Emmet Cohen - Uptown in Orbit

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 56:55
Size: 131,1 MB
Art: Front

(4:11) 1. Finger Buster
(8:13) 2. Uptown In Orbit
(5:36) 3. My Love Will Come Again
(7:05) 4. Spillin' The Tea
(7:13) 5. Li'l Darlin'
(5:23) 6. The Loneliest
(1:19) 7. Uptown In Orbit (Reprise)
(7:18) 8. Distant Hallow
(3:46) 9. Mosaic
(3:03) 10. Venus De Milo
(3:43) 11. Braggin' In Brass

Emmet Cohen’s time has come. Since his debut Mack Avenue release, "Future Stride," Cohen has toured the world consistently bringing the joy of music to people in need during a global pandemic all while hosting weekly livestream concerts from his home in Harlem, NY. These livestreams provided a sense of community and a home to the displaced musicians of New York, reminiscent of the 1920s rent parties.

On "Uptown in Orbit," his sophomore release for Mack Avenue, Cohen brings the tradition of jazz to the forefront while providing the modern twist needed for the current times. Featured on this release is trumpeter/educator Sean Jones, saxophonist Patrick Bartley, bassist Russell Hall and drummer Kyle Poole. https://emmetcohen.bandcamp.com/album/uptown-in-orbit

Personnel: Emmet Cohen — piano (all tracks); Russell Hall — acoustic bass (all tracks);Kyle Poole — drums (all tracks); Patrick Bartley — alto sax (2, 3, 6, 7, 8); Sean Jones — trumpet (2, 3, 6, 7, 8)

Uptown in Orbit

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Ralph Bowen - Dedicated

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 42:24
Size: 97,6 MB
Art: Front

(6:38)  1. Canary Drums
(5:35)  2. Pat
(7:00)  3. Qaiyam
(9:47)  4. Mr. Bebop
(9:22)  5. Prof.
(4:00)  6. E.R.

Tenor saxophonist Ralph Bowen's Dedicated is a project that was nurtured and produced by Posi-tone Records' founder Marc Free, who felt that Bowen was under-appreciated by the jazz public at large. Bowen has influenced hundreds of players through his teaching position at Rutgers, and many top jazz players know how skilled he is. Having heard him live several times, Free has long admired Bowen's sound and technical ability on his horn, and wanted people to really hear how good he was. This goal was accomplished by starting with the concept of basing the supporting ensemble around guitar, since Bowen's previous recordings were often accompanied by organ or piano. Free and Bowen discussed several names before agreeing that Adam Rogers would be a good choice, due in part to the excellent working relationship Bowen already had with Free, the musical trust they shared, and Rogers' ability to mix subtlety and intuition into an ensemble. The logical next step was to bring in John Patitucci (bass) and Antonio Sanchez (drums), since they had already played together with Rogers hundreds of times, both with Rogers as leader, and in other groups such as Chris Potter Underground. The musicians rehearsed together for 2 weeks in the making of this recording, and it was mixed for another 2 weeks, which is rare in the world of all-star jazz recordings. The well-matched timbre of the group's sound reveals that the time and care put into this project paid off. Bowen has a mastery of his instrument not unlike Michael Brecker, cites John Coltrane as his main influence, but plays with more nuance and reserve than either. He travels through the music and chooses to become part of the fiber of the group-sound, except on "E.R.," which is a solo piece that let's him weave his own song, from long drawn out tones to 32nd-note runs, syncopated triplets and reflection. That's why the choice of sidemen on this recording is so important. 

The slightly reserved modern cool that each player is able to bring to the studio matches up with Bowen's playing style, and Posi-Tone's Free as producer and engineer Nick O'Toole serve as kind of sixth and seventh men on this project. Sanchez, for example, has demonstrated in his career with the Pat Metheny Group and on his solo work as well that he can play with subtlety, and make it exciting at the same time. It's not Elvin Jones-type crash and bang drumming; Sanchez often uses a light touch and many soft to medium cymbal strokes to bring out a more reflective artistic sound, but he enhances his playing by finding varied ways to communicate. Rogers' tone on guitar is also something that blends into the collective sound. His reserved style is modern, and full of potential sparks, leaving listeners keen to hear where he will go next. But he supports the songs, and is able to soar into several important solos that would only work if they were on par with Bowen's tenor sax riffs, and they very much are. John Patitucci is able fully to support the band by playing with a style that could be described as dark, full and round. He's like a prominent tree trunk that allows the rest of the players to branch out and ascend. Sean Jones adds trumpet to the mix on "Mr. Bebop," playing counterpoint through the head, and taking off on a solo midway through, introducing a new sound to the ensemble at just the right time. Dedicated consists of just six songs with a total recorded time of 42 minutes, a throwback to the days of Blue Note discs that tended to run short, but made up for it with quality. Each tune is dedicated to one of Bowen's mentors (Keith Blackley, Pat La Barbera, Jim Blackley, David Baker, William Fielder, and Eugene Rousseau). "The recent passing of a close friend and mentor left me with the distinct awareness of my personal need to acknowledge several of my contemporaries for their support and influence on my own musical development. Dedicated is a musical message of gratitude to my mentors for their time, patience, wisdom, knowledge and friendship." (Ralph Bowen). "One way or another we all have to find what best fosters the flowering of our humanity in this contemporary life and dedicate ourselves to that." (Joseph Campbell) ~ Blaine Fallis https://www.allaboutjazz.com/ralph-bowen-dedicated-by-blaine-fallis.php

Personnel: Ralph Bowen: tenor saxophone; Sean Jones: trumpet; Adam Rogers: guitar; John Patitucci: bass; Antonio Sanchez: drums.

