David Sanborn - Straight To The Heart

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 52:11
Size: 120,2 MB
Art: Front

( 6:45)  1. Hideaway
( 5:09)  2. Straight to the Heart
( 6:27)  3. Run for Cover
(10:39)  4. Smile
( 5:07)  5. Lisa
( 6:51)  6. Love & Happiness
( 7:04)  7. Lotus Blossom
( 4:06)  8. One Hundred Ways

With bassist Marcus Miller acting as producer and some memorable tunes being performed (most notably "Hideaway" and "Straight to the Heart"), this is one of altoist David Sanborn's better R&B-ish recordings. Joined by keyboardist Don Grolnick, guitarist Hiram Bullock, bassist Miller, drummer Buddy Williams and various guest musicians, Sanborn sounds fairly inspired and is in top form. ~ Scott Yanow https://www.allmusic.com/album/straight-to-the-heart-mw0000649716

Personnel: David Sanborn – alto saxophone; Don Grolnick – keyboards; Hiram Bullock – guitar, background vocals; Buddy Williams – drums; Marcus Miller – bass guitar, synthesizer, background vocals; Ralph MacDonald – percussion (3, 5, 8); Errol Bennett – percussion (2); Michael White – percussion (6); Michael Brecker – tenor saxophone (8); Randy Brecker – trumpet (8); Jon Faddis – trumpet (8); Hamish Stuart – lead vocals (6); Lani Groves – background vocals (8); Frank Floyd – background vocals (8); Vivian Cherry – background vocals (8)

Straight To The Heart

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Victor Gould - Earthlings

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:39
Size: 131,1 MB
Art: Front

(5:31)  1. Farewell to Dogma
(4:58)  2. Love Vibrations
(4:14)  3. Earthlings
(5:57)  4. Spider
(5:27)  5. Rise
(5:52)  6. Roses Poses
(5:06)  7. Blues on Top
(5:06)  8. Lover
(5:34)  9. Con Alma
(8:51) 10. Resilience

Darkly beautiful sounds from pianist Victor Gould an up-and-coming player who's also turning into a hell of a leader too! Vic works here with a fantastic core trio Dezron Douglas on bass and Eric McPherson on drums both players who are perfectly suited to set up the right sort of arcing, angling elements that fit the mode of Gould's piano which seems to run up and down in these blocky flights of deeper tones that are completely wonderful! The album also features guest horns on about half the set the soprano sax of Tim Warfield on three tracks, and the alto of Godwin Louis on three more plus some light percussion from Khalil Kwame Bell. 

Titles include the originals "Rise", "Resilience", "Spider", and "Blues On Top" plus versions of "Love Vibrations", "Farewell To Dogma", "Earthlings", and "Con Alma".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/870271/Victor-Gould:Earthlings

Personnel: Victor Gould - piano,composer; Dezron Douglas - bass,composer; Eric McPherson - drums

Earthlings

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Bob Sheppard - The Fine Line

Styles: Saxophone, Flute Jazz
Year: 2019
File: MP3@320K/s
Time: 54:54
Size: 126,7 MB
Art: Front

(4:44)  1. Edge of Trouble
(5:52)  2. Run Amok
(4:54)  3. The Fine Line
(5:08)  4. People Make the World Go 'Round
(7:20)  5. I Didn't Know What Time It Was
(5:36)  6. Maria's Tango
(5:38)  7. Above & Beyond
(4:11)  8. Joegenic
(4:24)  9. Thanks for the Memory
(7:02) 10. A Flower Is a Lovesome Thing

Ironically, probably the only reason that Bob Sheppard isn't a household name (other than in jazz households) is because he's such an in-demand sideman. Splitting his time between Los Angeles, and New York he also teaches jazz at The University of Southern California Thornton School of Music. But he's worked, amongst many others, with such jazz luminaries as Chick Corea, Herbie Hancock, Peter Erskine and from the popular music world, Joni Mitchell, Steely Dan and Stevie Wonder. This also explains why recordings under his own name are so relatively infrequent. His previous album, Close Your Eyes (Challenge, 2011) featuring, amongst others, drummer Antonio Sanchez, was highly lauded and rightly so. The Fine Line came about through Sheppard's chance meeting with Dutch bassist Jasper Somsen at the 2013 Jazzahead Network Event in Bremen, Germany. The two hit it off immediately and resolved to work together. However, due to their mutually busy schedules it took almost two years before they were able to share a stage in The Netherlands for a full week of concerts, followed by masterclasses and radio appearances. Shortly afterwards, Anne de Jong, General Director of Challenge Records offered Somsen the opportunity to work on several projects, and happily this album was one of them. To complete the line-up Sheppard shrewdly recruited keyboardist John Beasley, who appeared on Sheppard's previous album, plus virtuoso drummer Kendrick Scott.  Sheppard's fast-paced opener, "Edge Of Trouble," sees the sax maestro establishing a serpentine hook on soprano saxophone. 

There's also a florid solo from guest vibraphonist Simon Moullier, who later makes essential contributions to "Maria's Tango" and "Joegenic." All the while Scott propels the piece along with his crackling drums. "Run Amok" with Sheppard on tenor, has a Brecker Brothers feel courtesy of Benjamin Shepherd on electric bass and some Miles-ian harmon-muted trumpet from Mike Cottone. Billy Strayhorn "A Flower Is A Lovesome Thing" is given a sumptuous treatment by Sheppard and the Rodgers, and Hart standard "I Didn't Know What Time It Was" sees Sheppard soloing on soaring soprano. One oddity, rarely heard in a jazz context, but nonetheless a winning version here, is Ralph Rainger's "Thanks For The Memory," which became Bob Hope's signature tune on which Sheppard imparts some evocatively glissando-rich slinky tenor with Somsen delivering a fluid pizzicato bass solo. Sheppard's languid Latine-esque title track benefits from some subtly dulcet wordless vocals from Maria Puga Lareo. With The Fine Line Sheppard has succeeded once more in producing an album populated by vibrant, memorable tunes that invite constant and frequent replays. ~ Roger Farbey https://www.allaboutjazz.com/the-fine-line-bob-sheppard-challenge-records-review-by-roger-farbey.php

Personnel: Bob Sheppard: tenor saxophone, soprano saxophone, flute, alto flute; John Beasley: piano; Jasper Somsen: double bass; Kendrick Scott: drums. Plus guests: Mike Cottone (2): trumpet; Simon Moullier (1,6,8): vibraphone; Maria Puga Lareo (3): vocals; Benjamin Shepherd (2,4): electric bass; Aaron Safarty (3,6): shaker.

