One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

---

One for All - Big George

Styles: Straight-ahead/Mainstream
Year: 2024
Time: 59:17
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(6:59) 1. Chainsaw
(6:20) 2. In the Lead
(5:32) 3. Edgerly
(8:41) 4. Oscar Winner (feat. George Coleman)
(7:02) 5. My Foolish Heart (feat. George Coleman)
(6:39) 6. This I Dig of You (feat. George Coleman)
(6:08) 7. Cove Island Breeze (bonus track)
(5:53) 8. The Nearness of You (bonus track)
(5:59) 9. Leemo (bonus track)

The NYC-based ensemble One For All has carried the post bop mantle for over 25 years, featuring some of the most consistently solid musicians in recent memory: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, and drummer Joe Farnsworth, usually including bassist John Webber. A new album is always an event for the group’s longtime fans (like me), and I am happy to report that Smoke Sessions’ Big George, including the sax great George Coleman, finds them, and their guest, in good form.

Big George is meant as an homage to Coleman, who is often cited as a significant influence on a generation of players. Beloved among the NYC jazz clientele, the veteran saxophonist dominates the center portion of the new collection, including a terrific improvisation on the classic “My Foolish Heart,” which should be an early candidate for solo performance of the year.

As for the others, Rotondi’s appearance in the midst of a two-year recording splurge finds him as sharp as ever; Alexander, coming off an under-noticed alto excursion, holds tenor sway while respectfully stepping aside as Coleman demonstrates his lasting excellence; Davis continues his growth both in playing and composing; Hazeltine comps with the best and delivers tasteful solos that always mesh with the groove; and Farnsworth, especially, is energized and in his glory as a masterful support for people he clearly cherishes. Webber, as he has done in the past (notably during the band’s Criss Cross era) provides his own solid supportnothing fancy, but just right.

The album seems to be organized like a live event: the first three songs feature the classic ensemble; Coleman joins for three more; then the band closes out, nine selections in all lasting just under an hour.

Alexander’s “Chainsaw,” with a funky ambiance, sounds like a Lee Morgan outtake. Rotondi wastes little time reestablishing himself as a stalwart trumpet lead. Alexander and Davis follow with their own statements while Farnsworth embellishes the beat with Higgins-like precision.

Hazeltine’s “In the Lead” carries a soft Bossa cadence into a swinging post bop display led by Alexander. Again the remaining soloists add commentary while the energetic Farnsworth pounds away.

“Edgerly” is Davis’s composition and first lead solo, a lyrical statement matched by Rotondi’s response, Alexander’s relay run, and Hazeltine’s brief solo before Farnsworth bridges the proceedings.

Coleman is then called to the ‘stage’ for “Oscar Winner,” which became more appealing to me as a metaphoric representation of an actual award ceremony. The ensemble pronounces the theme music, and then Big George gives an acceptance speech when I imagined him being that winner, his solo took on a Clark Terry sheen as a colloquially grateful achiever. Davis then appears, perhaps, as the film producer, and the others as supporting cast.

But “My Foolish Heart” is the show stopper, even if the tune has been recorded over and over again. Coleman here channels another Coleman, Mr. Hawkins, starting low and soulfully advancing the melody before a solo lovingly supported by a well-recorded and mixed Hazeltine, Webber, and Farnsworth. The drummer’s affinity for tasteful support is noted as Coleman glides through his extended soliloquy.

Then, almost as an encore, Coleman pushes the proceedings on Hank Mobley’s “This I Dig of You,” leading with hard bop verve as the other horns provide a chorus. The 89-year-old’s inventive approach is impressive, as he punctuates his runs with high and low notes, seemingly challenging his partners to match him. Hazeltine takes the hint first, and an itchy Farnsworth follows before Coleman and Davis can’t help but join in.

The final three items are listed as “Bonus Tracks” on the Bandcamp site. Davis’s “Cave Island Breeze” swings as the title implies. Perhaps inspired by Coleman’s performance, Alexander soulfully leads a rendition of “The Nearness of You.” The finale “Leemo” is a blues treat composed by Rotondi that sounds like a twist on “Dat Dere.” Webber gets the lead before the ensemble settles into a pleasurable groove, and this reviewer thinks the producers faded the recording too early.

