Conrad Herwig - New York Hardball

Styles: Trombone Jazz
Year: 1989
File: MP3@320K/s
Time: 42:28
Size: 97,4 MB
Art: Front

(4:12) 1. Hardball
(4:52) 2. Vendetta
(6:17) 3. Zal
(4:39) 4. Code Blue
(3:52) 5. I'm Getting Sentimental Over You
(5:31) 6. Master's Image
(3:40) 7. Hey, New Day
(9:22) 8. Out Of Darkness, Into Light

This lesser-known set from the now-defunct Ken label features the fluent and creative trombonist Conrad Herwig, who is joined by the harmonically advanced pianist Richie Beirach, bassist Ron McClure and drummer Adam Nussbaum. The music ranges from introspective ballads to a swinging version of the lone standard "I'm Getting Sentimental Over You." Herwig is mostly in the spotlight and he rises to the occasion, excelling on the complex straight-ahead material.
By Scott Yanow https://www.allmusic.com/album/new-york-hardball-mw0000896298

Personnel: Trombone, Producer – Conrad Herwig; Bass – Ron McClure; Drums – Adam Nussbaum; Piano, Liner Notes – Richie Beirach

New York Hardball

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Michel Petrucciani / Ron McClure - Cold Blues

Styles: Piano Jazz, Post Bop 
Year: 1985
File: MP3@320K/s
Time: 43:07
Size: 99,9 MB
Art: Front

(8:39)  1. Beautiful But Why?
(5:45)  2. Autumn Leaves
(6:20)  3. Something Like This
(6:58)  4. There Will Never Be Another You
(8:47)  5. I Just Say Hello!
(6:35)  6. Cold Blues

?Michel Petrucciani's last European recording before hooking up with Blue Note, this set of duets matches the tiny but powerful pianist with bassist Ron McClure. They perform post-bop explorations of four originals (including an ad-lib "Cold Blues"), "Autumn Leaves" and "There Will Never Be Another You." The interplay between the two musicians is impressive, but although McClure plays a prominent role, Petrucciani is clearly the dominant force. Worth searching for.
By Scott Yanow https://www.allmusic.com/album/cold-blues-mw0000651592

Personnel: Michel Petrucciani (piano); Ron McClure (bass guitar).

Cold Blues

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Dave Stryker - Strike Zone

Styles: Guitar Jazz
Year: 1990
File: MP3@320K/s
Time: 70:15
Size: 161,4 MB
Art: Front

(6:59)  1. Strike Zone
(8:51)  2. Who Can I Turn To
(8:12)  3. I Wish I Knew
(5:14)  4. Twenty One
(9:02)  5. Undercurrent
(5:14)  6. Evidence
(2:23)  7. Some Other Time
(9:33)  8. Going Home
(8:29)  9. Muddy Waters
(6:15) 10. My Shining Hour

Dave Stryker is undoubtedly one of the most talented of the younger generation of jazz guitarists today. This is the first recording by Stryker on SteepleChase. Born in Omaha, Nebraska on March 30, 1957, Stryker has been playing guitar since he was 10. Unsurprisingly he started out on rock guitar but soon turned to jazz because of George Benson and John Coltrane. Dave moved to New York in 1980 and after a short while established himself in the NY scene as one of the most sought after players playing with among others Lonnie Liston Smith, Jimmy Smith, Stanley Turrentine, Freddie Hubbard, Dizzy Gillespie. “… The specific strengths of this album include consistently top-notch performances and a sense of contemporaneity afforded by Stryker’s attractive original compositions enhanced by a willingness to experiment with sound and stylistic approach .” (Cadence)

Personnel: Guitar – Dave Stryker; Bass – Ron McClure;  Drums – Ronnie Burrage;   Piano, Synthesizer [DX-7] – Marc Cohen;  Soprano Saxophone, Alto Saxophone, Alto Clarinet – Steve Slagle

Strike Zone

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Ron McClure - Lucky Sunday

Styles: Jazz, Post Bop 
Year: 2019
File: MP3@320K/s
Time: 63:06
Size: 145,8 MB
Art: Front

(7:20)  1. What's Due
(5:59)  2. The Shining Sea
(7:17)  3. Lucky Sunday
(3:59)  4. Deep Sea Urban Planning
(6:40)  5. Stay Where You Are
(5:17)  6. The Waves
(8:32)  7. You and the Salt
(6:06)  8. Quiet Life
(4:49)  9. Mending Ties
(7:03) 10. To Begin

Bassist Ron McClure's a might generous leader as he sets the sound up with a really rich vibe right from the start, but also lets his other quartet members really get some time to shine in the spotlight! The album's awash in great tones from Anthony Ferrara on tenor, and Rob Block on piano and guitar the latter of whom shifts instruments on different tracks, which adds a further level of color palette to the album! Ferrara's especially great bold, thoughtful, and very creative when he's in the lead and the group's completed by work from Pete Zimmer on drums. Block, McClure, and Ferrara all contributed a fair bit of original material to the set and titles include "Deep Sea Urban Planning", "Lucky Sunday", "What's Due", "To Begin", "Mending Ties", "Quiet Life", and "You & The Salt".  © 1996-2020, Dusty Groove, In https://www.dustygroove.com/item/934084/Ron-McClure:Lucky-Sunday

