Ken Peplowski - At Mezzrow

Styles: Clarinet And Saxophone Jazz
Year: 2024
Time: 60:06
File: MP3 @ 320K/s
Size: 138,3 MB
Art: Front

(7:21) 1. Vignette
(4:39) 2. Prisoner Of Love
(9:26) 3. Beautiful Love
(6:23) 4. All The Things You Are
(8:12) 5. Like Young
(3:54) 6. The Shadow Of Your Smile
(5:21) 7. Cabin In The Sky
(5:01) 8. Bright Mississippi
(4:18) 9. Here's To Life
(5:26) 10. Who Knows

Ken Peplowski is an extraordinary jazzman with over 70 personal recordings to his name and prestigious collaborations with a wide range of artists, including Charlie Byrd, Mel Tormé, Hank Jones, Peggy Lee, Woody Allen, Benny Goodman, and Madonna. Needless to say, this album, modestly titled Live at Mezzrow, is a true gem that your ears will quickly embrace, as Ken Peplowski’s melodic sense and saxophone playing are so commanding. On this recording, the band leader is accompanied by Ted Rosenthal on piano, Martin Wind on double bass, and Willie Jones III on drums, offering a captivating performance captured during two one-hour sets. We particularly appreciate the simplicity of this setup, which guarantees a very “club” sound, with Ken Peplowski’s playing alone bringing a form of modernity through his propositions. So, we sit down quietly, a glass in hand, and listen, captivated by the beauty of the moment.

In his own words, Peplowski shares the journey behind the album: “Like most musicians, when the dreaded Covid, along with the accompanying lockdown, struck in 2020, it was the end of work. As a sort of very dark cosmic joke, not only did I have a severe case of Covid in March 2020, but my beloved dog Honeypie had to be euthanized in April 2021. In June of that year, I was diagnosed with multiple myeloma.”

So, this is a very special album with a unique story. Indeed, SmallsLIVE owner and pianist Spike Wilner proposed the idea of this live album to Peplowski, who immediately accepted. The acclaimed multi-instrumentalist said, “This is my favorite way to record I like to work on musical material for a year or two, find interesting pieces that are less often played, revive a few pieces that I haven’t played in years, and simply go into the studio with friends and record like a band on stage, playing the music, with its imperfections, and that’s exactly what we did.”

We crave more of such imperfections because a ten-track live album seems a bit short once we’ve immersed ourselves in this ambiance. Ken Peplowski Live at Mezzrow includes unique interpretations of jazz classics as well as lesser-known gems, all delivered with an authority and nuance that only Peplowski and his colleagues can achieve. Each selection tells a story of Peplowski’s fruitful musical adventures with the architects of this art. The live performance is a true masterclass in interaction, with Peplowski’s melodic refrains soaring above Rosenthal’s harmonic reflections, supported by the rhythmic section of Willie Jones III and Martin Wind, themselves talented melodic musicians.

Needless to say, this album can quickly go on repeat, creating an honest and warm ambiance. Although they are covers, they are arranged with such talent that they can be considered recompositions, and this is probably why this album slips surreptitiously into our “Essentials”. By Thierry De Clemensat https://www.paris-move.com/reviews/ken-peplowski-live-at-mezzrow-eng-review/

Personnel: Ken Peplowski - Clarinet & Tenor Saxophone; Ted Rosenthal - Piano; Martin Wind - Bass; Willie Jones III - Drums

At Mezzrow

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Willie Jones III - My Point Is...

Styles: Jazz, Post Bop
Year: 2017
File: MP3@320K/s
Time: 53:55
Size: 127,7 MB
Art: Front

(6:43)  1. Manhattan Melodies
(7:47)  2. The Wind Of An Immortal Soul
(5:31)  3. Christina
(8:45)  4. My Point Is
(7:18)  5. The Maze
(5:43)  6. Early Morning
(4:30)  7. Peace
(7:34)  8. Blues For Dat Taz

Over the years, the name of Willie Jones III has really become one that makes us want to stop and check out a record and this time around, not only does the set feature Jones' name on the front but the quintet also includes great performances from Ralph Moore on tenor, Eddie Henderson on trumpet, Eric Reed on piano, and Buster Williams on bass! With a lineup like that, Reed just can't miss and the record takes us back to the kind of instant classics we were hearing from Henderson, Moore, and Reed twenty years back but given that sort of special vision that makes Willie both a great drummer and leader, one who's evolving into a one-man powerhouse of jazz given that he also produces and releases his records himself. And yet there's nothing smalltime about this set especially with Henderson and Moore in the lead, the latter of whom is always a treat to our ears. Titles include "Manhattan Melodies", "My Point Is", "The Wind Of An Immortal Soul", "The Maze", "Blues For Dat Taz", and "Early Morning".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/859299/Willie-Jones-III:My-Point-Is

Personnel:  Willie Jomes III, drums;  Eric Reed, piano;  Buster Williams, bass;  Eddie Henderson, trumpet;  Ralph Moore, tenor sax

My Point Is...

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Steve Wilson - Sit Back, Relax, & Unwind

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 40:12
Size: 92,3 MB
Art: Front

(6:17) 1. Sit Back, Relax & Unwind
(6:48) 2. 6/74
(7:00) 3. Songly Speaking
(7:41) 4. Jake's Place
(6:21) 5. Rest Of Our Times
(6:02) 6. Space Oddity

Steve Wilson has attained ubiquitous status in the studio and on the stage with the greatest names in jazz. A bandleader in his own right, Jazz Times calls him the consummate saxophonist-composer and one of the finest alto and soprano saxophonists of our time. A musicians musician, Wilson has brought his distinctive sound to more than 100 recordings led by such celebrated and wide-ranging artists as Chick Corea, George Duke, Michael Brecker, Dave Holland, Dianne Reeves, Bill Bruford, Gerald Wilson, Maria Schneider, Joe Henderson, Charlie Byrd, Billy Childs, Karrin Allyson, Don Byron, Bill Stewart, James Williams, and Mulgrew Miller among many others. Wilson has eight recordings under his own name, leading and collaborating with such stellar musicians as Lewis Nash, Carl Allen, Steve Nelson, Cyrus Chestnut, Greg Hutchinson, Dennis Irwin, James Genus, Larry Grenadier, Ray Drummond, Ben Riley, Nicholas Payton, Orrin Evans, Ugonna Okegwo and Bill Stewart.

In 2015 Wilson released his first project as a leader in 12 years, Steve Wilson & Wilsonians Grain: Live in New York: The Vanguard Sessions, on Random Act Records. Recorded live at the famed Village Vanguard in NYC on May 24 & 25, 2014, the recording features Wilsons potent quartet with Orrin Evans, Ugonna Okegwo and Bill Stewart. The CD was conceived to truly capture the live experience and the sound of one of the best listening rooms in the world. The tracking order reflects a Wilsonians Grain set, and includes three Wilson originals, and tunes by Orrin Evans, Joe Chambers, Thelonius Monk and Migiwa Miyajima. WBGO Radio describes Wilsonians Grain as jazz at its finest in conception, execution and spontaneity.

