Silky Denims: Richard Wyands

Showing posts with label Richard Wyands. Show all posts

Monday, March 4, 2024

Milt Hinton - Laughing At Life

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 54:48
Size: 130,2 MB
Art: Front

(7:17) 1. A Child Is Born
(5:46) 2. Sweet Georgia
(4:23) 3. Brown
(4:32) 4. Laughting At Life
(4:05) 5. Prelude To A Kiss
(3:04) 6. Indiana
(5:04) 7. Mona's Feeling Lonely
(4:20) 8. Jon John
(4:33) 9. Old Man Harley
(4:52) 10. Just Friends
(6:52) 11. The Judge And The Jury

Milt Hinton's major label debut as a leader (at age 85), other than a 1955 date for Victor, finds the great bassist utilizing two separate rhythm sections on a variety of standards. In addition to fine solos from pianists Richard Wyands and Derek Smith, there are guest appearances by trumpeter Jon Faddis (who defies his stereotype by sounding closer here to Roy Eldridge than to Dizzy Gillespie) and veteran Harold Ashby whose warm tenor recalls Ben Webster. Even if Hinton's three vocals are one too many, his singing has its charm. The finale "The Judge and the Jury" adds four other bassists for a very musical tribute to one of the few veterans of the 1920s still to be heard in his prime in the mid-'90s. ~ Scott Yanow https://www.allmusic.com/album/laughing-at-life-mw0000628214

Personnel: Bass, Vocals – Milt Hinton; Bass – Brian Torff, Lynn Seaton, Rufus Reid, Santi Debriano; Drums – Alan Dawson, Dave Ratajczak, Terry Clark; Piano – Derek Smith, Richard Wyands; Saxophone [Tenor] – Harold Ashby ; Trumpet, Flugelhorn – Jon Faddis

Laughing At Life

Wednesday, September 27, 2023

Benny Bailey - Grand Slam

Bitrate: MP3@320K/s
Time: 57:34
Size: 131.8 MB
Styles: Bop, Trumpet jazz
Year: 1978/1998
Art: Front

[ 6:53] 1. Reflectory, Pt. 1
[ 7:34] 2. Who's Bossa Now
[ 8:26] 3. Let Me Go, Pt. 1
[10:53] 4. Judgement Of Certain Kind
[ 9:55] 5. Thelonious Assault
[ 6:33] 6. Let Me Go, Pt. 2
[ 7:17] 7. Reflectory, Pt. 2

Trumpeter Benny Bailey was teamed with veteran tenor-saxophonist Charlie Rouse on this hard-blowing quintet date. The fresh material (two songs by Fritz Pauer who arranged the date, a pair from Bailey and one by Pepper Adams) inspires the soloists to play near their peak. With a fine rhythm section (pianist Richard Wyands, bassist Sam Jones and drummer Billy Hart) pushing the horns, this set is even better than expected. ~Scott Yanow

Grand Slam

Tuesday, March 7, 2023

Gene Ammons - Nice An' Cool

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 39:56
Size: 91,8 MB
Art: Front

(7:10) 1. Till There Was You
(4:38) 2. Answer Me, My Love
(4:02) 3. Willow Weep for Me
(4:59) 4. Little Girl Blue
(7:43) 5. Something I Dreamed Last Night
(3:05) 6. Something Wonderful
(4:22) 7. I Remember You
(3:52) 8. Someone to Watch over Me

A 1961 set of standards heavy on the ballads, Nice 'n Cool is prime Gene Ammons. In front of a sympathetic piano-bass-drums trio (Richard Wyands, Doug Watkins, and the great J.C. Heard, respectively), Ammons' brilliantly soulful tenor saxophone really stretches out on the familiar melodies, but the relatively concise arrangements (all of the eight tracks are between three and eight minutes, with most hovering around the five-minute mark) don't allow him to wander too far afield as he occasionally does on less structured sessions. Nice 'n Cool is first and foremost a mood album, with the unity of sound more important than the individual performances, but Ammons particularly shines on the extended opener, a tender, restrained version of The Music Man's "Til There Was You" that sidesteps the mawkishness of many interpretations in favor of a dignified grace. The backing trio is excellent throughout, although Wyands' too-brief solo passages do make the listener wish that the pianist had been given more of a chance to shine. ~ Stewart Mason https://www.allmusic.com/album/nice-an-cool-mw0000868722

