Joe Pass & Les McCann - Something Special Disc 1 And Disc 2

Album: Something Special  Disc 1

Styles: Guitar And Piano Jazz
Year: 1962
File: MP3@320K/s
Time: 63:49
Size: 146,4 MB
Art: Front

(9:14)  1. Something Special
(5:48)  2. Black Groove
(3:13)  3. Me & Groove
(5:19)  4. Comin' Through the Apple
(6:32)  5. I Thought I Knew You
(5:29)  6. Carma
(4:20)  7. On Time
(4:50)  8. Yours Is My Heart Alone
(5:59)  9. This for Doug
(5:17) 10. Fondue
(3:07) 11. Bernie's Tune
(4:37) 12. Maichen

Something Special  Disc 1

---

Album: Something Special  Disc 2

Time: 50:08

Size: 115,1 MB

(5:06)  1. It Could Happen to You

(5:01)  2. You're Driving Me Crazy

(3:06)  3. So What

(4:51)  4. The Other Way

(5:03)  5. Free At Pass... Thank God Allmighty... Free At Pass

(3:25)  6. Meet Me in the Bottom

(4:33)  7. In the Evening

(2:44)  8. New B & O Blues

(5:02)  9. Puppy Love

(2:46) 10. Wake Up in the Mornin'

(5:52) 11. Wee Baby Blues

(2:35) 12. I'm the One

This edition contains all 1962 collaborations by Joe Pass and pianist Les McCann, who would continue working together the following year. Their 1962 output consists of their participation on Richard “Groove” Holmes LP "Somethin' Special" (Pacific Jazz PJ-ST51) and on McCann's own album "On Time" (Pacific Jazz PJ56). 

Both records appear here in their entirety, as well as two tracks from the second LP that were not included on the original album. As a bonus, the complete LP "Back in Town!" (Pacific Jazz PJ54/World Pacific Jazz ST20150). Issued under the name of singer/guitarist Bumble Bee Slim (born Amos Easton), it consisted of two sessions, one featuring Pass, and the other featuring McCann. https://www.jazzmessengers.com/en/65611/joe-pass/something-special-the-1962-sessions

Personnel:  Joe Pass - guitar;   Les McCann - Piano

Something Special  Disc 2

---

Rolf Kuhn - Yellow + Blue

Styles: Clarinet Jazz
Year: 2018
File: MP3@320K/s
Time: 61:58
Size: 142,1 MB
Art: Front

(4:30)  1. Both Sides Now
(6:59)  2. Angel Eyes
(6:02)  3. Yellow And Blue
(5:14)  4. Impulse
(4:34)  5. The Second Time
(3:45)  6. Train To Norway
(6:51)  7. I'm Through With Love
(5:31)  8. Conversation III
(6:28)  9. Mela's Interplay
(4:03) 10. Body And Soul
(7:57) 11. What Are You Doing The Rest Of Your Life

Rolf Kuhn's style has evolved through the years. The clarinetist started out playing in German dance bands in the late '40s. He worked with radio orchestras starting in 1952 and moved to the U.S. in 1956. Kuhn subbed for Benny Goodman on a few occasions during 1957-1958, played in the Tommy Dorsey ghost band (1958), and worked in a big band led by Urbie Green (1958-1960). In 1962, Kuhn returned to Germany, where he has explored more adventurous styles of jazz (including dates with his younger brother, keyboardist Joachim Kuhn) but still occasionally shows off his ties to swing. Kuhn recorded with an all-star group called Winner's Circle (1957), Toshiko Akiyoshi (1958), and as a leader starting in 1953, including a 1956 New York quartet date for Vanguard. ~ Scott Yanow https://itunes.apple.com/us/album/yellow-blue/1381385232

Personnel:  Clarinet – Rolf Kühn;  Bass – Lisa Wulff;  Drums, Percussion, Percussion [Body Percussion] – Tupac Mantilla;    Piano – Frank Chastenier

Yellow + Blue

---

Maynard Ferguson & Big Bop Nouveau - These Cats Can Swing!

Styles: Trumpet Jazz
Year: 1995
File: MP3@320K/s
Time: 59:31
Size: 137,9 MB
Art: Front

(10:05)  1. Sugar
(10:16)  2. Caravan
( 4:40)  3. I Don't Want To Be A Hoochi Coochie Man No Mo'
(12:06)  4. Sweet Baba Suite (Bai Rav)
( 8:52)  5. I'll Be Around
( 3:18)  6. He Can't Swing
(10:10)  7. It's The Gospel Truth

This is a fairly typical but enjoyable Maynard Ferguson jazz date. His ten-piece Big Bop Nouveau band consists of four trumpets, one trombone, two reeds, and a three-piece rhythm section, so it is quite brass-heavy. Although each of his trumpeters can pop out high notes, Ferguson is still the main screecher, sharing the solo space with pianist Ron Oswanski, altoist Matt Wallace, tenor saxophonist Chip McNeill, and trombonist Tom Garling. The repertoire includes a few swinging pieces, the novelty Ferguson vocal "He Can't Swing," Wallace singing on the R&B-ish "I Don't Want to Be a Hoochi Coochie Man No Mo'," the exotic "Sweet Baba Suite" (which reflects Ferguson's interest in Indian music), and the lengthy "It's the Gospel Truth." All in all, this is a well-rounded set showing that Maynard Ferguson was still a strong force to contend with in the mid-'90s.~ Scott Yanow https://www.allmusic.com/album/these-cats-can-swing%21-mw0000176926

Personnel:  Trumpet, Flugelhorn – Maynard Ferguson;  Trumpet – Carl Fischer, Joey Tartell, Jon Owens;  Acoustic Bass, Bass Guitar – Chris Berger;  Alto Saxophone, Tenor Saxophone - Matt Wallace;  Drums – Jason Harnell;  Organ – Ron Oswanski;  Percussion – Lorenzo Martinez ;  Piano, Keyboards – Ron Oswanski ;  Soprano Saxophone – Chip McNeill;  Tambora [Tamboura] – Sandea;  Tenor Saxophone – Chip McNeill;  Trombone – Tom Garling;  Vocals – Matt Wallace , Maynard Ferguson;  Vocals [Vocals Chants] – Maynard Ferguson

These Cats Can Swing!

