Ed Wiley, Jr. - Sassy

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 57:45
Size: 135,0 MB
Art: Front

(4:15)  1. Room 608
(5:28)  2. Stretchin' Out
(4:07)  3. Sassy
(6:41)  4. Little Girl Blue
(4:50)  5. Lazarus
(8:29)  6. No Greater Love
(3:08)  7. Max The Maximum
(4:17)  8. Billy Boy
(5:13)  9. Do You Know A Good Thing When You See One?
(4:51) 10. Blues For Duane
(2:20) 11. Here, There And Everywhere
(4:00) 12. Sassy - (Alternate Take)

One of the tracks on Sassy, the Lennon-McCartney tune “Here, There and Everywhere,” says much about Ed Wiley’s fourth release for Swing Records. The album was compiled from three sessions recorded between 1999 and 2000 in Brooklyn, New Jersey and Pennsylvania, and mixed in two Washington, D. C., studios. Not surprisingly the results are uneven. To Wiley’s credit, the one constant is his big, soulful Texas tenor. The other constants, despite an occasional clash of styles, include the adventurous minds of trumpeter Nicolas Payton, pianist Sir Roland Hanna and guitarist Mark Whitfield. Compare styles in the two versions of the title tune-a truly sassy line-that Wiley wrote in honor of Sarah Vaughan. B-3 organist Joey DeFrancesco propels the first version, while the second, lower and slower, relies on Whitfield’s guitar, but that soul-filled, down-home cushion is missing. Elsewhere, “Room 608,” a tricky bop line by Horace Silver, finds alto player Donald Harrison stealing some of the thunder from Wiley. 

It’s not meant to be a cutting session; Wiley is consistently generous with stretch-out room for his sidemen. “Lazarus” is interesting in that it begins with solos and ends with the written head for the ensemble. Included in four front lines is trombonist Al Grey, but he solos only on “No Greater Love.” Good to hear his Vic Dickenson inspired humor, but also bittersweet: he died before the CD was released. Overall, Wiley can be proud of this release, but he shouldn’t stray too far from his roots. ~ Harvey Siders https://jazztimes.com/reviews/albums/ed-wiley-jr-sassy/

Personnel: Ed Wiley Jr. - tenor saxophone; Roland Hanna - piano; Paul Bollenback - guitar; Al Grey - trombone; Nicholas Payton - trumpet; Donald Harrison - alto saxophone; Carl Allen - drums; Davey Yarborough - tenor saxophone.

Sassy

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Roland Hanna - Bird Tracks: Remembering Charlie Parker

Styles: Piano Jazz
Year: 1978
File: MP3@320K/s
Time: 53:55
Size: 124,7 MB
Art: Front

(4:08) 1. Donna Lee
(4:15) 2. My Little Suede Shoes
(2:10) 3. Lady Bird
(5:00) 4. Barbados
(4:53) 5. Ornithology
(3:02) 6. Pastel
(5:11) 7. Little Willie Leaps
(2:51) 8. Good Bait
(3:15) 9. Anthropology
(5:32) 10. Lover Man
(4:38) 11. Confirmation
(4:28) 12. Half Nelson
(4:27) 13. Dear Old Stockholm

A talented pianist with a style diverse enough to fit into swing, bop, and more adventurous settings, Roland Hanna was one of the last in an impressive line of great pianists who emerged in Detroit after World War II (including Hank Jones, Barry Harris, and Tommy Flanagan). After serving in the Army and studying music at Eastman and Juilliard, Hanna made a strong impression playing with Benny Goodman (1958).

He worked with Charles Mingus for a period in 1959, and went on to generally lead his own trios. Hanna was an integral part of the Thad Jones/Mel Lewis orchestra (1967-1974), and in 1974 helped found the New York Jazz Quartet (with Frank Wess). He was given knighthood (thus the "Sir") from the President of Liberia in 1970 in recognition for a series of concerts held to benefit Liberian children. Hanna recorded many solo dates and often with a trio, but also composed many works for groups of varying sizes both for jazz groups and classical ensembles.

His piece "Oasis" for piano and orchestra was performed by the Detroit Symphony Orchestra in 1993. In addition to his busy performing schedule, Hanna was also an active educator and tenured professor at Queens College in New York. After almost half a century of performing and recording, Sir Roland Hanna passed away at the age of 70 on November 13, 2002 after suffering a heart attack. By Scott Yanow
https://www.allmusic.com/artist/roland-hanna-mn0000011819/biography

Bird Tracks: Remembering Charlie Parker

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Sir Roland Hanna - Roland Hanna Quartet Plays Gershwin

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:24
Size: 143,3 MB
Art: Front

(7:14)  1. Summertime
(5:23)  2. Lady Be Good
(6:01)  3. Variations In Concerto In "F"
(7:08)  4. Foggy Dau
(5:28)  5. Isn't It A Pity
(7:00)  6. But Not For Me
(7:49)  7. Somebody Loves Me
(5:16)  8. Embrace You
(4:37)  9. Bess You Is My Woman Now
(6:23) 10. Strike Up The Band

