Showing posts with label Steve Wilson. Show all posts
Showing posts with label Steve Wilson. Show all posts

Wednesday, January 31, 2024

Steve Wilson - Sit Back, Relax, & Unwind

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 40:12
Size: 92,3 MB
Art: Front

(6:17) 1. Sit Back, Relax & Unwind
(6:48) 2. 6/74
(7:00) 3. Songly Speaking
(7:41) 4. Jake's Place
(6:21) 5. Rest Of Our Times
(6:02) 6. Space Oddity

Steve Wilson has attained ubiquitous status in the studio and on the stage with the greatest names in jazz. A bandleader in his own right, Jazz Times calls him the consummate saxophonist-composer and one of the finest alto and soprano saxophonists of our time. A musicians musician, Wilson has brought his distinctive sound to more than 100 recordings led by such celebrated and wide-ranging artists as Chick Corea, George Duke, Michael Brecker, Dave Holland, Dianne Reeves, Bill Bruford, Gerald Wilson, Maria Schneider, Joe Henderson, Charlie Byrd, Billy Childs, Karrin Allyson, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller among many others. Wilson has eight recordings under his own name, leading and collaborating with such stellar musicians as Lewis Nash, Carl Allen, Steve Nelson, Cyrus Chestnut, Greg Hutchinson, Dennis Irwin, James Genus, Larry Grenadier, Ray Drummond, Ben Riley, Nicholas Payton, Orrin Evans, Ugonna Okegwo and Bill Stewart.

In 2015 Wilson released his first project as a leader in 12 years, Steve Wilson & Wilsonians Grain: Live in New York: The Vanguard Sessions, on Random Act Records. Recorded live at the famed Village Vanguard in NYC on May 24 & 25, 2014, the recording features Wilsons potent quartet with Orrin Evans, Ugonna Okegwo and Bill Stewart. The CD was conceived to truly capture the live experience and the sound of one of the best listening rooms in the world. The tracking order reflects a Wilsonians Grain set, and includes three Wilson originals, and tunes by Orrin Evans, Joe Chambers, Thelonius Monk and Migiwa Miyajima. WBGO Radio describes Wilsonians Grain as jazz at its finest in conception, execution and spontaneity.

He has recorded another project, Sit Back Relax & Unwind, for JMI Records that features Ray Angry, Ben Williams and Willie Jones, III just recently released. In the vein of the old CTI recordings, it is an analog recording and will be released a vinyl LP only. Produced by Steven Mandel (Music Supervisor the The Tonight Show with Jimmy Fallon, The Roots), he also contributed four tunes that were arranged by Wilson. There are two new tunes by Wilson and an arrangement by Ray Angry of David Bowies Space Oddity.

Starting his formal training on saxophone in his native Hampton, Virginia, Wilson also played oboe and drums in school bands while performing in various R&B/funk bands throughout his teens. After a year-long stint with singer Stephanie Mills he decided to major in music at Virginia Commonwealth University in Richmond, where he performed and/or studied with Jimmy and Percy Heath, Jon Hendricks, Jaki Byard, John Hicks, Frank Foster and Ellis Marsalis. During those years he was also in constant demand for recording studio work, and as backing musician for touring shows such as The Four Tops and Sophisticated Ladies. Landing a chair with O.T.B (Out of the Blue), a sextet of promising young players recording on Blue Note Records, Wilson moved to New York in 1987 and the following year toured the U.S. and Europe with Lionel Hampton. Becoming a first-call choice for veteran and emerging artists alike, Wilson was the subject of a New York Times profile A Sidemans Life, highlighting his work with Ralph Peterson, Jr., Michele Rosewoman, Renee Rosnes, Marvin Smitty Smith, Joanne Brackeen, The American Jazz Orchestra, The Mingus Big Band, The Smithsonian Jazz Masterworks Orchestra, Leon Parker, and Buster Williams Quintet Something More. In 1996 he joined the acclaimed Dave Holland Quintet, and from 1998-2001 he was a member of Chick Coreas Grammy winning sextet Origin.

Cited by his peers in a New York Times poll as one of the artists most likely to break out as an established leader, Wilson recorded four CDs New York Summit, Step Lively, Blues for Marcus and Four For Time on the Criss Cross label. He then recorded two projects for Chick Coreas Stretch Records label Generations, his multi-generational quartet with Mulgrew Miller, Ray Drummond and Ben Riley and Passages which features his long-time musical partners Bruce Barth, Ed Howard and Adam Cruz, and special guest Nicholas Payton. Containing nine original compositions Passages established Wilson as a leader whose vision reveres the past, creates a soundscape of the present, and reaches toward the future.

In 2003 Wilsons recording Soulful Song was released on MAX JAZZ launching the labels Horn Series. It features special guest vocalists Rene Marie, Carla Cook, and Phillip Manuel and issues forth a powerful and provocative performance from these dynamic and versatile artists. As Wilson explains, Its a tribute Black radio, as it was called then, that was particularly inclusive in its programming and a galvanizing force in the community. On the same station one could hear R&B, jazz, blues, gospel, comedy, local news and affairs, and social commentary. In addition to new original material the program includes arrangements of songs by Stevie Wonder, Chick Corea, Abbey Lincoln, Gil Scott Heron, Earth, Wind & Fire, Patrice Rushen, and The Staple Singers.

Records in 2009. The project culminated in a successful 50-city tour of the U.S., and their recording Mosaic. Also that year Wilson made his orchestral debut performing Heitor Villa Lobos Fantasia for Soprano Saxophone and Chamber Orchestra with the Vermont Mozart Festival Orchestra. By popular demand he returned to the VMF in 2010 performing a commissioned work Sweet For Duke for Saxophone & Chamber Orchestra by Jonathan Ragonese.

In February 2011 Wilson celebrated his 50th birthday with a six-night engagement, leading six different bands at Jazz Standard, NYCs premiere jazz club. The all-star line-up included Mulgrew Miller, Bruce Barth, Karrin Allyson, Lewis Nash, Jeff Tain Watts, Carla Cook, Geoffrey Keezer, Christian McBride, Linda Oh, Ed Howard, Adam Cruz, Diane Monroe, Joyce Hammann, Nardo Poy and Troy Stuart. In a major interview feature preview, the Wall Street Journal proclaimed, The Sideman Becomes the Star. The WSJ article by award-winning journalist Larry Blumenfeld added, Mr. Wilson is essential to this citys jazz landscape. Since the 1990s Wilson has been regularly cited in the Downbeat Magazine Critics and Readers Polls in the soprano and alto saxophone categories. The Jazz Journalists Association nominated him for Best Alto Sax Player in 2008, and for Best Soprano Sax Player in 2010. His work in film has included being artistic consultant to Harvey Keitel for "Lulu On The Bridge as well as being featured on the soundtrack.

