Clark Tracey & Dominic Galea - The Legacy

Styles: Bop, Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 46:26
Size: 106,6 MB
Art: Front

(5:31) 1. Rainbow At The Five Mile Road
(5:41) 2. November The 15th
(5:40) 3. The Scorpion (F.r.t.s.)
(7:05) 4. Sweet Used To Be
(6:13) 5. At Sunset
(6:13) 6. Baby Blue
(5:24) 7. Birds
(4:33) 8. Cuddly

The legacy referred to in the title of this wonderful release harks back to the friendship between Maltese pianist, Sammy Galea and the UK’s own Stan Tracey, who were both highly respected jazz musicians in their home countries. Through coincidence or fate their sons also became firm friends, and both followed their father’s profession in becoming first class jazz musicians in their own right.

This collaborative album captures both Dominic and Clark at their best in a programme comprising of compositions written by Galea and Tracey Snr. Assembling a top drawer band using the reliable and inventive Arnie Somogyi on bass and the front-line horns of Alan Barnes and Mark Armstrong. All members of the quintet are of the same generation and have played extensively together in various line up over the years. This familiarity with each other’s playing lends an air of maturity and experience to proceeding that shine through in each and every number.

The compositions are all exceptional and delivered with an authority that is immediately attention grabbing and does not let up until the last note fades. That the band mean business is evident from the opening bars of ‘Rainbow At The Five Mile Road’ by Stan Tracey.

After the full steam ahead approach to ‘Rainbow’, Galea follows with ‘November The 15th. Far more relaxed with a controlled vibrancy that yields a lovely solo from Dominic Galea and very different solos from Alan Barnes on alto and the trumpet of Mark Armstrong.

This relaxed state of mind is picked up again on Stan’s wonderful ballad ‘Sweet Used To Be’. Galea’s opening piano is exquisite prior to Alan Barnes’s plangent alto and the burnished sound of Armstrong’s open horn in his finest solo of the set. Lovely stuff!

Sammy Galea had a knack of writing catchy and memorable tunes that swing hard, and a couple such compositions appear here. First up is ‘The Scorpion(F.R.T.S.)’ that has an exuberant and melodic solo from the pianist which is supported unobtrusively by Clark and Arnie Somogyi. ‘At Sunset ‘is another delightful swinger with an unforgettable melodic hook. The tempo and feel of the piece suits Armstrong down to the ground and he gets in a cracking solo. Galea is up next with a brief and concise offering before Barnes gets in on the action, getting in a Parker quotation while trading fours with the drummer.

The saxophonist switches to baritone saxophone for a couple of Stan Tracey compositions ‘Baby Blue’ has a relaxed and nonchalant air about it, and Barnes takes this as his cue to deliver a suitably laconic solo on the larger horn.

The second baritone feature is on Stan’s ‘Cuddly’ that closes the set. Anything but cuddly, this is a hard swinging number producing excellent solos from all and a fitting way to conclude this fine album.By Nick Lea https://jazzviews.net/clark-tracey-dominic-galea-the-legacy/

Personnel: Dominic Galea (piano); Clark Tracey (drums); Alan Barnes (alto & baritone saxophones); Mark Armstrong (trumpet & flugelhorn); Arnie Somogyi (bass)

The Legacy

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Mike Moreno - Standards from Film

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 66:33
Size: 153,1 MB
Art: Front

(2:30) 1. Beautiful Love
(5:30) 2. You Stepped Out Of A Dream
(6:55) 3. There Will Never Be Another You
(6:39) 4. Stella By Starlight
(8:17) 5. Laura
(7:31) 6. I Fall In Love Too Easily
(7:00) 7. On Green Dolphin Street
(4:16) 8. My Foolish Heart
(8:06) 9. Invitation
(9:44) 10. Days Of Wine And Roses

At last. An enjoyable alternative to the ghastly albums of "jazzed up" hymns and Christmas carols which spew forth every holiday season. There is nothing overtly Christmassy about guitarist Mike Moreno's Standards From Film, but it is appropriate that the album, recorded in New York in December 2021, was released in the UK in early December 2022 and came out in the US a month or so earlier. It nails the seasonal nostalgia spike and then some.