Most of the ten compositions written by George Gershwin have been covered numerous times on jazz recordings, so finding fresh approaches to them is a great challenge. Fortunately, Sir Roland Hanna is up to the task. This 1993 studio session kicks off with a funky "Summertime" that includes Bill Easley's hot soprano sax, though Hanna's lively choruses make up its focal point. "Lady Be Good" has a delightful, disguised introductory vamp as Hanna toys with the listener. Easley's full-bodied tenor is present in the snappy rendition of "Embraceable You," which drastically reworks the original piece so much that the label carelessly labeled it "Embrace You." Hanna's mastery of the ballad form is most evident in his luxurious take of "Bess, You Is My Woman Now," with Easley adding a haunting flute solo in a touching duet. Bassist Jon Burr and drummer Ronnie Burrage provide strong support for this very reasonably priced CD from Laserlight. ~ Ken Dryden

Personnel: Sir Roland Hanna (piano); Bill Easley (soprano & tenor saxophones); Jon Burr (bass); Ronnie Burrage (drums).

Roland Hanna Quartet plays Gershwin

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Carol Sloane - Midnight Sun

Styles: Vocal
Year: 1983
File: MP3@320K/s
Time: 57:22
Size: 132,6 MB
Art: Front

(3:06) 1. I'm Glad There Is You
(3:41) 2. They Can't Take That Away From Me
(4:32) 3. 'S Wonderful
(4:12) 4. But Not For Me
(3:51) 5. Honeysuckle Rose
(5:46) 6. Spring Is Here
(4:24) 7. Our Love Is Here To Say
(3:06) 8. Just In Time
(6:20) 9. Midnight Sun
(3:01) 10. It's All Right With Me
(4:39) 11. Lover Man
(3:54) 12. Teach Me Tonight
(2:19) 13. You'd Be So Nice To Come Home To
(4:26) 14. When I Fall In Love / Body And Soul

A fine, underrated jazz vocalist who got her start with Lambert, Hendricks & Ross

Carol Sloane started singing professionally when she was 14, and at 18, she toured Germany in a musical comedy. She was with the Les and Larry Elgart orchestra from 1958 to 1960, and, after appearing at a jazz festival in 1960, she was heard by Jon Hendricks, who later sent for her to sub for Annie Ross with Lambert, Hendricks and Ross. Sloane made a big impression at the 1961 Newport Jazz Festival and soon cut two records for Columbia. Unfortunately, her career never got going, and, except for a live set from 1964 released on Honey Dew, Sloane would not record again until 1977, instead working as a secretary in North Carolina and singing just now and then locally.

However,in the mid-'70s, she became more active again, caught on in Japan (where she began to record frequently), and her career finally got on more solid footing. Sloane's releases for Audiophile, Choice, Progressive, Contemporary, and, later, Concord feature a mature, bop-based singer with a sound of her own. Carol Sloane died on January 23, 2023 at a senior care facility in Stoneham, MA due to complications from a stoke she'd suffered two years earlier. She was 85 years of age.
https://www.jazzmusicarchives.com/artist/carol-sloane

Personnel: Carol Sloane / vocals; Roland Hanna / piano; Ken'ichi Yoshida / piano; George Mraz / bass

Midnight Sun

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Roland Hanna & George Mraz - Romanesque

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 42:49
Size: 99,4 MB
Art: Front

(8:23) 1. Humoreske
(5:44) 2. Serenade
(6:10) 3. Reverie
(4:31) 4. Chant Sans Paroles, Op. 2, No. 3
(6:24) 5. Swan Lake
(8:39) 6. Yours Is My Heart Alone
(2:54) 7. Clair De Lune

Originally made for the Japanese Trio label and released domestically by Black Hawk, this was at least the sixth duet album that pianist Roland Hanna made with bassist George Mraz. Hanna takes seven classical melodies (including "Humoresque," "Reverie," "Swan Lake" and "Yours Is My Heart Alone") and transforms them into swinging and lyrical jazz, respecting the melodies but also coming up with fresh variations. Fine music.By Scott Yanow https://www.allmusic.com/album/romanesque-mw0000188145

Personnel: Piano – Roland Hanna; Bass – George Mraz

Romanesque

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Miriam Klein - By Myself

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 41:05
Size: 94,4 MB
Art: Front

(5:10)  1. Something to Remember You By
(3:33)  2. By Myself
(4:23)  3. Bei mir bist du schoen
(4:08)  4. Lush Life
(4:49)  5. Sophisticated Lady
(3:28)  6. There Is No Greater Love
(3:20)  7. Prelude to a Kiss
(3:50)  8. Mean to Me
(4:21)  9. It's a Sin to Tell a Lie
(3:57) 10. I'm Glad There Is You

Swisss vocalist Miriam Klein first came into the public eye when she performed in Paris in the 1950s with Dexter Gordon, Pierre Michelot, Don Byas and Art Simmons. Later she attended Music School in Vienna and went back to Switzerland to work with the ensembles of her husband, trumpeter and guitarist Oscar Klein. It was in the 1960s and 1970 that she became known internationally. In 1978 her album 'By Myself' was produced by concert management tycoon Horst Lippmann for the L+R label. Lippmann: This is the NEW Miriam Klein confident of her own way of singing. A Miriam Klein By Herself hence the album title. Jazz critic Markus Woelfle: It is her best recording and if she were an American lady and not a Swiss this album would be the pride of everyone's vocal collection. 

