Bill Charlap Trio - And Then Again

Styles: Piano Jazz
Year: 2024
Time: 46:41
File: MP3 @ 320K/s
Size: 106,9 MB
Art: Front

(7:01) 1. And Then Again
(5:01) 2. All The Things You Are
(5:27) 3. 'Round Midnight
(6:22) 4. In Your Own Sweet Way
(6:05) 5. Darn That Dream
(7:23) 6. Sometimes I'm Happy
(4:03) 7. The Man I Love
(5:15) 8. (I Don't Stand) a Ghost of a Chance (With You)

Listening to pianist Bill Charlap is akin to hearing acoustic jazz in its purest form, and that's the overriding feeling you have while listening to his 2024 concert album And Then Again. Recorded live at the famed Village Vanguard in New York, the album features Charlap and his long-running trio with bassist Peter Washington and drummer Kenny Washington.

Together on and off since the '90s, they play with a swinging, urbane sophistication marked by a warm camaraderie and dancerly interplay. As a soloist, Charlap displays his deep grasp of straight-ahead jazz traditions, tackling a handful of gorgeous jazz standards. We get sparkling, brawny renditions of "All the Things You Are," "In Your Own Sweet Way," and "Darn that Dream." He also delves into Thelonious Monk's "'Round Midnight," evoking Monk's angular, cubist bop style but in his own nuanced way. In fact, what is so compelling about Charlap's playing is just how balanced it is.

He's clearly imbibed an array of influences, from Earl Hines and Teddy Wilson to Bud Powell and Bill Evans, yet he always sounds like himself and is never too indebted to any one performer. The album even opens with his title-track original, a spritely blues in the modern jazz tradition that finds him tumbling through a string of bebop and modal harmonies. Charlap closes out the evening with a dusky, harmonically lush take on "(I Don't Stand) a Ghost of a Chance with You," sinking into the song with a hushed reverie that clings to you long after the album ends.By Matt Collar
https://www.allmusic.com/album/and-then-again-mw0004313755#review

Personnel: Bill Charlap - piano, Peter Washington - bass, Kenny Washington - drums

And Then Again

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Grant Stewart - Young At Heart

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:59
Size: 127,0 MB
Art: Front

(7:59) 1. Young At Heart
(8:36) 2. You're My Thrill
(6:13) 3. Roll On
(5:41) 4. Shades Of Jackie Mac
(7:00) 5. Repetition
(6:47) 6. Serenade To Sweden
(6:49) 7. Modinha
(5:52) 8. Jet Stream

Since moving from Toronto to New York at age 19, Grant Stewart has spent 15 years dutifully toiling in the city's jazz underground. Only over the past few years have we begun to hear some worthy examples of the tenor saxophonist's labor a release under his name for Criss Cross, a pair on the same label by Reeds and Deeds (a band he co-leads with Eric Alexander), and a couple on the Video Arts imprint. Although all of these discs are worth your discretionary income and time, 2007's In the Still of the Night (Sharp Nine) was a career-defining recording. From shrewd choices in material, a crack rhythm section, to Stewart's glowing solos, it was one of those rare instances in which everything came together in a near perfect manner. Sharp Nine owner/producer Marc Edelman wasted no time getting Stewart back in the studio, and he wisely decided there was no need to retool a winning formula. On Young at Heart, once again, Stewart is joined by pianist Tardo Hammer, bassist Peter Washington, and drummer Joe Farnsworth. The record is every bit as good as its predecessor in part because of Stewart's ability to sound at ease and establish his own identity on different kinds of material and at various tempos. There's stability and depth to his playing that sets him apart from a host of well-known, thirty-something tenor stylists who blow convoluted to a fault.

The tenor saxophonist's thoughtful interpretations of songs by Duke Ellington, Antonio Carlos Jobim, Neal Hefti, and others are complete in themselves. He lingers on the melodies instead of merely using them as a springboard for improvisation. Throughout the head of the title track, for example, Stewart deliberately moves thorough Hammer's lively accompaniment. A subdued rendition of "You're My Thrill" conveys a quiet resignation. Stewart's style of improvising is fresh, uncluttered, and cliche free. On medium and up tempo tracks like "Roll On," "Serenade to Sweden," "Shades of Jackie Mac," and "Jet Stream," he invariably plays a steady, evenly paced stream of ideas. One favorite device is burrowing into the rhythm section's thrust for an extended period before briefly easing up and gliding over them. Throughout the ballad "Modinha," Stewart's gift for spontaneous melodic invention is more pronounced, and so is his dramatic range. At one important juncture, he falls silent for what feels like an eternity before reaching a brief climax.By David A. Orthmann
https://www.allaboutjazz.com/young-at-heart-grant-stewart-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Grant Stewart: tenor saxophone; Tardo Hammer: piano; Peter Washington: bass; Joe Farnsworth: drums.

Young At Heart

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David Kikoski, Eric Alexander - Phoenix Rising

Styles: Piano And Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 59:17
Size: 136,4 MB
Art: Front

(6:01)  1. Phoenix Rising
(5:21)  2. Kik It
(5:48)  3. Wichita Lineman
(7:57)  4. If I Were a Bell
(6:01)  5. Emily
(6:41)  6. Love for Sale
(6:33)  7. My One and Only Love
(7:26)  8. Lazy Bird
(7:25)  9. Willow Weep for Me

Pianist David Kikoski and tenor saxophonist Eric Alexander, among the brightest lights on New York City's jazz scene for more than two decades, have known each other for almost as many years but Phoenix Rising marks the first time they have recorded together. After listening, one observation springs immediately to mind: it's about time. A second premise is that the album swings and dazzles from start to finish but one would expect no less from such masters of the idiom, especially when the session benefits as well from the imposing presence of two more paragons, bassist Peter Washington and drummer Joe Farnsworth. That the level of musicianship is high throughout is also no surprise, as Kikoski and his colleagues have been honing their respective skills for many years as members of New York's elite and are unfazed and self-assured in the face of anything that threatens to impede their progress or disrupt their purpose. In their capable hands, excellence is not so much a goal as a given. After a brief aside, the quartet hastens briskly from the starting gate on "Phoenix Rising," co-written by Alexander and Kikoski, a theme that, in Alexander's words, is "all about Dave exploding back on the scene." Explode he does with a powerful two-fisted solo that precedes an equally emphatic statement by Alexander.

