Showing posts with label Ron Blake. Show all posts
Showing posts with label Ron Blake. Show all posts

Monday, August 5, 2024

Steve Turre - Sanyas

Styles: Trombone Jazz
Size: 114,0 MB
Time: 49:14
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Sanyas (13:18)
2. All the Things You Are (10:21)
3. Wishful Thinking ( 9:15)
4. Mr. Kenyatta ( 9:52)
5. These Foolish Things ( 6:24)

Trombonist and conch shell blower Steve Turre (who appears with a quintet at the Jazz Showcase from June 20 th through the 24 th ) has been called by allmusic.com “perhaps the most visible jazz trombonist of the 20 th and 21 st centuries.” Whether the website is referring to his recognizable facial hair features or his commanding stage presence, Turre has certainly crafted his own niche within the jazz world. Ever since his breakthrough album "Rhythm Within" in 1995, Turre has attracted fans worldwide with his deft mix of Latin and Eastern-infused compositions and interpretations, as well as his steady post bop chops.

But live material wasn’t part of his catalogue as a leader until recently, when "Sanyas" was released on Smoke Sessions Records. On this initial live release, one receives all the representations of Turre’s work, from straight-ahead bop to those exotic takes that flow through one’s soul. As a live recording, "Sanyas" is either too short at just over 49 minutes or refreshingly short, without any fluff or pretentious jamming.

What we get is a tidy and masterful display involving veteran musicians who have played with Turre before and are very comfortable with his music. As on Turre’s last album, "Generations" (Smoke Sessions), the cast of performers includes a septet consisting of Turre, Nicholas Payton on trumpet, Ron Blake on tenor sax, Isaiah J. Thompson on piano, Buster Williams on bass, and Lenny White on drums.

The album begins with the title cut, a composition first heard when Turre played with a key mentor, the late trumpet hero Woody Shaw. On this effort, the modal jazz stew opens with a horn cacophony that leads to a Williams a la Paul Chambers intro that sets up a repeating piano chord riff from Thompson, over which an Eastern-tinged horn line expresses the song. Turre’s punchy solo, aggressively accompanied by White, is answered by Blake’s deeply-textured response before Turre finishes with a shell coda.

“All the Things You Are” receives a quasi-big band swing treatment, and the horns deliver big time. Blake’s solo is a treat and Payton, who seems to have reclaimed his own bop chops, adds a spirited and crystal clear comment. The group’s interplay here is impressive, bolstered by Williams’ sturdy presence, Thompson’s stately riffing and soloing, and White’s energetic support.

A new ballad, “Wishful Thinking,” demonstrates Turre’s more lyrical side, with a tastefully restrained partner in Payton. Then Lee Morgan’s “Mr. Kenyatta” properly returns the ensemble back into exotic rhythm, with another conch shell solo added.

The CD/digital “bonus track” is “These Foolish Things,” which is rendered in soft swing, with Turre in plunger mode atop Williams’ lilting bass lines; Buster is, as usual, brilliant throughout the album.

"Sanyas" thus ends, leaving this listener with a craving for more. If you hear this album before Steve Turre, the continuously enticing trombonist, visits Chicago, you might start planning a visit to the Showcase to see and hear the consummate pro in action. If you can’t, this relatively brief but well-performed excursion can serve as a replacement for the time being.By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-steve-turre-sanyas-by-jeff-cebulski

Personnel: Steve Turre, trombone and conch; Nicholas Payton, trumpet; Ron Blake, tenor saxophone; Isaiah J. Thompson, piano; Buster Williams, bass; Lenny White, drums.