The emotional power of her voice and the rich shadings of her interpretations are highlighted by the perfect accompaniment of her inspired sidemen Roland Hanna and George Mraz. It is rare that a pianist offers such perfection and musical additions to a singer - the solos are brilliant and of perfect architecture without overpowering the vocalist. Miriam Klein celebrated her last triumph on her saxophonist son David's 'My Marilyn' album (ENJ-9422) and the label is proud to now present 'By Myself' for the first time on CD. http://akmuzik.com.tr/ak/catalog/showalbum.asp?album=JNKPMPQPO

Personnel: Vocals – Miriam Klein; Acoustic Bass – George Mraz; Piano – Sir Roland Hanna

By Myself

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Roland Hanna - Swing Me No Waltzes

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 68:33
Size: 157,7 MB
Art: Front

(6:10) 1. I Hear You Knockin' But You Can't Come In - Blues
(1:59) 2. Some Kind Of Folk Song
(3:40) 3. A Little Sweetnin' For Sweden
(4:38) 4. Free Spirit - Free Style
(4:19) 5. Everything But You
(4:04) 6. Swing Me No Waltzes
(4:22) 7. Lullabye For Cedric
(4:35) 8. Antecipacion
(7:08) 9. Roses Not Mums
(2:27) 10. Love For Sale
(3:09) 11. Blue Lou
(5:23) 12. Afterglow
(1:26) 13. Blue Lilly
(3:37) 14. Miles Ahead
(7:00) 15. Autumn Leaves
(4:30) 16. Pastel

This CD reissue brings back the original LP (recorded in 1979) plus seven compatible selections from 1973 that were previously unreleased. Throughout, Hanna (who is usually heard in a trio) plays unaccompanied piano solos. Of the 16 selections, ten are by Hanna, and he proves to be an underrated composer whose songs deserve to be covered by others. Hanna's roots are in swing and Duke Ellington, and that aspect of his musical personality is here, along with some more adventurous moments. A strong outing by a brilliant and distinctive pianist.~Scott Yanowhttps://www.allmusic.com/album/swing-me-no-waltzes-mw0000609492

Personnel: Piano – Sir Roland Hanna

Swing Me No Waltzes

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Kenny Burrell, Art Blakey - On View At The Five Spot Cafe

Styles: Guitar Jazz
Year: 1960
File: MP3@320K/s
Time: 63:42
Size: 146,7 MB
Art: Front

( 9:48)  1. Birk's Works
(10:00)  2. Lady Be Good
( 8:23)  3. Lover Man
( 9:52)  4. Swingin'
(11:43)  5. Hallelujah
( 4:35)  6. Beef Stew Blues
( 5:29)  7. If You Could See Me Now
( 3:48)  8. 36-23-36

Kenny Burrell and Art Blakey played together infrequently during their careers, so this meeting of jazz minds is a welcome occasion. On View is a rather short set issued from club dates at the Five Spot Cafe in New York City. No matter the configuration, this is come-what-may jazz that has no pressurized content, and a relaxed atmosphere allowing the music to organically breathe and come alive naturally. This feeling comes to the fore right away on Dizzy Gillespie's "Birk's Works," a rather polite version as Burrell tosses out his discriminating versions of the melody. Incorrectly identified as "Lady Be Good," this is actually an adaptation reworked by Thelonious Monk titled "Hackensack." It's a fast jam kicked off by a signature Blakey solo, where the band flies by the seat of their pants, and good feelings are fostered through the simple and solid tenor work of Tina Brooks. Though not penned by Duke Ellington, the elegance he displayed and Burrell revered is quite evident during the ballad "Lover Man." Randy Weston's "Beef Stew Blues," Ray Brown's obscure "Swingin'," and the classic Tadd Dameron ballad "If You Could See Me Now" further illuminate how good this group could have been had they turned into a working unit. As the dawn of the '60s saw new breed jazz fomenting, Burrell, Blakey, and company proved you could still swing and remain melodic while creating new sonic vistas.~ Michael G.Nastos https://www.allmusic.com/album/on-view-at-the-five-spot-cafe-mw0000191601

Personnel: Kenny Burrell - guitar; Tina Brooks - tenor saxophone (tracks 1–2, 4); Bobby Timmons - piano (tracks 1-4); Roland Hanna - piano (tracks 5-8); Ben Tucker - bass; Art Blakey - drums

On View At The Five Spot Cafe

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Roland Hanna - Colors from a Giant's Kit

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 65:54
Size: 151,4 MB
Art: Front

(2:10)  1. Colors from a Giant's Kit
(3:21)  2. Natalie Rosanne
(8:05)  3. A Story, Often Told but Seldom Heard
(4:29)  4. Robbin's Nest
(4:55)  5. My Romance
(4:23)  6. Blues
(3:34)  7. 'Cello
(2:24)  8. Moment's Notice
(7:22)  9. Lush Life
(5:21) 10. 20th Century Rag
(5:26) 11. Naima
(4:07) 12. Chelsea Bridge
(3:38) 13. In a Mellow Tone
(6:31) 14. Cherokee

