Silky Denims: Mulgrew Miller

Showing posts with label Mulgrew Miller. Show all posts

Thursday, September 14, 2023

Bennie Wallace - Moodsville

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 50:46
Size: 117,5 MB
Art: Front

(6:04) 1. I'll Never Smile Again
(5:39) 2. Con Alma
(4:30) 3. April In Paris
(7:02) 4. Milestones
(6:32) 5. When A Man Loves A Woman
(5:00) 6. Love For Sale
(5:57) 7. My Little Brown Book
(6:08) 8. I Concentrate On You
(3:51) 9. A Flower Is A Lovesome Thing

Here's another set of standards, a bunch of songs out of The Great American Songbook. The line-up: Tenor sax out in front of the piano/bass/drums rhythm section. Nothing earthshaking here... But it's done on this Moodsville, with such style and reverence, with a distinct muscular-toned tenor flavor. The three rhythm guys on the disc Mulgrew Miller on piano; Peter Washington, bass; and Lewis Nash doing the drum chores are all better known in jazz circles than leader/tenor man Bennie Wallace, but Wallace's talent keeps pace with his bandmates. He has put out a couple of fine CDs on the Enja label, another two on Blue Note; and also has done the sondtracks for the movies "Blaze"(1990) and "White Men Can't Jump" (1992). He has a deep, throaty, Coleman Hawkins-like tone, and an energetic and sometimes edgey, Dolphyesque approach to his soloing that contrasts beautifully with his relatively smoother accompaniment.

The leader/rhythm section tug-of-war is what makes the music. Mulgrew and crew at times smilingly seem to be in a reigning-in mode with leader Wallace to the benefit of the music. Wallace sounds like a free blower ensnared happily in an environment that is holding him back, just a bit. Melody is king here, though Wallace stretches it at times. The songs: "I'll Never Smile Again; "Dizzy's Con Alma"; an "April In Paris" that'll have you reaching for your "Hawk In Paris" CD, to contrast Manny Albam's lush orchestrations with Wallace's pared down approach; a reverent version of Miles Davis's "Milestones"; a hopped-up, Latinized take on Cole Porter's "Love for Sale": a couple of lovely (but aren't they all) Strayhorns: "Little Brown Book" and "A Flower is a Lovesome Thing". A fresh and distinctive revisitation of some American Classics, a must have CD for fans of Coleman Hawkins or Dexter Gordon's quartet work.By Dan McClenaghan https://www.allaboutjazz.com/moodsville-bennie-wallace-groove-note-records-review-by-dan-mcclenaghan.php

Personnel: Bennie Wallace, Tenor Sax; Mulgrew Miller, piano; Lewis Nash, drums; Peter Washington, bass

Moodsville

Thursday, April 6, 2023

Dianne Reeves - The Nearness of You

Styles: Vocal
Year: 1988
File: MP3@320K/s
Time: 50:12
Size: 115,3 MB
Art: Front

(4:55) 1. Softly As In A Morning Sunrise
(5:41) 2. Like A Lover
(4:08) 3. How High The Moon
(8:05) 4. For All We Know
(3:19) 5. The Nearness of You/Misty
(6:18) 6. You Taught My Heart To Sing
(5:39) 7. Ancient Source
(9:02) 8. Spring Can Really Hang You Up The Most
(3:01) 9. Oh What A Freedom

Five-time Grammy winner DIANNE REEVES is the pre-eminent jazz vocalist in the world. As a result of her breathtaking virtuosity, improvisational prowess, and unique jazz and R&B stylings, Reeves received the Grammy for Best Jazz Vocal Performance for three consecutive recordings a Grammy first in any vocal category.

Featured in George Clooney’s six-time Academy Award nominated Good Night, and Good Luck, Reeves won the Best Jazz Vocal Grammy for the film's soundtrack.

Reeves has recorded and performed with Wynton Marsalis and the Lincoln Center Jazz Orchestra. She has also recorded with the Chicago Symphony Orchestra conducted by Daniel Barenboim and was a featured soloist with Sir Simon Rattle and the Berlin Philharmonic. Reeves was the first Creative Chair for Jazz for the Los Angeles Philharmonic and the first vocalist to ever perform at the famed Walt Disney Concert Hall.

Reeves worked with legendary producer Arif Mardin (Norah Jones, Aretha Franklin) on the Grammy winning A Little Moonlight, an intimate collection of standards featuring her touring trio. When Reeves’ holiday collection Christmas Time is Here was released, Ben Ratliff of The New York Times raved, “Ms. Reeves, a jazz singer of frequently astonishing skill, takes the assignment seriously; this is one of the best jazz Christmas CD's I've heard.”

In recent years Reeves has toured the world in a variety of contexts including “Sing the Truth,” a musical celebration of Nina Simone which also featured Lizz Wright and Angelique Kidjo. She performed at the White House on multiple occasions including President Obama's State Dinner for the President of China as well as the Governors’ Ball.

Reeves’ most recent release Beautiful Life, features Gregory Porter, Robert Glasper, Lalah Hathaway and Esperanza Spalding. Produced by Terri Lyne Carrington, Beautiful Life won the 2015 Grammy for Best Jazz Vocal Performance. Reeves is the recipient of honorary doctorates from the Berklee College of Music and the Juilliard School. In 2018 the National Endowment for the Arts designated Reeves a Jazz Master the highest honor the United States bestows on jazz artists.
https://diannereeves.com/media/

Personnel: Lead Vocals [Vocals] – Dianne Reeves; Acoustic Guitar – Kevin Eubanks (tracks: 2); Alto Saxophone – Greg Osby (tracks: 1, 4); Bass – Charnett Moffett (tracks: 1, 3 to 7), Tony Dumas (tracks: 9); Drums – Marvin Smitty Smith* (tracks: 1, 4, 6, 7), Michael Baker (2) (tracks: 9), Terri Lyne Carrington (tracks: 3, 5); Keyboards – David Torkanowsky (tracks: 9); Piano – Donald Brown (tracks: 1, 7), Mulgrew Miller (tracks: 3 to 6, 8); Tenor Saxophone – Gerald Albright (tracks: 9); Vibraphone – Bobby Hutcherson (tracks: 1, 7); Wind Chimes – Ron Powell (tracks: 2).

