Kenny Barron - Beyond This Place

Styles: Piano Jazz
Year: 2024
Time: 52:50
File: MP3 @ 320K/s
Size: 123,3 MB
Art: Front

(6:34) 1. The Nearness of You
(5:35) 2. Scratch
(8:18) 3. Innocence
(6:40) 4. Blues on Stratford Road
(5:36) 5. Tragic Magic
(5:05) 6. Beyond This Place
(3:15) 7. Softly As in a Morning Sunrise
(7:10) 8. Sunset
(4:33) 9. We See

If, like me, you think you’ve known the name Kenny Barron since your earliest childhood, it’s perfectly normal, because the pianist and composer, 13-time Grammy nominee, member of the DownBeat Hall of Fame, is arguably the greatest jazz pianist currently active, with a continued link to the golden age of mid-century jazz, celebrating his 80th birthday… and having associated with other jazz greats (Dizzy, James Moody, Stan Getz, Freddie Hubbard, Yusef Lateef), offering once again an album that is totally impeccable, if not grandiose. “Beyond This Place” presents a quintet featuring one of the most talented and synergistic groups Barron has ever led. An intergenerational ensemble, it includes his longtime rhythm section, bassist Kiyoshi Kitagawa and drummer Johnathan Blake, as well as the unparalleled vibraphonist Steve Nelson, who received one of his first recording mentions with Barron on the pianist’s 1982 LP “Golden Lotus”. Also on board is 26-year-old alto saxophonist Immanuel Wilkins, whose recordings as a leader for Blue Note, “The 7th Hand” and “Omega”, have earned him deep respect and renown among critics and dedicated jazz enthusiasts. The “quartet… has become a group against which members of the younger generation can compare their own ideas,” suggests The New York Times. Wilkins’ presence also serves as a reminder of Barron’s enduring commitment to mentoring in jazz, as an employer of young talent and celebrated music educator. Indeed, the list of Barron’s school alumni is impressive, including Terence Blanchard, Jon Batiste, Aaron Parks, and Gerald Clayton, among countless others.

Immanuel Wilkins, whom Bayou Blue Radio listeners know well through his personal albums as well as his performances on the albums of other great artists, is no stranger. And don’t for a moment imagine that Kenny Barron’s compositions are retro; the pianist offers us one of the most “trendy” albums of all time here. If you have his previous album “The Source” in mind, “Beyond This Place” will surprise you. The artists here present were not chosen at random, and one can feel the improvisational elements that have benefited this project. Kenny Barron’s musical vision is perpetually in search of renewal; his great quality is not to get lost in novelty but always to impress us with his rich and precise playing. “Beyond This Place” begins with a quartet rendition of the standard “The Nearness of You,” highlighting the timeless kinship between Barron and Wilkins two modernists both forward-thinking and respectful of jazz history, with impeccable technique. “Scratch” by Barron, which the composer presented as the title track of a trio recording in 1985 with Dave Holland and Daniel Humair, is a delightfully Monk-like theme attacked here with the energy of Parker/Roach. “Innocence,” a Barron composition that lent its title to his 1978 LP for Wolf Records, is an archetypal post-bop piece, with an elegant and dark theme and a slow burning tempo; later, Barron’s “Tragic Magic” is a livelier and bolder post-bop vehicle that pays homage to his piano hero Tommy Flanagan. Blake’s contribution, “Blues on Stratford Road,” is self-explanatory in the most satisfying way a durable hard bop from a corner bar in the vein of Blue Note. (Blake is actually a Blue Note recording artist as a leader, although his dates are more decidedly contemporary.)

What’s most impressive is the marriage between a form of jazz that has become relatively “classic” and this modernity and the language that ensues. This quintet is truly exciting, full of musical propositions that are evidently the result of collective work, each member listening to and reveling in the flourishes offered by the others. One can only hope that festivals will clamor for this quintet, which for us is as “essential and indispensable” as earth, wind, and fire (and there’s no allusion here to the funk group we adore).
https://www.paris-move.com/reviews/kenny-barron-beyond-this-place-eng-review/

Personnel: Kenny Barron (Piano); Immanuel Wilkins (Saxophone); Jonathan Blake (Drums); Kiyoshi Kitagawa (Bass); Steve Nelson (Vibraphone).

Beyond This Place

---

Mulgrew Miller - Wingspan

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 54:18
Size: 124,5 MB
Art: Front

(5:38)  1. Wingspan
(6:48)  2. One's Own Room
(6:08)  3. The Eleventh Hour - Early Take
(5:25)  4. I Remember You
(7:55)  5. Soul-Leo
(7:32)  6. You're That Dream
(7:15)  7. Sonhos Do Brasil (Dreams Of Brazil)
(7:33)  8. The Eleventh Hour - Later Take

A beautiful set from Mulgrew Miller one of his greatest albums as a leader, and exemplary of the kind of underground jazz that was still bubbling strong in the 80s! The set features Miller's quintet with Kenny Garrett on alto and flute, Steve Nelson on vibes, Charnett Moffett on bass, and Tony Reedus on drums led by Miller in a range of expressive styles carried off with effortless ease. There's some really nice numbers on here with a gentle and soulful groove mixing vibes, piano, and alto in wonderful shades of colors and tone. Titles include "Sonhos Do Brasil", "Wingspan", "One's Own Room", "The Eleventh Hour", and "Soul Leo".  © 1996-2019, Dusty Groove Inc.https://www.dustygroove.com/item/476436/Mulgrew-Miller:Wingspan

Personnel:  Mulgrew Miller – piano; Charnett Moffett – bass; Tony Reedus – drums; Rudy Bird – percussion (tracks: 2 5 7); Kenny Garrett – saxophone, flute; Steve Nelson – vibraphone

Wingspan

---

David Hazeltine - A World For Her

Styles: Piano Jazz
Year: 2009
File: MP3@320K/s
Time: 63:14
Size: 145,2 MB
Art: Front

(10:45) 1. My Foolish Heart
( 5:02) 2. This One's For Bud
( 9:52) 3. A World For Her
( 6:00) 4. Moment's Notice
( 8:58) 5. Soul Eyes
( 7:28) 6. Old Devil Moon
( 7:21) 7. What'll I Do
( 7:44) 8. Bitter Sweet

Pianist David Hazeltine is the leader of this straight-ahead quartet date, contributes two originals, and is in superior form, but tenor saxophonist Javon Jackson often steals the show. Jackson, who in other settings sometimes hints strongly at Joe Henderson, on this occasion looks more toward late-'50s John Coltrane, particularly on a beautifully interpreted version of "Soul Eyes" and Trane's "Moment's Notice."

