Walt Weiskopf - European Quartet: Diamonds and Other Jewels

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 47:12
Size: 108,5 MB
Art: Front

(5:30) 1. Spartacus
(7:50) 2. Black Diamond
(5:47) 3. Other Jewels
(5:03) 4. Incantation
(6:11) 5. Thad Nation
(6:18) 6. My Old Flame
(6:52) 7. Blood Diamond
(3:38) 8. Everybody

Two distinct types of jazz album have emerged in the difficult Covid pandemic times: the do-it-yourself statements, usually recorded in a home studio, often with internet sound swapping; and the pent-up energy, post-pandemic energy bursts, musicians getting together again after a year or more of minimal in-person collaboration. Diamonds And Other Jewels, from the Walt Weiskopf European Quartet, is of the latter type. Saxophonist Weiskopf, pianist Carl Winther, bassist Andreas Lang and drummer Anders Mogensen jump out of the speakers from the start with "Spatacus," one of the seven dynamic originals offered up here.

The quartet began its life under Weskopf's leadership in 2017. Diamonds And Other Jewels is its sixth release, and after mostly lying dormant as a group during the pandemic they reconvene with a special expressive gusto, and a palpable sense of joy and adventure.

"Black Diamond," less ferocious than 'Spartacus," rolls with a smooth flow. Weiskopf's solo is freewheeling and muscular, bringing sax man Joe Henderson to mind with an on-edge adventurousness. "Thad Nation" nods to trumpeter & bandleader Thad Jones, with a colorful and upbeat mood, and "Blond Diamond" broods beautifully.

"My Old Flame," the disc's only non-original, was recorded in 1944 by Billie Holiday. It adds a welcome bit of soothing familiarity to the set. Overall the sound seems to owe a debt to saxophonist John Coltrane's quartet with pianist McCoy Tyner, drummer Elvin Jones and bassist Jimmy Garrison, before things went into interstellar space a fine era for Coltrane, and a fine one for the Walt Weiskopf European Quartet,too.
~Dan McClenaghan https://www.allaboutjazz.com/diamonds-and-other-jewels-walt-weiskopf-european-quartet-amm-records

Personnel: Walt Weiskopf: saxophone; Carl Winther: piano; Andreas Lang: bass, acoustic; Anders Mogensen: drums.

European Quartet: Diamonds and Other Jewels

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Walt Weiskopf - European Quartet Worldwide

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 52:03
Size: 120,6 MB
Art: Front

(5:45)  1. Entebbe
(5:36)  2. Back in Japan
(5:21)  3. Soultrane
(4:14)  4. Russian Roulette
(4:27)  5. Marcie by Moonlight
(4:50)  6. Back in Brazil
(4:44)  7. Oceans
(5:06)  8. The Pawnbroker
(6:48)  9. Scottish Folk Song
(5:08) 10. Coat of Arms

These days a lot of jazz records seem to require a musical concept or an idea that unites the compositions on the album, but it doesn't have to be so complicated. After a tour in January 2019 with his European Quartet, tenor saxophonist Walt Weiskopf went into a studio in Copenhagen with the band, and a few hours later the music on the album Worldwide was in the can. It sounds simple, but it also says something about the level of musical communication that goes on in the quartet. The ability to deliver on the spur of the moment doesn't come after a few days of playing together. The musicians have known each other for some time. Back in 2018, they released European Quartet on Orenda Records, and since then their sound has remained tight. Although Andreas Lang has replaced Daniel Franck on the bass, drummer Anders Mogensen and pianist Carl Winther remain from the original line-up, and they support Weiskopf congenially. Winther can be both romantic and rhythmically inventive, sometimes recalling the powerful elegance of McCoy Tyner, while Mogensen drives the music forward with a light but insistent touch that brings out all the colors in the cymbals. Weiskopf delivers the bulk of the material with eight original compositions, but one of the two covers shows where he is coming from. The reading of Tadd Dameron's "Soultrane" points to John Coltrane's influence and his presence is also felt on "Back in Japan," which draws on the saxophonist's late style. The compositions on the album come across as distinctive and varied, spanning the energetic hard bop vamp of "Coat of Arms" and the soft touch of bossa nova on "Back in Brazil." On the other hand, "Entebbe" sports a repetitive rhythmic piano motif reminiscent of Steve Reich. There is also a nod to the standards with the mid-tempo ballad "Marcie by Moonlight," a rewrite of "Stella by Starlight." With worldwide in the title, and references to Japan, Scotland, Russia, Africa and Brazil, there is in fact a vague geographical concept behind the album. However, it is just an excuse to play a varied repertoire. Worldwide is simply a great modern jazz album, nothing more, nothing less. ~ Jakob Baekgaard https://www.allaboutjazz.com/worldwide-walt-weiskopf-orenda-records-review-by-jakob-baekgaard.php

Personnel: Walt Weiskopf: tenor saxophone; Andreas Lang: bass; Carl Winther: piano; Anders Mogensen: drums.

European Quartet Worldwide

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Andy Fusco - Vortex

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 61:03
Size: 140,9 MB
Art: Front

(6:00)  1. Vortex
(5:21)  2. Friends and Neighbors
(8:06)  3. Spring Can Really Hang You up the Most
(5:13)  4. Matador
(6:19)  5. When Lights Are Low
(5:56)  6. Desperado
(6:18)  7. In Your Own Sweet Way
(6:37)  8. All or Nothing at All
(4:36)  9. Tailspin
(6:32) 10. Windows

Vortex, Andy Fusco's fourth release on the SteepleChase imprint in as many years, is cause for celebration. Until recently, recordings by the veteran alto saxophonist as a leader have been few and far between. The date reunites Fusco with tenor saxophonist Walt Weiskopf, who composed four of the selections and arranged nine of the ten tracks. The Fusco/Weiskopf association began decades ago in the sax section of the Buddy Rich Big Band and eventually resulted in a number of noteworthy discs, mostly under Weiskopf's name, for Criss Cross Jazz. Weiskopf is a master at fashioning charts for small-to-mid-sized ensembles. His arrangements for Vortex radiate enthusiasm as well as the wisdom of decades of experience. Weiskopf finds ingenious ways of voicing four horns (his tenor, Fusco's alto, Joe Magnarelli's trumpet and John Mosca's trombone) on the core material, as well as deftly integrating riffs and longer written figures into some of the improvised solos. Part of the fun of listening to the record is discovering the placement and the degrees of emphasis in the lines he writes for the soloists or when he chooses to leave the players to an exemplary rhythm section comprised of pianist Peter Zak, bassist Mike Karn and drummer Jason Tiemann. Weiskopf's treatments of jazz standards by Dave Brubeck, Chick Corea and Grant Green, a couple of Great American Songbook favorites and his own compositions are novel yet never twist the songs beyond recognition. There's an impressive synergy between Fusco's alto and Weiskopf's arrangement on the head of the ballad "Spring Can Really Hang You Up The Most." 

