Wednesday, September 16, 2015

Tom Harrell - Light On

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 65:53
Size: 152,9 MB
Art: Front

(7:48)  1. Va
(8:17)  2. Sky Life
(9:11)  3. Contrary Mary
(4:20)  4. Fountain
(7:20)  5. Nights at Catalonia
(5:56)  6. The Gronk
(5:03)  7. Architect of Time
(7:39)  8. Bad Stuff
(6:17)  9. Blue Caribe
(3:56) 10. Va (Reprise)

As the business of music makes the wobbly transition from unified collections of songs to individual tracks as the primary currency of recorded music, jazz continues to embrace the increasingly antiquated format of the album to great effect. Such is the case with trumpeter Tom Harrell's Light On, a bonafide collection of compositions and performances that are conspicuously unified, and an open challenge to the notion of "album as anachronism" in the digital age. This collection of songs was meant to be swallowed whole. All the ingredients for a fine "album" are there intricate but accessible melodies, potent and personal improvisations both individually and collectively, even Rudy Van Gelder, one of the prime architects of the art of the long player, whose touch on the faders brings together familiar sounds and textures that evoke the past, yet present music that is decidedly modern.

Harrell's playing is typically relaxed and confident, and that confidence and capability is also evident in his selection of sidemen. This group has just the right balance of musical personalities that function as a cohesive unit without sacrificing each musician's distinct identity. All nine of the compositions heard here are Harrell's, each with memorable and infectious melodic hooks and satisfying harmonic structures. "Skylife," with it's subtle but assertive funky groove is probably the best example of how Harrell is able to create music that is simultaneously accessible and intricate. Tenor saxophonist Wayne Escoffrey delivers an arresting solo so typical of his stellar performances on every track, and Danny Grissett's touch on Fender Rhodes brings a warmth and blithe fluency that makes highly crafted lines go down easier than one might expect. Indeed, Escoffrey consistently attracts the most attention. His dense and plaintive phrasing contrasts effectively with Harrell's soft spoken interjections and pleasing tone. The saxophonist's dizzying work on both takes of "Va, the wry wit and virtuosity on tracks like "Contrary Mary," the up-tempo "Gronk" and "Blue Caribe" reveals an arresting, inventive voice of considerable skill and emotional depth, delivering provocative and complex lines with a highly distinctive flavor.

"Nights at Catalonia" evokes the exoticism of a Horace Silver composition and presents Harrell's sound at its best, with a typically sparse and introverted exploration that deepens the mystery hidden in the subtle rhythmic pulse so ably created by drummer Johnathan Blake and bassist Ugonna Okegwo. "Bad Stuff" presents that rhythm section unleashed, as the quintet engages in a spirited, swinging romp. Light On is among the rarest of jazz releases that is sure to please the casual listener as well as the hardcore aficionado. Both will be swept up in the intensity and precision of the performances, and both will walk away humming the same melodies that linger stubbornly in memory and stick to the ribs. This is music that invites the listener along for the ride and rewards those who take the trouble to climb aboard. Like the very best of jazz, Harrell's quintet seeks to communicate and illuminate, and succeeds handsomely in doing both.~ Ken Kase http://www.allaboutjazz.com/light-on-tom-harrell-highnote-records-review-by-ken-kase.php

Personnel: Tom Harrell: trumpet; Wayne Escoffrey: tenor saxophone; Danny Grissett: piano, Fender Rhodes; Ugonna Okegwo: bass; Johnathan Blake: drums.

Light On

Jerry Bergonzi - Shifting Gears

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 57:09
Size: 131,1 MB
Art: Front

(9:26)  1. Flying Red
(5:48)  2. High Tops
(7:15)  3. They Knew
(7:57)  4. Wibble Wobble
(7:51)  5. Doin' the Hen
(8:01)  6. Zoning
(6:19)  7. Dr. Zoltan
(4:30)  8. Between Worlds

Jerry Bergonzi has spent his career based in Boston, his hometown. But despite only having lived in New York for several years, he is still widely regarded as one of the finest tenor players on the international scene. This album of originals highlights Bergonzi’s penchant for upper extended note clusters, dizzying arpeggios and an airy, quicksilver sound that puts him right alongside the late Michael Brecker for his fluid and sweeping harmonic vision. A longtime faculty member at New England Conservatory, Bergonzi reunites here with sidemen from the constellation of colleges in the area. Trumpeter Phil Grenadier, brother of bassist Larry Grenadier and an accomplished bandleader in his own right, teaches at Brandeis University; pianist Bruce Barth met Bergonzi while studying at NEC; bassist Dave Santoro teaches at Berklee; and drummer Andrea Michelutti, who lives in Paris, is the wild card.

Bergonzi spent a decade working with Dave Brubeck, and this foundation allows him to seamlessly bend the edges of traditional harmony. A professional-level pianist to boot, Bergonzi elevates jazz theory to a fine art, and it shows in his deconstruction of a tune’s form for improvisation. This wizardry is especially evident on “High Tops,” which repurposes “Speak Low,” and “Between Worlds,” which takes creative license with “How High the Moon.” Both tunes are barely recognizable to the untrained ear, but as with Hemingway’s iceberg principle, the rooting in standard repertoire is keenly felt. Opener “Flying Red” has a pervasive dissonance married to a lilting melody, an odd contradiction that Bergonzi resolves through improvisatory sleight of hand. He reaches a fever pitch on “Wibble Wobble,” a topsy-turvy tune that serves as a master class on how to build a solo.~ Aidan Levy http://jazztimes.com/articles/58691-shifting-gears-jerry-bergonzi

Personnel: Jerry Bergonzi: tenor saxophone; Phil Grenadier: trumpet; Bruce Barth: piano; Dave Santoro: bass; Andrea Michelutti: drums.

