Bud Shank & Bill Mays - Beyond The Red Door

Styles: Saxophone And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 71:50
Size: 165,8 MB
Art: Front

(6:34)  1. Red Door
(9:12)  2. The Wind/The Peacocks
(8:31)  3. Why Not Now?
(6:14)  4. Quietly
(9:20)  5. The Touch Of Your Lips
(8:51)  6. I Loves You Porgy
(7:56)  7. Carousels
(7:59)  8. Everything I Love
(7:09)  9. Where Or When

At its best, jazz is about spontaneity and surprise. It is also, as Bud Shank writes in his cogent liner notes to Beyond the Red Door, wherein his persuasive alto saxophone is seamlessly blended with Bill Mays's decorous piano, about "the expression of emotions... about feeling good, about self-respect, about self-assurance, about happiness and humor." Shank and Mays bring all those qualities, plus a lifetime of experience, to bear in an engaging and varied program of old favorites and newer treasures that encompasses a broad musical and emotional spectrum. Shank, who at eighty-one wears comfortably the mantle of elder statesman, has always had a distinctive sound, readily identifiable, while Mays is arguably more generic but nonetheless proficient and tasteful. In any event, they comprise a single-minded team, partly because, in Shank's words, they were "especially happy to be playing together as a duo." 

The happiness is palpable throughout, as Shank and Mays wend their way through a delightful melange of standards and original compositions that includes a pair of captivating melodies written by Shank and his wife, Linda ("Carousels," "Why Not Now?") and Mays' seductive waltz, "Quietly." The session opens on a suitably improvisational note with Zoot Sims / Gerry Mulligan's "Red Door," whose melody doesn't surface until the 1:30 mark. For a ballad medley, Mays suggested combining Russ Freeman's "The Wind," on which Shank had played alto flute on the original 1954 recording, with Jimmy Rowles' "The Peacocks."  

The duo's choice of standards is impeccable, starting with Ray Noble's sensuous "The Touch of Your Lips" and including the Gershwin brothers / DuBose Heyward's plaintive "I Loves You Porgy," Cole Porter's cheerful "Everything I Love" and Rodgers and Hart's haunting "Where or When." As for the readings, they are invariably warm and perceptive. Playing time is a generous 71:45, while sound is remarkably clear and well-balanced. If there's a downside, it lies in the fact that tempos are slow to medium, and that one's degree of pleasure may rest largely on his or her fondness for alto sax / piano duos in general and Shank / Mays in particular. Here's one emphatic vote in the "thumbs up" column. ~ Jack Bowers  http://www.allaboutjazz.com/beyond-the-red-door-bud-shank-jazzed-media-review-by-jack-bowers.php

Personnel:  Bud Shank: alto saxophone;  Bill Mays: piano.

Beyond The Red Door

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Bobby Scott & His Trio - For Sentimental Reasons

Styles: Vocal And Piano Jazz

Year: 1990

File: MP3@320K/s

Time: 70:43

Size: 162,5 MB

Art: Front

(6:04)  1. Night Lights

(6:14)  2. What'll I Do

(4:49)  3. Lovewise

(6:34)  4. For Sentimental Reasons

(6:22)  5. The More I See You

(6:40)  6. Gee Baby, Ain't I Good To You

(9:20)  7. I Keep Going Back To Joe'S

(5:09)  8. Mamselle

(9:04)  9. That's All

(5:43) 10. That Sunday, That Summer

(4:40) 11. Nature Boy

It's a bit ironic that Nat "King" Cole was the singer Bobby Scott paid tribute to on For Sentimemal Reasons, for the singers sounded nothing alike. Cole's voice was about as smooth and urbane as it gets, whereas Scott's expressive singing had a rough, weathered quality during the last years of his life. This intimate CD, which features Bucky Pizzarrelli on guitar, Steve La Spina on bass and Ronnie Zito or Jimmy Young on drums, isn't a tribute in the sense that the singer/acoustic pianist tries to emulate Cole; rather, Scott brings his own recognizable style to "Nature Boy," "Gee Baby, Ain't I Good to You," "For Sentimental Reasons" and other songs associated with Cole. Another high point of the CD is "Mamselle," a lovely gem that Frank Sinatra and Art Lund recorded in the 1940s. Even though Scott's singing wasn't very Cole-like, they did have one thing in common: both recognized the value of economy and simplicity. Sadly, Scott had only about a year and a half left to live when this excellent album was recorded. ~ Alex Henderson  http://www.allmusic.com/album/for-sentimental-reasons-mw0000204459

For Sentimental Reasons

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Alice Testa - Alice's Room

Styles: Jazz, Vocal
Year: 2015
File: MP3@320K/s
Time: 46:28
Size: 106,6 MB
Art: Front

(4:20)  1. If I Were a Bell
(4:43)  2. Alice's Room
(3:47)  3. Black Hole Sun
(6:59)  4. Exit Signs 0.2
(4:31)  5. Kites
(3:58)  6. The Core
(5:18)  7. Pure Imagination
(7:27)  8. Nature Boy
(2:23)  9. Skylark
(2:57) 10. Morrow's Song

As referenced in the liner notes by Andrea Pozza, it is always with a sense of trepidation as well as excitement that the first excursion into listening takes place, as therein lies the beauty of the adventure of discovering new music, artists and singers. Being taken on an unexpected journey with several potential destinations ranging from bliss to disappointment, not knowing where you’ll find yourself at journey’s end. I was therefore eager to hear Alice Testa’s debut album.The album without doubt has a European Jazz feel to it, not unexpectedly. The band, comprising several leading players on the Italian jazz scene, supports her voice beautifully, creating shifting landscapes resonant to the tone and mood of the song without dominating. Atmospheric and immediately accessible, this isn’t challenging jazz by any means and yet there is an elegance in the apparent simplicity of the compositions and arrangements. 

A mix of standards, covers and originals, Alice is obviously wanting to demonstrate her breadth as an artist, rather than limiting herself to what might be expected of a new songstress. The mix works relatively well with material ranging from the immediately recognisable in songs such as ‘Pure Imagination’, ‘Skylark’ and ‘Nature Boy’ to an unexpected smoothed out version of Soundgarden’s ‘Black Hole Sun’ and on to the edgier original number ‘The Core’ which feels much more in keeping with current jazz trends with playful meter changes and a less customary standard feel in its approach.