The Nearness of You

Sunday, January 29, 2023

Benny Golson - One Day, Forever

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 62:35
Size: 144,1 MB
Art: Front

( 5:08) 1. One Day, Forever
( 6:18) 2. Blue Walk
( 7:54) 3. Killer Joe
( 6:59) 4. Are You Real?
( 4:46) 5. Sad To Say
( 9:18) 6. Out Of The Past
( 4:13) 7. Blues Alley
( 7:36) 8. Along Came Betty
(10:20) 9. On Gossamer Wings

Benny Golson’s latest Arkadia release, One Day, Forever, arose from a taping of some of Golson’s previous band members from the Jazztet: Art Farmer and Curtis Fuller. At the end of a European tour, they were so rushed they that they didn’t record long enough to fill an entire CD. Arkadia owner Bob Karcy kept the tape in the can, and he and Golson kept that recording in mind, in the intervening five years, during which Farmer passed. After Golson wrote some new original music, it was agreed that the tapes from the “Whisper Not 40 Years Of Benny Golson” European tour would finally be heard by the public.

The result is a CD in three mentalities, all of which are contained by Golson’s imagination: the famous sextet sound that produced numbers like “Killer Joe,” a string orchestra backing Shirley Horn as she sings the words to Golson’s new music, and a piano piece introducing Golson’s first classical composition. While not consistent in theme, One Day, Forever does reveal in startling contrast the creative curiosity of Benny Golson.

Joined by Geoff Keezer, Dwayne Burno and Joe Farnsworth, the Jazzteters recall the longevity of Golson’s contributions to the jazz vocabulary. Not confined just to the famous Jazztet works, the group entertained European audiences with some of Golson’s compositions for Art Blakey, like “Along Came Betty” and “Are You Real?”

Golson and Farmer never worked together again, although they remained close friends, so much so that Golson wrote “One Day, Forever” as a reminiscence of Farmer’s wife, who passed a few years before he did. As Horn sings it, sadly and tentatively with lots of space as always, “One Day, Forever” could allude to the abstract concept of loss of intimacy which, of course, it does. By broadening the idea, Golson has expanded the sense of aloneness to apply to anyone who experiences loss. “Sad To Say,” again, is, well, sad, and the cellos reinforce the sense of guardedness and hurt. The melancholy of Golson’s new music has found a perfect outlet in the delicacy and woundedness of Shirley Horn’s style.

The surprise, even for those who expect it, is Lara Downes’ ten-minute premier of Golson’s piano étude, which would be expected in a recital hall rather than on a jazz CD. Certainly, one could say that One Day, Forever contains something for everyone.

The interesting aspect of the CD, though, is the darkening of Golson’s musical interests, with their melancholy themes and their veering away from the brightness, bustling energy and optimism that marked his work in the fifties.By AAJ Staff https://www.allaboutjazz.com/one-day-forever-benny-golson-arkadia-jazz-review-by-aaj-staff

Personnel: Benny Golson, tenor sax; Shirley Horn, vocals; Art Farmer, trumpet; Curtis Fuller, trombone; Mulgrew Miller, Geoff Keezer, Lara Downes, piano; Ron Carter, Dwayne Burno, bass; Carl Allen, Joe Farnsworth, drums.

One Day, Forever

Friday, January 6, 2023

Mulgrew Miller - Wingspan

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 54:18
Size: 124,5 MB
Art: Front

(5:38) 1. Wingspan
(6:48) 2. One's Own Room
(6:08) 3. The Eleventh Hour - Early Take
(5:25) 4. I Remember You
(7:55) 5. Soul-Leo
(7:32) 6. You're That Dream
(7:15) 7. Sonhos Do Brasil (Dreams Of Brazil)
(7:33) 8. The Eleventh Hour - Later Take

A beautiful set from Mulgrew Miller one of his greatest albums as a leader, and exemplary of the kind of underground jazz that was still bubbling strong in the 80s! The set features Miller's quintet with Kenny Garrett on alto and flute, Steve Nelson on vibes, Charnett Moffett on bass, and Tony Reedus on drums led by Miller in a range of expressive styles carried off with effortless ease. There's some really nice numbers on here with a gentle and soulful groove mixing vibes, piano, and alto in wonderful shades of colors and tone. Titles include "Sonhos Do Brasil", "Wingspan", "One's Own Room", "The Eleventh Hour", and "Soul Leo". © 1996-2019, Dusty Groove Inc.https://www.dustygroove.com/item/476436/Mulgrew-Miller:Wingspan

Personnel: Mulgrew Miller – piano; Charnett Moffett – bass; Tony Reedus – drums; Rudy Bird – percussion (tracks: 2 5 7); Kenny Garrett – saxophone, flute; Steve Nelson – vibraphone

Wingspan

Monday, December 26, 2022

Mulgrew Miller, Niels-Henning Ørsted Pedersen - The Duo

Styles: Piano Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 51:59
Size: 119,6 MB
Art: Front

(3:54) 1. C Jam Blues
(4:47) 2. Sophisticated Lady
(3:19) 3. Pitter Patter Panther
(5:30) 4. I Got It Bad
(4:19) 5. What Am I Here For
(4:47) 6. Mood Indigo
(3:20) 7. Blues In The PM´s
(4:52) 8. Come Sunday
(5:08) 9. Just Squeeze Me
(4:55) 10. Solitude
(3:51) 11. Caravan
(3:11) 12. O.D. Blues