He has recorded another project, Sit Back Relax & Unwind, for JMI Records that features Ray Angry, Ben Williams and Willie Jones, III just recently released. In the vein of the old CTI recordings, it is an analog recording and will be released a vinyl LP only. Produced by Steven Mandel (Music Supervisor the The Tonight Show with Jimmy Fallon, The Roots), he also contributed four tunes that were arranged by Wilson. There are two new tunes by Wilson and an arrangement by Ray Angry of David Bowies Space Oddity.

Starting his formal training on saxophone in his native Hampton, Virginia, Wilson also played oboe and drums in school bands while performing in various R&B/funk bands throughout his teens. After a year-long stint with singer Stephanie Mills he decided to major in music at Virginia Commonwealth University in Richmond, where he performed and/or studied with Jimmy and Percy Heath, Jon Hendricks, Jaki Byard, John Hicks, Frank Foster and Ellis Marsalis. During those years he was also in constant demand for recording studio work, and as backing musician for touring shows such as The Four Tops and Sophisticated Ladies. Landing a chair with O.T.B (Out of the Blue), a sextet of promising young players recording on Blue Note Records, Wilson moved to New York in 1987 and the following year toured the U.S. and Europe with Lionel Hampton. Becoming a first-call choice for veteran and emerging artists alike, Wilson was the subject of a New York Times profile A Sidemans Life, highlighting his work with Ralph Peterson, Jr., Michele Rosewoman, Renee Rosnes, Marvin Smitty Smith, Joanne Brackeen, The American Jazz Orchestra, The Mingus Big Band, The Smithsonian Jazz Masterworks Orchestra, Leon Parker, and Buster Williams Quintet Something More. In 1996 he joined the acclaimed Dave Holland Quintet, and from 1998-2001 he was a member of Chick Coreas Grammy winning sextet Origin.

Cited by his peers in a New York Times poll as one of the artists most likely to break out as an established leader, Wilson recorded four CDs New York Summit, Step Lively, Blues for Marcus and Four For Time on the Criss Cross label. He then recorded two projects for Chick Coreas Stretch Records label Generations, his multi-generational quartet with Mulgrew Miller, Ray Drummond and Ben Riley and Passages which features his long-time musical partners Bruce Barth, Ed Howard and Adam Cruz, and special guest Nicholas Payton. Containing nine original compositions Passages established Wilson as a leader whose vision reveres the past, creates a soundscape of the present, and reaches toward the future.

In 2003 Wilsons recording Soulful Song was released on MAX JAZZ launching the labels Horn Series. It features special guest vocalists Rene Marie, Carla Cook, and Phillip Manuel and issues forth a powerful and provocative performance from these dynamic and versatile artists. As Wilson explains, Its a tribute Black radio, as it was called then, that was particularly inclusive in its programming and a galvanizing force in the community. On the same station one could hear R&B, jazz, blues, gospel, comedy, local news and affairs, and social commentary. In addition to new original material the program includes arrangements of songs by Stevie Wonder, Chick Corea, Abbey Lincoln, Gil Scott Heron, Earth, Wind & Fire, Patrice Rushen, and The Staple Singers.

Records in 2009. The project culminated in a successful 50-city tour of the U.S., and their recording Mosaic. Also that year Wilson made his orchestral debut performing Heitor Villa Lobos Fantasia for Soprano Saxophone and Chamber Orchestra with the Vermont Mozart Festival Orchestra. By popular demand he returned to the VMF in 2010 performing a commissioned work Sweet For Duke for Saxophone & Chamber Orchestra by Jonathan Ragonese.

In February 2011 Wilson celebrated his 50th birthday with a six-night engagement, leading six different bands at Jazz Standard, NYCs premiere jazz club. The all-star line-up included Mulgrew Miller, Bruce Barth, Karrin Allyson, Lewis Nash, Jeff Tain Watts, Carla Cook, Geoffrey Keezer, Christian McBride, Linda Oh, Ed Howard, Adam Cruz, Diane Monroe, Joyce Hammann, Nardo Poy and Troy Stuart. In a major interview feature preview, the Wall Street Journal proclaimed, The Sideman Becomes the Star. The WSJ article by award-winning journalist Larry Blumenfeld added, Mr. Wilson is essential to this citys jazz landscape. Since the 1990s Wilson has been regularly cited in the Downbeat Magazine Critics and Readers Polls in the soprano and alto saxophone categories. The Jazz Journalists Association nominated him for Best Alto Sax Player in 2008, and for Best Soprano Sax Player in 2010. His work in film has included being artistic consultant to Harvey Keitel for "Lulu On The Bridge as well as being featured on the soundtrack.

Wilsons current projects reflect his multifaceted artistry, versatility, and associations with some of the most highly regarded artists on the scene. His quartet Wilsonians Grain, which consists of Orrin Evans, Ugonna Okegwo, and Bill Stewart or Clarence Penn, has been featured on NPR live from the Kennedy Center and the Village Vanguard in New York City, and headlined at the prestigious Detroit Jazz Festival in 2011. Wilson is one-half of two dynamic duos, Musical Dialogue with renowned drummer Lewis Nash, they released their recording Duologue on MCG Jazz, and in another with pianist Bruce Barth as documented on their recording Home on the We Always Swing label. He co-leads an elegant trio with pianist Renee Rosnes and bassist Peter Washington, and with composer/arranger David ORourke has a repertoire as soloist with strings. Wilson is touring member of the Grammy-winning Maria Schneider Orchestra, the Billy Childs Quartet, Christian McBride & Inside Straight as well as McBrides Grammy-winning Big Band, and the Buster Williams Quartet.

An in-demand and passionate educator Wilson is the Director of Jazz Studies and an Associate Professor of Music at City College of New York. In 2019 he joined the prestigious faculty at Ravinias Steans Music Institute in Chicago, IL.

He has been artist-in-residence and/or guest artist at University of Oregon, University of Michigan, University of Maryland-College Park, University of North Carolina at Chapel Hill, University of Delaware, Lemoyne College, North Carolina Central University, Bowling Green University, Lafayette College, University of Northern Colorado, SUNY New Paltz, Florida State University, California State University at Stanislaus, University of Manitoba, Hamilton College, Old Dominion University, Virginia Commonwealth University, and for the award winning arts organization CITYFOLK in Dayton, Ohio.

