Bill O'Connell - Live in Montauk

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 59:18
Size: 136,4 MB
Art: Front

( 6:29) 1. Do Nothing Till You Hear From Me (Live) (Feat. Randy Brecker)
(10:25) 2. Sparks (Live)
( 6:01) 3. Moanin' (Live)
( 8:59) 4. No Rhyme Or Reason (Live)
( 9:21) 5. One Finger Snap (Live)
( 6:41) 6. Ripty Boom (Live)
(11:19) 7. Tip Toes (Live) (Feat. Randy Brecker)

After years of gigging in the New York City area, while honing his credentials as a first-call contemporary jazz pianist, Bill O'Connell and his family moved to Montauk, the easternmost point on Long Island, where he expressed his appreciation of the area's many wonders by recording this impressive album at the celebrated Gosman's Dock, during the annual Hamptons Jazz Festival in August 2021.

It is essentially a quartet date with trumpeter Randy Brecker sitting in on two numbers, Duke Ellington's oft- recorded "Do Nothing till You Hear from Me" and O'Connell's nimble finale, "Tip Toes." The other members of the quartet are tenor saxophonist Craig Handy, bassist Santi Debriano and drummer Billy Hart, none of whom need be introduced to reasonably well-informed jazz enthusiasts.

O'Connell is cheerful and congenial at the keyboard, which well suits his choice of material and seems to please his companions too, as everyone plays with vigor and enthusiasm. Brecker, who remains at the top of his game after more than half a century in the spotlight, delivers typically sharp and resourceful solos on his two numbers, while Handy is as brash and outspoken as ever, reining in his more frenzied instincts most of the way (indulging them only on O'Connell's well-named "Sparks" and fast-moving "Tip Toes").

The group opens with O'Connell's Latinized arrangement of "Do Nothing," which precedes "Sparks," Bobby Timmons' well-traveled "Moanin'" (whose preamble is taken at a livelier-than-usual pace) and O'Connell's wistful ballad, "No Rhyme or Reason." Herbie Hancock's "One Finger Snap" is sunny and invigorating, Debriano's "Ripty Boom" a colorful and charming blues waltz. "Tip Toes" is the sort of finger-popping closer that leaves an audience pleading for more, and O'Connell and his companions lend it all the earnestness and energy they can muster.

O'Connell is persuasive throughout, Handy an able partner, Debriano and Hart a sturdy rhythm component. Together, they made sure the audience at Montauk was not short-changed, a promise that holds true for anyone who is moved to check out the recorded narrative of that splendid concert. By Jack Bowers https://www.allaboutjazz.com/live-in-montauk-bill-oconnell-savant-records__24171

Personnel: Bill O’Connell: piano; Craig Handy: tenor saxophone; Santi Debriano: bass; Billy Hart: drums

Special Guest: Randy Brecker: trumpet (tracks 1 & 7)

Live in Montauk

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Kirk Lightsey - Live at Smalls Jazz Club

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 56:32
Size: 129,8 MB
Art: Front

(10:01) 1. In Your Own Sweet Way
(12:01) 2. Bro. Rudolph
( 8:57) 3. Pee Wee
( 4:09) 4. Heaven Dance
(13:06) 5. Lament
( 8:17) 6. Blues On The Corner

The new SmallsLIVE Living Masters Series has issued Kirk Lightsey Live at Smalls Jazz Club, their second offering, following this past August’s release of vocalist Sheila Jordan’s Live at Mezzrow. As the series name implies, these recordings honor the best of iconic jazz musicians that are still with us. Detroit native and New York-based pianist Kirk Lightsey has been at his craft for over seventy years, having been born in 1937. For this date, we have Lightsey playing in his wonderful, inimitable style joined by his longtime bassist Santi Debriano, guitarist Mark Whitfield, and drummer Victor Lewis, from the live session on September 13, 2021.