Sanyas

Tuesday, May 23, 2023

Ron Blake - Shayari

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 69:21
Size: 159,5 MB
Art: Front

(5:39)  1. Waltz For Gwen
(8:41)  2. Atonement
(6:03)  3. Come Sun
(5:54)  4. Hanuman
(4:30)  5. What Is Your Prayer For?
(6:45)  6. Of Kindred Souls
(6:04)  7. Please Be Kind
(7:15)  8. 76
(2:00)  9. Remember The Rain
(7:23) 10. The Island
(4:52) 11. Teddy
(1:01) 12. Abhaari (Pt. I)
(3:08) 13. Abhaari (Pt. II)

There's an attention to sonic detail and aural space on tenor saxophonist Ron Blake's Shayari that would be more expected from the ECM label than from Detroit's Mack Avenue Records. But Mack Avenue, through Blake and his producer/pianist Michael Cain, has given us a CD strong on tone and mood, intimate and introverted without being lightweight or insubstantial. The intimacy flows from the instrumentation: All the tracks are trios save for three duos, and all but one scant-minute track feature tenor sax and piano. There is a lived-in feel about this record as well, as Blake revisits some of his earlier compositions in a more ruminative frame of mind, such as "Waltz for Gwen," with hand percussion (Jack DeJohnette or Gilmar Gomes) shading the leader's dry, urbane sax tone.

"Of Kindred Souls," originally recorded with Roy Hargrove's band, becomes a conversational trio with Regina Carter's violin joining tenor sax and piano. A heavier spiritual vibe informs "Atonement," tenor soloing over a fraught piano ostinato and DeJohnette's bundled sticks on cymbals, and "Hanuman," where Blake's tenor becomes surprisingly staccato over toms and rumbling piano. But for the most part, Blake's tenor is dry and airy, with a yearning tone akin to polite Coltrane. Emotions here are definitely subdued. Ivan Lins' "The Island," with Gomes punctuating on frame drum, is breezily seductive; Christian McBride's bass brings smooth swing to Bobby Hutcherson's "Teddy and the tenor/piano duet on "Please Be Kind the only American pop standard is a model of easy grace.By George Kanzler
https://www.allaboutjazz.com/shayari-ron-blake-mack-avenue-records-review-by-george-kanzler.php


Personnel: Ron Blake: tenor saxophone; Michael Cain: piano; Regina Carter: violin (6); Jack DeJohnette: drums (2, 4, 8, 12, 13); Gilmar Gomes: percussion (1, 3, 10); Christian McBride: bass (5, 11).

Shayari

Tuesday, February 7, 2023

Mingus Big Band - The Charles Mingus Centennial Sessions

Styles: Jazz, Big Band
Year: 2022
File: MP3@320K/s
Time: 63:30
Size: 146,2 MB
Art: Front

(7:22) 1. Work Song (Break The Chains)
(7:42) 2. The I Of Hurricane Sue
(1:01) 3. Intro To Nobody Knows The Bradley I Know
(5:46) 4. Nobody Knows The Bradley I Know
(8:15) 5. Meditations For Moses
(7:43) 6. All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother
(6:35) 7. Don’t Let It Happen Here
(6:49) 8. Profile Of Jackie
(8:21) 9. Hobo Ho
(0:22) 10. Intro To Wednesday Night Prayer Meeting
(3:29) 11. Wednesday Night Prayer Meeting

The legacy of Charles Mingus is continuing to be celebrated this year by his legacy bands. Now the Mingus Big Band has released The Charles Mingus Centennial Sessions, which marks the 100th anniversary of the bassist and composer’s birth with 22 of his compositions.

The work includes new arrangements of his timeless songs with narrations by Charles’s son Eric Mingus. The Charles Mingus Centennial Sessions was recorded with over 30 of the world’s leading musicians, rotating in the Mingus Big Band tradition, they say.

