Mark Winkler, Cheryl Bentyne - Eastern Standard Time

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 48:41
Size: 113,6 MB
Art: Front

(4:17)  1. Devil May Care
(3:43)  2. Rhode Island Is Famous for You
(3:37)  3. Like Jazz
(4:29)  4. The Gentleman Is a Dope
(3:55)  5. I Could Get Used to This
(4:27)  6. The Best Is yet to Come
(6:14)  7. Spring Can Really Hang You up the Most
(4:16)  8. Walk on the Wild Side
(4:03)  9. You Smell so Good
(3:28) 10. Things Are Swingin'
(6:07) 11. Ballad of the Sad Young Men / Lies of Handsome Men

Vocalists Mark Winkler & Cheryl Bentyne go together like champagne and caviar. They’ve teamed up to record Eastern Standard Time, a sophisticated project of songs culled from known standards and several less familiar pages of the Great American Songbook, as well as a couple of originals by Winkler. This is their second Cd together. The first, West Coast Cool, was released in 2013 and received critical acclaim and went to #16 on the Jazzweek chart. For that project, Winkler and Bentyne chose tunes from the 1950s associated with the West Coast Cool sound. For Eastern Standard Time they reprise the concept, but this time present songs of East Coast lineage. They’ve chosen songs that you would hear if you habituated jazz clubs in New York City back in the late 50s and early 60s. Although the CD comprises mainly duets, they each perform two solo pieces as well. Eastern Standard Time  is a cool and cultivated project by two stellar vocalists who can transform whatever they sing into a statement of great emotional depth. Individually, Winkler and Bentyne are highly compelling performers. Together, they are musical powerhouses. https://store.cdbaby.com/cd/markwinkler28

Eastern Standard Time

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Buck Clayton Jam Session - How Hi The Fi

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 54:35
Size: 125,3 MB
Art: Front

(13:50)  1. How hi the fi
(14:10)  2. Blue moon
(13:47)  3. Sentimental journey
(12:46)  4. Moten swing

The first of the famous Buck Clayton jam sessions, the exciting music on this long out-of-print LP has been reissued as part of a Mosaic box set. Two songs ("Sentimental Journey" and "Moten Swing") are from a December 1953 session in which the trumpeter/leader is teamed with trumpeter Joe Newman, trombonists Urbie Green and Benny Powell, altoist Lem Davis, Julian Dash on tenor, baritonist Charlie Fowlkes, pianist Sir Charles Thompson, guitarist Freddie Green, bassist Walter Page and drummer Jo Jones. However it is "How Hi the Fi" (cut along with "Blue Moon" on March 31, 1954) that is most memorable. Buck and fellow trumpeter Joe Thomas, trombonists Urbie Green and Trummy Young, clarinetist Woody Herman, Davis and Dash, Al Cohn on second tenor, pianist Jimmy Jones, guitarist Steve Jordan, bassist Walter Page and drummer Jo Jones are all in inspired form. The most memorable soloists are the rambunctious Trummy Young, the harmonically advanced chordings of Jimmy Jones and an exuberant Woody Herman who was rarely heard in this type of jam session setting. 

With Clayton having worked out some ensemble riffs for the horns beforehand and plenty of space left for spontaneity, this music has plenty of magic.~ Scott Yanow https://www.allmusic.com/album/how-hi-the-fi-mw0000868476

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 3 & 4), Joe Thomas (tracks 1 & 2) – trumpet;  Urbie Green, Benny Powell (tracks 3 & 4), Trummy Young (tracks 1 & 2) – trombone;  Woody Herman – clarinet (tracks 1 & 2);  Lem Davis – alto saxophone;  Al Cohn (tracks 1 & 2), Julian Dash – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 3 & 4);  Jimmy Jones (tracks 1 & 2), Sir Charles Thompson (tracks 3 & 4) – piano;  Steve Jordan (tracks 1 & 2), Freddie Green (tracks 3 & 4) – guitar;  Walter Page – bass;  Jo Jones – drums.

How Hi The Fi

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Tokunbo - Queendom Come

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 51:14
Size: 117,7 MB
Art: Front

(2:18)  1. Ask The Wind
(4:10)  2. Homecoming
(3:47)  3. Heartbleed
(3:23)  4. Apple Pie
(4:32)  5. Gypsy Girl
(3:53)  6. Every Time The Doorbell Rings
(5:07)  7. Queendom Come
(4:50)  8. Birthday
(3:19)  9. Betty
(3:14) 10. Catch Me If You Can
(3:31) 11. Drop Out
(4:46) 12. Your Sea
(4:18) 13. Silhouettes

Tokunbo was the Voice of TokTokTok, the highly acclaimed darling of the German jazz scene, with 13 albums, five German Jazz Awards and a Grand Prix SACEM to its name. With global tours and high-profile concerts with the NDR Pops Orchestra and the Babelsberg Filmorchestra – as well as tv guest appearances, amoungst them the prestigious talkshow ‚WDR Zimmer Frei‘ and ‚ARTE One Shot Not‘ – Tok Tok Tok shot from newcomer to household name in record time. In 2014, Tokunbo released her much-acclaimed, solo-debut album ‚Queendom Come‘, together with a pan-European tour. Her new album ‚The SWAN‘ which gained a grant from German government’s ‘Initiative Musik’ foundation, is now set for release. http://swan.tokunbo.de/#about

Queendom Come

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Tommy Flanagan Trio - Overseas

Styles: Piano Jazz
Year: 1957
File: MP3@320K/s
Time: 53:50
Size: 127,9 MB
Art: Front

(3:21)  1. Relaxin' At Camarillo
(3:46)  2. Chelsea Bridge
(6:00)  3. Eclypso
(4:22)  4. Beat's Up
(2:33)  5. Skal Brothers
(7:08)  6. Little Rock
(2:15)  7. Verdandi
(4:44)  8. Delarna
(6:29)  9. Willow Weep For Me
(4:36) 10. Delarna (take 2)
(2:11) 11. Verdandi (take 2)
(6:18) 12. Willow Weep For Me (take 1)

This studio session represents one of Tommy Flanagan's earliest dates as a leader, recorded while he was in Stockholm, Sweden. Bassist Wilbur Little and a young Elvin Jones on drums provide strong support, but the focus is on Flanagan's brilliant piano. The brilliant opener is a potent brisk run through Charlie Parker's "Relaxin' at Camarillo," followed by a faster than typical "Chelsea Bridge," which the leader playfully detours into another Billy Strayhorn composition ("Raincheck") for a moment, while also featuring Jones' brushwork in a pair of breaks. Flanagan's approach to the venerable standard "Willow Weep for Me" is steeped in blues, backed by Little's imaginative accompaniment. The bulk of this date is devoted to Flanagan's compositions, though only one, "Eclypso," remained in his repertoire for long. This engaging piece alternates between calypso and bop, with Jones switching between sticks and brushes. "Beat's Up" has the obvious influence of Bud Powell, while the extended blues "Little Rock" opens with a sauntering bass solo. This album has been released under various titles on several labels, including DIW, Dragon, Met, and Prestige, though Fantasy reissued it with three alternate takes in 1999. ~ Ken Dryden https://www.allmusic.com/album/overseas-mw0000671961

