Freddie Hubbard - Live At The Northsea Jazz Festival, 1980

Styles: Trumpet Jazz
Year: 1998
Time: 74:48
File: MP3 @ 128K/s
Size: 69,3 MB
Art: Front

(16:50) 1. First Light
(13:05) 2. One Of Another Kind
(10:34) 3. One Of A Kind
(11:57) 4. Impressions
(12:31) 5. Happiness Is Now
( 9:49) 6. Red Clay

Freddie Hubbard's output grew increasingly erratic after his departure from CTI Records in the mid-1970s, and you never knew whether he would come out with a gem like Super Blue or an embarrassing "smooth jazz" stinker like Windjammer. Originally a two-LP set and now a single CD, Live At The Northsea Jazz Festival, 1980 definitely falls into the "gem" category.

The trumpeter/flugelhornist is captured on stage at The Hague in Holland, where he leads a cohesive quintet that includes Davis Schnitter on tenor sax, Billy Childs on electric keyboards, Larry Klein on electric bass and Sinclair Lott on drums and where he truly soars on familiar originals like "Red Clay," "First Light" and "One Of Another Kind" as well as an explosive version of John Coltrane's "Impressions."

Much like his CTI work of the early-to-mid 1970s, this live date doesn't cater to small-minded "jazz purists." Though Hub doesn't take the fusion concept as far as Miles Davis, Return To Forever or Weather Report, this is clearly jazz with funk and rock elements.

Unfortunately, the memorable interpretation of "The Summer Knows" that graced the original double-LP was omitted due to time limitations. But even so, it's great to see this album reissued on CD. By AAJ Staff https://www.allaboutjazz.com/live-at-the-northsea-jazz-festival-1980-freddie-hubbard-fantasy-jazz-review-by-aaj-staff

Personnel: Freddie Hubbard: trumpet; David Schnitter: tenor saxophone, flute; Billy Childs: keyboards; Larry Klein: bass; Sinclair Lott: drums

Live At The Northsea Jazz Festival, 1980

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Gerald Cannon - Live at Dizzy's Club - The Music of Elvin & Mccoy

Styles: Post Bop
Year: 2024
File: MP3@320K/s
Time: 72:22
Size: 166,2 MB
Art: Front

( 8:47) 1. Ej's Blues
( 6:35) 2. Three Elders
(10:34) 3. 3 Card Molly
( 7:47) 4. Search for Peace
(11:16) 5. Blues in the Minor
( 8:33) 6. Home
(13:38) 7. Contemporary Focus
( 5:08) 8. Inception

In June 2022, bassist Gerald Cannon assembled an all-star septet to perform compositions by his late friends and musical colleagues, drummer Elvin Jones and pianist McCoy Tyner, in concert at Dizzy's Club in New York City. It is a respectable blowing session, with capable solos by all hands, albeit a tad less than one might expect from such an esteemed ensemble.

That is not to say anything on the menu is bland or unsavory. Still, expectations are understandably high where an ensemble of this caliber is concerned; this session, even though admirable in many respects, seems more methodical than inspired, in spite of some laudable blowing along the way and a generally solid rhythmic vibe from Cannon and his teammates.

Elvin, one of the Detroit area's talented Jones brothers (Thad, Hank), wrote "EJ's Blues," which opens the session on a buoyant note, and the high-powered "3 Card Molly." Sandwiched between them is Cannon's lone composition, the diaphanous "Three Elders," dedicated to Jones, Tyner and pianist Larry Willis, with whom Cannon performed for eleven years in the Roy Hargrove Big Band. Tyner composed the rest of the session's eight numbers: "Search for Peace," "Blues in the Minor," "Home," "Contemporary Focus" and "Inception."

"EJ's Blues" introduces the ensemble's four-horn front line: tenor saxophonist Joe Lovano, trumpeter Eddie Henderson, alto saxophonist Sherman Irby and trombonist Steve Turre, leading to an engaging solo by pianist Dave Kikoski who is splendid at every turn. Henderson and Turre are smooth and eloquent when called upon, while Lovano relies in part on rapid-fire runs interspersed with high-register screams. Irby never sounds completely comfortable even though he solos capably, especially on "Contemporary Focus." Lovano seems most at home on Tyner's eloquent "Search for Peace," on which he shares blowing space with Henderson.

The septet is present on every number but the last one, Tyner's light-hearted "Inception," performed by Kikoski, Cannon and drummer Lenny White who serves as the group's rhythmic core on every number. Cannon solos only twice, on "3 Card Molly" and "Contemporary Focus," White on "Blues in the Minor" and "Inception." After "EJ's Blues," Turre is not out front again until "Home" and "Contemporary Focus."

There can be no doubt that Cannon's heart was in the right place, his choice of sidemen was splendid, and honorees Jones and Tyner were first-class writers as well as performers. The result is a very good concert which never dips below that level but, for reasons uncertain, seldom rises above it either. Even so, well worth hearing and appreciating.By Jack Bowers
https://www.allaboutjazz.com/live-at-dizzys-club-the-music-of-elvin-and-mccoy-gerald-cannon-self-produced

Personnel: bassist Gerald Cannon; pianist Dave Kikoski; drummer Lenny White; tenor saxophonist Joe Lovano; alto saxophonist Sherman Irby; trumpeter Eddie Henderson; and trombonist Steve Turre.

Gerald Cannon Live at Dizzy's Club the Music of Elvin & Mccoy (Live)

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Ruby Braff - Hear Me Talkin'

Styles: Cornet Jazz
Year: 1971
Time: 66:35
File: MP3 @ 320K/s
Size: 152,8 MB
Art: Front

( 4:34) 1. You've Changed
( 5:54) 2. Hear Me Talkin' To Ya
( 4:23) 3. Don't Blame Me
( 5:44) 4. No One Else But You
( 6:11) 5. Nobody Knows You (When You're Down And Out) Buddy Bolden's Blues
( 6:28) 6. Mean To Me
( 6:26) 7. Where's Freddy
( 4:56) 8. When My Sugar Walks Down The Street
(10:26) 9. Between The Devil And The Deep Blue Sea
( 5:42) 10. Smart Alex Blues
( 5:47) 11. Hear Me Talkin' To Ya

This is a fun Dixieland/swing date featuring cornetist Ruby Braff with an octet led by the fine English trumpeter Alex Welsh. In addition to the two leads, trombonist Roy Williams, tenor-saxophonist Al Gay and baritonist Johnny Barnes get some solo space on the mixture of standards, 1920s obscurities (including Don Redman's "No One Else but You") and basic originals. Everyone sounds in a good mood and is heard swinging in prime form throughout this recommended CD reissue. By Scott Yanow https://www.allmusic.com/album/hear-me-talkin-mw0000614141#trackListing

Hear Me Talkin'

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Melody Gardot - Sayonara Meu Amor

Styles: Vocal
Year: 2024
Time: 32:23
File: MP3 @ 320K/s
Size: 75,5 MB
Art: Front

(6:55) 1. La Chanson de vieux amants
(4:49) 2. Once I Was Loved
(3:00) 3. Get Out Of Town (Acoustic Version)
(4:52) 4. Se Voce Me Ama
(5:31) 5. So Long (Live)
(7:13) 6. Samba Em Prelúdio (Un Jour Sans Toi) (The Paris Sessions)

Pull down your shades and light some candles. A simple, yet poignant blend of jazz and folk is headed your way. At 22, singer-songwriter Melody Gardot has a hauntingly smooth voice that can melt even the coldest of hearts.

