Jay Ashby, Steve Davis - Mistaken Identity

Styles: Trombone Jazz
Year: 2011
Time: 59:24
File: MP3 @ 128K/s
Size: 55,9 MB
Art: Front

(5:33) 1. Mistaken Identity
(5:45) 2. Double Take
(5:27) 3. Chega De Saudade
(5:49) 4. Nina Never Knew
(7:28) 5. Choices
(4:23) 6. Tootin' for Toots
(5:36) 7. The Odd Couple
(7:48) 8. Spirit Waltz
(5:48) 9. Stable Mates
(5:43) 10. One For All

A New York Yankees fan and a Boston Red Sox fan make an odd couple on the bandstand. How do you get them to play nicely with others and how do you deal with the issue of two virtuoso jazz trombonists who are often mistaken for each other, even causing fellow jazz musicians to do the occasional double take? The answer to this little dilemma might find Jay Ashby and Steve Davis collaborating in a musical setting where one would be for the other, or one for all. That’s what you’ll hear on this CD, where orchestral tone, effortless three octave range, and gorgeous legato lines with saxophone-like speed are the standard on this most difficult of instruments. As an example, check out the stablemates on the smoking tootin’ for Toots. These two musicians have advanced the jazz trombone far into the 21st Century.

Special kudos to the dynamite rhythm sections on this CD! The impeccable drumming of Roger Humphries and Tom Wendt drive these tunes with both energy and control. Sparkling piano from David Bryant and stellar guitar work from Marty Ashby beautifully complement these tenor horns. Bassists Dwayne Dolphin and Brian Stahurski provide nonpareil foundations for this hour of swinging jazz. Enjoy! By Dr. David Beaudreau https://myiesstore.com/mcgjazz/product/jay-ashby-steve-davis-mistaken-identity/

Mistaken Identity

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One For All - The Third Decade

Styles: Jazz
Year: 2016
Time: 65:50
File: MP3 @ 320K/s
Size: 152,9 MB
Art: Front

(5:16) 1. Easy
(5:59) 2. Buddy's
(6:20) 3. It's Easy To Remember
(7:36) 4. Daylight
(5:33) 5. Ghost Ride
(7:11) 6. For Curtis
(4:32) 7. Ruth
(4:29) 8. Babataytay
(6:38) 9. K Ray
(6:21) 10. Frenzy
(5:49) 11. Hey, Stevie D

Hard to believe it will be twenty years ago next year that the hard bop ensemble One For All debuted with Too Soon To Tell on the fledgling Sharp Nine label. Formed as a group that regularly played together at an uptown Broadway club called Augie's, each member was just at the start of their own budding careers. Even today, it continues to be a surprise that these gentlemen still find the time to assemble for the occasional record date or live appearance.

Much has transpired since 1997. Augie's was transformed into Smoke, the club that continues to thrive and provides the imprimatur for the record label documenting the set at hand. Fifteen albums are to be found in the band's oeuvre, including four on Sharp Nine, five for Criss Cross Jazz, four for the Japanese Venus label, and two live concert recordings. Indeed on the cusp of starting their third decade together as a band, this fittingly titled set brings into focus all of the best qualities of these gentlemen, including their composing talents and singular musical voices. It also happens to be their first new release in five years.

The proceedings open with the Steve Davis original "Easy." Those crisp snare hits from drummer Joe Farnsworth announce that we are indeed in for a pleasurable ride. The warm timbre of the three-piece horn section is a trademark of this unit and it's all here to enjoy from the very first note. The tempo picks up with David Hazeltine's "Buddy," a tribute to his mentor and fellow pianist Buddy Montgomery. The sprightly bossa tempo brings some joyous shouting from trumpet ace Jim Rotondi.

Hazeltine is also responsible for the cheery arrangement of "It's Easy to Remember" and another tribute in the guise of "K-Ray." Dedicated to recently deceased drummer Killer Ray Appelton, this one is a brisk and swinging ditty that finds Farnsworth in all his glory. Particular attention should be paid to the sound the drummer achieves. His toms are tuned high and his ride cymbal has a nice, dry ping, all of which are individualistic and very pleasing. His solo statements are articulate and engaging and never wear out their welcome.

Both Davis' "Daylight" and Eric Alexander's "Frenzy" are ebullient numbers that bristle with excitement. The former speaks with a jaunty Latin-esque voice while the latter is straight ahead swing buoyed by John Webber's rock solid bass lines. For Rotondi's contributions, there's the 16th note groove of "For Curtis" and the long-lined "Ruth," both of which settle into a pleasurable platform for soloing. Although it goes without saying, both Davis and Rotondi are chock full of great ideas and say much over the course of their many solos.

Alexander, Davis, Hazeltine, and Rotondi have largely served as the band's main arrangers/writers over the course of the band's history. It is then a pleasure to find that this date marks the first time all six members contribute to the program. Webber's "Babataya" recalls some of the funky gems from the Blue Note era, such as Lee Morgan's "Party Time." Farnsworth's "Hey,Stevie-D" makes for a fine shuffle that puts Alexander in the mood to strut his stuff. And speaking of Alexander, his gorgeous ballad "Ghost Ride" serves as moment of calm in an otherwise pretty upbeat session.

Over the course of The Third Decade's eleven generous tracks, we get to hear a well-honed machine operating at peak power. Even though distances often keep these six gentlemen apart, one can only hope their new home at Smoke Sessions will provide for further releases and the we won't have to wait another five years before the next one.By C. Andrew Hovan
https://www.allaboutjazz.com/the-third-decade-one-for-all-smoke-sessions-records-review-by-c-andrew-hovan

Personnel: Jim Rotondi: trumpet & flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums

The Third Decade

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One for All - Big George

Styles: Straight-ahead/Mainstream
Year: 2024
Time: 59:17
File: MP3 @ 320K/s
Size: 136,7 MB
Art: Front

(6:59) 1. Chainsaw
(6:20) 2. In the Lead
(5:32) 3. Edgerly
(8:41) 4. Oscar Winner (feat. George Coleman)
(7:02) 5. My Foolish Heart (feat. George Coleman)
(6:39) 6. This I Dig of You (feat. George Coleman)
(6:08) 7. Cove Island Breeze (bonus track)
(5:53) 8. The Nearness of You (bonus track)
(5:59) 9. Leemo (bonus track)

The NYC-based ensemble One For All has carried the post bop mantle for over 25 years, featuring some of the most consistently solid musicians in recent memory: tenor saxophonist Eric Alexander, trumpeter Jim Rotondi, trombonist Steve Davis, pianist David Hazeltine, and drummer Joe Farnsworth, usually including bassist John Webber. A new album is always an event for the group’s longtime fans (like me), and I am happy to report that Smoke Sessions’ Big George, including the sax great George Coleman, finds them, and their guest, in good form.

