Andy Sheppard Quartet - Surrounded By Sea

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 53:25
Size: 123,4 MB
Art: Front

(6:16)  1. Tipping Point
(5:15)  2. I Want to Vanish
(4:17)  3. Aoidh, Na Dean Cadal Idir, Pt. 1
(5:06)  4. Origin of Species
(5:09)  5. They Aren't Perfect and Neither Am I
(5:02)  6. Medication
(1:14)  7. Aoidh, Na Dean Cadal Idir, Pt. 2
(6:18)  8. The Impossibility of Silence
(3:48)  9. I See Your Eyes Before Me
(4:18) 10. A Letter
(3:29) 11. Aoidh, Na Dean Cadal Idir, Pt. 3
(3:09) 12. Looking for Ornette

Saxophonist/composer Andy Sheppard has found a home in ECM. It's maybe not the perfect home for an artist as eclectic as Sheppard, for it's hard to see some of his other projects notably the Scofield/Lovanoesque quartet Hotel Bristol fitting in with the ECM aesthetic. Still, Sheppard's melodic improvisational approach and the airy lyricism on Movements in Color (ECM, 2009) and Trio Libero (ECM, 2012) fitted the ECM blueprint beautifully and rank among his most seductive recordings. With Surrounded by Sea Sheppard expands the sonic palette of Trio Libero with the addition of guitarist/electronics musician Eivind Aarset, whose ambient craft adds profundity and simmering edge to the prevailing undertstaed lyricism. Surrounded by Sea trades some of Trio Libero's rubato grace for greater harmonic layers and rhythmic dynamics; on the stunning opener "Tipping Point," Michel Benita's deep bass ostinato and Sebastian Rochford's skipping grooves drive Sheppard's tenor siren, while Aarset's embedded drone and softly voiced, washing six-string textures add atmospheric ambient textures. Sheppard's trademark soprano melodicism is to the fore on Elvis Costello's "I Want to Vanish," a lulling ballad of folkloric charm where Rochford's brushes sigh like waves on a pebble beach.

Folk music has colored most of Sheppards' recorded output over the years and here the quartet addresses "Aoidh, Na Dean Cadal Idir," a traditional Scottish song. The tune blossomed into a twenty-minute improvisation in the studio, was subsequently pruned and woven through the album in three parts, conferring a suite-like continuity on the whole. Hauntingly atmospheric and abundantly lyrical, Sheppard's yearning soprano is lent buoyancy by the loose grooves on the first and third parts. Part two is a fleeting vignette whose feathery lyricism dissipates and vanishes like the lightest of breezes briefly felt. More of this improvised/studio-sculpted mini-suite embedded throughout the album wouldn't have gone amiss. 

Gentle eddies of bass and tenor saxophone color the poetic "Origin of the Species," with Aarset's orchestral waves subtly infusing the narrative; Rochford's presence is ghostly sensed rather than heard. A similar aesthetic imbues "The Impossibility of Silence," with brushes more prominent. Fractured rhythms and echoing guitar plot the course on "They Aren't Perfect and Neither Am I," a brooding quartet tale where sketchy composed lines and measured improvisation dovetail easily. The low-rumbling intensity of the intro to "I See Your Eyes before Me" gives way to Sheppard's tenor lead, searching and ruminative in turn. The simple architecture of the dreamy waltz "A Letter" foregrounds Sheppard's beautiful weighted soprano lines.

Sheppard revisits older material on the hypnotic "Medication," previously interpreted with the Bergen Big Band; Aarset shadows Sheppard's defining melody closely before the saxophonist peels away over Rochford's light, yet propulsive groove. On "Looking for Ornette," Sheppard is drawn once more to explore the nuances of his Ornette Coleman-inspired piece that appeared on Dancing Man and Woman (Provocateur Records, 2000), closing this album in quietly celebratory mode. Surrounded by Sea is an intimate statement whose chemistry belies the quartet's brief existence. There's a bold honesty in the music's refined contours and graceful adventure that invites and rewards the patient listener. There's the feeling too, that this quartet has plenty more to offer. 

~ Ian Patterson http://www.allaboutjazz.com/surrounded-by-sea-andy-sheppard-quartet-ecm-records-review-by-ian-patterson.php

Personnel: Andy Sheppard, tenor & soprano saxophones; Seb Rochford: drums, percussion; Eivind Aarset: electric guitars, electronics; Michel Benita: bass.

Surrounded By Sea

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Sarah Jane Nelson - A Little Bit Of Everything

Size: 109,6 MB
Time: 46:52
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz/Pop Vocals
Art: Front

01. Crazy (4:05)
02. Taylor (3:47)
03. Cry Me A River (3:40)
04. No Tomorrow (2:54)
05. Stars And Moon (4:13)
06. I'm A Woman (3:12)
07. Maybe I Like It This Way/What Is It About Her (Feat. Rene Millan) (5:08)
08. Out Of Love (4:14)
09. Peel Me A Grape (3:56)
10. Lay Down Your Head/Baby Mine (4:18)
11. I'll Be Seeing You (3:54)
12. But The World Goes Round (3:25)

Personnel:
Vocals by Sarah Jane Nelson
Piano and Musical Direction by Darcy Danielson
Guitar by Michael “Hawkeye” Herman
Trombone by David MacKenszie
Bass by Bruce McKern

Sarah Jane Nelson made her Broadway debut in “The Green Bird,” a commedia play directed by Julie Taymor. She then went on to star in “SWING!” on Broadway and on the 1st National Tour. Other credits include plays and musicals at The Public, The Guthrie, La Mama, Capitol Rep, The Village Theatre, Oregon Shakespeare Festival, and many more. Nelson played, Lori King, a murderous con-artist on the CBS series “The District” and you've seen and herd her on national voice-overs and commercials for a range of products from Arby’s to Pantene. Internationally, she played the role of Sheila in the 30th Anniversary European Tour of HAIR.

A Note from Sarah Jane:
This CD was inspired by my solo cabaret show performed at Oregon Stageworks in Ashland, Oregon. It’s truly a “Little Bit of Everything” as it reflects my varied musical interests including jazz, musical theatre, blues, standards, and country. I wanted this recording to feel like my live cabaret show, so we used very simple accompaniment and all of the songs were recorded in single takes. Thank you to the incredible musicians who made this such a fun project, and my extraordinary musical director Darcy - Happy 50th! Also, I want to thank my family whose support has always been the foundation of my success. The biggest thanks goes to my incredible husband René and my precious Rosalee and Mateo. You guys make my life absolutely blissful.