As a whole the record is well organized and rich in detail, yet each track retains some the loose-limbed quality of a combo playing a late-night club set for themselves and a few aficionados. Apart from shining a spotlight on Fusco, an extended analysis of the soloists' virtues is beyond the scope of this review. Suffice it to say that each man has a distinct voice and makes essential contributions to the record. Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section. Portions of "Matador" and "All Or Nothing At All" are good examples of him laying back a bit, each note firmly in place and joined to Zak, Karn and Tiemann. Is it too much to ask that Fusco and this group make an appearance outside of the confines of the recording studio? Probably. From start to finish, Vortex is an exhilarating record. 

~ David A.Orthmann https://www.allaboutjazz.com/vortex-andy-fusco-steeplechase-records-review-by-david-a-orthmann.php

Personnel: Andy Fusco: alto saxophone; Walt Weiskopf: tenor saxophone; Joe Magnarelli: trumpet; John Mosca: trombone; Peter Zak: piano; Mike Karn: bass; Jason Tiemann: drums.

Vortex

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Walt Weiskopf Quartet - Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 69:49
Size: 161,0 MB
Art: Front

( 6:50)  1. Man of Many Colors
(10:49)  2. Little Minor Love Song
( 9:27)  3. Dizzy Spells / Jay-Walking
( 7:52)  4. Blues in the Day
( 8:47)  5. Scottish Folk Song
( 7:52)  6. Blame It On My Youth
( 8:41)  7. Love for Sale
( 9:29)  8. Breakdown

Walt Weiskopf led a quartet with pianist Renee Rosnes, bassist Paul Gill, and drummer Tony Reedus in the spring of 2008 at the University of South Carolina. Although the musicians knew the live concert documented here was being recorded, the recording was initially intended for archival needs rather than as a commercial release. Around the time that the tenor saxophonist realized how good the performances were from the concert, Reedus collapsed and died from an embolism upon his return from a European tour in November 2008. The quartet members are at their very best throughout this concert, as they bring life to Weiskopf's compositions with their brilliant improvising and on the money accompaniment. There are two standards, an expressive "Blame It on My Youth," featuring Weiskopf's powerful solo, and a lighthearted, breezy "Love for Sale." Aside from the traditional "Scottish Folk Song" (introduced by the leader with Gill playing arco), played at a loping, nostalgic tempo, the remaining tracks are primarily Weiskopf's compositions. One exception is Rosnes' brilliant "Dizzy Spells" (a delicious reworking of the late trumpeter's "Con Alma"), which is combined in a medley with an extended workout of Weiskopf's "Jay-Walking." Other highlights include the tricky, constantly shifting "Blues in the Day" and the turbulent post-bop vehicle "Breakdown." Highly recommended. ~ Ken Dryden https://www.allmusic.com/album/recorded-live-april-8-2008-koger-hall-university-of-south-carolina-mw0002120267

Personnel:  Tenor Saxophone – Walt Weiskopf; Piano – Renee Rosnes;  Bass – Paul Gill; Drums – Tony Reedus

Recorded Live April 8, 2008 - Koger Hall, University of South Carolina

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Walt Weiskopf - Exact Science

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 51:47
Size: 119,0 MB
Art: Front

(2:54)  1. Telltale
(4:35)  2. Jay-Walking
(4:59)  3. About You
(5:19)  4. Mr. Golyadkin
(5:58)  5. Intuition
(6:45)  6. Indecisive
(4:57)  7. Sad But True
(5:05)  8. Exact Science
(6:05)  9. Scenes from Childhood
(5:06) 10. Falling in Love with Love

A potent tenor saxophonist and composer firmly in the tradition of John Coltrane and Sonny Rollins, Walt Weiskopf was born in Augusta, GA, and grew up in Syracuse, NY. Upon moving to New York City, he joined the Buddy Rich Big Band in 1981 at the age of 21; two years later, Weiskopf signed on with the Toshiko Akiyoshi Jazz Orchestra, concurrently forming his own quartet with brother Joel on trumpet, Jay Anderson on bass, and Jeff Hirshfeld on drums. His debut, Exact Science, appeared in 1989, followed a year later by Mindwalking; Simplicity, released in 1992, topped the European jazz charts for four weeks. After 1993's A World Away, Weiskopf for the first time departed from original compositions to record 1995's Night Lights, a collection of standards; 1997's Song for My Mother, however, returned his own material to the forefront. 

A graduate of the Eastman School of Music in Rochester, NY, Weiskopf and fellow Eastman alum Ramon Ricker teamed in 1990 to write the books Coltrane: A Player's Guide to His Harmony and The Augmented Scale in Jazz; in 1994, Weiskopf also published Intervalic Improvisation, a player's guide for broadening the scope of modern jazz improvisation. In 1996, he joined drummer Rick Hollander's quartet, and as a headliner returned in 1999 with Anytown. Siren was issued a year later. ~ Jason Ankeny https://www.allmusic.com/artist/walt-weiskopf-mn0000237531/biography

Personnel:  Tenor Saxophone – Walt Weiskopf; Bass – Jay Anderson; Drums – Jeff Hirshfield; Piano – Joel Weiskopf

Exact Science

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Andy Fusco - Joy-Riding

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 65:54
Size: 151,6 MB
Art: Front

( 9:07)  1. Ezz-Thetic
( 5:39)  2. Tender Leaves
( 8:08)  3. Today
( 7:35)  4. Skylark
(10:18)  5. Erin's Blues
( 4:38)  6. What a Difference a Day Makes
( 6:45)  7. Relaxin' with Andy
( 6:24)  8. Joy-Riding
( 7:16)  9. Hot House

Veteran NYC altoist Andy Fusco returns to the Steeplechase label, and the result is Joy-Riding, a post hard bop date with a good mix of originals and classic jazz anthems. Having done long stints with the likes of drummers Buddy Rich and Steve Smith's Vital Information, Fusco has also appeared and recorded with Don Sebesky and the Vanguard Jazz Orchestra. His sidemen include tenorist and composer Walt Weiskopf, and his younger brother, pianist Joel Weiskopf. Louisville-born and bred  drummer Jason Tieman, and bassist Mike Karn complete the sterling rhythm section.  A first class date by all hands, indeed, with Fusco keeping the spirits of Jackie and Charles Mac (McClean and McPherson) thriving well into the millenium. Andy's rich and liquid sound is imbued with a snakelike bendy-ness in his phrasing that is unique and endearingly warm and comforting to boot. Dig his reading of Hoagy Carmichael's Skylark with his moist melodicism coupled with his biting rhythmic acuity on Walt Weiskopf's Joy-Riding, spelling out long and serpentine lines for evidence of this.  A top mod bop date indeed that will elate and please listeners from many different camps. http://www.londonjazznews.com/2017/10/cd-review-andy-fusco-joy-riding.html

Personnel: Andy Fusco - alto saxophone;  Walt Weiskopf - tenor saxophone;  Joel Weiskopf - piano;  Mike Karn - bass;  Jason Tiemann - drums.

