David Sanborn - Only Everything

Bitrate: MP3@320K/s
Time: 45:40
Size: 104.6 MB
Styles: Saxophone jazz
Year: 2010
Art: Front

[3:41] 1. The Peeper
[8:00] 2. Only Everything (For Genevieve)
[5:01] 3. Hard Times
[3:05] 4. Let The Good Times Roll
[8:02] 5. Baby Won't You Please Come Home
[6:03] 6. You've Changed
[3:56] 7. Hallelujah I Love Her So
[7:49] 8. Blues In The Night

Alto Saxophone – David Sanborn; Baritone Saxophone – Frank Basile; Drums – Steve Gadd; Organ – Joey DeFrancesco; Tenor Saxophone – Bob Malach; Trombone – Mike Davis; Trumpet – Tony Kadleck.

Only Everything is alto saxophonist David Sanborn's second straight release paying homage to one of his greatest and earliest influences, Ray Charles. While some jazz purists may dismiss Sanborn as a slick TV personality and practitioner of smooth or pop jazz, he's always had firm roots in bluesy, R&B-based jazz, dating to his early days playing with the likes of Albert King and the Paul Butterfield Blues Band. And along with his more commercially calculated recordings, he's released some excellent straight-ahead, even experimental albums over the years, notably 1991's out-of-left-field Another Hand (Elektra), which featured Sanborn in the company of Charlie Haden, Marc Ribot and Bill Frisell, among others.

On Only Everything, Sanborn is joined by a tight, small group featuring the hard-grooving organist Joey DeFrancesco and the well-traveled drum dynamo Steve Gadd. The addition of a four-member horn section—Bob Malach (tenor), Frank Basile (baritone), Tony Kadlock (trumpet) and Mike Davis (bass trombone)—on about half the tracks gives the album a 'little big band' vibe that evokes Charles' 1961 Atlantic classic Genius + Soul = Jazz. Like its predecessor, 2008's well-received Here and Gone (Verve), Only Everything highlights the contributions of Charles' star saxophonists Hank Crawford and David "Fathead" Newman, both of whom passed away last year within days of each other. Sanborn pays tribute to his fellow saxmen here with a rousing take on Crawford's "The Peeper" and a moving treatment of Newman's signature tune, "Hard Times." Throughout, Sanborn's earthy, slightly tart alto and DeFrancesco's booming, soulful organ make a compelling pairing, with the often subdued Sanborn playing with unexpected fire and the flashy DeFrancesco showing some welcome restraint.

The album's two vocal guests have mixed results. Young pop-soul star Joss Stone has great chops, but tries too hard on "Let the Good Times Roll" while the always relaxed James Taylor fares better on a cool, low-key reading of "Hallelujah, I Love Her So." ~Joel Roberts

Only Everything    

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Clark Terry, SWR Big Band - Jazz Matinee

Bitrate: MP3@320K/s
Time: 72:15
Size: 165.4 MB
Styles: Trumpet Jazz
Year: 2007
Art: Front

[8:16] 1. The Zinger
[5:33] 2. Easy Does It
[4:15] 3. Come Sunday
[5:44] 4. A Penny For Your Thoughts
[4:42] 5. Jenny
[4:48] 6. C.T.'s Express
[5:39] 7. Big Bad Blues
[5:54] 8. Dues Blues
[5:53] 9. Tee Pee Time
[4:50] 10. Sheba
[7:41] 11. Cold Tater Stomp
[4:36] 12. Just Squeeze Me (But Please Don't Tease Me)
[4:17] 13. Mumbles Returns

Clark Terry, conductor, trumpet, flugelhorn, vocals; Thomas Vogel, Claus Reichstaller, Karl Farrent, Rudi Reindl, trumpet; Ernst Hutter, Marc Godfroid, Ian Cumming, Georg Maus, trombone; Bernd Rabe, Klaus Graf, alto sax; Peter Weninger, tenor, soprano sax; Andreas Maile, tenor sax; Rainer Heute, baritone sax; Klaus Wagenleiter, piano; Decebal Badila, bass.

The irrepressible Clark Terry was a spry seventy–seven years old when this “Jazz Matinee” was recorded three years ago in Stuttgart, Germany. To hear him — on trumpet, flugelhorn or singing — is to summon forth images of a much younger man, so infectious is his boundless energy and unfailing good humor. About the latter, drummer Louie Bellson once said: “There has to be something wrong with anybody who can’t get along with Clark Terry.” As to his playing, Miles Davis called him “one of the best trumpeters in the world, if not the very best,” an assessment seconded by Dizzy Gillespie, who observed that “[Terry’s] flexibility and versatility make him one of the greatest. He can swing, he knows how to bop, he can do whatever he wants with his horn.” What he wants to do on this colorful session with the world–class SWR Big Band is entertain the rapt audience with a series of typically resourceful solos, which he does with relative ease, and with his engaging vocals on “Just Squeeze Me” and the amusing “Mumbles Returns” (on which one would almost swear he’s speaking an actual “language” that hasn’t yet been codified). Never comfortable on the sidelines, Terry solos on every number and shoulders the entire load on “Squeeze Me,” Ellington’s “Come Sunday” and Dave Slonaker’s “C.T.’s Express.” Elsewhere, he’s aided and abetted by a number of the ensemble’s top–drawer improvisers — saxophonists Rainer Heute, Andy Maile, Peter Weniger, Klaus Graf and Bernd Rabe; trumpeters Claus Reichstaller and Karl Farrent; trombonists Ian Cumming and Marc Godfroid, pianist Klaus Wagenleiter and bassist Decebal Badila. To show the versatility alluded to by Gillespie, Terry places his flugel in one hand, muted trumpet in the other and plays “against” himself on the scampering “Tee Pee Time,” then goes into the trenches to engage in hand–to–horn combat with Graf, Farrent and Reichstaller on Alan Foust’s funky “Cold Tater Stomp.” The SWR Big Band, powered by its superb rhythm section (Wagenleiter, Badila and drummer Jörg Gebhardt), swings audaciously from first note to last on this generously timed (72:06) concert date. With so many of Jazz’s acknowledged giants having left us, we are indeed fortunate that Clark Terry is still here. Now 80, he was diagnosed recently with colon cancer, which is no laughing matter. We are certain that we echo the sentiments of everyone in the Jazz community in wishing one of the great masters of trumpet and humor a swift and complete recovery. ~Jack Bowers

Jazz Matinee

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Hilton Ruiz - Island Eyes

Styles: Piano Jazz
Year: 1997
File: MP3@320K/s
Time: 54:33
Size: 125,4 MB
Art: Front

