Kenny Drew Jr. - The Rainbow Connection

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 57:58
Size: 134,5 MB
Art: Front

( 5:42)  1. Confrontation
( 5:54)  2. There Is No Greater Love
( 7:07)  3. Serenity
( 4:18)  4. Boo Boo's Birthday
( 6:26)  5. Nelson Avenue Morning
( 6:20)  6. Coral Sea
( 5:18)  7. Rhythm - A - Ning
( 5:16)  8. The Rainbow Connection
(11:34)  9. Invitation

Kenny Drew, Sr. was so legendary a pianist that Kenny Drew, Jr. was bound to be compared to his father, however hard he fought to establish his own identity. And the fact that they played the same instrument didn't exactly discourage comparisons. But the son is very much his own man, and his individuality asserts itself on The Rainbow Connection, which was recorded when he was a month away from his 30th birthday. Drew has competent support in bassist Charnett Moffett, drummer Cody Moffett and trumpeter Terence Blanchard, and he proves that he's no clone of his father on material ranging from "Invitation" to the Thelonious Monk classics "Rhythm-A-Ning" and "Boo Boo's Birthday" (a difficult tune that, unlike "Rhythm-A-Ning," is far from well-known). Especially revealing is his interpretation of his father's haunting "Serenity." If anything would have encouraged Drew, Jr. to emulate Drew, Sr., it would be "Serenity," but he manages to do his own thing with it. Initially released by the Japanese Jazz City label, this decent post-bop/hard bop date was reissued on CD by Evidence in 1998. ~ Alex Henderson https://www.allmusic.com/album/the-rainbow-connection-mw0000035007

Personnel: Piano – Kenny Drew Jr.; Bass – Charnett Moffett; Drums – Codaryl "Cody" Moffett; Trumpet – Terence Blanchard

The Rainbow Connection

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Ray Brown - Some Of My Best Friends Are ... The Trumpet Players

Styles: Contemporary Jazz, Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 62:05
Size: 142,5 MB
Art: Front

(5:02) 1. Roy Hargrove / Our Delight
(6:29) 2. Jon Faddis / Bag's Groove
(5:49) 3. James Morrison / I Thought About You
(4:07) 4. Terence Blanchard/I'm Getting Sentimental Over You
(5:48) 5. Nicholas Payton / Violets for Your Furs
(3:01) 6. Clark Terry / Itty Bitty Blues
(4:28) 7. Roy Hargrove / Stairway To The Stars
(5:06) 8. Jon Faddis / Original Jones
(4:50) 9. James Morrison / When You Go
(4:21) 10. Nicholas Payton / The Kicker
(5:00) 11. Clark Terry / Clark's Tune (Legacy)
(7:57) 12. Terence Blanchard / Goodbye

In the latest edition of his "Some Of My Best Friends Are..." series, Ray Brown honors the trumpet players as they honor him. Having already musically expressed his friendship with singers, pianists and saxophonists, Brown's next group of honorees will include...trombonists? Drummers? Guitarists? The interesting aspect of Some Of My Best Friends Are...The Trumpet Players is the influence of Dizzy Gillespie. An inspiration to Brown, who first received recognition in Dizzy's group, as well as to jazz trumpeters everywhere, Dizzy's spirit infuses especially the Nicholas Payton, Jon Faddis and Roy Hargrove tracks.

Deeply indebted to Dizzy for spiritual as well as technical guidance, Faddis' work on "Original Jones" is the most obviously referential. As a result, it also is the most thrilling trumpet work, commanding the instrument's extreme upper register and negotiating intervallic leaps with ease. James Morrison, on the other hand, concentrates on a rounder tone that expresses the melodic intent of the tunes, particularly Brown's composition, "When You Go." Roy Hargrove introduces Some Of My Best Friends Are...The Trumpet Players with a confident bop sensibility on "Our Delight," combining a concise voice and clarity of thought.

Nicholas Payton proves that he is moving more and more away toward explorative work on Joe Henderson's "The Kicker," as he did recently on Steve Wilson's CD. Balancing aggressive work with a ballad, as do all of the other trumpeters on their two tunes apiece, Payton plaintively sings through his horn on "Violets For Your Furs," wavering a slight vibrato on the long tones, buzzing ever-so-perceptively on lower notes to balance the sweetness of his sound in the middle register.Terence Blanchard's ballad turns out to be Tadd Dameron's "Goodbye," the famous Benny Goodman closer, while in contrast Blanchard enlivens "I'm Getting Sentimental Over You" at greater than twice the tempo of the famous Dorsey version.

And then there's Clark Terry. Being himself. Trading horns on "Clark's Tune." Creating an inimitable opening chorus, and well as solos, on Brown's "Itty Bitty Blues" with the apparent ease of a 30-year-old, although Terry will be 80 years young in two more months. Once again, Ray Brown has assembled a stellar trio. Geoff Keezer remains within the groove of the album, although his recent Zero One CD proves that he can be explorative and unconventional when he leaves the accompanist's role. And drummer Karriem Riggins propels the group with colors and drive without overpowering, as he does to animate Faddis' work on "Original Jones."

Then there's Ray Brown, sturdy and inspirational, establishing the mournful languor of "Bag's Groove" in tribute to Brown's and Faddis' friend, Milt Jackson. Conversing with Faddis, Brown responds to Faddis' groove with elaboration and eloquence. While it seems that Ray Brown makes friends wherever he goes, as his "Friends" albums prove, his circle of friends has widened to encompass his listeners, who no doubt will respond with affection to Some Of My Best Friends Are...The Trumpet Players , yet another estimable album in Brown's estimable series.~AAJ Staffhttps://www.allaboutjazz.com/some-of-my-best-friends-arethe-trumpet-players-ray-brown-telarc-records-review-by-aaj-staff

Personnel: Ray Brown, bass; Geoff Keezer, piano; Karriem Riggins, drums; Terence Blanchard, Jon Faddis, Roy Hargrove, James Morrison, Nicholas Payton, Clark Terry, trumpet