Personnel: Gene Ammons - tenor saxophone; Richard Wyands - piano; Doug Watkins - bass; J.C. Heard - drums

Nice An' Cool

Monday, January 16, 2023

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

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

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

Saturday, August 27, 2022

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

Tuesday, February 22, 2022

Frank Wess - Suprise, Surprise (Disc 1), (Disc 2)

Album: Suprise, Surprise (Disc 1)

Styles: Saxophone, Flute Jazz
Year: 1998
File: MP3@320K/s
Time: 73:09
Size: 168,5 MB
Art: Front

(11:06) 1. All Or Nothing At All
( 8:05) 2. A Beautiful Friendship
(18:14) 3. My Funny Valentine
(11:15) 4. Estoril Sol
( 8:23) 5. One For Amos
( 7:38) 6. Firm Roots
( 8:25) 7. Nada Mas

Album: Suprise, Surprise (Disc 2)

Time: 57:33
Size: 132,5 MB

(11:14) 1. It Could Happen To You
(14:33) 2. All The Things You Are
(12:56) 3. On Green Dolphin Street
( 8:27) 4. Cottontail
(10:21) 5. Surprise, Surprise

This double CD comprises organized tunes from Wess with his quartet as well as some loose jam sessions withguest soloists over a span of four days aboard the S/S Norway for the Floating Jazz Festival. Wess himself has never sounded better, on tenor sax and especially on flute. Master piano accompanist Richard Wyands lifts the music to a higher level, Lynn Seaton is rock-solid rhythmically and unique amongst melodically oriented bassists, and drummer Winard Harper gives it his all throughout, yielding world-class, swinging results. Beginning with a pair of of good swingers to warm up, "All or Nothing at All" and "A Beautiful Friendship" establish the leader in firm control. Fellow tenor saxophonist Frank Foster then steps up for the tour de force ballad "My Funny Valentine," running over 18 minutes.

Then Wess and the trio take over for the remainder of the side: a Sam Jones-written quick bopper on flute, "One for Amos," with Seaton's grinding vocals á la Slam Stewart on Howlin' Wolf vitamins; the classic Cedar Walton piece "Firm Roots" and Wess' composition "Nada Mas," on which flute dances to a bossa beat. On the second disc it's time to stretch out and improvise at length. Wess and Foster work out on tenors for the romping, stomping "It Could Happen to You." Flip Phillips joins Wess on tenors for the flailing, hard-swinging "Cottontail," Phillips' tart-sweet sound contrasting the more ribald feeling of the leader. Then, with Wess on tenor for the title track finale - another original by Wess -- the quartet dishes out an easy swinger signifying the end of a show. His light blue tenor is chirping brightly, indicating he has plenty left for some other time.~Michael G.Nastoshttps://www.allmusic.com/album/surprise-surprise%21-live-at-the-1996-floating-jazz-festival-mw0000039309

Personnel: Frank Wess, tenor sax, flute; Richard Wyands, piano; Lynn Seaton, bass; Winard Harper, drums

Special guests: Frank Foster, Jimmy Heath and Flip Phillips, tenor sax.

Suprise, Surprise (Disc 1),(Disc 2)

Saturday, February 5, 2022

Richard Wyands Trio - Lady Of The Lavender Mist

Bitrate: MP3@320K/s
Time: 42:27
Size: 97.2 MB
Styles: Bop, Piano jazz
Year: 2002/2011
Art: Front

[5:44] 1. Softly, With Feeling
[6:38] 2. Flamingo
[6:12] 3. When I Fall In Love
[4:48] 4. So In Love
[5:51] 5. Lady Of The Lavender Mist
[7:31] 6. I Didn't Know What Time It Was
[6:11] 7. Born To Be Blue

Richard Wyands, Piano; Peter Washington, Bass; Kenny Washington, Drums.

