Charles Sullivan - Genesis

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 40:08
Size: 92,0 MB
Art: Front

( 8:26) 1. Evening Song
( 5:55) 2. Good-Bye Sweet John (In Memory Of John Foster: Pianist)
( 3:43) 3. Field Holler
( 4:33) 4. Now I'll Sleep
(17:29) 5. Genesis

Trumpeter, flügelhornist, and composer Charles Sullivan pegged as a poor man's Lee Morgan or Woody Shaw toiled in many mainstream or progressive big bands of the 1970s, languishing in obscurity until breaking through with this, his debut as a leader. Using a spare, warm tone, Sullivan was a cool customer in the firestorm of progressive jazz and fusion of the day, adapting those idioms to his own brand of personalized jazz. Because of his many professional associations, he was able to employ true cream-of-the-crop musicians like pianists Stanley Cowell, Onaje Allan Gumbs, and Sharon Freeman, saxophonist Sonny Fortune, bassist Alex Blake, percussionist Lawrence Killian, and drummer Billy Hart to play his original compositions. Of the five selections, each has its own distinctive flair, taking from different modern jazz elements prevalent to the time frame while not stuck in a rut with any of them.

As the very first piece he ever wrote, "Evening Song" is compelling with its Latin beat and modal montuno piano where Sullivan takes an extended solo, with Cowell also featured before the trumpeter returns for more. A solemn duet with Gumbs for the late pianist John Foster on "Goodbye Sweet John" contrasts with the funky fusion tune "Field Holler," with Freeman's stabbing electric Fender Rhodes chord-driven lines, featuring Alphonse Mouzon's powerhouse drumming and the electric bass of Anthony Jackson, with a lyrical and basic Sullivan sounding influenced by James Brown.

The remainder of the recording is a twofold message of despair and renewal, as Dee Dee Bridgewater sings beautifully in the paradox song "Now I'll Sleep," about suicide, with the lyric that one might "choose to lose, afraid to love" with Sullivan's horn in way late. "Genesis" is a 17-plus-minute workout that rises from those sullen ashes with an Afro-modal stance similar to Frank Foster's Loud Minority of the same era. Cowell's piano and the impressive tandem of Sullivan and Fortune's fiery alto sax push the ensemble to the limits of African-American progressive jazz expressionism. This recording received a five-star rating in Down Beat magazine, and while there are too few Charles Sullivan recordings in the marketplace, it's well deserving of this accolade as one of the very best post-bop efforts of its decade, and now available on CD. By Michael G. Nastos https://www.allmusic.com/album/genesis-mw0001879323

Personnel: Charles Sullivan - trumpet; Sonny Fortune - alto saxophone; Stanley Cowell, Onaje Allan Gumbs - piano; Sharon Freeman - electric piano; Alex Blake - bass; Billy Hart - drums; Lawrence Killian - congas, percussion; Dee Dee Bridgewater - vocals

Genesis

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Roy Brooks and the Artistic Truth - Ethnic Expressions

Styles: Jazz, Post Bop
Year: 1973
File: MP3@320K/s
Time: 48:45
Size: 112,4 MB
Art: Front

(16:03)  1. M'Jumbe
( 8:13)  2. The Last Prophet
( 5:53)  3. The Smart Set
( 5:33)  4. Eboness
(13:00)  5. Eboness (Kwanza)