The Fine Line

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Tom Tallitsch - All Together Now

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 52:25
Size: 121,6 MB
Art: Front

(4:30)  1. Passages
(3:24)  2. The Night They Drove Old Dixie Down
(5:07)  3. Slippery Rock
(4:47)  4. Big Sky
(5:58)  5. Border Crossing
(4:16)  6. Curmudgeon
(3:40)  7. Uncle Remus
(4:41)  8. Medicine Man
(5:15)  9. Greasy over Easy
(5:07) 10. Dunes
(5:35) 11. Arches

All Together Now the sixth overall effort from tenor saxophonist Tom Tallitsch, and his third for the Posi-tone imprint is a well-balanced musical affair built around a surefooted and wholly capable sextet. Tallitsch works with a rhythm section and two other horns here, creating smart and uncluttered settings that showcase the musicians without boxing them in. He works various stylistic angles into his compositions, touching on myriad moods in the process. There's a driving tune that vacillates between swing and Latin feels ("Passages"), an up-tempo burner ("Border Crossing"), a soulful twist on a Frank Zappa number ("Uncle Remus"), a truncated take on a classic from The Band ("The Night They Drove Old Dixie Down"), and a loping swing jaunt ("Greasy Over Easy"). In each of the aforementioned instances, and elsewhere on the album, Tallitsch manages to include some simple yet effective arranger's touches harmonized horns here, background riffs there, shifting textures, and more while stilling retaining the vibe of a solos-for-everyone session. And with the string of solos on the album opener, he makes it clear that there will be room to blow on this one. Each and every piece gives pause to admire different soloists and/or musical relationships. One number might bring to light the differences and similarities between Tallitsch's tenor approach and Mike DiRubbo's alto work ("Slippery Rock"), another may see pianist/organist Brian Charette ripping through the music while tossing out a choice quote ("Border Crossing"), and a third may find bassist Peter Brendler and Charette working in a reflective space ("Arches"). And that's just a brief sampling of what happens in each of those pieces. The bigger picture in each number is about the balance between personalized expression and group dynamics, as All Together Now speaks to Tallitsch's talents as player and writer, the individual viewpoints of his band mates, and the collective spirit that comes through in these performances. ~ Dan Bilawsky https://www.allaboutjazz.com/all-together-now-tom-tallitsch-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Tom Tallitsch: tenor saxophone; Michael Dease: trombone; Peter Brendler: bass; Mike DiRubbo: alto saxophone; Brian Charette: piano; Mark Ferber: drums.

All Together Now

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Anna Karina - Anyway

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 19:00
Size: 43,9 MB
Art: Front

(3:56)  1. Now I See
(3:25)  2. On My Own
(4:15)  3. You Came to Me
(3:09)  4. A Beautiful Beginning
(4:11)  5. Listen to the Silence

Anna Karina (born Hanne Karin Bayer, 22 September 1940) is a Danish-French film actress, director, writer, and singer. She rose to prominence as French New Wave director Jean-Luc Godard's muse in the 1960s, performing in several of his films, including The Little Soldier (1960), A Woman Is a Woman (1961), Vivre sa vie (1962), Band of Outsiders (1964), and Pierrot le Fou and Alphaville (both 1965). For her performance in A Woman Is a Woman, Karina won the Silver Bear Award for Best Actress at the Berlin Film Festival. In 1972, Karina set up a production company for her directorial debut, Vivre ensemble (1973), which screened in the Critics’ Week lineup at the 26th Cannes Film Festival. She also directed the French-Canadian film Victoria (2008). In addition to her work in cinema, she has worked as a singer, and has written several novels in French. Karina is widely considered an icon of 1960s cinema. The New York Times has described her as "one of the screen’s great beauties and an enduring symbol of the French New Wave." Karina's mother was a dress shop owner and her father left the family a year after she was born. She lived with her maternal grandparents for three years, until she was four. She spent the next four years in foster care before returning to live with her mother. She has described her childhood as "terribly wanting to be loved", and as a child she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in a Danish short film by Ib Schmedes, which won a prize at Cannes.[10] In 1958, after a row with her mother, she hitchhiked to Paris. https://en.wikipedia.org/wiki/Anna_Karina

Anyway

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Lynne Arriale Trio - Melody

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 54:26
Size: 125,7 MB
Art: Front

(6:28)  1. Tuning
(6:15)  2. The Forgotten Ones
(7:24)  3. Beautiful Love
(7:59)  4. But Beautiful
(5:28)  5. Dance
(3:00)  6. Hush-A-Bye
(7:35)  7. It Ain't Necessarily So
(6:05)  8. Touch her Soft Lips And Part
(4:07)  9. The Highlands

The TCB Label. Lynne Arriale's Melody is her fifth release, her second for the TCB label (The Montreux Jazz Festival Label). Previous TCB releases have focused on the label's "Swiss Radio Days Jazz Series." This series is devoted to Swiss live recordings of vintage jazz. Recordings include performances by Julian "Cannonball" Adderley, Art Blakey, and Quincy Jones to name three. The Art of The Trio. Pianist Lynne Arriale, 1991 graduate from the Wisconsin Conservatory of Music and the 1993 winner of the Great American Jazz Piano Competition, has been honing her trio craft since 1993. She has a confident touch and her tonal spectrum is broad. Her support in Calley and Davis is solid and swinging, supporting her multicultural explorations. Arriale's song choice and composition is as widespread as her tonal vision. Her major interest on this recording is incorporating Celtic elements into her playing and composing. This influence is best heard in the folk-blues romp "The Highlands." The elements are also in her other originals "Tuning" and "The Forgotten Ones." She rounds out the disc with "But Beautiful" and the William Walton composition "Touch her Soft Lips and Part." Broad, I said. Lynne Arriale submits an enjoyable and eclectic collection of tunes that is definitely off the beaten path. ~ C.Michael Bailey https://www.allaboutjazz.com/melody-lynn-arriale-tcb-music-review-by-c-michael-bailey.php

Personnel: Lynn Arriale: Piano; Scott Calley: Bass; Steve Davis: Drums.

Melody

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Andy Sheppard - Live At Smash!

