Stan Kenton - Journey Into Capricorn

Styles: Piano Jazz
Year: 1976
File: MP3@320K/s
Time: 39:56
Size: 93,1 MB
Art: Front

( 5:10) 1. Too Shy To Say
( 4:58) 2. Pegasus
( 4:36) 3. Granada Smoothie
( 6:11) 4. 90° Celcius
( 6:54) 5. Journey Into Capricorn
(12:05) 6. Celebration Suite

Journey Into Capricorn is the last studio album by American jazz musician Stan Kenton and his orchestra, released in late 1976, by Creative World Records. Recording sessions for the album took place in Hollywood, California on August 16–18, 1976. The initial release of the album titled both the album and the individual tune Journey To Capricorn. The later release reworked the cover art and corrected both titles to Journey Into Capricorn

Though written by Mark Taylor, Granada Smoothie is very reminiscent of Hank Levy's compositions. Taylor's well thought out arrangement of Too Shy To Say is a clever transformation of Stevie Wonder's pop music hit, the chart represents a continued push to keep Kenton's musical direction moving forward.

During the sessions two compositions were recorded but never got issued on the release: Ken Hanna's "Sensitivo" and Alan Yankee's arrangement of "Lush Life". Producer Bob Curnow, "I have an uneasy feeling that the takes were not really the best on any of their unreleased material, but still it would be nice to have them out after all these years." Curnow is unclear who now possesses the unissued Creative World masters; whether the masters were part of the deal with Gene Norman or if they are in possession of the Kenton estate.
https://en.wikipedia.org/wiki/Journey_Into_Capricorn

Musicians: piano and leader: Stan Kenton; saxophones and flutes: Alan Yankee, Bill Fritz (track: 6), Dave Sova, Greg Metcalf, Roy Reynolds, Terry Layne; trumpets: Dave Kennedy, Jay Sollenberger, Joe Casano, Steve Campos, Tim Hagans; trombones: Allan Morrissey, Dick Shearer, Jeff Uusitalo, Mike Egan, Doug Purviance (bass trombone); tuba: Mike Wallace; acoustic and electric bass: John Worster; drum set: Gary Hobbs; percussion: Ramon Lopez

Journey Into Capricorn

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Stan Kenton & His Orch. - Stan Kenton Live in Europe (1977)

Styles: Jazz, Swing, Big Band
Year: 1977

File: MP3 @ 320K/s
Size side 1: 53,1 MB
Size side 2: 52,5 MB
Art: Front

(23:08) side 1: Lush Life, Love for Sale, Turtle Talk, My Old Flame

(22:53) side 2: Tattooed Lady,I'm Glad There Is You, Fire and Ice, Eager Beaver,Artistry in Rhythm

Though Stan Kenton would lead his band on tours in 1977 and 1978, this live recording from September 1976 is the band's last official recording. This is a thrilling, if unplanned, finale to Kenton's recording career.

In a way, "Live in Europe" summarizes Kenton's career. Charts are drawn from all 4 decades of the band's history - "Eager Beaver/Artistry in Rhythm" from the `40's; "Love For Sale" and "My Old Flame" from the `50's; "Turtle Talk" and " I'm Glad There is You" from the 60's; and the remaining 3 charts," Lush Life"," Tattooed Lady" and "Fire and Ice" are from the 70's, written especially for this band by arranger Alan Yankee. Other arrangers include Pete Rugolo, Dee Barton, Marty Paich, and Kenton himself - an impressive line-up, indeed.

Throughout the program you hear the Kenton band's great command of dynamics from extremely soft to all-out fortissimo. The band cuts its Latin speciality ("Love For Sale"); swings hard ("Tattooed Lady" and parts of "Lush Life"); caresses a ballad ("I'm Glad There is You"); plays with tremendous control building up to a dramatic climax at a very slow tempo ("My Old Flame"), and tackles modern harmonic material like "Turtle Talk" and the awe-inspiring "Fire and Ice." And it's great to hear Stan do the band call before the out-chorus on "Artistry in Rhythm."

The band's performance is typically Kentonian, which is to say tight and powerful, and includes strong solos from trombonists Dick Shearer and Jeff Uusitalo, alto saxophonist Terry Layne, trumpeter Steve Campos, and especially from tenor saxophonist Roy Reynolds and trumpeter Tim Hagans, who blow two of the hottest solos ever captured on a Kenton recording on "Fire and Ice". The rhythm section of John Worster, bass Gary Hobbs, drums, and Ramon Lopez, Latin percussion drives the band hard and is right on the money at every tempo. And of course, one must never forget the lyrical piano solos of Stan Kenton and especially his inspiring leadership and personality which were the keys to the band's success.

"Live In Europe" is full of atmosphere and good memories, and proves once again why the Stan Kenton Orchestra was such a powerful and popular musical force for four decades. Warmly recommended to Kenton fans and those discovering the Kenton sound for the first time.
(John Tapscott, https://www.amazon.com/Live-Europe-Stan-Kenton/dp/B000ANDBGM)

Personnel: Alan Yankee - Arranger (A1, B1, B3), Baritone Saxophone; Allan Morrissey - Bass Trombone; Dave Kennedy, Jay Sollenberger, Joe Casano, Steve Campos (Soloist on B1), Tim Hagans (Soloist on A3, A4, B3) - Trumpets; Dick Shearer - Trombone (Soloist on A1, A2), Associate Producer; Doug Purviance - Bass Trombone, Tuba; Gary Hobbs - Drums; Jef Uusitalo (Soloist on A3, B1), Mike Egan - Trombones; Ramon Lopez - Percussion; Roy Reynolds (Soloist on A4, B3), Teddy Andersen - Tenor Saxophones; Stan Kenton - Arranger (B2, B4, B5), Solo Piano (B2, B4), Piano (Soloist on A1, B5); Terry Layne - Alto Saxophone (Soloist on A3)

Notes: Recorded live in Veghel, Holland, September 18, 1976.

