Something Else! - Soul Jazz

Styles: Bop
Year: 2024
Time: 50:54
File: MP3 @ 320K/s
Size: 117,1 MB
Art: Front

(4:56) 1. Filthy McNasty
(7:55) 2. Too Blue
(4:05) 3. Mean Greens
(4:57) 4. The Chicken
(7:05) 5. Driftin'
(7:23) 6. Slow Drag
(5:34) 7. Strasbourg/St. Denis
(8:57) 8. Naima (Bonus Track)

Jazz supergroup Something Else! is led by Vincent Herring, featuring some of the very best musicians today, playing some of the most iconic toe-tapping Soul Jazz songs ever created. This era of fantastic, rhythmic and soul warming music will be presented with new arrangements plus original compositions in the same genre.

The septet lineups draw from a pool of talented artists whose combined talents make for exciting, danceable and hugely enjoyable shows.

Alto Sax: Vincent Herring
Trumpet: Jeremy Pelt / Randy Brecker / Freddie Hendrix
Tenor sax: James Carter / Eric Alexander
Guitar: Paul Bollenback / Russell Malone
Piano: David Kikoski / Mike LeDonne
Bass: Essiet Essiet / Yasushi Nakamura
Drums: Lewis Nash / Jeff Watts / Johnathan Blake

"The jazz supergroup Something Else!, …then followed with top-shelf soul-jazz and swing… Every one of these musicians is elite it was an extraordinary set. “ ~ Glide Magazine

“…the band wears its hard-bop heart on its sleeve …It practically dares audiences to sit still and remain on their best behavior.” By Steve Futterman, The New Yorker
https://atljazzfest.com/artists/something-else/

Soul Jazz

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Rickie Lee Jones - Pieces Of Treasure

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 34:09
Size: 79,4 MB
Art: Front

(3:11) 1. Just in Time
(3:20) 2. There Will Never Be Another You
(3:26) 3. Nature Boy
(4:16) 4. One For My Baby
(2:50) 5. They Can't Take That Away from Me
(2:31) 6. All The Way
(4:08) 7. Here's That Rainy Day
(4:44) 8. September Song
(2:53) 9. On the Sunny Side Of The Street
(2:46) 10. It's All In The Game

Ever since Linda Ronstadt bravely took on the Great American Songbook with three albums back in 1983, pop singers with a rock background have taken on the classics of the first half of the 20th century and reinterpreted them for contemporary audiences. When Ronstadt sang them with the Nelson Riddle Orchestra, critics considered the act revolutionary. Rock originated as a rebellion against the mainstream pop of the 1950s. Now rock was dissenting from what it had become by embracing what it had campaigned against. Artists as varied as the once vulgar Rod Stewart (remember songs such as “You’re So Rude” from A Nod Is as Good as a Wink?) and anti-authoritarian as Bob Dylan have gone on to release multi-volume collections of smooth standards.

Now it’s Rickie Lee Jones‘ turn. As one might expect, she does it coolsville style with a jazz combo. She makes the songs her own through her combination of little girl style and wizened woman narration. When Jones sings, her vocals tell a story through her intonations as well as through the lyrics. At times, she makes one put down the whiskey and grab the cigarette from the ashtray as she wistfully recalls “There Will Never Be Another You”. In other songs, such as “It’s All in the Game”, the opposite is true. Listening to the singer’s sadness makes one want to reach for a drink.

Russ Titelman, who co-produced Jones’ 1979 self-titled debut (and her second record, Pirates), helms this production. But this is no retro album or exercise in 1970s nostalgia. The music and style are very different than it used to be. Titleman assembled a small jazz combo (Rob Mounsey on piano, guitarist Russell Malone, bassist David Wong, and drummer Mark McLean) to back Jones and let her vocals breathe. More importantly, to let the songs move in a metropolitan air where the spaces between sounds are as significant as the instruments themselves. There is a spareness to the arrangements that conveys urbane refinement. The music was recorded at Sear Sound during a five-day stint in New York City and sounds as sophisticated as the city that never sleeps.

Even the rural connotations of “Nature Boy” come across as cosmopolitan, thanks to Ara Dinkjian’s lead oud playing. The instrumental introduction situates Jones’ intonations about “the strange, enchanted boy” into something transcendent. The singer’s declaration that love is the secret of life makes perfect sense in this context.

Love is the primary topic of songs from the Great American Songbook, whether it’s the lack of it (i.e., “One for the Road”) or that it redeems (“Just in Time”), or how it’s the end all / be all (“All the Way”) or the memories of it (“They Can’t Take That Away From Me”). Jones croons about love with sweetness but never gushes too sentimentally. Her persona suggests that she’s always in control, even when she sings about being out of control.

May that's just a function of age. When she croons, “Here’s That Rainy Day”, she doesn’t seem upset about her fate (being alone) as much as accepting her destiny. The same is true of the opposite side of the coin. The young narrator of “On the Sunny Side of the Street” extols life’s positive virtues. You can feel the singer leaving her troubles at the door and walking down the avenue with a big smile on her face.

Jones’ ability to be both old and young makes her rendition of “September Song” compelling. She can identify with each lover of a May/December romance, no matter what age. Jones is a pirate who plunders the treasures of the Great American Songbook for all of its riches. The music is as timeless as she is. By Steve Horowitz
https://www.popmatters.com/rickie-lee-jones-pieces-of-treasure

Personnel: Rickie Lee Jones voice / vocals; Russell Malone guitar, electric.; David Wong bass; Mark McLean. drums; Mike Mainieri. vibraphone.

