Joe Pass - Virtuoso In New York

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 49:09
Size: 113,7 MB
Art: Front

(2:59)  1. I Never Knew (That Roses Grew)
(5:40)  2. I Don't Stand A Ghost Of A Chance With You
(4:40)  3. We'll Be Together Again
(6:28)  4. Blues For Alagarn
(6:19)  5. The Way You Look Tonight
(4:37)  6. How Long Has This Been Going On?
(5:49)  7. Moritat
(6:52)  8. When Your Lover Has Gone
(5:41)  9. Blues For Alagarn - Take 1

When it comes to bountiful vault holdings, few musicians can compare with the oeuvre established by guitarist Joe Pass. As the Pablo label's plectral staple his tape stacks rival and possibly even surpass those of Norman Granz's other resident factotum, Oscar Peterson. The steady crop of titles (one or two each year) that continue to find their way to circulation on disc gives the illusion that virtually ever note he ever picked in studio or on stage was captured by mics both covert and overt for posterity. This latest set offers more of what's already available in abundance: Pass by his lonesome in the studio circa summer of '75, trusty hollow-body slung over shoulder, his mind primed to the task of doing what he did best. The disc's title dispenses with vagaries and skips right to the transparent. Pass was a virtuoso, a label I feel more than comfortable ascribing despite my somewhat checkered past with its usage. Over a three-quarter of an hour stretch he spins improvistory fantasias on a septet of chamois-polished standards, the solitary original blues thrown into the mix in two takes. True it's nothing too removed from the usual press of the Pass mold, but like his arguable pianistic counterpart Art Tatum, Pass could make the same old tunes shine under the close scrutiny of brilliant new hues and colors. He's partially successful in the cause here. 

Ear-ringingly fast single notes vie with strummed chords in a performance that sounds as if at least one other guitarist is sitting in with the maestro. "A Ghost of a Chance" decelerates to a leisurely lope as Pass places attention on crafting gliding chords that orbit easily around the tune's cloying melody. The original "Blues for Alagarn" trades grace and gentility for a healthy dollop of fatback lard. Applying creative heat and grease to string of expressive choruses, Pass pops out bent notes like a hot kettle spouting billowy kernels of corn. He caps it off with a call and response coda of single notes and rhythmic strums redolent with reflexive humor. The slightly shorter alternate of the tune which closes the program is packed with even more surprises. Here, Pass favors a sharper tone and crisper attack, playing a knuckle-cracking run in the middle that never jumbles or stumbles in its precise note placement. "The Way You Look Tonight" registers a finger-speed record with cheetah-paced middle and later choruses that could easily give Johnny Griffin's various breakneck versions a run for their money. An equally dazzling spin through Kurt Weill's "Moritat" puts more serious friction to Pass's calluses. Both tunes are among the handful of other suspects that receive demiurgic recastings. Considering the track record, there's little doubt that another Pass pearl from the Pablo vault will be down the pike directly. In the meantime there's this aptly titled repast to tide our appetites over. Sometimes more of the same can be a mighty agreeable thing. ~ Derek Taylor https://www.allaboutjazz.com/virtuoso-in-new-york-joe-pass-pablo-review-by-derek-taylor.php

Personnel: Joe Pass- guitar.

Virtuoso In New York

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Claire Martin - Believin' it

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 51:34
Size: 119,2 MB
Art: Front

(3:53)  1. Come Runnin’
(3:54)  2. Rainy Night in Tokyo
(3:38)  3. Believin’ it
(4:01)  4. I’m Not in Love
(4:00)  5. Broken Wings
(3:37)  6. Timeline
(3:48)  7. A Little More Each Day
(4:10)  8. You Dream Flat Tires
(3:48)  9. Cherry Tree Song
(4:20) 10. The Great City
(3:57) 11. P.S. I Love You
(5:40) 12. Love Dance
(2:43) 13. I Told You So

From the super-fine musicianship to the beautiful recorded sound, Claire Martin's first album with her new all- Swedish trio is a towering success. Featuring new lyrics by Imogen Ryall to an Andy Bey scat solo, the title-track, 'Believin' It', crystallises all of Martin's outstanding qualities: infallible pocket, dazzling technique, lustrous timbre and phrasing to die for. If anything, Martin's reworking of Pat Metheny's 'Timeline', for which she has penned new lyrics, is even more spectacular, with her control of the rapid-fire melodic line a thing of wonder. As well as singularly beautiful versions of the Ivan Lins classic, 'Love Dance', vibist Joe Locke's Bobby Hutcherson tribute `A Little More Each Day' and the Gordon Jenkins/Johnny Mercer standard, 'P.S I Love You', there are deeply swinging takes on Curtis Lewis's 'The Great City' and Roc Hillman's 'Come Runnin'' (Martin's own homages to Shirley Horn and Lena Home respectively), there are stellar re-imaginings of Joni Mitchell's 'You Dream Flat Tires', Michael Franks' 'Rainy Night in Tokyo', plus John Surman and Karin Krog's enchantingly folk-like 'Cherry Tree Song'. Elsewhere, to hear Martin's fine re-workings of 1970s and 1980s UK/US pop rock, head straight for 'I'm Not In Love' and 'Broken Wings', the latter lit up by a coruscating solo from Sjostedt. An album that unfailingly touches the heart and lifts the soul. https://www.linnrecords.com/review-claire-martin-believin-it-jazzwise

Believin'it

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Billy Strayhorn - Cue for Saxophone

Styles: Jazz, Post Bop

Year: 1959
File: MP3@320K/s
Time: 40:28
Size: 93,9 MB
Art: Front

(10:06)  1. Cue's Blue Noe
( 4:19)  2. Gone with the Wind
( 5:54)  3. Cherry
( 3:10)  4. Watch Your Cue
( 7:23)  5. You Brought a New Kind of Love to Me
( 3:34)  6. When I Dream of You
( 6:02)  7. Rose Room

Composer/arranger/pianist Billy Strayhorn led surprisingly few sessions throughout his career, and this was only his second full-length album. Actually, the main star is altoist Johnny Hodges (who goes here under the pseudonym of "Cue Porter"), while Strayhorn (who plays piano on the seven songs) only co-wrote two basic tunes ("Cue's Blue Now" and "Watch Your Cue") with Hodges and played a fairly minor role. 

