Larry Coryell - Inner Urge

Styles: Guitar Jazz
Year: 2001
File: MP3@320K/s
Time: 55:01
Size: 127,5 MB
Art: Front

(5:31)  1. Compulsion
(5:45)  2. Abra Cadabra
(5:25)  3. Inner Urge
(4:48)  4. Tonk
(8:01)  5. Dolphin Dance
(6:48)  6. Allegra's Ballerina Song
(5:50)  7. In a Sentimental Mood
(3:59)  8. Turkish Coffee
(8:51)  9. Terrain

Without a second thought, jazz listeners acknowledge Larry Coryell’s prowess on the guitar. But ask one of those listeners to name one recent Larry Coryell performance they have attended or one tune he has recorded within the past decade, and you may get a blank stare. That’s because Larry Coryell unlike, for example, John Scofield or Pat Metheny loses his persona in his music. According to the demands of the music, Coryell transforms his technique and his musical concept for the total fulfillment of a tune’s spirit. Depending on the circumstances, Coryell may be playing flamenco, classical, fusion, blues, rock or jazz guitar. Now, one can’t describe Coryell as modest, but he certainly is dedicated. Having devoted his life to the muse and to the music, Coryell, intensely private, seems to have sacrificed high personal recognition for the opportunity to investigate the guitar in its infinitude of possibilities. The possibilities that Inner Urge offers are those, in large part, of bebop. Consistent in his presentation, Coryell remains out front on each tune as a relaxed, unpretentious and brilliant presence. Don’t believe for a second his claim in the liner notes that “it was a matter of showing up...and staying out of the way.” Rather, Coryell leads the way among a group of equally proficient musicians. Producer and trumpeter Don Sickler suggested the cohesive idea for Inner Urge. Even though the album is appropriately named after a challenging Joe Henderson number, the first and last tunes framing the repertoire were composed by the often neglected tenor saxophonist Harold Land. It seems that Sickler, to his great credit, is pulling together all of Land’s compositions into a single reference. Having been inspired especially by Wes Montgomery, Coryell makes no bones about alluding directly to Montgomery’s unmistakable octaved style and effortless swing on Land’s “Terrain.” 

However, Coryell personalizes his own “Turkish Coffee,” the notes ringing through with crystalline assuredness, due in no small part of Rudy Van Gelder’s sound engineering genius as he employs two amplifiers to document the richness of the guitar. While “Turkish Coffee” hints at Coryell’s wide-ranging flexibility beyond bop tunes, “Allegra’s Ballerina Song,” written in tribute to his daughter, opens Coryell’s heart through his preferred medium of communication music. The slower tunes give evidence, not just of Coryell’s mastery, but of the instrument’s gorgeousness. His note choices on “Dolphin Dance,” not to mention its overall rippling texture, extend the mellowness of the song beyond piano, as established forever by Herbie Hancock. “Dolphin Dance” is one tune that doesn’t seem to be appropriate when led by a horn. “In A Sentimental Mood” exists on the album, it seems, purely for its lyrical strength, which Coryell underplays, sometimes by subtly dampening the strings for a sly percussive commentary. In addition, one may notice that the instruments are so well tuned and that Coryell and Hicks are so intuitive that when Coryell plays a phrase and Hicks repeats it, the differences of the instruments’ timbral characteristics melt away. The third in Coryell’s HighNote “trilogy,” Inner Urge presents a locked-in group for the joyful exploration of jazz, which drives the inner urge of them all. ~ AAJ Staff https://www.allaboutjazz.com/inner-urge-larry-coryell-review-by-aaj-staff.php

Personnel: Larry Coryell, guitar; Don Sickler, trumpet; John Hicks, piano; Santi Debriano, bass; Yoron Israel, drums

Inner Urge

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David 'Fathead' Newman - The Blessing

Styles: Saxophone And Flute Jazz
Year: 2009
File: MP3@320K/s
Time: 55:10
Size: 138,7 MB
Art: Front

(6:23)  1. SKJ
(5:47)  2. Someone To Watch Over Me
(4:55)  3. As Time Goes By
(5:27)  4. Manha De Carnival
(6:33)  5. Smile
(7:31)  6. Romantic Night
(5:59)  7. Chelsea Bridge
(5:24)  8. Whispers Of Contentment
(7:07)  9. The Blessing

What an apt name The Blessing is for David Newman's final recording before his death ended a long career last January (2009). He played for more than a decade with Ray Charles and alongside Herbie Mann, Aretha Franklin and Roy Ayers, among many others. For this last studio session he was in fine form. A Milt Jackson gem, "SKJ," is the set's opener, Steve Nelson's vibes providing glowing cascades before Newman swings in with a solo as brief in its measured warmth as it is satisfying. Here too and throughout the set Peter Bernstein's guitar is vigorous in a style that is direct as it mixes blues and bebop. In Newman's blues-drenched take on Gershwin's "Someone To Watch Over Me" (which in moments has echoes of Duke Ellington's "In A Sentimental Mood"), again there is a dazzling display of colors and tones. He begins with a statement of the original tune, albeit with little turns, pauses and a warm, floating, utterly romantic sound.

