Dianne Reeves - The Grand Encounter

Styles: Vocal Jazz 
Year: 1996
File: MP3@320K/s
Time: 50:26
Size: 116,7 MB
Art: Front

(5:01)  1. Old Country
(3:23)  2. Cherokee
(8:12)  3. Besame Mucho
(3:46)  4. Let Me Love You
(4:54)  5. Tenderly
(6:06)  6. After Hours
(3:27)  7. Ha!
(5:24)  8. Some Other Spring
(5:08)  9. Side By Side
(4:59) 10. I'm Okay

This CD could have been titled Finally! Dianne Reeves has long had the potential to be the top female jazz singer, but so many of her previous recordings were erratic as she skipped back and forth between idioms without committing herself. However, after years of flirting with jazz and being seemingly undecided whether she would rather be a pop star, she at last came out with a full jazz album in 1996, and it is a gem. The supporting cast on the ten selections (which feature different personnel on each cut) is remarkable and everyone gets a chance to play: trumpeters Clark Terry and Harry "Sweets" Edison, altoists Phil Woods and Bobby Watson, tenorman James Moody, trombonist Al Grey, harmonica great Toots Thielemans (on "Besame Mucho"), pianist Kenny Barron, bassist Rodney Whitaker, and drummer Herlin Riley.

In addition, Joe Williams shares the vocal spotlight on "Let Me Love You" and a touching version of "Tenderly," Germaine Bazzle sings along with Reeves on "Side by Side," and a rendition of Charlie Ventura's "Ha!" has a vocal group consisting of Reeves, Bazzle, Terry, Moody, and the young Kimberley Longstreth. Other highlights include Nat Adderley's "Old Country," "Some Other Spring," and "Cherokee." Despite the heavy "competition," the leader emerges as the star of the set due to her beautiful voice and highly expressive singing. This highly recommended CD is the Dianne Reeves release to get. By Scott Yanow
https://www.allmusic.com/album/the-grand-encounter-mw0000081516

Personnel: Vocals – Dianne Reeves, Germaine Bazzle, Joe Williams , Kimberley Longstreth; Vocals, Tenor Saxophone – James Moody; Vocals, Trumpet – Clark Terry ; Alto Saxophone – Bobby Watson , Phil Woods; Bass – Rodney Whitaker; Drums – Herlin Riley; Harmonica – Toots Thielemans; Piano – Kenny Barron; Trombone – Al Grey ; Trumpet – Harry "Sweets" Edison

The Grand Encounter

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Libby York - DreamLand

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 55:09
Size: 127,1 MB
Art: Front

(4:14) 1. Hit The Road To Dreamland
(5:33) 2. Estrada Branca (This Happy Madness)
(3:15) 3. Mountain Greenery
(4:59) 4. Cloudy Morning
(7:14) 5. Throw It Away
(3:44) 6. Rhode Island Is Famous For You
(4:32) 7. Still On The Road
(4:17) 8. When October Goes
(2:57) 9. Moonray
(4:27) 10. An Occasional Man
(5:24) 11. Something Cool
(4:27) 12. It's Love

The Johnny Mercer classic “Hit the Road To Dreamland” evoked the state of mind for singer Libby York and so many performers as stages in 2020 long went dark, but ultimately gifting the thrill of revival two years later. Dedication to the music and craft has flourished since, along with the connection to audiences and the music itself.

DreamLand was born from that landscape and York's chance encounter with guitarist Randy Napoleon, who was accompanying Freddie Cole at Chicago's Jazz Showcase. Randy’s playing and warm enthusiastic manner set the stage for their gathering in the studio in Fall 2021 for this intimate set of songs, each pure, classic, compositional gems in themselves. "..a gifted and experienced singer whose warm tone and sharp sense of humor bolster her restrained artistry." By The New Yorker
https://www.allaboutjazz.com/media/track-hit-the-road-to-dreamland-by-libby-york

Personnel: Libby York - vocals; Randy Napoleon - guitar; Rodney Whitaker - bass; Keith Hall - drums

DreamLand

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Michael Dease - The Other Shoe: The Music of Gregg Hill

Styles: Trombone Jazz
Year: 2023
File: MP3@320K/s
Time: 69:07
Size: 159,1 MB
Art: Front

( 3:28) 1. Wake Up Call
( 6:48) 2. Scooter's Dream
( 8:15) 3. Hello, Blues
( 5:38) 4. The Goodbye Blues
( 8:10) 5. The Sleeper
( 5:33) 6. The Classic
( 6:04) 7. Rio Mio
( 5:50) 8. Summer Nights
( 4:24) 9. Shorty's Tune
(14:53) 10. The Other Shoe

Perennial DownBeat Critics Poll winner, trombonist Michael Dease has embraced his role as a torchbearer for his mentors and the great jazz ancestors over his 15 deeply-swinging, state-of-the-art mainstream recordings. For 'The Other Shoe,' Dease teams with the formidable composer Gregg Hill, expanding his rhythmic & harmonic palette with a flexible, in-the-moment perspective while remaining true to the sensibilities at his musical core.

With the prodigiously talented pianist Geoffrey Keezer as a central foil, Dease brings along a wide-ranging collection of musicians, each specifically brought in for their unique outlooks and talents, including clarinetist Virginia MacDonald, Liany Mateo on bass, and drummer Colleen Clark, among others.
https://www.allaboutjazz.com/media/track-wake-up-call-by-michael-dease

Personnel: Michael Dease - trombone; Virginia MacDonald - clarinet ; Geoffrey Keezer - keyboards; Liany Mateo - bass; Colleen Clark - drums.

Additional Personnel : Luther Allison: piano and Fender Rhodes; Rodney Whitaker: bass; Kevin Jones: percussion; Gwendolyn Dease: percussion; Joel Perez: trombone.

