Irene Schweizer & Hamid Drake – Celebration

Styles: Piano Jazz
Year: 2021
File: MP3@320K/s
Time: 43:56
Size: 101,4 MB
Art: Front

(6:26) 1. A Former Dialogue
(5:44) 2. Hot Sunflowers
(4:29) 3. The Good Life
(5:52) 4. Twister
(5:04) 5. Stringfever
(3:17) 6. Blues for Crelier
(2:59) 7. Nickelsdorf Glow
(4:39) 8. Celebration
(5:22) 9. Song for Johnny: In Memory of Johnny Dyani

If John Coltrane was the dominant figure behind the rise of Impulse Records in the 1960s, and Wayne Shorter played a similar role for Blue Note in the same decade, one could argue that pianist Irene Schweizer has placed her stamp upon Intakt Records. Certainly the Swiss avant-garde label has embraced that relationship, as aside from a handful of releases on FMP, Intakt has been Schweizer's exclusive home since the 1980s, with dozens of releases over the years documenting her technically demanding yet engaging style that is rooted equally in European free music and the jazz/blues tradition. She has had a particular fondness for the format on display in Celebration: a piano-drums duo, this time with Hamid Drake, allowing Schweizer to tap into a myriad of piano modes that suit the indefatigable pianist especially nicely.

Schweizer has worked with a number of the legends of free jazz drumming, a list that includes Pierre Favre, Günter 'Baby' Sommer, Louis Moholo-Moholo, Andrew Cyrille, and Han Bennink. And she's also worked with Drake before she first encountered the drummer with Douglas Ewart at a FMP festival in Chicago in 1995, and then later in the 1990s she worked with Drake and Fred Anderson in performances that were finally documented on Willisau and Taktlos (Intakt, 2007). But this is her first duo recording with Drake, and it's a live outing from 2019, at the Nickelsdorf Konfrontationen festival in Austria. It's a more- than-worthy addition to Schweizer's formidable series of matchups with top-shelf drummers.

Possessing fierce power and an exclamatory temperament, Schweizer can bring the goods as well as anyone when it comes to attacking the piano it's not for nothing that she was often compared to Cecil Taylor in her early years. One can hear that legacy here on "Hot Sunflowers," a feisty cut that unleashes Schweizer's aggressive aspect. But Drake's fluid, groove-heavy technique brings out the pianist's other dimensions much more frequently: from the gritty funk found on "The Good Life" to the insistent hard-bop feel of "Blues for Crelier," Schweizer shows that it is more than possible to combine freedom with engaging melody and rhythmic fervor.

There are oblique moments as well. Schweizer's pensive reflections on "Twister" start the track in a deceptively tranquil vein, before she gradually broadens the scope of the track in a much more demonstrative direction. And she delves into the interior of the piano on the suitably titled "Stringfever," the album's most abstract track, with Drake's rhythmic proclivities muted so as to complement Schweizer's abstruse explorations. But for this concert, it's the groove that matters, and the closing cuts, "Celebration" and the Johnny Dyani tribute "Song for Johnny," deliver more of what the grateful Nickelsdorf crowd clearly came for: music that stirs the soul, with all the energy needed to keep heads bobbing and feet tapping. It's a delight to hear these two on stage together, and it's evident that they're enjoying themselves immensely as well.By Troy Dostert https://www.allaboutjazz.com/celebration-irene-schweizer-intakt-records

Personnel: Irene Schweizer: piano; Hamid Drake: drums.

Celebration

---

Tony Kofi - Another Kind of Soul (Live)

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 36:26
Size: 84,4 MB
Art: Front

(2:22) 1. A Portrait of Cannonball (Live)
(2:16) 2. Operation Breadbasket (Live)
(4:35) 3. Another Kind of Soul (Live)
(6:01) 4. Stars Fell on Alabama (Live)
(7:25) 5. Things Are Getting Better (Live)
(7:31) 6. Sack O' Woe (Live)
(6:13) 7. Work Song (Live)

There's something extra special about jazz recorded in front of a live audience that a studio album just can't quite replicate. That frisson of excitement and expectation (when the moons are in alignment), between performer and punter gives the music an extra dimension, which is exactly what we get with Another Kind of Soul the new album from Tony Kofi, which was recorded live in glamorous Luton to an appreciative audience.

Born to Ghanaian parents in Nottingham, Kofi spent several years studying at Berklee College of Music before first making his reputation as a member of the UK’s Jazz Warriors in the early nineties. It was here that he first worked alongside bassist Gary Crosby with whom he would subsequently perform in soul-crossover groups Nu-Jazz and Jazz Jamaica, whilst establishing himself as a solo artist in his own right. His international reputation is underlined by some of the names he has appeared with over the years, including Eddie Henderson, Ornette Coleman and Donald Byrd. Favouring alto saxophone, Kofi’s tone is warm and sophisticated, able to leap-frog between different styles with ease and grace. That Julian ‘Cannonball’ Adderley is one of Kofi’s formative influences is abundantly clear through their similarly good-humoured playing styles, and this led to the Portrait of Cannonball project that Kofi has been touring over the past few years. Another Kind of Soul acts as a musical snapshot of the project (removing the spoken-word parts) and presents Adderley originals alongside new pieces penned by Kofi and fellow band members. Recorded live at The Bear Jazz Club in Luton, the Kofi Quintet constitutes Andy Davies (trumpet), Alex Webb (piano), Andrew Cleyndert (bass), and Alfonso Vitale (drums), a super-tight ensemble completely inside the material.

A Portrait of Cannonball is a canny way to open the set, a short appetizer composed by Webb that presents various facets of Adderley’s music, functioning much like an overture at the start of a musical. After a brisk introductory section in the soul-jazz style that Adderley pioneered, the music slows down for Kofi to demonstrate his svelte alto in a ballad-like section, before zipping back to several up-tempo sequences. Kofi’s Operation Breadbasket follows with tight unison playing between himself and Davies’s trumpet over the Latin-infused bop rhythms to which Adderley was so partial. Nat Adderley’s swaggering Another Kind of Soul (Julian’s younger trumpeter brother and member of the classic quintet, as well as being a jazz composer in his own right), gets a suitably gutsy reading here, with some sporting interplay between Kofi and Davies. The rhythm section impressed me throughout, with Vitale’s drums being especially explosive when called for, and Cleyndert’s walking bass keeps things grounded.

Cannonball Adderley’s compositions and his playing style always conveyed a sense of optimism in the face of adversity; that he didn’t go in for Coltrane-style soul-searching was a factor that helped make their appearances together in the Miles Davis Quintet so compelling. Kofi and his band are true to this spirit, and it’s no surprise that the highlight is the trio of Adderley tunes that take up the second half of the record: Things Are Getting Better, Sack O’ Woe and Work Song, Adderley’s signature piece. Kofi is clearly relishing every bar of these classics, all of which have big memorable themes for him and the band to get their teeth into. It’s a pleasure to hear a hugely talented contemporary saxophonist honouring another with so much soul, helping to keep his music alive and as irresistible today as it was over sixty years ago. by Matt Groom https://www.prestomusic.com/jazz/articles/3251--recording-of-the-week-tony-kofi-another-kind-of-soul

Personnel: Tony Kofi – alto sax, Andy Davies – trumpet, Alex Webb – piano, Andrew Cleyndert – bass, Alfonso Vitale – drums

Another Kind of Soul (Live)

---

Randal Clark - Imaginary World

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 53:09
Size: 122,3 MB
Art: Front

(5:23) 1. Trailblazer
(3:52) 2. New Day
(5:59) 3. Daybreak
(4:07) 4. Living Underground
(4:22) 5. Discovery
(5:00) 6. Boulevard East
(4:17) 7. Tiger Lily
(6:08) 8. Looking Back
(4:20) 9. Turbocharged
(4:20) 10. Time's Arrow
(5:15) 11. Imaginary World

Randal Clark's Imaginary World stretches beyond the conscious boundaries and illuminates the dark corners. It's clear from the onset that it is steeped in jazz tradition with a giant foothold on both rhythmic and melodic foundations. Clark establishes himself early and never lets go. Too often a buoyant blast off can ultimately fade away into the abyss of both the imaginary and conscious recesses of the mind or a once steaming groove can melt into the wallpaper. Even the most established of artists can find pacing to be a challenge. Sequencing is an art form in itself. That said, it matters little without the right chops and strong compositions. Prolific songwriter Jeff Lorber is responsible for well over half of the material on this project. As always, his tunes are bright and melodious. The keyboardist is also among the strong cast of musicians assembled for this recording. That list includes drummers Vinnie Colaiuta and Gary Novak, bassist Jimmy Haslip (who also produced),guitarists Mike Miller and Michael Thompson, as well as several others. There's even a special guest appearance from Randy Brecker.

