Bud Shank - Brasamba!

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 35:56
Size: 83,3 MB
Art: Front

(3:54)  1. Brasamba
(4:05)  2. Otem a Note
(4:03)  3. Autumn Leaves
(3:40)  4. Sambinha
(3:59)  5. Gostoso
(3:00)  6. If I Should Lose You
(3:25)  7. O'Barquinho
(2:21)  8. Serenidade
(4:15)  9. Elizete
(3:09) 10. Samba de Orfeu

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before but there's something about this record that really gets the whole thing right as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. 

The added percussion really brings a lot to the set and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall and if you think you might have it under another name, check the song listings because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note". https://www.dustygroove.com/item/655957

Personnel:  Bud Shank - alto saxophone, flute;  Clare Fischer – piano;  Joe Pass – guitar;  Larry Bunker - vibes, drums;  Ralph Pena – bass;  Milt Holland, Chuck Flores - percussion

Brasamba!

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Walt Weiskopf - Man Of Many Colours

Styles: Saxophone Jazz
Year: 2001
File: MP3@VBR~216K/s
Time: 50:33
Size: 74,8 MB
Art: Front

(7:17)  1. Triangle Dance
(7:32)  2. Haunted Heart
(5:41)  3. Together
(7:04)  4. Man Of Many Colors
(7:22)  5. People
(6:47)  6. NYC
(5:33)  7. Petal
(3:13)  8. When Your Lips Meet Mine

Despite the fact that his name doesn’t show up on magazine polls and is equally scarce among those few jazz guide books on the market, make no mistake about the fact that Walt Weiskopf is easily one of the most mature and fully individualistic saxophonists and composers to come along in the last 10 years. Possibly because of the fact that he chooses to work within the mainstream tradition (read: not outlandish enough to appeal to the avant hipsters) and record for the small Dutch-based Criss Cross Jazz label, Weiskopf is not widely known among everyday jazz circles, but it seems that those who have sampled his brilliance are uniformly enthralled with his vociferous approach. Over the course of six previous Criss Cross releases, Weiskopf has shown that he possesses a keen awareness of his own personal muse, both through his saxophone work and his compositional prowess. In fact, his nonet recordings, Song For My Mother and Siren have been universally lauded by jazz journalists and diehard fans for their resourcefulness and innovation. Man Of Many Colors is somewhat unique in that it is Weiskopf’s first quartet recording since 1995’s A World Away, which featured Larry Goldings, Peter Bernstein, and Bill Stewart. This time around it’s a piano trio on board, and a fine one that finds Brad Mehldau mixing things up with bassist John Patitucci and drummer Clarence Penn.

Admittedly a Coltrane disciple, Weiskopf’s tenor speaks in long phrases of a multifarious nature, fluidly executed and with a robust timbre that is immediately satisfying. On “NYC”, Penn sets things up for an up-tempo romp that has Weiskopf chomping at the bit from note one. Throwing off series of notes with machine-gun rapidity, Weiskopf engages in a solo statement that can only be described as his own take on “sheets of sound” methodology. Although he can tear up the changes with ferocity, Walt also has a most affecting way in his delivery of ballad material. With both “People” and “Haunted Heart,” he uses space smartly and alternates the clarion call of his upper register with rapid passages that cover the entire range of the instrument. Previously, Weiskopf has worked with some very strong drummers. Past collaborators like Billy Drummond are used to pushing and prodding a soloist and it is exactly that type of environment that most suits the saxophonist’s forays. Penn is an excellent choice here, as he does much more than merely keep time. “Triangle Dance” is a perfect example of the drummer’s complex interaction with the entire ensemble, switching back and forth between a Latin groove and straightforward swing. 

Not only does Weiskopf seem to respond positively to the affirmative rhythmical environment, but so too does Mehldau, whose own work as a leader seems to lack so much of the energy and forward momentum that the pianist so efficiently displays here. On six originals and the two previous mentioned standards, Weiskopf and crew approach things in a manner that makes this so much more than yet another mainstream recital. It’s all about group interaction and individual expression. But those of us who know Weiskopf via past efforts shouldn’t be surprised. What’s left is for a wider circle of fans to get the message. ~ C.Andrew Hovan http://www.allaboutjazz.com/man-of-many-colors-walt-weiskopf-criss-cross-review-by-c-andrew-hovan.php

Personnel: Walt Weiskopf (tenor sax), Brad Mehldau (piano), John Patitucci (bass), Clarence Penn (drums)

Man Of Many Colours

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Julie Budd - Remembering Mr. Sinatra

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 35:19
Size: 81,2 MB
Art: Front

(2:17)  1. I've Got The World On a String
(4:05)  2. All the Way
(2:43)  3. The Best Is yet to Come
(7:48)  4. Medley:  More Than You Know, The Very Thought of You, The Nearness of You
(3:38)  5. In the Wee Small Hours
(3:56)  6. Come Rain or Come Shine
(4:32)  7. I'm a Fool to Want You
(2:29)  8. Don't Get Around Much Anymore
(3:46)  9. How About You

Julie Budd is one of those enduring talents who has outlived her almost premature early success. Discovered at age 12 in the late 1960s, she played her first engagement in the Catskills that same year, and was appearing on the Merv Griffin Show six months later; she subsequently became a fixture on the talk show and supper club circuits. From her precocious beginnings, co-starring with the likes of Frank Sinatra, Liberace, George Burns, and Bob Hope, Budd developed into a sophisticated interpreter of popular songs, comparable to Sinatra or Torme, playing all of the best venues from Las Vegas to the Catskills. Budd has also done some acting, principally in association with the Circle Repertory Theater and Playwright's Horizons in New York, as well as occasional film appearances, but her main activity in recent years has been her one-woman show, which also yielded her album Pure Imagination, issued in 1997. If You Could See Me Now followed in the spring of 2000. ~ Bruce Eder https://itunes.apple.com/us/artist/julie-budd/id289591689#fullText