Big George is meant as an homage to Coleman, who is often cited as a significant influence on a generation of players. Beloved among the NYC jazz clientele, the veteran saxophonist dominates the center portion of the new collection, including a terrific improvisation on the classic “My Foolish Heart,” which should be an early candidate for solo performance of the year.

As for the others, Rotondi’s appearance in the midst of a two-year recording splurge finds him as sharp as ever; Alexander, coming off an under-noticed alto excursion, holds tenor sway while respectfully stepping aside as Coleman demonstrates his lasting excellence; Davis continues his growth both in playing and composing; Hazeltine comps with the best and delivers tasteful solos that always mesh with the groove; and Farnsworth, especially, is energized and in his glory as a masterful support for people he clearly cherishes. Webber, as he has done in the past (notably during the band’s Criss Cross era) provides his own solid supportnothing fancy, but just right.

The album seems to be organized like a live event: the first three songs feature the classic ensemble; Coleman joins for three more; then the band closes out, nine selections in all lasting just under an hour.

Alexander’s “Chainsaw,” with a funky ambiance, sounds like a Lee Morgan outtake. Rotondi wastes little time reestablishing himself as a stalwart trumpet lead. Alexander and Davis follow with their own statements while Farnsworth embellishes the beat with Higgins-like precision.

Hazeltine’s “In the Lead” carries a soft Bossa cadence into a swinging post bop display led by Alexander. Again the remaining soloists add commentary while the energetic Farnsworth pounds away.

“Edgerly” is Davis’s composition and first lead solo, a lyrical statement matched by Rotondi’s response, Alexander’s relay run, and Hazeltine’s brief solo before Farnsworth bridges the proceedings.

Coleman is then called to the ‘stage’ for “Oscar Winner,” which became more appealing to me as a metaphoric representation of an actual award ceremony. The ensemble pronounces the theme music, and then Big George gives an acceptance speech when I imagined him being that winner, his solo took on a Clark Terry sheen as a colloquially grateful achiever. Davis then appears, perhaps, as the film producer, and the others as supporting cast.

But “My Foolish Heart” is the show stopper, even if the tune has been recorded over and over again. Coleman here channels another Coleman, Mr. Hawkins, starting low and soulfully advancing the melody before a solo lovingly supported by a well-recorded and mixed Hazeltine, Webber, and Farnsworth. The drummer’s affinity for tasteful support is noted as Coleman glides through his extended soliloquy.

Then, almost as an encore, Coleman pushes the proceedings on Hank Mobley’s “This I Dig of You,” leading with hard bop verve as the other horns provide a chorus. The 89-year-old’s inventive approach is impressive, as he punctuates his runs with high and low notes, seemingly challenging his partners to match him. Hazeltine takes the hint first, and an itchy Farnsworth follows before Coleman and Davis can’t help but join in.

The final three items are listed as “Bonus Tracks” on the Bandcamp site. Davis’s “Cave Island Breeze” swings as the title implies. Perhaps inspired by Coleman’s performance, Alexander soulfully leads a rendition of “The Nearness of You.” The finale “Leemo” is a blues treat composed by Rotondi that sounds like a twist on “Dat Dere.” Webber gets the lead before the ensemble settles into a pleasurable groove, and this reviewer thinks the producers faded the recording too early.

One For All has been together long enough to have its own ‘eras’. My favorite is the Criss Cross era, when the band, in my estimation, swung harder and dug a bit deeper. This new release on Smoke Sessions would fit into that zone; with Big George along for the ride, Big George the album is a welcome return to form by one of America’s finest music collaborations.
https://www.chicagojazz.com/post/jazz-review-big-george-one-for-all-by-jeff-cebulski

Personnel: Jim Rotondi, trumpet; Eric Alexander, tenor saxophone; Steve Davis, trombone; David Hazeltine, piano; John Webber, bass; Joe Farnsworth, drums; George Coleman, guest tenor saxophone

Big George

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Steve Davis & Larry Willis - Alone Together

Styles: Trombone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 68:42
Size: 157,7 MB
Art: Front

(6:32) 1. Milestones
(4:13) 2. My Foolish Heart
(9:50) 3. Surrey with the Fringe on Top
(8:54) 4. Alone Together
(5:24) 5. The Day You Said Goodbye
(8:22) 6. United
(8:30) 7. We'll Be Together Again
(7:44) 8. UMMG
(9:10) 9. Short Cake

Trombonist Steve Davis has been a veteran of the New York scene for many years. Hailing from Binghamton, New York, he quickly established a presence as one of the best trombonists in the area as a teenager. Upon his arrival in New York City in the mid-1980s, Davis' talents were noticed by such luminaries as drummer Art Blakey and saxophonist Jackie McLean. Davis' quartet release on Mapleshade, Alone Together , is a tip of the hat to his former boss a wonderful quartet featuring pianist Larry Willis, bassist Nat Reeves and drummer Eric McPherson, all McLean alumni.

The fact that all these men are veterans of McLean's combo gives this session the feeling of a working band, and everyone plays at a high level. Davis and Willis have a great rapport together, with Willis' voicings adding depth to Davis' lines. Larry Willis may perhaps be best known as the pianist in trumpeter Woody Shaw's classic group, and as one of the most sensitive and nuanced disciples of Herbie Hancock.

Willis begins the quartet's take on "Milestones with a lovely introduction before Davis enters with the familiar Miles Davis (by way of John Lewis) melody. The rhythmic feel throughout the piece is refreshingly buoyant as McPherson molds and shapes the time at the bridge, a la a young Tony Williams, allowing for strong statements from Willis and Davis. Willis also creates rhythmic interest behind the trombone solo by often going against the time for tension and release.