With the support of friend and mentor Dr. Billy Taylor, Wilson has been a frequent guest performer/educator at The Kennedy Center in Washington, DC. He has been a featured performer, panelist, and clinician at conferences of the Association of Performing Arts Presenters, Chamber Music of America, and International Association of Jazz Educators. Wilson was honored with the Marc Crawford Jazz Educator Award from New York University 2001 and the Virginia Jazz Award 2003 Musician of the Year presented by the Richmond Jazz Society, recognizing his outstanding service in the advancement of jazz and education in their respective communities. He is an active mentor in the nurturing and promotion of his former students emerging careers who have performed with The Count Basie Orchestra, Johnny Mandel, Beyonce Knowles, Roy Hargrove, and many others.
https://www.allaboutjazz.com/musicians/steve-wilson/

Personnel: Alto Saxophone – Steve Wilson ; Bass – Ben Williams; Drums – Willie Jones III; Keyboards – Ray Angry

Sit Back, Relax, & Unwind

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Cyrus Chestnut - Soul Brother Cool

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 59:29
Size: 136,6 MB
Art: Front

(4:44) 1. Spicy Honey
(5:52) 2. Soul Brother Cool
(6:32) 3. The Happiness Man
(6:03) 4. Piscean Thought
(6:56) 5. In Search of a Quiet Place
(5:47) 6. The Raven
(5:31) 7. Dawn of the Sunset
(6:27) 8. Intimacy
(4:59) 9. Every Which Way
(6:34) 10. Stripes

Graced with the robust technique of a premier concert hall pianist, Cyrus Chestnut is totally absorbed in exploring and celebrating the seemingly unlimited sonic potential of his grand instrument, using its keyboard and pedals to generate resonant, thickly-textured, amazingly agile, nuanced orchestral effects.By Chicago Tribune
https://cyruschestnutwj3.bandcamp.com/

Credits: Cyrus Chestnut Composer, Piano, Primary Artist; Dezron Douglas Bass; Freddie Hendrix Trumpet; Willie Jones III Drums, Producer

Soul Brother Cool

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Ernestine Anderson - A Song for You

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 45:02
Size: 103,3 MB
Art: Front

(3:52) 1. This Can't Be Love
(5:51) 2. A Song for You
(4:34) 3. Make Someone Happy
(7:09) 4. Skylark
(3:26) 5. A Lovely Way to Spend an Evening
(6:10) 6. Candy
(6:41) 7. Day by Day
(7:15) 8. For All We Know

There's no doubt that American Idol, that immensely popular TV vocal competition now in its eighth season as of this writing, has redefined the public's idea of what constitutes "great" singing. In many quarters, the old criteria of good pitch and time, pleasing tone and honest feeling are no longer sufficient, for why hold onto one long note when you can cram three octaves into every bar? Far too often, the meaning of a song is reduced to its melisma, as a singer's athletic ability to embellish a tone seems to trump any lyric attached to it.

So far the jazz world has been relatively immune from this virus, but the growing ease of technology is enabling every aspiring singer to make a CD just pick some artwork, hire a publicist, and poof: you're in the game. This has resulted in a great uncensored flood of music, much of which is best appreciated by the parents, spouses, and friends of the singer.

But into this noisy climate comes a reminder of what true class and swing are all about: A Song for You, from veteran vocalist Ernestine Anderson. Here, backed by a fine and un-fussy quartet, she proves that her six-decade career could not diminish her rich, flexible voice, or her ability to mine the emotional truth in every song; if anything, both are deeper today. Anderson is joined in her explorations by the legendary tenor player Houston Person, whose bluesy obligatos are so empathic that they're practically verbal. During his thirty-year partnership with the late, also-wonderful Etta Jones, Person perfected the art of the voice/horn dialogue: consistently enhancing a singer's meaning without ever getting in her way. His comments are by turns supportive, witty or ironic, and his solos remain unmatched for their expressiveness and soul.

Anderson makes her musical intentions clear from the buoyant opener, "This Can't Be Love": she's going to use her singular phrasing and time to freshen every overplayed standard in the set, including the enthusiastic "Make Someone Happy," the R&B-inflected "Lovely Way to Spend an Evening," and the celebratory "Day by Day.". The CD's four ballads include a surprisingly slow and sexy "Candy," as well as the relatively-recent title tune, where Anderson makes the words so personal that it sounds like she just made them up. A word about "Skylark," that timeless beauty by Hoagy Carmichael: the equally great Johnny Mercer said it took him a whole year to get those lyrics right, and Anderson honors them with a kind of whispering wonder that suits them very well.All told, A Song for You should be required listening for every singer, since Anderson provides such a rare and invaluable lesson: how to touch the listeners' hearts without having to fill up their ears.By Dr. Judith Schlesinger https://www.allaboutjazz.com/a-song-for-you-ernestine-anderson-highnote-records-review-by-dr-judith-schlesinger

Personnel: Ernestine Anderson: vocals; Houston Person: tenor saxophone; Lafayette Harris, Jr.: piano; Chip Jackson: bass; Willie Jones III: drums.

A Song for You

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Willie Jones III - Don't Knock The Swing Vol 2

Styles:  Jazz, Hard Bop

Year: 2003

File: MP3@320K/s

Time: 42:36

Size: 97,9 MB

Art: Front

(5:57)  1. Air Tight

(6:11)  2. Jeni's Low Lie

(3:47)  3. For Someone So Beautiful

(7:02)  4. James Tune

(5:28)  5. The Search

(5:56)  6. Alejandra

(5:46)  7. Mix It Up

(2:25)  8. Early Morning (Before Dawn)

Drummer Willie Jones III is back with his second volume of stunning straight ahead jazz. This time around he's joined by pianist Eric Reed, bassist Gerald Cannon, tenor saxophonist Greg Tardy, trumpeter Roy Hargrove and trombonist Steve Davis. ~ Editorial Reviews  http://www.amazon.com/Vol-Dont-Knock-The-Swing/dp/B00009MGEL

Personnel: Willie Jones III (drums); Eric Reed, piano all tracks except 4; Gerald Cannon, Bass; Greg Tardy, Tenor Sax; Roy Hargrove, Trumpet on tracks 1, 4, and 8; Steve Davis, Trombone 1,2, 4 and 8

Don't Knock The Swing Vol 2

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Willie Jones III - Groundwork

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 42:43
Size: 98,4 MB
Art: Front

(4:41)  1. Git'cha Shout On
(6:10)  2. Hindsight
(6:48)  3. Dear Blue
(5:23)  4. Toku Do
(4:43)  5. Charity
(6:27)  6. Groundwork
(4:02)  7. New Boundary
(4:25)  8. Jamar

Drummer Willie Jones III is releasing a new album, Groundwork, dedicated to the late Cedar Walton, Ralph Penland, Mulgrew Miller and Dwayne Burno, influences on Jones who have passed in recent years. Jones’ sixth album as a leader and the 17th release on WJ3 Records, is now available on iTunes and Amazon.com and will be in stores on February 19. On Groundwork, according to a press release, Jones explores the works of Walton, his former bandleader; Penland, an early mentor; and Burno, Jones’ contemporary and former band mate. 

