Charles McPherson - Reverence

Styles: Saxophone Jazz
Year: 2024
Time: 44:39
File: MP3 @ 320K/s
Size: 103,0 MB
Art: Front

(6:24) 1. Surge
(9:10) 2. Blues for Lonnie in Three
(7:03) 3. Come Rain or Come Shine
(7:28) 4. Dynamic Duo
(7:30) 5. Old Folks
(7:00) 6. Ode to Barry

Legendary alto saxophonist Charles McPherson makes his Smoke Sessions debut with an inspired new album, Reverence, dedicated to his lifelong mentor and friend Barry Harris.

These thrilling performances were captured in front of a live audience at Smoke Jazz Club and feature his quintet of Terell Stafford, Jeb Patton, David Wong, and Billy Drummond and represent the first of a series of live recordings scheduled for release to celebrate the 10th Anniversary of Smoke Sessions Records and the 25th anniversary of Smoke Jazz Club.

McPherson certainly reveals why he's been held in such reverence for the last 60 years. The set is a showcase for McPherson's gifts as both composer and soloist and bridges his deep and far-reaching exploration of the full jazz spectrum.https://www.amazon.co.uk/Reverence-Charles-McPherson/dp/B0CVTWTX8Q

Reverence

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Pat Bianchi - Back Home

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 56:35
Size: 131,4 MB
Art: Front

(4:48)  1. Fifth House
(7:00)  2. Midnight Mood
(8:34)  3. Lithia
(5:47)  4. Back Home
(4:43)  5. Blues Connotation
(7:21)  6. Portrait of Jenny
(7:07)  7. Just In Time
(8:10)  8. Hammer Head
(3:00)  9. Fifth House - alternate

Organist Pat Bianchi's turn to be in the spotlight as a premier player on his instrument is long overdue, and with the release of Back Home, it's clear his time has finally come. Since the 2006 issue of his album East Coast Roots on the Jazzed Media label and his estimable work with guitarist Corey Christiansen, Bianchi's star has been steadily rising, but now he's reached his zenith. Playing with two different groups, Bianchi transcends soul-jazz by playing the C-3 (church) organ, choosing heady progressive material, and showing his acumen on his instrument similar to peer Larry Goldings (see the Goldings masterpiece Sweet Science). With his "A" group the very energetic sidemen of drummer Ralph Peterson, tenor saxophonist Wayne Escoffery, and trumpeter Terell Stafford alongside, Bianchi whips out compositions not necessarily thought of as vehicles for organ, evidence including the super-fast and tricky Ornette Coleman post-bop piece "Blues Connotation" and Chick Corea's 6/8 groove and bop track "Litha," which came directly from fusion originally with electric piano. The "B" trio with drummer Carmen Intorre and guitarist Gilad Hekselman also tackles difficult music John Coltrane's "Fifth House" (and an additional shorter alternate take) challenges rhythmic parameters in a modal sense while Bianchi goes off à la Larry Young. But where Bianchi's three pieces also explore a mellower sound during ballads and blues, it is his deeply hued style on the C-3 that identifies a new approach to playing modern jazz. What Bianchi is doing is very nearly innovative, and this should only be the tip of the iceberg. ~ Michael G.Nastos https://www.allmusic.com/album/back-home-mw0001987608

Personnel:  Pat Bianchi - Organ; Ralph Peterson Jr. - Drums ; Terell Stafford - Trumpet; Wayne Escoffery - Saxophone; Carmen Intorre Jr. - Drums; Gilad Hekselman - Guitar

Back Home

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Ed Wiley, Jr. - In Remembrance

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 67:13
Size: 154,2 MB
Art: Front

( 5:06)  1. Nobody Knows The Trouble I've Seen
(12:03)  2. There's Blues Everywhere
( 3:02)  3. Shaw Nuff
( 9:04)  4. In Remembrance
( 6:20)  5. Lift Ev'ry Voice
( 5:17)  6. Go Down Moses
( 8:05)  7. Jesus Loves Me
(12:21)  8. Let Us Break Bread Together
( 5:52)  9. Sleepy

On this recording, tenor saxophonist Ed Wiley, Jr. pays tribute to the African-American music continuum, from Negro spirituals to bebop. Included is the classic Go Down Moses, and an emotional solo rendition of Nobody Knows which features Wiley's lush, warm tone. The passionate title track, In Remembrance, written by Wiley, captures the essence of Black struggle. Also includes Charlie Parker's up-tempo bebop tune, Shaw-Nuff. This recording features Ed Wiley, Jr. on tenor and alto sax; Milt Hinton on bass; Shirley Scott on piano; Micky Roker and Bobby Durham on drums; Terell Stafford on trumpet; Wycliffe Gordon, longtime member of the Wynton Marsalis band, on trombone. Arrangements by Ed Wiley, Jr. and Shirley Scott. ~ Editorial Reviews  http://www.amazon.com/In-Remembrance-Ed-Wiley-Jr/dp/B000EZ91FQ

In Remembrance

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Terell Stafford, Dick Oatts, Bruce Barth, Tim Warfield - Fly with the Wind

Styles: Trumpet Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 36:47
Size: 84,7 MB
Art: Front

( 6:57) 1. All Members
(13:24) 2. Fly with the Wind
( 8:58) 3. Naima
( 7:26) 4. Yes I Can, No You Can't

Terell Stafford, Tim Warfield, Dick Oatts, Bruce Barth, Mike Boone and Justin Faulkner pay tribute to Philadelphia’s iconic jazz composers on Fly With the Wind. The second outing by the all-star Temple Jazz Sextet features inspired arrangements of compositions by John Coltrane, McCoy Tyner, Jimmy Heath and Lee Morgan.
https://www.jazziz.com/10-albums-you-need-to-know-april-2023/

