Wednesday, June 12, 2019

Steve Slagle - Alto Blue

Styles: Saxophone Jazz 
Year: 1997
File: MP3@320K/s
Time: 60:21
Size: 139,4 MB
Art: Front

(7:31)  1. Blues not to lose
(5:51)  2. Hail-Bop
(9:22)  3. Full moon
(5:13)  4. Jaco time
(6:01)  5. Detour ahead
(9:52)  6. Peacefully
(9:53)  7. Jump Monk
(6:33)  8. The Midget

Steve Slagle, who has a very appealing tone on alto, strong technique, and a style that is quite versatile, performs seven blues on this exciting set, as well as a flute feature on "Detour Ahead." By varying tempos and grooves (ranging from bebop to Ornette Coleman and a bit of funk), each song manages to have its own personality and a mundane sameness never occurs. Trumpeter Ryan Kisor, who had grown quite a bit during the past few years, seemed at this point to be obviously poised for potential greatness and sounds quite individual. Bassist Scott Colley and drummer Gene Jackson, although in a supporting role, are major assets and work together quite well. The material is made up of four Slagle originals, one song by Dave Stryker, Charles Mingus' "Jump Monk" and Lee Morgan's "The Midget," in addition to "Detour Ahead"; it's consistently colorful and catchy enough to both inspire the musicians and be memorable for the listeners. Highly recommended. ~ Scott Yanow https://www.allmusic.com/album/alto-blue-mw0000597428

Personnel:  Alto Saxophone, Flute – Steve Slagle; Bass – Scott Colley; Drums – Gene Jackson; Trumpet – Ryan Kisor

Alto Blue

Peggy Lee - Peggy At Basin Street East

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 56:34
Size: 130,8 MB
Art: Front

( 1:35)  1. Overture
( 1:47)  2. Day In-Day Out
( 2:32)  3. Call Me Darling
( 4:15)  4. One Kiss/ My Romance/ The Most Beautiful Man In The World
( 5:46)  5. But Beautiful/The Second Time Around
( 2:59)  6. Fever
( 3:47)  7. I'm Gonna Go Fishin'
( 2:32)  8. I Love Being Here With You
( 3:57)  9. By Myself
( 1:56) 10. Heart
( 4:08) 11. I've Never Left Your Arms
(14:30) 12. Ray Charles Tribute: Hallelujah, I Love Him So/ I Got A Man/ Just For A Thrill/You Won't Let Me Go/ Yes Indeed!
( 1:23) 13. Peggy Lee Bow Music
( 5:20) 14. I Don't Know Enough About You Medley

Like legions of other Peggy Lee fans, I never had reason to question the authenticity of Basin Street East (Blue Note), accepting that it was, as billed, “recorded at the fabulous New York club” during Lee’s fabled gig in early ’61. Turns out, though, that neither Basin Street East nor either of Lee’s other “live” outings from that era-1959’s Beauty and the Beat! with George Shearing and the ultrarare Two Shows Nightly from ’68-were quite as legit as Capitol led us to believe. Peggy, the penultimate perfectionist, demanded that all three albums be reshaped and, to varying degrees, rerecorded within the safely controllable confines of a studio, then sweetened with audience applause. How sad to learn, then, that there has never existed an entirely genuine “live” recording from the days when Lee ruled as queen of the supper-club circuit. Not, that is, until now. Thanks to some diligent detective work by producer Cy Godfrey, Lee’s engagement-ending performance from February 8, 1961, can be heard in its entirety on Peggy at Basin Street East: The Unreleased Show (Collectors’ Choice). 

As Godfrey recalls in the liner notes, he was nosing around the Capitol vaults when he came across a series of mislabeled Basin Street “safety” tapes that fortuitously turned out to contain the complete February 8 date. Double the length of the stingy original LP, the new disc includes more than a dozen additional songs. A misty “Call Me Darling” substitutes for “Moments Like This,” and the far more interesting “The Most Beautiful Man in the World” replaces “The Vagabond King” in the first medley. Lee also adds her sizzling, Afro-Cuban “Heart” and an ethereal “I’ve Never Left Your Arms,” and finishes with a spirited “greatest hits” encore. The disc does, as expected, suffer a few minor technical setbacks. Apart, however, from occasional moments of inaudibility (including unfortunate muddiness during Lee’s spoken introduction to her Ray Charles tribute), The Unreleased Show remains a rare and vibrant testament to Peggy at her unedited best. ~  By Christopher Loudon https://jazztimes.com/archives/peggy-lee-peggy-at-basin-street-east/

Peggy At Basin Street East

Hilton Ruiz - Strut

Styles: Piano Jazz
Year: 1989
File: MP3@320K/s
Time: 49:24
Size: 113,6 MB
Art: Front

( 6:19)  1. The SideWinder
(10:46)  2. Goin'Back To New Orleans
( 4:57)  3. Bluz
( 4:19)  4. Aged In Soul
( 8:07)  5. All My Love Is Yours
( 5:55)  6. Soca Serenade
( 2:34)  7. Why Don't You Steal My B
( 6:24)  8. Lush Life

Pianist Hilton Ruiz mixes together elements of salsa, r&b, funk and jazz but, instead of his music becoming some type of hybrid, the result is a very danceable variety of jazz that is both accessible and challenging. Ruiz, whose main influence is McCoy Tyner, gathered together a very interesting assortment of players for Strut. Trumpeter Lew Soloff contributes some high notes and leads the horn riffing, trombonist Dick Griffin's extroverted trombone is witty in its short spots, Sam Rivers (mostly on tenor) and percussionist Mongo Santamaria add their sounds to the brew and guitarist Rodney Jones is second only to Ruiz in taking solo honors. 

It is particularly rewarding to hear a Latin remake of "The Sidewinder" and many of the other good-natured melodies are catchy. Strut should be able to win over both jazz fans and those listeners who claim to not understand or be able to appreciative creative music. ~ Scott Yanow https://www.allmusic.com/album/strut-mw0000203520

Personnel:  Piano – Hilton Ruiz; Bass – Rodney Jones; Congas – Mongo Santamaria; Drums – Robby Ameen, Steve Berrios; Electric Bass – Francisco Centeno; Guitar – Rodney Jones; Tenor Saxophone, Soprano Saxophone – Sam Rivers; Timbales, Percussion – Robby Ameen, Steve Berrios; Trombone – Dick Griffin; Trumpet – Lew Soloff

Strut

Peter Erskine - Motion Poet

Styles: Jazz, Post Bop
Year: 1988
File: MP3@320K/s
Time: 53:31
Size: 124,1 MB
Art: Front

(6:26)  1. Erskoman
(6:43)  2. Not a Word
(6:25)  3. Hero with a Thousand Faces
(7:23)  4. Dream Clock
(6:01)  5. Exit up Right
(4:07)  6. A New Regalia
(3:25)  7. Boulez
(7:44)  8. The Mystery Man
(5:13)  9. In Walked Maya