Personnel:  Tommy Flanagan – piano;  Wilbur Little - bass;  Elvin Jones - drums

Overseas

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Behn Gillece - Walk Of Fire

Styles: Vibraphone Jazz 
Year: 2017
File: MP3@320K/s
Time: 58:11
Size: 137,8 MB
Art: Front

(4:59)  1. Walk Of Fire
(5:16)  2. Fantasia Brasileira
(6:06)  3. Bag's Mood
(5:11)  4. Dauntless Journey
(5:40)  5. Battering Ram
(6:55)  6. Reflective Current
(4:50)  7. Something New
(6:35)  8. Specter
(6:35)  9. Break Tune
(5:59) 10. Celestial Tidings

Vibraphonist Behn Gillece thrives on the camaraderie of modern hard-bop. He came to prominence co-leading various ensembles with tenor saxophonist Ken Fowler, frequently changing rhythm sections on their four discs together for Posi-Tone. Walk of Fire is Gillece’s third for the label as the sole leader since then. It might just be the best of the bunch and, not coincidentally, features a septet, his largest working group thus far, performing 10 of his original tunes. Gillece writes sturdy melodies with familiar chord changes, so that a galvanizing frisson can be established by different textures slotted into the arrangements. The themes surge as a procession of soloists take turns against the template. It doesn’t hurt that the three-member horn section consists of Posi-Tone headliners both established (trombonist Michael Dease, saxophonist Walt Weiskopf) and up-and-coming (trumpeter Bruce Harris). Their solo transitions are seamless and buttery on the opening title song and “Dauntless Journey”compositions that retain a simmering pace, a relaxed tension arising from the taut communication of pros at work. Gillece indulges two of his longstanding affections: the creamy sophistication of Brazilian music, on the samba “Fantasia Brasileira”; and the quicksilver stroll of Milt Jackson on “Bags Mood,” neatly abetted by some laidback phrasing from Harris. The rhythm section snares the spotlight at various points in passing: Jason Tiemann’s drum and cymbal fills on “Battering Ram,” Adam Birnbaum’s extended piano solo to cap “Something New,” and a sans-horns quartet rendition of “Reflective Current.” Gillece is a tasteful four-mallet stylist who prefers to gracefully surf the mainstream current rather than dazzle with speed and affectation. That said, when you pay attention, both his ensemble work throughout the disc and his solos on tracks like “Walk of Fire,” “Bags Mood” and “Specter” steadily unveil the depth of his abundant technique and dogged imagination. The camaraderie here includes the listener.~ Britt Robson  https://jazztimes.com/reviews/albums/behn-gillece-walk-of-fire/
 

Personnel:  Behn Gillece - vibraphone;  Michael Dease - trombone;  Walt Weiskopf - tenor sax;  Bruce Harris - trumpet;  Adam Birnbaum - piano;  Clovis Nicolas - bass;  Jason Tiemann - drums.

Walk Of Fire

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Les McCann - From The Top Of The Barrel

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 36:59
Size: 86,0 MB
Art: Front

(6:18)  1. Frankie and Johnny
(7:50)  2. Medley: But Beautiful/It Could Happen To You
(4:27)  3. Taking A Chance On Love
(4:14)  4. Love Letters
(7:08)  5. Three Slaves
(5:05)  6. On Green Dolphin Street
(1:52)  7. Set Call

Les McCann reached the peak of his career at the 1969 Montreux Jazz Festival, recording "Compared to What" and "Cold Duck Time" for Atlantic (Swiss Movement) with Eddie Harris and Benny Bailey. Although he has done some worthwhile work since then, much of it has been anticlimactic. McCann first gained some fame in 1956 when he won a talent contest in the Navy as a singer that resulted in an appearance on television on The Ed Sullivan Show. After being discharged, he formed a trio in Los Angeles. McCann turned down an invitation to join the Cannonball Adderley Quintet so he could work on his own music. He signed a contract with Pacific Jazz and in 1960 gained some fame with his albums Les McCann Plays the Truth and The Shout. His soulful, funk style on piano was influential and McCann's singing was largely secondary until the mid-'60s. He recorded many albums for Pacific Jazz during 1960-1964, mostly with his trio but also featuring Ben Webster, Richard "Groove" Holmes, Blue Mitchell, Stanley Turrentine, Joe Pass, the Jazz Crusaders, and the Gerald Wilson Orchestra. McCann switched to Limelight during 1965-1967 and then signed with Atlantic in 1968. After the success of Swiss Movement, McCann emphasized his singing at the expense of his playing and he began to utilize electric keyboards, notably on 1972's Layers. 

His recordings became less interesting to traditional jazz fans from that point on, and after his Atlantic contract ran out in 1976, McCann appeared on records much less often. However, he stayed popular and a 1994 reunion tour with Eddie Harris was quite successful. A mid-'90s stroke put him out of action for a time and weakened his keyboard playing (his band began carrying an additional keyboardist) but Les McCann returned to a more active schedule during 1996 and was still a powerful singer. His comeback was solidified by 2002's Pump It Up, a guest-heavy celebration of funk and jazz released on ESC Records. ~ Scott Yanow https://itunes.apple.com/us/album/from-the-top-of-the-barrel-live/1332224684

Personnel:  Les McCann - piano;  Herbie Lewis, Leroy Vinnegar - bass;  Ron Jefferson - drums

From The Top Of The Barrel

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Suzy Bogguss - Sweet Danger

Styles: Vocal
Year: 2007
File: MP3@320K/s
Time: 46:19
Size: 107,8 MB
Art: Front

(3:51)  1. The Bus Ride
(3:50)  2. Everything
(3:35)  3. No Good Way to Go
(4:05)  4. If You Leave Me Now
(4:09)  5. In Heaven
(4:34)  6. Baby July
(3:38)  7. Even If That Were True
(2:55)  8. Chain Lover
(3:44)  9. Sweet Danger
(4:15) 10. Right Back Into the Feeling
(4:05) 11. It's Not Gonna Happen Today
(3:34) 12. One Clear Moment

