Grady Nichols - Destinations

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 58:21
Size: 135,1 MB
Art: Front

(4:45)  1. London Baby!
(4:48)  2. Only Dreamin'
(5:39)  3. You Know Me
(4:26)  4. Beachside
(4:17)  5. Faithfully
(4:49)  6. Nothin' Better
(5:01)  7. Only You Can Love Me This Way
(4:10)  8. Superman
(5:18)  9. Tulsa
(4:30) 10. Coming Home
(5:15) 11. You With Me
(5:16) 12. Walk Thru My Dreams

It was in 2008 and the advent of the excellent CD ‘Take Me With You’ that I first latched onto the artistry of sax-man Grady Nichols. In fact the discography of Nichols stretches all the way back to 1996 when his debut recording ‘Between You And Me’ first hit the streets. Since then he has released five more albums with the latest being the superb ‘Destinations’. Co-written and produced by Chris Rodriguez, this hugely accessible body of work checks every box imaginable and not for the first time marks out Nichols as one to watch. Make no mistake the richness of Nichols full-bodied saxophone sound really is something to savor and the energy he seems to routinely generate is exemplified by the opening track (and the first to go to radio) the big, powerful and ‘in your face’ ‘London Baby!’ However Nichols can mix it up too and does so to impressive effect with the romantically inclined ‘Only You Can Love Me This Way’. It’s a song that shows off the depth of the entire collection and in this respect much the same can be said of ‘Beachside’. With a lilting reggae beat and the sound of steel drums you might be forgiven for actually feeling the sand between your toes. Nichols is on record as accepting that many listeners are not locked into only one genre and he acknowledges this and then some with the pop orientated ‘Nothin Better’ which includes an attention grabbing vocal duet from Rodriguez and Krista Branch. Later Nichols returns to that same pop vibe for ‘Superman’ where Teel Merrick does a nice job on vocals and elsewhere he deftly turns the Journey hit ‘Faithfully’ into a big impressive instrumental ballad which might best be described as stadium smooth jazz. With a banjo pulsing in the background ‘Tulsa’ is where country meets contemporary jazz in the most delightful of ways. Despite all the odds the combination really works and totally captures the mood of this Oklahoma city while another tune to evoke vast open spaces is the melodically pleasing ‘Coming Home’. This, together wth ‘Walk Through My Dreams’, provide a tender counter-point to some of the horn driven pyrotechnics that have gone before whilst in terms of personal favorites the mid tempo ‘Only Dreamin’ (with edgy production and a strong hook) delivers a choice example of textbook smooth jazz. Also worth a mention is ‘You Know Me’ which not only benefits from vocals and Hammond B3 from former Chicago band member Bill Champlin but also from more of Nichols high octane playing. However, all things considered, my Smooth Jazz Therapy top track is the easy grooving ‘You With Me’. Co-written and featuring contemporary jazz heavyweight Jeff Lorber (who also contributed to Nichols last album) this one is right up there with the best that ‘Destinations’ has to offer. https://smoothjazztherapy.typepad.com/my_weblog/2012/05/grady-nichols-destinations.html

Destinations

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Andrew Rathbun - Days Before and After

Styles: Saxophone Jazz
Year: 2004
File: MP3@320K/s
Time: 62:33
Size: 145,1 MB
Art: Front

(8:53)  1. Darkness Before Light
(4:49)  2. Missing the Sea
(8:12)  3. Forward Motian
(6:47)  4. Life as Crystals
(4:36)  5. The Whole Enchilada
(7:02)  6. There Will Come Soft Rains
(8:01)  7. Nomad
(6:32)  8. Hiccup
(7:38)  9. Hinge

How does a jazz musician go about adding some zest and shine, and maybe a touch of modernity, to the old tried and true saxophone-and-rhythm-section format? Sometimes they use a Fender Rhodes instead the accoustic piano, and sometimes they put an electric guitar in the keyboard's place; and sometimes they add a guitar to the piano, to give a denser weave to the harmonics. Rare is the use of two guitars in the jazz world that's more of a rock thing, it would seem. But that's the way saxophonist Andrew Rathbun and drummer Owen Howard do it on Days Before and After. And it works, and it sounds fresh and sharp-edged, and brings to mind the question of why the two guitar approach isn't heard more often in jazz. The sound that guitarists Ben Monder and Geoff Young bring to the set is mostly subtle, crisp understated single noting in front of delicate ringing chords, along with some seamless unison work with Rathbun's saxophone on the opener, "Darkness Before Light." The guitarists, in fact, sort of steal the show. Geoff Young I hadn't heard before, but Ben Monder played wonderfully on the recent Maria Schneider masterpiece, Concert in the Garden (ArtistShare, '04); the two together create an original sound, adding a very interesting harmonic glow to the mainstream effort.Chico Hamilton, the great eighty-two year old drummer who is still going strong has always favored guitarists in his units, for the "sustain" that the instument brings to the ensemble sound. Monder and Young use their instruments' sustain properties fully here, painting metallic-hued washes to fill in all the spaces beneath the weave of the textures."The Whole Enchilada," an Owen Howard tune all the songs are either Rathbun- or Howard-penned gives the guitarists a chance to stretch out and wail on over into rock territory, while Rathbun gets a bit gritty on the tenor sax, with some of his most spirited playing on the set. Rounding out the successful components of the set is drummer Howard and bassist John Hebert, an assertive rhythm team that adds a vibrant organic bounce to the sound, a sort of sonic turgor. An outstanding set that should appeal especially to fans of jazz guitar. ~ Dan McClenaghan https://www.allaboutjazz.com/days-before-and-after-andrew-rathbun-fresh-sound-new-talent-review-by-dan-mcclenaghan.php

Personnel: Andrew Rathbun - reeds; Owen Howard - drums; John Hebert - bass; Ben Monder - guitar; Geoff Young - guitar

Days Before and After

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Jelly Roll Morton - Classic Piano Solos

Styles: Piano Jazz
Year: 2000
File: MP3@320K/s
Time: 35:28
Size: 83,0 MB
Art: Front

(2:42)  1. Grandpa's Spells
(3:03)  2. Kansas City Stomps
(2:39)  3. King Porter
(2:47)  4. New Orleans Joys
(3:24)  5. Wolverine Blues
(3:10)  6. Jelly Rolls Blues
(2:54)  7. Shreveport Stomp
(2:52)  8. Stratford Hunch
(3:01)  9. Bucktown Blues
(2:59) 10. Big Foot Ham
(2:44) 11. Perfect Rag
(3:08) 12. Tom Cat Blues