---

Herbie Mann & Buddy Collette - Flute Fraternity

Styles: Flute Jazz
Year: 1957
File: MP3@320K/s
Time: 32:19
Size: 75,2 MB
Art: Front

(4:08)  1. Herbie's Buddy
(4:14)  2. Perdido
(4:20)  3. Baubles, Bangles and Beads
(3:35)  4. Give A Little Whistle
(2:40)  5. Here's Pete
(6:44)  6. Theme From 'Theme From'
(3:58)  7. Nancy With The Laughing Face
(2:38)  8. Morning After

In the 1950s, Herbie Mann frequently shared the spotlight on record dates with other flutists. This V.S.O.P. LP, a reissue of a set originally for Mode and also out for awhile on Premier, matches Mann (who here also plays piccolo, clarinet and tenor) with Buddy Collette (switching between flute, clarinet, tenor and alto) in a quintet with pianist Jimmy Rowles, bassist Buddy Clark and drummer Mel Lewis. The results are generally pleasing, if somewhat lightweight, with such obscure tunes as "Here's Buddy," Rowles' "Pop Melody," "Here's Pete" and Mann's "Theme from 'Theme From'" alternating with three standards and Chico Hamilton's "Morning After." The most interesting aspect to this lightly swinging music is the constant switching around of the lead voices on their various horns.~ Scott Yanow https://www.allmusic.com/album/flute-fraternity-mw0000037566

Personnel:  Herbie Mann - flute, alto flute, clarinet, tenor saxophone;  Buddy Collette - flute, alto flute, clarinet, alto saxophone, tenor saxophone;  Jimmy Rowles - piano, celesta;  Buddy Clark - bass;  Mel Lewis - drums

Flute Fraternity

---

Eef Albers - Pyramids

Styles: Guitar Jazz
Year: 1987
File: MP3@320K/s
Time: 43:30
Size: 99,9 MB
Art: Front

(5:24)  1. Flamingo's Dance
(5:15)  2. Chrystal Dreams
(5:35)  3. Marathon
(6:01)  4. It Still Is
(7:17)  5. Everlasting
(5:53)  6. Pyramids
(6:09)  7. ''27 ''
(1:52)  8. Marathon Ii

Dutch guitarist Eef Albers is an enigmatic genius, recognized among musical experts as one of the best improvising jazz fusion guitarists of Europe. Born 1951, he started 1972 a trio with John Lee and Gerry Brown, later expended with Daryl Thompson. In 1975 he released his first album ‘Blue Capricorn’. He also played with Rogier van Otterloo, Bo Stief, Frans Elsen, Peter Herbolzheimer, Metropole Orkest and the BBC Orchestra. Together with Philip Catherine, he was a member of Dutch Progrock group Focus, replacing Jan Akkerman. Combining elements of jazz, rock, blues, afro and classical music, Albers developed an unique, thrilling and highly recognizable style, which made him the most admired guitarist in The Netherlands of his days. He played with Kraan, Jasper van ‘t Hof, Ack van Rooyen, Bob Malch, Stanley Clarke, Toots Thielemans, Steve Smith and Simon Phillips. In the Netherlands Eef Albers often meets with Leo Janssen, Karel Boehlee, Arno van Nieuwenhuize, Thijs van Leer, Koos Wiltenburg and Stormvogel, the latter joining at his Festival de Muzen 2007 and later on in his epic jazzbarock project called ‘Atuatuca’. https://stormvogel.org/eef-albers/

Pyramids

---

Jacintha - Fire & Rain

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 47:49
Size: 111,2 MB
Art: Front

(4:51)  1. Fire & Rain
(3:16)  2. Something In The Way She Moves
(4:55)  3. Walking Man
(3:55)  4. Sweet Baby James
(5:20)  5. Don't Let Me Be Lonely Tonight
(5:26)  6. You've Got A Friend
(3:31)  7. Long Ago And Faraway
(4:39)  8. The Water Is Wide
(4:33)  9. Shower The People
(4:34) 10. Fire & Rain (Bonus Cut - Alternate Mix)
(2:45) 11. On The Road Jam

Fire & Rain features an all James Taylor or James Taylor related music program and represents a great change of pace for Jacintha. The recording uses some of the very best L.A. based session musicians, some of them have an extended musical association with James Taylor including Lee Sklar, Dean Parks, Russ Kunkel. 

Several major hits including Fire & Rain, Walking Man, You've Got A Friend, Sweet Baby James and Shower The People are here and this album represents a superb return to the studio and the first popular vocal album from Jacintha. https://www.cduniverse.com/productinfo.asp?pid=11442729

Fire & Rain

---

Herb Alpert & Lani Hall - Anything Goes (Live)

Styles: Trumpet And Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 62:28
Size: 148,9 MB
Art: Front

(4:14)  1. Fascinating Rhythm
(5:47)  2. Para Raio (Pah dah hi yoo)
(3:48)  3. The Trolley Song
(4:43)  4. That Old Black Magic
(6:29)  5. Dinorah (Gee no rah) / Morning
(1:56)  6. It's Only a Paper Moon
(5:15)  7. Let's Face the Music and Dance
(3:25)  8. Morning Coffee
(3:50)  9. I've Grown Accustomed to Her Face
(4:30) 10. Who Are You? (w/ Bill Cantos)
(4:44) 11. Besame Mucho
(3:34) 12. Anything Goes
(4:26) 13. I've Got You Under My Skin
(5:41) 14. Laura