Without delving into a lengthy history on Lightsey, suffice it to say that he cut his teeth with these musicians: Chet Baker, Kenny Burrell, Clifford Jordan, and Sonny Stitt, as well as on his countless ground-breaking recordings as a bandleader, many years of which when he was based in Paris, France. As it turns out, Lightsey, like contemporary Ron Carter at age 85, shows no signs of slowing down. In fact, Lightsey appears on guitarist Simon Belelty’s album Pee Wee, which was released just three weeks ago. So, this live recording enables us to hear Lightsey’s delicate, graceful touch, imaginative melodies, and yes, those lush voicings. Interestingly, these six selections contain only one Lightsey original, “Heaven Dance” although the aforementioned “Pee Wee,” penned by Tony Williams has long been a Lightsey staple that appears on almost every Lightsey project of recent vintage.

Much has been written and debated about the pairing of guitar and piano, but this writer is essentially done with debating the issue as there are so many fine examples of where it works brilliantly including here with Whitfield’s stunning melodicism. This pairing was a clear ‘meant to be.’ The program begins with Dave Brubeck’s “In Your Own Sweet Way” with Whitfield stepping forward immediately and trading lines with the pianist as Debriano and Lewis stir a subtle undercurrent. Jazz fans will recall that just last year Whitfield won a Grammy for his contributions to Christian McBride’s Big Band’s For Jimmy, Wes, and Oliver so his clean, Montgomery-like picking should come as no surprise. Debriano, a veteran of considerable duo work with the pianist, solos nimbly as well with Lewis trading fours on the way out.

The other composers covered, like Brubeck, are no longer with us. They are Eddie Harris, Tony Williams, J.J. Johnson, and McCoy Tyner. Lightsey’s vitality, best exemplified through his ever-vibrant right hand is a marvel as he brightens familiar fare such as “Freedom Jazz Dance” and “Blues on the Corner.” Whitfield is flying on the former and adds a distinctly bluesy tone to Tyner’s oft-covered tune, as the two lead voices lock-in, emitting enough power to light up a New City block. It all comes to hush as first Debriano and then Lightsey improvises lightly around the theme, gradually building it back to a full-throttle quartet explosive close.

As strong as those are, we’d be remiss to overlook Lightsey’s own “Heaven Dance,” first recorded in 1988 with Lightsey’s trio ‘The Leaders’ featuring Cecil McBee on bass and Don Moye on drums. Again, Whitfield adds a new dimension, pushing the tempo across subtle Latin rhythms as he and Lightsey each author brilliant turns with Lewis turning some of his sharpest kit work. As the title implies, J.J. Johnson’s “Lament” is the most tender reading in the set, a vivid portrait of Lightsey’s graceful touch, strengthened by Debriano’s arco technique and Whitfield’s collaborative role.

These are four musicians who never miss a step and seemingly never a note. Live performances don’t come any better. Admittedly, this writer bypassed Lightsey’s solo outing, 2021’s I Will Never Stop Loving You (Jojo) but am returning to it now. Lightsey’s piano playing is as bright as his legendary smile. https://glidemagazine.com/281997/legendary-jazz-pianist-kirk-lightsey-shines-leading-quartet-on-live-at-smalls-jazz-club-album-review/

Personnel: Kirk Lightsey - piano; Mark Whitfield - guitar; Santi DeBriano - bass; Victor Lewis - drums

Live at Smalls Jazz Club

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Arkadia Jazz All-Stars - It's About Love

Styles: Jazz Contemporary
File: MP3@320K/s
Time: 69:43
Size: 160,8 MB
Art: Front

(6:44) 1. Mood Indigo
(5:48) 2. A Summer Affair
(4:38) 3. My Cherie Amour
(8:37) 4. My Funny Valentine
(5:06) 5. Round Midnight
(4:27) 6. It's Really All About Love
(5:18) 7. The More I See You
(6:02) 8. Interlude
(5:53) 9. Passionata
(6:28) 10. Ask Me Now
(4:51) 11. I Want to Talk About You
(5:46) 12. A Perfect Couple

It could be said that jazz is really the musical language of Love. Like any quest, you have to seek jazz out, it never comes to you, and it may take a long time to truly understand its message but as soon as you hear it, you know you’ve found love. Jazz, like all personal relationships, has so many moods that it may confound you at first, but once you get to know it, there’s no turning back. Much of the repertoire of jazz has been dedicated to love and Arkadia Jazz All-Stars have recorded an album that celebrates the romantic, intimate side of jazz, and musically explores the unanswerable question: What is Love?