For the most part the album stays true to a somewhat traditional sound, rather middle of the road with no radical departures to disquiet the listener from a Sunday afternoon sojourn say; an enjoyable, comforting encounter or background soundtrack, both appealing and palatable but perhaps lacking the indefinable magic of say relative newcomer Cécile McLorin Salvant singing similar standards. Although pleasant with its laidback feel and accomplished instrumental solos, vocally ‘Pure Imagination’ doesn’t inspire in the way that Jacob Collier’s a cappella version does, where the emotional connection to the song is clearly apparent in his engaging performance and dramatic harmonic re-working. Much more convincing is Alice’s more inventive take on ‘Black Hole Sun’, a brave choice but one that shows her own diverse taste in music which has no doubt influenced the singer she has become.

Her tone is clear and pure, occasionally airy and light, whilst her vocal approach genuine and true to the melodic lines, staying almost rigidly ‘straight’ with little to no deviation. She demonstrates a natural sensibility to phrase well musically and has good control of her instrument showing precision in pitching and timing, however I personally missed hearing a truly undeniable emotional connection to the lyrical content of the material for the most part. Her supporting cast on the other hand  Matteo Alfonso, Lorenzo Conte, Kyle Poole, Giancarlo Bianchetti and Francesco Geminiani  delivered much more on the expressive level alongside moments of improvisational beauty, creative but always in keeping with the cohesive group sound and direction of the song. Although there are a couple of moments where Alice herself is freed from singing text using the voice more instrumentally, replicating horn lines and delivering wordless melodies, I was left wanting greater glimpses of her own improvisational ability or even just more of a sense of her own vocal personality which for me perhaps isn’t quite developed yet. Finding your own voice as a singer in jazz is no mean feat and one which remains imperative if you’re to stand apart and be instantly recognisable in your own right from the very first note uttered. 

This may well come on subsequent albums which I look forward to hearing as no doubt creating this debut has been an inspirational learning curve which will further inform her evolution as an artist. ~ Donald Palmer  http://ukvibe.org/sans_frontier/alice-testa/

Alice's Room

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Bob Wilber - What Swing Is All About

Styles: Clarinet And Saxophone Jazz
Year: 1996
File: MP3@320K/s
Time: 77:54
Size: 178,9 MB
Art: Front

(4:36)  1. Smiles
(4:13)  2. Tickle Toe
(6:08)  3. Someday You'll Be Sorry
(4:18)  4. I Gotta Right to Sing the Blues
(5:16)  5. I Want To Be Happy
(3:42)  6. You'd Be So Nice to Come Home To
(5:40)  7. Basic Jump
(5:42)  8. Back Home Again In Indiana
(3:56)  9. Love Comes Along Once in a Lifetime
(6:06) 10. The Song Is You
(3:09) 11. Feeling I'm Falling
(4:22) 12. I've Got A Crush On You / You Do Something To Me
(3:44) 13. Bernfest '96
(3:28) 14. This Is New
(4:06) 15. Goody, Goody
(3:52) 16. Billie's Bounce
(5:27) 17. Doggin' Around

This is simple stuff, plain and unassuming. Two high horns, with a broad arsenal, trade nimbly over a bright trio. The group was formed for a hotel job in 1984 and plays to this day. The repertoire is expected: old standards and basic originals. The album has no surprises, save one: this old music sounds fresher than a lot of modern bands. This is what swing is all about. The horns step together on “Smiles”, a parallel theme with plenty of warmth. Wilber shouts high, a clarinet purity on soprano; his former student Antti Sarpila is pure Lester. Pleasant but light; a gentle stroll in the park. It picks up with “Tickle Toe”: Antti is more urgent but still Presidential; Wilber, on clarinet, bends tone and shows grit while staying sweet. The exchanges are tough, Joe Ascione fending off both horns at once. It all works, right down to Basie’s Morse code at the end. The fans agree. 

“I Got a Right” brings in Pug Horton, for the first of any vocals. Befitting the tune, she is low and weary, with a charming vibrato. Mark Shane is understated, light rolls and Ellington trills. Wilber takes the straight soprano (less sweet than his curved model); it’s the match to Antti’s clarinet. Pug is brighter on “Nice to Come Home To”; less vibrato and more heat. Her notes stay creamy even down low – not many can say that. Wilber’s solo is busy and happy; Antti’s is almost its equal. “Basiec Jump” is a fun turn on “Undecided”; Antti stretches a bit with nice sandpaper tone. Shane strides right (he played a Basie tribute at this club a few months later); Wilber has little space, but does he use it! “Indiana” starts at a crawl: Pug muses as the piano flows, as slow as the Wabash River. She stops; the band starts. Antti dances high, while Wilber rolls a bit lower. Ascione gets a soft solo; hear the horns jab behind him. It’s quite a display, and the crowd agrees.

“Feeling I’m Falling” is a gem, a Gershwin tune I wish I knew before this. The clarinets walk together. Wilber keeps to theme, going high with bent notes; Antti likes trills. A lazy day of a song: it may be simple, but always welcome when it comes. Pug comes back for “I’ve Got a Crush on You” (hear Wilber on the lovely verse.) On the final word “you” it becomes “You Do Something to Me” – like that romance becomes passion. Next is “Bernfest ‘96” (named for a festival Wilber played), but don’t be fooled  it’s a classic swinger that could have been written in ’36. The tune is a winner, like the clarinet-tenor blend. There’s little here but the theme, but you don’t need anything else. “Goody Goody” is a group vocal: besides Pug, you hear Wilber, and maybe some of the crowd. Bob’s high swirling is his best solo; Antti groans a bit with a nice rumpled tone. “Billie’s Bounce” isn’t just Charlie Parker here it’s a bossa! And it swings. 

The soprano is slow, some bop moves but without the tension. Antti calls on Lester again, with great results. Shane hammers hard with tremolos: he’s old and modern at once. And “Doggin’ Around” is another “Undecided”, this one from the Count. Wilber is bluesier than normal, with high tumbles. Antti gets tough, quoting “Broadway” and beginning to strut. I like it; the crowd does not disagree. Shane strides again; his best effort. The long ending should be savored but I could say that for the whole album. ~AAJ  Staff  http://www.allaboutjazz.com/what-swing-is-all-about-bob-wilber-review-by-aaj-staff.php

Personnel: Bob Wilber (clarinet, soprano saxophone); Pug Horton (vocals); Antti Sarpila (clarinet, tenor saxophone); Mark Shane (piano); Phil Flanigan (bass instrument); Joe Ascione (drums).

