Ruby Braff, Scott Hamilton - For The Last Time

Album: For The Last Time Disc 1

Styles: Cornet And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:32
Size: 137,1 MB
Art: Front

(12:15)  1. Sometimes I'm Happy
( 4:57)  2. Why Shouldn't I'
(12:24)  3. Just You, Just Me
(15:58)  4. I Want a Little Girl
(13:56)  5. Rockin' Chair

Ruby Braff's discographer Thomas P. Hustad addresses the concern posed by this album in his liner notes when he speaks of the "trepidation" with which "we tend to approach any musician's final recording." Tenor saxophonist Scott Hamilton, whose contribution approaches Braff's own, had his own hesitations, based on his unhappy memories of the gig, at the Nairn Jazz Festival in Scotland, as Braff, suffering from the emphysema that would kill him six months later, required a fan on-stage to help his breathing. But Hamilton withdrew his objections when he actually heard the recording, which shows little evidence of the leader's infirmity. It gives plenty of evidence of a group of sympathetic musicians accustomed to playing together, taking their orders from Braff, who seems to call for the solos and also decide when they're finished.

Everybody in the six-piece band takes those solos, as the tunes extend out to ten or even 15 minutes each. Probably, that allows time for Braff to gather himself for his own playing, but when he steps in, he is his usual self, coming up with interesting variations on the melodies of familiar standards. The best moments, though, are when Braff and Hamilton, his longtime protégé, play together at the openings of such songs as "Dinah," "Yesterdays," and "The Man I Love," with Hamilton coming up with counter-melodies. At such times, this doesn't come off as Braff's last night on-stage; it seems like just another great show in a storied career. By William Ruhlmann https://www.allmusic.com/album/for-the-last-time-mw0000801881

Musicians: Ruby Braff-cornet, Scott Hamilton-tenor saxophone, Jon Wheatley-guitar, John Bunch-piano, Dave Green-bass, Steve Brown-drums

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Album: For The Last Time Disc 2

Time: 55:41

Size: 128,3 MB

(10:29)  1. Dinah

(13:08)  2. Yesterdays

(15:42)  3. The Man I Love

( 6:31)  4. The Man With a Horn

( 9:49)  5. Indiana

For The Last Time Disc 1, Disc 2

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Harry Allen Quartet - London Date

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 62:07
Size: 142,6 MB
Art: Front

( 7:56) 1. This is My Lucky Day
( 9:47) 2. a)A Time For Love...Mandel/Webster b)You Are There
(11:03) 3. June Song
( 9:35) 4. Where No Man Has Gone Before (Theme From Star Trek)
( 6:40) 5. Here's That Rainy Day
(10:02) 6. (Back Home Again in) Indiana
( 7:02) 7. Our Love is Here to Stay

'London Date' is a live recording of a quartet featuring the incredible US jazz saxophonist Harry Allen recorded at the Watermill Jazz Club with Italian pianist Andrea Pozza, gifted bassist Simon Woolf and ever popular drummer Steve Brown. Fans of the long lineage of the saxophone greats will not be disappointed. Harry Allen can be instantly lined up as a disciple of the late Stan Getz, but he has absorbed far more of the jazz saxophone tradition with elements of Hawkins, Webster, Zoot and Al, and elements from one of his teachers Scott Hamilton. However, Harry Allen's voice is very much his own and as fresh as any on the contemporary scene. With a formidable technique and searing sound Harry Allen continues the tradition of the great saxophonists before him. The material on the CD is a straight blowing set of jazz standards, a couple of great originals penned by Harry Allen and Judy Carmichael and the theme to Star Trek based on the standard "Out of Nowhere". https://www.amazon.co.uk/London-Date-Harry-Allen-Quartet/dp/B01BL3214W

Personnel: Harry Allen (tenor saxophone), Andrea Pozza (piano), Simon Woolf (double bass), Steve Brown (drums)

London Date

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Scott Hamilton Quartet & Harry Allen - Burghausen Jazz Festival 2007

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 88:47
Size: 205,4 MB
Art: Front