It is Clark, however, who seizes the opportunities. Starting out as a "Trailblazer" seemed fitting as Clark then evokes a bright "New Day" in a tune that Haslip and Novak present in a rhythmic jewel case. Clark and Thompson utilize the structure to engage in playful improvisation. The "Daybreak" continues with Colaiuta and Haslip forming a soft launch pad for Clark to propel out of with his soprano sax. He meets a spirited Lorber in orbit, as his high-end springs open, entering into an intelligent early morning conversation. The day then really gets going with a snap, clap, and funk in which the ensemble rides a punchy groove. This fourth consecutive Lorber composition, "Living Underground," is highlighted by a Haslip bass solo and ignited by the earthy and soulful playing of Clark. No doubt it became a sunny day as the Clark and Lorber co-write "Discovery" shines brightly with fiery guitar licks from Thompson and equally buzzing sax riffs from Clark. This song gives Clark a lot of room to fly. He soars gracefully dipping his emotional wings in a myriad of directions.

A midway line-up change then works well to add a new wrinkle and subtract any possibility of malaise. Keyboardist David Mann, guitarist Jon Herington, bassist Gerald Albright, and drummer Sonny Emory become Clark's bandmates for the Mann penned "Boulevard East." Herington's distinct tonality and the shuffled rhythm section bring a new flavor to the mix. Clark's sound casts a contrasting shadow as his impressions are made in a new light. The middle of the set is refueled by the return of Lorber and his feisty rock-grooved "Tiger Lily." Clark makes no attempt to hold that tiger, instead invigoratingly capturing the raw energy and powering through the barn burner, alongside the blazing inferno of Thompson's guitar. Having gone the upbeat distance, slowing down to catch your breath with a ballad is logical, if not necessary. "Looking Back" strongly demonstrates at least a couple of footnotes. One is Clark's ability to be convincingly sentimental with gorgeous soprano lines. The other is to be able to write such a piece. "Looking Back" is one of two solo compositions from Clark on the record. With oxygen tanks replenished, it's right back to being "Turbocharged." Yes, another Lorber juggernaut. This one has Miller's guitar edges and Clark's alto benefitting from the unique and swinging gait.

Lorber and Haslip have written many songs together over the years, so it comes as no surprise that they contributed a co-write. Nor is it a surprise that "Time's Arrow" is a composition of significance and creative depth. It never hurts to invite Randy Brecker to the party either. It takes only a New York minute for Brecker to make his presence felt with such nifty pops emanating from his horn. He goes on to trade licks with Clark in this notable song. It's the makings of a stellar record when you have this kind of gas left in the tank near the end. The record finishes with Clark's second solo composition, which also is the title track, "Imaginary World." Fittingly, it's a pondering and meandering piece that straddles the line between imagination and reality. This eleven song offering is an impressive debut album. Randal Clark is on the map, beginning his journey of melding fresh ideas with time honored jazz traditions. By Jim Worsley https://www.allaboutjazz.com/imaginary-world-randal-clark-blue-hour-productions

Personnel: Randal Clark: saxophone, alto; Jeff Lorber: keyboards; Vinnie Colaiuta: drums; Jimmy Haslip: bass; Gary Novak: drums; Mike Miller: guitar; Scott Kinsey: keyboards; Michael Thompson: guitar, electric; Jimmy Branly: drums; Gerald Albright: saxophone; Randy Brecker: trumpet.

Imaginary World

---

Eliane Elias - Quietude

Styles: Vocal, Piano, Brazilian Jazz
File: MP3@320K/s
Time: 41:35
Size: 96,2 MB
Art: Front

(4:54) 1. Você e Eu (You and I)
(3:37) 2. Marina
(4:17) 3. Bahia Com H (Bahia With H)
(3:02) 4. Só Tinha Que Ser Com Você (This Love That I've Found)
(4:20) 5. Olha (Look)
(5:53) 6. Bahia Medley: Saudade da Bahia / Você Já Foi á Bahia
(3:30) 7. Eu Sambo Mesmo (I Really Samba)
(2:31) 8. Bolinha de Papel (Little Paper Ball)
(2:30) 9. Tim-Tim Por Tim-Tim
(3:26) 10. Brigas Nunca Mais (No More Fighting)
(3:30) 11. Saveiros

With 2022's Quietude, Eliane Elias crafts a sumptuously intimate showcase for her Portuguese vocals and bossa nova jazz balladry. The album follows her Grammy winning 2021 production Mirror Mirror, where she went head-to-head with fellow piano luminaries Chucho Valdes and Chick Corea, the latter of whom died soon after the album was finished. That album put Elias' immense jazz, Latin, and classical keyboard skills on display. While she does play some piano here, Quietude intentionally spotlights her voice, pairing the Brazilian-born performer with several of her closest guitar friends on a handful of her favorite songs from her homeland. Here, Elias is joined by Marcus Teixeira with whom she has worked since her breakthrough 2015 album Made in Brazil.

Also joining her is Lula Galvão, one of the leading masters of the Brazilian acoustic guitar tradition. There are also rhythm section contributions from percussionist Celso de Almeida and Elias' husband, bassist Marc Johnson, the latter of whom also produced the effort with Steve Rodby in São Paulo. Much of the album focuses on duets, including a hushed reading of Dorival Caymmi's "Marina" with Teixeira. Other songs, like her lyrical take on Antonio Carlos Jobim's "Só Tinha Que Ser Com Você" benefit from her lush small group sound. We also get a spritely take on Haroldo Barbosa and Geraldo Jacques' bossa nova "Tim-Tim Por Tim-Tim" which Elias recorded with the late Brazilian guitar legend Oscar Castro-Neves prior to his 2013 passing and which she hadn't released until now. Equally compelling is her affectionate album-ending duet with 79-year-old singer Dori Caymmi on his father and Nelson Motta's poetic sailing ballad "Saveiros."By Matt Collar https://www.allmusic.com/album/quietude-mw0003806438

Personnel: Eliane Elias – piano, vocals; Marcus Teixeira – guitar; Lula Galvão – guitar; Oscar Castro-Neves – guitar; Celso de Almeida – percussions; Marc Johnson – bass; Steve Rodby – bass

Quietude

---

Various Artists - Hallelujah: The Songs Of Leonard Cohen

Styles: Ecletic
Year: 2019
File: MP3@320K/s
Time: 74:24
Size: 171,0 MB
Art: Front

1. Jeff Buckley - Hallelujah (6:53)
2. k.d. lang - Bird On A Wire (4:29)
3. Rufus Wainwright - Chelsea Hotel No2 (3:47)
4. Marianne Faithfull - Tower Of Song (4:36)
5. Madeleine Peyroux - Dance Me To The End Of Love (3:56)
6. Dion - Sisters Of Mercy (3:34)
7. Judy Collins - Hey, That's No Way To Say Goodbye (3:34)
8. Barb Jungr - Everybody Knows (3:56)
9. Ron Sexsmith - Heart With No Companion (3:11)
10. Stina Nordenstam - I Came So Far For Beauty (4:03)
11. Marissa Nadler - Famous Blue Raincoat (4:21)
12. Tom Northcott - True Love Leaves No Traces (3:56)
13. Nina Simone - Suzanne (4:19)
14. Lee Hazlewood - Come Spend The Morning (2:56)
15. David Blue - Lover Lover Lover (2:59)
16. Buffy Sainte-Marie - God Is Alive, Magic Is Afoot (4:53)
17. Joe Cocker - First We Take Manhattan (3:43)
18. Nick Cave & The Bad Seeds - Avalanche (5:11)

Far from the simplistic view of Leonard Cohen as somewhat of a miserablist, his work is full to the brim with warmth, deep sensuality and wry humour. His songs sit with you like companions, so complete are his stories and rounded his subjects. You can smell their cigarettes, react to their pain and laugh at their stories; the sense of having spent time with Suzanne, or Marianne or any of his muses/characters so complete that you half expect to be washing their coffee cup after they leave.

