Steve Grossman - Time to Smile

Styles: Saxophone Jazz
Year: 1994
File: MP3@320K/s
Time: 60:14
Size: 139,1 MB
Art: Front

(7:25)  1. 415 Central Park West
(7:03)  2. Circus
(8:42)  3. I'm Confessin'
(6:48)  4. Extemporaneous
(7:47)  5. This Time the Dream's On Me
(8:39)  6. Time to Smile
(5:49)  7. Till There Was You
(7:57)  8. E. J.'s Blues

This outing is one of tenor-saxophonist Steve Grossman's finest recordings to date. He has mixed together the almost equal influences of John Coltrane and Sonny Rollins to achieve his own style and sound. The program is quite strong with its superior yet generally underplayed standards joined by two of the leader's originals, Elvin Jones's "E.J.'s Blues" and Freddie Redd's "Time to Smile"; also the lineup of musicians would be difficult to top. Pianist Willie Pickens shows a lot of versatility on the hard bop-oriented music, trumpeter Tom Harrell (who is on around half of the tracks) is as fiery and alert as usual, bassist Cecil McBee has a strong musical personality that comes across even when restricted to accompanying the soloists, and drummer Elvin Jones remains in prime form. The main focus however is mostly on Grossman and he continues to grow as an improviser year-by-year. Highly recommended.By Scott Yanow https://www.allmusic.com/album/time-to-smile-mw0000181523

Personnel:  Tenor Saxophone – Steve Grossman; Bass – Cecil McBee; Drums – Elvin Jones; Piano – Willy Pickens; Trumpet, Flugelhorn – Tom Harrell

Time to Smile

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Wayne Escoffery - Like Minds

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 57:33
Size: 134,2 MB
Art: Front

(6:02) 1. Like Minds
(7:48) 2. Nostalgia in Times Square
(7:26) 3. Sincerely Yours
(7:55) 4. My Truth
(6:38) 5. Rivers of Babylon
(4:57) 6. Song of Serenity
(4:07) 7. Treasure Lane
(6:29) 8. Idle Moments
(6:08) 9. Shuffle

Like Minds, the latest album from saxophonist Wayne Escoffery, focuses on chemistry particularly the chemistry between old friends and bandmates who’ve played together so often their interplay is beyond telepathic. To that end, Escoffery uses his regular bandmates keyboardist David Kikoski, bassist Ugonna Okegwo, and drummer Mark Whitfield, Jr., replacing his late teacher Ralph Peterson, Jr. as the backbone. While this configuration has been a band for only about seven years or so, Escoffery has played with them in so many other contexts they sound like longtime soulmates. The quartet is joined by other Escoffery compadres from across his career, including trumpeter Tom Harrell, guitarist Mike Moreno, and singer Gregory Porter, all of whom grok Escoffery’s vibe well.

None of this is surprising, mind you even if you’re not familiar with the saxist himself, Escoffery’s position as co-director of the Mingus Big Band proves he knows how to lead the troops. In that respect, he takes them to fields of smooth hard bop (“Sincerely Yours”), mystical spirit jazz (Peterson’s “Song of Serenity”), soulful social commentary (“My Truth,” co-starring Porter and Harrell), smoky balladry (Duke Pearson’s “Idle Moments,” made famous by guitarist Grant Green), and funky bop fusion (Charles Mingus’s “Nostalgia in Times Square”). If that sounds too disparate, it ain’t – the tight arrangements, easy chemistry, and Escoffery’s warm tone make every song sound of a piece with the rest. Always smooth but rarely slick, Like Minds goes down like a great big bowl of spicy pho. By Michael Toland
https://bigtakeover.com/recordings/wayne-escoffery-like-minds-sm

Personnel: Wayne Escoffery - saxophone, tenor; David Kikoski - piano; Ugonna Okegwo - bass; Mark Whitfield Jr - drums; Gregory Porter - voice / vocals; Tom Harrell - trumpet; Mike Moreno - guitar

Like Minds

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Tom Harrell - Oak Tree

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 56:50
Size: 130,8 MB
Art: Front

(4:59) 1. Evoorg
(5:06) 2. Fivin'
(3:34) 3. Oak Tree
(3:48) 4. Tribute
(5:21) 5. Zatoichi
(5:05) 6. Sun Up
(4:29) 7. Improv
(5:22) 8. Shadows
(5:24) 9. Archaeopteryx
(7:01) 10. Robot Etude
(6:35) 11. Love Tide

Would it be overpraising Tom Harrell to describe his long recording career as practically peerless? Album after album, sometimes year after year, the Midwest-bred trumpet and flugelhorn virtuoso leading quartets, quintets, and sometimes even chamber orchestras has continued to release surprising new music. At 76, he’s still unearthing fresh sounds while digging deep into the jazz tradition, simultaneously referencing the brass players and bandleaders who preceded him and pointing to something new.

Oak Tree is yet another keeper. Joined by longtime bandmates Ugonna Okegwo on bass and Adam Cruz on drums, plus Venezuelan-born pianist Luis Perdomo, a relatively recent addition to his lineups, Harrell again offers a set of appealing, sometimes quirky originals. For opening track “Evoorg” (spell it backwards), he provides a master lesson in solo construction: Deploying a reassuringly warm trumpet tone, he alternates between melodic passages and waterfalling sprays of long phrases. He sometimes incorporates repetition, playing a string of similar phrases, each one configured slightly differently.

Harrell subtly nods to various influences. “Fivin’” has the leader mostly hitting the same note, playing the start-stop melody as the rhythm section shifts chords around him; it hints at Monk’s “Think of One,” combined with some ’70s electric-jazz flavors courtesy of Perdomo’s work on Rhodes. Tadd Dameron-style bop helps define “Improv,” with its deeply swinging groove fueling some of the album’s most inspired solos. “Archaeopteryx,” from its title to its high-flying improvisations, points to Charlie Parker.

