Grant Stewart - Young At Heart

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 54:59
Size: 127,0 MB
Art: Front

(7:59) 1. Young At Heart
(8:36) 2. You're My Thrill
(6:13) 3. Roll On
(5:41) 4. Shades Of Jackie Mac
(7:00) 5. Repetition
(6:47) 6. Serenade To Sweden
(6:49) 7. Modinha
(5:52) 8. Jet Stream

Since moving from Toronto to New York at age 19, Grant Stewart has spent 15 years dutifully toiling in the city's jazz underground. Only over the past few years have we begun to hear some worthy examples of the tenor saxophonist's labor a release under his name for Criss Cross, a pair on the same label by Reeds and Deeds (a band he co-leads with Eric Alexander), and a couple on the Video Arts imprint. Although all of these discs are worth your discretionary income and time, 2007's In the Still of the Night (Sharp Nine) was a career-defining recording. From shrewd choices in material, a crack rhythm section, to Stewart's glowing solos, it was one of those rare instances in which everything came together in a near perfect manner. Sharp Nine owner/producer Marc Edelman wasted no time getting Stewart back in the studio, and he wisely decided there was no need to retool a winning formula. On Young at Heart, once again, Stewart is joined by pianist Tardo Hammer, bassist Peter Washington, and drummer Joe Farnsworth. The record is every bit as good as its predecessor in part because of Stewart's ability to sound at ease and establish his own identity on different kinds of material and at various tempos. There's stability and depth to his playing that sets him apart from a host of well-known, thirty-something tenor stylists who blow convoluted to a fault.

The tenor saxophonist's thoughtful interpretations of songs by Duke Ellington, Antonio Carlos Jobim, Neal Hefti, and others are complete in themselves. He lingers on the melodies instead of merely using them as a springboard for improvisation. Throughout the head of the title track, for example, Stewart deliberately moves thorough Hammer's lively accompaniment. A subdued rendition of "You're My Thrill" conveys a quiet resignation. Stewart's style of improvising is fresh, uncluttered, and cliche free. On medium and up tempo tracks like "Roll On," "Serenade to Sweden," "Shades of Jackie Mac," and "Jet Stream," he invariably plays a steady, evenly paced stream of ideas. One favorite device is burrowing into the rhythm section's thrust for an extended period before briefly easing up and gliding over them. Throughout the ballad "Modinha," Stewart's gift for spontaneous melodic invention is more pronounced, and so is his dramatic range. At one important juncture, he falls silent for what feels like an eternity before reaching a brief climax.By David A. Orthmann
https://www.allaboutjazz.com/young-at-heart-grant-stewart-sharp-nine-records-review-by-david-a-orthmann.php

Personnel: Grant Stewart: tenor saxophone; Tardo Hammer: piano; Peter Washington: bass; Joe Farnsworth: drums.

Young At Heart

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Stewart Grant - The Lighting of the Lamps

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 55:56
Size: 128,5 MB
Art: Front

(6:58) 1. Little Spain
(6:03) 2. A Piece of Art
(7:37) 3. Ghost Of A Chance
(8:16) 4. Out Of The Past
(5:12) 5. Mo Is On
(6:47) 6. I'm A Fool To Want You
(6:32) 7. Bearcat
(8:29) 8. Bitty Ditty

Aside from the alluring title, which in terms of words alone, not music, recalls Jim Hendrix’s “Burning of the Midnight Lamp,” we have a straight-ahead, inspired session led by Toronto-born, NYC-based tenorist Grant Stewart and his usual contingent plus rising NYC-based trumpeter Bruce Harris, making this a classic quintet configuration. The Lighting Of The Lamps features bassist David Wong, pianist Tardo Hammer and drummer Phil Stewart. The leader, the Toronto-born, former DownBeat Rising Star and collaborator with the likes of Jimmy Cobb, Harold Mabern, Louis Hayes and Clark Terry, follows up his successful 2020 release of Rise and Shine on Cory Weeds’ Cellar Music. Ah, but back to that alluring title. It takes its name from the opening stanza of T.S. Eliot’s poem ‘Preludes,’ envisioning images of a city at that time just as dusk is ending and the commuters and office workers have vacated the environs, setting the stage for the next phase of activity. As Stewart says, “For me the poem really captures the feeling of life in the city, and of the sense of something beginning. For us musicians, quite often our day begins when the lamps are lit.”

The album, like so many classic quintet sessions of lore was recorded at the legendary Van Gelder Studio in Englewood Cliffs, New Jersey and carries that same vibe as the Blue Note albums of the early sixties. Yes, some artists still make albums like those. The trumpeter, Bruce Harris impressed on his 2021 leader date Soundview, which we covered on these pages. He arrived at these sessions with some compositions in mind including the opening track “Little Spain,” written by Clifford Jordan and recorded in 1962 by Lee Morgan on Take Twelve. That alone attests to the in-the-tradition totally acoustic nature of the date. Stewart sets the tone with a searching, sweeping series of escalating choruses in his solo as the band locks in, with Harris and Hammer following suit. The lone original, “A Piece of Art,” nods to piano great Art Tatum, as the chords are lifted from the 1937 standard “All God’s Chilean Got Rhythm”, a favorite of Tatum’s. the tempo ratchets up to locomotive levels as Stewart and Harris engage in a lively blowing session. Of course, Hammer put his stamp on the tune and like the opener, we get the customary drum and bass on the eights as the piece closes. This is classic hard bop, after all.