( 8:45) 1. Just You, Just Me
( 8:06) 2. Lonesome Road
( 9:18) 3. Cotton Tail
( 5:52) 4. Chelsea Bridge
( 8:43) 5. Sweet Georgia Brown
(10:06) 6. Did You Call Her Today
( 9:48) 7. Tickle Toe
( 7:02) 8. This Is All I Ask
(12:26) 9. Blues Up & Down
( 8:36) 10. Blue Caper

Scott Hamilton is the premier 'mainstream' saxophonist of today. Born in Providence, Rhode Island, in 1954, he came along at the time when the kind of jazz he loved-the small-group swing of such great stylists as Illinois Jacquet and Eddie Lockjaw Davis-was out of fashion, and largely out of the public ear. Scott's handsome sound and impeccable phrasing were a rare commodity among young jazzmen. So when he signed to Concord Records, and began making albums for label boss and mainstream advocate Carl Jefferson, it caused surprise and excitement among both devotees of the style, and in the wider musical world.

His first Concord set, [Scott Hamilton is A Good Wind Who IS Blowing Us No Ill] was made in 1977 and took it’s title from an admiring remark from veteran jazz critic Leonard Feather. But it became only the first in a long and memorable series of albums for the label, which now stretches to nearly 30 releases They feature Scoff's playing in all kinds of settings-with small groups, string orchestras, in partnership with such distinguished players as Ruby Braff and Dave McKenna, and in many other situations. The constant is Scoff's creative imagination and the beautiful, honeyed sound he gets out of the tenor saxophone.

While he acknowledges the sidelong influence of players such as John Coltrane, he continues to perform the music he loves, which first brought him into jazz - great ballads and blues, played from the heart, with the timeless virtues of swinging playing underscoring every phrase. A worldwide following of admirers wouldn't have it any other way. Long regarded a consummate interpreter of standards, Scoff Hamilton's big, warm tenor saxophone tone and unerring sense of swing have a way of making every tune he plays uniquely his own. For his latest Concord Jazz outing, Hamilton-with the help of his simpatico group featuring John Bunch (piano), Dave Green (bass), and Steve Brown (drums)-presents some of his very favorite tunes. Tunes which happen to have been penned by other great jazz players, including such legendary jazz musicians/composers as Dave Brubeck, Fats Waller, Illinois Jacquet, Benny Carter, and many others.
https://www.allaboutjazz.com/musicians/scott-hamilton

Gene Lees writes, "Stan Getz was once asked his idea of the perfect tenor saxophone soloist. His answer was, 'My technique, Al Cohn's ideas, and Zoot's time.' The fulfillment of that ideal may well be embodied in thirty-year-old Harry Allen."

BMG recording artist Harry Allen has over twenty recordings to his name. Three of Harry's CDs have won Gold Disc Awards from Japan's Swing Journal Magazine, and his CD Tenors Anyone? won both the Gold Disc Award and the New Star Award. His recordings have made the top ten list for favorite new releases in Swing Journal Magazine's reader's poll and Jazz Journal International's critic's poll for 1997, and Eu Nao Quero Dancar (I Won't Dance), the third Gold Disc Award winner, was voted second for album of the year for 1998 by Swing Journal Magazine‚s reader‚s poll.

Harry has performed at jazz festivals and clubs worldwide, frequently touring the United States, Europe, and the Far East. He has performed with Rosemary Clooney, Ray Brown, Hank Jones, Frank Wess, Flip Phillips, Scott Hamilton, Harry 'Sweets' Edison, Kenny Burrell, Herb Ellis, John Pizzarelli, Bucky Pizzarelli, Gus Johnson, Jeff Hamilton, Terry Gibbs, Warren Vache, and has recorded with Tony Bennett, Johnny Mandel, Ray Brown, Tommy Flanagan, James Taylor, Sheryl Crow, Kenny Barron, Dave McKenna, Dori Caymmi, Larry Goldings, George Mraz, Jake Hanna, and Al Foster, among others.