The Other Shoe: The Music of Gregg Hill

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Arkadia Jazz All-Stars - It's About Love

Styles: Jazz Contemporary
File: MP3@320K/s
Time: 69:43
Size: 160,8 MB
Art: Front

(6:44) 1. Mood Indigo
(5:48) 2. A Summer Affair
(4:38) 3. My Cherie Amour
(8:37) 4. My Funny Valentine
(5:06) 5. Round Midnight
(4:27) 6. It's Really All About Love
(5:18) 7. The More I See You
(6:02) 8. Interlude
(5:53) 9. Passionata
(6:28) 10. Ask Me Now
(4:51) 11. I Want to Talk About You
(5:46) 12. A Perfect Couple

It could be said that jazz is really the musical language of Love. Like any quest, you have to seek jazz out, it never comes to you, and it may take a long time to truly understand its message but as soon as you hear it, you know you’ve found love. Jazz, like all personal relationships, has so many moods that it may confound you at first, but once you get to know it, there’s no turning back. Much of the repertoire of jazz has been dedicated to love and Arkadia Jazz All-Stars have recorded an album that celebrates the romantic, intimate side of jazz, and musically explores the unanswerable question: What is Love?

Starting off with Benny Golson’s sublime reading of Duke Ellington’s Mood Indigo, the stage is set for romance. The nylon strings of Nigel Clark are featured next in the breezy A Summer Affair, capturing the smoldering flame of passion. Joanne Brackeen performs Stevie Wonder’s pop standard My Cherie Amour in her own dynamic and totally individual way, and Randy Brecker’s Grammy Nominated performance on My Funny Valentine is a moment of real beauty. Both artists bring new depth to several of the all time great love songs. Paul Tobey’s sensitive and insightful rendition of Monk’s Round Midnight is rhapsodic, using subtle dissonances to create tension, released by his flowing lines.

T.K. Blue’s original composition, It’s Really All About Love features the flute, an instrument often tied with romanticism. The More I See You by Mary Pearson expresses the sentiment of undying love that we all long to have, as does the masterful ballad Interlude by the Billy Taylor Trio. Passionata was an unfinished composition by Kenny Drew Sr. that was completed and recorded by his son, Kenny Drew Jr., and is a testament to familial love. Eric Reed’s rendition of Monk’s Ask Me Now is a sparse, yet tender and eloquent doctrine on the state of love. David Liebman and Vic Juris show their gentle sides on the sparkling I Want To Talk About You, while pianist Uli Lenz’s mesmerizing A Perfect Couple brings this recording to a romantic close and is the perfect denouement for this CD, “It’s About Love.”

What happens to us when we fall in love, and when we hear or see something that kindles our passions? Our outlook on life becomes filled with possibilities. Jazz mirrors our life experiences, and we should try to remember that in our collective consciousness. As in our personal relationships, jazz is about the joy and creation of beauty and human emotion in real time. Share this music with someone; it has something to do with discovery and hope. It has something to do with love.

Whether looking surround yourself with beautiful ballads, or to set the mood for a romantic evening, or simply looking for a special Valentines Day gift all year round, “It’s About Love” is a wonderful collection that provides both the romantic atmosphere and world class music from some of the most influential sounds in Jazz.
https://arkadiajazzallstars.com/product/arkadia-jazz-all-stars-its-about-love/

Personnel: Carl Allen: Drums; James Weidman: Piano; Santi Debriano: Bass; Kenny Drew Jr.: Piano; Eric Reed: Piano; Peter Washington: Bass; Lewis Nash: Drums; Rodney Whitaker: Bass; Dave Liebman: Soprano sax; Vic Juris: Guitar; Dean Johnson: Bass; Ron Vincent: Drums;

It's About Love

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Charles Sullivan - Kamau

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 60:29
Size: 139,2 MB
Art: Front

(11:07)  1. Carefree
(11:57)  2. Dreams Die Young In the Eyes of the Native Son
( 9:33)  3. Malcolm
(12:16)  4. Patrice
( 5:37)  5. Last Embrace
( 9:57)  6. Looking For Love

Charles Sullivan (who changed his name to Kamau Muata Adilifu in 1980) was quite active as a member of various Broadway show orchestras during 1981-95 but had only played jazz on an irregular basis during the interim, most notably with McCoy Tyner's big band. His first date as a leader since a Japanese record in 1974 features Adilifu playing his own originals. The frequently modal music is in some ways a throwback to the acoustic scene of the 1970s in that there are long melody statements and a liberal use of vamps. Adilifu's six originals generally develop slowly but are quite effective in setting moods and serving as viable vehicles for the solos of the trumpeter, tenor saxophonist Craig Handy and pianist Kenny Barron; bassist Rodney Whittaker and drummer Victor Lewis are active and alert in support. Everyone plays up-to-par, making Kamau Adilifu/Charles Sullivan's "comeback" record quite successful as creative jazz. ~ Scott Yanow https://www.allmusic.com/album/kamau-mw0000186257

Personnel:  Charles Sullivan – trumpet; Craig Handy – tenor saxophone, soprano saxophone; Kenny Barron – piano; Rodney Whitaker – double bass; Victor Lewis – drums

Kamau

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Eric Reed - The Swing and I

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 68:12
Size: 156,8 MB
Art: Front

(4:38)  1. The Swing and I
(7:03)  2. The Gemini Suite: The First Man - 'Scotty'
(2:25)  3. The Gemini Suite: The Second Man -'Frank Marshall'
(3:18)  4. The Gemini Suite: The Fourth Man -'Holden Caulfield'
(3:50)  5. Felix the Cat
(8:52)  6. Ahmad's Blues
(4:40)  7. Ka-Boose
(0:50)  8. Frenzia
(7:21)  9. A Spoonful of Sugar
(3:56) 10. Listen Here
(0:27) 11. Uncle Lucius' Interlude
(5:33) 12. Old Flame
(3:42) 13. Healing Hand
(2:34) 14. Evergreen
(3:22) 15. Big Dogs
(3:12) 16. Let Us Go into the House of the Lord
(0:58) 17. Acknowledgement
(1:25) 18. Praise #1

Pianist Eric Reed is one of a large number of talented musicians who emerged from Wynton Marsalis' bands to pursue a rewarding solo career in his own right. Born in Philadelphia in 1970, Reed's first exposure to music came through his father, a minister and local gospel singer; he began playing piano at age two and soon discovered jazz, quickly developing into a musical prodigy. He entered music school at age seven, and resisted classical training in favor of jazz, inspired early on by Dave Brubeck, Ramsey Lewis, Art Blakey, and Horace Silver. Four years later, he moved with his family to Los Angeles, where he digested enough jazz history that he was able to begin playing around the city's jazz scene as a teenager, both as a leader and a sideman for the likes of Gerald Wilson, Teddy Edwards, John Clayton, and Clora Bryant. He first met Wynton Marsalis at age 17, and toured briefly with the trumpeter the following year (his first and only at Cal State-Northridge). In 1989, Reed officially joined Marsalis' band as the replacement for Marcus Roberts; the following year, he issued his debut album as a leader, A Soldier's Hymn, on Candid, with backing by his regular trio of bassist Dwayne Burno and drummer Gregory Hutchinson.