When an artist passes on, the true fans mourn and the record companies often search through their vaults to try to capitalize on their passing. This often results in hastily compiled collections of music, or the surfacing of sub-par recordings that weren't released for obvious reasons when the artist was still around. That's not the case with this top-shelf solo recording from Sir Roland Hanna. Shortly before his death, the pianist had entered into a fruitful recording partnership with Bill Sorin a former student and longtime fan who founded IPO recordings and launched the label with Hanna's Everything I Love (IPO, 2002).  While this new chapter in Hanna's recording career was cut short when the piano giant was felled by a fatal heart attack in November of 2002, his other sessions for IPO are firm reminders of his sublime artistry and wide-ranging skills as a pianist, composer and interpreter of music of all kinds. Tributaries Reflections On Tommy Flanagan (IPO, 2002) and I've Got A Right To Sing The Blues Songs Of Harold Arlen immediately followed on the heels of Everything I Love, but it took eight years for Colors From A Giant's Kit to arrive. 

It was worth the wait. Hanna's relationship with the piano is a complex one but, unlike another former Charles Mingus-associated pianist, Jaki Byard who is also receiving a lot of attention for posthumously released solo piano outings it remains widely accessible at all times and rooted in the promise of melody. Hanna can engage the instrument with heavy handed chordal stomps ("Colors From A Giant's Kit") and flowery, flowing gestures of beauty ("My Romance"). He shows an obvious affection for Ellingtonia of all kinds, as he delivers a pair of Billy Strayhorn standards ("Lush Life" and "Chelsea Bridge") and an energetic take on Duke Ellington's own "In A Mellow Tone," which is anything but mellow. The music of John Coltrane also plays an important part here, as Hanna takes on two different sides of the late saxophonist's musical personality. "Moment's Notice" moves with precision and energy, while "Naima" gorgeously wafts through the air.  While the majority of the program is given up to standards of all shapes and sizes, Hanna touches on his own compositional legacy with five of his own pieces, ranging from sweeping, sad beauties ("Natalie Rosanne") to ragtime coated with an Eastern European sound. The fourteen-track program is capped off with a take on "Cherokee" that serves as a lesson in tempo revision. Hanna proves that Ray Noble's classic doesn't have to fly fast at all times.  The colors from this piano giant's kit cover the entire spectrum, from bold to bright, and this album continues to paint Hanna as the true genius that he was. ~ Dan Bilawsky https://www.allaboutjazz.com/colors-from-a-giants-kit-sir-roland-hanna-ipo-recordings-review-by-dan-bilawsky.php

Personnel: Sir Roland Hanna: piano.

Colors from a Giant's Kit

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Hubert Laws - Law's Cause

Styles: Flute Jazz 
Year: 2005
File: MP3@320K/s
Time: 34:20
Size: 79,8 MB
Art: Front

(2:32)  1. No More
(4:31)  2. If You Knew
(3:34)  3. A Day with You
(3:04)  4. Please Let Go
(6:44)  5. Shades of Light
(5:08)  6. Trio for Flute, Bassoon, and Piano
(8:42)  7. Windows

Laws' Cause is the third album by jazz flautist Hubert Laws released on the Atlantic label in 1969. https://en.wikipedia.org/wiki/Laws%27_Cause

Personnel:  Hubert Laws - flute, piccolo; Jimmy Owens - trumpet; Karl Porter - bassoon; Chick Corea - piano; Roland Hanna - harpsichord; Kenny Burrell - guitar; Sam Brown - sitar; Ron Carter - bass; Chuck Rainey - electric bass; Grady Tate - drums; Melba Moore - vocals

Law's Cause

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Thad Jones & Mel Lewis Jazz Orchestra - Consummation

Styles: Flugelhorn Jazz
Year: 1970
File: MP3@320K/s
Time: 46:36
Size: 107,7 MB
Art: Front

( 5:13)  1. Dedication
( 3:07)  2. It Only Happens Every Time
( 6:42)  3. Tiptoe
( 4:09)  4. A Child Is Born
( 3:37)  5. Us
( 7:57)  6. Ahunk Ahunk
(10:38)  7. Fingers
( 5:09)  8. Consummation

Of the many albums recorded by the Thad Jones/Mel Lewis Orchestra, this was the greatest. Reissued on CD as part of a large Mosaic box set, this set introduced Jones' best-known composition, "A Child Is Born," and also has a colorful rendition of his sly "Tiptoe," and finds the big band ripping the roof off during the lengthy and very exciting "Fingers." The all-star cast (which includes flugelhornist Jones, drummer Lewis, trumpeter Marvin Stamm, trombonist Jimmy Knepper, tenor great Billy Harper, the reeds of Jerome Richardson, Jerry Dodgion and Eddie Daniels, keyboardist Roland Hanna, and bassist Richard Davis, among others) is well served by Thad Jones' inventive and swinging arrangements. A classic. ~ Scott Yanow https://www.allmusic.com/album/consummation-mw0000221310

