Ron Carter Quartet - Live at Monte-Carlo Jazz Festival 2023

Styles: Jazz
Year: 2023
Time: 81:19
File: MP3 @ 320K/s
Size: 186,2 MB
Art: Front

(36:04) 1. 595/ Mr. Bow Tie / Joshua / Little Waltz
(12:23) 2. Saguaro
( 9:37) 3. My Funny Valentine
( 6:05) 4. Seven Steps to Heaven
( 7:15) 5. You are my Sunshine
( 9:52) 6. You and the Night and the Music

Ron Carter is among the most original, prolific, and influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons.

Ron Graduated the Eastman School in 1959 and packed up his belongings and moved to New York City with his wife, Janet. Later that year, Downbeat magazine listed Ron as #15 of 23 in their bass player poll. A great start.

In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences.

In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call 'Sheet Blues', an instrumental composition from the film 'Round Midnight. In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions.

Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received two honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus.

Ron remains as active as ever. 2022 is another big year for him. At the 64th Grammy Awards he won Best Jazz Instrumental Album award along with Jack DeJohnette and Gonzalo Rubalcaba for their album "Skyline". In May, Ron celebrates his 85th birthday and is hosting a concert at Carnegie Hall in New York City on May 10th. He then starts a full tour including trio, big band and quartet performances.https://www.allaboutjazz.com/musicians/ron-carter/

Personnel: Ron Carter: bass; Renee Rosnes: piano; Jimmy Greene: sax; Payton Crossley: drums

Live at Monte-Carlo Jazz Festival 2023

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Artemis - In Real Time

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 50:23
Size: 117,2 MB
Art: Front

(7:05) 1. Slink
(6:17) 2. Bow and Arrow
(6:18) 3. Balance of Time
(4:51) 4. Lights Away from Home
(7:30) 5. Timber
(7:03) 6. Whirlwind
(5:34) 7. Empress Afternoon
(5:42) 8. Penelope

The all-star jazz sextet Artemis further coalesce their sophisticated post-bop sound with their sophomore album, 2023's In Real Time. When the group debuted with 2020's eponymous title, the all-women group brought each of the member's extensive solo experience to bear on their vibrant group sound.

While part of the line-up has shifted since then, the group (still led by pianist Renee Rosnes) sounds even more united. Part of this is due to the increased time Rosnes and her rhythm section partners, including bassist Noriko Ueda and drummer Allison Miller, have spent touring and performing together.

Also returning is trumpeter Ingrid Jensen, whose warm tone and lithe, Kenny Wheeler-esque harmonies work as a bold herald to the group's lush interplay. Coming on board this time out are tenor saxophonist Nicole Glover and alto saxophonist/multi-reedist Alexa Tarantino, who both bring their distinctive improvisational styles to the fore. While originality is still at the core of Artemis' sound, there's a feeling that Rosnes and her bandmates are also exploring their influences.

It's a vibe that's evident from the start on their sparkling rendition of longtime Pat Metheny bassist Lyle Mays' "Slink," a song culled from his 1985 self-titled album. Here, Artemis transform the contemporary synths of Mays' original into a more organic-sounding arrangement, one where the contrapuntal bass groove is nicely off-set by colorful flute, sax, and vocal harmonies.

They further underscore the deep influences at play on In Real Time with album's closing take on Wayne Shorter's "Penelope" fleshing out the late sax legend's composition with Jensen's muted, night sky trumpet leads, Rosnes' luminous pianos chords, and spectral saxophone solo from Glover. Equally potent are the group's own originals, including Miller's "Bow and Arrow" (a roiling tune in the '60s hard bop tradition) and Tarantino's atmospheric waltz "Whirlwind" (recalling Miles Davis' '60s recordings).

There's also Jensen's "Timber," her vocal-like trumpet textures framed by a funky '70s-style groove and Rosnes' dewy Fender Rhodes accents. While much of In Real Time evokes the deep well of the post-bop jazz tradition that inspires Artemis, they never fail to inspire on their own terms.By Matt Collar
https://www.allmusic.com/album/in-real-time-mw0003961691

Personnel: Renee Rosnes: piano; Ingrid Jensen: trumpet; Alexa Tarantino: alto and soprano saxophone, flute; Nicole Glover: tenor saxophone; Noriko Ueda: bass; Allison Miller: drums.

In Real Time

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Cyrus Chestnut, Renee Rosnes, George Mraz, Billy Drummond - Tribute To Duke Ellington

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:04
Size: 153,7 MB
Art: Front

(4:16)  1. C Jam Blues
(4:39)  2. Satin Doll
(7:49)  3. In A Sentimental Mood
(7:56)  4. Take the a Train
(7:57)  5. Angelica
(7:16)  6. Mood Indigo
(4:26)  7. Don't Get Around Much Anymore
(4:55)  8. The Star Crossed Lovers
(4:44)  9. Come Sunday
(6:58) 10. Caravan
(6:04) 11. Lotus blossom

An adept jazz pianist, Cyrus Chestnut balances his lithe technical skill with a robust, soulful style that speaks to his deep gospel roots and love of swinging hard bop. A native of Baltimore, Maryland, Chestnut first studied piano with his father at the age of five, with official lessons beginning two years later. By the age of nine, he was enrolled in the prep program at the Peabody Institute. He graduated from Berklee with a degree in jazz composition and arranging. Chestnut took his time, working with a number of top-notch musicians (Jon Hendricks, Betty Carter, Terence Blanchard, and Donald Harrison) before finally recording his first solo CD at the age of 30. His initial dates as a leader were recorded for the Japanese label Alfa (reissued on Evidence), and he became an Atlantic artist in 1994. 

A self-titled LP followed in 1998, with Tribute to Duke Ellington following a year later. In subsequent years, Chestnut remained busy, releasing Charlie Brown Christmas in 2000, the all-original Soul Food in 2001, You Are My Sunshine in 2003, Genuine Chestnut in 2006, and Cyrus Plays Elvis in 2007. The following year, he released Black Nile on Japan's M&I label. In 2013, he delivered the hard bop-infused Soul Brother Cool, which featured trumpeter Freddie Hendrix. The following year, he showcased his trio on the concert album Midnight Melodies, recorded live at Smoke in New York City. In 2015, Chestnut released his debut album for HighNote, the trio effort A Million Colors in Your Mind, which featured backing from bassist David Williams and drummer Victor Lewis. https://itunes.apple.com/br/artist/cyrus-chestnut/id157212#fullText

Personnel:  Cyrus Chestnut - Piano (Tracks 2, 4, 6, 7 and 9);  Renee Rosnes - Piano (Tracks 3, 5, 8, 10 and 11);  George Mraz – Bass;  Billy Drummond - Drums

Tribute To Duke Ellington

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Ron Carter Quartet & Vitoria Maldonado - Brasil L.I.K.E.

