Jeff Lorber - He Had A hat

Styles: Piano Jazz

Year: 2007

File: MP3@320K/s

Time: 52:22

Size: 120,3 MB

Art: Front

(3:48)  1. Anthem For A New America

(4:34)  2. He Had A Hat

(4:06)  3. Grandma's Hands

(4:10)  4. Surreptitious

(4:25)  5. All Most Blues

(3:54)  6. Orchid (Chris Botti)

(2:28)  7. BC Bop

(5:35)  8. The Other Side of the Heart (Paula Cole)

(3:58)  9. Hudson

(3:52) 10. Super Fusion Unit

(3:50) 11. Eye Tunes

(3:43) 12. Requiem for Gandalf

(3:52) 13. Burn Brightly

A sophisticated showcase for his varied jazz styles, Jeff Lorber's He Had a Hat finds the pianist moving from softly funky pop-jazz numbers to a few straight-ahead swingers. Always an urbane and tasteful musician, Lorber has often found a good balance between contemporary pop oriented material and more cerebral improvisational cuts, and He Had a Hat is a prime example of this duality. To these ends, tracks like the title cut and the frenetic "Surreptitious" evince a kind of Tower of Power meets Brecker Brothers funk. Fittingly, trumpeter Randy Brecker adds his supple chops to the latter track. Similarly engaging big-band numbers like "All Most Blues" and the afterglow ballad "Orchid" bring to mind both early- and late-period Miles Davis, respectively. Also joining Lorber here are a bevy of name artists including trumpeter Chris Botti, vocalist Paula Cole, saxophonist Gerald Albright, and many others.This CD was nominated for a Grammy award in 2007 for Best Contemporary Jazz Album. ~ Matt Collar http://www.allmusic.com/album/he-had-a-hat-mw0000478929

Personnel:  Jeff Lorber – Piano & Keyboards (All Tracks);  Eric Benet – Vocals (Track 3 & 8);  Paula Cole – Vocals (Track 8);  Hubert Laws – Flute (Tracks 9 & 11);  Bob Sheppard – Tenor saxophone (Tracks 6 & 9);  Gerald Albright – Alto saxophone (Track 3);  Kirk Whalum – Tenor saxophone (Track 2);Ada Rovatti – Tenor saxophone (Track 4);  Chris Botti – Trumpet (Tracks 6 & Bonus Track);  Randy Brecker – Trumpet & Horn Arrangement (Track 4);  Jacques Voyemant – Trombone (Track 2);  Tom Scott – Horns & Horn Arrangement (Tracks 2 & 5);  Paul Jackson Jr. – Guitar (Tracks 2, 3, 4, 8 & 10);Paul Brown – Guitar (Track 3);  Russell Malone – Guitar (Track 13);  Brian Bromberg – Bass (Tracks 1, 5, 6, 7, 11, 12 & Bonus Track);  Alex Al – Bass (Tracks 2, 3, 4, 8, 9, 10 & 13);  Lenny Castro – Percussion (Tracks 2, 3, 9, 10, 12, 13 & Bonus Track);  Abe Laboriel Jr. – Drums (Tracks 1, 2, 3, 8 & 9); Dave Weckl – Drums (Tracks 4 & 13);  Vinnie Colaiuta – Drums (Tracks 5, 6, 7, 11, 12 & Bonus Track);  Blood, Sweat & Tears – Horns (Tracks 4, 7, 9, 11 & 13);  The Lair Studio Brass Ensemble (Tracks 5, 10 & 12);  The Krim Symphonic Orchestra – Orchestrated by Jeremy Lubbock (Tracks 1 & 8);
Bobby Colomby – Producer (All Tracks).

He Had A hat

---

David Weiss - The Mirror

Styles: Trumpet Jazz
Year: 2004
File: MP3@320K/s
Time: 62:28
Size: 143,3 MB
Art: Front

(10:29)  1. Stalker
(10:27)  2. The Mirror
( 7:04)  3. Nostalghia
( 6:35)  4. Our Trip
(11:00)  5. The Sacrifice
( 7:48)  6. Love Letter to One Not Yet Met
( 9:02)  7. Mr. Jin

The ability to create music that is intellectually provocative and eminently approachable is a challenge to which many artists aspire but relatively few manage to succeed. Trumpeter Davis Weiss has certainly had the opportunity to explore both sides of the equation. In high demand over the past decade, he has worked with artists including Bob Belden, Freddie Hubbard and Tom Harrell in capacities involving performance, arrangement and transcription. But it has only been since his '01 début as a leader, Breathing Room , that he has emerged as a composer and bandleader of significance. Now with The Mirror , he demonstrates that Breathing Room was no fluke as he serves up a programme marking him as one of the more cerebral yet visceral writers to arise in recent years. With an album that is heady in both senses of the word intelligent and exhilarating Weiss emerges as one of the finest artists to mine the post bop arena, with an ability to develop longer-form composition that is clearly indebted to Wayne Shorter. Not since Dave Douglas rose to prominence in the mid-'90s has a trumpet player come along with such a perfect combination of technical prowess, unerring instinct for captivating melody, harmony and counterpoint, and sheer emotional force. A masterpiece by any definition, The Mirror deserves a place high in most listeners' top ten lists for '04 for its ability to engage more than just the ears; Weiss' compositions are remarkably visual as well. 

This is no surprise, given that Weiss has worked heavily as a freelance artist for stage and screen, citing Russian filmmaker Andrei Tarkovsky as having a profound influence on his work. Like a good filmmaker, Weiss views his compositions and his record as having a larger underlying arc. "The Stalker" may alternate between an odd-metered tempestuous vamp and a hard-swinging middle section, but it is when placed beside the more relaxed and harmonically rich title track, that a musical story begins to come forward. Weiss' themes may be deep and complicated, but they unravel at a pace that ensures they remain fresh in the mind long after their time has passed. Utilizing two ensembles a sextet for the first five pieces and an octet for the remaining two, Weiss has chosen his players well. Especially notable are alto saxophonist Myron Walden, still in his early 30s and already well-established with a robust tone and boldly lyrical style; and pianist Xavier Davis, who provides rich accompaniment, especially to Weiss, who never lets technical concerns get in the way of structural and evocative integrity in his solos. Along with five original compositions, Weiss features a piece by pianist Kevin Hays and, more importantly, closes the album with an octet version of Wayne Shorter's "Mr. Jin," bringing a deeper sense of counterpoint to the tune without losing its innate swing. A fitting homage that shows just how far he has come, Weiss draws a strong line between the past and present, The Mirror being the perfect analogy for self-examination without self-absorption. ~ John Kelman https://www.allaboutjazz.com/the-mirror-david-weiss-fresh-sound-new-talent-review-by-john-kelman.php

