Ben Wolfe Quintet - Live At Smalls

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 61:12
Size: 140,1 MB
Art: Front

( 7:26)  1. Block 11
( 7:36)  2. For The Great Sonny Clark
( 8:57)  3. Telescope
(11:12)  4. Contraption
( 8:41)  5. Unjust
( 3:12)  6. I'll Know You More
( 5:06)  7. Double Czech
( 7:57)  8. Coleman's Cab
( 1:01)  9. The Trade

In New York City, there's a popular venue known as Smalls Jazz Club. The Ben Wolfe Quintet introduces a series of performance recordings, simply titled Smalls Live. A Baltimore native, Wolfe's professional associations include Wynton Marsalis, Harry Connick, Jr. and Diana Krall. He is currently a faculty member at Julliard School of Music, Jazz Division. 

The high-energy, attention-grabbing "Block 11"one of nine songs, all composed and arranged by Wolfe begins the set, with Ryan Kisor's blistering trumpet inspiring thoughts of the late Freddie Hubbard. Pianist Luis Perdomo delivers a solo, accompanied only by Wolfe and drummer Gregory Hutchinson. The band slows to a near stop before shifting back into gear as tenor saxophonist Marcus Strickland follows with a passionate solo, supported by Hutchinson, as the song downshifts again for its conclusion. The band swings on the easygoing "Telescope," with trumpet and sax blending for the melody before splitting into layered leads. Strickland takes point for a pleasure jaunt while, after Perdomo's solo, Hutchinson shows his skills in a call-and-response with the rest of the group. Te closing "The Trade" is a brief duet for Wolfe and Hutchinson.

Musically, there's nothing to complain about here, with Wolfe and his sidemen tight throughout the disc. The only negative is the packaging. Dark purple print over a solid black background makes it difficult to read song titles, players' instruments and other notes. Despite that, Live at Smalls scores big. ~ Woodrow Wilkins  

http://www.allaboutjazz.com/php/article.php?id=38413#.Uoz4KeJc_vs

Personnel: Ben Wolfe: acoustic bass; Marcus Strickland: tenor saxophone; Ryan Kisor: trumpet; Luis Perdomo: piano; Gregory Hutchinson: drums.

Live At Smalls

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Glenn Close & Ted Nash - Transformation

Styles: Vocal And Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 77:23
Size: 178,8 MB
Art: Front

( 8:07) 1. Creation, Pt. I
( 5:13) 2. Creation, Pt. II
( 7:03) 3. Dear Dad/Letter
( 3:32) 4. Dear Dad/Response
( 5:37) 5. Preludes for Memnon
(11:18) 6. One Among Many
( 8:39) 7. Rising Out of Hatred
( 8:05) 8. A Piece by the Angriest Black Man in America
( 8:37) 9. Forgiveness
( 3:13) 10. Wisdom of the Humanities
( 7:54) 11. Reaching the Tropopause

Transformation is a multi-disciplinary work from saxophonist/composer Ted Nash, and iconic actress Glenn Close, exploring the multi-faceted and abstract theme of transformation. The works included examine the theme from both universal and individual conceptions. Music and literature at its best is clearly transformative for anyone experiencing it. Transformation is by essence, the highest and most illuminating expression of change. Nash embraced the project by creating a colorful and illustrative collection of pieces, embracing Close's curated literary selections recited by the fiercely talented cast of Wayne Brady, Amy Irving, Mathew Stevenson and Nash's son, Eli Nash. In doing so, he has brilliantly utilized the full range of sounds and full spectrum of colors of his collection of voices from the Jazz at Lincoln Center Orchestra.

Close's attraction and motivation to delve into the idea of transformation grew from her observation of the collective human psyche of current times. She explains, "I am acutely aware of the amount of violence, cynicism, stress and anxiety being pumped into our collective nervous systems. We are so fractured and in need of healing. I want to create an experience from which people are comforted, but also inspired, to discover their shared humanity."

The opening two connected pieces, "Creation Parts 1 and 2," take on transformation at the very beginning of the creation of matter and our world. Close chose "Tales From Ovid," by Ted Hughes to illuminate the conception, recited by both Close and Brady. Nash's musical framework for the piece is accented beautifully by alto saxophonist Sherman Irby, and trumpeter Wynton Marsalis. "One Among Many" shifts the focus from the primordial, to the individual, telling the story of Judith Clark's transformation from prison life to freedom in New York City. Amy Irving's recitation brings this stirring tale to an emotive clarity. Wayne Brady recites his own text on "A Piece By the Angriest Black Man in America (or How I Learned to Forgive Myself for Being a Black Man in America." Beginning with a finger snapping rhythm, Brady tells his very personal experience as a black man in modern America, with his well known humorous and whimsical wit and intelligence.

