Peter Erskine New Trio - Joy Luck

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 60:59
Size: 146,5 MB
Art: Front

(6:00)  1. Joy Luck Club
(4:22)  2. On Land, On Sea
(6:43)  3. Man's Dream
(4:09)  4. Esperanca
(6:19)  5. Dr. Kildare
(3:58)  6. Iridesence
(4:49)  7. Something I Said
(6:57)  8. Dreaming Paris
(5:02)  9. I've Never Been In Love Before
(8:21) 10. Every Tomorrow
(4:13) 11. Song for Zoey

Texture is all on Joy Luck, a fine recording that introduces the versatile Vardan Ovsepian on keyboards and arrangements. Buttressed by Erskine’s nephew Damian on bass, this set sparkles, shimmers, provokes and delights. Each of the 11 tracks tells a story or at least implies one. Take the brooding “Dr. Kildare,” a Jerry Goldsmith tune that unfolds in stately fashion with Ovsepian at his most magisterial and Erskine at his bluesiest: Ovsepian weaves a mutable improvisation as Erskine fills, then drops back, and then takes over. Simultaneously relaxing and stimulating, this is music as conversation. While Erskine originals dominate, the choice of covers is judicious. Vince Mendoza’s “Esperança” gets a jaunty, martial treatment sparked by Ovsepian’s insidious synth and Erskine’s rimshots. Erskine plays resonant, sultry marimba on Bob James’ aptly titled “Iridescence,” and his brushwork, in sync with Ovsepian’s sturdy, dappled piano, brings fresh gravity to Frank Loesser’s “I’ve Never Been in Love Before.” Ovsepian’s “Every Tomorrow,” highlighted by Damian Erskine’s plummy bass, is a stunning showcase for a prodigious technique and a faintly mathematical harmonic sensibility. Ovsepian is one to watch, as is the younger Erskine, whose bittersweet “Song for Zoey” caps this subtle, thoughtful disc. ~ Carlo Wolff https://jazztimes.com/reviews/albums/peter-erskine-new-trio-joy-luck/

Personnel:  Drums, Marimba – Peter Erskine;  Bass – Damian Erskine;  Piano – Vardan Ovsepian

Joy Luck

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Vince Mendoza, London Symphony Orchestra – Epiphany

Styles: Post Bop
Year: 2002
Time: 62:18
File: MP3 @ 320K/s
Size: 142,6 MB
Art: Front

( 7:16) 1. Impromptu
(10:20) 2. Wheaten Sky
( 8:12) 3. Esperanza
( 6:03) 4. Ambivalence
( 9:06) 5. Sanctus
( 8:56) 6. Epiphany
( 7:44) 7. Barcelona
( 4:39) 8. Deep Song

In and out of print since its initial release in '99, composer/arranger Vince Mendoza's Epiphany represents one of the finest examples of orchestration in a jazz setting. While there have been other fine examples of large-scale blending, they have often simply retrofitted existing material, as was the case with last year's Promises Kept, where pianist Steve Kuhn's compositions were lushly interpreted by arranger Carlos Franzetti.

Mendoza is a composer in his own right who may not be known to a broader audience, but has been a favourite source for artists including Gary Burton, John Abercrombie and Charlie Haden since he emerged on the scene in the mid-'80s. He's also a well-respected arranger, having worn that mantle for artists as diverse as Joe Zawinul, Joni Mitchell and Bjork. So it's a good thing that Michael Watts Productions has seen fit to reissue this significant disc so that it can be revisited by a fresh audience.

Unlike some jazz ensemble-with-orchestra collaborations where clumsy transitions between the two do nothing more than highlight their stylistic disparities, this effort reflects Mendoza's views that all the instruments available to him are part of a larger palette. Consequently the entire affair feels completely organic and unforced. There are times when the focus is on the orchestra, other times where the ensemble is in the forefront, and still other occasions where the two meet on common ground. The integration is so seamless that one is often unaware of the remarkable way in which Mendoza shifts the emphasis.

Mendoza has used sequencers as part of the writing process in the past, something that remains evident even on his more recent compositions, where repetition of complex passages act as a backdrop for themes that are occasionally convoluted yet always memorable. But with the broader textures available from the orchestra, he is able to construct subtle rubato passages. On the title track, where the strings gently introduce the piece, drummer Peter Erskine finally and delicately establishes time as the ensemble gradually inserts itself and pianist John Taylor takes a well-constructed solo that seems to intuitively ebb and flow with the support of the orchestra.

And yet as complex as Mendoza's charts can clearly be, even when the meter is irregular, they feature nothing jarring or angular. The overall ambience is lush without being saccharine, tender without being overly sentimental, easy on the ears without losing the challenge that bears new experiences on repeated listens. A broader dramatic arc imbues the entire cycle; one might listen to individual tracks, but taken as a whole Epiphany yields an altogether richer experience. With only six albums to his name, Epiphany is an all-too-rare opportunity to hear Mendoza in his own element, focusing on his own compositions with the broadest possible range of available textures and an all-star cast of improvisers. A classic. By John Kelman
https://www.allaboutjazz.com/epiphany-vince-mendoza-michael-watts-production-review-by-john-kelman

Personnel: Vince Mendoza (composer, arranger, conductor), London Symphony Orchestra, John Abercrombie (guitar), Michael Brecker (tenor saxophone), Peter Erskine (drums), Marc Johnson (bass), Joe Lovano (tenor saxophone), John Taylor (piano), Kenny Wheeler (trumpet, flugelhorn)

Epiphany

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Eliane Elias - Brazilian Classics

Styles: Vocal, Piano, Brazilian Jazz, Bossa Nova
Year: 2003
File: MP3@320K/s
Time: 72:45
Size: 169,2 MB
Art: Front

(5:10)  1. Passarim
(3:50)  2. Chega De Saudade
(5:08)  3. Carioca Nights (Noites Cariocas)
(3:54)  4. Garota De Ipanema (Girl From Ipanema)
(7:50)  5. Milton Nascimento Medley
(4:46)  6. Waters Of March / Aqua De Beber
(4:23)  7. One Note Samba
(4:14)  8. Crystal And Lace
(2:09)  9. Jazz 'n' Samba (So Danço Samba)
(4:59) 10. Brazil (Aquarela Do Brasil)
(3:10) 11. Iluminados
(5:14) 12. Jet Samba (Samba Do Aviao)
(3:46) 13. Wave
(6:39) 14. Black Orpheus (Manhã De Carnaval)
(5:48) 15. Dindi
(1:37) 16. O Polichinelo (Clown)

Now that longtime Blue Note pianist/singer Eliane Elias has left the label for RCA/Bluebird, several compilations of her work are being released, including the present item, Brazilian Classics. A cynic might note “just in time for Christmas,” but even if its release is motivated mainly by marketing concerns, the CD provides a useful, focused troll through Elias’s back catalogue. Although Elias has ranged far and wide in her recordings (which include hard bop, pop-jazz, and classical pieces), this is the music with which she is most associated  bossa/jazz classics from the songbooks of Jobim, Nascimento, and others from her native Brazil. Elias is at home with this material and her piano work is muscular and confident. As such, the best tracks on the album are the instrumentals that feature her in a trio setting, mostly with bassist Eddie Gomez and drummer Jack DeJohnette. Throughout punchy and inventive takes on “Passarium,” “One Note Samba,” and “Black Orpheus,” Elias goes toe-to-toe with the rhythm section, with exciting results. Her tendency to introduce subtle reharmonizations and rhythmic variations keeps these well-worn tunes from sounding like boring retreads.