Wilsons current projects reflect his multifaceted artistry, versatility, and associations with some of the most highly regarded artists on the scene. His quartet Wilsonians Grain, which consists of Orrin Evans, Ugonna Okegwo, and Bill Stewart or Clarence Penn, has been featured on NPR live from the Kennedy Center and the Village Vanguard in New York City, and headlined at the prestigious Detroit Jazz Festival in 2011. Wilson is one-half of two dynamic duos, Musical Dialogue with renowned drummer Lewis Nash, they released their recording Duologue on MCG Jazz, and in another with pianist Bruce Barth as documented on their recording Home on the We Always Swing label. He co-leads an elegant trio with pianist Renee Rosnes and bassist Peter Washington, and with composer/arranger David ORourke has a repertoire as soloist with strings. Wilson is touring member of the Grammy-winning Maria Schneider Orchestra, the Billy Childs Quartet, Christian McBride & Inside Straight as well as McBrides Grammy-winning Big Band, and the Buster Williams Quartet.

An in-demand and passionate educator Wilson is the Director of Jazz Studies and an Associate Professor of Music at City College of New York. In 2019 he joined the prestigious faculty at Ravinias Steans Music Institute in Chicago, IL.

He has been artist-in-residence and/or guest artist at University of Oregon, University of Michigan, University of Maryland-College Park, University of North Carolina at Chapel Hill, University of Delaware, Lemoyne College, North Carolina Central University, Bowling Green University, Lafayette College, University of Northern Colorado, SUNY New Paltz, Florida State University, California State University at Stanislaus, University of Manitoba, Hamilton College, Old Dominion University, Virginia Commonwealth University, and for the award winning arts organization CITYFOLK in Dayton, Ohio.

With the support of friend and mentor Dr. Billy Taylor, Wilson has been a frequent guest performer/educator at The Kennedy Center in Washington, DC. He has been a featured performer, panelist, and clinician at conferences of the Association of Performing Arts Presenters, Chamber Music of America, and International Association of Jazz Educators. Wilson was honored with the Marc Crawford Jazz Educator Award from New York University 2001 and the Virginia Jazz Award 2003 Musician of the Year presented by the Richmond Jazz Society, recognizing his outstanding service in the advancement of jazz and education in their respective communities. He is an active mentor in the nurturing and promotion of his former students emerging careers who have performed with The Count Basie Orchestra, Johnny Mandel, Beyonce Knowles, Roy Hargrove, and many others.
https://www.allaboutjazz.com/musicians/steve-wilson/

Personnel: Alto Saxophone – Steve Wilson ; Bass – Ben Williams; Drums – Willie Jones III; Keyboards – Ray Angry

Sit Back, Relax, & Unwind

Wednesday, May 24, 2023

Maria Schneider Orchestra - Sky Blue

Styles: Big Band
Year: 2007
File: MP3@320K/s
Time: 63:09
Size: 144,8 MB
Art: Front

(13:28) 1. The 'Pretty' Road
(10:00) 2. Aires de Lando
( 9:34) 3. Rich's Place
(21:57) 4. Cerulean Skies
( 8:08) 5. Sky Blue

There's a reason that composer/bandleader Maria Schneider calls her large ensemble an orchestra. The term "big band suggests a number of inherent expectations relating to historical tradition. Schneider's group may be configured like a big band five reeds, four trumpets, four trombones with an expanded rhythm section but the music she writes delves into territories considerably farther afield. Sky Blue is a logical follow-up to her Grammy Award-winning Concert in the Garden (ArtistShare, 2004), but there's been significant evolution as well.

Even more ambitious than its predecessor, Sky Blue doesn't completely leave behind the South American influences heard on Concert. The Peruvian-informed "Aires de Landro manages to mask its rhythmic complexity beneath a lush lyricism that's explored fully by clarinetist Scott Robinson. Robinson may be the primary soloist, but here as on the rest of Sky Blue the ensemble players manage to interpret Schneider's detailed arrangements while bringing their own personalities to every chart.

That's an important differentiator for Schneider's orchestra, made all the more significant considering that only seven members of an ensemble ranging from seventeen to twenty-one pieces are afforded delineated solos. Guitarist Ben Monder's subtle presence is often something more felt than heard, but it adds unmistakably to the ambience of pieces like the Americana-rich "The 'Pretty' Road, the closest thing to a conventional song form that Schneider's written, yet possessed of an orchestral depth made all the more vivid by Ingrid Jensen's remarkable trumpet and flugelhorn solo.

"Rich's Piece is, not surprisingly, a solo vehicle for tenor saxophonist Rich Perry, but this nine-minute tone poem is bolstered by pianist Frank Kimbrough's intuitive colors and Jay Anderson's fluid and sensitive bass work. Schneider's voicings and her choice of instruments to layer them seamlessly ebb and flow alongside Perry, sometimes becoming dramatically dominant, elsewhere underpinning Perry with sublime understatement.

But it's the episodic, 22-minute centerpiece "Cerulean Skies that elevates Blue Sky to masterpiece. Awash with complex colors and shifting ambiences, it begins in rich abstraction with a variety of bird sounds almost all created by members of the orchestrabefore settling into a sumptuous mix of counterpoint, polyrhythm and evocative melodism, setting the stage for a lengthy tenor solo from Donny McCaslin, who builds to near fever-pitch. Dissolving again into the ethereal, Gary Versace's accordion solo is as much texture as it is melody, with Kimbrough gradually shifting towards another folkloric Americana section initially rubato but finally propulsive for altoist Charles Pillow's vivid closing solo.

Like Vince Mendoza quite possibly the only other artist writing for large ensembles today with as distinctive a voice Schneider's not without precedent. But while past innovators like Gil Evans and Bob Brookmeyer figure in who Schneider is, she's long since transcended those and other influences. Sky Blue is an album of remarkable depth and beauty an expansive, imagery laden experience, from an artist who's ready to be considered in the same breath as those who've been so important to her own development. By John Kelman
https://www.allaboutjazz.com/sky-blue-maria-schneider-artistshare-review-by-john-kelman

Personnel: Steve Wilson, Charles Pillow, Rich Perry, Donny McCaslin, Scott Robinson (sax, flauti e clarinetti); Tony Kadleck, Jason Carder, Laurie Frink, Ingrid Jensen (trombe e flicorni); Keith O'Quinn, Ryan Keberle, Marshall Gilkes (trombone); George Flynn (trombone basso); Ben Monder (chitarra); Frank Kimbrough (piano); Jay Anderson (basso); Clarence Penn (batteria); Gonzalo Grau, Jon Wikan (cajon e percussioni); Gary Versace (fisarmonica); Luciana Sousa (voce).

