The Carla Bley Band - Carla Bley live!

Styles: Jazz
Year: 1982
Time: 41:39
File: MP3 @ 320K/s
Size: 95,3 MB
Art: Front

(5:10) 1. Blunt Object
(7:24) 2. The Lord is Listenin to Ya Hal
(7:59) 3. Time And Us
(9:06) 4. Still in The Room
(4:26) 5. Real Life Hits
(7:30) 6. Song Sung Long

Around 1980, Carla Bley seemed to find herself torn between several possible avenues of expression. On the one hand, you had her wild (and wildly successful) projects like Escalator Over the Hill and Tropic Appetites, where styles and musicians were combined with inspired abandon. Then there was the romantic classical aspect as shown in her composition "3/4" and, with jazz influences, her fine, ambitious Social Studies release.

But, always lurking beneath the surface was her itching desire to have essentially a jazz-rock band, drawing heavily from funk and demonstrating a loose and bawdy humor. Unfortunately, this last impulse was responsible for some of her weaker efforts though, in fairness, it brought her a level of popularity hitherto unreached. Live! demonstrates the pitfalls of this approach.

Though the ten-piece ensemble features some very capable musicians (including altoist Steve Slagle, French horn virtuoso Vincent Chauncey, and electric bassist extraordinaire Steve Swallow), the compositions tend to plod toward their goal and the soloing doesn't rise very far above what one might expect from a David Sanborn session (how one yearns for a youthful Gato Barbieri, a Perry Robinson, or a Don Cherry to inject some life!).

Bley's themes here, once so ravishingly, bitterly gorgeous, are relatively dull or awkward in turn; when she tries her hand at gospel, as on the embarrassingly titled "The Lord is Listenin' to Ya, Hallelujah!," the results are cringe-inducing. Swallow has a nice introduction to "Still in the Room" and Earl McIntyre on tuba and trombonist Gary Valente do their best to get things rolling, but the lackluster compositions and leaden drumming (by D. Sharpe) never allow the project to take off. Listeners looking for prime Carla Bley would do better to search out her earlier, far more adventurous and creative work.
By Brian Olewnick https://www.allmusic.com/album/carla-bley-live%21-mw0000191553#review

Personnel: Carla Bley - organ, glockenspiel, piano (track 3); Michael Mantler - trumpet; Steve Slagle - alto saxophone, soprano saxophone, flute; Tony Dagradi - tenor saxophone; Vincent Chancey - French horn; Gary Valente - trombone; Earl McIntyre - tuba, bass trombone; Arturo O'Farrill - piano, organ (track 3); Steve Swallow - bass guitar; D. Sharpe - drums

Carla Bley live!

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Steve Slagle - Dedication

Styles: Saxophone, Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 58:24
Size: 134,7 MB
Art: Front

(6:36)  1. Sun Song
(6:23)  2. Niner
(7:44)  3. Major in Come
(7:06)  4. Triste Beleza (Beautiful Sadness)
(6:45)  5. Opener
(5:59)  6. Watching Over
(4:19)  7. Corazon
(6:23)  8. Sofi
(7:04)  9. Charcoal Blues

Steve Slagle is one of those players that's often overlooked yet hard to forget. Why this sixty-five-year-old saxophonist who's constantly bringing energy and a spirit of exploration to the fore doesn't get the ink or marquees that come to his musical peers ten years his senior or several decades his junior is something of a head-scratcher. If you've seen him as a sideman, encountered him co-leading a band with guitarist Dave Stryker, checked out his duo work with pianist Bill O'Connell on The Power Of Two (Panorama Records, 2015), or heard any of his fine recent leader dates, like Evensong (Panorama Records, 2012) or Alto Manhattan (Panorama Records, 2016), it's fairly likely that you're wondering the same thing. While there's no firm explanation about Slagle's status, other than the fact that many jazz lovers are polarized and look only toward the "new thing" or focus exclusively on extreme longevity, there's no doubt that his name should be high on the list of stellar alto players plying their trade on the scene. This album, referencing both the man's steadfast study of his craft and the dedicatory nature of these songs, is but one more example of his strengths. With a stellar band by his side, Slagle delivers nine numbers that clearly point toward his influences, preferences, and experiences. "Sun Song," a bright and grooving calypso honoring the great Sonny Rollins, leads off the program. 

Then comes "Niner," a hip and angular tune taking its title from a nickname bestowed upon on Slagle by bassist Steve Swallow; "Major Come In," an up-tempo thriller given unto swing itself that works off of major chords in five different keys and runs on Bill Stewart's spang-a-lang ride work and Scott Colley's driving bass lines; "Triste Beleza (Beautiful Sadness)," a breezy bossa nova dedicated to "the great spirit of music from Brazil"; and "Opener," nodding toward saxophonist Jackie McLean, containing one of pianist Lawrence Fields' most memorable solos on the album, and featuring the leader on alto and flute. In all five cases, one thought rings true: Slagle remains consistently inventive as he uses his imagination and skill to color within, right on, and just outside the lines. The back-end of the album proves to be perfectly in line with what precedes it, presenting songs that are both grounded and intriguing. "Watching Over," for Marc Chagall, is straight-eighths and swirling colors, with the appealing Stryker-Slagle partnership in the spotlight. That duo's chemistry is then further highlighted on Stryker's Joe Zawinul dedication, "Corazon," where melodic directness acts as a cornerstone and bass and nylon strong acoustic create a supportive foundation for the alto's melodic musings. 

To finish things off this band delivers "Sofi," a soprano-fronted song in seven dedicated to Slagle's daughter, and Wayne Shorter's "Charcoal Blues," saluting the piece's composer and providing a welcome dose of earthy blowing. There may be saxophonists who've been in the game longer and/or pushed more boundaries, but you'd be hard-pressed to find a more dependably "on" player than Steve Slagle. By Dan Bilawsky https://www.allaboutjazz.com/dedication-steve-slagle-panorama-records-review-by-dan-bilawsky.php

Personnel: Steve Slagle: alto saxophone, flute (5), soprano saxophone (8); Lawrence FIelds: piano; Scott Colley: bass; Bill Stewart: drums; Roman Diaz: congo, percussion (1, 4, 5, 6, 7); Dave Stryker: electric guitar (2, 4, 6, 7, 8, 9), nylon string acoustic guitar (4, 7).