"Dear Dad/Letter," and "Dear Dad/Response" is a narration of the coming out letter for Nash's transgender son, Eli, and a father's loving response of love and support. Recited with poise and humor by Eli himself, the two pieces are beautifully honest and demonstrative of the very best of the human spirit. Nash delivers a father's loving response with his composition, but more importantly, with playing a response instrumentally on soprano saxophone that is as graphic and understandable a narrative as any spoken word performance could ever be. His son's personal transformation in a very powerful way illuminates the stated inspiration for all of the works skillfully created and performed in this collection. Nash's very colorful and visual compositions are reason enough to take on Transformation as a listener. His well crafted orchestral jazz is highlighted by the fine individual work of JALC members Tatum Greenblatt, Obed Calvaire, Victor Goines, Carlos Henriquez and the aforementioned Nimmer, Irby and Marsalis. Like so many recordings arising out of this period of history surrounding the worldwide Covid-19 pandemic, the recording is offered as an expression of transforming forms of hardship and despair into hope and light.By Paul Rauch
https://www.allaboutjazz.com/transformation-ted-nash-tiger-turn

Personnel: Ted Nash: saxophone; Glenn Close: voice / vocals; Wayne Brady: voice / vocals; Amy Irving: voice / vocals; Matthew Stevenson: voice / vocals; Wynton Marsalis: trumpet; Obed Calvaire: drums; Sherman Irby: saxophone; Marc Phaneuf: saxophone, baritone; Victor Goines: woodwinds; Mark Lopeman: saxophone, tenor; Paul Nedzela: saxophone; Ryan Kisor: trumpet; Tatum Greenblatt: trumpet; Marcus Printup: trumpet; Vincent Gardner: trombone; Elliot Mason: trombone; Christopher Crenshaw: trombone; Dan Nimmer: piano; Carlos Henriquez: bass.

Additional Instrumentation: Eli Nash - spoken word

Transformation

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Ryan Kisor - Conception Cool And Hot

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 54:10
Size: 124,4 MB
Art: Front

(6:52) 1. Cool And Hot
(6:31) 2. Line For Lyons
(7:24) 3. Conception
(9:03) 4. You Stepped Out Of A Dream
(7:55) 5. Enigma
(8:46) 6. I Remember You
(7:36) 7. All The Things You Are

Ryan Kisor was born April 12th, 1973 in Sioux City, Iowa. He began playing in a local dance band by the age of ten, began classical lessons at 12, met and was inspired by Clark Terry at 15 (while attending the latter's summer jazz camp) and played with various high school all-star bands. In November of 1990 he won the Thelonius Monk Institute's trumpet competition at the age of just 17, beating out the likes of Nicholas Payton and Marcus Printup.After graduating from high school in 1991, he went to the Manhattan School of Music and later studied with Lew Soloff among others.

He has recorded fairly extensively both as a leader and sideman and with small and large groups. Among the highlights; the Mingus Big Band (which still plays every thursday night at “The Fez” under Time Cafe in NYC's east village), the Michel Camilo Big Band (which although only existed for the purpose of recording the album, “One More Once,” was arguably one of the best latin big bands recorded in recent memory), the Lincoln Center Jazz Orchestra, Gerry Mulligan, Wynton Marsalis, Wycliffe Gordon, Horace Silver, and Walter Blanding. Kisor just celebrated his 30th birthday, so the best is likely yet to come. https://www.allaboutjazz.com/musicians/ryan-kisor

Personnel: Ryan Kisor (flugelhorn,trumpet); Sherman Irby (alto sax); Peter Zak (piano); John Webber (bass); Willie Jones III (drums)

Conception Cool And Hot

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Vincent Gardner - The Good Book, Chapter Three

Styles: Trombone Jazz
Year: 2012
File: MP3@320K/s
Time: 67:53
Size: 167,0 MB
Art: Front

(6:07)  1. Double Talk
(7:34)  2. Another Hair-Do
(6:27)  3. I Waited for You
(6:40)  4. Compulsion
(6:38)  5. One Bass Hit
(6:57)  6. Darn That Dream
(5:57)  7. Dizzy Atmosphere
(5:48)  8. Charlie's Wig
(7:12)  9. There'll Never Be Another You
(8:29) 10. Sid's Delight

This album is like the cotton of the advertisement, it does not deceive. It is the third volume that trombonist Vincent Gardner edits from his series 'The Good Book' and is dedicated to bebop. So white and bottled ...

Vincent R. Gardner was born in Chicago in 1972 and grew up in Hampton, Virginia. He comes from a family with strong musical roots, it was Mercer Ellington who hired him for his first professional job and from there he went to work with Wynton Marsalis and entered the famous Jazz at Lincoln Center Orchestra to which he still belongs.

