George Robert - Soul Searching

Styles: Saxophone Jazz
Size: 172,4 MB
Time: 75:19
File: MP3 @ 320K/s
Released: 2005
Art: Front

1. Namely You (11:13)
2. Soul Searching ( 8:32)
3. Nostalgie (11:59)
4. African Village ( 9:43)
5. Blue for Trane (12:42)
6. Peace ( 3:25)
7. I've Never Been in Love Before (12:04)
8. Here's That Rainy Day ( 5:37)

Swiss alto saxophonist George Robert shines in this 2003 concert in Lausanne, Switzerland. The influence of Phil Woods is unmistakable at times, though Robert is hardly a mere clone of the American (who has performed and recorded with Robert, while he also wrote the liner notes for this CD).

Joining Robert is an all-star rhythm section consisting of pianist Kenny Barron, bassist Rufus Reid, and drummer Billy Hart. The set starts off with a sparkling interpretation of the standard "Namely You," showcasing Robert, Barron, and Reid. The full band is featured in a driving setting of "I've Never Been in Love Before," while the heartfelt rendition of "Here's That Rainy Day" is a rhapsodic closing number.

Robert penned several originals, including the exotic "Soul Searching," in which the leader plays soprano sax, which he also utilizes in his dramatic "Blues for Trane." Issued by DIW in Japan, this rewarding CD is an important addition to George Robert's discography.By Ken Dryden https://www.allmusic.com/album/soul-searching-mw0000767509#review

Personnel: George Robert - saxophone; Kenny Barron - piano; Rufus Reid - bass; Billy Hart - drums

Soul Searching

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Milt Hinton - Laughing At Life

Styles: Jazz, Swing
Year: 1994
File: MP3@320K/s
Time: 54:48
Size: 130,2 MB
Art: Front

(7:17)  1. A Child Is Born
(5:46)  2. Sweet Georgia
(4:23)  3. Brown
(4:32)  4. Laughting At Life
(4:05)  5. Prelude To A Kiss
(3:04)  6. Indiana
(5:04)  7. Mona's Feeling Lonely
(4:20)  8. Jon John
(4:33)  9. Old Man Harley
(4:52) 10. Just Friends
(6:52) 11. The Judge And The Jury

Milt Hinton's major label debut as a leader (at age 85), other than a 1955 date for Victor, finds the great bassist utilizing two separate rhythm sections on a variety of standards. In addition to fine solos from pianists Richard Wyands and Derek Smith, there are guest appearances by trumpeter Jon Faddis (who defies his stereotype by sounding closer here to Roy Eldridge than to Dizzy Gillespie) and veteran Harold Ashby whose warm tenor recalls Ben Webster. Even if Hinton's three vocals are one too many, his singing has its charm. The finale "The Judge and the Jury" adds four other bassists for a very musical tribute to one of the few veterans of the 1920s still to be heard in his prime in the mid-'90s. ~ Scott Yanow https://www.allmusic.com/album/laughing-at-life-mw0000628214

Personnel:  Bass, Vocals – Milt Hinton;  Bass – Brian Torff, Lynn Seaton, Rufus Reid, Santi Debriano;  Drums – Alan Dawson, Dave Ratajczak, Terry Clark;  Piano – Derek Smith, Richard Wyands;  Saxophone [Tenor] – Harold Ashby ;  Trumpet, Flugelhorn – Jon Faddis

Laughing At Life

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Bill Barron - Higher Ground

Styles: Saxophone Jazz 
Year: 1989
File: MP3@320K/s
Time: 51:08
Size: 117,5 MB
Art: Front

(7:52)  1. Caravan
(7:19)  2. I Thought About You
(4:17)  3. More Blues
(5:28)  4. We'll Be Together Again
(6:40)  5. Emanation
(7:40)  6. Alone Together
(6:11)  7. Interpretation
(5:38)  8. Time, Motion, Space

Bill Barron's final recording as a leader (cut just 8½ months before his death at age 62) was released for the first time on this 1993 CD. Barron was still in his prime and this effort (a quintet date with trumpeter Eddie Henderson, pianist Kenny Barron, bassist Rufus Reid and drummer Ben Riley) is more straight-ahead than usual. Barron, who usually did not play standards much, performs four here (including "Caravan" and "Alone Together") and his three originals (plus one by younger brother Kenny) are also very much in the hard bop vein, less avant-garde than usual. The leader's solos, however, are as adventurous as ever, and the CD is easily recommended as an example of his excellent, underrated playing.~ Scott Yanow https://www.allmusic.com/album/higher-ground-mw0000121824

Personnel: Bill Barron (tenor saxophone); Eddie Henderson (trumpet); Kenny Barron (piano); Rufus Reid (bass); Ben Riley (drums).