In 1999, Niels-Henning Ørsted Pedersen and Mulgrew Miller came together in a unique and unlikely pairing to pay tribute to Duke Ellington on the 100th anniversary of his birth. The result was a passionate and long-lived musical partnership between two masters of their respective instruments, but the original recordings were never released. For the first time ever, more than 20 years after its recording, this lost treasure is finally made available to the public. The duo was initially brought together by Bang & Olufsen and set out to celebrate Ellington and his partnership with bassist Jimmy Blanton. With the help of Per Arnoldi, who is also credited with the album’s artwork, NHØP was approached to take part and tapped Mulgrew Miller to tackle a series of Ellington’s classic themes and a couple of their own. He saw the opportunity to work with Mulgrew Miller, a pianist whom he admired and had not yet had the opportunity to work with, and this decision paid off greatly for both of them. A great musical and personal partnership was born, and the duo’s captivating chemistry is obvious from the first notes. The collaboration was a unique meeting of two of the greatest jazz-minds of their time paying tribute to another legendary partnership. Thankfully, these recordings are finally available and they make up an important addition to the already extensive and impressive legacies of both NHØP and Mulgrew Miller as well as a beautiful tribute to Ellington and Blanton. https://storyvillerecords.bandcamp.com/album/the-duo-duke-ellington-100

Personnel: Mulgrew Miller - Piano; Niels-Henning Ørsted Pedersen - Bass

The Duo

Tuesday, February 22, 2022

Harold Land - Promised Land

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 55:50
Size: 128,2 MB
Art: Front

( 8:33) 1. Inner Voice
( 7:16) 2. Ugly Beauty
( 9:17) 3. What's New?
(10:57) 4. Dark Mood
(12:30) 5. Like Someone In Love
( 7:14) 6. Mapenzi

Veteran tenor saxophonist Harold Land returns from a seven-year recording hiatus with Promised Land, featuring Mulgrew Miller on piano, Ray Drummond on bass, and Billy Higgins on drums. (Sadly, this would be one of Higgins's last sessions.) One would expect nothing other than beauty and grace from these four revered players, and that's what they deliver, aided by the Audiophoric label's "m-phoric" recording technology, designed to capture live acoustic performance with exceptional fidelity. (You'll need to increase your volume and give your ears a chance to adjust.) There's a bit of Coltrane and Joe Henderson in Land's playing and perhaps a bit of Charlie Rouse, too, as Monk's "Ugly Beauty" reveals. Miller is in excellent form, dueting with Land on a nine-minute-plus "What's New" and taking crisp, inventive solos throughout. The program is evenly split: three standards and three of Land's fairly straightforward, modal pieces.~David R.Adler https://www.allmusic.com/album/promised-land-mw0000003296

Personnel: Tenor Saxophone – Harold Land; Bass – Ray Drummond; Drums – Billy Higgins; Piano – Mulgrew Miller

Promised Land

Wednesday, January 19, 2022

Steve Turre - Lotus Flower

Styles: Trombone Jazz
Year: 1999
File: MP3@320K/s
Time: 61:17
Size: 141,0 MB
Art: Front

(5:51) 1. The Lotus Flower
(6:39) 2. Chairman Of The Board
(6:55) 3. The Inflated Tear
(6:27) 4. The Organ Grinder
(2:02) 5. Passion For Peace
(6:48) 6. Sposin'
(6:22) 7. The Fragrance Of Love
(7:03) 8. Blackfoot
(7:23) 9. Goodbye
(5:42) 10. Shorty

You might call Lotus Flower an act of relaxation after the strenuous exercise of the Steve Turre album, for Turre reduces forces and idioms to a more-or-less straight-ahead sextet and concentrates almost entirely upon the trombone. In doing so, he re-stakes his claim to being one of the outstanding voices on the trombone of his time, turning some lovely playing on "The Fragrance of Love" and "Sposin'" and some extremely agile bop work at a fleet pace on "Blackfoot" to cite two extremes. But this sextet has no ordinary front line; Turre shares the spotlight with a violinist (Regina Carter) and a cellist (Akua Dixon), thus deliberately managing to avoid the trumpet/saxophone axis entirely.

Now and then, Turre also throws in a seventh element, Kimati Dinizulu's percussion or Don Conreaux's gong, to add exotic and spiritual flavors to the menu. Carter gets far more swinging time than Dixon on the album indeed, Carter's spiritual forefather seems to be Joe Venuti while Dixon gets typecast into the warm, lyrical role that cellists usually fulfill. Mulgrew Miller (piano, Buster Williams (bass) and Lewis Nash (drums) form the solidly mainstream rhythm section that is, however, occasionally asked to do unconventional things. Fortunately, there are enough off-center textures and quirks on this album to sustain Turre's yen for adventure in the '90s and on the rhythmically Balkanized "Shorty," Turre's conch shells make a welcome if brief cameo return.~Richard S. Ginell https://www.allmusic.com/album/lotus-flower-mw0000047074

Personnel: Trombone – Steve Turre; Cello – Akua Dixon; Double Bass – Buster Williams; Drums – Lewis Nash; Piano – Mulgrew Miller; Violin – Regina Carter

Lotus Flower

Friday, December 10, 2021

Mulgrew Miller - Live at the Kennedy Center, Vol. 1

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 55:12
Size: 127,6 MB
Art: Front

( 9:38) 1. If I Should Lose You
(11:46) 2. When I Get There
(10:22) 3. From Day to Day
(12:19) 4. Skylark
(11:05) 5. Relaxin' at Camarillo

The best thing about Live at the Kennedy Center, Volume 1 is that there will be a Volume 2. Mulgrew Miller is a consummate captain of the piano trio and larger ensembles and has released a string of fine recordings on the MaxJazz imprint, including Live At Yoshi's, Volume 1 & Volume 2 and The Sequel. Miller is a large man and a commanding pianist, like Oscar Peterson, and I suspect that he will inherit the mantle that once belonged to Art Tatum.

Live at the Kennedy Center is a Thanksgiving Feast in five courses. Each of the carefully crafted selections clocks in, on average, at eleven minutes plus. That's a lot of music from few pieces, betraying Miller's tendency for fully exploring compositions in live settings. This is jazz studiously examined and freely performed. In 2002, the Kennedy Center inaugurated the KC Jazz Club, an intimate room on the roof of the center. Mulgrew Miller and his trio opened the club with the performance documented on this disc.

All the selections on this performance were arranged by Miller, who proves superb at the task. The majority are taken at a fairly fast clip. "If I Should Lose You is introduced with a highly impressionistic prelude, before breaking out as a 4/4 juggernaut with Rodney Green keeping time on the ride while dropping cymbal and drum bombs left and right in homage a la Tony Williams. Bassist Derrick Hodge stays right on the beat, if not a little ahead, giving the piece the feeling of spinning out of control, save for the centrifugal force of swing. His solo is at once progressive and traditional. Miller's harmonic sense is never taxed, and he spins out chorus after chorus of fresh ideas.