Though trumpet legend Herb Alpert and wife Lani Hall have been together for more than three decades, it's hard to believe that Anything Goes is their very first album together. A musician and entrepreneur, Alpert is best known for his work in the 1960s with his Tijuana Brass, five number one hits, eight Grammy Awards and fifteen gold albums. As co-founder of A&M Records, Alpert's impact on music has been even greater. After signing Sergio Mendes and Brasil '66 to A&M and producing the group's first recordings in the 1960s, Alpert met and later married lead singer Lani Hall. After being together on stage many times, Alpert and Hall collect a set of eight live performances recorded across the United States for Anything Goes.  The selection of music could not be better, as the duo draws on a total of fourteen pieces including standards from the songbooks of Harold Arlen and Cole Porter to Gershwin and Irving Berlin classics, Latin and Brazilian music. The years have treated Hall kindly, as her vocal energy has not diminished in any discernible way. Some of her finest performances can be heard on songs like "That Old Black Magic" and "I've Got You Under My Skin," but perhaps her best and most powerful vocals are on the two Brazilian songs, Djavan's "Para-Raio" and Ivan Lins' classic, "Dinorah," both sung in Portuguese.  Hall shares vocals with pianist Bill Cantos on the opening " Fascinating Rhythm" and the stunning Cantos original , "Who Are You," where she reaches high notes with ease. Cantos joins Alpert on "I've Grown Accustomed To Her Face," with drummer Michael Shapiro and bassist Hussain Jiffry rounding out the group's musical support. As for Alpert, he is simply amazing; whether on open trumpet or muted horn, he leads the music, providing a slew of gritty solos and holding court on several instrumentals including "The Trolley Song," Consuelo Velazquez's Latin classic, "Besame Mucho," and David Raskin's immortal "Laura." Alpert may be viewed through the prism of pop music, largely because of his success in the genre and partly of his own doing when he stated that, during the 1960s and 1970s, " [I] was in the closet as a jazz musician because I wasn't quite sure where I fit in." He now firmly asserts that, "I' m basically a jazz musician...Jazz is always in my spirit." With Anything Goes, Alpert cements his jazz pedigree, and as for this long-awaited duo record, these two very special people and partners for life make beautiful music together...and lucky for us. Anything Goes immortalizes their performance once and for all; hopefully there is an encore in the waiting.~ Edward Blanco https://www.allaboutjazz.com/anything-goes-herb-alpert-concord-music-group-review-by-edward-blanco.php

Personnel: Herb Alpert: trumpet, vocals; Lani Hall: vocals; Bill Cantos: piano, vocals; Hussain Jiffry: bass; Mike Shapiro: drums, percussion.

Anything Goes (Live)

---

Grover Washington, Jr. - All The King's Horses

Styles: Saxophone Jazz
Year: 1972
File: MP3@320K/s
Time: 32:12
Size: 74,4 MB
Art: Front

(3:50)  1. No Tears, In The End
(3:49)  2. All The King's Horses
(5:07)  3. Where Is The Love
(3:05)  4. Body And Soul (Montage)
(4:25)  5. Lean On Me
(7:03)  6. Lover Man
(4:50)  7. Love Song 1700

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. 

Then there's the gorgeous and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk  is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.

~ Thom Jurek https://www.allmusic.com/album/all-the-kings-horses-mw0000314316

Personnel:  Grover Washington Jr. – tenor and alto saxophone;  Bob James – arranger, conductor, electric piano, Harpsichord;  Richard Tee – organ;  Arthur Clarke, Pepper Adams – baritone saxophone;  John Frosk, Alan Rubin, Ernie Royal, Marky Markowitz, Marvin Stamm, Snooky Young, Jon Faddis – trumpet, flugelhorn;  Paul Faulise, Tony Studd, Wayne Andre – trombone;  Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge – French horn;  George Marge – alto saxophone, flute, English horn, oboe;  Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini – guitar;  Margaret Ross – harp;  Ron Carter – bass;  Gordon Edwards – bass;Bernard Purdie – drums;  Billy Cobham – drums;  Airto Moreira – percussion;  Ralph MacDonald – congas;  Richard Dickler, Emanuel Vardi – viola;  Alexander Cores, Bernard Eichen, Irving Spice, Joe Malin, John Pintaualle, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Joe Malin, Max Ellen, Paul Gershman – violin;  Charles McCracken, George Ricci – cello

All The King's Horses

---

Sidney Bechet - Saga Jazz: New Orleans - Paris (& vice versa)

Styles: Saxophone Jazz, New Orleans Jazz
Year: 2003
File: MP3@320K/s
Time: 73:38
Size: 170,8 MB
Art: Front

(3:39)  1. Buddy Bolden Story Discours Entre Sidney Et Claude Luter
(2:43)  2. Les Oignons
(3:00)  3. Wild Cat Blues
(3:10)  4. Old Fashioned Love
(3:11)  5. Mandy Make Up Your Mind
(3:10)  6. In Harlem's Araby
(3:19)  7. The Basement Blues
(2:52)  8. Sweetie Dear
(2:57)  9. Maple Leaf Rag
(3:06) 10. Shag
(2:53) 11. Polka Dot Rag
(2:56) 12. Characteristic Blues
(2:25) 13. Chant In The Night
(3:37) 14. Really The Blues
(2:04) 15. The Weary Blues
(2:23) 16. I Wish I Could Shimmy Like My Sister Kate
(3:01) 17. Down In Honky Tonk Town
(2:57) 18. Blues In Thirds
(4:15) 19. Bechet Parades The Blues Eng 9 Dec 1943 New York
(3:20) 20. Klook's Blues
(3:28) 21. Dans les rues d'Antibes
(2:27) 22. September Song
(3:20) 23. Summertime
(3:11) 24. Petite Fleur

Sidney Bechet was the first important jazz soloist on records in history (beating Louis Armstrong by a few months). A brilliant soprano saxophonist and clarinetist with a wide vibrato that listeners either loved or hated, Bechet's style did not evolve much through the years but he never lost his enthusiasm or creativity. A master at both individual and collective improvisation within the genre of New Orleans jazz, Bechet was such a dominant player that trumpeters found it very difficult to play with him. Bechet wanted to play lead and it was up to the other horns to stay out of his way. Sidney Bechet studied clarinet in New Orleans with Lorenzo Tio, Big Eye Louis Nelson, and George Baquet and he developed so quickly that as a child he was playing with some of the top bands in the city. He even taught clarinet, and one of his students (Jimmie Noone) was actually two years older than him. In 1917, he traveled to Chicago, and in 1919 he joined Will Marion Cook's orchestra, touring Europe with Cook and receiving a remarkably perceptive review from Ernst Ansermet. While overseas he found a soprano sax in a store and from then on it was his main instrument. Back in the U.S., Bechet made his recording debut in 1923 with Clarence Williams and during the next two years he appeared on records backing blues singers, interacting with Louis Armstrong and playing some stunning solos. He was with Duke Ellington's early orchestra for a period and at one point hired a young Johnny Hodges for his own band. However, from 1925-1929 Bechet was overseas, traveling as far as Russia but getting in trouble (and spending jail time) in France before being deported.