Dedication

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Dave Stryker - Strike Zone

Styles: Guitar Jazz
Year: 1990
File: MP3@320K/s
Time: 70:15
Size: 161,4 MB
Art: Front

(6:59)  1. Strike Zone
(8:51)  2. Who Can I Turn To
(8:12)  3. I Wish I Knew
(5:14)  4. Twenty One
(9:02)  5. Undercurrent
(5:14)  6. Evidence
(2:23)  7. Some Other Time
(9:33)  8. Going Home
(8:29)  9. Muddy Waters
(6:15) 10. My Shining Hour

Dave Stryker is undoubtedly one of the most talented of the younger generation of jazz guitarists today. This is the first recording by Stryker on SteepleChase. Born in Omaha, Nebraska on March 30, 1957, Stryker has been playing guitar since he was 10. Unsurprisingly he started out on rock guitar but soon turned to jazz because of George Benson and John Coltrane. Dave moved to New York in 1980 and after a short while established himself in the NY scene as one of the most sought after players playing with among others Lonnie Liston Smith, Jimmy Smith, Stanley Turrentine, Freddie Hubbard, Dizzy Gillespie. “… The specific strengths of this album include consistently top-notch performances and a sense of contemporaneity afforded by Stryker’s attractive original compositions enhanced by a willingness to experiment with sound and stylistic approach .” (Cadence)

Personnel: Guitar – Dave Stryker; Bass – Ron McClure;  Drums – Ronnie Burrage;   Piano, Synthesizer [DX-7] – Marc Cohen;  Soprano Saxophone, Alto Saxophone, Alto Clarinet – Steve Slagle

Strike Zone

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Steve Slagle - Plays Monk

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 60:42
Size: 139,6 MB
Art: Front

( 6:45)  1. Think Of One
(11:20)  2. Worry Later
( 7:12)  3. Ugly Beauty
( 5:23)  4. Criss Cross
( 7:58)  5. Jackie-Ing
( 4:52)  6. Monk
( 4:33)  7. Light Blue
( 6:02)  8. Bemsha Swing
( 6:33)  9. Epistophy

Well, let's admit it; the whole idea of doing tribute albums has really gotten out of hand recently. But if you're going to do this type of thing, then saxophonist Steve Slagle and his talented crew have the right idea. For starters, a piano is nowhere to be heard from, with the chameleon-like guitar of Dave Stryker taking on the chordal functions. Right there we avoid any inclinations to produce a mere clone of the original. And instead of delivering the umpteenth version of "Round Midnight" or "Straight, No Chaser," Slagle has opted for a more intelligent selection of Monk charts while including one original of his own (this simply-titled affair, "Monk," also happens to be one of the highlights of the entire disc).  While it would have seemed logical for Slagle to pursue perhaps a tribute to Mingus, owing to his time currently spent with the Mingus big band, the Monk concept actually fits him quite well. His pungent alto, along with Stryker's biting tone, gives this music a contemporary edge that offers a new stance without sacrificing integrity. As an added bonus, Slagle pulls out his alto clarinet on "Jackie-ing" to great effect, at times suggesting the collective attack of Don Byron's work with Bill Frisell. Throughout, bassist Anderson and drummer Nussbaum are supportive and interactive, with Stryker's voicings often suggesting a larger front line than what we have in reality. In the final analysis, what a breath of fresh air it is to find a tribute album that manages to tip a hat to its honoree while also maintaining an identity and integrity of its own. And for anyone out there still ill at ease regarding the future survival of jazz, the sounds of Slagle and Stryker, both as a pair and separately, are just a few of the many coming from committed players who are proving you don't have to reject tradition in order to innovate. ~ C.Andrew Hovan https://www.allaboutjazz.com/steve-slagle-plays-monk-steve-slagle-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Steve Slagle- alto saxophone & alto clarinet (track 5 only), Dave Stryker- guitar, Jay Anderson- bass, Adam Nussbaum- drums

Plays Monk

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Dave Stryker - Changing Times

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 63:29
Size: 146,2 MB
Art: Front

(9:31)  1. Changing times
(5:38)  2. Big mouth
(7:39)  3. Different worlds
(9:38)  4. Capetwon
(5:52)  5. Julia
(8:51)  6. Circular scene
(8:31)  7. Invocation
(7:45)  8. Rhythm method

Guitarist Dave Stryker recorded a string of albums for Steeplechase throughout the 1990s. This rewarding session kicks off his second decade with the Danish label. Like many of Stryker's previous outings, Changing Times features his regular partner Steve Slagle on alto sax, along with Bill Moring on bass, Tim Horner on drums, and Manolo Badrena on percussion. As the title suggests, there's an emphasis on odd or shifting time signatures. The multi-metric waltz "Different Worlds," the grooving 7/4 "Circular Scene," and the brisk 5/4 piece "Big Mouth" are among the highlights. Stryker's imaginative reading of "Julia," by John Lennon, is the one non-original cut. Slagle contributes the best track: "Invocation," inspired by the Dalai Lama, begins with a soaring rubato passage and then breaks into a beautiful harmonized line over an urgent 12/8 tempo. Slagle also penned the closing rhythm changes, "Rhythm Method." These two Slagle compositions feature some of Stryker's very best playing. ~ David R.Adler https://www.allmusic.com/album/changing-times-mw0000331065

Personnel:  Guitar – Dave Stryker; Alto Saxophone, Soprano Saxophone – Steve Slagle; Bass – Bill Moring; Drums – Tim Horner

Changing Times

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Steve Slagle, Kenny Drew Jr - Reincarnation

Styles: Saxophone And Piano Jazz
Year: 1995
File: MP3@320K/s
Time: 70:49
Size: 163,3 MB
Art: Front

(10:48)  1. Reincarnation of a Lovebird
( 7:50)  2. Yesternite
(10:01)  3. Soultrane
( 6:55)  4. Sweet Pepper
( 7:21)  5. Afro Cubano
( 7:09)  6. Bess You Is My Woman Now
( 5:37)  7. Spirit of Miles
( 8:34)  8. Isfahan
( 6:30)  9. News Blues

B. 18 September 1951, Los Angeles, California, USA. Starting out playing saxophones while still very young, Slagle moved to the opposite side of the country where he studied at the Berklee College Of Music. Subsequently, and through the 70s, he worked with artists as diverse as Stevie Wonder, John Scofield and Machito. In the early years of the next decade he was with Woody Herman’s band, playing tenor saxophone, and also worked with Lionel Hampton, playing alto, and Charlie Haden, Carla Bley, Steve Kuhn, and Mingus Dynasty. At the end of the 80s he was musical director for the Ray Barretto Band. His first album as a leader was released in 1983, and during the 80s he often worked with a quartet featuring Jaco Pastorius (bass), Mike Stern (guitar) and Adam Nussbaum (drums). In the following decade Slagle recorded several sessions for SteepleChase Records, with musicians including Tim Hagans and Ryan Kisor (trumpets), Kenny Drew Jnr. (piano), Cameron Brown (bass), and Gene Jackson (drums). Slagle also co-leads a group with Dave Stryker (guitar), and works as lead altoist and chief arranger with the Mingus Big Band.