Personnel: David Weiss (trumpet), Myron Walden (alto saxophone), Xavier Davis (piano), Dwayne Burno (bass), Marcus Strickland (tenor saxophone on "Stalker," "The Mirror," "Nostalgia," "Our Trip," "The Sacrifice"), E.J. Strickland (drums on "Stalker," "The Mirror," "Nostalgia," "Our Trip," "The Sacrifice"), Craig Handy (tenor saxophone on "Love Letter to One Not Yet Met," "Mr. Jin"), Steve Davis (trombone on "Love Letter to One Not Yet Met," "Mr. Jin"), Norbert Stachel (baritone saxophone, bass clarinet on "Love Letter to One Not Yet Met," "Mr. Jin"), Nasheet Waits (drums on "Love Letter to One Not Yet Met," "Mr. Jin")

The Mirror

---

Chihiro Yamanaka - Guilty Pleasure

Styles: Piano Jazz 
Year: 2016
File: MP3@320K/s
Time: 52:10
Size: 119,8 MB
Art: Front

(5:10)  1. Clue
(6:16)  2. Guilty Pleasure
(6:23)  3. Caught In The Rain
(4:44)  4. Life Goes On
(4:36)  5. The Nearness Of You
(5:10)  6. At Dawn
(3:41)  7. Hedge Hop
(3:47)  8. Moment Of Inertia
(1:17)  9. Guilty Pleasure Reprise
(5:25) 10. Meeting You There
(5:36) 11. Thank You Baby

Born Kiryu, Japan. Yamanaka played piano from the age of four, studying classical music and was eventually awarded the grand prize of Japan’s Gumma Fresh Talent competition. In the USA, she studied at the Berklee College Of Music, graduating in 2000. She was critically praised, winning DownBeat magazine’s award for Outstanding Performance and the IAJE (International Association of Jazz Educators) Sisters In Jazz competition, following which she toured Europe with other winners. Among many artists with whom she has performed are George Benson, Gary Burton, Terri Lyne Carrington, Curtis Fuller, George Russell and Ed Thigpen. In the early 00s she was a member of DIVA, the all-female big band led by drummer Sherrie Maricle, with which group she has played concerts and recorded. Yamanaka also played in the DIVA spin-off quintet, Five Play, with which group she played on Marlene VerPlanck’s 2003 album It’s How You Play The Game. Among musicians Yamanaka has used on her recording dates are bass players Ray Parker, Ben Street and Larry Grenadier and drummers Ben Perowsky, Rodney Green and Jeff Ballard. http://www.allmusic.com/artist/chihiro-yamanaka-mn0000283696/biography

Guilty Pleasure

---

Kirk Knuffke Quartet - Big Wig

Styles: Trumpet Jazz 
Year: 2008
File: MP3@320K/s
Time: 62:04
Size: 155,4 MB
Art: Front

(3:54)  1. Enough
(6:09)  2. The Same
(2:14)  3. Sustain 1
(4:43)  4. Something's Always Change
(7:18)  5. Page 1 #1
(2:11)  6. Sustain 2
(7:55)  7. Normal
(7:45)  8. Charp
(2:44)  9. Repeat
(6:42) 10. Is Is
(5:34) 11. Big Wig
(4:49) 12. Truck

Trumpeter Kirk Knuffke has been living in Brooklyn for three years, originally hailing from Denver. Once arriving, he set about forming a trio, but then met up with trombonist Brian Drye and wisely decided to expand into quartet form. The combo's lineup is completed by bassist Reuben Radding and drummer Jeff Davis. As a debut disc (or as any kind of album) Big Wig is a crucial work. Knuffke wrote all of its tunes, daggering into just the right juncture between hurtling-together themes and broken-up chaos. His chief compositional influence must surely be Steve Lacy, with a marked predilection for perambulatory bouts of optimism, cheerfully rolling, but always gripped with a nervy tension. On the opening "Enough," Knuffke is curt and impatient against Radding's grimy bowing. The group sound is akin to a smoked-out apiary, and in the track's 3mins 52secs plays host to a remarkable amount of curves and jagged switches. On "The Same," they're barreling and bluff, the brass rounded with a military band swagger, constantly squirming into new shapes as the leader flutter-mutes at speed.

Some of these pieces ("Page 1 # 1," "Charp," "Truck") achieve perfection (though that's never smoothed-out or regimented: this is perfection as organized chaos). The first of these three tracks becomes progressively more fragmented, leading into an oleaginous trombone solo, creaming with grace. Then the combo comes together again, followed by a climaxing drum solo of controlled flailing. The rhythm team set up a tough thrum on "Charp," helping out the cast-off freedom of the horns. A good-humored belligerence prevails throughout "Truck," barging then blowsy, then back to barging, before closing with a brawl.  The album's remaining nine numbers are almost up to this phenomenal level and there's a real fear that the quartet's November, 2008 gig at New York's Park Slope's Tea Lounge will push it's intensity up to an uncontrollable level. ~ Martin Longley https://www.allaboutjazz.com/bigwig-kirk-knuffke-clean-feed-records-review-by-martin-longley.php
 

Personnel: Kirk Knuffke: trumpet; Brian Drye: trombone; Reuben Radding: bass; Jeff Davis: drums.

Big Wig

---

Nils Lindberg, Margareta Bengtson - As We Are

Bitrate: MP3@320K/s
Time: 58:05
Size: 133.0 MB
Styles: Piano & Vocal Jazz
Year: 2008
Art: Front

[5:22] 1. Remember
[4:37] 2. BB Blues
[5:26] 3. As You Are
[5:58] 4. Springtime
[3:26] 5. I Remember Karelia (Karjalan Kunnailla)
[2:42] 6. Santa Barbara
[4:47] 7. Skylark
[4:24] 8. Tingsmarschen (Marching Tune From Leksand)
[4:54] 9. Tomorrow
[4:07] 10. Dry Martini
[4:42] 11. Blues For Bill
[4:46] 12. Shall I Compare Thee To A Summer's Day
[2:48] 13. Epilogue

Nils Lindberg: piano, arranger, composer, conductor; Margareta Bengtson: vocals; Jan Allan: trumpet; Anders Paulsson: soprano, tenor saxophones; Alberto Pinton: baritone saxophone; Joakim Milder: tenor saxophone; Hans Akesson, Hakan Brostrom: alto saxophone; Jan Adefelt: bass; Bengt Stark: drums.