Ethnic Expressions by Roy Brooks & the Artistic Truth is one of two recordings drum master Roy Brooks cut for the tiny Afrocentric New York imprint Im-Hotep. Released in 1973, it has been one of the most sought-after "Holy Grail" recordings on the collector's market, with copies selling at auction for over $1,200. The reason is not merely its rarity, but the stellar quality of its music and the focus of its vision reinventing the unity of African-American self-determination through music. Recording at Small's Paradise in Harlem on the tenth anniversary of the assassination of John F. Kennedy, this large collective of musicians created a positive, musically sophisticated, emotionally powerful performance that epitomized 1970s jazz as it incorporated the free, progressive, and spiritual jazz elements of the 1960s in a setting that also included soul and blues expression. The personnel includes Brooks on drums and percussion; Olu Dara and Cecil Bridgewater on trumpets and flügelhorn; Hamiet Bluiett, Sonny Fortune, and John Stubblefield on saxophones, flute, and bass clarinets; pianists Joe Bonner (acoustic) and Hilton Ruiz (Rhodes); bassist Reggie Workman; and Richard Landrum and Lawrence Williams on African percussion. Vocalist Eddie Jefferson also appears on the "The Smart Set" and "Eboness," at his most expressive and soulful. The album's five tracks include two longer pieces in "M'Jumbe" (whose arrangement reflects the time Brooks spent with Charles Mingus a year earlier) and the closing "Eboness (Kwanza)," as well as three middle-length pieces  The 16-minute "M'Jumbe" begins in a free call and response between trumpet, percussion, and bowed bass, gradually adding more instruments until its groove emerges at two minutes and its melody unfolds near the three-minute mark. Even as the horn sections quote the theme, improvisation moves in and out, funky themes are introduced with another melodic statement, and brief moments of free playing slip through before formal solos are taken. 

The tune is always circular due to its impeccably preeminent rhythmic elements. "The Last Prophet" showcases the band's groove side with stellar piano work from Bonner and a horn section in full swagger. The interplay between Workman and Brooks is magical. Jefferson's hip R&B roots are brought into play on the finger-popping "The Smart Set" and his blues authority on "Eboness," with some deep soul work from Workman and Ruiz as well as a fine flute solo from Fortune. On "Eboness (Kwanza)," the vocalist referred to as "Black Rose" is Dee Dee Bridgewater. This is a bona fide jazz classic; its importance as an example of the best that jazz had to offer in the 1970s cannot be overstated. [Ethnic Expressions slipped out of print in 1975, and remained out of print until Japan's P-Vine made it available for a limited time on CD in 2009. In 2010, however, Great Britain's Jazzman was able to license and reissue it on both CD and LP, making it widely available and affordable worldwide.] ~ Thom Jurek https://www.allmusic.com/album/ethnic-expressions-mw0001746882

Personnel:  Roy Brooks – drums & various percussion instruments;  Olu Dara – trumpet & E-flat horn;  Hamiet Bluiett – baritone sax & clarinet;  Reggie Workman - bass;  Joseph Bonner - piano; Black Rose – ethnic expressionist;  Eddie Jefferson – vocalist;  Cecil Bridgewater – trumpet & flugelhorn;  Sonny Fortune – alto sax & flute;  John Stubblefield – tenor sax, flute & bass clarinet; Hilton Ruiz – piano (Fender Rhodes);    Richard Landrum – African percussion;  Lawrence Williams – African percussion

Ethnic Expressions

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Roy Brooks & the Artistic Truth - Black Survival

Styles: Jazz, Post Bop
Year: 1973
File: MP3@320K/s
Time: 29:13
Size: 67,1 MB
Art: Front

( 5:04)  1. Black Survival
( 4:09)  2. Black Survival - Here and Now
( 7:30)  3. Sahel
(10:15)  4. Relief
( 2:15)  5. Black Survival - Prologue

"Roy Brooks and the Artistic Truth's Black Survival album is a true holy-grail for deep and spritual jazz collectors around the world. Black Survival is reissued here, digitally remastered and cased in bespoke original artwork exact reproduction on hardboard Japanese-style box case CD. This album was originally independently released to raise funds to combat the ongoing drought in the Sahel region of Africa (an area covering parts of Senegal, Mali, Burkina Faso, Nigeria, Chad, Darfur, Sudan and Ethiopia). In his long and distinguished career, the legendary Detroit-born drummer Brooks played with everyone from Yusef Lateef, Pharoah Sanders, Max Roach, Charles Mingus. From 1959-64 he was in the Horace Silver Quintet performing on classic Blue Note albums such as Song For My Father. During his lifetime Brooks released precious few solo albums. His debut, Beat, was released in 1963 on Motown's then new off-shoot jazz label Jazz Workshop. His connection with his hometown label dated back to his time working with The Four Tops. In 1972, Brooks formed the Artistic Truth. Black Survival, the Sahel Concert at the Town Hall was originally released on the small independent Im-Hotep Records in Harlem in 1974 (which also released Brook's earlier Ethnic Expressions). After many years on the New York jazz scene, Brooks returned to Detroit in 1975, where he continued to perform with the Artistic Truth as well as forming the collective Musicians United to Save Indigenous Culture (MUSIC) along with Strata founder Kenny Cox and members of the Tribe collective, Wendell Harrison and Harold McKinney."