The quintet eases off the throttle for the standard, “Ghost of a Chance,” a favorite of many jazz giants over the years, especially Lester Young, the original dean of tenors, as well as trumpeter/vocalist Chet Baker. Stewart and company deliver it in classy, reverent style here. The Latin infused “Out of the Past” evokes the Benny Golson sextet as the front liners and Hammer swing hard again. Another rapid-fire track is “Mo Is On” by pianist Elmo Hope, featuring frenzied spots from Harris and Hammer. It’s not the first time Stewart has recorded the twisting tunes of Hope – some are also featured on his live trio record from 2017, as well as Young at Heart from 2008.

There’s not a weak track here but somehow the warmth of the Dexter Gordon famously recorded “I’m a Fool To Want You” in 1965 at the Van Gelder Studio for his album Clubhouse, hits a sweet spot that would like make Gordon proud of Stewart’s confidently delivered wide, robust tone. In keeping with these older tunes, Stewart also reaches back for “Bearcat”; paying respect to Clifford Jordon, whom he first heard while a teenager growing up in Toronto before he later met up with him when moving to New York at the age of 19. This one gives the cats room to stretch out with robust solos in the order of Stewart, Harris, Hammer, and Wong.

Harris’ also brought in another choice that closes, a lesser-known Thad Jones piece, “Bitty Ditty.” Given that Jones was a trumpeter, it’s not surprising that Harris takes the melodically rich first solo, setting the table for Stewart, who, of course, is well within his element, heavily swinging through several choruses before surrendering to Hammer’s glistening take. One gets the sense that Stewart cares little about contemporaneity. He’d rather dig into this older material, and share it with his band members, looking to improvise and perhaps fins some new avenues along the way. For many of us, this is the kind of hard bop that drew us to jazz in the first place. In that sense, Stewart is not only lighting the lamp, but also carrying a burning torch too.~Jim Hynes https://www.makingascene.org/grant-stewart-quartet-with-bruce-harris-the-lighting-of-the-lamps/

Personnel: Grant Stewart - tenor saxophone, Bruce Harris - trumpet, Tardo Hammer - piano, David Wong - bass, Phil Stewart - drums

The Lighting of the Lamps

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Warren Vaché - Remembers Benny Carter

Styles: Cornet Jazz
Year: 2015
File: MP3@320K/s
Time: 63:47
Size: 147,6 MB
Art: Front

(6:35)  1. A Walking Thing
(2:34)  2. When Lights Are Low
(4:42)  3. Doozy
(3:54)  4. Key Largo
(5:34)  5. Evening Star
(6:52)  6. Boulevard Bounce
(5:38)  7. Summer Serenade
(4:08)  8. Only Trust Your Heart
(6:01)  9. Souvenir
(3:50) 10. Rock Me to Sleep
(4:44) 11. I'm Sorry
(4:45) 12. All That Jazz
(4:24) 13. The Romp

There's lots of life to this recording. Veteran trumpeter Warren Vache knows a thing or two about an old friend, mentor Benny Carter. With The Warren Vache Quintet Remembers Benny Carter we take a step back in time even as we venture forth into the present. A present that finds cornetist Vache's style and personage slightly at odds with that goofy-looking guy with the lid shaking hands with Carter for the cover of this release. It's a remarkable transformation for someone who, during Carter's life, was enthralled by the man's spirit as well as his humanity and substantial musical contributions.

Then and now. That's what these kinds of recordings are all about, aren't they? The trick is to pull it off convincingly, which means you gotta inhabit that spirit and wonder with your whole heart and still have the means to convey it. In Vache's case, that's just what happens with this recording of 13 tunes associated with the multi-instrumental maven, whose career spanned a mind-boggling number of years and eras. To perhaps repeat, then and now is furthered along by the visual presentation of this CD. You get the younger, livelier Vache shaking hands with the master along with more recent photos which show a man weathered by the times since Carter's death in 2003 at age 95. Gone is that goofy smile of innocence, replaced by a more taciturn and wry grimace. Vache's seasoning no doubt has included some trials and disappointments in the intervening years. And that's just what seems to be so much a part of this recording: the sound of a man in love with his music and, in this case, the music of another, a more mature voice.

So, take all that in, and then listen to this music and discover a kind of transcendence that speaks to the music's ability to be ageless, Vache's formal treatments of these songs are true to the spirit of Carter's own muse and whatever Vache picked up by being associated with him. There is a joyous quality to everything here, except when "lights are low," but then it somehow remains surreptitiously buoyant. Take any tune and find a group cohesion fostered by the leader of this makeshift group and you'll hear something that's rare in today's marketplace of jazz recordings: an authentic embrace of ... then and now. With regular cohort Tardo Hammer at the keys, along with old friends and colleagues tenorist Houston Person, Nicki Parrott on bass and vocals and Leroy Williams on drums on selective cuts, the moods tend to be mellow when they aren't a tad bouncy. The transition between "Boulevard Bounce" and "Summer Serenade," for example, is the transition between that bounce featuring Vache playing a real cozy mute with tasteful brushwork from Williams to yet another example of Hammer's modest eloquence as he brings the serenade forward, Parrott's basslines and solo work simpatico all the way. "Summer Serenade" is that kind of rendition that certainly suggests what the song implies, a lazy river coursing through a nearby meadow, everything in its rightful place as the late-afternoon sun finds its way through the willows and the breezes are soft and reassuring. It's a trio piece, sans Vache, that serves as the midpoint to this collection, having followed what might be considered the overall mood of the album with "Boulevard Bounce," namely, a lighthearted party.