Personnel:  Ron McClure - bass;  Anthony Ferrara - tenor saxophone;  Rob Block - piano;  Pete Zimmer - drums

Lucky Sunday

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Ron McClure - Never Forget

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 68:40
Size: 157,9 MB
Art: Front

(5:52)  1. Halfmoon Again
(7:28)  2. Hello Spring
(4:07)  3. Lament for Lost Heroes
(7:26)  4. Belle
(6:39)  5. Never Forget
(8:41)  6. Hey New Day
(6:12)  7. We'll Say Hello Again
(6:32)  8. Illusions Of ...
(6:23)  9. Stinky Fingers
(9:16) 10. Remember Me

A resourceful and flexible bassist, Ron McClure has thrived in hard bop, jazz-rock, and free and bebop sessions and bands. One of the finest upper register players on either acoustic or electric, his rhythmic skills are tremendous. McClure has also been an active educator since the early '70s, teaching at Berklee and Long Island University and doing workshops both nationally and internationally. He started on piano at age five, and later played accordion and bass. McClure studied privately with Joseph Iadone and attended the Hartt School of Music, graduating in 1963. He later studied composition with Hall Overton and Don Sebesky. McClure played with Buddy Rich in the mid-'60s, and worked and recorded with Marian McPartland, Herbie Mann, and Maynard Ferguson during that same period. McClure played in Wyton Kelly's band in 1966, then joined Charles Lloyd in 1967. The Lloyd group also included Keith Jarrett and Jack DeJohnette, and enjoyed unusual popularity and publicity for a late-'60s jazz band. They were the first American group to play at a Soviet jazz festival, and also appeared at the Fillmore, one of the few jazz acts to play there. McClure was a founding member of the jazz-rock band the Fourth Way -- with Michael White, Mike Nock, and Eddie Marshall -- in 1968. They got a good response at the Newport and Montreux festivals in 1970, but disbanded in 1971 after a three-year stint. During the '70s, McClure played with Joe Henderson, Gary Burton, Mose Allison, Jack DeJohnette, Dave Liebman, Thelonious Monk, Tony Bennett, and Jarrett. He recorded with Jerry Hahn, Julian Priester, Cal Tjader, and the Pointer Sisters, and spent three years with Blood, Sweat & Tears in the mid-'70s. McClure played and recorded with George Russell, Tom Harrell, John Scofield, John Abercrombie, Mark Gray, Jimmy Madison, Adam Nussbaum, Richie Bierarch, Vincent Herring, Kevin Hayes, Bill Stewart, and Michel Petrucciani in the '80s and '90s. McClure has done sessions as a leader for Ode, Bellaphon, EPC, Steeplechase, and Ken Music. He has a few dates available on CD. ~ Ron Wynn https://www.allmusic.com/artist/ron-mcclure-mn0000831201/biography 

Personnel: Bass – Ron McClure; Alto Saxophone – Vincent Herring; Drums – Bill Stewart; Piano – Kevin Hays; Trumpet – Eddie Henderson

Never Forget

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Joe Henderson Quintet - At The Lighthouse

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 76:12
Size: 175,8 MB
Art: Front

( 5:37)  1. Caribbean Fire Dance
( 8:19)  2. Recorda-Me
(10:31)  3. A Shade Of Jade
( 4:30)  4. Isotope
( 9:01)  5. 'Round Midnight
( 8:33)  6. Mode For Joe
( 7:33)  7. Invitation
(11:30)  8. If You're Not Part Of The Solution, You're Part Of The Problem
( 9:47)  9. Blue Bossa
( 0:46) 10. Closing Theme

