Milt Hinton - The Basement Tapes

Styles: Jazz, Post Bop
Year: 1989
File: MP3@320K/s
Time: 62:54
Size: 145,7 MB
Art: Front

(3:04)  1. Raincheck
(6:04)  2. A Time For Love
(4:11)  3. Johnny Comes Lately
(4:02)  4. Fascinating Rhythm
(4:35)  5. Blessed Assurance
(6:26)  6. Mona's Feeling Lonely
(3:55)  7. Order In The Court
(3:27)  8. Wade In The Water
(3:23)  9. Night And Day
(3:56) 10. As Long As I Live
(4:04) 11. Love Me Or Leave Me
(3:40) 12. Old Man Time
(6:26) 13. Summertime
(5:35) 14. Travelin' All Alone

In recent years, much of the attention given to late bass great Milt Hinton's career and legacy has been directed at his prowess as a jazz photographer. Nevertheless, we must not forget that behind those extraordinary photographs was an equally extraordinary musician. With Chiaroscuro's recent release of The Basement Tapes, jazz fans will find a welcome reaffirmation of Hinton's formidable gifts as both timekeeper and soloist. Composed of previously shelved material, the disc's 14 tracks offer up a broad slice of the spectrum of styles Hinton encountered over his illustrious career. On the swingin' side of things are two Billy Strayhorn pieces, "Raincheck" and "Johnny Come Lately" - taken at pace by Hinton with the help of Warren Vaché on trumpet and pianist Janice Friedman.

Both Vaché and Friedman offer keen lyrical insight and, with able hands, tend to Strayhorn's touching melodies. Hinton, meanwhile, occupies himself with tempo and swing. His bass walks - nay, runs - deftly across the rolling passes of the tunes, stopping only for an exquisite pair of solos. On "Fascinating Rhythm," a duet with drummer Kenny Washington, the listener is again dazzled by a prodigious display of rhythmic dexterity. Throughout the piece, Washington's traps snap, crackle and pop like the burning coals of a campfire, while Hinton's fat tone casts rounded shapes and bold colors over the playfully erratic Gershwin composition. Other highlights include a burning version of Frank Wess' "Order in the Court" and "Old Man Time," complete with Hinton's lighthearted vocals, Kenny Davern's mood-ified clarinet, guitarist Howard Alden's infectious strums (à la Freddie Green), and drummer Jackie Williams' strokes of skilled brushwork. Above all else, The Basement Tapes is a glaring testament to Hinton's rhythmic reliability. Like a monument at the center of town, his bass stands tall and firm carrying with it an unmistakable air of steadiness and permanency. ~Riel Lazarus https://www.allaboutjazz.com/the-basement-tapes-milt-hinton-chiaroscuro-records-review-by-riel-lazarus.php

Personnel: Milt Hinton - Bass; Howard Alden - Guitar; Kenny Davern - Clarinet; Warren Vache - Trumpet; Sylvia Syms - Vocals; Kenny Washington - Drums; Frank Wess - Flute, Tenor Sax; Jackie Williams - Drums; Janice Friedman - Piano; James Williams - Piano.

The Basement Tapes

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Warren Vache, Alan Barnes, The Woodville All-Stars - The London Sessions

Styles: Jazz
Year: 2010
File: MP3@320K/s
Time: 71:49
Size: 165,7 MB
Art: Front

( 5:51) 1. You'd Be So Nice to Come Home to
( 5:24) 2. My Funny Valentine
( 7:45) 3. The End of a Love Affair
( 6:00) 4. Sophisticated Lady
(11:14) 5. Molasses
( 7:38) 6. Taking a Chance on Love
( 6:57) 7. My One and Only Love
( 6:09) 8. I'll Close My Eyes
( 8:25) 9. A Walkin' Thing
( 6:21) 10. Love For Sale

1977-80 Alan studied saxophone, woodwinds and arranging at the Leeds College of music. In 1980 he moved to London, playing with the Midnight Follies Orchestra and the following year was with the Pasadena Roof Orchestra, touring Europe until 1983. In that year he left to join the hard bop band of Tommy Chase where he attracted considerable attention on the UK jazz scene for the first time. He left Chase in 1986 to co-lead The Jazz Renegades with rock drummer Steve White travelling as far afield as Japan and recording four well received albums. In 1988 Alan was asked to fill the chair recently vacated by Bruce Turner in the Humphrey Lyttleton band where he stayed until 1992. 1987-97 he also found time to lead the Pizza Express Modern Jazz Sextet with Gerard Prescencer and Dave O'Higgins.

Since leaving the Lyttleton band, Alan has concentrated on his freelance career. Alan has enjoyed a prolific career as a sideman, playing and recording for many bands. He broadcast regularly over a ten-year period with the BBC Big Band and Radio Orchestra and has toured and recorded with big band leaders, Dick Walter, Kenny Baker, Bob Wilber, Don Weller, Stan Tracey, Mike Westbrook and John Dankworth. Other bands he has toured and recorded with include the Tina May Trio, Bill LeSage's Genetically Modified Quintet, Spike Robinson's Tenor Madness, Clare Teale, and a sextet with Don Weller playing the music of Cannonball Adderley. Alan has also toured the U.K. with Freddie Hubbard. Alan has long associations with pianist David Newton, going back to their college days, and with blistering be-bop trumpeter Bruce Adams, with whom he has co-led a quintet since the early nineties.

Alan has been featured on many jazz recordings from his first record date as co-leader in 1985 with Tommy Whittle and as leader of his own quartet in 1987 right up to recent record dates with Scott Hamilton, Warren Vache and Harry Allen. He has appeared on the Concord, Fret, Miles Music, Nagel Hayer and Specific labels with various projects. Alan has recorded a large number of sessions with pianist Brian Lemon on the Zephyr label. Amongst these sessions are duet, quintet, sextet and octet sessions with Warren Vache, Tony Coe, KenPeplowski, Gerrard Prescencer and Mark Nightingale. Alan has performed as a member of Clark Tracey's “Tribute to Art Blakey” and was featured on the David Newton/Clark Tracey recording Bootleg Eric.

He has also appeared as a session musician on albums by Selina Jones, Bjork, Van Morrison, Bryan Ferry, Clare Teal, Jamie Cullum and Westlife and can also be found on film and television soundtracks including “Chicago” and jingles such as the Tetley Bitter series of adverts featuring his solo baritone. Alan has appeared regularly as a member of the Laurie Holloway orchestra on television's Michael Parkinson show and Strictly Come Dancing. In 1999 Alan toured America and Europe with Bryan Ferry's band, returning to the U.S.A. in early 2000 to record and tour for ten weeks with Warren Vache's eleven-piece band - a project for which he had written most of the arrangements. He returned to Kansas City in 2001 to perform as a guest soloist at the Topeka jazz Festival. That November he featured on Baritone and clarinet at the Blue Note Clubs in New York and Tokyo with the Charlie Watts Tentet and followed this with a stay in South Africa as a solo artist.