Remembering Mr. Sinatra

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VA - Even Better Than The Real Thing Vol. 2

Styles: Pop/Rock, Folk
Year: 2004
File: MP3@VBR ~220K/s
Time: 61:00
Size: 84,0 MB
Art: Front

( 3:25)  1. Juilet Turner - Toxic (Dennis & Davis)
( 4:13)  2. Bell X1 - Like I Love You / Slow (Justin Timberlake & Kylie)
( 2:47)  3. Vyvienne Long - Seven Nation Army (The White Stripes)
( 3:49)  4. The Frames - Everytime (Britney Spears)
( 3:24)  5. The Walls - These Words (Natasha Bedingfield)
( 6:18) 6. Paddy Casey feat. Dublin Gospel Choir - Grandma's Hands / No Diggity (Blackstreet)
( 4:52)  7. Brian Kennedy - Dry Your Eyes (The Streets)
( 3:22)  8. Roesy - Naughty Girl (Beyonce Knowles)
( 4:12)  9. Dublin Gospel Choir feat. Paddy Casey - Saints & Sinners (Paddy Casey)
( 4:02) 10. Mickey Harte - I Don't Want You Back (Eamon)
( 3:28) 11. Ann Blake - Hole In The Head (The Sugababes)
( 2:57) 12. Bic Runga - Sway (Bic Runga)
(14:05) 13. Declan O'Rourke feat. Josh Johnston - See It In A Boy's Eyes (Jamelia) + (Hidden Track: The Bogmen - Hey Ya)

This article is about volume 2 in the charity CD series. For other uses, see Even Better Than The Real Thing (disambiguation). Even Better Than the Real Thing Vol. 2 is an Irish charity album featuring a variety of artists performing acoustic cover versions of popular songs. It was released in 2004 by RMG Chart Entertainment Ltd. Just like volume 1, most of the songs on the album were recorded live and acoustic on The Ray D'Arcy Show on Today FM. The album was made in aid of the National Children's Hospital in Tallaght & Barretstown. https://en.wikipedia.org/wiki/Even_Better_Than_the_Real_Thing_Vol._2

Even Better Than The Real Thing Vol. 2

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Kenny Burrell - Introducing Kenny Burrell: The First Blue Note Sessions (2-Disc Set)

Despite its title, this LP was actually guitarist Kenny Burrell's second Blue Note album, although the first to be released. Teamed with pianist Tommy Flanagan, bassist Paul Chambers, drummer Kenny Clarke and the conga of Candido, Burrell displays what was already an immediately recognizable tone. At 24, Burrell had quickly emerged to become one of the top bop guitarists of the era, and he is in particularly excellent form on "This Time the Dreams on Me," "Weaver of Dreams" and "Delilah." A bonus of this set is a percussion duo by Clarke and Candido on "Rhythmorama." Enjoyable music. ~Scott Yanow

Album: Introducing Kenny Burrell: The First Blue Note Sessions (Disc 1)

Bitrate: MP3@320K/s

Time: 48:53

Size: 111.9 MB

Styles: Guitar jazz

Year: 1956/2000

[4:55] 1. This Time The Dream's On Me

[6:45] 2. Fugue 'n Blues

[4:15] 3. Takeela

[4:40] 4. Weaver Of Dreams

[6:01] 5. Delilah

[6:24] 6. Rhythmorama

[8:03] 7. Blues For Skeeter

[3:58] 8. Get Happy

[3:46] 9. But Not For Me

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Album: Introducing Kenny Burrell: The First Blue Note Sessions (Disc 2)

Bitrate: MP3@320K/s

Time: 68:27

Size: 156.7 MB

Styles: Guitar jazz

Year: 1956/2000

Art: Front

[6:04] 1. Moten Swing

[4:38] 2. Cheetah

[5:50] 3. Now See How You Are

[4:38] 4. Phinupi

[5:09] 5. My Heart Stood Still

[5:09] 6. How About You

[6:19] 7. K.B. Blues

[5:46] 8. D.B. Blues

[9:33] 9. Nica's Dream

[9:02] 10. Out For Blood

[6:12] 11. K.B. Blues

Introducing Kenny Burrell:The First Blue Note Sessions (Disc 1)(Disc 2)

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Susana Sawoff - Bathtub Rituals

Bitrate: MP3@320K/s
Time: 40:19
Size: 92.3 MB
Styles: Jazz vocals
Year: 2015
Art: Front

[4:10] 1. The First Time I Know (Feat Heigl Jonsson)
[4:13] 2. Oh Anthony! (Feat Heigl Jonsson)
[4:12] 3. A Jigsaw Puzzle On Our Love
[3:54] 4. Salt (Feat Heigl Jonsson)
[4:20] 5. How Happy We Are
[3:30] 6. I Love Us
[3:50] 7. Hold Me Through (Feat Heigl Jonsson)
[4:31] 8. After Winter Might Come Fall (Feat Heigl Jonsson)
[3:22] 9. Birds Of Prey
[4:11] 10. I Can't Wait To Be Old (Feat Heigl Jonsson)

Listening to Susana's Album "Bathtub Rituals" is a bit like a musical Join-The-Dots. Eventually the whole picture emerges- and a rather beautiful picture it is. A unique journey to embark on with one trusted travelling companion, Susana's voice: soothing, warm, engulfing, sometimes melancholic but always by your side. The Songs can be described as a blueprint of Susana's microcosm. Its finely chiselled lyrics put the focus on the little things and act as a very personal looking glass on life. This magnification transforms Susana's microcosm into everyone's macrocosm for the length of the album, possibly a lot longer. Sparsely instrumented with only a classic Jazz-Trio setup (piano, bass, drums) and icelandic Guest Musician Helgi Jonsson, the songs achieve greatness through reduction, simmering down to the core of the story. A rare moment of clarity in this over-informed world. A musical calligraphy, if you will. Join the dots.