The next cut, the classic standard "My Foolish Heart, is taken as a duet. Willis' warm chords frame Davis' dark, burnished tone as he stays close to the melody. The title track is taken with a quasi-Latin/boogaloo eighth note feel. Davis bleeds soul out of his horn with Curtis Fuller-like intensity, while McPherson provides strong commentary on the skins throughout. Fuller's influence is further felt on "United, taken from Art Blakey's book. Davis provides slashing phrasing reminiscent of the elder trombonist on classic Blakey albums such as Free For All (Blue Note, 1964), as McPherson keeps a strong swinging pulse on this fairly straightforward Wayne Shorter composition.

As fine as the music is, the recording quality of this release, which is superb, deserves to be mentioned. The sound is dynamic and very much like a session at Rudy Van Gelder's original Hackensack living room studio combined with the intimacy of the many studio dates on Pablo. The recording is direct to two-track analog tape and minimally miked, capturing the nuances of Willis' piano, the woodiness of the bass, and all of the air control flowing through the trombone. Free of compression and other tweaks, this is how every new acoustic jazz album should sound. Overall, Steve Davis and his quartet have made an excellent album that is creative and soulful, sure to delight fans of the hard bop tradition. By CJ Shearn
https://www.allaboutjazz.com/alone-together-steve-davis-mapleshade-recordings-review-by-cj-shearn

Personnel: Steve Davis: trombone; Larry Willis: piano; Nat Reeves: bass; Eric McPherson: drums.

Alone Together

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Steve Davis - Dig Deep

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 60:30
Size: 140,3 MB
Art: Front

(5:46) 1. One For All
(6:54) 2. Dig Deep
(7:47) 3. Little Boy's Bossa
(6:26) 4. Blues Noble
(5:18) 5. Detour Ahead
(7:06) 6. I Should Care
(7:02) 7. Summertime
(7:04) 8. Payne's Window
(7:02) 9. Trippin'

Steve Davis, currently a member of the Jackie McLean Quintet, is one of the major new voices on the trombone. On this, his 2nd leader date for Criss Cross, he shines in the company of the friends he usually plays with: Eric Alexander, Jim Rotondi, David Hazeltine, Nat Reeves and Joe Farnsworth.
By Editorial Reviews https://www.amazon.com/Dig-Deep-Steve-Davis/dp/B0000020OO

Personnel: Trombone – Steve Davis; Saxophone – Eric Alexander; Trumpet, Flugelhorn – Jim Rotondi; Bass – Nat Reeves; Drums – Joe Farnsworth; Piano – David Hazeltine

Dig Deep

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Joe Beck & Ali Ryerson - Alto

Styles: Guitar and Flute Jazz
Year: 1997
File: MP3@320K/s
Time: 52:21
Size: 121,4 MB
Art: Front

(4:41)  1. Ode To Billy Joe
(3:13)  2. 'Round Midnight
(3:09)  3. Joy Spring
(4:11)  4. Mother's Day
(2:51)  5. Willow Weep For Me
(4:32)  6. Waiting Is The Hardest Part
(3:44)  7. Summertime
(4:51)  8. Scarborough Fair / Norwegian Wood
(3:32)  9. Autumn Leaves
(3:52) 10. Cuidado
(4:13) 11. Song For My Father
(2:59) 12. What Would I Do Without You?
(3:30) 13. Billie's Bounce
(2:55) 14. We Will Meet Again

After an initial listen to this CD I knew full well that I would thoroughly enjoy it, mainly because I am somewhat partial to great jazz guitar work, and this CD certainly has plenty of it. Coincidentally, I have the same last name as one of the featured artists, Joe Beck (no family ties). My first reaction is that Joe's approach to guitar playing reminds me a lot of Tuck (from Tuck and Patty). The music has a similar feel for me, except that Ali Ryerson plays an alto flute for the majority of the leads, whereas Patty provides leads with her exceptional vocals. Joe and Ali have demonstrated a remarkable ability to seamlessly integrate the sounds of an electric guitar with those of an alto flute. Steve Davis rounds out most all of the selections with judicious applications of a variety of percussion that fit so well as to go un-noticed unless you're really listening for them. Joe is able to tune his guitar so that he supplies not only the rhythms and some leads, but the base lines at the same time! This is one CD that I seem to be able to listen to and enjoy, no matter what mood I am in. Definitely a keeper! http://www.jazzreview.com/cd-reviews/contemporary-jazz-cd-reviews/alto-by-joe-beck-ali-ryerson.html

Personnel:  Joe Beck (Guitar); Ali Ryerson (Alto flute); Steve Davis (Percussion).

Alto

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Jim Rotondi - Excursions

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 61:31
Size: 142,7 MB
Art: Front

( 6:12) 1. Shortcake
( 7:19) 2. Little B's Poem
( 7:19) 3. Excursions
( 7:53) 4. What Is There To Say
( 7:25) 5. Angel Eyes
( 7:09) 6. Little Karin
( 7:57) 7. Jim's Waltz
(10:14) 8. Fried Pies

One of the next major talents yet to be discovered by the jazz public at large, trumpeter Jim Rotondi is a dynamo full of the kind of bristling trumpet fire that distinguished such predecessors as Freddie Hubbard and Woody Shaw. Over the course of his first two Criss Cross dates, Introducing Jim Rotondi and Jim’s Bop Rotondi proved that he was a capable mainstream player with great promise in terms of developing his own voice. Now with Excursions he goes to the head of the class with what has to be his finest work to date.

Leading what is essentially the cooperative One For All with drummer Kenny Washington spelling standby Joe Farnsworth at the drums, Rotondi works his way through a few standards and an original from his own pen, in addition to one apiece from Steve Davis and Eric Alexander. The title track is a solid standout, first heard on a Jackie McLean date featuring composer Davis. During the closing vamp, Rotondi quotes from “Pensativa,” further establishing the association with Hubbard. “What Is There To Say” is a mature ballad performance illuminating Rotondi’s burnished tone.