Somewhat less successful are the tracks featuring her vocals. While her thin yet husky delivery is appropriately unstudied on Só Danço Samba,” it can’t quite carry “Chega De Saudade” or “Girl From Ipanema” convincingly. Having Elias’s young daughter sing on “Ponta de Areia” was not the wisest of decisions either, bringing to mind, as it does, grade school recitals best left forgotten. That said, however, Brazilian Classics is an appealing listen, thematically unified and impeccably produced. The hardcore jazz fan may do better with Elias’s Plays Jobim album, from which many of the best tracks with Gomez and DeJohnette are taken. But bossa nova fanatics, or maybe those wishing for a warm Brazilian breeze in the dead of winter, will enjoy this generous selection of Elias’s work.By Joshua Weiner https://www.allaboutjazz.com/brazilian-classics-eliane-elias-blue-note-records-review-by-joshua-weiner.php

Personnel: Eliane Elias, piano, vocals; Eddie Gomez, Marc Johnson, bass; Jack DeJohnette, Peter Erskine, drums; Michael Brecker, sax; Cafe, percussion

Brazilian Classics

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The 14 Jazz Orchestra - Islands

Styles: Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 66:30
Size: 157,1 MB
Art: Front

(6:04) 1. Man from Tanganyika
(6:39) 2. Islands
(6:46) 3. Bud Powell
(4:59) 4. Part of Me
(5:47) 5. Carmencita
(5:52) 6. Missouri Uncompromised
(6:10) 7. Jitterbug Waltz
(6:20) 8. Jaco
(6:27) 9. Some Other Time
(6:19) 10. Loft Dance
(5:04) 11. When She Loved Me

"Islands" from Dan Bonsanti is a tour de force consisting of eleven unique selections, colorful textured arrangements, and outstanding ensemble and solo playing. The fare includes straight-ahead bop, to calypso, film and fusion, all presented by a highly-energized ensemble of Miami-affiliated greats and guest greats.

The opener, McCoy Tyner's "Man from Tanganyika" is an ultra-rhythmic grabber, offering fine solos and polyrhythmic burn. "Islands," from Mike Mainieri's pen, is a catchy, upbeat calypso with an extravagant middle section. "Bud Powell," is a certified bebop stroller from Chick Corea, featuring solos from Ed Maina, Jason Carder and Mike Levine. Levine's composed "Part of Me" is a slick "All of Me" clone contemporized with the ensemble contrapuntally stating.

The arrangements from Bonsanti, Mike Levine, and the late Tom Boras are colorful without being overly complicated. They are such that the group sounds larger than it really is. The writers have a wizard's touch in terms of pairings, orchestrated textures, and combinations. Woodwinds mingle and marry with other sections in colors galore.

The ensemble, while recorded remotely, is tight and buys into the session with obvious delight. Miami sax legend Ed Calle gets featured solo billing and, as expected of this master, delivers the goods. There are other great solo standouts here, including trumpeter Jason Carder, Mike Manieri, and Mark Levine. The various rhythm sections sparkle, with guests Peter Erskine and Will Lee chiming in.

Levine's "Carmencita" is a darker, faster Latin groove with blue fire and a fine piano solo. Pat Metheny's "Missouri Uncompromised" flitters speedily with vibes and flute handling melodic honors. "Jitterbug Waltz," from the Fats Waller canon, is a reed doublers' playground. Bass revolutionary Jaco Pastorius is saluted here eponymously with a ¾ blue-ish statement on "Jaco." The ballad "Some Other Time" is a trumpet feature tastefully played by Jason Carder. "Loft Dance" is a wild Afro-Cuban head-shaker from Dave Liebman who guests. Randy Newman's folksy "When She Loved Me" with Lindsay Blair's guitar spotlit, closes the session in elegant style.

"Islands" is a most satisfying album of highly diverse grooves and textures from leader Bonsanti and his cadre of superb musicians and arrangers.By Nicholas F. Mondello
https://www.allaboutjazz.com/islands-featuring-ed-calle-dan-bonsanti-and-the-14-jazz-orchestra-self-produced

Personnel: Dan Bonsanti: composer / conductor; Ed Calle: saxophone; Ed Maina: woodwinds; Peter Brewer: saxophone, tenor; Mike Brignola: saxophone, baritone; Brett Murphey: trumpet; Jason Carder: trumpet; John Lovell: trumpet; Dana Teboe: trombone; Major Bailey: trombone; Mike Levine: piano; Lindsey Blair: guitar.

Additional Instrumentation: Ed Calle: Soprano sax, flute; Peter Brewer: flute, clarinet; Mike Brignola: flutes, bass clarinet; Dave Liebman: soprano sax (10) Ed Maina: flute; Peter Erskine: drums (1,2,6); Lee Levin: drums (4,5,8,10,11); Mike Harvey: drums (3,7,9); Richard Bravo: percussion (2,4,5,10); Joe Davidian: piano (10); Randy Bernsen: acoustic guitar (8); Mark Egan: electric bass ((6,11); Will Lee: electric bass (8); Nicky Orta: e;ectric bass (5,10); Tim Smith: electric bass (2); Jamie Ousley: acoustic bass (3,4,7,9); Dennis Marks: acoustic bass (1); Mike Manieri: vibes (2,6);

Islands

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Chris Standring - Wonderful World

Styles: Guitar Jazz, Jazz Funk
Year: 2021
File: MP3@320K/s
Time: 51:05
Size: 117,9 MB
Art: Front

(4:54) 1. How Insensitive
(5:50) 2. Night & Day
(4:49) 3. Autumn in New York
(4:44) 4. Estate
(4:47) 5. What a Wonderful World
(3:54) 6. Green Dolphin Street
(4:16) 7. Alfie
(4:40) 8. Falling in Love with Love
(4:56) 9. Sunrise
(3:40) 10. Maxine
(4:30) 11. My Foolish Heart

Wonderful World, the fourteenth album as leader by British guitarist Chris Standring, was no doubt recorded with the best of intentions. And make no mistake, the music is warm and lovely, furnishing an opulent showcase for Standring's mellow guitar. Aside from that, however, there's not a whole lot to say. Standring's "orchestra" consists of a nineteen-member string section, while Geoff Gascoyne's syrupy arrangements call to mind popular string-laden sessions from the 1950s and '60s, "easy listening" albums for "late-night lovers" designed by Percy Faith, Jackie Gleason, Bobby Hackett and others, except this time there's a guitar leading the way instead of a trumpet, oboe or English horn. It's a step removed from Mantovani or the 101 Strings orchestra.