Some Of My Best Friends Are ... The Trumpet Players

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Art Blakey And The Jazz Messengers - Oh-By The Way

Styles: Jazz, Post Bop
Year: 1982
File: MP3@320K/s
Time: 44:08
Size: 101,4 MB
Art: Front

(6:30)  1. Oh-By The Way
(6:01)  2. Duck Soup
(4:54)  3. Tropical Breeze
(5:20)  4. One By One
(7:09)  5. Sudan Blue
(8:15)  6. My Funny Valetine
(5:56)  7. Alicia

When the Marsalis Brothers left The Jazz Messengers in early 1982, Wynton suggested that Art Blakey take a close listen to trumpeter Terence Blanchard (then 19) and 21-year old altoist Donald Harrison. The drummer took his advice, and after also adding young pianist Johnny O'Neal, Blakey soon had an exciting new version of The Jazz Messengers. Tenor saxophonist Bill Pierce and bassist Charles Fambrough were still present from the older band for this excellent LP. In the Blakey tradition, this set has five new compositions from bandmembers in addition to Wayne Shorter's "One by One" and the standard "My Funny Valentine"; the music is a fine example of high-quality hard bop.~ Scott Yanow https://www.allmusic.com/album/oh-by-the-way-mw0000526449

Personnel: Art Blakey (drums); Donald Harrison (alto saxophone); Bill Pierce (tenor saxophone); Terence Blanchard (trumpet); Johnny O'Neal (piano).

Oh-By The Way

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Terence Blanchard - Absence

Styles: Trumpet Jazz
File: MP3@320K/s
Time: 64:57
Size: 155,7 MB
Art: Front

( 6:54) 1. Absence
( 6:03) 2. The Elders
( 5:37) 3. Fall
( 1:36) 4. I Dare You (Intro)
( 7:46) 5. I Dare You
( 1:32) 6. Envisioned Reflections (Intro)
( 2:35) 7. Envisioned Reflections
(10:43) 8. The Second Wave
( 5:22) 9. When It Was Now
( 7:17) 10. Dark Horse
( 7:06) 11. Diana
( 2:20) 12. More Elders

Trumpeter Terence Blanchard and the E-Collective's Absence is dedicated to saxophonist and composer Wayne Shorter, who for health reasons has been obliged to retire from performing, at least temporarily. Some people celebrating their 88th birthday, as Shorter did on August 25 2021, might not welcome being the dedicatee of an album with such a title. They might consider a more appropriate choice of words to be Presence or even I'm Feeling Fine Thanks For Asking. But you never know with Shorter who is, in many respects, in a category of his own and who, one hopes, had Absence run past him in advance by his label mate. Perhaps we should be thankful Blanchard's album is not titled Mr Gone, after Shorter's high school nickname. Anyway, there it is. Absence is dedicated to Shorter for "being brilliant" and one cannot argue with that. Shorter has been shining a light as a soloist and as a composer and arranger since the late 1950s under his own name and as a featured sideperson; Art Blakey's The Jazz Messengers (1959/1964), Miles Davis' second great quintet (1965/1968) and Weather Report (1971/1985) are among the latter highlights.

Blanchard has long had a penchant for string ensembles and the plugged-in E-Collective is augmented on all but one of these twelve tracks by the Turtle Island Quartet. The addition of a neo-classical string quartet to Blanchard's digital-age quintet three of whom, including Blanchard, double on synths works well. That said, the least effective track is the strings-only "The Second Wave," a busy but inconsequential piece written and arranged by violinist David Balakrishman, which runs just shy of eleven minutes; too long, particularly so on a forty-six minute album. On the upside, Blanchard's electro-acoustic arrangement of Shorter's "Fall," first heard on Miles Davis' Nefertiti (Columbia, 1968), is so striking that one cannot help wishing Absence was mostly, if not entirely, composed of Shorter pieces (more than half the tracks here were written by Blanchard and his colleagues, and are too often borderline overblown). For among modern reimaginings of Shorter's early work, this "Fall" is up there with the Robert Glasper-led Blue Note All-Stars' treatment of "Masqualero," first heard on Davis' Sorcerer (Columbia, 1967), on the All Stars' album Our Point Of View (Blue Note, 2017), which also benefited from the presence of original cast members Herbie Hancock on keys and Shorter himself on soprano saxophone.~Chris Mayhttps://www.allaboutjazz.com/absence-terence-blanchard-featuring-the-e-collective-blue-note-records

Personnel: Terence Blanchard: trumpet; Charles Altura: guitar; Fabian Almazan: piano; David Ginyard: bass; Oscar Seaton: drums; David Balakirshnan: violin; Benjamin von Gutzeit: viola; Gabe Terraciano: violin; Malcolm Parson: cello.

Absence

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Ralph Moore - Images

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 52:48
Size: 121,2 MB
Art: Front

(8:07)  1. Freeway
(5:32)  2. Enigma
(7:40)  3. Episode from a Village Dance
(8:36)  4. Morning Star
(5:39)  5. This I Dig of You
(5:06)  6. Blues for John
(7:02)  7. Punjab
(5:03)  8. One Second, Please

The particularly strong material and the all-star lineup (tenor saxophonist Ralph Moore, trumpeter Terence Blanchard, pianist Benny Green, bassist Peter Washington, and drummer Kenny Washington) make this a particularly enjoyable set from the tenorman. Although still displaying the inspiration (soundwise) of early-'60s John Coltrane, Moore had developed an increasingly original style within the modern mainstream throughout the 1980s. Highlights of this excellent set include J.J. Johnson's "Enigma" (a ballad feature for Moore), Hank Mobley's "This I Dig of You," and Moore's "Blues for John" (written in tribute to Coltrane). One of Ralph Moore's more significant recordings to date.~ Scott Yanow  https://www.allmusic.com/album/images-mw0000201085

Personnel: Ralph Moore – tenor saxophone; Terence Blanchard – trumpet (tracks 1, 3, 5 & 7); Benny Green – piano; Peter Washington – bass;  Kenny Washington – drums