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 52:35
Size: 121,9 MB
Art: Front

(3:48)  1. Fallow Field
(4:07)  2. Farewell To Winter
(5:18)  3. Sea To Sky/Arrowhead
(3:09)  4. Dragonfly Helicopter
(4:23)  5. Soon To Be
(2:43)  6. Let It Go
(3:12)  7. The Best Day
(3:56)  8. King Mzi
(4:01)  9. I Like You
(3:37) 10. Ways & Means
(4:55) 11. Until Next Time
(4:14) 12. Love Apples
(5:06) 13. Feuilles-o

Oil and water. It's all about contrasts for Andy Sheppard. He coaxes brave new sounds from a converted '69 Martin steel guitar and a late-model laptop. He smashes folk and world music together with found sounds and stompbox loops. He sings out lyrics of a childhood in tobacco country and stirs them together with world-wandering stories from Africa and Asia. His latest live album (to be released November '08) is a slide guitar manifesto - by turns delicate and reckless, sweet but heavy on the beat. Songs tinged with the gentlemanly humour and global twang of Ry Cooder, and the sparkling desperation of Sufjan Stevens. Oil and water. Andy Sheppard won the 2006 Colleen Peterson Songwriting Award. He was a finalist in the 2008 Mountain Stage NewSong Competition. He will be on tour in the UK and across Canada in 2008 with three other world-class guitarists as part of International Guitar Night. https://store.cdbaby.com/cd/sheppard4

"a strong but nuanced sense of pulse and a gift for lovely melodies" ~ Guitar Player Magazine

"a tremendous guitarist" ~ Matt Galloway - CBC Radio, Toronto.

"a mellifluous guitarist whose influences run the gamut from folk to blues to bluegrass, to sounds from Brazil, Africa, and the South Pacific" ~ John Kendle - Uptown Magazine, Winnipeg

"a masterful fingerstyle guitarist" ~ Whole Note Magazine

"a true instrumental virtuoso" ~ Jeff Robson - UMFM Radio, Winnipeg

"a jaw-droppingly great show - stunning solo work" ~ Dominic Lloyd - West End Cultural Centre, Winnipeg

Live At Smash!

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Philippe Petrucciani (feat. Nathalie Blanc) - Este Mundo

Styles: Vocal And Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 59:42
Size: 137,8 MB
Art: Front

(5:25)  1. Este Mundo
(2:23)  2. I Have An Idea
(4:59)  3. Mike P.
(5:20)  4. Bahia
(3:33)  5. Autour de Minuit
(2:50)  6. Entrelacé
(3:55)  7. Summertime
(3:26)  8. Mister M.P.
(5:53)  9. Alone Together
(4:44) 10. Le Danseur
(4:21) 11. Souvenirs d'enfance
(3:12) 12. Nuit d'été
(3:05) 13. May Be One Day
(6:30) 14. Sous le ciel de Paris

Sometimes wrongly overlooked as the lesser known of the Petrucciani brothers, guitarist Philippe has carved out a career in France and returns with a well balanced album that invokes Pat Metheny and a contemporary updated take on the Hot Club de France in equal measure. He is ably abetted by singer and co-writer Nathalie Blanc who might best be described as a French equivalent of Stacey Kent, bassist Dominique de Piazza and drummer Manhu Roche. Eight of the originals were co-penned by Blanc and Petrucciani and of these the Brazilian-flavoured ‘Bahia’ impresses as a shuffling mid-tempo breezer complete with French language vocals that evokes the north-eastern Brazilian state. There are some inventive re-interpretations of French classics such as a reggaefied accompaniment to a song immortalised by Yves Montand, ‘Sous le ciel de Paris’, a francophone version of ‘Round midnight’ re-titled ‘Autour de minuit’ as written by the great chanteur Claude Nougaro which is a duet between Blanc and Petrucciani, and a funkified bass take on Gershwin’s ‘Summertime’. Pan-Mediterranean grooves return on the light Latin-tinged opener ‘Este mundo’. Philippe Petrucciani veers between guitar and synth guitar on various pieces and yet succeeds in freeing himself from the shackles of the Metheny shadow, providing an imprint that could only be French. http://ukvibe.org/album_reviews/philippe-petrucciani/

Personnel: Guitar – Philippe Petrucciani; Guitar Synthesizer – Philippe Petrucciani; Vocals – Nathalie Blanc;  Bass – Dominique Di Piazza; Drums – Manhu Roche

Este Mundo

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Anna-Lotta Larsson - I Dina Drömmar

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 41:32
Size: 96,6 MB
Art: Front

(3:38)  1. Fragancia
(3:21)  2. Min Älskling
(3:46)  3. Byssan Lull
(4:35)  4. Dansen På Sunnanö
(2:20)  5. I Dina Drömmar
(3:07)  6. Minnet Och Tystnaden
(4:15)  7. Sjösalavår
(3:44)  8. Ronsard Och Herdinnan
(1:30)  9. Kosterflickornas Visa
(3:41) 10. Nocturne
(4:25) 11. Madame Läboms Visa Om Den Förunderliga Kärleken
(3:04) 12. Ellinor Dansar

Ingeborg Ann-Charlotte (Anna-Lotta) Larsson, (born 5 April 1954) is a Swedish singer and actress. She educated to be a voice coach at Framås folkhögskola and then was accepted into the Operahögskolan in Gothenburg. She is also an actess, known for her roles in the film Värmlänningarna in 1980 and the series Nya tider. She also presented the show Har du hört den förut? which was broadcast on SVT. Anna-Lotta Karlsson also works with dubbing of animated children's films. https://en.wikipedia.org/wiki/Anna-Lotta_Larsson

I Dina Drömmar

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Peter Ecklund - Gigs Reminiscing In Music

Styles: Cornet Jazz
Year: 1999
File: MP3@320K/s
Time: 62:06
Size: 144,4 MB
Art: Front

(2:55)  1. Say It With A Kiss
(4:40)  2. Winter Waltz
(4:41)  3. Django And Bix
(5:38)  4. Blues My Naughty Sweetie Gives To Me
(3:34)  5. Blue Bix
(3:42)  6. When You're Smiling
(2:47)  7. Russian Lillaby
(5:23)  8. Tailfins
(4:16)  9. My Blue Heaven
(4:02) 10. Fuddy Duddy
(3:27) 11. When You And I Were Young, Maggie
(5:12) 12. At The Track
(4:12) 13. At The Fair
(3:51) 14. Midnight Hour Blues
(3:38) 15. Blackey's Song