Joy-Riding

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Behn Gillece - Walk Of Fire

Styles: Vibraphone Jazz 
Year: 2017
File: MP3@320K/s
Time: 58:11
Size: 137,8 MB
Art: Front

(4:59)  1. Walk Of Fire
(5:16)  2. Fantasia Brasileira
(6:06)  3. Bag's Mood
(5:11)  4. Dauntless Journey
(5:40)  5. Battering Ram
(6:55)  6. Reflective Current
(4:50)  7. Something New
(6:35)  8. Specter
(6:35)  9. Break Tune
(5:59) 10. Celestial Tidings

Vibraphonist Behn Gillece thrives on the camaraderie of modern hard-bop. He came to prominence co-leading various ensembles with tenor saxophonist Ken Fowler, frequently changing rhythm sections on their four discs together for Posi-Tone. Walk of Fire is Gillece’s third for the label as the sole leader since then. It might just be the best of the bunch and, not coincidentally, features a septet, his largest working group thus far, performing 10 of his original tunes. Gillece writes sturdy melodies with familiar chord changes, so that a galvanizing frisson can be established by different textures slotted into the arrangements. The themes surge as a procession of soloists take turns against the template. It doesn’t hurt that the three-member horn section consists of Posi-Tone headliners both established (trombonist Michael Dease, saxophonist Walt Weiskopf) and up-and-coming (trumpeter Bruce Harris). Their solo transitions are seamless and buttery on the opening title song and “Dauntless Journey”compositions that retain a simmering pace, a relaxed tension arising from the taut communication of pros at work. Gillece indulges two of his longstanding affections: the creamy sophistication of Brazilian music, on the samba “Fantasia Brasileira”; and the quicksilver stroll of Milt Jackson on “Bags Mood,” neatly abetted by some laidback phrasing from Harris. The rhythm section snares the spotlight at various points in passing: Jason Tiemann’s drum and cymbal fills on “Battering Ram,” Adam Birnbaum’s extended piano solo to cap “Something New,” and a sans-horns quartet rendition of “Reflective Current.” Gillece is a tasteful four-mallet stylist who prefers to gracefully surf the mainstream current rather than dazzle with speed and affectation. That said, when you pay attention, both his ensemble work throughout the disc and his solos on tracks like “Walk of Fire,” “Bags Mood” and “Specter” steadily unveil the depth of his abundant technique and dogged imagination. The camaraderie here includes the listener.~ Britt Robson  https://jazztimes.com/reviews/albums/behn-gillece-walk-of-fire/
 

Personnel:  Behn Gillece - vibraphone;  Michael Dease - trombone;  Walt Weiskopf - tenor sax;  Bruce Harris - trumpet;  Adam Birnbaum - piano;  Clovis Nicolas - bass;  Jason Tiemann - drums.

Walk Of Fire

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Donald Fagen - Morph The Cat

Styles: Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 52:54
Size: 122,4 MB
Art: Front

(6:48)  1. Morph the Cat
(5:15)  2. H Gang
(6:01)  3. What I Do
(7:17)  4. Brite Nitegown
(7:37)  5. The Great Pagoda of Funn
(6:11)  6. Security Joan
(4:15)  7. The Night Belongs to Mona
(6:30)  8. Mary Shut the Garden Door
(2:56)  9. Morph the Cat Reprise

There are no surprises in sound and style on Morph the Cat, Donald Fagen's long-awaited third solo album, nor should any be expected ever since Steely Dan's 1980 masterwork, Gaucho, his work, either on his own or with longtime collaborator Walter Becker, has been of a piece. Each record has been sleek, sophisticated, and immaculately produced, meticulously recorded and arranged, heavy on groove and mood, which tends to mask the sly wit of the songs. When it works well as it did on Fagen's peerless 1982 solo debut, The Nightfly, or on Steely Dan's 2001 comeback, Two Against Nature the results go down smoothly upon first listen and reveal their complexity with each spin; when it doesn't quite succeed both 1993's Kamakiriad and the Dan's 2003 effort Everything Must Go didn't quite gel the albums sound good but samey on the surface and don't quite resonate. Morph the Cat belongs in the first group: at first it sounds cozily familiar, almost too familiar, but it digs deep, both as music and song. Sonically, at least superficially, it is very much a continuation of the two Steely Dan records of the new millennium not only does it share Fagen's aesthetic, but it was recorded with many of the same musicians who have shown up on the Dan projects. There are slight differences without Becker around, there's a greater emphasis on keyboards and the songs stretch on a bit longer than anything on Everything Must Go but this, at least on pure sonics, could have functioned as a sequel to Two Against Nature. But Morph the Cat is very much a solo affair, fitting comfortably next to his first two solo albums as a conclusion to what he calls a trilogy. If The Nightfly concerned the past and Kamakiriad was set in a hazy future, Morph the Cat is rooted in the present, teeming with the fears and insecurities of post-9/11 America. Fagen doesn't camouflage his intent with the gleefully enigmatic rhymes that have been his trademark: his words, while still knowingly sardonic, are direct, and in case you don't want to bother reading the lyrics or listening closely, he helpfully offers brief explanations of the songs (for instance, on "Mary Shut the Garden Door," he writes "Paranoia blooms when a thuggish cult gains control of the government," a statement that's not exactly veiled). 

On top of this unease, Fagen faces mortality throughout the album he talks with the ghost of Ray Charles, borrows W.C. Fields' phrase for death for "Brite Nitegown," writes about attempted suicides and every song seems to be about things drawing to a close. It's a little disarming to hear Fagen talk so bluntly although he came close to doing so on the deliberately nostalgic The Nightfly, the fact that he was writing about the past kept him at a bit of a distance but despite the abundance of morbid themes, Morph the Cat never sounds dour or depressing. In large part this is due to Fagen's viewpoint he never succumbs to mawkishness, always preferring to keep things witty and sardonic, which helps keep things from getting too heavy but it's also due to his smooth jazz-rock, which always sounds nimble and light. This, of course, is how Fagen's music always sounds, but here, it not only functions as a counterpoint to the darkness creeping on the edges of the album, but it's executed expertly: as spotless as this production is, it never sounds sterile, and when the songs start stretching past the five-minute mark two cuts are over seven minutes it never gets boring, because there's a genuine warmth to the clean, easy groove. More so than on Kamakiriad, or on the tight Everything Must Go, there is a sense of genuine band interplay on this record, which helps give it both consistency and heart something appropriate for an album that is Fagen's most personal song cycle since The Nightfly, and quite possibly his best album since then. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/morph-the-cat-mw0000342064

Personnel: Donald Fagen (melodica, piano, Fender Rhodes piano, organ, background vocals); Donald Fagen (vocals); Ken Wessel, Frank Vignola, Hugh McCracken, Ken Emerson (guitar); Howard Levy (harmonica); Roger Rosenberg (bass clarinet, baritone saxophone); Walt Weiskopf (alto saxophone, tenor saxophone); Mark Patterson (trombone); Ted Baker (piano, Fender Rhodes piano); Tedd Baker (Fender Rhodes piano); Harlan Post, Jr. (acoustic bass); Art Smith (drums); Jennifer Battista, Candice Predham, Eddie Jackson , Camille Meza (clappers); Gordon Gottlieb (percussion, background vocals); Bashiri Johnson , Joe Passaro (percussion); Cindy Mizelle, Jerry Barnes, Amy Helm, Carolyn Leonhart (background vocals); Jon Herington, Wayne Krantz (guitar); Lawrence Feldman (flute, clarinet, tenor saxophone); Illinois Elohainu (flute); Marvin Stamm (trumpet); Phonus Quaver (vibraphone, marimba); "Ready" Freddie Washington (bass guitar); Keith Carlock (drums).