Other highlights include an extended "My Foolish Heart," Hazeltine's rightfully boppish "This One's for Bud," and "What'll I Do." Hazeltine and Jackson are joined by bassist Peter Washington and either Louis Hayes or Joe Farnsworth on drums, with vibraphonist Steve Nelson making a guest appearance on "Old Devil Moon." The music is quite enjoyable and very well played, one of Javon Jackson's finest recordings and a superior outing for David Hazeltine. ~Scott Yanow https://www.allmusic.com/album/a-world-for-her-mw0000250980

Personnel: Piano – David Hazeltine; Bass – Peter Washington; Drums – Joe Farnsworth; Louis Hayes; Tenor Saxophone – Javon Jackson; Vibraphone – Steve Nelson

A World For Her

---

Naama Gheber - Dearly Beloved

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 58:15
Size: 133,7 MB
Art: Front

(3:34) 1. Dearly Beloved
(5:00) 2. So in Love
(2:36) 3. S Wonderful
(4:19) 4. Since I Fell for You
(5:00) 5. I Can't Give You Anything but Love
(4:02) 6. Get out of Town
(4:56) 7. This Time the Dream's on Me
(3:56) 8. You Stepped out of a Dream
(5:01) 9. What's New
(4:18) 10. Just Squeeze Me
(3:48) 11. Sometimes I'm Happy
(4:08) 12. Good Night My Love
(3:22) 13. Exactly Like You
(4:08) 14. Good Night My Love (Layla Tov)

Cabaret singer? Jazz singer? Pop singer?

The splendid debut from Israeli singer Naama Gheber recalls a time when such distinctions were utterly without meaning. "Dearly Beloved" finds her inhabiting the same territory as such classic crossover singers as June Christy, Peggy Lee and Lena Horne. Of course, for that generation, jazz WAS the popular music when they were coming up, and it underpinned and influenced the stage and film soundtracks of the day as well so there was a common musical currency.

For the 28-year-old Gheber, her approach was obviously more intentional than subconsciously ingrained. And yet, whatever her path, the result is remarkably organic: Possessed of a rich, beautiful tone, and relaxed and conversational in delivery, the performance is imbued with a joyful naturalness that makes it seem she's simply telling us a story.

The material certainly doesn't hurt: Gershwin, Porter, Kern, Ellington, Arlen. And she chose wisely: Time-burnished standards like "'S Wonderful" and "This Time The Dream's On Me" are interspersed with equally evocative but lesser-known tunes like the title track by Jerome Kern and Johnny Mercer, Cole Porter's "Get Out of Town," or "Sometimes I'm Happy" by Vincent Youmans and Irving Caesar. The backing band is equal to the material and to Gheber's singing.

Pianist Ray Gallon isn't a nationally prominent name but should be. His playing behind Gheber is simultaneously sparkling and complementary, recalling some of the great accompanists: the superb Paul Smith (Ella Fitzgerald), Bill Miller (Frank Sinatra), or Ralph Sharon (Tony Bennett). He'll comp softly behind Gheber or vibraphonist Steve Nelson so on-point that you barely realize he's there, but then his own solos and lead passages are brilliant riffs on the melodic theme that left this listener wondering where HIS debut as leader is? Nelson's vibes lend a supper-club sheen to an outing that is already dripping in elegance.

Bassist David Wong and drummer Aaron Kimmel cue off each other throughout, providing a supple, rippling undercurrent that is a study in understated but unmistakable swing it's the foundation for everything wonderful that happens here. Few singers ever achieve the sense of mastery Gheber exhibits on her first outing: Supremely confident, in control, unafraid to surround herself with the kind of talent that might intimidate a lesser singer. It is an exhilarating experience to listen to this new voice here's hoping this is only the beginning of a lifelong body of work. By Jim Trageser
https://www.allaboutjazz.com/dearly-beloved-naama-gheber-cellar-music__13581

Personnel: Naama Gheber: voice / vocals; Steve Nelson, vibraphone (tracks 1, 5, 8, 10, 12); Ray Gallon, piano; David Wong, bass; Aaron Kimmel, drums.

Dearly Beloved

---

Arkadia Jazz All-Stars - Thank You, Joe! (Our Tribute to Joe Henderson)

Styles: Jazz Contemporary
Year: 2000
File: MP3@320K/s
Time: 55:56
Size: 129,2 MB
Art: Front

(6:20) 1. Mamacita
(4:16) 2. Isfahan
(6:26) 3. Gazelle
(7:12) 4. The Kicker
(6:28) 5. Ask Me Now
(6:01) 6. Recorda Me
(3:53) 7. Isotope
(8:38) 8. Inner Urge
(6:38) 9. Granted

This 2000 release titled Thank You, Joe! Our Tribute to Joe Henderson represents Arkadia's fourth in a series of "tributes" to jazz artists who have made a conspicuous difference to this constantly evolving musical art form. On this recording, seasoned veterans such as trumpeter Randy Brecker and pianist Joanne Brackeen coalesce with some of the more prominent stars to emerge out of the '80s and '90s jazz scene for a hearty tribute to the great saxophonist Joe Henderson.

