Bruce Barth featuring Jerry Bergonzi - Sunday

Styles: Piano And Saxophone Jazz 
Year: 2018
File: MP3@320K/s
Time: 54:57
Size: 127,7 MB
Art: Front

( 7:30)  1. Blue Cube
(11:25)  2. Sunday
( 8:28)  3. Double Billed
(13:10)  4. Afternoon in Lleida
( 6:41)  5. Refuge
( 7:41)  6. Laura

American pianist and composer Bruce Barth pulls together a fine quartet and an attractive repertoire for this superbly recorded 2017 performance. Combining latin and swing styles, the music is rich with atmosphere and brims with joyous sounds and solos. Spanish label Blau Records specialise in recording live shows in as much fidelity as possible. This latest project was recorded at the Espai de la Música Mestre Villa in Bencàssim on 13 May 2017, and brings together a quartet led by Barth and tenor saxophonist Jerry Bergonzi.  Five of the six tracks are originals by one or other, and both are clearly comfortable in their writing roles. Bergonzi’s opening Blue Cube jumps off in a relaxed latin style with a rich-toned sax melody and solo, culminating in a round of audience applause which comes as a shock to those (such as me) who haven’t read the sleeve notes and assume this must be a studio date, so well-balanced and rich is the overall sound. Barth’s Sunday continues the latin feel with its 6/8 lilt, Bergonzi’s solo again building nicely before Barth’s own turn on the piano. Barth has a beautiful style in his soloing, well paced, varied and creating tension-and-release sections which put me in mind of Bill Evans; block chords suddenly giving way to swinging runs, which turn into swirling ostinatos. It’s extremely listenable and rewarding stuff. Drummer Stephen Keogh gets a solo here, plenty of cymbals to the fore as he keeps the groove moving along. The originals keep coming with Bergonzi’s Double Billed, a swinging affair which gives Barth room to stretch out. Double bassist Mark Hodgson’s solo comes across particularly well, again well caught by the mics, sonorous and full. Afternoon In Lleida, another Barth number, is a slower affair, redolent of the Spanish afternoon, starting gently and building into a series of climaxes before subsiding into gentle harmonies. (Perhaps it was that sort of afternoon…?) Refuge is a clean and simple ballad, which serves as a good counterpoint to the drama that has gone before.  The album closes with Bergonzi’s arrangement of David Raksin’s immortal standard Laura. Bergonzi takes the original film score tune and takes it nicely into the band’s sound, with dramatic chords behind the tune before Barth at last get to take the first solo.  All in all this is a very enjoyable collection, beautifully recorded and full of atmosphere. ~ Mark McKergow http://www.londonjazznews.com/2018/03/cd-review-bruce-barth-quartet-ft-jerry.html

Personnel:  Bruce Barth piano; Jerry Bergonzi saxophone;  Mark Hodgson bass; Stephen Keogh drums

Sunday

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LeeAnn Ledgerwood, John Graham Davis, Brandon Lewis - Walkin' Up

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 61:37
Size: 142,0 MB
Art: Front

( 6:58)  1. This Is for Albert
( 7:19)  2. Lonnie's Lament
(15:15)  3. Out of This World
( 7:22)  4. Black Nile
( 6:21)  5. Ida Lupino
( 4:45)  6. Walkin' Up
( 6:12)  7. If You Could See Me Now
( 7:23)  8. Passion Dance

Ever hear of LeeAnn Ledgerwood? Too few nonmusicians have. Originally from Ohio, the Berklee grad has been working, recording and teaching (jazz piano and composition at the New School) in New York, and obviously battling the glass ceiling while spreading the gospel according to Bill Evans. Well, an upgraded Evans. Maybe that’s what makes her so unmarketable to ordinary jazz fans. She has more technique than she can hope to use. It spills out all over her new release, Walkin’ Up (SteepleChase), but it doesn’t intimidate her two young compatriots, bassist John Graham Davis (a former student of hers) and drummer Brandon Lewis. Nor does it stop her from choosing difficult material, including tunes by Wayne Shorter (“This Is for Albert”), McCoy Tyner (“Passion Dance”), Carla Bley (“Ida Lupino”), John Coltrane (“Lonnie’s Lament”) and Trane’s conception of Harold Arlen’s “Out of This World.” The balladic highlight is Tadd Dameron’s “If You Could See Me Now,” with a well-pitched solo by Davis. Very few have tried to record the Bill Evans-penned title tune; Ledgerwood disposed of it first take. ~ Harvey Siders https://jazztimes.com/reviews/eighty-eights/leeann-ledgerwood-trio-walkin-up/

Walkin' Up

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Scott Colley - Architect Of The Silent Moment

Styles: Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 56:34
Size: 130,2 MB
Art: Front

(7:29)  1. Usual Illusion
(7:50)  2. Strip Mall Ballet
(2:52)  3. El Otro
(7:14)  4. Architect Of The Silent Moment
(6:05)  5. Masoosong
(2:58)  6. Feign Tonal
(8:09)  7. From Within
(5:56)  8. Smoke Stack
(7:55)  9. Window Of Time

If an artist is the sum total of his experiences, then Scott Colley's reach is nearly limitless. In twenty years the bassist has appeared on nearly 150 albums, ranging from mainstream work with Jim Hall and Carmen McRae to more left-of-center projects with Andrew Hill and Greg Osby. His own releases have been migrating towards a more expansive viewpoint. On Architect of the Silent Moment Colley brings together a collection of players who share his appreciation for what's come before, but are just as concerned with what's to come. His core quartet features two artists who, despite considerable critical acclaim, have yet to achieve the greater recognition they deserve. Trumpeter Ralph Alessi is a consistently adventurous player who, with a rounded tone, lyrical disposition and unforced technique, rivals the better-known Dave Douglas. The increasingly ubiquitous Craig Taborn is an equally instinctive keyboardist whose roots in the tradition are often obscured by his bold and unrestrained mind-set. Antonio Sanchez, best-known for his work with guitarist Pat Metheny, is a malleable and increasingly in-demand drummer. He's established himself with a broad and stylistically expanding discography in the last decade. All three are as capable of tackling complex compositional constructs as freer flights of improvisation, and Colley challenges them on both fronts and more. Colley is a fine bassist, with a Dave Holland-like ability to make even the most challenging of shifting meters groove viscerally. But it's his writing (all but two pieces here are his) that makes Architect of the Silent Moment stand out. "Window of Time is a good example. It starts out in an open-ended modal fashion, with Alessi and saxophonist David Binney (a co-producer who leaves his own unmistakable signature) delivering Colley's knotty theme. 