Dedicated

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Brandee Younger - Soul Awakening

Styles: Harp Jazz
Year: 2019
File: MP3@320K/s
Time: 44:38
Size: 102,9 MB
Art: Front

(4:53)  1. Soulris (feat. Ravi Coltrane)
(4:43)  2. Linda Lee
(5:22)  3. Love's Prayer (feat. Ravi Coltrane)
(7:01)  4. Respected Destroyer (feat. Sean Jones)
(5:42)  5. Games
(5:30)  6. Save the Children (feat. Niia)
(3:51)  7. Soul Awakening
(7:33)  8. Blue Nile

Sure the recording for Soul Awakening was completed in 2013, but we are more than fortunate that harpist Brandee Younger and producer/bassist Dezron Douglas have chosen now to free this music from the vaults. For Soul Awakening brings a defining clarity to what we've experienced on previous releases, such as the raw, groove/fusion of 2014's The Brandee Younger 4tet: Live at the Breeding Ground (Brandee Younger), and 2016's Wax & Wane (Brandee Younger). Accompanied by her stalwart 4tet: tenor saxophonist Chelsea Baratz, soprano saxophonist Stacy Dillard, drummer E.J. Strickland and Douglas, the disc comes to stirring, ascendant life with Douglas' "Soulris" a powerful wave of spiritual vibe featuring the exultant tenor of Ravi Coltrane, who knows a thing or two about harpists and ascendant riffs. Younger stands fearless alongside Coltrane and drummer Chris Beck, whose combined energy would drown any lesser player. With a wash of celestial glissandi, Coltrane rises gloriously on Younger's own "Lover's Prayer," a soulfully emotive incantation and incarnation of Coltrane's mother, Alice Coltrane. Presented here as a gently swelling, rolling, almost 1960's pop radio instrumental, "Games," composed by another of Younger's great influences, Dorothy Ashby, spotlights Douglas and Strickland exercising great rhythmic restraint under Younger's gorgeous, delicate sweeps. 

Trumpeter Sean Jones, who held his own with Herbie Hancock and Wayne Shorter on their 2011 Tribute to Miles tour and held the lead trumpet position for Jazz at Lincoln Center from 2004-2010, leads trombonist Corey Wilcox through a range of trade-offs and colors Younger's solos on her ever shifting "Respected Destroyer." Featuring tenor saxophonist Antoine Roney and more shimmering solos from Younger, Alice Coltrane's "Blue Nile" closes Soul Awakening on the same high peak that it thrillingly began. ~ Mike Jurkovic https://www.allaboutjazz.com/soul-awakening-brandee-younger-self-produced-review-by-mike-jurkovic.php

Personnel:  Brandee Younger: harp; Ravi Coltrane: tenor saxophone (1, 3); Chelsea Baratz: tenor saxophone (2, 4, 7); Stacy Dillard: soprano saxophone (7, 8); Antoine Roney: tenor saxophone (8); Sean Jones: trumpet (4); Freddie Hendrix: trumpet (4); Corey Wilcox: trombone (4); Nicole Camacho: flute (7); Niia: vocals (6); Dezron Douglas: bass; E.J. Strickland: drums; Chris Beck: drums (1,3).

Soul Awakening

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Ralph Peterson - The Duality Perspective

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 67:46
Size: 156,7 MB
Art: Front

(6:57)  1. One False Move (Fo'tet)
(7:51)  2. 4 in 1 (Fo'tet)
(5:47)  3. Addison and Anthony (Fo'tet)
(5:42)  4. Bamboo Bends in a Storm (Fo'tet)
(5:53)  5. Princess (Fo'tet)
(6:21)  6. Coming Home (Sextet)
(8:38)  7. Impervious Gems (Sextet)
(5:30)  8. The Duality Perspective (Sextet)
(6:57)  9. You Have Know Idea (Sextet)
(8:06) 10. Pinnacle (Sextet)

Balance is often overlooked in music criticism, yet it's such an important aspect in music-making and life. Light doesn't exist without dark, bold only takes shape when placed next to bland and earthbound realities are only truly understood by those who also know how to take flight. Drummer/educator Ralph Peterson understands this better than most, and The Duality Perspective documents his balanced outlook for all to hear. This album is really two records in one, as Peterson splits the program between the latest incarnation of his two decade-old Fo'tet and his sizzling sextet, but the veteran maintains a sense of presentational continuity across these ten tracks. Part of the reason for this has to do with the bonds formed between the musicians and a shared philosophical outlook on how music should be made. The large majority of the players on this date have come under the expert tutelage of Peterson in some way, shape or form, and their connection and affection shows. The other key to consistency here, which goes beyond the borders of either band, is Peterson himself. His pulse is the real connective tissue between the sounds of both groups. His drumming is always informed by a panoramic understanding of music, as he takes in the big picture and the small details at the same time. Peterson also posits that contrast is key to the realization of possibilities in performance, and understands that music, like life, can be a thing of beauty one minute and a slap in the face the next. He possesses a toolkit full of technique and taste that he uses to put every piece in good working order. The clarinet and vibraphone-focused Fo'tet finds its footing with the swing-funk hybrid feel of "One False Move," takes Thelonious Monk's music to new places with an odd-metered Latin-ized look at "4 in 1," and wears its collective heart on its sleeve during "Addison And Anthony," which Peterson wrote for his twin grandchildren. The sextet is more typical in construction, with bass, drums, piano and occasional percussion in the back lot and saxophone(s) and trumpet out front, but the music still works off of the same sense of organic motion flexible, yet focused that's felt on the Fo'tet material. Saxophonists Tia Fuller and Walter Smith III sound terrific in this setting, but trumpeter Sean Jones is the undisputed star. His work on the final tracks "You Have Know Idea" and "Pinnacle"" takes the music to new heights.  Peterson proudly displays the roots of his artistry on the album cover by name-checking mentors/heroes, but the music isn't about looking back at the past; The Duality Perspective thrives on the here and now. ~ Dan Bilawsky https://www.allaboutjazz.com/the-duality-perspective-ralph-peterson-onyx-music-label-review-by-dan-bilawsky.php

Personnel: Ralph Peterson: drums; Joseph Doubleday: vibraphone; Alexander L.J. Toth: bass; Felix Peiki: clarinet, bass clarinet; Luques Curtis: bass; Zaccai Curtis: piano; Sean Jones: trumpet; Walter Smith III: tenor saxophone; Tia Fuller: alto saxophone, soprano saxophone; Bryan Carrott: marimba (2); Reinaldo Dejesus: percussion (2, 4, 7, 9); Edwin "Eddie" Bayard: percussion (7, 10); Victor Gould: piano (9, 10).

