Kenny Wheeler - Kayak

Styles: Trumpet Jazz
Year: 1992
File: MP3@320K/s
Time: 56:18
Size: 129,2 MB
Art: Front

( 7:21)  1. 5 4 6
(11:03)  2. Gentle Piece - Old Ballad
( 9:16)  3. Kayak
( 6:09)  4. Sea Horse
( 6:01)  5. Sea Lady
(10:29)  6. C Man
( 5:55)  7. C.C. Signor!

Jazz trumpeter and flügelhornist Kenny Wheeler was one of the most advanced voices on his instrument. Blessed with a full, lovely tone and an astounding range, Wheeler sounded equally at home in fiery free jazz explorations or softer, more lyrical post-bop meditations. Wheeler was born in 1930 in Toronto, Ontario, and began playing trumpet at age 12. After studying at Toronto's Royal Conservatory, he moved to London in 1952, where he gigged with swing and dance bands. He appeared with John Dankworth's orchestra at the 1959 Newport Festival and remained with that group until 1965. In 1966, Wheeler discovered free jazz, and, fascinated, joined John Stevens' Spontaneous Music Ensemble for the next four years. In addition, he played jazz-rock fusion with the Mike Gibbs Orchestra from 1969-1975, and joined Tony Oxley's sextet (along with free jazz giants like Derek Bailey and Evan Parker) from 1969-1972. Through the latter, Wheeler was invited to join German pianist Alexander von Schlippenbach's groundbreaking free jazz big band the Globe Unity Orchestra in 1970, an association Wheeler maintained for years to come. During the first half of the '70s, Wheeler played with Anthony Braxton, which became his primary focus. In 1975, he signed with the ECM label and recorded the well-received Gnu High, which established him as a solo artist of note; the following year, he left Braxton and joined the trio Azimuth. Wheeler turned out a series of excellent ECM albums, including 1977's Deer Wan and 1983's Double, Double You (that year, Wheeler also began a four-year run with the Dave Holland Quintet). Several more generally fine outings followed in the '90s, including the ECM dates Music for Large and Small Ensembles and The Widow in the Window (both recorded in 1990), plus other recordings for Justin Time and Soul Note later in the decade. During the 2000s and 2010s, he recorded several dates for CAM Jazz, including 2008's Other People with the Hugo Wolf String Quartet and 2011's One of Many with Steve Swallow. Wheeler died on September 18, 2014 after a brief illness. His final studio session, the Manfred Eicher-produced Songs for Quintet, was released in 2015 on what would have been Wheeler's 85th birthday. ~ Steve Huey https://www.allmusic.com/artist/kenny-wheeler-mn0000767652/biography

Personnel:  Kenny Wheeler: trumpet and flugelhorn;  John Rook: french horn;  Stan Sulzmann: soprano and tenor saxophones, flute;  Julian Argüelles: soprano and tenor saxophones;  Dave Horler: trombone;  Chris Pyne: trombone;  Dave Stewart: bass trombone and tuba;  John Taylor: piano;  John Horler: piano;  Chris Laurence: bass;  Peter Erskine: drums

Kayak

---

Rod Stewart - Still the Same... Great Rock Classics of Our Time

Styles: Vocal, Soul
Year: 2006
File: MP3@320K/s
Time: 46:40
Size: 113,1 MB
Art: Front

(3:12)  1. Have You Ever Seen the Rain
(3:48)  2. Fooled Around and Fell in Love
(4:29)  3. I'll Stand by You
(3:38)  4. Still the Same
(3:33)  5. It's a Heartache
(3:07)  6. Day After Day
(4:18)  7. Missing You
(3:36)  8. Father and Son
(3:44)  9. The Best of My Love
(3:36) 10. If Not for You
(3:47) 11. Love Hurts
(3:06) 12. Everything I Own
(2:42) 13. Crazy Love

Early on in his career Rod Stewart established himself as one of rock's great interpretive vocalists, which made the flatness of his Great American Songbook series a bit puzzling. If any classic rock veteran of the '60s should have been able to offer new spins on old standards, it should have been Rod the Mod, who was turning Elvis' "All Shook Up" inside out on Jeff Beck's Truth and turned the Rolling Stones' defiant "Street Fighting Man" into a folk-rock lament, all before "Maggie May" turned Rod into a star. But none of the Great American Songbook volumes strayed from the tried and true, which may have been part of the reason they were big hits after all, familiar songs are always warmly received when they're performed in a familiar fashion but they were filled with undistinguished performances that bordered on laziness. It was possible to make excuses for his performances, chief among them that Stewart was simply not rooted in this material, so he simply chose the easiest route out of the song, but it didn't change the fact that all three records were deadly dull, even if they were enormous successes one and all. It's hard to give up that success, particularly for a veteran who was so desperate for a hit a few years back, he foolishly attempted the clunky modern R&B album Human, so it's not surprising that when he moved on from the Great American Songbook, he chose a related project: Great Rock Classics of Our Time, which is the subtitle of 2006's Still the Same, his first new record since GAS, and one that shares the aesthetic of that respectful and commercial trawl through the past. Still the Same finds Rod singing 13 songs that more or less could be called rock standards, every one of them hits since Stewart himself was a hitmaker, most of them dating from the '70s, when he was a superstar (roughly ten, if you count "Love Hurts" as a hit for Nazareth, which in this context you should). 

Not a bad idea at all, at least on paper, since this would seem to return Rod to his strengths: singing rock & roll and pop, influenced by soul and a little bit of country and folk. This theory has a bit of a problem, however. It's made under the assumption that it would be the Rod of the '70s singing songs from the '70s instead of the Rod of the new millennium singing songs of the '70s and the latter, of course, is what is featured on Still the Same. That means instead of Rod the Interpreter you get Rod the Karaoke Star, singing over arrangements that aren't merely familiar, but nearly exact replicas of the original hits. This isn't far removed from The Great American Songbook, which never offered a surprise, but those at least had the excellent work of Richard Perry, who was faithful without being slavish. Here, almost without exception, the arrangements deliberately recall the original hits, right down to grace notes and throwaway fills. This doesn't necessarily make for a lousy record, since Rod does indeed sound more comfortable fronting a rock band than he did singing with a big band, but Stewart makes no attempt to stamp these tunes with his own personality. Nowhere is that truer than on "It's a Heartache." Bonnie Tyler's delivery on the original was a downright homage to Rod, so close to his raspy phrasing that it was (and is) often mistaken for Rod himself. So what does he do on his version? He copies it, right down to the inflections. It's not bad; it's just pointless, because Tyler's original sounds more like classic Rod than Rod's does here. And while that sentiment may hold true for only "It's a Heartache," the rest of the album follows suit. The title Still the Same is all too true: these are the same versions of the same old songs you know and love, only they're now sleepily sung by Stewart. It's not the worst album he's done, and it's an improvement over The Great American Songbook if only because it plays to his strengths, but it aspires to be nothing more than pleasant and it achieves nothing so much as being just that. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/still-the-same-great-rock-classics-of-our-time-mw0000557398