A brilliant stylist, who also plays soprano saxophone and clarinet, Slagle’s work indicates his abiding interest on the transitional music that followed hard bop into free jazz, although he is at his considerable best when he underpins these latter-day forms with the essence of the blues. His striking technical mastery of his instruments is always evident but it is never used for its own sake. Although adept on all the instruments in his arsenal, Slagle is perhaps must interesting on alto, where his sinuous solo lines create a musical atmosphere that is both demanding and compelling in its intensity. https://www.allmusic.com/artist/steve-slagle-mn0000033922/biography

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death.~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Reincarnation

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Steve Slagle - High Standards

Styles: Saxophone Jazz
Year: 1982
File: MP3@320K/s
Time: 45:36
Size: 104,5 MB
Art: Front

( 6:50)  1. Grand St. Blues
( 8:19)  2. Peace
( 4:46)  3. Moments Notice
(10:40)  4. I Hear A Rhapsody
( 6:25)  5. I Thought About You
( 8:33)  6. Speak Low

Born 18 September 1951, Los Angeles, California, USA. Starting out playing saxophones while still very young, Slagle moved to the opposite side of the country where he studied at the Berklee College Of Music. Subsequently, and through the 70s, he worked with artists as diverse as Stevie Wonder, John Scofield and Machito. In the early years of the next decade he was with Woody Herman’s band, playing tenor saxophone, and also worked with Lionel Hampton, playing alto, and Charlie Haden, Carla Bley, Steve Kuhn, and Mingus Dynasty. At the end of the 80s he was musical director for the Ray Barretto Band. His first album as a leader was released in 1983, and during the 80s he often worked with a quartet featuring Jaco Pastorius (bass), Mike Stern (guitar) and Adam Nussbaum (drums). In the following decade Slagle recorded several sessions for SteepleChase Records, with musicians including Tim Hagans and Ryan Kisor (trumpets), Kenny Drew Jnr. (piano), Cameron Brown (bass), and Gene Jackson (drums). Slagle also co-leads a group with Dave Stryker (guitar), and works as lead altoist and chief arranger with the Mingus Big Band. A brilliant stylist, who also plays soprano saxophone and clarinet, Slagle’s work indicates his abiding interest on the transitional music that followed hard bop into free jazz, although he is at his considerable best when he underpins these latter-day forms with the essence of the blues. His striking technical mastery of his instruments is always evident but it is never used for its own sake. Although adept on all the instruments in his arsenal, Slagle is perhaps must interesting on alto, where his sinuous solo lines create a musical atmosphere that is both demanding and compelling in its intensity. https://www.allmusic.com/artist/steve-slagle-mn0000033922/biography                 

Personel:  Alto Saxophone – Steve Slagle;  Bass – Harvie Swartz;  Drums – Victor Lewis;  Guitar – Mike Stern;  Piano – Teddy Saunders

High Standards

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Dave Stryker Quintet - Passage

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 55:21
Size: 131,7 MB
Art: Front

(5:27)  1. In The Now
(6:23)  2. Kalahari
(6:48)  3. Passage
(7:27)  4. It's You Or No One
(7:06)  5. Jungle
(5:16)  6. Violation
(3:02)  7. I Fall In Love Too Easily
(5:58)  8. Minor Jones
(7:49)  9. Pursuit

An adept jazz guitarist with a strong blues- and soul-influenced sound, Dave Stryker has worked as both a sideman and bandleader. Born in 1957 in Omaha, Nebraska, Stryker first began playing guitar at age 10. He initially learned to play from listening to records by the Beatles, Cream, and Johnny Winter. Soon, however, he was investigating the music of influential blues artists like Freddie King, as well as more heady jazz improvisers like Wes Montgomery, Kenny Burrell, and Miles Davis. By his teens, he was gigging regularly around Omaha, and in 1978, he moved to Los Angeles where he studied for a time with guitarist Billy Rogers and first befriended Hammond B-3 organist Brother Jack McDuff. After moving to New York City in the '80s, he toured for several years with McDuff's soul-jazz outfit. In 1986, he met Stanley Turrentine, and spent the next decade touring with the saxophonist, during which time he developed significantly, coming into his own as a guitarist. As a solo artist, Stryker debuted in 1991 with Passages on SteepleChase, which also featured Joey Calderazzo, Adam Nussbaum, and others. From there, he delivered a steady stream of well-regarded albums for SteepleChase, including 1993's Full Moon, 1994's Nomad, and 1996's Big Room.