The Duality Perspective

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Sean Jones - Roots

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 73:41
Size: 169,7 MB
Art: Front

(1:34)  1. Children's Hymn
(7:12)  2. Roots
(6:46)  3. Divine Inspiration
(7:03)  4. God's Gift
(7:05)  5. Come Sunday
(8:03)  6. Lift Every Voice
(1:43)  7. Offering Time
(5:11)  8. Conversations
(5:19)  9. El Soul
(5:03) 10. Puddin' Time
(8:00) 11. What We Have
(5:35) 12. John 3:16
(5:01) 13. I Need Thee

With his inspired quintet, trumpeter Sean Jones goes back to his roots on this album, interpreting original music and the standard repertoire, focusing on gospel. His gorgeous trumpet tone and down-home technique are the centerpiece of the album, as they were on his previous two releases. Jones likes to express himself from a traditional point of view, offering vocal-like phrases that meld seamlessly with one another. With alto saxophonist Tia Fuller providing cohesive harmony, the trumpeter emerges as a powerful melodic force. For much of the album, Jones works with his quintet, which also includes pianist Orrin Evans, bassist Luques Curtis and drummer Obed Calvaire. His quartet interpretations of "Come Sunday and "Lift Every Voice provide warm reflections, while his duet with pianist Eddie Howard on "I Need Thee soaks up centuries of emotional spirit. Earlier, Jones' solo interpretation of "Children's Hymn opens the album with a solemn embrace that runs through the session as a guiding theme and provides comfortable solace. At times, he veers from the prayerful medium and allows spurts of meaningful celebration, as on his original "Offering Time and Evans' "Conversations, which comes loaded with rich, satisfying flugelhorn vibrations. Jones "speaks" through his horn to communicate with his audience, adding a tender touch and plenty of expression. He's open-horned for much of the session and more effective on the brighter trumpet celebrations. At the top of his game, Jones lifts tradition into the arms of all believers through a program that explores jazz's gospel roots. ~ Jim Santella https://www.allaboutjazz.com/roots-sean-jones-mack-avenue-records-review-by-jim-santella.php

Personnel: Sean Jones: trumpet, flugelhorn; Tia Fuller: alto saxophone, flute, soprano saxophone; Orrin Evans: piano, electric piano, keyboard; Eddie Howard: organ, piano; Luques Curtis: acoustic bass; Obed Calvaire, Jerome Jennings: drums.

Roots

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Sean Jones - Kaleidoscope

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 73:31
Size: 171,1 MB
Art: Front

(6:48)  1. Allison
(5:19)  2. Journey
(4:48)  3. Never Let Me Go
(6:28)  4. I Come To Thee
(5:54)  5. So Wonderful
(6:13)  6. Esperanto
(0:50)  7. It's Just A Matter Of Time (intro)
(6:18)  8. It's Just A Matter Of Time
(5:56)  9. Say Brah
(6:33) 10. Blak Music
(5:03) 11. Kaleidoscope
(6:40) 12. The Sluice
(6:34) 13. You're The Reason

Trumpeter Sean Jones emphasizes various vocalist friends for his fourth recording as a leader. His previous CDs have leaned toward a more produced pop-oriented approach within a definite modern jazz framework, and this effort leans toward a balance of combining those elements without being overtly commercialized. The first eight cuts all feature the singers, the most effective being rising star Gretchen Parlato. Her beautiful voice levitates Kendrick Scott's ballad composition "Journey," done on his debut CD, receiving a different, less expansive treatment, while the sunny swing waltz "It's Just a Matter of Time" has Parlato and Sachal Vasandani swapping opposing transposed crowded vocal lines. Parlato is special; please pay attention to her in the future. Even more impressive are two spiritualistic pieces, reminiscent of the recent work by pianist Robert Glasper. The opener, "Allison," drips with emotion, informed by the lovely piano playing of Orrin Evans, slight Latin spice, and the wordless vocals of J.D. Walter, while "Esperanto" (not sung in Esperanto) has Carolyn Perteete's siren-song singing, pristine as morning dew. 

At this point one barely notices the trumpet player, until you hear four consecutive instrumentals. "Say Brah" is a cooking typical neo-bopper, "Blak Music" a less clichéd hard bopper, the title track a more modern near-fusion Fender Rhodes-infused piece, and "The Sluice" revealing Jones as a singsongy Lee Morgan/Freddie Hubbard-influenced Young Lion. The pacing and programming of this recording could have been more effectively revisited; it feels like block formatting. It is another fine, not yet definitive musical effort from Jones, easily a Top Ten rising star of contemporary jazz trumpet. ~ Michael G.Nastos https://www.allmusic.com/album/kaleidoscope-mw0000577971

Kaleidoscope

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Jimmy Heath Big Band - Turn Up The Heath

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 73:52
Size: 170,3 MB
Art: Front

(7:02)  1. Big P
(7:16)  2. Heritage Hum
(9:23)  3. Gemini
(4:52)  4. Like A Son
(8:59)  5. I'm Glad There's You
(8:06)  6. One For Juan
(6:29)  7. Project S
(6:42)  8. Sources Says
(8:47)  9. No End
(6:12) 10. Basic Birks