In 1991 and 1992, Reed worked with Freddie Hubbard and Joe Henderson as a sideman, returning to Marsalis' group by the end of 1992. He cut a pair of well-received albums for MoJazz, It's All Right to Swing and The Swing and I, in 1993 and 1994, and in 1995 embarked on his first tour as leader of his own group. Two more dates for Impulse!, 1996's Musicale and 1997's Pure Imagination, found his style maturing and his critical and commercial success growing; he also spent 1996-1998 playing with the Lincoln Center Jazz Orchestra. 1999's Manhattan Melodies, his first outing for Verve, was a colorful and sophisticated tribute to New York City; that year, he also undertook the most prominent of several film-scoring projects, the Eddie Murphy/Martin Lawrence comedy Life. Reed also continued to record with Marsalis up into the new millennium. 2001 brought the acclaimed Happiness on Nagel-Heyer, and the next year saw two releases, the well-received From My Heart and a duet album with frequent cohort Wycliffe Gordon on trombone, We. He recorded and played frequently during subsequent years, including a second volume with Gordon (We, Vol. 2) and several sessions for Savant. In 2009, Reed released the gospel-inspired Stand! and returned the following year with Plenty Swing, Plenty Soul, a duet album with Cyrus Chestnut. Beginning with 2011's The Dancing Monk, Reed embarked on an ongoing recording project of Thelonious Monk's music; a theme he revisited on 2012's Baddest Monk and 2014's The Adventurous Monk.~Steve Huey http://www.allmusic.com/artist/eric-reed-mn0000799352/biography

Personnel: Eric Reed (piano); Eddie Bailey (vocals); Ben Wolfe, Rodney Whitaker (acoustic bass); Greg Hutchinson (drums); Denise Morgan, Suzzane Williams, Beverly Taylor (background vocals).

The Swing and I

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Arkadia Jazz All-Stars - Thank You, Joe! (Our Tribute to Joe Henderson)

Styles: Jazz Contemporary
Year: 2000
File: MP3@320K/s
Time: 55:56
Size: 129,2 MB
Art: Front

(6:20) 1. Mamacita
(4:16) 2. Isfahan
(6:26) 3. Gazelle
(7:12) 4. The Kicker
(6:28) 5. Ask Me Now
(6:01) 6. Recorda Me
(3:53) 7. Isotope
(8:38) 8. Inner Urge
(6:38) 9. Granted

This 2000 release titled Thank You, Joe! Our Tribute to Joe Henderson represents Arkadia's fourth in a series of "tributes" to jazz artists who have made a conspicuous difference to this constantly evolving musical art form. On this recording, seasoned veterans such as trumpeter Randy Brecker and pianist Joanne Brackeen coalesce with some of the more prominent stars to emerge out of the '80s and '90s jazz scene for a hearty tribute to the great saxophonist Joe Henderson.

While Joe Henderson rose through the ranks during the '60s he did not enjoy the fame and success that several of his peers were receiving, yet Henderson gradually emerged as a gifted stylist who melded a silken, atmospheric tone with distinctive and altogether enviable chops. Additionally, the saxophonist has garnered a reputation as a shrewd and rather prolific composer. Here, the music of Joe Henderson serves as the framework for this upbeat and smartly produced set featuring some of the artist's more recognizable compositions. With the bossa nova-tinged "Mamacita," pianist Eric Reed, trumpeters Randy Brecker and Terrell Stafford, and tenor saxophonist Javon Jackson pursue poetic lyricism and impassioned soloing while Brecker and Stafford alternate and trade vicious fours on the bop burner, "The Kicker." Overall, the musicians engage Henderson's aura with bold enthusiasm and conviction as they eternalize the saxophonist's significance via strong soloing and finely crafted arrangements that sustain interest throughout~Glenn Astaritahttps://www.allmusic.com/album/thank-you-joe%21-our-tribute-to-joe-henderson-mw0000067831

Personnel: Eric Reed-piano, Javon Jackson-tenor sax, Randy Brecker-trumpet, Carl Allen-drums, Steve Nelson-vibraphone, Terrell Stafford-trumpet, Renato Thoms-percussion, Rodney Whitaker-bass, Carl Allen-drums

Thank You, Joe!(Our Tribute to Joe Henderson)

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Rodney Whitaker - Cranbrook Christmas Jazz

Styles: Christmas
Year: 2020
File: MP3@320K/s
Time: 71:12
Size: 164,5 MB
Art: Front

(6:01) 1. Personent Hodie
(4:55) 2. The Christmas Song
(4:59) 3. In the Bleak Midwinter
(4:41) 4. We Three Kings
(2:54) 5. I Love the Winter Weather
(3:10) 6. Christmas Time is Here
(8:49) 7. Winter Wonderland
(5:35) 8. O Holy Night
(4:52) 9. A Child is Born
(4:44) 10. My Favorite Things
(4:49) 11. It's Easy to Blame the Weather
(5:41) 12. Little Drummer Boy
(4:31) 13. Silent Night
(5:23) 14. Have Yourself a Merry Little Christmas

Legendary bassist Rodney Whitaker has been a celebrated force in Michigan's jazz eco-system since returning to develop the world-class program at Michigan State University. Active with numerous jazz legacy institutions, Whitaker has spent five-years as Artist in Residence with the historic Christ Church Cranbrook near Detroit, where its wide-ranging arts and community offerings has afforded Whitaker and choir director Christopher Wells to collaborate, providing rich opportunities to bring together the worlds of jazz and traditional choir music. This recording documents their long-running Sacred Jazz Concerts and features preeminent jazz vocalist Vanessa Rubin, with Whitaker's sextet and the Church's choir, performing arrangements of hymns, Christmas favorites, and jazz standards of the season, including Mel Torme's "The Christmas Song" and Vince Guaraldi's "Christmas Time Is Here." https://www.challengerecords.com/products/16079376420078

Personnel: Rodney Whitaker: Bass; Timothy Blackmon: Trumpet; Len’I McKinney: Baritone & Alto Saxophone; Chris Glassman: Bass Trombone; Vanessa Rubin: Vocal; Rockelle Whitaker: Vocal; Christopher McDole: Vocal; Marc Meyers: Vocal; Kate Lucander: Vocal.