Higher Ground

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Roni Ben-Hur - Signature

Bitrate: MP3@320K/s
Time: 62:07
Size: 142.2 MB
Styles: Bop, Guitar jazz
Year: 2005
Art: Front

[4:17] 1. Mama Bee
[9:28] 2. Bacchianas Brasileiras, No. 2 Aria
[8:22] 3. Blues In The Night
[8:01] 4. Eretz
[6:32] 5. Slowly But Surely
[6:33] 6. Choro, No. 1
[5:54] 7. Time On My Hands
[6:19] 8. Luiza
[6:35] 9. So In Love

Bass – Rufus Reid; Drums – Leroy Williams; Guitar – Roni Ben-Hur; Percussion – Steve Kroon (tracks: 2, 6, 8, 9); Piano – John Hicks. Recorded September 12, 2004 at Avatar Studios, NYC.

The person and musician who is Roni Ben-Hur comes shining through on Signature. The record so full of joy that it is easy to just sit back, relax and enjoy a hour's worth of fine music—and it's much more than just good playing. The late pianist John Hicks, a pro's pro if there ever was one, is in sync with Ben-Hur every step of the way through the varying emotions and styles of these tunes.

Ben-Hur is clearly out of the Wes Montgomery mold (at least) and is extremely secure in his technique—so much so, in fact, that it fades into the background, allowing his musical ideas to come to the fore. He uses a clear tone and his playing is very clean and precise. Indeed, partly what makes the album so enjoyable is that Ben-Hur is never predictable. He manages to surprise time after time in an extremely satisfying way. The material comprises an interesting mix of immediately recognizable standards ("Blues In The Night," "Time On My Hands" and "So In Love") and originals ("Mama Bee" and "Eretz" by Ben-Hur, "Slowly But Surely" by Hicks), plus three unusual choices: "Bachiana Brasileiras No. 2, Aria" and "Choro No. 1" by Heitor Villa-Lobos and the relatively lesser-known "Luiza" by Antonio Carlos Jobim.

My interest in Signature was piqued by the South American tunes and Ben-Hur's "Eretz." Villa-Lobos, whose compositions form part of the core repertoire of classic guitar players, is a master of understatement, producing beautiful melodies and harmonies from seeming simplicity. His music is very direct, straightforward and highly emotional. The Aria played here was originally composed for eight cellos and soprano voice, so the first task was to arrange it for the band, allowing some room for soloing in a composition that changes meters often. Ben-Hur makes the second task seem natural: he fills every note with the passion and emotion that the composer put into the piece. The Choro will be familiar to any classic guitarist, and this arrangement is very true to the spirit of the original. Jobim's "Luiza" might not be recognized by most people who know his other, more popular tunes. Nevertheless, it is far from a lesser work, and Ben-Hur sings it through his guitar in a simple arrangement that lets the music speak for itself. Finally, Ben-Hur's own "Eretz" speaks directly from the heart of someone with a love of his homeland, in this case Israel. The tune's emotions, as complex as Israel's history, deliver "... a prayer, my prayer for peace." ~Budd Kopman

Signature

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Tim Hagans - The Moon Is Waiting

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 61:37
Size: 141,8 MB
Art: Front

( 6:22)  1. Ornette's Waking Dream of a Woman
( 6:13)  2. The Moon Is Waiting
( 8:45)  3. Get Outside
( 6:17)  4. First Jazz
( 6:53)  5. Boo
( 7:11)  6. What I'll Tell Her Later Tonight
( 8:59)  7. Wailing Trees
(10:54)  8. Things Happen in a Convertible

Those who mine exploratory veins of music often eschew structure, confusing lack of form with freedom, but trumpeter Tim Hagans knows the difference. The new quartet that he's convened for The Moon Is Waiting is a malleable unit that thrives on bringing unpredictable ideas into structured environments. The music it makes isn't fusion, free jazz, or post-modern patchwork, but it borders on all of those territories. While the first three pieces were commissioned by the Michele Brangwen Dance Ensemble, they don't require accompanying visual stimuli to be stimulating from an artistic stand point. "Ornette's Waking Dream Of A Woman" is introduced with the sounds of suspicion, leading to an explosive second act, while the title track is underscored by constant cacophony. A mysterious ten-note motif makes its mark as the last of these three pieces, "Get Outside," sets sail, but the music takes a drastic turn when drummer Jukkis Uotila shifts to piano. He delivers curious yet stable chordal statements which serve as dividing markers between abstract musings from Hagans and guitarist Vic Juris. Eventually, the piece erupts into a Black Sabbath-worthy groove in seven, with Hagans running rampant atop the mix.

