaboutjazz.com/mike-ledonne-the-groover-by-sean-coughlin.php

Personnel: Mike LeDonne: Hammond B3 organ; Eric Alexander: tenor saxophone; Peter Bernstein: electric guitar; Joe Farnsworth: drums.

The Groover

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George Coleman - A Master Speaks

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 66:03
Size: 153,1 MB
Art: Front

(12:40) 1. Invitation
( 6:54) 2. The Shadow Of Your Smile
( 6:56) 3. Blues For B.B. (Feat. Peter Bernstein)
( 6:00) 4. Blondie's Waltz
( 6:39) 5. You'll Never Know What You Mean To Me
( 8:07) 6. Darn That Dream
( 5:15) 7. Sonny's Playground
( 8:00) 8. These Foolish Things
( 5:28) 9. Time To Get Down

Like the pronouncements of a sage, legendary tenor saxophonist George Coleman's new recording A Master Speaks communicates both wisdom and wonder that bespeaks Coleman's half century in music. At 80-years-old, Coleman sounds, as ever, both vital and timeless. He's obviously invigorated by the deep sense of swing and classic hard-bop feel of the quartet he's assembled. A Master Speaks is Coleman's first release as a leader in nearly 20 years and first recording since the 2002 all-star live tribute album Four Generations of Miles. The rarity of the session is remarkable in itself; even more special is the fact that it grew out of a desire shared by Coleman and his son, drummer George Coleman Jr., to finally record together.

They're joined by a stellar band featuring pianist Mike LeDonne and bassist Bob Cranshaw, with guitarist Peter Bernstein making a special guest appearance. A man of few words, Coleman nonetheless conveys his thoughts with unparalleled eloquence when he speaks through his instrument, as profoundly evidenced by the nine tracks on A Master Speaks, his long overdue return to the studio.
https://www.amazon.com.au/MASTER-SPEAKS-GEORGE-COLEMAN/dp/B01C4HDL0M

Personnel: Tenor Saxophone – George Coleman; Bass – Bob Cranshaw; Drums – George Coleman, Jr. ; Guitar – Peter Bernstein; Piano – Mike LeDonne

A Master Speaks

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Hendrik Meurkens - Cobb's Pocket

Styles: Harmonica Jazz
Year: 2019
File: MP3@320K/s
Time: 50:18
Size: 116,3 MB
Art: Front

(6:07)  1. Driftin'
(4:47)  2. Cobb's Pocket
(8:34)  3. Frame for the Blues
(6:29)  4. Slidin'
(5:40)  5. Slow Hot Wind
(5:35)  6. Unit Seven
(6:25)  7. Polka Dots and Moonbeams
(6:38)  8. A Slow One

It may be posited that what Louis Armstrong was to the trumpet, Toots Thielemans was to the mouthorgan. With Thielemans now blowing in the Upper Room, the field is open to aspiring and worthy replacements. Hendrik Meurkens fits that bill appropriately and is a leading contender, for sure. Like his aforementioned hero, Meurkens is not only a superior harmonica player, he is, like Thielemans, a multi-instrument-playing musician.

Cobb's Pocket, a very fine effort, has Meurkens fronting a terrific rhythm section consisting of B-3 organ, guitar and drums. Not a lengthy album -there are only eight tracks. The session offers terrific ensemble playing and great jazz improv across a variety of grooves. "Driftin'" is a Herbie Hancock-composed head-tilting ear-wormer that has Meurkens and Bernstein's guitar working its way over a hip, with a struttin' head and LeDonne chiming in before Meurkens, Bernstein and LeDonne deliver pocketed solos. The pairing of harmonica and guitar on melodies is an excellent touch that adds a robust dimension. The title cut, a Meurkens composition, is a respectful and furiously-paced tip of the hat to legendary drummer Jimmy Cobb. It is a burner with leader and cadre delivering smoking solos. Maestro Meurkens is a technical wizard. He holds little back and swings heavily throughout the date. His chops have chops. His improvisations are swinging, extended lines that resemble of those of a saxophonist or pianist. Remember, Meurkens is also an ace vibraphonist. He is (and all are) soulful on Slide Hampton's "Frame for the Blues" and he demonstrates great dynamic taste on "Polkadots and Moonbeams." Bernstein offers great swing and a tasty solo on the leader's "Slidin' and Henry Mancini's bossa, "Slow Hot Wind." LeDonne, as underrated as he is talented, is a swinger in the finest B-3 tradition. Cobb, a near-nonegenarian at the time of the session, is tasty and driven throughout and offers a fine solo on "Unit Seven."