Morph The Cat

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Walt Weiskopf - Day In Night Out

Styles: Saxophone And Flute Jazz
Year: 2008
File: MP3@320K/s
Time: 59:42
Size: 139,2 MB
Art: Front

(4:42)  1. Day In Night Out
(5:54)  2. West Side Waltz
(5:27)  3. City Of Sin
(6:42)  4. Blue In Two
(5:36)  5. Walk In The Woods
(6:03)  6. Off Yellow
(6:00)  7. Lean And Green
(7:17)  8. Heather On The Hill
(6:01)  9. Solid Citizen
(5:57) 10. I Got It Bad And That Ain't Good

Most of us find that there are certain musicians who speak to us through their music in a profound way that makes for a special connection. These are the artists who find a prominent space in our collections because we continuously seek out all of their current musical endeavors. For this reviewer, saxophonist Walt Weiskopf has always been a musician to watch. Not to take anything away from other jazz saxophonists, but Weiskopf's musical persona is the complete package. He has an identifiable sound, chops aplenty, great ideas, and a strong emotional base that is often absent in other technically gifted players. Beginning with 1993's Simplicity, Weiskopf has led a strapping and diverse series of albums for Criss Cross that rank among the finest the label has to offer. Additionally, his name has been getting out there more frequently these days as he continues to perform with rock icon Steely Dan.

His first large ensemble work since Siren (Criss Cross, 2000), Day In Night Out brings back a few familiar faces from his previous nonet records, but ultimately opts for a smaller unit composed of some new friends. As usual, the emphasis here is on Weiskopf's own unique compositions and a few sagacious reworkings of select standards. The title track opens up the program with one of Walt's signature licks, namely a tightly voiced serpentine melody with the saxophone choir speaking and breathing as one. Harmonized backing lines soon follow and the whole thing ends up sounding much larger than the sum of these few parts. Weiskopf has a wonderful knack for working in three quarter time and "West Side Waltz" is just the latest example of his prowess. It's also a great place to hear the palette of colors he uses in creating his canvas which, in this case, finds the humming of flutes figuring prominently in the mix.

Rich textures and hues mark the slower numbers such as "City of Sin" and "Off Yellow," where Weiskopf gives as much prominence to the ensemble structures as he does to the solos. It's interesting to note that in the liners, the saxophonist comments on the influence of Don Sebesky and the CTI albums of the '70s. He comments on the iconic arranger's skill of achieving a large sound with a small number of musicians and that's exactly what Weiskopft attains in his work here, as heard in the cacophony he generates on the opening gambit of "Lean and Green." Equally intriguing are the horn accents that punctuate a splendid reading of "Heather on the Hill," yet another standard to get the red carpet treatment arranging wise from Weiskopf.

As a leader, Weiskopf is more than generous with sharing the solo space. Prominent in the mix are Andy Fusco, a firebrand with a sound that nods towards James Spaulding, and Gary Smulyan, heir apparent to the burly style of the late, great Pepper Adams. Filling some big shoes is drummer Kendrick Scott, since Weiskopf usually prefers the company of modern powerhouse Billy Drummond. What Scott may lack in visceral punch, he more than makes up for in a swinging beat and crisp sound that shades his accompaniment to the needs of the arrangement. Weiskopf himself is so fluent that he is able to execute anything and his tone retains its weight regardless of range. A thoroughly accomplished work from start to finish, Day In Night Out can be appreciated for its technical virtuosity, bur remains surprisingly accessible. It not only sets a benchmark for jazz that functions within the tradition, but speaks with individuality and emotional attachment. Need one ask for anything more? ~ C.Andrew Hovan https://www.allaboutjazz.com/day-in-night-out-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf: tenor sax and flute; Andy Fusco: alto sax, flute, clarinet; Gary Smulyan: baritone sax; Michael Leonhart: trumpet; John Mosca: trombone; Peter Zak: piano; Doug Weiss: bass; Kendrick Scott: drums.

Day In Night Out

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Walt Weiskopf - Mindwalking

Styles: Saxophone Jazz
Year: 1990
File: MP3@320K/s
Time: 54:36
Size: 125,4 MB
Art: Front

(6:13)  1. Is That All There Is
(3:44)  2. Antidote
(4:51)  3. Mystery Guest
(5:11)  4. Non-Fiction
(4:29)  5. Mindwalking
(2:45)  6. Blackberry Winter
(4:49)  7. Cousin Of Mine
(3:55)  8. Ghostwriting
(6:23)  9. Salvador
(7:09) 10. Above And Beyond
(5:03) 11. Fundamentally

A potent tenor saxophonist and composer firmly in the tradition of John Coltrane and Sonny Rollins, Walt Weiskopf was born in Augusta, GA, and grew up in Syracuse, NY. Upon moving to New York City, he joined the Buddy Rich Big Band in 1981 at the age of 21; two years later, Weiskopf signed on with the Toshiko Akiyoshi Jazz Orchestra, concurrently forming his own quartet with brother Joel on trumpet, Jay Anderson on bass, and Jeff Hirshfeld on drums. His debut, Exact Science, appeared in 1989, followed a year later by Mindwalking; Simplicity, released in 1992, topped the European jazz charts for four weeks. After 1993's A World Away, Weiskopf for the first time departed from original compositions to record 1995's Night Lights, a collection of standards; 1997's Song for My Mother, however, returned his own material to the forefront. A graduate of the Eastman School of Music in Rochester, NY, Weiskopf and fellow Eastman alum Ramon Ricker teamed in 1990 to write the books Coltrane: A Player's Guide to His Harmony and The Augmented Scale in Jazz; in 1994, Weiskopf also published Intervalic Improvisation, a player's guide for broadening the scope of modern jazz improvisation. In 1996, he joined drummer Rick Hollander's quartet, and as a headliner returned in 1999 with Anytown. Siren was issued a year later. ~ Jason Ankeny https://www.allmusic.com/artist/walt-weiskopf-mn0000237531/biography

Mindwalking

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Michael Dease - Reaching Out

Styles: Trombone Jazz
Year: 2018
File: MP3@320K/s
Time: 54:56
Size: 126,2 MB
Art:

(5:03)  1. Something In Common
(3:55)  2. Live And Let Die
(5:56)  3. Morning Shade
(4:57)  4. Tipping Point
(4:17)  5. More Than Words
(4:18)  6. Double Luminosity
(4:43)  7. The Takeover
(5:48)  8. Ballad
(6:11)  9. The Chameleon Eye
(4:15) 10. Blackfoot
(5:28) 11. Water Runs Dry

Somebody has to be the keeper of the flame, right? In jazz, an art form that has only recently passed the century mark, that responsibility has seemed to diminish in importance. It's not that music schools aren't churning out graduates versed in the traditional repertory, and post-modern players aren't constantly pushing the envelope of possibilities. It's just that we need more musicians like Michael Dease who, to quote Art Blakey, play jazz that "washes away the dust of everyday life." With Reaching Out, his fifth for Posi-Tone Records (a label whose mission is to throw accelerant on that flame) he doubles down on the joy of music making. He seems to always find kindred souls who share in his vision, as shown in previous recordings with the veterans Renee Rosnes, Lewis Nash, Steve Wilson, Christian McBride, and Rodney Whitaker. Here, he recruits two giants of the saxophone Ralph Bowen and Walt Weiskopf to interact with some younger talent players that have the makings of true believers.

What we mean by that is Dease prioritizes the happiness in his jazz. Take the opener, Cedar Walton's "Something In Common," or Steve Turre's "Blackfoot." Both are pieces that are overflowing with a joyful swing. The latter composition, modeled after "Cherokee," is delivered at an auctioneer's hyperspeed with Bowen and Dease chasing drummer Zach Adleman's turbocharged tempo. There is a return to the hipness factor in this music. Dease's original, "The Chameleon Eye," grabs memories of Lee Morgan's funkiness and injects some Herbie Hancock-like rhythm-intensive lines. The composition features the young and talented vibraphonist Behn Gillece (check out his Walk Of Fire (2017)). What makes Dease stand out is his love of melody and ability to craft arrangements to accentuate such. Perfect examples are the three cover tunes, Babyface's "Water Runs Dry," Paul and Linda McCartney's "Live And Let Die," and the 1990s hair metal band Extreme's "More Than Words." McCartney's title track to the James Bond movie of the same name is given all of the dramatic effect of the original, from it's most gentle beginnings to the soulful dramatics and swinging interludes. All of the covers here could, with lesser arrangements, become schmaltzy or sentimental. But like the masters, Coltrane's take on "My Favorite Things" or Miles' "Surrey With the Fringe On Top," Dease champions familiar music and makes it new again. ~ Mark Corroto https://www.allaboutjazz.com/reaching-out-michael-dease-posi-tone-records-review-by-mark-corroto.php

Personnel: Michael Dease: trombone; Ralph Bowen: tenor saxophone; Walt Weiskopf; tenor saxophone, alto saxophone; Behn Gillece: vibraphone; Luther Allison: piano; Peter Brendler: bass; Zach Adleman: drums.

Reaching Out

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Walt Weiskopf - Fountain Of Youth

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 59:19
Size: 136,5 MB
Art: Front

(5:24)  1. Backstage Blues
(4:42)  2. Close Enough For Love
(4:24)  3. Petal
(5:49)  4. How Are Things In Glocca Morra
(5:41)  5. Loose Lips
(4:59)  6. Echoes Of The Quiet Past
(4:55)  7. Laura
(7:06)  8. Young And Foolish
(4:16)  9. Hot Dog Days
(6:05) 10. Heads In The Clouds
(5:53) 11. Double Date

Fountain Of Youth is the latest installment of Walt Weiskopf's mid-career renaissance. In reviews of Weiskopf's three previous Posi-Tone releases, I made the misstep of treating his imposing skills as a tenor saxophonist, composer, arranger, and bandleader as separate, albeit compatible entities; this time around I realized that they are indeed parts of a larger, all-encompassing vision that winds through the disc's eleven tracks. Whereas Overdrive, Open Road, and The Way You Say It are with few exceptions driven by Weiskopf's compositions, there's a sufficient amount of non-original material in Fountain to make a case for his transformative powers in regard to the Great American Songbook, and the capacity to shape them and his own works into a cohesive program. "Close Enough For Love," "How Are Things in Glocca Morra?," "Laura," "Young And Foolish" (as well as vibraphonist Behn Gillece's "Double Date") are handled with care while recast as Weiskopf vehicles; in the end, it's a tribute to his interpretative acumen to say that they don't stand in stark contrast to his six originals. A varied and sturdy lot, Weiskopf's compositions aren't knockoffs of classic jazz tunes. A couple of favorites are the brusque, no nonsense "Hot Dog Days," and the carnival-like, mercurial "Heads In The Clouds." Moreover, the relative brevity of the tracks only one is over seven minutes and most are considerably shorter further encourage the perception of the record as a unified endeavor.

Weiskopf's tenor is perhaps foremost of Fountain's overlapping virtues. One of the impressive things about his instrumental prowess is the capacity to sound emotionally convincing in vastly different contexts. A fierce, gripping, blues drenched disposition which contains an element of calculation in keeping with the precision in which he articulates each note characterizes "Backstage Blues," "Loose Lips," and "Hot Dog Days." In short, he often sounds positively invincible. Conversely, Weiskopf's ballad playing isn't merely pretty; in particular, the heads of "How Are Things In Glocca Morra," "Young and Foolish" and his "Echoes Of The Quiet Past" express a palpable sense of vulnerability. The monster tenor sax is briefly transformed into something smaller, almost frail, and recognizably human. It's apparent throughout that Weiskopf is writing and arranging for people who challenge, stimulate, and inspire him. 

Shout choruses and written figures behind the soloists invariably prove out in relation to each composition. Weiskopf utilizes these devices just enough to keep things sounding fresh and avoids the all-too-common, seemingly endless cycle of head/solos/head. Gillece, pianist Peter Zak, bassist Mike Karn, and drummer Steve Fidyk, all of whom have performed on at least one of his previous Posi-Tone releases, relish the challenges of Weiskopf's arrangements and acquit themselves admirably when its their turn to solo. In particular, when Zak follows Weiskopf, it feels like a sudden change in the weather, without any break in momentum. Karn merits special mention for playing some of the fiercest, most propulsive bass lines in recent memory. Guided by Weiskopf's firm hand, Fountain Of Youth is a tightly wrapped package, filled with ingenious designs and spirited, articulate performances. Highly recommended. ~ David A. Orthmannn https://www.allaboutjazz.com/fountain-of-youth-walt-weiskopf-posi-tone-records-review-by-david-a-orthmann.php

Personnel: Walt Weiskopf: sax; Behn Gillece: vibes; Peter Zak: piano; Mike Karn: bass; Steve Fidyk: drums.