(5:51)  1. Intrepid Fox
(4:35)  2. Island Eyes
(4:46)  3. The Girl's In Love
(5:06)  4. House Of Dreams
(6:02)  5. Gee Baby, Ain't I Good To You
(4:52)  6. Stand By Me
(5:07)  7. Unit Seven
(4:17)  8. Body And Soul
(5:11)  9. Soul Eyes
(2:47) 10. Solar Orbit
(5:54) 11. Naturally

Jazz pianist Hilton Ruiz was a musician of uncommon versatility, shuttling seamlessly between the complex improvisations of the avant-garde and the relentless rhythms of Afro-Cuban music. Born in New York City on May 29, 1952, Ruiz was a child prodigy who performed at Carnegie Recital Hall at age eight. In addition to classical studies, he explored jazz under the tutelage of the legendary Mary Lou Williams, and at 14 made his recorded debut with the Latin soul outfit Ray Jay and the East Siders. His remarkable improvisational gifts nevertheless cemented Ruiz's decision to pursue a career in jazz, and while still in his teens he backed everyone from Freddie Hubbard to Joe Henderson. Ruiz vaulted to global renown in 1973 when he joined the famously eclectic saxophonist/flutist Rahsaan Roland Kirk, proving his mettle as a gifted interpreter of a repertoire spanning from the blues to the avant-garde via cult-classic LPs including The Case of the 3 Sided Dream in Audio Color and The Return of the 5000 Lb. Man. After a four-year tenure with Kirk, Ruiz toured Egypt and India with Clark Terry; upon his return to New York, he was a first-call sideman for acts including Betty Carter, Abbey Lincoln, and Chico Freeman, and also founded his own group, continuing a headlining career that began with the 1975 Steeplechase effort Piano Man. Over the span of acclaimed LPs including 1977's Steppin' Into Beauty, 1988's El Camino (The Road) and 1991's A Moment's Notice, Ruiz honed a Latin jazz fusion approach that resulted in collaborations with Tito Puente and Paquito d'Rivera; he also moonlighted in film, contributing to the soundtracks of Woody Allen's Crimes and Misdemeanors and Sam Mendes' Oscar-winning American Beauty, and with Richard Bradley authored 1987's three-volume Jazz and How to Play It. During a visit to New Orleans, where he was scheduled to work on a Hurricane Katrina benefit project, Ruiz suffered a fall in front of a French Quarter bar and slipped into a coma. He never regained consciousness, dying just a week after his 54th birthday on June 6, 2006. ~ Jason Ankeny http://www.allmusic.com/artist/hilton-ruiz-mn0000957132/biography

Personnel: Hilton Ruiz (piano, Hammond organ, keyboards); John Stubblefield (tenor saxophone); Jon Faddis (trumpet); Dave Valentin (flute); Bernd Schoenhart (guitar); John Benitez (acoustic & electric basses); Ignacio Berroa (drums); Tito Puente (timables, vibraphone); Milton Cardona, Richie Flores (congas, percussion).

Island Eyes

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George Colligan - Runaway

Styles: Piano Jazz
Year: 2007
File: MP3@256K/s
Time: 69:06
Size: 127,6 MB
Art: Front

(6:02)  1. End of a Dinasty
(7:50)  2. The Righteous
(4:33)  3. When I Go
(5:42)  4. R U Things The All?
(8:36)  5. Be Gentle
(3:46)  6. Skeletons In The Closet
(5:55)  7. Forlorning
(6:31)  8. Ghostland
(5:50)  9. Waltz For All The Things We Meant To Do And Never Did
(5:41) 10. Innocent Youth
(8:35) 11. Runaway

George Colligan is no ordinary musician and offers convincing proof on his Sunnyside Records. On Runaway, this award-winning pianist and composer presents a dynamic program of eleven new and varied lyrical pieces ranging from straight-ahead to free improvisation and a touch of fusion. With a lengthy and impressive discography, this album comes off the heels of the highly acclaimed Blood Pressure (Ultimate, 2006) that featured Colligan with multiple rhythm sections. Here Colligan stick with his trio band mates of bassist Josh Ginsburg and drummer Enoch Jamal Strickland, augmenting the play with the addition of guitarist Tom Guarna and vocalist Kerry Politzer. Colligan is a multi-instrumentalist who actually began playing the drums, switched to piano and trained in classical trumpet. Here he is featured not only on the piano but also indulges on the Fender Rhodes, synthesizers and blows the horn on the light soothing ballad of "Innocent Youth," while Politzer fills in on piano. The trio kicks off the repertoire with the blistering "End Of A Dynasty," followed by "The Righteous," a high-energy piece of fusion featuring Colligan manning the Rhodes and synthesizer and Ginsburg on the electric bass. Politzer provides soft vocals on "When I Go," accompanied by Guarna's guitar lines, while Colligan remains on the Rhodes. One of the exceptional tunes on this disc is the pop-friendly ballad "Be Gentle" where, once again, Colligan performs on both the Rhodes and synthesizer in an absolutely beautiful number worth repeated spins. The pianist tosses in a little free improvisation with "Skeletons In The Closet," somewhat of a departure from the rest of the session, and turns classical with a warm and delicious performance provided on "Waltz For All The Things We Meant To Do And Never Did." The title track offers just a tinge of the Latin flavor but not enough to qualify it as a Latin jazz number, remaining true to a contemporary jazz style. George Colligan is a monster on the boards delivering stunning solos throughout which, combined with his creative new charts, ensure that Runaway will most likely be another runaway success for one of the most talented musicians on the jazz scene today. ~ Edward Blanco https://www.allaboutjazz.com/runaway-george-colligan-sunnyside-records-review-by-edward-blanco.php
 

Personnel: George Colliagan: piano, Fender Rhodes (2, 3, 5, 7), trumpet (10), synthesizers (2, 5, 7); Josh Ginsberg: acoustic bass, electric bass (2); Enoch Jamal Strickland: drums; Tom Guarna: guitars (2-6); Kerry Politzer: voice (3, 7), piano (10).

Runaway

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Darden Purcell - Easy Living

Size: 123,2 MB
Time: 52:37
File: MP3 @ 320K/s
Released: 2009
Styles: Jazz Vocals
Art: Front

01. What A Little Moonlight Can Do (5:14)
02. Comes Love (4:59)
03. Alice In Wonderland (5:55)
04. Love For Sale (4:46)
05. Will You Still Love Me Tomorrow (4:26)
06. Your Red Wagon (4:33)
07. Last Night When We Were Young (4:40)
08. Get Happy (3:41)
09. You Don't Know What Love Is (5:06)
10. Ding Dong! The Witch Is Dead (3:35)
11. Easy Living (5:38)

Working backwards, I discovered DC-area jazz vocalist and educator Darden Purcell with her second recording, Where the Blue Begins (Armored Records, 2016). It was an impressive recital with the nominal theme of twilight winding through its repertoire. While less thematically focused, Easy Living remains a well programmed set of eleven standards, "My Funny Valentine" thankfully not among them.

