Frank Wess & Johnny Coles - Two At The Top (2-Disc set)

Collectors have eagerly anticipated the reissue of Uptown's jazz LPs from the 1980s, as they inevitably add valuable material from the original sessions, period photos, and expanded liner notes. Long one of Wess' favorite records as a leader, Two at the Top is one of the label's finest releases, a session pairing Frank Wess and the unjustly neglected Johnny Coles, accompanied by a potent rhythm section consisting of pianist Kenny Barron, bassist Reggie Johnson, and drummer Kenny Washington. Don Sickler contributed the superb arrangements, with the session focusing primarily on songs by jazz greats who came of age between the '40s and early '60s: Bud Powell, Tadd Dameron, Gigi Gryce, Kenny Dorham, and Benny Golson. Coles is afire in the brisk setting of Dorham's "Whistle Stop," with Barron's intricate solo immediately following him. Powell's "Celia" has tended to be overlooked because the pianist wrote so many memorable songs, but the band makes the most of this hidden gem, a sauntering performance showcasing Barron in bop mode. Wess is heard on alto sax in Gryce's "Nica's Tempo," taking charge with a spirited, driving solo. There's a tense Afro-Cuban undercurrent suggestive of Dizzy Gillespie in the introduction to Gryce's "Minority," long a jam session favorite, in which Coles and Wess (on alto sax) play with gusto. Dameron's "A Blue Time" is another under-appreciated gem by a prolific composer, where the co-leaders blend perfectly in the ensembles and add sparkling solos as well. The sole standard is a subdued, emotional scoring of Harold Arlen's "Ill Wind." There are five bonus tracks from the 1983 sessions, all first takes of songs featured on the original record, none of which are flawed.

The entire hour of music on disc two is previously unissued, coming from a well-preserved 1988 radio broadcast recorded live at Yoshi's in Oakland, California. Wess and Coles are joined by pianist Smith Dobson, bassist Larry Grenadier, and drummer Donald "Duck" Bailey. Since it is a live gig, there is plenty of time for extended improvisations, including a blistering take of Sam Jones' "One for Amos" that showcases Wess' strong chops on flute, followed by Coles' expressive trumpet, buoyed by the in-the-pocket rhythm section. Coles sits out Wess' "If You Can't Call, Don't Come," a slow ballad with a bittersweet air which the composer conveys effectively on tenor sax. The extended workout of "Minority" is another treasure from the broadcast, as is Buddy Montgomery's less well-known "Blues for David," a rollicking finale to this valuable 1988 Yoshi's set, and a terrific bonus to the expanded reissue of Two at the Top. ~Ken Dryden

Album: Two At The Top (Disc 1)
Bitrate: 320K/s
Time: 77:14
Size: 176.8 MB
Styles: Mainstream jazz
Year: 2012

[5:58] 1. Whistle Stop
[5:33] 2. Morning Star
[4:59] 3. Celia
[6:37] 4. Nica's Tempo
[5:44] 5. Minority
[6:31] 6. Ill Wind
[6:08] 7. Stablemates
[4:15] 8. An Oscar For Oscar
[6:48] 9. A Blue Time
[4:16] 10. An Oscar For Oscar (Take One)
[5:01] 11. Stablemates (Take One)
[5:05] 12. Minority (Take One)
[4:36] 13. Whistle Stop (Take One)
[5:36] 14. Morning Star (Take One)

Two At The Top (Disc 1)

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Album: Two At The Top (Disc 2)
Bitrate: 320K/s
Time: 60:14
Size: 137.9 MB
Styles: Mainstream jazz
Year: 2012
Art: Front

[14:37] 1. One For Amos (Live)
[ 9:25] 2. If You Can't Call, Don't Come (Live)
[ 9:03] 3. Morning Star (Live)
[12:09] 4. Minority (Live)
[14:57] 5. Blues For David (Live)

Two At The Top (Disc 2)

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Deborah Brown & The Eric Ineke Jazzxpress - For The Love Of Ivie

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 52:28
Size: 120,8 MB
Art: Front

(5:59)  1. Mood Indigo
(5:29)  2. My Old Flame
(3:37)  3. I'm Checkin' Out, Goom-Bye
(3:07)  4. Stormy Weather
(3:16)  5. It Don't Mean A Thing (If It Ain't Got That Swing)
(7:09)  6. Your Love Has Faded
(4:13)  7. I'm Satisfied
(3:19)  8. Solitude
(3:17)  9. Black Beauty
(3:30) 10. It Was A Sad Night In Harlem
(4:11) 11. All God's Chillun
(5:16) 12. I Got It Bad And That Ain't Good

Ivie Anderson was Duke Ellington's mainstay singer from 1931 to 1942, melding the depth of Billie Holiday with the sophisticated attitude of Lena Horne. Deborah Brown is one of the finest modern jazz vocalists ever to grace live venues and recording studios. In common with Anderson, she is a musician's vocalist, having played with the likes of Slide Hampton, Cedar Walton, Clark Terry, Johnny Griffin, Michel Legrand, Toots Thielemans and Roy Hargrove, amply showing the respect in which she is regarded by the players, as well as her great adaptability. With For The Love Of Ivie , Brown takes Anderson's repertoire in a modern direction swinging, scatting, and crooning with a group of outstanding European musicians, its core consisting of drummer Eric Ineke's Jazz Xpress, one of the continent's best groups. Well-recorded and mastered, with sensitive and responsive instrumentalists, the recording tastefully transcends Anderson and the Duke, mirroring the many moods and idioms of jazz, from blues, Latin and swing to bebop and beyond, with Brown delivering her typically disciplined yet lively and swinging interpretations. 

Few singers, if any, can match her unwavering precision, timing, vocal technique, and synchronization. Throughout this album, she sings intelligently, with resonant voice, and controlled expression of emotion, backed up with lively accompaniment and solos that pleasingly frame Brown's voice. It's all together a moveable jazz songfest.In addition to the Ellington classics like "Mood Indigo," "It Don't Mean a Thing if it Ain't Got That Swing," and "I Got It Bad and That Ain't Good," the album includes Billy Strayhorn's "Your Love Has Faded," featuring superb trombone work by Bart Van Lier, and standards like "My Old Flame" and "Stormy Weather." An instrumental version of Ellington's "Black Beauty" shows off the sidemen's talents, while Brown's artful rendition of the lovely blues-oriented ballad, "It Was a Sad Night in Harlem," is a dark horse number. 