Back in the early '90s I asked tenor saxophonist Jimmy Heath if he planned a followup to his Grammy-nominated album, Little Man Big Band (Verve, 1992). As I recall, he smiled politely but didn't really answer the question. Now he has and with an exclamation point. Describing how his latest superb album, Turn Up the Heath, came about, Jimmy writes, "The Jazz Masters award [from NEA and IAJE] in 2003 made it possible. As to why: "...there were so many orchestrations I wanted to document. There are also special people he wanted to praise and remember, and it is entirely appropriate that Heath should begin with "Big P, a brisk and warmhearted salute to his late brother, bassist Percy Heath. "Gemini was written for Heath's daughter, Roslyn; "Basic Birks for Dizzy Gillespie; "Like a Son for alto saxophonist Antonio Hart; "Heritage Hum for "my people, and the snappy samba "One for Juan for that ubiquitous purveyor of Colombian coffee, Juan Valdez. Completing the program are Heath's "Project S and "Sources Say," and his arrangements of Kenny Dorham's "No End and the standard "I'm Glad There Is You (the last an exquisite showpiece for Heath's fluent, evocative tenor and Jeb Patton's lucid piano). Heath's tenor is also heard on "Heritage Hum, "Gemini, "One for Juan, "Project S and "Basic Birks, his soprano on "No End. As for his colleagues, Heath says he met many of them "while playing with the Dizzy Gillespie Alumni All-Star Band, a reasonable assertion, as each one is an all-star, whether soloing or hunkering down as a member of the ensemble. The rhythm section, comprised of Patton, bassist Peter Washington and drummer Lewis Nash, is as solid and perceptive as they come, and Washington does Percy's memory proud on "Big P. The remarkable cavalcade of commendable improvisers includes Patton; Washington; Hart; trumpeters Greg Gisbert, Sean Jones, Terell Stafford and Michael Philip Mossman; trombonists Benny Powell, Slide Hampton, Steve Davis, Jason Jackson and John Mosca; alto Mark Gross; tenors Charles Davis, Bobby LaVell and Andres Boiarsky; baritones Jay Branford and Gary Smulyan; and flutist Lew Tabackin, a standout on "Gemini. Heath's charts are delightful, fairly bursting with energy and good humor, and if I have my personal favorites, I'm sure you will too. Even fourteen years onward, this is one sequel that was well worth the wait. Turn Up the Heath, crank up the volume, relax and enjoy.
 

Personnel: (Tracks 1,2,4-7) Jimmy Heath: leader, tenor sax; Frank Greene, Nick Marchione, Michael Philip Mossman, Terell Stafford: trumpet; Mark Gross: alto sax, flute; Antonio Hart: alto, soprano sax, flute; Bobby LaVell, Charles Davis: tenor sax; Jay Branford: baritone sax; John Mosca, Slide Hampton, Benny Powell: trombone; Douglas Purviance: bass trombone; Jeb Patton: piano; Peter Washington: bass; Lewis Nash: drums. (3,8-10) Jimmy Heath: leader, tenor sax; Greene, Mossman, Greg Gisbert, Sean Jones: trumpet; Gross: alto sax, flute; Hart: alto, soprano sax, flute; LaVell, Andres Boiarsky: tenor sax; Gary Smulyan: baritone sax; Mosca, Steve Davis, Jason Jackson: trombone; Purviance: bass trombone; Patton: piano; Washington: bass; Nash: drums. Guest artists: Lew Tabackin: flute (3); Joe Gonzales: congas (2)

Turn Up The Heath

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Various - Legends & Lions: Blues

Bitrate: MP3@320K/s
Time: 58:17
Size: 133.4 MB
Styles: Jazz/Blues
Year: 2006
Art: Front

[6:09] 1. Terry Gibbs - St. Louis Blues
[5:37] 2. Sean Jones - Blues For Matt B
[6:48] 3. The Gerald Wilson Orchestra - Equinox
[6:20] 4. Cedar Walton - Willow Weep For Me
[2:58] 5. Oscar Brown, Jr. - But I Was Cool
[6:08] 6. Kenny Burrell - River's Invitation
[4:55] 7. Ilona Knopfler - Unchain My Heart
[4:51] 8. Terry Gibbs - Jumping With Symphony Sid
[5:39] 9. Eugene Maslov - Groove Merchant
[8:46] 10. The Gerald Wilson Orchestra - Blues For Manhattan

Legends & Lions: Blues is a series assembled by Detroit's Mack Avenue label that pairs its roster's veteran artists with its up-and-coming personas thematically. The first two volumes in the series -- Swingin' and Swoonin' -- were successful in their way. The Blues volume is another attempt at the formula and it meets with very mixed results. First off, one wonders how the label defines the word blues. The version of John Coltrane's "Equinox" here, by the brilliant Gerald Wilson Orchestra, brings out the blues in its soloist's parts, but the band underscores the changes and stretches them until the blues all but disappears. Far more successful is their second number "Blues for Manhattan (The Diminished Triangle)" where the blues are out, front and center, and it's a killer track to close with Too bad everything here isn't that good. Ilona Knopfler's reading of "Unchain My Heart," is, for this performer, typically daring and uses a polyrythmic approach to the blues. The cut feels more like Santana playing the blues with a female vocalist, until the strings kick in. It works beautifully. Terry Gibbs' version of "Jumpin' with Symphony Sid" is strident but stiff, as is the version of "St. Louis Blues" that's so laid-back it's almost unrecognizable. It should be mentioned that some of the sidemen on these sessions are very prominent names in jazz -- Eddie Gómez, Ralph Moore, Jon Faddis, Renee Rosnes, Cedar Walton, Jimmy Heath, and Oscar Brown, Jr. (whose "But I Was Cool," is one of the real high points here) just to name a few. Interesting but forgettable, Legends & Lions: Blues doesn't quite measure up to Mack Avenue's previous compilations. ~Thom Jurek

Legends & Lions= Blues mc
Legends & Lions= Blues zippy

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Sean Jones - No Need For Words

Bitrate: MP3@320K/s
Time: 56:08
Size: 128.5 MB
Styles: Straight ahead jazz
Year: 2011
Art: Front

[7:10] 1. Look And See
[7:24] 2. Olive Juice
[7:11] 3. Momma
[6:09] 4. Touch And Go
[6:52] 5. No Need For Words
[8:02] 6. Obsession (Cloud Nine)
[5:24] 7. Love's Fury
[7:53] 8. Forgiveness (Release)

Sean Jones: trumpet; Brian Hogans: alto saxophone, strings (7); Orrin Evans: piano, keyboards (7); Obed Calvaire: drums; Luques Curtis: bass; Khalil Kwame Bell: percussion (2, 7, 8); Corey Henry: organ (8); Matt Stevens: guitar (7).

Trumpeter Sean Jones has something to say and he says it in his inimitably bright, clear and soaring voice. This is clearly why he is fast becoming associated with the renaissance of the instrument that was brought about by an early mentor, Wynton Marsalis. Jones is a deeply spiritual player. His impulse to adorn notes with joyous phrases and lines comes from gospel roots. He preaches as he lets his trumpet sing and he urges his ensemble of players the laity, so to speak, to respond to the lofty, majestic homilies that seem to be sparked by mighty psalms, couched in simple songs that roar with righteousness. Or they may be melodies that burn with zeal for greater glory, levitating with burnished splendor as they emerge, set free from the gleaming bell of his trumpet, sounding as if from a flaming pulpit. No matter where Jones positions himself, he is always poised to soar into the stratosphere, only to swoop down as if from a silver cloud to gather his congregation and whip up a frenzied fervor among all who would hear him and his ensemble. At other times his music is like a tender caress, stroked out of his benign horn.