Over the years Alan has won many British Jazz awards in alto, baritone, clarinet and arranging categories. In 2001 and 2006 Alan received the prestigious BBC Jazz Instrumentalist of the Year award and in November 2003 was made a fellow of the Leeds College of Music 2003 also saw the inception of Alan's own record label Woodville Records. Compositions and commissions include “The Sherlock Holmes Suite”, two series of jazz songs written with playwright Alan Plater - “Songs for Unsung Heroes” and “The Seven Ages of Jazz”, “The Mabella Suite”, and settings of E.E. Cummings and other poets arranged for Jazz octet. Latest projects include a clarinet led trio with Jim Hart on vibes and Paul Clavis on drums and an all star octet playing the music of Duke Ellington. https://www.allaboutjazz.com/musicians/alan-barnes

Personnel: Bass – Andrew Cleyndert; Bass Clarinet, Alto Saxophone, Baritone Saxophone, Producer – Alan Barnes; Cornet – Warren Vaché; Drums – Bobby Worth ; Piano – John Pearce; Tenor Saxophone, Baritone Saxophone, Flute, Clarinet – Andy Panayi; Trombone – Mark Nightingale

The London Sessions

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Benny Carter - Benny Carter Songbook Vol II

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 76:04
Size: 174,4 MB
Art: Front

(3:26)  1. My Mind Is Still On You - Joe Williams
(5:10)  2. Echo Of My Dream - Dianna Krall
(6:00)  3. Rock Me To Sleep - Ruth Brown
(4:04)  4. Stop Me Before I Fall In Love Again - Billy Stritch
(8:33)  5. He Doesn't Need Me Now - Nancy Marano
(6:05)  6. Doozy - Jon Hendricks
(5:10)  7. Nevermore - Billy Stritch
(7:05)  8. Malibu - Lainie Kazan
(5:53)  9. Blue Moonlight - Marlena Shaw
(5:30) 10. Evening Star - Kenny Rankin
(4:46) 11. Slow Carousel - Nancy Marano
(4:05) 12. Whisper To One - Barbara Lea
(5:56) 13. I'm The Caring Kind - Weslia Whitfield
(4:16) 14. When Hilma Smiles

The 1997 release of this CD helped Benny Carter celebrate his 90th birthday, featuring 14 of his original ballads by a dozen guests, in addition to a warm tribute to his wife of many years, "When Hilma Smiles," sung by Carter himself in a friendly, unpretentious manner. His smooth alto sax hasn't lost anything over the decades, and the top-notch cornet of Warren Vaché is also a nice touch. 

The highlights among the guest vocalists' contributions include Nancy Marano's emotional version of "He Doesn't Need Me Now" and Wesla Whitfield's sassy take of "I'm the Caring Kind." ~ Ken Dryden https://www.allmusic.com/album/songbook-vol-2-mw0000028108

Personnel: Benny Carter (vocals, alto saxophone); Joe Williams, Weslia Whitfield, Ruth Brown, Billy Stritch, Nancy Marano, Jon Hendricks, Lainie Kazan, Marlena Shaw, Kenny Rankin, Barbara Lea, Diana Krall (vocals); Warren Vache (cornet); Chris Neville (piano); Steve LaSpina (bass); Sherman Ferguson, Roy McCurdy (drums)

Benny Carter Songbook Vol II

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Judy Carmichael - Pearls

Styles: Piano Jazz
Year: 1991
File: MP3@320K/s
Time: 64:37
Size: 148,8 MB
Art: Front

(3:20)  1. Lulu's Back in Town
(3:33)  2. Squeeze Me
(4:11)  3. The Pearls
(4:12)  4. I'm Gonna Sit Right Down (And Write Myself a Letter)
(3:23)  5. Between The Devil And The Deep Blue Sea
(3:53)  6. Everybody Loves My Baby
(3:28)  7. Sugar
(2:35)  8. Mule Walk Stomp
(3:24)  9. Ain't She Sweet
(3:47) 10. California, Here I Come
(3:02) 11. Little Rock Getaway
(3:19) 12. Lulu's Back in Town (Take 1)
(3:34) 13. Squeeze Me (Take 1)
(4:12) 14. I'm Gonna Sit Right Down (And Write Myself a Letter)
(3:51) 15. Everybody Loves My Baby (Take 1)
(3:48) 16. Sugar (Take 2)
(3:31) 17. Ain't She Sweet (Take 2)
(3:28) 18. Between the Devil and the Deep Blue Sea (Take 2)

The CD reissue of what was originally a Statiras set by pianist Judy Carmichael expands the original ten song program to 18. Carmichael teams up with cornetist Warren Vache, guitarist Howard Alden and bassist Red Callender for a spirited set of classic jazz and swing standards. Seven of the eight "new" selections are actually alternate takes so this CD is really two records in one. However when the songs played are of the caliber of "Lulu's Back in town," "I'm Gonna Sit Right Down and Write Myself a Letter," "Between the Devil and the Deep Blue Sea" and "Everybody Loves My Baby," one does not really mind hearing two versions. ~ Scott Yanow  http://www.allmusic.com/album/pearls-mw0000089559

Personnel: Judy Carmichael (piano); Howard Alden (guitar); Warren Vaché (cornet).

Pearls

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Buck Clayton - Buck Clayton Swings The Village

Bitrate: MP3@320K/s

Time: 72:18

Size: 165.5 MB

Styles: Big band, Swing

Year: 2002

Art: Front

[7:22] 1. Scorpio

[4:48] 2. Swingin' On The State Line

[5:57] 3. Horn O' Plenty

[5:15] 4. Rise And Shine

[5:33] 5. The One For Me

[7:50] 6. B.C. Special

[7:37] 7. Black Sheep Blues

[3:34] 8. Sparky

[5:46] 9. Cadillac Taxi

[4:58] 10. What A Beautiful Yesteryear

[5:59] 11. The Bowery Bunch

[7:33] 12. Song For Sarah

Trumpeter and bandleader Buck Clayton was a mainstay of the '30s and '40s big band. Following that, Clayton led every stripe of band for the next 40 years. In the late 1980s, when age prevented Clayton to play his trumpet, he turned his attention to composition and arrangement for a big band. In 1990, Clayton brought his big band to the Village Vanguard for a recital of his compositions, some written only recently before the show. This music was originally released in 1997 on Nagel Heyer as Buck Clayton Live From Greenwich Village, NYC (Nagel Heyer 030).