Brown grew up in Kansas City (where she now resides), spent time in New Orleans, and was later based in Holland, where she mentored students such as JD Walter. Harking back to the days of swing and bebop, this album reflects Brown's KC roots enhanced by the European experience. Topping off the album's high quality are excellent liner notes, session photographs, and a precious photograph of Ellington and Anderson with band members, at what appears to be a train station in The Hague, Netherlands. A great way to listen to this album is to pair it off with Ivie Anderson with Duke Ellington and His Famous Orchestra (EPM, 1996). In particular, Anderson's melancholic version of "Mood Indigo" includes a signature solo by Ben Webster, and contrasts sharply with Brown's Latin-spiced rendition. It's also fun to contemplate which of them merits the seven-second exclamation, "That's the Version!" which Brown tacked onto her CD. ~ Victor L.Schermer  http://www.allaboutjazz.com/for-the-love-of-ivie-a-tribute-to-ivie-anderson-deborah-brown-challenge-records-review-by-victor-l-schermer.php#.U-6wkmNryKI
 

Personnel: Deborah Brown: vocals, piano; Benjamin Herman: alto saxophone; Bart Van Lier: trombone; Sjoerd Dijkhuizen: clarinet, bass clarinet, tenor saxophone, baritone saxophone; Rik Mol: trumpet, flugelhorn; Rob Van Bavel: piano; Eric Ineke: drums, cymbals, percussion.

For The Love Of Ivie

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Dave Santoro - The New Standard

Styles: Straight-ahead/Mainstream,Jazz
Year: 2001
File: MP3@320K/s
Time: 68:12
Size: 156,7 MB
Art: Front

(10:11)  1. I've Never Been In Love Before
( 7:16)  2. I Remember You
(12:35)  3. Witchcraft
( 7:35)  4. All Of You
( 9:04)  5. How About You
( 7:51)  6. Let's Pretend
( 6:39)  7. You're Too Marvelous For Words
( 6:56)  8. The Best Thing For You

Bassist Dave Santoro has formed a "standards" quartet that effectively expands the philosophy of Keith Jarrett's Standards Trio. Jarrett, along with drummer Jack DeJohnette and bassist Gary Peacock represent a "standards" unit, reinterpreting the great American songbook. They have had the market cornered in performing standards for the last 20 years. Santoro makes this concept one better with the addition of tenor saxophonist Jerry Bergonzi, who is charged with reharmonizing the same American Songbook. This has resulted in three recordings for Double-Time Records, of which The New Standard is the third. Dave Santoro has had a long relationship with Jerry Bergonzi, beginning their respective standards love affair on Bergonzi's Blue Note release, Standard Gonz (96256, 1989). This was followed up in 1999 with The Dave Santoro Standards Band (Double Time Records, 151) and with The Dave Santoro Standards Band II (Double Time Records, 165, 2000). The former of these recordings offers a vastly reharmonized "On Green Dolphin Street" that was to set the stage for the next two recordings. The present recording contains eight blissfully realized standards, none of which clock in at less than six minutes. 

The band has a casual, well-practiced swing, making their collective musicality sound easy. This recording sounds the least like a bassist-led affair than any other I have recently heard. Part of the reason for this is the relatively little soloing Santoro performs and the large amount of space the leader affords Bergonzi and pianist Chicco. Both men sound fresh and bright, choosing all of there notes intelligently and dynamically. Bergonzi, whose tone has long associated with a substantial Coltrane influence, proves down right lyrical in a full-throated sort of way that makes his playing more attractive than that of the master. The two lengthiest pieces, "I've Never Been in Love Before" and "Witchcraft" provide copious example of the piano-tenor intuition in this band. Santoro purrs slightly behind the beat, giving the music a hesitant momentum that is thick and dense. 

Drummer Tom Melito plays the dozens with his band members by trading eights with them and never giving an inch. In cooperation with Santoro, Melito propels the group in a sure and stalwart manner. Santoro's solos, when he takes them, are lyrical with no wasted notes. He does not over play. Tasteful harmonics and a sure time characterize Santoro's playing, illustrating his smart but homespun approach. His choice of material also betrays his common intelligence. The New Standard is thoroughly satisfying. It is a down the middle-of- the-road treat. ~ C.Michael Bailey  http://www.allaboutjazz.com/the-new-standard-dave-santoro-double-time-jazz-review-by-c-michael-bailey__14775.php#.U-6j6mNryKI

Personnel: Dave Santoro: Bass; Jerry Bergonzi: Tenor Saxophone; Renato Chicco: Piano; Tom Melito: Drums.

The New Standard

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Clifford Brown - The Definitive Clifford Brown

Styles: Trumpet Jazz
Year: 2002
File: MP3@320K/s
Time: 75:58
Size: 174,4 MB
Art: Front

(3:40)  1. Easy Living
(6:57)  2. Wee Dot
(7:43)  3. Jordu
(7:38)  4. I Get A Kick Out Of You
(6:48)  5. Joy Spring
(4:01)  6. Daahoud
(5:21)  7. I've Got You Under My Skin
(4:09)  8. He's My Guy
(5:14)  9. Born To Be Blue
(3:22) 10. Stardust
(5:43) 11. Cherokee
(9:12) 12. I'll Remember April
(6:04) 13. The Scene Is Clean

Trumpeter Clifford Brown had a brief career. He started playing jazz in the late '40s but was killed in a car accident in 1956 (along with pianist Richie Powell, younger brother of Bud). In that short time his interest in expanding the bebop medium is apparent on The Definitive Clifford Brown. Several of the legendary hard bop quintet sides he recorded with Max Roach for Emarcy are featured as well as his warm tone mixing beautifully with string arrangements and backing up vocalists Helen Merrill, Dinah Washington, and Sarah Vaughan. The Definitive Clifford Brown is a well rounded introduction providing a glimpse into the full spectrum of a career cut tragically short. ~ Al Campbell  http://www.allmusic.com/album/the-definitive-clifford-brown-mw0000223919

Personnel: Clifford Brown (trumpet); Dinah Washington, Helen Merrill, Sarah Vaughan (vocals); Barry Galbraith (guitar); Gigi Gryce (flute, alto saxophone); Herbie Mann (flute); Herb Geller, Lou Donaldson (alto saxophone); Harold Land, Paul Quinichette, Sonny Rollins, Charlie Rouse (tenor saxophone); Danny Bank (baritone saxophone); Clark Terry, Maynard Ferguson (trumpet); John Richard Lewis, Horace Silver, Jimmy Jones , Junior Mance, Richie Powell (piano); Max Roach, Osie Johnson, Roy Haynes, Art Blakey (drums).

The Definitive Clifford Brown

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Claudio Roditi - Milestones

Styles: Hard bop, Jazz
Year: 1992
File: MP3@320K/s
Time: 69:28
Size: 159,4 MB
Art: Front

(10:41)  1. Milestones
(12:57)  2. I'll Remember April
(14:06)  3. But Not For Me
( 9:27)  4. Pent-Up House
(10:58)  5. Brussels in the Rain
(11:16)  6. Mr. P.C.