One of the very first giants of jazz, Jelly Roll Morton did himself a lot of harm posthumously by exaggerating his worth, claiming to have invented jazz in 1902. Morton's accomplishments as an early innovator are so vast that he did not really need to stretch the truth.  Morton was jazz's first great composer, writing such songs as "King Porter Stomp," "Grandpa's Spells," "Wolverine Blues," "The Pearls," "Mr. Jelly Roll," "Shreveport Stomp," "Milenburg Joys," "Black Bottom Stomp," "The Chant," "Original Jelly Roll Blues," "Doctor Jazz," "Wild Man Blues," "Winin' Boy Blues," "I Thought I Heard Buddy Bolden Say," "Don't You Leave Me Here," and "Sweet Substitute." He was a talented arranger (1926's "Black Bottom Stomp" is remarkable), getting the most out of the three-minute limitations of the 78 record by emphasizing changing instrumentation, concise solos and dynamics. He was a greatly underrated pianist who had his own individual style. Although he only took one vocal on records in the 1920s ("Doctor Jazz"), Morton in his late-'30s recordings proved to be an effective vocalist. And he was a true character.  Jelly Roll Morton's pre-1923 activities are shrouded in legend. He started playing piano when he was ten, worked in the bordellos of Storyville while a teenager (for which some of his relatives disowned him) and by 1904 was traveling throughout the South. He spent time in other professions (as a gambler, pool player, vaudeville comedian and even a pimp) but always returned to music. The chances are good that in 1915 Morton had few competitors among pianists and he was an important transition figure between ragtime and early jazz. He played in Los Angeles from 1917-1922 and then moved to Chicago where, for the next six years, he was at his peak. Morton's 1923-24 recordings of piano solos introduced his style, repertoire and brilliance. Although his earliest band sides were quite primitive, his 1926-27 recordings for Victor with his Red Hot Peppers are among the most exciting of his career. With such sidemen as cornetist George Mitchell, Kid Ory or Gerald Reeves on trombone, clarinetists Omer Simeon, Barney Bigard, Darnell Howard or Johnny Dodds, occasionally Stomp Evans on C-melody, Johnny St. Cyr or Bud Scott on banjo, bassist John Lindsay and either Andrew Hilaire or Baby Dodds on drums, Morton had the perfect ensembles for his ideas. He also recorded some exciting trios with Johnny and Baby Dodds. With the center of jazz shifting to New York by 1928, Morton relocated. His bragging ways unfortunately hurt his career and he was not able to always get the sidemen he wanted. His Victor recordings continued through 1930 and, although some of the performances are sloppy or erratic, there were also a few more classics. Among the musicians Morton was able to use on his New York records were trumpeters Ward Pinkett, Red Allen and Bubber Miley, trombonists Geechie Fields, Charles Irvis and J.C. Higginbotham, clarinetists Omer Simeon, Albert Nicholas and Barney Bigard, banjoist Lee Blair, guitarist Bernard Addison, Bill Benford on tuba, bassist Pops Foster and drummers Tommy Benford, Paul Barbarin and Zutty Singleton. 

But with the rise of the Depression, Jelly Roll Morton drifted into obscurity. He had made few friends in New York, his music was considered old-fashioned and he did not have the temperament to work as a sideman. During 1931-37 his only appearance on records was on a little-known Wingy Manone date. He ended up playing in a Washington D.C. dive for patrons who had little idea of his contributions. Ironically Morton's "King Porter Stomp" became one of the most popular songs of the swing era, but few knew that he wrote it. However in 1938 Alan Lomax recorded him in an extensive and fascinating series of musical interviews for the Library of Congress. Morton's storytelling was colorful and his piano playing in generally fine form as he reminisced about old New Orleans and demonstrated the other piano styles of the era. A decade later the results would finally be released on albums. Morton arrived in New York in 1939 determined to make a comeback. He did lead a few band sessions with such sidemen as Sidney Bechet, Red Allen and Albert Nicholas and recorded some wonderful solo sides but none of those were big sellers. In late 1940, an ailing Morton decided to head out to Los Angeles but, when he died at the age of 50, he seemed like an old man. Ironically his music soon became popular again as the New Orleans jazz revivalist movement caught fire and, if he had lived just a few more years, the chances are good that he would have been restored to his former prominence (as was Kid Ory). Jelly Roll Morton's early piano solos and classic Victor recordings (along with nearly every record he made) have been reissued on CD. https://www.allmusic.com/artist/jelly-roll-morton-mn0000317290/biography

Personnel: Jelly Roll Morton - Piano.

Classic Piano Solos

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Oswego Jazz Project - And the Time is Now

Styles: Jazz, Post Bop
Year: 2008
File: MP3@320K/s
Time: 57:35
Size: 132,8 MB
Art: Front

(4:58)  1. Four on Six
(8:16)  2. Watching and Waiting
(4:44)  3. Killing Time
(7:29)  4. Wave
(7:18)  5. Tug
(5:27)  6. Oswego Alma Mater
(8:52)  7. And the Time is Now
(4:37)  8. What Should I Say?
(5:50)  9. So Noted

For the Focus on Faculty Series concert, OJP welcomes renowned guest trumpeter Tom Manuel, with whom they previously collaborated at Stony Brook’s acclaimed Jazz Loft. Founded by music faculty members Robert Auler on piano, Eric Schmitz on drums and Trevor Jorgensen on saxophone, the group with newer faculty member Kyle Vock now on bass serves as musical ambassadors for SUNY Oswego by educating as well as entertaining. In addition to their musical mastery, the group is known for a commitment to spontaneity and innovative improvisation. "In jazz combos, many different groupings of musicians are possible," Auler explained. "While there is almost always a drummer and a bass player, other instrumentation can vary to play chords, a pianist is the most common, but a guitar player may be possible. Then, the melodic material (called the 'head') and a lot of the improvisation is done by lead instruments the saxophone and the trumpet are the most common." While Jorgensen is traditionally the Oswego Jazz Project lead player, "it's very appropriate, exciting and honestly a lot of fun to bring in a second lead instrument," Auler said. "It expands the creative possibilities of what we can do; it allows us to vary what instrument plays which head, bringing freshness to the sound during the concert; on some tunes, both will solo; on some tunes we'll choose one. Audiences also can expect OJP members to provide context and commentary about the tunes in concert while demonstrating an informal, immediate approach to the music, Auler noted. The group has released two albums: the self-titled "Oswego Jazz Project" in 2007, followed by "And the Time is Now" the following year.