Still the Same... Great Rock Classics of Our Time

---

Blossom Dearie - Soubrette: Sings Broadway Hit Songs

Size: 84,6 MB
Time: 35:47
File: MP3 @ 320K/s
Released: 1960/2004
Styles: Jazz Vocals, Broadway
Art: Front & Back

01. Guys And Dolls (From Guys And Dolls) (2:46)
02. Confession (From The Bandwagon) (2:39)
03. Rhode Island Is Famous For You (From Inside USA) (2:09)
04. To Keep My Love Alive (From A Connecticut Yankee) (3:20)
05. Too Good For The Average Man (From On Your Toes) (3:26)
06. The Gentleman Is A Dope (From Allegro) (4:12)
07. Always True To You In My Fashion (From Kiss Me Kate) (2:47)
08. Napoleon (From Jamaica) (4:13)
09. Life Upon The Wicked Stage (From Showboat) (2:36)
10. The Physician (From Nymph Errant) (2:14)
11. Love Is The Reason (From A Tree Grows In Brooklyn) (3:31)
12. Buckle Down Winsocki (From Best Foot Forward) (1:48)

To hear Blossom Dearie's early records for Verve is to think that she would excel singing any song in any circumstance; to hear Soubrette: Sings Broadway Hit Songs is to realize that even she has limitations. Dearie, cast as the soubrette ("the saucy-serving-maid" or "the heroine's confidante," from the liner notes), is certainly a perfect fit for the role, which draws upon her skill at delivering witty material with a wink and a smile. This record fails nevertheless for two reasons -- it's her first record with full orchestral arrangements, and she doesn't impress when she's singing a comic song straight (comparatively speaking), which she does here. The arrangements of Russ Garcia are inventive but burdensome, and overly close for a Blossom Dearie date; instead of following every one of her humorous lines with its auditory equivalent (usually brass or vibraphone), far better to let the soubrette speak for herself. And Dearie herself missteps when singing a few of these ("Guys and Dolls" and "Life Upon the Wicked Stage") with no trace of her jazz smarts and unfailing interpretive sense. A few songs allow her to float the punch lines without undue intrusion, such as "To Keep My Love Alive" (in which a female serial killer explains her actions) and the eccentric, playful state-naming "Rhode Island Is Famous for You." ~by John Bush

Soubrette: Sings Broadway Hit Songs

---

The Larry Goldings Trio - The Zombie Room

Size: 119,2 MB
Time: 50:55
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Piano Jazz
Art: Front

01. Tell The Wolves Im Home (4:37)
02. The Zombie Room (3:59)
03. Last Exit To Brooklyn (3:09)
04. When Nietzsche Wept (3:52)
05. I Dreamt The Snow Was Burning (2:58)
06. Sick Of Shadows (3:58)
07. In Watermelon Sugar (5:14)
08. Sorry I Ruined Your Orgy (4:22)
09. The Color Of Magic (5:49)
10. Lolita (4:54)
11. How To Lie With Statistics (4:07)
12. The Sky Is Everywhere (3:50)

Larry Goldings is a Grammy-nominated pianist, keyboardist, composer, and songwriter. Among jazz enthusiasts, Goldings' organ trio with Peter Bernstein and Bill Stewart has been recognized for charting new ground, with synergistic playing and hard-swinging yet thoughtful music. Goldings' talents have been sought-after by an impressive range of musicians including James Taylor, Norah Jones, John Mayer, Madeleine Peyroux, Melody Gardot, Tracy Chapman, Rickie Lee Jones, Charlie Haden, Steve Gadd, Herbie Hancock, Sia, Christina Aguilera, Elton John, and Leon Russell.

Larry has recorded 18 albums as a leader, hundreds more as a sideman, and has collaborated on a long-term basis with Maceo Parker, Jim Hall, Michael Brecker, and John Scofield. Goldings has been recording and touring with iconic singer-songwriter James Taylor since 2001, and is the featured musician on Taylor's One Man Band CD/DVD, the culmination of a two year world-wide tour with James and Larry in duet.

In 2007, Goldings received a Grammy nomination (Best Instrumental Jazz Album of the Year) for his live album Trio Beyond - Saudades (ECM) with John Scofield and Jack DeJohnette. His compositions have been recorded by Pat Metheny, Michael Brecker, John Scofield, Toots Thielemans, Jim Hall, Gaby Moreno, Bill DeMain, Jane Monheit, Spencer Day, Curtis Stigers, Mike Viola, Lea Michele, Sia, and others. The 2014 UK Songwriting contest awarded Larry, along with Dannielle DeAndrea and David Batteau, "Best Song" in the Jazz/Blues category for the composition, "High Dreams."

Goldings composed the music for the 2013 feature film Dealin' With Idiots, written and directed by Jeff Garlin (Curb Your Enthusiasm). His music graces the soundtracks of Seth Rogan's Neighbors, Judd Apatow's Funny People, as well as the films Space Cowboys, Proof, NBC's The Office, and most recently, an upcoming TBS sitcom, Your Family or Mine, for which Larry co-wrote the music. Goldings' music is frequently heard on NPR's critically-acclaimed This American Life.

Larry's most recent recording, Music From The Front Room, is a freshly untraditional piano trio outing, with Larry playing Steinway upright piano, and features David Piltch on bass, and Jay Bellerose on drums.

The Zombie Room

---

Scott Hamilton, Leah Kline & Francesca Tandoi - Triple Treat

Size: 122,1 MB
Time: 52:34
File: MP3 @ 320K/s
Released: 2017
Styles: Jazz Vocals
Art: Front

01. Easy To Love (4:07)
02. Early Autumn (7:13)
03. Get Out Of Town (4:02)
04. Little Jazz Bird (5:20)
05. First Song (4:38)
06. Four Brothers (3:41)
07. (He's) Funny That Way (5:36)
08. Star Eyes (4:04)
09. Light At Heart (3:56)
10. But Not For Me (3:58)
11. Blame It On My Youth (5:54)

In Holland ( the Netherlands) I have been living and working with a WIDE variety of musicians. What is so amazing about living here, is that there is for me a lot of freedom to explore my voice and my own musical sensitivities.
I was singing with a swing band Dr. Bernard and his Swing band, and this band focused on Benny goodman style music. Which , being a dancer ages ago. made me very interested in singing on the beat, whereby most torch songs are sung with a back phrasing. I really enjoyed being the one to set a tempo and push the band. This skill became handy when I took on this project of Sax, piano and voice. All lead instruments, all of us soloists, all of us creating tension by phrasing behind the beat.
I felt it was my responsibility sometimes to sing ON THE beat , to create variety.
For Francesca ( our lovely Italian/Roman) pianist the task was of course heavy on her to be the rhythm section,
Scott is known for his smooth languid delivery. We didn't really ask him to phrase differently.. We didn't dare! ha ha.