There aren't many trumpeters around more animated and energetic than Claudio Roditi. His searing solos and equally fiery accompaniment have been featured in several bands, and he takes center stage on Milestones. Besides his solos, the disc has some first-rate songs and an even better group. Alto saxophonist Paquito D'Rivera, pianist Kenny Barron, bassist Ray Drummond, and drummer Ben Riley would constitute a great band by themselves, and are no less playing with Roditi. ~ Ron Wynn  http://www.allmusic.com/album/milestones-mw0000092275

Personnel: Claudio Roditi (flugelhorn); Kenny Barron (piano); Ray Drummond (bass guitar); Ben Riley (drums); Paquito d'Rivera (alto saxophone).

Milestones

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Martial Solal - Dodecaband Plays Ellington

Bitrate: 320K/s

Time: 58:42

Size: 134.4 MB

Styles: Big band

Year: 2001

Art: Front

[ 7:23] 1. Satin Doll

[14:53] 2. Caravan

[ 8:32] 3. In A Sentimental Mood

[ 8:56] 4. It Don't Mean A Thing

[ 9:58] 5. Take The 'a' Train

[ 8:58] 6. Medley: Cottontail, I Got It Bad, Prelude To A Kiss

Martial Solal's big band is a revelation. I've loved his piano music since I started acquiring (mostly through mail order) his records in the late 60's. His big band writing can be seen as an extension of his piano, but it is much more. Like his piano playing there are all kinds of rhythmic stops and starts that may sound like unmusical special effects at first hearing but actually make entire sense.

I usually don't like "songbook" CD's because they often sound like pale imitations why not just listen to the real thing. Solal has reconstructed these overplayed tunes, brought them up to date, and given them new life. They are still recognizable, but there are all kinds of rhythmic surprises, unexpected voicings, abrupt modulations, and turn-on-a-dime transitions that keep the band and the listener from settling in. Time continually shifts back and forth between 4/4 and free.

This twelve-piece band is more maneuverable than the standard big band. They can cut these complicated arrangements replete with unique voicings and freer swing concepts. Chautemps on soprano is the most prominent soloist besides Solal, but most players are featured at least once. The solos are short and integrated into the ensemble they barely establish a groove before the music moves on.

Like Charlie Parker Solal loves to throw quotes into his music. If anything his are sneakier and more tongue in cheek. Some examples: a hint of "Reveille" in "Satin Doll;" a muted trombone passage from "Morning Air" by Willie "The Lion" Smith in the conclusion of "It Don't Mean a Thing;" maybe one measure of "La Cucaracha" hidden in the theme statement of "Take the 'A' Train." Some of his writing combinations have a similarly individual feel: An abstract tuba introduces "It Don't Mean a Thing" after which the piece moves into a reeds vs. tuba exchange and tuba-led ensemble passages. "Caravan" briefly features piccolo over brass.

The arrangements are not derived from Solal's Ellington piano record except "Satin Doll" which features Solal in a prominent but fragmented solo role. "Caravan," a 15-minute tour de force with a two-soprano lead, dies with a whimper. Trumpet and soprano solo simultaneously over the band during "In a Sentimental Mood." In the concluding medley of eight Ellington tunes there are no clear cut breaks between themes. Solal sometimes borrows a motif from one tune to use as a riff in another. ~Craig Jolley

Dodecaband Plays Ellington 

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Bobby Dukoff - Off The Cuff

Bitrate: 320K/s
Time: 33:17
Size: 76.2 MB
Styles: Saxophone jazz
Year: 1957/2010
Art: Front

[2:34] 1. Thou Swell
[3:02] 2. You Brought A New Kind Of Love To Me
[3:12] 3. It's A Wonderfull World
[2:55] 4. What A Fabulous Night
[2:32] 5. Baby Won't You Please Come Home
[2:59] 6. When I Take My Sugar To Tea
[2:23] 7. You Do Something To Me
[3:00] 8. My Baby Just Cares For Me
[2:36] 9. Seems Like Old Times
[2:56] 10. You've Got The Laugh On Me
[2:34] 11. I'm Sitting On Top Of The World
[2:30] 12. Gotta Be This Or That

Bobby Dukoff was born October 11, 1918. He was first and foremost a phenomenal saxophone player. After he bought his first horn at the age of 14, for $45, with money he earned working at a delicatessen, he went on to become a member of some of the most famous Big Bands in history.

After his Big Band days—with notables such as Benny Goodman, Tommy Dorsey, and Jimmy Dorsey were over, Dukoff went on to have a very successful solo career. He was known for his lush tenor sound, which became a defining feature of his brand.

Off The Cuff

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Various - Kissing Jessica Stein OST

Bitrate: 320K/s
Time: 40:19
Size: 92.3 MB
Styles: Soundtrack, Easy Listening
Year: 2002
Art: Front

[2:11] 1. Blossom Dearie - Put On A Happy Face
[4:54] 2. Sarah Vaughan - It's Crazy
[2:21] 3. Anita O'day - Taking A Chance On Love
[3:20] 4. Jill Phillips - That Could Happen To Us
[0:59] 5. Ernestine Anderson - There Will Never Be Another You
[2:24] 6. Shirley Horn - I Just Found Out About Love
[2:47] 7. Ella Fitzgerald - Manhattan
[2:43] 8. Dinah Washington - Teach Me Tonight
[4:57] 9. Matt Rollings - Gee Baby, Ain't I Good To You
[2:07] 10. Carmen Mcrae - Exactly Like You
[2:56] 11. Peggy Lee - I Don't Know About You
[3:18] 12. Diana Krall - Devil May Care
[3:10] 13. Billie Holiday - What A Little Moonlight Can Do
[2:05] 14. Blossom Dearie - I Wish You Love

Romantic comedies aren't something new; back in 1938, Bringing up Baby (starring Katharine Hepburn and Cary Grant) was the definitive romantic comedy of its time. But the genre has evolved over the years, and so have musical tastes. These days, the soundtracks of romantic comedies are likely to have a lot of adult contemporary or pop/rock because those styles of music appeal to their target audience: younger women. But the soundtrack of Kissing Jessica Stein, a romantic comedy from 2002, is a major exception. While other romantic comedy soundtracks will emphasize artists like Celine Dion, Gloria Estefan, and Whitney Houston -- favorites in the adult contemporary market -- this CD is dominated by vocal jazz (with some traditional pre-rock pop here and there). Verve provides a few new recordings, but most of the soundtrack is devoted to older recordings by well-known vocalists like Anita O'Day ("Taking a Chance on Love"), Shirley Horn ("I Just Found out About Love"), Sarah Vaughan ("It's Crazy"), and Dinah Washington ("Teach Me Tonight"). The material is quite accessible -- nothing abstract or left of center -- and one doesn't have to be a really seasoned jazz fan to get into Ella Fitzgerald's version of "Manhattan" or Blossom Dearie's playful interpretation of "I Wish You Love." In fact, many of the jazz singers on this CD have over the years been able to appeal to pop fans who don't necessarily care for a lot of hardcore instrumental jazz; in other words, the type of listener who might love Vaughan and Fitzgerald but doesn't necessarily have a lot of John Coltrane or Art Blakey CDs in his/her collection. This is a pleasant, likable soundtrack that won't intimidate those who like their jazz singing accessible and easy to absorb. ~Alex Henderson