While Joe Henderson rose through the ranks during the '60s he did not enjoy the fame and success that several of his peers were receiving, yet Henderson gradually emerged as a gifted stylist who melded a silken, atmospheric tone with distinctive and altogether enviable chops. Additionally, the saxophonist has garnered a reputation as a shrewd and rather prolific composer. Here, the music of Joe Henderson serves as the framework for this upbeat and smartly produced set featuring some of the artist's more recognizable compositions. With the bossa nova-tinged "Mamacita," pianist Eric Reed, trumpeters Randy Brecker and Terrell Stafford, and tenor saxophonist Javon Jackson pursue poetic lyricism and impassioned soloing while Brecker and Stafford alternate and trade vicious fours on the bop burner, "The Kicker." Overall, the musicians engage Henderson's aura with bold enthusiasm and conviction as they eternalize the saxophonist's significance via strong soloing and finely crafted arrangements that sustain interest throughout~Glenn Astaritahttps://www.allmusic.com/album/thank-you-joe%21-our-tribute-to-joe-henderson-mw0000067831

Personnel: Eric Reed-piano, Javon Jackson-tenor sax, Randy Brecker-trumpet, Carl Allen-drums, Steve Nelson-vibraphone, Terrell Stafford-trumpet, Renato Thoms-percussion, Rodney Whitaker-bass, Carl Allen-drums

Thank You, Joe!(Our Tribute to Joe Henderson)

---

Kevin Hays - 7th Sense

Styles: Piano Jazz
Year: 1994
File: MP3@320K/s
Time: 63:55
Size: 147,2 MB
Art: Front

(5:50)  1. Take The D Flat Train
(6:57)  2. Seventh Sense
(7:13)  3. Three Pillars
(8:24)  4. My Man's Gone Now
(5:47)  5. Interlude
(7:08)  6. Space Acres
(5:06)  7. Little B's Poem
(7:57)  8. East Of The Sun
(4:33)  9. Makyo
(4:57) 10. Black Narcissus

Pianist Kevin Hays' style mixes together the influences of Bill Evans and McCoy Tyner and he helps define the modern mainstream on this Blue Note disc. The quintet set also features plenty of solo space from vibraphonist Steve Nelson and the excellent tenorman Seamus Blake. 

Opening with three Hays originals and also including Hindermith's "Interlude" (which finds the group sounding a little like the Modern Jazz Quartet) and such standards as "My Man's Gone Now" and "East of the Sun," the music pays tribute to the past without becoming predictable or overly derivative. It's a fine release. ~ Scott Yanow https://www.allmusic.com/album/seventh-sense-mw0000114092

Personnel: Kevin Hays - piano;  Seamus Blake - tenor saxophone; Steve Nelson - vibraphone; Doug Weiss - bass; Brian Blade -drums

7th Sense

---

Donald Brown - Fast Forward to the Past

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 71:19
Size: 164,3 MB
Art: Front

(9:25)  1. Eminence
(6:39)  2. Skatterbrain
(7:09)  3. Carter Country
(7:13)  4. The Thing About George Coleman
(5:22)  5. Skain's Domain
(8:04)  6. Gazelle
(4:58)  7. Vera Cruz
(6:35)  8. Never In My Wildest Dream
(8:50)  9. Where Pelicans Fly
(6:59) 10. Don't Forget to Tell Her You Love Her

A fine pianist and educator, Donald Brown has also been a prolific composer. He grew up in Memphis and actually started out on drums and trumpet. By the time he attended Memphis State University (1972-1975), he was playing jazz piano. After years of local work, Brown replaced James Williams with the Jazz Messengers (1981-1982). He went on to teach at Berklee (1983-1985) and the University of Tennessee (starting in 1988), recorded albums as a leader for Sunnyside and Muse, and had his compositions performed and recorded by a wide variety of top modern jazz players. ~ Scott Yanow https://www.allmusic.com/artist/donald-brown-mn0000180014/biography

Personnel:  Piano – Donald Brown; Acoustic Guitar, Electric Guitar – Mark Bolling; Bass – Essiet Essiet, Robert Hurst; Drums – Eric Harland; Electric Guitar – Lionel Loueke; Flute, Alto Saxophone, Soprano Saxophone – Danny Walsh ; Soprano Saxophone, Tenor Saxophone – Jean Toussaint; Trumpet, Flugelhorn – Bill Mobley; Vibraphone – Steve Nelson

Fast Forward to the Past

---

Dave Holland Quintet - Points Of View

Styles: Jazz, Post Bop 
Year: 1998
File: MP3@320K/s
Time: 71:01
Size: 163,3 MB
Art: Front

( 9:18)  1. The Balance
(10:54)  2. Mr. B.
( 8:48)  3. Bedouin Trail
( 8:23)  4. Metamorphos
(10:12)  5. Ario
( 9:40)  6. Herbaceous
( 6:53)  7. The Benevolent One
( 6:49)  8. Serenade