'The Good Book' is a series of CDs that Gardner has dedicated to musicians or styles. The first was dedicated to the music of Frank Foster and Horace Silver, the second entitled 'Now' , was dedicated to the closest composers in time with songs by Marcus Roberts, Kenny Barron, Jeremy Pelt or Anthony Wonsley . Also added some composition of old acquaintances like Kurt Weil, Jimmy Heath or Victor Young . Now it is the turn of the bebop and seeing the wishes of Vincent Gardner we can imagine that he will not do anything wrong.

In this third chapter of the 'Good Book' we find perfect performances of songs like 'Double Talk' by Fast Navarro, 'Another Hair-Do' and 'Charlie´s Wig' by Charlie Parker, 'Compulsion' by Miles Davis or 'Dizzy Atmosfere 'by Gillespie among others. Ten portions of bebop cleanly played by Marsalis string musicians such as Ryan Kisor on trumpet, Peter Washington on double bass or Ali Jackson on drums, Gardner's companions on 'Lincoln', plus the addition of musicians such as Dick Oatts on sax or pianist Peter Zak .If you like bebop do not hesitate, this album will be your favorite of the year, if not, you will enjoy a nice portion of tall bebop. http://www.distritojazz.com/discos-jazz/vincent-gardner-the-book-of-bebop-the-good-book-chapter-three

Musicians: Vincent Gardner (trombone), Ryan Kisor (trumpet), Dick Oatts (alto sax), Peter Zak (piano), Peter Washington (double bass), Ali Jackson (drums).

The Good Book, Chapter Three

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Steve Slagle - Alto Blue

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 60:21
Size: 139,4 MB
Art: Front

(7:31)  1. Blues not to lose
(5:51)  2. Hail-Bop
(9:22)  3. Full moon
(5:13)  4. Jaco time
(6:01)  5. Detour ahead
(9:52)  6. Peacefully
(9:53)  7. Jump Monk
(6:33)  8. The Midget

Steve Slagle, who has a very appealing tone on alto, strong technique, and a style that is quite versatile, performs seven blues on this exciting set, as well as a flute feature on "Detour Ahead." By varying tempos and grooves (ranging from bebop to Ornette Coleman and a bit of funk), each song manages to have its own personality and a mundane sameness never occurs. Trumpeter Ryan Kisor, who had grown quite a bit during the past few years, seemed at this point to be obviously poised for potential greatness and sounds quite individual. Bassist Scott Colley and drummer Gene Jackson, although in a supporting role, are major assets and work together quite well. The material is made up of four Slagle originals, one song by Dave Stryker, Charles Mingus' "Jump Monk" and Lee Morgan's "The Midget," in addition to "Detour Ahead"; it's consistently colorful and catchy enough to both inspire the musicians and be memorable for the listeners. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/alto-blue-mw0000597428

Personnel:  Alto Saxophone, Flute – Steve Slagle; Bass – Scott Colley; Drums – Gene Jackson; Trumpet – Ryan Kisor

Alto Blue

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Wynton Marsalis - Big Train & The Lincoln Center Jazz Orchestra

Styles: Trumpet Jazz, Big Band
Year: 1999
File: MP3@320K/s
Time: 52:50
Size: 122,1 MB
Art: Front

(5:48)  1. All Aboard
(5:05)  2. Observation Car
(5:52)  3. Union Pacific Big Boy
(5:08)  4. Smokestack Shuffle
(2:50)  5. Northbound-Southbound
(2:23)  6. Dining Car
(2:24)  7. Night Train
(6:38)  8. Engine
(3:50)  9. Bullet Train
(3:27) 10. Sleeper Car
(2:10) 11. Station Call
(7:08) 12. The Caboose

