Sunday, February 19, 2023

Barry Harris, Muhal Richard Abrams - Interpretations of Monk

Album: Interpretations of Monk Disc 1
Styles: Piano Jazz
Year: 1981
File: MP3@320K/s
Time: 50:22
Size: 115,6 MB
Art: Front

( 0:41) 1. Announcement by Verna Gillis
( 6:39) 2. Introduction by Nat Hentoff
( 3:39) 3. Crepuscule with Nellie
( 8:25) 4. I Mean You
( 8:02) 5. Ask Me Now
( 3:41) 6. Gallop's Gallop
( 7:32) 7. Blue Monk
(10:16) 8. Four in One
( 1:23) 9. Poetry by Amiri Baraka

Three and a half months before Thelonious Monk died, two memorable tribute concerts took place at Columbia University. The lineup of musicians was perfect: soprano saxophonist Steve Lacy (long an expert on Monk's music), Thelonious' longtime tenor saxophonist Charlie Rouse, trombonist Roswell Rudd, trumpeter Don Cherry, bassist Richard Davis, either Ben Riley or Ed Blackwell on drums, and four different pianists. This legendary event was fortunately recorded, and the afternoon concert has been released in full on this 1997 double-CD set. Pianist Muhal Richard Abrams is on the first CD, while Barry Harris takes his place on the second half. Both of the pianists have a brief solo piece as a feature; Lacy takes "Gallop's Gallop" unaccompanied, and the full group jams on 11 of Monk's more difficult pieces. The unique opportunity to hear this combination of musicians and the many inspired moments make the double CD a highly recommended acquisition for anyone interested in the music of Thelonious Monk.~Scott Yanow https://www.allmusic.com/album/interpretations-of-monk-vol-1-mw0000035894

Personnel: Piano – Barry Harris , Muhal Richard Abrams; Bass – Richard Davis ; Drums – Ben Riley, Ed Blackwell ; Soprano Saxophone – Steve Lacy; Tenor Saxophone – ; Trombone – Roswell Rudd; Trumpet – Don Cherry

Interpretations of Monk Disc.1

Album: Interpretations of Monk Disc 2

(0:17) 1. Announcement by Verna Gillis
(4:15) 2. Ruby, My Dear
(7:25) 3. Light Blue
(9:14) 4. Eronel
(8:14) 5. Bye-Ya
(5:35) 6. Pannonica
(6:46) 7. Off Minor
(10:34) 8. Epistrophy

Interpretations of Monk Disc 2

Saturday, February 18, 2023

Carol Albert - Stronger now

Styles: Piano Jazz
Year: 2020
File: MP3@320K/s
Time: 44:56
Size: 104,4 MB
Art: Front

(3:43) 1. Stronger Now
(4:20) 2. Love Again
(4:03) 3. Perfect Sunday
(4:24) 4. For The Moment
(4:25) 5. Femme Flight
(5:31) 6. Winter Rain
(3:55) 7. Sun’s Out
(4:39) 8. I am Fine
(4:23) 9. Moon On The Water
(5:27) 10. ‘Til We Meet Again

Jazz Pianist and vocalist Carol Albert has always Georgia in her mind, when she tours numerous countries worldwide. Her albums Love In Your Eyes (1992), Tides Of Change (1993), Christmas Impressions for the Piano (1995), Night Music (2006), Morning Music (2006), Christmas Mystique (2015), Fly Away Butterfly (2017) cover a broad spectrum ranging from easy listening, New Age, world music to smooth Jazz.

With her upcoming album Stronger Now (2020) she consolidates her position in the field of smooth jazz. Carol plays on this album piano, synth, keys, programming, bass, strings and more. She has written and arranged all songs. The well known guitarist and producer Paul Brown has made a significant contribution to this album as producer, arranger and mixer. He also performs guitar and percussion.

The following prolific musicians have added their personal accents: Lew Laing (drum programming, additional synths), Ben Babylon (strings and French horn arrangements), Sam Sims, Joseph Patrick Moore, Nathaniel Kearney, Roberto Vally (bass), Lil John Roberts (drums, percussion), Lee Thornberg (horn arrangement, flugel and valve trombone), Jay Williams, Gordon Campbell (drums), Curtis McCain (percussion), Ragan Whiteside (flute), Magdalena Chovancova (sax), Dennis Johnson (drum programming), Daniel Baraszu (acoustic guitar), Raheem Amlani (electric guitar).

The album opens with Stronger Now. With powerful keystrokes Carol dispels sorrow and worries and enchants the regained joy of life with her musical sunshine. Lew Laing provides the right background with a swaying rhythm and a sky full of strings. Love Again is the tonal embodiment of an emotional climax, which Carol also underlines vocally.

Perfect Sunday includes everything you imagine by a Sunday that means pure relaxation. Lee Thornberg's horns and Paul Brown's acoustic guitar add a cozy flavor to Carol's uplifting piano play. For The Moment has that special dreamy something, most of you know by Fleetwood Mac's Albatross, floating in space and time. The Latin tinged Femme Flight has impressed audience and credits alike as early single in 2018. Flutist Ragan Whiteside and saxophonist Magdalena Chovancova form together with Carol a musical triumvirate.

Winter Rain is a sonic mirror of the season that brings gloomy days and a subdued mood with it. Sun's Out, on the other hand, sets brighter things in the double sense of the word. I Am Fine is Carol's personal statement years after the lost of her husband. Encouragement and fragility unite in Carol's voice, which is sensitively accompanied by Paul Brown on the acoustic guitar.

Moon On The Water is similarly inspired to Beethoven's Moonlight Sonata. 'Til We Meet Again reveals something of Carol's faith and spirituality. She does not understand the lost as something final but sees hope for a reunification, which is also reflected in her music. Guitar virtuoso Daniel Baraszu accompanies Carol's piano interpretation with brilliant chords.

