Vincent Gardner - The Good Book: Chapter One

Styles: Trombone Jazz
Year: 2007
File: MP3@320K/s
Time: 62:28
Size: 144,3 MB
Art: Front

( 6:42) 1. Love Handles
(11:00) 2. The African Queen
( 8:43) 3. Shiny Stockings
( 5:56) 4. Mo' Joe
( 6:10) 5. The House That Love Built
( 7:50) 6. Sean's Jones Comes Down
( 8:14) 7. Que Pasa?
( 7:48) 8. C.P.W.

Although his major claim to fame up to this point has been time spent with the Lincoln Center Jazz Orchestra, trombonist Vincent Garner is a very likely candidate for the category of talent seeking of wider recognition. As a follow-up to his debut set Elbow Room (Steeplechase, 2006), this effort not only sheds light on his skills as a trombonist but also reminds us of the musical legacies of Frank Foster and Horace Silver. The Good Book: Chapter One brings back the quintet heard on Gardner's first disc (with Marc Cary replacing Aaron Goldberg on piano) while mining the catalogs of Foster and Silver and giving a coat of fresh paint to these attractive pieces.

Of the Foster tunes, it's "Shiny Stockings that gets the most sagacious reworking, use of space and syncopation, helping to alter a well-known line. Of more recent vintage, "Sean's Jones Comes Down is Foster's play on words as homage to the young trumpeter. Its form includes a few bars of ¾ thrown in to keep all on their toes, with Walter Blanding's soprano work proving to be a revelation in terms of his tone and ideas. As for Gardner's voice, he goes for a blend somewhere between swing stylists such as Vic Dickenson, Lawrence Brown and the bop sensibilities of J.J. Johnson. At times, his tone is slightly reminiscent of the warm timbre of a French horn.

The Silver numbers tap the less obvious and the disc is all the better for it. "African Queen is one of the highlights from Silver's Cape Verdean Blues (Blue Note, 1965) and Gardner and company stretch out for their own extended cruise abetted by the highly musical drumming of Quincy Davis. Joe Henderson's "Mo'Joe is another gem from the previously mentioned Cape Verdean set. As for the iconic "Que Pasa? from Song for My Father (Blue Note, 1964), the blend of soprano sax and trombone gives this reading a unique flavor, a quality that pretty much permeates the entire disc. This, of course, elevates the recital beyond your typical tribute album and bodes well for Gardner's further development as an individualist with something important to say. By C. Andrew Hovan https://www.allaboutjazz.com/the-good-book-chapter-one-vincent-gardner-steeplechase-records-review-by-c-andrew-hovan

Vincent Gardner: trombone; Walter Blanding: tenor and soprano sax; Marc Cary: piano; Greg Williams: bass; Quincy Davis: drums.

The Good Book: Chapter One

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Jared Gold - All Wrapped Up

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 50:03
Size: 115,2 MB
Art: Front

(5:43) 1. My Sentiments Exactly
(5:28) 2. Get Out Of My Sandbox
(5:31) 3. Piece Of Mine
(6:39) 4. Midnight Snack
(7:04) 5. Dark Blue
(7:23) 6. Mama Said
(6:44) 7. Saudade
(5:27) 8. Just A Suggestion

There's a noticeable change in organist Jared Gold's sonic template of choice, before All Wrapped Up even begins. While two out of Gold's three prior releases were quartet outings that used saxophone as the lone horn voice, all three releases were rooted in the traditional organ trio instrumental format. A different guitarist graced each one of those records, with Randy Napoleon, Ed Cherry and Dave Stryker each putting their own unique stamp on Gold's music, but the organist clearly felt it was time to move on, with guitar nowhere to be found on this album. Instead, Gold turns to two stellar horn players (and label mates) to help flesh out his new sound. Saxophonist Ralph Bowen and trumpeter Jim Rotondi add their own singular voices to Gold's music as the organist creates the next chapter in his career as a leader.

Five of the eight compositions on the album come from Gold, and the funkiest fare stands out above the rest. "Mama Said" starts off with both horns working through the hip head, as drummer Quincy Davis lays down an easy funk beat and things get even more soulful as solos are passed around. The album-closing "Just A Suggestion" has a few more rhythmic turns in the mix, but moves in a similar direction. Bowen's solo is the clear highlight on this one and his passion for the music is palpable.