Starting off with Benny Golson’s sublime reading of Duke Ellington’s Mood Indigo, the stage is set for romance. The nylon strings of Nigel Clark are featured next in the breezy A Summer Affair, capturing the smoldering flame of passion. Joanne Brackeen performs Stevie Wonder’s pop standard My Cherie Amour in her own dynamic and totally individual way, and Randy Brecker’s Grammy Nominated performance on My Funny Valentine is a moment of real beauty. Both artists bring new depth to several of the all time great love songs. Paul Tobey’s sensitive and insightful rendition of Monk’s Round Midnight is rhapsodic, using subtle dissonances to create tension, released by his flowing lines.

T.K. Blue’s original composition, It’s Really All About Love features the flute, an instrument often tied with romanticism. The More I See You by Mary Pearson expresses the sentiment of undying love that we all long to have, as does the masterful ballad Interlude by the Billy Taylor Trio. Passionata was an unfinished composition by Kenny Drew Sr. that was completed and recorded by his son, Kenny Drew Jr., and is a testament to familial love. Eric Reed’s rendition of Monk’s Ask Me Now is a sparse, yet tender and eloquent doctrine on the state of love. David Liebman and Vic Juris show their gentle sides on the sparkling I Want To Talk About You, while pianist Uli Lenz’s mesmerizing A Perfect Couple brings this recording to a romantic close and is the perfect denouement for this CD, “It’s About Love.”

What happens to us when we fall in love, and when we hear or see something that kindles our passions? Our outlook on life becomes filled with possibilities. Jazz mirrors our life experiences, and we should try to remember that in our collective consciousness. As in our personal relationships, jazz is about the joy and creation of beauty and human emotion in real time. Share this music with someone; it has something to do with discovery and hope. It has something to do with love.

Whether looking surround yourself with beautiful ballads, or to set the mood for a romantic evening, or simply looking for a special Valentines Day gift all year round, “It’s About Love” is a wonderful collection that provides both the romantic atmosphere and world class music from some of the most influential sounds in Jazz.
https://arkadiajazzallstars.com/product/arkadia-jazz-all-stars-its-about-love/

Personnel: Carl Allen: Drums; James Weidman: Piano; Santi Debriano: Bass; Kenny Drew Jr.: Piano; Eric Reed: Piano; Peter Washington: Bass; Lewis Nash: Drums; Rodney Whitaker: Bass; Dave Liebman: Soprano sax; Vic Juris: Guitar; Dean Johnson: Bass; Ron Vincent: Drums;

It's About Love

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Larry Coryell - Inner Urge

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 55:01
Size: 127,5 MB
Art: Front

(5:31)  1. Compulsion
(5:45)  2. Abra Cadabra
(5:25)  3. Inner Urge
(4:48)  4. Tonk
(8:01)  5. Dolphin Dance
(6:48)  6. Allegra's Ballerina Song
(5:50)  7. In a Sentimental Mood
(3:59)  8. Turkish Coffee
(8:51)  9. Terrain

Without a second thought, jazz listeners acknowledge Larry Coryell’s prowess on the guitar. But ask one of those listeners to name one recent Larry Coryell performance they have attended or one tune he has recorded within the past decade, and you may get a blank stare. That’s because Larry Coryell unlike, for example, John Scofield or Pat Metheny loses his persona in his music. According to the demands of the music, Coryell transforms his technique and his musical concept for the total fulfillment of a tune’s spirit. Depending on the circumstances, Coryell may be playing flamenco, classical, fusion, blues, rock or jazz guitar. Now, one can’t describe Coryell as modest, but he certainly is dedicated. Having devoted his life to the muse and to the music, Coryell, intensely private, seems to have sacrificed high personal recognition for the opportunity to investigate the guitar in its infinitude of possibilities. The possibilities that Inner Urge offers are those, in large part, of bebop. Consistent in his presentation, Coryell remains out front on each tune as a relaxed, unpretentious and brilliant presence. Don’t believe for a second his claim in the liner notes that “it was a matter of showing up...and staying out of the way.” Rather, Coryell leads the way among a group of equally proficient musicians. Producer and trumpeter Don Sickler suggested the cohesive idea for Inner Urge. Even though the album is appropriately named after a challenging Joe Henderson number, the first and last tunes framing the repertoire were composed by the often neglected tenor saxophonist Harold Land. It seems that Sickler, to his great credit, is pulling together all of Land’s compositions into a single reference. Having been inspired especially by Wes Montgomery, Coryell makes no bones about alluding directly to Montgomery’s unmistakable octaved style and effortless swing on Land’s “Terrain.” 