Sky Blue

Sunday, April 30, 2023

Maria Schneider Orchestra - Data Lords (Disc 1), (Disc 2)

Album: Data Lords (Disc 1)
Styles: Big Band
Year: 2020
File: MP3@320K/s
Time: 52:58
Size: 121,6 MB
Art: Front

( 9:41) 1. A World Lost
(13:37) 2. Don't Be Evil
(10:17) 3. CQ CQ Is Anybody There?
( 8:11) 4. Sputnik
(11:11) 5. Data Lords

Album: Data Lords (Disc 2)
Time: 43:06
Size: 99,1 MB

( 5:45) 1. Sanzenin
( 5:42) 2. Stone Song
( 9:04) 3. Look Up
( 3:59) 4. Braided Together
(11:11) 5. Bluebird
( 7:22) 6. The Sun Waited For Me

The skillfully designed cover art tells part of the story; a leaf half as nature intended the remainder, a circuit board doppelganger. The pastoral soundscapes associated with the music of Grammy-winning composer/bandleader Maria Schneider belie her activist alter-ego. An outspoken critic of copyright protections, prejudicial revenue schemes and the abuses of "big data," Schneider has authored op-eds and testified before the US Congress. She ventures onto unfamiliar terrain, coalescing her passions on a masterwork double album, Data Lords.

The two discs are respectively designated as "The Digital World" and "Our Natural World" and the first CD opens with the ominous "A World Lost." Ben Monder's brooding guitar and Richard Perry's tenor sax preside over rumbling brass; the piece is as dark as the title suggests. Monder's electric guitar becomes an emblematic figure in a substantial portion of the digitally-focused disc. "CQ CQ, Is Anybody There?" is based on the low-tech forerunner of the digital world; Schneider's engineer father was a ham radio operator.

The piece features Donny McCaslin on tenor saxophone and Greg Gisbert on trumpet, with electronics, a rarity in Schneider's recordings. The two set up a clash between organic and enhanced sounds. A harbinger of the competition for technological dominance is manifested in the shadowy "Sputnik" where Scott Robinson's baritone sax takes center stage. The title track closes the first disc with an appropriately chaotic and conflicted warning of the potential risks of an AI dominated world.

Returning to more familiar ground, "Our Natural World" is not a divestiture from the concept but solace from the intrusion of mechanization. The striking "Sanzenin" is a meditative reflection on the Buddhist gardens in Ohara, Japan. Gary Versace's accordion evocatively soars above the low reeds. Schneider further lifts the spirits with the lavishly textured "Look Up" with Marshall Gilkes' inspired trombone interwoven with pianist Frank Kimbrough. Schneider builds on her visual observations of nature in the eleven-minute "Bluebird" and the second-disc closing piece "The Sun Waited for Me." Both of those, hopeful and energized arrangements are in the vein of her work on The Thompson Fields (ArtistShare, 2015).

Schneider found her inspiration to take a larger risk in working briefly with David Bowie on his final studio album Blackstar (ISO Records, 2016). The post-production version of the single "Sue (Or in a Season of Crime)" caught Schneider off guard but also opened her mind to new ideas. Data Lords was commissioned by the Library of Congress and premiered at the Library in 2016. Schneider has described the project as "very dark, chaotic, and intense." By comparison to her other releases, it's true but that account shouldn't be off-putting to her fans. Data Lords is often gorgeous and always intriguing. It is Schneider's best collection to date and sure to end up on most of the appropriate year-end lists. This is intoxicating music and highly recommended. By Karl Ackermann https://www.allaboutjazz.com/data-lords-maria-schneider-orchestra-artist-share

Personnel: Composed By, Conductor – Maria Schneider; Accordion – Gary Versace; Alto Saxophone, Clarinet, Flute, Alto Flute, Piccolo Flute – Dave Pietro; Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Alto Flute – Steve Wilson (2); Bass – Jay Anderson; Bass Clarinet, Contrabass Clarinet, Baritone Saxophone – Scott Robinson (2); Bass Trombone – George Flynn (2); Drums, Percussion – Johnathan Blake; Guitar – Ben Monder; Piano – Frank Kimbrough; Tenor Saxophone – Rich Perry; Tenor Saxophone, Flute – Donny McCaslin; Trombone – Keith O'Quinn, Marshall Gilkes, Ryan Keberle; Trumpet, Flugelhorn – Greg Gisbert, Mike Rodriguez (9), Nadje Noordhuis, Tony Kadleck

Data Lords (Disc 1),(Disc 2)

Monday, April 17, 2023

Buster Williams - Joined At The Hip

Styles: Jazz, Post Bop 
Year: 2002
File: MP3@320K/s
Time: 52:46
Size: 124,1 MB
Art: Front

(5:55)  1. Yardbird Suite
(5:54)  2. Joined At The Hip
(7:53)  3. Scrapple From The Apple
(3:12)  4. Magic Samba
(6:26)  5. What Is This Thing Called Love/Hot House
(5:19)  6. Leo
(5:13)  7. Moose The Mooche
(8:02)  8. Francis Dances
(4:48)  9. Relaxin At Camarillo

Buster Williams’ latest combo session, Joined at the Hip (TCB) is further evidence of his firm anchoring skill and tasteful, hornlike solos. It also reveals his disdain for the limelight, generously granting more stretch-out room to his colleagues-in this case, alto saxophonist Steve Wilson, pianist Carlos McKinney and drummer Ali Muhammad Jackson Jr. Since it evolved into a tribute to Charlie Parker, Wilson gets the Bird’s share of solo space and proves to be an outstanding descendant of Parker. The concept can be an ear-opener for the unhip: The quartet reveals the origin of “What Is This Thing Called Love?” when Wilson follows that melody with the Parker line from “Hot House.” More instructive is “Scrapple From the Apple.” No mere juxtaposition: McKinney plays “Honeysuckle Rose” straight while Wilson jauntily overlays the bop line as Williams and Jackson add a mild Latin accent. This is Wilson’s moment to shine, but you can’t take your ears off Williams’ growling walk, bent tones and impeccable intonation. https://jazztimes.com/reviews/bassology/buster-williams-quartet-joined-at-the-hip/

Personnel: Buster Williams (bass); Steve Wilson (soprano saxophone, alto saxophone); Carlos McKinney (piano); Ali Muhammad Jackson, Jr. (drums).