Alessi's solo builds over an increasingly tumultuous rhythm section before the tune shifts to a rhythmically displaced backbeat. Adam Rogers' layered guitars, Taborn's B-3 and Alessi's long, rich tones take the tune out, suggesting a different kind of folksy Americana. Colley makes the complex accessible on the spacious "Masoosong, featuring Gregoire Maret, the most important harmonica player since Toots Thielmans. "Feign Tonal opens with a start-stop post bop theme before dissolving into more angular freedom, only to magically blend the two at its conclusion. Andrew Hill's "Smokestack, on the other hand, starts with an impressionistic duet between Taborn and pianist Jason Moran, before settling into an unexpectedly relaxed take that seamlessly shifts between straight and double-time swing. The group's modernistic integration of acoustic and electric textures represents an increasingly popular aesthetic. Like his blend of traditional and contemporary harmonic and rhythmic concepts, Colley clearly doesn't believe in mutual exclusivity. The beauty of Architect of the Silent Moment is its unequivocal sense of purpose, which avoids undue consideration and provides everyone with ample room to move. ~ John Kelman https://www.allaboutjazz.com/architect-of-the-silent-moment-scott-colley-cam-jazz-review-by-john-kelman.php

Personnel: Scott Colley: bass; Ralph Alessi: trumpet; Craig Taborn: piano, Fender Rhodes, Hammond B-3; Antonio Sanchez: drums. Special guests: Dave Binney: saxophone; Jason Moran: piano; Gregoire Maret: harmonica; Adam Rogers; guitar.

Architect Of The Silent Moment

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Enrico Pieranunzi - Jazz Roads

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 43:39
Size: 101,7 MB
Art: Front

(4:34)  1. Entropy
(1:28)  2. Monologue 1 - Country Sketch
(5:03)  3. New Lands
(2:02)  4. Monologue 2 - Introspection
(1:48)  5. One For Oscar
(3:15)  6. The Seagull
(7:07)  7. From E. To C.
(1:34)  8. Monologue 3 - Answers
(2:22)  9. Blues For B.
(0:44) 10. Monologue 4 - Tout Court
(6:22) 11. The Dawn
(7:16) 12. From E. To C.

An acclaimed Italian jazz pianist, composer, and educator, Enrico Pieranunzi is known for his virtuosic, classical-influenced technique, nuanced sense of harmony, and elegantly restrained approach to modern post-bop jazz. Influenced heavily by Bill Evans, Pieranunzi emerged in the 1970s leading his own trio, and quickly established himself internationally as an in-demand sideman for such jazz giants as Chet Baker, Lee Konitz, Phil Woods, and others. Along with performing, he is a dedicated teacher, having worked for many years as a full professor at the Conservatorio di Musica in Frosinone. Recognized as one of the foremost Italian jazz artists, he has garnered a handful of awards, including taking home the 1997 Django d'Or as Best European Jazz Musician and winning the 2014 German Echo Jazz Award as Best International Keyboard Artist. Born in Rome in 1949, Pieranunzi was introduced to classical music and jazz by his father, guitarist Alvaro Pieranunzi. (In addition, his brother is noted classical violinist Gabriele Pieranunzi.) Encouraged to study piano from a young age, he eventually graduated university with a music degree in 1973, and began working as a teacher. However, in 1975 he left his teaching position to focus on leading his jazz trio. He debuted that same year with the album Jazz a Confronto, and followed up with a handful of well-regarded efforts including 1976's New & Old Jazz Sounds with his father, 1976's The Day After the Silence, and 1978's A Long Way. By the '80s, Pieranunzi had gained the attention of many touring American artists, including saxophonists Phil Woods and Lee Konitz, flügelhorn player Art Farmer, and bassist Charlie Haden. He also developed a close working relationship with trumpeter/vocalist Chet Baker, a partnership that resulted in several superb albums, including 1980's Soft Journey and 1987's Silence, which also showcased Haden. The pianist also released more of his own albums, including pairing with bassist Marc Johnson and drummer Joey Baron for several efforts such as 1984's New Lands. He went solo on 1985's What's What, and joined saxophonist Konitz on 1988's Solitudes. Pieranunzi capped the decade by appearing on Ennio Morricone's soundtrack to the acclaimed 1989 film Cinema Paradiso. More work followed in the '90s, including dates with Baker, Haden, and Woods, as well as adventurous sessions with trumpeters Enrico Rava and Eric Vloeimans. As a leader, he recorded regularly for Enja, Timeless, and Soul Note, issuing such albums as 1995's Flux & Change, 1997's Seaward, and 1998's Ma l'Amore No. He also gained increasing praise for his work, including taking home the prestigious Django d'Or as the Best European Jazz Musician in 1997. Two years later, he paired with trumpeter Bert Joris for the quintet date Don't Forget the Poet. 

A duo session with pianist Bert van den Brink followed in 2000. He furthered his own work over the next decade, releasing albums like 2001's Improvised Forms of Trio, 2002's Play Morricone, and 2003's Fellini Jazz. He also paired with acclaimed drummer Paul Motian for a handful of albums, including 2004's Doorways with saxophonist Chris Potter and 2005's Special Encounter with Haden. Pieranunzi also continued his ongoing association with bassist Johnson and drummer Baron, releasing a steady flow of studio and live sessions, including 2008's Yellow & Blue Suites and 2009's Dream Dance. There were also similar efforts with bassist Scott Colley and drummer Antonio Sanchez, such as 2013's Permutations and 2014's Stories. In 2014, he took home Germany's Echo Jazz Award as Best International Keyboard Artist. He returned the following year alongside trumpeter Ralph Alessi, saxophonist Donny McCaslin, and bassist Matt Penman for the forward-thinking quartet album Proximity. He then joined fellow pianist Bruno Canino for the 2016 duo session Americas, and followed in 2017 with another duo date, Duke's Dream with saxophonist Rosario Giuliani. The concert album Wine & Waltzes: Live at Bastianich Winery appeared in 2018. ~ Matt Collar https://www.allmusic.com/artist/enrico-pieranunzi-mn0000184086/biography