Shifting Gears

Cory Weeds - Condition Blue: The Music Of Jackie McLean

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 61:28
Size: 141,0 MB
Art: Front

(5:25)  1. Condition Blue
(6:04)  2. Slumber
(6:35)  3. Capuchin Swing
(5:52)  4. My Old Flame
(5:42)  5. 'Snuff
(5:21)  6. Marilyn's Dilemma
(6:04)  7. Das Dat
(6:05)  8. Jacknife
(7:42)  9. Bluesanova
(6:33) 10. Blues In a Jiff

Jackie McLean was a hard-bop alto saxophonist with a fiery tight tone, who recorded extensively in the ‘50s and ‘60s mainly with Blue Note Records. Although his forays with an organ was confined to two albums with Jimmy Smith Open House and Plain Talk, Cory Weeds’ decision to use an organ on this session does not stray off the mark. Condition Blue accomplishes the band’s intention, to acknowledge a saxophonist who had an exploratory vision. In a set list of either McLean originals, or compositions associated with him, this tight-knit band delivers the goods in firm, yet flexible style. The key players in this session in addition, to the cooly effective altoist Weeds, are Mike LeDonne, a B-3 player of energetic disposition, and creative guitarist Peter Bernstein. Also along is drummer Joe Farnsworth who is a propulsive player.

The session begins with the title track “Condition Blue” which is one of McLean’s own compositions. From the getgo, this is a hard swinger with Weeds doggedly self-assured,  Bernstein then following in an unfussy fashion, before LeDonne briskly adds his voice. Another McLean original is “Capuchin Swing” which along with the previous number comes from McLean’s album of the same name for Blue Note in 1960. Driven by Farnsworth’s quicksilver drumming, Bernstein sets the pace with a long sinewy solo, after which Weeds shows that he is a skilfully inspired player. Not to be outdone, LeDonne  chimes in with some bopish phrasing.

“My Old Flame” is offered in a relaxed groove, with Weeds running through the melody before Bernstein picks up the bridge, and Weeds again completes the theme, before taking off in solo mode. Throughout the number, the band shows that they can play with uncomplicated cohesion. The two other McLean originals are “‘Snuff” and “ Das Dat”. On the former, the number starts off with some intricate interplay between Weeds and Bernstein, before Weeds expands the theme with a sure-footed solo. Bernstein then slides into an incisive improvisation, with LeDonne swirling around on the B-3. On the latter composition, the band finds an earthiness in the structure of the tune, that inundates the music with fluency. Of the remaining tracks, one of the more interesting is “Bluesanova” written by Lee Morgan, that appeared on McLean’s album Consequence, on which he shared the front line with trumpeter Morgan.  The band pitches their interpretation with a bossa nova time signature, coupled with a hard-bop line, and some soul-jazz thrown in for good measure. All in all, the band shows that they are sympathetic and sophisticated collaborators.~ Pierre Giroux http://audaud.com/2015/07/cory-weeds-condition-blue-the-music-of-jackie-mclean-cellar-live/

Personnel: Cory Weeds (alto saxophone); Peter Bernstein (guitar); Mike LeDonne (Hammond b-3 organ); Joe Farnsworth (drums)

Condition Blue: The Music Of Jackie McLean

Tuesday, September 15, 2015

Oscar Peterson, Stephane Grappelli - Jazz In Paris: Oscar Peterson-Stephane Grappelli Quartet Vol 1

Bitrate: MP3@320K/s
Time: 38:55
Size: 89.1 MB
Styles: Bop, Piano jazz
Year: 2001
Art: Front

[4:47] 1. Them There Eyes
[5:34] 2. Flamingo
[4:33] 3. Makin' Whoopee
[4:41] 4. Looking At You
[4:58] 5. Walkin' My Baby Back Home
[9:44] 6. My One And Only Love
[4:35] 7. Thou Swell

One of the nice things about jazz is the cross-pollination of different players in multiple settings. No one would've thought of pairing swing violinist Stéphane Grappelli and bop pianist Oscar Peterson, for instance, but the match works very well. The pair have expanded into a quartet on this reissue with the aid of double bassist Niels-Henning Ørsted Pedersen and drummer Kenny Clarke. The set, recorded in 1973 in Paris, includes a handful of standards, from Pinkard/Tracey/Tauber's "Them There Eyes" to Rodgers & Hart's "Thou Swell." As one might guess, Grappelli is in his own element on upbeat, swinging pieces like "Makin' Whoopee" and "Walkin' My Baby Back Home." Peterson likewise joins in the spirit of these pieces, making them the most interesting interpretations on the album. Other material, like the lingering "Flamingo" and "My One and Only Love," are also enjoyable, but seem rather tepid in comparison. The latter composition is also handicapped by its nearly ten-minute length. Peterson and Grappelli end with a nice, bouncy version of "Thou Swell" that brings the whole affair to a satisfying close. Quartet, Vol. 1 isn't a perfect recording, but it is an enjoyable one, showing how much fun it is to pair unlikely musicians in the studio and see what happens. ~Ronnie D. Lankford Jr

Jazz In Paris: Oscar Peterson-Stephane Grappelli Quartet Vol 1

Kevin Hassett's A Game - Take Two For Rosa

Bitrate: MP3@320K/s
Time: 48:11
Size: 110.3 MB
Styles: Vocal jazz
Year: 2014
Art: Front

[3:50] 1. Moonlight In Vermont
[3:23] 2. I Thought About You
[4:32] 3. Summer Samba
[3:05] 4. Do Nothing Til You Hear From Me
[4:04] 5. I'm Afraid The Masquerade Is Over
[3:31] 6. Tangerine
[4:35] 7. Autumn Leaves
[4:01] 8. I Can't Get Started
[3:17] 9. In The Wee Small Hours
[2:22] 10. But Not For Me
[2:50] 11. Teach Me Tonight
[5:24] 12. I've Got You Under My Skin
[3:12] 13. For Sentimental Reasons

'At the end of last year I recorded and arranged a Great American songbook CD entitled “Take Two for Rosa” with jazz artist Kevin Hassett’s A Game. The title was inspired by the birth of my daughter Rosa, right in the middle of the recording sessions!' ~Gary Davies

Take Two For Rosa

Sue Raney - Complete Capitol Years 1956-1960 (2-Disc Set)

"In the late '50s and early '60s, Capitol Records had two leading jazz-oriented pop singers on its roster -- June Christy and Peggy Lee -- and then added another young singer, Sue Raney. Raney cut a few albums which seemed to quickly disappear, never to be heard from again until now [...] On the 1958 release 'When Your Lover Has Gone,' Raney is supported by the estimable Nelson Riddle, whose arrangements and orchestrations have graced the recordings of many of the top singers of the last four decades (among the more notable, Ella Fitzgerald and Frank Sinatra). The second album, 'Songs for a Raney Day,' was cut under the leadership of another Hollywood music icon, Billy May. His arrangements on this album are much softer than the blaring brass a la the discs he cut with Sinatra and Anita O'Day. This is a gentler, softer May, appropriate for an album of songs that capture the essence and moods of rainy weather. Although very young when these sessions were recorded, there's more than a hint of the consummate artistry that was to characterize Raney's singing over the next 40 years. The style, diction and appreciation for good melodies which became a staple of Raney's albums are already evident, and each album has well-known standards. But there are songs penned by composers not often recorded, like Ann Ronell's "Rain on the Roof," a reminder that Ronell did much more than "Willow Weep for Me." Unfortunately, the promise created by these two albums never quite materialized. Raney, despite her outstanding recordings, never entered studios with the frequency commensurate with her talent, which doesn't say much for the music business." ~Dave Nathan