More albums followed in the 2000s, like 2001's Changing Times and 2005's Big City, which showcased his eclectic brand of guitar-based blues, swing, New Orleans funk, soul-jazz, and rock. During this period, he also made appearances on albums by Kevin Mahogany, James Williams, and Royce Campbell, and co-led several dates with saxophonist Steve Slagle. In 2010, he paid homage to longtime bandmate, drummer Tony Reedus (who died from a pulmonary embolism in 2008) with the organ-steeped One for Reedus. Another organ quintet session, Blue Strike, followed a year later.  In 2014, Stryker launched his own Strykezone Records imprint, kicking things off with Eight Track, featuring Stefon Harris, Jared Gold, and McClenty Hunter. Messin' with Mister T followed a year later, and included guest spots from Eric Alexander, Jimmy Heath, Chris Potter, and many more. After a follow-up to his first Eight Track effort (Eight Track, Vol. 2), he released the 2017 quartet session Strykin' Ahead. ~ Matt Collar https://www.allmusic.com/artist/dave-stryker-mn0000575988/biography

Personnel: Dave Stryker - guitar, composer; Steve Slagle - alto saxophone, composer;  Joey Calderazzo - piano; Jay Anderson - bass;  Adam Nussbaum - drums

Passage

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Steve Slagle, Bill O'Connell - The Power of Two

Styles: Saxophone, Flute And Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 53:29
Size: 126,9 MB
Art: Front

(4:12)  1. Good News
(6:09)  2. One Life
(3:46)  3. Peri's Scope
(3:58)  4. I'll Wait and Pray
(5:09)  5. A New Day
(7:07)  6. KD, Jr. (In Memory of Kenny Drew, Jr.)
(4:28)  7. The Power of Two
(5:20)  8. The Duke
(6:51)  9. Circle
(5:27) 10. Into Your Grace
(0:56) 11. Whistling Spirits

The initial impetus behind the creation of this recording was the passing of Kenny Drew Jr., an exceptional and underappreciated pianist who saxophonist Steve Slagle worked with, both in the Mingus Big Band and on one of his own leader dates Reincarnation (SteepleChase, 1994). On the day his friend passed, Slagle penned "KD JR.," later sending it to Bill O'Connell, another of his piano-playing colleagues. That got the ball rolling for this, the first duo date in Slagle's discography. Slagle and O'Connell have worked together on a number of O'Connell recordings in recent years Rhapsody In Blue (Challenge Records, 2010), Zocalo (Savant, 2013), and Imagine (Savant, 2014) but those recordings were all Latin Jazz-based. Here, while operating as a twosome, they avoid that area. Instead, they engage in dialogue that's grounded in earthy exhibitions, soulful moods, and implied if not outright stated swing of the low key variety. There's a breezy take on a Dave Brubeck classic ("The Duke"), an angular and slightly Monk-ish jaunt ("The Power Of Two"), an odd and unnerving miniature ("Whistling Spirits"), a pleasant stroll through an infrequently covered Miles Davis number ("Circle"), and, of course, Slagle's tribute to his dearly departed friend ("KD JR."). 

While less experienced musicians often try to overcompensate and fill every space when working in exposed settings like this, Slagle and O'Connell don't have this problem. There's an extremely relaxed quality to this music, and it's that easygoing vibe that makes this such an attractive date. These two manage to create music that's uplifting ("A New Day"), reflective ("Into Your Grace"), and wholly inviting. While there are no displays of sheer strength to be found here, there's no denying the power of this pair.~ Dan Bilawsky https://www.allaboutjazz.com/the-power-of-two-steve-slagle-panorama-records-review-by-dan-bilawsky.php

Personnel: Steve Slagle: alto saxophone, flute (3, 8, 11); Bill O'Connell: piano.

Thank you my friend!

The Power of Two

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The Stryker, Slagle Band - The Scene

Styles: Guitar, Saxophone And Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 55:22
Size: 127,8 MB
Art: Front

(6:38)  1. Skee
(6:18)  2. The Scene
(7:08)  3. Six For Teo
(6:55)  4. Two Sense
(5:25)  5. Kindred Spirits
(5:43)  6. Hopewell's Last
(7:48)  7. Brighter Days
(3:43)  8. Fingers In The Wind
(5:42)  9. Strikology

Consummate professionals, guitarist Dave Stryker and saxophonist Steve Slagle continue to raise the bar of instrumental interplay with The Scene. This pair eschews gimmickry for chops and produces some of the best post-bop anywhere. Joe Lovano, himself one of the busiest and best tenor saxophonists around, joins them again, as he did on their previous release, Latest Outlook (Zoho, 2007).  Along with this powerful frontline, a rhythm section of bassist Jay Anderson and Victor Lewis on drums and the music's compositional strength turns what would otherwise be a good collaboration into a great one. Take, for example, the opening "Skee" dedicated to the late bassist Dennis Irwin on which Lovano and Slagle blend beautifully against a hypnotic rhythm, or Slagle's tribute to his late brother, "Hopewell's Last," a gorgeous soprano (Slagle)/tenor (Lovano) showcase.  The aptly titled "Kindred Spirits" finds Stryker breaking out his acoustic to dovetail with Slagle's alto and Lewis' superb cymbal work, while Roland Kirk's "Fingers In The Wind" pairs an understated acoustic guitar with flute for an arrestingly melodic interlude. "Strikology," with bop chops emerging fore and aft, closes out another strong effort from the Stryker/Slagle Band.~ Elliott Simon https://www.allaboutjazz.com/the-scene-stryker-slagle-band-zoho-music-review-by-elliott-simon.php

Personnel: Dave Stryker: guitar; Steve Slagle: alto and soprano sax, flute; Jay Anderson: bass; Victor Lewis: drums; Joe Lovano: tenor sax (1, 3, 6, 7).

The Scene

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Steve Slagle Quartet - Our Sound

Styles: Saxophone Jazz 
Year: 1995
File: MP3@320K/s
Time: 62:24
Size: 144,4 MB
Art: Front

(6:42)  1. I Didn't Know What Time It Was
(6:15)  2. Eve
(6:20)  3. Little Rootie Tootie
(6:01)  4. Theme For Ernie
(8:13)  5. Crazy She Calls Me
(6:55)  6. Haitian Fight Song
(4:45)  7. Lush Life
(8:45)  8. All Or Nothing At All
(8:24)  9. Beautiful Friendship

Steve Slagle is an American jazz saxophonist, flautist, and composer. Slagle was born in Los Angeles and grew up in suburban Philadelphia. He received a scholarship to the Berklee College of Music and received a master's degree in Music From Manhattan School of Music.. He came to New York in 1976, first working with Machito and his Afro-Cuban orchestra, and then toured and recorded with Ray Barretto, Steve Kuhn, Lionel Hampton, Brother Jack McDuff, and Carla Bley. He also performed and traveled with Woody Herman and Cab Calloway. In the mid-1980s, he began leading his own combos, first with Mike Stern and then with Dave Stryker; the combo is currently the main focus of Slagle's music. He has also played frequently with Joe Lovano and has featured on several of Lovano's albums, including the Grammy-winning 52nd Street Themes.

