Steve Turre - Sanyas

Styles: Trombone Jazz
Size: 114,0 MB
Time: 49:14
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Sanyas (13:18)
2. All the Things You Are (10:21)
3. Wishful Thinking ( 9:15)
4. Mr. Kenyatta ( 9:52)
5. These Foolish Things ( 6:24)

Trombonist and conch shell blower Steve Turre (who appears with a quintet at the Jazz Showcase from June 20 th through the 24 th ) has been called by allmusic.com “perhaps the most visible jazz trombonist of the 20 th and 21 st centuries.” Whether the website is referring to his recognizable facial hair features or his commanding stage presence, Turre has certainly crafted his own niche within the jazz world. Ever since his breakthrough album "Rhythm Within" in 1995, Turre has attracted fans worldwide with his deft mix of Latin and Eastern-infused compositions and interpretations, as well as his steady post bop chops.

But live material wasn’t part of his catalogue as a leader until recently, when "Sanyas" was released on Smoke Sessions Records. On this initial live release, one receives all the representations of Turre’s work, from straight-ahead bop to those exotic takes that flow through one’s soul. As a live recording, "Sanyas" is either too short at just over 49 minutes or refreshingly short, without any fluff or pretentious jamming.

What we get is a tidy and masterful display involving veteran musicians who have played with Turre before and are very comfortable with his music. As on Turre’s last album, "Generations" (Smoke Sessions), the cast of performers includes a septet consisting of Turre, Nicholas Payton on trumpet, Ron Blake on tenor sax, Isaiah J. Thompson on piano, Buster Williams on bass, and Lenny White on drums.

The album begins with the title cut, a composition first heard when Turre played with a key mentor, the late trumpet hero Woody Shaw. On this effort, the modal jazz stew opens with a horn cacophony that leads to a Williams a la Paul Chambers intro that sets up a repeating piano chord riff from Thompson, over which an Eastern-tinged horn line expresses the song. Turre’s punchy solo, aggressively accompanied by White, is answered by Blake’s deeply-textured response before Turre finishes with a shell coda.

“All the Things You Are” receives a quasi-big band swing treatment, and the horns deliver big time. Blake’s solo is a treat and Payton, who seems to have reclaimed his own bop chops, adds a spirited and crystal clear comment. The group’s interplay here is impressive, bolstered by Williams’ sturdy presence, Thompson’s stately riffing and soloing, and White’s energetic support.

A new ballad, “Wishful Thinking,” demonstrates Turre’s more lyrical side, with a tastefully restrained partner in Payton. Then Lee Morgan’s “Mr. Kenyatta” properly returns the ensemble back into exotic rhythm, with another conch shell solo added.

The CD/digital “bonus track” is “These Foolish Things,” which is rendered in soft swing, with Turre in plunger mode atop Williams’ lilting bass lines; Buster is, as usual, brilliant throughout the album.

"Sanyas" thus ends, leaving this listener with a craving for more. If you hear this album before Steve Turre, the continuously enticing trombonist, visits Chicago, you might start planning a visit to the Showcase to see and hear the consummate pro in action. If you can’t, this relatively brief but well-performed excursion can serve as a replacement for the time being.By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-steve-turre-sanyas-by-jeff-cebulski

Personnel: Steve Turre, trombone and conch; Nicholas Payton, trumpet; Ron Blake, tenor saxophone; Isaiah J. Thompson, piano; Buster Williams, bass; Lenny White, drums.

Sanyas

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Gerald Cannon - Live at Dizzy's Club - The Music of Elvin & Mccoy

Styles: Post Bop
Year: 2024
File: MP3@320K/s
Time: 72:22
Size: 166,2 MB
Art: Front

( 8:47) 1. Ej's Blues
( 6:35) 2. Three Elders
(10:34) 3. 3 Card Molly
( 7:47) 4. Search for Peace
(11:16) 5. Blues in the Minor
( 8:33) 6. Home
(13:38) 7. Contemporary Focus
( 5:08) 8. Inception

In June 2022, bassist Gerald Cannon assembled an all-star septet to perform compositions by his late friends and musical colleagues, drummer Elvin Jones and pianist McCoy Tyner, in concert at Dizzy's Club in New York City. It is a respectable blowing session, with capable solos by all hands, albeit a tad less than one might expect from such an esteemed ensemble.

That is not to say anything on the menu is bland or unsavory. Still, expectations are understandably high where an ensemble of this caliber is concerned; this session, even though admirable in many respects, seems more methodical than inspired, in spite of some laudable blowing along the way and a generally solid rhythmic vibe from Cannon and his teammates.

Elvin, one of the Detroit area's talented Jones brothers (Thad, Hank), wrote "EJ's Blues," which opens the session on a buoyant note, and the high-powered "3 Card Molly." Sandwiched between them is Cannon's lone composition, the diaphanous "Three Elders," dedicated to Jones, Tyner and pianist Larry Willis, with whom Cannon performed for eleven years in the Roy Hargrove Big Band. Tyner composed the rest of the session's eight numbers: "Search for Peace," "Blues in the Minor," "Home," "Contemporary Focus" and "Inception."

"EJ's Blues" introduces the ensemble's four-horn front line: tenor saxophonist Joe Lovano, trumpeter Eddie Henderson, alto saxophonist Sherman Irby and trombonist Steve Turre, leading to an engaging solo by pianist Dave Kikoski who is splendid at every turn. Henderson and Turre are smooth and eloquent when called upon, while Lovano relies in part on rapid-fire runs interspersed with high-register screams. Irby never sounds completely comfortable even though he solos capably, especially on "Contemporary Focus." Lovano seems most at home on Tyner's eloquent "Search for Peace," on which he shares blowing space with Henderson.

The septet is present on every number but the last one, Tyner's light-hearted "Inception," performed by Kikoski, Cannon and drummer Lenny White who serves as the group's rhythmic core on every number. Cannon solos only twice, on "3 Card Molly" and "Contemporary Focus," White on "Blues in the Minor" and "Inception." After "EJ's Blues," Turre is not out front again until "Home" and "Contemporary Focus."