Personnel:  Thad Jones – flugelhorn; Snooky Young – trumpet; Danny Moore – trumpet; Al Porcino – trumpet; Marvin Stamm – trumpet; Eddie Bert – trombone; Benny Powell – trombone; Jimmy Knepper – trombone; Cliff Heather – bass trombone; Jerome Richardson – soprano saxophone, alto saxophone, flute, alto flute; Jerry Dodgion – alto saxophone, clarinet, flute, alto flute; Billy Harper – tenor saxophone, flute; Eddie Daniels – tenor saxophone, clarinet, flute; Richie Kamuca – baritone saxophone, clarinet; Pepper Adams – baritone saxophone; Joe Farrell – baritone saxophone; Roland Hanna – acoustic piano, electric piano; Richard Davis – acoustic bass, electric bass; Mel Lewis – drums; Jimmy Buffington, Earl Chapin, Julius Watkins  - French horn; Howard Johnson - tuba; David Spinozza - guitar

Consummation

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Roland Hanna - Duke Ellington Piano Solos

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 46:31
Size: 107,0 MB
Art: Front

(5:12)  1. In My Solitude
(4:49)  2. Something to Live For
(3:44)  3. In a Sentimental Mood
(2:48)  4. Portrait of Bert Williams
(5:19)  5. Warm Valley
(2:02)  6. Isfahan
(4:41)  7. Single Petal of a Rose
(7:04)  8. I Got It Bad and That Ain't Good
(4:08)  9. Reflections in D
(2:30) 10. Come Sunday
(4:10) 11. Caravan

For lovers of solo jazz piano, this Roland Hanna disc offers one of the most consistently enjoyable 46 minutes of music to be heard. Over the ten Ellington selections here (with the addition of Billy Strayhorn's "Isfahan"), Hanna finely works the subtle phrasing and singing tone he once plied in Mingus' band and perfected on many solo outings during the '70s and '80s. An appropriately introspective version of "In My Solitude" opens the program, setting the tone for this intimate and, at times, meditative consideration of some Ellington's finest pieces. Other ballad highlights include a hushed and melancholic "In a Sentimental Mood," as well as delicate and spacious readings of "Single Petal of a Rose" and "Isfahan." Hanna enlivens the mood a bit on choice, medium-tempo renditions of "Portrait of Bert Williams" and the Ellington/Strayhorn collaboration "Something to Live For," demonstrating his easygoing, stride-piano technique in the process. In somewhat stark contrast to the rest of the set, Hanna also includes an engagingly abstract rendition of "I Got It Bad and That Ain't Good," rendering the familiar, blues-tinged theme almost unrecognizable. Hanna ends the set in upbeat fashion with a bravura performance of "Caravan." Bolstered by excellent sound, this top-notch set is a must for Hanna enthusiasts and highly recommended to all fans of straight-ahead jazz. ~ Stephen Cook https://www.allmusic.com/album/duke-ellington-piano-solos-mw0000262780

Duke Ellington Piano Solos

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Les McCann - Comment

Styles: Vocal And Piano Jazz
Year: 1969
File: MP3@320K/s
Time: 32:40
Size: 75,4 MB
Art: Front

(3:30)  1. How Many Broken Wings
(5:09)  2. Can't We Be Strnagers Again
(5:01)  3. Unless It's You
(4:11)  4. What I Call Soul
(5:27)  5. Comment
(2:52)  6. Baby, Baby
(6:28)  7. Yours Is My Heart Alone

The godfather of contemporary jazz-soul chills, changing the pace from his electrifying collaborations with Eddie Harris  Swiss Movement and Second Movement  that preceded and followed this mellow set of mostly love songs, which includes four selections from the pens of Helen and Kay Lewis (aka the Lewis Sisters). Two cuts, "Baby, Baby" and "Can't We Be Strangers Again," were originally done by Motown's Miracles and Edwin Starr & Blinky respectively. "How Many Broken Wings" and "What I Call Soul" are the sisters' other contributions, and McCann executes them to perfection. 

The keyboardist plays with an underlying intensity on Bill Evans' "Unless It's You," while the title track is good hard bop. Atlantic Records hasn't reissued this LP, so you have to rummage the Goodwills, online sites, and flea markets for a copy.~ Andrew Hamilton https://www.allmusic.com/album/comment-mw000001186

Personnel:  Les McCann - piano, electric piano, vocals;  Jimmy Owens, Joe Wilder, Richard Williams - trumpet (tracks 2, 4 & 6);  Dick Griffin, Benny Powell - trombone (tracks 2, 4 & 6);  Seldon Powell - soprano saxophone, alto flute (track 3);  Richard Landry - baritone saxophone (tracks 2, 4 & 6);  Roberta Flack - vocals, piano (tracks 1 & 2);  Junior Mance, (track 6), Richard Tee (track 4) - piano;  Roland Hanna - harpsichord (track 3);  Margaret Ross - harp (track 3);  Billy Butler - guitar (track 5);  Ron Carter - bass (tracks 1-3, 6 & 7), electric bass (tracks 4 & 5);  Billy Cobham (tracks 1-4, 6 & 7), Donald Dean (track 5) - drums;  William Fischer - arrangement, director (tracks 1-3, 6 & 7);  Selwart Clarke - concertmaster (tracks 1, 3 & 7)