Personnel:  Bass – Reggie Workman;  Congas – Lawrence Williams;  Drums – Roy Brooks;  Oboe – John Stubberfield;  Piano – Joe Bonner;  Saxophone – Sonny Fortune;  Trumpet – Cecil Bridgewater;  Vocals – Dee Dee Bridgewater, JorDora Marshall

Black Survival

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Elvin Jones - In Europe

Styles: Jazz, Post Bop
Year: 1991
File: MP3@320K/s
Time: 63:28
Size: 145,4 MB
Art: Front

(17:40)  1. Ray
(32:45)  2. Doll of the Bride
(13:02)  3. Island Birdie

Recorded live at a jazz festival in Germany, In Europe represents a typical Jazz Machine live performance, three selections from the group's regular repertoire where the musicians get plenty of room to stretch out, fueled by Jones' propulsive polyrhythms. "Ray-El," written by Elvin's brother Thad Jones, is a medium tempo blues number featuring a fine flute solo by Sonny Fortune. The traditional Japanese folk song "Doll of the Bride" is a 32 minute tour-de-force beginning with Fortune's flute and a long Jones drum solo using mallets, then moving into a Latin-ish vamp with excellent solos from Fortune on tenor sax and Willie Pickens on piano. "Island Birdie," written by McCoy Tyner, is a happy calypso reminiscent of "St. Thomas" with a nice turn on soprano sax by Ravi Coltrane, the son of Elvin's former employer John Coltrane, and bassist Chip Jackson. This was Jones' return to recording after a seven year hiatus. ~ Greg Turner https://www.allmusic.com/album/in-europe-mw0000678298

Personnel:  Elvin Jones - drums;  Sonny Fortune - tenor saxophone, flute;  Ravi Coltrane - tenor saxophone, soprano saxophone;  Willie Pickens - piano;  Chip Jackson - bass

In Europe

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Sonny Fortune - Serengeti Minstrel

Styles: Saxophone And Flute Jazz
Year: 1977
File: MP3@320K/s
Time: 41:38
Size: 96,2 MB
Art: Front

(5:43)  1. Bacchanal
(7:26)  2. The Afro-Americans
(6:50)  3. There’s Nothing Smart About Being Stupid
(5:55)  4. Not All Dreams Are Real
(6:16)  5. Never Again Is Such A Long Time
(9:23)  6. Serengeti Minstrel

A great one from Sonny Fortune  done with the fusiony sound he was working so well with at the time, and still filled with a tight conception and an incredible group of musicians who bring depth and deliver some really great solos! The title track is an incredible 10 minute cut that breaks into a beautiful modal groove about 4 minutes into it  and that groove is completely wonderful. It's far from the only high point of a set filled with them. Players include Kenny Barron on Fender Rhodes, Woody Shaw on coronet & flugelhorn, Gary King on bass, Jack DeJohnette on drums, Sammy Figueroa on congas, Rafael Cruz on percussion, and Sonny doing his thing on flute, piccolo and sax. Other tracks include "Bacchanal", "Never Again Is Such A Long Time", "There's Nothing Smart About Being Stupid" and "The Afro-Americans". (Cover has a cutout hole, a promo sticker, light wear, and a bit of stuck-on paper on back.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/8745

Personnel: Sonny Fortune – saxes, flute;  Woody Shaw – cornet, flugelhorn;  Kenny Barron – Fender Rhodes;  Gary King – electric bass; Jack DeJohnette - drums,  Horacee Arnold – drums, celesta, marimba, gong, handclap;  Sammy Figueroa - congas;  Rafael Cruz - percussion

Serengeti Minstrel

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McCoy Tyner - Sahara

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 47:57
Size: 110,8 MB
Art: Front