Best known as a hard bop pianist side-man, this album represents Wyands’ 2002 success as lead, laying down a smooth sophisticated sound.

Lady Of The Lavender Mist

Thursday, February 3, 2022

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

Saturday, January 29, 2022

Jimmy Cobb's Mob - Only for the Pure at Heart

Styles: Jazz, Hard Bop
Year: 1998
File: MP3@320K/s
Time: 65:07
Size: 149,5 MB
Art: Front

( 8:07) 1. Delilah
( 5:51) 2. Say Little Mama Say
( 6:07) 3. Only For the Pure At Heart
( 4:03) 4. Stars Fell on Alabama
( 4:46) 5. Gingerbread Boy
( 6:10) 6. Johhny Red
( 5:58) 7. Smile
( 6:16) 8. Ma Turk
(10:58) 9. Vida Blue
( 6:48) 10. Riverside

Jimmy Cobb was in his late sixties when he recorded Only for the Pure at Heart, but the veteran drummer was still playing with the type of enthusiasm that had characterized his work with Miles Davis, Wes Montgomery, Cannonball Adderley, and other big names 35 and 40 years earlier. Of course, enthusiasm is easier to come by when you have as solid and cohesive a band as Cobb does on this often relaxed bebop date, which employs Richard Wyands on piano, John Webber on bass, and the Grant Green-influenced Peter Bernstein on guitar. Cobb called this working band Jimmy Cobb's Mob, although it shouldn't be confused with the Cobb's Mob that Texas tenor saxman Arnett Cobb led in the 1950s (when bassist George Duvivier wrote the song "Cobb's Mobb" for him).

However, Jimmy Cobb's Mob of the late '90s isn't unlike the bands he'd helped bring to life in the 1950s and 1960s, and straight-up bop is exactly what the drummer provides on material ranging from "Smile" and "Stars Fell on Alabama" to Bernstein's catchy "Vida Blue" and Webber's moody "Johnny Red." In fact, much of the CD sounds like it could have been recorded 40 years earlier. Only for the Pure at Heart is the work of an accomplished drummer who, at 68, continued to excel by sticking with the tried and proven. ~ Alex Henderson http://www.allmusic.com/album/only-for-the-pure-of-heart-mw0000038556

Personnel: Jimmy Cobb (drums); Richard Wyands (piano); Peter Bernstein (guitar); John Webber (bass).

Only for the Pure at Heart

Sunday, November 24, 2019

Roy Haynes Trio - Just Us (Remastered)

Styles: Jazz, Post Bop
Year: 1960/2013
File: MP3@320K/s
Time: 41:07
Size: 94,8 MB
Art: Front

(7:31) 1. Down Home
(7:01) 2. Sweet and Lovely
(3:47) 3. As Long as There's Music
(2:00) 4. Well Now
(7:03) 5. Cymbalism
(6:35) 6. Con Alma
(7:07) 7. Speak Low

Considering his stature, drummer Roy Haynes has led relatively few sessions throughout his long career. From 1957-1977, he headed just seven albums (none from 1969-77), including this fine trio set. Haynes sounds as if he enjoys accompanying the Red Garland-influenced piano playing of Richard Wyands and the obscure bassist Eddie DeHaas on six of the songs, and he takes "Well Now" as his feature. Haynes' concise drum solos always hold one's interest, and even though this tasteful date is far from definitive, the music is enjoyable. [Originally released in 1960, Just Us was reissued on CD in 2000.] ~ Scott Yanow https://www.allmusic.com/album/just-us-mw0000648025

Personnel: Roy Haynes - drums; Richard Wyands - piano; Eddie De Haas - bass

Just Us

Thursday, March 28, 2019

Kenny Burrell - Stormy Monday Blues

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 69:33
Size: 160,6 MB
Art: Front