Personnel: Terell Stafford, trumpet; Dick Oatts, alto saxophone; Bruce Barth, piano; Tim Warfield, tenor saxophone; Mike Boone, bass; Justin Faulkner, drums

Fly with the Wind

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Chris Oatts Group - Personalities

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 73:24
Size: 168,8 MB
Art: Front

(8:08) 1. Alley Birds
(7:16) 2. Dragon Night
(8:34) 3. Building Blocks
(8:39) 4. Shade of Jade
(5:54) 5. Jean's Scene
(8:41) 6. Bewitched
(6:00) 7. Philly Smash Tune
(5:32) 8. Not While I'm Around
(7:10) 9. Sweet Prince
(7:25) 10. Personality

Philadelphia based saxophonist, composer and educator Chris Oatts has been hailed as “a force to be reckoned with,” by All About Jazz. Chris has performed, recorded, or toured with the likes of Seal, Jazz Orchestra of Philadelphia, Chelsea Reed and the Fair Weather Five, The Philly Pops, Terell Stafford, Wycliffe Gordon, the Vanguard Jazz Orchestra and The Temptations.

Born into a musical family, Chris is the nephew of alto saxophone icon Dick Oatts with whom he studied at Temple University in Philadelphia, Pennsylvania. His father Jim played trumpet with Stan Kenton, Machito, and the jazz rock group Chase while his two triplet brothers and multiple other family members are musicians as well. Chris’ grandfather Jack Oatts is credited by the Iowa Jazz Educators Hall of Fame for starting the first high school jazz band in the state of Iowa. Chris continues to perform with his grandfather’s Selmer Mark VI alto saxophone to this day.

In 2017 Chris released his debut album as a leader entitled First Quintet, a record of original compositions featuring a band of Philadelphia’s finest musicians.

Chris is also the founder of South Philly Big Band, a group steeped in the tradition of Thad Jones and Mel Lewis that commissions new works from Philadelphia composers. SPBB has performed shows with Walt Weiskopf, Ignacio Berroa and Gary Smulyan and in December 2017 released a Christmas EP of new imaginations of Christmas classics entitled, SPBBXMAS.

His latest recording project, Personalities presents both quintet and nonet ensemble settings and features Chris’ mentor and legendary jazz trumpeter Terell Stafford on the BCM&D label. Alongside a collection of Philadelphia and New York’s most in demand musicians, Personalities offers listeners fresh arrangements of familiar standards in addition to unique and personal original compositions.

Chris is a dedicated and active music educator in the Philadelphia area, teaching at the Shipley School in Bryn Mawr, Pennsylvania since 2013. Additionally, he has been a faculty member in the Boyer School of Music at Temple University since 2017. He teaches Music Composition, Production, Theory, Improvisation, Instruction of Saxophone, Flute and clarinet, as well as directing large and small ensembles.https://www.chrisoatts.com/bio

Personnel: Chris Oatts: alto and soprano saxophones, leader; Terell Stafford: trumpet; Tim Brey: piano; Sam Harris: bass; Anwar Marshall: drums.

Personalities

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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

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Cory Weeds - Live At Frankie's Jazz Club

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 65:15
Size: 149,9 MB
Art: Front

(8:22)  1. Bluesanova
(6:39)  2. Mood Malody
(6:55)  3. Gypsy Blue
(6:10)  4. Consequence
(7:24)  5. Fabienne
(7:28)  6. Formidable
(8:15)  7. Up Tight's Creek
(5:21)  8. Tolypso
(8:38)  9. The Three Minros

Yes, this is saxophonist/master of all livelihoods Cory Weeds' quintet, the year is 2018, and the group is beyond a doubt Live at Frankie's Jazz Club in Vancouver, British Columbia. But close your eyes, open your ears and it's the unapologetic re-creation of a quintessential hard-bop session from the historic Blue Note / Prestige years of the 1950s-60s. Indeed, to underscore the point, the quintet's pianist is the venerable Harold Mabern who actually performed and/or recorded back in the day with such giants as Lee Morgan, Jackie McLean, Freddie Hubbard, Tina Brooks and a who's who of celebrated masters from a glorious age that may never return but whose legacy rests secure in the earnest hands of Weeds and his dexterous teammates. The buoyant concert gets under way on an assertive note with Morgan's walking "Bluesanova" (introduced by Michael Glynn's resonant bass) and segues into Mal Waldron's lyrical "Mood Malody" before delving into impressive original compositions by Brooks, McLean, Walter Davis Jr. and Swiss alto overseer George Robert. 

Davis' three-quarter time "Formidable" is one of several highlights with the ensemble in lock-step to undergird perceptive solos by Weeds, Terell Stafford and Glynn. Brooks' freewheeling "Up Tight's Creek," which follows, offers more of the same with Stafford's nimble trumpet brightening the landscape, Weeds in blue-chip form and Glynn adding another thoughtful statement. McLean, whose high-speed "Consequence" is heard earlier in the program, caps the evening with his sunny Caribbean-flavored "Tolypso" and "The Three Minors," whose irrepressible tempo and boppish licks epitomize the time in which it was written. Weeds, Stafford and Mabern are in superior form again, as is drummer Julian MacDonough who adds another driving solo on "Consequence." Robert (Weeds' longtime mentor who died far too soon, in 2016) wrote the handsome ballad "Fabienne," on which Weeds is featured, Brooks the smooth, Latin-leaning "Gypsy Blue," wherein Stafford, Weeds and Mabern are at their self-controlled and lyrical best. 

