Tad Shull - Deep Passion

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 70:32
Size: 161,6 MB
Art: Front

( 8:18)  1. Tadpole
(11:11)  2. Big Ears
(10:50)  3. June Night
( 8:37)  4. Why
( 9:30)  5. Soul Stirrin'
( 8:02)  6. The Breeze And I
( 5:34)  7. Deep Passion
( 8:25)  8. The Eldorado Shuffle

Tad Shull is a tenor saxophonist, composer and bandleader with a number of records on Criss-Cross Jazz. His style combines the lush tone quality of the classic tenor saxophonists with the risk-taking harmonic approach of hard bop and beyond.After studying with David Liebman and Joseph Allard, Shull worked with the Widespread Depression Jazz Orchestra and the Smithsonian Jazz Repertory Ensemble. More recently he has fronted his own quartets. He has performed with Cab Calloway, Roy Eldridge, Dizzy Gillespie, Woody Herman, Eddie Higgins, Milt Hinton, Dave McKenna, Melvin Rhyne, and many others. Recordings under Tad Shull’s name on the Criss Cross label include “Deep Passion” and “In the Land of the Tenor.” He has two discs with the Tenor Triangle, featuring Ralph Lalama, Eric Alexander, and Tad Shull with the Melvin Rhyne Trio: “Tell It Like It Is ” and “Aztec Blues,” for which Shull composed the title cut. He also teamed with tenor saxophonist Mark Turner for “Two Tenor Ballads” and appeared as a special guest on Mel Rhyne’s Tomorrow Yesterday Today.

Tad Shull is Associate Director of the Center for Jazz Studies at Columbia University. The organization is a leader in generating and sharing knowledge on jazz and improvisation. Shull specializes in providing access to and organizing the enormous and growing storehouse of information on jazz on the Internet. He is Editor of Jazz Studies Online, which presents resources for educators, students, and researchers. He is also creator and manager of J-DISC, an online resource for information about jazz recordings, the people who made them, and the culture they arise from. New J-DISC initiatives include linking information on artists in J-DISC to other useful resources; exploring ways to identify and distinguish jazz audio using machine learning and other engineering and mathematical tools; and creating a forum for jazz experts to discuss jazz recordings and the legacy of jazz history they contain. http://www.tadshull.com/?page_id=2

Personnel: Tad Shull (tenor saxophone), Irvin Stokes (trumpet), Mike LeDonne (piano), Dennis Irwin (bass), Kenny Washington (drums).

Deep Passion

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The Tenor Triangle With the Melvin Rhyne Trio - Tell It Like It Is

Styles: Jazz, Post Bop
Year: 1993
File: MP3@320K/s
Time: 63:03
Size: 145,0 MB
Art: Front

( 8:56)  1. Tell It Like It Is
(10:21)  2. Thing One
( 9:12)  3. Minor Changes
(8:02) 4. Ballad Medley-when Sunny Gets Blue - Cherokee - Memories Of You
( 7:15)  5. Lazy Bird
(12:06)  6. Body and Soul
( 7:07)  7. The Eternal Triangle

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. “Old hat,” some will say, but so what? There’s plenty of music here, and a game of “who do you hear?” to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of ‘Trane in Alexander. Your mileage may vary, as they say on the ‘Net-but whoever you hear, you’ll hear plenty you like. ~ Bill Bennett https://jazztimes.com/archives/the-tenor-triangle-with-the-melvin-rhyne-trio-aztec-blues/

Personnel: Eric Alexander (tenor saxophone), Ralph Lalama (tenor saxophone), Tad Shull (tenor saxophone), Melvin Rhyne (Hammond organ), Peter Bernstein (guitar), Kenny Washington (drums)

Tell It Like It Is

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The Tenor Triangle With the Melvin Rhyne Trio - Aztec Blues

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 69:16
Size: 159,3 MB
Art: Front

(12:23)  1. Cedar's Blues
(11:52)  2. 'nother Fu'ther
(10:16)  3. The Song Is You
( 7:56) 4. Ballad Medley - But Beautiful-it Could Happen To You-I thought About You
( 6:16)  5. Melvin's Masquerade
(11:28)  6. Aztec Blues
( 9:02)  7. To The Chief

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. “Old hat,” some will say, but so what? There’s plenty of music here, and a game of “who do you hear?” to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of ‘Trane in Alexander. Your mileage may vary, as they say on the ‘Net-but whoever you hear, you’ll hear plenty you like. ~ Bill Bennett https://jazztimes.com/archives/the-tenor-triangle-with-the-melvin-rhyne-trio-aztec-blues/

Personnel: Tenor Saxophone – Eric Alexander, Ralph Lalama, Tad Shull;  Organ – Melvin Rhyne; Drums – Kenny Washington; Guitar – Peter Bernstein

Aztec Blues

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The Tenor Triangle With The Melvin Rhyne Trio - Aztec Blues

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 68:55
Size: 157,9 MB
Art: Front

(12:19)  1. Cedar's Blues
(11:49)  2. 'Nother Fu'ther
(10:13)  3. The Song Is You
(7:53)  4. Ballad Medley: But Beautiful/It Could Happen to You/I Thought About You
( 6:13)  5. Melvin's Masquerade
(11:25)  6. Aztec Blues
( 9:00)  7. To The Chief

Are we clear on the concept here? Blowing session; three tenor saxophones backed by a classic organ trio; a standard or two (one way uptempo), the blues, and more blues. Mix in a deep groove, shake liberally, pour and enjoy. No little umbrellas, no tofu, no Perrier. Oh, yes: a generous dash of talent virtually guarantees a good time. And all of that is in here. Ralph Lalama, Tad Shull and Eric Alexander are the sax provocateurs, each striving to be as individual as possible and so to spark his peers to some unexplored space. "Old hat," some will say, but so what? There's plenty of music here, and a game of "who do you hear?" to pique the connoisseurs in the audience. I hear a touch of Dexter in Lalama, a rose-tinted hint of Shorter in Shull, and a champagne-crisp zest of 'Trane in Alexander. Your mileage may vary, as they say on the 'Net-but whoever you hear, you'll hear plenty you like. ~ Bill Bennett  http://jazztimes.com/articles/8722-aztec-blues-the-tenor-triangle-with-the-melvin-rhyne-trio

The Tenor Triangle: Eric Alexander, Ralph Lalama, Tad Shull (tenor saxophone).

