Lew Soloff - Rainbow Mountain

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 72:50
Size: 167,2 MB
Art: Front

( 9:30)  1. Frog Legs
( 9:36)  2. Rainbow Mountain
( 7:53)  3. Don't Speak
( 8:58)  4. Up from the Skies
( 7:04)  5. Quiero No Puedo
( 4:56)  6. Suzie Q
(10:23)  7. Starmaker
( 4:47)  8. Born on the Bayou
( 3:40)  9. Stairway to Heaven
( 5:56) 10. Tout Va Lews

Rainbow Mountain is a current example of a blowing session, featuring groove-oriented material, including a number of songs borrowed from the rock arena (Led Zeppelin’s “Stairway to Heaven,” John Fogerty’s “Born on the Bayou,” Jimi Hendrix’s “Up From the Skies”). The album rewards casual listening, mainly due to the high skill level and musicality of the participants. Soloff has been one of the best and most complete jazz trumpeters on the scene for a very long time, while Lou Marini, best known for his appearance in the first Blues Brothers movie, comes across well on saxes and flute, and contributes a lovely ballad, “Starmaker.” Joe Beck’s tastefully chorused guitar is the glue that holds the ensemble together, while electric bassist Mark Egan and drummer Danny Gottlieb (the Sly & Robbie of groove jazz) keep the beat lively while avoiding monotony. This CD would make a good gift for someone who harbors the typical prejudices against jazz: that it’s boring, old-fashioned or lacking in connections to post-rock musical culture. In New York, you occasionally hear young groups playing in a style similar to this, but seldom at such length, or as masterfully. As for whether this is jazz or pop, I can’t put it any more eloquently than Chip Stern did in his excellent liner notes. ~ Greg Robinson https://jazztimes.com/reviews/albums/lew-soloff-and-company-rainbow-mountain/

Personnel:  Trumpet – Lew Soloff, Miles Evans;  Bass – Mark Egan, Will Lee;  Drums – Danny Gottlieb, Jeff "Tain" Watts ;  Guitar – Hiram Bullock, Joe Beck;  Organ – Paul Shaffer;  Saxophone, Flute – Lou Marini;  Synthesizer – Delmar Brown

Rainbow Mountain

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Rosemary Clooney - With Love

Styles: Vocal Jazz
Year: 1981
File: MP3@320K/s
Time: 40:31
Size: 93,0 MB
Art: Front

(5:13)  1. Just The Way You Are
(5:05)  2. The Way We Were
(4:57)  3. Alone At Last
(4:55)  4. Come In From The Rain
(3:51)  5. Hello Young Lovers
(4:48)  6. Meditation
(3:21)  7. Just In Time
(5:12)  8. Tenderly
(3:06)  9. Will You Still Be Mine

Rosemary Clooney sings both old and new songs on this 1980 Concord album. With the emphasis on ballads (including "Just the Way You are," "The Way We Were," "Hello Young Lovers" and "Tenderly"), there is less variety on this set than usual although a swinging rendition of "Will You Still Be Mine" is a fine closer. Clooney is heard in prime voice as usual and there are some fine concise solos by tenor saxophonist Scott Hamilton, cornetist Warren Vache, guitarist Cal Collins, pianist Nat Pierce and guest vibraphonist Cal Tjader. ~ Scott Yanow https://www.allmusic.com/album/with-love-mw0000191616

Personnel:   Vocals – Rosemary Clooney; Tenor Saxophone – Scott Hamilton;  Vibraphone [Vibes] – Cal Tjader;  Bass – Bob Maize;  Drums – Jake Hanna;  Flugelhorn, Cornet – Warren Vaché;  Guitar – Cal Collins;  Piano – Nat Pierce. 

With Love

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David Benoit - Freedom at Midnight

Styles: Piano Jazz
Year: 1987
File: MP3@320K/s
Time: 46:46
Size: 107,4 MB
Art: Front

(4:12)  1. Freedom at Midnight
(4:07)  2. Along the Milky Way
(4:38)  3. Kei's Song
(4:18)  4. The Man with the Panama Hat
(3:16)  5. Pieces of Time
(4:22)  6. Morning Sojourn
(4:41)  7. Tropical Breeze
(5:13)  8. Passion Walk
(6:03)  9. Del Sasser - David Benoit, Jones, Sam
(5:52) 10. The Last Goodbye

Pianist David Benoit's debut for GRP was a big seller and set the tone for the next decade of his career. In general, Benoit's piano is heard in the forefront, joined by oversized rhythm sections (including the Rippingtons' Russ Freeman) and a string section. A strictly boppish quartet rendition of "Del Sasser" with altoist Sam Riney is a nice change of pace, but otherwise, the music is melodic, lightweight, and better for backgrounds than for close listening. Overall, this program is pleasant and not at all objectionable, but difficult to remember once the CD is finished. ~ Scott Yanow https://www.allmusic.com/album/freedom-at-midnight-mw0000649402

Personnel:  David Benoit - piano, synthesizer;  Sam Riney - saxophone;  Randy Kerber - synthesizers;  Abraham Laboriel - bass;  John Pattitucci - bass;  Tony Morales - drums;  Jeff Porcaro - drums;  Joe Porcaro - percussion;  Russ Freeman - guitar;  Dann Huff - guitar;  Bob Feldman - bass;  Michael Fisher - percussion;  Osamu Kitajima - koto

Freedom at Midnight

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Buster Williams Quartet - Live At The Montreux Jazz Festival 1999

Styles: Jazz, Post Bop 
Year: 1999
File: MP3@320K/s
Time: 58:44
Size: 136,4 MB
Art: Front

( 9:53)  1. Tokudo
(13:45)  2. The More I See You
( 1:15)  3. Announcement
(12:04)  4. You And The Night And The Music
( 7:08)  5. Christine
(14:37)  6. Rhythm-A-Ning

Venerable jazz bassist and session musician of choice, Buster Williams steers this thoroughly swinging quartet through a set of vibrant standards and original compositions along with an ace front line consisting of pianist Mulgrew Miller and vibist Steve Nelson. Recorded live in 1999 at the Montreux Jazz Festival, the bassist once again exhibits his seasoned musical persona via fluent lines, limber soloing, and a comprehensive sense of swing. Meanwhile, Nelson and Miller share most of the soloing opportunities as they consistently demonstrate a keen harmonic relationship atop drummer Carl Allen's masterstrokes and the leader's sinewy walking bass patterns. Hence, Nelson's deft articulations in concert with Miller's swirling clusters and impacting block chords provide an abundance of contrasting elements, as the synergistic interaction provides the winning edge. However, it is all about refinement and a relaxed sense of urgency as the musicians make every note and subtle nuance speak encyclopedic volumes amid the occasional burst of fireworks. No frills or hidden agendas here. Just small ensemble jazz music performed with a touch of class and sophistication. ~ Glenn Astarita https://www.allmusic.com/album/live-at-the-montreux-jazz-festival-1999-mw0000119665

