Don Friedman Trio - The Days Of Wine And Roses

Styles: Piano Jazz
Year: 1996
File: MP3@320K/s
Time: 66:50
Size: 154,8 MB
Art: Front

(6:16)  1. Days Of Wine And Roses
(6:23)  2. Hi Low Fast Low Hi
(9:26)  3. Body And Soul
(7:09)  4. I Don't Know Yet
(6:29)  5. You Got To My Head
(7:40)  6. Free At Last
(6:33)  7. Have You Met Miss Jones?
(9:48)  8. New Dawn
(7:02)  9. It Could Happen To You

One of the most difficult things about being a jazz musician is learning to accept the the sheer arbitrariness of fame (there is no fortune in jazz). Why is one player enormously famous and another obscure, when to the naked ear they sound equally as compelling? That's a subject for another day, but it's the first thing one may think of when picking up an album by a lesser-known yet enormously talented musician like Don Friedman. Friedman is a tremendously versatile and creative jazz pianist. Few jazz musicians of any stripe are as conversant with both the bop vocabulary and free music techniques. Friedman is utterly convincing in both genres. On this, Friedman and his rhythm section play standards and free improvisations on alternate tracks. The styles are markedly different: The standards swing gently if insistently within the framework of the tunes; the free improvs surge and subside, going in and out of time and touching on tonalities at random. The high degree of invention and sophistication of the players ties the tracks together. Friedman is a powerful pianist with the creamiest of touches; although he's as percussive as he needs to be, at times it seems as if there's a pillow underneath each key. And while he plays it straight on the standards, Friedman possesses a rhythmic elasticity on these tunes that could remind a younger jazz listener of Keith Jarrett. Friedman's free playing is considerably more elegant and polished than that of many full-time avant-garde pianists, but no less creative. The rhythm section and Friedman had never played together before this date; it says something about the nature of improvised music that the music suffers not a whit. In the hands of players as sensitive and gifted as these, a first encounter is just another opportunity for discovery. ~ Chris Kelsey https://www.allmusic.com/album/the-days-of-wine-and-roses-mw0000022303

Personnel:  Don Friedman ( Piano ); Giampiero Prina ( Drums ); Marco Ricci (Bass).

The Days Of Wine And Roses

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DeDe Wedekind - Dream of You

Styles: Vocal 
Year: 2016
File: MP3@320K/s
Time: 33:37
Size: 78,3 MB
Art: Front

(4:23)  1. Dream of You
(3:33)  2. Leaning on Heaven
(3:55)  3. Prime of Life
(3:41)  4. Sell Me Out
(3:56)  5. Stronger
(3:47)  6. Love Lives On
(3:19)  7. Recipe of Love
(3:15)  8. Today I'll Marry My Friend
(3:42)  9. My Unsung Hero

Houston-based singer/songwriter, DeDe Wedekind, with over 110,000 fans worldwide, was just named the 2016 Best New Female ARTIST of the YEAR, at the 5th Annual Indie Music Channel (IMC) Awards, held at the Clive Davis Theater at the Grammy Museum in Los Angeles in April.  The Indie Music Channel was founded by Emmy-winning actor, writer, musician & producer, Christopher Ewing, as a one-of-a-kind platform to help talented Independent Artists get much needed recognition, while playing their music on the IMC’s internationally acclaimed internet radio stations & website.  Artists also receive unique worldwide exposure via The Indie Music Channel’s Website, FM & Internet Syndicated Radio Shows, the Indie CAFÉ TV Show, LIVE TV Show, & other IMC Shows & Tours. At the IMC Awards, DeDe was also honored with Best Americana Song, Best Americana Artist & Best Americana Recording for her original, “Dream of You”!  These awards were based on the release of DeDe’s much-anticipated 4th album, Dream of You, in Feb. 2016.  Also from this album, new Single “Stronger” already garnered Best Adult Contemporary Song of the Year-2015, at the 3rd Annual International Music and Entertainment (IMEA) Awards in Atlanta.  In 2014, DeDe also won TWO separate IMEA ALBUM of the YEAR Awards, for Album #2: Love & Fairy Tales, and for Album #3: World of Christmas! DeDe’s new album features her original single: “Love Lives On”, recorded with Multi-Platinum mega hit Songwriter and Producer, Andrew Fromm. Andrew Fromm’s the songwriter for ‘NSync’s “Millenium” album, the Backstreet Boys, Marc Anthony & many others. Andrew is featured playing the piano on this inspiring single from DeDe’s New album. https://dedewedekind.blogspot.com/2016/05/dede-wedekind-wins-best-new-female.html

Dream of You

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Giovanni Hidalgo - Hands Of Rhythm

Styles: Latin Jazz, World Fusion 
Year: 1997
File: MP3@320K/s
Time: 51:12
Size: 119,0 MB
Art:

(5:53)  1. And Sammy Walked In
(5:08)  2. Footprints
(4:22)  3. Amo Esta Isla
(4:16)  4. Softly, As In A Morning Sunrise
(4:11)  5. My Soul Beat
(4:50)  6. Papa Boco
(3:47)  7. Blue Monk
(5:15)  8. If You Knew...
(4:05)  9. En Mi Viejo San Juan
(6:18) 10. Hello And Goodbye
(3:02) 11. Hands In Motion

Could a collaborative effort between Dominican piano virtuoso Michel Camilio and Giovanni Hidalgo, who is commonly known as the finest living conguero, possibly live up to the expectations? The answer Hands of Rhythm offers is nothing short of "All that and them some, baby." The beautiful thing about hearing both Camilo and Hidalgo in a rare duo format is that unlike larger band contexts, their genius does not compete for sonic space with anyone. Every note, every stroke is clearly audible, and crystal clear. Almost as fantastic as the instrumental performance was the repertoire chosen. In fact, the overall flavor is not what one might expect from two players known well for blistering speed. A haunting, sensitive rendition of "Footprints" and the reminiscent "En Mi Viejo San Juan" are welcome surprises from a percussion lead duo. "Softly as in the Morning" and "Blue Monk" are swinging from start to finish. With these jazzy selections, the bossa nova-at-its-best "If You Knew," and the merengue "Papa Boco," Hands of Rhythm shies away from the clave-driven music that made these two men famous. 