Cohen’s storytelling is as diverse as it is fulsome, taking expansively from life, love, culture and religion, and most successfully when these elements combine. His intoxicating combination of poetry with melody casts spells, creates conversation, paints pictures; and the refrains and the moods he conjures stay with you like the waltz of ‘Famous Blue Raincoat’ or ‘Dance Me To The End Of Love’, swirling round and round until you’re giddy. And somewhat more literally, they can stay with you like the 80-plus hymn-like verses he wrote for ‘Hallelujah’, which he crafted over a five-year period – always perfecting, always lingering.

This 18-track tribute to Cohen features versions of his songs from fans, family and friends alike, and it’s telling that many of these artists have not been content to cover Cohen on just one occasion, but frequently return to his work. In fact Nick Cave covered ‘Avalanche’ twice, 30 years apart, the first (our closing track) a prowling, growling punk beast of a version and the second a tender, string-accompanied rendition at the grand piano. Cohen’s fans it seems are also always perfecting, always lingering.

Initial champions of his work such as folk legend and activist Judy Collins sit alongside Cohen’s fellow Canadian and keepers of the flame k.d. lang, Tom Northcott, Buffy Sainte-Marie and Rufus Wainwright (Rufus is also father to Cohen’s granddaughter Viva). Also included are Jeff Buckley’s prettily embroidered take on ‘Hallelujah’ (the full album version), what can only be described as Nina Simone’s total possession of ‘Suzanne’, and Lee Hazlewood’s ownership of ‘Come Spend The Morning’, a song Cohen himself was never to record.

In Cohen’s final weeks, Marianne Ihlen, his one-time inspiration/lover and lifelong friend, was dying of cancer and he wrote back to her, “Our bodies are falling apart and I think I will follow you very soon. Know that I am so close behind you that if you stretch out your hand, I think that you can reach mine.” His songs are so entirely real to his listeners that this note to the Marianne we know from his lyrics affected millions, who wept with them both. Cohen will never stop reaching others and this is both his talent and his legacy.
https://acerecords.co.uk/hallelujah-the-songs-of-leonard-cohen

Hallelujah: The Songs Of Leonard Cohen

---

Lennie Tristano Quintet - Live At Birdland 1949

Bitrate: MP3@320K/s
Time: 38:37
Size: 88.4 MB
Styles: Bop, Piano jazz
Year: 1979/2000
Art: Front

[7:40] 1. Remember
[5:44] 2. Pennies
[4:06] 3. Foolish Things
[5:42] 4. Indiana
[4:19] 5. I'm No Good Without You
[2:56] 6. Glad Am I
[2:42] 7. This Is Called Love
[2:43] 8. Blame Me
[2:41] 9. I Found My Baby

The name Lennie Tristano was conspicuously absent from Ken Burns' monolithic jazz documentary. That's no small omission; Tristano's group, which included the saxophonists Warne Marsh and Lee Konitz (also ignored by Burns) was the first to record what later came to be known as free jazz -- music improvised without pre-ordained melodies, harmonies, or meter. Needless to say, that wasn't mentioned by Burns, either. Tristano did it in 1949, the year this record was recorded, with what is essentially the same band (Konitz is absent here, though he was a regular member of Tristano's group at the time). This record gives no direct evidence of the band's free jazz experiments although Tristano is given composer's credit on all cuts, the disc is comprised mostly of standard harmonic frameworks played without reference to theme. However, it does reflect the band's prevailing emphasis on unfettered linear improvisation. The quintet tracks here were recorded by the group's bassist, Arnold Fishkin, during performances at the old Birdland in New York. The solo piano cuts were recorded in Chicago, four years earlier. The sound's rough, but not unlistenable, especially given the historical implication of the music. Listening to this is like being a fly on the wall of the world's most famous jazz club, witnessing history in the making. It really can't be said that Tristano's piano style was cut from whole cloth there's too much of a Bud Powell influence but there have been few musicians on any instrument who played with more spontaneous melodic invention. Two others who did were Marsh and guitarist Billy Bauer, also present here; this band placed great importance of creating "in the moment," and listening to this music made over 50 years ago reminds listeners of the value in such an approach. Little jazz being made at the turn of the millennium rivals this set in terms of raw creativity. Popular misconceptions aside, this is an important document. ~Chris Kelsey

Live At Birdland 1949

---

Cyrus Chestnut - Natural Essence

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 63:14
Size: 145,5 MB
Art: Front

(5:33)  1. Mamacita
(7:12)  2. It Could Happen to You
(6:15)  3. Faith Amongst the Unknown
(6:57)  4. I Cover the Waterfront
(7:34)  5. I Remember
(8:01)  6. Dedication
(9:06)  7. My Romance
(6:21)  8. Toku-do
(6:11)  9. Minority

Thanks also to a formidable rhythm, with Natural Essence Cyrus Chestnut signs one of the most convincing works of his discography. Maintaining the link with the tradition of swing, this trio rhythmically and dynamically defines dynamic tension. To this is added a vibrant communicative vis and the new imprinting, with a swinging average time, in the imaginative rereading of "It Could Happen To You" and "I Cover The Waterfront." Through sophisticated harmonizations, the American pianist ascends the way he knows how to touch and revive the deeper strings of the interpreted standards. 

Its elegant touch, rhythmically incisive, illuminates the solid interplay of a perfect equilibrium formation. His blues feeling pervades every song interpreted, to make us savor the most authentic and genuine roots of jazz. Thanks to a skilful use of dynamics, tension and distension alternate to innervate also the episodes mentioned above, at a slow pace. ~ Maurizio Zerbo https://www.allaboutjazz.com/natural-essence-cyrus-chestnut-highnote-records-review-by-maurizio-zerbo.php?width=1920

Personnel: Cyrus Chestnut: piano; Buster Williams: double bass; Lenny White: battery.

Natural Essence

---

George Coleman Quintet - Blues Inside Out

Styles: Saxophone Jazz
Year: 2007
File: MP3@320K/s
Time: 75:46
Size: 174,4 MB
Art: Front

(15:27) 1. Tune Up
(14:30) 2. Venus Fly Trap (Waltz)
(11:30) 3. Nancy (With The Laughing Face)
(14:57) 4. Blues Inside Out
(10:14) 5. Never Let Me Go
( 9:05) 6. Oleo

A masterful improviser with an ear for both blues-informed lyricism and adventurous harmonics, saxophonist, composer, arranger, and educator George Coleman is one of the most respected musicians to emerge out of the hard bop era. A Memphis native known for his adept speed and big, warm tone, Coleman first came to prominence playing with drummer Max Roach's quintet. Later, he achieved fame as a member of Miles Davis' quintet in the early '60s. After ceding his place in Davis' group to Wayne Shorter, Coleman carved out his own distinctive place in the jazz pantheon, and as a bandleader in his own right. Albums like 1978's Amsterdam After Dark, 2000's Danger High Voltage, and 2016's The Master Speaks are the epitome of hard-swinging acoustic jazz. Born in Memphis, Tennessee in 1935, Coleman was largely self-taught on the saxophone and drew early inspiration from artists like Charlie Parker and Sonny Stitt. Growing up, he found himself surrounded by a bevy of future jazz luminaries including trumpeter Booker Little, pianist Harold Mabern, and saxophonists Hank Crawford, Frank Strozier, and Charles Lloyd. He developed quickly, and in 1952 garnered his first major job touring with blues guitarist/vocalist B.B. King. After a final stint with King in 1955, Coleman relocated to Chicago along with trumpeter Little. Settling quickly into the vibrant Windy City jazz scene, he found work with Gene Ammons, Johnny Griffin, Walter Perkins' MJT + 3, and others. In 1957, he made his record debut, appearing on trumpeter Lee Morgan's City Lights. The following year, he joined organist Jimmy Smith for House Party and The Sermon!