Melody Gardot has set the bar for what it means to be a musical athlete. Drenched in a sublime vapor of mellow blues, eclectic folk, and the faintest essence of jazz, she breaks forth with her debut full length album, Worrisome Heart. The record is an effervescent 11-track collection of original songs co-produced by Melody Gardot and Grammy-Award winning producer Glenn Barratt. With a superb narrative and inventive vocal-scat patterns, the pianist/guitarist tackles heartache full on by way of velvet tongue and alluring disposition.

Few females successfully master the art of capturing mood and emotion the way Gardot does. There is an expressive candor and yearning in her voice an insatiable longing reminiscent of greats like Billie Holiday, Ella Fitzgerald, and Nina Simone. Her roots as a piano player in nightclubs of Philadelphia undoubtedly set the framework for developing her post-midnight sultry sound. Though a motor vehicle accident left the young singer disabled, hidden behind dark glasses and a tempting smile is an extraordinary young woman whose daily struggles feed her artistic pursuit: “I believe in sharing your heart with people, no matter how hard it may be” says Gardot.

At the age of 19, Gardot was hit by a car while riding a bicycle. The injuries sustained mean Gardot now needs to wear dark glasses and carry a cane. Prompted by a tending physician who believed music would help her regain some of her former cognitive abilities, her first musical venture was in 2005, an EP titled, “Some Lessons” recorded from her bedside.

Gardot’s story garnered attention as a fighter who has overcome adversity and risen above her limitations. City Paper Philadelphia honored her with a People’s Choice award saying, “To our eyes, nobody's a more inspiring, more talented fighter than young singing-songwriter phenom Melody Gardot. She turned the pain of a life-changing car accident into surprisingly mature and utterly enthralling music.”

In addition to the trio of musicians who accompany Gardot live, the record features an impressive cast of musicians including guitarist Jef Lee Johnson (Billy Joel, George Duke, Aretha Franklin), Kurt Johnston (Bon Jovi) and trumpeter Matt Cappy (Jill Scott, Kirk Franklin, Dave Chapelle Movie).

Poised and ready the young singer shines on “Worrisome Heart”, proving she is an undeniable lyrical contender who from the very first word will knock you out.

“It was a most unusual start, but when you come from a place where things are tough it makes it that much easier to appreciate the times when life is easy.” she says. In addition to the trio of musicians who accompany Gardot live, the record features an impressive cast of musicians including guitarist Jef Lee Johnson (Billy Joel, George Duke, Aretha Franklin), Kurt Johnston (Bon Jovi) and trumpeter Matt Cappy (Jill Scott, Kirk Franklin, Dave Chapelle Movie).

Poised and ready the young singer shines on “Worrisome Heart”, proving she is an undeniable lyrical contender who from the very first word will knock you out.
https://www.allaboutjazz.com/musicians/melody-gardot/

Sayonara Meu Amor

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Dave Douglas - Dave Douglas GIFTS

Styles: Trumpet Jazz
Year: 2024
Time: 53:20
File: MP3 @ 320K/s
Size: 122,1 MB
Art: Front

(10:54) 1. Gifts
( 7:26) 2. Kind of Teal
( 4:31) 3. Take The A Train
( 3:16) 4. Rain Check
( 8:14) 5. Blood Count
( 4:40) 6. Day Dream
( 7:10) 7. Seven Years Ago
( 7:06) 8. Small Bar

Dave Douglas' Gifts emerges not merely as a collection of tracks but as an opulent gala in honor of the eternal essence of music, welcoming audiences across the spectrum of generations to partake in its celebration. This project is akin to a masterfully blended concoction of shared human emotions and experiences, articulated through the universal dialect of melodies that defy time constraints. It is a sonic tour de force, intricately weaving together the threads of history, the present and what lies ahead, serving as a reminder that music is both a cherished inheritance and a precious legacy.

The assembly of musicians Douglas congregates for this endeavor resembles a league of extraordinary musical virtuosos, each contributing their unique prowess to forge a soundscape as diverse as it is dynamic. Their collective expertise and ingenuity promise a journey of auditory exploration, akin to navigating the vast expanse of the jazz universe aboard a vessel propelled by boundless creativity.

At the commencement of the album is the eponymous track "Gifts," where Douglas' trumpet heralds a jubilee, complemented by Rafiq Bhatia's use of ethereal guitar effects, crafting an ambiance that oscillates between festive and solemn. Following suit, James Brandon Lewis' saxophone elevates the piece into a vivacious escapade. Here, the ensemble acts less as a mere group of musicians and more like conjurers of musical enchantment.

The reinterpretation of "Take the 'A' Train," Billy Strayhorn's piece, which was immortalized by Duke Ellington, receives a contemporary transformation under Douglas' direction. Envision jazz and rock convening in a lively celebration aboard a metro train this track encapsulates that essence. Ian Chang's relaxed drumming provides the cadence of this locomotive celebration, with Bhatia's guitar lines weaving through the composition like fleeting city lights. This time-honored melody is rejuvenated with a fresh modern twist, dancing in novel exhilarating ways.

"Small Bar" introduces itself like a shadowy figure in a film noir, with guitar and drums engaging in a cryptic dialogue before Douglas' trumpet intercedes, smoothing over the underlying tension with a tone that is simultaneously sharp and melodically rich. Yet "Third Dream" decelerates the session's tempo, presenting a ballad that offers a contemplative counterpoint to the presentation's overall exuberance. It highlights Douglas's breadth as a trumpeter, composer and band leader, adept at evoking deep emotional resonances and underscoring his position as a luminary of jazz innovation.
By Glenn Astarita https://www.allaboutjazz.com/gifts-dave-douglas-greenleaf-music

Personnel: Dave Douglas: trumpet; James Brandon Lewis: tenor saxophone; Rafiq Bhatia: guitar; Ian Chang: drums.