Kissing Jessica Stein OST

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Dave Fleschner - At Home

Bitrate: 320K/s
Time: 56:58
Size: 130.4 MB
Styles: Piano jazz
Year: 2004
Art: Front

[4:55] 1. At Home
[4:36] 2. Vodka Tonic
[6:36] 3. Still
[6:02] 4. Brother
[5:58] 5. Madame G
[3:52] 6. March For The End Of Time
[7:09] 7. I Don't Know
[5:50] 8. The Runner
[4:46] 9. Family
[4:40] 10. Out From Behind
[2:28] 11. Goodnight

Dave Fleschner’s CD, “At Home,” marks his debut record as pianist, band-leader and composer. Fleschner began writing the music for “At Home” motivated by the idea that music is an evolutionary art form.

This music is the search for balance between challenge and ease, composition and improvisation, beauty and chaos, the past and the current. The album features performances by longtime musical associates of Fleschner’s including drummers Ken Ollis, Anthony Jones and Joel Fadness; Bassists Tyler Smith and Bill Athens; Saxophonist Marc Hutchinson; Guitarists Dan Gildea and A.G.Donnaloia, as well as a special guest appearance by Veteran Saxophonist John Gross.

At Home

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Cheryl Conley - Tender Moments

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 47:27
Size: 109,0 MB
Art: Front

(3:43)  1. Close Your Eyes
(3:54)  2. Up Jumped Spring
(5:32)  3. The First Of September
(3:57)  4. Comes Love
(3:50)  5. It's Alright With Me
(6:23)  6. But Beautiful
(5:17)  7. Until It's Time For You To Go
(6:08)  8. That Sunday, That Summer
(3:35)  9. The Late, Late Show
(5:04) 10. The Island

Timing is everything . . . the time is right for Cheryl Conley. This lady has been singing and waiting, waiting for a break in the music industry. Cheryl can wait no longer, she is making her own break and we are all going to be happier with this maiden release of "Tender Moments." This CD is for those of us that enjoy a fantastic range of vocal ability coupled with uncanny musical timing and phraseology that just makes you wanna say, "Oh Yea, ahh!" This isn't smooth jazz; it's the versatility of Cheryl Conley. She can light a torch song, put indigo in your blues, make a crooner cry for mercy,or have you falling-down-drunk after a bout with her reminiscent ballads of lovers gone by. Cheryl Conley started out singing back-up R&B with the Ike and Tina Turner Review. She obtained her degree in music from the California State University of Los Angeles and is the director of one of the choirs at her church. 

With all of these activites going on Cheryl Conley has maintained a thriving career singing locally throughout the Southern California area, constantly refining her touch to the words written by her and others. This CD is about sitting down and actually hearing what the singer has to say. Cheryl Conley's chops span from smearing your face with the softness of chiffon from a lemon pie to the gutsy spike of a Category Five blues diva, all in the blink of an eye and without changing the groove of the song. Tender Moments feature the musical talents of: Bobby Pierce-piano; Donnell Lambert-bass; James Kousakis-sax; and Donald Dean-drums; all skillfully merged together by Engineer Noland Shaheed into a well balanced mix that makes your ears say, "Play it again." I have heard all of Cheryl's gears; this CD is just an eye opener. I hope that you hear it as I do . . . Cheryl Conley is the real deal! ~ Carl E. Betts, Entertainment Director Pasadena Journal   http://www.cdbaby.com/cd/conleycheryl

Tender Moments

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Bill Allred & Roy Williams - Absolutely

Styles: Trombone Jazz

Year: 1995

File: MP3@320K/s

Time: 70:20

Size: 161,4 MB

Art: Front

(4:21)  1. Constantly

(8:39)  2. Satin Doll

(4:41)  3. Isn't It A Pity

(5:23)  4. Gypsy In My Soul

(4:33)  5. Too Close For Comfort

(7:13)  6. Blues # 1

(4:17)  7. If There Is Someone Lovelier

(4:16)  8. Absolutely

(5:19)  9. Blue Bones

(4:54) 10. So Beats My Heart For You

(5:31) 11. It's Only A Paper Moon

(2:48) 12. Makin' Whoopee

(4:38) 13. Sometimes I'm Happy

(3:40) 14. You're Driving Me Crazy

Two trombones and rhythm is a tried and true formula first brought to prominence through the lilting sounds of J. J. Johnson and Kai Winding in the 1950s. Bill Allred and Roy Williams fall squarely in that tradition, with this full-length recording that focuses on popular tunes like "It's Only a Paper Moon" and "Too Close for Comfort." The two trombonists produce visceral excitement with their tight harmonies, upbeat tempos, and overall good fun. This is music that makes you want to stand up and dance. When Allred and Williams get hot as they do with great regularity they burn with enthusiasm. 

The trombonists don't take themselves too seriously; they focus on having a rollicking good time. Regardless of how sophisticated your tastes, if you ever wondered what attracted you to jazz in the first place, it very well might have been the kind of unadulterated joy manifested by this glorious quintet. Allred and Williams are pre-modern stylists: big toned, even raucous, but with great technique. They front a first-rate rhythm section, including powerful drummer Butch Miles, bassist (and otherwise sometime trombonist) Isla Eckinger, and pianist Johnny Varro. When they're hot as they are so often (just here 'em blow on "Blues #1") they are unstoppable. Simple, but never simplistic; tasteful, but never dull; professional, but not showy; and hot, but not corny what an act! Highly recommended for all those who love the sounds of the trombone, and those who just like a swinging good time. ~ Steve Loewy  http://www.allmusic.com/album/absolutely-mw0000231550

Personnel: Bill Allred (trombone); Roy Williams (trombone); Johnny Varro (piano); Butch Miles (drums).