And yet, they prove themselves as adept in any one idiom as the other. Hidalgo and Camilo make up for their small numbers with both taste and sheer brilliance. Hands of Rhythm is required listening for both these musician's loyal fan bases, and the Latin jazz listening public alike. ~ Evam C. Guttierrez https://www.allmusic.com/album/hands-of-rhythm-mw0000081472

Personnel: Giovanni Hidalgo: Bongos, Chimes, Composer, Congas; Michel Camilo: Piano

Hands Of Rhythm

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Norm Kubrin - I Thought About You

Styles: Vocal And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 60:52
Size: 141,0 MB
Art: Front

(5:35)  1. I Thought About You
(5:45)  2. Isn't It A Pity'
(3:20)  3. It's A Wonderful World
(6:26)  4. My Ship
(4:54)  5. You Make Me Feel So Young
(5:01)  6. Summer Me, Winter Me
(4:18)  7. Let's Get Away From It All
(5:53)  8. Love Walked In
(3:51)  9. Nice Work If You Can Get It
(4:50) 10. The Shining Sea
(5:31) 11. It Could Happen To You
(5:24) 12. Where Do You Start

Vocalist-pianist Norm Kubrin fronts a trio on Thought About You with guitarist Bob Hanni and bassist Don Coffman. The piano-guitar-bass arrangement probably seems less familiar today than piano-bass-drum, and places the style and approach of Thought About You in the '50s. The songs by names like Gershwin & Gershwin, Kurt Weill, and Johnny Mercer reinforce this connection to mainstream jazz. The set sways between mellow ballads like "Isn't It a Pity" to happier, medium-tempo songs like "It's a Wonderful World." Kubrin's vocal approach and choices of material partly recall Mel Tormé, though his straightforward style lacks Tormé's flair and flourishes. Kubrin really enjoys slowing ballads down to a snail's pace, turning them into intimate late-night conversations between himself and one or two barflies. He's equally contented with easy rolling songs like "Nice Work if You Can Get It," though overall, Thought About You is a relaxed set. Kubrin, Hanni, and Coffman are quite comfortable together, which seems like a prerequisite for trio work, and all three know when to jump in and when to stay out of one another's way. The solo piano and guitar work are solid, though the sparks never really fly thanks to the mellow material and the trio's mellow approach. Kubrin and company have turned in a respectable effort, sure to please mainstream jazz fans. ~ Ronnie D.Lankford Jr. https://www.allmusic.com/album/thought-about-you-mw0000461969

Personnel:  Norm Kubrin, piano & vocals; Bob Hanni, guitar; Don Coffman, bass

I Thought About You

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Vincent Houdijk - 15

Styles: Vibraphone Jazz
Year: 2013
File: MP3@320K/s
Time: 49:54
Size: 114,7 MB
Art: Front

(7:41)  1. Intimate Moments
(5:14)  2. Shanti
(6:01)  3. Mapa (Solo Version)
(8:48)  4. 40 Degrees
(5:52)  5. The Sfinx
(6:22)  6. Art of Living
(9:53)  7. 15

The debut album entitled '15' was released in 2013 and is is a musical monument of Vincent Houdijk (1981) for his three year older brother Ashley who was also a percussionist and sadly enough did not survive the impact of the traumatic Hercules disaster in Eindhoven on July 15, 1996. At that time Vincent was 15 years old and was driven to become a professional percussionist after this tragic accident. This album 15 is an inspiring 'audio biography' of the 15 crucial years of his life - from the first moment of the accident up until the studio recordings of this first CD - which is the sign of the musical journey of Vincent Houdijk, which began in fact on the day he decided to become a professional musician. Vincent Houdijk has been awarded as 'Most promising Jazz Talent of the Netherlands' (by the jazz programmers of the major venues; VIP Association). He composed his second album Vortex and released this live-recording during a nationwide tour starting in the famous Bimhuis, Amsterdam. The title composition 15 - the last and most intense work on the album - is obviously a tribute to his brother, Vincent sees him as the main inspiration for his musical career. 15 symbolizes energy, vitality and total passion for music. Furthermore the debut album 15 consists of seven compositions with musical contributions from renowned jazz musicians Eric Vloeimans (trumpet), Bert Boeren (trombone) and Tabla player Walid Nowrouzi. https://store.cdbaby.com/cd/vincenthoudijk

Band line up: Vincent Houdijk - vibraphone and all compositions; Christof May - saxophones and bass clarinet; Aron Raams - guitar; Ludo van der Winkel - double bass; Mark Schilders - drums

Featuring: Eric Vloeimans (on Art of Living); Bert Boeren (on Intimate Moments)

" VinnieVibes is a clear example of how young musicians experience and especially perform jazz in this era. The concert of Vincent Houdijks' VinnieVibes was an energetic event, expertly put down, with fresh ideas, great craftsmanship, attention to detail and as far as the bandleader itself is concerned, a tremendous sense of harmony, melody and swing." Rinus van der Heijden, Jazzenzo Magazine  4 star review by Jazzism Magazine

"The compositions of Houdijk emenate power and are vigorously brought to life. Each piece of music stimulates the imagination." Hessel Fluitman, JazzFlits Magazine

"Vincent Houdijk showed himself the disciple of his teacher" He exceeded his tutor "Not only as a vibraphonist, but especially as a creative artist: since all the compositions of his hand, which the band played this evening, had a quality that you do not often encounter in contemporary music. Strong in terms of melodic character, exciting in the construction and embedded into fine grooves." Gerard Hoekmeijer, Jazz New and Deep Foundation

15

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Charles Lloyd - Voice In The Night

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 68:15
Size: 157,0 MB
Art: Front

( 6:30)  1. Voice In The Night
( 4:42)  2. God Give Me Strength
( 7:45)  3. Dorotea's Studio
( 5:57)  4. Requiem
(11:41)  5. Pocket Full of Blues
( 9:26)   6. Homage
(15:22)  7. Forest Flower: Sunrise / Sunset
( 6:49)   8. A Flower Is A Lovesome Thing

Voice in the Night is a welcome homecoming for reedman Charles Lloyd. He hasn't recorded in a guitar-based group since his two tremendously underrated (and rockish) albums for A&M in 1972-73. Here, he also pleasingly revisits a good deal of his earlier (and still his most personable) material: "Forest Flower," from the famed quartet days of the late 60s, "Voice in the Night" and in the "Pocket Full of Blues" medley, "Island Blues" and "Little Sister's Dance." With the advantage of hindsight, Lloyd seems to sound warmer, somewhat romantic and a touch more inspired than usual with a guitar. Pianists seem to bring out Lloyd's more aggressive Coltrane-ish side and often permit him to easily dabble in longer, spacier themes with exotic instrumentation. Even though he sticks to tenor throughout here (his exceptional flute playing is sorely missed coupled with John Abercrombie's sensistive accompaniment), Lloyd sounds just right here: swinging and having fun too. This all-star aggregate, featuring Abercrombie on guitar, Dave Holland on bass and Billy Higgins on drums, recalls the other supergroup Lloyd captured on 1965's superb Of Course, Of Course (Columbia, not on CD). The earlier date featured iconoclastic guitarist Gabor Szabo, an excellent foil for any of Lloyd's moods (Szabo came to the Chico Hamilton group Lloyd directed at Lloyd's insistence in the early 1960s), with bassist Ron Carter and drummer Tony Williams. Lloyd, Abercrombie and Holland bring a far different, mellowed perspective to this music.

