Peter Leitch Quintet - Portraits and Dedications

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 58:47
Size: 139,2 MB
Art: Front

( 5:56) 1. Pepper
( 5:25) 2. Visage De Cathryn
( 4:36) 3. Modes for Wood
( 4:38) 4. Warm Valley
( 5:35) 5. Colorado
( 6:21) 6. Portrait of Sylvia
( 2:46) 7. The Winter of My Discontent
( 7:18) 8. A Blues For 'Nita
( 5:45) 9. The Bulldog
(10:22) 10. Shades of Stein

It often seems like the Dutch label Criss Cross is much more enlightened when it comes to recording talented young American jazz musicians than major labels within the U.S.A. Such is the case with guitarist Peter Leitch, who's heard leading this 1988 session.

With alto saxophonist Bobby Watson, pianist James Williams, bassist Ray Drummond, and drummer Marvin Smitty Smith added to the mix, great music was the only possible result. Leitch's "Pepper," a tribute to the late Pepper Adams (who gave him his first job in New York), is a brisk affair with sterling solos by all parties.

His easygoing samba "Portrait of Sylvia" adds Jed Levy's alto flute. Duke Ellington's "Warm Valley" is a soulful duet with Watson that is full of fun and features great interplay as well. Leitch captures the moody air of Alec Wilder's infrequently performed ballad "The Winter of My Discontent" in his solo interpretation. Recommended. By Ken Dryden
https://www.allmusic.com/album/portraits-and-dedications-mw0000429152

Personnel: Peter Leitch (Guitar); Jed Levy (Alto Flute); Bobby Watson (Alto Saxophone); Ray Drummond (Bass); Marvin "Smitty" Smith (Drums); James Williams (Piano).

Portraits and Dedications

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Houston Person - The Art and Soul, Vol.1, Vol.2, Vol.3.

Album: The Art and Soul, Vol. 1
Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:52
Size: 121,5 MB
Art: Front

(4:51) 1. You Do Something To Me
(6:53) 2. I Don't Stand A Ghost Of A Chance
(3:54) 3. You're A Sweetheart
(6:49) 4. Maybe You'll Be There
(4:56) 5. All The Things You Are
(5:28) 6. You're My Everything
(5:39) 7. Skylark
(4:36) 8. I Only Have Eyes For You
(5:35) 9. Everything I Have Is Yours
(4:05) 10. Wonder Why

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Album: The Art and Soul, Vol. 2
Time: 54:34
Size: 125,4 MB

(5:50) 1. Do Nothing Till You Hear from Me
(5:05) 2. Here's That Rainy Day
(4:15) 3. Isn't It Romantic?
(5:48) 4. Fools Rush In
(6:36) 5. It Had to Be You
(6:13) 6. But Beautiful
(5:59) 7. For All We Know
(5:48) 8. Blue Moon
(4:42) 9. Bewitched
(4:13) 10. Don't Get Around Much Anymore

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Album: The Art and Soul, Vol. 3
Time: 55:20
Size: 127,2 MB

(6:07) 1. Sentimental Journey
(5:09) 2. Where Are You?
(4:32) 3. There's A Small Hotel
(6:43) 4. Tenderly
(6:06) 5. Be My Love
(6:08) 6. It Might As Well Be Spring
(5:05) 7. My Funny Valentine
(6:27) 8. Gentle Rain
(4:04) 9. Mack The Knife
(4:56) 10. The Very Thought Of You

The Art and Soul of Houston Person is an irresistible combination of the celebrated tenor saxophonist and the Great American Songbook. The 30 songs on this generous three-CD set were culled by Person from ten of his HighNote CDs, with the addition of four new songs recorded in spring, 2008. The songs feature an array of talented sidemen, including pianist Bill Charlap, bassists Ron Carter and Ray Drummond and drummer Grady Tate. If that isn't compelling enough, all the tracks were mixed, edited and mastered by the eminent Rudy Van Gelder in his legendary Englewood Cliffs studio.

The collection is full of high points, with several songs particularly worth noting. The upbeat opener, "You Do Something to Me," showcases Person's golden warmth and impeccable swing. The song also features John di Martino's exquisite touch on piano and John Burr's fluid bass. The same group shines on "I Don't Stand a Ghost of a Chance," elegantly capturing the song's quiet longing. Person exhibits a poignant tenderness and drummer Jerome Jennings adds just the right backup with incredibly spacious brushwork. "Sentimental Journey" is a joyful toe-tapper; "Here's That Rainy Day" explores the rich undertones of melancholy and "Blue Moon" is surprisingly upbeat, with Person's tenor fat and happy. And don't miss "Mack the Knife," a duet with Ron Carter where the two musicians turn the song inside out and trade lines with fluent ease.