And so, with Remembers Benny Carter (featuring incisive, Carter-centered liner notes from Carter biographer Ed Berger) there's the seemingly inevitable gesture that comes with age and the talent to deliver it: a bittersweet melancholy and a certain longing for what was, maybe best heard when Parrott's voice enters here and there, her feminine energy a vital ingredient here as she expands on her bassist role via a samba version of "Only Trust Your Heart" and the more rightfully easygoing "When Lights Are Low" (featuring some delicate muted-horn work from the leader). Her voice is intimate, relaxed, lilting, as she inhabits the words to these songs in ways that make her an ideal foil to Vache's sometimes more caustic yet generous spirit. A generous spirit that leaves others to carry the tune, so to speak, from time to time without him.

With the quiet eloquence of "Souvenir" Vache returns with a full-bodied open horn, cradling the song's melody in this gently delivered ballad, a certain highlight that could be adapted to any time of day, but especially when those lights are low. Tardo's piano is once again a voice that provides that rare mesmerizing balance to Vache's clear, recital-like tones. You can practically feel the love for Mr. Carter. "Rock Me To Sleep" kicks it up a notch, echoing not only Carter the trumpeter but an even earlier master of that instrument, Louis Armstrong, the song's medium-tempo swing a lure for anyone who loves to hit the dance floor anytime of day. And with "All That Jazz," Vache joining Parrott in the vocal department, we hear not only more up-tempo swinging but some real harmonizing between these two singers that makes you wish they'd done another. Ending with the up-tempo swinging blues "The Romp" may have you forgetting everything that came before, this quintet seemingly refusing to go out quietly, but instead opting for just a wee bit more fun. Vache's horn and leadership on this date should be a welcome treat for any music lover, regardless of age or taste. His ultimate compliment to Carter could be Vache's overt presence implied as well as stated and his subdued, age-appropriate enthusiasm for this music, and his hitting every note just right even as he also allows everyone in on the party, for everyone to come celebrate the wonder that Benny Carter will always represent. ~ John Ephland https://www.allaboutjazz.com/warren-vache-quintet-remembers-benny-carter-by-john-ephland.php

Personnel: Warren Vache, cornet; Houston Person, tenor saxophone; Nicki Parrott, bass, vocals; Tardo Hammer, piano; Leroy Williams, drums.

Remembers Benny Carter

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Peter Anderson & Will Anderson - Clarinet Summit

Styles: Clarinet Jazz
Year: 2017
File: MP3@320K/s
Time: 60:38
Size: 140,4 MB
Art: Front

(6:37)  1. How About You?
(6:08)  2. When You Wish Upon a Star
(6:43)  3. Very Saxy
(2:14)  4. Prelude to a Kiss
(2:06)  5. I'll Never Be the Same
(2:42)  6. Cry Me a River
(5:33)  7. Make Someone Happy
(4:23)  8. How Insensitive
(6:12)  9. Groovin' High
(8:41) 10. Creole Love Call
(9:14) 11. A Night in Tunisia

Young Anderson Brothers (Peter and Will are identical twins) both on clarinet here band together with two veteran clarinetists Ken Peplowski with rich background in big band jazz and multiple Grammy Award winner Paquito D’Rivera to perform live to a jubilant audience. “They are sparkling virtuosos and their clever, tidy arrangements for various combinations of clarinet, alto and tenor saxophone are smart and refreshing…. everything they play sounds fresh, creative and in the moment.” (Paul de Barros – Soundposts)

Personnel: Will Anderson clarinet; Peter Anderson clarinet; Paquito D'Rivera clarinet; Ken Peplowski clarinet; Tardo Hammer piano; David Wong bass; Kenny Washington drums

Clarinet Summit

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Charles Davis - Land of Dreams

Styles: Saxophone Jazz
Year: 2007
File: MP3@256K/s
Time: 63:48
Size: 117,4 MB
Art: Front

( 7:41)  1. JC (Davis)
( 6:36)  2. Moon Nocturne
( 5:44)  3. How Am I to Know?
(10:33)  4. If You Could See Me Now
( 8:26)  5. Love for Sale
( 7:09)  6. Some Wandering Bushman
( 6:32)  7. Strangeness
( 5:35)  8. We See
( 5:27)  9. Land of Dreams

In the shrinking world of "legendary" jazz performers, all star sessions and one-offs are the norm. This release is a rare treat that gives a real look-see at saxophonist Charles Davis in the context of his working band. Davis, with his baritone sax, was part of the seminal Jazz Composer's Orchestra and early groups fronted by Sun Ra. Among a host of other top-flight ensembles, he also anchored the reed sections for saxophonist Ben Webster and trumpeter Kenny Dorham. His sessions as a leader have been all too infrequent but with Land of Dreams that is somewhat rectified as he steps to the front on tenor and soprano sax. 

