Andy Fusco - Vortex

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 61:03
Size: 140,9 MB
Art: Front

(6:00)  1. Vortex
(5:21)  2. Friends and Neighbors
(8:06)  3. Spring Can Really Hang You up the Most
(5:13)  4. Matador
(6:19)  5. When Lights Are Low
(5:56)  6. Desperado
(6:18)  7. In Your Own Sweet Way
(6:37)  8. All or Nothing at All
(4:36)  9. Tailspin
(6:32) 10. Windows

Vortex, Andy Fusco's fourth release on the SteepleChase imprint in as many years, is cause for celebration. Until recently, recordings by the veteran alto saxophonist as a leader have been few and far between. The date reunites Fusco with tenor saxophonist Walt Weiskopf, who composed four of the selections and arranged nine of the ten tracks. The Fusco/Weiskopf association began decades ago in the sax section of the Buddy Rich Big Band and eventually resulted in a number of noteworthy discs, mostly under Weiskopf's name, for Criss Cross Jazz. Weiskopf is a master at fashioning charts for small-to-mid-sized ensembles. His arrangements for Vortex radiate enthusiasm as well as the wisdom of decades of experience. Weiskopf finds ingenious ways of voicing four horns (his tenor, Fusco's alto, Joe Magnarelli's trumpet and John Mosca's trombone) on the core material, as well as deftly integrating riffs and longer written figures into some of the improvised solos. Part of the fun of listening to the record is discovering the placement and the degrees of emphasis in the lines he writes for the soloists or when he chooses to leave the players to an exemplary rhythm section comprised of pianist Peter Zak, bassist Mike Karn and drummer Jason Tiemann. Weiskopf's treatments of jazz standards by Dave Brubeck, Chick Corea and Grant Green, a couple of Great American Songbook favorites and his own compositions are novel yet never twist the songs beyond recognition. There's an impressive synergy between Fusco's alto and Weiskopf's arrangement on the head of the ballad "Spring Can Really Hang You Up The Most." 

As a whole the record is well organized and rich in detail, yet each track retains some the loose-limbed quality of a combo playing a late-night club set for themselves and a few aficionados. Apart from shining a spotlight on Fusco, an extended analysis of the soloists' virtues is beyond the scope of this review. Suffice it to say that each man has a distinct voice and makes essential contributions to the record. Fusco possesses a tart, live wire tone and almost every note feels urgent and animated. His vocabulary is an invigorating extension of the bebop lexicon, with nods to Charlie Parker and Jackie McLean. Flinging short, disparate phrases into the air and miraculously forging connections between them, there's often an unhinged, thrill-ride quality to his playing. Even in the midst of a profuse, jam packed statement, Fusco never eclipses the rhythm section. Portions of "Matador" and "All Or Nothing At All" are good examples of him laying back a bit, each note firmly in place and joined to Zak, Karn and Tiemann. Is it too much to ask that Fusco and this group make an appearance outside of the confines of the recording studio? Probably. From start to finish, Vortex is an exhilarating record. 

~ David A.Orthmann https://www.allaboutjazz.com/vortex-andy-fusco-steeplechase-records-review-by-david-a-orthmann.php

Personnel: Andy Fusco: alto saxophone; Walt Weiskopf: tenor saxophone; Joe Magnarelli: trumpet; John Mosca: trombone; Peter Zak: piano; Mike Karn: bass; Jason Tiemann: drums.

Vortex

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Zoot Sims Quartet - Tenorly

Styles: Saxophone Jazz
Year: 1993
File: MP3@320K/s
Time: 65:18
Size: 160,5 MB
Art: Front

(2:58)  1. Night And Day, Take 1
(2:58)  2. Night And Day, Take 2
(2:58)  3. Night And Day, Take 3
(3:20)  4. Slingin' Hasch, Take 1
(3:30)  5. Slingin' Hasch, Take 2
(2:48)  6. Tenorly, Take 1
(2:50)  7. Tenorly, Take 2
(2:47)  8. Tenorly, Take 3
(3:21)  9. Zoot And Zoot
(3:41) 10. I Understand, Take 1
(3:33) 11. I Understand, Take 2
(3:08) 12. Don't Worry About Me
(3:13) 13. Crystal
(5:52) 14. Toot's Suite
(4:27) 15. The Late Tiny Kahn
(3:18) 16. Call It Anything
(4:12) 17. Zoot's Suite
(3:32) 18. Once A While
(2:42) 19. Great Drums

Throughout his career, Zoot Sims was famous for epitomizing the swinging musician, never playing an inappropriate phrase. He always sounded inspired, and although his style did not change much after the early 1950s, Zoot's enthusiasm and creativity never wavered. Zoot's family was involved in vaudeville, and he played drums and clarinet as a youth. His older brother, Ray Sims, developed into a fine trombonist who sounded like Bill Harris. At age 13, Sims switched permanently to the tenor, and his initial inspiration was Lester Young, although he soon developed his own cool-toned sound. Sims was a professional by the age of 15, landing his first important job with Bobby Sherwood's Orchestra, and he joined Benny Goodman's big band for the first time in 1943; he would be one of BG's favorite tenormen for the next 30 years. He recorded with Joe Bushkin in 1944, and even at that early stage, his style was largely set. After a period in the Army, Sims was with Goodman from 1946-1947. He gained his initial fame as one of Woody Herman's "Four Brothers" during his time with the Second Herd (1947-1949). Zoot had brief stints with Buddy Rich's short-lived big band, Artie Shaw, Goodman (1950), Chubby Jackson, and Elliot Lawrence. He toured and recorded with Stan Kenton (1953) and Gerry Mulligan (1954-1956). Sims was also a star soloist with Mulligan's Concert Jazz Band of the early '60s and visited the Soviet Union with Benny Goodman in 1962. A freelancer throughout most of his career, Sims often led his own combos or co-led bands with his friend Al Cohn; the two tenors had very similar sounds and styles. Zoot started doubling on soprano quite effectively in the '70s. Through the years, he appeared in countless situations, and always seemed to come out ahead. Fortunately, Zoot Sims recorded frequently, leading sessions for Prestige, Metronome, Vogue, Dawn, Storyville, Argo, ABC-Paramount, Riverside, United Artists, Pacific Jazz, Bethlehem, Colpix, Impulse, Groove Merchant, Famous Door, Choice, Sonet, and a wonderful series for Pablo. ~ Scott Yanow https://www.allmusic.com/artist/zoot-sims-mn0000228087/biography