No Need for Words is a tantalizing paradigm. This very vocal music obviates the need for verbiage that would otherwise describe the experience contained in the songs, no matter the urge for lyrical narratives and lofty sermons. No matter that conventional wisdom might suggest some poetry—even in the vocabularies of music—may be necessary to enable melodies to rise above the prosaic. For instance, a title like "Look and See" might seem to be a call to follow a pointed finger, but not in Jones' book. Here is actually a call to share in a visionary perception that pierces the disappearing horizon as Jones and alto saxophonist Brian Hogans, together with pianist Orrin Evans, ruffle the melodic and harmonic road that leads to a wholly new set of vistas where drummer Obed Calvaire redraws the vanishing points of the song with pomp and circumstance. The emotional windup of the album is reached in the taut tessellations of "Obsession (Cloud Nine)."

Along the way, there is plenty of emotion of another kind: the gorgeous, elegiac beauty in the diaphanous beauty of "Momma," especially in the wailing high note that Jones repeats as if to emphasize the depth of his love; and in the edginess and elasticity of "Touch and Go," which stutters and swings around the rattle and swishing of Calvaire's skins and shimmering cymbals before settling down into a tantalizing walking and skipping pace. The gleaming, bronzed beauty of the almost statuesque grace of "No Need for Words" seems almost too much to bear for the trumpeter, as the music is squeezed out of embouchure and bell. The music here seems virtually static at first, only to spin gently around bass and drums. At times breathtaking, No Need for Words is an album of exceeding beauty. ~Raul D'Gama Rose

No Need For Words mc
No Need For Words zippy

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Brian Lynch - Madera Latino: A Latin Jazz Perspective on the Music of Woody Shaw

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 109:28
Size: 251,3 MB
Art: Front

(10:25)  1. Zoltan
( 7:32)  2. Sweet Love of Mine
(11:17)  3. Time Is Right
( 8:28)  4. Just a Ballad for Woody
( 8:34)  5. In a Capricornian Way
( 9:08)  6. Blues for Woody and Khalid
( 9:06)  7. Tomorrow's Destiny
( 9:57)  8. Joshua C.
( 8:28)  9. On the New Ark
(11:11) 10. Song of Songs
(15:18) 11. Madera Latino Suite

The asymmetric rhythms belonging to the Afro-Cuban tradition substantiate this extraordinary double CD by Brian Lynch , who with Woody Shaw shares the sad destiny of being a great musician, but not very exposed to the light of the big stages. With the missing trumpet player, Lynch also shares a love for an all-round expressive dimension, capable of incorporating both a lyrical and nocturnal dimension, and a more energetic figure. The work in question is emblematic in this sense, which incorporates the polyrhythmic trend of Afro-Cuban percussion with the more canonical symmetric times of jazz. The result is a gripping work where everything works wonders and once again confirms the whole class of the leader. As a common denominator, Lynch's rare ability to infuse with his mobile solism what seems to be the essence of jazz: communicative, pathos, ability to transmit deep emotions contained in the unrepeatable and unique moment of jazz improvisation. His big band fully captures and manages to return all the expressive figure of Shaw, as oblique and irregular as lyric and peaceful. His compositions are here revisited with admirable intelligence and originality to give rise to a project of stringent consistency and rigor. An unmissable album that adequatamante pays homage to the masterful artistic figure of a complete and ductile musician, who made the most important business cards of refined refinement and technique. ~ Maurizio Zerbo https://www.allaboutjazz.com/a-latin-jazz-perspective-on-music-of-woody-shaw-bryan-lynch-hollistic-musicworks-review-by-maurizio-zerbo.php

Personnel: Brian Lynch, Sean Jones, Dave Douglas, Diego Urcola, Etienne Charles, Mike Rodriguez, Josh Evans, Philip Dizack, Bryan Davis: trumpet; Zaccai Curtis: piano; Luques Curtis: double bass; Obed Calvaire: battery; Pedrito Martinez, Little Johnny Rivero, Anthony Carrillo: percussion.

Madera Latino: A Latin Jazz Perspective on the Music of Woody Shaw

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Steve Turre - Rainbow People

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 65:13
Size: 149,8 MB
Art: Front

(8:40)  1. Rainbow People
(6:00)  2. Forward Vision
(9:05)  3. Brother Ray
(5:51)  4. Groove Blues
(8:47)  5. Midnight In Madrid
(4:12)  6. Cleopatra's Needle
(8:15)  7. Search For Peace
(5:29)  8. Segment
(8:49)  9. Para El Comandante

If the rainbow of the title denoted musical diversity then it would be most fitting in the case of trombonist Steve Turre, as his musical bag is hewn from many colors. Turre is equally at home playing Latin rhythms, blues or straight-ahead jazz hardly surprising when you consider his apprenticeship with saxophonist/flautist Rahsaan Roland Kirk and singer Ray Charles, his collaborations with timbalist/bandleader Tito Puente and pianist Hilton Ruiz, and his long associations with trumpeters Woody Shaw and Dizzy Gillespie, and pianist McCoy Tyner. All these influences are felt on Rainbow People, a classy and deceptively leisurely session which finds Turre in sparkling form. Part of the success of Rainbow People surely lies as much in the familiarity of the musicians with one another as in the strength of Turre's arrangements. Turre has played with all these musicians in various settings over many years, with the exception of trumpeter Sean Jones, whom Turre hired on the spot after seeing him perform at a New York jam session. Jones is used sparingly, playing on three of the nine tracks, combining harmonically with Turre to great effect. His sound shifts between warm and honey-toned on "Para El Commandante, and more biting on "Midnight in Madrid." Similarly, saxophonist Kenny Garrett appears on just four tracks, but his playing is strong and he builds his solos with patience and imagination. On Charlie Parker's "Segment," Garrett stretches out a little more, as might be expected.