Stan Kenton Live in Europe

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Tim Hagans Quintet - Eternal Forge

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 64:14
Size: 147,9 MB
Art: Front

( 6:52) 1. Adam's Calendar
(14:12) 2. Not Yet
( 9:54) 3. Concord
(10:48) 4. Deva Uma
( 7:26) 5. Space Dozen
( 9:37) 6. That Is What Happens When You Leave The Door Open
( 5:22) 7. Stella By Starlight

Eternal Forge is a new digital release from Tim Hagans' European Quintet. It is available on Amazon in June 2019.

The Tim Hagans Quintet has performed extensively in Europe at jazz festivals, concert venues and jazz clubs. Tim Hagans writes: "Anders Mogensen, Carl Winther and Johnny Åman create a supremely burning and churning, swinging pulse. Their astounding ability to play the entire spectrum of dynamics keeps listeners in suspenseful anticipation.”

The music on this recording is intended to conjure for the listener the wondrous palette of human emotion, from jubilation of the life's joyous moments to the deep hope of the blues.

Space Dozen, Not Yet and That’s What Happens When You Leave The Door Open by Tim Hagans offer cosmic swing, contemplative groove and relentless action. Deva Uma and Adam’s Calendar by Carl Winther take us from introspective beauty to rhapsodic swing. Concord by the great trumpeter Jens Winther, imbues an adventurous forward motion which embodies the idea behind the release's title: Eternal Forge. These five musicians channel their collective energy and breath to propel them ever forward on the journey of creating exciting new music.
https://www.timhagans.com/news

Personnel: Tim Hagans - trumpet; Anders Mogensen - drums; Johnny Aman - bass; Carl Winther - piano; Marek Konarski tenor saxophone

Eternal Forge

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Tim Hagans - The Moon Is Waiting

Styles: Trumpet Jazz
Year: 2011
File: MP3@320K/s
Time: 61:37
Size: 141,8 MB
Art: Front

( 6:22)  1. Ornette's Waking Dream of a Woman
( 6:13)  2. The Moon Is Waiting
( 8:45)  3. Get Outside
( 6:17)  4. First Jazz
( 6:53)  5. Boo
( 7:11)  6. What I'll Tell Her Later Tonight
( 8:59)  7. Wailing Trees
(10:54)  8. Things Happen in a Convertible

Those who mine exploratory veins of music often eschew structure, confusing lack of form with freedom, but trumpeter Tim Hagans knows the difference. The new quartet that he's convened for The Moon Is Waiting is a malleable unit that thrives on bringing unpredictable ideas into structured environments. The music it makes isn't fusion, free jazz, or post-modern patchwork, but it borders on all of those territories. While the first three pieces were commissioned by the Michele Brangwen Dance Ensemble, they don't require accompanying visual stimuli to be stimulating from an artistic stand point. "Ornette's Waking Dream Of A Woman" is introduced with the sounds of suspicion, leading to an explosive second act, while the title track is underscored by constant cacophony. A mysterious ten-note motif makes its mark as the last of these three pieces, "Get Outside," sets sail, but the music takes a drastic turn when drummer Jukkis Uotila shifts to piano. He delivers curious yet stable chordal statements which serve as dividing markers between abstract musings from Hagans and guitarist Vic Juris. Eventually, the piece erupts into a Black Sabbath-worthy groove in seven, with Hagans running rampant atop the mix.

While Hagans has always been a visionary, capable of charting his own course without any outside help, influence or direction, his sidemen on this date help to determine how these pieces play out. Bassist Rufus Reid's tonal presence adds weight to every piece, and his ability to fatten up a unison riff or supply some saucy soloing ("Boo") make him a major asset. Guitarist Vic Juris' chameleon-like abilities help to broaden the sonic variety in the music and, while he's not as well-known as the other musicians, Jukkis Uotila proves to be a powder keg of percussive intensity. He swings in beyond-bop fashion, as Juris and a Freddie Hubbard-like Hagans show what they're made of ("First Jazz"), and he engages the rest of the musicians with perpetual drumming motion as he scampers across the rangy terrain of Hagans' compositions. His steady rhythmic barrage is actually one of the defining characteristics of this ensemble. Hagans has proven to be a master compositional architect in more formal settings, but his ability to let loose with this small group is the key to its success. The Moon Is Waiting is a marvel of elastic expressions from one of the most shrewd and intelligent minds in jazz today.~Dan Bilawsky https://www.allaboutjazz.com/the-moon-is-waiting-tim-hagans-palmetto-records-review-by-dan-bilawsky.php
 

Personnel: Tim Hagans: trumpet; Vic Juris: guitar; Rufus Reid: bass; Jukkis Uotila: drums, piano.