All Aboard. In keeping with the Duke Ellington precedence, Wynton Marsalis has been composing longer and longer jazz pieces, music that approximates suites. Starting with The Majesty of the Blues (Columbia, 1989) and proceeding through Blue Interlude (Columbia, 1992), Citi Movement (Columbia, 1993), In This House, On This Morning (Columbia, 1994), Jump Start and Jazz (Columbia, 1997), and the Pulitzer Prize winning Blood on the Fields (Columbia 1997). Add to this list Big Train. Big Train is perhaps Marsalis most cogent and consistent composition in the suite genre. It is precisely composed and performed. Happy Go Lucky Special. The overwhelming influence here is Ellington. The rhythm of this disc is saturated with his unique saxophone express. What Marsalis brings to the mix is a more judicious use of space and the rhythm section. Ellington may never have written a note that was not necessary, but his compositions are busy pieces, even if blindingly brilliant. Marsalis, through the LCJO's rhythm section sets up an easy rhythm, sometimes chugging, sometimes walking, always propelling forward. If you find that hard to believe, compare "Union Pacific Big Boy,"Northbound-Southbound," and "Engine." But Ellington is not the only influence. "Smokestack Shuffle" is as much a Thelonious Monk piece as is "Friday the 13th." This disc is also quite instrument specific. As typical of a Marsalis composition, the listener is drowning in plunger-muted brass. Always a fan of the clarinet, Marsalis has written a good deal of clarinet into this piece with all of his reed players contributing on clarinet. This is a fun ride. The Big Train Reprise. Big Train is the fourth installment in the eight volume Swinging into the 21st Century set. It continues the provocatively creative trend that Marsalis has begun with the release of his Standards Volume 5 collection of Monk tunes. Marsalis is (not so) quietly creating a body of work within traditional jazz that should endure the future nicely. ~ C.Michael Bailey https://www.allaboutjazz.com/big-train-wynton-marsalis-columbia-records-review-by-c-michael-bailey.php?width=1920

Personnel: Wynton Marsalis: Trumpet and Director; Seneca Black: Trumpet; Ryan Kisor: Trumpet; Marcus Printup: Trumpet; Riley Mullins: Trumpet; Wayne Goodman: Trombone; Wycliffe Gordon: Trombone, Tuba; Ronald Westray: Trombone; Wessell Anderson: Alto and Sopranino Saxophone, Clarinet; Ted Nash: Alto and Soprano Saxophones, Piccolo, Clarinet, Bass Clarinet, Flute; Walter Blanding, Jr.: Tenor, Alto, and Soprano Saxophones, Clarinet; Victor Goines: Tenor, Alto, and Soprano Saxophones, Clarinet, Bass Clarinet; Joe Temperley: Baritone Saxophone, Bass Clarinet, Soprano Saxophone; Farid Barron: Piano; Rodney Whitaker: Bass; Herlin Riley: Drums; Roland Guerrero: Percussion; Doug Wamble: Guitar and Banjo.

Big Train

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Ryan Kisor - One Finger Snap: Incredible Ryan

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 50:07
Size: 117,4 MB
Art: Front

(5:01)  1. Horror Show
(5:51)  2. Blues For Warm
(7:10)  3. Tin Tin Deo
(5:06)  4. One Finger Snap
(6:13)  5. My Idial
(8:32)  6. Buffalo
(5:23)  7. Milestone
(6:47)  8. A Walk In The Park

One of the youngest of the so-called Young Lions, Ryan Kisor first gained attention when he won the Thelonious Monk Institute of Jazz's first trumpet competition in 1990 at age 17. He had earlier studied trumpet with his father, played with a local band when he was ten, and started studying classical music two years later. Kisor discovered jazz at 14 and developed quickly, playing both jazz and classical music locally. In the summer of 1988, he was inspired at a jazz camp by Clark Terry. After winning the Monk contest, he was signed by Columbia, coming out with a couple of interesting if slightly premature CDs as a leader. Since that time, Ryan Kisor (whose originality has developed gradually) has freelanced around New York, most notably with the Mingus Big Band and the Lincoln Center Jazz Orchestra. ~ Scott Yanow https://itunes.apple.com/us/album/one-finger-snap-incredible-ryan/486992244

Personnel:  Ryan Kisor (Trumpet);  Peter Zak (Piano);  John Webber (Bass);  Joe Strasser (Drums)

One Finger Snap: Incredible Ryan

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Ryan Kisor Quartet - Battle Cry

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 63:47
Size: 146,3 MB
Art: Front

( 9:25)  1. Battle Cry
( 9:23)  2. It Happens
(10:00)  3. Falling In Love With Love
(10:45)  4. I'm Old Fashioned
( 6:40)  5. Birdlike
( 7:47)  6. Sweet Pumpkin
( 9:44)  7. If Ever I Would Leave You

This blowing session is one of Ryan Kisor's strongest recordings. The 24-year-old trumpeter is in prime form during two basic standards (his "It Happens" is based on the chords of "It Could Happen to You") and five standards, including Ronnell Bright's underrated "Sweet Pumpkin," Freddie Hubbard's "Birdlike" and a lengthy rendition of "I'm Old Fashioned." Kisor is joined by the underrated organist Sam Yahel, guitarist Peter Bernstein and drummer Brian Blade on the high-quality hard bop set. Recommended. 