It is obvious from this release that Davis has been working and putting in a lot of time with pianist Tardo Hammer and a rhythm section of Lee Hudson on bass and drummer Jimmy Wormworth. There is an integrative spiritual feel to these compositions, which are heavy on the traditional but also include a few originals, that can only come from a band playing together. Beginning with a reverential Tranesque consecration, "JC" quickly turns into a swinger that allows Hammer to show some of his sway. Interestingly, Davis seems particularly suited to exploring the soprano sax and his improvisational forays with the instrument on the lightly swinging "Moon Nocturne" and intriguing Herbie Nichols composition "Some Wandering Bushman" as well as Monk's "We See" are highlights. His tenor fills the room with a smoky Ben Webster mood on the gorgeous Tadd Dameron ballad "If You Could See Me Now" and chomps and growls a bit on a jazzy-bossa version of "How Am I to Know?" The title cut, a "Cherokee"-inspired bopper, brings this recording to a quick-paced swinging conclusion. ~ Elliott Simon https://www.allaboutjazz.com/land-of-dreams-charles-davis-smalls-records-review-by-elliott-simon.php

Personnel: Charles Davis: tenor and soprano saxophone; Tardo Hammer: piano; Lee Hudson: bass; Jimmy Wormworth: drums.

Land of Dreams

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Tardo Hammer - Tardo's Tempo

Styles: Piano Jazz
Year: 2004
File: MP3@320K/s
Time: 55:34
Size: 127,6 MB
Art: Front

(6:08)  1. Last Time I Saw Paris
(8:42)  2. I Waited For You
(4:49)  3. Russian Lullaby
(5:51)  4. Philly Twist
(6:58)  5. Journey To Lichtenstein
(6:21)  6. Minor Mishap
(4:48)  7. Very Early
(5:21)  8. Littme Man (You've Had A Busy Day)
(6:33)  9. Thelonious

In tandem with bassist Dennis Irwin and drummer Jimmy Wormworth, Tardo Hammer carves out his own space in the bebop tradition once again, proving that accomplished musicians still have a lot to say while mining established styles. The pianist doesn’t mess with the bebop blueprint; rather, he excels at executing its fundamental elements. The material on “Tardo’s Tempo” is a carefully selected mixture of selections from the American Popular Songbook, a few jazz standards, a Monk tune, plus one original. Neither franticly busy nor gratuitously virtuosic, most of the tracks move along at a pace that invites the listener to pick-up on telling details and appreciate the trio’s interaction. The opening track, Hammerstein and Kern’s “Last Time I Saw Paris,” typifies their approach to the music and sets a very high standard for the rest of the record. Juggling a number of ideas while maintaining a coherent narrative thread, Hammer begins with an out-of-tempo solo that states the melody in an oblique fashion, rapidly changing from a stately to a lighthearted disposition, adding a nice stride feel during some of the bridge, and integrating the occasional, Monk-like dissonance. The labyrinth-like opening sequence immediately evaporates as the bass and drums lay down a steady medium tempo bounce. This time Hammer’s take on the melody is sunny and optimistic, as he rides Wormworth’s strokes to the hi-hat and top cymbal. Encouraged by Irwin’s sturdy walking, the two-chorus solo that follows has a lot going on, yet its logical development is never marred by too much activity. For instance, while it comes as a surprise when a quote from “Thelonious” (which is the also the last track on the record) is followed by a smattering of fast, single note lines, Hammer soon returns to something more grounded that stays closer to the pulse.

Hammer’s interpretation of “Little Man (You’ve Had A Busy Day),” one of two ballads on the recording, is a fine example of a jazz musician turning a maudlin pop song into something memorable. He plays it three times, at first solo, and then twice with the bass and drums. Smartly juxtaposing improvised passages and snatches of the tune, each time Hammer takes more liberties without completely bending the melody out of shape or removing the sentiment, all the while evincing a decisive rhythmic drive. Both cleaving to and providing counterpoint to the leader’s piano, the snap of Wormworth’s snare and melodic ring of his tom-toms animates the head of Tommy Flanagan’s “Minor Mishap.” As always, Hammer’s reliance on Irwin and Wormworth’s firm, expressive support rather than just heedlessly playing over them is an important element of his three-chorus solo. He swings purposefully and doesn’t feel the need to fill up all available space, taking the time to develop ideas, and frequently pausing in order to let a phrase sink in. There’s no dramatic arc to the course of the solo instead, Hammer and company offer something more important; namely, a resolute momentum, simultaneously disciplined and flexible, which feels so good that you wouldn’t mind if they continued without end. ~ David O. Orthmann https://www.allaboutjazz.com/tardo-hammer-tardos-tempo-by-david-a-orthmann.php

Personnel: Tardo Hammer—piano; Dennis Irwin—bass; Jimmy Wormworth—drums.

Tardo's Tempo

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Grant Stewart - Live At Smalls

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 68:34
Size: 157,4 MB
Art: Front

( 9:08)  1. Make Someone Happy
( 6:56)  2. Mr. Lucky
( 9:46)  3. Meaning Of The Blues
( 9:25)  4. Somewhere In The Night
( 8:19)  5. Reflections
( 7:57)  6. Tea For Two
( 6:28)  7. Smoke Gets In Your Eyes
(10:30)  8. Get Out Of Town

Grant Stewart continues to be one of my favorite modern tenor saxophonists. He has a huge sound, he's nimble and knows when to turn on the speed, and he loves showing-off on standards. I'm old school jazz to me is about showing your stuff, competing hard, and having respect for the music's grand tradition. Grant hits all of these hot buttons. Grant is up on his Sonny Stitt, Gene Ammons, Don Byas and Jimmy Forrest. Way back when, leaders understood the need for suspense and wowing the listener. An artist like Ammons might start a run, pause ever so briefly to let the line sink in, and then pick up where he left off as though hitting pause on a DVD remote and hitting play a few seconds later. It was a crafty way to build drama and let the cool set in momentarily before resuming the heat.  On Live at Smalls, recorded back in April, Grant was joined by a superb rhythm section: Tardo Hammer [pictured above] on piano, David Wong on bass and brother Phil Stewart on drums. Tardo is a swinging, technical monster who also knows his history, David hits the upright's strings with huge authority, and Phil is a master of delicate intimidation.