Styles: Vocal, Latin Jazz
Year: 2016
File: MP3@320K/s
Time: 40:18
Size: 93,6 MB
Art: Front

(4:08)  1. They Can't Take That Away from Me
(2:50)  2. There Will Never Be Another You
(3:26)  3. Night and Day
(3:26)  4. I Only Have Eyes for You
(2:33)  5. How High the Moon
(2:09)  6. Adoro O Teu Sorriso
(2:59)  7. All of Me
(3:34)  8. Que Reste-T-Il De Nos Amours (I Wish You Love)
(2:23)  9. Georgia on My Mind
(3:04) 10. Someone to Light up My Life
(4:15) 11. Lugar Comum
(2:07) 12. Because You Make Me Dream
(3:17) 13. Saudade

Ron Carter is among the most original, prolific, and  influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons. In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences. In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call 'Sheet Blues', an instrumental composition from the film 'Round Midnight.

In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions. Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received four honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Most recently he was honored by the French Minister of Culture with France's premier cultural award--the medallion and title of Commander of the Order of Arts and Letters, given to those who have distinguished themselves in the domain of artistic or literary creation and for their contribution to the spread of arts and letters in France and the world. Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus although, as a performer, he remains as active as ever. http://roncarter.net/JazzMaster/about-jazz-bass-master-ron-carter/

Personnel:  Vitoria Maldonado (vocal); Ron Carter: baixo acústico (bass); Renee Rosnes: piano; Rolando Morales-Matos: percussão (percussion); Payton Crossley: bateria (drums) with special guests:  Roberto Menescal (guitar); Marcos Mincov (English horn); Toninho Ferragutti (accordion); Omar Izar (harmonica); Randy Brecker (flugelhorn); Proveta (alto sax)  – with Ruria Duprat’s ‘Brasilian Orchestra’

Brasil L.I.K.E.

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Neil Swainson - Fire in the West

Styles: Contemporary Jazz
File: MP3@320K/s
Time: 59:47
Size: 137,5 MB
Art: Front

(5:46) 1. Fire in the West
(5:09) 2. Fool's Gold
(7:41) 3. Cascades
(7:26) 4. Standing Back
(5:31) 5. Fell Among Thieves
(5:06) 6. Kyushu
(7:53) 7. Late Afternoon
(6:04) 8. Near North
(4:51) 9. Gone Away
(4:18) 10. Silver Mine

It hardly seems possible, but it took thirty-five years for Canadian bassist extraordinaire Neil Swainson to lead a sparkling quintet in this new recording of Swainson original compositions entitled Fire In The West. His prior recording from 1987 was called 49th Parallel and received little attention at the time. However it was re-released as an LP in 2020 by Reel to Real Records and it generated some welcomed critical reviews. Accompanying Swainson in this outing was a blue-chip rhythm section of pianist Renee Rosnes and drummer Lewis Nash, with a first rate front line of trumpeter Brad Turner and tenor saxophonist Kelly Jefferson.

The session opens with the title track "Fire In The West" which was inspired by a flight over the forest fires which were raging in the Okanagan Valley of British Columbia at the time. This up tempo tune begins with some Turner and Jefferson unison playing which states the theme, before each of the principals takes a solo turn, working out their ideas. All of this was nicely done, while Swainson's sturdy hand maintained the composition's rhythmic pulse. As will be evident throughout the album, Swainson was a fan of the front line pairings that predominated in the '50s, with the bands of Miles Davis, {Art Blakey}} and {Horace Silver}} so, accordingly, his compositional structures reflect this dynamic.

Some of the charts Swainson created have implied dedications to a variety of influences and influencers. "Fell Among Thieves," which could be classified as a lament, is carried throughout by Jefferson's compelling mournful tenor saxophone with Rosnes providing support in a svelte linear style. The title is meant to convey how good people often fall into difficult company. "Kyushu" is a musical reflection on time the composer spent on the Japanese island of the title. Laid out in a relaxing swinging tempo, the band delivers a straight ahead rhythmic feel which supports the improvisations offered by Turner, Jefferson and Rosnes. Finally, in an acknowledgement to Horace Silver, one of his musical influences, Swainson penned "Silver Mine." The bop-fashioned line charges out of the gate in a full-fisted attack. The solos taken by Turner and Jefferson are down the center and Rosnes delivers a single note excursion which is filled with Silver nuggets. In summation, a musical excursion well worth the wait.By Pierre Giroux https://www.allaboutjazz.com/fire-in-the-west-neil-swainson-neil-swainson-cellar-records

Personnel: Neil Swainson: bass, acoustic; Renee Rosnes: piano; Lewis Nash: drums; Brad Turner: trumpet; Kelly Jefferson: saxophone, tenor.

Fire in the West

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Michael Dease - Best Next Thing

Styles: Trombone Jazz
File: MP3@320K/s
Time: 56:19
Size: 129,9 MB
Art: Front

(6:56) 1. Rainbow People
(4:42) 2. Parker's Brood
(4:47) 3. Tiktaalik
(4:06) 4. Doxy
(6:09) 5. Charly Jaye
(5:40) 6. Glory
(4:53) 7. One for Dease
(7:19) 8. With Love
(5:43) 9. Horse Trading
(6:00) 10. Lullaby for Rita

Michael Dease keeps the music moving forward toward the "Best Next Thing" on his ninth album for Posi-Tone. With clear purpose, Trombonist Michael Dease gathers together an assemblage of exceptional musicians to help him interactively explore the essence of the blues and reframe the abstract truths of jazz as the "Best Next Thing" for today's audience of listeners. Providing support in bringing this vision to fruition, the session features an all-star lineup of musicians including trumpeter Alex Sipiagin, alto saxophonist Rudresh Mahanthappa, pianist Renee Rosnes, bassist Boris Kozlov, and powerhouse drummer Rudy Royston.

As a band leader, Dease makes sure the entire session stays insightfully straight forward and refreshingly melodic throughout while he conducts his topnotch crew through a series of his new compositions and some inventive arrangements of selections crafted by Dease's musical mentors. With this latest release, Michael Dease not only confirms his status as a virtuoso soloist and one of the biggest stars in jazz today, but also demonstrates that he is clearly an artist for jazz fans to rely upon to bring them the "Next Best Thing" in jazz for years to come.https://posi-tone.com/bnthing/bnthing.html

Personnel: Michael Dease - trombone; Alex Sipiagin - trumpet; Rudresh Mahanthappa - alto sax; Renee Rosnes - piano; Boris Kozlov - bass; Rudy Royston - drums

Best Next Thing

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Renee Rosnes - Live at the Jazzhus Dexter

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 72:06
Size: 166,1 MB
Art: Front

(10:05) 1. Hackensack
( 6:01) 2. Body And Soul
(10:07) 3. Summer Night
(12:29) 4. With a Little Help From My Friends
( 8:02) 5. Recorda Me
( 5:54) 6. You Known I Care
( 6:49) 7. Little Spirit
( 6:32) 8. Lexicon
( 6:03) 9. Title

Renee Rosnes is one of the premier jazz pianists and composers of her generation. Upon moving to New York City from Vancouver, Canada, she quickly established a reputation of high regard, touring and recording with such masters as Joe Henderson, Wayne Shorter, Bobby Hutcherson, J.J. Johnson, James Moody, and legendary bassist Ron Carter. She was a charter member of the all-star ensemble, the SFJAZZ Collective, with whom she toured for six years.