As part of their new re-issue program, Nagel Heyer has re-released this recording as Buck Clayton Swings the Village: The Buck Clayton Swing Band in Greenwich Village, NYC. It is 24-bit digitally remastered, providing an already bright recording that much more clarity. The music is fresh and refreshing. It is '30s—'40s Swing, to be sure, but it is composed, arranged and played with very much a 1990s precision. The appeal of this record is that it is not one more recording reprising Ellington, Basie, Goodman, Miller, or any number of bandleaders whose music has been diluted by time and reiteration. Swing presented the contemporary Buck Clayton Songbook. Contemporary talents like Byron Stripling and James Chirillo and veterans like Frank Wess, Warren Vaché and Joe Temperley present Clayton's vision succinctly. As a group, these songs contain easily all of Swing history. Traditionally white bands and blacks bands meld easily here into a crystal-clear solution of swinging, smiling music. It is no wonder that this recording was considered one of the year's best when released. This disc is a must for all big banders. ~C. Michael Bailey

Buck Clayton, John Eckert, Jordan Sandke, Byron Stripling, Warren Vache 

Buck Clayton Swings The Village

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Various Artists - The Kingdom Of Swing And The Republic Of Oop Bob Sh'Bam

Styles: Jazz, Big Band
Year: 1989
File: MP3@320K/s
Time: 59:31
Size: 137,8 MB
Art: Front

(11:52) 1. Lester Leaps In
( 9:40) 2. On Green Dolphin Street
( 6:24) 3. Blue Creek
( 5:28) 4. You'd Be So Nice to Come Home To
( 6:50) 5. When Your Lover Has Gone
( 7:15) 6. Night in Tunisia
( 4:12) 7. Joshua Fit the Battle of Jericho
( 7:46) 8. Moten Swing

This CD, which documents a live concert, has a silly title form. Actually out of the eight selections, only two ("On Green Dolphin Street" and "Night In Tunisia") have anything to do with bop. In reality this is a mainstream date featuring pianist Dick Hyman with some of his favorite players including fellow pianist Derek Smith, cornetist Warren Vache, trumpeter Joe Wilder, trombonist Urbie Green, Buddy Tate on tenor and clarinet, bassist Milt Hinton (featured on "Joshua Fit the Battle of Jericho") and drummer Butch Miles. Tate's clarinet outing on "Blue Creek" and Wilder's lyrical solo on "When Your Lover Has Gone" are excellent, but in general (considering the players involved) the results are average and fairly predictable. ~ Scott Yanow https://www.allmusic.com/album/the-kingdom-of-swing-the-republic-of-oop-bop-shbam-mw0000654020

Personnel: Dick Hyman, piano; Derek Smith, piano; Urbie Green, trombone; Milt Hinton, bass; Butch Miles, drums; Buddy Tate, tenor sax; Warren Vache', Jr., cornet; Joe Wilder, trumpet

The Kingdom Of Swing And The Republic Of Oop Bob Sh'Bam

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Warren Vaché - Remembers Benny Carter

Styles: Cornet Jazz
Year: 2015
File: MP3@320K/s
Time: 63:47
Size: 147,6 MB
Art: Front

(6:35)  1. A Walking Thing
(2:34)  2. When Lights Are Low
(4:42)  3. Doozy
(3:54)  4. Key Largo
(5:34)  5. Evening Star
(6:52)  6. Boulevard Bounce
(5:38)  7. Summer Serenade
(4:08)  8. Only Trust Your Heart
(6:01)  9. Souvenir
(3:50) 10. Rock Me to Sleep
(4:44) 11. I'm Sorry
(4:45) 12. All That Jazz
(4:24) 13. The Romp

There's lots of life to this recording. Veteran trumpeter Warren Vache knows a thing or two about an old friend, mentor Benny Carter. With The Warren Vache Quintet Remembers Benny Carter we take a step back in time even as we venture forth into the present. A present that finds cornetist Vache's style and personage slightly at odds with that goofy-looking guy with the lid shaking hands with Carter for the cover of this release. It's a remarkable transformation for someone who, during Carter's life, was enthralled by the man's spirit as well as his humanity and substantial musical contributions.

Then and now. That's what these kinds of recordings are all about, aren't they? The trick is to pull it off convincingly, which means you gotta inhabit that spirit and wonder with your whole heart and still have the means to convey it. In Vache's case, that's just what happens with this recording of 13 tunes associated with the multi-instrumental maven, whose career spanned a mind-boggling number of years and eras. To perhaps repeat, then and now is furthered along by the visual presentation of this CD. You get the younger, livelier Vache shaking hands with the master along with more recent photos which show a man weathered by the times since Carter's death in 2003 at age 95. Gone is that goofy smile of innocence, replaced by a more taciturn and wry grimace. Vache's seasoning no doubt has included some trials and disappointments in the intervening years. And that's just what seems to be so much a part of this recording: the sound of a man in love with his music and, in this case, the music of another, a more mature voice.

So, take all that in, and then listen to this music and discover a kind of transcendence that speaks to the music's ability to be ageless, Vache's formal treatments of these songs are true to the spirit of Carter's own muse and whatever Vache picked up by being associated with him. There is a joyous quality to everything here, except when "lights are low," but then it somehow remains surreptitiously buoyant. Take any tune and find a group cohesion fostered by the leader of this makeshift group and you'll hear something that's rare in today's marketplace of jazz recordings: an authentic embrace of ... then and now. With regular cohort Tardo Hammer at the keys, along with old friends and colleagues tenorist Houston Person, Nicki Parrott on bass and vocals and Leroy Williams on drums on selective cuts, the moods tend to be mellow when they aren't a tad bouncy. The transition between "Boulevard Bounce" and "Summer Serenade," for example, is the transition between that bounce featuring Vache playing a real cozy mute with tasteful brushwork from Williams to yet another example of Hammer's modest eloquence as he brings the serenade forward, Parrott's basslines and solo work simpatico all the way. "Summer Serenade" is that kind of rendition that certainly suggests what the song implies, a lazy river coursing through a nearby meadow, everything in its rightful place as the late-afternoon sun finds its way through the willows and the breezes are soft and reassuring. It's a trio piece, sans Vache, that serves as the midpoint to this collection, having followed what might be considered the overall mood of the album with "Boulevard Bounce," namely, a lighthearted party.