Images

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The Jazz Messengers - The Legacy Of Art Blakey: Live At The Iridium

Styles: Straight-ahead/Mainstream 
Year: 1998
File: MP3@320K/s
Time: 66:04
Size: 152,0 MB
Art: Front

(10:21)  1. One By One
(11:41)  2. A La Mode
(11:08)  3. Whisper Not
(10:51)  4. Oh, By The Way
(10:04)  5. Plexus
(11:58)  6. Blues March

Seven years after drummer Art Blakey's death, a Jazz Messengers reunion group was formed for a tour and this recording. Led by tenor saxophonist Benny Golson (who acts as the band's musical director), the sextet also includes trumpeter Terence Blanchard, trombonist Curtis Fuller, pianist Geoff Keezer, bassist Peter Washington and drummer Lewis Nash (in Blakey's spot). Together they perform Wayne Shorter's "One By One," and Cedar Walton's "Plexus," and compositions by Blanchard and Fuller, plus a pair (including "Blues March") by Golson. The overall results are predictable and very much in the hard bop tradition but full of spirit, not so much adding on to Art Blakey's legacy as much as simply revisiting it. ~Scott Yanow https://www.allmusic.com/album/the-legacy-of-art-blakey-mw0000597768

Personnel: Benny Golson (saxophone); Terence Blanchard (trumpet); Curtis Fuller (trombone); Geoff Keezer (piano); Peter Washington (bass); Lewis Nash (drums).

The Legacy Of Art Blakey:  Live At The Iridium

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Terence Blanchard - Choices

Styles: Trumpet Jazz
Year: 2009
File: MP3@320K/s
Time: 73:39
Size: 170,5 MB
Art: Front

( 6:45)  1. Byus
( 0:54)  2. Beethoven
( 3:46)  3. D’s Choice
( 6:01)  4. Journey
( 7:11)  5. Hacia del Aire
( 0:40)  6. Jazz Man in the World of Ideas
( 4:20)  7. Him or Me
( 6:08)  8. Choices
( 6:30)  9. HUGS (Historically Underrepresented Groups)
(12:17) 10. Winding Roads
( 4:26) 11. When Will You Call
( 0:55) 12. A New Note
( 5:16) 13. A New World (Created Inside the Walls of Imagination)
( 6:04) 14. Touched By An Angel
( 2:19) 15. Robin’s Choice

Trumpeter/band leader/ film scorer Terence Blanchard is the epitome of an artist who's made good choices. One of the distinct voices in the post-Miles Davis and Wynton Marsalis era, he has moved from being a young-lion with seminal players such as Donald Harrison in Black Pearl (Columbia, 1988), to delivering progressive projects such as Flow (Blue Note, 2005) and winning multiple Grammy awards for albums including 2007's A Tale Of God's Will (A Requiem For Katrina) (Blue Note).  Recorded at the Ogden Museum of Southern Art, Choices is, surprisingly, his first completed CD made in his hometown of New Orleans. The warmth, ambiance and acoustics of the venue pours through each track, channeled through modern compositions and inspired performances by a dynamic sextet which includes Fabian Almazan (piano), Derrick Hodge (bass), Kendrick Scott (drums), Lionel Loueke (guitar) and saxophonist Walter Smith III. Blanchard is a meticulous but selfless leader, allowing the younger artists to shine, exchange ideas and contribute to the open process. Imprinted with Blanchard's cinematic and swinging style the music is rooted but contemporary; advocating new ideas that include excerpts of a conversation between Blanchard and philosopher, author, and activist, Dr. Cornel West. The combination of eloquent intellectualism and stirring composition forms a thematic imprint. West's insightful words sprinkled throughout the music are like poetry uplifting, enlightening and provocative; expertly placed within the music as he articulates upon the ideas, questions and choices concerning music, humanity, and spirituality a jazz dialog for the mind and ear. The tracks showcase these young artists as distinguished players and scintillating writers, including Smith's sophisticated movements in "Byus," and Scott's Brazilian-tinged "Journey," with seductive vocals provided by singer Bilal Sayeed Oliver (aka Bilal), who in turn gives a riveting performance on his soulful Lament, "When Will You Call." Almazan's "Hugs" shows his adroit pianism with beauty and drama as it pushes the musicians to new heights. In contrast, Hodge's "A New World" takes it to the streets with a funky swagger, as Blanchard and Loueke shred some notes.  Still, Blanchard's consummate imprint and warm tone permeate the recording, and his mirrored tracks "D's Choice" and "Robin's Choice" are masterful full of emotion, spirit and humanity. Mixing jazz and philosophy within a vibrant setting, the aptly titled Choices, continues to bear the good fruits of his thoughtful decisions. ~ Mark F.Turner https://www.allaboutjazz.com/choices-terence-blanchard-concord-music-group-review-by-mark-f-turner.php

Personnel: Terence Blanchard: trumpet; Fabian Almazan: piano; Derrick Hodge: bass; Kendrick Scott: drums; Lionel Loueke: guitar; Walter Smith III: saxophone; Dr. Cornel West: spoken word (1-3, 6, 8, 10, 12, 13, 15); Bilal: vocals (3, 4, 10, 11, 14).

Choices

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Terence Blanchard & Donald Harrison - New York Second Line

Styles: Trumpet And Saxophone Jazz 
Year: 1985
File: MP3@320K/s
Time: 34:39
Size: 79,6 MB
Art: Front

(4:22)  1. New York Second Line
(5:24)  2. Oliver's Twist
(3:28)  3. I Can't Get Started
(3:42)  4. Duck Steps
(6:05)  5. Doctor Drums
(3:46)  6. Isn't It So?
(7:50)  7. Subterfuge

Trumpeter Terence Blanchard and altoist Donald Harrison were both still members of Art Blakey's Jazz Messengers when they co-led this colorful set; they would break away to form their own group in early 1986. "New York Second Line," which sounds like a crazy marching band and is an eccentric tribute to the co-leaders New Orleans heritage, is the most memorable selection but all of the group originals plus "I Can't Get Started" are given inventive treatment. With pianist Mulgrew Miller, bassist Lonnie Plaxico and drummer Marvin "Smitty" Smith, this was a particularly strong early effort by Blanchard and Harrison. ~ Scott Yanow https://www.allmusic.com/album/new-york-second-line-mw0000187728

