Benny Carter - Aspects

Styles: Saxophone Jazz
Year: 1958
File: MP3@320K/s
Time: 47:19
Size: 112,8 MB
Art: Front

(3:13)  1. June In January
(1:56)  2. February Fiesta
(3:18)  3. March Wind
(3:22)  4. I'll Remenber April
(2:51)  5. One Morning In May
(3:01)  6. June Is Busting Out All Over
(2:52)  7. Sleigh Ride In July
(3:42)  8. August Moon
(2:41)  9. September Song
(2:55) 10. Something For October
(3:03) 11. Swingin In November
(2:38) 12. Roses In December
(1:57) 13. February Fiesta (Mono Take)
(3:01) 14. June Is Busting Out All Over (Mono Take)
(3:36) 15. August Moon (Mono Take)
(3:05) 16. Swingin In November (Mono Take)

This CD reissues an enjoyable obscurity. Although originally associated with big bands, the set has what was Benny Carter's only big-band recording as a playing leader during 1947-86. While the song titles are a bit gimmicky, saluting the 12 months of the year (including "June in January," "I'll Remember April," "June Is Busting Out All Over," etc.), the music (which includes four alternate takes) is solid, mainstream big-band swing. The less familiar titles include four Carter originals written for the date, plus Hal Schaefer's "February Fiesta." 

The leader/altoist solos on every selection, and among the other top West Coast studio players featured are trumpeters Shorty Sherock, Pete Candoli and Joe Gordon, trombonists Frank Rosolino and Herbie Harper, vibraphonist Larry Bunker, pianists Arnold Ross and Gerry Wiggins, and guitarist Barney Kessel. Two overlapping big bands were utilized, and the music alternates between being forceful and lyrical. ~ Scott Yanow https://www.allmusic.com/album/aspects-mw0000613039

Personnel:  Alto Saxophone – Benny Carter;  Bass – Joe Comfort;  Drums – Shelly Manne;  Guitar – Barney Kessel, Bobby Gibbons Leader – Benny Carter;  Piano – Arnold Ross, Gerry Wiggins;  Saxophone – Buddy Collette, Chuck Gentry, Jewell Grant, Justin Gordon, Plas Johnson, Bill Green;  Trombone – Frank Rosolino, George Roberts, Herbie Harper, Russ Brown), Tommy Pederson;  Trumpet – Al Porcino, Conrad Gozzo, Joe Gordon, Pete Candoli, Ray Triscari, Shorty Sherock, Stu Williamson, Uan Rasey;  Vibraphone [Vibes] – Larry Bunker 

Aspects

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Carolyn Leonhart - Steal the Moon

Styles: Vocal Jazz
Year: 2000
File: MP3@320K/s
Time: 50:57
Size: 116,9 MB
Art: Front

(4:02)  1. It Didn't Turn Out That Way
(6:20)  2. Nature Boy
(4:16)  3. A Sunday Kind of Love
(7:11)  4. Juju Knows
(4:14)  5. All Because of You
(5:17)  6. Steal the Moon
(5:12)  7. I've Grown Accustomed to Her Face
(4:16)  8. Little Man
(6:07)  9. Yesterday's a Dream
(3:57) 10. Moonglow

Carolyn Leonhart sits astride the jazz and pop worlds, allowing both to inform her singing and repertoire. The daughter of bassist Jay Leonhart and a backup singer for the reunited Steely Dan, Leonhart inflects her jazz singing with an unmistakable dose of soul and R&B, not unlike Chaka Khan or even Rickie Lee Jones. Pianist Rob Bargad is Leonhart's main collaborator on this album, contributing five compositions, including the lush ballad "Yesterday's a Dream" and a borderline-corny but charming vocal duo with Leonhart on "Steal the Moon," a good candidate for radio play. Leonhart even hands two tracks over entirely to Bargad: the Vince Guaraldi-like piano trio feature "Juju Knows" and a bluesy, smart-alecky vocal tribute to a child titled "Little Man." Leonhart is bright-toned and sultry on the standards "Nature Boy," "I've Grown Accustomed to His (Her) Face," and "Moonglow," the last an oh-so-hip duo between her and father Jay Leonhart on the bass. She struts her stuff sassily on "Sunday Kind of Love," Bargad's "All Because of You," and Mose Allison's "It Didn't Turn Out That Way." 

Bargad's solid post-bop piano work anchors every track. Jimmy Cobb and Billy Drummond share drumming duties, Daniel Sadownick weighs in with perfect percussion flourishes, and David Gilmore guests on acoustic guitar for the title track. As might be expected from a singer with such diverse influences, Leonhart walks a fine line between telling a coherent story and presenting a musical patchwork. But her voice is polished and distinctive, and her band cooks, which invariably makes Steal the Moon a fun listen. ~ David R.Adler https://www.allmusic.com/album/steal-the-moon-mw0000066428

Personnel: Carolyn Leonhart (vocals); Rob Bargad (piano, vocals, producer, songwriter); Jay Leonhart (bass).

Steal the Moon

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Bud Shank - Bud Shank Plays Tenor

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 46:21
Size: 106,4 MB
Art: Front

(6:42)  1. Thou Swell
(7:53)  2. Tenderly
(4:24)  3. Over The Rainbow
(4:53)  4. Long Ago And Far Away
(6:33)  5. I Never Knew
(4:55)  6. All The Things You Are
(5:12)  7. Body And Soul
(5:45)  8. Blue Lou

"As its title promises, Bud Shank Plays Tenor eschews the jazzman's signature alto and flute, and while the leap to tenor doesn't dramatically impact his overall sound and style, it does add soul and depth to his lyrical solos. Paired with pianist Claude Williamson, bassist Don Prell, and drummer Chuck Flores, Shank crafts a radiant set of standards spanning from "All the Things You Are" to "Long Ago and Far Away," and while none of the performances reinvent the familiar material, the robust approach sets the session apart from his other Pacific Jazz dates."~ Jason Ankeny https://www.allmusic.com/album/bud-shank-plays-tenor-mw0000869407

Personnel:  Bud Shank (tenor sax), Claude Williamson (piano), Don Prell (bass), Chuck Flores (drums).