I was pretty late coming to Joe Henderson. I was never a big sax aficionado, least of all tenors; once I got through Trane, Shorter, Rahsaan, Bartz, and Branford, I kind of grew a preference for alto players. That being what it is, there is a certain class of tenor players who do not wow me so much for their own singular identity, as much as their amazing ability to blend into an ensemble so very well (even if they are the leader). Henderson is one of those, and I do really admire his breadth in that regard. He has class and a vast technique that lets him work gigs like this to maximum. At the Lighthouse is a 1970 performance that had been split up on various releases and box compilations, but was finally loosed upon the record buying public by Milestone/Fantasy in 2004. It is one of Henderson at his peak, playing with a hearty, fat tone that slides around between warm and bubbly to boisterous and blaring. His band has Woody Shaw working a crisp trumpet, that is not too harsh or bright tonally, and reminds me of Clifford Brown a little. The rhythm department is my favorite part; Lenny White on traps never disappoints, and since I love electric piano (the Fender Rhodes is technically incapable of sounding bad…ever), the support from George Cables impresses me (because I had never recalled his name ever entering memory before this album), especially on Invitation. The take on the ‘Round Midnight Monk standard has a lot of space, which lets the various players work through nine minutes of challenging interpretation. The same interplay and great soloing happens on the Kenny Dorham composition Blue Bossa. Henderson brings a few of his on compositions, like Isotope, which are challenging and a whole push back into hard bop in the best way. White hammers and dances on the kit, making the pulse seem both out of control and effortless. The odd duck of the album is another Henderson-penned cut, f You’re Not Part of the Solution, You’re Part of the Problem. It is the closest to funky soul-jazz as this set gets, but at eleven and a half minutes makes for a filling slice of sonic badonkadonk. The sole track where acoustic bassist Ron McCLure switches to electric, he locks in with White in a linear groove workout that lets Shaw, Henderson and even Cables have a field day. I give at least partial credit to the great quality of the recording to uber-producer Orrin Keepnews. Solid! https://devrandom.net/~zeruch/wordpress/?p=453
 

Personnel: Tenor Saxophone – Joe Henderson; Bass – Ron McClure; Bass [Electric] – Ron McClure; Congas – Tony Waters; Drums – Lenny White; Electric Piano – George Cables; Trumpet, Flugelhorn – Woody Shaw

At The Lighthouse

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Michael Cochrane - Footprints

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 71:53
Size: 165,4 MB
Art: Front

( 5:31)  1. Black Nile
( 5:27)  2. One by One
( 5:44)  3. Fee-Fi-fo-Fum
( 5:48)  4. Virgo
( 6:01)  5. Esp
( 6:52)  6. Footprints
( 5:49)  7. Ana Maria
( 5:49)  8. Pinocchio
( 6:09)  9. Fall
( 8:35) 10. Infant Eyes
(10:04) 11. Speak No Evil

Pianist Michael Cochrane displays here his deep appreciation and understanding of saxophonist/composer Wayne Shorter’s music of the 60s. The 72 minutes of Shorter melodies are performed with great sensitivity, imaginations and dexterity by one of the best jazz piano trios today. “Cochrane is a mature and imaginative pianist with a delicate touch and deep harmonic resources…” (Dave Gelly, Gramophone Jazz Good CD Guide)

Personnel:  Michael Cochrane - piano; Ron McClure - bass; Yoron Israel - drums

Footprints

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The Mike Nock Underground - Between Or Beyond

Styles: Piano Jazz
Year: 1971/2015
File: MP3@320K/s
Time: 38:47
Size: 89,9 MB
Art: Front

(5:12)  1. Between Or Beyond
(5:28)  2. The Squire
(3:22)  3. Hobgoblin
(4:51)  4. Outfall
(6:48)  5. Denim Dance
(4:58)  6. Lady Love
(4:00)  7. Wax Planet
(4:04)  8. Space Bugaloo

The Fourth Way (with keyboardist Mike Nock, violinist Michael White and drummer Eddie Marshall) was an early fusion quartet that released three fine albums between 1969-71, none of which has been reissued on CD. Between Or Beyond was an album released in 1970 by the German MPS label and credited to the Mike Nock Underground, basically the Fourth Way minus White. Given its time and place (recorded in Germany in June of 1970), sonically, it's very much of its time. But it's a corker of an album that is the equal to any of the Fourth Way discs as well as a lot of other better-known electric jazz experiments of the time. McClure plays electric bass and it's mixed to the foreground so it functions as much as a frontline instrument as in the rhythm section. While some of this disc dwells in the area of adventurous acoustic piano trio jazz ("Hobgoblin" and McClure's "Denim Dance"), most of it is electric piano based jazz/rock. Nock sounds like he's having a lot of fun making his piano do a lot of things the old acoustic couldn't do. A point of reference might be Canterbury bands' forays into jazz improv. Nock's disc is a good demonstration that before it devolved into formulaic demonstrations of soulless technique, some highly enjoyable recordings were released under the fusion banner. Good to see this one back in print, although it may be hard to come by since it's a Japanese reissue. ~ Robert Iannapollo https://www.allaboutjazz.com/ron-mcclure-wonderland-always-and-between-or-beyond-by-robert-iannapollo.php

Personnel: Mike Nock - piano, electric piano;  Ron McClure - bass; Eddie Marshall - drums.

Between Or Beyond

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Burak Bedikyan - Leap of Faith

Styles: Piano Jazz 
Year: 2015
File: MP3@320K/s
Time: 70:09
Size: 161,2 MB
Art: Front

(6:38)  1. Astral Traveller
(6:06)  2. Prelude No. 1 Birth Of Innocense
(5:53)  3. Hommage A Bud Et Francis
(7:33)  4. Ashes To Ashes
(9:17)  5. Leap Of Faith
(9:34)  6. Hydrogen Atom
(5:57)  7. Prelude No. 2 Lonely Planet
(7:37)  8. The Unspoken
(4:57)  9. Der Zor (Deir Ez-Zor)
(6:33) 10. Gravity

One of Turkey’s leading pianists Burak Bedikyan has been rapidly establishing himself as a star player on the international jazz scene since the release of his first SteepleChase Lookout album “Circle Of Life” SCCD 33109 (2013). For his second album here Bedikyan further showcases an exciting process of on-going development as a performer and composer with unique musical background.