Dave Douglas GIFTS

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Melissa Aldana - Visions

Styles: Saxophone Jazz
Year: 2019
Time: 67:35
File: MP3 @ 320K/s
Size: 156,8 MB
Art: Front

(8:13) 1. Visions
(4:57) 2. Acceptance
(6:03) 3. La Madrina
(3:43) 4. Perdon
(2:37) 5. Abre Tus Ojos
(5:58) 6. Elsewhere
(8:27) 7. Dos Casas, Un Puente
(6:29) 8. Never Let Me Go
(6:29) 9. The Search
(5:26) 10. Su Trajedia
(9:09) 11. El Castillo de Velenje

Compositional and instrumental virtuosity always walks along a razor's edge between self-indulgence and purposeful accomplishment. On Visions, sought after saxophonist Melissa Aldana proves that she doesn't only master balancing this edge but that she can also go beyond the complexities of structure, scales and improvisation and naturally create her very own musical aesthetic. In interplay with an all-star cast of equally dynamic sidemen Sam Harris on keys, Pablo Menares on bass, as well as drummer Tommy Crane and Joel Ross adding some melodic embellishments on vibraphone Aldana lives up to great expectations and then some.

As opposed to what might be expected from her, due to her being of Chilean descent and the album being largely inspired by the work of Mexican artist Frida Kahlo, the compositions here don't burst of Latin American influence, neither in their rhythmic nor melodic nature, but only subtly incorporate some of those elements. However, the opening title track is everything but subtle, and immediately confronts the listener with the hard-bopping talents at hand. A harmonically as well as rhythmically intricate head is introduced by sax and vibes in unison while piano and drums restlessly stack patterns to lively bass stabs.

Here and throughout the album, Harris' piano accompaniment as well as solo improvisation show just how far his harmonic understanding reaches and how deeply into the tradition of his idols most prominently Thelonious Monk he is able to dig. The slight dissonances that derive from his harmonic framing are rebelliously undermined by Tommy Crane's ferocious drumming.

Even on the quieter takes, such as ballads "Abre Tus Ojos" or "Never Let Me Go," the sole standard on this set, the band plays with an urgency that is contagious. Harris' chromatic harmonic side stepping on the latter tune emulates a smirk that is as sassy as they come, reminiscent of his contemporary Sullivan Fortner in style and temperament.

Speed and quantity of notes are characteristics Aldana couldn't care less about. Her playing is subtle and elegant and of a highly melodic nature while the saxophone's tone is contrastingly dry in the mix, thereby not the center of attention but part of the whole, like any color in camouflage. Contrary to camouflage however, the colorful palette on display here is everything other than inconspicuous. It has the flashy traits of fauvism mixed with the neon of Warhol and a graceful finish like fine brush strokes on canvas. Melissa Aldana's Visions proves itself a highlight of this year. By Friedrich Kunzmann
https://www.allaboutjazz.com/visions-melissa-aldana-motema-music-review-by-friedrich-kunzmann

Personnel: Melissa Aldana: tenor saxophone; Joel Ross: vibraphone; Sam Harris: piano; Pablo Menares: bass; Tommy Crane: drums.

Visions

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The Hot Sardines - C'est la Vie (A Jazz Soundtrack)

Styles: Vocal
Year: 2023
Time: 35:42
File: MP3 @ 320K/s
Size: 82,4 MB
Art: Front

(4:00) 1. J'attendrai
(3:19) 2. Moon River
(5:30) 3. Si Tu Savais
(3:47) 4. Adieu L'amour
(3:20) 5. Let's Go
(3:03) 6. C'est La Vie
(2:14) 7. La Vie En Rose
(3:44) 8. I Wish You Love
(3:03) 9. Swing Of The Hip
(3:37) 10. Meet Me At The Bottom Of The Bottle

The Hot Sardines, an authentic New York City-based jazz band, released their newest album C’est La Vie on Aug. 4. The album arrived with ten highly complex tracks including covers and reinventions of jazz classics as well as original songs written by Elizabeth Bougerol and Evan Palazzo.

The co-writes of C’est La Vie founded the lively Hot Sardines back in 2011, getting their start by playing various underground parties in Brooklyn. Since then, they have released six albums in total, all aiming to reinvigorate classic jazz music for the modern-day ear and spread their brand worldwide. With flourishing success taking them away from home time and time again, the band decided to record more music leading Bougerol to more thoroughly explore French influences which quickly took over what is now C’est La Vie.

The new album is a bilingual project with tracks both in English and French, providing listeners with newly interpreted classics from “Moon River” to “La Vie En Rose” along with various impressive, original compositions. When it came to the track’s production, Bougerol and Palazzo called on collaborators from all over the world ranging from Los Angeles all the way to Beijing. The pair aimed to create a stripped-down sound to help them record nearly one-hundred-year-old songs remotely with modern technology while keeping their original spirit and polish alive. With transient instrumentals and Bougerol’s timeless voice, the album takes listeners on a beautiful musical journey and sets a relaxing tone encapsulating the essence of the motto “C’est La Vie.”

The album is complete with track after track of slow and smooth jazz numbers supported by strong string and horn instrumentals with Bougerol’s voice slicing through it all. The co-founder’s vocal talent and control can be heard in every song and even takes on the Audrey Hepburn classic “Moon River.” Though the reinvention begins with seemingly risky harmonies presenting themselves as shaky and out of place, when the song picks up with a more classic jazz nightclub vibe and a laid-back tempo, it begins to truly shine. The classic lyrics continue to express the heartbreaking contradictions of relationships, but the musical composition supports the album’s title and overall message, conveying a newer interpretation to not take those heartbreaks so seriously because c’est la vie.

When it comes to original songs sprinkled throughout, “Adieu L’amour” stands out among the rest with its diverting and more serious sound. From the very start, the song seems to mix with Latin American styles with its faster pace and conga drum-like sound. Where the song continues to divert is in its lyrics, which have outward emotions of spite and blame against the love whose lies “closed the door” possibly going to show that living by the shrug of the shoulder motto of “that’s life” isn’t as easy or as possible as it seems. What brings the track back to the unity of the jazz album is the strength of the band’s playing and Bougerol’s controlled vocals occasionally slipping into French.

Throughout the album, there are numerous other highlights including a hushed “La Vie en Rose” duet between Bougerol and Bob Parins along with “Meet Me at the Bottom of the Bottle” which ends the album on a fantastic note. C’est La Vie is now available on various platforms along with a touching music video for “Moon River” directed by Greg Mottola.

