Elmo Hope Trio - Meditations

Styles: Piano Jazz
Year: 1955
File: MP3@320K/s
Time: 43:34
Size: 102,8 MB
Art: Front

(3:42)  1. It's A Lovely Day Today
(3:25)  2. All The Things You Are
(4:27)  3. Quit It
(2:55)  4. Lucky Strike
(4:58)  5. I Don't Stand (A Ghost Of A Chance With You)
(3:49)  6. Huh
(3:00)  7. Falling In Love With Love
(3:25)  8. My Heart Stood Still
(2:41)  9. Elmo's Fire
(4:28) 10. I'm In The Mood For Love
(6:41) 11. Blue Mo

Although Elmo Hope was one of the more interesting jazz composers of the 1950s, the emphasis on his trio set with bassist John Ore and drummer Willie Jones is on Hope's piano playing. Influenced greatly by Bud Powell (his contemporary), Hope performs standards (such as "All the Things You Are" and "Falling in Love with Love") along with some originals, most of which are based on the chord changes of earlier songs. Fans of bop piano and Bud Powell will want this enjoyable CD reissue. ~ Scott Yanow http://www.allmusic.com/album/meditations-mw0000691394

Personnel:  Bass – John Ore;  Drums – Willie Jones;  Piano – Elmo Hope

Meditations

---

Anna Kolchina - Wild Is The Wind

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 52:07
Size: 120,2 MB
Art: Front

(4:50)  1. Wild Is The Wind
(5:28)  2. So In Love
(3:30)  3. You Do Somethings To Me
(3:57)  4. Don't Worry 'bout Me
(3:39)  5. You Won't Forget Me
(4:19)  6. Don't Look Back
(4:59)  7. Exactly Like You
(2:09)  8. I Never Told You
(2:55)  9. With A Song In My Heart
(3:18) 10. It Never Was You
(2:52) 11. A Fine Romance
(2:40) 12. You Can Have Him
(3:25) 13. Day By Day
(4:00) 14. A Sinner Kissed An Angel

Anna Kolchina's debut Wild is the Wind is a masterclass in ensemble performance. Backed by pianist John di Martino, bassist Peter Washington, and drummer Willie Jones, Kolchina is more an equal quartet member than a singer backed by a trio. This is experienced immediately on the title piece, where Kolchina's delicately-played voice peeks out from behind Washington's gentle bass playing as it directs the remainder of the arrangement. It is a stunningly organic musical effect that increases the intimacy of the performance greatly. This approach characterizes the remaining tunes, all "standards" to one degree or another. The engineering captures the music three-dimensionally, where the listener can almost walk among the musicians as they perform.  Another element to note about this recording is its programing. The album is made up of 14 love songs... all kinds of love songs. On one hand there is the tentative cynicism introducing "You Do Something To Me," and maturing in "So In Love," while a completely different love aspect is studied in the loss-lessening "Don't Look Back," "It Never Was You," and "You Can Have Him." In all the different settings, Kolchina uses her refined, yet street-smart voice to finely hone the song she is presenting. The totality of approach on Wild is the Wind makes it an event in itself. While Kolchina's voice is less than perfect, it is perfect in that her vocals betray a knowing and aware character not afraid to show its wounds in its vulnerability, while telegraphing a warning to the listener that it has been all places and knows all things. ~ C.Michael Bailey https://www.allaboutjazz.com/wild-is-the-wind-anna-kolchina-venus-records-review-by-c-michael-bailey.php

Personnel: Anna Kolchina #1: Vocals; John Di Martino #2: Piano; Peter Washington #3: Bass; Willie Jones #4: Drums.