Cobb's Pocket is shorter in length, but extensive in its delivery of an A-1 entertaining session. This is a pocket to be picked. And yes, The Baron would be proud. https://www.allaboutjazz.com/cobbs-pocket-hendrik-meurkens-in-and-out-records-2

Personnel: Hendrik Meurkens: harmonica; Peter Bernstein: guitar; Mike LeDonne: B-3 organ; Jimmy Cobb: drums.

Cobb's Pocket

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Mike LeDonne - Partners in Time

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 53:31
Size: 123,3 MB
Art: Front

(6:04)  1. Lined with a Groove
(6:34)  2. My Funny Valentine
(8:33)  3. Saud
(6:46)  4. Lament
(7:30)  5. Recovery Blues
(4:36)  6. Here's That Rainy Day
(7:39)  7. N.P.S.
(5:46)  8. Bopsolete

Mike LeDonne is on piano this time around not his more-familiar Hammond organ and he's working in a really fantastic trio with Christian McBride on bass and Lewis Nash on drums! Both players have made lots of wonderful records over the years, but there's something really special about this one as if LeDonne's bold approach to the piano seems to unlock even more energy in their rhythms maybe in part because Mike's always partially tuned to the needs of a bassist, which he sometimes handles with his feet on the pedals of the Hammond. Obviously, that's not the case this time around but he does often play in these bold, blocky ways that are perfect for Nash and McBride to augment on titles that include "Saud", "Lined With A Groove", "Recovery Blues", "Here's That Rainy Day", "NPS", and "Bopsolete".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/921006/Mike-LeDonne:Partners-In-Time

Personnel: Piano – Mike LeDonne;  Acoustic Bass – Christian McBride; Drums – Lewis Nash

Partners in Time

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Eric Alexander - The Battle: Live at Smoke

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 60:33
Size: 139,5 MB
Art: Front

(12:49)  1. Blues up and Down
(10:48)  2. Road Song
( 9:37)  3. Firm Roots
( 8:08)  4. Ritual Dance
(11:07)  5. Shirley's Song
( 8:01)  6. Eleven Years

Without a doubt, Eric Alexander is one of the most hardworking and serious young tenor saxophone players out there. To see him perform live is to witness technical fluency combined with up-tempo and hard boppin' intensity. This recording, taped live at Smoke in New York, finds him joined by the equally talented Vincent Herring on alto sax. The first track sets the stage for the whole session. "Blues Up And Down is the classic stomping blues showcased by Gene Ammons and Sonny Stitt on Boss Tenors (Verve, 1961), but with a few added harmonic curveballs. Since Alexander and Herring play different instruments, the final exchanges between the two demonstrate their ability to feed off, rather than upstage each other. In that sense these two musicians are not engaged in an actual battle, but rather a motivational exercise that puts them both at the top of their game. They do the same in an easy tempo on Wes Montgomery's "Road Song, with bassist John Webber laying down the structure and Mike LeDonne showcasing piano voicings that some have associated with to McCoy Tyner. "Ritual Dance, a composition by the drummer Carl Allen, lets Eric Alexander draw from his Coltrane influences by double-timing on his solo and even throwing in a quick reference to "Mr P.C." "Shirley's Song provides a relaxing ballad before the group ends the "battle just as it started, with "Eleven Years. ~ Alain Londes https://www.allaboutjazz.com/the-battle-live-at-smoke-eric-alexander-highnote-records-review-by-alain-londes.php

Personnel: Eric Alexander: tenor saxophone; Vincent Herring: alto saxophone; Mike LeDonne: piano; John Webber: bass; Carl Allen: drums.