On top of their new album, The Hot Sardines have also lined up tour dates for 2023-2024 which began on July 15th and will continue sporadically through April. The band will visit locations all over the United States, Tokyo, and Toronto, including select stages across New York State including a debut at the infamous Carnegie Hall.By Isabela Perez
https://nysmusic.com/2023/08/08/in-focus-the-hot-sardines-cest-la-vie/

C'est la Vie (A Jazz Soundtrack)

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Stanley Clarke - Children of Forever

Styles: Jazz Fusion
Year: 1973
Time: 47:57
File: MP3 @ VBR ~160K/s
Size: 54,0 MB
Art: Front

(10:42) 1. Children of Forever
( 5:53) 2. Unexpected Days
( 8:00) 3. Bass Folk Song
( 6:53) 4. Butterfly Dreams
(16:28) 5. Sea Journey

First solo album of RTF's bassist, the Chick Corea-produced Children Of Forever is very much a product of its time, with its cosmic gatefold artwork and its peace & love title, and it was recorded between the first two phases of Return To Forever (the exiting Moreira/Farrell and incoming Bill Connors and the album was released on the Polydor label), so it's quite obvious the mother project's paw is all over this jam-packed album (around 25 minutes aside). I believe this is around the time where Chick Corea told Stanley to move onto the electric bass guitar, or else he would be changing RTF's bassist, so Clarke obliged ? and luckily so for him and us),, since he became a master at it. But in the present album, he plays the contrabass on all tracks except the extravaganza piece closing the first side. The album also features a good flute, but obviously not the former RTF Joe Farrell's, but Arthur Webb's.

Amazingly enough this album starts with a very Kobaian near-11 mins title track piece, as Vander's bunch could easily claim it as theirs; from the electric piano led jazz-rock (courtesy of RTF's Corea) to the Vander-like drumming (courtesy of RTG's White) to very Orffian-like chants (almost incantations) and only Clarke's very strolling bass can effectively instil a doubt that you're not on Seventh Record label product. The following Unexpected Days is a bit less Zeuhl-ish, but the general mood can still evoke it, since the lingering impressions from the preceding piece are still alive. Andy Bey and Bridgewater's vocals are definitely more jazzy (Dee Dee sometimes close to crooning). Don't be fooled by the name of the following almost-instrumental track, which has nothing to do with folk, but everything to do with a bass guitar extravaganza, an awesome showpiece, where Clarke scats a bit like lionel Hampton did on his albums.

The flipside only features two tracks, opening with the album's jazziest 7-mins Butterfly Dreams, and it is the album's low point, not helped by the cheesy Bey vocals. The 17- mins+ Sea Journey starts very much in the mood of its predecessor, but evolves soon into an outstanding excursion in the depths of the oceans, floating on a superb lengthy bowed bass stroll, before leaving guitarist Martino some breathing space. Only the vocals are a bit cumbersome, but don't really hinder the moods either. Let's just say that I'd have no problems with having this CPF album as totally instrumental, because it could stand it easily without modifications.

Strangely enough, this debut solo album is often overlooked by fans (and sometimes books and websites), as my utterances are the first on this page, whereas the other albums are much more reviewed. This is a bit sad, because COF is a great album, despite the fact that Stanley doesn't use the electric bass, which would make him a celebrity. Maybe this is why JR/F fans tend to ignore (their losses) this excellent album.https://www.progarchives.com/Review.asp?id=310321

Personnel: Stanley Clarke / bass fiddle, electric bass, arrangements; Dee Dee Bridgewater / vocals; Andy Bey / vocals; Pat Martino / electric & 12-string guitars; Chick Corea / electric & acoustic pianos, clavinet, arrangements producer; Arthur Webb / fluteLenny White / drums, tambourine

Children of Forever

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Nora McCarthy & The People Of Peace Quintet - Blessings

Time: 66:46
Size: 154,6 MB
File: MP3 @ 320K/s
Released: 2016
Styles: Jazz Vocals
Art: Front

01. Love Poem For The People (11:12)
02. Akara Moi Moi ( 5:03)
03. Nimbus ( 9:37)
04. Into The Middle Of Something ( 7:16)
05. Restless Mind ( 5:35)
06. The Blessing ( 6:48)
07. Passion Dance ( 7:32)
08. Listen Close To What The Trees Are Saying ( 5:42)
09. Night On Earth ( 7:56)

blesSINGS features: The People of Peace Quintet - Nora McCarthy-voice, compositions, lyrics, poetry, arrangements; Jorge Sylvester-alto saxophone, compositions, arrangements; Pablo Vergara-piano; Donald Nicks-electric bass; and, Kenny Grohowski and is dedicated to: Alto Saxophonist/Composer-Arranger/Conductor Jorge Sylvester, Poet James Randolph Daniels – Akinwale Pitan-Ogun Adisa, Conductor Lawrence D. “Butch” Morris, the Creative Jazz Musician, and to People of Peace everywhere.

Produced by Nora McCarthy and recorded at Tedesco Studio in Paramus, New Jersey on August 26 & 27th, 2015, blesSINGS is a modern jazz record that combines several elements to make its powerfully beautiful statement: original compositions and lyrics; innovative vocal improvisation, poetry, straight ahead jazz, blues, grooves, mixed meters, jazz ballads, free form, and imaginative arrangements.

blesSINGS addresses the overwhelming need for compassion, environmental awareness and understanding in our world today; it is first and foremost a love story that urges us to love one another and ourselves, to be the best we can be, to open our minds and hearts and acknowledge our individual and collective blessings. It is about gaining peace through harmony, liberation through creative expression, reaching for our higher selves and expanding our consciousness, recognizing and holding steadfast our connection to one another (brotherhood), to the earth (our mother) and to our place within the universe (immortality/spirit). It pays homage to the subtle energies that influence creativity, and ultimately give birth to hope and renewal.

The artistry on blesSINGS is stunning; the musicianship throughout is exquisite and the overall sound is reminiscent of the great creative jazz recordings of the ‘60s and ‘70s where the artists used their music as a conduit for spirituality and as a reaction to turbulent events that were taking place in the country, much like today: war, racism, civil unrest, terrorism, mass killings.

McCarthy felt compelled to put out a CD with a positive message, a healing balm as it were, a solution to be considered, something to hold on to, something to feel good about in a world where bad news prevails and can be so discouraging. In looking over her many compositions, Nora made a discovery. There assembled before her eyes was the music that would be that tap root she sought to provide peace and optimism to the world. The golden thread that wove them all together so perfectly was the word “blessing” as they all contained within their bars and measures, their form and structure, a blessing, and so, blesSINGS came into being.

Blessings

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Sergio Krakowski - Pássaros: The Foundation of the Island

Styles: Jazz
Year: 2016
Time: 41:56
File: MP3 @ 128K/s
Size: 39,0 MB
Art: Front

( 3:13) 1. Founding Chart
( 8:24) 2. Carrossel de Pássaros
( 6:44) 3. Path of Roses
(11:36) 4. Choro de Baile
( 9:18) 5. Wayfaring Stranger / Ostinato
( 2:38) 6. Unveiling Chart

Pássaros: The Foundation of the Island is the second release on the noteworthy Brooklyn label, Ruweh Records. It is a special release in many ways. First and foremost, the leader of the date, Sergio Krakowski, is playing an instrument that is very rare in jazz: the pandeiro.