And so, with Remembers Benny Carter (featuring incisive, Carter-centered liner notes from Carter biographer Ed Berger) there's the seemingly inevitable gesture that comes with age and the talent to deliver it: a bittersweet melancholy and a certain longing for what was, maybe best heard when Parrott's voice enters here and there, her feminine energy a vital ingredient here as she expands on her bassist role via a samba version of "Only Trust Your Heart" and the more rightfully easygoing "When Lights Are Low" (featuring some delicate muted-horn work from the leader). Her voice is intimate, relaxed, lilting, as she inhabits the words to these songs in ways that make her an ideal foil to Vache's sometimes more caustic yet generous spirit. A generous spirit that leaves others to carry the tune, so to speak, from time to time without him.

With the quiet eloquence of "Souvenir" Vache returns with a full-bodied open horn, cradling the song's melody in this gently delivered ballad, a certain highlight that could be adapted to any time of day, but especially when those lights are low. Tardo's piano is once again a voice that provides that rare mesmerizing balance to Vache's clear, recital-like tones. You can practically feel the love for Mr. Carter. "Rock Me To Sleep" kicks it up a notch, echoing not only Carter the trumpeter but an even earlier master of that instrument, Louis Armstrong, the song's medium-tempo swing a lure for anyone who loves to hit the dance floor anytime of day. And with "All That Jazz," Vache joining Parrott in the vocal department, we hear not only more up-tempo swinging but some real harmonizing between these two singers that makes you wish they'd done another. Ending with the up-tempo swinging blues "The Romp" may have you forgetting everything that came before, this quintet seemingly refusing to go out quietly, but instead opting for just a wee bit more fun. Vache's horn and leadership on this date should be a welcome treat for any music lover, regardless of age or taste. His ultimate compliment to Carter could be Vache's overt presence implied as well as stated and his subdued, age-appropriate enthusiasm for this music, and his hitting every note just right even as he also allows everyone in on the party, for everyone to come celebrate the wonder that Benny Carter will always represent. ~ John Ephland https://www.allaboutjazz.com/warren-vache-quintet-remembers-benny-carter-by-john-ephland.php

Personnel: Warren Vache, cornet; Houston Person, tenor saxophone; Nicki Parrott, bass, vocals; Tardo Hammer, piano; Leroy Williams, drums.

Remembers Benny Carter

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Warren Vaché - Songs Our Fathers Taught Us

Styles: Cornet Jazz
Year: 2019
File: MP3@320K/s
Time: 58:08
Size: 133,9 MB
Art: Front

(3:42)  1. My Melancholy Baby
(3:52)  2. Key Largo
(3:56)  3. Love Locked Out
(5:26)  4. I Love You
(5:11)  5. Warm Valley
(4:56)  6. I'll Be Around
(3:40)  7. Birk's Works
(5:08)  8. Felicidade
(4:11)  9. The More I See You
(5:45) 10. Deep Night
(4:16) 11. Blue Room
(4:45) 12. There I No Music (For Me)
(3:15) 13. (I'd Like To Get You On A) Slow Boat To China

Anyone who is familiar with the artistry of WARREN VACHÉ knows that he epitomizes the tasteful side of the jazz spectrum. You also know that Vaché knows a lot of songs, good ones. Vaché, here on cornet, is joined by guitarist Jacob Fischer, bassist Neal Miner and drummer Steve Williams for Songs Our Fathers Taught Us (Arbors 19464). The program comprises 13 selections mixing the familiar, ''My Melancholy Baby,'' ''I'll Be Around,'' ''The More I See You'' and ''Blue Room;'' good songs that are too often overlooked, ''Key Largo,'' ''Love Locked Out'' and Cole Porter's ''I Love You;'' a couple of jazz tunes, ''Warm Valley'' and Birk's Works;'' and relative obscurities like ''Deep Night'' and a true rarity, ''There Is No Music (For Me)'' by Harry Warren and Ira Gershwin. I am not sure which songs were suggested by which participant, but the program proves to be a winner. Vaché plays with his usual eloquence and Fischer matches him on guitar, while Miner and Williams provide just the kind of support that they deserve. It is evident that the fathers of these cats imbued their offspring with a love for music for the ages. 

~ Joseph Lang 

Let's all pause for just a moment a contemplate what it would be like to live in a home in which your dad taught you to play jazz standards. In this case, what cornetist Warren Vaché remembers are the 78-rpm shellac recordings that his dad had saved up lunch money to buy when he was a schoolboy, and which he played on the family's record player every Saturday morning as Vaché was growing up. ''Melancholy Baby,'' ''Slow Boat to China,'' ''Blue Room,'' like that. Vaché plays these tunes in a soft and gentle way, even on the up-tempo numbers; there's fire in his energy and tone, but cool restraint in his arrangements and phrasing. He's accompanied by acoustic guitarist Jacob Fischer, bassist Neal Miner, and drummer Steve Williams-though the drums lay out for long stretches on this album, contributing to the overall feeling of relaxed warmth. Very, very nice. ~ Rick Anderson Editorial Reviews https://www.amazon.com/Songs-Our-Fathers-Taught-Us/dp/B07NHP5S6B

Personnel:  Warren Vache - cornet, Jacob Fischer - guitar, Neal Miner - bass, Steve Williams - drums

Songs Our Fathers Taught Us

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Dan Barrett Octet - Strictly Instrumental

Styles: Trombone Jazz 
Year: 1987
File: MP3@320K/s
Time: 39:41
Size: 91,4 MB
Art: Front

(3:30)  1. Old Fashioned Love
(3:16)  2. Somebody Loves Me
(3:55)  3. Quasimodo
(2:58)  4. The Minor Infraction
(3:22)  5. No Regrets
(3:34)  6. Moon Country
(3:12)  7. My Honey's Lovin' Arms
(5:08)  8. Strictly Instrumental
(3:24)  9. Sleep
(3:53) 10. Some Other Spring
(3:24) 11. There's Honey on the Moon Tonight

Trombonist Dan Barrett utilizes some of the top younger players of pre-bop in this delightful octet session. In addition to Barrett, the lineup includes cornetist Warren Vache; Ken Peplowski on clarinet and tenor; altoist Chuck Wilson; the late, great pianist Dick Wellstood; guitarist Howard Alden; bassist Jack Lesberg; and drummer Jackie Williams. Together, they play a variety of high-quality standards, including relative obscurities such as "No Regrets," Hoagy Carmichael's "Moon Country," and "There's Honey on the Moon Tonight." The concise solos and Barrett's clever arrangements make this a particularly memorable release. ~ Scott Yanow https://www.allmusic.com/album/strictly-instrumental-mw0000194071

Personnel:  Trombone – Dan Barrett; Valve Trombone – Dan Barrett;  Acoustic Guitar, Electric Guitar – Howard Alden; Alto Saxophone – Chuck Wilson; Bass – Jack Lesberg; Clarinet, Tenor Saxophone – Ken Peplowski; Cornet – Warren Vaché; Drums – Jackie Williams; Piano – Dick Wellstood