The album ventures into varied stylistic terrain too. The aptly titled “Sun Up,” by rights the jazz anthem of the summer, is shaded in tropical colors, particularly reggae-tinted rhythms, and Okegwo sneaks in a sly quote of “Take Five.” And “Zatoichi,” named for the blind swordsman of Japanese pop culture, touches on free-jazz terrain. Like nearly everything else here, it slays. By Philip Booth
https://jazztimes.com/reviews/albums/tom-harrell-oak-tree/

Personnel: Tom Harrell: trumpet & flugelhorn; Luis Perdomo: piano & Fender Rhodes; Ugonna Okegwo: bass; Adam Cruz: drums

Oak Tree

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Lee Konitz - Yes, Yes Nonet

Styles: Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 40:27
Size: 93,7 MB
Art: Front

(6:07) 1. Dearth Of A Nation
(6:15) 2. Languid
(8:06) 3. Footprints
(5:15) 4. Stardust
(6:35) 5. Primrose Path
(4:35) 6. Noche Triste
(3:31) 7. My Buddy

It was a tragedy that Lee Konitz's versatile nonet was not able to succeed commercially. Just like its leader, the group was able to stretch from swing standards, bop and cool jazz to freer improvisations and challenging originals. This SteepleChase release (featuring the nonet when it was comprised of such fine players as trumpeters Tom Harrell and John Eckert, trombonists Jimmy Knepper and Sam Burtis, baritonist Ronnie Cuber, pianist Harold Danko, bassist Buster Williams and drummer Billy Hart in addition to Konitz on alto and soprano) features the group at its best on such pieces as "Footprints," "Stardust," "My Buddy" and four songs by Jimmy Knepper. It's an excellent outing from a somewhat neglected group. By Scott Yanow https://www.allmusic.com/album/yes-yes-nonet-mw0000651370

Personnel: Lee Konitz – alto saxophone, soprano saxophone; John Eckert, Tom Harrell – trumpet, flugelhorn; Jimmy Knepper – trombone; Sam Burtis – bass trombone; Ronnie Cuber – baritone saxophone, soprano saxophone; Harold Danko – piano; Buster Williams – bass; Billy Hart – drums

Yes,Yes Nonet

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George Robert, Tom Harrell Quintet - Cape Verde

Bitrate: MP3@320K/s
Time: 70:24
Size: 161.2 MB
Styles: Bop, Saxophone jazz
Year: 1995/2014
Art: Front

[ 8:45] 1. Streets
[ 7:22] 2. Softly
[12:36] 3. Morning Star
[ 8:38] 4. Cape Verde
[ 9:58] 5. Missing You
[10:29] 6. Sail Away
[12:34] 7. Fast Lane

Alto Saxophone – George Robert; Bass – Reggie Johnson; Drums – Byron Landham; Flugelhorn, Trumpet – Tom Harrell; Piano – Dado Moroni. Recorded live in Rheinfelden, Switzerland on September 24-25, 1992.

This is the fifth and final release by the George Robert/Tom Harrell Quintet, taped during a pair of Swiss concerts in 1992. As in previous outings, the alto saxophonist and trumpeter/flüegelhornist are in top form and each musician also contributed strong originals as well; the potent rhythm section includes the underrated pianist Dado Moroni, bassist Reggie Johnson, and drummer Byron Landham. Harrell's snappy post-bop strut "Streets" features his flüegelhorn, plus fines solos by Robert and Johnson. An extended version of "Sail Away," an emotional driving samba that is also one of Harrell's best known compositions, is another highlight. Robert's rich ballad "Softly" also has a Latin feel to it, while his hard bop "Cape Verde" is clearly inspired by Horace Silver. The only work not composed by either co-leader is "Morning Star," by Rodgers Grant; this highly enjoyable work features an extensive solo by Moroni. The Robert/Harrell Quintet knew how to go out on top! ~Ken Dryden

Cape Verde

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Tom Harrell - Infinity

Styles: Trumpet Jazz
Year: 2019
File: MP3@320K/s
Time: 65:57
Size: 151,8 MB
Art: Front

(6:38) 1. The Fast
(9:40) 2. Dublin
(7:30) 3. Hope
(6:56) 4. Coronation
(6:03) 5. Folk Song
(5:40) 6. Blue
(7:18) 7. Ground
(8:25) 8. The Isle
(1:41) 9. Duet
(6:01) 10. Taurus

A powerful spirituality illuminates Tom Harrell’s work, but that doesn’t mean that there’s anything pretentious or dogmatic going on. An irrepressible sense of play also abounds; trumpeter/flugelhornist Harrell sounds both delighted by his musical quest and enraptured by what he discovers. “The Fast,” this set’s opener, might easily have been titled “The Feast” it’s a veritable smorgasbord of inspiration, propelled by a surging drive reminiscent of Africa/Brass-era Coltrane. (Johnathan Blake’s drumming, reminiscent of Elvin Jones, accentuates that feel.) Harrell’s solo work summons quickness, precision, and focus along with deep melodicism and tonal surety; saxophonist Mark Turner and guitarist Charles Altura, even when they ramp down the velocity, are no less rigorous in their imaginative flow, and their timbre is likewise sure yet flexible and expressive.