Voice in the Night suffers none of the austerity that rules much of ECM's recordings and a few of Lloyd's previous five ECM releases. Aside from toe-tapping interplay on the familiar songs, Lloyd and company offer lovely covers of Strayhorn's "A Flower is a Lovesome Thing" and, surprisingly, last year's Burt Bachrach/Elvis Costello hit, "God Give Me Strength." Quite often, though, the most interesting moments come on Lloyd's newest material: the off-kilter calypso of "Dorotea's Studio," "Homage" (a sterling Abercrombie showpiece) and "Requiem." However, anyone familiar with Lloyd's magisterial "Forest Flower" from the Chico Hamilton days, or, more likely from the famed quartet days, will certainly want to hear the beautiful version Lloyd, Abercrombie, Holland and Higgins offer here. It's worth the price of admission. Here's hoping the somewhat reclusive Lloyd is planning a sequel to Voice in the Night. This is a quartet that offers much to explore. ~ Douglas Payne https://www.allaboutjazz.com/voice-in-the-night-charles-lloyd-ecm-records-review-by-douglas-payne.php?width=1920

Players:  Charles Lloyd: tenor sax; John Abercrombie: guitar; Dave Holland: double bass; Billy Higgins: drums, percussion.

Voice In The Night

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Joni James - Dream A Little Dream Of Me

Styles: Vocal 
Year: 2015
File: MP3@320K/s
Time: 63:20
Size: 146,0 MB
Art: Front

(2:33)  1. Dream A Little Dream Of Me
(3:21)  2. All Or Nothing At All
(3:04)  3. I Love You Much Too Much
(2:59)  4. There Will Never Be Another You
(1:43)  5. Can't Get Out Of This Mood
(3:09)  6. Manhattan
(2:53)  7. Heart And Soul
(1:59)  8. Lover
(2:20)  9. Just One Of Those Things
(3:46) 10. They Can't Take That Away From Me
(3:12) 11. Basin Street Blues
(3:48) 12. I Almost Lost My Mind
(2:14) 13. Baby, Won't You Say You Love Me
(2:31) 14. You Must Have Been A Beautiful Baby
(3:33) 15. I'll Walk Alone
(4:07) 16. My Melancholy Baby
(3:53) 17. I Can't Believe That You're In Love With Me
(4:57) 18. Imagination
(3:38) 19. But Beautiful
(3:31) 20. I Can Dream, Can't I?

Pop songstress Joni James was born Giovanna Carmella Babbo in Chicago on September 22, 1930. After studying drama and ballet throughout her adolescence, she joined a local dance troupe on a tour of Canada upon graduating high school, later working as a chorus girl at the Windy City's Edgewater Beach Hotel. A fill-in gig at an Indiana roadhouse convinced James to pursue a career as a singer, and while appearing in a TV commercial she was spotted by executives at MGM, signing to the label in 1952. Her single "Why Don't You Believe Me" sold over a million copies, topping the U.S. charts for six weeks and falling just shy of the Top Ten in Britain. An overnight sensation, James enjoyed an incredible run of hits over the next year, among them the double-sided "Have You Heard"/"Wishing Ring," "Purple Shades," Hank Williams' "Your Cheatin' Heart," "Is It Any Wonder," "Almost Always," "My Love, My Love," "You're Fooling Someone," "Nina-Non (A Christmas Lullaby)," and "You're My Everything." By 1954, however, James' early success seemed to dissipate entirely, and after returning to the Top Ten twice the following year with "How Important Can It Be?" and "You Are My Love" she never reached to the upper rungs of the charts again, although she continued cracking the Top 100 for the remainder of the decade. In 1964, she retired from music to tend to her ailing husband, musical director Anthony Acquaviva, and spent the next three decades essentially removed from the public eye; finally, during the mid-'90s she returned to touring while also supervising the re-release of her classic MGM recordings. ~ Jason Ankeny https://www.allmusic.com/artist/joni-james-mn0000224113/biography

Dream A Little Dream Of Me

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Ivo Perelman - Man of the Forest

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 46:15
Size: 106,8 MB
Art: Front

(12:28)  1. Man of the Forest
( 5:47)   2. Cantiga Caicó
(11:05)  3. Valeiro
( 5:24)   4. Rasga o Coraçao
(11:29)  5. Prelude No. 1

Ivo Perelman, who has been thought of as a Brazilian Albert Ayler (although that is a simplification and a denial of his originality), fuses together Brazilian music (the playing of his percussionists) with creative jazz in this unusual tribute to the compositions of the Brazilian classical composer Heitor Villa-Lobos. Actually Perelman just uses Villa-Lobos's motifs as a point of departure but one could call the results world fusion since Perelman's mixture creates some startling jazz. Pianist Joanne Brackeen makes her presence felt during her three appearances (including the modal waltz "Veleiro" and the ballad "Rasga O Coracao") while the interaction between the tenor, the accordion of Dom Salvador and the percussionists on "Cantiga Caico" is delightful. Ivo Perelman has an intense sound, complete control of his instrument and an emotional style a little like Archie Shepp in his prime. His passionate music deserves close attention. ~ Scott Yanow https://www.allmusic.com/album/man-of-the-forest-mw0000126576

Personnel: Tenor Saxophone, Arranged By, Adapted By – Ivo Perelman; Accordion – Dom Salvador; Bass – Mark Helias; Caxixi, Bells, Other [Shells], Voice – Nana Vasconcelos; Caxixi, Triangle, Wood Block [Wood Blocks] – Duduka Da Fonseca; Cuica, Drum [Timba], Congas, Pandeiro, Drum [Zabumba], Bells – Guilherme Franco; Drums – Billy Hart; Pandeiro, Cuica, Triangle [Triangulo], Gong [Gongs], Caxixi, Drum [Ceramic Drum], Bells – Cyro Baptista; Piano – Joanne Brackeen 

Man of the Forest

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Charles Gayle - Touchin' on Trane

Styles: Saxophone Jazz
Year: 2010
File: MP3@320K/s
Time: 66:39
Size: 152,9 MB
Art: Front

(14:39)  1. Touchin' on Trane: Part A
( 7:02)   2. Touchin' on Trane: Part B
(12:26)  3. Touchin' on Trane: Part C
(27:42)  4. Touchin' on Trane: Part D
( 4:48)   5. Touchin' on Trane: Part E