In the mid-1980s, global and especially Latin influences began to inflect Slagle's work, and he appeared on albums by Milton Nascimento and recorded Rio Highlife in Brazil. He toured frequently worldwide during the 1990s and 2000s, especially in Western Europe, Japan, South America and, latterly, Russia and Bulgaria. During the 1990s, he was a leading figure in the Charles Mingus Big Band. Ever since the late 1990s, Slagle has co-led a band with guitarist Dave Stryker. New New York, his 2000 release, has been seen as an evocation of the city's mood on the verge of 9/11 and an expression of Slagle's love for the city he has made his home. He has played with such diverse artists as Milton Nascimento, St. Vincent, Elvis Costello, the Beastie Boys, and Mac Rebennack (aka Dr. John). Slagle has taught at the Manhattan School of Music, Rutgers, The New School, NYU, and clinics through the Thelonious Monk Institute as well as the Mingus Jazz Workshop and master classes and clinics worldwide.

In 2015, his duo recording with pianist Bill O'Connell, a tribute album to Kenny Drew Jr. was released as The Power of Two. In February 2016, Routes (by the Stryker/Slagle Band-Expanded) was released. It was produced by Rick Simpson, with 4-horn arrangements by Steve Slagle. With much critical acclaim, Routes reached #2 on the national radio charts. Slagle plays and endorses Yanagisawa saxophones  the WO-10 alto saxophone and S9930 soprano saxophone. Steve has also been a long time player of Haynes flutes. On tenor sax, Steve plays a mid-60's Selmer Mark VI, and on baritone sax, a 1947 Silver Conn. In 2011, Slagle published a composition and improvisation workbook for the creative musician, and stories about his life in "Scenes, Songs and Solos" (Schaffner Press). His many original compositions are published with Slagle Music, BMI. https://en.wikipedia.org/wiki/Steve_Slagle

Our Sound

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Dave Stryker - Blue To The Bone IV

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 61:44
Size: 141,8 MB
Art: Front

(8:32)  1. Blues Strut
(8:33)  2. Workin'
(5:25)  3. For The Love Of You
(5:43)  4. Come On In My Kitchen
(7:41)  5. Big Foot
(7:20)  6. Blues For Brother Jack
(8:00)  7. Shades Ahead
(7:09)  8. Fun
(3:16)  9. Soul Power

Dave Stryker s music is deeply rooted in blues, having performed with Jack McDuff in the 80s and Stanley Turrentine in the 90s. Dave s special blend of jazz and blues culminated first time in 1996 in the form of Blue To The Bone I (SCCD 31400). Since then the project has become a popular on-going series. The fourth addition features Stryker s regular organ trio (Jared Gold on B-3 and McClenty Hunter on drums). There are solid solos from all hands throughout the album .... 

Based on the personnel and the feeling of these performances, I'd like to catch this group live . (Owen Cordle JazzTimes on Blue To The Bone III SCCD 31465) As great as the first set was, it's without hesitation that I deem this new one a valiant leap forward. .....They, along with the charts and an elation that the blues almost paradoxically provide, make for an end product that is indeed greater than the sum of the parts (C. Andrew Hovan-AAJ on Blue To The Bone II SCCD 31524) ~ Editorial Reviews https://www.amazon.com/Blue-Bone-IV-Dave-Stryker/dp/B00AZAJXDU

Personnel:  Dave Stryker – guitar; Freddie Hendrix – trumpet; Steve Slagle – alto sax; Vincent Gardner – trombone; Gary Smulyan – bari sax; Jared Gold – Hammond B3 organ; McClenty Hunter – drums

Blue To The Bone IV

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Bill O'Connell, The Latin Jazz All-Stars - Zócalo

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 59:49
Size: 137,7 MB
Art: Front

(5:42)  1. Big Sur
(6:47)  2. Joshua
(6:58)  3. Zócalo
(6:50)  4. For All We Know
(8:24)  5. Nothing but the Truth
(7:45)  6. 21st Century Blues
(5:42)  7. The Surrey with the Fringe on Top
(5:16)  8. Eric's Song
(6:21)  9. One Note Mambo

Latin jazz piano dynamo Bill O'Connell found a parallel between this gathering and Zócalo, the main plaza situated in the center of Mexico City; that square has long been a place where people meet to connect, celebrate and join together as one, and the same sense of togetherness and unity associated with that spot surrounds this recording. O'Connell and his simpatico sextet mates sizzle, swoon and soar as they explore the art of creation through communication. Sometimes connections manifest themselves in simple and common ways, as when bassist Luques Curtis bolsters an O'Connell solo while drummer Adam Cruz pushes and prods, but sometimes the connections are more intense, though in a less obvious way. When trombonist Conrad Herwig colors behind saxophonist Steve Slagle during "For All We Know," for example, the respect and love that these artists have for one another and for the music itself is clear as can be. When this band pushes the envelope and steps on the gas, as on the spirited re-write of "Joshua" and the fiesty "Nothing But The Truth," they create a powerful rhythmic undertow that can't help but suck in everything within earshot; the music is simply that powerful. Elsewhere, the material is poignant ("For All We Know), lighthearted ("The Surrey With The Fringe On Top") and luminescent ("Erik's Song"). O'Connell, Curtis, Cruz and conga player Richie Flores have a lot of chemistry and the horns really complement one another; Herwig's earthy trombone set against Slagle's focused alto or his piquant-to-pure soprano make for a winning combination. If the goal here was truly to let these folks share their musical thoughts and become one in the process, then mission accomplished for this fine group of musicians. ~ Dan Bilawsky https://www.allaboutjazz.com/zocalo-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Steve Slagle: alto saxophone (1, 3-5, 9), soprano saxophone (2, 6-8); Conrad Herwig: trombone; Richie Flores: congas; Luques Curtis: bass; Adam Cruz: drums; Roman Diaz: bata (2), vocals (2); Jadele MacPherson: vocals (2).