Personnel:  Bass – Buster Williams;  Drums – Carl Allen;  Piano – Mulgrew Miller;  Vibraphone – Steve Nelson

Live At The Montreux Jazz Festival 1999

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Xavier Davis - Rise Up Detroit

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 47:20
Size: 112,7 MB
Art: Front

(4:15)  1. Prologue
(5:36)  2. Detroit Underground
(4:52)  3. Oh Henry
(6:27)  4. The Great Migration
(1:48)  5. Black Paradise (Interlude)
(4:17)  6. Black Paradise
(1:56)  7. The Unfreeway (Interlude)
(4:50)  8. Exodus
(3:10)  9. Exodus (Interlude)
(6:00) 10. Model City 2.0
(4:03) 11. Meditation

Now, having returned to Michigan, his home state, the accomplished performer, composer, arranger and producer is Associate Professor of Jazz Piano at Michigan State University. After being awarded a Humanities and Arts Research Program (HARP) grant, which provides funding to faculty for research leading to creative and performance projects in the arts and humanities, Davis embarked on his concept for “Rise Up Detroit,” his first recording on the Detroit Music Factory label.“When I think of a lot of my favorite recordings, John Coltrane’s ‘A Love Supreme,’ Miles Davis’s ‘A Kind of Blue,’ they had concepts to them that tied the whole record together,” says Davis. “My previous recordings, I would go into the studio first and then later think through it to discover what tied the music together. With this record, I went in already understanding what the connections were.”The shift if in process, according to Davis, was impactful. “Rise Up Detroit” stands apart from his previous works.“Rise Up Detroit” is more than just a Detroit-inspired jazz record. Taken individually, any one of the suite’s movements can stand alone as an outstanding piece of music; it has all the elements: beautiful composition, skillful arrangement, excellent musicianship … But Davis’s approach to “Rise Up Detroit” is much more deliberate, much more intentional. It’s wholistic. It’s storytelling. Each of the movements in “Rise Up Detroit” represents a particular historical aspect of the African American experience in a city with a rich and storied past. From its crucial significance to the Underground Railroad, to the influence of the Southern migration into Henry Ford’s factories, and its later experience of exodus and healing, Davis’s suite captures the energy of a culture whose influence spans generations and the globe. With musicians such as Regina Carter on violin and Rodney Whitaker on bass, both of whom have the spirit of Detroit (perhaps even the Spirit of Detroit) intrinsically woven into their playing, the musicianship on this record is multi-layered, multi-faceted, but definably Detroit. Carter, who leads the album’s string quartet, brings an energy and feel that translates right through the rest of the string section. And while technically Whitaker may be Davis’s boss (Whitaker is the Director of Jazz Studies at Michigan State), it’s his “undeniably distinctive bear-sized bass tones” that dictated he was the obvious choice for “Rise Up Detroit.” “I’ve been a fan of Rodney since I was in college,” says Davis. “He’s just a few years older than me, but I just have so much respect for him musically and personally.”Davis also credits Carter and Whitaker as inspirations for the album, with all of their insight and knowledge of the city and its history. Not surprisingly, there’s a special chemistry between Davis and the album’s drummer, Quincy Davis. The two are brothers, and although they now live in separate states, they played together with jazz trumpeter Tom Harrell when the brothers were both in New York. “He hears things similar to me,” says Davis. “That makes it really easy to play with him.”

As Davis takes us through the aural history of African Americans in Detroit, he’s careful not to simply replicate the music of the eras he’s exploring. He comes at the music with an originality that isn’t tethered to the sound of a particular period. Take “Black Paradise,” for example, which captures the spirit of two of Detroit’s most historically significant African American neighborhoods: Black Bottom and Paradise Valley. It’s a driving, rhythmic toe-tapper with harmonic intensity, but the “storytelling” is not an attempt to emulate. Instead, Davis paints the mood and energy of a thriving community in a much more personal way. For a jazz record, Davis’s instrumentation is unconventional and emotive. His use of strings brings an expressiveness and color that is particularly evident in the emotion that Carter draws from her violin. The texture from the pizzicato cello on “The Great Migration” and “Oh Henry” brings an energy and sound that just isn't found in the typical trumpet/tenor frontline of most jazz groups. You can tell Davis loves writing for strings by the way he dives into their versatility and finds different ways to use them throughout “Rise Up Detroit.” In “Exodus,” Davis opens with the somber, heart-wrenching voice of the cello playing the melody in a kind of dirge, accompanied only by the piano. It slowly grows, layer by layer, to include the full string quartet, plus the trio playing the melody. The energy of “Exodus” becomes dire with the driving groove of Davis’s piano solo, reminiscent of McCoy Tyner or John Coltrane. Possibly the pinnacle of the album, “Exodus” is bittersweet and nearly cinematic. Make no mistake, “Rise Up Detroit” is not an objective piece of work. It’s as passionate and intentional as it is beautiful. Like any great work, “Rise Up Detroit” is as much about the voice of the storyteller as it is about the story. http://www.detroitmusicfactory.com/artists/xavier-davis-rise-up-detroit

Rise Up Detroit

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Randy Weston - Jazz a la Bohemia

Styles: Piano Jazz
Year: 1956
File: MP3@320K/s
Time: 45:39
Size: 104,6 MB
Art: Front

(0:49)  1. Theme: Solemn Meditation
(9:57)  2. Just a riff
(6:13)  3. You Go To My head
(6:30)  4. Once In a While
(7:28)  5. Hold 'Em Joe
(3:47)  6. It's All Right With Me
(9:27)  7. Chessman's Delight
(1:23)  8. Theme: Solemn Meditation

Randy Weston, who was more under Thelonious Monk's influence back in 1956 then he would be in the near future, is in top form during this live set. His quartet features the rarely heard but talented baritonist Cecil Payne, bassist Ahmed Abdul-Malik and drummer Al Dreares. Highpoints of the straightahead set (which has been reissued on CD) include the calypso "Hold 'Em Joe" (recorded almost a decade before Sonny Rollins), "It's All Right with Me" (one of two trio tracks) and the lone Weston original on the date, the stimulating "Chessman's Delight." ~ Scott Yanow https://www.allmusic.com/album/jazz-%C3%A1-la-bohemia-mw0000316705

Personnel:  Randy Weston - piano - trio track 3 - solo track 6;  Cecil Payne - baritone saxophone;  Ahmed Abdul-Malik - bass;  Al Dreares - drums

R.I.P.