( 5:37) 1. Stormy Monday Blues
( 6:57) 2. Azure Te (Paris Blues)
( 5:41) 3. One For My Baby (And One More For The Road)
( 5:59) 4. (I'm Afraid) The Masquerade Is Over
( 1:55) 5. Why Did I Choose You?
( 9:46) 6. I Got It Bad (And That Ain't Good)
( 7:39) 7. Three Thousand Miles Back Home
(10:12) 8. Kim-den Strut
( 8:19) 9. Habiba
( 7:23) 10. Quiet Lady

Over the years Kenny Burrell has largely remained true to his roots. Ranked among the most revered jazz artists of his generation he’s waxed a wealth of sessions both as leader and sideman that approaches the countless. The two dates combined on this two-fer visit him in the lean years of the Seventies and suggest that even a bop disciple of Burrell’s relative purity was susceptible to encroaching trends and influences. Stormy Monday, the first in the pair of records reissued herein, hearkens back to Burrell’s Blue Note days with only Heard’s amplified bass tipping off its later vintage. The crisp cerulean single note lines remain intact and Burrell’s emotive blues-based figures make routine forays around the melodic signposts of the standards on hand. Wyand’s sensitive comping and the light traps reinforcement of McBrowne (and Goldberg on a pair of cuts) completes the portrait of jazz men in their element spinning off riffs like smoke rings from a leisurely lit cigarette. There’s not much room for chance-taking in the arrangements, but the players seem at ease with cultivating a mood than testing the boundaries of their adopted repertoire. Burrell recognizes the date as an ensemble affair and as such his sidemen garner substantial solo space as well.

Heard’s corpulent walking improvisation on “Azure Te” is but one instance where the leader’s faith is repaid. Burrell’s Ellington appreciation, which was to become even more pronounced in later recordings, is accorded space in the choice of a lengthy take on “I Got It Bad” as a closer. As the companion date Sky Street is quite different both in terms of content and attitude. Trafficking in torpid grooves via Gilbert’s punchy bass lines and Marshall’s gentle syncopations the session is very much embroiled in fusion-tinged impulses. Burrell’s usually clean chords are dressed up in often largely submerged in Lightsey’s electric piano. Richardson, who was easily capable of injecting fervent emotion into his improvisations sounds in other settings sounds much of the time like he’s treating things as a by the numbers studio date. Despite these demerits on the jazz score card, the quintet still manages to rack up moments of musical intrigue as on the closing minutes of “Three Thousand Miles Back Home” where Richardson’s plaintive flute weaves with Burrell’s melancholy counterpoint. Lightsey’s opening on the Latin-flavored “Habiba” is likewise effective, but the piece eventually devolves into showy noodling on the part of the leader and overheated soprano excess on the part of Richardson. “Kim-Den Strut” attempts a balance between sections of contemplative reverie and fatback funk, but ultimately ends up crumpling under the collision of disparate elements. The two sessions together offer up Burrell both in his element and in the less flattering environs of more commercial fusion, but overall the music is strong enough to support recommendation.~ Derek Taylor https://www.allaboutjazz.com/stormy-monday-blues-kenny-burrell-fantasy-jazz-review-by-derek-taylor.php

Personnel: Kenny Burrell- guitar; Richard Wyands- piano; John Heard- bass; Lenny McBrowne- drums; Richie Goldberg- drums; Jerome Richardson- tenor & soprano saxophones, flute; Kirk Lightsey- acoustic & electric piano; Stanley Gilbert- acoustic & electric bass; Eddie Marshall- drums.