Around this time, Coleman caught the ear of drummer Roach, who invited him to join his ensemble. Coleman moved to New York, as did Little, who soon became part of the group as well, replacing trumpeter Kenny Dorham. Together, the Memphis pair appeared on several of Roach's albums including Max Roach + 4 at Newport (1958), Award-Winning Drummer (1958), and The Many Sides of Max (1959). In 1959, Coleman left Roach to join trombonist Slide Hampton's octet. He spent two years with Hampton, touring Europe and developing his composing and arranging skills, a formative period that would later influence the sound of his own octet. In 1963, following a brief stint with organist Wild Bill Davis, Coleman was invited to join Miles Davis' quintet. For two years, Coleman toured and recorded with Davis, playing alongside pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. During this period, he appeared on several of Davis' most well-known albums including Seven Steps to Heaven (1963), Miles Davis in Europe (1964), My Funny Valentine (1965), and Four & More (1966). After parting ways with Davis in 1964, Coleman embarked on an extended period of freelance work in New York, during which time he performed with such artists as Lionel Hampton, Betty Carter, Chet Baker, Shirley Scott, Charles McPherson, and others. Around this time, he appeared on such albums as Herbie Hancock's Maiden Voyage (1965), Lee Morgan's The Procrastinator (1967), Nina Simone's Silk and Soul (1967), Reuben Wilson's Love Bug (1969), and more.

During the '70s, Coleman continued to tour and record, appearing regularly with drummer Elvin Jones, trumpeter Charles Tolliver, bassist Charles Mingus, and others. He began leading his own groups and spent many years in Europe, regularly playing festivals and concert halls. Despite, or perhaps because of, his success as a sideman, Coleman's own recorded output didn't pick up until the 1970s. In 1975, he joined pianist Cedar Walton for Eastern Rebellion, Vol. 1, followed by several more solo dates including his 1977 octet album Big George, 1977's Dynamic Duo with pianist Tete Montoliu, 1979's Playing Changes, and 1979's Amsterdam After Dark. In the '80s, Coleman kept a busy live schedule, often appearing with a small group featuring his longtime collaborator pianist Harold Mabern or with his larger octet. He released several more albums including Manhattan Panorama (1985) and At Yoshi's (1987). Also in the '80s, he started teaching more regularly, both privately and on the university level, where he began leading workshops and masterclasses around the country.

The '90s were a fruitful decade for Coleman, who continued to split his time between performing and teaching. He also found time to record a handful of albums: My Horns of Plenty (1992), Blues Inside Out (1997), and I Could Write a Book: The Music of Richard Rodgers (1998). Ever adventurous, Coleman even branched out into acting, appearing in the 1992 sci-fi film Freejack with Mick Jagger and Anthony Hopkins. He also garnered a small role in 1996's The Preacher's Wife alongside Denzel Washington and Whitney Houston. In 2000, he re-formed his octet for Danger High Voltage. Two years later, he joined several Davis band alumni, including bassist Ron Carter, for the concert tribute album Four Generations of Miles. Arriving in 2014, Down for the Count found him paired with guitarist John Webber. The following year, Coleman's many achievements as a performer and educator were recognized when he was named an NEA Jazz Master along with longtime Memphis cohort Charles Lloyd. In 2016, he delivered A Master Speaks, recorded live at Smoke in N.Y.C. A second Smoke Sessions release, The Quartet, arrived in 2019 and featured pianist Harold Mabern, who died just prior to the album's release. ~ Mattn Collar https://www.allmusic.com/artist/george-coleman-mn0000642196/biography

Personnel: George Coleman - tenor saxophone, writer;; Peter King - alto saxophone; Julian Joseph - piano; Dave Green - piano; Mark Taylor - drums

Blues Inside Out

---

Brent Jensen - More Sounds of a Dry Martini

Styles: Saxophone Jazz
Year: 2021
File: MP3@320K/s
Time: 50:05
Size: 115,6 MB
Art: Front

(6:06) 1. Take Ten
(6:11) 2. Desmond Blue
(5:50) 3. Look for the Silver Lining
(4:55) 4. These Foolish Things
(5:37) 5. Alone Together
(4:20) 6. Three to Get Ready
(4:20) 7. Bossa Antigua
(5:22) 8. Autumn Leaves
(7:20) 9. Just Squeeze Me

Two decades have passed since alto saxophonist Brent Jensen recorded his debut album for Origin Records, Sounds of a Dry Martini: A Tribute to Paul Desmond, in 2001. To Jensen's surprise, the album became so enormously popular that the possibility of a sequel was envisioned. There was, however, one large stumbling block by 2007, Jensen had sold his alto sax and switched to soprano. It was not until 2017, after he had moved to Seattle, Washington, and bought another alto, that the idea of sharing a second Dry Martini moved from the realm of unlikely to plausible.

Fortunately, guitarist Jamie Findlay, Jensen's friend and sidekick on that earlier homage to Desmond, had also moved to Washington state, bringing plausible closer to inevitable. After enlisting a bassist (Chris Symer) and a drummer (two actually Stefan Schatz and John Bishop), the plan to record a second tribute to Dave Brubeck's alter ego took flight in September and October 2020. Jensen chose to open the session with a pair of Desmond's compositions, "Take Ten" and "Desmond Blue," and add a third, "Bossa Antigua," to complement Brubeck's "Three to Get Ready," Duke Ellington's "Just Squeeze Me" and the standards "Look for the Silver Lining," "These Foolish Things," "Alone Together" and "Autumn Leaves."

It is clear from the outset that Jensen's admiration for Desmond is heartfelt, and his endeavor to reproduce the peerless Desmond sound comes perhaps as close as anyone has. On the other hand, there was only one Paul Desmond and, even though the differences between the two may be slight, they are nonetheless apparent, and no one who is familiar with Desmond would confuse Jensen's sound and style, comparable as they may be, with the maestro's. Having said that, it should be noted that anyone who is familiar with Desmond ought to find Jensen's facsimile remarkably perceptive and highly enjoyable. His solos, even though not quite as "dry" and detached as Desmond's, are consistently sharp and engaging, as are Findlay's. The quartets work well together, and everyone swings as earnestly as the playbook requires.

"Autumn Leaves" is especially intriguing, its melody barely perceptible as everyone works overtime to make its natural charms as seductive as possible. Old standbys "Look for the Silver Lining" and "These Foolish Things" are among the other highlights, as is Desmond's melodious "Bossa Antigua." Another Dry Martini is a treat not only for fans of Desmond but for anyone who appreciates the alto sax played with impressive warmth and uncommon intelligence.By Jack Bowers https://www.allaboutjazz.com/more-sounds-of-a-dry-martini-brent-jensen-origin-records

Personnel: Brent Jensen: saxophone, alto; Jamie Findlay: guitar; Chris Symer: bass; Stefan Schatz: drums.

More Sounds of a Dry Martini

---

George Coleman Quartet - I Could Write A Book: The Music Of Richard Rogers

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 59:35
Size: 140,6 MB
Art: Front

(5:14)  1. Falling In Love With Love
(6:20)  2. My Funny Valentine
(6:50)  3. Lover
(5:20)  4. Bewitched
(4:51)  5. I Didn't Know What Time It Was
(6:06)  6. My Favorite Things
(7:57)  7. Have You Met Miss Jones
(3:38)  8. People Will Say We're In Love
(7:11)  9. I Could Write A Book
(3:47) 10. Medley: There's A Small Hotel / Where Or When / The Sweetest Sounds
(2:15) 11. Thou Swell

Inspired by a guest spot in a Carnegie Hall Jazz Band tribute to Rodgers and Hart, Coleman organized an entire album around the theme with a touch of Hammerstein too. It's a mostly mainstream hard bop session, with Coleman's slightly dry, plain-spoken tone on all three of his instruments soprano, alto and tenor lending an appropriately lyrical bend to the collection of well-known Rodgers standards; well, its mostly hard bop, "My Favorite Things" is cast perhaps inevitably in the modal Coltrane mold, with Coleman on soprano for good measure, and once in a great while, Coleman lets fly outside the changes. 

