Silky Denims: Roy Hargrove

Showing posts with label Roy Hargrove. Show all posts

Wednesday, November 30, 2022

Willie Jones III - Don't Knock The Swing Vol 2

Styles: Jazz, Hard Bop

Year: 2003

File: MP3@320K/s

Time: 42:36

Size: 97,9 MB

Art: Front

(5:57) 1. Air Tight

(6:11) 2. Jeni's Low Lie

(3:47) 3. For Someone So Beautiful

(7:02) 4. James Tune

(5:28) 5. The Search

(5:56) 6. Alejandra

(5:46) 7. Mix It Up

(2:25) 8. Early Morning (Before Dawn)

Drummer Willie Jones III is back with his second volume of stunning straight ahead jazz. This time around he's joined by pianist Eric Reed, bassist Gerald Cannon, tenor saxophonist Greg Tardy, trumpeter Roy Hargrove and trombonist Steve Davis. ~ Editorial Reviews http://www.amazon.com/Vol-Dont-Knock-The-Swing/dp/B00009MGEL

Personnel: Willie Jones III (drums); Eric Reed, piano all tracks except 4; Gerald Cannon, Bass; Greg Tardy, Tenor Sax; Roy Hargrove, Trumpet on tracks 1, 4, and 8; Steve Davis, Trombone 1,2, 4 and 8

Don't Knock The Swing Vol 2

Saturday, June 18, 2022

Dizzy Gillespie All-Star Big Band - I'm BeBoppin' Too

Styles: Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 68:16
Size: 157,1 MB
Art: Front

(2:37) 1. I'm BeBoppin' Too
(5:08) 2. Cool Breeze
(7:37) 3. Round Midnight
(5:38) 4. Manteca
(4:52) 5. Birks Works
(7:12) 6. If You Could See Me Now
(4:38) 7. Dizzy's Blues
(7:45) 8. Una Mas
(6:00) 9. I Can't Get Started
(4:55) 10. One Bass Hit
(6:19) 11. Tin Tin Deo
(5:30) 12. Lover Come Back To Me

Tribute bands are often bland affairs, because they become too predictable, while often omitting any artists who played with the deceased artist. Fortunately, this third CD by the Dizzy Gillespie All-Star Big Band mixes veterans who worked with the trumpeter and talented younger players who acquit themselves very well. Trombonist Slide Hampton contributed a fresh chart of Dizzy's "Manteca" that is a bit more introspective and less percussive and shouting, with potent solos by pianist Cyrus Chestnut. Tenor saxophonist Jimmy Heath scored the subtle, hip treatment of Kenny Dorham's "Una Mas," showcasing alto saxophonist Mark Gross, trombonist Douglas Purviance, and baritonist Gary Smulyan.

Vocalist Roberta Gambarini's solid performance of "'Round Midnight" (and Hampton's fresh arrangement) trump those who claim that this landmark Thelonious Monk composition is recorded all too often; there is always room for a top-notch recording such as this one. Gambarini also guests in Heath's setting of Tadd Dameron's bittersweet ballad "If You Could Seem Me Now" and Hampton's snappy setting of "Lover, Come Back to Me." Nor should the brass players be overlooked: Roy Hargrove's lush playing in "I Can't Get Started," plus his comic vocal in the jive piece "I'm BeBoppin' Too," are complemented by Greg Gisbert's searing trumpet and Michael Dease's brief, effective trombone solo. Recommended.~Ken Dryden https://www.allmusic.com/album/im-beboppin-too-mw0000820620

Personnel: Slide Hampton - musical director, trombone; James Moody - tenor sax, flute, vocals; Jimmy Heath - tenor sax; Antonio Hart - lead alto sax, flute; Gary Smulyan - baritone sax; Frank Greene - lead trumpet; Greg Gisbert - trumpet; Roy Hargrove - trumpet, vocals; Claudio Roditi - trumpet; Jason Jackson - lead trombone; Steve Davis - trombone; Michael Dease - trombone; Douglas Purviance - bass trombone; Cyrus Chestnut - piano; John Lee - bass, executive director; Lewis Nash - drums; Roberta Gambarini – vocals

I'm BeBoppin'Too

Saturday, May 7, 2022

Dave Brubeck - Young Lions & Old Tigers

Styles: Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 63:28
Size: 146,0 MB
Art: Front

(5:29) 1. Roy Hargrove
(2:33) 2. How High the Moon
(4:57) 3. Michael Brecker Waltz
(3:27) 4. Here Comes McBride
(3:51) 5. Joe Lovano Tango
(7:52) 6. In Your Own Sweet Way
(6:22) 7. Joshua Redman
(5:43) 8. Together
(6:59) 9. Moody
(4:46) 10. Gerry-Go-Round
(6:43) 11. Ronnie Buttacavoli
(4:41) 12. Deep in a Dream

To celebrate his 75th birthday, Dave Brubeck recorded one number apiece with quite a variety of top jazz stars, both young and old. Some of the performances (which alternate duets with quartets) work better than others (eight are recent Brubeck compositions) but all of the musicians display mutual respect, and it is obvious that the guests are all fans of the still-masterful pianist. Trumpeter Roy Hargrove plays beautifully on his lyrical feature but Jon Hendricks, who sings "How High the Moon" as a ballad, takes it at such a slow tempo as to be dreary. Tenor-saxophonist Michael Brecker is fine on "Michael Brecker Waltz," although he sounds a bit restrained, the wittily-titled "Here Comes McBride" is a good-humored romp with bassist Christian McBride; Joe Lovano (on tenor) works well with Brubeck, and particularly memorable is the first meeting on record between Brubeck and fellow pianist George Shearing, with a chance-taking interpretation of "In Your Own Sweet Way."

Joshua Redman performs fine hard bop on one song, "Together," is a well-conceived duet for baritonist Gerry Mulligan and Brubeck, James Moody plays tenor, sings, and yodels on the minor blues "Moody," Mulligan returns for the contrapuntal "Gerry-Go-Round," and, although the obscure flugelhornist Ronnie Buttacavoli sounds very out of place on his boring feature, the set closes with one of the strongest performances, a solo piano showcase for Brubeck on "Deep in a Dream." Overall, this is quite a mixed bag but, even with its occasional misses, the CD is a must for Dave Brubeck fans, because the pianist is consistently inventive throughout the unusual set. ~ Scott Yanow http://www.allmusic.com/album/young-lions-old-tigers-mw0000176313

Personnel: Dave Brubeck (piano); James Moody (vocals, tenor saxophone); Jon Hendricks (vocals); Michael Brecker, Joe Lovano, Joshua Redman (tenor saxophone); Gerry Mulligan (baritone saxophone); Roy Hargrove (trumpet); Ronnie Buttacavoli (flugelhorn); George Shearing (piano); Chris Brubeck (electric bass); Christian McBride, Jack Six (bass); Randy Jones (drums).