Absolutely

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Brad Mehldau & Mark Guillana - Mehliana Taming The Dragon

Styles: Jazz Funk
Year: 2014
File: MP3@320K/s
Time: 71:46
Size: 164,8 MB
Art: Front

(6:39)  1. Taming the Dragon
(5:52)  2. Sassyassed Sassafrass
(4:59)  3. Swimming
(4:56)  4. London Gloaming
(5:41)  5. Luxe
(5:45)  6. You Can't Go Back Now
(5:24)  7. The Dreamer
(7:33)  8. Elegy For Amelia E
(6:18)  9. Sleeping Giant
(5:01) 10. Hungry Ghost
(7:52) 11. Gainsbourg
(5:40) 12. Just Call Me Nige

First impressions shouldn't necessarily be the lasting ones. Despite, according to the press sheet, having played together for several years, über-pianist Brad Mehldau and drummer Mark Guiliana only began touring as Mehliana in 2013, and one of the heavily electronic duo's early performances at the 40th Vossa Jazz Festival in Voss, Norway was, sadly, eminently forgettable. But a year has passed and, in the interim, the duo has clocked a lot of road time, and with the released of Taming the Dragon, it's a pleasure to report that plenty has changed since that Vossa Jazz date...and all for the better. Much, much better. Mehldau's reputation and career have largely been built upon his inimitable talent as an acoustic pianist, primarily with his longstanding trio that's had just one personnel change in nearly 20 years: the original incarnation well-documented in the Art of the Trio Recordings 1996-2001 (Nonesuch, 2011) box; and his current lineup heard, most recently, on two 2012 sets (also for Nonesuch), Ode and Where Do You Start. But, largely in private, Mehldau has clearly been occupied by more electronic environs, with some early hints revealed on Largo (Warner Bros., 2002), an ambitious set with a larger cast that, produced by Jon Brion also a multi-instrumentalist who has previously worked in the pop world with everyone from Rickie Lee Jones and Peter Gabriel to Fiona Apple and Tenacious D, as well as in the jazz sphere on Bill Frisell's collaborative Floratone II (Savoy Jazz, 2012) and Nels Cline's Dirty Baby (Cryptogramophone, 2010) was something of a shot across the bow for those who were getting too comfortable with Mehldau as a purely acoustic instrumentalist. 

Ten years younger than the 43 year-old Mehldau, Guiliana who also brings his own electronics to Taming the Dragon first made his name with bassist Avishai Cohen, but in the ensuing years has built a reputation predicated on a fresh approach to the kit that's garnered attention (and work) from artists ranging from Meshell Ndegeocello and Wayne Krantz to Jason Lindner and Dhafer Youssef. He may know his jazz tradition, but he also knows his hip hop, drum 'n' bass, progressive rock and much, much more. He brings all of this and more to Mehliana, and perhaps the biggest surprise is that Mehldau does, too. Even more surprising is that Mehldau has gone from writing the long, pretentious liner notes of his early recordings to the dream-inspired tale that he tells over the opening title track and is reproduced inside the Taming the Dragon's six-panel cardboard digipak. It's beatnik-inspired prose updated for the 21st century, where the narrator (Mehldau?) recounts a "trippy dream" of being driven around Los Angeles by "on old hipster with a scratchy voice kind of like Joe Walsh sings, but he kind of had some of that vibe and energy of Dennis Hopper in Easy Rider," all in vehicle that starts as an old convertible, morphs into a VW van and, by the end of the story, becomes "more like this spaceship kind of thing." 

As Mehldau narrates, the dream unfolds to reveal the dichotomy of human nature ("you've got this one part of you that watches out for you and keeps you steady, you've got this other part that's raging and full of anger"), with a deadpan delivery not unlike American poet Franz Wright only younger and less grizzled and the music juxtaposes slow-moving synth washes to fiery, drum 'n' bass propelled by a splashy, processed crash cymbal, and a slower, high hat-driven groove, all bolstered by a positively filthy bass synth line. Six of Taming the Dragon's twelve tracks a full 72-minute program whose overarching narrative gradually unfolds and is ultimately best absorbed in its entirety are written by Mehldau; the others are co-credited to Guiliana and, no doubt, come from improvisations that demonstrate far more focus and intent than the duo's Vossa Jazz performance. Mehldau opens "Luxe" with some heavily delayed Fender Rhodes, but it's not long before Guiliana is in the pool and the keyboardist once again drops another dirty synth bass line underneath. It's sometimes difficult to discern amidst the density of it all, but the prodigious technique that allows Mehldau's two hands to sound like four ultimately reveals itself, even as Guiliana's staggering contribution justifies Bill Bruford's documented admiration for the drummer. It's not a dominant instrument on Taming the Tiger, but Mehldau does throw some acoustic piano into the mix on "You Can't Go Back Now," though it's initially just an a cappella introduction to a more hard-edged six minutes that ultimately take off, once again, with Rhodes, synth bass and processed kit dominating. 

Guiliana's ability to play with time while still keeping it feels like an homage to Bruford's work in Bruford Levin Upper Extremities (DGM, 1998), in particular the opening "Cerulean Sea," where the progressive rock legend plays liberally (but differently) with time over a relentless ostinato. But here, Mehldau adds far more harmonic and melodic building blocks, with layers of synths, Rhodes and acoustic piano building to a fiery climax of rare virtuosity that's matched with similar effortless mastery by his partner in Mehliana. Amidst all the heat and jagged angularity, there are still moments of beauty to be found. "The Dreamer," another collaborative composition, is driven by processed acoustic piano, a searing synth line and electronically processed percussion, but at its core it's a ballad even one that Mehldau could easily transfer to his acoustic trio to demonstrate an inner funky bad self that rarely surfaces in that context albeit one that concludes with more spoken word that links into the story of the title track as an assessment of dreams and the dreamer who dreams them. It's difficult to alter predisposition when faced with an artist who has largely, for the past two decades, operated in the acoustic world, and there will, no doubt, be those who view Mehliana and Taming the Dragon with nothing short of contempt. But for those who are prepared to let an artist follow his muse in any direction it takes him, Taming the Dragon will be revealing yet still inexorably connected to the music Mehldau makes with his trio and on more expansive projects like Highway Rider (Nonesuch, 2010). When you've a voice as strong as Mehldau's, it shines through, whatever the context even one as radically different as this. Having now proven itself far better than suggested by its Vossa Jazz performance with the release of Taming the Tiger, Mehliana has released a debut recording that, if it can be assessed on its own merits and not in comparison to past work even the somewhat electro-centric Largo will be seen as another superlative effort in the career of a pianist who has been consistent in his commitment to excellence and genre-defying creativity and one that shines a major spotlight on the stylistically unbound and similarly forward-thinking Guiliana. For those who are not completely married to Mehldau as a mainstream pianist, it could even be considered a potential classic. Only time will tell. ~ John Kelman  http://www.allaboutjazz.com/brad-mehldau-mark-guiliana-mehliana-taming-the-dragon-by-john-kelman.php#.U-4-RGNryKI

Personnel: Brad Mehldau: synths, Fender Rhodes, piano, spoken voice, "Ahh" vocals; Mark Guiliana: drums, electronics.