Joined At The Hip

Sunday, October 31, 2021

Ingrid Jensen - Vernal Fields

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 64:48
Size: 148,7 MB
Art: Front

(7:06)  1. Marsh Blues
(5:49)  2. Spookum Spook
(7:20)  3. Vernal Fields
(8:25)  4. Ev'ry Time We Say Goodbye
(6:12)  5. I Love You
(6:13)  6. The Mingus That I Knew
(7:25)  7. Stuck in the Dark
(7:13)  8. Christiane
(9:01)  9. By Myself

Although trumpeter Ingrid Jensen has a wide range and a potentially fiery style, she holds a great deal in reserve on her debut recording, letting one peek at her emotional intensity now and then but mostly making lyrical statements. Her supporting cast (altoist Steve Wilson, George Garzone on tenor, pianist Bruce Barth, bassist Larry Grenadier, and drummer Lenny White) is quite impressive and adds a great deal to the CD without taking the spotlight away from the leader. Ingrid Jensen sounds particularly strong on "Marsh Blues" and the standards "Ev'rytime We Say Goodbye," "I Love You," and an ironic "By Myself," but all nine selections have their moments. The music is basically advanced hard bop, with Jensen (when she is playing open) sounding like a logical successor to Freddie Hubbard and Woody Shaw while resembling her teacher, Art Farmer, a bit when utilizing a mute. This is an impressive beginning to what should be an important career. ~ Scott Yanow  http://www.allmusic.com/album/vernal-fields-mw0000173581

Personnel: Ingrid Jensen (trumpet, flugelhorn); Steve Wilson (soprano & alto saxophones); George Garzone (tenor saxophone); Bruce Barth (piano); Larry Grenadier (bass); Lenny White (drums).

Vernal Fields

Saturday, July 17, 2021

Michael Dease - Coming Home

Styles: Trombone Jazz
Year: 2013
File: MP3@320K/s
Time: 69:07
Size: 158,5 MB
Art: Front

(6:59)  1. Solid Gold
(5:46)  2. Motherland
(7:46)  3. Blues Etude
(4:56)  4. In A Sentimental Mood
(7:01)  5. Good & Terrible
(7:43)  6. Lifewish
(6:42)  7. The Shade Of The Cedar Tree
(3:41)  8. Just In Time
(6:30)  9. All Heath
(5:41) 10. The Release
(6:18) 11. Take It To The Ozone

Trombonist Michael Dease's Coming Home is the evolutionary culmination of all of the small group work of which he has been a part. Dease's musical personality reveals itself fully on the disc, one he has populated with a very fine band and thoughtfully composed and selected pieces for that band. Dease's previous work as a leader on Dease Bones (Astrix Media, 2007), Clarity (Blues Back Records, 2008) and Grace (Legacy Jazz Productions, 2011), as well as with multi-reedist Sharel Cassity on Just For You (DW Records , 2009) and Relentless (Legacy Jazz Productions, 2009). Where Curtis Fuller is the patriarch, Wycliffe Gordon the earthy keeper of the flame (and Dease's teacher) and Luis Bonilla the Latin soul of the trombone, Dease is its intellectual heart. Following his fellow Augusta Georgia trombonist teacher to Juilliard, Dease established himself as part of an ambitious group of young musicians who were combining smarts, chops, bandstand and practice and translating that into recordings. Members of this group include Sharel Cassity, trumpeter Carol Morgan, and pianist Orrin Evans.

Dease's compositional and performance approaches are ruled by passionate precision. His playing is exact and well practiced. His tone is expansive and uniform through all registers. These characteristics are demonstrated immediately on the opening tune, "Solid Gold" where Dease shows great velocity in both head and solo playing. He adds mass to this velocity, creating an infectious momentum when playing with a mute as on Duke Ellington's "In a Sentimental Mood." Tony Lustig drops in with his tenor saxophone for the piece giving it a throaty presence. Lustig adds foundation to "Good and Terrible" with his crack baritone playing. His solo is at once gentle and virile on this angular, post-bop piece. Alto saxophonist Steve Wilson turns the gas on high, navigating Dease's complex circuitry. Dease rolls up his sleeves and gets his hands dirty on a searing performance of Oscar Peterson's "Blues Etude." While playing with his typical precision in the head, Dease begins to properly slur and wail in his solo, throwing off notes like pale blue sparks. He shares his solo space with bassist Christian McBride who amply demonstrates why he is Christian McBride and no one else. The instructive presence of pianist Renee Rosnes is heard throughout this fine disc as its timekeeper and drummer Ulysses Owens, Jr. Dease could not have put together a better band for this recording. He has come fully into his own as a leader. ~ C.Michael Bailey  http://www.allaboutjazz.com/coming-home-michael-dease-d-clef-records-review-by-c-michael-bailey.php

Personnel: Michael Dease: trombone; Steve Wilson: alto saxophone; Renee Rosnes: piano; Christian McBride: bass; Ulysses Owens, Jr.: drums; Eric Alexander: tenor saxophone: tenor saxophone (11); Tony Lustig: tenor saxophone (4), baritone saxophone (5); Andrew Swift: percussion (10).

Coming Home

Tuesday, October 15, 2019

Ralph Peterson Fo'tet- The Reclamation Project

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 59:23
Size: 136,3 MB
Art: Front

(6:07)  1. Further Fo
(5:44)  2. Song of Serenity
(5:33)  3. Long Journey Home
(4:02)  4. Insanity
(4:23)  5. Bottom
(8:27)  6. Turn It Over
(7:20)  7. Just for Today
(5:56)  8. Acceptance
(5:44)  9. For All My Tomorrows
(6:03) 10. Keep It Simple

All of drummer Ralph Peterson's recordings are quite stimulating and have an identity of their own. For this album, his first release in three years, the talented young drummer leads an unusual quartet comprised of soprano-saxophonist Steve Wilson, vibraphonist Bryan Carrott (who doubles on marimba) and bassist Belden Bulloch. Peterson's ten originals explore many moods and grooves but always swing, even when the time signature is complex. The memorable sound of the ensemble and the strong improvising skills of the players are two additional reasons to acquire this explorative but reasonably accessible CD. ~ Scott Yanow https://www.allmusic.com/album/the-reclamation-project-mw0000177802

Personnel: Ralph Peterson - drums;  Steve Wilson - soprano saxophone; Bryan Carrott - vibraphone, marimba; Belden Bullock - bass

The Reclamation Project

Saturday, October 12, 2019

Ralph Peterson - The Fo'tet Plays Monk

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 57:43
Size: 132,4 MB
Art: Front

(5:58)  1. Jackie-ing
(4:37)  2. Skippy
(9:15)  3. Epistrophy
(4:34)  4. Played Twice
(4:06)  5. Light Blue
(3:32)  6. Criss Cross
(5:18)  7. Four in One
(5:36)  8. Monkin' Around
(3:41)  9. Spherically Speaking
(5:23) 10. Well You Needn't
(5:38) 11. Brilliant Corners