Stormy Monday Blues

Sunday, August 19, 2018

Kenny Burrell - Round Midnight

Styles: Guitar Jazz
Year: 1972
File: MP3@320K/s
Time: 37:45
Size: 87,7 MB
Art: Front

(7:02) 1. A Streetcar Named Desire
(5:19) 2. Make Someone Happy
(5:13) 3. 'Round Midnight
(5:02) 4. I Think It's Going To Rain Today
(4:48) 5. Since I Fell For You
(6:44) 6. I'm Gonna Laugh You Right Out Of My Life
(3:35) 7. Blues In The Night

This is a typically tasteful Kenny Burrell record (reissued on CD) with the guitarist mostly emphasizing ballads. Five of the seven songs (which include "Make Someone Happy," "Since I Fell for You" and the theme from "A Streetcar Named Desire") find Burrell assisted by pianist Richard Wyands (who also played electric piano), bassist Reggie Johnson and drummer Lenny McBrowne. "'Round Midnight" is played by Burrell with pianist Joe Sample, bassist Johnson and drummer Paul Humphrey while "Blues in the Night" is an unaccompanied guitar solo. Although the music overall is well-played, no real sparks fly and the results often border on being sleepy.~ Scott Yanow https://www.allmusic.com/album/round-midnight-mw0000600580

Personnel: Kenny Burrell - guitar; Joe Sample (track 3), Richard Wyands (tracks 1, 2 & 4-6) - piano; Reggie Johnson - bass (tracks 1-6); Lennie McBrowne (tracks 1, 2 & 4-6), Paul Humphrey (track 3) - drums

Round Midnight

Wednesday, April 18, 2018

Oliver Nelson, Eric Dolphy - Straight Ahead

Styles: Saxophone Jazz
Year: 1961
File: MP3@320K/s
Time: 37:11
Size: 85,7 MB
Art: Front

(5:48) 1. Images
(7:18) 2. Six And Four
(5:04) 3. Mama Lou
(9:57) 4. Ralph's New Blues
(5:36) 5. Straight Ahead
(3:27) 6. 111-44

Contrast is everything. Think of food for example: A big salty hunk of mature cheese is nicely offset by a couple of sweet grapes. Gastronomes would never dream of eating a rich foie-gras without the accompaniment of the honeyed sweetness of a glass of Sauternes. The same is true with music; a whole album of fast-paced music quickly becomes draining. Likewise, an hour of chilled-out dub can send you to sleep. The saxophonist and composer Oliver Nelson was obviously acutely aware of this when choosing his musical sparring partners. Nelson's decision to share the frontline on three albums with the multi-instrumentalist Eric Dolphy is often described as brave. I believe that Nelson knew exactly what he was doing. Dolphy, a hero of the avant-garde, has a style so diametrically opposed to Oliver Nelson’s that the two just can’t help but complement each other. This synergy is beautifully demonstrated on the 1961 recording Straight Ahead. Both soloists play a number of instruments, with Nelson on alto/tenor saxophone and clarinet and Dolphy on bass clarinet, alto saxophone and flute. Oliver Nelson was a jazz composer par excellence, and this album does not disappoint. It contains a number of memorable themes, such as “Six and Four,” “Mama Lou” and “Straight Ahead.” Best of all: the soloing. The high-speed elasticity of Dolphy’s runs contrast perfectly with the pure, soaring tone of Nelson. The two horn players spark each other and generate music of genuine intensity. It is worth noting that Oliver Nelson and Eric Dolphy played together on a number of other albums, the highlight of which must be the classic chamber-jazz of The Blues and the Abstract Truth. Pass the grapes.....~ Keiran Smalley https://www.allaboutjazz.com/straight-ahead-oliver-nelson-fantasy-jazz-review-by-keiran-smalley.php

Personnel: Oliver Nelson: alto saxophone, tenor saxophone, clarinet; Eric Dolphy: alto saxophone, bass clarinet, flute; Richard Wyands: piano; George Duvivier: bass; Roy Haynes: drums

Straight Ahead

Sunday, December 31, 2017

Gigi Gryce - The Hap'nin's

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 39:51
Size: 91,6 MB
Art: Front

(7:37) 1. Frankie And Johnny
(5:40) 2. Lover Man
(6:36) 3. Minority
(8:06) 4. Summertime
(4:07) 5. Nica's Tempo
(7:43) 6. Don't Worry 'Bout Me

Altoist Gigi Gryce, who would retire from playing altogether within a couple of years, leads his promising 1960 quintet on this CD reissue. Trumpeter Richard Williams and pianist Richard Wyands take fine solos on the six jazz standards (two of which, "Minority" and "Nica's Tempo," were Gryce's best-known tunes) while bassist Julian Euell and drummer Mickey Roker are fine in support. The hard bop set has its strong moments even this group was largely forgotten after Gryce's retirement. Worth investigating.