Also in the septet are three fellow Ellingtonians (trumpeter Shorty Baker, trombonist Quentin Jackson and clarinetist Russell Procope), along with bassist Al Hall and drummer Oliver Jackson. The results are a fine mainstream session (which has been reissued on this CD) with highlights including "Gone With the Wind," the ten-minute "Cue's Blue Now" and "Rose Room." ~ Scott Yanow https://www.allmusic.com/album/cue-for-saxophone-mw0000653800

Personnel: Billy Strayhorn - piano; "Cue Porter" (Johnny Hodges) - alto saxophone; Harold "Shorty" Baker - trumpet; Quentin Jackson - trombone; Russell Procope - clarinet; Al Hall - bass; Oliver Jackson - drums

Cue for Saxophone

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Morgan James - Reckless Abandon

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 45:13
Size: 105,6 MB
Art: Front

(3:28)  1. Up in Smoke
(3:31)  2. Unworthy
(3:43)  3. By My Side
(3:25)  4. Lifted
(3:22)  5. Making up for Lost Love
(5:16)  6. Ransom
(3:07)  7. Jenny
(3:55)  8. No Faith
(4:06)  9. Pity
(4:40) 10. You Thought Not
(3:13) 11. Need Somebody
(3:22) 12. Reckless Abandon

She’s a New York singer who’s done the Broadway thing, and she has a new album out. Her name is Morgan James and the album is the first one she’s done as an independent artist, titled Reckless Abandon. I stumbled across her stunning vocals one evening while binging on Postmodern Jukebox videos (including an orchestral version of “It’s a Man’s Man’s Man’s World” which 30,561 people have granted the thumb of approval). I had the distinct pleasure of listening to Reckless Abandon on a rainy morning. The album begins with a blast of horns, troubadours announcing a majestic arrival. “Up in Smoke” is energizing like a complicated liquefied beverage. It prepares you for an album of impressive vocal range and funky rhythms. The next track, “Unworthy,” features vocals with a pop of modernity over a synth beat. It feels light, like really nice mosquito netting. The lyrics poke at that slumbering beast that rouses from time to time to niggle you with doubt, but the beat protects you from anything that beast could drowsily snarl at you. This track is a prophylactic. In “By My Side,” Morgan’s voice flits, floats, spirals, and swoops. Like someone with poor circulation acquiescing to the steamy solidness of a hot beverage between their cold cupped hands, she sings the highs artfully and dips into the lows with comforting certainty. Meanwhile, the beat brings to mind brick surfaces and bouncing basketballs. “By My Side” communicates a meme that appears universally in the human experience, “I don’t need to run / I don’t need to hide / Because I’ve got you by my side.” “Lifted” starts with a smooth beat. Morgan comes in, singing in the second person about being “lifted,” and she taps into the magic inherent in the four-syllable word with nice use of elevator and detonator. The vocals are belted in such a way I wonder how much effort it would take for Morgan to break glass with her voice. Hours and even days after the first listen, the song reverberates in my mind as I pedal on two wheels past the factories, breweries, and iglesias of South Charlotte.

As if offering a rope to someone hanging on the edge of a cliff, in “Making up for Lost Love” Morgan lets out the lyrics bit by bit in smooth vocals. The more intimate vocal style contrasts with the let-it-all-hang-out style of “Lifted,” urging the listener to lean in and pay attention. Then comes the show stopper. “Ransom” is slow and dripping with soul. The track moves along slowly but surely, with piano and gentle percussion behind Morgan’s expressive and impressive vocals. Her voice paints a picture as she produces the words, “I paid / I paid / I paid / But you killed me anyway.” If this is how she sings when she’s feeling down, I wonder what magical heights her vocal muscles can reach when she’s feeling good. As the song winds up before winding down, Morgan’s voice builds gradually, from the depths (sullen and thick) to a bone-chillingly [in a good way] awesome performance. With just “Ransom” alone, Morgan James has achieved the sort of mind-brain connection that Soviet villains in old movies might have attempted with technology (and montage). If “Ransom” was the sandwich, “Jenny” would be the pickle: triangular and somewhat discordant with the previous track, but on its own, a good song. Morgan’s vocals are flawless as she delivers the saga of a woman who has always been “out of reach.” The songwriting on this track is impeccable; I do not doubt that Morgan could make it in any genre she chose. The vocal artistry that blues and soul permit provide the perfect home for Morgan, and “Jenny” is evidence. “No Faith” marches the album determinedly forward, with vocals progressing from singular to multitudinous as the lyrics distance Morgan from paired to singledom. The further she gets from that relationship, the stronger she becomes. That’s equilibrium for you.

As “Pity” begins, the emotion imbued in the first words is so complex, you just have to keep listening. The song simmers like julienned vegetables bobbing in steaming salted water. Keep it going too long, you’ll end up with mushy vegetables. But done just right, and the result is perfection. Morgan’s vegetables are definitely not mushy. She uses half steps to pull at the heartstrings and engage the auditory cortex. A brief break with sultry brass adds a layer of ambiance to the tune. Just knowing that some truly loud and fantastic vocals are within reach but never used gives “Pity” a quiet power, like a stained wood accent wall. “You Thought Not” is the kind of song you sing forcefully while wearing the pants that are so old and out of fashion the only time you wear them outdoors is to take the trash out. The song begins with a slow beat and gentle contemplative mood-setting notes. The lyrics look back on a day when the sun shone bright but left Morgan feeling sunburnt. (It happens when you least anticipate prolonged exposure to harmful rays.) “We used to be a good time / You took me for a long ride / I thought about forever / I thought we had a shot,” she sings, distancing herself grammatically from a partnership that went sour with every sighed word. The song ends with backing vocals that hold so much power, they breathe life into the song, like a serendipitous tailwind breathing life into flagging sails.