While tipping their hats to the past, Weeds and his able colleagues prove conclusively that music of this caliber is essentially timeless. A superior concert in every respect, one that should especially gladden the hearts of those who call to mind with fondness the short-lived but incomparable era of hard-bop jazz. ~ Jack Bowers https://www.allaboutjazz.com/live-at-frankies-jazz-club-cory-weeds-cellar-live-review-by-jack-bowers.php

Personnel: Cory Weed: alto saxophone; Terell Stafford: trumpet; Harold Mabern: piano; Michael Glynn: bass; Julian Macdonough: drums.

Live At Frankie's Jazz Club

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Terell Stafford - Centripetal Force

Styles: Trumpet Jazz
Year: 1997
File: MP3@320K/s
Time: 67:40
Size: 156,9 MB
Art: Front

(6:58)  1. Addio
(5:36)  2. I'll Wait
(6:20)  3. Skylark
(7:12)  4. Old Devil Moon
(4:43)  5. A Child Is Born
(6:47)  6. Mia
(7:48)  7. For The Broken Hearted
(6:58)  8. My Romance
(7:15)  9. Daahoud
(7:58) 10. Somebody Bigger Than You And I

Centripetal Force is a good title for this CD, Terell Stafford's second as a leader. In physics, it describes how separate energies gravitate toward the center; here, the center is more than Stafford's beautiful horn there's a warm calm at the core of this music, regardless of tempo. Some of this comes from familiarity, since Stafford, Stephen Scott, and Victor Lewis were bandmates in Bobby Watson's hard bop '90s group, Horizon. But there's nothing hard about this release, which is full of soul and heart. Stafford's playing is clean, fluid, and expressive, whether he's going flat-out on an incandescent "Old Devil Moon" or being achingly tender describing "My Romance," accompanied only by Scott's eloquent piano. On the purely beautiful "A Child Is Born," he duets with Russell Malone, who also delivers memorable solos on the relaxed and swinging "Skylark" and Lewis' high-energy opener, "Addio." Stafford offers two fine compositions of his own: the haunting "I'll Wait," with subtle percussion (including bird sounds) supplied by Daniel Moreno, and "Mia," an intriguing mix of light and shadow that balances Stefon Harris' pearly vibe tones with Stafford's smoky flugelhorn and the honey of John Clark's French horn. Stafford's talent for building solos is especially evident on Scott's "For the Broken Hearted," which is more lively than its title suggests. An exciting "Dahoud" and a loving ballad tribute to Stafford's grandmother round out the ten tracks by these ten superb musicians. But while there's plenty of brilliance here, there's no trace of flash: Stafford goes straight for the honest meaning in every tune. And whether his tone is golden or growling, muted or crystalline, he communicates straight to the listener's center. ~ Judith Schlesinger https://www.allmusic.com/album/centripetal-force-mw0000483798

Personnel:  Trumpet – Terell Stafford; Bass – Ed Howard (tracks: 1 to 4, 6, 7, 9, 10); Drums – Victor Lewis (tracks: 1 to 4, 6, 7, 9, 10); Flugelhorn – Terell Stafford; French Horn – John Clark (2) (tracks: 6); Guitar – Russell Malone (tracks: 1, 3, 5); Percussion – Daniel Moreno (tracks: 1, 2, 7, 10); Piano – Stephen Scott (5) (tracks: 1, 2, 4, 6 to 10); Tenor Saxophone – Ron Blake (tracks: 9), Tim Warfield (tracks: 4); Vibraphone – Stefon Harris (tracks: 6, 7)

Centripetal Force

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Tim Warfield - Jazzland

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 68:48
Size: 158,7 MB
Art: Front

( 6:00)  1. Lenny's Lens
( 6:24)  2. Theme for Malcolm
( 6:13)  3. Sleeping Dancer, Sleep On
(10:36)  4. Ode to Billie Joe
( 6:42)  5. He Knows How Much I Can Bear
(10:52)  6. Tenderly
( 6:31)  7. Shake It for Me
( 8:23)  8. Wade in the Water
( 7:04)  9. Hipty Hop

You'll know you're in Jazzland from the very first note of this excellent set from saxophonist Tim Warfield as the music has this wonderfully-wrapped sound that comes from his work on tenor and soprano sax, the trumpet of Terrell Stafford, and the Hammond of Pat Bianchi! The three musicians in the frontline all have this key contemporary vibe so that they're not just working through older shades of soul jazz, and instead use the setting to really open up some great colors and moods all with a quality that's as warmly soulful as Warfield's other records, and which definitely lives up to Stafford's legacy too! 

The group also features Byron Landham on drums and Daniel Sadownick on percussion and titles include "Shake It For Me", "Hippity Hop", "Lenny's Lens", "Theme For Malcolm", "Sleeping Dancer Sleep On", and "Ode To Billie Joe".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/877589/Tim-Warfield:Jazzland

Personnel:  Tim Warfield - tenor saxophone, soprano saxophone, composer; Terell Stafford - trumpet, flugelhorn;  Pat Bianchi - Hammond organ; Byron Landham - drums

Jazzland

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Ferit Odman - Autumn in New York

Styles: Jazz, Post Bop
Year: 2011
File: MP3@320K/s
Time: 45:12
Size: 104,2 MB
Art: Front

(7:09)  1. Step Lightly
(6:21)  2. Alter Ego
(5:22)  3. Autumn in New York
(7:43)  4. The Soulful Mr. Timmons
(4:52)  5. Hindsight
(6:41)  6. My Ideal
(7:01)  7. Changing of the Guard

Autumn in New York comes via Turkish drummer Ferit Odman who leads this session featuring an all-American band playing straight-ahead tunes but this is a far cry from a "drummer's date." Both members of the frontline trumpeter Terell Stafford and alto saxophonist Vincent Herring were referred to as "young lions" early in their careers, and sound very much at home throughout the set, their ensemble playing a testament that, by this point, they are clear mainstays of the scene. Stafford's tone is warm and personal, and his reading of the title tune is delivered with tender familiarity. The lyrics of the song are included in the liner notes, and the trumpeter's feature evokes a feeling of that special time in that special place. Herring still blows a hot, energetic, post-bop horn. Lyrics are also included for "My Ideal," a feature for the altoist, with Odman admitting he is still looking for that special someone. What he has found, however, is the best partner in a rhythm section that a drummer could hope for. Peter Washington has been holding down the anchor for well over 20 years now, and is certainly one of the most dependable timekeepers in the business, possessing a combination of full, round tone and a bouncy agility that has made him much sought after and highly regarded. When he does get a chance to blow, as he does on "My Ideal," he shows what a musical force he is, and his solo is a high point of the recording. 