While more than half of the material comes from Gold, each member of the band contributes one piece. Davis delivers a relaxed swinger ("Piece Of Mine"), but Bowen's "Midnight Snack"is a rhythmic rollercoaster ride, where the groove terrain is in a constant state of flux though everyone knows exactly what they're doing as the rhythmic underpinnings continually shift. Rotondi's "Dark Blue" follows, a mellow swinger that's the calm after the storm.

When All Wrapped Up reaches its conclusion, two things are abundantly clear: this newfound quartet format hasn't dampened or diminished the creative enthusiasm shown on Gold's earlier releases; and the album continues the steady evolution of one of jazz's most prominent rising star organists.~ Dan Bilawskyhttps://www.allaboutjazz.com/all-wrapped-up-jared-gold-posi-tone-records-review-by-dan-bilawsky

Personnel: Jared Gold: organ; Ralph Bowen: saxophone; Jim Rotondi: trumpet; Quincy Davis: drums.

All Wrapped Up

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Noriko Ueda Trio - Debut

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 47:18
Size: 108,7 MB
Art: Front

(5:36)  1. Bohemia After Dark
(5:11)  2. Blue Sunset
(4:28)  3. Just in Time
(5:12)  4. Forget Me Not
(5:39)  5. Double Vision
(3:59)  6. Parisian Thoroughfare
(5:58)  7. The Loop
(5:38)  8. For All We Know
(5:33)  9. The Touch of Your Lips

Born 14 March 1972, Osaka, Japan. From the age of 14, Ueda studied classical piano and two years later began playing electric bass. Her piano studies continued until she was 20, and in the meantime she had also begun to compose. During the last two years of these studies, she concurrently studied classical singing at Osaka College of Music. It was at this time that she made the change to playing the acoustic double bass, which thereafter became her principal instrument. After leaving Osaka College early in 1992, Ueda began playing at the city’s jazz clubs, work that provided an opportunity to accompany visiting jazz musicians such as Kenny Barron, Joe Chambers, Benny Green, Roy Hargrove, Jimmy Smith and Grady Tate. In 1994, she joined pianist Kiyoshi Takeshita for a year and then went to the USA to study at the Berklee College Of Music, where she majored in jazz composition. While at Berklee, she appeared on the 1997 BMG release Summa Cum Jazz: The Best Of Berklee College Of Music. From 1996, she led an all-Japanese, all-female trio, Groovin’ Girls, which has recorded in the studio and also appeared on Black Entertainment Television’s Jazz Central. With her in the group are pianist Takana Miyamoto and drummer Masumi Inaba. Ueda has composed extensively, often for big bands. Several of her pieces were used on Live At TUC, a 2001 radio broadcast on FM Tokyo. In 2000, 2002 and 2003 her compositions were performed at the BMI Annual Showcase Concerts. Her ‘Castle In The North’ won her the 2002 BMI Foundation’s Charlie Parker Jazz Composition Prize and the following year her ‘Power Of Spring’ was played at the BMI Annual Showcase Concert. This same composition was selected for the BMI Jazz Composer’s Workshop and was performed at the IAJE (International Association for Jazz Education) Annual Conference in January 2004. Ueda is a member of DIVA, the all-female big band, led by drummer Sherrie Maricle, and she also plays as a member of the DIVA small group, Five Play. https://www.allmusic.com/artist/noriko-ueda-mn0000119737

Personnel:  Noriko Ueda (bass) Ted Rosenthal (piano) Quincy Davis (drums).

Debut

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Sachal Vasandani - We Move

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 59:49
Size: 137,9 MB
Art: Front

(6:08)  1. Escape/There's A Small Hotel
(3:25)  2. No More
(4:54)  3. Don't Worry About Me
(3:39)  4. Every Ocean, Every Star
(4:47)  5. We Move
(3:40)  6. Once In A While/Horizons
(3:28)  7. There Are Such Things
(2:21)  8. By The River St. Marie
(4:20)  9. Ring Road (Back To You)
(4:53) 10. Royal Eyes
(5:33) 11. Monk's Dream
(4:58) 12. I'd Let You Know
(4:40) 13. Heartbeat
(2:57) 14. Travelin' Light