Album: Complete Capitol Years 1956-1960 (Disc 1)
Bitrate: MP3@320K/s
Time: 57:28
Size: 131.6 MB
Styles: Vocal jazz
Year: 2013

[2:48] 1. Everytime
[3:08] 2. The Careless Years
[2:09] 3. What's The Good Word Mr Bluebird
[2:37] 4. Don't Take My Happiness
[1:53] 5. Please Hurry Home
[2:38] 6. Till There Was You
[3:00] 7. When Your Lover Has Gone
[3:08] 8. I Stayed Too Long At The Fair
[2:22] 9. If I Could Be With You (One Hour Tonight)
[3:30] 10. My Ideal
[2:26] 11. It Looks Like Rain In Cherry Bloss
[3:04] 12. It's Easy To Remember
[4:02] 13. Moon Song That Wasn't Meant For Me
[2:56] 14. Heart And Soul
[3:04] 15. If You Were There
[3:20] 16. My Silent Love
[4:19] 17. I Remember You
[2:30] 18. I'll See You In My Dreams
[2:07] 19. My My How The Time Goes By
[2:16] 20. Periwinkle Blues

Complete Capitol Years 1956-1960 (Disc 1)

Album: Complete Capitol Years 1956-1960 (Disc 2)
Bitrate: MP3@320K/s
Time: 49:29
Size: 113.3 MB
Styles: Vocal jazz
Year: 2013
Art: Front

[2:48] 1. Ever
[3:08] 2. The Restless Sea
[2:42] 3. I Don't Look Right Without You
[2:53] 4. Swingin' In A Hammock
[2:05] 5. I Get The Blues When It Rains
[2:33] 6. Impossible
[2:08] 7. A Blossom Fell
[2:43] 8. Wrap Your Troubles In Dreams
[2:05] 9. The Whipoorwill Song
[2:45] 10. Rain
[2:31] 11. Rain On The Roof
[2:27] 12. Blue Tears
[3:12] 13. Exactly Like You
[2:33] 14. Wanna Laugh
[1:52] 15. My Prayer
[2:00] 16. September In The Rain
[2:00] 17. Biology
[2:30] 18. Too Soon
[1:59] 19. The Word Got Around
[2:25] 20. One-Finger Symphony

Complete Capitol Years 1956-1960 (Disc 2)

Elvin Jones - All Or Nothing At All: Blues Of Summer

Bitrate: MP3@320K/s
Time: 76:22
Size: 174.8 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[ 5:17] 1. In Your Own Sweet Way
[ 3:33] 2. All Or Nothing At All
[11:31] 3. Summertime
[ 6:50] 4. Blues Back
[ 5:20] 5. Village Blues
[ 4:22] 6. Blues For Gwen
[ 9:11] 7. My Favorite Things
[ 6:35] 8. Effendi
[ 7:24] 9. Old Devil Moon
[ 9:56] 10. Greensleeves
[ 6:17] 11. There Is No Greater Love

When Elvin Jones plays the drums, the world listens. His drumming is like a force of nature: thunderous, vital and devastatingly complex. Jones moved to New York in 1955, diving headlong into the whirlwind of Bop. In 1960, Jones began working with the great John Coltrane as a member of the legendary quartet that would last for five years and make some of the most powerful music in jazz history. With Coltrane, Jones explored the elasticity of his style -- the polyrhythms flew fast and furious, reflecting his West African influences. Jones could play gently as well, backing up mellifluous singer Johnny Hartman. Since leaving Coltrane, Jones has enjoyed a successful solo career, recording several excellent albums as a leader, featuring such notable sidemen as saxophonists George Coleman and Joshua Redman. Until his death in 2004, Jones played an Art Blakey-like role in jazz, acting as a mentor for younger musicians.

All Or Nothing At All: Blues Of Summer

Alison Ruble - This Is a Bird

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 49:32
Size: 121,6 MB
Art: Front

(4:08)  1. Interlude
(5:29)  2. So in Love
(4:30)  3. If I Had You
(5:34)  4. Skylark
(4:41)  5. Always Something There to Remind Me
(3:48)  6. We Kiss in a Shadow
(4:32)  7. Lazy Afternoon
(2:53)  8. It's Magic
(4:48)  9. Something in the Way She Moves
(5:55) 10. The Night Has a Thousand Eyes
(3:09) 11. This Nearly Was Mine

It's amazing that out of the clutter of an industrial urban center like Chicago, a voice as serene and unruffled as Alison Ruble's can exist. For her debut recording, the opulent vocalist teams up with guitarist extraordinaire/producer John McLean for an intriguing journey through a collection of timeless American classics. The song selection, a mix of standard jazz fare and modern pop numbers, seems to suit Ruble's understated approach. McLean's acoustic guitar and stripped-down arrangements present fresh takes on the familiar and not-so-familiar. The opening "Interlude" invokes a Brazilian vibe, while Cole Porter's "So In Love" has a subdued hypnotic effect courtesy of McLean's droning accompaniment. 

The funky groove on "If I Had You" shows off Ruble's swinging capabilities. "Skylark" floats along with a carefree momentum. Jim Gailloreto's well-placed alto flute fills complement Ruble's unhurried phrasing and McLean's sympathetic comping. "Always Something There to Remind Me" opens with percussionist Geraldo De Oliveira's fine-tuned congas before Ruble explores the familiar Burt Bacharach staple. 