Hazeltine gets to strut his stuff with another one of his totally ingenious revamps. This time around he turns the usually delicate “Angel Eyes” into an active up-tempo romp that makes the most out of his voicings for the three-horn front line. Of course, Alexander is no slouch himself when it comes to the composition department. The sprightly “Jim’s Waltz” is of his invention and it has that beaming quality that marks his most blissful tunes, a repeated four-note vamp cunningly used to separate choruses Consistently stimulating, Excursions is yet another in a long line of significant Criss Cross sides and further testimony that the label indeed has something special in the guise of one Jim Rotondi.
By C.Andrew Hovan https://www.allaboutjazz.com/excursions-jim-rotondi-criss-cross-review-by-c-andrew-hovan#

Personnel: Jim Rotondi: Trumpet.

Excursions

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Willie Jones III - Don't Knock The Swing Vol 2

Styles:  Jazz, Hard Bop

Year: 2003

File: MP3@320K/s

Time: 42:36

Size: 97,9 MB

Art: Front

(5:57)  1. Air Tight

(6:11)  2. Jeni's Low Lie

(3:47)  3. For Someone So Beautiful

(7:02)  4. James Tune

(5:28)  5. The Search

(5:56)  6. Alejandra

(5:46)  7. Mix It Up

(2:25)  8. Early Morning (Before Dawn)

Drummer Willie Jones III is back with his second volume of stunning straight ahead jazz. This time around he's joined by pianist Eric Reed, bassist Gerald Cannon, tenor saxophonist Greg Tardy, trumpeter Roy Hargrove and trombonist Steve Davis. ~ Editorial Reviews  http://www.amazon.com/Vol-Dont-Knock-The-Swing/dp/B00009MGEL

Personnel: Willie Jones III (drums); Eric Reed, piano all tracks except 4; Gerald Cannon, Bass; Greg Tardy, Tenor Sax; Roy Hargrove, Trumpet on tracks 1, 4, and 8; Steve Davis, Trombone 1,2, 4 and 8

Don't Knock The Swing Vol 2

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Willie Jones III - Groundwork

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:43
Size: 98,4 MB
Art: Front

(4:41)  1. Git'cha Shout On
(6:10)  2. Hindsight
(6:48)  3. Dear Blue
(5:23)  4. Toku Do
(4:43)  5. Charity
(6:27)  6. Groundwork
(4:02)  7. New Boundary
(4:25)  8. Jamar

Drummer Willie Jones III is releasing a new album, Groundwork, dedicated to the late Cedar Walton, Ralph Penland, Mulgrew Miller and Dwayne Burno, influences on Jones who have passed in recent years. Jones’ sixth album as a leader and the 17th release on WJ3 Records, is now available on iTunes and Amazon.com and will be in stores on February 19. On Groundwork, according to a press release, Jones explores the works of Walton, his former bandleader; Penland, an early mentor; and Burno, Jones’ contemporary and former band mate. 

The album also includes original tunes by Buster Williams, Eric Reed and more. Musicians on the recording include Williams (bass) and Eddie Henderson (trumpet), Reed (piano), Warren Wolf (vibes) and Stacy Dillard (saxophones).  https://jazztimes.com/news/drummer-willie-jones-iii-dedicates-new-album-to-departed-influences/

Personnel:  Drums – Willie Jones III;  Bass – Buster Williams; Piano – Eric Reed; Tenor Saxophone – Stacy Dillard; Trombone – Steve Davis; Trumpet – Eddie Henderson; Vibraphone – Warren Wolf

Groundwork

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Steve Davis, Eric Alexander, Mike DiRubbo, Harold Mabern, Nat Reeves, Joe Farnsworth - Crossfire

Styles: Trombone Jazz, Post Bop
Year: 2009
File: MP3@320K/s
Time: 58:55
Size: 135,5 MB
Art: Front

(8:19) 1. Then and Now
(7:36) 2. From the Inside Out
(6:39) 3. Peacekeeper
(9:54) 4. Old Folks
(7:06) 5. Cousin Mary
(6:19) 6. Falling in Love with Love
(7:19) 7. This Nearly Was Mine
(5:39) 8. Con Alma

Steve Davis is one of the breed of young boppers whom have mastered the idiom. Here, the trombonist leads a group mostly culled from One for All, a conglomeration of extraordinary musicians who perform regularly together in the Big Apple. Veteran pianist Harold Mabern joins them, adding experience and depth. Davis plays a mean 'bone, strongly indebted to Curtis Fuller.

Like Fuller, he sticks to the middle range of the horn, boasts a somewhat nasal tone, and plays smoothly at almost any tempo. He is also a good, if cautious, composer. Tenor saxophonist Eric Alexander continues to grow both in stature and skill, and contributes solidly with strong solos. While there is nothing revolutionary or new in the group's playing, there is a strong sense of camaraderie and precision that lifts this performance to a higher level. By Steve Loewy https://www.allmusic.com/album/crossfire-mw0000600873

Musicians: Steve Davis – trombone; Eric Alexander – tenor sax; Mike DiRubbo – alto sax; Harold Mabern – piano; Nat Reeves – bass; Joe Farnsworth – drums

Crossfire

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One For All - The Long Haul

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2000
File: MP3@320K/s
Time: 66:24
Size: 152,3 MB
Art: Front

(12:10) 1. A Cry For Understanding
( 7:49) 2. The Long Haul
( 8:01) 3. Echoes In The Night
( 7:26) 4. The Poo
( 6:36) 5. The Good Life
( 7:29) 6. Stash
( 7:35) 7. Summer Nights
( 9:14) 8. Nothin' To It

Working within the broad parameters of hard-swinging, harmonically sophisticated small-band styles from the 40s, 50s, and 60s, the music of the sextetOne For Allalso reflects the experiences of the individual members outside of their cooperative band. An incomplete but telling list of leaders who have employed and influenced various members of the crew includes Cecil Payne, George Coleman, Art Blakey, Jackie McLean, Junior Cook, Slide Hampton, and Louis Hayes.

On The Long Haul, the band’s second release for Criss Criss (and fourth overall), they stake their claim to the tradition. The record comprises impressive material (six out of eight cuts were written by various band members) and arrangements, four primary soloists with something distinctive to say, and a rhythm section that responds to every exigency and shoots off sparks of its own. Most of all, aside from the skill and technique involved, the music possesses a fervency that is genuine: These guys love playing together and it shows.