Myriad moods and references enrich this set, from the Celtic tinge of “Dublin” and “The Isle” through the meld of stateliness and improvisational exuberance in “Coronation” to the dexterous postbop intensity of such offerings as “Blue” and “Ground.” “Taurus,” the concluding number, seems to both encapsulate and summarize the gifts Harrell shares with us here, as his muted trumpet skips with precision, dexterity, and brio, his solos so logically constructed that one could almost believe he’s able to fully imagine each note, each run, each statement in its entirety before playing it. ~ David Whiteis https://jazztimes.com/reviews/albums/tom-harrell-infinity-highnote/

Personnel: Trumpet, Flugelhorn – Tom Harrell; Tenor Saxophone – Mark Turner ; Bass – Ben Street; Drums – Johnathan Blake; Guitar, Acoustic Guitar – Charles Altura

Infinity

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Steve Hobbs - Spring Cycle

Styles: Vibraphone Jazz
Year: 2005
File: MP3@320K/s
Time: 63:43
Size: 146,9 MB
Art: Front

(6:27)  1. Blued Swings
(8:22)  2. Spring Cycle
(6:08)  3. Rough And Ready
(6:35)  4. Para Mis Padres
(5:41)  5. On The Street Where You Live
(5:34)  6. Jean
(5:01)  7. Mr. P.C.
(8:28)  8. Loon Lake
(5:52)  9. Crosswinds
(5:31) 10. Marionettes

Who says universities create an ivory tower mentality? Educator and vibes master Steve Hobbs has put out a delectably enjoyable CD of accessible, yet thought-provoking music. Employing a front line of Tom Harrell (trumpet, flugelhorn), Dave Valentin (flute), and Bob Malach (tenor), his lighter than air thematic statements serve as a perfect foil to the percussive underpinnings of Hobbs and pianist Bill O'Connell. All of Hobbs' compositions are catchy, memorable, and thoroughly enjoyable. The modal "Blued Swings," with its sophisticated interplay between Valentin and Harrell, is breezy. The lithe and lively melody line of "Spring Cycle" will stay in your mind long after the CD is over. Ditto for "Para Mis Padres," with its lovely and breathy flute melody. The originals by O'Connell are just as well crafted, coherently weaving in the solos as if they were part of the composition. The driving "Crosswinds," strutting "Marionettes," and rhythm-shifting "Loon Lake" all fit into the mainstream category, with excellently defined solos provided by Harrell and Malach. The only potential indulgence regarding this record relates to the listener, who may want to put it on over and over. ~ George Harris https://www.allaboutjazz.com/spring-cycle-steve-hobbs-random-chance-records-review-by-george-harris.php

Personnel: Steve Hobbs: vibraphone; Tom Harrell: trumpet, flugelhorn; Bob Malach: tenor saxophone; Dave Valentin: flute; Bill O'Connell: piano; Peter Washington: bass; John Riley: drums; Steve Berrios: percussion.

Spring Cycle

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Tom Harrell - First Impressions

Styles: Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 63:31
Size: 146,2 MB
Art: Front

( 5:07)  1. Sainte
( 8:14)  2. Voices
(11:49)  3. Perspectives
( 7:28)  4. Beau soir
( 5:57)  5. Rêverie
(11:29)  6. Passepied
( 6:26)  7. Sarabande
( 6:58)  8. Musique du café

Tom Harrell is in a classical mood on his genre-blending First Impressions. This isn’t new for the brilliant trumpeter-composer. The six-part suite The Adventures of a Quixotic Character, off Harrell’s 2014 album Trip, had a classical feel to it, and this new album’s liner notes, by Robert Baird, trace Harrell’s blending of classical music and jazz in his earlier work. But the emphasis of that fusion is heightened on First Impressions, and the jazz/classical recipe is seasoned with tastes of other styles as well. The eight tracks here include Harrell arrangements of four pieces by Debussy (“Beau Soir,” “Reverie,” “Passepied,” “Sarabande”), two by Ravel (“Sainte,” “Voices”) and two new compositions of his own, “Perspectives” and “Musique du Cafe.” They’re performed by his crack working quintet with Wayne Escoffery on soprano and tenors saxophones, Danny Grissett on piano, Ugonna Okegwo on bass and Johnathan Blake on drums, augmented by flute, guitar, violin and cello. Latin influences-bossa, baião, hints of tango and flamenco-insinuate themselves here and there amid all the classical impressionism, as does a touch of hip-hop rhythm beneath the leader’s solo on “Sainte.” The quintet’s straight-ahead prowess is deployed too-Blake’s transitional solo on “Perspectives” and Grissett’s and Escoffery’s deft turns atop the Okegwo-fueled “Reverie” are among the other highlights. Harrell, of course, blows as beautifully as ever. More significant, the 69-year-old master makes clear that it isn’t just millennials who are currently embracing an eclectic approach to jazz composition. “I think all forms of music, even popular music, are close to jazz and classical music,” Harrell declares in Baird’s album notes. “There’s been a revolution in musical composition. Composers are utilizing pop elements, which would have been unheard of a short time ago, but now it’s really accepted.” ~ Bill Beuttler https://jazztimes.com/reviews/albums/tom-harrell-first-impressions-debussy-and-ravel-project/

Personnel:  Tom Harrell, trumpet & flugelhorn; Wayne Escoffery, soprano & tenor saxophone; Charles Pillow, flute & bass flute; Danny Grissett, piano; Rale Micic, guitar; Meg Okura, violin; Rubin Kodheli, cello; Ugonna Okegwo, bass; Johnathan Blake, drums

First Impressions

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Rein de Graaff Quintet - New York Jazz

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 36:13
Size: 84,5 MB
Art: Front

( 3:56)  1. Fifty Six
(10:07)  2. A Monk's Dream
( 3:27)  3. Wail
( 5:49)  4. Solar
( 4:36)  5. 81st and 1st
( 8:17)  6. Au Privave

Pianist. Dutch self-taught pianist who's made himself one of Europe's best session players. De Graaff led a trio from 1959 to 1962, then joined The Jazzopters for a year. He then headed his own quartet until 1964, at the same time playing with Erwin Some and Gijs Hendriks. De Graaff formed a new group in 1964 that stayed together until the '80s. He also played with a number of visiting American musicians, among them Hank Mobley, Lee Morgan, Johnny Griffin, Art Taylor, Clifford Jordan, Cecil Payne, Dexter Gordon, Clark Terry, Sonny Stitt, Philly Joe Jones and Arnett Cobb. He made several appearances in New York, and was awarded the Dutch National Jazz Prize in 1980. 