A long time ago, there was an advertising line: "The Rolling Stones are not just a band; they are a way of life." That ad man was of course tapping into the old adage of jazz: if you don't live it, it won't come through your music. In the '90s, The New Thing of the '60s came back with tremendous energy and no one embodied that energy better than Charles Gayle. At almost 70 years old, he still plays with the conviction and strength of a Coltrane or Rollins in their twenties and thirties. This CD, one of the strongest of the '90s, was out of print from Germany's FMP label and very difficult if not impossible to find, so this reissue is a cause for celebration. The music on Touchin' On Trane is for those who thought the avant-garde was the wrong direction of the '60s, even though the same musician who created "Giant Steps" was also one of its most important proponents with works inluding Meditations (Impulse!, 1965) and Interstellar Space (Impulse!, 1967). Starting off with "Part A," Coltrane alum/drummer Rashied Ali sets up a fast tempo, Gayle's soaring tenor voice moving quickly from rapid-fire mid-register lines to higher, long notes that fly over the bass and drums, sinking to occasionally deeper honks. The focus is on the leader's relentless energy for the next seven minutes, until he drops out, placing the spotlight on bassist William Parker. Even with Ali moving to brushes, the tumultuous energy continues through the bassist's solo, which precedes Ali's Max Roach-esque lead, concentrating on the foot-controlled opening and closing of the hi-hat cymbals. When moving to the rest of his kit there is a near-bebop approach to the rhythms, snappy snare and melodies emerging from tom-toms. "Part B" changes the sonic scenery. Gayle and Parker melodically weave between each other's lines, and Ali's active yet dynamically sensitive brushes urge lyrical ideas forward. At one point, both saxophonist and bassist play in the upper-most registers of their instruments, producing a very striking sound. And, as with many of the great composing improvisers, they bring that sound back at the end of this beautiful, balladic piece. Once it gets rolling, the energy of "Part D" proves perhaps more intense than anything played prior, and the stamina holds forth for over 27 minutes. It's as if the musicians are transported to a place beyond human limits. Parker's open G-string is tamboura-like in its drone, from which all three musicians spiral. Here Gayle's spirit is unshakable; when it appears that he can't possibly go on, he does. Even as he drops out to Ali's brushes accompanying Parker's arco bass solo, the energy and focus doesn't drop for a moment. "Part E" is a concise summary of the entire set: the slinky counterpoint, the Ben Webster/Sonny Rollins-like tenor tone, Ali's swing, and the powerful compositional/improvisational approach of Parker all contained here in a powerful five minutes. For the believer and non-believer, Gayle's honest, powerful approach is undeniable. ~ Francis Lo Kee https://www.allaboutjazz.com/touchin-on-trane-charles-gayle-jazzwerkstatt-berlin-brandenburg-ev-review-by-francis-lo-kee.php

Personnel: Charles Gayle: tenor saxophone; William Parker: bass; Rashied Ali: drums.

Touchin' on Trane

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Jamie Saft - You Don't Know the Life

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 41:14
Size: 95,9 MB
Art: Front

(4:30)  1. Re: Person I Knew
(5:41)  2. Dark Squares
(4:22)  3. Water from Breath
(6:09)  4. You Don't Know the Life
(2:13)  5. Ode to a Green Frisbee
(4:19)  6. The Cloak
(3:16)  7. Stable Manifold
(3:56)  8. The Break of the Flat Land
(3:07)  9. Moonlight in Vermont
(3:37) 10. Alfie

Since his 1997 recording debut, keyboardist Jamie Saft has carved out a dynamic profile, first (mostly) with John Zorn's Tzadik label and, since 2011, with RareNoise Records. A string of four releases on the label set the stage, beginning with 2014's trio outing The New Standard, through Loneliness Road (2017) (another trio set, with Iggy Pop sitting in on a few tunes), Solo A Genova (2018), and the quartet recording, Blue Dream, featuring saxophonist Bill McHenry. It was a busy and artistically fruitful few years for Saft. You Don't Know the Life has Saft switching gears, plugging into Hammond and Whitehall organs and an electric Baldwin harpsichord. The organ trio tradition is a long one Jimmy Smith, Grant Green, Jack McDuff but You Don't Know the Life doesn't sound like an attempt to adhere to that groove-based, urban, soul-drenched template. The Saft Trio, with the team of bassist Steve Swallow and drummer Bobby Previte, seems to be pushing through on a new path breezy and freewheeling at times, reverential and church organ-like at others, and even psychedelic, on the opening cut, pianist Bill Evans' "Re: Person I Know," where Saft breaks out the electric harpsichord.  "Dark Squares" is attributed, songwriting-wise, to Saft/Swallow/Previte, so it is most certainly a trio improvisation, a measured and contemplative music that seems like a trip to church. "Water From Breath" flows down the same path, in a more lighthearted manner. The title tune from ZZ Top-er Billy Gibbons' pre-ZZ Top psychedelic blues band, Moving Sidewalks sounds like a lonely stroll down a midnight alleyway, immersed in the pondering of a love just lost. The album wraps up with a couple of unexpected considering the eclectic batch of tunes that precede them familiar standards, "Moonlight In Vermont," taken at a loose and leisurely pace, and Burt Bacharach and Hal David's "Alfie." Pure loveliness, Saft's organ a cool and cleansing breeze. ~ Dan McClenaghan https://www.allaboutjazz.com/you-dont-know-the-life-jamie-saft-rarenoiserecords-review-by-dan-mcclenaghan.php

Personnel: Jamie Saft: Hammond organ, Whitehall organ, Baldwin electric harpsichord; Steve Swallow: electric bass; Bobby Previte: drums.

You Don't Know the Life

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Maynard Ferguson - Newport Suite

Styles: Trumpet Jazz
Year: 1960
File: MP3@320K/s
Time: 39:32
Size: 91,2 MB
Art: Front

(4:28)  1. Jazz Bary
(5:11)  2. Foxy
(8:42)  3. Newport
(3:56)  4. Got the Spirit
(2:56)  5. Sometimes I Feel Like a Motherless Child
(7:05)  6. Ol' Man River
(7:12)  7. Three More Foxes

Maynard Ferguson's bands of the early '60s produced many memorable albums, including this studio effort. Sax player and bandmember Willie Maiden contributed two originals. "The Jazz Bary" is a fun feature for baritone saxophonist Frank Hittner and Ferguson (who plays the rarely heard baritone horn), in which they play in unison, in thirds, and trade solos. "Three More Foxes" features trumpeters Dick Hiefer and Don Ellis and the leader, each taking turns soloing. This upbeat blues showcases great comping by pianist Jaki Byard as well. Liner note writer George T. Simon slips in a hilarious pun about Maiden's chart of "Ol' Man River," which "starts flowing with a mad Maiden form." The remaining charts were contributed by Slide Hampton (though he isn't present on the recording itself). "Foxy" is a bluesy feature for young tenor saxophonist Joe Farrell and the leader. "Newport," which was premiered at the 1959 festival there, is an elaborate suite with many flavors: a funeral-like dirge, a powerful uptempo blues that suggests the influence of Duke Ellington's "I'm Gonna Go Fishin'" in spots, and delicious call and response between the brass and reed sections. And he brings out his gospel roots in his scoring of the spiritual "Sometimes I Feel Like a Motherless Child," the album's only relatively low-key number. Long out of print (though it was available as part of Mosaic's limited-edition CD box set of Maynard Ferguson's Roulette recordings), this is one of the trumpeter's very best LPs. ~ Ken Dryden https://www.allmusic.com/album/newport-suite-mw0000883790