Ms. Rosnes has released 17 recordings, and has appeared on many others as a sideman. In 2016, Written in the Rocks (Smoke Sessions) was named one of ten Best Jazz Albums of the Year by The Chicago Tribune, one of the Best Albums in all genres of music by The Nation, and was awarded a 2017 Canadian Juno (her fifth Juno award). JazzTimes wrote, “Ms. Rosnes delivers conceptual heft, suspenseful compositions and mesmerizing performances,” and DownBeat praised it as “an exceptional achievement” stating “Rosnes is a virtuoso composer.” The band’s most recent session, Beloved of the Sky (2018) draws inspiration for the title track from Canadian painter Emily Carr, and features master musicians Chris Potter, Steve Nelson, Peter Washington and Lenny White.

Renee has produced concerts at Jazz at Lincoln Center, the New Jersey Performing Arts Center, and the 92nd Street Y in New York City. Renee is also the music director for ARTEMIS, a new all-star international band featuring the vocalist Cécile McLorin Salvant, clarinetist Anat Cohen, trumpeter Ingrid Jensen, tenor saxophonist Melissa Aldana, bassist Noriko Ueda and drummer Allison Miller.

Over her 30 year career, Rosnes has collaborated with a diverse range of artists, from established masters such as Jack DeJohnette and tabla master Zakir Hussain, to younger giants such as Christian McBride, Chris Potter, Nicholas Payton and Melissa Aldana. She is a formidable composer and in 2003 was named SOCAN’s Composer of the Year. Her works have been performed and recorded by Phil Woods, JJ Johnson, Lewis Nash, Joe Locke, the Danish Radio Big Band, the Carnegie Hall Jazz Orchestra, and trombonist Michael Dease.

From 2008-2010, Rosnes enjoyed her role as host of The Jazz Profiles, an interview series produced by CBC-Radio. Also in the role of jazz journalist, Renee has contributed two major cover story interviews for JazzTimes magazine, one with Wayne Shorter and his quartet (April 2013) and the other with the late pianist Geri Allen (September 2013).

Aside from her work as a leader, Rosnes is currently a member of bassist Ron Carter’s Quartet, and often performs with her husband, acclaimed pianist Bill Charlap. The couple released Double Portrait (Blue Note) of which Downbeat wrote: “The counterpoint and compatibilities are so perfectly balanced, the selections and arrangements so handsome, that ‘Double Portrait’ is a prize.” The piano duo was also featured on four tracks from the 2016 Grammy award winning album, Tony Bennett & Bill Charlap: The Silver Lining, The Songs of Jerome Kern. https://reneerosnes.com/biography/

Live at the Jazzhus Dexter

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V.A.- Ice on the Hudson: Songs by Renee Rosnes & David Hajdu

Styles: Vocal
Year: 2018
File: MP3@128K/s
Time: 51:12
Size: 48,5 MB
Art: Front

(5:11) 1. A Tiny Seed
(5:13) 2. I Used to Like to Draw
(3:13) 3. Trotsky in Mexico
(3:42) 4. All But You
(3:24) 5. To Meet My Brother
(6:17) 6. The Passage
(6:34) 7. Little Pearl
(3:01) 8. I Like Pie
(5:34) 9. Ice on the Hudson
(3:42) 10. I Still Feel the Same
(5:17) 11. Confound Me

Ice on the Hudson features vocalists René Marie, Janis Siegel, Darius de Haas and Karen Oberlin and an all-star ensemble interpreting diverse songs about the emotional complexities of adult life in today’s world. There’s a special chemistry that’s found only in the rarest of songwriting partnerships, forever linking the names of composer and lyricist in the minds of listeners. The names Renee Rosnes and David Hajdu are already well known to music lovers: Rosnes as one of her generation’s most acclaimed jazz composers and pianists, Hajdu as an award-winning author and critic. With Ice on the Hudson, their first collaborative album of songs, the pair reveals a breathtaking synergy, crafting a collection of deeply felt and genre-defying songs that join words and music with alchemical results.

Ice on the Hudson, due outOctober 12 via SMK Jazz (a newly launched imprint curated by Smoke Sessions Records), brings together four magnificent vocalists: revered, GRAMMY® Award-nominated jazz singer René Marie; Manhattan Transfer co-founder and nine-time GRAMMY® winner Janis Siegel, celebrated musical-theater actor and art-song interpreter Darius de Haas; and acclaimed jazz/pop performer Karen Oberlin. Their voices are matched by a stunning ensemble, featuring Rosnes at the piano along with cellist Erik Friedlander, saxophonists Steve Wilson and Seamus Blake, clarinetist Ken Peplowski, bassist Sean Smith, drummer Carl Allen, and percussionist Rogerio Boccato. While both Rosnes and Hajdu can boast considerable accomplishments in their respective fields, songwriting was a fairly new endeavor for both. Rosnes had had a handful of instrumental compositions set to lyrics, and Hajdu had collaborated on a few songs with Fred Hersch and others. When Rosnes and Hajdu decided to try writing together, five years ago, “Everything clicked,” in Hajdu’s words.

“Renee is one of the most gifted, most sophisticated and most creative composers alive,” Hajdu says. “I consider myself the luckiest boy in the music world for getting to write with this flat-out genius. We both enjoy the exhilarating thrill of doing something that we care about, that draws on our professional and life experiences, but that provides a whole new set of challenges for us.” For Rosnes, who has long drawn inspiration for her own music from sources as diverse as the natural world and the visual arts, the partnership has given her rich depths of emotion and narrative to plumb. “David is a powerful and compelling storyteller,” she says, “and each of his lyrics has many layers and great substance. It’s been a fulfilling experience to take his words and search for melodies that truly allow the story to shine through.” Given the tantalizing complexity of Hajdu’s words, Rosnes found herself exploring a wide range of sensibilities, never concerned with genre. Ultimately, while some pieces fit comfortably into the jazz songwriting tradition of Jon Hendricks or Bob Dorough, others evoke the world of musical theater or such respected singer-songwriters as Joni Mitchell or Randy Newman. “When I embarked on this project with David, I put the idea of genre out of my mind,” she explains. “I was most interested in allowing the lyrics to inspire and move me in whatever direction that musically translated to.”