In a 2004 interview, Person defined jazz as, "something that, when the end of the day comes, after a hard and frustrating day out in the world, relieves you. Relaxes you and makes you feel good." The Art and Soul of Houston Person is exactly that kind of music, a treasure chest of luscious, soothing sound. By Florence Wetzel https://www.allaboutjazz.com/the-art-and-soul-of-houston-person-highnote-records-review-by-florence-wetzel

Personnel: John di Martino: piano; Jon Burr: bass; Jerome Jennings: drums; Richard Wyands: piano; Ray Drummond: bass; Kenny Washington: drums; Russell Malone: guitar; Grady Tate: drums; Stan Hope: piano; George Kaye: bass; Chip White: drums; Ron Carter: bass; Peter Washington: bass; Paul Bollenback: guitar; Per-ola Gadd: bass; Bill Charlap: piano.

The Art and Soul,Vol.1,Vol.2, Vol.3

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One For All - The Long Haul

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

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

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

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

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

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

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

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

The Long Haul

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Gary Bartz - There Goes the Neighborood

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 70:29
Size: 162,3 MB
Art: Front

( 9:47)  1. Racism (Blues in Double Bb Minor)
( 8:39)  2. On A Misty Night
(13:28)  3. Laura
( 8:58)  4. Tadd's Delight
(10:09)  5. Impressions
(10:13)  6. I've Never Been In Love Before
( 9:11)  7. Flight Path

Although he dismissed notions about a comeback, this '90 album was the triumphant, exuberant vehicle Gary Bartz hadn't made in quite a while. His rippling solos and dominant presence were welcome for fans who wondered if he had squandered the potential he'd shown in the '60s. ~ Ron Wynn https://www.allmusic.com/album/there-goes-the-neighborhood-mw0000678444

Personnel:  Gary Bartz - alto saxophone; Kenny Barron - piano; Ray Drummond - bass; Ben Riley - drums

There Goes the Neighborood

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Jessica Williams - Live at Yoshi's, Vol. 2

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:21
Size: 159,4 MB
Art: Front

(8:52)  1. Flamenco Sketches (Live)
(8:56)  2. Why Do I Love You (Live)
(6:49)  3. Spoken Softly (Live)
(8:06)  4. Elbow Room (Live)
(5:16)  5. Soldaji (Live)
(8:16)  6. Paul's Pal (Live)
(7:46)  7. Dear Gaylord (Live)
(6:46)  8. Lulu's Back in Town (Live)
(8:29)  9. Summertime (Live)

Like pianist Mulgrew Miller, who recently released a second volume of trio performances from his run at Yoshi's, pianist Jessica Williams is also putting out her own sequel, another 70 minutes of music culled from her July, 2003 stint at the Oakland club, which has become as renowned on the west coast as New York's Village Vanguard is on the east. And it's interesting to hear how different the two pianists are, despite the fact that both fit comfortably within the broader mainstream. For one thing, Williams owes a clear debt to Thelonious Monk. She often includes a Monk tune or two in her sets, and this disc is notable for the absence of material by the idiosyncratic pianist/composer. Still, his influence presents itself in Williams' sometimes quirky approach, although she's a far more dextrous player than Monk ever was. But like Monk, Williams sometimes demonstrates an ironic sense of humour, grabbing onto a note, say, and milking it for all it's worth. It's like a good comedian who knows just how long to use repetition: enough to be effective, but not so much as to overstay her welcome. Her own brightly swinging "Elbow Room uses a little clever dissonance in its wry theme, with clever references to Gershwin's "Rhapsody in Blue during Williams' extended solo. Her solo lead-in to the Oscar Hammerstein/Jerome Kern standard "Why Do I Love You, with its oddly disjointed left hand/right hand action, is the perfect introduction to the trio's more straightforward entrance. Williams' solo is filled with curious shifts between hard-swinging lines and injected little turns of phrase that seem at first like non sequiturs, but ultimately make perfect sense.