A veteran sit-in cornetist with various Dixieland bands and the backup groups of Leon Redbone, David Bromberg, and more recently Madeleine Peyroux, Ecklund's folk-derived swing is expressed through a variety of different combos on these 15 cuts, eight written by the leader. Some feature dual acoustic guitarists Peyroux and Steve Cardenas, others mandolinist David Grisman and guitarist Frank Vignola, with Marty Grosz (guitar), Dan Block (woodwinds) and Keith Ingham (celeste), or Jay Ungar (violin) and Molly Mason (guitar). Cameos come from clarinetists Ken Peplowski and Bobby Gordon, Howard Johnson (tuba), and Warren Bernhardt (Fender Rhodes). The most focused, centralized group is the Grisman-Vignola band with bassist Murray Wall. They do the delicate, swaying "Winter Waltz," the more intense, off-the-cuff, cornet-driven "Blues My Naughty Sweetie Gives (Gave) to Me" (trading riffs at the coda), the Bix Beiderbecke-derived easy swing of "Blue Bix," and the hardest swinger "Russian Lullaby," where Grisman steps up and hits a triple. Cardenas and Peyroux softly strum while Peplowski leads in midtempo during "Django & Bix," and evoke strains of "My Old Kentucky Home" during "When You & I Were Young, Maggie." The celeste adds a quaint sound to Block's clarinet and Ecklund's old-timey horn on "Say It With a Kiss"; meanwhile, Block's big baritone sax bolsters "When You're Smiling," as does his alto during "Fuddy Duddy," with Grosz's ever-present swing nailing it down. Ungar and Gordon's strings tiptoe through tulips on Leroy Carr's "Midnight Hour Blues," go serene and plaintive for "At the Fair," and swing much harder on "Blackey's Song," replete with whistling and Guy Fischetti's pedal steel. Gordon's daunting and darting feature is "My Blue Heaven," the best individual solo on the date, while the best overall number is the quickly paced "At the Track," holding the Dixie pulse at fever pitch courtesy of Cynthia Sayer's hot banjo and Johnson's bawdy tuba oompahs. Ecklund has a thinnish sound, not bold and brash a la Louis Armstrong or Bix, but reserved and refined, and sublimates his role for an overall group sound. This CD represents a good concept and execution of bringing '20s & '30s jazz into the '90s with players who know how. ~ Michael G.Nastos https://www.allmusic.com/album/gigs-reminiscing-in-music-mw0000054279

Personnel: Peter Ecklund (cornet, bugle); Dan Block (alto & baritone saxophones, clarinet); Howard Johnson (tuba); Ken Peplowski (clarinet); Jay Ungar (violin); Warren Bernhardt (Fender Rhodes piano); Steve Cardenas (acoustic & electric guitars); Madeleine Peyroux (acoustic guitar); Peter Davis (electric guitar, banjo); Molly Mason, Frank Vignola (guitar); David Grisman (mandolin); Greg Cohen, Pete Toigo (bass); Gary Burke (drums).

Gigs Reminiscing In Music

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Martial Solal - Four Keys

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 39:15
Size: 90,9 MB
Art: Front

(6:42)  1. Brain Stream
(7:28)  2. Not Scheduled
(6:24)  3. Grapes
(6:05)  4. Retro Active
(4:42)  5. Energy
(4:34)  6. Satar
(3:17)  7. Four Keys

An all-star quartet (pianist Martial Solal, altoist Lee Konitz, guitarist John Scofield and bassist Niels Pedersen) explores seven diverse Solal originals that range from chamberlike pieces to fairly free group improvising. The results are often exciting if cool in both tone and volume. Thoughtful yet unpredictable music. ~ Scott Yanow https://www.allmusic.com/album/four-keys-mw0000902050

Personnel:  Martial Solal – piano; Lee Konitz – alto saxophone; John Scofield – guitar; Niels-Henning Ørsted Pedersen – bass

Four Keys

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Pete Zimmer - Judgment

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 59:01
Size: 136,0 MB
Art: Front

( 7:24)  1. The Mingus That I Knew
( 5:08)  2. Down or Up
( 6:56)  3. To My Papa
( 3:56)  4. 8 A.M. Wednesday Spirit
(10:01)  5. Judgment
( 6:55)  6. Dot Dot
( 6:19)  7. Bye Bye Blackbird
( 7:03)  8. Tutti Italiani
( 5:13)  9. Cut Off

Drummer and bandleader Pete Zimmer hasn't lost a step in getting his product to the people. Arriving in New York around the time of 9/11, he understandably found it difficult to get a record deal. So he created his own label, Tippin', on which Judgment is Zimmer's third release. He essentially keeps the same personnel from his last album (Burnin' Live At The Jazz Standard, Tippin' 2005), with the addition of his former employer, saxophonist George Garzone. On paper, this combo is the same one that has provided quality bebop on two prior albums in what can only be interpreted as an homage to groups like Art Blakey & The Jazz Messengers and the Horace Silver Quintet. George Garzone remains the wild card, inasmuch as he is a free blower. Thus it is quite a revelation to announce that Garzone provides several positive turning points on this album Garzone plays on six of the nine compositions (he wrote four of these tunes). He does get the opportunity to take the music out in a limited fashion on "8 A.M. Wednesday Spirit," in a duet with Zimmer's drums, but also builds to a point at which he invokes the spirit of John Coltrane live at the Vanguard circa 1961. Also, for another duet with Zimmer on the standard "Bye Bye Blackbird," Garzone again plays in a post-Coltrane style. In contrast, his solo work on the opening "The Mingus That I Knew" and especially on the title tune is lyrical and appropriately surging. On the latter, Garzone outduels Joel Frahm in back-to-back solos. On his ballad "To My Papa," Garzone shows how to deliver a superior ballad treatment. The opening track, "The Mingus That I Knew," features the shifting rhythm of "Peggy's Blue Skylight" and, what else, a bass solo by David Wong, who emulates Mingus' idiosyncratic playing. Trumpeter Michael Rodriguez presents the melody line on Toru Dodo's "Dot Dot" and then launches into a beautifully stated solo. Zimmer has a few solo opportunities here, and on his previous albums, he didn't take space for himself. But on Judgment, in addition to the two drum/sax duets with Garzone, Pete Zimmer steps forward and rightly so announces his presence. ~ Michael P.Gladstone https://www.allaboutjazz.com/judgment-pete-zimmer-tippin-records-review-by-michael-p-gladstone.php

Personnel: Pete Zimmer: drums; George Garzone: tenor saxophone; Michael Rodriguez: trumpet; Joel Frahm: tenor saxophone; Toru Dodo: piano; John Sullivan: bass; David Wong: bass.