Carol Albert's new album Stronger Now has strong biographical traits and convinces in the power of the melodies. Carol does not follow the fashionable trend that prevails in smooth jazz, but remains true to herself and her style.
http://www.smooth-jazz.de/firstview/Albert/StrongerNow.htm

Stronger now

Royce Campbell - Nighttime Daydreams

Styles: Guitar Jazz
Year: 2008
File: MP3@320K/s
Time: 50:15
Size: 115,5 MB
Art: Front

(6:25) 1. I Love You
(7:35) 2. Nighttime Daydreams
(5:47) 3. I'll Remember April
(5:43) 4. Autumn Bossa
(7:02) 5. Wes
(6:43) 6. In A Sentimental Mood
(4:30) 7. Spring Bossa
(6:25) 8. Beautiful Love

Royce Campbell's blues-influenced, hyper-relaxed jazz-guitar playing has earned him accolades as a solo performer and made him a sought-after session musician. His first experience came touring the U.S. in Marvin Gaye's band, before being tapped by Henry Mancini, in whose orchestra Campbell stayed for two decades; Campbell's gentle, flowing swing formed a subtle backdrop for the composer's ever-cinematic works.

A versatile performer, Campbell's expert guitar graced recordings of everyone from Dave Brubeck to Liza Minnelli to Sarah Vaughan. In the '90s, Campbell stepped out under his own name, starting with the dreamily melodic Nighttime Daydreams in 1990, and eventually extending to several dozen recordings. By Rovi Staff https://www.allmusic.com/artist/royce-campbell-mn0000851616/biography

Nighttime Daydreams

Gene Segal - Mental Images

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 54:20
Size: 127,1 MB
Art: Front

(7:07)  1. Healing Feeling
(7:29)  2. Allegory of the Cave
(6:12)  3. Minds Eye
(4:10)  4. Irrational Drive
(7:57)  5. The Bearded Lady
(7:01)  6. Trapeze Act
(9:50)  7. The Ringmaster
(4:31)  8. Elephants

Guitarist and composer Gene Segal has put the intervening years between Mental Images and his recording debut, Hypnotic (Innova Records, 2009), to good use. While Segal still loves the funk, as the opening "Healing Feeling" definitively shows, the remainder of the album doesn't easily fit into any one musical pigeonhole;unless there's a category at your local music store called "accomplished, original jazz-rock from out of left-field." Russian-born and Brooklyn-raised, Segal has assembled quite a band for "Mental Images." Jon Irabagon is everywhere these days, and he's definitely here playing alto in his typical virtuoso fashion. Sam Sadigursky, not to be overshadowed, plays several reeds; including some lovely bass clarinet on "Mind's Eye." Though he and Irabagon only share reed duties on "Healing Feeling," each proves to be a first-rate front-line partner for Segal. The drums / bass combination of Jaimeo Brown and Sean Conley is mercurial and adaptive enough to keep up with the young guitarist who, it turns out, can be quite a handful. A quirky and unpredictable soloist, Segal's playing style is as mutable and restless as his composing. He gets his John Scofield on for "Healing Feeling" but quickly turns to a more personal style on "Allegory of the Cave," a dreamy waltz enlivened by the rhythm section's tight-but-loose interplay. The rest of the title suite stays in a harmonically hazy, almost free-ish mode, though Segal's incendiary duet with Irabagon on "Irrational Drives" closes the song cycle out with a huge exclamation point.

The second suite, "Circus Music," starts off in a similarly reflective mode, though fine solos by Sadigursky and Segal ramp the energy up during the course of "The Bearded Lady." "Trapeze Act" is a delicate filigree, while the swaggering, bluesy "Ringmaster" is perhaps the most forthrightly jazzy piece on the album. "Elephants" is the real surprise; a heavy sort of tune with a lugubrious theme, Segal's solo is an all-out twisted, distorted noisefest that could make Brandon Seabrook green with envy. Sadly, the piece fades out in the middle, ending an otherwise fine album rather weakly. The fact that Mental Images is comprised of two conceptually- distinct four-part suites suggests that the music of guitarist Gene Segal may be rooted in something deeper than a simple desire to earn a living playing original music. Segal's brief liner note points out Olivier Messaien as a seminal influence. While it's tough to establish a clear link between Messaien's mathematically-driven avant- gardism and the turbulent jazz rhythms and complex harmonies that pervade Mental Images, Segal singles out Messaien's notion of working with (or against) self-imposed compositional limitations as something that's really fed his musical soul. Just what these limitations might be is left for the listener to decide.
By Dave Wayne https://www.allaboutjazz.com/mental-images-gene-segal-steeplechase-lookout-review-by-dave-wayne.php
 
Personnel: Gene Segal: guitar; Jon Irabagon: alto saxophone; Sam Sadigursky: tenor & soprano saxophones, clarinet, bass clarinet; Sean Conly: bass; Jaimeo Brown: drums.

Mental Images

Friday, February 17, 2023

Lola Haag - Lola's Best!

Styles: Vocal
Year: 2021
File: MP3@320K/s
Time: 71:55
Size: 165,7 MB
Art: Front

(3:58) 1. Is You Is Or Is You Ain't My Baby?
(4:08) 2. I Got Lost In His Arms
(3:28) 3. I Just Found Out About Love
(3:00) 4. Trav'lin' Light
(3:52) 5. Put Your Head On My Shoulder
(3:46) 6. Blame It On My Youth
(3:40) 7. Don't Blame Me
(4:12) 8. Lost Mind
(3:35) 9. But Not For Me
(4:39) 10. When I Fall In Love
(2:54) 11. Darn That Dream
(2:40) 12. In A Sentimental Mood
(3:57) 13. How Long Has This Been Going On?
(4:04) 14. I've Grown Accustomed To His Face
(4:20) 15. Lately
(2:45) 16. Am I Blue?
(2:29) 17. A Certain Smile
(3:20) 18. I Don't Stand A Ghost Of A Chance
(2:39) 19. Whatever Lola Wants
(4:18) 20. God Bless The Child

Lola Haag in an Incredible Jazz Singer" Terrence Love, (Owner) Steamers Jazz Club, Fullerton, CA

Lola has headlined many of the top Jazz Clubs from New York to Los Angeles. She understands the art of entertaining like the great saloon singers of the past. Her live show is a blend of contemporary and timeless classics that can be sultry, romantic, sassy or classy. Critics have called her “first-rate…her show is reminiscent of the classy days of the nightclubs of a bygone era”. (LA Times)

Lola is a musical stylist. Each song she performs is bent and molded into something unique while still maintain the core of the original melody. “Take a seat, order your martini, and dig Lola’s vibe”.(Jazz Club Magazine)

The breadth of her music and the soulful sound of her voice make this album a treasure for any jazz music collection. It's always nice to hear someone who takes her music seriously, like Lola Haag does (William Grother Jazz New http://www.cdbaby.com/cd/lolahaag16

Lola's Best!

