Pepper Adams, Donald Byrd - Motor City Scene

Styles: Saxophone And Trumpet Jazz
Year: 1961/2013
File: MP3@320K/s
Time: 42:46
Size: 98,4 MB
Art: Front

(10:12)  1. Stardust
(10:42)  2. Philson
( 8:03)  3. Trio
( 8:34)  4. Libeccio
( 5:12)  5. Bitty Ditty

A reissue of a session originally released in 1961, Motor City Scene is an excellent example of the wealth of talent in the Detroit area during the 40s, 50s, and 60s. Co-led by trumpeter Donald Byrd and baritone saxophonist Pepper Adams, the cast includes a veritable who’s who of jazzmen on their respective instruments: pianist Tommy Flanagan, guitarist Kenny Burrell, bassist Paul Chambers, and the drums of Louis Hayes. The opening cut, Hoagy Carmichael’s ballad “Star Dust,” is music to get lost in. With Adams and Burrell laying out, we’re treated to Byrd’s majestic tone, reverence for the song’s melody, and exquisite sense of drama. Not to be outdone, Flanagan makes a lovely statement of his own before Byrd enters for a second solo and takes the tune out. Adams shines on his own composition “Philson,” when he begins lazily and then develops lines with his customary bite and precision. Chambers’ rock solid walking bass and Hayes’ crackling snare drum accents ignite an up-tempo version of Errol Garner’s “Trio,” in which Burrell takes three striking choruses of single note lines. The highlight of the session is another Adams’ tune, “Libeccio.” The alternating Latin and straight jazz sections seem to bring out the best in all of the soloists who are clearly inspired by Hayes’ fills. The session ends with “Bitty Ditty,” a memorable composition by another Detroit area jazzman, Thad Jones, which features some of Flanagan’s best playing on the date. The five cuts and (by today’s standards) short playing time of Motor City Scene left me wanting more.~ David A.Orthmann https://www.allaboutjazz.com/motor-city-scene-donald-byrd-rhino-records-review-by-david-a-orthmann.php?width=1920

Personnel: Trumpet – Donald Byrd; Saxophone – Pepper Adams; Drums – "Hey" Lewis;  Bass – Paul Chambers ; Guitar – Kenny Burrell; Piano – Tommy Flanagan

Motor City Scene

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James Williams, Emil Viklický - Together

Styles: Piano Jazz
Year: 1982
File: MP3@320K/s
Time: 44:11
Size: 102,5 MB
Art: Front

(5:58)  1. For My Nephews
(4:13)  2. One For J. W.
(6:29)  3. Blue In Dark-Green
(4:23)  4. You'D Be So Nice To Come Home To
(7:52)  5. Double Play
(4:44)  6. Softly, As In A Morning Sunrise
(5:53)  7. 1977 A. D.
(4:37)  8. Rhythm-a-Ning

This is one of the more unusual records in the sizable discography of James Williams; it is a 1981 duo piano session with Czech pianist Emil Viklicky, issued by the Supraphon label in Czechoslovakia. Viklicky became familiar with Williams' work during a visit to the U.S. in 1978 and later studied at Berklee, though after Williams had already left the faculty to work as a member of Art Blakey's Jazz Messengers. By the time of their 1981 meeting in the studio in Prague, each musician brought compelling originals to the session, as well as seeking to find new ground in time-tested standards and classic jazz compositions. Williams' intriguing jazz waltz "For My Nephews" proves to be a strong opener. Viklicky's driving bop tribute "One for J.W." also works extremely well. 

Cole Porter's "You'd Be So Nice to Come Home To" is tackled at a brisk tempo with a bossa nova undercurrent. The pianists devour Thelonious Monk's "Rhythm-A-Ning" with a playful interpretation. Whether or not this excellent record is still available in the Czech Republic, it is unlikely to be easy to find elsewhere.~ Ken Dryden https://www.allmusic.com/album/together-mw0000992579

Personnel:  Piano – Emil Viklicky, James Williams

Together

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Jon Gordon - Evolution

Styles: Saxophone Jazz
Year: 2009
Time: 63:48
Size: 103,2 MB
Art: Front

( 1:31)  1. Prelude (Grace)
( 9:16)  2. Evolution
( 7:56)  3. Shane
( 9:23)  4. Currents
(10:02)  5. Bloom
( 6:21)  6. One for Liam
( 2:55)  7. Contemplation
( 7:40)  8. Veil
( 8:40)  9. Individuation

Evolution, from saxophonist and composer, Jon Gordon, is a fine record. It sparkles with mature ideas, unbridled creativity, and soul-searching profundity. There is also polished musicianship throughout. This is where the special quality of the music of this record lies that it is not just built on an ediface of ideas suggested by its title, but on the superb development and delivery of these through an extravagantly aural suite. To that extent this work is not unlike some others including the John Hollenbeck Large Ensemble Eternal Interlude (Sunnyside Records, 2009) or even George Russell much earlier, African Game (Blue Note, 1986), albeit on a relatively smaller scale. Essentially, though, like those other landmark recordings, this one too is a kind of "Book of Ways." Its composer and musicians posit that the only constant in life is change. Although almost completely composed throughout, the music, is largely played in an idiom best suited deliver such a message jazz. As it progresses the music spins interminably and even elastically turning over harmonically several times before it concludes in an explosive crescendo. That instruments, specifically the three sets of strings, usually associated with chamber music are added on some tracks in no way interferes with the inherent swing of the performance. The start of the record is spiritual:

"Prelude" is subtitled "Grace." This short overture is somber, sways gently, proferring balance for "Evolution," which follows immediately. The strings continue to provide occasional accents to this piece, central to the whole record. The music undulates with contrapuntal, inward looking sections. Gordon's alto saxophone solo emerges about 2m 48s into the piece, from behind a bleating bass clarinet, moaning trombone, and ponderous strings. Navigating peaks and troughs in expressive harmonics about 2 minutes later in a stark fading note, Gordon hands over to pianist, Sean Wayland who makes sparkling runs and arpeggios, developing the evolution until the ensemble returns toward the end, to leave the piece somewhat hanging on a minor chord, with good reason. "Currents," "Bloom," "Contemplation," and "Veil" are all thematically and sonically connected individual works. It is still all about change, and the score continues to be somber, stiriring and yet radiant. A certain kinetic energy emboldens the music throughout. Though evenly expressed the ensemble does leave ample room for a "breakout" of sorts. "Currents" features a splendid trombone solo by Alan Ferber The trombonist is critical to the composition, but sadly, he does not solo more than just twice. His instrument is the most human speechlike of all and despite Kristin Berardi's fine vocals would have added exponentially to the music.  "Shane" and "One for Liam" (brilliant solos including those by pianist Bill Charlap) are portraits of Gordon's children, a step in the evolution of "self" and thus key to this suite. This culmination is majestically expressed in "Individuation," from its superb bass clarinet intro and trombone counterpoint to the dramatic conclusion of this work. ~ Raul D'Gama Rose https://www.allaboutjazz.com/evolution-jon-gordon-artist-share-review-by-raul-dgama-rose.php

Personnel: Jon Gordon: alto saxophone, soprano saxophones, piano (1); John Ellis: tenor saxophone (2, 4, 5, 8, 9); Doug Yates: bass clarinet (2, 4, 5, 8, 9); Dave Smith: trumpet (2, 4, 5, 8, 9); Alan Ferber: trombone (2, 4, 5, 8, 9); Sara Coswell: violin (1, 2, 7); Andie Springer: violin (1, 2, 7); Jody Redhage: cello (1, 2, 7); Nate Radley: guitar (2, 4, 5, 8, 9); Sean Wayland: piano (2, 4, 5, 8, 9); Matt Chohesy: bass (2, 4, 5, 8, 9); Mark Ferber: drums (2, 4, 5, 8, 9); Rogerio Boccato: percussion (2, 4, 5, 8, 9); Kristin Berardi: vocals (4, 5); Bill Charlap: piano (3, 6).

Evolution

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Jim Snidero - Waves of Calm

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 49:39
Size: 114,0 MB
Art: Front

(3:29)  1. Waves of Calm
(8:54)  2. Truth
(6:13)  3. Old Folks
(6:55)  4. Visions
(5:23)  5. I Fall in Love Too Easily
(6:33)  6. Dad Song
(6:28)  7. If I Had You
(5:40)  8. Estuary

Saxophonist Jim Snidero turns his adept post-bop skills inward on the introspective, if still engaging 2019 session Waves of Calm. The album, which comes on the heels of several exuberant projects including 2016's Miles Davis-influenced MD66, and 2018's Jubilation! Celebrating Cannonball Adderley, is in part a response to his father's battle with Parkinson's Disease  a struggle that ended with his passing shortly after the album was finished. While by no means a ballads album, though there are several here including a gorgeously moving rendition of "Old Folks," Waves of Calm is a work of far-eyed rumination that leaves plenty of room for searching, harmonically creative improvisation. Joining Snidero once again is his Jubilation! bandmate trumpeter Jeremy Pelt, as well as pianist Orrin Evans, bassist Nat Reeves, and drummer Jonathan Barber. Together they play with a warmth and style that is the epitome of post-bop sophistication. In some ways, the album is a balanced mix of the influences Snidero has been investigating since the early 2010s. Both "Visions," which features Evans on Fender Rhodes, and the angular "Truth" evoke Miles Davis' late-'60s modalism. Similarly, "Dad Song" is dusky Latin groover that brings to mind the classic hard bop recordings of Horace Silver. Equally evocative is the languid title track, which pulls the listener along as if floating on a boat in a soft evening breeze. As the title implies, Waves of Calm is the sound of Snidero taking a deep, tension-relieving breath before jumping back into the flow of life. ~ Matt Collar https://www.allmusic.com/album/waves-of-calm-mw0003253530

Personnel: Jim Snidero, alto saxophone; Jeremy Pelt, trumpet (2, 4, 6, 8); Orrin Evans, piano, Fender Rhodes; Nat Reeves, bass; Jonathan Barber, drums.

Waves of Calm

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Ramsey Lewis Trio - What's New

Styles: Piano Jazz
Year: 2013
File: MP3@320K/s
Time: 39:09
Size: 90,2 MB
Art: Front

(4:47)  1. What's New
(3:09)  2. Carmen
(4:06)  3. Old Devil Moon
(4:38)  4. Delilah
(3:27)  5. I'll Remember April
(3:58)  6. Bei Mir Bist Du Schon
(6:34)  7. Folk Ballad
(3:12)  8. C.C. Rider
(5:15)  9. But Not for Me

Lewis earned his first gold record, as well as a Grammy award for Best Jazz Performance, for their swinging version of Dobie Gray’s hit “The In Crowd.” He returned to the pop charts in 1966 with versions of “Hang On Sloopy” and “Wade In The Water.” Throughout the years, Lewis’ trio has undergone membership changes, all the while staying true to Lewis’ high musical standards. After Young and Holt left Lewis’ trio to form their own group, the pianist hired a new rhythm section with Cleveland Eaton on bass and Maurice White on drums. When White left the band to form Earth, Wind & Fire, Morris Jennings signed on as the trio’s new percussionist. White returned to produce Lewis’ 1974 smash album entitled Sun Goddess, in which Lewis first experimented with electronic keyboards and featured Earth, Wind & Fire on the album. In 1983, Lewis returned to the studio with Young and Holt for the album Reunion. Throughout his illustrious career, Lewis who is a NEA Jazz Master, has also joined forces with countless other artists to create new and innovative music. In 1984, he collaborated with Nancy Wilson on The Two of Us, in 1988he recorded with London’s Philharmonic Orchestra for the album A Classic Encounter, and in 1989 Lewis and Dr. Billy Taylor cut a set of piano duets in We Meet Again. In 1995, Lewis launched the side project Urban Knights, in which he collaborated with a handful of successful crossover jazz stars, including Grover Washington, Jr., Earl Klugh, and Dave Koz. In 1997, Lewis added disc jockey to his resume, hosting a popular show on Chicago’s WNUA-FM that ran until 2009. 