Personnel:  Maynard Ferguson - trumpet, valve trombone, baritone horn; Don Ellis, Augustino 'Chet' Ferretti, Rick Kiefer - trumpet; Charles Greenlee, Mike Zagatini - trombone; Jimmy Ford - alto saxophone; Joe Farrell, Willie Maiden - tenor saxophone; Frank Hittner - baritone saxophone; Jaki Byard - piano; Aubrey Tosin - bass; Stu Martin - drums; Slide Hampton, Willie Maiden - arranger

Newport Suite

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Roy Ayers Ubiquity - Everybody Loves The Sunshine (Reissue)

Styles: Vibraphone Jazz, Vocal, Post Bop
Year: 1976
File: MP3@320K/s
Time: 39:32
Size: 91,7 MB
Art: Front

(3:45)  1. Hey, Uh, What You Say Come On
(3:03)  2. The Golden Rod
(3:45)  3. Keep On Walking
(3:12)  4. You And Me My Love
(6:21)  5. The Third Eye
(3:28)  6. It Ain't Your Sign It's Your Mind
(4:48)  7. People And The World
(3:59)  8. Everybody Loves The Sunshine
(3:02)  9. Tongue Power
(4:03) 10. Lonesome Cowboy

Roy Ayers's had long made his shift into R&B/soul by 1976's Everybody Loves the Sunshine. His recordings of this period can be very hit and miss, and in this particular record, you get both. The title track, "Everybody Loves the Sunshine," is a quintessential song from the mid-'70s. While it might not have slammed the charts like Wild Cherry's "Play That Funky Music," it's still a revered classic. It evokes that feeling of sweltering concrete in Brooklyn where the only relief is the local fire hydrant. Entirely sung by a choir repeating the same lines throughout, the rhythm section rolls along with a perfectly looped laid-back groove. It moves along lazily, hypnotically, and sluggishly as the sun slows things down to the right speed and "folks get down in the sunshine." The rest of the album contains Ayers classics such as the burning percussive funk of "It Ain't AYour Sign It's Your Mind," the spacey cosmic soul of "the Third Eye," the bumping rubbery disco in "People and the World," and the two horn-scorched closers "Tongue Power," and "Lonesome Cowboy." ~ Sam Samuelson https://www.allmusic.com/album/everybody-loves-the-sunshine-mw0000099169

Personnel:  Roy Ayers – vibraphone, lead vocals, electric piano, synthesizer (ARP, String Ensemble), percussion, background vocals; Philip Woo – piano, electric piano, synthesizer (ARP, String Ensemble); Chano O'Ferral – congas, percussion, lead vocals; Ronald "Head" Drayton – guitar; John "Shaun" Solomon – electric bass; Doug Rhodes – drums; Chicas – lead vocals, background vocals

Everybody Loves The Sunshine (Reissue)

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Eli Degibri & Kevin Hays Duo - One Little Song

Styles: Saxophone And Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 57:21
Size: 131,7 MB
Art: Front

(5:27)  1. Spinster
(8:08)  2. Gypsy
(4:59)  3. E.T.
(2:50)  4. Fax To Roni
(8:23)  5. Wish
(6:03)  6. Night In Portugal
(6:55)  7. 8 Ball
(5:20)  8. Cuba
(5:35)  9. What Remains
(3:37) 10. One Little Song

Herbie Hancock noticed Eli Degibiri early. In 1999, the venerable pianist selected the then-unknown saxophonist to perform internationally with his group, citing Eli’s “natural ability toward effective teamwork, focus, willingness to listen, and eagerness to learn, the caliber of which is a rare find in jazz today.” Hancock saw potential: “Eli’s music treads uncharted waters…he has the potential to be a formidable force in the evolution of jazz.” In the last decade, Eli has recorded five albums as a leader, and toured with veterans such as Al Foster, Clark Terry, Jimmy Heath, Eric Reed and the Mingus Big Band. “Don’t miss him,” cautions Ben Ratliff in The New York Times, “He is a very modern improviser, super-artful; his creations are spiky and fractured, but immaculately sculptured.” Kevin Hays has known Brad Mehldau for years; their relationship dates back to high school. On the subject of Hays, his fellow pianist exclaims, “Stellar! Kevin Hays is a true original. Everything he plays has a deep intelligence and swing.” The two artists recently recorded together for the Nonesuch imprint, which is among the latest of Kevin’s dozen releases as a leader or co-leader on labels such as Blue Note, Artist Share, and Steeplechase. Kevin is also highly in-demand as a sideperson, having performed and/or recorded with the likes of Eddie Henderson, Nicholas Payton, Jack DeJohnette, and John Scofield, who proclaims, “[Kevin]’s all-encompassing; phenomenally so!” We’ve been presenting both Eli and Kevin’s groups intermittently since 2002, and we look forward to the second performance by the duo at The Gallery this Thursday, April 26th. This show will launch a short tour for the pair, which also includes stops at An die Musik LIVE (Baltimore), Dazzle (Denver), and SFJAZZ’s Israeli JazzFest (San Francisco). You can stream tracks from One Little Song courtesy of our friends at SFJAZZ (the audio player is on the right towards the bottom). http://www.jazzspeaks.org/eli-degibri-kevin-hays-one-little-song/

Personnel:  Eli Degibri, tenor, soprano sax, vocals; Kevin Hays, piano.