The eight compositions which make up Points of View are so varied that this in itself becomes a hallmark of Dave Holland's style here. Consistency instead comes from the interaction of the players, whom Holland's arrangements give ensemble roles during each other's solos; from the unusual instrumentation, used both for frank exoticism ("Bedouin Trail", "Serenade") and to leaven more traditional compositions with surprise. The soloists are imaginative, and swinging on those tunes where swing is part of the picture. Holland and Kilson power the ensemble, Holland with his rich tone, Kilson with clarity and a fine percussionist's melodic sense, both with impeccable time."The balance" seemingly begins with the sound of a bass tuning, as if for a live date, with the other players joining in with an improvised ensemble worthy of Mingus. The tune turns into a characteristic opener, but with a difference: swift and exciting, to be sure, but with a tricky time signature and a restlessness about settling on a major or minor mode."Mr. B" is like one of those great 1950's hard bop tunes seen through a post-modern prism, Holland playing a walking bass line throughout."Bedouin trail," beginning with Eubanks high on the trombone, almost a French horn sound, moves into a medium tempo clave groove. The virtues of Holland's group stand out in this sensous tune, which seems almost to suspend time."Metamorphosis" alternates rapidly between swing and funk, terms that don't do justice either to the edgy composition or the impassioned improvisations.The rhythm section opens "Ario" with an ostinato feel, moving eventually into a Latin groove. As usual on this recording, the horn parts belie the small group size. Likewise the vibes' fills provide a bigger than usual sound in the percussive/chordal instrument's role: richer than a piano, fuller than a guitar. The track shifts between the mellowness of a medium-tempo ballad and a series of climaxes."Herbaceous" has a samba-then-swing feel, opened up by spontaneity and virtuosity of the ensemble, making for a tumultuous ride. "The benevolent one" begins out of tempo as a duet between Nelson's ringing vibes and Holland's bowed bass, before turning into a ballad, with Kilson's brushes shimmering like aspen leaves. The rhythm section is nearly equal in the foreground during the solos, giving the tune a chamber-music intimacy "Serenade" concludes the recording with a taste of Latin folk-music, the marimba trilling a simple melody over the initially unchanging harmony implied by Holland's repetitive bass figure. This track's optimistic serenity, played only by the rhythm section, creates yet another musical world among the several in this unusual and brilliantly realized production. ~ Larry Koenigsberg https://www.allaboutjazz.com/points-of-view-dave-holland-ecm-records-review-by-larry-koenigsberg.php

Personnel: Dave Holland, bass; Robin Eubanks, trombone; Steve Wilson, soprano and alto saxophone; Steve Nelson, vibraphone and marimba; Billy Kilson, drums

Points Of View

---

Terell Stafford - Time To Let Go

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 53:01
Size: 122,6 MB
Art: Front

(4:43)  1. Time To Let Go
(6:16)  2. Was It Meant To Be?
(5:57)  3. Polka Dots And Moonbeams
(7:17)  4. Qui Qui
(8:09)  5. On The Trail
(4:33)  6. Why?
(6:27)  7. Soon
(5:49)  8. Send In The Clowns
(3:45)  9. Just A Closer Walk With Thee

This scintillating set is appropriately titled Time To Let Go and truly reflects the trumpeter's musical state of mind. Firmly established as a contemporary jazz master, Terell Stafford is now getting the critical acclaim his talent deserves. Unlike many of his peers, he is nothing short of seasoned. He spent five years touring with Bobby Watson's scintillating post-bop quintet, which included pianist Ed Simon, drummer Victor Lewis and saxophonists Steve Wilson and Tim Warfield who join Terell here, together with vibraphonist Steve Nelson. ~ Editorial Reviews https://www.amazon.com/Time-Let-Go-Terell-Stafford/dp/B000NVLA9Q

Personnel:  Trumpet, Flugelhorn – Terell Stafford; Alto Saxophone, Soprano Saxophone – Steve Wilson ; Bass – Michael Bowie; Drums – Victor Lewis; Percussion – Victor See Yuen; Piano – Edward Simon; Tenor Saxophone – Tim Warfield; Vibraphone – Steve Nelson 

Time To Let Go

---

Donald Brown - People Music

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 53:29
Size: 123,0 MB
Art: Front

(3:48)  1. Biscuit Man
(6:26)  2. Gaslight
(5:06)  3. Prism
(9:01)  4. Reruns from the Sixties
(5:46)  5. Over at Herbie's Juke Joint
(5:48)  6. I Love It When You Dance That Way
(7:00)  7. Graylon
(5:46)  8. Booker T
(4:45)  9. Intensive Care Unit (I.C.U.)

Fine '90 date by a Memphis pianist. He plays nice bluesy chords and gospel-influenced phrases, but is also an effective straight-ahead and hard bop improviser. He's backed by a large group that features an interesting configuration with a trumpet/alto sax/vibes front line, and also uses vocals at times. Vincent Herring plays with fire on alto, while Steve Nelson adds a different dimension on vibes. ~ Ron Wynn https://www.allmusic.com/album/people-music-mw0000278194

Personnel:  Donald Brown – piano; Tom Harrell - trumpet, flugelhorn; Vincent Herring - flute, soprano saxophone, alto saxophone; Steve Nelson - vibraphone; Robert Hurst – bass; Samurai Celestial – drums, vocals; Daniel G. Sadownick– percussion; Lenora Zenzalai Helm – vocals (track 6)

People Music

---

Buster Williams Quartet - Live At The Montreux Jazz Festival 1999

Styles: Jazz, Post Bop 
Year: 1999
File: MP3@320K/s
Time: 58:44
Size: 136,4 MB
Art: Front

( 9:53)  1. Tokudo
(13:45)  2. The More I See You
( 1:15)  3. Announcement
(12:04)  4. You And The Night And The Music
( 7:08)  5. Christine
(14:37)  6. Rhythm-A-Ning

Venerable jazz bassist and session musician of choice, Buster Williams steers this thoroughly swinging quartet through a set of vibrant standards and original compositions along with an ace front line consisting of pianist Mulgrew Miller and vibist Steve Nelson. Recorded live in 1999 at the Montreux Jazz Festival, the bassist once again exhibits his seasoned musical persona via fluent lines, limber soloing, and a comprehensive sense of swing. Meanwhile, Nelson and Miller share most of the soloing opportunities as they consistently demonstrate a keen harmonic relationship atop drummer Carl Allen's masterstrokes and the leader's sinewy walking bass patterns. Hence, Nelson's deft articulations in concert with Miller's swirling clusters and impacting block chords provide an abundance of contrasting elements, as the synergistic interaction provides the winning edge. However, it is all about refinement and a relaxed sense of urgency as the musicians make every note and subtle nuance speak encyclopedic volumes amid the occasional burst of fireworks. No frills or hidden agendas here. Just small ensemble jazz music performed with a touch of class and sophistication. ~ Glenn Astarita https://www.allmusic.com/album/live-at-the-montreux-jazz-festival-1999-mw0000119665