Most of the 1930s were comparatively lean times for Bechet. He worked with Noble Sissle on and off and had a brilliant session with his New Orleans Feetwarmers in 1932 (featuring trumpeter Tommy Ladnier). But he also ran a tailor's shop which was more notable for its jam sessions than for any money it might make. However, in 1938 he had a hit recording of "Summertime," Hugues Panassie featured Bechet on some records and soon he was signed to Bluebird where he recorded quite a few classics during the next three years. Bechet worked regularly in New York, appeared on some of Eddie Condon's Town Hall concerts, and in 1945 he tried unsuccessfully to have a band with the veteran trumpeter Bunk Johnson (whose constant drinking killed the project). Jobs began to dry up about this time, and Bechet opened up what he hoped would be a music school. He only had one main pupil, but Bob Wilber became his protégé. Sidney Bechet's fortunes changed drastically in 1949. He was invited to the Salle Pleyel Jazz Festival in Paris, caused a sensation, and decided to move permanently overseas. Within a couple years he was a major celebrity and a national hero in France, even though the general public in the U.S. never did know who he was. Bechet's last decade was filled with exciting concerts, many recordings, and infrequent visits back to the U.S. before his death from cancer. His colorful (if sometimes fanciful) memoirs Treat It Gentle and John Chilton's magnificent Bechet biography The Wizard of Jazz (which traces his life nearly week-by-week) are both highly recommended. Many of Sidney Bechet's recordings are currently available on CD. ~ Scott Yanow https://itunes.apple.com/lk/album/saga-jazz-from-new-orleans-to-paris-vice-versa/452324933

Saga Jazz: New Orleans - Paris (& vice versa)

---

Gary Bartz - Shadows

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 69:25
Size: 159,3 MB
Art: Front

( 9:49)  1. Marion's Theme
(12:30)  2. Shadows
(10:25)  3. Songs Of The Underground Railroad
(14:35)  4. Peresina
( 4:50)  5. How Do You Keep The Music Playing
( 9:32)  6. Children Of The Night
( 7:41)  7. Holiday For Strings

Veteran alto and soprano saxophonist Gary Bartz's debut recording for the Dutch Timeless label is one of his finest efforts as he enlisted the services of pianist Benny Green, bassist Christian McBride, drummer Victor Lewis, and tenor saxophonist Willie Williams on three selections to perform an unusual program of one Bartz composition, three jazz classics, two movie themes, and one radio theme. Bartz's strong tone, sense of swing, and improvisational imagination place him within the ranks of jazz's finest saxophonists, and he proves it throughout this recording. Favorites include the title track, which is actually two Bartz compositions, one medium, one up, joined by an excellent McBride bass solo; John Coltrane's "Song of the Underground Railroad," performed up-tempo, in the spirit of Coltrane all the way down to a blistering sax-drums duet; McCoy Tyner's "Peresina," a medium Afro-Latin number with the melody played by the not-heard-enough combination of tenor and alto sax; and Wayne Shorter's "Children of the Night" where the melody is played over a hip groove by McBride and Lewis and features one of the best Bartz solos on record. McBride, who just had turned 19 at the time of this recording, displays a huge tone, solid time, and the improvisational ability of a more experienced musician, while Lewis' dynamic drumming lays down a solid foundation along with McBride's bass, serving as the catalyst for the excellence of this recording. Shadows is an excellent addition to Bartz's extensive discography.~ Greg Turner https://www.allmusic.com/album/shadows-mw0000100346

Personnel:  Gary Bartz - alto saxophone, soprano saxophone;  Willie Williams - tenor saxophone;  Benny Green - piano;  Christian McBride - bass;  Victor Lewis - drums

Shadows

---

Steve Grossman - Perspective

Styles: Saxophone Jazz
Year: 1979
File: MP3@320K/s
Time: 40:45
Size: 93,5 MB
Art: Front

(5:25)  1. Creepin'
(5:26)  2. Arfonk
(5:15)  3. Pastel
(4:26)  4. The Crunchies
(5:42)  5. Olha Graciela
(7:59)  6. King Tut
(6:28)  7. Katonah

For many, the electric jazz scene of the late '70s was a tired thing, steeped equally in fusion and disco. That was the common feeling at the time, though many groups like Weather Report were enjoying massive commercial success. In the 21st century, the conventional wisdom is being turned on its head by many of the beat collectors and younger jazz listeners encountering some of music of the era for the first time. Saxophonist Steve Grossman's Perspective is an excellent case in point. Released in 1979 on Atlantic, this set features the great tenor saxophonist in an electric setting with some killer sidemen including guitarist Buzzy Feiten, bassist Mark Egan, pianist Onaje Allan Gumbs, drummer Steve Jordan, percussionists Sammy Figueroa, and Raphael Cruz. Guest players include the great Japanese pianist Masabumi Kikuchi, drummer Victor Lewis, guitarist Barry Finnerty, bassist Marcus Miller, and drummer Lenny White, to mention a few. These seven tracks are united by one thing: the enormous sound of Grossman's Sonny Rollins-meets-John Coltrane-influenced tone on tenor. While the record kicks off on the easy side of jazz-funk with "Creepin'," it contains some knotty acoustic piano from Gumbs and some tastefully elegant playing by Feiten. 

Grossman's stating of the theme is economical but emotive. The Latin groove that commences in the bridge is a surprise and moves the cut through his boisterous solo. "Arfonk" is on the edgier side of jazz-funk with a great breakbeat drum intro by White, who also does an impressive bit of counterpoint on the bongos. The fat guitars play call and response with Grossman, who gets up into the high register on the horn and lets loose against the simple riff. There are touches of fusion, but it never leaves the realm of jazz-funk entirely. Beautiful Fender Rhodes work by Gumbs adds rich color and texture, not to mention Egan's killer, popping bass work. "Pastel" features Kikuchi on acoustic piano, and this tune is pure, languid, gorgeous, communicative jazz with an excellent rapport in terms of lyricism between the pianist and Grossman. The set closes with the Eastern-cum-Latin-tinged "Katonah" with Finnertyon guitars, creating a wide palette of chord forms for Grossman to solo off of, eight bars from the intro. Egan is uncanny here on his bass, inventive and rhythmically guiding the entire band. The adrenaline-fueled breaks by Jordan as he double times Egan and Grossman are among the toughest of his long career. Ultimately, this set more closely resembles the work Grossman did with Stone Alliance than it does his later excellent Way Out East dates, but this set has stood the test of time remarkably well; its reissue on Wounded Bird in 2009 goes one step further in putting down the myth that electric jazz in the late '70s almost killed the music off in the days before Wynton Marsalis took it retro.~ Thom Jurek https://www.allmusic.com/album/perspective-mw0001737028