Pieces Of Treasure

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Macy Gray - Stripped

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 51:07
Size: 118,0 MB
Art: Front

(5:11) 1. Annabelle
(5:04) 2. Sweet Baby
(4:17) 3. I Try
(5:17) 4. Slowly
(4:57) 5. She Ain't Right for You
(4:11) 6. First Time
(6:41) 7. Nothing Else Matters
(3:24) 8. Redemption Song
(5:16) 9. The Heart
(6:49) 10. Lucy

One of the most iconic and instantly recognizable voices in music history is back in a way you've never heard before. Macy Gray makes her Chesky Records debut with her new Jazz infused album, Stripped. Paired with an awe inspiring jazz ensemble that includes Ari Hoenig, Daryl Johns, Russell Malone, and Wallace Roney, Macy's voice is given the space and freedom to truly shine.

Featuring new original songs, intriguing covers, and stunning new arrangements of her classic hits like "I Try," there's something for everyone on this timeless recording. Part of the Chesky Binaural + Series, all recorded with a single microphone, the band appears right before you with this spacious, lush and multi-dimensional recording. Now headphone users will hear the same three-dimensional sound and imaging as audiophiles have for the past 25 years with Chesky Recordings.

Also these new Binaural+ Series albums capture even more spatial realism for the home audiophile market, bringing you one step closer to the actual event. You will hear some of the most natural and pure cool music ever recorded.By Editorial Reviews
https://www.amazon.com/Stripped-Macy-Gray/dp/B01ICF70B6

Personnel: Macy Gray...Vocals; Ari Hoenig...Drums; Daryl Johns...Bass; Russell Malone...Guitar; Wallace Roney...Trumpet

Stripped

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Houston Person - The Art and Soul, Vol.1, Vol.2, Vol.3.

Album: The Art and Soul, Vol. 1
Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:52
Size: 121,5 MB
Art: Front

(4:51) 1. You Do Something To Me
(6:53) 2. I Don't Stand A Ghost Of A Chance
(3:54) 3. You're A Sweetheart
(6:49) 4. Maybe You'll Be There
(4:56) 5. All The Things You Are
(5:28) 6. You're My Everything
(5:39) 7. Skylark
(4:36) 8. I Only Have Eyes For You
(5:35) 9. Everything I Have Is Yours
(4:05) 10. Wonder Why

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Album: The Art and Soul, Vol. 2
Time: 54:34
Size: 125,4 MB

(5:50) 1. Do Nothing Till You Hear from Me
(5:05) 2. Here's That Rainy Day
(4:15) 3. Isn't It Romantic?
(5:48) 4. Fools Rush In
(6:36) 5. It Had to Be You
(6:13) 6. But Beautiful
(5:59) 7. For All We Know
(5:48) 8. Blue Moon
(4:42) 9. Bewitched
(4:13) 10. Don't Get Around Much Anymore

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Album: The Art and Soul, Vol. 3
Time: 55:20
Size: 127,2 MB

(6:07) 1. Sentimental Journey
(5:09) 2. Where Are You?
(4:32) 3. There's A Small Hotel
(6:43) 4. Tenderly
(6:06) 5. Be My Love
(6:08) 6. It Might As Well Be Spring
(5:05) 7. My Funny Valentine
(6:27) 8. Gentle Rain
(4:04) 9. Mack The Knife
(4:56) 10. The Very Thought Of You

The Art and Soul of Houston Person is an irresistible combination of the celebrated tenor saxophonist and the Great American Songbook. The 30 songs on this generous three-CD set were culled by Person from ten of his HighNote CDs, with the addition of four new songs recorded in spring, 2008. The songs feature an array of talented sidemen, including pianist Bill Charlap, bassists Ron Carter and Ray Drummond and drummer Grady Tate. If that isn't compelling enough, all the tracks were mixed, edited and mastered by the eminent Rudy Van Gelder in his legendary Englewood Cliffs studio.

The collection is full of high points, with several songs particularly worth noting. The upbeat opener, "You Do Something to Me," showcases Person's golden warmth and impeccable swing. The song also features John di Martino's exquisite touch on piano and John Burr's fluid bass. The same group shines on "I Don't Stand a Ghost of a Chance," elegantly capturing the song's quiet longing. Person exhibits a poignant tenderness and drummer Jerome Jennings adds just the right backup with incredibly spacious brushwork. "Sentimental Journey" is a joyful toe-tapper; "Here's That Rainy Day" explores the rich undertones of melancholy and "Blue Moon" is surprisingly upbeat, with Person's tenor fat and happy. And don't miss "Mack the Knife," a duet with Ron Carter where the two musicians turn the song inside out and trade lines with fluent ease.

In a 2004 interview, Person defined jazz as, "something that, when the end of the day comes, after a hard and frustrating day out in the world, relieves you. Relaxes you and makes you feel good." The Art and Soul of Houston Person is exactly that kind of music, a treasure chest of luscious, soothing sound. By Florence Wetzel https://www.allaboutjazz.com/the-art-and-soul-of-houston-person-highnote-records-review-by-florence-wetzel

Personnel: John di Martino: piano; Jon Burr: bass; Jerome Jennings: drums; Richard Wyands: piano; Ray Drummond: bass; Kenny Washington: drums; Russell Malone: guitar; Grady Tate: drums; Stan Hope: piano; George Kaye: bass; Chip White: drums; Ron Carter: bass; Peter Washington: bass; Paul Bollenback: guitar; Per-ola Gadd: bass; Bill Charlap: piano.

The Art and Soul,Vol.1,Vol.2, Vol.3

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Houston Person - Reminiscing at Rudy's

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 57:24
Size: 132,2 MB
Art: Front

(4:57) 1. At Long Last Love
(6:50) 2. Again
(4:48) 3. Moon River
(5:27) 4. Put Your Head on My Shoulder
(4:12) 5. Why Did I Choose You
(4:17) 6. Nothing Ever Changes My Love for You
(6:15) 7. My Romance
(7:42) 8. I'll Let You Know
(7:01) 9. Please Send Me Someone to Love
(5:50) 10. Reminiscing at Rudy's

The "Rudy's" in the title of tenor saxophonist Houston Person's album, Reminiscing at Rudy's, is not a nightclub or other such venue but the New Jersey studio of celebrated recording engineer Rudy Van Gelder who died in 2016. As befits reminiscing, the bulk of the album's numbers are tender ballads, every one of which lands squarely in Person's amorous wheelhouse.