But that's only one aspect of Williams' playing. The disc opens with a version of "Flamenco Sketches, from Miles Davis' classic Kind of Blue, but rather than maintaining a peaceful ambience throughout, Williams and her trio carefully build the piece from elegant gentility to a greater sense of power over the course of nine minutes, making it dramatic but never melodramatic. Bassist Ray Drummond and drummer Victor Lewis seem empathic in their ability to ebb and flow while Williams layers dense chords that alternate with more playful single-note phrases. In fact, playful may be the best word to describe this pianist. She's capable of a more tender lyricism best demonstrated on her own ballad, "Spoken Softly, and a darkly evocative version of Gershwin's "Summertime that shows there's still plenty to say with even the most familiar of material. But the sparkle of "Lulu's Back in Town, with Williams' debt to Errol Garner in full view, is light and just plain fun. Williams may not be the most adventurous player, but with her combination of whimsy and more deeply-felt romanticism, she succeeds at being both entertaining and emotionally compelling. Live at Yoshi's Volume Two is a strong companion piece to Volume One, and proof that the mainstream is alive and well.~John Kelman https://www.allaboutjazz.com/live-at-yoshis-volume-two-jessica-williams-maxjazz-review-by-john-kelman.php

Personnel:  Jessica Williams: piano; Ray Drummond: bass; Victor Lewis: drums.

Live at Yoshi's, Vol. 2

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Jessica Williams - Live at Yoshi's, Vol. 1

Styles: Piano Jazz 
Year: 2004
File: MP3@320K/s
Time: 71:02
Size: 163,2 MB
Art: Front

( 7:21)  1. I'm Confessin' That I Love You (Live)
( 6:20)  2. Say It over and over Again (Live)
( 7:01)  3. You Say You Care (Live)
( 9:30)  4. Tutu's Promise (Live)
( 6:29)  5. Heather (Live)
(11:26)  6. Alone Together (Live)
( 8:33)  7. Poem in G Minor (Live)
( 6:11)  8. I Want to Talk About You (Live)
( 8:05)  9. Mysterioso (Live)

Pianist Jessica Williams may not be as well known, say, as Mulgrew Miller or Kenny Barron, but she's a powerful and talented pianist more than a little influenced by Thelonious Monk. Still, with an immediately recognizable playing style all her own, Williams clearly belongs in the upper ranks of mainstream pianists, and her latest disc, Live at Yoshi's Volume One , recorded in July of 2003, continues to affirm her position. In a programme composed primarily of well-heeled standards, with two originals and an unusual Billy Cobham song thrown in for good measure, Williams and her trio, featuring bassist Ray Drummond and drummer Victor Lewis, play with energy and complete commitment. Williams' style is defined by a percussive approach that seems quick to spit out ideas; she often jots out rapid phrases peppered with brief octaves. If an artist's playing reflects their personality, then Williams must be energetic and quick-witted, as evidenced by her solos in "I'm Confessin' That I Love You" and "You Say You Care." There is clear joy in her playing and more than a little bit of tongue-in-cheek at times.

But that doesn't mean Williams isn't capable of tenderness as well. Her reading of Billy Cobham's simple ballad "Heather," over Lewis' lightly funky backdrop, is graceful and lyrical. Still, while there is poignancy to her playing, there is a certain power, albeit slightly restrained, that defines her attack. On "Alone Together," the most extended piece of the set, she plays the kind of left hand/right hand counterpoint that is so characteristic of Brad Mehldau, creating hypnotic patterns that raise the tension level until she finally releases, to an almost audible sigh of relief from the audience. Williams' own "Tutu's Promise" comes from Keith Jarrett's space, not unlike "The Cure," being nothing more than a simple four-bar pattern that is used as a simple jumping off point for group interplay. Her "Poem in G Minor" is another simple piece, this time a quiet ballad with Williams' staccato runs alternating with more gingerly built chord passages.  Drummond and Lewis are, as always, the definition of sensitive support, gently provoking Williams on "Mysterioso," while elegantly embracing her delicately swinging work on "You Say You Care." Williams may not break new ground, but as a mainstream pianist she demonstrates a solid sense of solo composition, capable of starting with an idea and developing it over the course of seven or eight minutes. Her focus and wry sense of humour are amongst her most distinctive characteristics, and they make Live at Yoshi's Volume One an engaging, albeit safe, listen. ~ John Kelman https://www.allaboutjazz.com/live-at-yoshis-volume-one-jessica-williams-maxjazz-review-by-john-kelman.php

Personnel:  Jessica Williams (piano), Ray Drummond (bass), Victor Lewis (drums)

Live at Yoshi's, Vol. 1

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Etta Jones - Easy Living

Styles: Vocal
Year: 2000
File: MP3@320K/s
Time: 57:21
Size: 132,9 MB
Art: Front

(4:52) 1. Did I Remember
(5:03) 2. Easy Living
(4:53) 3. After You've Gone
(5:23) 4. Something to Remember You By
(4:01) 5. They Say It's Wonderful
(5:18) 6. Time After Time
(4:06) 7. Who Can I Turn To
(4:59) 8. Our Very Own
(5:03) 9. I Thought You Ought to Know
(4:44) 10. Slow Boat to China
(8:55) 11. I'm Afraid the Masquerade Is Over