While Hagans has always been a visionary, capable of charting his own course without any outside help, influence or direction, his sidemen on this date help to determine how these pieces play out. Bassist Rufus Reid's tonal presence adds weight to every piece, and his ability to fatten up a unison riff or supply some saucy soloing ("Boo") make him a major asset. Guitarist Vic Juris' chameleon-like abilities help to broaden the sonic variety in the music and, while he's not as well-known as the other musicians, Jukkis Uotila proves to be a powder keg of percussive intensity. He swings in beyond-bop fashion, as Juris and a Freddie Hubbard-like Hagans show what they're made of ("First Jazz"), and he engages the rest of the musicians with perpetual drumming motion as he scampers across the rangy terrain of Hagans' compositions. His steady rhythmic barrage is actually one of the defining characteristics of this ensemble. Hagans has proven to be a master compositional architect in more formal settings, but his ability to let loose with this small group is the key to its success. The Moon Is Waiting is a marvel of elastic expressions from one of the most shrewd and intelligent minds in jazz today.~Dan Bilawsky https://www.allaboutjazz.com/the-moon-is-waiting-tim-hagans-palmetto-records-review-by-dan-bilawsky.php
 

Personnel: Tim Hagans: trumpet; Vic Juris: guitar; Rufus Reid: bass; Jukkis Uotila: drums, piano.

The Moon Is Waiting

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Frank Foster & Frank Wess - Frankly Speaking

Styles: Saxophone Jazz
Year: 1985
File: MP3@320K/s
Time: 49:38
Size: 114,5 MB
Art: Front

( 6:32) 1. An' All Such Stuff As'Dat
( 6:47) 2. The Summer Knows
( 7:12) 3. When Did You Leave Heaven?
( 4:44) 4. Up And Coming
( 5:01) 5. One Morning In May
( 3:09) 6. Two Franks
(10:22) 7. This Is All I Ask
( 5:47) 8. Blues Backstage

Using the same personnel as the previous year's Two for the Blues (Frank Foster on tenor and soprano, Frank Wess on tenor and flute, pianist Kenny Barron, bassist Rufus Reid, and drummer Marvin "Smitty" Smith), this set gets the slight edge and is an excellent introduction to the playing of the two Count Basie saxophonists. Foster contributes two originals (including the classic "Blues Backstage"), Wess brings in "Up and Coming," and the quintet also performs five jazz standards including "When Did You Leave Heaven," Hoagy Carmichael's "One Morning in May," and Neal Hefti's "Two Franks." Recommended.~Scott Yanow https://www.allmusic.com/album/frankly-speaking-mw0000649518

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster; Bass – Rufus Reid; Drums – Marvin "Smitty" Smith; Flute, Tenor Saxophone – Frank Wess; Piano – Kenny Barron

Frankly Speaking

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Frank Foster & Frank Wess - Two for the blues

Styles: Saxophone, Flute Jazz
Year: 1984
File: MP3@256K/s
Time: 45:54
Size: 84,7 MB
Art: Front

(6:41)  1. Two For The Blues
(6:18)  2. Send In The Clowns
(4:12)  3. Your Beauty Is A Song Of Love
(4:18)  4. But For The Likes Of You
(5:44)  5. Heat Of Winter
(4:16)  6. Nancy With The Laughing Face
(5:03)  7. Spring Can Really Hang You Up The Most
(5:32)  8. A Time For Love
(3:46)  9. Traccia 09

This CD reissue of a Pablo date features Frank Foster (on tenor and soprano) and Frank Wess (tenor, flute and alto) at their best. They perform three Wess originals, one by Foster, and a variety of mostly underplayed standards (including Neal Hefti's "Two for the Blues," plus "Spring Can Really Hang You Up the Most") and a surprisingly uptempo "Send In the Clowns." With pianist Kenny Barron, bassist Rufus Reid and drummer Marvin "Smitty" Smith offering stimulating support, this is an excellent showcase for the two Franks. A follow-up Concord set (Frankly Speaking) used the same personnel. 

~ Scott Yanow https://www.allmusic.com/album/two-for-the-blues-mw0000267573

Personnel: Tenor Saxophone, Soprano Saxophone – Frank Foster;  Tenor Saxophone, Alto Saxophone, Flute – Frank Wess; Bass – Rufus Reid; Drums – Marvin Smith;   Piano – Kenny Barron 

Two for the blues

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Mel Tormé And Friends - Mel Torme and Friends: Recorded Live at Marty's, New York City

Styles: Vocal, Piano, Swing
Year: 1988
File: MP3@320K/s
Time: 78:59
Size: 181,7 MB
Art: Front