The disc’s opening cut, “A Cry For Understanding,” composed by John Farnsworth, encompasses the band’s virtues. A slow, somber introduction convincingly executed by tenor saxophonist Eric Alexander and the rhythm section leads to all of the horns playing the theme at a brisk tempo. Alexander’s solo is a fine example of his continuing development. His full-bodied sound spreads out and takes up space without being overbearing, and he stays in absolute control while deliberately working through a variety of ideas that add up to a complete, satisfying whole. In comparison, trombonist Steve Davis’ approach is somewhat spare, skillfully playing off and interacting with pianist David Hazeltine’s chords and the snap of drummer Joe Farnsworth’s snare drum accents.

During a commanding, live wire turn, trumpeter Jim Rotondi frequently phrases on top the beat and occasionally takes brief, fruitful detours. In the unenviable position of following the three horns, Hazeltine, ever mindful of Farnsworth’s and bassist Ray Dummond’s pulse, at first seems casual and then gradually hardens his touch, becoming more expansive and forceful. Backed only by Farnsworth’s brushes, Drummond completes the cycle of solos, integrating a snippet of the song “Wade In The Water,” into a smart, efficient statement.

Alexander’s rollicking tune “Stash,” the band’s first venture into the time signature of 5/4, is another of the disc’s standout cuts. It moves forward in a nice, lopsided manner, with the horns brazenly stating the melody, then giving way to a string of compact solos. First up is Alexander, who is clearly inspired by the odd meter, starting off with short, soulful phrases. When Hazeltine and Farnsworth signal a change in emphasis, he takes off in a series of sprints which ends in barrage of overblowing. Rotondi burns through the rhythmic thicket with ease, making his lines rhyme with call and response patterns. Initially taking more care than usual in placing his notes and letting the rhythm section fill in space, Davis’ solo gradually gains footing while working against the weight of Hazeltine’s stabbing chords. Over Drummond and Hazeltine’s vamp, Farnsworth slyly mixes rhythms that alternately refer to the pulse and create unrelated waves of percussive sound.By David A. Orthmann https://www.allaboutjazz.com/the-long-haul-one-for-all-criss-cross-review-by-david-a-orthmann

Personnel: Eric Alexander - -tenor sax; Jim Rotondi - trumpet, flugelhorn; Steve Davis - trombone; David Hazeltine - piano; Ray Drummond - bass; Joe Farnsworth - drums.

The Long Haul

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One For All - Upward And Onward

Styles: Jazz, Post-Bop
Year: 2009
File: MP3@320K/s
Time: 65:16
Size: 150,1 MB
Art: Front

( 7:23) 1. D's Blues
( 7:05) 2. Perspective
(11:06) 3. We All Love Eddie Harris
( 5:55) 4. Epitome
( 4:39) 5. Just By Myself
(11:37) 6. John Coltrane
( 8:41) 7. Blues For Joe Don
( 8:47) 8. Upward And Onward

ONE FOR ALL, a cooperative sextet of some of the hot young players on the New York scene, present a swinging and soulfull performance in the hardbop tradition, but with evolving contemporary explorations that are indeed 'Upward and Onward'.

The group features crisp ensemble work and dynamic solo thrusts from young lions Eric Alexander, Jim Rotondi, Steve Davis and David Hazeltine backed by bassist Peter Washington and drummer Joe Farnsworth. All musicians of this group have recorded as leaders for Criss Cross on several occasions.

Personnel: Trumpet, Flugelhorn – Jim Rotondi; Trombone – Steve Davis; Tenor Saxophone – Eric Alexander; Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth

Upward And Onward

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Dizzy Gillespie All-Star Big Band - I'm BeBoppin' Too

Styles: Jazz, Big Band
Year: 2009
File: MP3@320K/s
Time: 68:16
Size: 157,1 MB
Art: Front

(2:37) 1. I'm BeBoppin' Too
(5:08) 2. Cool Breeze
(7:37) 3. Round Midnight
(5:38) 4. Manteca
(4:52) 5. Birks Works
(7:12) 6. If You Could See Me Now
(4:38) 7. Dizzy's Blues
(7:45) 8. Una Mas
(6:00) 9. I Can't Get Started
(4:55) 10. One Bass Hit
(6:19) 11. Tin Tin Deo
(5:30) 12. Lover Come Back To Me

Tribute bands are often bland affairs, because they become too predictable, while often omitting any artists who played with the deceased artist. Fortunately, this third CD by the Dizzy Gillespie All-Star Big Band mixes veterans who worked with the trumpeter and talented younger players who acquit themselves very well. Trombonist Slide Hampton contributed a fresh chart of Dizzy's "Manteca" that is a bit more introspective and less percussive and shouting, with potent solos by pianist Cyrus Chestnut. Tenor saxophonist Jimmy Heath scored the subtle, hip treatment of Kenny Dorham's "Una Mas," showcasing alto saxophonist Mark Gross, trombonist Douglas Purviance, and baritonist Gary Smulyan.

Vocalist Roberta Gambarini's solid performance of "'Round Midnight" (and Hampton's fresh arrangement) trump those who claim that this landmark Thelonious Monk composition is recorded all too often; there is always room for a top-notch recording such as this one. Gambarini also guests in Heath's setting of Tadd Dameron's bittersweet ballad "If You Could Seem Me Now" and Hampton's snappy setting of "Lover, Come Back to Me." Nor should the brass players be overlooked: Roy Hargrove's lush playing in "I Can't Get Started," plus his comic vocal in the jive piece "I'm BeBoppin' Too," are complemented by Greg Gisbert's searing trumpet and Michael Dease's brief, effective trombone solo. Recommended.~Ken Dryden https://www.allmusic.com/album/im-beboppin-too-mw0000820620

Personnel: Slide Hampton - musical director, trombone; James Moody - tenor sax, flute, vocals; Jimmy Heath - tenor sax; Antonio Hart - lead alto sax, flute; Gary Smulyan - baritone sax; Frank Greene - lead trumpet; Greg Gisbert - trumpet; Roy Hargrove - trumpet, vocals; Claudio Roditi - trumpet; Jason Jackson - lead trombone; Steve Davis - trombone; Michael Dease - trombone; Douglas Purviance - bass trombone; Cyrus Chestnut - piano; John Lee - bass, executive director; Lewis Nash - drums; Roberta Gambarini – vocals