The tension-building, folk-rock sensibilities of "Lazy Afternoon" contrast nicely with the straight-ahead, strolling duet between Ruble and bassist Larry Kohut on "It's Magic." Kohut's playing throughout is inventive while maintaining solid support. Pianist Jo Ann Daugherty adds a lyrical presence, especially on the sensitive piano/voice duet "This Nearly Was Mine." Drummer Tim Davis provides a solid, low-profile pocket. This Is A Bird is an impressive debut from a fresh voice worthy of wider recognition.~ John Barron http://www.allaboutjazz.com/this-is-a-bird-alison-ruble-origin-records-review-by-john-barron.php

Personnel: Alison Ruble: vocals; John McLean: guitar; Jo Ann Daugherty: piano; Jim Gailloreto: soprano saxophone, alto flute; Larry Kohut: string bass, chapman stick; Tim Davis: drums; Geraldo De Oliveira: percussion.

This Is a Bird

Jackie McLean - Capuchin Swing

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 40:38
Size: 93,9 MB
Art: Front

(9:34)  1. Francisco
(7:33)  2. Just For Now
(4:23)  3. Don't Blame Me
(8:13)  4. Condition Blue
(6:10)  5. Capuchin Swing
(4:44)  6. On The Lion

One of Jackie McLean's more underrated albums from a plethora of Blue Note releases, 1960's Capuchin Swing finds the bebop alto saxophonist in fine form on a mix of covers and originals. While his future fascination with Ornette Coleman's free-form innovations can be sensed in some of the solos here, the majority of the album is in a classic hard bop vein. Like contemporaries Hank Mobley, Sonny Clark, and Lee Morgan, though, McLean doesn't just churn out pat jam-session fare, but comes up with consistently provocative charts and solos. Eschewing ballads, McLean focuses on mid- to fast-tempo swingers and blues. Standouts include originals like "Francisco" and "Condition Blue" and choice renditions of "Just for Now" and "Don't Blame Me." McLean enlists a sparkling lineup of hard bop stars, including trumpeter Blue Mitchell, pianist Walter Bishop, Jr., bassist Paul Chambers, and drummer Art Taylor. Mitchell particularly impresses, matching many of McLean's own inspired flights with his supple and progressive playing. Along with other fine Blue Note titles like Jackie's Bag and Bluesnik, Capuchin Swing makes for a great introduction to McLean's extensive catalog. ~ Stephen Cook http://www.allmusic.com/album/capuchin-swing-mw0000224154

Personnel: Jackie McLean (alto saxophone); Blue Mitchell (trumpet); Walter Bishop Jr. (piano); Paul Chambers (bass); Art Taylor (drums).

Capuchin Swing

Freddie Hubbard - Breaking Point!

Styles: Trumpet Jazz
Year: 1964
File: MP3@320K/s
Time: 46:55
Size: 107,8 MB
Art: Front

(10:19)  1. Breaking Point
(10:58)  2. Far Away
( 6:24)  3. Blue Frenzy
( 3:18)  4. Blue Frenzy (alternate take)
( 6:25)  5. D Minor Mint
( 6:08)  6. Mirrors
( 3:21)  7. Mirrors (alternate take)

Immediately after leaving Art Blakey's Jazz Messengers, trumpeter Freddie Hubbard formed his own quintet and set the modern jazz world on its collective ear with this incredible album. Beyond hard bop and into early creative territory, Hubbard explored a sonic deliverance based on his fiery personality and a refusal to stand still or be satisfied with standardized phrasings and nomenclature. 

His effective teaming with the unique alto saxophonist James Spaulding and pianist Ronnie Mathews is particularly telling, as this set of Hubbard originals and one from drummer Joe Chambers constitutes some of the most powerful jazz music of this time period. The expansive style of Andrew Hill is identifiable especially during the title track, with the piano of Mathews leading a startling charge of several short and swift mini-theme clarion bursts, moving into calypso. This is one of the more astonishing pieces ever conceived in modern music. "Blue Frenzy" and "D Minor Mint" both display uncanny original themes within mainstream frameworks, bearing the stamp of Hubbard's fierce approach to post-Dizzy Gillespie-type trumpet. 

The former piece is an easy 24-bar blues activated into cool constraints via the style of Horace Silver but fired up by the antics of Mathews, while the latter track sports a chatty melody, humorously cackling onward. "Far Away" is the most intriguing piece rhythmically and sonically, moving from 6/4 and 3/4 to 12/6, again similar to Andrew Hill's harmonic concept with Spaulding's piquant flute accenting a hip, agile melody. The pure energy Hubbard injected into this ensemble, and the sheer originality of this music beyond peers like Miles Davis and Lee Morgan, identified Hubbard as the newest of new voices on his instrument. Breaking Point has stood the test of time as a recording far ahead of mid-'60s post-bop, and is an essential item for all listeners of incendiary progressive jazz. 

[Some reissues offer alternate takes of "Blue Frenzy" and the pretty Joe Chambers composition "Mirrors," wavering via Spaulding's flute, a reaching-for-the-stars ballad that has become a standard.] ~ Michael G.Nastos http://www.allmusic.com/album/breaking-point!-mw0000263635

Personnel: Freddie Hubbard (trumpet); James Spaulding (flute, alto saxophone); Ronnie Mathews (piano); Eddie Khan (bass instrument); Joe Chambers (drums).

Breaking Point!

Frank Vignola & Vinny Raniolo - Swing Zing

Styles: Guitar Jazz
Year: 2015
File: MP3@320K/s
Time: 49:24
Size: 123,0 MB
Art: Front

(3:08)  1. Cheek to Cheek
(2:22)  2. The Best Things in Life Are Free
(3:47)  3. September Song
(3:53)  4. Cry Me a River
(4:22)  5. Joseph Joseph
(2:05)  6. I'm Getting Sentimental Over You
(4:30)  7. All the Things You Are
(3:59)  8. Do You Know What It Means to Miss New Orleans
(4:34)  9. Whispering
(3:56) 10. Sleepytime Gal
(3:01) 11. Stardust
(4:35) 12. Tico Tico / Djangomania
(5:06) 13. Peg O My Heart / I'm Confessin'

When a press release accompanying a new album conveys more information than is found on the album itself, the supposition must be that it was recorded hurriedly with an eye toward a similarly expeditious release. Swing Zing! pairs the estimable guitarists Frank Vignola and Vinny Raniolo, who've been working together for more than five years, with half a dozen guests who are identified on the album (and in the press release) by name but not by instrument. Three of them Bucky Pizzarelli, Julian Lage and Gene Bertoncini are definitely guitarists. At least one of the others Olli Soikkeli, Audra Mariel, Gary Mazzaroppi must be a bassist, or doubles on it, as a bass seems to be present on several tracks. On the other hand, it could be a bass guitar or even a regular guitar played as a deep-throated rhythm instrument, a la Freddie Green. Sure sounds like a bass, though.