Mehliana Taming The Dragon

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Bennie Green - Bennie Green Swings The Blues

Bitrate: 320K/s
Time: 74:09
Size: 169.7 MB
Styles: Bop, Trombone jazz
Year: 1960/2012
Art: Front

[3:57] 1. Been Walkin'
[3:07] 2. Blue Mambo
[3:51] 3. Love At Last
[4:43] 4. Penthouse Blues
[5:40] 5. Hop, Skip And Jump
[4:18] 6. A Bun Dance
[3:22] 7. Pennies From Heaven
[4:24] 8. Change Up Blues
[5:20] 9. The Shouter
[6:15] 10. Green Leaves
[7:23] 11. This Love Of Mine
[9:46] 12. Walkin' And Talkin'
[6:03] 13. All I Do Is Dream Of You
[5:54] 14. Hoppin' Johns

This budget LP from the long-defunct Mount Vernon label does not give the personnel or dates, kind of an odd omission considering that tenor saxophonist Jimmy Forrest was a much more commercial name in 1959 than leader/trombonist Bennie Green. The quintet set (which also features pianist Sonny Clark, bassist George Tucker and drummer Paul Gusman) does not quite stick to the blues, since there is a ballad and a couple of numbers based on other chord changes (including the familiar "I Got Rhythm" pattern). However, the playing is on a high level. Green and Forrest play off each other well, and the basic originals (highlighted by "Penthouse Blues" and "Hop, Skip and Jump") are all swinging. This obscure album has been reissued on CD in more recent times by Fresh Sound. ~Scott Yanow

Bennie Green (trombone); Jimmy Forrest (tenor saxophone); Sonny Clark (piano); Paul Gusman (drums). Recording information: Nola Penthouse Studios, New York, NY (1959).

Bennie Green Swings The Blues

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Maggie Herron - In The Wings

Bitrate: 320K/s
Time: 42:21
Size: 97.0 MB
Styles: Vocal jazz, Piano jazz
Year: 2014
Art: Front

[3:24] 1. I Could Sooner
[4:05] 2. J'attends
[3:58] 3. I'm The Answer To Your Problems
[3:52] 4. Stepping Out
[3:57] 5. Dans Le Vide De La Nuit
[6:40] 6. Up Early
[4:01] 7. Don't Ask Me To Stop
[4:05] 8. Powerful Dreams
[3:39] 9. It Could Happen To You
[4:36] 10. In The Wings

Forget what you may hear otherwise, Maggie Herron's In the Wings is Tin Pan Alley melded with nightclub jazz and Broadway—the serious side of the Alley, the Parisian jazz life, and Broadway with a musically literate bite, not the glitz and tinsel glamor too damn prevalent nowadays. Pianist and singer Herron has been hooked up with saxist Paul Lindbergh for four years, and the gent has woven himself tightly into his partner's musk and leashed free-spiritedness, and is probably not unused to feasting with a panther or two, a little Gato here, a little Dewey there, and plenty of trad foundations. The two do much to energize one another.

Take Herron's cover of Mitchell's Woodstock and you'll see a centrifugal blend of all the foregoing as well as a great close-out duet between Lindbergh and trumpeter Eldred Ahlo. If I call Herron's compositions 'muscular', it's only because she manages to anchor them so solidly in tradition while dancing atop everything, especially when letting go in melismatic larksong soaring above the melodies. Rain-muffled echoes of Piaf step in any number of times, not least because Herron likes to encant in le langue francaise every so often but also because there's a strong essence of Parisian cobblestone in her method, not to mention that side hint of grit lurking just at the perimeter—not always, not frequently, but there when needed in Herron's timbre. More than once, I was struck by the fact that this was what I wanted out of Chi Coltrane but never got. I was likewise struck by images of Deitrich and others in that middle-range of hers.

Singing, however, is far from Maggie's only card in the deck. A keyboardist since before fourth grade, she knows her way around the ebonies and ivories, showing this well over and over, playing above, amidst, and just below the rest of the ensemble as occasion and arrangement dictate. Numerous jam sections crop up—in the jazz tongue: improvs—and what at first may seem to be a collection of chart hopefuls is actually a melding of two worlds, just enough mellow rock in the lighter jazz mode to make both comfortable while meaty. ~Mark S. Tucker

In The Wings

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El Chicano - The Best Of El Chicano

Bitrate: 320K/s
Time: 49:39
Size: 113.7 MB
Styles: Latin rock
Year: 2004
Art: Front

[4:40] 1. Viva Tirado
[3:56] 2. Brown Eyed Girl
[3:05] 3. El Cayuco
[3:51] 4. Tell Her She's Lovely
[4:37] 5. The Latin One
[3:17] 6. Sabor A Mi
[3:49] 7. Juntos
[3:44] 8. (Se Fua Mi) Cha Chita
[5:31] 9. Cubano Chant
[6:08] 10. Cantaloupe Island
[3:57] 11. Ahora Si
[3:01] 12. Gringo En Mexico

As part of Universal's 20th Century Masters - The Millennium Collection, the 12-track Best of El Chicano disc highlights the group's best-known material released in the early to mid-'70s. While the group has often been compared to Santana, they were a much tighter outfit, bypassing extended jams and sticking closely to their combined roots of soul, salsa, and Latin jazz. Beyond their two genre-defining hit singles, "Brown-Eyed Girl" (1972) and "Tell Her She's Lovely" (1973), the collection includes such album tracks as "Viva Tirado," "The Latin One," and "Juntos," mixed with boogaloo-tinged Latin jazz written by Tito Puente, Herbie Hancock, and Ray Barretto. Along with Cannibal & the Headhunters and the Premiers, el Chicano were among the first generation of Hispanic rockers to gain national attention and break out of the local East Los Angeles scene of the '60s and '70s. It's encouraging that their music is finally being given the proper attention it deserves. ~Al Campbell

The Best Of El Chicano

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Roy Meriwether - The Art Of The Groove

Bitrate: 320K/s
Time: 45:28
Size: 104.1 MB
Styles: R&B, Piano jazz
Year: 2008
Art: Front

[7:16] 1. I'll Take Romance
[6:25] 2. I'm Just A Lucky So And So
[6:21] 3. Woodine
[4:08] 4. Me & Mrs. Jones
[7:14] 5. Blues For Big Maceo
[4:02] 6. A Tribute To You My Lady
[4:28] 7. Sexual Healing
[5:31] 8. Jonah

A multi-dimensional and self-taught virtuoso, Roy Meriwether blends jazz, blues, and gospel with classical elements in a unique and innovative style that has drawn enthusiastic crowds to night clubs, colleges, and concert halls across the country. Born in Dayton, Ohio, Mr. Meriwether started playing piano at the age of three and had composed two pieces before he was four. Shortly thereafter, he began playing in his father’s church, accompanying the family choir, and performing with gospel singers throughout the Midwest.