But as far as variety is concerned, I felt it was also nice to sing and play in layers, for instance in First song and some other tunes, I sing some phrases above to color the solo or Thicken the sound layer.

Being young people playing the oldies, I am really proud of the modal treatment of some of the tunes. I think for this I really like Get out of Town. Francesca and I played with the double time feel but then also extending the bars. The double time tempo really comes in the B part. and I took the liberty of adjusting the lyrics ( her also phrasing forward) to get all the lyrical meaning without rushing.

In every album I make there is always One original tune and on this album it's Light at Heart. These were lyrics that I made for a colleague of mine. Anne Chris who decided to write her own lyrics, so I took the lyrics to Dirk Balthaus who I worked with for 5 years and on the album JuzzFlirtin, and he created the melody to this tune. But we only made one album together. I asked Francesca to play it, and she really dug it.

Francesca is a sort of italian, Blossom Dearie, and I thought it was a shame to not ask her to sing a tune so we added But not For me, for fun. I liked also adjusting my voice tone to blend with her mood.

Four Brothers , is Francesca's favorite, and our snapping really helps to hear her groove. Scott just whipped out the harmony at the session.
What I really like about Scott is that we only rehearsed once, and the interpretations and solos are truly intuitive and not overly spoken.

First Song, I love the lyrics, but I also love the melody, and I like the original key which is difficult to sing the lyrics to convincingly as it is so far out of the speaking voice for me. So.. I just hummed it.. a bit nasal so it would penetrate. It has a spiritual quality. Like in a church or a boys choir like feel. I suppose it's a compliment, but one of the first listeners said about this tune, " When I die, I want this played at my funeral. So beautiful! " now can you get more spiritual than that.

This Album's idea was brought about by Scott Hamilton's mananger in the Benelux area. Jerry Steyger, who is also the manager of the Bernard Berkhout Band. He said this is the First Time Scott has recorded a trio album without a rhythm section. So I hope it is worthy of that debut. I am certainly honored. Both parties on the album are true professionals and it was a pleasure to work with them. Quickly, intuitively and nice vibes.

My inspirations for this album are definitely Anita O'day, Kurt Elling, and I suppose a bit of Blossom Dearie too!
Hope you enjoy listening.
Léah Kline

Triple Treat

---

McClenty Hunter Jr. - The Groove Hunter

Size: 121,2 MB
Time: 51:58
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Blue Chopsticks (4:57)
02. The Big Push (7:44)
03. Autumn (6:25)
04. That Girl (5:42)
05. My Love (6:20)
06. Sack Full Of Dreams (4:35)
07. I Remember When (5:50)
08. Countdown (3:40)
09. Give Thanks (6:42)

Drummer McClenty Hunter Jr. has left an indelible mark on the scene in the years since his move from the Washington D.C. area to the New York proving grounds. Whether taking to the studio with Jim Snidero, tearing it up on stage with icons like Curtis Fuller and Lou Donaldson, or holding down the fort during his lengthy stays in the respective bands of Kenny Garrett and Dave Stryker, Hunter has continually shown his true musical mettle and risen to every challenge and situation he's faced. Now, he takes on the ultimate responsibility—the mantle of leadership—on this, his debut.

The Groove Hunter is both a gathering of friends, a display of diversity, and a marshaling of forces. Hunter brings together a collection of colleagues to cover a wide spectrum of material that leaves no doubt as to the veracity of his position within the jazz community and his groove-hunting habits. He quickly shifts from dirty hi-hat slams to swing on Herbie Nichols' "Blue Chopsticks," serving as the engine of a trio train engineered by pianist Eric Reed. Then he ably backs a horn happening on "The Big Push," takes a back seat to beauty while Stacy Dillard's tenor takes center stage during "Autumn," shuffles his way into a barroom vibe on a Stryker-enhanced take of Stevie Wonder's "That Girl," and ushers the listener from the quietude of Reed's eighty-eights to a John Coltrane-ish realm on "My Love." In each and every instance Hunter holds down the fort and gives the song just what it needs.

The second half of the album, giving Hunter the opportunity to further diversify his portfolio and showcase the heavy company he keeps, is no less pleasing. Stryker returns for an understated "Sack Full Of Dreams" with a low-key soul feel, Hunter joins with pianist Christian Sands and bassist Eric Wheeler for his own nostalgic-turned-triumphant "I Remember When," and muscle and tussle define the day when Donald Harrison's alto leads the charge on Coltrane's "Countdown." Then the tonal beauty of toms underscores reflection and praise on the album-closing "Give Thanks."

In fleshing out this vision, Hunter delivers a work of strength without ego, passion without piousness, and art without artifice. It's music that's straight from—and to—the heart. The Groove Hunter's aim is right and true. ~by Dan Bilawsky

Personnel: McClenty Hunter Jr.: drums; Eddie Henderson: trumpet (2); Donald Harrison: alto saxophone (2, 8); Stacy Dillard: tenor saxophone, soprano saxophone (2, 3, 5); Eric Reed: piano (1-3, 5, 8-9); Christian Sands: piano, Fender Rhodes (4, 6-7); Dave Stryker: guitar (4, 6); Corcoran Holt: bass (1-3, 5, 8-9); Eric Wheeler: bass (4, 6-7).

The Groove Hunter

---

LaVon Hardison - There Will Be Trouble

Size: 97,5 MB
Time: 41:48
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. My Funny Valentine (4:12)
02. Frim Fram Sauce (3:20)
03. Should I Stay Or Should I Go (3:22)
04. Mood Indigo (5:01)
05. Heat Wave (3:34)
06. It's Only A Paper Moon (2:53)
07. Firework (7:12)
08. The 59th Street Bridge Song (Feelin' Groovy) (2:51)
09. Sweet Georgia Brown (3:42)
10. One Fine Day (5:37)

Did you ever hear a cover version of a popular song and think "That's what it's all about!"? Chances are you’ll feel that way about all of the songs on LaVon Hardison's "There Will Be Trouble." Her fourth release -- and by far her most compelling work to date -- comprises ten eclectic selections that prove that great songs are great songs, regardless of genre or age.

Her selections range from the raucous 1925 jazz standard "Sweet Georgia Brown" anchored by stellar baritone sax work from Hans Teuber, to a powerfully intimate re-imagining of Katy Perry's 2010 hit "Firework."