A Little Bit Of Everything

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Dave Bennett - Clarinet Is King: Songs Of Great Clarinetists

Size: 134,3 MB
Time: 57:34
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz
Art: Front

01. Begin The Beguine (3:33)
02. Stranger On The Shore (4:42)
03. Dizzy Spells (3:29)
04. St. James Infirmary (7:04)
05. You Are My Sunshine (8:42)
06. Nobody Knows The Trouble I've Seen (3:09)
07. Wire Brush Stomp (2:15)
08. Where Or When (2:49)
09. China Boy (5:15)
10. Mood Indigo (4:51)
11. Oh, Lady Be Good! (6:42)
12. Nightmare (4:58)

On this recent CD, Dave Bennett, the young Goodman-inspired, self-taught, clarinetist from Michigan, features a few tunes from the clarinet greats of previous eras: Artie Shaw ('Begin the Beguine'), Benny Goodman ('Dizzy Spells'), Pete Fountain ('You Are My Sunshine'), Barney Bigard ('Mood Indigo'), and others. Bennett's versions are skillful, colorful, and convincing. His technique is second to none. His support personnel; Tad Weeds (piano), Paul Keller (Bass) and Peter Siers (Druns), are highly experienced, striking the right balance bewteen lead-to-sidemen solos and ensemble backup. Taken togther, the full CD is a very worthy addition to the list of very talented small-group clarinetists playing mainstream jazz. However, I have two suggestion on how this CD could have received my highest rating: a) the inclusion of more dramatic tunes from the great American swing library and, b) improvisations played with more dynamic and forcefull expression. My favorite is Bennett's engrossing version of 'Mood Indigo;' one of the best improvised versions I've heard from any clarintetist. This CD also has a few interesting features to note: a clarinet/drum duet on 'You Are My Sunshine,' the use of a bowed bass on 'Lady Be Good,' a horror movie effect on an obscure Artie Shaw tune ('Nightmare'), and a clarinet/drum duet on a tune that Gene Krupa and Goodman should have recorded ('Wire Brush Stomp'). ~By J.D. Traiger

Clarinet Is King

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Jason Wanner - Just You, Just Me

Size: 106,8 MB
Time: 46:04
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz: Piano Jazz, Vocals
Art: Front

01. Polka Dots And Moonbeams (3:30)
02. In A Sentimental Mood (7:02)
03. Just You, Just Me (2:26)
04. Prelude To A Kiss (4:31)
05. Weeping Willow (4:04)
06. You Go To My Head (3:14)
07. You Are My Sunshine (4:38)
08. Sometimes I'm Happy (3:29)
09. La Vie En Rose (3:46)
10. Just Squeeze Me (4:50)
11. Polka Dots And Moonbeams (Alternate Take) (4:30)

Jason Lee Wanner was born on February 1st, 1978 in Sacramento, CA. Even at such a young age, he was constantly exposed to many different kinds of music. Although neither of his parents were musicians, they were obvious fans of many musical styles, and so this love was of course bestowed upon their son everyday. Before he could even walk and talk, he received many daily doses of everything from classic country, to folk, classic rock, doo-wop, big band, ragtime, modern jazz, Sousa marches, Strauss waltzes, polka, motown; anyway the list goes on and on.

By the time he was 3 or 4 years old, Jason was playing by ear his Uncle Richard's organ at Grandma's house. Simplistic 4-year-old versions of Bach's Toccata and Fugue in D Minor and Scott Joplin's "The Entertainer" started to make his parents wonder. The only thing that seemed to be missing was exposure to the modern music of the day.

When Jason started kindergarten, he was a bit "behind" his classmates as far as musical tastes go. He had heard very little music from the 80's at home, but it didn't take him long to start enjoying that as well. It was during this time when one day would change his life forever.

One day at school, the students were required to get their fingerprints taken, and the woman taking Jason's commented on how he had "the fingers of a piano player." Well, Jason already knew that he loved the piano, so he went home and told his parents. They asked if he was interested in taking lessons, to which he replied, "Yeah, I wanna play!"

The lessons began around Jason's 6th birthday, when his parents used what little money they had to get him a piano: a Kohler spinet that he still plays to this day. The first year was difficult trying to find the right teacher. Some couldn't give Jason enough to do, some purposefully gave him too little to do. Finally, a long-time mentor was found in Dan Lofing, who decided to experiment with Jason by skipping traditional methods and jumping directly into classical training.

Jason recalls, "For the first year-and-a-half to two years, I refused to learn how to read music because I much preferred to play by ear. It worked out very well because I would ask my teacher to play my lessons for me before I took them home, and I would remember and figure them out, PRETENDING to read the music of course. It didn't last for very long, though, because as the pieces grew in difficulty, Dan started to realize that I wasn't playing exactly what was written."

For the next 6 years, Jason was practicing classical and ragtime piano for his lessons, learning some of the more popular songs on his own, and wanting so much to be like Vince Guaraldi because he loved the music from the Peanuts cartoons. "I hated practicing! Those were the longest half-hour and one-hour stints of my life. I wanted to sit and play Charlie Brown stuff all day instead. That's what all my friends liked to hear me play."

Jason began to feel his love growing for jazz. This was fueled every year when his dad would take him to the Sacramento Jazz Jubilee. At the age of 12, he finally got his chance to learn how to play jazz when he attended his first year at the STJS Trad Jazz Camp. Two well-known jazz pianists, Johnny Varro and "K.O." Ecklund, took Jason under their wings and taught him the way. Jason began to feel the freedom that he had been looking for since he was 4. When he came back from camp, his parents barely recognized him. Needless to say, the foundation of a soaring career started to take hold, and things began to happen to him.

He joined up with The New Traditionalists (TNT), a trad jazz combo for young musicians, and was finally performing in the same festival his dad had taken him to so many years as a spectator. TNT became Crushed Red Pepper, and later became Timeless Tradition. Jason was playing gigs at restaurants and bars with his friends as well as by himself. All the while he was going to high school, playing in 3 of its bands, working as the rehearsal pianist for the spring musical, and still maintaining good grades.

In 1996, Jason graduated from high school, and, now 18, moved to Los Angeles to attend USC's prestigious music program. What happened next suddenly brought all of this momentum grinding to a halt. Jason remembers, "The musicians at USC were absolutely outstanding. I started to realize that I wasn't the only one doing what I was doing. There were a whole lot of other people doing it too, and a whole lot better than me. That scared me. Plus, I found out that my scholarships were not going to be renewed. So at the end of one year, I moved back home again with my tail between my legs. Everyone thought I was still gone, so no one was calling for gigs or anything. I just wanted to quit."

It was in the middle of this year-long despair, when something magical happened. Jason received a call from the people who run the Sun Valley Swing and Dixie Jamboree in Idaho. They had heard him perform in Mammoth Lakes, CA the summer before he left for USC. They wanted him to appear as a guest artist. Jason immediately said yes, and in October of '97 in Sun Valley, ID Jason could feel the magic flowing once again. "That was where I met the Blue Street guys. I had known Sherri-Lynn from back when I first went to jazz camp. They were looking for a steady piano player, and it seemed like the perfect match for me. I had always wanted to play with that band, and as a teenager had told myself that someday, I would. In February of '98, I got the call. Everything has sort of taken off all over again from that point."