With climate change and recent weather, the Shakespearean sonnet "Shall I Compare Thee to a Summer's Day?" would seem to have become a trifle outmoded. Still, where there's a Will there's a way and Nils Lindberg has set the piece to music. Lindberg is a true Renaissance man. From his home in Gagnef, a small village deep in the forests of the Swedish province of Dalecarlia, he emerges every now and again to dazzle us ordinary mortals with his many talents. Best known as a composer and arranger, he refuses to accept categorization and works with choirs, jazz bands, and symphony orchestras at will. Lindberg was the eminence grise behind Duke Ellington's favorite vocalist, Alice Babs. He wrote arrangements for Duke and composed a number of works for the Hanover Symphony Orchestra. He also, without batting an eyelid, collaborated with Josephine Baker, one-time infamous Jazz Age stripper and Judy Garland, who was as American as apple pie. In 1986 Lindberg performed his own works at the funeral service for Olof Palme, Sweden's assassinated prime minister. Three years later he wrote the music for a service given by the Pope in Uppsala Cathedral. He also found time to bring the lilting, melancholic strains of Dalecarlian folk music to the attention of a wider world in a memorable series of concerts and records.

At the age of 75, this remarkable man has once more left Gagnef to record As We Are. It is more jazz than anything else and launches the solo career of Margareta Bengtson (ex-The Real Group), the Swedish soprano most likely to take over the mantle of Alice Babs on the world stage. Out of his (loosely) classical bag, along with his Shakespearean foray, Lindberg has put music to "Remember," a haunting (and still pertinent) piece by 19th century English metaphysical poet Christina Rosetti. It's one of the album's best tracks. Had just a little more attention been paid to the clarity of the words, it might even have achieved greatness. Unfortunately Bengtson "swallows" some of them. Unlike the Muppet cook, Swedes actually do English exceedingly well, but as non-native speakers they're bound to get small things wrong and God is in the detail. Especially when it comes to poetry.

No such problems on the jazz front. "B.B. Blues" (BB = Baritone Bass) and its brother "Blues for Bill" provide a chance for Bengtson to shine at wordless scatting. She makes a nice job too of the ballad "As You Are," probably Lindberg's best known composition, with words by American bassist Red Mitchell. The attractive ballad "Tomorrow" is by Jan Ohman, a Dalecarlian neighbor of Lindberg's. "Springtime" and "Dry Martini" are kinda-Dukish, "Santa Barbara" kinda-Bossa Nova.

Folk music is represented by an irreverently jazzy arrangement of the Finnish anthem "I Remember Karelia" with good work by Anders Paulsson on soprano saxophone. On "Tingsmarschen," a Dalecarlian marching tune, Lindberg takes a piano break to remind you that he's also no slouch as an instrumentalist. It's infuriating just how talented this man is! At his age, it can only be hoped that he did not intend the closer, the piano solo "Epilogue," as a reference to his life's work. His music is both experimental and intensely melodic, angularly lyrical—if there is such a thing. It refuses politely but very firmly to sit comfortably in the background. In this day and age we need more of that sort of thing. ~Chris Mosey

As We Are

---

Dick Hyman - A Zillion Strings

Bitrate: MP3@320K/s
Time: 30:09
Size: 69.1 MB
Styles: Piano jazz, Easy Listening
Year: 1960/2011
Art: Front

[2:16] 1. Symphony
[2:20] 2. Caravan
[2:33] 3. I'll Never Be The Same
[2:23] 4. The Glow Worm
[2:40] 5. More Than You Know
[2:13] 6. Just In Time
[2:04] 7. I'm Forever Blowing Bubbles
[3:23] 8. Willow Weep For Me
[2:43] 9. Kaipuala
[2:15] 10. (All Of A Sudden) My Heart Sings
[2:45] 11. Sugar Blues
[2:31] 12. My Darling, My Darling

Although today he's one of the most renowned jazz pianists in the world, Dick Hyman was a highly sought after session man in the 1950's and 60's and made many fine jazz and easy listening albums during those decades, often experimenting with new sounds on a variety of keyboard instruments. This vintage 1960 audiophile recording featuring Hyman's lush piano backed by a large string orchestra, conducted by Jules Schacter, is now considered an easy listening masterpiece. All selections newly remastered.

A Zillion Strings

---

Roberto Restuccia - Exposure

Bitrate: MP3@320K/s
Time: 32:49
Size: 75.1 MB
Styles: Jazz-blues guitar
Year: 2016
Art: Front

[4:51] 1. Paradise
[4:39] 2. Under Your Spell
[4:37] 3. Pinstripe
[4:10] 4. Zigzag
[3:42] 5. Digital Delicacy
[3:06] 6. In The Groove
[4:44] 7. Exposure
[2:56] 8. Sargent & Duchess

UK based guitarist Roberto Restuccia studied at the Academy of Contemporary Music in Guildford. His early influences were guitarists such as Slash and Prince. Later he discovered smooth jazz through the music of George Benson and Ronny Jordan.

The album Exposure (2016) is his musical debut. All tracks are written, produced, recorded and mixed by Roberto himself, who is regularly performing in UK to promote his project. Roberto Restuccia shows with Exposure a level of excellence and melodic strength that transcends the chosen smooth jazz genre. To discover such a outstanding talent is the privilege of insiders.

Exposure

---

Art Farmer - Gentle Eyes

Styles: Trumpet Jazz
Year: 1972
File: MP3@320K/s
Time: 49:34
Size: 115,3 MB
Art: Front

(5:23)  1. A Time for Love
(3:08)  2. Didn't We
(4:28)  3. Soulsides
(3:36)  4. So Are You
(4:59)  5. Song of No Regrets
(4:58)  6. Gentle Rain
(3:17)  7. We've Only Just Begun
(4:55)  8. God Bless the Child
(5:19)  9. Gloomy Morning
(3:28) 10. Gentle Eyes
(5:59) 11. Some Other Time

Flugelhornist Art Farmer has recorded very few albums through the years that are not worth getting, but this sleepy affair with a European string section is unremittingly dull. Farmer sticks to ballads including "Didn't We," "We've Only Just Begun" and "God Bless the Child," and the arrangements for the 15 strings, five horns and rhythm section are quite boring. There are many rewarding Art Farmer dates currently available, so skip this misfire. ~ Scott Yanow http://www.allmusic.com/album/gentle-eyes-mw0000273480