The pandeiro is a hand frame drum that is particularly popular in Brazil. It is no coincidence that the instrument has been named the Brazilian tambourine. However, there is a difference between a tambourine and the pandeiro. The metal jingles are cupped, which gives it a less sustained sound.

In the right hands, the instrument is able to conjure a world of sound and this is exactly what Sergio Krakowski does on the album. While he is a specialist on his instrument, Krakowski does not limit himself to generic conventions, playing as much with silence, breaks and rhythmic intervals as traditional patterns.

On the other hand, Krakowski does not shun the musical tradition that is connected with his instrument. In fact, there is a clear connection to the Brazilian Choro and the balance between experimental and traditional is prevalent throughout the album. Pássaros: The Foundation of the Island is both adventurously abstract and rhythmically vibrant while also having an undercurrent of deep lyricism.

The album was recorded live as 42-minute take, but is separated into six segments or compositions that flow into each other. It was born out of music first premiered on Krakowski's cyclical web-album Carrossel de Pássaros (available at http://www.skrako.com/disc.php), but eventually evolved into something new.

Together with guitarist Todd Neufeld and pianist Vitor Goncalves, Krakowski creates an enchanting soundscape that provides several melodic motifs and catchy rhythms that communicate directly in the changing flow of the music. It is an album for both body and soul.
By Jakob Baekgaard https://www.allaboutjazz.com/passaros-the-foundation-of-the-island-sergio-krakowski-ruweh-records-review-by-jakob-baekgaard

Personnel: Sergio Krakowksi: pandeiro; Todd Neufeld: electric guitar; Vitor Goncalves: piano.

Pássaros: The Foundation of the Island

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Thelonious Monk - Genius Of Modern Music Volume Two

Styles: Jazz
Year: 1956
Time: 41:05
File: MP3 @ 320K/s
Size: 94,7 MB
Art: Front

(3:27) 1. Carolina Moon
(3:14) 2. Hornin' In
(3:00) 3. Skippy
(3:00) 4. Skippy
(3:47) 5. Let's Cool One
(3:01) 6. Suburban Eyes
(3:03) 7. Evonce
(2:57) 8. Straight No Chaser
(3:31) 9. Four In One
(3:01) 10. Nice Work
(3:06) 11. Monk's Mood
(2:39) 12. Who Knows
(3:13) 13. Ask Me Now

The second volume in this two-disc series displays Thelonious Monk coming into his own fully as a leader. The program consists almost entirely of original compositions, and in fact it opens with two of his most difficult: "Four in One" (with its conventional bop intro that leads into a bizarre, repeated five-against-two quintuplet sequence) and the forbiddingly abstract "Criss Cross." Get through those and you'll eventually be rewarded with the relatively straightforward, blues-based "Straight No Chaser" and the sweet ballad "Ask Me Now," among other treats.

Sidemen include the young trumpeter Kenny Dorham and bassist Al McKibbon, as well as a more clued-in Art Blakey and (replacing Blakey on half of the program) Max Roach. Sahib Shihab's sax tone is more appropriate this time out, and the production quality is somewhat better. This disc, along with Volume 1, belongs in every jazz collection.
By Rick Anderson
https://www.allmusic.com/album/genius-of-modern-music-vol-2-mw0000011837#moodsThemes

Genius Of Modern Music Volume Two

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Thelonious Monk - Genius Of Modern Music Volume One

Styles: Jazz
Year: 1952
Time: 36:45
File: MP3 @ 320K/s
Size: 85,1 MB
Art: Front

(3:09) 1. 'Round Midnight
(2:59) 2. Off Minor
(3:06) 3. Ruby My Dear
(2:45) 4. I Mean You
(3:20) 5. April In Paris
(2:54) 6. In Walked Bud
(3:00) 7. Thelonious
(3:06) 8. Epistrophy
(3:21) 9. Misterioso
(2:58) 10. Well You Needn't
(3:10) 11. Introspection
(2:51) 12. Humph

Volume 1 of the two-volume Genius of Modern Music set comprises the first sessions Thelonious Monk recorded as a leader, on October 15 and 24 and November 21 of 1947. It's impossible to overstate the importance of these sessions. They include some of the earliest recordings of Monk compositions that would become standards, despite their angularity and technical difficulty: the strange, sideways chord progression of "Thelonious"; the bouncy and cheerful but melodically cockeyed "Well, You Needn't"; the post-bop Bud Powell tribute "In Walked Bud"; and, of course, "'Round Midnight," which is now one of the most frequently recorded jazz compositions ever.

There are kinks to be worked out: Art Blakey's drumming is fine, but he obviously hasn't quite taken the measure of Monk's compositional genius, and on the November session, alto saxophonist Sahib Shihab employs a fat, warbly tone that sounds out of place. But the excitement of discovery permeates every measure, and Monk himself is in top form, his solos jagged and strange, yet utterly beautiful. This first volume of Genius of Modern Music, along with the second, belongs in every jazz collection.
By Rick Anderson https://www.allmusic.com/album/genius-of-modern-music-vol-1-mw0000011324

Genius Of Modern Music Volume One And Volume One

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Ernie Krivda - Requiem For A Jazz Lady

Size: 116,6 MB
Time: 50:27
File: MP3 @ 320K/s
Released: 2015
Styles: Jazz
Art: Front

01. The Remarkable Mr. Black (6:44)
02. I'll Close My Eyes (8:36)
03. Questions (7:08)
04. Emerald (8:14)
05. Great Lakes Gumbo (5:39)
06. Little Face (7:37)
07. Requiem For A Jazz Lady (6:24)

It's been over 40 years since tenor saxophonist Ernie Krivda first appeared on record. In a career going back six decades he's released around 30 albums under his own name and appeared on many more. His tenor sound, often plaintive, is distinctive and affecting. On Requiem For A Jazz Lady the tenor is given a quartet setting, an ideal format in which Krivda's instrument can shine.

The Jazz Lady of the album title is not, as one might expect, a legendary vocalist like Billie Holiday or Sarah Vaughan. It's actually 16-year-old High School student Beverley Jaroz, who was killed in Krivda's home town of Cleveland in 1964. Her murder was never solved and contact with her sister 50 years on re-kindled Krivda's memories of the event—he refers to Jaroz as "Cleveland's Black Dahlia." "Requiem For A Jazz Lady," which closes this album, is an atmospheric tribute to the teenager, played hauntingly by the band.

The album sleeve quotes Grego Applegate's assertion that Krivda's "tone sets him apart from other saxophonists." It's certainly true that Krivda has a very distinctive sound. Tough, strong, with what might be called an "extended vibrato," it might seem a little harsh to ears attuned to the softer tones of many tenor players. Krivda's tone is emotive and very personal—once those ears adjust they'll reveal a sound that's both distinctive and open, placing Krivda's heart unashamedly on his musical sleeve.