There can be no doubt that Cannon's heart was in the right place, his choice of sidemen was splendid, and honorees Jones and Tyner were first-class writers as well as performers. The result is a very good concert which never dips below that level but, for reasons uncertain, seldom rises above it either. Even so, well worth hearing and appreciating.By Jack Bowers
https://www.allaboutjazz.com/live-at-dizzys-club-the-music-of-elvin-and-mccoy-gerald-cannon-self-produced

Personnel: bassist Gerald Cannon; pianist Dave Kikoski; drummer Lenny White; tenor saxophonist Joe Lovano; alto saxophonist Sherman Irby; trumpeter Eddie Henderson; and trombonist Steve Turre.

Gerald Cannon Live at Dizzy's Club the Music of Elvin & Mccoy (Live)

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The Cedar Walton Sextet - Bambino: Plays the Music of Art Blakey

Styles: Hard Bop
Year: 1993
File: MP3@320K/s
Time: 49:47
Size: 114,4 MB
Art: Front

(10:09) 1. Arabia
( 8:12) 2. Wee Dot
( 7:20) 3. If I Had You
(16:06) 4. Blues March
( 7:58) 5. Along Came Betty

Cedar Walton's sextet recorded this session before an appreciative audience at Sweet Basil in New York in 1993. Joining the pianist for this date were trumpeter Philip Harper, tenor saxophonist Javon Jackson, trombonist Steve Turre, bassist David Williams and drummer Billy Higgins. The recording was taped during two August nights at the club; alto saxophonist Lou Donaldson appears on "Wee Dot" and "If I Had You."

Four of the sextet are alumni of Art Blakey's Jazz Messengers; moreover, Lou Donaldson's work experience with Blakey predates the founding of his Jazz Messengers. Horace Silver was with the ensemble at that time (the early 1950s) and likes to refer to The Jazz Messengers as "the Art Blakey College of Musical Education." Blakey's working unit remained at the vanguard of hard bop for 36 years, and included well-known jazz artists such as Benny Golson, Jackie McLean, Curtis Fuller, Lee Morgan, Cedar Walton, Freddie Hubbard, Keith Jarrett, Wayne Shorter, Chick Corea, and Wynton Marsalis (Blakey, who passed away in October 1990, used to introduce himself to audiences as "Mrs. Blakey's bambino, Arturo").

Curtis Fuller's "Arabia" features Turre's expressive trombone. J.J. Johnson's "Wee Dot" includes Walton's exciting hard bop piano work and fours from the ever-tasteful Billy Higgins. "If I Had You" is a gentle ballad that features Donaldson. Benny Golson's "Blues March" and "Along Came Betty" provide the most excitement, as each soloist pushes the envelope. Harper and Jackson are particularly creative in their solo spots, weaving quiet mouse-like lines together and building them into uproarious shouts. Art Blakey taught them well.By Jim Santella
https://www.allaboutjazz.com/bambino-cedar-walton-evidence-music-review-by-jim-santella

Personnel: Piano – Cedar Walton; Alto Saxophone, Guest – Lou Donaldson (tracks: 2, 3); Bass – David Williams (2); Drums – Billy Higgins; Tenor Saxophone – Javon Jackson; Trombone – Steve Turre; Trumpet – Philip Harper

Bambino: Plays the Music of Art Blakey

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Archie Shepp - Attica Blues Big Band - Live At The Palais Des Glaces Disc1, Disc2

Album: Attica Blues Big Band - Live At The Palais Des Glaces Disc 1
Styles: Fusion, Hard Bop
Year: 1979
File: MP3@320K/s
Time: 45:38
Size: 105,3 MB
Art: Front

(4:39) 1. Attica Blues, Part 1
(7:33) 2. Steam
(5:46) 3. Quiet Dawn
(7:26) 4. Hi-Fly
(7:41) 5. U-Jaama
(2:50) 6. Antes De Andios
(3:35) 7. Star Love
(6:05) 8. Moon Bees

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Album: Attica Blues Big Band - Live At The Palais Des Glaces Disc 2
Time: 50:25
Size: 116,2 MB

(6:10) 1. Strollin'
(5:37) 2. Ballad For A Child
(7:34) 3. Simone
(6:20) 4. Crucificado
(5:35) 5. A Change Has Come Over Me
(5:54) 6. Goodbye Sweet Pops
(4:29) 7. Skippin'
(8:43) 8. Attica Blues,pt.2

From the outset, Archie Shepp's terminally misunderstood Attica Blues on Impulse during the 1970s was an attempt by the saxophonist and composer to bring together the various kinds of African American musics under one heading and have them all express the conscience of the day. His ensemble featured singers, string players, horns, drums, guitars, etc. The sounds were a Gordian knot of jazz, free music, R&B, soul, groove, and even funk. In 1979 Shepp was given the opportunity to realize the project with an ensemble of his choosing at the Palais des Glaces in Paris (New York was already courting Wimpton Marsalis).

Shepp chose 30 musicians and director/conductor Ray Copeland. Among the throng were saxophonists Marion Brown, John Purcell, Patience Higgins, and John Ware. Malachi Thompson led a five-trumpet section, and Steve Turre led the trombones, a young Brandon Ross played guitar, Avery Sharpe was one of two bassists, Clifford Jarvis held down the drum chair, Shepp played all his horns and piano though Art Matthews was the primary pianist on the gig.

There were four vocalists and a string section. None of this would mean anything, of course, if the music weren't bad to the bone. From the opening moments of the "Attica Blues Theme, Pt. One" it becomes obvious that, with its drop-dead funky bassline and wailing soul vocals that create the mood, this will be a celebratory evening of education, protest, and groove. From here, Shepp moves the band into "Steam," with the funk and anger already present. But this track is far more laid-back in its big band arrangement than it was on the Shepp's Inner City version of some years before.

It features a gorgeous vocal by Joe Lee Wilson, who has the chops of Sammy Davis Jr. and the depth of Big Joe Turner. And here is where Attica Blues truly begins, as "Steam" reaches its swinging nadir, and Shepp begins to fold in works by other composer such as Cal Massey ("Quiet Dawn"), Randy Weston ("Hi-Fly"), and Dave Burrell ("Crucificado") in with his own works, and the varying elements of free jazz and Latin music begin to make their presences felt on the R&B and swing accents that Attica Blues opens up for the magical treatise it is.

Shepp's own playing is fell of depth and passion, though he leaves his fire music at home, preferring to work inside traditions and allow the music's freedom to dictate its own expression in places rather than as a whole. The history lesson moves on well into the second set with Frank Foster's "Simone" and Ramsey Lewis' gospel-tinged "Skippin," before coming out on the other end with a majestic resurgence of "Attica Blues" to bring it in.