Mike Westbrook Orchestra - London Bridge: Live in Zurich 1990

Styles: Contemporary Jazz
Year: 2022
File: MP3@128K/s
Time: 146:27
Size: 135,7 MB
Art: Front

(12:43) 1. London Bridge is Broken Down
(29:00) 2. Wenceslas Square
( 7:42) 3. Berlin Wall: Nähe des Geliebten
(17:38) 4. Berlin Wall: Traurig aber falsch
( 8:05) 5. Berlin Wall: Ein Vogel
( 5:49) 6. Vienna: Viennese Waltz
(23:09) 7. Vienna: Für Sie
( 5:09) 8. Picardie: Blighters
( 5:18) 9. Picardie: Les Morts
(15:56) 10. Picardie: Picardie
(11:33) 11. Picardie: Une Fenêtre
( 4:22) 12. Picardie: Aucassin et Nicolette

Viewed from the other side of the Atlantic, Mike Westbrook is probably Britain's best kept secret. A composer, pianist and tubaist above all, composer Westbrook's recording career began in the late 1960s. Since then he has released upwards of fifty albums, spanning jazz rock through jazz and contemporary-classical fusions such as the 2 x CD London Bridge Live In Zurich 1990. Westbrook's albums have been performed by lineups ranging in size from trios through to, in this case, an eleven-piece jazz orchestra augmented by a thirty-five piece chamber orchestra (London's Docklands Ensemble) and the vocalist Kate Westbrook, his wife.

Five gets you ten, however, that a straw poll of audience members in the Village Vanguard any night of the week would result in minimal if not zero recognition of Westbrook's name. This is not to belittle New York audiences, for Westbrook has never made an attempt to break his music in America. Moreover, in Britain and Europe, where he has a following, he remains niche. The simple fact is that much of his music is serious, art not entertainment, though entertaining art, and is uncompromised by ambitions for commercial success. At age 86, Westbrook remains, as the French expression goes, a succès d'estime, revered by cognoscenti, unknown to the wider audience.

The cognoscenti know London Bridge well: a studio version, recorded in Paris, was released in 1988 (check the extract on the YouTube below). The album to hand was recorded at the Zurich International Jazz Festival two years later. It is hard to imagine anyone but the Swiss, bless them, reaching into their pockets to fly close on fifty musicians, their freight and support team out from London for a one-night stand, pay them a decent fee and accomodate them in comfortable hotels, which Westbrook confirms they did do.

The two-and-a-half hour suite, which is among Westbrook's finest, grew out of tours the Westbrooks made in Europe in 1986-87. It was a tumultuous time on the continent. After the upheavals in Western Europe of the 1960s and 1970s, pressure for change was building in the East. Places the pair visited, such as Prague's Wenceslas Square and the Berlin Wall, would soon take on new historical resonances. In October 1989, demonstrations in Wenceslas Square led to democratic elections in Czechoslovakia. On November 9, 1989, the demolition of the Berlin Wall began. A year and a day later, London Bridge Live In Zurich 1990 was recorded.

Mike Westbrook wrote the suite in five parts: "London Bridge," "Wenceslas Square," "Berlin Wall," "Vienna" and "Picardie." The music is monumental, in the best sense, its vibe spanning gentle intimacy on to the cruelty of autocracy and (in "Picardie") the horror of war. It never descends into cheap sentimentality. The standard of musicianship, like that of the material, is of the highest calibre. Among the soloists, saxophonists Chris Biscoe and Alan Wakeman, trombonist Paul Nieman and guitarist Brian Godding are particularly delightful. Kate Westbrook's sung/spoken word vocals are integral to the piece and are featured on eight of the twelve tracks. She recites texts by writers and poets including Goethe and the British war poet Siegfried Sassoon, who served in and survived the trenches in the First World War.

London Bridge Live In Zurich 1990 is spread over two CDs and is a digital reconstruction and remaster of the original stereo recording made by Swiss radio. The package comes with a booklet which includes original language and English translations of the texts Kate Westbrook delivers.

Postscript: Look out for the exquisitely lovely Music Is: Chris Biscoe Plays Mike Westbrook, coming out on Trio Records towards the end of November 2022. Biscoe, who has played with the Westbrooks every year since 1979 (pandemic excepted), has taken seven Westbrook pieces out of their original, mostly big band, settings and arranged them for an A-list quintet completed by bassist Dave Whitford, drummer Jon Scott, guitarist Mike Outram and pianist Kate Williams.By Chris May
https://www.allaboutjazz.com/london-bridge-live-in-zurich-1990-mike-westbrook-westbrook-records

Personnel: Mike Westbrook: composer/conductor; Kate Westbrook: voice / vocals; Graham Russell: trumpet; Paul Nieman: trombone; Alan Wakeman: saxophone; Peter Whyman: clarinet; Chris Biscoe: saxophone, soprano; Andy Grappy; Brian Godding: guitar, electric; Tim Harries: bass; Peter Fairclough: drums.

Additional Instrumentation: Graham Russell: trumpet, piccolo trumpet; Paul Nieman: trombone, electronics; Pete Whyman: clarinet, alto and soprano saxophones; Alan Wakeman: tenor and soprano saxophones; Chris Biscoe: baritone, alto and soprano saxophones, alto clarinet; Docklands Sinfonietta: strings, woodwinds; Rupert Bond: conductor.

London Bridge Live in Zurich 1990

Tom Cabrera - What I've Found

Styles: Post Bop
Year: 2022
File: MP3@320K/s
Time: 53:27
Size: 122,6 MB
Art: Front

( 8:16) 1. What I've Found
( 9:00) 2. Jopariol
( 6:38) 3. Noticeable Most When The Moon Is Hidden
(11:23) 4. Rivers of Light
( 8:31) 5. All Hallows
( 9:37) 6. Padma

New York based drummer Tom Cabrera graces the recordings and bandstands of so many creative ensembles, from the 12 Houses Orchestra to the Julie Lyon Quartet, that when it came to making his own record he decided on an intimate affair. Cabrera's trio features virtuoso pianist Bob Rodriguez and double-bass master Mark Hagan in dynamic, moving performances of the music of composer Jack DeSalvo.
https://tomcabrera.bandcamp.com/album/what-ive-found

Personnel: Tom Cabrera - drums; Bob Rodriguez - piano; Mark Hagan - double-bass

What I've Found

Mike Richmond - Turn out the Stars

Styles: Contemporary, Jazz
Year: 2023
File: MP3@320K/s
Time: 61:57
Size: 142,2 MB
Art: Front

(9:10) 1. Mean To Me
(8:24) 2. Waltz For Debbie
(8:46) 3. Bill's Hit Tune
(8:38) 4. B Minor Waltz
(6:16) 5. Peri's Scope
(7:34) 6. Turn Out The Stars
(6:59) 7. Orbit (Unless It's You)
(6:07) 8. You Must Believe In Spring

Mike Richmond's fourth cello album focuses on Bill Evans' music. Award winning bassist Richmond has a long exceptional career performing with Miles Davis, Stan Getz, Dizzy Gillespie, Horace Silver, Gil Evans and others. Richmond has recently been drawn more to playing cello which allows him a greater freedom in refined expressions.