The album also includes original tunes by Buster Williams, Eric Reed and more. Musicians on the recording include Williams (bass) and Eddie Henderson (trumpet), Reed (piano), Warren Wolf (vibes) and Stacy Dillard (saxophones).  https://jazztimes.com/news/drummer-willie-jones-iii-dedicates-new-album-to-departed-influences/

Personnel:  Drums – Willie Jones III;  Bass – Buster Williams; Piano – Eric Reed; Tenor Saxophone – Stacy Dillard; Trombone – Steve Davis; Trumpet – Eddie Henderson; Vibraphone – Warren Wolf

Groundwork

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Gregory Tardy - Sufficient Grace

Styles: Saxophone And Clarinet Jazz
File: MP3@320K/s
Time: 57:00
Size: 130,8 MB
Art: Front

(7:33) 1. The Omnipresent Cardiologist
(6:43) 2. For Deacon Rocky
(5:09) 3. I Choose You
(7:32) 4. A Tree and It's Fruit
(8:47) 5. The Intelligent Design
(4:23) 6. Sufficient Grace
(6:57) 7. Nick Hoot
(9:53) 8. Janel's Love Song

There's way more than sufficient grace going on here and a strongly soulful swing that really has the whole album coming together, right on the money! Maybe that's no surprise, though, given that the set's issued on the excellent WJ3 label from Willie Jones III, who plays drums at the core of the record, next to the bass of Sean Conly while Tardy carves out all these wonderfully fluid, feeling lines next to the trumpet of Marcus Printup who himself sounds better than usual, and makes for a perfect fit for Tardy. Keith Brown handles piano on the quintet session, all tunes are Tardy originals, and titles include "Tree & Its Fruit", "I Choose You", "For Deacon Rock", "The Omnipresent Cardiologist", "Janel's Love Song", and "Nick Hoot". © 1996-2022, Dusty Groove, Inc.https://www.dustygroove.com/item/125727

Personnel: Gregory Tardy - Tenor Saxophone, Bass Clarinet and Clarinet; Marcus Printup - Trumpet; Keith Brown - Piano; Sean Conley - Bass; Willie Jones III - Drums

Sufficient Grace

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Steve Davis - Bluesthetic

Styles: Trombone Jazz
File: MP3@320K/s
Time: 63:46
Size: 146,6 MB
Art: Front

(4:39) 1. Encouragement
(6:35) 2. Silver at Sundown
(6:25) 3. Maybe So
(6:47) 4. Bedford Strolle
(5:57) 5. Faraway Dream
(8:20) 6. They Wore 44
(7:30) 7. Off the Cuff
(5:22) 8. Indigo to Azure
(5:57) 9. Bluesthetic
(6:10) 10. A Star for Chick

Trombonist/composer Steve Davis has long been a first-call sideman. Chick Corea, as one example, tapped Davis for his revived Spanish Heart Band a couple of years ago. But, like the members of this esteemed sextet, Davis is a bandleader too, in his case with close to twenty-five albums under his name. On each of his three previous releases for Smoke Sessions Records, Davis assembled a stellar sextet with modern jazz’s most vaunted players. He repeats that here with Bluesthetic, but in an interesting way, shunning additional horn players on the front line, instead, he creates interesting harmonic possibilities with guitarist Peter Bernstein and vibraphonist Steve Nelson, a reunion of sorts as both appeared on his 1998 album Vibe Up! years. Rounding out his elite sextet is the formidable rhythm section of Geoffrey Keezer, bassist Christian McBride, and drummer Willie Jones III. All of these players had convened in various configurations over the past three decades.

The ten Davis originals each bear a story of their own. The breezy “Encouragement” hails the emergence of the pandemic with an uplifting melody. “Silver at Sundown” is dedicated as you may guess to Horace Silver and may not guess the Hartford jazz community from which Davis emerged under the mentorship of many, most notably Jackie McLean, whose lines course through the previous tune. In the liners, Davis references Silver’s trio playing in Hartford at The Sundown, a club where Silver led the house band in the early 1950s. It was there that Stan Getz saw Silver play and invited him on tour, a key moment in the pianist’s now-legendary career. Silver later recounted the story to Davis, who lived in Hartford for more than 25 years before moving to his current home in Stamford. “It’s a very cool piece of jazz history connected to a city that I spent a lot of time in,” Davis says.

The tune “Maybe So” comes from two words Davis uttered upon waking up. It glides along briskly with shimmering turns from each front liner as well as a pizzicato statement from the ever articulate McBride, who in turn engages his rhythm mates through a few choruses before Davis returns with the melody, passing the baton to Bernstein and Nelson in the hard-swinging beauty. Just three tracks in, Davis displays a remarkable sense of melody.

Commenting on the free-flowing, relaxed nature of the music McBride compares many of these compositions to those of pianist James Williams and Bobby Watson of Art Blakey’s Jazz Messengers because the compositions have the feeling of soul and R&B mixed with post-bop blues. Speaking of McBride his waling bass line is perfect for “Bedford Stroll,” named for the bustling street where he and his wife live in Stamford, CT, and where he often develops his melodic ideas on late night walks. Low tones from the trombone usher in “Faraway Dream,” another nocturnal one as if floating on Nelson’s resonant vibes and Bernstein’s ringing guitar, with Keezer sitting out and Jones whispering on brushes.

The aptly muscular “They Wore 44” draws on a passion for sports that Davis shares with McBride. The recent death of legendary right fielder Hank Aaron, who wore the number 44 during his long tenure with the. Davis, a die-hard Red Sox fan, would likely have loved to mention one from his team but none measure up to those listed above. It features featuring lively soloing, especially both Keezer and Nelson.

Bernstein carves out a bluesy solo and Willie Jones III creates a maelstrom on his kit. “Off the Cuff” is a spontaneous free-wheeling tune pulled together near the end of the session, features spirited soloing from each band member. The aching ballad “Indigo to Azure” explores the full spectrum of the blues, with some of the leader’s most sensitive and lyrical playing, matched by his band members led by Keezer’s elegant comping, Nelson’s inspiring notes, and subtle support from the rhythm tandem as Bernstein sits out.

The title track Bluesthetic captures a combination of the appreciation of artful beauty suggested by “aesthetic” combined with the foundational influence of the blues. Interestingly in the liners, he alludes to the first concert he ever saw – electric Muddy Waters at Tanglewood. Finally, and inevitably given the close association between Davis and Chick Corea, “A Star for Chick” bids the icon a warm farewell. Davis was initially tapped for a three-year stint in Corea’s band Origin in late 1997, then later took part in the keyboardist’s orchestral piece “The Continents” and his Grammy-winning, Latin-inspired Spanish Heart Band. He played with Corea for over twenty years and earned the nickname “Davissimo the Melody Man” from Corea. Davis certainly lives up to it in this well-constructed session.~Jim Hayneshttps://glidemagazine.com/275863/master-trombonist-steve-davis-assembles-remarkable-sextet-on-all-original-post-bop-bluesthetic-album-review/

Personnel: Steve Davis – trombone; Peter Bernstein – guitar; Steve Nelson – vibraphone; Geoffrey Keezer – piano; Christian McBride – bass; Willie Jones III – drums

Bluesthetic

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Eric Reed & Cyrus Chestnut - Plenty Swing, Plenty Soul

Styles: Piano Jazz
Year: 2010
File: MP3@320K/s
Time: 73:28
Size: 168,5 MB
Art: Front

(14:39)  1. I'll Remember April
(12:14)  2. All The Things You Are
(14:36)  3. Two Bass Hit
( 6:17)  4. Lift Ev'ry Voice And Sing
( 9:40) 5. It Don't Mean A Thing If It Ain't Got That Swing
( 7:49)  6. Prayer
( 8:09)  7. Plenty Swing, Plenty Soul

Piano duo recordings can be a tricky thing: finding a balance that allows each musician to shine while simultaneously keeping in mind that it is a collaborative affair can result either in a seamless piece of cooperative music-making, or a battle of egos that benefits no one. Fortunately, this falls into the former category. With accompaniment by bassist Dezron Douglas and drummer Willie Jones III, Reed and Chestnut are sympathetic players who know when to step forward, when to hold back, and when to meet in the middle. Although seven years apart in age (Chestnut being the older), Reed and Chestnut share somewhat similar backgrounds: both are from large East Coast cities, both began their musical instruction at a very young age via their fathers, and both have gospel training in their backgrounds.