What Swing Is All About

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Phineas Newborn Jr.Trio - Piano Portraits

Bitrate: MP3@320K/s
Time: 70:47
Size: 162.1 MB
Styles: Piano jazz
Year: 2011
Art: Front

[2:57] 1. Star Eyes
[3:20] 2. Golden Earrings
[3:56] 3. It's All Right With Me
[3:55] 4. I Can't Get Started
[3:33] 5. Sweet And Lovely
[2:24] 6. Just In Time
[3:41] 7. Caravan
[4:14] 8. For All We Know
[4:04] 9. Blues Theme, For Left Hand Only
[3:44] 10. Passion Flower
[2:40] 11. Take The A Train
[3:03] 12. Gee Baby, Ain't I Good To You
[3:54] 13. Ain't Misbehavin'
[3:26] 14. I've Got The World On A String
[4:02] 15. The Midnight Sun Will Never Set
[2:11] 16. Real Gone Guy
[3:39] 17. Undecided
[3:45] 18. Ivy League Blues
[4:00] 19. Love And Marriage
[4:11] 20. Give Me The Simple Life

Phineas Newborn Jr. (p), John Simmons (b), Roy Haynes (d). Tracks #1-10 originally issued on the LP "Piano Portraits by Phineas Newborn Trio" (Roulette SR-52031). Tracks #11-20 originally issued on the LP "I Love A Piano" (Roulette SR-52043). Recorded in New York City, June 17 (#1-10), and October 26-29 (#11-20), 1959.

Phineas Newborn’s warm, sensitive and impressionist playing is at its perceptive best in these outstanding examples of jazz piano. Uncluttered and supported by his remarkable technical ability, his ideas are in full flow, developing in sustained melodic lines, rather than relying on simple rhythmic patterns for their impact. Consistently subtle and full of emotional depth, the combination makes for a swinging collection of gripping performances by a piano virtuoso. Backed by John Simmons and Roy Haynes, he breathes new excitement into these familiar portraits.

Piano Portraits

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Sacha Boutros - Sacha: New York After Dark

Bitrate: MP3@320K/s

Time: 50:32

Size: 115.7 MB

Styles: Jazz vocals

Year: 2013

Art: Front

[5:38] 1. Devil May Care

[4:10] 2. The Best Is Yet To Come

[6:26] 3. Love Won't Let Me Wait

[3:41] 4. I Believe In You

[4:17] 5. Sa.Cha.Cha

[3:17] 6. I Have Thought Of You

[4:07] 7. I Didn't Know What Time It Was

[3:47] 8. Gee Baby Ain't I Good To You

[5:57] 9. A Nightingale Sang In Berkley Square

[4:10] 10. Autumn Serenade

[4:57] 11. Fragile

A major part of Boutros’ appeal is her natural charm, sensual beauty, and an effortless versatility with standards, covers, and originals, opera, jazz, crossing generations. She can sing just about anything, make it a work of art, and reach audiences of all ages. She sings in 10 languages, speaking five of these languages fluently. Trained in classical music and Bel Canto opera, yet at ease in the world of pop, jazz, and Latin jazz, her voice is at once innocent and otherworldly, capable of wrapping itself around the heart of any tune and lingering well after a show has wrapped. She has an effortless, bountiful energy that’s especially fetching with the younger generation, who’ve discovered and embraced jazz through her engaging, fresh, crossover renditions.

2007 brought Boutros to Bruxelles, Belgium for the Young Jazz Singers competition, as a U.S. representative-finalist. Her September 2008 breakthrough album, “Simply Sacha”  a mix of standards and originals touching on jazz, Latin jazz, bossa nova, swing, and pop, and sung in five languages (English, Spanish, Italian, Portuguese, and French) showcased the singer’s incredible musical and linguistic range, as well as compositional skills. She wrote half of the songs on this debut album, including one with four-time Grammy winner, Afro-Cuban pianist Chuchito Valdés. In addition to Valdés, the album featured plenty of other top-notch musicians, including Geoffrey Keezer, Red Holloway, Bob Magnusson, Mike Wofford – Sarah Vaughan’s pianist, Peter Sprague and was honored to have Concord Recording Artist and Grammy-nominated Karrin Allyson providing the liner notes. Boutros would return the favor for Holloway by appearing as a special guest on the saxophonist’s album, “Something Old Something New: Introducing Sacha Boutros,” in 2009, which resulted in a 2009 tour of Japan, winning even more fans. “Simply Sacha” would become the vocalist’s calling card to the world. It was the most downloaded Latin jazz release on emusic.com, was nominated for two Los Angeles Music Awards as “Best Latin Vocal” for her original song, “Amor Imposible,” and “Best Vocal,” hit number seven on the Japanese music charts, enjoyed heavy airplay at Japanese Airlines, and earned a Grammy nod as best new jazz album. To this day, the album’s considered among the top 10 jazz and Latin jazz albums of 2008 in the U.S. and Japan.

In 2013 “Sacha: NY After Dark,” Sacha Boutros’ long awaited third Album was released. Featuring and recorded in New York with Jazz greats Lewis Nash, Peter Washington, Terell Stafford, John di Martino and mixed by the legendary Al Schmitt at Capitol Records with a book to follow entitled, “NY After Dark.”

Sacha New York After Dark 

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Gene Ammons - Late Hour Special

Bitrate: MP3@320K/s
Time: 34:58
Size: 80.1 MB
Styles: Soul jazz, Saxophone jazz
Year: 1964/1998
Art: Front

[5:42] 1. The Party's Over
[3:56] 2. I Want To Be Loved (But By Only You)
[4:27] 3. Things Ain't What They Used To Be
[4:28] 4. Lascivious
[5:00] 5. Makin' Whoopee
[5:47] 6. Soft Winds
[5:35] 7. Lullaby Of The Leaves

Originally released by Prestige while tenor saxophonist Gene Ammons was serving a long prison sentence for possession of drugs (the label effectively kept Ammons' name alive by regularly coming out with "new" material), this album was reissued on CD in 1997. The distinctive tenor is heard on three numbers with a quartet/quintet also including pianist Patti Bown, bassist George Duvivier, drummer Walter Perkins, and sometimes Ray Barretto on conga, and on four cuts as part of a ten-piece group arranged by Oliver Nelson. Flugelhornist Clark Terry gets a couple of choruses on "Things Ain't What They Used to Be," and Bown has several solos, but Ammons is the main star throughout. In addition to performing his own "Lascivious" (a blues), he sticks to standards, infusing each tune with soul and swing. A fine outing, although with brief playing time. ~Scott Yanow