That's the first of no less than four burners on the menu. The others are Frank Loesser's "If I Were a Bell," Ann Ronell's "Willow Weep for Me" and John Coltrane's "Lazy Bird," on which Alexander's scorching solo would easily thaw an iceberg. The group is more laid-back but no less persuasive on the album's less heated numbers: Jimmy Webb's "Wichita Lineman," Johnny Mandel's "Emily" (on which Alexander sits out), Cole Porter's "Love for Sale" (set to a saucy Latin beat) and Guy Wood / Robert Mellin's "My One and Only Love." Alexander's nimble blues, "Kik It," rounds out the well-balanced program. Kikoski takes the first solo again, as he does on almost every number (well, it is his gig), and every solo is a model of tastefulness and technical brilliance. The last (and most lasting) impression is that these are four superior musicians, and that quartets simply can't blend together more seamlessly than this. Everyone listens carefully, responds apace, and enhances the group dynamic. Best of all, the music they have chosen to play is invariably bright and pleasing. Well done, gentlemen. ~ Jack Bowers https://delaware.allaboutjazz.com/phoenix-rising-david-kikoski-highnote-records-review-by-jack-bowers.php

Personnel: David Kikoski: piano; Eric Alexander: tenor saxophone (1-4, 6-9); Peter Washington: bass; Joe Farnsworth: drums.

Phoenix Rising

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Joe Magnarelli - Persistence

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 57:16
Size: 132,2 MB
Art: Front

(6:06)  1. Presistence
(7:59)  2. the Village
(7:01)  3. I Had the Craziest Dream
(6:10)  4. D Train Boogaloo
(9:36)  5. Haunted Heart
(6:34)  6. You and the Night and the Music
(5:41)  7. Ballad for Barretto
(8:06)  8. Soul Sister

The stark black and white cover photo of trumpeter Joe Magnarelli peering out at you from the cover of Persistence emits a brooding and a blandness that is light years away from the robust, enjoyable musical experience offered by the music on the disc itself. Magnarelli, a first-call trumpeter among first-callers, leads an exciting group of other New York musicians (stars all) in eight selections originals and standards that are both intriguing and satisfying. There is such a sense of spontaneity and excitement in this recording that it gives the impression of being recorded live: each tune has that wonderful on-the-edge sense to it. "Persistence," the first cut (and one of five Magnarelli originals), sends you back in jazz time to a smoke-filled, excitement-laden, 1960s Blue Note session. After a hip intro and a Kenny Washington drum fill with echoes of Max Roach, the quintet steams ahead on the head. Heavenly shades of Art Blakey and the Jazz Messengers inspire the team as they roll it out for hard bop at its hottest. It's clear, as he fires away on his tasteful solos, that Magnarelli has regularly visited the jazz trumpet pantheon and tuned his ear to the greats. He is a player of excitement, inspiration, fire and control. The band is impeccable too. 

Baritone saxophonist Gary Smulyan shines throughout the session; his bellowing sound is never too heavy to swing. Washington's cymbal work is fireworks, worthy of Tony Williams. Pianist David Hazeltine fits in beautifully, both when comping and playing some marvellously engineered solos. Bassist Peter Washington is supremely solid always right there. "The Village" lays down an easy bossa nova groove under a lazy, carefree melodic line. Hazeltine builds a tasteful solo. No dragging here, only sway. Magnarelli cascades over the horn and constantly surprises the listener, never falling into cliche or hollow pyrotechnics in lieu of inspiration. Reaching into the Great American Songbook, "I Had the Craziest Dream" spotlights Magnarelli's beautiful soft swing approach. There's no hokey here, no schmaltzy vibrato or syrupy swinging. This track is on a par with a classic version by trumpeter Jack Sheldon. Magnarelli is pure taste. He uses rhythm and melody to construct his solos. Hazeltine's solo is a gem (catch the "Stella By Starlight"-copped cliche: cute!) There's a nice Washington solo too. "D Train Boogaloo," a funky blues head, sidewinders over a go-go beat and a Lee Morgan quote, spectacularly so. 

You can bet there are aspiring trumpeters out there who right now are transcribing, copping and wood-shedding Magnarelli licks. The Dietz-Schwartz standard "Haunted Heart" is given a bluesy feel. Magnarelli carries the lead with Smulyan haunting us with a second melodic take and a marvelously lyrical solo. The extended lines intrigue. Hazeltine's comps and interplay with the soloists are perfection before he goes tasteful on his own. The non-related Washingtons capitalize here together. "You and the Night and the Music"and the race flag! Magnarelli's Dizzy Gillespie ish Harmon mute work fires at a tempo reminiscent of Clifford Brown's "Cherokee" he even throws in a Brown lick drawn from that classic's intro. Magnarelli spent many years performing with the great bandleader Ray Barretto. His "Ballad for Barretto" has such a beautifully classic melodic approach similar to Benny Golson's "I Remember Clifford" that other instrumentalists will probably embrace this tune down the jazz road. 

Triple-metered over "Body and Soul" chord changes, "Soul Sister" opens with Magnarelli and Smulyan lightly carrying the melody. The superimposition of new melodic material over standard harmonic changes is as old as jazz. For Magnarelli to use his marvelous compositional chops to take such a standard and turn it into a hip waltz is slick genius. There are no gimmicks in Persistence. Magnarelli and his colleagues sound comfortably secure in themselves. All have paid dues in the shed, studios and pits, on the road and wherever. It's that persistence that results in performance perfection. Magnarelli presents us with an honest, no frills attempt at that goal. And, yes, he does indeed come close. Very, very close. A terrific, persistently satisfying disc. ~ Nicholas F.Mondello https://www.allaboutjazz.com/joe-magnarelli-persistence-by-nicholas-f-mondello.php

Personnel: Joe Magnarelli: trumpet; Gary Smulyan: baritone saxophone; David Hazeltine: piano; Peter Washington: bass; Kenny Washington: drums.