Miller's two original compositions, "When I Get There and "From Day to Day, juxtapose very different styles of writing. "When I Get There is frankly Monkian in tempo and harmony, with a heavy smattering of church and blues. Sections recall the late Gene Harris' impeccable command of the blues. The rhythm section brings the piece off with an orchestral flair. "From Day to Day, a lilting waltz of a certain complexity, is a bit of a different animal. Few traces of Monk here, more Bill Evans and, well, Mulgrew Miller.

The single ballad is a crackerjack. Miller is gentle with Hoagy Carmichael's "Skylark. Hodge and Green are equally gentle, softly propelling the song. Midway through, the band breaks into a brisk 4/4 stride as Miller probes every nook and cranny of the standard. The trio takes the coda, Bird's "Relaxin' at Camarillo, at breakneck speed, as bebop should be. Miller demonstrates his grasp of the genre while remaining fresh and vibrant in his approach. I hope we don't have too long a wait for Volume 2.~ C. MICHAEL BAILEY https://www.allaboutjazz.com/live-at-the-kennedy-center-volume-1-mulgrew-miller-maxjazz-review-by-c-michael-bailey
Personnel: Mulgrew Miller: piano; Derrick Hodge: bass; Rodney Green: drums.

Live at the Kennedy Center, Vol. 1

Mulgrew Miller - Live at the Kennedy Center, Vol. 2

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 63:58
Size: 147,4 MB
Art: Front

( 9:26) 1. Song for Darnell
(12:34) 2. Grew's Tune
(12:41) 3. Farwell to Dogma
(13:05) 4. Old Folks
(16:10) 5. Eleventh Hour

Mulgrew Miller was once opined as being one of the most underrated pianists in jazz, belonging to a middle generation of musicians between the 1950s-'60s masters and the "young lions of the 1990s. Proving patience is a virtue and there is something to be said for simply doing one's job consistently (citing Cal Ripkin, Jr.) Miller is in the midst of making the finest music of his distinguished career. Live at the Kennedy Center Volume 2 completes Miller's inauguration of the KC Jazz Club atop Washington, DC's Kennedy Center for the Performing Arts, following Live at the Kennedy Center Volume 1 (MaxJazz, 2006).

Miller's Kennedy Center recordings come on the heels of another two-disc live set Live at Yoshi's Volume 1 (MaxJazz, 2004) and Volume 2 (MaxJazz, 2005) which complement those of Jessica Williams' Live at Yoshi's Volume 1 (MaxJazz, 2004) and Volume 2 (MaxJazz, 2005). All are trio formats that allow the listener to hear Mulgrew Miller as a pianist with a rare command of his instrument.

Volume 2 picks up where Volume 1 leaves off, basically staying in an up-tempo mode and demonstrating Miller's intelligent compositions. Miller mixes things up on "Song for Darnell, beginning in a melodically minimalist manner before transforming into an assertive ballad whose swing coefficient goes off the chart with several 4/4 breaks where Miller plays his piano like a bulldozer leveling a lot. "'Grew's Tune is structured staccato romp that recalls much of the late Gene Harris' playing. Miller's double-stops are fun and exciting, accenting the piece with a drama that extends to Derrick Hodge's bass solo.

"Farewell to Dogma teases the listener with gospel chords and phrasing that draw the expectant listener in, thinking Miller is about to embark on a soul jazz extravaganza. Miller, all the while, is deconstructing that same soul jazz into its individual elements, exploring each with care and completeness: A style palette, if you will. "Eleventh Hour is much the same way. It is five minutes of boogie-blues and the rest proto-hard bop. Mulgrew Miller proves a master at compelling jazz, drawing listeners close and then surprising them. That is the fun of jazz.~C. Michael Baileyhttps://www.allaboutjazz.com/live-at-the-kennedy-center-volume-2-mulgrew-miller-maxjazz-review-by-c-michael-bailey

Personnel: Mulgrew Miller: piano; Derrick Hodge: double bass; Rodney Green: drums.

Live at the Kennedy Center, Vol. 2

Friday, December 3, 2021

Roy Hargrove, Mulgrew Miller - In Harmony Disc 1, Disc 2

Album: In Harmony Disc 1

Styles: Trumpet And Piano Jazz
File: MP3@320K/s
Time: 51:56
Size: 119,3 MB
Art: Front + Back

(9:09) 1. What Is this Thing Called Love
(8:24) 2. This Is Always
(8:36) 3. I Remember Clifford
(8:36) 4. Triste
(8:04) 5. Invitation
(9:44) 6. Con Alma

Album: In Harmony Disc 2

Time: 50:51
Size: 116,9 MB

(8:29) 1. Never Let Me Go
(9:12) 2. Just In Time
(6:58) 3. Fungii Mama
(5:57) 4. Monk's Dream
(7:27) 5. Ruby My Dear
(7:36) 6. Blues For Mr. Hill
(5:10) 7. O.W. (Encore)

In ballet, a "pas de deux" is a dance or figure for two performers. In jazz, the concept of two musicians playing together called a duo, has been a fairly familiar concept and undertake by the likes of Stan Getz and Kenny Barron, Chick Corea and Gary Burton as well as pianist Bill Evans and Tony Bennett. Trumpeter Roy Hargrove and pianist Mulgrew Miller have now added their names to this construct with the issuance of In Harmony which captured these now deceased giants in a previously unreleased live recordings from 2006 and 2007. Co-produced by Zev Feldman and Larry Clothier with executive producer George Klabin, Resonance Records is offering a deluxe limited edition (7000 units) 180 gram hand-numbered 2-LP set, made available in co-operation with the Hargrove and Miller estates.