A new show was syndicated in 2006 under the name Legends of Jazz with Ramsey Lewis and was broadcast on jazz radio stations across the country. In 2006,a well-received 13-episode Legends of Jazz television series hosted by Lewis was broadcast by PBS on public TV nationwide and featured live performances by a variety of jazz artists including Larry Gray, Lonnie Smith, Joey Defrancesco, Dave Brubeck, Chick Corea, Kurt Elling, Benny Golson, Pat Metheny and Tony Bennett. Lately, Ramsey has been touring with Philip Bailey (Earth, Wind & Fire), John Pizzarelli and Ann Hampton Callaway. After having played for years in an acoustic trio, Lewis returned to his electric roots. The three time Grammy winner released a new CD Taking Another Look Deluxe Edition, featuring a new electric quintet with Henry Johnson on guitar, Michael Logan on keys, Joshua Ramos on bass and Charles Heath on drums. On the CD, Lewis rekindles his 1974 career-defining album Sun Goddess through a collection of re-recorded tracks from the original disc perfectly balanced with five new tunes. “Jungle Strut” had all the attitude of its 1974 original and Lewis made magic on the Fender Rhodes in “Tambura.” 

And rather than re-recording the title track “Sun Goddess”, Lewis beautifully re-edited the original studio recording featuring Earth, Wind and Fire. Lewis and his Electric Band breathed new life into classic covers, such as the high octane rendition of Stevie Wonder’s “Living For The City” for which Ramsey shot a great video and the tender interpretation of the timeless “Betcha By Golly Wow.” The CD also featured three bonus tracks. The legendary Dr. John served up some Cajun style funk with his rendition of “Jungle Strut”. Then up and comers and jazz fusion funksters Kung Fu turned in a mesmerizing version of “Tambura.” Finally, TAUK delivered an amazing take on “Sharing Her Journey” that clearly established them as a band to watch. "I've recorded maybe 70-80 albums, and this album is definitely among the top five" said Lewis. Showing no signs of slowing down, Ramsey is currently working on a new record which he will begin recording in August with his long time band known as the Urban Knights.  An all-star jazz, R&B and funk band which features Grammy nominated guitarist Henry Johnson, drummer Charles Heath, bassist Joshua Ramos and keyboardist Tim Gant. https://www.ramseylewis.com/biography

What's New

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Anna Wilson - Just for You

Styles: Vocal 
Year: 2007
File: MP3@320K/s
Time: 44:58
Size: 104,6 MB
Art: Front

(3:44)  1. Take Good Care of My Heart
(2:48)  2. Near You
(2:32)  3. Dark Moon
(2:40)  4. Blue Forever
(4:19)  5. Keeper of Your Flame
(2:40)  6. My Happiness
(2:32)  7. It's a Lovely World
(2:42)  8. Our Love Is Gone
(3:36)  9. Storms Never Last
(3:33) 10. I See Him Everywhere
(3:04) 11. I'll Get Over You
(3:17) 12. Upside of Down
(2:17) 13. Sunshine of My World
(3:02) 14. If He Just Helps Me Get Over You
(2:05) 15. Down in Dallas

Every so often, a new talent emerges with undeniable passion and universal appeal. Born in 1986 into a musical West Auckland family, Anna grew up surrounded by country music. She often cites her grandfather as a formative influence on her own musical development. From an early age, Anna began entering (and winning ) local talent contests’ and as a teenager became a member of the West Auckland Country Music Club where, influenced by the likes of Shania Twain and Leann Rimes, Anna soon established herself with her own unique singing style. As a student at Lynfield College, Anna studied drama as well as singing. After leaving school, several acting opportunities started coming Anna’s way, including a leading role in the movie Kids World and smaller roles on local television dramas such as Shortland Street. With striking good looks and star-quality presence Anna proved herself equally at ease, whether in front of the camera or entertaining a live audience. On her debut album “Just For You”, Anna Wilson retraces her roots to country music she grew up with, as well as embracing some new songs written especially for her. Anna is a featured guest artist at the ‘Night Of The Proms’ series of concerts with the Auckland Symphony Orchestra in June, and also at the Country Entertainers Awards ceremony at the Founders Theatre in Hamilton during August. https://www.mightyape.co.nz/product/just-for-you-cd/1542797

Just for You

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Eric Person - Reflections

Styles: Saxophone Jazz
Year: 2005
File: MP3@320K/s
Time: 77:29
Size: 178,5 MB
Art: Front

(7:19)  1. Perfection
(6:39)  2. Mr.More Or Less
(6:11)  3. Friends Again
(4:50)  4. When Morning Comes
(9:15)  5. Implications
(4:38)  6. Extra Pressure
(4:09)  7. Reach!
(6:13)  8. Ancient Sun
(8:29)  9. K.T.
(8:00) 10. The Ringleader
(7:47) 11. Etc.
(3:54) 12. Next Love

Although it is not obvious from the outside of this CD, Reflections mostly contains previously released selections drawn from three of altoist Eric Person's Soul Note albums and two from the Distinction label. Person picked the numbers himself and feels that these performances are among the finest of his career. Based on their creativity, intensity, and brilliant playing, Person is correct. He is heard on both alto and soprano, mostly with several different piano-bass-drums rhythm sections. Flutist Jim Finn is on two selections, guitarist Cary DeNigris is on four, and the pianist is usually John Esposito. The post-bop playing is full of fire, high musicianship, and inventive ideas. Uplifting Reflections from being merely a "best of" set is the inclusion of three selections ("K.T.," "The Ringleader," and "Etc.") from a previously unreleased live performance in 1998. The live performances (pity that they are not extensive enough to fill up an entire CD by themselves) feature Person with trumpeter Dave Douglas in a particularly exciting quintet, rounding out a very impressive package. This CD is easily recommended to listeners not already owning Eric Person's Soul Note and Distinction recordings. ~ Scott Yanow https://www.allmusic.com/album/reflections-mw0001896342

Personnel: Eric Person — saxophones; John Esposito — piano; Dave Holland — bass; Dave Douglas — trumpet; Kenny Davis — bass;  Peter O’Brien — drums