Jazz has a long tradition of Americans going abroad, some for longer periods than others. Whether it is to live, work or play festivals, jazz remains largely an American art form, and an export which is still well-received in far-off places. Turkish musicians have been playing jazz for quite some time, with schools and conservatories for jazz studies popping up in the country. The best place to learn, however, will always be the bandstand. Odman has the vocabulary, is well-versed in the idiom and does a nice job of accompanying his band mates throughout. His main contribution as leader on this date, however, is in assembling the band and picking the tunes. He's done that well, and his visitors do their job wonderfully also. More sessions like this and perhaps there will be some "young lions" emerging amongst the young Turks.~ William Carey https://www.allaboutjazz.com/autumn-in-new-york-ferit-odman-equinox-music-and-entertainment-review-by-william-carey.php?width=1920

Personnel: Ferit Odman: drums; Terell Stafford: trumpet; Vincent Herring: alto saxophone; Anthony Wonsey: piano; Peter Washington: bass

Autumn in New York

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Ferit Odman - Dameronia With Strings

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:17
Size: 97,6 MB
Art: Front

(4:28)  1. On a Misty Night
(6:57)  2. If You Could See Me Now
(3:50)  3. Just Plain Talkin'
(4:40)  4. Smooth as the Wind
(6:46)  5. Look, Stop & Listen
(5:26)  6. You're a Joy
(5:01)  7. Our Delight
(5:04)  8. Soultrane

In his latest album Dameronia With Strings, Ferit Odman pays tribute to the great Tadd Dameron. He treats listeners to a smorgasbord of Dameron jazz a sparkling kind that soothes the soul but pumps the heart. Accompanied by an outstanding group of musicians, namely trumpeter Terell Stafford, composer and guitarist David O'Rourke, pianist Danny Grissett, bassist Peter Washington, and a string sextet, the Turkish jazz drummer made Dameron relevant to young jazz artists today. In "Just Plain Talkin,'" Odman reinvents Dameron's blues into bold jazz with a duet of bass and drums midway through and a sleek percussion solo towards the end. An upbeat piano adds more vigor to the already dynamic jazz tunes of the song. "Just Plain Talkin'" is the kind of music that tells a story from its opening rhythms to the end. It intrigues listeners, making them ever so in tuned with every beat, note, and strum. 

"Smooth as the Wind" is a magical masterpiece with an underlying sensuous drum roll. Another classic from Dameron, this composition recalls old Hollywood glamour. Odman's well-timed ripples flow smoothly with the trumpet's enticing tune. It starts off slow, but then gradually becomes upbeat before pulling back once again. It ends with a buoyant crescendo that will leave you in awe as if you've just seen an ochre sunset with multiple tones blending seamlessly. Odman shows off his jazz-drumming prowess in his reimagining of Dameron's "Look, Stop & Listen." The percussion leads the way in this song with the 33-year-old drummer exhibiting pure beat brilliance. The way it merged with the piano was extraordinary. Dameron has had a special spot for drummers and this composition was created to highlight the talent of jazz drummer Philly Joe Jones. In the same way, this song showcases Odman's skillful coordination and impeccable rhythm as he hits the perfect percussion at the right time without a beat going off or out of sync. The title "Look, Stop & Listen" encapsulates the entire experience as it mesmerizes the listener and makes everything seem to stop, as it demands undivided attention. Hurried but not harried, the upbeat tempo will awaken the senses with a unique jazz music that vibrates with a mix of feathery and ferocious beat. Odman is a master of subtlety and grandeur. His gentle drumming resonates despite the presence of other instruments and his loud beats harmonize with the same intensity. This all-instrumental jazz album will captivate listeners the same way Dameron enchanted his followers. Besides, who needs words when every note and beat speaks to you in ways you never thought possible. ~ Jim Olin https://www.allaboutjazz.com/dameronia-with-strings-ferit-odman-review-by-jim-olin.php

Personnel: Ferit Odman: percussion, drums; Terell Stafford: trumpet; David O’Rourke: guitar; Danny Grisett: piano; Peter Washington: bass.