Easy Living smacks of youthfully precocious invention, a collection of master musicians trying their individual talents out in creative ways. Vocalist Purcell possess an instrument finely tuned through study and performance. She is easily the most precise singer I have heard in sometime. Her delivery and sense of time are impressive and immediately evidenced of the opener, "What a Little Moonlight Can Do." Purcell displays some pretty impressive scat chops in the introduction before launching into a very precise delivery of the song. Clinically precise.

The "clinical" part of this precision softens, particularly in the soft ballads like "Alice in Wonderland" and a terrific reading of the Goffin-King classic, "Will You Love Me Tomorrow." "Love for Sale" finds both Purcells relaxed and swinging. Singing with sardonic humor, Purcell reveals the same delicate shabby hopelessness present in Billy Strayhorn's "Lush Life" and, in doing so perfectly capturing Cole Porter's intention for his 1930 The New Yorkers showstopper.

The satisfying surprises lay in a rollicking "Your Red Wagon," that finds pianist Chip Stephens and winds player Chip McNeill playing con brio supporting both Purcells to do the same. What? Another tired performance of the 1930 Arlen-Koehler chestnut, "Get Happy?" Not on your life. Just as he did on "The Nearness of You" from Where the Blue Begins, Shawn Purcell transforms what begins as a churchy reverent performance into a Ben Monder—Shawn Lane shootout that is delightful. Now, that's what I am talkin' about! Easy Living finds Darden Purcell doing some pre-event warm ups in anticipation of the classroom, concert stage, and Where the Blue Begins. ~C. Michael Bailey

Personnel: Darden Purcell: vocals; Chip McNeill: winds; Shawn Purcell: guitar; Chip Stephens: piano; Dennis Carroll: bass; Stockton Helbing: drums.

Easy Living

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Bobby Darin - Darin 1936-1973 (Expanded Edition)

Size: 168,4 MB
Time: 71:35
File: MP3 @ 320K/s
Released: 1974/2017
Styles: Pop Rock
Art: Front

01. I Won't Last A Day Without You (3:55)
02. Wonderin' Where It's Gonna End (2:29)
03. Sail Away (3:35)
04. Another Song On My Mind (4:36)
05. Happy (Love Theme From Lady Sings The Blues) (5:33)
06. Blue Monday (2:21)
07. Don't Think Twice, It's All Right (3:32)
08. The Letter (2:26)
09. If I Were A Carpenter (Live From The Desert Inn 1971) (3:24)
10. Moritat (Mack The Knife) (Live From The Desert Inn 1971) (3:27)
11. Happy (Love Theme From Lady Sings The Blues) (4:08)
12. Simple Song Of Freedom (Alternate Mix) (4:11)
13. I'll Be Your Baby Tonight (Alternate Mix) (3:32)
14. I Won't Last A Day Without You (Alternate Version) (3:42)
15. Wonderin' Where It's Gonna End (Alternate Version) (2:34)
16. Happy (Love Theme From Lady Sings The Blues Single Version) (6:03)
17. Blue Monday (Alternate Version) (2:33)
18. Don't Think Twice, It's All Right (Alternate Version) (3:38)
19. Melodie (2:48)
20. Someday We'll Be Together (2:59)

Motown released Darin 1936-1973 two months after the future Rock and Roll Hall of Famer's death in December of 1973. The ten-track LP (and second on Motown) contains some rare Bobby Darin material. Because of its purpose (grieving), this is one of the few depressing Bobby Darin records, lacking the hopeful romance and joyful concepts that characterized his other releases. Darin 1936-1973 also takes on a haunting, biographical depth, beginning with the heartbreaking "I Won't Last a Day Without You." Its sentiment runs though the LP: "When there is no getting over that rainbow/when my smallest of dreams won't come true/I can take all the madness the world has to give/but I won't last a day without you." Darin 1936-1973 celebrates the artist's life and love of music, especially its ability to convey emotion and connect with a listener. Highlights include "Happy" (the love theme from Lady Sings the Blues), "The Letter," and Randy Newman's "Sail Away." The only Darin original is the folky "Another Song on My Mind." Darin 1936-1973 reflects some of Bobby Darin's most important influences: R&B (Fats Domino's "Blue Monday") and politics (Bob Dylan's "Don't Think Twice, It's Alright"). Collectors should take note that the live versions of "Mack the Knife" and "If I Were a Carpenter" from the Desert Inn are different than those on the Live at the Desert Inn release. Overall, because the material here is largely non-hit covers, this is a record for the die-hard fans. While Darin 1936-1973 is the most somber Bobby Darin LP, it is also a fitting end to his career, focusing on the singer/songwriter he became late in his life.

Darin 1936-1973

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Dayna Stephens - Gratitude

Size: 120,1 MB
Time: 51:38
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Emilie (7:54)
02. In A Garden (6:06)
03. Amber Is Falling (8:14)
04. Woodside Waltz (5:45)
05. We Had A Sister (6:56)
06. The Timbre Of Gratitude (4:32)
07. Isfahan (2:50)
08. Don't Mean A Thing At All (3:31)
09. Clouds (5:47)

Of the many ways one could express Gratitude, I struggle forming adequate words. When expressing such an important emotion they never seem to quite capture the essence of whats really burning to be understood. The seemingly infinite possible mixtures of notes rhythms and textures given to us by musical expression, however, while still not 100% representative of my personal experienced Gratitude, shines a much brighter light on how humbled and lucky I am to be surrounded by so many angels of compassion and inspiration. It’s been a long night walking through dense forrest, but being surrounded by a sea of candles held by so many gracious people singing "the sun is on its way up” helped illuminate the path to a better place. For them and you I hope this music comes close to expressing how eternally grateful I am for the opportunity given to extend my journey of inspired existence.
One thing that unites every song on this record is they were all at one time or another ear worms that stuck around for a while, and often returned for lengthy stays. Another uniting factor is that they all have to my ear enchanting beautiful singable melodies, and give me a strong sense of sentiment. When we recorded these songs I was conflictingly full of hope peace and uncertainty. Hope that my years would be extended, peace that I was lucky to have made it that far with lots a great moments and experiences despite the circumstances, yet uncertainty because it wasn’t yet clear how the journey was going to continue. Now after so much warmth love peace and connection has been given to me by countless I am saturated with gratitude, perhaps completing a circle that started with those ingredients. ~Dayna Stephens

The 1st song Emilie was introduced to me by violinist/composer Olivier Manchon. He dedicates it to his sister Emilie and its got a nice simple melody that when combined with the plesantly unexpected harmony create a beautiful song to connect with.