Persistence

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David Hazeltine - Blues Quarters, Vol.2

Styles: Piano Jazz, Hard Bop
Year: 2007
Time: 61:25
File: MP3 @ 320K/s
Size: 140,6 MB
Art: Front

(5:57) 1. Moment of Joy
(7:21) 2. But Here's the Thing
(7:03) 3. Inner Circle
(5:16) 4. Goin' Out of My Head
(7:56) 5. Embraceable You
(6:42) 6. Unforgettable
(6:20) 7. Suddenly It's Spring
(6:57) 8. The Second Blues Quarters
(7:49) 9. Blues for Us

A lot of water has passed under the proverbial bridge since the last time that David Hazeltine got together with Eric Alexander for the initial 1998 session billed as Blues Quarters Vol.1 (Criss 1188). As strong a showing as the pianist and his cohorts made on that initial release, I think all would agree this latest incarnation is even better, imbued with a maturation and musical camaraderie that has further developed due to countless numbers of gigs undertaken in the intervening years.

It's also interesting to ponder the fact that Hazeltine, Alexander, bassist Peter Washington, and drummer Joe Farnsworth have all built very prosperous careers over the past several years and have done so in a manner that is somewhat left of center from the norm. Historically, jazz musicians have gained prominence either through the forging of completely new paths that can also hold traps for alienating an audience or by recreating former styles in a retro manner that puts originality at a lesser premium. But while Hazeltine and his cohorts have steered clear from avant-garde leanings, preferring to work squarely within the bop tradition, they have expanded upon and refined the constraints of the mainstream in a way that has led to revitalization of a style that threatened to stagnate during the "young lions" craze of the late '80s and early '90s.

One of the incubators for this new music has been the group One For All, a sextet of leaders including Hazeltine and his friends from the disc at hand, the collective just recently celebrating an unprecedented ten-year run that culminated in its recent album The Lineup being honored as Recording of the Month in the November 2006 issue of Stereophile magazine, a prize usually reserved for classical or other more obscure releases. In his review of the disc, Robert Conrad commented strongly on the "headlong plunging urgency" of the music that he avows would not be possible without the "world-class blue-collar rhythm section [including] Hazeltine and Farnsworth." The point being that it is this same chemistry and common sense of purpose that makes Blues Quarters Vol.2 such a satisfying recital.

Like the first set, this latest offering goes for a combination of original tunes and some well-picked standards, but with an additional twist. On several tracks, the Latin rhythms of conguero Jose Alexis Diaz provide further seasoning that is aided and abetted by Hazeltine's coy arrangements. A veteran of New York's Latin scene, Diaz has been heard with many giants of the music including Tito Puente and Mario Bauza and can also be found on At the Main Event (Criss 1070) by trumpeter Brian Lynch.

"Moment of Joy" gets things started on a sunny note, this easy-going swinger boasting an atypical form with eight bars of an opening theme followed by a twelve-bar release that is then repeated. Statements by Alexander and Hazeltine precede a short testimonial by Washington, who proves not only to be a confident supporting player throughout but also a highly musical soloist.

Diaz makes his first appearance on the smoldering "But Here's the Thing," an Afro-Cuban groove that is built around sections of varying length, although the solos stick closely to the basic 16-bar structure of the head. Eric leads off with a typically refined solo full of rhythmic variety and textural variations such as upper register shouts and cries. Hazeltine follows before turning things over to Diaz, who blows over a percolating vamp with Farnsworth's rim clicks marking the clave.

Eric Alexander contributes "Inner Circle," a medium tempo number with a basic 24-bar form. This time around, Hazeltine takes the first several choruses before handing it off to Alexander. The two then take turns trading four bar exchanges with Farnsworth, an especially musical drummer who can always be counted on for statements that rely more on cogent phrasing and rhythmic resourcefulness than on mere displays of technical flash.

An iconic number directly associated with the feel good music of the 1960s, "Goin' Out of My Head" first hit the pop charts as performed by Little Anthony and the Imperials. Later, guitarist Wes Montgomery would see its potential for jazz fodder in a 1965 version arranged by Oliver Nelson. Alexander sits out on this one, but Diaz is back to help establish a lightly swinging bossa beat. This is just one example of Hazeltine's expertise in updating pop tunes of the '60s and '70s, an area which lately seems to have become his specialty.

Often considered the perfect litmus test for determining a jazz musician's potential for interpreting a ballad, "Embraceable You" is also one of George and Ira Gershwin's best-known pieces, the 1944 gem making its debut in the film Girl Crazy. Alexander delivers the melody with an appropriate degree of warmth and immediacy before the pace quickens at the start of Hazeltine's first solo chorus. The tempo stays up for Alexander's entrance and soon he's using the opening phrase as a launching point for further development, his unaccompanied cadenza bringing things in for a smooth landing.

"Unforgettable" will always be closely associated with Nat King Cole, his original version peaking as high as #12 on the Billboard charts back in 1952. Subsequent performances would include those by pianist Dick Hyman and vocal great Dinah Washington, but neither of these pack quite the visceral punch of Hazeltine's sagacious reworking here. With Diaz again on congas, the pace quickens for a fine series of solos from Alexander, Hazeltine, and Diaz in that order.

Looking for a number in waltz tempo, the quartet settles on "Suddenly, It's Spring," a seldom-heard standard that nonetheless can be heard in several jazz incarnations by instrumentalists such as Zoot Sims and Stan Getz and by several vocalists including Frank Sinatra and Chris Connor. Farnsworth's Latinesque embellishments accompany an opening vamp that subsequently leads into Alexander's delivery of the melody, the overall mood not unlike that of McCoy Tyner's "Three Flowers."

The universality of the blues that also happens to give the disc its title makes it presence strongly felt on the concluding two numbers. ""Blues Quarters 2" and "Blues for Us," the former not technically a blues and the latter definitely of the 12-bar variety, both make the most of one of the music's oldest and more enduring forms with some fluent soloing from everyone on board.

Of course it goes without saying that jazz has continued to struggle to find its place within a market that has changed dramatically over the past few years. In many ways, the presentation of jazz recordings from a historical perspective is directly opposed to current technological favorites such as iPods and MP3s. Because of this, it's doubtful that many jazz fans are looking to cram as many "tunes" into their pods as they can. Hazeltine and his close circle of friends have the opportunity to turn the tables on this current state of affairs as they continue to make music of the highest caliber. Blues Quarters 2 joins an already impressive body of work that is sure to stand the test of time even as the times are rapidly changing. By C. Andrew Hovan https://www.allaboutjazz.com/david-hazeltine-blues-quarters-vol2

Personnel: David Hazeltine (p), Eric Alexander (ts), Peter Washington (b) & Joe Farnsworth (d) plus Jose Alexis Diaz (congas on #2, 4 & 6)

Blues Quarters, Vol.2

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Jim Snidero - For All We Know

Styles: Saxophone Jazz
Year: 2024
Time: 53:27
File: MP3 @ 320K/s
Size: 123,0 MB
Art: Front

(7:56) 1. For All We Know
(5:14) 2. Naima
(6:21) 3. Love For Sale
(6:32) 4. Blackberry Winter
(5:19) 5. Parker's Mood
(6:33) 6. Willow Weep For Me
(7:58) 7. My Funny Valentine
(7:32) 8. You Go To My Head

The cover photo on Jim Snidero's For All We Know features the saxophonist holding his horn out in front of his body as if he is offering it to us as a holy relic. Holy it is when he plays it; a relic it is not.