The Battle: Live at Smoke

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Eric Alexander Quartet - Lazy Afternoon: Gentle Ballads IV

Styles: Saxophone Jazz

Year: 2015

File: MP3@320K/s

Time: 70:46

Size: 163,0 MB

Art: Front

(7:45)  1. Feelin' Good

(6:26)  2. Lazy Afternoon

(6:49)  3. When Love Was New

(7:17)  4. Slow Hot Wind

(7:07)  5. My Funny Valentine

(7:38)  6. Goodbye

(7:13)  7. When We Were One

(7:13)  8. The Good Life

(6:39)  9. Angel Eyes

(6:36) 10. Blue Gardenia

Eric Alexander has had many opportunities to record as a leader for several different labels, though producer Tetsuo Hara, owner of the Japanese label Venus, has become a huge fan, recording him almost any time he travels to New York City. This 2008 session finds the tenor saxophonist with several musicians with whom he is very familiar, including pianist Mike LeDonne, bassist John Webber, and drummer Joe Farnsworth (the latter two who play with Alexander in the co-op band One for All). There's no mistaking the influence of John Coltrane in the loping opener, "Feelin' Good," where Alexander projects a huge tone on his instrument and LeDonne works in a few runs and chords suggestive of McCoy Tyner. The dreamy, free introduction to "My Funny Valentine" segues into a lush, sensitive performance. Alexander is at his emotional peak with his powerful interpretation of the ballad "Goodbye." The late-night feeling is prominent in the quartet's bluesy treatment of "Angel Eyes." This is another superb outing by Eric Alexander. ~ Ken Dryden https://www.allmusic.com/album/lazy-afternoon-gentle-ballads-vol-4-mw0001975014

Personnel:  Tenor Saxophone – Eric Alexander;  Bass – John Webber;  Drums – Joe Farnsworth; Piano – Mike LeDonne

Lazy Afternoon - Gentle Ballads IV

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Mike LeDonne - Night Song

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 61:43
Size: 142,3 MB
Art: Front

(6:43)  1. Night Song
(5:31)  2. JB
(7:36)  3. After the Rain
(7:54)  4. I Should Care
(8:06)  5. Don't You Worry 'Bout a Thing
(6:25)  6. In a Sentimental Mood
(7:14)  7. Toys
(7:27)  8. Continuum
(4:42)  9. Alone Together

Pianist Mike LeDonne, whose main influence is McCoy Tyner, mostly sounds pretty original throughout this swinging trio set. Teamed with bassist Ron Carter and drummer Joe Farnsworth, LeDonne contributes two originals and comes up with fresh variations on a variety of jazz standards. Among the highlights are LeDonne's "JB," John Coltrane's "After the Rain" (which is not recorded very often), "I Should Care," and "Alone Together." While Carter and Farnsworth get their spots to solo, Mike LeDonne is the main star throughout and is heard in prime form. Recommended. ~ Scott Yanow https://www.allmusic.com/album/night-song-mw0000719505

Personnel:  Piano – Mike LeDonne; Bass – Ron Carter;  Drums – Joe Farnsworth

Night Song

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Mike LeDonne, Eric Alexander - Smokin' out Loud

Styles: Post Bop, Straight-Ahead Jazz
Year: 2004
File: MP3@320K/s
Time: 63:17
Size: 145,6 MB
Art: Front

(7:56)  1. One for Don
(6:46)  2. Delilah
(6:48)  3. After the Love Has Gone
(4:58)  4. You'll See
(5:44)  5. Superstar
(7:23)  6. Silverdust
(9:12)  7. French Spice
(7:02)  8. They Long to Be Close to You
(7:26)  9. Pisces Soul