“This is an interesting overture for the Turkish newcomer, but it sounds like there’s much more in reserve.” ~ John Fordham 

“Burak Bedikyan takes charge of the finest quartet recording for 2013, Circle Of Life… Bedikyan is a name to remember and an artist whose musical stock is an arrow pointing straight up!” ~ Brent Black

Personnel:  Piano – Burak Bedikyan; Bass – Ron McClure; Drums – Billy Drummond; Tenor Saxophone, Soprano Saxophone – Chris Cheek

Leap of Faith

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Wynton Kelly Trio & Wes Montgomery - Smokin’ In Seattle: Live At The Penthouse

Styles: Piano And Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 54:06
Size: 125,7 MB
Art: Front

(8:19)  1. There Is No Greater Love
(6:32)  2. Not A Tear
(4:32)  3. Jingles
(4:51)  4. What's New?
(2:47)  5. Blues In F
(8:39)  6. Sir John
(5:56)  7. If You Could See Me Now
(4:02)  8. West Coast Blues
(6:15)  9. O Morro Nao Tem Vez
(2:09) 10. Oleo

In his superb contribution to Bloomsbury Press' 33 & 1/3 series, Bitches Brew (2015), George Grella notes (emphasis mine):

"No style of art can remain static: irrelevance is just as much a risk as the inevitable decadence that comes from a style developing to its last measure. But fans, including critics, of particular movements of artists, tend to want what they love to stay the same, the regression is not to the mean but to an Edenic past that never actually existed."  Written with the present in mind, Grella's point is easily transmuted to any particular era one likes from any vantage point in the future. I favor acoustic, small group jazz made between 1945 and 1965, a predilection that continues 50 years later. The beauty of appreciation is that it can occur vertically and horizontally. Vertically, we can experience and appreciate the evolution of an art form from its genesis until the now. Anywhere along the way up we can stop and view the horizontal: everything occurring, on all sides, at a single point in time. This appreciation does not interfere with the vertical experience but does add to its breadth.

It is in this horizontal appreciation of jazz that previously unheard, archival performances are so important. They add depth to the perspective.  Such is the case with Wes Montgomery's Smokin' in Seattle: Live at the Penthouse (1966), with the Wynton Kelly Trio. In the mid-1960s, before rock music completely took over, Montgomery was considered something special. From our present vantage point looking back, Montgomery's Smokin' at the Half Note (Verve, 1965), also with Kelly's trio, is considered one of the finest live jazz recordings of any period. It would be only natural to want to experience more of this type of music from the period. This particular trio was also the rhythm section for Miles Davis' band between 1959 and 1963, with pianist Kelly, bassist Paul Chambers and drummer Jimmy Cobb. The significance of this rhythm section is that they were on-hand during the fertile, transformative period between Davis' two great quintets, anchoring the recording of Davis' greatest achievement, Kind of Blue (Columbia, 1959).

I always thought that the primary simpatico in this band existed between Kelly and Montgomery, but that is hardly fair considering the stature of all involved. But there was an emphatic connection between Kelly and Montgomery that tangibly adds to the music made here. Kelly was an old- school pianist, not unlike Red Garland; they both had great facility with block chords. Also, like Garland, Kelly possessed a great command of the blues and this permeated all of his playing. Montgomery shared these same abilities. Both had an economic ability reflected in their carefully considered solos. It is nice to have more examples of this musical cooperation in Smokin' in Seattle. This Resonance release features ten selections: four from the trio alone; and the remaining six with Montgomery. Kelly was a crack balladeer. He leads the trio through period-perfect performances of "There is No Greater Love" and "If You Could See Me Now." On the latter, his playing approaches the orchestral, full of warmth and triumph in the introduction and grace and majesty in the interior. Effortlessly, Kelly could harmonize without becoming abstract in his technical playing. That said, when it came to the blues roots the pianist shared with Montgomery, the two provide a masterclass of "thinking outside the box" on the guitarist's "Blues in F" and "West Coast Blues."