(2:51) 1. Let's Take a Walk Around the Block
(5:06) 2. New York State of Mind
(4:28) 3. When the World Was Young
(4:27) 4. Pick Yourself Up
(4:24) 5. Silly Habits
(3:46) 6. Mountain Greenery
(4:03) 7. Cottage for Sale
(2:29) 8. Take a Letter Miss Jones
(5:53) 9. Real Thing
(3:15) 10. Medley: Watch What Happens / Fly Me to the Moon / You And The Night And The Music / Shaking the Blues Away
(3:25) 11. Isn't It Romantic
(8:15) 12. "Porgy & Bess" Medley
(3:37) 13. The Folks Who Live on the Hill
(4:26) 14. The Best Is yet to Come
(3:54) 15. Isn't It a Pity
(4:36) 16. Wave
(5:02) 17. I Guess I'll Have to Change My Plan
(4:54) 18. Love for Sale

Recorded live at the nightclub Marty's in New York City, Mel Tormé and Friends was originally released as a double LP in 1981. It's a welcome reissue, presenting prime later Tormé who was, as usual, performing a nightclub show with a trio backup largely devoted to standards like Rodgers and Hart's "Mountain Greenery," Jerome Kern and Dorothy Fields' "Pick Yourself Up," Cole Porter's "Love for Sale" and a medley of songs from the Gershwins and DuBose Heyward's Porgy and Bess. What is unusual is the "and Friends" part, as Tormé is joined by such complementary guests as Cy Coleman (who plays piano on his and Carolyn Leigh's "The Best Is Yet to Come"), Gerry Mulligan (who performs on his and Tormé's composition "Real Thing," but whose solo medley has been cut), Jonathan Schwartz (who sings Lorenz Hart's original lyric for the song that became "I Guess I'll Have to Change My Plan") and one surprising but appropriate one: Janis Ian (who duets with Tormé on her own "Silly Habits").~ William Ruhlmann https://www.allmusic.com/album/live-at-martys-mw0000875927

The Friends Are: Cy Coleman/Janis Ian/Gerry Mulligan/Jonathan Schwartz

Personnel: Bass – Jay Leonhart, Rufus Reid; Drums – Donny Osborn; Piano – Mel Tormé, Mike Renzi

Mel Tormé And Friends

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Joe Locke - Slander (And Other Love Songs)

Styles: Vibraphone Jazz
Year: 1997
File: MP3@320K/s
Time: 55:36
Size: 127,9 MB
Art: Front

(8:08) 1. Song For Cables
(7:35) 2. Saturn's Child
(5:27) 3. Tuesday Heartbreak
(5:01) 4. Mission Impossible
(3:55) 5. Blue
(4:49) 6. Cecil B. DeBop
(9:03) 7. Slander
(6:36) 8. Can't Help Falling In Love
(4:58) 9. Second Story Man

This superb quintet session is the third, and undoubtedly best Milestone disc 39-year-old vibraphonist Joe Locke has released to date. Locke, a veteran of the Mingus Big Band and former Pepper Adams, Eddie Henderson, Dianne Reeve and Hiram Bullock sideman, has made his strongest personal statement with Slander (And Other Love Songs).

The influence of Bobby Hutcherson is overwhelming here especially as evidenced by the strong boppish originals Locke has crafted (the exceptional "Song for Cables," "Saturn's Child," "Cecil B. DeBop," "Second Story Man" and "Slander"). But Locke is a more aggressive, and at times, more interesting "inside" player.

The vibraphonist, whose inspiration comes from such horn players as Jackie McLean, Hank Mobley, John Coltrane and Steve Grossman, is aided by some exceptional folks here too. Pianist Billy Childs, who has walked this ground before with Freddie Hubbard and Bobby Hutcherson, is muscular and consistently interesting as he alternates between acoustic and electric pianos. Bassist Rufus Reid and drummer Jackson round out the rhythm section. But it is undersung guitarist Vic Juris - appearing on five of the nine tracks here, a sort of cross between early Pat Metheny and jazzier John Scofield - who is the second star here. His commentary is really something special, providing an edgy counterpoint to the mellifluous strength of Locke's melodic vibe work.

A nice surprise is Locke's improving take on strong source material. In the past he's taken well-known works - like film themes or Henry Mancini's music - and found more than his share of sap to squeeze. But on Slander, he reworks, rethinks and reinvents Lalo Schifrin's "Mission: Impossible," refashions Joni Mitchell's "Blue" into a lovely piano/vibe duet and manages to restructure the pop hit, "Can't Help Falling In Love," transcending each into something truly personal. Nice touch.