The Moon Is Waiting

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Andy Laverne - Severe Clear

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 63:36
Size: 146,2 MB
Art: Front

(7:23) 1. Severe Clear
(8:39) 2. No Guts, No Glory
(9:10) 3. Plasma Pool
(6:13) 4. Fact or Fiction
(6:31) 5. Rick's Trick
(7:59) 6. Trajectory
(9:16) 7. Three Times Twice
(8:20) 8. Ethereal Spheres

Augmented by trumpeter Tim Hagans, this recording finds Laverne in top gear playing some of the most incredible chord voicings. Rick Margitza (ts) is also prominently featured.
By Paul Kohler https://www.allmusic.com/album/severe-clear-mw0000415916

Personnel: Andy LaVerne – piano; Tim Hagans – trumpet; Rick Margitza – tenor saxophone; Steve LaSpina – bass; Anton Fig – drums

Severe Clear

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Peter Erskine, Tim Hagans With Norrbotten Big Band - Worth the Wait

Styles: Post Bop, Trumpet Jazz
Year: 2008
File: MP3@320K/s
Time: 68:00
Size: 156,7 MB
Art: Front

(10:41)  1. Worth the Wait
(10:56)  2. You Should See My Office
(12:11)  3. Plan 9
( 9:03)  4. First Jazz
( 8:15)  5. Scotland, Africa
(11:04)  6. Reason to Believe
( 5:48)  7. Drum Row

Peter Erskine and Tim Hagans shared the stage in the early 1970s as members of the Stan Kenton Orchestra, which provided a nurturing atmosphere for two young musicians and a beginning to their musical careers. After decades in divergent paths, this recording reunites the drummer and the trumpeter in another big band setting that's, well, Worth The Wait. The duo front the sixteen-piece Swedish Norrbotten Big Band (NBB), which Hagans has directed since 1996, in a live recording for Sveriges Radio P2 (Swedish Radio) at the Kulturcentrum Ebeneses in Luea, Sweden. Playing with the NBB offered the perfect platform for the performance of their seven original compositions on a world stage. The big band's mission is to perform original music while featuring star soloists such as Joe Lovano, Toots Thielemans and Chris Potter; here of course, Erskine and Hagans fill that role admirably. The album is actually one half of a two-record release from Erskine's independent record label, while the other album, Standards (Fuzzy Music, 2007), features the drummer in a piano trio. There are no sweet ballads, charming melodies or simplistic big band charts, the music on this disc flows to a more sophisticated groove sure to draw the interest of the jazz aficionado who leans towards the progressive big band sound. Though the music is accessible, the intricate arrangements offer ample solo space for various members of the band to join the co leaders in play. The opening title track, an Erskine composition and Hagan arrangement, offers a glimpse of the nature of this recording as the music features the sounds of altoist Johan Horlen and bassist Martin Sjostedt early on, with later solos from Erskine that only become brassy midway towards the track's end. The woodwind section comes alive on Hagans' "You Should See My Office," where the two featured artists take their turn in the spotlight only after tenor Mats Garberg sets the stage with a solid performance of his own. Another Hagans tune, "First Jazz," delivers what is unquestionably the best swinging number of the album as Hakan Brostrom's play on alto outshines the leaders. Composer/arranger and professor of the Eastman Jazz Ensemble at the University of Rochester, Bill Dobbins contributes arrangements of Erskine's "Plan 9" and the percussive "Scotland, Africa" where Erskine takes over the tune with his prowess. He is again showcased as the only soloist on the Hagans finale, "Drum Row," where the band plays only a supporting role. This Erskine and Hagans big band project in no way resembles the classic orchestrations they were a part of during their Kenton days. That's not to say that the new music they are a part of now isn't as good or wasn't worth the wait, because the music is definitely good and the wait, certainly worth it. ~ Edward Blanco https://www.allaboutjazz.com/worth-the-wait-peter-erskine-fuzzy-music-review-by-edward-blanco.php

Personnel: Peter Erskine: drums; Tim Hagans: conductor,trumpet; Hakan Brostrom: saxophone; John Horlen: saxophone; Mats Garberg: saxophone; Bengt Ek: saxophone; Per Moberg: saxophone; P-O Svanstrom: trombone; Magnus Puls: trombone; Peter Dahlgren: trombone; Bjorn Hangsel: bass trombone; Bo Stranberg: trumpet; Dan Johansson: trumpet; Magnus Ekholm: trumpet; Tapio Maunuvaara: trumpet; Daniel Tilling: piano; Ola Bengtsson: guitar; Martin Sjostedt: bass.

Worth the Wait

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Grachan Moncur III Octet - Exploration

Styles: Trombone Jazz
Year: 2004
File: MP3@320K/s
Time: 54:04
Size: 124,7 MB
Art: Front

(8:11)  1. Exploration
(5:26)  2. Monk In Wonderland
(8:48)  3. Love And Hate
(9:54)  4. New Africa
(7:34)  5. When?
(6:59)  6. Frankenstein
(2:55)  7. Excursion
(4:13)  8. Sonny's Back!

Ralph Ellison once wrote a great essay in which he seemed to predict jazz's ultimate dependence on a music industry driven (and subsidized) by a star system. The irony, Ellison suggested, is that jazz is largely created by anonymous musicians, who because they are "devoted to an art which traditionally thrives on improvisation [...] very often have their most original ideas enter the public domain almost as rapidly as they are conceived to be quickly absorbed into the thought and technique of their fellows." There is a bittersweet implication here as if it's somehow nobler to be an unknown, poverty-stricken musician, and as if becoming a jazz celebrity inevitably involves selling out. But I don't know if you could convince trombonist and composer Grachan Moncur of either of these propositions. Though he may agree that the star system is a horrible invention, he recently had the opportunity to reestablish his own reputation, and I can almost hear him thanking [insert the deity of your choice here] for that. After all, until this chance came along, Moncur was coming very close to total obscurity and from what I can tell, he wasn't enjoying it, materially or philosophically. In the '60s, he had been a participant and leader in several stellar Blue Note sessions (now collected on a Mosaic box set), but he more or less hadn't been heard from again until, well, last year. Why? It could be that his (smart) impulse to control his own publishing rights got him blacklisted by the Blue Note big wigs. Or maybe that blacklisting had something to do with his turn toward the avant-garde. Or perhaps it was something else altogether something even more painful (see Fred Jung's AAJ interview with Moncur for several moving allusions). 

