Sunday, August 12, 2018

Deborah Cox - The Promise

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 39:54
Size: 91,8 MB
Art: Front

(4:11)  1. Love Is Not Made In Words
(3:55)  2. You Know Where My Heart Is
(4:37)  3. Did You Ever Love Me
(4:20)  4. Saying Goodbye
(4:10)  5. Beautiful U R
(3:31)  6. The Promise
(3:38)  7. All Over Me
(3:40)  8. All Hearts Aren't Shaped The Same
(4:08)  9. Down 4 U
(3:39) 10. Where Do We Go 2

After a stylistic detour with 2007’s Destination Moon, on which Deborah Cox paid tribute to jazz and classic-pop vocal legend Dinah Washington, the Canadian chanteuse returns to her natural R&B milieu on THE PROMISE. Working with a selection of top-tier collaborators (John Legend, Jimmy Jam & Terry Lewis), Cox delivers a set of eminently smooth yet impassioned music which alternates between hip-hop-style jams (“Saying Goodbye”) and neo-soul fare (“You Know Where My Heart Is”). On “Did You Ever Love Me,” the singer reveals the benefits of briefly leaving one’s comfort zone, combining modern production with a vocal that recalls Washington’s best torch songs. 
~ Pemberton Roach https://www.allmusic.com/album/the-promise-mw0000800024

The Promise

Arthur Blythe Trio - Spirits in the Field

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 57:51
Size: 134,0 MB
Art: Front

( 6:33)  1. One Mint Julep
( 7:26)  2. Miss Nancy
(10:59)  3. Odessa
( 9:29)  4. Rambler
( 3:24)  5. Spirits in the Field
( 6:37)  6. Lenox Avenue Breakdown
( 7:23)  7. Ah George, We Hardly Knew You
( 5:55)  8. Break Tune #2

On this live club date, recorded at the Bim Huis in Amsterdam, Blythe and his combo (tubaist Bob Stewart and drummer Cecil Brooks III) perform a nice cross section of his most familiar material. Blythe's husky, virile alto sax has never sounded better, and though the recording quality is a little thin, the music comes roaring through the speakers nonetheless. The good-time swinger "One Mint Julep" kicks things off, and is followed by the rambling bopper "Miss Nancy," which is the leader at perhaps his most quintessential. The showstopper is a reworked, energized "Odessa," on which Brooks uses his mallets to fine effect, Stewart blows a minimal but insistent tuba, and Blythe unfurls more of his startling improvisational legerdemain. A quirky, elusive 9/8 rhythm informs the tuba modality of "Rambler," and the title track sports a sneaky melody and a short but free discourse without drums. The trio digs right in on "Lenox Avenue Breakdown," even dispensing with an intro. The slow waltz "Ah George, We Hardly Knew You" (written by Don Pullen for George Adams) and the funky and fat "Break Tune #2" close this satisfying set. In his insightful liner notes, Francis Davis questions Blythe's diminished cachet among critics. That he's moved back home to San Diego from New York City might be an issue, but it doesn't detract from the fact that Blythe's sound and vision remain as fresh and vital as ever. ~ Michael G.Nastos https://www.allmusic.com/album/spirits-in-the-field-mw0000605222

Personnel:  Arthur Blythe – alto saxophone;  Bob Stewart – tuba;  Cecil Brooks III – drums.

Spirits in the Field

Matthew Shipp Quartet - Our Lady of the Flowers

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 67:09
Size: 157,5 MB
Art: Front

( 7:02)  1. Atomic Note
( 5:17)  2. New Tension
( 7:37)  3. A Different Plane
( 8:26)  4. From The Beyond
( 4:23)  5. Silence Blooms
( 6:45)  6. Irrational
(11:02)  7. Our Lady of the Flowers
( 7:40)  8. Gasp
( 8:55)  9. Cosmic Joke

Our Lady Of The Flowers, titled in homage to French writer Jean Genet, constitutes the second disc by Declared Enemy, a familiar foursome convened by pianist Matthew Shipp. That association apart, the participants share a lot of history together. As a result they move like a finely tuned machine with well oiled parts through a program of nine selections credited to the pianist, but which sound like group inventions. And those parts are magnificent. Drummer Gerald Cleaver creates a chattering pulse fashioned from interlocking lines from disparate elements of his kit, while bassist William Parker majors on ferocious momentum, leavened by the occasional melodic serenade. Shipp propounds his utterly distinctive style, with nagging motifs prominent, though he reins in his customary explosions. Rounding out the ensemble on reeds, Sabir Mateen generates a palpable emotional charge through his surging forays into the altissimo registers. In a trope familiar from other sessions, Shipp varies the instrumentation between tracks, resulting in five full quartet numbers, one trio, two duets, and one solo. Parker engages in the knotty "Silence Blooms" unaccompanied. On "New Tension" the dynamic becomes more conversational, as the quicksilver duet between Shipp and Mateen's clarinet is by turns ethereal, querulous and relaxed. But that's not the only game plan in play. 

Elsewhere a slightly different approach manifests, such that in "Irrational," the duet between Shipp and Cleaver resembles a pair of parallel monologues. It's a choice borne out of experience rather than any deficit of communication. And one that makes this a raw yet sophisticated performance in which no-one worries unduly about matching or mirroring. The consequent sense of creative dissonance pervades the album. Even though the quartet pieces tend to be dense everyone proves adept at allowing enough space for each other without compromising their own direction. Listen to Shipp behind Mateen on "Atomic Note." Comping doesn't get anywhere near describing the complexity of what the pianist is doing, let alone considering Cleaver and Parker's contributions. Mateen himself generates an exciting fluent stream of consciousness, into which he sometimes interjects practiced blues inflected licks to relaunch his exhortations, as on the choppy dancing "Gasp." A lovely moment ensues on the ballad like "A Different Plane" when, after his breathy vibrato laden tenor vies in spirited dialogue with Shipp's piano, he enjoys a falsetto passage which finally tumbles down through the treble clef. "From The Beyond" begins as a tête-à-tête between Parker's arco and Mateen's tenor, before the bassist's urgent sawing is picked up first in a drum tattoo, and then by Shipp's pummeling which ignites the saxophonist into a powerful incantation. The piece ends with an extended drum and bass repeat, until finally Parker's bowing sees out the cut alone. It's just one example among many of the potent full on free jazz which characterizes this date. ~ John Sharpe https://www.allaboutjazz.com/our-lady-of-the-flowers-matthew-shipp-rogueart-records-review-by-john-sharpe.php

Personnel: Matthew Shipp: piano; Sabir Mateen: tenor saxophone, clarinet; William Parker: double bass; Gerald Cleaver: drums.