A beat with the clean simplicity of machine wash clothing laid over simple chords provides the backdrop for Morgan to bare her restless soul In “Need Somebody.” Like a python digesting a small mammal, the vocals stretch, expand, and retract in a beautiful dance between the verses and chorus. With vocals like these, no matter what she needs, surely nothing is out of reach for Morgan James. The album ends with the title track. The first bars of “Reckless Abandon” are pure fun, like the pop of pomegranate seeds on an August afternoon and going out in shoes that you know will hurt your feet but that’s beside the point. The vocals are luscious and then they are more luscious, joined by the horns for a big blue bang. This is a song made for flouncing. They could sell yogurt with this song. Yogurt: perhaps the most complicated of the dairy products to shill in this country. Reckless Abandon, as an album, is a masterpiece of vocals as perfected as the firing in a Lamborghini’s cylinders and songwriting as sweet and well-crafted as an artisanal doughnut. “Ransom” is the standout on the album; it is brimming with introspection and features that magical marriage of superhuman vocals and astute songwriting that so many seek but so few attain. Morgan James is a hardworking woman with talent that can span the genres, the ages, and the tastes that make all us music lovers such diverse and discerning listeners. Hear her music, see her live, witness something sublime. Morgan James is touring the country be sure to catch her live at a city near you.  Check back in for the Libro Musica coverage of her show at City Winery Atlanta in Ponce City Market. https://www.libromusica.com/2017/05/review-morgan-james-reckless-abandon/

Personnel: Morgan James - Vocals; Doug Wamble - Guitars/Producer; Roy Dunlap - Piano/Keyboards; Jesse Fischer - Keyboards/Producer; Jeff Hanley - Bass; Mark McLean - Drums; Ravi Best - Trumpet; Ron Blake - Tenor Saxophone; Mike Fahie - Trombone

Reckless Abandon

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Terri Lyne Carrington - The Mosaic Project: Love and Soul

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 65:31
Size: 151,7 MB
Art: Front

(5:06)  1. Come Sunday
(5:38)  2. I'm a Fool to Want You
(5:27)  3. For You to Love
(4:52)  4. So Good (Amazing)
(5:24)  5. Somebody Told a Lie
(5:22)  6. Imagine This
(5:41)  7. Best of the Best
(5:03)  8. This Too Will Pass
(4:25)  9. Can't Resist
(4:59) 10. You Just Can't Smile it Away
(5:51) 11. Get To Know You
(7:38) 12. When I Found You

When powerhouse drummer and composer Terri Lyne Carrington launched her Mosaic Project back in 2011, her motivation was to celebrate "the artistry of many women I had worked with and felt a sisterly bond with, women that were close friends and musical partners." Her cast included a star-studded host of players and singers such as Anat Cohen, Patrice Rushen, Sheila E., Esperanza Spalding, Dee Dee Bridgewater, Carmen Lundy, Cassandra Wilson, and Dianne Reeves. Love and Soul features appearances by many of the original players as well as new ones, including bassists Linda Oh and Meshell Ndegeocello, violinist Regina Carter, and completely different singers. "I'm a Fool to Want You" was co-written by Frank Sinatra and is just as closely associated with Billie Holiday (both had centennial birthdays in 2015). Here it is completely reimagined as a slippery, summery pop-soul song rendered beautifully by Chaka Khan. Duke Ellington's "Come Sunday" is given a cosmic soul treatment with a triple-timed funky drum-and-bass attack with sparkling, spacy Rhodes and wah-wah guitars. Natalie Cole emerges from the wash with its melody intact. Ashford & Simpson's classic "Somebody Told a Lie" is fronted by Valerie Simpson herself, in a chart that melds woodwinds, strings, a melodic bassline, and laid-back breakbeats. But classics aside, Carrington's tunes are some of the best on the set. "Imagine This" is framed inside a futurist treatment (think of the Foreign Exchange or Sa-Ra collectives) set apart by a chart that makes deliberate room for Nancy Wilson's iconic, classy style. "This Too Will Pass" weaves together pop, Isley Brothers-styled soul, and rock with Lalah Hathaway guiding the band with a smoky, throaty contralto. The sexy "Get to Know You"'s vocal showcase is Ledisi at her best. Ndegeocello's bassline is an expressive tonal counterpoint to the singer and an elastic companion for Carrington's drums. Rushen's "When I Found You" is the closer. It features the composer on Rhodes, Carter's violin, and a horn section backing Lizz Wright's lead. She digs into the lyric and then improvises with piano, guitar, and trumpet as the drummer pushes the ensemble to the creative edge. Mosaic Project fans will appreciate Love and Soul's exceptionally sophisticated take on R&B. Fans of Robert Glasper and José James should take note, too. Carrington has proven on all of her outings that she knows exactly what she wants and how to get it  from any group of musicians. This one is no exception. ~ Thom Jurek https://www.allmusic.com/album/the-mosaic-project-love-and-soul-mw0002853471

The Mosaic Project: Love and Soul

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Joe Chambers - Landscapes

Styles: Jazz, Straight-ahead/Mainstream
Year: 2016
File: MP3@320K/s
Time: 59:56
Size: 138,1 MB
Art: Front

(5:03)  1. Epistrophy
(4:30)  2. The Outlaw
(6:02)  3. Never Let Me Go
(4:58)  4. Havana
(5:39)  5. Samba de Maracatu
(7:29)  6. Pas de trois
(4:49)  7. Airegin
(6:33)  8. Ecaroh
(4:48)  9. Underground (Railroad) System
(9:59) 10. Landscapes

As a performer, Joe Chambers plays several roles on Landscapes. He stands front and center on the vibraphone, and he brings up the rear on trap kit. On “Havana” he ups the ante even further by adding bongos, marimba and congas to the mix. On the title track he sits at the piano for a solo recital. Chambers of course is skilled on all of them, and a formidable composer. The album has the potential to be a fiery session, yet it comes up short. Part of this might be attributed to the way it was made. Chambers laid down the drum tracks together with pianist Rick Germanson and bassist Ira Coleman, leaving room for the vibes and overdubbing them later, in crisp and captivating audio. But the drums get pushed back into the mix, in both sound and interaction, and the group doesn’t seem as engaged as it should be. “Havana” is more showcase than song, and a synthesizer loop diminishes its impact. Landscapes does have some strong moments. “Epistrophy” kicks off with a bembé groove before Coleman’s bass takes the spotlight. Chambers proves himself an introspective pianist on “Landscapes.” Two Horace Silver pieces raise the energy level. But the rest simply sounds a little too polite. It’s understandable why a drummer of Chambers’ authority wouldn’t want to cede the chair to someone else, but next time, doing so might add some spark to the session. 