Alexander and Farnsworth are both back along with guitarist Peter Bernstein on Mike LeDonne's soul stirring Smokin' Out Loud, the keyboardist's debut disc leading the organ group that he performs regularly with at Smoke. LeDonne's two-fisted sure-footed mastery of the Hammond B3 tradition is evident from the beginning of his burning "One For Don , a dedication to the unheralded organ great Don Patterson. An imaginative arrangement puts a backbeat behind the Brown-Roach classic "Delilah , Alexander nodding in the direction of Stanley Turrentine. The hip rendering of Earth Wind and Fire's "After The Love Has Gone has the soul song swinging lightly. LeDonne pays further tribute to the lineage of jazz organ with an articulate reading of the late Jimmy Smith's "You'll See. Part of the popularity of '60s organ groups stemmed from their interpretation of pop hits and the band does a great job here with the chartbuster "Superstar . LeDonne's "Silverdust is a bluesy dedication to Horace Silver that makes reference to the Jazz Messenger staple "Moanin' . "French Spice , a hip Donald Byrd tune that is part of the band's Smoke repertoire, is recorded here for the first time since its debut on the trumpeter's Free Form Blue Note album. Burt Bacharach's Carpenters hit "Close To You is given a smoking treatment in the style of Charles Earland. The date comes full circle back to Don Patterson to close with "Pisces Soul , a hot Howard McGhee original from the organist's Boppin' and Burnin' record. ~ Russ Musto https://www.allaboutjazz.com/eric-alexander-and-mike-ledonne-dead-center-and-smokin-out-loud-by-russ-musto.php

Mike LeDonne Organ (Hammond) Eric Alexander Sax (Tenor) Peter Bernstein Guitar Joe Farnsworth Drums

Smokin' out Loud

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Gary Smulyan - The Real Deal

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 67:41
Size: 156,1 MB
Art: Front

(8:36)  1. Cindy's Tune
(7:46)  2. Evol Deklaw Ni
(5:36)  3. Satan
(8:25)  4. Palomino Pal
(6:25)  5. Young Afro Brown
(8:36)  6. All My Life
(5:45)  7. Our Love is Here to Stay
(7:46)  8. Follow Me
(8:43)  9. Sassy Missy

Gary Smulyan, a passionate baritone saxophonist whose main inspiration is Pepper Adams, sounds at his best on this quintet set with trumpeter Joe Magnarelli, pianist Mike LeDonne, bassist Dennis Irwin, and drummer Kenny Washington. 

The music includes some hard-swinging straight-ahead romps and warm ballads. Among the highlights are Pepper Adams' "Cindy's Tune" (a tricky line written over the chord changes of "Honeysuckle Rose"), the obscure "Satan (Wears a Satin Gown)," "Young Afro Brown" (based on "Sweet Georgia Brown"), "All My Life," and the slow blues "Sassy Missy." This superior hard bop set serves as a perfect introduction to the playing of Gary Smulyan. ~ Scott Yanow https://www.allmusic.com/album/the-real-deal-mw0000026776

Personnel:   Gary Smulyan - baritone saxophone; Joe Magnarelli - trumpet, flugelhorn;  Mike LeDonne - piano; Dennis Irwin - bass; Kenny Washington - drums

The Real Deal

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Gary Smulyan - Gary Smulyan With Strings

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 52:11
Size: 120,1 MB
Art: Front

(2:47)  1. The Bad And The Beautiful
(3:41)  2. Lush Life
(4:18)  3. Thanks For You
(6:23)  4. It Happens Quietly
(5:23)  5. Don't Follow The Crowd
(6:00)  6. We've Got A Sure Thing
(4:56)  7. Beware My Heart
(6:10)  8. The Moment Of Truth
(6:34)  9. Yesterday's Gardenias
(5:54) 10. Two For The Seesaw