Our Lady of the Flowers

Ben Paterson - Live At Van Gelder's

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 59:28
Size: 137,6 MB
Art: Front

(5:01)  1. F.S.R.
(6:48)  2. Edda
(8:22)  3. Frame For The Blues
(6:14)  4. Green Jeans
(5:35)  5. Enchantment
(3:58)  6. The Vibrator
(6:34)  7. I Remember Cliffor
(5:14)  8. The Hustler
(6:39)  9. Easy Time
(5:00) 10. Sweatin

Following up his very well-received recordings That Old Feeling (Cellar Live Records, 2018) and For Once in My Life (Origin Records, 2015), Ben Paterson enters the sanctum santorium of jazz recording, Rudy Van Gelder's Studio in Hackensack, NJ. Having collided somewhere with saxophonist/entrepreneur Cory Weeds, the two initiate an idea perfect to the pair's hard bop sensibilities and something we can hope Weeds is considering for future recordings, hopefully a Cellar Live series with much more music like this.  Weeds has fashioned his Cellar Live Label as the equivalent for hard bop as Nagel Heyer and Arbors Jazz are for traditional jazz. Paterson had to have this in mind when selecting his ten songs to play with his organ trio a Van Gelder's Studio March 22 of this year. Paterson addresses soul-jazz organ icons with funky performances of Brother Jack McDuff's "The Vibrator" and Richard "Groove" Holmes' "Sweatin.'" He then branches out to musicians known to frequent organ combos, with Grant Green's "Green Jeans" and Stanley Turrentine's "The Hustler." The remainder are devoted to hard bop proper, with Ray Brown's "F.S.R. (For Sonny Rollins)," Wayne Shorter's by way of Lee Morgan "Edda," and Benny Golson's "I Remember Clifford." Paterson is an exceptional organist, one who avoids every Jimmy Smith cliché to which lesser talents fall prey. Guitarist Ed Cherry plays with a sophisticated, round tone augmented with just a touch of reverb and echo. Drummer Jason Tiemann sounds as if he were born for organ jazz, always knowing where to be loud or not. This is not territory circuit greasy soul-jazz. It is that flavor, cleaned up ever so slightly for the concert stage. How great to hear drinking an ice-cold Vesper on a hot summer day. ~ C.Michael Bailey https://www.allaboutjazz.com/live-at-van-gelders-ben-paterson-cellar-live-review-by-c-michael-bailey.php

Personnel: Ben Paterson: Hammond B3 Organ; Ed Cherry: Guitar; Jason Tiemann: drums.

Live At Van Gelder's

Saturday, August 11, 2018

Don Ellis - Giants Of Jazz

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 74:07
Size: 180,1 MB
Art: Front

( 3:31)  1. I'll Remember April
( 6:09)  2. Sweet And Lovely
( 3:42)  3. Out Of Nowhere
( 6:06)  4. All The Things You Are
( 3:43)  5. You Stepped Out Of A Dream
( 4:26)  6. My Funny Valentine
( 4:37)  7. I Love You
( 3:39)  8. Just One Of Those Things
( 4:54)  9. Johnny Come Lately
( 4:19) 10. Angel Eyes
( 3:24) 11. Lover
(10:08) 12. Form
( 4:38) 13. Sallie
( 6:28) 14. How Time Passes
( 4:15) 15. A Simplex One

Before his untimely death in 1978 at the young age of 44, Don Ellis was one of the most creative and innovative jazz musicians of all time. In a career span of less than 25 years, Don Ellis distinguished himself as a trumpeter, drummer, composer, arranger, recording artist, author, music critic, and music educator. However, Don Ellis is probably best remembered for his work as a big band leader. His orchestra, which was active from 1966-78, achieved enormous popular appeal at a time when the influence of big band music was noticeably fading. Ellis's significance lies in his use of groundbreaking musical techniques and devices, new to the world of jazz. Ellis's innovations include the use of electronic instruments, electronic sound-altering devices, experiments with quartertones, and the infusion of 20th century classical music devices into the jazz idiom. Ellis's greatest contributions, however, came in the area of rhythm. New rhythmic devices ultimately became the Don Ellis trademark. His compositions frequently displayed time signatures with numerators of 5, 7, 9, 11, 19, 25, 33, etc. His approach within more conventional time signatures could be equally innovative through the use of rhythmic superimpositions. Ellis's rhythmic innovations, despite much criticism, were not gimmicks, but rather a direct result of his studies in non-Western musical cultures, which included graduate work at UCLA's Department of Ethnomusicolog Ellis ultimately applied his experiences and knowledge of the music of non-Western cultures to the rhythmic language of jazz. He was one of the first to have accomplished such a fusion of ideas, and his works as a composer and an author stand as a memorial reflecting a significant stage in the evolution of jazz. https://musicians.allaboutjazz.com/donellis

Personnel:  Don Ellis – Trumpet;  Jaki Byard – Piano, Alto Sax;  Paul Bley – Piano;  Ron Carter – Bass;  Steve Swallow – Bass;  Gary Peacock – Bass;  Charlie Persip – Drums;  Nick Martins – Drums

Giants Of Jazz

Dexter Gordon & Slide Hampton - A Day In Copenhagen

Styles: Saxophone Jazz
Year: 1969
File: MP3@320K/s
Time: 40:57
Size: 113,4 MB
Art: Front

(9:07)  1. My Blues
(5:59)  2. You Don't Know What Love Is
(5:03)  3. A New Thing
(8:00)  4. What's New
(4:57)  5. The Shadow Of Your Smile
(7:48)  6. A Day In Vienna