Reflections

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Yoko Miwa Trio - Live at Scullers Jazz Club

Styles: Piano Jazz
Year: 2011
File: MP3@320K/s
Time: 76:55
Size: 176,7 MB
Art: Front

(11:07)  1. This Could Be the Start of Something
(12:03)  2. Wheel of Life
(11:23)  3. Mr. B.G.
( 5:06)  4. Seasons of Wither
( 8:00)  5. Who Loves the Sun
( 9:36)  6. Silent Promise
(10:25)  7. Mox Nix
( 9:13)  8. A Festa

Is live always better? Does the no second takes, out-on-a-limb aspect of playing in front of a live audience, and feeding off its energy result in the best recordings? It seems to work that way for Boston-based pianist Yoko Miwa on Live At Scullers Jazz Club, a mix of tunes from The Great American Songbook and the world of rock, shuffled in with her own outstanding compositions. An original pressing of a hundred copies of the show done as a memento for the audience members this particular night garnered such a positive response that Miwa decided to have the music remixed and mastered for a general release. Miwa displays an impressive stylistic range. Opening with a rousing take of Steve Allen's "This Could Be the Start of Something," the pianist and her trio mix a bouncy elegance with a full-bore forward momentum. Miwa treats the melody with reverence, riding a inexorable rhythmic wave supplied by bassist Greg Loughman and drummer Scott Goulding. Virtuosic but unrelentingly accessible, the pianist stretches out, taking eleven minutes to explore this Great American Songbook gem with glorious grace.  Miwa, in the manner of fellow pianist Brad Mehldau, is no jazz snob. She doesn't limit herself to the standards. She covers Steven Tyler's (of Aerosmith) dark toned "Seasons of Wither," giving the tune sparkle, and turns in a pensively beautiful rendition of Lou Reed's Velvet Underground song, "Who Loves the Sun?," featuring the trio at its most interactive. Miwa adds three of her own top-notch compositions to the mix. "The Wheel of Life" rises and falls to mirror the vicissitudes, struggles, joys and sorrows of human existence. "Mr. B. G." is a nod to pianist Benny Green and, through Green, his mentor Oscar Peterson, with an ebullient groove and Miwa's exquisitely succinct touch. Trumpeter Art Farmer's "Mox Nix" shows off Miwa's ability to get deep into the blues and play with a muscular left hand percussion married to a lightning fast right hand, before ending with vocalist Milton Nascimento's "A Festa." It's a saucy closer, with the trio immersing itself in a gorgeous Brazilian groove to wrap up a stunningly spontaneous live set, Miwa's best recording to date. ~ Dan McClenaghan https://www.allaboutjazz.com/live-at-scullers-jazz-club-yoko-miwa-self-produced-review-by-dan-mcclenaghan.php

Personnel: Yoko Miwa: piano; Greg Loughman: bass; Scott goulding: drums.

Live at Scullers Jazz Club

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Charles Gayle Quartet - Always Born (feat. John Tchicai)

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 56:51
Size: 131,1 MB
Art: Front

( 9:48)  1. Always Born
(11:52)  2. Needs
(12:58)  3. Solid Clouds
( 5:22)  4. Coming Together
( 6:17)  5. Rainbow's Praise
(10:31)  6. Then Offer All

"Charles Gayle is carving out a free jazz that is muscular, impassioned, clearly structured, and wonderfully volatile." 

~ Jon Pareles, New York Times https://silkheart.bandcamp.com/album/always-born

Personnel: Tenor Saxophone, Composed By, Producer - Charles Gayle;  Tenor Saxophone, Soprano Saxophone - John Tchicai; Bass - Sirone; Drums - Reggie Nicholson

Always Born (feat. John Tchicai)

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Dan Reynolds - Nowhere Home

Styles: Vocal, Piano
Year: 2008
File: MP3@320K/s
Time: 41:09
Size: 96,2 MB
Art: Front

(3:02)  1. German Park
(3:15)  2. Diane
(3:39)  3. Paper
(3:36)  4. October Moon
(3:35)  5. Nowhere Home
(4:01)  6. Left My Heart
(3:11)  7. Third Most Special
(4:31)  8. Why Do I Let You
(3:25)  9. Maize And Blues
(4:45) 10. The Birthday Wish
(4:04) 11. So Much More Living

As a kid, Dan used to ride his bike to the used record shop and buy up old folk-rock records from the 25-cent bin Beatles, Simon & Garfunkel, Lightfoot, Croce… He taught himself to play guitar along with every song. He fell in love with that music, and eventually met talented local musicians who helped him learn even more songs, guitar and harmony. Local artists like Jill Jack and Billy Brandt introduced him to a wide array of new (and old) music as well as highly-respected musicians like Nolan Mendenhall and David Mosher. In the years that followed, David and Dan became good friends, and Dan sought David's help in becoming a better musician and songwriter. It wasn't easy for Dan to find his own voice. His early songwriting attempts lacked direction and emotion, and most of the songs ended up on the cutting room floor. But late one night, while going through the most emotionally intense time of his life, Dan stopped by David's house with a stack of crumpled papers and hand-scrawled notes stuffed into his guitar case. One by one, he played through the four or five songs that had practically written themselves in the preceding days and weeks, while David listened. For the first time, Dan's voice came through loud and clear. He had finally found the motivation and intensity he needed, and they started recording that night. Dan continued writing and, before he was done, several more songs had taken shape. His first original album, "Nowhere Home", was born. In addition to producing Dan's first album, David Mosher contributed his immense instrumental and vocal talents to the project. He is featured on mandolin, banjo, dobro, fiddle, bass and backing vocals. Nolan Mendenhall provides his signature bass tracks on several songs as well. Their collaboration helped each of Dan's songs come to life - even before those songs were ever heard by an audience. Dan works as a writer and editor, performing live music around his hometown of Ann Arbor, Michigan whenever opportunities arise. You'll also find him working in the backwoods of his northern Michigan camp, and taking on odd jobs for neighbors and friends to help make ends meet. https://store.cdbaby.com/cd/reynoldsdan