However, Coryell personalizes his own “Turkish Coffee,” the notes ringing through with crystalline assuredness, due in no small part of Rudy Van Gelder’s sound engineering genius as he employs two amplifiers to document the richness of the guitar. While “Turkish Coffee” hints at Coryell’s wide-ranging flexibility beyond bop tunes, “Allegra’s Ballerina Song,” written in tribute to his daughter, opens Coryell’s heart through his preferred medium of communication music. The slower tunes give evidence, not just of Coryell’s mastery, but of the instrument’s gorgeousness. His note choices on “Dolphin Dance,” not to mention its overall rippling texture, extend the mellowness of the song beyond piano, as established forever by Herbie Hancock. “Dolphin Dance” is one tune that doesn’t seem to be appropriate when led by a horn. “In A Sentimental Mood” exists on the album, it seems, purely for its lyrical strength, which Coryell underplays, sometimes by subtly dampening the strings for a sly percussive commentary. In addition, one may notice that the instruments are so well tuned and that Coryell and Hicks are so intuitive that when Coryell plays a phrase and Hicks repeats it, the differences of the instruments’ timbral characteristics melt away. The third in Coryell’s HighNote “trilogy,” Inner Urge presents a locked-in group for the joyful exploration of jazz, which drives the inner urge of them all. ~ AAJ Staff https://www.allaboutjazz.com/inner-urge-larry-coryell-review-by-aaj-staff.php

Personnel: Larry Coryell, guitar; Don Sickler, trumpet; John Hicks, piano; Santi Debriano, bass; Yoron Israel, drums

Inner Urge

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Walter Davis, Jr. - Scorpio Rising

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 60:54
Size: 140,1 MB
Art: Front

(6:50)  1. Backgammon
(8:55)  2. Why Did I Choose You?
(8:10)  3. Just One of Those Things
(7:04)  4. Pranayama
(6:44)  5. Two Different Worlds
(8:36)  6. Four Hundred Years Ago, Tomorrow
(5:30)  7. Skylark
(9:02)  8. Scorpio Rising

Near the end of his life, Walter Davis, Jr. was starting to get the recognition he long deserved. But this Steeplechase CD turned out to be his swan song, as he died the following year. Accompanied by bassist Santi Debriano and drummer Ralph Peterson, the pianist concentrates primarily on his provocative original works. "Backgammon" initially signals a bit of gospel influence before evolving into a solid but innovative hard bop vehicle, featuring solid solos by all three musicians. "400 Years Ago Tomorrow" also throws a curve with an initial Caribbean influence before taking flight into a furious setting. His most famous composition, "Scorpio Rising," is not just a rehash of earlier recordings but a blistering performance complemented by his rhythm section's intuitive playing. The standards are also worthy of praise. His spacious interpretation of "Skylark" and funky introduction to "Just One of Those Things" (before returning to his hard bop roots with Peterson's crisp brushwork) prove very refreshing. Two bonus tracks were added to the CD reissue, adding to its already considerable value. ~ Ken Dryden https://www.allmusic.com/album/scorpio-rising-mw0000424075

Personnel:  Piano – Walter Davis Jr.; Bass – Santi Debriano; Drums – Ralph Peterson

Scorpio Rising

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Stanley Cowell - Back To The Beautiful

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 66:48
Size: 153,3 MB
Art: Front