Cello is wonderful in jazz. It's soulful, melodic, and is best in small combos. That's what you have in Mike Richmond: La Vie en Rose. ~ Cadence Magazine https://www.propermusic.com/sccd31941-turn-out-the-stars.html

Personnel: Mike Richmond: cello; Andy Laverne: piano; Jay Anderson: bass; Anthony Pimciotti: drums

Turn out the Stars

Thursday, February 16, 2023

Rossano Sportiello - Piano On My Mind

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 71:20
Size: 166,1 MB
Art: Front

(2:40) 1. Down Stream
(3:35) 2. You Took Advantage Of Me
(4:03) 3. Blowin' Up
(4:30) 4. I Cover The Waterfront
(4:31) 5. Cheek To Cheek
(3:35) 6. Sweet Lorraine
(3:57) 7. The Best Thing For You
(3:24) 8. That's All
(4:40) 9. Tenderly
(7:46) 10. Detroit Medley
(2:22) 11. Echoes Of Spring
(5:06) 12. Oh, Lady, Be Good
(4:59) 13. Bluesale
(4:20) 14. Tangerine
(2:39) 15. Sunny Morning
(3:41) 16. Body And Soul
(2:26) 17. All God's Chillun Got Rhythm
(2:57) 18. Flashes

Beiderbecke admired; his "Down Stream" opens this solo second CD by the young Italian pianist Rossano Sportiello as a peaceful atmospheric etude. "Blowin' Up" is the pianist's own, featuring a boppish theme with a running left hand. It slips into a string of ballads, "You Took Advantage of Me" to "The Best Thing for You," causing a sparkle without ruffling the mood. After the ballads comes a piece in medium tempo: "That's All" in a swing to bop style, with walking, ambling, and trotting basses, long left hand runs, and a manual gear-change for just a breath of classic stride. A miraculous touch keeps everything moving and coloured. Sportiello manages alternations of pace with exceptional fluency.

"Detroit Medley" is a sequence of three themes by Tommy Flanagan ("Dalarna"), Hank Jones with Coleman Hawkins ("Angel Face"), and Barry Harris ("Nascimento"), one of Rossano Sportiello's mentors. The demonstration of intimate affinities is followed by Willie the Lion Smith's "Echoes of Spring," which achieves amazing stillness. Even "Lady Be Good" is taken for a fair stretch at ballad tempo before the pace picks up. There's even some Monkish stride before a passage of straight medium-fast stride in a performance which also demonstrates puissant stride left hand.

"Bluesale" is the pianist's own twelve-bar theme as if he reincarnates some undeservedly forgotten pianist around from the 1940s, a species always neglected on record with a rare command of tone and an ability to phrase across or suspend the beat. The theme of Teddy Wilson's "Sunny Morning" sounds a tad boppish here. The composition is Wilson's encapsulation of his own style, whose rhythmic underpinnings were very different from the stride basis of the Sportiello style. The pianist maintains his own rhythmic distinctiveness here, which on the Wilson number makes for intriguing complexity.

Restrained master stride makes its appearance in "All God's Chillun Got Rhythm" in, well, amazing flashes. To make a graceless transition of a sort not on this CD, Eastwood Lane was, it seems, somewhere in the background when Beiderbecke composed "Flashes." He never himself record it, but he might have played it as strictly in tempo as he did "In a Mist." By the time of the 1935 premiere recording by Bix's friend Jess Stacy, jazz rhythm had loosened up, and Stacy's take is still well worth hearing.

This rendition has the singular Sportiello flexibility and flow, maintaining the same pulse which is audible through this relaxed set. Sportiello is among the least showy of pianists of such huge technical accomplishment. When a lot of notes come along, he phrases them with the dynamic command of an old master hornman or, among the pianists who are heroes to Rossano Sportiello, John Bunch.By Robert R. Calder
https://www.allaboutjazz.com/piano-on-my-mind-rossano-sportiello-jazz-connaisseur-review-by-robert-r-calder

Personnel: Rossano Sportiello: piano.

Piano On My Mind

The Tierney Sutton Band - The Sting Variations

Styles: Vocal
Year: 2016
File: MP3@320K/s
Time: 66:55
Size: 155,2 MB
Art: Front

(5:46)  1. Driven to Tears
(5:53)  2. If You Love Somebody Set Them Free
(6:16)  3. Seven Days
(4:37)  4. Shadows in the Rain
(3:49)  5. Walking in Your Footsteps
(4:36)  6. Fragile/The Gentle Rain
(4:25)  7. Message in a Bottle
(4:45)  8. Fields of Gold
(4:03)  9. Fortress Around Your Heart
(5:07) 10. Language of Birds
(3:01) 11. Every Little Thing He Does Is Magic
(4:46) 12. Every Breath You Take (Lullabye)
(4:11) 13. Synchronicity I
(5:35) 14. Consider Me Gone

The Sting Variations is a logical follow up to seven-time Grammy nominee Tierney Sutton's solo album After Blue, in which Tierney Sutton re-imagined Joni Mitchell's iconic album Blue. This time, the full ensemble "The Tierney Sutton Band" returns with their unique interpretation of the best of Sting's diverse repertoire. "The Sting Variations" continues the band's history of their remarkably creative exploration of well-known songs. Embracing both massive hits and more obscure, deep album tracks from Sting’s catalog, The Sting Variations is the latest studio triumph from a group that has toured the world, and in recent years has headlined at the Hollywood Bowl, Carnegie Hall, the Kennedy Center and Jazz at Lincoln Center. Tierney and the band can also be heard on movie and television soundtracks, including the Academy Award-nominated film The Cooler, as well as on television commercials for prestigious brands such as BMW, Green Giant, Yoplait yogurt and Coca-Cola. Most recently, the band scored Clint Eastwood’s new film Sully. Imbued with immense talent and a genuine love for music and people, Tierney Sutton’s voice is one that transcends stylistic boundaries, touching the hearts of all who hear it. http://www.bfmjazz.com/index.php/artists/tierney-sutton-band/sting-variations/sting-variations-one-sheet
 