In this lip smacking thirteen composition recital, Hargrove and Miller take full advantage of those familiar melodies from the American Standards Songbook or jazz touchstones, both of which provide those in attendance with the comfort of acquaintanceship. From the very first notes of the opening track, Cole Porter's "What Is This Thing Called Love," it is apparent that Hargrove and Miller were musicians who appreciated and supported each other through their creative efforts. On the following track "This Is Always," Hargrove picks up the flugelhorn to deliver a melodically mellow sound that is seamlessly supported by Miller's sympathetic piano gradations and subtleties. Although Hargrove arrived on the jazz scene several generations removed from Clifford Brown, he did view him as his idol and so it was not surprising that Benny Golson's "I Remember Clifford" was included in this release. With the clarity and brightness of his tone, Hargrove offers a very sensitive ballad reading of the number, while Miller's technical skills are fully and aptly blended in offering support.

This duo effort by Hargrove and Miller was for the most part a step out of character for both musicians, as Hargrove had never recorded an album without a drummer, although Miller had done a duo effort with the Danish bassist Niels-Henning Orsted Pedersen. But duos can work, much like children playing in a schoolyard, with a give and take that does not attempt to crowd out each other. Two instances of this are Antonio Carlos Jobim's "Triste" and the standard "Invitation." On the former, Miller opens the number by laying down a bossa nova beat, which Hargrove uses to develop some sharp punchy phrasing, that leads to some musical banter between the players at a high level of inventiveness. The latter tune sparkles along in a cheerful way with Miller developing long melodic lines indicating that each note matters as part of the flow. Hargrove demonstrates his silky flair overlaying Miller's note striking.

When the needle drops on any track in this session, listeners are treated to pristine sound restoration and the understanding that the principals did not "mail in" their performances. For example, on the Blue Mitchell number "Fungii Mama" Miller establishes the underlying calypso beat over which Hargrove prances and dances through the melody as the audience provides enthusiastic encouragement. Finally, since Hargrove came from Texas and Miller from Mississippi, the blues and soul tradition moored their upbringing, Hargrove's own composition "Blues For Mr. Hill" is a solid reminder of these roots. Built on a twelve bar blues theme established by Miller, he puts a floor under Hargrove as he develops his ideas based on the structure of the piece.

When Miller loads up for his intervention, he knows the path he wants to take with scale fragments, as well as ascending and descending chords, to arrive at his destination. Complementing this stellar release is an excellent booklet containing rare photos, an essay by Ted Panken, along with interviews and statements from Sonny Rollins, Christian McBride, Ron Carter among others~Pierre Giroux https://www.allaboutjazz.com/in-harmony-roy-hargrove-mulgrew-miller-resonance-records

Personnel: Roy Hargrove: trumpet; Mulgrew Miller: piano.

In Harmony Disc 1, Disc 2

Thursday, November 4, 2021

René Marie - How Can I Keep From Singing?

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 62:47
Size: 145,4 MB
Art: Front

(3:43) 1. What A Difference A Day Makes
(6:44) 2. Tennessee Waltz
(1:28) 3. Motherless Child
(6:11) 4. Four Women
(5:01) 5. The Very Thought Of You
(4:07) 6. I Like You
(6:47) 7. Afro Blue
(6:21) 8. A Sleepin' Bee
(6:04) 9. Hurry Sundown
(5:08) 10. God Bless The Child
(5:25) 11. Take My Breath Away
(5:41) 12. How Can I Keep From Singing?

A forty-something singer who retired to raise a family in the Virginia-D.C. area, Marie is making a comeback, and it's a welcome egress. She has a strong individualistic, enjoyable voice which includes parts of Ella, Sarah, Dinah, Betty Carter, Nancy Wilson, and Teri Thornton most closely Thornton. She's smooth but never slick, easy on the ears, with a good range and a deep, rich instrument that can easily belt when commanded. Pianist Mulgrew Miller, guitarist Marvin Sewell, and drummer Gerald Cleaver comprise the glue of these sessions, the ultimate musical accompanists and button pushers. Marie tackles some interesting re-arrangements, like the quick samba version of "What a Difference a Day Makes," atypical hard scattish bopping "God Bless the Child," and Sewell's Duane Allman-ish slide guitar during a bluesy swing take of "Tennessee Waltz" with Marie moaning, groaning, and yeah-ing on the bridge.

"Motherless Child" starts with Ugonna Okegwo's bass and Marie's voice, then merges to light Fender Rhodes based funk for Nina Simone's tale of the black Aunt Sarah, yellow woman/white fathered Sefronia, tan prostitute Sweet Thing, and brown toughie Peaches on "Four Women." Most in the mainstream, Marie sings with Miller in duet and trio on the ballad "The Very Thought of You," the cute, standard, easily swung "A Sleepin' Bee," and on the edge, the delineated, slow 6/8 "Afro-Blue" with jungle percussion by Jeffrey Haynes, soprano saxophonist Sam Newsome, Oscar Brown's deep lyric, and Marie's nervous oohs. As a songwriter Marie shines on the best cut of the date, "I Like You," a hip, swinging modal piano buoying an exhaustive, extended lyric where she likes this special someone more than just about anything. There's also the light bossa original, not the pop tune, "Take My Breath Away" with Sewell's acoustic guitar, and the Enya penned title track, using various pop, folk, and ethnic nuances with Newsome and hand percussion inserted. All in all this is a credible effort that should pave the way for much more, as Marie is quite capable and talented. Recommended.

~ Michael G.Nastos https://www.allmusic.com/album/how-can-i-keep-from-singing-mw0000064441

Personnel: Rene Marie (vocals); Sam Newsome (soprano saxophone); Mulgrew Miller (piano, Fender Rhodes piano); Marvin Sewell (guitar); Ugonna Okegwo (bass); Gerald Cleaver (drums); Jeffrey Haynes (percussion).

How Can I Keep From Singing?