~ By Mike Shanley https://jazztimes.com/reviews/albums/joe-chambers-landscapes/

Personnel: Drums, Congas, Bongos, Marimba, Vibraphone, Piano, Arranged By, Synthesizer, Producer – Joe Chambers; Piano – Rick Germanson; Bass – Ira Coleman; 

Landscapes

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Cindy Bradley - The Little Things

Styles: Trumpet Jazz, Smooth Jazz
Year: 2019
File: MP3@320K/s
Time: 50:37
Size: 116,7 MB
Art: Front

(4:45)  1. Wind Chill Factor
(4:55)  2. Stockholm Summer
(4:59)  3. I'm All Ears
(3:47)  4. Snack Grouch
(5:13)  5. Grey Area
(6:15)  6. Surrender
(5:14)  7. Exhale
(4:33)  8. The Little Things
(5:50)  9. Sonny's Home
(5:01) 10. Reminisce

It’s always a joy reviewing a new release from trumpeter Cindy Bradley. You pretty much already know that there will be some driving, pushing, solid, phat grooves coming your way. That’s just the way she rolls. Here on her latest release The Little Things, she again doesn’t disappoint as she leads with her trumpet to take us through another music wonderland and explores all the possibilities for making a track solidly a “cannot ignore” track. With writer/producer Michael Broening at her side working his writing magic, the lovely trumpeter seduces, dazzles, and beckons one to join her in a dance (slow or up-tempo, take your pick) to celebrate c-jazz the way it was meant to be celebrate from the soul. Broening also offers his invaluable services on keys, piano, bass, and drum programming on all tracks while guitarist Freddie Fox, bassist Mel Brown, Skinny Hightower (who offers his skills on bass and vibes here) and other strong musicians complement the album’s allure with color and finesse. What’s so very becoming about Cindy Bradley is not only her skill, charm, and beauty, but how she makes certain to keep that jazz element front and center in all of her music. While the soul/R&B groove get their fair share of inclusion, it’s her signature take on cool, silky c-jazz (with hints of straight-ahead heard clearly in her runs) that seems to keep it all centered for her, and Michael Broening writes with that in mind, I’m sure. It’s easy to tell that the vibe fits her like a glove. It’s Cindy’s character and personality and only Cindy’s character and personality. It shines through and presents itself with such brilliance. Just grab a listen to the lead track “Wind Chill Factor,” the title track, “Sonny’s Home,” and so many others here. There’s the class and sophistication of traditional jazz cuddling up with the swag and soul of c-jazz, and it all comes out as robust and definite jazz. She simply never loses her grip on her beginnings and early influences (John McNeil, Bob Brookmeyer, Jerry Bergonzi, George Russell, and Steve Lacy, to name s few) while ushering in her brand of Smooth. The trumpet is a soulful, calling instrument, and Cindy Bradley has mastered its irresistible charm. Witness how easily she does it here on The Little Things or on any of her earlier material. You’ll get my point ~  Ronald Jackson https://thesmoothjazzride.com/cindy-bradley-the-little-things/

The Little Things

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Dick Hyman - Blues In The Night: Dick Hyman Plays Harold Arlen

Styles: Piano Jazz
Year: 1990
File: MP3@320K/s
Time: 55:27
Size: 129,7 MB
Art: Front

(3:48)  1. As Long As I Live
(4:38)  2. Ill Wind
(2:43)  3. Get Happy
(3:46)  4. Right As The Rain
(4:53)  5. Over the Rainbow
(3:22)  6. I've Got the World On A String
(4:39)  7. Blues in The Night
(3:14)  8. You Said It
(4:27)  9. Stormy Weather
(4:41) 10. Between the Devil and The Deep Blue Sea
(2:26) 11. In Your Own Quiet Way
(4:48) 12. A Woman's Prerogative
(4:13) 13. A Sleepin' Bee
(3:43) 14. It's Only A Paper Moon

This CD is very much a piano recital, as Dick Hyman (on a set of unaccompanied solos) demonstrates his love for Harold Arlen's music. Nine of the fourteen selections that Hyman chose to record are very well-known, three are somewhat obscure and two are somewhere in between. The accent is on Art Tatum's style during some of the songs, along with a few snatches of Teddy Wilson's relaxed stride. Hyman reproduces the ease with which Tatum threw out impossible-to-play virtuosic runs, and (even more impressive) he hints constantly at Art's advanced harmonies without doing strict imitations. He gives a few of the songs unusual twists ("Stormy Weather" becomes a waltz, "Over the Rainbow" has a bossa nova rhythm, the last part of "A Woman's Prerogative" is played in two keys at once, etc.) but the melodies are never far away. Hyman also takes his first real vocal on record, doing a nice job on the lyrics of "In Your Own Quiet Way" with his obviously untrained voice. A fine outing. ~ Scott Yanow https://www.allmusic.com/album/dick-hyman-plays-harold-arlen-blues-in-the-night-mw0000203992

Personnel: Dick Hyman - Piano.

Blues In The Night: Dick Hyman Plays Harold Arlen

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Lorez Alexandria - Lorez Sings Prez: A Tribute to Lester Young

Styles: Vocal Jazz
Year: 2005
File: MP3@320K/s
Time: 31:23
Size: 73,3 MB
Art: Front

(0:33)  1. Introduction
(2:24)  2. Fine And Dandy
(3:31)  3. Fooling Myself
(2:58)  4. D.B. Blues
(1:57)  5. You’re Driving Me Crazy (What Did I Do)
(3:21)  6. Easy Living
(3:00)  7. Polka Dots And Moonbeams
(3:45)  8. No Eyes Blues
(2:30)  9. This Year’s Kisses
(2:31) 10. There Will Never Be Another You
(4:47) 11. Jumpin’ With Symphony Sid

Lorez Alexandria was a superb singer in the Sarah Vaughan tradition. Alexandria recorded more than 20 albums over a 36-year period starting in 1957. Why she isn't a household name today is beyond me. Perhaps it was the smaller labels she was on or her decision to cling to Chicago, a lesser media market, for much of her career. Or maybe one Sarah Vaughan was sufficient. There are no bad Alexandria albums. All have a hip, confident charm.  One of my favorites is her second album, Lorez Sings Pres: A Tribute to Lester Young. Recorded after hours for King in front of an audience of friends at an unnamed Chicago club on November 6 and 13, Alexandria was accompanied by Paul Serrano (tp), Cy Touff (b-tp), Charles Stepney (vib), King Fleming (p), Eldee Young (b) and Vernell Fournier (d). Each of the Chicago players had a celebrated career. Drummer Fournier was a member of the Ahmad Jamal Trio and one of the great brush players. Cy Touff was an exceptional bass trumpeter who recorded many terrific albums as a leader. Paul Serrano shifted from trumpet to record engineering and worked with major jazz, rock, soul and gospel artists, including Michael Jackson and Mick Jagger. He eventually became head engineer at Delmark Records. Stepney would work as a producer for numerous soul artists in the 1960s and '70s. Fleming worked steadily in Chicago throughout the 1960s and beyond. And Eldee Young was a member of the Ramsey Lewis Trio, before leaving the group in the mid-1960s to become the Young in Young Holt Unlimited (Soulful Strut). [Photo above of Vernell Fournier on drums with the Ahmad Jamal Trio]. As the liner notes on the back cover of Lorez Sings Pres points out, all of the songs chosen were recorded by Lester "Pres" Young. Alexandria here proves she had an in-depth feel for Young without succumbing to mimicry. For her, the Young material was simply a springboard to be herself. Interestingly, this album preceds Sarah Vaughan's After Hours at the London House by four months. Makes you wonder whether Lorez's album gave Mercury the idea to record Sassy live in a Chicago club filled with friends. ~ Marc Myers https://www.jazzwax.com/2019/05/lorez-alexandria-sings-pres.html