Personnel:  Soprano Saxophone, Tenor Saxophone – Steve Grossman;   Bass – Marcus Miller, Mark Egan;  Congas – Sammy Figueroa;  Drums – Steve Jordan, Victor V. Lewis;  Drums, Bongos – Lenny White;   Lead Guitar, Rhythm Guitar – Barry Finnerty, Howard"Bugzy"Feiten;  Piano [Acoustic, Fender Rhodes] – Onaje Allan Gumbs;  Piano [Acoustic] – Masabumi Kikuchi 

Perspective

---

Lou Donaldson - The Time Is Right

Styles: Saxophone Jazz
Year: 1959
File: MP3@320K/s
Time: 37:15
Size: 85,9 MB
Art: Front

(5:58)  1. Lou's Blues
(5:46)  2. Be My Love
(5:11)  3. Idaho
(4:42)  4. The Nearness Of You
(5:18)  5. Mack The Knife
(5:15)  6. Crosstown Shuffle
(5:03)  7. Tangerine

Saxophonist Lou Donaldson is best known for his soulful, bluesy approach, although in his formative years he was, as many were of the bebop era, heavily influenced by Charlie Parker. Donaldson has worked with jazz greats including Milt Jackson, Thelonious Monk, Blue Mitchell, Horace Silver and Art Blakey. 

First released in 1959, The Time is Right is a warm, mellow affair overall, definitely post-bop. His group features Horace Parlan on piano, Blue Mitchell on trumpet, Laymon Jackson on bass and Dave Bailey on drums. Ray Baretto is featured on conga, which gives the session a bit of Latin flavor.~ Editorial Reviews https://www.amazon.com/Time-Right-Lou-Donaldson/dp/B004C6QER6

Personnel:  Lou Donaldson - alto saxophone;  Horace Parlan - piano;  Blue Mitchell - trumpet - except track 2;  Laymon Jackson - bass;  Dave Bailey - drums;  Ray Barretto - congas

The Time Is Right

---

Anna Lauvergnac - Unless There's Love

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 47:21
Size: 108,8 MB
Art: Front

(6:47)  1. The Great City
(4:57)  2. Since I Fell for You
(2:44)  3. Senza fine
(5:57)  4. Speak Low
(5:19)  5. Why Don't You Do Right
(4:42)  6. Tell Me More and More and Then Some
(3:30)  7. Social Call
(4:37)  8. Traveling Light
(4:37)  9. You Know Who
(4:05) 10. Lonely Town

Jazz singer, traveler and social activist Anna Lauvergnac was born in Trieste -Italy, where she received a diploma as a primary school teacher and before choosing singing as the center of her existance, she studied Psychology for two years. In the meantime she took an impressive variety of different jobs: she’s been a private teacher, a model, a cloak room attendant, a telephone operator, a waitress, a book seller,a cleaner, a music manager and concert organizer, a carpenter (as she puts it “…I guess I wanted to be Bohumil Hrabal”). She started studying Jazz Singing in 1989 at the Berklee College Summer Clinics in Perugia -Italy, where she was offered a scholarship and received a special Artistic Mention. The same year she enrolled at the Art University for Music and Performing Arts of Graz  Austria, where she studied with Jazz Greats Jay Clayton, Mark Murphy, Andy Bey and Sheila Jordan. Masterclasses with Reggie Workman and Barry Harris in New York City. From 1999 to 2008 she’s been the vocalist of Europe leading international orchestra, the Vienna Art Orchestra. She toured extensively with the VAO, appearing on jazz festivals worldwide, and recorded on 12 of the band’s CD. In 2008 she started her lates project, the Anna Lauvergnac International quartet, that features the wonderful Claus Raible on piano, bass-master Giorgos Antoniou, and the great Steve Brown on drums. Their first CD “Unless there’s love” was released in 2012 and was nominated for the German Critic Prize the same year, ranking number 2. Collaborations include extraordinary musicians such as Andy Bey, Bojan Zulfikarpasic, Julien Lourau, Pete Bernstein, Franco Vallisneri, Fritz Pauer, Francesco Bearzatti, Paolo Fresu, Bumi Fian, Andy Scherrer, Marc Buronfosse, Till Martin, Claus Raible,Thomas Stabenow, Paoulo Cardoso, Henning Siewert, Alegre Corrèa, Steve Kirby, Wolfgang Puschnig, Bruno Cesselli, Florian Bramboeck, Hank Gradischnig, Karl Sayer, Willi Resetarits, Oliver Kent to name a few. Theater and Festival performances include Umbria Jazz, Montreal, Vancouver, Victoria, Havanna, Berlin, Guimares, Paris, Freiburg, Milano, Varna, Madrid, Moskaw, Essen, Kiev, Vilnius, Vienna, Moers, Le Mans, Dresden, Nord Sea JazzFestival, Joragua do Sul, Joinville, Hamburg, Beijing, Oporto, Amsterdam, Angouleme, Zaragozza, Belfast, Zagreb, Lugano, Brugge, Orleans, Essen, Salamanca, Luzern, Salzsburg, Budapest, Berlin, Munich, Bolzano, Mantova, Nevers, Red Sea Jazz Festival, JVC festival, Time in Jazz, Barcelona, London, Luxenburg, Auxerre, San Sebastian, Graz, Gdynia, Prag, Zurich, Couches, Granada, Sevilla, Junas, Sarajevo, Sibiu, Bern, Cannes, Bergen, Lisbona, Basel. She teaches workshops and masterclasses in various European countries, from 2000 to 2002 she’s been teching jazz repertoire and body work at the Bruckner Konservatorium Linz-Austria.  She wrote six soundtracks (tv and cinema) for the Austrian director Xaver Schwarzenberger. As a lyricist she’s been writing for different bands and projects, including the Vienna Art Orchestra. She practice yoga, and Vipassana Meditation, loves flowers and doesn’t eat meat. https://jazztimes.com/artists/anna-lauvergnac/

Unless There's Love

---

Dave Valentin - Sunshower

Styles: Flute Jazz
Year: 1999
File: MP3@320K/s
Time: 52:52
Size: 123,8 MB
Art: Front