Dameronia With Strings

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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

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Stephen Scott - Aminah's Dream

Styles: Piano Jazz
Year: 1993
File: MP3@320K/s
Time: 57:19
Size: 132,5 MB
Art: Front

(6:32)  1. Aminah's Dream
(4:35)  2. Behind The Scenes
(6:38)  3. Young Confucius
(5:51)  4. Positive Images (Mother, Father)
(5:24)  5. The Pit And The Pendulum
(7:09)  6. When God Created Women
(4:48)  7. L'Ill Bro'... Life Goes On
(4:39)  8. You Are Too Beautiful
(4:58)  9. Moontrane
(6:40) 10. The Spur Of The Moment

One of the most promising of the "Young Lions," pianist Stephen Scott has a versatile style that can range from McCoy Tyner to Wynton Kelly without resorting to mere copying. On his second release as a leader, Scott holds his own during six trio performances with bassist Ron Carter and drummer Elvin Jones. The other four selections add four nonsoloing horns playing harmonies behind Scott's piano. With eight of the ten songs being his originals, this is a fine all-around showcase for the talented Stephen Scott. ~ Scott Yanow https://www.allmusic.com/album/aminahs-dream-mw0000618597

Personnel:  Piano, Co-producer – Stephen Scott (5); Alto Saxophone – Justin Robinson (tracks: 1,4,6,9); Bass – Ron Carter; Drums – Elvin Jones; Tenor Saxophone – Don Braden (tracks: 1,4,6,9); Trombone – Jamal Haynes (tracks: 1,4,6,9); Trumpet – Terell Stafford (tracks: 1,4,6,9); Tuba – Bob Stewart (tracks: 1)

Aminah's Dream

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Jimmy Heath Big Band - Turn Up The Heath

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 73:52
Size: 170,3 MB
Art: Front

(7:02)  1. Big P
(7:16)  2. Heritage Hum
(9:23)  3. Gemini
(4:52)  4. Like A Son
(8:59)  5. I'm Glad There's You
(8:06)  6. One For Juan
(6:29)  7. Project S
(6:42)  8. Sources Says
(8:47)  9. No End
(6:12) 10. Basic Birks

Back in the early '90s I asked tenor saxophonist Jimmy Heath if he planned a followup to his Grammy-nominated album, Little Man Big Band (Verve, 1992). As I recall, he smiled politely but didn't really answer the question. Now he has and with an exclamation point. Describing how his latest superb album, Turn Up the Heath, came about, Jimmy writes, "The Jazz Masters award [from NEA and IAJE] in 2003 made it possible. As to why: "...there were so many orchestrations I wanted to document. There are also special people he wanted to praise and remember, and it is entirely appropriate that Heath should begin with "Big P, a brisk and warmhearted salute to his late brother, bassist Percy Heath. "Gemini was written for Heath's daughter, Roslyn; "Basic Birks for Dizzy Gillespie; "Like a Son for alto saxophonist Antonio Hart; "Heritage Hum for "my people, and the snappy samba "One for Juan for that ubiquitous purveyor of Colombian coffee, Juan Valdez. Completing the program are Heath's "Project S and "Sources Say," and his arrangements of Kenny Dorham's "No End and the standard "I'm Glad There Is You (the last an exquisite showpiece for Heath's fluent, evocative tenor and Jeb Patton's lucid piano). Heath's tenor is also heard on "Heritage Hum, "Gemini, "One for Juan, "Project S and "Basic Birks, his soprano on "No End. As for his colleagues, Heath says he met many of them "while playing with the Dizzy Gillespie Alumni All-Star Band, a reasonable assertion, as each one is an all-star, whether soloing or hunkering down as a member of the ensemble. The rhythm section, comprised of Patton, bassist Peter Washington and drummer Lewis Nash, is as solid and perceptive as they come, and Washington does Percy's memory proud on "Big P. The remarkable cavalcade of commendable improvisers includes Patton; Washington; Hart; trumpeters Greg Gisbert, Sean Jones, Terell Stafford and Michael Philip Mossman; trombonists Benny Powell, Slide Hampton, Steve Davis, Jason Jackson and John Mosca; alto Mark Gross; tenors Charles Davis, Bobby LaVell and Andres Boiarsky; baritones Jay Branford and Gary Smulyan; and flutist Lew Tabackin, a standout on "Gemini. Heath's charts are delightful, fairly bursting with energy and good humor, and if I have my personal favorites, I'm sure you will too. Even fourteen years onward, this is one sequel that was well worth the wait. Turn Up the Heath, crank up the volume, relax and enjoy.
 

Personnel: (Tracks 1,2,4-7) Jimmy Heath: leader, tenor sax; Frank Greene, Nick Marchione, Michael Philip Mossman, Terell Stafford: trumpet; Mark Gross: alto sax, flute; Antonio Hart: alto, soprano sax, flute; Bobby LaVell, Charles Davis: tenor sax; Jay Branford: baritone sax; John Mosca, Slide Hampton, Benny Powell: trombone; Douglas Purviance: bass trombone; Jeb Patton: piano; Peter Washington: bass; Lewis Nash: drums. (3,8-10) Jimmy Heath: leader, tenor sax; Greene, Mossman, Greg Gisbert, Sean Jones: trumpet; Gross: alto sax, flute; Hart: alto, soprano sax, flute; LaVell, Andres Boiarsky: tenor sax; Gary Smulyan: baritone sax; Mosca, Steve Davis, Jason Jackson: trombone; Purviance: bass trombone; Patton: piano; Washington: bass; Nash: drums. Guest artists: Lew Tabackin: flute (3); Joe Gonzales: congas (2)

Turn Up The Heath

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Jay Lawrence - Sonic Paragon

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 71:13
Size: 200,2 MB
Art: Front

(6:38)  1. Full Moon in Havana
(5:07)  2. What'll I Do
(7:31)  3. Vamonos
(7:06)  4. Slide
(5:38)  5. Maria
(6:51)  6. Dayspring
(4:18)  7. From Nadir to Zenith
(6:26)  8. Sonic Paragon
(5:16)  9. Tchoupitoulas
(5:58) 10. Golden Ratio
(4:41) 11. Crosstown Traffic
(5:39) 12. My Winsome Consort