Personnel: Tenor Saxophone – Zoot Sims; Bass – Don Bagley (tracks: 14 to 19), Pierre Michelot (tracks: 1 to 13); Drums – Jean-Louis Viale (tracks: 14 to 19), Kenny Clarke (tracks: 1 to 13); Guitar – Jimmy Gourley (tracks: 14 to 19); Piano – Gerry Wiggins (tracks: 1 to 13), Henri Renaud (tracks: 14 to 19); Trombone – Frank Rosolino (tracks: 14 to 19)

Tenorly

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Marilena Paradisi, Kirk Lightsey - Some Place Called Where

Styles: Vocal And Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 44:49
Size: 103,7 MB
Art: Front

(4:10)  1. Portrait
(5:32)  2. Some Other Time
(7:06)  3. Like a Lover
(5:35)  4. Soul Eyes
(4:07)  5. Little Waltz
(6:28)  6. Some Place Called Where
(5:36)  7. Autumn Nocturne
(6:13)  8. Fresh Air

Bunny Mellon, America’s foremost arbiter of superior taste, lived by the motto “Nothing should be seen,” meaning that in order to achieve true aesthetic beauty, nothing must stand out. As a defining principle it perfectly describes octogenarian pianist Kirk Lightsey’s exquisite craftsmanship across each of these seven covers and one original. And Lightsey has found an ideally symbiotic partner in Italian vocalist Marilena Paradisi. On what is only her second album performed entirely in English, Paradisi demonstrates the same captivating ability to fully meld with the songs without dampening their distinct moods. The duo opens with Mingus’ contemplative “Portrait,” sketching deeply personal tonal “pictures” based on lifelong experiences and observations. The gorgeously bittersweet “Some Other Time” connects with a wistful “Autumn Nocturne,” the darkly revelatory “Soul Eyes” and the staccato roil of Ron Carter’s “Little Waltz,” steadily rising in intensity as it progresses from sweet joy to bruised dejection. Exploring more fulfilling romantic sentiments, they add a rapturous “Like a Lover” and a beatific rendering of the Wayne Shorter/Dianne Reeves title track. Paradisi and Lightsey (alternating between piano and flute) close with the co-written “Fresh Air,” a gently flowing venture “into the light,” traveling not to a heavenly reward but toward more earthly and sensual pleasures. ~  By Christopher Loudon  https://jazztimes.com/reviews/albums/marilena-paradisi-kirk-lightsey/

Some Place Called Where

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Dick Hyman - There Will Never Be Another You

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 67:39
Size: 156,0 MB
Art: Front

(6:55)  1. Here's That Rainy da Again
(6:32)  2. Blue Skies
(9:28)  3. Spring Is Here
(5:54)  4. Sobbin' Blues
(3:51)  5. Jungle Blues
(5:04)  6. Undecided
(3:10)  7. Shine
(9:33)  8. Yesterdays
(4:22)  9. Send in the Clowns
(4:14) 10. Skylark
(6:08) 11. There Will Never Be Another You
(2:23) 12. Boswil Boogie

Dick Hyman not only has one of the largest repertoires of any jazz pianist, but he is equally adept at playing swing, stride, and boogie-woogie, as demonstrated in this 1998 solo concert at Alte Kirche Boswil in Switzerland. With a superb instrument, an attentive audience, and fabulous acoustics, Hyman dazzles the packed church with a stunning performance. His rapid-fire rendition of "Blue Skies" shows the influence of Art Tatum, Fats Waller, Teddy Wilson, and Earl Hines. No one has ever eclipsed Tatum's famous arrangement of "Yesterdays," but Hyman's interpretation is a lyrical, understated masterpiece in its own right. In addition to standards, Hyman revives long-forgotten tunes like "Sobbin' Blues" and currently out of favor songs from the early days of jazz such as "Shine" and Jelly Roll Morton's "Jungle Blues." Hyman's bluesy chord substitutions give new life to the often listlessly played ballad "Send in the Clowns." He leaves the audience smiling with "Boswil Boogie," which was likely improvised on the spot. ~ Ken Dryden https://www.allmusic.com/album/there-will-never-be-another-you-mw0001016067

Personnel:  Piano - Dick Hyman

There Will Never Be Another You

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Lionel Hampton and Dexter Gordon - Lionel Hampton with Dexter Gordon

Styles: Vibraphone Jazz
Year: 1994
File: MP3@320K/s
Time: 39:06
Size: 90,1 MB
Art: Front

(7:01)  1. Cutie
(7:56)  2. They Say That Falling In Love With You Is Wonderful
(4:20)  3. Lullaby Of Birdland
(5:13)  4. I Should Care
(6:30)  5. Seven Comes Eleven
(8:04)  6. Blues For Gates

One of many impromptu sessions staged in 1977 for Lionel Hampton's Who's Who in Jazz label, this recording features the basic band of Hampton on vibes, Bucky Pizzarelli on guitar, Hank Jones on piano, George Duvivier on bass, Oliver Jackson on drums, and Candido Camero on congas that is common to many of the albums, plus, in this case, Dexter Gordon (an alumnus of the Hampton big band) on tenor and soprano saxophone. The songs are mostly standards like "They Say That Falling in Love Is Wonderful" and "I Should Care," and Hampton and Gordon are given extended solo time in the relaxed arrangements, with Pizzarelli and Jones also taking occasional turns. The charm of all the 1977 Who's Who sessions is their intimacy: they sound more like something overheard after the final set in a club than formal recordings. This is one of the better ones. ~ William Ruhlmann https://www.allmusic.com/album/lionel-hampton-with-dexter-gordon-mw0000188260