Personnel:  Art Farmer –  trumpet, flugelhorn;  Robert Demmer, Robert Politzer – trumpet;  Garney Hicks – trombone;  Hans Low - alto flute;  Leszek Zadlo - soprano saxophone, tenor saxophone;  Hans Salomon - alto saxophone, bass clarinet;  Hans Grotzer, Toni Stricker – concertmaster;  Wladi Cermac, Paul Fickl, Johann Fuchs, Herbert Heide, Erich Koritschoner, Bruno Mayr, Kurt Plaschka, Wolfgang Reichert, Walter Topf – violin;  Heinz Fussganger, Bruno Schimann, Dagmar Sothje, Gerhard Zatschek – cello;  Fritz Pauer - piano, electric piano;  Richard Oesterreicher, Julius Scheybal – guitar;  Rudolf Hansen, Jimmy Woode – bass;  Erich Bachtragl – drums;  Jula Koch – percussion;  Stephanie – vocals;  Johannes Fehring – conductor;  Hans Salomon – arranger.

Gentle Eyes

---

Susie Arioli Band & Jordan Officer - Live At The Montreal International Jazz Festival

Styles: Vocal, Big Band
Year: 2007
File: MP3@320K/s
Time: 55:04
Size: 130,2 MB
Art: Front

(4:15)  1. Pennies From Heaven
(2:49)  2. If Dreams Come True
(4:18)  3. Honeysuckle Rose
(3:33)  4. He's Funny That Way
(5:22)  5. Walter's Flat
(3:56)  6. Husbands And Wives
(4:03)  7. Half A Mind
(2:56)  8. By Myself
(5:40)  9. Having Fun
(3:04) 10. The Way You Look Tonight
(3:57) 11. Sit Down Baby
(3:09) 12. Evening
(3:42) 13. By The Time I Get To Phoenix
(4:13) 14. Jordan's Boogie

Judging by the four consistently fine studio albums they’ve produced since 2000, there’s no question that co-leaders Susie Arioli and Jordan Officer represent the finest combination of silken-voiced singer and kick-ass guitarist since Mary Ford and Les Paul found one another more than a half-century ago. Those familiar with the Montreal-based band’s previous recordings will find little new in this, their first live disc, recorded on their home turf at last summer’s Festival International de Jazz. Of the 14 tracks included on the CD, all but one a superbly crafted, slow-creeping treatment of Mitchell Parish’s “Evening” are drawn from their previously recorded oeuvre. Likewise, the accompanying DVD, which expands the playlist to include the set’s full assortment of 19 tunes, offers up only one fresh track, an original Officer instrumental, the shining, fluent “Le Béguin,” with its clever call-and-response midsection. But even for longstanding fans, the beautifully composed and shot DVD is a delight, providing the opportunity to watch the serene Arioli and the lightning-fisted Officer in action. And for the uninitiated, both discs provide a wonderfully comprehensive introduction to two of Canada’s finest. ~ Christopher Loudon  http://jazztimes.com/articles/18064-live-at-le-festival-international-de-jazz-de-montr-al-susie-arioli-band

Live At The Montreal International Jazz Festival

---

Gregory Tardy - He Knows My Name

Styles: Clarinet And Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 61:29
Size: 141,1 MB
Art: Front

(10:49)  1. Christ The Redeemer
( 9:34)  2. Lord Revive Us
( 3:12)  3. As The Deer
( 7:17)  4. Holy Ghost Fall On Me
( 1:48)  5. He Cares
( 9:44)  6. Amen
( 7:18)  7. Jordan River
( 2:47)  8. He Knows My Name
( 8:57)  9. Remember Me

Jazz was once heavily influenced by gospel music and spirituals, though in the 21st century, many younger players have discarded it for the most part. But tenor saxophonist Gregory Tardy not only embraces his Christian upbringing but devotes this entire CD to music that has lifted up his life. Starting with a powerful rendition of the late Rev. James Cleveland's "Christ the Redeemer," Tardy preaches through his majestic horn, with superb backing from pianist Xavier Davis. The influence of John Coltrane is unmistakable in the passionate take of the spiritual "Lord Revive Us" (though Coltrane never recorded, or likely performed this piece), which adds guest trumpeter Philip Dizack and alto saxophonist Riley Bandy. He also explores works by modern composers, including Sharp Radway's snappy "Holy Ghost Fall on Me" and jazz pianist/bandleader Eric Reed's heartfelt miniature "He Cares," the latter an intimate duet by Tardy on clarinet with Davis. 

The guests are also present on a foot-tapping arrangement of the spiritual "Jordan River" and "Remember Me." If the music in churches would swing as hard as Gregory Tardy's band on this session, attendance would likely improve. Highly recommended! ~ Ken Dryden http://www.allmusic.com/album/he-knows-my-name-mw0000793982

Personnel: Gregory Tardy (clarinet, saxophone); Riley Bandy (alto saxophone); Philip Dizack (trumpet); Xavier Davis (piano); Mike Hawkins (upright bass); Uros Markovic (drums).

He Knows My Name

---

The Claire Daly Quartet - Baritone Monk

Styles: Saxophone Jazz

Year: 2012

File: MP3@320K/s

Time: 56:19

Size: 130,5 MB

Art: Front

(4:53)  1. Teo

(4:25)  2. Light Blue

(5:26)  3. Two Timer

(4:41)  4. Pannonica

(5:03)  5. Bright Mississippi

(5:04)  6. Ruby, My Dear

(5:25)  7. Let's Cool One

(4:37)  8. Brake's Sake

(4:54)  9. Green Chimneys

(5:22) 10. 52nd Street Theme

(6:24) 11. Holiday Medley

Claire Daly grew up in Yonkers, NY, affording her access to many jazz greats performing live in NYC. Her father supported her enthusiasm about the music and brought her to many live shows including Duke Ellington, Count Basie, Ella Fitzgerald, Lionel Hampton, Earl "Fatha" Hines, Benny Goodman and more. At the same time, she was hearing contemporary music with her peers at venues like The Schaeffer Music Festivals in Central Park. Her taste runs from the classics through the avant garde, and Claire still believes in the importance of hearing live music regularly.