Bud Shank Plays Tenor

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Guilhem Flouzat - On Way...or Another

Styles: Jazz, Post Bop
Year: 2010
File: MP3@320K/s
Time: 52:28
Size: 121,1 MB
Art: Front

(5:39)  1. Stompin
(6:32)  2. One Way... or Another
(6:19)  3. Clap
(2:47)  4. Black Magic
(9:49)  5. Sometimes, at Night
(6:10)  6. Agin
(6:30)  7. Avant l'Orage
(5:38)  8. Meet
(3:01)  9. Black Magic

It is interesting the assortment of sextet protagonist of this One Way ... Or Another. Together with a handful of very promising youngsters led by drummer composer Guilem Flouzat (a highly regarded student of John Riley) we find the already experienced Ben Wendel (Kneebody saxophonist) and Laurent Coq (the most American of French pianists) and, in three pieces, a rising star increasingly star like the Armenian-born pianist Tigran Hamasyan. The mix works pretty well, so much so that it's more than a One Way debut album ... Or Another seems like the work of a musician with years of experience behind him. 

This is thanks to the richness and the intrinsic articulation of the compositions that, despite their defined and recognizable structure, activate a continuous game of particularly interesting references and overlaps. To the care and dynamism of the arrangements that manage to combine timbric mixtures that are not exactly customary and to give continuous executions deviations from the traced paths. And finally, thanks to the ability with which Flouzat keeps away from an exhibitionism often lurking among young talents and to the wisdom with which he leads the sextet. One Way ... Or Another is enjoyable, fresh, intelligent disc, it holds up well to the test of repeated listening and will please both the faithful of a modern mainstream and lovers of contemporary sounds and contaminations.~AAJ Italy Staff https://www.allaboutjazz.com/one-way--or-another-ben-wendel-point-of-departure-wmpg-fm-review-by-aaji-staff.php

Personnel: Antonin Hoang (alto saxophone except 4,8,9); Ben Wendel (tenor sax, except 8); Laurent Coq (plan except for 3.4.8); Tigran Hamasyan (plan 3.8); Michael Valeanu (guitar except 8.9); Matteo Bortone (double bass except 1,2,6,8); Simon Tailleu (double bass in 1,2,3,6); Guilhem Flouzat (drums).

On Way...or Another

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Joachim Kühn New Trio - Love & Peace

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 46:38
Size: 108,5 MB
Art: Front

(1:59)  1. Love And Peace
(4:12)  2. Le Vieux Chateau
(3:19)  3. The Crystal Ship
(5:14)  4. Mustang
(3:50)  5. Barcelona-Wien
(4:14)  6. But Strokes Of Folk
(3:43)  7. Lied Ohne Worte No. 2
(3:52)  8. Casbah Radio
(4:17)  9. Night Plans
(5:20) 10. New Pharoah
(6:31) 11. Phrasen

The German ACT label achieved global recognition when they issued the Esbjorn Svensson Trio album Viaticum (2005) and they warrant broader discovery by U.S. jazz fans. Though their country's best known label casts a global shadow over its competition, the ACT catalog has included , Lars Danielsson, Vijay Iyer, Manu Katche, Rudresh Mahanthappa, Bugge Wesseltoft, Tore Brunborg and a host of other well-known artists. Among those talents is one the finest but under-recognized jazz pianists of the past half-century. Joachim Kühn has had a presence on the label for more than twenty years and returns with his "New Trio" on Love & Peace. The trio no longer exactly "new" has been together since 2015 and had previously released Beauty & Truth (ACT, 2017). Bassist Chris Jennings and drummer Eric Schaefer, two musicians half Kühn's age, lend a vitality to the music that drives the pianist as well. The eleven tracks on Love & Peace are compact and crisp with straight-forward melodies, six of those written by Kühn. Jennings and Schaefer each contribute a composition and two others are from the very different worlds of The Doors and Modest Mussorgsky. The diversity of inspirations doesn't mar the overall theme. The very brief title track sets the tone leading into Mussorgsky's "La Vieux Chateau," putting Kühn at home with his early classical training. The Doors "The Crystal Ship" is not the first time Kühn has covered the Morrison catalog; "The End" had appeared on Beauty & Truth. "Barcelona Wien" is lighter fare, conceived in-flight between those two cities. Eric Schaeter's "Lied ohne Worte No. 2" is the most melancholy piece on the album while Jennings' piece is a pastoral and vacillating "Casbah Radio." Ornette Coleman has long been a jazz hero for Kühn, the two recording the duo album Colors: Live from Leipzig (Harmolodic/Verve, 1997). "Night Plans" which first appeared on that album gets an abbreviated treatment here and one that has a more concentrated focus on the basic melody. Yet, as he does with each of the pieces here, Kühn demonstrates his unique skill at maintaining a harmonious core within his unusual musical inventions. In an interview with the Steinway piano company, Kühn said "I like to improvise life, piano, and painting. Really improvise not knowing what you're going to do. Do it by doing." There's no question that the New Trio does just that on Love & Peace. ~ Karl Ackermann https://www.allaboutjazz.com/love-and-peace-joachim-kuhn-act-music-review-by-karl-ackermann.php

Personnel: Joachim Kühn: piano; Chris Jennings: bass; Eric Schaefer: drums.

Love & Peace

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Dexter Gordon - Sophisticated Giant

Styles: Saxophone Jazz
Year: 1977
File: MP3@320K/s
Time: 55:59
Size: 128,9 MB
Art: Front

(7:41)  1. Laura
(6:39)  2. The Moontrane
(8:53)  3. Red Top
(7:55)  4. Fried Bananas
(9:52)  5. You're Blasé
(4:54)  6. How Insensitive
(4:51)  7. Diggin' In
(5:10)  8. It's Only a Paper Moon

This excellent Columbia album was recorded less than a year after Dexter Gordon's well-publicized tour of the United States following a dozen years spent living in Europe. With assistance from such other major players as trumpeters Woody Shaw and Benny Bailey, vibraphonist Bobby Hutcherson sounds in superlative form on Woody Shaw's "The Moontrane," four standards, and his own "Fried Bananas." In addition to the original program (which features Dexter with an all-star tentet), the 1997 CD reissue adds two 1979 features for vocalese singer Eddie Jefferson ("Diggin' It" and "It's Only a Paper Moon") that were originally released on Gordon's Great Encounters; trumpeter Shaw and trombonist Curtis Fuller co-star with Gordon. An excellent acquisition. ~ Scott Yanow https://www.allmusic.com/album/sophisticated-giant-mw0000674545