This is big band arranging and execution at its best; Shepp and Coleman make it all sound so easy, though charts are anything, but when you're fusing together so many different kinds of music. This is the high point of the latter part of Shepp's career, and it's a cultural crime that it's not available on an American label and sold as a work that belongs next to Mingus' Ah Um, Miles' Bitches Brew, Ornette's Science Fiction, and other notable works by the masters.By Thom Jurek
https://www.allmusic.com/album/attica-blues-big-band-mw0000453278

Personnel: Saxophone, Flute – James Ware, John Purcell, Marion Brown, Marvin Blackman, Patience Higgins; Soprano Saxophone, Tenor Saxophone, Piano, Leader – Archie Shepp; Trombone – Charles "Majeed" Greenlee*, Charles Stephens, Dick Griffin, Ray Harris, Steve Turre; Trumpet – Charles McGhee, Eddie Preston, Kamal Alim, Richard "Malachi" Thompson*, Roy Burrowes; Viola – Carl Ector; Violin – Candice Greene; Violin, Vocals – Terry Jenoure; Vocals – Irene Datcher, Joe Lee Wilson

Attica Blues Big Band - Live At The Palais Des Glaces Disc 1, Disc 2

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Steve Turre - Generations

Styles: Trombone Jazz
File: MP3@320K/s
Time: 70:18
Size: 162,5 MB
Art: Front

(8:46) 1. Planting the Ceed
(6:58) 2. Dinner with Duke
(6:34) 3. Blue Smoke
(4:54) 4. Smoke Gets in Your Eyes
(5:01) 5. Don D.
(8:30) 6. Pharoah's Dance
(8:29) 7. Flower Power
(6:54) 8. Good People
(6:04) 9. Sweet Dreams
(8:04) 10. Resistance

Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters Art Blakey, Rahsaan Roland Kirk, Woody Shaw and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars. On his new album, Generations, Turre brings the eras together, inviting still-vital legends to join a gifted band of rising starts to pay tribute to the elders who have helped shape his sound.

Generations features players including the trombonist’s own son, drummer Orion Turre, as well as trumpeter Wallace Roney Jr., whose late father was a close friend and collaborator of Turre’s. In addition, the youthful core band includes pianist Isaiah J. Thompson and bassist Corcoran Holt.

Over the course of the album this stellar group is joined by saxophonist James Carter, guitarists Ed Cherry and Andy Bassford, keyboardist Trevor Watkis, bassists Buster Williams and Derrick Barnett, drummers Lenny White and Karl Wright, and percussionist Pedrito Martinez.

“There's a balance between youth and age,” Turre says, “Age brings wisdom and knowledge, and youth brings enthusiasm and energy. Playing with each of them stretches me in a different way. The elders stretch me in ways of wisdom, but the youngsters fire it up. All of that is inspiring.”

That inspiration bears fruit in one of the most scintillating and eclectic recordings of Turre’s storied career. “I always like to play with musicians that challenge me,” Turre concludes. “So, coming up, I would usually play with people older than me. My challenge now comes from the youthful energy of the younger players. Jazz is not dead!”

Personnel: Steve Turre - trombone & shells (7); Wallace Roney Jr. - trumpet (1, 2, 3, 5, 6, 7, 9, 10) flugel (8); Emilio Modeste - tenor & soprano sax (1, 2, 3, 5, 6, 7, 8, 10); James Carter - tenor saxophone (9); Ed Cherry - guitar (3); Isaiah J. Thompson - piano; Corcoran Holt, bass (1, 2, 5, 6, 7, 10); Buster Williams, bass (3, 4, 8, 9); Orion Turre - drums (1, 2, 4, 6, 9, 10); Lenny White - drums (3, 7, 8); Pedrito Martinez, percussion (4, 6, 8); Andy Bassford, guitar (5); Trevor Watkis, Rhodes (5); Derek Barnett - electric bass (5); Karl Wright, drums (5)

Generations

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Steve Turre - Lotus Flower

Styles: Trombone Jazz
Year: 1999
File: MP3@320K/s
Time: 61:17
Size: 141,0 MB
Art: Front

(5:51) 1. The Lotus Flower
(6:39) 2. Chairman Of The Board
(6:55) 3. The Inflated Tear
(6:27) 4. The Organ Grinder
(2:02) 5. Passion For Peace
(6:48) 6. Sposin'
(6:22) 7. The Fragrance Of Love
(7:03) 8. Blackfoot
(7:23) 9. Goodbye
(5:42) 10. Shorty

You might call Lotus Flower an act of relaxation after the strenuous exercise of the Steve Turre album, for Turre reduces forces and idioms to a more-or-less straight-ahead sextet and concentrates almost entirely upon the trombone. In doing so, he re-stakes his claim to being one of the outstanding voices on the trombone of his time, turning some lovely playing on "The Fragrance of Love" and "Sposin'" and some extremely agile bop work at a fleet pace on "Blackfoot" to cite two extremes. But this sextet has no ordinary front line; Turre shares the spotlight with a violinist (Regina Carter) and a cellist (Akua Dixon), thus deliberately managing to avoid the trumpet/saxophone axis entirely.

Now and then, Turre also throws in a seventh element, Kimati Dinizulu's percussion or Don Conreaux's gong, to add exotic and spiritual flavors to the menu. Carter gets far more swinging time than Dixon on the album indeed, Carter's spiritual forefather seems to be Joe Venuti while Dixon gets typecast into the warm, lyrical role that cellists usually fulfill. Mulgrew Miller (piano, Buster Williams (bass) and Lewis Nash (drums) form the solidly mainstream rhythm section that is, however, occasionally asked to do unconventional things. Fortunately, there are enough off-center textures and quirks on this album to sustain Turre's yen for adventure in the '90s and on the rhythmically Balkanized "Shorty," Turre's conch shells make a welcome if brief cameo return.~Richard S. Ginell https://www.allmusic.com/album/lotus-flower-mw0000047074

Personnel: Trombone – Steve Turre; Cello – Akua Dixon; Double Bass – Buster Williams; Drums – Lewis Nash; Piano – Mulgrew Miller; Violin – Regina Carter

Lotus Flower

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Vanessa Rubin - Pastiche

Styles: Vocal, Swing
Year: 1993
File: MP3@320K/s
Time: 53:14
Size: 122,2 MB
Art: Front