Cranbrook Christmas Jazz

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Orrin Evans - Grown Folk Bizness

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 65:06
Size: 149,7 MB
Art: Front

(7:26)  1. Rocking Chair
(5:45)  2. Firm Roots
(8:02)  3. That Old Feeling
(8:48)  4. The Elm
(4:22)  5. Bernie's Tune
(5:17)  6. Volition
(9:05)  7. Rhythm-a-ning
(6:54)  8. Toy Tune
(9:21)  9. Route 80 East

It's been a few years since pianist Orrin Evans placed in the Thelonious Monk Piano Competition. All the while, he's been maturing as an artist with a nice spate of Criss Cross dates along the way documenting that development. Grown Folk Bizness is Evans' third release for the label and it ups the ante even further from what we experienced on his first two illustrative discs. This is due, in part, to the pianist's further amalgamation of his varied influences, but also the product of the heavy company the man keeps. To hold your own under the collective one-two punch of drummer Ralph Peterson is saying something. But Evans not only holds his own, he slings it right back, as the two fire off phrases at each other with deceptive panache. A front row seat to such action can be had by skipping to "Firm Roots," a seditious performance bounding with collective fireworks. An interesting point to ponder, Peterson has made a few consequential records as of late with pianist Uri Caine (the superlative and recent Blue Wail on Winter and Winter comes to mind) and the concentrated experience that came from that activity must have had some effect on his approach to the recital at hand, as both Evans and Caine tend to be forward-thinking and rambunctious players. As for his overall concept, Evans avoids the ordinary, maybe to the point of being too cagey at times, but he manages to push the music towards unexpected vistas. An obvious flight from clichés is the opening number, a solo piano take on Hoagy Carmichael's "Rocking Chair" which includes hints of stride, Cecil Taylor, and Monk all rolled into one. "That Old Feeling," which might tend to be associated with pianists along the line of Gene Harris or Dave McKenna, gets a substantial facelift in Evans' hands, a nice section in the middle developed through the use of block chords displaced to the offbeats. Then, as if to suggest that his "bag" is a capacious one, things take on an ECMish hue with a reworking of Richie Beirach's "The Elm." For some extra seasoning, saxophonists Ralph Bowen and Sam Newsome sit in on one number apiece and then team up for the concluding Route 80 East, a rollicking jam that caps off a dazzling junior effort from Evans. While the "mixed bag" approach that comes with Evans' style may seem schizophrenic at times, there's also great promise in this pianist's forward-thinking stance and fans of piano trio jazz will find more than enough sustenance here to keep this disc in heavy rotation. ~ C.Andrew Hovan https://www.allaboutjazz.com/grown-folk-bizness-orrin-evans-criss-cross-review-by-c-andrew-hovan.php

Personnel: Orrin Evans- piano, Rodney Whitaker- bass, Ralph Peterson- drums, Ralph Bowen- alto and tenor sax (tracks 7 & 9 only), Sam Newsome- soprano sax (tracks 8 & 9 only)

Grown Folk Bizness

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Carl Allen, Rodney Whitaker - Work To Do

Styles: Straight-Ahead Jazz
Year: 2009
File: MP3@320K/s
Time: 64:03
Size: 147,8 MB
Art: Front

(6:06)  1. Work to Do
(6:29)  2. Speak to My Heart
(7:03)  3. For Garrison (Both)
(6:24)  4. Giving Thanks
(5:30)  5. What's Going On
(6:58)  6. Eleanor Rigby
(6:49)  7. With You I'm Born Again
(6:38)  8. Grahamstown
(3:03)  9. A Time for Love
(8:57) 10. Relativity

On Carl Allen and Rodney Whitaker's Work to Do, their second collaboration with Mack Avenue Records, the musicians focus on groove, beauty and respect for the tradition. Allen and Whitaker provide a swinging backdrop for some of New York's finest and most respected musicians, including guitarist Rodney Jones and saxophonist Vincent Herring, two very distinctive contributors to the album. Joined by five other accomplished artists, the A-list lineup combines to make an electrifying 9-piece ensemble. Work to Do features 11 tracks, including reworked pop-classics and originals that range from achingly beautiful tunes to those possessing an energized post-bop feel. Highlights include Whitaker's hard-bop original "For Garrison," written for his son, who was named after jazz legend Jimmy Garrison. Here, the melody played by both Chandler and Herring is supported rhythmically by Allen who also provides suspense through his fills, which lead the band into an unbreakable and energized swing feel for the solo section. The The Beatles' "Eleanor Rigby," is uniquely interpreted with the band switching effortlessly between 5/4 and 4/4 throughout, and which Herring uses to his advantage to create a truly impressive solo. On Johnny Mandel's "Time for Love," Jones' sensitivity as a player is heard through the enchanting lines which accompany Whitakers' bowed melody. Finally, for the bonus track, Allen and Whitaker play a duo a version of "For Garrison," displaying their effortless musical partnership. Although Work to Do may not be categorized as an innovative album, it does possess remarkable musicality throughout, created by a group of players who have an obvious love for making music together and enjoy an array of different styles as long as it feels good.~ Angela Davis https://www.allaboutjazz.com/work-to-do-carl-allen-and-rodney-whitaker-mack-avenue-records-review-by-angela-davis.php

Personnel: Personnel:Carl Allen: drums; Rodney Whitaker: bass; George Colligan: piano; Rodney Jones: acoustic and electric guitars; Dorsey "Rob" Robinson: B3 organ; Brandon Lee: trumpet; Kirk Whalum: tenor and soprano saxophone; Vincent Chandler: trombone; Vincent Herring: alto and soprano saxophone.