( 9:00)  1. Ebony Queen
( 4:48)  2. A Prayer for My Family
( 5:19)  3. Valley of Life
( 5:21)  4. Rebirth
(23:27)  5. Sahara

After the death of John Coltrane, his longtime pianist McCoy Tyner was in something of a musical quandary. Keeping up with his mentor through the incredible explorations of the early '60s, he seemed to have some difficulty navigating the even further out territories explored in the two or three years before Coltrane's death in 1967. His subsequent albums as a leader were solid, enjoyable efforts but seemed oddly retrograde, as though he needed time to settle back and re-digest the information handed down to him. With Sahara, Tyner found the precise perfect "middle ground" on which to stand, more structured than late Coltrane, but exploding with a ferocity and freedom of sound that made it simply one of the greatest jazz recordings of the decade. None of the other members of his quartet ever sounded so inspired, so liberated as they do here. Sonny Fortune threatens to tear the roof off the joint on more than one occasion, Calvin Hill is more than rock-solid on bass, his roots arcing deeply into the earth, and as for Alphonse Mouzon, well, no one familiar with his later vapid meanderings in fusion would begin to recognize him here, so incendiary is his playing. And Tyner develops so much pure energy, channeled with such pinpoint precision, that one worries about the physical stability of any piano under such an assault. From the extraordinarily intense "Ebony Queen" through the ruminative solo "A Prayer for My Family, the equally intense "Rebirth," and the concluding, side-long title track, there's not a misstep to be heard. "Sahara," over the course of its 23 minutes, covers vast ground, echoing the majesty and misery of the geographical area with percussion and flute interludes to some of Tyner's very best playing on record. Even something that could have resulted in a mere exercise in exotica, his koto performance on "Valley of Life," exudes both charm and commitment to the form. Tyner would go on to create several fine albums in the mid-'70s, but never again would he scale quite these heights. Sahara is an astonishingly good record and belongs in every jazz fan's collection. ~ Brian Olewnick https://www.allmusic.com/album/sahara-mw0000566101

Personnel: McCoy Tyner (piano, koto, flute, percussion); Sonny Fortune (soprano & alto saxophones, flute); Alphonse Mouzon (trumpet, reeds, drums, percussion); Calvin Hill (reeds, bass, percussion).

Sahara

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Various - Miles Espanol (2-Disc Set)

Conceived and Produced by Bob Belden, Miles Espanol is an amazing journey into the Spanish soul of Miles Davis---and beyond. In May of 2010, a group of Miles Davis alumni, New York's finest Latin Jazz players, and a contingent of exceptional Spanish flamenco musicians, gathered at Sear Sound Studios in Manhattan for an unprecedented recording event. MILES ESPANOL travels more deeply than ever before into the connective tissue between the jazz innovations of Miles Davis and the modern masters who performed in his bands; and the dramatic, romantic soul of Spanish, Latin and Moorish traditional and contemporary music.

Two CDs of material were recorded, blending two different categories of repertoire. New interpretations and arrangements of Miles classics from Sketches Of Spain (Concierto de Aranjuez, Saeta/Pan Piper Medley , Solea), Kind Of Blue (Flamenco Sketches), and Someday My Prince Will Come (Teo aka Teo/Neo.) New compositions by principals in the sessions Chick Corea, Jack DeJohnette, John Scofield, Gonzalo Rubalcaba, etc. that enhance and extend the musical concepts into the multicultural language of 21st Century Jazz.

THE PLAYERS: Chick Corea, Jack DeJohnette, John Scofield, Ron Carter, Sammy Figueroa, Sonny Fortune, Alex Acuña, Gonzalo Rubalcaba, Rabih Abu-Khalil, Chano Domínguez, Jorge Pardo, Carles Benavent, Eddie Gomez, Jerry Gonzalez, Cristina Pato, Jaco Abe, Edsel Gomez, Adam Rudolph, Brahim Fribgane, Edmar Castañeda, Niño Josele, Antonio Sanchez, John Benitez.