Born:  April 6, 1926 
Died:  September 1, 2018

Jazz a la Bohemia

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Sonny Criss - Warm & Sonny

Styles: Saxophone Jazz
Year: 1975
File: MP3@320K/s
Time: 40:45
Size: 93,3 MB
Art: Front

(6:11)  1. Cool Struttin'
(5:30)  2. The Way We Were
(4:09)  3. That's The Way Of The World
(5:47)  4. Bumpin
(6:27)  5. Sweet Summer Breeze
(6:19)  6. Memories
(6:20)  7. Blues For Willie

Altoist Sonny Criss' next to last recording (as with his final effort, The Joy of Sax), is a commercial date in which he is accompanied by a funky rhythm section, strings, and horns. Even on his own "Blues for Willie" (and definitely on "The Way We Were," "Bumpin'," and "Memories"), Criss sounded like he was going out of his way to record a hit; at that he failed. The music on this out of print LP is pleasant but badly dated. 

~ Scott Yanow https://www.allmusic.com/album/warm-sonny-mw0000769953

Personnel:  Sonny Criss, alto sax;  Clarence McDonald, keyboards #1,5,6;  Sonny Burke, keyboards #2-4,7;  Lee Ritenour, guitar #1,5,6;  Dennis Budimir, guitar #2-4,7;  Melvin "Wah Wah" Ragin, guitar #3,5-7;  Scott Edwards, bass #1,5,6;  Chuck Domanico, bass #2-4,7;  James Gadson, drums;  Eddie "Bongo" Brown, percussion; string section: Charles Veal, concertmaster;  Marcia Van Dyke, Winterton Garvey, Harris Goldman, Janice Gower, William Henderson, Karen Jones, Carl LaMagna, Kenneth Yerke, violin;  David Campbell, Rollice Dale, Pamela Goldsmith, Paul Polivnick, viola;  Ronald Cooper, Dennis Karmazyn, David Speltz, cello;  Richard Feves, Susan Ranney, acoustic bass;  Dorothy Ashby, harp; horn section: Bud Brisbois, Charles Findley, Paul Hubinon, trumpet, flugelhorn;  George Bohanon, trombone;  Lew McCreary, bass trombone;  Vincent DeRosa, French horn;  Buddy Collette, tenor sax, flute;  Bill Green, bass sax, flute.

Warm & Sonny

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Jazz Crusaders - Soul Axess

Styles: Jazz, Big Band
Year: 2004
File: MP3@320K/s
Time: 78:20
Size: 181,4 MB
Art: Front

(7:06)  1. Overjoyed
(4:28)  2. Clima Suave (Smooth & Cool)
(4:29)  3. Trail of the Sidewinder
(6:58)  4. Imagine
(3:47)  5. Standing Tall
(5:41)  6. Down Yonder
(5:36)  7. Life in the City (Really Turns Me On)
(5:17)  8. All That Jazz N Razz a Ma Tazz
(7:29)  9. Prodigal Son
(6:32) 10. All Along the Watchtower
(5:25) 11. Over the Rainbow
(4:55) 12. Never Too Late (To Fall in Love Again)
(4:18) 13. Ya Gotta Respect Ya Self
(6:13) 14. Goin' Bukyld

Since the breakup of the original Crusaders in the '80s, there have always been two factions battling for the name: the occasional Joe Sample-Wilton Felder projects billed as "the Crusaders," and another group of rotating smooth jazz musicians led by trombonist Wayne Henderson, usually called the Jazz Crusaders. This new fun-filled, very brassy, and stylistically diverse collection features Felder on only three tracks, but, not surprisingly, one of the best is "Down Yonder," a gospel-inflected midtempo funk number that joyfully recalls the old Crusaders' Southern roots. Elsewhere, it's more a gathering of contemporary greats, with Henderson forming tasty horn sections with guest saxmen Everette Harp (on the bouncy cover of Stevie Wonder's "Overjoyed," also featuring a crisp Norman Brown guitar solo) and Ronnie Laws. Vibist Roy Ayers adds a touch of class to the Latin-flavored "Clima Suave (Smooth & Cool)," and Bobby Lyle (piano) and Dwight Sills (guitar) find ample room to shine on their numbers. The only drawback is Henderson's seeming need to join the hip-hop generation by adding several rap vocals, one of which pays obligatory homage to jazz heroes ("All That Jazz n Razz a Ma Tazz"). Along with an overreliance on pop covers, this sort of thinking makes Henderson's effort a far less rewarding experience than Sample and Felder's return to the front porch on the previous year's Rural Renewal. There are always glimmers of unique creativity, however. A cover of "Over the Rainbow" featuring vocalist Phillip Ingram features a cool Take 6-like intro, but then evolves into something much more pedestrian. ~ Jonathan Widran https://www.allmusic.com/album/soul-axess-mw0000333594

Personnel:  Bass – Larry Kimpel, Nathan East;  Drums – Tony Moore;  Guitar – Brian Price, Dwight Sills;  Keyboards – Bobby Lyle, Herman Jackson;  Soprano Saxophone – Ronnie Laws;  Tenor Saxophone – Everette Harp, Ronnie Laws, Wilton Felder;  Vibraphone – Roy Ayers;  Vocals – Jean Carne, Phillip Ingram;    Producer – Wayne Henderson

Soul Axess

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Dave Bennett - Don't Be That Way

Styles: Clarinet Jazz 
Year: 2013
File: MP3@320K/s
Time: 66:40
Size: 153,4 MB
Art: Front

( 3:06)  1. Slipped Disc
( 4:10)  2. Begin The Beguine
( 5:29)  3. Don't Be That Way
( 3:46)  4. Running Wild
( 9:16)  5. St. James Infirmary
( 6:12)  6. Yetserday
(11:17)  7. Sing, Sing, Sing
( 5:33)  8. Woodchopper's Ball
( 4:51)  9. My Inspiration
( 6:29) 10. Goodbye
( 2:16) 11. A Funeral In New Orleans
( 4:09) 12. When The Saints Go Marching In