Besides the strings, Standring is supported on various tracks by bassists Gascoyne, Chuck Berghofer or Darek Oles and drummers Peter Erskine, Harvey Mason or David Karasony, but their primary task is to keep time while the orchestra plays and Standring solos. Berghofer does have one brief solo, on Cole Porter's "Night and Day." Elsewhere, it's basically all Standring all the time, save for a brief guest appearance by flugelhornist Randy Brecker on Standring's slow-breaking "Sunrise." Of the album's eleven tunes, only one "On Green Dolphin Street" pushes forward more rapidly than a ballad.

The others from Jobim's "How Insensitive" to the standards "Autumn in New York," "Falling in Love with Love" and "My Foolish Heart" to "Estate," Burt Bacharach/Hal David's theme from "Alfie" and Donald Fagen's "Maxine" assume the same hushed and reposeful stance, calmly awaiting the entrance of Standring's genteel and melodious manifestos. The atmosphere is so even-tempered that the drummers could have left their sticks at home, as brushes alone even "On Green Dolphin Street" are more than adequate. There is one vocal, by Kathrin Shorr on the title song. As noted, the music is charming, and Standring is a splendid guitarist, but Wonderful World is best suited for those who are happiest living on a diet comprised solely of tender ballads and love songs. By Jack Bowers
https://www.allaboutjazz.com/wonderful-world-chris-standring-ultimate-vibe

Personnel: Chris Standring: guitar; Geoff Gascoyne: bass; Randy Brecker: trumpet; Peter Erskine: drums; Harvey Mason: drums; David Karasony: drums; Chuck Berghofer: bass, acoustic; Darek Oles: bass; Kathrin Shorr: voice / vocals

Wonderful World

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Peter Erskine, Alan Pasqua & David Carpenter - Live at Rocco Disc 1, Disc 2

Album: Live at Rocco Disc 1
Styles: Jazz Fusion, Post Bop
Year: 2000
File: MP3@320K/s
Time: 62:44
Size: 165,9 MB
Art: Front

( 7:33) 1. To Love Again
( 8:40) 2. Riff Raff
( 6:10) 3. Caribe (intro)
( 7:56) 4. Caribe (body)
( 9:09) 5. Life Today
( 5:05) 6. Jerry Goldsmith
( 8:01) 7. Greta
(10:06) 8. Bulgaria

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Album: Live at Rocco Disc 2
Time: 61:25
Size: 160,1 MB

(13:29) 1. How About You?
( 6:18) 2. Autumn Rose
( 6:20) 3. Pure & Simple
( 9:35) 4. All of You
( 5:30) 5. Children
(11:44) 6. Milago
( 8:25) 7. Taiowa

Since 1992, Peter Erskine has been putting out exquisite piano trio music on the ECM label, in the company of pianist John Taylor and bassist Palle Daniellson. Live at Rocco is the double-disc debut of a new, equally exciting trio completed by pianist Alan Pasqua and bassist David Carpenter, both of whom, incidentally, have done stellar work with Allan Holdsworth. Erksine, Pasqua, and Carpenter have all had the fusion bug at one time or another, but the vibe here is acoustic, generally mellow, and gloriously melodic.

Pasqua, who wrote seven of the 15 tunes, has a way with hooks "To Love Again" and "Caribe" sound almost like finely crafted pop songs. "Taiowa," the vamp-based "Jerry Goldsmith," and the stately "Milagro" reveal his more adventurous side, while the two ballads "Greta" and "Children" whisper with fragility and tenderness. Carpenter's sole original, "Riff Raff," begins as a bass-driven groove and eases into bopping swing.

Erskine contributes the spritely "Bulgaria," the hypnotic and soft "Life Today," and the Jarrett-like "Autumn Rose." Impressionistic yet burning takes of "All of You" (Carpenter's solo) and the seldom-played "How About You?" fit right in with the original material. John Taylor's "Pure and Simple," the most swinging cut of the session, could have lent the album a fitting subtitle. Keeping it pure and simple was exactly the intention of these three strikingly complementary players.By David R.Adler
https://www.allmusic.com/album/live-at-rocco-mw0000067336

Personnel: Peter Erskine: drums; Alan Pasqua: piano; David Carpenter: double-bass.

Live at Rocco Disc 1, Disc 2

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Kari Kirkland - If (When You Go)

Styles: Vocal
Year: 2023
Time: 41:11
File: MP3 @ 320K/s
Size: 94,7 MB
Art: Front

(4:23) 1. I Can't Help It
(5:29) 2. Since I Fell For You
(5:06) 3. Fix You
(5:12) 4. Fragile
(5:22) 5. Good Things Fall Apart
(4:54) 6. If (When You Go)
(4:49) 7. I Didn't Mean To Turn You On
(5:53) 8. Lover, You Should've Come Over

Collaborating once again with Shelly Berg, the duo assembled an all-star ensemble featuring the legendary Peter Erskine, Dean Parks, Kevin Axt, Brian Kilgore, with feature performances by Terell Stafford and Carlitos del Puerto.

Led by Kirkland’s intimate, honest vocal style, the unique arrangements encapsulate an essence of 'hope' in this collection of contemporary songs including Sting’s Fragile, Coldplay’s Fix You, and Jeff Buckley’s Lover, You Should’ve Come Over.

Recorded at Capitol Studios in Los Angeles, Kari's vocals soar over a sonic landscape of pristinely recorded, masterful jazz musicianship, big-band-esque horn lines, lush string arrangements, and top tier production.https://karikirkland.com/

Personnel: Kari Kirkland | Vocals, Co-production Shelly Berg | Keyboards, Arrangements, Co-production Peter Erskine | Drums Dean Parks | Guitar Brian Kilgore | Percussion Kevin Axt | Bass Terrel Stafford | Trumpet Carlitos del Puerto | Bass Jason Arkins | Saxophone David Mason | Saxophone Camilo Molina | Trumpet Michael Gutierrez | Trumpet Brandon Bryant | Trombone Budapest Scoring Orchestra | Strings

If (When You Go)

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Franco Ambrosetti - Nora

Styles: Flugelhorn and Guitar Jazz
File: MP3@320K/s
Time: 54:03
Size: 127,2 MB
Art: Front

(6:38) 1. Nora's Theme
(7:05) 2. Morning Song
(7:48) 3. All Blues
(5:32) 4. Falling in Love
(5:55) 5. Autumn Leaves
(6:37) 6. Sweet Journey
(6:04) 7. It Happened Quitetly
(8:23) 8. After the Rain

When Alan Broadbent isn't playing extraordinary jazz piano with his trio, he's typically hard at work arranging and conducting a large orchestra for a jazz artist or vocalist. In the case of Swiss flugelhornist Franco Ambrosetti's new album, Nora (Enja), Alan is at the helm of a 22-piece string orchestra, and the result is gorgeous, reflective and perfect for this time of year. The album also features guitarist John Scofield, bassist Scott Colley, pianist Uri Caine and drummer Peter Erskine.