Late Hour Special

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Art Pepper - The Capitol Vaults Jazz Series (Disc 2 of 3)

Bitrate: MP3@320K/s
Time: 73:26
Size: 168.1 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[5:59] 1. Blues In
[4:24] 2. Bewitched, Bothered And Bewildered
[5:03] 3. Stompin' At The Savoy
[6:02] 4. What Is This Thing Called Love
[4:44] 5. Blues Out
[3:46] 6. Diane's Dilemma
[4:49] 7. When You're Smiling
[4:11] 8. Cool Bunny
[7:16] 9. Summertime
[4:53] 10. Diane's Dilemma
[5:29] 11. What Is This Thing Called Love
[3:53] 12. A Foggy Day
[4:00] 13. Diane-A-Flow
[5:13] 14. Zenobia
[3:37] 15. Angel Eyes


The Capitol Vaults Jazz Series (Disc 2)                

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Carmen McRae - Bittersweet

Styles: Jazz, Vocal
Year: 2005
File: MP3@320K/s
Time: 42:34
Size: 97,9 MB
Art: Front

(3:46)  1. When Sunny Gets Blue
(3:05)  2. How Did He Look?
(3:32)  3. Guess I'll Hang My Tears Out To Dry
(2:46)  4. Meaning of the Blues
(2:05)  5. If You Could Love Me
(6:18)  6. Spring Can Really Hang You Up the Most
(3:35)  7. Second Chance
(2:48)  8. If You Could See Me Now
(2:41)  9. Here's That Rainy Day
(3:19) 10. I'm Gonna Laugh You Right Out of My Life
(3:05) 11. Ghost of Yesterday
(2:50) 12. I'm Lost
(2:38) 13. Come Sunday

Carmen McRae made many worthwhile albums during her long career, but this session of mostly melancholy ballads never received the exposure it deserved, possibly because it was done for Mort Fega's small independent label, Focus. But the singer, who is in top form throughout the date, responds beautifully to pianist Norman Simmons' well-crafted charts; the rest of the cast includes drummer Curtis Boyd; bassist Victor Sproles; and a last minute but valuable substitute, guitarist Mundell Lowe. 

Her dramatic lagging behind the beat in "The Meaning of the Blues" adds to its appeal. "Spring Can Really Hang You Up the Most" is the only extended piece and was already a regular part of her repertoire by the time of this recording, so her effortless take is no surprise. McRae was an excellent pianist and accompanies herself on the defiant "I'm Gonna Laugh You Right Out of My Life." Duke Ellington's meditative "Come Sunday" provides a ray of hope among the otherwise bittersweet songs on this CD. Fortunately, Koch had the wisdom to reissue this lost treasure, and it easily ranks among Carmen McRae's best recordings. ~ Ken Dryden  http://www.allmusic.com/album/bittersweet-mw0000215902

Personnel:  Curtis Boyd - Drums;  Mundell Lowe - Guitar;  Carmen McRae - Piano, Vocals;  Norman Simmons - Piano;  Victor Sproles - Bass

Bittersweet

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Buddy DeFranco - Cooking The Books

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 64:10
Size: 147,5 MB
Art: Front

(7:34)  1. Softly, As In a Morning Sunrise
(3:48)  2. Prisoner Of Love
(4:32)  3. What Is This Thing Called Love?
(6:32)  4. Cookin' the Books
(7:47)  5. I Lost The Blues
(8:30)  6. East of the Sun (And West of the Moon)
(6:07)  7. Dancing in the Dark
(5:27)  8. Poor Butterfly
(8:11)  9. Gone With The Wind
(5:37) 10. Scrapple From the Apple

While one finds the clarinet less often in the new millennium, than say, the tenor sax, it no longer seems in danger of becoming extinct, thanks to practitioners like Buddy DeFranco. From "Softly, As in a Morning Sunrise," to the closing intensity of Charlie Parker's "Scrapple From the Apple," DeFranco, guitarist John Pizzarelli, bassist Martin Pizzarelli, pianist Ray Kennedy, and drummer Butch Miles show that even though the clarinet may be rooted in jazz past, it's far from old-fashioned. 

The set list includes lots of standards "Dancing in the Dark," "Poor Butterfly," and "Gone With the Wind" and two super upbeat pieces by DeFranco "I Lost the Blues," and the title cut. Lengthy cuts like "East of the Sun (And West of the Moon)" allow the clarinet, guitar, and piano plenty of solo time, while bassist Martin Pizzarelli and drummer Miles keep this outfit in a steady groove. The album also includes two nice vocals by John Pizzarelli on "Prisoner of Love" and "What Is This Thing Called Love?" It's easy to forget that clarinet practitioners like Tony Scott and DeFranco took the clarinet far beyond the swing familiarized by Benny Goodman and others. Cookin' the Books, however, will serve to freshen the memory in the most enjoyable way. ~ Ronnie D.Lankford, Jr http://www.allmusic.com/album/cookin-the-books-mw0000325590

Personnel: Buddy DeFranco (clarinet);  John Pizzarelli (vocals, guitar);  Ray Kennedy (piano);  Martin Pizzarelli (bass instrument);  Butch Miles (drums);  John Pizzarelli Trio.

Cooking The Books

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Bobby Gordon - Bobby Gordon Plays Joe Marsala

Styles: Clarinet Jazz
Year: 2007
File: MP3@320K/s
Time: 62:23
Size: 143,7 MB
Art: Front

(3:28)  1. Woo-Woo
(4:20)  2. Southern Comfort
(2:27)  3. Don't Cry Joe
(4:08)  4. Little Sir Echo
(3:40)  5. Say When
(3:38)  6. Morning Star
(4:07)  7. Hot String Beans
(3:45)  8. Jim-Jam Stomp
(3:34)  9. And So To Sleep Again
(3:00) 10. I Don't Have To Dream Any More
(4:11) 11. Angelique
(4:21) 12. Bird Man Blues
(3:36) 13. Village Blues
(4:47) 14. Like Never Before
(3:50) 15. Lower Register
(2:49) 16. You Can Never Give Me Back My Heart
(2:33) 17. I Must Be Dreaming

The first impression one gets when listening to this well-crafted tribute to the 100th birthday of Joe Marsala (and available now, thirty years after his death) is the feeling of having been transported to the past, albeit with clear digital technology. The CD is traditional jazz at its best with none of the hiss so common in remastered recordings of the 1930s era after all, the disc was recorded in 2007.  During the sessions, clarinetist Bobby Gordon made no attempt to write arrangements that modernized the tunes; all of them are played in their original swinging big band era style, of which Marsala is a direct product. To recreate the selections, much of the sheet music was obtained from publishers who still carried them, while others came from collectors' files and even auction sites like eBay.