~ Ron Wynn https://www.allmusic.com/artist/rein-de-graaff-mn0000980075/biography

Personnel:  Piano – Rein De Graaff; Baritone Saxophone – Ronnie Cuber; Bass – Sam Jones; Drums – Louis Hayes; Trumpet, Flugelhorn – Tom Harrell

New York Jazz

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Paul Nash (featuring Tom Harrell, Michael Cochrane, Michele Hend - Second Impression

Styles: Jazz, Post Bop
Year: 1985
File: MP3@320K/s
Time: 48:36
Size: 112,4 MB
Art: Front

(5:25)  1. Song for Lanie
(4:34)  2. New York Nocturne
(8:30)  3. After Words
(5:02)  4. Intermission
(5:32)  5. (It's A Few Steps) From Broadway to Amsterdam
(2:20)  6. Uplift
(6:11)  7. Pentepic
(3:15)  8. Passing Glance
(7:44)  9. Starlit Skylight

The music of composer and guitarist Paul Nash reflects a restless commitment to musical experimentation integrating by turns the sound worlds of jazz, classical, and rock through his own personal synthesis. Nash’s musical path began in the late 60’s when his Bronx teenage rock band opened for the Blues Project and followed a then unknown Jimi Hendrix at the Cafe Wha? in Greenwich Village. This was followed by years of music study earning respectively B.M. and M.A. degrees in music composition from the Berklee College of Music in Boston in 1972 and Mills College in Oakland (CA) in 1976. San Francisco provided a fruitful outlet for his passion for larger jazz aggregations. In 1977, the ten-piece Paul Nash Ensemble, which featured saxophonist Noel Jewkes, drummer Eddie Marshall and trumpeter Mark Isham, began performances around the Bay Area and in Los Angeles. Later, Nash became instrumental in the creation of the Bay Area Jazz Composers Orchestra (BAJCO), a new type of jazz orchestra that included a string quartet founded in 1987. Upon his return to New York City, Mr. Nash expanded on that same instrumental model by establishing the Manhattan New Music Project in 1990. Nash’s interest in classical forms has evolved alongside his work in jazz. Among the music groups that have performed Nash’s chamber and orchestral pieces have been the St. Luke’s Chamber Ensemble, the Aspen Music Festival, the Chamber Symphony of San Francisco, the San Francisco Symphony, the Reading Symphony Orchestra (PA) and Ridgefield (CT) Symphonies is scheduled in 2002. Musical Elements, and Composers Concordance and Eclectix.

As a leader, Nash has produced five impressive recordings including three for Soul Note Records (Italy), which have featured jazz artists such as Tom Harrell, Jack Walrath, Tom Varner, David Samuels, Mark Isham, and Art Lande. Paul Nash: A Jazz Composers Ensemble (1979), Second Impression (1985), Night Language (1987), Mood Swing (1993) and Soul of Grace (2000). His jazz writing suggests somewhat contradictory influences, most notably the cool orchestration of Gil Evans and the fiery proclamations of Charles Mingus. Projects slated for publication in print include Fingerstyle Jazz Workbook (Mel Bay Music) and Jazz Duos for alto sax and piano (Advance Music). An accomplished guitarist, Mr. Nash's musical thinking is also distinguished by his adoption of system of a symmetrical tuning in fourths as well as his use of custom designed acoustic and electric seven string guitars. In 1997 Nash began a new musical direction with the creation of site-specific musical work, culminating in a series of nine special performances in New York City parks. His Still Sounds Run Deep deploys musicians around public spaces and provides for interactivity with ambient sounds and the rhythms of passersby. Another long standing goal was realized in the his hour long theater creation, Intimate Structures, fashioning a dialogue adapted from Lovers’ Discourse by the late French philosopher Roland Barthes, and supporting it with an hour of continuous music blending baroque, modern jazz and ambient sounds. Grants and fellowships have served as a vital support for Nash’s work, coming from sources such as the Lower Manhattan Cultural Council, the Jerome Foundation, the Banff Center for the Arts, Yaddo, Meet the Composer, the National Endowment for the Arts, the University of California at Berkeley, the MacDowell Colony, and the Djerassi Foundation. Finally, Nash has been an arts advocate as well, serving as a nationally elected Board Member of the American Composers Alliance. https://store.cdbaby.com/cd/paulnash

Personnel: Michael Cochrane – piano; Tom Harrell – trumpet; Alan Braufman – alto sax, soprano sax; Gerard Carelli – trombone; Paul Nash – seven string guitar, flute; Anthony Cox – bass; Jimmy Madison – drums; Gregory Yasinitsky – soprano sax on Intermission, tenor sax on Starlit Skylight; Ann Yasinitsky – flute; Michele Hendricks – voice

Second Impression

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Philip Catherine - I Remember You

Styles: Guitar Jazz
Year: 1991
File: MP3@320K/s
Time: 60:06
Size: 138,1 MB
Art: Front

( 6:16)  1. Nardis
(11:05)  2. Twice A Week
( 6:01)  3. I Remember You
( 7:35)  4. Soul Role
( 5:49)  5. From This Time, From That Time
( 3:56)  6. Songflower
( 7:57)  7. Funk In Deepfreeze
( 6:09)  8. My Funny Valentine
( 5:14)  9. Blues For G.T.