Susana Sawoff is a Singer and Pianist from Austria who performs throughout Europe with her Austrian-acclaimed colleagues Christian Wendt (Bass&Vocals) and Jörg Haberl (Drums&Vocals). Susana Sawoff has been nominated three times for Austria’s biggest Music-Award, the "Amadeus". She has performed amongst others at: Bix Jazzclub/ Stuttgart, European Jazznights/ Oslo, International Jazzfestival Murszene/ Graz, Opus Jazz Club/ Budapest, Porgy&Bess/ Wien, United Island Festival/ Prag, Jazzkaar Festival/ Estonia, Kaunas Jazz/ Lithuania, JazzGAP/Garmisch-Partenkirchen, Women in Jazz Festival/Halle and at the prestigious "Ö1 Stage" at the "Danube Island Festival". Her Solo Debut Album, Wrapped up in a little Sigh, was sold out and is now in its 3nd Edition. Her Album "Bathtub Rituals" was released on the 12th of June 2015 and is available in CD, VINYL and digital in Germany, Austria, Switzerland and Japan.

Bathtub Rituals

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Bobby Hutcherson - Candy

Bitrate: MP3@320K/s
Time: 79:00
Size: 180.8 MB
Styles: Vibraphone jazz
Year: 2015
Art: Front

[5:20] 1. Stardust
[4:15] 2. Green Dolphin Street
[3:30] 3. Stand By Me
[5:17] 4. Blues In The Night
[2:57] 5. I Don't Want To Cry
[6:07] 6. Stella By Starlight
[4:26] 7. Night And Day
[4:11] 8. Through For The Night
[5:08] 9. Stone Crazy
[2:54] 10. Just Waiting
[4:52] 11. The Way You Look Tonight
[3:48] 12. Deep Fried
[3:17] 13. Nothing But The Truth
[4:54] 14. R. B. Q
[2:53] 15. Laughing Tonight
[5:20] 16. Three-Fourth Blues
[4:57] 17. Something's Got A Hold On Me
[4:46] 18. Boss Tina

Easily one of jazz's greatest vibraphonists, Bobby Hutcherson epitomized his instrument in relation to the era in which he came of age the way Lionel Hampton did with swing or Milt Jackson with bop. He isn't as well-known as those two forebears, perhaps because he started out in less-accessible territory when he emerged in the '60s playing cerebral, challenging modern jazz that often bordered on avant-garde. Along with Gary Burton, the other seminal vibraphone talent of the '60s, Hutcherson helped modernize his instrument by redefining what could be done with it -- sonically, technically, melodically, and emotionally. In the process, he became one of the defining (if underappreciated) voices in the so-called "new thing" portion of Blue Note's glorious '60s roster. Hutcherson gradually moved into a more mainstream, modal post-bop style that, if not as adventurous as his early work, still maintained his reputation as one of the most advanced masters of his instrument. ~Steve Huey

Candy

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Rebecca Sayre - This Is Always

Styles: Vocal Jazz
Year: 2003
File: MP3@320K/s
Time: 48:50
Size: 112,3 MB
Art: Front

(5:03)  1. Everything I Love
(2:57)  2. Sweet Sue, Just You
(2:42)  3. Hey There
(3:01)  4. Perdido
(6:41)  5. What's Your Story, Morning Glory
(4:28)  6. All About Ronnie
(4:14)  7. Just in Time
(2:34)  8. I Get a Kick Out of You
(4:34)  9. This Is Always
(3:15) 10. Who Cares?
(5:30) 11. Out Of This World
(3:46) 12. In the Still of the Night

I would recommend it without hesitation. There are many albums about by much better known singers that do not have the quality of this one. The singer and musicians are first rate". ~ Ray Booth, Jazz Views 

"Sayre's phrasing is utmost perfection, interpreting those great standards written in the first part of the 20th century. She has that fresh mid-western sound of clear channel radio of the early fifties. She sings with a Bobby Short compatibility [and] her style is so reminiscent of that brief era, Mid-Western hipness! !a soothing voice and the makings of a chanteuse. ~ Dick Crockett, 88 7 The Voice

"A beautiful release that is wonderfully produced." ~ Eric Cohen, WAER Syracuse (jazz station of the year)"

"As a singer with BadaBiing BadaBoom, Sayre could snap with sass or slink with elegance. Now on her own, she delves deeper into the tasteful side of cabaret jazz, showing off her sparkling fluid touch with a warm tone and a straight-ahead approach to lyrics in front of a lightly swinging combo. Her recent solo debut, This Is Always, concentrates on romantic chestnuts!"~ Michael McCall, Nashville Scene

"Her voice is light, refreshing and pleasant, with few affectations and a straightforward approach to melody and lyric. The liner notes suggest that a number of the selections were captured on first take, and it shows: the album has a relaxed, confident and comfortable feel."~ J. Robert Bragonier, All About Jazz

Rightly self-assured and possessing a wonderful instrument, she doesn't tell her whole story in one song--or even one listening. "This is Always" is a collection of songs you can curl up with again and again."~ Greg Lee, Program Director WMOT Jazz 89

The jazz vocal idiom is much wider and less stylistically restrictive than some people think. Many examples of this are evident on outstanding singer Rebecca Sayre's fine new CD. Sayre is compelling and credible doing both ballads and rapid-fire material. She can swing, belt out a tune or lay back. Sometimes she's sultry, on other occasions she's demure, but most notably, she ensures through her delivery that listeners fully hear and understand each tune's lyrics, messages and underlying themes. Sayre accomplishes these things without excess volume, wasted mannerisms or exaggerated nuances. In short, she's a complete vocalist, and it's a pleasure to hear her renditions of "Everything I Love", "Perdido", "Who Cares", "I Get A Kick Out of You", and "Out of This World" among others.