She graduated Berklee College of Music as an alto player and traveled on the road with both jazz and rock bands, but her life changed significantly the first time she played a baritone sax. It happened to be the first horn Howard Johnson had owned, for sale by a mutual friend. "It was an epiphany. I felt like, There I am this is my voice." Claire hasn’t looked back and has become a well known, leading voice on the big horn. In 2012, The North Coast Brewing Co. in California produced a CD for Claire called "Baritone Monk" to promote their "Brother Thelonious Ale". It was on the Jazzweek Charts for 24 weeks, 9 of which were top ten. This led to headlining at the Monterey Jazz Festival, KC Rhythm‘n Ribs Fest, Pittsfield Jazz Festival and more in addition to touring the United States with the quartet.  http://www.clairedalymusic.com/bioframe.html

Personnel:  Baritone Saxophone – Claire Daly;  Bass – Mary Ann McSweeney;  Drums – Peter Grant (5);  Flute – Claire Daly (tracks: 4);  Piano – Steve Hudson (2);  Vocals – Claire Daly (tracks: 11)

Baritone Monk

---

Bobby Jaspar - At Ronnie Scott's

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 76:06
Size: 177,3 MB
Art: Front

( 8:48)  1. Sonnymoon For Two
(10:21)  2. Like Someone In Love
( 9:46)  3. Stella By Starlight
(12:48)  4. Be Like Bud
( 8:20)  5. Our Delight
( 7:43)  6. Darn That Dream
( 8:12)  7. Pent-Up House
(10:05)  8. Oleo

Recorded just a year before his death, this English album (releasing previously unknown music for the first time in 1986) is about the only one released from Bobby Jaspar's final four years. Doubling on tenor and flute while joined by guitarist Rene Thomas, bassist Benoit Quersin and drummer Daniel Humair, Jaspar is heard stretching out on his "Be Like Bud" and five boppish jazz standards. The numbers clock in between 7-10 minutes at this live concert, giving Bobby Jaspar an opportunity to take some of his longest solos on record. Highlights of the spirited set include "Pent-Up House," "Our Delight" and "Oleo." ~ Scott Yanow http://www.allmusic.com/album/the-bobby-jaspar-quartet-at-ronnie-scotts-1962-mw0000882127

Personnel:  René Thomas – guitar;  Bobby Jaspar – saxophone;  Benoît Quersin – bass;  Daniel Humair – drums.

At Ronnie Scott's

---

André Previn - The Popular Previn: André Previn Play's Today's Big Hits

Styles: Piano Jazz 
Year: 1965
File: MP3@320K/s
Time: 32:42
Size: 80,3 MB
Art: Front

(2:58)  1. One Note Samba
(2:50)  2. People (from 'Funny Girl')
(2:26)  3. Bluesette
(2:34)  4. Call Me Irresponsible
(3:02)  5. Quiet Nights Of Quiet Stars (Corcovado)
(2:23)  6. Kiss Me, Stupid
(2:11)  7. Never You Mind
(3:23)  8. The Girl from Impanema
(3:01)  9. Gravy Waltz
(2:24) 10. Sunrise, Sunset (from 'Fiddler On The Roof')
(2:55) 11. Manha de Carnaval
(2:30) 12. Goodbye Charlie (from 'Goodbye Charlie')

One of the most versatile musicians on the planet, André Previn has amassed considerable credentials as a jazz pianist, despite carving out separate lives first as a Hollywood arranger and composer, and then as a world-class classical conductor, pianist, and composer. Always fluid, melodic, and swinging, with elements of Bud Powell, Oscar Peterson, and Horace Silver mixed with a faultless technique, Previn didn't change much over the decades but could always be counted upon for polished, reliable performances at the drop of a hat. He started piano lessons in his native Berlin before the Nazi threat forced his family to move to Paris in 1938 and the U.S. the following year. Settling in Los Angeles, the wunderkind Previn began working as a jazz pianist, an arranger for MGM, and a recording artist for Sunset Records while still in high school and by his 18th year, his first recordings for RCA Victor had racked up substantial sales. Originally swing-oriented, Previn discovered bop in 1950 just before his induction into the Army.

Upon returning to Los Angeles, Previn went into overdrive, gigging as a jazz pianist, scoring films, and playing chamber music. Forming a smooth boppish trio with Shelly Manne and Leroy Vinnegar, Previn scored a huge crossover hit with an album of jazz interpretations of My Fair Lady, which in turn led to a series of likeminded albums of Broadway scores and kicked off an industry trend. By 1962, Previn started to make the transition away from Hollywood toward becoming a full-time classical conductor, dropping his jazz activities entirely. He stayed away from jazz for 27 years, with the exceptions of a handful of sessions with Ella Fitzgerald and classical violinist/dabbler Itzhak Perlman. Indeed, in 1984, he was quoted as saying that jazz was "an expendable art form" for him. But in March 1989, shortly before resigning from the Los Angeles Philharmonic in a dispute with management, Previn returned to jazz with a trio album for Telarc with Ray Brown and Joe Pass, showing that he had not lost an iota of his abilities. Subsequently, he returned frequently to the studio as a jazz pianist for Telarc, Angel, Deutsche Grammophon, and DRG when not freelancing as a conductor or composing classical scores. ~ Richard S. Ginell  https://itunes.apple.com/us/artist/andre-previn/id702496#fullText

Personnel:  André Previn, piano;  Marty Paich, conductor

The Popular Previn: André Previn Play's Today's Big Hits

---

Rufus & Chaka - Masterjam

Styles: Vocal, Funk, Soul 
Year: 1979
File: MP3@320K/s
Time: 39:29
Size: 92,2 MB
Art: Front

(4:29)  1. Do You Love What You Feel
(4:52)  2. Any Love
(3:47)  3. Heaven Bound
(4:07)  4. Walk The Rockway
(3:54)  5. Live In Me
(5:58)  6. Body Heat
(4:34)  7. I'm Dancing For Your Love
(4:06)  8. What Am I Missing?
(3:37)  9. Masterjam

As Khan released her first solo album, I'm Every Woman, the band released 1978's Numbers, sans Khan, and it went absolutely nowhere. Masterjam finds them back together, renamed Rufus and Chaka, with Quincy Jones producing the effort. Khan had worked with Jones on his 1978 album, Sounds...And Stuff Like That. The most striking thing about Masterjam is that is doesn't sound like a trademark Rufus effort. Jones' production style is so strong that the band's individual sound is all but lost. It's nothing to cry about, since Jones was at his R&B/pop peak and Rufus couldn't do it any better on their own. The album's first track is "Do What You Love What You Feel," with its subtle horn riffs arranged by Jerry Hey and vocals from guitarist Tony Maiden and Khan. On a track somewhat close to a ballad, the brilliantly arranged "Heaven Bound," Jones gets a good raw vocal from Khan. A frequent Jones collaborator, Rod Temperton, offers the title track and the even better "Live in Me." The album's only low point was a cover of Jones' own "Body Heat." On this version the pace is quickened, inexplicably turned into disco which revealed the lyrics to be paper-thin. Although Masterjam was just more of a Quincy Jones album than a Rufus effort, this ended up being one of the groups' last successful full-studio endeavors. ~ Jason Elias http://www.allmusic.com/album/masterjam-mw0000096521