In between, LaVon visits the 1930s ("My Funny Valentine," "Mood Indigo," "It's Only a Paper Moon"); the 1940s ("Frim Fram Sauce"); the 1960s ("Heat Wave," "The 59th Street Bridge Song (Feelin' Groovy)," "One Fine Day"); and the 1980s ("Should I Stay or Should I Go").

Each stop on this trip through diverse times and styles will make you smile, or cry, or think about your own journey in a new way. LaVon's remarkable ability as a musical storyteller -- rooted in a lifetime of acting and musical performance -- helps her become a conduit connecting song to listener. And the top-notch musicians she's chosen to work with support her voice at every step with just the right mix of verve and attitude.

Taking this musical journey with her, you can under stand why LaVon was acclaimed as Earshot Jazz's 2017 Northwest Vocalist of the Year and winner of the 2016 Seattle-Kobe Female Jazz Vocalist Audition

There Will Be Trouble

---

Peter Ecklund - Ecklund At Elkhart The Classic All-Stars

Styles: Trumpet And Cornet Jazz
Year: 1995
File: MP3@320K/s
Time: 67:00
Size: 156,5 MB
Art: Front

(5:55)  1. Opening Remarks
(6:19)  2. Sweethearts On Parade
(3:20)  3. Yacht Club Swing
(4:29)  4. Trees
(5:51)  5. Somebody Stole My Gal
(3:47)  6. The Moon Is Low
(3:17)  7. Indian Summer
(2:47)  8. I'm Putting All My Eggs In One Basket
(5:10)  9. Borneo
(4:44) 10. Black Cat Moan
(5:48) 11. Doin' The New Low-Down
(2:18) 12. Nobody's Sweetheart
(4:18) 13. How And I To Know?
(4:03) 14. Prince Of Wails
(4:47) 15. Where The Blue Of The Night

This CD has trumpeter and cornetist Peter Ecklund leading an all-star septet that he assembled for the 1994 Elkhart Indiana Jazz Festival. Ecklund is joined by the members of the Orphan Newsboys (clarinetist Bobby Gordon, rhythm guitarist and singer Marty Grosz, and bassist Greg Cohen) plus trombonist Dan Barrett, pianist Mark Shane, and drummer Hal Smith. Grosz has four vocals, Ecklund whistles on "Where the Blue of the Night," and the band romps on such numbers as "Yacht Club Swing," "Borneo," "Nobody's Sweetheart," and "Prince of Wails." The musicians play up to their usual level, so this set is easily recommended to mainstream swing collectors. ~ Scott Yanow https://www.allmusic.com/album/ecklund-at-elkhart-mw0000775326

Personnel: Peter Ecklund (whistling, trumpet, cornet); Marty Grosz (vocals, guitar); Bobby Gordon (clarinet); Dan Barrett (trombone); Mark Shane (piano); Hal Smith (drums).

Ecklund At Elkhart The Classic All-Stars

---

David Grisman Quintet - Dawg's Groove

Styles: Mandolin
Year: 2006
File: MP3@320K/s
Time: 60:09
Size: 138,5 MB
Art: Front

( 6:54)  1. Limestones
( 5:09)  2. La Grande Guignole
( 7:18)  3. Ella McDonnell
( 5:48)  4. Zambola
( 6:31)  5. Tracy's Tune
( 5:22)  6. Dawg's Groove
( 5:17)  7. Cinderella's Fella
( 5:27)  8. My Friend Dawg
(12:17)  9. Blues For Vassar

Celebrating the 30th anniversary of creating his unique "Dawg Music," mandolinist David Grisman's long running quintet has one significant personnel change on this studio date for Dawg's Groove: the replacement of percussionist/fiddler/mandolinist Joe Craven (who launched a solo career) with the return of drummer George Marsh. Grisman's recordings have infrequently included a full drum kit, but Marsh's sensitive touch fits the leader's demands perfectly, though his explosive trade-offs in Grisman's opener "Limestones" prove he's not present just for background work. Marsh also contributed the tender ballad "Waltz for Lucy" (written in memory of his daughter). Grisman's superb musicianship seems to get even better over time, while he also wrote a number of new compositions for this session. Matt Eakle's playful flute remains a focal point and he composed the catchy, brisk samba "My Friend Dawg." Bassist Jim Kerwin, the longest tenured sideman in the quintet, along with guitarist Enrique Coria, a fine addition in 1994, also make important contributions to the Grisman sound. The closing track, "Blues for Vassar," is more of a sensitive waltz in tribute to the late fiddler Vassar Clements, who joined Grisman in various projects by Old & In the Way. Up to his usual tricks, the mandolinist adds a bonus untitled hidden track, as well. ~ Ken Dryden https://www.allmusic.com/album/dawgs-groove-mw0000563287

Personnel:  David Grisman – mandolin, mandola;  George Marsh – drums, percussion;  Matt Eakle – flute, bass flute, tin whistle;  Enrique Coria - guitar, whistle;  Jim Kerwin – bass

Dawg's Groove

---

Buddy Terry - Lean on Him

Styles: Saxophone And Flute Jazz
Year: 1972
File: MP3@320K/s
Time: 43:18
Size: 99,4 MB
Art: Front

( 5:55)  1. Lean on Me (Lean on Him)
( 5:39)  2. Holy, Holy, Holy
( 3:13)  3. Climbing Higher Mountains
( 4:52)  4. Amazing Grace
(10:17)  5. Inner Peace
( 5:45)  6. Precious Lord, Take My Hand
( 7:34)  7. Love Offering

One of the fullest albums we've ever heard from saxophonist Buddy Terry a set that has him blowing along with a set of soulful larger backings sometimes with a bit of gospel overtones as well! The lineup on the album's pretty darn hip players who include Larry Willis on electric piano, Jay Berliner on guitar, Ernie Hayes on organ, Wilbur Bascomb on Fender bass, Bernard Purdie on drums, and Lawrence Killian on percussion plus added vocals from a group that includes Dee Dee Bridgewater, Alphonse Mouzon, and Peaches Wilson! Buddy arranges and conducts and while his tenor and soprano get some space in the arrangements, the overall sound is more focused on the full spirit of the group. Titles include "Lean On Me (Lean On Him)", "Love Offering", "Inner Peace", "Amazing Grace", "Precious Lord, Take My Hand", "Holy Holy Holy", and "Climbing Higher Mountains".  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/850259/Buddy-Terry:Lean-On-Him

Personnel:  Buddy Terry - tenor saxophone, soprano saxophone, flute, arranger;  Eddie Henderson - trumpet, flugelhorn;  Jay Berliner - electric guitar;  Larry Willis - piano, electric piano;  Ernie Hayes - organ;  Wilbur Bascomb - electric bass;  Bernard Purdie - drums;  Lawrence Killian - percussion;  Alphonse Mouzon, Dee Dee Bridgewater - vocals