In any case, here at last is one of the rewards of a jazz culture that has become downright curatorial in recent years (a fact sometimes too-quickly decried by those of us who prefer our music in the clubs): at least we're starting to value the contributions of lesser-known veterans. To be sure, Moncur's new album, Exploration, is markedly different from his '60s output. Here, he is dealing with a much larger ensemble (an octet featuring such varied personages as Gary Smulyan, Billy Harper, and Andrew Cyrille), for which Mark Masters' compelling, dense arrangements are perfectly suited. True to its name, Exploration is not a simple repackaging of Moncur's work, but, rather, a sincere statement of artistic growth (a noble thing any age, but particularly when you're in your late 60s). A brief summary: "New Africa" is a gorgeous suite whose creation was apparently assisted by Moncur's wife, Tamam. "Sonny's Back" weighs in on the "almost-bop" side of things and is named after Moncur's friend, Sonny Rollins. And speaking of friends in high places, Moncur's signature tune ("Monk in Wonderland") is named after another fellow traveler (you-know-who), who I suspect is his biggest influence. (I'd be remiss if I didn't mention the amazing alto solo on this tune, incidentally. Thanks, Gary Bartz.) "Love and Hate" is strangely named; it sounds like all love to me (slow, mellow, sweet). And for the hardcore fan, "Excursion" is a more or less totally free several minutes. I could go on, but you get the idea. Bottom line: welcome back, Grachan. We missed you. ~ Andrew Durkin https://www.allaboutjazz.com/grachan-moncur-iii-exploration-by-andrew-durkin.php

Personnel: Personnel: Grachan Moncur III, trombone; Mark Masters, arrangements; Tim Hagans, trumpet; John Clark, French Horn; Dave Woodley, trombone; Gary Bartz, alto sax; Billy Harper, tenor sax; Gary Smulyan, baritone sax; Ray Drummond, bass; Andrew Cyrille, drums.

Exploration

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Marc Copland, Tim Hagans - Between The Lines

Styles: Piano And Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 63:13
Size: 145,7 MB
Art: Front

(5:54)  1. Nefertiti
(9:26)  2. Passing giants
(5:07)  3. Three in one
(8:07)  4. I loves you Porgy
(6:28)  5. When will the blues leave
(7:46)  6. Estaté
(7:32)  7. On Green Dolphin Street
(7:00)  8. Rainy night house
(5:47)  9. Canteloup Island

Piano/trumpet duets are somewhat rare in jazz history, particularly in more modern areas of jazz. The pianist has to function as the complete rhythm section while the trumpeter has to have enough variety in sound, ideas, and moods to hold one's attention. Pianist Marc Copland and trumpeter Tim Hagans succeed in all of these areas during their stimulating set. The music they perform is often lyrical and searching, although their versions of Thad Jones' "Three in One" and Ornette Coleman's "When Will the Blues Leave" are also swinging. There is nowhere to hide during duets, but Copland (who often plays dense chords) and Hagans make every note count. This project rewards repeated listenings. ~ Scott Yanow https://www.allmusic.com/album/between-the-lines-mw0001190180

Personnel:  Marc Copland - piano; Tim Hagans - trumpet

Between The Lines

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Andrew Rathbun - Character Study

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 61:20
Size: 141,5 MB
Art: Front

(6:08)  1. The Golden Fool
(6:49)  2. Team of Rivals
(8:49)  3. Alphabet Deaf and Forever Blind
(7:09)  4. His Quiet Determination
(7:09)  5. Etcetera
(9:28)  6. The Long Awakening
(6:40)  7. Character Study
(9:05)  8. Turmoil

Jazz saxophonist Andrew Rathbun was born and raised in Toronto, in 1991 earning a Canada Council for the Arts grant to study in Boston, where he attended the New England Conservatory under the tutelege of Jimmy Guiffre and George Russell. Playing and recording with artists including Jeff Hirshfield, Kenny Wheeler, John Abercrombie and Ingrid Jensen, from 1994 to 1997 Rathbun also taught at the University of Maine before moving on to the Amadeus Conservatory in Westchester, NY; his solo debut Scatter Some Stones followed in 1999. The experimental True Stories came out the next year, offering two Margaret Atwood poems set to music. The heady and complex Sculptures was released two years later.~ Jason Ankeny https://itunes.apple.com/us/album/character-study/1444115015

Personnel:  Andrew Rathbun -  tenor saxophone; Tim Hagans -  trumpet; Gary Versace -  piano; Jay Anderson - bass; Bill Stewart - drums

Character Study

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Ted Nash Big Band - Chakra

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 49:41
Size: 113,9 MB
Art: Front

(4:56)  1. Earth
(8:05)  2. Water
(9:43)  3. Fire
(5:34)  4. Air
(7:15)  5. Ether
(7:08)  6. Light
(6:58)  7. Cosmos