Personnel:   Enrico Pieranunzi - piano;  Birch Johnson - trombone; Riccardo Del Fra - double bass; Roberto Gatto - drums; Giampaolo Ascolese - battery

Jazz Roads

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The Dave Brubeck Quartet - Near-Myth

Styles: Piano Jazz
Year: 1961
File: MP3@320K/s
Time: 43:58
Size: 102,7 MB
Art: Front

(5:16)  1. The Unihorn
(3:51)  2. Bach An' All
(5:40)  3. Siren Song
(4:12)  4. Pan's Pipes
(3:53)  5. By Jupiter
(6:48)  6. Baggin' The Dragon
(3:23)  7. Apollo's Axe
(4:14)  8. The Sailor And The Mermaid
(2:53)  9. Nep-Tune
(3:43) 10. Pan Dance

This is the third and final guest appearance by clarinetist Bill Smith in the place of Paul Desmond with the Dave Brubeck Quartet. Like the earlier record dates, this 1961 session focuses exclusively on Smith's compositions, resulting in a very different sound for the band than its normal mix of the leader's songs and standards. Smith was a member of Brubeck's adventurous octet of the late '40s and, like the pianist, also studied with French composer Darius Milhaud. So the clarinetist is willing to take chances, utilizing a mute on his instrument in "Pan's Pipes," and having drummer Joe Morello use his timpani sticks on the piano strings in the swinging "The Unihorn." Smith proves himself very much in Desmond's league with his witty solos and equally amusing, pun-filled liner notes. While none of these songs became a regular part of Brubeck's repertoire, even after Smith replaced tenorist Jerry Bergonzi as a member of the quartet in 1982, this is easily the best of the three albums that he made with Dave Brubeck during the late '50s and early '60s. ~ Ken Dryden https://www.allmusic.com/album/near-myth-mw0000263459

Personnel:  Piano – Dave Brubeck;  Bass – Gene Wright;  Clarinet – Bill Smith; Drums – Joe Morello

Near-Myth

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Soesja Citroen - Soesja Citroen sings Thelonious Monk

Styles: Vocal
Year: 1994
File: MP3@320K/s
Time: 42:30
Size: 98,5 MB
Art: Front

(3:52)  1. In Walked Bud
(4:51)  2. In Twilight
(4:11)  3. Come With Me
(8:58)  4. 'Round Midnight
(3:23)  5. Well You Needn't
(7:17)  6. Underneath This Cover
(5:42)  7. Blue Monk
(4:13)  8. Sure It Can Be Done

Thelonious Monk has been the subject of many jazz tributes, but not many of them have come from singers. Five years before Carmen McRae recorded 1988's stunning Carmen Sings Monk, Soesja Citroen impressed the European jazz world with this five-star collection of Monk classics. This 1983 date didn't receive much attention in the U.S., but in Europe it went down in history as a jazz-vocal classic. 

Not only does the Dutch singer impress with her soulful interpretations of Monk's unique melodies, she also demonstrates just how talented a lyricist she is. Citroen embraces the familiar lyrics to "'Round Midnight" which producer Orrin Keepnews described as "the national anthem of jazz" but on gems that range from "Monk's Mood" and "Monk's Dream" to "In Walked Bud," "Crepescule With Nellie," and "Let's Cool One," she provides fine lyrics of her own. And when you consider the fact that Dutch, not English, is Citroen's native language, her command of English seems all the more impressive. For lovers of bop-oriented jazz vocals, this outstanding CD is essential listening. ~ Alex Henderson https://www.allmusic.com/album/soesja-citroen-sings-thelonious-monk-mw0001124792

Soesja Citroen sings Thelonious Monk

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Cannonball Adderley - Live!

Styles: Saxophone Jazz
Year: 1964
File: MP3@320K/s
Time: 45:55
Size: 105,9 MB
Art: Front

(13:29)  1. Little Boy With The Sad Eyes
( 8:54)  2. Work Song
( 6:46)  3. Sweet Georgia Bright
(15:24)  4. The Song My Lady Sings
( 1:19)  5. Theme

Cannonball Adderley Live! is a live album by jazz saxophonist Cannonball Adderley recorded at Shelly's Manne-Hole and released on the Capitol label featuring performances by Adderley with Nat Adderley, Charles Lloyd, Joe Zawinul, Sam Jones and Louis Hayes. The Allmusic review by Scott Yanow awarded the album 3 (out of 5) stars and states: "When Riverside Records went into bankruptcy, Adderley signed with Capitol, a label whose interest in jazz ... tended to be short-lived. 

As a result, Cannonball's recordings would become more commercial as the 1960s developed but this early Capitol effort is quite good. Charles Lloyd had just joined Adderley's Sextet and his tenor and flute were major assets" https://en.wikipedia.org/wiki/Cannonball_Adderley_Live!

Personnel:  Cannonball Adderley - alto saxophone; Nat Adderley - cornet; Charles Lloyd - tenor saxophone, flute; Joe Zawinul - piano; Sam Jones - bass; Louis Hayes - drums

Live!

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Louis Bellson - The Louis Bellson Explosion

Styles: Jazz, Post Bop
Year: 1975
File: MP3@320K/s
Time: 52:35
Size: 123,1 MB
Art: Front

(6:02)  1. Intimacy Of The Blues
(5:30)  2. Quiet Riots
(6:45)  3. Carnaby Street
(8:19)  4. Beyond Category
(4:33)  5. Chameleon
(5:17)  6. Open Your Window
(3:29)  7. Movin' On
(7:11)  8. Groove Blues
(5:25)  9. La Banda Grande

A fine mid-'70s date that was both a showcase for Bellson's bombastic drumming and also a nice straight-ahead date with great contributions from Blue Mitchell, Snookey Young, Dick Mitchell and others. It's been reissued on CD. ~ Ron Wynn https://www.allmusic.com/album/the-louis-bellson-explosion-mw0000085941