One Little Song

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Norm Kubrin - Shootin' High: The Songs of Jimmy McHugh

Styles: Vocal And Piano Jazz
Year: 2007
File: MP3@320K/s
Time: 46:45
Size: 108,4 MB
Art: Front

(3:29)  1. It's a Most Unusual Day
(4:07)  2. I'm Shooting High
(5:41)  3. I'm in the Mood For Love
(3:17)  4. Let's Get Lost
(4:27)  5. A Lovely Way to Spend An Evening
(4:04)  6. Exactly Like You
(3:34)  7. I Feel a Song Coming On
(4:24)  8. Don't Blame Me
(4:03)  9. I Can't Believe That You're in Love With Me
(2:03) 10. When My Sugar Walks Down the Street
(4:22) 11. I Can't Give You Anything but Love
(3:07) 12. On the Sunny Side of the Street

Shootin' High: The Songs of Jimmy McHugh was produced by world renowned jazz pianist Ray Kennedy. It features many of New York's finest jazz recording artists including: Ray Kennedy-Piano; Tom Kennedy-Bass; Tony Tedesco-Drums; Joe Cohn-Guitar; Chuck Redd-Vibes; Harry Allen-Sax; Glen Drews-trumpet .Vocalist/pianist Norm Kubrin demontrates his love for the American Songbook in this superb collection of Jimmy McHugh tunes. Kennedy's arrangements and Kubrin's interpretation of these McHugh classics make a most enjoyable listening experience! https://store.cdbaby.com/cd/normkubrin

Shootin' High: The Songs of Jimmy McHugh

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Deborah Shulman - The Shakespeare Project

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 45:21
Size: 104,6 MB
Art: Front

(6:46)  1. All the World's a Stage / If Music Be the Food of Love - As You Like It & Twelfth Night
(3:17)  2. Blow Blow Thou Winter Wind - As You Like It
(4:50)  3. Dunsinane Blues - The Story of Macbeth
(4:37)  4. Shall I Compare Thee to a Summer's Day - Sonnet 18
(1:55)  5. Who is Sylvia - Two Gentlemen of Verona
(4:01)  6. You Spotted Snakes - A Midsummer Night's Dream
(3:43)  7. When to the Sessions of Sweet Silent Thought - Sonnet 30
(2:49)  8. Sigh No More Ladies - Much Ado About Nothing
(3:13)  9. Oh Mistress Mine - Twelfth Night
(2:41) 10. My Love is as a Fever - Sonnet 147
(3:59) 11. Take All My Loves - Sonnet 40
(3:26) 12. Our Revels Now Are Ended - The Tempest

William Shakespeare's works have generated many musical endeavors. Duke Ellington's Such Sweet Thunder (Columbia Records, 1957) and Leonard Bernstein's score for West Side Story are among those which come to mind. In 1941, British composer Arthur Young recorded Shakespeare in Swing (Decca Records, 1941), which featured his compositions over Shakespeare's words. And, in 1964, celebrated British reed player John Dankworth and his wife, Cleo Laine, recorded Shakespeare and All that Jazz, (Fontana Records, 1964), a collection predominantly of Dankworth's jazz tunes with lyrics taken from Shakespeare. With The Shakespeare Project, vocalist Deborah Shulman not only resurrects and refreshes some of the Young/Dankworth-Lane efforts, but adds some terrific new originals from pianist/co-producer, Jeff Colella. Starting with a track which combines Dankworth's "All the World's a Stage" around the up-tempo "If Music Be the Food of Love," it is obvious that this is not going to be a novelty or an over-intellectualized effort. The upbeat tone continues with the modal and swinging, "Blow, Blow Thou Winter Wind," which features tasty guitar work from Larry Koonse. Dankworth's "Dunsinane Blues" is an azure head-tilter with Shulman and pianist Collela soulful. The ballad "Shall I Compare Thee to a Summer's Day" is a textured, dramatic highlight on which Shulman and all shine bright. A challenge which is met exceptionally well here is Shulman's vocal approach to the 16th century lyric. Her voice is very attractive and swinging. The manner in which she caresses the lyrics is exceptional. Dankworth's "Who Is Sylvia?" is an inquisitive, theatrical Laboriel/Shulman duo. His "You Spotted Snakes" is darker fare with tasty ensemble backing. "When to the Sessions of Sweet Silent Thought," a Colella original, is an introspective piano/vocal duet. Arthur Young's, "Sigh No More Ladies" is a bossa nova swinger with a fine Bob McChesney trombone solo and "Oh, Mistress Mine" is delivered in a lilting swing-groove with Shulman's ace piping and another fine McChesney ride. 

Duke Ellington and Billy Strayhorn's "My Love Is a Fever" and the swinging "Take All My Loves" were also recorded by Dankworth and Lane and are given a fine fresh coat here. Although the lingo served here is near a half-millennium old, Shulman and her team make this rendering as delicious as fresh-baked Elizabethan pie. Go ahead and pull out a plum. ~ Nicholas F.Mondello https://www.allaboutjazz.com/the-shakespeare-project-deborah-shulman-summit-records-review-by-nicholas-f-mondello.php

Personnel: Deborah Shulman: vocals; Jeff Colella, piano; Larry Koonse: guitar; Abraham Laboriel: bass (1, 3, 5, 10, 11); Chris Colangelo: bass (2-4, 6, 7, 12); Bob Sheppard: flute, clarinet, soprano sax, bass clarinet; Bob McChesney: trombone; Kendall Kay: drums (2, 3 ,6, 9, 12); Joe LaBarbera: drums (1, 8, 10, 11).

The Shakespeare Project

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Frank Morgan, George Cables - Montreal Memories

Styles: Saxophone And Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 61:08
Size: 141,1 MB
Art: Front

(6:29)  1. Now's the Time
(7:01)  2. All the Things You Are
(7:45)  3. A Night in Tunisia
(5:30)  4. 'Round Midnight
(5:00)  5. Confirmation
(8:26)  6. Blues for Rosalinda
(8:24)  7. Helen's Song
(5:02)  8. Lullaby
(7:25)  9. Nefertiti,  Billie's Bounce

Montreal Memories is a duet album recorded at Theatre Port Royal on July 1, 1989, featuring two of the most talented jazz artists of any generation: alto saxophonist Frank Morgan; and pianist George Cables. This is the second duet album they've released, the first being Contemporary's Double Image in 1987. A jazz duet is a format which invites intimacy and profundity, more than the typical quartet or quintet setup. Two musicians must really know each other, to be completely cohesive and able to anticipate the other's changes. This sort of album tends to be either great or lackluster, which makes it a bit of a gamble to record live, but Morgan and Cables play those odds and they pay off well for a second time. And why shouldn't they? They've worked together on and off from the mid-eighties until the Morgan's death in 2007. With a career as pianist for some of the greatest horn players in existence, Cables effortlessly blends his approach with Morgan's singular voice. Both musicians have very recognizable sounds; if one were to remove either from this record, it wouldn't be difficult to tell who's playing. Neither sacrifices a bit of their character to create this, and Montreal Memories is a far stronger album for it. 

