Ron Carter - Finding the Right Notes

Styles: Jazz, Post Bop
Year: 2022
File: MP3@320K/s
Time: 72:42
Size: 167,0 MB
Art: Front

(5:58) 1. Receipt, Please
(7:26) 2. Soft Winds
(6:11) 3. Flamenco Scetches
(8:25) 4. Bag's Groove (Feat. Stanley Clarke)
(7:21) 5. Willow Weep For Me (Feat. Christian Mcbride)
(9:42) 6. Blues For D.p.
(7:48) 7. Doom Mood
(6:19) 8. My Man's Gone Now (Feat. Bill Frisell)
(7:23) 9. A Nice Song
(6:04) 10. Sweet Lorraine (Feat. Jon Batiste)

On October 21st 2022, America's PBS channel screened a two-hour documentary about the life and work of Ron Carter titled Finding The Right Notes. This seventy-three minute CD is the soundtrack. It is a beauty, a roll-around-in feast of Carter's inimitable, sumptuous bass.

The ten tracks, recorded between 2014 and 2021 in Europe and America, has Carter in situations ranging from duos to a big band, playing jazz standards, songs from the Great American Songbook and his own compositions. One track was recorded at the Newport Jazz Festival, three at the WDR studio in Cologne, two in European concert halls, and in New York two at the Blue Note, one at the Harlem Jazz Museum, and one at the Power Station studio.

If all this sounds like a mish mash, it absolutely is not. The album is cohesive, bound together by Carter's bass, which is featured in all the arrangements, including those with the WDR big band, and by the nature of the tunes which, a couple of velvety swingers aside, are intimate and reflective. None of the material has previously been released and much of it was recorded specially for the documentary. Only one track does not quite come off, Ann Ronell's "Willow Weep For Me," a jam with fellow bassist Christian McBride at the Harlem Jazz Museum. Somehow a bit too much, it may have worked better on screen.

The other nine tracks are unalloyed delights. There are three with the big band, all Carter originals: "Receipt, Please," "Blues For D.P." and "Doom Mood" (a palindrome rather than an exercise in gloom). Two are with a trio featuring guitarist Russell Malone and pianist Donald Vega: Carter's exquisite "A Nice Song" and Fletcher Henderson's swinging "Soft Winds." One is a duet with guitarist Bill Frisell: George Gershwin's "My Man's Gone Now." One is a trio with Malone and bassist Stanley Clarke: Milt Jackson's "Bag's Groove." One is with a quartet with pianist Renee Rosnes, tenor saxophonist Jimmy Greene and drummer Payton Crossley: Miles Davis' "Flamenco Sketches" (check the YouTube below).

The disc closes with an impromptu swing through Cliff Burwell's "Sweet Lorraine" with pianist Jon Batiste. Hopefully, the movie will reach European screens shortly.
By Chris May https://www.allaboutjazz.com/finding-the-right-notes-ron-carter-in-out-records

Personnel: Ron Carter: bass.

Finding the Right Notes

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Greta Panettieri - Into My Garden

Styles: Vocal And Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 39:33
Size: 91,2 MB
Art: Front

(4:27) 1. No More
(4:20) 2. Albero
(6:20) 3. In The Mood
(4:26) 4. I Believe In You
(4:14) 5. Oh Mia Cara Libertà
(5:56) 6. Guru's Way
(4:40) 7. Pensieri
(5:08) 8. How Do I

It's a golden moment for Greta Panettieri: a book that has just come out - the second , two radio programs , presence at international conferences and teaching at the IULM University of Milan and at the Conservatory. A whirlwind of experiences and emotions that led to the birth of the new and eighth album , Into my garden , to be published on 6 January 2023. Anticipated by the fascinating video clip of the song No more, presented in video première by Repubblica TV , Into my garden is the album of maturity, carefully composed, arranged and made during three long and intense years of work.

Seven original songs plus the cover of the Bob Dylan song I believe in you , with music and lyrics signed by Greta and her faithful producer Andrea Sammartino , who present themselves to the world as a tool to untie the knots of a contrasting and difficult to understand world interpret unambiguously and definitively.

Both in the recording studio and in live performances, Greta Panettieri accompanies her voice with the acoustic guitar. Around her a string quartet curated by the violist Chiara Ciancone and the classic bass, piano and drums trio with Daniele Mencarelli, Andrea Sammartino and Alessandro Paternesi, interventions by the guitarist Angelo Lazzeri and the trumpeter Fulvio Sigurtà who give the album a touch of electronics: five musicians with whom Greta has been collaborating for some time, and who complete her soul that has always been multi-stylistic and eclectic, which over the years has expressed itself at the highest levels and with innate dexterity between jazz, pop, R&B, Bossa Nova, adding distant echoes of classical music, ethnic and traditional music.

Of the seven new unreleased songs Greta writes: “ I tried to shed light inside myself, simplifying the writing to untie the knots I've been dealing with in recent times: reflections, sensations, sometimes conflicting but strong and clear emotions. I chose to reinterpret Bob Dylan's I believe in you as a message of encouragement for the new generations, Dylan addresses God, I ... I believe in young people."

The songs are, as always, very eclectic and different from each other: the style and the suggestions go through swing, afrobeat, contemporary R&B groove and pop, up to warmer almost country-folk sounds , with a common threadrepresented by the lyrics or by some melodic cells that are re-proposed in new forms within the songs.

If with the album Collection (released in 2020) Greta had declared a first cycle of music closed, Into my garden represents a beginning with a new artistic maturity. Recorded at 96,000 khz 24bit, so that it can also be listened to by those looking for high quality and definition sound, the disc bears the mark of the unmistakable work of Andrea Sammartino, artistic and life partner, who once again edited from A to Z the production, from the writing of the songs done together with Greta, to the sumptuous and sparkling arrangements, to the studio recording with the musicians, up to the crucial moment of mixing and mastering.

Greta Panettieri :“The composition of “Into my garden” began during the first lockdown and with Andrea we had just bought a microphone to record the sounds of the garden: rain, wind, birds - which every time we record they get on the balcony to chirp! - footsteps on the gravel...These sounds are present in the album and all the lyrics were written on the veranda where I definitely let myself be inspired by the suggestions of nature..."