The album is Snidero's first recorded offering in a trio setting sax, bass and drums. No chording instrument. His partners in chordlessness, Peter Washington and Joe Farnsworth bass and drums, respectively are a perfect choice, guys who have played with everybody from Art Blakey, McCoy Tyner, Tommy Flanagan, Cedar Walton and so many more. They were also Snidero's bandmates on the masterful Live At the Deer Head Inn (Savant, 2021). Some called that disc a masterpiece. They may have been right.

Snidero's tone is strikingly pure, showcased all the more in the spare trio setting. Tonal beauty stood out in his previous masterpiece, Strings (Milestone Records), released originally in 2002 and re-released in a slightly buffed-up form in 2021 on the Savant label. It is even more apparent on For All We Know, with the altoist playing the familiar standards, from the title tune opener through John Coltrane's "Naima" to Charlie Parker's (there has to be a Bird song here) "Parker's Mood." Throw in Cole Porter's "Love For Sale," Rodgers and Hart's "My Funny Valentine," and the old war horse "Willow Weep For Me" and you have a classic set, played with reverence and an unmatchable feel for melodic beauty.

2024's release of For All We Know sees Jim Snidero entering his fifth decade of jazz artistry. Excellent sounds from start to finish, especially his Savant Records output that began in 2007 with Tippin'. His sound like Charlie Parkers,' Art Peppers' and Lee Konitz's is something special, like that holy relic he is holding out is made of gold, the twenty-four-carat type.By Dan McClenaghan
https://www.allaboutjazz.com/for-all-we-know-jim-snidero-savant-records

Line-up/Musicians: Jim Snidero (alto saxophone); Peter Washington (bass); Joe Farnsworth (drums)

For All We Know

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David Hazeltine/Peter Washington\Joe Farnsworth - Blues for Gerry

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:09
Size: 142,9 MB
Art: Front

(6:31) 1. Here Again
(5:50) 2. Tangerine
(7:36) 3. Blues for Gerry
(6:43) 4. Firm Roots
(7:12) 5. Body and Soul
(6:01) 6. It Could Happen to You
(4:46) 7. Skylark
(5:29) 8. Minor Disturbance
(5:40) 9. You Know I Care
(6:16) 10. Here We Go

A longtime member of the Criss Cross family, pianist David Hazeltine began recording for the label in the mid 1990s. Since then he has released around 30 Criss Cross albums, including eight as leader. During this time, bassist Peter Washington and drummer Joe Farnsworth, who complete the trio on Blues For Gerry, have been frequent comrades in arms.

Sadly, Criss Cross founder Gerry Teekens passed in 2019. The good news is that his son Jerry has taken over the reins and the label is once again recording new albums, as well as reissuing back-catalogue gems (see here).

Blues For Gerry is Hazeltine's first recording for the label since 2010 and it confirms why Teekens Snr. held him in such high regard. The pianist is not in the business of frightening the horses, but within the framework provided by jazz standards and the Great American Songbook, he digs deep and comes up with the goods. As he says about "Body And Soul" in the liner notes here, "I'm not shying away from overplayed music."

This is, rather surprisingly, the first time Hazeltine has recorded the Johnny Green standard, and its 7:13 exposition is among the best tracks on the album. Others include Hoagy Carmichael's "Skylark" and Buddy Montgomery's "Here Again." Of the three Hazeltine originals, the title tune, at 7:37 the longest track, is also more than solid.
Other source composers are Victor Schertziner ("Tangerine"), Cedar Walton ("Firm Roots"), Jimmy Van Heusen ("It Could Happen To You") and Duke Pearson ("You Know I Care.")

At no point does Hazeltine feel the need to adorn familiar material with mere complexity. What you hear is what you get, and what you get is what it is.
By Chris May https://www.allaboutjazz.com/blues-for-gerry-david-hazeltine-criss-cross

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Blues for Gerry

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Ann Hampton Callaway - Easy Living

Styles: Vocal
Year: 2005
File: MP3@320K/s
Time: 57:28
Size: 132,2 MB
Art: Front

(3:52) 1. Easy To Love
(4:15) 2. Come Rain Or Come Shine
(5:50) 3. Skylark
(2:33) 4. Nice Work If You Can Get It
(5:32) 5. The Very Thought Of You
(5:59) 6. 'Round Midnight
(3:37) 7. Come Take My Hand
(5:42) 8. Easy Living
(3:25) 9. All Of You
(3:43) 10. Bluesette
(3:28) 11. It Had To Be You
(5:24) 12. In A Sentimental Mood
(4:03) 13. You Don't Know What Love Is

This is Ann Hampton Callaway's seventh recording, Easy Living, is one of her very best. It's a program of well-known standards and fairly stock arrangements, but in the middle is her pristine, well-defined, flexible voice. She retains a lower-end range in her style that suggests only one singer: Sarah Vaughan. She's joined by several different rhythm sections and soloists, including pianists Benny Green (six cuts), Bill Charlap (five), and Kenny Barron (two); bassists Peter Washington or Neal Miner; drummers Clarence "Tootsie" Bean and Lewis Nash; percussionist Jim Saporito; saxophonists Andy Farber, Nelson Rangell, and Gerry Niewood; and on three selections, trumpeter Wynton Marsalis.

A collection of love songs sung convincingly and with no frills, Callaway shows great depth in ballad singing. Hard evidence is presented in her takes of "Skylark" and "The Very Thought of You," with Charlap's glistening piano tones ringing bells for the singer and Farber's tenor sax replies. "'Round Midnight" is the penultimate interp with Barron's wistful piano and Marsalis' spare trumpet offering advice on ol' midnight. Callaway can swing well when she chooses; "Easy to Love" brings home her lower dulcet tones, while Farber's tenor cops a Stan Getz-Joe Henderson type plea bargain.

