Miles Davis - Seven Steps To Heaven

Styles: Trumpet Jazz
Year: 1963
File: MP3@320K/s
Time: 57:09
Size: 131,6 MB
Art: Front

(10:27)  1. Basin Street Blues
( 6:23)  2. Seven Steps to Heaven
( 6:43)  3. I Fall In Love Too Easily
( 6:58)  4. So Near, So Far
( 8:25)  5. Baby Won't You Please Come Home
( 6:58)  6. Joshua
( 5:09)  7. So Near, So Far
( 6:02)  8. Summer Night

Seven Steps to Heaven finds Miles Davis standing yet again on the fault line between stylistic epochs. In early 1963, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb left to form their own trio, and Davis was forced to form a new band, which included Memphis tenor player George Coleman and bassist Ron Carter. When Davis next entered the studio in Hollywood, he added local drummer Frank Butler and British studio ace Victor Feldman, who ultimately decided not to go on the road with Davis. It's easy to see why Davis liked Feldman, who contributed the dancing title tune and "Joshua" to the session. On three mellifluous standards  particularly a cerebral "Basin Street Blues" and a broken-hearted "I Fall in Love Too Easily" the pianist plays with an elegant, refined touch, and the kind of rarefied voicings that suggest Ahmad Jamal. Davis responds with some of his most introspective, romantic ballad playing. When Davis returned to New York he finally succeeded in spiriting away a brilliantly gifted 17-year-old drummer from Jackie McLean: Tony Williams. On the title tune you can already hear the difference, as his crisp, driving cymbal beat and jittery, aggressive syncopations propel Davis into the upper reaches of his horn. On "So Near, So Far" the drummer combines with Carter and new pianist Herbie Hancock to expand on a light Afro-Cuban beat with a series of telepathic changes in tempo, texture, and dynamics. Meanwhile, Feldman's "Joshua" (with its overtones of "So What" and "All Blues") portends the kind of expressive variations on the basic 4/4 pulse that would become the band's trademark, as Davis and Coleman ascend into bebop heaven. ~ Rovi Staff https://www.allmusic.com/album/seven-steps-to-heaven-mw0000188023

Personnel: Miles Davis – trumpet; George Coleman – tenor saxophone; Victor Feldman – piano; Ron Carter – bass; Frank Butler – drums; Herbie Hancock – piano;  Tony Williams – drums

Seven Steps To Heaven

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Marsha Bartenetti - It's Time

Styles: Vocal
Year: 2009
File: MP3@320K/s
Time: 39:43
Size: 92,1 MB
Art: Front

(4:16)  1. Good Morning Heartache
(3:32)  2. Someone to Watch over Me
(3:26)  3. When I Fall in Love
(4:22)  4. Somewhere over the Rainbow
(5:17)  5. I Can't Make You Love Me
(2:53)  6. Gone Too Soon
(4:42)  7. As Time Goes By
(4:22)  8. Lover Man
(2:45)  9. Here, There & Everywhere
(4:04) 10. Baby, It's Cold Outside

Marsha is a smooth, rich, expressive singer with the ability to bring authenticity to each song with heartfelt vocals that transport a lyric straight to your heart. She has been known to “cross any genre for a good lyric” and does so with heart and truth. Her performances throughout the southland at venues like Catalina’s, and SRO shows at Upstairs at Vitello’s have won her audiences over. Marsha started her career in the San Francisco Bay Area in the late 60’s The music scene was alive with incredible talent and opportunities. Her band opened for such acts at The Youngbloods, and played at venues like the Troubadour in Los Angeles.In 1980 Marsha won Best Vocalist in the American Songwriter’s Association’s International contest. The ‘American Idol” of it’s time, it brought access to opportunities that would take Marsha to Motown Records where she recorded with writers Ken Hirsch and Ron Miller who together and on their own…wrote “I’ve Never Been To Me”, “Touch Me In The Morning” for Diana Ross, “For Once In My Life” for Stevie Wonder, “If I Could” for Celine Dion, “No One In The World” for Anita Baker, among other top hits. Marsha studied with the legendary vocal coach Judy Davis, in Oakland CA. who she says..”Changed my life.” Judy was a Diva herself whose students include Frank Sinatra, Barbara Streisand, and Judy Garland among others famous and not-so-famous.

“Her mentoring is still with me today and I still, after all these years, do her vocal eases every day. She is a woman who came into my life like an Angel and I love her for sharing her knowledge with me.” She opened my eyes and ears to a wealth of information about the voice She loved the music business and her students and I am forever grateful to her.” Although Marsha’s love for singing remained, musical politics and personal changes left her disheartened by the business and after a divorce, Marsha decided to leave the music business and shift gears to what she thought would be a better career to help with financially supporting her daughter. She may have left the stage for a time, but she continued working in the studio recording national jingles for such companies as Bank Of America, Chevron, among others. She transitioned into Voice-Overs and On-Camera acting. Here credits in this area included many national accounts, including being the voice of Safeway, Vons for all of their Television and Radio advertising. She was deemed by the press as “The Voice America Loves To Hate” and “The Voice Mail Queen.” Marsha was the American English voice for the largest International voice messaging company, serving the majority of voice mail systems in this country Including most of the Fortune 500 companies She is still heard on major voice-mails systems throughout the country where you may hear her say…”I’m sorry, that’s not a valid password. Please try your call again later.” She was invited as guest on the Today Show among other national guest spots as the “person behind the telephone voice.” Being a Digital “star” was not what she had envisioned; and although it paid the bills, her heart kept longing to get back out and do what she really loved Sing. Fast forward to social media and the wonders of Facebook where Marsha re-connected with a former band mate Donny Marrow Disk Eyes Productions. She recorded her first solo album, “It’s Time” in Nashville with Diskeyes Productions; with Donny Marrow producing and his esteemed team of studio musicians from all over the country adding their talents to the project. Marsha’s songs cross genres; from Billie Holiday to Bonnie Raitt; always with the lyric as her first consideration. It was time to return to the stage and the studio  And her album “It’s Time” marked the beginning of her “next act”. https://www.marshabartenetti.com/bio/