Work To Do

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Mack Avenue SuperBand - Live from the Detroit Jazz Festival

Styles: Jazz, Big Band
Year: 2015
File: MP3@320K/s
Time: 59:16
Size: 136,5 MB
Art: Front

( 0:59)  1. Introduction
( 9:49)  2. Riot
(10:31)  3. The Struggle
( 7:53)  4. A Mother's Cry
(11:25)  5. Santa Maria
( 7:01)  6. For Stephane
( 1:17)  7. Introduction to Bipolar Blues Blues
(10:17)  8. Bipolar Blues Blues

Bands fostered by labels and sourced from their stables are nothing new. The concept itself has always carried great possibility, but many a label has dropped the ball on the artistic responsibility side of the equation. At their worst, these types of get-togethers have come off as incongruous gatherings that are crudely slapped together. The concerts and/or albums that often fall into that category typically have one thing in common: they're there to make a quick buck and nothing else really matters. But not every label gathering is made for that purpose. A label band, when done right, can help to showcase artists while displaying and furthering a sense of community. The Mack Avenue Superband projects prove that point.  So what exactly makes this album and its two antecedents work while other such projects have failed miserably? There's no easy answer, but organization and attention to detail may very well be the keys to success. This gathering may take place on one fine day, but the band's music director bassist Rodney Whitaker starts to formulate a plan several months ahead of time, reaching out to the musicians to put together a program where everybody has input. So while the seven musicians featured on this album may not be the most stylistically well-matched on paper, with relatively straight ahead players, a gypsy jazz guitarist, and a smooth-gospel saxophone star joining forces, they're all on the same page from beginning to end and there's a spirit of togetherness here that's refreshing to encounter on such an offering.  

Everybody involved with this album knows the drill and comes prepared. Whitaker, his longtime drumming partner Carl Allen, Hot Club of Detroit guitarist Evan Perri, and pianist Aaron Diehl have all been on board for both of the previous incarnations of this group; vibraphonist Warren Wolf and saxophonists Tia Fuller and Kirk Whalum have each taken part in one of these gatherings before. Here, they all gel beautifully in various combinations. Whalum and Fuller blow atop the rhythm section with vim and vigor on the former's "Bipolar Blues Blues"; Wolf and Perri prove to be surprisingly well-matched partners, locking in together on Herbie Hancock's "Riot" and pulling from the same stylistic bag on Perri's Spanish-tinged, Chick Corea-esque "For Stephanie"; Wolf's vibes, Fuller's soprano, and Whalum's flute meld and move gently atop the light Latin flow below on Whitaker's "A Mother's Cry"; and Diehl's gifts as a genre-blind player with exquisite taste and an enormous musical vocabulary come to the surface on his own "Santa Maria," a piece which opens on three-and-a-half minutes of expression-rich piano exploration before taking shape as a swinger that vacillates between lightheartedness and resoluteness. This edition of the Mack Avenue Superband has much to offer, proving that the difference between success and failure with label bands rests with the execution and the chemistry. With sound planning and the right participants, a label concoction can be a very good thing. ~ Dan Bilawsky https://www.allaboutjazz.com/live-from-the-detroit-jazz-festival-2014-mack-avenue-superband-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Rodney Whitaker: music director, acoustic bass; Carl Allen: drums; Aaron Diehl: piano; Tia Fuller: alto saxophone, soprano saxophone; Evan Perri: guitar; Kirk Whalum: tenor saxophone, flute; Warren Wolf: vibraphone.

Live from the Detroit Jazz Festival

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Phil Dwyer, Alan Jones, Rodney Whitaker - Let Me Tell You About My Day

Bitrate: MP3@320K/s
Time: 69:50
Size: 159.9 MB
Styles: Saxophone jazz
Year: 2005
Art: Front

[6:07] 1. Afternoon In Paris
[4:54] 2. Narcolypso
[4:59] 3. The Black Beer
[5:57] 4. Refuge
[7:58] 5. I Can't Believe That Your're In Love With Me
[7:33] 6. Two White Heads
[6:29] 7. Thangs
[6:53] 8. Camp Whitaker
[5:06] 9. Airegin
[4:59] 10. Winter Moon
[4:22] 11. For Garrison
[4:28] 12. Let Me Tell You About My Day

Canadian saxophonist Phil Dwyer and American drummer Alan Jones join forces with veteran bassist Rodney Whitaker to uncork a series of warm and powerful readings of originals and standards on this album, which was nominated for thie 2006 JUNO awards (the Canadian Grammys).

Let Me Tell You About My Day mc
Let Me Tell You About My Day zippy

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Wycliffe Gordon - The Search

Styles: Trombone Jazz
Year: 2000
File: MP3@320K/s
Time: 65:22
Size: 150,2 MB
Art: Front

(6:37)  1. Cheeky
(5:52)  2. What Is This Thing Called Love
(3:25)  3. He Looked Beyond My Fault (Danny Boy)
(5:29)  4. Frantic Flight
(7:16)  5. The Search (Part I and II)
(5:42)  6. Touch It Lightly
(4:31)  7. Georgia on My Mind
(2:49)  8. Sweet Georgia Brown
(5:14)  9. Blues for Deac'n Cone
(5:43) 10. Sign Me Up
(5:05) 11. Stardust
(5:22) 12. Ba-Lue Bolivar Ba-Lues
(2:12) 13. Rhythm-A-Ning