A highly skilled, versatile drummer, Peter Erskine has anchored big bands and jazz-rock fusion groups. He's known for sophisticated rhythms, distinctive accompaniment, and powerful, rippling solos. Erskine began drumming at three, and participated in Stan Kenton's National Stage Band Camps from the age of six. He studied with Alan Dawson and Ed Soph, attending the Interlochen Arts Academy in Michigan and Indiana University. He played with Kenton from 1972 to 1975, then from 1976 to 1978 with Maynard Ferguson. Erskine joined Weather Report in 1978, and was their drummer and percussionist until 1982. He also did several West Coast sessions in the late '70s, and was a member of Steps and Steps Ahead. During the '80s he worked with John Abercrombie's groups and the quartet Bass Desires. He's also worked with Joe Farrell, Marc Johnson, Mike Brecker, Randy Brecker, John Scofield, Bob Mintzer, Lew Soloff, Kenny Kirkland, Mike Mandel, and Kenny Werner, among others. As a leader, he debuted with Peter Erskine in 1982 on Contemporary, followed by several well-received efforts for Denon. During the '90s, he developed a good relationship with ECM, releasing such albums as 1992's You Never Know, 1995's As It Is, and 1998's Juni. Also during the '90s, Erskine founded his own Fuzzy Music label, delivering such albums as 1995's From Kenton to Now with tenor saxophonist Richard Torres and 1998's Lava Jazz. In the 2000s, Erskine continued to release albums via Fuzzy Music with 2002's Badlands, 2005's The Lounge Art Ensemble: Music for Moderns, and 2016's Dr. Um, which introduced his Dr. Um Band featuring keyboardist John Beasley. In 2017, Erskine reunited Beasley and the Dr. Um Band for Second Opinion. ~ Ron Wynn https://www.allmusic.com/artist/peter-erskine-mn0000842492/biography

Personnel: Drums, Percussion – Peter Erskine; Arranged By – Bob Mintzer (tracks: 8), Randy Brecker (tracks: 5), Vince Mendoza (tracks: 1 to 4, 6, 7, 9); Baritone Saxophone – Roger Rosenberg (tracks: 1, 3, 4, 6); Bass – Marc Johnson (2) (tracks: 2 to 4, 8, 9); Bass Trombone – Matt Finders (tracks: 2 to 4, 6); Electric Bass – Will Lee (tracks: 1, 5, 6); French Horn – Jerry Peel (tracks: 2 to 4), John Clark (2) (tracks: 2 to 4), Peter Gordon (8) (tracks: 2 to 4); Guitar – Jeff Mironov (tracks: 1, 5, 6); Guitar, Guitar Synthesizer – John Abercrombie (tracks: 2 to 4, 8, 9); Keyboards – Jim Beard (tracks: 1 to 8); Piano – Eliane Elias (tracks: 2, 5); Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 1, 3 to 6); Tenor Saxophone – Bob Mintzer (tracks: 4, 6, 8), Michael Brecker (tracks: 3); Tenor Saxophone, Flute – Bob Mintzer (tracks: 1, 3 to 6); Trombone, Tuba – Dave Bargeron (tracks: 1, 2 to 4, 6); Trumpet – Joe Mosello (tracks: 1, 3 to 6), Randy Brecker (tracks: 4, 8); Trumpet, Flugelhorn – Lew Soloff (tracks: 1 to 4, 6)

Motion Poet

John Pizzarelli Trio - For Centennial Reasons: 100 Year Salute to Nat King Cole

Styles: Vocal And Guitar Jazz
Year: 2019
File: MP3@320K/s
Time: 52:04
Size: 120,4 MB
Art: Front

(4:32)  1. Straighten Up and Fly Right
(2:36)  2. A Hundred Years from Now
(3:22)  3. The Very Thought of You
(3:18)  4. (I Would Do) Anything for You
(4:52)  5. I'm Such a Hungry Man
(4:46)  6. It's Only a Paper Moon
(3:39)  7. Body and Soul
(3:22)  8. Nat King Cool
(4:03)  9. When I Fall in Love
(2:35) 10. Save the Bones for Henry Jones ('Cause Henry Don't Eat Meat)
(3:55) 11. Hit That Jive, Jack!
(3:06) 12. Could-'Ja
(3:20) 13. Red Sails in the Sunset
(4:32) 14. (Get Your Kicks On) Route 66

When guitarist/vocalist John Pizzarelli last paid tribute to his primary musical inspiration with 1999’s P.S. Mr. Cole, he was in his late thirties, and Nat Cole probably still cast an imposing shadow as a legendary jazz master. P.S. was his second release honoring his hero, following not long after 1994’s Dear Mr. Cole, a swinging trio session with Benny Green and Christian McBride. A third Pizzarelli album celebrating the inimitable Cole might seem like overkill, but For Centennial Reasons (oy, that pun) has more to do with Pizzarelli’s age than Cole’s. At 58, he’s lived a dozen years longer than the pop star, who died of lung cancer in 1965 just shy of his 46th birthday. Pizzarelli’s no less reverent here than on the previous albums, but instead of approaching the elder master with “Mr. Cole” formality, he imbues the 12 standards (and two originals) with a lived-in ease and familiarity that make it one of his more satisfying sessions. Featuring his finely calibrated trio with bassist Mike Karn and pianist Konrad Paszkudzki, the album seamlessly ranges across a smart array of material with only three repeats from the earlier albums (the relaxed opener “Straighten Up and Fly Right,” the quietly besotted “It’s Only a Paper Moon,” and the jivey closer “Route 66”). Whether he’s wending his way through well-worn ballads such as “The Very Thought of You” and “Body and Soul,” or cutting loose on obscure pieces like Bobby Troupe’s “I’m a Hungry Man” and Danny Barker’s “Save the Bones for Henry Jones (Cause Henry Don’t Eat Meat),” Pizzarelli finds the ideal tempo, his phrasing a model of grace and efficiency. Pizzarelli was never a wild man musically, but the older-and-wiser persona suits him on his latest Nat Cole communion. https://jazztimes.com/reviews/albums/john-pizzarelli-trio-for-centennial-reasons-100-year-salute-to-nat-king-cole-ghostlight/#
 
Personnel:  Guitar, Vocals – John Pizzarelli; Co-producer – Jessica Molaskey; Double Bass – Mike Karn; Drums – Konrad Paszkudzki

For Centennial Reasons: 100 Year Salute to Nat King Cole

Tuesday, June 11, 2019

Eric Alexander - The Battle: Live at Smoke

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 60:33
Size: 139,5 MB
Art: Front

(12:49)  1. Blues up and Down
(10:48)  2. Road Song
( 9:37)  3. Firm Roots
( 8:08)  4. Ritual Dance
(11:07)  5. Shirley's Song
( 8:01)  6. Eleven Years

Without a doubt, Eric Alexander is one of the most hardworking and serious young tenor saxophone players out there. To see him perform live is to witness technical fluency combined with up-tempo and hard boppin' intensity. This recording, taped live at Smoke in New York, finds him joined by the equally talented Vincent Herring on alto sax. The first track sets the stage for the whole session. "Blues Up And Down is the classic stomping blues showcased by Gene Ammons and Sonny Stitt on Boss Tenors (Verve, 1961), but with a few added harmonic curveballs. Since Alexander and Herring play different instruments, the final exchanges between the two demonstrate their ability to feed off, rather than upstage each other. In that sense these two musicians are not engaged in an actual battle, but rather a motivational exercise that puts them both at the top of their game. They do the same in an easy tempo on Wes Montgomery's "Road Song, with bassist John Webber laying down the structure and Mike LeDonne showcasing piano voicings that some have associated with to McCoy Tyner. "Ritual Dance, a composition by the drummer Carl Allen, lets Eric Alexander draw from his Coltrane influences by double-timing on his solo and even throwing in a quick reference to "Mr P.C." "Shirley's Song provides a relaxing ballad before the group ends the "battle just as it started, with "Eleven Years. ~ Alain Londes https://www.allaboutjazz.com/the-battle-live-at-smoke-eric-alexander-highnote-records-review-by-alain-londes.php

Personnel: Eric Alexander: tenor saxophone; Vincent Herring: alto saxophone; Mike LeDonne: piano; John Webber: bass; Carl Allen: drums.