Scott Yanow https://www.allmusic.com/album/battle-cry-mw0000037389

Personnel: Trumpet – Ryan Kisor;  Drums – Brian Blade;  Guitar – Peter Bernstein;  Organ [Hammond B-3] – Sam Yahel

Battle Cry

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The Quintet, Ryan Kisor, Grant Stewart - A Night In Tunisia

Bitrate: MP3@320K/s
Time: 50:39
Size: 116.0 MB
Styles: Bop
Year: 2004
Art: Front

[5:34] 1. Quicksliver
[7:40] 2. A Night In Tunisia
[4:33] 3. Confirmation
[4:01] 4. If I Had You
[6:22] 5. Split Kick
[5:12] 6. Mayreh
[5:45] 7. Now's The Time
[6:23] 8. Once In A While
[5:06] 9. Wee-Dot

Night in Tunisia is the second import CD by the Quintet, a group of thirty-something jazz musicians on the rise with trumpeter Ryan Kisor getting top billing, plus veteran drummer Victor Lewis. Also on hand are tenor saxophonist Grant Stewart, pianist Sam Yahel (who, since this 2004 session, has been better known for his work on organ), and bassist James Genus. A quick glance at the play list indicates this group is focused on bop and hard bop; there are no originals or groundbreaking arrangements, just sincere performances of material that will be familiar to bop fans. Kisor and Stewart take solo honors for the session, though the choice of one or two obscure compositions from the bop era might have added a little more spice to the date. ~Ken Dryden

A Night In Tunisia mc
A Night In Tunisia zippy

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Herlin Riley Quintet - Watch What You're Doing

Styles: Jazz, Post Bop
Year: 1999
File: MP3@320K/s
Time: 56:15
Size: 129,1 MB
Art: Front

(5:28)  1. Watch What You're Doing
(8:53)  2. New York Walk
(4:05)  3. John Lewis
(5:16)  4. Soscalalah Blues
(6:45)  5. Sunshine in My Pocket
(5:57)  6. Coodie Coo
(5:28)  7. Warm All Over
(8:30)  8. Myrosa's Mirage
(5:49)  9. Blood Groove

While I’d hate to be accused of hyperbole, we’ll save a lot of time here if we just cut to the chase. Drummer Herlin Riley’s debut set as a leader is as strong a maiden voyage as anything in recent memory, along with being an early contender for one of the best new jazz releases of 2000. Taking a cue from boss Wynton Marsalis, Riley has assembled a diverse and devastatingly attractive set of nine originals that have been tailored to meet the needs of the ensemble at hand, very much in keeping with Ellington and Marsalis conventions. Even if you weren’t aware of Riley’s New Orleans heritage, the title track sports a buoyant second-line groove complete with those Southern spices, Victor Goines’ lusty baritone akin to James Carter’s forays on the instrument. Tweak things up a notch and you’ve got the up-tempo burner “New York Walk,” complete with an extended tag that launches some pyrotechnics from Riley at the tune’s conclusion. Creative voicings come your way with soprano sax and muted bone on “Coodie Coo,” an odd-metered line in 7/4. 

In fact, a break with conventional time signatures continues with “Myrosa’s Mirage” which is in five and with “Soscalalah Blues” which shuffles between a 12/8 groove and a straight ahead 4/4. As lead voices, Gordon, Goines and Kisor (on two cuts) conjure a robust sound that actually makes this band sound like a larger unit than what it is in reality. The former makes delicious use of various mutes, while the latter develops a distinctive voice on his many saxophones as well as clarinet. Whitaker and Barron form an exceedingly unified team with Riley, whose own well-dispersed solos are musical blockbusters in their own right. But there I go belaboring the point. Grab this disc. It’s a gem; ‘nuff said. ~ C.Andrew Hovan https://www.allaboutjazz.com/watch-what-youre-doing-herlin-riley-criss-cross-review-by-c-andrew-hovan.php?width=1920

Personnel: Herlin Riley- drums; Ryan Kisor- trumpet (tracks 2 & 4 only), Wycliffe Gordon- trombone; Victor Goines- clarinet, tenor, soprano, & baritone saxophone; Farid Barron- piano; Rodney Whitaker- bass.

Watch What You're Doing

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The Carnegie Hall Jazz Band - The Carnegie Hall Jazz Band