Personnel: Chaka Khan (vocals, background vocals); Tony Maiden (vocals, guitar); David "Hawk" Wolinski, Kevin Murphy (vocals, keyboards); Bobby Watson (vocals); Sid Sharp (strings); Kim Hutchcroft (flute, saxophone, horns); Larry Williams (flute, saxophone, wind); Gary Grant, Larry Hall (trumpet, flugelhorn, horns); Jerry Hey (trumpet, flugelhorn); Lew McCreary, William Frank "Bill" Reichenbach Jr. (trombone); Seawind (horns); John "J.R." Robinson (drums, hand claps, percussion); George A. Johnson, Jr. , Louis Johnson, Richard Heath (hand claps, percussion).

Masterjam

---

Joshua Douglas Smith - Unstuck in Time

Styles: Saxophone Jazz
Year: 2004
File: MP3@256K/s
Time: 64:46
Size: 118,9 MB
Art: Front

( 8:09)  1. I'll Be Seeing You
( 7:46)  2. Unstuck in Time
( 8:51)  3. Food For Beauty
( 5:37)  4. Like Someone In Love
( 8:47)  5. So It Goes
( 7:35)  6. Good Hair Day
( 7:17)  7. African Flower
(10:41)  8. Toy Tune

“ Still not yet 22 – he was born in New York on August 24, 1982…, Joshua displays his rapidly growing confidence and maturity…The outcome is an invaluable, focussed snapshot of his artistic development …” (Mark Gardner)

Personnel: Joshua Douglas Smith (soprano saxophone, tenor saxophone); Ben Monder (guitar); Billy Hart (drums);  Ron McClure (bass).

Unstuck in Time

---

Joe Locke & 4 Walls of Freedom - Dear Life

Styles: Vibraphone Jazz
Year: 2004
File: MP3@320K/s
Time: 57:39
Size: 132,3 MB
Art: Front

(11:07)  1. Wind in Your Willow
( 7:37)  2. Dear Life
( 5:15)  3. Cut and Paste
( 5:48)  4. Eva
( 5:52)  5. Ennui
( 6:42)  6. For B.B.
( 3:25)  7. Manhattan Rain
( 5:54)  8. Malonius
( 5:54)  9. Verrazano Moon

Following one of the most critically acclaimed records of your career can be tough; doubly so when one of the key group members has tragically passed on. Vibraphonist Joe Locke, who scored big with 2003's 4 Walls of Freedom , was faced with exactly that challenge. Between the time the album was recorded and released tenor saxophonist Bob Berg met with a tragic accident, leaving the future of the ensemble in serious question. A year later Locke has managed to retain the feel of the original band while replacing two members and deliver Dear Life , another impassioned recording of contemporary post bop.  Also gone from the group is bassist James Genus, now replaced by Ed Howard, leaving Gary Novak the only other original member; but between him and Locke they manage to maintain their signature rhythmic drive. Howard doesn't swing quite as hard as Genus, nor does Scottish saxophonist Tommy Smith burn quite as bright as Berg, but they both bring their own personalities to the project, which results in an evolution of sorts. Smith may not have the same level of energy, but he does have a robust sound that combines some of the post-Coltrane elements of players like Berg and Michael Brecker with a bit of the Nordic cool of Jan Garbarek. His playing on the opening track, "Wind In Your Willow," is the perfect confluence of these two styles. Propelled by Novak's powerful drumming, this track comes closest to approximating the sheer energy and vitality of the first release.

But just because the album doesn't have the same kind of energy as the first record doesn't mean it isn't as intense or immediate. The title track is a poignant waltz featuring the kind of memorable melody that Locke is becoming known for. Locke's mallet work places him on a level with contemporary players including Steve Nelson and Stefon Harris, but his style is more direct, with a strong and absorbing lyrical sense. Unlike the first record, which consisted only of Locke compositions, Dear Life also features some interesting choices from other writers. "Cut and Paste," a more recent Ron Carter composition, is a relatively spare structure that provides the foundation for short but fiery solos from Locke, this time using his midi vibes, and Smith; Novak, a sadly underappreciated drummer, although clearly not by this ensemble, contributes some especially strong work. Smith's contribution, "For B.B.," demonstrates a more episodic writing style than Locke's; the tune's middle section also swings harder than anything else on the record, and Howard is a strong component. With an album that manages to retain the successful elements of its predecessor while, at the same time, going in new places with a revamped line-up, Dear Life is another noteworthy effort from Locke, who seems to be constantly gaining ground as a writer, composer and bandleader. ~ John Kelman https://www.allaboutjazz.com/dear-life-joe-locke-sirocco-music-limited-review-by-john-kelman.php
 

Personnel: Joe Locke: vibes, midi vibes, marimba; Tommy Smith: tenor saxophone; Ed Howard: acoustic bass; Gary Novak: drums.

Dear Life

---

Elli Fordyce - Elli Fordyce Sings Songs Spun of Gold

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 53:16
Size: 122,5 MB
Art: Front

(2:35)  1. Let's Get Lost
(5:02)  2. Desafinado
(2:45)  3. Softly, as I Leave You
(2:50)  4. A Child Is Born/Waltz for Debby
(3:12)  5. Where Do You Start?
(3:21)  6. Where Am I Going?
(2:41)  7. Pick Yourself Up
(3:40)  8. Oops!
(3:14)  9. In the Wee Small Hours
(3:16) 10. Wave
(3:22) 11. My Heart Stood Still
(4:15) 12. Everything Happens to Me
(2:21) 13. Listen Here
(3:06) 14. I'll Remember April
(2:40) 15. I'm Old Fashioned
(2:50) 16. Where or When?
(1:58) 17. Long Ago and Far Away/Out of Nowhere