Personnel:  Bass – Buster Williams;  Drums – Carl Allen;  Piano – Mulgrew Miller;  Vibraphone – Steve Nelson

Live At The Montreux Jazz Festival 1999

---

David 'Fathead' Newman - I Remember Brother Ray

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 50:44
Size: 116,4 MB
Art: Front

(5:44)  1. Hit the Road Jack
(7:20)  2. Georgia on My Mind
(5:05)  3. When Your Lover Has Gone
(6:16)  4. Drown in My Tears
(5:27)  5. Deed I Do
(5:32)  6. It Had to Be You
(9:44)  7. Ruby
(5:32)  8. Them That Got (I Ain't Got Nothing Yet)

When Ray Charles passed away last June, his influence was so far reaching that there was little doubt all manner of tributes would soon follow. While there are bound to be attempts to capitalize on his death, nothing could be further from the truth in this case. Saxophonist David "Fathead" Newman got his first big break with Charles in the early '50s, playing in his band from '54 through '64 and making numerous guest appearances in the years to come. And so "Fathead" a nickname Charles never liked, preferring to call him "Brains" entered the studio of another legend engineer Rudy van Gelder just two months after Charles' death to record I Remember Brother Ray, a tribute to the jazzier side of a man who always regarded himself as a jazz singer anyway.  Some music is meant to stretch boundaries, and some is meant purely as a salve for the soul. Newman has never been considered a particularly adventurous tenor player, yet his warm tone, occasionally terse phrasing, and always heartfelt delivery has placed him in high demand by artists as diverse as B.B. King, Herbie Mann, Jane Monheit, and Gregg Allman. In fact, one look at his discography and it becomes evident that his career has been marked more by appearances as a guest than as a leader. Still, with over twenty recordings to his name, I Remember Brother Ray stands as an understated highlight, a record that doesn't so much jump out at you as it does gently sidle up beside you and caress you with its warmth and affability. Like saxophonist Houston Person, who coproduces the disc with Newman and delivered his own heartfelt tribute to longtime collaborator Etta Jones last year with To Etta With Love, I Remember Brother Ray evokes the ambience of a smoky bar in the early hours of the morning. 

Never getting much past a medium tempo "Hit the Road Jack" is about as lively as things get, and even then, it's more a finger-snapping number than a foot-moving one Newman has assembled a quintet as comfortable with the tender balladry of "Georgia on My Mind" as it is the soul-drenched blues of "Drown in My Tears." Charles believed that the ability to play jazz permits the ability to cross over into other genres, and the playing on I Remember Brother Ray clearly supports his conviction. One sometimes forgets that vibraphonist Steve Nelson, heard most often these days in the more modernistic Dave Holland Quintet and Big Band, comes from a mainstream background, but his playing on the relaxed swing of "Ruby" and "It Had to Be You" proves that even the most forward-thinking of players have to have roots. While there will undoubtedly be many tributes in the near future, few discs will equal I Remember Brother Ray for its grace, honesty, and pure connection to the true essence of Charles' legacy.~ John Kelman https://www.allaboutjazz.com/i-remember-brother-ray-david-fathead-newman-highnote-records-review-by-john-kelman.php

Personnel:  Tenor Saxophone – David "Fathead" Newman;  Bass – John Menegon;  Drums – Winard Harper;  Piano – John Hicks;  Vibraphone – Steve Nelson

I Remember Brother Ray

---

David 'Fathead' Newman - The Blessing

Styles: Saxophone And Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 55:10
Size: 138,7 MB
Art: Front

(6:23)  1. SKJ
(5:47)  2. Someone To Watch Over Me
(4:55)  3. As Time Goes By
(5:27)  4. Manha De Carnival
(6:33)  5. Smile
(7:31)  6. Romantic Night
(5:59)  7. Chelsea Bridge
(5:24)  8. Whispers Of Contentment
(7:07)  9. The Blessing

What an apt name The Blessing is for David Newman's final recording before his death ended a long career last January (2009). He played for more than a decade with Ray Charles and alongside Herbie Mann, Aretha Franklin and Roy Ayers, among many others. For this last studio session he was in fine form. A Milt Jackson gem, "SKJ," is the set's opener, Steve Nelson's vibes providing glowing cascades before Newman swings in with a solo as brief in its measured warmth as it is satisfying. Here too and throughout the set Peter Bernstein's guitar is vigorous in a style that is direct as it mixes blues and bebop. In Newman's blues-drenched take on Gershwin's "Someone To Watch Over Me" (which in moments has echoes of Duke Ellington's "In A Sentimental Mood"), again there is a dazzling display of colors and tones. He begins with a statement of the original tune, albeit with little turns, pauses and a warm, floating, utterly romantic sound.

Nelson is always there with just the subtlest echoes of the melody. Newman's tenor saxophone is as gentle as it is full-bodied, with nary a superfluous embellishment. David Leonhardt's piano solo leads perfectly into Newman's bridge and the final bars. It must be noted that Newman's brand of romanticism is never mushy or sentimental. His version of "As Times Goes By" is abetted by the brisk, crystal warmth of Nelson's vibes on the bridge. Newman is authoritative and yet relaxed and it segues into "Manha de Carnival," on which his sax, Nelson's vibes and Leonhardt's piano effect a subtle tension by both anticipating and playing after the beat. It is Leonhardt's own composition, "Romantic Night," that showcases Newman at a peak on the recording and brings out the best from all hands. 

Shifting between major and minor modes, it's a beautifully structured performance. Newman gives a textbook example of a veteran player who swings easily as he makes it feel so good, yet without ever allowing things to get too cozy. The closer is the title track, Newman's own tune, this time with him on flute. It's a gospel-tinged piece that closes the set on a funky, upbeat note. As with all of Newman's music, this piece could as aptly have been called "a gift."~ Andrew Velez https://www.allaboutjazz.com/the-blessing-david-fathead-newman-highnote-records-review-by-andrew-velez.php

Personnel: David "Fathead" Newman: tenor saxophone, flute;  Steve Nelson: vibes;  David Leonhardt: piano;  Peter Bernstein: guitar;  John Menegon: bass;  Yoron Israel: drums.