A fine, flexible rhythm section of veterans two fellow Memphis colleagues (pianist Harold Mabern, bassist Jamil Nasser) and one Angeleno drummer (Billy Higgins) sends Coleman on his way in style. As if in tribute to his rhythm section, Coleman sits out "People Will Say We're in Love" entirely and dukes it out with Higgins on a brief "Thou Swell." This is almost an echo of fellow saxman Joe Henderson's successful tribute formula of the early 1990s, although Henderson's CDs were somewhat more emotionally involving than this.~ Richard S.Ginell https://www.allmusic.com/album/i-could-write-a-book-the-music-of-richard-rodgers-mw0000039620

Personnel: Saxophone – George Coleman; Piano – Harold Mabern;  Bass – Jamil Nasser; Drums – Billy Higgins

I Could Write A Book: The Music Of Richard Rogers

---

Barney Kessel with Shelly Manne and Ray Brown - The Poll Winners

Styles: Jazz
Year: 1957
Time: 40:42
File: MP3 @ 320K/s
Size: 93,2 MB
Art: Front

(3:31) 1. Jordu
(6:34) 2. Satin Doll
(4:28) 3. It Could Happen to You
(6:32) 4. Mean to Me
(4:38) 5. Don't Worry 'bout Me
(4:04) 6. On Green Dolphin Street
(4:25) 7. You Go to My Head
(3:21) 8. Minor Mood
(3:06) 9. Nagasaki

There’s a striking new reissue from Craft Recordings I’m sure many jazz fans and collectors are as excited about as I am: 1957’s The Poll Winners. This LP features three of the greatest jazz musicians of their time (as well as the immediate future) Barney Kessel on guitar backed by Shelly Manne on drums and Ray Brown on bass. From the liner notes, we learn all three of these fine musicians won the three major American jazz popularity polls in 1956 in Down Beat, Metronome, and Playboy magazines.

Understand the album title better now? Long before the Internet was even a glimmer of an idea, reading print publications a.k.a., physical newspapers and magazines was how people learned about new music they might have heard on the radio or in a record store. In the 1950s, there were some significant publications tracking the world of jazz that had a lot of influence on the music world. (Times have changed.)

At any rate, getting these artists together for a recording session was an obvious stroke of opportunistic genius. So popular was this trio, in fact, that they went on to record four more albums in this series. First, some background. The central focus here is, of course, Barney Kessel, one of the all-time great guitarists in jazz history, a fantastic player who crossed many cultural/societal and musical boundaries in his career. He recorded with everyone from Chico Marx and Charlie Parker to Lester Young, Oscar Peterson, and Art Tatum. But Kessel’s career did not end there, and by the early 1960s, he was a much in-demand session player, one of the first-call musicians in that now-beloved aggregation known as The Wrecking Crew. You can hear his work on many pop and rock hits by the likes of Sonny & Cher, The Monkees, The Beach Boys, The Coasters, and Sam Cooke.

Shelly Manne was also one of the go-to session and live players in his day, a regular on the West Coast Jazz scene and a prominent figure at Contemporary Records. They issued many albums with him backing others as well as by his own band (Shelly Manne & His Men). You can hear Shelly on recordings with Stan Getz, Hampton Hawes, Benny Carter, and even on the first Ornette Coleman album. He also worked on many film soundtracks.

Bassist Ray Brown is often remembered for his work with Oscar Peterson and Ella Fitzgerald, but if you poke around in your collection, you’ll probably see his name on many other sessions and liners. He’s played with everyone from Dizzy Gillespie to Steely Dan. (He’s on their second album, July 1973’s Countdown to Ecstasy.) And Brown also put out many albums as a bandleader himself.

So now you have some understanding of who these players are, why they were hot in 1957, and hopefully, with this perspective why they’re still popular enough today to warrant a premium reissue like this new QRP pressing from Craft Recordings.

Before I get to how this sparking new reissue of The Poll Winners sounds compared to my original pressing, I must point out that simply finding a fairly clean original stereo (or mono) copy of this particular album is not an easy task. For example, at the time of this writing, there were six mono and five stereo copies (at best, in VG+ condition) on Discogs selling for upwards of $50. It took me many years and several upgrades along the way to find a fairly decent copy, and even that has its moments of click, ticks, and pops. But I don’t really mind, as the recording is excellent and timeless.

This is probably a good time to mention a bit about Contemporary Records, a label many newer collectors seem to overlook in favoring releases on Blue Note, Impulse, and Prestige. That said, many audiophiles and jazz collectors know Lester Koenig’s Contemporary Records is home to some of the best-sounding recordings of the times, equal to if not exceeding the best platters from Blue Note and Prestige. One of the label’s “secret sauce” ingredients setting them apart was engineer Roy DuNann, who brought a great sense of musicality and fidelity to his work (and I can’t always say this about every Prestige and Blue Note title, as great as the music may be). But pretty much every album on this label I’ve heard sounds great. (Just sayin’)

Another interesting detail about The Poll Winners is it was originally released at the dawn of stereo recordings. Initially issued in 1957 in mono on the Contemporary Records branded label (which was bright yellow), it was issued in stereo in 1958 on a new and short-lived subsidiary label non-ironically titled “Stereo Records.” Eventually, the Stereo Records label went away and just became a black label Contemporary Records variation, but for that year or so, it was a thing. They issued quite a number of well-recorded albums, mostly in the jazz realm. However, they did issue some classical albums, and I see on Discogs they even issued some 45rpm singles. Talk about being ahead of their time, issuing stereo singles. . .

But now, back to the reviewing. I’m sure by now, you’re wondering how The Poll Winners album sounds and compares to my original. In short, it is pretty fantastic. The Poll Winners is generally a great-sounding recording to begin with, and some of you might even want to consider using this as a demo disc with its simple but sweet stereo soundstage. This recording is a classic West Coast jazz trio setting, with these sensitive players performing swinging versions of now-classics like “Satin Doll,” “On Green Dolphin Street,” and “Mean to Me.”

However, some of that dynamic might have been pulled back on the low end a bit, so as to not cause mistracking on average turntables of the period. Thus, the new edition is much bigger-sounding in many ways, notably on the low end. Ray Brown’s bass here is richer and rounder than on my original. The high end on my original is a wee bit better, but that isn’t surprising if you understand the nature of magnetic tape it deteriorates over time, losing bits of information with every pass of the tape. I’m no doubt splitting hairs as the new edition sounds excellent, all things considered. And I think that, at the end of the day, I’d rather have richer, rounder lows and mids than worry about a slightly brighter high end.

Kudos to Bernie Grundman for his fine finesse on this all-analog mastering from the master tapes. The 180g black vinyl Contemporary Records Acoustic Sounds Series pressing from QRP is well-centered, dead-quiet, and, ultimately, musically invisible. All these factors are easily checked off my list.

In fact, I was so pleased with the reissue that I was almost prepared to purge my original. But then I noticed one little physical incongruity that makes the completist collector in me want to hold onto my old copy namely, the cover and the label designs are a smidge different!

The album designs are pretty much identical, but if you look closely, you’ll see they had to invoke some production alchemy on the title text over in order to make room for the longer album ID number there. It’s really quite clever what they did, as it is easy to overlook. The label design is period-accurate and similar to my original “deep groove” version, but it too shows some variance. If you care about that sort of “OG” minutiae [I do! MM], do take note.