Green's intro to "Nice Work If You Can Get It" has a "Giant Steps" quote before the singer digs into this lyric. She scats a little during the middle of the program, on the melody line, and the coda, of "Bluesette," and more in the improvised bridge during "It Had to Be You." Bossa nova is always a sidebar for singers, and Callaway uses this Brazilian rhythm on an interesting arrangement of "You Don't Know What Love Is" spiked with high drama, Saporito's Latin percussion, Barron's deft piano, and Niewood's flavorful tenor.

The lone composition of the vocalist "Come Take My Hand" is also bossa, with Rangell's flute chirping on this definitive love anthem. Marsalis is also bolder on the stark ballad title track and a nice version of "In a Sentimental Mood," while it's the singer getting brash and daring in a lower tone than normal for perhaps the highlight "All of You," Green's piano matching the depths of Callaway's yearnings.

It's not hyperbole to understand this is the perfect singer with a perfect voice that sounds so effortless, mature, and flowing. Though the others six recordings are just fine, this one really hits the spot, especially instrumentally. Callaway proves up to the challenge with every measure, phrase, and inflection. By Michael G. Nastos
https://www.allmusic.com/album/easy-living-mw0000253203

Personnel: Vocals, Liner Notes – Ann Hampton Callaway; Alto Saxophone – Nelson Rangel; Bass – Neal Miner (tracks: 1, 4, 8, 13), Peter Washington (tracks: 2, 3, 5 to 7, 9 to 12); Drums – Clarence "Tootsie" Bean (tracks: 1, 4, 8, 13), Lewis Nash (tracks: 2, 3, 5 to 7, 9 to 12); Flute – Nelson Rangel (tracks: 3); Piano – Benny Green, Bill Charlap (tracks: 1, 4, 8, 11, 13), Kenny Barron (tracks: 2, 9); Tenor Saxophone – Andy Farber (tracks: 1, 6, 11, 13), Gerry Niewood (tracks: 6, 9); Trumpet – Wynton Marsalis (tracks: 2, 4, 8)

Easy Living

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Bennie Wallace - Moodsville

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

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

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

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

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

Moodsville

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George Coleman - Live at Smalls Jazz Club

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 71:02
Size: 163,3 MB
Art: Front

(11:26) 1. Four
( 6:27) 2. At Last
( 9:34) 3. My Funny Valentine
( 8:39) 4. Meditation
( 8:08) 5. Blues for Smalls
(11:17) 6. Nearness of You
( 7:10) 7. New York, New York
( 8:17) 8. When Sunny Gets Blue

If you are an aficionado of tenor saxophonists with a big, bold, biting tone who can run changes in the blink of an eye, then George Coleman is your man. Now in his 88th year, over the course of his long career, he has had a gamut of experiences including B.B. King (1952/1955-56), Max Roach (1958-59), Slide Hampton (1959-61) and Miles Davis (1963-64). His discography both as a leader/co-leader as well as a sideman covers a panoply of well-known jazz names, but recently the archivist label Reel To Real, under the guidance of saxophonist/producer Cory Weeds, uncovered a couple of unreleased 1970s Coleman sessions. Firstly, in 2020, The George Coleman Quintet in Baltimore (recorded in 1971), and in 2023 Shirley Scott Queen Bee: Live at the Left Bank (recorded in 1972) with Coleman on tenor sax.

Live at Smalls Jazz Club is a quartet session in which Coleman is supported by pianist Spike Wilner, bassist Peter Washington and the always swinging drummer Joe Farnsworth. The eight-tune track list consists of well recognized creations that have been associated with Coleman throughout his professional life starting with the Miles Davis composition "Four." Coleman opens the number with a sly introduction, after which he rips into a long solo with his usual energetic dashing style. The rhythm section is all in and full of propellant swing. The other Davis associated tune is Richard Rodgers' "My Funny Valentine." Coleman's interpretation is full of structural logic and artful restraint. Washington's bass is big and clear throughout.

The blues have been part of Coleman's repetoire since his early years with blues bands, and thus it is no surprise that his own composition "Blues For Smalls" is included in this session. And a rollicking blues it is, filled with Coleman's long, looping runs. Wilner fills his lengthy solo with surging energy, Farnsworth's slick drumming thrusts the number forward, while Washington is his usual clever self with his interjections. The final three tracks"The Nearness Of You," "New York, NewYork" and "When Sunny Gets Blue" continue with the stellar performances that Coleman and his cohorts laid down in the previous cuts. There is no diminution in Coleman's big saxophone sound and his improvisations continue to be crafty and expansive. By Pierre Giroux
https://www.allaboutjazz.com/live-at-smalls-jazz-club-george-coleman-george-coleman-cellar-music-group

Personnel: George Coleman: saxophone, tenor; Spike Wilner: piano; Peter Washington: bass; Joe Farnsworth: drums.

Live at Smalls Jazz Club

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Jon Faddis - Remembrances

Styles: Trumpet Jazz
Year: 1998
File: MP3@320K/s
Time: 67:14
Size: 154,5 MB
Art: Front

(7:06)  1. Sophisticated Lady
(6:06)  2. Laura
(7:23)  3. Speak Like a Child
(5:54)  4. Footprints
(5:58)  5. Naima
(6:35)  6. Johnny Bug
(6:47)  7. La Rosa Y El Sauce
(7:05)  8. In Your Own Sweet Way
(7:38)  9. Riverside Park
(6:38) 10. Goodbye

Jon Faddis speaks for himself on Remembrances. For many years critics thought of him as a Dizzy Gillespie clone. As director of The Carnegie Hall Jazz Orchestra he earned the distinction of being his own man. Carlos Franzetti, who arranged and conducted Portraits of Cuba (a Grammy winner for Paquito D’Rivera) uses his ingenious mastery again with Faddis. This disc is a well a conceived program of standards, both from the Great American Songbook and standards written by world class musicians. Franzetti chose instrumentation that is unique for a jazz group. The sidemen on this album are all excellent musicians in their own right. Here, you have Paquito D’Rivera playing soprano, tenor sax and the clarinet. His soprano solo on "In Your Own Sweet Way" is unmistakable, but still embraces the theme of the disc and enhances the music. Other instrumentation chosen for the group include bassoon, French horn, oboe, English horn, in addition to the sax section, rhythm section, and trombone. "Sophisticated Lady," "Laura," and the closer, "Goodbye," are all presented in a fresh way for a new generation. 