Jason is since performing with Blue Street, enjoying a hobby in photography, composing and arranging for a variety of shows, films, and recordings. He has also taken his mentors' places as an instructor at the same jazz camp he attended as a student. "I want to give back to those who have done so much for me. I want to be as versatile as possible, and learn something new every day of my life. So far it has been more wonderful than I could possibly have imagined. No matter what happens to me, I will never miss Jazz Camp; it is far too important, more important than all of the other things I do combined."

In June of 2008, Jason moved to San Diego to further pursue his interests and career. He was asked to join the Bob Draga Quartet in 2013, and the Titan Hot Seven in 2014. He now often appears at jazz festivals all over the United States with multiple groups at a time. He enjoys being very busy. When he is not traveling domestically or internationally, he can sometimes be found at the Disneyland Resort, performing with various contracted groups. “I really feel that part of my destiny lies there; it’s just the right fit. Disney, and Jazz. How much better can it get?”

Just You, Just Me

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Larry Coryell - Aurora Coryellis

Size: 101,4+158,8+119,5 MB
Time: 42:44+68:21+51:36
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz: Guitar Jazz, Jazz Rock, Fusion
Art: Front

CD 1: Jazz Workshop, Boston, MA Sept. 13, 1972
01. Offering (Live) (13:19)
02. Ruminations (Live) ( 9:08)
03. Hen-Hopper (Live) ( 6:50)
04. Scotland Part One (Live) (13:26)

CD 2: Clark University (Little Center) Worcester, MA Jun. 23, 1976
01. Julie La Belle (Live) (8:28)
02. Juju (Live) (3:49)
03. Rodrigo Reflections (Live) (6:33)
04. Eyes Of Love (Live) (3:24)
05. Improvisations On Sarabande (Live) (5:46)
06. The Restful Mind (Live) (3:53)
07. Gratitude (Live) (5:06)
08. Bouquet (Live) (5:23)
09. Rene's Theme (Live) (2:24)
10. Ain't It Is (Live) (7:18)
11. St. Gallen (Live) (9:30)
12. Spain (Live) (6:44)

CD 3: San Jose Jazz Festival, San Jose, CA Aug. 11, 2002
01. Trinkle Tinkle (Live) (10:32)
02. In A Sentimental Mood (Live) ( 6:11)
03. Bumpin' On Sunset (Live) ( 7:05)
04. Manha De Carnaval (Theme To Black Orpheus) (Live) ( 6:07)
05. Spaces Revisited, Part One (Live) ( 9:16)
06. Spaces Revisited, Part Two (Live) (10:14)
07. The Dragon Gate (Excerpt) (Live) ( 2:08)

One of the most respected and celebrated jazz fusion guitarists of his generation, Larry Coryell presents a brand new triple disc box set of unreleased live performances. Titled Aurora Coryellis, this captivating collection highlights Coryell’s prodigious talents in a multitude of settings, from a full band performance in 1972 at the Jazz Wokshop in Boston to a solo acoustic show in 1976 at Clark University (Worchester, MA) plus a more recent appearance in 2002 at the San Jose Jazz Fest with his talented trio featuring award winning drummer Paul Wertico and bassist Jeff Chambers!

Reflecting on this collection, Coryell states, “I have fond memories of the high integrity of the students in Worcester, MA; it was always a special place. Of course, The Jazz Workshop Boston was kind of a ‘home base’ from where we developed our music in the ‘70s, when we were trying to create something that respected the basics of jazz but was still a new form of music. Club manager, Freddie Taylor, was our number one booster as we ventured into uncharted territory. And what can I say about beautiful San Jose! A great city with great people and an absolutely beautiful outdoor park in the center of town. Playing with Jeff Chambers and Paul Wertico was an exhilarating journey into the essence of jazz!”

Born in Texas, Larry Coryell began his ascent to the upper echelons of jazz virtuosos in the mid ‘60s when he joined the quintet of famed drummer Chico Hamilton in New York. That gig led to several other stints as a sideman for Gary Burton, Herbie Mann, and Randy Brecker among others. In 1968, he released his debut album Lady Coryell at the young age of 25, which then lead to subsequent solo album and the formation of his own group The Eleventh House. Through these releases, Coryell earned international acclaim for his daring compositions and interpretations as well as his inspired improvisations. He continues to perform shows and release new albums regularly. For those unfamiliar with this living legend, Aurora Coryellis is the perfect place to start!

Aurora Coryellis CD 1
Aurora Coryellis CD 2
Aurora Coryellis CD 3

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Monica Lewis - Never Let Me Go

Size: 101,6 MB
Time: 43:24
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz/Pop Vocals
Art: Front

01. Down Here On The Ground (4:55)
02. Close Enough For Love (4:20)
03. Better To Know (4:01)
04. Hey, Magic Man (3:11)
05. Return To Forever (4:35)
06. Gotta Believe (6:31)
07. The Hungry Years (4:21)
08. Let Mama Know (3:37)
09. The World Of Slow (3:21)
10. Never Let Me Go (4:27)

b. 5 May 1922, Chicago, Illinois, USA. Lewis was born into a musical family, a career in showbusiness was virtually inevitable. Her father, Leon Lewis, was a symphonic composer and pianist, her mother, Jessica, sang with the Chicago Opera Company and became one of the country’s leading vocal coaches. Her sister, Barbara Lewis Golub, became an accomplished concert pianist; while her brother, Marlo Lewis, was the producer of the original Ed Sullivan television show, The Toast Of The Town. Lewis first studied voice with her mother and left college at 17 to begin a career as a vocalist on radio. While still in her teens, she had her own programme, Monica Makes Music, on WMCA in New York. This early radio success led to a prestigious engagement at the Stork Club, and appearances with Benny Goodman’s orchestra. After appearing on radio with Frank Sinatra, Dick Powell, and Morton Gould, Lewis had recording sessions with Signature Records and Decca Records. She had a number of successes, including ‘A Tree In A Meadow’ and ‘Autumn Leaves’.

Alongside her appearances on radio and records, for more than a decade, Lewis provided the voice for the ‘Chiquita Banana’ character in cartoons and commercials. She had appeared on the first of Sullivan’s television shows, in 1948, and then came to the attention of Hollywood. She was signed by MGM where she was groomed as a dramatic actress and the studio’s answer to popular star Lana Turner. Among the movies Lewis made was The Strip (1951), which starred Mickey Rooney as a jazz drummer with the featured band of Louis Armstrong. She continued to play roles in films, and also provided an on and off screen singing voice, including Everything I Have Is Yours (1952), in which she sang the title song and danced with star Gower Champion. She also appeared frequently on television, working with Bob Hope, Milton Berle, and Dean Martin and Jerry Lewis, sharing top-billing with the latter pair for a New York club engagement. She also toured with USO shows, appearing in Korea with Danny Kaye.