Musicians:  Tierney Sutton – Vocals;  Christian Jacob – Piano;  Kevin Axt – Bass;  Ray Brinker - Drums, Percussion

The Sting Variations

Mike Richmond Cello Quartet - The Pendulum

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 65:57
Size: 152,3 MB
Art: Front

(6:43)  1. The Pendulum At Falcon's Lair
(6:21)  2. Cello Again
(8:59)  3. Two Litle Pearls
(6:18)  4. Laverne Walk
(7:28)  5. Why Not? That's What!
(7:00)  6. Tricotism
(7:32)  7. Tamalpais Love Song To The Winds
(6:39)  8. My Little Cello
(8:53)  9. Oscalypso

Not a record with four cellos in the lead but a set that features bassist Mike Richmond picking up the instrument in a glittering tribute to the genius of Oscar Pettiford! The set features all Pettiford compositions, played by a swinging group that features Peter Zak on piano, Jay Anderson on bass, and Billy Drummond on drums players who provide a warm core while Richmond mostly plucks the cello, and uses the instrument in wonderfully melodic ways that mixture of deep groove and lyrical swing that Pettiford brought to his most unique recordings of the 50s. Zak's piano has a harder bite, which makes for a nice contrast in tones and titles include "Why Not That's What", "Laverne Walk", "Cello Again", "The Pendulum At Falcon's Lair", "My Little Cello", "Tamalpais Love Song To The Winds", and "Oscalypso".  
© 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/837788/Mike-Richmond-Cello-Quartet:Pendulum

Personnel:  Mike Richmond (cello); Peter Zak (piano); Jay Anderson (bass); Billy Drummond (drums).

The Pendulum

Nicki Parrott - Misty

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 60:46
Size: 140,0 MB
Art: Front

(3:37) 1. Whatever Lola Wants
(5:07) 2. Misty
(5:03) 3. Bewitched, Botheered ad Bewildered
(4:25) 4. Old Devil Moon
(5:17) 5. The Nearness Of You
(3:33) 6. Ddestination Moon
(4:55) 7. Good Morning Heartache
(3:28) 8. Girl Talk
(3:31) 9. Big Spender
(3:14) 10. Never Let Me Go
(4:07) 11. It's Love
(5:34) 12. Everything Must Change
(4:59) 13. Here's To Life
(3:50) 14. At Last

Nicki Parrott, an internationally acclaimed bassist, arrived in New York in May of 1994, the recipient of a grant from the Australia Council for the Arts allowing her travel to the US and study with her mentor, one of the world’s premiere double bassists, Rufus Reid. In the same year she was also nominated for the “Australian Young Achievers Award”.

Today, Nicki Parrott is a world-class double bassist and an emerging singer/songwriter. In her work with artists from around the globe she has brought a signature sound to every bass part she has played. She performs regularly at the world’s best Jazz Festivals and can be seen Monday’s at the Iridium Jazz Club in New York City with the legendary guitarist and inventor, Les Paul. Since June of 2000, this union has been an ideal showcase for her musical abilities, flair for improv, and gift for entertaining a crowd.

Born in Newcastle, Australia, Nicki Parrott began her musical training on the piano at the age of four. She also took up the flute and continued to play both instruments throughout her school years. At the age of 15, Nicki switched her focus to the double bass, formed a band with her older sister Lisa (alto sax) and began composing instrumental pieces that they would eventually record for their premier CD release, The Awabakal Suite (2001).

After completing high school, Nicki moved to Sydney and attended the New South Wales Conservatorium of Music, where she graduated with an Associates degree in Jazz Studies. When bassists such as the legendary Ray Brown (Dizzy Gillespie, Ella Fitzgerald, Duke Ellington, Oscar Peterson) and John Clayton (Diana Krall, Whitney Houston) were playing in town, Nicki would find them, contact them and arrange lessons from them. She was awarded a scholarship to the prestigious Pan Pacific Music Camp, and soon after, took first place in the 1992 Jazz Action Society's Annual Song Competition for her composition, Come and Get It.

In 1990, Nicki began touring Australia with Russian musicians Daniel Kramer and Alexander Fischer playing sold out shows across the country. This was followed by successful tours with American trumpeters Bobby Shew and Chuck Findley. When she was off the road, Nicki was consistently playing bass with other world-renowned jazz musicians like New Zealand’s Mike Nock (piano), Australia's Dale Barlow (tenor sax), Paul Grabowsky (piano), Bernie McGann (alto sax) and the explosive Ten Part Invention.

In May of 2002, The Nicki and Lisa Parrott Quartet headlined the prestigious Mary Lou Williams Jazz Festival held at the Kennedy Center in Washington D.C. The show was broadcast on NPR and was well received by the press. She was also the resident bassist with the Kitchen House Blend, a house band that premiered and performed new music from local New York composers. They would blend jazz, hip-hop, classical and rock in one evening...“It was a very creative experience”.

Nicki expanded her musical repertoire and appeared on the Broadway stage in such shows as: Imaginary Friends, You're a Good Man Charlie Brown, Summer of '42, and Jekyll and Hyde. She is still active on Broadway today and regularly performs in the comedic musical, Avenue Q.

Since coming to the United States Nicki Parrott has performed and/or recorded with such notable musicians as Randy Brecker, Skitch Henderson, Jose Feliciano, Rebecca Paris, Bucky Pizzarelli, John Pizzarelli, Warren Vache Jr., Clark Terry, Michel Legrand, Billy Taylor, Dick Hyman, Patti Labelle & the New York Pops Orchestra, Annie Ross, the Florida Pops Orchestra, Terri Thornton, Holly Hoffman, DIVA, Marlena Shaw, Monica Mancini, Patrice Rushen, Harry Allen, Red Holloway, Kenny Davern, Mike Stern, Bernard Purdie, John Tropea, David Krakauer, Howard Alden, Randy Sandke, Greg Osby, Jack Wilkins, Ken Peplowski, Johnny Frigo, Joe Wilder, Houston Person, Wycliffe Gordon, Rachel Z and Johnny Varro.