(6:24) 1. In a Sentimental Mood
(4:29) 2. Simone
(5:22) 3. I'm Just a Lucky So and So
(5:30) 4. When Love Is New
(4:46) 5. Black Nile
(3:32) 6. I Only Have Eyes for You
(4:02) 7. Mosaic
(4:40) 8. Estoy Siempre Junto a Ti
(4:21) 9. Weekend
(5:51) 10. A Certain Love
(4:12) 11. Arise and Shine

An appealing singer who does not improvise much, Vanessa Rubin recorded several fine albums for Novus. She studied classical music but switched to jazz early on. Rubin sang with and managed the Blackshaw Brothers (an organ quartet from Cleveland). After working with several groups locally (and recording with the Cleveland Jazz All-Stars), in 1982 Rubin moved to New York. She worked with Pharoah Sanders, Frank Foster's Loud Minority, and the big bands of Mercer Ellington and Lionel Hampton, and studied with Barry Harris in addition to teaching in the N.Y.C. public school system. In 1992 she signed with Novus and her releases for the label are quite enjoyable, including a fine tribute to Carmen McRae. ~ Scott Yanow https://music.apple.com/us/artist/vanessa-rubin/366318

Personnel: Bass – Tarik Shah; Drums – Aaron Walker; Percussion – Michael Rubin; Piano, Organ – Aaron Graves; Tenor Saxophone – Houston Person (tracks: 9); Tenor Saxophone, Alto Saxophone, Soprano Saxophone – Roger Byam; Trombone – Steve Turre; Trumpet – Cecil Bridgewater (tracks: 2, 11); Trumpet, Flugelhorn – Eddie Allen

Pastiche

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Bob Stewart - Goin' Home

Styles: Jazz, Post Bop, Tuba
Year: 1989
File: MP3@320K/s
Time: 49:43
Size: 114,2 MB
Art: Front

( 7:04)  1. Subi La Nas Alturas
( 6:14)  2. Art Deco
( 6:00)  3. Bell And Ponce
( 6:55)  4. Tunk
( 5:33)  5. Sugar Finger
( 5:17)  6. Sweet Georgia Brown Sweet
(12:37)  7. Priestess

The second recording by tuba player Bob Stewart's First Line Band is even better than the first. In 1988, Stewart's group also included trumpeter James Zoller, trombonist Steve Turre, guitarist Jerome Harris and either Buddy Williams or Ed Blackwell on drums; trumpeter Earl Gardner and John Clark on French horn have guest spots on this CD. The music ranges from the straightforward swing of Don Cherry's "Art Deco" and a good-humored "Sweet Georgia Brown" to a 12½-minute exploration of Billy Harper's "Priestess" and originals by Stewart, Olu Dara and Kelvyn Bell. Stimulating and often-surprising music that is generally more accessible than one might expect. ~ Scott Yanow https://www.allmusic.com/album/goin-home-mw0000653908

Personnel: Bob Stewart (tuba); James Zoller, Earl Gardner (trumpet); John Clark (French horn); Steve Turre (trombone); Jerome Harris (guitar).Buddy Williams, Ed Blackwell (drums); Frank Colon (percussion).

Goin' Home

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Ralph Moore Quintet - Rejuvenate!

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 59:29
Size: 136,3 MB
Art: Front

( 6:38)  1. Rejuvenate
( 8:49)  2. Josephine
( 8:14)  3. Crm
( 8:45)  4. Exact Change
( 7:02)  5. It Might as Well Be Spring
( 9:02)  6. Song For Soweto
(10:55)  7. Melody For Mr. C

The group assembled for tenor saxophonist Ralph Moor's quintet date is perfect for his John Coltrane-inspired sound: trombonist Steve Turre (who also plays conch shells), pianist Mulgrew Miller, bassist Peter Washington and drummer Marvin "Smitty" Smith. The all-star lineup performs originals by Moore, Turre and Miller in addition to the title cut and "It Might As Well Be Spring" (a ballad feature for the tenor). The two horns blend together very well and consistently inspire each other; the rhythm section is state-of-the-art for this type of modern hard bop music, and the overall results are swinging and at times a bit adventurous. Recommended. ~ Scott Yanow https://www.allmusic.com/album/rejuvenate-mw0000206218

Personnel: Tenor Saxophone – Ralph Moore; Bass – Peter Washington; Drums – Marvin "Smitty" Smith; Piano – Mulgrew Miller;  Trombone, Conch [Conch Shells] – Steve Turre

Rejuvenate!

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McCoy Tyner - McCoy Tyner And The Latin All-Stars

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 61:52
Size: 143,3 MB
Art: Front

(11:02)  1. Festival In Bahia
( 6:59)  2. Poinciana
(12:23)  3. Afro Blue
(10:34)  4. A Song For Love
( 8:36)  5. La Habana Sol
( 5:24)  6. We Are Our Father's Sons
( 6:51)  7. Blue Bossa

McCoy Tyner's percussive piano style has always worked well within an Afro-Cuban groove, and this recording provides an excellent setting for him and his all-star lineup to work in. Mixing genre classics like "Afro Blue" and "Poinciana" with original material, Tyner's first release for the Telarc label provides a completely satisfying, highly rhythmic experience. Regular bassist Avery Sharpe combines with a three-man percussion section to propel the group's extended explorations. Besides the leader's instantly recognizable pianistic flurries and fat, two-handed chords, the front-line foursome of flute whiz Dave Valentin, saxophonist Gary Bartz, trumpeter Claudio Roditi and bone-and-shell man Steve Turre is superb, both in ensemble passages and individual solo spots. In the course of his long career, McCoy Tyner has recorded in nearly every conceivable setting. Though many of his solo, trio and quartet dates are superb, his expansive style has often been most enjoyably showcased in the company of multiple horns. From the rollicking opener "Festival in Bahia," to the beautiful "A Song for Love," to the straightforward timbale-driven Latin groove of "We Are Our Father's Sons," McCoy Tyner & the Latin All-Stars makes a potent case for inclusion in the upper tier of Tyner's catalog. ~ Jim Newsom https://www.allmusic.com/album/mccoy-tyner-the-latin-all-stars-mw0000235460

Personnel: McCoy Tyner: piano;  Gary Bartz: saxophones; Claudio Roditi: trumpet, flugelhorn; Steve Turre: trombone; Dave Valentin: flute; Avery Sharpe: bass; Ignacio Berroa: drums;  Johnny Almendra: timbales;  Giovanni Hidalgo: percussion