The Blessing

---

Geoff Keezer, Steve Nelson & Neil Swainson - Trio

Styles: Piano And Vibraphone Jazz
Year: 1993
File: MP3@320K/s
Time: 69:41
Size: 160,5 MB
Art: Front

(13:43)  1. Relaxin' At Camarillo
(10:35)  2. There Are Many Angels In Florence
(11:57)  3. On The Lam
( 5:55)  4. Solo Piano Medley
(13:24)  5. Epistrophy
(14:04)  6. Eternal Triangle

The music on this live CD is boppish but fresh, showcasing an exciting trio comprised of pianist Geoff Keezer, vibraphonist Steve Nelson, and bassist Neil Swainson. The drumless group swings lightly but with excitement on such numbers as "Relaxin' at Camarillo," "Eternal Triangle," and "Epistrophy," each of which is over 13 minutes long. In addition to an original apiece from Nelson and Swainson, Keezer takes a medley of "Darn That Dream" and "Sophisticated Lady" as his solo piano feature. Easily recommended. ~ Scott Yanow https://www.allmusic.com/album/trio-mw0000411039

Personnel: Geoff Keezer (piano); Steve Nelson (vibraphone); Neil Swainson (bass).

Trio

---

Geoff Keezer - Here And Now

Styles: Piano Jazz 
Year: 1991
File: MP3@320K/s
Time: 61:08
Size: 140,4 MB
Art: Front

(7:26)  1. There But For The Grace Of...
(7:52)  2. Headed Off At The Pass
(9:49)  3. Leilanis Mirror
(5:39)  4. Agra
(4:05)  5. (It Was) Just One Of Those Things
(4:59)  6. Its The Thought That Counts
(7:50)  7. The Feeling Of Jazz
(4:22)  8. Turning Point
(4:22)  9. It Never Entered My Mind
(4:38) 10. Scandal In Shinjuku

Pianist Geoff Keezer, two months shy of his 21st birthday at the time of this session, sometimes recalls McCoy Tyner in his playing with touches of Herbie Hancock, although on a romping version of "Just One of Those Things," his interpretation is pure Bud Powell. Steve Nelson's vibes are most heavily influenced by Bobby Hutcherson and Milt Jackson, while the somewhat dry originals take quirky twists in the best tradition of Wayne Shorter. With bassist Peter Washington and drummer Billy Higgins completing the quartet (altoist Donald Harrison guests on three numbers), this is an excellent (if not innovative) modern mainstream set, a strong showcase for both Keezer and Nelson. ~ Scott Yanow https://www.allmusic.com/album/here-and-now-mw0000264840

Personnel:  Geoff Keezer piano;  Steve Nelson vibraphone;  Peter Washington bass;  Billy Higgins drums;  Donald Harrison alto saxophone.

Here And Now

---

Russell Malone - Black Butterfly

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 63:40
Size: 145,8 MB
Art: Front

(5:59)  1. Jingles
(5:11)  2. With Kenny In Mind
(5:05)  3. Dee's Song
(5:47)  4. Cedar Tree
(6:27)  5. After Her Bath
(6:32)  6. I Say A Little Prayer For You
(7:39)  7. Black Butterfly
(7:04)  8. All Through The Night
(5:17)  9. The Other Man's Grass Is Always Greener
(4:41) 10. Gaslight
(3:53) 11. Sno' Peas

An adept jazz guitarist with a clean attack and fluid, lyrical style, Russell Malone often plays in a swinging, straight-ahead style, weaving in elements of blues, gospel, and R&B. Born in Albany, Georgia in 1963, Malone first began playing guitar around age four on a toy instrument, quickly graduating to the real thing. Largely self-taught, he initially drew inspiration listening to the recordings of gospel and blues artists including the Dixie Hummingbirds and B.B. King. However, after seeing George Benson perform with Benny Goodman on a television show, Malone was hooked on jazz and began intently studying albums by legendary guitarists like Charlie Christian and Wes Montgomery. By his twenties, Malone was an accomplished performer, and in 1988 he joined organist Jimmy Smith's band. Soon after, he also became a member of Harry Connick, Jr.'s big band, appearing on Connick's 1991 effort Blue Light, Red Light. With his growing reputation as a sideman, Malone next caught the attention of pianist/vocalist Diana Krall, with whom he would work throughout much of the '90s and 2000s. Also during this period, Malone appeared with a bevy of name artists including Branford Marsalis, Benny Green, Terell Stafford, Ray Brown, and others. As a solo artist, Malone made his debut with 1992's Russell Malone, followed a year later by Black Butterfly. In 1999, he released Sweet Georgia Peach, which featured a guest appearance from pianist Kenny Barron. Malone kicked off the 2000s with several albums on Verve, including 2000's Look Who's Here and 2001's orchestral jazz-themed Heartstrings. He then moved to Maxjazz for 2004's Playground, featuring a guest appearance from saxophonist Gary Bartz, followed by 2010's Triple Play. Over the next several years, Malone appeared on albums by Wynton Marsalis, Christian McBride, and Ron Carter, as well as Krall bandmate bassist Ben Wolfe. He returned to solo work in 2015 with the eclectic small-group album Love Looks Good on You, followed a year later by All About Melody, both on HighNote. In 2017, he delivered his third HighNote album, Time for the Dancers, featuring his quartet with pianist Rick Germanson, bassist Luke Sellick, and drummer Willie Jones III. ~ Matt Collar https://itunes.apple.com/us/album/black-butterfly/1304011396

Personnel: Russell Malone (electric guitar); Steve Nelson (vibraphone); Gary Motley (piano); Paul Keller (bass); Peter Siers (drums).