"Drummer Jay Lawrence gathered together an impressive all-star group to perform swinging originals (all but one are his with one being co-written) and inventive versions of two standards and Jimi Hendrix’s “Crosstown Traffic” (turned into a straight ahead uptempo romp). The colorful music covers a variety of moods and tempos ranging from the rhythmically catchy “Tchoupitoulas” and the cheerful “My Winsome Consort” to an infectious modernized version of “Maria.” Among the most memorable moments are Renee Rosnes’ sly Monkish solo on “My Winsome Consort,” Terrell Stafford’s riotous plunger mute chorus on “Slide,” Romero Lubambo pushing the rhythm on “Maria,” and the leader’s drum breaks on the Latinish “Vamonos.” Harry Allen’s tenor is a major part of the group’s sound throughout, the three guitarists each have spots to shine, and how can one beat John Patitucci on bass? Sonic Paragon is worthy of many listens; there is a lot to discover in this music."~ Scott Yanow, jazz journalist/historian and author of 11 books

Jay Lawrence, (freelance musician, composer, educator) operates LIJA Music Inc., is the percussionist for the MT Pit Orchestra, co-owns the Jazz Hang record label with colleague Ray Smith, and is the drummer for the Salt Lake City Jazz Orchestra. Lawrence graduated from Utah Valley University with a Bachelor of Science degree - Summa Cum Laude. He has been a member of the adjunct faculties at Brigham Young University (1996 to present), University of Utah (24 years), Snow College (1998 to present), and other Universities. His vast professional experience began when Lawrence joined The Musicians Union (A. F. of M.) at the age of fifteen. In Reno, Lake Tahoe and Las Vegas, Nevada hotel/casino show bands, Jay performed with many celebrities, including: The 5th Dimension, Paul Anka, Vikki Carr, Cher, Roy Clark, The Coasters, Natalie Cole, Vic Damone, Sammy Davis Jr., Barbara Eden, Michael Feinstein, Andy Gibb, Englebert Humperdink, Tom Jones, Ben E. King, Gladys Knight, Rich Little, Loretta Lynn, Ann Margret, Maureen McGovern, Shirley MacLaine, Liza Minnelli, The Moody Blues, Anthony Newley, Lou Rawls, Charlie Rich, Linda Ronstadt, Frank Jr. and Nancy Sinatra, Red Skelton, Dionne Warwick, Raquel Welch, Mary Wilson, and many others. Former President of the Salt Lake Jazz Society, Lawrence has also performed with many jazz artists, including: Shelly Berg, Brian Bromberg, Kenny Burrell, Cyrus Chestnut, Pete Christlieb, Dee Daniels, Eddie Daniels, Carl Fontana, Al Grey, Don Grolnick, Roy Hargrove, Milt Jackson, Hank Jones, Carol Kaye, Mark Levine, James Moody, Andy Narell, New York Voices, Nicholas Payton, John Pizzarelli, Tom Scott, Bobby Shew, Byron Stripling, Tierney Sutton, Clark Terry, Stanley Turrentine, and Phil Woods. Many award-winning recordings have been recorded by Jay, including albums with Bob Mintzer, Andy Martin, Joey DeFrancesco, Mike Stern, Eddie Daniels, Chuck Findley, Ellis Hall, Natalie Cole, Rodney Jones, Reggie Thomas, Ron Blake, Rodney Whitaker and others. The Jay Lawrence trio’s Thermal Strut on OA2 Records featured Tamir Hendelman and Lynn Seaton and received critical acclaim in Percussive Notes, Jazz Times, and other magazines. Jay’s 2012 recording, Sweet Lime, released on Jazz Hang Records, reached number 7 on the Jazz Week Radio Airplay charts. It features Bob Sheppard and John Clayton. Lawrence also soloed on Kaskade’s Grammy Nominated album Atmosphere. He has toured throughout the U.S.A., Canada, Europe, the South Pacific and the Caribbean with luminaries such as Chris LeDoux, James Moody, Liberace, Enoch Train, and The Osmonds. Lawrence has recorded film scores and trailers for the following motion pictures: The Sandlot, 101 Dalmatians, Army of Darkness, Double Impact, Eulogy, Flubber, Frank and Jesse, Gettysburg, Hercules, Huck Finn, Jumanji, Mighty Ducks 2, Nightmare on Elm Street- Part VII, Stargate, Surviving Picasso, The Swan Princess, The Three Ninjas Kick Back, U-57, and Saturday's Warrior. https://store.cdbaby.com/cd/jaylawrence

Personnel:  Jay Lawrence, drums;  John Patitucci, bass;  Renee Rosnes, piano;  Harry Allen, tenor saxophone;  Terell Stafford, trumpet;  Anthony Wilson, Yotam Silberstein, Romero Lubambo, guitars

Sonic Paragon

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Terell Stafford - Brotherlee Love

Bitrate: MP3@320K/s
Time: 75:54
Size: 173.7 MB
Styles: Trumpet jazz
Year: 2015
Art: Front

[ 8:06] 1. Hocus Pocus
[ 7:23] 2. Mr. Kenyatta
[ 8:52] 3. Petty Larceny
[ 8:57] 4. Candy
[ 7:28] 5. Yes I Can, No You Can't
[12:26] 6. Favor
[ 6:43] 7. Stop Start
[ 6:14] 8. Carolyn
[ 9:40] 9. Speedball

Terell Stafford: trumpet; Tim Warfield: saxophone; Bruce Barth: piano; Peter Washington: bass; Dana Hall: drums.

Over the past several decades, trumpeter Terell Stafford has built a solid reputation based on the fact that he is a thoroughly accomplished musician who has been heard in the bands of Bobby Watson, Matt Wilson, The Clayton Brothers, and Dana Hall. Although he has digested the complete history of the jazz trumpet cannon, Stafford remains his own man with a style and approach that is squarely his own. This fact is important because in endeavoring to pay tribute to the iconic Lee Morgan, Stafford does not merely copy. He honors Morgan's legacy while speaking in his own voice.