Lean on Him

---

Orrin Evans and the Captain Black Big Band - Presence

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 77:13
Size: 177,5 MB
Art: Front

( 9:29)  1. The Scythe
( 8:27)  2. Question
(10:37)  3. Onward
( 3:15)  4. When It Comes
(10:03)  5. Flip the Script
(11:53)  6. Trams
(13:07)  7. Answer
( 8:58)  8. Presence
( 1:19)  9. When It Comes (alternate take)

You have to wonder how many outlets a restless creative like hard bopping pianist Orrin Evans needs to fully express himself. Twenty-five or so albums into a legacy that finds him as the newest member of The Bad Plus after years of riffing and ripping it up with The Mingus Big Band, experimenting with soul/jazz Luv Park; solo successes Faith In Action, (Posi-Tone, 2010); The Evolution of Oneself (Smoke Session, 2014) and various collaborations, Evans still has a talent bursting with ideas that he channels through the explosively celebratory Captain Jack Big Band. Named after his father's favorite pipe tobacco, even a scaled down Captain Black on Presence brings to the bandstand a veritable village of Evans' Philadelphia family. And they all shine bright. Caleb Wheeler Curtis and Todd Bashoreshare alto sax duties. John Raymond,Bryan Davis, and Josh Lawrence bring the trumpets. David Gibson, Brent White, and Stafford Hunter man the trombones. Hard honking, streetwise Troy Roberts blows a fierce and fiery tenor sax. Holding down the fort for all these guys to fly are bassist Madison Rastand the double drumming threat of Anwar Marshall and Jason Brown. Recorded hot and live at Philly's South Jazz Kitchen and Chris' Jazz Cafe, this taut ensemble repeatedly gives the audience its money worth, breaking from the gate with the boisterous and bouncing "The Scythe." Evans brings his love of McCoy Tyner to the effervescent foreground, while Roberts shakes the rafters. A swirling dervish of a track, it is only the beginning. 

Fired up, the audience excitement is palpable as Roberts vigorously solos centerstage intro-ing the rousing post bop "Question" a brassy feast wherein each player readily picks up the other's challenge, pushing the music forward. Trumpeter Raymond's "Onward" is a thrilling ten minutes, shifting seamlessly from an almost anthemic conversation between Evans and Rast to trombones and trumpets signaling a sea-change of time and meter. Evans' "Flip The Script" is a swinging juggernaut, a mighty, Charles Mingus-like blast of reeds and rhythm. Roberts and Curtis are particularly locked in and exuberant as the pianist dodges in between in all, like a boxer trying to land the finishing punch on an ever moving opponent. "Trams" a Roberts' original, is all languid vitality, a bluesy, juke joint highlight. The title track is a raw performance and quite possibly the nearest thing on Presence that one could term traditional. ~ Mike Jurkovic https://www.allaboutjazz.com/presence-orrin-evans-smoke-sessions-records-review-by-mike-jurkovic.php

Personnel:  Orrin Evans: piano;  Caleb Curtis: alto saxophone;  Todd Bashore: alto saxophone;  John Raymond: trumpet;  Bryan Davis: trumpet;  Josh Lawrence: trumpets;  David Gibson: trombone;  Brent White; trombone; Stafford Hunter: trombones; Troy Roberts: tenor saxophone;  Madison Rast: bass; Anwar Marshall: drums; Jason Brown: drums.

Presence

---

Ray Bryant - Cry Me River

Size: 92,8 MB
Time: 40:07
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Piano Jazz
Art: Front

01. Cry Me A River (3:47)
02. In A Mellow Tone (4:18)
03. Pawn Ticket (2:44)
04. Off Shore (3:52)
05. You're My Thrill (4:17)
06. Night In Tunisia (2:36)
07. Cubano Chant (3:02)
08. Goodbye (3:52)
09. Philadelphia Bound (2:32)
10. The Breeze And I (3:24)
11. It's A Pity To Say Goodnight (2:21)
12. Well You Needn't (3:18)

Although he could always play bop, Ray Bryant's playing combined together older elements (including blues, boogie-woogie, gospel, and even stride) into a distinctive, soulful, and swinging style; no one played "After Hours" quite like him. The younger brother of bassist Tommy Bryant and the uncle of Kevin and Robin Eubanks (his sister is their mother), Bryant started his career playing with Tiny Grimes in the late '40s. He became the house pianist at The Blue Note in Philadelphia in 1953, where he backed classic jazz greats (including Charlie Parker, Miles Davis, and Lester Young) and made important contacts. He accompanied Carmen McRae (1956-1957), recorded with Coleman Hawkins and Roy Eldridge at the 1957 Newport Jazz Festival (taking a brilliant solo on an exciting version of "I Can't Believe That You're in Love with Me"), and played with Jo Jones' trio (1958). Bryant settled in New York in 1959; played with Sonny Rollins, Charlie Shavers, and Curtis Fuller; and soon had his own trio. He had a few funky commercial hits (including "Little Susie" and "Cubano Chant") that kept him working for decades. Bryant recorded often throughout his career (most notably for Epic, Prestige, Columbia, Sue, Cadet, Atlantic, Pablo, and Emarcy), and even his dates on electric piano in the '70s are generally rewarding. However, Bryant was heard at his best when playing the blues on unaccompanied acoustic piano. After a lengthy illness, Ray Bryant died in Queens, New York on June 2, 2011; he was 79 years old. ~by Scott Yanow

Cry Me River

---

Steffi Denk - Accentuate The Positive

Size: 140,4 MB
Time: 60:21
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Route 66 (3:15)
02. Accentuate The Positive (4:24)
03. Livin' On A Prayer (3:28)
04. Meglio Stasera (3:25)
05. I've Got You Under My Skin (5:26)
06. All About That Bass (4:18)
07. Caught A Touch Of Your Love (3:31)
08. Shiny Stockings (3:45)
09. Water Under Bridges (3:56)
10. Line For Lyons (4:11)
11. Black Hole Sun (4:43)
12. When Your Life Was Low (6:05)
13. Deedles' Blues (3:22)
14. Puttin' On The Ritz (2:43)
15. For You, For Me, For Evermore (3:43)

On this musical journey to the Jazz, Swing and Bossa Nova roots of this formation, you'll be greeted by well-known classics from the American songbook's upbeat arrangements of contemporary hits such as "Livin'On A Prayer" by Jon Bon Jovi, "Black Hole Sun" by Chris Cornell and Meghan Trainor's "All About That Bass". Of course, ballads must not be missing. Steffi Denk interprets Gregory Porter's "Water Under Bridges", Joe Sample's "When Your Life Was Low" and Cole Porter's "I've Got Under My Skin" (here as Bossa Nova) heartbreaking! Another musical surprise is the bonus track "For You, For Me, For Evermore", which was recorded live in August 2017 at the Palazzo Festival in the Thon-Dittmer-Palais in Regensburg. In the style of jazz legend Ella Fitzgerald, Steffi Denk interpreted this George Gershwin classic extremely sensitively. She and her Flexible Friends were accompanied by jazz guitar, string pad and the "Flexible Friends" string quartet.