That common ground gives them not so much similar styles as an understanding of where the other is rooted, and as they burrow deeper into each of the pieces here drawn from a trio of live gigs at New York's Dizzy's club there are many times when it's near impossible to tell that two pianists are playing, let alone who's doing what although the mix separates Reed and Chestnut by placing one in the left channel and the other in the right, one would have to be extremely fine-tuned to the nuances of each musician's playing to pick them out had the engineer not made it easier. The set consists of standards (a spry "I'll Remember April" opens it), a couple of jazz classics (a rousing version of Duke Ellington's "It Don't Mean a Thing if It Ain't Got That Swing"), and a couple of gospel-themed tunes played solo the classic "Lift Ev'ry Voice and Sing," featuring only Chestnut, and Reed's "Prayer." That the pianistry is exemplary throughout goes without saying, but these two fine musicians and their accompanists elevate their meeting into something greater. ~ Jeff Tamarkin http://www.allmusic.com/album/plenty-swing-plenty-soul-mw0001962994

Personnel: Cyrus Chestnut (piano); Eric Reed (piano); Willie Jones III (drums).

Plenty Swing, Plenty Soul

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Houston Person - Live in Paris

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 58:53
Size: 135,7 MB
Art: Front

(9:10) 1. Sweet Sucker
(8:43) 2. Only Trust Your Heart
(7:08) 3. Easy Walker
(8:06) 4. The Way We Were
(5:33) 5. Lester Leaps In
(7:39) 6. Since I Fell For You
(9:01) 7. Sunny
(3:29) 8. Jean-Jaures Shuffle

Houston Person recording live in Paris, but in a setting that has the tenor legend going right back to his 60s material as he's playing here in an organ combo, with Ben Paterson on the Hammond B3, Peter Bernstein on guitar, and the great Willie Jones III on drums! The whole thing crackles with a great sort of energy – maybe more of a small club sort of vibe, as you might have caught Houston doing in Philly or New Jersey back in the day with tunes that open up with an easygoing groove that's perfect for his skills on tenor nice and long on just about every number, with titles that include "Easy Walker", "Sweet Sucker", "Lester Leaps In", "Sunny", "Jean Jaures Shuffle", "Only Trust Your Heart", and "The Way We Were". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/993253

Personnel: Houston Person, tenor saxophone; Ben Paterson, Hammond B-3 organ; Peter Bernstein, guitar; Willie Jones III, drums.

Live in Paris

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Suzanne Pittson - Out Of The Hub: The Music Of Freddie Hubbard

Styles: Vocal
Year: 2010
File: MP3@320K/s
Time: 68:43
Size: 158,3 MB
Art: Front

(6:51) 1. Our Own (Gibraltar)
(8:18) 2. Up Jumped Spring
(6:10) 3. Out Of The Hub (One Of Another Kind)
(9:18) 4. Bright Sun (Lament For Booker)
(4:22) 5. True Visions (True Colors)
(5:46) 6. You're My Everything
(6:57) 7. We're Having A Crisis
(5:51) 8. Moment To Moment
(4:53) 9. Lost And Found (The Melting Pot)
(4:19) 10. Like A Byrd (Byrd Like)
(5:53) 11. Betcha By Golly, Wow!

The vocalese and scatting tradition is alive and well in singer Suzanne Pittson. With Out of the Hub: The Music of Freddie Hubbard, Pittson continues to establish herself as one of the best singers on today's jazz scene. Out of the Hub includes tunes written by or associated with trumpet legend Freddie Hubbard, with Pittson writing or co-writing five lyrics, which Hubbard approved just three months before his passing in 2008. To honor Hubbard, Pittson recruited a group of extraordinaire musicians, including trumpeter Jeremy Pelt and bassist John Patitucci, who add along with saxophonist Steve Wilson and the rest of Pittson's quintet dazzling improvisations throughout.

More than just a singer, Suzanne Pittson is a jazz musician. With a fluid phrasing and stunning tone, Pittson use her voice as another instrument, improvising and playing with the melodies. Pittson's striking sense of melody and amazing vocal range allow her to express a vast palette of colors and textures on swinging tracks like "True Vision," "You're My Everything" and "We're Having a Crisis," and on ballads including "Bright Sun," Moment to Moment" and "Betcha by Golly, Wow!" Following in the steps of the great Ella Fitzgerald, Pittson is also a master of the scatting technique, as shown on "Our Own" and "Out of the Hub." All the arrangements are by pianist/husband Jeff Pittson, and the cover design is a creation of their son Evan, who also wrote the lyrics to "Out of the Hub."~ Wilbert Sostre https://www.allaboutjazz.com/out-of-the-hub-the-music-of-freddie-hubbard-suzanne-pittson-vineland-review-by-wilbert-sostre.php

Personnel: Suzanne Pittson: voice; Jeremy Pelt: trumpet, flugelhorn; Steve Wilson: alto saxophone, soprano saxophone; Jeff Pittson: piano; John Patitucci: bass; Willie Jones III: drums

Out Of The Hub: The Music Of Freddie Hubbard

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Willie Jones III - Fallen Heroes

Styles: Jazz, Post Bop
File: MP3@320K/s
Time: 49:42
Size: 114,8 MB
Art: Front

(3:58) 1. Something for Ndugu
(3:39) 2. Fallen Hero
(4:42) 3. C.T.A.
(3:56) 4. Trust
(6:19) 5. Truthful Blues
(8:36) 6. Annika's Lullaby
(6:06) 7. To Wisdom, the Prize
(7:01) 8. I've Just Seen Her
(5:20) 9. Jackin' for Changes

Drummer Willie Jones III just keeps on winning us over more and more with each new release serving up his own music on his own label, and really keeping a strong fire burning throughout! The set begins with a strong drum solo, dedicated to Ndugu Chancler but right after that, Willie holds strong as a very powerful leader commanding a great array of talent in the group, in the way that Art Blakey might have during the classic Jazz Messengers years! Like Blakey, Jones seems to bring out a special sort of spirit in the musicians a great lineup that includes George Cables on piano, Steve Davis on trombone, Jeremy Pelt on trumpet, and both Sherman Irby and Justin Robinson on alto playing in shifting lineups, but always keeping things strong as the group moves through tunes by Larry Willis, Jimmy Heath, Jeremy Pelt, and Jones himself. Renee Neufville turns in a great vocal performance on "Trust" and other tunes include "Something For Ndugu", "Fallen Hero", "CTA", "Annika's Lullaby", and "To Wisdom The Prize". © 1996-2021, Dusty Groove, Inc. https://www.dustygroove.com/item/980251

Personnel: Willie Jones III drums; Jeremy Pelt trumpet; Sherman Irby alto saxophone; George Cables piano; Gerald Cannon bass,Steve Davis trombone (6); Justin Robinson alto saxophone (9); Isaiah Thompson piano (9); Renee Neufville vocals (4).