Fountain Of Youth

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Min Rager - First Steps

Bitrate: MP3@320K/s
Time: 61:03
Size: 139.8 MB
Styles: Piano jazz
Year: 2014
Art: Front

[8:09] 1. Nothing To Gain, Nothing To Lose
[6:59] 2. First Steps
[6:02] 3. Bella
[1:58] 4. Persistence Of Memory
[4:26] 5. Passing
[6:24] 6. Song Of Love
[6:34] 7. Portrait Of Miles
[7:32] 8. Embrace
[5:42] 9. Goodbye, Manhattan
[7:11] 10. Always Near To You

Min Rager: piano; Kevin Dean: trumpet; Donny Kennedy: alto saxophone; Fraser Hollins: bass (2, 5-7); Alec Walkington: bass (1, 8, 9); Andre White: drums; Walt Weiskopf: tenor saxophone (4); Josh Rager (10).

It is not often that a woman is given much elbowroom in contemporary music, no matter how good she may be. However, when she is as good as Min Rager on First Steps, more than elbowroom had better be made for her and her piano. True, Rager has been preceded by a celestial pantheon of female pianists, including towering personalities Mary Lou Williams and Marian McPartland, the elusive Jane Getz and Geri Allen. To stake her claim and strut her stuff in a gallery with vaunted company requires a singular brilliance; Rager has this in abundance.

Min Rager is an unbridled piano virtuoso with a large heart, creative spirit and wonderful, sinewy style. Rager also has a flair for the dramatic and for making the keys tell stories which captivate and bring rapture to the attentive ear. She has a bright, skipping manner and often lets her right hand ascend scales with alacrity, as if she were leaping through a bowling green. Her left hand strikes chords and notes with erudite tone and color. She will sometimes repeat a note twice, extracting a completely different meaning from its abundant timbral overtones. There are no half measures in her playing, and there is great elasticity in her solos; always a solid beginning, a tantalizing stretch down the middle and a resolute end.

Rager's compositions are mature and have a great feeling for the blues. Paying tribute to human triumph in the tradition of an African-American idiom is no easy task. However, the heartfelt inner sensitivity and the depth of soul enables Rager to sing with the sensibility of musician who has paid her dues too, albeit at a young age. Although this should need no explanation, it does bear mention because the blues is the mother of jazz and not every musician today is steeped in it. To Min Rager it appears to be second nature and this not only a rare gift, but also a credential that speaks volumes for her beckoning genius. The stamp of Rager's creativity is all over First Steps.

Rager's music is anchored in inventive bebop sensibility. "Nothing to Gain, Nothing to Lose" burns rapidly, as the rumor of a raid. "First Steps" is a refreshingly clever nod toward modal music and John Coltrane "Giant Steps." "Bella," "Persistence of Memory," "Song of Love" and "Portrait of Miles" are gorgeous ballads in the grand, Billy Strayhorn manner. Bassist, Fraser Hollins plays an unforgettably lush melodic solo on "Song of Love" and trumpeter Kevin Dean displays fine chops on "Song of Love" and "Miles." "Embrace" could have been entitled "Abraço," in that warm Brazilian embrace of the tradition of Antonio Carlos Jobim and Joao Gilberto. "Always Near to You," a duet shared with husband/pianist, Josh Rager, is completely captivating in the grand manner of Herbie Hancock and Chick Corea. On the evidence of this record, Min Rager has not simply arrived; it is already time to pay her homage. ~Raul D'Gama Rose

First Steps

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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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Walt Weiskopf - Night Lights

Bitrate: MP3@320K/s
Time: 62:09
Size: 142.3 MB
Styles: Saxophone jazz
Year: 1995
Art: Front

[7:25] 1. You Go To My Head
[6:20] 2. With The Wind And The Rain In Her Hair
[6:11] 3. Moonlight On The Ganges
[5:24] 4. Some Other Time
[4:56] 5. Baubles, Bangles And Beads
[3:58] 6. Night Owl
[6:40] 7. Camelot
[6:27] 8. Night Lights
[7:28] 9. Herbie's Lament
[7:17] 10. I Wish I Knew

Walt Weiskopf performs seven standards and three originals on this quartet set with pianist Joel Weiskopf, bassist Drew Gress and drummer Steve Davis. Weiskopf, who has written an instructional book on John Coltrane's style, sounds too close for comfort to 'Trane on this otherwise enjoyable set. He is certainly a technically gifted player and his versions of such tunes as "You Go to My Head," "Moonlight on the Ganges," "Some Other Time" and "I Wish I Knew" are reasonably adventurous but Weiskopf should really work on developing his own musical personality. ~Scott Yanow

Night Lights

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Randy Sandke and the Metatonal Big Band - The Subway Ballet

Styles: Trumpet Jazz, Big Band
Year: 2006
File: MP3@320K/s
Time: 61:13
Size: 141,2 MB
Art: Front

(1:18)  1. The Subway Ballet: Watch the Closing Doors
(5:35)  2. The Subway Ballet: Dance of the Downtown Punks
(1:07)  3. The Subway Ballet: Electriglide
(4:27)  4. The Subway Ballet: Dance of the Wall Street Brokers
(1:34)  5. The Subway Ballet: Steel Wheels
(4:33)  6. The Subway Ballet: Dance of the Hassidic Diamond Merchants
(1:13)  7. The Subway Ballet: Making Tracks
(4:20)  8. The Subway Ballet: The Blind Beggar Encounters the Korean
(1:01)  9. The Subway Ballet: Momentum
(4:38) 10. The Subway Ballet: Dance of the Midtown Career Women
(0:43) 11. The Subway Ballet: Straphanging
(4:39) 12. The Subway Ballet: Pas de Deux
(1:14) 13. The Subway Ballet: Express Stop
(9:14) 14. The Subway Ballet: 125th Street
(4:36) 15. Music from 1988: Red Hook Blues
(3:13) 16. Music from 1988: Happy Birthday Berlin
(5:10) 17. Music from 1988: How Did It Get So Late
(2:27) 18. Music from 1988: Realization

Trumpeter Randy Sandke, considered a mainstream jazz stylist, reveals another side on this release, compiled from two sessions recorded about fifteen years apart. The Subway Ballet is a wild suite scored for big band (substituting vibes and xylophone for piano) that utilizes a metatonal harmonic approach, frequently sounding like snippets of music written for a suspense movie. Key centers are often fleeting, though most of the charts seem tightly scored. Sandke's compositions fit his individual titles perfectly; it is easy to conjure characters to match them as the music unfolds. Sandke's setting for the piece is in the early '80s, when New York City was viewed as a dangerous place. "Watch the Closing Doors and "Dance of the Downtown Punks are very ominous, followed by the breezy, playful "Electricglide, showcasing trombonist Wycliffe Gordon to good effect, who sounds like he would have enjoyed playing with Spike Jones. Sandke pulls all stops in the hilarious "Dance of the Hassidic Diamond Merchants, which blends traditional Jewish themes with David Krakauer's deliciously loopy clarinet solo. "Making Tracks, featuring alto saxophonist Ted Nash, is suggestive of Eric Dolphy's late work. Although no one has yet choreographed Sandke's intriguing ballet for dancers, it would be a challenging, worthwhile venture.