Mr. Meriwether turned professional with his own group at age 18 and has devoted himself to both composing and performing ever since. Reviewers are frequently impressed by his power. Critic Arnold Shaw once described him as a “two-fisted pianist who in this day of right-handed wizards has the sound of a champion, with thunder in his left hand and lightning in his right.”

As recently reported in the Scottsdale, Arizona Daily Progress: “Mr. Meriwether performs both standards and original compositions with a creativity that is nothing short of genius. Meriwether himself is the epitome of a ‘giving’ musician, at his best with a responsive, listening audience. He does not require it, but appreciates it and rewards it with dynamite delivered with the power his hands produce.” Mr. Meriwether's sound is unmistakable and his music is timeless! His latest releases “The Art Of The Groove”, "Inspiration", "Live at John Word's", and "Live at Gordy's", and he continues to tour regularly throughout the US and Europe.

The Art Of The Groove

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Sherri Roberts - The Sky Could Send You

Styles: Vocal Jazz
Year: 2006
File: MP3@320K/s
Time: 51:51
Size: 119,2 MB
Art: Front

(5:11)  1. You're Looking At Me
(4:34)  2. Jamaica Farewell
(3:51)  3. Before
(4:12)  4. Let Me
(3:25)  5. Tell Me My Name
(3:57)  6. The Moon's a Harsh Mistress
(4:42)  7. Return to Paradise
(5:21)  8. You're Nearer
(4:02)  9. Do It the Hard Way
(4:30) 10. Slow Hot Wind
(4:54) 11. Far from New York
(3:06) 12. Por Toda Minha Vida [For All My Life]

An appealing jazz singer from the San Francisco Bay area, Sherri Roberts has a nice voice, always swings, and is not afraid to stretch herself. On The Sky Could Send You she utilizes a variety of guest artists, including altoist Phil Woods on three numbers, but she is the main focus throughout. Her repertoire, which includes a rhythmically complex rendition of the Nat King Cole-associated "You're Looking at Me," two obscure Rodgers & Hart songs, Henry Mancini's "Slow Hot Wind," and Jimmy Webb's "The Moon's a Harsh Mistress," plus an original co-written with bassist Harvie S, is challenging yet she always sounds relaxed and sincere. This is a subtle release that grows in interest with repeated listenings, and is a welcome return to recording after seven years for Sherri Roberts. ~ Scott Yanow  http://www.allmusic.com/album/the-sky-could-send-you-mw0000347788

Personnel: Sherri Roberts (vocals, background vocals); Benjamin Lapidus (tres); Harvie S (bass instrument); Daria (background vocals); John Hart (guitar); Phil Woods (saxophone); Lew Soloff (trumpet); Pablo Vergara, David Udolf (piano); Tim Collins (vibraphone); Vince Cherico (drums); Daniel Sadownick, Renato Thoms (percussion); Skyler Jett (background vocals).

The Sky Could Send You

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Howard Alden & Dan Barrett - Live In '95

Styles: Vocal, Jazz, Swing
Year: 2006
File: MP3@320K/s
Time: 71:30
Size: 164,6 MB
Art: Front

(5:22)  1. 9:20 Special
(8:28)  2. When Lights Are Love
(7:23)  3. Ask Me Now
(6:13)  4. Oriental Strut
(7:27)  5. Savoy Blues
(3:31)  6. Jeepers Creepers
(5:39)  7. That Old Feeling
(4:20)  8. It's Now Or Never
(4:52)  9. With Someone New
(4:24) 10. Perdido
(4:18) 11. Skylark
(9:28) 12. Fascinating Rhythm

Here’s a combo that typifies everything right about jazz: good writing, clever voicings and an exuberant group sound with excellent solos by everyone in the quintet. So the end result is happy, straightahead, multistyle swing. The band’s genre-hopping is heard immediately with a John Kirby-flavored intimacy on “9:20 Special.” That’s followed by the Benny Carter tune “When Lights Are Low,” with contrapuntal lines running through the first chorus and Alden chordally interpolating Woody Herman’s famous “Four Brothers” interlude in the release. From there the band switches to Monk for his seldom-heard “Ask Me Now,” a gorgeous ballad with the two-five changes musicians love to improvise on. 

The band has put together a collection of songs that draws all possible colors from Alden’s guitar, Barrett’s trombone, Chuck Wilson’s alto and clarinet, Frank Tate’s bass and Jackie Williams’ drums. The highlight is “Perdido,” which features a well-executed unison bop line. Halfway through the album, the quintet brings on singer Terrie Richards, who boasts fine intonation. Her best effort is the neglected oldie “That Old Feeling,” and she even resuscitates its intro. ~ Harvey Siders  http://jazztimes.com/articles/16931-live-in-95-the-howard-alden-dan-barrett-quintet

Personnel: Howard Alden (guitar); Howard Alden; Terrie Richards Alden, Terrie Richards (vocals); Chuck Wilson (clarinet, saxophone, alto saxophone); Dan Barrett (trombone); Frank Tate (bass instrument); Jackie Williams (drums).

Live In '95

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Wayne Shorter - Wayning Moments

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 62:51
Size: 146,3 MB
Art: Front

(4:35)  1. Black Orpheus
(3:57)  2. Devil's Island
(3:43)  3. Moon Of Manakoora
(4:34)  4. Dead-End
(4:21)  5. Wayning Moments
(3:13)  6. Powder Keg
(2:58)  7. All Or Nothing At All
(4:51)  8. Callaway Went That-a-Way
(4:40)  9. Black Orpheus
(3:59) 10. Devil's Island
(4:47) 11. Moon Of Manakoora
(5:10) 12. Dead End
(4:21) 13. Wayning Moments
(3:38) 14. Powder Keg
(3:57) 15. Callaway Went That-a-Way

The liner notes, the originals of which are included with this reissue, reflect that "this is not experimental jazz." It isn't. It is finely performed mainstream jazz of the era in which it was made. While this recording does not equal the quality of the sessions to be recorded by Shorter later in the decade for Blue Note, it is pleasantly played bop. Shorter's tenor saxophone shows a conservative side, to be sure, and a young Freddie Hubbard hardly takes any chances. Still, the rhythm section anchored by pianist Eddie Higgins and including bassist Jymie Merritt and drummer Marshall Thompson, keeps a solid beat and the results are pleasant enough. 