Strictly Instrumental

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Rosemary Clooney - With Love

Styles: Vocal Jazz
Year: 1981
File: MP3@320K/s
Time: 40:31
Size: 93,0 MB
Art: Front

(5:13)  1. Just The Way You Are
(5:05)  2. The Way We Were
(4:57)  3. Alone At Last
(4:55)  4. Come In From The Rain
(3:51)  5. Hello Young Lovers
(4:48)  6. Meditation
(3:21)  7. Just In Time
(5:12)  8. Tenderly
(3:06)  9. Will You Still Be Mine

Rosemary Clooney sings both old and new songs on this 1980 Concord album. With the emphasis on ballads (including "Just the Way You are," "The Way We Were," "Hello Young Lovers" and "Tenderly"), there is less variety on this set than usual although a swinging rendition of "Will You Still Be Mine" is a fine closer. Clooney is heard in prime voice as usual and there are some fine concise solos by tenor saxophonist Scott Hamilton, cornetist Warren Vache, guitarist Cal Collins, pianist Nat Pierce and guest vibraphonist Cal Tjader. ~ Scott Yanow https://www.allmusic.com/album/with-love-mw0000191616

Personnel:   Vocals – Rosemary Clooney; Tenor Saxophone – Scott Hamilton;  Vibraphone [Vibes] – Cal Tjader;  Bass – Bob Maize;  Drums – Jake Hanna;  Flugelhorn, Cornet – Warren Vaché;  Guitar – Cal Collins;  Piano – Nat Pierce. 

With Love

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Benny Carter - Songbook

Styles: Vocal, Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 77:37
Size: 179,4 MB
Art: Front

(5:30)  1. Only Trust Your Heart (Feat. Dianne Reeves)
(4:55)  2. All That Jazz (Feat. Carmen Bradford & Kenny Rankin)
(4:23)  3. I Was Wrong (Feat. Joe Williams)
(4:59)  4. Rain (Feat. Marlena Shaw)
(5:34)  5. Cow-Cow Boogie (Feat. Jon Hendricks)
(5:36)  6. Fresh Out Of Love (Feat. Diana Krall)
(4:57)  7. Speak Now (Feat. Billy Stritch)
(5:27)  8. A Kiss From You (Feat. Shirley Horn)
(4:17)  9. You Bring Out The Best In Me (Feat. Bobby Short)
(5:45) 10. My Kind Of Trouble Is You (Feat. Ruth Brown)
(4:06) 11. When Lights Are Low (Feat. Weslia Whitfield)
(6:35) 12. Lonely Woman (Feat. Nancy Marano)
(4:33) 13. Key Largo (Feat. Carmen Bradford)
(6:03) 14. We Were In Love (Feat. Dianne Reeves & Joe Williams)
(4:48) 15. I See You (Feat. Peggy Lee)

Due to his being such a talented altoist, arranger and occasional trumpeter for seven decades, it is often forgotten that Benny Carter wrote some worthy songs along the way. "When Lights Are Low" and "Blues in My Heart" are standards while "Only Trust Your Heart," "Key Largo" and the novelty hit "Cow-Cow Boogie" are close. For this unusual set, 14 different singers had opportunities to interpret one or two Carter compositions while joined by a fine quintet consisting of cornetist Warren Vache, pianist Chris Neville, bassist Steve LaSpina, drummer Sherman Ferguson and Carter himself (88 at the time!) on alto. The ambitious program includes five Carter songs that were receiving their world premiere; in addition Carter also wrote or co-wrote the lyrics to nine of the pieces. The singers all show respect for the melody and words with Jon Hendricks being playful on "Cow-Cow Boogie," Joe Williams quite touching on "I Was Wrong" and a weakened Peggy Lee making a memorable cameo on "I See You." The vocalists consistently seem quite inspired by the unique project. There are many short Carter and Warren Vache solos and, even with the emphasis on ballads, there is more variety than one might expect. The well-conceived tribute (which also has fine appearances by Dianne Reeves, Carmen Bradford, Kenny Rankin, Marlena Shaw, Diana Krall, Billy Stritch, Shirley Horn, Bobby Short, Ruth Brown, Weslia Whitfield and Nancy Marano). ~ Scott Yanow https://www.allmusic.com/album/songbook-mw0000180497

Personnel:  Benny Carter - alto saxophone;  Warren Vache - cornet;  Chris Neville, Gene DiNovi (#15) - piano;  Steve LaSpina, John Heard (#15) - bass;  Sherman Ferguson, Roy McCurdy (#2,6,13) - drums

Thank You Dave!

Songbook

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The John Bunch Quintet - John's Other Bunch

Bitrate: MP3@320K/s
Time: 66:35
Size: 152.5 MB
Styles: Piano jazz
Year: 2002
Art: Front

[5:18] 1. (I Would Do) Anything For You (Take 2)
[6:10] 2. I'll Take New York
[3:41] 3. Lotus Blossom
[5:10] 4. The Man I Love
[4:23] 5. Seventh Avenue Scene (Take 2)
[5:08] 6. My Baby Just Cares For Me
[4:34] 7. Ellington '66 (Take 4)
[4:27] 8. This Can't Be Love
[3:16] 9. Sunday Night
[5:14] 10. (I Would Do) Anything For You (Take 1)
[2:56] 11. Why Shouldn't I (Take 1)
[4:10] 12. Ellington '66 (Take 1)
[4:34] 13. Seventh Avenue Scene (Take 1)
[2:59] 14. Why Shouldn't I (Take 2)
[4:30] 15. Ellington '66 (Take 2)

Bass – Michael Moore; Piano, Leader, Arranged By – John Bunch; Tenor Saxophone – Scott Hamilton; Trumpet – Warren Vaché.

This disc is most notable in that veteran swing pianist John Bunch welcomes two up-and-coming players to his quintet: tenor saxophonist Scott Hamilton and trumpeter Warren Vache. Both Hamilton and Vache had recently been discovered and they are full of fire, inspiring the trio of Bunch, bassist Michael Moore, and drummer Connie Kay. Another plus is the repertoire which matches standards (including heated versions of "I Would Do Anything for You" and "This Can't Be Love") with obscurities (Bunch's "I'll Take New York," "Seventh Avenue Scene," and "Ellington '66"). Hamilton and Vache would soon be recording regularly for Concord, so it is a treat hearing them at the beginning of their productive careers, interacting with the Teddy Wilson-inspired piano of John Bunch. ~Scott Yanow

John's Other Bunch mc
John's Other Bunch zippy

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Warren Vaché, The New York City All-Star Big Band - Swingtime!