Requiem For A Jazz Lady brings Krivda together with long-term collaborators Marion Hayden on bass and Renell Gonsalves on drums. They're joined by pianist Lafayette Carthon , a relatively new partner for Krivda. This is definitely the leader's album, but his bandmates' talents give him the foundation for his creativity and when the opportunity arises each musician solos with verve. The funky "Questions," for example, gives Carthon and Hayden the chance to take two excellent solos.

There's just one cover tune here. Carthon opens Buddy Kaye and Billy Reid's "I'll Close My Eyes" with an Art Tatum-esque flourish before the tempo settles down to a slow and gentle pace befitting this lovely ballad. It's mostly a showcase for the leader's controlled, measured, playing but Carthon's solo is beautifully judged. Krivda's own compositions take in the blues (the slinky "Great Lakes Gumbo"), a romantic waltz ("Little Face") and the swing of "The Remarkable Mr Black." "Emerald" is a straight-ahead tune notable for relaxed playing, a lovely melody and a fine ensemble performance—it's probably the most impressive tune on what is in its entirety an impressive work. ~Bruce Lindsay

Personnel: Ernie Krivda: tenor saxophone; Lafayette Carthon: piano; Marion Hayden: bass; Renell Gonsalves: drums.

Requiem For A Jazz Lady

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Lizz Wright - Shadow

Styles: Vocal
Year: 2024
Time: 50:10
File: MP3 @ 320K/s
Size: 115,4 MB
Art: Front

(6:34) 1. Sparrow
(3:29) 2. Your Love
(3:13) 3. Root of Mercy
(5:34) 4. Sweet Feeling
(5:05) 5. This Way
(4:29) 6. Lost In The Valley
(3:13) 7. I Concentrate On You
(4:49) 8. Circling
(3:34) 9. No More Will I Run
(5:46) 10. Who Knows Where The Time Goes
(4:19) 11. I Made A Lover's Prayer

Lizz Wright’s studio album Shadow explores her vocal artistry and musical vision, set for release on April 12, 2024. The album is a rich tapestry of soulful melodies, intimate lyrics, and collaborative genius, particularly highlighted in the second single from the album, “Your Love,” which features the exceptional talent and the unique contributions of Meshell Ndegeocello and Brandee Younger.

“Your Love” shows Wright’s adeptness at blending genres, weaving blues, gospel, and jazz elements into a compelling R&B groove. The track opens with the unmistakable rhythm of Ndegeocello’s bass deep, resonant, and perfectly in the pocket setting the stage for a musical experience that’s grounding in its pulse and transcendent in its melodic unfolding. Younger’s harp punctuates the arrangement, adding a layer of ethereal beauty that elevates the song beyond its roots.

Wright’s vocal delivery on “Your Love” is profoundly expressive and imbued with soul, bearing a distinct resonance of her gospel roots melded seamlessly with the expansive expressiveness of jazz and soul music. The straightforward structure of the song invites listeners to sink into its medium-slow groove, enabling a deep appreciation for the delicate equilibrium between Wright’s voice and the accompanying instrumentation. The chorus, enriched by opulent vocal harmonies, demonstrates Wright’s remarkable capacity to dominate the listener’s attention with her commanding presence. An A cappella phrase, gracefully positioned at the conclusion of the chorus, serves to underscore the sheer beauty and purity of her vocal tone.

Beyond “Your Love,” Shadow as a whole is a celebration of Wright’s evolution as an artist and touches on themes of intimacy, loss, community, and healing resonate throughout its tracks, reflecting Wright’s personal journey and her reflections on love and grief. Her collaboration with Angelique Kidjo, Meshell Ndegeocello, and other talented musicians adds depth and diversity to the project, making it a collaborative triumph.

Produced by Chris Bruce and recorded with engineer Ryan Freeland, Shadow benefits from a production approach that prioritizes authenticity and emotional honesty. Wright’s decision to release the album on her own label, Blues & Greens Records, free from external pressures, has allowed her to craft a work that is true to her vision and voice. This independence is evident in the album’s sound, which is both polished and profoundly personal.

The anticipation for Shadow is heightened by Wright’s innovative approach to music and her commitment to creating a sustainable, artist-centered ecosystem through Blues & Greens Records. Her dedication to uplifting humanity through music and sound business practices is a model for the industry.

In conclusion, “Your Love” highlights what is to come in Shadow, encapsulating the essence of Wright’s artistry her ability to blend genres, her emotive vocal delivery, and her collaboration with like-minded artists. As Wright celebrates 20 years of musical excellence, Shadow offers listeners a deeply resonant and enriching musical experience, all led by Wright’s ever-soulful and powerful voice. By Stamish Malcuss https://jazzsensibilities.com/jazz-vocals/lizz-wright-shadow-review/

Shadow

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Katharine Whalen And Her Fascinators - Madly Love

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 35:08
Size: 82,8 MB
Art: Front

(4:15)  1. Madly Love
(3:17)  2. Roses And Pine
(4:04)  3. Chief Thunder
(2:48)  4. When I Dream
(2:24)  5. Same Turning In Place
(4:30)  6. I Know You Well
(2:28)  7. Elevate
(3:08)  8. Gasoline
(5:31)  9. Mother's Day
(2:40) 10. With You

Katharine Whalen seems like a time traveller out of a long-gone, idyllic Southern past. She resides on a farmhouse, complete with tin roof, in her native North Carolina, where she spends her time writing whimsical songs on her banjo. That is, when she’s not building dollhouses. This doesn’t make her an over-polite dame or make her music lighter than goose down. Rather, it lends a timeless authenticity to Madly Love, her first album in five years. Whalen got her start as a founder of the Squirrel Nut Zippers, an eclectic neo-folk/jazz/swing/etcetera band best known for their 1996 hit “Hell”. After the Zippers split, she released Katharine Whalen’s Jazz Squad in 1999. That album was what the title suggested, a straight-up cocktail jazz affair. Whalen took a seven-year break before returning with Dirty Little Secret, a contemporary yet unfocused take on adult alternative pop. It’s good to hear Whalen getting back to her more rustic roots on Madly Love. She finally sounds completely in her element, in no small thanks to the production. Simple yet full, the guitar/bass/drums sound is direct and positively anachronistic in its total lack of electronically-assisted studio sheen. The rich, unvarnished guitars rock and ripple as necessary. In more than a few places, you’re reminded of the Velvet Underground in their more studied moments.