Clarinetist Dave Bennett's Don't Be That Way is a throwback album, but it's not a carbon copy of what's come before. Bennett certainly finds inspiration in the work of past masters, driving down the highways and byways that have been paved by Benny Goodman, Artie Shaw, Woody Herman and others, but he's willing to look at their music with a fresh set of eyes; he's a centrist, but not a complete traditionalist. He'll occasionally throw a curve ball on a well-known tune, as demonstrated on the Brazilian-coated title track, but the ball always goes back over the plate in the end, locking in to some form of widely established and accepted practice. Goodman, more than any other figure, is the influence that hovers over this date. Bennett delights in interpreting several key pieces from Goodman's repertoire, from the immortal "Sing, Sing, Sing" to the bleak-and-beautiful "Goodbye" to the fun-filled "Slipped Disc," and he even resembles the King Of Swing, with a serious bespectacled face and firmly parted hair. The similarities stop there though, as Bennett's tone and timbre bear little resemblance to Goodman's clarion call clarinet sound. Bennett has a more soothing-and-streamlined sound not the same as, but in the realm of Ken Peplowski and Eddie Daniels and it charms the ear throughout.  While it would be a lie to say that the album is filled with surprises, a few pop up along the way; the inclusion of a Beatles classic ("Yesterday") amidst the older fare is one and the clarinet supplanting the drums on the "Sing, Sing, Sing" solo break is another. Elsewhere, things are often predictable but pleasing. A rollicking "Woodchopper's Ball" makes for a good time, as does the oft-covered, album-ending "When The Saints Go Marching In." The only misstep here is "Saint James Infirmary." Bennett's vocals don't measure up and the song feels a tad stiff, but that's simply the Achilles heel on an otherwise healthy-and-strong body of material.  Bennett is the undisputed star of his own show, but his band mates deserve a bit of praise for their work; they're attuned to his attitudes about this music and they do an excellent job in helping him shape these performances. Guitarist Reg Schwager proves to be a great front line partner, moving in tandem with Bennett on some fast-and-tricky passages, and bassist Paul Keller and drummer Pete Siers are sensitive to all of the nuances that live within this music. Pianist Tad Weed, more than any side man here, establishes himself as a player to watch and a force to be reckoned with. The depth and breadth of his work is astounding and Bennett's clarinet playing rests on his pianistic shoulders. The sixth man arranger Shelly Berger also deserves a nod, as his pen defines the overall shape of this music. Together, this crew makes wonderful music that recalls the past but lives in the present. ~ Dan Bilaswsky https://www.allaboutjazz.com/dont-be-that-way-dave-bennett-mack-avenue-records-review-by-dan-bilawsky.php

Personnel: Dave Bennett: clarinet, vocals; Tad Weed: piano; Paul Keller: bass; Pete Siers: drums; Reg Schwager: acoustic guitar, electric guitar; Shelly Berger: arrangements.

Don't Be That Way

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Madeleine Peyroux - Anthem

Styles: Vocal
Year: 2018
File: MP3@320K/s
Time: 53:27
Size: 125,9 MB
Art: Front

(4:04)  1. On My Own
(4:58)  2. Down On Me
(4:34)  3. Party Tyme
(5:24)  4. Anthem
(3:57)  5. All My Heroes
(4:15)  6. On A Sunday Afternoon
(4:56)  7. The Brand New Deal
(5:19)  8. Lullaby
(3:59)  9. Honey Party
(4:13) 10. The Ghosts Of Tomorrow
(3:14) 11. We Might As Well Dance
(4:29) 12. Liberté

Having already transitioned from traditional acoustic jazz and blues to her own eclectic folk and pop-leaning originals on past albums, Madeleine Peyroux once again embraces the latter on 2018's Anthem. Named after the Leonard Cohen song that she covers with emotive precision here, Anthem finds the former busker turned chanteuse working with longtime producer/instrumentalist Larry Klein and a bevy of highly regarded performers, including guitarist Dean Parks, organist Patrick Warren, drummer Brian MacLeod, and others. Also joining in at various times are saxophonist Chris Cheek, drummer Jay Bellerose, and vocalist Luciana Souza, who does not sing but instead adds subtle percussion accents. Although capable of tackling standards and traditional songs with a sophisticated lyricism, Peyroux is, at her core, a bohemian storyteller, a folksinger in the vein of Rickie Lee Jones and the aforementioned Cohen. While some listeners may prefer her more acoustic, jazz-oriented albums, many of her songs on Anthem achieve a similar level of nuance and sophistication, while also revealing her own literate point of view. This is especially true on the Harry Nilsson-esque "All My Heroes," in which she ruminates on the imperfection of her idols. She sings "All my heroes were failures in their eyes/Losers, drunkards, fallen saints, and suicides." Similarly engaging is "The Brand New Deal," in which she croons with wry cynicism about modern capitalist culture against a breezy, Steely Dan-sounding fusion groove. 

There's also a knowingly cheeky even kitschy quality to some of the tracks, as on the twangy, baritone guitar-led Latin lounge number "Honey Party." She also takes a similarly cheeky approach on the buoyant "On a Sunday Afternoon," in which she expounds upon the medicinal freedoms of the weekend, singing "Oh yeah, it's a Sunday afternoon/Got Cap'n Crunch, and reefer, and old cartoons." There are also several dusky, literate moments including the languidly hopeful "We Might as Well Dance" that, as with much of Anthem, seem to speak to Peyroux's particularly Zen view of the world. ~ Matt Collar https://www.allmusic.com/album/anthem-mw0003185505

Anthem

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Dan Barrett Feat. Rebecca Kilgore - Moon Song

Styles: Vocal, Cornet And Trombone Jazz
Year: 1998
File: MP3@320K/s
Time: 57:26
Size: 132,2 MB
Art: Front

(4:01)  1. Moon Song
(3:47)  2. Scratch My Back
(3:12)  3. Georgianna
(4:07)  4. With A Smile And Song
(4:49)  5. Miss Brown To You
(4:49)  6. Time On My Hands
(6:31)  7. With 'Em
(4:15)  8. Mound Bayou
(3:39)  9. I'll Never Say Never Again Again
(6:16) 10. I Surrender Dear
(5:52) 11. My Gal Sal
(2:50) 12. Got A Date With An Angel
(3:11) 13. Mama That Moon Is Here Again

Trombonist Dan Barrett leads his Extra-Celestials on a set of spirited small-group swing. The repertoire is full of obscurities (including Benny Carter's "Scratch My Back" and Red McKenzie's "Georgianna," "Mound Bayou," and "Mama, That Moon Is Here Again") and a few superior standards. Barrett (who also plays cornet, wrote all of the arrangements, and takes a rare vocal) is joined throughout by some of his favorite musicians: singer Rebecca Kilgore (who is heard on six of the 13 selections), pianist Dave Frishberg, guitarist Bucky Pizzarelli, bassist Joel Forbes, drummer Jeff Hamilton, altoist/flutist Chuck Wilson, tenor saxophonist Brian Oglivie, and Scott Robinson (clarinet, bass sax, alto, and tenor). In addition, trumpeter Bryan Shaw helps out on two songs. The intelligent arrangements (which make optimal use of the many great musicians on the date) and the concise, meaningful solos result in Moon Song being memorable. ~ Scott Yanow https://www.allmusic.com/album/moon-song-mw0000045051

Personnel: Dan Barrett - vocals, cornet, trombone; Rebecca Kilgore - vocals, guitar, acoustic guitar; Jeff Hamilton - drums; Bucky Pizzarelli - guitar; Dave Frishberg - piano, celesta;  Scott Robinson - clarinet, alto saxophone, tenor saxophone, bass saxophone;  Brian Ogilvie - clarinet, tenor saxophone;  Bryan Shaw - trumpet, cornet;  Chuck Wilson - flute, alto saxophone

Moon Song

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Dianne Reeves - A Little Moonlight