Musical partnership
Manuel is the president and founder of the Jazz Loft, an extensive museum, performance venue and education space. "Last March, OJP performed there, and Tom joined us for a couple tunes," Auler recalled. "We had such a blast, we'll be teaming up with him in Oswego on April 8, then we'll follow him downstate to repeat the same program at the Jazz Loft April 10." OJP's trip to Long Island also will include meeting with high school students at Maspeth High School in Queens, Celia Cruz High School in the Bronx, the famed School of Rock in Port Jefferson and Harborfields High School on Long Island. Manuel is a faculty member at Stony Brook University, where he runs the pre-college Young Artist Program in jazz, and has taught at multiple Long Island colleges. Manuel's desire to give back has led to establishing music programs for underprivileged children in Haiti and Liberia. He has recorded several albums and been featured with his big band ensemble on radio and television. Manuel's accomplishments have been cited by The New York Times, Downbeat Magazine, Newsday, Jazz Inside Magazine and Jazz Ed Magazine. "If we play a tune written and made famous by, say, Miles Davis (trumpet), it would be historically appropriate to feature Tom Manuel's trumpet there rather than Trevor's saxophone," Auler noted. https://www.iheartoswego.com/oswego-jazz-project-to-host-sunday-afternoon-concert-april-8.html

And the Time is Now

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Emanuele Cisi, Francesca Tandoi - Sometimes We're Happy

Styles: Saxophone, Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 41:08
Size: 95,8 MB
Art: Front

(5:46)  1. You've Changed
(4:58)  2. Foolin' Myself
(4:26)  3. Prezeology
(5:10)  4. I Get Along Without You Very Well
(2:55)  5. I Can't Believe That You're in Love with Me
(4:26)  6. Do You Remember Me?
(4:46)  7. The End of a Love Affair
(3:59)  8. Sometimes I'm Happy
(4:37)  9. Rain Drain

“Leading musicians of the Italian jazz scene, each with their own handwriting and their own unique style of performance” Viktor Radzievsky. For the first time on the Russian jazz scene one of the most successful Italian singers and pianists of the last decade Francesca Tandoi (Rome), and the best saxophonist in Italy, according to JazzIt Emanuele Cisi (Turin), will perform ! Moscow will host the presentation of their new album “Sometimes We're Happy”, which was released on the new Russian music label VR Jazz Records! When Francesca Tandoi's gentle expressive voice, supported by the transparent iridescent sounds of the piano and the rich, rich timbre of the tenor saxophone by Emanuele Chizi, is joined together, the real magic of sound is created. The duet of two famous jazz masters was formed only in 2016 and today is actively touring in Europe and the United States, collecting rave reviews from music critics and journalists. They celebrate not only the brilliant mastery of performance, but also an excellent selection of repertoire, warm and romantic in spring. Francesca Tandoi graduated from the Hague Royal Conservatory with special honors in the directions of jazz piano and vocals, as well as the Codarts Rotterdam Conservatory, where she also attended seminars conducted by Barry Harris, Mulgrew Miller, Brad Mehldau. The singer collaborated and gave concerts with such musicians as Joe Cohn, Scott Hamilton, Madeline Bell, Leah Kline and others, performed in the USA, Japan, Malaysia, Indonesia, India, as well as throughout Europe - Holland, Italy, Switzerland, Germany, France , Belgium, Greece, Czech Republic. Permanent resident of the international festivals are the North Sea Jazz festival, the Mastricht jazz festival, the Breda jazz festival, the Bosendorfer and many others. With her own trio (Frits Landesbergen on drums and Frans van Geest on double bass) she recorded three CDs for Japanese label Atelier Sawano and sold more than 10,000 copies. Magazine JazzIt named Francesca Tandoi, the best young jazz musicians of Italy 2016

Emanuele Cisi - an outstanding Italian saxophonist with a world name, has repeatedly been recognized as the best saxophonist in Italy according to one of the oldest jazz publications in the world of JazzIt magazine, in 2013, 2014, 2016 and 2017. He is also an honorary professor at the Conservatory of Turin and several other universities, including Juliard in New York. There are twelve solo albums behind Senor Chizi, the last of which was released on Maxjazz New York label, as well as more than fifty records as a sideman. Over thirty years of musical career, Emmanuel Chizi collaborated and recorded with such outstanding musicians as Ron Carter, Clark Terry, Jack McDuff, Jimmy Cobb, Nat Adderley, Joe Chambers, George Cables, AlbertTootieHeat, Walter Booker, Kenny Wheleer, Sting and many others; He played in the most prestigious concert halls and at the biggest festivals of Europe, the USA, China, Oceania and South America. In the spring of 2016 and in the winter of 2018, maestro Emanule Chizi already visited Russia and gave more than 30 concerts in more than 20 cities of Russia, and also received the most enthusiastic reviews of journalists and jazz lovers. Musicians will be represented by jazz producer, director of VR Jazz Records Victor Radzievsky. Translate By Google https://www.jazzmap.ru/afisha/2019-03-06-klub-alekseya-kozlova-francesca-tandoi-emanuele-cisi-italy-prezentaciya-alboma-sometimes-were-happy.php

Sometimes We're Happy

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Red Rodney - Then and Now

Styles: Flugelhorn Jazz
Year: 1992
File: MP3@320K/s
Time: 74:38
Size: 171,7 MB
Art: Front

(6:08)  1. Woody 'n You
(5:41)  2. Marmaduke
(6:32)  3. Little Suede Shoes
(6:24)  4. Un Poco Loco
(6:53)  5. The Scene Is Clean
(5:26)  6. Early Autumn
(6:18)  7. Confirmation
(4:13)  8. Congo Blues
(5:49)  9. If You Could See Me Now
(6:08) 10. Yard's Pad
(5:11) 11. Crazeology
(9:51) 12. The Interview

Red Rodney's final recording (cut two years before his death) finds the 64-year-old sticking exclusively to flugelhorn and still displaying strong chops. Performing with his working quintet (Chris Potter on tenor and alto, pianist Garry Dial, bassist Jay Anderson and drummer Jimmy Madison) Rodney returns to his roots, performing 11 bop-era standards with a twist. Producer Bob Belden helped reharmonize many of the songs, and even though the original melodies are stated, the results sound more modern than one would expect. Potter (showing a great deal of potential that he has since realized) and Dial have many fine solos, while Rodney sounds pretty strong, pushing himself. The CD concludes with Rodney talking for 9½ minutes about his experiences in the bebop days and about this project, a perfect conclusion to a successful and important career. 