Personnel:  Terence Blanchard – Trumpet;  Donald Harrison -Alto Saxaphone;  Mulgrew Miller -Pianist;  Lonnie Plaxico – Bassist;  Marvin “Smitty”Smith – Drummer

New York Second Line

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Terence Blanchard - Bounce

Bitrate: MP3@320K/s
Time: 67:13
Size: 153.9 MB
Styles: Trumpet jazz
Year: 2003
Art: Front

[8:40] 1. On The Verge
[6:29] 2. Passionate Courage
[7:40] 3. Fred Brown
[7:31] 4. Nocturna
[6:00] 5. Azania
[7:28] 6. Footprints
[8:56] 7. Transform
[7:20] 8. Innocence
[7:05] 9. Bounce Let's Go Off

Bass – Brandon Owens; Drums – Eric Harland; Electric Piano – Robert Glasper (tracks: 2 to 6, 8); Guitar – Lionel Loueke (tracks: 1 to 8); Piano – Aaron Parks (tracks: 1, 2, 4 to 8); Soprano Saxophone – Brice Winston (tracks: 1 to 3, 5 to 8); Trumpet – Terence Blanchard.

Although he’s spent much of the past 15 years scoring films for Spike Lee and others, trumpeter Terence Blanchard certainly hasn’t forgotten about jazz, as his impressive Blue Note debut makes clear. Bounce finds the former Jazz Messenger having grown well past his early days as part of the “young lions” phenomenon of the ‘80s into a mature, individual artist exploring a wide palette of jazz colors. Like the best jazz artists working today, Blanchard has an awareness of the music’s past and present and openness to influences outside the jazz world (at least, that is, to those who would offer a narrow definition of all that jazz encompasses). Along with a band of talented young stars in the making (Aaron Parks on piano, Brandon Owens on bass, Eric Harland on drums, Lionel Louke on guitar and Brice Winston on saxophone), Blanchard deftly blends neo bebop and Latin grooves, New Orleans funk and African rhythms into a cohesive, expressive, contemporary whole.

Among Blanchard’s impressive original compositions, his “Azania” digs deep into Afro-Caribbean traditions, including a wordless chant from Louke, while the title tune (which is paired with former partner Donald Harrison’s “Let’s Go Off”) is flavored with the down-home gumbo of his (and most of the band’s) Crescent City home. Blanchard even delves into free form funk, with the addition of Robert Glasper on Fender Rhodes, on the fiery original “Fred Brown” and on an edgy reworking of Wayne Shorter’s “Footprints.”

A generous leader and mentor, Blanchard gives plenty of room for band members to express themselves with extended solos, and in the case of Parks, Harland and Owens, with notable originals of their own. While never hogging the spotlight, Blanchard is an adroit soloist himself, always in full command of his instrument whether playing fast and furious runs or moody ballads. With Bounce, Blanchard proves himself a jazz artist very much of the moment and a jazz man for all seasons. ~Joel Roberts

Bounce mc
Bounce zippy

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Terence Blanchard & Donald Harrison - Discernment

Styles: Trumpet And Saxophone Jazz

Year: 1986

File: MP3@320K/s

Time: 45:41

Size: 104,8 MB

Art: Front

(6:45)  1. Worth the Pain

(4:01)  2. When the Saints Go Marching In

(5:38)  3. When I Fall in Love

(6:03)  4. Directions

(1:39)  5. Discernment

(6:10)  6. Are You Sleeping?

(6:01)  7. Akira

(9:19)  8. Dorchester House

The second recording co-led by trumpeter Terence Blanchard and altoist Donald Harrison (both of whom had become stars with Art Blakey's Jazz Messengers) mixes together the influences of New Orleans (they even perform a somber version of "When The Saints Go Marching In"), hard bop and the avant-garde. With pianist Mulgrew Miller, bassist Phil Bowler and the colorful drummer Ralph Peterson, Jr. making strong contributions, the quintet performs spirited renditions of four Blanchard originals, two Harrison songs, "The Saints" and the ballad "When I Fall In Love."~ Scott Yanow http://www.allmusic.com/album/discernment-mw0000191552http://www.allmusic.com/album/discernment-mw0000191552

Personnel:  Donald Harrison (saxophone), Terence Blanchard (trumpet), Mulgrew Miller (piano), Phil Bowler (bass), Ralph Peterson (drums)

Discernment

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Eric Dolphy & Booker Little Remembered - Live at Sweet Basil Vol. II - Fire Waltz

Styles: Trumpet Jazz

Year: 1988

File: MP3@320K/s

Time: 47:31

Size: 108,9 MB

Art: Front

(15:56)  1. Number Eight

(17:28)  2. Fire Waltz

(14:05)  3. Bee Vamp

Terence Blanchard and Donald Harrison continued their homage to the Eric Dolphy/Booker Little duo with a second set of performances recorded at Sweet Basil. They featured "Fire Waltz" and "Bee Vamp," two more tunes the duo immortalized during their Five Spot performances. Their versions are well-intentioned, frequently exciting, and superbly played. But they are not transcendent for the simple reason that Harrison lacks Dolphy's fluency on either alto sax or bass clarinet, and Blanchard does not possess Little's command of the upper register or his embouchure. That is not a knock; they certainly clicked with the rhythm section of pianist Mal Waldron, bassist Richard Davis, and drummer Ed Blackwell, who did play on the originals. Both of these volumes are highly recommended, but if you have not heard the originals, do whatever it takes to get them.~Ron Wynn http://www.allmusic.com/album/eric-dolphy-booker-little-remembered-live-at-sweet-basil-vol-2-fire-waltz-mw0000200967

Personnel: Terence Blanchard (trumpet); Donald Harrison (alto saxophone, bass clarinet); Mal Waldron (piano); Richard Davis (bass); Eddie Blackwell (drums).