Suzy Bogguss issued her fine Swing album in 2003. Other than a Christmas recording why does every artist feel the need to issue one of those? she hasn't released anything in four years. She's toured hard, written songs, and spent her time and energy conceiving the provocative Sweet Danger. Bogguss may no longer be on the country charts, but perhaps with contemporary country's willingness to embrace other American popular song forms she may end up there yet again. For the listener, it doesn't matter. The reason is simply that Sweet Danger is the finest moment in a long career. Bogguss has undergone a metamorphosis as a musician. It's plainly obvious from the opening moments of the album's opening cut, "The Bus Ride." The big minor-key piano chords, hand percussion, and muted drum kit give way to a tasty acoustic guitar lead and it's all reminiscent of Steely Dan's "Do It Again." The similarity ends there in a sense, because when Bogguss opens her mouth and lets the story begin to fall from her, it's all her. But the music here owes more to jazz and samba than country no matter how hip and inclusive its industry says it is, stuff like this would terrify the production formula-obsessed producers in mainstream Nash Vegas. Her style is inimitable, no matter what she's singing. Unlike most vocalists these days, Bogguss is a singer and a stylist. She takes a lyric and makes it a scenario, a gauzy filmic episode. The shimmering finger-popping groove in "Everything" owes as much to Sergio Mendes as it does to Diane Warren; a button accordion accompanies a piano, acoustic guitars, and restrained but ever-present percussion, floating her tale of romantic ambivalence. Her lines alternate speaker to speaker; tag lines come from the ether. There are some curious selections here, such as a cover of Peter Cetera's monster smash "If You Leave Me Now." While Bogguss does bring something different to the tune, it's not enough to keep you from hearing the original in your head. 

The self-penned "Baby July" is a candidate for country radio again if they have the guts. It's no less commercial than anything by Martina McBride, but it's far subtler as piano, acoustic guitar, sparse percussion, and a brief but tasty lead guitar solo color her voice just the right shade of bright. The production by Jason Miles and Bogguss is wonderful. Most of the album was recorded in New York and finished in Franklin, TN, and there isn't a studio in Nashville that could have handled a record like this with the possible exception of Owen Bradley's back in the day. The album is full of warmth, light, and air. There isn't anything hurried, or compressed in the sound to make it "bigger." There are many quiet surprises, too, such as the upright bass intro to "Chain Lover," a smoky, bluesy opening to a beautiful pop song with gorgeous lyrics by Bogguss and Billy Kirsch. The slippery backbeat (ushered in by the bassline) in the title track offers a breezy love song that has everything in it, expressing what being "overwhelmed" by new love means. There are wily little beats in the middle of the mix and Bogguss' relaxed delivery is sexy it's confessional but happy. The dizziness the listener experiences comes from her artful phrasing. Other winners here include a beautifully soulful reading of Beth Nielsen Chapman's "Right Back into the Feeling," the closest thing to a rocker on this disc. It's adult, infectious, and soulful. The other is the closer, a B-3-tinged love song Bogguss wrote with Carson Whitsett and Jon Vezner. Here is the sound that contemporary country music would aspire to if it were sophisticated enough. It's a simple song with a glorious arrangement and lush texture, where the song dictates what the singer offers the listener, not the other way around. Sweet Danger is yet another example of what a true treasure Suzy Bogguss is as a singer, writer, and performer. She is simply timeless in her grace and elegance. ~ Thom Jurek https://www.allmusic.com/album/sweet-danger-mw0000574934

Sweet Danger

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Nelson Riddle - Love Is A Game of Poker

Styles: Jazz, Big Band
Year: 1962
File: MP3@320K/s
Time: 34:01
Size: 80,7 MB
Art: Front

(2:54)  1. Playboy's Theme
(2:37)  2. Alone Too Long
(3:09)  3. Queen of Hearts
(3:00)  4. Red Silk Stockings and Green Perfume
(3:29)  5. Finesse
(2:15)  6. A Game of Poker
(2:22)  7. It's So Nice to Have A Man About the House
(3:18)  8. Witchcraft
(2:12)  9. Two Hearts Wild
(3:13) 10. You Fascinate Me So
(2:59) 11. Penny Ante
(2:27) 12. Indiscreet

"The exciting new sound of Nelson Riddle...a new sound breakthrough," proclaimed the cover of this album, recorded at the end of Riddle's tenure with Capitol Records before he decamped to rejoin Frank Sinatra at Reprise. That exciting new sound seemed to derive from Riddle's recent successes on the large (Lolita) and small (Route 66) screen, and to have been influenced by Henry Mancini's similar success, leading to a more prominent rhythm section and a jazzier feel than one usually associates with Riddle's charts. The conductor's feel for melody was not extinguished by any means but, probably due to his recent experience, his arrangements and (on three tracks) compositions had a far more cinematic flair, which gave them an early-'60s contemporaneity and brought him out of the '50s just as he was moving on to new challenges.~ William Ruhlmann https://www.allmusic.com/album/love-is-a-game-of-poker-mw0000939022

Love Is A Game of Poker

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Kenny Drew - Cleopatra's Dream

Styles: Piano Jazz
Year: 1992
File: MP3@320K/s
Time: 57:20
Size: 131,8 MB
Art: Front

(9:39)  1. Moonlit Desert
(6:05)  2. I Didn't Know What Time It Was
(6:14)  3. Right On
(5:35)  4. Cleopatra's Dream
(6:51)  5. What Are You Doing The Rest of Your Life
(7:44)  6. Lite Bossa
(3:31)  7. Alice In Wonderland
(6:56)  8. Images
(4:40)  9. Hymn

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death.~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Kenny Drew (piano), Niels-Henning Orsted Pedersen (bass), Alvin Queen (drums)

Cleopatra's Dream

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Pharez Whitted - Transient Journey

Styles: Trumpet Jazz
Year: 2010
File: MP3@320K/s
Time: 71:09
Size: 163,7 MB
Art: Front

(6:28)  1. The Truth Seeker
(5:55)  2. Transient Journey
(7:37)  3. Brother Thomas
(6:38)  4. Monkish
(6:18)  5. Plicky
(5:00)  6. Sunset on the Gaza
(6:23)  7. OS Who
(6:02)  8. Until Tomorrow Comes
(5:21)  9. Our Man Barack
(7:19) 10. Soul Mates
(8:03) 11. Yes We Can