Unlike many other American expatriates living in Europe, tenor saxophonist Dexter Gordon always managed to play and record with the top musicians while overseas. This excellent sextet session (with trombonist Slide Hampton, trumpeter Dizzy Reece, pianist Kenny Drew, bassist Niels Pedersen and drummer Art Taylor) finds him exploring three Slide Hampton compositions and a trio of standard ballads. The other soloists are fine but Gordon easily dominates the set, playing his brand of hard-driving bop.~ Scott Yanow https://www.allmusic.com/album/day-in-copenhagen-mw0000649538

Personnel:  Dexter Gordon - tenor saxophone;  Slide Hampton - trombone;  Dizzy Reece - trumpet;  Kenny Drew - piano;  Niels-Henning Orsted Pedersen - bass;  Art Taylor - drums

A Day In Copenhagen

Maynard Ferguson & Big Bop Nouveau - One More Trip To Birdland

Styles: Trumpet Jazz
Year: 1996
File: MP3@320K/s
Time: 53:05
Size: 123,3 MB
Art: Front

(4:11)  1. You Got It
(6:24)  2. Manteca
(7:13)  3. The Vibe
(7:10)  4. Cajun Cookin'
(5:32)  5. Milestones
(6:26)  6. She Was Too Good To Me
(4:12)  7. Birdland
(7:33)  8. Blues From Around Here
(4:20)  9. It Don't Mean A Thing If It Ain't Got That Swing

Even at the age of 67, Maynard Ferguson shows on this CD that he could still belt out the high notes. His "Big Bop Noveau" band consists of four trumpets, trombonist Tom Garling (who takes a rockish guitar solo on "Birdland"), Matt Wallace and Chris Farr on saxophones, and a rhythm section. With the exception of "Birdland," the music is strictly bebop, with plenty of screaming trumpet and heated playing; Wallace's alto outbursts often take honors. Highlights include "Manteca," "Cajun Cookin'," "Milestones" and a hyper "It Don't Mean a Thing." ~ Scott Yanow https://www.allmusic.com/album/one-more-trip-to-birdland-mw0000081085

Personnel:  Maynard Ferguson - trumpet, flugelhorn;  Matt Wallace - vocals, alto saxophone, tenor saxophone;  Carl Fischer - trumpet;  Tom Garling - guitar, trombone;  Marko Marcinko - drums, percussion;  Christopher Farr - soprano saxophone, alto saxophone, tenor saxophone;  Dan Zank - piano, keyboards;  Larry Foyen - trumpet;  Phil Palombi - acoustic bass, bass guitar.

One More Trip To Birdland

Lori Williams - Out of the Box

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 68:32
Size: 161,5 MB
Art: Front

(5:35)  1. Sailing on a Dream
(4:25)  2. Let's Walk
(4:43)  3. I Like the Way You Talk (To Me)
(6:24)  4. I Can't Help It
(5:58)  5. Where's That Smile?
(4:40)  6. Out of the Box
(4:29)  7. Hold On
(1:12)  8. I Like the Way You Talk (To Me) [Interlude]
(4:52)  9. Our Love is Real
(5:18) 10. 'Round Midnight
(4:58) 11. Little Girl Blue
(3:56) 12. Let's Walk (Radio Edit)
(4:00) 13. Our Love is Real (Radio Edit)
(3:58) 14. I Like the Way You Talk (To Me) [Radio Edit]
(3:59) 15. Deja Vu (Radio Edit)

Lori A. Williams (born January 22, 1967) is an American Jazz Vocalist from Washington, DC. She is the mother of two children (Lauren V. Highsmith and Yusef K. Chisholm). Lori has recorded two CDs (Healing Within - 2010 and Eclipse of the Soul - 2012). Biographical sketch: Lori Williams continues to reside in the Washington Metropolitan area and teaches vocal music in the DC Public Schools System. She also teaches private vocal instruction, performs and records for various recording sessions as a solo artist and for other recording artists. Education: Lori Williams attended Hampton University (HU) and received a BA in Mass Media Communications in 1988. She is a member of Kappa Tau Alpha National Honor Society and Alpha Kappa Mu Honor Society. At Hampton University, Lori pledged Delta Sigma Theta Sorority, Incorporated (Gamma Iota Chapter) in 1986. After graduating from HU, Lori attended Trinity College and The University of the District of Columbia focusing on Music Education. Lori has received numerous awards recognizing her skills as a performer and educator. Her most notable recognition is a letter from Vice President Joseph Biden acknowledging her stellar performance at the 2013 Frederick Douglass Statue Dedication Ceremony at the US Capital. She has also received a Senate Citation from The Maryland General Assembly on behalf of Maryland State Senator Anthony Muse for her contributions and commitment to the arts as a jazz vocalist, instructor and educator. Also she received the 2007 Superintendent's Arts Teacher of the Year and the 2010 Vincent E. Reed Teacher of the Year. Career: As a high school student, Lori began her search for her musical style. It was at Hampton University where she discovered her passion for vocal jazz under the direction of Professors Dr. Effie Gardner and Robert Ransom. Lori was the Jazz Program Director for her college radio station, WHOV-FM and often performed in the Tidewater area for events. Lori also entered the Budweiser Showdown (winning 2nd place) and appeared on 'Showtime At The Apollo' during her tenure at HU. Lori Williams lived in Japan in the early 90's. It was there where she had the opportunity to record background vocals for commercial and artist sessions. She also directed the Sagamihara Gospel Choir and performed with Eli Saitoh and The Love Tambourines. Upon returning stateside, Lori has had the honor of performing with many national artists (studio session and live performance). She has recorded with The Blackbyrds, Sherry Winston, Maysa, Lloyd Price, Allyn Johnson and Divine Order, Saltman Knowles, and others. She also has performed in musical theatre productions in the Washington, DC area and Atlanta, GA. In 2010, Lori Williams released her debut CD - Healing Within. And in 2012, she released her sophomore project - Eclipse of the Soul. Lori continues to perform as a solo artist, recording session artist, and background vocalist for many international musicians (working with artists like Phil Perry, Terri Lynne Carrington, George Duke, Stanley Clarke, Oleta Adams, Yolanda Adams and Vesta Williams). She also travels to Europe as a clinician and performs in jazz festivals in the US and abroad. JazzTimes calls her “a dynamic presence throughout, offering exquisite wordless vocals.”