His Resonance release features ten selections: four from the trio alone; and the remaining six with Montgomery. Kelly was a crack balladeer. He leads the trio through period-perfect performances of "There is No Greater Love" and "If You Could See Me Now." On the latter, his playing approaches the orchestral, full of warmth and triumph in the introduction and grace and majesty in the interior. Effortlessly, Kelly could harmonize without becoming abstract in his technical playing. That said, when it came to the blues roots the pianist shared with Montgomery, the two provide a masterclass of "thinking outside the box" on the guitarist's "Blues in F" and "West Coast Blues." "Blues in F" is a bouncing jump blues dominated by Montgomery's single-string soloing; Montgomery's famous octave style is also displayed generously. At a brief 2:44, the song is faded out, ostensibly due to radio time constraints. "West Coast Blues" is a loping chorded blues that illustrates Kelly's interplay with Montgomery, readily following the guitarist's muscular lines in the head and then providing a propulsive push behind the guitarist's solo. ~ C.Michael Bailey https://www.allaboutjazz.com/smokin-in-seattle-live-at-the-penthouse-1966-by-c-michael-bailey.php

Personnel: Wes Montgomery: guitar; Wynton Kelly: piano; Ron McClure: bass; Jimmy Cobb: drums.

Smokin’ In Seattle: Live At The Penthouse

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Ron McClure - New Moon

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 66:32
Size: 158,1 MB
Art: Front

(5:54)  1. Half A Nice Day
(8:34)  2. Kalman's Dance
(7:37)  3. Hostile Terrain
(8:05)  4. Better Late Than Never
(7:39)  5. It's Always Now
(8:46)  6. New Moon
(7:24)  7. Lotus
(7:02)  8. Let's Went
(5:26)  9. Ulala

Ron McClure has been a valuable sideman since shortly after his arrival in New York City in 1964, while he has found regular opportunities to record as a leader since he started working with Steeplechase in the late '80s. This 2007 session expands his earlier trio with veteran tenor saxophonist Rich Perry and up-and-coming pianist George Colligan (both of whom also record as leaders for the label) by adding the in-demand drummer Billy Drummond. Although McClure chose nine originals for the recording date, it is not about his ego, as they are stimulating charts that allow everyone sufficient space to play, though each of them prefers to pass the baton rather than attempt the all-too-common marathon solos that run out of steam too early. The happy, easygoing swinger "Half a Nice Day" contrasts with the tense post-bop "Kalman's Dance." 

The breezy midtempo "Better Late Than Never" conveys the essence of the constant rush in a metropolis, while McClure's lush ballad "New Moon" features his understated bass accompanied by Colligan's sparse piano and Drummond's whispering brushes. This is another excellent date by Ron McClure. ~ Ken Dryden https://www.allmusic.com/album/new-moon-mw0000832902 

Personnel: Ron McClure (bass);  Rich Perry (tenor saxophone); George Colligan (piano); Billy Drummond (drums).

New Moon

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George Cables - Quiet Fire

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 57:19
Size: 131,6 MB
Art: Front

(6:18)  1. Uncle Bubba
(5:41)  2. Quiet Fire
(9:54)  3. My Ship
(7:20)  4. Fried Bananas
(8:06)  5. Waltz For Monday
(5:56)  6. You Stepped Out Of A Dream
(7:07)  7. Naima's Love Song
(6:53)  8. The Decrepit Fox

?George Cables primarily focuses on jazz compositions in this 1994 trio session with bassist Ron McClure and drummer Billy Hart. His dazzling technique is heard full force in Gary Bartz's slinky, driving blues "Uncle Bubba," while his treatment of former boss Dexter Gordon's "Fried Bananas" (based on the chord changes to the standard "It Could Happen to You") is a rollicking affair as well. Pianist John Hicks'"Naima's Love Song" isn't all that well known, but Cables' sensitive Latin interpretation, with great support from McClure and Hart's light touches make it a piece worth greater exploration in the jazz world. The trio dives headlong into Freddie Hubbard's rapid-fire modal composition "The Decrepit Fox" (a hilarious name for such a demanding piece!), turning in a fiery performance. Cables' one original, "Quiet Fire," is a cooking post-bop affair as well. The pianist's lyrical side is apparent in the standard "My Ship," while the intriguing calypso introduction to "You Stepped Out of a Dream" leads into a pulsating samba treatment. Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/quiet-fire-mw0000406524

Personnel:  George Cables – piano;  Ron McClure – bass;  Billy Hart – drums

Quiet Fire

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LeeAnn Ledgerwood - Simple Truth

Styles: Piano Jazz
Year: 2010
File: MP3@256K/s
Time: 73:05
Size: 134,3 MB
Art: Front

( 6:20)  1. Ryan's Gifts
( 4:56)  2. Pinnochio
( 7:02)  3. Chelsea Bridge
( 5:11)  4. Ballade For Bill Evans
( 4:03)  5. Mumma's Beautiful Heart
( 6:10)  6. Simple Truth
( 8:34)  7. Nardis
( 5:00)  8. Betrayal Of Daylight
( 6:57)  9. All Blues
(10:04) 10. Invitation
( 8:44) 11. Dolphin Dance