Ambrosetti began his recording career as a leader on trumpet in Milan in 1965 with A Jazz Portrait of Franco Ambrosetti, featuring Franco D'Andrea (p) Giorgio Azzolini (b) and Franco Mondini (d). Remarkably, he is self-taught, and his tone is deliciously embracing. Coming up in Italy over the years, he played with a long list of touring American jazz greats, including Kenny Clarke, Dexter Gordon, Phil Woods, Cannonball Adderley, Geri Allen, Joe Henderson, Michael Brecker and Mike Stern.

John Scofield has recorded with Ambrosetti multiple times. The first was in 1978 on The George Gruntz Concert Jazz Band in Germany, followed by Movies in 1986, Movies, Take 2 in 1988, Cheers in 2017, Long Waves in 2019 and Lost Within You in 2020. For Alan, this is his first Ambrosetti collaboration. And what a score he has written. Ambrosetti was looking for a project on the same scale as Bird With Strings and Clifford Brown With Strings two of his favorite albums that marry a strong soloist and an understanding orchestral background. Mission accomplished on Nora.

The opening track is Nora's Theme by Ambrosetti, which sets the mood. Nora is Nora Helmer, the lead character in Ibsen's A Doll's House. Ambrosetti wrote the theme for a 1997 production of the play that starred his wife, Silli, in the Nora role. So in truth, Nora's Theme is a deep, passionate love song for his wife.

Moving forward, the album feels like the soundtrack to a romantic suspense movie set in Malibu, starring Kim Novak or Sandy Dennis. It's soft and panoramic, but there are undertones of psychological drama to come. The songs that follow Nora's Theme are George Gruntz's Morning Song of a Spring Flower, Miles Davis's All Blues, Victor Feldman's Falling in Love, the standard Autumn Leaves, Ambrosetti's Sweet Journey, Johnny Dankworth's It Happens Quietly and John Coltrane's After the Rain. Alan's arrangements remain wonderfully atmospheric and Ambrosetti's flugelhorn soars gracefully through the mist birdlike, but with strength and purpose.

Ambrosetti's tone throughout has a melancholy, sunny afternoon feel as if you're driving along country roads this fall with the trees ablaze in color. You can't help but think things over as you listen. The combination of Ambrosetti's soulful flugelhorn and Alan's empathetic and ruminative strings pull you in deeper on each track. [Photo above of Alan Broadbent conducting by Joe Vella]

Also unbeatable is the new 3D sound technology used to record the music. The fidelity creates the sensation that you're seated in the middle of the recording studio. As you listen, all that's missing are snapping logs in a fireplace. This album and Alan deserve a Grammy for Best Large Jazz Ensemble Album and another for Ambrosetti for Best Improvised Jazz Solo.By Marc Myers https://www.jazzwax.com/2022/10/franco-ambrosetti-nora.html

Personnel: Franco Ambrosetti, flugelhorn; John Scofield, guitar; Scott Colley, bass; Uri Caine, piano; Peter Erskine, drums; Sara Caswell, violin, concertmaster; Alan Broadbent, arranger, conductor

Nora

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Seth MacFarlane - Blue Skies

Styles: Vocal
File: MP3@320K/s
Time: 41:58
Size: 97,2 MB
Art: Front

(2:49) 1. It's You or No One
(2:22) 2. No Moon At All
(2:45) 3. You'll Get Yours
(3:00) 4. A Hundred Years From Today
(2:22) 5. If I Were A Bell
(3:12) 6. Out of Nowhere
(3:05) 7. On Green Dolphin Street
(2:49) 8. That Old Feeling
(3:14) 9. Blue Skies
(2:53) 10. It Could Happen to You
(3:37) 11. I Didn't Know About You
(3:13) 12. You Turned The Tables On Me
(3:42) 13. Never In A Million Years
(2:46) 14. Unless I Do It All With You

For Seth MacFarlane, “blue” means less balladic. He’s announcing a new album on the way, “Blue Skies,” and says it marks a return to a more swinging style than the softer approach he employed on his last record. Out May 20, the seventh album from the “Family Guy” creator and jazz cat will again see him working with a catalog of classics, and again see him working closely with arranger and conductor Andrew Cottee. Still, it’ll mark a turnaround from their previous release.

“I have long been a fan of Andrew Cottee’s supremely artful and buoyant orchestrations,” MacFarlane tells Variety. “So after our last collaboration, ‘Once in A While,’ a ballad-themed record, I really wanted to hear what he could do with an up-tempo album. As always, Andrew did not disappoint. His arrangements of these 14 songs, carefully selected by the two of us, are yet another shining example of the expertise with which he handles both melodic interpretations and orchestral dynamics.”

Cottee speaks in terms of raising the bar. “This is the album I’ve always wanted to make,” he says. “The chance to collaborate with an artist like Seth MacFarlane and work with such a high calibre of players is a dream for any arranger.”

The first single from the Verve/Republic release, “No Moon at All,” is out today, and ironically, perhaps, given the album title, it’s about enjoying the favors of a black sky. The song a jazz standard written in 1947 by David Mann and Redd Evans has previously been recorded by artists including Doris Day, Ella Fitzgerald, Julie London and Diana Krall… and for some reason has been favored largely be female vocalists over the year, although men like Mel Torme have put their hands on it too. Who’s to say why it has so often been women jumping at the chance to sing lines like “It’s so dark / Even Fido is afraid to bark / What a perfect chance to park”? MacFarlane, for his part, is not afraid to go there.

Together, MacFarlane and Cottee wrote one new song for the album, “Unless I Do It All With You,” which closes the collection. Otherwise it’s reliant on some of the less over-familiar pages from a songbook handed down from songwriters like Irving Berlin (who co-wrote the 1926 title song), Frank Loesser, Sammy Cahn and Edward Heyman. Musicians recruited for the project include Chuck Berghofer (bass), Peter Erskine (drums), Larry Koonse (guitar), Dan Higgins (alto sax) and Tom Ranier (piano). Back on board from past projects are producer Joel McNeely and engineer Rich Breen. Cottee’s credits include arrangements on films including “Sing” and “Beyond the Sea,” orchestrating Paul McCartney’s “Ocean Kingdom” ballet and composing music for McFarlane’s Hulu series “The Orville.” Seth MacFarlane - Blue Skies 2022 https://variety.com/2022/music/news/seth-macfarlane-new-album-blue-skies-1235237598/

Personnel: Chuck Berghofer (bass), Peter Erskine (drums), Larry Koonse (guitar), Dan Higgins (alto sax) and Tom Ranier (piano).