Young Lions & Old Tigers

Tuesday, April 26, 2022

Ray Brown - Some Of My Best Friends Are ... The Trumpet Players

Styles: Contemporary Jazz, Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 62:05
Size: 142,5 MB
Art: Front

(5:02) 1. Roy Hargrove / Our Delight
(6:29) 2. Jon Faddis / Bag's Groove
(5:49) 3. James Morrison / I Thought About You
(4:07) 4. Terence Blanchard/I'm Getting Sentimental Over You
(5:48) 5. Nicholas Payton / Violets for Your Furs
(3:01) 6. Clark Terry / Itty Bitty Blues
(4:28) 7. Roy Hargrove / Stairway To The Stars
(5:06) 8. Jon Faddis / Original Jones
(4:50) 9. James Morrison / When You Go
(4:21) 10. Nicholas Payton / The Kicker
(5:00) 11. Clark Terry / Clark's Tune (Legacy)
(7:57) 12. Terence Blanchard / Goodbye

In the latest edition of his "Some Of My Best Friends Are..." series, Ray Brown honors the trumpet players as they honor him. Having already musically expressed his friendship with singers, pianists and saxophonists, Brown's next group of honorees will include...trombonists? Drummers? Guitarists? The interesting aspect of Some Of My Best Friends Are...The Trumpet Players is the influence of Dizzy Gillespie. An inspiration to Brown, who first received recognition in Dizzy's group, as well as to jazz trumpeters everywhere, Dizzy's spirit infuses especially the Nicholas Payton, Jon Faddis and Roy Hargrove tracks.

Deeply indebted to Dizzy for spiritual as well as technical guidance, Faddis' work on "Original Jones" is the most obviously referential. As a result, it also is the most thrilling trumpet work, commanding the instrument's extreme upper register and negotiating intervallic leaps with ease. James Morrison, on the other hand, concentrates on a rounder tone that expresses the melodic intent of the tunes, particularly Brown's composition, "When You Go." Roy Hargrove introduces Some Of My Best Friends Are...The Trumpet Players with a confident bop sensibility on "Our Delight," combining a concise voice and clarity of thought.

Nicholas Payton proves that he is moving more and more away toward explorative work on Joe Henderson's "The Kicker," as he did recently on Steve Wilson's CD. Balancing aggressive work with a ballad, as do all of the other trumpeters on their two tunes apiece, Payton plaintively sings through his horn on "Violets For Your Furs," wavering a slight vibrato on the long tones, buzzing ever-so-perceptively on lower notes to balance the sweetness of his sound in the middle register.Terence Blanchard's ballad turns out to be Tadd Dameron's "Goodbye," the famous Benny Goodman closer, while in contrast Blanchard enlivens "I'm Getting Sentimental Over You" at greater than twice the tempo of the famous Dorsey version.

And then there's Clark Terry. Being himself. Trading horns on "Clark's Tune." Creating an inimitable opening chorus, and well as solos, on Brown's "Itty Bitty Blues" with the apparent ease of a 30-year-old, although Terry will be 80 years young in two more months. Once again, Ray Brown has assembled a stellar trio. Geoff Keezer remains within the groove of the album, although his recent Zero One CD proves that he can be explorative and unconventional when he leaves the accompanist's role. And drummer Karriem Riggins propels the group with colors and drive without overpowering, as he does to animate Faddis' work on "Original Jones."

Then there's Ray Brown, sturdy and inspirational, establishing the mournful languor of "Bag's Groove" in tribute to Brown's and Faddis' friend, Milt Jackson. Conversing with Faddis, Brown responds to Faddis' groove with elaboration and eloquence. While it seems that Ray Brown makes friends wherever he goes, as his "Friends" albums prove, his circle of friends has widened to encompass his listeners, who no doubt will respond with affection to Some Of My Best Friends Are...The Trumpet Players , yet another estimable album in Brown's estimable series.~AAJ Staffhttps://www.allaboutjazz.com/some-of-my-best-friends-arethe-trumpet-players-ray-brown-telarc-records-review-by-aaj-staff

Personnel: Ray Brown, bass; Geoff Keezer, piano; Karriem Riggins, drums; Terence Blanchard, Jon Faddis, Roy Hargrove, James Morrison, Nicholas Payton, Clark Terry, trumpet

Some Of My Best Friends Are ... The Trumpet Players

Friday, April 1, 2022

Cyrille Aimée + Friends - Live at Smalls

Styles: Jazz, Vocal
Year: 2011
File: MP3@320K/s
Time: 67:00
Size: 155,3 MB
Art: Front

(6:56) 1. September in the Rain
(6:16) 2. Que Reste-Il ( I Wish You Love)
(6:36) 3. Yesterdays
(5:43) 4. East Village Inamorata
(9:38) 5. Love for Sale
(6:47) 6. I Was Beginning to See the Light
(6:07) 7. When I Was a Child
(5:29) 8. Lover Man
(7:40) 9. I Mean You
(5:46) 10. Stand by Me

Cyrille Aimée has consistently proven herself to be an unstoppable, undeniable talent in the modern age of jazz. Her culturally rich background has supplied her with the driving force of Dominican rhythm and the incredible swing of the French Gypsies. Taking these natural abilities with her across the world, she has received rave reviews and a loyal following in each country she graces with her voice. She was a finalist in the prestigious Thelonious Monk Vocal Competition of 2010, performing in front of a jury of Al Jarreau, Kurt Elling, Dianne Reeves, Dee Dee Bridgewater. In 2007, Cyrille won both the first and public prize in the Montreux Jazz Festival Competition. For her SmallsLIVE debut, she is accompanied by jazz legend Roy Hargrove as well as tenor saxophonist Joel Frahm. The rhythm section consists of pianist Spike Wilner, bassist Phil Khuen and drummer Joey Saylor. ~ Editorial Reviews https://www.amazon.com/Cyrille-Aimee-Friends-Live-Smalls/dp/B004NWHVT4

Personnel: Cyrille Aimée – vocals; Roy Hargrove – trumpet; Joel Frahm – tenor sax; Spike Wilner - piano; Phillip Kuehn – bass; Joseph Saylor – drums

Live at Smalls

Tuesday, March 15, 2022

Abbey Lincoln - A Turtle's Dream

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 69:11
Size: 158,7 MB
Art: Front