Slander (And Other Love Songs), the tenth of Joe Locke's solo discs since his 1983 debut, is a memorable representation of what good contemporary mainstream jazz can accomplish. And, if things are right in the world, it should help Joe Locke ascend to become one of the more important figures in contemporary jazz. Recommended.~ Douglas Payne https://www.allaboutjazz.com/slander-and-other-love-songs-joe-locke-fantasy-jazz-review-by-douglas-payne.php

Personnel: Joe Locke Vibes; Billy Childs; Piano: Vic Juris; Guitar: Rufus Reid; Bass: Gene Jackson; Drums.

Slander (And Other Love Songs)

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Kenny Barron - New York Attitude

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 57:22
Size: 133,5 MB
Art: Front

(6:01)  1. New York Attitude
(5:50)  2. Embraceable You - Take 2
(5:40)  3. Joanne Julia
(5:26)  4. My One Sin
(6:53)  5. Bemsha Swing
(8:02)  6. Autumn In New York
(5:11)  7. Lemuria
(6:29)  8. You Don't Know What Love Is
(7:50)  9. Embraceable You - Take 1

Pianist Kenny Barron's star began to rise in the 1980 as he recorded more frequently as a leader. Uptown releases such as this one have been hard to find because of erratic distribution, but this trio date with bassist Rufus Reid and drummer Frederick Waites (in one of his last record dates prior to his death in 1989) is worth the effort to acquire it. The title track, a driving post-bop Barron original, captures the hustle and bustle as well as the cockiness of a stereotypical New York City resident. "Joanne Julia" is a shimmering samba dedicated to the pianist's wife. "Lemuria" is an earlier Barron work written while he was playing with Yusef Lateef, and this adventurous up-tempo piece, reminiscent in some ways of McCoy Tyner's aggressive style of writing, features the trio's best playing on the date. As a charter member of the group Sphere, it is only appropriate for Barron to include a Thelonious Monk composition; his unusual bassline within the introduction to "Bemsha Swing" is worth the purchase price of this CD. This Kenny Barron CD was previously issued by Uptown as an LP entitled Autumn in New York, but this re-release adds an alternate take of "Embraceable You" and a dazzling solo rendition of "You Don't Know What Love Is." The pristine sound achieved by legendary engineer Rudy van Gelder is an added bonus. Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/new-york-attitude-mw0000421988

Personnel: Piano – Kenny Barron ; Bass – Rufus Reid; Drums – Frederick Waits

New York Attitude

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Andrew Hill Trio - Shades

Styles: Piano Jazz 
Year: 1987
File: MP3@320K/s
Time: 43:49
Size: 101,4 MB
Art: Front

( 4:42)  1. Monk's Glimpse
( 6:36)  2. Tripping
( 5:33)  3. Chilly Mac
( 5:37)  4. Ball Square
( 7:35)  5. Domani
(13:44)  6. La Verne

Pianist Andrew Hill's first recording as a leader in six years was particularly notable for co-starring (and challenging) the underrated tenor Clifford Jordan. The quartet set (with bassist Rufus Reid and drummer Ben Riley) has six of Hill's typically challenging and complex inside/outside originals, a perfect outlet for Jordan and the pianist to interact. Stimulating and unusual music that is difficult to classify as anything but "modern jazz." ~ Scott Yanow https://www.allmusic.com/album/shades-mw0000193340

Personnel: Andrew Hill - piano; Clifford Jordan - tenor saxophone (tracks 1, 3, 5 & 6); Rufus Reid - bass; Ben Riley - drums

Shades

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Kirk Lightsey Trio - From Kirk To Nat

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 54:36
Size: 125,7 MB
Art: Front

(6:10)  1. You And The Night And The Music
(7:40)  2. Sweet Lorraine
(4:44)  3. Never let me go
(5:34)  4. Bop Kick
(8:03)  5. Sophisticated lady
(6:22)  6. The Best is yet to come
(4:30)  7. Close enough for love
(5:55)  8. Little Old Lady
(5:35)  9. Kirk's blues

One of the main reasons why this tribute to the Nat King Cole Trio by Kirk Lightsey is a success is that Lightsey (who is from a much later bop-influenced generation) sounds nothing like Cole. Featured in a trio with guitarist Kevin Eubanks and bassist Rufus Reid, Lightsey performs a set of music reminiscent of Cole but several of the songs (including his original "Kirk's Blues," "Never Let Me Go" and "Close Enough for Love") were never actually recorded by Cole; Lightsey takes surprisingly effective vocals on the latter two songs. ~ Scott Yanow https://www.allmusic.com/album/from-kirk-to-nat-mw0000678415

Personnel:  Kirk Lightsey - piano; Kevin Eubanks - guitar; Rufus Reid - bass

From Kirk To Nat

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Monica Zetterlund - It Only Happens Every Time