In Chakra , in addition to the already known instrumental skills, Ted Nash highlights his originality as a composer and orchestrator. The seven compositions gathered in the form of a suite give the listener a great cornucopia of suggestions. They constitute the enchanting musical translation of the seven energy centers which, according to the Indian traditions of yoga and Ayurvedic medicine, govern organic and mental functions. Trait d'unionthe disc is the assertion of a culturally inclusive attitude in human life as a first step towards fantasy and creativity. In the foreground, swinging orchestral games with a very mobile vocabulary, which contrast with the serene serenity of the philosophical themes put in place. Unlike what could be expected from the title, the US multi-instrumentalist demonstrates how you can touch the deeper chords of the listener without resorting to new age or musical esotericism. Thanks to the contribution of extraordinary musicians, the orchestral form is always remarkable, characterized by rich timbric mixes. In particular "Fire" well summarizes the essence of the project and indirectly the jazz aesthetic, using contrasting meters and atmospheres. Chakra offers a fascinating fresco where Afro-Cuban-Caribbean and European influences indulge the inspiration of a complete composer, in search of a communion of cultures.~ Maurizio Zerbo https://www.allaboutjazz.com/chakra-ted-nash-plastic-sax-records-review-by-maurizio-zerbo.php

Personnel: Ted Nash, Ben Kono, Charles Pillow: alto and soprano saxophone, flute, clarinet; Dan Willis, Anat Cohen, Paul Nedzela: tenor and baritone saxophone, clarinet; Kenny Rampton, Alphonso Horne, Ron Horton, Tim Hagans: trumpet; Alan Ferber, Mark Patterson, Charley Gordon, Jack Schatz: trombone; Christopher Ziemba: piano; Martin Wind: double bass; Ulysses Owens: battery.

Chakra

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John Fedchock - New York Big Band

Styles: Trombone Jazz
Year: 1995
File: MP3@320K/s
Time: 74:51
Size: 174,3 MB
Art: Front

( 7:53)  1. Limehouse Blues
( 7:23)  2. The Grove City Groover
( 5:55)  3. La Parguera
( 4:29)  4. Ruby, My Dear
( 8:58)  5. Blues Du Jour
(11:46)  6. Caravan
( 4:34)  7. Nefertiti
( 5:55)  8. Louie's Cheese Party
( 7:57)  9. Nightshades
( 4:32) 10. My Foolish Heart
( 5:24) 11. Flintstoned

John Fedchock is best-known as a former trombonist and occasional arranger with Woody Herman's orchestra, but the release of this "Reservoir" set should also give him a reputation as an important big-band leader in his own right. Fedchock, who provided arrangements for all 11 selections (six jazz standards and five of his originals), gathered together quite an interesting variety of jazzmen for this date. Included among the personnel are many players who have led sessions of their own, including altoist Jon Gordon, Rick Margitza and Rich Perry on tenors, baritonist Scott Robinson, trumpeter Tim Hagans, and (on three numbers) percussionist Jerry Gonzalez. Fedchock's arrangements give his big band a unified group sound and leave plenty of room for the soloists. Among the highlights are a race through "Limehouse Blues" (which has a torrid tenor-baritone tradeoff by Perry and Robinson), a thoughtful feature for Tim Hagans on "Nefertiti," the heated tenor of Rick Margitza on "Caravan," altoist Mark Vinci's showcase on "My Foolish Heart," and the leader's many colorful trombone solos. This straight-ahead set (which also includes Fedchock's "Blues Du Jour," the calypso feel of "Louie's Cheese Party," and a slightly demented romp on the "Flintstones Theme" that is retitled "Flintstoned") is consistently swinging, enjoyable, and easily recommended. ~ Scott Yanow http://www.allmusic.com/album/new-york-big-band-mw0000183131

Personnel: John Fedchock (trombone); Jon Gordon (soprano saxophone, alto saxophone); Mark Vinci (alto saxophone); Rich Perry, Rick Margitza (tenor saxophone); Scott Robinson (baritone saxophone); Greg Gisbert, Tim Hagans, Barry Ries, Tony Kadleck (trumpet, flugelhorn); George Flynn , Keith O'Quinn, Clark Gayton (trombone); Joel Weiskopf (piano); Dave Ratajczak (drums); Jerry Gonzalez (percussion).

New York Big Band

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Tim Hagans & Bob Belden - Re-Animation Live !

Styles: Trumpet And Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 62:43
Size: 145,0 MB
Art: Front

( 0:12)  1. Introduction
( 7:35)  2. Animation/Imagination
( 3:15)  3. Big Moment
(10:34)  4. Hud Doyle
( 5:55)  5. Killer Instinct
( 7:49)  6. 28 If
( 2:58)  7. Dans la Ville Sombre
(10:56)  8. Are You Threatening Me?
( 3:27)  9. Love's Lullaby
( 9:59) 10. Trumpet Sandwich

Given the technical considerations, I didn’t expect that trumpeter Tim Hagans and saxophonist Bob Belden would be able to translate their groundbreaking 1999 project, Animation/Imagination (Blue Note), to the live stage, but they proved me wrong in astonishing fashion. This new disc documents the band’s performance at the Montreal Jazz Festival with Hagans on trumpet, Belden soprano sax, Scott Kinsey keyboards and samples, David Dyson bass, Billy Kilson drums, and DJ Kingsize on the turntables. This project seems to work better on many levels than similar attempts to assimilate techno and jungle elements into jazz. Hagans and Belden chose the ideal meeting point for the two disparate styles: the funk-fusion aesthetic of Miles Davis in the '70s. The results are fresh, enervated and crackling with power. Like many of Miles’ electric albums the tracks here segue seamlessly into one another, keeping the momentum alive. Kilson is an especially strong asset as illustrated by performances like "Hud Doyle" and "Dans la Ville." Hagans is a brooding Dark Magus, and Belden bristles with fiery ideas. If this isn’tthefuture of jazz, at the very least it’s an exciting glimpse into an alternate universe of sound possibilities. ~ Todd S.Jenkins https://www.allaboutjazz.com/re-animation-live-in-montreal-tim-hagans-blue-note-records-review-by-todd-s-jenkins.php
 

Personnel: Tim Hagans: trumpet; Bob Belden" soprano saxophone; Scott Kinsey" synthesizers; David Dyson: electric bass; Billy Kilson: drums; DJ Kingsize: turntables.