While Sayre consistently sparkles, her backing musicians are just as outstanding. The disc spotlights the big-toned, joyous backing and solos of tenor saxophonists Denis Solee and Jeff Coffin, while also including wondrous work by Beegie Adair (piano) and Pat Bergeson (guitar, producing) and things are capped by understated, yet forceful bass and drum interaction by Jerry Navarro and Tommy Giampietro. These players give Sayre ample freedom to take chances while also establishing settings that advantageously frame her vocals. Interestingly, one of the more intriguing debates currently raging in some critical circles ponders whether Norah Jones should be considered a "jazz" vocalist. 

Hopefully, no one will have any doubts about Rebecca Sayre's credentials or inclinations after hearing this wonderful release.~ Ron Wynn, Tennessee Jazz & Blue Society http://www.cduniverse.com/productinfo.asp?pid=7144697&style=music&fulldesc=T

This Is Always

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The Cory Weeds Quintet featuring Steve Davis - Let's Go

Styles: Saxophone Jazz
Year: 2014
File: MP3@VBR ~245K/s
Time: 73:14
Size: 128,7 MB
Art: Front

( 7:25)  1. Tonk
( 9:31)  2. Something Borrowed, Something Blue
( 7:54)  3. Rabbit Run
( 9:14)  4. Thinking of You
( 7:22)  5. Not So Solid
( 9:01)  6. Younger Than Springtime
( 4:41)  7. Let's Go!
( 6:40)  8. Tetracosmos
(11:22)  9. Close To Home

A tenor saxophonist with an expressive sound rooted in Jazz tradition, a label owner tirelessly documenting unsung Jazz heroes, one of Canada’s most important Jazz impresarios, the hardest-working man in Jazz business Cory Weeds is all of these things, and much more. Weeds may be best known as the founder and owner of Cory Weeds’ Cellar Jazz Club in Vancouver, which he successfully ran for more than 13 years. Weeds built the Cellar to become one of North America’s best Jazz clubs, where masters such as George Coleman, Jeff Hamilton, Louis Hayes, David “Fathead” Newman, Dr. Lonnie Smith, and the finest Jazz musicians from Vancouver and across Canada performed before it closed in February 2014.

But he wasn’t just the club owner. As a saxophonist who studied at the University of North Texas and Capilano College, Weeds spent many nights on the Cellar bandstand as a leader and sideman. He held his own when performing with icons like Joey DeFrancesco and Christian McBride. Weeds has also recorded nine albums as a leader, including: Condition Blue, The Music Of Jackie McLean (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth)., As Of Now(with the Harold Mabern Trio), Let’s Go (with Steve Davis), the Juno-nominated Up A Step(Cory Weeds Quartet), With Benefits (with Lewis Nash and Peter Washington), Just Like That(with the Tilden Webb Trio), The Many Deeds of Cory Weeds (with Joey DeFrancesco),Everything’s Coming Up Weeds (with Jim Rotondi), and Big Weeds (with Peter Bernstein, Mike LeDonne, and Joe Farnsworth). In November 2o16 Weeds will release his 10th album: Happy Madness was recorded in L.A. in collaboration with The Jeff Hamilton Trio.

While the Cellar is now a happy memory, the record label Weeds established in 2001 is alive and well. Cellar Live has put out close to 100 recordings, including many that have spent extensive time on the JazzWeek charts, with many more releases planned. In addition to playing on numerous sessions, Weeds has also served as producer on more than 80 recordings.On the presentation front, Weeds founded a new non-profit organization: the Cellar Jazz Society. Dedicated to fostering public education, understanding, and appreciation of Jazz by presenting performances at public venues and educational institutions. CJS did exactly that by presenting its inaugural series of Jazz concerts in April 2014 at Pyatt Hall, a state-of-the-art theatre in downtown Vancouver. The society has since been put on hold as it joins forces with Coastal Jazz to present The Cellar Jazz Series.

Weeds is also programming Jazz at the renowned Francesco’s Restaurant on Burrard Street and a monthly series at The Italian Cultural Center as well as presenting concerts at various other venues around Vancouver under Cory Weeds Presents Beyond Vancouver, Weeds has a strong affinity with New York City. He brought so many of the Jazz mecca’s top players to his club, and has performed, toured, and recorded with many of them. Tapping in to his insider knowledge of the New York scene, he has led the New York With Weeds tour to NYC four times. Weeds leads about 40 Jazz lovers on each tour to Jazz clubs off the beaten track and private recording sessions. The sixth tour will happen in March 2016. Finally, Weeds has also worked as an educator, leading the BC Music Educators Association’s Honour Ensemble, giving clinics, and teaching privately. He has also been a Jazz disc jockey on Vancouver Co-Op Radio. http://coryweeds.com/bio/

Personnel:  Cory Weeds: Tenor Saxophone / Steve Davis: Trombone / Tilden Webb: Piano / Ken Lister: Acoustic Bass / Jesse Cahill: Drums