The live set swings out of the starting gate with Charlie Parker's "Now's the Time," before mellowing for "All the Things You Are," a standard that allows the pair to showcase their improvisations within the construct of a ballad. Morgan's moody saxophone layers over Cables' subdued piano to lend the song not only emotional resonance but atmosphere. The duo rockets through the familiar, swinging "A Night in Tunisia." A decade earlier, Cables was playing it with another altoist, Art Pepper, during the saxophonist's legendary Village Vanguard sessions. This recording takes the familiarity and toys with it somewhat, giving it a new twist without ever losing sight of its familiar melody. "Round Midnight" seems like a logical choice for a pianist like Cables to include in his set, considering the admiration he held for Dexter Gordon who, at the same time, was making headlines for the classic Thelonious Monk song again, with his appearance in Bernard Tavernier's 1986 film of the same name and subsequent soundtrack. "Confirmation" is an interesting take on a classic Charlie Parker song. Not truly fast-tempo'd, it still feels as if Morgan is pushing just a bit at Cables, nipping at his heels, which has the effect of nudging the heartbeat a bit faster than it would be had they chosen a blisteringly fast song like "Cherokee." It's an unexpected, unique effect halfway through the album. The laid-back tearjerker that Morgan wrote for his wife, "Blues For Rosalinda," is followed by two Cables originals: the ubiquitous "Helen's Song"; and "Lullaby." "Lullaby," as usual, is a weighty and emotional song, perfectly apropos for its title. The song doesn't just ache, it moans and sobs and bleeds all at once, clawing at the heart. "Helen's Song" on the other hand, gets an interesting take from Morgan. While it's typically played with a piano-led trio, this rendition removes the rhythm section and, instead, allows Morgan and Cables to improvise their way through the performance, breathing new life into the pianist's best known composition. If "Lullaby" is intended to lull you to sleep, "Helen's Song" is designed to roust you from it, with its assertions of love and hope. 

Countering the tenderness of the past 22 minutes, the duo chooses to end its live set with an intriguing medley. Bridging Wayne Shorter's "Nefertiti" with another Parker tune, "Billie's Bounce," is a wise choice, taking all of the sounds the audience heard throughout the last hour and molding them together in a way that proves how incredible these two were at the time. With Morgan no longer alive (though George Cables is still performing both solo as well as with jazz super group The Cookers), this album may qualify as the final 2018 posthumous release, alongside music from such legendary artists as Erroll Garner, John Coltrane, Charles Mingus, Dexter Gordon, and Art Pepper. Some were middling, some were a bit disappointing, and some were valuable treasures. Not only does Montreal Memories fall into that final category, it is truly one of the "must hear" jazz albums of the year. ~ Peter Hoetjes https://www.allaboutjazz.com/montreal-memories-frank-morgan-highnote-records-review-by-peter-hoetjes.php

Personnel: Frank Morgan: alto saxophone; George Cables; piano.

Montreal Memories

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Doris Day - Latin For Lovers And Love Him

Styles: Vocal
Year: 1995
File: MP3@320K/s
Time: 74:20
Size: 173,8 MB
Art: Front

(2:55)  1. Quiet Nights of Quiet Stars (Corcovado)
(2:32)  2. Fly Me to the Moon (In Other Words)
(2:54)  3. Meditation
(2:22)  4. Dansero
(2:15)  5. Summer Has Gone
(3:39)  6. How Insensitive (Insensataez)
(2:49)  7. Desafinado (Slightly Out of Tune)
(2:41)  8. Our Day Will Come
(3:04)  9. Be True to Me (Sabor a Mi)
(2:31) 10. Perhaps, Perhaps, Perhaps
(3:23) 11. Be Mine Tonight (Noche de Ronda)
(2:21) 12. Por Favor
(2:40) 13. More
(2:42) 14. Can't Help Falling in Love
(4:23) 15. Since I Fell for You
(2:45) 16. Losing You
(2:57) 17. (Now and Then There's) A Fool Such As I
(4:05) 18. As Long as He Needs Me
(4:30) 19. Night Life
(2:47) 20. Funny
(3:08) 21. Softly, As I Leave You
(2:54) 22. Lollipops and Roses
(2:20) 23. Love Him
(2:40) 24. Moonlight Lover
(2:49) 25. A Whisper Away

Two of Doris Day's best albums  Latin for Lovers and Love Him  are combined on one CD. Although there are a couple of weak moments scattered throughout these records, they still have enough great songs to make this disc a true bargain. ~ Stephen Thomas Erlewine https://www.allmusic.com/album/latin-for-lovers-love-him%21-mw0000463698

Latin For Lovers And Love Him

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Vincent Houdijk - Live at the North Sea Jazz Festival

Styles: Vibraphone Jazz
Year: 2018
File: MP3@320K/s
Time: 60:18
Size: 138,7 MB
Art: Front

( 7:29)  1. Moonshine Song
( 6:52)  2. Grounding
( 7:49)  3. Timeline
( 8:53)  4. Uy Scuti
( 7:21)  5. Kerrara
( 9:42)  6. Vortex
(12:10)  7. '15'

Since the making of his 2013 debut album, 15, Dutch vibraphonist Vincent Houdijk has released two live recordings, each showcasing a mix of songs both old and new. His quintet, aptly named VinnieVibes, consists of Floris van der Vlugt on both alto and soprano saxophone, Gersom Raams on guitar, Sven Happel on double bass/bass guitar, and Haye Jellema on drums. One might think that in a country a third the size of New York, finding suitable musicians to occupy a vibe-led jazz band might prove challenging. But at 31, Houdijk clearly has the experience necessary to assemble and lead a group whose individual strengths mesh well harmonically. Recorded in Rotterdam during July 2018 , all of the songs on Live At The North Sea Jazz Festival are originals composed by Houdijk. Their night begins with the slow burning ballad "Moonshine." Gersom Raams has a sound all his own, and his solos tend to have a certain moody heft to them, both in this song and throughout the album. Following "Moonshine," the band moves through their set list with ease, whether it's the contemplative "Timeline" or the exotic, inventive "UY Scuti." The slightly surreal atmosphere of the latter fits well with its namesake, which is believed to be the largest star in our solar system. The quintet veers slightly off course for the album's penultimate song, "Vortex." Houdijk swaps out his vibraphone for a MalletKat, giving the up tempo tune a modern edge without sounding out of place. It's interesting to see how this group of musicians adapt to any change of direction, and innovative is the word which best describes their unanticipated playing. Dedicated to his brother, a fellow percussionist who sadly perished in a 1996 plane crash, "15" spends ten minutes slowly building up pressure before exploding into a wild ending. Houdijk claims he wrote the song during a period in which he was coming to terms with the tragedy. It has a contemplative groove, cascading up and down before finally submitting to some sort of catharsis in the form of a reckless, emotionally wrought finale. 