Nagel Heyer knows a good thing when it sees or rather, hears it. It has brought trombonist Wycliffe Gordon to the studio or captured him at live performances several times during the year, either, as here, as a leader or as a sideman with other Nagel Heyer jazz artists. Judging from the play list expand Gordon's recorded output. Consequently, the CD's agenda includes not only some classic standards, but modern music by Thelonious Monk, a couple of blues things and five originals by Gordon. Gordon and his colleagues clearly enjoy the diverse list they have been asked to perform. There's musical testifyin' on the traditional Sign Me Up where Gordon displays his agility on the Tuba. Then comes the dripping corn pone, chicken gravy Southern blues on "Blues for Deac'n Cone" with the piano of Eric Reed and the bass trombone of Roger Floreska getting important air time. We also hear Gordon on the didgeridoo. So what's a didgeridoo? This long, straight instrument has been used for many years in the playing of traditional aboriginal music. It's a big thing in Australia to the point of being the subject of several of its own web sites. It is the main instrument on Gordon's "The Search" and variously sounds like a mouth organ, drum, a tightly strung fiddle and some others I can't quite place. But it is unique and when used in combination with other instruments like Winard Harper's drum, it is important to the statement Gordon wants to make through this composition.  Other to note include a beautiful haunting rendition of "Stardust" by Gordon and Reed with their contrasting styles giving some new life to this classic tune and a swinging Gordon composed "Cheeky". Confident in his expertise as a trombonist, Gordon is not averse to inviting other significant players of that instrument to join him on this CD. All these trombones recall those J. J. Johnson/Kai Winding Octet recordings from the 1960's. The trombone choir approach is used effectively on "Danny Boy". This is a top flight album of excellent music skillfully arranged and played with imagination and verve. Highly recommended. ~ Dave Nathan https://www.allaboutjazz.com/the-search-wycliffe-gordon-review-by-dave-nathan.php?width=1536

Personnel: Wycliffe Gordon : trombone, tuba, didgeridoo; Marcus Printup: trumpet; Ron Westray: trombone; Delfeayo Marsalis: trombone; Jen Krupa: trombone; Dave Gibson: trombone; Roger Floreska : bass trombone; Victor Goines: tenor saxophone; Walter Blanding, Jr.: tenor saxophone; Ted Nash: alto saxophone, flute; Eric Reed: piano; Rodney Whitaker: bass; Winard Harper: drums, percussion; Herlin Riley: drums, percussion.

The Search

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Tim Warfield - Eye Of The Beholder

Bitrate: MP3@320K/s
Time: 68:24
Size: 156.6 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[ 8:52] 1. Blues For Mr. Bill
[ 9:19] 2. The Undaunted
[ 2:46] 3. Tide A Dish I
[10:29] 4. I Remember You
[ 8:58] 5. The Backwards Step
[ 3:23] 6. Tide A Dish-II
[ 7:53] 7. Ramona's Heart
[ 7:58] 8. Second Thoughts
[ 8:41] 9. Forever, One Day At A Time

Tim Warfield (Ts / Ss); Nicholas Payton (Tp); Cyrus Chestnut (P); Rodney Whitaker (B); Clarence Penn (D). Recorded October 9, 2012 in Brooklyn, NY.

On Eye Of The Beholder, his seventh leader recording for Criss Cross (and 12th label appearance overall), tenor and soprano saxophonist Tim Warfield draws on musical relationships that have shaped his artistry from the very start. Pianist Cyrus Chestnut and drummer Clarence Penn, both of whom appeared on Warfield's 1994 debut and several other sessions, bring their powerful and sensitive presence to this new quintet date. Rodney Whitaker provides an unshakable yet flexible foundation on bass. Trumpet great Nicholas Payton, who featured Warfield in his own incendiary quintet of the mid to late '90, comes on board and contributes brilliant playing as well as original music.

Highlights include the exploratory Blues For Mr. Bill, the sumptuous ballad Ramona's Heart, and inspired reworkings of Payton's The Backwards Step, Marlon Jordan's The Undaunted and the standard I Remember You.

Eye Of The Beholder mc
Eye Of The Beholder zippy

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Herlin Riley Quintet - Watch What You're Doing

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 56:15
Size: 129,1 MB
Art: Front

(5:28)  1. Watch What You're Doing
(8:53)  2. New York Walk
(4:05)  3. John Lewis
(5:16)  4. Soscalalah Blues
(6:45)  5. Sunshine in My Pocket
(5:57)  6. Coodie Coo
(5:28)  7. Warm All Over
(8:30)  8. Myrosa's Mirage
(5:49)  9. Blood Groove

While I’d hate to be accused of hyperbole, we’ll save a lot of time here if we just cut to the chase. Drummer Herlin Riley’s debut set as a leader is as strong a maiden voyage as anything in recent memory, along with being an early contender for one of the best new jazz releases of 2000. Taking a cue from boss Wynton Marsalis, Riley has assembled a diverse and devastatingly attractive set of nine originals that have been tailored to meet the needs of the ensemble at hand, very much in keeping with Ellington and Marsalis conventions. Even if you weren’t aware of Riley’s New Orleans heritage, the title track sports a buoyant second-line groove complete with those Southern spices, Victor Goines’ lusty baritone akin to James Carter’s forays on the instrument. Tweak things up a notch and you’ve got the up-tempo burner “New York Walk,” complete with an extended tag that launches some pyrotechnics from Riley at the tune’s conclusion. Creative voicings come your way with soprano sax and muted bone on “Coodie Coo,” an odd-metered line in 7/4. 

In fact, a break with conventional time signatures continues with “Myrosa’s Mirage” which is in five and with “Soscalalah Blues” which shuffles between a 12/8 groove and a straight ahead 4/4. As lead voices, Gordon, Goines and Kisor (on two cuts) conjure a robust sound that actually makes this band sound like a larger unit than what it is in reality. The former makes delicious use of various mutes, while the latter develops a distinctive voice on his many saxophones as well as clarinet. Whitaker and Barron form an exceedingly unified team with Riley, whose own well-dispersed solos are musical blockbusters in their own right. But there I go belaboring the point. Grab this disc. It’s a gem; ‘nuff said. ~ C.Andrew Hovan https://www.allaboutjazz.com/watch-what-youre-doing-herlin-riley-criss-cross-review-by-c-andrew-hovan.php?width=1920

Personnel: Herlin Riley- drums; Ryan Kisor- trumpet (tracks 2 & 4 only), Wycliffe Gordon- trombone; Victor Goines- clarinet, tenor, soprano, & baritone saxophone; Farid Barron- piano; Rodney Whitaker- bass.