That is not to say the veteran tenor saxophone maestro who has recorded almost seventy albums as leader of his own groups is not comfortable or creative at other tempos, as he shows, for example, on Cole Porter's medium-paced "At Long Last Love," Henry Mancini's usually placid "Moon River" (presented here as a danceable foxtrot) and his own well-grooved finale, "Reminiscing at Rudy's." The truth is, Person is relaxed and confident in any milieu; he simply has a fondness for sensuous and warm-hearted love songs, and summons forth the utmost warmth and affection each of them has to offer.

As usual, Person is supported by a cannot-lose rhythm section whose members are guitarist Russell Malone, pianist Larry Fuller, bassist Matthew Parrish and drummer par excellence Lewis Nash who even sings possibly a first for him, at least on record on Marvin Fisher's "Nothing Ever Changes My Love for You," which was written for another pretty fair vocalist, Nat King Cole. While he is clearly no Cole nor would he claim to be Nash's smooth, even-tempered baritone is surprisingly good. He may have hit upon an unforeseen side gig.

Even though he is the session's unequivocal guiding light, Person gives everyone a chance to shine, and there are perceptive solos along the way by Fuller, Parrish and Malone, whose easygoing designs mirror Person's and enhance the group's fraternal mood. The most welcome ballad in these quarters is Lionel Newman's too-seldom-heard "Again," an exquisite melody first sung by Ida Lupino in the 1948 film noir, Roadhouse. The others include Paul Anka's "Put Your Head on My Shoulder," Herbert Martin's "Why Did I Choose You," Rodgers and Hart's "My Romance," Cedar Walton's "I'll Let You Know" and Percy Mayfield's "Please Send Me Someone to Love."

Person, now nearing his eighty-eighth year, shows no sign of slowing down, playing with the awareness and unerring mastery of someone many years his junior. To put it another way, he is simply quite good at what he does, and what he has been doing for most of his adult life. Reminiscing at Rudy's is yet another melodic milestone in Person's long and impressive career.
By Jack Bowers https://www.allaboutjazz.com/reminiscing-at-rudys-houston-person-highnote-records

Personnel: Houston Person: saxophone, tenor; Russell Malone: guitar, electric; Larry Fuller: piano; Matthew Parrish: bass; Lewis Nash: drums.

Reminiscing at Rudy's

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Cyrus Chestnut - Geniune Chestnut

Styles: Piano Jazz 
Year: 2006
File: MP3@320K/s
Time: 55:24
Size: 127,6 MB
Art: Front

(4:53)  1. The Brown Soldier
(4:14)  2. El Numero Tres
(5:21)  3. If
(4:27)  4. Ellen's Song
(4:42)  5. Mason Dixon Line
(5:03)  6. Baby Girl's Strut
(6:30)  7. The First Time Ever I Saw Your Face
(5:00)  8. Eyes On The Prize
(6:11)  9. Through The Valley
(5:37) 10. I'm Walkin'
(3:20) 11. Lord I Give Myself To You

One hardly thinks of age six as the start of a career in anything, but that's when pianist Cyrus Chestnut began his. As was the case with many musicians and singers, the church was his first gig. He played at Mount Calvary Baptist in Baltimore, and within three years, he was studying classical music at the Peabody Institute. Over the years, a variety of training and experiences led him to jazz. He worked alongside some modern jazz heavyweights like Terence Blanchard, Wynton Marsalis, Freddie Hubbard, Chick Corea and Dizzy Gillespie, as well as vocalists Joe Williams and Betty Carter. Chestnut also has won numerous awards, including the Oscar Peterson and Quincy Jones scholarships, and The Basie Award. After years as a sideman, Chestnut became a leader, releasing his first album, There's a Brighter Day Comin', then The Nutman Speaks, The Nutman Speaks Again and Nut. Throughout his career, he's blended some straightforward jazz with covers of pop tunes, all in his own unique style. The foundation holds with his Telarc debut, Genuine Chestnut. The album begins with the delightful "The Brown Soldier. In addition to Chestnut's piano, the song highlights Russell Malone's guitar, with nods to Michael Hawkins on bass and Neal Smith on drums. As Chestnut explains, the song is about being a jazz soldier, playing day to day and putting a smile on someone's face with music. Hawkins' bass makes that seem easy as he sets up Malone's guitar solo. The third track, "If, features Malone and Chestnut in a tranquil cover of the popular hit by Bread. With subtle notes by Hawkins and drummer Neal Smith, the song has a traditional jazz feel. A hint of samba appears in "Ellen's Song, an original ballad. 

Chestnut honors tradition but delves in originality as well. A stop-time beat introduces "Mason Dixon Line, a high-energy piece that highlights Smith's pacing on the cymbals while Chestnut and Hawkins go for a ride. Percussionist Steve Kroon adds a Latin flavor to the playful "Baby Girl's Strut. Smith gets a bit more freedom on this one as he complements the leader. The elegant "Eyes on the Prize is the first of three inspirational pieces. While playing as a group, each musician charts his own course on this expression of freedom. And setting up the closer, "Lord, I Give Myself to You, Chestnut and his sidemen deliver a delightful cover of Fats Domino's "I'm Walkin', which features Malone. When Cyrus Chestnut plays, it's often difficult to tell which genre he's in, which is a good thing. Blending contemporary jazz, traditional jazz and gospel, plus the occasional seasonings of Latin and samba, he gives himself plenty of freedom to explore different emotions, while keeping the music in recognizable form. Add to that his apparent ease on the piano, and you've got a musician who really does know how to put a smile on your face. In listening to Genuine Chestnut, one gets the sense that he's smiling, too. ~ Woodrow Wilkins https://www.allaboutjazz.com/genuine-chestnut-cyrus-chestnut-telarc-records-review-by-woodrow-wilkins.php

Personnel: Cyrus Chestnut: piano; Michael Hawkins: bass; Neal Smith: drums; Steve Kroon: percussion; Russell Malone: guitar.