Personnel:  Dexter Gordon — tenor and soprano saxophone;  Frank Wess — alto saxophone, flute, piccolo;  Woody Shaw — trumpet, fluegelhorn;  Benny Bailey — lead trumpet, fluegelhorn;  Slide Hampton — trombone;  Wayne Andre — lead trombone;  Howard Johnson — tuba, baritone saxophone;  Bobby Hutcherson — vibes;  George Cables — piano;  Rufus Reid — bass;  Victor Lewis — drums

Sophisticated Giant

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Carmen Souza - Kachupada

Styles: Vocal 
Year: 2012
File: MP3@320K/s
Time: 47:55
Size: 111,9 MB
Art: Front

(4:34)  1. Manha 1 de Dezembro
(2:57)  2. Donna Lee
(4:15)  3. Luta
(5:25)  4. My Favourite Things
(3:41)  5. Ivanira
(3:55)  6. Xinxiroti
(4:09)  7. Terra Sab
(0:49)  8. Origem
(3:17)  9. 6 On Na Tarrafal
(3:48) 10. Vida Facil
(2:36) 11. Tchega
(4:20) 12. Koladjazz
(4:04) 13. Novo Dia

Lisbon-born, to a Cape Verdean family, Carmen Souza is now a London resident, but sings (in the words of David Sylvian) ‘in her native creole dialect with an intimacy, sensuality and vivacity, characterised by a tremendous lightness of touch’. She writes the lyrics, producer/bassist Theo Pas’cal the melodies, of most of the songs (in a genre described by Sylvain as ‘world soul’) on this charming album, but there are a couple of nods to the world of jazz: Charlie Parker’s frenetic bop anthem ‘Donna Lee’, and an arrestingly idiosyncratic visit to a standard, the Sound of Music’s ‘My Favourite Things’. ‘Kachupada’ refers to family and friends getting together to eat Cachupa (Cape Verdean soul food), and there is, appropriately enough, an atmosphere throughout this entirely original-sounding album of informality, joyousness and celebration, the arrangements lean but intense, driven by skilfully calibrated percussion and lithe bass playing, and occasionally tastefully augmented by accordion, flute, guitar, saxophone and flugelhorn. Souza’s voice is striking, strong but flexible, with an attractive rasp and the odd sigh or cry emphasising the songs’ sentiments; overall, this is a highly unusual mix of Cape Verdean rhythms, jazz and soul that should see her audience widen way beyond the WOMAD Festival faithful that currently form its core. http://www.londonjazznews.com/2013/02/cd-review-carmen-souza-kachupada.html

Kachupada

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Jackie McLean - Let Freedom Ring

Styles: Saxophone Jazz
Year: 1962
File: MP3@320K/s
Time: 38:09
Size: 87,9 MB
Art: Front

(13:19)  1. Melody For Melonae
( 6:18)  2. I'll Keep Loving You
(10:00)  3. Rene
( 8:31)  4. Omega

Jackie McLean had always been a highly emotional soloist, so it makes sense that he was one of the first hard bop veterans to find a new voice in the burning intensity of jazz's emerging avant-garde. McLean had previously experimented with Coltrane's angular modes and scales and Ornette's concept of chordal freedom, but Let Freedom Ring was the landmark masterpiece where he put everything together and ushered in the era of the modernists at Blue Note. A number of saxophonists were beginning to explore the ability of the instrument to mimic human cries of passion, and here McLean perfected a long, piercing squeal capable of expressing joy, anguish, fury, and more. The music on Let Freedom Ring remained more rooted in hard bop structure than Coleman's, and McLean was still recognizably himself, but that was precisely what was revolutionary about the album: It validated the avant-garde aesthetic, demonstrating that it had enough value to convert members of the old guard, and wasn't just the province of radical outcasts. There are only four pieces, one of which is the surging Bud Powell ballad "I'll Keep Loving You"; the other three are McLean originals ("Melody for Melonae," "Rene," and "Omega," dedicated to his daughter, son, and mother respectively) that spotlight his tremendous inventiveness on extended material and amaze with a smoldering fire that never lets up. Pianist Walter Davis takes the occasional solo, but the record is McLean's statement of purpose, and he accordingly dominates the proceedings, with the busy, free-flowing dialogues of bassist Herbie Lewis and Ornette drummer Billy Higgins pushing him to even greater heights. The success of Let Freedom Ring paved the way for a bumper crop of other modernist innovators to join the Blue Note roster and, artistically, it still stands with One Step Beyond as McLean's greatest work. ~ Steve Huey https://www.allmusic.com/album/let-freedom-ring-mw0000188382

Personnel:  Jackie McLean — alto saxophone;  Walter Davis, Jr. — piano;  Herbie Lewis — bass;  Billy Higgins — drums

Let Freedom Ring

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Roland Kirk - Left & Right

Styles: Saxophone Jazz
Year: 1968
File: MP3@320K/s
Time: 42:55
Size: 101,2 MB
Art: Front

( 1:18)  1. Black Mystery Has Been Revealed
(19:36)  2. Expansions
( 3:48)  3. Lady's Blues
( 3:41)  4. I X Love
( 3:24)  5. Hot Cha
( 4:13)  6. Quintessence
( 2:54)  7. I Waited For You
( 3:57)  8. A Flower Is A Lovesome Thing