The words find their voice between English and Italian: "Each language has its own personality, brings with it an emotion and a whole sound legacy that helps me write and express a certain idea or emotion. When I write I let myself be guided by the sound of the words. In this album I don't use Portuguese, a language with which I usually enjoy a lot, but only English which helps me to be concise, and Italian with which I can express the complexity” .https://www.gretasbakerymusic.com/

Musicians: Greta Panettieri I: Vocals, guitar; Andrea Sammartino : Piano; Fulvio Sigurtà: Trumpet, flugelhorn, electronics; Angelo Lazzeri : Guitars; Daniele Mencarelli: Bass; Alessandro Paternesi: Drums; Andrea Libero I quote: 1 Violin; Carla Mulas Gonzàlez: 2 Violin; Chiara Ciancone: Viola ; Sara Ciancone: Cello

Into My Garden

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Ed Cherry Special Trio - Szósta po Poludniu

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 53:13
Size: 49,2 MB
Art: Front

( 7:08) 1. Edda
( 7:27) 2. Peace
( 7:38) 3. Blue in Green
(14:24) 4. In Your Own Sweet Way
( 9:48) 5. Soul Eyes
( 6:48) 6. Look-ka Py Py (The Meters)

"Ed is a great, soulful, swinging underrated player deserving of wider recognition."-bill milkowski 1/13/11"An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing "finger music," the execution of rapid streams of notes that serve no musical purpose other than to fill space"-jim ferguson:jazztimes- "02'*"particularly dazzling"-"cherry's guitar had the young bar crowd dancing"-kay cordtz:blues review-5/10 ***Born in New Haven,Conn.,After moving to New York in 78',Ed Cherry played guitar with Dizzy Gillespie from 1978 to 1992, performing in Gillespie's quartet, big band and with The United Nation Orchestra, which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja).

Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High) that same year as well as performing w/Paquito D'Riveras' small group and recording "Havana Cafe"(Chesky Records).Ed also worked with composer/saxophonist Henry Threadgill for two years(recorded 3 cd's w/ Henry's 'Very Very Circus' group. In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High).

During that same period Ed worked with Hammond organist John Patton recording 3 critically acclaimed cd's with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed Havana, Cuba.During this same period,he also worked w/baritone saxist Hamiett Bluiett,recording Bluiett's cd 'with eyes wide open' on justin-time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his latest CD, The Spirit Speaks on the Canadian Justin Time label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

In 2003 Ed performed with his quartet at Detroit Jazz Festival.Right now,Ed is a member of vocalist Paula West quartet as well as leading his own trio. In addition to his stellar work as a sideman and as a critically acclaimed leader, Ed Cherry also has impressive credentials as a music educator. He taught guitar at Essex Community College in Newark, NJ from 1995 to 1996, and at the Henry Street Settlement in New York City from 1996 to 1997. He was also a faculty member at Montclair State University, School of Fine and Performing Arts for J.O.Y. (Jazz Opportunity for Youth).Ed is currently on staff at 'jazzmobile' here NYC.

Selected discography: ed cherry- first take/ ed cherry-a second look/ ed cherry-the spirits speak/ yoron israel and organic-basic traneing/ hamiett bluiett-with eyes wide open/ tribute to grant green-w/mark whitfield-peter bernstein-russell malone-dave stryker-grant green jr./ mark weinstein-three deuces/ paquito d'rivera- havana cafe/ dizzy gillespie-live in montreaux-1980/ dizzy gillespie-live at royal festival hall/ dizzy gillespie-live at blues alley/ jon faddis-hornucopia/ henry threadgill- makin' a move/jared gold-supersonic/jared gold-golden child...."recommended listening" section of 'jazz masters of the guitar by charles alexander. and ed cherry-it's all good..soon to be released 2012 on posi-tone records https://www.allaboutjazz.com/musicians/ed-cherry

The Ed Cherry Special Trio is the "Polish" version of the group led by a guitarist known for his many years of work with legendary trumpeter Dizzy Gillespie, as well as Henry Threadgill and Hamiet Bluiett. The Special Trio's lineup includes one of the most outstanding Polish bassists of the younger generation – Adam Kowalewski, and drummer Arek Skolik, who is referred to as "the Polish King of Swing". The concert recorded on this CD took place in the Warsaw club Szósta Po Południu (Six in The Afternoon). The musicians drew from the repertoire of composers such as Miles Davis, Dave Brubeck, Wayne Shorter and Mal Waldron.

Recorded live November 6th, 2014 at the Szósta Po Południu club in Warsaw (Poland).

Personnel: Ed Cherry - electric guitar; Adam Kowalewski - double bass; Arek Skolik - drums

Szósta po Poludniu

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Michael Feinberg - From Where We Came

Styles: Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 56:38
Size: 130,1 MB
Art: Front

(7:15) 1. Louisville
(5:27) 2. Cairo
(3:39) 3. Tryon
(9:39) 4. Pontiac
(8:34) 5. Hamlet
(9:00) 6. East St. Louis
(4:37) 7. Tokyo
(8:23) 8. Nogales

At the dinner table or in the studio, there are many subtle methods to interject a staunch conversation starter. Or you can always burst into the room with your hair on fire. Veteran soprano saxophonist Dave Liebman, he of many rich and complex lines past, here opted for the latter approach. After bassist and leader Michael Feinberg opened the record with a mood leveling bass intro, Liebman grabbed the attention of his younger generation bandmates in the Feinberg composition "Louisville," named after the birthplace of the great Muhammed Ali. Said bandmates, in addition to Feinberg, tenor saxophonist Noah Preminger, pianist Gary Versace and drummer Ian Froman responded with intelligence and verve.

In all, eight songs, all composed by Feinberg, are consummate vehicles for expressive interplay and open-ended conversation. Feinberg named all the tunes after the hometown of his musical and athletic heroes. He also wrote all these pieces with his personnel in mind. He gets the best out of all of them by creating passages that employ responsive windows. Compositional depth is very much at the core of From Where We Came.

That said, the quintet takes it over the top by continually firing on all cylinders. Feinberg is no doubt the glue. However, we need not get stuck on that point, as his fluency enriches the interaction. Froman is, as well, much more than pocket perfect. He deftly moves the conversation through transitions and is impactful in facilitating his mates. Often heard as a third member broadening the rhythm section, Versace also adds timely and intuitive remarks to the ever-growing conversations. Liebman and Preminger take this session to a whole other level. Preminger's exuberance, coupled with his learned chops, bring both excitement and insightfulness to the party. Fueled in the moment by Liebman's blaze and intensity, Preminger joyfully rises to the occasion. Liebman lit the spark at the outset and pushed his improvisational bliss forward throughout. He brought his full and expansive arsenal with him...and didn't leave any on the table.