In A Garden was written by Aaron Parks, and i’ve had the pleasure of playing this song with him on several occasions. It often paints scenes for me one would find in a fantasy movie. Some of the visuals in the Robin Williams movie What Dreams May Come come to mind.

Amber Is Falling (Red and Yellow) was written by vocalist/composer Michelle Amador, and has been on my favorites list since the mid two thousandzies when we played it in San Francisco in her group Michelle Amador and the True Believers.

Woodside Waltz refers to a city in Northern California called Woodside which has tons of great scenic views of the SF bay through tall redwood trees. While recording it we discovered the recording studio called the Club House Rhinebeck NY had a tack piano which was perfect for bringing out the essence of this gem written Julian Lage. We were all even willing to all tune down our instruments a dozen or so cents flat to match the turning of the piano which hadn’t been tuned in some time.

We Had A Sister is a hauntingly beautiful song by Pat Metheny that I heard as a young beginning saxophone student on Joshua Redman’s second release entitle “Wish”. It’s a song i’ve always wanted to play.

Gratitude

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Rebecca Hardiman - Honoring Ella

Size: 100,7 MB
Time: 36:07
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. A Tisket, A Tasket (2:15)
02. Manhattan (4:05)
03. Isn't It Romantic (3:07)
04. I Get A Kick Out Of You (2:36)
05. Honeysuckle Rose (3:55)
06. Someone To Watch Over Me (5:28)
07. Cheek To Cheek (4:33)
08. Stairway To The Stars (3:09)
09. How High The Moon (2:08)
10. You Turned The Tables On Me (4:46)

“Not since Billie Holiday & Ella Fitzgerald have I heard such a unique, in tune, magical, hypnotic, creative JAZZ performer.” Dan Sorkin- veteran radio personality Chicago WCFL, San Francisco KSFO

From the moment Rebecca Hardiman walks onto the stage - her tone, sense of style, dignified delivery and cheery disposition lights up the room. True lovers of jazz recognize that she is authentic and a welcome asset to world of vocal jazz. Rebecca owns the songs that she sings and brings her creative energy to every interpretation from ballads to highly technical be-bop improvisation. Her inventive scatting and stylization has earned her the reputation as one of the best jazz vocalists in the NW.

Rebecca’s sound can be described as a blend of the smooth styling of Ella Fitzgerald, with the clear melodic tone of Doris Day, mixed together with a jazz finesse reminiscent of an era when jazz vocalist were at their peak.
With over 25 years experience singing in vocal jazz groups, recording, and as a solist - she is comfortable with the old-school style of jazz.

Honoring Ella

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Cory Weeds & The Jeff Hamilton Trio - Dreamsville

Size: 143,2 MB
Time: 61:28
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz
Art: Front

01. Who Can I Turn To (7:24)
02. Lady Wants To Know (5:41)
03. How Do You Like Them Apples (3:09)
04. Blue Daniel (5:33)
05. Dreamsville (5:37)
06. Hammer's Tones (4:14)
07. Nothing To Lose (7:16)
08. Bennissimio (5:04)
09. Love Is A Now And Then Thing (5:55)
10. Robbin's Nest (6:18)
11. She Walks This Earth (5:13)

Featuring CORY WEEDS tenor saxophone, TAMIR HENDELMAN piano, CHRISTOPH LUTY bass, JEFF HAMILTON drums.

Tenor saxophonist Cory Weeds and the Jeff Hamilton Trio are at it again with a followup release to their critically acclaimed This Happy Madness recording. Dreamsville, a decidedly more melancholy recording features some lesser known gems such as Michael Franks' Lady Wants To Know, Henri Mancini's Nothing To Lose and a beautiful ballad by Anthony Newly called Love Is A Now And Then Thing.

Dreamsville

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Betty Buckley - Story Songs

Size: 154,1+100,2 MB
Time: 66:33+39:15
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz/Pop Vocals
Art: Front

CD 1:
01. You've Got To Be Taught (5:18)
02. Cassandra (6:00)
03. High And Dry (5:56)
04. Chanson (5:32)
05. All Things In Time (4:08)
06. Old Flame (7:01)
07. Another Life (5:12)
08. Prayer In Open D (7:54)
09. September Song (6:39)
10. Don't Give Up (5:55)
11. Throw It Away (6:52)

CD 2:
01. How Long Has This Been Going (3:38)
02. Practical Arrangement (3:31)
03. Stephen Bruton Story (2:54)
04. Too Many Memories (4:06)
05. Bird On A Wire (4:34)
06. Howard Dasilva Story (5:33)
07. Both Sides Now (6:33)
08. Elaine Stritch Story (2:17)
09. I'm Still Here (6:04)

Tony Award-winning Broadway legend BETTY BUCKLEY co-starring in the recent smash hit M. Night Shayamalan film Split opposite James McAvoy will come to the New York area this season for four appearances, including for two concerts in March to preview her new album Story Songs from Palmetto Records, to be released on Friday, April 7. Buckley also will be teaching a five-day performance workshop mid-March in New York.

For her Story Songs concerts, Buckley will be joined by renowned multi-Grammy nominated jazz pianist Christian Jacob, her longtime Musical Director and arranger. A celebrated interpreter with an eclectic taste for music from all genres, Buckley will share a collection of songs that range from Radiohead to theater greats Stephen Schwartz and Jason Robert Brown. The evening will also include work by the next generation of exciting young theater composers, such as Joe Iconis. Split, which has been the #1 Movie in America for the six weeks since its January premiere, co-stars Buckley as McAvoy s psychologist, Dr. Fletcher. She was hailed as wonderful by The New York Times, stellar by Rolling Stone, mesmerizing by The Los Angeles Times, and excellent by London Express, in addition to other raves.