The music of Thelonious Monk has influenced the entire spectrum of modern jazz. Tributes to Monk's music have been recorded by a wide variety of artists, from vocalist Carmen McRae to saxophonist Steve Lacy and musical auteur Hal Wilner. The rather unique line-up of the Ralph Peterson Fo'tet (drums/sax/vibraphone/bass) is refreshing on this program of Monk and Monk-inspired material. The Fo'tet Plays Monk (Ralph Peterson, drums; Belden Bullock, bass; Bryan Carrott, vibraphone; Steve Wilson, soprano sax) brings an adventurous creativity to a set of well-chosen tunes. Ralph Peterson is a fiery leader on drums and his arrangements look at the more familiar tunes from a fresh angle. "Jackie-ing", the disc opener, is given a funky New Orleans groove, while the time signature of "Epistrophy" is stretched to 7/4. On "Light Blue", Peterson lays down an African-influenced beat over the sinuous melody. The solos by Carrott and Wilson are consistently amazing throughout. Bullock lays down an unerring pulse with his dark woody bass sound. As always, Ralph Peterson creates rhythmic firestorms that are full of musical ideas and will have you smilingly in search of the One! The Fo'tet Plays Monk is a dazzling tribute to the music of Thelonious Sphere Monk. Very highly recommended. ~ Rick Bruner https://www.allaboutjazz.com/the-fotet-plays-monk-ralph-peterson-evidence-music-review-by-rick-bruner.php?width=1920

Personnel: Drums, Leader [Musical Director] – Ralph Peterson, Jr.;  Bass – Belden Bullock; Soprano Saxophone – Steve Wilson;  Vibraphone – Bryan Carrott

The Fo'tet Plays Monk

Saturday, September 28, 2019

Bruce Barth - Hope Springs Eternal

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 67:22
Size: 154,9 MB
Art: Front

(8:48)  1. Hope Spring Eternal
(8:10)  2. Wondering Why
(9:20)  3. The Hour of No Return
(7:17)  4. Darn That Dream
(9:08)  5. The Epicurean
(8:16)  6. Up and Down
(7:58)  7. Full Cycle
(8:23)  8. The Revolving Door

On “Hope Springs Eternal” veteran East Coast pianist Bruce Barth is supported by a fine entourage consisting of Steve Wilson: alto/soprano saxophones/flute; Ed Howard: bass and Adam Cruz drums. The title cut leads off with Barth’s melodic touch and Wilson’s lush lyrical soprano. Barth is the pilot here as he’s prone to shift gears and investigate various avenues of melodic development while displaying enviable chops. Steve Wilson is a fine player and meshes well with Barth’s stylistic approach. Another Barth original composition “Hour Of No Return” is an up tempo burner. The rhythm section of Cruz and Howard are in superb form. They will jab and spar with Barth’s ever-evolving inventions. On “Hour Of No Return” Barth is the painter of colorful imagery. The pace is frenetic and eventually Wilson and Barth regroup to calm things down. Barth’s right hand is poetry in motion complimented by huge block chords. Steve Wilson cuts his alto to shreds in Barth’s “The Revolving Door” which is a bright, cheerful tune with a strong melody line. Barth’s “Up and Down” swings from the bottom up. Barth’s expressive and sweeping execution is at times reminiscent of McCoy Tyner; although, Barth’s identity is firmly established. Bruce Barth is a fine pianist and should benefit from Double-Time Records esteemed producer/educator Jamey Aebersold. I look forward to hearing more from Barth in the near future. ~ Glenn Astarita https://www.allaboutjazz.com/hope-springs-eternal-bruce-barth-double-time-jazz-review-by-glenn-astarita.php

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone, composer;  Ed Howard - Bass;  Adam Cruz - drums, composer

Hope Springs Eternal

Saturday, September 21, 2019

Terell Stafford - New Beginnings

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 58:32
Size: 134,7 MB
Art: Front

(7:24)  1. Soft Winds
(5:00)  2. I Don't Wanna Be Kissed
(7:05)  3. He Knows How Much You Can Bear
(6:10)  4. Selah (New Beginnings Suite)
(5:01)  5. La Maurier (New Beginnings Suite:)
(6:18)  6. Berda's Bounce (New Beginnings Suite:)
(7:08)  7. Blame It On My Youth
(5:59)  8. The Touch Of Your Lips
(8:22)  9. Kumbaya

Named after a suite composed for the Dayton, OH, arts organization Cityfolk, New Beginnings buckles under the weight of its diverse choice of material, just holding together due to the musicians' expertise. Terell Stafford bounces between trumpet and flügelhorn, the choice of material ranges from standards to funk, and there must have been a rotating door for the four saxophonists. Luckily, our leader is a "musician's musician," so if listeners consider it a chance to sit in on Stafford's class at Temple, they'll be rewarded. Stafford steps up slowly to Fletcher Henderson's "Soft Winds" before having some fun, assuredly stretching notes before handing it over to Jesse Davis and Harry Allen's more relaxed and soulful approaches. It's a great opener, with solos being bounced back and forth to introduce the players quickly. Mulgrew Miller is in fine form throughout the record, placing his solo between the beats on "I Don't Wanna Be Kissed" and providing ample support for the leads elsewhere. Derrick Hodge's acoustic bass is spot-on, but less compelling when he switches to electric for the anemic funk of "Selah," the "New Beginnings Suite" opener. The three-song suite could be taken apart without anyone noticing, but its structure does allow the sideman ample room to explore on an already sideman-friendly record. Stafford slinks across Stephen Scott's wonderful arrangement of "Kumbaya" and Steve Wilson's brilliant soprano pushes the whole band toward a rapturous ending. It's definitely the album's winner, and as a closer it leaves the listener exalted. ~ David Jeffries https://www.allmusic.com/album/new-beginnings-mw0000035813

Personnel: Trumpet, Flugelhorn – Terell Stafford; Acoustic Bass, Electric Bass – Derrick Hodge; Alto Saxophone – Dick Oatts, Jesse David;  Alto Saxophone, Soprano Saxophone – Steve Wilson;  Drums – Dana Hall; Piano – Mulgrew Miller; Tenor Saxophone – Harry Allen

New Beginnings

Sunday, June 9, 2019

Dave Holland Quintet - Points Of View

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

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

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

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

Points Of View

Tuesday, April 16, 2019

Chick Corea, Origin - Live At The Blue Note

Styles: Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 65:26
Size: 150,5 MB
Art: Front

( 1:30)  1. Say It Again - Pt. 1
( 1:28)  2. Say It Again - Pt. 2
(17:32)  3. Double Image
(10:53)  4. Dreamless
(11:26)  5. Molecules
( 9:00)  6. Soul Mates
(13:34)  7. It Could Happen To You