Re-Animation  Live !

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Norrbotten Big Band - Future North

Styles: Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 69:10
Size: 158,4 MB
Art: Front

(8:46)  1. Future North Suite-Anticipating Sweden
(8:15)  2. Future North Suite-Discovering Norrbotten
(5:48)  3. Future North Suite-Future North
(6:23)  4. Passing Giants
(9:47)  5. Noogaloo
(6:53)  6. Mention The Extension
(6:42)  7. Walking Iris
(6:42)  8. Twist And Out
(9:49)  9. Missed The Ballgame Blues

This is a tour de force of big band writing and playing. American trumpeter Tim Hagans, artistic director of the Lulea, Sweden-based band, composed and arranged the music. As a writer, he has roots in Ernie Wilkins, Thad Jones, and the Gil Evans-Miles Davis collaborations. (Twenty or so years ago, Hagans performed in Scandinavian bands led by Jones or Wilkins.) The charts are rhythmic, intricate, and kaleidoscopic. Hagans’ three-part “Future North Suite” begins with pedal-tone bass and rockish drums. After a punchy horn unison, the band dissolves into a spacey, Bitches Brew-like segment. There’s a collective ad-lib by the full band and a soprano saxophone solo by Hakan Brostrom. The closing ensemble suggests Thad. This is an example of Hagans’ ability to mix and match. On “Waking Iris” he works Birth of the Cool voicings into the chart, which, again, climaxes in a Thaddian style. The band is impeccable, its chops showing in tricky convoluted counterpoint (e.g., “Twist & Out”) as well as in simpler tutti passages where it breathes as one. Hagans solos frequently-the composer dancing through his creation. The Swedish soloists are hip and in tune with the moods of his charts. ~ Owen Cordle https://jazztimes.com/reviews/albums/norrbotten-big-band-future-north/

Norrbotten Big Band: Tim Hagans (arranger, conductor, trumpet); Hakan Brostrom (alto & soprano saxophones); Jan Thelin (alto saxophone, bass clarinet); Mats Garberg (tenor saxophone, flute); Bangt Ek (tenor saxophone); Per Moberg (baritone saxophone, flute); Bo Strandberg, Dan Johansson, Magnus Ekholm, Tapio Maunuvaara (trumpet, flugelhorn); P-O Svanstrom, Magnus Puls, Peter Dahlgren (trombone); Bjorn Hangsel (bass trombone); Hans Delander (piano, Fender Rhodes); Christian Spering (bass); Jukkis Uotila (drums); Magnus Persson (percussion, didgeridoo).

Future North

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Bob Mintzer Big Band - The First Decade

Styles: Flute, Clarinet and Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 67:25
Size: 157,7 MB
Art: Front

(4:52)  1. Spectrum
(5:47)  2. One Man Band
(5:24)  3. My Foolish Heart
(6:11)  4. Yeah Yeah Yeah
(7:30)  5. Lazy Day
(6:42)  6. Elvin's Mambo
(6:07)  7. Hip Hop
(4:51)  8. Beyond The Limit
(6:14)  9. T.V. Blues
(6:21) 10. Mr. Fone Bone
(5:35) 11. Pots & Pans
(1:45) 12. After Thought

A versatile soloist influenced by Michael Brecker on tenor, Bob Mintzer gained experience playing with Deodato, Tito Puente (1974), Buddy Rich, Hubert Laws, and the Thad Jones/Mel Lewis Orchestra (1977). In addition to leading his own bands starting in 1978, Mintzer worked with Jaco Pastorius, Mike Mainieri, Louie Bellson, Bob Moses, and the American Saxophone Quartet. He has guested with several philharmonic orchestras and led a fine big band in New York since the mid-'80s. Mintzer, a member of the Yellowjackets since 1991 (where his bass clarinet in particular adds a great deal of color to the group), recorded regularly for DMP for a decade before moving to TVT for 1998's Quality Time. Homage to Count Basie followed in fall 2000. Live at MCG, which featured vocalist Kurt Elling, and Old School New Lessons, both of which were benefit albums for the Manchester Craftsmen's Guild in Pittsburgh, Pennsylvania, appeared in 2004 and 2006, respectively. In 2007, Mintzer released the small group session In the Moment. He returned to a big-band setting for 2008's Swing Out and 2012's For the Moment. ~ Scott Yanow http://www.allmusic.com/artist/bob-mintzer-mn0000765221/biography

Personnel: Bob Mintzer (flute, bass clarinet, saxophone, tenor saxophone); Michael Franks (vocals); Pete Yellin, Roger Rosenberg, Bob Malach (flute, saxophone); Michael Brecker, Lawrence Feldman (flute, alto saxophone); Marvin Stamm, Randy Brecker, Tim Hagans, Laurie Frink, Bob Millikan, Michael Philip Mossman, Joe Mosello, Ron Tooley (trumpet, flugelhorn); Dave Bargeron, Chris Seiter, Jim Pugh , Michael Davis , Keith O'Quinn, Bob Smith (trombone); Don Grolnick, Phil Markowitz (piano); Peter Erskine, John Riley (drums); Frank Malabé (congas).