Accentuate The Positive

---

Sam Rucker - Redemption

Size: 109,2 MB
Time: 46:51
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz: Smooth Jazz
Art: Front

01. Down On The Inside (Intro) (0:54)
02. Down On The Inside (4:31)
03. True Love (6:59)
04. Overcomer (4:11)
05. Nothing's Too Hard (4:05)
06. Redemption (4:07)
07. Forever Forgiven (4:25)
08. Follow Me (4:52)
09. I Am With You (4:51)
10. Throwback (3:44)
11. Please Child (4:07)

When I last offered a review of Sam Rucker, the illustrious saxman who has that special mesmerizing style we all look for in our sax players to help them stand out in a sea of saxophonists, I said then that here was a huge prospective headliner and that his sophomore album Tell You Something was loaded from beginning to end with killer tracks. Well, here again, the suave saxman offers his third album Redemption with his own form of greased lightning and charm just as effective as before, if not more.

Providing a pure, unadulterated collection of original pleasantries that are simply inundated with magnetic melodies, hooks, and sweet, stirring vocals (offered by Joselyn Best, Wanda Jay, and J. Regina Blackwell), Rucker has shown musical consistency, if nothing else. He’s truly nailed the groove, the stride, and the swag needed to rise on the radar of anyone who’s anyone in this c-jazz business.

As noted in the last release, this one charms throughout — from the lead, sexy track “Down On The Inside” featuring the alluring vocals of Ms. Jay to the head-boppin’ “True Love” to the equally infectious “Overcomer” to “Nothing’s Too Hard” with its confident sway reminiscent of the Euge Groove style (Euge was very instrumental – pardon the pun – in the making of Rucker’s last album, having mixed and mastered the project in his Groove House) to the sultry mid-tempo title track to the gleamingly beautiful and inspirational “Forever Forgiven,” again featuring the vocals of Ms. Jay, to the riveting, soulfully sweet “Follow Me,” and other gems.

The Williamsburg, VA, Rucker is obviously a spiritual man whose faith and inspiration shines through in his top-tier compositions. He suffered a pair of tragedies that could have completely turned another man’s world on its head – the sudden deaths of two of the two guitarists featured on this album, his nephew Justin Taylor and John Calisto, within three days of each other. Needless to say, TSJR’s sincere condolences go out the families and friends of both of those fine musicians, including Rucker. I’m sure that Rucker’s faith has kept him strong and focused.

This album is chock full of c-jazz goodness and laced with the faith and spirituality that Rucker has kept near and dear to his heart and very being. Grab this one and let its pure satisfaction wash over you. AA++ effort. – Ronald Jackson

Redemption

---

SWR Big Band - Live At Elbphilharmonie Hamburg (Feat. Fola Dada)

Size: 135,2 MB
Time: 57:45
File: MP3 @ 320K/s
Released: 2018
Styles: Big Band, Jazz Vocals
Art: Front & Back

01. Sing, Sing, Sing (5:32)
02. A-Tisket, A-Tasket (2:50)
03. (If You Can't Sing It) You'll Have To Swing It (Mr. Paganini) (4:31)
04. Please Don't Talk About Me When I'm Gone (3:43)
05. Almost Like Being In Love (2:04)
06. I'm Getting Sentimental Over You (3:58)
07. Opus No. 1 (2:44)
08. On The Sunny Side Of The Street (4:33)
09. Stardust (2:57)
10. Somebody Loves Me (2:33)
11. Why Don't You Do Right (3:31)
12. Poinciana (4:45)
13. Honeysuckle Rose (3:00)
14. One O'clock Jump (4:38)
15. What A Wonderful World (6:20)

Seventeen musicians- one sound. And a very convincing sound, at that. The SWR Big Band has so far been nominated four times for a Grammy. Also it received in 2015 a Jazz Award in Gold from the German music industry. They also enjoyed a great honor in 2011, when they were the first German band ever suggested for the “Premio da Musica Brasileira,” Brazil’s most important music award. In the face of so much fame, it seems almost modest to say that the SWR Big Band is one of the best big bands in the world. Jazz, fusion or world music, the repertoire is large. As is the list of recent guests and collaborators. On this release, the ensemble presents a live recording of a compilation of big band standards, recorded at the famous Elbphilharmonie Hamburg.

Live At Elbphilharmonie Hamburg

---

Ernest McCarty Jr. & Theresa Davis - I Remember Love

Size: 130,5 MB
Time: 55:57
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz Vocals
Art: Front

01. Good Old Time (3:38)
02. Dance With Me (5:45)
03. Love Wont Make Me Cry (8:41)
04. Let's Just Dance (4:24)
05. Back In The Day (4:13)
06. Baby, Baby (3:56)
07. I Remember Love (4:50)
08. No More (4:50)
09. Winter's Here (4:36)
10. Love Me Today (4:02)
11. Love Is Coming Easier (3:32)
12. Let's Get Married (3:25)

This is the second album for BluJazz pairing superb vocalist Theresa Davis with composer, guitarist, and keyboardist Ernest McCarty Jr. The first, “A Reunion Tribute to Erroll Garner” was done for McCarty’s mentor, with whom he played as a bassist for five years. Davis sings with such clarity and extraordinary high register range, that McCarty Jr. was determined to write songs especially for her smooth, emotive, ethereal voice. Thus, this project. The well-respected Davis is known as “Tee” to those in business. We’ll have more about each later but let’s first get to the music.

The accompanying musicians, besides McCarty Jr., are: Thomas Wendt – drums, Rich Strong -drums and percussion, Paul Thompson – bass, Paul Consentino – alto sax, tenor sax, clarinet; Tony Campbell – alto sax, soprano sax; and Chuck Austin – trumpet and flugelhorn.

As you listen, you may think this is an album of standards, but they are all romantic tunes composed by McCarty Jr. in the ballad, lyrical style that allows for terrific solos, especially from each of the horns. For example “Love Won’t Make Me Cry” is a showcase for the melodic Chuck Austin Both Consentino’s tenor and Campbell’s alto grace “Dance With Me.” Consentino’s rich tenor colors “Back in the Day” and “No More” while the up-tempo “Baby, Baby” features nice percussion from Wendt and contributions from all three horns. Consentino’s clarinet imbues “Love Is Coming Easier.” As strong as this supporting cast is, they realize that Davis has the main instrument; her voice soars majestically in every tune. Listen to the sheer beauty of her vocal on “Winter’s Here.” There just aren’t many vocalists capable of hitting those notes. The title track is, of course. a ballad as Davis begins accompanied by McCarty Jr.’s piano with the other band members providing subtle ensemble support.