Fallen Heroes

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Ken Fowser - Right on Time

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 56:03
Size: 129,5 MB
Art: Front

(3:53)  1. Stand Clear Of The Closing Doors
(3:39)  2. Samba for Joe Bim
(4:21)  3. Duck And Cover
(6:59)  4. No Filter
(5:46)  5. Don't Let Life Pass You By
(4:36)  6. On My Way
(6:40)  7. Keep Doing What You're Doing
(7:22)  8. Fowser Time
(5:44)  9. A Poem For Elaine
(6:59) 10. Knights Of The Round

With the release earlier this year of Right On Time, sax specialist Ken Fowser has now put out as many solo albums as he’s made with former musical partner and vibes ace Kehn Gillece. The last time a Fowser-led work was examined in this space, the tenor man was just stepping out onto his own and it was noted then in this classic, acoustic quintet setting that “Fowser’s tone and delivery is a big bag of soul.” Sax players with those qualities always thrive in an organ and guitar combo where the higher grease quotient fits right in with their diction, and at the urging of producer Marc Free, that’s just what Ken Fowser does for Right On Time. Wisely choosing guitarist Ed Cherry and organist Brian Charette to literally provide electricity to the sessions along with Willie Jones III on drums, it might be the first time most people are hearing Fowser in this type of soul-jazz environment, but it seems as if he’s done this thing all along. Tone and feel is everything here, and this crew consistently delivers. “Samba For Joe Bim” is as advertised, and the low, single lines from Cherry following the higher octave notes from Ken Fowser is one of the little arrangement touches that elevates the quality of these sessions above the crowd of very competent jazz recordings that are still made today. “Duck And Cover” swings authoritatively in the proud tradition of a Posi-Tone recording date, and listeners are treated with Fowser sharing solo duties with trombonist Steve Davis and trumpeter Joe Magnarelli. An imaginative arrangement on another swinger “Knights Of The Round” has the horn players playing a pattern at slightly different spots a la “Row Row Row Your Boat” and Magnarelli later blows a smoldering aside. With the three-man horn front line, a blues-based strain and a steady shuffle, “Keep Doing What You’re Doing” sounds like an electrified Art Blakey tune. “Fowser Time” continues along that same vibe but with a tauter rhythm, and the song’s namesake solos unhurriedly and confidently like a seasoned vet. “No Filter” is a great groove mated to a fetching melody, with another Davis/Magnarelli appearance and further boosted by Cherry’s Montgomery mannerisms. Jones shows a knack for locking down the pulse with taste but for “On My Way,” his refinement is a bit more out front, with multiple fills and a lively trading of fours. Great organ/guitar combos can deliver the coolness as effectively as they bring the heat, and this one makes good on the cool side with the down tempo “Don’t Let Life Pass You By.” Ken Fowser’s pleadings convince and Charette knows just how much emotion to put into his spotlight. https://somethingelsereviews.com/2019/07/13/ken-fowser-right-on-time-2019/

Personnel: Ken Fowser, tenor saxophone; Steve Davis, trombone; Joe Magnarelli, trumpet; Brian Charette, organ; Ed Cherry, guitar; Willie Jones III, drums.

Right on Time

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Roy Hargrove - Nothing Serious

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 44:54
Size: 103,6 MB
Art: Front

(3:52)  1. Nothing Serious
(5:27)  2. A Day In Vienna
(5:25)  3. Trust
(4:59)  4. Camaraderie
(5:31)  5. Devil Eyes
(5:52)  6. The Gift
(6:52)  7. Salima's Dance
(6:53)  8. Invitation

Despite the nonchalance of its title, Nothing Serious may be Roy Hargrove's best disc yet. The first working band outing by the genre-leaping trumpeter since 1993's Of Kindred Souls features a cohesive quintet with alto saxophonist Justin Robinson, pianist Ronnie Mathews, bassist Dwayne Burno and drummer Willie Jones III, augmented on three selections by special guest trombonist Slide Hampton. The opening title track, composed by Venezuelan guitarist Leo Quintero, is a melodious Latin jazz tour de force with powerful solos by the always lyrical Hargrove, along with Robinson (employing a thick, convincing Dolphyesque tone) and the veteran Mathews, whose mastery of the Afro-Cuban idiom pushes the music to its highest level, particularly during his montuno section, where the horns riff and Jones thrashes with inspired abandon. Hampton joins the band for his "A Day In Vienna first recorded with Dexter Gordon a straight-ahead cooker with a harmonic richness reminiscent of Horace Silver. Hargrove's "Trust is an evocative ballad constructed of long legato lines and warm harmonies, with stirring solos by Burno, Robinson (flute) and the composer (flugelhorn). "Camaraderie, a second Hargrove original, opens ominously with a dissonant free-form introduction featuring a trumpet-saxophone dialogue over drums, before resolving into a hot boppish blowing section. Burno's "Devil Eyes, a genuinely innovative, daring reharmonization of the standard chord changes to "Angel Eyes framed with a vamp that recalls the introduction to Stevie Wonder's "Too High, inspires exciting solos by Robinson, Hargrove and Jones. "The Gift is an attractive line by Hargrove which abounds with beauty and drama, eliciting passionate playing from each of the group's members. Mathews' potent "Salima's Dance, first recorded by the pianist back in the late '70s, is more than worthy of revival. Hargrove lets loose on this modal composition with his most incendiary solo of the date, followed by Robinson, Hampton and the composer, each one equally electrifying. A series of exchanges with Jones and a collective improvisation by the horns drive the music to a compelling climax. A swinging sextet version of "Invitation closes this satisfying session, which may not seem very "serious" compared to today's many staid and sober recordings seeking the status of classical music. But it is certainly significant in its earnest documentation of a great set of joyous jazz. ~ Russ Musto https://www.allaboutjazz.com/nothing-serious-roy-hargrove-verve-music-group-review-by-russ-musto.php

Personnel: Roy Hargrove: trumpet, flugelhorn; Justin Robinson: alto saxophone, flute; Slide Hampton: trombone; Ronnie Matthews: piano; Dwayne Burno: bass; Willie Jones III: drums.