(5:47)  1. Reunion
(4:37)  2. Sunshower
(4:05)  3. Embers
(5:44)  4. Bandit
(4:15)  5. Porkchops
(5:40)  6. I Got It Bad And That Ain't Good
(6:31)  7. Subway Six
(6:47)  8. Sierra Madre
(3:36)  9. Feelin' Alright
(5:45) 10. Space Cadet

Flautist Dave Valentin is fast becoming as ubiquitous a player as his former teacher, Hubert Laws, used to be. Indeed, Valentin has become the flautist of choice on a great quantity of recent Latin jazz recordings by such varied artists as McCoy Tyner, Tito Puente, Elaine Elias and Dave Samuels. Not as distinctive as Laws (nor as notable as many reed players who blow flute part time), he is nevertheless a highly appealing player whose often simple melodies seem to inspire some superb improvisation that positively sings and dances. Valentin's Concord debut, Sunshower , is the first recording under the flautist's name since 1996's Primitive Passions. Like many of the 18 albums he recorded for GRP between 1979 and 1996, Valentin here weds jazz, pop and r & b with his own particular blend of smooth Latin sounds. In essence, the man knows how to craft a purely pleasurable listening experience. One part of the disc's success is that Valentin sounds very much at ease in this setting. Well he should, too, for he's featured along with his working quintet here, which features the under sung virtues of pianist Bill O'Connell's marvelous playing and catchy songwriting. This is an exceedingly well programmed disc. Valentin starts with "Reunion," his own appealing fusion redux, segues into the sprite Caribbean dance of Valentin and O'Connell's title track (recalling Columbia-era Laws) and heads gently toward the ultra-smooth "Embers" (featuring Rodriguez's popping bass and Ed Calle's Brecker-istics on tenor). From here, Valentin explores his varied interests with dedicated abandon. He goes full-on Latin with "Bandit," funky with "Porkchops" (Calle here sounds Sanborn-esque on alto), sweetly sensitive to Duke's "I Got It Bad," straight ahead on O'Connell's "Sierra Madre" (featuring guest guitarist Steve Khan) and genuinely witty on his funkified take on "Feelin' Alright" (also covered by Laws in 1970). The disc's high point is O'Connell's effervescent "Subway Six," a solid Latin groover  with one of the simplest heads ever conceived and reminiscent of Vince Guaraldi's Peanuts classic, "Skating." It features outstanding, breezy solos from the leader, the pianist and vibraphonist Dave Samuels (and closes with some fiery interjection from Valentin). Not as deep as Valentin has proven elsewhere to be, Sunshower is nevertheless hugely enjoyable music that will satisfy a variety of musical cravings and invite repeated listening.~ Douglas Payne https://www.allaboutjazz.com/sunshower-dave-valentin-concord-music-group-review-by-douglas-payne.php

Players: Dave Valentin: C flute, alto flute, piccolo on "Porkchops" and assorted flute sounds; Bill O'Connell: acoustic piano, electric piano, synthesizers; Ruben Rodriguez: electric bass, Ampeg Baby bass; Robbie Ameen: drums; Milton Cardona: congas, shakere and various percussion instruments with Dave Samuels: vibes; Steve Khan: electric and acoustic guitars; Ed Calle: alto sax, tenor sax; Rafael de Jesus: percussion on "Embers," "Porkchops" and "Feelin' Alright."

Sunshower

---

Boogaloo Joe Jones - My Fire

Styles: Guitar Jazz
Year: 1993
File: MP3@320K/s
Time: 33:53
Size: 77,7 MB
Art: Front

(3:57)  1. Light My Fire
(7:06)  2. For Big Hal
(5:26)  3. St James Infirmary
(3:54)  4. Take All
(7:27)  5. Time After Time
(6:00)  6. Ivan The Terrible

Jones made his solo debut as Joe Jones on Prestige Records in 1967, but earned the name "Boogaloo Joe" following a 1969 record of that title. The nickname was meant to distinguish him from the other people with similar names in the music business, such as R&B singer Joe Jones, jazz drummers "Papa Jo" Jones and Philly Joe Jones, and the Joe Jones of the Fluxus movement. Later, he turned to billing himself as Ivan "Boogaloo Joe" Jones. Jones recorded several albums in a soul-jazz vein for Prestige between 1966 and 1978. In addition to leading his own group for recording purposes, Ivan Jones recorded with Richard "Groove" Holmes, Houston Person, Harold Mabern, Wild Bill Davis and, most notably, Willis Jackson, Rusty Bryant, Charles Earland, and Bernard "Pretty" Purdie are among the sidemen also featured on Jones' albums. His sound and style clearly derived from the blues, but it was a solid understanding of rock that Jones brought to his style of jazz. He was influenced most by Tal Farlow and Billy Butler, but gravitated toward the rhythm and blues-styled jazz Butler was popularizing with organist Bill Doggett's combo. Jones' sound and style stayed remarkably consistent during his recording career. His twangy tone coupled catchy chordal vamps[3] with astonishing rapid-fire single-note playing. He could handle familiar pop covers ("Light My Fire", "Have You Never Been Mellow") and ballads. But he really excelled in the jazz-funk groove and proved himself a first-rate blues player. Jones has lived in South New Jersey most of his life and mostly worked in and around the Atlantic City area with chitlin circuit heroes like Wild Bill Davis, Willis Jackson and Charlie Ventura. Jones, who never won the notice of critics or great support from fans during his career, is finding new life on CD. https://en.wikipedia.org/wiki/Boogaloo_Joe_Jones

Personnel:  Joe Jones - guitar;  Harold Mabern - piano;  Peck Morrison - bass;  Bill English - drums;  Richie "Pablo" Landrum - congas

My Fire

---

Ornette Coleman - The Empty Foxhole

Styles: Saxophone, Trumpet And Violin Jazz 
Year: 1966
File: MP3@320K/s
Time: 38:48
Size: 89,0 MB
Art: Front

(6:49)  1. Good Old Days
(3:20)  2. The Empty Foxhole
(7:16)  3. Sound Gravitation
(8:18)  4. Freeway Express
(7:05)  5. Faithful
(5:57)  6. Zig Zag

Denardo Coleman, son of the free jazz master, is now forty years old and has been playing drums for thirty-four years. The virtuosity that he has developed over these years can be heard to best advantage on his father's two new albums of 1996, Sound Museum: Three Women and Sound Museum: Hidden Man. His playing has been fine through the years, as on James Blood Ulmer's 1978 Tales of Captain Black. The Empty Foxhole, however, dates from 1966, when the drummer was ten years old. Proud papa explains in the liner notes that he gave an enthusiastic Denardo a drum set for Christmas when he was six. That would mean that at the time the album was recorded Denardo probably had more experience playing drums than Ornette had on trumpet and violin, his two new instruments which are lovingly featured on this album. Of the six cuts, only "Good Old Days," "Faithful," and "Zig Zag" contain Ornette's inimitable alto saxophone. The title track and "Freeway Express" present the master on trumpet, and "Sound Gravitation" is the first and only piece Ornette has ever recorded exclusively on violin. Father and son are joined by Charlie Haden on bass, who thus becomes, on three of these tracks, the only player who has extensive experience with the instrument he's playing. As such he is the stabilizing force of the trio. 