As for the song titles, "Cairo" (Geogia) is the birthplace of legendary Jackie Robinson. "Tryon" (North Carolina) honors Nina Simone. On "Pontiac" (Michigan) you hear Froman taking a run at the peppered swing of Elvin Jones. Every member of the band has a connection to the incomparable drummer. Feinberg once fronted a band called the Elvin Jones Project and Liebman played with Jones in the early 1970s. John Coltrane is dually honored with "Hamlet" (North Carolina). Miles Davis grew up in "East St. Louis" (Missouri), but championed here are trumpeter Russell Gunn and drummer Terreon Gully who also grew up there. Feinberg had the opportunity to see them both on a weekly basis in Atlanta while in high school. "Tokyo" was written for film scorer Ryuichi Sakamoto and with "Nogales" (Arizona) Feinberg pens and plays in memory of Charles Mingus. A well paired and well-prepared quintet present a dense forest of musical interaction and conversational integrity. They covered a lot of ground, geographically, historically, and musically. A substantial listening and thought provoking experience.~ Jim Worsley https://www.allaboutjazz.com/from-where-we-came-michael-feinberg-steeplechase-productions

Personnel: Michael Feinberg: bass; Dave Liebman: saxophone, soprano; Noah Preminger: saxophone, tenor; Gary Versace: piano; Ian Froman: drums.

From Where We Came

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Eric Reed - Groovewise

Size: 136,2 MB
Time: 58:51
File: MP3 @ 320K/s
Released: 2014
Styles: Piano Jazz, Bebop
Art: Front & Back

01. Powerful Paul Robeson (7:58)
02. Until The Last Cat Has Swung (5:40)
03. Manhattan Melodies (6:55)
04. The Gentle Giant (3:42)
05. Ornate (3:44)
06. The Shade Of The Cedar Tree (8:34)
07. Bopward (5:31)
08. Una Mujer Elegante (7:03)
09. Groovewise (9:38)

Personnel:
Seamus Blake - saxophones (except 4)
Eric Reed - piano; Ben Williams- bass
Gregory Hutchinson - drums

Recorded live at Smoke Jazz Club, September 6&7, 2013

Eric Reed and Groovewise are stupid good...

Eric Reed is a man of great passion and great intellect which is why Groovewise works so well. Improvisational music recorded in a live setting is often feast or famine. Reed didn't want to settle so he apparently tapped into the talents of artists that are willing to not only follow his lead but work as a true collective where each has the chance to stretch out and make their own statement, Groovewise doesn't street till 9/9/2014 but in the day of the pre-order and digital download the old fashioned street date has lost true meaning.

Call it a groove or call it swing, you feel it. Reed pushes the music into some previously uncharted territory despite the fact some of the compositions are not brand new. Seamus Blake is a rising star on saxophone however he sat out on "Gentle Giant" which is an exquisite trio offering to the great Mulgrew Miller. The rhythm section is rounded off with critically acclaimed bassist Ben Williams and drum legend Gregory Hutchinson. "Bopward" is a post bop gem reminiscent of a Charlie Parker type direction yet with some more Ornette Coleman type changes. The set opens with "Powerful Paul Robeson" from Clifford Jordan and the enthusiasm from the musical co-conspirators is evident from the first few bars.

There are some pianists that would "phone it in" while banging out some Bill Evans, McCoy Tyner or Keith Jarrett. Eric Reed doesn't do anything half way and neither does this band. Let us hope there is a follow up. ~Brent Black

Groovewise

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The Modern Jazz Quartet - Blues on Bach

Styles: Cool Jazz, Bop
Year: 1973

File: MP3@320K/s
Time: 41:41
Size: 95,8 MB
Art: Front

(2:06)  1. Regret?
(4:58)  2. Blues in B Flat
(3:25)  3. Rise Up in the Morning
(7:54)  4. Blues in A Minor
(3:15)  5. Precious Joy
(8:00)  6. Blues in C Minor
(1:48)  7. Don't Stop This Train
(5:47)  8. Blues in H(B)
(4:24)  9. Tears from the Children

This album has an interesting concept, alternating four original blues with five adaptations of melodies from classical works by Bach. The Modern Jazz Quartet had long been quite adept in both areas, and despite a certain lack of variety on this set (alternating back and forth between the two styles somewhat predictably), the music is largely enjoyable. Vibraphonist Milt Jackson, pianist John Lewis (doubling here on harpsichord), bassist Percy Heath, and drummer Connie Kay were still all very much in their musical prime during the 21st year of the MJQ's existence.~Scott Yanow 

http://www.allmusic.com/album/blues-on-bach-mw0000188569

Personnel: John Lewis (piano, harpsichord); Milt Jackson (vibraharp); Connie Kay (drums, percussion).

Blues on Bach

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Garrison Fewell Quartet - Red Door Number 11

Bitrate: MP3@320K/s
Time: 65:02
Size: 148.9 MB
Styles: Guitar jazz
Year: 2003/2015
Art: Front

[6:04] 1. Hearing Things
[5:31] 2. Johnny Come Lately
[4:27] 3. Spookarella
[9:01] 4. A Reason To Believe
[6:07] 5. Yoùre My Everything
[7:16] 6. 'round Midnight
[5:38] 7. Red Door Number 11
[6:07] 8. Lotus Blossom
[6:49] 9. How Deep Is The Ocean
[7:57] 10. My One And Only Love

Bass – Attilio Zanchi; Drums – Gianni Cazzola; Guitar – Garrison Fewell; Piano – George Cables.

It's been said a thousand times, but restraint is a mark of maturity. When it comes to jazz, understatement is a particular risky maneuver because it can sputter and die right on the tracks. Red Door Number 11 bypasses this pitfall by combining a rich harmonic field with an insistent—in fact, unrelenting, if that word can be used in this context—emphasis on melody.

Guitarist Garrison Fewell has led groups on wax for about ten years, starting with a series on Accurate Records. Technically he's a Bostonian—and professor at Berklee—but he seems to spend most of his time traveling around Europe and the world. His last record on the Italian Splasc(h) label, City of Dreams, was a quintet date featuring saxophonist Tino Tracanna. The brand new Red Door pares things down to a quartet with pianist George Cables reappearing, joined by Italian bassist Attilo Zanchi and drummer Gianni Cazzola.

Fewell completely avoids the usual difficulties guitarists experience when playing alongside pianists, keeping his melody lines clean and never muddling up the harmony. In fact, despite the unobtrusive and propulsive presence of the rhythm section, the hub of the action lies in the counterpoint and interaction between Cables and Fewell. They bounce back and forth, trading roles, reinforcing each other's lines and surprising each other in unpredictable ways. Red Door is a lot like the timeless '60s duet recordings Bill Evans made with Jim Hall in more than a few ways. In the best ways, really.

Four originals by Fewell and his mates balance out a generous handful of standards, though these pieces are nearly indistinguishable in tone. "'Round Midnight" turns the energy down about eight notches, taking the melancholy piece deeper into the grey zone, though the pace belies Fewell's effectiveness as a player and especially an improviser. His solo playing brings a candle into the dark room and renders it a sensitive, romantic experience. The light bopping energy of "How Deep Is the Ocean" builds upon collective strengths and features some of the greatest clarity found on this record.