“A Tiny Seed” opens the album with a parable both timeless and timely, about a wall-building king and the seemingly small detail that grows to topple his kingdom. Marie’s wry, soulful vocal offers inspiration to those hoping to turn such fairy tales into reality. Her serpentine lines bring an exotic mystery to “Little Pearl,” a reinterpretation of Rosnes’ instrumental “The Quiet Earth.” Siegel’s voice seems to float into a whimsical daydream on “I Used to Like to Draw,” a tender reminiscence of the childhood days when we all gave vent to our imaginations, before the supposed reality of adult life quashed such fancies. Siegel also sings “The Passage,” which takes the natural splendor that inspired Rosnes’ instrumental piece “Gabriola Passage” into the realm of transcendence. On the title track, “Ice on the Hudson,” she takes the bizarre fact that the Hudson River flows both upstream and downstream as a metaphor for the often contradictory aspects of grown-up reality one of several instances of complex ideas that stem from the collaboration between two artists with a wealth of life experience.

Oberlin offers a bit of culinary respite from the world’s divisiveness on the playful “I Like Pie” and a bit of romantic perspective on “I Still Feel the Same.” The moving “All But You” builds from scraps of both songwriters’ biographies to paint a picture of living with a missing someone. Rosnes suggested a song based on her experience as an adopted child wondering about her birth parents, which Hajdu countered with his own background. “Renee said it felt strange growing up not knowing who her biological parents were, but my father sat at the dinner table with me every night my whole life, and I don’t know who my father was either. We share that feeling of a hole in your life, that there are people who could have been there who were not.” Hajdu based “To Meet My Brother” on the tragic loss of his sister and the feeling of wanting to be reunited, whatever the cost. Darius de Haas brings tender yearning to that piece and an urgent sensuality to “Confound Me.” His knack for theatrical drama illuminates “Trotsky in Mexico,” a Sondheim-like musing on the Russian revolutionary’s fling with Frida Kahlo. https://reneerosnes.com/music/ice-on-the-hudson-the-songs-of-renee-rosnes-david-hajdu/

Vocalists: Janis Siegel; Karen Oberlin; René Marie; Darius de Haas

Musicians:Renee Rosnes, piano; Steve Wilson, alto & soprano sax; Seamus Blake, tenor sax; Ken Peplowski, clarinet; Erik Friedlander, cello; Sean Smith, bass; Carl Allen, drums; Rogerio Boccato, percussion

Ice on the Hudson: Songs by Renee Rosnes & David Hajdu

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Jim Snidero - Strings

Styles: Saxophone And Flute Jazz
Year: 2003
File: MP3@320K/s
Time: 55:49
Size: 127,8 MB
Art: Front

(4:59)  1. Slipping Away
(7:04)  2. Dawn
(7:39)  3. On The Bank
(5:12)  4. Torrent
(7:15)  5. Theme For Ernie
(9:33)  6. Forever Gone
(7:01)  7. Ventura
(7:04)  8. It's The Talk Of The Town

By staying in touch with his roots as a hard blowing alto saxophonist and leader of razor-sharp small bands, Jim Snidero has successfully married a ten-piece string section and a conventional jazz quartet. His arrangements of six original compositions (including the three-part “River Suite”) and two standards entail a constant shifting between the relative freedom of improvisation, and the tighter organization made necessary by the larger ensemble. The recording’s primary soloist, Snidero consistently radiates excitement and a beboper’s willingness to take risks on ballads (“Theme For Ernie,” “Forever Gone”) and upbeat material (“Slipping Away,” “Ventura”). These liberties are enhanced by the fact that he never allows the strings to become too dense or overly prominent yet, his writing for the section is often full, lush, and beautiful. During “It’s The Talk Of The Town,” for example, they lay out for an entire chorus, then return and serve as a muted foil for the leader’s flight. Another important factor in the recording’s success is an excellent, responsive rhythm section. Pianist Renee Rosnes (who contributes several fine solos), bassist Paul Gill, and drummer Billy Drummond are just right for Snidero’s elastic group conception, mixing a flowing, unforced sense of motion with more concentrated swing. Drummond, in particular, is brilliant. At times his brushes on the snare or a stick to the ride cymbal are barely audible; in other instances, like on “Torrent,” his persistent accents to the drums take charge and confront the ensemble and soloists. ~ David A.Orthmann https://www.allaboutjazz.com/strings-jim-snidero-fantasy-jazz-review-by-david-a-orthmann.php

Personnel: Jim Snidero (arranger, alto saxophone, flute); Mark Feldman, Joyce Hammann, Cenovia Cummings, Paul Woodiel, Sue Lorensten (violin); Ralph Farris, Kenji Bunch (viola); Thomas Ulrich, Mary Wooten (cello); Renee Rosnes (piano); Paul Gill (bass); Billy Drummond (drums).

Strings

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Renee Rosnes - Kinds of Love

Styles: Piano Jazz
File: MP3@320K/s
Time: 56:11
Size: 130,4 MB
Art: Front

(5:24) 1. Silk
(5:47) 2. Kinds of Love
(6:09) 3. In Time Like Air
(6:35) 4. The Golden Triangle
(7:29) 5. Evermore
(7:17) 6. Passing Jupiter
(5:20) 7. Life Does Not Wait (A Vida Não Espera)
(6:35) 8. Swoop
(5:31) 9. Blessings in a Year of Exile

Renee Rosnes has a reinvigorated appreciation for the many different shapes that love can take.With her new album Kinds of Love, the Canadian pianist and composer reflects on the many forms of love in her own life of a romantic partner, of family members, of nature, of the arts and of the close relationships she’s forged with fellow musicians. Kinds of Love features an all-star quintet with saxophonist Chris Potter, bassist Christian McBride, drummer Carl Allen, and percussionist Rogério Boccato.

For many of them, the recording date was one of their first times back in a studio after the long silence of 2020. During that time, Rosnes had taken the opportunity to write a full album’s worth of original compositions with these particular musicians in mind. “I’ve tried to look at the pandemic as a gift of time, and the knowledge that I would soon be recording with my friends inspired much of the music,” Rosnes says. “It was thrilling to experience the humanity of making music again in the moment. Each of these musicians are profound, humble virtuosos and, on a human level, enlightened spirits. Kinds of Love is a reunion of sorts for Rosnes, Potter and McBride, who last recorded together on Rosnes’s acclaimed Blue Note release As We Are Now in 1997. Allen enters the fold after having performed with Rosnes many times over the years, while Boccato is the pianist’s most recent acquaintance.

“We are longtime friends who share a lot of history and camaraderie,” Rosnes says. “Having an unusual amount of quietude to work kept me creatively motivated during the past year. As I composed, I thought about each musician’s essence, and was truly inspired by all the possibilities.”