Let's Go

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Bob James - Two

Styles: Piano Jazz

Year: 1975

File: MP3@320K/s

Time: 38:46

Size: 89,0 MB

Art: Front

(5:53)  1. Take Me To The Mardi Gras

(5:29)  2. I Feel A Song (In My Heart)

(7:24)  3. The Golden Apple

(8:27)  4. Farandole

(5:31)  5. You're As Right As Rain

(6:02)  6. Dream Journey

Bob James largely defined pop/jazz crossover in the '70s. Two, reissued by Koch, is typical of his output. Mixing together aspects of pop, R&B and classical with just a touch of jazz, James (heard throughout on electric keyboards) put the emphasis on catchy melodies and lightly funky rhythms. The results range from insipid to pleasant, with a brass section, a string section, and vocalists (including Patti Austin) utilized to create what is essentially background music. ~ Scott Yanow http://www.allmusic.com/album/two-mw0000649582

Personnel:  Bob James - Electric Piano, Clavinet, Synthesizer (Arp Odyssey), Organ (Yamaha Yc30), Conductor, Arranger;  Eric Gale - Guitar, Bass;  Hubert Laws - Flute, Electric Flute;  Rickie Resnicoff – Guitar;  Gary King – Bass;  Steve Gadd, Andrew Smith – Drums;  Arthur Jenkins, Ralph MacDonald – Percussion;  Eddie Daniels – Clarinet;  Al Richmond, Jimmy Buffington, Peter Gordon - French Horn;Eddie Bert, Tom Mitchell, Wayne Andre, Tony Studd – Trombone;  Alan Shulman, Alla Goldberg, Tony Sophos, George Ricci, Jesse Levy, Seymour Barab, Warren Lash – Cello;  John Frosk, Lew Soloff, Marvin Stamm, Randy Brecker, Victor Paz - Trumpet, Flugelhorn;  Charles Libove, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Cykman, Harry Glickman, Harry Lookofsky, Joe Malin, Matthew Raimondi, Max Ellen, Paul Gershman – Violin;  Patti Austin - Lead Vocals;  Frank Floyd, Lani Groves, Zachary Sanders - Vocals

Two

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The Bennie Maupin Quartet - Early Reflections

Styles: Jazz, Post-Bop
Year: 2008
File: MP3@320K/s
Time: 75:50
Size: 173,8 MB
Art: Front

( 2:36)  1. Within Reach
( 7:46)  2. Escondido
( 2:23)  3. Inside the Shadows
( 8:56)  4. ATMA
( 3:51)  5. Ours Again
(10:13)  6. The Jewel in the Lotus
( 3:07)  7. Black Ice
( 7:48)  8. Tears
( 2:38)  9. Not Later Than Now
( 5:46) 10. Early Reflections
( 7:13) 11. Inner Sky
( 4:23) 12. Prophet's Motifs
( 9:04) 13. Spirits of the Tatras

After establishing his reputation in the 1960s and 1970s with artists including Miles Davis, Andrew Hill and Herbie Hancock, Bennie Maupin mysteriously disappeared for over a decade. Re-emerging in the 1990s, it's still only been recently with the release of the overdue reissue of his 1974 ECM classic, The Jewel in the Lotus in 2007, and his first album as a leader in eight years, the sublime Penumbra (Cryptogramophone, 2006) that the woodwind multi-instrumentalist has returned to greater visibility. Early Reflections's instrumentation may be a more conventional setting than Penumbra's woodwinds/bass/drums/percussion line-up, but it's just as fine, its generally subdued tone broken by occasional bursts of fiery intensity. Like Polish trumpeter Tomasz Stanko who nurtured a young Polish piano trio that has supported him since Soul of Things (ECM, 2000) but has also built its own independent reputation with Trio (ECM, 2005) Maupin has "discovered" an equally fine trio of Polish musicians in pianist Michael Tokaj, bassist Michal Baranski and drummer Kukasz Zyta. 

Like Stanko's find, Maupin's group demonstrates elegant simplicity on the balladic "Inner Sky" and delicately propulsive "Atma." The latter is one of two to feature Hania Chowaniec-Rybka a singer who, despite this being her first improvisational album away from classical and Tatras folk roots, melds beautifully with Maupin's soprano sax, and with his alto flute on the dark-hued closer, "Spirits of the Tatras." Her improvisational prowess during the extended free opening to "Spirits of the Tatras" transcends conventional scatting with the same kind of timbral explorations as innovators including Meredith Monk and Sidsel Endresen. But while its intro is more vibrant in tone, it ultimately morphs into a brooding ballad feature for the impressionistic Tokaj. Solo space abounds on the softly Latin-esque "Escondido," a feature for Maupin's signature bass clarinet; the hauntingly beautiful "Tears," with Maupin again on alto flute; the in-and-out-of-time ballad "Inner Sky"; and a more rhythmically defined waltz-time retake of The Jewel in the Lotus' title track that, beginning in simmering subtlety, turns into a burning modal workout for Tokaj and Maupin's most powerful solos of the set.

Breaking up the extended tracks are four miniature collective improvisations that bear a surprising sense of construction. The opening "In Reach," in particular, demonstrates the kind of deep interaction normally only heard from groups with considerably more than the two years this group has under its belt. Recent years have seen a resurgence of interest in artists who first made their name in decades past. It's only been in the past decade that Tomasz Stanko and Enrico Rava have achieved the international visibility they've always deserved, and Maupin can now be added to that list, thanks to Cryptogramophone. 