Personnel: Vibraphone, Producer – Lionel Hampton; Soprano Saxophone, Tenor Saxophone – Dexter Gordon; Bass – George Duvivier; Congas – Candido; Drums – Oliver Jackson; Guitar – Bucky Pizzarelli; Piano – Hank Jones

Lionel Hampton with Dexter Gordon

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Adam Birnbaum Trio - A Comme Amour

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 64:37
Size: 149,3 MB
Art: Front

(5:44)  1. Whisper Not
(5:34)  2. All Through the Night
(4:35)  3. Goodby
(5:19)  4. Gabriel's Dance
(5:39)  5. In Your Own Sweet Way
(5:22)  6. A Comme Amour
(6:09)  7. Kate the Great
(6:13)  8. Urgency
(4:35)  9. In Walked Bud
(5:28) 10. New Orleans
(5:10) 11. I Got It Bad
(4:44) 12. Blind Seven

Adam Birnbaum is emerging as one of the top young voices in jazz piano. Since receiving a graduate Artist’s Diploma in jazz studies from The Julliard School in 2003, he has become a presence on the New York City scene as a leader and sideman, performing in such venues as the Village Vanguard, the Blue Note, Birdland, the Jazz Standard and Dizzy's Club Coca-Cola. He has also performed on many national and world stages, including the Gilmore International Keyboard Festival, the Kennedy Center, the Montreal Jazz Festival, The Spoleto Festival, The Red Sea Jazz Festival, The Rockport Chamber Festival, NPR Jazz Christmas, and the Capetown Jazz Festival. As a leader, Birnbaum has released four albums under his name in Japan and the U.S. His first release, Ballade Pour Adeline, received a Gold Disk award from As a leader, Birnbaum has released four albums under his name in Japan and the U.S. His first release, Ballade Pour Adeline, received a Gold Disk award from Swing Journal as one of the top albums of 2006. Adam’s U.S. debut Travels, released in 2009 under the Smalls record label, received enthusiastic reviews in Allmusic.com, All About Jazz and JazzTimes. Birnbaum’s recent release Three of A Mind, featuring bassist Doug Weiss and drummer Al Foster, was hailed as “an eloquent dispatch from the heart of the contemporary piano trio tradition” by the New York Times, and received an Editor’s Pick and four star review in Downbeat magazine. As a sideman, Birnbaum’s wide-ranging versatility and artistry have made him a first call for a wide variety of ensembles. He has performed or toured with established jazz artists such as Al Foster, Greg Osby, Regina Carter, The Vanguard Jazz Orchestra, and Jazz at Lincoln Center with Wynton Marsalis, as well as with young artists such as Darcy James Argue’s Secret Society and Cecile Mclorin Salvant. Birnbaum has appeared as a sideman more than 25 albums. Birnbaum is also recognized as a composer and arranger. Allmusic.com reviewer Ken Dryden said “Birnbaum’s compositions prove immediately infectious, each with a hook that draws the listener along for the ride. 

“A review of Travels in JazzTimes praised the album’s “stellar originals.” In 2009 Birnbaum premiered Dream Songs, a trio suite based on the poetry of John Berryman. The work was commissioned by Chamber Music America. Since 2012 Birnbaum has worked with Chelsea Music Festival each year to arrange Bach, Debussy, Beethoven, etc, for his own trio featuring strings and other guests musicians. Born and raised in Boston, Massachusetts, Birnbaum studied at the New England Conservatory of Music before moving to New York City in 2001, one of two pianists selected to participate in the Julliard School’s inaugural jazz studies program. In 2004 he won the American Jazz Piano Competition and became the American Pianists Association's Cole Porter fellow in Jazz. That same year, he became the first jazz pianist to present a recital at the prestigious Gilmore Rising Stars Recital Series. In 2006, he received the first-ever "special mention" prize at the Martial Solal Jazz Piano Competition in Paris. He has toured West Africa and Asia sponsored by Jazz at Lincoln Center and the U.S. State Department. Adam has studied with Danilo Perez, Kenny Barron, and Fred Hersch. Adam Birnbaum is currently an Assistant Professor of Jazz at SUNY Purchase. He is also a Steinway Artist. http://www.adambirnbaum.com/bio

A Comme Amour

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George Coleman - My Horns of Plenty

Styles: Saxophone Jazz
Year: 1991
File: MP3@320K/s
Time: 63:15
Size: 145,1 MB
Art: Front

(12:34)  1. Lush Life
(11:16)  2. Conrad
(13:41)  3. My Romance
( 3:01)  4. The Sheik of Araby
( 8:59)  5. You Mean so Much to Me
(13:43)  6. Old Folks

This reissue of George Coleman’s recording My Horns of Plenty is a real treat for those wanting to hear the sheer talent of a lesser known saxophonist. Coleman enjoyed his greatest exposure when Miles Davis, who had a knack for surrounding himself with great musicians, featured him early on in his great '60s quintet. But since then, Coleman's musicianship has not waned. The skill and depth of Coleman's playing is clearly evident on this 1991 reissue. Equally adept on soprano, alto, and tenor saxophone, Coleman possesses a smooth and dynamic presence. With speed and poise he shines on the Billy Strayhorn composition “Lush Life”. His tenor is as silky as butter on the classic “My Romance” and his own compositions give ample room for band members to show their skills on “You Mean So Much To Me.” With great tunes, an equally talented band, and an outstanding voice, it's nice to discover a cornucopia of good music on Mr. Coleman’s My Horns of Plenty. ~ Mark F.Turner https://www.allaboutjazz.com/my-horns-of-plenty-george-coleman-birdology-review-by-mark-f-turner.php

Personnel: George Coleman - Alto, Tenor, Soprano Saxophones; Ray Drummond - Bass; Billy Higgins - Drums; Harold Mabern - Piano

My Horns of Plenty

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Larry Willis - My Funny Valentine

Styles: Piano Jazz
Year: 1988
File: MP3@320K/s
Time: 63:38
Size: 146,1 MB
Art: Front

(5:46)  1. For Opener's
(3:18)  2. It could Happen to You
(6:31)  3. Blues for Wynton Kelly
(8:52)  4. Who's Kidding Who
(6:03)  5. Rhythm-A-Ning
(6:28)  6. Blood Count
(6:46)  7. My shining Hour
(5:45)  8. Lazy Afternoon
(8:02)  9. Ethiopia
(6:02) 10. My Funny Valentine