One thing that must be said about Chick Corea: musically, the man does not stand still. Whether one is going in his direction is another issue altogether. Chick's newest group, Origin, was recorded during a week-long gig in December '97 at New York's celebrated Birdland nightspot. It's a tight sextet with an exuberant front line - saxophonists Bob Sheppard and Steve Wilson, trombonist Steve Davis - capably supported by Corea, bassist Cohen and drummer Cruz. The band opens the set with a three-part suite, the concise "Say It Again," parts 1 and 2, and the blustery "Double Image," whose 17:32 running time provides abundant solo space for everyone. All were written by Corea, as were the next three numbers "Dreamless," "Molecules" and "Soul Mates" (the briefest of the trio at 9:00). Origin closes the set with an extended version of the standard "It Could Happen to You," on which Corea's Tatum-esque introductory statement paves the way for some zestful straight-ahead blowing by the band (I'd have welcomed more of that) and frisky solos by Chick, Sheppard (tenor), trombonist Davis and Wilson (alto). Corea lays out behind half of Wilson's chorus while Cohen's sonorous bass keeps time and Cruz deftly works the rims with sticks. Bass and drums have their say too (with Corea and Cruz trading eights) before the ensemble returns to enclose the package in style. 

An observation you can take to the bank is that Corea is a first-rate post-bop pianist (ask almost anyone); why I've seldom warmed to his muse remains a mystery, even to me. While I admire his proven technical prowess and writing skills, and must admit that he can swing hard whenever he chooses to, he simply doesn't reach me on an emotional level - a shortcoming that I know is mine, not his. This recording is a splendid example of what I am trying to point out. The melodies aren't unattractive, everyone plays well, and yet none of what is produced (with the possible exception of "It Could Happen to You") touches a responsive chord. Why? I don't know. Either it does or it doesn't, I suppose. Look, this is an ambitious session by a widely acclaimed pianist and his well-assembled working group. Although it doesn't happen to grab me, you may find yourself enraptured by its charms. Go for it. ~ Jack Bowers https://www.allaboutjazz.com/live-at-the-blue-note-chick-corea-concord-music-group-review-by-jack-bowers.php?width=1920

Personnel: Chick Corea – piano; Avishai Cohen – double bass; Adam Cruz – drums; Bob Sheppard – flute, bass clarinet, baritone saxophone, soprano saxophone, tenor saxophone; Steve Wilson - flute, clarinet, alto and soprano saxophone; Steve Davis - trombone

Live At The Blue Note

Wednesday, March 13, 2019

Terell Stafford - Time To Let Go

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

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

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

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

Time To Let Go

Wednesday, March 6, 2019

Darrell Grant - The Territory

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 60:34
Size: 140,2 MB
Art: Front

( 1:13)  1. Introduction
( 5:56)  2. Mvt. 1 Hymn to the Four Winds
( 6:04)  3. Mvt. 2 Daybreak At Fort Rock
( 3:10)  4. Mvt. 3 Missoula Floods
( 4:03)  5. Missoula Floods, Pt. 2
( 5:58)  6. Mvt. 4 Rivers
(10:13)  7. Mvt. 5 Chief Joseph's Lament
( 5:48)  8. Mvt. 6 Stones Into Blossoms
( 7:12)  9. Mvt. 7 Sundays At the Golden West
( 2:37) 10. Mvt. 8 Aftermath (Interlude)
( 8:14) 11. Mvt. 9 New Land

The Territory marks Grant's seventh CD as a leader and his first since 2007's critically acclaimed "Truth and Reconciliation," which was selected one of the top 10 CDs' of the year by The Village Voice jazz critics poll. The nine-member ensemble includes Grant's long-time collaborators Grammy award-winning drummer Brian Blade, Grammy award-winning saxophonist Steve Wilson and celebrated vibraphonist Joe Locke, as well as renowned cellist Hamilton Cheifetz, Chicago bassist Clark Sommers, Portland vocalist Marilyn Keller, trumpeter Thomas Barber, and bass clarinetist Kirt Peterson. The Territory captures Grant in an exciting 2013 world premiere performance presented by Chamber Music Northwest in front a sold-out audience at Portland's Kaul Auditorium. https://www.darrellgrant.com/the-territory-album

Personnel: Darrell Grant, piano; Joe Locke, vibraphone & marimba; Steve Wilson, flute, alto flute, soprano & alto saxophone; Brian Blade, drums; Clark Sommers, bass; Marilyn Keller, vocals; Hamilton Cheifetz, cello; Thomas Barber, trumpet; Kirt Peterson, bass clarinet, tenor saxophone

The Territory

Wednesday, January 23, 2019

Bruce Barth Quintet - In Focus

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 62:10
Size: 143,4 MB
Art: Front

(8:04)  1. I Hear Music
(5:45)  2. Escapade By Night
(7:53)  3. Nefer Bond
(5:17)  4. I Got It Bad
(6:27)  5. In Search Of
(5:32)  6. Pinocchio
(5:33)  7. Louise
(5:25)  8. Persistence
(7:05)  9. Wildflower
(5:05) 10. Secret Name

Bruce Barth's recording debut as a leader was an auspicious one, though it probably wasn't as widely distributed as it might have been by a U.S. label. Accompanied by a number of other talented young players (Steve Wilson on alto and soprano sax, trumpeter Scott Wendholdt, bassist Robert Hurst, and drummer Lewis Nash), the pianist works magic with time-tested standards such as his adventurous post-bop treatment of "I Hear Music" and a rhapsodic solo interpretation of Duke Ellington's "I Got It Bad (And That Ain't Good)." His trio arrangement of Wayne Shorter's "Pinocchio" is suspenseful yet full of energy, while another Shorter composition, "Wildflower," shows just a hint of McCoy Tyner's influence on his playing. Barth's original works are also worth investigating, especially the sauntering "Nefer Bond" (named for his cat) and the tender ballad "Louise," which features an intriguing blend of Wilson's soprano sax and Wendholt's trumpet. The overall strength of this initial recording as a leader by Bruce Barth make it worth the search. ~ Ken Dryden https://www.allmusic.com/album/in-focus-mw0000621670

Personnel: Bruce Barth - piano, composer;  Steve Wilson - alto saxophone, soprano saxophone; Scott Wendholt - trumpet; Robert Hurst - bass; Lewis Nash - drums

In Focus

Tuesday, November 6, 2018

Lisa Hilton - The New York Sessions

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 45:33
Size: 104,9 MB
Art: Front

(3:11)  1. Both Sides Now
(3:19)  2. Over And Over Again
(3:24)  3. Just Want To Be With You
(3:46)  4. A Bit Of Soul
(5:33)  5. Emily
(4:03)  6. Seduction
(4:10)  7. The Last Time
(3:30)  8. Where Are You Now
(3:33)  9. Listen To Your Heart
(3:17) 10. Epistrophy
(3:23) 11. Mystery
(4:20) 12. Both Sides Now Alt Tk