Lorez Sings Prez: A Tribute to Lester Young

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Joey Calderazzo - Our Standards

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 52:47
Size: 122,7 MB
Art: Front

(4:45)  1. Prenatal Air
(1:05)  2. Where Is My Duck?
(7:01)  3. Footprints
(5:28)  4. Our Standards
(9:45)  5. There Is No Greater Love
(3:03)  6. We Also Like Big Women
(9:20)  7. My Shinning Hour
(2:48)  8. Wake Up Call
(9:27)  9. Stella By Starlight

A potentially significant pianist playing in the modern mainstream, Joey Calderazzo's career got off to a strong start with a series of fine Blue Note albums. He studied classical piano from age eight, discovered jazz a few years later, and hit the big time when he joined Michael Brecker's band in 1987. He went on to record with Brecker, Bob Belden, Jerry Bergonzi, Rick Margitza, and Bob Mintzer. In addition to his own projects, Calderazzo replaced the late Kenny Kirkland in the Branford Marsalis Quartet. ~ Scott Yanow https://www.allmusic.com/artist/joey-calderazzo-mn0000218185/biography

Personnel: Piano – Joey Calderazzo; Bass – Lars Danielsson; Drums – Jacek Kochan

Our Standards

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Walt Weiskopf - European Quartet Worldwide

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 52:03
Size: 120,6 MB
Art: Front

(5:45)  1. Entebbe
(5:36)  2. Back in Japan
(5:21)  3. Soultrane
(4:14)  4. Russian Roulette
(4:27)  5. Marcie by Moonlight
(4:50)  6. Back in Brazil
(4:44)  7. Oceans
(5:06)  8. The Pawnbroker
(6:48)  9. Scottish Folk Song
(5:08) 10. Coat of Arms

These days a lot of jazz records seem to require a musical concept or an idea that unites the compositions on the album, but it doesn't have to be so complicated. After a tour in January 2019 with his European Quartet, tenor saxophonist Walt Weiskopf went into a studio in Copenhagen with the band, and a few hours later the music on the album Worldwide was in the can. It sounds simple, but it also says something about the level of musical communication that goes on in the quartet. The ability to deliver on the spur of the moment doesn't come after a few days of playing together. The musicians have known each other for some time. Back in 2018, they released European Quartet on Orenda Records, and since then their sound has remained tight. Although Andreas Lang has replaced Daniel Franck on the bass, drummer Anders Mogensen and pianist Carl Winther remain from the original line-up, and they support Weiskopf congenially. Winther can be both romantic and rhythmically inventive, sometimes recalling the powerful elegance of McCoy Tyner, while Mogensen drives the music forward with a light but insistent touch that brings out all the colors in the cymbals. Weiskopf delivers the bulk of the material with eight original compositions, but one of the two covers shows where he is coming from. The reading of Tadd Dameron's "Soultrane" points to John Coltrane's influence and his presence is also felt on "Back in Japan," which draws on the saxophonist's late style. The compositions on the album come across as distinctive and varied, spanning the energetic hard bop vamp of "Coat of Arms" and the soft touch of bossa nova on "Back in Brazil." On the other hand, "Entebbe" sports a repetitive rhythmic piano motif reminiscent of Steve Reich. There is also a nod to the standards with the mid-tempo ballad "Marcie by Moonlight," a rewrite of "Stella by Starlight." With worldwide in the title, and references to Japan, Scotland, Russia, Africa and Brazil, there is in fact a vague geographical concept behind the album. However, it is just an excuse to play a varied repertoire. Worldwide is simply a great modern jazz album, nothing more, nothing less. ~ Jakob Baekgaard https://www.allaboutjazz.com/worldwide-walt-weiskopf-orenda-records-review-by-jakob-baekgaard.php

Personnel: Walt Weiskopf: tenor saxophone; Andreas Lang: bass; Carl Winther: piano; Anders Mogensen: drums.

European Quartet Worldwide

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The New York All-Stars - Burnin' in London

Styles: Jazz, Big Band
Year: 2018
File: MP3@320K/s
Time: 62:46
Size: 144,5 MB
Art: Front

( 7:08)  1. Almost Like Being in Love
(10:04)  2. I Could Have Danced All Night
(11:58)  3. Nightlife in Tokyo
( 9:44)  4. It's Magic
(12:18)  5. The Night Has a Thousand Eyes
(11:32)  6. Summertime

Who would have thought that in this day and age a contemporary hard-bop / post-bop live CD could sound so good? Recorded live at London's Pizza Express Jazz Club on 20th and 21st November 2017 this little gem qualifies as a winner for the sheer visceral excitement conjured-up by its four participants. Senior partner in the band is veteran pianist Harold Mabern, registering a sprightly 81 years at the time of recording, whose playing here is absolutely incandescent. His former pupil, tenorist Eric Alexander cooks-up smoking, full-bodied saxophone throughout. Bassist Darryl Hall (not to be confused with Daryl Hall the rock musician) and Austrian born Bernd Reiter on drums complete the line-up and provide truly excellent accompaniment. The set kicks-off with a rousing, memorable version of Frederick Loewe's "Almost Like Being In Love" and is immediately followed by Loewe's hit from My Fair Lady "I Could Have Danced All Night," taken at a satisfyingly frenetic pace. However, things take an even more exhilarating turn with Mabern's original composition "Nightlife In Tokyo," the minor chord structure providing a perfect backdrop for Alexander's biting tenor. The sixties pop tune "The Night Has A Thousand Eyes" is given a fresh re-working and remains in the listener's memory far longer than would have been thought imaginable. Another highlight is an energised and cliché-eschewing version of George Gershwin's "Summertime" in which Alexander manages to insert some quotes from "A Love Supreme." This fast-paced interpretation may well be one of the most original versions of that standard ever recorded, with the All-Stars channelling the sound of the classic Coltrane quartet, at times . The New York All-Stars confound all expectations and clearly demonstrate that this kind of jazz, which is very much alive, can really burn through any barriers. Hence the wholly accurate title. ~ Roger Farbey https://www.allaboutjazz.com/burnin-in-london-new-york-all-stars-featuring-eric-alexander-and-harold-mabern-ubuntu-music-review-by-roger-farbey.php

Personnel: Eric Alexander: tenor saxophone; Harold Mabern: piano; Darryl Hall: bass; Bernd Reiter: drums.