One For All has been together long enough to have its own ‘eras’. My favorite is the Criss Cross era, when the band, in my estimation, swung harder and dug a bit deeper. This new release on Smoke Sessions would fit into that zone; with Big George along for the ride, Big George the album is a welcome return to form by one of America’s finest music collaborations.
https://www.chicagojazz.com/post/jazz-review-big-george-one-for-all-by-jeff-cebulski

Personnel: Jim Rotondi, trumpet; Eric Alexander, tenor saxophone; Steve Davis, trombone; David Hazeltine, piano; John Webber, bass; Joe Farnsworth, drums; George Coleman, guest tenor saxophone

Big George

---

One For All - The Long Haul

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 66:24
Size: 152,3 MB
Art: Front

(12:10) 1. A Cry For Understanding
( 7:49) 2. The Long Haul
( 8:01) 3. Echoes In The Night
( 7:26) 4. The Poo
( 6:36) 5. The Good Life
( 7:29) 6. Stash
( 7:35) 7. Summer Nights
( 9:14) 8. Nothin' To It

Working within the broad parameters of hard-swinging, harmonically sophisticated small-band styles from the 40s, 50s, and 60s, the music of the sextetOne For Allalso reflects the experiences of the individual members outside of their cooperative band. An incomplete but telling list of leaders who have employed and influenced various members of the crew includes Cecil Payne, George Coleman, Art Blakey, Jackie McLean, Junior Cook, Slide Hampton, and Louis Hayes.

On The Long Haul, the band’s second release for Criss Criss (and fourth overall), they stake their claim to the tradition. The record comprises impressive material (six out of eight cuts were written by various band members) and arrangements, four primary soloists with something distinctive to say, and a rhythm section that responds to every exigency and shoots off sparks of its own. Most of all, aside from the skill and technique involved, the music possesses a fervency that is genuine: These guys love playing together and it shows.

The disc’s opening cut, “A Cry For Understanding,” composed by John Farnsworth, encompasses the band’s virtues. A slow, somber introduction convincingly executed by tenor saxophonist Eric Alexander and the rhythm section leads to all of the horns playing the theme at a brisk tempo. Alexander’s solo is a fine example of his continuing development. His full-bodied sound spreads out and takes up space without being overbearing, and he stays in absolute control while deliberately working through a variety of ideas that add up to a complete, satisfying whole. In comparison, trombonist Steve Davis’ approach is somewhat spare, skillfully playing off and interacting with pianist David Hazeltine’s chords and the snap of drummer Joe Farnsworth’s snare drum accents.

During a commanding, live wire turn, trumpeter Jim Rotondi frequently phrases on top the beat and occasionally takes brief, fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever mindful of Farnsworth’s and bassist Ray Dummond’s pulse, at first seems casual and then gradually hardens his touch, becoming more expansive and forceful. Backed only by Farnsworth’s brushes, Drummond completes the cycle of solos, integrating a snippet of the song “Wade In The Water,” into a smart, efficient statement.

Alexander’s rollicking tune “Stash,” the band’s first venture into the time signature of 5/4, is another of the disc’s standout cuts. It moves forward in a nice, lopsided manner, with the horns brazenly stating the melody, then giving way to a string of compact solos. First up is Alexander, who is clearly inspired by the odd meter, starting off with short, soulful phrases. When Hazeltine and Farnsworth signal a change in emphasis, he takes off in a series of sprints which ends in barrage of overblowing. Rotondi burns through the rhythmic thicket with ease, making his lines rhyme with call and response patterns. Initially taking more care than usual in placing his notes and letting the rhythm section fill in space, Davis’ solo gradually gains footing while working against the weight of Hazeltine’s stabbing chords. Over Drummond and Hazeltine’s vamp, Farnsworth slyly mixes rhythms that alternately refer to the pulse and create unrelated waves of percussive sound.By David A. Orthmann https://www.allaboutjazz.com/the-long-haul-one-for-all-criss-cross-review-by-david-a-orthmann

Personnel: Eric Alexander - -tenor sax; Jim Rotondi - trumpet, flugelhorn; Steve Davis - trombone; David Hazeltine - piano; Ray Drummond - bass; Joe Farnsworth - drums.