I’m more than happy to keep my original as a reference copy, but will likely play the new Craft Recordings issue from here out for regular listening. And that’s the best compliment I can offer: I’ve enjoyed listening to this fine reissue of The Poll Winners featuring Barney Kessel, Shelly Manne, and Ray Brown. I suspect you will too.
https://www.analogplanet.com/content/poll-winners-win-again-barney-kessel-shelly-manne-and-ray-brown-score-craft-recordings-qrp

Barney Kessel with Shelly Manne and Ray Brown - The Poll Winners

---

Fred Hersch - Solo

Styles: Piano Jazz
Year: 2015
File: MP3@320K/s
Time: 60:39
Size: 140,5 MB
Art: Front

(12:39)  1. Olha Maria - O Grande Amor
( 7:42)  2. Caravan
( 8:50)  3. Pastorale
( 7:57)  4. Whirl
( 7:54)  5. The Song Is You
( 7:30)  6. In Walked Bud
( 8:04)  7. Both Sides Now

Pianist Fred Hersch is celebrating his sixtieth birthday year in style, with a week of performances at the legendary Village Vanguard, his debuts at the Newport Jazz Festival and Jazz at Lincoln Center, and the release of Fred Hersch Solo. The achievement of surviving six decades is noteworthy, poignant and auspicious considering Hersch's near-communion with death in 2008, when he was placed in a medically-induced coma for 40 days as part of a fight against HIV-induced dementia. But Hersch survived, and has come back with an artistic zest, releasing since that medical crisis six excellent sets, in trio, duo or solo. Fred Hersch Solo is as graceful and beautiful set as any he has done since his recovery, a post 2008 discography that begins with Fred Hersch Plays Jobim (Palmetto, 2009), and rolls through to 2014's Floating (Palmetto), and visits in between one of his finest trio outings, Whirl (Palmetto, 2010).  Fred Hersch Solo is a set that puts the pianist's technical expertise front and center. His is an approach rich in emotion, with a nimble delicacy of touch. The set opens with a floating medley of Antonio Carlos Jobim's "Olha Maria" and "O Grand Amour," a Brazilian journey that drifts in the beginning then gains strength and sense of urgency. Hersch takes the familiar "Caravan" into quirky and unfamiliar territory, and lays down a gorgeously stately homage to Robert Schumann on "Pastorale." Thelonious Monk's "In Walked Bud" is an ebullient romp, and Joni Mitchell's "Both Sides Now" sounds as if it drifted up out of a prayer book. The "sound" of the music, recorded in a Catskills church, is warm and resonant, with a reverential tint, and Hersch, with now ten solo recordings in his discography, is in splendid form. Another jewel of a post-coma recording Fred Hersch.~ Dan McClenaghan https://www.allaboutjazz.com/fred-hersch-solo-fred-hersch-palmetto-records-review-by-dan-mcclenaghan.php

Personnel: Fred Hersch: piano

Solo

---

Keith Jarrett - Bordeaux Concert (Live)

Styles: Piano Jazz

Year: 2022  
File: MP3@320K/s
Time: 71:26
Size: 163,7 MB
Art: Front

(12:18) 1. Part I (Live)
( 4:18) 2. Part II (Live)
( 4:04) 3. Part III (Live)
( 7:18) 4. Part IV (Live)
( 5:47) 5. Part V (Live)
( 3:58) 6. Part VI (Live)
( 6:59) 7. Part VII (Live)
( 5:17) 8. Part VIII (Live)
( 4:15) 9. Part IX (Live)
( 2:25) 10. Part X (Live)
( 5:40) 11. Part XI (Live)
( 5:01) 12. Part XII (Live)
( 4:00) 13. Part XIII (Live)

Like so much of his renowned canon including Köln Concert, Bremen-Lausanne, La Scala, A Multitude of Angels (ECM, 1975, 1973, 1997, 2016) Bordeaux Concert feels like it has always been there. In the air, in the heart, in the quiet turnings of a world at large. Just waiting for one to encounter it and come to the greater understanding of just how beautiful, how peaceful, this life can be.

Communicative on every level, Bordeaux Concert places the listener front row center, concerned only on Jarrett and his muse at the moment he took to the L'Auditorium in Bordeaux stage on July 6, 2016. The lights go down and Jarrett, especially possessed this night by the silent imaginings with which he has transfixed and transported audiences since day one, creates an all encompassing, stunningly fluent, hauntingly lyrical thirteen-part suite.

Coming as it does between the assured exhilaration of Munich 2016 (ECM, 2019) and the textural heartiness of Budapest Concert (ECM, 2020) this night holds its own as Jarrett delves deeper into his own curious spirit without exploring the two or three standards that had become part of his repertoire since the late 1990s. But he does wax nostalgic on the insightful rumination "Part III," examining the total breadth and scope of his seemingly endless creativity. Emerging gently, it serves both as a summation and a beginning, evolving into its own abiding standard. The rolling arpeggios of "Part IV," the bluesy connotations of "Part VIII," the expansive wit and restraint of "Part VII," and the majestic classicism of "Part XIII," just make Bordeaux Concert a remarkable listen.
By Mike Jurkovic https://www.allaboutjazz.com/bordeaux-concert-keith-jarrett-ecm-records

Personnel: Keith Jarrett: piano.

Bordeaux Concert (Live)

---

Martial Solal - Coming Yesterday [Live at Salle Gaveau 2019]

Styles: Piano Jazz
Year: 2021
Time: 66:17
File: MP3 @ 320K/s
Size: 152,3 MB
Art: Front

( 6:55) 1. I Can't Get Started (Live)
(11:40) 2. Coming Yesterday (Live)
( 7:05) 3. Medley Ellington (Live)
( 4:36) 4. Sir Jack (Live)
( 6:38) 5. Tea for Two (Live)
( 4:35) 6. Happy Birthday (Live)
( 9:25) 7. Lover Man (Live)
( 4:54) 8. I'll Remember April (Live)
( 5:59) 9. My Funny Valentine (Live)
( 4:26) 10. Have You Met Miss Jones (Live)

In 2010, a British writer travelled to Paris to interview the pianist Martial Solal. The address he had been given was in the affluent suburb Chatou. On arrival, Solal's house struck the writer as something quite unlike the home of any other jazz musician he had ever visited, an haute bourgeoisie villa surrounded by an ornamental garden full of mature trees, the whole surrounded by a high metal fence. The French take their artists seriously and, on the evidence of this house, thought the writer, appeared to reward even jazz musicians generously. Others before him had probably been similarly surprised. "Jean-Luc Godard can be thanked for this," said Solal with a smile, referring to the film director who commissioned him to write the soundtrack for his 1960 arthouse classic A Bout De Souffle (aka Breathless).

Solal, who in 2010, aged eighty-two years, was still receiving royalties from Godard's movie, went on to say that being offered the commission had been for him like winning the lottery, for at the time he was the modestly paid house-pianist at the St Germain des Prés jazz club, living a life as financially precarious as any lower-rung jazz musician anywhere in the world. As singular and asymmetrical a pianist and composer as, say, Thelonious Monk, Solal had no expectations of ever having money in the bank, much less an upmarket home in Chatou. The ongoing income from A Bout De Souffle helped him to continue to put artistic integrity before commercial considerations. For which jazz lovers can be as grateful as he was.

Coming Yesterday Live At Salle Gaveau 2019 is, says Solal in 2021, his final album. He did not know it would be that at the time, imagining instead that it might be the start of a new trajectory in which he would concentrate on standards, eight of which he transforms on this album (the other two tracks, "Coming Yesterday" and "Sir Jack," are originals). But, now aged ninety-three years, Solal has decided to retire while he is still ahead. The album is an elegant and idiosyncratic valedictory in which "Lover Man," "My Funny Valentine" and "Have You Met Miss Jones" are among the tunes given treatments as fresh as the day they left their composers' hands. Solal even succeeds in making "Happy Birthday" sound interesting and unusual for four and a half minutes. Bon voyage, maestro. Enjoy your retirement.
https://www.allaboutjazz.com/coming-yesterday-and-151live-at-salle-gaveau-2019-martial-solal-challenge-records

Personnel: Martial Solal: piano.