Wild Is The Wind

---

Charles Mingus Quintet - Chazz

Styles: Jazz, Post Bop
Year: 2014
File: MP3@320K/s
Time: 42:26
Size: 97,9 MB
Art: Front

(6:56)  1. Jump Monk
(6:04)  2. Serenade In Blue
(8:44)  3. Percussion Discussion
(6:34)  4. Work Song
(7:06)  5. Septemberley
(7:00)  6. All the Things You Are In C Sharp

The Jazz Workshop of 1955 is in superb form, caught in performance at the Caf Bohemia in New York. Max Roach only appears for a "Percussion Discussion" with Mingus, but the forgotten Willie Jones is no slouch either. A typically adventurous set of tunes includes two montages. ("Septemberly" combines "September in the Rain" and "Tenderly", while "All the Things You Can C-Sharp" is a blend of "All the Things You Are," Rachmaninoff's "Prelude in C-Sharp" and "Clair de Lune.") It's a very spirited date, ranking with his best work in the period. 

A further disc, Charles Mingus Quintet Plus Max Roach (Fantasy 86009), derives from the same date; these were combined as Prestige P-24010. And the boxed set of the Complete Debut Recordings (Debut 12-CDC-4402-2) includes an additional hour of previously unissued material. ~ Stuart Kremsky https://www.allmusic.com/album/chazz-mw0000901355

Personnel:  Bass – Charlie Mingus; Drums – Max Roach, Willie Jones; Piano – Mal Waldron; Tenor Saxophone – George Barrow; Trombone – Eddie Bert

Chazz

---

Roy Hargrove - Moment to Moment

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 68:38
Size: 157,5 MB
Art: Front

(6:06)  1. You Go to My Head
(5:48)  2. Always and Forever
(5:25)  3. Natural Wonders
(6:17)  4. Moment to Moment
(5:51)  5. I'm a Fool to Want You
(5:34)  6. How Insensitive
(5:57)  7. I'm Glad There Is You
(6:11)  8. A Time for Love
(5:57)  9. The Very Thought of You
(5:58) 10. Peri
(4:07) 11. I Fall in Love Too Easily
(5:23) 12. Another Time

A public figure or celebrity has "made it" when his face appears on the cover of TIME magazine or perhaps when a parade in her honor is held in New York. For a jazz artist, 'making it' means recording with an orchestra. Charlie Parker With Strings may have been the first in a long line of jazz records to court the romance of a string section. For trumpeters, Clifford Brown and Chet Baker's orchestral albums come to mind. Trumpeter Roy Hargrove was known early in his career (1989 or so) as a hard-bop descendant of Clifford Brown. His early Novus recordings (the best being The Vibe ) showed a fire in his belly for all things breakneck. A natural talent, Hargrove developed his lyrical side with explorations of the jazz tradition, the albums Family (1995) and an often overlooked trio (with Stephan Scott and Christian McBride) tribute to the music of Charlie Parker entitled Parker's Mood displayed a matured horn. His Cuban jazz record, Crisol opened a new door and returned the fire to his music with a Latin sound. Lately he has been working with a big band, I suspect a recording of which should surface soon. 

Hargrove has reached a jazz pinnacle, his story has made the cover of jazz magazines and this With Strings record is his parade. But for Hargrove and his bandmates, the twelve ballads presented sound like a Ferrari driven at 10mph. His band, which includes the Cannonball Adderley descendant Sherman Irby and a pure hard-bop rhythm section seem to ooze energy restraining themselves. Moment To Moment, better than anything Terence Blanchard has produced, is Hargrove's ticket to score upcoming movies. 

The Monterey Jazz Festival Chamber Orchestra, whose arrangements were written by Larry Willis, Gil Goldstein, and Cedar Walton, are tastefully minimal. Perhaps the recording venue, the Monterey Peninsula, and the music choice: Mandel, Cahn, Mancini, Jobim, Dorsey, and Methany-ballads account for the quixotic feelings exuded here. A first-class recording and beautiful sound mark Hargrove's sophistication as an artist. He has painted the final scene to a very heartbreaking melancholy film in my mind. I couldn't watch it everyday, but it certainly serves it's purpose. ~ Mark Corroto https://www.allaboutjazz.com/moment-to-moment-roy-hargrove-verve-music-group-review-by-mark-corroto.php