Album: Miles Espanol (Disc 1)
Bitrate: MP3@320K/s
Time: 55:43
Size: 127.6 MB
Styles: World jazz
Year: 2011
Art: Front

[ 9:26] 1. Rabih Abou Khalil, Edmar Castañeda & Alex Acuña - Concierto De Aranjuez
[10:03] 2. Chick Corea, Ron Carter, Antonio Sanchez & Jorge Pardo - Trampolin
[ 9:38] 3. Rabih Abou Khalil, Chano Domínguez & Alex Acuña - Just Three Miles
[ 4:51] 4. Niño Joseles & Jorge Pardo - Duende
[ 5:29] 5. Gonzalo Rubalcaba - Fantasia Por Miles Y Gil
[ 4:23] 6. Alex Acuña, Adam Rudolph & Niño Joseles - Broto Y Cayo
[ 4:06] 7. Edsel Gomez, Alex Acuña, John Benitez & Sammy Figueroa - Paisaje
[ 7:45] 8. Cristina Pato & Edmar Castañeda - Saeta Pan Piper

Miles Espanol (Disc 1)

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Album: Miles Espanol (Disc 2)
Bitrate: MP3@320K/s
Time: 58:32
Size: 134.0 MB
Styles: World jazz
Year: 2011
Art: Front

[10:25] 1. Jack Dejohnette, Chano Domínguez, Eddie Gomez & Jorge Pardo - Spantango
[ 7:10] 2. Sonny Fortune, Jerry Gonzalez, Chano Domínguez, Sammy Figueroa, Alex Acuña & John Benitez - Flamenco Sketches
[ 4:56] 3. Chick Corea, Carles Benavent, Jack Dejohnette & Niño Joseles - Tirititran
[ 7:01] 4. John Scofield, Chick Corea, Jack Dejohnette & Eddie Gomez - El Swing
[ 5:14] 5. Gonzalo Rubalcaba, Ron Carter & Alex Acuña - Momento
[ 8:59] 6. Edsel Gomez, Alex Acuña, John Benitez & Sammy Figueroa - Teo Neo
[ 7:31] 7. Niño Joseles & Chano Domínguez - Beautiful Love
[ 7:13] 8. Jaco Abel, Victor Prieto & Carles Benavent - Solea

Miles Espanol (Disc 2)

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Mal Waldron - Crowd Scene

Styles: Piano Jazz
Year: 1989
File: MP3@256K/s
Time: 52:17
Size: 96,0 MB
Art: Front

(26:50)  1. Crowd Scene
(25:26)  2. Yin and Yang

For this quintet session, Mal Waldron contributed two somewhat episodic originals (titled "Crowd Scene" and "Yin and Yang") that are used as the basis for extended improvisations by altoist Sonny Fortune, tenor-saxophonist Ricky Ford, bassist Reggie Workman, drummer Eddie Moore and the pianist/leader. Despite the obvious talents of these very individual players, there are some rambling moments on these lengthy performances, both of which clock in at over 25 minutes. Still, it is often fascinating to hear what the musicians come up with during these go-for-broke improvisations. ~ Scott Yanow http://www.allmusic.com/album/crowd-scene-mw0000092859

Personnel: Mal Waldron (piano); Sonny Fortune (alto saxophone); Ricky Ford (tenor saxophone); Eddie Moore (drums).

Crowd Scene

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Sonny Fortune - Awakening

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 44:00
Size: 100,9 MB
Art: Front

(11:12)  1. Triple Threat
(10:21)  2. Nommo
( 5:43)  3. Sunshower
( 3:15)  4. For Duke and Cannon
(13:27)  5. Awakening

Sonny Fortune's second LP as a leader is an adequate set of mostly straight-ahead jazz, which sets it apart from many of his fusion-venturing peers of the '70s. With a slate of expert, professional sidemen (Billy Hart, John Hicks, Reggie Workman, Charles Sullivan, etc), Awakening never amazes, but it also never disappoints. Fortune, as usual, offers several spirited solos, while his cohorts incessantly swing. Straight-ahead jazz fans will appreciate this yeoman set. ~ Vicent Thomas http://www.allmusic.com/album/awakening-mw0001880928