Styles: Vocal 
Year: 2016
File: MP3@320K/s
Time: 36:53
Size: 85,7 MB
Art: Front

(5:12)  1. It Only Happens Every Time
(3:38)  2. Long Daddy Green
(4:37)  3. Silhouette
(5:06)  4. He Was Too Good To Me
(4:07)  5. The Groove Merchant
(4:14)  6. Love To One Is One To Love
(4:16)  7. Happy Again
(5:40)  8. The Second Time Around

Swedish singer Monica Zetterlund is backed by the Thad Jones-Mel Lewis Orchestra on the Inner City LP It Only Happens Every Time. Her phrasing is precise, but her vocal style doesn't always blend well with the big band. Jones' "It Only Happens Every Time" comes off under-rehearsed, as if the chart is still in a state of flux, a similar problem that occurs during "The Second Time Around." Better is the swinging treatment of "Long Daddy Green" and the tearjerker ballad "He Was Too Good to Me." Sadly, none of the instrumental soloists is identified, though Pepper Adams shines on baritone sax in two compositions by the late Lars Gullin, one of Europe's best players of the instrument; this was also Adams' final recording with the band. Overall, this is a good, though hardly essential record. ~ Ken Dryden https://www.allmusic.com/album/it-only-happens-every-time-mw0000852532

Personnel:  Monica Zetterlund – vocals; Thad Jones – flugelhorn; Mel Lewis – drums; Harold Danko – piano; Rufus Reid – bass; Jerry Dodgion – saxophone, flute; Ed Xiques – saxophone, flute, clarinet; Rich Perry – saxophone, flute, clarinet; Dick Oatts – saxophone, flute, clarinet; Pepper Adams – saxophone; Frank Gordon – trumpet; Earl Gardner – trumpet; Jeff Davis – trumpet; Larry Moses – trumpet; Earl McIntyre – trombone; John Mosca – trombone; Clifford Adams – trombone; Billy Campbell – trombone

It Only Happens Every Time

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Marvin Stamm Quartet - Alone Together

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 73:35
Size: 169,1 MB
Art: Front

(13:51)  1. Alone Together
( 9:35)  2. Come Out and Play
(13:30)  3. Invitation
( 7:35)  4. Baubles, Bangles, and Beads
( 7:09)  5. Lagrima Agradecida
( 6:16)  6. Fun House
( 6:49)  7. When She Looks At Me
( 8:48)  8. T's Butter

Alone Together is not only another splendid album by trumpeter Marvin Stamm's quartet (does he ever produce anything less?), it also comes with a bonus a Dvd whose playing sequence duplicates the Cd and allows one to see and hear Stamm, pianist Bill Mays, bassist Rufus Reid and drummer Ed Soph as they study one another, alertly interact and carefully work things out in a concert taped on November 2006. The quartet as it now stands has been performing together for more than a dozen years, and the rapport and camaraderie are readily apparent. These gentlemen are longtime friends who obviously take pleasure in playing together. You can hear it on the Cd, and see it in their faces on the Dvd. Stamm underscores the point in his cogent liner notes: "Our sensitivity to one another is the only boundary; and because this is an innate quality within each of us, it allows us complete freedom of expression. This is the joy of our playing together. 

That freedom is immediately visible on "Alone Together, on which Mays "plucks the piano strings to lend a bracing twist to his solo, and surfaces elsewhere throughout the invigorating session. This is especially true on Mays' playful "Fun House, which swings happily along behind gregarious solos by Mays and Stamm. Mays also wrote "Lagrima Agradecida, Stamm the ballad "When She Looks at Me and the mercurial "T's Butter, Reid the lively "Come Out and Play. Completing the program are Bronislau Kaper's haunting "Invitation, Robert Wright and George Forrest's "Baubles, Bangles and Beads (from the Broadway musical Kismet) and the title song by Howard Dietz and Arthur Schwartz. The recording is crystal clear, albeit slanted a bit too heavily toward Mays' piano. No problem during solos, but his comping is at times intrusive. Not his fault, of course. Soph and Reid fare better, balance-wise. Reid has a number of tasteful solos, while Soph unleashes his impressive arsenal on "T's Butter, following the last of Stamm's admirable solos. As both the Cd and Dvd have playing times approaching an hour and a quarter, there's no cause for complaint in that area. Any written appraisal, of course, only scratches the surface. As Stamm observes, "One can talk and write about the music, but in reality, it is all in the listening. The suggestion here is that you take his advice and listen (and see) for yourself. ~ Jack Bowers https://www.allaboutjazz.com/alone-together-marvin-stamm-jazzed-media-review-by-jack-bowers.php

Personnel: Marvin Stamm: trumpet, flugelhorn; Bill Mays: piano; Rufus Reid: bass; Ed Soph: drums.