Bitrate: MP3@320K/s
Time: 61:49
Size: 141.5 MB
Styles: Big band, Swing
Year: 2000
Art: Front

[3:01] 1. Swingtime!
[5:15] 2. From This Moment On
[3:56] 3. I've Got My Fingers Crossed
[4:00] 4. Mr. Bojangles
[4:36] 5. The Way You Look Tonight
[6:09] 6. Stompin' At The Savoy
[8:23] 7. B. D. Blues
[3:16] 8. Jumpin' At The Woodside
[4:35] 9. A Portrait Of Jenny
[3:52] 10. Ain't Misbehavin'
[6:27] 11. Saturday Night Fish Fry
[3:14] 12. When You're Smiling
[4:59] 13. Let The Good Times Roll

Alto Saxophone, Clarinet – Chuck Wilson; Baritone Saxophone, Alto Saxophone, Clarinet – Alan Barnes; Bass – Murray Wall; Drums – Jake Hanna; Piano – Steve Ash; Tenor Saxophone – Harry Allen, Rickey Woodard; Trombone – John Allred, Matt Bilyk; Trumpet – Randy Sandke; Trumpet, Vocals – Warren Vaché. Recorded on January 11 and 12, 2000.

Some album titles so accurately describe the contents that there's almost nothing meaningful that a poor review can say about it. Such is the case with Swingtime!, wherein what is advertised is precisely what one gets—a baker's dozen of inflexibly swinging sorties by trumpeter Warren Vaché and his New York City All—Star Big Band (underweight division). The band includes only two trumpets (Vaché and Randy Reinhart), two trombones, four saxophones and rhythm, but after listening for a few moments you won't care about that, as these gentlemen more than compensate for fewness of numbers by pouring their heart and soul into every note on the page. Mind you, this isn't "contemporary" Jazz—no one is trying to plant fresh seeds or set new standards—but sure as the sunrise, it does swing! A large measure of credit for that must go to the intrepid rhythm section, anchored by drummer Jake Hanna and crowned by Steve Ash's tasteful piano and Murray Wall's walking bass. But everyone has a hand in making this engine go, and the band's consistently sparkling section work is complemented by emphatic solos from Vaché, Ash, tenors Rickey Woodard and Harry Allen, trombonist John Allred and clarinetist / baritone Alan Barnes, each of whom has technique and resourcefulness to burn. Besides playing sublime trumpet, Vaché discloses solid albeit unpolished vocal talent on "I've Got My Fingers Crossed," "Saturday Night Fish Fry" and "Let the Good Times Roll." Swingtime! reminds me of another superb Nagel—Heyer album released some five years ago, The Buck Clayton Swing Band Live from Greenwich Village, on which Vaché also played. Clayton's band was larger (16 members) but the payoff was about the same—pure, unvarnished swing from first note to last. If swing's your bag, open this one for a bushelful of pleasure. ~Jack Bowers

Swingtime! mc
Swingtime! zippy

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Houston Person - Rain or Shine

Styles: Saxophone Jazz
Year: 2017
File: MP3@320K/s
Time: 56:43
Size: 130,2 MB
Art: Front

(6:25)  1. Come Rain or Come Shine
(7:07)  2. 132nd and Madison
(7:02)  3. Everything Must Change
(6:20)  4. Learnin' the Blues
(5:31)  5. I Wonder Where Our Love Has Gone
(7:16)  6. Soupbone
(5:12)  7. Never Let Me Go
(5:45)  8. Our Day Will Come
(6:01)  9. Danny Boy

Tenor saxophonist Houston Person, now in his eightieth decade, has made no concessions to Father Time, choosing instead to use his many years in the jazz trenches to forge a style all his own, bathed in blues and soul but never turning a deaf ear to the allure of a seductive and tasteful melody. Each of these components is clear as the midday sun on Rain or Shine, a well designed studio session on which Person shares the front line with the like-minded cornetist Warren Vache. There can be no doubting a leader's self-confidence when he not only opens his own gig with an even-tempered ballad ("Come Rain or Come Shine") but entrusts the tune's lone solo to his fellow horn man. That is exactly what Person does, unlimbering his keen improvisational chops on the next track, "132nd and Madison," and pretty much taking the reins from there on. That's not meant to imply that Vache doesn't have his moments he fashions engaging solos whenever called upon, as do guitarist Rodney Jones and pianist Lafayette Harris who with bassist Matthew Parrish and drummer Vincent Ector comprise the ensemble's deft and responsive rhythm section.

Besides the songs already mentioned, the bill of fare embodies a mixture of soul, funk, R&B and ballads, with the blues never more than a glance away, before closing with an eloquent reading of the Irish folk classic, "Danny Boy" (by Person and Harris). Jones wrote the funky "Soupbone," which precedes the ballad "Never Let Me Go" and "Our Day Will Come" (set to a bossa beat) and follows "Everything Must Change," "I Wonder Where Our Love Has Gone" and the Frank Sinatra favorite, "Learnin' the Blues" (which swings as hard and as freely as Ol' Blue Eyes' original to amplify snappy solos by Person, Vache, Jones, Harris and Parrish). Rain or Shine was recorded in June 2017, one month before the passing of producer Joe Fields who founded the Muse and Xanadu labels, among others, before co-founding HighNote and Savant Records with his son Barney in 1996. If this was the last recording that Fields produced, he did indeed end his lengthy career on a decisive HighNote. ~ Jack Bowers https://www.allaboutjazz.com/rain-or-shine-houston-person-highnote-records-review-by-jack-bowers.php

Personnel: Houston Person: tenor saxophone; Warren Vache: cornet (1, 2, 4, 6, 8); Lafayette Harris: piano; Rodney Jones: guitar (1-6, 8, 9); Matthew Parrish: bass; Vincent Ector: drums.

Rain or Shine

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Warren Vaché, Allan Vaché - Mrs. Vaché's Boys

Bitrate: MP3@320K/s
Time: 76:49
Size: 175.9 MB
Styles: Swing
Year: 1999
Art: Front

[5:21] 1. Just Friends
[7:40] 2. Tangerine
[5:44] 3. London By Night
[7:18] 4. I'll Remember April
[6:57] 5. All Blues
[8:02] 6. Just Squeeze Me (But Don't Tease Me)
[5:11] 7. The Eel's Nephew
[6:07] 8. Falando De Orlando
[7:56] 9. Cotton Tail
[3:38] 10. Danny Boy
[5:53] 11. If Dreams Come True
[6:56] 12. What Am I Here For

Bass – Phil Flanigan; Clarinet – Allan Vaché; Cornet, Flugelhorn – Warren Vaché; Drums – Ed Metz Jr.; Guitar – Howard Alden; Piano – Eddie Higgins. Recorded 19-20 Feb, 1998 in Orlando, FL.