Penumbra and the equally outstanding Early Reflections book-end The Jewel in the Lotus a promise Maupin never managed to follow up demonstrating two very different sides and making it clear that he's truly back and better than ever.~John Kelman http://www.allaboutjazz.com/early-reflections-bennie-maupin-cryptogramophone-review-by-john-kelman.php

Personnel: Bennie Maupin: bass clarinet; tenor and soprano saxophones, alto flute; Michal Tokaj: piano; Michal Baranski: bass; Lukasz Zyta: drums, percussion; Hania Chowaniec-Rybka: voice (4, 13).

Early Reflections

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Nicolas Meier - Mr. MoonJune Recommends: Nicolas Meier

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 63:32
Size: 158,9 MB
Art: Front

(4:58)  1. The Wind (Part III The Lightness Of The Wind)
(6:00)  2. October In Ankara
(6:59)  3. Senses
(5:10)  4. Marble Dance
(1:51)  5. Sunset
(6:18)  6. Adiguzel
(6:45)  7. Déjà Vu
(7:57)  8. Breeze
(7:24)  9. Yemin
(5:04) 10. Flight Of The Bumblebee (Adagio)
(5:02) 11. Guidance

In just a few short years UK-based Swiss guitarist Nicolas Meier has carved a reputation out as one of the UK’s most original guitarists. Drawing on a love of Turkish, Eastern music, Flamenco, Tango all mix with jazz, Meier has developed his own unique sound with his regular group (latest release was his eight album with his full band.) See Media page for more details. London based Swiss guitarist Nicolas Meier is one of the stars of a vibrant British jazz scene, his trademark sound, as heard on his Naim albums, a mixture of Methenyesque jazz and spicy Turkish and world music rhythms. While in 2006 Meier and his band won the prestigious Grand Prize Of The Jury and 1st Prize Jazz Guitar at Jazz a Juan Revelations 2006: A competition open to the finest new jazz musicians and bands in Europe and run by the legendary Jazz A Juan Festival. He has become increasingly well known in his adopted country where his Nicolas Meier Group featuring some incredible musicians (listed below) has toured extensively for the last 8 years.

Meier draws on a multitude of influences: Jazz, Flamenco, Latin and middle-eastern music are all passionately explored in a series of heartfelt acoustic modern jazz originals and all represent part of Meier’s musical and personal world. His wife Songul is Turkish and he has spent time there and in Spain and ‘Orient’ draws on the melodies and rhythms of both countries. Writing in the Guardian, John Fordham described Meier as” elegant in tone and bubbling with ideas… his originality as a writer, a player and a team leader dispatches any doubts” and described his debut album Orient as ‘a seductive balance of strong themes, inventive improvising and dynamic variety’. Meier who was born in 73 first picked up the guitar when he was 12. His parents, both art lovers, had wide-ranging musical tastes and he was exposed to classical, jazz, Latin, flamenco, rock and pop. And it was an early gift from his father of Joe Satriani’s legendary ‘Surfing with the Aliens’ and Tony MacAlpine’s Maximum Security (major intelligent rock guitar-god albums) that first really convinced a young Meier to get practicing. Perhaps his old man was worried because he was subsequently taken on a family outing to the Montreux Jazz festival (in what would become an annual pilgrimage) where he heard Carlos Santana with special guest Wayne Shorter. And later that summer Meier was blown away when he saw John McLaughlin’s trio in Antibes (Trilok Gurtu and Jeff Berlin). In fact Mclaughlin’s album Live at the Royal Festival Hall would be a major influence on Meier with its mix of many styles.

Interestingly Meier’s passion for both rock and jazz persists to this day. Something he partly credits to his teacher Francis Coletta (at the Conservatoire Fribourg) who while inspiring a profound love of jazz and world music encouraged the young man to transcribe rock solos as well! In fact Meier is one of the rare musicians who plays both metal and jazz and has written books on both : ‘Heavy Metal part I: Rhythm Guitar’ and ‘Jazz part I: Chord Tones’. Both published by «www.ibreathemusic.com ». Meier states of his two seemingly divergent loves :“I deeply love both styles. There is magic in each style that the other one doesn’t have. I just love metal’s power and energy and at the same time I love jazz’s deep emotion. Both styles can give high energy but in different directions or different worlds”.

Meier studied arranging with Max Jendly and Francis Boland before earning a scholarship to Berklee in Boston, USA and immersing himself in classic Amercian jazz (Parker, Coltrane, Miles etc) and playing acoustic jazz and fusion. He graduated and returned to Switzerland in 98 and formed the « Meier Group » who became festival regulars and he jammed in Montreux with the likes of Rachelle Ferrel, George Duke, Macy Gray and Will Calhoun. But Meier missed the vibe of Boston, the energy of America and looking around for somewhere that combined European culture and American ‘drive’ he settled on London as the perfect synthesis. Arriving in London Meier met drummer Asaf Sirkis who he credits with helping open his ears to Middle-Eastern music as well as helping him find his feet in London. “He is such a passionate player that I just had to keep playing with him whenever I could and I met Gilad Atzmon through him and many other great players”.

Meier’s Turkish wife Songul is a major influence on his music with the composition Last Rose on his debut album Orient a passionate tribute to her and his new album Silence Talks closes with A Rose In The Pyrenees remembering a happy holiday together. And they have travelled together in her home land. “I fell in love with Turkish rhythms, their instruments, their traditional songs and even their pop music which is very different to western pop drawing on eastern influences’ Other influences include pianist Chick Corea (who moves effortlessly between fusion and acoustic contexts) and of course Pat Metheny (who isn’t? asks Meier) but also the classic guitar album “Friday Night in San Francisco” by Al Di Meola, Paco de Lucia and John McLaughlin.“I loved all the styles they were playing, Latin and tango with Al, Flamenco with Paco, and Indian music with John. Which is one of the reasons that I love all these styles of music and wanted to explore them on this album.”He also cites the great Flamenco guitarist Tomatito as an influence from time spent in Sevilla and Barcelona with his friend and piano player Jose Reinoso.