Originally from Manhattan, Elli Fordyce is a highly accomplished vocalist and actor. She has performed all over the New York Metro area, other US and North American cities and nearby islands, including an appearance at the New York Cabaret Convention and in festivals. Elli also has numerous acting credits, among them: Film September 12th, TV Cappelle's Show, and Off-Off-Broadway Theatre Guys & Dolls. Prior to returning to New York in 1979, Elli left her musical journey several times. The first to devote time to family; unexpectedly, the next followed a devastating accident on a snowy highway en route to a gig when the car carrying her quartet and equipment crashed into a disabled truck in 1976. A successful year-long tour of "Elli Fordyce And Her Favorite Things" ended abruptly and left several kinds of scars. Soon after, Elli stopped singing for 15 years ("Not even ‘Happy Birthday,’ not even in the shower," she'll say) and focused firmly on much needed physical, emotional and spiritual healing. But for Elli, music was not over. A ginger-colored Yorkie puppy named Dindi (pronounced Gingy, meaning "little jewel" in Portuguese as well as the title of Elli's favorite Jobim bossa nova) brought her back. She discovered that Dindi loved hearing Elli sing the song. Inspiration renewed, Elli joined a cabaret workshop taught by the brilliant MAC-Award-winning singer/songwriter Lina Koutrakos and, soon after, came under the spell of Barry Harris, renowned jazz pianist and educator, to whom she gives much of the credit for putting her squarely back on the path meant for her, making comeback inevitable.

And back she Is! Her first CD, "Something Still Cool" (after an 8-year birthing period), was an overnight sensation, getting rave reviews. "Whatever the term means ... you know it when you hear it. And Elli Fordyce is cool! ... as implied in the title, once cool, always cool, vintage cool ... Ms. Fordyce has the spirit and voice of one of the blessed, the spirit and stamina of eternal song." (Bob Gish, Jazz Improv-New York); "Fordyce's voice is lovely with strong command, a natural rhythmic touch and just a touch of a rough edge ... scatting with aplomb, she also shows a knack for the south-of-the-border sound .... a true showcase for a singer whom one wishes would have never had to give up singing for so long ... better late than never ... heartfelt version of "Something Cool" ... doesn't sing by rote, and her vocal ideas are full of imagination and personality, but neither does she detract from the beauty of the melody ... it is clear that Elli Fordyce knows ... the real meaning of 'cool.'" (Brad Walseth, www.jazzchicago.net) "I am enjoying your music so much! Your CD was a great surprise for me. I always [love] discovering great talent for our audience ... very lucky to have your new tracks for their enjoyment at radioIO." (drmike, www.radioIO.com). A wonderful review by Rob Lester may also be read at http://www.talkinbroadway.com/sound/march2708.html and Rob also named the CD one of his Top-Ten-Vocal picks for 2008. The CD has been nominated as well for a MAC (Manhattan Association of Cabarets & Clubs) Award, the winner of which will be announced on May 18th at BB King’s in MAC's Award Ceremony. With the release of "Songs Spun Of Gold," many of Elli's dreams since she was 3 years old are unfolding and she’s frequently heard to say, "It's never too late!" "In the light, she dances to silent music. Songs that are spun of gold somehow in her own little head." Those lyrics by Gene Lees on the bridge of "Waltz for Debby" are the inspiration for the title of this CD, and for it's title tune by the genius Bill Evans. http://www.cdbaby.com/cd/ellifordyce2

Elli Fordyce Sings Songs Spun of Gold

---

George Wallington - The New York Scene

Styles: Piano Jazz 
Year: 1957
File: MP3@320K/s
Time: 39:17
Size: 90,2 MB
Art: Front

(5:27)  1. In Salah
(6:14)  2. Up Tohickon Creek
(4:55)  3. Graduation Day
(7:12)  4. Indian Summer
(8:05)  5. 'Dis Mornin'
(7:21)  6. Sol's Ollie

Before he retired from music in 1960, pianist George Wallington led a series of excellent bop-based quintet albums. For this particular CD (a reissue of a date originally put out by New Jazz), Wallington heads a group featuring altoist Phil Woods, trumpeter Donald Byrd, bassist Teddy Kotick and drummer Nick Stabulas. With the exception of the standard "Indian Summer," the repertoire is pretty obscure (with now-forgotten originals by Byrd, Woods and Mose Allison in addition to "Graduation Day") but of a consistent high quality. The emphasis is on hard-swinging and this set should greatly please straightahead jazz fans. ~ Scott Yanow http://www.allmusic.com/album/the-new-york-scene-mw0000707494

Personnel: George Wallington (piano); Donald Byrd (trumpet); Phil Woods (alto saxophone); Teddy Kotick (bass); Nick Stabulas (drums).

The New York Scene

---

Rotem Sivan - Enchanted Sun

Styles: Guitar Jazz
Year: 2013
File: MP3@320K/s
Time: 48:29
Size: 112,7 MB
Art: Front

(7:23)  1. Here With You
(3:47)  2. There Without
(4:15)  3. Rodent's Blues
(5:32)  4. Isn't It Romantic?
(4:07)  5. Scene #5
(7:36)  6. How Long Has This Been Going On?
(4:02)  7. Keep Breathing
(5:59)  8. Enchanted Sun
(5:43)  9. Sun-Song

Is this destined to be one of the great undiscovered albums of the year? Released with little fanfare on Steeplechase's Lookout strand back in June, Enchanted Sun has picked up precious few reviews. Maybe it is just the summer slumber. Let us hope so, for the debut recording from Israeli-born, New York-based guitarist Rotem Sivan and his trio deserves to get n.o.t.i.c.e.d.  Unusually for a modern guitar-led album, there are no loops, no effects, no overdubs, no turntablists, no fusionism. There is nothing inherently wrong with any of those things (except fusionism, obviously). But how refreshing it is to hear classicism such as this. The first point of reference which suggests itself is the work of guitarist Johnny Smith on Roulette in the 1950s. Sivan favours radiant, upper register, single-note lines over Smith's lush, chorded treatments, but he casts the same ineffably romantic spell. The second point of reference is the trio clarinetist Jimmy Giuffre led at the 1958 Newport Festival (immortalised in the documentary film Jazz on a Summer's Day). The presence of guitarist Jim Hall in Giuffre's trio is incidental here; it is the buoyant, limber freshness of the trio's overall performance that resonates.

Of the nine tracks on the album, only two are covers: George Gershwin's "How Long Has This Been Going On?" and Richard Rodgers' "Isn't It Romantic?" Eighty-one years after it was written, Rodgers' piece receives another definitive performance. The rest of the tunes were written by Sivan, who, more often than is decent for someone so young, approaches the same melodic heights as the composers of those two treasures from the standards repertoire. If you could hear a great perfume an understated dream weaver such as Guerlain's Après l'Ondée or L'Artisan Parfumeur's Timbuktu it would sound like this. Like those two olfactory masterpieces, Enchanted Sun is concerned with luminescence rather than impact, and the shimmer lingers long. A captivating debut. 