I'm BeBoppin'Too

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Steve Davis - Bluesthetic

Styles: Trombone Jazz
File: MP3@320K/s
Time: 63:46
Size: 146,6 MB
Art: Front

(4:39) 1. Encouragement
(6:35) 2. Silver at Sundown
(6:25) 3. Maybe So
(6:47) 4. Bedford Strolle
(5:57) 5. Faraway Dream
(8:20) 6. They Wore 44
(7:30) 7. Off the Cuff
(5:22) 8. Indigo to Azure
(5:57) 9. Bluesthetic
(6:10) 10. A Star for Chick

Trombonist/composer Steve Davis has long been a first-call sideman. Chick Corea, as one example, tapped Davis for his revived Spanish Heart Band a couple of years ago. But, like the members of this esteemed sextet, Davis is a bandleader too, in his case with close to twenty-five albums under his name. On each of his three previous releases for Smoke Sessions Records, Davis assembled a stellar sextet with modern jazz’s most vaunted players. He repeats that here with Bluesthetic, but in an interesting way, shunning additional horn players on the front line, instead, he creates interesting harmonic possibilities with guitarist Peter Bernstein and vibraphonist Steve Nelson, a reunion of sorts as both appeared on his 1998 album Vibe Up! years. Rounding out his elite sextet is the formidable rhythm section of Geoffrey Keezer, bassist Christian McBride, and drummer Willie Jones III. All of these players had convened in various configurations over the past three decades.

The ten Davis originals each bear a story of their own. The breezy “Encouragement” hails the emergence of the pandemic with an uplifting melody. “Silver at Sundown” is dedicated as you may guess to Horace Silver and may not guess the Hartford jazz community from which Davis emerged under the mentorship of many, most notably Jackie McLean, whose lines course through the previous tune. In the liners, Davis references Silver’s trio playing in Hartford at The Sundown, a club where Silver led the house band in the early 1950s. It was there that Stan Getz saw Silver play and invited him on tour, a key moment in the pianist’s now-legendary career. Silver later recounted the story to Davis, who lived in Hartford for more than 25 years before moving to his current home in Stamford. “It’s a very cool piece of jazz history connected to a city that I spent a lot of time in,” Davis says.

The tune “Maybe So” comes from two words Davis uttered upon waking up. It glides along briskly with shimmering turns from each front liner as well as a pizzicato statement from the ever articulate McBride, who in turn engages his rhythm mates through a few choruses before Davis returns with the melody, passing the baton to Bernstein and Nelson in the hard-swinging beauty. Just three tracks in, Davis displays a remarkable sense of melody.

Commenting on the free-flowing, relaxed nature of the music McBride compares many of these compositions to those of pianist James Williams and Bobby Watson of Art Blakey’s Jazz Messengers because the compositions have the feeling of soul and R&B mixed with post-bop blues. Speaking of McBride his waling bass line is perfect for “Bedford Stroll,” named for the bustling street where he and his wife live in Stamford, CT, and where he often develops his melodic ideas on late night walks. Low tones from the trombone usher in “Faraway Dream,” another nocturnal one as if floating on Nelson’s resonant vibes and Bernstein’s ringing guitar, with Keezer sitting out and Jones whispering on brushes.

The aptly muscular “They Wore 44” draws on a passion for sports that Davis shares with McBride. The recent death of legendary right fielder Hank Aaron, who wore the number 44 during his long tenure with the. Davis, a die-hard Red Sox fan, would likely have loved to mention one from his team but none measure up to those listed above. It features featuring lively soloing, especially both Keezer and Nelson.

Bernstein carves out a bluesy solo and Willie Jones III creates a maelstrom on his kit. “Off the Cuff” is a spontaneous free-wheeling tune pulled together near the end of the session, features spirited soloing from each band member. The aching ballad “Indigo to Azure” explores the full spectrum of the blues, with some of the leader’s most sensitive and lyrical playing, matched by his band members led by Keezer’s elegant comping, Nelson’s inspiring notes, and subtle support from the rhythm tandem as Bernstein sits out.

The title track Bluesthetic captures a combination of the appreciation of artful beauty suggested by “aesthetic” combined with the foundational influence of the blues. Interestingly in the liners, he alludes to the first concert he ever saw – electric Muddy Waters at Tanglewood. Finally, and inevitably given the close association between Davis and Chick Corea, “A Star for Chick” bids the icon a warm farewell. Davis was initially tapped for a three-year stint in Corea’s band Origin in late 1997, then later took part in the keyboardist’s orchestral piece “The Continents” and his Grammy-winning, Latin-inspired Spanish Heart Band. He played with Corea for over twenty years and earned the nickname “Davissimo the Melody Man” from Corea. Davis certainly lives up to it in this well-constructed session.~Jim Hayneshttps://glidemagazine.com/275863/master-trombonist-steve-davis-assembles-remarkable-sextet-on-all-original-post-bop-bluesthetic-album-review/

Personnel: Steve Davis – trombone; Peter Bernstein – guitar; Steve Nelson – vibraphone; Geoffrey Keezer – piano; Christian McBride – bass; Willie Jones III – drums

Bluesthetic

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One For All - The End Of A Love Affair

Styles: Straight-ahead/Mainstream
Year: 2001
File: MP3@320K/s
Time: 58:31
Size: 134,3 MB
Art: Front

(7:35)  1. The End Of A Love Affair
(7:12)  2. Stolen Moments
(6:20)  3. Corcovado
(8:52)  4. How Are You?
(7:22)  5. Shinjuku Waltz
(6:05)  6. Skylark
(8:53)  7. The Eyes Have It
(6:10)  8. Street Of Dreams

Things just aren’t what they used to be and we’re not just talking about life these days post September 11th. From a jazz standpoint, the renaissance movement that was ushered in during the ‘80s seems to have run its course in many ways. The corporate pressures behind the major labels seem to be tightening their belts when it comes to jazz product. For so many years the reissue market alone was astounding and the ripple effect helped support contemporary rosters that are now getting smaller and smaller as the catalog boom seems to bottom out. All of this leads us to the disc at hand, which is presented by a group that seems to be beating the odds when it comes to the financial ups and downs of the current jazz scene. That One For All has remained a viable group since the mid-‘90s is remarkable enough in itself, let alone when you consider that each and every member of the group has any number of responsibilities as leaders of their own projects at any given time. Their first venture for the Japanese Venus label, The End of a Love Affair finds One For All in the kind of hard bop mode that the Japanese audiences embrace lock, stock, and barrel.