It's Time

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Tim Kliphuis - Acoustic Voyage

Styles: Violin Jazz
Year: 2010
File: MP3@320K/s
Time: 54:19
Size: 125,7 MB
Art: Front

(6:17)  1. Assanhado
(2:48)  2. Lucy's Waltz
(6:07)  3. Clair de Lune
(3:50)  4. Couscous and Butter
(3:27)  5. Águas de Março
(3:20)  6. Havana Highway
(2:40)  7. Don't Sleep in the Subway
(4:03)  8. Bebe
(4:02)  9. Cuckoo's Nest
(4:35) 10. La Chanson de Rue
(3:46) 11. Astor's Dream
(4:53) 12. Flèche d'Or
(4:24) 13. Samba for Paula

Imagine what would happen if Stephane Grappelli met the Chieftains, if Tom Jobim played a Parisian musette, if Scottish poet Robert Burns was in love with Miriam Makeba and James Brown jammed with Jasha Heifetz. This album unites all the music styles I love, not in an i-Pod 'pastiche' way but in the way that whiskies are blended together  subtly yet with distinction. Pianist David Newton, guitarist Nigel Clark and bassist Roy Percy are all top musicians from Scotland whom I am lucky to work with, and Maltese percussion wiz Sandro Ciancio gives the cd a 'world' flavour. We had a great time in the studio in the Scottish hills and I am sure this comes through on the cd. If I had to choose one tune it would be “Couscous and Butter”, a cross of a Scottish Slip Jig with a West-African Soukous feel. We stuffed bits of paper between our strings to give it that Kalimba (thumb piano) sound and added an Udu (jug drum). Assanhado is a choro tune: Brazilian folk music made popular by mandolinist Jacob do Bandolim. Lucy’s Waltz I wrote as a Musette waltz with a South-American twist. Clair de Lune is just a wonderful Debussy piano piece. Águas de Março is special because of the recurring bass line. Havana Highway is my version of Bud Powell meets Cuba, with some influence of my hero Jean-Luc Ponty. Don’t Sleep in the Subway is a Petula Clarke hit based on Pachelbel’s Canon in D. Bebe well, Hermeto Pascoal is just a wizard, a fusion genius. The Irish traditional Cuckoo’s nest I first heard on a 1970s recording by Fairport Convention, where my friend Ric Sanders currently plays the violin. Back to my roots with Grappelli’s beautiful Chanson de Rue (recorded with George Shearing in 1960s), and Django tune Flèche d’Or, which I think works very well in a funk version. My tune Samba for Paula is just a Brazilian samba. It’s the last number on the album but really was the start off this whole ‘non-swing’ project. https://store.cdbaby.com/cd/TimKliphuis1

Acoustic Voyage

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Buddy Rich - Swingin' New Big Band

Styles: Jazz, Post Bop
Year: 1966
File: MP3@320K/s
Time: 63:25
Size: 148,7 MB
Art: Front

( 3:22)  1. Readymix
( 5:40)  2. Basically Blues
( 3:31)  3. Critic's Choice
( 3:05)  4. My Man's Gone Now
( 2:49)  5. Up Tight (Everything's Alright)
( 3:15)  6. Sister Sadie
( 4:20)  7. More Soul
(10:48)  8. West Side Story Medley: a) Overture • b) Cool • c) Something's Coming • d) Somewhere
( 2:50)  9. What'd I Say
( 2:41) 10. Hoe Down
( 3:17) 11. Step Right Up
( 2:33) 12. Apples (aka Gino)
( 2:26) 13. Chicago
( 3:45) 14. In A Mellotone
( 2:42) 15. Never Will I Marry
( 2:45) 16. Lament For Lester
( 3:29) 17. Naptown Blues

1966 was a most illogical time for anyone to try forming a new big band but Buddy Rich beat the odds. This CD reissues the first album by the Buddy Rich Orchestra, augmenting the original Lp program with nine previously unissued performances from the same sessions. The arrangements (eight by Oliver Nelson along with charts by Bill Holman, Phil Wilson, Jay Corre, Don Rader and others) swing, put the emphasis on the ensembles and primarily feature Corre's tenor although trumpeter Bobby Shew, altoist Pete Yellin, pianist John Bunch and guitarist Barry Zweig are also heard from. Most of the songs did not stay in the drummer's repertoire long (other than Bill Reddie's adaptation of "West Side Story" and "Sister Sadie") and in fact only three members of the 17-piece orchestra would still be working for Rich a year later. An enjoyable and somewhat historic set. ~ Scott Yanow https://www.allmusic.com/album/swingin-new-big-band-mw0000179253

Personnel: Buddy Rich – drums; Gene Quill – alto saxophone, clarinet; Peter Yellin – alto saxophone, flute; Jay Corre, Martin Flax – tenor saxophone, clarinet, flute; Stephen Perlow – baritone saxophone, bass clarinet; Robert Shew, John Sottile, Yoshito Murakami, Walter Battegello – trumpet; Jim Trimble, John Boice – trombone; Dennis Good, Mike Waverley – bass trombone; John Bunch – piano; Barry Zweig – guitar; Carson Smith – bass