Profuse thanks are given to mom Madeline, who worked at Decca Records when she met Warren Sr., then insisted her boys practice daily. The result is this recording, played by two of the best baby boomers in the swing jazz business. Warren Jr.'s cornet musings have never been livelier or more clearly executed, while Allan Vaché, truly an underrated clarinetist, shines with the best of the current crop. Guitarist Howard Alden, the great pianist Eddie Higgins, bassist Phil Flanigan, and drummer Ed Metz, Jr. round out the excellent backup band. Some of the 12 tunes have the full sextet. Warren plays flügelhorn with Higgins only for the pristine "London by Night," and it's just Higgins, Flanigan, and Metz for the Benny Goodman evergreen "If Dreams Come True," Higgins quoting "You're Getting to Be a Habit with Me." Dig Warren, Alden, and Flanigan, and Alden especially plucky solo during Bud Freeman's "The Eel's Nephew," while Allan and Alden go it by themselves on the serene "Londonderry Air" aka "Danny Boy." There are three Duke Ellington tunes; "Just Squeeze Me" with Warren's fresh-squeezed wah-wah cornet, Higgins quoting "Music, Music, Music," a bass guitar workout introducing the well-swung "Cottontail," Higgins quoting "We're in the Money," and the joyful guitar-clarinet-cornet unison melody of "What Am I Here For?" There's a fresh take on Miles Davis' "All Blues," changing up the harmonics of the waltz, Higgins shimmering piano, and Warren's muted, Miles-evoked sound accenting. A bossa version of "Tangerine" is quite different, Alden's fat chords and cat-quick lines form the centerpiece. For evidence of Allan's clarinet mastery check out his upbeat take on "I'll Remember April," Higgins quoting "Jeannine," while the out-and-out swinger "Just Friends" is staggering in its counterpointed trading of lines between brothers, quite deserving of a huge wow! It's unlikely you'll hear a hotter band than this one for this type of authentic, traditional jazz. Never stuffy, always on top of every fresh bar, with no looking back to past glories despite the older repertoire, the Vache brothers conjure something extra special within their musical partnership. Highly recommended. ~Michael G. Nastos

Mrs. Vaché's Boys

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Warren Vaché - What Is There To Say?

Bitrate: MP3@320K/s
Time: 71:21
Size: 163.4 MB
Styles: Mainstream jazz
Year: 2000
Art: Front

[4:34] 1. St. Sundown
[3:47] 2. My Shining Hour
[4:38] 3. Deep In A Dream
[7:05] 4. Too Phat Blues
[6:36] 5. I Love You, Samantha
[6:36] 6. Bossango
[4:40] 7. Pow Wow
[5:47] 8. I'll Never See Maggie Alone
[6:12] 9. I've Grown Accustomed To Her Face
[6:01] 10. See Jim, See Jane, See Joe, C-Jam Blues
[3:18] 11. Come Love
[3:51] 12. What Is There To Say
[5:01] 13. It's A Blue World
[3:10] 14. Falling In Love Is Wonderful

In a small group context, Vache's bright and literate trumpet or cornet work gets a little more of the spotlight. This pianoless quartet also showcases the criminally underrated guitarist Joe Puma, the fine-toned bassist Murray Wall, and the veteran drummer Eddie Locke. They collectively epitomize the continuing swing tradition.

Vache also fancies himself an entertaining singer in the Jack Sheldon tradition. He goes into sly enunciations with Puma's lustrous chords during "Comes Love," tells a tale of being swamped by in-laws for "I'll Never See Maggie Alone," and obviously not diabetic, relates defiance for diets, glorifying gorging in the swinging "Too Phat Blues." Watch your triglycerides Warren! Puma wrote three of the pieces: the sweet, implied bossa/tango "Bossango" sans drums; the "Cherokee"-based, well-swung "Pow Wow"; and the 12-bar original "See Jim/Jane/Joe/C-Jam Blues," which features the guitarist's gliding chords along with Vache's muted horn and traded fours with Locke's brushed drums and cymbals. The steely-toned Puma makes definitive statements throughout this disc, especially on the forward moving, no-nonsense swinger "At Sundown." It's Vache who takes the bull by the horns for great swing vehicles as "My Shining Hour" and "It's a Blue World," the leader quoting "Seven Come Eleven" and "West End Blues" on the former, dealing a straight flush on the latter. Locke is most inspired and impressive on brushes for "Samantha"; he could write a book, and maybe he should as did Ed Thigpen. There's also the half-speed ballad "Deep in a Dream," the slow ballads "I've Grown Accustomed to Her Face" and the tenderized guitar-bass duo title cut, and the bass-based swinger "Falling in Love Is Wonderful." This is a tasty morsel of swing from experts who do it right. Recommended. ~Michael G. Nastos

What Is There To Say?

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Warren Vaché - First Time Out & Encore '93

Bitrate: MP3@320K/s
Time: 62:35
Size: 143.3 MB
Styles: Contemporary jazz
Year: 2014
Art: Front

[4:09] 1. Black Butterfly
[2:46] 2. Joy Spring
[3:00] 3. I Didn't Know What Time It Was
[4:30] 4. Once In A While
[3:49] 5. Chelsea Bridge
[6:02] 6. Oh Baby
[4:06] 7. I Surrender, Dear
[5:44] 8. Song Of The Wanderer
[4:42] 9. All Of Me
[3:44] 10. Willow Weep For Me
[3:08] 11. Dream Dancing
[4:02] 12. Easy Living
[3:38] 13. Always
[5:23] 14. Autumn Nocturne
[3:46] 15. When It's Sleepy Time Down South

With the exception of a privately issued record, this CD features cornetist Warren Vache's debut as a leader on record. The music is quite impressive for Vache (at 25) is showcased on five numbers backed only by guitarist Bucky Pizzarelli, and he displays both a lovely tone and a creative imagination within the boundaries of small group swing (even on Clifford Brown's "Joy Spring"). The other half of the session is more dixieland-oriented for Vache is teamed with soprano-saxophonist Kenny Davern, both Pizzarelli and Wayne Wright on guitars, bassist Michael Moore and drummer Connie Kay. "Oh Baby" and "All Of Me" in particular are quite heated. Well worth searching for. ~Scott Yanow

First Time Out & Encore'93

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Dave McKenna Swing Six - No Holds Barred

Bitrate: MP3@320K/s
Time: 64:58
Size: 148.7 MB
Styles: Piano jazz
Year: 2001
Art: Front

[7:08] 1. I Can't Believe That You're In Love With Me
[6:11] 2. Idaho
[6:10] 3. Memories Of You
[5:34] 4. Avalon
[4:14] 5. You're Lucky To Me
[4:19] 6. Look For The Silver Lining
[5:00] 7. Dave's Blues
[6:01] 8. Idaho
[4:37] 9. Look For The Silver Lining
[3:58] 10. You're Lucky To Me
[6:14] 11. Memories Of You
[5:27] 12. Avalon

Dave McKenna piano + leader, Warren Vache trumpet, Scott Hamilton tenor saxophone, Al Cohn tenor saxophone, Milt Hinton bass, Butch Miles drums.