Lori Williams is the lead vocalist of the Washington-based jazz ensemble - Lori Williams & Friends  and featured vocalist on The Saltman Knowles Group, The Blackbyrds, Allyn Johnson and Divine Order, Sherry Winston and Collaboration CDs. She graduated from Hampton University where she received a Bachelor of Arts degree. Lori is the proud mother of two talented and gifted children, Lauren Vanessa and Yusef Khalil. Lori was the former Director of Programs for the Best Friends Foundation. She has taught Music in Washington, DC Public Schools since 1995. Currently, Lori is the Director of Vocal Music and former Music Department Chairperson at Wilson Senior High School. She has an extensive background in the performing arts. She has directed several choirs including the National Diamond Girls Jazz Choir (performing for the Inauguration Ceremony for President George Bush); the Sagamihara Christian Fellowship Gospel Choir in Sagamihara, Japan; the Fort Foote Baptist Church Gospel Choir in Fort Washington, Maryland; Carmody Hills Baptist Church Children's Choir in Capitol Heights, Maryland; and the Bethlehem Baptist Church Gospel Choir in Washington, DC. Lori has performed with many nationally-known recording artists such as Oleta Adams, Yolanda Adams, David Archuleta, Regina Belle, Eric Benet, Keter Betts, The Blackbyrds, Norman Brown, Tom Browne, Peabo Bryson, Jerry Butler, T.C. Carson, Gene Chandler, Stanley Clarke, Will Downing, George Duke, David Dyson, James Genus, Savion Glover, Slide Hampton, Walter Hawkins, Nathan Heathman, William Hubbard, Al Johnson (The Unifics), Allyn Johnson and Divine Order, Kindred The Family Soul, Ben E. King, Debbie Kirkland, Ledisi, Marion Meadows, Maysa, Julia Nixon, Phil Perry, Lloyd Price, Ellie Saitoh and The Love Tambourines, Saltman Knowles Group, Sylver Logan Sharp (Chic), The Sherelles, Gary Taylor, Tony Terry, Bobby Vee and The Vees, Andre Ward, Kim Waters, Allyson Williams, Vanessa R. Williams, Vesta Williams, and Sherry Winston. She also has done extensive studio recording and commercial work in the Metropolitan area and Japan. Lori Williams performed in Arts United of Washington's live jazz theatrical and dance presentations of “Meet Me at the Cafe” and “The Scenic Route” at the Joy of Motion Dance Center Jack Guidone Theatre in Washington, DC. She also showcased her singing, acting and dancing ability in director Thomas Jones' production of “The All Night Strut”, “Cool Papa’s Party” (choreographed by Maurice Hines), and “Ladies Swing The Blues: A Jazz Fable” at MetroStage Theatre in Alexandria, Virginia. She co-starred in “Isn’t It Romantic” (written and directed by David Hunter Koch) with Jimi Ray Malary at MetroStage as well. 

Additionally, Lori played the role of Mary in “Bending Towards the Light A Jazz Nativity” at Patriot's Theater at the War Memorial in Trenton, New Jersey. The production was written and conducted by Anne Phillips and produced by Bob Kindred. Lori was recognized as an outstanding Music Teacher in the October 2000 issue of Teaching Music magazine. She was selected to have her biography appear in the 2005 Premier Edition of Great Women of the 21st Century for her professional dedication and commitment to communities. She was also recognized as a 2005-2006 National Honor Roll's Outstanding American Teacher. She was the recipient of the 2007 Superintendent's Arts Teacher of the Year Award. Lori was also honored at the Mayor's Arts Awards, held at the John F. Kennedy Center. This award was given on behalf of the DC Commission on the Arts and Humanities, DC Public Schools, and the DC Arts. Additionally, Lori was the 2010 Vincent E. Reed Teacher of the Year. Her affiliations include Delta Sigma Theta Sorority, Inc. (Prince Georges County Alumnae Chapter, Maryland), BMI (songwriter/composer), WAMADC, The International Association for Jazz Education (former President-Elect Washington, D.C. Unit), The National Association for Female Executives, Kappa Tau Alpha and DC – Music Educators Association. Lori Williams released her debut CD ~ Healing Within ~ in 2010. This project is dedicated to the memory of her Mother Myrtle W. Williams. She released her sophomore CD ~ Eclipse of the Soul ~ in the fall of 2012. https://musicians.allaboutjazz.com/loriwilliams

Out of the Box

Friday, August 10, 2018

Suzy Bogguss - Voices In The Wind

Styles: Vocal
Year: 1992
File: MP3@320K/s
Time: 38:25
Size: 89,5 MB
Art: Front

(3:14)  1. Heartache
(3:09)  2. Drive South
(3:30)  3. Don't Wanna
(3:21)  4. How Come You Go To Her
(3:25)  5. Other Side Of The Hill
(3:41)  6. In The Day
(3:16)  7. Love Goes Without Saying
(3:40)  8. Eat At Joe's
(2:56)  9. Lovin' A Hurricane
(4:33) 10. Letting Go
(3:34) 11. Cold Day In July

Voices in the Wind is an album by American country music singer Suzy Bogguss. It was released on October 6, 1992 via Liberty Records. 

It earned her a second straight gold record and her highest-charting single ever, the No. 2 cover of John Hiatt's "Drive South." "Letting Go," a single from Aces which was co-written by Bogguss's husband Doug Crider, peaked at No. 6 on the Billboard Hot Country Songs chart not long before the release of Voices in the Wind. In an effort to capitalize on the single's success, it was included on the later album as well. https://en.wikipedia.org/wiki/Voices_in_the_Wind

Voices In The Wind

Charles Earland Tribute Band - Keepers of the Flame

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 60:06
Size: 138,4 MB
Art: Front

( 6:42)  1. Deja Vu
( 7:43)  2. Memorial Day
( 6:37)  3. What Love Has Joined
( 7:25)  4. South Philly Groove
( 5:34)  5. On the Stairs
( 7:42)  6. The Closer I Get to You
( 7:52)  7. The Summit
(10:28)  8. Pick Up the Pieces