Catalyzed by her recovery from breast cancer, LeeAnn Ledgerwood revitalizes the piano-trio format on Simple Truth, her first SteepleChase disc since 2003’s Walkin’ Up. It interweaves originals such as the respectful homage “Ballade for Bill Evans” and the calm, commanding title cut with inspired takes on such modernist classics as Miles Davis’ “Nardis,” Wayne Shorter’s puckish, driving “Pinocchio” (use spell check, SteepleChase; you mangled this title) and Bronislau Kaper’s “Invitation,” served up sultry, leisurely and Latin. (Bassist Ron McClure lays down a lovely, darkling solo on that last number.) The tracks shift between the structured-a recasting of Davis’ “All Blues” is strikingly purposeful and architectural-and the more organic, like the stormy, lambent original “Betrayal of Daylight.” Ledgerwood’s approach is romantic and warm; leavening and animating it are the stately McClure and impressionistic drummer Nasheet Waits, a master of brush stroke and cymbal splash. Ledgerwood is not interested in impressing with technique and daring; hers is an artistry of nuance and emotional layering. Fittingly, the detail in these cleanly produced tracks, as she illustrates in building “Nardis” geometrically, solo, before bass and drums kick in, is the surprise and reward. The trio’s empathy is startling but expected: Ledgerwood has played with McClure since the early ’80s, and Waits (son of the late drummer Freddie Waits) fits in as if born to the group. Ledgerwood doesn’t set out to blaze trails. Her intent is to craft thoughtful, personal originals that build on and dovetail with a rich archival repertoire. To the pianist’s credit, she succeeds. Simple Truth is an appropriate and understated title for this modest, inviting album. ~ Carlo Wolff https://jazztimes.com/reviews/albums/leeann-ledgerwood-simple-truth/

Personnel:  LeeAnn Ledgerwood - piano;  Ron McClure - bass;  Nasheet Waits

Simple Truth

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LeeAnn Ledgerwood, Ron McClure, Billy Hart - Renewal

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 61:48
Size: 142,4 MB
Art: Front

( 7:32)  1. Summernite
( 6:26)  2. I Wish You Knew
( 5:02)  3. All Blues
( 3:51)  4. Renewal
(10:55)  5. Adagio
( 7:14)  6. A Shade of Jade
( 5:28)  7. 502 Blues
( 8:01)  8. My Foolish Heart
( 7:15)  9. Autumn Leaves

An album that bursts out beautifully, right from the very first note then continues to hold us rapt throughout, with that strong sense of surprise we love from a really well-done piano trio album! LeeAnn Ledgerwood's no stranger to the recording studio, but this album really feels like something special and different a set that has her musical imagination maybe sparked with even more swing than before, all balanced with a warmly lyrical touch and set up in perfect communication with the bass of Ron McClure and drums of Billy Hart! 

The album's the sort that someone might be playing, and you'd step over and ask "What's that?" especially on the more upbeat numbers, which really grab us. Titles include the originals "Renewal" and "I Wish You Knew" plus "All Blues", "Summernite", "502 Blues", "A Shade Of Jade", and "Autumn Leaves".  © 1996-2017, Dusty Groove, Inc. https://www.dustygroove.com/item/859856/LeeAnn-Ledgerwood:Renewal

Personnel: LeeAnn Ledgerwood, piano;  Ron McClure, bass;  Billy Hart, drums.

Renewal

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Dave Liebman, Joe Lovano - Compassion (The Music of John Coltrane)

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 52:27
Size: 121,4 MB
Art: Front

( 6:11)  1. Locomotion
( 8:09)  2. Central Park West / Dear Lord
( 8:46)  3. Ole
( 5:20)  4. Reverend King
( 6:39)  5. Equinox
(17:18)  6. Compassion

In 2007 BBC Radio commissioned saxophonist Dave Liebman to record an all Coltrane program to mark the 40th anniversary of legendary saxophonist/composer John Coltrane's passing. Asked to bring in Saxophone Summit the band Liebman co-led with fellow saxophonists Joe Lovano and Ravi Coltrane Liebman managed to assemble regular members Lovano, pianist Phil Markowitz, and drummer Billy Hart, along with bassist Ron McClure as a substitute for the unavailable Cecil McBee. Ten years later, the session is being released to commemorate the 50th anniversary of Coltrane's passing on July 17, 1967. Billy Hart says that "we're all just unbelievable Coltrane fans." If the playing alone wasn't enough to show that, there's also the evidence of Liebman's album Homage To John Coltrane (Owl Records), going back to 1987. This set opens with "Locomotion," a distinctive take on the blues from Blue Train (Blue Note, 1958). The tune contains the germs of many later Coltrane works, and makes a great launching point, the classic two tenor lineup dueling with each other and egging each other on. A ballad medley showcases the two horns individually Lovano on tenor for "Central Park West" from Coltrane's Sound (Atlantic, 1964; but recorded in 1960); Liebman on soprano for "Dear Lord" from Transition (Impulse!, 1970, but recorded in 1965). This spiritual ballad has long had a special place for Liebman, and is the only composition repeated from his early tribute album.  