The Battle: Live at Smoke

Viktorija Pilatovic - Stories

Styles: Vocal
Year: 2017
File: MP3@320K/s
Time: 39:39
Size: 91,6 MB
Art: Front

(4:01)  1. Rising Sun
(6:14)  2. New 2
(4:28)  3. On Your Knees
(5:31)  4. Conviction
(6:55)  5. Stories of England
(4:29)  6. Question Me
(2:01)  7. Nice Odd
(5:57)  8. Every Home

Lithuanian jazz vocalist and composer Viktorija Pilatovic’s has shared the stage with an impressive lineup of musicians from around the world Victor Wooten, Victor Mendoza Gene Jackson and Robin Eubanks, to name a few and she has performed at the prestigious Montreux Jazz Festival as well as the Vilnius Mama Jazz Festival. Viktorija explains that her new album ‘Stories’  ‘is inspired and dedicated to people I have met while living in Lithuania,The Netherlands, Spain and Ecuador. Each song represents a certain state of mind. Music has helped me to express and capture those elusive moments in a gentle way’. It must be said that the geography we cover by exploring her new album, is quite something. The new album was recorded in Spain with mainly Spanish musicians (Israel Sandoval, Perico Sambeat Alberto Palau, Ales Cesarini and Mariano Steimberg) and mixed in New York and  Viktorija’s songs were written Ecuador, The Netherlands, Lithuania and Valencia you get the feeling you are going on a worldwide tour before you even start listening! The whole album, with the exception of one track (Nice Odd) has a relaxing and calming feel to it, mainly due to Viktorija’s well trained vocal style, with a cohesive theme that holds everything together well. The vocals suit the writing perfectly and Viktorija’s emotional intent for the album, are demonstrated well, not only through her vocal style but also through her wonderfully descriptive lyrics. Special mention to the pianist Alberto Palau who’s performance on this album shows supports where needed and absolutely shines when the occasion arises. Question Me is Viktorija’s favourite track from the album and features some gorgeous sax from Perico Sambeat. You can hear how much she enjoys singing this song there is an evident ease and relaxation to her vocal and her lyric  ‘I will lose myself in this sensation’ really does sum up quite clearly her emotions during this song. New 2 written in Ecuador and about prohibited and unconditional love, is my favourite from track the album. 

With a definite theatrical feel to it at times, the variety of this song, kept me engaged throughout.  Opening with a subtly sexy groove with a Latin tinge, it occasionally leads us somewhere slightly unexpected. Half way through the song, this groove takes us into a wonderful vocal scat section with some nice vocal harmonies that work really well, leading us seamlessly into a gorgeous piano solo from Alberto Palau and the piano is very strong throughout. Stories of England I was intrigued with, as Viktorija has said it has nothing to do with her own experience of England, so I was very curious as to why it was titled in such a way. It is based on a story that she was told, the lyrics say ‘he shared with me stories of England’ so the song is about the impact these stories had on her rather than a direct experience. This song has a very understated, gentle bluesy feel about it, very simple arrangement and instrumentation very nice. Nice odd is fascinating as it is a track that Viktorija wants to evolve and include on her future recordings, which is an interesting concept. It is very short at 2 mins, but quite different from the rest of the tracks on the album. An irregular time and an almost psychedelic feel to it at times, with some synth sounds that have not really appeared at any other point in the album. ‘Nice odd’ is the truly perfect title for this track. It is oddly placed in the context of the album, but it’s not actually a problem and you do genuinely want to know how it will develop in the future. It is nice and yes, a little odd but in a good way. On your knees has some gorgeous guitar from Israel Sandoval and the lyrics in this track ‘hiding tears, while you’re on your knees, trying to survive that cold feeling’ exemplify the heartfelt emotions expressed throughout the album. As a classically trained pianist who moved into studying vocal jazz, Viktorija’s album is well placed in this genre. The whole album is very well executed, with good arrangements and she really has achieved what she out to. Superb musicians that support each other collectively, with the opportunity to shine occasionally and they do. I believe Viktorija has described her own album perfectly, as it really does ‘capture those elusive moments in a gentle way’. https://jazzineurope.mfmmedia.nl/2018/01/viktorija-pilatovic-stories-cd-review-by-fiona-ross/

Personnel: Viktorija Pilatovic – voice | Alberto Palau – piano | Ales Cesarini – bass | Mariano Steimberg – drums | Perico Sambeat – saxophone, track 4 and 6 | Israel Sandoval – guitar, track 3 and 8

Stories

Coleman Hawkins - Hollywood Stampede

Styles: Saxophone Jazz
Year: 1989
File: MP3@320K/s
Time: 48:42
Size: 114,2 MB
Art: Front

(2:57)  1. April In Paris
(2:56)  2. Rifftide
(3:16)  3. Stardust
(3:03)  4. Stuffy
(3:11)  5. Hollywood Stampede
(3:15)  6. I'm Thru With Love
(3:21)  7. What Is There To Say?
(3:08)  8. Wrap Your Troubles In Dreams
(2:54)  9. Too Much Of A Good Thing
(3:07) 10. Bean Soup
(2:51) 11. Someone To Watch Over Me
(3:07) 12. It's The Talk Of The Town
(3:06) 13. Isn't It Romantic?
(2:36) 14. Bean-A-Re-Bop
(2:50) 15. The Way You Look Tonight
(2:56) 16. Phantomesque

Hawkins led one of his finest bands in 1945, a sextet with the fiery trumpeter Howard McGhee that fell somewhere between small-group swing and bebop. This CD contains all of that group's 12 recordings, including memorable versions of "Rifftide" and "Stuffy"; trombonist Vic Dickenson guests on four tracks. 