Charlie Parker's love affair with strings, most notably during the 1950s for Verve Records, made it acceptable for other saxophonists to undertake similar projects. After all, if a player of the magnitude of Parker can indulge, than it must be OK for everyone else. Gary Smulyan, who was a member of the Charles Mingus Big Band, undertook the daunting task of linking the deep, robust sound of a baritone with a string section without creating more than sugar-coated boredom. With the help of Bob Belden's charts, that musical objective is achieved. The deep sound and rich color unique to the baritone is used to good effect on such ballads as "The Bad and the Beautiful," "Lush Life," and "Beware My Heart." To avoid being trapped in the sensualness of lush arrangements, Smulyan and Belden offer contrasting, crisper, peppier arrangements and renditions for numbers like "The Moment of Truth." The Latin beat is introduced with "Two for the Seesaw." Strings notwithstanding, the ace rhythm section of Mike LeDonne, Kenny Washington, and Peter Washington remind the listener that this is, after all, a jazz album, and provide support to the Smulyan saxophone within that context. They have an opportunity to stretch out on several of the cuts without any competition from the strings. Smulyan and LeDonne work together with excellent results on "Lush Life" and LeDonne's piano gets extended play on "Two for the Seesaw." A good baritone added to imaginative string arrangements blended with a first-class rhythm section equals a fine album. ~ Dave Nathan https://www.allmusic.com/album/gary-smulyan-with-strings-mw0000033563

Personnel:   Gary Smulyan - baritone saxophone; Mike LeDonne - piano; Peter Washington - bass; Kenny Washington - drums; Bob Belden - arranger, conductor; Cenovia Cummins, Mark Feldman, Regina Carter, Laura Seaton, Jon Kass  - violin;  Ron Lawrence - viola; Erik Friedlander, Tomas Ulrich, Clay Ruede - cello

Gary Smulyan With Strings

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Mike LeDonne - From the Heart

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:43
Size: 130,4 MB
Art: Front

(5:41)  1. Someday
(8:22)  2. From the Heart feat Mike Clark
(6:58)  3. You ll Never Know What You Mean To Me
(7:34)  4. Here Comes The Doctor Feat Mike Clark
(9:04)  5. Come Back Baby
(6:29)  6. Fun Day
(6:06)  7. You Send Me
(6:24)  8. then came you

Pianist and composer Mike LeDonne was born in Bridgeport, CT, in 1956. LeDonne was practically raised at his parents' music store and by the age of ten, his father, a jazz guitarist, was hiring him out on gigs. After graduating from the New England Conservatory of Music in Boston, LeDonne moved to New York, where he started working at Jimmy Ryan's (at the time, one of New York's oldest jazz clubs). Here LeDonne met and played with some of the great historical figures of jazz, including Roy Eldridge, Papa Jo Jones, and Vic Dickenson, among others. In 1988, LeDonne joined the Milt Jackson Quartet, frequently writing compositions for the group. Jackson eventually recorded several of these compositions and LeDonne became the band's musical director after Jackson's death in 1999. LeDonne began recording in 1988, debuting with the post-bop album Bout Time, which was released on the Criss Cross label. LeDonne recorded several more albums for Criss Cross throughout the early and mid-'90s, peaking with the sextet album Soulmates, a straight-ahead recording which featured soloists such as alto saxophonist Jon Gordon, tenor saxophonist Joshua Redman, and trumpeter Ryan Kysor. LeDonne switched to the Double Time label in 1998, recording Waltz for an Urbanite and, most recently, the quintet album Then and Now, which features the exceptional playing of tenor saxophonist Eric Alexander. LeDonne remains among the best (if at times underrated) pianists on the New York jazz scene today and has been praised by such jazz luminaries as Oscar Peterson, Milt Jackson, and Benny Golson. ~ Alex Arcone https://itunes.apple.com/us/album/from-the-heart/1374963885

From the Heart

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Mike LeDonne - Then & Now

Bitrate: MP3@320K/s
Time: 66:20
Size: 151.8 MB
Styles: Piano jazz
Year: 1999
Art: Front

[6:19] 1. Then And Now
[6:49] 2. The Sorcerer
[9:19] 3. Trane Song
[7:16] 4. Schism
[7:00] 5. Round Midnight
[4:41] 6. Seeds
[9:43] 7. Continuum
[8:35] 8. Insight
[6:34] 9. Little Millies Hat