For one of her last recordings, Etta Jones sings a wide variety of standards, many of which she had not recorded previously. One does not think of such songs as "Did I Remember," "After You've Gone" (definitely an offbeat choice), "They Say It's Wonderful" and "Slow Boat to China" as blues, but Jones gives each tune such a bluesy approach that she transforms them into new soulful pieces. As always, Houston Person's tenor is a perfect match for Jones' voice. The rhythm section with pianist Richard Wyands is swinging and supportive. Recommended.
~Scott Yanow https://www.allmusic.com/album/easy-living-mw0000098456

Personnel: Etta Jones – vocals; Houston Person – tenor saxophone; Richard Wyands – piano; Ray Drummond – bass; Chip White – drums

Easy Living

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Gary Bartz Quintet - West 42nd Street

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 68:47
Size: 158,4 MB
Art: Front

( 8:51) 1. West 52nd Street
(19:10) 2. Speak Low
(11:45) 3. Its Easy to Remember
(10:02) 4. Cousins
(18:56) 5. The Night Has a Thousand Eyes

After a long period of indifferent recordings, altoist Gary Bartz started to fulfill his potential in the early '90s. Joined by a superb rhythm section (comprised of pianist John Hicks, bassist Ray Drummond, and drummer Al Foster) and trumpeter Claudio Roditi (whose restrained power complements rather than competes with Bartz), the altoist really stretches out, particularly on "Speak Low" and "The Night Has a Thousand Eyes" which both clock in at within seven seconds of 19 minutes apiece. Bartz is quite lyrical on a superior version of "It's Easy to Remember" and also takes inventive solos on his modal blues "Cousins" and Wilbur Harden's "West 42nd Street." A highly recommended gem. ~ Scott Yanow https://www.allmusic.com/album/west-42nd-street-mw0000073378

Personnel: Saxophone [Alto, Soprano] – Gary Bartz; Bass – Ray Drummond; Drums – Al Foster; Flugelhorn, Trumpet – Claudio Roditi; Piano – John Hicks

West 42nd Street

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Harold Land - Promised Land

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

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

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

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

Promised Land

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Richard Wyands - As Long as There's Music

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 51:29
Size: 118,6 MB
Art: Front

(5:31)  1. Stolen Sweets
(3:00)  2. As Long as There's Music
(6:19)  3. Stairway to the Stars
(5:31)  4. Focus
(6:37)  5. Ivy
(4:33)  6. What's New
(5:38)  7. Drop Me Off in Harlem
(5:29)  8. My Old Flame
(2:35)  9. With the Wind and the Rain in Your Hair
(6:12) 10. West 94th Street Funk

With the help of several independent labels and some of the best bassists and drummers in the business, Richard Wyands has been quietly building a superb body of jazz piano trio recordings. Amazing enough, As Long As There’s Music is his first American recording as a leader. Other trio recordings have been released by European labels such as Steeplechase and Criss Cross. On this outing, Wyands is accompanied by bassist Ray Drummond and drummer Grady Tate many a pianist’s dream rhythm section. His recent string of trio recordings with first rate rhythm sections is a testament to the pianist’s stature in the jazz world. This recording is a presentation of what admirers of Wyands have long cherished  his rich sense of tradition, his impeccable taste, his rhythmic ease, and his harmonic sophistication. Wyands is not a flashy pianist; he is a pianist of thoughtful, deeply felt emotion that is fully supported by the integrity of his technique and his artistic choices. Tadd Dameron’s “Focus” is one of the highlights of this recording. Wyands’ subtle shift in tempo over the stop-and-go course of the opening slides into a long, upbeat, boppish solo that brightly rounds the usual edges. Drummond follows with a concise solo before Wyands and Tate trade fours, leading to the closing. This track illustrates the trio’s easy rapport throughout the session. Another highlight is Wyands’ solo performance on “My Old Flame,” a track that vividly demonstrates the casual complexity of his rhythmic sense. A careful listening to his left hand at work, and how Wyands incorporates silences, is enlightening. Incidentally, this track does bring up the obvious that a solo Wyands recording is long overdue. Anyone familiar with this artist’s trio work will be happy to know that this recording is in the same league with his recent recordings with Peter and Kenny Washington on Criss Cross - high praise indeed. ~ Mike Neely https://www.allaboutjazz.com/as-long-as-theres-music-richard-wyands-savant-records-review-by-mike-neely.php

Personnel: Richard Wyands, piano; Ray Drummond, bass; and Grady Tate, drums.