Fire Waltz

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Terence Blanchard - Wandering Moon

Styles: Trumpet Jazz

Year: 2000

File: MP3@320K/s

Time: 75:13

Size: 172,7 MB

Art: Front

( 7:50)  1. Luna Viajera

( 9:19)  2. If I Could, I Would

( 1:10)  3. Bass Solo

( 6:54)  4. My Only Thought of You

( 8:25)  5. Simplemente Simon

( 7:24)  6. Sweet's Dream

( 6:44)  7. Sidney

( 7:26)  8. The Process

(10:57)  9. Joe & O

( 9:00) 10. I Thought About You

It’s been five years or so since trumpeter Terence Blanchard released a record of straight-ahead, small-group jazz, and it was well worth the wait. Blanchard has spent a good deal of his time scoring Spike Lee’s "joints" and other films. As a result, his orchestrational chops exceed those of the average jazzman, and it shows throughout this fine album. The three-horn writing is impeccable. The flow of the music is also quite cinematic. And as far as the blowing is concerned, Blanchard has lost nothing. His bright, expressive trumpet tone is the disc’s guiding light.

Blanchard wrote most of the material for Wandering Moon, except for pianist Edward Simon’s minor-key waltz "The Process" and a Miles-faithful ballad reading of "I Thought About You." Blanchard’s tunes often bear a resemblance to some of Wynton Marsalis’s early work colorful, contemporary changes hung around propulsive swing, latin, and waltz tempos. There are also nods to the free vocabulary being explored lately by Branford Marsalis and Jeff "Tain" Watts: "If" and "Joe & O," both of which feature Branford as a guest soloist. The record begins, however, in slow and stately fashion with the translated title track, "Luna Viajera."

Dave Holland contributes one of his trademark unaccompanied bass soliloquies to introduce the pretty waltz "My Only Thought of You," which includes strong solos by Simon, Blanchard, and Branford, as well as impressive time-feel manipulation by drummer Eric Harland. "Simplemente Simon," a hip latin groove in seven, is also a showcase for the hot rhythm team of Holland and Harland. Tenorist Brice Winston gets in some good licks as well. Blanchard’s elegy for Harry "Sweets" Edison, titled "Sweet’s Dream," sounds the strongest echoes of Wynton’s early writing, as does "Sidney," an excellent mid-tempo burner. ~ David Adler  http://www.allaboutjazz.com/wandering-moon-terence-blanchard-sony-legacy-music-review-by-david-adler.php

Personnel:  Terence Blanchard, trumpet;  Branford Marsalis, tenor saxophone (2, 4, 9);  Brice Winston, tenor saxophone;  Aaron Fletcher, alto saxophone;  Edward Simon, piano;  Dave Holland, bass;  Eric Harland, drums.

Wandering Moon

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Donald Harrison & Terence Blanchard - Black Pearl

Styles: Saxophone Jazz
Year: 1988
File: MP3@320K/s
Time: 53:08
Size: 121,8 MB
Art: Front

( 2:59)  1. Selim Sivad
( 7:34)  2. Black Pearl
(10:44)  3. Ninth Ward Strut
( 5:40)  4. Infinite Heart
( 6:20)  5. The Center Piece
( 6:15)  6. Somewhere
( 4:14)  7. Dizzy Gillespie's Hands
( 4:08)  8. Toni
( 5:11)  9. Birth of the Abstract

The fifth and final recording by the Terence Blanchard-Donald Harrison Quintet uses the same notable rhythm section that was on their previous Crystal Stair release: pianist Cyrus Chestnut, bassist Reginald Veal, and drummer Carl Allen. In addition, two songs add vibraphonist Monte Croft and percussionist Steve Thornton while guitarist Mark Whitfield sits in on "Infinite Heart." With the exception of Leonard Bernstein's "Somewhere," the repertoire is split between compositions by the co-leaders. 

Harrison (who contributed tributes to two notable trumpeters, "Selim Sivad" and "Dizzy Gillespie's Hands") was heard at his best during his period with this group. All five of the Quintet's releases (two for the George Wein Collection on Concord and three for Columbia) are worth picking up for this was one of the most stimulating acoustic jazz groups of the mid- to late '80s. ~ Scott Yanow  http://www.allmusic.com/album/black-pearl-mw0000652086

Personnel: Alto Saxophone, Soprano Saxophone, Saxophone – Donald Harrison;  Bass – Reginald Veal;  Drums – Carl Allen;  Guitar – Mark Whitfield;  Percussion – Steve Thornton;  Piano – Cyrus Chestnut Trumpet – Terence Blanchard;  Vibraphone – Monte Croft

Black Pearl

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McCoy Tyner - Illumination!

Bitrate: MP3@320K/s
Time: 57:23
Size: 131.4 MB
Styles: Post bop, Piano jazz
Year: 2004
Art: Front

[6:10] 1. Illuminations
[8:46] 2. Angelina
[5:55] 3. New Orleans Stomp
[5:33] 4. Come Rain Or Come Shine
[5:21] 5. Soulstice
[4:49] 6. Blessings
[6:23] 7. If I Should Lose You
[3:12] 8. The Chase
[3:58] 9. West Philly Tone Poem
[7:12] 10. Alone Together

In his mid-'60s at the time of this pair of studio sessions, McCoy Tyner is hardly the prototype of a musician re-creating past hits, instead he signals that he still has a few surprises up his sleeve. One thing apparent right away in his opener, "Illuminations," is that he is willing to stay in the background a good deal of the time, focusing the spotlight on bandmembers Terence Blanchard, Gary Bartz, Christian McBride, and Lewis Nash. The leader's driving Latin-flavored "Angelina" features his intricate solo as its centerpiece, though his instrument still seems mixed into the background. Perhaps the greatest surprise among his own works is the playful strutting "New Orleans Stomp," in which his down-home piano will lift a few eyebrows, accompanied by Blanchard's almost vocal-like trumpet. "The Chase" is a
brief but rapid-fire workout with the rhythm section that will sound more familiar to longtime fans of Tyner. Bartz penned the strident post-bop vehicle "Soulstice," while Blanchard contributed the moody "Blessings," which blends a dark bass vamp with an uplifting Latin-flavored unison line by the two horns. McBride's "West Philly Tone Poem" features his warm arco bass in an inspired duet with the leader. The trio of standards heard here include "Alone Together" featuring Blanchard's sassy trumpet, while the relaxed but upbeat "If I Should Lose You" finds Bartz switching to soprano sax. This is yet another essential release by the always enjoyable McCoy Tyner. ~Ken Dryden

Illumination!