Harry is featured on many of John Pizzarelli's recordings including the soundtrack and an on-screen cameo in the feature film The Out of Towners starring Steve Martin and Goldie Hawn. He has also done a series of commercials for ESPN starring Robert Goulet.

Harry was born in Washington D.C. in 1966, and was raised in Los Angeles, CA and Burrillville, RI. He received a Bachelor of Arts degree in music in 1988 from Rutgers University in New Jersey, and currently resides in New York City.
https://www.allaboutjazz.com/musicians/harry-allen

Personnel: Scott Hamilton - tenor sax; Harry Allen - tenor sax; Olaf Polziehn - piano; Dave Green - bass; Steve Brown - drums

Burghausen Jazz Festival 2007

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Scott Hamilton Quartet - Dean Street Nights

Styles: Saxophone Jazz
Year: 2014
Time: 62:41
File: MP3 @ 320K/s
Size: 143,9 MB
Art: Front

( 7:41) 1. I Just Found Out About Love
( 8:52) 2. Sweet And Lovely
(13:12) 3. Jitterbug Waltz
( 5:20) 4. If I Had You
( 9:40) 5. Zoot's Blues
( 6:23) 6. Spring Can Really Hang You Up The Most
(11:29) 7. Cherokee

Tenor sax player Scott Hamilton performed his first gigs in the UK in 1978, following a much-heralded breakthrough in the States alongside Roy Eldridge and Benny Goodman. He was described as the saviour of mainstream jazz, a young fogey and a Ben Webster sound-alike. It soon became apparent that, while each of these statements had an element of truth, Hamilton was intent on forging his own way through the international jazz scene with an individual voice grounded in quality, consistency and swing.

Hamilton’s latest release, recorded at the Pizza Express Jazz Club, celebrates the 35th anniversary of his début appearance at the venue. The quartet has been touring in the UK and elsewhere since the turn of the millennium. Some of the relationships go back much further: John Pearce (whom I first saw with Hamilton beside Dick Morrissey in 1989) is a hugely experienced and enterprising pianist; bass legend Dave Green has worked with Hamilton on and off for at least 20 years, and the talented, brio-fuelled Steve Brown replaced the much-loved drummer Allan Ganley in 2000.

The opener, I Just Found out about Love, is relatively benign and gives little indication of what comes later. Sweet and Lovely arranged as a slowish samba includes a magnificent piano solo followed by a quietly arresting creation by the leader. You think you know what you’re going to get from Hamilton, but his work is full of surprises and rarely derivative. He prefers to improvise on the music at hand rather than throw in quotations at random and it’s easy to overlook the power that he generates.

Zoot’s Blues is a bright, jaunty tribute to one of Hamilton’s early influences, John Haley “Zoot” Sims. Its swagger is ideal for him and Pearce, whose skilful runs and beautiful chording maintain the momentum. Most revered for his ballad interpretations, Hamilton displays a fluffy and expressive vibrato on If I Had You and Spring Can Really Hang You Up The Most. They both contain well-executed work and beautiful flourishes, although they are arguably the least impressive selections in a varied and classy concert. Follow the link to read full review:

https://londonjazznews.com/2014/02/22/cd-review-scott-hamilton-quartet-dean-street-nights/

Personnel: Scott Hamilton - tenor sax; John Pearce - piano; Dave Green - bass; Steve Brown - drums

Dean Street Nights

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Nancy Kelly - Remembering Mark Murphy

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 51:06
Size: 117,4 MB
Art: Front

(5:39)  1. Empty Faces (Vera Cruz)
(5:09)  2. Song for the Geese
(5:03)  3. Again
(5:57)  4. I'm Glad There Is You
(4:18)  5. On the Red Clay
(4:45)  6. Night Mood (Lembra)
(4:50)  7. Stolen Moments
(6:38)  8. Body and Soul
(3:52)  9. Sunday in New York
(4:51) 10. This Could Be the Start of Something Big

"People often ask me who my favorite singer is, and my answer is always, without hesitation, Mark Murphy. He was “the real deal.” With Mark’s passing, I was moved to honor him musically with this recording.