The title of this album, Left and Right, no doubt refers to the sides of Rahsaan Roland Kirk's brain, which were both heavily taxed in the composing, arranging, conducting, and playing of this recording. For starters, the band is huge 17 players plus a 16-piece string section, all of it arranged and conducted by Kirk, a blind man. None of this would matter a damn if this weren't such a badass platter. Along with Kirk's usual crew of Ron Burton, Julius Watkins, Dick Griffin, Jimmy Hopps, and Gerald Brown, there are luminaries in the crowd including Alice Coltrane on harp, Pepper Adams on baritone saxophone, and no less than Roy Haynes helping out on the skins. What it all means is this: The man who surprised and outraged everybody on the scene as well as blew most away was at it again here in "Expansions," his wildly ambitious and swinging post-Coltrane suite, which has "Black Mystery Has Been Revealed" as its prelude. While there are other tracks on this record, this suite is its centerpiece and masterpiece despite killer readings of Billy Strayhorn's "A Flower Is a Lovesome Thing" and "Quintessence." "Expansions" has Kirk putting his entire harmonic range on display, and all of the timbral extensions he used in his own playing are charted for a string section to articulate. There are subtleties, of course, which come off as merely tonal variations in extant harmony with the other instruments, but when they are juxtaposed against a portrayal of the entire history of jazz from Jelly Roll Morton to the present day then they become something else: the storytellers, the timbres, and the chromatic extensions that point in the right direction and get listeners to stop in the right places. This is an extreme for Rahsaan  extremely brilliant and thoroughly accessible. ~ Thom Jurek https://www.allmusic.com/album/left-right-mw0000661555

Personnel: Roland Kirk: tenor saxophone, manzello, stritch, clarinet, flute, organ, narration, thumb piano, celesta; Jim Buffington, Julius Watkins: french horn; Frank Wess: woodwinds;   Richard Williams: trumpet;   Dick Griffith, Benny Powell: trombone;   Daniel Jones: basoon;  Pepper Adams: baritone saxophone;  Alice Coltrane: harp;   Ron Burton: piano;  Vernon Martin: bass;  Roy Haynes: drums;  Jimmy Hopps: drums;  Warren Smith: percussion, vocals;  Gerald "Sonny" Brown: percussion;  Gil Fuller: arranger

Left & Right

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Arthur Blythe & David Eyges - Today's Blues

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 58:55
Size: 135,4 MB
Art: Front

(2:05)  1. The John & The Sam
(4:59)  2. Gee's Minor Mood
(3:28)  3. Calling Mr. Blythe
(2:38)  4. American Forms 2
(2:37)  5. Warne Waltz
(4:42)  6. Eleven + Six
(4:43)  7. Prayer
(2:54)  8. Worker Bee
(3:23)  9. Something Like You
(4:56) 10. N Double Flat
(4:08) 11. My Sun Ra
(4:43) 12. Today's Blues
(2:42) 13. Randy Andy
(4:31) 14. No Solitude
(3:11) 15. Jig Tag
(3:08) 16. Encore

Poor Arthur Blythe's recording history has been analyzed ad nauseum. From great black hope to commercial fizzle, Blythe's early promise has not always been fulfilled, even though he has produced some outstanding albums. This scintillating set of fifteen original duets (with a solo piece thrown in) with cellist David Eyges should help restore the saxophonist's somewhat tarnished reputation. Totally exposed in this format, with plenty of time to stretch, Blythe proves himself a formidable pro, with an acerbic, blues-drenched tone that purrs, caresses, and slices across genres. The underrated Eyges is a stunning stylist, and one of the few masters of the electrified cello. 

Whether as a soloist or in tandem, Eyges brings an exciting and original vision. With a varied mix, and short tracks (nothing more than five minutes), Blythe and Eyges have scored an attractive collection.~ Steve Loewy https://www.allmusic.com/album/todays-blues-mw0000316668

Personnel:  Alto Saxophone - Arthur Blythe;  Cello [Electric Cello] - David Eyges

Today's Blues

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Buck Clayton - Junpin' At The Woodside

Styles: Trumpet Jazz
Year: 1955
File: MP3@320K/s
Time: 34:54
Size: 80,3 MB
Art: Front

( 8:02)  1. Rock-A-Bye Basie
(10:37)  2. Junpin' At The Woodside
( 6:36)  3. Blue And Sentimental
( 9:37)  4. Broaway

The Buck Clayton jam sessions of the mid-'50s led to writer Stanley Dance coining the term "mainstream" to describe swing-oriented veterans of the era. This out-of-print LP, whose contents have been reissued by Mosaic in their six-CD Buck Clayton box set, has a variety of top mainstream all-stars jamming on four songs associated with Count Basie. 

The music is taken from three different sessions, with this version of "Jumpin' at the Woodside" splicing together the best of two completely different performances. The lineup of top players (including trumpeters Clayton, Joe Newman and Ruby Braff, trombonists Trummy Young, Urbie Green and Benny Green, clarinetist Woody Herman and tenors Coleman Hawkins, Al Cohn, Buddy Tate and Lem Davis among others) gives one a good idea as to the high quality of the music.~ Scott Yanow https://www.allmusic.com/album/jumpin-at-the-woodside-mw0000871165

Personnel:  Buck Clayton – trumpet;  Joe Newman (tracks 2 & 3), Joe Thomas (track 2) – trumpet;  Ruby Braff – cornet (tracks 1 & 4);  Bennie Green (tracks 1 & 4), Urbie Green (tracks 2 & 3), Dicky Harris (tracks 1 & 4), Trummy Young (track 2) – trombone;  Woody Herman – clarinet (track 2);  Lem Davis – alto saxophone (tracks 2 & 3);  Al Cohn (track 2), Julian Dash (track 2), Coleman Hawkins (tracks 1–4), Buddy Tate (tracks 1 & 4) – tenor saxophone;  Charles Fowlkes – baritone saxophone (tracks 2 & 3);  Jimmy Jones (track 2), Billy Kyle (tracks 2 & 3) – piano, celeste;  Al Waslohn – piano (tracks 1 & 4);  Steve Jordan (tracks 1, 2 & 4), Freddie Green (tracks 2 & 3) – guitar;  Milt Hinton (tracks 1–4), Walter Page (track 2) – bass;  Jo Jones – drums;  Jack Ackerman – tap dancing (track 1).