This CD concludes with one of Hawkins' rarest sessions, an Aladdin date from 1947 that finds the veteran tenor leading a septet that includes 20-year-old trumpeter Miles Davis. ~ Scott Yanow https://www.allmusic.com/album/hollywood-stampede-mw0000203302

Personnel:  Tenor Saxophone – Coleman Hawkins; Alto Saxophone – Howard Johnson (6) (tracks: 13 to 16); Bass – John Simmons (tracks: 9 to 12), Oscar Pettiford (tracks: 1 to 8); Bass [Probably] – Curley Russell (tracks: 13 to 16); Drums – Denzil Best (tracks: 1 to 12); Drums [Probably] – Max Roach (tracks: 13 to 16); Guitar – Allan Reuss (tracks: 1 to 12); Piano – Hank Jones (tracks: 13 to 16), Sir Charles Thompson (tracks: 1 to 12); Trombone – Kai Winding (tracks: 13 to 16), Vic Dickenson (tracks: 5 to 8); Trumpet – Howard McGhee (tracks: 1 to 12), Miles Davis (tracks: 13 to 16)

Hollywood Stampede

Clifford Jordan - Soul Fountain

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 28:16
Size: 65,7 MB
Art: Front

(2:39)  1. TNT
(3:00)  2. I've Got A Feeling For You
(3:32)  3. H.N.I.C.
(2:37)  4. I Got You
(2:07)  5. Caribbean Cruise
(5:42)  6. Senor Blues
(4:05)  7. Eeh Bah Lickey Doo
(4:31)  8. Retribution

Clifford Jordan's Soul Fountain was recorded for Atlantic in 1966 and produced by no less a talent than Arif Mardin. It was not released until 1968 and then reissued properly in 1970 on the Vortex imprint, by which time Jordan had become an American expatriate living in Europe as so many other jazzmen had. The bottom line is that there was no good reason for any of it. This may be, like Jordan's Plays Leadbelly album, a recording of deep roots music in this case soul but as a jazz album with big fat grooves, stellar playing, and arrangements, it's a monster. The bands (a bit different on sides one and two) tell a big part of the story of the album. The first five tracks the front side feature Jordan on tenor and piano, Jimmy Owens on trumpet and flugelhorn, Julian Priester on trombone, Frank Owens playing both piano and B-3, Ben Tucker on upright bass, Bob Cranshaw on upright and Fender electric bass, drummer Bob Durham, and percussionists Orestes Vilató and Joe Wohletz. The music on side one includes the smoking Ben Tucker jams "T.N.T." and "H.N.I.C.," the first of which is a complete soul-jazz groover with big-boned tenor work by Jordan knotted up in the best Blue Note early three-horn front-line '60s fashion: it's where hard bop met the extrapolated sounds of Latin boogaloo and Ray Charles-styled big-band soul. Tucker's grooves were scorching. The latter tune, written in a minor key, offers more Latin grooves with the same front-line 12-bar blues set up with beautiful call and response, a knotty chorus, and wonderfully seamless harmonies among the horns. Jordan contributes a pair of originals to the side (and three overall). The first is "I've Got a Feeling for You," coming right out of the groove territory with those hand drums popping in and around the piano played by Cliff, and a snarling B-3 workout in the fills by Frank Owens. It's suave, spunky, and swaggering with great trumpet work by Jimmy Owens. Jordan's latter tune on the side is a too-brief little calypso fueled hard bop number. The kit work by Durham is hot and the Jordan solo swings hard and in the pocket. The other tune on the side is a burning funky workout on James Brown's "I Feel Good" with amazing trombone work by Priester, who could have been a part of the '70s J.B.'s in a heartbeat, as his sense of propulsion and rhythm is infectious and Durham's breaks are smoking and in the pocket. Side two offers a bit of a change: Big John Patton plays organ, Billy Higgins plays drums, and Ray Barretto replaces Vilató on congas! Three tunes make up the side: one is a reading of Horace Silver's "Senor Blues" that is so full of Latin groove that it drips. Jordan's interplay with the drummers and Patton is rich, wrangling, his best Sonny Rollins in the role and taking it outside slightly via Coltrane. 

The breezy "Eeh Bah Lickey Doo," by the saxophonist is a shimmering, lightly funky riff-based blues with Jordan playing flute to change things up the tonal contrast between his little woodwind and Patton's B-3 simmering is very hip especially when Big John takes his solo. The final track, written by Priester and Abbey Lincoln is called "Retribution." It's the most complex tune here rhythmically, juxtaposing an intensely clave rhythm against a straight cut time and the front-line playing right in between the two signatures. Priester's lyric sense is complex but utterly accessible, and when Jordan takes his solo following that fat downbeat where it all comes together, he can walk between both poles effortlessly. Patton just pushes from the inside out and finds the horn in the corners. Barretto even at this point was offering a dimension on other people's recordings that was singular. He sounded like no one else and his manner of reading the hard bop accents and angles through boogaloo added a hip factor of ten to the side. Priester's solo is brief, followed by Jimmy Owens' before they bring it all back to that melody, closing it out on a very high point indeed.  Certainly, Jordan's great accomplishments as a leader the two Glass Bead Games volumes and In the World on Strata East, as well as Night of the Mark 7 from the '70s are regarded as high marks in his career, but this side should not be counted out by any stretch of the imagination. Mardin's production work adds the right amount of warmth and Jordan is clearly relaxed and in control, walking the razor's edge between the hard bop past, the present-day soul, and the future openness that he would embrace wholesale a couple of years later. This is a fine set and well worth pursuing whether on wax or via the Wounded Bird reissue (it needs to be said that the latter's program of reissuing Atlantic and Warner jazz from the early '70s is really special in that it highlights work that has been forgotten or was entirely ignored). ~ Thom Jurek https://www.allmusic.com/album/soul-fountain-mw0000582716

Personnel: Clifford Jordan — tenor saxophone, flute, piano; Jimmy Owens - trumpet, flugelhorn; Julian Priester - trombone; John Patton - organ (tracks 6-8); Frank Owens - piano, organ (tracks 1-5); Ben Tucker - bass (tracks 1-5); Bob Cranshaw - bass, electric bass (tracks 1-5); Bobby Durham (tracks 1-5), Billy Higgins (tracks 6-8) - drums; Ray Barretto - congas (tracks 6-8); Joe Wohletz - bongos, percussion; Orestes Vilato - percussion (tracks 1-5)

Soul Fountain

Aldo Romano - Alma Latina

Styles: Jazz, Post Bop
Year: 2002
File: MP3@320K/s
Time: 39:35
Size: 91,6 MB
Art: Front

(3:36)  1. Roanugo
(4:54)  2. Santa Maria Novella
(5:05)  3. C'Era Una Volta
(3:38)  4. Tastière
(1:49)  5. Cadenza
(1:09)  6. Una Volta Dany
(4:44)  7. Amalgame
(5:09)  8. Alma Latina
(5:10)  9. 6 Million Dollars Song
(4:14) 10. La Dernière Chanson

A record seems to mark a milestone in the career of drummer Aldo Romano. This is the one he recorded in duet, in Italy, with the bassist Jean-François Jenny-Clark, that is to say Il Piacere , musical illustration of the world of Pavese and the Latin of the musician more obvious than ever. It was in 1979, that is to say a year at the same time as the one where he integrated the French label Owl managed by Jean-Jacques Pussiau. Therefore, his records will take, at least for a few years, a less specifically jazz turn (he will return) as on Night Diary or Alma Latina . His friends are at his side (Jenny-Clark, Bartholomew, Portal, Lockwood, Jasper Van't Hoff), while here, it is his old guitarist partner Philippe Catherine and young musicians he discovered who second him , including Benoît Wideman and Jean-Pierre Fouquey. 