As Long as There's Music

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Kenny Barron - Live At Bradley's

Styles: Piano Jazz
Year: 2001
File: MP3@320K/s
Time: 65:51
Size: 151,5 MB
Art: Front

(15:29)  1. Everybody Loves My Baby But My Baby Don't Love Nobody But Me
(11:26)  2. Solar
( 9:40)  3. Blue Moon
(13:23)  4. Alter Ego
(15:51)  5. Canadian Sunset

Kenny Barron is most famous for his role as leader of the trio, which backs the majority of the 'big names' in jazz, at one time or another. He is so good at it, that he could even get along well with Stan Getz, who was notoriously critical of everyone he played with. There are not too many pianists who are both sympathetic to the featured artist in an accompanying role and outstanding soloists themselves; Oscar Peterson is one, Kenny Barron another. Kenny is also a remarkable jazz educator, he has taught many of today's younger musicians. Like Peterson he combines excellent technique with perfect taste and never fails to swing. The support role on this occasion is played by Ray Drummond who plays in just the right way for this sort of trio, always sensitive to the soloist and with a fine tone on the instrument. Drummer Ben Riley confirms something I have felt for a long time, you don't have to make a lot of noise to swing!

There are five tracks; some 65 minutes of music, each track is long enough for us to here Kenny's creative improvisations on each sequence. 'Every body loves my baby' was a favourite tune of Fats Waller, but Kenny Barron turns it into something new and exciting. 'Solar' is a Miles Davies composition and the treatment is be-bop piano at it's very best. 'Blue Moon' the Rogers and Hart standard, is an old tune we have all played many times, but once again the treatment it receives here revives it. Even the sadness of the lyric is reflected in parts of the performance, even though there is no vocal! 'Alter Ego' is the composition of another jazz pianist James Williams and the performance reflects it's romantic theme. 'Canadian Sunset' is a very well known tune, but it has not occurred on any other CD in my considerable collection. This interpretation makes me feel it should be heard in a jazz setting more often, or is it that Kenny Barron has a knack of making every tune he plays sound like a great jazz vehicle? The record was recorded at Bradley's, which once upon a time was a famous Piano Room in New York, where everyone on the New York jazz scene congregated, before and after work. If Kenny Barron was there often I'm not surprised! 

http://www.musicweb-international.com/jazz/2001/Feb01/barron.htm

Personnel: Kenny Barron - Piano,  Ray Drummond - Double Bass,  Ben Riley - Drums

Live At Bradley's

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George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty

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Joe Locke - Beauty Burning

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 56:44
Size: 131,0 MB
Art: Front

(6:58)  1. Litha
(6:26)  2. Twilight
(7:31)  3. Pools Of Amber
(7:30)  4. Somewhere Waiting
(8:30)  5. Quiet As It's Kept
(5:45)  6. Where Is Love?
(6:37)  7. I - 95
(7:22)  8. Rasputainian Dance

On Beauty Burning, the fourteenth release under his own name, it's clear that vibraphonist Joe Locke was interested in making a good recording rather than merely providing a showcase for his own considerable talents. The disc is a thoughtful mixture of intimate, finely tuned ensemble playing and capable solos by the leader, pianist Frank Kimbrough, bassist Ray Drummond, drummer Jeff "Tain" Watts, and guitarist Paul Bollenback. Recording shortly after the band (minus Bollenback) played an engagement in New York, their empathy and willingness to listen to one another is evident on every cut. With the exception of Bollenback, each musician contributes at least one tune, and the material also includes compositions by Chick Corea, Darrell Grant, and Lional Bart. At his most assertive, such as on the lively "Litha," Locke's long, skittering lines are balanced by reflective, blues influenced passages. Kimbrough's solo on the same track sustains the vibraphonist's momentum, and Watts backs them both with insistent rhythms. "Twilight" is smooth jazz with substance, with Locke playing more deliberately and displaying considerable intelligence and wit. His "Somewhere Waiting" (which would make a great theme for a movie soundtrack) features a fine solo turn by Drummond. The bassist's "I-95" is mysterious-sounding stroll in which Watts fuels Locke's busy, intense solo. The empathy between Locke and Kimbrough on last year's release, Saturn's Child (OmniTone), is once again apparent in the ballad "Where Is Love." Their duet is filled with understated pleasures, such as Locke's beautiful voicing of the melody, his figures behind Kimbrough's graceful solo, and their penchant for augmenting and finishing each other's phrases. ~ David A.Orthmann https://www.allaboutjazz.com/beauty-burning-joe-locke-sirocco-music-limited-review-by-david-a-orthmann.php?width=1920

Personnel: Joe Locke: vibraphone; Frank Kimbrough: piano; Ray Drummond: bass; Jeff “Tain” Watts: drums; Paul Bollenback: guitar.