Tuesday, March 16, 2021

Frank Morgan All-Stars - Reflections

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:36
Size: 121,6 MB
Art: Front

(7:37) 1. Old Bowl, New Grits
(7:16) 2. Reflections
(6:12) 3. Starting Over
(6:51) 4. Black Narcissus
(9:10) 5. Sonnymoon For Two
(6:15) 6. O.K.
(9:12) 7. Caravan

Altoist Frank Morgan leads an all-star group on this excellent hard bop set. With tenor saxophonist Joe Henderson, vibraphonist Bobby Hutcherson, pianist Mulgrew Miller, bassist Ron Carter and drummer Al Foster also in the sextet, it is not surprising that Morgan sounds a bit inspired. The musicians all play up to their usual level, performing "Caravan" (which was added to the CD version) and Sonny Rollins' "Sonnymoon for Two," plus a song apiece by Thelonious Monk ("Reflections"), Miller, Hutcherson, Henderson and Carter. Recommended.~ Scott Yanow https://www.allmusic.com/album/reflections-1988-mw0000654231

Personnel: Frank Morgan – alto saxophone; Joe Henderson – tenor saxophone; Bobby Hutcherson – vibes; Mulgrew Miller – piano; Ron Carter – bass; Al Foster – drums

Reflections

Friday, August 21, 2020

Ralph Moore Quintet - Rejuvenate!

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 59:29
Size: 136,3 MB
Art: Front

( 6:38) 1. Rejuvenate
( 8:49) 2. Josephine
( 8:14) 3. Crm
( 8:45) 4. Exact Change
( 7:02) 5. It Might as Well Be Spring
( 9:02) 6. Song For Soweto
(10:55) 7. Melody For Mr. C

The group assembled for tenor saxophonist Ralph Moor's quintet date is perfect for his John Coltrane-inspired sound: trombonist Steve Turre (who also plays conch shells), pianist Mulgrew Miller, bassist Peter Washington and drummer Marvin "Smitty" Smith. The all-star lineup performs originals by Moore, Turre and Miller in addition to the title cut and "It Might As Well Be Spring" (a ballad feature for the tenor). The two horns blend together very well and consistently inspire each other; the rhythm section is state-of-the-art for this type of modern hard bop music, and the overall results are swinging and at times a bit adventurous. Recommended. ~ Scott Yanow https://www.allmusic.com/album/rejuvenate-mw0000206218

Personnel: Tenor Saxophone – Ralph Moore; Bass – Peter Washington; Drums – Marvin "Smitty" Smith; Piano – Mulgrew Miller; Trombone, Conch [Conch Shells] – Steve Turre

Rejuvenate!

Friday, July 31, 2020

Joe Lovano - Tenor Legacy

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 66:34
Size: 154,1 MB
Art: Front

(6:33) 1. Miss Etna
(6:45) 2. Love Is A Many Splendored Thing
(5:36) 3. Blackwell's Message
(4:34) 4. Laura
(9:07) 5. Introspection
(7:01) 6. In The Land Of Ephesus
(9:05) 7. To Her Ladyship
(5:54) 8. Web Of Fire
(8:21) 9. Rounder's Mood
(3:33) 10. Bread And Wine

Joe Lovano welcomes Joshua Redman to his sextet set (which also features pianist Mulgrew Miller, bassist Christian McBride, drummer Lewis Nash and percussionist Don Alias) and, rather than jam on standards, Joe Lovano composed five new originals, revived three obscurities and only chose to perform two familiar pieces. By varying the styles and instrumentation (for example "Bread and Wine" does not have piano or bass), Lovano has created a set with a great deal of variety and some surprising moments. The two tenors (who have distinctive sounds) work together fine and some chances are taken. This matchup works well.~ Scott Yanow https://www.allmusic.com/album/tenor-legacy-mw0000109784

Personnel: Tenor Saxophone, Liner Notes – Joe Lovano; Tenor Saxophone – Joshua Redman; Bass – Christian McBride ; Drums – Lewis Nash; Piano – Mulgrew Miller

Tenor Legacy

Saturday, September 21, 2019

Terell Stafford - New Beginnings

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 58:32
Size: 134,7 MB
Art: Front

(7:24) 1. Soft Winds
(5:00) 2. I Don't Wanna Be Kissed
(7:05) 3. He Knows How Much You Can Bear
(6:10) 4. Selah (New Beginnings Suite)
(5:01) 5. La Maurier (New Beginnings Suite:)
(6:18) 6. Berda's Bounce (New Beginnings Suite:)
(7:08) 7. Blame It On My Youth
(5:59) 8. The Touch Of Your Lips
(8:22) 9. Kumbaya

Named after a suite composed for the Dayton, OH, arts organization Cityfolk, New Beginnings buckles under the weight of its diverse choice of material, just holding together due to the musicians' expertise. Terell Stafford bounces between trumpet and flügelhorn, the choice of material ranges from standards to funk, and there must have been a rotating door for the four saxophonists. Luckily, our leader is a "musician's musician," so if listeners consider it a chance to sit in on Stafford's class at Temple, they'll be rewarded. Stafford steps up slowly to Fletcher Henderson's "Soft Winds" before having some fun, assuredly stretching notes before handing it over to Jesse Davis and Harry Allen's more relaxed and soulful approaches. It's a great opener, with solos being bounced back and forth to introduce the players quickly. Mulgrew Miller is in fine form throughout the record, placing his solo between the beats on "I Don't Wanna Be Kissed" and providing ample support for the leads elsewhere. Derrick Hodge's acoustic bass is spot-on, but less compelling when he switches to electric for the anemic funk of "Selah," the "New Beginnings Suite" opener. The three-song suite could be taken apart without anyone noticing, but its structure does allow the sideman ample room to explore on an already sideman-friendly record. Stafford slinks across Stephen Scott's wonderful arrangement of "Kumbaya" and Steve Wilson's brilliant soprano pushes the whole band toward a rapturous ending. It's definitely the album's winner, and as a closer it leaves the listener exalted. ~ David Jeffries https://www.allmusic.com/album/new-beginnings-mw0000035813

Personnel: Trumpet, Flugelhorn – Terell Stafford; Acoustic Bass, Electric Bass – Derrick Hodge; Alto Saxophone – Dick Oatts, Jesse David; Alto Saxophone, Soprano Saxophone – Steve Wilson; Drums – Dana Hall; Piano – Mulgrew Miller; Tenor Saxophone – Harry Allen