Pianist Mike LeDonne expands to a quintet and features mostly original material on his second Double-Time release. The players represent the cream of New York's neo-bop rat pack: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, bassist Peter Washington, and drummer Joe Farnsworth. LeDonne's compositions generally draw upon sounds from decades past. "Trane Song," for instance, is loosely based on Coltrane's "Crescent"; "Insight" is strongly reminiscent of "Seven Steps to Heaven"; "Seeds" and the title track feature the kind of charging, hard bop frontline that Freddie Hubbard used to favor on his '60s Blue Note albums. Interestingly, LeDonne's most original move is his mid-tempo 6/4 arrangement of Herbie Hancock's "Sorceror," a tune usually played in a blistering four. More straightforward but equally virtuosic is LeDonne's trio rendition of "'Round Midnight." ~David R. Adler

Then & Now mc
Then & Now zippy

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Jim Snidero - Blue Afternoon

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 58:32
Size: 135,3 MB
Art: Front

(7:57)  1. Enforcement
(9:57)  2. Forethought
(8:49)  3. The Trifle
(7:40)  4. Soul Eyes
(8:07)  5. Blue Afternoon
(8:19)  6. Infant Eyes
(7:42)  7. Toro

Saxophonist Jim Snidero is an adroit jazz improviser, composer, and educator with a bent toward acoustic post-bop. An author of several books on jazz improvisation, Snidero is an in-demand clinician who has taught at the Jazz and Contemporary Music Program at the New School University, Indiana University, and Princeton. Born in Redwood City, California in 1958, Snidero actually grew up in Prince George's County, Maryland where he first began playing saxophone at age ten. However, it wasn't until junior high that he became interested in jazz. While playing in his school concert and jazz ensembles, Snidero also fell under the influence of hard bop saxophonist Phil Woods, with whom he was able to study. After high school, Snidero enrolled in the University of North Texas music program. During his summer vacations, Snidero spent time in New York studying with saxophonist David Liebman, and after graduating in 1981, he moved to the city. By 1982, he was touring the country with organist Jack McDuff, with whom he also recorded three albums. From there, he found work with such established outfits as the Mingus Big Band and the Toshiko Akiyoshi Jazz Orchestra, of which he was a member from 1983 to 2003. Snidero has also performed with a bevy of names including David Murray, Frank Wess, Mel Lewis, Jim Rotondi, Maria Schneider, and many others.  As a solo artist, Snidero made his debut with On Time in 1984. Recorded at Rudy Van Gelder's studio, the album included fellow Akiyoshi bandmate and trumpeter Brian Lynch, pianist Kenny Kirkland, bassist George Mraz, and drummer Billy Hart. From there, he delivered several more albums for the Criss Cross and Red labels, including 1987's Mixed Bag and 1989's Time Out.  The '90s were also a fertile period for Snidero, who began branching out creatively, playing with legendary singer Frank Sinatra from 1990 to 1995, and authoring several jazz pedagogy books. During this period, he continued to release a steady stream of hard bop-influenced albums including 1990's Storm Rising, 1991's Urban Tales with trumpeter Tom Harrell, and 1997's Standards + Plus, his first largely standards-oriented recording. 

He rounded out the decade with a tribute to saxophonist Joe Henderson with 1999's The Music of Joe Henderson on the Double-Time label. At the turn of the millennium, Snidero began refocusing his work on his own original compositions with albums like 2002's orchestral Strings, featuring pianist Renee Rosnes, and 2004's Close Up, with saxophonist Eric Alexander. Beginning with 2007's Tippin', Snidero developed a fruitful relationship with Savant Records, returning with albums like 2009's Crossfire and 2011's Interface, both of which featured guitarist Paul Bollenback. Subsequent Savant albums, like 2013's Stream of Consciousness and 2015's Main Street, also found Snidero continuing to push himself creatively, collaborating on new material with bassist Linda Oh and drummer Rudy Royston. In 2016, Snidero released MD66, which found him drawing inspiration from Miles Davis' second great quintet of the '60s, backed by a stellar ensemble featuring Royston, trumpeter Alex Sipiagin, pianist Andy Laverne, and bassist Ugonna Okegwo. ~ Matt Collar https://www.allmusic.com/artist/jim-snidero-mn0000349095/biography

Personnel: Jim Snidero (alto saxophone); Brian Lynch (trumpet); Mike LeDonne, Benny Green (piano); Kenny Washington, Marvin "Smitty" Smith (drums).

Blue Afternoon

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