Personnel: Drums – Louis Bellson; Bass – John Williams; Guitar – Mitch Holder; Keyboards – Nat Pierce, Ross Tompkins; Percussion – Dave Levine, Paulo Magalhaes; Saxophone – Bill Byrne , Dick Spencer, Don Menza, Larry Covelli, Pete Christlieb; Trombone – Ernie Tack, Gil Falco, Mayo Tiana, Nick DiMaio ; Trumpet – Blue Mitchell, Bobby Shew, Cat Anderson, Dick Cooper, Dick Mitchell, Snooky Young

The Louis Bellson Explosion

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Marty Ehrlich - Trio Exaltation

Styles: Saxophone, Clarinet And Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 55:58
Size: 129,5 MB
Art: Front

(8:30)  1. Dusk
(5:11)  2. Yes Yes
(5:06)  3. Senhor P.C
(6:15)  4. Dance No. 5
(4:14)  5. Stone
(7:18)  6. June 11th, 2015-In Memorium: Ornette Coleman
(6:07)  7. Sometimes
(4:25)  8. The Arc of the Oar
(3:31)  9. Spirit of Jah No.2
(5:17) 10. Reading the River

After his previous release, 2013's magnificent big-band disc A Trumpet in the Morning (New World Records), it was unclear whether multi-instrumentalist Marty Ehrlich would continue down the path of large-scale composition or return to the small-to-medium-sized ensembles he's used for most of his recorded output over the years. Well, he's gone small all right: all the way down to a trio, something he's not done since 2000, when he teamed up with Andrew Cyrille and Mark Dresser on C/D/E (Jazz Magnet). This time he's working with bassist John Hébert and drummer Nasheet Waits, and the album's title, Trio Exaltation, is entirely appropriate, given the plenitude of dynamic and joyous music it features. Hébert and Waits have a good deal of intersecting history, found most recently on Michael Attias's Nerve Dance, from 2017 (Clean Feed). But for their shared link to Ehrlich, we can go back to the Andrew Hill Sextet, when all three worked in the early 2000s with that uniquely enigmatic pianist and composer. It's entirely fitting, therefore, that Hill's composition "Dusk" kicks off the album, as the piece's sinuous melody and controlled freedom establish the template for the trio's modus operandi. When Hébert's ostinato locks in with Waits' strolling toms, the groove feels unshakeable, and yet the music still possesses a sense of yearning and a desire to push free of rhythmic constraints due in large part to Ehrlich's soaring alto saxophone, which is perfect in capturing both the mystery and the power of Hill's vision.  

Other tracks bring Ehrlich's tuneful instincts to the fore not to mention his technical facility on a range of instruments, including bass clarinet, shown convincingly on "Dance No. 5," as a sing-able melody (and another engaging ostinato by Hébert) driving the piece with an irresistible momentum. On "Spirit of JAH No. 2" Waits' Caribbean-infused rhythms inspire an infectious duo with Ehrlich, this time on wooden flutes; and the clarion purity of Ehrlich's clarinet on "Reading the River" sustains the record's most swinging track, with a seemingly endless progression of lengthy, flowing lines.  While the music is undeniably appealing when it's rooted in strong rhythm and groove, it is just as affecting when the three move out into less-charted rhythmic territory. Case in point is "Senhor P.C.," dedicated to Clean Feed label impresario Pedro Costa, where Hébert's superb arco playing melds with Ehrlich's freer musings on alto and Waits's gradual ascension of intensity in a gripping five-minute burst of energy. And even more impressive is the album's tribute to Ornette Coleman, "June 11th, 2015 In Memoriam." With an emotional arc that is both haunting and liberating at the same time, the trio expands on a poignant melody with a controlled passion and fury that only find their full release at the piece's cathartic finish. Ehrlich's compositions have always been rich enough to warrant the treatment a larger ensemble can provide. But his improvisational skills as an instrumentalist are also prodigious, so it's a treat to have such a terrific recording on which to hear them. Trio Exaltation is a triumphant release for all three players, and one that should earn abundant accolades. ~ Troy Dostert https://www.allaboutjazz.com/trio-exaltation-marty-ehrlich-clean-feed-records-review-by-troy-dostert.php

Personnel: Marty Ehrlich: alto saxophone, clarinet, bass clarinet, wooden flutes; John Hébert: bass; Nasheet Waits: drums.

Trio Exaltation

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Ike Quebec - Bossa Nova Soul Samba

Styles: Saxophone Jazz, Latin Jazz
Year: 1996
File: MP3@320K/s
Time: 46:10
Size: 106,6 MB
Art: Front

(3:10)  1. Loie
(3:01)  2. Lloro Tu Despedida
(5:41)  3. Goin' Home
(4:42)  4. Me 'N You
(3:42)  5. Liebestraum
(3:32)  6. Shu Shu
(5:15)  7. Blue Samba
(4:00)  8. Favela
(3:29)  9. Linda Flor
(3:33) 10. Loie - Alternate Take
(2:38) 11. Shu Shu - Alternate Take
(3:21) 12. Favela - Alternate Take