Blue Skies

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Michael Brecker - Don't Try This At Home

Styles: Saxophone Jazz
Year: 1988
File: MP3@128K/s
Time: 55:34
Size: 52,3 MB
Art: Front

(7:43) 1. Itsbynne Reel
(7:51) 2. Chime This
(7:46) 3. Scriabin
(4:59) 4. Suspone
(9:30) 5. Don't Try This At Home
(7:13) 6. Everything Happens When You're Gone
(5:10) 7. Talking To Myself
(5:20) 8. The Gentleman & Hizcaine

Michael Brecker's second album as a leader is almost the equal of his first. Surprisingly, only one song ("Suspone") uses his working quintet of the period (which consists of guitarist Mike Stern, pianist Joey Calderazzo, bassist Jeff Andrews and drummer Adam Nussbaum) although those musicians also pop up on other selections with the likes of pianists Don Grolnick and Herbie Hancock, bassist Charlie Haden, drummer Jack DeJohnette and violinist Mark O'Connor. Brecker (on tenor and the EWI) is in superb form, really ripping into the eight pieces (mostly group originals). Recommended.~Scott Yanowhttps://www.allmusic.com/album/dont-try-this-at-home-mw0000197612

Personnel: Michael Brecker – tenor saxophone, Mike Stern – guitar; Don Grolnick – piano; Herbie Hancock – piano; Joey Calderazzo – piano; Jim Beard – synthesizer, piano ; Mark O'Connor – violin; Charlie Haden – bass; Jeff Andrews – fretless electric bass; Jack DeJohnette – drums; Adam Nussbaum – drums; Peter Erskine – drums; Judd Miller – synthesizer programming

Don't Try This At Home

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Liz Gillies, Seth MacFarlane - Liz Gillies and Seth MacFarlane: Songs From Home

Styles: Vocal
File: MP3@320K/s
Time: 21:18
Size: 49,8 MB
Art: Front

(2:29) 1. It’s A Good Day
(2:16) 2. Ain't We Got Fun?
(2:51) 3. Calcutta
(2:57) 4. Drinking Again
(2:40) 5. Come To The Mardi Gras
(2:45) 6. Better Than A Dream
(2:31) 7. This Could Be The Start Of Something Big
(2:46) 8. It Doesn't Cost A Dime To Dream

Liz Gillies and Seth MacFarlane have put together quite possibly the strangest musical duo, giving us a throwback right to the swinging fifties with their newest single: Ain’t We Got Fun. MacFarlane has already established himself as a strong and confident voice in the world of modern swing, but Liz Gillies was certainly a welcome surprise.

A lot of people, and especially young adults of this generation know the singer as the rebellious teen Jade West in Nickelodeon’s Victorious, and to see her tackle a project like this was unexpected to say the least. Vocal jazz has been an art only kept alive by a very small selection of artists, such as Michael Bublé, Tony Bennett, and MacFarlane himself. The Family Guy creator is an embodiment of Sinatra himself – the swagger, the charm, and the tone are all present in this record. His presence in this record gives so much life to the sound already beautifully crafted by the band, but it’s really Seth that brings you back to a time of old as soon as he starts singing.

Liz does a wonderful job as well, though her performance maybe pales a bit in comparison to the jazz veteran, but her voice’s contrast with MacFarlane make for a wonderful duet that both feels vintage and true. Their banter between the melodious phrases give all the more charm to this tune – you can almost hear them smile recording this record, and I believe that that’s the point of this record. Traditional pop in this style is fun and snappy, and that’s exactly what this song manages to send out to its listeners. The melodies are energetic and the production feels full of life, giving new listeners a window into music’s golden years. This single, as well as the rest of the LP, is a fun collaboration between two incredible talents, and the chemistry feels as lively as the soul in the swing of Ain’t We Got Fun.~ Nicholas Gaudet https://musictalkers.com/reviews/7700-review-ain-t-we-got-fun-%E2%80%93-liz-gillies-seth-macfarlane

Personnel: Seth MacFarlane, vocals; Liz Gillies, vocals; Andrew Synowiec, guitar; Culbreath, vibraphone;Dan Higgins, woodwinds; Dan Fornero, trumpet; Alex Iles, trombone; Tom Ranier, piano; Chuck Berghofer, bass; Peter Erskine, drums

Liz Gillies and Seth MacFarlane: Songs From Home

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Randy Brecker & Michael Brecker - Some Skunk Funk

Styles: Trumpet And Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 68:52
Size: 158,3 MB
Art: Front

( 6:26)  1. Some Skunk Funk
( 6:46)  2. Sponge
( 6:26)  3. Shanghigh
( 4:56)  4. Wayne Out
( 6:07)  5. And Then She Wept
( 8:19)  6. Strap-Hangin
( 8:02)  7. Let it Go
( 6:17)  8. Freefall
( 4:58)  9. Levitate
(10:32) 10. Song for Barry

The 2003 performance documented on Some Skunk Funk may be credited to trumpeter Randy Brecker, but his brother, saxophonist Michael, joins in for a Brecker Brothers reunion with the added oomph of Germany's WDR Big Band. And if ever a band's repertoire was custom-made to be retrofitted with a larger horn section, it's that of the Brecker Brothers. Some of the material comes from Randy Brecker's solo career: "Shanghigh" and "Let It Go" from 34th N Lex (ESC, 2003), "Wayne Out" from Hanging in the City (ESC, 2001), and a new tune, "Let It Go." But what's remarkable is how comfortably these tunes fit in with Brecker Brothers material on Brecker Bros. (Arista, 1975) through Out of the Loop (GRP, 1994). The Brecker Brothers emerged as a distinct alternative to the muscular athletics of other fusion bands during the 1970s. As virtuosic as any such group, they played a swaggering downtown New York funk that differentiated them from the higher-octane Mahavishnu Orchestra, the progressive rock leanings of Return to Forever, and the increasingly world music-driven Weather Report. Even the band closest to the Breckers' brand of groove-driven music Herbie Hancock's Headhunters occupied a different space. 