Moreno, always a lyrical player and never more so than on this occasion, has chosen ten of his favourite evergreens, each of which was either commissioned for a movie soundtrack or included in one within a year or so of being published. They are Wayne King, Victor Young and Egbert Van Alstyne's "Beautiful Love," Herb Brown's "You Stepped Out Of A Dream," Harry Warren's "There Will Never Be Another You," Victor Young's "Stella By Starlight" and "My Foolish Heart," David Raksin's "Laura," Jule Styne's "I Fall In Love Too Easily," Bronislau Caper and Ned Washington's "On Green Dolphin Street," Kaper's "Invitation" and Henry Mancini's "Days Of Wine And Roses." Happily, Moreno does not reinvent, reimagine, recalibrate or otherwise re-screwup any of the tunes; "My Foolish Heart" is given a novel rhythmic foundation, but it works.

After the brief, unaccompanied guitar reading of "Beautiful Love" which opens the album, the remaining tracks have average playing times of just over seven minutes, plenty of time for bookending theme statements and solos that unfold without rush in between. Moreno is the chief soloist, but pianist Sullivan Fortner and bassist Matt Brewer each get turns in the spotlight; Brewer delivers a particular gem on "There Will Never Be Another You."

Moreno, the producer, has inserted brief dialogue soundbites from the source movies at the start or finish of most tracks. This could have been tacky but, if one lightens up and goes with the flow, it works. Check the clip of "Stella By Starlight" below for an example. Less successful is the microphone placement. The piano is close mic'd within an inch of its life and there are occasions, especially when Fortner uses the sustain pedal, that the bass register of the instrument threatens to overwhelm everything else that is going on. But the 4-star rating stands.By Chris May https://www.allaboutjazz.com/standards-from-film-mike-moreno-criss-cross

Personnel: Mike Moreno: guitar; Sullivan Fortner: piano; Matt Brewer: bass; Obed Calvaire: drums.

Standards from Film

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Harry Allen & Martin Sasse - Live At Bird's Eye

Styles: Bop, Swing
Year: 2022
File: MP3@320K/s
Time: 50:33
Size: 116,1 MB
Art: Front

( 5:19) 1. When October Goes
(10:11) 2. Swing, Swing, Swing
( 5:02) 3. Tea For You
( 7:08) 4. Telling A Little Story
( 6:38) 5. Blue Skies
( 4:46) 6. Step Right Up
( 5:20) 7. There's No Place For Me
( 6:05) 8. See You At The Fair

Now, the brilliant playing of the two can be followed and enjoyed on their first joint album "Live at Bird's Eye". Together with Markus Schieferdecker and Joost van Schalk as an exquisite rhythm section, they fill the space with compositions from their own pens that are as subtly as they are complexly interpreted, but also with a clever selection of the very finest standards. What unites the four is their deep affection for the melodies of the swing era as well as the mainstream jazz of the 1950s and 1960s. Together they immerse themselves in relaxed, yet highly intense moods, sometimes rhythmically furious, sometimes in pure balladic beauty.

It is anything but a matter of course to start an album right away with an atmospheric ballad: But here it happens, and Barry Manilow's classic "When October Goes" makes an impressive statement. Nancy Wilson, Carmen McRae, Rosemary Clooney, Kevin Mahogany or Inger Maria Gundersen each interpreted Johnny Mercer's lines in their own personal way, now Harry Allen finds his very own language on the saxophone, at first almost whispered, then more and more urgent and powerful, while Sasse on the piano evokes a lyrical fantasy world of rain-soaked city streets and autumn-colored rows of trees.

No less powerful in imagery and association, the cheerfully spotted Ben Webster classic "See You at the Fair" from 1964 and the rather rarely played "Step Right Up," with which Oliver Nelson, as composer, arranger and conductor, opened the Count Basie album "Afrique" in 1971, glow. A special place is given to "Blue Skies" by Irving Berlin: The standard from the 1920s, famous thanks to singers such as Josephine Baker, Ella Fitzgerald and decades later Cassandra Wilson, rises here elegantly from broom accompanied cautiousness to cheerful, occasionally "weird" intensity. Involuntarily, one would like to sing along with the lyrics: "Blue Skies/Smiling at me/Nothing but blue skies/Do I See..."