Nowhere Home

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Dave Stryker - The Chaser

Styles: Guitar Jazz
Year: 2006
File: MP3@320K/s
Time: 62:54
Size: 145,1 MB
Art: Front

(7:06)  1. The Great Divide
(7:15)  2. Brighter Days
(7:32)  3. I Wish You Love
(7:03)  4. Close To You
(5:52)  5. The Chaser
(7:08)  6. Katmandu
(7:12)  7. Mode J.W. (For James Williams)
(6:41)  8. I Didn't Know What Time It Was
(7:03)  9. Our Miss Brooks

This chapter in guitarist Dave Stryker's musical book, which already includes some 25 titles as a leader or co-leader in settings ranging from trios and quartets to his Blue to the Bone band, Trio Mundo and the exciting Stryker/Slagle Band, is a neoclassic organ trio outing providing ample opportunity for his agile playing with its warm, resonant tone. He's accompanied by organist Jared Gold, whose sound exhibits the influences of Larry Young's harmonic chording and Jimmy Smith's virile attack, along with drummer Tony Reedus, whose percussive embellishments and integral, exhilarating work help to create this group's fat sound. Stryker's musical interests and ability are such that each project affords listeners an often unique and exciting listening experience. The guitarist worked in the bands of organist Brother Jack McDuff and, later, tenor saxophonist Stanley Turrentine between the mid-'80s and mid-'90s, honing his chops in the presence of the masters. He also developed that most revered of musical traits a distinctive sound on his instrument. His style embraces influences of Delta blues, Wes Montgomery and Pat Martino while being individualistic, mature and showing an eagerness to evolve. 

The Chaser is anything but predictable, featuring five Stryker originals including a couple straight-ahead burners the title track as well as "The Great Divide," which has a stunning change in tempo from Stryker's fiery exploration of the melody to a smoldering walk as Gold begins his solo. "Brighter Days" is an effervescent swinger, "Katmandu" a bluesy samba; "Mode J.W.," a remembrance of late pianist James Williams, boils with intensity and passion. There's a fine, up-tempo waltz treatment of "I Wish You Love," the arrangement in contrast to a more sedate, if equally delicious, reading of this tune on Grant Green's Street of Dreams album from the '60s. "Close to You" is done as a delicately crafted ballad, while the standard "I Didn't Know What Time It Was" is captivating in its use of shifting meters. The album closes in a soulful visit with Harold Vick's good and greasy line "Our Miss Brooks," which surely had Stryker thinking of his time with McDuff. It's in the bag. If you're not already hip to Stryker, The Chaser is a grand introduction to his superior playing and should whet your appetite for other elements in his discography. If you're already a fan, the album should speak for itself. 

~ Rick Erben https://www.allaboutjazz.com/the-chaser-dave-stryker-mel-bay-records-review-by-rick-erben.php

Personnel: Dave Stryker: guitar; Jared Gold: organ; Tony Reedus: drums.

The Chaser

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Weather Report - 8:30

Styles: Jazz Fusion
Year: 1979
File: MP3@320K/s
Time: 71:35
Size: 166,5 MB
Art: Front

(9:47)  1. Black Market
(6:04)  2. Teen Town
(8:01)  3. A Remark You Made
(4:45)  4. Slang
(2:52)  5. In A Silent Way
(6:58)  6. Birdland
(3:33)  7. Thanks For The Memory
(9:28)  8. Badia/Boogie Woogie Waltz
(2:36)  9. 8:30
(8:34) 10. Brown Street
(3:16) 11. The Orphan
(5:35) 12. Sightseeing

Weather Report is generally regarded as the greatest jazz fusion band of all time, with the biggest jazz hit ("Birdland") from the best jazz fusion album (1977's Heavy Weather). But the group's studio mastery sometimes overshadows the fact that it was also a live juggernaut so don't overlook the outstanding live and studio album from 1979, 8:30. This was a rare quartet version of Weather Report, with co-leaders in keyboardist Joe Zawinul and saxophonist Wayne Shorter. The bassist was the inimitable Jaco Pastorius, the drummer a young Peter Erskine. Pastorius is otherworldly on early gems like "Black Market," the breakneck "Teen Town," and his solo showcase, "Slang" (in which he quotes Jimi Hendrix's "Third Stone from the Sun"). Shorter is most involved on the CD's slower pieces like "A Remark You Made," "In a Silent Way," and his own solo piece, "Thanks for the Memory"; Zawinul and Erskine shine on the swinging version of "Birdland" and roller coaster ride of the "Badia/Boogie Woogie Waltz" medley. 

Four studio tracks (composing what was side four of the original album version) close 8:30 with a flourish and some surprises. Pastorius duets on drums with Zawinul on the brief title track, then plays double drums with Erskine (as Erich Zawinul plays percussion) on the playful "Brown Street." Zawinul then throws a curve with "The Orphan," dueting with Shorter as ten members of the West Los Angeles Christian Academy Children's Choir chant harmonies. The saxophonist gets in the last word, though, with his burning composition "Sightseeing" on which he plays unison lines with Zawinul over Pastorius' rare walking bassline and Erskine's most aggressive drumming. A future jazz standard ending one of this band's standard-setting CDs. ~ Bill Meredith https://www.allmusic.com/album/830-mw0000198916

Personnel: Joe Zawinul – keyboards, bass synthesizer, vocoder, percussion; Wayne Shorter – tenor saxophone, soprano saxophone; Jaco Pastorius – fretless bass guitar, percussion, drums on "8:30" & "Brown Street"; Peter Erskine – drums; Erich Zawinul – percussion on "Brown Street"; The West Los Angeles Christian Academy Children's Choir – vocals on "The Orphan"

8:30

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Art Farmer - The Summer Knows

Styles: Jazz, Bop
Year: 1976
File: MP3@320K/s
Time: 34:31
Size: 80,3 MB
Art: Front

(7:42)  1. The Summer Knows
(5:24)  2. Manhã De Carnaval
(4:55)  3. Alfie
(6:13)  4. When I Fall In Love
(4:45)  5. Ditty
(5:30)  6. I Should Care