(5:44) 1. Throw It Away
(6:29) 2. A Turtle's Dream
(8:49) 3. Down Here Below
(5:05) 4. Nature Boy
(5:40) 5. Avec Le Temps
(7:58) 6. Should've Been
(5:43) 7. My Love Is You
(4:21) 8. Storywise
(7:13) 9. Hey, Lordy Mama
(5:47) 10. Not To Worry
(6:17) 11. Being Me

This release continued Abbey Lincoln's '90s resurgence. As with her preceding Verve releases, A TURTLE'S DREAM features notable guest musicians (including Pat Metheny, Kenny Baron, and Lucky Peterson), all of whom add grace to the proceedings. Her core backing trio comprises Rodney Kendrick on piano, Charlie Haden on bass, and Victor Lewis on drums. The set features primarily her originals, along with a pair of covers, including Eben Ahbez's "Nature Boy." The opening song, "Throw It Away," has a melancholy resonance that is utterly inviting as Lincoln pours herself into the lyrics with deep passion and subtle dramatics. The addition of a string section on a couple of numbers especially "Down Here Below" makes for some elegant blues. http://www.allmusic.com/album/a-turtles-dream-mw0000173450

Personnel: Abbey Lincoln (vocals); Julien Lourau (soprano & tenor saxophones); Roy Hargrove (trumpet); Pierre Blanchard, Vincent Pagliarin, Sandra Billingslea (violin); Frederic Fymard (viola); Anne-Gaelle Bisquay, Marc Gilet, John Robinson (cello); Rodney Kendrick, Kenny Barron (piano); Pat Metheny (acoustic & electric guitars); Lucky Peterson (guitar, background vocals); Christian McBride, Charlie Haden, Michael Bowie (bass); Victor Lewis (drums).

A Turtle's Dream

Wednesday, December 22, 2021

Oscar Peterson - A Tribute To Oscar Peterson - Live At The TownHall

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 72:38
Size: 167,9 MB
Art: Front

(5:23) 1. Anything Goes
(6:36) 2. Reunion Blues (with Benny Green)
(8:08) 3. If Only You Knew (with Benny Green)
(7:25) 4. Bags Groove (with Milt Jackson)
(6:44) 5. Willow Weep For Me (with Milt Jackson)
(4:15) 6. Mumbles (with Clark Terry)
(3:48) 7. I Can't Face The Music (with Shirley Horn)
(5:09) 8. Here's To Life (with Shirley Horn)
(5:23) 9. In A Mellow Tone (with Stanley Turrentine)
(5:26) 10. My Foolish Heart (with Roy Hargrove)
(2:16) 11. The Duke Of Dubuque (with The Manhattan Transfer)
(4:10) 12. (Get Your Kicks On) Route 66 (with The Manhattan Transfer)
(7:49) 13. Mack The Knife (with Clark Terry)

This live concert was recorded on October 1, 1996 at The Town Hall in New York. Oscar Peterson was also present. The other musicians have certainly also made their mark in jazz: Ray Brown (bass), Herb Ellis (guitar), Benny Green (piano), Roy Hargrove (flugelhorn), Shirley Horn (vocals), Milt Jackson (vibraphone) , The Manhattan Transfer (vocals), Lewis Nash (drums), Niels-Henning Orsted Pedersen (bass), Clark Terry (trumpet / vocals) and Stanley Turrentine (tenor sax). The repertoire was certainly worthwhile, including: Reunion Blues, If You Only Knew (both with Oscar Peterson and Benny Green on piano), Willow Weep For Me, I Can't Face The Music, In A Mellow Tone, My Foolish Heart and "(Get your kicks on) Route 66. Oscar Peterson is still a very inspiring jazz musician, as can be heard on this CD with this animated live concert! https://www.muziekweb.nl/en/Link/JE15161/A-tribute-to-Oscar-Peterson-live-at-Town-Hall

Personnel: Oscar Peterson - piano; Niels-Henning Orsted Petersen - bass; Ray Brown - bass; Herb Ellis - guitar; Lewis Nash - drums.

Special guests: Benny Green - piano; Milt Jackson - vibes; Clark Terry - trumpet&flugelhorn; Shirley Horn - vocal; Stanley Turrentine - tenor sax; Roy Hargrove - trumpet; Manhattan Transfer - vocal

A Tribute To Oscar Peterson - Live At The TownHall

Friday, December 10, 2021

Roy Hargrove & The RH Factor - Distractions

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 38:04
Size: 88,6 MB
Art: Front

(1:19) 1. Distractions (intro)
(2:23) 2. Crazy Race
(2:22) 3. Kansas City Funk
(4:59) 4. On the One
(5:43) 5. Family
(0:20) 6. Distractions 2
(4:22) 7. A Place
(3:53) 8. Hold On
(4:57) 9. Bullshit
(0:42) 10. Distractions 3
(2:48) 11. Can't Stop
(4:10) 12. Distractions 4

A straight-up hard bop player of often stunning ability, Roy Hargrove (RH) needs to play more than straight-up hard bop, and sometimes he embarks on outside projects like The RH Factor for explorations beyond the jazz repertoire. He performs on trumpet and flugelhorn here, with an experimental laboratory that includes a double rhythm section (bassists Reggie Washington and Lenny Stalworth; drummers Jason "JT Thomas and Willie Jones III), guitarist Todd Parsnow, and three keyboard players (Bobby Sparks, Charles McCambell, Renee Neufville), plus David "Fathead Newman as featured saxophone soloist and neo-funk mystery man D'Angelo guest-starring on "Bull***t.

The set begins with the promise of Hargrove's trumpet quicksilver runs through the opening "Distractions (Intro). Then his hot trumpet bounces through the second tune, "Crazy Race ... but these opening glimmers prepare expectations for greatness that the rest of the music just never reveals. Distractions basically offers two solid pieces: the title track, chaotic yet streamlined modern jazz chopped into four servings as brief as twenty seconds ("Distractions 3 ) and as long as four minutes (the set-ending "4 ); and the track with D'Angelo. The remainder, mainly co-composed by Neufville and featuring her lead vocal, sound like bargain bin Patrice Rushen, limpid music that's not quite jazz or funk.