Kinds of Love is Rosnes’s first album of her own original material since the 2018 releases Beloved of the Sky and Ice on the Hudson, the latter a joint effort with lyricist David Hajdu. However, Rosnes made a major splash in 2020 as the musical director of Artemis, the international supergroup whose debut album was one of the most critically acclaimed jazz releases of the year.” https://jazz.fm/renee-rosnes-kinds-of-love-new-album/

Kinds of Love

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Franco Ambrosetti Band - Lost Within You

Styles: Trumpet Jazz, Post Bop
File: MP3@320K/s
Time: 72:48
Size: 167,3 MB
Art: Front

(10:36) 1. Peace
( 7:12) 2. I'm Gonna Laugh You Right Outta My Life
( 6:52) 3. Silli in the Sky
( 7:35) 4. Love Like Ours
( 6:56) 5. Dreams of a Butterfly
(11:25) 6. Body and Soul
( 7:19) 7. People Time
( 7:42) 8. Flamenco Sketches
( 7:07) 9. You Taught My Heart to Sing

Lost Within You is a masterpiece of smoldering passion and beauty ignited by the exquisite trumpet and flugelhorn melodies of Franco Ambrosetti. Ambrosetti assembled an enviable ensemble: bassist Scott Colley and drummer Jack DeJohnette in the rhythm section, plus guitarist John Scofield, and Renee Rosnes and Uri Caine switching turns as pianist. But the star of Lost Within You is Ambrosetti's haunting, delicate and graceful sound, revealed in one masterful ballad after another. "Miles Davis was one of the great inspirations for that," Ambrosetti recalls. "From listening to Miles play ballads, I started to understand and I was able to go inside the ballad and play these long notes that he was playing. Miles showed me how you stretch the notes out like you're really singing or crying, and I think I can express my feelings better that way."

DeJohnette sketches an abstract introductory framework on piano to the opening "Peace," from which Ambrosetti's trumpet rises up like shimmering heat to meet and complete. When the rest of the ensemble settles in, the mood shifts from beautiful to transcendent jazz music. Solo drums curiously open the classic "Body and Soul," but bass and piano quickly settle down into a slow-rolling tempo and a mood that's both ballad and blue although DeJohnette insists on busting up the middle section with harder and sharper beats. Caine builds up funky blue offbeats and phrases and then crosses them together to build more complex melodies and harmonies in his solo. But Caine is only the second-best soloist here. Ambrosetti's sound thoroughly ghosts Davis' moody brooding: part smoldering anger, part aching sadness, part bitter loneliness, and part peaceful resignation. That's a lot to pack into a sound, but Ambrosetti does it.

Rosnes jumps in on "Flamenco Sketches," a landmark of Davis' work with pianist Bill Evans, and her melancholic deep touch is perfect for this mood and for highlighting Scofield's guitar alongside the Spanish tinges of this tune. Rosnes' thoughtful fire also polishes the middle piano trio section into a warm glow. McCoy Tyner's "You Taught My Heart to Sing" closes Lost Within You. A love song and the word "sing" are entirely appropriate to end a set of music like this. Rosnes, Scofield and Ambrosetti all stretch out in solos like housecats settling down for a nap, with Scofield's guitar drifting in and out of the blues and the leader's horn so softly but clearly articulating each note that it almost sounds like whispered speech.
~CHRIS M.SLAWECKI https://www.allaboutjazz.com/lost-within-you-franco-ambrosetti-unit-records3619

Personnel: Franco Ambrosetti: trumpet; John Scofield: guitar; Renee Rosnes: piano; Uri Caine: piano; Scott Colley: bass; Jack DeJohnette: drums; The Franco Ambrosetti Band: band/orchestra.

Lost Within You

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Michael Dease - Coming Home

Styles: Trombone Jazz
Year: 2013
File: MP3@320K/s
Time: 69:07
Size: 158,5 MB
Art: Front

(6:59)  1. Solid Gold
(5:46)  2. Motherland
(7:46)  3. Blues Etude
(4:56)  4. In A Sentimental Mood
(7:01)  5. Good & Terrible
(7:43)  6. Lifewish
(6:42)  7. The Shade Of The Cedar Tree
(3:41)  8. Just In Time
(6:30)  9. All Heath
(5:41) 10. The Release
(6:18) 11. Take It To The Ozone

Trombonist Michael Dease's Coming Home is the evolutionary culmination of all of the small group work of which he has been a part. Dease's musical personality reveals itself fully on the disc, one he has populated with a very fine band and thoughtfully composed and selected pieces for that band. Dease's previous work as a leader on Dease Bones (Astrix Media, 2007), Clarity (Blues Back Records, 2008) and Grace (Legacy Jazz Productions, 2011), as well as with multi-reedist Sharel Cassity on Just For You (DW Records , 2009) and Relentless (Legacy Jazz Productions, 2009). Where Curtis Fuller is the patriarch, Wycliffe Gordon the earthy keeper of the flame (and Dease's teacher) and Luis Bonilla the Latin soul of the trombone, Dease is its intellectual heart. Following his fellow Augusta Georgia trombonist teacher to Juilliard, Dease established himself as part of an ambitious group of young musicians who were combining smarts, chops, bandstand and practice and translating that into recordings. Members of this group include Sharel Cassity, trumpeter Carol Morgan, and pianist Orrin Evans.

Dease's compositional and performance approaches are ruled by passionate precision. His playing is exact and well practiced. His tone is expansive and uniform through all registers. These characteristics are demonstrated immediately on the opening tune, "Solid Gold" where Dease shows great velocity in both head and solo playing. He adds mass to this velocity, creating an infectious momentum when playing with a mute as on Duke Ellington's "In a Sentimental Mood." Tony Lustig drops in with his tenor saxophone for the piece giving it a throaty presence. Lustig adds foundation to "Good and Terrible" with his crack baritone playing. His solo is at once gentle and virile on this angular, post-bop piece. Alto saxophonist Steve Wilson turns the gas on high, navigating Dease's complex circuitry. Dease rolls up his sleeves and gets his hands dirty on a searing performance of Oscar Peterson's "Blues Etude." While playing with his typical precision in the head, Dease begins to properly slur and wail in his solo, throwing off notes like pale blue sparks. He shares his solo space with bassist Christian McBride who amply demonstrates why he is Christian McBride and no one else. The instructive presence of pianist Renee Rosnes is heard throughout this fine disc as its timekeeper and drummer Ulysses Owens, Jr. Dease could not have put together a better band for this recording. He has come fully into his own as a leader. ~ C.Michael Bailey  http://www.allaboutjazz.com/coming-home-michael-dease-d-clef-records-review-by-c-michael-bailey.php

Personnel: Michael Dease: trombone; Steve Wilson: alto saxophone; Renee Rosnes: piano; Christian McBride: bass; Ulysses Owens, Jr.: drums; Eric Alexander: tenor saxophone: tenor saxophone (11); Tony Lustig: tenor saxophone (4), baritone saxophone (5); Andrew Swift: percussion (10).

Coming Home

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Ron Carter - Foursight - Stockholm, Vol. 2

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 62:14
Size: 143,2 MB
Art: Front

( 7:10) 1. 595
(11:55) 2. Mr. Bow Tie
( 6:11) 3. Flamenco Sketches
( 6:55) 4. Seven Steps to Heaven
( 6:32) 5. You Are My Sunshine
( 3:00) 6. Mr. Bow Tie - Reprise
(10:20) 7. My Funny Valentine
(10:08) 8. You and the Night and the Music

Ron Carter is among the most original, prolific, and influential bassists in jazz. With more than 2,000 albums to his credit, he has recorded with many of music's greats: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons. In the early 1960s he performed throughout the United States in concert halls and nightclubs with Jaki Byard and Eric Dolphy. He later toured Europe with Cannonball Adderley. From 1963 to 1968, he was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and Most Valuable Player by the National Academy of Recording Arts and Sciences.