Swingin' New Big Band

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Tom Scott & The L.A. Express - Smokin' Section

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 69:05
Size: 160,3 MB
Art: Front

( 4:59)  1. Smokin' Section
( 4:48)  2. I'll Still Be Lovin' You
( 5:50)  3. Cruisin' Bayou
( 4:46)  4. Lonely One
( 6:07)  5. Ode to Billy Joe
( 5:35)  6. If I Could Cry
( 7:55)  7. A Short Visit
( 5:55)  8. Just Takin' A Walk
( 6:33)  9. Lost Again
( 6:10) 10. The Beat Is On
(10:23) 11. TCB in "E"

I am puzzled by the marketing of the new Tom Scott albumSmokin' Sectionas "Tom Scott & the L. A. Express," since there seems to be no identifiable group "feel" to this program, and the tunes were recorded with three different contingents of studio musicians. But this quibble aside, this is one of Scott's best albums in years. His traditional funky groove is present on several songs such as the opening title track (with Scott's trademark multi-sax-layered sound) and "Just Takin' a Walk" with horn section. Scott's past work on the lyricon is recalled on "Lost Again," only now he blows a wind synthesizer. "Lonely One" and "If I Could Cry" showcase Scott in sensitive ballad settings better than anything I can recall throughout his entire recording career. The compositions (six of the eleven are by Scott) are particularly inspired and well-realized, in contrast to the funky head charts we're used to hearing. 

The use of singer Patti Smyth on "Ode to Billie Joe" seems like curious choices on both counts, but it's surprisingly effective; Scott's tenor sax adorns the emotive delivery by Smyth. The closest thing to a "group sound" happens on the closing cut, which was recorded live at the Blue Note club in Tokyo; band alumnus Max Bennett's (who contributed some of the best tunes in the original L.A. Express' repertoire) "TCB in E" is therealsmokin' section of this disc. It kicks butt!!! (Windham Hill Jazz 11379) ~ Dave Hughes https://www.allaboutjazz.com/smokin-section-tom-scott-windham-hill-records-review-by-dave-hughes.php

Personnel: Tom Scott, saxophones, strings, horns, woodwinds, WX-5 wind synthesizer; Buzzy Feiten, Paul Jackson Jr., Dean Parks, Wah-Wah Watson, Robbie Nevil, guitar; Tim Heintz, Alan Pasqua, Robbie Nevil, Steven Dubin, keyboards; John Pena, Andre Berry, Chuck Berghofer, bass; Harvey Mason, Vinnie Colaiuta, drums; Lenny Castro, Alex Acuna, Ralph MacDonald, percussion; Gary Grant, Oscar Brashear, trumpet; George Bohannon, trombone; Pete Christlieb, tenor sax; Joel Peskin, baritone sax; Phil Perry, Patti Smyth, lead vocals; Robbie Nevil, Phil Perry, Lynne Scott, Terry Wood, backgound vocals.

Smokin' Section

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Victor Goines - Twilight

Styles: Clarinet And Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 76:35
Size: 176,0 MB
Art: Front

(11:16)  1. Insights
( 6:06)  2. Autumn
( 9:52)  3. Joie de Vivre
( 5:45)  4. After Hours
( 6:00)  5. Twilight (Bolero)
( 9:32)  6. One for My Brother
(10:26)  7. In the Midst of the Morning
( 3:44)  8. Precious Forever
( 2:08)  9. Broken Lines
( 5:52) 10. Anniversary
( 5:50) 11. Twilight (Ballad)

With the documentation of his latest cd "Twilight", Victor Goines leaves no doubt that he is one of the most important men working in the jazz idiom today. His compositions are a reflection of a man in search of the betterment of himself and humanity. At 50 years of age, Goines is at that intersection of life where knowledge and understanding have become one. From his travels and life experiences, he fully understands the weight of his aesthetic statement. In the jazz world, this aesthetic of self-discovery has rung true from thought to thought, decade to decade, and more importantly, heart to heart. With Twilight, Goines fully illustrates that he has learned his lessons well both on and off the bandstand. The men who join Goines on this recording are bringing fresh perspectives to the music by the sheer velocity of their playing and passion. On each tune, they bring a unique interpretation of the moment to the crest of bright illumination. Aaron Diehl is the pianist on this date and one of the brightest things to happen in jazz in recent years. On this recording, Diehl provides Goines with a creative accompanist who stokes the fire on a moment's notice. In the bass seat, Goines engages two of the best young bassists working in jazz today. Yasushi Nakamura, who appears on the tracks After Hours and Insights, is quickly becoming one of the first call players on the New York scene. Philip Kuehn, who appears on the subsequent tracks of "Twilight', is a native of Lucernemines, Pennsylvania and has worked with Wynton Marsalis, Roy Hargrove, Tony Bennett and Jonathan Batiste. The drummer, Marion Felder, has quickly become one of the most in-demand drummers in jazz. Felder currently sits in the drum chair of the Count Basie Orchestra. In addition to his quartet, Goines employs two Chicago-based musicians who bring unquestionable Latin fire to the proceedings. Conguero Ruben Alavez has been a Windy City stalwart for more than four decades. A constant presence on the Chicago music scene, he has worked with everyone from Ramsey Lewis to Chuchito Valdes. Felipe Fraga is also one of Chicago's most recognized percussionists. Originally from the Curitiba state of Brazil, Felipe has worked with a myriad of artists including Robert Irving III, Wallace Roney and Joe Vasconcelos.