In each case, Grant adds a twist. Tea for Two is taken about twice as fast as most versions, as is Mr. Lucky and Somewhere in the Night, which gives them a more urgent coloration. Get Out of Town and Make Someone Happy also are uptempo, requiring Grant to make improvising choices on the superfly, demonstrating yet again why he's a standout. And his ballad work on Meaning of the Blues will knock you out. Best of all, Grant never slides into cliches but instead makes all of these battles personal as it should be. ~ Marc Myers http://www.jazzwax.com/2012/12/grant-stewart-live-at-smalls.html

Personnel:  Grant Stewart, tenor sax;  Tardo Hammer, piano;  David Wong, bass;  Phil Stewart, drums.

Live At Smalls

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Grant Stewart - Plays The Music Of Duke Ellington & Billy Strayhorn

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 59:24
Size: 136,4 MB
Art: Front

(6:26)  1. Raincheck
(7:46)  2. Tonight A Shall Sleep
(8:18)  3. Angelica
(7:22)  4. I Let A Song Go Out Of My Heart
(5:53)  5. It Don't Mean A Thing
(7:07)  6. Something To Live For
(7:18)  7. The Star Crossed Lovers
(9:10)  8. The Feeling Of Jazz

Here's a refreshing take on Ellingtonia, one that doesn't rely on the overdone ("Take the A Train," "Perdido") or easy ("C-Jam Blues"). Canadian native Grant Stewart brings a post-Swing, combo approach to his Ellingtonia, even going so far as to reference Max Roach, Sonny Rollins, Charles Mingus, Thelonious Monk/John Coltrane collaboration. The tenor saxophonist, whose own distinctive style has echoes of Clifford Jordan and later Al Cohn in tone and conception, leads a pos tbop/hard bop-leaning quartet with pianist Tardo Hammer, bassist Paul Gill and drummer Joe Farnsworth.

All of the material here should be familiar to fans of Ellingtonia with one exception: "Tonight I Shall Sleep," a ballad the Ellington Orchestra first recorded in 1945 with guest soloist Tommy Dorsey limning the melody on trombone. Stewart brings a rich warm tone and Dorsey-like legato approach to both the melody and his lyrical solo. Hammer's delicate, mostly single-note solo lines are reminiscent of the late John Lewis. And the ending tenor coda, with its unresolved chord echoing the conclusion of "Lush Life," suggests Strayhorn may have had a hand in the tune, although it's credited solely to Ellington. Stewart ups the tempo, via Bob Mover's chart, of "Something to Live For," revs up "It Don't Mean a Thing" to bebop speed and excavates a bluesy groove on "The Feeling of Jazz." "Raincheck" and "I Let A Song Go Out of My Heart" demonstrate the charms of melodic substance to swing, while "Star-Crossed Lovers" from The Shakespearean Suite, is a tribute to alto saxophonist Johnny Hodges' sumptuous style. ~ George Kanzler  http://www.allaboutjazz.com/plays-the-music-of-duke-ellington-and-billy-strayhorn-grant-stewart-sharp-nine-records-review-by-george-kanzler.php

Personnel: Grant Stewart: saxophone; Tardo Hammer: piano; Paul Gill: bass; Joe Farnsworth: drums.

Plays The Music Of Duke Ellington & Billy Strayhorn

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Warren Vaché, John Allred Quintet - Jubilation: Live in Bern Switzerland at Marians Jazzroom

Styles: Cornet And Trombone Jazz
Year: 2008
File: MP3@320K/s
Time: 69:21
Size: 159,5 MB
Art: Front

(5:31)  1. Old Devil Moon
(7:48)  2. They Can't Take That Away From Me
(6:48)  3. Song For My Father
(6:25)  4. My One and Only Love
(8:08)  5. Change Partners
(7:40)  6. Strollin'
(4:14)  7. Sweet Hunk O' Trash
(7:01)  8. Jubilation
(6:34)  9. Strike Up the Band
(6:02) 10. Caravan
(3:05) 11. We'll Be Together Again

Warren Vache is one of just a few active cornet players, though he proves to be a lot more wide-ranging in his choice of songs than the late great Ruby Braff (while also possessing a greater sense of humor). Having studied with Pee Wee Erwin, Vache gained early experience playing with Benny Goodman, Vic Dickenson and Bob Wilber. He has recorded over three dozen albums as a leader and is a regular on the jazz party circuit. These 2007 performances at the renowned Marians Jazzroom in Bern, Switzerland pair the cornetist with trombonist John Allred, a jazz party favorite who has had surprisingly few chances to record as a leader. Rounding out the group is the Manhattan favorite Tardo Hammer on piano, Australian bassist Nicki Parrott (another jazz party regular) and drummer Leroy Williams. In spite of his reputation as a mainstream performer with an emphasis on swing and standards, Vache mixes in quite a bit more. The breezy setting of Horace Silver's "Song For My Father" showcases Allred rather well, while the sauntering pace of Silver's "Strollin'" features tight harmony by the two horn players. 