~ Scott Yanow https://www.allmusic.com/album/the-hapnins-mw0000177199

Personnel: Gigi Gryce (alto saxophone); Richard Williams (trumpet); Richard Wyands (piano); Julian Euell (bass); Mickey Roker (drums).

The Hap'nin's

Thursday, December 28, 2017

Oliver Nelson - Screamin' The Blues

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 39:54
Size: 91,4 MB
Art: Front

(10:59) 1. Screamin' The Blues
( 4:59) 2. March On, March On
( 5:49) 3. The Drive
( 6:43) 4. The Meetin'
( 6:25) 5. Three Seconds
( 4:58) 6. Alto-itis

Screamin' the Blues is an apt description of the soloists' approach on this 1960 session, here reissued as an RVG remaster, the first of three matching leader Oliver Nelson with avant-gardist Eric Dolphy. Although not as well-known as Nelson's masterpiece, Blues and the Abstract Truth (1961), the date is characterized, above all, by "generosity" on the part of all three principals, including the underrated trumpeter Richard Williams. Nelson's tenor solo on the title tune is the equivalent of an operatic tenor aria full-throated, dramatic, played to the back row. It alone is testimony to the remarkable player he was before putting the horn aside and arranging for everyone from Ringo Starr to Thelonious Monk to opera diva Rise Stevens. Add to these activities his film scores for Last Tango in Paris, Lady Sings the Blues, and Alfie, with a sound-track featuring Sonny Rollins, and you begin to wonder less at why he died so young than how he accomplished so much in his forty-three years. On both tenor and alto Nelson favored a pure but powerful sound. His vibrato spins tightly and he's forward on the beat, but otherwise the decisiveness and absolute assurance with which he "sticks" every note is prime-time Dexter Gordon. Moreover, he thinks like a composer constructing solos with a beginning, middle, and end, each musical narrative culminating in a majestic but hard-earned climax. As harmonically grounded as he is, no player is more averse to "running the changes"; in fact, Nelson incorporates the principle of tension and release practically to the extreme. He will repeat an identical phrase derived from a chord's "extension notes" to the point of discomfort before relinquishing it to the harmonic mainstream. Especially striking examples are his solos on "Perdido (Soul Battle, 1960) and "Mainstem (Mainstem, 1961). Following the stentorian statements of Nelson's tenor and Williams' trumpet on the title tune, Dolphy's squawking bass clarinet sounds like an odd duck. But once moving to alto for "March On, March On" he reveals the aggressive technique and bold harmonies that caused Nelson, a harmonic experimenter and virtuoso player in his own right, to see in Dolphy an adventurous musical soul and kindred spirit, someone capable of pushing the leader to greater risks and potentially greater rewards. Dolphy remains on alto for the next five tunes, frequently raising the bar for Nelson, whose musical-emotional rhetoric, fueled by Dolphy's range-busting top tones and volcanic technique, is not about to give an inch.

After a particularly blistering solo by the guest alto player on the leader's "Alto-itis," Nelson starts his solo tenuously, as though planning his attack carefully before executing with breathtaking surgical precision, leaving the "screamin'" to the entire ensemble on the out chorus. Sounding no less eruptive than the Count Basie band from the Wyands-Duvivier-Haynes power plant to the three explosive horns each impersonating an entire section it's a fitting finale by musicians for whom feeling blue is an occasion for celebrating. ~ Samuel Chell https://www.allaboutjazz.com/screamin-the-blues-oliver-nelson-prestige-records-review-by-samuel-chell.php

Personnel: Oiver Nelson: tenor and alto saxophones; Eric Dolphy: alto saxophone and bass clarinet; Richard Williams: trumpet; Richard Wyands: piano; George Duvivier: bass; Roy Haynes: drums.