Comment

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Eddie 'Lockjaw' Davis With Paul Gonsalves - Love Calls

Styles: Saxophone Jazz
Year: 1967
File: MP3@320K/s
Time: 35:53
Size: 84,7 MB
Art: Front

(2:09)  1. Love Is Here To Stay
(2:55)  2. When Sunny Gets Blue
(3:06)  3. If I Ruled The World
(2:23)  4. Time After Time
(5:11)  5. Just Friends
(2:35)  6. Don't Blame Me
(2:10)  7. I Should Care
(5:00)  8. The Man With The Horn
(4:06)  9. We'll Be Together Again
(3:14) 10. A Weaver Of Dreams
(2:59) 11. If I Should Lose You

Love Calls is an album by saxophonist Eddie "Lockjaw" Davis with Paul Gonsalves recorded in 1968 for the RCA Victor label. Think of "Lockjaw" Davis and ten to one you think of Count Basie. Think of Paul Gonsalves and same thing, you think of Duke Ellington. The top tenors, in other words, of the top big bands; musicians from the top league where the competition is toughest. Yet there is no battle here, no contest, no vying to outdo the other in terms of velocity. If you know these two men only by hearsay, you may have reservations about them as balladeers. They both have reputations for derring-do of a different kind. Davis has never hesitated to do battle with the most frenetic performers, with those who would stick at nothing to win, and lost - to him. And Gonsalves was the hero of one of the great nights in jazz history, when he blew twenty-seven romping, stomping choruses on Duke Ellington's Dimuendo and Crescendo In Blue at Newport 1956. It is easy for jazzmen to become typed, so that the public demands the repeated display of just one particular facet of his talent. This has happened to the two men showcased in this album, where the other side of their musical personalities is brought into focus. Although they have both developed highly individual styles, their original sources of inspiration were masters of the ballad Ben Webster in Davis' case, Coleman Hawkins in that of Gonsalves.  

Their different approaches to the ballad make this recording consistently interesting and surprising. Both are soulful, both are rhapsodical. But Davis plays with clear, confident articulation, a buzz in his tone, and a bite in his phraseology. Generally he is the more driving and passionate of the two. The Gonsalves style is, on the other hand, sinuous, insinuating and less direct. His imaginative lyricism is more tender and often melancholy, his tone well-produced and finely rounded. The breathy sub-tone, which Gonsalves uses so well, adds a curiously confidential and intimate dimension. It is like the musical equivalent of a whispered aside or a delicate suggestion. But both men alternate very adroitly between the discreet and the bold. Their mutual understanding is, in fact, positively uncanny at times, for they had never previously recorded together, and preparation before the sessions was minimal. In the studio their long term professionalism stood them in good stead, as did that of their accompanists, whose taste and sensitivity contribute so much to the recording's appeal. Never obtrusive, they remain in close, listening support, Hanna and Barksdale being quick to prolong or emphasize the thoughts of the two soloists.

Personnel:  Eddie "Lockjaw" Davis, tenor sax;  Paul Gonsalves, tenor sax;  Roland Hanna, piano;  Ben Tucker, bass;  Grady Tate, drums;  Everett Barksdale, guitar

Love Calls

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Elvin Jones - Dear John C.

Styles: Jazz, Post Bop
Year: 1965
File: MP3@320K/s
Time: 42:38
Size: 99,1 MB
Art: Front

(3:56)  1. Dear John C.
(5:22)  2. Ballade
(3:49)  3. Love Bird
(5:54)  4. Everything Happens To Me
(3:41)  5. Smoke Rings
(4:24)  6. This Love Of Mine
(4:11)  7. Anthropology
(4:09)  8. Feeling Good
(3:59)  9. Fantazm
(3:08) 10. That Five-Four Bag

The second album by Elvin Jones as sole title rights leader (excluding the co-op ensemble that recorded the stunning and essential progressive jazz icon Illumination!) has the drummer sounding more like a backup musician, as he claims no compositional duties or noticeable solo space. In fact, this is one of the very best albums in the career of alto saxophonist Charlie Mariano, who occupies the bulk of lead lines and improvising responsibilities. He's so up-front, and on an instrument that is not John Coltrane's main instrument the tenor sax that the title is also a bit of a misnomer. The value of Jones as a bandleader lies in his concept of using fellow Detroiter Sir Roland Hanna or brother Hank Jones on selected tracks, or in the case of three tracks, no pianist. Bassist Richard Davis rounds out this truly brilliant ensemble of burgeoning mid-'60s jazz stars, who play an enticing collection of standards, bop, compositions of Bob Hammer, and originals from several modern sources. A stone cold bebopper and Charlie Parker devotee at the time of this recording. Mariano is the standout performer. He swings easily but mightily on the title track paralleling Coltrane's "Milestones," stretches the Charles Mingus evergreen "Reincarnation of a Lovebird" (titled here as "Love Bird"), and pulls out all the stops with Hank Jones during an only slightly flawed (they miss two notes) version of the tricky "Anthropology." 