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Terence Blanchard - Breathless

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 78:04
Size: 178,8 MB
Art: Front

( 5:49)  1. Compared to What
( 8:52)  2. See Me As I Am
(14:33)  3. Everglades
( 4:38)  4. Breathless
( 8:13)  5. Confident Selflessness
( 4:12)  6. Shutting Down
( 6:08)  7. Soldiers
( 3:57)  8. Samadhi
( 4:04)  9. Talk to Me
( 2:48) 10. Tom & Jerry
( 4:28) 11. I Ain't Got Nothin' but Time
( 5:24) 12. Cosmic Warrior
( 4:53) 13. Midnight

Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009), and, though it had been years since Blanchard was considered a young lion, the eclecticism of the album matched the work of many of his younger contemporaries like trumpeter Christian Scott and pianist Robert Glasper, the latter of whom even played on Bounce. In keeping with this boundary-pushing trajectory, Blanchard's follow-up, 2015's Breathless, finds the New Orleans native jumping wholeheartedly into a funky stew of R&B, hip-hop, and fusion-influenced jazz. Blanchard is joined here by his band the E-Collective, an adroit group of young players centered around gifted keyboardist Fabian Almazan, the only carry-over from the Magnetic sessions.

 Along with Almazan, the E-Collective features Charles Altura (guitar), Donald Ramsey (bass), and Oscar Seaton (drums). Also showcased throughout is vocalist PJ Morton, who has released his own R&B- and contemporary gospel-infused albums and toured as a keyboardist with the pop group Maroon 5. Ambitious, adventurous, and steeped in the kind of sticky, psychedelic jazz-funk pioneered by trumpeter Miles Davis in the '70s, Breathless is Blanchard's most electrified album to date. While Blanchard has long drawn comparisons to Davis, they've mostly referenced the iconic trumpeter's classic quintet sides from the late '60s and not his effects-drenched fusion period. Similarly, while on previous efforts Blanchard has flirted with an electronic sound, he's never gone this far in a contemporary jazz direction. Here we get a very '90s hip-hop/jazz-infused reworking of Les McCann's classic 1969 socio-political anthem "Compared to What," several languid, new agey spoken word pieces with Morton, and some expansive, groove-oriented cuts like the bluesy midtempo "See Me as I Am" that allow for plenty of spaced-out solos. 

Also intriguing are Morton's several slow jam vocal numbers, including an inspired cover of Hank Williams' "I Ain't Got Nothin' But Time,' which replaces the country legend's cowboy twang and fiddles with sweeping, Stevie Wonder-esque orchestral synth backgrounds. Also compelling is the languid, dreamy ballad "Everglades," which impossibly balances Debussy-influenced impressionism with angular, synthy, '80s electro-funk. Ultimately, while Breathless is a break from the aggressive, acoustic swing that has marked much of Blanchard's career, it nonetheless retains all the jaw-dropping artistry and soulful creativity we have come to expect, albeit delivered in a vibrant, electric style. ~ Matt Collar  http://www.allmusic.com/album/breathless-mw0002840598

Personnel: Terence Blanchard (trumpet); Charles Altura (guitar); Fabian Almazan (piano, synthesizer); Oscar Seaton (drums).

Breathless

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Ed Thigpen - Young Men & Olds

Bitrate: MP3@320K/s
Time: 58:17
Size: 133.4 MB
Styles: Hard bop
Year: 1991
Art: Front

[6:20] 1. Strike Up The Band
[5:48] 2. Yesterdays
[7:09] 3. Summertime
[5:50] 4. Night And Day
[5:49] 5. Scramble
[6:39] 6. Shufflin' Long
[4:25] 7. Oh My Gosh
[8:59] 8. Dark Before The Dawn
[7:16] 9. I Should Care

Terence Blanchard (trumpet) Bill Easley (alto saxophone) Branford Marsalis (tenor,soprano saxophone) Ronnie Mathews or Sir Roland Hanna (piano) Rufus Reid (bass) Ed Thigpen (drums) Bobby Thomas Jr. (hand drums). Recording Date: November 20 - 21, 1990

Edward Leonard Thigpen was born in Chicago, Illinois on December 28, 1930. His father, Ben Thigpen, was a professional jazz drummer who worked in Andy Kirk's band for close to twenty years throughout the 1930s and 40s. At the beginning of 1959, Thigpen joined Oscar Peterson and Ray Brown to form perhaps the most revered incarnation of the Oscar Peterson Trio. The group stayed together until 1965 and can be heard on close to 50 recordings.

The sensitive, quiet burn of Thigpen's famed brushwork and the forward-leaning foundation of Brown's bass playing made for one of the most well-developed drummer/bassist relationships in the history of the piano trio. Once asked to discuss the style of his longtime drummer, Oscar Peterson explained, Ed Thigpen was a reflective yet complete percussionist. He wasn't really a drummer, he was a percussionist. He had that feeling all the time that it wasn't just drums that he was sitting at. He sees his drums as a complete, not instrument, but orchestra. Whatever he wants it to be. Ed Thigpen has a touch on the drums that you seldom hear. Jo Jones had that same thing.