In 1993 Ron Carter earned a Grammy award for Best Jazz Instrumental Group, the Miles Davis Tribute Band and another Grammy in 1998 for Call 'Sheet Blues', an instrumental composition from the film 'Round Midnight. In addition to scoring and arranging music for many films, including some projects for Public Broadcasting System, Carter has composed music for A Gathering of Old Men, starring Lou Gosset Jr., The Passion of Beatrice directed by Bertrand Tavernier, and Blind Faith starring Courtney B. Vance. Carter shares his expertise in the series of books he authored, among which are Building Jazz Bass Lines and The Music of Ron Carter; the latter contains 130 of his published and recorded compositions.

Carter earned a bachelor of music degree from the Eastman School in Rochester and a master's degree in double bass from the Manhattan School of Music in New York City. He has also received two honorary doctorates, from the New England Conservatory of Music and the Manhattan School of Music, and was the 2002 recipient of the prestigious Hutchinson Award from the Eastman School at the University of Rochester. Carter has lectured, conducted, and performed at clinics and master classes, instructing jazz ensembles and teaching the business of music at numerous universities. He was Artistic Director of the Thelonious Monk Institute of Jazz Studies while it was located in Boston and, after 18 years on the faculty of the Music Department of The City College of New York, he is now Distinguished Professor Emeritus although, as a performer, he remains as active as ever. https://musicians.allaboutjazz.com/roncarter

Personnel: Ron Carter(b); Renee Rosnes(p); Jimmy Greene(ts); Payton Crossley(ds)

Foursight - Stockholm, Vol. 2

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Ron Carter - Foursight - Stockholm, Vol. 1

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 57:15
Size: 131,9 MB
Art: Front

( 7:38) 1. Cominando
( 8:50) 2. Joshua
( 7:03) 3. Little Waltz
(10:34) 4. Seguaro
( 1:59) 5. Cominando, Reprise
(13:10) 6. Nearly
( 7:57) 7. You and the Night and the Music

The strings vibrate gently. Accurate tone, unconditionally clear. And quietly. The longest fingers of jazz seem to dance weightlessly along the wooden bridge; yearning, filigree and elegant. No one else sounds like Ron Carter. His double bass often produces a crisp groove like an electric bass, yet it is always clearly definable as the sound of a classical music instrument. https://www.jazzmessengers.com/en/81938/ron-carter/foursight-stockholm-vol-1

Personnel: Bass – Ron Carter; Drums – Payton Crossley; Piano – Renee Rosnes; Tenor Saxophone – Jimmy Greene

Foursight - Stockholm, Vol. 1

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Artemis - Artemis

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 51:54
Size: 119,6 MB
Art: Front

(7:24)  1. Goddess Of The Hunt
(7:20)  2. Frida
(6:12)  3. The Fool On The Hill
(5:01)  4. Big Top
(3:27)  5. If It's Magic
(5:27)  6. Nocturno
(6:25)  7. Step Forward
(5:29)  8. Cry, Buttercup, Cry
(5:05)  9. The Sidewinder

It's truly exhilarating yet sadly mundane and reductive that a recording as vital and victorious as Artemis will be universally hailed as a first from an all- female supergroup. That it cuts across all generational, cultural, international, and ethnic planes. That Blue Note Records has expanded its ever legendary ranks to include, well, you know, a female supergroup. It's like the more we think we've gotten past these worn, tired types of qualifiers we realize all the more we really haven't.

Until that day we no longer feel the need to identify such things, we turn, as every society does, to our artists to lead, and lead Artemis does. How could it not when pianist and musical director Renee Rosnes joins equally fierce forces with tenor saxophonist Melissa Aldana, clarinetist Anat Cohen, trumpeter Ingrid Jensen, drummer Allison Miller, bassist Noriko Ueda, and featured vocalist Cecile McLorin Salvant for a tough, tight and tenacious nine song set that catches fire immediately with Miller's "Goddess of the Hunt." A wily composition that brings each member to the fore without breaking the ensemble's inherent integrity. On "Goddess of the Hunt" propelled by Rosnes' and Ueda's insistence and Miller's persistence Aldana and Jensen run the gamut as Cohen binds it all together. It's a kick-off not to be to missed.

Aldana's precocious "Frida," one of the tunes the saxophonist didn't include on her emotionally weighted study suite of the painter Frida Kahlo, Visions (Motema, 2019) weaves more space for the five to establish both an intrinsic group synergy and individual personality. Never opting out for ego's sake, Jensen's intricate rendering of John Lennon and Paul McCartney's "The Fool On the Hill" allows for each voice to freely interpret one of rock's greatest ruminations with a real time urgency for the real time absurdity we live through daily. All five minutes of Rosnes' finger snapping, toe tapping "Big Top" is sheer joy to listen to and a virtuoso testament by the septet to the Greek goddess that inspires them. Salvant makes a stunning entrance with Stevie Wonder's elegant 1977 ballad "If It's Magic." Cohen, whose high flights of fancy and in depth explorations of shadow and light throughout the album almost steals the whole show, brings the contemplative "Nocturno" for each player to color. In stark contrast of mood and style, Ueda's punchy swing-fest "Step Forward" lets us marvel at Cohen's acrobatics, Jensen's lyrical agility, and Rosnes' whimsical sense of light. It's a remarkably fluid piece. Which is a fine way to describe the whole of this debut by a crew of veterans. Inspired by the times around them, Artemis returns the inspiration tenfold.~ Mark Jurkovic https://www.allaboutjazz.com/artemis-artemis-blue-note

Personnel:  Renee Rosnes: piano; Allison Miller: drums; Melissa Aldana: saxophone, tenor; Noriko Ueda: bass; Ingrid Jensen: trumpet; Cecile McLorin Salvant: voice / vocals; Anat Cohen: clarinet, bass.