On the never-before-recorded "Angelique," violinist Russell George obviously channels Stephane Grappelli in one of his solos; "Village Blues swings hard while George, trumpeter Randy Reinhart and Gordon trade solos until they all come together, improvising New Orleans-style until the end. The same happens with "Southern Comfort and "Little Sir Echo," the latter being the most enjoyable (and upbeat) of the three. The title track has a bluesy feel on which Gordon stretches and the brilliant "I Don't Have To Dream Anymore opens with a syncopated bass line by Vince Giordano and has another fine Reinhart solo. 

Another previously unrecorded tune, "Say When," begin with notes resembling the theme from the film An Affair to Remember but soon evolves through each musician's lead turns, one of the most beautiful coming from pianist Keith Ingham. This disc brings listeners back to a bygone era ripe for discovery by younger jazz fans. ~ Ernest Barteldes http://www.allaboutjazz.com/bobby-gordon-plays-joe-marsala-lower-register-bobby-gordon-arbors-records-review-by-ernest-barteldes.php
 

Personnel: Bobby Gordon: clarinet; Keith Ingham: celesta; James Chirillo: guitar; Russell George: violin; Randy Reinhart: trumpet; Vince Giordano: bass guitar; Arnie Kinsella: drums; Steve Little: drums.

Bobby Gordon Plays Joe Marsala

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Bob Wilber - Horns A-Plenty

Styles: Clarinet And Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 62:54
Size: 144,7 MB
Art: Front

(2:42)  1. Walking Happy
(4:18)  2. Make Believe
(4:14)  3. Smoke Gets in Your Eyes
(5:23)  4. Come Fly With Me
(5:31)  5. The Maids of Cadiz
(4:24)  6. Just a Rose in a Garden of Weeds
(4:09)  7. Its De-Lovely
(3:25)  8. Softly, As in a Morning Sunrise
(4:02)  9. Was I to Blame for Falling in Love with You?
(3:08) 10. This Can´t Be Love
(4:46) 11. Puerto Penasco
(3:30) 12. Falling in Love with Love
(4:11) 13. Drifting Clouds
(4:12) 14. Valley of the Sun
(4:52) 15. All That I Ask of You Is Love

Throughout his long career, Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats (with whom he made his recording debut). The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. 

He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, in 1968 became a founding member of the World's Greatest Jazz Band, and in 1973 he formed Soprano Summit with Kenny Davern, one of the top swing-oriented groups of the decade. 

A few years later the band broke up and Wilber teamed up with his wife, singer Pug Horton, in Bechet Legacy (which also featured either Glenn Zottola or Randy Sandke on trumpet). In addition, Bob Wilber has worked with the New York Jazz Repertory Company, released music on his own Bodeswell label, wrote the authentic soundtrack to the movie The Cotton Club (1984), in 1988 led a band at Carnegie Hall to celebrate the 50th anniversary of Benny Goodman's famous concert, and authored his frank memoirs, Music Was Not Enough. Influenced on soprano, clarinet, and alto by respectively Bechet, Goodman, and Johnny Hodges, Wilber has long had his own sound on each of his instruments. He recorded frequently through the years for many labels, including Arbors in the '90s and 2000s. ~ Scott Yanow  https://itunes.apple.com/us/artist/bob-wilber/id70646967#fullText

Personnel:  Bob Wilber: Clarinet, tenor, alto, curved soprano and straight soprano saxes;  Johnny Varro: Piano;  Phil Flanigan: Bass;  Ed Metz, Jr.: Drums

Horns A-Plenty

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Phil Woods, Lee Konitz - Play Konitz

Bitrate: MP3@320K/s

Time: 67:27

Size: 154.4 MB

Styles: Bop, Saxophone jazz

Year: 2010

Art: Front

[12:17] 1. Thingin'

[ 8:26] 2. Kary's Trance

[ 8:44] 3. Bop Goes To Leesel

[ 9:37] 4. L.T

[ 8:52] 5. Souvenir

[ 8:44] 6. What Is This Thing Called Love Into Hot House Into Subconscious Lee

[ 6:00] 7. Outra Vez

[ 4:43] 8. Voce E Eu

Phil Woods and Lee Konitz have performed together on occasion throughout their long careers, though relatively few have been recorded for commercial release. Fortunately, they played several sets together during the 2003 Umbria Jazz Festival in Perugia, Italy, so this Philology CD is one of four volumes which came from these concerts. The two musicians are easy to tell apart as Konitz's dryer, more dissonant style contrasts with Woods' boisterous, very melodic approach; yet together, they blend beautifully. With an outstanding rhythm section consisting of pianist Franco D'Andrea, bassist Massimo Moriconi, and drummer Massimo Manzi, the two alto saxophonists have a blast exploring Konitz's compositions, starting with the explosive opener, "Thingin'" (based on the standard "All the Tings You Are"). Konitz's late musical partner, tenor saxophonist Warne Marsh, composed the playful "Bop Goes the Leesel," an adventurous takeoff on the childhood nursery rhyme. Although labeled as a medley of three tunes, the sixth track is actually a fascinating and occasionally chaotic blend of two songs based on the chord changes to "What Is This Thing Called Love": Tadd Dameron's "Hot House" and Konitz's "Subconcsious-Lee." Each musician on-stage gets a turn in the solo spotlight to good effect. Singer Barbara Casini joins the two veterans for two effective interpretations of Antonio Carlos Jobim's bossa nova classics, "Outra Vez" and "Voce e Eu." Fans of either saxophonist will consider this CD to be an essential purchase. ~Ken Dryden

 

Play Konitz

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Dusty Springfield - Dusty In London

Bitrate: MP3@320K/s
Time: 75:48
Size: 173.5 MB
Styles: R&B, Blue eyed soul
Year: 1999
Art: Front