To be fair, "A Place cops the guitar voicings from Heatwave's classic "Groove Line and scratches them against powerful trumpet blasts; Hargrove opens soft around the edges in a romantic Herb Alpert mood before soaring high and mighty mighty, like Lee Morgan just lettin' it all hang out. Hargrove also finds much inspiration in D'Angelo's bad-ass hip-hop funk groove, singing through his mute just to sound a little edgy, like he was beaming through some magical, time-traveling old-time radio into its thick, rubbery jam. The fact that he further blows his ass off over the blistering groove of "Distractions 4 more than four minutes, thankfully, of steady rockin' instrumental boil almost makes the rest of these Distractions more disappointing. The whip-crack sound of the snare drum, its almost ridiculous, sustained fast tempo, and the monumental energy and fever of Hargrove's trumpet are enough to make you wonder, "Where was this guy for the past half hour?~ CHRIS M. SLAWECKI https://www.allaboutjazz.com/distractions-roy-hargrove-verve-music-group-review-by-chris-m-slawecki

Personnel: Roy Hargrove: trumpet, flugelhorn, vocals; Keith Anderson: saxophone; David "Fathead" Newman: saxophone, flute; Bobby Sparks; organ, Moog, Rhodes, piano, clavinet; Renee Neufville: Wurlitzer, vocals; Charles McCampbell: clavinet, piano, XP80; Todd Parsnow: guitar; Lenny Stalworth: bass; Reggie Washington: bass; Willie Jones III: drums; Jason "JT" Thomas: drums, vocals; D'Angelo: vocals, ASR 10.

Distractions

Friday, December 3, 2021

Roy Hargrove - Public Eye

Styles: Trumpet Jazz
Year: 1991
File: MP3@320K/s
Time: 67:32
Size: 155,5 MB
Art: Front

(6:52) 1. Public Eye
(6:21) 2. Spiritual Companion
(7:33) 3. September In The Rain
(4:47) 4. Lada
(5:38) 5. Once In A While
(5:08) 6. Hartbreaker
(8:01) 7. End Of A Love Affair
(6:14) 8. Night Watch
(6:24) 9. You Don't Know What Love Is
(5:16) 10. Little Bennie (Crazeology)
(5:15) 11. What's New

Roy Hargrove's second recording as a leader features the 21-year-old trumpeter in late 1990 essentially playing bebop. Joined by altoist Antonio Hart, pianist Stephen Scott, bassist Christian McBride, and drummer Billy Higgins, Hargrove shows why he was so highly rated from the start of his career. On such numbers as "September in the Rain," "End of a Love Affair," "Crazeology," and four of his straight-ahead originals, Hargrove plays in a style not that different from Lee Morgan but with his own soulful sound, revitalizing the jazz tradition with his enthusiastic ideas. A fun set.~Scott Yanow https://www.allmusic.com/album/public-eye-mw0000674417

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Hart; Double Bass – Christian McBride; Drums – Billy Higgins; Piano – Stephen Scott

Public Eye

Roy Hargrove, Mulgrew Miller - In Harmony Disc 1, Disc 2

Album: In Harmony Disc 1

Styles: Trumpet And Piano Jazz
File: MP3@320K/s
Time: 51:56
Size: 119,3 MB
Art: Front + Back

(9:09) 1. What Is this Thing Called Love
(8:24) 2. This Is Always
(8:36) 3. I Remember Clifford
(8:36) 4. Triste
(8:04) 5. Invitation
(9:44) 6. Con Alma

Album: In Harmony Disc 2

Time: 50:51
Size: 116,9 MB

(8:29) 1. Never Let Me Go
(9:12) 2. Just In Time
(6:58) 3. Fungii Mama
(5:57) 4. Monk's Dream
(7:27) 5. Ruby My Dear
(7:36) 6. Blues For Mr. Hill
(5:10) 7. O.W. (Encore)

In ballet, a "pas de deux" is a dance or figure for two performers. In jazz, the concept of two musicians playing together called a duo, has been a fairly familiar concept and undertake by the likes of Stan Getz and Kenny Barron, Chick Corea and Gary Burton as well as pianist Bill Evans and Tony Bennett. Trumpeter Roy Hargrove and pianist Mulgrew Miller have now added their names to this construct with the issuance of In Harmony which captured these now deceased giants in a previously unreleased live recordings from 2006 and 2007. Co-produced by Zev Feldman and Larry Clothier with executive producer George Klabin, Resonance Records is offering a deluxe limited edition (7000 units) 180 gram hand-numbered 2-LP set, made available in co-operation with the Hargrove and Miller estates.

In this lip smacking thirteen composition recital, Hargrove and Miller take full advantage of those familiar melodies from the American Standards Songbook or jazz touchstones, both of which provide those in attendance with the comfort of acquaintanceship. From the very first notes of the opening track, Cole Porter's "What Is This Thing Called Love," it is apparent that Hargrove and Miller were musicians who appreciated and supported each other through their creative efforts. On the following track "This Is Always," Hargrove picks up the flugelhorn to deliver a melodically mellow sound that is seamlessly supported by Miller's sympathetic piano gradations and subtleties. Although Hargrove arrived on the jazz scene several generations removed from Clifford Brown, he did view him as his idol and so it was not surprising that Benny Golson's "I Remember Clifford" was included in this release. With the clarity and brightness of his tone, Hargrove offers a very sensitive ballad reading of the number, while Miller's technical skills are fully and aptly blended in offering support.

This duo effort by Hargrove and Miller was for the most part a step out of character for both musicians, as Hargrove had never recorded an album without a drummer, although Miller had done a duo effort with the Danish bassist Niels-Henning Orsted Pedersen. But duos can work, much like children playing in a schoolyard, with a give and take that does not attempt to crowd out each other. Two instances of this are Antonio Carlos Jobim's "Triste" and the standard "Invitation." On the former, Miller opens the number by laying down a bossa nova beat, which Hargrove uses to develop some sharp punchy phrasing, that leads to some musical banter between the players at a high level of inventiveness. The latter tune sparkles along in a cheerful way with Miller developing long melodic lines indicating that each note matters as part of the flow. Hargrove demonstrates his silky flair overlaying Miller's note striking.

When the needle drops on any track in this session, listeners are treated to pristine sound restoration and the understanding that the principals did not "mail in" their performances. For example, on the Blue Mitchell number "Fungii Mama" Miller establishes the underlying calypso beat over which Hargrove prances and dances through the melody as the audience provides enthusiastic encouragement. Finally, since Hargrove came from Texas and Miller from Mississippi, the blues and soul tradition moored their upbringing, Hargrove's own composition "Blues For Mr. Hill" is a solid reminder of these roots. Built on a twelve bar blues theme established by Miller, he puts a floor under Hargrove as he develops his ideas based on the structure of the piece.