Provided you have the maturity to appreciate understatement, Red Door Number 11 is an unqualified success. Like his bandmates, Garrison Fewell really has nothing to prove, which in this context is a good thing. But if you're looking for sparks and drama, tune into another channel. That's not what this record is all about. ~AAJ Staff

Red Door Number 11

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Eric Reed - The Dancing Monk

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 49:32
Size: 117,2 MB
Art: Front + Back

(4:04)  1. Ask Me Now
(3:46)  2. Eronel
(5:51)  3. Reflections
(4:47)  4. Light Blue
(6:02)  5. Ruby, My Dear
(4:57)  6. Pannonica
(4:25)  7. Ugly Beauty
(3:52)  8. The Dancing Monk
(6:58)  9. 'Round Midnight
(4:44) 10. Blue Monk

Every jazz pianist stands somewhere in the shadow of Thelonious Monk (1917-1982), and Eric Reed has embraced that shadow, with The Dancing Monk. Interpreting the near-mythic pianist/composer's music let alone making an entire album of his tunes poses significant challenges to any modern musician, and especially for a pianist. First, Monk's compositions are, indeed, challenging, in and of themselves; full of odd meters, syncopations, and some of the most counter-intuitive melodies ever written. Second, Monk's flat-fingered keyboard work was completely unique and uniquely intertwined with his music. His piano playing was an integral part of those songs and very much one of the major components of his greatness. It is difficult to imagine one without the other. Therein rests the conundrum. A modern pianist interpreting this music is faced with the daunting task of separating Monk's music from his piano playing, retaining the compositions, and then bringing something new to the party. The alternative is to risk simply making an analogue copy of performances that are now between forty and sixty years old. It takes real sensitivity to play this music in a fashion that retains what is great about the compositions, without butchering the performance with incongruous pianism. Of course, it is likely this exact challenge that keeps musicians regularly attempting this musical feat, with widely varying degrees of success. Happily, The Dancing Monk is largely successful. Reed is a technically gifted player which can be dangerous when over-employed on Monk's odd compositions but he manages to compliment the songs with performances that are sensitive to the material as well as being beautifully played. 

On "Eronel," he plays subtly rubato, adding a very Monk-like quality to the performance without directly imitating the source a very nice touch. "Light Blue," finds the piano in the background for a time, comping the melody as stated ably by bassist Ben Wolfe, before reemerging to take a smooth, flowing workout. On, "Ugly Beauty," drummer McClenty Hunter adds a very subtle Latin overtone, leaving the framework of the original intact, but adding a completely new flavor. Reed contributes exactly one original to the date, the title track, where, ironically, he most closely imitates Monk's playing style. It would be highly believable if presented as a long-lost Monk original but, as-is, it is a well-crafted homage to a genius. In the end, The Dancing Monk works because it takes a canon of unique and highly identifiable music and compliments it rather than trying to completely rework it. In the process, Reed has managed to make these songs sound fresh and interesting, and that might be the highest compliment that can be given to an entire album dedicated to the compositions of someone as singular as Thelonious Monk.~Greg Simmons http://www.allaboutjazz.com/php/article.php?id=39030#.U08fg1dSvro

Personnel: Eric Reed: piano; Ben Wolfe: bass; McClenty Hunter: drums.

Jo Jones - The Essential Jo Jones

Styles: Jazz, Post Bop
Year: 1990
File: MP3@320K/s
Time: 78:28
Size: 180,0 MB
Art: Front

(5:55)  1. Shoe Shine Boy (first take)
(6:33)  2. Lover Man (Oh, Where Can You Be?)
(4:50)  3. Georgia Mae
(4:01)  4. Caravan
(7:50)  5. Lincoln Heights
(6:44)  6. Embraceable You
(5:54)  7. Satin Doll
(5:22)  8. Little Susie
(4:48)  9. Spider Kelly's Blues
(4:03) 10. Cubano Chant
(4:55) 11. Splittin'
(4:42) 12. Sweet Lorraine
(2:40) 13. Bicycle for Two
(6:44) 14. Old Man River
(3:26) 15. Sometimes I'm Happy

Jo Jones, one of the most influential drummers of the swing era, did not lead that many recording sessions of his own during his career. Producer John Hammond gave him his first two dates when he was working for Vanguard and, with the exception of a second take of "Shoe Shine Boy," all of the music from the two LPs is on this single-CD reissue. The first session is very much in the spirit of Count Basie's band; in fact, Basie himself makes a guest appearance on "Shoe Shine Boy." The other swing-oriented players include trumpeter Emmett Berry, guitarist Freddie Green, tenor saxophonist Lucky Thompson, and (on one song apiece) trombonist Lawrence Brown and clarinetist Rudy Powell. The later date is quite a bit different: a trio session with pianist Ray Bryant and bassist Tommy Bryant. There is a liberal amount of drum soloing but the early versions of Ray Bryant's "Cubano Chant" and "Little Susie" are of greatest interest. ~ Scott Yanow https://www.allmusic.com/album/the-essential-jo-jones-mw0000644547

Personnel:  Drums – Jo Jones;  Bass – Tommy Bryant, Walter Page;  Clarinet – Rudy Powell;  Guitar – Freddie Green;  Piano – Count Basie, Nat Pierce, Ray Bryant;  Tenor Saxophone – Lucky Thompson;  Trombone – Benny Green, Lawrence Brown;  Trumpet – Emmett Berry    

The Essential Jo Jones

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Lucia Fodde - Traces Of You

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 42:46
Size: 98,6 MB
Art: Front

(4:07) 1. Yesterdays
(3:38) 2. I Don't Know How To Say Goodbye
(5:28) 3. That Old Feeling
(4:41) 4. Wild Land
(3:55) 5. Maybe
(4:21) 6. Day By Day
(3:30) 7. No One Knows Me But You
(4:19) 8. Atrás Da Porta
(3:46) 9. Never Will I Marry
(4:56) 10. Dentro Questo Vento

Sardinia-born Lucia Fodde offers fresh new takes on jazz standards a bit like fellow Berlin singer and namesake Lucia Cadotsch, but with a more traditional approach. Fodde’s vocals are firmly in the mainstream tradition, with hints of Abbey Lincoln and Anita O’Day.