It's clear that Mariel is a vocalist, as she sings (quite well) on the Jerome Kern standard "All the Things You Are." As Mazzaroppi is also listed on that track, perhaps he's the mystery bassist (there's a photo inside the album cover of someone playing bass but he isn't identified by name). The problem is, Mazzaroppi's not noted as present on the other numbers that seem to include a bass including the upbeat opener, Irving Berlin's "Cheek to Cheek." Soikkeli sits in on "Joseph Joseph," Bertoncini on "Whispering," Lage on "Sleepy Time Gal," Pizzarelli on "All the Things" and the closing medley, "Peg O' My Heart" / "I'm Confessin.'" The solo order for any of the tracks is not given, nor is there any hint as to the speaker (left or right) through which anyone can be recognized. We are told that Lage plays the lead, Vignola the rhythm on "Sleepy Time Gal" and (for some reason) that Pizzarelli plays a 1947 D'Angelico. Otherwise, as all guitars sound basically alike to some people (not mentioning any names), that makes any individual appraisals rather improbable.

Suffice to say that everyone on the album acquits himself (or herself) well, leaving no room for complaint about the music itself aside from the fact that it is rather guitar-heavy. For those who appreciate the sound of a well-strummed guitar, that should pose no problem. As for the swing quotient, it remains fairly high throughout, reaching its apex on the medley of "Tico Tico" and "Djangomania," taken at breakneck speed by Vignola and Raniolo. Elsewhere, the music is time-tested and should be familiar to most listeners, comprising as it does "The Best Things in Life Are Free," "September Song," "Cry Me a River," "I'm Getting Sentimental Over You," "Do You Know What It Means to Miss New Orleans" and "Stardust." No surprises there. In spite of the lack of information offered, Swing Zing! is an enjoyable album of guitar-soaked jazz that should please fans of the instrument in general and the Vignola / Raniolo tandem in particular. ~ Jack Bowers http://www.allaboutjazz.com/swing-zing-frank-vignola-fv-records-review-by-jack-bowers.php

Personnel: Frank Vignola: guitar; Vinny Raniolo: guitar; Special guests – Bucky Pizzarelli: guitar; Olli Soikkeli: guitar; Julian Lage: guitar; Gene Bertoncini: guitar; Audra Mariel: guitar; Gary Mazzaroppi: guitar.

Swing Zing

Monday, September 14, 2015

Woody Mann, Bob Brozman - Get Together

Bitrate: MP3@320K/s
Time: 43:02
Size: 98.5 MB
Styles: Acoustic guitar, Folk-blues
Year: 2011
Art: Front

[2:20] 1. Heading Uptown
[3:50] 2. Cat Burglar
[5:32] 3. The Abyss
[4:02] 4. Through The Alley
[2:56] 5. It Happened In Monterey
[2:21] 6. Struttin' In Times Square
[2:37] 7. Danca Do Gato
[2:50] 8. An American Suite (Tampa Slow Grind)
[3:32] 9. An American Suite Where The Southern Cross The Dog
[3:51] 10. An American Dream-Bentonia Dreams
[1:35] 11. An American Dream-Relocating To Chicago
[2:09] 12. An American Dream (Death Don't Have No Mercy)
[2:13] 13. An American Dream (Minglewood Memories)
[2:23] 14. An American Dream-Moonlight Kisses Over Brooklyn
[0:43] 15. Hidden Track

Bob Brozman and Woody Mann collaborate on a rich, bluesy album - available only in Europe and online! Call it world music with Mississippi roots, or new age with grit, this album has the percussive drive of 1920s bluesman Charley Patton, the haunting strains of a Gary Davis spiritual, a hint of Portuguese fado, oldtime boogie, swing, gypsy waltz, and exuberant jazz. What a feast!

This album was recorded on a rare analog two-inch EIGHT-track (24 tracks are standard) machine, enabling huge dynamic range and richness, since each guitar has a full one-inch width of tape. The instruments were chosen carefully, and the sonic qualities are very rich. Musically, GET TOGETHER is the collaboration of two independent masters of their art, who had nothing to prove at all, thus opening the door to really tasteful musical exchanges. Bob and Woody, who grew up near each other in New York, but never met until the 1990s, were both heavily influenced by pre-war delta Blues, ragtime and jazz, and went on to explore other related and more distant forms of music. This album is a blend of all of those influences, combined with a relaxed mastery of tone and groove. A variety of great vintage and new acoustic instruments were used in the recording, contributing to many of the deep and interesting moods and grooves on the disc.

In 1998, Bob and Woody, having each taught at guitars camps in the past, brainstormed together and came up with the ideas for their own program: International Guitar Seminars. The idea was to have a concentrated musical week of learning and sharing music in a university setting, with master-level teachers, with limited class sizes, and have it all run by musicians for musicians. There have been sessions in New York and California annually since 1999, which have created a wonderful community of supportive musical friends. One of the great things about IGS is the non-competitive atmosphere which encourages and enhances the pleasures of jamming with other players.

Get Together

Carin Lundin - Songs That We All Recognize

Bitrate: MP3@320K/s
Time: 46:57
Size: 107.5 MB
Styles: Jazz vocals, Standards
Year: 2005
Art: Front

[4:00] 1. Ain't That Love
[6:04] 2. Jumbo Little Girl Blue
[3:15] 3. Swing Time Pick Yourself Up
[3:59] 4. Secret Love
[4:23] 5. Take Your Time Blues
[3:45] 6. Love Me Or Leave Me
[5:14] 7. I'll Be Around
[3:33] 8. Them There Eyes
[3:49] 9. Available
[5:07] 10. You Look Like Someone
[3:41] 11. Bells Are Ringing The Party's Over

The title promises musical comfort food, and that's what this album delivers. No more, no less. Songs That We All Recognize is a well-assembled album of mostly standards that takes no chances, offers no unexpected curves and avoids any disappointments for listeners seeking low-key acoustic straight-ahead jazz. Swedish vocalist Carin Lundin's third album is in the same league with discs such as Diana Krall's The Girl In The Other Room, although Lundin doesn't have quite the same velvet quality to her vocals or arrangements.