The last four selections are grouped as "Music From 1988, described by Sandke as unreleased music that never found a home. The highlight, the gritty "Red Hook Blues, finds Jim McNeely making a rare appearance on organ. The eerie "How Did It Get So Late is a modern classical effort intermingling scored and improvised sections. Less interesting are "Happy Birthday Berlin, an ear-jarring techno track that seems out of place and "Realization, with the flavor of a generic rock soundtrack to an '80s action flick. ~ Ken Dryden  http://www.allaboutjazz.com/the-subway-ballet-randy-sandke-evening-star-records-review-by-ken-dryden.php

Personnel: Chuck Wilson: alto sax, flute, piccolo; Ted Nash: alto sax, flute; Scott Robinson: tenor sax, soprano sax, clarinet; John Allred: trombone; Joe Barati: bass trombone; Steven Bernstein: trumpet, slide trumpet; Erik Charlston: percussion, xylophone, vibraphone; Mike Christianson; trombone; Greg Cohen: bass; Jim Czak: voices; Glenn Drewes: trumpet; John Goldsby: bass; Wycliffe Gordon: trombone; John Riley: drums; John Hayward: drum machine; David Krakauer: clarinet; Jim McNeely: organ, piano; Bob Millikan: trumpet; Gerry Neiwood: flute, alto sax; Randy Sandke: trumpet, flugelhorn, electric guitar, keyboards, piccolo trumpet; Jack Stuckey: bass clarinet, baritone sax; Kenny Washington: drums; Walt Weiskopf: clarinet, tenor sax; Scott Wilson: clarinet, flute, soprano sax, tenor sax.

The Subway Ballet

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Doug Webb - Triple Play

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 59:49
Size: 137,4 MB
Art: Front

(4:47)  1. Jones
(5:12)  2. Three's A Crowd
(4:01)  3. Giant Steps
(4:59)  4. The Way Things Are
(4:43)  5. Avalon
(6:31)  6. Jazz Car
(5:01)  7. Your Place Or Mine
(5:50)  8. I Concentrate On You
(7:31)  9. Pail Blues
(4:24) 10. Alligator Boogaloo
(6:45) 11. Triple Play

As tempting as it is to simply consign a blowing session label to Triple Play, a three tenor saxophone plus rhythm date led by Doug Webb, there's ample evidence that something more disciplined and structured is afoot. For one thing, eight of the disc's eleven tracks are under six minutes in other words, there's not a lot of room for indulgence, excess, or one-upmanship of any kind. The material, including striking originals by the leader, Walt Weiskopf, and Joel Frahm, as well as assorted standards such as "Avalon," "Giant Steps," and "I Concentrate On You," is often tendered by the horns like a reed section of a big band, carefully blended and precisely executed. Randy Aldcroft, who doesn't appear on the record, is credited with the arrangements of three selections. Organist Brian Charette serves as the session's ballast, holding things in place with smart, pulsating work on the bass pedals, beautifully shaded and nuanced comping, as well as tweaking soloists with the occasional brash chord. Rudy Royston's drums and cymbals constitute the session's wild card. He offers a busy, sometimes manic commentary, moving in and out of the pocket at will, punching holes in the music with his bass and snare drums, playing stretches of comparatively straight time, as well as tapping out jumbles of strokes.

Webb, Weiskopf, and Frahm are middle-aged veterans of the struggles and triumphs of jazz performance, far too accomplished and certain of their abilities to participate in some sort of spurious tenor battle; thankfully, the record's end result is a wealth of inspired, highly focused improvisations. The three tenors each in his own manner play with a ruthless efficiency, making complete, rousing statements, usually in just a handful of choruses, on selections mostly taken at middling to up tempos. Webb possesses an exemplary ability to navigate various tempos and find fresh perspectives on material that would induce a litany of clichés in a lesser player. Undaunted by the dizzying pace of "Avalon," his ideas cohere without a trace of athleticism or strain. A three-chorus turn on Lou Donaldson's soul-jazz tune "Alligator Boogaloo" includes relaxed, neatly sculpted phrases as well as the requisite blues and R & B effusions. Throughout "I Concentrate On You," amidst Charette's and Royston's firm support, he swings in a way that evinces a momentum of its own. During the first chorus of his composition "Jones," Webb makes an art of stopping short, that is cutting off ideas before an easily anticipated conclusion, and then offering something else, without any hint of disengagement or loss of continuity.

It's easy to become preoccupied with Weiskopf's tone, a dense, vibrating, all-encompassing, blues-fused concoction, at the expense of taking notice of the ways in which he organizes ideas in the service of sustaining momentum. On his composition "Three's A Crowd" and Webb's "Triple Play," he displays a flair for brief, dramatic entrances such as slamming home one note and extending it, or making a handful of notes sound like a buzz saw, immediately following with an impassioned, metallic cry and then rapidly getting down to the business of building a cogent, emotionally compelling improvisation. The second chorus on "The Way Things Are," another one of his compositions, includes some of Weiskopf's most stunning work on the record. His lines are taut, tightly connected, and for the most part etched into the hum and rumble of Charette's bass line. When he pauses, or briefly spins out a flurry of notes that fly against the beat before snapping back to attention, the effect is like an edifice being ripped apart and immediately miraculously put back into place.

Each of Frahm's solos is something of an adventure, as he manipulates his tone, juggles contrasting rhythms, intentionally rushes or drags time, changes temperament from cool to hot, and flashes a number of ideas in relatively short periods. His "Jones" improvisation gradually comes into focus. Frahm lays back for much of the first chorus, playing a little behind the beat and leaving some room between selected phrases. The last eight bars signal a change as his tone assumes a ragged edge. The second chorus begins with the insistent pecking of a number of staccato notes, which he rapidly wrestles into a nifty phrase. Eventually his sound thickens and he integrates squeaks, burr tones, and screams. During "Your Place Or Mine" Frahm evokes jazz of the swing era for about a half chorus in terms of vocabulary and rhythmic nuisances before metamorphosing to the present day. Throughout "Triple Play" he creates tension by playing slightly ahead of the beat, and sprinkles at least three song quotes into the solo's second chorus. Not unlike Swing Shift, Webb's memorable 2012 release on Posi-Tone, Triple Play contains the present centered vibe of the last set of a club date, when the musicians are open to all possibilities, expressing themselves without inhibitions and, for an hour or so, the sounds are strong enough to keep the outside world at bay. ~ David A. Orthmann  http://www.allaboutjazz.com/triple-play-by-david-a-orthmann.php
 

Personnel: Doug Webb: tenor sax; Walt Weiskopf: tenor sax; Joel Frahm: tenor sax; Brian Charette: organ; Rudy Royston: drums.