[2:35] 1. Take Another Piece Of My Heart
[3:37] 2. This Girl's In Love With You
[2:45] 3. How Can I Be Sure
[3:24] 4. Mixed Up Girl
[3:20] 5. I Will Come To You
[3:06] 6. I Only Wanna Laugh
[3:32] 7. A Song For You
[3:00] 8. Crumbs Off The Table
[3:41] 9. Let Me Down Easy
[3:03] 10. Who (Will Take My Place)
[2:44] 11. Ain't No Sun Since You've Been Gone
[3:39] 12. Yesterday, When I Was Young
[2:59] 13. I Start Counting
[3:27] 14. See All Her Faces
[3:25] 15. Wasn't Born To Follow
[3:29] 16. What Are You Doing The Rest Of Your Life
[2:09] 17. Love Power
[3:13] 18. I Think It's Going To Rain Today
[2:47] 19. Morning
[3:20] 20. Girls It Ain't Easy
[2:13] 21. Another Night
[3:32] 22. Come For A Dream
[3:11] 23. Sweet Inspiration
[3:24] 24. The Second Time Around

In the late 1960s and early 1970s, Springfield had an unusual arrangement whereby Philips released her records everywhere in the world except the United States, where they appeared on Atlantic. Atlantic chose to release only 1968-71 material that was recorded in the U.S., meaning that quite a few tracks she recorded in Britain during this time went unreleased stateside. This collects 24 of those songs Springfield recorded in the U.K. between 1968 and 1971, only a few which had appeared in the U.S. before. Although this is not as soul- and R&B-oriented as the material Atlantic recorded with her in America during this era, in truth it's not always that far removed in sound and spirit from what you'll hear on the Atlantic albums Dusty in Memphis (1969) and A Brand New Me (1970). You can't get much more soulful than "Piece of My Heart," for instance, a good cover of which leads off the collection. Overall, though, it takes in a broader range of pop styles than Springfield did with her American/Atlantic recordings, from covers of the Rascals ("How Can I Be Sure") and Goffin-King ("Wasn't Born to Follow") to Charles Aznavour, Leon Russell, Jimmy Webb, Bacharach-David, and Antonio Carlos Jobim. Most of it's taken from the British albums Dusty Definitely (1968) and See All Her Faces (1972), and it's lower on standout performances than the familiar Atlantic albums are. The singing is almost always involved and committed, but sometimes the material is pedestrian. The highlights are very good, however, including Randy Newman's "I Think It's Going to Rain Today," the beautiful string ballad "Morning," and the bossa nova spiced "See All Her Faces." This is worth hearing if you like Springfield a lot; just don't gear up for an extraordinarily consistent or essential listen. ~Richie Unterberger

Dusty In London

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Gypsy Swing Quintet De Liege - Impulswing

Bitrate: MP3@320K/s
Time: 61:25
Size: 140.6 MB
Styles: Swing Gypsy jazz
Year: 2014
Art: Front

[2:49] 1. Belleville
[2:56] 2. What Kind Of Friend
[4:28] 3. Premiere Bal
[3:35] 4. Charleston
[3:17] 5. Avalon
[2:58] 6. Impulswing
[4:08] 7. Melodie Au Crepuscule
[3:53] 8. Vous Et Moi
[3:03] 9. Ultrafox
[4:56] 10. Shine
[4:08] 11. Lentement Mademoiselle
[3:43] 12. Jumping At Teatime
[3:49] 13. Django's Tiger
[5:13] 14. Oriental Shuffle
[4:01] 15. Menlimontant
[4:20] 16. Chicago

Christophe Lartilleux/Guitar; Joachim Ianello/Violin; Jean-François Foliez/Clarinet; André Klenes/Double bass; Jean-Pierre Boullet/Guitar; Aurélien Goux/Guitar.

La période de l'entre-deux-guerres voit l'émergence en Europe du jazz venu des Etats-Unis. Le phénomène est principalement dû au fait que nombre de soldats noirs américains préfèrent s'installer à Paris, loin de la ségrégation raciale qui les attend chez eux. À Montmartre fleurissent des clubs où l'on peut entendre la même musique qu'à Harlem. C'est dans ce contexte qu'apparaît le "swing", des deux côtés de l'Atlantique. Bien vite, les musiciens français voudront imiter leurs collègues américains, allant jusqu'à obtenir un quota obligatoire de musiciens locaux dans les clubs de jazz parisiens. C'est alors que Django REINHARDT et Stéphane GRAPPELLI créent une véritable nouveauté : un jazz "français", qui plus est, joué uniquement par des instruments à cordes ! En 1932 est fondé le Hot Club de France, dont le secrétaire, Charles Delaunay, fera du quintette l'orchestre résident de l'association, et lui-même en sera un fervent promoteur. Cette sonorité particulière et le phrasé tout à fait original de nos deux solistes les propulsent au devant de la scène, et de très nombreux musiciens américains, de passage ou résidant à Paris, vont jouer et enregistrer avec Django, en qui ils reconnaîtront un de leurs pairs. C’est le répertoire de cette époque, constitué de compositions originales de Django Reinhardt et Stéphane Grappelli, de standards du jazz américain qu’ils arrangèrent et enregistrèrent, augmenté de compositions originales du GYPSY SWING QUINTET de Liège, que le public est invité à (re)découvrir.

Impulswing

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Art Pepper - The Capitol Vaults Jazz Series (Disc 1 of 3)

Bitrate: MP3@320K/s
Time: 68:18
Size: 156.4 MB
Styles: Saxophone jazz
Year: 2011
Art: Front

[4:23] 1. Pepper Returns
[4:57] 2. Broadway
[4:15] 3. You Go To My Head
[4:39] 4. Angel Wings
[4:35] 5. Funny Blues
[4:38] 6. Five More
[4:15] 7. Minority
[3:35] 8. Patricia
[4:13] 9. Mambo De La Pinta
[5:52] 10. Walkin' Out Blues
[3:18] 11. Straight Life
[5:42] 12. Yardbird Suite
[3:46] 13. Pepper Steak
[5:05] 14. You're Driving Me Crazy
[4:58] 15. Tenor Blooz

Despite a remarkably colorful and difficult life, Art Pepper was quite consistent in the recording studios; virtually every recording he made is well worth getting. In the 1950s he was one of the few altoists (along with Lee Konitz and Paul Desmond) that was able to develop his own sound despite the dominant influence of Charlie Parker. During his last years, Pepper seemed to put all of his life's experiences into his music and he played with startling emotional intensity.