Sachal Vasandani's second CD shows he is maturing as a jazz singer and composer, continuing to refine his approach while landing safely in flat fields of open expanse. His voice rarely wavers or explores upper or lower registers; rather, it stays within a comfort zone that avoids much of a challenge. This consistency serves his songs and his audience well, working within a current trend of singers who stay within specific rhythmic boundaries and don't really push the envelope. Vasandani is helped by pianist Jeb Patton and a backing trio that has been with the vocalist for almost a decade, while co-producers John Clayton and guitarist Doug Wamble give him a bit of a push here and there, mixing up standards with subtle originals. The title track shows the most originality in a steady, repeating, and wistful mode; "Ring Road" (contributed by drummer Quincy Davis) has Vasandani in a playful, ever cool mood; and "Don't Worry About Me" has that contemporary hip-hop rhythm originated by Ahmad Jamal under the singer's slick, level-headed style. The old Joe Williams number "By the River St. Marie" is bopped hard within the controlled dynamics of Vasandani's voice, and he goes for some scat on the intro of the combo tune "Once in a While" and Patton's "Horizons." The group covers the chestnuts "No More" and Thelonious Monk's "Monk's Dream," both with lyrics penned by Jon Hendricks, but the results are not optimal or perfect. Where the singer is most convincing crops up in an elegant, confident manner on "Escape/There's a Small Hotel," but especially during "There Are Such Things," a serene interpretation that comes straight from the heart. The most unusual arrangement is more in a baroque or chamber style on the low-key "Royal Eyes," which merges effectively into a small samba. After two recordings, Sachal Vasandani has found somewhat of a niche, but needs to ramp it up creatively and take more chances in order to stand out from the small group of contemporary male jazz vocalists. ~ Michael G.Nastos http://www.allmusic.com/album/we-move-mw0000824179

Personnel: Sachal Vasandani (vocals); Doug Wamble (guitar, keyboards, programming); Dayna Stephens (tenor saxophone, baritone saxophone); Vincent Gardner (trombone); Jeb Patton (piano, organ, Wurlitzer organ); David Wong (acoustic bass); Justin Brown , Quincy Davis (drums).

We Move

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Peter Zak - Blues On the Corner

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 56:08
Size: 129,3 MB
Art: Front

(7:57)  1. Blues On the Corner
(4:53)  2. Three Flowers
(8:20)  3. The Man from Tanganyika
(4:36)  4. Sunset
(4:38)  5. May Street
(6:37)  6. Ballad for Aisha
(5:28)  7. The Camel
(5:23)  8. All My Yesterdays
(8:11)  9. Peresina

McCoy Tyner has justifiably been heralded as one of the most important jazz pianists of the past 50 years, both for his seminal work with the classic John Coltrane Quartet in the 1960s and for the four decades of consistently exhilarating work as a leader that followed. But while his heavily percussive style, unique chord voicings and the sheer emotional force of his playing have influenced countless followers, he has seldom been appreciated for his contributions as a composer. That's beginning to change a bit, however, with the SF Jazz Collective's 2009 Tyner tribute and New York pianist Peter Zak 's Blues on the Corner: The Music of McCoy Tyner.  Zak is a top-flight modern mainstream player who appears regularly with respected artists like Ryan Kisor, Walt Weiskopf and Jim Snidero. He is wise enough not to try to mimic the raw power of Tyner's style; he has a more lyrical and restrained, but still hard swinging, approach. But Zak and his impressive working trio (Paul Gill on bass and Quincy Davis on drums) capture the spirit of Tyner's music on eight tunes drawn from throughout his long career. The diversity and energy of the selections, ranging from old-school bebop to searing, avant-leaning explorations to unabashedly beautiful ballads give testament to Tyner's breadth as a composer.