"Twilight" is a collection of ten original compositions from Goines' pen that spans that range of human emotion. Regardless of the tempo, Goines and company deliver the goods from note to note and bar to bar. The set begins with 'Insights'. On this composition, Goines begins with his tenor saxophone, darkly romantic - simultaneously brooding and searching with profound elegance and élan. It features a middle section with a beautiful flamenco turnaround that's both arresting and sensuous to the core. 'Autumn' is a song that signals the time of year when the burnish of summer is coming to an end and leaves are turning sepia brown. 'Joie de Vivre' is one of the most beautiful ballads Goines has written and recorded in recent memory. This is a love song for hearts that beat as one. 'After Hours' is an uptown burner that features Goines' return to one of his first loves - the alto saxophone. It reminds this writer of the kind of songs that are always employed during jam sessions. 'Twilight' is taken in two distinctly views. The first is a bolero, which illustrates an excursion into the beauty of Cuba. The second is submitted as a ballad and serves as the finale of the recording. It presents Goines in full romantic posture and reflection. 'One For My Brother' is a majestic jazz waltz that evokes similar feeling that John Coltrane brought to so many of his compositions. From the first notes, the spiritual vibe is unmistakable. 'In the Midst of the Morning' is another one of Goines' recent compositions that shows his ability to mesh human emotion through music. Goines is a master tunesmith. Much like Benny Golson and Jimmy Heath, once you hear his songs, you'll find yourself whistling them long after first hearing them. 'Precious Forever' is a beautiful ballad that Goines penned almost seven years ago. 

The statement is both tender and loving an exquisite example of Goines' ballad mastery via the sound of Ben Webster and Sonny Rollins. 'Broken Lines' is a bebop line which sounds like Bechet meets Monk. The tune is very reminiscent of the great Alvin Batiste - both in its spirit and compositional complexity. A descending line of 4/4 counterpoint, Goines plays inside and out while Diehl feeds block chords of dissonance over the blues frame of the composition. 'Anniversary' is a celebration of life via the Caribbean groove line. This tune deftly illustrates the impression of Goines' visits to Brazil and its cultural ties to his naive New Orleans. With this recording, Victor Goines clearly illustrates that he has spent a great deal of time in the woodshed - not only sharpening his battle axes, but consciously melding his life experiences into a cogent statement that is both bold and intoxicating. Yes, Victor Goines is one of the premiere thinkers in jazz music. And after listening to "Twilight", I'm quite sure you'll agree he has a lot to say as well. 

~ Wesley Norris https://store.cdbaby.com/cd/victorgoines1

Personnel: Victor Goines - clarinet, soprano saxophone, alto saxophone, tenor saxophone; Aaron Diehl - piano;  Yasushi Nakamura - bass; Philip Kueh - bass;  Marion Felder - drums

Twilight

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Bill Evans - Half Moon Bay

Styles: Piano Jazz 
Year: 1998
File: MP3@320K/s
Time: 52:40
Size: 122,1 MB
Art: Front

(0:41)  1. Introductions
(6:25)  2. Waltz For Debby
(5:46)  3. Time Remembered
(6:05)  4. Very Early
(4:47)  5. Autumn Leaves
(5:17)  6. What Are You Doing The Rest Of Your Life
(5:12)  7. Quiet Now
(6:35)  8. Who Can I Turn To (When Nobody Needs Me)
(4:47)  9. How My Heart Sings
(6:59) 10. Someday My Prince Will Come

It's hard to believe pianist Bill Evans (1929-1980) has been gone nearly as many years as his interesting recording career lasted. In that time, Evans's influence has become one of the most pervasive of twentieth century pianists and he endures as one of the most distinctive of jazz practitioners. In addition to the many known and famed recordings Evans made, many more that were taped privately or never issued are now beginning to become available. Half Moon Bay is one such previously unavailable recording that catches the Evans trio live at the Bach Dancing and Dynamite Society, an intimate living-room style club in Half Moon Bay, California, on November 4, 1973. On this beautiful and welcome occasion, Evans is heard in the familiar long-time company of bassist Eddie Gomez and drummer Marty Morell. Clearly the trio is relaxed and enjoying themselves and, as the notes declare, "playing beyond themselves." 

They're introspective and intuitive by nature. But here they seem to revel in this warm, inviting atmosphere and explore each other's music beautifully together. The disc begins with a more playful than usual version of Evans's well-known "Waltz for Debby," and displays that ever-evolving Evans essence on expert renditions of "Very Early," "Autumn Leaves," "Quiet Now," "Who Can I Turn To" and "Someday My Price Will Come." A special treat here is the trio's cover of Earl Zanders' (writer of "Elsa," included here and "How My Heart Sings, which is not here) "Sareen Jurer," a song Evans didn't seem to record elsewhere and a prominent showcase for bassist Gomez's entrancing bowed solo. Gomez is, in fact, prominently featured throughout, taking marvelous solos on "Autmns Leaves" and "Who Can I Turn To" too. 

Well recorded and produced, Half Moon Bay is a welcome addition to the burgeoning Bill Evans catalog and presents a compelling argument for the notability of this trio, featuring bassist Eddie Gomez, as one of the pianist's three best. Recommended. 

~ Douglas Payne https://www.allaboutjazz.com/half-moon-bay-bill-evans-fantasy-jazz-review-by-douglas-payne.php

Players: Bill Evans: piano; Eddie Gomez: bass; Marty Morell: drums.