After a brief stint with Gus Arnheim, Pepper played with mostly black groups on Central Avenue in Los Angeles. He spent a little time in the Benny Carter and Stan Kenton orchestras before serving time in the military (1944-1946). Some of Pepper's happiest days were during his years with Stan Kenton (1947-1952), although he became a heroin addict in that period. The 1950s found the altoist recording frequently both as a leader and a sideman, resulting in at least two classics (Plays Modern Jazz Classics and Meets the Rhythm Section), but he also spent two periods in jail due to drug offenses during 1953-1956. Pepper was in top form during his Contemporary recordings of 1957-1960, but the first half of his career ended abruptly with long prison sentences that dominated the 1960s. His occasional gigs between jail terms found him adopting a harder tone influenced by John Coltrane that disturbed some of his longtime followers. He recorded with Buddy Rich in 1968 before getting seriously ill and rehabilitating at Synanon (1969-1971). Art Pepper began his serious comeback in 1975 and the unthinkable happened. Under the guidance and inspiration of his wife Laurie, Pepper not only recovered his former form but topped himself with intense solos that were quite unique; he also enjoyed occasionally playing clarinet. His recordings for Contemporary and Galaxy rank with the greatest work of his career. Pepper's autobiography Straight Life (written with his wife) is a brutally honest book that details his sometimes horrifying life. When Art Pepper died at the age of 56, he had attained his goal of becoming the world's great altoist. ~bio by Scott Yanow

The Capitol Vaults Jazz Series (Disc 1)                 

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Bud Shank - By Request: Meets The Rhythm Section

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 70:43
Size: 162,5 MB
Art: Front

(6:24)  1. September Song
(6:24)  2. Besame Mucho
(9:22)  3. Angel Eyes
(5:06)  4. Someday My Prince Will Come
(7:10)  5. Beautiful Love
(6:43)  6. I Remember Clifford
(5:49)  7. Tenderly
(5:48)  8. Here's That Rainy Day
(5:39)  9. I Remember You
(7:01) 10. Night & Day
(5:13) 11. Autumn

Jazz, more than a type of music, encompasses a way of life, an approach towards life, for many people. Bud Shank is one of those people. A man who has spent most of his life with an alto saxophone at least close by, if not in his hands, Shank has traveled and worked as a jazzman, taught and organized jazz schools and festivals, worked as a recording jazz man, and gotten involved with lables and promotion. Currently, Shank lives in the Pacific northwest and applies his effort to his trade with the same fire he has for over 40 years. This album, as the liner notes explain, a project that seemed destined to not happen. However, proving once again that good things seem to happen to good people, Shank did end up getting to make this record, and had some serious fun while making it. And why wouldn't he, getting to work with a rhythm section of Cyrus Chestnut on piano, George Mraz on bass, and Lewis Nash on drums. And on top of his company, the set list for the album was made up from submissions to Swing Journal from fans. What's not to love, here? Certainly nothing Shank could see, and we the fans, are lucky for the results.

From the opening riff of "September Song" the listener is immediately struck by the intimacy Shank shares with his music. As a professional working musician, Shank has played most of these songs a thousand times. Yet throughout the album, Shank pulls the songs into himself, making them part of him as he spreads the good gospel through his horn. "September Song" swings with a jump in its step, and "Someday My Prince Will Come" bops energetically along. "Night And Day" swings at a near break neck pace, yet never neglects the basic melody, and "Tenderly" throws a bit of a Latin rhythm into the mix. Throughout, Shank and his compatriots swing with such verve and style that one can envision the very smiles that must have been on their faces. Shank's talent for ballads is put on full display as well with several cuts on the album. "Angel Eyes" rides in on Chestnut's intro and then soars on Shank's solo. The Benny Golson classic "I Remember Clifford" highlights Shank's exceptional tone and control, while showcasing Mraz's bass work. This particular cut almost didn't make the set list though, as Shank's actual given name is Clifford, and he'd never liked playing the song. But ultimately he was convinced, and the results are as charming as the rest of the record.

Overall, this is the type of album that jazz nuts seem to dig for and special order at record stores....and with good reason. While not the biggest name in the business, Bud Shank probably is the business, at least much more so than many. Paring him up with this outstanding rhythm section is a real treat for the fans, and according to the liner notes, the musicians themselves. Chestnut said it was the most fun he'd ever had at a recording session, which seems evident in his jubilant playing on several of the cuts. Nash keeps the time flawlessly throughout, and shows some outstanding brush work on a few of the ballads. 

Mraz supports during the solos and chorus's, but shines during his own solos, displaying a uniquely deep understanding of the harmonics of each song. Together, the four create a sound that swings with a refined confidence that only comes from mature musicians who know their craft, and know it well. ~ AAJ Staff  http://www.allaboutjazz.com/by-request-bud-shank-meets-the-rhythm-section-bud-shank-fantasy-jazz-review-by-aaj-staff.php

Personel : Bud Shank - alto saxophone; Cyrus Chestnut - piano; George Mraz - bass; Lewis Nash - drums.

By Request: Meets The Rhythm Section

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Lynda Carter - Crazy Little Things

Styles: Vocal

Year: 2011

File: MP3@320K/s

Time: 47:39

Size: 110,1 MB

Art: Front

(4:39)  1. Let's Stay Together

(3:11)  2. Crazy Little Thing Called Love

(4:13)  3. Up On The Roof

(2:57)  4. (Love Is Like A) Heatwave

(3:29)  5. Jessie's Song

(3:34)  6. The Loco-motion

(4:24)  7. Leaving On A Jet Plane

(3:59)  8. Desperado

(3:27)  9. C'est La Vie (You Can Never Tell)

(2:36) 10. Choo Choo

(3:30) 11. Sentimental Journey

(4:27) 12. Let The Good Times Roll

(3:07) 13. I'm So Lonesome I Could Cry

Although 59-year-old actress Lynda Carter remains best known for her starring role on the TV series Wonder Woman in the 1970s, she began her career singing rock & roll in her native Arizona as a teenager. When Wonder Woman was at its height, Epic Records signed her and released Portrait (1978), which was her only album until Potomac Productions issued At Last more than 30 years later. Crazy Little Things is its follow-up, and it demonstrates that Carter has much more than an adequate singing voice. The collection is full of familiar pop/rock songs dating from the 1940s to the ‘70s, and a notable performance is Carter's version of Glenn Frey and Don Henley's Eagles standard "Desperado." Of course, the song is also known for a cover by Linda Ronstadt, another daughter of Arizona, and Carter's alto is in the same register as Ronstadt's, making their voices similar. Ronstadt's reading is much more emotional than Carter's restrained interpretation, however. Her real antecedent is suggested in her version of "Sentimental Journey," the song that made a star out of Doris Day. Carter is much more in Day's camp than Ronstadt's, even though most of her repertoire here dates from the rock era. She certainly can handle a rocker, as she does on "Let the Good Times Roll." But she is better with lighter fare. Carter has made a living in clubs for many years, and this album suggests what audiences are likely to hear if they see her in Las Vegas or Atlantic City, drawn by her TV fame: a good, professional performance. ~ William Ruhlmann  http://www.allmusic.com/album/crazy-little-things-mw0002125147