The First Decade

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Rodney Jones - The Undiscovered Few

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 62:34
Size: 145,3 MB
Art: Front

(6:27)  1. The Undiscovered Few
(5:58)  2. Light And Shadows
(4:47)  3. Tradewinds
(5:58)  4. Dreamers In Love
(5:41)  5. My Favorite Things
(2:55)  6. Through The Eyes Of A Child
(5:22)  7. Oliver & Thad
(5:18)  8. The Message
(6:16)  9. Lesson Time
(4:06) 10. Tears Of A Forgotten Child
(5:08) 11. Circus Wheel
(4:33) 12. 3Rd Orbit

Guitarist Jones has a few other CDs that made you stop and listen, but this one is a true revelation. It explores the music from an expanded compositional standpoint as opposed to the A-B (with solos) -A format. The improvisational aspect of the leader is not de-emphasized, but this superb music, with its mainstream inclinations and joyous horn-embellished large group charts, comes out in a stunning and refreshing manner. Jones has substantial help from top-notch peers as saxophonists Donald Harrison, Greg Osby, and Tim Reis; trumpeters Tim Hagans and Earl Gardner; pianists Shedrick Mitchell, Mike Renzi, and Mulgrew Miller; bassist Lonnie Plaxico; and drummer Eric Harland, among others. As a player on his hollow bodied, non-treated electric guitar, Jones is economical, crisp, and driving. The music he makes is richly constructed, filling up space. Horns cry out, swing like mad, commanding attention. These charts are quite remarkable with presence and effective clarity. "Light & Shadows," "The Message," "Circus Wheel," and "Third Orbit" pop and bop, crackling with syncopated underpinnings. A tour de force blues "Oliver & Thad" for Oliver Nelson and Thad Jones swells with an orchestral quality and expansive concept that is a common theme throughout. The music jumps out at you. Smaller groupings give Jones no less room to stretch as on the Latin-inspired "Tradewinds," or duets with violinist Regina Carter on "Tears of a Forgotten Child," and cellist Jesse Levy on "Through the Eyes of a Child (For Cara)." You're going to exclaim a huge "wow!" upon hearing this one for the first time and with repeated listenings gain more enjoyment from this exciting recording. Clearly an extraordinary modern jazz effort, certainly the best of Jones' career, and a solid candidate for Jazz CD of 1999. ~ Michael G.Nastos http://www.allmusic.com/album/the-undiscovered-few-mw0000245489

Personnel: Rodney Jones (guitar); Greg Osby, Morris Goldberg (alto saxophone); Donald Harrison, Tim Ries (tenor saxophone); Tim Hagans, Earl Gardner (trumpet); Charles Gordon (trombone); Regina Carter (violin); Jesse Levy (cello); Mark Sherman (vibraphone); Shedrick Mitchell, Mike Renzi, Mulgrew Miller (piano); Lonnie Plaxico, Benjamin Brown (bass); Lewis Nash, Eric Harland (drums); Robert Allende (percussion).

The Undiscovered Few

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Bob Mintzer Big Band - Only In New York

Styles: Clarinet And Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 67:34
Size: 158,5 MB
Art: Front

(7:28)  1. Treasure Hunt
(5:29)  2. Modern Day Tuba
(6:12)  3. TV Blues
(7:31)  4. Relentless
(8:19)  5. What Might Have Been
(8:31)  6. Good Morning, Good Day, Good Night
(5:57)  7. I Want To Be Happy
(6:28)  8. Brotherhood
(6:14)  9. Life Of The Party
(5:19) 10. Life With Thilo

Tenor saxophonist Bob Mintzer recruited some of the best available jazz musicians in the Big Apple for these 1993 studio sessions, which focus mostly on his originals. The driving opener is "Treasure Hunt," though the tenor sax solo is by Bob Malach rather than the leader. Mintzer switches to bass clarinet for the adventurous "Modern Day Tuba," though the instrument sounds as if it has been electronically altered, as the normally woody tone seems a bit tinny. The leader adds a surprise by singing his hip "TV Blues," which features the underrated pianist Phil Markowitz to good effect. 

The leader is the only soloist on the majestic, richly textured "What Might Have Been." The one standard is a breezy arrangement of "I Want to Be Happy" that adds a Latin undercurrent and showcases trumpeter Tim Hagens and alto saxophonist Pete Yellin. Recommended. ~ Ken Dryden http://www.allmusic.com/album/only-in-new-york-mw0000118052

Personnel: Bob Mintzer (vocals, bass clarinet, saxophone, tenor saxophone); Pete Yellin, Roger Rosenberg, Lawrence Feldman, Bob Malach (saxophone); Bob Milikan, Marvin Stamm, Tim Hagans, Laurie Frink, Ron Tooley (trumpet, flugelhorn); Michael Davis , Keith O'Quinn (trombone); Phil Markowitz (piano); John Riley (drums).

Only In New York

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Dave Ballou, Greg Gisbert & Tim Hagans - Jam Session, Vol. 22

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 61:51
Size: 143,6 MB
Art: Front

(10:13)  1. One Finger Snap
( 9:54)  2. Like Someone In Love
(12:40)  3. Mamacita
( 2:27)  4. Ballad Medley : Body And Soul
( 2:19)  5. Ballad Medley : Stella By Starlight
( 2:56)  6. Ballad Medley : Angel Eyes
( 9:56)  7. Joy Spring
(11:23)  8. Solar

Trumpeter Dave Ballou is one of the few contemporary players who straddles the line between mainstream or progressive jazz and creative improvised musics. Ballou originally attended the Berklee School of Music in Boston, receiving his bachelor's degree in 1986 before achieving his master's at the University of New Hampshire in 1991. Since graduation, Ballou has been very active on the East Coast scene and in Europe and Japan, playing solo and with small and large ensembles, big bands, and symphonies. He has a small but growing discography as a leader almost exclusively for the Danish-based Steeplechase label. Ballou has worked prominently with Orange Then Blue, Gunther Schuller, Michael Formanek, Maria Schneider, Andrew Hill, Satoko Fujii, Dave Liebman, Sheila Jordan, Joe Lovano, Michael Jefry Stevens, John Hollenbeck, Oliver Lake, Denman Maroney, Nate Wooley, Jacob Garchik, Tom Rainey, Rabih Abou-Khalil, and Andy Biskin. In recent years Ballou has been incorporating electronics into his sound, and has been teaching as an assistant professor at Towson University in Maryland. ~ Michael G. Nastos https://itunes.apple.com/us/artist/dave-ballou/id160815107#fullText

Personnel: Dave Ballou (trumpet, flugelhorn); George Colligan (trumpet, piano); Greg Gisbert, Tim Hagans (trumpet); Darren Beckett (drums).