New Beginnings

Saturday, March 2, 2019

Carl Allen & Manhattan Projects - The Dark Side Of Dewey

Styles: Post Bop, Straight-Ahead Jazz
Year: 1992
File: MP3@320K/s
Time: 51:51
Size: 119,1 MB
Art: Front

(4:42) 1. Opening Statement
(7:02) 2. All Blues
(7:02) 3. My Funny Valentine
(7:03) 4. Three For Rhonda
(5:23) 5. Mr. Wizard
(6:33) 6. Dear Old Stockholm
(6:31) 7. Just Squeeze Me
(7:33) 8. The Dark Side Of Dewey

Despite the inclusion of Carl Allen's moody title cut, this tribute to Miles Davis is mostly pretty happy, with four selections taken from Davis' repertoire of the 1950s and early '60s ("All Blues," "My Funny Valentine," "Dear Old Stockholm," and "Just Squeeze Me") plus a few complementary originals by bandmembers. Trumpeter Nicholas Payton (even if he does not sound like Davis) and altoist Vincent Herring make for a potent team, while pianist Mulgrew Miller and bassist Dwayne Burno join Allen in keeping the music moving. No surprises occur, but there are plenty of fine solos throughout this modern mainstream set. ~ Scott Yanow https://www.allmusic.com/album/the-dark-side-of-dewey-mw0000181090

Personnel: Drums – Carl Allen; Alto Saxophone – Vincent Herring; Bass – Dwayne Burno; Piano – Mulgrew Miller; Trumpet – Nicholas Payton

The Dark Side Of Dewey

Saturday, February 23, 2019

Mulgrew Miller - The Countdown

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 50:25
Size: 115,8 MB
Art: Front

(8:18) 1. The Countdown
(5:23) 2. Exact Change
(7:32) 3. What the World Needs Now Is Love
(5:55) 4. '1684'
(6:44) 5. Tetragon
(5:41) 6. Crystal Palace
(4:45) 7. Ambrosia
(6:02) 8. August Afternoon

The great Joe Henderson joins pianist Mulgrew Miller for this wonderful album lending his sharp-edged tenor tone to really make the session stand out from Miller's more common trio dates! Henderson and Miller both have a great ear for the darker side of the spectrum hitting notes that are never too far out, nor too modern but which have a rich sense of color that's really wonderful a bottom-searching sort of feel that gives the album a hell of a lot of feeling! The rest of the quartet features Ron Carter on bass and Tony Williams on drums beautiful partners who are matched with years of experience, which they're only happy to bring to the date. Henderson sits out two numbers "Ambrosia" and "Exact Change" but sparkles strongly on the tracks "The Countdown", "Tetragon", "What The World Needs Now Is Love", "Crystal Palace", and "August Afternoon". © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/476435/Mulgrew-Miller:Countdown

Personnel: Mulgrew Miller – piano; Joe Henderson – tenor sax; Ron Carter – bass; Tony Williams – drums

The Countdown

Sunday, January 20, 2019

Benny Golson, Freddie Hubbard - Benny Golson With Freddie Hubbard

Styles: Saxophone And Trumpet Jazz

Year: 1987
File: MP3@320K/s
Time: 67:05
Size: 153,8 MB
Art: Front

( 9:10) 1. Stardust
( 9:22) 2. Double Bass
( 4:42) 3. Gypsy Jingle Jangle
(12:14) 4. Povo
( 7:30) 5. Love is a Many Splendored Thing
(10:17) 6. Sad To Say
(13:47) 7. Far Away

Benny Golson is a talented composer/arranger whose tenor playing has continued to evolve with time. After attending Howard University (1947-1950) he worked in Philadelphia with Bull Moose Jackson's R&B band (1951) at a time when it included one of his writing influences, Tadd Dameron on piano. Golson played with Dameron for a period in 1953, followed by stints with Lionel Hampton (1953-1954), and Johnny Hodges and Earl Bostic (1954-1956). He came to prominence while with Dizzy Gillespie's globetrotting big band (1956-1958), as much for his writing as for his tenor playing (the latter was most influenced by Don Byas and Lucky Thompson). Golson wrote such standards as "I Remember Clifford" (for the late Clifford Brown), "Killer Joe," "Stablemates," "Whisper Not," "Along Came Betty," and "Blues March" during 1956-1960. His stay with Art Blakey's Jazz Messengers (1958-1959) was significant, and during 1959-1962 he co-led the Jazztet with Art Farmer. From that point on Golson gradually drifted away from jazz and concentrated more on working in the studios and with orchestras including spending a couple of years in Europe (1964-1966). When Golson returned to active playing in 1977, his tone had hardened and sounded much closer to Archie Shepp than to Don Byas. Other than an unfortunate commercial effort for Columbia in 1977, Golson has recorded consistently rewarding albums (many for Japanese labels) since that time including a reunion with Art Farmer and Curtis Fuller in a new Jazztet. Through the years he has recorded as a leader for Contemporary, Riverside, United Artists, New Jazz, Argo, Mercury, and Dreyfus among others. Returning once again to the spirit of the original Jazztet, Golson released New Time, New 'Tet on Concord Records in 2009. ~ Scott Yanow https://www.allmusic.com/artist/benny-golson-mn0000135391/biography

One of the great jazz trumpeters of all time, Freddie Hubbard formed his sound out of the Clifford Brown/Lee Morgan tradition, and by the early '70s was immediately distinctive and the pacesetter in jazz. However, a string of blatantly commercial albums later in the decade damaged his reputation and, just when Hubbard, in the early '90s (with the deaths of Dizzy Gillespie and Miles Davis), seemed perfectly suited for the role of veteran master, his chops started causing him serious troubles. Born and raised in Indianapolis, Hubbard played early on with Wes and Monk Montgomery. He moved to New York in 1958, roomed with Eric Dolphy (with whom he recorded in 1960), and was in the groups of Philly Joe Jones (1958-1959), Sonny Rollins, Slide Hampton, and J.J. Johnson, before touring Europe with Quincy Jones (1960-1961). He recorded with John Coltrane, participated in Ornette Coleman's Free Jazz (1960), was on Oliver Nelson's classic Blues and the Abstract Truth album (highlighted by "Stolen Moments"), and started recording as a leader for Blue Note that same year. Hubbard gained fame playing with Art Blakey's Jazz Messengers (1961-1964) next to Wayne Shorter and Curtis Fuller. He recorded Ascension with Coltrane (1965), Out to Lunch (1964) with Eric Dolphy, and Maiden Voyage with Herbie Hancock, and, after a period with Max Roach (1965-1966), he led his own quintet, which at the time usually featured altoist James Spaulding. A blazing trumpeter with a beautiful tone on flügelhorn, Hubbard fared well in freer settings but was always essentially a hard bop stylist. In 1970, Freddie Hubbard recorded two of his finest albums (Red Clay and Straight Life) for CTI.