Lundin occupies the lower end of the midrange without much variance, sounding more professional than passionate, which is not necessarily a drawback for listeners who are into an even-handed approach. But her treatments can sound rather sterile compared to the original versions and other interpreted arrangements. Perhaps it shouldn't be surprising the most attention-getting songs turn out to be Lundin originals. "Take Your Time Blues" is plodding in pace, but strong in intensity as she and Lundgren both add a dash of audio color to their pitch, giving the sense a real conversation is occurring. "Available" is a dark ballad where Lundgren and bassist Mattias Welin knock a few dents in the passive listening experience with some low-end rumbles.

Songs That We All Recognize is solid enough, fulfilling its apparent intent, but the recording falls in a vast middle ground. Those familiar with similar albums will be hard-pressed to find enough uniqueness or artistry to make it worthy of adding to a collection. It's worth noting there are absolutely no Swedish qualities to this album, a disappointment for those used to Scandinavian jazz on the intellectual cutting edge, but perhaps a benefit to her fellow countrymen if they haven't had ample chance to hear standards stripped of modernistic accents. ~Mark Sabbatini

Carin Lundin: vocals; Jan Lundgren: piano; Mattias Welin: bass; Daniel Fredriksson: drums.

Songs That We All Recognize

Ike Quebec - The Complete 45 Sessions (2-Disc Set)

During his comeback years (1959-62) after a decade mostly off the scene, tenor saxophonist Ike Quebec recorded frequently for Blue Note. He started off with a session aimed at the 45 jukebox market and, although he eventually made a few full-length albums for the label, Quebec cut four 45 dates over a two-and-a-half-year period. This double-disc set has all of the jukebox sessions. Most of the 26 selections clock in between four and seven minutes and have long melody statements in addition to concise and soulful solos. Quebec, who was in consistently prime form during his last period, is joined by groups featuring either Skeeter Best or Willie Jones on guitar and Edwin Swanston, Sir Charles Thompson, or Earl Van Dyke on organ. Fun, loose and highly enjoyable music. ~Scott Yanow

Album: The Complete 45 Sessions (Disc 1)
Bitrate: MP3@320K/s
Time: 66:52
Size: 153.1 MB
Styles: Hard bop, Saxophone jazz
Year: 2005

[4:39] 1. A Light Reprieve
[6:17] 2. Buzzard Lope
[5:05] 3. Blue Monday
[4:34] 4. Zonky
[4:37] 5. Later For The Rock
[4:19] 6. Sweet And Lovely
[6:53] 7. Dear John
[5:05] 8. Blue Friday
[4:32] 9. Everything Happens To Me
[6:13] 10. Mardi Gras
[4:07] 11. What A Diff'rence A Day Makes
[4:12] 12. For All We Know
[6:13] 13. Ill Wind

The Complete 45 Sessions (Disc 1)

Album: The Complete 45 Sessions (Disc 2)
Bitrate: MP3@320K/s
Time: 62:21
Size: 142.8 MB
Styles: Hard bop, Saxophone jazz
Year: 2005
Art: Front

[6:03] 1. If I Could Be With You (One Hour Tonight)
[5:34] 2. I've Got The World On A String
[5:12] 3. Me 'n' Mabe
[6:38] 4. Everything Happens To Me
[2:58] 5. All Of Me
[3:46] 6. Intermezzo
[3:45] 7. But Not For Me
[3:55] 8. All The Way
[5:59] 9. How Long Has This Been Going On
[3:56] 10. With A Song In My Heart
[5:09] 11. Imagination
[4:33] 12. What Is There To Say
[4:45] 13. There Is No Greater Love

The Complete 45 Sessions (Disc 2)

Eric Divito - Breakin' The Ice

Bitrate: MP3@320K/s
Time: 61:33
Size: 140.9 MB
Styles: Guitar jazz
Year: 2012
Art: Front

[6:14] 1. Like Minded
[5:46] 2. Layin' It
[6:05] 3. Breaking The Ice
[7:39] 4. For Maria
[6:29] 5. From An Old Sketch
[3:30] 6. Time Remembered
[5:45] 7. Pass' Time
[6:51] 8. Tango
[5:53] 9. Shoot The Messenger
[7:16] 10. Her And Hymn

In the midst of a busy career as working musician and educator, New York guitarist/composer Eric DiVito has finally carved out the time to make his recording debut as a leader. "Breaking the Ice," a quartet date co-produced by DiVito with Portland pianist/arranger Ezra Weiss and veteran jazz producer/promoter Todd Barkan.

“One of the most totally unexpected and pleasant surprises of my last 30 years of jazz production has been the constant smile to be regularly experienced in Eric’s consistently uplifting compositions, arranging, and guitar playing,” says Barkan.

The 31-year-old Long Island native chose to feature his original compositions with trio or quartet comprised of tenor and soprano saxophonist Jake Saslow, a friend and colleague since high school days; acoustic bassist Corcoran Holt alternating with Motohito Fukushima on electric; and Israeli-born drummer Nadav Snir-Zelniker. DiVito’s solo performance of “Time Remembered,” the Bill Evans classic and the album’s only nonoriginal, is played classical-style on a nylon-string guitar.

Throughout, DiVito draws on his command of both jazz and classical guitar styles, as well as on his interests in jazz and pop composition, to create a wonderfully varied program—from the “dizzy, hectic feel” of the opener “Like Minded,” to the ballads “For Maria” (written for his wife of five years) and “Her and Hymn” (partially inspired by Joni Mitchell), to the gently swinging “Pass’ Time” (for Joe Pass, one of his heroes) and high-energy “Shoot the Messenger” (for Art Blakey).

Breakin' The Ice

Daryl Sherman - Look What I Found

Styles: Vocal And Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 63:19
Size: 146,0 MB
Art: Front

(4:18)  1. Cheek To Cheek
(4:50)  2. Lazy In Love
(2:58)  3. Music Makes Me
(2:43)  4. Any Old Time
(2:41)  5. Simple As That
(5:57)  6. There's A Lull In My Life
(4:32)  7. Knock Me A Kiss
(2:55)  8. Many A New Day
(3:28)  9. Look What I Found
(4:15) 10. This Will Make You Laugh
(2:30) 11. Something Brazilian
(6:24) 12. I Was Wrong
(3:02) 13. Why Do I Love You
(5:04) 14. This Is New
(4:12) 15. I Never Knew (That Roses Grew)
(3:21) 16. Things Are Looking Up

Daryl Sherman's relaxed and straightforward approach to singing, paying attention to the meaning of the lyrics but always swinging, is quite winning. Whether being lyrical on "Any Old Time" or saucy on "Knock Me a Kiss," Sherman is in delightful form throughout this set, and she contributes two fine originals, "Simple as That" and the humorous (if sad) "Something Brazilian." A major asset to the CD are the arrangements of Dan Barrett, which utilize his trombone, trumpeter Randy Sandke, four reeds (Jerry Dodgion, Ken Peplowski, Scott Robinson and Chuck Wilson) and a fine rhythm section (guitarist Bucky Pizzarelli, pianist John Bunch, bassist Boots Maleson and drummer Klaus Suonsaari) quite colorfully. 