Geniune Chestnut

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Deelee Dube - Trying Times

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 47:39
Size: 109,4 MB
Art: Front

(5:15) 1. Tryin' Times
(3:49) 2. Still Trying (feat. Russell Malone)
(4:13) 3. On a Clear Day
(4:15) 4. Ugly Beauty (Still We Dream)
(5:36) 5. 500 Miles High
(3:44) 6. Thou Swell
(3:38) 7. Lazy Afternoon (Feat. Russell Malone)
(6:14) 8. Joy
(6:38) 9. Unity
(4:13) 10. Still We Try (Spoken Word Tone Poem)

Five years ago, the annual Sarah Vaughan International Vocal Competition named Deelee Dube its first British winner and (2016) Sassy Award recipient, landing Dubé a spot at the Montreal International Jazz Festival and recording contract for this Concord Records debut.

Trying Times marks a major label debut, but Deelee Dube is no artistic novice. She started violin lessons when she was four and put together her first band when she was fourteen. Her 2016 release Tenderly was produced and arranged by Italian tenor saxophonist Renato D'Aiello and performed with D'Aiello's quartet. In early 2017, they teamed to present Sarah Vaughan Reimagined: Deelee Dubé Sings Sarah Vaughan with the Renato D'Aiello Quartet at Royal Albert Hall. Dubé is also a published poet and her project artwork has been exhibited at Shakespeare's Globe Theatre.

Trying Times begins with its title track, opened by Dubé's strong and soulful unaccompanied voice, which here lands somewhere between Miss Sarah's sassy swing and Anita Baker's gospel of soul. The instrumental accompaniment builds into a classic, inventive jazz sound, with dissonant horns smudging the lyrics about trouble and pianist (arranger and producer) Benito Gonzalez slipping and sliding into a funky blue haze.

Then Dubé and company thoroughly conquer the series of powerful, challenging tunes that form the backbone of this debut. After romping through a sharp and energetic "On a Clear Day," they downshift into the version of "Ugly Beauty (Still We Dream)" which pairs Carmen McRae's lyrics with the only waltz Thelonious Monk ever wrote. Pianist Gonzalez smudges several "wrong notes" to honor Monk's unique style, just like he mines the sound of Horace Silver from the opening title track, and the singer's hushed final verse dishes a delicious blend of naivete and misterioso.

Next, Dubé's voice detonates "500 Miles High," originally written by Chick Corea to feature vocalist Flora Purim in Return to Forever, into liftoff and orbit. It leaps and bounds like quicksilver its hard-driving and twisting melody, making each note ring and shine. "500 Miles High" divebombs into a full- bore roadrunner's take on "Thou Swell," where pianist Gonzalez, bassist Corcoran Holt and drummer Mark Whitfield Jr. trade flurries of notes and chords like sparring partners, so fast and furious that your ears can barely keep up. "Thou Swell" closes with an explosion of vocalese fireworks, and then downshifts into a tender duet with Russell Malone's guitar on a languid "Lazy Afternoon."

Altogether, Trying Times presents an incredible range of material energetically performed by a singer and band with the chops to back it up. It's a most impressive debut. (Here's hoping that arranger Gonzalez tries to take on a "On a Clear Day You Can See 500 Miles High" medley for Dubé's follow-up.)By Chris M. Slawecki https://www.allaboutjazz.com/tryin-times-deelee-dube-concord-music-group

Personnel: Deelee Dube: voice / vocals; Benito Gonzalez: piano; Russell Malone: guitar, electric; Corcoran Holt: bass; Mark Whitfield Jr.: drums; Eric Wyatts: saxophone, tenor; Duane Eubanks: trumpet; Andrae Murchison: trombone.

Trying Times

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Ray Brown Trio - Some Of My Best Friends Are...Singers

Styles: Contemporary Jazz, Vocal
Year: 1998
File: MP3@320K/s
Time: 55:32
Size: 128,5 MB
Art: Front

(5:19) 1. I Thought About You
(3:24) 2. Poor Butterfly
(5:30) 3. More Than You Know
(2:25) 4. Little Boy
(5:37) 5. But Beautiful
(3:19) 6. At Long Last Love
(5:57) 7. Skylark
(6:15) 8. Cherokee
(4:16) 9. (There Is) No Greater Love
(4:32) 10. Imagination
(3:36) 11. The Party's Over
(5:15) 12. The Perfect Blues

What does a bass player do when he's recording an album as a leader? Surely not an hour's worth of bass solos! Ray Brown solved the bass player's dilemma with a series of recordings under the Some of My Best Friends Are... heading. This 1998 release is the third in the series, following the earlier Some of My Best Friends Are...Piano Players and Some of My Best Friends Are...Sax Players, and it's a gem. Featuring a sextet of fine vocalists, ranging from the well-established to the unknown, this CD is a class act from beginning to end. The rising jazz vocal superstar of the late '90s, Diana Krall, is showcased to great effect on "I Thought About You" and "Little Boy." Well-established female vocal veterans Etta Jones, Dee Dee Bridgewater, and Marlena Shaw deliver superb performances, soulfully giving master lessons in the art of singing. The lone male singer spotlighted here, Kevin Mahogany, wraps his smooth baritone around the ballad "Skylark," and swings gently on "The Party's Over."~Jim Newsonhttps://www.allmusic.com/album/some-of-my-best-friends-aresingers-mw0000042710

Personnel: Ray Brown – double bass; Geoff Keezer – piano; Gregory Hutchinson – drums; Antonio Hart – alto saxophone; Russell Malone – guitar

Some Of My Best Friends Are...Singers

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Ray Brown Trio - Some of My Best Friends Are...Guitarists

Styles: Contemporary Jazz, Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 66:04
Size: 152,3 MB
Art: Front