This relaxed session features fluegelhornist Art Farmer in a quartet with pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins. The material (which includes such tunes as "Alfie," "When I Fall in Love" and "I Should Care") is given lyrical treatment by these masterful players on this ballad-dominated date. ~ Scott Yanow https://www.allmusic.com/album/the-summer-knows-mw0000649502

Personnel:  Art Farmer - flugelhorn; Cedar Walton - piano; Sam Jones - bass; Billy Higgins - drums

The Summer Knows

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Connie Evingson - Little Did I Dream

Styles: Vocal Jazz
Year: 2008
File: MP3@320K/s
Time: 52:22
Size: 121,7 MB
Art: Front

(4:04)  1. Little Did I Dream
(4:14)  2. Peel Me A Grape
(3:39)  3. Our Love Rolls On
(3:25)  4. Zanzibar
(3:28)  5. Can't Take You Nowhere
(3:08)  6. Heart's Desire
(3:33)  7. Wheelers And Dealers
(3:46)  8. Zoot Walks In
(4:33)  9. Eastwood Lane
(2:58) 10. You Are There
(3:37) 11. I Want To Be A Sideman
(4:35) 12. My Attorney Bernie
(3:44) 13. Snowbound
(3:32) 14. Listen Here

The late Tip O'Neill once said, .."All politics is local." This certainly can be said for jazz also. All of America's metropolitan areas have a jazz contingency. Chicago has Kurt Elling, Patricia Barber, and Von Freeman; Washington DC has Buck Hill; and New York has who knows how many? The Twin Cities, Minneapolis-St. Paul, also has noted jazz talent in Dave Frishberg and vocalist Connie Evingson. Pianist/vocalist Frishberg, a native of St. Paul, has a long jazz résumé that includes School House Rock (Rhino, 1996), as well as having written numerous songs recorded by Blossom Dearie, Mel Tormé, Rosemary Clooney, Diana Krall and Tony Bennett. Frishberg exists in a rarified realm where his only peers in jazz songwriting are the great Mose Allison and Bob Dorough. For her part, Connie Evingson has released a spate of fine recordings that include Let It Be Jazz (Summit, 2003), The Secret of Christmas (Minnehaha Music, 2003) and Gypsy in My Soul (Minnehaha Music, 2005). With the release of Let It Be Jazz, a collection of Beatles tunes, Evingson began a successful run of thematic recordings that addressed holiday fare and Le Hot Club Django. Continuing in this direction, Evingson rolls out a festive collection of Frishberg classics, illustrating why Frishberg and Evingson are such essential fixtures to 21st Century jazz. Frishberg's fresh, smart lyrics are well-delivered by the ultra-hip Evingson, who reveals through her immense talent the diamonds that are Frishberg's lyrics. The title song, as well as the beautifully sexy "Peel Me a Grape," reveals Frishberg as a masterful poet and lyricist in the same vein as Ira Gershwin, Oscar Hammerstein, and Lorenz Hart. He is a master of the internal rhyme, an essential component to any successful lyric writing. Evingson's vocals are certain and sure. She deftly navigates the strolling' "Zoot Walks In," joined by Frishberg in the introduction, where the singer's vocalese power is displayed as well as Frishberg's keen pianism. "I Want to be a Sideman" quotes Glenn Miller's "In the Mood" musically and a musician's simple wish to be, not the leader, but a part of a band. "My Attorney Bernie" is great fun. Evingson and Frishberg swing for the fences and knock it out with Little Did I Dream. ~ C.Michael Bailey https://www.allaboutjazz.com/little-did-i-dream-songs-by-dave-frishberg-connie-evingson-minnehaha-music-review-by-c-michael-bailey.php

Personnel: Connie Evingson: vocals; Dave Frishberg: piano (vocal on track 13); Gordy Johnson: bass; Phil Hey: drums; Dave Karr: flute, tenor and baritone saxophone, narration (8); Mark Henderson: tenor saxophone (5, 8).

Little Did I Dream

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Booker Little - How We Do

Styles: Trumpet Jazz
Year: 2018
File: MP3@320K/s
Time: 127:48
Size: 294,8 MB
Art: Front

(4:16)  1. Sweet and Lovely
(5:11)  2. If I Should Lose You
(5:35)  3. Milestones
(5:39)  4. Calling Softly
(4:30)  5. Dungeon's Waltz
(6:37)  6. Jewel's Tempo
(5:54)  7. Matilde
(6:45)  8. We Speak
(5:43)  9. Moonlight Becomes You
(6:19) 10. Forward Flight
(4:49) 11. Man of Words
(8:10) 12. Quiet, Please
(4:55) 13. The Grand Valse
(5:31) 14. A New Day
(6:16) 15. Strength and Sanity
(6:51) 16. Life's a Little Blue
(5:57) 17. Victory and Sorrow
(5:16) 18. Booker's Blues
(5:39) 19. Bee Tee's Minor Plea
(5:24) 20. Who Can I Turn to (When Nobody Needs Me)
(5:39) 21. Minor Sweet
(6:41) 22. Opening Statement

The first trumpeter emerging after Clifford Brown's death to gain his own sound, Booker Little had a tremendous amount of potential before his premature death. He began on trumpet when he was 12 and played with Johnny Griffin and the MJT + 3 while attending the Chicago Conservatory. 