The Long Haul

---

One For All - Upward And Onward

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 65:16
Size: 150,1 MB
Art: Front

( 7:23) 1. D's Blues
( 7:05) 2. Perspective
(11:06) 3. We All Love Eddie Harris
( 5:55) 4. Epitome
( 4:39) 5. Just By Myself
(11:37) 6. John Coltrane
( 8:41) 7. Blues For Joe Don
( 8:47) 8. Upward And Onward

ONE FOR ALL, a cooperative sextet of some of the hot young players on the New York scene, present a swinging and soulfull performance in the hardbop tradition, but with evolving contemporary explorations that are indeed 'Upward and Onward'.

The group features crisp ensemble work and dynamic solo thrusts from young lions Eric Alexander, Jim Rotondi, Steve Davis and David Hazeltine backed by bassist Peter Washington and drummer Joe Farnsworth. All musicians of this group have recorded as leaders for Criss Cross on several occasions.

Personnel: Trumpet, Flugelhorn – Jim Rotondi; Trombone – Steve Davis; Tenor Saxophone – Eric Alexander; Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Upward And Onward

---

One For All - The End Of A Love Affair

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 58:31
Size: 134,3 MB
Art: Front

(7:35)  1. The End Of A Love Affair
(7:12)  2. Stolen Moments
(6:20)  3. Corcovado
(8:52)  4. How Are You?
(7:22)  5. Shinjuku Waltz
(6:05)  6. Skylark
(8:53)  7. The Eyes Have It
(6:10)  8. Street Of Dreams

Things just aren’t what they used to be and we’re not just talking about life these days post September 11th. From a jazz standpoint, the renaissance movement that was ushered in during the ‘80s seems to have run its course in many ways. The corporate pressures behind the major labels seem to be tightening their belts when it comes to jazz product. For so many years the reissue market alone was astounding and the ripple effect helped support contemporary rosters that are now getting smaller and smaller as the catalog boom seems to bottom out. All of this leads us to the disc at hand, which is presented by a group that seems to be beating the odds when it comes to the financial ups and downs of the current jazz scene. That One For All has remained a viable group since the mid-‘90s is remarkable enough in itself, let alone when you consider that each and every member of the group has any number of responsibilities as leaders of their own projects at any given time. Their first venture for the Japanese Venus label, The End of a Love Affair finds One For All in the kind of hard bop mode that the Japanese audiences embrace lock, stock, and barrel.

There’s even more of a focus on the type of standards that have not previously been explored by the group, namely “Skylark,” Jobim’s “Corcovado,” and Oliver Nelson’s “Stolen Moments.” Of course, what makes for an engaging listen is the manner in which the familiar becomes reborn and pianist David Hazeltine can take a lot of the credit for crafting arrangements chock-a-block full of altered chords and suspended rhythms that find new routes to well-known destinations.Three of the eight tunes on tap are originals and that’s where the sparks really start to fly. Hazeltine’s “How Are You?” grooves over a 12/8 Afro-Cuban feel that everyone navigates with ease, especially Steve Davis, who adds a smoldering solo that’s one of his best of the date. A rock solid support throughout, bassist Peter Washington steps up front for a harmonious statement that institutes the string of solos on Eric Alexander’s breezy “Shinjuku Waltz.” Then from the pen of Steve Davis, there’s the Blakey-inflected shuffle of “The Eyes Have It” (nice play on words, huh?), with combustible solo moments from Davis, Alexander and trumpeter Jim Rotondi. More detailed descriptions are really unnecessary for those familiar with the gentlemen that make up One For All; these guys have each developed their individual voices and are among the most in-demand musicians of the current set. And for the uninitiated, this set comes highly recommended as a consummate example of modern mainstream know-how. ~ C.Andrew Hovan  http://www.allaboutjazz.com/the-end-of-a-love-affair-one-for-all-review-by-c-andrew-hovan.php#.VD2A-RawTP8

Personnel: Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), Peter Washington (bass), Joe Farnsworth (drums)

The End Of A Love Affair

---

One for All - Invades Vancouver!