This approach allows plenty of space for the songs themselves, as well as Whalen’s voice. The rub is that Madly Love is one of the many albums that gets off to a great start and spends the rest of the running order trying to measure up. The title track introduces everything with Whalen’s unaccompanied voice. This is a suiting start because that voice, which is warm and velvety when Whalen chooses to tame it but is usually thrillingly all-over-the-place, is the true centerpiece of the album. Eventually, a hard double-time rhythm kicks in with staccato guitar stabs. By the time it gets to Nathan Golub’s shivering, Link Wray-in-Hell guitar solo, “Madly Love” has indeed gone quite bonkers. Brilliant, as is the juxtaposition with “Roses & Pine”, which follows it. The album’s best track, “Roses & Pine” begins as a gentle, waltz-time lullaby, which has no problem recalling Lou Reed’s most affecting ballads. As the chorus swells, Whalen’s voice takes on a more sinister, shrill quality, which fits with the lyrics about “Naughty Jack” and the like. Something about this song, well, everything about it, conjures up that farmhouse, barn doors swinging as a storm rolls in. “Chief Thunder” takes a more straightforward, melancholic alt-rock approach, but is nearly as strong, thanks again to Whalen’s singing and storytelling along with strong playing and an arrangement that recalls vintage Go-Betweens. There’s an ‘80s reference you can get behind.

Having laid out such a powerful manifesto with those first three tracks, Madly Love then really has nowhere to go but to offer inferior, though hardly futile, variations on them. “Same Turning in Place” adds pedal steel to the pop for an alt-country vibe, and “Elevate” works a “Devil In Disguise”-type cha-cha-cha rhythm to fun effect. “I Know You Well” is the best of the rest, though. Like “Roses & Pine”, it starts out slow and twinkly before getting noisier, and like “Chief Thunder” features an “oooh”-ing, wordless refrain. The elements come together nicely. Though it doesn’t quite deliver on the promise of that opening trifecta, Madly Love is always rewarding. This is due mainly to Whalen’s voice. Within the same line, she can sound delicate as a little girl or as tough and sexy as Debbie Harry, whom she has been compared to. Yet she rarely overdoes it. The Fascinators, led by Golub’s sharp, multifaceted guitar work, also live up to their billing. They manage to get their own character into each song without overshadowing Whalen. If you want an easy reference point for Madly Love, imagine a less contrived She & Him, with Southern grit taking the place of all the coyness. Sounds pretty good, doesn’t it?
http://www.popmatters.com/review/144175-katharine-whalen-her-fascinators-madly-love/

Personnel: Katharine Whalen (vocals, tambourine); William Dawson (vocals, guitar, melodica, piano, organ, vibraphone, bass guitar); Nathan Golub (electric guitar, 12-string guitar); Thom Canova (whistle, hand claps); Brad Porter (bodhran, tambourine, percussion).

Madly Love

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Sonny Greenwich - Sun Song (The Music of Sonny Greenwich)

Styles: Guitar Jazz
Year: 1975
Time: 40:07
File: MP3 @ 320K/s
Size: 91,8 MB
Art: Front

( 7:15) 1. Lily (Lotus)
(12:08) 2. Peace Chant
(20:43) 3. Starlight/Parting

A gem of a record from the great Sonny Greenwich an open-toned guitarist with a style that's unlike anyone else we can think of a Canadian player who never got much exposure down here in the US, but who really stands apart from most of the jazz guitarists of his generation! There's this unusual sense of color and phrasing that really makes Sonny stand out chords that almost feel as if they're broken open and exposed from a Wes Montgomery sort of tightness able to move with a sense of fluidity, but a unique sense of rhythm that's definitely Greenwich's own.

The rest of the group here really match the spirit of his music maybe more so than on any other record of his as a leader a great lineup that includes Don Thompson on electric and acoustic piano, Rick Homme on bass, Terry Clarke on drums, and Clayton Johnson on percussion. All tracks are nice and long and titles include "Peace Chant", "Lilly Lotus", "Parting", and "Starlight". © 1996-2024, Dusty Groove, Inc.https://www.dustygroove.com/item/994223/Sonny-Greenwich:Sun-Song

Personnel: Guitar – Sonny Greenwich; Bass – Rick Homme; Drums – Terry Clarke; Percussion – Clayton Johnson; Piano – Don Thompson

Sun Song (The Music of Sonny Greenwich)

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Charlie Pyne Quartet - Nature Is A Mother

Styles: Contemporary Jazz
Year: 2024
Time: 49:43
File: MP3 @ 320K/s
Size: 114,5 MB
Art: Front

(6:40) 1. On The Shore
(7:28) 2. Am I Doing It Right?
(5:02) 3. Blackberries
(6:38) 4. A Fistful Of Keys
(5:37) 5. Sisters
(5:45) 6. KP's Parrot
(3:06) 7. Solstice
(4:27) 8. Nature is a Mother
(4:56) 9. Gratitude

British jazz is currently blessed with vocal talents. Bandleader Charlie Pyne is just one sample from a spectrum that embraces big band fan James Hudson, who includes a cool version of Disney’s Feed the Birds on his second album of standards, Moonray, and songwriting diva Sarah L King, whose new album Fire Horse comes steeped in soul influences such as Nina Simone.

Charlie Pyne is different again, a bass player with her own quartet and, on this second album, a set of originals drawn from her experience as a woman and mother. Pyne sings with a high, bright voice that can soar when she chooses, though she is also happy to punch out her lyrics in tandem with her bass parts.

The quartet meld easily; drummer Katie Patterson urgent without being noisy, and pianist Liam Dunachie contributing melodic solos alongside Luke Pinkstone’s tenor (and occasional soprano) sax. On standout Am I Doing It Right? Pyne frets about motherhood, celebrating its triumphs on the title cut. Blackberries salutes autumn joyously while A Fistful of Keys provides a moodier moment, the keys in question being poised ready for a would-be assailant. An enjoyable, effervescent set.https://www.theguardian.com/music/2024/apr/06/charlie-pyne-quartet-nature-is-a-mother-review-soaring-effervescent-jazz

Nature Is A Mother

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Laura Fygi - The Lady Wants To Know

Styles: Vocal Jazz
Year: 1994
File: MP3@320K/s
Time: 61:43
Size: 145,9 MB
Art: Front

(4:05)1. Corcovado (Quite Nights Of Quiet Stars)
(4:35)2. It Might As Well Be Spring
(4:16)3. Dindi
(4:58)4. The Lady Wants To Know
(4:02)5. Triste
(4:32)6. If You Went Away
(4:03)7. You Do Something To Me
(3:16)8. Each And Everyone
(3:35)9. Something About Him
(3:38) 10. How Insensitive
(4:23) 11. Disse Alguem
(4:19) 12. Tell Me All About It
(2:52) 13. Oh Telephone
(3:28) 14. Sabor A Mi
(2:48) 15. Baubles, Bangles And Beads
(2:44) 16. Till There Was You