The reeds all double and sometimes triple (Scott Robinson's bass clarinet is quite atmospheric), and a variety of instrumentation is used: "Any Old Time" is taken as a Sherman duet with Pizzarelli, "Many a New Day" finds the singer accompanied only by bassist Maleson, "Things Are Looking Up" (one of a few numbers on which Daryl herself plays piano) is taken solo, and she forms an appealing duo with Barrett on "Why Do I Love You." 

All of the horn players have their spots and, most importantly, Daryl Sherman is perfectly suited for the material. Recommended. ~ Scott Yanow http://www.cduniverse.com/productinfo.asp?pid=1116654&style=music&fulldesc=T

Personnel: Daryl Sherman (vocals, piano); Bucky Pizzarelli (acoustic guitar, electric guitar); Chuck Wilson (flute, clarinet, soprano saxophone); Ken Peplowski (clarinet, tenor saxophone); Scott Robinson (soprano saxophone, baritone saxophone); Randy Sandke (trumpet); Dan Barnett (trombone, piano); John Bunch (piano); Klaus Suonsaari (drums, percussion).

Look What I Found

Dick Hyman - Provocative Piano, Vols.I & II

Styles: Piano Jazz
Year: 2014
File: MP3@320K/s
Time: 75:23
Size: 173,2 MB
Art: Front

(3:15)  1. Cumana
(2:55)  2. Near You
(2:22)  3. Polonaise (in A-flat Major)
(3:17)  4. Autumn Leaves
(2:24)  5. Tchaikovsky: Piano Concerto No.1
(3:23)  6. Canadian Sunset
(3:33)  7. Warsaw Concerto
(3:05)  8. Sunrise Serenade
(3:06)  9. Miserlou
(3:20) 10. Chopin: Nocturne in E-flat
(3:01) 11. Nola
(3:21) 12. Autumn Nocturne
(3:49) 13. Voodoo Moon
(3:11) 14. Moonglow/Theme from 'Picnic'
(3:18) 15. Kitten on the Keys
(2:50) 16. Snowfall
(2:25) 17. The Sabre Dance
(4:18) 18. Deep Purple
(2:57) 19. Boogie Woogie
(2:50) 20. Soft Summer Breeze
(3:05) 21. Heart and Soul
(3:45) 22. Liebestraum
(3:29) 23. Theme from 'The Apartment'
(2:14) 24. Mack the Knife

A very versatile virtuoso, Dick Hyman once recorded an album on which he played "A Child Is Born" in the styles of 11 different pianists, from Scott Joplin to Cecil Taylor. Hyman can clearly play anything he wants to, and since the '70s, he has mostly concentrated on pre-bop swing and stride styles. Hyman worked with Red Norvo (1949-1950) and Benny Goodman (1950), and then spent much of the 1950s and '60s as a studio musician. He appears on the one known sound film of Charlie Parker (Hot House from 1952); recorded honky tonk under pseudonyms; played organ and early synthesizers in addition to piano; was Arthur Godfrey's music director (1959-1962); collaborated with Leonard Feather on some History of Jazz concerts (doubling on clarinet), and even performed rock and free jazz; but all of this was a prelude to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect Jazz Repertory Quintet (1976), and started writing soundtracks for Woody Allen films.

He has recorded frequently during the past several decades (sometimes in duets with Ruby Braff) for Concord, Music Masters, and Reference, among other labels, and ranks at the top of the classic jazz field. In 2013, Hyman teamed up with vocalist Heather Masse for a set of standards on the Red House label called Lock My Heart. ~ Scott Yanow http://www.allmusic.com/artist/dick-hyman-mn0000211424/biography

Provocative Piano, Vols.I & II

Lorraine Desmarais - Couleurs De Lune

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 48:22
Size: 111,0 MB
Art: Front

(5:08)  1. Couleurs de lune
(5:15)  2. Forever Young
(5:22)  3. Rose
(5:37)  4. How Can You Miss a Fruit Salad?
(5:03)  5. Largo
(4:40)  6. Weekend à Toulouse
(3:54)  7. Alberto
(4:07)  8. Bolero
(3:54)  9. Tsai-Tsien!
(5:17) 10. Danny Boy (Londonderry Air)

Beyond the seas and the mountains, the moon shines brightly...All throughout the creative process surrounding this musical journey, the moon was my confidant. When it was romantic, it called forth my Latin influences. When it was full, its energy filled me with jazzy rays of light. Moon dust's peace and quiet also led my fingers to give birth to rather unprecedented harmonies. I cannot promise you the moon but... when you listen to this album filled with jazz and Latin ambiances, may this celestial body inspire you and fulfill your whimsical musical dreams. ~ Editorial Reviews http://www.amazon.com/Couleurs-De-Lune-Lorraine-Desmarais/dp/B007ED6T6K

Personnel: Lorraine Desmarais (piano); Frédéric Alarie (double bass); Camil Bélisle (drums).