A wonderfully sparse and subtle offering from guitarist Philip Catherine, featuring Tom Harrell on flügelhorn and Hein Van de Geyn on bass. This drumless trio pays memorial tribute to Chet Baker with a tranquil, melancholy set of standards and originals, beginning with Miles Davis' "Nardis" and continuing with an extended Catherine original titled "Twice a Week." The set also includes a swinging "I Remember You," a mid-tempo "My Funny Valentine," and a nod to hard bop with Hank Mobley's "Funk in Deepfreeze." Harrell contributes two originals, "From This Time, From That Time" and "Songflower," while Van de Geyn weighs in with a dark waltz, "Soul Role." 

Catherine closes the album with his own angular, altered "Blues for G.T." Catherine's bright, twangy sound and tasteful use of vibrato, harmonics, octave leaps, and volume and chorus effects distinguish him from many other straight-ahead jazz guitarists. Van de Geyn proves himself to be not only an excellent timekeeper, but also a conversational ensemble player. And this stripped-down setting especially flatters the velvety, lyrical brilliance of Tom Harrell. ~ David R.Adler https://www.allmusic.com/album/i-remember-you-mw0000278490

Personnel:  Guitar – Philip Catherine;   Flugelhorn – Tom Harrell;   Bass – Hein Van de Geyn

I Remember You

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Dizzy Gillespie - Dizzy Gillespie Meets Phil Woods Quintet

Styles: Trumpet And Saxophone Jazz
Year: 1986
File: MP3@320K/s
Time: 50:48
Size: 117,9 MB
Art: Front

( 6:24)  1. Oon-ga-wa
( 8:09)  2. Loose Change
( 6:01)  3. Whasdishean
(12:47)  4. Round Midnight
( 8:49)  5. Love For Sale
( 8:37)  6. Terrestris

As the greatest musical heir on alto sax to Charlie Parker, it seemed only natural for Phil Woods to record a date with Dizzy Gillespie. This European studio session features Dizzy as a special guest sitting in with one of Woods' greatest quintets, with pianist Hal Galper and the brilliant trumpeter and flugelhornist Tom Harrell. In fact Dizzy's chops had already slipped somewhat during the decade and Harrell clearly outplays him even though he clearly isn't trying to embarrass the legendary trumpeter. Gillespie is at his best with a muted solo on "'Round Midnight," while Woods, Harrell and Galper are all outstanding throughout the entire CD. ~ Ken Dryden https://www.allmusic.com/album/dizzy-gillespie-meets-the-phil-woods-quintet-mw0000916751

Personnel:  Dizzy Gillespie - trumpet;  Phil Woods - alto saxophone;  Hal Galper - piano;  Steve Gilmore - bass;  Bill Goodwin - drums;  Tom Harrell - trumpet, flugelhorn

Dizzy Gillespie Meets Phil Woods Quintet

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Rufus Reid & Akira Tana - Looking Forward

Styles: Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 58:11
Size: 133,5 MB
Art: Front

(5:21)  1. Billy
(6:41)  2. Gold Minor
(5:32)  3. The Duke
(8:33)  4. Skyline
(7:03)  5. Falling in Love
(5:32)  6. Bell
(2:51)  7. The Third Eye
(5:32)  8. Reminiscing
(5:48)  9. Love Dreams
(5:14) 10. Looking Forward

A prolific bassist who's seemingly always in the recording studio, Rufus Reid's name appears on countless hard bop, bebop, swing, and even some pop sessions. His restrained yet emphatic and pungent tone, time, harmonic sensibility, and discernible, if understated, swing are welcome on any session. Trumpet was Reid's first love, but he switched to bass while in the Air Force. He played with Buddy Montgomery in Sacramento, CA, then studied music in Seattle and Chicago in the late '60s and early '70s. Reid worked in Chicago with Sonny Stitt, James Moody, Milt Jackson, Curtis Fuller, and Dizzy Gillespie, and recorded with Kenny Dorham, Dexter Gordon, Lee Konitz, and Howard McGhee in 1970. He toured internationally several times with the Bobby Hutcherson-Harold Land quintet, Freddie Hubbard, Nancy Wilson, Eddie Harris, and Gordon through the '70s. Reid moved to New York in 1976, playing and recording with a quartet co-led by Thad Jones and Mel Lewis, and taught at William Patterson College in Wayne, NJ, starting in 1979. He recorded with Konitz, Ricky Ford, Jack DeJohnette's Special Edition with Kenny Burrell, with a quintet co-led by Frank Wess and Art Farmer, and in duos with Kenny Burrell and Harold Danko in the '80s. Reid also did sessions with Art Farmer and Jimmy Heath. He has co-led a group with drummer Akira Tana since the late '80s that is called TanaReid. As a leader, Rufus Reid has cut sets for Theresa, Sunnyside, and Concord. ~ Ron Wynn https://www.allmusic.com/artist/rufus-reid-mn0000358813/biography

Born 14 March 1952, San Jose, California, USA. A self-taught drummer, Tana played semi-professionally while still at college. He attended Harvard University where he gained a degree in East Asian Studies/Sociology. He then studied at the New England Conservatory of Music, also taking private tuition from percussionists with the Boston Symphony and Boston Pops Orchestras and from jazz drummer Alan Dawson. During his studies he had the opportunity of working with Helen Humes, Milt Jackson, Sonny Rollins, George Russell, Sonny Stitt and other leading jazz musicians. He also played with the Boston Symphony Orchestra and several of the classical music ensembles at the New England Conservatory. In the early 80s he continued to accompany major artists such as Al Cohn, Art Farmer, Benny Golson, Jim Hall, Jimmy Rowles, Zoot Sims and Cedar Walton. He also performed with artists outside the jazz world, including Charles Aznavour and Lena Horne. Tana recorded extensively during these years and in addition to albums with some of the foregoing also appeared with Ran Blake, Chris Connor, Carl Fontana, Jimmy Heath, Tete Montoliu, Spike Robinson, Warne Marsh and many others.