McCoy Tyner And The Latin All-Stars

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Steve Turre - The Very Thought Of You

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 58:51
Size: 137,5 MB
Art: Front

(5:17)  1. The Very Thought Of You
(6:15)  2. September In The Rain
(4:31)  3. No Regrets
(6:23)  4. Carolyn (In The Morning)
(6:05)  5. Never Let Me Go
(6:17)  6. Sachiko
(4:13)  7. Freedom Park, Sa
(3:29)  8. The Shadow Of Your Smile
(5:27)  9. Time Will Tell
(6:56) 10. Yardbird Suite
(3:51) 11. Danny Boy

The trombone is not always heard out in front of an ensemble. But in the hands of East Coast player (and longtime Saturday Night Live band member Steve Turre, with his caramel tone and rhythmic assurance, it’s the perfect vehicle for a set of ballads like The Very Thought of You. With a quartet including master pianist Kenny Barron, Turre doesn’t stay in one place stylistically. Some tempos inch upward, like “September in the Rain” and the Charlie Parker classic “Yardbird Suite” (the latter featuring tenor sax great George Coleman), while four tracks have full string accompaniment arranged by Marty Sheller. Turre’s originals include stark duets with guitarist Russell Malone (“No Regrets”) and drummer Willie Jones III (“Freedom Park, SA”). “Carolyn (In the Morning),” by trombone forebear J.J. Johnson, is another inspired choice, and the traditional “Danny Boy” makes for an ideal closer, with Turre’s plunger mute evoking wistful moods. ~ Editors' Notes https://itunes.apple.com/ca/album/the-very-thought-of-you/1401033512

The Very Thought Of You

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Pharoah Sanders - Rejoice

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 63:28
Size: 148,3 MB
Art: Front

(12:47)  1. Rejoice
( 7:42)  2. Highlife
(10:02)  3. Nigerian Juju Highlife
( 5:45)  4. Origin
( 6:28)  5. When Lights Are Low
( 5:20)  6. Moments Notice
( 5:47)  7. Central Park West
( 4:06)  8. Ntjilo Ntjilo/Bird Song
( 5:29)  9. Farah

A two-LP set on Theresa, Rejoice features Pharoah Sanders in excellent form in 1981. Sanders sounds much more mellow than he had a decade earlier, often improvising in a style similar to late-'50s John Coltrane, particularly on "When Lights Are Low," "Moments Notice," and "Central Park West." The personnel changes on many of the selections and includes such top players as pianists Joe Bonner and John Hicks, bassist Art Davis, drummers Elvin Jones and Billy Higgins, vibraphonist Bobby Hutcherson, trombonist Steve Turre, trumpeter Danny Moore, a harpist, and (on "Origin" and "Central Park West") five vocalists. The music always holds one's interest, making this one of Sanders' better later recordings. ~ Scott Yanow https://www.allmusic.com/album/rejoice-mw0000196812

Personnel:  Pharoah Sanders - tenor saxophone, bells, vocals;  Danny Moore - trumpet (tracks 4-7);  Steve Turre - trombone (tracks 4-7);  Lois Colin - harp (tracks 7 & 8);  Bobby Hutcherson - vibraphone (tracks 1, 4, 6 & 7);  John Hicks - piano (tracks 4-7);  Joe Bonner - piano, vocals (tracks 1-3 8 & 9);  Peter Fujii - guitar, vocals (track 2 & 3);  Art Davis - bass (tracks 1 & 4-7);  Jorge Pomar - bass, vocals (tracks 2 & 3);  Elvin Jones (track 1), Billy Higgins (tracks 4-7) - drums;  Big Black - congas, vocals (tracks 2 & 3);  Babatunde Lea - bells, drums, shekere, vocals (tracks 1-3);  George V. Johnson Jr. - vocals (track 6);  B. Kazuko Ishida - voice (track 1);  Flame Braithwaite, Bobby London, Sakinah Muhammad, Carroll Wilson Scott, Yvette S. Vanterpool - vocals (tracks 4 & 7);  William S. Fischer (vocal arranger (tracks 4 & 7).

Rejoice

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Johnny Griffin - Dance Of Passion

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 58:02
Size: 133,9 MB
Art: Front

(5:26)  1. From Here To There
(8:36)  2. Dance Of Passion
(5:31)  3. Make Up Your Mind
(6:54)  4. The Way It Is
(8:00)  5. Take My Hand
(7:20)  6. You've Never Been There
(8:07)  7. Dawn
(8:04)  8. All Through The Night

As with many other jazz legends during the hard bop revival of the '80s, tenor saxophonist Johnny Griffin was signed to a major label after having cut titles for a plethora of independent (often European) jazz labels in the late '60s and throughout the '70s. From 1955 until the mid-'60s, Griffin had made a major splash with other young turks like Hank Mobley, Donald Byrd, Lee Morgan, and Coltrane, and became a sought-after sideman by the likes of Thelonious Monk, Eddie "Lockjaw" Davis, and Wes Montgomery. The rise of rock and soul, though, forced Griffin to move overseas and join several other ex-pat jazz stars. And while Griffin has remained in Europe, he has consistently recorded in the states. This fine 1993 release marks one of Griffin's recent recording triumphs for the above-mentioned major labels and finds him in the company of such stellar guest soloists as trombonist Steve Turre, tuba player Dave Bargeron, and French horn player John Clark; the band's core is made up by Griffin's then regular quartet featuring pianist Michael Weiss, bassist Peter Washington, and drummer Kenny Washington. This supple but tight ensemble ably handle Griffin's rich store of seven originals and a cover of Cole Porter's "All Through the Night." The updated hard bop arrangements by Griffin and Weiss are all engaging and prove to be prime solo vehicles for Turre especially; Griffin avails himself admirably too with a somewhat refined, yet still meaty version of his once big and fast tenor sound. A treat for Griffin fans and one of the more enjoyable modern trad dates available.~ Stephen Cook https://www.allmusic.com/album/dance-of-passion-mw0000092915

Personnel:   Johnny Griffin - Tenor saxophone;  Michael Weiss - piano, arranger;   Peter Washington - bass;  Kenny Washington - drums;  Steve Turre - trombone;  John Clark - French horn;   Dave Bargeron - tuba.