Highlights include the bouncy blues of the title track, Zak's whirlwind post-bop playing on the explosive "May Street," the bowing prowess of Gill on "Three Flowers" and the sense of playfulness the entire trio brings to the lively "Man from Tanganyika." The lovely, expressive ballad, "All My Yesterdays," given a thoughtful treatment here, should serve as an antidote to those who still view Tyner simply as Coltrane's fiery foil. The lone Zak original, "The Camel," is an edgy, forward-looking number that fits in well with the overall Tyner theme. Peter Zak and his trio have made a fine album that shines new light on a too-often neglected aspect of McCoy Tyner's legacy. ~ Joel Roberts https://www.allaboutjazz.com/blues-on-the-corner-the-music-of-mccoy-tyner-peter-zak-steeplechase-records-review-by-joel-roberts.php
 

Personnel: Peter Zak: piano; Paul Gill: bass; Quincy Davis: drums.

Blues On the Corner

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Peter Zak - Seed Of Sin

Styles: Piano Jazz
Year: 2007
File: MP3@224K/s
Time: 67:10
Size: 108,9 MB
Art: Front

(6:20)  1. All Day Long
(4:12)  2. Minor Apprehension
(9:47)  3. Propinquity
(8:22)  4. Poor People's March
(7:18)  5. Horace's Dream
(6:38)  6. Shala
(4:23)  7. Perhaps
(5:08)  8. Seed Of Sin
(7:05)  9. Memories Of You
(7:53) 10. King Cobra

Peter Zak's fourth release for Steeplechase finds him returning to a trio, with his regular bassist Paul Gill and Quincy Davis taking over on drums. Zak covers a number of jazz styles during this wide-ranging session. His buoyant, swinging treatment of Billy Strayhorn's lesser known "All Day Long" and lyrical setting of Eubie Blake's "Memories of You" have great appeal. Gill is featured extensively in the opening to Charlie Parker's "Perhaps," accompanied sparsely by Davis' brushes with minimal backing by the leader until he takes over. The trio devours Jackie McLean's intense hard bop vehicle "Minor Apprehension," showcasing Davis extensively early on. Harold Land's "Poor People's March" is another lost gem polished by the trio, a driving post-bop vehicle. Zak dives head first into Herbie Hancock's intriguing, constantly evolving "King Cobra." The pianist's compositions are just as strong. "Horace's Dream" quickly reveals its inspiration with the catchy rhythm favored by Horace Silver. The brisk bossa nova "Propinquity" and the melodic"Shala" (the latter introduced with a bit of free improvisation) are also signs of Peter Zak's gifts as a composer. ~ Ken Dryden http://www.allmusic.com/album/seed-of-sin-mw0001441360

Personnel: Peter Zak (piano); Quincy Davis (drums); Paul Gill (bass).

Seed Of Sin

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Vincent Gardner - Elbow Room

Styles: Trombone Jazz
Year: 2005
File: MP3@320K/s
Time: 75:10
Size: 173,0 MB
Art: Front

( 7:24)  1. DoomZoom
( 7:24)  2. Snake Charmin'
( 8:03)  3. I Guess I'll Hang My Tears Out To Dry
( 7:17)  4. Can You Read My Mind?
(10:16)  5. Four And One
( 9:03)  6. Blubber
( 7:16)  7. W. M. II
( 8:22)  8. Relaxin' At Camarillo
(10:01)  9. Liberia

Trombonist Vincent Gardner, an alumnus of the Lincoln Center Jazz Orchestra, makes an impressive debut as a leader on Elbow Room, a balanced mix of standards and challenging originals. Joining him in his quintet are saxophonist Walter Blanding, pianist Aaron Goldberg, bassist Greg Williams and drummer Quincy Davis. The band gets off to a light-footed start on the Dixieland-inflected "Doomzoom. Gardner stretches out on his crisp solo and Blanding's tenor passage is gritty without being grating. "Snake Charmin' is something of a long distance bop conversation between Gardner and Blanding's soprano sax, anchored expertly by the rhythm section. Gardner's soulful touch on "I Guess I'll Hang My Tears Out To Dry blends with Davis' gentle brushstrokes and Williams' plucked solo to underscore the song's melancholy theme. The splendid "Can You Read My Mind? begins with a Mighty Mouse fanfare, then jumps right into Gardner and Blanding engaging in a dynamic, Latin-tinged trombone/soprano dialogue.