When Miller loads up for his intervention, he knows the path he wants to take with scale fragments, as well as ascending and descending chords, to arrive at his destination. Complementing this stellar release is an excellent booklet containing rare photos, an essay by Ted Panken, along with interviews and statements from Sonny Rollins, Christian McBride, Ron Carter among others~Pierre Giroux https://www.allaboutjazz.com/in-harmony-roy-hargrove-mulgrew-miller-resonance-records

Personnel: Roy Hargrove: trumpet; Mulgrew Miller: piano.

In Harmony Disc 1, Disc 2

Monday, July 19, 2021

Michael Dease - Grace

Bitrate: MP3@320K/s
Time: 68:42
Size: 157.3 MB
Styles: Trombone jazz
Year: 2010
Art: Front

[1:42] 1. Discussao
[6:31] 2. Blues On The Corner
[5:40] 3. In A Mist
[8:26] 4. I Talk To The Trees
[7:10] 5. Four
[4:09] 6. Tippin'
[5:30] 7. Setembro
[5:28] 8. 26-2
[5:56] 9. Toys
[5:56] 10. Love Dance
[6:16] 11. Grace
[5:53] 12. Salt Song

Michael Dease: trombone, valve trombone; Roger Squitero, Circle Rhythm: vocals, percussion; Mark Whitfield: guitar, acoustic guitar; Yotam: acoustic guitar, electric guitar; Sharel Cassity: alto flute, alto saxophone; Eric Alexander: tenor saxophone; Roy Hargrove: trumpet, flugelhorn; Claudio Roditi: flugelhorn; Steve Davis: trombone; Cyrus Chestnut: piano; Gene Jackson: drums.

Michael Dease is to the trombone what Harry Allen is to the tenor saxophone. Lyrical, traditional, well-studied and broad based, both artists can equally get their freak on when necessary. Dease's trombone style contains many influences, but like many conservatory-trained musicians, Dease has had the time and practice to develop is own potent voice. Emerging among a class of young musicians that include Sharel Cassity and Carol Morgan, Dease presents as a neo-traditionalist with pristine chops and a universal exposure (both bandstand and didactic) to music providing him a virtual library from which to draw. Technically, that is all well and good as a description; but what does Dease sound like? Dease's previous recordings, Dease Bones (Astrix Media, 2007) and Clarity (Blues Back Records, 2008) found Dease honing his already very capable craft. His voice and tone have become perfectly rounded with a rich and creamy timbre superbly captured on the Jobim opener, "Discussao."

Bix Beiderbecke's "In A Mist" is post-modern updated by Dease, making it both more densely impressionistic and swinging at the same time, proving that the two not need mutually exclusive. Dease allows himself ample room for exploration with a reigned-in rhythm section providing the propulsion without getting in the way. Dease approaches Miles Davis' "Four" where he doubles on trombone and tenor saxophone. More ballad than bebop, Dease's treatment is languid and moody like an opiate nod. Cyrus Chestnut holds the piece together with a concise solo before Dease does his best Scott Hamilton.

Dease does get his bebop on for Oscar Peterson's "Tippin'" playing J.J. Johnson fast, taking corners like Curtis Fuller. His fluid chops are on display on this song with a taut and effusive solo where he is able to exercise his considerable solo prowess. It is as a balladeer that Dease excels and where his true strength lies, as demonstrated on the two Ivan Lins compositions "Setembro" and "Love Dance." Dease's lone composition, the title piece, is a mid-tempo swinger that sums up well what Dease's finely crafted jazz is all about. C. Michael Bailey

Grace

Thursday, June 17, 2021

Roy Hargrove's Crisol - Habana

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 70:45
Size: 162,7 MB
Art: Front

(10:02) 1. O My Seh Yeh
( 8:08) 2. Una Mas
( 5:25) 3. Dream Traveler
( 6:20) 4. Nusia's Poem
( 5:32) 5. Mr. Bruce
( 4:54) 6. Ballad For The Children
( 8:07) 7. Mountaings
( 4:47) 8. Afrodisia
(11:01) 9. Mambo For Roy
( 6:23) 10. O My Seh Yeh (reprise)

From the cigar band across the cover of the compact disc to the inclusion of Cuban pianist and leader Chucho Valdes, as well as the title itself, Roy Hargrove's change in direction toward irresistible dance music in the Afro-Cuban tradition has fans all over wondering, "Is this for real?" Yes, it certainly is, and the appearance of his band Crisol at major jazz festivals has spread the message. Crisol, which means "melting pot," includes Valdes, conguero Miguel "Anga" Diaz, drummer Horacio "El Negro" Hernandez, and timbalero Jose Luis "Changuito" Quintana from Cuba. Rounding out the lineup are proven straight-ahead jazz artists Frank Lacy on trombone, Russell Malone on guitar, David Sanchez on tenor and soprano saxophones, John Benitez on bass, and Gary Bartz on alto and soprano saxophones. Additionally, because they (fortunately) happened to be appearing at the winter festival in Orvieto, Italy, when the recording took place, special guests on Habana are pianist John Hicks, bassist Jorge Reyes, and drummer Idris Muhammad.

Hargrove, who was turned on to the music of Clifford Brown by his high school Algebra teacher, considers Brown's virtuosity and warm sound a big influence. Working in his late teens with Woody Shaw, James Morrison, Frank Morgan, Jimmy Owens, Clifford Jordan, and Barry Harris, the trumpeter developed a post-bop approach that has resulted in more than ten albums as a leader in the past eight years. Habana's change in direction is merely a growth pattern, since the trumpeter has always respected the Afro-Cuban big band work of Dizzy Gillespie. Hargrove organized his New York City big band several years ago; the big band included Crisol members Lacy, Sanchez, and Malone. Standouts on the album include Kenny Dorham's "Una Mas" and "Afrodisia," which feature both Hargrove's warm trumpet and Bartz's spirited alto sax. Malone delivers a loose, blues-oriented guitar solo on the latter that recalls his recent appearance in the film Kansas City. Frank Lacy's "O My Seh Yeh" and Gary Bartz's "Nusia's Poem" account for a World Music approach that combines contemporary sounds with the traditional. Chucho Valdes' "Mr. Bruce" and "Mambo For Roy" offer the up-tempo big band fire that one would expect from such a lineup, based in both New York City and Havana. It's a stylistic change-up for trumpeter Roy Hargrove, but successful, and proof that the trumpeter is capable of following his instincts. Highly recommended. ~ Jim Santella https://www.allaboutjazz.com/habana-roy-hargrove-verve-music-group-review-by-jim-santella.php?width=1920

Personnel: Roy Hargrove (trumpet, flugelhorn); Gary Bartz (soprano & alto saxophone); David Sanchez (soprano & tenor saxophone); Frank Lacy (trombone); Jesus "Chucho" Valdes, John Hicks (piano); Russell Malone (guitar); Jorge Reyes (electric bass); John Benitez (bass); Horacio "El Negro" Hernandez, Idris Muhammad (drums); Miguel "Anga" Diaz (congas); Jose Luis "Changuito" Quintana (timbales).