Although Larry Willis had played fusion and electric jazz-rock in the 1970s, the Willis heard on 1988's enjoyable, if conventional, My Funny Valentine is a more conservative post-bopper/hard bopper whose main reference points include McCoy Tyner, Tommy Flanagan, Wynton Kelly and Bill Evans. Willis plays the acoustic piano exclusively on this CD, and standards are a high priority. Nothing cutting-edge occurs, just straight-ahead jazz that's honest, warm and melodic. Most of the selections are trio numbers with bassist George Mraz and drummer Al Foster, although the pianist is joined by the passionate alto saxman Kenny Garrett on Thelonious Monk's "Rhythm-A-Ning," Garrett's insistent "For Openers" and Willis' haunting "Ethiopia." As a trio pianist, Willis is in good form on such often recorded standards as "My Funny Valentine," "Lazy Afternoon" and Billy Strayhorn's "Bloodcount" all of which demonstrate how sensitive a ballad player he can be. Initially released only in Japan by the Jazz City label, My Funny Valentine came out in the U.S. when the Philadelphia-based Evidence Music reissued it in 1998. ~ Alex Henderson https://www.allmusic.com/album/my-funny-valentine-mw0000198066

Personnel: Larry Willis – piano; Kenny Garrett – alto saxophone; George Mraz – bass; Al Foster – drums

My Funny Valentine

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Niels-Henning Ørsted Pedersen - Hommage, Once Upon A Time

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 45:38
Size: 106,0 MB
Art: Front

(3:36)  1. Cream
(9:08)  2. Tango Jalousi
(7:56)  3. Lullabye-Bye
(3:55)  4. Sporge-Jorgen
(3:50)  5. Det Haver Sa Nyeligen Regnet
(5:25)  6. Lost In The Stars
(3:07)  7. J.P.
(5:16)  8. That Ol' Black Magic
(3:21)  9. September Song

A virtuoso who mostly played in bop-oriented settings, Niels-Henning Ørsted Pedersen was in great demand since he was a teenager. One of many superb European bassists to emerge during the 1960s, Pedersen originally studied piano before starting to play bass with Danish groups when he was 14. He had to reluctantly turn down Count Basie's offer to join his orchestra when he was just 17, but worked steadily as the house bassist at the Club Montmartre and as a member of the Danish Radio Orchestra. Whenever American jazzmen passed through Scandinavia, they asked for Pedersen; during the 1960s he played with Sonny Rollins, Bill Evans, Roland Kirk, Dexter Gordon, Bud Powell, and even Albert Ayler (although the latter's session was not too successful). In the 1970s, Pedersen was featured in a duo with Kenny Drew. Starting in the mid-'70s, he was an occasional member of the Oscar Peterson Trio and he recorded several dates as a leader for SteepleChase. Pedersen also recorded in many different settings for Pablo Records during the era. He remained very active until his sudden death in April 2005. He was 58. ~ Scott Yanow https://www.allmusic.com/artist/niels-henning-%C3rsted-pedersen-mn0000404907/biography

Personnel: Niels-Henning Ørsted Pedersen - bass, keyboards, producer; Palle Mikkelborg - trumpet, flugelhorn, keyboards, piano, producer; Ole Kock Hansen - keyboards; Thomas Clausen - piano, keyboards; Helen Davies-Mikkelborg - harp; Lennart Gruvstedt - drums; Mehmet Ozan - percussion; Niels Eje - oboe d'amore;  Cy Nicklin - vocals;  Jan Kohlin - trumpet; Palle Bolvig - trumpet; Vincent Nilsson - trombone; Axel Windfeld - trombone; Jan zum Vohrde - saxophone;  Flemming Madsen - saxophone; Bjarne Boie Rasmussen - viola; Mogens Durholm - violin;  Anika Telmanyi - violin;  Lars Holm Johansen - cello; Ars Nova Choir - choir

Hommage, Once Upon A Time

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Pete Jolly & Ralph Pena - The Duo

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 64:49
Size: 149,4 MB
Art: Front

(6:15)  1. Easy To Love
(4:51)  2. We'll Be Together Again
(7:43)  3. Celia
(7:15)  4. Friday The Thirteenth
(6:28)  5. I Love You
(4:49)  6. Variations
(4:44)  7. Bulja Bass
(5:03)  8. On Green Dolphin Street
(3:17)  9. Whistle While You Work
(7:44) 10. Walkin'
(6:37) 11. I Don't Wanna Be Kissed

When pianist Pete Jolly passed away in 2004, he was one of the last major survivors of the West Coast jazz scene of the 1950s. A powerful two-handed pianist influenced by Bud Powell but having his own style within straight-ahead jazz, Jolly worked in Los Angeles for decades, which led to him being underrated and often overlooked by the rest of the jazz world. Jolly had a trio with bassist Chuck Berghofer and drummer Nick Martinis that lasted over 40 years. However just prior to the formation of that group, Jolly often worked in a duo with bassist Ralph Pena. The music on this CD, of which originally only a dozen LPs were pressed, is rare in the extreme. It is taken from a 1960 tour of New Zealand and features Jolly and Pena digging into a variety of jazz standards and originals. Most unusual are the fairly early covers of Bud Powell's "Celia," George Wallington's obscure "Variations," and Thelonious Monk's "Friday the Thirteenth." Pete Jolly and straight-ahead jazz piano collectors will definitely want this rare item. ~ Scott Yanow https://www.allmusic.com/album/the-duo-mw0000486668

Personnel: Pete Jolly, piano; Ralph Pena, bass

The Duo

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Susan Wong - Close to Me

Styles: Vocal 
Year: 2019
File: MP3@320K/s
Time: 45:24
Size: 104,5 MB
Art: Front

(3:59)  1. Vincent
(4:00)  2. Sing For You
(4:50)  3. Man In The Mirror
(3:49)  4. The One You Love
(3:35)  5. Sunday Morning
(4:00)  6. What's Going On
(3:47)  7. Don't Dream It's Over
(3:51)  8. He's the One
(2:32)  9. Can't Hurry Love
(3:32) 10. That's Why You Go Away
(4:43) 11. When You Were My Man
(2:41) 12. Yesterday