Judgment

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The Marty Ehrlich Quartet - Song

Styles: Saxophone, Clarinet Jazz
Year: 2001
File: MP3@320K/s
Time: 50:26
Size: 116,2 MB
Art: Front

( 5:04)  1. Waltz
( 9:55)  2. The Price of the Ticket
( 5:29)  3. Day of the Dark Bright Light
( 8:20)  4. Blue Boye's Blues
( 6:00)  5. I Pity the Poor Immigrant
(10:20)  6. Fauve
( 5:16)  7. The Falling Rains of Life

Reedsman Marty Ehrlich enlists pianist Uri Caine, bassist Michael Formanek, and drummer Billy Drummond for this lyrical, swinging, accessible set. After opening with Robin Holcomb’s melancholy "Waltz" (a feature for Ehrlich’s brilliant bass clarinet), the quartet embarks on a trilogy of Ehrlich-penned pieces. "The Price of the Ticket," inspired by James Baldwin, begins with a beautifully orchestrated rubato section before breaking into a burning swing tempo, laying a foundation for incisive solos by Ehrlich (on alto), Caine, and Drummond. "Day of the Dark Bright Light" opens with duo ruminations from Caine and Formanek and evolves into a slow and straightforward waltz. And "Blue Boye’s Blues," dedicated to the late Julius Hemphill, is a bout of free jazz featuring special guest Ray Anderson on trombone. Chaotic sounds give way to an unaccompanied trombone passage, then an out-of-left-field, Motown-like progression that carries the piece to the end. Ehrlich then leads the band through a gospel-tinged reading of Bob Dylan’s "I Pity the Poor Immigrant." The song, from 1968’s John Wesley Harding, contains the immortal line, "who passionately hates his life, and likewise fears his death." Sustaining the penultimate chord with intensity before landing softly on the final, conclusive note, the group gets to the heart of Dylan’s bitterly told tale. Next is a ten-minute-plus original called "Fauve," the album’s high point, with the leader on soprano. The piece moves through an impressionistic rubato into fast, bright swing and eventually back again to rubato. Caine then introduces an unexpected 6/8 section, an inspired detour that ultimately concludes the piece. Wrapping up the session is "The Falling Rains of Life," with Ehrlich back on bass clarinet where he started, delighting in the contours of Jaki Byard’s achingly beautiful melody. Song is marred only by the fact that the piano and bass aren’t nearly present enough on the recording. Otherwise, it’s a major statement by Marty Ehrlich. ~ David Adler https://www.allaboutjazz.com/song-marty-ehrlich-enja-records-review-by-david-adler.php

Personnel:  Alto Saxophone, Soprano Saxophone, Bass Clarinet – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Billy Drummond; Piano – Uri Caine

Song

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Morgana King - For You, For Me, For Evermore

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 35:43
Size: 82,5 MB
Art: Front

(3:07)  1. For You, For Me, Forever More
(3:12)  2. Here I'll Stay
(3:19)  3. There's a Lull in My Life
(2:16)  4. Delovely
(3:09)  5. Down in the Depths
(2:21)  6. The Song Is You
(2:32)  7. In the Wee Small Hours of the Morning
(3:20)  8. Ev'rything I Love
(3:25)  9. If You Could See Me Now
(3:17) 10. I'll String Along With You
(3:02) 11. Everything I've Got
(2:38) 12. You're Not So Easy to Forget

None of the more than 30 albums recorded by singer Morgana King beginning in the mid-'50s were embraced by the size of the audience that bought tickets to see the first two chapters of The Godfather film trilogy, in which King acted in the role of Mama Corleone. But it would be wrong to assume she had more impact as an actress than as a vocalist. Her acting roles, few and far between, were chosen with care, but did not have the resonance of some of her finest recordings. Millions saw her onscreen in the Godfather films, but her performance was certainly overshadowed by performers such as Robert DeNiro and Al Pacino, not to mention the famous turn by Marlon Brando as her husband. Another role of King's was in the 1997 film A Brooklyn State of Mind; she also appeared in several television productions. It is possible that there are actors and actresses who have named Morgana King as a great inspiration. Yet, the results of a simple Internet search under her name only yielded dozens of quotes from vocalists and other musicians about the great influence of her recordings and singing style, not her work before the camera. It might not be a surprise when a young female singer gushed about King's albums, but these fans also included deeper thinkers such as classical bass virtuoso Gary Karr. References to her music also show up regularly in fiction as a kind of mood-setting device, such as: "It was a beautiful day in Malibu. He got up, made a coffee and put on a Morgana King record." Some record collectors might be surprised to realize that a complete set of King sides might eliminate any elbow room for, say, the discography of one of the prolific blues guitarists with this regal surname. Morgana King sides can be divided into several periods. It took her almost eight years to peak at whatever commercial success she was going to have with the 1964 A Taste of Honey album, thus ending the early years. 

She was then absorbed into the Atlantic and Reprise corporation and an exemplary series of releases by singers such as Big Joe Turner, Ruth Brown, Lavern Baker, and Ray Charles. The label's greatest producers stared the oncoming rock & roll in the eye, never forgetting their basic R&B orientation. Within a few years, a subcategory developed, seen through paisley glasses. The material became more philosophical, the increasing intellectual depth not surprisingly accompanied by the audience stampeding in the opposite direction. This might make sense, though; while 1965's The Winter of My Discontent is a masterpiece, 1968's Gemini Changes is laughably pretentious.  By the early '70s she was eager to get into films, the music business pushing away any and all veteran talent. Later in the decade she launched the mature period of her career, though, once again recording as more of a jazz-flavored artist for Muse, a label which in itself indicates a disinterest in pop culture. The label was loyal to her, regularly recording her through the following decade. This material was reissued in the late '90s by the 32 Jazz label, whose honcho, Joel Dorn, also presided over the reissue of her Reprise sides. If a special sort of bittersweet feeling pervaded her later performances, perhaps it had something to do with this return to her jazz singing roots. Her father had been a performer of folk and popular music on voice and guitar, and she had begun singing in nightclubs such as Basin Street in New York City when she was in her mid-twenties. Only a few years earlier, she had been immersed in classical studies at the Metropolitan School of Music. Basin Street may have been in the same city, but it must have seemed like a completely different musical world. The formal training undoubtedly filled in aspects of her musical walk where some of her peers might have had to limp. For this reason alone, some listeners find her efforts the most swinging of the '60s generation of pop singers. It meant much critical acclaim during her career, if not great commercial success. At many stages, King seemed to have been making other plans. For the 1960 Encyclopedia of Jazz by Leonard Feather, she listed this ambition: "To become a dramatic actress."~ Eugene Chadbourne https://www.allmusic.com/artist/morgana-king-mn0000501436/biography