Personnel:  Sonny Fortune - alto saxophone, flute, cowbell, chimes, claves, shaker, percussion;  Charles Sullivan - trumpet, flugelhorn (tracks 1 & 5);  Kenny Barron - piano, electric piano (tracks 1-3 & 5);  John Hicks - piano (track 4);  Wayne Dockery (track 1 & 3-5), Reggie Workman (track 2) – bass;  Billy Hart (tracks 1-3 & 5), Chip Lyle (track 4) – drums;  Angel Allende - congas, percussion (tracks 2 & 5)

Awakening

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Sonny Fortune - Invitation

Styles: Saxophone And Flute Jazz
Year: 1987
File: MP3@320K/s
Time: 55:43
Size: 127,8 MB
Art: Front

( 6:50)  1. It's a Bird
( 8:16)  2. Space in Time
( 8:46)  3. Jamf
( 5:46)  4. 5/4 Train
(10:39)  5. Invitation
( 9:30)  6. Real Knowing
( 5:53)  7. Mr. P.C.

Philadelphia born reedman Sonny Fortune moved to New York in 1967 after playing with R & B bands in his home town. He appeared live and recorded with drummer Elvin Jones and subsequently Mongo Santamaria and pianist McCoy Turner. In 1974 he replaced David Liebman in Miles Davis' band, recording 4 albums with Miles in 1974/1975. Since then Fortune has had albums on Blue Note, A&M and Atlantic. This 1987 date featuring Renee Rosnes, Kenny Davis and Ronnie Burrage, was one of producer Masahiko Yuh's last dates for the Why Not label. ~ Editorial Reviews https://www.amazon.com/Invitation-Sonny-Fortune/dp/B0042OZDG6

Personnel: Renee Rosnes (piano); Ronnie Burrage (drums); Sonny Fortune (flute, alto saxophone).

Invitation

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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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Sonny Fortune - Four in One

Styles: Saxophone And Flute Jazz
Year: 1994
File: MP3@320K/s
Time: 60:12
Size: 138,2 MB
Art: Front

(6:05)  1. Four in One
(5:06)  2. Criss Cross
(6:47)  3. Reflections
(7:42)  4. Monk's Dream
(6:24)  5. Hornin' In
(4:02)  6. Coming on the Hudson
(5:40)  7. Trinkle Tinkle
(4:16)  8. Pannonica
(7:21)  9. Hackensack
(6:47) 10. Ask Me Now

After years of erratic albums (other than two obscure efforts for the European Konnex label), altoist Sonny Fortune finally made a great recording with this release. Most selections feature Fortune (who plays flute on "Pannonica") joined by pianist Kirk Lightsey, bassist Buster Williams, and drummer Billy Hart; "Reflections" is a duet with Lightsey. Fortune, who admitted that he had not been very familiar with Thelonious Monk's music until 1990, performs ten of Monk's more complex compositions, including "Criss Cross," "Trinkle Tinkle," and the beautiful "Ask Me Now." Fortune plays quite passionately and really digs into the material, creating one of the finest recordings of his career.~Scott Yanow http://www.allmusic.com/album/four-in-one-mw0000120964

Personnel: Sonny Fortune (alto saxophone, flute); Kirk Lightsey (piano), Buster Williams, Santi Debriano (bass); Billy Hart, Ronnie Burrage (drums).

Four in One

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Sonny Fortune - Last Night At Sweet Rhythm

Bitrate: MP3@320K/s
Time: 61:25
Size: 140.6 MB
Styles: Saxophone jazz
Year: 2009
Art: Front

[ 6:19] 1. It Ain't What It Was
[10:07] 2. The Blues Are Green
[ 6:45] 3. Never Again In Such A Long Time
[ 9:53] 4. In Waves Of Dreams
[ 7:29] 5. A Tribute To Holiday
[14:08] 6. The Joneses
[ 6:41] 7. Laying It Down

Sonny Fortune: alto and soprano saxophone, flute; Michael Cochrane: piano; David Williams: bass; Steve Johns: drums.

In January, 2010, Fortune released Last Night At Sweet Rhythm. Sadly, the title also signifies the end of this venerable Greenwich Village jazz club, originally incarnated as Sweet Basil back in the '80s. Fortune chose this final opportunity to record eight original compositions at one of his favorite performance venues.