Styles: Jazz, Straight-Ahead/Mainstream  
Year: 2010
File: MP3@320K/s
Time: 67:44
Size: 155,9 MB
Art: Front

( 8:32)  1. Big G
( 9:04)  2. Up the Middle
( 7:54)  3. Open and Shut
( 7:30)  4. Dear Ruth
(14:12)  5. Nemesis
( 9:27)  6. For Cedar
( 8:04)  7. Moments Notice
( 2:59)  8. Prime Time

While nominally a studio-only group of leaders, One for All here turn in a live set demonstrating that it's good for any band to get in front of people now and then. This by-now long-lived sextet (even the rotating bass chair seems to have settled with John Webber) has a very set idea of what it is as a traditional hard bop small-band jazz ensemble with three horns  saxophonist Eric Alexander, trumpeter Jim Rotondi, and trombonist Steve Davis and rhythm section with pianist David Hazeltine and drummer Joe Farnsworth joining Webber. The tunes are in standard form, with a head followed by several solos handed around the band. Thus, Rotondi's "Big G" opens things with successive Alexander, Davis, Rotondi, and Hazeltine showcases. Webber doesn't get his own solo until Alexander's "Open and Shut," following the saxophonist and Hazeltine. The group pays tribute to Cedar Walton on both his "Dear Ruth" and Hazeltine's "For Cedar," sandwiched around Alexander's lengthy "Nemesis," which allows plenty of room for Farnsworth to solo. Another primary influence is cited in John Coltrane's "Moments Notice," which is, in effect, the closer, since Farnsworth's brief "Prime Time" is the accompaniment to the band introductions. This is a democratic group that allows everybody a say, and they all prove themselves capable; that also means, however, that there isn't that much of a group identity. ~ William Ruhlmann http://www.allmusic.com/album/invades-vancouver%21-mw0002099466
 

Personnel:  Eric Alexander tenor saxophone, Jim Rotondi trumpet, Steve Davis trombone, David Hazeltine piano, John Webber bass, Joe Farnsworth drums

Invades Vancouver!

---

One For All - Return of the Lineup

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2009
File: MP3@320K/s
Time: 54:32
Size: 125,7 MB
Art: Front

(7:15)  1. Jackpipe
(6:38)  2. But Not For Me
(6:04)  3. Silver and Cedar
(6:37)  4. Treatise For Reedus
(6:02)  5. Dear Ruth
(7:22)  6. Forty-Four
(8:07)  7. Road to Marostica
(6:24)  8. Blues For JW

One for All is a band of New York-based veterans who've played with one another in various combinations, as well as making a number of CDs together under this name with little change in personnel, and of whom all but one are founding members. Featuring tenor saxophonist Eric Alexander, trombonist Steve Davis, and trumpeter Jim Rotondi in the front line, plus a rhythm section with pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. While each of them (save Webber) works and records often as an individual bandleader, there is an incredible blend of inspired solos, fresh compositions, and arrangements, along with a spirit of cooperation where no egos get in the way of great music. 

Hazeltine's peppy "Treatise for Reedus" is an uptempo salute to the talented drummer, who died suddenly at the premature age of only 49 a few days prior to this recording session. Alexander's Latin-flavored "Road to Marostica" features tight ensemble work and invigorating solos, while he was also responsible for the updated treatment of George Gershwin's "But Not for Me." This is a rewarding date by a sextet that is always ready to give their all. ~ Ken Dryden https://www.allmusic.com/album/return-of-the-lineup-mw0000814360

Personnel: Piano – David Hazeltine; Tenor Saxophone – Eric Alexander; Trombone – Steve Davis ; Trumpet, Flugelhorn – Jim Rotondi; Bass – John Webber; Drums – Joe Farnsworth

Return of the Lineup

---

1 For All - Wide Horizons

Bitrate: MP3@320K/s
Time: 57:11
Size: 130.9 MB
Styles: Contemporary jazz
Year: 2002
Art: Front

[7:20] 1. The Nomad
[8:05] 2. Nemesis
[7:34] 3. Wide Horizons
[6:13] 4. Infant Eyes
[6:50] 5. Central Park South
[7:00] 6. The Conformist
[7:29] 7. Cold Smoke
[6:37] 8. A Calling

Eric Alexander (Ts); Jim Rotondi (Tp / Flh); Steve Davis (Tb); David Hazeltine (P); Peter Washington (B); Joe Farnsworth (D). Recorded December 20, 2002 in Brooklyn, NY, USA by Max Bolleman.