This is quite a painful disc to listen to. Not because of the music which is beautiful but because of the events surrounding it. Recorded in October 1962, it was to be tenor saxophonist Ike Quebec's final album. Less than four months later he died of lung cancer. This fact rather sticks in the mind like a house guest who has outstayed his or her welcome. Wistful, pretty and elegiac, the music is somehow a fitting final statement from a player best known for more muscular, extrovert, swing-to-bop balladeering. The wonder is that Quebec was able to create such lovely music when he must have known his end was near. But as session engineer Rudy Van Gelder says in the liner notes to this RVG remaster, "Ike always played beautifully, even at the end, when he was dying...I mean, literally dying." And it's true. Despite the circumstances surrounding it, Bossa Nova Soul Samba is an album of beauty. 1962, of course, was the year it seemed every jazzman was making a bossa nova album. Tenor saxophonist Stan Getz began the trend with Jazz Samba (Verve, 1962), made with guitarist Charlie Byrd and containing the chart hit "Desafinado." By the time Quebec was in the studio, even big-tone tenor maestro Coleman Hawkins was on board, with Desafinado (Impulse!, 1962). Next up were Sun Ra & The Solar Myth Arkestra with Sugar Loaf Mountain Bossa Party! (no, I made that up actually, but it might have been). By the end of the year, the genre was already in danger of becoming a cliché; not least for its reliance on the songwriting of Antonio Carlos Jobim, whose tunes dominated many track listings. But Quebec had the wit to ring the changes with the material for Bossa Nova Soul Samba he began his time with Blue Note, after all, as an A&R man. The tunes are the real thing, but little known; Brazilian composers are used, but not Jobim; and there are two originals by Quebec ("Blue Samba," "Me 'n' You"), who also, imaginatively, re-arranges Anton Dvorak's "Goin' Home." Bossa nova was well suited to Quebec's physical and, one imagines, mental states at the time of this recording. It requires no strutting or grandstanding, and lends itself instead to subtlety and ellipsis. The saxophonist plays with heartrending tenderness throughout, sensitively supported by guitarist Kenny Burrell, drummer Willie Bobo and bassist Wendell Marshall. If you already know Quebec's chef d'oeuvres The Complete Blue Note 45 Sessions (Blue Note, 1959-62) and Blue And Sentimental (Blue Note, 1961), Bossa Nova Soul Samba will enhance your understanding of both, while also providing plenty of enjoyment in its own right. ~ Chris May https://www.allaboutjazz.com/bossa-nova-soul-samba-ike-quebec-blue-note-records-review-by-chris-may.php

Personnel: Ike Quebec: tenor saxophone; Kenny Burrell: guitar; Wendell Marshall: bass; Willie Bobo: drums; Garvin Masseaux: shekere.

Bossa Nova Soul Samba

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Della Reese - The Ultimate Della Reese

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 43:11
Size: 100,4 MB
Art: Front

(2:09)  1. Don't You Know
(4:23)  2. If Ever I Should Leave You
(1:56)  3. I Wanna Be Around
(1:36)  4. S'Wonderful
(2:26)  5. What Is There To Say
(5:03)  6. The Lamp Is Low / After The Lights Go Down Low / Fly Me To The Moon
(1:43)  7. I Could Have Danced All Night
(3:20)  8. Swing Low Sweet Chariot
(3:05)  9. I'm Always Chasing Rainbows
(2:11) 10. Put On A Happy Face / I Want To Be Happy
(2:25) 11. But Not For Me
(2:51) 12. Chicago
(4:26) 13. Misty
(2:16) 14. Tea For Two
(3:14) 15. Whatever Lola Wants

Renowned as both a television star and a top-flight interpreter of jazz, blues, R&B, gospel, and straight-ahead pop music, Della Reese's many talents ensured a long, varied, and legendary show biz career. In addition to being nominated for both an Emmy and a Grammy and receiving a star on the Hollywood Walk of Fame, Reese was also an ordained minister in the Universal Foundation for Better Living, an association of churches she helped found in the early '80s. Born Deloreese Patricia Early on July 6, 1931, the young Reese began singing in the Baptist church choir in her hometown of Detroit at age six. In 1945, having developed quite rapidly, she caught the ear of legendary gospel queen Mahalia Jackson, who invited Reese to join her touring choir; Reese did so for the next five summers. Upon entering Wayne State University to study psychology, Reese formed a women's gospel group, the Meditation Singers, but her college career was cut short by the death of her mother and her father's serious illness. Reese worked odd jobs to help support the rest of her family; she also continued to perform with the Meditation Singers and various other gospel groups. Encouraged by her pastor, Reese began singing in nightclubs in hopes of getting a singing career off the ground; recently married to a factory worker named Vermont Adolphus Bon Taliaferro, her name was too long to fit on marquees, and she eventually arrived at her performing alias by splitting up her first name. After impressing a New York agent, who promptly signed her, Reese moved to New York and joined the Erskine Hawkins Orchestra in 1953. 

A year later, she had a recording contract with Jubilee, for whom she scored hits like "And That Reminds Me," a 1957 million-seller. Switching to RCA Victor, Reese landed her biggest hit in 1959 with "Don't You Know?," a song adapted from Puccini's La Bohème; this cemented her career, leading not only to plentiful appearances on variety shows, but successful nightclub tours of the country and eventually nine years of performances in Las Vegas, as well as recording contracts with a variety of labels over the next few decades. Building on her previous variety show experience, Reese made a small bit of television history in 1969 when she became the first woman to guest-host The Tonight Show with Johnny Carson. Later that year, she became the first black woman to host her own variety show, the syndicated Della, which ran until 1970. Following its cancellation, Reese returned to her nightclub tours, often putting in guest appearances on television shows like The Mod Squad, Sanford and Son, and Chico and the Man; after three prior failed marriages, Reese also found a lasting relationship with producer Franklin Lett, whom she married in 1978. On October 3, 1980, while taping a song for The Tonight Show, Reese suffered a brain aneurysm that nearly proved fatal; however, thanks to a successful operation, she was able to make a full recovery. She kept up her singing career and appeared on television shows like Designing Women, L.A. Law, and Picket Fences, as well as the Eddie Murphy films Harlem Nights and The Distinguished Gentleman. Reese also starred in the Redd Foxx sitcom The Royal Family from 1991-1992, and garnered what was undoubtedly her highest level of recognition in the inspirational drama series Touched by an Angel, a quite popular program that ran for nine years, between 1994 and 2003, on the CBS network. After Touched by an Angel finished its run, Reese continued to act intermittently on television through to 2014. She died at her home in Encino, California in November 2017 at the age of 86. ~ Steve Huey https://www.allmusic.com/artist/della-reese-mn0000196544/biography

The Ultimate Della Reese

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Alan Pasqua, Peter Erskine, Dave Carpenter - Standards

Styles: Piano Jazz, Post Bop
Year: 2007
File: MP3@320K/s
Time: 68:30
Size: 158,9 MB
Art: Front

(9:05)  1. The Way You Look Tonight
(7:46)  2. Dear Old Stockholm
(6:10)  3. Deep in a Dream
(6:31)  4. Con Alma
(6:29)  5. It Never Entered My Mind
(6:26)  6. Speak Low
(7:26)  7. I'm Glad There Is You
(5:41)  8. I Hear Rhapsody
(6:03)  9. I'm Old Fashioned
(6:47) 10. I Could Have Danced All Night