Her taut band and crisp production ensure that this set never fades into a tired retro exercise, though.Since launching her career with a Cole Porter tribute a decade ago, Fodde has also become an able songwriter. On her third album, she mixes in five appealing originals (some with charmingly quirky English lyrics), with the classic-sounding No One Knows Me But You a standout.
https://jazzjournal.co.uk/2022/12/09/lucia-fodde-traces-of-you/

Traces Of You

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Michael Feinberg - Blues Variant

Styles: Contemporary Jazz
Year: 2023
File: MP3@320K/s
Time: 49:51
Size: 114,7 MB
Art: Front

(4:11) 1. Blues Variant
(6:03) 2. Saqqara
(3:58) 3. High Or Booze
(4:35) 4. The Healing Power Of Grits
(4:57) 5. Eye Of The Hurricane
(5:51) 6. The Water Brouht Us, The Water Spirit Will Take Us Home
(5:27) 7. Gather Power
(4:26) 8. Improvisation (For Leslie)
(4:43) 9. Cycle Song
(5:36) 10. Year Of Ox

An intriguing element of Michael Feinberg’s superb Criss Cross debut is that the leader could easily have titled it “Bassist In The Background” (Fans of Duke Ellington’s wonderful 1960 LP "Pianist In The Background" will know what I mean). Throughout Blues Variant which includes six tunefully percolating originals by Feinberg, one by tenor saxophonist Noah Preminger, and one by pianist Leo Genovese the 35-year-old bass maestro hews to the mantra, “If you want to hear me solo, come to a gig, where I often play a solo on every tune”.

“I’m serving the music,” Feinberg continues. “What I appreciate about a bass player is how they make the other people in the band sound. I love hearing the soloistic abilities of Christian McBride, John Patitucci, Dave Holland and the people I idolize, but they’re amazing because, when they play, it feels incredible and they push their bandmates to be the best versions of themselves or go beyond what they think they can do.” As another example, Feinberg mentions Jimmy Garrison, who triangulated between McCoy Tyner and Elvin Jones with the “spiritually transcendent” John Coltrane Quartet between 1961 and 1965. “He rarely plays a solo, but you don’t get the Coltrane quartet with anyone else. So I don’t care about the solos, or being on top of the mix to indicate ‘this is a bass player’s record.’ I play a ton of notes. I’m playing the whole time. Can’t miss it.”

Feinberg’s remarks on the Garrison effect carry a certain gravitas; since the early 2010s, when he did The Elvin Jones Project, he’s delved into Coltrane’s repertoire on its own terms of engagement on numerous gigs, most of them featuring Preminger playing tenor saxophone and Ian Froman on drums. On the pan-stylistic Blues Variant, he connects with the spirit of the great drum griot via the presence on three intense selections of Elvin alumnus Dave Liebman, Preminger’s teacher during student years. who has often employed Froman. Feinberg’s introduction to Liebman’s singular sound was Earth Jones, a 1982 Elvin-led release with Liebman, trumpeter Terumaso Hino, pianist Kenny Kirkland and bassist George Mraz. “I know every note of it,” Feinberg says. “I’ve been a fan of Dave’s playing for a long time.”
https://www.crisscrossjazz.com/album/1413.html

Personnel: Bass – Michael Feinberg; Drums – Nasheet Waits; Piano, Keyboards – Leo Genovese; Soprano Saxophone, Flute – Dave Liebman; Tenor Saxophone, Flute – Noah Preminger

Blues Variant

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Annie Sellick - Big Big Time: The Songs of Tom Sturdevant, Vol. 2

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 33:42
Size: 78,0 MB
Art: Front

(3:41) 1. Knock On The Door
(3:55) 2. Angeline
(3:28) 3. Flax Jones
(3:38) 4. A Friend Like You
(4:54) 5. Between Your Heart And Mine
(4:53) 6. Good Good Day
(3:48) 7. My Baby The Moon And Me
(5:21) 8. Feeling Very Very

These days she’s fostering a passion for the electric bass and producing electronic music, but vocalist Annie Sellick is most known for twenty-five years of fronting jazz trios. She is known by everyone for her unique and undeniable stage presence, and an ability to use repertoire to share personal authenticity, and connect with the band members as well as everyone in the room. “She doesn’t just sing, she swings, tells stories, shares her heart and celebrates simultaneously” (CDBaby fan post).

An accomplished bandleader, she made her living for most of those years by honing relationships with jazz musicians in the areas she toured and traveling to them, sending arrangements in advance, rehearsing them at soundcheck and fleshing out the rest of the show by calling jazz standards and cuing style treatments that would feature the strengths of the musicians on her stage.

Her seasoned sense of rhythm, swing and phrasing makes obvious that she can (and has) hang with some of the top names in jazz. She’s also had a life in gypsy swing and big band jazz orchestras, and performed with several known groups in those genres ,as well as lead her own. She’s released eight albums under her own label. http://www.anniesellick.com/about

Personnel: Anne Sellick(voc); Chris Walters(p); Zeb Briskovich(b); Chris Brown(ds) plus horns and strings and some weird noises

Big Big Time: The Songs of Tom Sturdevant, Vol. 2

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Jo Jones - Smiles (1969-1975)

Bitrate: MP3@320K/s
Time: 68:47
Size: 157.5 MB
Styles: Mainstream jazz
Year: 2004
Art: Front

[ 4:07] 1. Love Is Just Around The Corner
[ 5:55] 2. I Cried For You
[ 3:17] 3. A Wig On The Bold Headed Mountain
[ 2:40] 4. I Found A New Set Of Drums
[ 3:15] 5. Dinah
[ 2:34] 6. In A Little Spanish Town
[ 3:10] 7. Slide Jimmy Slide
[ 3:06] 8. The Way You Look Tonight
[ 2:49] 9. Smiles
[15:44] 10. Caravan
[ 4:04] 11. On The Sunny Side Of The Street
[ 4:57] 12. Pennies From Heaven
[ 3:51] 13. Little Miss Maudlin
[ 9:10] 14. I Found A New Chapeau

Papa Jo performed regularly in Europe and especially in France during the late 1960s through a large part of the 1970s. This album captures some of those performances as recorded by Disques Black & Blue (hence, 'The Definitive Black & Blue Sessions'.) The first ten tracks were released as Jo Jones - Caravan in 1974 by Disques Black & Blue, and dominate the album. Those tracks were recorded on 28 February 1974 at Barclay Studios in Paris, except Slide Jimmy Slide, which was recorded on 26 February in the studio, and Caravan was recorded live in Paris on January 13th 1974. Personnel on the first ten tracks are: Papa Jo Jones on drums, Major Holley on bass (except for Caravan), Gerry Wiggins on piano on all tracks except for Slide Jimmy Slide, which has Milt Buckner on piano, and Caravan, which has Milt Buckner on organ. Illinois Jacquet is on tenor saxophone on Caravan. The remaining four tracks, taken from other Paris performances between 1969 and 1975, have basically Papa Jo Jones on drums and Milt Buckner on organ.