The two-disc live album Story Songs is based on the show of the same name that she debuted at Joe's Pub at The Public Theater this past September. The New York Times praised Story Songs as her stunning new show, arguably the strongest of her career. Ms. Buckley gave everything she sang the shape and depth of a personal confession. When she took the program to the Bay Area later in the fall, she was called a vocal wonder by the San Francisco Chronicle.
BETTY BUCKLEY, in an award-winning career that has encompassed TV, film, stage and concert work around the globe, is probably best known as one of theater s most respected and legendary leading ladies.
She won a Tony Award for her performance as Grizabella, the Glamour Cat, in Andrew Lloyd Webber s Cats. Buckley received her second Tony Award nomination for Best Actress in a musical for her performance as Hesione in Triumph of Love, and an Olivier Award nomination for her critically-acclaimed interpretation of Norma Desmond in the London production of Andrew Lloyd Webber s Sunset Boulevard, which she repeated to more rave reviews on Broadway. She is a 2012 Theatre Hall of Fame inductee.

Story Songs CD 1
Story Songs CD 2

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LaVern Baker - Sings Bessie Smith

Bitrate: MP3@320K/s
Time: 41:47
Size: 95.7 MB
Styles: R&B/Blues/Jazz vocals
Year: 1958/1988
Art: Front

[3:06] 1. Gimme A Pigfoot
[3:36] 2. Baby Doll
[3:12] 3. On Revival Day
[2:50] 4. Money Blues
[4:03] 5. I Ain't Gonna Play No Second Fiddle
[4:41] 6. Back Water Blues
[4:50] 7. Empty Bed Blues
[2:41] 8. There'll Be A Hot Time In The Old Town Tonight
[3:55] 9. Nobody Knows You When You're Down And Out
[3:08] 10. After You've Gone
[2:49] 11. Young Woman's Blues
[2:50] 12. Preaching The Blues

Baritone Saxophone – Jerome Richardson, Sahib Shihab; Bass – Wendell Marshall; Drums – Joe Marshall; Guitar – Danny Barker; Piano – Nat Pierce; Tenor Saxophone – Paul Quinichette; Trombone – Jimmy Cleveland, Urbie Green, Vic Dickenson; Vocals – LaVern Baker. This record was recorded in January, 1958 and previously released as Atlantic 1281 (20th of October 1958).

This is an album that should not have worked. LaVern Baker (a fine R&B singer) was joined by all-stars from mainstream jazz (including trumpeter Buck Clayton, trombonist Vic Dickenson, tenor-saxophonist Paul Quinichette and pianist Nat Pierce) for twelve songs associated with the great '20s blues singer Bessie Smith. Despite the potentially conflicting styles, this project is quite successful and often exciting. The arrangements by Phil Moore, Nat Pierce, and Ernie Wilkins do not attempt to re-create the original recordings; Baker sings in her own style (rather than trying to emulate Bessie Smith), and the hot solos work well with her vocals. ~Scott Yanow

Sings Bessie Smith

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Gerardo Nuñez, Ulf Wakenius - Jazzpaña Live

Bitrate: MP3@320K/s
Time: 63:08
Size: 144.5 MB
Styles: Guitar jazz, Flamenco
Year: 2015
Art: Front

[11:45] 1. Calima
[ 8:48] 2. Alma De Mujer
[ 6:32] 3. Para Chick
[ 6:18] 4. Siboney
[ 3:17] 5. Blues For Pablo
[12:17] 6. El Vito
[14:08] 7. Calima (Encore)

Gerardo Núñez / flamenco guitar; Ulf Wakenius / jazz guitar; Chano Domínguez / piano; Ramón Valle / piano; Omar Rodriguez Calvo / bass; Liber Torriente / drums; Christof Lauer / saxophone; Cepillo / percussion.

Connecting the unexpected: Jazzpaña – Flamenco meets Jazz - a special multicultural statement. After Jazzpaña.(1992) and Jazzpaña.II (2000) now alailable as live version. And even a third world has been added: Flamenco - Jazz - Kuba. Recorded at the Berlin Philharmonic and at the WDR 3 Jazzfest Dortmund.

“Music for people with open ears and open minds. Far removed from a predefined style. Without any fear of mixing genres.” In 1992, this was the understanding of jazz that producer Siggi Loch based the launch of his ACT adventure on. The label’s very first recording, Jazzpaña, was to become a milestone and synonym for ACT’s philosophy, and became a double Grammy nominee in the process. Jazzpaña brought the stars of the “Nuevo Flamenco” from Spain together with US jazz greats such as Michael Brecker, Peter Erskine and Al Di Meola, backed by the sound of the WDR Big Band. The arrangements came from Vince Mendoza, though a little-known artist at the time, he is now one of the most versatile and prolific composer-arranger-conductors of the last two decades, a multi-Grammy Award winner.

Jazzpaña Live

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Herb Miller Jazz Band - Let The Good Times Roll

Bitrate: MP3@320K/s
Time: 72:29
Size: 166.0 MB
Styles: Swing, New Orleans jazz
Year: 2011
Art: Front

[4:03] 1. At The Jazz Band Ball
[3:08] 2. Let The Good Times Roll
[5:08] 3. Ain't Misbehavin
[3:20] 4. Dippermouth Blues
[5:29] 5. Saint Louis Blues
[6:16] 6. Bourbon Street Parade
[4:53] 7. Blue Turning Grey Over You
[3:03] 8. T-Bone Shuffle
[4:32] 9. Martinique
[6:08] 10. Keepin Out Of Mischief Now
[4:35] 11. Seven Come Eleven
[3:41] 12. Black And Tan Fantasy
[5:05] 13. Mama's Gone Good Bye
[4:13] 14. Cornet Chop Suey
[5:27] 15. Worried Life Blues
[3:22] 16. Choo Choo Ch Boogie

The first CD of the HERB MILLER JAZZ BAND contains a cross-section through the versatile repertoire of the experienced band. As with the live concerts, the CD begins with the opening piece "At the Jazz Band Ball". In the following, popular and popular jazz standards such as the "Bourbon Street Parade" or "Saint Louis Blues" and "Is not Misbehavin", but also less well-known titles such as "Dippermouth Blues" or "Mama's gone Goodbye". Of course, the blues are also represented, for example with "T-Bone Shuffle" or "Worried Life Blues" and, of course, with the title track and "Theme Song" of the new CD "Let the Good Times Roll"!

Herb Miller, who led a band emulating that of his late brother, Glenn, in the United States and Europe, played trumpet in Charlie Spivak's band, but quit to get his master's degree at the University of Michigan in 1939. There, he started his own band, which toured the country at the same time Glenn Miller was storming the United States with his popular group. After the outbreak of World War II, Glenn Miller joined the Army Air Force and was leading a band in England when a plane he was on disappeared on Dec. 15, 1944, on a flight to Paris.

In 1981, Herb Miller came to London and formed a band with his son, John, as lead singer, performing such Glenn Miller favorites as "String of Pearls," "Moonlight Serenade," "American Patrol" and "In the Mood."