Ernest McCarty Jr. is a mainstream composer and has served as musical director for Gloria Gaynor, Odetta, Neil Harrison, and has written 10 musicals and many songs. His score for the “Martin Luther King Suite” won NBC-TV an Emmy. He has recorded with Sonny Stitt, Dakota Staton, Eddie Harris, Oscar Brown Jr., and several others.

Theresa Davis is a former member of the Stax recording group the Emotions. Her work with that label, as well as her last album, “Love Take a Walk” show her diversity of styles, enabling her to also do commercial jingles and vocals for film. She has done considerable work outside of jazz, touring internationally with Otis Clay, Ramsey Lewis, Percy Sledge, and Dennis Edwards (Temptations). She’s also toured with the famous gospel group Sue Conway and The Victory singers. Currently she is performing with the West Coast group Tour de 4Force.

These are beautiful songs that McCarty Jr. wrote for Davis to sing. And, wow! She sings them so purely. Rarely will you hear a such a pristine voice. ~Jim Hynes

I Remember Love

---

Freddie Hubbard - Life Flight

Styles: Trumpet Jazz
Year: 1987
File: MP3@320K/s
Time: 41:47
Size: 97,1 MB
Art: Front

( 8:10)  1. Battlescar Galorica
(11:17)  2. A Saint's Homecoming Song
( 9:11)  3. The Melting Pot
(13:08)  4. Life Flight

This CD captures the great trumpeter Freddie Hubbard at the age of 48 just before he began to decline. Hubbard is heard in excellent shape on two selections apiece with two separate bands. One group, a sextet with tenor-saxophonist Stanley Turrentine and guitarist George Benson, recalls the trumpeter's glory days on CTI although the material ("Battlescar Galorica" and "A Saint's Homecoming Song") was of recent vintage. The other band, a quintet with tenor-saxophonist Ralph Moore, looks back toward his earlier Blue Note and Atlantic days; they perform two Hubbard originals ("The Melting Pot" and "Life Flight"). Overall this set (from an era when the veteran trumpeter was being overshadowed by Wynton Marsalis) gives listeners one of the last opportunities to hear Freddie Hubbard in peak form. ~ Scott Yanow https://www.allmusic.com/album/life-flight-mw0000649572

Personnel:  Trumpet – Freddie Hubbard;  Bass – Rufus Reid;  Drums – Carl Allen;  Drums, Tambourine – Idris Muhammad;  Electric Bass – Wayne Braithwaite;  Electric Piano, Synthesizer – Larry Willis;  Guitar – George Benson;  Piano – Larry Willis;  Tenor Saxophone – Ralph Moore, Stanley Turrentine 

Life Flight    

---

Jimmy Smith - Root Down - Live !

Styles: Jazz, Post Bop
Year: 1972
File: MP3@320K/s
Time: 41:51
Size: 96,2 MB
Art: Front

(7:09)  1. Sagg Shootin' His Arrow
(5:56)  2. For Everyone Under The Sun
(7:47)  3. After Hours
(7:44)  4. Root Down (And Get It)
(6:30)  5. Let's Stay Together
(6:42)  6. Slow Down Sagg

Toward the end of his stint with Blue Note, Jimmy Smith's albums became predictable. Moving to Verve in the mid-'60s helped matters considerably, since he started playing with new musicians (most notably nice duets with Wes Montgomery) and new settings, but he never really got loose, as he did on select early Blue Note sessions. Part of the problem was that Smith's soul-jazz was organic and laid-back, relaxed and funky instead of down and dirty. For latter-day listeners, aware of his reputation as the godfather of modern soul-jazz organ (and certainly aware of the Beastie Boys' name drop), that may mean that Smith's actual albums all seem a bit tame and restrained, classy, not funky. That's true of the bulk of Smith's catalog, with the notable exception of Root Down. Not coincidentally, the title track is the song the Beasties sampled on their 1994 song of the same name, since this is one of the only sessions that Smith cut where his playing his raw, vital, and earthy. Recorded live in Los Angeles in February 1972, the album captures a performance Smith gave with a relatively young supporting band who were clearly influenced by modern funk and rock. They push Smith to playing low-down grooves that truly cook: "Sagg Shootin' His Arrow" and "Root Down (And Get It)" are among the hottest tracks he ever cut, especially in the restored full-length versions showcased on the 2000 Verve By Request reissue. There are times where the pace slows, but the tension never sags, and the result is one of the finest, most exciting records in Smith's catalog. If you think you know everything about Jimmy Smith, this is the album for you. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/root-down-mw0000609570

Personnel:  Jimmy Smith - Hammond B3 organ;  Paul Humphrey - drums;  Wilton Felder - bass guitar;  Buck Clarke - congas, percussion;  Arthur Adams - guitar;  Steve Williams - harmonica

Root Down - Live !

---

Ketil Bjørnstad - The Shadow

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 55:14
Size: 127,0 MB
Art: Front

(5:55)  1. Sweetest Love
(4:52)  2. A Lecture Upon the Shadow
(6:46)  3. The Shadow
(4:10)  4. The Good-morrow
(4:30)  5. Go, and Catch a Falling Star
(4:03)  6. The Dream
(4:02)  7. The Token
(3:23)  8. The Paradox
(4:54)  9. His Picture
(4:53) 10. Love's Exchange
(4:55) 11. The Silence
(2:47) 12. Hymn