Nelson is always there with just the subtlest echoes of the melody. Newman's tenor saxophone is as gentle as it is full-bodied, with nary a superfluous embellishment. David Leonhardt's piano solo leads perfectly into Newman's bridge and the final bars. It must be noted that Newman's brand of romanticism is never mushy or sentimental. His version of "As Times Goes By" is abetted by the brisk, crystal warmth of Nelson's vibes on the bridge. Newman is authoritative and yet relaxed and it segues into "Manha de Carnival," on which his sax, Nelson's vibes and Leonhardt's piano effect a subtle tension by both anticipating and playing after the beat. It is Leonhardt's own composition, "Romantic Night," that showcases Newman at a peak on the recording and brings out the best from all hands. 

Shifting between major and minor modes, it's a beautifully structured performance. Newman gives a textbook example of a veteran player who swings easily as he makes it feel so good, yet without ever allowing things to get too cozy. The closer is the title track, Newman's own tune, this time with him on flute. It's a gospel-tinged piece that closes the set on a funky, upbeat note. As with all of Newman's music, this piece could as aptly have been called "a gift."~ Andrew Velez https://www.allaboutjazz.com/the-blessing-david-fathead-newman-highnote-records-review-by-andrew-velez.php

Personnel: David "Fathead" Newman: tenor saxophone, flute;  Steve Nelson: vibes;  David Leonhardt: piano;  Peter Bernstein: guitar;  John Menegon: bass;  Yoron Israel: drums.

The Blessing

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Russell Malone - Wholly Cats

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 63:45
Size: 146,3 MB
Art: Front

( 7:56)  1. Wholly Cats
(10:20)  2. I Concentrate On You
( 6:54)  3. Carousel
( 2:33)  4. Swing Low, Sweet Chariot
(10:33)  5. Off The Top
( 7:43)  6. Four In One
( 6:13)  7. After All
( 7:40)  8. Chitlin Blues
( 3:52)  9. Yesterdays

Russell Malone recording this studio date for Venus in 1995, though it was several years before the Japanese label got around to issuing it. Joined by an excellent rhythm section consisting of Larry Willis, Rodney Whitaker, and Yoron Israel, Malone is not afraid to go into lengthy exploration of an old favorite like "I Concentrate on You." Malone delves into jazz compositions of several generations, including a furious take of Benny Goodman's "Wholly Cats," an easygoing interpretation of Mulgrew Miller's wistful ballad "Carousel," and a virtuoso performance of Thelonious Monk's challenging "Four in One." 

His one original is the strident "Chitlin Blues," a duo track with a delicious exchange between the guitarist and Whitaker's humorous arco bass. Among his unaccompanied selections are a spacious yet subtle rendition of the spiritual "Swing Low, Sweet Chariot" and an intricate treatment of "Yesterdays." Recommended. ~ Ken Dryden https://www.allmusic.com/album/wholly-cats-mw0000533023

Personnel:  Electric Guitar – Russell Malone;  Bass – Rodney Whittaker; Drums – Yoron Israel;  Piano – Larry Willis

Wholly Cats

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Bennie Wallace - Someone To Watch Over Me

Bitrate: MP3@320K/s
Time: 54:42
Size: 125.2 MB
Styles: Bop, Saxophone jazz
Year: 1999
Art: Front

[ 5:12] 1. Nice Work If You Can Get It
[ 5:46] 2. The Man I Love
[ 6:53] 3. Who Cares
[ 5:12] 4. Someone To Watch Over Me
[ 7:21] 5. I Was Doing All Right
[ 5:20] 6. How Long Has This Been Going On
[12:18] 7. It Ain't Necessarily So
[ 6:36] 8. I Loves You, Porgy

Bass – Peter Washington; Drums – Yoron Israel; Piano – Mulgrew Miller; Tenor Saxophone – Bennie Wallace. Recorded at Systems Two, NY on June 30 and July 1, 1998.