The New York Sessions is the ninth release by pianist Lisa Hilton, whose last name lovingly adorns the bath towels in the suitcases of itinerant musicians around the world. A self-produced and largely self-motivated musician from the rougher section of Malibu, Hilton's avowed influences and illustrious associations promise great things but the world is a harsh place, and sometimes promises are broken. Hilton is surrounded by a mighty supporting cast, but even a cursory listen reveals that their skills are conspicuously surplus to requirements. How any pianist could assemble a rhythm section that boasts Christian McBride and Lewis Nash, without even the slightest forward momentum, is completely beyond the grasp of this jaded but earnest critic. The musicians are not at fault, since Hilton's compositions and musicianship are uniformly uninspiring, repetitive, and just plain inept. Two takes of "Both Sides Now" showcase Hilton's thrilling execution of major scale runs in the key of C. The aptly titled "Over and Over Again" proves to be a futile, redundant and pedestrian effort all key elements of her compositional and improvisational abilities. "Just Want to Be With You" once again features Hilton's uncanny mastery of the major scale, as the listener is blissfully swept above the clouds and then unceremoniously dropped into a dumpster, despondent and disappointed. From the pantheon of great American music, Hilton has chosen Ray Charles' "A Bit of Soul," (a very little bit of soul, indeed), and manages to transform a pot full of hot gumbo into cold porridge in the span of three minutes and forty-six seconds. "Emily" isn't as bad, despite a few clams and harmonic bypasses, but the real horror here is Monk's "Epistrophy," which finds the pianist in a battle with Monk's trademark, harmonically rich arpeggios. Here's a hint; the arpeggios win the battle, but the hapless listener ultimately loses the war. Now and then, independently produced recordings reveal great work deserving wider recognition, and this disc is certainly not among them. Conventional musical discourse is impossible to apply to works by musicians with ample means and poor skills. Lisa Hilton's acknowledged influences should include the patron saints of self-publishing; Johann Gutenberg, Thomas Paine and, of course, William Randolph Hearst. Their historic efforts have given Hilton the mechanism, the freedom, and the wherewithal to forge a career in the 21st century. Self-identified jazz musicians such as Hilton, whose delusions of street credibility, questionable claims of technical skill, and erroneous assertions of artistic merit somehow consistently lack supporting evidence in their work. So here goes: The New York Sessions is great fodder for the aspiring dilettante, a must for background music at the next gala luncheon, and an ideal coaster for your next cocktail party. Sadly, the only swing to be found on this disc is in the motion of the pendulum, as it ambivalently traverses the arc between philanthropy and misanthropy. In the immortal words of Humphrey Bogart, at the very least, "We'll always have Paris."~ Ken Kase https://www.allaboutjazz.com/the-new-york-sessions-lisa-hilton-self-produced-review-by-ken-kase.php

Personnel: Lisa Hilton: piano; Christian McBride: bass; Lewis Nash: drums; Jeremy Pelt: trumpet and flugelhorn; Steve Wilson: sax.

The New York Sessions

Friday, November 2, 2018

Don Byron - Bug Music

Styles: Clarinet And Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 51:06
Size: 119,0 MB
Art: Front

(3:18)  1. The Dicty Glide
(2:52)  2. Frasquita Serenade
(2:53)  3. St. Louis Blues
(2:52)  4. Wondering Where
(1:41)  5. Bounce of the Sugar Plum Fairies
(2:48)  6. Charley's Prelude
(1:54)  7. Royal Garden Blues
(2:52)  8. Siberian Sleighride
(2:50)  9. The Penguin
(2:51) 10. The Quintet Plays Carmen
(2:55) 11. Powerhouse
(2:36) 12. Tobacco Auctioneer
(2:36) 13. War Dance for Wooden Indians
(2:49) 14. Cotton Club Stomp
(3:25) 15. Blue Bubbles
(9:47) 16. SNIBOR

Bug Music is a tribute to the music of the Raymond Scott Quintette, the John Kirby Sextet and Duke Ellington, headed by the remarkably versatile clarinetist Don Byron. Raymond Scott's legendary compositions feature eccentric song titles (including, on this set, "Siberian Sleighride," "Tobacco Auctioneer" and "War Dance for Wooden Indians"), complex and thoroughly composed arrangements (all of which were originally memorized rather than being written out) and unique melodies. Kirby's brand of swing, which is quite complementary to Scott's novelties, often utilized themes from classical music and had solos, but were also tightly arranged (even "St. Louis Blues" and "Royal Garden Blues"). The CD begins and ends with four Ellington/Strayhorn pieces that fit well into the idiom (particularly "The Dicty Glide" and "Cotton Club Stomp"). In addition to Byron, the key players on the project include altoist Steve Wilson (one of the best of the younger swing stylists), trombonist Craig Harris and pianist Uri Caine, in addition to four other horns and several rhythm sections. Other than a silly rendition of Ellington's "Blue Bubbles" and an adventurous interpretation of "Snibor," the selections are played with respect and great understanding of the somewhat forgotten style. None of the modern musicians sound as if swing were only their second language, making the continually surprising set a major success. ~ Scott Yanow https://www.allmusic.com/album/bug-music-mw0000078877

Personnel:  Clarinet, Baritone Saxophone – Don Byron (tracks: 1, 14);  Alto Saxophone – Steve Wilson (2) (tracks: 1 to 7, 14);  Banjo – Paul Meyers (3) (tracks: 1, 14);  Bass – Kenny Davis (tracks: 1 to 14, 16);  Drums – Billy Hart (tracks: 2 to 7, 16), Joey Baron (tracks: 8 to 13), Pheeroan akLaff (tracks: 1, 14);  Guitar – David Gilmore (tracks: 16);  Piano, Vocals – Uri Craine (tracks: 4);  Tenor Saxophone – Robert DeBellis  (tracks: 1, 8 to 14);  Trombone – Craig Harris (3) (tracks: 1, 14);  Trumpet – Charles Lewis (2) (tracks: 1 to 3, 5, 6, 8 to 14), James Zollar (tracks: 1, 14), Steve Bernstein (tracks: 1 to 4, 7, 14);  Vocals – Dean Bowman (tracks: 14), Don Byron (tracks: 4)

Bug Music

Friday, July 13, 2018

Didier Lockwood - Storyboard

Styles: Violin, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 54:31
Size: 126,4 MB
Art: Front

(7:35)  1. Thought Of A First Spring Day
(4:40)  2. Back To Big Apple
(5:45)  3. En Quittant Kidonk
(7:42)  4. Mathilde
(4:51)  5. Tableau D'une Exposition
(6:59)  6. 'Serie B'
(3:58)  7. Storyboard
(4:52)  8. Irremediablement
(8:06)  9. Spirits Of The Forest

This is a diverse CD that rewards repeated listening. Violinist Didier Lockwood's most rewarding recording in several years also features Joey DeFrancesco on organ and trumpet, bassist James Genus and guest Steve Wilson (doubling on alto and soprano) on the first three numbers. The biggest revelation of the set is that Lockwood takes a credible alto solo on "Serie B." Performing his originals along with a few obscurities, the violinist shows a great deal of versatility, sometimes distorting his tone to get a rockish sound and other times swinging hard. The music (well worth checking out) is fresh and contains its share of surprises.~ Scott Yanow https://www.allmusic.com/album/storyboard-mw0000619396

Personnel:  Didier Lockwood - violin, alto saxophone;   Steve Gadd - drums;   Joey DeFrancesco - organ, trumpet;  James Genus - bass;  Steve Wilson - soprano saxophone, alto saxophone;  Denis Benarrosch - percussion.