Beauty Burning

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Teddy Edwards, Houston Person - Close Encounters

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 48:02
Size: 110,8 MB
Art: Front

(5:24)  1. Twisted
(4:59)  2. Blue and Sentimental
(9:44)  3. Pennies from Heaven
(5:46)  4. Night Train
(6:16)  5. I Don't Stand a Ghost of a Chance
(7:00)  6. The Breeze and I
(8:53)  7. Little Girl Blue

A follow-up to their previous excellent CD Horn To Horn has the two veteran tenor saxophonists with the same drummer, Kenny Washington, joined by pianist Stan Hope and bassist Ray Drummond. They swing and stroll through another seven standards, Edwards with his lithe, breezy, matter-of-fact tone, Person displaying the bluesy, street smart literate, fluid approach that always holds him in good stead. There are two selections where Edwards and Person play in lock step, note for note before trading solos. "Twisted" and "The Breeze & I" echo a collective century of jazz friendship, both knowing the tune so well, no stumbling at all. They play in harmony for the old rugged "Night Train," alternate during the easygoing "Pennies From Heaven," and the even smoother "Blue & Sentimental." Each also gets a feature, Edwards consummately punctuating his flattened interpretation of "I Don't Stand a Ghost of a Chance," while Person goes a little over the top putting his soulful stamp on "Little Girl Blue." Hope does get a smidgen of solo space here and there, while Drummond and Washington do their rhythmic duties admirably, as always. The beautiful thing is that while Edwards continually refines, picking notes even more carefully, and Person digs deeper into his blue gutbucket, there's no stepping on toes. The late Gene Kalbacher, on his liner notes for Horn to Horn called it a mutual "caress" rather than a tenor duel. There's a bit of flailing, but the respectful attitude of these two present-day jazz giants is clear and admirable. This CD is easily as good as the first collaboration, albeit clocking in at only 48 minutes or so. ~ Michael G.Nastos https://www.allmusic.com/album/close-encounters-mw0000243147

Personnel:  Teddy Edwards, Houston Person – tenor saxophone; Stan Hope – piano; Ray Drummond – bass; Kenny Washington – drums

Close Encounters

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James Williams - After Ego

Styles: Piano Jazz
Year: 1984
File: MP3@320K/s
Time: 49:31
Size: 113,5 MB
Art: Front

(6:20)  1. Black Scholars
(6:49)  2. Alter Ego
(7:27)  3. Havana Days
(5:29)  4. Fourplay
(6:39)  5. A Touching Affair
(6:36)  6. Waltz For Monk
(6:43)  7. Beauty Within
(3:24)  8. Yours And Mine

Pianist James Williams learned a great deal from his stint with Art Blakey's Jazz Messengers and when he emerged from the group he was perfectly qualified to be a bandleader. His Sunnyside session features such up-and-coming players as guitarist Kevin Eubanks, the reeds of Billy Pierce and Bill Easley, bassist Ray Drummond, and drummer Tony Reedus on a set of original material. Five of the seven songs were composed by Williams, while the other two (including the memorable "Waltz for Monk") were contributed by Donald Brown. The frequently exciting music (high-quality modern hard bop) still sounds fresh. ~ Scott Yanow https://www.allmusic.com/album/alter-ego-mw0000106677

Personnel:  Piano – James Williams; Double Bass – Ray Drummond; Drums – Tony Reedus; Guitar – Kevin Eubanks; Tenor Saxophone, Alto Saxophone, Flute, Clarinet – Bill Easley; Tenor Saxophone, Soprano Saxophone – Billy Pierce

After Ego

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Grachan Moncur III Octet - Exploration

Styles: Trombone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:04
Size: 124,7 MB
Art: Front

(8:11)  1. Exploration
(5:26)  2. Monk In Wonderland
(8:48)  3. Love And Hate
(9:54)  4. New Africa
(7:34)  5. When?
(6:59)  6. Frankenstein
(2:55)  7. Excursion
(4:13)  8. Sonny's Back!