Habana

Saturday, March 27, 2021

Shirley Horn - But Beautiful: The Best Of Shirley Horn

Styles: Vocal And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 63:09
Size: 145,9 MB
Art: Front

(2:27) 1. I Just Found Out About Love
(7:10) 2. You Won't Forget Me
(2:58) 3. You Don't Know Me
(2:05) 4. The Great City
(4:45) 5. Fever
(6:04) 6. If You Love Me
(6:45) 7. A Time For Love
(2:51) 8. Come Dance With Me
(4:53) 9. Nice 'n' Easy
(4:43) 10. But Beautiful
(5:37) 11. Here's To Life
(4:54) 12. Jelly, Jelly (Bonus Track)
(3:07) 13. Loads Of Love (Bonus Track)
(4:43) 14. I Didn't Know What Time It Was (Bonus Track)

Shirley Horn is a jazz diva who needs little introduction. This veteran of song is one of the classic vocalists of any era. But Beautiful gives us some classic recordings that highlight her career, as well as three bonus tracks recorded from a recent performance at the Au Bar in New York City. The first eleven tracks are from Horn's Verve Records catalogue, including I Thought About You and Loads of Love: Shirley Horn with Horns, which was originally released on Mercury Records. Horn became a singer by accident. While performing as a pianist in a restaurant/nightclub, she recalls a regular patron who brought a large teddy bear with him. Horn said the man offered her the bear if she would sing "Melancholy Baby. She wanted the toy badly enough that she overcame her shyness and sang. This led to others asking her to sing, and Horn gradually established herself as a vocalist. Over the years, she spent time working with Miles Davis and raising her daughter. Shortly before his death in 1991, Davis added his trumpet to the title track of Horn's "You Won't Forget Me," which appears on the new release. The singer paid tribute to the man who helped her rise to jazz prominence with "I Remember Miles, for which she won a Grammy for Best Jazz Vocal Performance.

But Beautiful highlights some of the best recordings of Horn's career. "You Won't Forget Me displays Horn's vocal perfection, complemented by Davis' muted trumpet. "The Great City, a swinging tune that first appeared on Horn's Loads of Love, is a delightful but cautionary tale about a wide-eyed young person who thinks the big city is the answer to his or her problems. "If you come in, make sure you can get back out, Horn sings. "Jelly, Jelly, one of the three bonus tracks, is an easygoing, bluesy cut that features Roy Hargrove on trumpet in one of the few notable instrumental solos on the album. Throughout, Horn is at her best. While her sound is clean and her tone perfect, she sings with the same soulful flair that got Miles Davis' attention many years ago. To Shirley Horn fans who already have all her albums, the three bonus tracks, while good, may not be worth it. But for those who haven't heard much Horn, But Beautiful is a great place to start.~Woodrow Wilkins http://www.allaboutjazz.com/but-beautiful-the-best-of-shirley-horn-shirley-horn-verve-music-group-review-by-woodrow-wilkins.php

Personnel: Shirley Horn: vocals, piano; various artists with Ed Howard: bass (11-13); Steve Williams: drums (11-13); Roy Hargrove: trumpet (11, 13); George Mesterhazy: guitar (11-13); Buck Hill: saxophone (13).

But Beautiful: The Best Of Shirley Horn

Shirley Horn - Jazz 'Round Midnight

Styles: Vocal And Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 62:39
Size: 143,9 MB
Art: Front

(6:44) 1. A Time For Love
(4:39) 2. Someone To Light Up My Life
(3:40) 3. Beautiful Love
(4:45) 4. Fever
(4:24) 5. Loving You
(4:02) 6. How Long Has This Been Going On
(6:10) 7. Quietly There
(2:47) 8. Baby, Baby All The Time
(3:00) 9. You Don't Know Me
(4:40) 10. I Wanna Be Loved
(2:57) 11. Peel Me a Grape
(3:26) 12. How Am I To Know?
(3:21) 13. So I Love You
(7:57) 14. Meaning Of The Blues

Jazz 'Round Midnight is an enjoyable budget-priced sampler of 14 songs from Shirley Horn's stint at Verve. While this collection is hardly definitive, it is quite enjoyable, sporting an appealingly low-key, seductive atmosphere and several dynamite performances, including versions of "A Time for Love," "Fever," "Loving You," "How Long Has This Been Going On?," "I Wanna Be Loved," "So I Love You" and "The Meaning of the Blues."~Stephen Thomas Erlewine http://www.allmusic.com/album/jazz-round-midnight-shirley-horn-mw0000031881

Personnel: Shirley Horn (vocals, piano); Wynton Marsalis (vocals, trumpet); Johnny Mandel, Roy Hargrove, Toots Thielemans (vocals); Jim Walker (flute); George Mesterhazy (piano); Larry Bunker (vibraphone); Steve Williams (drums); Alex Acuña (percussion).

Jazz 'Round Midnight

Tuesday, June 30, 2020

Ralph Moore - Furthermore

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 49:04
Size: 113,7 MB
Art: Front

(7:59) 1. Hopscotch
(8:00) 2. Monk's Dream
(8:08) 3. 310 Blues
(5:56) 4. Phoebe's Samba
(6:57) 5. Girl Talk
(7:44) 6. Into Dawn
(4:17) 7. Line D

Tenor saxophonist Ralph Moore offers up a satisfying array of neo hard bop numbers on Furthermore which features some of the up and coming stars of the Wynton Marsalis retro trad jazz school, including trumpeter Roy Hargrove, pianist Benny Green, and bassist Peter Washington, as well as veteran drummers Kenny Washington (Peter's brother) and Victor Lewis. The CD opens with the thematically rich Moore original "Hopscotch" (reminiscent of Coltrane's "Moment's Notice") and works its way through Green's driving "Phoebe's Samba" and Hargrove's Wayne Shorter inspired mood piece "Into Dawn," with all three tunes providing prime vehicles for the innovative yet restrained soloing of these young players. Abetted by streamlined sound production, the urbane and cool mood of this recording crystallizes in Moore's sinuous tenor lines and mellifluous tone heard to great effect on his readings of Neal Hefti's pop gem "Girl's Talk" and his own "310 Blues."