Storyboard

Friday, November 17, 2017

Scott Wendholt - From Now On

Styles: Trumpet Jazz
Year: 1996
File: MP3@256K/s
Time: 66:25
Size: 122,7 MB
Art: Front

(4:45)  1. From Now on...
(6:54)  2. Magnolia Tones
(8:55)  3. Solar
(9:02)  4. In a Sentimental Mood
(6:35)  5. At the Falls
(8:24)  6. Times Past
(5:54)  7. Dear Old Stockholm
(8:33)  8. Promise
(7:17)  9. I Remember You

Trombonist Steve Armour appears on From Now On… Scott Wendholt Quartet/Sextet [1123] and he made these observations about Scott in the liner notes to the recording:  “ …, I believe that the closer an artists gets to artistic success not financial or critical success of their art as a commodity, but success in creating the artistic statement he or she envisions the more their art will reflect who they are as people. In his life and in his art Scott carries always an athletic grace and confidence, a certain surety of step and of motion. There is a straightforward clarity and honesty reflected in his demeanor, refreshingly free of the back-slapping, toothy-grinned veneer of so many Jazz status-seekers, as well as in his music.” From any number of perspectives, then, getting more familiar with the music of Scott Wendholt is a gratifying experience. As a step in that direction, a viewing of the following video will bring you closer to it as on it Scott renders a striking version of Mal Waldron’s Soul Eyes with Vincent Herring on alto saxophone, Kevin Hays on piano, Dwayne Burno on bass and Bill Drummond on drums. The track is from Scott’s The Scheme of Things Criss Cross CD [1078].

Personnel: Trumpet – Scott Wendholt;  Alto Saxophone – Steve Wilson;  Bass – Larry Grenadier;  Drums – Billy Drummond;  Piano – Bruce Barth;  Tenor Saxophone, Soprano Saxophone – Tim Ries (tracks: 3, 4, 7. 9);  Trombone – Steve Armour.

From Now On

Thursday, October 5, 2017

Gerald Wilson Orchestra - Monterey Moods

Styles: Jazz, Big Band
Year: 2007
File: MP3@320K/s
Time: 59:44
Size: 137,0 MB
Art: Front

( 6:12)  1. Allegro
( 9:09)  2. Jazz Swing Waltz
( 7:09)  3. Ballad
(11:36)  4. Latin Swing
(10:01)  5. Blues
( 2:27)  6. Bass Solo
( 1:40)  7. Hard Swing
( 6:00)  8. I Concentrate On You
( 5:26)  9. The Mini Waltz

A decade ago, when he was commissioned to write music to commemorate the fortieth anniversary of the Monterey Jazz Festival, Gerald Wilson produced the memorable, double Grammy Award-nominated Theme for Monterey (MAMA Records,1998). Now the 89-year-old dean of American Jazz composers has scored another triumph, saluting the festival's golden anniversary with a picturesque seven-part suite, Monterey Moods, that musically epitomizes the scope and character of that annual event. The motif is deceptively simple: a three-note idea used in various ways as the bedrock of each movement (Allegro/Jazz Swing Waltz/Ballad/Latin Swing/Blues/Bass Solo/Hard Swing), much as a single melodic phrase was deftly rearranged to underscore each section of Theme for Monterey. Wilson's orchestra introduced Moods at the Monterey Festival and recorded it in a studio for Mack Avenue Records. The album's playing time has been increased to nearly an hour by appending Wilson's atmospheric arrangement of Cole Porter's "I Concentrate on You (featuring son Anthony Wilson's mellow guitar) and his gregarious "Mini Waltz (solos courtesy of trumpeter Jimmy Owens, baritone saxophonist Ronnie Cuber and special guest Hubert Laws on flute). The suite is almost entirely upbeat; even the slower-paced "Ballad simmers in a Basie-like groove behind heated solos by Laws and tenor saxophonist Kamasi Washington. The remaining movements personify their names, using Wilson's spare entrée as a springboard for a series of bright and swinging vignettes marked by powerful rhythms and persuasive solos. The rhythmic muscle is supplied by Anthony Wilson, pianist Renee Rosnes, bassist Peter Washington and drummer par excellence, Lewis Nash. The improvisations for the most part are by Laws, Cuber, Owens, Wilson, trumpeters Terell Stafford and Sean Jones, saxophonists Kamasi Washington, Ron Blake, Antonio Hart and Steve Wilson. Peter Washington is also showcased on the suitably named "Bass Solo. Writing a suite like Monterey Moods would be a daunting task at any age, let alone for someone on the doorstep of his ninetieth birthday. But Wilson has risen to the challenge, composing another in a series of masterful compositions whose evolution began nearly seventy years ago. In the liner notes, Wilson says he's looking forward to "the sixtieth celebration at Monterey. So are we. ~ Jack Bowers https://www.allaboutjazz.com/monterey-moods-gerald-wilson-mack-avenue-records-review-by-jack-bowers.php
 
Personnel: Gerald Wilson: composer, arranger, conductor; Jon Faddis: trumpet, flugelhorn; Frank Greene: trumpet, flugelhorn; Sean Jones: trumpet, flugelhorn; Jimmy Owens: trumpet, flugelhorn; Terell Stafford: trumpet, flugelhorn; Steve Wilson: alto and soprano sax, flute; Antonio Hart: alto and soprano sax, flute; Ron Blake: tenor sax; Kamasi Washington: tenor sax; Ronnie Cuber: baritone sax; Dennis Wilson: trombone; Luis Bonilla: trombone; Jay Ashby: trombone; Douglas Purviance: bass trombone; Renee Rosnes: piano; Anthony Wilson: guitar; Peter Washington: bass; Todd Coolman: bass; Lewis Nash: drums. Special guest: Hubert Laws: flute.

Monterey Moods