Organist Charles Earland, who died in December 1999, was known as “The Mighty Burner.” The intensity of his swing resembled that of the late Art Blakey on drums. An exponent of soul-jazz, Earland was a master of the organ’s foot pedals. His band, usually two or three horns plus guitar and drums, conveyed a big, kicking ensemble sound. The Charles Earland Tribute Band steps in without letdown where the organist left off. With Joey DeFrancesco in the organ seat and five former sidemen from Earland’s band aboard, this album swings hard, with conviction and intelligence. Drummer Vincent Ector organized the group, which features trumpeter James Rotondi, tenor saxophonist Eric Alexander and guitarist Bob DeVos (alternating with Pat Martino). Percussionist Kevin Jones, a nonalum, appears on four of the eight tracks. Three well-known hits from the ’70s-“Deja Vu” (originally sung by Dionne Warwick), “The Closer I Get to You” (originally sung by Roberta Flack and Donny Hathaway) and the Average White Band’s “Pick Up the Pieces”-recall Earland’s ability to find his own jazz groove on pop material. Both hornmen, members of the organist’s final group, sizzle especially well on “Pick Up the Pieces.” Martino, a member of Earland’s first organ group and the most famous participant on the album, performs on three cuts. His “On the Stairs” is a challenging original that each soloist successfully conquers. DeFrancesco, who initiated the current jazz-organ renaissance a decade ago, suggests Earland without slavishly imitating him. His solos are a bit busier than were Earland’s, but his ensemble sound is perfect. The arrangements, uncredited, deserve special mention for their full-sounding harmonies and rhythmic punch. ~ Owen Cordle https://jazztimes.com/reviews/albums/charles-earland-tribute-band-keepers-of-the-flame/

Personnel:  Jim Rotondi - trumpet;  Eric Alexander - tenor sax;  Joey DeFrancesco - organ;  Pat Martino , Bob DeVos - guitar;  Vince Ector - drums

Keepers of the Flame

Behn Gillece - Dare To Be

Styles: Vibraphone Jazz
Year: 2016
File: MP3@320K/s
Time: 53:28
Size: 127,2 MB
Art: Front

(5:26)  1. Camera Eyes
(5:23)  2. From Your Perspective
(4:40)  3. Amethyst
(4:15)  4. Signals
(5:40)  5. Drought's End
(5:52)  6. Same Shame
(4:28)  7. Live It
(6:18)  8. Dare To Be
(5:49)  9. Trapezoid
(5:32) 10. A Time For Love

When it comes to jazz vibraphone, the names of Stefon Harris and Warren Wolf are most likely to be found on a list of contemporary leaders. Add to that now the name of Behn Gillece, a gentleman who has been honing his skills on the New York scene since 2006. His talents first came to the attention of this reviewer having been a spirited voice on Walt Weiskopf's most recent albums, Overdrive and The Way You Say It. Last year, he debuted as a leader with the album Mindset, this sophomore offering coming fast on its heels. Gillece has obviously taken in the history of his instrument, but speaks with a singular voice and purpose. His tone and attack are on the softer side, not unlike the work of Bobby Hutcherson. Also quite notable, he writes the majority of his own compositions. This too is a major factor in his clarity of purpose, along with the fact that his ensemble choice is an inspired one. A student of Jon Faddis' who is making a name for himself on the current scene, trumpeter Bruce Harris can be heard on three tracks. Gillece makes the most of the unique blend between horn and vibes, especially when it comes to the muted trumpet on "From Your Perspective." More integral to the entire set is guitarist Nate Radley, who is a perfect foil for Gillece. His chordal accompaniment and solo lines support the vibes in a manner quite different than a piano might do. The soulful "Amethyst" is a perfect spot to sample Radley's tonal range, from single note riffs to dark and brooding washes of sound. Bobby Hutcherson's "Same Shame" even finds the guitarist sporting a Frisell-like tone that is pure Americana.  Veteran bassist Ugonna Okegwo and talented drummer on the rise Jason Tiemann are also integral to the proceedings. Dig their tight up tempo slam throughout "Signals" or the way they inject a straight-eighth feel to both "Live It" and "Dare to Be." As for Gillece himself, there's quite of range of abilities on display here. Be it the burning bebop of "Trapezoid" or the mature ballad statement delivered on Johnny Mandel's "A Time for Love," Gillece gets down to serious business and he's a name we should be hearing more and more of in the coming years. ~ C.Andrew Hovan https://www.allaboutjazz.com/dare-to-be-behn-gillece-posi-tone-records-review-by-c-andrew-hovan.php

Personnel: Behn Gillece: vibraphone; Nate Radley: guitar; Ugonna Okegwo: bass; Jason Tiemann: drums; Bruce Harris: trumpet.

Dare To Be

Herbie Hancock - Lite Me Up

Styles: Vocal
Year: 1982
File: MP3@320K/s
Time: 38:00
Size: 87,4 MB
Art: Front

(3:41)  1. Lite Me Up!
(3:58)  2. The Bomb
(6:13)  3. Gettin' To The Good Part
(4:29)  4. Paradise
(3:54)  5. Can't Hide Your Love
(4:03)  6. The Fun Tracks
(3:58)  7. Motor Mouth
(7:40)  8. Give it All Your Heart

By 1978, Hancock had another identity as a dance/fusion attraction with the albums Feets Don't Fail Me Now and Sunlight. Lite Me Up is an even more concerted effort to fuse jazz with pop. Hancock handled all of the production chores on all but two of the eight tracks. His main arranger and lyricist here is Rod Temperton, the former Heatwave member who worked with Quincy Jones on albums Off the Wall and Light Up the Night. The title track and "The Bomb" are glossy, propulsive offerings reminiscent of prime Jones without his skill at making it all stick. The biggest hit here, the sleek "Getting' to the Good Part" adheres to the Steely Dan's Gaucho style, has a gorgeous bridge, and has Hancock doing his loved or hated vocoder lead vocals. From a jazz perspective, there is precious little of it on Lite Me Up. In fact, the songs "The Fun Tracks" and the humorous "Motor Mouth" sound like Heatwave retreads. The last song stands out, however. The beautiful, hooky ballad "Give It All Your Heart" features both Hancock and Patrice Rushen both doing their vocal leads on vocoder. The track perfectly captures both prime Temperton and Hancock's '78-'82 fusion ballad style. Songs with producers Jay Graydon and Narada Michael Walden both feature the artist doing vocals without the gadgetry, and, believe it or not, the vocoder is more definitive. Despite the better tracks, Lite Me Up doesn't have the adventurous nature of Hancock's jazz/pop of the era. ~ Jason Elias https://www.allmusic.com/album/lite-me-up-mw0000318353