To my ears the music is excellent and Papa Jo's drumming in superb form. If you are a drummer this album is one to study (along with Papa Jo's other work). If you are a pianist or organist, Gerry Wiggins and Milt Buckner both are worth studying especially Buckner who is credited as a pioneer of parallel chord playing.~Mike Tarrani

Smiles (1969-1975)

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Julian Lage - View With A Room

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 43:16
Size: 99,4 MB
Art: Front

(5:47) 1. Tributary
(3:15) 2. Word For Word
(4:28) 3. Auditorium
(3:31) 4. Heart Is A Drum
(4:52) 5. Echo
(4:19) 6. Chavez
(3:58) 7. Temple Steps
(3:57) 8. Castle Park
(5:10) 9. Let Every Room Sing
(3:55) 10. Fairbanks

View With A Room looks in on two generations of American guitarists; the younger generation is represented by Julian Lage, the leader of the effort, and the older generation by Bill Frisell, who sits in on seven of the ten original Lage tunes ("Echo" is co-written by Lage and the set's bassist Jorge Roeder).

Following up on Lage's 2021 Blue Note Records debut, Squint (and let's give the label's boss, Don Was, a big tip of the hat for bringing the label back into the forefront of modern jazz), Lage again employs his blue ribbon trio mates, drummer Jorge Roeder and drummer Dave King, along with his front line cohort and guitar partner, Frisell. The two guitarists share a complete lack of pretense in their approach to music, making excellent, rock- solid, stripped-down guitar atmospherics with a light but deft hand on the production side tunes which could fit into a playlist with the classic old and new guitar hits. The old: Dick Dale and the Del-Tones, Link Wray, the Chantays.

The new: Pat Metheny, Mary Halvorson and (of course) Bill Frisell, the finest of American jazz guitarists (and O. K, vote for Pat Metheny if you want to; an argument can be made), This is two masters of the six strings sitting down without overplanning (or so it sounds), in the Lage's garage actually not, though it has that relaxed atmosphere, the ease and fluidity of expression playing guitar tunes as engaging a 1963's "Pipeline" by the Chantays, or Link Wray's "Rumble" from 1958.

Drummer King and bassist Roeder are mostly understated, serving this intricate, plain-spoken music well, on a set which has a subdued mood from start to finish. The album features a definite American feeling, authentically so, twanging at times, picking out sharp, succinct, delicate points of light at others, with the pair of guitars painting lush, beautiful harmonies. It has the feel of a sophisticated and virtuosic cowboy band.

At this point in his career, Frisell has nothing to prove. Then he sits down and proves his expansive talent anyway. Lage, more than three decades Frisell's junior, does have things to prove, and he continues to go about that task with unwavering success on View With A Room.By Dan McClenaghan https://www.allaboutjazz.com/view-with-a-room-julian-lage-blue-note-records

Personnel: Julian Lage: guitar, electric; Bill Frisell: guitar, electric; Jorge Roeder: bass, acoustic; Dave King: drums.

View With A Room

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Rachael & Vilray - I Love A Love Song!

Styles: Vocal And Guitar Jazz
Year: 2023
Time: 45:48
File: MP3 @ 320K/s
Size: 105,8 MB
Art: Front

(3:31) 1. Any Little Time
(3:47) 2. Even In The Evenin'
(4:13) 3. Is A Good Man Real?
(3:16) 4. Just Two
(3:04) 5. Why Do I?
(3:14) 6. I'm Not Ready
(3:33) 7. Join Me In A Dream
(3:33) 8. Hate Is The Basis (Of Love)
(3:48) 9. A Love Song, Played Slow
(3:07) 10. Just Me This Year
(3:41) 11. I've Drawn Your Face
(3:25) 12. Goodnight My Love
(3:31) 13. Let's Make Love On This Plane (Full Band Version Bonus Track)

Harking back to the jazz of the 1940s and '50s, Rachael & Vilray's sophomore album, 2023's I Love a Love Song!, is a delightfully romantic and swinging homage to the golden era of traditional pop. Showcasing the talents of singer Rachael Price and singer/guitarist/songwriter Vilray Blair Bolles, Rachael & Vilray initially met while students at Boston's New England Conservatory before reconnecting around 2015 over their shared love of jazz standards and Tin Pan Alley pop. Although they've performed classic standards together (here, they take on Mack Gordon and Harry Revel's "Goodnight, My Love"), it's their knack for crafting their own swooning, literate songs in the traditional style of composers like Cole Porter and Johnny Mercer that makes their work so uniquely compelling.

It's a vibe they debuted on 2019's Rachael & Vilray and which they further perfect here. Even if their songs weren't so good (and they are) Price and Bolles can sing the heck out of a tune. Although best known for her funk-infused pop with Lake Street Dive, Price is a trained jazz singer whose dusky style evokes the cool, West Coast sound of icons like June Christy and Peggy Lee. Equally evocative, Bolles' warm, matter of fact tone brings to mind a relaxing blend of Dean Martin and Perry Como. They take turns leading songs throughout the album, often trading choruses, or as on the magical, Count Basie-esque "Just Two," sing in close harmony á la vocal groups like the Modernaires.

Other notable songs full of wry, melodic wordplay pop up throughout, as on Bolles' "Why Do I" in which Price compares her relationship woes to the animal world, singing "clams to my knowledge don't sigh/and moths ain't left wondering why/each time their fellow flies out, they needn't weep their eyes out/so why do I?" Also adding to the air of stylistic legitimacy are the duo's stellar backing ensemble featuring pianist Larry Goldings, bassist David Piltch, and drummer Joe La Barbera. Also joining them again is saxophonist/arranger Jacob Zimmerman and his horn section, all of which add to the old-school nightclub vibes Rachael & Vilray are going for.By Matt Collar https://www.allmusic.com/album/i-love-a-love-song%21-mw0003837217

Personnel: Vocals – Rachael Price, Guitar, Vocals – Vilray; Alto Saxophone, Clarinet – Jacob Zimmerman (tracks: 1, 4, 6, 7, 10); Bass – David Piltch; Drums – Joe LaBarbera; Piano, Organ, Celesta – Larry Goldings; Tenor Saxophone – Nate Ketner (tracks: 1, 7, 10); Trombone – Joey Sellers (tracks: 10); Trombone, Trumpet – Dan Barrett (3); Trumpet – Jim Ziegler (tracks: (Except track 10)

I Love A Love Song!