The group's clever reading of Monk's "Four and One is equally spirited, with excellent soloing all around. One would expect blues and sadness on a tune entitled "Blubber, but Blanding sprints out of the box exuberantly, Gardner follows with arguably his best playing of the date, and Goldberg is absolute quicksilver, with Davis finally getting some real light on the drums. And the band's slick interpretation of Coltrane's "Liberia, particularly with two horns, gives the song an added dimension. Gardner plays with maturity and confidence, and his supporting members are excellent, but the standout here is Aaron Goldberg, whose solid comping and sometimes dazzling solos enhance the disc. Goldberg plays ascending notes to open "Relaxin' at Camarillo instead of the standard descending intro; and on "Liberia he cleverly frames his stylistic homage to McCoy Tyner within his own keyboard idiom. These inspired elements give Elbow Room added depth, resulting in a top-flight maiden voyage for Gardner.~ Terrell Kent Homes https://www.allaboutjazz.com/elbow-room-vincent-gardner-steeplechase-records-review-by-terrell-kent-holmes.php
 

Personnel: Vincent Gardner: trombone; Walter Blanding: tenor & soprano saxophones; Aaron Goldberg: piano; Greg Williams: bass; Quincy Davis: drums.

Elbow Room

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Marcus Printup - Ballads - All Night

Styles: Trumpet Jazz
Year: 2010
File: MP3@224K/s
Time: 58:21
Size: 93,8 MB
Art: Front

(6:38)  1. Miles Away
(5:08)  2. Emily
(8:03)  3. Memory Box
(8:28)  4. Lullaby For Nanay
(6:36)  5. Love As Is
(4:46)  6. Corcovado
(9:56)  7. The Nearness Of You
(8:44)  8. Blues All Night

After a flurry of promising CDs for Blue Note at the beginning of his career, trumpeter Marcus Printup has found a home with the Danish label Steeplechase, which has given him pretty much free rein to hire musicians and choose material for his record dates. This mostly ballad date features a number of less familiar names, including rising young pianist Dan Nimmer, trombonist Chris Crenshaw, and harpist Riza Hequibal, varying the lineup a bit from one track to the next. Printup's tone and his reserved playing style add polish to each of the ballads, whether using open or muted horn. The blend between the leader and Crenshaw works very well in his original "Miles Away." "Blues All Night" showcases bassist Carlos Henríquez, while Crenshaw's sassy muted solo recalls some of the great trombonists from Duke Ellington's orchestra, and the leader is effective in both open and muted solos, followed by Nimmer's laid-back yet blues-drenched solo. Printup is hardly the first jazz musician to include a harp in a small-group setting, though it is still the exception rather than the rule on jazz record dates. His duets with Hequibal include moving settings of the standard "Emily" and the bossa nova gem "Corcovado" (arranged by Hequibal), while she is present on several of the other tracks as well. This is another potent date by Marcus Printup. ~ Ken Dryden http://www.allmusic.com/album/ballads-all-night-mw0001961336

Personnel:  Marcus Printup (Trumpet);  Chris Chrenshgaw (trombone);  Dan Nimmer (Piano);  Carlos Henriquez (bass); Quincy Davis (drums);  Riza Printup (harp)

Ballads

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Quincy Davis - Songs In The Key of Q

Styles: Jazz, Big Band
Year: 2013
File: MP3@320K/s
Time: 56:21
Size: 129,3 MB
Art: Front

(10:48)  1. Everybody's Peace
( 8:31)  2. Walnut Creek
( 4:25)  3. Soar
( 3:12)  4. Ponder This
( 8:16)  5. Cold Rain
( 5:03)  6. See You Tomorrow
( 3:52)  7. Epiphany
( 5:52)  8. Matter Factual
( 5:16)  9. Erica's Song
( 1:01) 10. Ponder This (Reprise)

This is a wonderful debut album by Quincy Davis, who has long been highly regarded as one of the great jazz drummers of his generation. In this album, listeners can finally enjoy a compelling glimpse into the mind and soul of Davis as a composer. Davis' music can be described as very "melodic, sophisticated, introspective, soulful and catchy". His playing can be described as simply "refreshing". While the roots of jazz are deeply embedded throughout the album, you will hear no cliches what-so-ever. http://www.cdbaby.com/cd/quincydavis

He is joined by a stellar band: Dayna Stephens (tenor sax), Warren Wolf (vibraphone), Xavier Davis (piano), Vicente Archer (bass) and Richie Goods (electric bass, 1 track).

Songs In The Key of Q

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