Vache and Parrott enjoy a playful vocal duet of James P. Johnson's obscure "Sweet Hunk O' Trash," with the leader answering Parrott's vocals with hilarious spoken commentary until they switch roles. Of course, they are on the money in their interpretations of standards, especially on the sparkling "Strike Up the Band" and the remarkably subtle treatment of "Caravan." ~ Ken Dryden  http://www.allaboutjazz.com/jubilation-live-in-bern-switzerland-at-marians-jazzroom-warren-vache-arbors-records-review-by-ken-dryden.php
 

Personnel: Warren Vache: cornet, vocal (7, 11); John Allred: trombone; Tardo Hammer: piano; Nicki Parrott: bass, vocal (7); Leroy Williams: drums.

Jubilation:  Live in Bern Switzerland at Marians Jazzroom

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Tardo Hammer - Somethin' Special

Bitrate: MP3@320K/s

Time: 63:47

Size: 146.0 MB

Styles: Piano jazz

Year: 2001

Art: Front

[5:00] 1. John's Abbey

[6:21] 2. Divertimento

[5:21] 3. If I Loved You

[7:01] 4. Somethin' Special

[4:56] 5. Take Me Out To The Ballgame

[7:19] 6. You're My Thrill

[6:49] 7. Lizard Lips

[5:02] 8. Blues For Philly Joe

[7:13] 9. Into The Fire

[8:39] 10. Subterranean

The best Jazz pianist you’ve never heard? He could answer to the name Tardo Hammer. The 43–year–old New Yorker is indeed somethin’ special, as he demonstrates time and again on his second album for Sharp Nine. We were lucky enough to review the first one ( Hammer Time ), and everything written then bears repeating, with even weightier emphasis. “When listening to him play,” we observed, “one doesn’t think of a Hammer so much as a scalpel, or perhaps a paint brush. Hammer has a marvelous touch (using both hands well), an inspired feeling for dynamics and time, and above all, a wonderful ability to articulate his musical impulses and let them sing. Like every world–class musician, he makes everything seem preposterously easy . . .” And, we should add, he swings easily and often, in the manner of such illustrious predecessors and role models as Bud Powell, Tommy Flanagan, Kenny Drew, Duke Jordan, Barry Harris, Hampton Hawes and other renowned masters of bebop piano. For persuasive evidence, listen to “Take Me Out to the Ballgame,” Powell’s “John’s Abbey” or his own “Lizard Lips.” Hammer’s no slouch when it comes to interpreting ballads either, as he proves on “You’re My Thrill,” Rodgers and Hammerstein’s “If I Loved You” (from Carousel ) and another of his sharply–drawn compositions, “Into the Fire.” Hammer also wrote “Divertimento” and “Subterranean” (based, respectively, on the standards “Dancing in the Dark” and “All the Things You Are”), and rounds out the engaging program with Sonny Clark’s minor blues, “Somethin’ Special,” and Sonny Rollins’ loping “Blues for Philly Joe.” Hammer’s colleagues, bassist Dennis Irwin and drummer Leroy Williams, have been with him since the mid–’80s, and they know how to push without shoving. Hammer responds well to their cues, and the group interplay is secure but not unmalleable. On the contrary, everything flows almost as easily as it would from one mind instead of three, which is the way Jazz trios should perform. While Hammer’s piano is the focal point, Irwin and Williams have their moments as well, and each contributes a number of perceptive solos. Together they’ve produced another “special” album, one that should please anyone who admires superbly talented bop–based piano trios. ~Jack Bowers

Somethin' Special

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Warren Vaché - The Warren Vaché Quintet Remembers Benny Carter

Styles: Cornet Jazz
Year: 2015
File: MP3@320K/s
Time: 63:47
Size: 146,6 MB
Art: Front

(6:35)  1. A Walking Thing
(2:34)  2. When Lights Are Low
(4:42)  3. Doozy
(3:54)  4. Key Largo
(5:34)  5. Evening Star
(6:52)  6. Boulevard Bounce
(5:38)  7. Summer Serenade
(4:08)  8. Only Trust Your Heart
(6:01)  9. Souvenir
(3:50) 10. Rock Me to Sleep
(4:44) 11. I'm Sorry
(4:45) 12. All That Jazz
(4:24) 13. The Romp

There's lots of life to this recording. Veteran trumpeter Warren Vache knows a thing or two about an old friend, mentor Benny Carter. With The Warren Vache Quintet Remembers Benny Carter we take a step back in time even as we venture forth into the present. A present that finds cornetist Vache's style and personage slightly at odds with that goofy-looking guy with the lid shaking hands with Carter for the cover of this release. It's a remarkable transformation for someone who, during Carter's life, was enthralled by the man's spirit as well as his humanity and substantial musical contributions. Then and now. That's what these kinds of recordings are all about, aren't they? 

The trick is to pull it off convincingly, which means you gotta inhabit that spirit and wonder with your whole heart and still have the means to convey it. In Vache's case, that's just what happens with this recording of 13 tunes associated with the multi-instrumental maven, whose career spanned a mind-boggling number of years and eras. To perhaps repeat, then and now is furthered along by the visual presentation of this CD. You get the younger, livelier Vache shaking hands with the master along with more recent photos which show a man weathered by the times since Carter's death in 2003 at age 95. Gone is that goofy smile of innocence, replaced by a more taciturn and wry grimace. Vache's seasoning no doubt has included some trials and disappointments in the intervening years. And that's just what seems to be so much a part of this recording: the sound of a man in love with his music and, in this case, the music of another, a more mature voice.