The long-awaited new album by Susan Wong has arrived. "Close To Me" is particularly special because Susan worked on the arrangements and production of the album. Throughout this project, she maintains her trademark style of sultry vocals over smoothly adapted cover versions such as the piano laced rendition of "Man In The Mirror" original by Michael Jackson. Recorded over 3 years at studios in the USA, Hong Kong, Philippines, Susan spent countless hours and sleepless nights alongside other co-producers refining her sound to highest standards. Recorded & mixed at 24bit/96khz. This album is recorded with audiophiles in mind and exemplifies ultra-high definition audio, ready to be experienced on super class HiFi stereos, in Master Quality Authenticated sound. MQA CD plays back on all CD players. When a conventional CD player is connected to an MQA-enabled device, the CD will reveal the original master quality. ~ Editorial Reviews https://www.amazon.com/Close-Me-MQACD-SUSAN-WONG/dp/B07QV6W57S

Close to Me

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Peter & Will Anderson Trio - Reed Reflections

Styles: Saxophone And Clarinet Jazz 
Year: 2014
File: MP3@320K/s
Time: 49:31
Size: 114,6 MB
Art: Front

(4:06)  1. Begin the Beguine
(3:51)  2. My Heart Stood Still
(3:31)  3. Willow Weep for Me
(3:18)  4. Cherokee
(4:59)  5. Yesterdays
(3:08)  6. It's All Right With Me
(3:38)  7. Tea for Two
(3:57)  8. In a Sentimental Mood
(4:42)  9. Bud On Bach
(6:34) 10. Reed Reflections
(3:22) 11. Bye-Ya
(4:22) 12. What Is This Thing Called Love

There’s only one way to fully appreciate the new jazz album by the Bethesda-bred, Juilliard-trained Anderson twins, Peter and Will, and guitarist Alex Wintz: Keep it spinning. Listen to “Reed Reflections” three times: First, to hear the Andersons’ saxophones and clarinets elegantly converge, converse and engage in delightful counterpoint; second, to focus on Wintz’s resonating chordal propulsion and crisp, single-note interludes; and, finally, to hear the arrangements in full, imaginatively unfolding in ways that consistently bring a fresh perspective to such classic pop and jazz tunes as “Cherokee,” “Willow Weep for Me” and “In a Sentimental Mood.” Wonderfully evocative tributes to Thelonious Monk (“Bye-Ya”) and Bud Powell (“Bud on Bach”) offer more reasons to stay tuned. Even then, anyone with a taste for swing, bop and chamber jazz will want to come back for more. The Andersons earned reams of praise for their 2013 debut album, “Correspondence,” which featured pianist Kenny Barron and other well-known artists, but the streamlined “Reed Reflections” is no less impressive. In Wintz, the siblings have a collaborator who can offer pianistic touches as well as evoke the sound of legendary and contemporary jazz guitar masters, from Charlie Christian to Martin Taylor. As a result, the arrangements, which often feature the reeds trading places, have more texture and color than you might expect. And if some of the subdued performances strike particularly soulful notes, the shifting tempos ensure that the trio’s ability to swing effortlessly is never overshadowed for long. ~ Mike Joyce https://www.washingtonpost.com/goingoutguide/music/anderson-trio-album-review-reed-reflections/2014/05/22/585d65f2-dc62-11e3-8009-71de85b9c527_story.html

Personnel: Peter Anderson, Tenor Saxophone and Clarinet; Will Anderson, Alto Saxophone and Clarinet; Alex Wintz, Guitar

Reed Reflections

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Anna Kolchina - Wild Is The Wind

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 52:07
Size: 120,2 MB
Art: Front

(4:50)  1. Wild Is The Wind
(5:28)  2. So In Love
(3:30)  3. You Do Somethings To Me
(3:57)  4. Don't Worry 'bout Me
(3:39)  5. You Won't Forget Me
(4:19)  6. Don't Look Back
(4:59)  7. Exactly Like You
(2:09)  8. I Never Told You
(2:55)  9. With A Song In My Heart
(3:18) 10. It Never Was You
(2:52) 11. A Fine Romance
(2:40) 12. You Can Have Him
(3:25) 13. Day By Day
(4:00) 14. A Sinner Kissed An Angel

Anna Kolchina's debut Wild is the Wind is a masterclass in ensemble performance. Backed by pianist John di Martino, bassist Peter Washington, and drummer Willie Jones, Kolchina is more an equal quartet member than a singer backed by a trio. This is experienced immediately on the title piece, where Kolchina's delicately-played voice peeks out from behind Washington's gentle bass playing as it directs the remainder of the arrangement. It is a stunningly organic musical effect that increases the intimacy of the performance greatly. This approach characterizes the remaining tunes, all "standards" to one degree or another. The engineering captures the music three-dimensionally, where the listener can almost walk among the musicians as they perform.  Another element to note about this recording is its programing. The album is made up of 14 love songs... all kinds of love songs. On one hand there is the tentative cynicism introducing "You Do Something To Me," and maturing in "So In Love," while a completely different love aspect is studied in the loss-lessening "Don't Look Back," "It Never Was You," and "You Can Have Him." In all the different settings, Kolchina uses her refined, yet street-smart voice to finely hone the song she is presenting. The totality of approach on Wild is the Wind makes it an event in itself. While Kolchina's voice is less than perfect, it is perfect in that her vocals betray a knowing and aware character not afraid to show its wounds in its vulnerability, while telegraphing a warning to the listener that it has been all places and knows all things. ~ C.Michael Bailey https://www.allaboutjazz.com/wild-is-the-wind-anna-kolchina-venus-records-review-by-c-michael-bailey.php

Personnel: Anna Kolchina #1: Vocals; John Di Martino #2: Piano; Peter Washington #3: Bass; Willie Jones #4: Drums.