Personnel:   Vocals – Morgana King; Guitar – Al Caiola;  Piano – Hank Jones;  Trombone – Chauncey Welsch

For You, For Me, For Evermore

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Grady Nichols - Take Me With You

Styles: Saxophone Jazz
Year: 2008
File: MP3@320K/s
Time: 58:08
Size: 133,8 MB
Art: Front

(4:45)  1. Bellissimo
(4:37)  2. Runway
(3:47)  3. Every Kinda People - Feat. Leigh Nash
(4:41)  4. Dove, I'll Still Be Loving You
(4:15)  5. Take Me With You - Feat, Jenny Labow
(5:09)  6. Can't Get You Out Of My Head
(5:02)  7. Nashville
(4:11)  8. After The Rain - Feat. Tony Mason
(4:45)  9. Bad Attitude
(4:32) 10. Give Love - Feat. Toni Estes
(4:04) 11. Ascent, Something For The Common Man
(4:01) 12. Slow Motion
(4:13) 13. Take Me With You - House Mix By Andy Caldwell

Grady Nichols cites his upbringing in rural Arkansas as the reason why he got into smooth jazz. He fell in love with the instrumental music that he heard played on the Weather Channel and contacted the broadcaster for its play list. Now, a few years and five solo albums later the rest, as they say, is history. Nichols latest offering is the eclectic ‘Take Me With You’ which looks set to cement his position as one of the best young saxophonists around. It includes notable contributions from Jeff Lorber and is, in every respect, the real contemporary jazz deal. A case in point is the hugely accessible title track that features vocals from Jenny Labow. It has a catchiness about it that is compelling and when, later in the album, it is reprised as a ‘house mix’ the result is equally good. ‘Take Me With You’ strikes a nice blend of original music and well crafted covers. Among the latter is the tender interpretation of the Robert Palmer classic ‘Every Kind Of People’ that is built around a picture perfect vocal from Leigh Nash and is, without doubt, a clear contender for ‘best cover version of the year’. Right up there with it is Nichol’s turned down instrumental take on Kylie Minogue’s hypnotic ‘Cant Get You Out Of My Head’ and when Nichols switches to his own compositions he comes up with ‘Nashville’ which has appropriately ‘country’ undertones, a pleasant melody and good smooth jazz credentials. ‘Bad Attitude’ offers up more edgy mid tempo jazz sax that drives to a thumping crescendo while in complete contrast is the thoughtful ‘Slow Motion’. Here Nichols is perhaps closest to discovering a mellow vibe but he does not stay there as with ‘Ascent (Something For The Common Man)’ he delivers a number that is in the best traditions of ‘feel good’ jazz anthems. It’s the sort of tune that is sure to delight legions of festival goers in the coming year and another winner comes in the form of ‘After The Rain’ which is blessed by soulful and uplifting vocals from Tony Mason. One of three collaborations that Nichols enjoys with Jeff Lorber it is, in this regard, in the company of the zesty ‘Runaway’ for which Lorber makes a significant contribution on keyboards and also ‘Give Love’ where down and dirty vocals from Toni Estes sets the scene for a jazzily funky concoction.‘Bellisimo’ is a wonderful chunk of textbook mid tempo smooth jazz with a nice vibe and a title that describes it to perfection whilst even better, and Smooth Jazz Therapy selection for ‘album’s best track’, is ‘Dove’. This tight and urgent rendition of what was one of the best club classics of 2003 takes contemporary jazz into an area where it might just engender a new generation of listeners. Grady Nichols has already been described by no less than Jeff Lorber as “the awesome new sax-star for a new millennium”. With ‘Take Me With You’ he is one step closer to making that a reality. https://smoothjazztherapy.typepad.com/my_weblog/2008/12/grady-nichols-take-me-with-you.html

Grady Nichols (alto sax), David John (guitar), Jo NathanWatkins (drums), Mike Wilson (keyboard), Chuck Tottress (bass).

Take Me With You

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Jimmy Heath Quintet - On The Trail

Styles: Saxophone Jazz 
Year: 1964
File: MP3@320K/s
Time: 38:23
Size: 88,7 MB
Art: Front

(5:07)  1. On The Trail
(4:20)  2. Cloak And Dagger
(4:40)  3. Vanity
(5:21)  4. All The Things You Are
(5:32)  5. Gingerbread Boy
(5:16)  6. I Should Care
(8:02)  7. Project S

Unlike some of his other Riverside recordings, the accent on this Jimmy Heath CD reissue is very much on his tenor playing (rather than his arrangements). Heath is in excellent form with a quintet that also includes pianist Wynton Kelly, guitarist Kenny Burrell, bassist Paul Chambers, and drummer Albert "Tootie" Heath. The instantly recognizable hard bop saxophonist performs four standards and three of his own compositions, including the original versions of "Gingerbread Boy" and "Project S." It's a good example of his playing talents. ~ Scott Yanow https://www.allmusic.com/album/on-the-trail-mw0000173712

Personnel: Jimmy Heath - tenor saxophone; Wynton Kelly - piano;  Kenny Burrell - guitar;  Paul Chambers - bass;  Al Heath - drums.