So, take all that in, and then listen to this music and discover a kind of transcendence that speaks to the music's ability to be ageless, Vache's formal treatments of these songs are true to the spirit of Carter's own muse and whatever Vache picked up by being associated with him. There is a joyous quality to everything here, except when "lights are low," but then it somehow remains surreptitiously buoyant. Take any tune and find a group cohesion fostered by the leader of this makeshift group and you'll hear something that's rare in today's marketplace of jazz recordings: an authentic embrace of ... then and now. With regular cohort Tardo Hammer at the keys, along with old friends and colleagues tenorist Houston Person, Nicki Parrott on bass and vocals and Leroy Williams on drums on selective cuts, the moods tend to be mellow when they aren't a tad bouncy. The transition between "Boulevard Bounce" and "Summer Serenade," for example, is the transition between that bounce featuring Vache playing a real cozy mute with tasteful brushwork from Williams to yet another example of Hammer's modest eloquence as he brings the serenade forward, Parrott's basslines and solo work simpatico all the way. 

"Summer Serenade" is that kind of rendition that certainly suggests what the song implies, a lazy river coursing through a nearby meadow, everything in its rightful place as the late-afternoon sun finds its way through the willows and the breezes are soft and reassuring. It's a trio piece, sans Vache, that serves as the midpoint to this collection, having followed what might be considered the overall mood of the album with "Boulevard Bounce," namely, a lighthearted party. And so, with Remembers Benny Carter (featuring incisive, Carter-centered liner notes from Carter biographer Ed Berger) there's the seemingly inevitable gesture that comes with age and the talent to deliver it: a bittersweet melancholy and a certain longing for what was, maybe best heard when Parrott's voice enters here and there, her feminine energy a vital ingredient here as she expands on her bassist role via a samba version of "Only Trust Your Heart" and the more rightfully easygoing "When Lights Are Low" (featuring some delicate muted-horn work from the leader). Her voice is intimate, relaxed, lilting, as she inhabits the words to these songs in ways that make her an ideal foil to Vache's sometimes more caustic yet generous spirit. A generous spirit that leaves others to carry the tune, so to speak, from time to time without him.

With the quiet eloquence of "Souvenir" Vache returns with a full-bodied open horn, cradling the song's melody in this gently delivered ballad, a certain highlight that could be adapted to any time of day, but especially when those lights are low. Tardo's piano is once again a voice that provides that rare mesmerizing balance to Vache's clear, recital-like tones. You can practically feel the love for Mr. Carter. "Rock Me To Sleep" kicks it up a notch, echoing not only Carter the trumpeter but an even earlier master of that instrument, Louis Armstrong, the song's medium-tempo swing a lure for anyone who loves to hit the dance floor anytime of day. And with "All That Jazz," Vache joining Parrott in the vocal department, we hear not only more up-tempo swinging but some real harmonizing between these two singers that makes you wish they'd done another. Ending with the up-tempo swinging blues "The Romp" may have you forgetting everything that came before, this quintet seemingly refusing to go out quietly, but instead opting for just a wee bit more fun. Vache's horn and leadership on this date should be a welcome treat for any music lover, regardless of age or taste. His ultimate compliment to Carter could be Vache's overt presence implied as well as stated and his subdued, age-appropriate enthusiasm for this music, and his hitting every note just right even as he also allows everyone in on the party, for everyone to come celebrate the wonder that Benny Carter will always represent. ~ John Ephland  http://www.allaboutjazz.com/warren-vache-quintet-remembers-benny-carter-by-john-ephland.php

Personnel: Warren Vache, cornet; Houston Person, tenor saxophone; Nicki Parrott, bass, vocals; Tardo Hammer, piano; Leroy Williams, drums.

The Warren Vaché Quintet Remembers Benny Carter

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Marty Elkins - Fuse Blues

Styles: Jazz, Vocal
Year: 2000
File: MP3@320K/s
Time: 58:10
Size: 133,8 MB
Art: Front

(3:47)  1. Day In, Day Out
(5:59)  2. Born to Be Blue
(2:54)  3. Soon
(4:08)  4. Never Never Land
(3:15)  5. You're Blase
(4:26)  6. Stars Fell On Alabama
(6:58)  7. Moonray - No Moon At All
(3:41)  8. In the Wee Small Hours of the Morning
(4:25)  9. As Long as I Live
(3:36) 10. When Your Lover Has Gone
(4:50) 11. We'll Be Together Again
(5:12) 12. Fuse Blues
(4:54) 13. There's No You

Whitebread in a Good Way. Marty Elkins swings her ass off. In a gentle sort of way, I might add. She has got a Betty Carter delivery that is just inside of the ballpark of the boldness of Carter. Elkins is very exact, taking some chances vocally, but only those she is confident of claiming. This is no mean criticism, Marty Elkins is Anita O'Day without the hyperkinetic scat. There is nothing to not enjoy (double negatives and all). Gosh, I can really find little wrong with this disc. Elkins has done her homework and she is accomplished in all corners of her craft. "Day In, Day Out" is a straight-ahead romp, "Stars Fell on Alabama" is almost colloquial and "In The Wee Small Hours" sounds as if it could have been included in the score of The Wizard of Oz with "Over The Rainbow". 

Most outspoken in the rhythm section is Greg Skaff on guitar. He makes all things mellow, providing a plush bedrock rhythm. Herb Pomeroy played his tasteful trumpet and Houston Person, his tenor saxophone. But the true star here is Elkins. She is a unique talent. ~ C.Michael Bailey  http://www.allaboutjazz.com/fuse-blues-marty-elkins-review-by-c-michael-bailey.php

Personnel: Marty Elkins: Vocals; Herb Pomeroy: Trumpet; Houston Person: Tenor Saxophone; Tardo Hammer: Piano; Greg Skaff: Guitar; Dennis Irwin: Bass; Mark Taylor: Drums.