There will be those fans of Tennessee tenor saxophonist Wallace who may hear this as an anomalous aside in his career of playing mostly progressive modern jazz. Others may view it a logical step, a concept album dedicated to the music of George Gershwin. What this reviewer finds fascinating about it is that Wallace plays so flexibly within the melodic intent of these well-worn lines, yet always finds a way to make them all his own. There's a certain restraint, and the simple approach is more refined due to the centered focus provided by the always brilliant pianist Mulgrew Miller, rock-solid bassist Peter Washington, and witty drummer Yoron Israel.

Miller's attention-grabbling persona is most clearly present on his arpeggiated intros of the warm waltz take on "Who Cares?" and the mad love-tinged ballad "I Loves You Porgy." Songs such as the ballad version of "How Long Has This Been Going On?" and the easy swing of "The Man I Love" seem like sleepwalking, when in fact these expert musicians can easily play them with effortless elegance. Wallace evokes sonic images of the masters with similar aplomb; he uses wonderful Coleman Hawkins-like embellishments during the title track played with Miller sans rhythm section, and goes into deep blue Ben Webster territory during the lightly swung "I Was Doing Alright." Wallace cannot be completely tamed, though; the 12-minute-plus piece, churning Afro-Cuban switching to steady, driving swing in the bridge, has Wallace in fever pitch with stretched, angular, rambling melodicism, and Miller similarly all over the place as well. Wallace practices typical octave leaping on his solo of the fairly straight-laced melody line of "Nice Work If You Can Get It," proving he can embrace both cool and animated aspects of improvisation.

There's little chaos or bombast, which might disappoint longtime listeners, but instead a nice balance that Wallace attains while retaining the unique flourishes that have made him one of the more recognizable players in jazz. ~Michael G. Nastos

Someone To Watch Over Me

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Larry Coryell - Monk, Trane, Miles & Me

Styles: Guitar Jazz
Year: 1999
File: MP3@320K/s
Time: 57:08
Size: 131,2 MB
Art: Front

(6:48)  1. Star Eyes
(5:52)  2. Alone  Together
(5:34)  3. Trinkle Tinkle
(6:04)  4. Fairfield County Blues
(7:16)  5. Patience
(6:27)  6. Up Against The Wall
(6:13)  7. Naima
(7:43)  8. All Blues
(5:08)  9. Almost a Watz

This recording properly acknowledges Coryell's main influences, swings nicely, delves into his under-appreciated mellow side, and reaffirms his status as an enduring jazz guitarist who still has plenty to say. Gone are the flash and the kamikaze riffs in favor of lean chords and structured, sensible, slightly gritty linear improvisations. Tributes to his heroes fall along standard company lines. Still, there's a lingering trace of the steely, hair-trigger old days of fusion in his interpretation of Thelonious Monk's spastic "Trinkle Tinkle" with tenor saxophonist Willie Williams. For contrast is the warm, spiritual blanket of John Coltrane's "Naima" and the forthright reading of the 12-bar blues "Up 'Gainst the Wall" featuring Williams. The elongated lines of Miles Davis's "All Blues" almost lull you into a false sense of security, so beautifully subtle, understated and cool are they. Coryell always chooses extraordinary sidemen, and when you pick pianist John Hicks (on four cuts, including the gorgeous "Naima") bassist Santi Debriano and drummer Yoron Israel, you've got a winning team. It's also great that Coryell introduces new material, like the soulful, swinging "Fairfield County Blues," Hicks and Coryell in complete accord, with a tip of the chordal-and-single-line-combo hat to Wes Montgomery. "Almost a Waltz," also written by the leader, is molasses slow, in 4/4, and a calm ending to this fulfilling disc. Coryell's virtuosity is evident; harnessed, and sounding better than ever, utilizing a prototype Cort LCS-1 model he designed. Several recent efforts can also be easily recommended, but this finely crafted recording ranks with any of his many better-to-best dates. ~ Michael G.Nastos http://www.allmusic.com/album/monk-trane-miles-me-mw0000049693

Personnel:  Bass – Santi Debriano;  Drums – Yoron Israel;  Guitar – Larry Coryell;  Piano – John Hicks ;  Tenor Saxophone – Willie Williams

R.I.P.
Born: April 2, 1943 
Died: February 19, 2017

Monk, Trane, Miles & Me

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Michael Cochrane Quartet - Cutting Edge

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 67:58
Size: 155,9 MB
Art: Front

(5:59)  1. Lines Of Reason
(9:14)  2. Moon And Sand
(5:41)  3. You're My Everything
(6:40)  4. Autumn In New York
(6:26)  5. Celia
(5:20)  6. Mirror Mirror
(6:36)  7. Cutting Edge
(6:47)  8. I Thought About You
(8:43)  9. Shami
(6:28) 10. Long Walk