Little was with Max Roach (1958-1959) and then freelanced in New York. He recorded with Roach and Abbey Lincoln, was on John Coltrane's Africa/Brass album, and was well-documented during a July 1961 gig at the Five Spot with Eric Dolphy. Little had a memorable melancholy sound and his interval jumps looked toward the avant-garde, but he also swung like a hard bopper. Booker Little led four sessions (one album apiece for United Artists, Time, Candid, and Bethlehem), but died of uremia at the age of 23, a particularly tragic loss. ~ Scott Yanow https://www.allmusic.com/artist/booker-little-mn0000097529/biography

How We Do

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Paolo Alderighi, Stephanie Trick - Double Trio Always

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 63:41
Size: 147,0 MB
Art: Front

(4:45)  1. Always
(4:35)  2. Panama
(5:03)  3. After You've Gone
(4:07)  4. Promenade aux Champs-Elysees
(4:21)  5. Hindustan
(3:04)  6. Truckin'
(4:35)  7. Nel blu dipinto di blu (Volare)
(5:01)  8. Stradivarius
(3:39)  9. Booogie Wooogie
(5:23) 10. Fig Leaf Rag
(5:18) 11. Whispering
(4:45) 12. New Orleans Function (Flee as a Bird / Oh, Didn't He Ramble)
(3:55) 13. Love Me Tender
(5:03) 14. With a Smile and a Song

The most acclaimed four-hands jazz piano duo presents a studio album with fourteen original arrangements of jazz classics with their Double Trio combo. Paolo Alderighi (from Milan, Italy) and Stephanie Trick (from St. Louis, Missouri) have been working together as a four-hands jazz piano duo since 2011. In this album (their fourth together after "Two for One”, "Sentimental Journey” and “Double Trio Live 2015") they present fourteen original arrangements of jazz classics with their “Double Trio” combo: four-hands piano duo plus rhythm section. This studio recording features their Italian rhythm section and complements the previous Double Trio album. Paolo and Stephanie met at a piano festival in Boswil (near Zürich), Switzerland, in 2008 and started to work together on a four-hands piano project dedicated to classic jazz, preparing arrangements of songs from the Swing Era, as well as drawing from the ragtime and blues repertoire. The convention of four hands on one piano is very common in classical music but a fairly rare occurrence in jazz, due to the fact that jazz is an improvised music. https://store.cdbaby.com/cd/paoloandstephanie4

Double Trio Always

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Eric Person And Meta-Four - Extra Pressure

Styles: Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 72:31
Size: 167,2 MB
Art: Front

( 6:32)  1. The Pull
( 5:11)  2. Fall Out
( 5:23)  3. Personal Blues
( 4:54)  4. There Will Be Better Days
( 6:18)  5. Song of September
(10:29)  6. This Devotion
( 7:20)  7. Perfection
( 8:59)  8. Plummett
( 4:41)  9. Special Someone
( 8:24) 10. Constellation
( 4:16) 11. Extra Pressure

What are the exact parameters of post bop? For a term that’s trundled about as frequently as this one there’s a decided lack of consensus as to its meaning. The phrase itself isn’t much help. ‘After bop’ covers basically everything that followed and arose out of bebop’s beginnings over a half-century ago. Further narrowing reveals that post bop music has connections to bebop but in some way has moved beyond the original boundaries of the music. By this broad definition the music of Eric Person and Meta-Four fit firmly into the framework of post bop. But rather than dwell on the demarcations of what he’s doing, Person dispenses with definitions and turns his attentions to simply making music of lasting quality. I first encountered Person’s playing on Dave Holland’s “Dream of the Elders” (ECM) and was impressed by his ability to remain lyrical even in the midst of heated improvisation. It’s a talent that served him soundly as a sideman and carries over equally well into his work as a leader. This disc marks his fourth solo disc after a trio of recordings for Soul Note and the first on his own Distinction Records. 

The quartet featured is Person’s new working unit and is comprised of three other players whose interests are evenly aligned with his own. Moving across a program consisting completely of originals the four players engage in tight interplay that negates their relatively short time together as a group. Person divides his energies between alto and soprano and often shapes beautifully engineered solos that favor the higher registers of his horn. Esposito’s tactful keys serve as swinging support in conjunction with the loose rhythmic accompaniment of Henderson and Strickland. The pianist sounds particularly energized on his own “Personal Blues” which also features strong solos from Person and Henderson. Strickland’s funk-infused traps fuel Person’s “There Will Be Better Days” with a taut syncopation and Person’s silver-toned soprano also locks into the foot-tapping, hopeful groove. On “Song of September” the band shifts smoothly into ballad mode. Person caresses the melody on alto with a soothing gentleness of spirit that still carries an underlying edge. “This Devotion” alights on a supple bass solo by Henderson before moving into an extended passage highlighting Person’s sprightly soprano and a later interlude by Esposito. “Special Someone” is similarly light hearted thanks to the amicable blend of soprano and piano. The closing title track leaves things off in an open-ended state contributing to the feeling that these are players who have much more to say and will be using future forums to continue their discourse. The piece also contributes to the anticipation that will no doubt presage Person’s next release. With “Extra Pressure” Person and his partners have created another addition to his growing discography worthy of praise and investigation. Anyone with an interest in that dubiously titled style of jazz known as post-bop would be well served by seeking this disc out for perusal. ~ Derek Taylor https://www.allaboutjazz.com/extra-pressure-eric-person-distinction-review-by-derek-taylor.php

Personnel: Eric Person- alto & soprano saxophones; John Esposito- piano; Carlos Henderson- bass; E.J. Strickland- drums.

Extra Pressure

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Miriam Klein - Ladylike

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 39:33
Size: 91,1 MB
Art: Front

(4:47)  1. Comes Love
(3:20)  2. What a Little Moonlight Can Do
(4:42)  3. You've Changed
(5:05)  4. The Man I Love
(2:09)  5. Big Stuff
(7:54)  6. Fine and Mellow
(3:31)  7. I Cried for You
(3:50)  8. Yesterdays
(4:10)  9. Body and Soul

Miriam Klein (27 March 1937 in Basel) is a Swiss jazz singer. Miriam Klein gained fame for the first time, when she appeared on the scene in Paris with Pierre Michelot, Don Byas and Art Simmons in the 1950s. After education at the music school in Vienna, she went back to Switzerland and has sung in the group of her husband Oscar Klein since 1963. In 1960s and 1970s, she gained international fame as a singer. In 1973, her famous album Lady Like was published. The album was dedicated to Billie Holiday. In the album, she performed with the musicians Roy Eldridge, Dexter Gordon and Slide Hampton. She recorded also music with Albert Nicholas (1971) and Wild Bill Davison (1976). In 1977, Klein worked with Fritz Pauer's trio and in 1978 with Roland Hanna and George Mraz in her album By Myself. In 1981/82, she made a tour with Kenny Clarke, Hanna and Isla Eckinger. In 2001, she took part in My Marlin, the album of her son David Klein. https://en.wikipedia.org/wiki/Miriam_Klein