Half Moon Bay

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Darius Brubeck - Years Ago

Styles: Piano Jazz
Year: 2016
File: MP3@320K/s
Time: 55:11
Size: 127,2 MB
Art: Front

(6:02)  1. Autumn in Our Town
(6:53)  2. Years Ago
(5:43)  3. In the Spanish Mode
(5:31)  4. For Iola
(4:31)  5. The Rainbow
(5:07)  6. October
(4:46)  7. I Saw Your Father
(7:06)  8. Mamazala
(5:39)  9. More Than You Know
(3:48) 10. Caravan

The title track "Years Ago" by Duke Makasi implies reflection and moving on. We often play this worldly, wistful ballad and also “Mamazala”, written by Zim Ngqawana while still a student. My own South African tune “The Rainbow” was written in the 80’s when I was performing and teaching there. It celebrates the defiantly diverse jazz club of the same name. The tunes "October" and “In the Spanish Mode” are from the 70’s and Matt Ridley’s distinctive bass sound sets the mood for both. Further back in time are Dave Brubeck’s “Autumn in Our Town” and the standard, “More Than You Know” framing O’Higgins’ moving soliloquy. My father’s “For Iola” is a tribute to my mother and my new composition “I Saw Your Father” is dedicated to the many people who tell me they saw Dave ‘years ago’. This quartet has been on the road for 10 years, and the ‘caravan’ moves on with fine and fleet brushwork from Wesley Gibbens. Darius Brubeck October 2016 https://store.cdbaby.com/cd/dariusbrubeck6

Personnel: Darius Brubeck (piano); Dave O’Higgins (saxes); Matt Ridley (bass); Wesley Gibbens (drums)

Years Ago

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Rigmor Gustafsson - Come Home

Styles: Vocal
Year: 2019
File: MP3@320K/s
Time: 53:38
Size: 123,5 MB
Art: Front

(3:49)  1. Big Yellow Taxi
(5:35)  2. I Think of You
(4:36)  3. Take a Little Turn
(4:29)  4. The Light Years
(5:14)  5. This Time
(3:53)  6. Wuthering Heights
(4:22)  7. Twist in My Sobriety
(4:43)  8. Lovely
(5:14)  9. Winter Doesn't End
(4:05) 10. Enjoy the Day
(7:33) 11. Come Home

Come Home marks Swedish jazz vocalist Rigmor Gustafsson’s return to the studio after a four-year hiatus. Working with a cadre of longtime lyricists, she funnels a deluge of new songs into a creative reservoir edged by the fabulous trio of Jonas Östholm on piano, Martin Höper on bass, and Chris Montgomery on drums. Behind Gustafsson’s technical prowess beats a troubadour’s heart. Songs like “I Think Of You” and “Take A Little Turn” crosshatch sly chord changes with unfiltered cadences and find her adapting to various subject matter with ease. Her band is equally responsive, softening her urgencies and heightening her melancholies. Guest harpist Margareta Bengtsson adds sparkle to “The Light Years,” one of the album’s strongest turns, while Östholm’s pianism draws a bold underline from start to finish. Much of the lyrical content plays with time, as over the gorgeous colorations of Höper and Montgomery on “Winter Doesn’t End” and “Enjoy The Day.” Whether in the upbeat bossa nova of “Lovely” or the anthemic title track, Gustafsson handles moods with distinct personality, especially on the set’s lovingly arranged covers. Both Joni Mitchell’s “Big Yellow Taxi” and Kate Bush’s “Wuthering Heights” highlight Gustafsson’s talent for simultaneously mimicking her source and being herself, but nowhere so deeply as on “Twist In My Sobriety,” which turns Tanita Tikaram’s classic into a plush groove. Featuring the accordion of Lisa Långbacka, it pays tribute to an era not so much bygone as buried under our current malaise. Tyran Grillo http://downbeat.com/reviews/detail/come-home

Come Home

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David Sanborn - Timeagain

Styles: Saxophone Jazz
Year: 2003
File: MP3@320K/s
Time: 51:47
Size: 119,3 MB
Art: Front

(7:12)  1. Comin' Home Baby
(5:47)  2. Cristo Redentor
(4:51)  3. Harlem Nocturne
(5:01)  4. Man From Mars
(3:17)  5. Isn't She Lovely
(5:35)  6. Sugar
(5:36)  7. Tequila
(3:36)  8. Little Flower
(6:29)  9. Spider B.
(4:20) 10. Delia

Master saxophonist David Sanborn makes an astounding label debut with Time Again, and once again reminds his fans that he is firmly established as one of jazz's best alto saxophonists. Joined by an all-star ensemble of master musicians that includes Russell Malone on guitar, Steve Gadd on drums, Christian McBride on bass, Mike Mainieri on vibraphone, and Randy Brecker on trumpet and flugelhorn, among others, David Sanborn delves deep into his seemingly never-ending repertoire to bring his distinctive sound to a variety of pop and jazz standards. Opening with a super-funky rendition of "Comin' Home," Sanborn reveals the culmination of hard work and staying power with a powerful statement of the melody which seamlessly segues into awesome solos taken by Mainieri and McBride. They get even better on "Cristo Redentor," offering listeners another side of this infamous gospel jazz piece made famous by Donald Byrd. With soulful, innovative lines and a nighttime groove, Sanborn plays a reflective, sincere set that is destined to revive this song to the level not heard since the '70s, when it was the theme song for several late-night radio programs. Ditto for "Harlem Nocturne," which has become one of the most recognized television theme songs in the past decade. Sanborn, however, lifts it to another level with his dynamic 21st century outlook and brilliant improvisations. The all-masterful Time Again has something for everyone. It's romantic, it's funky, it's laid-back, and it's definitely one that should be in your music collection. In a sense, David Sanborn has pulled off one of the best recordings of his career. ~ Paula Edelstein https://www.allmusic.com/album/time-again-mw0000392466