Watch What You're Doing

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Michael Dease - All These Hands

Styles: Trombone Jazz
Year: 2017
File: MP3@320K/s
Time: 65:54
Size: 151,5 MB
Art: Front

(5:44)  1. Creole Country
(2:47)  2. Delta City Crossroads
(6:36)  3. Good & Terrible
(5:55)  4. Territory Blues
(6:10)  5. Benny's Bounce
(2:03)  6. Black Bottom Banter
(8:16)  7. Downtown Chi-Town
(5:59)  8. Gullah Ring Shout
(6:49)  9. Chocolate City
(5:53) 10. Memphis BBQ & Fish Fry
(7:16) 11. Brooklyn
(2:21) 12. Up South Reverie

Trombonist Michael Dease is never short on ideas, but this one might be his best yet: With All These Hands, Dease traces the early migratory patterns of jazz through his own well-crafted originals. He starts in NOLA and moves along to many a music mecca, including the Mississippi Delta, Chicago, Detroit, Philadelphia, Washington D.C., and New York. All the while he addresses regional dialects that developed as jazz permeated different regions while remaining cognizant of the need to avoid the quicksand of the past. This is Dease's take on jazz's journey, not his attempt at making a period piece. The port of departure for this musical saga is "Creole Country," a number transported by a Vernell Fournier-esque beat that speaks to the Crescent City's melting pot culture through rhythm. Steve Wilson's flute adds color and fills gaps, Renee Rosnes' fingers dance across the keys of the piano, Etienne Charles brings warm light with his flugelhorn work, and Dease is predictably strong in his solo delivery. It's the perfect number to serve as a launch pad for this project. Dease packs his bags after that opener, quickly moving on to his next destination "Delta City Crossroads," the first of several down-home duets to bring roots music into the picture. Here he chats with guitarist Randy Napoleon, engaging in call-and-response, moaning, vocalizing, and sighing with mute in hand. Intimate excursions like these are interspersed between full band numbers throughout the album, serving as a reminder that jazz and blues traditions are inextricably linked. The music that follows those opening tracks further underscores Dease's respect for the history of the music. "Benny's Bounce" serves as a representation of Philadelphia's rich jazz legacy, nodding to iconic saxophonist-composer Benny Golson through its name and harmonic pathways; "Black Bottom Banter" brings Detroit and its outskirts into view, as Dease and bassist Rodney Whitaker take a short trip through the 8-bar blues; "Downtown Chi-Town" captures the resolute spirit of the Windy City in its straight-eighth bearing; "Memphis BBQ & Fish Fry" is a greasy good time, as Dease mixes it up in trio with Wilson's soprano saxophone and Rosnes' Wurlitzer; and "Brooklyn" stands firm atop Rufus Reid's sturdy bass lines. Oh, the places that jazz goes! When taken as a whole, All These Hands proves to be both sobering and delightful, as Dease delivers one uplifting performance after another while also addressing all of the racial ills that shadow(ed) jazz and jazz musicians. Dease never turns a blind eye to history's truths, but he never lets them get the better of him either. He's a force for positivity, and All These Hands is proof positive of that statement. ~ Dan Bilawsky https://www.allaboutjazz.com/all-these-hands-michael-dease-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Michael Dease: trombone; Renee Rosnes: piano (1, 3, 5, 7, 9, 10, 11); Gerald Cannon: bass (1, 3, 5, 7, 9); Lewis Nash: drums (1, 3, 5, 7, 9); Lewis Nash: drums (1, 3, 5, 7, 9, 11); Steve Wilson: flute (1, 7), alto saxophone (5), soprano saxophone (10); Etienne Charles: flugelhorn (1), trumpet (3, 9); Randy Napolean: guitar (2, 4, 8); Rodney Whitaker: bass (4, 6, 8, 12); Jason Hainsworth: tenor saxophone (7); Diego Rivera: tenor saxophone (7); Rufus Reid: bass (11); Dan Pratt: tenor saxophone (11).

All These Hands

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Clarence Penn - Penn's Landing

Styles: Jazz, Post Bop
Year: 1997
File: MP3@256K/s
Time: 60:59
Size: 112,5 MB
Art: Front

( 6:57)  1. C.P. Time
(10:36)  2. Re: Evaluation
( 7:02)  3. April's Fool
(11:46)  4. Penn's Landing
( 9:24)  5. One For Tony
( 6:38)  6. Quick Fix
( 8:33)  7. Barbara Anastasia

On drummer Clarence Penn's debut as a leader, he has gathered the talents of bassist Rodney Whitaker, tenor saxophonist Ron Blake, and trumpeter John Swana to perform seven post-bop originals three by Penn, two by Blake, and one each by Swana and Whitaker with satisfying results. The underrated Swana and Blake play with passion and great skill as always but, due to the absence of piano, Penn's muscular drumming and Whitaker's huge-toned bass consistently stand out throughout this recording. Favorites include the up-tempo burners "C.P. Time" and "Quick Fix"; "One for Tony," Whitaker's dedication to the late drummer Tony Williams; and the medium-tempo title track, Penn's homage to John Coltrane and Elvin Jones, which captures the spirit of these great musicians without resorting to imitation. All in all, this is a fine debut that makes one eager for Penn's next one. ~ Greg Turner http://www.allmusic.com/album/penns-landing-mw0000033565

Personnel: Clarence Penn (drums); Ron Blake (tenor saxophone); John Swana (trumpet, flugel horn); Rodney Whitaker (bass).

Penn's Landing

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Teodross Avery - My Generation

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 69:12
Size: 160,8 MB
Art: Front

(7:43)  1. Addis Ababa
(8:28)  2. Mode For My Father
(6:24)  3. Theme For Malcolm
(7:19)  4. Lover Man
(4:55)  5. To The East
(4:50)  6. Mr. Wonsey
(6:26)  7. Salome
(4:50)  8. Sphere
(5:19)  9. My Generation
(7:40) 10. Anytime, Anyplace
(5:14) 11. It's About That Time

Young saxophonist Teodross Avery's recording covers a lot of ground, from explorative improvisations that sound as if they really belong on Impulse to selections that use a funky (and even a light hip-hop) rhythm and a straightforward ("Mr. Wonsey") boppish blues. Avery has strong technique and his sound, particularly on tenor (where he hints at Stanley Turrentine, and to a lesser extent, Sonny Stitt), is gradually becoming personal. He is joined by bassist Rodney Whitaker and drummer Greg Hutchinson on every selection along with either John Scofield, Mark Whitfield, or Peter Bernstein on guitar or pianist Charles Craig. Of the supporting crew, only Scofield (who creates some very unusual and distorted sounds on his guitar during "Theme for Malcolm") makes much of an impression and Avery seems to be most comfortable with the pianist (who is on four of the 11 selections). "Lover Man" sounds surprisingly passionless (showing that Avery is not yet mature enough to uplift veteran ballads) and there is an annoying (and meaningless) 35-second rap on the title cut that lowers the quality of the record. The overall results are generally enjoyable, if not all that memorable or unique. ~ Scott Yanow http://www.allmusic.com/album/my-generation-mw0000180566

Personnel: Teodross Avery (tenor saxophone); Black Thoughts Of The Roots (vocals); Charles Craig (piano); Peter Bernstein, Mark Whitfield, John Scofield (guitar); Rodney Whitaker, Greg Hutchinson (bass); Andrew Daniels (percussion).