Faddis eschews high harmonics, rather embraces a relaxed manner that celebrates the ballads without disturbing their origins. "Footprints," "Naima," La Rosa Y El Sauce," and Franzetti’s own composition "Riverside Park," are all done with thought and conviction. Remembrances has "classic" potential and is sure to appeal to even the discerning jazz listener. Chesky recorded this CD at St. Peter’s Episcopal Church in New York City and it is yet another example of their commitment to harmonic perfection.
By Arthur C. Bourassa https://www.allaboutjazz.com/remembrances-jon-faddis-chesky-records-review-by-arthur-c-bourassa.php


Personnel: Jon Faddis - Trumpet, Flugelhorn, Paquito D'Rivera - Clarinet, Sax (Soprano), Sax (Tenor), Soprano (Vocal), Bill Easley - Clarinet, Sax (Tenor), George Young - Flute, Sax (Alto), John Clark - French Horn, Lawrence Feldman - Flute, Sax (Alto), Kenneth Hitchcock - Clarinet (Bass), Sax (Baritone), Dale Kleps - Flute, Sax (Alto), Clarence Penn - Drums, Jim Pugh - Euphonium, Trombone (Alto), Trombone (Tenor), Tenor Trombone, Stewart Rose - French Horn, Roger Rosenberg - Bassoon, Clarinet (Bass), Sax (Baritone), Peter Washington - Bass, David Hazeltine - Piano.

Remembrances

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Bill Charlap Trio - Live At Flushing Town Hall

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 65:36
Size: 152,4 MB
Art: Front

( 4:46) 1. Godchild
( 5:49) 2. All Through The Night
( 5:49) 3. Sophisticated Lady
( 6:09) 4. An Affair To Remember
( 5:53) 5. Not A Care In The World
(10:05) 6. Too Late Now
( 7:41) 7. In The Still Of The Night
( 5:22) 8. Groovin' High
( 3:18) 9. Body And Soul
( 3:24) 10. Stay Right With It
( 7:16) 11. What Are You Doing The Rest Of Your Life

Flushing Town Hall presents the GRAMMY award-nominated Bill Charlap Trio, with GRAMMY award-winning pianist Bill Charlap, bassist Peter Washington and drummer Kenny Washington. Praised by The Guardian as“one of the best piano trios ever,”the Bill Charap Trio which celebrates its 25th anniversary in 2022, is considered one of the leading jazz groups. The trio’s most recent recording features them with Tony Bennett & Diana Krall on the chart-topping, GRAMMY-nominated Love is Here to Stay. The Bill Charlap Trio tours all over the world, and their New York engagements include regular appearances at Jazz at Lincoln Center and the Village Vanguard.
https://www.wbgo.org/community-calendar/event/bill-charlap-trio-at-flushing-town-hall-13-12-2021-11-36-36

Personnel: Bill Charlap - piano; Peter Washington - bass; Kenny Washington - drums

Live At Flushing Town Hall

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Mike LeDonne - Heavy Hitters

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

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

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

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

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

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

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

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

Heavy Hitters

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Lafayette Harris, Jr. - Swingin' Up in Harlem

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 50:12
Size: 115,5 MB
Art: Front

(3:52) 1. Swingin' Up in Harlem
(4:49) 2. Living for the City
(4:15) 3. Teach Me Tonight
(6:31) 4. The Nearness of You
(6:08) 5. Stardust
(3:40) 6. St. Thomas
(5:41) 7. Over the Rainbow
(4:49) 8. It's All in the Game
(5:36) 9. Solitude
(4:46) 10. Nat's Blues

In the grand tradition of jazz piano trio records, Lafayette Harris returns to the Van Gelder studios for 'Swingin' Up In Harlem', covering a wide spectrum of tunes by composers ranging from Hoagy Carmichael to Stevie Wonder.

Harris' sympathies have always been wide-ranging, as one would imagine from his stints with Max Roach, Donald Byrd, Ernestine Anderson and others. His style of playing keeps one foot rooted in the rich history of jazz piano and the other is knee-deep in contemporary and modern jazz resulting in an album of personal, memorable renditions with subtle colours and elegant nuances.

You need a first-rate rhythm section for a trio recording and bassist Peter Washington and drummer Lewis Nash bring the insight that only their decades of experience can give. The album also boasts the participation of saxophonist Houston Person, this time in the producer's chair. If tasteful, effortless piano playing is to your liking, then you will certainly find great pleasure in the joy, humour and exuberance of Lafayette Harris Jr
https://www.propermusic.com/scd2203-swingin-up-in-harlem.html

Personnel: Lafayette Harris Jr: piano; Peter Washington: bass; Lewis Nash: drums

Swingin' Up in Harlem

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Jim Snidero Feat. Kurt Rosenwinkel - Far Far Away

Styles: Saxophone And Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 54:09
Size: 126,1 MB
Art: Front

(6:59) 1. Far Far Away
(7:38) 2. Infinity
(7:00) 3. It Might as Well Be Spring
(6:56) 4. Nowhere to Hide
(7:52) 5. Obsession
(5:16) 6. Pat
(4:45) 7. Search for Peace
(7:41) 8. Little Falls

Far Far Away brings us ever so close to the genius of Jim Snidero. An incandescent affair built upon the pillars of new partnership and continuing collaboration, it showcases a marked consistency in craftsmanship and inventiveness that leaves no doubt as to this artist's place in the jazz firmament. Of course, seasoned listeners need no reminders about his elevated status. The vaunted alto saxophonist has been delivering dynamic performances as a leader on record for the better part of four decades, winning critics over and gaining plenty of fans with that work. Snidero's Blue Afternoon (Criss Cross, 1989) was rightly tagged as a modern classic through its inclusion in The Penguin Jazz Guide: The History of the Music in the 1001 Best Albums; he turned plenty of heads playing atop his own arresting orchestral arrangements on Strings (Miles-tone, 2003/Savant, 2021), which received the highest "Le Choc" review from Jazz Magazine (France) and saw the music and its creator cited as "belonging to a very exclusive club (Fischer, Ogerman, Sauter) of great successes in the genre"; and at the height of the COVID-19 pandemic, when gigging opportunities were risky and scarce, he found a way and triumphed with Live at the Deer Head Inn (Savant, 2021), earning serious admiration and a rare 5-star review in DownBeat Magazine.