The Melvin Rhyne Trio: Melvin Rhyne (Hammond B-3 organ); Peter Bernstein (guitar); Kenny Washington (drums).

Aztec Blues

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Mark Turner, Tad Shull - Two Tenor Ballads

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 67:05
Size: 154,0 MB
Art: Front

( 9:52)  1. A Flower Is a Lovesome Thing
( 6:21)  2. Autumn In New York
( 6:28)  3. Blue in Green
( 7:11)  4. What's My Name
( 7:27)  5. I Forget to Remember
( 6:44)  6. Alone Together
( 6:19)  7. Very Early
(10:18)  8. Turn Out the Stars
( 6:20)  9. You've Changed

The two tenor battle is not a new idea, with predecessors ranging from Dexter Gordon and Wardell Gray to Eddie “Lockjaw” Davis and Johnny Griffin. However, what we have here is not so much a competition but a complimentary pairing that makes the most of the individualistic styles of Mark Turner (a distinguished disciple of Lester Young and Warne Marsh) and Tad Shull (straight out of the Webster/Hawkins school of deep-throated tenors). It’s the contrast that makes for provocative listening, Shull positively robust and burly, with Turner proving to be lighter-toned and more reasoned.

Throughout this generous set, Turner and Shull get sensitive backing from the trio of Kevin Hayes, Larry Grenadier, and Billy Drummond. Even with the preponderance of ballad material, things never bog down or become effete. The variety of material also helps in this matter, with “What’s My Name” sporting a gentle rumba beat and the waltz tempo of Bill Evans’ “Very Early” given a light bounce. Recorded in 1994 and just now seeing release, Two Tenor Ballads gives us a sumptuous early look at Turner, who has since become a leading man of great promise. Unfortunately, this “lost session” is the most recent work to feature Shull, a neglected maverick who is rarely heard from these days. ~ C.Andrew Hovan  http://www.allaboutjazz.com/two-tenor-ballads-mark-turner-criss-cross-review-by-c-andrew-hovan.php

Personnel: Mark Turner & Tad Shull- tenor saxophone, Kevin Hays- piano, Larry Grenadier- bass, Billy Drummond- drums

Two Tenor Ballads

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Tad Shull - In The Land Of The Tenor

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 59:58
Size: 138,4 MB
Art: Front

(7:38)  1. Here's The Kicker
(5:14)  2. Night Horse
(8:02)  3. I Keep Going Back To Joe's
(7:39)  4. A Portrait Of Bojangles
(6:06)  5. This Is New
(7:11)  6. Pick Yourself Up
(6:55)  7. Nobody Else But Me
(5:55)  8. Angel Face
(5:15)  9. Prey-Loot

Tad Shull grew up in Westport on; during his school days at the Westport Public School, he started with the saxophone and entered the age of 13 in a swing band, also with 15 years in blues and rock and roll bands. In Westport, he studied jazz piano and improvisation at 1970/71 John Mehegan , with 16 years of saxophone and jazz improvisation with David Liebman (1971-73), with 18 years improvisation with Richard Beirach (1973-4). He attended the New England Conservatory , where he met with Gunther Schuller and Jaki Byard worked. Shull 1978 went to New York and worked in swing clubs in Midtown, as the Jimmy Ryan's and Eddie Condon's. Shull learned while musicians such as Roy Eldridge , Jimmy Rowles , Eddie Locke and Bobby Pratt know that as swing and mainstream jazz veterans were still active. 1981/82 Shull played in the Smithsonian Jazz Repertory Ensemble of Bob Wilber , from which he also received clarinet lessons. Shortly thereafter, he joined the Widespread Depression Jazz Orchestra, with whom he went in the late 1980s on numerous tours. Until 1997, Shull worked with the formation. 

1990 Shull began to play with their own formations; Here, among other things worked the pianist Mike LeDonne and Ray Gallon , bassist Dennis Irwin and drummer Kenny Washington with. He also played with Dizzy Gillespie , Milt Jackson , Joe Williams , Cab Calloway and Woody Herman . In 2002, he participated in various events tribute in honor of Billy Strayhorn in Lincoln Center and played less well-known pieces by the composer. In addition, Shull underwent a study of political science at Columbia University ; Since then he has published about politics, music and culture. Furthermore, he has worked as a marketing consultant and also in the Center for Jazz Studies at Columbia University.  Shull's game on the tenor saxophone combined influences of Coleman Hawkins , Don Byas , Lucky Thompson , Eddie Lockjaw Davis , Johnny Griffin and Sonny Rollins. ~ Bio  http://translate.google.com.br/translate?hl=en&sl=de&u=http://de.wikipedia.org/wiki/Tad_Shull&prev=search

Personnel: Tad Shull (tenor saxophone); Kenny Washington (drums); Mike LeDonne (piano); Dennis Irvin (bass).

In The Land Of The Tenor

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