Dance Of Passion

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Stefon Harris - African Tarantella

Styles: Vibraphone Jazz
Year: 2006
File: MP3@320K/s
Time: 54:43
Size: 125,6 MB
Art: Front

( 6:03)  1. Thanks for the Beautiful Land on the Delta
( 6:00)  2. Portrait of Wellman Braud
( 3:55)  3. Bourbon Street Jingling Jollies
( 5:46)  4. Sunset and the Mocking Bird
( 4:57)  5. The Single Petal of a Rose
( 6:56)  6. Memoirs of a Frozen Summer
( 9:00)  7. African Tarantella
(10:19)  8. Dancing Enigma
( 1:43)  9. Untitled

Given the number of tribute albums coming out these days, it's refreshing to see an artist reference lesser-known works and take a road less-travelled in terms of approach. Vibraphonist Stefon Harris' African Tarantella enlists a streamlined instrumental configuration to rework excerpts from Duke Ellington's 1970 "The New Orleans Suite" and 1958 "The Queen's Suite," along with parts of his own commissioned "The Garner Meditations." The result is less cerebral than The Grand Unification Theory (Blue Note, 2003), but no less ambitious. The Grand Unification Theory was a sweeping work stylistically an impressive disc that left some listeners in the cold after his more approachable Blue Note releases A Cloud of Red Dust (1998) and BlackActionFigure (1999). For the past couple of years he's toured significantly on the heels of Evolution (2004) with his fusion-centric group Blackout, which has found him just as capable of a visceral groove as headier pursuits. African Tarantella, while unequivocally a mainstream record, is the happy marriage of both, making it his strongest effort to date. 

When you've got the right people, you can do anything. Drummer Terreon Gully and bassist Derrick Hodge Harris' Blackout bandmates have emerged, seemingly out of nowhere, in the past couple of years, to be a highly flexible rhythm team. They're capable of more traditional swing on "Portrait of Wellman Braud," but on "Thanks for the Beautiful Land on the Delta," Gully's light but modernistic backbeat updates Ellington for the new millennium. That's not, however, the only piece that illustrates Ellington's timeless potential. With a nonet featuring piano, trombone, flute, clarinet, viola and cello, Harris contemporizes Ellington harmonically, creating a distinctive textural alternative to Ellington's horn-heavy arrangements. There are enough instruments here to respect the crux of Ellington's work, but it feels lighter and more open-ended. On "The Single Petal of a Rose" Harris is accompanied only by Hodge, and this simultaneous mix of vibes and marimba makes for one of the disc's high points respecting the original, but displaying an even greater sense of calm. Harris' voice is the most dominant on the recording, but there are opportunities for others to shine as well. Greg Tardy's solo on "Thanks for the Beautiful Land on the Delta" positions him as one of the most important clarinettists to emerge since Don Byron. While mostly arranged, Anne Drummond's lush flute dominates Harris' own balladic "Memoirs of a Frozen Summer," while pianist Xavier Davis' solo on the up-tempo but never hurried title track suggests that he is like many of the players in the ensemble a relatively young talent worth watching. The trick to successful homage is reverence that remains personal. Between new arrangements of existing work and his own compositional contributions, Harris has created an album that pays tribute to a clear source of inspiration but also goes to places that Ellington might never have imagined. ~ John Kelman https://www.allaboutjazz.com/african-tarantella-dances-with-duke-stefon-harris-blue-note-records-review-by-john-kelman.php

Personnel: Stefon Harris: vibraphone, marimba; Xavier Davis: piano; Derrick Hodge: bass; Terreon Gully: drums; Anne Drummond: flute; Greg Tardy: clarinet; Steve Turre: trombone; Jonah Chung: viola; Louise Dublin: cello.

African Tarantella

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Andy Bey - Tuesdays In Chinatown

Bitrate: MP3@320K/s
Time: 57:01
Size: 130.5 MB
Styles: Vocal jazz
Year: 2001
Art: Front

[6:52] 1. Tuesdays In Chinatown
[4:51] 2. Fragile
[4:59] 3. Bridges
[5:32] 4. Saidas E. Bandeiras
[7:04] 5. In A Mist
[5:32] 6. I'll Remember April
[7:00] 7. Invitation
[6:14] 8. Little Girl Blue
[2:36] 9. Just Friends
[6:17] 10. Feelin' Lowdown

Vocalist/pianist Andy Bey is in fine form on Tuesdays in Chinatown, the third installment in a comeback series that began in 1995 with Ballads, Blues & Bey and continued with 1998's Shades of Bey. Here Bey continues to explore fairly eclectic repertoire. His jazz roots are well represented with standards such as "I'll Remember April," "Invitation," "Little Girl Blue," and "Just Friends." There are also two beautiful songs by Milton Nascimento, "Bridges" and "Saidas e Bandeiras" (the latter sung in Portuguese), as well as a (so-so) cover of Sting's "Fragile." Bey's vocal is entirely wordless on the Bix Beiderbecke composition "In a Mist," one of the disc's more ambitious undertakings. The best cuts, however, are the first and the last: first, the lush and mellow title track, featuring John Sneider on flügelhorn; last, Big Bill Broonzy's "Feelin' Lowdown," a self-accompanied slow blues that showcases Bey's gift to full effect. Bey is backed mainly by bassist Peter Washington and drummer Victor Lewis, with guitarist Paul Meyers playing a major role on four tracks. Appearing as guests are Ron Carter, Marty Ehrlich, Steve Turre, Earl Gardner, Mino Cinelu, and more. Geri Allen crafted the horn arrangements; one only wishes there were more of them. ~David R. Adler

Tuesdays In Chinatown mc
Tuesdays In Chinatown zippy

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Dave Valentin - Red Sun

Styles: Flute Jazz
Year: 1992
File: MP3@320K/s
Time: 44:28
Size: 104,4 MB
Art: Front

(5:21)  1. With A Little Help From My Friends
(5:12)  2. Red Sun
(3:47)  3. Two Steps Ahead
(5:17)  4. We'll Be Together Again
(4:34)  5. Beyond The Ridge
(4:29)  6. Lia's Song
(5:05)  7. Loco Motion
(6:23)  8. Little Sunflower
(4:15)  9. Pensativa

This was flutist Dave Valetin's 15th release for GRP and, as with his previous ones, it features impeccable musicianship, subtle funk grooves, some heated Latin rhythms and rather lightweight melodies. Despite some passionate moments, the music always sounds a bit controlled, never exceeding prescribed time limits or emotional boundaries. There are some strong moments of interest on this relatively pleasing CD, particularly a restrained melodic statement by trumpeter Arturo Sandoval on "We'll Be Together Again" and a groovin' version of "With a Little Help from My Friends."~ Scott Yanow https://www.allmusic.com/album/red-sun-mw0000097869

Personnel: Dave Valentin (flute); Jon Lucien (vocals); Bernd Schoenhart (guitar); Arturo Sandoval (flugelhorn); Steve Turre (trombone); Bill O'Connell (piano, synthesizer); Dave Samuels (vibraphone); Lincoln Goines (acoustic bass); Robby Ameen (drums, cymbals, percussion); Richie Morales (drums, cymbals); Milton Cardona (congas, cowbells, percussion); Sammy Figueroa (percussion); Steve Shapiro (programming).