Burnin'in London

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Kristen Lee Sergeant - Inside Out

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 33:38
Size: 77,9 MB
Art: Front

(3:32)  1. Never Will I Marry
(4:06)  2. Everybody Wants to Rule the World
(4:27)  3. Old Devil Moon
(3:37)  4. Lullaby of the Leaves
(5:43)  5. I Melt with You
(4:01)  6. So Many Stars
(3:16)  7. Every Breath You Take
(2:06)  8. I Wish I Were in Love Again
(2:45)  9. It Never Entered My Mind

With Inside/Out (Whaling City Sound), Kristen Lee Sergeant emerges onto the crowded scene of jazz vocalists with a fresh, distinctive voice full of soul, authenticity and the gift of great storytelling. The title reflects the duality of each songs lyrics and placement, creating a cycle of emotions ranging from rapture to introspection to reality, bringing what is inside, out. Fun and fearlessness pervade this debut release as Kristen also turns 80's pop classics into adventurous jazz romps with the promise of even more exciting things to come. The restless, creative spirit that inspires her is evident on this recording, and deeply impacts the music and her listeners. Radio host, Jay Edwards of WCLK-FM's ""Jazz Tones,"" calls her an effervescent spirit whose superb vocals and phrasing inject the lyrics with new life, illustrating how influences from early onstage work palpably serve this recording. Inspired by Carmen McRae, Shirley Horne and Rosemary Clooney, Sergeant finds the swing and intimacy of each tune in every context. This release is a portrait of an artist coalescing all her influences, and those of her musicians, to a nuanced reinvention of standards & pop classics under the jazz canopy of swing and contemporary music. ~ Editorial Reviews https://www.amazon.com/Inside-Out-Kristen-Lee-Sergeant/dp/B01J6011OS

Inside Out

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Ernie Wilkins - The Everest Years

Styles: Jazz, Swing
Year: 2006
File: MP3@320K/s
Time: 67:45
Size: 157,7 MB
Art: Front

(2:35)  1. Broadway
(2:49)  2. Surrey With The Fringe On Top
(3:13)  3. Falling In Love With Love
(2:26)  4. The Continental
(2:35)  5. Makin' Whoopee!
(3:09)  6. Stompin' At The Savoy
(3:14)  7. You're Driving Me Crazy
(2:17)  8. Baubles, Bangles And Beads
(2:34)  9. Somebody Loves Me
(2:25) 10. All Of You
(2:38) 11. Gone With The Wind
(1:55) 12. It Don't Mean A Thing
(3:33) 13. Ernie's Blues
(3:28) 14. Satin Doll
(1:56) 15. Fascinating Rhythm
(2:28) 16. Canadian Sunset
(2:29) 17. Very Much In Love
(2:45) 18. Undecided
(3:30) 19. Fresh Flute
(3:07) 20. I'll Get By
(3:50) 21. A Swinging Serenade
(3:31) 22. Lover Man
(1:58) 23. Everything's Coming Up Roses
(3:10) 24. Speak Low

Arranger Ernie Wilkins' two Everest LPs, Here Comes the Swingin' Mr. Wilkins and The Big New Band of the '60s, are reissued in full on this single CD. Recording during 1959-1960, Wilkins used an overlapping personnel of Count Basie members (both past and of the time), some of the top jazz-oriented studio players, and various miscellaneous jazz musicians. There is no way that this could have been a full-time big band, not with such soloists as Duke Ellington's tenor saxophonist Paul Gonsalves, trumpeters Clark Terry and Thad Jones, and the Basie players, but Wilkins' swinging arrangements gave his short-lived orchestra its own sound. The weak point to the program is that all of the selections clock in around three minutes apiece, which was unnecessary by the late '50s, resulting in all of the solos being very brief. However, the music is easily enjoyable, making this set recommended to fans of swinging big bands. 

~ Scott Yanow https://www.allmusic.com/album/the-everest-years-mw0000704087

The Everest Years: Ernie Wilkins

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Ernesto Aurignac - Anunnakis

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 51:48
Size: 119,6 MB
Art: Front

( 8:37)  1. Ufos Are Here!
(12:09)  2. Anunnakis
(10:36)  3. La Órbita De Venus
( 7:23)  4. El Giro Del Cíngulo
( 4:51)  5. Bienvenidos Al Inframundo
( 8:10)  6. Todos Somos Monguis

Aurignac is an assertive alto sax player, somewhat after the fashion of Frank Morgan and on this live set his quintet came to play. There are washes of synthesized strings on El Giro Del Cingulo and the sound is sometimes sweet rather than surprising, but all five musicians are evidently highly accomplished. ~ Nic Jones, Jazz Journal (February 2016) https://www.freshsoundrecords.com/ernesto-aurignac-albums/6349-anunnakis-digipack-edition.html

Personnel: Ernesto Aurignac (as), Jaume Llombart (g), Roger Mas (p, keyb), Deejay Foster (b), João Lopes Pereira (d)

Anunnakis

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Bill O'Connell, The Afro Caribbean Ensemble - Wind Off the Hudson

Styles: Piano Jazz 
Year: 2019
File: MP3@320K/s
Time: 61:09
Size: 141,1 MB
Art:

(5:12)  1. Wind Off the Hudson
(7:57)  2. Gospel 6
(6:54)  3. Jerry's Blues
(5:38)  4. I Don't Have the Answer
(5:45)  5. Oye Como Va
(5:40)  6. Perdido
(5:34)  7. Got Cha
(5:40)  8. Transition
(5:47)  9. C Jam Blues
(6:58) 10. Discombobulation