Personnel:  Vocals, Vocals [Vocoder] – Herbie Hancock, Patrice Rushen, Wayne Anthony;  Backing Vocals – Edi Lehman (tracks: 1 to 3, 5 to 8), Herbie Hancock (tracks: 1 to 3, 5 to 8), Jim Gilstrap (tracks: 1 to 3, 5 to 8), John Lehman (tracks: 1 to 3, 5 to 8), Patti Austin (tracks: 1 to 3, 5 to 8), Paulette McWilliams (tracks: 1 to 3, 5 to 8);  Bass – Louis Johnson (tracks: 1 to 3, 6 to 8);  Drums – John Robinson, Jeff Porcaro, Narada Michael Walden;  Electric Piano [Fender Rhodes], Clavinet [Clavitar], Synthesizer [Yamaha-cs 80, The Source By Moog, Mini Moog, Waves Mini Moog, Prophet 5, Arp 2600, Arp Odyssey], Keyboards [Emu Digital Keyboard], Synthesizer [Oberheim 8-voice Synthesizer, Roland Jupiter 8], Clavinet [Hohner], Vocoder [Sennheiser], Synthesizer [Synclavier Digital Synthesizer, Linn Drum Synthesizer], Piano – Herbie Hancock; Guitar – David Williams (4) (tracks: 2, 3, 6 to 8), Steve Lukather (tracks: 1);  Saxophone, Woodwind – Gary Herbig (tracks: 1 to 3, 5 to 8), Larry Williams (tracks: 1 to 3, 5 to 8);  Trombone – Bill Reichenbach (2) (tracks: 1 to 3, 5 to 8);  Trumpet – “Dr. Negroidal, The” (tracks: 1 to 3, 5 to 8); Trumpet, Flugelhorn – Jerry Hey (tracks: 1 to 3, 5 to 8);  Trumpet, Trombone – Chuck Findley (tracks: 1 to 3, 5 to 8)

Lite Me Up

Thursday, August 9, 2018

Benny Carter - Aspects

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 47:19
Size: 112,8 MB
Art: Front

(3:13)  1. June In January
(1:56)  2. February Fiesta
(3:18)  3. March Wind
(3:22)  4. I'll Remenber April
(2:51)  5. One Morning In May
(3:01)  6. June Is Busting Out All Over
(2:52)  7. Sleigh Ride In July
(3:42)  8. August Moon
(2:41)  9. September Song
(2:55) 10. Something For October
(3:03) 11. Swingin In November
(2:38) 12. Roses In December
(1:57) 13. February Fiesta (Mono Take)
(3:01) 14. June Is Busting Out All Over (Mono Take)
(3:36) 15. August Moon (Mono Take)
(3:05) 16. Swingin In November (Mono Take)

This CD reissues an enjoyable obscurity. Although originally associated with big bands, the set has what was Benny Carter's only big-band recording as a playing leader during 1947-86. While the song titles are a bit gimmicky, saluting the 12 months of the year (including "June in January," "I'll Remember April," "June Is Busting Out All Over," etc.), the music (which includes four alternate takes) is solid, mainstream big-band swing. The less familiar titles include four Carter originals written for the date, plus Hal Schaefer's "February Fiesta." 

The leader/altoist solos on every selection, and among the other top West Coast studio players featured are trumpeters Shorty Sherock, Pete Candoli and Joe Gordon, trombonists Frank Rosolino and Herbie Harper, vibraphonist Larry Bunker, pianists Arnold Ross and Gerry Wiggins, and guitarist Barney Kessel. Two overlapping big bands were utilized, and the music alternates between being forceful and lyrical. ~ Scott Yanow https://www.allmusic.com/album/aspects-mw0000613039

Personnel:  Alto Saxophone – Benny Carter;  Bass – Joe Comfort;  Drums – Shelly Manne;  Guitar – Barney Kessel, Bobby Gibbons Leader – Benny Carter;  Piano – Arnold Ross, Gerry Wiggins;  Saxophone – Buddy Collette, Chuck Gentry, Jewell Grant, Justin Gordon, Plas Johnson, Bill Green;  Trombone – Frank Rosolino, George Roberts, Herbie Harper, Russ Brown), Tommy Pederson;  Trumpet – Al Porcino, Conrad Gozzo, Joe Gordon, Pete Candoli, Ray Triscari, Shorty Sherock, Stu Williamson, Uan Rasey;  Vibraphone [Vibes] – Larry Bunker 

Aspects

Carolyn Leonhart - Steal the Moon

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 50:57
Size: 116,9 MB
Art: Front

(4:02)  1. It Didn't Turn Out That Way
(6:20)  2. Nature Boy
(4:16)  3. A Sunday Kind of Love
(7:11)  4. Juju Knows
(4:14)  5. All Because of You
(5:17)  6. Steal the Moon
(5:12)  7. I've Grown Accustomed to Her Face
(4:16)  8. Little Man
(6:07)  9. Yesterday's a Dream
(3:57) 10. Moonglow

Carolyn Leonhart sits astride the jazz and pop worlds, allowing both to inform her singing and repertoire. The daughter of bassist Jay Leonhart and a backup singer for the reunited Steely Dan, Leonhart inflects her jazz singing with an unmistakable dose of soul and R&B, not unlike Chaka Khan or even Rickie Lee Jones. Pianist Rob Bargad is Leonhart's main collaborator on this album, contributing five compositions, including the lush ballad "Yesterday's a Dream" and a borderline-corny but charming vocal duo with Leonhart on "Steal the Moon," a good candidate for radio play. Leonhart even hands two tracks over entirely to Bargad: the Vince Guaraldi-like piano trio feature "Juju Knows" and a bluesy, smart-alecky vocal tribute to a child titled "Little Man." Leonhart is bright-toned and sultry on the standards "Nature Boy," "I've Grown Accustomed to His (Her) Face," and "Moonglow," the last an oh-so-hip duo between her and father Jay Leonhart on the bass. She struts her stuff sassily on "Sunday Kind of Love," Bargad's "All Because of You," and Mose Allison's "It Didn't Turn Out That Way." 