Bass on the album is handled by three men: Boris Kozlov, Andrew McKee, and Mike Richmond. Each has played an important role in the group. Kozlov has been in the band for over two decades and is the current co-leader of the group. McKee spent a decade in the ’90s and is featured on many recordings. When Mingus died in 1979, his widow Sue Mingus (who passed away in September 2022) launched the Legacy band with Mike Richmond in the bass seat.
https://www.notreble.com/buzz/2022/10/20/mingus-big-band-releases-the-charles-mingus-centennial-sessions/

Musicians: Dr. Alex Pope Norris, Tatum Greenblatt, Walter White, Philip Harper, Anthony Fazio, Jack Walrath, Alex Sipiagin - Trumpets; Conrad Herwig, Joe Fiedler, Robin Eubanks, Coleman Hughes - Trombones; David Taylor - Bass Trombone; Earl McIntyre - Bass Trombones & Tuba; Alex Foster (co-leader), Brandon Wright, David Lee Jones, Ron Blake, Alex Terrier - Alto Saxophones - Abraham Burton, Wayne Escoffery, Scott Robinson, Sam Dillon - Tenor Saxophones; Jason Marshall, Lauren Sevian - Baritone Saxophones; David Kikoski, Theo Hill - Piano; Boris Kozlov (co-leader), Andrew McKee, Mike Richmond - Bass; Adam Cruz, Donald Edwards, Johnathan Blake, Tommy Campbell - Drums; Eric Mingus, Renee Manning, Alex Foster - Vocals

The Charles Mingus Centennial Sessions

Thursday, November 28, 2019

Christian McBride - Sci-Fi

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 71:45
Size: 165,8 MB
Art: Front

(6:49)  1. Aja
(6:20)  2. Uhuru's Moment Returned
(7:59)  3. Xerxes
(7:30)  4. Lullaby For A Ladybug
(6:52)  5. Science Fiction
(6:43)  6. Walking On The Moon
(7:13)  7. Havona
(6:11)  8. I Guess I'll Have To Forget
(6:44)  9. Butterfly Dreams
(8:05) 10. Via Mwandishi
(1:14) 11. The Sci-Fi Outro

Undeniably a great technician and one of the best jazz bassists of his generation, Christian McBride is so much in demand that he might safely be considered a Paul Chambers for the new millennium. But like many talented men who find themselves viable artists in the role of sidemen, McBride has been inconsistent in his efforts as the person in charge. Sci-Fi, his fourth set for Verve as a leader, is still meandering in spots but has a creative edge to it that finds McBride earning points in the resourcefulness category.The most captivating moments here come with McBride's reworking of such pop tunes as Steely Dan's "Aja" and Sting's "Walking on the Moon," the former taking pieces of the original form for its light swing and the latter possessing a brooding and languorous quality complete with James Carter's moody bass clarinet. A salute to bass masters Jaco Pastorius and Stanley Clarke makes for more highlights, with Pastorius" "Havona" turning into a heady romp, while Clarke's beautiful waltz "Butterfly Dreams" comes on with an impressive bit of bowed work from McBride.Mixing electric and acoustic elements, guitarist David Gilmore figures prominently into the mix. The other special guests are far less integral to the success of the whole, yet Hancock tears it up on "Xerxes." McBride's own writing is not as strong as his arranging, yet the overall mood hangs together and the presentation is somewhat in the vein of a modern update on early '70s fusion (the track "Via Mwandishi" should give the astute reader a signpost in the general direction). So even though the theme may lead a bit on the side of kitsch, Sci-Fi packs a visceral punch that's worth a listen. ~ C.Andrew Hovan https://www.allaboutjazz.com/sci-fi-christian-mcbride-verve-music-group-review-by-c-andrew-hovan.php

Personnel: Christian McBride- electric and acoustic bass; keyboards; Ron Blake- tenor and soprano saxophone; James Carter- bass clarinet (tracks 6 & 10 only); Shedrick Mitchell- piano and Fender Rhodes; Herbie Hancock- piano (track 3 & 4 only); Dianne Reeves- vocals (track 4 only); Toots Thielemans- harmonica (track 8 only); David Gilmore- guitars (tracks 1,5,6,and 10); Rodney Green- drums

Sci-Fi

Tuesday, November 19, 2019

Morgan James - Reckless Abandon

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 45:13
Size: 105,6 MB
Art: Front