On The Trail

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Mike Lipskin - Spreading Rhythm Around

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 48:20
Size: 112,6 MB
Art: Front

(3:48)  1. Blues For Dan Quayle
(4:48)  2. Rockin Chair
(3:45)  3. Jeepers Creepers
(4:18)  4. Some Of These Days
(2:47)  5. I Wish I Were Twins
(4:22)  6. Our Love Is Here To Stay
(3:29)  7. African Ripples
(2:57)  8. Sing It Way Down Low
(3:27)  9. Deed I Do
(4:40) 10. How Long Has This Been Going On
(1:42) 11. Goin About
(3:29) 12. Numb Fumblin
(4:44) 13. Spreading Rhythm Around

For more than two decades local jazz fans and those from remote parts of the United States and Europe have come to San Francisco's night spots and concert venues to hear jazz pianist Mike Lipskin perform sparkling musical gems in the Harlem Stride jazz piano style. Only a handful of contemporary jazz pianists can play Harlem Stride, the sound of Fats Waller, James P. Johnson, Duke Ellington, and Art Tatum. Mike has devoted his life to stride, is one of these exceedingly rare pianists and has even created his own stride sound. He also writes new pieces in this vibrant full jazz piano sound some of which can be heard on his recordings for Buskirk Productions and Downtown Records. He’s played Carnegie Hall, Davies Symphony Hall, 92nd Street "Y" and Newport Jazz Festival, and appears in the jazz documentary film, "A Great Day In Harlem," nominated for an academy award. He supplied rare photos for a book on the same subject, edited it and Fats Waller’s biography, written by Waller’s son. Lipskin helped produce and appears in an American Public TV documentary on the legendary stride pianist, Willie The Lion Smith. He was music director for and performed in five "Stride Summit" concerts at San Francisco's Davies Symphony Hall, and Masonic Auditorium, the last one occurred November 7, 2004. He performed with Woody Allen and Dick Hyman in New York City and had a 23 concert European tour in conjunction with his first release on the Swiss label, Downtown Records. Lipskin has five recordings to his credit and working on his next project for Buskirk Records.  In the words of the Los Angeles Times jazz critic, Leonard Feather, "Lipskin displays the virtues of technique, soul, freshness, and the spirit of youth in his flawless interpretations of Stride pieces." The late, great Eubie Blake also confirmed that "Mike Lipskin plays Stride bass with perfect accuracy." The legendary record producer, Jerry Wexler, adds: "He's fantastic 'cause first of all, he's got chops, he doesn't fumble, he's got that stride thing." Fats Waller's guitarist, Al Casey, when hearing Lipskin's latest CD exclaimed, "I think I'm with Fats right now."

Born in New York, Mike first fell in love with Waller records from his father's collection when he was 4 years old and was hooked on the style from then on. By the time he was in high school he was traveling to Harlem, learning from the remaining stride masters such as Willie The Lion Smith, Luckey Roberts, Cliff Jackson, and the amazing Donald Lambert. Mike was an artist and repertoire producer at RCA Records, New York. During his 13 years there he produced historical reissues for the Vintage Series including sevaeral Waller sets, developed engineering skills and improved a widely acclaimed analogue technical process for rehabilitation of ancient recordings. He also produced new albums by artists such as Lighthouse, Gil Evans, Blue Mitchell, Cedar Walton, Lonnie Liston Smith, Roger Troy and Ryo Kawasaki edited, mixed, and mastering product by Chet Atkins, Sam Cooke, Elvis Presley, Jefferson Airplane, Brian Auger, Duke Ellington, Erroll Garner, Dizzy Gillespie, among others. He practices entertainment and real estate law in San Francisco. https://store.cdbaby.com/cd/lipskin

Spreading Rhythm Around

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Harry James & His Orchestra - The Golden Trumpet of Harry James

Styles: Trumpet Jazz, Big Band
Year: 1968
File: MP3@320K/s
Time: 34:55
Size: 82,5 MB
Art: Front

(0:37)  1. Ciribiribin
(1:52)  2. You Made Me Love You
(4:05)  3. Two O'Clock Jump
(1:58)  4. I'Ve Heard That Song Before
(4:21)  5. Ultra
(2:53)  6. By the Sleepy Lagoon
(3:09)  7. All or Nothing at All
(1:40)  8. Cherry
(4:42)  9. Take the "A" Train
(1:58) 10. I Heard You Cried Last Night
(2:52) 11. The Mole
(4:05) 12. Satin Doll
(0:35) 13. Ciribiribin

Harry James captured in glittering "Phase 4 Stereo" with a band that he regarded as his best ever, recutting standards of his own such as "You Made Me Love You," "I've Heard That Song Before," "All or Nothing at All," and "Two O'Clock Jump," plus his versions of "Satin Doll" and "Take the 'A' Train," spiced with a James composition, "The Mole." "Ultra," written by James, features some extraordinarily dexterous playing by the man in several places, while Eric Coates' "By the Sleepy Lagoon" provides James with a perfect spot for some gentle lyricism. The sound throughout is extremely bright and crisp, in keeping with the recording's audiophile origins. The overwritten notes by John Tracy have one major flaw, however it would have been nice to have a list of the personnel with James on these recording dates, since they play so well. ~ Bruce Eder  https://www.allmusic.com/album/the-golden-trumpet-of-harry-james-mw0000188226

Personnel:  Trumpet, Leader [Uncredited] – Harry James ; Alto Saxophone [Uncredited], Clarinet [Uncredited] – Everett Levey, Joe Riggs; Baritone Saxophone [Uncredited] – Jack O'Keefe; Bass [Uncredited] – Don Baldwin; Bass Trombone [Uncredited] – Graham Ellis; Drums [Uncredited] – Sonny Payne; Orchestra – Harry James And His Orchestra; Piano [Uncredited] – Jack Perciful; Tenor Saxophone [Uncredited] – Corky Corcoran; Tenor Saxophone [Uncredited], Flute [Uncredited] – Rod Adam; Trombone [Uncredited] – Jimmy Huntzinger, Ray Sims; Trumpet [Uncredited] – Al Yeager, Bill King, Bob Carter, Harry James, Tony Scodwell

The Golden Trumpet of Harry James

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Zoe Schwarz - Slow Burn

Styles: Vocal
Year: 2012
File: MP3@320K/s
Time: 62:49
Size: 145,4 MB
Art: Front

(5:16)  1. The Meaning of the Blues
(4:03)  2. The Blues Are a Brewin'
(4:55)  3. Was It Something You Siad
(2:28)  4. Baby I Don't Cry over You
(5:02)  5. Angel Eyes
(2:57)  6. Bye Bye Baby See You When I Get Home
(5:43)  7. I Cover the Water Front
(4:32)  8. I Can Dream
(4:27)  9. We're Going Wrong
(5:30) 10. Detour Ahead
(3:29) 11. Blues for Mama
(4:32) 12. Stay Away Baby
(5:45) 13. Willow Weep for Me
(4:04) 14. Sinner's Prayer

British singer Zoe Schwarz is a blues singer in the same way that the late Gene Harris was a blues pianist. Harris often referred to himself as a "blues player with jazz chops." Even his jazziest performances are steeped in the vernacular. For an example, see his famous performance from Ray Brown's Bam Bam Bam (Concord, 1988). Schwarz can belt the blues out with the best of them, but she is also a more than competent jazz singer, one who has used the blues to inform her performance and infuse her delivery in the very same way Harris did with his jazz recitals. A considerable amount of Schwarz's oeuvre is down-and-dirty blues. She did release a fine standards recording with guitarist/husband Bob Koral entitled Celebration (33 Records, 2009) that was quite fetching, and to which the present Slow Burn is a logical followup. Schwarz returns to this recital in the close space of a trio, again in the company of Koral and with the addition of tenor saxophonist Ian Ellis Schwarz provides a more homogenous mix of blues and standards (with some originals thrown in) on Slow Burn, mixing things up nicely. 