Young Men & Olds

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Rachelle Ferrell - First Instrument

Styles: Vocal And Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 56:54
Size: 130,6 MB
Art: Front

(5:07)  1. You Send Me
(5:14)  2. You Don't Know What Love Is
(4:25)  3. Bye Bye Blackbird
(6:01)  4. Prayer Dance
(2:21)  5. Inchworm
(6:24)  6. With Every Breath I Take
(1:33)  7. What Is This Thing Called Love
(7:15)  8. My Funny Valentine
(5:15)  9. Don't Waste Your Time
(4:59) 10. Extensions
(8:16) 11. Autumn Leaves

Rachelle Ferrell made her name performing R&B, but this strictly acoustic jazz CD is her earliest recording. Her voice is quite soulful, making her later shift to R&B less of a surprise in hindsight, but Ferrell seems quite unsure of how to use her wide range, and her improvisations are often quite eccentric. Her lack of warmth and subtlety (along with a tendency to scream and screech in unexpected spots without a buildup) makes it difficult to listen to several of the numbers on this standards-oriented set. Trumpeter Terence Blanchard and Wayne Shorter on tenor make worthwhile cameo appearances, but Rachelle Ferrell at that point in her career did not really sound ready for prime time, despite her potential. ~ Scott Yanow  http://www.allmusic.com/album/first-instrument-mw0000124970

Personnel:  Rachelle Ferrell (vocals, piano); Alex Foster (soprano saxophone); Wayne Shorter (tenor saxophone); Terence Blanchard (trumpet); Gil Goldstein (piano, synthesizer); Eddie Green , Michel Petrucciani (piano); Doug Goldstein (synthesizer, drums); Pete Levin (synthesizer); Doug Nally, Lenny White (drums).

First Instrument

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Dr. John - Ske-Dat-De-Dat: The Spirit of Satch

Styles: New Orleans Blues-Jazz
Year: 2014
File: MP3@320K/s
Time: 58:31
Size: 134,3 MB
Art: Front

(4:10)  1. What A Wonderful World
(6:13)  2. Mack The Knife
(4:51)  3. Tight Like This
(4:04)  4. I've Got The World On A String
(2:47)  5. Gut Bucket Blues
(4:45)  6. Sometimes I Feel Like A Motherless Child
(3:55)  7. That's My Home
(4:36)  8. Nobody Knows The Trouble I've Seen
(6:36)  9. Wrap Your Troubles In Dreams
(4:27) 10. Dippermouth Blues
(4:18) 11. Sweet Hunk O'Trash
(5:02) 12. Memories Of You
(2:41) 13. When You're Smiling (The Whole World Smiles With You)

New Orleans piano man Dr. John needs little introduction his work as a groundbreaking genre-bending musician crosses multiple musical borders. Multiple collaborations with various artists throughout a long career have given him a well-deserved reputation that earned him a place in the Rock and Roll Hall of Fame even though he is a New Orleans boogie man at heart. His amazing tribute to the music of fellow Louisiana son Louis Armstrong features musicians from various backgrounds. The disc begins with a zydeco take on the classic "What a Wonderful World," presented miles away from Satchmo's classic ballad. 

The tune features the Blind Boys of Alabama and writer and trumpeter Nicholas Payton, who adds a funky solo the proceedings. Though most of the songs keep things close to the bandleader's hometown of New Orleans, some of them do go to a different direction. Take for example "Motherless Child," which features a neo-soul arrangement with vocals by Anthony Hamilton. The subtle arrangement is the perfect environment for Dr. John's piano improvisations. "Nobody Knows The Troubles I've Seen" is given a Gospel treatment with a complete choir led by the voice of Ledisi, while "Sweet Hunk O' Trash" is played as a lovely reggae-meets blues arrangement. ~ Ernest Barteldes  http://www.allaboutjazz.com/ske-dat-de-dat-the-spirit-of-satch-dr-john-concord-music-group-review-by-ernest-barteldes.php#.VB2bPhawTP8

Personnel: Dr. Johm: piano and vocals; Bonnie Raitt: vocals; Anthony Hamilton: vocals; Ledisi: vocals, Arturo Sandoval: trumpet; Nicholas Payton: trumpet; Dirty Dozen Brass Band: various brass; Terence Blanchard: trumpet; Blind Boys Of Alabama: various instruments; McCrary Sisters: vocals; Shemekia Copeland: vocals; Wendell Brunious: trumpet;James "12" Andrews: trumpet; Mike Ladd: raps; Telmary: raps

Ske-Dat-De-Dat: The Spirit of Satch

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Terence Blanchard - Magnetic

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 68:03
Size: 158,1 MB
Art: Front

( 7:02)  1. Magnetic
( 7:59)  2. Jacob's Ladder
( 7:30)  3. Don't Run
(10:31)  4. Pet Step Sitter's Theme Song
( 8:42)  5. Hallucinations
( 7:21)  6. No Borders Just Horizons
( 4:53)  7. Comet
( 4:31)  8. Central Focus
( 2:34)  9. Another Step
( 6:56) 10. Time To Spare

One of today's foremost jazz musicians and composers Terence Blanchard's achievements have soared since his formative days in Art Blakey's Jazz Messengers to a trajectory of successful bands, recordings and award winning film scores such as 2007's A Tale of God's Will (A Requiem for Katrina) (Blue Note). He's still pursuing new challenges with the upcoming June 2013 premiere of his first opera entitled Champion, "An Opera In Jazz" based on the life of world champion boxer Emile Alphonse Griffith. Blanchard's ideas are still thriving in his twentieth release and return to Blue Note with Magnetica vibrant recording colored with the usual consummate performances, and a modernist bent that's replete with compelling themes. The ten compositions are written by various band members consisting of drummer Kendrick Scott, pianist Fabian Almazan, the unfaltering tenor saxophonist Brice Winston and the addition of 21-year-old bass prodigy Joshua Crumbly.  

This indicates another clue to Blanchard's vibrancy: his unselfishness mentoring and willingness to learn from younger musicians one time acolytes and now leaders like drummer Eric Harland, pianist Edward Simon, and West African guitarist Lionel Loueke who guests here on two tracks and also performed on Blanchard's previous Blue Note dates: Bounce (2003) and Flow (2007). Blanchard gives his band members plenty of opportunities to shine. Almazan's "Pet Step Sitter's Theme Song" features a larger-than-life theme with Blanchard's electronically processed trumpet, virtuosic piano work, and Loueke's usual finesse touches on guitar and vocalizations. Crumbly's elegant and stirring ballad "Jacob's Ladder" and Winston's tightly wound swinger "Time To Spare" are memorable and revealing of the artist's multiple talents.  Magnetic's theme rolls out like some galactic metropolis vast, complex and colored with futuristic techno embellishments. 