Stafford has assembled a varied and sagacious collection of numbers clearly associated with Morgan. He makes these pieces his own not by grafting on new structures or dramatically altering the forms. Instead, the trumpeter uses the inspiration of these classics to deliver his own stories. From out of the gate, "Hocus Pocus" announces that the fiery personality of Morgan himself is injected in Stafford's own approach to the material.

The original "Mr. Kenyatta" comes on more like a boogaloo than this new version. Stafford puts more of a bossa groove onto the number. Tenor saxophonist Tim Warfield speaks with authority and full-bodied tone, his sinewy closing line then picked up by Stafford to launch his own solo. Bruce Barth barrels along nicely with some two-fisted runs. "Petty Larceny," which Art Blakey fired up to perfection on his own The Freedom Rider LP, also seems more cooled out here, although Stafford worries a six-note phrase in the best Morgan tradition. While Morgan offered "Candy" as a medium tempo swinger on his LP of the same name, Stafford goes for more of a ballad like approach. Drummer Dana Hall sits out on this one, while Peter Washington submits a wonderfully melodic solo. The bassist also updates the funky "Yes I Can, No You Can't" in a way that inspires Barth to one of his best statements on the disc. The lengthiest cut of the set, "Favor" is a waltz time original by Stafford that really shows how the use of dynamics can give added texture and depth to any performance. Often today's music comes across at a single, continuous sound level. The fact that Stafford and crew are thinking about the nuances of live performance as it transfers to a recording are further signs of their maturity.

Rounding out the set, Stafford goes deep for the ballad "Carolyn." Both "Stop Start" and "Speedball" put Warfield in the spotlight, reminding us how much of a hard bop master we have in this tough tenor. Hall gets his say on the former, where his solo is bolstered by some fancy bass drum footwork. Tastefully produced by John Clayton, Brotherlee Love shows how it's done when it comes to assembling a musical homage. ~C. Andrew Hovan

Brotherlee Love mc
Brotherlee Love zippy

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Bennie Wallace - Disorder At The Border: The Music Of Coleman Hawkins

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 65:22
Size: 150,4 MB
Art: Front

(11:36)  1. Disorder At The Border
( 8:55)  2. La Rosita
( 9:42)  3. Bean And The Boys
(10:01)  4. Honeysuckle Rose
( 8:25)  5. Body And Soul
(16:40)  6. Joshua Fit The Battle Of Jericho

This is a stomping band, as Coleman Hawkins said of the Fletcher Henderson orchestra he and the hitherto mostly awkward tenor saxophone grew up together with. Louis Armstrong and his hero the great cellist Pablo Casals inspired Hawkins' phrasing and timing, Art Tatum and J.S. Bach his harmonic command. His nickname "Bean" referred to high intelligence, he was an instrumental virtuoso with immense stamina and invention qua improviser, a passionate complex man never to be underrated.  The extraordinary "Joshua Fit the Battle of Jericho" which concludes this 2004 Hawkins centenary concert from Berlin is very appropriate. Swinging fiercely with mostly just Alvin Queen's magnificent drumming, Bennie Wallace exhibits his own stamina in impassioned tenor saxophone emulation of a Bach solo invention; and that's only the climax, after a startling arrangement and succession of stirring solos: an ideal centenary celebration. Wallace comes out of the Hawkins school: no imitator, where he sounds very like Hawkins that's a natural aspect of his own way, and what he's playing. On "Body and Soul" he's entirely individual, and has maybe never played more beautifully.  In this stomping band Stafford and Anderson can each sound like two men in ensemble, Anthony Wilson's bop-slanted arrangements are subtle or driving as appropriate, and Donald Vega's atmospheric, often extended piano introductions risk overshadowing his solo work elsewhere. Hawkins wasn't Henderson's only major soloist: I hadn't previously heard young Leali, Schroeder, Vega and Boller and want to hear more. Jesse Davis I know. Where he and Leali solo in succession then trade passages theye are plainly individual stylists.

That's on "Honeysuckle Rose," the one non-Wilson chart. Wallace organised it with reminiscences of Benny Carter's great arrangements and brilliant transcription of a passage James P. Johnson delivered in his piano solo recording of the number. Subtlety's one thing, but there's also none of that carefulness which can afflict deliveries of arrangements of music with a vintage. This is musical performance, and no pastiche. Listen to the bluesiness and slow stride of Vega's intrHenderson's recorded performances were restricted by technology: time limits. They couldn't unfold with the freedom, relaxation and fire Hawkins remembered. This is of course a live performance, nobody worried about finishing within any time limit, and the only "Disorder" was a word in the opening stomper's title. Stafford's immense tone powers in ensemble, and blazes in solo. The master colourist trombonist Anderson is involved in the one brief wobble, his sound and Wallace's don't blend in their brief ensemble unison on "La Rosita," whoops! But Anderson's solo immediately thereafter has an amazing transition from harshness to luminous transparency. He delivers a differently magnificent eruption on "Honeysuckle Rose," and preaches on "Joshua..." Wallace's tenor is properly to the fore throughout, with here an altoist, there Schroeder's baritone, performing a substantial solo as the middle section of an extended development Wallace himself has begun; and subsequently proceeds to bring to extended climax. He's a giant tenorist. This is a great and not merely stomping band. ~RoberR.Calder https://www.allaboutjazz.com/disorder-at-the-border-the-music-of-coleman-hawkins-bennie-wallace-enja-justin-time-review-by-robert-r-calder.php

Personnel: Bennie Wallace: tenor saxophone, leader; Brad Leali: alto saxophone; Jesse Davis: alto saxophones Adam Schroeder: baritone saxophone; Ray Anderson: trombone; Terell Stafford; trumpet; Donald Vega: piano; Danton Boller: bass; Alvin Queen: drums; Anthony Wilson: arranger.