Ladylike

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Jesse Davis - They Call Me Mr. Lonely

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 36:08
Size: 84,5 MB
Art: Front

(2:38)  1. They Call Me Mr. Lonely
(2:41)  2. Stormy
(2:25)  3. Didn't We
(3:20)  4. Sonny
(3:02)  5. The Flip Side Of Love
(3:41)  6. This Is My Life
(2:46)  7. Moving Along
(2:48)  8. The Masquerade Is Over
(2:57)  9. Simple As I Am
(3:38) 10. Medley - You Make Me So Very Happy / Can't Take My Eyes Off You
(2:55) 11. Funny How Time Slips Away
(3:10) 12. Loving Games

A former student of Ellis Marsalis at the New Orleans Center for Creative Arts, Jesse Davis is one the most respected musicians in New Orleans. In addition to leading his own group, Davis has performed with such stellar jazz musicians as Jack McDuff, Major Holley, Cecil Payne, Illinois Jacquet, Chico Hamilton, Junior Mance, Kenny Barron, Cedar Walton, Nicholas Payton, and Roy Hargrove. He toured in 1996 along with Phil Woods, Charles McPherson, and Gary Bartz in the group Sax Machine. Playing saxophone since the age of 11, when he received his first instrument from his tuba-playing brother, Davis initially dreamed of becoming a professional football player. Turning to music after breaking his collarbone, he received a full scholarship to study music at Northeastern Illinois University. He continued his studies briefly at William Patterson College in Wayne, New Jersey, before transferring to the New School in New York, where he studied with jazz historian Ira Gitler. While still a student, he received awards for his solo performances at Notre Dame, Wichita State, N.Y.U., Southern University, and Loyola. In 1989, he received a Most Outstanding Musician award at the Down Beat Music Festival in Philadelphia. Recording with his own quartet since 1991, Davis led the band in more than 50 shows in Spain, France, Italy, and the U.K. in 1993, 1994, and 1995. He returned to New Orleans in 1996. Davis made his acting debut in the Robert Altman film Kansas City. ~ Craig Harris https://www.allmusic.com/artist/jesse-davis-mn0000845855/biography

They Call Me Mr. Lonely

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Sebastian Sternal - Home

Styles: Piano Jazz
Year: 2017
File: MP3@320K/s
Time: 59:52
Size: 140,1 MB
Art: Front

(2:24)  1. I Am the Ocean
(3:28)  2. Go
(3:52)  3. Sand
(5:16)  4. Home
(2:32)  5. Gravity
(5:37)  6. Winter
(5:15)  7. Alias
(7:02)  8. All of You
(6:25)  9. Fade Away
(4:38) 10. Solita
(3:37) 11. Talking Politics
(4:44) 12. Baloo Boo Boo
(4:57) 13. Twin Song

Sebastian Sternal should be well recognised on these pages as we reviewed his both Echo Jazz wining orchestral projects here as well as a calm and charming duo entitled Canada or quartet recording with his friend Frederick Koster. Here he continues to explore his fascination in jazz piano trio classic approach. And to make it even more exiting both of his partners are top piano trios members. Grenadier is a bass pillar of Brad Meldhau’s group when Burgwinkel is an extremely mighty drum-force  of the Pablo Held Trio, among the others. As should be expected then those three are perfectly merged in together here and they are all feeling easy like a fish in a water. From an opening I am the Ocean intro’s however it becomes clear that it is not going to be another modal piano game. Sternal’s approach gains vastly from his symphonic landscapes and this path attracts his colleagues in crime vastly with their capability to follow whatever comes. Go is a super modern piece with fascinating piano fingering coming more from the classical music than from choppy or beefy rich jazz school represented by others. Accordingly following bass riffs as well as spacious drumming are up to tempo. Additionally rhythmic landscapes set by drummer are the quality of its own. 

Coming after Sand slows almost into the border of de-fragmentation. It’s almost like a piano tune anatomy lesson with the surgeons precision of drum bits lines precise like a scalpel’s cuts with the firm grip of the bass catch. Title piece takes my imagination from the piano trio territory to the landscape I remember from Pat Matheny’s Group with Sternal Burgwinkel conversation bringing back memories of  dialogues between Lyle Mays and Paul Wertigo from his 70’s super-group. Gravity comes as a more dance piece, but groovy passages that Sternal plays here holds on groups voice strongly. Following Winter gives more opened space for Larry to shine and his bass walk is here both, lyrical and incredibly charming. Jonas is a drummer that every bass-man is dreaming about. Sound-scapes he creates around the bass lines as well the ground prepared under the piano lines are striking like thunder. This is probably he most elegiac piece, reminding me with its intensity cooperation between Tord Gustavsen and Mat Eilertsen. Allias falls into similar territory but bass had been given much more narrative capacity here, which had been very well used indeed. All of You , the only standard on this CD tributes its author obviously but as it comes from musicians like those here we are not getting usual approach based on the choral quotes. Pretty much opposite. Sternal with friends are acting here like psychologists researching the subject, dragging pieces of memories from your head, touching moments and referring to this secret associations which All of Us are holding inside of our most private inner space. It comes in a similar way as the Masabumi Kikuchi’s trio used to build up momentum. Quote with anti-quote, hold the line with minimalist touch but an incredible emotional tension. I could continue finding connections and revealing paths for you another page but it would be sadistic to take all this pleasure out of you. Instead I am leaving it here as it is. Needless to say that what we are finding on this recording is a real treasure chest. Full of absolute erudition and understanding of what happened in the jazz and classical piano world during the last hundred years. Cherry picking from this Master Cake is a real debauchery for everyone who loves to rob Sweet- shops. http://jazzpress.gpoint-audio.com/2017/10/sebastian-sternal-home-feat-larry-grenadier-jonas-burgwinkel-realised-31stof-march-2017-label-traumton-records-jazz/

Personnel:  Piano – Sebastian Sternal; Bass – Larry Grenadier; Drums – Jonas Burgwinkel

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