Personnel: David Sanborn - saxophone, piano; Olivia Koppell - viola; Jesse Levy - cello; Caryl Paisner - cello; Gil Goldstein - piano, arrangements; Ricky Peterson - keyboards, synthesizer programming; Mike Mainieri - vibraphone; Christian McBride - bass; Steve Gadd - drums; Luis Quintero - percussion; Lani Groves - vocals; David Lasley - vocals; Arnold McCuller - vocals; Valerie Pinkston - vocals

Timeagain

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Dannah Garay - My Miracle

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 52:14
Size: 120,9 MB
Art: Front

(3:33)  1. What We've Shared
(3:52)  2. My Miracle
(3:51)  3. In Love
(3:56)  4. Sunshine
(4:37)  5. There's a Place
(3:58)  6. The Road I Know
(3:11)  7. Music Itself
(5:40)  8. Once You Came
(4:56)  9. Spinning Around
(4:56) 10. Always There
(5:13) 11. Mr. Swing
(4:25) 12. Let Me Be Your Angel

With this new album Dannah Garay gets the title of "one of the best jazz singers in Mexico" with her previous album "From you to you" a tribute to Nat "King" Cole, she got the attention of the international press. https://store.cdbaby.com/cd/dannahgaray2

Personnel:  Dannah Garay: Voice; Alex Mercado: Piano; Agustín Bernal: Double bass; Gabriel Puentes: Drums

My Miracle

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Terry Gibbs - Hollywood Swing

Styles: Vibraphone Jazz
Year: 2017
File: MP3@320K/s
Time: 66:36
Size: 153,9 MB
Art: Front

(7:09)  1. Townhouse 3
(5:00)  2. Those Eyes, Those Lips, That Nose, That Face, That Girl
(4:50)  3. Chant Of Love
(6:05)  4. That Chumley Feeling
(6:20)  5. The Austin Mood
(4:21)  6. Nina
(6:14)  7. Blues For Brody
(7:41)  8. Little Girls
(6:44)  9. Tippie
(5:35) 10. No Name Theme
(6:32) 11. Now’s The Time To Groove’Em Up

A stellar sextet led by vibraphonist Terry Gibbs delivers a dozen swing tunes recorded in 1978 for the private Jazz A La Carte label, but never before released. Gibbs fuels the all-star session with his contagiously enthusiastic “Yeah, yeah, yeah,” which is still his mantra when leading his current Dream Band. 

The colossal sound of the late Bob Cooper’s tenor sears a slow-swinging “Those Eyes, Those Lips, That Nose, That Face, That Girl,” adds depth to “Blues for Brody” and burns through “Smoke ‘Em Up.” Conte Candoli’s trumpet is bold and sassy on “Townhouse 3,” punches up “The Austin Mood” and accents the East-Indian flavor of “Chant of Love.” Gibbs is at his best on “Now’s the Time to Groove,” solidly backed throughout by pianist Lou Levy (on a studio piano that’s a bit out of tune), bassist Bob Magnusson and drummer Jimmie Smith. https://jazztimes.com/reviews/albums/terry-gibbs-hollywood-swing/

Personnel:  Terry Gibbs - vibe; Lou Levy - piano; Bob Magnusson - bass; Jimmie Smith - drums; Bob Cooper - tenor sax; Conte Candoli - trumpet

Hollywood Swing

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Ralph Peterson - The Duality Perspective

Styles: Jazz, Post Bop
Year: 2012
File: MP3@320K/s
Time: 67:46
Size: 156,7 MB
Art: Front

(6:57)  1. One False Move (Fo'tet)
(7:51)  2. 4 in 1 (Fo'tet)
(5:47)  3. Addison and Anthony (Fo'tet)
(5:42)  4. Bamboo Bends in a Storm (Fo'tet)
(5:53)  5. Princess (Fo'tet)
(6:21)  6. Coming Home (Sextet)
(8:38)  7. Impervious Gems (Sextet)
(5:30)  8. The Duality Perspective (Sextet)
(6:57)  9. You Have Know Idea (Sextet)
(8:06) 10. Pinnacle (Sextet)