Disorder At The Border: The Music Of Coleman Hawkins

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Terell Stafford - Forgive and Forget

Styles: Trumpet Jazz
Year: 2016
File: MP3@320K/s
Time: 67:31
Size: 155,1 MB
Art: Front

( 6:17)  1. No, No, No (That Ain't the Way It Go)
( 6:00)  2. A Two-Per to Fill
(10:01)  3. Forgive and Forget
( 5:25)  4. The Owl Express
( 8:51)  5. The Tint Train
( 8:45)  6. Please Rest My Soul
( 6:10)  7. No, No, No (That Ain't the Way It Go) [Take 2]
( 5:16)  8. The Owl Local (No Passengers!)
(10:43)  9. Some Many Second Chances

Veteran trumpeter Terell Stafford delivers the second installment of saxophonist Herb Harris's dynamic "Jazz Masters Unlimited" series production, with the unveiling of Forgive and Forget, providing a forum for Stafford's talents and improvisational skills. Showcasing a repertoire penned and arranged by Harris, the trumpeter surrounds himself with a formidable quintet that makes his performance here much easier to appreciate. The A-list of players appearing with Stafford include tenor saxophonist extraordinaire Tim Warfield who served as the first masters series feature and a musical collaborator of the trumpeter for over thirty-years. Pianist Kevin Hays introduces the opening statement "No, No, No, (That Ain't The Way It Go)," with light key work on essentially a waltz-styled arrangement featuring stylish powerful solo moments from the leader, Warfield's strong tenor voice and stellar support from the rhythm players, bassist Greg Williamson, drummer Rodney Green and of course Hayes on the keys. 

A piece with such an impressive tone and color, it's repeated here on a second version or a "Take 2" that's just as invigorating but a tad shorter. One of the highlights and keeper of this recording, has to be the bluesy-tinged "A Two-Per to Fill" where Warfield fires the opening salvo and Stafford returns the favor with a dicey trumpet solo that energizes the tune for one memorable number. The lengthy title track captures Stafford on the muted horn delivering respectful moments on a solemn delicate ballad highlighting pianist Hays and the drummer with soft brush work on a graceful piece of music. In stark contrast to the warm title piece, "The Owl Express" releases the hard bop juices that have been percolating underneath and features the entire group in a fast-pace tempo making this tune quite irresistible. Other notable tracks include melodic "The Tint Train" where Stafford's high-pitch trumpet play is at its best, the soft and gentle ballad "Please Rest My Soul" and the swinging finale "Some Many Second Chances." With over twenty-years of experience performing on the world stage of jazz, there's little doubt that Terell Stafford is a master and Forgive and Forget is an excellent vehicle confirming that status. A trumpeter who wields the instrument with versatility and power, this one master who puts it altogether here in a master performance anyone can appreciate, well done! ~ Edward Blanco https://www.allaboutjazz.com/forgive-and-forget-terell-stafford-herb-harris-music-review-by-edward-blanco.php

Personnel: Terell Stafford: trumpet; Tim Warfield: tenor saxophone; Kevin Hays: piano; Greg Williams: bass; Rodney Green: drums.

Forgive and Forget

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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

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Terell Stafford Quintet - Taking Chances: Live at the Dakota

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 77:15
Size: 177,3 MB
Art: Front

( 7:35)  1. A Nick Off the Mark
( 8:51)  2. Pegasus
(11:20)  3. Taking a Chance on Love
(10:37)  4. Jesus Loves Me
(11:12)  5. Blues for J.T.
( 8:17)  6. Old Folks
( 8:05)  7. Paper Trial
(11:16)  8. Shake It for Me

With his rich trumpet tone and delicate manner, Terell Stafford brought his quintet into Minneapolis' Dakota Bar and Grill in June, 2005 for this well-received concert performance. They got the sound just right, and the musicians provided their audience with an unforgettable experience. Stafford plays it cool. He's got no axe to grind, no pretense of machismo to blast forth, and no reason to imitate the newest tricks on the block. He's a conservative. The trumpeter has the chops to do whatever he wants to, but he prefers to keep it simple with this recommended album. Genuine melody and a pious desire for all things lyrical keep Stafford and his quintet on track for a timeless look at the beauty of jazz from the inside. Tradition, a love of the familiar, and a bit of the original give the trumpeter's program plenty of variety. He caresses a mellow ballad with the same sensuous manner that he employs on up-tempo romps. Surprisingly, he takes "Jesus Loves Me to heart with an outside approach that lights creative fires along the way. Stafford's bright trumpet picks this one up a few notches as he explores the potential of passion. It's a veritable suite of changing moods that puts everyone to work on a challenge. As is usually the case, audience reaction seems to push the quintet even harder. Blues for J.T. finds the band scoring high marks for its powerful groove and magnetic pull. Here, Stafford shows his best side as he loosens up and pours it out naturally. If ever there was a genuine guy, this is the one. He reaches deep down inside and comes up with a blues to move you soundly. The trumpeter's warm, golden sound resonates like magic. It's the kind of balm that brings warmth to the soul. The album certainly has its hot spots, and working a place like the Dakota Bar and Grill can do that for you. Glad to see such success for such a deserving artist and his quintet. Jim Santella https://www.allaboutjazz.com/taking-chances-live-at-the-dakota-terell-stafford-maxjazz-review-by-jim-santella.php

Personnel: Terell Stafford: trumpet; Tim Warfield: tenor and soprano saxophones; Bruce Barth: piano; Derrick Hodge: bass; Dana Hall: drums.

Taking Chances: Live at the Dakota

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