(3:28)  1. Up in Smoke
(3:31)  2. Unworthy
(3:43)  3. By My Side
(3:25)  4. Lifted
(3:22)  5. Making up for Lost Love
(5:16)  6. Ransom
(3:07)  7. Jenny
(3:55)  8. No Faith
(4:06)  9. Pity
(4:40) 10. You Thought Not
(3:13) 11. Need Somebody
(3:22) 12. Reckless Abandon

She’s a New York singer who’s done the Broadway thing, and she has a new album out. Her name is Morgan James and the album is the first one she’s done as an independent artist, titled Reckless Abandon. I stumbled across her stunning vocals one evening while binging on Postmodern Jukebox videos (including an orchestral version of “It’s a Man’s Man’s Man’s World” which 30,561 people have granted the thumb of approval). I had the distinct pleasure of listening to Reckless Abandon on a rainy morning. The album begins with a blast of horns, troubadours announcing a majestic arrival. “Up in Smoke” is energizing like a complicated liquefied beverage. It prepares you for an album of impressive vocal range and funky rhythms. The next track, “Unworthy,” features vocals with a pop of modernity over a synth beat. It feels light, like really nice mosquito netting. The lyrics poke at that slumbering beast that rouses from time to time to niggle you with doubt, but the beat protects you from anything that beast could drowsily snarl at you. This track is a prophylactic. In “By My Side,” Morgan’s voice flits, floats, spirals, and swoops. Like someone with poor circulation acquiescing to the steamy solidness of a hot beverage between their cold cupped hands, she sings the highs artfully and dips into the lows with comforting certainty. Meanwhile, the beat brings to mind brick surfaces and bouncing basketballs. “By My Side” communicates a meme that appears universally in the human experience, “I don’t need to run / I don’t need to hide / Because I’ve got you by my side.” “Lifted” starts with a smooth beat. Morgan comes in, singing in the second person about being “lifted,” and she taps into the magic inherent in the four-syllable word with nice use of elevator and detonator. The vocals are belted in such a way I wonder how much effort it would take for Morgan to break glass with her voice. Hours and even days after the first listen, the song reverberates in my mind as I pedal on two wheels past the factories, breweries, and iglesias of South Charlotte.

As if offering a rope to someone hanging on the edge of a cliff, in “Making up for Lost Love” Morgan lets out the lyrics bit by bit in smooth vocals. The more intimate vocal style contrasts with the let-it-all-hang-out style of “Lifted,” urging the listener to lean in and pay attention. Then comes the show stopper. “Ransom” is slow and dripping with soul. The track moves along slowly but surely, with piano and gentle percussion behind Morgan’s expressive and impressive vocals. Her voice paints a picture as she produces the words, “I paid / I paid / I paid / But you killed me anyway.” If this is how she sings when she’s feeling down, I wonder what magical heights her vocal muscles can reach when she’s feeling good. As the song winds up before winding down, Morgan’s voice builds gradually, from the depths (sullen and thick) to a bone-chillingly [in a good way] awesome performance. With just “Ransom” alone, Morgan James has achieved the sort of mind-brain connection that Soviet villains in old movies might have attempted with technology (and montage). If “Ransom” was the sandwich, “Jenny” would be the pickle: triangular and somewhat discordant with the previous track, but on its own, a good song. Morgan’s vocals are flawless as she delivers the saga of a woman who has always been “out of reach.” The songwriting on this track is impeccable; I do not doubt that Morgan could make it in any genre she chose. The vocal artistry that blues and soul permit provide the perfect home for Morgan, and “Jenny” is evidence. “No Faith” marches the album determinedly forward, with vocals progressing from singular to multitudinous as the lyrics distance Morgan from paired to singledom. The further she gets from that relationship, the stronger she becomes. That’s equilibrium for you.