Black Butterfly

---

Donald Brown - Cause and Effect

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 68:03
Size: 156,2 MB
Art: Front

(6:03)  1. The Power of the Drums
(6:25)  2. I Should Care
(7:45)  3. A Free Man?
(8:08)  4. Cause and Effect
(6:58)  5. Theme for Mandela
(7:09)  6. Black Narcissus
(7:14)  7. Daddy's Girl Cynthia
(7:12)  8. The Smile of the Snake
(6:23)  9. Man in a State of Nature (Part 1)
(4:44) 10. Man in a State of Nature (Part 2)

A really wonderful little album from pianist Donald Brown deeply soulful, and in ways that go beyond just his work on piano! There's some great higher-concept ideas going on here bits of culture and philosophy folded into the music, courtesy of recitations by Marlon Saunders on a handful of tracks the oft-overlooked legacy of soul jazz that extended well past the 70s, at a time when this sort of music was often an expression for deeper thoughts in the years before hip hop dominated such territory too strongly. 

Brown's got some great help on the date too tenor from Joe Henderson, flute from James Spaulding, and vibes from Steve Nelson plus bass from Ron Carter and drums from either Kenny Washington or Carl Allen, both the kind of players who get the rhythmic pulse of the record right. Titles include "A Free Man","The Power Of The Drums", "Black Narcissus", "Man In A State Of Nature", "Daddy's Girl Cynthia", and "Cause & Effect". (Out of print.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/497070

Personnel: Donald Brown (piano), Marlon Saunders (vocals, narration), Joe Henderson (tenor saxophone), James Spaulding (flute), Steve Nelson (vibraphone, marimba), Ron Carter (bass), Carl Allen, Kenny Washington (drums), Rudy Bird, Donald Eaton (percussion), Lenora Helm (background vocals).

Cause and Effect

---

James Spaulding - James Spaulding Plays The Legacy Of Duke Ellington

Bitrate: MP3@320K/s
Time: 41:30
Size: 95.0 MB
Styles: Bop
Year: 1976/2012
Art: Front

[4:31] 1. Take The 'a' Train
[5:53] 2. In A Sentimental Mood
[5:28] 3. Come Sunday
[5:27] 4. Caravan
[2:11] 5. I Love You Madly
[4:34] 6. Lucky So And So
[6:20] 7. Sophisticated Lady
[7:02] 8. It Don't Mean A Thing If It Ain't Got That Swing

Avery Brooks - Vocals; Billy Higgins - Drums; Sam Jones - Bass; James Mtume - Congas, Percussion; Steve Nelson - Vibraharp, Vibraphone; James Spaulding - Flute, Flute (Bass), Flute (Tenor), Piccolo, Primary Artist, Sax (Alto), Sax (Soprano); Cedar Walton - Piano.

Despite being a top altoist and flutist since at least the mid-'60s, when he played with Freddie Hubbard's band, James Spaulding did not get his recording debut as a leader until this 1976 LP. Spaulding, on various flutes, piccolo, soprano and alto, performs eight songs associated with Duke Ellington, including "Take the 'A' Train" (a Billy Strayhorn composition mistakenly co-credited in the liners to Duke), "Come Sunday," an impressive flute showcase on "Sophisticated Lady" and "It Don't Mean a Thing." Spaulding is joined by pianist Cedar Walton, a young Steve Nelson on vibes, bassist Sam Jones, drummer Billy Higgins and percussionist Mtume. The most unusual aspect of this set is that Avery Brooks (who has a deep baritone that Ellington might have liked) sings four of the eight songs. A sincere tribute. ~Scott Yanow

James Spaulding Plays The Legacy Of Duke Ellington mc
James Spaulding Plays The Legacy Of Duke Ellington zippy

---

Louis Hayes - Serenade For Horace

Styles: Jazz, Post Bop

Year: 2017

File: MP3@320K/s

Time: 59:00

Size: 135,5 MB

Art: Front

(4:53)  1. Ecaroh

(5:20)  2. Señor Blues

(5:51)  3. Song For My Father (feat. Gregory Porter)

(4:08)  4. Hastings Street

(5:14)  5. Strollin'

(5:55)  6. Juicy Lucy

(5:03)  7. Silver's Serenade

(6:44)  8. Lonely Woman

(5:01)  9. Summer In Central Park

(5:49) 10. St. Vitus Dance

(4:56) 11. Room 608

This gem of a tribute album is, in the words of the poet Wordsworth, a "recollection in tranquility" conceived and led by drummer Louis Hayes in memory of his beloved lifelong friend, pianist Horace Silver. In 1956, Silver invited Hayes to New York City from his native Detroit to join the Horace Silver Quintet, which produced a series of ground-breaking Blue Note albums. Now, at 80, Hayes' drumming is as superb and as youthful as ever, a reason in itself to have this album. He brings together a group of seasoned, dedicated musicians to honor Silver, not by imitating or outdoing him, but by playing his music with great fidelity to Silver's ideas and the hard bop period which he helped to innovate. Thankfully, Hayes had the wisdom neither to copy nor expound upon but definitely emulate Silver's contribution in many respects. Pianist Tom Lawton has aptly summarized Silver's unique playing as follows: "Horace had a mixture of a very guttural approach to bebop: a percussive right-hand attack and often very raw, drum-like left-hand accents, (best example: "Opus de Funk"). He also explored a funky, gospel-tinged, soul and groove influenced music ("Song For My Father") that had a unique feel because of his father's origin in the island of Cape Verde." The Cape Verde Islands off the coast of West Africa were slave trade transit points to South America and the Caribbean and where Creole culture -so important to jazz originated, and which shares the Portuguese influence with Brazil. Silver composed his well- known "Song for My Father" after a trip to Brazil that profoundly influenced his subsequent playing. Silver was a prolific composer, sometimes adding his own lyrics. Most of his originals on this album are from the extended and extensive Blue Note recordings between 1952 and 1981. "Ecaroh" (Horace spelled backwards!) and "Room 608" are from the pre-Hayes Jazz Messenger period in which hard bop was literally invented. The album provides a retrospective that is firmly rooted in Silver and hard bop, but is more laid back and less feisty than the original Silver recordings.