In the early 90s Tana worked with James Moody, Dizzy Gillespie, Frank Wess, Ray Bryant and J.J. Johnson. With Rufus Reid he formed the band TanaReid and, with Reid and pianist Kei Akagi, the Asian American Jazz Trio. A technically accomplished drummer, Tana’s wide range is hinted at by the musicians with whom he has worked. Comfortably at home accompanying singers and instrumental ballads, Tana is equally in his element playing hard bop. 

In the bands he co-leads with Reid he generates an excitingly propulsive rhythmic drive. In addition to playing, Tana has also produced and co-produced several albums including those by TanaReid, the Asian American Jazz trio and Project G-7. He regularly conducts workshops and clinics at colleges and universities, including Berklee College Of Music, and is an adjunct professor at two colleges. https://www.allmusic.com/artist/akira-tana-mn0000610187/biography             

Personnel:  Rufus Reid - Bass;  Akira Tana - Drums;  Mark Turner - Tenor Saxophone;  John Stetch - Piano;  Tom Harrell - Trumpet;  Craig Bailey - Alto Saxophone.

Looking Forward

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Tom Harrell - Colors of a Dream

Styles: Trumpet Jazz
Year: 2013
File: MP3@320K/s
Time: 64:57
Size: 149,2 MB
Art: Front

(6:26)  1. Tango
(7:01)  2. Velejar (Sail Away)
(6:19)  3. Phantasy in Latin
(5:06)  4. State
(3:18)  5. Seventy
(9:01)  6. Blues 2013
(5:16)  7. Nite Life
(4:58)  8. Even If
(6:43)  9. Walkway
(4:18) 10. Family
(6:25) 11. Goin' Out

After a full career which has spanned decades without a lull Tom Harrell is as busy as ever. Here is a project which supplements his working quintet with two additions saxophonist Jaleel Shaw and bassist/singer Esperanza Spalding. Esperanza can be heard lending her voice to a number of Tom's impressive compositions, sometimes using it in a such way that it takes on the role of a instrument and also delivering a wonderfully unique version of his popular "Sail Away" in Portuguese ("Velejar"). Colors of a Dream is perhaps Harrell's most imaginative recording to-date. ~ Editorial Reviews https://www.amazon.com/Colors-Dream-Tom-Harrell/dp/B00F5O1YME 

Personnel:  Tom Harrell – composer, producer, primary artist, trumpet, flugelhorn;  Esperanza Spalding – bass, vocals;  Wayne Escoffery – sax (tenor);  Jaleel Shaw – sax (alto);  Ugonna Okegwo – bass;  Johnathan Blake – drums;  Fleurine Elizabeth Verloop – composer, lyricist

Colors of a Dream

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Tom Harrell - Roman Nights

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 62:37
Size: 143,7 MB
Art: Front

(5:13)  1. Storm Approaching
(6:46)  2. Let the Children Play
(7:53)  3. Roman Nights
(7:35)  4. Study in Sound
(5:26)  5. Agua
(6:02)  6. Obsession
(8:22)  7. Harvest Song
(9:19)  8. Bird in Flight
(5:58)  9. Year of the Ox

Since coming back from hiatus following the superb Wise Children (Bluebird, 2003), Tom Harrell's been on a roll. On a new label (HighNote) and with a new working quartet, the trumpeter has gone from success to success, from the undeniably fine Light On (2007), to the even better Prana Dance (2009). Whether Roman Dances is even better still is a tough call; Harrell's writing and quintet are so uniformly excellent that comparisons empirical or otherwise are rendered moot. There's plenty that resonates on Roman Nights, where the one thing that is certain is that the chemistry amongst the members of Harrell's quintet continues to refine and grow even more empathic with each passing year. The short but completely to the point solos on the aptly titled opener, "Storm Approaching," not only demonstrate the exhilarating interplay between accompanists and soloists, but amongst the accompanists themselves, as drummer Johnathan Blake, in particular, accomplishes the remarkably multi-tasked challenge of responding simultaneously to both pianist Danny Grissett and Wayne Escoffery, during the saxophonist's fiery solo. But he's not the only one who's clearly listening. Again on the disc opener, as solos are passed first from Harrell to Escoffery, and then on to Grissett it's as if the transitions were scored; except, of course, they're not. A final barnstorming solo from Blake, over a driving ostinato, amply explains why the increasingly busy drummer, in addition to his tenure with Harrell, has been finding employment with artists ranging from vibraphonist Joe Locke to septuagenarian saxophonist Oliver Lake. Bassist Ugonna Okegwo, another busy player with modern mainstreamers like Jacky Terrasson, Ari Ambrose and D.D. Jackson, anchors the entire disc with firm but pliant support. Soloing rarely, when he does it's a treat; his extended workout on "Study in Sound," one of Harrell's more complicated charts, is a combination of lithe lyricism and compositional intent.