~ Scott Yanow https://www.allmusic.com/album/then-and-now-mw0000093082

Personnel:  Red Rodney - flugelhorn; Chris Potter - tenor saxophone; Garry Dial - piano; Jay Anderson - bass; Jimmy Madison - drums

Then and Now

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Peggy King, Pam Garner - Lazy Afternoon + Sings Ballads For Broken Hearts

Styles: Vocal
Year: 1959
File: MP3@320K/s
Time: 70:46
Size: 165,1 MB
Art: Front

(2:41)  1. Rain (Peggy King)
(3:11)  2. You'll Never Know (Peggy King)
(2:36)  3. Lazy Afternoon (Peggy King)
(2:21)  4. 'till There Was You (Peggy King)
(3:00)  5. Sure Thing (Peggy King)
(3:06)  6. I Remember You (Peggy King)
(2:11)  7. Love And The Weather (Peggy King)
(3:33)  8. Imagination (Peggy King)
(3:12)  9. Love Walked In (Peggy King)
(3:00) 10. Hi-Lili, Hi-Lo (Peggy King)
(2:59) 11. Nobody Else But Me (Peggy King)
(2:49) 12. Littleboy Heart (Peggy King)
(2:36) 13. Can't Get Out Of This Mood (Pam Garner)
(3:02) 14. Angel Eyes (Pam Garner)
(2:52) 15. It's The Talk Of The Town (Pam Garner)
(2:51) 16. The Thirteenth Month (Pam Garner)
(2:46) 17. Once In A While (Pam Garner)
(3:12) 18. Willow Weep For Me (Pam Garner)
(3:08) 19. Solitude (Pam Garner)
(2:35) 20. Blame It On My Youth (Pam Garner)
(3:16) 21. Lilac Wine (Pam Garner)
(2:55) 22. Lost In A Fog (Pam Garner)
(2:43) 23. (I Don't Stand) A Ghost Of A Chance (With You) (Pam Garner)
(4:00) 24. Lush Life (Pam Garner)

Lazy Afternoon:  Peggy’s singing is warmly intimate and sophisticated. All her charms are sheathed in highly imaginative and brilliant orchestral settings, by such gifted arrangers as Henri René, Jack Marshall, and Pete King.

Sings Ballads For Broken hearts:  Pam’s creamy voice is as expressive and surprising as a jazz solo. The accompaniment Johnny Williams devised for Pam expresses her style exactly. Interwoven with strings is the excitement of a first-class rhythm section, and along with the freewheeling improvisation provided by Jack Sheldon’s trumpet, the beat and the lightness of jazz are always present. https://www.freshsoundrecords.com/peggy-king-pam-garner-albums/46592-lazy-afternoon-sings-ballads-for-broken-hearts-2-lp-on-1-cd.html

Personnel:  Peggy King, Pam Garner (vcl), Henri René, Pete King, Jack Marshall, Johnny Williams (arr, cond), Jack Sheldon (tp), Jimmy Rowles (p, celeste), Red Mitchell (b), Larry Bunker (d)
 

Thank you Flyingfinger!

Lazy Afternoon

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David Sanborn - Straight To The Heart

Styles: Saxophone Jazz
Year: 1984
File: MP3@320K/s
Time: 52:11
Size: 120,2 MB
Art: Front

( 6:45)  1. Hideaway
( 5:09)  2. Straight to the Heart
( 6:27)  3. Run for Cover
(10:39)  4. Smile
( 5:07)  5. Lisa
( 6:51)  6. Love & Happiness
( 7:04)  7. Lotus Blossom
( 4:06)  8. One Hundred Ways

With bassist Marcus Miller acting as producer and some memorable tunes being performed (most notably "Hideaway" and "Straight to the Heart"), this is one of altoist David Sanborn's better R&B-ish recordings. Joined by keyboardist Don Grolnick, guitarist Hiram Bullock, bassist Miller, drummer Buddy Williams and various guest musicians, Sanborn sounds fairly inspired and is in top form. ~ Scott Yanow https://www.allmusic.com/album/straight-to-the-heart-mw0000649716

Personnel: David Sanborn – alto saxophone; Don Grolnick – keyboards; Hiram Bullock – guitar, background vocals; Buddy Williams – drums; Marcus Miller – bass guitar, synthesizer, background vocals; Ralph MacDonald – percussion (3, 5, 8); Errol Bennett – percussion (2); Michael White – percussion (6); Michael Brecker – tenor saxophone (8); Randy Brecker – trumpet (8); Jon Faddis – trumpet (8); Hamish Stuart – lead vocals (6); Lani Groves – background vocals (8); Frank Floyd – background vocals (8); Vivian Cherry – background vocals (8)

Straight To The Heart

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Victor Gould - Earthlings

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 56:39
Size: 131,1 MB
Art: Front

(5:31)  1. Farewell to Dogma
(4:58)  2. Love Vibrations
(4:14)  3. Earthlings
(5:57)  4. Spider
(5:27)  5. Rise
(5:52)  6. Roses Poses
(5:06)  7. Blues on Top
(5:06)  8. Lover
(5:34)  9. Con Alma
(8:51) 10. Resilience

Darkly beautiful sounds from pianist Victor Gould an up-and-coming player who's also turning into a hell of a leader too! Vic works here with a fantastic core trio Dezron Douglas on bass and Eric McPherson on drums both players who are perfectly suited to set up the right sort of arcing, angling elements that fit the mode of Gould's piano which seems to run up and down in these blocky flights of deeper tones that are completely wonderful! The album also features guest horns on about half the set the soprano sax of Tim Warfield on three tracks, and the alto of Godwin Louis on three more plus some light percussion from Khalil Kwame Bell. 