The addition of Ellis is inspired, his tenor raspy when necessary and sweet-tone when demanded, particularly on the ballads. The spirit of Billie Holiday is in ample evidence, with "The Meaning of the Blues," "I Cover The Water Front" and "Willow Weep for Me" serving as homage to the singer. Schwarz honors Holiday not with a mere imitation, but an honest acknowledgement of Holiday's uniquely odd phrasing and approach around the beat. Also present is Nina Simone, in whose material Schwarz excels with her own approach. "The Blues are A-brewin,'" "Blues for Mama" and "Sinner's Prayer" all seethe with Simone's own slow burn with Schwarz's own fine port tone added. Koral's expert, more-is-less approach carefully paces the pieces, be they the lowdown blues of Jack Bruce's "We're Going Wrong" or the bouncy novelty of the guitarist's original, "Bye Bye Baby See You When I Get Home." Musical Nirvana is reached on "Angel Eyes" and "Detour Ahead." On the former, Koral sets up an uncharacteristic rhythm, establishing a nervous undertow to this classic and dark ballad, allowing Schwarz free rein in singing. On the latter, the trio's efforts are fully realized, with Koral's fractured chords, Ellis' tentative yet confident obbligato and, finally Schwarz, channeling both Holiday and even pianist Bill Evans on an impressionistic performance of this strangely durable and compelling standard. It is in this performance that the trio's efforts and our expectations are fully rewarded. ~ C. Michael Bailey https://www.allaboutjazz.com/slow-burn-zoe-schwarz-33-jazz-review-by-c-michael-bailey.php

Personnel: Zoe Schwarz: vocals; Rob Koral: guitar; Ian Ellis: saxophone.

Slow Burn

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Hank Jones - One More - The Music of Thad Jones

Styles: Piano Jazz
Year: 2005
File: MP3@320K/s
Time: 69:22
Size: 159,9 MB
Art: Front

(5:37)  1. Subtle Rebuttal
(4:54)  2. Thad's Pad
(6:40)  3. Kids Are Pretty People
(5:49)  4. One More
(7:05)  5. Mean What You Say
(8:02)  6. A Child Is Born
(5:12)  7. Bossa Nova Ova
(7:02)  8. The Waltz You Swang for Me
(5:37)  9. H & T Blues
(5:23) 10. Consummation
(5:27) 11. The Farewell
(2:31) 12. Monk's Mood

Great jazz things have been happening at IPO Recordings, and they have been for a while. One More: Music of Thad Jones is the sixth CD from Executive Producer Bill Sorin, and it continues the generous spirit of tribute that has informed each of its predecessors. Three of the six recordings so far have been among the final recordings of the late piano maestro, Sir Roland Hanna, with another Hanna album on the way later this year. Listeners familiar with the Thad Jones-Mel Lewis Band should know that Hanna held the piano chair in the band from its beginning in '66 through '74, and that he often performed Thad's compositions on his own recordings. Hanna is present posthumously on One More, in a recreation of one his classic unaccompanied introductions to "A Child Is Born, arguably Jones' most famous composition. One More indeed pays homage to Jones the composer with stellar performances of 11 of his tunes. The aggregation that performs Michael Patterson's distinctive arrangements is an octet made up of a Who's Who of straight-ahead blowing jazz. James Moody, Benny Golson and Frank Wess appear on tenor and other saxophones, with Wess tripling on flute; Bob Brookmeyer on trombone and Jimmy Owens on trumpet and fluegelhorn comprise the brass section. The superb rhythm section is anchored by Richard Davis on bass and Mickey Roker on drums. One might wonder if Hanna were still alive, he would be on piano. But here we have the redoubtable Hank Jones, Thad's brother, on piano. It is hard to ask for more. Ira Gitler points out in his liner notes, "What Patterson has done is write for this ensemble (and what an ensemble) without losing the spirit of the big band. That's the way Thad wrote, very translatable. With musicians who have no doubt known one another and played together often over many years, there is the feeling here of a reunion, a celebration not only of Thad Jones' talents as a composer but perhaps of the rare chance to play together again. 

For a one-time project, the group is surprisingly tight and polished; everyone really seems to have come to play his best, together. Without slighting any of the other masters, one can't miss the contributions of Hank Jones on piano and Jimmy Owens on trumpet, which are consistently brilliant on this album, on virtually every cut. What an honor for jazz lovers to still have Hank in our midst; here and on his new Great Jazz Trio recordings of late he sounds better than ever. Perhaps Owens' highlight is his solo on "Consummation. Poetic justice: Thad Jones wrote the song for a concert performance by Owens in '69. One More concludes on a rather special note. The final track is an unaccompanied solo performance by Hank Jones of "Monk's Mood, the only tune on the album not by Thad. He is playing an arrangement that he learned, note-for-note, directly from the composer himself, Thelonious Monk, in the mid-'40s, which was a favorite of Thad's. IPO seems headed in a good direction. One More: Music of Thad Jones follows With Malice Toward None: The Music of Tom McIntosh, another great composer, which features some of the same musicians. Who knows? Maybe someday we will see a tribute to the compositional talents of Sir Roland Hanna, another match surely to be made in heaven. ~ Wayne Zade https://www.allaboutjazz.com/one-more-music-of-thad-jones-by-wayne-zade.php

Personnel: Benny Golson (tenor saxophone); James Moody (tenor and soprano saxophone); Frank Wess (tenor and alto saxophone, flute); Jimmy Owens (trumpet and fluegelhorn); Bob Brookmeyer (trombone); Hank Jones (piano); Richard Davis (bass); Mickey Roker (drums) 

One More - The Music of Thad Jones

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