(7:04)  1. Theme For Ernie
(6:23)  2. Wail
(4:59)  3. It Don't Mean A Thing (If It Ain't Got That Swing)
(6:26)  4. But Beautiful
(5:55)  5. Sylvia's Place
(9:07)  6. Come Sunday
(6:45)  7. Carnegie Six
(5:15)  8. St. Croix
(9:06)  9. Prayer For Peace
(5:44) 10. A Nightingale Sang In Berkeley Square

Pianist Stanley Cowell displays some of his versatility on this Concord CD, performing pieces that range from "It Don't Mean Aa Thing" and Bud Powell's boppish "Wail" to four of his own inventive originals. Most of the tunes are performed in a trio with bassist Santi Debriano and drummer Joe Chambers while guest Steve Coleman (on alto and soprano) helps out on three songs, sounding quite effective on "Sylvia's Place" and "Come Sunday."~ Scott Yanow https://www.allmusic.com/album/back-to-the-beautiful-mw0000207035

Personnel:  Stanley Cowell – piano; Steve Coleman – alto saxophone, soprano saxophone (tracks 5, 6); Santi Debriano – bass (tracks 1-9); Joe Chambers – drums (tracks 1-9)

Back To The Beautiful

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David Murray Quartet - Black & Black

Styles: Saxophone Jazz
Year: 1992
File: MP3@320K/s
Time: 56:14
Size: 128,9 MB
Art: Front

(10:12)  1. Anti - Calypso
(11:16)  2. Duke's Place
(11:13)  3. Cool
(10:47)  4. Black And Black
(12:45)  5. Head Out

In general, tenor saxophonist David Murray's Red Baron recordings are not on the same level of his Black Saints albums; the settings tended to be more conservative and the material not as strong. This outing with pianist Kirk Lightsey, bassist Santi Debriano, drummer Roy Haynes and trumpeter Marcus Belgrave is better than most of his Red Baron releases. The material is fairly basic (including "Duke's Place" and the two-note "C Jam Blues" theme, which is listed as being composed by four people), Murray tends to play fairly freely despite the boppish rhythm section, and the closing "Head Out" (the longest of the five lengthy jams) has plenty of fiery intensity. Not essential but worth picking up by David Murray fans. ~ Scott Yanow https://www.allmusic.com/album/black-and-black-mw0000073349 

Personnel:  David Murray - tenor saxophone;  Marcus Belgrave - trumpet;  Kirk Lightsey - piano;  Santi Debriano - bass;  Roy Haynes - drums.

Black & Black

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Roni Ben-Hur, Santi DeBriano - Our Thing

Bitrate: MP3@320K/s
Time: 56:48
Size: 130.0 MB
Styles: Contemporary jazz
Year: 2012
Art: Front

[6:14] 1. Green Chimneys
[3:55] 2. Milonga For Mami
[4:27] 3. Our Thing
[4:30] 4. Fotografia
[5:43] 5. Afroscopic
[5:19] 6. Anna's Dance
[4:40] 7. Isabella
[5:08] 8. Earl's Key
[7:29] 9. Suave
[5:27] 10. Ela É Carioca
[3:50] 11. Let's Face The Music And Dance

Roni Ben-Hur: guitar; Santi Debriano: acoustic bass; Duduka Da Fonseca: drums, percussion.

Together on disc for the first time, this unusual trio fabulously expresses the passionate emotionality, worldly diversity, and musical virtuosity that defines the contemporary jazz of New York City. Guitarist Roni Ben-Hur, bassist Santi DeBriano, and drummer Duduka Da Fonseca converged on the NYC jazz scene in the 1980s, and have been influencing the sound of the jazz metropolis ever since. This New York-based all-star trio features artists, well-known to jazz fans as leaders and sidemen, who have consistently performed at clubs and festivals, received high press accolades, and gained significant collective jazz and world radio spins for their releases

Our Thing mc
Our Thing zippy

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Kirk Lightsey Quartet - First Affairs

Styles: Piano Jazz
Year: 1986
File: MP3@320K/s
Time: 42:33
Size: 99,5 MB
Art: Front