Titles include the originals "Rise", "Resilience", "Spider", and "Blues On Top" plus versions of "Love Vibrations", "Farewell To Dogma", "Earthlings", and "Con Alma".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/870271/Victor-Gould:Earthlings

Personnel: Victor Gould - piano,composer; Dezron Douglas - bass,composer; Eric McPherson - drums

Earthlings

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Bob Sheppard - The Fine Line

Styles: Saxophone, Flute Jazz
Year: 2019
File: MP3@320K/s
Time: 54:54
Size: 126,7 MB
Art: Front

(4:44)  1. Edge of Trouble
(5:52)  2. Run Amok
(4:54)  3. The Fine Line
(5:08)  4. People Make the World Go 'Round
(7:20)  5. I Didn't Know What Time It Was
(5:36)  6. Maria's Tango
(5:38)  7. Above & Beyond
(4:11)  8. Joegenic
(4:24)  9. Thanks for the Memory
(7:02) 10. A Flower Is a Lovesome Thing

Ironically, probably the only reason that Bob Sheppard isn't a household name (other than in jazz households) is because he's such an in-demand sideman. Splitting his time between Los Angeles, and New York he also teaches jazz at The University of Southern California Thornton School of Music. But he's worked, amongst many others, with such jazz luminaries as Chick Corea, Herbie Hancock, Peter Erskine and from the popular music world, Joni Mitchell, Steely Dan and Stevie Wonder. This also explains why recordings under his own name are so relatively infrequent. His previous album, Close Your Eyes (Challenge, 2011) featuring, amongst others, drummer Antonio Sanchez, was highly lauded and rightly so. The Fine Line came about through Sheppard's chance meeting with Dutch bassist Jasper Somsen at the 2013 Jazzahead Network Event in Bremen, Germany. The two hit it off immediately and resolved to work together. However, due to their mutually busy schedules it took almost two years before they were able to share a stage in The Netherlands for a full week of concerts, followed by masterclasses and radio appearances. Shortly afterwards, Anne de Jong, General Director of Challenge Records offered Somsen the opportunity to work on several projects, and happily this album was one of them. To complete the line-up Sheppard shrewdly recruited keyboardist John Beasley, who appeared on Sheppard's previous album, plus virtuoso drummer Kendrick Scott.  Sheppard's fast-paced opener, "Edge Of Trouble," sees the sax maestro establishing a serpentine hook on soprano saxophone. 

There's also a florid solo from guest vibraphonist Simon Moullier, who later makes essential contributions to "Maria's Tango" and "Joegenic." All the while Scott propels the piece along with his crackling drums. "Run Amok" with Sheppard on tenor, has a Brecker Brothers feel courtesy of Benjamin Shepherd on electric bass and some Miles-ian harmon-muted trumpet from Mike Cottone. Billy Strayhorn "A Flower Is A Lovesome Thing" is given a sumptuous treatment by Sheppard and the Rodgers, and Hart standard "I Didn't Know What Time It Was" sees Sheppard soloing on soaring soprano. One oddity, rarely heard in a jazz context, but nonetheless a winning version here, is Ralph Rainger's "Thanks For The Memory," which became Bob Hope's signature tune on which Sheppard imparts some evocatively glissando-rich slinky tenor with Somsen delivering a fluid pizzicato bass solo. Sheppard's languid Latine-esque title track benefits from some subtly dulcet wordless vocals from Maria Puga Lareo. With The Fine Line Sheppard has succeeded once more in producing an album populated by vibrant, memorable tunes that invite constant and frequent replays. ~ Roger Farbey https://www.allaboutjazz.com/the-fine-line-bob-sheppard-challenge-records-review-by-roger-farbey.php

Personnel: Bob Sheppard: tenor saxophone, soprano saxophone, flute, alto flute; John Beasley: piano; Jasper Somsen: double bass; Kendrick Scott: drums. Plus guests: Mike Cottone (2): trumpet; Simon Moullier (1,6,8): vibraphone; Maria Puga Lareo (3): vocals; Benjamin Shepherd (2,4): electric bass; Aaron Safarty (3,6): shaker.

The Fine Line

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Tom Tallitsch - All Together Now

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 52:25
Size: 121,6 MB
Art: Front

(4:30)  1. Passages
(3:24)  2. The Night They Drove Old Dixie Down
(5:07)  3. Slippery Rock
(4:47)  4. Big Sky
(5:58)  5. Border Crossing
(4:16)  6. Curmudgeon
(3:40)  7. Uncle Remus
(4:41)  8. Medicine Man
(5:15)  9. Greasy over Easy
(5:07) 10. Dunes
(5:35) 11. Arches

All Together Now the sixth overall effort from tenor saxophonist Tom Tallitsch, and his third for the Posi-tone imprint is a well-balanced musical affair built around a surefooted and wholly capable sextet. Tallitsch works with a rhythm section and two other horns here, creating smart and uncluttered settings that showcase the musicians without boxing them in. He works various stylistic angles into his compositions, touching on myriad moods in the process. There's a driving tune that vacillates between swing and Latin feels ("Passages"), an up-tempo burner ("Border Crossing"), a soulful twist on a Frank Zappa number ("Uncle Remus"), a truncated take on a classic from The Band ("The Night They Drove Old Dixie Down"), and a loping swing jaunt ("Greasy Over Easy"). In each of the aforementioned instances, and elsewhere on the album, Tallitsch manages to include some simple yet effective arranger's touches harmonized horns here, background riffs there, shifting textures, and more while stilling retaining the vibe of a solos-for-everyone session. And with the string of solos on the album opener, he makes it clear that there will be room to blow on this one. Each and every piece gives pause to admire different soloists and/or musical relationships. One number might bring to light the differences and similarities between Tallitsch's tenor approach and Mike DiRubbo's alto work ("Slippery Rock"), another may see pianist/organist Brian Charette ripping through the music while tossing out a choice quote ("Border Crossing"), and a third may find bassist Peter Brendler and Charette working in a reflective space ("Arches"). And that's just a brief sampling of what happens in each of those pieces. The bigger picture in each number is about the balance between personalized expression and group dynamics, as All Together Now speaks to Tallitsch's talents as player and writer, the individual viewpoints of his band mates, and the collective spirit that comes through in these performances. ~ Dan Bilawsky https://www.allaboutjazz.com/all-together-now-tom-tallitsch-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Tom Tallitsch: tenor saxophone; Michael Dease: trombone; Peter Brendler: bass; Mike DiRubbo: alto saxophone; Brian Charette: piano; Mark Ferber: drums.