Bargad's solid post-bop piano work anchors every track. Jimmy Cobb and Billy Drummond share drumming duties, Daniel Sadownick weighs in with perfect percussion flourishes, and David Gilmore guests on acoustic guitar for the title track. As might be expected from a singer with such diverse influences, Leonhart walks a fine line between telling a coherent story and presenting a musical patchwork. But her voice is polished and distinctive, and her band cooks, which invariably makes Steal the Moon a fun listen. ~ David R.Adler https://www.allmusic.com/album/steal-the-moon-mw0000066428

Personnel: Carolyn Leonhart (vocals); Rob Bargad (piano, vocals, producer, songwriter); Jay Leonhart (bass).

Steal the Moon

Bud Shank - Bud Shank Plays Tenor

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 46:21
Size: 106,4 MB
Art: Front

(6:42)  1. Thou Swell
(7:53)  2. Tenderly
(4:24)  3. Over The Rainbow
(4:53)  4. Long Ago And Far Away
(6:33)  5. I Never Knew
(4:55)  6. All The Things You Are
(5:12)  7. Body And Soul
(5:45)  8. Blue Lou

"As its title promises, Bud Shank Plays Tenor eschews the jazzman's signature alto and flute, and while the leap to tenor doesn't dramatically impact his overall sound and style, it does add soul and depth to his lyrical solos. Paired with pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores, Shank crafts a radiant set of standards spanning from "All the Things You Are" to "Long Ago and Far Away," and while none of the performances reinvent the familiar material, the robust approach sets the session apart from his other Pacific Jazz dates."~ Jason Ankeny https://www.allmusic.com/album/bud-shank-plays-tenor-mw0000869407

Personnel:  Bud Shank (tenor sax), Claude Williamson (piano), Don Prell (bass), Chuck Flores (drums).

Bud Shank Plays Tenor

Guilhem Flouzat - On Way...or Another

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 52:28
Size: 121,1 MB
Art: Front

(5:39)  1. Stompin
(6:32)  2. One Way... or Another
(6:19)  3. Clap
(2:47)  4. Black Magic
(9:49)  5. Sometimes, at Night
(6:10)  6. Agin
(6:30)  7. Avant l'Orage
(5:38)  8. Meet
(3:01)  9. Black Magic

It is interesting the assortment of sextet protagonist of this One Way ... Or Another. Together with a handful of very promising youngsters led by drummer composer Guilem Flouzat (a highly regarded student of John Riley) we find the already experienced Ben Wendel (Kneebody saxophonist) and Laurent Coq (the most American of French pianists) and, in three pieces, a rising star increasingly star like the Armenian-born pianist Tigran Hamasyan. The mix works pretty well, so much so that it's more than a One Way debut album ... Or Another seems like the work of a musician with years of experience behind him. 

This is thanks to the richness and the intrinsic articulation of the compositions that, despite their defined and recognizable structure, activate a continuous game of particularly interesting references and overlaps. To the care and dynamism of the arrangements that manage to combine timbric mixtures that are not exactly customary and to give continuous executions deviations from the traced paths. And finally, thanks to the ability with which Flouzat keeps away from an exhibitionism often lurking among young talents and to the wisdom with which he leads the sextet. One Way ... Or Another is enjoyable, fresh, intelligent disc, it holds up well to the test of repeated listening and will please both the faithful of a modern mainstream and lovers of contemporary sounds and contaminations.~AAJ Italy Staff https://www.allaboutjazz.com/one-way--or-another-ben-wendel-point-of-departure-wmpg-fm-review-by-aaji-staff.php

Personnel: Antonin Hoang (alto saxophone except 4,8,9); Ben Wendel (tenor sax, except 8); Laurent Coq (plan except for 3.4.8); Tigran Hamasyan (plan 3.8); Michael Valeanu (guitar except 8.9); Matteo Bortone (double bass except 1,2,6,8); Simon Tailleu (double bass in 1,2,3,6); Guilhem Flouzat (drums).

On Way...or Another

Joachim Kühn New Trio - Love & Peace

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 46:38
Size: 108,5 MB
Art: Front

(1:59)  1. Love And Peace
(4:12)  2. Le Vieux Chateau
(3:19)  3. The Crystal Ship
(5:14)  4. Mustang
(3:50)  5. Barcelona-Wien
(4:14)  6. But Strokes Of Folk
(3:43)  7. Lied Ohne Worte No. 2
(3:52)  8. Casbah Radio
(4:17)  9. Night Plans
(5:20) 10. New Pharoah
(6:31) 11. Phrasen

The German ACT label achieved global recognition when they issued the Esbjorn Svensson Trio album Viaticum (2005) and they warrant broader discovery by U.S. jazz fans. Though their country's best known label casts a global shadow over its competition, the ACT catalog has included , Lars Danielsson, Vijay Iyer, Manu Katche, Rudresh Mahanthappa, Bugge Wesseltoft, Tore Brunborg and a host of other well-known artists. Among those talents is one the finest but under-recognized jazz pianists of the past half-century. Joachim Kühn has had a presence on the label for more than twenty years and returns with his "New Trio" on Love & Peace. The trio no longer exactly "new" has been together since 2015 and had previously released Beauty & Truth (ACT, 2017). Bassist Chris Jennings and drummer Eric Schaefer, two musicians half Kühn's age, lend a vitality to the music that drives the pianist as well. The eleven tracks on Love & Peace are compact and crisp with straight-forward melodies, six of those written by Kühn. Jennings and Schaefer each contribute a composition and two others are from the very different worlds of The Doors and Modest Mussorgsky. The diversity of inspirations doesn't mar the overall theme. The very brief title track sets the tone leading into Mussorgsky's "La Vieux Chateau," putting Kühn at home with his early classical training. The Doors "The Crystal Ship" is not the first time Kühn has covered the Morrison catalog; "The End" had appeared on Beauty & Truth. "Barcelona Wien" is lighter fare, conceived in-flight between those two cities. Eric Schaeter's "Lied ohne Worte No. 2" is the most melancholy piece on the album while Jennings' piece is a pastoral and vacillating "Casbah Radio." Ornette Coleman has long been a jazz hero for Kühn, the two recording the duo album Colors: Live from Leipzig (Harmolodic/Verve, 1997). "Night Plans" which first appeared on that album gets an abbreviated treatment here and one that has a more concentrated focus on the basic melody. Yet, as he does with each of the pieces here, Kühn demonstrates his unique skill at maintaining a harmonious core within his unusual musical inventions. In an interview with the Steinway piano company, Kühn said "I like to improvise life, piano, and painting. Really improvise not knowing what you're going to do. Do it by doing." There's no question that the New Trio does just that on Love & Peace. ~ Karl Ackermann https://www.allaboutjazz.com/love-and-peace-joachim-kuhn-act-music-review-by-karl-ackermann.php