Junpin' At The Woodside

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Barbara Mendes - Nada Pra Depois

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 40:53
Size: 94,9 MB
Art: Front

(3:08)  1. Joana
(3:53)  2. Já sabia
(4:00)  3. Nada pra depois
(4:03)  4. Ouro e marrom
(3:18)  5. Brasil invertido
(4:24)  6. Ardendo em cores
(3:58)  7. Vem cá
(3:19)  8. Tatuagem
(4:14)  9. E isso acontece
(3:36) 10. Segue sorrindo
(2:54) 11. Maya

'Nada Pra Depois' is the name of the Barbara Mendes album. With a super brazilian sound, it counts on the illustrious participations of Djavan, in the track that gives name to the disc: 'Nothing To After' and Ivan Lins, in 'And It Happens'. By the way, these two icons of national music are two great admirers of Barbara's talent and music. https://www.somlivre.com/barbara-mendes-nada-pra-depois.html

Nada Pra Depois

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Toots Thielemans - Giants Of Jazz

Styles: Harmonica Jazz
Year: 1995
File: MP3@320K/s
Time: 74:12
Size: 185,2 MB
Art: Front

(5:18)  1. Isn't It Romantic
(7:17)  2. East Of The Sun
(2:30)  3. Don't Blame Me
(2:47)  4. Scotch On The Rocks
(2:14)  5. Cocktails For Two
(2:26)  6. I Let Song Go Out Of My Heart
(3:01)  7. Sophisticated Lady
(4:39)  8. Don't Be That Way
(3:14)  9. Stars Fell On Alabama
(4:33) 10. Strutting With Some Barbecue
(4:30) 11. Imagination
(3:49) 12. 18th Century Ballroom
(7:05) 13. Soul Station
(4:56) 14. Fundamental Frequensy
(4:43) 15. On The Alamo
(4:33) 16. Diga Diga Doo
(2:03) 17. Skylark
(4:27) 18. Sonny Boy

Toots Thielemans virtually introduced the chromatic harmonica as a jazz instrument. In fact, beginning in the mid-'50s, he never had a close competitor. Thielemans simply played the harmonica with the dexterity of a saxophonist and even successfully traded off with the likes of Oscar Peterson. Thielemans' first instrument was the accordion, which he started when he was three. Although he started playing the harmonica when he was 17, Thielemans' original reputation was made as a guitarist who was influenced by Django Reinhardt. Very much open to bop, Thielemans played in American GI clubs in Europe, visited the U.S. for the first time in 1947, and shared the bandstand with Charlie Parker at the Paris Jazz Festival of 1949. He toured Europe as a guitarist with the Benny Goodman Sextet in 1950, and the following year moved to the U.S. During 1953-1959, Toots was a member of the George Shearing Quintet (mostly as a guitarist) and freelanced for the remainder of his lengthy career in music. He first recorded his big hit, "Bluesette" (which featured his expert whistling and guitar) in 1961, and was subsequently in great demand (particularly for his harmonica and his whistling) on pop records (including many dates with Quincy Jones) and as a jazz soloist. 

Toots' two-volume Brasil Project was popular in the 1990s and found him smoothly interacting on harmonica with top Brazilian musicians. Heard on numerous movie soundtracks (including Breakfast at Tiffany's and Midnight Cowboy) and also on the opening theme of television's Sesame Street, Thielemans received Jazz Master honors from the National Endowment for the Arts in 2009. He died in Belgium in August 2016 at the age of 94.~ Scott Yanow https://www.allmusic.com/artist/toots-thielemans-mn0000159791/biography

Giants Of Jazz

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Guilhem Flouzat Trio - A Thing Called Joe

Styles: Jazz, Post Bop
Year: 2016
File: MP3@320K/s
Time: 39:51
Size: 93,2 MB
Art: Front

(3:58)  1. There's No You
(3:09)  2. Oska T
(5:27)  3. Perdido
(7:19)  4. When I Fall In Love
(4:42)  5. Walking My Baby Back Home
(7:17)  6. Midnight Mood
(3:49)  7. Mrs. Parker of KC
(4:05)  8. Happiness Is A Thing Called Joe

Drummer Guilhem Flouzat, gearing up for his third recording as a leader, had meant to steer his music along the path he'd taken on his sophomore album, Portraits (Sunnyside Records, 2015) a rotating cast of musicians laying down a batch of the leader's eloquent compositions. But a post card slipped through the mail slot suggesting a step back a piano trio outing exploring the standards, in the classic style. Turns out that was good advice. The proof: A Thing Called Joe. With Sullivan Fortner in the piano chair and Desmond White wielding the bass, the trio creates a sound and mood reminiscent of the classic Prestige Records trio outings, especially those of Red Garland. The New Orleans-bred Fortner has style here that harkens, in part, to Art Tatum, Erroll Garner, and Oscar Peterson, and Red Garland, with its classy ebullience, its intricate refinement and bright erudition and elegance. Bassist White and drummer/leader Flouzat are perhaps more adventurous than the rhythm guys of the fifties and sixties, but every bit as in the pocket and supportive. The tunes are familiar: "Perdido" "When I Fall In Love," Jaki Byard's "Mrs.Parker Of K.C." And some surprises are shuffled in: Thelonious Monk's seldom-covered "Osak T" and bouncy take on the Nat "King" Cole vehicle, "Walkin' My Baby Back Home."  With its classic feel, the astute selection of tunes, the adept sequencing, and the superb playing all around, A Thing Called Joe compares very favorably with perhaps the best of Red Garland's Prestige discs, Red Garland's Piano (1957), as one of those feelgood jazz discs that stays in the stack next to the stereo, always somewhere near the top.~ Dan McClenaghan https://www.allaboutjazz.com/a-thing-called-joe-guilhem-flouzat-sunnyside-records-review-by-dan-mcclenaghan.php

Personnel:  Sullivan Fortner: piano;  Desmond White: bass;  Guilhem Flouzat: drums

A Thing Called Joe

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Gabor Szabo - Gabor Szabo In Budapest Again

Styles: Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 51:07
Size: 117,5 MB
Art: Front

(11:04)  1. Concorde
( 9:11)  2. Magic Mystic Faces
( 3:58)  3. Django Part 1
( 6:12)  4. Django Part 2
( 4:55)  5. Killing Me Softly
( 5:52)  6. The Last Song
( 4:44)  7. The Biz
( 5:07)  8. From A Dream

Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Inspired by a Roy Rogers cowboy movie, Szabo began playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in Budapest. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling with his family in California. He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams. Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and "Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more commercially oriented forms of jazz. During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. 