Alone Together

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Nancy Wilson - Turned To Blue

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 52:09
Size: 120,7 MB
Art: Front

(5:56)  1. This Is All I Ask
(4:30)  2. Take Love Easy
(4:02)  3. Turned To Blue
(3:53)  4. Knitting Class
(3:55)  5. Be My Love
(3:17)  6. Taking A Chance On Love
(4:21)  7. Just Once
(6:10)  8. The Golden Years
(5:17)  9. I Don't Remember Ever Growing Up
(5:24) 10. Old Folks
(5:17) 11. I'll Be Seeing You

This recording is like heirloom silver: finely etched and gleaming with a rich and mellow sheen. Its many delights include top-level players, excellent arrangements and production values, and a variety of configurations from a smoking all-star big band to intimate quartets. There are also great solo turns by the likes of John Clayton, James Moody, Bob Mintzer, Hubert Laws, Tom Scott, Dave Samuels, Andy Narrell and Billy Taylor. Then there's the introduction of splendid new material, including a great breakup song ("Knitting Class") that's sure to be covered more often than cake at a picnic. Maya Angelou's poetry becomes a haunting ballad, "Turned to Blue," while the composer of the profoundly moving "Here's to Life" offers a sequel: "I Don't Remember Ever Growing Up," which could be the next boomer anthem. All of this provides the perfect setting for the center sparkler, Nancy Wilson herself. At age 69, she remains the musical definition of class, using her lovely, flexible, still-powerful voice to caress and swing, whisper and wail. Unlike much of the current crop of female singers, she aims her spotlight on emotional meaning, rather than melismatic tricks; the ever-elegant Wilson, a master of nuanced dynamics, never crosses the line into schmaltz. And when she tells her song-stories, you believe every word she's met love and loss in all their permutations, and her disclosures reach out to touch the listener, heart to heart. Wilson's genuine lyrical connection and deep musicality are evident throughout (catch that involuntary sensuous reaction to uber-bassist Clayton's solo opening on "Just Once"), and her trademark is here her bluesy vocal hitch, that patented uptick that conveys such passion and soul. This release will surely delight the legions of long-term Wilson fans, even as it gains her new ones. Turned to Blue is a worthy followup to Wilson's 2005 Grammy-winner, R.S.V.P. (Rare Songs, Very Personal), adding to the growing reputation of the MCG Jazz label for carefully crafted, reliably excellent music. ~ Dr Judith Schlesinger https://www.allaboutjazz.com/turned-to-blue-nancy-wilson-review-by-dr-judith-schlesinger.php

Personnel: Nancy Wilson: vocal; Alon Yavnai, Llew Matthews, Dr. Billy Taylor: piano; Marty Ashby, acoustic guitar; Nilson Matta, Rufus Reid, Kip Reed, John Clayton: bass; Mike Tomaro, Tia Fuller, alto saxophone; Bob Mintzer, Tom Scott, Andy Snitzer, Eric DeFade, Jimmy Heath, James Moody, tenor saxophone; Jim Hynes, Steve Hawk, Sean Jones, Jack Schantz, trumpet; Ed Kocher, Douglas Purviance, Jay Ashby, trombone; Hubert Laws, Jennifer Conner: flute; Mike Tomaro: clarinet, bass clarinet; Jim German: baritone saxophone; Jeremy Black, Kate Black, Kate Hatmaker, Stephanie Tertick: violin; Mikhail Istomin: cello; Vito DiSalvo: accordian; Andy Narrell: steel pans; Dave Samuels: vibraphone; Winard Harper, Jamey Haddad, Roy McCurdy, Terry Clarke, Portinho, Jay Ashby: drums, percussion.

R.I.P.
Born:  February 20, 1937
Died: December 13, 2018

Turned To Blue

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Dexter Gordon & Johnny Griffin' - Great Encounters

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 44:50
Size: 102,9 MB
Art: Front

(14:05)  1. Blues Up And Down
( 4:52)  2. Diggin' In
(12:04)  3. Cake
( 8:41)  4. Ruby, My Dear
( 5:08)  5. It's Only A Paper Moon

The two great tenors, Dexter Gordon and Johnny Griffin, battle it out on in exciting fashion on live versions of "Blues Up and Down" and "Cake." Bop singer Eddie Jefferson and trumpeter Woody Shaw join Gordon and his quartet (pianist George Cables, bassist Rufus Reid and drummer Eddie Gladden) on "Diggin' In" and "It's Only a Paper Moon" and Gordon takes Thelonious Monk's ballad "Ruby My Dear" as his feature. Everything works quite well on this diverse but consistent LP, one of Dexter Gordon's later efforts. ~ Scott Yanow https://www.allmusic.com/album/great-encounters-mw0000421077

Personnel:  Dexter Gordon, Johnny Griffin (Tenor Saxophone); Rufus Reid (Double Bass); Eddie Gladden (Drums); George Cables (Piano); Curtis Fuller (Trombone); Woody Shaw (Trumpet); Eddie Jefferson (Vocals).