Dave McKenna is undoubtedly the hardest swinging pianist on today's music scene. Long a favorite of players like Red Norvo, Carl Fontana and many others, McKenna has had a recording career dating back to the sixties. He's made some solo records as well as many small group dates.The disc at hand is probably the best he has produced up to the present. Backed by a truly compatible all-star group of players, everybody, including Dave, is given much space to stretch out....

No Holds Barred

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Warren Vaché - Warren Plays Warren

Styles: Cornet Jazz
Year: 1998
File: MP3@320K/s
Time: 74:48
Size: 172,1 MB
Art: Front

(4:05)  1. This Heart Of Mine
(5:04)  2. Would You Like To Take A Walk
(5:21)  3. Nagasaki
(4:32)  4. Serenade In Blue - At Last
(4:13)  5. I Only Have Eyes For You
(5:20)  6. The Girlfriend Of The Whirling Dervish
(4:35)  7. You're Getting To Be A Habit With Me
(4:33)  8. Lulu's Back In Town
(3:03)  9. I Remember You From Somewhere
(5:56) 10. Forty-Second Street
(6:09) 11. September In The Rain
(5:33) 12. Blues Times 2
(3:45) 13. An Affair To Remember
(5:10) 14. I Had The Craziest Dream
(3:37) 15. Jeepers Creepers
(3:45) 16. You're Getting To Be A Habit With Me

In my estimation, Harry Warren is the most underrated songwriter of the 20th Century. While very successful, he is less famous than his songs (“Lullaby of Broadway”, “There Will Never Be Another You”) or the people who sang them (Jolson, among many others.) While Gershwin and Coward became celebrities, Warren stayed in the shadows, quietly building an immense catalog. The songs are still here, and in the right hands are a gold mine. In an intimate setting with stellar rhythm, Warren Vache fills these tunes with joy, charm, and an unstoppable swing. It’s a great feeling, and the two Warrens fit each other very well. Vache, cornet in hand, takes the left speaker; Randy Sandke’s trumpet is on the right. The come in together on “This Heart of Mine”; then it’s Sandke for two glowing minutes. Check out Kenny Drew, Jr.: his little fills go way beyond comping. Warren goes high, with velvet touch: all the mellow of a flugelhorn. Sandke goes brassy on the exchanges, and Warren gives it back, shout for shout. Each blast tops the last, and still they fit together. They exit in concert, and you’ve got it: a marriage of tune and performer. Keep listening: the honeymoon is far from over. 

Murray Wall gets that bass going on (what else?) “Would You Like to Take a Walk”. The horns stroll beside him. Warren takes off  he muses, but loudly! Sandke is more restrained: he creeps where Warren struts. “Nagasaki” gets the bop treatment: locked horns with plenty of steam. Hear Sandke quote “The Theme”; the duet opening is a must. Vache then lays out on “I Only Have Eyes”; a marvelous solo starts right from the theme. Sandke owns it, and Drew ain’t bad either. Next we speak Latin: “Girlfriend of the Whirling Dervish” is as turbulent as the name. Drew strikes a montuno, and Randy tumbles eloquently. The mutes go in for “Getting to be a Habit”, and we are back in the ‘Thirties. Randy is sly; Warren has a charming honk, as warm as an old floppy hat. He then sings a verse did I say charming honk? The rumply voice works in ways I can’t describe all I can do is enjoy. Game, set, and match we have a winner.

For the homestretch we kick it up some. “Lulu’s Back in Town” stomps like the old girl herself: a duel in dead heat. “42nd Street” gets its verse, and a whole lot of brass. Vache is higher than normal; Sandke’s deep like a trombone. Drew goes angular, a modern solo with some Monk bleeps. Warren growls, but he also shows some hard bop. Randy also goes this direction; a new sound from an old source. Likewise “An Affair to Remember”: the bossa beat, and a mute as warm as Miles’. Vache finishes the theme with equal charm. Bright piano, shining cymbals remember you will. This leads to other soft spots: “The Craziest Dream” a brassy soft focus, “I Remember You From Somewhere” a muted cousin to “Mood Indigo”. And for dessert there’s another “Habit”, minus the words. The drums are sharper here, with more oomph to the trumpet. 

Drew is big : wide chords, and the essence of class. You won’t forget the first version, but this should be heard. It’s a great work, and shows love for the great works of Harry Warren. Says Vache: “Back in the ‘Thirties, they threw away more good tunes no one’s heard of, than they’re writing now.”Hear this and you’ll agree.~AAJ Staff  http://www.allaboutjazz.com/warren-plays-warren-warren-vache-review-by-aaj-staff.php

Personnel: Warren Vache (vocals, cornet); Randy Sandke (trumpet); Kenny Drew Jr. (piano); Murray Wall (bass); Jimmy Cobb (drums).

Warren Plays Warren

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John Di Martino & Warren Vaché - Impromptu

Styles: Piano and Cornet Jazz
Year: 2012
File: MP3@320K/s
Time: 57:29
Size: 131,8 MB
Art: Front

(4:27)  1. Love Me or Leave Me
(5:35)  2. You're My Thrill
(4:17)  3. It's Been So Long
(5:12)  4. A Time for Love
(2:05)  5. Skylark
(3:59)  6. Tres Palabres
(3:37)  7. I Remember You from Somewhere
(4:56)  8. Isfahan
(2:22)  9. Yesterdays
(5:09) 10. Willow Weep for Me
(3:57) 11. Emily
(3:32) 12. Do You Know What It Means to Miss New Orleans
(5:31) 13. Blues in the Night
(2:46) 14. People

Impromptu is a collection of standard tunes with inspired performances from master cornet player Warren Vache and the elegant and melodically inventive pianist, John diMartino. A duo made in "musical heaven" this CD is breathtaking!

http://www.cdbaby.com/cd/johndimartino1

Personnel:  John Di Martino – piano;  Warren Vache - cornet

Impromptu

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