Balance is often overlooked in music criticism, yet it's such an important aspect in music-making and life. Light doesn't exist without dark, bold only takes shape when placed next to bland and earthbound realities are only truly understood by those who also know how to take flight. Drummer/educator Ralph Peterson understands this better than most, and The Duality Perspective documents his balanced outlook for all to hear. This album is really two records in one, as Peterson splits the program between the latest incarnation of his two decade-old Fo'tet and his sizzling sextet, but the veteran maintains a sense of presentational continuity across these ten tracks. Part of the reason for this has to do with the bonds formed between the musicians and a shared philosophical outlook on how music should be made. The large majority of the players on this date have come under the expert tutelage of Peterson in some way, shape or form, and their connection and affection shows. The other key to consistency here, which goes beyond the borders of either band, is Peterson himself. His pulse is the real connective tissue between the sounds of both groups. His drumming is always informed by a panoramic understanding of music, as he takes in the big picture and the small details at the same time. Peterson also posits that contrast is key to the realization of possibilities in performance, and understands that music, like life, can be a thing of beauty one minute and a slap in the face the next. He possesses a toolkit full of technique and taste that he uses to put every piece in good working order. The clarinet and vibraphone-focused Fo'tet finds its footing with the swing-funk hybrid feel of "One False Move," takes Thelonious Monk's music to new places with an odd-metered Latin-ized look at "4 in 1," and wears its collective heart on its sleeve during "Addison And Anthony," which Peterson wrote for his twin grandchildren. The sextet is more typical in construction, with bass, drums, piano and occasional percussion in the back lot and saxophone(s) and trumpet out front, but the music still works off of the same sense of organic motion flexible, yet focused that's felt on the Fo'tet material. Saxophonists Tia Fuller and Walter Smith III sound terrific in this setting, but trumpeter Sean Jones is the undisputed star. His work on the final tracks "You Have Know Idea" and "Pinnacle"" takes the music to new heights.  Peterson proudly displays the roots of his artistry on the album cover by name-checking mentors/heroes, but the music isn't about looking back at the past; The Duality Perspective thrives on the here and now. ~ Dan Bilawsky https://www.allaboutjazz.com/the-duality-perspective-ralph-peterson-onyx-music-label-review-by-dan-bilawsky.php

Personnel: Ralph Peterson: drums; Joseph Doubleday: vibraphone; Alexander L.J. Toth: bass; Felix Peiki: clarinet, bass clarinet; Luques Curtis: bass; Zaccai Curtis: piano; Sean Jones: trumpet; Walter Smith III: tenor saxophone; Tia Fuller: alto saxophone, soprano saxophone; Bryan Carrott: marimba (2); Reinaldo Dejesus: percussion (2, 4, 7, 9); Edwin "Eddie" Bayard: percussion (7, 10); Victor Gould: piano (9, 10).

The Duality Perspective

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Ronnie Cuber - Straight Street

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 71:20
Size: 163,7 MB
Art: Front

(11:01)  1. Groovin' High
(10:24)  2. Miles' Mode
( 9:18)  3. Gloria's Step
(10:17)  4. Summertime
( 9:04)  5. Spiral
(10:12)  6. All the Things You Are
( 8:58)  7. Straight Street
( 2:03)  8. Battery Blues

A searing session of hardbop of the sort that baritone saxophonist Ronnie Cuber hardly got to cut in his early days as a leader but which has really been his strong calling card in more recent decades! We love Cuber in a mode like this and the tracks are all quite long, and very open with a quality that's similar to some of the live material he's done for the Steeplechase label marked with the same sort of fluid, inventively-blown solos throughout! Ronnie gets plenty of time in the lead as you might find on a Dexter Gordon 70s session for the label but the rest of the group is great too, and features George Colligan on piano, Cameron Brown on bass, and Joe Farnsworth on drums. Titles include "Mile's Mode", "Gloria's Steps", "Summertime", "Spiral", "Straight Street", and "Battery Blues".  © 1996-2019, Dusty Groove, Inc. https://www.dustygroove.com/item/906628/Ronnie-Cuber:Straight-Street

Personnel: Ronnie Cuber (baritone saxophone), George Colligan (piano), Cameron Brown (bass), Joe Farnsworth (drums).

Straight Street

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Charles Tolliver - Paper Man

Styles: Trumpet Jazz
Year: 1968
File: MP3@320K/s
Time: 39:26
Size: 90,5 MB
Art: Front

(4:26)  1. Earl's World
(9:39)  2. Peace With Myself
(5:51)  3. Right Now
(6:08)  4. Household Of Saud
(7:08)  5. Lil's Paradise
(6:11)  6. Paper Man

Also released by the Freedom label, this was trumpeter Charles Tolliver's full-length album as a leader. One of the top brassmen to emerge during the era (although he never quite lived up to his potential), Tolliver had the fat tone of a Freddie Hubbard, the adventurous spirit of Woody Shaw and a somewhat original conception of his own that bridged the gap between hard bop and the avant-garde. 

He performs six of his originals with pianist Herbie Hancock, bassist Ron Carter, drummer Joe Chambers and (on three of the selections) altoist Gary Bartz. This explorative and stirring music is well worth investigating. ~ Scott Yanow https://www.allmusic.com/album/paper-man-mw0000874948

Personnel: Charles Tolliver - trumpet, producer, composer; Herbie Hancock - piano; Ron Carter - bass;  Joe Chambers - drums; Gary Bartz - alto saxophone

Paper Man

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Mike Nock, Marty Ehrlich - The Waiting Game

Styles: Piano, Clarinet And Saxophone Jazz
Year: 2000
File: MP3@320K/s
Time: 55:39
Size: 129,1 MB
Art: Front

(7:40)  1. The Waiting Game
(5:22)  2. Reconciliations
(5:37)  3. The Duke
(3:31)  4. Break Time
(5:34)  5. El Testamen de Amelia
(5:38)  6. Amhran Pheader Breathnach
(2:09)  7. 3 Postcards: Three Postcards: # 1
(1:50)  8. 3 Postcards: Three Postcards: # 2
(1:52)  9. 3 Postcards: Three Postcards: # 3
(4:29) 10. Like Spring
(3:00) 11. In The Moment
(5:01) 12. Jacanori
(3:51) 13. Snowy Morning Blues