Let The Good Times Roll

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Hannah Svensson - Each Little Moment

Bitrate: MP3@320K/s
Time: 48:54
Size: 112.0 MB
Styles: Jazz vocals
Year: 2014
Art: Front

[4:35] 1. What A Little Moonlight Can Do
[3:47] 2. Is You Is Or Is You Ain´t My Baby
[5:34] 3. My Foolish Heart
[3:36] 4. Ev´rything I´ve Got
[5:26] 5. Fine And Mellow
[4:00] 6. Them There Eyes
[5:41] 7. Too Late Now
[3:55] 8. Lover, Come Back To Me
[4:10] 9. A Foggy Day
[5:08] 10. It's Easy To Remember
[2:57] 11. I Got Rhythm

A young talented singer has emerged on Sweden’s jazz scene. With a beautiful voice, Hannah Svensson interprets jazz standards as if she hasn’t done anything else in her life. Her new album Each little moment, with Jan Lundgren on piano and Hannah’s father Ewan Svensson on guitar, was released 3 March 2014.

Hannah Svensson was born in 1986. Brought up in a stimulating musical environment, she became interested in music early on. At the age of nineshe started taking piano lessons and learned to play guitar. Her father Ewan Svensson, a famous jazz guitarist, has always been her great source of inspiration. As a teenager Hannah played instruments in various bands with no thoughts of starting to sing. Until she heard Eva Cassidy sing in a TV program and immediately was moved to tears. Her interest in singing took off and she made her first singing performance 18 years old.

By now Hannah has managed to do quite a lot of live performances. And she enjoys being on the stage and behind the microphone – you can tell. With an emotional and natural tone she leads you through a band of pearls from The American Songbook. Together with Jan Lundgren, the producer of the album and pianist on all songs, and her father Ewan Svensson playing the guitar. The other musicians are Morten Ramsbøl, bass and Kristian Leth on drums. Hannah is a very promising jazz singer who surely has a bright career ahead. Lean back and enjoy!

Each Little Moment

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Uralsky All Stars, Chris Barber - We'll Meet Again

Bitrate: MP3@320K/s
Time: 59:54
Size: 137.1 MB
Styles: Contemporary jazz
Year: 1995
Art: Front

[4:38] 1. Volga Boatman's Song
[6:10] 2. Back Home Again In Indiana
[4:57] 3. Dream A Little Dream Of Me
[5:57] 4. Nobody's Sweetheart
[4:11] 5. Just A Gigolo/I Ain't Got Nobody
[6:09] 6. Night Train
[4:04] 7. Amapola
[7:19] 8. Night And Day
[5:48] 9. Struttin' With Some Barbecue
[5:41] 10. Meet Me Tonight In Dreamland
[4:55] 11. We'll Meet Again

Banjo, Whistle, Backing Vocals – Sergei Noskov; Bass, Vocals – Sergei Ouzkikh; Clarinet, Vocals – Vyacheslav Chachkov; Drums, Vocals – Andrei Makarov; Piano, Vocals, Directed By [Musical] – Oleg Plotnikov; Trombone – Chris Barber; Trombone, Vocals – Nail Zaguidoulline; Trumpet, Vocals – Yuri Klishin; Vibraphone – Hein De Jong.

The Uralsky All Stars are very popular in Netherlands. They bring pleasant old jazz, joining a large audience. On We'll Meet Again is heard as a guest trombonist Chris Barber, who immediately already strong soloist in the opening song, the Russian folk song Volga Boatman's Song. Total recorded on this CD eleven songs, including: Back Home Again in Indiana, Nobody's Sweetheart, Amapola, Struttin 'With Some Barbecue and the title track. For lovers of (old) jazz it must be a pleasure to listen to this second CD of Uralsky All Stars at the Timeless label. (Translated from Dutch.)

We'll Meet Again

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Illinois Jacquet - Swing's The Thing

Bitrate: MP3@320K/s
Time: 34:19
Size: 78.6 MB
Styles: Bop, Jump blues, Saxophone jazz
Year: 1957/2012
Art: Front

[6:16] 1. Las Vegas Blues
[4:31] 2. Harlem Nocturne
[6:43] 3. Can't We Be Friends
[5:06] 4. Achtung
[5:56] 5. Have You Met Miss Jones
[5:44] 6. Lullaby Of The Leaves

Illinois Jacquet (ts), Roy Eldridge (tp), Jimmy Jones (p), Herb Ellis (g), Ray Brown (b), Jo Jones (d). Recorded in Los Angeles, October 16, 1956

This collection includes Jacquet's complete October 16, 1956 album 'Swings The Thing,' with Roy Eldridge, Jimmy Jones, Herb Ellis, Ray Brown and Jo Jones. This is essential Jacquet.

Swing's The Thing

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The Bob Brookmeyer Quartet - Oslo

Styles: Trombone Jazz
Year: 1986
File: MP3@320K/s
Time: 44:50
Size: 106,0 MB
Art: Front

(5:18)  1. With The Wind And The Rain In Your Hair
(5:11)  2. Oslo
(5:07)  3. Later Blues
(8:13)  4. Detour Ahead
(4:15)  5. Tootsie Samba
(5:17)  6. Alone Together
(5:24)  7. Who Could Care
(6:02)  8. Caravan

Bob Brookmeyer has been so busy as a writer since the mid-'60s that his valve trombone playing has been somewhat underrecorded. This quartet set with pianist Alan Broadbent (who also plays a bit of synthesizer), bassist Eric Von Essen and drummer Michael Stephans) finds Brookmeyer in top form on four standards and a quartet of his originals (including "Later Blues," "Tootsie Samba" and "Who Could Care"). His valve trombone playing had grown and evolved through the years and, although he still had the cool tone, Brookmeyer's solos are often quite complex while not completely abandoning chordal improvisation. This Concord release is well worth picking up. ~ Scott Yanow http://www.allmusic.com/album/oslo-mw0000192909

Personnel: Bob Brookmeyer (trombone), Alan Broadbent (piano), Eric Von Essen (bass), Michael Stephans (drums).