Personnel: Kerry Marx (acoustic guitar, electric guitar); Viktor Krauss, Bryan Sutton (acoustic guitar); Russ Pahl (steel guitar); "Blue" Lou Marini Jr. (flute, clarinet, saxophone); Tony Harrell (accordion, keyboards); Sam Levine (clarinet, saxophone); John Horn (tenor saxophone, baritone saxophone); Steve Patrick (trumpet); Roy Agee (trombone); Shane Keister (keyboards); Paul Leim (drums); Eric Darken (percussion); Cindy Walker, Tom Flora, Vicki Hampton, Perry Coleman, Tania Hancheroff (background vocals).

Crazy Little Things

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Ruby Braff & Roger Kellaway - Inside & Out

Styles: Cornet And Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 60:13
Size: 138,8 MB
Art: Front

(6:07)  1. Love Walked In
(7:27)  2. Yesterdays
(6:03)  3. Memories Of You
(3:59)  4. I Want To Be Happy
(8:53)  5. I Got Rhythm
(6:47)  6. Always
(5:20)  7. Between The Devil And The Deep Blue Sea
(5:54)  8. Basin Street Blues
(9:40)  9. Exactly Like You

Kellaway's next sparring partner was an old hand at stripped-down duets, cornetist Ruby Braff he of the Ellis Larkins and Dick Hyman connection and Braff seems to encourage Kellaway's out-there side more frequently on this all-standards CD. Terse and to the point, almost offhand in his penchant for placing odd notes in the strangest places, Braff's cornet opens holes in the texture for Kellaway to explore his freely eclectic muse. A highly unorthodox "I Got Rhythm" gives vent to a spectacular near Tatum-esque outburst from Roger, and there are streaks of Romantic, Impressionistic, and contemporary classical pianism, boogie-woogie, and of course, stride. 

Yet Braff has his sweet moments too, as on "Memories of You," where he sets Kellaway off in his nostalgic All in the Family mode. The cover photo speaks volumes about the music within this package a pensive, dour, laconic Braff and a jaunty-hatted, inviting, perhaps slightly mischievous Kellaway. ~ Richard S.Ginell  http://www.allmusic.com/album/inside-out-mw0000181036

Personnel: Ruby Braff (trumpet, cornet); Roger Kellaway (piano).

Inside & Out

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Jon Irabagon - The Observer

Styles: Saxophone Jazz
Year: 2009
File: MP3@320K/s
Time: 61:50
Size: 142,0 MB
Art: Front

(6:17)  1. January Dream
(6:56)  2. Joy's Secret
(6:54)  3. The Infant's Song
(6:09)  4. Cup Bearers
(7:45)  5. The Observer
(5:20)  6. Acceptance
(4:55)  7. Makai & Tacoma
(6:36)  8. Big Jim's Twins
(5:01)  9. Bar Fly
(5:52) 10. Closing Arguments

Best known as the volatile saxophonist in bassist Moppa Elliott's self proclaimed terrorist be-bop band Mostly Other People Do the Killing, Jon Irabagon has only just begun his career as a solo artist. His bristling duet with drummer Mike Pride, I Don't Hear Nothin' But The Blues (Loyal Label, 2009) was preceded by Outright! (Innova, 2008), the self-titled debut of his own vivaciously eclectic quartet. The Observer is Irabagon's first release for Concord Records, which awarded him a recording contract after he won last year's Thelonious Monk International Jazz Saxophone Competition. On this surprisingly straight-ahead session (expertly recorded by Rudy Van Gelder), Irabagon is supported by a trio of longstanding veterans; pianist Kenny Barron, bassist Rufus Reid, and drummer Victor Lewis Stan Getz's touring rhythm section of the 1980s. Years of shared experience elevates Barron, Reid, and Lewis' congenial interplay beyond mere professionalism, lending this date a timeless appeal.

Seven of the ten selections are originals, demonstrating Irabagon's flair for composing accessible jazz tunes that fit comfortably in the mainstream tradition. A dynamic soloist, Irabagon plays alto for most of the date, his tortuous cadences recalling Charlie Parker's blistering dexterity, Wayne Shorter's cerebral precision, and Julian "Cannonball" Adderley's soulful poise. Showing great reserve, he reins in his more vociferous tendencies, using subtle expressionistic accents (altissimo, chromatics, multiphonics) sparingly. The heavily syncopated "January Dream" opens the set with lush harmonies from Barron and stalwart support from Reid and Lewis. Tom McIntosh's "Cup Bearers" is a brisk bop number, while the sultry title track is a lilting mid-tempo swinger featuring Irabagon's effusive tenor. Infused with simmering post-bop energy, "Joy's Secret" reveals a subtle complexity, underpinned by Lewis' Latin accents and Barron's prismatic flourishes, spotlighting a mellifluous trumpet solo from guest artist Nicholas Payton, who also contributes pithy salvos to the scorching hard bop burner "Big Jim's Twins."

Alternating vibrant up-tempo tunes with more introspective fare, Irabagon unveils a rarely heard sensitive side. His velvety tone is highlighted on Gigi Gryce's melancholy "Infant Song," while his lyrical phrasing dominates "Acceptance," the breezy bossa nova "Makai and Tacoma" and the earthy "Closing Arguments." His intimate duet with guest pianist Bertha Hope on her late husband Elmo Hope's somber ballad "Barfly" reveals depths of emotional maturity.  A solid and eminently likeable mainstream affair, The Observer scarcely hints at Irabagon's avant-garde credentials, focusing instead on his tastefully virtuosic capabilities as a straight-ahead stylist yet another facet of his wide-ranging artistry. ~ Troy Collins  http://www.allaboutjazz.com/the-observer-jon-irabagon-concord-music-group-review-by-troy-collins.php
 

Personnel: Jon Irabagon: alto saxophone, tenor saxophone (5, 7); Kenny Barron: piano (1-8, 10); Rufus Reid: bass; Victor Lewis: drums; Nicholas Payton: trumpet (2, 8); Bertha Hope: piano (9).

The Observer

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