Yet the music is always filled with Blanchard's elongated lines and emotional urgency as found in the opening title track and the moody dreamscape in "Hallucinations." Swing is also a constant element, proven in "Don't Run" as Ravi Coltrane's soprano burns and Ron Carter's muscular bass walks true with bopping precision. Other vivid moments are found in Scott's brilliant "No Borders Just Horizons" where the music moves with feverish intensity and Almazan's superb acoustic/electronic-enhanced solo track "Comet."  These individual threads are intricately woven together by Blanchard's masterful leadership, musicianship, and openness. It's a fine return to Blue Note and another exceptional release in Blanchard's extensive and continuing discography. ~ Mark F.Turner  http://www.allaboutjazz.com/magnetic-terence-blanchard-blue-note-records-review-by-mark-f-turner.php#.U8NiMbFryM0

Personnel: Terence Blanchard: trumpet; Fabian Almazan: piano; Kendrick Scott: drums; Brice Winston: tenor saxophone (1, 2, 5, 6, 10); Joshua Crumbly: bass (2, 4-6, 8-10) Ron Carter: bass (1, 3); Ravi Coltrane: soprano saxophone (3), tenor saxophone (4); Lionel Loueke: guitar (4, 5, 9).

Magnetic

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Tom Scott & Special Guests - Cannon Re-Loaded: All-Star Celebration Of Cannonball Adderley

Bitrate: 320K/s
Time: 52:19
Size: 119.8 MB
Styles: Contemporary jazz. Saxophone jazz
Year: 2008
Art: Front

[6:32] 1. Jive Samba
[5:48] 2. Work Song
[5:47] 3. Mercy, Mercy, Mercy
[4:50] 4. Save Your Love For Me
[5:28] 5. Sack O' Woe
[3:18] 6. Country Preacher
[5:05] 7. Inside Straight
[5:46] 8. I Should Care
[5:27] 9. The Masquerade Is Over
[4:15] 10. Stars Fell On Alabama

Cannon Re-Loaded is simply that: a collection of tunes closely associated with Cannonball Adderley interpreted by an all-star collection of players on the current scene, with bandleader Tom Scott (who co-produced with Gregg Field) on alto saxophone (an instrument he doesn't play that often anymore), trumpeter Terence Blanchard, pianist George Duke (who was actually a member of the Adderley quintet and who also plays Rhodes and Wurlitzer), drummer Steve Gadd, bassists Marcus Miller and Dave Carpenter, and Larry Goldings on the Hammond B-3. Vocalist Nancy Wilson also guests on a pair of cuts that reprise her performances with Adderley from the Nancy Wilson/Cannonball Adderley set released in 1962. In his liner notes, Scott claims Adderley as a major influence on his own playing, and that what he and his dream band wanted to convey was not only Adderley's brilliance as a musician, but also his sense of humor, one that welcomed the audience in to the music he made.

There is no doubt that this quintet gets the tunes right. They open with "Jive Samba," move toward a fast-paced "Work Song," and then of course to "Mercy, Mercy, Mercy" before Wilson joins the band for "Save Your Love for Me." The music has plenty of swing and groove, and it's tight. And maybe that's the problem. Adderley's best records (we could all argue forever about which records those were) had a sense of looseness and a vibe inherent in them that is lost on this group -- with the exception of Duke, who uses his own sense of humor, percussive flair on the keys, and angular bits here and there to dress these jams up for the bandstand instead of the studio. The sound is so utterly pristine and shiny it contains none of that laid-back approach that made the Adderley groups so enjoyable.

For audiophiles, there is plenty to like: the stereo separation is perfect. There isn't a sound out of place here, with the occasional exception of Duke's touches that at least give the thing some air. "Mercy, Mercy, Mercy" and "Work Song," feel like they're being read off the page -- and we know that isn't so. Wilson's tunes "Save Your Love for Me" and "The Masquerade Is Over" come off beautifully, but they don't really echo the originals, they feel like standard contemporary jazz radio fare. Thanks to the Rhodes and B-3, "Country Preacher" comes off best because of the interplay between Goldings and Duke. They let so much soul drip from their respective keyboards that Scott can't make it shine so much., He has to stay closer to the warmth of the tune, and Blanchard, who actually might have been a bandleader in this setting, has got everything he needs in the melody to just let it fall out of his horn. "Inside Straight," while it has the melody, changes, and timing right, is so slick because of Miller's slaphappy bass; it contains a kind of mellowed-down funk that belongs on the studio-perfected jazz records released in the '80s. Thankfully, Blanchard lets some real grit come from his horn. The ballads "I Should Care" and "The Stars Fell on Alabama" come off better than just about anything here because of their reliance on more restrained charts (particularly on the former, with Blanchard's wonderful solo). Scott's solo is less his than Adderley's on the latter. He restrains himself from over-blowing for the most part, and allows some real emotion into the tune.

Overall though, this date may introduce contemporary jazz fans to the music of Adderley, but it doesn't begin to capture his spirit, his irreverent, dry and elegant sense of humor, or the sheer power he could wrench form a funky blues tune, or the soul he could dig out of that horn -- especially in front of an audience. Perhaps if this band would have cut this in front of a club crowd, they might have been able to get more inside the vibe of Adderley. As it stands, it sounds so controlled and rigid that it's simply a pleasant recording to listen to rather than a real tribute to one of the giants of jazz who was also one of its greatest communicators. And while we're at it, one has to wonder why some of Adderley's great soul classics like Black Messiah, Accent on Africa, Pyramid, Happy People, and Music You All have never been issued on CD? ~Thom Jurek

Cannon Re-Loaded: All-Star Celebration Of Cannonball

Adderley

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