Artemis

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Jimmy Greene - Flowers: Beautiful Life, Vol. 2

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 63:38
Size: 146,8 MB
Art: Front

(3:50)  1. Big Guy
(6:26)  2. Stanky Leg
(4:20)  3. Flowers
(7:17)  4. Second Breakfast
(4:19)  5. Fun Circuits
(6:38)  6. Stink Thumb
(5:17)  7. Someday
(7:52)  8. December
(5:30)  9. Amantes
(5:59) 10. Something About You
(6:04) 11. Thirty-Two

In 2012, saxophonist Jimmy Greene lost his six-year-old daughter Ana Grace Marquez-Greene when she was murdered alongside 20 of her schoolmates during the shooting at Sandy Hook Elementary School in Newtown, Connecticut. Poignantly, he paid tribute to Ana on his soulful 2014 album Beautiful Life. For 2017's buoyant follow-up, Flowers: Beautiful Life, Vol. 2, Greene continues to draw inspiration from his daughter's short life, this time exploring her love of dance. Joining Greene here is a stellar lineup featuring pianist Renee Rosnes, bassists John Patitucci and Ben Williams, drummers Otis Brown III and Jeff "Tain" Watts, guitarist Mike Moreno, percussionist Rogerio Boccato, and guest vocalists Jean Baylor and Sheena Rattai. If the first Beautiful Life found Greene in an understandably grief-stricken and deeply poetic state of mind, Flowers reveals a man who will never fully let go of his pain, but who is much more connected to the memory of his daughter's vitality and love of life than the tragedy of her death. This vitality is reflected in the animated grooves and lively melodies Greene brings to Flowers. There's also an experimental vibe here, with Greene bending his largely acoustic post-bop sound a bit more heavily toward fusion, as on the knotty groover "Fun Circuits." Similarly, "Stink Thumb," with its spacy Rhodes keyboard, brings to mind the '70s jazz of Herbie Hancock's Mwandishi band. Even the far-eyed, soprano saxophone feature "Something About You" explodes mid-song into a choppy, angular improvisation. Still, there is a bittersweet tinge to the proceedings reflected in the languid, Latin flow of "Amantes" and the yearning vocal ballad "Someday." Remarkably, on Flowers: Beautiful Life, Vol. 2, Greene remains a productive, positive-minded artist whose music, and memory, have only deepened in their harmonic, rhythmic, and spiritual grace. ~ Matt Collar https://www.allmusic.com/album/flowers-beautiful-life-vol-2-mw0003019114

Personnel:  Jimmy Greene (soprano, alto, tenor and baritone saxes);  Jean Baylor & Sheena Rattai (vocals);  Rogerio Boccato (percussion);  Otis Brown III & Jeff `Tain` Watts (drums & percussion);  Kevin Hays & Renee Rosnes (piano and Rhodes electric piano);  Mike Moreno (guitar);  John Pattitucci & Ben Williams (bass).

Flowers: Beautiful Life, Vol. 2

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Walt Weiskopf Quartet - Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 69:49
Size: 161,0 MB
Art: Front

( 6:50)  1. Man of Many Colors
(10:49)  2. Little Minor Love Song
( 9:27)  3. Dizzy Spells / Jay-Walking
( 7:52)  4. Blues in the Day
( 8:47)  5. Scottish Folk Song
( 7:52)  6. Blame It On My Youth
( 8:41)  7. Love for Sale
( 9:29)  8. Breakdown

Walt Weiskopf led a quartet with pianist Renee Rosnes, bassist Paul Gill, and drummer Tony Reedus in the spring of 2008 at the University of South Carolina. Although the musicians knew the live concert documented here was being recorded, the recording was initially intended for archival needs rather than as a commercial release. Around the time that the tenor saxophonist realized how good the performances were from the concert, Reedus collapsed and died from an embolism upon his return from a European tour in November 2008. The quartet members are at their very best throughout this concert, as they bring life to Weiskopf's compositions with their brilliant improvising and on the money accompaniment. There are two standards, an expressive "Blame It on My Youth," featuring Weiskopf's powerful solo, and a lighthearted, breezy "Love for Sale." Aside from the traditional "Scottish Folk Song" (introduced by the leader with Gill playing arco), played at a loping, nostalgic tempo, the remaining tracks are primarily Weiskopf's compositions. One exception is Rosnes' brilliant "Dizzy Spells" (a delicious reworking of the late trumpeter's "Con Alma"), which is combined in a medley with an extended workout of Weiskopf's "Jay-Walking." Other highlights include the tricky, constantly shifting "Blues in the Day" and the turbulent post-bop vehicle "Breakdown." Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/recorded-live-april-8-2008-koger-hall-university-of-south-carolina-mw0002120267

Personnel:  Tenor Saxophone – Walt Weiskopf; Piano – Renee Rosnes;  Bass – Paul Gill; Drums – Tony Reedus

Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

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Joe Magnarelli - Why Not

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 64:12
Size: 148,3 MB
Art: Front

( 8:46)  1. Cup Bearers
(10:02)  2. How Deep is The Ocean
( 9:34)  3. Bella Carolina
( 6:41)  4. After You've Gone
( 8:32)  5. When Your Lover Has Gone
( 5:02)  6. Storyteller
( 6:26)  7. Y-Not
( 9:05)  8. Blues for B.G.

Trumpeter Joe Magnarelli's debut as a leader features the boppish trumpeter in a straight-ahead setting. His quintet, which is augmented by percussionist Daniel Sadownick on "Bella Carolina," also features spirited solos from tenor-saxophonist Eric Alexander and pianist Renee Rosnes. Every selections works well during the mixture of standards and originals. 

Among the more memorable performances are a revival of Tom McIntosh's "Cupbearers," an up-tempo "After You've Gone," Magnarelli's "Y-Not" (which is based on "The More I See You") and the trumpeter's sensitive ballad feature on a slow version of "When Your Lover Has Gone." Why Not is easily recommended to fans of straight-ahead jazz. ~ Scott Yanow https://www.allmusic.com/album/why-not-mw0000236455

Personnel: Trumpet – Joe Magnarelli;   Bass – Peter Washington; Drums – Kenny Washington; Piano – Renee Rosnes; Tenor Saxophone – Eric Alexander

Why Not

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Jay Lawrence - Sonic Paragon

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 71:13
Size: 200,2 MB
Art: Front

(6:38)  1. Full Moon in Havana
(5:07)  2. What'll I Do
(7:31)  3. Vamonos
(7:06)  4. Slide
(5:38)  5. Maria
(6:51)  6. Dayspring
(4:18)  7. From Nadir to Zenith
(6:26)  8. Sonic Paragon
(5:16)  9. Tchoupitoulas
(5:58) 10. Golden Ratio
(4:41) 11. Crosstown Traffic
(5:39) 12. My Winsome Consort

"Drummer Jay Lawrence gathered together an impressive all-star group to perform swinging originals (all but one are his with one being co-written) and inventive versions of two standards and Jimi Hendrix’s “Crosstown Traffic” (turned into a straight ahead uptempo romp). The colorful music covers a variety of moods and tempos ranging from the rhythmically catchy “Tchoupitoulas” and the cheerful “My Winsome Consort” to an infectious modernized version of “Maria.” Among the most memorable moments are Renee Rosnes’ sly Monkish solo on “My Winsome Consort,” Terrell Stafford’s riotous plunger mute chorus on “Slide,” Romero Lubambo pushing the rhythm on “Maria,” and the leader’s drum breaks on the Latinish “Vamonos.” Harry Allen’s tenor is a major part of the group’s sound throughout, the three guitarists each have spots to shine, and how can one beat John Patitucci on bass? Sonic Paragon is worthy of many listens; there is a lot to discover in this music."~ Scott Yanow, jazz journalist/historian and author of 11 books