Moore and company leave the full-blown delivery of Ben Webster and Coltrane behind in favor of economical performances, and as was the case with many of the original hard bop albums, it takes its cues from Sonny Rollins' Saxophone Colossus and Lee Morgan's Sidewinder. Furthermore does not break the mold so much as provide a pleasurable listening experience of the highest order. A potential dinner party classic; subtle enough not to disturb the guests, but provocative enough to elicit comments.~ Stephen Cook https://www.allmusic.com/album/furthermore-mw0000309674

Personnel: Tenor Saxophone – Ralph Moore; Trumpet – Roy Hargrove (tracks: 1,3,4,6); Bass – Peter Washington; Drums – Kenny Washington (tracks: 1,3,5), Victor Lewis (tracks: 2, 4, 6,7); Piano – Benny Green

Furthermore

Saturday, May 30, 2020

The Jimmy Cobb Quartet - Jazz in the Key of Blue

Styles: Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 55:26
Size: 127,8 MB
Art: Front

(6:47) 1. Every Time We Say Goodbye
(5:30) 2. With You I'm Born Again
(5:08) 3. I'll Still Be in Love with You
(4:52) 4. Emily
(5:23) 5. Stairway to the Stars
(4:31) 6. I Had the Craziest Dream
(8:21) 7. Remembering U
(4:12) 8. What Will I Do
(6:25) 9. If Ever I Would Leave You
(4:16) 10. We'll Be Together Again

The 50th anniversary celebrations for Miles Davis's Kind of Blue in 2009 reminded the world that drummer Jimmy Cobb is the last surviving participant from that groundbreaking session. This set is a romantic-standards programme fronted by trumpeter and flugelhornist Roy Hargrove and guitarist Russell Malone, with only the swish of Cobb's understated brushwork testifying to his presence for long stretches. In an era in which such familiar jazz materials are frequently subverted, rhythmically reinvented or morphed into hybrids with other songs, it would be easy to write off this straightahead session as craftsmanlike but out of its time except that something, perhaps respect for Cobb's pedigree, stirs a dazzling inventiveness from the more familiarly funk-and-R&B-inclined Hargrove, and from Malone who sounds like the best of guitarists Charlie Christian, Jim Hall and himself combined. Hargrove's breathy flugel immediately establishes his captivating poise on Everytime We Say Goodbye over Malone's cushioning chords, and his eruption into a fiercer attack after the delicate opening of With You I'm Born Again is a delicious shock. The trumpeter's New Orleans roots come out over Malone's bent notes and Charlie Christian swing on I Had the Craziest Dream. It shows just how much younger players cherish the standards book, and how unobtrusively a veteran such as Cobb can help them.

… just when we need it the most. Millions of readers around the world are flocking to the Guardian in search of honest, authoritative, fact-based reporting that can help them understand the biggest challenge we have faced in our lifetime. But at this crucial moment, news organisations are facing an unprecedented existential challenge. As businesses everywhere feel the pinch, the advertising revenue that has long helped sustain our journalism continues to plummet. We need your help to fill the gap. We believe every one of us deserves equal access to quality news and measured explanation. So, unlike many others, we made a different choice: to keep Guardian journalism open for all, regardless of where they live or what they can afford to pay. This would not be possible without financial contributions from our readers, who now support our work from 180 countries around the world.

We have upheld our editorial independence in the face of the disintegration of traditional media with social platforms giving rise to misinformation, the seemingly unstoppable rise of big tech and independent voices being squashed by commercial ownership. The Guardian’s independence means we can set our own agenda and voice our own opinions. Our journalism is free from commercial and political bias never influenced by billionaire owners or shareholders. This makes us different. It means we can challenge the powerful without fear and give a voice to those less heard. https://www.theguardian.com/music/2009/dec/31/jimmy-cobb-quartet-key-of-blue

R.I.P.
Born: 20. Januar 1929 in Washington, D.C;
Died: 24. Mai 2020 in New York

Jazz in the Key of Blue

Monday, March 23, 2020

Jimmy Cobb - Remembering U

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 64:15
Size: 148,7 MB
Art: Front

(6:06) 1. Eleanor
(3:36) 2. Pistachio
(6:18) 3. Man in the Mirror
(4:56) 4. Remembering U
(4:42) 5. JC's AC
(4:39) 6. Composition 101
(6:48) 7. I Just Can't Stop Loving You
(4:10) 8. Willow Weep for Me
(4:48) 9. W.K.
(6:23) 10. Cedar's Rainbow
(5:51) 11. I Don't Wanna Be Kissed (By Anyone but You)
(5:53) 12. Cobb's Belle

Legendary Drummer Jimmy Cobb Still Swinging After All These Years! Remembering U features a guest appearance by the late trumpeter Roy Hargrove and is the final session by legendary engineer Rudy Van Gelder. A consummate accompanist, unerring timekeeper, outstanding soloist and dynamic leader in his own right, revered drummer Jimmy Cobb showcases his inimitable touch on ballads and his irrepressibly swinging ride cymbal pulse on Remembering U. Accompanied by his working trio of Japanese pianist Tadataka Unno and Italian bassist Paolo Benedettini, Cobb's latest stands as a tribute to those people who have been a part of his long journey in jazz and are no longer with us. Special guests include tenor saxophonist Javon Jackson and the late trumpeter Roy Hargrove in one of his last studio sessions. The recording also marks the final session of legendary engineer Rudy Van Gelder, who presided over classic sessions for the Blue Note, Prestige and Impulse! labels. (Cobb remembers playing on a Van Gelder session in the mid 1950s when the fledgling engineer was operating out of his parents home in Hackensack, New Jersey.)