The soulful blues of "Brother Ray" is probably one of the best tributes to Ray Charles since the singer's passing in 2004, evoking the voice and spirit of the man. Turre takes two intimate solos, the first on open trombone and the second muted the latter coming after a tasteful bass intervention from Peter Washington, and capturing the plaintive cry that Charles exhibited in his blues. Miller provides beautifully sympathetic accompaniment which reveals the gospel/blues side of his playing. The rhythm section of Washington and drummer Ignacio Berroa swings the music throughout Rainbow People. They drive the goodtime blues vibe of "Groove Blues," which has the feel of a more languid version of "Sweet Home Chicago," with Garrett, Miller and Turre each taking enjoyable solos. Miller, for his part, is also in fine form, playing to the needs of the music beautifully. He injects the spirit of McCoy Tyner into the music, and the influence of Coltrane's great pianist on Turre is reinforced further by the inclusion of Tyner's lovely "Search for Peace." Turre's Latin roots shine on "Midnight in Madrid," with its brassy Iberian bravura and just a hint of Turre's Mexican heritage, and on the impressive session-closer dedicated to Latin great Mario Rivera, "Para El Comandante," on which Turre's conch is given a delightful run for the only time on the album, over a tasty salsa rhythm. The blues is at the heart of Rainbow People and the songs are like a heartfelt, mellow incantationgospel praise to guiding lights. Classy, sophisticated, and soulful.
~ Ian Patterson https://www.allaboutjazz.com/rainbow-people-steve-turre-highnote-records-review-by-ian-patterson.php

Personnel: Steve Turre: trombone, shells (9); Kenny Garrett:alto saxophone (1,4,8,9); Sean Jones: trumpet, flugelhorn (2,5,9); Mulgerw Miller: piano, keyboards; Peter Washington: bass; Ignacio Berroa: drums; Pedro Martinez: percussion (9).

Rainbow People

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Gerald Wilson Orchestra - Monterey Moods

Styles: Jazz, Big Band
Year: 2007
File: MP3@320K/s
Time: 59:44
Size: 137,0 MB
Art: Front

( 6:12)  1. Allegro
( 9:09)  2. Jazz Swing Waltz
( 7:09)  3. Ballad
(11:36)  4. Latin Swing
(10:01)  5. Blues
( 2:27)  6. Bass Solo
( 1:40)  7. Hard Swing
( 6:00)  8. I Concentrate On You
( 5:26)  9. The Mini Waltz

A decade ago, when he was commissioned to write music to commemorate the fortieth anniversary of the Monterey Jazz Festival, Gerald Wilson produced the memorable, double Grammy Award-nominated Theme for Monterey (MAMA Records,1998). Now the 89-year-old dean of American Jazz composers has scored another triumph, saluting the festival's golden anniversary with a picturesque seven-part suite, Monterey Moods, that musically epitomizes the scope and character of that annual event. The motif is deceptively simple: a three-note idea used in various ways as the bedrock of each movement (Allegro/Jazz Swing Waltz/Ballad/Latin Swing/Blues/Bass Solo/Hard Swing), much as a single melodic phrase was deftly rearranged to underscore each section of Theme for Monterey. Wilson's orchestra introduced Moods at the Monterey Festival and recorded it in a studio for Mack Avenue Records. The album's playing time has been increased to nearly an hour by appending Wilson's atmospheric arrangement of Cole Porter's "I Concentrate on You (featuring son Anthony Wilson's mellow guitar) and his gregarious "Mini Waltz (solos courtesy of trumpeter Jimmy Owens, baritone saxophonist Ronnie Cuber and special guest Hubert Laws on flute). The suite is almost entirely upbeat; even the slower-paced "Ballad simmers in a Basie-like groove behind heated solos by Laws and tenor saxophonist Kamasi Washington. The remaining movements personify their names, using Wilson's spare entrée as a springboard for a series of bright and swinging vignettes marked by powerful rhythms and persuasive solos. The rhythmic muscle is supplied by Anthony Wilson, pianist Renee Rosnes, bassist Peter Washington and drummer par excellence, Lewis Nash. The improvisations for the most part are by Laws, Cuber, Owens, Wilson, trumpeters Terell Stafford and Sean Jones, saxophonists Kamasi Washington, Ron Blake, Antonio Hart and Steve Wilson. Peter Washington is also showcased on the suitably named "Bass Solo. Writing a suite like Monterey Moods would be a daunting task at any age, let alone for someone on the doorstep of his ninetieth birthday. But Wilson has risen to the challenge, composing another in a series of masterful compositions whose evolution began nearly seventy years ago. In the liner notes, Wilson says he's looking forward to "the sixtieth celebration at Monterey. So are we. ~ Jack Bowers https://www.allaboutjazz.com/monterey-moods-gerald-wilson-mack-avenue-records-review-by-jack-bowers.php
 

Personnel: Gerald Wilson: composer, arranger, conductor; Jon Faddis: trumpet, flugelhorn; Frank Greene: trumpet, flugelhorn; Sean Jones: trumpet, flugelhorn; Jimmy Owens: trumpet, flugelhorn; Terell Stafford: trumpet, flugelhorn; Steve Wilson: alto and soprano sax, flute; Antonio Hart: alto and soprano sax, flute; Ron Blake: tenor sax; Kamasi Washington: tenor sax; Ronnie Cuber: baritone sax; Dennis Wilson: trombone; Luis Bonilla: trombone; Jay Ashby: trombone; Douglas Purviance: bass trombone; Renee Rosnes: piano; Anthony Wilson: guitar; Peter Washington: bass; Todd Coolman: bass; Lewis Nash: drums. Special guest: Hubert Laws: flute.

Monterey Moods

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Gerald Wilson - Detroit

Styles: Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 62:51
Size: 144,2 MB
Art: Front

( 5:30)  1. Blues on Belle Isle
( 8:47)  2. Cass Tech
( 6:40)  3. Detroit
( 7:07)  4. Miss Gretchen
( 7:12)  5. Before Motown
( 8:47)  6. The Detroit River
(12:32)  7. Everywhere
( 6:12)  8. Aram

Commissioned by the Detroit International Jazz Festival and premiered on the occasion of the composer's 91st birthday, Gerald Wilson's six-movement "Detroit Suite" demonstrates that after nearly seven decades in the music business, the nonagenarian composer and arranger still has a great deal to offer in terms of musical creativity. Wilson spent the latter part of his teen years in the Motor City, where he studied trumpet, piano, percussion, and composition at Cass Technical High School from 1934-39, and he still regards Detroit as a "hometown." 