A frontline consisting of Eric Alexander's tenor sax, the trumpet and fluegelhorn of Jim Rotondi, and trombonist Steve Davis executes the band's arrangements of original compositions (plus two jazz standards) with elan, as well as blowing spirited solos. Stimulating the horns, pianist David Hazeltine, bassist Peter Washington, and Joe Farnsworth on drums comprise a first-class rhythm section that completes the ensemble's unique sound.

Wide Horizons

---

Alexis Cole with One For All - You'd Be So Nice To Come Home To

Bitrate: MP3@320K/s
Time: 56:10
Size: 128.6 MB
Styles: Jazz vocals
Year: 2011
Art: Front

[4:17] 1. Golden Earrings
[5:31] 2. I Will Wait For You
[5:31] 3. Moon River
[6:06] 4. Delilah
[5:18] 5. Cry Me A River
[5:38] 6. Alone Together
[5:20] 7. A Beautiful Friendship
[3:47] 8. All The Things You Are
[4:44] 9. So In Love
[5:15] 10. You've Changed
[4:36] 11. You'd Be So Nice To Come Home To

Bass – John Webber; Drums – Joe Farnsworth; Piano – David Hazeltine; Tenor Saxophone – Eric Alexander; Trombone – Steve Davis; Trumpet – Jim Rotondi; Vocals – Alexis Cole. Recorded at Avatar Studios in New York on April 28 & 29, 2010.

Alexis Cole, born into a musical family in Queens, New York, began her professional career after obtaining a master's degree from the Aaron Copland School of Music at Queens College. She has performed with Slide Hampton, Rufus Reid and Harry Pickens among others, and so far released four CDs on independent labels. Following her superb debut from the Japanese Venus Records (Someday My Prince Will Come, available on HQCD and vinyl LP), her eagerly awaited second album is something of a coup - she recorded the entire album with the all-star hard bop group One For All! As far as I know, the supergroup that includes Eric Alexander and David Hazeltine has never accompanied a singer for an entire album!

The familar standards are tastefully and intelligently arranged, and Cole's attractive voice and the ability to swing are in full display. Her voice is rich and strong. She has impeccable technique and control, and a confident jazz style that hints an influence from Carmen McRae. And, as expected, the ensemble and solo work of the band is simply phenomenal! A rare album that satisfies fans of vocal jazz and fans of serious hardbop, instrumental jazz!

You'd Be So Nice To Come Home To

---

One For All - Optimism

Bitrate: MP3@320K/s
Time: 69:37
Size: 159.4 MB
Styles: Neo-bop, Straight ahead jazz
Year: 1998
Art: Front

[ 8:22] 1. Optimism
[ 6:59] 2. Stranger In Moscow
[ 7:21] 3. Straight Up
[11:12] 4. All For One
[ 6:07] 5. Pearl's
[ 7:15] 6. Spring Can Really Hang You Up The Most
[ 7:55] 7. What Kind Of Fool Am I
[ 8:06] 8. The Prevaricator
[ 6:16] 9. These Foolish Things

This is the second album by One for All, an all-star sextet of young jazz veterans totally steeped in the hard bop tradition and group dynamic of Art Blakey and Horace Silver's classic ensembles. Eric Alexander, the rising tenor sax phenom, trombonist Steve Davis (Jazz Messengers, Jackie McLean, Chick Corea's Origin), and Peter Washington, the talented and ubiquitous bassist, are probably the best known players here. But all the band's members are respected figures on the New York scene with long lists of impressive credits. And these guys really know what they're doing, whether it's reworking standards like "Spring Can Really Hang You Up the Most," "What Kind of Fool Am I?" and "These Foolish Things," or tearing through a number of fine neo-hard-bop originals. ~Joel Roberts

Optimism

---

One For All - Incorrigible

Styles: Jazz, Straight-Ahead/Mainstream 
Year: 2010
File: MP3@320K/s
Time: 55:10
Size: 126,7 MB
Art: Front

(6:04)  1. Bewitched, Bothered, and Bewildered
(8:20)  2. Petite Ange
(5:46)  3. Voice
(5:28)  4. Incorrigible
(7:13)  5. Blues for Jose
(8:13)  6. Spirit Waltz
(6:34)  7. Back to Back
(7:28)  8. So Soon