The intimidating yet dapper looking man on the cover plays his horn in the same striking manner of his appearance. Chicago trumpeter Pharez Whitted as they might say on the street, "Ain't No Joke" as witnessed by his serious musicianship  chops that are emotive, filled with technique and touch, and soulful swagger. It's hard to believe that Transient Journey is only his third release as a leader.  A musician, band leader, and educator currently serving as Director of Jazz Studies at Chicago State University, Whitted brings a vast wealth of knowledge and superior skills to the recording. It also helps to have a killing sextet that includes the stellar guitarist Bobby Broom who also co-produced the project. While Whitted's previous two recordings were released in the mid-1990s (for MoJazz, a Motown subsidiary) this set of eleven original compositions is well worth the wait.  A delightfully swinging affair is in store. Polished vamps and even smoother solos are served in "The Truth Seeker" and the title track with a chilly urban charisma that's frosted by Ron Perrillo's keyboards and Whitted's soulful trumpet. "Brother Thomas" sounds like it could've been written in the 1960s on Blue Note, ala Freddie Hubbard (a strong influence and a longtime family friend). The infectious "Monkish" is the sweet spot personified. It gets under the skin; finger-snapping music with an infectious quality and quirkiness that gives props to Thelonious Monk.  Whitted's articulation and command of his horn is as fluent and polished as contemporaries like Wynton Marsalis or Terence Blanchard and could teach younger cats such as Corey Wilkes and Christian Scott a thing or two. His sepia-toned flugelhorn is equally impressive on "Until Tomorrow Comes" where its soft glow is suffused in the track's mellow Bossa rhythm.  Whether it's "Plicky"'s funky tempo (dedicated to his sister) or the band's swinging optimism in "Yes We Can," the set is enjoyable from start to finish. It might have taken a minute (a mere fourteen years since his previous release) but it's good to hear Pharez Whitted delivering his music once again. ~ Mark F.Turner https://www.allaboutjazz.com/transient-journey-pharez-whitted-owl-studios-review-by-mark-f-turner.php

Personnel: Pharez Whitted: trumpet, flugelhorn; Eddie Bayard: tenor, soprano saxophone; Ron Perrillo: piano, keyboards; Dennis Carroll: bass; Greg Artry: drums.

Transient Journey

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Franco Ambrosetti - Grazie Italia

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 66:48
Size: 155,7 MB
Art: Front

(6:20)  1. Roma non fà la stupida
(5:52)  2. Volare (Nel blu dipinto di blu)
(3:37)  3. Vecchio frack
(7:48)  4. Tintarella di luna
(5:31)  5. E se domani
(6:56)  6. Donna
(4:55)  7. E la chiamano estate
(8:10)  8. Le tue mani
(9:05)  9. Caruso
(4:42) 10. Nun è peccato
(3:48) 11. Che cosa c'è

Franco Ambrosetti has had dual careers as a very successful businessman, and as a fine trumpeter and flügelhornist inspired by Freddie Hubbard and Miles Davis. His father Flavio Ambrosetti was an excellent saxophonist. Franco had piano lessons for eight years but is self-taught on trumpet, which he did not take up until he was 17. In 1972, he was one of the founders of the George Gruntz Concert Jazz Band, and through the years he has recorded quite a few worthy hard bop-ish albums for Enja in addition to leading his own groups.~ Scott Yanow https://www.allmusic.com/artist/franco-ambrosetti-mn0000195215/biography

Personnel:  Franco Ambrosetti (trumpet), Furio di Castri (double bass), Alfredo Golino (drums), Antonio Farao (piano), Gabriele Comeglio (alto saxophone), Gianluca Ambrosetti (soprano saxophone), Dado Moroni (piano), Roberto Gatto (drums) ), Maurizio Giammarco (tenor saxophone), Enrico Rava (flugelhorn), Flavio Ambrosetti (tenor saxophone), Franco Ambrosetti (flugelhorn), Enrico Rava (trumpet), Dado Moroni (organ), Alfredo Golino (percussion), Maurizio Giammarco (soprano) saxophone).

Grazie Italia

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Warren Wolf - Warren Wolf

Styles: Vibraphone Jazz
Year: 2011
File: MP3@320K/s
Time: 60:30
Size: 138,9 MB
Art: Front

(6:17)  1. 427 Mass Ave
(7:19)  2. Natural Beauties
(6:03)  3. Sweet Bread
(7:04)  4. How I Feel at This Given Moment
(5:36)  5. Eva
(4:40)  6. Senor Mouse
(6:23)  7. Emily
(7:38)  8. Katrina
(3:56)  9. One for Lenny
(5:29) 10. Intimate Dance

Prominent jazz vibraphonists have always been relatively few and Warren Wolf has the potential to be one of the top players of his generation. Wolf is joined by bassist Christian McBride, pianist Peter Martin, and drummer Gregory Hutchinson, with guest appearances by trumpeter Jeremy Pelt and saxophonist Tim Green. Wolf is a master of lyricism and restraint with his spacious interpretation of Johnny Mandel's timeless ballad "Emily." He doubles on vibes and marimba in an intricate interpretation of Chick Corea's "Señor Mouse." Six of the songs are originals by the leader. The composer takes a back seat in the sensual "Natural Beauties," showcasing Martin and Green (the latter on soprano sax) first before adding his dazzling solo. Pelt and Green (on alto sax) are added for the hard-charging post-bop vehicle "Sweet Bread," a performance with plenty of fireworks. The brilliant Christian McBride introduces the rapid-fire "One for Lenny," where Wolf shows his chops at a blazing tempo, followed by potent solos from Green and Martin, along with a fiery arco solo by the bassist and a brief break by Hutchinson. Martin contributed the warm ballad "Intimate Dance," a lyrical duet with the leader. Previously recorded by a Japanese label, Warren Wolf's impressive debut for Mack Avenue should open lots of doors for the talented vibraphonist.~ Ken Dryden https://www.allmusic.com/album/warren-wolf-mw0002176817

Warren Wolf

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Teddy Edwards - Ladies Man

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 54:20
Size: 124,8 MB
Art: Front

(5:37)  1. Jeannine
(5:17)  2. Rosetta
(6:06)  3. Ruby
(4:21)  4. Candy
(5:47)  5. Saskia
(4:03)  6. Diane
(5:25)  7. Donna Lee
(6:08)  8. Marie
(6:22)  9. Laura
(5:08) 10. Rosalie

For this project, veteran tenor saxophonist Teddy Edwards performs ten songs named after women's names, including his own "Saskia." Despite the potentially gimmicky nature of the repertoire, the music is conventional hard bop, played with spirit by Edwards, pianist Ronnie Mathews, bassist Chip Jackson, drummer Chip White, and (on four of the ten numbers) trumpeter Eddie Allen. Due to the fine solos of Edwards, Mathews, and Allen and the close attention paid to tempo and mood variations between songs, this is an excellent outing, well worth exploring by straight-ahead jazz collectors.~ Scott Yanow https://www.allmusic.com/album/ladies-man-mw0000006175

Personnel:  Teddy Edwards – tenor saxophone;  Eddie Allen – trumpet;  Ronnie Mathews – piano;  Chip Jackson – bass;  Chip White – drums

Ladies Man

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Jack DeJohnette, John Patitucci & Danilo Perez - Music We Are

Styles: Avant-Garde Jazz 
Year: 2009
File: MP3@320K/s
Time: 62:34
Size: 144,1 MB
Art: Front