Although at the height of her popularity, and headlining at leading hotels and clubs in Las Vegas, New York, San Francisco and elsewhere, Lewis, now married to movie executive Jennings Lang, retired. However, the call was too strong for a permanent absence and in the 60s, 70s and 80s she appeared in numerous television shows, including Wagon Train, Peter Gunn, Ironside, Quincy, Falcon Crest and Remington Steele. She also made occasional movie appearances, including Charley Varrick (1973), Airport ’77 (1977) and The Sting II (1983). In the mid- and late 80s, Lewis returned to the recording studio, releasing the highly praised Never Let Me Go. The success of this album resulted in the re-release of her 50s recordings.

A fluent interpreter of standards and the great show tunes, Lewis’ singing voice is clear and true. Her warm sound, allied as it is to a subtle vibrato and underlying power, allows her to bring a distinctive touch to a wide range of material. Her son Mike Lang is a noted studio musician and composer who has played piano with several leading jazz artists. He accompanied Lewis on some of her later recordings, which he also produced. ~AMG

Never Let Me Go

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Kenny Drew - Undercurrent

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 38:40
Size: 91,2 MB
Art: Front

(7:19)  1. Undercurrent
(8:28)  2. Funk-Cosity
(4:54)  3. Lion's Den
(6:06)  4. The Pot's On
(6:20)  5. Groovin' The Blues
(5:30)  6. Ballade

The only Blue Note recording under pianist Kenny Drew's leadership and the last to be released under his name for a thirteen-year period, during which time the pianist would relocate to Europe, Undercurrent is a strong outing by the gifted pianist, composer and session leader. In the latter capacity, his job is greatly facilitated by a frontline of saxophonist Hank Mobley and trumpeter Freddie Hubbard, whose instant compatibility had been established just weeks earlier on Mobley's sterling Roll Call (Blue Note, 1960). Moreover, the rhythm team of bassist Sam Jones and drummer Louis Hayes had become one of the more efficient power plants in jazz because of its nightly duties with the Cannonball Adderley Quintet during the same year as its best-selling At the Lighthouse (Riverside, 1960), which included the hit single "Sack O' Woe." Undercurrent has nothing as viscerally infectious as the Adderley tune but is an admirable program of Drew originals, ranging from the modal, streaming title piece to the self-descriptive "Funk- Cosity," a sort of fleshed-out variation on Bobby Timmons' "Moanin'." 

"Lion's Den" is a welcome change of mood and pace, moving to a major key and an alternating pedal tone/straight-ahead harmonic-rhythmic pattern. Next is the beboppish "The Pot's On," an elliptical melody that yields to the reassuringly warm inventiveness at which Mobley has few if any peers. "Groovin' the Blues," an ordinary but appealing line, would be an engaging finger-popper were it not such a close twin of "Funk-Cosity," and the closer, "Ballade," is a once-through set piece, an appealing romantic melody stated with formal grace and simplicity.

If none of the tunes is strikingly original or memorable, the same might be said of Drew's otherwise superlative post-Powell piano work. Certainly among the highlights is the opening title tune, set up by an electrifying 38-second introduction: drums and bass walk off eight bars at a flaming tempo, Drew adds a running baroque figure for the next eight, tenor and trumpet harmonize in thirds for the next sixteen then play in unison over a pedal tone for eight more, finally re-harmonizing in thirds for the last eight before Mobley's tenor is suddenly ejected into the jet stream for the first solo. The latter player is simply wondrous on this and each of his solo turns, as consistently rewarding as he is risk-taking, and clearly in command during the same year that produced his masterpiece, Soul Station (Blue Note, 1960). Hubbard, the comparative newcomer, isn't as fluent as Mobley but complements his frontline companion with a more aggressive, even puckish approach, alternating between repeated percussive motifs and a soaring, passionate lyricism. Given the size of the ensemble, the quality of the musicians and the blowing room for each of the soloists, it's perhaps small wonder that Undercurrent falls just short of a personal triumph for the leader (though arguably essential to any Mobley fan). But as a democratic and exemplary Blue Note session with strong hands vigorously played by five proven winners, this RVG remaster deserves a place alongside more heralded recordings during a truly golden age in the music. ~ Samuel Chell http://www.allaboutjazz.com/undercurrent-kenny-drew-blue-note-records-review-by-samuel-chell.php

Personnel: Kenny Drew: piano; Freddie Hubbard: trumpet; Hank Mobley: tenor saxophone; Sam Jones: bass; Louis Hayes: drums.

Undercurrent

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Keith Andrew - Adventurous Soul

Styles: Guitar Jazz, Fusion
Year: 2014
File: MP3@320K/s
Time: 56:18
Size: 129,9 MB
Art: Front

(3:48)  1. Work to Do
(4:48)  2. Adventurous Soul
(4:11)  3. Love You More
(4:04)  4. Milk Shake
(4:52)  5. Samba Dulce
(4:03)  6. All About Love
(5:13)  7. Namaste Dance
(4:32)  8. Crunch Time
(3:42)  9. Hallie's Day
(4:12) 10. 6Am
(4:22) 11. Pass the Peas
(4:21) 12. Everyday
(4:04) 13. Dreamy Wing

Guitarist Keith Andrew popped on to my radar screen with his 2011 release Blue Funky Blue. There, he demonstrated strong, competent skills, a really cool guitar touch, and a firm hold on the very concept of smooth. Here with his latest endeavor called Adventurous Soul, he again treats us to a hefty dose of that smooth and a lot of catchy melodies and hooks. Joined here by saxman Eric Marienthal, the lovely saxtress Jessy J, the classy trumpeter/vocalist Johnny Britt, keys guru Jeff Lorber, and fellow guitarist/co-producer Nils who also wrote or co-wrote a few of these solid tracks and the late great drummer Ricky Lawson, Andrew surely started off with the idea of making this a high-flying project.