~ Chris May https://www.allaboutjazz.com/enchanted-sun-rotem-sivan-steeplechase-lookout-review-by-chris-may.php
 

Personnel: Rotem Sivan: guitar; Sam Anning: bass; Rajiv Jayaweera: drums.

Enchanted Sun

---

Richard Elliot - Summer Madness

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 44:09
Size: 101,7 MB
Art: Front

(4:03)  1. Cachaca
(4:19)  2. Breakin' It Down
(4:22)  3. Europa (Earth’s Cry Heaven’s Smile)
(3:58)  4. West Coast Jam
(4:31)  5. Harry the Hipster
(4:25)  6. Slam-O-Rama
(4:43)  7. Back to You
(5:11)  8. Ludicrous Speed
(4:08)  9. Summer Madness
(4:26) 10. Mr. Nate’s Wild Ride

When tenor saxophonist Richard Elliot began preparing Summer Madness, his follow-up to 2014’s critically acclaimed Lip Service, he knew exactly what he wanted to do. First and foremost, it had to be funky. “When I was growing up in the ’70s and first learning to play the saxophone,” he says, “I was mostly attracted to instrumentally based R&B and to jazz that had R&B roots. This record definitely goes down that path, leaning more on the funk side.” He also knew precisely who he wanted to accompany him on the new music. “I wanted to involve my band,” Elliot says. “A lot of artists tour with a group of musicians, and then when it’s time to make a record they hook up with a producer and go into the studio and use completely different people that maybe they’ve never even met before. I feel that if you’re lucky enough to have a regular group of musicians that you work with, and you don’t draw on their talent and their inspirations, you’re short-changing yourself.” Summer Madness, set for release on September 9, 2016 via Heads Up, a division of Concord Music Group, is a new kind of Richard Elliot recording. For one thing, the cast includes two other horn men augmenting Elliot’s signature sax work: trumpeter/trombonist Rick Braun, who also produced the album and, on several tracks, baritone saxophonist Curt Waylee. Most importantly though, the music was created from scratch as Elliot and his handpicked musicians formulated and honed their ideas in the studio, with Braun’s ultra-capable guidance. For Elliot, recruiting the additional players and having the entire band plus a well-respected veteran producer help him shape the music was integral to the project’s success.

   “I didn’t want to direct them,” he says. “I wanted to bring them in and let them be part of the process the writing, the arranging and to do it all together. I had a lot of confidence that these guys are mature enough musically. Everybody brought what they do to the table and we all put our heads together. We didn’t have rehearsals first, we didn’t have writing sessions first. We booked some days in the studio and the music just poured out.” The result of these impromptu jams seven new originals and three classic interpretations is unquestionably one of the most electrifying and gratifying recordings of Richard Elliot’s three-plus-decade solo career. From the opening salvo, a super-funkified take on Spyro Gyra’s “Cachaca,” through the closing “Mr. Nate’s Wild Ride,” spotlighting bassist Nathaniel Phillips, who wrote the track along with Elliot and Braun, Summer Madness is one of those albums that simply takes hold the moment you press play and never lets go. Along the way it touches down on a variety of moods and styles, from Latin- and African-inspired funk to soul jazz, even flirting with fusion on the hard-driving, appropriately titled “Ludicrous Speed.”  A couple of sparkling ballads pay tribute to heroes of Elliot’s going back to his earliest days of musical discovery: “Europa,” on which he honors one of his saxophone inspirations, the late Gato Barbieri who famously remade the Carlos Santana-penned track in his own image, and the title track “Summer Madness,” a mid-’70s hit for funk titans Kool & the Gang. Among the original compositions, “Harry the Hipster,” says Elliot, “is reminiscent of songs that had cool, recurring melodies and a funky pulse the idea was not to wrap yourself up in how much complexity you could put into the song, but how much feeling and groove can you put into the song?” Another highlight, the band-written “West Coast Jam,” is Elliot’s nod to yet another influence, the late leader of funk trailblazers Zapp, Roger Troutman, while “Breakin’ It Down,” which arrives early on Summer Madness, is designed, he says, to bridge the genres of funk and contemporary jazz, with which Elliot has long been associated. “I sort of formulated that theory later though,” he confesses. “When we were making the music we were just making it.”

   It should come as no surprise to Elliot’s longtime fans that he would, at some point in his career, choose to celebrate funk in such a dedicated, decisive way. It was, after all, with the legendary Tower of Power that many first heard the saxophone virtuosity of Richard Elliot. Although he was born in Scotland and grew up in Los Angeles, where he started playing saxophone while in middle school, his five-year run with the Bay Area institution ToP during the 1980s was when Richard Elliot first came to prominence. “I learned more about being a musician, about being a performer, about being a team player in a horn section, about how to make a statement when you step out and do a solo, from being with Tower of Power than from any other group or artist I ever worked with,” Elliot says, adding that it was “initially terrifying” to find himself among some of the most accomplished and highly respected musicians on the funk/R&B scene. In fact, he learned enough from working with them, Elliot says now, to know that he was ready to go off on his own when he did. “Leaving Tower of Power was the hardest decision I ever made,” he says now, but great things were to follow almost immediately. By the late ’80s, Elliot  had launched his solo career and was signed to Blue Note Records, where he worked with the legendary record executive Bruce Lundvall, an early champion of Elliot’s work. Since then, Elliot has released more than 20 albums as a leader, and has also polished his chops serving as a sideman for a considerable list of diverse giants, including Motown hitmakers Smokey Robinson and the Temptations. One of Elliot’s favorite projects was the collaborative 2013 release Summer Horns, which found him teaming up with fellow sax-slingers Dave Koz, Gerald Albright and Mindi Abair the album was nominated for a Grammy in the category of Best Pop Instrumental Album. Throughout all of his music, Richard Elliot has always strived to achieve one certain goal. “Miles Davis said, ‘The hardest thing for a musician to do is sound like himself.’ That stuck with me,” Elliot says. “If you fixate on a single influence, you tend to sound like someone who’s trying to sound like that person. I never know if I’ve achieved that goal but on occasion I’ve had someone come up to me and say, ‘I heard a song on the radio and I knew it was you.’” Summer Madness puts a bit of a new twist on the classic Richard Elliot sound, but you won’t doubt for a single second who you are hearing. http://www.richardelliot.com/

Summer Madness

---