Representing the other half of a two-release project from drummer Peter Erskine's Fuzzy Music label that also includes Worth The Wait (2008), with trumpeter Tim Hagans and the Norrbotten Big Band, Standards is exactly what the title implies a session of old standards with a couple of new acquaintances thrown in for good measure. In an attempt to come as close as possible to the sound produced in a concert experience, the recording was made in an acoustically live space and enhanced with two pair of KMF Audio Stereo Tube Microphones. Performed by a veteran trio that also features pianist Alan Pasqua and bassist Dave Carpenter, the music is rhythm-based light jazz taken from the Great American Song Book and played in a straight-ahead style that comes across with warmth and elegance. Opening with the Sinatra staple "The Way You Look Tonight, Pasqua leads the music with light touches on the keys, giving way to an extended solo by Carpenter and putting a new face on this old classic that composers Jerome Kern and Dorothy Fields would not recognize. The Van Heusen/de Lange cushy ballad, "Deep In a Dream, features Erskine's soft brush strokes, which he employs many times throughout the recording. The drummer uses the cymbals and picks up the sticks for a rather interesting rendition of Dizzy Gillespie's "Con Alma that swings to a different rhythm and beat than the original, while Pasqua performs magnificently on a beautiful interpretation of "It Never Entered My Mind. The group goes on to play delicious versions of standards including "Speak Low, "I'm Old Fashioned and "I Could Have Danced All Night, but none of these match the intensity and energy conveyed by their performance of "I Hear a Rhapsody, clearly the best cut on the disc. Completing a two record release that stretches the range in performance from featuring new music with the big band sound to the limited voice of a small combo, Standards represents the other side of Erskine's musical personality with a repertoire of familiar tunes that jazz audiences will love. ~ Edward Blanco https://www.allaboutjazz.com/standards-peter-erskine-fuzzy-music-review-by-edward-blanco.php

Personnel: Alan Pasqua: piano; Dave Carpenter: bass; Peter Erskine: drums.

Standards

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Marcus Printup - Peace in the Abstract

Styles: Trumpet Jazz
Year: 2006
File: MP3@320K/s
Time: 64:29
Size: 148,5 MB
Art: Front

(7:17)  1. Your Time Has Come
(7:03)  2. Soul Vamp
(7:13)  3. I Will Sing of You
(5:59)  4. Deddy's Blues
(6:07)  5. Hot House
(8:20)  6. Amazing Grace
(8:36)  7. Peace in the Abstract
(8:32)  8. Everytime We Say Goodbye
(5:19)  9. Soul Mama

A talented trumpeter with a lot of potential, Marcus Printup was discovered by Marcus Roberts at the University of North Florida in 1991. Printup started on trumpet in the fifth grade, played funk as a teenager, and in college was part of a ten-piece band called Soul Reason for the Blues. Since that time, he has toured and recorded with Roberts, played with the Lincoln Center Jazz Orchestra, recorded with Carl Allen, performed with Betty Carter, and cut a number of excellent albums as a leader for Blue Note. ~ Scott Yanow https://www.allmusic.com/artist/marcus-printup-mn0000673081/biography

Personnel:   Marcus Printup - trumpet; Gregory Tardy - tenor saxophone; Marc Cary - piano;  Kengo Nakamura - bass; Shinnosuke Takahashi - drums

Peace in the Abstract

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Stanley Turrentine - The Sugar Man

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 78:10
Size: 180,0 MB
Art: Front

(5:02)  1. Tiny Capers
(4:50)  2. Return Engagement
(7:12)  3. Look Out
(6:13)  4. Minor Chant
(7:51)  5. Little Sheri
(6:18)  6. Tin Tin Deo
(6:58)  7. Yesterdays
(6:19)  8. Blue Riff
(4:58)  9. Journey into Melody
(9:56) 10. Willow Weep for Me
(5:23) 11. Baby, Ain't I Good to You
(7:04) 12. I Want a Little Girl

A legend of the tenor saxophone, Stanley Turrentine was renowned for his distinctively thick, rippling tone, an earthy grounding in the blues, and his ability to work a groove with soul and imagination. Turrentine recorded in a wide variety of settings, but was best-known for his Blue Note soul-jazz jams of the '60s, and also underwent a popular fusion makeover in the early '70s. Born in Pittsburgh on April 5, 1934, Turrentine began his career playing with various blues and R&B bands, with a strong influence from Illinois Jacquet. He played in Lowell Fulson's band with Ray Charles from 1950-1951, and in 1953, he replaced John Coltrane in Earl Bostic's early R&B/jazz band.

After a mid-'50s stint in the military, Turrentine joined Max Roach's band and subsequently met organist Shirley Scott, whom he married in 1960 and would record with frequently. Upon moving to Philadelphia, Turrentine struck up a chemistry with another organist, Jimmy Smith, appearing on Smith's 1960 classics Back at the Chicken Shack and Midnight Special, among others. Also in 1960, Turrentine began recording as a leader for Blue Note, concentrating chiefly on small-group soul-jazz on classics like That's Where It's At, but also working with the Three Sounds (on 1961's Blue Hour) and experimenting with larger ensemble settings in the mid-'60s. As the '70s dawned, Turrentine and Scott divorced and Turrentine became a popular linchpin of Creed Taylor's new, fusion-oriented CTI label; he recorded five albums, highlighted by Sugar, Salt Song, and Don't Mess With Mister T. While those commercially accessible efforts were artistically rewarding as well, critical opinion wasn't as kind to his late-'70s work for Fantasy; still, Turrentine continued to record prolifically, and returned to his trademark soul-jazz in the '80s and '90s. Turrentine passed away on September 12, 2000, following a massive stroke. ~ Steve Huey https://www.allmusic.com/artist/stanley-turrentine-mn0000012644/biography

The Sugar Man

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Jerry Bergonzi - Convergence

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 53:50
Size: 124,1 MB
Art: Front

(8:11)  1. Lend Me a Dream
(5:12)  2. I've Got a Crush on You
(5:25)  3. Squid Ink
(4:38)  4. Stoffy
(3:17)  5. Silent Flying
(4:51)  6. Osiris
(5:28)  7. Mr. Higgins
(5:17)  8. Ddodd
(7:52)  9. Convergence
(3:35) 10. Seventh Ray