Zócalo

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Dave Stryker - Blue to the Bone III

Styles: Guitar Jazz
Year: 2002
File: MP3@320K/s
Time: 72:41
Size: 167,9 MB
Art: Front

( 7:57)  1. Stan's Shuffle
( 8:31)  2. Complicity
( 5:21)  3. Crazy House
( 6:05)  4. If 6 Was 9
(11:09)  5. For Jack & T
(11:20)  6. Going Home
(10:01)  7. So Long Eric
(10:43)  8. Soulful Mr. Timmons
( 1:29)  9. Doin' the Bone

Dave Stryker’s Blue to the Bone Band, ongoing since ’96, features the guitarist with three other rhythm players and four horns. Established to showcase his blues side, it covers the jazzier realm of the blues as opposed to primitive, gutbucket territory. The horn section (alto saxophonist Steve Slagle, baritone saxophonist and chief arranger Bob Parsons, trumpeter Brian Lynch, and trombonist Clark Gayton) functions as an extension of Stryker’s guitar sound, and the rhythm section (pianist James Williams, bassist Anderson and drummer Tim Horner) keeps the blues feeling true underneath. Stryker’s “For Jack and T” salutes the late organist Jack McDuff and tenorman Stanley Turrentine, two of the guitarist’s former employers. “Doin’ the Bone” is a short, funky cut with Tower of Power-style horns. Slagle arranged Charles Mingus’ “So Long, Eric,” and Williams and Parsons arranged the pianist’s “Soulful Mr. Timmons,” in which the composer takes a stomping, most satisfying solo. There are solid solos from all hands throughout the album, with the lesser-known Gayton taking honors here and there with his triphammer tonguing. Based on the personnel and the feeling of these performances, I’d like to catch this group live. ~ By Owen Cordle https://jazztimes.com/archives/dave-stryker-blue-to-the-bone-iii/

Personnel: Alto Saxophone – Steve Slagle; Baritone Saxophone – Bob Parsons ; Bass – Jay Anderson; Drums – Tim Horner; Guitar, Liner Notes – Dave Stryker; Piano, Organ – James Williams ; Trombone – Clark Gayton; Trumpet, Flugelhorn – Brian Lynch

Blue to the Bone III

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Dave Stryker - Blue To The Bone II

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 62:13
Size: 143,3 MB
Art: Front

( 4:27)  1. Rockin' in rhythm
( 1:32)  2. Goin' to New Orleans - introduction
( 8:07)  3. Goin' to new Orleans
( 5:43)  4. Sittin' on top of the world
(11:22)  5. 24 for Elvin
( 6:40)  6. Mystery street
( 5:18)  7. The squeeze
( 8:28)  8. Mood
(10:33)  9. Mug shot

Considering that forty-something guitarist Dave Stryker has made over a dozen albums under his own name, leads a sharp quartet with Steve Slagle, and is in constant demand as a sideman working in the past with Stanley Turrentine, Jack McDuff, Javon Jackson, and Kevin Mahogany, you'd think he'd be practically a household name. Unfortunately that's not the case, but his first Blue to the Bone project from a few years back did seem to attract some critical plaudits and bring into the circle some added new fans. And now that the second offering in this series has just made its debut here in America, one can only hope that the good vibes just keep building. As great as the first set was, it's without hesitation that I deem this new one a valiant leap forward. For the neophyte, the concept is really quite simple- get together a modest-sized horn section, bring a B-3 along, and write some charts that accent a "blue" point of view. But while the prior record leaned a bit more on the classic 12-bar blues form, this set offers up a colorful diversity in terms of song structure. Of course, Stryker can get down with his bad self, as he more than adequately proves on a cover of Howlin' Wolf's "Sittin' On the Top of the World." Somehow the spicy gumbo of the Crescent City proves to be a perfect adjunct to the blues in Stryker's mind, with both originals "Mystery Street" and "Goin' To New Orleans" spurred on by Adam Nussbaum's "second line" drumming and the guitarist's processed tone, akin to a slide-steel at times. 

His solo spot on the former makes potent use of distortion and note bending. Balanced by an Ellington gem and a Steve Slagle original, a few tunes that have been previously recorded get a facelift too, including "Mood" and "24 For Elvin," an extended form with a modal quality to it that does indeed suggest Elvin Jones' work with the classic John Coltrane quartet. Sharing the solo honors with Stryker and equally beguiling in the long run are trumpeter Brian Lynch, alto saxophonist Steve Slagle, pianist Bruce Barth, and drummer Adam Nussbaum. They, along with the charts and an elation that the blues almost paradoxically provide, make for an end product that is indeed greater than the sum of the parts. Now, here's waiting with baited breath for the release of Stryker's latest project inspired by Miles Davis' Bitches Brew period. Bring it on SteepleChase! 

~ C.Andrew Hovan https://www.allaboutjazz.com/blue-to-the-bone-ii-dave-stryker-steeplechase-records-review-by-c-andrew-hovan.php

Personnel: Dave Stryker- guitar, Brian Lynch- trumpet, Steve Slagle- alto sax & flute, Clark Gayton- trombone, Bob Parsons- baritone saxophone, Bruce Barth- piano & organ, Jay Anderson- bass, Adam Nussbaum- drums

Blue To The Bone II

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Steve Slagle - Alto Blue

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 60:21
Size: 139,4 MB
Art: Front

(7:31)  1. Blues not to lose
(5:51)  2. Hail-Bop
(9:22)  3. Full moon
(5:13)  4. Jaco time
(6:01)  5. Detour ahead
(9:52)  6. Peacefully
(9:53)  7. Jump Monk
(6:33)  8. The Midget

Steve Slagle, who has a very appealing tone on alto, strong technique, and a style that is quite versatile, performs seven blues on this exciting set, as well as a flute feature on "Detour Ahead." By varying tempos and grooves (ranging from bebop to Ornette Coleman and a bit of funk), each song manages to have its own personality and a mundane sameness never occurs. Trumpeter Ryan Kisor, who had grown quite a bit during the past few years, seemed at this point to be obviously poised for potential greatness and sounds quite individual. Bassist Scott Colley and drummer Gene Jackson, although in a supporting role, are major assets and work together quite well. The material is made up of four Slagle originals, one song by Dave Stryker, Charles Mingus' "Jump Monk" and Lee Morgan's "The Midget," in addition to "Detour Ahead"; it's consistently colorful and catchy enough to both inspire the musicians and be memorable for the listeners. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/alto-blue-mw0000597428

Personnel:  Alto Saxophone, Flute – Steve Slagle; Bass – Scott Colley; Drums – Gene Jackson; Trumpet – Ryan Kisor

Alto Blue

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Bill O'Connell, The Latin Jazz All-Stars - Imagine