Meier’s sound is rooted in his love of playing jazz on acoustic guitar, especially his Godin nylon string guitar. It’s a sound that lends itself especially to flamenco and middle-eastern music and it’s all these influences and more that Meier has so brilliantly fused together in his music. He also plays fretless acoustic guitar, which sounds something like a cross between an acoustic guitar and the oud (an Arabic stringed instrument) and the Saz, a traditional Turkish instrument. While his new album also features fretted and steel guitars, Godin glissentar (11 stringed insturment) and a baglama. As well as leading his own band, Meier has worked with the likes of Harry Beckett, Dave O’Higgins, John Etheridge, Gilad Aztmon, Renato D’Aielo and Deidre Cartwright. He has also recorded “Guidance” featuring Vivaldi’s 4 Seasons with a guitar orchestra (acoustic, electric & synth guitars) for American Classical label Centaur and he continues to lead “Seven7” his nu-metal band as after two full length albums which have had outstanding reviews, will be back performing this summer www.seven7.name. Meier is a guitar tutor at Goldsmiths University and at the “Academy of Contemporary Music” in Guildford. http://www.truthinshredding.com/2014_12_10_archive.html

Mr. MoonJune Recommends: Nicolas Meier

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Ernie Wilkins & His Orchestra - Hard Mother Blues

Bitrate: MP3@320K/s
Time: 34:20
Size: 78.6 MB
Styles: Jazz/Funk/Soul
Year: 1970/2007
Art: Front

[3:19] 1. Evil Ways
[2:33] 2. Midnight Hour
[3:04] 3. Dock Of The Bay
[2:55] 4. Funky Broadway
[4:14] 5. I Can T Make It
[3:58] 6. Big Foot Country
[2:38] 7. Next Year S Blues
[2:12] 8. Respect
[3:20] 9. Thank You
[3:25] 10. No Money Blues
[2:37] 11. Spoonful

Bass – Chuck Rainey; Drums – Grady Tate; Guitar – Arthur Bitker, Billy Butler, Dave Spinosa, Lionel Chamberland; Piano – Frank Owens; Saxophone – Billy Mitchell, Chris Woods, Hubert Laws, Joseph Temperley; Trombone – Benny Powell, David Bargeron, J. Billy Ver Planck, Jack Jeffers, John Gordon; Trumpet – Snookie Young, Joe Newman, Lloyd Michaels, Ray Copeland.

A fine, slippery bop tenor sax player, and a creator of sharp-edged arrangements for bop and swing big bands who helped define the Count Basie Mk. II style of the 1950s, Ernie Wilkins had been a regular fixture on the American jazz scene until 1979, when he pulled up stakes and moved to Europe. He first learned piano and violin, then studied music at Wilberforce University before going into the Navy during the war. He caught on with the Earl Hines band in 1948 and worked around the St. Louis area before joining the Basie band in 1952. He remained in the Basie fold until 1955, but continued to freelance arrangements to the Count, as well as arrange for and perform with the Dizzy Gillespie band that toured the Middle East and South America in 1956. Also in 1956, he wrote three of the six movements of the exciting Wilkins/Manny Albam The Drum Suite (RCA Victor) -- reputedly the first time anyone had tried to integrate four drummers into one band -- and led big band albums under his own name for Savoy and Everest in the 1950s. He was the staff composer for the Harry James orchestra from 1958 to 1960 and served as musical director for albums by Nat Adderley, Sarah Vaughan, Buddy Rich, Oscar Peterson, and Dinah Washington, among others. In 1968, he joined Clark Terry's Big B-A-D Band, serving as a composer and music director, after which he assembled his own band and became head of A&R for the Mainstream label (1971-1973). He would continue to provide Basie with arrangements and toured Europe with Terry in the late '70s, ultimately settling in Copenhagen in 1979, where he formed the Almost Big Band. Most of the recorded examples of Wilkins' work on sax are as a sideman with Basie and Terry. ~bio by Richard S. Ginnell

Hard Mother Blues

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Chinaza - Changes

Bitrate: MP3@320K/s
Time: 50:34
Size: 115.8 MB
Styles: Jazz vocals
Year: 2006
Art: Front

[1:53] 1. MHB
[4:43] 2. The Flow
[6:21] 3. Plush
[5:58] 4. Changes
[3:57] 5. Jealous Guy
[4:46] 6. Moments Like These
[7:29] 7. Closer
[0:49] 8. Interlude
[6:08] 9. In December
[6:21] 10. Whatever Lola Wants
[2:03] 11. MHB

Chinaza – vocals; Sebastian Weiss – piano, rhodes; Eric St-Laurent – guitar; Pepe Berns – bass; Heinz Lichius – drums. Recorded in July 2004 at A-Trane Studio, Berlin, and in June 2004 and May 2005 at Audiocue Tonlabor, Berlin.

"If i can make it, you’ll gonna make it, too." Norah Jones in a conversation with Chinaza at Makor Club, Upper East Side, New York City, November 28, 2001. Norah Jones really did make it. That’s a fact. Now it’s time for something new – Chinaza.

"My grandmother named me Chinaza – 'God responds'. Something I still believe in. My vision is to translate things I picture – and hardly can describe – into music. Modest Mussorgsky's 'pictures at an exhibition' inspired me to adapt his concept to my album. Every song has its own story, its individual picture and shines in all different colours. But together they build a complete work of art.