Nicki has also performed at most of the world’s major jazz festivals. In the United States she’s appeared at the Newport Jazz Festival (2005), the Litchfield Jazz festival (2005), the Jazz in July concert series at the 92nd street Y (2003, 2004), the Detroit Jazz Festival (2005) and the Lionel Ha mpton Jazz Festival (2001).

Outside the USA Nicki has appeared at the Cully Lavaux Festival (Switzerland - 1995), the Grimsby Jazz Festival (UK - 1996), Berlin Jazz Festival (Germany - 1998), the Ottawa Jazz Festival (2004), the Krakow Music Festival (Poland), JazzAscona (2005, 2006), Bern Jazz Festivals (Switzerland - 2005, 2006), Edinburgh Jazz & Blues Festival (UK - 2006) and of course, she has played at numerous music festivals across Australia.

Nicki Parrott is committed to the continuing musical education women receive in order to further their careers and ultimately remain active as musicians past their teen years. In keeping with her sense of community, Nicki’s desire is to teach underprivileged kids to play instruments and learn to enjoy music. It is her belief t hat teaching music to children helps keep them interested in school and out of trouble.
https://www.allaboutjazz.com/musicians/nicki-parrott

Misty

Wednesday, February 15, 2023

Ella Fitzgerald - Sweet And Lovely

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 68:44
Size: 158,8 MB
Art: Front

(4:13) 1. Let's Do It (Let's Fall In Love)
(4:00) 2. These Boots Are Made For Walking
(4:25) 3. Here's That Rainy Day
(3:32) 4. Summertime
(5:19) 5. It Don't Mean A Thing
(8:18) 6. Jazz Samba
(4:33) 7. Mack The Knife
(4:35) 8. The Midnight Sun Never Sets
(3:17) 9. Goin' Out Of My Head
(4:06) 10. Sweet And Lovely
(3:59) 11. Misty
(2:53) 12. 'S Wonderful
(6:50) 13. St. Louis Blues
(8:36) 14. How High The Moon

Recognized worldwide as “The First Lady of Song,” Ella Fitzgerald is arguably the finest female jazz vocalist of all time. Blessed with a highly resonant voice, wide range, and near-perfect elocution, Fitzgerald also possessed a deft sense of swing, and with her brilliant scat technique, could hold her own against any of her instrumental contemporaries.

She came to initial popularity as a member of drummer Chick Webb’s band in the 1930s, scoring a hit with a “A-Tisket, A-Tasket,” before ascending to wide acclaim in the 1940s with Jazz at the Philharmonic and Dizzy Gillespie’s Big Band, and issuing landmark performances like “Flying Home” and “How High the Moon.” Working with producer/manager Norman Granz, she gained even more acclaim with her series of albums on Verve, recording definitive versions of the music of the Great American Songbook composers, including 1956’s Sings the Cole Porter Songbook.

Over her 50-year career, she earned 13 Grammy Awards, sold over 40 million albums, and picked up numerous accolades including a National Medal of Arts and the Presidential Medal of Freedom. A hugely important cultural figure, Fitzgerald made an immeasurable impact on the development of jazz and popular music, and remains a touchstone for fans and artists decades after her passing.
https://jazzbluesnews.com/2022/12/09/cd-review-ella-fitzgerald-sweet-and-lovely-2022-video-cd-cover/

Sweet And Lovely

Ed Calle - Soulful Nights

Styles: Saxophone Jazz
Year: 2022
File: MP3@320K/s
Time: 48:22
Size: 112,0 MB
Art: Front

(3:36) 1. Golden Hills
(4:22) 2. Inner City Blues
(4:13) 3. Faces In The Clouds
(4:50) 4. Golden Lady
(3:40) 5. River Of Dreams
(4:03) 6. Where The Rainbow Ends
(5:55) 7. You're My Everything
(3:46) 8. I Say A Little Prayer
(4:01) 9. What You Won't Do For Love
(3:58) 10. Desert Rose
(5:54) 11. Eres Todo En Mi

Miami’s Ed Calle has been dazzling audiences with his bountiful musical gifts for about a quarter of a century. From the start, it was obvious that he was a natural player and now, at 39, Calle has been heard on thousands of recordings both as a sideman and a soloist, and his resume includes tour dates with some of the biggest names in the business.

Even if Calle’s name is unfamiliar to you, it is guaranteed that you have heard his music. His fiery tenor has graced the work of Gloria Estefan from the earliest days of the Miami Sound Machine, and he’s heard on Grammy-award-winning recordings by Arturo Sandoval, Vicky Carr and pop singer Jon Secada. You have also heard him with Julio Iglesias, Vanessa Williams, Bob James, Frank Sinatra and many others, as well as on television and in motion picture soundtracks. The man is not only gifted, but versatile whether it be rock, jazz or pop. Calle has done it all and done it well. His newest album is Soulful Nights (2022), which is ready to be streamed on all digital platforms.
https://smoothjazzdaily.wordpress.com/2022/08/23/ed-calle-soulful-nights/

Soulful Nights

John Coltrane & Archie Shepp - New Thing At Newport

Styles: Saxophone And Piano Jazz
Year: 1966
File: MP3@320K/s
Time: 66:03
Size: 151,5 MB
Art: Front

( 1:08) 1. Spoken Introduction To John Coltrane's Set By Father Norman O'connor
(12:44) 2. One Down, One Up
(15:21) 3. My Favorite Things
( 2:02) 4. Spoken Introduction To Archie Shepp's Set By Billy Taylor
(10:28) 5. Gingerbread, Gingerbread Boy
( 6:43) 6. Call Me By My Rightful Name
( 3:26) 7. Scag
( 5:49) 8. Rufus (Swung His Face At Last To The Wind, Then His Neck Snapped)
( 8:19) 9. Le Matin Des Noire

What better place than the Newport Jazz Festival, a historically tight-laced and conservative jazz forum, for the quartets of Coltrane and Shepp to pour out their soulful selves as libations for the masses? Prior to this 1963 concert the festival’s track record with adventurous jazz fare was checkered at best. Monk and Giuffre had played there in previous years, but the focus was undeniably on the accessible and the mainstream. Things had become so skewed that Charles Mingus, Max Roach felt obligated to organize a concurrent festival of their own in protest and were given the sobriquet The Newport Rebels. Coltrane’s immense popularity made him the perfect candidate to breach Newport’s defenses and in typical benevolent fashion he brought a host of his associates in tow for a unified siege on the senses and sensibilities of the audience. What a spectacle it must have been. Fortunately the tape machines were rolling.