Styles: Vocal 
Year: 2003
File: MP3@320K/s
Time: 62:55
Size: 145,3 MB
Art: Front

(4:24)  1. Loads Of Love
(5:20)  2. I Concentrate On You
(5:12)  3. Reflections
(6:52)  4. Skylark
(6:21)  5. What A Little Moonlight Can Do
(4:46)  6. Darn That Dream
(5:58)  7. I'm All Smiles
(5:35)  8. Lullaby Of Broadway
(7:25)  9. You Go To My Head
(4:35) 10. We'll Be Together Again
(6:23) 11. Make Sure You're Sure

With the meteoric success of Norah Jones' debut in the early 2000s, the message was clear: there's a real hunger for straightforward tunes with minimal froufrou. Jones' producer, Arif Mardin, has assembled another likely hit with A Little Moonlight, a collection of appealing standards. Empathically supported by Dianne Reeves' working trio, every track showcases her exceptionally rich and lovely instrument. Although longterm fans may consider her a bit subdued, her soulfulness is very much in evidence, and her voice, as always, goes down like mulled wine. There are samples of her trademark whimsical scatting, especially on the charming opener, "Loads of Love," "I'm All Smiles," and the grin-inducing "What a Little Moonlight Can Do." "I'm All Smiles" features a fine solo by the excellent pianist Peter Martin, who, like Ruben Rogers and Gregory Hutchinson, is terrific throughout. Peaks include two delicious duos with guest Romero Lubambo, the elegant Brazilian guitarist who's been on her last four albums: the airy "I Concentrate on You" and the yearning "Darn That Dream." Reeves' inspired pairing with Nicholas Payton on "You Go to My Head" has the intimate feel of closing time at a jazz club: the patrons are gone, the chairs are stacked on the tables, but the musicians still have something urgent and deeply personal to say. 

Even when the trio joins in, the after-hours atmosphere endures, with Payton scrolling around Reeves' lines and taking a magnificently misty solo. In "We'll Be Together Again," Reeves evokes the ghost of Sarah Vaughan another purely musical singer gifted with a flexible, velvety voice and soulful, natural phrasing. Double Grammy-winner Reeves had long been a genre-buster, so this straight-ahead album is a precedent for her; accessible and thoroughly enjoyable, it will undoubtedly gain her a whole new audience, while staying true to the banner of jazz. Recommended. ~ Judith Schlesinger https://www.allmusic.com/album/a-little-moonlight-mw0000321356

Personnel:  Dianne Reeves – vocals;  Romero Lubambo – guitar, arranger;  Reuben Rogers – bass;  Gregory Hutchinson – drums;  Peter Martin – piano, arranger;  Nicholas Payton – trumpet (track 9);  Billy Childs Trio – arranger

A Little Moonlight

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Teddy Wilson - Stompin' at the Savoy

Styles: Piano Jazz
Year: 1967
File: MP3@320K/s
Time: 48:13
Size: 118,2 MB
Art: Front

(4:25)  1. Stompin' at the Savoy
(4:35)  2. Moonglow
(2:32)  3. As Time Goes By
(4:01)  4. Honeysuckle Rose [Take 1]
(4:36)  5. Flying Home
(2:20)  6. I Can't Get Started
(3:59)  7. Sometimes I'm Happy
(4:37)  8. Body and Soul
(7:40)  9. I'll Never Be the Same
(3:07) 10. Easy Living
(2:10) 11. Green Dolphin Street
(4:06) 12. Honeysuckle Rose [Take 2]

Strange as it seems, Teddy Wilson only made one record as a leader during 1960-66. His playing had not declined in the slightest, but the veteran swing pianist's style was overlooked in favor of newer players, and although still a household name in the jazz world, he was somewhat neglected. In 1967, with this excellent CD and its companion, Air Mail Special, Wilson returned to a more regular recording schedule. Recorded in London, this studio session finds Wilson joined by some fine English musicians (including clarinetist Dave Shepherd and vibraphonist Ronnie Gleaves) for a spirited runthrough of swing standards. Although the date on the CD says 1969, it is definitely 1967. ~ Scott Yanow https://www.allmusic.com/album/stomping-at-the-savoy-mw0000081382

Personnel: Piano – Teddy Wilson; Bass – Peter Chapman; Clarinet – Dave Shepherd; Drums – Johnny Richardson; Vibraphone – Ronnie Gleaves

Stompin' at the Savoy

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Dave Liebman - Fire

Styles: Saxophone, Flute Jazz
Year: 2018
File: MP3@320K/s
Time: 69:34
Size: 159,7 MB
Art: Front

( 8:42)  1. Flash!!
(32:35)  2. Fire
( 9:12)  3. Sparks
( 6:42)  4. Flames
( 7:24)  5. Inferno
( 4:56)  6. Ashes

The Elements: Fire
The four elements found in the natural world (Air, Fire, Water, Earth) represent the ultimate example of duality, observed in both nature and humankind. Whether it is called yin.yang, nigh/day (any opposing pari), the principle remains the same. As Yoda, the Star Wars sage said: "There are always two!!"Extreme manifestation of this duality pertaining to the element of air are realized as tornadoes, hurricanes and cyclones; the for the water element as floors and blizzards; the earth as earthquakes and for fire, conflagration. Equally on the opposite side there are the life-giving and sustaining qualities of air, water, fire and the earth... all gifts of nature granted to the human species. Conceptually, this music alludes to one aspect of the duality of the fire element. Sparks begin the process, evolving into flames, progressing to an inferno... finally ashes remain as a testament to fire's destructive legacy, but with the understanding that fire is also realized as heat, light and sustenance.

The Rhythm Section
My roots with Dave Holland and Jack DeJohnette go back to the late 1960's. I met Dave in London in 1967 when I was visiting Europe for a few months. With Jack it was about that time we met at jam session in New York. My first album as a leader ("First Visit") was recorded in Japan while I was with Miles Davis and they were with Stan Getz along with my long time partner, pianist Richie Beirach. (Also there was the 1988 "Trio + 1" recording with Dave, Jack and my wife Caris Visentin on oboe. When Dave came to New York joining Miles Davis' group in 1968 he ended up living on the second floor of a loft building where I was the first tenant, eventually joined by Chick Corea on the first floor... 138 W. 19th Street. Of course Jack and Dave have gone on to be recognized as one of the classic bass/drum combinations in jazz history and individually two of the greatest artists on their instruments. Jack especially is a force of nature. Besides the programmatic aspect of the recording as described above, there was in my mind the idea of re-creating the feeling of the music we played in the loft days from that early period, featuring a heavy dose of free jazz inspired by Coltrane's seminal recording "Ascension". There were many sessions that might feature several horn players "soloing" together (Mike and Randy Brecker, Terumasa Hino, Bob Berg, Steve Grossman, etc) all embracing the free spirit of the late 60's period both in the real world and musically. At the same time the so-called "fusion" movement with Miles at the head became popular along with the rock/jazz horn band phenomenon... 10 Wheel Drive (the group I played in), Chicago, Blood, Sweat Tears, etc... These contemporary activities co-existed with the jazz tradition we were all still learning about, since many of the original masters were still very active. Quite an exciting period!! If I must say so, we have all definitely improved in the ensuing decades, especially when it comes to playing "free jazz"... the ability to play less, to play soft, to express a feeling above all .... in sum demonstrating maturity at its highest level. For this recording the opportunity to have Kenny Werner join Jack and Dave in the rhythm section was a blessing as he fit right into the very open and loose scenario I was looking for. Playing and communing with these great artists was an honor and privilege.