Screamin' The Blues

Saturday, October 7, 2017

James Spaulding - Smile of the Snake

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 58:46
Size: 135,5 MB
Art: Front

(4:52) 1. Third Avenue
(5:51) 2. Serenity
(6:07) 3. The Smile of the Snake
(4:58) 4. Lenora
(7:20) 5. Tonight Only
(7:00) 6. Premonition
(5:46) 7. Yes It Is
(5:08) 8. Panchito
(5:51) 9. Love Is Not a Dream
(5:48) 10. Havana Days (Cuba 1954)

One of the most underrated saxophonists of the post-1960 era, James Spaulding has long been a passionate postbop altoist and a warm flutist. On this superior outing he is heard in top form on both of his axes (plus two appearances on bass flute) in a quartet with pianist Richard Wyands, bassist Ron McClure and drummer Tony Reedus. Producer Donald Sickler helped advise Spaulding on the material and the result is a high-quality set of obscurities by Wyands, McClure, Clifford Jordan, Donald Brown, Geoff Keezer and Idrees Sulieman. Spaulding digs into the songs, displays a great deal of versatility and certainly has his fiery moments. One of James Spaulding's finest allround recordings. ~ Scott Yanow https://www.allmusic.com/album/smile-of-the-snake-mw0000038736

Personnel: Alto Saxophone – James Spaulding; Bass – Ron McClure; Drums – Tony Reedus; Flute – James Spaulding; Flute [Bass Flute] – James Spaulding; Piano – Richard Wyands

Smile of the Snake

Thursday, September 28, 2017

Cecil Payne - Casbah

Styles: Saxophone And Piano Jazz
Year: 1985
File: MP3@320K/s
Time: 43:24
Size: 99,7 MB
Art: Front

(6:56) 1. Casbah
(6:54) 2. Carney
(8:18) 3. Wave
(5:52) 4. A Walkin' Thing
(3:36) 5. Time After Time
(5:49) 6. How Deep Is the Ocean
(5:55) 7. Bosco

This excellent effort is slightly unusual in that baritonist Cecil Payne (who doubles a bit on flute) is joined by a pianoless and drumless rhythm section (pianist Richard Wyands, guitarist Joe Carter and bassist Stafford James). The intimate setting suits Payne well, who is in top form on such numbers as Tadd Dameron's "Casbah," a song dedicated to Harry Carney (simply called "Carney"), Benny Carter's "A Walkin' Thing" and Payne's "Bosco." Cecil Payne remains one of the most underrated baritonists of the bop era; this small-label LP is a fine example of his talents. ~ Scott Yanow http://www.allmusic.com/album/casbah-mw0000106743

Cecil Payne (baritone sax) Richard Wyands (piano) Joe Carter (guitar) Stafford James (bass)

Casbah

Friday, June 30, 2017

Gigi Gryce Orch-tette - Reminiscin'

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 33:09
Size: 77,5 MB
Art: Front

(3:25) 1. Blue Light
(4:26) 2. Caravan
(4:00) 3. Reminiscing
(4:46) 4. Yesterdays
(3:21) 5. Gee Blues Gee
(5:13) 6. A Night In Tunisia
(4:20) 7. Dearly Beloved
(3:35) 8. Take The ''A'' Train

Gigi Gryce was a fine altoist in the 1950s, but it was his writing skills (including composing the standard "Minority") that were considered most notable. After growing up in Hartford, CT, and studying at the Boston Conservatory and in Paris, Gryce worked in New York with Max Roach, Tadd Dameron, and Clifford Brown. He toured Europe in 1953 with Lionel Hampton and led several sessions in France. After freelancing in 1954 (including recording with Thelonious Monk), Gryce worked with Oscar Pettiford's groups (1955-1957) and led the Jazz Lab Quintet (1955-1958), a band featuring Donald Byrd. He had a quintet with Richard Williams during 1959-1961, but then stopped playing altogether to become a teacher. During his short career, Gigi Gryce recorded as a leader for Vogue (many of the releases have been issued domestically on Prestige), Savoy, Metrojazz, New Jazz, and Mercury. ~ Scott Yanow https://itunes.apple.com/ca/album/reminiscin-orch-tette/id590705894