Bitrate: MP3@320K/s

Time: 61:25

Size: 140.6 MB

Styles: Bop, Swing, Big band

Year: 1996/2006

Art: Front

[ 8:22] 1. In The Mood

[ 4:47] 2. It Never Entered My Mind

[ 7:05] 3. Shiny Stockings

[ 9:59] 4. Giant Steps

[10:05] 5. Frame For The Blues

[10:39] 6. Sing, Sing, Sing

[ 5:03] 7. Getting Sentimental Over You

[ 5:22] 8. South Rampart Street Parade

Alto Saxophone – Frank Wess (tracks: 1, 6); Alto Saxophone, Clarinet, Flute – Jerry Dodgion; Alto Saxophone, Soprano Saxophone, Clarinet, Flute – Dick Oatts; Baritone Saxophone – Gary Smulyan; Bass – Peter Washington; Bass Trombone – Doug Purviance; Drums – Lewis Nash; Piano – Renee Rosnes; Tenor Saxophone – Lew Tabackin (tracks: 4); Tenor Saxophone, Clarinet, Flute – Ralph Lalama; Tenor Saxophone, Flute – Ted Nash; Trombone – Dennis Wilson, Slide Hampton, Steve Turre; Trumpet, Flugelhorn – Byron Stripling, Earl Gardner, Lew Soloff, Ryan Kisor. Recorded with a two microphone Cello recording system. Recorded at Sony Studios, New York City.

The ONLY recording of the CARNEGIE HALL JAZZ BAND is a rewarding experience to any jazz lovers ears. The music director for the ensemble was trumpeter Jon Faddis, and for the most part he has done an admirable job producing this along with Newport Jazz impressario, Goerge Wein. 8 tunes with 5 arrangers (Jim McNeely, Garnett Brown, Slide Hampton, Frank Foster and the unknown to my background at least, Randy Sandke). The band unlike others of its ilk, emphasizes classics (in the jazz and pop venues) instead of originals. However, there lies the knocking off of one star to this CD. The originals are not the way you might want to hear them played. Usually thats a good thing, but in some cases ,i.e. IN THE MOOD, the opening number, it can get a little jarring. That aside, the muscianship is top notch. Frank Wess, Jon Faddis, Ted Nash, Jerry Dodgion, Lew Tabackin, Renee Rosnes, to name a few in this band, turn in some fine solos.

This is not a "live" album even though it may look like it is at first glance. Recorded at Sony Music Studio B in NYC with a minimal amount of takes (according to the notes) with no post production or "mixing" which is a rarity today. ~Daddyojazz

The Carnegie Hall Jazz Band   

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Ryan Kisor - Minor Mutiny

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 63:48
Size: 147,2 MB
Art: Front

(8:22)  1. One for Miles
(7:45)  2. Ebony
(7:27)  3. Minor Mutiny
(8:38)  4. Little Nick
(4:56)  5. Exotic Isles
(7:54)  6. The Invisible
(5:10)  7. A New Day
(6:04)  8. Somwhere in the Dark
(7:30)  9. For Erin

Minor Mutiny album for sale by Ryan Kisor was released Mar 03, 1992 on the Columbia label. Minor Mutiny is most significant for documenting the recording debut of Ryan Kisor (the winner of the Thelonious Monk Institute's 1990 trumpet contest), tenor saxophonist Ravi Coltrane (son of John) and drummer Jeff Siegel. Minor Mutiny buy CD music Kisor's first date finds the teenager playing moody originals, including six of his originals and two by the date's producer Jack DeJohnette. Minor Mutiny songs The compositions are often not all that interesting, giving a certain melancholy sameness to many of the performances. Minor Mutiny album for sale Kisor's lyrical sound and surprising but logical twists in his solos recall Tom Harrell but he was already on his way to developing his own conception. Minor Mutiny CD music Coltrane at that point seemed to be mainly influenced by Branford Marsalis with a touch of Michael Brecker. Overall the musicians (which also include keyboardist Michael Cain, bassist Lonnie Plaxico and on two songs drummer Jack DeJohnette) prove to be stronger than the material on this decent and somewhat historic effort. ~ Scott Yanow http://www.allmusic.com/album/minor-mutiny-mw0000275925

Personnel: Ryan Kisor (trumpet, flugelhorn); Ravi Coltrane (tenor & soprano saxophones); Michael Cain (piano); Lonnie Plaxico (bass); Jeff Siegal, Jack DeJohnette (drums).

Minor Mutiny

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Ryan Kisor Quintet - Live at Smalls

Styles: Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 55:44
Size: 127,8 MB
Art: Front + Back

(11:54)  1. Cool and Hot
(13:26)  2. You Stepped out of a Dream
( 7:53)  3. Enigma
(11:42)  4. Con Alma
(10:46)  5. Blues for Worm