Coming Yesterday [Live at Salle Gaveau 2019]

---

Ulysses Owens Jr. Big Band - Soul Conversations

Styles: Instrumental Jazz
Year: 2021
Time: 72:48
File: MP3 @ 320K/s
Size: 167,5 MB
Art: Front

(8:53) 1. Two Bass Hit
(5:59) 2. London Towne
(8:37) 3. Beardom X
(7:29) 4. Red Chair
(6:32) 5. Giant Steps
(5:51) 6. Language of Flowers
(8:20) 7. Human Nature
(4:46) 8. Girl Talk
(9:44) 9. Harlem Harlem Harlem
(6:33) 10. Soul Conversations

Drummer Ulysses Owens, Jr.'s Big Band comes out swinging on its debut recording, Soul Conversations, thundering through Michael Dease's incendiary arrangement of the Dizzy Gillespie/John Lewis flame-thrower, "Two Bass Hit." For more such heat, however, the listener must move forward to Track 5, John Coltrane's impulsive "Giant Steps," thence to Track 9 for Charles Turner III's earnest homage to "Harlem Harlem Harlem," on which he doubles as vocalist.

That's not to say that everything in between is less than pleasing, only more sedate. That includes a trio of charts by Owens ("Beardom X," "Red Chair," "Soul Conversations"), trumpeter Benny Benack III's sunny "London Towne," bassist Yasushi Nakamura's shapely ballad, "Language of Flowers," John Bettis/Steve Porcaro's multi-layered "Human Nature" (featuring guest vibraphonist Stefon Harris, as does "London Towne") and Neal Hefti's shopworn and patronizing "Girl Talk." Dependable as they are, one senses that the band is capable of more, but as Owens chose the material that must have been his purpose, and the outcome should be weighed on that basis.

Another aspect that must be considered is the circumstance under which the album was recorded: in concert at Dizzy's Club Coca Cola in New York. While that usually poses no problem, in this case the color and balance do the band no favors. The sound isn't for the most part displeasing; on the other hand, as with the choice of material, the over-all impression is that it could have been better. An accent here, a blemish there it all adds up to a sonic cushion that may be tolerable but is at times less than supportive.

There is no doubting, however, the band's aptitude or enthusiasm. There's an abundance of musical talent in New York, and Owens has stocked the band with proven heavyweights, a benefit that is readily apparent from the outset. "Two Bass Hit" could have set the tone, with spirited blowing by the ensemble and vigorous solos by tenor Diego Rivera, bass trombonist Wyatt Forhan, trumpeter Walter Cano, trombonist Dease, baritone Andrew Gutauskas and Owens himself, but the leader chose another route, moderating the pace and ardor considerably on "London Towne," "Beardom X" and "Red Chair" before re-engaging the accelerator on "Giant Steps," wherein Rivera and tenor Daniel Dickinson trade sturdy blows before Owens and trumpeter Giveton Gelin add earnest solos.

Alto Alexa Tarantino is showcased on "Language of Flowers," Gelin on "Girl Talk," and there are admirable solos elsewhere by Benack, trombonist Eric Miller, alto Erena Terakubo and trumpeter Summer Camargo (muted on "Harlem"). It's a sometimes choppy maiden voyage but one whose strengths far outnumber its weaknesses. Recommended for the exuberant flag-wavers, first-rate solos and sizeable number of impressive moments on the less-than-emphatic numbers.
https://www.allaboutjazz.com/soul-conversations-ulysses-owens-jr-big-band-outside-in-music

Personnel: Ulysses Owens, Jr.: drums; Walter Cano: trumpet; Benny Benack III: trumpet; Summer Camargo: trumpet; Giveton Gelin: trumpet; Alexa Tarantino: saxophone, alto; Erena Terakubo: saxophone, alto; Diego Rivera: saxophone; Daniel Dickinson: saxophone; Andrew Gutauskas: saxophone, baritone; Michael Dease: trombone; Eric Miller: trombone; Gina Benalcazar: trombone; Wyatt Forhan: trombone, bass; Stefon Harris: vibraphone; Takeshi Ohbayashi: piano; Yasushi Nakamura: bass; Charles Turner III: voice / vocals.

Soul Conversations

---

Carmen Lundy - Fade To Black

Styles: Vocal
Time: 56:42
File: MP3 @ 320K/s
Size: 130,8 MB
Art: Front

(8:06) 1. Shine a Light
(3:31) 2. So Amazing
(5:39) 3. Daughter of the Universe
(3:19) 4. Ain't I Human
(5:19) 5. Lonesome Blue Butterfly
(4:41) 6. Spell of Romance
(7:15) 7. Say Her Name
(5:21) 8. Transition (To A Promised Land)
(3:49) 9. Privacy
(5:51) 10. Reverence
(3:45) 11. Rest In Peace

Fade To Black is Carmen Lundy’s 16th album and one of her most personal to date. Grammy® Nominated for her previous album Modern Ancestors, these 11 original songs, written and arranged by Carmen Lundy, were conceived during the challenging months of the pandemic and reflect this time of great loss, sorrow, healing, and hope for a brighter, more inclusive future for us all. Tackling the difficult social issues of our time while also musing on the joys of love and relationships, this stunning set of songs takes us on an emotional journey that culminates in the extraordinary hymn-like ballad titled “Rest In Peace”.

Carmen Lundy explains, “I approached the writing of this work from being in this moment in time not necessarily looking back, but observant of the times we live in NOW. Traditional Jazz composition involves understanding its evolution and the spirit of improvisation. In this complete oeuvre, I wanted to explore different approaches to harmonic progressions, extended forms, and subtle rhythmic concepts while providing plenty of space for the lyrics and melodies to sing and tell stories without necessarily feeling the need to represent preconceived ideas about vocal jazz, harmonies and rhythms.” This project was funded in part by a New Jazz Works grant from Chamber Music America (CMA). All songs written and arranged by Carmen Lundy (Carmen Lundy Publishing/BMI).
https://carmenlundy.com/product/fade-to-black/

Personnel: Carmen Lundy: vocals, keyboards, guitar, percussion, horn arrangements, backing vocals. Julius Rodriguez: piano. Matthew Whitaker: organ, keyboards, string arrangements, programming. Kenny Davis: acoustic bass, electric bass. Curtis Lundy: acoustic bass. Terreon Gully: drums. Andrew Renfroe: guitar. Wallace Roney Jr.: trumpet. Giveton Gelin: trumpet. Camille Thurman: tenor saxophone. Morgan Guerin: tenor saxophone.

Fade To Black

---

Muriel Grossmann - Quiet Earth

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 40:17
Size: 92,8 MB
Art: Front

(11:05) 1. Wien
( 9:09) 2. African Call
( 8:34) 3. Peaceful River
(11:28) 4. Quiet Earth

Anyone familiar with Tibetan Buddhism will know that once their spiritual leader or Dalai Lama dies, officials set off in search of his reincarnation, interviewing and examining potential postulants. Listening to Quiet Earth by Austrian saxophonist Muriel Grossmann one cannot help but ask if she might be the reincarnation or avatar of the late John Coltrane. Certainly that is one heavy label to place upon Grossmann but, a few minutes into the opener "Wien," and there is little doubt this artist has the proper bona fides.

The composition carries that A Love Supreme (Impulse!, 1965) vibe with a reverence for the ethereal. She is backed by her longtime collaborators, guitarist Radomir Milojkovic, bassist Gina Schwarz, and drummer Uros Stamenkovic, plus organist Llorenc Barcelo who came aboard for the previous release Reverence (2019). Both recordings are available as CDs from Dreamlandrecords or as 200 gram LPs from RR GEMS. "Wien" doesn't parrot that Coltrane masterpiece, it expands upon the concept with Barceló's organ pointing towards the spiritual jazz of Larry Young, and Milojkovic's guitar chewing on some Delta blues.

Like every succession of the Dalai Lama, Grossmann's music carries not just the previous incarnation but also its lineage. "African Call" travels back to the roots of jazz to its motherland, Stamenkovic and Schwarz laying down the rhythms that fuelled the birth of blues, jazz, and rock. If one need more proof of Grossmann's incarnation, "Peaceful River" first finds her on soprano before swapping to tenor saxophone, as its Gospel blues expands into a kind of awakened devotional music where Stamenkovic works his ride cymbal very much in the manner of Elvin Jones. The title track opens with Grossmann drawing first from Ornette Coleman's sound before returning to the Coltrane spirit with her soprano saxophone. Her quartet blossoms with sleek solos by Milojkovic and Barceló before a brief saxophone, bass and drums improvisation acts as a kind of coming attractions preview. By Mark Corroto https://www.allaboutjazz.com/quiet-earth-muriel-grossman-rr-gems-dreamlandrecords

Personnel: Muriel Grossmann: saxophone; Radomir Milojkovic: guitar, electric; Gina Schwarz: bass; Uros Stamenkovic: drums; Llorenc Barcelo: organ, Hammond B3.