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Eric Reed - The Baddest Monk

Styles: Piano Jazz
Year: 2012
File: MP3@320K/s
Time: 53:37
Size: 123,2 MB
Art: Front

(5:08)  1. Rhythm-a-ning
(7:13)  2. Epistrophy
(6:19)  3. Green Chimneys
(4:06)  4. Monk's Mood
(8:22)  5. 'Round Midnight
(9:12)  6. Evidence
(5:59)  7. Monk Beurre Rouge
(3:28)  8. Bright Mississippi
(3:45)  9. The Baddest Monk

Eric Reed is making a habit of covering Thelonious Monk. A year after releasing The Dancing Monk, the pianist has issued another album of Monk tunes. The Baddest Monk includes seven of the bebop father’s tunes and two Monk-ish originals. In doing so, Reed proves that there is always something new to say about, and through, Monk’s music. The core of the band is the rhythm section, with Matt Clohesy on bass and Henry Cole on drums. Tenor saxophonist Seamus Blake appears on four tunes and trumpeter Etienne Charles on three. When the whole quintet plays, it gets into some spirited grooves. The funky bop of a rearranged “Rhythm-a-Ning” sets up Reed’s solo nicely; he smooths Monk’s jagged edges even as he lets a hail of notes fly. After horn solos on “Epistrophy” marked by crisp staccatos (Charles) and winding, curving figures (Blake), Reed plays contrapuntally and counter-rhythmically as he sinks his claws into the chord changes. 

By itself the trio is equally powerful. “Green Chimneys” features an unusual rhythm, one that feels drawn from bebop, marches and West African music. Indeed, Cole’s masterful drumming is the focus; the melody disappears beneath the beat, the blistering bass and the piano’s flurry. The three are reflective on a soft rendition of “Monk’s Mood,” and they gallop through “Evidence,” with Reed taking a long workout of a solo. Reed’s originals “Monk Beurre Rouge,” which seems to interpolate part of “Crepuscule With Nellie,” and the title track, a bluesy piano solo fit in perfectly. The disc’s literal and figurative center is “’Round Midnight,” a vocal performance by José James, who revamps the melody with his velvety baritone, Reed comping behind him. ~ Steve Greenlee   http://jazztimes.com/articles/30417-the-baddest-monk-eric-reed.

Personnel: Eric Reed (piano); Seamus Blake (tenor saxophone); Etienne Charles (trumpet); Henry Cole (drums).

The Baddest Monk

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George Shearing - Lullaby Of Birdland

Bitrate: MP3@320K/s
Time: 42:34
Size: 97.5 MB
Styles: Piano jazz
Year: 1953
Art: Front

[2:39] 1. Lullaby Of Birdland
[3:02] 2. I'll Never Smile Again
[2:41] 3. I Remember You
[2:54] 4. My Silent Love
[2:29] 5. They All Laughed
[2:31] 6. Loose Leaf
[2:32] 7. Minoration
[3:15] 8. Midnight Mood
[2:48] 9. Simplicity
[2:23] 10. Over The Rainbow
[2:47] 11. How High The Moon
[2:42] 12. When Lights Are Low
[2:17] 13. Basic English
[2:34] 14. I Hear A Rhapsody
[2:36] 15. Undecided
[2:18] 16. Lullaby Of Birdland

About the song "Lullaby Of Birdland": George Shearing's biggest hit is easily "Lullaby of Birdland," which is based on the chord changes to the now easily overshadowed standard "Love Me or Leave Me." This swinging tune caught on as the theme song used during radio broadcasts from the original Birdland club, with both swing bands and boppers alike putting their touch on it. Shearing's song has never really fallen out of favor since he first recorded it for MGM in 1952, countless recordings (either studio, concert or air checks from Birdland broadcasts) have been issued commercially; some of the many musicians who can be heard playing it include Duke Ellington, Count Basie, Coleman Hawkins, Lester Young, Bud Powell, Stan Getz, Erroll Garner, Miles Davis, Art Blakey and even Charlie Parker, for whom Birdland was named. Once lyrics were added by George Weiss, its appeal widened to singers such as Ella Fitzgerald, Sarah Vaughan and Mel Torme. Shearing has revisited his magnum opus on several occasions, and it still must bring in fairly hefty royalties for its composer, as its appeal has hardly declined since its initial surge of popularity. ~Ken Dryden

Lullaby Of Birdland

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Sonny Stitt - How High The Moon

Styles: Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 66:04
Size: 151,7 MB
Art: Front

(3:58)  1. Koko
(4:00)  2. Easy Living
(4:43)  3. It's Hipper Than That
(4:47)  4. How High The Moon
(3:49)  5. Lover Man
(5:28)  6. Fools Rush In
(7:13)  7. Lonesome Road
(4:23)  8. I Want To Go Home
(6:38)  9. Katea
(4:30) 10. Flame And Frost
(5:14) 11. The Night Has A Thousand Eyes
(5:17) 12. Our Day Will Come
(5:57) 13. My Main Man

This is a 1998 CD reissue guaranteed to frustrate completists. Rather than bring back a complete session or two, the CD has "highlights" from three vintage Sonny Stitt dates owned by Chess and originally put out by Argo and Cadet. Five of the ten numbers cut at a superb 1958 quartet date with pianist Barry Harris (Burnin'), four of the six selections from a rare meeting with tenor saxophonist Zoot Sims (Inter-action) and four of the seven performances from a more routine encounter with trombonist Bennie Green and organist Bobby Buster (My Main Man) are included. The music is generally quite good (particularly "Koko," "How High the Moon," "Lonesome Road" and "The Night Has a Thousand Eyes"), and Stitt plays eight songs on tenor and five on alto, showing off his solid sense of swing and his command of the bebop vocabulary. One just wishes the music had been reissued more coherently. ~ Scott Yanow  http://www.allmusic.com/album/how-high-the-moon-mw0000036216

Personnel: Sonny Stitt (alto saxophone, tenor saxophone); Joe Diorio (guitar); Zoot Sims (tenor saxophone); Bennie Green (trombone); John Young , Barry Harris , Barry Harris Trio (piano); Bobby Buster (organ); Frank Gant, Dorel Anderson, Phil Thomas (drums).

How High The Moon

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Petra Van Nuis, Andy Brown - Lonely Girl: I Remember Julie

Styles: Vocal And Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 58:40
Size: 134,8 MB
Art: Front

(3:05) 1. Lonely Girl
(4:30) 2. Trav'lin Light
(4:51) 3. You've Changed
(3:28) 4. The End Of The World
(5:02) 5. Something Cool
(3:44) 6. Here's That Rainy Day
(4:58) 7. The Meaning Of The Blues
(5:11) 8. Blues In The Night
(4:58) 9. It Never Entered My Mind
(3:45) 10. I Should Care
(3:10) 11. Baby Won't You Please Come Home
(6:54) 12. Spring Can Really Hang You Up The Most
(4:58) 13. Cry Me A River

Julie London made a name for herself as an actress and a singer during the '50s and '60s. Today, however, her legacy as a singer overshadows her acting career. During her lifetime, she released around thirty albums, and several of the recordings still continue to influence jazz performers. Chicago-based singer Petra van Nuis is among these, and Lonely Girl I Remember Julie is her tribute to this legendary performer.