All Together Now

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Anna Karina - Anyway

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 19:00
Size: 43,9 MB
Art: Front

(3:56)  1. Now I See
(3:25)  2. On My Own
(4:15)  3. You Came to Me
(3:09)  4. A Beautiful Beginning
(4:11)  5. Listen to the Silence

Anna Karina (born Hanne Karin Bayer, 22 September 1940) is a Danish-French film actress, director, writer, and singer. She rose to prominence as French New Wave director Jean-Luc Godard's muse in the 1960s, performing in several of his films, including The Little Soldier (1960), A Woman Is a Woman (1961), Vivre sa vie (1962), Band of Outsiders (1964), and Pierrot le Fou and Alphaville (both 1965). For her performance in A Woman Is a Woman, Karina won the Silver Bear Award for Best Actress at the Berlin Film Festival. In 1972, Karina set up a production company for her directorial debut, Vivre ensemble (1973), which screened in the Critics’ Week lineup at the 26th Cannes Film Festival. She also directed the French-Canadian film Victoria (2008). In addition to her work in cinema, she has worked as a singer, and has written several novels in French. Karina is widely considered an icon of 1960s cinema. The New York Times has described her as "one of the screen’s great beauties and an enduring symbol of the French New Wave." Karina's mother was a dress shop owner and her father left the family a year after she was born. She lived with her maternal grandparents for three years, until she was four. She spent the next four years in foster care before returning to live with her mother. She has described her childhood as "terribly wanting to be loved", and as a child she made numerous attempts to run away from home. She began her career in Denmark, where she sang in cabarets and worked as a model playing in commercials. At age 14, she appeared in a Danish short film by Ib Schmedes, which won a prize at Cannes.[10] In 1958, after a row with her mother, she hitchhiked to Paris. https://en.wikipedia.org/wiki/Anna_Karina

Anyway

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Lynne Arriale Trio - Melody

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 54:26
Size: 125,7 MB
Art: Front

(6:28)  1. Tuning
(6:15)  2. The Forgotten Ones
(7:24)  3. Beautiful Love
(7:59)  4. But Beautiful
(5:28)  5. Dance
(3:00)  6. Hush-A-Bye
(7:35)  7. It Ain't Necessarily So
(6:05)  8. Touch her Soft Lips And Part
(4:07)  9. The Highlands

The TCB Label. Lynne Arriale's Melody is her fifth release, her second for the TCB label (The Montreux Jazz Festival Label). Previous TCB releases have focused on the label's "Swiss Radio Days Jazz Series." This series is devoted to Swiss live recordings of vintage jazz. Recordings include performances by Julian "Cannonball" Adderley, Art Blakey, and Quincy Jones to name three. The Art of The Trio. Pianist Lynne Arriale, 1991 graduate from the Wisconsin Conservatory of Music and the 1993 winner of the Great American Jazz Piano Competition, has been honing her trio craft since 1993. She has a confident touch and her tonal spectrum is broad. Her support in Calley and Davis is solid and swinging, supporting her multicultural explorations. Arriale's song choice and composition is as widespread as her tonal vision. Her major interest on this recording is incorporating Celtic elements into her playing and composing. This influence is best heard in the folk-blues romp "The Highlands." The elements are also in her other originals "Tuning" and "The Forgotten Ones." She rounds out the disc with "But Beautiful" and the William Walton composition "Touch her Soft Lips and Part." Broad, I said. Lynne Arriale submits an enjoyable and eclectic collection of tunes that is definitely off the beaten path. ~ C.Michael Bailey https://www.allaboutjazz.com/melody-lynn-arriale-tcb-music-review-by-c-michael-bailey.php

Personnel: Lynn Arriale: Piano; Scott Calley: Bass; Steve Davis: Drums.

Melody

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Andy Sheppard - Live At Smash!

Styles: Guitar Jazz
Year: 2009
File: MP3@320K/s
Time: 52:35
Size: 121,9 MB
Art: Front

(3:48)  1. Fallow Field
(4:07)  2. Farewell To Winter
(5:18)  3. Sea To Sky/Arrowhead
(3:09)  4. Dragonfly Helicopter
(4:23)  5. Soon To Be
(2:43)  6. Let It Go
(3:12)  7. The Best Day
(3:56)  8. King Mzi
(4:01)  9. I Like You
(3:37) 10. Ways & Means
(4:55) 11. Until Next Time
(4:14) 12. Love Apples
(5:06) 13. Feuilles-o

Oil and water. It's all about contrasts for Andy Sheppard. He coaxes brave new sounds from a converted '69 Martin steel guitar and a late-model laptop. He smashes folk and world music together with found sounds and stompbox loops. He sings out lyrics of a childhood in tobacco country and stirs them together with world-wandering stories from Africa and Asia. His latest live album (to be released November '08) is a slide guitar manifesto - by turns delicate and reckless, sweet but heavy on the beat. Songs tinged with the gentlemanly humour and global twang of Ry Cooder, and the sparkling desperation of Sufjan Stevens. Oil and water. Andy Sheppard won the 2006 Colleen Peterson Songwriting Award. He was a finalist in the 2008 Mountain Stage NewSong Competition. He will be on tour in the UK and across Canada in 2008 with three other world-class guitarists as part of International Guitar Night. https://store.cdbaby.com/cd/sheppard4

"a strong but nuanced sense of pulse and a gift for lovely melodies" ~ Guitar Player Magazine

"a tremendous guitarist" ~ Matt Galloway - CBC Radio, Toronto.

"a mellifluous guitarist whose influences run the gamut from folk to blues to bluegrass, to sounds from Brazil, Africa, and the South Pacific" ~ John Kendle - Uptown Magazine, Winnipeg

"a masterful fingerstyle guitarist" ~ Whole Note Magazine

"a true instrumental virtuoso" ~ Jeff Robson - UMFM Radio, Winnipeg

"a jaw-droppingly great show - stunning solo work" ~ Dominic Lloyd - West End Cultural Centre, Winnipeg

Live At Smash!

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Philippe Petrucciani (feat. Nathalie Blanc) - Este Mundo

Styles: Vocal And Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 59:42
Size: 137,8 MB
Art: Front

(5:25)  1. Este Mundo
(2:23)  2. I Have An Idea
(4:59)  3. Mike P.
(5:20)  4. Bahia
(3:33)  5. Autour de Minuit
(2:50)  6. Entrelacé
(3:55)  7. Summertime
(3:26)  8. Mister M.P.
(5:53)  9. Alone Together
(4:44) 10. Le Danseur
(4:21) 11. Souvenirs d'enfance
(3:12) 12. Nuit d'été
(3:05) 13. May Be One Day
(6:30) 14. Sous le ciel de Paris