There, there are no traces of free jazz practiced during the years of learning with Gato Barbieri and Don Cherry. The binary rhythms have been integrated. And, above all, the composer reveals himself progressively. ~ Hervé Comte http://www.letriton.com/artistes/albums/album-alma-latina-763

Personnel: Aldo Romano battery, Philip Catherine electric guitar; Gilles Perrin percussion; Sylvain Marc electric bass, choirs; Estelle Goubert acoustic and electric piano; Jean-Pierre Fouquey acoustic and electric piano; Dany Kane harmonica; Maurizio Giammarco tenor saxophone; Benoît Widemann synthesizer, electric piano

Alma Latina

Monday, June 10, 2019

Teddy Edwards - Back to Avalon

Styles: Saxophone Jazz
Year: 2013
File: MP3@320K/s
Time: 43:21
Size: 100,6 MB
Art: Front

(2:53)  1. Avalon
(5:36)  2. The Cellar Dweller
(4:29)  3. You Don't Know What Love Is
(7:23)  4. Steppin' Lightly
(3:50)  5. Sweet Georgia Brown
(4:44)  6. Our Last Goodbye
(6:36)  7. Good Gravy
(5:19)  8. (Under) A Southern Moon and Sky
(2:28)  9. Avalon (Version 2)

The liner notes written by Kirk Silsbee tell a tale easily as intriguing as the fine music on this CD. Producer Lester Koenig asked Teddy Edwards to assemble a large ensemble of lesser known jazz musicians from Los Angeles to record originals and new arrangements of standards. Those players had difficulty with the somewhat tricky charts, and because they were not up to the highest standards, the project was mutually agreed upon to be scrapped. Nearly 35 years later, Ed Michel came upon the tapes, assessed that the feeling and spirit in them was good enough, and had them cleaned up by editing in alternate takes spliced by audio computer to enhance the originally imperfect sessions. After some fact checking, the alleged or disputed lineup was confirmed, and the result is solidly swinging,enjoyable music. It showcases the magic touch Edwards displayed in composition and arranging, his distinctive tenor sax, and the ability of these players, many who would later prove their own mettle removed from the obscurity of that time. And now, the rest of the story...this is a really good album! Edwards is well known for his classic, ahead of its time, original soul-jazz tune "Good Gravy," and it appears here for its first recording, the horns grooving together and strutting their stuff. While "The Cellar Dweller" is usually in reference to a perennial last place sports team, this one is for the listeners of The Jazz Cellar nightclub in San Francisco, naturally bluesy and easy swinging with Edwards as the front runner, and the horns following in varying levels of dynamics. "(Under) A Southern Moon & Sky" takes Edwards back to his Mississippi roots and love for Duke Ellington in an attractively exotic and sensual, riki-tiki calypso beat courtesy of Larance Marable cracking his sticks on drum rims. 

The swing standard "Avalon" bookends the session, one at medium tempo, the other faster, both with wonderful interplay and rich balance. A supercharged take of "Sweet Georgia Brown" has Edwards out of the gate flying, extending the second chorus with a witty extrapolation and during the jamming bridge, while the contrasting sad and bittersweet "You Don't Know What Love Is," with the plaintive second lead of trumpeter Nathaniel Meeks, and the especially downhearted "Our Last Goodbye" wrenches every ounce of emotion from a somber place where no one really wants to be. Trombonist Lester Robertson and alto saxophonist Jimmy Woods became major players in L.A. from this point onward, and deserve a close listen here, while baritone saxophonist Modesto Brisenio is heard to good effect, especially on the intro of the quick waltz "Steppin' Lightly," which also sports some compelling rhythm changes slowed to half time, sped up, and funkified. There are recordings that rank as underrated or under appreciated, but Back to Avalon should not merely be tagged as such. Thankfully through hindsight this recording was released in fully flowered form so all can realize what a marvelous all-around musician Teddy Edwards was. ~ Michael G.Nastos https://www.allmusic.com/album/back-to-avalon-mw0000645746

Personnel: Tenor Saxophone – Teddy Edwards; Alto Saxophone – Jimmy Woods; Baritone Saxophone – Modesto Brisenio; Bass – Roger Alderson; Drums – Larance Marable; Piano – Danny Horton ; Trombone – Lester Robertson; Trumpet – Nathaniel Meeks

Back to Avalon

Kenny Drew - The Ideation Of Kenny Drew

Styles: Piano Jazz
Year: 1954
File: MP3@320K/s
Time: 25:10
Size: 58,2 MB
Art: Front

(3:15)  1. Four And Five
(4:18)  2. Polka Dots And Moonbeams
(6:00)  3. Kenny's Blues
(3:36)  4. Lo Flame
(3:24)  5. 52nd Street Theme
(4:34)  6. Chartreuse

A talented bop-based pianist (whose son has been one of the brightest pianists of the 1990s), Kenny Drew was somewhat underrated due to his decision to permanently move to Copenhagen in 1964. He made his recording debut in 1949 with Howard McGhee and in the 1950s was featured on sessions with a who's who of jazz, including Charlie Parker, Coleman Hawkins, Lester Young, Milt Jackson, Buddy DeFranco's quartet, Dinah Washington, and Buddy Rich (1958). Drew led sessions for Blue Note, Norgran, Pacific Jazz, Riverside, and the obscure Judson label during 1953-1960; most of the sessions are available on CD. He moved to Paris in 1961 and relocated to Copenhagen in 1964 where he was co-owner of the Matrix label. He formed a duo with Niels-Henning Orsted Pederson and worked regularly at the Montmartre. Drew recorded many dates for SteepleChase in the 1970s and remained active up until his death. ~ Scott Yanow https://www.allmusic.com/artist/kenny-drew-mn0000081841/biography

Personnel:  Piano – Kenny Drew;  Bass – Eugene Wright; Drums – Lawrence Marable

The Ideation Of Kenny Drew

Don Grusin - Piano In Venice

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 56:04
Size: 129,9 MB
Art: Front

(4:37)  1. Rose & Main
(5:18)  2. Washington Way
(4:34)  3. Abbot Kinney Blvd
(4:58)  4. Pacific Av
(3:56)  5. Electric Av
(3:05)  6. California Ct
(3:53)  7. Amoroso Pl
(3:01)  8. Lincoln Blvd
(4:35)  9. Ozone Ct
(6:18) 10. Speedway
(2:50) 11. San Juan Av
(4:13) 12. Venice Blvd
(4:40) 13. Oakwood Av

I moved to Venice in August 2007 to compose and record a piano album using the many loops and samples that I’ve collected over the past few years as my accompanying rhythm track partner. The electronica you’ll hear are grooves from every musical genre, guitar licks, voices, dancers, people clapping and singing, birds, animals, traditional percussion instruments from everywhere in the world. One of my favorite samples is the Paolo Soleri bell which was the doorbell of my recording studio-livingroom in the little house I rented on Crestmoore Place near the French Market. You’ll hear the Soleri bell on tk 11, san juan av.  My inspiration for melodies, moods, grooves came from throughout that beautiful ocean community... the beach, the carnival boardwalk atmosphere, the best air in LA, the hang with the people in local bars and restaurants and coffee shops, the neighborhood birds, dogs and cats, and in particular the contrasting personalities of the local streets for which I named the tracks. If you click on each of the titles you can read the inspiration for the music and the grooves. https://music.dongrusin.com/album/piano-in-venice

Personnel: Don Grusin (piano, keyboards & programming)

Piano In Venice

Jimmy Smith - Softly As A Summer Breeze: The Incredible Jimmy Smith

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 49:58
Size: 115,5 MB
Art: Front