Jay Lawrence, (freelance musician, composer, educator) operates LIJA Music Inc., is the percussionist for the MT Pit Orchestra, co-owns the Jazz Hang record label with colleague Ray Smith, and is the drummer for the Salt Lake City Jazz Orchestra. Lawrence graduated from Utah Valley University with a Bachelor of Science degree - Summa Cum Laude. He has been a member of the adjunct faculties at Brigham Young University (1996 to present), University of Utah (24 years), Snow College (1998 to present), and other Universities. His vast professional experience began when Lawrence joined The Musicians Union (A. F. of M.) at the age of fifteen. In Reno, Lake Tahoe and Las Vegas, Nevada hotel/casino show bands, Jay performed with many celebrities, including: The 5th Dimension, Paul Anka, Vikki Carr, Cher, Roy Clark, The Coasters, Natalie Cole, Vic Damone, Sammy Davis Jr., Barbara Eden, Michael Feinstein, Andy Gibb, Englebert Humperdink, Tom Jones, Ben E. King, Gladys Knight, Rich Little, Loretta Lynn, Ann Margret, Maureen McGovern, Shirley MacLaine, Liza Minnelli, The Moody Blues, Anthony Newley, Lou Rawls, Charlie Rich, Linda Ronstadt, Frank Jr. and Nancy Sinatra, Red Skelton, Dionne Warwick, Raquel Welch, Mary Wilson, and many others. Former President of the Salt Lake Jazz Society, Lawrence has also performed with many jazz artists, including: Shelly Berg, Brian Bromberg, Kenny Burrell, Cyrus Chestnut, Pete Christlieb, Dee Daniels, Eddie Daniels, Carl Fontana, Al Grey, Don Grolnick, Roy Hargrove, Milt Jackson, Hank Jones, Carol Kaye, Mark Levine, James Moody, Andy Narell, New York Voices, Nicholas Payton, John Pizzarelli, Tom Scott, Bobby Shew, Byron Stripling, Tierney Sutton, Clark Terry, Stanley Turrentine, and Phil Woods. Many award-winning recordings have been recorded by Jay, including albums with Bob Mintzer, Andy Martin, Joey DeFrancesco, Mike Stern, Eddie Daniels, Chuck Findley, Ellis Hall, Natalie Cole, Rodney Jones, Reggie Thomas, Ron Blake, Rodney Whitaker and others. The Jay Lawrence trio’s Thermal Strut on OA2 Records featured Tamir Hendelman and Lynn Seaton and received critical acclaim in Percussive Notes, Jazz Times, and other magazines. Jay’s 2012 recording, Sweet Lime, released on Jazz Hang Records, reached number 7 on the Jazz Week Radio Airplay charts. It features Bob Sheppard and John Clayton. Lawrence also soloed on Kaskade’s Grammy Nominated album Atmosphere. He has toured throughout the U.S.A., Canada, Europe, the South Pacific and the Caribbean with luminaries such as Chris LeDoux, James Moody, Liberace, Enoch Train, and The Osmonds. Lawrence has recorded film scores and trailers for the following motion pictures: The Sandlot, 101 Dalmatians, Army of Darkness, Double Impact, Eulogy, Flubber, Frank and Jesse, Gettysburg, Hercules, Huck Finn, Jumanji, Mighty Ducks 2, Nightmare on Elm Street- Part VII, Stargate, Surviving Picasso, The Swan Princess, The Three Ninjas Kick Back, U-57, and Saturday's Warrior. https://store.cdbaby.com/cd/jaylawrence

Personnel:  Jay Lawrence, drums;  John Patitucci, bass;  Renee Rosnes, piano;  Harry Allen, tenor saxophone;  Terell Stafford, trumpet;  Anthony Wilson, Yotam Silberstein, Romero Lubambo, guitars

Sonic Paragon

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Adrian Cunningham, Ken Peplowski - Duologue

Bitrate: MP3@320K/s
Time: 58:45
Size: 134.5 MB
Styles: Bop, Swing, Bossa Nova, Cool Jazz
Year: 2018
Art: Front

[4:23] 1. Show Type Tune
[4:10] 2. Jimmy Up Jimmy Down
[4:28] 3. Ballade
[5:03] 4. Background Music
[4:33] 5. Carinhoso
[5:33] 6. Mozart After A Few Beers
[5:05] 7. Dois Grandes Grinos
[5:09] 8. Looking Back
[6:40] 9. I'm Just A Lucky So And So
[3:44] 10. Luiza
[5:59] 11. Sonic Garden
[3:52] 12. Alligator Crawl

Bass – Martin Wind; Clarinet, Bass Clarinet, Liner Notes – Adrian Cunningham; Clarinet, Tenor Saxophone, Producer, Liner Notes – Ken Peplowski; Drums – Matt Wilson; Piano – Renee Rosnes. Recorded on May 10 & 11, 2017 in New York City.

A co-leader project often is an opportunity to hear an old favorite in a new context—and perhaps to discover a new favorite musician. Such is the case with Duologue, icon Ken Peplowski’s album with fellow clarinetist Adrian Cunningham, an Australian native now based in New York who has collaborated with other acclaimed bandleaders, including trombonist Wycliffe Gordon and bassist Vince Giordano. But the title of this excellent straightahead disc is somewhat misleading because the project involves a flexible, collaborative quintet, and the other three band members made essential contributions, adding one composition apiece to the recording. Acrobatic pianist Renee Rosnes gave this program “Jimmy Up Jimmy Down,” a gem she composed for saxophone legend Jimmy Heath. Bassist Martin Wind offered “Looking Back,” which adds a supremely memorable melody to a program filled with them. Gregarious drummer Matt Wilson supplied “Sonic Garden,” an avant-leaning piece that demonstrates how musical elements from Earth can meld well with those from Saturn. The co-leaders’ shared affinity for Brazilian tunes is evident: The band transforms Pixinguinha’s “Carinhoso” into a brilliant flute showcase for Cunningham, while Rosnes and Peplowski’s duo reading of Antonio Carlos Jobim’s “Luiza” illustrates why the clarinet master is invited to perform at festivals around the globe.

Elsewhere on this 12-track album, Cunningham and Peplowski offer authoritative dual-clarinet segments, particularly on the buoyant “Dois Grandes Gringos.” (Other woodwinds factored into the recording sessions as well, with the co-leaders contributing tenor saxophone and bass clarinet.) This album’s smile-inducing renditions of Duke Ellington’s “I’m Just A Lucky So And So” and Fats Waller’s “Alligator Crawl” will be catnip for fans of classic jazz. Additionally, this project showcases Cunningham’s sense of humor, not only in the song title of his “Mozart After A Few Beers,” but also in his liner notes essay: “Ken’s idea to record the album entirely [with the musicians] drumming on reclaimed Tupperware was suggested, and put aside … as was his idea of having us play underwater, with only the bubbles of air recorded as they hit the surface. (Preliminary bathtub tests proved unsuccessful.) All jokes aside, this album is terrifically successful. ~Bobby Reed

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