One for All's Incorrigible showcases some of the best original writing the group has had in its 14 releases. It no longer sounds like a bunch of "young lions" thrown together in a recording studio. Cohesive and interdependent, these musicians bring out the best in one another, resulting in an album filled with thoughtful communication and high energy improvisation. "Bewitched, Bothered, and Bewildered," the only non-original tune, opens the album. A disappointing arrangement lacks the interest and originality of the other tracks. Usually taken as a ballad, this up-tempo modern interpretation is ambitious but falls far short of tenor saxophonist Eric Alexander's take of it elsewhere, as a leader. This is the third time Alexander has recorded the tune but it's his least melodic approach. Alexander, trombonist Steve Davis and pianist David Hazeltine sputter out impressive patterns in a modern context continuously, but lack the melodic continuity in their solos to draw the listener in. Drummer Joe Farnsworth is able to rekindle the spark of this recording with a brilliant drum solo before the group makes its way back to the head. From this point on, the album is borderline magical. Hazeltine's "Petite Ange" is eerily macabre from the opening chords on the piano. Farnsworth seems to really enjoy playing on this one, making the most of his snare in tasteful fills as he dances all over his ride cymbal in crystal clear precision. Trumpet player Jim Rotondi blows his way through the changes with poise thanks to the support of bassist John Webber, who maintains Hazeltine's intentions with a solidified groove. Rotondi is heard next on "Voice," his tribute to trumpeter Freddie Hubbard. A mournful ballad kicks into an easy-swing for the blowing, where Rotondi and Hazeltine play inspired modern bop that is flowing and refined.

Kicking things into high gear is Alexander's aptly named title track. Weaving in and out of several key centers, it is reminiscent of John Coltrane's "Giant Steps" in the fact that it sounds more like an exercise than a composition. Rotondi and Alexander demonstrate complete domination in playing over the challenging progression. It is easy to hear the growth in Davis' playing as he takes on this war horse with a great deal of success, contributing a short but exceptionally melodic solo. Hazeltine sounds equally at home with this difficult tune, offering another quality solo before the melody is restated. Relaxed yet dripping with bop, "Blues for Jose" is propelled by a 12/8 feel given by Farnsworth, accentuated with tasty voicings from Hazeltine until things move into more of a two-beat swing feel from Webber given underneath the piano solo. In stark contrast is Davis' haunting "Sprit Waltz," very redolent of pianist Horace Silver's writing. Davis, Alexander and Hazeltine aren't afraid to stretch a bit on this one. Farnsworth effectively captures the darkness of this piece with a very melodic drum solo akin to Max Roach.  Continuing in the Horace Silver vein, Rotondi's brilliant "Back to Back" employs a catchy bass ostinato in the introduction setting the stage for a simple but swinging melody from the trumpet. Alexander settles in comfortably with this tune and offers up the most lyrical of all his improvisations on the album. Likewise, Rotondi is right at home with these changes and plays with a conviction not heard on his previous offerings.  

A satisfying conclusion, Davis' infectious shuffle "So Soon" grooves harder than anything else on the album. The triplet-infused feel of Farnsworth makes this simple melody come alive. Davis' best writing always lends itself well to a big band context because of the natural growth that occurs in his compositions due to well thought out background figures and the way his charts make a rhythm section groove like no other. All three horns and Hazeltine solo. All four nail it. As with any One for All recording, this features many great improvisations from some of the best hard-bop musicians today. Steve Davis in particular plays well. Normally in the shadow of Alexander and Rotondi, Davis has proven that he can hold his own in this all-star group. While the sophistication of improvisation is impressive, the real treat with this album is the quality of the original composition. Eric Alexander, Steve Davis, David Hazeltine and Jim Rotondi have always authored quality tunes but these demonstrate growth and inspiration. This fine album is evident of fresh new music encompassing many styles of jazz. ~ Sean Coughlin  https://www.allaboutjazz.com/one-for-all-incorrigible-by-sean-coughlin.php

Personnel: Jim Rotondi: trumpet and flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums.