The opening "Blues on Belle Isle," which is named for a park on a island in the Detroit River, features the alto sax of Randall Willis, trumpeter Sean Jones, violinist Yvette Devereaux (following in the footsteps of the young Jean-Luc Ponty, who occupied this chair in the Wilson ensemble four decades ago), and guitarist and Gerald's son Anthony Wilson, who has been a mainstay of the Diana Krall quartet for the past several years. "Cass Tech," Wilson's paean to his alma mater, is a variation on Benny Golson's "Along Came Betty" in much the same fashion as Bill Holman's take on "Stompin' at the Savoy" for Stan Kenton over a half-century ago. The ballad "Detroit" spotlights Willis on flute, Jones on fluegelhorn, and the tenor sax of Kamasi Washington (Jones and Washington appear on both the Los Angeles and New York sessions). Based on the chord changes of Billy Strayhorn's "Chelsea Bridge," "Miss Gretchen" salutes Mack Avenue founder and president Gretchen Valade with solos from pianist Brian O'Rourke and the Harmon-muted trumpet of Winston Byrd, plus Devereaux (adapting the classic Ben Webster solo from the release to her violin) and Anthony Wilson. Latin rhythms a la Wilson's "Carlos" and "Viva Tirado" predominate in "Before Motown" (which bears absolutely no connection with the musical genre of that name), with Bobby Rodriguez's trumpet, Les Benedict's trombone, and the tenors of Washington and Louis Van Taylor all capturing attention. "The Detroit River," on the other hand, resembles Count Basie on steroids, as trumpeter/contractor Ron Barrows, veteran soprano saxophonist Jackie Kelso, trombonist Eric Jorgensen, Devereaux, Van Taylor, O'Rourke, and Anthony Wilson all contribute to this hyper-charged swinger.

The two remaining tracks, "Everywhere" (a remake of the title cut from a 1968 Pacific Jazz LP by Wilson) and "Aram," are from the same sessions as Wilson's 2005 New York, New Sound (his Mack Avenue debut) and feature the New York ensemble. Flute legend Hubert Laws highlights the modal "Everywhere," while "Aram" (possibly named for the Soviet-era Armenian composer Aram Khachaturian) offers frequent rhythmic shifts between jazz-waltz and straight-ahead 4/4 tempi supporting powerful solos by trumpeter Terell Stafford (Director of Jazz Studies of the Boyer College of Music at Philadelphia's Temple University, and a member of NYC's celebrated Vanguard Jazz Orchestra) and altoist Antonio Hart. ~ Robert J.Robbins  http://www.allaboutjazz.com/detroit-gerald-wilson-mack-avenue-records-review-by-robert-j-robbins.php

Gerald Wilson – Conductor;  Ron Barrows - Contractor, Trumpet;  Brian O'Rourke – Piano;  Mel Lee – Drums;  Trey Henry – Bass;  Carl Randall - Tenor Sax;  Jackie Kelso - Alto & Soprano Sax;  Kamasi Washington - Tenor Sax;  Louis Van Taylor - Baritone & Tenor Sax;  Randall Willis - Alto Sax & Flute;  Terry Landry - Baritone Sax;  Bobby Rodriguez – Trumpet;  Rick Baptist – Trumpet; Winston Byrd – Trumpet;  Eric Jorgensen – Trombone;  Les Benedict – Trombone;  Mike Wimberly – Trombone;  Shaunte Palmer – Trombone;  Yvette Devereaux – Violin;  Sean Jones - Trumpet, Flugelhorn;  Anthony Wilson - Guitar

Detroit

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Kim Nazarian - Some Morning

Size: 117,5 MB
Time: 50:07
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz/Pop Vocals
Art: Front

01. Robbin's Nest/Boneology (5:51)
02. Tell Him I Said Hello (5:58)
03. Gotta Be This Or That (3:30)
04. All In My Heart (5:07)
05. What'll I Do (5:06)
06. Still Life (3:59)
07. Some Morning (4:29)
08. So In Love (5:27)
09. If It's Magic (3:41)
10. Que Sera, Sera (2:39)
11. Road To Kursk (4:15)

Personnel:
Kim Nazarian - vocals
Jay Ashby - trombone (1, 5, 10, 11)
Gary Burton - vibes (7)
Paquito D’Rivera - clarinet (solo on 2)
John Pizzarelli - guitar (3)
Sean Jones - trumpet (1,11)
Roger Humphries - drums (1, 3, 10, 11)
Jamey Haddad - drums (2, 4, 5, 6, 7, 8, 9)
Peter Eldridge - vocals (7)
Mark Shilansky - piano (2, 4, 5, 7, 8, 9, 11)
Mark Soskin - piano (1, 3, 10)
Marty Ashby - guitar (2, 8)
Jiro Yoshida - guitar (4)
Dwayne Dolphin - bass (1, 3, 7, 9, 10, 11)
Leo Traversa - bass (2, 4, 5, 6, 8)
Greg Nazarian - sax (10)
Anna Nelson - ensemble clarinet (2)
Jesse McCandless - bass clarinet (2)
Alexa Still - flute (2)
Steve Hawk - trumpet (1,11)
Caitlin Merhtens - harp (8)
Ian Ashby - vocal (10)

Some Morning is the first solo release by Grammy-nominated Kim Nazarian. Well-known to jazz fans around the world as a founding member of New York Voices, Kim is one of the most accomplished vocalists on the scene today. This project highlights Kim’s talents not only as a singer, but also as a lyricist and an arranger.

Some Morning features some of the most well-known names in jazz, including her husband, Jay Ashby, the five-time Grammy Award-winning producer and trombonist. Special guests include Gary Burton, Paquito D’Rivera, John Pizzarelli, Sean Jones, Roger Humphriesand Jamey Haddad.