Kicking it off with one of only two covers offered on the album, The Isley Brothers’ “Work to Do,” Andrew does the tune justice and sets the tone for the remainder of the album, which includes such melodic offerings as the suave “Love You More,” the catchy mid-tempo “Milk Shake” featuring Marienthal and Lawson, the light and cozy island-flavored “Samba Dulce,” and a funky up-tempo groove called “All About Love” with vocals from the guitarist himself. Providing even more gusto than that track is the high kickin’ “Namaste Dance Mix,” again featuring vocals from Andrew. The guitarist closes the album with a nice and easy groove called “Dreamy Wing,” carrying a sort of riding-off-into-the-sunset, see-you-next-time vibe with Johnny Britt doing the honors on trumpet and flugelhorn. Nice way to tie it all up.All in all, Adventurous Soul has many bright spots and, if you enjoy Andrew’s effective and laid-back way of groovin’, you’ll definitely enjoy this one. ~ Ronald Jackson http://www.thesmoothjazzride.com/keith-andrew-adventurous-soul/

Adventurous Soul

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Bill Evans Trio, Lee Konitz, Warne Marsh - Crosscurrents

Styles: Piano And Saxophone Jazz

Year: 1977

File: MP3@320K/s

Time: 50:46

Size: 116,6 MB

Art: Front

(8:21)  1. Eiderdown

(3:31)  2. Ev'ry Time We Say Goodbye

(5:39)  3. Pensativa

(6:34)  4. Speak Low

(4:18)  5. When I Fall in Love

(6:06)  6. Night and Day

(5:38)  7. Eiderdown (take 9)

(3:30)  8. Ev'ry Time We Say Goodbye (take 7)

(7:05)  9. Night and Day (take 9)

This superior set was a logical idea. One of pianist Bill Evans' earlier influences was Lennie Tristano so on the date Evans' trio (with bassist Eddie Gomez and drummer Eliot Zigmund) was teamed with Tristano's two top "students": altoist Lee Konitz and tenor saxophonist Warne Marsh. The quintet performs four standards (all of which fit easily into Evans' repertoire) plus "Pensativa" and Steve Swallow's "Eiderdown." Konitz and Marsh always worked very well together and their cool-toned improvising makes this outing by Bill Evans something special. The CD reissue adds three alternate takes to the original program. Recommended. ~ Scott Yanow http://www.allmusic.com/album/cross-currents-mw0000267568

Personnel: Bill Evans (piano); Lee Konitz (alto saxophone); Warne Marsh (tenor saxophone); Eliot Zigmund (drums).

Crosscurrents

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Novecento (feat. Stanley Jordan) - Dreams Of Peace

Styles: Jazz Pop
Year: 2004
File: MP3@320K/s
Time: 44:28
Size: 102,0 MB
Art: Front

(4:41)  1. Tell Me Something
(5:54)  2. Flying On The Sky
(5:46)  3. Too Close To The Sun
(4:11)  4. Sky Flower
(4:28)  5. Destination Of My Heart
(4:45)  6. Spring
(5:34)  7. Dreams Of Peace
(4:52)  8. Easy Love
(4:14)  9. I Can Show You Something

Novecento's recording Dreams of Peace featuring guitarist Stanley Jordan is a lush production that often melts into smooth jazz grooves, but the level of musicianship and the setails that are added keep this from being a soulless snoozefest. Novecento is comprised of the Nicolosi siblings Dona (vocals), Lino (rhythm guitar), Rosanna (bass), and Pino (keyboards). Along with Jordan, who plays lead guitar on the entire album, the Nicolosis recorded and mixed Dreams of Peace at their studio in Milan, with some additional sessions done in California. The opening song, Tell Me Something, is nothing like the average smooth jazz or AOR track. Its grandeur resembles the progressive rock of Yes or the symphonic folk rock of Renaissance, or perhaps Enya without all the vocal overdubs. It s an intriguing piece, but ultimately sinks a bit under its own weight. Flying on the Sky gets us solidly into a smooth groove as Jordan and trumpeter Guy barker play the melody together. It s alike a cross between George Benson and Herb Alpert. So far the score is average, and the fluffy, wordless background vocals don t help. 

Jordan does some nice soloing, but the track is too light to be memorable. Too Close to the Sun finds a better groove and some nice details in the keyboard work of Pino Nicolosi as well as a solid horn arrangement. Barker tosses in a nice flugelhorn solo and Jordan gets some sparks flying with his guitar work. It s the details the Nicolosi s productions adds, like Marco Fadda s percussion work, that help lift Dreams of Peace above the run of the mill smooth release. Sky Flower has a good energy level, with a techno beat played live by drummer Mimmo Campanale and great guitar fills from Jordan. The overall sound and feel is like an outtake from a late seventies/early eighties Santana album. Vocal work by Gregg Brown of the band Osibisa is well done on this track, as well as on the final track, I Can Show You Something. 

Destination of My Heart features a Dave Liebman sax solo that lifts the track out of the ordinary. In all honesty, the music on this disc is infections and actually bears repeated listening, again because of the care and attention to detail demonstrated by both the musicians and the producers. Heading into the disc s second half Spring is somewhere between 70s fusion and electric free jazz. Jordan lets loose with some high volume guitar shredding while guest Danny Gottlieb unfurls a salvo of free wheeling drum work that recalls Tony Williams at times. Then, orver a wash of synth chords Randy Brecker steps in with a fully swinging jazz solo. The following track, Dreams of Peace is a showcase for Jordan, who rises to the occasion with some of his finest solo work of the album. The final two tracks return to a more predictable smooth format, with Brown returning for vocals on the closer, I Can Show You Something. ~ Jazzitude.com – Editorial Reviews http://www.amazon.com/Dreams-Peace-Novecento/dp/B0002IQKGS

Personnel:  Stanley Jordan - lead guitar; Gregg Brown and Dora Nichols - vocals; Lino Nichols - rhythm guitar; Randy Brecker - trumpet; Guy Barker - trumpet and flugelhorn; Dave Liebman - tenor saxophone; Rossanna Nicolisi - bass; Pino Nicolisi - keyboards; Mimmo Campanale - drums; Danny Gottlieb - drums; Marco Fadda - percussion; Leonardo Govin - trombone; Trio Solista & Friends - strings.

Dreams Of Peace

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Carol Welsman - Alone Together

Styles: Vocal Jazz
Year: 2015
File: MP3@320K/s
Time: 49:58
Size: 115,6 MB
Art: Front

(4:44)  1. Day By Day
(5:10)  2. It Might As Well Be Spring
(3:31)  3. Sand In My Shoes
(5:31)  4. My Ship
(4:14)  5. Alone Together
(3:35)  6. Disappointed
(4:42)  7. If The Moon Turns Green
(5:45)  8. You Taught My Heart To Sing
(4:37)  9. The Blues Are Out Of Town
(4:30) 10. I Didn't Know About You
(3:33) 11. Killing Time

“In Alone Together, her eleventh album, the briskly rhythmic swing of Carol’s piano playing, the warm, embracing sound of her voice, combined with her irresistible way with a lyric, brightly illuminate her rising ascendency to the upper levels of the contemporary jazz vocal world.” ~ Don Heckman - International Review of Music  http://carolwelsman.com/

Alone Together

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Dick Hyman - Dick Hyman Plays Fats Waller

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 59:23
Size: 137,0 MB
Art: Front