Bill O'Connell has had plenty to say with his piano in recent times, basically knocking out a session a year for the Savant imprint. And with an exploration within the solo format, a trip with an augmented trio, and ventures promoting a medium-sized conglomerate of heavy-hitters, he's certainly traversed quite an expanse there. But, as Wind Off The Hudson clearly shows, he's still got room grow. The Afro Caribbean Ensemble his largest on-record gathering of late, and a group indicative of a broadened view point and reflective of his work as the director of a similar outfit at Rutgers University is something like his Latin Jazz All-Stars. It's just bigger and badder. A dectet with a massive sound, it can swell to the sonic proportions of a big band, as demonstrated on the lead-off title track; or it can slim down to the size of a combo, as heard periodically on the soulful follow-up, "Gospel 6."  These ranks contain enough firepower to overtake small countries the presence of saxophonists Craig Handy, Ralph Bowen and Gary Smulyan, plus trumpeter Alex Sipiagin and trombonist Conrad Herwig, should paint a clear enough picture of strength and each member of the band is put to good use. Need proof? Check out the hot-and-heavy rhythm section of O'Connell, bassist Lincoln Goines, drummer Robby Ameen and percussionist Roman Diaz backing a smoking Sipiagin (and other soloists) on "Jerry's Blues," a paean to the late Jerry Gonzalez. 

Or take note of the way Andrea Brachfeld's alto flute adds different weight and textural dimensions to the poignant "I Don't Have The Answers." It's one thing to have all of this serious talent in one place, but it's entirely something else to know how to deploy it all, as O'Connell most certainly does. Those first four numbers all originals point toward a fertile mind constructing ideas from a relatively clean slate. But O'Connell is just as likely to recontextualize or personalize classics as he is to build from scratch. Adding an artful rendering of "Oye Como Va," a "Perdido" with a vibrant new coat of paint, a "Transition" that underscores Eastern melodic allure with Latin jazz grounding, and a choppy, contrapuntal "C Jam Blues" operating far away from Ellington's vision, O'Connell stakes his claim as an arranger of note. On Wind Off The Hudson, it's hard to know whether to be most impressed with O'Connell's imaginative pen, fast-thinking fingers or smart contracting skills. 

But the album doesn't require a choice. Part of the beauty is being able to, at once, bask in the beauty of the writing, the heat provided by the man and the burn delivered by his esteemed band mates. ~ Dan Bilaswsky https://www.allaboutjazz.com/wind-off-the-hudson-bill-oconnell-savant-records-review-by-dan-bilawsky.php

Personnel: Bill O'Connell: piano; Andrea Brachfeld: flute (1, 3, 5, 7-10), alto flute (4); Craig Handy: alto saxophone (1-3, 6, 7, 9, 10), soprano saxophone (8); Ralph Bowen: tenor saxophone; Gary Smulyan: baritone saxophone; Alex Sipiagin: trumpet, flugelhorn (4); Conrad Herwig: trombone; Lincoln Goines: electric bass; Robby Ameen: drums; Romaz Diaz: congas (1-3, 5-10).

Wind Off the Hudson

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Barbara Brussell - Patterns

Styles: Vocal
Year: 1998
Time: 54:56
Size: 76,5 MB
Art: Front

(3:39)  1. Patterns / Try to Remember
(2:07)  2. Everybody Says Don't
(3:04)  3. Mira
(3:25)  4. Nothing Really Happens
(4:12)  5. This Nearly Was Mine / Once Upon a Time
(3:11)  6. I Wish
(3:18)  7. First of May
(3:56)  8. This Dream / If I Ruled the World
(0:38)  9. Narration - Narration 1
(3:35) 10. Patterns
(3:35) 11. Mister Snow
(3:30) 12. Marry Me a Little
(3:47) 13. Buddy's Blues
(3:13) 14. Alfie
(4:41) 15. Move On
(1:42) 16. Narration - Narration 2
(3:14) 17. If I Could

West Coast cabaret singer Barbara Brussell could have played safe for her first album by selecting a play list from the Great American Song Book and from well-known shows from the Great White Way. Instead, she displays a bit of the daring by including a good number of lesser-known material. But their lack of familiarity does not make them any less intriguing or entertaining, at least the way this fine singer presents them. Among the songs that some may have a hard time recognizing is the wistful "Mira" from Carnival along with the intense yearning and regrets of the title tune, "Patterns," from Baby. Even some songs from hit Broadway shows are not the ones usually remembered from those productions. "Mister Snow" is not generally the first piece of music that comes to mind from the big hit Carousel. But with the rousing attention Brussell gives it, this tune may be seen in a different light. A certain indicator that the lesser-performed material deserves the vocal exposure given it by Brussell is that it in no way suffers by comparison with more heady stuff on the program. The poignant "This Nearly Was Mine," one of the biggies from South Pacific, is coupled in a medley with a charming "Once Upon a Time," resulting in one of the premier performances on the CD. Brussell has just the right vocal equipment for this material. She has a strong voice but keeps full command over it. But more important, it is filled with an expressive ability that catches the hard-to-find nuances of the melodies she takes on. She goes from sad to happy, from lost to sophisticated, from reserved to daring, and from sassy to coy with an effort that's barely noticeable. Patterns is an excellent first outing. Recommended. ~ Dave Nathan https://www.allmusic.com/album/patterns-mw0000602218

Patterns

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The Modern Jazz Quartet - Blues At Carnegie Hall

Styles: Jazz, Bop, Cool 
Year: 2005
File: MP3@320K/s
Time: 41:23
Size: 95,6 MB
Art: Front

(7:47)  1. Pyramid [Blues For Junior]
(4:56)  2. The Cylinder
(4:28)  3. Really True Blues
(5:39)  4. Ralph's New Blues
(4:09)  5. Monterey Mist
(3:56)  6. Home
(6:12)  7. Blues Milanese l
(4:13)  8. Bag's Groove

Blues at Carnegie Hall is a live Atlantic set from 1966, with the Modern Jazz Quartet performing eight blues-based compositions. In addition to such familiar pieces as the inevitable "Bags' Groove," "Ralph's New Blues" (dedicated to jazz critic Ralph Gleason), and "The Cylinder," there are a few newer pieces (including "Home," which is similar to Lee Morgan's hit "The Sidewinder") included for variety. This predictable but consistently swinging set is particularly recommended to fans of vibraphonist Milt Jackson. ~ Scott Yanow https://www.allmusic.com/album/blues-at-carnegie-hall-mw0000318716

Personnel: Milt Jackson - vibraphone; John Lewis - piano; Percy Heath - bass; Connie Kay - drums