(5:31)  1. Tango African
(7:12)  2. Earth Prayer
(5:36)  3. Seventh D, 1st Movement
(4:37)  4. Seventh D, 2nd Movement
(3:53)  5. Soulful Ballad
(5:02)  6. Earth Speaks
(6:22)  7. Cobilla
(5:03)  8. Panama Viejo
(5:45)  9. White
(9:37) 10. Ode To MJQ
(3:50) 11. Michael

Since the inception of his Golden Beams Productions imprint, Jack DeJohnette has been busy releasing music ranging from the meditational Music in the Key of Ohm (Golden Beams, 2005) and world music-inflected Music from the Hearts of the Masters (Golden Beams, 2005) to the more decidedly improvisational The Elephant Sleeps But Still Remembers (Golden Beams, 2006). A freedom of spirit infuses all his releases, but it's been over a decade since the veteran drummer has released an album as a leader that fits squarely into the jazz category. Still, even more decidedly jazz-centric albums like the open-ended Oneness (ECM, 1997) and career-defining Special Edition (ECM, 1980) are far from predictable. Music We Are may appear, on the surface, to be yet another in a long line of piano trio records released every year not that there's anything wrong with that but in the hands of DeJohnette, pianist Danilo Pérez and bassist John Patitucci, the music not only transcends the expectations of the format, but stretches the boundaries of music, plain and simple. A combination of appealing writing, spare and dark-hued free-play, and an unmistakable sense of fun imbue Music We Are three qualities made even clearer on the 20-minute "making of" DVD that's included with the CD. The three have intersected on various projects over the years: DeJohnette played on Perez's 1992, eponymous Novus debut as a leader; DeJohnette and Patitucci have been Steve Khan's partners of choice dating from the guitarist's Got My Mental (Evidence, 1996) through to the outstanding Borrowed Time (Tone Center, 2007); and, of course, Perez and Patitucci have been one-half of saxophonist Wayne Shorter's empathic quartet since the turn of the century, heard on albums including the startlingly simpatico Beyond the Sound Barrier (Verve, 2005). The same chemistry that the various permutations have brought to other projects is only magnified when the three are brought together in the same room, at the same time. DeJohnette has recorded "Seventh D" before, but here it's divided into two movements that amplify the sheer abandon this trio is capable of, especially "2nd Movement," which is oblique and slightly aggressive, but functions at a deeply focused level of interaction. "Tango African" is, on the other hand, more approachable. DeJohnette and Patitucci overdub the melody, on melodica and electric bass respectively, over their loose but rock-solid foundation of drums and acoustic bass, gradually moving into a groove-laden trade-off between the two. Both demonstrate the considerable stylistic territory that Music We Are covers, without feeling overly considered. Eclectic and esoteric, it's an album that celebrates the cross-pollination of music from the earth's four corners while revering the jazz tradition that permits music to be made on such fertile ground, with abstract classicism, tinges of Gamelan and folkloric innocence intersecting and driving the music to unexpected and joyous places.  A combination of original music and one relatively obscure Latin cover, Music We Are brings three friends together for a recording that, hopefully, signifies the beginning of a longer-term partnership.~ John Kelman https://www.allaboutjazz.com/music-we-are-jack-dejohnette-golden-beams-review-by-john-kelman.php

Personnel: Jack DeJohnette: drums, melodica; John Patitucci: acoustic and electric bass; Danilo Perez: piano, keyboards.

Music We Are

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Inger Marie Gundersen - Feels Like Home

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 50:27
Size: 117,4 MB
Art: Front

(5:29)  1. Feels Like Home
(4:48)  2. (Sittin'on) The Dock of the Bay
(3:35)  3. Long as I Can See the Light
(5:32)  4. When October Goes
(3:40)  5. Given Time
(4:11)  6. If This Was
(4:39)  7. I Know These Hills
(4:26)  8. Try to Find Me
(3:47)  9. When All is Said and Done
(5:35) 10. Med Ogon Kansliga For Gront
(4:40) 11. Wichita Lineman (Bonus Track)

Inger Marie Gundersen has released her 5th recording, entitled “Feels Like Home.” She made her bandleading and recording debut relatively late in life in 2004 with “Make This Moment,” which immediately rose to the top of the more jazz-oriented vocal charts. This was especially true in Asia, where the albums sold by the thousands in Japan, Korea, Hong Kong, Taiwan, Singapore and Indonesia. “By Myself” followed in 2006, “My Heart Would Have a Reason” in 2009, “For You” in 2011, and over the years, Inger Marie has also been “discovered” in Europe and the United States, where many of her songs are popular on streaming services’ playlists. Inger Marie has her own voice - dark, warm, heartfelt, and engaging - and she has always had a great sense for choosing exactly the right material, oftentimes well-known pop or rock songs, which she transforms into her own in her unique, hot, jazzy universe. In this universe, Inger Marie has always surrounded herself with the very best musicians, so the sound never gets oversimplified or lacks in depth. There’s time for reflection on “Feels Like Home,” and at a relaxed tempo we are pulled into Inger Marie’s wonderful world of versions of famous songs such as the Creedence Clearwater Revival hit, “Long as I Can See the Light,” Abba’s “When All Is Said and Done,” Otis Redding’s “Sittin’ On The Dock of the Bay,” and many more, after which listeners are treated to the beautiful Swedish song “Med ögon känsliga för grönt” (With Eyes Sensitive to Green) by Barbor Hörberg and Nils Hansén. Inger Marie’s personal and loving interpretations form images that, together with the musical arrangements, create alluring landscape paintings in the minds of the listener. Life isn’t always easy, but it feels good as long as you can see the light. Inger Marie Gundersen was born in the small town of Arendal, on the southern coast of Norway, on February 13th, 1957. She grew up as an only child with her parents, close to nature and in a peaceful environment. Her fascination and joy for music began in early childhood, with her father playing guitar and singing, filling their home with songs nearly every day. When she was young, Inger Marie studied at the University of Agder, receiving a Bachelor’s Degree in Health and Social Work. Ultimately, she always knew she really was a singer, and was on a musician’s path. Inger Marie waited for many years before she ventured out upon a solo career. She had ample experience though, from years of activities in the musical industry.