(5:30)  1. These Foolish Things
(6:00)  2. Hackensack
(6:18)  3. It Could Happen To You
(8:23)  4. Sometimes I'm Happy
(6:32)  5. Someone To Watch Over Me
(4:49)  6. Ode To Philly Joe
(3:26)  7. Willow Weep For Me
(2:41)  8. Ain't No Use
(3:28)  9. Angel Eyes
(2:48) 10. Ain't That Love

An oddity and supporting cast player in the Jimmy Smith canon, Softly As A Summer Breeze is nonetheless a welcome addition to Blue Note's Rudy Van Gelder remasters programme, bringing together three distinct sessions with partially overlapping personnel. All the evidence suggests the first four tracks were originally recorded for a Kenny Burrell album which was never released, and the next two for a Jimmy Smith set which likewise didn't materialise. The final four tracks, featuring vocalist Bill Henderson, were originally released on a pair of jukebox-targeted 45 rpm singles and were included as bonus tracks on the album's first CD issue ten years ago. Tracks 1-6 were recorded in February 1958, the day after Burrell had contributed to the sessions for Smith's House Party and The Sermon. They stayed on the shelf until 1965, either because they didn't include one of Smith's trademark soul-jazz shouters or, as seems more likely, because they were simply overtaken by new material recorded by the prolific organist and guitarist. All the signs are of a compilation of Burrell and Smith sessions that were paired up for joint release as a late afterthought. Burrell states the themes and takes most of the opening solos on "These Foolish Things," "Hackensack," "It Could Happen To You" and "Sometimes I'm Happy." The first two tunes ride at a furious gallop, with Burrell and Smith each taking rapid-fire, long-line, mainly single-note, bop-based solos. Smith gets a shade more raucous and funky on "Sometimes I'm Happy," but the rest of time he plays close to the top lines and remains relatively well behaved. (As does Philly Joe Jones, who, apart from trading fours on "Hackensack," stays in a crisp accompanying role.) Though he made his mainstream reputation with sweating, shouting soul-jazz and screaming big band set pieces, it's sometimes forgotten that Smith started out a performer of standards, albeit phattened ones. His 1956 Blue Note debuts A New Sound... A New Star, Vols 1-3 did indeed include the monumental funktifications of Horace Silver's "The Preacher" and Dizzy Gillespie's "The Champ," but most of the material consisted of standards and showtunes. Smith liked to soup them up, sometimes to the point of florid three-ring-circus cheesiness, but he relished pretty tunes and his naif performances of them, on those debut albums and this one from a couple of years later, are as irresistible as they are flamboyant. The least successful tracks are the last four, featuring vocalist Bill Henderson and averaging three minutes in length. The spotlight is naturally enough on Henderson, whose routine and anonymous readings haven't travelled well. But hey, you can always hit the search button. The rest of the music is busting. ~ Chris May https://www.allaboutjazz.com/softly-as-a-summer-breeze-jimmy-smith-blue-note-records-review-by-chris-may.php

Personnel: Jimmy Smith: organ; Kenny Burrell (1-4), Eddie McFadden (5,6), Ray Crawford (7-10): guitar; Philly Joe Jones (1-4), Donald Bailey (5-10): drums; Bill Henderson (7-10): vocals.

Softly As A Summer Breeze

Lauren White - Life in the Modern World

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 48:41
Size: 115,9 MB
Art: Front

(4:21)  1. Life in the Modern World
(3:54)  2. Till I Get It Right
(4:54)  3. Signing Off
(4:51)  4. How Little We Know
(4:03)  5. Monk's New Tune
(5:48)  6. Coffee
(4:38)  7. Midnight Sun
(4:21)  8. Ellington's Sound of Love
(4:07)  9. Slowdown
(4:34) 10. In a New York Minute
(4:12) 11. American Tune


Los Angeles-based vocalist Lauren White teams with the superb vocalist and in-demand producer Mark Winkler for her third album, the eclectic storytelling Life in the Modern World, a collection of rarely covered standards from classic writers and interpretations of tunes from more contemporary ones. These tunes span almost 80 years of music. Her track list consists of tunes from Lionel Hampton, Ella Fitzgerald and Hoagy Carmichael to the modern writers Winkler, Kathryn Bostic and Ron Boustead. White delivers these in her warm smoky voice with clear articulation and elegance. White has found success as a singer but doesn’t have to quit her “day job” as producer of the hit HBO show Homeland either. She’s fortunate to be able to do both. Her TV role has her traveling between both coasts and that too is fortuitous, as she’s able to play in clubs and tap some of the best musicians from both New York and Los Angeles, arguably our two biggest jazz cities. You’ve likely seen some of these musicians grace several albums Kevin Axt and David Finck on bass, Marvin “Smitty” Smith and Chris Wabich on drums, Kevin Winard on drums and percussion, Grant Geissman on guitar, Alex Budman on horns, Francisco Torres on trombone, Tatum Greenblatt and Michael Stever on trumpet along with her collaborative partners Winkler on vocals and pianist Quinn Johnson. Johnson was the music director/pianist for Steve Tyrell for 16 years and has a staggering pedigree that includes Tom Scott, Flora Purim, Rod Stewart, Diana Ross, and Rita Coolidge. Johnson also arranged and accompanied White on her Experiment release, Winkler, who has been on these pages several times, has 16 CDs as a leader and has had over 250 of his songs performed or recorded by other artists. Winkler also produced White’s most recent project, Out of the Past, Jazz & Noir. White opens with the title track, a rarely heard song originally performed by the Crusaders, followed by the swinging “’Til I Get It Right,” co-written by Winkler and performed with him as a duet. “Signing Off” is a little known Ella Fitzgerald tune that dates to 1961, where Ella wrote the lyrics. A better known standard comes from Hoagy Carmichael and Johnny Mercer in “How Little We Know,” written for the 1944 film To Have and Have Not, where Johnson has some fun with the arrangement, adding a cha-cha element. 

Another oft-covered tune is “Midnight Sun” from Lionel Hampton and Johnny Mercer. Eli Brueggemann, musical director of Saturday Night Live, provides a funky arrangement that has White’s vocal gliding smoothly over percolating rhythms.“Coffee’ is an LA inspired tune written by fellow vocalist Ron Boustead and Ken Kresge while “Slow Down” owes to Kathyrn Bostic, who is a composer, singer, and songwriter known for her work on film, TV, and live theater. This featues a lively three horn arrangement. Others include Michael Frank’s “Monk’s New Tune,” also with three horns and Charles Mingus’s “Ellington’s Sound of Love,” where White is backed by a piano trio. “In a New York Minute” is another bold, brassy tune with Winkler and White doing background vocals in addition to White’s lead. Rather incredibly, Johnson had never heard White’s choice for the closer, Paul Simon’s “American Tune.” So, perhaps advantageously, he brought a fresh perspective to the arrangement, which features Geismann’s guitar and Winard’s percussion. They slow down the tempo, showcasing the nuances in White’s emotive, warm delivery.  As with previous efforts from the three main collaborators, White, Winkler and Johnson, this is as elegant as vocal jazz gets. White brings maturity, sass, style and a natural effervescent charm that proves irresistible. ~ Jim Hynes https://www.makingascene.org/lauren-white-life-in-the-modern-world/

Personnel:  Chris Wabich - drums, Kevin Winard - drums & percussion, Grant Geissman - guitar, Alex Budman - horns, Francisco Torres - trombone, Tatum Greenblatt and Michael Stever – trumpet, Quinn Johnson – piano, Mark Winkler - producer/vocalist/lyricist.