Organically grown, the original compositions of Martin Sasse and Harry Allen fit into the album, shifting tempos, moods and atmospheres again and again in a new and sophisticated way, swinging and grooving, straight and cool, soulful and sensitive a captivating mixture of blues and swing-saturated floating matter! https://harryallen-martinsasse.bandcamp.com/album/live-at-bird-s-eye

Live At Bird's Eye

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Caity Gyorgy - Featuring

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 66:37
Size: 153,5 MB
Art: Front

(3:09) 1. I Feel Foolish
(6:06) 2. Cover Up
(4:52) 3. It Might As Well Be Spring
(5:04) 4. Start Again
(5:34) 5. A Moment
(7:54) 6. Look The Other Way
(4:20) 7. I Miss Missing You
(4:35) 8. 'Tis Autumn
(4:47) 9. My Cardiologist
(6:11) 10. Ideal
(4:57) 11. I Never Knew
(4:14) 12. The Feeling Is Mutual
(4:48) 13. It's Pronounced George

Caity Gyorgy (pronounced like George) is a JUNO Award Winning Canadian vocalist, composer, and lyricist who is known for singing bebop and swing music.

Being called one of JazzFM91’s 8 Canadian Women in Jazz You Need to Know, Caity has performed at popular clubs and jazz festivals across Canada including the Toronto Jazz Festival, the Calgary Jazz Festival, the Medicine Hat Jazz Festival, and the Jazz Bistro in Toronto, Upstairs Jazz in Montreal, and Frankie's Jazz in Vancouver.

Caity has worked and recorded with many luminaries in the Canadian jazz scene including Allison Au, Pat LaBarbera, Jocelyn Gould, Bryn Roberts, Christine Jensen and Virginia MacDonald.

In addition to performing, she is also an avid writer and composes songs in the style of the Great American Songbook. Her compositions have been sung by other vocalists around the world, and she was recently crowned the Grand Prize Winner of the 2021 John Lennon Songwriting Contest in the Jazz category for her song "Secret Safe”.

She has independently released her debut album “No Bounds”, which features guitarist Jocelyn Gould, her self titled EP, and several singles. On July 9th 2021 she released an EP of original music arranged for her 10 piece band entitled "Now Pronouncing: Caity Gyorgy" on the Brooklyn based label la reserve. This EP was named one of CBC Music's favourite Canadian Jazz albums of 2021 and received the JUNO for Vocal Jazz Album of the Year at the 2022 JUNO Awards. Her next album, entitled "Featuring”, will be released on la reserve on November 4th, 2022.
https://www.allaboutjazz.com/musicians/caity-gyorgy

Personnel: Caity Gyorgy: Vocals, Compositions, Arrangements; Felix Fox-Pappas: Piano; Thomas Hainbuch: Bass; Jacob Wutzke: Drums

Featuring

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Dave Liebman - The Elements: Water

Styles: Saxophone And Flute Jazz
Year: 1997/2022
File: MP3@320K/s
Time: 58:01
Size: 133,6 MB
Art: Front

(6:32) 1. Water: Giver Of Life
(7:10) 2. White Caps
(4:27) 3. Heaven's Gift
(2:09) 4. Bass Interlude
(7:06) 5. Reflecting Pool
(8:56) 6. Storm Surge
(1:19) 7. Guitar Interlude
(4:13) 8. Baptismal Font
(5:58) 9. Ebb And Flow
(1:14) 10. Water Theme (Reprise)
(8:53) 11. Dave Liebman's Reflections On "Water"

Soprano sax icon and modern jazz pioneer Dave Liebman teams up with the equally talented and famous jazz guitarist Pat Metheny for their first ever recording. Liebman’s “”The Elements: Water” represents the first in a projected series of recordings dedicated to the elements. Liebman states in the liners: ...The music “all derives from the opening solo guitar theme” and continues with: “Every composition is based on a different harmonic aspect of this melody”. The first piece “Water: Giver Of Life” is where Pat Metheny subtly imposes the melody through pensive acoustic guitar passages which is a precursor for this albums recurring thematic statements. Throughout the entire project, the themes become reworked or harmonically restructured.