Maybe it's because the brothers didn't feel it necessary to desert the more jazz-centric harmonies they'd learned playing with artists like Horace Silver. As electric and funky as the Brecker Brothers have always been, their jazz aesthetic has also distinguished them from peer fusion bands, making their best material truly timeless. Three of the ten tunes on this album the fiery title track, the greasier "Sponge" and the balladic "Levitate" are taken from their 1975 debut, and they sound as relevant today as they did then. Credit, of course, goes to Vince Mendoza who arranged and conducted the tracks for this expanded Brecker Brothers Big Band. The Breckers' writing has always been characterized by rich orchestration sometimes feeling much bigger than their small ensemble size would suggest. Mendoza's unique voice takes Michael's viscerally funky "Strap-hangin,'" for example, and layers more colors where appropriate, still twisting the arrangement into a new shape that feels like a logical extension, rather than an extensive rewrite. But with a crack core group featuring keyboardist Jim Beard, bassist Will Lee and drummer Peter Erskine, Mendoza also lets the ensemble collapse into smaller, more interactive units where appropriate during the solo sections. Solos from both brothers build on their own. Mendoza reintroduces the horn section at just the right time, pushing them to even greater extremes. And when the two brothers trade off during the song's outro, they remind us of just how powerful shared genetics can be. The rare blood disorder that has kept Michael Brecker on the sidelines for nearly two years makes Some Skunk Funk a bittersweet experience. It's a timely reminder of how important he is, and how critical it is that a stem cell donor be found. To learn more, visit Michael Brecker on the web. ~ John Kelman https://www.allaboutjazz.com/some-skunk-funk-randy-brecker-telarc-records-review-by-john-kelman.php

Personnel: Randy Brecker: trumpet; Michael Brecker: tenor saxophone; Jim Beard: piano, synthesizer; Will Lee: electric bass; Peter Erskine: drums; Marcio Doctor: percussion; the WDR Big Band: Heiner Wiberny, Harald Rosenstein: alto saxophones; Oliver Peters, Rolf Romer: tenor saxophones; Jens Neufang: baritone saxophone; Andy Hadere, Rob Bruynen, Klaus Osterloh, Rick Kiefer, John Marshall: trumpets; Dave Horler, Ludwig Nuss, Bernt Laukamp: trombones; Mattis Cederberg: bass trombone; Paul Shigihara: electric guitar.

Some Skunk Funk

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Bob Mintzer - Hymn

Styles: Saxophone And Clarinet Jazz
Year: 1991
File: MP3@320K/s
Time: 53:00
Size: 123,3 MB
Art: Front

(2:51)  1. Duo
(8:24)  2. Hymn
(5:46)  3. Re-Re
(4:34)  4. Modern Day Tuba
(6:19)  5. Children's Song
(4:47)  6. Little Motif
(5:32)  7. Weird Blues
(7:28)  8. Improvisation
(7:15)  9. The Dark Side

Better known as a big band and session player, tenor saxophonist and bass clarinetist Bob Mintzer expanded his playing and his repertoire on this '92 quartet date. Working with guitarist John Abercrombie, bassist Marc Johnson, and drummer Peter Erskine, Mintzer moved into more probing, unpredictable, and challenging areas and played with more fire and conviction. Abercrombie, Johnson, and Erskine each fulfilled their reputations; the results were both enlightening and surprising. ~ Ron Wynn https://www.allmusic.com/album/hymn-mw0000081207

Personnel: Bob Mintzer - tenor saxophone, bass clarinet, composer, liner notes; John Abercrombie - guitar; Marc Johnson - bass; Peter Erskine - drums

Hymn

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Andy Summers - Green Chimneys: The Music of Thelonius Monk

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 70:04
Size: 161,1 MB
Art: Front

(5:57)  1. Green Chimneys
(4:36)  2. Hackensack
(3:29)  3. Brilliant Corners
(3:55)  4. Monk's Dream
(5:41)  5. 'Round Midnight
(4:56)  6. Bemsha Swing
(5:31)  7. Shuffle Boil
(3:16)  8. Boo Boo's Birthday
(4:14)  9. Evidence
(5:15) 10. Ugly Beauty
(4:08) 11. Think of One
(3:17) 12. Light Blue
(2:50) 13. Ruby My Dear
(2:30) 14. Crepescule with Nellie
(4:36) 15. Locomotive
(3:10) 16. Off Minor
(2:37) 17. Ruby (Electric Version)

What an albatross to have the Police hanging round your neck. So when it's all over, the singer gets even more famous and corners the market in sophisticated JazzRock, the drummer gets on with spending the money and stretching into movies and session fun, and the guitarist gets to play whatever he wants. Which has varied from turn it up Progressive Rock to echo Summers' days in the Soft Machine to delicate Blues and Folk experiments. But Green Chimneys is another matter: it's a fine, accessible homage to the immortal Thelonius Monk from a British club jazzer who got very lucky in pop. Monk's mastery of compositional architecture - from the blues to the birth of bop - lifts good players toward the stars. On Green Chimneys, Summers even gets Sting in to schmooze his way through one classic, 'Round Midnight. Except that Sting gives an affecting, genuine performance, while Summers' bigger band strip down to etched-naked chords and sinister brushes waiting for Andy's "do I not like that?" solo. Add cello, trumpet, saxophones and organ to a guitar trio, and you never know what colour comes next. Evidence leads with a fat, tight horn trio stating a fast funk theme against Summer's stinging blues leads, dissolves into big band call and return, segues into a blues rock chorus or two and dances out of the room heading for where Jeff Beck plays Mingus. Then there's the Pat Metheny-on-that-peyote-he-got-from-Tom Waits of Bemsha Swing, or the New Orleans funeral band - on Hackensack - plugging directly into a mobile 240AC outlet while Joey DeFrancesco's B3 vamps its way through the crowd on a flatbed truck right behind the hearse. Or the way the band rhythmically collapse Three Blind Mice into the angular, stop-time Jazzfunk of Monk's Dream, and the outrageous blend of Metal and Jimmy Smith on Shuffle Boil, where Summer's tone and phrasing deliver the impact usually carried by distortion. This is a guitar fan's album, but if the straighter moments of Zappa's methodical madness and subtly-caged playing ever tickled your sweet spots, Green Chimneys will make you happy too. And if you saw Peter Erskine drum with the Yellowjackets in London recently, his endlessly inventive accents and effortless leaps from supportive to lyrical to driving to painterly will be a joy revisited. ~ Ian Nicolson https://www.allaboutjazz.com/green-chimneys-andy-summers-rca-victor-review-by-ian-nicolson.php

Personnel:  Guitar, Banjo, Guitar [Dobro] – Andy Summers; Cello – Hank Roberts; Double Bass, Bass – Dave Carpenter; Drums – Bernie Dresel, Peter Erskine; Organ [Hammond B-3] – Joey De Francesco; Saxophone [Soprano, Tenor], Clarinet – Steve Tavaglione; Trumpet – Walt Fowler

Green Chimneys: The Music of Thelonius Monk

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Peter Erskine, Tim Hagans With Norrbotten Big Band - Worth the Wait

Styles: Post Bop, Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 68:00
Size: 156,7 MB
Art: Front

(10:41)  1. Worth the Wait
(10:56)  2. You Should See My Office
(12:11)  3. Plan 9
( 9:03)  4. First Jazz
( 8:15)  5. Scotland, Africa
(11:04)  6. Reason to Believe
( 5:48)  7. Drum Row