Couleurs De Lune

Buddy Greco - Swing in the Key of Buddy Greco

Styles: Vocal And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 71:02
Size: 184,9 MB
Art: Front

(2:37)  1. A Lovely Way To Spend An Evening
(3:19)  2. She Loves Me
(2:46)  3. Lover Come Back To Me
(3:18)  4. The Lady Is A Tramp
(2:50)  5. Passing Pastels
(2:26)  6. Around The World
(2:49)  7. Sweet Georgia Brown
(3:45)  8. The More I See You
(2:59)  9. Body And Soul
(2:58) 10. So Danço Samba
(2:15) 11. Like Young
(5:56) 12. Nat Cole Medley
(4:19) 13. Jada
(3:27) 14. Our Love Is Here To Stay
(2:39) 15. Straighten Up And Fly Right
(3:19) 16. Gee Baby Ain't I Good To You
(3:43) 17. Roses Of Picardy
(6:15) 18. Misty
(1:42) 19. Ooh Look-A-There Ain't She Pretty
(3:01) 20. That's Life
(4:30) 21. MacArthur Park

Known by his colleagues as a "singer's singer" and a "musician's musician," Buddy Greco has sold more than one million records. He is well-known for releasing songs from every genre, from jazz to country to pop music. He has performed on stage, on film and on television. Born Armando Greco in Philadelphia, Buddy Greco began singing and playing the piano at the age of four. He used his talents performing on the radio. By the age of 16 Buddy Greco had more than a decade of musical experience behind him. He was playing in the nightclub Philadelphia's Club 13 when he was spotted by Benny Goodman. Bandleader Benny Goodman was impressed by Buddy Greco's talents and hired him as a pianist, a singer and an arranger. At the age of 16 Buddy Greco was traveling the world with one of the most popular big bands of the '30s, the Benny Goodman Band. He stayed with the band for four years.

At the ripe age of 20 Buddy Greco decided to pursue a solo professional music career. He began singing and performing in nightclubs and concerts. Some of his hit recordings include the popular favorites "Oh Look at Her, Ain't She Pretty," "The Lady Is A Tramp" and "Around the World." During his musical career he has made more than 65 albums including an album of he and the London Symphony Orchestra, in which he conducted and played. In the '60s Buddy Greco's music career had been very successful. He appeared with the popular '60s rock group the Beatles in a performance for Queen Elizabeth the second. It was also in the '60s when Buddy Greco seriously began a career in film and television. In 1967 he was a regular performer on the TV series Away We Go. This nationwide television program gave Buddy Greco enormous exposure as a talented singer and pianist. He followed this series with a part in the 1969 film, The Girl Who Knew Too Much. His talents have taken him to great heights recording more than 100 hit singles. During the '70s and '80s, Buddy Greco concentrated on recording and performing. His hits included jazz, country and pop music. Audiences are astounded at the many styles of Buddy Greco.

Even after more than four decades of performing, Buddy Greco still remains one of the most widely-known singers of his time. In the early 90s he toured with "The Salute to the Benny Goodman Band." The ensemble performed 72 shows, each garnering a standing ovation. He performed for two years at The Desert Inn Hotel in Las Vegas and in 1996 ended two world tours at Café Royale in London. With all his musical credits, Buddy Greco is an inductee of the Philadelphia Music Alliance's Walk of Fame and has entries in both the Encyclopedia of Great Musicians and the Encyclopedia of Great Jazz Singers and Musicians. Buddy Greco's musical abilities live on in his more than 60 albums and more than 100 hit singles. He writes and records scores for film and television.~ Kim Summers http://www.allmusic.com/artist/buddy-greco-mn0000638960/biography

Swing in the Key of Buddy Greco

Eric Marienthal & Chuck Loeb - Bridges

Styles: Contemporary Jazz
Year: 2015
File: MP3@320K/s
Time: 55:28
Size: 127,3 MB
Art: Front

(6:04)  1. Westward
(4:47)  2. Crossing
(5:40)  3. Puentes
(6:42)  4. Last Minute Blues
(3:28)  5. Daily Bread
(5:58)  6. Lucky Southern
(5:53)  7. Salamanca
(4:51)  8. Duality
(5:50)  9. Sun Rays
(6:11) 10. Noir

What happens when the guy manning the guitar seat in Fourplay meets up with the erstwhile sax guy for the Jeff Lorber Fusion? More than what you might expect. In fact, Eric Marienthal (the sax guy) and Chuck Loeb (the guitar guy) both defy and go beyond expectations on the surprisingly eclectic and entertaining Bridges. Marienthal re-teams with Loeb since his last solo album, It's Love (eOne, 2012) and this collaboration is one of the rare pairings where musicality takes precedence over throwing some "names" together and see if anything of interest happens (too often nothing does). These are two artists who are the quintessential "oh yeah, them too" names who get overlooked whenever lists are made of the best musicians on their respective instruments of choice. That's an oversight which Bridges will correct. Don't make the mistake of assuming this is more smooth jazz sludge or jazz fusion fuzziness. This is not that nor any other sub-category of jazz. It's only jazz and that's all it aspires to be.

Marienthal and Loeb lead a tight band with bassist John Patitucci, drummer Byron Landham and percussionist David Charles locking down the rhythm. Loeb takes a few laps around the Pat Metheny track on tunes like "Westward" while Marienthal takes an understated approach at times then alternates to fiery soloing that never stays into excess. That's always an assumed risk when musicians whose claim to fame is outside of straight-ahead jazz. They overplay which is frenzied or underplay which is dull. Neither of those missteps are made here as the formulas and fall backs are tossed out. There are no cover tunes (unless you count one byJim Hall licks while Marienthal seems to have a ball when he solos in for a landing as Patitucci and Landham hold the bottom down. Loeb last visited this territory with the criminally overlooked Plain n' Simple (Tweety Records, 2011) where he demonstrated how comfortable he is playing it straight, but for the ears of this listener, Marienthal's range of saxophone stylings were a revelation.

Loeb's "Daily Bread" sets the table for a paired-down duet between himself and Marienthal's loney soprano sax and it's lovely and meditative. The aforementioned Jarrett offering "Lucky Southern" opens with Patitucci bass followed by Marienthal, Loeb, Landham and Charles joining in on the fun. By the time the last notes of the bluesy "Noir" fade out there's a whole new appreciation of the versatility amply displayed by the band. When a musician goes above and beyond what is expected from them that is what the idiom is all about. Jazz is not about meeting expectations. It's about exceeding and transcending them and that's what makes this album both exciting and gratifying. Bridges finds Marienthal and Loeb nailing each and every one of those in a tour de force of finesse, artistry and simple old moxie. Highly recommended for both the devout fans of the duo as well as the skeptic with an open mind and responsive ear.~ Jeff Winbush http://www.allaboutjazz.com/bridges-eric-marienthal-shanachie-records-review-by-jeff-winbush.php

Personnel: Eric Marienthal: soprano, alto, tenor & baritone saxophone, flute, clarinet, sax key percussion;  Chuck Loeb: guitars, guitar cajon;  John Patitucci;  Byron Landham: drums;  David Charles: percussion