Double takes of all but one of the eight charts is included, though there are really not any important substantive differences from the originals. The short recording times of each track limits the solos, but there is nonetheless an attractive simplicity infusing the set. Overall, this does not represent the best work of either Shorter or Hubbard, but it is still an interesting, if non-essential part of the discography of each of them. ~ Steve Loewy  http://www.allmusic.com/album/wayning-moments-mw0000036852

Personnel: Wayne Shorter (tenor saxophone); Freddie Hubbard (trumpet); Eddie Higgins (piano); Jymie Merritt (bass); Marshall Thompson (drums).

Wayning Moments

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Sidsel Endresen & Stian Westerhus - Didymoi Dreams

Styles: Vocal, Alternative
Year: 2012
File: MP3@320K/s
Time: 59:17
Size: 136,6 MB
Art: Front

(5:34)  1. The Rustle Of A Long Black Skirt
(6:47)  2. Barkis Is Willing
(4:59)  3. Drawing An Arc
(2:26)  4. Limbs Leaves And Snowmobiles
(7:48)  5. Wayward Ho
(4:24)  6. Hedgehumming
(8:22)  7. Immaculate Heart
(5:23)  8. Wooing The Oracle
(2:55)  9. Hector
(4:32) 10. Dreamwork
(6:02) 11. The Law Of Oh

There was a time when a live performance was a one-time event; something experienced once by an audience, never to be experienced exactly that way ever again. Live recordings were costly affairs, and if the particular performance lined up for recording didn't turn out to be a great one or if there were other factors involved, like a bad piano well, the artist was, as they say, SoL. Nowadays, it's so easy/inexpensive to record live shows that many artists, like pianist Keith Jarrett, eschew the studio completely. Of course, this facility renders its own set of problems, not least among them an ability to discern between good shows and the less-often truly great one worthy of permanent documentation. So, it's still a serendipitous event when there's an exceptional performance, properly recorded, in a venue where all the other minutiae which add up to being just what the artist needs to deliver that exceptional show actually line up. 

Folks in attendance at vocalist Sidsel Endresen and guitarist Stian Westerhus' 2011 performance, at Bergen, Norway's Natt Jazz Festival even those who'd caught this intrepid improvising duo more than once since its official debut at Molde Jazz 2010 knew that this performance was one of those special ones, and the good news is that it wasrecorded. A little more than a year after the fact, Didymoi Dreams is now available for those who've been wondering what all the hubbub is about. While Endresen and Westerus do perform in venues around Europe, their primary turf is their native Norway, and North Americans who've been enviously reading about their performances at Natt Jazz, Molde, Punkt and elsewhere can finally hear this groundbreaking duo that relentlessly breaks every rule, while being absolutely aware of what it is they're breaking. It's great to see Endresen with two exceptional back-to-back recordings, after something of a drought since 2008's Live Remixes, Vol. 1 (Jazzland). Ha! (Rune Grammofon), released late in 2011, documents a 2010 live performance with Humcrush and is undeniably fine; but Didymoi Dreams even more successfully captures a vocalist capable of tremendous lyricism, with a warm, rich and unfailingly perfect voice, but one who has, in the past decade, developed a distinctive language all her own, a combination of seemingly impossible-to-articulate phonetics, unparalleled extended vocal techniques and unheard-of conceptual cells, all honed to the point where they are as easy to draw upon as breathing. 

Endresen no longer sings songs; instead, her voice has truly become an instrument as capable of texture and atmosphere as it is melody and, on occasion, lyric. Despite an intrinsic paradox in their approaches to sound Endresen absolutely acoustic, Westerhus unrepentantly electric they're a perfect match for each other. Since returning to Norway after five years living in London, Westerhus has earned a well-deserved reputation as the country's hardest working guitarist. Amidst a rapidly increasing body of work that includes performing on and producing trumpeter Nils Petter Molvaer's superb Baboon Moon (Sula, 2011) Westerhus has released a masterpiece of 21st century guitar in Pitch Black Star Spangled (Rune Grammofon, 2010), joining a rarefied group of guitarists who, along with fellow Norwegian (and Molvær alum) Eivind Aarset, seamlessly employ technology to create infinite potential for the landscape of contemporary guitar, as capable of flat-out aggression and ear-splitting sonics as he is painstaking depth and unrelenting beauty. Endresen and Westerhus clearly share a work ethic, dedicated to finding new ways to use their respective instruments in new aural landscapes, yet paradoxically one is all about the untarnished purity of an acoustic instrument (Endresen's voice), while the other is devoted to the use of a massive arsenal of electronic effects and amplification (in his choice setup, employing four amplifiers and enough effects to fill space that would accommodate a big band). Together, they create sounds that, were it not possible to actually see them live, would be simply unbelievable to most. Westerhus bows, picks, scrapes and slaps his strings, uses the kind of volume that allows him control over feedback and, at times, will spend as much time with his guitar cable unplugged using just his thumb to create harsh buzzes that he then processes, loops and expands as he does actually playing his guitar. 

Endresen, at times, sounds like she is speaking in tongues or, at least, in a language foreign to everyone but herself, occasionally injecting English or Norwegian but more often than not using phonetics that she twists and turns, front to back and back to front, with guttural sounds that can be used to create pulse and groove. Oddly, it all still somehow sounds like a language, with cadence and inflection sometimes deceiving the ear into actually thinking it understands what's being said. But, for a singer who, in her earlier days, released albums filled with profound melodism like Undertow (Jazzland, 2000), and Exile (ECM, 1994), Endresen has finally achieved some signposts along a journey that, in the past few years, has finally begun reaching at least some of its intended destinations. Together, Didymoi Dreams moves from avant-edged ethereal spaces and softer landscapes to rough, hard surfaces; from electronic warbles and feedback screeches often remarkably used, however, to create staggered pulses to unexpected moments of tension-releasing consonance. As experimental as this is, and as extreme as it can sometimes become, Endresen and Westerhus still prove that beauty can be found in what might appear to be the least-likely of places, with both "Hedgehumming" and "Hector" evoking a painful lyricism with an uncanny sense of structure. 

And that's what makes Didymoi Dreams such a stellar record. Free improvisation is often mistaken for aimless musings, self-indulgence and music that is outré just for the sake of it. Endresen and Westerhus are outré, no doubt about that; but with Didymoi Dreams, they've proven that it is possible to draw form from the ether, and play with absolute freedom while still focusing on building in-the-moment structural constructs. A vital document for those at the show; an essential one for those who'd like to hear free improvisation at its absolute finest. ~John Kelman  http://www.allaboutjazz.com/sidsel-endresen-and-stian-westerhus-didymoi-dreams-by-john-kelman.php#.U-zBGmNryKI

Personnel: Sidsel Endresen: voice; Stian Westerhus: guitar.

Didymoi Dreams

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