Red Sun

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Steve Turre - The Spirits Up Above

Styles: Trombone Jazz
Year: 2004
File: MP3@320K/s
Time: 50:23
Size: 115,7 MB
Art: Front

(3:02)  1. Three for the Festival
(5:03)  2. One for Kirk
(9:22)  3. Medley: Serenade to a Cuckoo/Bright Moments
(4:43)  4. Stepping Into Beauty
(4:37)  5. The Spirits up Above
(4:48)  6. Hand Full of Five
(4:14)  7. E.D.
(5:58)  8. Dorthaan's Walk
(8:33)  9. Volunteered Slavery

You have to have a lot of nerve to pay homage to Rahsaan Roland Kirk. Soul-drenched, steeped in the blues yet progressive in ways that were not to be fully appreciated until after his untimely death in '77, Kirk's music managed to be a bundle of contradictions while, at the same time, a cohesive statement about the true jazz experience. And while more space was often devoted to his eccentricities playing multiple horns at once, dressing flamboyantly, as much a visual performer as a player the reality is that Kirk, whose capabilities ranged from Dixieland to free jazz and everything in between, was arguably one of the most creative musicians of his time. Trombonist Steve Turre not only met Kirk as a teenager, but ended up on the stage with him any time Kirk was in the Bay Area where Turre was growing up, and later again when Turre had relocated to New York. And so it is that Turre is in a unique position to re-evaluate the music and performances of Kirk, and deliver up The Spirits Up Above , as honest and heartfelt an homage as is possible.

With an all-star cast including saxophonists Vincent Herring and James Carter, found here in a setting that eschews his tendency to shtick in his own work, along with pianist Mulgrew Miller, bassist Buster Williams and drummer Winard Harper bolstering the rhythm section, Turre has formed a band that is completely capable of running the gamut of Kirk's material, from the up-tempo swinging blues of "Three for the Festival" to the tender balladry of "Stepping into Beauty," and from the soulful title track, complete with vocal chorus to the modal 5/4 romp "Hand Full of Five." With most pieces running in the four-to-five minute range, the arrangements are tight and the solos, while effusive, are kept short and to the point. In a setting where every player gets to shine, special mention needs to be made of Carter, whose brash tenor solo on "Hand Full of Five" comes closest to capturing the free spirit that was Kirk. But whereas his own work sometimes feels overly considered and contrived, it is clear that here he, like the rest of his bandmates, are just having a whole lot of fun. As entertaining as this record is, the group must be positively incendiary live. Kirk, as a performing musician, proved that there didn't have to be a gap between the audience and the players, that the experience was truly meant to be a shared one, rather than an elite meeting of musicians to which the audience was fortunate enough to be privy. 

Turre and his group manage to capture that same spirit of collaboration. The best music is meant to be a true symbiosis, and The Spirits Up Above goes a long way to breaking down any invisible barriers between those who play and those who listen.  Chorus on "The Spirits Up Above" and "Volunteered Slavery": Andromeda Turre, Akua Dixon, Michael Hill, Whitney Marchell Jackson, Joe Dixon, Steve Turre ~ John Kelman https://www.allaboutjazz.com/the-spirits-up-above-steve-turre-highnote-records-review-by-john-kelman.php

Personnel: Steve Turre (trombone), James Carter (tenor saxophone, flute on "Stepping into Beauty"), Vincent Herring (alto and soprano saxophones), Dave Valentin (flute on "Medley: Serenade to a Cuckoo/Brighter Moments"), Mulgrew Miller (piano), Buster Williams (bass), Winard Harper (drums)

The Spirits Up Above

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Jerry Gonzalez - Ya Yo Me Cure

Styles: Latin Jazz, Trumpet Jazz
Year: 1979
File: MP3@320K/s
Time: 47:44
Size: 109,6 MB
Art: Front

(6:43)  1. Agueybana Zemi
(8:23)  2. Nefertiti
(5:24)  3. Ya Yo Me Cure
(2:59)  4. The Lucy Theme
(8:59)  5. Evidence
(6:54)  6. Baba Fieden Orisha
(8:19)  7. Caravan

The debut recording as a leader by Jerry Gonzalez, Ya Yo Me Cure features an early version of the trumpeter/Latin percussionist's Fort Apache Band (although it had not been named at this point). The advanced Latin jazz set (which has been reissued on CD) features such notable sidemen as trombonist Steve Turre, Mario Rivera on tenor, pianist Hilton Ruiz, singer Frankie Rodriguez and several percussionists. In addition to three originals by Rodriguez, the hot ensemble Latinizes such unlikely tunes as "Caravan," Wayne Shorter's "Nefertiti," Thelonious Monk's "Evidence" and "The Lucy Theme." Frequently exciting music. ~ Scott Yanow https://www.allmusic.com/album/ya-yo-me-cure-mw0000197255

Personnel: Trumpet, Flugelhorn, Coro – Jerry Gonzalez;  Backing Vocals – Milton Cardona;  Bass, Coro – Andy Gonzalez;  Bata – Gene Golden;  Coro – Carlos Mestre;  Drums – Don Alias;  Electric Guitar – Edgardo Miranda;  Guiro, Percussion – Vincente George;  Lead Vocals, Bata – Frankie Rodriguez;  Piano – Hilton Ruiz;  Saxophone, Coro – Mario Rivera;  Timbales – Nicky Marrero;  Trombone – Steve Turre;  Trombone, Coro – Papo Vázquez

Ya Yo Me Cure

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Steve Turre - Rainbow People