On the opening "It Ain't What It Was," Fortune explodes on alto sax like a sprinter at the firing of the starter's pistol. But unlike sprinters, Fortune has both the juice and a rhythm section to push him into going the distance on this up-tempo burner. Fortune displays his compositional versatility on "Never Again Is Such A Long Time," an introspective, medium tempo ballad. Fortune, long recognized as a master of the flute, explores sensitive and vulnerable emotional territory, his compelling sound seemingly imploring his lover, "Don't leave!"

The band stretches out on "The Blues Are Green," as Fortune opens with a restrained statement of the melody on alto, before ascending on a relentless exploration of manic intensity. In support, pianist Michael Cochrane employs a McCoy Tyner-esque touch on the ivories, while David Williams' embraceable bass supplies the aural warmth that only flesh on string can yield. On "The Joneses," Fortune's unaccompanied flute establishes a Zen-like tranquility. Drummer Steve Johns' somber yet determined playing enhances Fortune's Eastern mood before a solo of his own takes the song—and the rest of the band—into a torrid blues. Fortune, again on alto, gets off a gritty, emotionally wrenching solo, before the song seamlessly concludes with Zen simplicity, just gentle flute and potent bass drum.

The Sonny Fortune Quartet's inspired performance not only reveals a multi-talented artist still at the top of his game more than four decades after his recording debut, but also bids an appropriate adieu to a night club that will be sorely missed on the New York jazz scene. ~Chuck Koton

Last Night At Sweet Rhythm

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McCoy Tyner - Song for My Lady

Styles: Piano Jazz
Year: 1972
File: MP3@320K/s
Time: 44:29
Size: 102,0 MB
Art: Front

(12:59)  1. Native Song
( 8:13)  2. The Night Has a Thousand Eyes
( 7:33)  3. Song for My Lady
( 4:29)  4. A Silent Tear
(11:13)  5. Essence

The early '70s were an exciting recording period for this artist, whose initial forays outside the classic quartet of John Coltrane were just a bit too mellow, as if he was thinking, "Whew! Now I can relax." This was one of several for the Milestone label that burned energetically, although in terms of the pianist's overall career this concentrated thrust of stamina was simply a passing phase. He is captured here a few years before he settled into elder statesman status and began barely breaking a sweat on-stage. The emphasis here is often on pure power, the presence of a non-funky Alphonze Mouzon on drums something of a signature in band attitude. 

The nimble and fleet Calvin Hill is on bass, and Sonny Fortune is present on reeds during a stint of several years with Tyner. What really makes the album special is the enlarged ensemble that creates two of the album's most extended tracks. "Native Song" and "Essence" add flugelhorn, violin, and conga, and the fine-tuning skill of Tyner the arranger becomes present, turning the lineup of three lead instruments into something nearly symphonic. Violinist Michael White is more than a bit overpowered by Tyner, as one would expect, but it is the opposite case in terms of fireworks between brass player Charles Tolliver and the boss. Tolliver fronted a band named Music Inc. during this period who also played hard, heavy, and unrelenting jazz, pianist Stanley Cowell coming on strong with many Tyner-ish-influenced moves. It is a great meeting of the minds, as two players with sympathetic approaches toward the post-Coltrane jazz language engage in high-powered dialogue.

The program is quite typical of some of Tyner's best albums for this label and Blue Note before that. All but one of the tracks are originals, featuring lovely melodies that either wash through a ballad mood or become anthems for rocket launchings, Mouzon splattering away on his cymbals like a happy child. The one standard, "The Night Has a Thousand Eyes," gets a liftoff worthy of Coltrane. This is quite a fine collection of tracks and one of Tyner's six best albums. ~ Eugene Chadbourne  http://www.allmusic.com/album/song-for-my-lady-mw0000198817

Personnel: McCoy Tyner (piano, percussion); Sonny Fortune (soprano & alto saxophones, flute); Charles Tolliver (flugelhorn); Michael White (violin); Calvin Hill (bass); Alphonse Mouzon (drums); Mtume (congas, percussion).