Personnel: Joachim Kühn: piano; Chris Jennings: bass; Eric Schaefer: drums.

Love & Peace

Wednesday, August 8, 2018

Dexter Gordon - Sophisticated Giant

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 55:59
Size: 128,9 MB
Art: Front

(7:41)  1. Laura
(6:39)  2. The Moontrane
(8:53)  3. Red Top
(7:55)  4. Fried Bananas
(9:52)  5. You're Blasé
(4:54)  6. How Insensitive
(4:51)  7. Diggin' In
(5:10)  8. It's Only a Paper Moon

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition. ~ Scott Yanow https://www.allmusic.com/album/sophisticated-giant-mw0000674545

Personnel:  Dexter Gordon — tenor and soprano saxophone;  Frank Wess — alto saxophone, flute, piccolo;  Woody Shaw — trumpet, fluegelhorn;  Benny Bailey — lead trumpet, fluegelhorn;  Slide Hampton — trombone;  Wayne Andre — lead trombone;  Howard Johnson — tuba, baritone saxophone;  Bobby Hutcherson — vibes;  George Cables — piano;  Rufus Reid — bass;  Victor Lewis — drums

Sophisticated Giant

Carmen Souza - Kachupada

Styles: Vocal 
Year: 2012
File: MP3@320K/s
Time: 47:55
Size: 111,9 MB
Art: Front

(4:34)  1. Manha 1 de Dezembro
(2:57)  2. Donna Lee
(4:15)  3. Luta
(5:25)  4. My Favourite Things
(3:41)  5. Ivanira
(3:55)  6. Xinxiroti
(4:09)  7. Terra Sab
(0:49)  8. Origem
(3:17)  9. 6 On Na Tarrafal
(3:48) 10. Vida Facil
(2:36) 11. Tchega
(4:20) 12. Koladjazz
(4:04) 13. Novo Dia

Lisbon-born, to a Cape Verdean family, Carmen Souza is now a London resident, but sings (in the words of David Sylvian) ‘in her native creole dialect with an intimacy, sensuality and vivacity, characterised by a tremendous lightness of touch’. She writes the lyrics, producer/bassist Theo Pas’cal the melodies, of most of the songs (in a genre described by Sylvain as ‘world soul’) on this charming album, but there are a couple of nods to the world of jazz: Charlie Parker’s frenetic bop anthem ‘Donna Lee’, and an arrestingly idiosyncratic visit to a standard, the Sound of Music’s ‘My Favourite Things’. ‘Kachupada’ refers to family and friends getting together to eat Cachupa (Cape Verdean soul food), and there is, appropriately enough, an atmosphere throughout this entirely original-sounding album of informality, joyousness and celebration, the arrangements lean but intense, driven by skilfully calibrated percussion and lithe bass playing, and occasionally tastefully augmented by accordion, flute, guitar, saxophone and flugelhorn. Souza’s voice is striking, strong but flexible, with an attractive rasp and the odd sigh or cry emphasising the songs’ sentiments; overall, this is a highly unusual mix of Cape Verdean rhythms, jazz and soul that should see her audience widen way beyond the WOMAD Festival faithful that currently form its core. http://www.londonjazznews.com/2013/02/cd-review-carmen-souza-kachupada.html

Kachupada

Jackie McLean - Let Freedom Ring

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 38:09
Size: 87,9 MB
Art: Front

(13:19)  1. Melody For Melonae
( 6:18)  2. I'll Keep Loving You
(10:00)  3. Rene
( 8:31)  4. Omega

Jackie McLean had always been a highly emotional soloist, so it makes sense that he was one of the first hard bop veterans to find a new voice in the burning intensity of jazz's emerging avant-garde. McLean had previously experimented with Coltrane's angular modes and scales and Ornette's concept of chordal freedom, but Let Freedom Ring was the landmark masterpiece where he put everything together and ushered in the era of the modernists at Blue Note. A number of saxophonists were beginning to explore the ability of the instrument to mimic human cries of passion, and here McLean perfected a long, piercing squeal capable of expressing joy, anguish, fury, and more. The music on Let Freedom Ring remained more rooted in hard bop structure than Coleman's, and McLean was still recognizably himself, but that was precisely what was revolutionary about the album: It validated the avant-garde aesthetic, demonstrating that it had enough value to convert members of the old guard, and wasn't just the province of radical outcasts. There are only four pieces, one of which is the surging Bud Powell ballad "I'll Keep Loving You"; the other three are McLean originals ("Melody for Melonae," "Rene," and "Omega," dedicated to his daughter, son, and mother respectively) that spotlight his tremendous inventiveness on extended material and amaze with a smoldering fire that never lets up. Pianist Walter Davis takes the occasional solo, but the record is McLean's statement of purpose, and he accordingly dominates the proceedings, with the busy, free-flowing dialogues of bassist Herbie Lewis and Ornette drummer Billy Higgins pushing him to even greater heights. The success of Let Freedom Ring paved the way for a bumper crop of other modernist innovators to join the Blue Note roster and, artistically, it still stands with One Step Beyond as McLean's greatest work. ~ Steve Huey https://www.allmusic.com/album/let-freedom-ring-mw0000188382

Personnel:  Jackie McLean — alto saxophone;  Walter Davis, Jr. — piano;  Herbie Lewis — bass;  Billy Higgins — drums

Let Freedom Ring