"Olé" from Olé Coltrane (Atlantic, 1961) represents Coltrane's long term interest in world music, which later came out in tunes like "India" and "Brazilia." After an introduction featuring wood flute and flute, the Spanish-tinged melody is introduced by tenor and soprano saxophones. "Reverend King" from Cosmic Music (Impulse!, 1968, but recorded in 1966) features Liebman on flute, accompanied by Lovano's alto clarinet: a lovely combination unique to this track. "Equinox" (also from Coltrane's Sound) is another blues, returning to the tenor/soprano combination. The album closes with "Compassion" from Meditations (Impulse!, 1966), dipping into Trane's late period. It gives Hart a solo showcase before launching into the free group improvisation with little steady pulse or set harmonic progressions that typifies late Coltrane. The band is so comfortable with this approach that they play it much like the earlier material: a bit more outside, but there is no sharp dividing line. John Coltrane's career was so compressed that the compositions here recorded between 1958 and 1966 represent six distinct stylistic phases. The more-or-less chronological presentation demonstrates how far he progressed in such a brief period, as well as how he maintained his own voice all the way. Coltrane's music needs no defense, but these players make an excellent case for it all the same. ~ Mark Sullivan https://www.allaboutjazz.com/compassion-the-music-of-john-coltrane-dave-liebman-resonance-records-review-by-mark-sullivan.php

Personnel: Dave Liebman: tenor saxophone, soprano saxophone, wooden recorder, C flute; Joe Lovano: tenor saxophone; aulochrome, alto clarinet, Scottish flute; Phil Markowitz: piano; Ron McClure: bass; Billy Hart: drums.

Compassion (The Music of John Coltrane)

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James Spaulding - Smile of the Snake

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

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

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

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

Smile of the Snake

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David Liebman, Richie Beirach, Ron McClure, Billy Hart - Redemption - Quest Live In Europe

Styles: Saxophone And Flute Jazz
Year: 2007
File: MP3@320K/s
Time: 35:53
Size: 83,0 MB
Art: Front

(4:50)  1. Round Midnight
(5:10)  2. Ogunde
(6:11)  3. WTC - Steel Prayers
(5:53)  4. Dark Eyes
(4:19)  5. Lonely Woman
(9:27)  6. Redemption

The passage of time has no meaning when it comes to the kind of intimate musical understanding that saxophonist David Liebman and pianist Richie Beirach have shared since first working together in the early '70s. They have collaborated on numerous group projects as well as a series of duet recordings that are in dire need of reissue. Perhaps their longest and most enduring group was Quest, a quartet that released half a dozen albums between 1981 and 1990.  Redemption - Quest Live in Europe documents a 2005 reunion, and in many respects it feels as if no time has passed. The chemistry shared with bassist Ron McClure and drummer Billy Hart remains intact, but this is no backwards-looking get-together. Instead, it's a chance to hear where the past fifteen years have led these musicians, both individually and collectively. Beirach and Liebman open with a duet take on Monk's "'Round Midnight," beginning in brief abstraction before finding its way to the familiar theme. A feeling of total spontaneity without a safety net pervades Liebman and Beirach's expansive examination of the tune's rhythmic, harmonic and thematic possibilities. Still, no matter how far they take it, what defines the tune is never far away. 

Liebman and Beirach have always shared deep roots in the music of John Coltrane. Transcending mere reverence, however, Quest makes latter-day Coltrane's "Ogunde" its own through a more deeply lyrical approach to this tumultuous tone poem. McClure and Hart create a curiously understated maelstrom beneath Beirach's poignant melodism before leading into a more outgoing and extreme solo from Liebman. McClure's supple pizzicato support and visceral arco are a continuing reminder of how unfairly overlooked a player he remains. Liebman's "WTC" is an abstract exploration into the emotional impact of the September 11 Word Trade Center attack. Dark and foreboding, the chemistry of the quartet gradually builds Liebman's abstruse yet unequivocal theme to a logical point where Beirach becomes the sole voice, segueing into "Steel Prayers," Beirach's mournful yet equally hopeful conclusion. "Dark Eyes" is Quest at its most swinging, yet there's still an underlying sense of abandon. 

McClure is the fluid anchor beneath Leibman's powerful tenor, with Hart and Beirach pushing and pulling to create an ongoing tension and release. Ornette Coleman's "Lonely Woman" becomes a rubato tone poem, with Liebman's wooden flute giving the piece an otherworldly feel. The title track has been in the group's repertoire since the mid-'80s, but this twenty-minute version of Hart's tune is definitive a potent blend of free interaction, powerful rhythmic interplay and post-Coltrane modality. It's uncertain whether or not Quest will continue to work together. Based on Redemption, however, it's clear that there's no shortage of inspiration to keep it a viable and vital concern. ~ John Kekman https://www.allaboutjazz.com/redemption-quest-live-in-europe-hatology-review-by-john-kelman.php

Personnel: David Liebman: soprano and tenor saxophones, wooden flute; Richie Beirach: piano; Ron McClure: bass; Billy Hart: drums.