Those offerings demonstrate an extraordinary level of artistic achievement over wide spans, as Snidero successfully charted his way through vastly different territories in his thirties, mid-forties and sixties. And with many dates in his enviable discography branching out into other areas a celebration of the organ combo on Tippin' (Savant, 2007), a look at modernistic flow in Stream of Consciousness (Savant, 2013), an intrepid immersion in Korean culture for Project-K (Savant, 2020) those highlights provide just a mere glimpse of his capabilities when in command. The portrait of Snidero truly broadens with every single entry in his catalog, and that obviously includes this landmark 25th recording.

On Far Far Away, legend meets legend for an incredible journey to the outer limits. Returning to the studio after his triumphs on the stage, the renowned altoist joins forces with inimitable guitar hero Kurt Rosenwinkel. It's a pairing that's as unlikely as it is intriguing, opening the doors of possibility for the saxophonist: "For me, Kurt is one of the great jazz figures of the 21st century. His concept of sound and phrasing are so original and compelling, yet his playing is firmly grounded in the tradition. Achieving that combination is no small feat. There's just so much there that I wanted to take advantage of as a composer."

Opting to write new material tailored to Rosenwinkel's cut, Snidero eyes the horizon and what lies beyond. And in bringing back the ace rhythm section from Live at the Deer Head Inn forward-thinking pianist Orrin Evans, in-demand bassist Peter Washington and sterling drummer Joe Farnsworth he acknowledges a winning combination of musicians while refocusing their efforts: "The live record was really all about the moment 'A token of hope, a prayer for the return of live gigs,' as London Jazz News so eloquently put it. It was just getting up there, relaxing and playing tunes that would hopefully bring some joy to folks during some difficult times. With the addition of Kurt, and the focus on originals now, this album is really quite different."

Illustrating that truth right out of the gate, Snidero sets a course to the stars for the title track. The first of many pieces to capitalize on Rosenwinkel's signature sonics, it spotlights both frontline members as euphoric soloists, highlights some significant chemistry in their matchup, and provides additional space for Evans and Farnsworth to shine. Dialing things back for the follow-up the cobalt-shaded "Infinity" the quintet plays toward straight-time seduction as it crests waves of its own creation. Reflecting the very nature of the Snidero-and-Rosenwinkel partnership, those opening numbers offer contrast while proving complementary. Switching gears with a subtly reharmonized look at Rodgers and Hammerstein's "It Might as Well Be Spring," the leader delights in the opportunity to bare his soul on one of his favorite ballads. The album's lone dip into the Great American Songbook, and one of the finest examples of Snidero's sound on record, it proves to be a model of class and sensitivity.

Returning to the realm of originals, the saxophonist delivers three consecutive winners from as many angles. The bounding "Nowhere to Hide," ripe with harmonic tension and conflicting extensions, brings piquancy to the center of the picture as Snidero's pointed lead, Rosenwinkel's liquid heat and Evans' down-the-middle designs each make strong impressions. Then "Obsession" arrives, taking shape around a simmering funk feel and serving as the only one of its kind on the playlist. Dynamic comping and interplay on the rhythm side help to create arched expressions within its well constructed framework, ultimately supporting and encouraging those at the fore. Closing this trifecta of new compositions with "Pat" a blues-based gem tapping into the spirit of the legendary Pat Martino everybody takes a moment to give due respect to a dearly departed jazz guitar icon and his enduring influence.

Adopting a reflective stance in the penultimate presentation, Snidero looks to the late McCoy Tyner's ever-relevant "Search for Peace." A breathtaking ballad that gives pause to admire both music and message, it's a perfect vehicle to accentuate the leader's tender side, Rosenwinkel's singing strings and Washington's purposeful pizzicato. Then it's back to new wonders with "Little Falls," a swinging sendoff that's right in everybody's wheelhouse. Washington's walking lines and Farnsworth's ride cymbal lay the groundwork as the group's core soloists captivate through the beauty of their ideas. Demonstrating clear direction, this exit piece, much like everything preceding it, speaks to Snidero's great attention to detail with this project: "I spent quite a bit of time thinking about the band's sound while writing how to layer certain elements such as timbre, harmony and range, to both blend and (sometimes) conflict, creating more depth. It's about putting it all together while being musical and projecting warmth. That's what I value most of all." Not surprisingly, that comes through in the wondrous mix on Far Far Away. By Dan Bilawsky https://www.allaboutjazz.com/far-far-away

Personnel: Jim Snidero: saxophone, alto; Kurt Rosenwinkel: guitar; Orrin Evans: piano; Peter Washington: bass; Joe Farnsworth: drums.

Far Far Away

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Eric Alexander - The First Milestone

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 63:06
Size: 144,6 MB
Art: Front

(8:52)  1. Stand Pat
(7:06)  2. #34 Was Sweetness (for Walter Payton)
(7:36)  3. The First Milestone
(8:41)  4. The Towering Inferno
(8:55)  5. Night Song
(7:15)  6. Last Night When We Were Young
(7:56)  7. The Phineas Trane
(6:40)  8. I'm Glad There Was You

With the release of The First Milestone, Eric Alexander continues to make the transition from a young, hard-blowing tenor saxophonist to a mature soloist and leader of interesting small bands. Alexander is simply getting better at what he’s been doing quite well all along; that is, making high-energy music largely based on the spectrum of straight-ahead jazz of the 50s and 60s. Throughout the disc, his playing has its characteristic intensity, and his solos sound like complete statements rather than a fusion of disparate ideas. As always, Alexander has surrounded himself with bandmates (pianist Harold Mabern, guitarist Pat Martino, bassist Peter Washington, and drummer Joe Farnsworth) who push him to the limit and have something of their own to say. Alexander’s sheer joy in making music comes through loud and clear on several cuts, most notably the jaunty “Night Song,” and a funky version of “I’m Glad There Is You,” which is reminiscent of the sounds made during his tenure in the band of Hammond B3 organist Charles Earland. On both tunes, the liberties he takes on the melodies are as interesting as his improvised solos. 