On “White Caps”, Liebman picks up the tenor sax as his phrasing is furious and stinging while displaying a richly textured luminous sound atop a somewhat laid back funk beat. Liebman and Metheny trade a few choruses that suggest turbulence or rapid movement. “Heaven’s Gift” is a straight four swing as Liebman, on soprano spars with Metheny while the class rhythm section of Cecil McBee (b) and Billy Hart (d) provide a rock-bottom foundation yet remain loose and flexible when called upon. “Reflecting Pool” is one of the best tracks on the album. Here, Liebman’s utilization of the wood flute projects ambiance that seems solemn or spiritual. Pat Metheny’s use of the 48 string Pikasso-Guitar enhances the already vivid imagery, which at times becomes lifelike. The stillness of a reflecting pool is captured in artistic fashion.

The albums recurring theme is generally linear, brief and simple in scope which affords Liebman and Metheny some breathing room or some extra space to implement harmonic and thematic reconstruction. Perhaps Liebman’s personalized approach was to convey “water” as an element, which represents the core substance or element of all living creatures and the earth we inhabit. This notion may correspond to the intentional similarities given to these compositions although; no two tracks sound identical yet the common bond or denominator adheres to the one theme concept.

“Storm Surge” is a fast paced burner while “Baptismal” features Liebman on Tenor Sax as his lush sound is optimized by a dash of reverb on top of Metheny’s endearing steel string acoustic guitar work. Everyone let’s loose on the free jazz romp “Ebb & Flow”. Here, Cecil McBee stirs the pot with super quick walking bass lines, which catapults this piece into forward motion. One minor gripe lies with Pat Metheny’s “Synclavier” or Synth-Guitar. This reviewer feels that Metheny needs to find a new toy or digital guitar. Metheny has worn out his welcome with this contraption that sounds jaded and predictable. On the other hand Metheny’s acoustic and straight-ahead electric guitar work is fabulous throughout this recording.

The last track is an interview with Liebman conducted by Bob Karcy of Arkadia Records. Here, Liebman provides insight about the mindset, music and musicians regarding this particular project as “The Elements: Water” is all about lucid imagery rendered through composition and fine ensemble work. *** 1/2 By Glenn Astarita
https://www.allaboutjazz.com/the-elements-water-dave-liebman-arkadia-jazz-review- glenn-astarita

Personnel: Dave Liebman, soprano, tenor saxophones, wood flute; Cecil McBee, bass; Billy Hart, drums; Pat Metheny, guitars.

The Elements: Water

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Mal Waldron - Searching in Grenoble : The 1978 Solo Piano Concert (Live)

Styles: Piano Jazz
Year: 2022
File: MP3@320K/s
Time: 103:23
Size: 237,6 MB
Art: Front

(23:25) 1. Mistral Breeze / Sieg Haile
(10:05) 2. Here, There And Everywhere
( 2:28) 3. Russian Melody
( 5:34) 4. Petite Gémeaux
( 6:37) 5. Fire Waltz
( 8:32) 6. You Don't Know What Love Is
( 8:49) 7. Soul Eyes
( 7:34) 8. It Could Happen To You
( 6:16) 9. Russian Melody
( 9:40) 10. I Thought About You
( 7:24) 11. Snake Out
( 6:51) 12. All Alone

Searching In Grenoble: The 1978 Solo Piano Concert is a previously unissued recording of jazz icon Mal Waldron's mesmerizing performance at the “Five Days of Jazz" series in Grenoble, France on March 23, 1978.

Waldron was Billie Holiday’s final accompanist, played on classic sessions with John Coltrane, Charles Mingus and Jackie McLean among others, and recorded dozens of solo albums as a leader before his passing in 2002.