As if in deference to the Newport jazz community’s naïveté toward the New Thing embarrassingly banal comments from Father Norman O’Conner preface and append Trane’s performance. The so-called ‘jazz priest’ demonstrates his ignorance by referring to Elvin Jones as a ‘kind of a newcomer to the world jazz.’ Mercifully his introductions are brief and the quartet works up a lengthy lather on “One Down, One Up” before launching into a burning rundown of “My Favorite Things.” Compared to other concert recordings by the quartet the first piece is just below par, though there’s still plenty of incendiary fireworks ignited by the four on second. Coltrane’s upper register tenor solo becomes so frenetic on “One Down, One Up” that there are moments where he moves off mic, but his soprano work on “My Favorite Things” is nothing short of astonishing, a blur of swirling harmonics that threatens split his horn asunder.

After Coltrane and crew have sufficiently anointed the Newport crowd in a monsoon of New Thing sentiments it’s Shepp’s turn. His set is a different bag, brimming with political overtones and barely contained dysphoria and his sound on tenor is an arresting amalgam of raspy coarseness and delicate lyricism. Hutcherson’s glowing vibes knit gossamer webs around the rhythmically free center accorded by Phillips and Chambers. It all comes to boil on the haunting “Scag” a tone poem fueled by Phillips acerbic bow, Hutcherson’s ghostly patterns and Shepp’s bone dry recitation that captures the loneliness of a junkie’s desperation. The stuttering starts and stops of “Rufus” carry the feeling of cultural dislocation even further referencing the brutality and finality of a lynching through musical means. Shepp and his partners were pulling no punches in exposing the captive audience to their art. A low-flying plane disrupts the opening of “Le Matin des Noire,” but the four players quickly regain direction and sink into a lush Noirish vamp that carries the tune to a close.

This new version of the disc marks the first time the original 3-track tapes of the concert have been remastered and they are given the royal treatment through 24-bit digital transfers. Also included for the first time is a beautiful facsimile of the Shepp album cover picturing the saxophonist with song charts and horn.By Derek Taylor
https://www.allaboutjazz.com/new-thing-at-newport-john-coltrane-impulse-review-by-derek-taylor

Players: John Coltrane- soprano & tenor saxophones; McCoy Tyner- piano; Jimmy Garrison- bass; Elvin Jones- drums; Archie Shepp - tenor saxophone, recitation; Bobby Hutcherson - vibraphone; Barre Phillips- bass; Joe Chambers - drums.

New Thing At Newport 1965

Dave Scott - Song for Alice

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 69:36
Size: 159,7 MB
Art: Front

(15:51) 1. Ralph Retired
(10:33) 2. Song For Alice
(12:48) 3. Indifference
( 8:29) 4. Venus At Dusk
( 9:00) 5. KC Swingin'
(12:52) 6. Indistinct Chatter

New York scene’s stalwart composer and trumpeter Dave Scott has been leading three separate groups for more than a decade. On this his 7th SteepleChase album Dave chose his quintet as an ideal vehicle for his new compositions intended to provide free improvisation for each performer to spread his wings to the fullest.https://www.jazzmessengers.com/en/94697/dave-scott/song-for-alice

Personnel: Dave Scott - (trumpet); Rich Perry - (tenor saxophone); Gary Versace - (piano); Johannes Weidenmuller - (bass); Mark Ferber - (drums)

Song for Alice

Tuesday, February 14, 2023

Gunhild Carling and Her Swing Band - That's My Desire

Styles: Swing, Vocal
Year: 2002
File: MP3@320K/s
Time: 58:59
Size: 136,3 MB
Art: Front

(4:08) 1. Sheik Of Araby
(6:20) 2. That's My Desire
(4:16) 3. Do the Hucklebuck
(4:59) 4. Caravan
(3:38) 5. Bei Mir Bist Du Schön
(3:20) 6. Lover
(5:29) 7. Otchi Tchornya
(4:01) 8. Wabash Blues
(2:52) 9. Undecided
(5:09) 10. Stardust
(3:35) 11. They All Laughted
(5:23) 12. Girl From Ipanema
(5:43) 13. Cabaret

Swedish musical sensation Gunhild Carling is an internationally acclaimed superstar whose show is a can’t-miss event! Whether she’s singing favorite swinging jazz standards, playing one of many instruments (trumpet, trombone, harmonica, oboe, harp, flute, recorder, or jazz bagpipe!) or juggling and tap dancing, Gunhild’s sublime showmanship shines. And just wait for the finale – spoiler alert – she plays three trumpets at once!

Carling competed as a celebrity dancer in Let’s Dance 2014 on TV4 placing third. Was also on Sweden’s Dancing with The Stars. Gunhild performed for Sweden’s Got Talent in 2017 and this year she is currently on America’s Got Talent season 2019.

She recently performed with her 'Carling Big Band' at the Royal Palace in Stockholm in the celebration for King Carl XVI Gustaf's Ruby Jubilee. Performing such great memorable vintage songs such as "Minnie the Moocher," "Sweet Georgia Brown," "All of Me," "It Had to Be You," and an endless repertoire of songs, Gunhild masterfully takes you back to another era like a time machine.

Between Touring with her own band, she performs in several configurations from solo to orchestra to symphony and as a featured singer and multi-instrumentalist in several of Postmodern Jukebox's songs, including a 1920s jazz swing version of "Material Girl", and a 1920s hot jazz cover of ABBA's "Dancing Queen”. Gunhild Carling keeps serenading audiences in the US and all around the world today.
https://www.allaboutjazz.com/musicians/gunhild-carling

That's My Desire

Donald Byrd - Live: Cookin' with Blue Note at Montreux

Styles: Trumpet Jazz
Year: 2022
File: MP3@320K/s
Time: 45:25
Size: 104,6 MB
Art: Front

( 8:11) 1. Black Byrd
( 7:42) 2. You've Got It Bad Girl
( 9:19) 3. The East
( 2:58) 4. Introductions
(11:50) 5. Kwame
( 5:22) 6. Poco-mania

With the release of his chart-topping, funk-fueled Black Byrd in 1973, Donald Byrd found himself in a volatile place in jazz circles. He was being hailed as having finally stepped out of Miles Davis' considerable shadow, while simultaneously many found the album to be Byrd's selling out his bop legacy for chart success. As most defining artistic moments reveal, a little of both were true.