Ralph Ellison once wrote a great essay in which he seemed to predict jazz's ultimate dependence on a music industry driven (and subsidized) by a star system. The irony, Ellison suggested, is that jazz is largely created by anonymous musicians, who because they are "devoted to an art which traditionally thrives on improvisation [...] very often have their most original ideas enter the public domain almost as rapidly as they are conceived to be quickly absorbed into the thought and technique of their fellows." There is a bittersweet implication here as if it's somehow nobler to be an unknown, poverty-stricken musician, and as if becoming a jazz celebrity inevitably involves selling out. But I don't know if you could convince trombonist and composer Grachan Moncur of either of these propositions. Though he may agree that the star system is a horrible invention, he recently had the opportunity to reestablish his own reputation, and I can almost hear him thanking [insert the deity of your choice here] for that. After all, until this chance came along, Moncur was coming very close to total obscurity and from what I can tell, he wasn't enjoying it, materially or philosophically. In the '60s, he had been a participant and leader in several stellar Blue Note sessions (now collected on a Mosaic box set), but he more or less hadn't been heard from again until, well, last year. Why? It could be that his (smart) impulse to control his own publishing rights got him blacklisted by the Blue Note big wigs. Or maybe that blacklisting had something to do with his turn toward the avant-garde. Or perhaps it was something else altogether something even more painful (see Fred Jung's AAJ interview with Moncur for several moving allusions). 

In any case, here at last is one of the rewards of a jazz culture that has become downright curatorial in recent years (a fact sometimes too-quickly decried by those of us who prefer our music in the clubs): at least we're starting to value the contributions of lesser-known veterans. To be sure, Moncur's new album, Exploration, is markedly different from his '60s output. Here, he is dealing with a much larger ensemble (an octet featuring such varied personages as Gary Smulyan, Billy Harper, and Andrew Cyrille), for which Mark Masters' compelling, dense arrangements are perfectly suited. True to its name, Exploration is not a simple repackaging of Moncur's work, but, rather, a sincere statement of artistic growth (a noble thing any age, but particularly when you're in your late 60s). A brief summary: "New Africa" is a gorgeous suite whose creation was apparently assisted by Moncur's wife, Tamam. "Sonny's Back" weighs in on the "almost-bop" side of things and is named after Moncur's friend, Sonny Rollins. And speaking of friends in high places, Moncur's signature tune ("Monk in Wonderland") is named after another fellow traveler (you-know-who), who I suspect is his biggest influence. (I'd be remiss if I didn't mention the amazing alto solo on this tune, incidentally. Thanks, Gary Bartz.) "Love and Hate" is strangely named; it sounds like all love to me (slow, mellow, sweet). And for the hardcore fan, "Excursion" is a more or less totally free several minutes. I could go on, but you get the idea. Bottom line: welcome back, Grachan. We missed you. ~ Andrew Durkin https://www.allaboutjazz.com/grachan-moncur-iii-exploration-by-andrew-durkin.php

Personnel: Personnel: Grachan Moncur III, trombone; Mark Masters, arrangements; Tim Hagans, trumpet; John Clark, French Horn; Dave Woodley, trombone; Gary Bartz, alto sax; Billy Harper, tenor sax; Gary Smulyan, baritone sax; Ray Drummond, bass; Andrew Cyrille, drums.

Exploration

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Nancy Harrow - Lost Lady

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 48:26
Size: 112,1 MB
Art: Front

(3:30)  1. House On The Low Round Hill
(3:33)  2. Railroad Man
(4:45)  3. If I Want To
(5:46)  4. Lost Lady
(3:38)  5. Happy Days/lost Lady
(3:04)  6. Self-esteem
(2:20)  7. Putting On Airs
(3:54)  8. Angry Blues
(5:44)  9. He's Gone
(3:37) 10. For The Last Time
(2:57) 11. Starting Over
(2:50) 12. This Life Is Mine
(2:44) 13. Happy Days

Singer Nancy Harrow certainly put a lot of work into this project, writing both words and music for all 13 originals. The recording is inspired by Willa Cather's brief novel Lost Lady, although the plot is given a more modern twist. 

Harrow utilizes a second singer (Vernel Bagneris, who serves as the narrator and male counterpoint), a top-notch rhythm section (pianist Dick Katz, bassist Ray Drummond and drummer Ben Riley) and occasionally Phil Woods on alto and clarinet. While this is an interesting recording and everyone plays and sings well, none of the music is really all that memorable, and the songs do not stand alone if heard apart from the story. So it is a mixed success; well-conceived, ambitious and intriguing, if not essential. ~ Scott Yanow https://www.allmusic.com/album/lost-lady-mw0000626767

Personnel:  Nancy Harrow ( Vocal ); Ben Riley ( Drums); Dick Katz ( Piano ); Phil Woods 

( Sax Alto) ); Vernel Bagneris ( Vocal ); Ray Drummond ( Bass )

Lost Lady

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Ray Bryant Trio - Play The Blues

Bitrate: MP3@320K/s
Time: 66:50
Size: 153.0 MB
Styles: Piano jazz
Year: 2000/2013
Art: Front

[4:58] 1. Gotta Travel On
[7:54] 2. I'm A Just Lucky So & So
[7:56] 3. Slow Freight
[5:00] 4. C Jam Blues
[6:48] 5. Stick With It
[6:06] 6. St. Louis Blues
[8:27] 7. C. C. Rider
[6:49] 8. Please Send Me Someone To Love
[6:29] 9. After Hours
[6:17] 10. Things Ain't What They Used To Be

Bass – Ray Drummond; Drums – Kenny Washington; Harmonica, Guest – Hugh McCracken; Piano – Ray Bryant. Recorded on September 13th and 14th 1999.