Originally produced by the legendary André Francís and transferred from the original Radio France tapes, this is the first official release of this music in cooperation with the Mal Waldron Estate and Ina (The Institut national de l'audiovisuel). The beautifully designed, deluxe 2-CD set includes photos by K. Abe, Brian McMillen and Raymond Ross; an extensive 24-page booklet with a heartfelt statement by Mal's daughter Mala Waldron, plus essays by producer/"Jazz Detective" Zev Feldman, journalist Adam Shatz and Ina's Pascal Rozat; and interviews with modern jazz piano luminaries Ran Blake and Matthew Shipp. Searching In Grenoble features classic Waldron originals such as “Soul Eyes" and “All Alone," and jazz standards “You Don't Know What Love Is," “It Could Happen to You" and “I Thought About You.”

The 2-CD set will be available worldwide September 23rd on Tompkins Square (TSQ5906), and was produced for release by Zev Feldman and Josh Rosenthal. Tompkins Square has released jazz recordings by Sonny Clark, Ran Blake, Calvin Keys, Bola Sete, Giuseppi Logan, Charles Gayle, and Bern Nix among others. By TOMPKINS SQUARE https://www.allaboutjazz.com/news/mal-waldron-searching-in-grenoble-the-1978-solo-piano-concert/

Searching in Grenoble: The 1978 Solo Piano Concert (Live)

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Paul Cosentino's Boilermaker Jazz Band - Jive at Five

Styles: Big Band, Swing
Year: 2022
File: MP3@320K/s
Time: 67:58
Size: 156,8 MB
Art: Front

(3:16) 1. Jive At Five
(3:57) 2. Too Darn Hot
(4:29) 3. Taffy
(3:29) 4. Almost Like Being In Love
(6:11) 5. Black And Tan Fantasy
(4:24) 6. S'posin
(4:17) 7. Is You Is Or Is You Ain't My Baby
(6:03) 8. Wabash Blues
(2:59) 9. The Jeep Is Jumpin'
(4:02) 10. Always
(4:32) 11. Pyramid
(4:03) 12. Wings And Things
(3:38) 13. I Love You
(3:30) 14. Moon Ray
(4:02) 15. Rock A Bye Basie
(4:57) 16. Ev'ry Time We Say Goodbye

Most of the pro jazz musicians I’ve had the pleasure of interviewing have majored in music at college. This seems like a smart move: if you’re going to make your living playing jazz, then dedicating a few years to perfecting that art makes sense right? Still, not all of these musicians get to enjoy full-time music careers spanning four decades, in which they release more than a dozen albums while headlining countless festivals, galas and dances.

And while many aspire to playing venues like Lincoln Center, the Waldorf Astoria Hotel or the Smithsonian or events like the New Orleans Jazz and Heritage Festival, International Lindy Hop Championships or Edinburgh International Festival few can boast of having played all six. It is, as per Paul Cosentino’s 2011 record, Nice Work If You Can Get It and he still can, thirty-five years after first founding his Boilermaker Jazz Band.

The bandleader majored in business with a minor in music, which might help explain how he has spun his talent for both clarinet and sax into a jazz-making career which shows no sign of slowing down, well into its fourth decade. Jive at Five is his veteran outfit’s latest offering, treating listeners to another sixteen tracks from their unparalleled repertoire, with inputs from reed masters like Johnny Hodges and Artie Shaw as well as favorite composers including Duke Ellington and Count Basie.

As might be expected from a band which has played both prestigious sit-down concerts and the world’s biggest swing dance events, the track list is a many-tempoed medley of quick and slow tunes. Jitterbugs can get a groove on to the likes of “Wings and Things,” “Too Darn Hot” (with a sultry vocal by Erin Keckan), and title track “Jive at Five,” cooling off with the likes of “Wabash Blues” and “Black and Tan Fantasy.” They’re all expertly rearranged, but the Boilermaker take which stopped me in my tracks was that of “Pyramid.”

In the original’s first few bars, a melodious lone trumpet is quickly joined by a reed section which stretches the boundaries of crunchy chord voicings toward the realms of plain “out of tune.” In this version, Cosentino’s breathy clarinet joins that initial horn and the two dance around one another before synchronizing in a brief duet on the melody and then parting ways like the swirling desert sands evoked by Juan Tizol’s Orientalist masterpiece. And the beautiful bowed bass solo from 1:15 to 1:50 is a mirage enticing, entrancing and gone all too soon.