I joined musical forces with pianist John DiMartino on this project. He too is a huge Mark Murphy fan and we are very excited to see this endeavor take on its own life. You certainly won't need to be a Mark fan to be moved by the music I’ve chosen for this recording.

Mark’s music went through many changes as he grew and matured. I've recorded the songs that most affected me over the years as an artist. These compositions nourished me and gave birth to my jazz soul.

Mark grew up in Fulton, NY, not far from Fair Haven NY, where I’ve been living for many years. After getting to know him on and off the bandstand, I was thrilled to find out he spent many summers with his family in Fair Haven and he adored Little Sodus Bay, which inspired him to write the lyrics to “Song for the Geese.” The song has a profound place in my heart. As I worked on developing this recording, I gazed out my window on the bay and drew love and inspiration.

Some cuts we chose are Mark Murphy classics. Randy Brecker joined us for Body and Soul, Red Clay and Vera Cruz, and as he did on Mark's original recordings of these tracks.

When John and I developed the material, we agreed to keep the integrity of some of these numbers while I joyfully took liberties with some of the others." (by Nancy Kelly)

Randy Brecker: "Nancy Kelly's tribute to Mark Murphy is wonderful remembrance and dedication to one of the jazz world's greatest vocalists. Each track brings something new to the table though...a heartfelt effort that I was proud to be a part of, having known/toured with Mark, and played on a couple of his albums."

Eric Cohen, Former WAER Music director and 2-time award winning programmer of the year says: " The CD is a Masterpiece "

Frank Wilner,  WNHN FM 94.7 Concord, NH: " You have a winner here, very classy recording"

Peter Jones, author of the 2018  Biography, This Is Hip: The Life of Mark Murphy had this to say about the CD.: "This hip and mellow album is far more than a tribute to the great Mark Murphy; it’s an outstanding contribution to vocal jazz in its own right. With her warm, sensuous voice, Nancy Kelly has recorded sleek contemporary interpretations of the songs that formed such an integral part of the Mark Murphy repertoire."

Scott Elias, Freelance Film Producer and President  at Random Acts Entertainment: " The charts are all cool, and your PHRASING just slays me!  It's like listening to Mark Murphy's hip kid sister, who is now a woman who shares his sensibilities, but has her OWN impeccable virtuosity and unique experiences to share."

Personnel:
Nancy Kelly, Vocals, Executive Producer
John DiMartino, Piano, Arranger and Producer
Randy Brecker, Trumpet, Flugelhorn, 1,5,8
Bobby Militello, Soprano, Alto, Flute, 1,4,5,6,7,8,9
Paul Bollenback,  Electric Guitar 3,6,9
Paul Meyers, Acoustic Guitar 1,2,
Ed Howard, Electric and Acoustic bass
Carmen Intorre Jr, Drums and Percussion
Peter Mack,  Co-Executive Producer. bass 10
Steve Brown guitar, conga.10

Remembering Mark Murphy

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Steve Brown, Ulf Bandgren - In To Norway

Bitrate: MP3@320K/s
Time: 59:33
Size: 136.3 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[4:04] 1. You Stepped Out Of A Dream
[5:37] 2. Voce Vai Ver (You Will See)
[4:50] 3. Con Alma
[4:11] 4. In To Norway
[4:58] 5. Angel Eyes
[5:29] 6. Have You Met Miss Jones
[5:39] 7. So Danco Samba
[6:02] 8. Five Roses
[4:21] 9. Just Friends
[5:07] 10. Black Eyes
[4:14] 11. Nascimento
[4:54] 12. Spring Ahead

This CD is the third in a series of Jazz Guitar Duo recordings that I have made on the Brown Cats Productions label. The first was with Portland, Oregon based John Stowell and is called “Cross Roads” (BC9503). The second was with my Argentinian friend now living in Madrid, Spain, Gullermo Bazzola and is called “Una Pequena Alegria” (BC 9508). Even though the format for all three CDs involves just two guitars, they are never the less quite different, due in many ways to the individuality of each player and the repertoire chosen to record. All the CDs were recorded “live” in the studio and did not include overdubs. We recorded as though we were playing a concert.