Life in the Modern World

Sunday, June 9, 2019

Aaron Goldberg - Turning Point

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 54:47
Size: 126,4 MB
Art: Front

(6:01)  1. Fantasy in D
(7:37)  2. Turning Point
(6:23)  3. Turkish Moonrise
(6:13)  4. Jackson's Actions
(7:39)  5. The Shadow of Your Smile
(6:12)  6. Con Alma
(6:14)  7. Head Trip
(8:24)  8. Mom's Tune

A beautifully recorded session that really percolates. This is essentially a quartet date (Goldberg, Turner, Rogers, Harland) with Josh Redman sitting in for Turner on “The Shadow of Your Smile,” Cook adding wordless vocals on “Fantasy in D” and “Mom’s Tune,” and Kalé making it a quintet on “Jackson’s Actions.” There’s one trio track, Dizzy Gillespie’s luminous “Con Alma,” and Goldberg moves to Fender Rhodes on “Jackson’s Actions” and “Mom’s Tune.” Goldberg, a protégé of Betty Carter who turns 25 this month, plays with remarkable maturity and insight for one so relatively young. For comparison’s sake only, he reminds me of Benny Green, whereas Turner brings to mind Joe Henderson. One has the feeling when listening to Goldberg that while the building blocks are firmly in place, he’s flying by the seat of his pants, and it’s that sense of spontaneity and surprise which frames the core of Jazz, after all  that makes what he has to say so consistently absorbing. He’s a capable writer too, and that’s a good thing, as five of the selections on Turning Point are his including the lovely ballad “Turkish Moonrise,” the quirky “Head Trip” and easygoing “Mom’s Tune.” Johnny Mandel wrote “Shadow of Your Smile,” Cedar Walton the picturesque “Fantasy in D.” Rogers and Harland were new names to me, but they’re a solid yet unassuming duo, and based on this performance we should be hearing much more from them. Redman’s name, on the other hand, is well known in Jazz circles, his reputation is widening, and it says something for Goldberg’s talent that he’s now a member of Redman’s working quartet. But a more convincing snapshot of that blossoming talent is embodied within this album, which marks an impressive debut for an up and coming young Jazz artist. ~ Jack Bowers https://www.allaboutjazz.com/turning-point-aaron-goldberg-j-curve-records-review-by-jack-bowers.php

Personnel: Aaron Goldberg: piano, Fender Rhodes electric piano (4, 8); Mark Turner: tenor saxophone; Joshua Redman: tenor saxophone (7); Reuben Rogers: acoustic bass; Eric Harland: drums; Carla Cook: vocals (1, 8); Karsh Kale: tablas (4).

Turning Point

Dave Holland Quintet - Points Of View

Styles: Jazz, Post Bop 
Year: 1998
File: MP3@320K/s
Time: 71:01
Size: 163,3 MB
Art: Front

( 9:18)  1. The Balance
(10:54)  2. Mr. B.
( 8:48)  3. Bedouin Trail
( 8:23)  4. Metamorphos
(10:12)  5. Ario
( 9:40)  6. Herbaceous
( 6:53)  7. The Benevolent One
( 6:49)  8. Serenade

The eight compositions which make up Points of View are so varied that this in itself becomes a hallmark of Dave Holland's style here. Consistency instead comes from the interaction of the players, whom Holland's arrangements give ensemble roles during each other's solos; from the unusual instrumentation, used both for frank exoticism ("Bedouin Trail", "Serenade") and to leaven more traditional compositions with surprise. The soloists are imaginative, and swinging on those tunes where swing is part of the picture. Holland and Kilson power the ensemble, Holland with his rich tone, Kilson with clarity and a fine percussionist's melodic sense, both with impeccable time."The balance" seemingly begins with the sound of a bass tuning, as if for a live date, with the other players joining in with an improvised ensemble worthy of Mingus. The tune turns into a characteristic opener, but with a difference: swift and exciting, to be sure, but with a tricky time signature and a restlessness about settling on a major or minor mode."Mr. B" is like one of those great 1950's hard bop tunes seen through a post-modern prism, Holland playing a walking bass line throughout."Bedouin trail," beginning with Eubanks high on the trombone, almost a French horn sound, moves into a medium tempo clave groove. The virtues of Holland's group stand out in this sensous tune, which seems almost to suspend time."Metamorphosis" alternates rapidly between swing and funk, terms that don't do justice either to the edgy composition or the impassioned improvisations.The rhythm section opens "Ario" with an ostinato feel, moving eventually into a Latin groove. As usual on this recording, the horn parts belie the small group size. Likewise the vibes' fills provide a bigger than usual sound in the percussive/chordal instrument's role: richer than a piano, fuller than a guitar. The track shifts between the mellowness of a medium-tempo ballad and a series of climaxes."Herbaceous" has a samba-then-swing feel, opened up by spontaneity and virtuosity of the ensemble, making for a tumultuous ride. "The benevolent one" begins out of tempo as a duet between Nelson's ringing vibes and Holland's bowed bass, before turning into a ballad, with Kilson's brushes shimmering like aspen leaves. The rhythm section is nearly equal in the foreground during the solos, giving the tune a chamber-music intimacy "Serenade" concludes the recording with a taste of Latin folk-music, the marimba trilling a simple melody over the initially unchanging harmony implied by Holland's repetitive bass figure. This track's optimistic serenity, played only by the rhythm section, creates yet another musical world among the several in this unusual and brilliantly realized production. ~ Larry Koenigsberg https://www.allaboutjazz.com/points-of-view-dave-holland-ecm-records-review-by-larry-koenigsberg.php

Personnel: Dave Holland, bass; Robin Eubanks, trombone; Steve Wilson, soprano and alto saxophone; Steve Nelson, vibraphone and marimba; Billy Kilson, drums

Points Of View

Ralph Towner - Lost And Found

Styles: Guitar Jazz
Year: 1995
File: MP3@320K/s
Time: 57:52
Size: 134,6 MB
Art: Front

(2:36)  1. Harbinger
(3:00)  2. Trill Ride
(6:19)  3. Elan Vital
(5:12)  4. Summer's End
(3:15)  5. Col Legno
(2:16)  6. Soft Landing
(4:56)  7. Flying Cows
(4:04)  8. Mon Enfant
(5:15)  9. A Breath Away
(1:27) 10. Scrimshaw
(3:24) 11. Midnight Blue ... Red Shift
(4:37) 12. Moonless
(3:44) 13. Sco Cone
(3:06) 14. Tattler
(4:34) 15. Taxi's Waiting