Oslo

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Basia - From Newport to London: Greatest Hits Live… and More

Styles: Vocal,  Jazz Pop
Year: 2011
File: MP3@320K/s
Time: 77:36
Size: 180,5 MB
Art: Front

(5:25)  1. Third Time Lucky
(4:42)  2. Drunk On Love
(4:29)  3. Cruising For Bruising
(4:25)  4. How Dare You
(3:10)  5. If Not Now Then When
(3:02)  6. Love Lies Bleeding
(4:41)  7. I Must
(4:20)  8. Astrud
(4:02)  9. New Day For You
(3:48) 10. A Gift
(4:58) 11. An Olive Tree
(4:41) 12. From Now On
(4:08) 13. Promises
(4:09) 14. Time And Tide
(4:54) 15. Copernicus
(4:17) 16. There's A Tear (Acoustic)
(3:44) 17. Wandering
(4:33) 18. From Newport To London

Unlike her first concert collection, 1995's Basia on Broadway, Basia's second live disc, From Newport to London: Greatest Hits Live… and More, despite its title, finds her back in her home country, performing in Lódz, Poland, in June 2011. (The title actually refers to one of the three studio tracks that augment the 15 live songs, a wistful new tune called "From Newport to London.") The set does include the hits she scored in the late '80s and early ‘90s, "New Day for You," "Time and Tide," "Promises," "Cruising for Bruising," and "Drunk on Love," along with other songs from her studio albums Time and Tide, London Warsaw New York, The Sweetest Illusion, and the 2009 comeback disc It's That Girl Again. "That girl" is now 51, but she has grown noticeably as a singer since the commercial heyday she enjoyed in her late twenties and early thirties. Now, she is a far more expressive vocalist, bringing more emotion and meaning to her English lyrics while retaining the near-vocalese musical quality she exhibited earlier. Frequently shadowed by backup singers Veronique Clarisse and Annick Clarisse-Willequet, she employs a small band including her musical partner, Danny White, on keyboards, Giorgio Serci on guitar, Andy Lafone on bass, Marc Parnell on drums, Paul Booth on saxophone, and Kevin Robinson on trumpet. They provide a much less produced sound than was heard on the studio recordings, resulting in an approach that is jazzier and earthier, not the light disco of the early days. This is all to the good, and when Basia returns to the studio to remake "There's a Tear" from It's That Girl Again in a stripped-down, "unplugged" style, she demonstrates that she can put across a sad ballad with feeling, something she never could have attempted 20 years ago. ~ William Ruhlmann http://www.allmusic.com/album/from-newport-to-london-greatest-hits-live-and-more-mw0002191508

Personnel: Giorgio Serci (guitar); Paul Booth (alto flute, saxophone, percussion, background vocals); Kevin Robinson (trumpet, flugelhorn, percussion, background vocals); Danny White (keyboards); Marc Parnell (drums); Veronique Clarisse, Annick Clarisse-Willequet (background vocals).

From Newport to London

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Hilton Ruiz - Steppin' Into Beauty

Styles: Piano Jazz
Year: 1977
File: MP3@224K/s
Time: 50:25
Size: 80,8 MB
Art: Front

(18:20)  1. Origin
( 5:26)  2. Steppin' into Beauty
( 7:20)  3. The Last Profit
( 6:50)  4. The Goal
(12:27)  5. Excition

Jazz pianist Hilton Ruiz was a musician of uncommon versatility, shuttling seamlessly between the complex improvisations of the avant-garde and the relentless rhythms of Afro-Cuban music. Born in New York City on May 29, 1952, Ruiz was a child prodigy who performed at Carnegie Recital Hall at age eight. In addition to classical studies, he explored jazz under the tutelage of the legendary Mary Lou Williams, and at 14 made his recorded debut with the Latin soul outfit Ray Jay and the East Siders. His remarkable improvisational gifts nevertheless cemented Ruiz's decision to pursue a career in jazz, and while still in his teens he backed everyone from Freddie Hubbard to Joe Henderson. Ruiz vaulted to global renown in 1973 when he joined the famously eclectic saxophonist/flutist Rahsaan Roland Kirk, proving his mettle as a gifted interpreter of a repertoire spanning from the blues to the avant-garde via cult-classic LPs including The Case of the 3 Sided Dream in Audio Color and The Return of the 5000 Lb. Man. After a four-year tenure with Kirk, Ruiz toured Egypt and India with Clark Terry; upon his return to New York, he was a first-call sideman for acts including Betty Carter, Abbey Lincoln, and Chico Freeman, and also founded his own group, continuing a headlining career that began with the 1975 Steeplechase effort Piano Man. Over the span of acclaimed LPs including 1977's Steppin' Into Beauty, 1988's El Camino (The Road) and 1991's A Moment's Notice, Ruiz honed a Latin jazz fusion approach that resulted in collaborations with Tito Puente and Paquito d'Rivera; he also moonlighted in film, contributing to the soundtracks of Woody Allen's Crimes and Misdemeanors and Sam Mendes' Oscar-winning American Beauty, and with Richard Bradley authored 1987's three-volume Jazz and How to Play It. During a visit to New Orleans, where he was scheduled to work on a Hurricane Katrina benefit project, Ruiz suffered a fall in front of a French Quarter bar and slipped into a coma. He never regained consciousness, dying just a week after his 54th birthday on June 6, 2006. ~ Jason Ankeny  https://itunes.apple.com/us/artist/hilton-ruiz/id105215#fullText

Personnel: Hilton Ruiz (piano); Frank Foster (tenor saxophone); Richard Gene Williams (trumpet); Steve Solder, Roy Brooks (drums); Buster Williams (bass).

Steppin' Into Beauty

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John Abercrombie Quartet - Up And Coming

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 47:15
Size: 109,9 MB
Art: Front

(4:12)  1. Joy
(2:53)  2. Flipside
(7:18)  3. Sunday School
(5:51)  4. Up And Coming
(7:34)  5. Tears
(7:06)  6. Silver Circle
(6:21)  7. Nardis
(5:57)  8. Jumbles

Starting the new year with, if not precisely a bang, a nevertheless unforgettable record whose strength lies in pristine lyricism, nuanced group interplay and writing that capitalizes on the entire quartet's appreciation of subtlety over gymnastics and refined lyricism over angularity, John Abercrombie's Up and Coming ECM's first release of the year is also founded strongly on the concept of relationship. The guitarist has been playing with Marc Copland since the pianist's days in the early '70s as a saxophonist before deserting it entirely for a career and discography that's as rich and rewarding as Abercrombie's. And the two have continued working together regularly since Copland's switch to piano: before coming to ECM on Abercrombie's critically acclaimed 39 Steps (2013), the pair had recorded in a group under Copland's name, first for Savoy Jazz with 1996's Second Look, then Hatology for 2003's Marc Copland And..., and finally with Pirouet on 2008's Another Place. And that excludes other projects, such as their 2010 quintet recording with Dave Liebman as Contact, Five on One (Pirouet), a 2011 duo recording, Speak to Me (Pirouet) and two trio recordings with the late Kenny Wheeler, including Brand New (Challenge, 2005). But the relationship doesn't end there. Bassist Drew Gress' far-reaching ubiquity is only matched by his ability bring a personal sound to everything from the more avant-leaning The Claudia Quintet and Dave Douglas to contemporary mainstream spaces with artists including pianist Fred Hersch and Tim Hagans not to mention a small but strong discography of his own, including 2013's The Sky Inside (Pirouet). He is not only a charter member of the same Abercrombie (or Copland, depending on the date) quartet, beginning with Second Look; he has a longstanding relationship with the pianist in other contexts, including 2009's New York Trio Recordings, Vol. 3: Night Whispers (Pirouet) and 2005's Some Love Songs (Pirouret), while joining the guitarist on a rare saxophone-infused date, Within a Song (ECM, 2012).