Ray Bryant came from a musical family and became known to fellow musicians as the house pianist at the Philadelphia Blue Note Club, he later worked and recorded with many of the giants in the jazz world including Sonny Rollins, Miles Davis and Coleman Hawkins. He is also an accomplished accompanist working with singers like Carmen McRae. He is at his best working in a trio or even as a solo pianist where he excels with his blues and gospel laden playing.

Play The Blues mc
Play The Blues zippy

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John Hicks - Beyond Expectations

Bitrate: MP3@320K/s
Time: 72:03
Size: 164.9 MB
Styles: Piano jazz
Year: 1994
Art: Front

[ 6:32] 1. Expectations
[ 8:05] 2. Once I Loved
[ 8:18] 3. Every Time We Say Boodbye
[ 8:44] 4. There Is No Greater Love
[10:08] 5. Up Jumped Spring
[ 6:03] 6. Peace
[ 8:21] 7. Stella By Starlight
[ 5:23] 8. Au Privave
[ 5:32] 9. Turn Out The Stars
[ 4:53] 10. Bouncing With Bud

Bass – Ray Drummond; Drums – Marvin "Smitty" Smith; Piano – John Hicks.

John Hicks was 51 when, in 1993, he recorded Beyond Expectations for the independent Reservoir label, and at that age no one was demanding that the veteran pianist reinvent the jazz wheel. However, it wasn't unreasonable to ask that he show some imagination when it came to choosing material. Some of Hicks' '90s albums placed too much emphasis on overdone warhorses, and that is true of Beyond Expectations. Leading an acoustic piano trio that employs Ray Drummond on bass and Marvin "Smitty" Smith on drums, Hicks doesn't offer a lot of surprises. Most of the songs that he embraces (which range from Horace Silver's "Peace" to "There Is No Greater Love" and "Every Time We Say Goodbye") have been recorded time and time again over the years. But while this CD isn't very adventurous, it is still solid and enjoyable. Yes, Hicks is too reliant on warhorses, and instead of yet another version of "Stella by Starlight," how about surprising listeners with some less-obvious choices? How about finding the hard bop/post-bop possibilities in Stevie Wonder and Marvin Gaye or unearthing some of Duke Ellington and Antonio Carlos Jobim's lesser-known jewels? No one is demanding that Hicks be a trendsetting innovator -- he should stick to hard bop and post-bop because that's what he does best -- but it would be nice to hear him make less-obvious choices when it comes to picking material. Nonetheless, Hicks is still a warm, soulful, expressive improviser and he certainly has a great sound -- one that is greatly influenced by McCoy Tyner yet is recognizably John Hicks. Contrary to what its title suggests, Beyond Expectations isn't the Hicks album to end all Hicks albums. But it's a pleasing, if conventional, document of the pianist at 51. ~Alex Henderson

Beyond Expectations mc
Beyond Expectations zippy

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Frank Morgan - Bop!

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 62:41
Size: 143,8 MB
Art: Front

( 6:09)  1. Milano
( 6:21)  2. Well, You Needn't
( 9:14)  3. KC Blues
( 8:00)  4. Night In Tunisia
( 5:11)  5. Blue Monk
(11:25)  6. Half Nelson
( 6:32)  7. Lover Man
( 9:49)  8. 52nd Street Theme

Although all eight selections on this CD have been played many times before (the only song not a boppish warhorse is John Lewis' "Milano"), altoist Frank Morgan makes each of the pieces sound fresh. As producer John Snyder is quoted in the liner notes, this is bop without cliches. Morgan, who is assisted by pianist Rodney Kendrick, drummer Leroy Williams and either Curtis Lundy or Ray Drummond on bass, digs into such songs as "Well You Needn't," "A Night In Tunisia" and an 11 ½ minute version of "Half Nelson," coming up with some surprising twists and plenty of viable ideas. A fine effort. ~ Scott Yanow https://www.allmusic.com/album/bop-mw0000593991

?Personnel: Frank Morgan (alto saxophone); Rodney Kendrick (piano); Curtis Lundy, Ray Drummond (bass); Leroy Williams (drums).

Bop!

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