Blues At Carnegie Hall

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Grant Green - Ain't It Funky Now! The Original Jam Master (Vol. 1)

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 51:48
Size: 119,3 MB
Art: Front

(9:56)  1. Ain't It Funky Now
(5:46)  2. Ease Back
(9:18)  3. It's Your Thing
(4:45)  4. Love On A Two Way Street
(8:25)  5. Let The Music Take Your Mind
(5:55)  6. I Don't Want Nobody To Give Me Nothing (Open Up The Door I'll Get It Myself)/Cold Sweat - Medley
(7:39)  7. Betcha By Golly Wow

Ain't It Funky Now! is the third of three thematically organized Grant Green compilations in the Blue Note Original Jam Master Series all of which focus on his final period recording for the label, between 1969 and 1972. Green was deeply interested in popular Black music in his late period and that is reflected in these seven cuts taken from six different albums. The title track, of course, is the a read of the James Brown classic and also features Blue Mitchell on trumpet and Idris Muhammad on drums, among others. At nearly ten minutes, it's a deep-stretch groove piece with Green's guitar playing gritty and dirty center-stage. Other highlights include "Ease Back," a Meters cover from Green's Carryin' On outing, and a nasty version of the Isley Brothers' "It's Your Thing," with Chuck Rainey and Muhammad in the rhythm section. The set closes with a decidedly non-funky yet very soulful cover of the Stylistics' "Betcha by Golly Wow" with Wilton Felder on bass, Hall Bobby Porter on congas, and fine soprano and tenor work from Claude Bartee, Jr.. Most Green-o-philes will have all this stuff, but these comps are cheap and sequenced wonderfully. ~ Thom Jurek https://www.allmusic.com/album/the-original-jam-master-vol-1-aint-it-funky-now%21-mw0000205590

Ain't It Funky Now! The Original Jam Master (Vol. 1)

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Bob Wilber - Where Are You Now

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 90:07
Size: 208,4 MB
Art: Front

(3:44)  1. Petite Fleur
(6:25)  2. Promenade Aux Champs-Élysées
(4:01)  3. Egyptian Fantasy
(3:54)  4. Billie's Bounce
(3:36)  5. Oh Daddy Blues
(4:35)  6. Down in Honky Tonk Town
(4:37)  7. Smiles
(4:31)  8. Georgia Cabin
(6:02)  9. Dans Les Rues D'Antibes
(3:30) 10. This Is New
(3:44) 11. Chloé
(5:49) 12. Si Tu Vois Ma Mère
(6:09) 13. Someday You'll Be Sorry
(2:30) 14. Miss Jennie's Ball
(4:06) 15. Reverie
(7:30) 16. Premier Bal
(3:58) 17. Love Comes Along Once in a Lifetime
(3:11) 18. I Had It but It's All Gone Now
(3:11) 19. Feeling I'm Falling
(4:54) 20. Maryland, My Maryland

Throughout his long career, saxophonist Bob Wilber has done a lot to keep classic jazz alive. A bit misplaced (most jazz players of his generation were much more interested in bop and hard bop), Wilber (along with Kenny Davern, Ralph Sutton, and Dick Wellstood) was one of the few in his age group to stick to pre-bop music. Influenced on soprano, clarinet, and alto by Sidney Bechet, Benny Goodman, and Johnny Hodges, respectively, Wilber has long had his own sound on each of his instruments. In high school he formed a band that included Wellstood, and as a teenager he sat in at Jimmy Ryan's club in New York. Early on he became Sidney Bechet's protégé and led his own young group, the Wildcats, with whom he released several early albums, including 1949's Bob Wilbur and His Jazz Band and 1951's Young Men with Horns. The close association with the dominant Bechet led to a bit of a personality crisis in the 1950s as Wilber sought to find his own voice. He studied with Lennie Tristano and formed the Six, a group that tried to modernize early jazz, a sound heard on 1955's The Six. When that ended, he played Dixieland with Eddie Condon, and in 1957 joined Bobby Hackett's band for a year. Wilber freelanced throughout the 1960s, working with Ralph Sutton and releasing such albums as Blowin' the Blues Away (with trumpeter Clark Terry) and New Clarinet in Town. In 1968 he became a founding member of the World's Greatest Jazz Band alongside Bob Haggart and Yank Lawson. A year later he paid tribute to one of his idols with The Music of Hoagy Carmichael. Along with his continued work with the World's Greatest Jazz Band, in 1973 he formed Soprano Summit with clarinetist Kenny Davern. 

One of the top swing-oriented groups of the decade, Soprano Summit released a handful of well-regarded efforts, including 1974's Soprano Summit I, and played numerous live concerts. Also during the '70s, Wilber teamed up with his wife, singer Pug Horton, in Bechet Legacy (which also featured either Glenn Zottola or Randy Sandke on trumpet). The '80s were a fruitful decade for Wilber, who performed often with a bevy of traditional and repertory ensembles, releasing such albums as 1981's Music of King Oliver, 1982's Ode to Bechet, and 1983's Reflections. He also suppled the soundtrack to Francis Ford Coppola's 1920s Harlem-based drama The Cotton Club, and in 1987 authored his frank memoirs, Music Was Not Enough. The following year, he led a band at Carnegie Hall to celebrate the 50th anniversary of Benny Goodman's famous concert. In 1990, Wilber paired again with Davern for Summit Reunion, and subsequently followed up with several of his own efforts, including 1994's Dancing on a Rainbow, 1995's Bean: Bob Wilber's Tribute to Coleman Hawkins, and 1996's Nostalgia on the Arbors label. He then honored legendary arranger Fletcher Henderson with 2000's Fletcher Henderson's Unrecorded Arrangements for Benny Goodman, and joined vibraphonist Dany Doritz for 2002's Memories of You: Lionel and Benny. He continued to tour and record over the next several years, appearing with Soprano Summit and releasing 2010's Bob Wilber Is Here! with Bucky Pizzarelli, Antti Sarpila, Nikki Parrott, and others. He then joined fellow reed players Sarpila and Pieter Meijers for 2012's The Three Amigos, and the following year joined pianist Bill Charlap's trio and clarinetist Anat Cohen at the Newport Jazz Festival. ~ Scott Yanow https://www.allmusic.com/artist/bob-wilber-mn0000074476/biography

R.I.P.
Born: March 15, 1928, New York, New York, United States
Died: August 4, 2019, Chipping Campden, England

Where Are You Now

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