Dave Liebman
Special thanks to Kurt Renker for his many years of support in both the practical and musical realms; to John Fishell who is my first call engineer; to mix master, Florian Van Volxem; and as always to Caris and Lydia for their ever-present support.
Note: Along with the recordings "Water- Giver of Life" from the later 90's featuring Pat Metheny, "Air" (all available on the internet), and the present Fire" what remains is "Earth" which will conclude my series on the elements. http://davidliebman.com/home/new_releases/fire/

Personnel:  Dave Liebman (ts, ss, wooden flute, c-flute);  Kenny Werner (p);  Dave Holland (b);  Jack DeJohnette (ds)

Fire

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Cat Anderson - Cat's In The Alley

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 62:23
Size: 144,4 MB
Art: Front

(7:40)  1. Little Man
(2:26)  2. Cat's In The Alley
(4:00)  3. Blue Jean Beguine
(2:48)  4. My Adorable "D"
(3:23)  5. June Bug
(2:37)  6. Don't Get Around Much Anymore
(3:24)  7. Birth Of The Blues
(3:12)  8. You're The Cream In My Coffee
(2:37)  9. Nina
(4:20) 10. Chelsea Bridge
(2:46) 11. The Mexican Bandit
(4:18) 12. Loveinnessence
(4:36) 13. A Flower Is A Lovesome Thing
(3:41) 14. Between Some Place, Goin' No Place
(3:04) 15. Ac-cent-tchu-ate The Positive
(3:45) 16. Summertime
(3:39) 17. Like Dig

As the lead soloist for the Duke Ellington Orchestra and recognized in smaller circles as one of the all-time great jazz trumpet improvisers, Cat Anderson did not have much time for fronting a band of his own. Up until his passing in 1981, Anderson still took many a backseat for listeners, critics, and the general public who knew virtually nothing about him. This single CD should change all of that, a reissue of his first two dates as a leader, with a 15-piece big band Cat on a Hot Tin Horn for Mercury records, and Ellingtonia, for octet, originally on the obscure Wynne label. Both have been out of print on vinyl for decades, making this release more than merely long awaited. Anderson, a proprietor of the upper octave high note solos that bent notes and challenged air traffic lanes, surprisingly takes a backseat for the greater good of the ensemble on most of this, and also finds him an adept composer of original swing to bop music. Of course the bands are fully loaded with great soloists, Ellingtonians or not, most notably fellow trumpeters Clark Terry and Ernie Royal, trombonist Jimmy Cleveland, tenor saxophonists Jimmy Forrest and Ernie Wilkins (also arranger,) and drummer Panama Francis. Of the nine big band charts from 1958, the opener and longest jam, "Little Man," gets the ball rolling with standout solos from the wailin' Forrest, baritone saxophonist Sahib Shihab, Cleveland, and a free-for-all from the trumpet section. 

The rest of the tunes are short, ranging from Anderson's supremely confident low octave, vocal-like lead on "Birth of the Blues," the dramatic, Latin "Besame Mucho" flavored, light lavender colored "Blue Jean Beguine," and the jumpier "Mexican Bandit." Earle Warren's bravissimo vibrato on alto sax is featured during "My Adorable D," while the rocking drums of Francis set off the sparks of a "Blues for Sale" spin-off "Cat's in the Alley," and the skittering and even slightly irritating but big themed "June Bug." The large group pieces from 1959, with legendary Elllington trombonist Quentin "Butter" Jackson and different (than Francis for sure) drummer Sam Woodyard, sports an entirely different lineup, with two features, the sensual "Lovelinnessence" and the classic ballad "A Flower Is a Lovesome Thing," for the immortal violinist Ray Nance. Budd Johnson and Rudy Powell split sax and clarinet chores. Johnson is backing Nance, and Powell adds to the advanced modern swinger "Between Some Place, Goin' No Place" the bouncy, fun "Ac-Cent-Tchu-Ate the Positive," and the bright, happy "Like Dig." Throughout the disc you hear many typical Ellington phrases, as if the master is looking over Anderson's shoulder, but they are snippets and not clichés. Besides "Flower," the big band with Anderson upfront does a muted trumpet wah wah plunger-accented "Don't Get Around Much Anymore," while the octet performs a perfect "Chelsea Bridge" and a lush, Ellington-like, hot, slow, and sultry "Summertime," but those are the few and far between covers. This one should, by definition, be impossible to nit-pick, for the recording sound is excellent, the players beyond reproach, and the variety of (then) modern jazz fits the progressive aesthetic of Ellington and the then expanding Anderson to a T. This comes highly recommended; it's nearly essential, and is one of the best mainstream jazz reissues in recent years. ~ Michael G.Nastos https://www.allmusic.com/album/cats-in-the-alley-mw0001161028

Personnel:  Cat Anderson, Ernie Royal, Clark Terry (tp), Jimmy Cleveland, Henderson Chambers (tb), Earl Warren, Jimmy Forrest, Ernie Wilkins, Budd Johnson (reeds), Ray Nance (vln), Jimmy Jones (p), George Duvivier, Jimmy Woode (b), Panama Francis, Sam Woodyard (d)

Cat's In The Alley

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Andrew Hill - A Beautiful Day

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 61:32
Size: 142,4 MB
Art: Front

( 8:19)  1. Divine Revelation
(11:28)  2. Faded Beauty
( 8:43)  3. Bellezza
( 6:42)  4. 5 Mo
( 7:36)  5. New Pinnochio
( 5:50)  6. J Di
(11:44)  7. A Beautiful Day
( 1:07)  8. 11/8