As “Pity” begins, the emotion imbued in the first words is so complex, you just have to keep listening. The song simmers like julienned vegetables bobbing in steaming salted water. Keep it going too long, you’ll end up with mushy vegetables. But done just right, and the result is perfection. Morgan’s vegetables are definitely not mushy. She uses half steps to pull at the heartstrings and engage the auditory cortex. A brief break with sultry brass adds a layer of ambiance to the tune. Just knowing that some truly loud and fantastic vocals are within reach but never used gives “Pity” a quiet power, like a stained wood accent wall. “You Thought Not” is the kind of song you sing forcefully while wearing the pants that are so old and out of fashion the only time you wear them outdoors is to take the trash out. The song begins with a slow beat and gentle contemplative mood-setting notes. The lyrics look back on a day when the sun shone bright but left Morgan feeling sunburnt. (It happens when you least anticipate prolonged exposure to harmful rays.) “We used to be a good time / You took me for a long ride / I thought about forever / I thought we had a shot,” she sings, distancing herself grammatically from a partnership that went sour with every sighed word. The song ends with backing vocals that hold so much power, they breathe life into the song, like a serendipitous tailwind breathing life into flagging sails.

A beat with the clean simplicity of machine wash clothing laid over simple chords provides the backdrop for Morgan to bare her restless soul In “Need Somebody.” Like a python digesting a small mammal, the vocals stretch, expand, and retract in a beautiful dance between the verses and chorus. With vocals like these, no matter what she needs, surely nothing is out of reach for Morgan James. The album ends with the title track. The first bars of “Reckless Abandon” are pure fun, like the pop of pomegranate seeds on an August afternoon and going out in shoes that you know will hurt your feet but that’s beside the point. The vocals are luscious and then they are more luscious, joined by the horns for a big blue bang. This is a song made for flouncing. They could sell yogurt with this song. Yogurt: perhaps the most complicated of the dairy products to shill in this country. Reckless Abandon, as an album, is a masterpiece of vocals as perfected as the firing in a Lamborghini’s cylinders and songwriting as sweet and well-crafted as an artisanal doughnut. “Ransom” is the standout on the album; it is brimming with introspection and features that magical marriage of superhuman vocals and astute songwriting that so many seek but so few attain. Morgan James is a hardworking woman with talent that can span the genres, the ages, and the tastes that make all us music lovers such diverse and discerning listeners. Hear her music, see her live, witness something sublime. Morgan James is touring the country be sure to catch her live at a city near you.  Check back in for the Libro Musica coverage of her show at City Winery Atlanta in Ponce City Market. https://www.libromusica.com/2017/05/review-morgan-james-reckless-abandon/

Personnel: Morgan James - Vocals; Doug Wamble - Guitars/Producer; Roy Dunlap - Piano/Keyboards; Jesse Fischer - Keyboards/Producer; Jeff Hanley - Bass; Mark McLean - Drums; Ravi Best - Trumpet; Ron Blake - Tenor Saxophone; Mike Fahie - Trombone

Reckless Abandon

Monday, September 9, 2019

Victor Provost - Bright Eyes


Styles: Contemporary Jazz
Year: 2017
File: MP3@320K/s
Time: 58:38
Size: 134,9 MB
Art: Front

(4:58)  1. Eastern Standard Time
(7:13)  2. Ella Nunca Tiene Una Ventana
(4:22)  3. Fitt Street
(6:48)  4. Bright Eyes
(6:21)  5. Pan in Harmony
(6:05)  6. Homenaje
(6:08)  7. Fete Antillaise
(5:56)  8. Twenty
(1:01)  9. Intro for Chelle
(5:03) 10. Song for Chelle
(4:38) 11. La Casa de Fiesta