Post-bop alto saxophonist Sherman Irby was born and raised in Tuscaloosa, AL; encouraged by his family to learn music, he initially chose to play the viola, moving on to a series of instruments including guitar and piano before finally settling on the sax as a teen, soon becoming infatuated with jazz. While attending Clark-Atlanta University, Irby studied classical music, but also was a standout in the school's jazz orchestra. Despite graduating with a degree in music education, he refused to enter teaching, instead working a series of dead-end day jobs in order to devote his full energies to performing. After honing his skills playing behind Atlanta area musicians including ex-Art Blakey pianist Johnny O'Neal and trumpeter Eddie Adams, in 1994 Irby accepted a gig performing on a cruise ship; after close to three years of playing at sea, he relocated to New York City, where he made the after-hours jam session scene at the Greenwich Village club Smalls. In time he and his band pianist James Hurt, bassist Eric Revis, and drummer Dana Murray became Smalls regulars, and it was there that Irby was discovered by Blue Note; his first LP for the label, Full Circle, appeared in 1997. After backing the likes of Roy Hargrove, Wynton Marsalis, and Marcus Roberts, he cut his second solo effort, Big Mama's Biscuits, in 1998. Irby subsequently founded his own Black Warrior Records label, through which he released Black Warrior (2001), Faith (2004), and Organ Starter (2006). ~ Jason Ankeny https://itunes.apple.com/us/artist/sherman-irby/id17266991#fullText

Personnel: Ryan Kisor (trumpet); Sherman Irby (alto saxophone); Peter Zak (piano); Ali Muhammed Jackson (drums).

Live at Smalls

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Ryan Kisor - Donna Lee

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 47:50
Size: 110,3 MB
Art: Front

(6:48)  1. Songs For My Father
(3:11)  2. Donna Lee
(6:41)  3. Short Story
(5:37)  4. Up Your Tempo
(6:03)  5. Rip Tide
(7:21)  6. I Had The Craziest Dream
(5:32)  7. Work Song
(6:34)  8. Zingaro

One of the youngest of the so-called Young Lions, Ryan Kisor first gained attention when he won the Thelonious Monk Institute of Jazz's first trumpet competition in 1990 at age 17. He had earlier studied trumpet with his father, played with a local band when he was ten, and started studying classical music two years later. Kisor discovered jazz at 14 and developed quickly, playing both jazz and classical music locally. In the summer of 1988, he was inspired at a jazz camp by Clark Terry. 

After winning the Monk contest, he was signed by Columbia, coming out with a couple of interesting if slightly premature CDs as a leader. Since that time, Ryan Kisor (whose originality has developed gradually) has freelanced around New York, most notably with the Mingus Big Band and the Lincoln Center Jazz Orchestra. ~ Scott Yanow https://itunes.apple.com/us/artist/ryan-kisor/id31291224#fullText

Personnel:  Ryan Kisor – trumpet;  Sam Yahel – organ;  Peter Bernstein – guitar;  Greg Hutchinson – drums

Donna Lee

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Ralph Bowen - Keep The Change

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 71:51
Size: 165,0 MB
Art: Front

(8:00)  1. Boy For Sale
(7:35)  2. Who Will Buy
(8:58)  3. Elevation
(6:44)  4. For You
(8:55)  5. Thru Traffic
(7:45)  6. For D.E.
(8:09)  7. In The Good Old Summertime
(9:17)  8. Gordon
(6:25)  9. Keep The Change

Keep the Change is the third session by tenor saxophonist Ralph Bowen for the Criss Cross label. Bowen assembled an impressive quintet of in-demand New York musicians including trumpeter Ryan Kisor, pianist Orrin Evans, bassist Reuben Rogers, and drummer Gregory Hutchinson. 

Bowen and company stay away from rehashing the same old standards, the exception being a brisk stroll through "In the Good Old Summertime" with a nine-track set of neo-bop, including the disc's high point: Bowen's composition "Elevation," which originally appeared on Orrin Evans' 2002 release Meant to Shine. While this may not be a groundbreaking session, fans of modern bop should definitely check it out. ~ Al Campbell  http://www.allmusic.com/album/keep-the-change-mw0000334445

Personnel: Ralph Bowen (tenor saxophone); Ryan Kisor (trumpet); Orrin Evans (piano); Reuben Rogers (bass); Gregory Hutchinson (drums).

Keep The Change

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Ryan Kisor - Awakening

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 52:49
Size: 121,2 MB
Art: Front

(12:56)  1. Awakening, Pts. 1-2
( 7:58)  2. Sioux City
( 4:53)  3. UFO
( 6:28)  4. Harlem Moon
( 5:13)  5. Effing Blues
( 7:10)  6. What Can I Say?
( 8:08)  7. Free As a Bird