Freddie Hubbard famously commented in a Blindfold Test that Denardo the drummer sounded "like a little kid fooling around." Miles Davis, in a Blindfold Test of his own, mistook Don Cherry for Ornette on trumpet, which may be insulting to Don Cherry, Ornette, or neither one. In any case, the trumpeter, the violinist, and the drummer in this group are anything but conventional, and that's just what the leader wanted. When Ornette picks up his alto here, he plays more simply than usual. "Good Old Days" is as straightforward a blues as Ornette plays; "Faithful" is another in the series of mournful ballads Ornette was playing at the time (the wrenching "Sadness" never made it to the studio, but is worth checking out on live discs); "Zig Zag" is playful. Ornette's adventurousness here is confined to the intense trumpet piece "Freeway Express," where he pulls Miles' chain a little with a harmon mute, and the intense violin workout "Sound Gravitation." I had a chance to pick up a violin the other day. I've never played it in my life, but in a few seconds I was approximating "Sound Gravitation." Does that mean it's worthless as music? No. Ornette Coleman is not a conventional musician, but he has too much musical talent to make a bad album. Haden's bowed bass interacts skillfully with his furious violin. For that matter, Haden is masterful all the way through.

Listening to him listen to Ornette (and Denardo) and react is a musical experience of value. Nor is the little kid just fooling around. The music here is unlike most everything else that ever came out of Blue Note, or anywhere, but those who won't notice or care that these guys are not the smoothest of instrumentalists might enjoy this album. I do. ~ Robert Spencer https://www.allaboutjazz.com/the-empty-foxhole-ornette-coleman-blue-note-records-review-by-robert-spencer.php

Personnel  Ornette Coleman - alto saxophone (tracks 1, 5, 6), trumpet (2, 4), violin (3);  Charlie Haden - bass;  Denardo Coleman - drums

The Empty Foxhole

---

Allison Moorer - Miss Fortune

Styles: Vocal
Year: 2002
File: MP3@320K/s
Time: 57:49
Size: 133,4 MB
Art: Front

(4:19)  1. Tumbling Down
(4:52)  2. Cold in California
(3:49)  3. Let Go
(5:54)  4. Ruby Jewel Was Here
(3:07)  5. Can't Get There From Here
(4:41)  6. Steal the Sun
(3:26)  7. Up This High
(4:30)  8. Hey Jezebel
(2:51)  9. Mark My Word
(4:03) 10. No Place for a Heart
(5:27) 11. Yessirree
(3:57) 12. Going Down
(6:47) 13. Dying Breed

Rather than open her Universal South debut with a boot-stompin' rave, Moorer sounds an autumnal tone  not just on the opening track, but on the first three. Though several up-tempo tunes do follow, this muted quality pervades Miss Fortune. Clearly the point is that Moorer intends to move past her identification with traditional country into a more personalized and varied realm in which she exercises full creative control. Make no mistake: This is a country album, but it's closer to what the music might have become rather than to where it has sunk in its current doldrums. A honey-toned and expressive singer, Moorer does seem more at home with slower, thoughtful material; on faster numbers, like "Ruby Jewel Was Here" and "Hey Jezebel," her phrasing is more affected in fact, the grooves are transparently derivative, reflecting the Band and the Stones, respectively. On the other hand, when she slinks into a Kurt Weill pose on the closing track, "Dying Breed," she feels totally at home with the idiom and its interpretive implications. Despite the ambiguity of the title, Miss Fortune suggests an intriguing turn for Moorer, not to mention affirmation that there are still opportunities to experiment outside the boardrooms of Music Row.~ Robert L. Doerschuk https://www.allmusic.com/album/miss-fortune-mw0000226707

Miss Fortune

---

Andrew Hill - Spiral

Styles: Piano Jazz
Year: 1975
File: MP3@320K/s
Time: 44:44
Size: 102,6 MB
Art: Front

(3:34)  1. Tomorrow
(6:07)  2. Laverne
(6:07)  3. The Message
(7:30)  4. Invitation
(4:49)  5. Today
(9:10)  6. Spiral
(7:25)  7. Quiet Dawn

After four years mostly off of records, the innovative pianist/composer Andrew Hill re-emerged for this Freedom set, which has since been reissued on CD. The program is split between quintet numbers with altoist Lee Konitz (who doubles on soprano) and trumpeter Ted Curson, and quartet performances that showcase the somewhat forgotten altoist Robin Kenyatta. In addition, "Invitation," the one Hill nonoriginal, is taken as a spontaneous duet with Konitz. Although the music overall does not reach the heights of the pianist's earlier work for Blue Note (or his later sessions), there are enough surprising moments and thought-provoking solos to make this a release worth picking up by open-eared listeners.~ Scott Yanow https://www.allmusic.com/album/spiral-mw0000651843

Personnel:  Andrew Hill – piano;  Ted Curson – trumpet, flugelhorn, pocket trumpet (tracks 1-4);  Lee Konitz – soprano saxophone, alto saxophone, tenor saxophone (tracks 1-4);  Robin Kenyatta – alto saxophone (tracks 5-7);  Cecil McBee (tracks 1-4), Stafford James (tracks 5-7) – bass;  Barry Altschul (tracks 5-7), Art Lewis (tracks 1-4) – drums

Spiral

---

Christopher Hollyday - Christopher Hollyday

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 60:33
Size: 138,9 MB
Art: Front