I first met Ulf Bandgren in Ithaca, New York, when he accompanied Hilde Brekke on one of her many visits from The University of Gothenburg to do advanced study in nutrition at Cornell University. During that visit and subsequent others, Ulf and I performed together as a duo and with various other sized groups. He invited me to Gothenburg where he teaches jazz guitar, to play concerts, even organizing a big band concert of my music with the students from the University. We also did a little tour of six concerts and traveled “into Norway” for a short visit.

The photo on the cover by Barbara Katz-Brown, was taken at Frognerparken, Oslo, Norway, and the sculptures were all part of the Vigeland installation. Gustav Vigeland lived between 1869 and 1943 and all of the pieces in the park were installed there between 1920 and 1943. It’s a must see when visiting Oslo! ~S. Brown

In To Norway mc
In To Norway zippy

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Scott Hamilton Quartet - Our Delight!

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 65:29
Size: 150,7 MB
Art: Front

(5:56)  1. Get Happy
(7:04)  2. Four
(5:27)  3. Lonely Moments
(6:59)  4. Serenade To Sweden
(6:12)  5. Our Delight
(6:53)  6. Change Partners
(7:05)  7. Tee Pee Time
(4:49)  8. Isfahan
(8:27)  9. Taking A Chance On Love
(6:33) 10. In Walked Bud

Scott Hamilton was born in 1954, in Providence, Rhode Island. During his early childhood he heard a lot of jazz through his father’s extensive record collection, and became acquainted with the jazz greats. He tried out several instruments, including drums at about the age of five, piano at six and mouth-organ. He had some clarinet lessons when he was about eight years of age, but that was the only formal music tuition he has ever had. Even at that age he was attracted to the sound of Johnny Hodges, but it was not until he was about sixteen that he started playing the saxophone seriously. From his playing mainly blues on mouth organ, his little band gradually became more of a jazz band. He moved to New York in 1976 at the age of twenty-two, and through Roy Eldridge, with whom he had played a year previously in Boston, got a six-week gig at Michael’s Pub. Roy also paved the way for him to work with Anita O’Day and Hank Jones. Although it was the tail-end of the of old New York scene, a lot of the greats were still playing and he got to work and learn from people like Eldridge, Illinois Jacquet, Vic Dickenson and Jo Jones. 

Eldridge was Scott’s champion, but pulled no punches, and could be extremely critical, something for which Scott has always been grateful. In December of the same year John Bunch got Scott his first recording date, for Famous Door, and was also responsible for him joining Benny Goodman. He continued to work with Goodman at different times until the early 1980s. In 1977 he formed his own quartet, which later became a quintet, with Bunch added to the group. The same year Carl Jefferson heard him, and began recording him for his Concord record label. More than forty albums later he is still recording for them, having made many under his own leadership, several with his regular British quartet of John Pearce, Dave Green and Steve Brown, including his latest, Nocturnes & Serenades. The Quartet plus two guests, Dave Cliff and Mark Nightingale recorded Our Delight! for Alan Barnes’ Woodville label. A new release, Across the Tracks on Concorde is due this May. Along the way he has made albums with Dave McKenna, Jake Hanna, Woody Herman, Tony Bennett, Gerry Mulligan, Flip Phillips, Maxine Sullivan, Buddy Tate, Warren Vache, many with Rosemary Clooney and a number with another of his mentors, Ruby Braff, with whom he played residencies at the Pizza Express Jazz Club, London in the mid-1980s. Over the years Scott has also performed and recorded with such touring bands as the Concord Jazz All Stars, the Concord Super Band and George Wein’s Newport Jazz Festival All Stars. For some years he was based in London, where he first played in 1978, but now travels the world from Italy. Each year, in addition to two or three residencies with the quartet at the Pizza Express Jazz Club, British jazz club dates and festival work including Brecon, where he is one of the patrons, he regularly tours Germany, the Netherlands, Scandinavia, Japan, Spain and Italy. He returns to America three or four times a year to play at festivals, including in 2007, the New York JVC festival in June and Irvine, California in September, and in February 2008 for three nights at the Lincoln Centre New York. His playing has best been described by fellow tenor saxophonist and writer, Dave Gelly: “Following a Scott Hamilton solo is like listening to a great conversationalist in full flow. First comes the voice, the inimitable, assured sound of his tenor saxophone, then the informal style and finally the amazing fluency and eloquent command of the jazz language.” Scott was awarded the ‘Ronnie’ for International Jazz Saxophonist of the Year in the 2007 inaugural Ronnie Scott’s Jazz Awards.  It is no wonder that Scott Hamilton is in demand the world over. (Brian Peerless) http://www.scotthamiltonsax.com/