Andrew Hill followed his first Palmetto release, the widely acclaimed Dusk, with this remarkable live album, which was recorded during a three-night run at New York's Birdland in January 2002. Whereas Dusk featured a sextet, A Beautiful Day boasts a large ensemble, billed at Birdland and previous gigs as the Andrew Hill Sextet + 11. Despite a large regiment of horns, Hill's reflective piano figures prominently. Trumpeter Ron Horton relieves Hill of the conducting burden by serving as musical director, managing an arcane system of cues and transitions and keeping all the players, quite literally, on the same page. The band's peculiar methodology yields a wonderfully complex and layered sound, by turns strident and melodious, driven by the sturdy rhythmic backbone of bassist Scott Colley and drummer Nasheet Waits. Jose Davila reinforces the low end with his omnipresent tuba. Amid the fanfare of full band passages, contemplative interludes emerge, with varied and inspired instrumental colorings. Tenor saxophonists Greg Tardy and Aaron Stewart go toe to toe on the opening "Divine Revelation," an older piece, newly arranged by Horton. "Faded Beauty" includes radiant solos by John Savage on flute and Marty Ehrlich on bass clarinet. Horton steps forward to deliver pointed witticisms on "Belleza," baritone saxophonist J.D. Parron gets the floor on the exuberant "J Di," and Hill weaves spiky piano harmonies into the dense structures of "5 Mo" and "New Pinnochio." The epic title track winds down with an enigmatic foray by trumpeter Dave Ballou, who is joined in short order by John Savage on alto sax. With its wide array of available textures and juxtapositions, the big band proves an ideal vehicle for Hill's powerful, unclassifiable music. ~ David R. Adler https://www.allmusic.com/album/a-beautiful-day-mw0000227787

Personnel:  Andrew Hill – piano;  John Savage – flute (tracks 2 & 4), alto saxophone (tracks 1, 3 & 5-8);  Marty Ehrlich – clarinet (track 4), bass clarinet (track 2), alto saxophone (tracks 1, 3 & 5-8);  Aaron Stewart, Greg Tardy – tenor saxophone;  J. D. Parran – baritone saxophone;  Dave Ballou, Laurie Frink, Ron Horton (tracks 1-6), Bruce Staalens – trumpet;  Mike Fahn, Joe Fielder, Charlie Gordon – trombone;  Jose D'avila – tuba;  Scott Colley – bass;  Nasheet Waits – drums

A Beautiful Day

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Brother Jack McDuff - That's The Way I Feel About It

Styles: Jazz, Post Bop
Year: 1997
File: MP3@320K/s
Time: 55:17
Size: 127,9 MB
Art: Front

(5:15)  1. The Age Of Aquarius
(8:49)  2. Blooze In G
(6:14)  3. Theme From Mission Impossible
(8:04)  4. That's The Way I Feel About It
(3:59)  5. Six A.M.
(4:53)  6. Saturday Night Fish Fry
(5:32)  7. Old Folks
(7:46)  8. Flamingo
(4:42)  9. Moody's Mood For Love

At times, McDuff demonstrates how soul-jazz organ stars used to make albums back in their '60s heyday, playing then-current pop hits like "The Age of Aquarius" and the theme from Mission: Impossible (which, thanks to cinema, was a hit all over again in 1996 when this CD was made). We also hear McDuff trying out his vocal cords for the first time on Louis Jordan's "Saturday Night Fish Fry"; actually, he merely talks the lyrics over the rhythm section -- and at 70, he's entitled to this charming lark. Otherwise, this is another fine, home-cookin' soul-jazz session, with McDuff's Hammond B-3 burning at its usual low-intensity, high-blues-content level. Chris Potter dances around the organ on flutes, Andrew Beals and Jerry Weldon offer solid solos on alto and tenor respectively, and the rest of the Heatin' System runs the gamut from Latin to soul-deep grooves. Fans of the genre can buy with peace of mind. ~ Richard S.Ginell https://www.allmusic.com/album/thats-the-way-i-feel-about-it-mw0000024437

Personnel:  Jack McDuff: Hammond B3 (+ vocals on "Saturday Night Fish Fry");  John Hart: Guitar;  Andrew Beals: Alto Sax;  Jerry Weldon: Tenor Sax;  Kip Reed: Electric Bass (except last track);  Rudy Petschauer: Drums

That's The Way I Feel About It

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Stanley Clarke - The Message

Styles:  Guitar Jazz
Year: 2018
File: MP3@320K/s
Time: 44:48
Size: 103,0 MB
Art: Front

(1:58)  1. And Ya Know We're Missing You
(6:59)  2. After the Cosmic Rain/Dance of the Planetary Prince
(3:32)  3. The Rugged Truth
(5:04)  4. Combat Continuum
(2:47)  5. The Message
(5:31)  6. Lost in a World
(3:46)  7. Alternative Facts
(2:25)  8. Bach Cello Suite 1 (Prelude)
(4:04)  9. The Legend of the Abbas and the Sacred Talisman
(3:44) 10. Enzo's Theme
(4:52) 11. To Be Alive

Once upon a time, he was the enfant terrible of jazz bassists, whizz-kid of Chick Corea's Return to Forever. On his latest album, The Message, at the ripe old age of 66, Stanley Clarke is very much the elder statesman, standing back on the cover pic, arms crossed, letting the youngsters grab the limelight and not giving a damn.  Open up the sleeve and there's Clarke again, besuited, sitting in a leather armchair, holding his electric bass, cool and calm, surrounded by the dudes of his band, in ripped jeans, creative hairstyles and looking as though they have attitude problems.  The opening track is a requiem for recently departed musical luminaries Al Jarreau, Tom Petty (yes, Tom Petty), Chuck Berry (yes, Chuck Berry), Larry Coryell and Darryl Brown. Clarke seemingly wants you to know he does not approve of categorization when it comes to music, man.  The main ambience of the album is spacey, courtesy, Clarke says, of L. Ron Hubbard, sci-fi writer and founder of Scientology . But there are many digressions. "Lost in a World" and "After The Cosmic Rain/Dance of the Planetary Prince," leavened with girly back-up vocals, are pure pop. More importantly, "The Message" features the leader on acoustic guitar. It's a lovely number and a relief from the spacey hokum.  But "Combat Continuum" sees Clarke switching to Orson Welles-mode as -courtesy of voice actor Steve Blum -he broadcasts news of an alien invasion. Things are looking grim for Planet Earth until Blum reveals that it was all a linguistic misunderstanding; the aliens only wanted to help us heal the planet from the ecological damage we've inflicted on it.  Meanwhile, full marks, Commander Clarke, for a masterly Bach prelude, expertly bowed. But surely we could have been spared "To Be Alive" the seemingly inevitable rap number. The message (perhaps from an older, wiser civilisation in a galaxy far, far away) is that even a great musician comes unstuck trying to be all things to all men... and women. ~ Chris Mosey https://www.allaboutjazz.com/stanley-clarke-band-the-message-stanley-clarke-mack-avenue-records-review-by-chris-mosey.php

Personnel: Stanley Clarke: guitar, bass; Beka Gochiashvili: piano; Cameron Graves, Pat Leonard, Dominique Taplin: synthesizers; Mike Mitchell: drums; Salar Nadar: tabla; Doug Webb: saxophone, flute; Chuck Findley, Ron Stout: trumpet, French horn; Dwayne Benjamin: trombone; Michael Thompson: guitar; Steve Blum, Skyeler Kole, Trevor Wesley, Sofia Sara Clarke, Chris Clarke, Doug E Fresh: vocals.