Triple Play

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Walt Weiskopf - Man Of Many Colours

Styles: Saxophone Jazz
Year: 2001
File: MP3@VBR~216K/s
Time: 50:33
Size: 74,8 MB
Art: Front

(7:17)  1. Triangle Dance
(7:32)  2. Haunted Heart
(5:41)  3. Together
(7:04)  4. Man Of Many Colors
(7:22)  5. People
(6:47)  6. NYC
(5:33)  7. Petal
(3:13)  8. When Your Lips Meet Mine

Despite the fact that his name doesn’t show up on magazine polls and is equally scarce among those few jazz guide books on the market, make no mistake about the fact that Walt Weiskopf is easily one of the most mature and fully individualistic saxophonists and composers to come along in the last 10 years. Possibly because of the fact that he chooses to work within the mainstream tradition (read: not outlandish enough to appeal to the avant hipsters) and record for the small Dutch-based Criss Cross Jazz label, Weiskopf is not widely known among everyday jazz circles, but it seems that those who have sampled his brilliance are uniformly enthralled with his vociferous approach. Over the course of six previous Criss Cross releases, Weiskopf has shown that he possesses a keen awareness of his own personal muse, both through his saxophone work and his compositional prowess. In fact, his nonet recordings, Song For My Mother and Siren have been universally lauded by jazz journalists and diehard fans for their resourcefulness and innovation. Man Of Many Colors is somewhat unique in that it is Weiskopf’s first quartet recording since 1995’s A World Away, which featured Larry Goldings, Peter Bernstein, and Bill Stewart. This time around it’s a piano trio on board, and a fine one that finds Brad Mehldau mixing things up with bassist John Patitucci and drummer Clarence Penn.

Admittedly a Coltrane disciple, Weiskopf’s tenor speaks in long phrases of a multifarious nature, fluidly executed and with a robust timbre that is immediately satisfying. On “NYC”, Penn sets things up for an up-tempo romp that has Weiskopf chomping at the bit from note one. Throwing off series of notes with machine-gun rapidity, Weiskopf engages in a solo statement that can only be described as his own take on “sheets of sound” methodology. Although he can tear up the changes with ferocity, Walt also has a most affecting way in his delivery of ballad material. With both “People” and “Haunted Heart,” he uses space smartly and alternates the clarion call of his upper register with rapid passages that cover the entire range of the instrument. Previously, Weiskopf has worked with some very strong drummers. Past collaborators like Billy Drummond are used to pushing and prodding a soloist and it is exactly that type of environment that most suits the saxophonist’s forays. Penn is an excellent choice here, as he does much more than merely keep time. “Triangle Dance” is a perfect example of the drummer’s complex interaction with the entire ensemble, switching back and forth between a Latin groove and straightforward swing. 

Not only does Weiskopf seem to respond positively to the affirmative rhythmical environment, but so too does Mehldau, whose own work as a leader seems to lack so much of the energy and forward momentum that the pianist so efficiently displays here. On six originals and the two previous mentioned standards, Weiskopf and crew approach things in a manner that makes this so much more than yet another mainstream recital. It’s all about group interaction and individual expression. But those of us who know Weiskopf via past efforts shouldn’t be surprised. What’s left is for a wider circle of fans to get the message. ~ C.Andrew Hovan http://www.allaboutjazz.com/man-of-many-colors-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf (tenor sax), Brad Mehldau (piano), John Patitucci (bass), Clarence Penn (drums)

Man Of Many Colours

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Walt Weiskopf - Open Road

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 59:19
Size: 136,1 MB
Art: Front

(3:26)  1. Premonition
(3:30)  2. Let's Spend The Day Together
(4:18)  3. Open Road
(4:10)  4. Nancy (With The Laughing Face)
(5:26)  5. Gates Of Madrid
(4:40)  6. Stage Whisper
(6:03)  7. Invitation To The Dance
(5:46)  8. Tricycle
(4:26)  9. Chronology
(6:37) 10. Angel Eyes
(6:09) 11. Electroshock
(4:43) 12. Leaves of Grass

Walt Weiskopf has a thing or two to say on the saxophone. When he does, he speaks with clarity, concision and swing. Weiskopf comes to work with a level of preparation few can challenge. A veteran of bands led by Buddy Rich and Toshiko Akiyoshi, he’s been a leader for twenty years and also a touring member of Steely Dan for over a decade. Through his innovative teaching and series of books, Walt has opened the secrets of intervallic improvisation pioneered by John Coltrane for players around the world, introducing new colors to the palette of jazz. Open Road is Weiskopf’s second Posi-Tone album and fourteenth as a leader over two decades. It’s a follow-up to 2013’s superb Overdrive, which featured him with a driving quintet. This new album takes a leaner approach, reuniting Weiskopf with pianist Peter Zak and bringing bassist Mike Kam and Steve Fidyk into the fold. 

The disk features Weiskopf’s hard-swinging originals and the standard “Angel Eyes.” Throughout, Walt brings an open heart and tone to his playing. Like Coltrane, his complexities never sound academic or stand in the way of his melodies, but rather enhance them. Open Road will be available from Posi-Tone June 26. Walt’s on tour with Steely Dan in July and August, but you can catch him with the Open Road quartet at Smalls in New York on October 2nd and 3rd. In the meantime, savor this recording! ~ Tim Wilkins, WBGO digital content manager  http://www.wbgo.org/radar/walt-weiskopf-open-road

 

Open Road

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Walt Weiskopf - Song For My Mother

Styles: Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 52:43
Size: 121,0 MB
Art: Front

(7:09)  1. Outsider
(5:18)  2. Three Armed Man
(6:41)  3. Barebones
(5:26)  4. End of the Year So Soon
(7:10)  5. Song for my Mother
(5:40)  6. High Noon
(5:26)  7. You Won't Forget Me
(4:06)  8. Where Is Love?
(5:42)  9. Turncoat

Weiskopf's talent broadens into the arranging field on this excellent album. The tenor saxophonist, a graduate of the Eastman School of Music and a veteran of the big bands of Buddy Rich and Toshiko Akiyoshi-Lew Tabackin, employs a nonet: four woodwinds, trumpet, trombone, piano, bass and drums. His charts put you in the mood of Gil Evans, Herbie Hancock and Duke Pearson. His tenor, reminiscent of Trane, Charles Lloyd and a cooler Mike Brecker, threads through the arrangements in integral fashion.

Anders Bostrom's virtuosic flute and alto flute are prominent in solo on three Weiskopf originals. Here and elsewhere, the flutes and alto flutes (all the reedmen double) color the band, giving it a pastel or glowing character. Jim Snidero (alto saxophone) and Scott Robinson (baritone saxophone) cook in their respective solos. Trumpeter Joe Magnarelli and trombonist Conrad Herwig complete the horns, with Joel Weiskopf (piano), Peter Washington (bass) and Billy Drummond (drums) in the rhythm section. ~ Owen Cordle  http://jazztimes.com/articles/8386-song-for-my-mother-walt-weiskopf

Personnel: Walt Weiskopf (tenor saxophone, flute, alto flute); Jim Snidero (alto saxophone, flute, alto flute); Scott Robinson (baritone saxophone, flute, bass clarinet); Joe Magnarelli (trumpet); Conrad Herwig (trombone); Anders Bostrom (flute, alto flute); Joel Weiskopf (piano); Peter Washington (bass); Billy Drummond (drums).

Song For My Mother

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