Keckan contributes vocals to two more Cole Porter classics “I Love You” and “Ev’ry Time We Say Goodbye” as well as Irving Berlin’s “Always,” Louis Jordan’s “Is You Is or Is You Ain’t My Baby,” and Lerner/Lowe’s “Almost Like Being In Love.” Her voice is an ideal partner to Cosentino’s cornet, combining laser-like precision of pitch with a vibrato-rich, breathy warmth. All tracks are mixed and mastered with the perfectionism one might expect from a team with decades of experience in the business of recording flawless jazz.

Jive at Five takes its well-deserved place amongst the Boilermaker Jazz Band’s critically acclaimed output, and would make a fine addition to any jazz fan’s record collection. It can be had for the criminally low price of $9, via their Bandcamp page, where the band’s entire discography can be had for just $99. And why not? It’s nearly Christmas after all. You can treat yourself, safe in the knowledge that you won’t get as much band for your buck anywhere else.By Dave Doyle https://syncopatedtimes.com/paul-cosentinos-boilermaker-jazz-band-jive-at-five/

Jive at Five

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Jan Lundgren Trio - Charade

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 54:24
Size: 125,5 MB
Art: Front

(5:31) 1. Cocktail for Two
(4:36) 2. Charade
(3:12) 3. Nature Boy
(5:09) 4. I'm in the Mood for Love
(5:43) 5. Hush Bye
(5:12) 6. Moonlight in Vermont
(4:04) 7. Blue Skies
(5:52) 8. I Don't Know What Time It Was
(7:31) 9. Secret Love
(7:30) 10. Lullaby of the Leaves

Lundgren, born in Kristianstad in southern Sweden on March 22nd 1966, and raised in Ronneby, Blekinge, had his first piano lessons at age five. He was soon discovered to have an exceptional musical talent. After a long period of classical training, he discovered jazz more or less by chance in the late 1980’s. He was instantly hooked, rapidly absorbed the jazz piano tradition from Oscar Peterson, Erroll Garner to Bud Powell and Bill Evans, and acquired a depth of knowledge of the Great American Songbook like possibly no other European jazz pianist.

While sailing through his studies at the renowned Royal College of Music in Malmö, he also took up a busy schedule as a professional musician that quickly helped to build his reputation in Sweden. Discovered by Swedish bebop legend Arne Domnérus, he frequently played with other Swedish stars like Putte Wickman and Bernt Rosengren.

Lundgren’s debut album “Conclusion” was released in 1994, and propelled his career firmly forward. The following year saw the formation of the Jan Lundgren Trio with long time student associates Mattias Svensson (bass) and Rasmus Kihlberg (drums), who was replaced in the beginning of the year 2000 by the Dane Morten Lund. This steady band recorded seven well-received and commercially very successful albums for the Swedish label “Sittel” in the period up to 2003. The album “Swedish Standards”, released in 1997 even became a bestseller and reached a place in the Swedish pop charts. But the album “Landscapes” (2003) sold comparably and both releases soon became classics due to their linking Swedish folk music and jazz. The band’s intense tour schedule founds a temporary peak in a concert at Carnegie Hall as part of “Swedish Jazz salutes the USA”.

As a sideman, Lundgren has accompanied such greats as Johnny Griffin, Benny Golson, Herb Geller, James Moody, or singer Stacey Kent. He has also shared the stage with ACT-artist Ulf Wakenius a number of times. Jan Lundgren has been awarded a number of prizes since the early 90’s: In 1997 “Swedish Standards” became “best jazz album of the year”. He was nominated for the “Swedish Grammy” in 1995, 1997 and 2008 and the “Swedish Django d’Or Prize” in 1998, 2001 and 2002.