They tack a calypso beat onto Duke Ellington's "Fantazm" in a playful, modern dress, and stroll on the quirky Hammer composition "That Five-Four Bag" as an offshoot retort to Dave Brubeck's "Take Five." The three tracks sans piano include a walking version of "Everything Happens to Me"; the ballad "Smoke Rings," where the band excepting Mariano is relaxed; and Frank Sinatra's "This Love of Mine," where the emotive saxophonist dips into humor, even a bit ribald. The variety from cut to cut is engaging, and there's nothing over the top, even the drumming of Elvin Jones. With the musicality at a high level, Dear John C. needs revisiting by drumming students and jazz fans to note how teamwork, shared values, and held-in-check dynamics benefit the overall quality of music. It seems this recording is underrated when over time it should never be. Dear John C. is deserving of an excellent rating. ~ Michael G.Nastos https://www.allmusic.com/album/dear-john-c-mw0000096993  

Personnel: Elvin Jones (drums); Charlie Mariano (alto saxophone); Roland Hanna, Hank Jones (piano); Richard Davis (acoustic bass).

Dear John C.

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Roland Hanna - Perugia

Bitrate: MP3@320K/s
Time: 40:49
Size: 93.5 MB
Styles: Bop, Piano jazz
Year: 1974/1983/1999
Art: Front

[6:07] 1. Take The A Train
[7:27] 2. I Got It Bad And That Ain't Good
[6:15] 3. Time Dust Gathered
[8:20] 4. Perugia
[5:28] 5. A Child Is Born
[7:10] 6. Wistful Moment

Piano [Solo] – Roland Hanna. Recorded at the Montreux Jazz Festival, Montreux, Switzerland on July 2, 1974

A talented pianist with a style diverse enough to fit into swing, bop, and more adventurous settings, Roland Hanna was one of the last in an impressive line of great pianists who emerged in Detroit after World War II (including Hank Jones, Barry Harris, and Tommy Flanagan). After serving in the Army and studying music at Eastman and Juilliard, Hanna made a strong impression playing with Benny Goodman (1958). He worked with Charles Mingus for a period in 1959, and went on to generally lead his own trios. Hanna was an integral part of the Thad Jones/Mel Lewis orchestra (1967-1974), and in 1974 helped found the New York Jazz Quartet (with Frank Wess). He was given knighthood (thus the "Sir") from the President of Liberia in 1970 in recognition for a series of concerts held to benefit Liberian children. Hanna recorded many solo dates and often with a trio, but also composed many works for groups of varying sizes - both for jazz groups and classical ensembles. His piece "Oasis" for piano and orchestra was performed by the Detroit Symphony Orchestra in 1993. In addition to his busy performing schedule, Hanna was also an active educator and tenured professor at Queens College in New York. After almost half a century of performing and recording, Sir Roland Hanna passed away at the age of 70 on November 13, 2002 after suffering a heart attack. ~ Scott Yanow & Wade Kergan

Perugia mc
Perugia zippy

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Roland Hanna Trio - Dream

Bitrate: MP3@320K/s
Time: 63:29
Size: 145.3 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[4:54] 1. When I Grow Too Old To Dream
[4:12] 2. Street Of Dreams
[6:05] 3. You Stepped Out Of A Dream
[6:39] 4. Day Dream
[5:31] 5. This Time The Dream's On Me
[4:34] 6. Skylark
[6:01] 7. I Hear A Rhapsody
[5:07] 8. Dream
[4:31] 9. So In Love
[5:30] 10. Dream Dancing
[4:28] 11. A Sleepin' Bee
[5:51] 12. You Do Something To Me

Bass – Paul West; Drums – Eddie Locke; Piano – Roland Hanna. Recorded at "The Studio" in New York on February 1st, 2001.

One of Sir Roland Hanna's last recordings prior to his death at the end of 2002 was this session for the Japanese Venus label. With seven of the 12 songs incorporating the word "dream" in their titles, it seemed to be a fitting title for the CD. Hanna is joined by bassist Paul West and drummer Eddie Locke, kicking off with a rollicking take of "When I Grow Too Old to Dream." The pianist and the bassist trade lines throughout the lush introduction to the infrequently heard "Street of Dreams." The joyful interpretation of "This Time the Dream's on Me" (a favorite of Marian McPartland) and swinging treatment of "Dream" are also highlights. The "non-dream" tracks include a lullaby-like arrangement of "A Sleepin' Bee" and a toe-tapping "I Hear a Rhapsody." Highly recommended. ~Ken Dryden

Dream

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The Thad Jones-Mel Lewis Orchestra - Basie, 1969

Bitrate: MP3@320K/s

Time: 67:51

Size: 155.3 MB

Styles: Bop, Trumpet jazz

Year: 1969/1995

Art: Front

[10:53] 1. Second Race

[ 4:29] 2. Don't Ever Leave Me

[ 9:23] 3. The Waltz You Swang For Me

[11:09] 4. That's Freedom

[ 4:56] 5. Come Sunday

[11:48] 6. Don't Get Sassy

[ 6:47] 7. Bible Story

[ 8:22] 8. Groove Merchant

Jerome Richardson, Jerry Dodgion, Eddie Daniels, Joe Farrell, Pepper Adams (saxes, woodwinds); Thad Jones; Snooky Young, Jimmy Nottingham, Richard Williams (trumpets); Bob Brookmeyer, Garnett Brown, Tom McIntosh, Cliff Heather (trombones); Roland Hanna (piano), Richard Davis (bass), Mel Lewis (drums). Recorded in 1970 at the Village Vanguard in NYC, and was originally titled "Village Vanguard Live Sessions 3.