Like Marisa Monte, the beautiful Laura Fygi is one of the great pretenders to the Astrud Gilberto throne. " The lady wants to know " is a wonderful collection of bossa nova and movie classics which reminds me of the magic I felt in the sixties when I first heard this kind of music for the first time courtesy of the album " Astrud Gilberto ." Joining Laura on the album amongst others, are ' Toots ' Thielemans, Michael Franks and Clark Terry. It oozes the music of Tom Jobim (Dindi, Corcovado, Triste, How Insensitive) and the full sound of strings featuring our own London Studio Orchestra.Like Pamela Driggs of Brasilia, Laura is equally at home singing in English or Portuguese and offers beautiful renditions of the movie tracks, Rodgers and Hammerstein classic " It might as well be spring " from the movie ' State Fair ', " Baubles, Bangles and Beads " from ' Kismet ', ' Cole Porter's ' " You do something to me " from ' Fifty Million Frenchman ' and ' Meredith Willson's ' standard " Till there was you " from ' The Music Man '. Laura sings the stunning but , all too short, ' Everything but the Girls ' classic " Each and Everyone " written by Ben Watt and Tracey Thorn in the early eighties and features the acoustic guitar playing of ' Leonardo Amuedo ', a sound reminiscent of Ricardo Silveira. Michael Franks shares a duet with Laura on the Franks penned " Tell me all about it " If there was ever one person that could influence and assist your career in the music of Brazil, Laura has found him in Michael Franks whose own classic " Antonio's song " from his ' Sleeping Gypsy ' set is one of my all time bossa classics.

This is an album for bossa nova connoisseurs from the old school, it is simple, it has good arrangements, beautifully sung and ' oh so pleasing ' to my ears. This is the kind of music that turned me on to bossa nova music all those years ago and I don't care if this is " nothing new ", it is wonderful music performed by a much under-rated vocalist. My advice on this one is, ' Don't let it pass you by, get out there and try and find a copy. By AAF Staff https://www.allaboutjazz.com/the-lady-wants-to-know-laura-fygi-mercury-records-review-by-aaj-staff.php

Personnel: Laura Fygi (vocals); Leonardo Amuedo (guitar); Ferdinand Povel (tenor saxophone); Clark Terry (trumpet); Hans Vroomans (piano); Marcel Serierse (drums, percussion).

The Lady Wants To Know

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Joe Henderson - Power To The People (Remastered 2024)

Styles: Saxophone Jazz
Year: 2024
Time: 42:41
File: MP3 @ 320K/s
Size: 97,9 MB
Art: Front

(4:51) 1. Black Narcissus
(7:04) 2. Afro-Centric
(4:56) 3. Opus One-Point-Five
(4:55) 4. Isotope
(8:44) 5. Power To The People
(4:36) 6. Lazy Afternoon
(7:32) 7. Foresight And Afterthought

The late sixties were an exciting time for jazz, although not a lucrative one. Faced with a declining market share due to the popularity of rock music, jazz musicians were forced to find an audience by pursuing new avenues in composition and instrumentation.

Joe Henderson, a much beloved player for the Blue Note label was dropped in the late sixties. Orrin Keepnews, who certainly could recognize great talent when he saw it, signed him to his newly formed Milestone label. This 1969 release finds Henderson with a near perfect rhythm section. It features imaginative compositions that easily make it a highlight of the accomplished musician's career.

Power to the People is an appropriate title for a session filled with the sense of urgency and charisma found here. Henderson took a page from the compositional methods of the Miles Davis quintet from a few years back in that many of the compositions feature the same dark corners and ambiguous chord structures of that famous group. Only "Incognito" harkens back to an earlier time in Henderson's career.

Henderson has, for the most part, abandoned the harsh tone of his earlier releases for a more smoothed over sound, giving up nothing in confidence. Herbie Hancock and Ron Carter are session musicians here, featured both on acoustic and electric instruments.

Jack DeJohnette, another master who would contribute heavily to Miles' electric period, provides skilled drumming in the background. As an added bonus, two selections feature Mike Lawrence, a promising trumpeter who died in 1983.

As part of the Keepnews Collection, the sound on this release is superb. Carter is served especially well every note is clearly heard. Hancock's electric piano, at times both burbling in the background and providing an acid sting, is also crisp.

While signed to the Blue Note label, Henderson provided seminal releases in the accepted format. On many levels, Power to the People is more satisfying, a neglected gem that showcases an artist reaching for all that he can accomplish. By David Rickert
https://www.allaboutjazz.com/power-to-the-people-joe-henderson-review-by-david-rickert

Personnel: Joe Henderson — tenor saxophone; Mike Lawrence — trumpet (2, 5); Herbie Hancock — piano (3, 4, 6), Fender Rhodes (1, 2, 5); Ron Carter — double bass (1, 3, 4, 6, 7), electric bass (2, 5)Jack DeJohnette — drums

Power To The People (Remastered 2024)

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Chris Potter - Eagle's Point

Styles: Contemporary Jazz
Year: 2024
Time: 40:56
File: MP3 @ 320K/s
Size: 94,2 MB
Art: Front

(5:39) 1. Dream of Home
(7:05) 2. Cloud Message
(7:18) 3. Indigo Ildikó
(7:36) 4. Eagle's Point
(6:15) 5. Aria for Anna
(7:40) 6. Other Plans
(8:28) 7. Málaga Moon
(6:39) 8. Horizon Dance

The question that comes to mind after listening to Eagle's Point is this: why have the four musicians, who have known each other since the 1990s, never recorded together before? For the combination of Chris Potter, Brad Mehldau, John Patitucci and Brian Blade is a real meeting of minds; the stars are in perfect alignment.

Potter's previous release, Got The Keys To The Kingdom (Edition, 2023), was a live set, recorded at New York's Village Vanguard, and consisted entirely of covers. Eagle's Point is a studio recording and all the tunes are originals written for the occasion by Potter.

There is no bling to be heard here, no b.s., just gutsy substance. Across the album, Potter's writing and performance has an emphasis on exuberance but from time-to-time touches on the kind of gentle delicacy associated with pianist Bill Evans or composer Erik Satie; within every track, and indeed within most of the solos, the atmosphere moves between outgoing and intense to introspective and softly spoken (hear opener "Dream Of Home" on the YouTube below).

The quartet, each member listening hard to whoever is center stage, moves through these changes in perfect symmetry, like a small murmuration of starlings wheeling over a landscape. It is all gloriously consonant; the only suggestion of dissonance comes from Potter's broken notes in the final few seconds of the closing "Horizon Dance," a Sonny Rollins-esque romp which promises to break into a straight Saturday night calypso at any moment, but never quite does so.

Like all Potter's albums, Eagle's Point is something which will reward multiple replays, revealing new facets with every spin. By Chris May https://www.allaboutjazz.com/eagles-point-chris-potter-edition-records

Personnel: Chris Potter - Tenor saxophone, soprano saxophone, bass clarinet; Brad Mehldau - Piano; John Patitucci - Double Bass; Brian Blade - Drums

Eagle's Point

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