Personnel: Roy Hargrove - Trumpet, Flugelhorn;  Sherman Irby - Alto Saxophone;  Larry Willis - Piano;  Gerald Cannon - Bass; Willie Jones, III -  Drums;

Moment to Moment

---

Charles Mingus - Mingus at the Bohemia

Styles: Bop, Post-Bop

Year: 1955

File: MP3@320K/s

Time: 64:48

Size: 148,7 MB

Art: Front

( 6:53)  1. Jump Monk

( 6:02)  2. Serenade in Blue

( 8:38)  3. Percussion Discussion

( 6:29)  4. Work Song

( 7:06)  5. Septemberly

( 6:57)  6. All the Things You Are

(11:55)  7. Jump Monk

(10:44)  8. All The Things You Are

A live performance at the Club Bohemia in New York, this is the first Mingus recording to feature mostly his own compositions. Some are his future standards. Here are his first attempts at future techniques such as combining two songs into one. His bass playing really stands out. ~ Michael Katz http://www.allmusic.com/album/mingus-at-the-bohemia-mw0000320165

Personnel: Charles Mingus (bass); George Barrow (tenor saxophone); Eddie Bert (trombone); Mal Waldron (piano); Willie Jones, Max Roach (drums).

Mingus at the Bohemia

---

Clark Terry - Daylight Express

Bitrate: MP3@320K/s
Time: 63:52
Size: 146.2 MB
Styles: Bop, Trumpet jazz
Year: 1998
Art: Front

[2:00] 1. Caravan
[2:20] 2. Candy
[2:28] 3. Clark's Expedition
[4:04] 4. Trumpet Mouthpiece Blues
[3:01] 5. Phalanges
[4:31] 6. Blues For Daddy-O's Jazz Patio Blues
[2:43] 7. Basin Street Blues
[2:15] 8. Daylight Express
[2:18] 9. Taking A Chance On Love
[6:52] 10. Festival
[3:36] 11. Clark's Bars
[2:14] 12. Daddy-O's Patrio
[4:58] 13. Blues
[4:18] 14. Impeccable
[2:46] 15. Paul's Idea
[3:16] 16. Phat Bach
[2:31] 17. Milli Terry
[4:00] 18. Funky
[3:31] 19. The Girl I Call Baby

Bass – Jimmy Woode; Drums – Sam Woodyard; Flute, Saxophone – Mike Simpson (5) (tracks: 1 to 9); Guitar – Remo Biondi (tracks: 1 to 9); Piano – Willie Jones (7); Tenor Saxophone – Paul Gonsalves (tracks: 10 to 19); Trumpet – Clark Terry.

Two obscure but very enjoyable and complementary former Lps are reissued in full on this generous CD. The first half of the disc is primarily a showcase for trumpeter Clark Terry who is joined by Mike Simpson (on tenor and flute) in a sextet. C.T. sounds a bit more influenced by Dizzy Gillespie at this time than he would but he was already quite distinctive on such numbers as "Candy," "Blues For Daddy O's Jazz Patio Blues" and "Basin Street Blues." "Phalanges" is a hot bop line (by Louie Bellson) that deserves to be revived while "Trumpet Mouthpiece Blues" sounds like an ancestor of "Mumbles." The second half of the album matches Terry with tenor-saxophonist Paul Gonsalves (who is actually the leader) and a rhythm section that features some surprisingly advanced piano from Willie Jones that sometimes hints strongly at both Cecil Taylor and Sun Ra! Terry and Gonsalves (who were both with Duke Ellington at the time) always made for a good team. The tenor revisits the 1956 Newport Jazz Festival with his long solo on "Festival" and other tunes (all originals by one of the horn players) are basic and swinging; a previously unissued ballad, "The Girl I Call Baby" closes the rewarding and memorable set. Highly recommended. ~Scott Yanow

Daylight Express

---