(7:28) 1. Squeeze Me
(3:36) 2. I Want To Be Happy
(5:30) 3. Heartstrings
(3:13) 4. Blues for Ray
(5:12) 5. Fly Me To The Moon
(5:01) 6. The Song Is You
(7:47) 7. Little Darlin'
(6:01) 8. Blues For Junior
(4:27) 9. Tangerine
(6:04) 10. My Funny Valentine
(4:42) 11. Blues For Wes
(6:56) 12. Soulful Spirit

The fifth in Ray Brown's series of recordings pairing his working trio with several different musicians from the same family of instruments (although one volume was exclusively singers) features a half-dozen guitarists, ranging from fellow Oscar Peterson alumni Herb Ellis (who worked with Brown in the pianist's most famous trio) and Ulf Wakenius to veteran Kenny Burrell, as well as seasoned players like John Pizzarelli and Bruce Forman and the rising star Russell Malone. Each song sounds as if the group could be a working quartet, due to the great interaction between the trio and each guest. Pizzarelli shines in a bluesy, strutting take of Duke Ellington's "Just Squeeze Me" (erroneously labeled as Fats Waller's "Squeeze Me") which has a nice series of exchanges between the guitarist and the leader.

Ellis brings back memories of the Oscar Peterson Trio with a heated performance of "I Want to Be Happy" during which pianist Geoff Keezer is up to the task of carrying on where Ellis left off. Wakenius is the guest on a particularly moody take of "My Funny Valentine." Burrell, Forman, and Malone also fare nicely on each of their pair of tracks, so it's very easy to recommend this very enjoyable disc.~Ken Drydenhttps://www.allmusic.com/album/some-of-my-best-friends-are-guitarists-mw0000224992

Personnel: Ray Brown - Bass; Geoff Keezer - Piano; Karriem Riggins - Drums; Kenny Burrell, Herb Ellis, Bruce Forman, Russell Malone, John Pizzarelli, Ulf Wakenius - Guitar.

Some of My Best Friends Are...Guitarists

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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

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Jimmy Heath - Love Letter

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 44:19
Size: 102,0 MB
Art: Front

(4:16)  1. Ballad From Upper Neighbors Suite
(4:26)  2. Left Alone
(4:50)  3. Inside Your Heart
(7:12)  4. La Mesha
(5:32)  5. Don't Misunderstand
(5:12)  6. Con Alma
(5:37)  7. Fashion Or Passion
(7:11)  8. Don’t Explain

Often nicknamed "Little Bird," Jimmy Heath began on the alto saxophone acquiring this informal title by dedicating his studies to Charlie Parker and his wee stature. Although not a familiar name to many outside of the devoted jazz community, Heath would go on to pursue a remarkable 76-year career sadly passing away in January, 2020. A fabled musician to many tenor players, Heath presents us with his final testament, a collection of formative ballads. Enhancing the already prolific status that Love Letter features, guest appearances are warmly welcomed that include trumpeter Wynton Marsalis with vocalists Gregory Porter and Cecile McLorin Salvant. The robust rhythm section that accompany Heath are: NEA Jazz Master Kenny Barron on piano, Russell Malone on guitar, vibraphone veteran Monte Croft, bassist David Wong and longstanding jazz drummer Lewis Nash.

Whilst serving his four-and-a-half-year internment, Heath would manage the prison big band and also write for them. It was only the day after his discharge in 1959 when he met his lover, Mona Brown, a marriage which would span sixty years. Due to his parole restrictions, Heath was restricted to staying in Philadelphia which precluded him from embarking on an opportunity to succeed John Coltrane in Miles Davis' group. After being prompted by Cannonball Adderley and Philly Joe Jones, he signed with Riverside Records where he served as an arranger and releasing notable tracks such as "Gemini" and "Gingerbread Boy."  The opener, written by Heath more than twenty-five years ago, is named "Ballad from Upper Neighbors Suite" and makes use of brilliant bassist David Wong with an arco introduction. "Left Alone" is written by Mal Waldron and words originally by Billie Holiday, although she never recorded it. Salvant gives an intrinsic display of quality showing true justice to Holliday's lyricism. "Inside Your Heart" demonstrates Heath's idiomatic ability on soprano saxophone while "La Mesha" is proudly driven by Wynton Marsalis in honour of Kenny Dorham who wrote the tune.

"Don't Misunderstand" falls to Gregory Porter with "Con Alma" following, a composition by Dizzy Gillespie who was both a mentor and friend to Heath. The penultimate track on Love Letter is the third tune composed by Heath, "Passion or Fashion." It was originally composed to guide Lyndon B Johnson's civil rights address, "The American Promise." The final track named "Don't Explain" was a suggestion from Barron, Heath allowed it on the album commenting that he only permitted tunes that he knew the lyrics to. Jimmy Heath brings forward his final chapter where we experience melodic artistry. In 2001, Benny Golson said Heath "moved through chords, not scientifically, but melodically. He plays ideas. It's like a conversation, but musical, not linguistic. He has a story to tell, and it's right in tune with those chords" .~ Thomas Fletcher https://www.allaboutjazz.com/love-letter-jimmy-heath-verve-music-group__347

Personnel: Jimmy Heath: saxophone, tenor; Kenny Barron: piano; Russell Malone: guitar, electric; Monte Croft: vibraphone; David Wong: bass; Lewis Nash: drums.