This live concert, broadcast over Swiss radio and released for the first time on this 1995 CD, features the Thad Jones/Mel Lewis Orchestra at its prime. The remarkable all-star group includes two first trumpeters (Snooky Young and Al Porcino) and such soloists as trumpeters Richard Williams, Danny Moore and Thad Jones, trombonist Jimmy Knepper, Jerome Richardson on soprano, Jerry Dodgion on flute and alto, baritonist Pepper Adams, pianist Roland Hanna, bassist Richard Davis and tenor great Joe Henderson whose short stint with the band was long enough to include this European tour. Highlights of the superior set include "Second Race," "The Waltz You Swang For Me," "Don't Get Sassy" and "Groove Merchant." Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.

Basie, 1969   

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Gene Ammons - My Way

Styles: Saxophone Jazz
Year: 1971
File: MP3@320K/s
Time: 28:18
Size: 65,4 MB
Art: Front

(3:33)  1. Chicago Breakdown
(4:18)  2. What's Going On
(3:45)  3. A House Is Not A Home
(6:21)  4. Sack Full of Dreams
(4:18)  5. Back in Mérida
(6:01)  6. My Way

Although late in the Prestige jazz funk years, and not in the small combo mode of some of Ammons' best early 70s sides, this is still an excellent batch of tracks thanks to hip arrangements from Bill (William S?) Fisher! The format's almost in a Kudu/CTI mode, as larger arrangements envelope Jug's soulful tenor funking away with a blacksploitation on tracks like "Chicago Breakdown", "Back In Merida", and a great cover of "What's Going On", all done with tight horns, compressed guitar, and even a bit of strings. There's a few mellower numbers that aren't as great but these tracks more than make the album worth having! © 1996-2017, Dusty Groove, Inc.https://www.dustygroove.com/item/40417?s=Gene+Ammons&incl_oos=1&incl_cs=1&kwfilter=Gene+Ammons&sort_order=artist
 

Personnel:  Gene Ammons - tenor saxophone;  Robert Prado, Ernie Royal - trumpet (tracks 1, 2 & 4-6);  Garnett Brown - trombone (tracks 1, 2 & 4-6);  Richard Landry - tenor saxophone (tracks 1, 2 & 4-6);  Babe Clark - baritone saxophone (tracks 1, 2 & 4-6);  Roland Hanna - electric piano (tracks 1-3); Billy Butler (tracks 4-6), Ted Dunbar (tracks 1 & 2) – guitar;  Ron Carter - bass (tracks 4-6);  Chuck Rainey - electric bass (tracks 1 & 2);  Idris Muhammad - drums (tracks 1, 2 & 4-6);  Omar Clay - percussion (tracks 1, 2, 4 & 5);  Yvonne Fletcher, Patricia Hall, Loretta Ritter, Linda Wolfe - vocals (tracks 2 & 4)

My Way

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Jim Hall - Concierto

Bitrate: MP3@320K/s
Time: 65:34
Size: 150.1 MB
Styles: Guitar jazz
Year: 1975/2011
Art: Front

[ 7:04] 1. You'd Be So Nice To Come Home To
[ 3:48] 2. Two's Blues
[ 7:37] 3. The Answer Is Yes
[19:19] 4. Concierto De Aranjuez
[ 6:09] 5. Rock Skippin'
[ 2:34] 6. Unfinished Business
[ 7:25] 7. You'd Be So Nice To Come Home To
[ 5:33] 8. The Answer Is Yes
[ 6:02] 9. Rock Skippin'

Guitarist Jim Hall is the sort of musician who displays such technical expertise, imaginative conception, and elegance of line and phrase that almost any recording of his is worth hearing. Still, Concierto ranks among the best albums of his superb catalog. For starters, the personnel here is a jazz lover's dream come true. Paul Desmond (saxophone), Chet Baker (trumpet), Roland Hanna (piano), Ron Carter (bass), and Steve Gadd (drums) are on board, creating -- along with Hall -- one of the highest profile lineups ever put to tape. Yet Concierto is not about star power and showboating. As subtle, nuanced, and considered as any of Hall's output, the ensemble playing here demonstrates great group sensitivity and interplay, giving precedence to mood and atmosphere over powerhouse soloing. Conductor and arranger Don Sebesky evinces a chamber ambience from the sextet on "You'd Be So Nice to Come Home To," the smoky "The Answer Is Yes," and the Hall centerpiece "Concierto de Aranjuez." ~Anthony Tognazzini

Concierto

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