As impressive as the members of Harrell's quintet are individually and collectively it's never about acumen being an end. Instead, it's a clear and focused means for everyone, where rhythmic placement and weaving through Harrell's sometimes rapid, other times more languid changes is all about finding new ways to shape melody. Whether it's on the brief but incendiary modal workout of "Agua," the Latin esque "Obsession" or bass riff-driven "Let the Children Play," Escoffery his Wayne Shorter roots clear but equally subsumed as but one parameter of his own voice and Harrell make a potent frontline that's equally capable of gentle, almost folkloric tranquility on the deceptively simple sounding "Harvest Song," where there's clearly a lot more sophistication going on under the hood. With even great emphasis on Grissett's Fender Rhodes than ever before, there's an ethereal, dreamlike quality that imbues much of Roman Nights, even at brighter tempos like "Bird in Flight" Throughout, Harrell has never sounded better, his dulcet plangency a reminder that it's not necessary to be oblique in order to be progressive. As with his previous HighNote sets, Roman Nights is another fine entry from one of the contemporary mainstream's most memorable players and telepathically transcendent quintets. ~ John Kelman https://www.allaboutjazz.com/roman-nights-tom-harrell-highnote-records-review-by-john-kelman.php

Personnel: Tom Harrell: trumpet, flugelhorn; Wayne Escoffery: tenor saxophone; Danny Grissett: piano, Fender Rhodes; Ugonna Okegwo: bass; Johnathan Blake: drums.

Roman Nights

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Tom Harrell - Upswing

Bitrate: MP3@320K/s

Time: 71:02

Size: 162.6 MB

Styles: Bop, Trumpet jazz

Year: 1994

Art: Front

[ 8:57] 1. Upswing

[ 7:02] 2. Angela

[10:26] 3. Train Shuffle

[10:23] 4. Emergence

[ 7:34] 5. Time's Mirror

[ 6:36] 6. Blues Connotation

[10:55] 7. Procession

[ 9:04] 8. Tune-A-Tune

Alto Saxophone – Phil Woods; Bass – Peter Washington; Drums – Bill Goodwin; Piano – Danilo Perez; Tenor Saxophone – Joe Lovano; Trumpet, Flugelhorn, Composed By – Tom Harrell. Recorded June 11-12, 1993, in Queens NY.

An all-star frontline of Tom Harrell, Joe Lovano, and Phil Woods head this impressive sextet record on the Chesky label. The writing on Upswing is inspired throughout, as is generally the case on Harrell's albums. The addition of a third horn allows Harrell to create colors in his arrangements that weren't possible with the two-horn format of many of his previous recordings. The playing on the Upswing is uniformly exceptional. Harrell sticks to flugelhorn for most of the date, often favoring it in situations that would instinctively call for trumpet, and sounds marvelously lyrical throughout. Tenorist Joe Lovano also plays strongly, contributing a wonderfully aggressive and energetic solo on Harrell's "Train Shuffle." Fans of altoist Phil Woods will be delighted by his performance here, as he sounds in fine voice, bringing his idiosyncratic pitch bends and witty in-jokes to the session. Pianist Danilo Perez accompanies enthusiastically, raising the intensity of all those involved. Upswing should be considered an essential purchase for those interested in exploring the Harrell discography. ~Dan Cross

Upswing 

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Tom Harrell - Sail Away

Styles: Trumpet Jazz
Year: 1991
File: MP3@256K/s
Time: 58:49
Size: 108,5 MB
Art: Front

(8:54)  1. Yesterdays
(9:37)  2. Sail Away
(8:56)  3. Gratitude
(6:01)  4. Glass Mystery
(7:30)  5. Coral Sea
(9:36)  6. Buffalo Wings
(8:13)  7. Sticky Wicket

A highly gifted jazz soloist, Tom Harrell is generally considered one of the top trumpeters of his generation, known for his sophisticated harmonic approach that combines the the power of Clifford Brown with the lyricism of Chet Baker and Art Farmer. Born in Urbana, Illinois in 1946, Harrell grew up in the San Francisco Bay Area, where he first started playing trumpet around age eight. By his teens, he was gigging locally and eventually graduated from Stanford University with a music composition degree. After college, he joined the Stan Kenton Orchestra, touring with the ensemble until 1969. He then spent time in Woody Herman's big band before joining pianist Horace Silver's quintet. He made his recorded debut with Silver, appearing on a handful of albums throughout the mid- to late '70s. Also during this period, he moved to New York, where he found work playing and/or recording with such luminaries as Cecil Payne, Bill Evans, Lee Konitz, and many others. He also made his debut as a leader, releasing Aurora in 1976, followed by Mind's Ear in 1978. During the '80s, Harrell's profile rose even further as he joined the Phil Woods Quintet, with whom he toured and recorded for much of the decade. He also continued to grow as a solo artist, releasing a steady flow of increasingly well-regarded albums, including 1984's Play of Light, 1985's Moon Alley, 1987's Open Air, and 1989's Lonely Eyes.  The '90s were also a fruitful period for the trumpeter, as he appeared on albums with Joe Lovano, Steve Swallow, Charlie Haden, and others. He also delivered several more well-received albums for smaller labels, including 1990's Form on Contemporary and 1991's Passages on Chesky, before landing at RCA for 1996's Labyrinth, the latter of which found him joined by tenor saxophonist Don Braden, pianist Kenny Werner, and others in quintet, nonet, and tentet settings.

Subsequent RCA outings showcased more experimentation, as Harrell explored Brazilian sounds on 1998's Art of Rhythm, displayed his knack for big-band arranging on 1999's Time's Mirror (for which he received a Grammy nomination), and framed himself with strings on 2001's Paradise.  A concert album, Live at the Village Vanguard, followed on Bluebird in 2002, and featured Harrell's quintet with saxophonist Jimmy Greene, bassist Ugonna Okegwo, pianist Xavier Davis, and drummer Quincy Davis. He then delivered a studio effort for Bluebird, 2003's Wise Children, which found him working with a well-curated cadre of vocalists including Dianne Reeves, Jane Monheit, Claudia Acuña, and Cassandra Wilson.  In 2007, Harrell moved to HighNote and released Light On, which featured his quintet with tenor saxophonist Wayne Escoffery, pianist Danny Grissett, bassist Ugonna Okegwo, and drummer Johnathan Blake. Since then, he has largely stuck with the same ensemble, delivering a highly regarded run of albums for HighNote including the atmospheric 2009 release Prana Dance, 2010's Roman Nights, and the similarly expansive The Time of the Sun. The aptly titled Number Five followed in 2012. In 2013, Harrell assembled a piano-less ensemble featuring bassist Esperanza Spalding for Colors of a Dream. He then shifted this group again, forming a quartet with saxophonist Mark Turner for 2014's Trip. A year later, he explored reworkings of classical compositions by Debussy, Ravel, and others on the orchestral-tinged First Impressions, followed by Something Gold, Something Blue with trumpeter Ambrose Akinmusire in 2016. In 2017, Harrell delivered the quartet date Moving Picture, featuring pianist Grissett, bassist Okegwo, and drummer Adam Cruz. ~ Matt Collar https://www.allmusic.com/artist/tom-harrell-mn0000605535/biography