Personnel:  Scott Hamilton (Tenor sax); Mark Nightingale (Trombone); John Pearce (Piano); Dave Cliff (Guitar); Dave Green (Bass); Steve Brown (Drums).

Our Delight!

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David Newton - Halfway To Dawn

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 60:37
Size: 139,1 MB
Art: Front

(7:16)  1. Dreamsville
(5:45)  2. I Wish
(6:48)  3. Halfway To Dawn
(5:24)  4. Tricotism
(4:16)  5. Scotch Blues
(7:13)  6. Bright New Day
(6:26)  7. Last Night When We Were Young
(7:43)  8. You Do Something to Me
(9:42)  9. Kiss and Tell

Born 2 February 1958, Glasgow, Scotland. As a child Newton took lessons on piano, clarinet and bassoon, but while studying at the Leeds College of Music he decided to concentrate on piano. After playing in various bands as a semi-pro, he secured his first professional engagement leading a trio at a restaurant in Bradford, Yorkshire, in 1978. Around this time Newton also played in numerous other bands, ranging musically from traditional jazz to funk, from strict-tempo dance bands to classical. In the early 80s he worked extensively in the theatre, especially with Scarborough-based playwright Alan Ayckbourn. Newton then returned to Scotland, and from a base in Edinburgh quickly established himself as a rising star of the jazz world. He played in backing groups for many visiting jazzmen, including Art Farmer, Bud Shank, Shorty Rogers and Nat Adderley. He also recorded with Buddy De Franco. 

By the late 80s he had settled in London, recording with Alan Barnes, the Jazz Renegades, Martin Taylor, with whom he toured India, and also playing club dates with Andy Cleyndert, Don Weller, Spike Robinson and others. At the end of the decade he became accompanist and musical director to Carol Kidd, recording with her and making numerous concert appearances. During the 90s, Newton worked to great effect with Clark Tracey and Tina May. An outstanding talent, Newton’s wide-ranging experience has ensured that he is at home in most musical settings. Despite his eclecticism he has developed a distinctive and distinguished personal style. ~ Bio  http://www.allmusic.com/artist/david-newton-mn0000810716/biography

Personnel: David Newton (piano), Matt Miles (bass), Steve Brown (drums)

Halfway To Dawn

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Nik Payton And Bob Wilber - Swinging The Changes

Styles: Clarinet And Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 68:39
Size: 157,7 MB
Art: Front

(6:06)  1. I Won't Dance
(3:56)  2. Swinging the Changes
(4:27)  3. If Only You Knew
(5:47)  4. I Believe in Miracles
(2:49)  5. Jasmine
(5:01)  6. No More Blues
(4:40)  7. You Are Too Beautiful
(4:07)  8. California Here I Come
(4:15)  9. Rabbit Jumped the Frog
(3:51) 10. Ode to Pug
(3:22) 11. Skybloo
(4:07) 12. Dialogue
(4:32) 13. JP's Tee
(3:43) 14. Scuttlebrook Bounce
(3:32) 15. The Sage
(4:16) 16. Circulatin' in C

The teaming of a young protégé and an experienced veteran is a combination rarely seen in other forms of music, but it happens frequently in jazz. Tenor saxophonist Nik Payton (not to be confused with trumpeter Nicholas Payton) is paired with his mentor and legendary saxophonist and clarinetist Bob Wilber for this set of swinging mainstream vintage jazz, standards, and a nice slice of originals written by the two. Recorded in England where Wilber has resided for decades, this program is a delightful document of music that is still as relevant and vibrant as any jazz project in recent years. It is made more vital by the youthful curiosity of the Ben Webster-influenced tenor of Payton, and the chuckling, vibrato-laced reeds of the ever masterful Wilber. 