Saxophonist Jerry Bergonzi has become one of the most reliable recording artists in jazz. In between his day job as a Berklee College of Music professor, and performing, he turns out a great album or two every year. Featuring mostly tenor horn, Convergence follows dutifully in that pattern. The album splits between a classic piano-based quartet and the more risky piano-less trio with equally good results. Bergonzi, who also overdubs soprano sax for a few tracks, has no problem carrying the trio, revealing no weaknesses in an unforgiving, nowhere-to-hide lineup. The lone cover on the album, George Gershwin and Ira Gershwin's, "I've Got A Crush On You," starts with a straight-through reading of the melody, before becoming a platform for the kind of first-rate improvisation expected from Bergonzi, his horn warm and forceful, as he expands over the rhythm section, reaching out but never breaking too far away. It's a beautiful rendering of a classic. "Stoffy," another trio track, opens with a film-noir-ish bass vamp that supports a more unconventional melody and improvisational statement. The result is equally fine, hanging together as a fully realized statement. Bergonzi's writing, throughout the album, is organized, logical and tight, making Convergence as notable for its composition as for its improvisation.  The rest of the album plays out on this pattern, with a just a couple of exceptions. This is Bergonzi's date, and he does not cede the leadership duties often. Pianist Bruce Barth joins the proceedings for three tracks, adding some lovely background comps and taking a really solid solo on "Convergence." The rhythm section bassist David Santoro and drummer Andrea Michelutti supports the entire disc without flaw. As a musician, Bergonzi is as competent on soprano as he is his main instrument. Overdubbing the straight horn on "Osiris," the saxophonist uses it to emphasize the melody, and to add some harmony that would be impossible in a trio, for a musically compelling result. His workout on soprano is as skilled as anything else on the album, and the overdubbing is seamless. Bergonzi manages to harmonize and interact with himself in a manner that were it a recording of two horn players might recall the psychically intertwined interplays of the Gerry Mulligan/Chet Baker quartets, dipping and diving over each other, completely in sync. There is no fault with the music here it's excellent across the board but it would be interesting to hear what this might have sounded like with two musicians actually interacting with each other, rather than one player playing along with something previously recorded.  Convergence showcases Bergonzi's considerable talents as a writer and improviser, and is worthy of his already impressive recording legacy. This effort enhances his position as one of the most important artists in jazz today, and is truly one of the first great jazz albums of 2011. ~ Greg Simmons https://www.allaboutjazz.com/convergence-jerry-bergonzi-savant-records-review-by-greg-simmons.php

Personnel: Jerry Bergonzi: tenor and soprano saxophones; Bruce Barth; piano (1,3 9); David Santoro: bass; Andrea Michelutti: drums.

Convergence

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Josh Evans - Portrait

Styles: Trumpet Jazz
Year: 2012
File: MP3@320K/s
Time: 72:11
Size: 167,4 MB
Art: Front

( 5:21)  1. Albany Ave.
( 7:30)  2. Ray Mac Left Town
( 5:11)  3. Tehran
( 5:05)  4. Chronic Mistakes
( 6:16)  5. Spring is Here
( 7:03)  6. Beatnik
( 6:56)  7. The Lamp is Low
( 8:53)  8. Ballad
(12:04)  9. The Moment of Truth
( 7:46) 10. Good Mornin'

The artist Picasso once said “the way I paint is my way of keeping a diary.” Much like Picasso, Josh Evans’ “Portrait” is a musical diary suggesting a close relationship between art and life. “Portrait” takes us through a remarkable musical journey with uncompromising integrity, creating a masterpiece. Evans shares with the listener his important and influential relationships with Rashied Ali, Jackie McLean, and Raymond “Dr. Rackle” Williams, whose musical talent is evident throughout the CD. “Portrait” marks the debut recording of Josh Evans as a musical leader and encompasses something very special that upon listening evokes a realization that the world of jazz resides in this musician; with deep roots in the knowledge of the music and his own self-awareness. Listeners are engulfed in rhythms, melodies, & textures of music that is special for an artist to achieve. This CD contains intensity of performance and the intimacy of a late night jazz scene. This long anticipated recording reveals a new and fresh approach to music that as Josh himself would describe, “had nothing to do with anything you could put on paper; it was about creating music.” Josh Evans “Portrait” is a recording everyone will want in their music collection. https://store.cdbaby.com/cd/joshevans

Personnel:  Josh Evans -Trumpet;  Ray McMorrin - Tenor Saxophone;  Lawrence Clark - Tenor Saxophone;  Alan Jay Palmer - Piano;  Theo Hill - Piano;  Dezron Douglas - Bass;  Ralph Peterson - Drums

Portrait

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Janet Mudge, Andy Reiss - Tenderly: The Nashville Sessions

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 41:56
Size: 97,1 MB
Art: Front

(4:37)  1. Skylark
(3:09)  2. Call Me
(3:34)  3. If I Were a Bell
(3:19)  4. Tenderly
(4:13)  5. It Might as Well Be Spring
(4:05)  6. Don't Go to Strangers
(4:13)  7. A Nightingale Sang in Berkeley Square
(3:06)  8. What'll I Do
(3:02)  9. Falling in Love
(4:31) 10. Wave
(4:03) 11. Smile

Though new to the jazz scene - I've been singing my entire life. My mother would say that even as a 2 year-old, I could carry a tune. This cherished sentiment has stayed deep in my heart and has provided continual encouragement to pursue my musical dreams. Throughout my years of singing, people had asked if I'd made any recordings. I can now respond emphatically  "yes!"! So why Nashville? Why not, I said! Though residing in Seattle I decided to celebrate a "significant" birthday by gifting myself with this amazing recording experience in the most musical place on earth. And what an experience... Music City delivered memories, music and friendships to last a lifetime. I was blessed beyond all measure to have recorded at this palace of a studio - Audio 51, owned by Crystal Gayle and Bill Gatzimos. I am eternally grateful to these lovely people - and to their son, Christos Gatzimos who engineered the magic. I was made to feel at home and practically family by their graciousness and hospitality. None of this would've happened if not for my amazing producer, Andy Reiss. I couldn't been more pleased to be under his skillful and creative direction; the band that he put together was unbelievable the dream band of Chris Walters on piano, Roger Spencer on bass, and Chris Brown on drums. What a joy! My heart is filled with gratitude. I do hope you will enjoy hearing my take on these fabulous melodies... thank you! https://store.cdbaby.com/cd/janetmudge