“Last Night When We Were Young” gets a ballad treatment and doesn’t stray very far from that vein even when the tempo doubles in the middle of Alexander’s solo. “34 Was Sweetness,” a deliberate, virile stroll, is a fitting tribute to the late Walter Payton. The contrasting solo approaches of Martino and Mabern are important to the success of the disc. Although Martino appears on only four of the eight tracks, his impeccable single-note lines swing quietly but intensely. Mabern plays with an odd combination of abandon and delicacy, and even at its most restrained, his playing has a startling momentum.
By David A.Orthmann https://www.allaboutjazz.com/the-first-milestone-eric-alexander-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Eric Alexander- tenor saxophone, Pat Martino- guitar, Peter Washington- bass, Joe Farnsworth- drums

The First Milestone

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Jan Lundgren - In New York

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 61:47
Size: 141,8 MB
Art: Front

(7:27) 1. Negotiations
(5:26) 2. East Of The Sun
(7:02) 3. Autumn In New York
(7:36) 4. Stablemates
(4:52) 5. The Gypsy
(7:29) 6. Straight Street
(5:12) 7. M.Z.
(5:51) 8. Cherokee
(4:35) 9. I Can't Get Started
(6:14) 10. This Is For Albert

In sports, coaches like to talk about “putting yourself in position to win.” Jan Lundgren has done exactly that with In New York. He borrowed Bill Charlap’s rhythm section of Peter Washington and Kenny Washington, one of the finest active piano-trio support systems. He recorded at Nola Studios with engineers Jim Czak and Bill Moss and got superb full-bandwidth sound. He assembled a stimulating program of originals, songbook classics (“East of the Sun,” “Autumn in New York,” “I Can’t Get Started”), and jazz standards by saxophonists (Golson’s “Stablemates,” Coltrane’s “Straight Street,” Shorter’s “This Is for Albert”).

Win he does. My only previous exposure to Lundgren’s work was a rather bland album of Swedish folksongs called Landscapes. But on In New York, with the Washingtons smoothing paths for him like two sweepers on the world champion Swedish curling team, Lundgren effortlessly glides and streaks over these songs. His versions of the three songbook pieces are rich, comprehensive and elegantly detailed. The positive energy is powerful and exhilarating. Even Lundgren’s “M.Z.,” for Monica Zetterlund, a wheelchair-bound Swedish singer who died tragically in an apartment fire in 2005, is much more about celebrating her life than mourning her death.
By Thomas Conrad https://jazztimes.com/archives/jan-lundgren-in-new-york/

Personnel: Jan Lundgren (piano); Peter Washington (bass); Kenny Washington (drums)

In New York

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Lew Tabackin Quartet - What A Little Moonlight Can Do

Styles: Saxophone And Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 56:34
Size: 130,9 MB
Art: Front

(5:14)  1. What A Little Moonlight Can Do
(7:22)  2. Easy Living
(6:51)  3. I Wished On The Moon
(5:02)  4. Love Letters
(7:48)  5. Poinciana
(5:13)  6. This Time The Dream's On Me
(7:35)  7. Broken Dreams
(6:04)  8. Leave Of Absinthe
(5:20)  9. Dig

The deep, smooth tenor sax tones of Ben Webster and Coleman Hawkins are clearly the models that Lew Tabackin patterns his playing after on this album featuring his quartet. The sax giants' influence can clearly be seen on "What a Little Moonlight Can Do," on which Tabackin plays above the melody, concluding with Webster's patented fluttering, whispering tone. Tabackin's playing throughout this session, irrespective of the tempo, is contemplative, exploring every nook and cranny, every nuance, every subtlety of the tune. He and his quartet travel winding roads of complex and interesting improvisations, always managing to return to the basic melody unscathed. He gives himself plenty of time for each journey, with most of the tunes running more than six minutes in length but never becoming boring or repetitive. Tabackin and his quartet caress "Easy Living," with Benny Green's piano getting significant exposure. "I Wished on the Moon," made famous by Billie Holiday, is done more like a tango than the swinging number it became in the hands of Lady Day. There are two non-standards on the album. Jimmy Knepper's "Leave of Absinthe," based on the chord changes to "Lullaby of the Leaves," is a vehicle for Tabackin's flute playing, while Tabackin's "Broken Dreams," commissioned by his wife, bandleader Toshiko Akiyoshi, is a lovely ballad, again with Green's piano in the vanguard. The rhythm section backing Tabackin is world-class, with Green, Peter Washington on bass, and Lewis Nash on drums. Playing professionally since the 1960s, Tabackin shows that almost 30 years later, he hasn't lost any of his passion for the music. ~ Dave Nathan https://www.allmusic.com/album/what-a-little-moonlight-can-do-mw0000118368

Personnel: Lew Tabackin (tenor saxophone, alto flute, flute), Benny Green (piano), Peter Washington (bass), Lewis Nash (drums)

What A Little Moonlight Can Do

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Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

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David Hazeltine - A World For Her

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 63:14
Size: 145,2 MB
Art: Front

(10:45) 1. My Foolish Heart
( 5:02) 2. This One's For Bud
( 9:52) 3. A World For Her
( 6:00) 4. Moment's Notice
( 8:58) 5. Soul Eyes
( 7:28) 6. Old Devil Moon
( 7:21) 7. What'll I Do
( 7:44) 8. Bitter Sweet

Pianist David Hazeltine is the leader of this straight-ahead quartet date, contributes two originals, and is in superior form, but tenor saxophonist Javon Jackson often steals the show. Jackson, who in other settings sometimes hints strongly at Joe Henderson, on this occasion looks more toward late-'50s John Coltrane, particularly on a beautifully interpreted version of "Soul Eyes" and Trane's "Moment's Notice."

Other highlights include an extended "My Foolish Heart," Hazeltine's rightfully boppish "This One's for Bud," and "What'll I Do." Hazeltine and Jackson are joined by bassist Peter Washington and either Louis Hayes or Joe Farnsworth on drums, with vibraphonist Steve Nelson making a guest appearance on "Old Devil Moon." The music is quite enjoyable and very well played, one of Javon Jackson's finest recordings and a superior outing for David Hazeltine. ~Scott Yanow https://www.allmusic.com/album/a-world-for-her-mw0000250980

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth; Louis Hayes; Tenor Saxophone – Javon Jackson; Vibraphone – Steve Nelson

A World For Her

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