His resume is an imposing one, marked by gigs with Sonny Fortune, Jack Walrath, Eddie Gomez, Clark Terry, Michael Brecker, Chip White, the Spirit of Life Ensemble, Nancy Monroe, and many more. Add to that beneficial training from the likes of Jaki Byard, Eleanor Hancock and the legendary Madame Chaloff. This gives you just a simple point of reference for approaching the work of pianist Michael Cochrane, whose debut SteepleChase set, The Cutting Edge is just now getting an American release. While not without its moments of collective risk-taking, this set falls into the category of conservative mainstream fare that SteepleChase is known for and in Cochrane they have a solid pianist who has learned his lessons well. He certainly knows how to pace a set, the ten selections including some top-drawer standards and four of his own well-developed lines. Cochrane, bassist Ron McClure, and drummer Yoron Israel go it as a trio for Bud Powell’s “Celia” and “I Thought About You,” while the rest of the date features the lead voice of alto saxophonist David Gross. 

A new name to this reviewer, Gross speaks volumes with a tart yet seductive tone that puts him in the same league with fellow alto man Jon Gordon. In the final analysis, everything sits just right with The Cutting Edge, even if doesn’t quite live up to the implications of its title. ~ C.Andrew Hovan https://www.allaboutjazz.com/cutting-edge-michael-cochrane-steeplechase-records-review-by-c-andrew-hovan.php
 

Personnel:  Michael Cochrane- piano,  David Gross- alto saxophone,  Ron McClure- bass,  Yoron Israel- drums

Cutting Edge

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Pamela Hines Trio - 3.2.1.

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 50:54
Size: 116,9 MB
Art: Front

(5:33)  1. 34 Skidoo
(5:17)  2. B Minor Waltz
(6:39)  3. Spring Can Really Hang You Up the Most
(4:43)  4. East of the Sun
(4:40)  5. Loose Blues
(7:17)  6. Sangre Joven
(6:37)  7. If You Could See Me Now
(3:20)  8. Loose Blues
(6:43)  9. I Guess I'll Hang My Tears Out to Dry

Pianist Pamela Hines has been busy on the jazz scene for fifteen years, producing many excellent CDs featuring her quartets and quintets, as well as pairings with several top-notch vocalists. A first-rate composer of engaging and memorable tunes who put out one of the coolest Christmas albums, New Christmas (Spice Rack, 2008), she should be better known. 3.2.1, a superb, mostly trio affair, might just push her profile closer to where it belongs. Most of Hines' recordings, including New Christmas, have relied heavily on her own compositions. 3.2.1. takes a different tack, leaning on standards with an emphasis on material by pianist Bill Evans, starting right off with his "34 Skiddoo." Here, however, Hines and trio mates David Clark (bass) and Yoron Israel (drums) sound feistier happier, even than the normally introspective Evans.

On "B Minor Waltz," the trio cools things off a bit, showcasing Hines' exquisite touch and Israel's supple brush work, but the bounce in the trio's step is still there, riding Clark's warm heartbeat. The classic "East of the Sun" takes things out on the edge, an up-tempo high-wire roll, with Hines sounding particularly caffeinated. The album title refers to its music being presented with the trio on seven tunes, a duo on one and solo on another. The old American Songbook chestnut, "I Guess I'll Hang My Tears Out to Dry," is laid down as a piano solo rumination, its sweet reverence suggesting, perhaps, that a future CD-length solo excursion might be in order for Hines. ~ Dan McClenaghan http://www.allaboutjazz.com/321-pamela-hines-spice-rack-records-review-by-dan-mcclenaghan.php

Personnel: Pamela Hines: piano; Yoron Israel: drums; David Clark: bass.

3.2.1.

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Yoron Israel & Organic - Basic Traneing

Size: 135,3 MB
Time: 58:24
File: MP3 @ 320K/s
Released: 2003
Styles: Jazz: Hammond Organ
Art: Front

01. Basic Traneing (4:50)
02. Afro Blue (7:11)
03. Sayeeda's Song Flute (4:44)
04. Her All (6:18)
05. Impressions (6:08)
06. Better Days (5:28)
07. Tippin' (7:26)
08. Mr. Jc (4:44)
09. Like Sonny (3:33)
10. Lonnie's Lament (6:55)
11. Basic Traneing (Reprise) (1:01)

Yoron Israel, a native Chicagoan, is one of the most gifted and sought after musicians in the music industry today. Yoron's exciting and tasteful drumming, along with his compositional talents are spotlighted throughout his recordings; "VISIONS" - The Music of Stevie Wonder (Ronja Music), "Basic Traneing" (Ronja Music), "Chicago" (Double Time), "Live at the Blue Note" (Half Note) and "A Gift for You" (Ronja Music). All of these fine works have received enthusiastic praise from journalists, musical peers and fans alike. They represent the extensive depth of Yoron Israel's musicianship as he continues to evolve as a leader. He brings his unique influences and experiences in Jazz, World Styles, Gospel, Contemporary Christian, Funk, R & B and Orchestral idioms full circle with his compositions, arrangements, repertoire and ensemble concept: "Music to be enjoyed by all". As Jack DeJohnette quotes, "A Gift for You" is a sparkling musical offering from a drummer who has good taste. He has a sense of direction and a feeling of joy in his drumming, compositions and arrangements. Yoron Israel is an important voice you should listen to."