Sometimes wrongly overlooked as the lesser known of the Petrucciani brothers, guitarist Philippe has carved out a career in France and returns with a well balanced album that invokes Pat Metheny and a contemporary updated take on the Hot Club de France in equal measure. He is ably abetted by singer and co-writer Nathalie Blanc who might best be described as a French equivalent of Stacey Kent, bassist Dominique de Piazza and drummer Manhu Roche. Eight of the originals were co-penned by Blanc and Petrucciani and of these the Brazilian-flavoured ‘Bahia’ impresses as a shuffling mid-tempo breezer complete with French language vocals that evokes the north-eastern Brazilian state. There are some inventive re-interpretations of French classics such as a reggaefied accompaniment to a song immortalised by Yves Montand, ‘Sous le ciel de Paris’, a francophone version of ‘Round midnight’ re-titled ‘Autour de minuit’ as written by the great chanteur Claude Nougaro which is a duet between Blanc and Petrucciani, and a funkified bass take on Gershwin’s ‘Summertime’. Pan-Mediterranean grooves return on the light Latin-tinged opener ‘Este mundo’. Philippe Petrucciani veers between guitar and synth guitar on various pieces and yet succeeds in freeing himself from the shackles of the Metheny shadow, providing an imprint that could only be French. http://ukvibe.org/album_reviews/philippe-petrucciani/

Personnel: Guitar – Philippe Petrucciani; Guitar Synthesizer – Philippe Petrucciani; Vocals – Nathalie Blanc;  Bass – Dominique Di Piazza; Drums – Manhu Roche

Este Mundo

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Anna-Lotta Larsson - I Dina Drömmar

Styles: Vocal
Year: 2015
File: MP3@320K/s
Time: 41:32
Size: 96,6 MB
Art: Front

(3:38)  1. Fragancia
(3:21)  2. Min Älskling
(3:46)  3. Byssan Lull
(4:35)  4. Dansen På Sunnanö
(2:20)  5. I Dina Drömmar
(3:07)  6. Minnet Och Tystnaden
(4:15)  7. Sjösalavår
(3:44)  8. Ronsard Och Herdinnan
(1:30)  9. Kosterflickornas Visa
(3:41) 10. Nocturne
(4:25) 11. Madame Läboms Visa Om Den Förunderliga Kärleken
(3:04) 12. Ellinor Dansar

Ingeborg Ann-Charlotte (Anna-Lotta) Larsson, (born 5 April 1954) is a Swedish singer and actress. She educated to be a voice coach at Framås folkhögskola and then was accepted into the Operahögskolan in Gothenburg. She is also an actess, known for her roles in the film Värmlänningarna in 1980 and the series Nya tider. She also presented the show Har du hört den förut? which was broadcast on SVT. Anna-Lotta Karlsson also works with dubbing of animated children's films. https://en.wikipedia.org/wiki/Anna-Lotta_Larsson

I Dina Drömmar

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Peter Ecklund - Gigs Reminiscing In Music

Styles: Cornet Jazz
Year: 1999
File: MP3@320K/s
Time: 62:06
Size: 144,4 MB
Art: Front

(2:55)  1. Say It With A Kiss
(4:40)  2. Winter Waltz
(4:41)  3. Django And Bix
(5:38)  4. Blues My Naughty Sweetie Gives To Me
(3:34)  5. Blue Bix
(3:42)  6. When You're Smiling
(2:47)  7. Russian Lillaby
(5:23)  8. Tailfins
(4:16)  9. My Blue Heaven
(4:02) 10. Fuddy Duddy
(3:27) 11. When You And I Were Young, Maggie
(5:12) 12. At The Track
(4:12) 13. At The Fair
(3:51) 14. Midnight Hour Blues
(3:38) 15. Blackey's Song

A veteran sit-in cornetist with various Dixieland bands and the backup groups of Leon Redbone, David Bromberg, and more recently Madeleine Peyroux, Ecklund's folk-derived swing is expressed through a variety of different combos on these 15 cuts, eight written by the leader. Some feature dual acoustic guitarists Peyroux and Steve Cardenas, others mandolinist David Grisman and guitarist Frank Vignola, with Marty Grosz (guitar), Dan Block (woodwinds) and Keith Ingham (celeste), or Jay Ungar (violin) and Molly Mason (guitar). Cameos come from clarinetists Ken Peplowski and Bobby Gordon, Howard Johnson (tuba), and Warren Bernhardt (Fender Rhodes). The most focused, centralized group is the Grisman-Vignola band with bassist Murray Wall. They do the delicate, swaying "Winter Waltz," the more intense, off-the-cuff, cornet-driven "Blues My Naughty Sweetie Gives (Gave) to Me" (trading riffs at the coda), the Bix Beiderbecke-derived easy swing of "Blue Bix," and the hardest swinger "Russian Lullaby," where Grisman steps up and hits a triple. Cardenas and Peyroux softly strum while Peplowski leads in midtempo during "Django & Bix," and evoke strains of "My Old Kentucky Home" during "When You & I Were Young, Maggie." The celeste adds a quaint sound to Block's clarinet and Ecklund's old-timey horn on "Say It With a Kiss"; meanwhile, Block's big baritone sax bolsters "When You're Smiling," as does his alto during "Fuddy Duddy," with Grosz's ever-present swing nailing it down. Ungar and Gordon's strings tiptoe through tulips on Leroy Carr's "Midnight Hour Blues," go serene and plaintive for "At the Fair," and swing much harder on "Blackey's Song," replete with whistling and Guy Fischetti's pedal steel. Gordon's daunting and darting feature is "My Blue Heaven," the best individual solo on the date, while the best overall number is the quickly paced "At the Track," holding the Dixie pulse at fever pitch courtesy of Cynthia Sayer's hot banjo and Johnson's bawdy tuba oompahs. Ecklund has a thinnish sound, not bold and brash a la Louis Armstrong or Bix, but reserved and refined, and sublimates his role for an overall group sound. This CD represents a good concept and execution of bringing '20s & '30s jazz into the '90s with players who know how. ~ Michael G.Nastos https://www.allmusic.com/album/gigs-reminiscing-in-music-mw0000054279

Personnel: Peter Ecklund (cornet, bugle); Dan Block (alto & baritone saxophones, clarinet); Howard Johnson (tuba); Ken Peplowski (clarinet); Jay Ungar (violin); Warren Bernhardt (Fender Rhodes piano); Steve Cardenas (acoustic & electric guitars); Madeleine Peyroux (acoustic guitar); Peter Davis (electric guitar, banjo); Molly Mason, Frank Vignola (guitar); David Grisman (mandolin); Greg Cohen, Pete Toigo (bass); Gary Burke (drums).