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 59:27
Size: 137,1 MB
Art: Front

(5:45)  1. Optimism
(6:43)  2. Stepping Stones
(7:46)  3. Imagine
(6:48)  4. Shaman's Dance
(6:57)  5. Missing Mr. Berrios
(6:23)  6. Jigsaw
(6:38)  7. 25 Years
(5:20)  8. Willow Weep for Me
(7:03)  9. Whitecaps

It's curious that Bill O’Connell’s 11th album as a leader is titled after the revered John Lennon anthem covered within, because it’s atypical of most of his work. O’Connell’s stock-in-trade is bop-tempered Afro-Cuban rhythm, and few traces of such surface during the elegant float through the song. But what the pianist and his sextet do with “Imagine” instead is more valuable than giving it a stock clave coating. About midway through the nearly nine-minute rumination, following saxophonist Steve Slagle and trombonist Conrad Herwig’s subtle, repeated restating of the theme, O’Connell carries it away, his impeccably phrased solo leaving Lennon far behind. By the time Slagle returns to wrap it, the reimagining of “Imagine” is unrecognizable, becoming this sextet’s own, and a highlight of the set. O’Connell’s original compositions are handled with similar spirit and inventiveness. The ballad “Missing Mr. Berrios,” a wistful tribute to the late drummer and percussionist Steve Berrios, again leaves it up to the hornmen to provide shape, O’Connell only detouring from the simple chord pattern that’s been providing the foundation briefly enough to let us know he’s there. Of the uptempo numbers, both “Stepping Stones” and especially the closing “Whitecaps” afford the brawny rhythm team of bassist Luques Curtis, drummer Richie Barshay and percussionist Richie Flores (the last two returnees from O’Connell’s previous effort) ample opportunity to flex. That latter tune is closer to what we’ve come to expect from Bill O’Connell, but by the time we’ve gotten to it, he’s made it clear that perhaps what we should really expect from him is only the unexpected. ~ By Jeff Tamarkin https://jazztimes.com/reviews/albums/bill-oconnell-and-the-latin-jazz-allstars-imagine/

Personnel: Bill O'Connell (Piano); Luques Curtis (Bass); Richie Barshay (Drums); Richie Flores (Percussion); Steve Slagle (Soprano Saxophone, Alto Saxophone); Conrad Herwig (Trombone).

Imagine

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Dave Stryker - Full Moon

Styles: Guitar Jazz
Year: 1994
File: MP3@320K/s
Time: 64:55
Size: 149,4 MB
Art: Front

(8:45)  1. The sphinx
(5:52)  2. I mean you
(8:21)  3. Wise one
(5:40)  4. Leadbelly sez
(9:03)  5. Bayou blues
(8:58)  6. Deluge
(2:13)  7. Monk's mood
(8:18)  8. The disguise
(7:42)  9. Full moon

WASHINGTONIANS may know guitarist Dave Stryker's work by way of the soulful accompaniment he's provided saxophonist Stanley Turrentine in concert dates and recording sessions over the past decade, but his new quartet album, "Full Moon," presents a much broader picture of his exceptional talent and diverse tastes. Unlike some recordings that attempt to demonstrate a musician's stylistic reach, only to end up sounding contrived and disjointed, "Full Moon" is as cohesive as it is adventurous. The quartet's precise interplay, honed over a period of 10 years and four recordings, distinguishes each arrangement and manifests itself in both subtle and stirring forms, from the sly, conversational exchanges between Stryker, bassist Jay Anderson and drummer Jeff Hirshfield to the brash but precise unisons stated by Stryker and saxophonist Steve Slagle. In addition to this near telepathic level of teamwork, "Full Moon" consistently benefits from the resourcefulness and ingenuity Stryker and Slagle demonstrate as improvisers and from a series of truly distinctive arrangements. Among the best are a New Orleans funked-up version of Thelonious Monk's "I Mean You," Stryker's own languid musing "Bayou Blue," and Ornette Coleman's bop-inspired theme, "The Disguise." DAVE STRYKER -"Full Moon" (SteepleChase). Appearing Wednesday at Blues Alley with the Steve Slagle Quartet. To hear a free Sound Bite from this album, call 202/334-9000 and press 8109. ~ Mike Joyce https://www.washingtonpost.com/archive/lifestyle/1995/02/03/stryker-hits-mark-on-full-moon

Personnel:  Guitar – Dave Stryker; Alto Saxophone, Flute – Steve Slagle;  Bass – Jay Anderson; Drums – Jeff Hirshfield

Full Moon

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Lionel Hampton & His Giants Of Jazz 1979 - Hamp In Haarlem

Styles: Vibraphone Jazz
Year: 1979
File: MP3@320K/s
Time: 44:37
Size: 104,2 MB
Art: Front

( 7:35)  1. Glad Hamp
( 6:02)  2. Ol' Man River
( 6:21)  3. Greasy Greens
( 2:43)  4. Mr. P.C.
(12:05)  5. Hamp's Got The Blues
( 9:50)  6. Salsa, Ein Burgermeister De Francoise

Lionel Hampton was the first jazz vibraphonist and was one of the jazz giants beginning in the mid-'30s. He has achieved the difficult feat of being musically open-minded (even recording "Giant Steps") without changing his basic swing style. Hamp started out as a drummer, playing with the Chicago Defender Newsboys' Band as a youth. His original idol was Jimmy Bertrand, a '20s drummer who occasionally played xylophone. Hampton played on the West Coast with such groups as Curtis Mosby's Blue Blowers, Reb Spikes, and Paul Howard's Quality Serenaders (with whom he made his recording debut in 1929) before joining Les Hite's band, which for a period accompanied Louis Armstrong. At a recording session in 1930, a vibraphone happened to be in the studio, and Armstrong asked Hampton (who had practiced on one previously) if he could play a little bit behind him and on "Memories of You" and "Shine"; Hamp became the first jazz improviser to record on vibes. It would be another six years before he found fame. Lionel Hampton, after leaving Hite, had his own band in Los Angeles' Paradise Cafe, until one night in 1936 when Benny Goodman came into the club and discovered him. Soon, Hampton recorded with B.G., Teddy Wilson, and Gene Krupa as the Benny Goodman Quartet, and six weeks later he officially joined Goodman. An exciting soloist whose enthusiasm even caused B.G. to smile, Hampton became one of the stars of his organization, appearing in films with Goodman, at the famous 1938 Carnegie Hall concert, and nightly on the radio. In 1937, he started recording regularly as a leader for Victor with specially assembled all-star groups that formed a who's who of swing; all of these timeless performances (1937-1941) were reissued by Bluebird on a six-LP set, although in piecemeal fashion on CD. Hampton stayed with Goodman until 1940, sometimes substituting on drums and taking vocals. In 1940, Lionel Hampton formed his first big band, and in 1942 had a huge hit with "Flying Home," featuring a classic Illinois Jacquet tenor spot (one of the first R&B solos). 