Song for My Lady

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Sonny Fortune - You and the Night and the Music

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 57:37
Size: 132,2 MB
Art: Front

(4:38)  1. Sweet Georgia Brown
(7:56)  2. You and the Night and the Music
(7:12)  3. Charade
(6:48)  4. 'Round Midnight
(6:37)  5. Besame Mucho
(6:05)  6. Love Song
(7:44)  7. The End of a Love Affair
(5:08)  8. For Duke and Cannon
(5:24)  9. BeBop

From the generation of post-bop saxophonists following in the shadow of John Coltrane, multi-instrumentalist Sonny Fortune comes closest to capturing Coltrane's spirit and intensity. Since the late 1960s, Fortune has made an indelible mark on jazz history, collaborating with Elvin Jones, McCoy Tyner, Miles Davis and Mongo Santamaria, among other luminaries. Despite his numerous side-man appearances and a fertile solo career, he remains a respected but unsung hero of the jazz cognoscenti. Dominated by standards and traditional tunes, You and the Night and the Music is a rarity in his oeuvre. The majority of Fortune's discography concentrates on his own compositions augmented with the occasional classic cover tune. Two Thelonious Monk tributes, Monk's Mood (Konnex, 1995) and Four In One (Blue Note, 1993), are the only sessions released under his own name where he isn't the primary writer.

Reveling in the tight-knit camaraderie of a veteran ensemble, his previous release, Continuum (Sound Reason, 2004), featured a similar line-up. Pianist George Cables, bassist Chip Jackson and drummer Steve Johns have all played with Fortune for well over a decade. With effusive commentary and attentive interaction, they revitalize these durable favorites with inspired verve and subtle twists.At age 68 Fortune shows no sign of losing steam. His tart alto tone and keening vibrato uncoil rapid-fire intervallic leaps and roiling cadences on a sweltering reading of "BeBop." Even the old chestnut, "Sweet Georgia Brown," is given a punchy reading as the quartet careens along with visceral ebullience.

Borrowing rhythmic traditions south of the border, the title track and "The End of a Love Affair" simmer over percolating Latin grooves. With winning invention, Henry Mancini's lilting "Charade" is given a noir-ish twist, transformed into a sultry escapade. Revealing a tender side, the leader's lyrical flute work on "'Round Midnight" and Cable's own "Love Song" attest to his melodic gifts. Demonstrating melodic maturity, deep-seated respect for tradition and an adventurous improvisational spirit, Fortune's tight-knit quartet re-envisions timeless standards as fertile launching pads for continued exploration. 

~ Troy Collins  http://www.allaboutjazz.com/you-and-the-night-and-the-music-sonny-fortune-18th-and-vine-review-by-troy-collins.php

Personnel: Sonny Fortune: alto saxophone, flute; George Cables: piano; Chip Jackson: double bass; Steve Johns: drums.

You and the Night and the Music

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Sonny Fortune - Waves of Dreams

Styles: Saxophone Jazz
Year: 1976
File: MP3@320K/s
Time: 40:13
Size: 92,2 MB
Art: Front

( 6:17)  1. Seeing Beyond the Obvious
( 7:22)  2. A Space in Time
( 6:39)  3. In Waves of Dreams
( 9:39)  4. Revelation
(10:15)  5. Thoughts

Considering his talent, this was a rather weak and overly commercial effort by the great altoist Sonny Fortune. On several of the numbers, Fortune is joined by some dated electronics; his playing on flute and soprano (during two of the five songs) is not on the same level as his alto, and the songs (four of which are his originals) are forgettable. 

The tricky time signatures and some of the solos are worthwhile (in the supporting cast are trumpeter Charles Sullivan and keyboardist Michael Cochrane), but the set overall is not the least bit memorable. Sonny Fortune eventually showed that he was capable of much better. ~ Scott Yanow  http://www.allmusic.com/album/waves-of-dreams-mw0000912637

Personnel:  Sonny Fortune - alto saxophone, soprano saxophone, flute, tambourine, synthesizer, shaker, percussion;  Charles Sullivan - trumpet, flugelhorn;  Michael Cochrane - piano, electric piano; Clifford Coulter – synthesizer;  Buster Williams – bass;  Chip Lyle – drums;  Angel Allende - congas, percussion

Waves of Dreams

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