The first tune, "Ecaroh" presages the whole album. Hayes' drumming is superb and measured, in contrast to the banal prestidigitation we hear too often. His swing is lighter and more subtle than in the Silver era, perhaps influenced a bit by Elvin Jones. The horn players Abraham Burton on tenor saxophone and Josh Evans on trumpet, vibraphonist Steve Nelson, and bassist Dezron Douglas are completely in service of the music rather than inserting their own idiosyncracies. Next, the iconic "Señor Blues" is a tad slower than on the Silver recording Live at Newport '58 (Blue Note, 2008). Hayes and the group emphasize the R&B influence over the Latin rhythm implied in the title. The saxophone and trumpet work is sharp and clean, echoing Silver Newport cohorts Junior Cookand Louis Smith. Guest vocalist Gregory Porter does a fine if understated delivery of "Song for My Father" with inflections that bear a distinct resemblance to Kurt Elling. The Brazilian samba rhythm that influenced Silver in writing this song comes through clearly. Dee Dee Bridgewater's version (Love and Peace: A Tribute to Horace Silver, Verve, 1995) is faster and more intense. Porter is closer to Silver's intention, but Silver's inspired piano improvisations on this song are well worth going back to for their own sake. At the suggestion of the producer Maxine Gordon, Hayes wrote one original for the collection. "Hastings Street" was stimulated by his memories of Detroit and is a "classic" hard bop tune that is a prefect vehicle for solos, in this case by Burton, Evans, and Nelson. Some feather-like vibes comping by Nelson adds a special touch, and there is some generous co-improvising at the end, something Silver liked to do in his arrangements. "Strollin'" is a virtual replica of the Horace Silver Quintet version on Horace-Scope (Blue Note, 1960) with Junior Cook on tenor and Blue Mitchell on trumpet. "Juicy Lucy" features an outstanding saxophone solo by Burton. The group does a straightforward version of "Silver's Serenade," while Silver's "Lonely Woman" (not the Ornette Coleman tune) is notable for Bryant's extended piano tribute to Silver, which one has been waiting for all along! Silver had a sunny disposition on most days, and "Summer in Central Park" is, as the title suggests, a pleasant sunny day walk in the park. The title of the next tune, "St. Vitus Dance," portends something different but turns out not to be so. St Vitus Dance is a disease characterized by rapid, uncoordinated jerking movements. The version on this album swings so well that it is a cure for that disease rather than a symptom of it! The album ends with "Room 608," a fast-paced strictly bebop tune which shows the important Bud Powell influence on Silver. Silver could have become just another great bebop player, but he was wise enough to pursue his own voice, which, if we can judge from the lyrics of "Song for My Father," is a striving that came from the advice of his dad. And Louis Hayes is to be thanked for adhering to his stated goal: a loving remembrance and tribute to Horace Silver rather than a flashy post- modern pot-boiler. ~ Victor L.Schermer https://www.allaboutjazz.com/serenade-for-horace-by-victor-l-schermer.php

Personnel: Louis Hayes: drums and leader; Abraham Burton: tenor saxophone; Josh Evans: trumpet; Steve Nelson: vibraphone; David Bryant: piano; Dezron Douglas: bass. (Gregory Porter, vocalist, on Song for My Father.”)

Serenade For Horace

---

Dave Stryker - Strykin' Ahead

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 59:45
Size: 145,3 MB
Art: Front

(5:59)  1. Shadowboxing
(6:39)  2. Footprints
(5:50)  3. New You
(5:33)  4. Passion Flower
(6:12)  5. Strykin' Ahead
(7:15)  6. Blues Down Deep
(8:12)  7. Joy Spring
(7:32)  8. Who Can I Turn To
(6:27)  9. Donna Lee

Hot on the heels of his 2016 release, the soul and rock infused Eight Track II comes Dave Stryker's punningly titled Strykin' Ahead with a mix of standards and Stryker originals. Following the lively opener, "Shadowboxing," a Stryker original, comes a rather more sedate version of Wayne Shorter's "Footprints" followed by Stryker's "New You" in which both Steve Nelson and Jared Gold provide imaginative, swinging solos backed by McClenty Hunter's solid drumming. A dreamy interpretation of Billy Strayhorns "Passion Flower" is given a subtle bossa nova beat by Hunter. "Strykin' Ahead" is a helter skelter affair where Stryker shows his mettle with a flurry of fast and fluid notes breaking out immediately after the head. To some extent Stryker sounds not unlike the late Johnny Smith in his considered and articulate style, which is no bad thing, but Stryker has his own unique voice too. Another Stryker original is the slow "Blues Down Deep" where the guitarist wrings out restrained emotion from his guitar. Clifford Brown's "Joy Spring" is a perfect example of just how well the organ, vibes and guitar gel together propelled by highly effective yet unobtrusive drums.  "Who Can I Turn To" by Leslie Bricusse and Anthony Newley is afforded a delicate and respectful interpretation but Charlie Parker's (or Miles Davis's, depending on who you read) "Donna Lee" is a lively version with the guitar and vibes playing the famous boppy melody in unison, no easy task but it's executed with aplomb. Stryker's playing is characterised by warmth and articulacy and those traits extend to the whole of this very well-produced album. ~ Roger Fabey https://www.allaboutjazz.com/strykin-ahead-dave-stryker-strikezone-review-by-roger-farbey.php

Personnel: Dave Stryker: guitar; Steve Nelson: vibraphone; Jared Gold: organ; McClenty Hunter: drums.

Strykin' Ahead

---