Love Letter

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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

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Regina Carter - Motor City Moments

Styles: Violin Jazz
Year: 2000
File: MP3@320K/s
Time: 50:48
Size: 116,9 MB
Art: Front

(5:17)  1. Don't Git Sassy
(6:17)  2. Don't Mess With Mr. T
(5:53)  3. For Someone I Love
(3:48)  4. Forever February
(6:56)  5. Higher Ground
(6:24)  6. Love Theme From Spartacus
(3:47)  7. Prey Loot
(4:56)  8. Fukai Aijo
(3:50)  9. Chattanooga Choo Choo
(3:36) 10. Up South

Two years after her stunning debut on Verve, violinist Regina Carter offers listeners her exceptional string virtuosity on ten great songs inspired by her hometown of Detroit, Michigan. Motor City Moments features a stellar collection of songs written by some of the best musicians from Detroit including Marvin Gaye, Stevie Wonder, Thad Jones, and Milt Jackson. Regina Carter applies her pure skill, pizzicato, and arco passages to "Don't Mess With Mr. T" and "Higher Ground" with impeccable tuning and multiple approaches. Her string virtuosity on Milt Jackson's "For Someone I Love," is a masterful performance backed adeptly by Mayra Casales on percussion and spotlights a brilliant piano solo by Werner "Vana" Gierig. Two originals, "Forever February" and "Up South," which was co-written with guitarist Russell Malone, provide an interesting contrast of the artist's use of reflective temperament and folk-ornamented cadences. Each song also emphasizes Carter's adept techniques with melodic phrasing and song forms. Accompanied by her touring band of Darryl Hall on bass, Alvester Garnett on drums, percussionist Mayra Casales, Marcus Belgrave on trumpet and flugelhorn, James Carter on bass clarinet and tenor sax, Barry Harris on piano, Lewis Nash, as well as several special guests, Regina Carter has rapidly become one of the most exciting and original violinists to arrive on the jazz scene. ~ Paula Edelstein https://www.allmusic.com/album/motor-city-moments-mw0000672434

Personnel: Regina Carter - violin; Marcus Belgrave -trumpet; James Carter - tenor saxophone, bass clarinet; Werner "Vana" Gierig - piano; Darryl Hall - bass; Alvester Garnett - drums; Barry Harris - piano; Russell Malone - guitar; Lewis Nash - drums.

Motor City Moments

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Christian McBride - A Family Affair

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 65:58
Size: 152,7 MB
Art: Front

(6:59)  1. I'm Coming Home
(4:40)  2. A Dream Of You
(6:42)  3. Family Affair
(6:59)  4. Theme From Our Fairy Tale
(5:42)  5. ... Or So You Thought
(6:42)  6. Summer Soft
(6:17)  7. Brown Funk (For Ray)
(9:29)  8. Open Sesame
(7:32)  9. Wayne's World
(4:51) 10. I'll Write A Song For You

At 26, bassist Christian McBride qualifies for the "young lion" tag. His visibility has been enhanced by appearances on Robert Altman's film Kansas City, Clint Eastwood's Eastwood After Hours, Diana Krall's Love Scenes, the compilation Upstairs at Melrose Place, John Pizzarelli's Dear Mr. Cole, and Joshua Redman's MoodSwing. Moreover, his experience with Randy Weston, Freddie Hubbard, T.S. Monk, Chick Corea, McCoy Tyner, and organist Jimmy Smith has demonstrated McBride's mainstream roots to the jazz-listening public. The bassist wrote half the selections on this album, including the lyrics to "A Dream of You" and "...Or So You Thought." Most tracks feature the quartet of tenor saxophonist Tim Warfield, pianist Charles Craig, bassist McBride, and drummer Gregory Hutchinson. Like the music at a family get-together, McBride splits the session between R&B "fun music" and his straight-ahead acoustic ensemble. The leader begins Stevie Wonder's "Summer Soft" with the bowed acoustic bass but soon switches to the electric model and offers the pop tune with back beat and quiet repetition. Sly Stone's "Family Affair" places the acoustic quartet in the spotlight as the ensemble marches deliberately and takes turns at the solo mic. The toe-tapping music swings deliciously and is presented in a variety of different formats. Earth, Wind & Fire's "I'll Write a Song for You" is performed by the duo of Russell Malone on acoustic guitar and McBride on bowed bass. Together, they offer a lovely ballad with attention paid to the lyrical nature of the tune. Kool and the Gang's "Open Sesame" is performed as an arrangement that allows the dramatic intensity to leap out. Hutchinson and Craig, particularly, stretch out freely. McBride's composition "Wayne's World" follows with more drama. Together, these two tracks achieve what the leader intended when he put this session together: he's combined daring straight-ahead ideas with enjoyable and familiar R&B. ~ Jim Santella https://www.allaboutjazz.com/a-family-affair-christian-mcbride-verve-music-group-review-by-jim-santella.php

Personnel: Christian McBride: acoustic bass, electric bass; Charles Craig: piano, electric piano, synth; Tim Warfield: tenor saxophone; Gregory Hutchinson: drums; Russell Malone: acoustic guitar, electric guitar; Munyungo Jackson: percussion; Vintage Keys: synths; Will Downing, Vesta: vocals.

A Family Affair

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Terell Stafford - Centripetal Force

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

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

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

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

Centripetal Force

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Ron Carter - Cocktails at the Cotton Club

Styles: Jazz, Post Bop
Year: 2013
File: MP3@320K/s
Time: 57:10
Size: 131,1 MB
Art: Front

( 6:24)  1. Satin Doll
( 9:37)  2. Mr. Bow-Tie
(11:22)  3. My Funny Valentine
( 9:39)  4. Wave
( 0:39)  5. Announcement by Ron Carter
(10:58)  6. Soft Winds
( 8:28)  7. Samba de Orfeu

The epitome of class and elegance without the stuffiness, Ron Carter has been a world-class bassist and cellist since the '60s. He's among the greatest accompanists of all time, and has made many albums exhibiting his prodigious technique. He's a brilliant rhythmic and melodic player, who uses everything in the bass and cello arsenal; walking lines, thick, full, prominent notes and tones, drones and strumming effects, and melody snippets. His bowed solos are almost as impressive as those done with his fingers. Carter has been featured in clothing, instrument, and pipe advertisements; he's close to being the bass equivalent of a Duke Ellington in his mix of musical and extra-musical interests. Carter's nearly as accomplished in classical music as jazz, and has performed with symphony orchestras all over the world. He's almost exclusively an acoustic player; he did play electric for a short time in the late '60s and early '70s, but he didn't used it for many, many years. Carter began playing cello at ten. But when his family moved from Ferndale, Michigan to Detroit, Carter ran into problems with racial stereotypes regarding the cello and switched to bass. He played in the Eastman School's Philharmonic Orchestra, and gained his degree in 1959. He moved to New York and played in Chico Hamilton's quintet with Eric Dolphy, while also enrolling at the Manhattan School of Music. Carter earned his Master's degree in 1961. After Hamilton returned to the West Coast in 1960, Carter stayed in New York and played with Dolphy and Don Ellis, cutting his first records with them. He worked with Randy Weston and Thelonious Monk, while playing and recording with Jaki Byard in the early '60s. Carter also toured and recorded with Bobby Timmons' trio, and played with Cannonball Adderley. 