Peter Erskine and Tim Hagans shared the stage in the early 1970s as members of the Stan Kenton Orchestra, which provided a nurturing atmosphere for two young musicians and a beginning to their musical careers. After decades in divergent paths, this recording reunites the drummer and the trumpeter in another big band setting that's, well, Worth The Wait. The duo front the sixteen-piece Swedish Norrbotten Big Band (NBB), which Hagans has directed since 1996, in a live recording for Sveriges Radio P2 (Swedish Radio) at the Kulturcentrum Ebeneses in Luea, Sweden. Playing with the NBB offered the perfect platform for the performance of their seven original compositions on a world stage. The big band's mission is to perform original music while featuring star soloists such as Joe Lovano, Toots Thielemans and Chris Potter; here of course, Erskine and Hagans fill that role admirably. The album is actually one half of a two-record release from Erskine's independent record label, while the other album, Standards (Fuzzy Music, 2007), features the drummer in a piano trio. There are no sweet ballads, charming melodies or simplistic big band charts, the music on this disc flows to a more sophisticated groove sure to draw the interest of the jazz aficionado who leans towards the progressive big band sound. Though the music is accessible, the intricate arrangements offer ample solo space for various members of the band to join the co leaders in play. The opening title track, an Erskine composition and Hagan arrangement, offers a glimpse of the nature of this recording as the music features the sounds of altoist Johan Horlen and bassist Martin Sjostedt early on, with later solos from Erskine that only become brassy midway towards the track's end. The woodwind section comes alive on Hagans' "You Should See My Office," where the two featured artists take their turn in the spotlight only after tenor Mats Garberg sets the stage with a solid performance of his own. Another Hagans tune, "First Jazz," delivers what is unquestionably the best swinging number of the album as Hakan Brostrom's play on alto outshines the leaders. Composer/arranger and professor of the Eastman Jazz Ensemble at the University of Rochester, Bill Dobbins contributes arrangements of Erskine's "Plan 9" and the percussive "Scotland, Africa" where Erskine takes over the tune with his prowess. He is again showcased as the only soloist on the Hagans finale, "Drum Row," where the band plays only a supporting role. This Erskine and Hagans big band project in no way resembles the classic orchestrations they were a part of during their Kenton days. That's not to say that the new music they are a part of now isn't as good or wasn't worth the wait, because the music is definitely good and the wait, certainly worth it. ~ Edward Blanco https://www.allaboutjazz.com/worth-the-wait-peter-erskine-fuzzy-music-review-by-edward-blanco.php

Personnel: Peter Erskine: drums; Tim Hagans: conductor,trumpet; Hakan Brostrom: saxophone; John Horlen: saxophone; Mats Garberg: saxophone; Bengt Ek: saxophone; Per Moberg: saxophone; P-O Svanstrom: trombone; Magnus Puls: trombone; Peter Dahlgren: trombone; Bjorn Hangsel: bass trombone; Bo Stranberg: trumpet; Dan Johansson: trumpet; Magnus Ekholm: trumpet; Tapio Maunuvaara: trumpet; Daniel Tilling: piano; Ola Bengtsson: guitar; Martin Sjostedt: bass.

Worth the Wait

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Joe Henderson - Relaxin' At Camarillo

Styles: Saxophone Jazz 
Year: 1981
File: MP3@320K/s
Time: 45:06
Size: 103,7 MB
Art: Front

(11:40)  1. Y Todavia La Quiero
(10:01)  2. My One And Only Love
( 5:23)  3. Crimson Lake
( 8:37)  4. Yes, My Dear
( 9:23)  5. Relaxin' At Camarillo

Henderson had been doing quality work for years on numerous independent and foreign labels, and 1979's Relaxin' at Camarillo, is just one among many examples of that. There are five selections, only one less than eight minutes long, with the usual Henderson attributes: full, deep tone, keen ideas, and an ability to sweep through registers and across octaves with ease. Chick Corea made an excellent partner, playing with none of the self-consciousness that crops up repeatedly in his fusion and electric fare. Bassists and drummers were interchangeable, although you can certainly tell Tony Williams from Peter Erskine (and that's no knock on Erskine). ~ Ron Wynn https://www.allmusic.com/album/relaxin-at-camarillo-mw0000619558

Personnel: Joe Henderson – tenor saxophone; Chick Corea – piano; Richard Davis;  Tony Dumas  – bass; Peter Erskine, Tony Williams  – drums

Relaxin' At Camarillo

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Marty Ehrlich, Peter Erskine, Michael Formanek - Relativity

Styles: Saxophone, Clarinet And Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 64:15
Size: 148,2 MB
Art: Front

(6:47)  1. Incident At Harpham Flat
(5:46)  2. Eloi Lament
(9:22)  3. Lucky Life
(6:53)  4. The Pivot
(5:55)  5. Holy Waters
(6:46)  6. Round The Four Corners
(8:36)  7. Jiggle The Handle
(3:43)  8. Relativo
(6:07)  9. Taglioni
(4:16) 10. In A Child's Eyes

You might justifiably expect sparks to fly on this collaborative effort, given the careers of Ehrlich and his compatriots, trio members Michael Formanek and Peter Erskine. Unfortunately, it rarely happens, and while all three are exquisite players individually, this disappointing, often tepid recording stands as an opportunity not fully realized. In part it might be the result of different styles: Ehrlich, of course, is the more adventurous of the group, but Erskine, whose heart is usually in more commercial ventures, seems comfortable with the music. The pieces are all originals by the trio members, but there are times when a certain boredom pervades the music. To be fair, there are some aggressive, exciting moments, too, but they are the exception. Ehrlich continues to show remarkable versatility on alto and tenor saxophones, clarinet, and flute (where he is particularly lyrical). ~ Steve Loewy https://www.allmusic.com/album/relativity-mw0000252729

Personnel:  Alto Saxophone, Tenor Saxophone, Clarinet, Flute – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Peter Erskine

Relativity

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Weather Report - 8:30

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 71:35
Size: 166,5 MB
Art: Front

(9:47)  1. Black Market
(6:04)  2. Teen Town
(8:01)  3. A Remark You Made
(4:45)  4. Slang
(2:52)  5. In A Silent Way
(6:58)  6. Birdland
(3:33)  7. Thanks For The Memory
(9:28)  8. Badia/Boogie Woogie Waltz
(2:36)  9. 8:30
(8:34) 10. Brown Street
(3:16) 11. The Orphan
(5:35) 12. Sightseeing

Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. 

Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish and some surprises. Pastorius duets on drums with Zawinul on the brief title track, then plays double drums with Erskine (as Erich Zawinul plays percussion) on the playful "Brown Street." Zawinul then throws a curve with "The Orphan," dueting with Shorter as ten members of the West Los Angeles Christian Academy Children's Choir chant harmonies. The saxophonist gets in the last word, though, with his burning composition "Sightseeing" on which he plays unison lines with Zawinul over Pastorius' rare walking bassline and Erskine's most aggressive drumming. A future jazz standard ending one of this band's standard-setting CDs. ~ Bill Meredith https://www.allmusic.com/album/830-mw0000198916

Personnel: Joe Zawinul – keyboards, bass synthesizer, vocoder, percussion; Wayne Shorter – tenor saxophone, soprano saxophone; Jaco Pastorius – fretless bass guitar, percussion, drums on "8:30" & "Brown Street"; Peter Erskine – drums; Erich Zawinul – percussion on "Brown Street"; The West Los Angeles Christian Academy Children's Choir – vocals on "The Orphan"

8:30

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Peter Erskine - Motion Poet

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 53:31
Size: 124,1 MB
Art: Front

(6:26)  1. Erskoman
(6:43)  2. Not a Word
(6:25)  3. Hero with a Thousand Faces
(7:23)  4. Dream Clock
(6:01)  5. Exit up Right
(4:07)  6. A New Regalia
(3:25)  7. Boulez
(7:44)  8. The Mystery Man
(5:13)  9. In Walked Maya

A highly skilled, versatile drummer, Peter Erskine has anchored big bands and jazz-rock fusion groups. He's known for sophisticated rhythms, distinctive accompaniment, and powerful, rippling solos. Erskine began drumming at three, and participated in Stan Kenton's National Stage Band Camps from the age of six. He studied with Alan Dawson and Ed Soph, attending the Interlochen Arts Academy in Michigan and Indiana University. He played with Kenton from 1972 to 1975, then from 1976 to 1978 with Maynard Ferguson. Erskine joined Weather Report in 1978, and was their drummer and percussionist until 1982. He also did several West Coast sessions in the late '70s, and was a member of Steps and Steps Ahead. During the '80s he worked with John Abercrombie's groups and the quartet Bass Desires. He's also worked with Joe Farrell, Marc Johnson, Mike Brecker, Randy Brecker, John Scofield, Bob Mintzer, Lew Soloff, Kenny Kirkland, Mike Mandel, and Kenny Werner, among others. As a leader, he debuted with Peter Erskine in 1982 on Contemporary, followed by several well-received efforts for Denon. During the '90s, he developed a good relationship with ECM, releasing such albums as 1992's You Never Know, 1995's As It Is, and 1998's Juni. Also during the '90s, Erskine founded his own Fuzzy Music label, delivering such albums as 1995's From Kenton to Now with tenor saxophonist Richard Torres and 1998's Lava Jazz. In the 2000s, Erskine continued to release albums via Fuzzy Music with 2002's Badlands, 2005's The Lounge Art Ensemble: Music for Moderns, and 2016's Dr. Um, which introduced his Dr. Um Band featuring keyboardist John Beasley. In 2017, Erskine reunited Beasley and the Dr. Um Band for Second Opinion. ~ Ron Wynn https://www.allmusic.com/artist/peter-erskine-mn0000842492/biography

Personnel: Drums, Percussion – Peter Erskine; Arranged By – Bob Mintzer (tracks: 8), Randy Brecker (tracks: 5), Vince Mendoza (tracks: 1 to 4, 6, 7, 9); Baritone Saxophone – Roger Rosenberg (tracks: 1, 3, 4, 6); Bass – Marc Johnson (2) (tracks: 2 to 4, 8, 9); Bass Trombone – Matt Finders (tracks: 2 to 4, 6); Electric Bass – Will Lee (tracks: 1, 5, 6); French Horn – Jerry Peel (tracks: 2 to 4), John Clark (2) (tracks: 2 to 4), Peter Gordon (8) (tracks: 2 to 4); Guitar – Jeff Mironov (tracks: 1, 5, 6); Guitar, Guitar Synthesizer – John Abercrombie (tracks: 2 to 4, 8, 9); Keyboards – Jim Beard (tracks: 1 to 8); Piano – Eliane Elias (tracks: 2, 5); Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 1, 3 to 6); Tenor Saxophone – Bob Mintzer (tracks: 4, 6, 8), Michael Brecker (tracks: 3); Tenor Saxophone, Flute – Bob Mintzer (tracks: 1, 3 to 6); Trombone, Tuba – Dave Bargeron (tracks: 1, 2 to 4, 6); Trumpet – Joe Mosello (tracks: 1, 3 to 6), Randy Brecker (tracks: 4, 8); Trumpet, Flugelhorn – Lew Soloff (tracks: 1 to 4, 6)

Motion Poet

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Bob Mintzer Quartet - Quality Time

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:50
Size: 138,2 MB
Art: Front

(6:25)  1. Quality Time
(5:30)  2. Overlap
(7:05)  3. Few Good Notes
(5:55)  4. Emit A1
(6:10)  5. All Is Quiet
(4:45)  6. Bop Boy
(5:36)  7. Groovetown
(6:04)  8. Gather the Spirit
(7:19)  9. Bossa
(4:56) 10. Family

As “quality time” is wholly subjective, others may find time spent with saxophonist Bob Mintzer’s quartet(s) far more pleasurable than I. On the one hand, Mintzer is a first rate player, consistently resourceful and well respected by his fellow musicians; on the other, he seldom manages to induce even the slightest response from my emotional nerve center even though I’ve appreciated some of his big band endeavors such as Latin from Manhattan, Art of the Big Band and Big Band Trane. Hard to explain? Sure it is. All the notes are enfolded properly in place, and the music flows as evenly as it should, but a key ingredient seems to be missing call it personality, charisma or whatever. The upshot is that Mintzer dances nimbly around these ears without ever fashioning a secure impression. Not his fault, of course, but mine. He is, after all, merely delivering the message; it falls on my shoulders to receive and decipher it, something I’ve never been wholly able to accomplish. Would that it were otherwise, but it’s not. As for the music on Quality Time, Mintzer’s new release on TVT, it’s largely straight ahead and well mannered. Mintzer penned eight of the charts, co wrote “Emit al” (on which he plays tenor, bass clarinet and EWI) with Ferrante, Haslip and Kennedy, and rounds out the program with a traditional hymn, “Gather the Spirit.” Rhythmically, Mintzer alternates between the rock shuffle cadences so often employed by his longtime colleagues, the Yellowjackets, and more sophisticated backdrops, as on “A Few Good Notes,” on which he plays soprano; the ballad “All Is Quiet,” the fast moving “Bop Boy” and the bluesy “Groovetown.” There are two rhythm sections (with Ferrante, Haslip and Kennedy sitting in on “Emit al” and “Family”), and each might best be described as workmanlike but amorphous aside from a couple of respectable solos by Markowitz and Ferrante, this is Mintzer’s date, and they are there to lend support, which they do. Quality Time is a commendable session, well planned and carried out. I regret that it didn’t push any of my buttons. ~ Jack Bowers https://www.allaboutjazz.com/quality-time-bob-mintzer-tvt-review-by-jack-bowers.php?width=1920

Personnel: Bob Mintzer, tenor, soprano saxophones; Phil Markowitz, piano; Jay Anderson, bass; Peter Erskine, drums, except tracks 4 & 10

Quality Time

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