One aspect of this recording that must be emphasized is that the participants like to change it up frequently, adding further to its listenability. Among the well-known standards, "I Won't Dance" sports a peppy tenor/soprano unison line, counterpoint, second line and pure, natural sound. During the whole of "I Believe in Miracles" you hear the robust trade-offs of the younger player's clarinet and Wilber's toothy and ribald soprano, with nice ideas swirling all around. "California Here I Come" is the hottest number, eschewing corn for hard swing with Payton's tenor opposite Wilber's clarinet. Of the seven pieces penned by Wilber, the title track holds an unusual harmonic motif made simple with his alto and Payton's tenor, "Skybloo" has both on clarinet in a well swing groove, and the similar instrumentation for "Dialogue" contrasts in mysterious and dark blue ways. 

Payton is a decent writer, contributing "J.P.'s Tee" in an homage to his clearly swinging dad in a tenor/soprano tandem, the cute alto/tenor challenge "Rabbit Jumped the Frog" for Johnny Hodges and Webster, and "The Sage," a delightfully sneaky and bouncy twin clarinet tribute to Wilber, the ultimate in pure jazz expressionism. In addition, check out their lone bossa Brazilian number (Payton lives in Brazil) "No More Blues," solo features including Payton's decidedly dry Webster-ish ballad "You Are Too Beautiful," and the wonderful Wilber stretching his legato alto during "Ode to Pug." Credit where credit is due goes to the fine pianist throughout the date Richard Busiakiewicz, a new name who should not remain that way for very long, and the veteran bassist Dave Green. Traditionalists will be hard pressed in resisting the temptations of this finely crafted jazz effort, one that deserves lots of attention and affection. ~ Michael G.Nastos   http://www.allmusic.com/album/swinging-the-changes-mw0000793872.

Personnel: Nik Payton (clarinet, tenor saxophone); Bob Wilber (clarinet, soprano saxophone, alto saxophone); Richard Busiakiewicz (piano); Dave Green (upright bass); Steve Brown (drums).

Swinging The Changes

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Scott Hamilton - Jazz Signatures

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 57:44
Size: 132,5 MB
Art: Front + Back

(5:05)  1. Raincheck
(7:04)  2. In Your Own Sweet Way
(7:36)  3. Jitterbug Waltz
(5:31)  4. If You Could See Me Now
(4:01)  5. Move
(5:43)  6. Byas a Drink
(6:05)  7. You Left Me All Alone
(5:46)  8. When Lights Are Low
(4:50)  9. Angel Face
(5:58) 10. John's Bunch

Continuing in his quarter-century tenure with Concord Records, Scott Hamilton is still finding fresh concepts for presenting his pre-bop tenor sax sound that went against the grain of the fusion groups when he first started recording. Taking his cue from masters like Ben Webster or Don Byas, rather than Wayne Shorter, Hamilton continued their pioneering tradition of the tenor sax as a voice-like instrument with universal emotional appeal. Hamilton pays tribute to those originators, who merged melodic urgency with emotional content, as well as to others who had the same effect in extending the vocabulary of jazz within boundaries accepted by the general public. His concept on Jazz Signatures is a simple one: recognizing through his own style the jazz artists who left their own mark on the genre, unobtrusively and yet indelibly. His choices are sometimes telling. Don Byas in particular is an insightful choice, Byas’ work inspiring other tenor players, even as he faded from public recognition after his move to Europe. Playing “Byas A Drink” with a light Latin-tinged approach, Hamilton stresses the richness of tone combined with the appeal of the improvisational lines. In addition, Hamilton goes against convention by recognizing Illinois Jacquet with a slower, evocative "You Left Me All Alone,” instead of the “signature” number, “Flying Home.” Pianists are included in Hamilton’s signatures as well, particularly Fats Waller, whose “Jitterbug Waltz” breezes along more aggressively and perhaps less unctuously than one would expect from the saxophonist.