Tenderly: The Nashville Sessions

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Stephen Riley - Baubles, Bangles and Beads

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 64:11
Size: 148,0 MB
Art: Front

(5:11)  1. Baubles, Bangles and Beads
(8:14)  2. Wait Till You See Her
(4:12)  3. I've Told Ev'ry Little Star
(6:20)  4. I Thought About You
(6:52)  5. Who?
(5:16)  6. Hellhound On My Trail
(3:23)  7. Cherokee
(9:16)  8. Taking A Chance On Love
(5:32)  9. Bewitched, Bothered And Bewildered
(4:25) 10. I Heard That Lonesome Whistle
(5:24) 11. Baubles, Bangles and Beads

In spite of his preference for piano-less format, saxophonist Stephen Riley found the ideal pianist for him in Peter Zak, with whom he recorded his previous album 'Lover'. Here on his 11th release Riley is backed by the same team, including Zak, to interpret an amazing collection of classic but rarely heard jazz titles. Since his 2005 debut album 'Inside Out' Riley has kept momentum to become and remain a "distinctly unique jazz voice" (leading Chicago journalist Neil Tesser). On 'Baubles, Bangles and Beads' he is also joined by bassist Neal Caine and drummer Jason Marsalis, a member of the famous Marsalis family. "Riley's unconventional use of ultra-hard reed to essay a satin soft sound - a common sense contradiction - sets him apart from every other under-40 player I can think of. This date brings his track record as a leader to seven for seven and, for reasons I'm still discovering and savouring, it comes highly recommended." 

~ Derek Taylor, Dusted Magazine (on 'Lover'). https://www.propermusic.com/product-details/Stephen-Riley-Baubles-Bangles-and-Beads-182601

Personnel: Stephen Riley (tenor saxophone), Peter Zak (piano), Neal Caine (bass), Jason Marsalis (drums)

Baubles, Bangles and Beads

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Karen Aoki - By My Side

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 49:30
Size: 114,4 MB
Art: Front

(4:00)  1. By My Side
(4:05)  2. We've Only Just Begun
(4:07)  3. Sam the Samba Man
(3:56)  4. Dreams
(4:03)  5. It's All Right with Me
(4:24)  6. Each and Everyone
(4:18)  7. Coming Home
(4:56)  8. Breezes from the Sea
(5:44)  9. Trigger
(4:57) 10. The Paris Match
(4:56) 11. Feel Like Makin'Love

By welcoming Czechfani of Jazz Life Sexstat to sound producer Paulo Scotti of the club and jazz world presiding Norma Blu as a producer, and pursuing thorough quality such as full recording of Italy recording full-length, the highest grade "Italian club jazz" of completed. In addition to pop songs with popular jazz with light horns, cover works such as EBTG masterpieces "EACH AND EVERYONE", "SAM THE SAMBA MAN", "FEEL LIKE MAKIN 'LOVE". Bright and light sounds and arrangements are rolled out, finished in a popular work that is easy to hear. Translate by Google http://www.rambling.ne.jp/artist/karen/information/archives.html

Personnel: (Tenor sax) Alessandro Farrisell; (Trumpet, Flugelhorn) Stefano Serafini; (Trombone) Federico Tassani; (Flute) David Di Gregorio; (Percussion) Luka Florian;  (Bass) Dario Rosuglione;  (Piano) Massimiliano Rochetta; (Drums) Lorenzo Tucci

By My Side

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JD Allen - Grace

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 56:17
Size: 130,0 MB
Art: Front

(5:15)  1. Mass
(5:03)  2. Lode Star
(5:49)  3. Chagall
(5:40)  4. Luke Sky Walker
(5:07)  5. Grace
(3:06)  6. Detroit
(6:11)  7. Cross Damon
(3:36)  8. Pole Star
(5:23)  9. Papillon 1973
(5:59) 10. Selah (My Refuge)
(5:03) 11. The Little Dipper

Tenor saxophonist JD Allen sounds different on Grace-less muscular, more introspective. But while he’s not as aggressive as he has been over his last several albums, he’s playing with just as much confidence. After four records in a sax-bass-drums trio, he’s added a pianist-Eldar Djangirov, no less-to the group. And he’s playing a bit longer. Whereas he kept most of his performances under four minutes on his previous albums, on Grace he lets the band go for five-plus on most tracks. This doesn’t mean he’s abandoned his theory of jazz economy. Less is still more with Allen. He’ll play two notes where other musicians would play four, and he sits out plenty in order to listen to Djangirov ruminate. But Allen has got something more than songs on his mind with Grace, and it’s spelled out in David Michael Greenberg’s meticulous liner notes: This project tells a story, in two acts, a narrative built around the human journey. But being aware of it is not essential to enjoying the music. And the music is transcendent. Themes are implied more than stated. Structure is loose. Musicians have free rein to take liberties and go where their solos take them. Songs like “Detroit” and “Luke Sky Walker” are pleasant without conforming to traditional notions of melody. On “Pole Star,” it’s not immediately clear what Allen is doing: Is that a solo right off the bat, with no theme? Is that all? Is that the bassline, or is Dezron Douglas soloing too? Here comes Jonathan Barber’s drum solo-no, wait, the song’s over. Allen just gets going on “Papillon 1973” with a beguiling solo that begins to build tension when suddenly he stops and lets Djangirov take over. The ballad “Selah (My Refuge),” on the other hand, does have an easily discernible theme, and it invites sax-and-piano exchanges that might be the most beautiful dialogue you’ll hear all year. Song after song, Allen keeps us guessing and on our toes. One thing we do know: His deceptively complex music keeps getting more and more interesting. ~ Steve Greenlee https://jazztimes.com/reviews/albums/jd-allen-grace/

Personnel:  Acoustic Bass – Dezron Douglas; Drums – Jonathan Barber; Piano – Eldar Djangirov; Tenor Saxophone – J.D. Allen

Grace

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