Incorrigible

---

One For All - No Problem

Styles: Jazz, Post-Bop
Year: 2003
File: MP3@320K/s
Time: 63:23
Size: 145,5 MB
Art: Front

(8:18)  1. Our Father Who Art Blaky
(8:23)  2. No Problem
(8:31)  3. Moanin'
(7:53)  4. Whisper Not
(6:15)  5. Ugetsu
(7:43)  6. Time Off
(7:51)  7. Prelude To A Kiss
(8:28)  8. One For All

This starlit group hits the ground running with drummer Joe Farnsworth's driving tribute to Art Blakey: it's an introduction that says, "we have arrived, folks, just buckle up and ride." Not a hard thing to do and great fun to boot. Recorded at New York's historic Avatar Studios in April of 2003, the sextet's combined mastery and energy are impressive to say the least. "One for All" includes some of the brightest lights in jazz today, who apply themselves to a spirited program of classics and two band originals the aforementioned blistering "Our Father..." and trombonist Steve Davis's infectious closer, "One for All."

Fans of Eric Alexander's masterful tenor work will be especially delighted by his solo on "No Problem." So will David Hazeltine fans, and Jim Rotondi fans, and....in fact, the consistently strong solos are some of the many pleasures of this disk, along with the band's ability to play together as a driving force. The fact that the arrangements of classics like "Moanin'" and "Whisper Not" are pretty standard detracts nothing from the pleasure of their rendering by a group of this caliber. 

On "Time Off," where trombonist Steve Davis first displays the group's communal intention to take no prisoners, I was reminded of the old Maxell ad where the music blows the listener's hair straight back. The guys finally take a breath on "Prelude," in an interesting arrangement where Alexander evokes the ghost of Coltrane's ballad playing and Drummond steps up to the melody. Recorded so frontally that it sounds live, "One for All" is a powerful supergroup recording that cures the winter blues. ~ Dr. Judith Schlesinger  http://www.allaboutjazz.com/no-problem-one-for-all-venus-records-review-by-dr-judith-schlesinger.php

Personnel: Joe Farnsworth (drums), David Hazeltine (piano), Eric Alexander (tenor sax), Jim Rotondi (trumpet), Steve Davis (trombone), Ray Drummond (bass)

No Problem

---

One For All - Killer Joe

Styles: Jazz, Post-Bop
Year: 2005
File: MP3@320K/s
Time: 61:35
Size: 148,6 MB
Art: Front

( 6:18)  1. Killer Joe
( 6:48)  2. Island
(11:06)  3. Night Mist Blues
( 6:53)  4. Mating Call
(10:33)  5. Hot Sake
( 6:24)  6. Say When
( 7:07)  7. I Remember Clifford
( 6:26)  8. You Know I Care

One for All has developed into one of the solid hard bop units, consisting of six talented New York-based musicians, most of whom have recorded a fair amount as individual leaders. With tenor saxophonist Eric Alexander, trombonist Steve Davis, and trumpeter Jim Rotundi in the front line, along with pianist David Hazeltine, bassist David Williams, and drummer Joe Farnsworth providing a great rhythm section, the sextet delves into decades-old gems like "Killer Joe," "Matin Call," and "I Remember Clifford" with authority. But such a band needs to come up with original material to stay fresh, so Alexander contributed the mellow, sauntering ballad "Island," which features superb interplay among the horns. Davis penned the driving"Hot Sake," which sounds like it would have been perfect fodder for Art Blakey's Jazz Messengers, or any hard bop band. Recommended. ~ Ken Dryden   

http://www.allmusic.com/album/killer-joe-mw0000673962.

Personnel: Eric Alexander (tenor saxophone); Jim Rotondi (trumpet); Steve Davis (trombone); David Hazeltine (piano); David Williams (double bass); Joe Farnsworth (drums).

Killer Joe

---

One For All - What's Going On?