Szabo had revisited his homeland several times during the '70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.~ Douglas Payne https://www.allmusic.com/artist/gabor-szabo-mn0000184187/biography

Gabor Szabo In Budapest Again

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Charles Earland & Odyssey - Revelation

Styles: Piano, Clarinet Jazz
Year: 1977
File: MP3@320K/s
Time: 38:36
Size: 88,7 MB
Art: Front

(5:30)  1. Betty Boop
(6:49)  2. Ode To Chicken George
(6:45)  3. Revelation
(4:10)  4. Shining Bright
(4:42)  5. Singing A Song For You
(7:44)  6. Elizabeth
(2:53)  7. I Wish

Charles Earland came into his own at the tail-end of the great 1960s wave of soul-jazz organists, gaining a large following and much airplay with a series of albums for the Prestige label. While heavily indebted to Jimmy Smith and Jimmy McGriff, Earland came armed with his own swinging, technically agile, light-textured sound on the keyboard and one of the best walking-bass pedal techniques in the business. Though not an innovative player in his field, Earland burned with the best of them when he was on. Earland actually started his musical experiences surreptitiously on his father's alto sax as a kid, and when he was in high school, he played baritone in a band that also featured fellow Philadelphians Pat Martino on guitar, Lew Tabackin on tenor, and yes, Frankie Avalon on trumpet. After playing in the Temple University band, he toured as a tenor player with McGriff for three years, became infatuated with McGriff's organ playing, and started learning the Hammond B-3 at intermission breaks. When McGriff let him go, Earland switched to the organ permanently, forming a trio with Martino and drummer Bobby Durham. He made his first recordings for Choice in 1966, then joined Lou Donaldson for two years (1968-1969) and two albums before being signed as a solo artist to Prestige. Earland's first album for Prestige, Black Talk!, became a best-selling classic of the soul-jazz genre; a surprisingly effective cover of the Spiral Starecase's pop/rock hit "More Today Than Yesterday" from that LP received saturation airplay on jazz radio in 1969. He recorded eight more albums for Prestige, one of which featured a young unknown Philadelphian named Grover Washington, Jr., then switched to Muse before landing contracts with Mercury and Columbia. 

By this time, the organ trio genre had gone into eclipse, and in the spirit of the times, Earland acquired some synthesizers and converted to pop/disco in collaboration with his wife, singer/songwriter Sheryl Kendrick. Kendrick's death from sickle-cell anemia in 1985 left Earland desolate, and he stopped playing for awhile, but a gig at the Chickrick House on Chicago's South Side in the late '80s brought him out of his grief and back to the Hammond B-3. Two excellent albums in the old soul-jazz groove for Milestone followed, and the '90s found him returning to the Muse label. Earland died of heart failure on December 11, 1999, the morning after playing a gig in Kansas City; he was 58.~ Richard S.Ginell https://www.allmusic.com/artist/charles-earland-mn0000204850/biography

Personnel:  Organ, Electric Piano, Synthesizer [Arp String Synthesizer], Clavinet, Piano – Charles Earland  Tenor Saxophone, Bass Clarinet – Arthur Grant;   Trumpet – Randy Brecker;  Bass – Paul Jackson;   Drums – Harvey Mason;  Guitar – Eric Gale;    

Revelation

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Caroline Henderson - Metamorphing

Styles: Vocal
Year: 1998
File: MP3@320K/s
Time: 51:29
Size: 119,0 MB
Art: Front

(0:25)  1. Waves
(4:28)  2. This Is Who I Am
(5:02)  3. Gone
(4:31)  4. Faster
(5:06)  5. Dive
(4:17)  6. Right now
(4:48)  7. Forgiveness Time
(0:19)  8. Little Tasha
(3:56)  9. Without Me
(0:10) 10. O'si Ndiyamba
(5:00) 11. Dinosaur
(5:17) 12. Luna
(4:11) 13. Metamorphing
(3:51) 14. I Am To

A jazz and pop vocalist born in Stockholm, Sweden, on February 28, 1962, Caroline Henderson would move to Copenhagen in 1983 and become one of Denmark's top talents. Her first taste of fame and fortune in her new home came about in 1989, as part of the group RayDeeOh, with Maria Bramsen. That group soon came to an end, and Henderson was left to fend for herself. In 1995 she released the first of many albums, Cinemataztic, and began to work in television and film, as well as acting in plays. Her follow-up full-length, Metamorphing, hit stores in 1998, and was followed over the next ten years by five more albums, all of which (Dolores J in 2000, NAOS in 2002, Don't Explain in 2003, Made in Europe in 2004, and Love or Nothin' in 2007) built upon the success of their predecessors. In March of 2008 Henderson released album number eight, No. 8, which was a Top Five hit in Denmark. Apart from her commercial successes, Henderson also won Denmark's Grammy for Best Vocal Recording in 2007 for her work on the album Love or Nothin'. ~ Chris True https://itunes.apple.com/us/album/metamorphing/301648331

Metamorphing

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Grant Green - Funk in France: From Paris to Antibes (1969-1970) Disc 1 And Disc 2

Album: Funk in France: From Paris to Antibes (1969-1970) Disc 1

Styles: Guitar Jazz 
Year: 2018
File: MP3@320K/s
Time: 56:39
Size: 130,4 MB
Art: Front

( 4:34)  1. I Don't Want Nobody to Give Me Nothing (Open Up the Door I'll Get It Myself)
( 4:24)  2. Oleo
( 7:19)  3. How Insensitive (Insensatez)
( 8:07)  4. Untitled Blues
( 7:00)  5. Sonnymoon for Two
( 7:08)  6. I Wish You Love
(18:04)  7. Upshot

Now recognised as one of the presiding prodigies of guitar jazz, Grant Green died in 1979 having narrowly missed out on the sort of bigtime success enjoyed by the likes of Wes Montgomery and, especially, George Benson ironically Green was scheduled to play a gig at George Benson’s club in Harlem when he was finally felled by a heart attack. He was 43 years old, and his reputation was soon in eclipse. Indeed Sharony Andrews Green’s biography is subtitled Rediscovering the Forgotten Genius of Jazz Guitar.  Well, the rediscovery of Grant Green is fully under way, thanks to his music being embraced and redeployed first by Acid Jazz performers, then hip hop artists, not to mention devotees of funk. More importantly, there is a growing recognition of the true stature of his recordings such as the 1963 classic Idle Moments on Blue Note. And now Resonance Records has continued its campaign of unearthing classic lost performances with a flood of Grant Green collector’s items.  Released on vinyl as a Record Store Day special, Funk in France comes in a staggeringly lavish double gatefold cover which opens up to reveal two albums, consisting of three discs all told The Round House comprises a single disc and you could call it both a live album and a studio album it was recorded live, but in ideal acoustic conditions in a studio at La Maison de la Radio, the headquarters of the ORTF (the French Office of Radio and Television) in Paris on 26 October 1969. Then there is Haute Funk, a double album, also live, preserving an Antibes Jazz Festival performance on 18 July 1970. The Paris set opens with a title that almost consumes the word count for this review: I Don’t Want Nobody to Give Me Nothing (Open Up the Door I’ll Get it Myself). The fact that this is a James Brown track clearly announces Grant Green’s intention to move funk-wards. It’s dark, edgy and searching with Green playing percussively. 