This 1995 date shows guitarist and composer Ralph Towner in estimable form. For a guy who's released literally dozens of records under his own name and with his band Oregon and played on dozens more, he still seems to have plenty to say with only two guitars in his arsenal (well, there was the period where he used a Prophet Five synthesizer with Oregon, but we won't go into that here). Using familiar (Marc Johnson and Jon Christensen) and new (Denny Goodhew) faces, Towner goes searching for that elusive muse he has been pursuing for over 30 years: the root of what makes complex harmonic and melodic improvisation possible. His relentlessness is in fine shape here. Using the horns and Johnson's large dynamic range for texture and shading, he, with Christensen in tow, can go ferreting through intervallic forests of prismatic chromaticism and changeling modal systems to place notions of "song" firmly within the context of spontaneous composition. Nowhere is this more evident than on the striking "Élan Vital." Towner opens the track and Goodhew follows him playing soprano. There are three melodic exchanges, each more far-reaching than the last, before Towner goes off with Christensen trading fours and slipping through chorded wreaths and trills of augmented sevenths and ninths. There is a space at midpoint where Johnson, for the sake of adding color to the melodic abstraction, begins by playing chords and then others based on those, singly, then doubly, until the bass sings! There are 15 tunes on Lost and Found, most of them Towner's compositions, but two by Johnson -- "Col Legno" and "Sco Cone" deserve special note. On the first, his bowing of this wrinkled, out of time immemorial melody, and his restraint to keep the timbres in the piece from mixing too much, are stunning. On the second, a solo work, his subtle lyricism is in dramatic contrast to his funkiness and staccato playing. It was gracious of Towner to include them. This is a guitar player's recording, but it is obvious that Towner writes for ensembles equally well, and he has clearly written the vast majority of this recording for this particular ensemble. It's seamless from start to finish; it moves and is far less ponderous than some of his earlier outings; it's a winner for sure. ~ Thom Jurek https://www.allmusic.com/album/lost-and-found-mw0000181545

Personnel: Ralph Towner - Classical Guitar, 12 String Guitar; Denney Goodhew - Saxophones; Marc Johnson - Double-Bass; Jon Christensen - Drums

Lost And Found

Saturday, June 8, 2019

Jimmy Greene - Brand New World

Styles: Saxophone And Flute Jazz 
Year: 1999
File: MP3@320K/s
Time: 62:15
Size: 143,2 MB
Art: Front

(4:01)  1. Humpty Dumpty
(6:13)  2. Brand New World
(6:54)  3. Arise!
(8:29)  4. Renée
(6:39)  5. Mr. McLean
(6:48)  6. Never Let Me Go
(7:29)  7. Godsend
(8:10)  8. Dream, Little Boy, Dream
(7:29)  9. Darn That Dream

You may have caught some late night jazz at Small’s in New York’s Greenwich Village a few years ago and heard tenor saxophonist Jimmy Greene. You wondered who is this guy? Maybe you picked up the Live At Birdland disc last year to check out the new talent. Again Greene was front and center. I first heard rumor of the wonderkin, then was thrilled by him on trumpeter Darren Barrett’s First One Up (J Curve). The pair reminded me of early Wynton and Branford Marsalis band, which of course reminds us of the classic hard bop bands of Miles, Blakey, and Lee Morgan. Also released late last year was the surprisingly fresh Horace Silver disc Jazz Has A Sense Of Humor (Verve) where both Silver and Greene thrilled old time fans of the pianist. Greene, at the ripe age of 24 makes his debut as leader. His background and tutelage under Professor Jackie McLean since age 15 spawns more of that great Jackie Mac sound. In a solid first outing as leader, Greene surrounds himself with graduates of McLean’s bands Eric McPherson (drums) and Steve Davis (trombone) and his musical soulmate Darren Barrett (trumpet). The band opens with Chick Corea’s “Humpty Dumpty,” a burning bop classic, and besides two standards, all the compositions are Greene originals. For a debut, I cannot criticize his choice to follow a bop medium. After all, it was the most revolutionary movement in the short history of the genre. His concession to a “modern” sound was the limited inclusion of an electric Rhodes Synthesizer on “Arise!,” a throwback to the seventies sound of Freddie Hubbard and Joe Henderson. Greene handles a flute and Soprano saxophone with deft touch. I am anxious to follow this young and promising career. ~ Mark Corroto https://www.allaboutjazz.com/brand-new-world-jimmy-greene-rca-victor-review-by-mark-corroto.php

Personnel:  Tenor Saxophone, Flute, Soprano Saxophone – Jimmy Greene; Drums – Eric McPherson; Electric Bass, Acoustic Bass – Dwayne Burno; Percussion – Kahlil Kwame Bell; Piano, Synthesizer – Aaron Goldberg ; Trombone – Steve Davis ; Trumpet, Flugelhorn – Darren Barrett

Brand New World

Peggy Lee - Miss Peggy Lee Sings The Songs Of Cy Coleman

Styles: Vocal
Year: 1979
File: MP3@320K/s
Time: 33:48
Size: 79,0 MB
Art: Front

(1:55)  1. Hey! Look Me Over
(3:21)  2. The Best Is Yet To Come
(1:59)  3. I've Got Your Number
(2:52)  4. (I'm) In Love Again
(2:30)  5. Pass Me By
(2:37)  6. That's My Style
(2:08)  7. A Doodlin' Song
(2:02)  8. When In Rome (I Do As The Romans Do)
(2:26)  9. Then Was Then (And Now Is Now)
(2:08) 10. Big Spender
(2:48) 11. I'm Gonna Laugh You Right Out Of My Life
(2:19) 12. That's What It Takes
(2:12) 13. You Fascinate Me So
(2:25) 14. Personal Property - Live At The Copacabana / 1968

In 1979, seven years after Peggy’s longtime affiliation with Capitol Records ended, the label released a ten-song compilation of songs by Broadway composer Cy Coleman (1929-2004) that she recorded in the early and mid-1960s, all previously released on albums and, in some cases, singles. The year that Miss Peggy Lee Sings the Songs of Cy Coleman was released Coleman had two successful musicals running on Broadway, I Love My Wife and On the Twentieth Century. The previous decade he had scored hits with the musicals Wildcat (including the song “Hey! Look Me Over,” recorded by Peggy and included here), Little Me (featuring “I’ve Got Your Number,” included here), and Sweet Charity (featuring “Big Spender,” included here). Later in his career he would enjoy further success with such musicals as Barnum, City of Angels and The Will Rogers Follies. Notably among the overwhelmingly male Broadway songwriters of the 20th century, Coleman collaborated on successful musicals with female lyricists, among them Betty Comden, Dorothy Fields and Carolyn Leigh. In the mid-1960s he also wrote some songs with lyricist Peggy Lee, including “That’s My Style” and “(I’m) in Love Again,” both included in this compilation. The latter song, first recorded for Peggy’s 1964 Capitol album of the same name, has since been recorded by such distinguished singers as Tony Bennett, Blossom Dearie and Dianne Reeves. A third Coleman-Lee song included, “Then Was Then (and Now Is Now),” served as the title of a 1965 album for Peggy and was also recorded by Tony Bennett and Jack Jones. Peggy felt a special fondness for her song collaborations with Coleman and re-recorded both “(I’m) In Love Again” and “Then Was Then (and Now Is Now”) on her last full album recording in 1992. Coleman, a longtime friend, accompanied Lee to Louis Armstrong’s 1971 funeral, where she sang “The Lord’s Prayer;” he served as a creative consultant for Peggy’s short-lived 1983 autobiographical musical Peg, whose score included the Coleman-Fields hit “Big Spender;” and he spoke of his longtime friendship with Lee at her memorial service in February 2002. https://www.peggylee.com/peggy-lee-cy-coleman/

Miss Peggy Lee Sings The Songs Of Cy Coleman