Styles: Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 65:13
Size: 149,8 MB
Art: Front

(8:40)  1. Rainbow People
(6:00)  2. Forward Vision
(9:05)  3. Brother Ray
(5:51)  4. Groove Blues
(8:47)  5. Midnight In Madrid
(4:12)  6. Cleopatra's Needle
(8:15)  7. Search For Peace
(5:29)  8. Segment
(8:49)  9. Para El Comandante

If the rainbow of the title denoted musical diversity then it would be most fitting in the case of trombonist Steve Turre, as his musical bag is hewn from many colors. Turre is equally at home playing Latin rhythms, blues or straight-ahead jazz hardly surprising when you consider his apprenticeship with saxophonist/flautist Rahsaan Roland Kirk and singer Ray Charles, his collaborations with timbalist/bandleader Tito Puente and pianist Hilton Ruiz, and his long associations with trumpeters Woody Shaw and Dizzy Gillespie, and pianist McCoy Tyner. All these influences are felt on Rainbow People, a classy and deceptively leisurely session which finds Turre in sparkling form. Part of the success of Rainbow People surely lies as much in the familiarity of the musicians with one another as in the strength of Turre's arrangements. Turre has played with all these musicians in various settings over many years, with the exception of trumpeter Sean Jones, whom Turre hired on the spot after seeing him perform at a New York jam session. Jones is used sparingly, playing on three of the nine tracks, combining harmonically with Turre to great effect. His sound shifts between warm and honey-toned on "Para El Commandante, and more biting on "Midnight in Madrid." Similarly, saxophonist Kenny Garrett appears on just four tracks, but his playing is strong and he builds his solos with patience and imagination. On Charlie Parker's "Segment," Garrett stretches out a little more, as might be expected.

The soulful blues of "Brother Ray" is probably one of the best tributes to Ray Charles since the singer's passing in 2004, evoking the voice and spirit of the man. Turre takes two intimate solos, the first on open trombone and the second muted the latter coming after a tasteful bass intervention from Peter Washington, and capturing the plaintive cry that Charles exhibited in his blues. Miller provides beautifully sympathetic accompaniment which reveals the gospel/blues side of his playing. The rhythm section of Washington and drummer Ignacio Berroa swings the music throughout Rainbow People. They drive the goodtime blues vibe of "Groove Blues," which has the feel of a more languid version of "Sweet Home Chicago," with Garrett, Miller and Turre each taking enjoyable solos. Miller, for his part, is also in fine form, playing to the needs of the music beautifully. He injects the spirit of McCoy Tyner into the music, and the influence of Coltrane's great pianist on Turre is reinforced further by the inclusion of Tyner's lovely "Search for Peace." Turre's Latin roots shine on "Midnight in Madrid," with its brassy Iberian bravura and just a hint of Turre's Mexican heritage, and on the impressive session-closer dedicated to Latin great Mario Rivera, "Para El Comandante," on which Turre's conch is given a delightful run for the only time on the album, over a tasty salsa rhythm. The blues is at the heart of Rainbow People and the songs are like a heartfelt, mellow incantationgospel praise to guiding lights. Classy, sophisticated, and soulful.
~ Ian Patterson https://www.allaboutjazz.com/rainbow-people-steve-turre-highnote-records-review-by-ian-patterson.php

Personnel: Steve Turre: trombone, shells (9); Kenny Garrett:alto saxophone (1,4,8,9); Sean Jones: trumpet, flugelhorn (2,5,9); Mulgerw Miller: piano, keyboards; Peter Washington: bass; Ignacio Berroa: drums; Pedro Martinez: percussion (9).

Rainbow People

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Steve Turre - Keep Searchin'

Styles: Trombone Jazz
Year: 2006
File: MP3@320K/s
Time: 63:30
Size: 149,2 MB
Art: Front

(9:13)  1. Sanyas
(6:25)  2. Faded Beauty
(5:43)  3. Thandiwa
(6:50)  4. Reconcilliation
(4:02)  5. Time Off
(5:41)  6. My Funny Valentine
(7:45)  7. Easy Now
(4:53)  8. Steppin' Out
(5:44)  9. Da Blues
(7:11) 10. Keep Searchin'

Few jazz artists today are as adept as Steve Turre in straddling the "one foot in the future, one foot in the past" endeavor. On his past two CD releases, the long-time Saturday Night Show trombonist tipped his hat to a couple of past masters: to fellow trombonist J.J. Johnson with One4J: Paying Homage to J.J. Johnson (Telarc, '03) and to Rahsaan Roland Kirk with The Spirits up Above (High Note, '05). On Keep Searchin' Turre pays tribute to his own musical/life philosophy on a set of forward-looking original (mostly) compositions, performed with a group of stellar musicians. The disc opens with Turre's "Sanyas," which was his first recorded original compostion, from Woody Shaw's Moontrane (Muse, '74). Turre blows in here on the conch shell a sound so far in the past that's it's come back around to the future in front of pianist Xavier Davis' pattering raindrops, yielding a warmly haunting sound that gives way to some high octane open horn blowing, with Akua Dixon weaving a scratchy fabric behind him on baritone violin. The group chemistry is wonderful. Dixon takes a solo that gives way to Stefon Harris, who shines up the sound on the vibes, leading into Xavier Dixon's dark turn on piano. 

The Stephon Harris tune "Faded Beauty" opens with Turre talking on a pixie mute plunger, a smooth wah-wah flow that gives way to Davis' slightly astringent (at least at the beginning) piano solo in front of a flexible rhythm. Turre leans toward the past with a reverent take on the Rodgers and Hart standard "My Funny Valentine," where Davis sparkles behind the horn's deep tone. The band puts some bounce into Grachan Moncur's "Thandiwa" and turns up the heat on Curtis Fuller's "Time Off," as Turre pays his respects to a couple of unerrated trombone masters. Turre mixes up the sound with different mutes throughout, and adds, again, the hollow, peacefully haunting timbre of the conch shell on the closing title track. An excellent set by an ever-searching artist. 

~ Dan McClenaghan https://www.allaboutjazz.com/keep-searchin-steve-turre-highnote-records-review-by-dan-mcclenaghan.php
 

Personnel: Steve Turre: trombone, shells; Stefon Harris: vibes; Akua Dixon: baritone violin; Xavier Davis: piano; Dion Parson: drums; Gerald Cannon or Peter Washington: bass.

Keep Searchin'

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