A classically trained jazz pianist with a bent toward avant-garde improvised music, Ketil Bjørnstad is a well-known musician and writer in Europe. With his cerebral, atmospheric style that belies a palpable inner passion and an inclination toward genre-crossing compositions, Bjørnstad helped develop and popularize the "European jazz" aesthetic. He is also a writer and poet and has published over 30 works beginning with his 1972 poetry collection Alone. Born in Oslo, Norway, Bjørnstad studied classical piano in London and Paris before making his debut in 1969 at age 16 with the Oslo Philharmonic Orchestra playing Béla Bartók's third piano concerto. Surrounded by the vibrant arts scene in Oslo during the '70s, Bjørnstad became interested in jazz and developing his own style of music. Citing an array of influences from Bach and Ravel to Thelonious Monk and Miles Davis, Bjørnstad began working in an improvised idiom. In 1973, he released his debut album Åpning featuring what would become a core group of longtime associates in drummer Jon Christensen, guitarist Terje Rypdal, and bassist Arild Andersen. The album would be the first of several outings Bjørnstad would record for Phillips. Over the years, Bjørnstad's particular mix of jazz, classical, folk, and rock music would become highly influential in the development of what became known as "European jazz." Although he has become well-associated with the premier European jazz label ECM, he did not record for the label until later in his career with 1993's Water Stories, 1994's The Sea, 1997's The River, and 1998's The Sea II. In 2000, Bjørnstad released the duo album Epigraphs with cellist David Darling on ECM. That same year, he composed the millennium oratorio "Himmel Rand," featuring the texts of the poet Stein Mehren. In 2002, he released the cinematic soundscape album Before the Light on Universal. In 2004, Bjørnstad released the rock-oriented Seafarer's Song featuring his ensemble with vocalist Kristin Asbjornsen. Four years later, he returned to ECM for the concert album Live in Leipzig with guitarist Rypdal. In 2008, Bjørnstad once again worked with drummer Christensen as well as tenor saxophonist Tore Brunborg for the ECM release Remembrance. In 2011, Bjørnstad delivered the duo album Night Song with cellist Svante Henryson on ECM. The pianist, who is also a published poet, novelist, and essayist, has stated that the Italian filmmaker Michelangelo Antonioni was one of his greatest influences; to that end, he composed a series of works meant to act as "a soundtrack to an inner film." Recording with bassist Arild Andersen percussionist Marilyn Mazur, cellist Anja Lechner, Eivind Aarset on guitar and electronics, and saxophonist Andy Sheppard, Bjørnstad released the live suite La Notte in the late spring of 2013. 

2014 proved prolific for the composer and pianist. His first release of the year, appearing in March, was a 2012 recording entitled Sunrise: A Cantata on Texts by Edward Munch, performed by the pianist, his quartet, vocal soloist Kari Bremnes, and the Oslo Chamber Choir under the direction of conductor Egil Fossum. The musical work was set to surviving written texts by the famous painter. In October of that year, ECM also released the 2012 premier performance of Bjørnstad's A Passion for John Donne, a work based on the poet's life, commissioned by the Oslo International Church Festival, and performed live with the pianist's group the Oslo Chamber Choir under the direction of Hakon Daniel Nystedt. Interestingly, it featured the saxophonist Hakon Kornstad in a dual role, not only playing his horn but as a vocal soloist. ~ Matt Collar & Thom Jurek https://itunes.apple.com/us/album/the-shadow/297170891

Personnel:  Ketil Bjørnstad - piano;  Randi Stene - vocals;  Lars Anders Tomter - viola;  Frode Alnæs - guitar;  Arild Andersen - bass;  Jon Christensen - drums

The Shadow

---

John Scofield - Combo 66

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 60:34
Size: 139,8 MB
Art: Front

(7:32)  1. Can’t Dance
(7:21)  2. Combo Theme
(5:32)  3. Icons At The Fair
(7:59)  4. Willa Jean
(5:39)  5. Uncle Southern
(6:08)  6. Dang Swing
(8:52)  7. New Waltzo
(5:04)  8. I’m Sleeping In
(6:23)  9. King Of Belgium

John Scofield is one of today’s most versatile guitarists, accumulating accolades and prestigious awards in contemporary jazz, jam band, and popular music. Heck, he’s even made an excellent gospel album. For Combo 66, coinciding with his 66th birthday on September 28 he enlists the support of long-time drummer Bill Stewart, bassist Vincente Archer and pianist/organist Gerald Clayton. Together, in typical Scofield fashion, they imbue jazz with elements from other genres imaginatively and unpredictably. Scofield is on a creative roll, having won two Grammys for 2016’s Country for Old Men and last year’s stellar effort Hudson with good friends Jack DeJohnette, Larry Grenadier, and John Medeski. As you probably know, he often collaborates with Gov’ Mule and with Medeski, Martin, and Wood too. He’ll unexpectedly appear on albums from Americana artists too, such as his guest appearance on multi-instrumentalist Phil Madeira’s Providence. The well-liked and respected Scofield gets and accepts lots of invitations. These are all Scofield originals. He credits the album title to both his birthday and as he says, “And 66 is the coolest jazz number you can get because if you hit 66 you’re doing ok. Remember all the great records from the 60s? Brasil 66. “Route 66.” It hit me that it would be poetic to use that title.” One part groove, one part melody, one part improvisation, the interaction amongst the musicians defies the fact that this is the first time this unit has recorded together. Drummer Bill Stewart is the anchor, having been with Scofield since 1992’s What We Do. Upright bassist Vincente Archer is a regular in Robert Glasper’s Trio while the keyboardist Clayton is the son of bassist John Clayton of the Clayton-Hamilton Jazz Orchestra. Scofield indicates that is often difficult to match piano and guitar because both instruments are percussive in nature. He admires Clayton for his ability to marry a contemporary approach with the old school touch and feel of Tommy Flanagan or Hank Jones. 

The opener “Can’t Dance” is a swinging tune, titled by the witty Scofield because “I can’t dance.” “Combo Theme” bears a Henry Mancini kind of soundtrack melody offset by Scofield’s solo which is by turns melodic and dissonant. His “Icons at the Fair” brings in recognizable sounds. It’s purposely reminiscent of Herbie Hancock’s arrangement of Simon and Garfunkel’s “Scarborough Fair” on The New Standard, on which Scofield played. His chord structures and progressions for this tune nod to Hancock and Miles. As he moves into “Willa Jean,” “Uncle Southern” and “Dang Swing” you’ll hear touches of country and blues before “New Waltzo” brings in some blaring rock, especially in the power chords, as Clayton provides a swirling B3 in support. Then, to calm it down, we get the rare Scofield ballad, “I’m Sleepin’ In,” titled, as are most by John’s wife, Susan. This, and the bonus track “Ringing Out” (if you’re lucky enough to get digitally) is the epitome of Clayton’s delicate touch on piano as he softly plays behind Scofield’s lead on the former while soloing on the latter. The closer, “King of Belgium” is dedicated to the iconic jazz harmonica wizard Toots Thielemans, also known to have a great sense of humor, reflected in Scofield’s witty guitar lines.  This is a light, fun, completely accessible outing that will leave you smiling. It fits beautifully with Scofield’s self-described approach that goes like this, “I am so deadly serious about jazz, but the fact of the matter is jazz only works if you are relaxed and don’t give a shit. If you try too hard it doesn’t work. Humor really helps me get to a better place with music.”  Scofield’s place is one that we can enjoy too. https://glidemagazine.com/214022/john-scofield-returns-with-imaginative-bold-combo-66-album-review/

Personnel: John Scofield (guitar); Gerald Clayton (piano,/organ); Vicente Archer (bass); Bill Stewart (drums).

Combo 66

---