Having visited a long list of European territories and venues, Lundgren has also been on extended tours of Australia and Japan. He has visited the USA about 15 times and recorded some well-received albums for the label “Fresh Sound”. In 2006 Lundgren becomes part of the ACT family: Initially he was featured as a sideman on the Ida Sand album Meet Me Around Midnight (ACT 9716-2). In July 2007 he released his first ACT album Fresu – Galliano – Lundgren: Mare Nostrum (ACT 9466-2), followed by Magnum Mysterium (ACT 9457-2), which will be released in November of 2007.

In 2008 Lundgren could reap the fruits of his labour, and his Mare Nostrum was performed in front of sold out houses on prestigious stages throughout Europe (Salle Gaveau – Paris, Tonhalle – Zurich, Victoria Hall – Geneva, Teatro Dante Aligheri – Ravenna, S. Caecilia – Rome …) as well as at Jazz Baltica, the North Sea Jazz Festival, and the Istanbul Jazz Festival. There are many good reasons why the band has been called “the first European super group”.

In the same year Lundgren was honoured with the Swedish Django d’Or, and began a collaboration with the classical trumpet player H?kan Hardenberger and the Swedish writer Jacques Werup an exiting melange of modern classical and free music, of jazz and compositions of Jan Lundgren.

Lundgren also brought the Jan Lundgren 3io back to life in 2008, albeit with a new drummer, Zoltan Csörsz Jr who proved to be a truly lucky catch for the trio. A new repertoire has resulted in the new ACT album European Standards (ACT 9482-2) which will be released in Mai 2009 together with the re-release of Swedish Standards (ACT 9022-2) from the ACT Jazz Classics series.

Lundgren is part of a remarkable and long tradition of innovative pianists from Sweden like Jan Johansson who passed away early, and in more recent times Bobo Stenson and Esbjörn Svensson. Lundgren has never made life easy for himself, and has always tried to utilize his phenomenal technique to enhance his musicality. His ability to integrate the most disparate musical influences into a fascinating whole is unique in itself. Whether its contemporary classical music, the inexhaustible northern folk tradition or the pulsating groove of jazz, deeply rooted in Afro-American music: Lundgren has a unique way of leading the listener on a voyage of discovery sometimes relaxed, sometimes utterly invigorating through his highly individual soundscapes.
https://www.allaboutjazz.com/musicians/jan-lundgren

Personnel: Jan Lundgren (piano); Jesper Lundgaard (bass); Alex Riel (drums)

Charade

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Tracye Eileen - It's Time.

Styles: Vocal
Year: 2020
File: MP3@320K/s
Time: 26:15
Size: 60,4 MB
Art: Front

(4:21) 1. Somehow Someway
(3:51) 2. Now That We're Here
(4:52) 3. Sweeter With Time
(4:17) 4. Why Did I Say Yes?
(8:52) 5. Why Did I Say Yes? (House Remix)

Chicago born R&B/jazz singer Tracey Eileen is since eleven years in the music business and developed from a local player to an internationally known soul/R&B artist. Starting with her debut album Love's Journey in 2012 she arrived to her second album Why Did I Say Yes (2018). Her third project is the EP It's Time, which appears delayed by the pandemic in June 12, 2020.

Opener of the album is the single Somehow Someway, which like most of her songs deals with interpersonal relationships and also contains biographical elements. The song was produced by Kendall Duffie (Cloud 9), who also performs synthesizer, drum programming and synth bass on it.

Now That We’re Here is also a commitment to togetherness. Donald Hayes underlines the tenderness in Tracey's voice on saxophone. Sweeter With Time is a love ballade which focuses on the growth of love in a community. The special feature of Tracey's performance is not only her voice but also the ingenious use of her vocals in the arrangement, for which she constantly finds new approaches.

The EP also contains two interpretations of Why Did I Say Yes, a song which was already released on her second same-titled album. With this song she puts her love relationship to the test and questions its intending. Tired of the ups and downs she comes to the conclusion that what she called love never was. At the end she frees herself from the meaningfulness of her lyrics to almost symbolically enter into free jazz swing.

Traceye Eileen addresses with her album all those who like to combine reasonable lyrics with instrumental brilliance. With her sensual voice she is the perfect deliverer of her message.
http://www.smooth-jazz.de/InFokus/Eileen/ItsTime.htm

It's Time.

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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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