Wild Is The Wind

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Bill Frisell - Blues Dream

Styles: Guitar Jazz 
Year: 2001
File: MP3@320K/s
Time: 61:39
Size: 142,2 MB
Art: Front

(2:31)  1. Blues Dream
(6:45)  2. Ron Carter
(3:20)  3. Pretty Flowers Were Made for Blooming
(1:38)  4. Pretty Stars Were Made to Shine
(5:19)  5. Where Do We Go ?
(1:34)  6. Like Dreamers Do (Pt. One)
(2:36)  7. Like Dreamers Do (Pt. Two)
(4:18)  8. Outlaws
(7:03)  9. What Do We Do?
(0:48) 10. Episode
(2:39) 11. Soul Merchant
(6:14) 12. Greg Leisz
(2:26) 13. The Tractor
(1:30) 14. Fifty Years
(3:08) 15. Slow Dance
(4:46) 16. Things Will Never Be the Same
(3:04) 17. Dream On
(1:51) 18. Blues Dream (Reprise)

Blues Dream is another winsome album by Bill Frisell. On this Walker Arts Center-commissioned program, the composer-guitarist amalgamates elements and players from past projects to reiterate his bucolic synthesis of American root musics. The two-guitar, three-horn septet gives Frisell great flexibility in his trademark evocations of regional and ethnic dialects. Soloists like trumpeter Ron Miles and guitarist Greg Leisz continue to be fine foils. Certainly, Blues Dream will reinforce the media consensus that Frisell is an American original. However, this is a strangely antiseptic album. The immaculate mix is partly responsible. While the engineering makes a marvel of the burnished horns and the beckoning twang of Leisz’s steel and resonator guitars, it takes much of the bite out of Frisell’s rawest sounds and suspends each instrument in its own isolated space, diffusing the band’s punch. This reinforces the languor of much of the program. Many of Frisell’s tunes are built on materials that hover somewhere between a riff and a theme-they tend to moan, gasp and wheeze more often than they shout and holler. Without exception, each of Frisell’s 18 tunes contributes to the album’s dreamlike synergy of sound and sensibility. Yet Blues Dream is not a compelling album. Shadowy, but benign shapes-a shroudlike willow tree, a bunting-draped bandstand and a distant moonlit cabin-dominate this dream. It’s a pat atmosphere only occasionally disrupted by a busy loop or a blast of distortion from Frisell, or a raucous horn statement (trombonist Curtis Fowlkes and alto saxophonist Billy Drewes round out the section). While one can easily slip into Blues Dream, but nobody’s going to bolt upright in a cold sweat after hearing it. https://jazztimes.com/reviews/albums/bill-frisell-blues-dream/

Personnel: Bill Frisell – guitars; Greg Leisz – steel guitar, mandolin; Ron Miles – trumpet; Billy Drewes – alto sax; Curtis Fowlkes – trombone; David Piltch – bass; Kenny Wollesen – drums

Blues Dream

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Philly Joe Jones Dameronia - Look, Stop, and Listen

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 55:16
Size: 128,3 MB
Art: Front

(5:52)  1. Look, Stop and Listen
(5:34)  2. If You Could See Me Now
(5:30)  3. Choose Now
(5:49)  4. Focus
(6:08)  5. Killer Joe
(5:05)  6. Dial B for Beauty
(4:28)  7. Our Delight
(5:52)  8. Theme of No Repeat
(5:41)  9. If You Could See Me Now - 1st Take
(5:12) 10. Look, Stop and Listen - 1st Take

Philly Joe Jones was Tadd Dameron's roommate for nine years and long thought that the pianist/composer's contributions had been pretty much overlooked. He formed the tribute band Dameronia to make explore the late composer's music, debuting with a small group in the spring of 1982. With the help of trumpeter Don Sickler (who makes a pair of rare appearances on tenor sax as well) as musical director, the band expanded by the time of its first recording a few months later to a nonet. By the time of its second recording the following year, the personnel had changed slightly, now including pianist Walter Davis, Jr., tenor giant Johnny Griffin, tenor saxophonist Charles Davis and alto saxophonist Frank Wess (both of whom double on flute), baritone saxophonist Cecil Payne, trombonist Benny Powell, trumpeter Virgil Jones, and bassist Larry Ridley. Sickler's transcriptions of Dameron's arrangements reveal the depth of his music. "Look, Stop and Listen" is a showcase for the leader, while Griffin shines in the richly textured ballad "If You Could See Me Now," backed by the lush flutes and brass. Wess' flighty alto and Powell's sassy trombone are featured in the rarely performed "Focus." Another gem is the infrequently heard "Dial B for Beauty," spotlighting Davis in a ballad setting instead of the driving hard bop often associated with him. The sole composition not by Dameron is a hard-charging take of "Killer Joe," again showcasing Griffin, who was invited as a guest for two songs initially but encouraged by the musicians to hang around and play on other tracks. Not satisfied with the original mix of the LP due to the dominant presence of the leader's drums (due to the fact that he refused to play in an isolation booth), original session engineer Rudy Van Gelder remixed the album, improving the sound and adding two alternate takes. Highly recommended. ~Ken Dryden https://www.allmusic.com/album/look-stop-and-listen-mw0001954564

Personnel: Philly Joe Jones – drums; Johnny Griffin - tenor saxophone; Don Sickler – trumpet, tenor saxophone, director; Virgil Jones – trumpet; Benny Powell – trombone; Frank Wess – alto saxophone, flute; Charles Davis – tenor saxophone, flute; Cecil Payne – baritone saxophone; Walter Davis Jr. – piano; Larry Ridley – double bass

Look, Stop, and Listen

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John Patitucci - Sketchbook

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 59:23
Size: 137,4 MB
Art: Front

(6:00)  1. Spaceships
(4:52)  2. Joab
(5:23)  3. If You Don't Mind
(6:07)  4. Scophile
(5:28)  5. Greatest Gift
(5:04)  6. From A Rainy Night
(2:50)  7. Junk Man
(6:18)  8. Two Worlds
(3:18)  9. Backwoods
(4:11) 10. They Heard It Twice
(5:17) 11. 'Trane
(4:30) 12. Through The Clouds