Larry Ridley’s bass writhes and wraps around the guitar lines like ivy on a tree branch. Sonny Rollins’ tune Oleo is delivered in a hip, open, breezy rendition with Green creating colours and highlights as if he’s shearing glistening fragments off a block of ice.  But the set really begins to cook with Tom Jobim’s Insensatez, introduced by the excited stopwatch ticking of Don Lamond’s drums and underpinned by, then interwoven with, Ridley’s bass. Green’s exploration of the song is plangent and (appropriately enough) resonant. The relaxed and funky Untitled Blues is followed by another high point, Charles Trenet’s I Wish You Love, for which Barney Kessel joins the trio. The duelling guitars are an occasion for sharply clipped playing that paradoxically gives rise to a fat warm sound, with a killer sense of laidback timing, playing elastically behind the beat in a way that makes the listener feel the cares of the day simply drop away. The guitarists explore the tune almost pianistically, giving it unexpected stature and profundity.  Haute Funk is very different, It consists of four long tracks, each allocated the entire side of an LP. On Upshot (the first of two versions here) Green takes a headlong plunge into Montgomery-style soul jazz. One might expect Clarence Palmer’s organ to similarly hue close to Jimmy Smith, but on the contrary his sound is much more brooding, menacing and modernistic.

However, it’s difficult to draw too many conclusions about the supporting musicians. The crystal clarity of the Paris radio studio recording is gone here and the rest of the band often seems to be recessed behind the dominant sound of Green’s guitar. Nevertheless, the different line up, with Claude Bartee on tenor sax and Billy Wilson on drums, and the urgent driving energy of the festival performances are compelling. Hurt So Bad (a hit for Little Anthony and the Imperials) sees Claude Bartee’s tenor taking a welcome spell in the spotlight. (Bartee had previously played with Grant Green in New York and would go on to work for him for several years.) Grant Green seems to pick his way carefully and thoughtfully in a response to the sax which manages to both float and drive the tune forward.  This is an almost shockingly sumptuous package, with a full size 12-page colour booklet in addition to the elaborate heavy duty sleeve. And the vinyl is top quality: 180gram pressings, mastered by Bernie Grundman. Nevertheless, it’s the original tapes which count and the Paris radio studio recordings beat the Antibes sets hands down. The Paris sessions also benefit from brevity all of the Antibes tracks are extended workouts. On the other hand, the presence of Claude Bartee on tenor in Antibes adds a rousing additional dimension. Producer Zev Feldman’s liner notes mention that he seriously considered not including the Paris sessions in this package at all (because they’d already escaped into the wild in the form of a video and subsequent bootleg audio recordings). Thank the jazz gods he relented. 

Those performances on their own are reason enough for this triple vinyl Green-fest.  Funk in France is a seriously luxuriant offering for any Grant Green aficionado or any lover of jazz guitar and it looks set to fly out the door on Record Store Day. And if annual orgies of vinyl aren’t your thing, you can pick up the deluxe double CD version. http://www.londonjazznews.com/2018/04/lp-review-grant-green-funk-in-france.html

Personnel:  Released May 25, 2018:  Grant Green - guitar;  Larry Ridley – bass;  Don Lamond - drums;  Barney Kessel - guitar (Track 6) - July 18 & 20, 1970 at the Antibes Jazz Festival in Juan-les-Pins:  Grant Green - guitar;  Claude Bartee – tenor saxophone;  Clarence Palmer – organ;  Billy Wilson - drums.

Funk in France: From Paris to Antibes (1969-1970) Disc 1
Album: Funk in France: From Paris to Antibes (1969-1970)  Disc 2

Time: 61:39
Size: 141,4 MB

(14:37)  1. Hurt So Bad
(19:47)  2. Upshot
(27:13)  3. Hi-Heel Sneakers

Funk in France: From Paris to Antibes (1969-1970) Disc 2

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Jay Lawrence - Thermal Strut

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 57:03
Size: 130,8 MB
Art: Front

(6:25)  1. Thermal Strut
(3:39)  2. Topsy
(5:42)  3. Tell Me A Bedtime Story
(5:00)  4. Love For Sale
(6:27)  5. Almost Summer
(4:06)  6. Opus de Funk
(6:07)  7. You Can't Do That
(7:19)  8. Eulogy
(5:03)  9. Agua de Beber
(7:11) 10. Peacocks

Drummer Jay Lawrence has a long and serious resume which includes teaching, composing, arranging, and working with everyone from Sammy Davis and Cher to Phil Woods and James Moody. While he's been on more than ninety recordings, this is his first as a leader and it's a corker. This is partly because Lawrence couldn't have chosen better shipmates for his maiden voyage: Lynn Seaton, an always-in-demand bassist whose playing is unusually rich, imaginative, and moving; and (relative) newcomer Tamir Hendelman, whose reputation for superb arranging and piano playing has grown exponentially in the past decade. Thermal Strut is almost a musical history lesson. It offers exciting versions of "Topsy" and "Love for Sale," and honors a wide pantheon of disparate composers like Jimmy Rowles ("Peacocks"), Herbie Hancock ("Tell Me a Bedtime Story"), Tom Jobim ("Agua de Beber"), Horace Silver ("Opus de Funk") and Lennon/McCartney ("You Can't Do That," perhaps the first jazz cover of this tune). Rounding out the program are two engaging Lawrence compositions the rousing title track and the poignant, meditative "Eulogy" and one lyrical beauty by Hendelman ("Almost Summer"). This trio sets new standards for class and swing, and the solos are unusually consistent in their deep expressiveness. A few of the many notable moments on Thermal Strut: Seaton's signature scatting on the opener, Hendelman's funky arrangement of "Agua de Beber," Lawrence's churning approach to "Topsy," and his intricate, swinging brushwork, wherever it occurs. There's just one more thing to say about Lawrence's thoroughly enjoyable debut: it's about time!~ Dr Judith SCHLESINGER https://www.allaboutjazz.com/thermal-strut-jay-lawrence-origin-records-review-by-dr-judith-schlesinger.php

Personnel: Jay Lawrence: drums; Lynn Seaton: bass; Tamir Hendelman: piano.