During the remainder of the decade, Hampton's extroverted orchestra was a big favorite, leaning toward R&B, showing the influence of bebop after 1944, and sometimes getting pretty exhibitionistic. Among his sidemen, in addition to Jacquet, were Arnett Cobb, Dinah Washington (who Hampton helped discover), Cat Anderson, Marshall Royal, Dexter Gordon, Milt Buckner, Earl Bostic, Snooky Young, Johnny Griffin, Joe Wilder, Benny Bailey, Charles Mingus, Fats Navarro, Al Gray, and even Wes Montgomery and Betty Carter. Hampton's popularity allowed him to continue leading big bands off and on into the mid-'90s, and the 1953 edition that visited Paris (with Clifford Brown, Art Farmer, Quincy Jones, Jimmy Cleveland, Gigi Gryce, George Wallington, and Annie Ross) would be difficult to top, although fights over money and the right of the sideman to record led to its breakup. Hampton appeared and recorded with many all-star groups in the 1950s including reunions with Benny Goodman, meetings with the Oscar Peterson Trio, Stan Getz, Buddy DeFranco, and as part of a trio with Art Tatum and Buddy Rich. He also was featured in The Benny Goodman Story (1956). Since the 1950s, Lionel Hampton has mostly repeated past triumphs, always playing "Hamp's Boogie Woogie" (which features his very rapid two-finger piano playing), "Hey Ba-Ba-Re-Bop," and "Flying Home." However, his enthusiasm still causes excitement and he remains a household name. Hampton has recorded through the years for nearly every label, including two of his own (Glad Hamp and Who's Who). Despite strokes and the ravages of age, Lionel Hampton remained a vital force into the 1990s. In January 2001, a vibraphone he had played for 15 years was put into the National Museum of American History. On August 31, 2002, at age 94, Lionel Hampton suffered major heart failure and passed away. ~ Scott Yanow https://www.allmusic.com/artist/lionel-hampton-mn0000833150/biography

Personnel: Lionel Hampton - vibraphone, drums, piano, vocals; Joe Newman, Wallace Davenport - trumpet; Curtis Fuller - trombone; Steve Slagle - alto saxophone; Paul Moen - tenor saxophone;  Paul Jeffrey - baritone saxophone;  Wild Bill Davis - organ, piano;  Gary Mazzaroppi - bass;  Richie Pratt - drums

Hamp In Haarlem

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Joe Lovano Nonet - On This Day at the Vanguard

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 69:38
Size: 163,2 MB
Art: Front

( 9:33)  1. At The Vanguard
( 8:12)  2. Focus
( 7:39)  3. After The Rain
(14:13)  4. Good Bait
( 5:26)  5. Laura
(15:26)  6. On This Day (Just Like Any Other)
( 9:05)  7. My Little Brown Book

"Ah, they don't make records like this anymore," you might find yourself sighing upon first hearing On This Day At The Vanguard. But look at the liner notes: the artist is Joe Lovano, and this fantastic album was recorded live at the Village Vanguard in September of 2002. This is the same nonet with which Lovano recorded the Grammy-winning 52nd Street Themes a few years back. While that record was a well-conceived and well-executed exploration of composer/arranger Tadd Dameron's legacy, there was something a bit restrained about it, as if the nonet were still finding its sound together. This live album is a decidedly looser, more exciting affair, delivering on the promise of the earlier record. Right from the start of the first track, a punchy Lovano original called "At The Vanguard," it's clear that this group has found its groove. At times recalling Gerry Mulligan's Concert Jazz Band (whose excellent 1962 Vanguard album was recently rereleased by Verve), the soloists' explorations are punctuated by encouraging brass blasts from the band, beautifully maintaining the energy level as the tune rolls along. Lovely arrangements of the chestnut "Laura" (by Willie "Face" Smith) and Coltrane's "After The Rain" (by altoist Steve Slagle) allow the nonet's members to demonstrate their ability to finesse a ballad. 

The latter is especially wonderful, with a mysterioso intro arising straight out of the "classic quartet" playbook before the group enters to put their own stamp on the tune. But the heart of the album is two 15-minute up-tempo tunes: an unbelievably exciting, rollicking version of Dameron's "Good Bait" which features a fabulous solo by baritonist Scott Robinson (which really gets the crowd going), among many other great ones; and the Lovano original "On This Day (Just Like Any Other)." This tune, dedicated to the late Billy Higgins, begins with a free episode for drums and two saxophones that recalls the classic Ornette Coleman group in which Higgins played, continuing with simple themes based on the syllables of the title and Higgins' name, explored freely to great effect by the group. A quartet version of "My Little Brown Book" closes the album with a late night feel, Lovano playing in his most reflective voice. The quality of the nonet's playing rises to a consistently high level throughout the disc, but special mention must be made of Lewis Nash's impeccable drumming, especially the funky little hi-hat punctuations that continually stoke the engines of the up-tempo tunes, and John Hicks' tasteful piano comping. After listening to this record, one can't help but feel grateful for Joe Lovano's presence in modern jazz. Thanks to him, they do make records like this anymore. ~ Joshua Weiner https://www.allaboutjazz.com/on-this-day-at-the-vanguard-joe-lovano-blue-note-records-review-by-joshua-weiner.php

Personnel: Joe Lovano- Tenor Saxophone,Steve Slagle: Alto Saxophone, George Garzone: Tenor Saxophone, Ralph Lalama: Tenor Saxophone, Scott Robinson: Baritone Saxophone, Barry Ries: Trumpet,Larry Farrell: Trombone, John Hicks: Piano, Dennis Irwin: Bass, Lewis Nash: Drums

On This Day at the Vanguard

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