Feels Like Home

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Buck Clayton - The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

Styles: Trumpet Jazz
Year: 1974
File: MP3@320K/s
Time: 77:31
Size: 177,6 MB
Art: Front

(25:25)  1. Christopher Columbus
( 9:21)  2. Don't Be That Way
( 8:30)  3. Undecided
( 8:05)  4. Rock-A-Bye Basie
(10:28)  5. Jumpin' At The Woodside
( 6:26)  6. Blue & Sentimental
( 9:12)  7. Broadway

An excellent bandleader and accompanist for many vocalists, including Billie Holiday, Buck Clayton was a valued soloist with Count Basie Orchestra during the '30s and '40s, and later was a celebrated studio and jam session player, writer, and arranger. His tart, striking tone and melodic dexterity were his trademark, and Clayton provided several charts for Basie's orchestra and many other groups. Clayton began his career in California, where he organized a big band that had a residency in China in 1934. When he returned, Clayton led a group and played with other local bands. During a 1936 visit to Kansas City, he was invited to join Basie's orchestra as a replacement for Hot Lips Page. Clayton was also featured on sessions with Lester Young, Teddy Wilson, and Holiday in the late '30s. He remained in the Basie band until 1943, when he left for army service. After leaving the army, Clayton did arrangements for Basie, Benny Goodman, and Harry James before forming a sextet in the late '40s. He toured Europe with this group in 1949 and 1950. Clayton continued heading a combo during the '50s, and worked with Joe Bushkin, Tony Parenti, and Jimmy Rushing, among others. He organized a series of outstanding recordings for Columbia in the mid-'50s under the title Jam Session (compiled and reissued by Mosaic in 1993). There were sessions with Rushing, Ruby Braff, and Nat Pierce. Clayton led a combo with Coleman Hawkins and J.J. Johnson at the 1956 Newport Jazz Festival, then reunited with Goodman in 1957 at the Waldorf Astoria. There was another European tour, this time with Mezz Mezzrow. He appeared in the 1956 film The Benny Goodman Story and played the 1958 Brussels World Fair with Sidney Bechet. Clayton later made another European visit with a Newport Jazz Festival tour. He joined Eddie Condon's band in 1959, a year after appearing in the film Jazz on a Summer's Day. Clayton toured Japan and Australia with Condon's group in 1964, and continued to revisit Europe throughout the '60s, often with Humphrey Lyttelton's band, while playing festivals across the country. But lip and health problems virtually ended his playing career in the late '60s. After a period outside of music, Clayton once again became active in music, this time as a non-playing arranger, touring Africa as part of a State Department series in 1977. He provided arrangements and compositions for a 1974 Lyttleton and Buddy Tate album, and did more jam session albums for Chiaroscuro in 1974 and 1975. He also became an educator, teaching at Hunter College in the early '80s. Clayton led a group of Basie sidemen on a European tour in 1983, then headed his own big band in 1987 that played almost exclusively his compositions and arrangements. That same year Clayton's extensive autobiography Buck Clayton's Jazz World, with Nancy Miller-Elliot, was published.~ Ron Wynn https://www.allmusic.com/artist/buck-clayton-mn0000634674/biography

Personnel: Trumpet, Liner Notes – Buck Clayton;   Alto Saxophone – Lem Davis;  Baritone Saxophone – Charlie Fowlkes;  Bass – Milt Hinton, Walter Page;  Clarinet – Woody Herman, Drums – Jo Jones;  Guitar – Freddie Green, Steve Jordan;  Piano – Al Washlon, Billy Kyle, Jimmy Jones, Charles Thompson;  Tenor Saxophone – Al Cohn, Buddy Tate, Coleman Hawkins, Julian Dash;  Trombone – Bennie Green, Dick Harris, Henderson Chambers, Trummy Young, Urbie Green;  Trumpet – Joe Newman, Joe Thomas, Ruby Braff 

The Golden Days Of Jazz (Swingin' Buck Clayton Jams Count Basie & Benny Goodman)

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Sandra Dudley And Lori Mechem - All Of My Life

Styles: Vocal And Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 67:32
Size: 155,0 MB
Art: Front

(4:51)  1. Love Like Ours
(5:54)  2. Kisses
(5:58)  3. What Are You Doing The Rest Of Your Life?
(4:46)  4. Summer Me, Winter Me
(5:04)  5. Moonlight
(5:05)  6. I Have The Feeling I've Been Here Before
(5:01)  7. Mozart In The Dark
(4:06)  8. What Matters Most
(4:12)  9. The Summer Knows
(4:26) 10. Like A Lover
(3:40) 11. Being Without You
(4:36) 12. How Do You Keep The Music Playing?
(4:45) 13. Alone In The World
(5:03) 14. You Must Believe In Spring

“Among the great pleasures and rewards of songwriting is hearing one’s songs performed with the respect and love that Sandra and Lori brought to this CD!  Some of these songs have never been recorded and some have many recordings, but all are sung and played here with such freshness and keen jazz sensibility.  Thank you both, Lori and Sandra”! ~ Love, Alan & Marilyn

“This is a lovely vocal album, with Dudley singing with pristine clarity and feeling, accompanied only by the tasteful piano of Mechem. Dudley has strong area ties a native of Buffalo, she studied at Fredonia then at the Eastman School of Music, where she cites her teachers, Jan DeGaetani (for vocal chops) and Bill Dobbins (for jazz history and understanding). All of My Life spotlights the songs of Alan and Marilyn Bergman, including “You Must Believe in Spring,” “What Are You Doing the Rest of Your Life,” and a dozen others. Dudley’s version of “What Are You Doing …” comes near to being definitive. Singer and pianist have a potent chemistry, bringing these classic pop standards to vivid and highly musical life.” ~  Jack Garner – Critics Playlist, Democrat and Chronicle 

“What happens when a remarkable singer and a fabulous pianist take on the catalog of a wonderful husband and wife team of lyricists, writing with a variety of top notch composers?  Just what you might imagine; a gorgeous recording, full of smiles, tears and some really breath-taking music.  Don’t miss this”! ~ Beegie Adair- Green Hill Music Artist, Composer and Educator

“Imagine you have before you a small box.  You open it and discover 14 exquisite little gems, each with its own sparkle and personality.  That is the sensation I experienced when listening to Sandra and Lori’s ” All Of My Life” collection.  It is certainly ranks among the finest renditions of the Bergman catalog ever recorded.  I’ll surely listen to this CD over, and over, and over again”. ~ Jeffery Steinberg- Arranger, Composer and Pianist

“These are the things you hope for when you hear a new CD. The music touches your heart and warms your soul. It has the power to make you smile, cry, think and feel. It reminds you that the power or music isn’t related to its volume or the number of musicians involved, rather the ability of those involved to bring the music to life”. ~ George Tidwell- Arranger, Composer and Trumpeter

“It’s long been said in Nashville that “it all begins with a song”.  That has not stopped thousands of records being produced each year with musical smoke and mirrors, technical sleight of hand, and layers of other creative veneer applied to hide the fact that the main ingredient could be missing.  Good songs sometimes need that additional TLC, but great songs need only to be played.  ALL OF MY LIFE, by Lori Mechem and Sandra Dudley is not just a tribute to the writing of Alan and Marilyn Bergman;  it’s a tribute to the way memorable records have always been made: Great performances of great songs.  It will take a lot longer to finish listening to these recordings than it took to make them.  And there’s nothing missing”~ Green Daniel  Nashville Producer and Arranger