Judging from the title alone, it might be tempting to assume that this is a track-by-track recreation of London's 1956 album Lonely Girl (Liberty). However, that is not the case. For this album, van Nuis focused more on London's overall influence, and the selections range from standards to popular songs which London recorded over the years.

One thing that set London apart from many other vocalists was her instrumentation. While many jazz vocalists recorded with lush orchestration or full bands backing them up, London's records often featured vocals only accompanied by a guitar. Julie Is Her Name (Liberty 1955) had Barney Kessel on guitar and Lonely Girl featured guitarist Al Viola. In keeping with that spirit, van Nuis recorded Lonely Girl I Remember Julie as a duet with her husband, Andy Brown, on guitar. Brown discusses this approach in the liner notes. Before London came along, the idea of simply having a singer backed by a guitarist "was unthinkable. Julie's landmark first album Julie Is Her Name changed that landscape forever."

Julie Is Her Name and Lonely Girl were both important albums for van Nuis. She describes how London was one of her earliest influences, "I studied every nuance of Julie's singing, and she became my teacher." Her albums became "my assignments." It is obvious that van Nuis did her homework because she manages to flawlessly capture the true spirit of London's recordings.

Along with van Nuis' vocals, Brown's guitar work deserves recognition. From listening to this recording alone, it is easy to see that he is one of the finest contemporary jazz guitarists. His playing is deeply rooted in jazz guitar tradition, and he has certainly listened to his share of Kessel and Viola. However, there are hints of Johnny Smith, Kenny Burrell, and Joe Pass in his style as well. His tasteful chord melody arrangements complement van Nuis' vocals in a way which brings out the emotional impact of each song. From melancholy songs such as "You've Changed" to upbeat numbers such as "Travelin' Light," there is a unique musical conversation going on here.

Something that is evident from Lonely Girl I Remember Julie is that van Nuis and Brown provide more than just excellent performances. They are able to convey a sense of true passion for the music, which greatly enhances the listening experience. It is easy to see that both are not only excellent musical performers but are also serious music listeners. This album successfully showcases their talents and presents a worthwhile tribute to Julie London's legacy. By Kyle Simpler https://www.allaboutjazz.com/lonely-girl-i-remember-julie-petra-van-nuis-string-damper

Personnel: Petra van Nuis: voice / vocals; Andy Brown: guitar.

Lonely Girl: I Remember Julie

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Enrico Pieranunzi - Blues & Bach: The Music of John Lewis

Styles: Piano Jazz, Big Band
Year: 2023
File: MP3@320K/s
Time: 52:54
Size: 121,9 MB
Art: Front

(7:36) 1. Skating In Central Park
(6:03) 2. Spanish Steps
(4:59) 3. Vendome
(6:12) 4. Autumn In New York
(7:53) 5. Django
(7:30) 6. Concorde
(7:31) 7. Milano
(5:06) 8. Jasmine Tree

If the work of any jazz composer lends itself to elegant reframing, as opposed to crass sweetening, by a chamber orchestra, it is that of John Lewis, co-founder of the Modern Jazz Quartet. Lewis' ambition, most often metaphorically realised but sometimes literally so, was to achieve a synthesis of blues and Bach. His blends were mostly successful and only occasionally, in self-conscious forays into "third stream" music, did his innate vibrancy become subsumed in arid academia.

Lewis composed and recorded a large body of work under his own name and for other bandleaders, but for many people his apotheosis was with the MJQ. Pianist Enrico Pieranunzi and arranger Michele Corcella, here leading the Orchestra Filarmonica Italiana, appear to agree, for all but one of the pieces on the delightful Blues & Bach: The Music Of John Lewis were written by Lewis for the quartet. The exception, Vernon Duke's "Autumn In New York," was recorded by the MJQ for its debut album, Modern Jazz Quartet (Prestige, 1953). A more accurate, though clunky, subtitle for Blues & Bach would be The Music John Lewis Composed For The MJQ.

Anyway, along with Duke's evergreen, there are seven Lewis originals: "Skating In Central Park," "Spanish Steps," "Vendome," "Django," "Concorde," "Milano" and "Jasmine Tree." A mere seven tracks could not possibly include everyone's favourite Lewis/MJQ tunes, but there is a good chance that most of these titles would be on most people's shortlists. The least well known track is probably "Jasmine Tree," from Under The Jasmin Tree (Apple, 1968), a beauty that thoroughly deserves its inclusion.

As collaborators on this project, Pieranunzi and Corcella are well matched. Pieranunzi is as well versed in classical music as he is in jazz, while Corcella has orchestrated for other A-list jazz musicians including Dave Liebman, Steve Swallow, John Taylor and Norma Winstone. Pieranunzi leads his regular trio with bassist Luca Bulgarelli and drummer Mauro Beggio. Corcella conducts ten players, comprising five strings, four woodwinds and one brass. He is also credited as arranger, but whether this is of the Orchestra Filarmonica Italiana, or the orchestra plus Pieranunzi's trio, is not clear. It is inconceivable, however, that Pieraunzi was a passive spectator of the process, even if Corcella wrote the first drafts.

The project was several years in progress, as indicated by the YouTube clip below of a 2018 concert performance with a considerably larger orchestra. The album itself was not recorded until late 2021, and plenty of honing, tweaking and fine focussing happened between times.

It is foolish and presumptuous to attribute opinions to people who are no longer with us. But it is probably safe to say that the odds are that Lewis would enjoy Blues & Bach. The orchestrations bring new facets to the familiar compositions and are as light on their feet as the source material, while Pieranunzi's trio, collectively and as soloists, keeps the music foursquare in the realm of creative jazz.

Footnote: It would be fascinating to hear how Bach would have worked with the blues. The closest we are likely to get is with the MJQ's Blues On Bach (Atlantic, 1974), a concept album built around blues written by Lewis based on various Bach chorales and fugues.By Chris May https://www.allaboutjazz.com/blues-and-bach-the-music-of-john-lewis-enrico-pieranunzi-trio-and-orchestra-challenge-records

Personnel: Enrico Pieranunzi: piano; Luca Bulgarelli: bass; Mauro Beggio: drums
.
Additional Instrumentation: Orchestra Filarmonica Italiana: Cesare Carretta: first violin; Silvia Maffeis: second violin; Erica Mason: viola; Nicolo Nigrelli: cello; Andrea Sala: double bass; Serena Bonazzi: flute; Carlo Ambrosoli: oboe; Damiano Bertasa: clarinet; Luca Reverberi: bassoon; Angelo Borroni: French horn; Michele Corcella: arranger, conductor.

Blues & Bach: The Music Of John Lewis

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