He joined Art Farmer's group for a short time in 1963 before he was tapped to become a member of Miles Davis' band. Carter remained with Davis until 1968, appearing on every crucial mid-'60s recording and teaming with Herbie Hancock and Tony Williams to craft a new, freer rhythm section sound. The high-profile job led to the reputation that's seen Carter become possibly the most recorded bassist in jazz history. He's been heard on an unprecedented number of recordings; some sources claim 500, others have estimated it to be as many as 1,000. The list of people he's played with is simply too great to be accurately and completely cited. Carter's been a member of New York Jazz Sextet and New York Jazz Quartet, V.S.O.P. Tour, and Milestone Jazzstars, and was in one of the groups featured in the film Round Midnight in 1986. He's led his own bands at various intervals since 1972, using a second bassist to keep time and establish harmony so he's free to provide solos. Carter even invented his own instrument, a piccolo bass. He's contributed many arrangements and compositions to both his groups and other bands, and made duo recordings with either Cedar Walton or Jim Hall. He's recorded for Embryo/Atlantic, CTI, Milestone, Timeless, EmArcy, Galaxy, Elektra, and Concord, and eventually landed at Blue Note for LPs including 1997's The Bass and I, 1998's So What, and 1999's Orfeu. At the dawn of the new millennium, Carter remained an active, in-demand artist, releasing a steady stream of albums and keeping a busy live schedule. When Skies Are Grey surfaced in early 2001, followed in 2002 by Stardust, Carter's tribute to the late bassist Oscar Pettiford. That same year, he joined saxophonist Houston Person for the duo's third album of standards, Dialogues. In 2006, another tribute album was released, Dear Miles, dedicated to Miles Davis, also on Blue Note. Several more small group solo albums followed including 2007's Japan-only It's the Time and 2008's Jazz and Bossa. In 2011, Carter delivered his first effort with big-band music, Ron Carter's Great Big Band featuring arrangements by conductor Robert M. Freedman and a bevy of name players including pianist Mulgrew Miller and drummer Lewis Nash. He then joined drummer Gerry Gibbs for two albums with 2013's Thrasher Dream Trio and 2014's We're Back. Also in 2014, Carter was backed by the WDR Big Band on My Personal Songbook. In 2016, the bassist once again paired with saxophonist Person for the duo album Chemistry. ~ Ron Wynn https://www.allmusic.com/artist/ron-carter-mn0000275832/biography

Personnel:  Ron Carter - bass;  Donald Vega - piano;  Russell Malone - guitar

Cocktails at the Cotton Club

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Benny Green & Russell Malone - Jazz at the Bistro

Styles: Piano And Guitar Jazz
Year: 2003
File: MP3@320K/s
Time: 61:38
Size: 141,3 MB
Art: Front

(4:49)  1. Ask Me Now
(3:01)  2. Tale of the Fingers
(5:02)  3. A Bientôt
(5:45)  4. Sing
(4:47)  5. When Lights are Low
(3:54)  6. Wabash
(4:42)  7. How Deep is Your Love?
(6:44)  8. The Intimacy of the Blues
(5:04)  9. Lazy Bird
(5:01) 10. Love Letters
(0:29) 11. Russell's Introduction
(2:42) 12. Quiet Girl
(0:34) 13. Benny's Introduction
(2:48) 14. Hand-Told Stories
(6:07) 15. The Intimacy of the Blues

Russell Malone can play it all  rock, pop, country, blues, jazz you name it. But as anyone who has heard his recording knows, he's most at home (and comfortable) when he's playing jazz. And we as listeners are rewarded with some of the most beautiful sounds, tones and phrasing possible on the guitar. On Jazz at The Bistro, Malone is joined by pianist Benny Green. While live recordings in small rooms (and St. Louis's The Bistro is a small club) can be even more difficult to properly record than "regular" live recordings, Jazz At The Bistro is an excellent testament to Malone's and Green's virtuosity. Malone's guitar is accompanied only by Green on piano. Their music is at times fast-paced and exciting and at other times laid-back and smooth. This dichotomy is best heard by listening to the upbeat "Tale of the Fingers" and comparing it ot "A Beintot." Both are beautiful and fantastic tracks and both couldn't be more different. Jazz at The Bistro is comprised of fifteen tracks recorded over a span of four nights in the club. Malone and Green manage to put a fresh spin on many familiar '70s radio hits like the Carpenters' "Sing (Sing A Song)," "How Deep Is Your Love?" by the Bee Gees, Thelonious Monk's "Ask Me Now" (which also serves nicely as the CD's opening track) and Roberta Flack's "Killing Me Softly." They also do justice (even without bass, drums and sax) to Cannonball Adderley's "Wabash," Billy Strayhorn's "Intimacy of the Blues," and John Coltrane's "Moment's Notice/Lazy Bird." Malone and Green also play some of their own compositions. The highlights are Green's "Quiet Girl" and Malone's "Hand-Told Stories." As with all Telarc recordings, the sound quality is superb. The music is crystal clear. Although the album only features two instruments and the song choices are quite ambitious, Green and Malone make the recording work by improvising both in arrangement and attitude. ~ Mike Perciaccante https://www.allaboutjazz.com/jazz-at-the-bistro-benny-green-telarc-records-review-by-mike-perciaccante.php

Personnel: Benny Green - Piano, Russell Malone - Guitar.