The musical equivalent of flinging all the furniture in a room at the walls in a whirlwind outburst, the entire band kicks into high gear for the last couple minutes, memorably finishing their set on a high note. aking a moment to be critical, it would have been nice to see the final song on the album take the expected move and finish with the warbling echo of Raam's guitar to the crowd's applause. Instead, he chose to end with a quiet fade out, a bit like watching a towering wave crash to the shore, without the benefit of seeing it wash away, reclaimed by the sea. Regardless, Vincent Houdijk is a vibraphonist for the 21st century. At times sedate, at others wildly inventive, it seems as if he's attempting to redefine the instrument's place in contemporary jazz. Further commendable is that he manages to do so without the benefit of modern sound-manipulating computer software, instead opting to utilize VinnieVibes' unique European flair both in studio and on stage. While comparisons to vibe greats such as Bobby Hutcherson and Milt Jackson are unfair today, there is little doubt that the talented young vibraphonist deserves and aspires to one day have the kind of recognition they enjoyed. ~ Peter Hoetjes https://www.allaboutjazz.com/live-at-the-north-sea-jazz-festival-vincent-houdijk-vinnievibes-music-productions-review-by-peter-hoetjes.php

Personnel: Vincent Houdijk: vibraphone/MalletKat and all compositions; Floris van der Vlugt: Alto and Soprano saxophones; Gersom Raams: guitar; Sven Happel: double bass / bass guitar; Haye Jellema: drums.

Live at the North Sea Jazz Festival

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James Williams - I Remember Clifford

Styles: Piano Jazz
Year: 1990
Time: 44:35
Size: 41,0 MB
Art: Front

(9:01)  1. As I Live And Breathe
(6:29)  2. I Remember Clifford
(5:29)  3. Take The Coltrane
(7:47)  4. Simone
(4:32)  5. Focus
(5:34)  6. Shelly
(5:40)  7. Sweet And Lovely

Pianist James Williams channeled the gospel and R&B influences of his youth to forge a soulful, deeply expressive approach to contemporary jazz. A gifted soloist and accompanist, he was also a respected producer and educator. Born in Memphis on March 8, 1951, Williams began piano lessons at age 13. A fan of Ray Charles, Stevie Wonder, and Ramsey Lewis, he spent six years as the organist with Memphis' Eastern Star Baptist Church before studying music education at Memphis State University. After befriending fellow pianists Mulgrew Miller and Donald Brown, Williams turned his focus to jazz, drawing influence from Hank Jones, Ahmad Jamal, and local legend Phineas Newborn. At just 22 Williams joined the faculty of Boston's Berklee School of Music, additionally backing touring jazz dignitaries like Milt Jackson, Art Farmer, and Sonny Stitt in groups led by colleague Alan Dawson. During his five years at Berklee, the pianist also developed his compositional skills, and in 1977 issued his first LP as a leader, the Zim label release Flying Colors. Williams joined Art Blakey's Jazz Messengers the following year, completing a lineup that included a young Wynton Marsalis. This iteration of Blakey's long-running group cut no fewer than ten LPs over the next four years. Upon exiting the Jazz Messengers Williams settled in New York City, where he collaborated with Dizzy Gillespie, Freddie Hubbard, and Kenny Burrell in addition to leading his own projects, among them his vocal/instrumental combo Intensive Care Unit, a group featuring saxophonist Bill Pierce, bassist Christian McBride, and drummer Tony Reedus. In 1987 Williams reunited with Blakey and bassist Ray Brown in the Magical Trio. Later incarnations included drummers Elvin Jones and Jeff "Tain" Watts. 

He also founded his own production firm, Finas Sound, and with Miller and Brown launched the Contemporary Piano Ensemble, a group dedicated to preserving and promoting the music of Phineas Newborn. In 1999 William Paterson University named Williams its director of jazz studies; he remained with the school until he was diagnosed with the liver cancer that claimed his life on July 20, 2004. ~ Jason Ankeny https://www.allmusic.com/artist/james-williams-mn0000059027/biography

Personnel: James Williams (piano); Ronnie Burrage (drums);  Richard Davis (bass)

I Remember Clifford

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Joey DeFrancesco - In the Key of the Universe

Styles: Jazz, Post Bop
Year: 2019
File: MP3@320K/s
Time: 58:28
Size: 134,9 MB
Art: Front

( 5:18)  1. Inner Being
( 6:42)  2. Vibrations in Blue
( 3:01)  3. Awake and Blissed
( 3:55)  4. It Swung Wide Open
( 5:05)  5. In the Key of the Universe
(11:00)  6. The Creator Has a Master Plan
( 7:52)  7. And So It Is
( 5:30)  8. Soul Perspective
( 4:47)  9. A Path Through the Noise
( 5:15) 10. Easier to Be

This is an important, even historic album. It marks unannounced the return of a great figure of the free jazz era, Pharoah Sanders. Saxophonist Albert Ayler once famously declared, "Trane was the Father, Pharoah was the Son, I am the Holy Ghost." Hammond organist Joey DeFrancesco has orchestrated Sanders' return from oblivion. Without it, the album would be just one more round of Hammond organ tunes that adhere to DeFrancesco's dictum "I just like to swing." Sanders is featured on three numbers: the title track; his own, perhaps best-known song, "The Creator Has A Master Plan"; and "And So It Is." Without in any way disturbing the album's main, happy-go-lucky thrust, these songs provide a glimpse back into another time when brave men sought to expand the music's and their own horizons. Sanders, aged 78, has distanced himself from those free jazz years. His website says: "Although he made his name with expressionistic, nearly anarchic free jazz in John Coltrane's late ensembles of the mid-60s, Sanders' later music is guided by more graceful concerns. The hallmarks of Sanders' playing at that time were naked aggression and unrestrained passion. In the years after Coltrane's death, however, Sanders explored other, somewhat gentler and perhaps more cerebral avenues without, it should be added, sacrificing any of the intensity that defined his work as an apprentice to Coltrane." Hats off to Joey DeFrancesco for this chance to re-evaluate Sanders' work. DeFrancesco's own numbers are executed with his customary panache. "Inner Being" and "Vibrations In Blue" test the limits of the instrumentation to emerge by and large unscathed. "Soul Perspective" is gentle and melodic, with Troy Roberts putting in some good work on tenor and soprano saxophones.  "A Path Through The Noise" speaks for itself it's meditative and calm with DeFrancesco taking a solo on trumpet, which he took up after gigging with Miles Davis as a very young man. ~ Chris Mosey https://www.allaboutjazz.com/in-the-key-of-the-universe-joey-defrancesco-mack-avenue-records-review-by-chris-mosey.php

Personnel: Joey DeFrancesco: organ, trumpet; Pharoah Sanders: tenor saxophone, vocal; Troy Roberts: soprano, alto and tenor saxophone, bass; Sammy Figueroa: percussion; Billy Hart: drums.

In the Key of the Universe

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