Some Morning

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Sean Jones Quartet - Im.pro.vise - Never Before Seen

Styles: Trumpet Jazz
Year: 2014
File: MP3@320K/s
Time: 69:24
Size: 159,3 MB
Art: Front

(6:33)  1. 60th & Broadway
(4:49)  2. Don't Fall off the L.E.J
(5:07)  3. Not While I'm Around
(7:15)  4. Dark Times
(6:27)  5. Interior Motive
(7:10)  6. The Morning After
(7:12)  7. I Don't Give a Damn Blues
(3:33)  8. Dr. Jekyll
(6:48)  9. How High the Moon
(7:03) 10. We'll Meet Under the Stars
(7:22) 11. New Journey

Sean Jones' recently released im.pro.vise - never before seen, on Mack Avenue Records, is a crisp suit of an album, cufflinks in the sleeves. The quartet of Jones on trumpet, Orrin Evans on piano, Luques Curtis on bass, and Obed Calvaire on drums create a sound that is built on a foundation that includes quite a few bricks from Miles' late-1960's period (as Jones' "ESP"-quoting solo on "Dark Times" can attest), it also builds on the sound of the Wynton Marsalis' 1980's output and the other Young Lions of the time (appropriate, given Jones' tenure with Marsalis in the Lincoln Center Jazz Orchestra). For a music that lives and dies by the drum, the presence of Obed Calvaire is always a good sign (see also: the SFJAZZ Collective and The Clayton Brothers, among others). Likewise, the presence of Christian McBride as one of the album's producers is a good sign, and portends the no-nonsense, good-feeling, straight-ahead jazz on im.pro.vise. 

Jones has been playing in groups with Orrin Evans at the keyboard since 2004's Eternal Journey, and with this quartet since 2006's Roots, and their time together definitely shows. From the opening duet between Jones' trumpet and Calvaire's drums on "60th & Broadway", the group works together to build a sound that is greater than the sum of its considerable parts. Each of the members of the quartet gets plenty of room to shine, with Jones and Evans taking memorable solos throughout the album. While there are no proper drum or bass solos on here, both Curtis and Calvaire get a chance to shine as well - Curtis' bassline notably driving "Dr. Jekyll" forward and Calvaire's drums getting a serious workout at the end of "New Journey". They play on seven originals from Jones, plus one from Evans ("Don't Fall off the L.E.J.", Jackie McLean's "Dr. Jekyll", the standard "How High The Moon", and Stephen Sondheim's "Not While I'm Around" (here as a duet between Jones and Evans). 

And while the quartet is definitely playing straight-ahead jazz, that's not to say there aren't some very modern elements in here - check out the end of "Don't Fall off the L.E.J." or the clipped trumpet on the introduction to "How High The Moon". The music on im.pro.vise won't change the way jazz is played or define a new sub-genre, but it also won't be leaving my CD player for some time. This album makes a very strong argument that nothing else is needed when the feeling is right and the music is this strong - no overdubs or other studio production, no electronic instruments (not that there's any problem with any of that) - just great, straight-ahead jazz that continues to reveal new layers on each listen.  http://nextbop.com/blog/seanjonesimproviseneverbeforeseen

Personnel: Sean Jones (trumpet); Orrin Evans (piano); Obed Calvaire (drums); Luques Curtis (bass)

Im.pro.vise - Never Before Seen

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Mack Avenue Superband - Live From The Detroit Jazz Festival 2013

Bitrate: 320K/s
Time: 60:43
Size: 139.0 MB
Styles: Mainstream jazz
Year: 2013
Art: Front

[11:07] 1. Liberty Avenue Stroll
[ 7:24] 2. All Blues
[ 6:27] 3. Guantanamera
[11:36] 4. Breakthrough
[ 7:35] 5. Nuages
[ 7:07] 6. Oh Daddy Blues
[ 9:23] 7. Honky Tonk

Mack Avenue SuperBand’s Live From The Detroit Jazz Festival – 2013 documents a concert at the Motor City’s capacious Hart Plaza by an ensemble of leaders culled from Mack Avenue Records’ extraordinary artist roster. It’s the second configuration of the group, which debuted at the 2012 Detroit Jazz Festival, mixing veteran stars with mid-career leaders and up-and-comers. The resulting album, Live From The Detroit Jazz Festival – 2012, received critical kudos for the fiery chemistry and soloistic derring-do contained therein.

For the follow-up, Al Pryor, Mack Avenue’s Executive Vice President for A&R, assembled a slightly pared-down unit. Back for round two are vibraphonist Gary Burton, trumpeter Sean Jones, guitarist Evan Perri, and the rhythm section of pianist Aaron Diehl, bassist (and music director) Rodney Whitaker and drummer Carl Allen. Joining the mix are veteran soul/jazz saxophone giant Kirk Whalum and the sensational vibraphonist-marimbist, Warren Wolf. The results are no less scintillating—a program as cohesive and precise as a studio recording, but infused with energetic vibrations emanating from the several thousand hip, enthusiastic fans who attended the free concert.

Whitaker attributes the bandstand discipline and simpatico in part to his determination to follow collective, inclusive principles in organizing the program. “I solicited everyone’s input,” he says. “With artists at this level, you don’t need to dictate every moment. Sometimes it’s more important to listen and facilitate, and not always try to be the boss. When you have a conversation with everyone about what music we’re playing and the direction we want to go, everybody buys in, and they make it sound like a band. We put together a set list two months before the concert took place.”

Whitaker discerns several common denominators that promoted camaraderie. One is the role of gospel music in the musical development of Whalum, Jones, Wolf, Diehl, Allen and himself during formative years. “Everyone—not just those who grew up in church—tries to tell a story in the way they play, in the way they try to touch an audience and say something to them,” he says. “They put together their solos to get across a message that music is not just about notes, but has some greater meaning, whatever you may translate that to mean.”

(Carl Allen – drums 1, 2, 4, 7; Gary Burton – vibes 2, 7; Aaron Diehl – piano 1, 4-7; Kevin Eubanks – guitar 2, 7; Tia Fuller – alto sax 1, 4, 7; Sean Jones – trumpet 1, 4, 7; Cécile McLorin Salvant – vocals 6; Evan Perri – guitar 5, 7; Diego Rivera – tenor sax 7; Alfredo Rodríguez – piano 3; Rodney Whitaker – bass 1, 2, 4-7)

Live From The Detroit Jazz Festival

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