Thermal Strut

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Wallace Roney Sextet - Kind Of Blue: Copenhagen Jazz Festival

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 85:14
Size: 196,4 MB
Art: Front

(17:14)  1. So What
(12:57)  2. Freddie Freeloader
( 5:18)  3. Blue In Green
(14:14)  4. All Blues
(11:57)  5. Flamenco Sketches
( 6:04)  6. Milestones
(10:42)  7. Ah-Leu-Cha
( 6:44)  8. The Theme

Trumpeter Wallace Roney is a forward-thinking, post-bop musician with a healthy respect for the jazz tradition. Blessed with a warm yet plaintive trumpet tone and a lithe improvisational style, Roney's distinctive playing bears the influence of such legendary predecessors as Miles Davis, Clifford Brown, and Woody Shaw. While many of his albums display his talent for swinging and harmonically advanced acoustic jazz, others reveal his love of genre-bending, electrified funk, hip-hop, and soul. Born in Philadelphia in 1960, Roney grew up alongside his younger brother, saxophonist Antoine Roney, and first displayed an interest in playing the trumpet around age four. As an adolescent, he enrolled in Philadelphia's Settlement School of Music where he studied trumpet privately with Sigmund Hering of the Philadelphia Orchestra. From there, he attended the Duke Ellington School of Music in Washington, D.C., where he gained further tutelage under Langston Fitzgerald of the Baltimore Symphony Orchestra. At the same time that Roney was receiving formal music training, his father was encouraging him to transcribe jazz solos of artists like Clifford Brown, Dizzy Gillespie, and others. Consequently, by his teens, Roney was an accomplished performer appearing regularly with both classical chamber groups and jazz ensembles. During this time, he took lessons with several trumpet luminaries including Gillespie, Clark Terry, and Woody Shaw. He also had the opportunity to play with pianist Cedar Walton's group. After high school, Roney attended both Berklee School of Music in Boston and Howard University before relocating to New York City in the early '80s. Although he had already played with such luminaries as drummer Art Blakey's Jazz Messengers, replacing Wynton Marsalis, who was touring with Herbie Hancock's V.S.O.P. Quartet in 1981, Roney's initial time in New York was a struggle that also found him taking jobs in Latin dance and other kinds of bands to make ends meet. His break came in 1985 when he toured with Miles Davis alum/drummer Tony Williams, appearing on two Williams' albums Foreign Intrigue in 1985 and Civilization in 1986. Also around this time, he returned to Blakey's Jazz Messengers, this time replacing trumpeter Terence Blanchard. These esteemed gigs helped launch Roney into the upper echelons of the jazz scene. As a solo artist, Roney made his debut in 1987 with the album Verses on Muse, featuring drummer Williams, saxophonist Gary Thomas, pianist Mulgrew Miller, and bassist Charnett Moffett. Several more Muse albums followed, all of them sophisticated showcases for Roney's adventurous, post-bop and modal-influenced style. While Roney had long admired Miles Davis, an admitted influence who had mentored him on and off since first hearing him play at Davis' Carnegie Hall birthday gala in 1983, it was during Davis' famed 1991 tribute concert to Gil Evans at Montreux (later released as Miles & Quincy Live at Montreux) that he cemented his image as the heir apparent to Davis' legacy. Invited by Quincy Jones to participate in the concert, Roney sat next to Davis, trading solos on various Evans arrangements culled from such classic Davis releases as Birth of the Cool, Miles Ahead, and Sketches of Spain. Tragically, Davis, who was gravely ill at the time, died roughly a month after the Montreux concerts.

Following his high-profile show with Davis, Roney had established himself as a rising jazz star. He built upon this renown, signing a major-label deal with Warner Bros. and releasing several well-received albums with his brother, saxophonist Antoine Roney, and wife, pianist Geri Allen, including 1993's Misterios, 1995's Wallace Roney Quintet, and 1996's Village. Conversely, during this period Roney appeared on several of Allen's albums including 1997's Eyes in the Back of Your Head and 1998's The Gathering. In 2000, Roney took a creative turn toward funk, hip-hop, and experimental post-bop with the album No Room for Argument on Concord. It was a direction he stuck with through several more albums for Highnote, including 2004's Prototype and 2005's Mystikal. Roney never fully retreated from straight-ahead jazz, though, and generally incorporated a variety of jazz styles on his albums. This varied approach is represented on such releases as 2007's Jazz, 2010's If Only for One Night, and 2012's Home. In 2013, Roney delivered Understanding, his sixth album for Highnote. Also in 2013, he premiered his live version of saxophonist Wayne Shorter's "Universe," a long-form orchestral composition originally written for the Miles Davis' quintet in the late '60s. Abandoned for decades, "Universe" was eventually given to Roney, who spent much of the next several years touring the piece, which included playing an NPR broadcast performance at the 2014 Detroit Jazz Festival. In 2015, Roney appeared as a member of the ensemble Powerhouse on the album In an Ambient Way, which also included saxophonist/producer Bob Belden, drummer Lenny White, keyboardist Kevin Hays, guitarist Oz Noy, and bassist Daryl Johns. A reworking of Miles Davis' 1969 recording In a Silent Way, In an Ambient Way was the brainchild of Belden, who died a month before its release. After Belden's passing, Roney took time off from his "Universe" activities to tour with Powerhouse. ~ Matt Collar https://www.allmusic.com/artist/wallace-roney-mn0000813629/biography

Personnel:  Wallace Roney-trumpet;  Mark Turner-tenor sax;  Vincent Herring-alto sax;  Benny Green-piano;  Buster Williams-bass;  Jimmy Cobb-drums

Kind Of Blue: Copenhagen Jazz Festival

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