(5:52)  1. Eighty One
(5:12)  2. From Dream To Dream
(9:58)  3. Habiba
(6:00)  4. Blues On The Corner
(3:10)  5. One Finger Snap
(4:53)  6. Up Jumped Spring
(7:24)  7. For Albert

A pianist who is not a trendsetter but is consistently excellent, Kirk Lightsey long ago developed his own sound within the hard bop tradition. He started playing piano when he was five, although he also played clarinet while in high school. Lightsey worked in Detroit and California in the early '60s, often accompanying singers. He gained some attention in 1965 when he recorded with Sonny Stitt and was on five Prestige records with Chet Baker. However, Lightsey mostly had low-profile gigs until he toured with Dexter Gordon (1979-1983) and became part of the Leaders (starting in the late '80s). Kirk Lightsey has recorded with Jimmy Raney, Clifford Jordan, Woody Shaw, David Murray, and Harold Land, among others, and has led his own sessions for Criss Cross and Sunnyside, including piano duets with Harold Danko. He released the duo album, The Nights of Bradleys with bassist Rufus Reid on Sunnyside in 2004. ~ Scott Yanow http://www.allmusic.com/artist/kirk-lightsey-mn0000101038/biography

Personnel:  Kirk Lightsey – piano;  Santi Debriano – bass;  Eddie Gladden – drums;  Jerry Gonzalez - congas

First Affairs

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Sonny Fortune - In the Spirit of John Coltrane

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 50:53
Size: 117,1 MB
Art: Front

(5:39)  1. Trane and Things
(3:45)  2. Hangin' Out with JC
(6:23)  3. Africa
(7:16)  4. In the Spirit
(5:33)  5. Mr. Jones
(4:23)  6. Hangin' Out with JC Again
(5:48)  7. Ole
(5:20)  8. Say What
(6:42)  9. For John

It is not surprising to see Sonny Fortune pay tribute to John Coltrane. After all, perhaps more than anyone else, Fortune is carrying the torch that was handed off when Coltrane died -- his style owes a lot to the sax player, and some of his best work has been with others who contributed to the Coltrane legacy, namely the great McCoy Tyner and Elvin Jones. Fortune doesn't just rehash Coltrane's work on this album, however; instead, In the Spirit of John Coltrane features Fortune's original compositions, inspired by Coltrane but with Fortune's unique stamp as well. A fine return to recording after a three-year hiatus, In the Spirit of Coltrane shows that Fortune still has a few tricks up his sleeve.~Stacia Proefrock http://www.allmusic.com/album/in-the-spirit-of-john-coltrane-mw0000672792

Personnel: Sonny Fortune (soprano, alto & tenor saxophones); John Hicks (piano); Santi Debriano, Reggie Workman (bass); Ronnie Burrage, Rashied Ali (drums); Steve Berrios, Julio Collazo (bata drums).

In the Spirit of John Coltrane

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Paul Meyers & Santi Debriano - Spirit & Samba

Bitrate: 320K/s
Time: 56:48
Size: 130.0 MB
Styles: Samba, Swing, Guitar jazz
Year: 2005
Art: Front

[4:17] 1. Amazing Grace
[4:02] 2. Woody 'n' You
[9:23] 3. Lament
[7:11] 4. Circle Chant
[4:42] 5. For Heaven's Sake
[5:46] 6. Lazy Afternoon
[5:21] 7. Blues For Mel
[7:06] 8. Some Other Spring
[5:23] 9. Passarim
[3:33] 10. My Lord, What A Morning

Playing the New York jazz scene together for over a decade, Paul and Santi have grown into one of jazz’s great duos. Paul’s flawlessly warm guitar sound blends Wes Montgomery’s bluesy soulfulness with Jobim’s Brazilian sensuality. That quiet excitement is doubled by Santi’s big, rich-sounding bass. Bowed or plucked, Santi adds subtly swinging groove. Striking, melodic arrangements ranging from centuries-old spirituals to modern sambas and classic jazz ballads.

Paul Meyers (guitar); Paul Meyers (acoustic guitar); Santi Debriano (double bass). Recording information: Mapleshade studio (04/02/2002/04/03/2002).

Spirit & Samba

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