Just as Béla Fleck has done for the banjo and Laurie Anderson has done for the violin, steel pan player Victor Provost showcases his main instrument in contexts that are different from the one in which many listeners were first introduced to it. Although there are definitely Caribbean influences on Bright Eyes, Provost (who grew up on St. John in the Virgin Islands) is also deeply devoted to jazz. The result is a great jazz album that happens to feature steel pan as opposed to a great steel pan album that incorporates jazz. Provost and his band Alex Brown (piano), Zach Brown (bass) and Billy Williams Jr. (drums) get help from percussionist Paulo Stagnaro on six of the 11 cuts. Other guest contributors include Paquito D’Rivera (alto saxophone), Ron Blake (soprano saxophone), Tedd Baker (tenor saxophone), Joe Locke (vibraphone), Etienne Charles (trumpet) and John Lee (guitar). On the title track, Provost offers the same elegant mixture of hypnotic speed and seductive melodicism on steel pan that Locke has developed on vibraphone; the combination of the two instruments here is dazzling. The original tune “Twenty” illustrates the leader’s mastery of a slow tempo, while a fiery rendition of Tom Glovier’s “La Casa De Fiesta” becomes a high-octane blowing session for Provost, Alex Brown, Blake and Charles. We can’t wait to hear what Provost does next. ~ Bobby Reed http://downbeat.com/reviews/detail/bright-eyes

Personnel:  Victor Provost - steel pan; Alex Brown - piano; Zach Brown - bass;  Billy Williams, Jr. - drums; Paquito D'Rivera - alto saxophone; Joe Locke - vibraphone; Ron Blake - soprano saxophone; Etienne Charles - trumpet; Paulo Stagnaro - percussion; Tedd Baker - tenor saxophone; John Lee - guitar

Bright Eyes

Thursday, September 5, 2019

Victor Provost - Her Favorite Shade of Yellow

Styles: Contemporary Jazz
Year: 2011
File: MP3@320K/s
Time: 52:58
Size: 122,6 MB
Art: Front

(4:26)  1. Her Favorite Shade of Yellow
(4:41)  2. Beautiful Love
(7:31)  3. Dolphin Dance
(6:29)  4. Mother Theresa
(4:51)  5. Moments Notice
(5:54)  6. Rainorama
(5:07)  7. Blue in Green
(4:44)  8. All the Things You Are
(3:23)  9. Just Friends
(5:49) 10. Redemption Song

In February 2011, I went into the Bennett Studios with a hard-hitting rhythm section Dion Parson (dr), Reuben Rogers (bs), and Carlton Holmes (p) and endeavored to make not just a great record, but a one-of-a-kind recording. With the assistance of sax giant Ron Blake, who channels ‘Trane on my tribute to my “Mother Theresa”, engineer extraordinaire Rob Harari, and mastering master Steve Vavagiakis, the record found its voice and vibe and and took the form of a commercial product. I’m very proud of the result and grateful for the incredible musicians and technicians that made the process possible. https://www.victorprovost.com/85/

Personnel:  Victor Provost (steel-ds); Carlton Holmes (p); Ruben Rogers (b); Dion Parson (ds); guest:Ron Blake (ts)

Her Favorite Shade of Yellow

Thursday, May 16, 2019

Terell Stafford - Centripetal Force

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 67:40
Size: 156,9 MB
Art: Front

(6:58)  1. Addio
(5:36)  2. I'll Wait
(6:20)  3. Skylark
(7:12)  4. Old Devil Moon
(4:43)  5. A Child Is Born
(6:47)  6. Mia
(7:48)  7. For The Broken Hearted
(6:58)  8. My Romance
(7:15)  9. Daahoud
(7:58) 10. Somebody Bigger Than You And I