“The Mechem and Dudley duo–the perfect wine for Bergman connoisseurs.  The magic sparks between these two musicians make every phrase alluring and unforgettable!  Lori and Sandra are simply world class jazz masters!  They are the perfect medium for the passionate, profound, and penetrating lyrics of the celebrated, award-winning songwriter couple, Alan and Marilyn Bergman.  This is a definitive collection” ~ Ron Browning- Nashville Vocal Coach to the Stars http://www.lorimechemmusic.com/downloads/all-of-my-life-album/

Personnel: Sandra Dudley - Vocal; Lori Mechem - piano

All Of My Life

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David Newman - Bigger & Better

Styles: Saxophone And Flute Jazz 
Year: 1968
File: MP3@320K/s
Time: 31:50
Size: 75,0 MB
Art: Front

(4:04)  1. Yesterday
(5:46)  2. And I Love Her
(5:56)  3. The Thirteenth Floor
(3:46)  4. Ain't That Good News
(5:35)  5. A Change Is Gonna Come
(6:41)  6. For Sylvia

As a teenager, David Newman played professionally around Dallas and Fort Worth with Charlie Parker's mentor, Buster Smith, and also with Ornette Coleman in a band led by tenor saxophonist Red Connors. In the early '50s, Newman worked locally with such R&B musicians as Lowell Fulson and T-Bone Walker. In 1952, Newman formed his longest-lasting and most important musical association with Ray Charles, who had played piano in Fulson's group. Newman stayed with Charles' band from 1954-1964, while concurrently recording as a leader and a sideman with, among others, his hometown associate, tenor saxophonist James Clay. Upon leaving Charles, Newman stayed in Dallas for two years. He then moved to New York, where he recorded under King Curtis and Eddie Harris; he also played many commercial and soul dates. Newman returned to Charles for a brief time in 1970-1971; from 1972-1974 he played with Red Garland and Herbie Mann. Newman parlayed the renown he gained from his experience with Charles into a fairly successful recording career. In the '60s and '70s, he recorded a series of heavily orchestrated, pop-oriented sides for Atlantic and in the '80s he led the occasional hard bop session, but Newman's métier was as an ace accompanist. Throughout his career, he recorded with a variety of non-jazz artists; Newman's brawny, arrogant tenor sound graced the albums of Aretha Franklin, Dr. John, and many others. It is, in fact, Newman's terse, earthy improvisations with Charles that remain his most characteristic work. Newman began a productive relationship with HighNote Records at the close of the 1990s, releasing an impressive series of albums, including Chillin' (1999), Keep the Spirits Singing (2001), Davey Blue (2001), The Gift (2003), Song for the New Man (2004), I Remember Brother Ray (a moving tribute to Ray Charles released in 2005), Cityscape (2006), and Life (2007). Diamondhead followed in 2008. Newman passed on January 20, 2009, from pancreatic cancer. ~ Chris Kelsey https://itunes.apple.com/us/album/bigger-better/70268480

Personnel:  David Newman - tenor saxophone, alto saxophone, flute;  Melvin Lastie (tracks 1-5), Joe Newman (tracks 1 & 2), Jimmy Owens (tracks 3-5) - trumpet;  Benny Powell - trombone (tracks 1-5);  Seldon Powell - tenor saxophone (tracks 1-5);  Henry Haywood (tracks 1 & 2), Jerome Richardson (tracks 3-5) - baritone saxophone;  George Stubbs - piano (track 6);  Billy Butler (tracks 1, 2 & 6), Eric Gale (tracks 3-6) - guitar;  Richard Davis - bass (tracks 1-5);  Chuck Rainey - electric bass;  Bernard Purdie - drums;  Winston Collymore, Leo Cruczek, Richard Elias, Emanuel Green, Leo Kahn, Gene Orloff, Matthew Raimondi - violin (tracks 1-3, 5 7 6);  Alfred Brown, Selwart Clarke - viola (tracks 1-3, 5 & 6);  Kermit Moore - cello (tracks 1-3, 5 & 6).

Bigger & Better

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Ben Sidran - Live At The Celebrity Lounge

Styles: Vocal And Piano Jazz
Year: 1998
File: MP3@320K/s
Time: 52:44
Size: 123,1 MB
Art: Front

(4:34)  1. Sentimental Journey
(4:50)  2. Turn To The Music
(0:25)  3. Chat
(4:37)  4. I Wanna Be A Bebopper
(6:16)  5. House Of Blue Lights
(5:03)  6. Look Here
(5:35)  7. Avinu Malchenu
(1:27)  8. Chat 2
(3:31)  9. Gege's Mouth Drums
(4:55) 10. Gege's Groove
(6:29) 11. Old Folks
(4:57) 12. Blues For The Celebrity Lounge

Pianist, singer/songwriter, producer, author, and host Ben Sidran is a literate performer known for his engaging, jazz-influenced sound and laid-back, conversational style. Essentially a pianist/vocalist with a storytelling approach in the tradition of Mose Allison, Sidran grew from a supporting player with rocker Steve Miller to a solo performer, and to an award-winning radio and TV host. Along the way, he has produced albums for such luminaries as Allison, Van Morrison, Michael Franks, Rickie Lee Jones, and others. He has also hosted shows for National Public Radio and VH1. Born in Chicago in 1943, Sidran grew up in Racine, Wisconsin. In the early '60s, he played with Steve Miller and Boz Scaggs in a band called the Ardells at the University of Wisconsin. After Miller moved to San Francisco and secured a recording contract, he called on old friend Sidran to join him in the Steve Miller Band following the departure of original keyboardist Jim Peterman. Sidran contributed on the keys and as songwriter on several Miller albums beginning with Brave New World in 1969, co-writing the classic "Space Cowboy" and three other tunes on that LP. 