Gigs Reminiscing In Music

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Martial Solal - Four Keys

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 39:15
Size: 90,9 MB
Art: Front

(6:42)  1. Brain Stream
(7:28)  2. Not Scheduled
(6:24)  3. Grapes
(6:05)  4. Retro Active
(4:42)  5. Energy
(4:34)  6. Satar
(3:17)  7. Four Keys

An all-star quartet (pianist Martial Solal, altoist Lee Konitz, guitarist John Scofield and bassist Niels Pedersen) explores seven diverse Solal originals that range from chamberlike pieces to fairly free group improvising. The results are often exciting if cool in both tone and volume. Thoughtful yet unpredictable music. ~ Scott Yanow https://www.allmusic.com/album/four-keys-mw0000902050

Personnel:  Martial Solal – piano; Lee Konitz – alto saxophone; John Scofield – guitar; Niels-Henning Ørsted Pedersen – bass

Four Keys

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Pete Zimmer - Judgment

Styles: Jazz, Post Bop
Year: 2006
File: MP3@320K/s
Time: 59:01
Size: 136,0 MB
Art: Front

( 7:24)  1. The Mingus That I Knew
( 5:08)  2. Down or Up
( 6:56)  3. To My Papa
( 3:56)  4. 8 A.M. Wednesday Spirit
(10:01)  5. Judgment
( 6:55)  6. Dot Dot
( 6:19)  7. Bye Bye Blackbird
( 7:03)  8. Tutti Italiani
( 5:13)  9. Cut Off

Drummer and bandleader Pete Zimmer hasn't lost a step in getting his product to the people. Arriving in New York around the time of 9/11, he understandably found it difficult to get a record deal. So he created his own label, Tippin', on which Judgment is Zimmer's third release. He essentially keeps the same personnel from his last album (Burnin' Live At The Jazz Standard, Tippin' 2005), with the addition of his former employer, saxophonist George Garzone. On paper, this combo is the same one that has provided quality bebop on two prior albums in what can only be interpreted as an homage to groups like Art Blakey & The Jazz Messengers and the Horace Silver Quintet. George Garzone remains the wild card, inasmuch as he is a free blower. Thus it is quite a revelation to announce that Garzone provides several positive turning points on this album Garzone plays on six of the nine compositions (he wrote four of these tunes). He does get the opportunity to take the music out in a limited fashion on "8 A.M. Wednesday Spirit," in a duet with Zimmer's drums, but also builds to a point at which he invokes the spirit of John Coltrane live at the Vanguard circa 1961. Also, for another duet with Zimmer on the standard "Bye Bye Blackbird," Garzone again plays in a post-Coltrane style. In contrast, his solo work on the opening "The Mingus That I Knew" and especially on the title tune is lyrical and appropriately surging. On the latter, Garzone outduels Joel Frahm in back-to-back solos. On his ballad "To My Papa," Garzone shows how to deliver a superior ballad treatment. The opening track, "The Mingus That I Knew," features the shifting rhythm of "Peggy's Blue Skylight" and, what else, a bass solo by David Wong, who emulates Mingus' idiosyncratic playing. Trumpeter Michael Rodriguez presents the melody line on Toru Dodo's "Dot Dot" and then launches into a beautifully stated solo. Zimmer has a few solo opportunities here, and on his previous albums, he didn't take space for himself. But on Judgment, in addition to the two drum/sax duets with Garzone, Pete Zimmer steps forward and rightly so announces his presence. ~ Michael P.Gladstone https://www.allaboutjazz.com/judgment-pete-zimmer-tippin-records-review-by-michael-p-gladstone.php

Personnel: Pete Zimmer: drums; George Garzone: tenor saxophone; Michael Rodriguez: trumpet; Joel Frahm: tenor saxophone; Toru Dodo: piano; John Sullivan: bass; David Wong: bass.

Judgment

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The Marty Ehrlich Quartet - Song

Styles: Saxophone, Clarinet Jazz
Year: 2001
File: MP3@320K/s
Time: 50:26
Size: 116,2 MB
Art: Front

( 5:04)  1. Waltz
( 9:55)  2. The Price of the Ticket
( 5:29)  3. Day of the Dark Bright Light
( 8:20)  4. Blue Boye's Blues
( 6:00)  5. I Pity the Poor Immigrant
(10:20)  6. Fauve
( 5:16)  7. The Falling Rains of Life

Reedsman Marty Ehrlich enlists pianist Uri Caine, bassist Michael Formanek, and drummer Billy Drummond for this lyrical, swinging, accessible set. After opening with Robin Holcomb’s melancholy "Waltz" (a feature for Ehrlich’s brilliant bass clarinet), the quartet embarks on a trilogy of Ehrlich-penned pieces. "The Price of the Ticket," inspired by James Baldwin, begins with a beautifully orchestrated rubato section before breaking into a burning swing tempo, laying a foundation for incisive solos by Ehrlich (on alto), Caine, and Drummond. "Day of the Dark Bright Light" opens with duo ruminations from Caine and Formanek and evolves into a slow and straightforward waltz. And "Blue Boye’s Blues," dedicated to the late Julius Hemphill, is a bout of free jazz featuring special guest Ray Anderson on trombone. Chaotic sounds give way to an unaccompanied trombone passage, then an out-of-left-field, Motown-like progression that carries the piece to the end. Ehrlich then leads the band through a gospel-tinged reading of Bob Dylan’s "I Pity the Poor Immigrant." The song, from 1968’s John Wesley Harding, contains the immortal line, "who passionately hates his life, and likewise fears his death." Sustaining the penultimate chord with intensity before landing softly on the final, conclusive note, the group gets to the heart of Dylan’s bitterly told tale. Next is a ten-minute-plus original called "Fauve," the album’s high point, with the leader on soprano. The piece moves through an impressionistic rubato into fast, bright swing and eventually back again to rubato. Caine then introduces an unexpected 6/8 section, an inspired detour that ultimately concludes the piece. Wrapping up the session is "The Falling Rains of Life," with Ehrlich back on bass clarinet where he started, delighting in the contours of Jaki Byard’s achingly beautiful melody. Song is marred only by the fact that the piano and bass aren’t nearly present enough on the recording. Otherwise, it’s a major statement by Marty Ehrlich. ~ David Adler https://www.allaboutjazz.com/song-marty-ehrlich-enja-records-review-by-david-adler.php

Personnel:  Alto Saxophone, Soprano Saxophone, Bass Clarinet – Marty Ehrlich; Double Bass – Michael Formanek; Drums – Billy Drummond; Piano – Uri Caine

Song

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