Redemption - Quest Live In Europe

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David Liebman Quintet - If They Only Knew

Styles: Saxophone Jazz
Year: 1980
File: MP3@320K/s
Time: 44:25
Size: 102,4 MB
Art: Front

(8:48)  1. If They Only Knew
(8:28)  2. Capistrano
(5:36)  3. Moontide
(7:14)  4. Reunion
(5:07)  5. Autumn In New York
(9:09)  6. Move On Some

Originally put out by Timeless, only to be issued in the U.S. on Impulse! eight years after the session, the phrase "if they only knew" at one time was conceived as a riposte to Liebman's critics. But you won't hear any querulous complaints from this corner, for this is a thoughtful, often burning quintet session carooming off the bumpers of post-bop, jazz-rock, and the avant-garde. Liebman is mostly heard on brittle, sometimes volatile tenor throughout the record, even turning in some fancy bop licks on "Autumn in New York." The relaxed, darting electric touch comes from John Scofield, whose asymmetrical guitar you can spot a country mile away, and he contributes the most attractive tune on the session, "Capistrano." Trumpeter Terumasa Hino mixes it up pretty well on many of the tracks in his Freddie Hubbard-derived manner; Ron McClure makes his presence known up front at all times on acoustic bass; Adam Nussbaum is just fine on drums, and the whole thing comes to a furious finish that leaves you wanting more. ~ Richard S.Ginell http://www.allmusic.com/album/if-they-only-knew-mw0000198136

Personnel: David Liebman (soprano & tenor saxophones); Terumasa Hino (trumpet); John Scofield (guitar); Ron McClure (bass); Adam Nussbaum (drums).

If They Only Knew

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Joe Locke - Present Tense

Styles: Vibraphone Jazz
Year: 2000
File: MP3@320K/s
Time: 61:43
Size: 141,6 MB
Art: Front

(10:04)  1. Massada/Summer Night
( 8:31)  2. The Good Life
( 7:35)  3. Present Tense
( 8:42)  4. All Of You
( 2:38)  5. Heart Of Nowhere
( 6:53)  6. You Say You Care
( 6:24)  7. Beatrice Rose
(10:52)  8. Smoke And Mirrors

On his third CD, vibraphonist Joe Locke leads a solid quartet which includes pianist Kenny Werner, bassist Ron McClure, and drummer Ronnie Burrage. Locke's virtuosity on his instrument is demonstrated throughout the date. The opening medley begins with a solo by the leader of "Masada" (an introspective piece written by a friend of his, saxophonist Danny Wilensky) and the rhythm section joins him as he segues into a brisk take of the waltz "Summernight." Tenor saxophonist Larry Schneider is added on several tracks, including a dark but swinging take of "All of You" and a turbocharged run through "You Say You Care." Locke also wrote several originals, including the unpredictable "Smoke and Mirrors," which was originally written as an introduction to Miles Davis' "Nardis," and a brief duet with Werner, "Heart of Nowhere." This 1990 release was an early indicator of Joe Locke's arrival on the jazz scene, which was followed by many additional strong studio sessions as the 20th century drew to a close. Post-bop fans should consider this CD an essential acquisition. ~ Ken Dryden http://www.allmusic.com/album/present-tense-mw0000436629

Personnel: Joe Locke (vibraphone); Larry Schneider (alto & tenor saxophones); Kenny Werner (piano); Ron McClure (bass); Ronnie Burrage (drums).

Present Tense

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The Wynton Kelly Trio - Full View

Bitrate: MP3@320K/s
Time: 36:30
Size: 83.6 MB
Styles: Bop, Piano jazz
Year: 1967/1996
Art: Front

[4:43] 1. I Want A Little Girl
[4:53] 2. I Thought
[4:49] 3. What A Diff'rence A Day Made
[3:53] 4. Autumn Leaves
[4:27] 5. Dontcha Hear Me Callin To Ya
[3:14] 6. On A Clear Day (You Can See Forever)
[3:03] 7. Scufflin'
[4:08] 8. Born To Be Blue
[3:16] 9. Walk On By

Bass – Ron McClure; Drums – Jimmy Cobb; Piano – Wynton Kelly. Recorded at Plaza Sound Studios (New York City), Sept., 1966.

Pianist Wynton Kelly's next-to-last set as a leader (he would record a slightly later date for Delmark) featured him at a time when his influence was waning and he was overshadowed by more advanced players. However, Kelly's impact would begin to grow again after his death, when the Young Lions movement began in the early '80s; certainly pianist Benny Green was greatly touched by Kelly's conception. This Milestone trio set, reissued on CD, matches Kelly with bassist Ron McClure and drummer Jimmy Cobb on a fine program mostly filled with standards but also including the then-recent Burt Bacharach hit "Walk on By" and Kelly's original "Scufflin'." ~Scott Yanow

Full View

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