He also authored "Steve Miller's Midnight Tango" on Number 5 and collaborated with Miller on several other tunes through the years. He also produced his friend's underappreciated Recall the Beginning...A Journey from Eden in 1972. Sidran received a Ph.D. in philosophy/musicology, writing his doctoral thesis on African-American culture and music in the United States. The thesis was published to positive critical response in 1971 as Black Talk. Since 1972, he has released a number of solo albums in a cool, easy swinging style similar to Allison, including 1976's Free in America, 1977's The Doctor Is In, and 1978's A Little Kiss in the Night. While his early albums relied on acoustic instruments and lyrical references to his musical heroes, his later releases used electronic instruments and tasty synthesizers for an interesting sound best presented on albums like 1985's On the Cool Side and 1988's Too Hot to Touch. Through the years, Sidran and Miller have remained close friends, popping up from time to time on one another's recordings or live performances. In 1988, Sidran co-produced one of Miller's most interesting latter-day recordings, Born 2B Blue, a collection of jazz standards dressed up in the same cool, low-key arrangements Sidran employs on his own albums. Also during the '80s, Sidran began expanding his profile by hosting shows for National Public Radio, including the Jazz Alive series, for which he earned a Peabody Award. During the '90s, Sidran released a number of albums on his own Go Jazz label, including 1994's Life's a Lesson, 1996's Mr. P's Shuffle, and 1999's The Concert for García Lorca. He also appeared on television, hosting the Ace Award-winning New Visions program on VH1. Also during this period, he collaborated with Van Morrison and Georgie Fame on the tribute album Tell Me Something: The Songs of Mose Allison. He then formed the Nardis label with his son, and delivered such efforts as 2004's Nick's Bump, 2006's Live à Fip, 2009's Dylan Different, and 2013's Don't Cry for No Hipster. In 2017 Sidran returned with Picture Him Happy, a philosophical production centered on the myth of Sisyphus and featuring backing from guitarist Will Bernard, bassist Will Lee, saxophonist John Ellis, and others. ~ Jim Newsom https://itunes.apple.com/ca/album/live-at-the-celebrity-lounge/1047027456

Ben Sidran (Piano, Vocals); Phil Woods (Saxophone); Phil Upchurch (Guitar); Mike Mainieri (Vibraphone); Richard Davis (Bass); Leo Sidran (Drums); Gege Telesforo (Vocals); Lynette Margulies (Vocals).

Live At The Celebrity Lounge

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Jean-Luc Ponty - The Atlantic Years

Styles: Violin Jazz
Year: 2018
File: MP3@320K/s
Time: 83:32
Size: 196,9 MB
Art: Front

(0:47)  1. Overture
(3:59)  2. The Trans-Love Express
(2:22)  3. Imaginary Voyage, Pt. 1
(4:42)  4. Cosmic Messenger
(5:38)  5. Stay with Me
(7:18)  6. Modern Times Blues
(3:35)  7. The Struggle of the Turtle to the Sea, Part I
(3:34)  8. The Struggle of the Turtle to the Sea, Part II
(6:03)  9. The Struggle of the Turtle to the Sea, Part III
(4:06) 10. Once a Blue Planet
(4:04) 11. In the Kingdom of Peace
(4:54) 12. Mirage
(3:58) 13. Jig
(5:07) 14. The Gardens of Babylon
(5:23) 15. Elephants In Love
(2:23) 16. Enigmatic Ocean, Part l
(3:35) 17. Enigmatic Ocean, Part II
(3:45) 18. Enigmatic Ocean, Part III
(2:26) 19. Enigmatic Ocean, Part lV
(5:44) 20. Egocentric Molecules

One thing we learned Tuesday night: Enigmatic Ocean (Atlantic, 1977), violinist Jean Luc Ponty’s fourth album for Atlantic Records, is his favorite. And why not? It made it to number one on the jazz charts in 1977. Plus, it’s pretty good. The Jean Luc Ponty Band brought their Atlantic Years tour through Boulder last Tuesday, recreating the music from what is most likely Ponty’s most popular period. From 1975 through 1985, Ponty released a dozen albums on the Atlantic label and the current tour digs into over half of them to one degree or another. Enigmatic Ocean was by far the best represented with the band performing nearly the entire album during the course of the evening. In fact, only one cut, “Nostalgic Lady,” was omitted. The program also drew from Imaginary Voyage, (Atlantic, 1976), Fables (Atlantic, 1985), Mystical Adventures (Atlantic, 1982), Civilized Evil, (Atlantic, 1980), A Taste for Passion (Atlantic, 1979) and Cosmic Messenger (Atlantic, 1978). The beginning of Ponty’s Atlantic years saw him coming off a stint with the Mahavishnu Orchestra and his association with Frank Zappa, including a significant role on Zappa’s Overnite Sensation (Discreet, 1973). It was the hey-day of jazz fusion with the likes of Return to Forever and its constituent parts along with others such as Weather Report, Larry Coryell and Billy Cobham enjoying commercial and artistic success. All the jazz fusion elements came into play Tuesday night; the tight, fast playing, the impossible licks played in unison by two, three or even four band members, the quirky and ever morphing time signatures, the raging solos. That’s not to say the entire evening was a pyromaniac’s delight, Ponty definitely has a sensitive side and it showed with some acoustic numbers such as "Once a Blue Planet” from Civilized Evil and some electric ballads like “The Gardens of Babylon” from Imaginary Voyage.

Ponty has never been a purist, mixing, as he has, elements from many different musical styles over the years. That same attitude cropped up Tuesday night with a selection from one of his albums for Columbia records (which is where he went after the Atlantic years ended). The band played “Tender Memories” from Storytelling (Columbia, 1989). The main reason for the deviation from the Atlantic years was because Storytelling featured the exact same band Ponty is playing with on this tour. Most of the band members had played with Ponty before that album including on some of the later Atlantic albums, just not all at once. Drummer Rayford Griffin probably appeared on more albums from the era in question than the others. It’s no wonder Ponty likes to have him around. He easily lays down the kind of hyperactive percussion necessary to play this music right. Guitarist Jamie Glaser is another long-time Ponty associate appearing off and on during the Atlantic years and after. Ponty has always recruited one or more flame-throwing guitarists such as Daryl Stuermer and the late Allan Holdsworth and Glaser is a brother of the same flame. Bassist Baron Browne made his appearance later, but still contributed to several Ponty albums. Like Griffin, Browne is no mere time-keeper in the rhythm section, but instead provides continual counterpoint from the low end. The newest member of the group, keyboard player Wally Minto, didn’t show up until 1989. His playing, both as an accompanist and as a soloist was always tasteful, creative and virtuosic. Ponty, at 74, remains in fine form. After all these years, he still takes delight in performing this music. He smiled throughout the show, especially when he and one or two other band members nailed an intricate passage with more speed and grace than a cheetah on the hunt. His playing remains fluid and his solos endlessly imaginative. The last time Ponty was in Boulder (May 24, 2016), he was with the Anderson Ponty Band. The personnel of that band and the current one is identical except for the absence of vocalist Jon Anderson, veteran of the classic rock band Yes. The program for these shows was completely different except ABP performed “Infinite Mirage,” a reworking of “Mirage” with lyrics added by Anderson, and portions of “Enigmatic Ocean.” It’s plain the years haven’t slowed Ponty’s bow or dampened his enthusiasm for playing this highly technical, energetic and fun music. http://www.kuvo.org/post/review-jean-luc-ponty-band-atlantic-years-tour#stream/0

The Atlantic Years

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