(2:37)  1. Bach Up To Me
(5:54)  2. Ain't Misbehavin'
(3:52)  3. Keepin' Out f Mischief Now
(3:42)  4. African Ripples
(7:00)  5. Honeysuckle Rose
(2:57)  6. Viper's Drag
(3:59)  7. Willow Tree
(2:54)  8. I'm Goin' To See My Ma
(2:27)  9. Stealin' Apples
(3:47) 10. I've Got A Feeling I'm Falling
(2:36) 11. Handful of Keys
(6:09) 12. My Fate Is In Your Hands
(2:45) 13. Jitterbug Waltz
(2:21) 14. Sweet Savannah Sue
(6:16) 15. Squeeze me

Strange as it seems, pianist Dick Hyman was not present at the recording session that resulted in this CD. Months earlier, Hyman performed 15 Fats Waller songs on the Bosendorfer 2905E reproducing piano in New York. A computer floppy disc of the date was sent to California where it was recorded direct to CD. But more important than the technology involved is the music itself. Sometimes Hyman seems to take these pieces a little too seriously, treating "African Ripples" and "Viper's Drag" as if they were classical music but, to his credit, his treatment of the Waller compositions (mixing in the familiar with obscurities such as an enthusiastic "I'm Goin' To See My Ma" and a very complex version of "Bach Up To Me") does not attempt to copy Fats' style. A surprisingly uptempo version of "Stealin' Apples" and a thoughtful rendition of "Ain't Misbehavin'" are among the highpoints. Recommended. ~ Scott Yanow http://www.allmusic.com/album/dick-hyman-plays-fats-waller-mw0000308856

Personnel: Dick Hyman (piano).

Dick Hyman Plays Fats Waller

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Irene Atman - New York Rendezvous

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 48:44
Size: 113,4 MB
Art: Front

(5:16)  1. Two For The Road
(3:17)  2. Taking A Chance On Love
(5:58)  3. Why Did I Choose You
(4:32)  4. Somos Novios
(3:46)  5. Time After Time
(5:33)  6. I'm A Fool To Want You
(5:37)  7. Charade
(5:15)  8. A Time For Love
(5:14)  9. Alfie
(4:12) 10. The Glory Of Love

Canadian songbird Irene Atman follows her highly acclaimed self-titled, indepedent debut of 2007 with another remarkable effort, this time recording ten gentle standards in an auspicious New York Rendezvous with pianist Frank Kimbrough and other New York players, providing a new meaning to the phrase "New York state of mind." Meeting Kimbrough twenty years ago on, as she states, "a forgettable cruise," Atman reached out to Kimbrough with the thought of recording her second album in New York, to which Kimbrough offered unqualified support and even serves here as co-producer.


Atman is clearly one of the finest singers around, gifted with a voice that allow her to reach high notes with ease, revealing a cool and enticing style that tenderizes the lyrics with a touch of class. She brings the music alive with the assistance of a very fine quartet, led, of course, by Kimbrough, it features bassist Jay Anderson, drummer Matt Wilson and the versatile Joel Frahm on tenor and soprano saxophones. While the selection of music does contain several familiar standards like Burt Bacharach's "Alfie," Jules Styne's "Time After Time," and Johnny Mandel's "A Time For Love," the majority is lesser-known and less frequently recorded music.

There are no real swinging numbers on the album, as Atman instead prefers to focus on the softer side of jazz floating a repertoire of light gentle standards. Henry Mancini's "Two For The Road," from 1967, opens the disc and establishes a warm tone that carries over throughout the recording. Both Kimbrough and Frahm entertain very tasteful solos here with nothing flashy or fancy, just smooth and relaxing. Frahm does provide engaging tenor phrasing between Atman's voicing of the lyrics to "Why Did I Choose You," but it's the singer who is quite pronounced on this beautiful ballad. Frahm also distinguishes himself on the classic "Charade," this time playing soprano.

Armando Manzanero's "Somos Novios" is in good hands as Atman voices the lyrics in Spanish in a soft and passionate rendition of this standard, with Kimbrough providing the meat of the music in an emotional performance. With Wilson's crashing cymbal accents providing the steady beat on "Time After Time," this is the closest the singer comes to dishing out a swinging number. After listening to the finale songs, "Alfie" and "The Glory of Love," there's little doubt that New York Rendezvousis a jewel of an album. 

The music sparkles all over and Irene Atman's Barbra Streisand-like vocals carry the day on this very memorable recording. ~ Edward Blanco http://www.allaboutjazz.com/new-york-rendezvous-irene-atman-self-produced-review-by-edward-blanco.php

Personnel: Irene Atman: vocals; Frank Kimbrough: piano; Jay Anderson: drums; Joel Frahm: tenor and soprano saxophones.

New York Rendezvous

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Phil Woods, Carl Saunders - Play Henry Mancini

Styles: Saxophone And Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 74:57
Size: 172,3 MB
Art: Front

(7:15)  1. The Pink Panther
(6:21)  2. Lightly
(4:39)  3. Walkin' Bass
(6:46)  4. Soldier In The Rain
(6:20)  5. Free And Easy
(4:47)  6. Fallout!
(5:36)  7. Goofin' At The Coffee House
(6:38)  8. Dreamsville
(5:39)  9. Mr. Lucky
(5:19) 10. Sorta Blue
(5:56) 11. A Quiet Gass
(9:35) 12. Two For The Road

Yes, it's "The Pink Panther," "Mr. Lucky" and "Two for the Road," but if anyone can take the late film/television composer Henry Mancini's quasi-jazz and make it swing like a willow in a windstorm, it's two old (well, oldish ) masters like alto saxophonist Phil Woods and trumpeter Carl Saunders. And swing they do, as does the unsung but abundantly talented Denver-based rhythm section of pianist Jeff Jenkins, bassist Ken Walker and drummer Paul Romaine. It's readily apparent that the quintet is having a marvelous time digging into Mancini's themes, seven of which are from the television series Peter Gunn (but not the well-known title song). Besides the roguish "Panther," the others include the principal motifs from the films "Two for the Road" and 'soldier in the Rain." Although Mancini wrote with the masses in mind, he had a fondness for jazz that was often reflected in his music, some of the clearest evidence of which can be heard on "Walkin" Bass," "Fallout!," 'sorta Blue," "A Quiet Gass" and the loose-limbed, ultra-hip "Goofin' at the Coffee House." As Woods says in the liner notes, "[Mancini's] writing is in the tradition of Gershwin, Porter and Arlen hardly a shabby group with whom to be associated.

Mancini wrote beautiful music too (check out "Dreamsville," one of the album's many highlights, which includes gossamer solos by Saunders, on flugel, and Woods, or the lyrical and pensive "Two for the Road"). The theme from "Mr. Lucky" is invigorated by changing the tempo from leisurely to double-time and implanting explosive statements by the dynamic duo. "Gass," on the other hand, is, like "Goofin'," an unassuming swinger that seems to have been written with Jazz in mind, and Saunders and Woods take to it like the proverbial ducks to water. Whether you're a Mancini fan or never cared much for his music, you may be swiftly ensnared, as I was, by the unflagging artistry of Messrs. Woods and Saunders, who place their imposing and indelible stamp on a dozen of his charming compositions. This is the third album I've heard from Graham Carter's fairly new label, Jazzed Media, and every one has been a winner. ~ Jack Bowers http://www.allaboutjazz.com/play-henry-mancini-phil-woods-jazzed-media-review-by-jack-bowers.php

Personnel: Phil Woods, alto saxophone; Carl Saunders, trumpet, flugelhorn; Jeff Jenkins, piano; Ken Walker, bass; Paul Romaine, drums.