The follow-up, First Light (1971), was actually his most popular date, featuring Don Sebesky arrangements. But after the glory of the CTI years (during which producer Creed Taylor did an expert job of balancing the artistic with the accessible), Hubbard made the mistake of signing with Columbia and recording one dud after another; Windjammer (1976) and Splash (a slightly later effort for Fantasy) are low points. However, in 1977, he toured with Herbie Hancock's acoustic V.S.O.P. Quintet and, in the 1980s, on recordings for Pablo, Blue Note, and Atlantic, he showed that he could reach his former heights (even if much of the jazz world had given up on him). But by the late '80s, Hubbard's "personal problems" and increasing unreliability (not showing up for gigs) started to really hurt him, and a few years later his once mighty technique started to seriously falter. In late 2008, Hubbard suffered a heart attack that left him hospitalized until his death at age 70 on December 29 of that year.Freddie Hubbard's fans can still certainly enjoy his many recordings for Blue Note, Impulse, Atlantic, CTI, Pablo, and his first Music Masters sets. ~ Scott Yanow https://www.allmusic.com/artist/freddie-hubbard-mn0000798326/biography

Personnel: Tenor Saxophone – Benny Golson; Trumpet – Freddie Hubbard; Bass – Ron Carter; Drums – Smitty; Piano – Mulgrew Miller

Benny Golson With Freddie Hubbard

Friday, November 16, 2018

Jim Rotondi - Destination Up

Styles: Trumpet Jazz
Year: 2001
File: MP3@320K/s
Time: 59:39
Size: 136,9 MB
Art: Front

( 5:41) 1. Designated Hitter
(10:10) 2. Evening Shades Of Blue
( 6:08) 3. Last Ditch Wisdom
( 6:47) 4. Miller Time
( 8:43) 5. Park Avenue Petite
( 6:25) 6. Remember
( 6:45) 7. Reverence
( 8:55) 8. Yams

Among the current crop of mainstream jazz trumpeters, Jim Rotondi stands head and shoulders above the crowd. With a crackling extroverted style akin to that of Lee Morgan, Rotondi possesses an incisive harmonic sense and the knack for telling a story. Via his work with the hard bop collective One For All and a reliable set of albums as a leader for Criss Cross, Rotondi has emerged as a major talent deserving of wider recognition. Rotondi’s first release for Sharp Nine also happens to be among his best to date, feeling very much like a classic in the making. That should come as no surprise considering the ensemble makeup, with the trumpeter sharing lead with vibraphonist Joe Locke. In the same way that Bobby Hutcherson added so much to classic Blue Notes such as Grant Green’s Idle Moments or Joe Henderson’s Mode For Joe, Locke provides a lush carpet that enhances the advanced charts. Holding down the fort, Mulgrew Miller, Peter Washington, and Joe Farnsworth form a tight-knit rhythm team, with the latter two gentlemen especially familiar with Rotondi’s modus operandi. It’s another old buddy, trombonist/composer Steve Davis who sits in on two tracks and contributes one of the date’s finest compositions, “Evening Shades of Blue.” Typical of Davis’ distinguished writing, this long form tune with a catchy tag is the longest performance of the disc and allows all key members a chance to stretch out at length. Equally enticing are three tunes from Rotondi’s pen, including the bop-tinged “Designated Hitter,” a bluesy tribute to Mulgrew Miller entitled “Miller Time,” and the lovely waltz “Reverence.” As for appreciating Rotondi’s maturity as a soloist, look no farther than “Park Avenue Petite,” a ballad feature that finds the trumpeter taking his time, looking for the silence between phrases, and holding our interest in a way that only the finest improvisers can. In similar fashion, Rotondi avoids the flashy technical displays and other trite inventions and maybe that’s what makes Destination Up such a keeper. ~ C.Andrew Hovan https://www.allaboutjazz.com/destination-up-jim-rotondi-sharp-nine-records-review-by-c-andrew-hovan.php

Personnel: Jim Rotondi (trumpet, flugelhorn), Joe Locke (vibes), Steve Davis (trombone),Mulgrew Miller (piano), Peter Washington (bass), Joe Farnsworth (drums)

Destination Up

Sunday, October 14, 2018

Terence Blanchard & Donald Harrison - New York Second Line

Styles: Trumpet And Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 34:39
Size: 79,6 MB
Art: Front

(4:22) 1. New York Second Line
(5:24) 2. Oliver's Twist
(3:28) 3. I Can't Get Started
(3:42) 4. Duck Steps
(6:05) 5. Doctor Drums
(3:46) 6. Isn't It So?
(7:50) 7. Subterfuge

Trumpeter Terence Blanchard and altoist Donald Harrison were both still members of Art Blakey's Jazz Messengers when they co-led this colorful set; they would break away to form their own group in early 1986. "New York Second Line," which sounds like a crazy marching band and is an eccentric tribute to the co-leaders New Orleans heritage, is the most memorable selection but all of the group originals plus "I Can't Get Started" are given inventive treatment. With pianist Mulgrew Miller, bassist Lonnie Plaxico and drummer Marvin "Smitty" Smith, this was a particularly strong early effort by Blanchard and Harrison. ~ Scott Yanow https://www.allmusic.com/album/new-york-second-line-mw0000187728

Personnel: Terence Blanchard – Trumpet; Donald Harrison -Alto Saxaphone; Mulgrew Miller -Pianist; Lonnie Plaxico – Bassist; Marvin “Smitty”Smith – Drummer

New York Second Line