Joey Baron whose joyous approach and willingness to try anything has turned him into a similarly in-demand musician may be the relative youngster to this collective relationship, but he's far from new. He not only replaced original quartet drummer Billy Hart on Another Place and 39 Steps; his relationship with Abercrombie goes even farther back to the guitarist's four string-heavy recordings with violinist Mark Feldman, from 2002's Cat 'n' Mouse (ECM) through to 2009's Wait Till You See Her (ECM). But as strong as relationships can be in building a group chemistry as potent as that found on Up and Coming, there has to be more to it. Guitar and piano do not always make for comfortable bedfellows, as the potential for stepping on each other's toes, harmonically speaking, is always a risk; but one of Abercrombie and Copland's greatest combined strengths is their ability to listen and intuit...there are never any of the "train wrecks" that so often run the risk of scuttling multiple harmonic instruments brought together. Instead, the pair seems to effortlessly complement one another with an appealing harmonic ambiguity that has become one of the group's touchstones; its open-ears approach extending, of course, to Gress and Baron, who manage to bring both sinewy strength and elegant understatement to this quartet's music. From Up and Coming's relatively brief, introspective opener, the guitarist's curiously titled "Joy," the quartet combines elegant interpretation of a less-than-common yet still eminently singable theme with Abercrombie and Copland mere nanoseconds apart, creating a delicious sense of tension and release, to brief but eminently lyrical solos from the pair the pianist, in particular, bolstered by the empathic Gress and Baron, builds this rubato tone poem to its clear climax...and suggests another definer of this wonderful quartet: its capacity for evoking broad dynamic contrasts with, sometimes, the subtlest of gestures.

Copland's delicate touch and use of his instrument's pedals to create even more expansive harmonies has long been a measure of his best work; a touchstone that fits, hand-in-glove, with Abercrombie's similarly less-traveled voicings and soft attack, the latter stemming from his move, in the mid-'90s, from plectrum to his thumb's yielding flesh. Together, the pair evoke remarkable strength without ever resorting to the obvious; both have managed to create instantly recognizable yet never predictable approaches that rely on a deeper melodic and harmonic language rather than more obvious signatures. But as soft and lush as their collaborative sound is and as much as it sometimes feels necessary to almost lean forward to fully capture their work that shouldn't suggest that Abercrombie's quartet lacks muscle. The guitarist's more buoyant "Flipside" another miniature that doesn't even break the three-minute mark swings with powerful fluidity, its theme once again iterated in ever-so-slightly staggered fashion by the guitarist and pianist before Gress and Baron enter, the bassist walking hard and Baron delicately driving the brief solos with a persistent quarter-note cymbal pulse...but punctuated, on his snare and toms, as empathically as they are joy-filled. Anyone who has seen Baron in performance knows that a smile and sometimes flat-out laughter never seems to leave his face, as he approaches whatever music he's playing with a kind of reckless exhilaration, flexible interpretation and sheer joy that's rarely so visible in concert...and is, indeed, absolutely audible on record as well.

In an LP-length program that brings together five Abercrombie compositions with two contributions from Copland, it's particularly gratifying to hear this quartet approach Miles Davis' classic "Nardis" a song that the guitarist has played often but never recorded under his own name. It is, perhaps, the best example of how inimitably Abercrombie, Copland, Gress and Baron collaborate; following a rubato intro, even when the group begins to play in tempo and irrespective of this often-played song's melody the quartet's loose, open-ended and surprise-laden approach renders this most familiar of compositions as unpredictable as anything else to be found on the record. Yes, the changes are always there: sometimes more direct, other times so subtly intimated as to be barely recognizable; and yet, when Abercrombie, Copland and Baron solo, their allegiance to the song's heart is paradoxically crystal clear while, at the same time, being somehow opaque. All of these qualities characterize Up and Coming's entire 48-minutes duration, from Abercrombie's abstract yet melody-rich "Jumbles," waltz-time "Sunday School" and ambling title track to Copland's darker, more dramatic "Tears" (featuring a particularly memorable solo from Gress) and "Silver Circle" the album's most unfettered and impressive example of everything that makes this group so special. Beginning with an open vamp, largely driven by Gress, it ultimately resolves into another singable but uncommon melody, setting up modal-based and motif-driven opportunities for both Abercrombie who lends Up and Coming its only hint of grit with some slight overdrive and Copland, who demonstrates that a soft touch can, indeed, possess plenty of inner strength.

All told, it may be Abercrombie's shortest album since his 1990 trio with Vince Mendoza and Jon Christensen, Animato; but like that often (and unfairly) overlooked album, Up and Coming's brief duration only renders it more appealing, like the perfect live performance that leaves an audience sated but, at the same time, hungry for more. That Copland has finally, in the past few years, found his way to ECM in addition to Abercrombie, with bassist Gary Peacock, whose Now This (ECM, 2015), also featuring Baron, was one of the year's best recordings seems, in retrospect, not only inevitable but overdue. The quartet Abercrombie has shared with Copland and Gress for over two decades, irrespective of who is listed as the leader, is finally being recorded with the clarity and transparency it deserves, while the creative input provided by label head/producer Manfred Eicher drives the music in directions it might not otherwise go.
All of which make Up and Coming, ECM's first record of 2017, a success on all fronts. This is a group whose collaborative capabilities have only strengthened over the years, growing deeper and more telepathic. Of the tradition while, at the same time, challenging it with a unique and instantly recognizable combination of grace-filled subtlety, rich melodism, improvisational élan, mitochondrial chemistry and a profound harmonic language, Up and Coming starts 2017 with an album that is already a strong contender for its year-end best-of lists. ~ John Kelman https://www.allaboutjazz.com/john-abercrombie-quartet-up-and-coming-by-john-kelman.php
 

Personnel: John Abercrombie: guitar; Marc Copland: piano; Drew Gress: double bass; Joey Baron: drums.

Up And Coming

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