Play Henry Mancini

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Jackie McLean & Tina Brooks - Street Singer

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 41:42
Size: 96,0 MB
Art: Front

( 6:49)  1. Melonae's Dance
( 7:00)  2. Appointment In Ghana
( 6:44)  3. Medina
( 7:29)  4. Isle Of Java
(10:18)  5. Street Singer
( 3:20)  6. A Ballad For Doll

Street Singer is a hard bop album jointly led by tenor Tina Brooks and alto Jackie McLean, released on the Japanese Blue Note label in 1980. The tracks "Appointment in Ghana", "A Ballad for Doll" and "Isle of Java" were originally released in 1960 on Jackie's Bag. The three tracks left would be later included on the CD reissue of said album. https://en.wikipedia.org/wiki/Street_Singer

Personnel:  Tina Brooks - tenor saxophone;  Jackie McLean - alto saxophone;  Blue Mitchell – trumpet;  Kenny Drew – piano;  Paul Chambers – bass;  Art Taylor - drums

Street Singer

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Warne Marsh - Lee Konitz Quintet - Live At The Montmartre Club - Jazz Exchange Vol. 2

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 57:50
Size: 133,2 MB
Art: Front

(6:11)  1. Kary's Trance
(5:54)  2. Foolin' Myself
(8:12)  3. Sound-Lee
(1:12)  4. Two Voice Invention No.1 Allegro
(7:08)  5. Two Not One
(5:05)  6. Darn That Dream
(8:19)  7. 317 East 32nd Street
(1:22)  8. Two Voice Invention No.13 Allegro Tranquillo
(9:15)  9. April
(5:06) 10. Everything Happens To Me

In December 1975, tenor saxophonist Warne Marsh and altoist Lee Konitz went on a European tour. Their musical reunion showed that the magic that had existed between them a quarter-century before when they teamed up with their teacher Lennie Tristano was still very much present. Both saxophonists had grown through the years, and on this second of three sets, they are in consistently inventive form. Accompanied by a quiet English rhythm section (guitarist Dave Cliff, bassist Peter Ind and drummer Alan Levitt), the interplay between Marsh and Konitz, who had very complementary yet individual styles, is quite impressive, as are their individual solos on on four thinly disguised "originals," "Foolin' Myself," "Darn That Dream" and a couple of brief "Two-Part Inventions" by Bach. Well worth acquiring. ~ Scott Yanow  http://www.allmusic.com/album/live-at-the-montmartre-club-jazz-exchange-vol-2-mw0000123595

Personnel:  Alto Saxophone – Lee Konitz;  Bass – Peter Ind; Drums – Alan Levitt;  Guitar – Dave Cliff;  Tenor Saxophone – Warne Marsh

Live At The Montmartre Club-Jazz Exchange Vol. 2

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Scott Robinson - Plays The Compositions Of Thad Jones: Forever Lasting

Styles: Straight-Ahead/Mainstream
Year: 2007
File: MP3@320K/s
Time: 68:47
Size: 158,5 MB
Art: Front

(5:53)  1. Quietude
(4:13)  2. To You
(5:50)  3. Interloper
(3:49)  4. Don't Ever Leave Me
(5:47)  5. Three And One
(3:31)  6. Yours And Mine
(3:57)  7. Fingers
(4:27)  8. All My Yesterdays
(4:37)  9. TNA Blues
(4:14) 10. A Child Is Born
(7:17) 11. Walkin' About
(5:28) 12. Kids Are Pretty People
(3:53) 13. The Summary
(5:44) 14. Greeting And Salutations

Thad Jones was best known as an outstanding composer/arranger, in addition to his abilities as a trumpeter and bandleader (various small groups, the Thad Jones/Mel Lewis Orchestra and the Count Basie Orchestra, the latter following Basie's Death). Scott Robinson has long been an admirer of Jones and he may be one of the first to devote an entire CD to the late composer's works, which includes fourteen songs, several of which have been rarely recorded. This release compiles selections from four different recording sessions over a thirteen-year period, utilizing different combinations of rhythm sections. One is so used to seeing Scott Robinson playing such a wide variety of saxophones that it is easy to forget that he also plays other instruments, including echo cornet, flugelhorn, French horn, C-flute and E flat-soprano flute, plus alto clarinet, all heard on this release.

Robinson's session with organist Mike LeDonne produces some of the most unusual sounds of the date. On several tracks, he plays bass sax, which produces surprising results in the lush ballad "To You," the peppy "Three and One" and the greasy "TNA Blues"; Robinson makes the ungainly horn sound very melodic, sounding inspired by the late baritone saxophonist Pepper Adams (also a Jones/Lewis alum). For the gorgeous ballad "A Child is Born" (easily one of Jones' best tunes), Robinson creatively combines theremin as the lead voice with overdubbed alto clarinet to construct a unique treatment of this jazz standard, assisted by pianist Richard Wyands. Thad Jones' elder brother Hank makes a special appearance in a warm rendition of "All My Yesterdays" with Robinson playing a rich vibrato-filled tenor sax à la Ben Webster. This is no mere novelty release, but a thoughtful series of arrangements in honor of one of the best jazz composers of the 20th century. ~ Ken Dryden  http://www.allaboutjazz.com/scott-robinson-plays-the-compositions-of-thad-jones-forever-lasting-scott-robinson-arbors-records-review-by-ken-dryden.php

Personnel: Scott Robinson: C-flute; C-melody sax, F-mezzo-soprano sax, tenor sax, thundersheet, bass sax, Eb-soprano flute, contrabass sarrusophone, theremin, alto clarinet, bell, echo cornet, French horn, flugelhorn;  Mike LeDonne: Hammond B-3 organ;  Richard Wyands: piano:  Hank Jones: piano;  Pat O’Leary; bass;  Dennis Mackrel: drums;  Klaus Suonsaari: drums.