There’s even more of a focus on the type of standards that have not previously been explored by the group, namely “Skylark,” Jobim’s “Corcovado,” and Oliver Nelson’s “Stolen Moments.” Of course, what makes for an engaging listen is the manner in which the familiar becomes reborn and pianist David Hazeltine can take a lot of the credit for crafting arrangements chock-a-block full of altered chords and suspended rhythms that find new routes to well-known destinations.Three of the eight tunes on tap are originals and that’s where the sparks really start to fly. Hazeltine’s “How Are You?” grooves over a 12/8 Afro-Cuban feel that everyone navigates with ease, especially Steve Davis, who adds a smoldering solo that’s one of his best of the date. A rock solid support throughout, bassist Peter Washington steps up front for a harmonious statement that institutes the string of solos on Eric Alexander’s breezy “Shinjuku Waltz.” Then from the pen of Steve Davis, there’s the Blakey-inflected shuffle of “The Eyes Have It” (nice play on words, huh?), with combustible solo moments from Davis, Alexander and trumpeter Jim Rotondi. More detailed descriptions are really unnecessary for those familiar with the gentlemen that make up One For All; these guys have each developed their individual voices and are among the most in-demand musicians of the current set. And for the uninitiated, this set comes highly recommended as a consummate example of modern mainstream know-how. ~ C.Andrew Hovan  http://www.allaboutjazz.com/the-end-of-a-love-affair-one-for-all-review-by-c-andrew-hovan.php#.VD2A-RawTP8

Personnel: Eric Alexander (tenor saxophone), Jim Rotondi (trumpet), Steve Davis (trombone), David Hazeltine (piano), Peter Washington (bass), Joe Farnsworth (drums)

The End Of A Love Affair

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Vanessa Rubin - Girl Talk

Styles: Vocal Jazz
Year: 2001
File: MP3@320K/s
Time: 51:16
Size: 117,6 MB
Art: Front

(3:15)  1. Comes Love
(3:41)  2. Matchmaker, Matchmaker
(7:08)  3. Whatever Happens
(5:32)  4. But Not for Me
(7:51)  5. One for My Baby (And One More for the Road)
(4:25)  6. You'll Never Know (Until You Let Go)
(4:21)  7. Loving You
(4:34)  8. Girl Talk
(2:22)  9. Sex Is a Misdemeanor (The More You Miss de Meaner You Get)
(3:07) 10. Gee, Baby, Ain't I Good To You
(2:46) 11. Won't Have to Say Goodbye
(2:10) 12. If You Ever Go Away

This, Vanessa Rubin's second album for Telarc, is one of her best. The play list is varied and the arrangements allow plenty of room to strut her personality and versatility. There's a "that's all folks" scat coda on "Comes Love". "Matchmaker" is a swinging waltz with Eric Alexander's Coltrane influenced sax delving in and around the melody line. She dubs herself in as a backup vocalist on a having some fun "Sex Is a Misdemeanor (the More You Miss De Meaner You Get)" done with just Lewis Nash's drums helping out. Etta Jones guests with Rubin on a couple of tracks. Her Esther Phillips like nasal quality is put to good use on a "But Not for Me" which also features the tenor of Javon Jackson and the special piano of Cedar Walton. The two go to town on the blues classic, "Gee, Baby, Ain't I Good to You" ending with some jiving girl talk with each other. Jones also did a guest stint on Jeannie Bryson's latest release, Deja Blue. A premier track is the lovely lilting "Whatever Happens", a Vanessa Williams favorite.

Rubin caresses a ballad as well as anyone in the business.Rubin doesn't set the world on fire with this album, nor does it appear that her intention. Rather the album is a platform for Rubin's straight forward jazz singing where she recognizes that lyrics she can also be concerned with lyrics to earn the sobriquet "jazz singer." The voice doesn't always have to be just an instrument. Rubin's vocalizing meshes well with the instruments with words delivered with intelligent emotion. Telarc has surrounded her with top level support with the sidemen on this set befitting for a singing personage of Rubin's stature. It's a no brainer to highly recommend Girl Talk. ~ Dave Nathan  http://www.allaboutjazz.com/girl-talk-vanessa-rubin-telarc-records-review-by-dave-nathan.php

Personnel: Vanessa Rubin, Etta Jones - Vocals; Eric Alexander, Javon Jackson - Tenor Saxophone; Steve Davis - Trombone; Lewis Nash - Drums; Cedar Walton, Larry Willis - Piano; David Williams - Bass

Girl Talk

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Danny Grissett - Form

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 60:01
Size: 137,8 MB
Art: Front

( 9:22)  1. King Cobra
( 8:09)  2. Heard's Word
( 9:43)  3. Without You
( 7:44)  4. Let's Face the Music and Dance
( 7:40)  5. Distant
( 7:16)  6. Ugly Beauty
(10:03)  7. Are We There Yet?

A sparkling pianist as well as a fine budding composer, Danny Grissett's star has been on the rise lately and he's a favorite accompanist to a growing body of leaders including trumpeters Jim Rotondi, Jeremy Pelt, and Tom Harrell. He returns for his third Criss Cross release and moves past the trio format to feature tenor saxophonist Seamus Blake, trombonist Steve Davis and newcomer Ambrose Akinmusire on trumpet. Grissett puts his stamp on all the material including updates on Herbie Hancock's King Cobra, and Monk's Ugly Beauty. His originals are also cut from a regal cloth of originality, with bassist Vicente Archer and drummer Kendrick Scott responsive to the pianist's every move.https://www.cduniverse.com/productinfo.asp?pid=7908835&style=music

Personnel: Danny Grissett (piano); Seamus Blake (tenor saxophone); Ambrose Akinmusire (trumpet); Steve Davis (trombone); Vicente Archer (bass instrument); Kendrick Scott (drums).

Form

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One for All - Invades Vancouver!