Nothing Serious

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Sebastian Chames - Pick Up The Phone

Bitrate: MP3@320K/s
Time: 50:12
Size: 114.9 MB
Styles: Saxophone jazz
Year: 2015
Art: Front

[6:45] 1. Pianist At The Park
[7:52] 2. Dwayne Deserves
[5:51] 3. Pick Up The Phone
[3:18] 4. Cambio De Planes
[6:12] 5. Inspirado Aspirado
[5:53] 6. Nice Bop
[4:21] 7. Moonlight In Vermont
[4:41] 8. Captain Furillo
[5:15] 9. Dear Old Stockholm

Bass – Gerarld Cannon; Drums – Willie Jones III; Piano – Sebastián Chames; Tenor Saxophone – Greg Tardy; Trumpet – Jeremy Pelt.

The third album of the Spanish-Argentinean pianist Sebastián Chames, entitled 'Pick up the phone', confirms, in case there was any doubt, what in his two previous works was clearly made clear; his radical and seamless bid for a very classical and orthodox jazz (via hard bop).

The above has several advantages for both the musician and the listener; among them you already know what you can hear more or less, that the level of the musicians will be very high and that everything will sound with an unmistakable flavor of jazz of a lifetime.But that musical bet also has risks, among them, and not less, that we compare the pianist with the wild beasts of the 50's and 60's of the last century; and that if you do not take care that everything ends up sounding like a permanent 'deja vu'.

Sebastián Chames manages, to a large extent, to overcome these dangers, thanks to two very important factors; good compositions, fruit of his knowledge of the terrain in which he moves; and the band that accompanies him, composed of musicians who know and know very well what they have to do. Among those who accompany him we must highlight the work of trumpeter Jeremy Pelt, who already played with Chames on his previous album 'Reconstrucción' (2013); and that of drummer Willie Jones III who was also on that record. And there is nothing like working with well-known musicians and with whom you understand well. If in this jazz you want to be sure to listen to a current album but loaded with classicism, then 'Pick up the phone' is, I dare say, your record. (Translated from Spanish.)

Pick Up The Phone mc
Pick Up The Phone zippy

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Cedar Walton - Voices Deep Within

Styles: Piano Jazz 
Year: 2009
File: MP3@320K/s
Time: 56:42
Size: 130,1 MB
Art: Front

(6:42)  1. Voices Deep Within
(6:07)  2. Memories Of You
(8:22)  3. Another Star
(6:17)  4. Dear Ruth
(6:33)  5. Something In Common
(7:04)  6. Over The Rainbow
(6:29)  7. Naima
(9:05)  8. No Moe

Since 2001, Cedar Walton's regular excursions into Rudy Van Gelder's legendary Englewood Cliffs studio for the HighNote label have consistently resulted in some of this century's finest mainstream jazz recordings. On Voices Deep Within he continues the tradition, once again demonstrating the vitality and endurance of (t)his music. Despite his ever growing popularity and critical acclaim (and next month's NEA Jazz Mastership), Walton has not yet been elevated to his deserved place in the pantheon of the greatest jazz pianists alongside the somewhat senior Horace Silver, who he would eventually succeed in Art Blakey's Jazz Messengers, and the slightly younger McCoy Tyner, who he preceded in recording with John Coltrane. And although this disc is unlikely to bring him the fame that his talent warrants, it will please both dyed-in-the-wool Waltonians and newcomers just beginning to appreciate his artistry. Walton, a prolific and prodigious composer of memorable melodies, an arranger of uncommon originality and a pianist with an immediately identifiable sound and style, is at his best here. He divides the date between slightly altered versions of his working trio (with Buster Williams sitting in for regular bassist David Williams and Willie Jones III in the drum chair previously occupied by Kenny Washington-Vocals, Lewis Nash and Joe Farnsworth, since the death of longtime Walton colleague Billy Higgins) and quartet (with Vincent Herring eschewing his customary alto saxophone exclusively to play tenor). The saxophonist's dark bittersweet sound is heard to good effect on four tracks, beginning with the opening title piece, a brightly swinging Walton original that recalls his Eastern Rebellion units featuring George Coleman or Bob Berg. The trio tracks, relaxed readings of Eubie Blake's "Memories Of You" and the leader's own "Dear Ruth," as well as romantic renderings of "Over The Rainbow" and "Naima," showcase Williams' lyrical bass and Jones' remarkably mature work with brushes, along with Walton's uncanny ability to put new twists on familiar material. The album's showpiece is a reworking of his earlier arrangement of "Another Star" an exciting tour de force that shines a bright light on the pianist's harmonic, melodic and rhythmic genius, with an engaging introductory vamp and countermelody that makes the Stevie Wonder classic his own. Herring's tenor swings melodically on this and two more quartet pieces the leader's "Something in Common" and Sonny Rollins' "No Moe" complementing the trio's superb sound nicely. ~ Russ Musto https://www.allaboutjazz.com/voices-deep-within-cedar-walton-highnote-records-review-by-russ-musto.php

Personnel: Cedar Walton: piano; Vincent Herring: tenor saxophone; Buster Williams: bass; Willie Jones III: drums.

Voices Deep Within

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Kurt Elling - Nightmoves

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 62:02
Size: 145,2 MB
Art: Front

( 4:23)  1. Nightmoves
( 2:55)  2. Tight
( 7:38)  3. Change Partners / If You Never Come To Me
( 5:10)  4. Undun
( 5:27)  5. Where Are You, My Love?
( 4:23)  6. And We Will Fly
( 4:13)  7. The Waking
( 5:31)  8. The Sleepers
( 5:04)  9. Leaving Again / In The Wee Small Hours
(10:20) 10. A New Body And Soul
( 6:53) 11. I Like The Sunrise

Kurt Elling has mellowed some. Quite the original voice in jazz for more than a decade, he's introduced us to adventure and thrills. He's helped to maintain the spirit of straight-ahead jazz with a superb pianist by his side while moving enchantingly in and out of the mainstream. Elling's soothing baritone voice lends itself to both the romantic ballad and to the thrills of more adventurous music. Lately, however, he's concentrated more on the romantic ballad and has put less effort into challenging material. It works, of course, but some of the spontaneity has disappeared. Through one romantic moment after another, Elling rewards us with lyric beauty while following the normal path for lovers. Pop music popularity combines with mellow overtures for a program that everyone can feel deeply. Nightmoves rolls comfortably with a program of poignant ballads. Even "A New Body and Soul, the old chestnut of a jazz standard interpreted in his unique, personal manner, remains true to its original form. Vocalese makes up a part what the singer does with this familiar tune, and he does create a masterpiece worthy of award-winning accolades. Pianist Laurence Hobgood, bassist Christian McBride and drummer Willie Jones III breathe life into the piece in support. Together, they represent jazz's mainstream with genuine authority. Most of the program remains tied to passionate ballads. Elling fills these selections with emotion worthy of goose bumps and back-of-the-neck tingling. Bob Mintzer lends an ethereal tenor saxophone quality to two selections, while the Escher String Quartet joins Elling's quartet for his heartfelt reading of "Where Are You, My Love? and "The Sleepers. Guitarist Guilherme Monteiro lends a bossa nova presence to several selections along with sultry harmonica refrains from guests Howard Levy and Gregoire Maret that captivate. Bassist Rob Amster joins Elling on "The Waking for a lovely duet ballad performance that simmers gently. When the singer turns to his pianist for "In the Wee Small Hours, he summarizes his latest album accurately through an emotional reading that adorns his shirtsleeve with hearts that glow noticeably. ~ Jim Santella https://www.allaboutjazz.com/nightmoves-kurt-elling-concord-music-group-review-by-jim-santella.php