Quiet Earth

---

Peggy Connelly - Hollywood Sessions

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 46:56
Size: 108,4 MB
Art: Front

(3:03)  1. You Make Me Feel So Young
(2:42)  2. Trouble Is a Man
(3:08)  3. Where Did the Gentleman Go
(2:26)  4. I Have Said Goodbye to Spring
(2:54)  5. What Is There to Say
(2:30)  6. Trav'lin' Light
(3:18)  7. Ev'rytime We Say Goodbye
(3:17)  8. Alone Together
(2:42)  9. I Got Plenty o' Nuttin'
(2:25) 10. Fools Rush In
(2:10) 11. Ev'rytime
(2:47) 12. Gentleman Friend
(4:27) 13. It Never Entered My Mind
(2:59) 14. Why Shouldn't I
(3:14) 15. That Old Black Magic
(2:45) 16. He Was Too Good to Me

By the time she was 15, Peggy Connelly (1931-2007) had a lovely voice that won her jobs singing with competitive big bands in her hometown of Fort Worth, Texas. At 18, she went in search of work as a model and singer, and after a difficult start, she moved to Hollywood. Once there, she landed two significant opportunities. The first involved her appearance in motion pictures and TV shows. The second and more important opportunity was the start of her career as a single recording artist. When she sang, Connelly put to good use her beautiful, round tone and commendable lack of artifice to project the intent of any song with lucidity. She was Frank Sinatra’s girlfriend for over two years, and their relationship opened many doors for her with musicians and the Hollywood studios. Even though Connelly had few significant opportunities in her career to show off her talent as a singer, the times she did resulted in these magnificent recordings. Sinatra, not very fond of praising his colleagues, had no qualms about praising Connelly. When he first heard her sing Ev’ry Time We Say Goodbye, he said: “Hi, beautiful lady, you are wonderful.” https://www.freshsoundrecords.com/peggy-connelly/6707-hollywood-sessions.html

Personnel:  Peggy Connelly (vcl), Marty Paich, Russell Garcia (dir), Conte Candoli, Pete Candoli, Stu Williamson (tp), Russ Cheever (ss), Charlie Mariano (as), Bill Holman (ts), Jimmy Giuffre (bs), Al Hendrickson (g), Jimmy Rowles (p), Harry Babasin, Max Bennett (b), Roy Harte, Stan Levey (d), Jack Costanzo, Ramón Rivera, Willy Gallardo (perc)

Hollywood Sessions

---

Joey DeFrancesco - Joey DeFrancesco Plays Sinatra His Way

Styles: Hard Bop, Soul Jazz
Year: 2004
File: MP3@320K/s
Time: 53:25
Size: 122,9 MB
Art: Front

(5:38) 1. I Get a Kick out of You
(5:58) 2. Teach Me Tonight
(5:23) 3. Pennies from Heaven
(6:47) 4. What's New
(6:05) 5. Witchcraft
(5:37) 6. What Now My Love
(6:21) 7. Don't Worry 'Bout Me
(5:22) 8. Falling in Love with Love
(6:09) 9. Angel Eyes

Although he’s been on the Concord label for several years now, it seems that the well spring of material that Joey DeFrancesco cut for Joe Fields’ HighNote imprimatur continues to be harvested with the latest offering being this 1998 session recorded in 24-bit digital splendor by the legendary Rudy Van Gelder. Don’t look for the title on this one to provide much more than a unifying element for the tunes included, which just happen to be numbers that ‘Ol’ Blue Eyes’ recorded at some point during the span of his career. Known to vocalize somewhat himself, DeFrancesco does no singing here either. The emphasis is on the type of hard swinging groove music that has always been this organist’s main form of expression.

In the company of Houston Person (who led DeFrancesco to the Muse label many years ago), guitarist Melvin Sparks, and longtime drummer Byron Landham, our leading man delivers nine selections that all clock in at around the five to six minute length. With its clever opening vamp, “Pennies From Heaven” finds DeFrancesco at his boppish best, with Sparks weighing in with his own juicy chords in support (as well as a solo that includes a clever “shave and a hair cut” quote to boot). At the start of his career I happened to interview Joey and he commented on how much he dug the bass lines of Groove Holmes. That he’s developed his own way with those foot pedals is clear on this performance alone.

There’s really no need to analyze each individual track here, as anyone even remotely familiar with DeFrancesco will be aware of his mastery of the mighty B-3. Van Gelder’s sound job brings Joey and the guys right into your living room. This no frills affair may be short on the revolutionary, but it will surely please fans of DeFrancesco, Person, and Sparks.
By C. Andrew Hovan https://www.allaboutjazz.com/plays-sinatra-his-way-joey-defrancesco-review-by-c-andrew-hovan

Personnel: Joey DeFrancesco (organ), Houston Person (tenor sax), Melvin Sparks (guitar), Byron Landham (drums)

Joey DeFrancesco Plays Sinatra His Way

---

Judith Owen - Come On & Get It

Styles: Vocal And Piano Jazz
File: MP3@320K/s
Time: 51:09
Size: 127,7 MB
Art: Front

(3:28) 1. Blossom's Blues
(2:52) 2. Satchel Mouth Baby
(3:37) 3. The Spinach Song
(2:55) 4. Tess's Torch Song
(5:57) 5. He's a Tramp
(3:52) 6. He's a Real Gone Guy
(3:03) 7. Big Long Slidin' Thing
(3:16) 8. Fine Brown Frame
(2:47) 9. Everything I've Got Belongs to You
(4:12) 10. Come on & Get It, Honey
(4:57) 11. Nice Girls Don't Stay for Breakfast
(3:28) 12. Why Don't You Do Right?
(3:03) 13. Snatch & Grab It
(3:36) 14. Long John Blues

Welsh singer-pianist Judith Owen now lives in New Orleans. She’s recorded and toured with Richard Thompson and she supported Bryan Ferry during his UK tour.

Owen became intrigued as a young girl by the risqué lyrics of female vocalists after finding records by Nellie Lutcher and Julia Lee that had been hidden by her father. Come On & Get It (Owen’s 13th album) celebrates these and kindred singers like Dinah Washington and Blossom Dearie who delivered similarly suggestive songs in the 40s and 50s. One of them, Julie London’s Nice Girls Don’t Stay For Breakfast, was actually first recorded in 1967, but no one’s complaining.

In keeping with the spirit of things, just as Julia Lee’s band was called “Her Boyfriends”, Owen refers to hers as “Her Gentlemen Callers”. On cornet is Kevin Louis who’s played with Jimmy Heath, Carmen Lundy and Gary Bartz amongst others. His splendid accompaniments are much in the manner of John Chilton’s trumpet playing with that other salty songster, George Melly. The excellent David Torkanowsky (Cyrille Aimée) is on piano; Lex Warshawsky (Cyrille Aimée and Adonis Rose) is on bass and in-demand Pedro Segundo (Ronnie Scott’s All Stars, Dennis Rollins and Kansas Smitty) is on drums. For a taste, try this: Blossom’s Blues.

Every song on the album is a gem delivered with crystal clear intonation by Owen and superb musicianship from the band. There are guest artists along the way who I understand to include 89-year-old Preservation Hall Jazz Band reedsman Charlie Gabriel, Donald Harrison Jr, Jason Marsalis, Nicholas Payton, Evan Christopher and saxophonist Ricardo Pascal. I think they mostly feature in the recording’s three big-band numbers and there’s great saxophone playing on some of the tracks but unfortunately there’s a lack of detail about any of the artists on the promotional CD that I received. Perhaps more information will be on the commercially available issue. Either way, it’s a smashing album and highly recommended.https://jazzjournal.co.uk/2022/10/04/judith-owen-come-on-get-it/

Come On & Get It

---