Styles: Jazz, Straight-Ahead/Mainstream  
Year: 2010
File: MP3@320K/s
Time: 67:44
Size: 155,9 MB
Art: Front

( 8:32)  1. Big G
( 9:04)  2. Up the Middle
( 7:54)  3. Open and Shut
( 7:30)  4. Dear Ruth
(14:12)  5. Nemesis
( 9:27)  6. For Cedar
( 8:04)  7. Moments Notice
( 2:59)  8. Prime Time

While nominally a studio-only group of leaders, One for All here turn in a live set demonstrating that it's good for any band to get in front of people now and then. This by-now long-lived sextet (even the rotating bass chair seems to have settled with John Webber) has a very set idea of what it is as a traditional hard bop small-band jazz ensemble with three horns  saxophonist Eric Alexander, trumpeter Jim Rotondi, and trombonist Steve Davis and rhythm section with pianist David Hazeltine and drummer Joe Farnsworth joining Webber. The tunes are in standard form, with a head followed by several solos handed around the band. Thus, Rotondi's "Big G" opens things with successive Alexander, Davis, Rotondi, and Hazeltine showcases. Webber doesn't get his own solo until Alexander's "Open and Shut," following the saxophonist and Hazeltine. The group pays tribute to Cedar Walton on both his "Dear Ruth" and Hazeltine's "For Cedar," sandwiched around Alexander's lengthy "Nemesis," which allows plenty of room for Farnsworth to solo. Another primary influence is cited in John Coltrane's "Moments Notice," which is, in effect, the closer, since Farnsworth's brief "Prime Time" is the accompaniment to the band introductions. This is a democratic group that allows everybody a say, and they all prove themselves capable; that also means, however, that there isn't that much of a group identity. ~ William Ruhlmann http://www.allmusic.com/album/invades-vancouver%21-mw0002099466
 

Personnel:  Eric Alexander tenor saxophone, Jim Rotondi trumpet, Steve Davis trombone, David Hazeltine piano, John Webber bass, Joe Farnsworth drums

Invades Vancouver!

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Harold Mabern - Mabern Plays Mabern

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 69:53
Size: 160,4 MB
Art: Front

( 9:44)  1. Mr. Johnson
( 8:00)  2. The Iron Man
( 7:34)  3. Lover Man
(11:56)  4. The Lyrical Cole-Man
( 8:53)  5. Edward Lee
( 5:59)  6. It's Magic
( 7:34)  7. The Beehive
(10:09)  8. Rakin' and Scrapin'

A tad more subdued than the barn-burning The Iron Man: Live At Smoke (Smoke Sessions Records, 2019), Mabern Plays Mabern still manages to jump full throttle from where that defining recording left us, with a lush, lyrical intensity and a vital, legacy-culling energy which plays as an exquisite coda to the pianist's long, outstanding career.  Alive with the same stylist's intuition and unbridled spirit which found him cutting through the ranks with such contemporaries as Charles Lloyd and Steve Coleman, and had him sitting on many notable sessions with, among others, Lee Morgan, Freddie Hubbard, Archie Shepp and Sarah Vaughan, the 81-year-old gentleman bopper takes to the spotlight and the stage, and celebrates our common humanity joyously with a virile drive that will surely stun young lions half his age.

Riding rubato into his rollicking tribute to J.J. Johnson, stalwart saxophonist Eric Alexander launches into the first of many flights of high-stakes frenzy as Mabern comps raucously behind him, buoyed by long-standing bassist John Webber and drummer Joe Farnsworth on high heat. The guest addition of trombonistSteve Davis gives the performance added zest, to the great delight of the Smoke audience. Mabern and Alexander trade blows (and Farnsworth solos for all he is worth) on "The Lyrical Cole-Man" a fevered nod to Coleman, whom he remained close friends with till the end. 1968's "Rakin' and Scrapin" makes its second, though lengthier rock solid appearance in as many recordings. Mabern's big hands swing a lot like, well, the Mabern of '68. Webber and Farnsworth hold steady with a soulful groove as Alexander sails and wails along. "The Beehive" buzzes as Alexander and special guestVincent Herring's winding alto sax leap and bound, play tag, and fuel each other's performance. A fitting farewell, indeed. ~ Mike Jurkovic https://www.allaboutjazz.com/mabern-plays-mabern-harold-mabern-smoke-sessions-records

Personnel: Harold Mabern: piano; Eric Alexander: saxophone, tenor; John Webber: bass, acoustic; Joe Farnsworth: drums; Steve Davis: trombone; Vincent Herring: saxophone.

Mabern Plays Mabern

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One For All - Return of the Lineup

Styles: Jazz, Straight-Ahead/Mainstream
Year: 2009
File: MP3@320K/s
Time: 54:32
Size: 125,7 MB
Art: Front

(7:15)  1. Jackpipe
(6:38)  2. But Not For Me
(6:04)  3. Silver and Cedar
(6:37)  4. Treatise For Reedus
(6:02)  5. Dear Ruth
(7:22)  6. Forty-Four
(8:07)  7. Road to Marostica
(6:24)  8. Blues For JW

One for All is a band of New York-based veterans who've played with one another in various combinations, as well as making a number of CDs together under this name with little change in personnel, and of whom all but one are founding members. Featuring tenor saxophonist Eric Alexander, trombonist Steve Davis, and trumpeter Jim Rotondi in the front line, plus a rhythm section with pianist David Hazeltine, bassist John Webber, and drummer Joe Farnsworth. While each of them (save Webber) works and records often as an individual bandleader, there is an incredible blend of inspired solos, fresh compositions, and arrangements, along with a spirit of cooperation where no egos get in the way of great music. 

Hazeltine's peppy "Treatise for Reedus" is an uptempo salute to the talented drummer, who died suddenly at the premature age of only 49 a few days prior to this recording session. Alexander's Latin-flavored "Road to Marostica" features tight ensemble work and invigorating solos, while he was also responsible for the updated treatment of George Gershwin's "But Not for Me." This is a rewarding date by a sextet that is always ready to give their all. ~ Ken Dryden https://www.allmusic.com/album/return-of-the-lineup-mw0000814360

Personnel: Piano – David Hazeltine; Tenor Saxophone – Eric Alexander; Trombone – Steve Davis ; Trumpet, Flugelhorn – Jim Rotondi; Bass – John Webber; Drums – Joe Farnsworth

Return of the Lineup

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