My Generation

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Rodney Whitaker - Hidden Kingdom

Styles: Jazz, Post Bop 
Year: 1997
File: MP3@320K/s
Time: 67:09
Size: 154,9 MB
Art: Front

(8:14)  1. Childhood
(9:45)  2. Blues in the Closet
(5:34)  3. Repentance
(7:18)  4. Mastery Through Love
(3:42)  5. Pilgrim Progress
(6:40)  6. First Impressions
(7:21)  7. The Child in the Womb
(6:46)  8. Hidden Kingdom
(9:19)  9. Open Hit (D. W.)
(2:26) 10. The Promise of You

On his second CD as a leader, Rodney Whittaker is joined by a rotating cast of Detroit's best jazz players and other guests for a program of original compositions by the group's members and one jazz classic, with Whittaker's big-toned bass anchoring the proceedings. Sax superstar James Carter guest stars on five of the ten selections, with his swing-based tone and cutting edge tendencies, although he is more restrained here than on his own recordings. Favorites include Whittaker's "Childhood," a multi-tempo composition that features an excellent alto sax solo by Cassius Richmond and an exciting trumpet-tenor duel between Dwight Adams and Ron Blake; a joyous romp on Oscar Pettiford's "Blues in the Closet"; Richmond's multi-themed and multi-tempo "First Impressions"; and Whittaker's lovely ballad "The Child in the Womb." Whittaker's bass playing and composing establish him as one to watch in the future.~ Greg Turner http://www.allmusic.com/album/hidden-kingdom-mw0000032518

Personnel:  Dwight Adams – Trumpet (1, 5, 7, 8, 10);  Marcus Belgrave – Trumpet (2, 3, 4, 6);  Cassius Richmond – Flute, Alto Sax (1, 2, 4, 5, 6, 8, 10);  Ron Blake – Soprano, Tenor (1, 5, 7, 8, 10);  James Carter – Soprano, Tenor Sax (2, 3, 4, 6, 9);  Mark Hynes – Soprano Sax (4);  Peter Martin – Piano (1, 5, 7, 8, 10);  J. D. – Piano (2, 3, 6, 9);  Rick Roe – Piano (4);  Rodney Whitaker – Bass;  Gerald W. Cleaver - Drums (1, 5, 7, 8, 10);  Gregory Hutchinson – Drums (3, 9);  Kariem Riggins – Drums (2, 4, 6);  Leonard King – Vocal (10)

Hidden Kingdom

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Rodney Whitaker - Children of the Light

Styles: Jazz, Post Bop
Year: 1996
File: MP3@320K/s
Time: 69:36
Size: 160,0 MB
Art: Front

(6:47)  1. Mandela's Muse
(4:30)  2. Broadway
(6:06)  3. One Silent Moment
(5:31)  4. On Green Dolphin Street
(5:13)  5. Woman Child
(7:25)  6. Mood Swings
(6:53)  7. (Queen) Roz
(5:51)  8. Children of the Light
(7:00)  9. Langman
(7:13) 10. El Morro
(7:02) 11. Cultural Warrior

For his debut as leader, Rodney Whitaker takes center stage on several melodies and solos frequently. His playing is well-rounded in every respect, and he has a supple, sleek, strong tone. His core group for this outing consists of James Carter (tenor sax), Cassius Richmond (flute), Wallace Roney and Nicholas Payton (trumpet), Cyrus Chestnut (piano), Karriem Riggins and Gregory Hutchinson (drums), and Andrew Daniels (percussion); pianist Geri Allen and baritone saxophonist Alex Harding make cameo appearances. Three of the 11 tracks were penned by Whitaker the bass/percussion workout "Woman Child," the jungly "(Queen) Roz," and the crackling "Langman." Ken Cox's triumphant melody for Nelson Mandela, "Mandela's Mood," is a highlight, featuring bright melodies and Afro-Cuban underpinnings. Everyone solos on this piece, but it's Carter's histrionics that really provide the exclamation point. There are two hard boppers a version of "Broadway" featuring a path-clearing solo by Carter, and Richmond's "Mood Swings," which finds Carter and Roney acting like Wayne Shorter and Miles Davis. The title track features Payton's plaintive head statement and Chestnut's fervid solo. Whitaker's wife, Monzola, contributes the soft "One Silent Moment," while Roney lights things up for "On Dolphin Street." Allen waxes poetic beneath a bed of exotic, subtle rhythms on "El Morro," and the finale, "Cultural Warrior," is languid and solemn. Whitaker shows a grand diversity on this complete package of modern jazz. Highly recommended. ~ Michael G.Nastos http://www.allmusic.com/album/children-of-the-light-mw0000085197

Personnel:  Baritone Saxophone – Alex Harding (tracks: 3);  Bass – Rodney Whitaker;  Drums – Gregory Hutchinson (tracks: 4-6, 9, 10), Karriem Riggins (tracks: 1-3, 7, 8, 11);  Flute – Cassius Richmond (tracks: 1, 3, 10);  Percussion – Andrew Daniels (tracks: 1, 3, 5, 7, 9, 10);  Piano – Cyrus Chestnut (tracks: 1-3, 6-9, 11), Geri Allen (tracks: 4, 10);  Tenor Saxophone – James Carter (3) (tracks: 1-4, 6, 7, 9, 10);  Trumpet – Nicholas Payton (tracks: 1, 2, 3, 7, 8), Wallace Roney (tracks: 4, 6, 9, 10)

Children of the Light

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