Jam Session, Vol. 22

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Tim Hagans with Norrbotten Big Band - Future Miles

Styles:  Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 62:30
Size: 143,4 MB
Art: Front + Back

(4:07)  1. Fanfare For Miles
(9:44)  2. Kickass
(9:14)  3. Kinsey Report
(2:56)  4. Big Gig In Pajala
(9:00)  5. Miles Of The Blues
(9:39)  6. Concrete Hat
(7:55)  7. Future Cool
(9:52)  8. Boogaloo

Tim Hagans, an excellent post-bop-oriented trumpeter, was with the orchestras of Stan Kenton (1974-1977) and Woody Herman (1977), before moving to Sweden (1977-1981) where he played with Sahib Shihab, Ernie Wilkins' Almost Big Band, the Danish Radio Orchestra (which was then directed by Thad Jones), and Dexter Gordon. After returning to the U.S., he taught at the University of Cincinnati and recorded for the local MoPro label. Hagans taught at Berklee (1984-1986), and then in 1986 he started working with Joe Lovano and Fred Hersch. Later, he has made records with Bob Belden, Lovano, Rick Margitza, John Hart, and the Yellowjackets, and has worked with the big bands of Bob Mintzer, Maria Schneider, and the Gil Evans orchestra. Tim Hagans has recorded several Blue Note albums as a leader. ~ Scott Yanow https://itunes.apple.com/nz/artist/tim-hagans/id30511731#fullText

Personnel: Trumpet – Tim Hagans;  Alto Saxophone [Lead], Soprano Saxophone, Flute – Håkan Broström;  Alto Saxophone, Bass Clarinet – Johan Hörlén;  Baritone Saxophone, Flute – Per Moberg;  Bass – Fredrik Jonsson;  Bass Trombone, Tuba – Björn Hängsel;  Drums – Jonas Holgersson;  Keyboards, Programmed By – Scott Kinsey;  Piano – Ion Baciu;  Tenor Saxophone, Clarinet – Bengt Ek;  Tenor Saxophone, Flute – Mats Garberg;  Trombone – Magnus Puls, Peter Dahlgren;  Trombone [Lead] – P-O Svanström;  Trumpet [Lead], Flugelhorn – Bo Strandberg;  Trumpet, Flugelhorn – Dan Johansson (3), Magnus Ekholm, Tapio Maunuvaara

Future Miles

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The Cutting Edge - S/T

Bitrate: MP3@320K/s
Time: 64:52
Size: 148.5 MB
Styles: Post bop
Year: 1999
Art: Front

[ 7:57] 1. Footprints
[ 5:53] 2. Yesterdays
[10:05] 3. Code Bleu
[ 6:36] 4. Canaloupe Island
[ 7:56] 5. Cutting Edge
[ 7:20] 6. Secret Of The Andes
[ 5:16] 7. Space Dozen
[ 7:14] 8. Our Destiny
[ 6:31] 9. Get Out Of Town

Bass – Jay Anderson; Drums – Steve Davis; Piano, Arranged By, Producer – Andy Laverne; Tenor Saxophone – Walt Weiskopf; Trombone – Conrad Herwig; Trumpet – Tim Hagans.

The Cutting Edge

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The Hal Galper Quintet - Let's Call This That

Bitrate: MP3@320K/s

Time: 63:57

Size: 146.4 MB

Styles: Piano jazz, Post bop

Year: 1999

Art: Front

[ 8:14] 1. Let's Call This That

[ 9:11] 2. The Babes Of Cancun

[ 9:02] 3. Diane's Melody

[12:03] 4. Upon The Swing

[ 8:20] 5. In Love In Peacock Park

[ 9:58] 6. I'll Keep On Loving You

[ 7:06] 7. Constellation

Hal Galper expanded his regular trio to a quintet for this 1999 studio session, adding trumpeter Tim Hagans and tenor saxophonist Jerry Bergonzi; bassist Jeff Johnson and drummer Steve Ellington round out the group. The pianist kicks off the date with Sam Rivers' angular blues "Let's Call This That"; following his guests' straight-ahead solos, Galper mixes some unusual runs into his solo. Jaki Byard's "Diane's Melody" had special meaning to the leader, as its composer was found shot to death just two weeks prior to the making of this recording. Written as a tribute to one of Byard's two daughters, it takes on a melancholy air. Bergonzi is prominently featured in the soothing treatment of Bud Powell's "I'll Keep on Loving You," backed by Galper and Johnson. University of Miami music professor Ron Miller (one of Galper's favorite composers) contributed two songs, the lively "The Babes of Cancun" and the lyrical waltz "In Love in Peacock Park." The quintet finishes the date with a flourish, with a wild interpretation of Charlie Parker's "Constellation," in which Byard's influence on Galper's piano style is readily apparent. This CD is well worth acquiring. ~Ken Dryden

Let's Call This That

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