Yoron leads the Boston based quartet "High Standards", which is featured on his latest release "VISIONS" - The Music of Stevie Wonder. The quartet currently features; Laszlo Gardony - piano/keyboard, Lance Bryant - tenor & soprano saxophones and Henry Lugo - bass, along with special guests Larry Roland - spoken word and Thaddeus Hagarth - harmonica and guitar. This core foursome represents a depth of virtuosity and musical cohesiveness that is infectious. This ensemble is committed to forging ahead "new standards" for the 21st century; adding a personalized perspective to familiar performance, compositional and arrangement references that will become common repertoire of choice for future generations of jazz musicians.

"Basic Traneing", reached number three on the National Jazz chart in 2004. It features his organ trio "Organic" with organist Kyle Koehler, guitarist Ed Cherry, along with special guests Jay Hoggard (vibraphone/ marimba) and Billy Pierce (tenor and soprano saxophone). Yoron's "Organic", performs original compositions and works associated with the soulful musical legacies of Jimmy Smith, Jack McDuff, Jimmy McGriff, Charles Earland and Dr. Lonnie Smith while highlighting the versatility and virtuosity of the trio.

Basic Traneing

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Yoron Israel - Chicago

Styles: Jazz
Year: 1998
File: MP3@320K/s
Time: 70:21
Size: 161,0 MB
Art: Front

(6:48)  1. Nice and Easy
(6:13)  2. Trilogy
(9:36)  3. That's the Way of the World
(9:02)  4. Picket Fences
(7:22)  5. Valdez In the Country
(6:55)  6. Here Today Gone Tomorrow
(7:23)  7. Down Through the Years
(5:03)  8. Green's
(6:32)  9. Indigo Dreamscapes
(5:22) 10. Battery Blues

This is drummer Israel's third recording as a leader. He uses his Organic trio and quartet to showcase music written by Chicago natives, himself included. Guitarist Marvin Sewell and organist Larry Goldings contribute, as does saxophonist Joe Lovano, who shows up on three tracks. The music ranges from modern mainstream, instrumental blues or pop, to a zinger or two not necessarily thought of as organ combo material. Sewell is generally a joy to hear, as underdocumented as he is. His soulful inflections recall several guitarists, yet he retains his own identity. He offers down-home lines during Johnny Griffin's slow and bluesy "Nice & Easy," and during the more simmering "Battery Blues" by Julian Priester. Unfortunately, he fluffs the tricky melody of Grant Green's "Green's," but his good intentions remain. Goldings' corn-fed, natural sound on organ is a bit buried, more reticent than usual, but he's a good foil. 

For example, Donny Hathaway's "Valdez in the Country" implies samba patterns while Israel's brushes and Sewell's guitar weave their way in and Goldings works around them. This defines the trio best, and makes for a great interpretation. Israel wrote three of the ten selections, also being a native of Chicago. "Here Today, Gone Tomorrow" is an interesting combination of sounds, from the slinky beat of "Fever," to the intimate guitar melody reminiscent of Green's "It Ain't Necessarily So," and the harmonic inferences of "Killer Joe." Lovano is on tenor for Clifford Jordan's "Down Through the Years," evoking the soul and swing of the Windy City from a Clevelander's perspective. On the energetic six by eight Israel composition "Picket Fences" a sneaky, dynamic number with the leader wailing on a drum intro the band further coalesces. Israel's "Triology" swings in midtempo, allowing the drummer more than just some of the spotlight. However, Jack DeJohnette's light funk-inflected "Indigo Dreamscapes," and a version of Earth, Wind & Fire's "That's the Way of the World" with Lovano on soprano sax is eminently skippable. Sewell is the chestnut here: he understands economy and adds considerably to this recording. Israel himself is quite formidable, and the concept is one others can pick up and expound from. An album that collects the songs of Chicago's jazzmen is an idea that deserves more mining. ~ Michael G.Nastos   

http://www.allmusic.com/album/chicago-mw0000241791

Chicago

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