On Remembering U, 2009 NEA Jazz Masters Award winner Cobb proves beyond a shadow of a doubt that, at age 90, he is indeed still swinging after all these years. Cobb's expansive list of recording credits over seven decades reads like a Who's Who in Jazz. Among the countless sessions he participated in since the mid '50s are such landmark recordings as Miles Davis' Kind of Blue, Sketches of Spain, Porgy & Bess and Sorcerer, John Coltrane's Giant Steps and Coltrane Jazz, Wes Montgomery's Full House, Boss Guitar and Smokin' at the Half Note as well as potent sessions with Freddie Hubbard, Stan Getz, Bobby Timmons, Cannonball Adderley, Sarah Vaughan, Sonny Stitt and a string of acclaimed trio recordings with pianist Wynton Kelly and bassist Paul Chambers. On Remembering U, his 12th as a leader and first for his own Jimmy Cobb World label, Cobb and his versatile crew display remarkable chemistry on 12 tracks. https://news.allaboutjazz.com/jimmy-cobb-historic-release-featuring-roy-hargrove-remembering-u-final-session-by-rudy-van-gelder

Remembering U

Saturday, August 17, 2019

Roy Hargrove Quintet - The Vibe

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 61:12
Size: 141,7 MB
Art: Front

(6:32) 1. The Vibe
(7:02) 2. Caryisms
(5:02) 3. Where Were You?
(6:33) 4. Alter Ego
(5:07) 5. The Thang
(4:53) 6. Pinocchio
(6:03) 7. Milestones
(5:43) 8. Things We Did Last Summer
(6:27) 9. Blues For Booty Green's
(7:45) 10. Runnin' Out Of Time

The last of trumpeter Roy Hargrove's recordings to feature his longtime altoist Antonio Hart also includes pianist Marc Cary, bassist Rodney Whitaker, drummer Gregory Hutchinson and guest spots for the tenors of Branford Marsalis and David "Fathead" Newman, plus trombonist Frank Lacy and organist Jack McDuff. Hargrove (still just 22) was already on his way to being one of the better hard bop-based trumpeters in jazz, as he shows on group originals, James Williams' "Alter Ego," Wayne Shorter's "Pinocchio," "Milestones," and "The Things We Did Last Summer." A fine example of Hargrove's rapidly emerging style. ~ Scott Yanow https://www.allmusic.com/album/the-vibe-mw0000071800

Personnel: Trumpet – Roy Hargrove; Alto Saxophone – Antonio Maurice Hart; Bass – Rodney Thomas Whitaker; Drums – Gregory Hutchinson; Organ [B3] – 'Cap'n' Jack McDuff; Piano – Marc Anthony Cary; Producer – Larry Clothier; Tenor Saxophone – Branford Marsalis, David "Fathead" Newman; Trombone – Ku-Umba Frank Lacy

The Vibe

Thursday, June 6, 2019

Roy Hargrove - Nothing Serious

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 44:54
Size: 103,6 MB
Art: Front

(3:52) 1. Nothing Serious
(5:27) 2. A Day In Vienna
(5:25) 3. Trust
(4:59) 4. Camaraderie
(5:31) 5. Devil Eyes
(5:52) 6. The Gift
(6:52) 7. Salima's Dance
(6:53) 8. Invitation

Despite the nonchalance of its title, Nothing Serious may be Roy Hargrove's best disc yet. The first working band outing by the genre-leaping trumpeter since 1993's Of Kindred Souls features a cohesive quintet with alto saxophonist Justin Robinson, pianist Ronnie Mathews, bassist Dwayne Burno and drummer Willie Jones III, augmented on three selections by special guest trombonist Slide Hampton. The opening title track, composed by Venezuelan guitarist Leo Quintero, is a melodious Latin jazz tour de force with powerful solos by the always lyrical Hargrove, along with Robinson (employing a thick, convincing Dolphyesque tone) and the veteran Mathews, whose mastery of the Afro-Cuban idiom pushes the music to its highest level, particularly during his montuno section, where the horns riff and Jones thrashes with inspired abandon. Hampton joins the band for his "A Day In Vienna first recorded with Dexter Gordon a straight-ahead cooker with a harmonic richness reminiscent of Horace Silver. Hargrove's "Trust is an evocative ballad constructed of long legato lines and warm harmonies, with stirring solos by Burno, Robinson (flute) and the composer (flugelhorn). "Camaraderie, a second Hargrove original, opens ominously with a dissonant free-form introduction featuring a trumpet-saxophone dialogue over drums, before resolving into a hot boppish blowing section. Burno's "Devil Eyes, a genuinely innovative, daring reharmonization of the standard chord changes to "Angel Eyes framed with a vamp that recalls the introduction to Stevie Wonder's "Too High, inspires exciting solos by Robinson, Hargrove and Jones. "The Gift is an attractive line by Hargrove which abounds with beauty and drama, eliciting passionate playing from each of the group's members. Mathews' potent "Salima's Dance, first recorded by the pianist back in the late '70s, is more than worthy of revival. Hargrove lets loose on this modal composition with his most incendiary solo of the date, followed by Robinson, Hampton and the composer, each one equally electrifying. A series of exchanges with Jones and a collective improvisation by the horns drive the music to a compelling climax. A swinging sextet version of "Invitation closes this satisfying session, which may not seem very "serious" compared to today's many staid and sober recordings seeking the status of classical music. But it is certainly significant in its earnest documentation of a great set of joyous jazz. ~ Russ Musto https://www.allaboutjazz.com/nothing-serious-roy-hargrove-verve-music-group-review-by-russ-musto.php

Personnel: Roy Hargrove: trumpet, flugelhorn; Justin Robinson: alto saxophone, flute; Slide Hampton: trombone; Ronnie Matthews: piano; Dwayne Burno: bass; Willie Jones III: drums.

Nothing Serious

Sunday, March 3, 2019

Jimmy Smith - Angel Eyes: Ballads & Slow Jams

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 55:08
Size: 129,9 MB
Art: Front

(7:02) 1. Stolen Moments
(5:31) 2. You Better Go Now
(8:13) 3. Angel Eyes
(4:17) 4. Bess, Oh Where's My Bess
(5:54) 5. Slow Freight
(6:39) 6. Tenderly
(6:53) 7. Days Of Wine And Roses
(6:17) 8. L'il Darlin'
(4:18) 9. What A Wonderful World

A follow-up to the mostly heated performances of Damn!, this CD features organist Jimmy Smith sticking to ballads and slower material. There is a sextet rendition of "Stolen Moments" (with both Roy Hargrove and Nicholas Payton on trumpets); duets with both trumpeters, bassist Christian McBride, and guitarist Mark Whitfield; a trio; a quartet; and solo organ renditions of "Oh Bess, Oh Where's My Bess?" and "What a Wonderful World." Despite the constant changing of instrumentation, the results (although pleasant) are uneventful and somewhat predictable. Good for late-night background music rather than for close listening. ~ Scott Yanow https://www.allmusic.com/album/angel-eyes-mw0000613422

Personnel:Jimmy Smith – organ, arranger; Roy Hargrove – flugelhorn, trumpet; Nicholas Payton – trumpet; Mark Whitfield – guitar; Christian McBride – double bass; Damon Krukowski – drums, percussion; Gregory Hutchinson – drums

Angel Eyes: Ballads & Slow Jams