Centripetal Force is a good title for this CD, Terell Stafford's second as a leader. In physics, it describes how separate energies gravitate toward the center; here, the center is more than Stafford's beautiful horn there's a warm calm at the core of this music, regardless of tempo. Some of this comes from familiarity, since Stafford, Stephen Scott, and Victor Lewis were bandmates in Bobby Watson's hard bop '90s group, Horizon. But there's nothing hard about this release, which is full of soul and heart. Stafford's playing is clean, fluid, and expressive, whether he's going flat-out on an incandescent "Old Devil Moon" or being achingly tender describing "My Romance," accompanied only by Scott's eloquent piano. On the purely beautiful "A Child Is Born," he duets with Russell Malone, who also delivers memorable solos on the relaxed and swinging "Skylark" and Lewis' high-energy opener, "Addio." Stafford offers two fine compositions of his own: the haunting "I'll Wait," with subtle percussion (including bird sounds) supplied by Daniel Moreno, and "Mia," an intriguing mix of light and shadow that balances Stefon Harris' pearly vibe tones with Stafford's smoky flugelhorn and the honey of John Clark's French horn. Stafford's talent for building solos is especially evident on Scott's "For the Broken Hearted," which is more lively than its title suggests. An exciting "Dahoud" and a loving ballad tribute to Stafford's grandmother round out the ten tracks by these ten superb musicians. But while there's plenty of brilliance here, there's no trace of flash: Stafford goes straight for the honest meaning in every tune. And whether his tone is golden or growling, muted or crystalline, he communicates straight to the listener's center. ~ Judith Schlesinger https://www.allmusic.com/album/centripetal-force-mw0000483798

Personnel:  Trumpet – Terell Stafford; Bass – Ed Howard (tracks: 1 to 4, 6, 7, 9, 10); Drums – Victor Lewis (tracks: 1 to 4, 6, 7, 9, 10); Flugelhorn – Terell Stafford; French Horn – John Clark (2) (tracks: 6); Guitar – Russell Malone (tracks: 1, 3, 5); Percussion – Daniel Moreno (tracks: 1, 2, 7, 10); Piano – Stephen Scott (5) (tracks: 1, 2, 4, 6 to 10); Tenor Saxophone – Ron Blake (tracks: 9), Tim Warfield (tracks: 4); Vibraphone – Stefon Harris (tracks: 6, 7)

Centripetal Force

Wednesday, March 21, 2018

Brian Lynch And Cuban Jazz Orchestra - Bolero Nights

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 54:17
Size: 131,3 MB
Art: Front

(7:50)  1. Afinque
(6:31)  2. La Sitiera
(9:24)  3. Celia
(6:38)  4. Fire Waltz
(9:42)  5. Delilah
(6:53)  6. I'm A Fool To What You
(7:15)  7. You've Changed

As one of the more exuberant trumpeters in Latin jazz via his stint with Eddie Palmieri, Brian Lynch might surprise his fans with this seductive and sensual album directing his Afro-Cuban-oriented orchestra. With five horns and on occasional the legendary alto saxophonist Phil Woods, Lynch and his band weave some magical and lower-key threads, not so much dedicated to Billie Holiday's music as inspired by her romantic spirit. Split between some well-chosen standards and original compositions, the band struts and sways along on the famous "Delilah," Lynch's easy cha-cha "Afinique," and the beautiful "La Sitiera." Only during the midtempo montuno version of the Charles Mingus evergreen "Celia" or the 6/8 arrangement of Mal Waldron's "Fire Dance" does the band really simmer or even moderately cook. Pianist Zaccai Curtis (of the Curtis Brothers Quartet) and Woods via counterpoint are outstanding in spots, while Lynch himself takes it down a notch throughout, setting the tone, and generously adding a sensitive but regretful feeling to the great take of "I'm a Fool to Want You." From luminous mambos or in serene, pensive underpinnings, this group really hits the mark for subtle yet clearly delineated music that Lady Day surely would have shed a tear or two over, as might we all. ~ Michael G.Nastos https://www.allmusic.com/album/bolero-nights-for-billie-holiday-mw0001969838

Personnel: Brian Lynch: trumpet and flugelhorn; Phil Woods: alto saxophone (3, 6, 7); Ivan Renta: alto saxophone; Alan Hoffman: tenor saxophone; Marshall Gilkes: trombone; Ron Blake: baritone saxophone; Zaccai Curtis: piano; Boris Kozlov: bass; Little Johnny Rivero: congas, bongos and percussion; Marvin Diz: timbales and drums.

Bolero Nights