(6:47)  1. Appointment in Ghana
(8:25)  2. Omega
(5:42)  3. Bloomdido
(4:43)  4. This Is Always
(6:35)  5. Ko-Ko
(7:05)  6. Little Melonae
(8:19)  7. Embraceable You
(6:37)  8. Blues Inn
(6:16)  9. Bebop

Altoist Christopher Hollyday's first release for Novus (following a few small-label sets) immediately made him one of the top Young Lions of the era. Nineteen at the time, Hollyday was clearly strongly influenced by Jackie McLean (one of his main teachers), but holds his own with an all-star group comprised of trumpeter Wallace Roney, pianist Cedar Walton, bassist David Williams, and drummer Billy Higgins. Performing two of McLean's originals ("Appointment in Ghana" and "Omega") and five bop standards, the young saxophonist shows plenty of potential and fares quite well.~ Scott Yanow https://www.allmusic.com/album/christopher-hollyday-mw0000653669

Personnel:  Saxophone [Alto] – Christopher Hollyday;  Bass – David Williams ;  Drums – Billy Higgins;  Piano – Cedar Walton;  Trumpet – Wallace Roney

Christopher Hollyday

---

Jay Lawrence - Sonic Paragon

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 71:13
Size: 200,2 MB
Art: Front

(6:38)  1. Full Moon in Havana
(5:07)  2. What'll I Do
(7:31)  3. Vamonos
(7:06)  4. Slide
(5:38)  5. Maria
(6:51)  6. Dayspring
(4:18)  7. From Nadir to Zenith
(6:26)  8. Sonic Paragon
(5:16)  9. Tchoupitoulas
(5:58) 10. Golden Ratio
(4:41) 11. Crosstown Traffic
(5:39) 12. My Winsome Consort

"Drummer Jay Lawrence gathered together an impressive all-star group to perform swinging originals (all but one are his with one being co-written) and inventive versions of two standards and Jimi Hendrix’s “Crosstown Traffic” (turned into a straight ahead uptempo romp). The colorful music covers a variety of moods and tempos ranging from the rhythmically catchy “Tchoupitoulas” and the cheerful “My Winsome Consort” to an infectious modernized version of “Maria.” Among the most memorable moments are Renee Rosnes’ sly Monkish solo on “My Winsome Consort,” Terrell Stafford’s riotous plunger mute chorus on “Slide,” Romero Lubambo pushing the rhythm on “Maria,” and the leader’s drum breaks on the Latinish “Vamonos.” Harry Allen’s tenor is a major part of the group’s sound throughout, the three guitarists each have spots to shine, and how can one beat John Patitucci on bass? Sonic Paragon is worthy of many listens; there is a lot to discover in this music."~ Scott Yanow, jazz journalist/historian and author of 11 books

Jay Lawrence, (freelance musician, composer, educator) operates LIJA Music Inc., is the percussionist for the MT Pit Orchestra, co-owns the Jazz Hang record label with colleague Ray Smith, and is the drummer for the Salt Lake City Jazz Orchestra. Lawrence graduated from Utah Valley University with a Bachelor of Science degree - Summa Cum Laude. He has been a member of the adjunct faculties at Brigham Young University (1996 to present), University of Utah (24 years), Snow College (1998 to present), and other Universities. His vast professional experience began when Lawrence joined The Musicians Union (A. F. of M.) at the age of fifteen. In Reno, Lake Tahoe and Las Vegas, Nevada hotel/casino show bands, Jay performed with many celebrities, including: The 5th Dimension, Paul Anka, Vikki Carr, Cher, Roy Clark, The Coasters, Natalie Cole, Vic Damone, Sammy Davis Jr., Barbara Eden, Michael Feinstein, Andy Gibb, Englebert Humperdink, Tom Jones, Ben E. King, Gladys Knight, Rich Little, Loretta Lynn, Ann Margret, Maureen McGovern, Shirley MacLaine, Liza Minnelli, The Moody Blues, Anthony Newley, Lou Rawls, Charlie Rich, Linda Ronstadt, Frank Jr. and Nancy Sinatra, Red Skelton, Dionne Warwick, Raquel Welch, Mary Wilson, and many others. Former President of the Salt Lake Jazz Society, Lawrence has also performed with many jazz artists, including: Shelly Berg, Brian Bromberg, Kenny Burrell, Cyrus Chestnut, Pete Christlieb, Dee Daniels, Eddie Daniels, Carl Fontana, Al Grey, Don Grolnick, Roy Hargrove, Milt Jackson, Hank Jones, Carol Kaye, Mark Levine, James Moody, Andy Narell, New York Voices, Nicholas Payton, John Pizzarelli, Tom Scott, Bobby Shew, Byron Stripling, Tierney Sutton, Clark Terry, Stanley Turrentine, and Phil Woods. Many award-winning recordings have been recorded by Jay, including albums with Bob Mintzer, Andy Martin, Joey DeFrancesco, Mike Stern, Eddie Daniels, Chuck Findley, Ellis Hall, Natalie Cole, Rodney Jones, Reggie Thomas, Ron Blake, Rodney Whitaker and others. The Jay Lawrence trio’s Thermal Strut on OA2 Records featured Tamir Hendelman and Lynn Seaton and received critical acclaim in Percussive Notes, Jazz Times, and other magazines. Jay’s 2012 recording, Sweet Lime, released on Jazz Hang Records, reached number 7 on the Jazz Week Radio Airplay charts. It features Bob Sheppard and John Clayton. Lawrence also soloed on Kaskade’s Grammy Nominated album Atmosphere. He has toured throughout the U.S.A., Canada, Europe, the South Pacific and the Caribbean with luminaries such as Chris LeDoux, James Moody, Liberace, Enoch Train, and The Osmonds. Lawrence has recorded film scores and trailers for the following motion pictures: The Sandlot, 101 Dalmatians, Army of Darkness, Double Impact, Eulogy, Flubber, Frank and Jesse, Gettysburg, Hercules, Huck Finn, Jumanji, Mighty Ducks 2, Nightmare on Elm Street- Part VII, Stargate, Surviving Picasso, The Swan Princess, The Three Ninjas Kick Back, U-57, and Saturday's Warrior. https://store.cdbaby.com/cd/jaylawrence

Personnel:  Jay Lawrence, drums;  John Patitucci, bass;  Renee Rosnes, piano;  Harry Allen, tenor saxophone;  Terell Stafford, trumpet;  Anthony Wilson, Yotam Silberstein, Romero Lubambo, guitars

Sonic Paragon

---