Fuse Blues

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The Warren Vaché & John Allred Quintet - Top Shelf

Styles: Bop, Big Band
Year: 2010
File: MP3@320K/s
Time: 72:33
Size: 166,4 MB
Art: Front + Back

(5:04)  1. Top Shelf
(6:04)  2. Sweet Pumpkin
(4:43)  3. Aussieology
(7:51)  4. Ba-lue Bolivar Ba-lues
(5:39)  5. Moonlight in Vermont
(4:30)  6. Tiny Capers
(5:26)  7. The Best Thing for You
(6:12)  8. Spontaneous Combustion
(5:12)  9. By Myself
(5:35) 10. My Romance
(5:47) 11. Whisper Not
(5:09) 12. East of the Sun (and West of the Moon)
(5:15) 13. A Parisian Thoroughfare

Warren Vaché and John Allred have played numerous times together, working at jazz parties and club dates, as well as making an earlier CD for Arbors. Accompanied by pianist Tardo Hammer, bassist Nicki Parrott, and drummer Leroy Williams, they explore more than a few forgotten gems that have plenty of potential, starting with the snappy rendition of trumpeter Blue Mitchell's "Top Shelf," a breezy bop vehicle with on-the-money ensembles and tight solos all around. Thelonious Monk's "Ba-lue Bolivar Ba-lues" is one of his less frequently performed works, but the quintet plays it with the wry sense of humor that is a part of many of the jazz legend's pieces.

Cannonball Adderley's sassy, loping blues "Spontaneous Combustion" is full of fire, while Parrott's bop vehicle "Aussieology" crackles with energy as well. There are a number of familiar songs as well. The interplay between the leaders is the highlight of the standard "By Myself." The quintet begins with a free-form introduction to "Parisian Thoroughfare" that is somewhat reminiscent of the hilarious duo recording by Jaki Byard and Roland Kirk, though their interpretation is at a far more relaxed tempo, much like a brisk stroll that still allows time to see the sights. Top Shelf is a welcome alternative to the many jazz CDs of all originals by young unknowns or all familiar repertoire by artists of all ages. ~ Ken Dryden http://www.allmusic.com/album/top-shelf-mw0002014682.

Personnel: Warren Vaché (vocals, cornet); John Allred (trombone); Tardo Hammer (piano); Leroy Williams (drums).

Top Shelf

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Tardo Hammer - Simple Pleasure

Bitrate: 320K/s

Time: 58:13

Size: 133.3 MB

Styles: Piano jazz

Year: 2013

Art: Front

[4:43] 1. Asiatic Raes

[6:03] 2. The Folks Who Live On The Hill

[5:32] 3. New Rhumba

[5:01] 4. Uranus

[6:09] 5. I'll Wait & Pray

[6:06] 6. Kay Dee

[5:48] 7. Short Story

[5:21] 8. Simple Pleasure

[4:38] 9. Fran Dance

[4:34] 10. My Conception

[4:13] 11. No Smokin'

In his JazzWax Blog of September 30, 2007, Marc Myers described Tardo Hammer as follows: “ Hammer 49 (then), is an old soul and knows his way around a keyboard—having played with Lou Donaldson, Bill Hardman, Junior Cook, Annie Ross, Art Farmer…. among others.” Now several years on, Hammer offers a new album in a trio setting, recorded live by Cellar Live in New York City in March 2013 at Klavierhaus Recital Hall and called Simple Pleasure

For the most part Hammer is self-educated on the piano, started playing at five, and was performing professionally when he was fifteen. Such is the unpredictable nature of being a jazz musician that while not generally well-known much beyond the boundaries of New York City, Tardo is a bebop-oriented player along the lines of Bud Powell with flashes of Tommy Flanagan and Barry Harris. In this session, he offers a set list of an eclectic nature, using the composing talents Kenny Dorham, Ahmad Jamal, Miles Davis, and Horace Silver among others.

With thoughtful support from Jimmy Wormworth on drums, and the ever adaptable Lee Hudson on bass, Hammer starts the proceedings with a Kenny Dorham composition “Asiatic Raes” and fully demonstrates his exploratory instincts. The Jerome Kern chestnut ”The Folks Who Live On The Hill” has been done to death by numerous artists, but Tardo has managed to avoid the usual clichés with his thoughtful rendition. Ahmad Jamal’s “New Rhumba” gained currency when Miles Davis included it on his album Miles Ahead. Now Hammer, following a strong introduction from bassist Hudson and a subsequent solo, gives the wonderful stop-time melody a fresh approach.

Fulfilling an early promise, is often a challenge in an overly-competitive musical environment. Perhaps that may help to explain why Hammer has perhaps not received the kind of recognition his talent deserves. But clearly in this recital he exhibits that he is a harmonically confident pianist, whether it’s on Cedar Walton’s title tune “Simple Pleasure” where he shows his poised technique, or the Miles Davis composition “Fran Dance” as he gives free rein to his probing instincts. This is a sparkling album that deserves wide recognition.

Recording information: Klavierhaus Recital Hall, New York, NY (03/20/2013).

Tardo Hammer (piano); Lee Hudson (acoustic bass); Jimmy Wormworth (drums).

Simple Pleasure

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