Bass player John Patitucci is the musical equivalent of a Porsche: an incredibly fast, technically awesome machine capable of handling a variety of terrain with aplomb. Yet, as his opening set Wednesday night at Elario’s proved, a high-tech machine makes it easy to race through beautiful terrain without pausing to enjoy the scenery. Often, Patitucci didn’t leave sufficient space between his prodigious bursts on his six-string instrument to let the capacity crowd of 120 fully appreciate them. The 30-year-old Wunderkind , who made his initial mark with keyboardist Chick Corea’s Elektric Band, is appearing nightly through Sunday, with a crack band that includes former Weather Report drummer Alex Acuna, Steve Tavaglione on tenor sax and EWI (electronic wind instrument), and John Beasley on keyboards and synthesizer. The band proved to be the ideal setting for Patitucci and his unusual bass, which covers a range from deep, rumbling lows to highs that cross into guitar territory. With Beasley occasionally handling bass parts on synthesizer, Patitucci was free to roam his instrument’s broad neck, producing melodic inventions with amazing speed and fluidity. The group opened with “On the Corner” from Patitucci’s album by the same name, a fast-paced tune that resembles some of the 1980s music made by trumpeter Miles Davis. Patitucci has the snapping, popping funk sound down pat, and he alternated between anchoring the bottom and producing incredibly fast guitar-like lines. On the EWI, Tavaglione ranged from the wail of a soprano sax to a bluesy harmonica sound.The lazy-tempoed “Searching Finding” found Patitucci and Tavaglione doubling up on sections of catchy signature melody, with band members trading solos in between.“Peace and Quiet Time” provided some slower, romantic moments, with Tavaglione and Patitucci again doubling on the melody, this time with a moody, minor sound reminiscent of the Yellowjackets or Weather Report. Patitucci’s playing was especially delicate here. He used a combination of finger picking and wavering vibrato to produce a full sound well-suited to this ballad, as Acuna drove the tune with lightening flourishes on cymbals. The remainder of the set came mostly from Patitucci’s third album, “Sketchbook,” released this year. Tavaglione’s EWI shone on “Scophile,” opening the tune with deep-fathomed blasts that sounded like the sound track from a documentary on whales, proceeding to screaming, guitar-like licks on this tribute to guitarist John Scofield. As if his mastery of six-string bass isn’t enough, Patitucci hoisted an acoustic bass for the set’s last two tunes, going solo for the rhythmically driving “Backwoods,” joining the band again to close the set with “ ‘Trane.” On the larger, more cumbersome instrument, he didn’t lose a step. Unquestionably, Patitucci is the rising young lion of electric bass guitar, and you won’t find him in a tighter band than this one. But now that he has achieved phenomenal technical prowess, a little restraint would heighten the impact of his playing. With chops like his, there is no need for excessive engine revving. He needs to remember that it’s nice to mix high-speed joy rides with scenic Sunday drives. Patitucci continues at Elario’s through Sunday. Shows tonight and Saturday are at 9, 10:30 and midnight. Tickets are $7.50. On Sunday, shows are at 8:30 and 10:30, and tickets are $5.~  DIRK SUTRO https://www.latimes.com/archives/la-xpm-1990-12-07-me-6048-story.html

Personnel: Bass – John Patitucci;  Acoustic Guitar – Ricardo Silveira;  Drums – Vinnie Colaiuta; Percussion – Paulinho Da Costa; Piano – David Witham; Vocals – Dori Caymmi 

Sketchbook

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Andrew Hill - Smoke Stack (Remastered)

Styles: Piano Jazz
Year: 2006
File: MP3@320K/s
Time: 60:52
Size: 140,4 MB
Art: Front

(5:00)  1. Smoke Stack
(5:07)  2. The Day After
(5:46)  3. Wailing Wall
(4:29)  4. Ode To Von
(6:24)  5. Not So
(5:48)  6. Verne
(7:06)  7. 30 Pier Avenue
(4:20)  8. Smoke Stack
(4:49)  9. The Day After
(5:28) 10. Ode To Von
(6:28) 11. Not So

Emerging at the beginning of the '60s, Andrew Hill was always difficult to pigeonhole. The pianist was too aligned with mainstream harmony to be considered avant garde, too complex a writer to be considered free, too abstruse a player to be considered mainstream. The people at Blue Note knew they had a gem when they signed him. What they didn't know was that it would be decades before his value was truly appreciated. But better late than never. Smoke Stack, the second of six Blue Note sessions recorded between November 1963 and February 1965, was the pianist's fourth release by the label. While Hill's other sessions from the time were equally challenging from a compositional perspective, Smoke Stack was the most inherently difficult to fathom. It eschewed the more traditional instrumentation of Black Fire (1963), Judgement! (1964) and Point of Departure (1965) in favor of a piano/two-bass/drums lineup that was likely too unorthodox, even for a label that wasn't particularly averse to the unconventional. Hill's partners on this recording are bassists Richard Davis and Eddie Khan, along with drummer Roy Haynes, who also played on Black Fire. Other sessions from 1963-65 would feature different drummers, but Davis remained a constant throughout the period. Always a thinking man's bassist, Davis is at his most dominant on Smoke Stack, where Khan and Haynes assume the role of rhythmic anchor. Unlike Ornette Coleman and John Coltrane, who had already used twin-bass lineups but typically buried them underneath one or more solo voice, Hill places Davis front and center alongside his own idiosyncratic playing. Even on the balladic "Verne," where Khan sits out, Haynes steadfastly maintains rhythmic consistency while Davis interacts more persistently with Hill. On "Wailing Wall," Haynes' prevalent cymbal work sets a precedent for drummers like Jon Christensen and Jack DeJohnette; Davis' out-front arco gives credence to the song's title. Even on the semi-swinging "Ode to Von," where the harmonies feel mainstream, Hill's playing always skews things just the slightest bit off-kilter. But the tandem playing with Davis ensures an even greater elasticity which sometimes feels as though it might actually fall apart completely if it weren't for the real rhythmic glue that Haynes provides to bind this quartet. Looking back on Hill's emergence, it's remarkable how much he varied the contexts in which he worked. Smoke Stack may have been more of a challenge to listeners at the time, but today it stands out as one of Hill's most satisfying efforts, if only because of his remarkable interplay with Davis. ~ John Kelman https://www.allaboutjazz.com/smoke-stack-andrew-hill-blue-note-records-review-by-john-kelman.php

Personnel: Andrew Hill: piano; Richard Davis: bass; Eddie Khan: bass; Roy Haynes: drums.