Great Encounters

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Andrew Hill - Eternal Spirit

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 67:42
Size: 155,3 MB
Art: Front

( 9:57)  1. Pinnacle
(10:24)  2. Golden Sunset
( 4:53)  3. Samba Rasta
( 6:19)  4. Tail Feather
( 7:47)  5. Spiritual Lover
( 8:44)  6. Bobby's Tune
( 7:32)  7. Pinnacle (alternate take)
( 5:16)  8. Golden Sunset (alternate take)
( 6:45)  9. Spiritual Lover (alternate take)

Andrew Hill returned to the Blue Note label (where he made many significant releases during 1963-80) for a stimulating quintet date with vibraphonist Bobby Hutcherson, altoist Greg Osby, bassist Rufus Reid and drummer Ben Riley in 1989. The pianist's six originals (which are joined by three alternate takes on the CD) his dense chords behind the other improvisers and his own unpredictable solos are not all overshaowed by his talented sideman, even Osby who is heard in particularly inspired form. 

There are no weak performances on this superb post bop effort, Andrew Hill's strongest recording in several years. ~ Scott Yanow https://www.allmusic.com/album/eternal-spirit-mw0000202207

Personnel:  Andrew Hill - piano;  Greg Osby - alto saxophone;  Bobby Hutcherson - vibes;  Rufus Reid - bass;  Ben Riley - drums

Eternal Spirit

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Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

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Dexter Gordon - Sophisticated Giant

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 55:59
Size: 128,9 MB
Art: Front

(7:41)  1. Laura
(6:39)  2. The Moontrane
(8:53)  3. Red Top
(7:55)  4. Fried Bananas
(9:52)  5. You're Blasé
(4:54)  6. How Insensitive
(4:51)  7. Diggin' In
(5:10)  8. It's Only a Paper Moon

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition. ~ Scott Yanow https://www.allmusic.com/album/sophisticated-giant-mw0000674545

Personnel:  Dexter Gordon — tenor and soprano saxophone;  Frank Wess — alto saxophone, flute, piccolo;  Woody Shaw — trumpet, fluegelhorn;  Benny Bailey — lead trumpet, fluegelhorn;  Slide Hampton — trombone;  Wayne Andre — lead trombone;  Howard Johnson — tuba, baritone saxophone;  Bobby Hutcherson — vibes;  George Cables — piano;  Rufus Reid — bass;  Victor Lewis — drums

Sophisticated Giant

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George Robert, Phil Woods - Soul Eyes

Bitrate: MP3@320K/s
Time: 67:44
Size: 155.1 MB
Styles: Saxophone jazz, Bop, Swing
Year: 2007
Art: Front

[14:22] 1. Alone Together
[11:19] 2. Kin Tama
[14:32] 3. Blues For C.T
[10:07] 4. I'm Confessin'
[10:12] 5. Soul Eyes
[ 7:09] 6. Cannonization

Alto Saxophone – Phil Woods; Alto Saxophone – George Robert; Bass – Rufus Reid; Drums – Alvin Queen; Piano – Kenny Barron. Recorded on May 10, 2000 at the Chorus in Lausanne, Switzerland by the Radio Suisse Romande.

Small group meetings of two alto saxophonists are all too rare, though Phil Woods made a number of records with Gene Quill over the years. This concert, recorded in Lausanne, Switzerland in 2000, features George Robert as the leader who shares the spotlight with Woods, along with a superb rhythm section consisting of Kenny Barron, Rufus Reid, and Alvin Queen. The two reed players complement one another beautifully, whether they exchange the lead or play terrific unison lines together.

An extended workout of a loping "Alone Together" is followed by Robert's roller coaster bopper "Kin Tama," which would have fit in perfectly during the heyday of 52nd Street during the bop era. "Blues For C.T.," another original, is dedicated to the great trumpeter Clark Terry. Though not by any means a conventional blues, Robert and Woods take turns dazzling the audience with superbly crafted solos. The two saxophonists sit out "I'm Confessin'," a feature for Kenny Barron. The pianist's strident, unaccompanied introduction has elements of both Bud Powell and Thelonious Monk, with things settling down somewhat as Reid and Queen join him. Mal Waldron's "Soul Eyes" has been a favorite of saxophonists for decades; this powerful version features the leader with the rhythm section. Woods returns to join Robert for the finale, an original called "Cannonization" (dedicated to alto sax great Cannonball Adderley); it is soulful hard bop at its best. Like their earlier meeting on The Summit, this live CD is warmly recommended to bop fans. ~Ken Dryden

Soul Eyes   

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