Jazz at the Bistro

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Russell Malone - S/T

Bitrate: MP3@320K/s
Time: 59:32
Size: 136.3 MB
Styles: Guitar jazz
Year: 1992/2004
Art: Front

[7:11] 1. Wives And Lovers
[6:14] 2. Invisible Colors
[3:13] 3. When I Take My Sugar To Tea
[3:14] 4. It's The Talk Of The Town
[4:48] 5. St. Louis Blues
[3:45] 6. I Don't Know Enough About You
[3:23] 7. Close Your Eyes
[7:09] 8. London By Night
[6:18] 9. I Can't Believe That You're In Love With Me
[8:37] 10. Moonlight Serenade
[2:53] 11. Flowers For Emmett Till
[2:40] 12. Precious Lord

Russell Malone's debut as a leader is a charming effort that ranges from swing to numbers in which Malone shows off his Wes Montgomery influence. Malone is not only heard with a fairly modern quartet comprised of pianist Donald Brown, bassist Robert Hurst III and drummer Yoron Israel, but also in a trio with the great veteran bassist Milt Hinton and drummer Shannon Powell (Malone and Hinton take "St. Louis Blues" as a duet). There are also two duets with pianist Harry Connick, Jr., including a surprising (and effective) vocal by Malone on "I Don't Know Enough About You." A very enjoyable effort with several other surprises along the way. ~Scott Yanow

Russell Malone mc
Russell Malone zippy

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Russell Malone - Wholly Cats

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 63:45
Size: 146,3 MB
Art: Front

( 7:56)  1. Wholly Cats
(10:20)  2. I Concentrate On You
( 6:54)  3. Carousel
( 2:33)  4. Swing Low, Sweet Chariot
(10:33)  5. Off The Top
( 7:43)  6. Four In One
( 6:13)  7. After All
( 7:40)  8. Chitlin Blues
( 3:52)  9. Yesterdays

Russell Malone recording this studio date for Venus in 1995, though it was several years before the Japanese label got around to issuing it. Joined by an excellent rhythm section consisting of Larry Willis, Rodney Whitaker, and Yoron Israel, Malone is not afraid to go into lengthy exploration of an old favorite like "I Concentrate on You." Malone delves into jazz compositions of several generations, including a furious take of Benny Goodman's "Wholly Cats," an easygoing interpretation of Mulgrew Miller's wistful ballad "Carousel," and a virtuoso performance of Thelonious Monk's challenging "Four in One." 

His one original is the strident "Chitlin Blues," a duo track with a delicious exchange between the guitarist and Whitaker's humorous arco bass. Among his unaccompanied selections are a spacious yet subtle rendition of the spiritual "Swing Low, Sweet Chariot" and an intricate treatment of "Yesterdays." Recommended. ~ Ken Dryden https://www.allmusic.com/album/wholly-cats-mw0000533023

Personnel:  Electric Guitar – Russell Malone;  Bass – Rodney Whittaker; Drums – Yoron Israel;  Piano – Larry Willis

Wholly Cats

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Russell Malone - Black Butterfly

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 63:40
Size: 145,8 MB
Art: Front

(5:59)  1. Jingles
(5:11)  2. With Kenny In Mind
(5:05)  3. Dee's Song
(5:47)  4. Cedar Tree
(6:27)  5. After Her Bath
(6:32)  6. I Say A Little Prayer For You
(7:39)  7. Black Butterfly
(7:04)  8. All Through The Night
(5:17)  9. The Other Man's Grass Is Always Greener
(4:41) 10. Gaslight
(3:53) 11. Sno' Peas

An adept jazz guitarist with a clean attack and fluid, lyrical style, Russell Malone often plays in a swinging, straight-ahead style, weaving in elements of blues, gospel, and R&B. Born in Albany, Georgia in 1963, Malone first began playing guitar around age four on a toy instrument, quickly graduating to the real thing. Largely self-taught, he initially drew inspiration listening to the recordings of gospel and blues artists including the Dixie Hummingbirds and B.B. King. However, after seeing George Benson perform with Benny Goodman on a television show, Malone was hooked on jazz and began intently studying albums by legendary guitarists like Charlie Christian and Wes Montgomery. By his twenties, Malone was an accomplished performer, and in 1988 he joined organist Jimmy Smith's band. Soon after, he also became a member of Harry Connick, Jr.'s big band, appearing on Connick's 1991 effort Blue Light, Red Light. With his growing reputation as a sideman, Malone next caught the attention of pianist/vocalist Diana Krall, with whom he would work throughout much of the '90s and 2000s. Also during this period, Malone appeared with a bevy of name artists including Branford Marsalis, Benny Green, Terell Stafford, Ray Brown, and others. As a solo artist, Malone made his debut with 1992's Russell Malone, followed a year later by Black Butterfly. In 1999, he released Sweet Georgia Peach, which featured a guest appearance from pianist Kenny Barron. Malone kicked off the 2000s with several albums on Verve, including 2000's Look Who's Here and 2001's orchestral jazz-themed Heartstrings. He then moved to Maxjazz for 2004's Playground, featuring a guest appearance from saxophonist Gary Bartz, followed by 2010's Triple Play. Over the next several years, Malone appeared on albums by Wynton Marsalis, Christian McBride, and Ron Carter, as well as Krall bandmate bassist Ben Wolfe. He returned to solo work in 2015 with the eclectic small-group album Love Looks Good on You, followed a year later by All About Melody, both on HighNote. In 2017, he delivered his third HighNote album, Time for the Dancers, featuring his quartet with pianist Rick Germanson, bassist Luke Sellick, and drummer Willie Jones III. ~ Matt Collar https://itunes.apple.com/us/album/black-butterfly/1304011396

Personnel: Russell Malone (electric guitar); Steve Nelson (vibraphone); Gary Motley (piano); Paul Keller (bass); Peter Siers (drums).

Black Butterfly

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