Styles: Jazz, Post-Bop
Year: 2007
File: MP3@320K/s
Time: 57:41
Size: 132,1 MB
Art: Front

(6:45)  1. What's Going On?
(5:23)  2. How Sweet It Is
(8:07)  3. Let's Stay Together
(6:53)  4. Reasons
(5:51)  5. Golden Lady
(6:24)  6. For The Love Of You
(5:32)  7. Stop! In The Name Of Love
(4:59)  8. Moon Blue
(7:46)  9. Betcha By Golly, Wow

One for All is an ongoing all-star band that regularly meets for record dates, though almost all members of the sextet lead individual groups of their own. The focus of this session is soul music, though not in the context one would expect to hear it. Trumpeter Jim Rotondi's recasting of Marvin Gaye's protest song "What's Going On?" transforms the piece from a rather repetitious, irritating anthem into a brilliant post-bop vehicle, with sizzling solos and terrific ensembles. Tenor saxophonist Eric Alexander utilizes a similar method in his recasting of Al Green's "Let's Stay Together" with equal success. Pianist David Hazeltine contributed several arrangements, including a snappy Latin-flavored setting of Stevie Wonder's "Golden Lady" and a soulful yet upbeat chart of "Betcha by Golly, Wow," the latter a hit for a number of different artists. Trombonist Steve Davis adds a Latin flavor to his pulsing take of "Stop! In the Name of Love," a huge hit for the Supremes. Even jazz fans who aren't particularly connoisseurs of soul music will find much to like in this enjoyable CD. ~ Ken Dryden   http://www.allmusic.com/album/whats-going-on-mw0001673280

Personnel: Eric Alexander, tenor saxophone; Jim Rotondi, trumpet, flugelhorn; Steve Davis, trombone; David Hazeltine, piano; Peter Washington, bass; Joe Farnsworth, drums.

What's Going On?

---

One For All - Too Soon To Tell

Styles: Jazz
Year: 1997
File: MP3@320K/s
Time: 60:00
Size: 139,3 MB
Art: Front

(8:19)  1. Too Soon To Tell
(6:56)  2. Alfie
(5:54)  3. Stranger Than Fiction
(7:03)  4. Dedicated To You
(8:46)  5. Blues For All
(8:03)  6. Betcha By Golly Wow
(8:29)  7. Visionary
(6:29)  8. Captain's Song

Having reviewed last month Optimism, the second Sharp Nine release by One for All, the New York–based co–op sextet patterned after Art Blakey’s celebrated Jazz Messengers, we must beg your indulgence as we backtrack a year to appraise its debut session, recorded in February ’97 by the eminent Rudy Van Gelder (whose apparently escalating faith in greater reverb is somewhat misplaced). Personnel is unchanged, as is the group’s impassioned point of view. In spite of the rather self effacing title, it’s hardly too soon to tell you, the reader and potential listener, that these are six of the most accomplished and emphatic young neo boppers in the Big Apple or anywhere else. If the Messengers were still around, this is probably quite close to what they’d sound like. While it may be hard to imagine anyone completely filling Blakey’s enormous shoes, Farnsworth has more than a few Bu like drum rolls up his sleeve and kicks the group along in splendid fashion.

Washington, pianist Tommy Flanagan’s bassist of choice, and Hazeltine complete a purposeful and close knit rhythm section that never lets the music drag or falter. The front liners, meanwhile, blend well together (several of the voicings are truly enchanting), and each one is an intrepid soloist as well  Rotondi the fiery triple tonguing aggressor, Davis the Fuller style acrobat, Alexander the muscular clean up batter in the volcanic image of his main man, George Coleman. Like many of Blakey’s sidemen, these guys double as composer/arrangers, and fare well in that department too. Rotondi contributed the buoyant Messengers like opener, “Too Soon to Tell” and the flag waving “Stranger Than Fiction.” Alexander wrote the minor key “Blues for All,” Davis the modal waltz “Visionary” and Hazeltine the up tempo closer, “Captain’s Song.” Hazeltine set “Alfie” to a brisk Latin beat and scored “Betcha By Golly Wow,” while Alexander arranged his earnest ballad feature, Sammy Cahn’s “Dedicated to You.” A superb collaborative effort that is easily recommended to partisans of the mainstream, as is the group's second release.~Jack Bowers 

http://www.allaboutjazz.com/php/article.php?id=2968#.UjTFUT8kI5c

Personnel: Eric Alexander, tenor saxophone; Jim Rotondi, trumpet, flugelhorn; Steve Davis, trombone; David Hazeltine, piano; Peter Washington, bass; Joe Farnsworth, drums.

Too Soon To Tell

---