The Message

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Terry Blaine - Too Hot For Words

Size: 136,6 MB
Time: 57:51
File: MP3 @ 320K/s
Released: 1999
Styles: Jazz Vocals
Art: Front

01. A-Tisket A-Tasket (3:18)
02. Dinah (4:02)
03. Looking At You (4:00)
04. It's Too Hot For Words (2:36)
05. My Very Good Friend The Milkman (4:18)
06. It's You (3:04)
07. A Ship Without A Sail (4:34)
08. The Joint Is Jumpin' (3:22)
09. Concentratin' On You (4:02)
10. You Go To My Head (4:36)
11. My Mother's Son-In-Law (2:37)
12. I'm No Angel (3:16)
13. You Meet The Nicest People In Your Dreams (2:42)
14. It's Easy To Remember (4:51)
15. Repeal The Blues (2:29)
16. Goodnight My Love (3:54)

With this album of 16 "blasts from the past," Terry Blaine solidifies her position as one of the leading contemporary practitioners of the traditional/swing vocal style. The subtitle for this album is "Great Ladies of Swing," a tribute to those song birds of the past who enthralled the public and, in doing so, set the standards for singers of this musical genre who were to follow. The technique Terry Blaine and Mark Shane use in presenting this tribute is as fascinating as the tribute itself. On most of the cuts, Blaine refines a technique she used in her earlier album, Whose Honey Are You?, by over-dubbing her voice to create background singers. Here she manages to sound as if she is accompanied by the Boswell Sisters, giving each of them a separate and distinct voice. The result is some very interesting vocal combinations, which is Blaine and Shane's objective. On "Looking at You," Cole Porter's under-recorded gem, it's as if Lee Wiley has the Boswell Sisters backing her. An unlikely combination is Mae West backed by these harmonious siblings on "I'm No Angel." On "My Very Good Friend the Milkman," made famous by the inimitable Fats Waller, Shane does Waller's piano while Blaine and her "background singers" do a jivy version of this perky tune. While most of the cuts are indeed "hot," there are some slowly turned-out ballads. Alan Vache's clarinet noodles behind Blaine's poignant delivery of "You Go to My Head" before he takes a patented soft, Benny Goodman-like solo. Blaine's interpretation and style on this tune recalls Bea Wain's with the Larry Clinton Orchestra. Another slow-tempo tune, "It's Easy to Remember," showcases Russell George's arco bass. Many other singers of the past are recalled on this entertaining album, among them Mildred Bailey, Peggy Lee, Ethel Waters, and, of course Ella Fitzgerald on the kick-off song "A-Tisket A-Tasket." Blaine does not imitate the voices of these singers of the past; rather, she sings in a similar style. She has garnered an extraordinary and likeminded set of musicians to work with her on this album. The Texas tailgate trombone of Joel Helleny and Ed Polcer's cornet go a long way in recreating the swing aura of the 1920s-1940s. Mark Shane's piano, however, is the glue which holds the set together. He sets exactly the right mood and pace, promoting Blaine's delivery and phrasing. That these two are musical soulmates is apparent.

Too Hot for Words serves as a reminder of how enduring the works of the great stylists of the past (and some from the relatively recent past) are, and of the very rich vocal legacy they left behind. In the hands of talented professionals, the reminder is a very entertaining one indeed. ~by Dave Nathan

Too Hot For Words

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Dexter Gordon - Tokyo 1975

Size: 146,8 MB
Time: 63:38
File: MP3 @ 320K/s
Released: 2018
Styles: Jazz
Art: Front

01. Fried Bananas ( 9:28)
02. Days Of Wine And Roses ( 8:45)
03. Misty (10:52)
04. Jelly, Jelly, Jjelly ( 7:41)
05. Rhythm-A-Ning (14:06)
06. Old Folks (12:44)

Elemental Music is a record label that can be uttered in the same breath with Omnivore Records and Resonance Records. These labels can be credited with significant additions to the universal jazz catalog. Near recent examples of unreleased performances put out by Elemental Music include: Art Pepper Live At Fat Tuesday's (2015) and Red Garland's Swingin' On The Korner: Live At Keystone Korner (2015), as well as Jimmy Giuffre: New York Concerts (2014).

Elemental Music has since found some previously unreleased performances of Dexter Gordon recorded in Tokyo in 1975, a year prior to the saxophonist's repatriation to the United States after a 14-year residence in Europe, mostly in Paris and Copenhagen. This particular disc contains four performances from the Yubin Chonkin Hall in Tokyo on October 1, 1975. The remaining two selections, Monk's "Rhythm-a-Ning" and "Old Folks," were performed in De Boerenhofstee July 18, 1973 and New Haven Conn, May 5, 1977, respectively, with different rhythm sections. The Tokyo performance falls between two recording dates that resulted in Dexter Gordon -The 1975 SteepleChase Artist. Gordon's return to the United States, marked by his recording Homecoming (Columbia, 1976) captured December 11-12, 1975 at the Village Vanguard in New York City. This was an edgy, progressive date that featured trumpeter Woody Shaw.

In comparison, Dexter Gordon Quartet—Tokyo 1975 is a sedate and straight-forward date. The recital begins with the Gordon original "Fried Bananas," a composition long in the Gordon songbook. He provides a lengthy workout and allows bassist Niels-Henning Orsted Pedersen, who performs at the highest level possible. His rhythmic, center-of-the-tone approach and his acute precision add an additional, almost clinical, level to the recording. Ørsted Pedersen's immediate impact can be heard after the head release into Gordon's first solo, when pianist Kenny Drew drops out and Gordon plays trio. Virile and muscular, Ørsted Pedersen wills the beat. Gordon solos well within the lines, proving he is well ensconced at the height of his powers. "Days of Wine and Roses" and "Misty" are dispatched well. The surprise is a performance of Billy Eckstine's "Jelly, Jelly Jelly." Gordon sings as well as blows the blues with gusto and grace. Thelonious Monk "Rhythm-a-Ning," from the Laren show demonstrates why this song was so long in Gordon's playbook. Again playing as a trio, this time with Ørsted Pedersen and drummer Espen Rud, Gordon stretches out, giving a lengthy performance. "Old Folks" from the New Haven show is reedy and organic, the sonics not as good as the Tokyo performances, but nevertheless showing Gordon's command of the ballad. Dexter Gordon Quartet—Tokyo 1975 proves an admirable addition to the Gordon discography. ~Michael C. Bailey

Personnel: Dexter Gordon: tenor saxophone; Kenny Drew: piano; Niels-Henning Ørsted Pedersen; Albert “Tootie” Heath: drums; Espen Rudd: drums (5); Ronnie Matthews: piano (6); Stafford James: bass (6); Louis Hayes: drums (6).

Tokyo 1975

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