 Dave Brubeck’s “In Your Own Sweet Way” proceeds with a light swing, Hamilton’s long tones stretching the phrasing from one chorus into the next as he lightly bends notes and adds swelling dynamics to a single note, similar to Stan Getz’s approach. And Billy Strayhorn is counted among the pianists. Hamilton animates “Raincheck” with an effortless and mature interpretation that has no need at all for gimmickry. Hank Jones’ “Angel Face” is more delicate, Hamilton’s full sound stressing the logic of its harmonic development, the meandering theme eventually weaving into a satisfying conclusion. But then the last track honors a pianist important to Hamilton’s career, John Bunch, who accompanies him throughout the album. The person who introduced Hamilton to Benny Goodman in the 1970’s, and who thus helped launch Hamilton’s career, Bunch has stayed in touch with the saxophonist through the years. Their relationship continues, as shown on Jazz Signatures, which they recorded last year in Wimbleton, England after a gig at London’s Pizza Express (where, by the way, Mose Allsoin recorded The Mose Chronicles, Vol. One. “John’s Bunch,” however, ends the project on a high note, its shuffle rhythm propelling the quartet into its controlled frenzy and then dramatically closing the CD with rolling chords, trills, growls and a blue note. ~ AAJ STAFF   http://www.allaboutjazz.com/php/article.php?id=7756#.U1LSXldSvro

Personnel: Scott Hamilton, tenor sax; John Bunch, piano; Dave Green, bass; Steve Brown, drums

Jazz Signatures

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Steve Brown Quartet - Live At The Carriage House Cafe

Size: 173,4 MB
Time: 74:51
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz: Hammond Organ
Art: Front

01. Waitin' For Walter (7:49)
02. Bossa Barbara (6:37)
03. The Next Step (6:47)
04. It's Nice To Be With You (8:51)
05. Del Sasser (Feat. Paul Merrill) (9:58)
06. Ithaca (4:17)
07. The Lick (6:01)
08. Mack The Knife (7:36)
09. Pablo (8:44)
10. Deep (8:06)

This CD was recorded on Thursday, October 4, 2012 at The Carriage House Cafe in Ithaca, New York, as part of a series of jazz concerts called "Jazz Spaces - Ithaca," organized by Paul Merrill in collaboration with Cornell University. The theme for the evening's concert was "Friends and Family" because with the exception of two of the tunes, all of the other music was either written by myself for members of my family and for good friends, or they were original pieces written by musician friends of mine.

The Steve Brown Quartet’s upcoming performance on October 4 at the Carriage House Café couldn’t have been better chosen as the second event for JazzSpacesIthaca, given the project’s goal of building community and energizing public spaces.

Brown recently retired after forty years as director and founder of jazz studies at Ithaca College. As an educator, Brown has played mentor to generations of local musicians, including Paul Merrill, Gussman Director of Cornell Jazz Ensembles, who will join the quartet on the trumpet for a few songs.

Brown’s credentials as a performer are equally strong. He has played with such greats as Jimmy Smith, Paquito D'Rivera, Chuck Mangione, Phil Woods, and Ray Charles. As a member of Chuck Israels' National Jazz Ensemble, Brown toured the United States and Europe many times.

In addition to Brown on the guitar, the Steve Brown Quartet includes Chris Persad, trumpet and flugelhorn, whose style was described by Lucid Culture as “glissando-drenched, bluesy.” Dino Losito, called “an inspired bopster” by John Gilbert in California Jazz Coast, will play the organ. Danny D’Imperio, whom Jack Bowers of All About Jazz praised as “first-class all the way,” will be on the drums.

Live At The Carriage House Cafe

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