Personnel: Kurt Elling: vocals; Laurence Hobgood: piano; Willie Jones, III: drums; Christian McBride: bass (1-4,6,10); Rob Amster: bass (5,7,8,11); Rob Mounsey: electric piano, keyboards (1, 4, 6); Guilherme Monteiro: guitar (3,6); Bob Mintzer: tenor sax (1); Howard Levy: harmonica (3); Gregoire Maret: harmonica (6); The Escher String Quartet (5,8).

Nightmoves

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Russell Malone - Time For The Dancers

Styles: Guitar Jazz
Year: 2017
File: MP3@320K/s
Time: 49:14
Size: 114,8 MB
Art: Front

(6:16)  1. Time For The Dancers
(6:09)  2. Leave It To Lonnie
(6:29)  3. The Ballad Of Hank Crawford
(5:07)  4. There'll Be Another Spring
(5:53)  5. Pocket Watch
(4:55)  6. Theme From Chico And The Man
(4:20)  7. And So It Goes
(6:15)  8. Little B's Poem
(3:47)  9. Flowers For Emmett Till

If 2016's All About Melody showcased Russell Malone's love of a good melodic song, then 2017's Time for the Dancers finds him building upon that sentiment and celebrating his affinity for sweet, rhythmic grooves. The guitarist's third album for High Note, Time for the Dancers is a fluid, engaging production that finds Malone straddling the line between urbane, acoustic jazz standards, earthy funk, and virtuosic balladry. Helping him achieve this superlative balance are longtime bandmates pianist Rick Germanson, bassist Luke Sellick, and drummer Willie Jones III. Together, they play with the kind of nuanced interplay and sensitivity that come with years of live performance which they have. With his acoustic, hollow-body guitar and warm, un-effected sound, Malone comes off as a grounded, no-nonsense musician; a swing-friendly progenitor of straight-ahead jazz and standards. All of which is true and evident here. That said, he's also an incredibly soulful improvisationalist with a wide-ranging ear for all kinds of music. What's so invigorating about his approach is just how seamlessly he is able to incorporate all that he hears into one gorgeously realized style. In that sense, he brings to mind a balance of such elder luminaries as Kenny Burrell, Wes Montgomery, and yes, George Benson. From the buoyant and dreamy, '60s-influenced title track to the bluesy twang of "The Ballad of Hank Crawford," Malone grounds the proceedings with his steady, rhythmic swing and perfectly timed attack. It's a skill most evident on his funk-infused homage to his longtime friend, bassist Lonnie Plaxico, on "Leave It to Lonnie." Centered on a tasty bass riff, the song finds Malone slowly building his groove-based solo, weaving in bits of crunchy atonalism and deliciously bluesy asides. Elsewhere, he applies an equally compelling energy to Jose Feliciano's breezy "Theme from 'Chico and the Man'," and a poetic, gorgeously rendered, classically influenced solo take on Billy Joel's ballad "And So It Goes."~ Matt Collar http://www.allmusic.com/album/time-for-the-dancers-mw0003062170

Personnel: Russell Malone (guitar); Rick Germanson (piano); Willie Jones III (drums).

Time For The Dancers

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Cory Weeds Quintet - Everything's Coming Up Weeds

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 52:04
Size: 120,0 MB
Art: Front

(6:33)  1. B.B.'s Blue Blues
(7:19)  2. Biru Kirusai
(5:42)  3. Ella's Walk
(5:22)  4. Little Unknown One
(5:59)  5. I've Never Been in Love Before
(5:48)  6. Bailin' on Lou
(4:44)  7. 323 Shuter
(5:14)  8. Cyclaman
(5:20)  9. The Pour

Everything's Coming Up Weeds, the 50th release from the Cellar Live stable, is a stellar recording featuring an extraordinary quintet. At first blush, it recalls the energy and fervor of wonderful Benny Golson bands and, if the memory can be stretched a wee bit further, also some memorable sessions of Jazztet or even a Jazz Messengers middle passage. The date is led by the big tenor sound of Cory Weeds saxophonist, broadcaster, jazz impresario extraordinaire and owner of Canada's leading West Coast nightspot, The Cellar Restaurant and Jazz Club. There is also excellent work from pianist Ross Taggart, trumpeter Jim Rotundi, bassist John Webber and drummer Willie Jones III.  There are several remarkable aspects to this record. First, the writing of the originals is of the very highest order. The music is wonderfully crafted with an extraordinary ear for tonal colors and rhythmic textures, whether it is a blues such as Taggart's "BB's Blue Blues," which appears to be an oblique tribute to Thelonious Monk, or an exotic narrative from Rotundi, "Biru Kirusai," which is almost a title in Bunga Emas (the language of Malaysia) and conjures up images of the sights and smells of exquisite Southeast Asia. The highlight, of course, is Weed's writing, which is mature and exquisitely crafted, with a fine sense of the sonority and sliding elegance of the tenor saxophone. On his "Little Known One," Weeds paints sonic images of Dexter Gordon. And like Gordon, Weeds is able to bend his fat sound to practically cry at the most tender moments of the song.

On Frank Loesser's "I've Never Been in Love Before," Cory Weeds establishes his mastery over the ballad, digging deep into his horn an extracting a genuine, glowing warmth that few tenor saxophonists today have been able to summon, even in balladry. Weeds also exhibits remarkable command of the bebop rhythm with his "Bailin' On You" and "323 Shuter." His chart, "The Pour," sounds like a classic tune from a Jazz Messengers songbook. But make no mistake, this is all Cory Weeds. This is, in fact, the second remarkable aspect of this record. It is bursting with ideas and superb expression. Few small ensembles playing today complement each other with sensitivity to each other's sound. It is like an Duke Ellington band, where each of the players, like alchemists, forge tones that meld into one another. The interplay is almost seamless, with Taggart's "Cyclaman" and Weeds' "The Pour" bringing that molten sound of the quintet to sublime fruition. This is also a wonderfully tongue-in-cheek title: Everything's Coming Up Weeds. If anything, there is jazz in full bloom here, end-to-end. ~ Raul D’Gama Rose https://www.allaboutjazz.com/everythings-coming-up-weeds-cory-weeds-cellar-live-review-by-raul-dgama-rose.php

Personnel: Cory Weeds: tenor saxophone; Jim Rotundi: trumpet; Ross Taggart: piano; John Webber: acoustic bass; Willie Jones III: drums.

Everything's Coming Up Weeds

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