On his first album of all original material, trumpeter Ryan Kisor delivers an atmospheric mix of organ-based post-bop. Calling to mind the work of such late-'60s luminaries as Pat Martino, Freddie Hubbard, and Wayne Shorter, Awakening coalesces various harmonic and rhythmic themes Kisor has explored on his previous efforts. That said, there is something deeper and more crystallized about his work here, especially on the two-part opening title track, an eerie, spacy, and fractured bossa nova piece. Throughout the album, Kisor displays a knack for unpredictable, intellectual improvisation. He draws you in with warm storytelling phrases and pretty birdcall-like tones. Urging him on are the expansive organ sounds of Sam Yahel and sensitively funky guitar work of Peter Bernstein. Together they bring a mix of angular minimalism and gooey nonlinear swing to Kisor's understatedly hip compositions. Similarly, tenor saxophonist Grant Stewart and drummer Willie Jones III add their distinctive styles to an ensemble that seems to thrive on subtle group interplay. While Kisor does not push the boundaries of jazz style and form to their edges, he has found a fresh way to imprint his persona on the tradition with an album that ranks as his best so far. ~ Matt Collar  http://www.allmusic.com/album/awakening-mw0000324295

Personnel: Ryan Kisor (trumpet); Grant Stewart (tenor saxophone); Sam Yahel (Hammond B-3 organ); Peter Bernstein (guitar); Willie Jones III (drums).

Awakening

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Ryan Kisor - The Dream

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 55:08
Size: 126,6 MB
Art: Front

(5:48)  1. Minor Ordeal
(8:52)  2. The Dream
(6:32)  3. Deception
(7:25)  4. Calypso Cove
(6:06)  5. Bert's Blues
(5:09)  6. Panic Attack
(7:01)  7. I Should Care
(8:11)  8. Fiesta Mojo

With The Dream, Ryan Kisor returns to the quartet lineup that graced 2000's Point of Arrival: pianist Peter Zak, bassist John Webber, and drummer Willie Jones III. The program is wholly original except for the final two tracks, a ballad reading of "I Should Care" and a fun romp on Dizzy Gillespie's infectious "Fiesta Mojo." (Tenor saxophonist Eric Alexander and percussionist Renato Thoms join in on the latter.) Kisor sends sparks flying with the opening "Minor Ordeal," a hot minor blues, and "Deception," a muted foray over "Cherokee" changes (with a faint echo of "Half Nelson" at the top of the melody). The band also cooks on the mid-tempo "Bert's Blues" and the galloping modal Hubbard-esque "Panic Attack." But the waltz-time title track and the bossa piece "Calypso Cove" fail to sustain much interest. In sum, there are compelling moments, but after the fairly adventurous sound of 2001's Power Source, The Dream seems like a retreat to safer shores. ~ David R. Adler  http://www.allmusic.com/album/the-dream-mw0000221312

Personnel: Ryan Kisor (trumpet); Eric Alexander (tenor saxophone); Peter Zak (piano); Willie Jones III (drums); Renato Thoms (percussion).

The Dream

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Manhattan Jazz Orchestra - Swing, Swing, Swing

Bitrate: 320K/s
Time: 53:00
Size: 121.3 MB
Styles: Swing, Big band
Year: 2006
Art: Front

[6:18] 1. Ironside
[7:24] 2. Swing, Swing, Swing
[6:37] 3. Jumpin' At The Woodside
[6:38] 4. Moonlight Serenade
[6:54] 5. Take The A Train
[6:51] 6. Ai No Corrida
[6:04] 7. Manteca
[6:11] 8. Stompin' At The Savoy

Manhattan Jazz Orchestra was created by pianist/arranger David Matthews and an accomplished Japanese producer Shigeyuki Kawashima (both GRAMMY winners) in 1989. It is one of the premier and most prolific big bands in the US, having released more than 13 CDs over the years.

For Swing, Swing, Swing, recorded in 2006, Matthews and his big band chose as materials tunes written by and associated with Quincy Jones ("Ironside," "Ai No Corrida") and Glenn Miller ("Moonlight Serenade") for the first time. They also pay tribute to the great big bands led by Count Basie, Duke Ellington, Dizzy Gillispie and Benny Goodman. The title tune is Matthews' original that takes a nostalgic look back at the big band era. The all-star band, including star players Lew Soloff, Ryan Kisor, Randy Brecker, Jim Pugh and Chris Hunter, plays Matthews' intricate scores with technical perfection and provide inspired solos. Recommended for fans of the contemporary big band sound!

Produced by Shigeyuki Kawashima and David Matthews. Recorded February 2004, New York. Lew Soloff (trumpet); Ryan Kisor (trumpet); Walter White (trumpet; )Scott Wendholt (trumpet); Randy Brecker (trumpet); Jim Pugh (trombone); John Fedchock (trombone); Larry Farrell (trombone); David Taylor (bass trombone); Fred Griffen (French horn); John Clark (French horn); Tony Price (tuba); Chris Hunter (alto sax,flute); Aaron Heick (soprano sax,tenor sax); Scott Robinson (baritone sax,bass clarinet); Chip Jackson (bass); Terry Silverlight (drums); David Matthews (arranger,conductor,piano).

Swing, Swing, Swing

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