Plays The Compositions Of Thad Jones: Forever Lasting

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Pamela Luss With Houston Person - Sweet and Saxy

Styles: Vocal And Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 44:38
Size: 102,7 MB
Art: Front

(4:34)  1. Canadian Sunset
(4:08)  2. You Better Go Now
(3:44)  3. Star Eyes
(3:26)  4. Can't Get Out of This Mood
(3:28)  5. Why Was I Born?
(5:42)  6. Maybe You'll Be There
(3:56)  7. Nice 'n Easy
(5:31)  8. You Belong To Me
(2:18)  9. Don'cha Go Away Mad
(2:42) 10. Ain't No Sunshine
(5:04) 11. It's Too Late

Through three fine recordings, jazz vocalist Pamela Luss has stayed the course singing standards in her own inimitable, alluring fashion. Blessed with a solid vocal instrument that at-times wavers with a girlish fascination for pure or unrequited love, Luss gives it another go on this, her fourth album, backed up by Houston Person's working band featuring the excellent pianist John DiMartino, and at times guitarist James Chirillo. The lust Luss is able to conjure is hard to resist, as she stands tall and lean among these well-known songs, interpreted with just a dash of sass, a large portion of confidence, a slight vibrato, and an at-times lissome eye toward a hopeful future. 

Person works well with most singers (i.e. Etta Jones) but here he seems to feed off of the vocal lines Luss dishes out. They're clearly having fun trading phrases on occasion, or in retort when the vocalist makes statements like the come-and-run-away ballad "You Better Go Now," the light bossa nova take of "Can't Get Out Of This Mood," or the sensual, samba-tinged "You Belong to Me." Chirillo is particularly tasteful on the five numbers where he's added on, strumming like the seasoned Freddie Greene during "Nice & Easy," and diving into the shuffle "Teardrops from My Eyes" - more of this one please Ms. Luss! DiMartino is also the arranger of these selections, increasing the sophistication of tracks like the temptation calypso "Canadian Sunset," controlling the swing factor of "Star Eyes," or enhancing a bluesy feeling to "Why Was I Born?".

Perhaps the single track where Luss comes a bit out of her comfort zone is the playful "Don'tcha Go Away Mad," always a tongue-in-cheek favorite, as those asking for forgiveness while looking for an amicable exit from confrontation can relate to. This is a good combination of vocalist and backup band, one that could, at some point in time, explore a more down-home blues approach. While hers is a voice that does take some getting used to, she's refining her method with each recording, becoming a true professional interpreter of the tried-and-true American popular songbook. ~ Michael G.Nastos http://www.allmusic.com/album/sweet-and-saxy-mw0000824422

Personnel: Pamela Luss (vocals); James Chirillo (guitar); Houston Person (tenor saxophone); John Di Martino (piano); Willie Jones III (drums).

Sweet and Saxy

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Joel Weiskopf - The Search

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 64:27
Size: 147,8 MB
Art: Front

(6:45)  1. Edda
(7:50)  2. Bess, You Is My Woman Now
(6:21)  3. It Could Happen To You
(7:50)  4. Song For The Lost
(6:26)  5. Criss Cross
(6:29)  6. One For Karl
(9:21)  7. The Search
(7:46)  8. Red's Blues
(5:34)  9. My One And Only Love

The time was ripe for 37-year-old pianist Joel Weiskopf to make his maiden voyage as a leader. Known as the younger brother of tenor phenom Walt Weiskopf, Joel's seasoned experiences in music include nine years of training in classical piano, graduation from the New England Conservatory of Music, and gigs with Teddy Kotick, George Garzone, Tim Hagans, and Woody Herman. All this in addition to his much-valued contributions to brother Walt's Criss Cross catalog and a few other dates for the label as a sideman. What immediately impresses one about Joel's style is his total command of the instrument, his creative muse finding its voice without strain. Dense and incendiary as a McCoy Tyner one minute, he can be as tastefully sparse and melodic as influences Errol Garner and Ahmad Jamal the next. Variance and diversity mark the shrewd program of standards and originals heard here, with Weiskopf's range and versatility hinted at without turning things into an incoherent grab bag. 

Wayne Shorter's "Edda" provides the type of changes that Weiskopf just eats up with ease. He's also confident enough to try a turn at Monk's "Criss Cross" and does so in a manner that retains the tune's spirit, but let's his own poetic identity show through. The lengthy title track is a microcosm of taste and creativity, with the group interplay making for a seductive listen, but then bassist Peter Washington and drummer Billy Drummond are both quite a wonder throughout. Their musical integrity and ability to inspire make both of these talented men an asset to any fellow musician. How could you not be pushed to the max as a soloist with Peter and Billy around? So let's see, he's got ballads covered and up tempo romps, but can he handle the blues parlance? No problem, as "Red's Blues" more than amply demonstrates. Then, as if to resolve things on a quiet note, a stunning solo reading of "My One and Only Love" closes out a momentous debut. There's a whole lot of piano going on here and Joel's ability to establish himself as a major voice is without question. ~ C.Andrew Hovan http://www.allaboutjazz.com/the-search-joel-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Joel Weiskopf- piano, Peter Washington- bass, Billy Drummond- drums

The Search

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Erik Truffaz - The Walk Of The Giant Turtle

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 53:12
Size: 122,0 MB
Art: Front

(3:48)  1. Scody Pt. 1
(4:21)  2. Scody Pt. 2
(5:25)  3. King B
(7:07)  4. Flamingos
(4:25)  5. Turiddu
(5:50)  6. Next Door
(6:08)  7. Belle De Nuit
(4:27)  8. Wilfried
(6:46)  9. Seven Skies
(4:51) 10. The Walk Of The Giant Turtle

With the tension of his muted trumpet and the release of his open horn, Erik Truffaz walks on the back of a giant turtle representing planet Earth. His hip creations traverse continents as well as history. While jazz and electric fusion have remained faithful soul mates for over 30 years, the popular mix has always represented a thorn in the side of loyal, straight-ahead devotees. Most of the recordings issued by Miles Davis after 1969, after all, still pose questions in the minds of die-hard fans. Trumpeter Truffaz has created a powerful follow-up to last year’s Mantis, on which he sketched out drawings that connected the dots between cool jazz, world beat affairs, and tradition. This time out, Truffaz’s session sizzles with hot rock defiance, techno-dance energy and creative, in- your-face gestures.

”Seven Skies” heralds the approach of a passionate rock opera. “Flamingos” moves gracefully along dream-filled pathways. “King B” and “Next Door” strut to the heavy backbeat of a crowded dance floor. “Turiddu” and “Belle de Nuit” lay low with the sweet dreams of tomorrow. “Wilfried,” a personal favorite, offers intricate counterpoint behind the delicately woven and fresh open voice of Truffaz’s trumpet. To close the program, “The Walk of the Giant Turtle” stirs creative fires that all too often get left out in today’s business world where dollars carry more weight than artistic achievement. Kudos to Truffaz for his courage in seeing things his own way, with this recommended album as the fortuitous result. ~ Jim Santella  http://www.allaboutjazz.com/the-walk-of-the-giant-turtle-erik-truffaz-blue-note-records-review-by-jim-santella.php

Personnel: Erik Truffaz- trumpet; Patrick Muller- keyboards; Marcello Giuliani- electric bass; Marc Erbetta- drums.

The Walk Of The Giant Turtle

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