Produced and arranged by the brothers Fonce Mizelland Larry Mizell, Black Byrd incorporated Motown's universal sense of rhythm and groove with the upfront horns and the then-nascent cosmic sounds of synthesizers and electric pianos. Perhaps it was just a little too much too soon. And perhaps none of this bothered Byrd at all. He just went on about his creative business like true creatives do, determined and undaunted.

So putting a band together and getting the grit before the people was the mission of that summer, and at Montreux Byrd and his small army took the beachhead. With "Shaft" like grooves and urgent funk methodology of equal parts rock insurgency (Sly and the Family Stone), electric Miles Davis, and genre-bending Herbie Hancock, to say the heat starts high and cookin' just about says it all.

Set for first time release on what would have been the trumpeter's 90th birthday (December 9, 2022), Donald Byrd Live: Cookin' with Blue Note at Montreux is a previously unheard, electric, fire breathing set from the Montreux Jazz Festival, July 5, 1973, that blazes in early fusion glory. A fierce and relentless percolation spikes the opening "Black Byrd" and the set simmers close to a boil thereafter. With the Mizell brothers beside him on their respective synths and horns, Byrd leads a ten-piece invasion proving exactly who's who, despite the chit and chatter from the naysaying scholars and pundits. Keeping the groove hot and in place, tenor sax/flutist Allan Barnes and fellow saxophonist Nathan Davis, electric pianist Kevin Toney, guitarist Barney Perry, bassist Henry Franklin, drummer Keith Killgo, and percussionist Ray Armando build on the serpentine, chunka-chunka/chicka-chicka rhythm of "The East" to climax on the high bop centered "Kwami" and frantic "Poco-Mania." Cookin' just about says it all. By Mike Jurkovic Mike Jurkovic
https://www.allaboutjazz.com/donald-byrd-live-cookin-with-blue-note-at-montreux-blue-note-records

Personnel: Donald Byrd: trumpet; Fonce Mizell: trumpet; Allan Barnes: saxophone, tenor; Keith Killgo: drums; Nathan Davis: saxophone; Kevin Toney: piano; Larry Mizell: synthesizer; Barney Perry: guitar; Henry Franklin: bass; Ray Armando: percussion.

Additional Instrumentation: Donald Byrd: flugelhorn, vocals; Fonce Mizell: vocals; Keith Killgo: vocals.

Live: Cookin' with Blue Note at Montreux

The Modern Jazz Quartet - Fontessa

Bitrate: MP3@320K/s
Time: 36:40
Size: 83.9 MB
Styles: Bop
Year: 1956/1989/2009
Art: Front

[ 3:20] 1. Versailles (Porte De Versailles)
[ 3:48] 2. Angel Eyes
[11:23] 3. Fontessa
[ 3:52] 4. Over The Rainbow
[ 5:03] 5. Bluesology
[ 4:48] 6. Willow Weep For Me
[ 4:24] 7. Woodyn You

Recorded: January 22, 1956 & February 14, 1956. John Lewis - piano; Milt Jackson - vibraphone; Percy Heath - double bass; Connie Kay - drums.

This LP has a particularly strong all-around set by the Modern Jazz Quartet. While John Lewis' "Versailles" and an 11-minute "Fontessa" show the seriousness of the group (and the influence of Western classical music), other pieces (such as "Bluesology," "Woody 'N You" and a pair of ballads) look toward the group's roots in bop and permit the band to swing hard. ~Scott Yanow

Fontessa

Kenny Barron - The Source

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 67:30
Size: 154,8 MB
Art: Front

(8:02) 1. What If
(6:13) 2. Isfahan
(6:04) 3. Teo
(9:42) 4. Daydream
(6:16) 5. I'm Confessin' (That I love you)
(8:53) 6. Dolores Street, SF
(5:42) 7. Well You Needn't
(8:34) 8. Sunshower
(8:00) 9. Phantoms

He may admit to jitters whenever he first sits down at his chosen instrument to record or perform, but elder statesman and NEA Master Kenny Barron never fails to elicit a warm, enveloping sense of elegy, wit and emotional balance to whatever setting the music finds him.

On his first solo go-round in forty years, The Source, like its distant predecessor At The Piano (Xanadu, 1982) has Barron brimming with the same empathy and effervescence, but with all the reflective nature the years tend to instill in a man who has made one to one conversation an art form. An art form with his peers, ranging from Dave Holland to Regina Carter, Freddie Hubbard, Stan Getz, Booker Ervin, to Mulgrew Miller, as well as listeners far and wide.

"What If?" reimagined and reframed from its bop conscious 1986 original (on Enja's What If?), finds renewed power in a bass line that is impossible to avoid. It not only underpins the melody, it actively becomes it as The Source sails forth from there. As he has for year out of reverence and inquisitiveness, Barron revisits Duke Ellington and Billy Strayhorn's "Isfahan" with a glee reminiscent of Thelonious Monk. Which makes perfect sense in so many ways since Monk's own slipknot, "Teo," exuberantly follows. Deft, agile, lyrical and vibrant, Barron brings all his emotion to another Strayhorn epiphany, "Daydreams," before bringing us to a quiet place of Zen on his own "Dolores Street SF."

More Monk follows with the chromatic skip of "Well You Needn't" and, if Barron still needs a spotlight for his love of barrelhouse and Monk himself, well here it is. A steady rolling energy emanates from the track and you sense Barron, whose sense of improv is as alive here as on any other of The Source's nine highlight performances, is really enjoying himself. The disc closes with two highly regarded Barron staples: "Sunshower," its melodic resonance still a source of invention after its initial hearing on Innocence (Wolf, 1978), and "Phantoms.," which still holds all its dark tones even when the master steers the tune away from them, serving as a final reflection on a man who can make light and dark his building blocks without relying heavily on either. By Mike Jurkovic
https://www.allaboutjazz.com/the-source-artwork-records

Personnel: Kenny Barron: piano.

The Source