Smoke Stack

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Seamus Blake, Daniel Thouin Trio - Live Au Cabaret

Styles: Saxophone Jazz
Year: 2001
File: MP3@320K/s
Time: 70:38
Size: 162,5 MB
Art: Front

(12:33)  1. Happen Stance
(14:49)  2. Perk
( 9:43)  3. Extranjero
(13:34)  4. Vanguard Blues
( 8:56)  5. Cloud
(11:01)  6. The Call

This CD was recorded at the Cabaret du St-Sulpice (Montreal) by CBC for the program "Silence on Jazz" on February 22 1999. It was an unforgettable moment in the life of the Montreal jazz scene over the past few years. The dynamic performance of saxophonist Seamus Blake accompanied by the Daniel Thouin trio was what inspired Effendi to launch its production. ~ Editorial Reviews https://www.amazon.com/Live-au-Cabaret-Daniel-Thouin/dp/B00005QB21

Personnel: Seamus Blake, tenor saxophone; Daniel Thouin, piano & rhodes; Norman Lachapelle, bass; Karl Jannuska, drums

Live Au Cabaret

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Charles Mingus, Eric Dolphy - Cornell 1964

Styles: Saxophone, Clarinet, Flute Jazz, Post Bop

Year: 1964
File: MP3@320K/s
Time: 134:22
Size: 308,3 MB
Art: Front

( 0:16)  1. Opening
( 4:26)  2. ATFW You
( 4:23)  3. Sophisticated Lady
(29:41)  4. Fables Of Faubus
(15:05) 5. Orange Was The Color Of Her Dress, The Blue Silk
(17:26)  6. Take The A Train
(31:23)  7. Meditations
(15:33)  8. So Long Eric
( 6:06)  9. When Irish Eyes Are Smiling
( 9:58) 10. Jitterbug Waltz

The hype factor was cranked up considerably in 2005 for the unearthed recording of two jazz legends: John Coltrane and Thelonious Monk's At Carnegie Hall (Blue Note). Things have cooled down a tad since that momentous release but just as exciting and equally important is Cornell 1964 featuring the Charles Mingus Sextet with Eric Dolphy.  Mingus, the powerful enigmatic bassist, band-leader and composer, was as controversial as he was dynamic. Dolphy, an absolutely brilliant musician (alto sax, bass clarinet, and flute), whose short lived musical career (he died a few months after this concert in 1964) still leaves a vivid mark in jazz today. The chance to hear them together is a treat for longtime admirers and newcomers alike. But this is more than just a meeting of two giants because we also get a chance to witness Mingus' illustrious quintet which included lesser known yet stunning musicians: Jaki Byard (piano), Johnny Coles (trumpet), Clifford Jordan (tenor saxophone), and Dannie Richmond (drums). Mingus always ran a tight ship, tolerating nothing less than excellence. With this band, the musicians not only meet his criteria but also deliver some stellar performances. The two-CD recording covers everything from Mingus' epic "Fables of Faubus, (written as a direct protest against Civil Rights injustices in 1957) to a jubilant rendition of "When Irish Eyes Are Smiling as the band engages in some light hearted fun. There is an air that the vibe was stress free (in contrast to some of Mingus' engagements) and that they were clearly enjoying themselves and the receptive audience. There are many highlights from everyone: Byard's exhaustive range on "ATFW You included bebop, ragtime, classical and more. Mingus' gregarious fretwork injected with humor and an unflinching presence on "Orange Was the Color of Her Dress, Then Blue Silk as Coles' sweet muted trumpet harmonizes with Jordan's warm tenor and Dolphy's throaty bass clarinet. Each voice glows against the blues/swing melody. They "Take The A Train to new destinations of swing as Mingus and Richmond thrill the audience with boisterous solos. Dolphy played jazz flute like no one else, as heard on "Jitterbug Waltz, brings the recording to a satisfying conclusion. There are many bright moments on this resurrected historical document. The shadows of these players still looms today and this concert is a testament of their greatness that will hopefully endure for years to come. ~ Mark F.Turner https://www.allaboutjazz.com/cornell-1964-charles-mingus-blue-note-records-review-by-mark-f-turner.php

Personnel: Charles Mingus: bass; Eric Dolphy: alto saxophone, flute, bass clarinet; Johnny Coles: trumpet; Clifford Jordan: tenor saxophone; Jaki Byard: piano; Dannie Richmond: drums.

Cornell 1964

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The Headhunters - Straight From The Gate

Styles: Jazz Funk
Year: 1977
File: MP3@320K/s
Time: 45:05
Size: 104,4 MB
Art: Front

(5:31)  1. Straight From The Gate
(5:32)  2. Mayonnaise
(6:49)  3. Ms. Wum Yum
(4:34)  4. Don't Kill Your Feelings
(4:01)  5. Descending Azzizziuh (The Beginning Of A Dream)
(5:23)  6. I Remember I Made You Crazy
(3:59)  7. Pork Soda
(3:19)  8. Dreams
(5:52)  9. Silhouette

The second album by this legendary 70s funk combo best known as Herbie Hancock's backing band, but sounding great here on their own. The album's much more of a solid soul effort than the first one which was great, but felt more like Herbie had stepped out of the studio for a minute or two. The vocals are better, with more of a feel for the lyrics and the songs themselves are a great mix of funk and smooth soul. There's still plenty of tight jamming and cool electronics and the group still includes Mike Clark, Bennie Maupin,and Paul Jackson. Includes the sample cut "I Remember I Made You Cry", plus "Pork Soda", "Dreams", "Straight From The Gate", and "Mayonnaise".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/1153/Headhunters:Straight-From-The-Gate

Straight From The Gate

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