Personnel: Alto Saxophone – Gigi Gryce; Bass – George Duvivier , Julian Euell , Reginald Workman; Drums – Bob Thomas,Walter Perkins; Piano – Richard Wyands; Trumpet – Richard Williams; Vibraphone – Eddie Costa

Reminiscin'

Tuesday, June 27, 2017

Gigi Gryce - The Rat Race Blues

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 40:32
Size: 93,2 MB
Art: Front

( 6:38) 1. The Rat Race Blues
( 7:49) 2. Strange Feelin'
( 7:03) 3. Boxer's Blues
( 7:48) 4. Blues In Bloom
(11:12) 5. Monday Through Sunday

Altoist Gigi Gryce's next to last album before permanently dropping out of jazz has been reissued on this CD. With trumpeter Richard Williams, pianist Richard Wyands, bassist Julian Euell, and drummer Mickey Roker also part of what was a working quintet, Gryce (underrated as a soloist and a particularly strong composer) had one of his finest bands. The group swings its way through two of Gryce's lesser-known originals and three then-recent obscurities. Interesting and generally fresh straight-ahead jazz. ~ Scott Yanow http://www.allmusic.com/album/the-rat-race-blues-mw0000263253

Personnel: Gigi Gryce - alto saxophone; Richard Williams – trumpet; Richard Wyands – piano; Julian Euell – bass; Mickey Roker - drums

The Rat Race Blues

Monday, June 26, 2017

Gene Ammons - A Stranger In Town

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Saxophone jazz

Year: 2002

Art: Front

[9:41] 1. The Song Is You

[3:59] 2. Light'n Up

[3:32] 3. Short Stop

[3:58] 4. They Say You're Laughing At Me

[4:13] 5. Salome's Tune

[4:10] 6. Blue Coolade

[5:58] 7. A Stranger In Town

[5:32] 8. Scam

[4:24] 9. Count Your Blessings

[3:07] 10. Cara Mia

[5:18] 11. Night Lights

[5:41] 12. Calypso Blues

[8:11] 13. Nature Boy

Alto Saxophone – Oliver Nelson;Baritone Saxophone – Gene Easton, Robert Ashton; Bass – George Duvivier, Wendell Marshall; Congas – Henry Pucho Brown, Ray Barretto; Drums – Billy English, Ed Thigpen, George Brown, Rudy Collins, Walter Perkins; Piano – John Houston, Mal Waldron, Patti Brown, Richard Wyands, Wynton Kelly; Tenor Saxophone – Gene Ammons, George Barrow, Red Holloway; Trombone – Henderson Chambers; Trumpet – Clark Terry, Hobart Dotson, Nate Woodward.

More so than other independent jazz labels such as Blue Note and Riverside, the powers to be at Prestige seemed to take great liberties in producing albums that would often contain cuts from multiple sessions, a discographical nightmare at its most basic. But even more troubling, this often made for a lack of coherence that could be disconcerting at times. What then made all of this worse was that the practice was often used with some of the label’s most important and visible artists.

The forgoing will hopefully put into perspective the circumstances surrounding the strange mélange that makes up the Gene Ammons compilation A Stranger In Town. Taken from no less than five recording sessions that span from 1954 to 1970, the 13 tracks assembled here originally appeared on the albums Velvet Soul, Sock!, and Night Lights. That’s the easy part; and then it gets confusing as you try to keep up with the rotating cast of characters on hand. A boisterous “The Song Is You” gets us started with some great small group charts provided by Oliver Nelson, only to give way to a spate of quartet performances that while solid are not particularly all that revelatory. The closing three tracks, particularly a tasty “Calypso Blues,” are the cream of the crop as Ammons' blustery attack gets bluesy support from the ubiquitous Wynton Kelly. ~C. Andrew Hovan

A Stranger In Town