?Personnel:  Tom Harrell (trumpet); Kenny Werner (piano); Paul Imm (bass); Andre Ceccarelli (drums).                                                                                             

Sail Away

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Tom Harrell - Play Of Light

Styles: Trumpet Jazz
Year: 1982
File: MP3@256K/s
Time: 37:26
Size: 69,1 MB
Art: Front

(7:24)  1. Play Of Light
(7:12)  2. Everything Happens
(5:32)  3. The Boulevard
(8:14)  4. Mood Swings
(3:38)  5. Blue News
(5:24)  6. Where You Were

Trumpeter Tom Harrell's second set as a leader (his first was an obscure date from 1976 on the Pinnacle label) was recorded shortly before he joined Phil Woods' quintet. Harrell, an underrated composer who writes complex yet logical songs, performs four originals plus Andy LaVerne's "Where You Were" and "Everything Happens to Me" on this sadly out-of-print LP. Harrell holds his own with the all-star group (which includes tenor saxophonist Ricky Ford, guitarist Bruce Forman, pianist Albert Dailey, bassist Eddie Gomez and drummer Billy Hart) and performs advanced hard bop. Worth searching for. 

~ Scott Yanow https://www.allmusic.com/album/play-of-light-mw0000920159

Personnel:  Trumpet – Tom Harrell;  Bass – Eddie Gomez;  Drums – Billy Hart;  Guitar – Bruce Forman;  Piano – Albert Dailey;  Tenor Saxophone – Ricky Ford

Play Of Light

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Bill Evans - We Will Meet Again

Styles: Piano Jazz
Year: 1979
File: MP3@320K/s
Time: 61:59
Size: 142,3 MB
Art: Front

(10:09)  1. Comrade Conrad
( 8:22)  2. Laurie
(10:52)  3. Bill's Hit Tune
( 3:40)  4. For All We Know (We May Never Meet Again)
( 9:14)  5. Five
(10:51)  6. Only Child
( 6:14)  7. Peri's Scope
( 2:33)  8. We Will Meet Again

This was pianist Bill Evans' final studio session, a rare outing with a quintet (starring trumpeter Tom Harrell and Larry Schneider on tenor and soprano) and his first recording with the members of his final regular trio (bassist Marc Johnson and drummer Joe LaBarbera). The playing time is over 61 minutes. The group interprets "For All We Know" and seven Evans originals, including "Peri's Scope" and "Five." The thoughtful session is full of lyrical melodies and strong solos; even Evans' electric keyboard work on a few tunes is distinctive. ~ Scott Yanow http://www.allmusic.com/album/we-will-meet-again-mw0000276230

Personnel:  Piano, Electric Piano – Bill Evans;  Acoustic Bass – Marc Johnson;  Drums – Joe LaBarbera;  Tenor Saxophone, Soprano Saxophone, Flute [Alto] – Larry Schneider;  Trumpet – Tom Harrell

We Will Meet Again

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John Swana & Friends - S/T

Bitrate: MP3@320K/s
Time: 61:47
Size: 141.4 MB
Styles: Bop, Trumpet jazz
Year: 1992
Art: Front

[ 9:41] 1. Oleo
[ 7:52] 2. Before You
[ 7:16] 3. Darn That Dream
[ 6:19] 4. Out Of My Dreams
[ 6:19] 5. You Don't Know What Love Is
[ 8:42] 6. Straight, No Chaser
[ 5:28] 7. I Didn't Know What Time It Was
[10:07] 8. Pendulum At Falcon's Lair

John Swana (Tp / Flh); Tom Harrell (Tp / Flh)l Billy Pierce (Ts)l Mulgrew Miller (P)l Ira Coleman (B); Billy Drummond (D). Recorded December 15, 1991 in New York City, NY, USA by Max Bolleman

John Swana is one of the most exciting trumpeters to arrive for a decade,” declares Mark Gardner, co-author of Blackwell's Guide to Recorded Jazz. Born in Norristown, Pennsylvania, a suburb of Philadelphia, Swana took up Trumpet at the age of 11. He was drawn to jazz at the age of 17 after hearing Dizzy Gillespie, and the interest developed into a passion while he was in college. There he began transcribing the solos of Freddie Hubbard, Clifford Brown, Miles Davis, and Tom Harrell.

John Swana can be heard on recordings with: Benny Golson, Grover Washington Jr., Charles Fambrough, Craig Handy, Tito Puente, Bill O'Connell, Lenny White, Ricky Sabastian, Marlon Simon, Ed Simon, Dave Valentin, Cafe', Art Webb, Adam Holtzman, Ralph Bowen, Ron Blake, Peter Bernstein, Carl Allen, Mulgrew Miller, Benny Green, Kenny Barron, Tim Warfield, Lewis Nash, Clarence Penn, Kevin Hays, Chris McBride, Uri Caine, Peter Leitch, Marvin “Smitty” Smith, Ralph Peterson, Bobby Zankel, and Tom Harrell.

John Swana & Friends

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