Jazz? Pop? Jazz-Pop? To me it’s a Jazz album. Not only because I like Jazz so much. In Jazz I simply experience the freedom of letting music happen, without possibly questioning the boundaries to Pop or even Soul. That's why I want to thank everyone who shares this experience – and especially thank YOU for responding.

When I met Norah Jones in New York she played at Makor with no admission charge – at that time she was not known at all to a brighter audience. After her gig we talked for a while – you can name it typically New York small talk – about music in general and success in particular. The main question for both of us was: How can I become more successful. But we had no master plan how this could work for us. So she encouraged me. And I encouraged her. A few weeks later Norah Jones had her first review in the New York Times. The hype started…” ~Chinaza, Berlin 2005

Changes

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Randy Weston - Modern Art Of Jazz

Bitrate: MP3@320K/s
Time: 40:00
Size: 91.6 MB
Styles: Post bop, Piano jazz
Year: 1957/2013
Art: Front

[3:00] 1. In A Little Spanish Town
[4:16] 2. J.K. Blues
[5:01] 3. Well, You Needn't
[4:48] 4. How High The Moon
[3:00] 5. Loose Wig
[5:09] 6. Stormy Weather
[3:41] 7. Run Joe
[5:19] 8. Don't Blame Me
[5:41] 9. A Theme For Teddy

Trumpet – Ray Copeland; Baritone Saxophone, Alto Saxophone – Cecil Payne; Piano – Randy Weston; Bass – Ahmed Abdul-Malik; Drums – Wilbert Hogan, Willie Jones.

This album has three tracks that feature Weston and his rhythm section in a quintet setting, and the remaining tracks as a trio. The music on each track is superb. For me the highlights are Weston (naturally), but also the gorgeous tone of Cecil Payne's baritone saxophone as well as his command of alto sax, and Ahmed Abdul-Malik's bass. Abdul-Malik, in particular, has a technique that has always fascinated me and this album provides ample examples of his playing.

The album is comprised of mainly standards, but three tracks - Loose Wig, J.K. Blues and Theme for Teddy - are Weston's own compositions. A surprise is Weston covering a Monk tune (Well, You Needn't) since few of Monk's compositions were intended for improvisation. ~Mike Tarrani

Modern Art Of Jazz

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Tanny Mas Band - True Illusions

Bitrate: MP3@320K/s
Time: 52:51
Size: 121.0 MB
Styles: Contemporary jazz
Year: 2015
Art: Front

[2:54] 1. Ain't No Sunshine
[4:36] 2. Mornin'
[3:29] 3. El Final
[3:34] 4. This Masquerade
[4:12] 5. Just The Two Of Us
[3:12] 6. Viernes Tarde
[2:27] 7. You Are So Beautiful
[3:32] 8. Unchain My Heart
[5:00] 9. What A Difference A Day Makes
[5:30] 10. On The Beach
[4:44] 11. Georgia On My Mind
[3:43] 12. Summer In The City
[2:31] 13. What A Wonderful World
[3:19] 14. Knock On Wood

During his career, Tanny Mas was not only a part of different established music groups, his musical differences brought him to take part of unaccountable projects which made him develop and mature musically, and thanks to this he had the opportunity to meet many musicians who share the same differences. With these thoughts in mind, Tanny teamed in summer 2009 with the drummer Toni Beltran, he decided to ground his own group, where he plays Bass guitar and is the lead-singer. The group has developed in different phases. During the development of the Tanny Mas band many musicians have come and gone, and re-shaped the band from trio to quartet, then to quintet to finally after 2 years of reforming to the current formation.

Tanny Mas Band have collaborated with famous jazz and soul musicians, like Max Suñer and the singer Lenny Zacatek from the Alan Parsons Project. Tanny Mas Band presents itself as a mature band with an eclectic musical range which to inspires to adapt to the wide public, combining a sophisticated repertoire based on jazz standards and jazz-fusions with a lighter repertoire based on contemporary pop, rock, blues and soul classics.

True Illusions

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Bud Shank Quartet With Bob Cooper - Jazz At Cal-Tech

Styles: Jazz, Hard Bop
Year: 1956
File: MP3@320K/s
Time: 48:48
Size: 112,3 MB
Art: Front

(8:01)  1. When Lights Are Low
(7:01)  2. Old Devil Moon
(4:34)  3. The Nearness Of You
(2:12)  4. How Long Has This Been Going On/Tea For Two
(3:05)  5. Tea for Two
(4:30)  6. Lullaby of Birdland
(6:00)  7. Somebody Loves Me
(6:39)  8. Moonlight In Vermont
(6:43)  9. The King

The near-telepathic interplay that distinguishes all of Bud Shank's collaborations with reedist Bob Cooper reaches a dazzling peak with the live Jazz at Cal-Tech. A deceptively freewheeling set recorded with pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores, it boasts a simmering intensity often missing from Shank and Cooper's subsequent studio sessions, channeling the energy of the audience to add a new edge to their creative give and take, particularly on a rousing rendition of Count Basie's "The King." No less impressive is a lovely ballad medley featuring "How Long Has This Been Going On?" and "Tea for Two." ~ Jason Ankeny http://www.allmusic.com/album/jazz-at-cal-tech-mw0000868495

Personnel:  Bud Shank - alto and flute;  Bob Cooper - tenor and oboe;  Claude Williamson – piano;  Don Prell – bass;  Chuck Flores - drums

Jazz At Cal-Tech

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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

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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

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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

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