Longtime friends and jammates since the '70s, Mike Nock and Marty Ehrlich finally got together to document their shared values. While Nock's witty notions are clear on the piano, it is Ehrlich who provides the surprises whether on alto or soprano sax, clarinet or bass clarinet. They form a partnership that languishes in subtleties and shaded nuance, well within modern mainstream or creative improvised guidelines, with occasional twists. Of the 13 selections there are two standards: Dave Brubeck's light swinging, clarinet driven evergreen tribute to Duke Ellington, "The Duke," and James P. Johnson's immortal "Snowy Morning Blues," with Ehrlich's potent alto inspiring Nock's classic striding. Two traditional folk melodies are also adapted; the pensive, hymnal, bass clarinet based "El Testamen de Amelia," and "Amhran Pheader Breathnach," with heavy modal piano and soprano waltzing along. Other 3/4 numbers include the spirit waltz for Ehrlich's soprano, "Reconciliations," and the more quiet, spaced notes by provided by alto sax or piano mixed with silence for emphasis in "In the Moment." Their most patient construct is prevalent on the title track a pained, longing soprano/piano duet laced with gut wrenching discourse and a reggae feel midway through, while the lithe alto sax bop of "Like Spring," playful bass clarinet call and response in "Jacanori," and the spontaneous time-shifting and romping improv that takes place during "Break Time" provide interesting contrasts. More cutting edge is the mini-suite "Postcards," with a quiet, long toned clarinet, inside piano string trade-outs, giddy and reckless abandon in the B section, and distinct point/counterpoint for resolution. These two brilliant musicians need little critical comment, their musicianship stands on its own high merit. Recommended. ~ Michael G.Nastos https://www.allmusic.com/album/the-waiting-game-mw0000055099

Personnel: Piano – Mike Nock; Alto Saxophone, Bass Clarinet, Clarinet – Marty Ehrlich.

The Waiting Game

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John Scofield - EnRoute

Styles: Guitar Jazz
Year: 2004
File: MP3@320K/s
Time: 72:57
Size: 167,8 MB
Art: Front

( 8:24)  1. Wee
( 7:25)  2. Toogs
( 6:30)  3. Name That Tune
( 9:26)  4. Hammock Soliloquy
( 9:01)  5. Bag
( 6:39)  6. It Is Written
( 6:49)  7. Alfie
( 7:23)  8. Travel John
(11:15)  9. Over Big Top

Some artists are revolutionary, making periodic stylistic leaps that herald in a completely new direction or approach. Others are more evolutionary, with a gradual development that often unfolds over a number of years. John Scofield clearly falls in the second camp; while the context of his albums may vary wildly from one to the next, the actual meat of his style has matured at such a slow and steady pace that differentiation over the short term might be difficult to discern. But compare one of his earlier albums, like 1981's live trio recording Out Like a Light , with his new trio release, the live EnRoute , and you'll find an artist who has, in fact, made quantum leaps in his growth as a player, writer and bandleader. The two records share another common element, that of bassist Steve Swallow who, along with drummer Bill Stewart, lends an energy to the proceedings that is characteristic of many of Scofield's bands. But whereas Scofield has spent the last couple of years on jam-band turf with his younger quartet, this record returns him solidly to jazz territory, although with grooves from the New Orleans grease of "Hammock Soliloquy" and "Over Big Top" to the up-tempo swinger "Travel John"; from the straight-ahead blues of "Bag" to the tender reading of the Bacharach/David standard "Alfie," this is hardly a mainstream set. Aside from a clearly more mature linear conception, since the early '90s Scofield has also grown considerably as a chordal soloist. 

The roots of this style go as far back as his early '80s trio with Swallow, but his harmonic sense is now just that much deeper. Recorded during a weeklong engagement at New York City's Blue Note in December of 2003, the album manages to capture the energy that was clearly in the room at the time. This, in no small part, thanks to Stewart, who continues to be as inventive as always; of his generation he is arguably the drummer who most ably combines a solid footing in tradition with a more progressive rhythmic edge. But everyone rightly smokes. Scofield, armed only with a guitar, amp and whammy pedal, his one nod to the more effects-laden work with his quartet, burns through Swallow's contrapuntal "Name That Tune"; Swallow blends an ability to anchor with inciting Scofield to further heights; the riff-based "Over Big Top" gradually builds in intensity, never letting up over its eleven minute duration. Scofield has managed to attract a whole new generation of listeners to his music through his association with his current jam-band quartet. And the good news is that the success of that project has resulted in those same listeners checking out more straightforward projects like EnRoute. In a time where jazz is a marginalized genre, that's a remarkable achievement. ~ John Kelman https://www.allaboutjazz.com/enroute-john-scofield-verve-music-group-review-by-john-kelman.php

Personnel: John Scofield: guitar; Steve Swallow: electric bass; Bill Stewart: drums.

EnRoute

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Sarah McKenzie - Secrets of My Heart

Styles: Vocal And Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 57:57
Size: 133,8 MB
Art: Front

(4:39)  1. You Only Live Twice
(6:09)  2. You and the Music
(3:16)  3. De Nada
(4:17)  4. Secrets of My Heart
(3:34)  5. It's All About Love
(5:17)  6. Till the End of Time
(4:40)  7. You Must Believe in Spring
(4:44)  8. A Beautiful Friendship
(3:58)  9. I Fell in Love with You
(5:28) 10. Come on Home
(3:12) 11. My True Love Is You
(8:38) 12. The Gershwin Medley

Australian pianist, singer, composer Sarah McKenzie became well established globally with her Impulse! 2017 Paris in the Rain and now returns on an independent label with the half originals/half covers Secrets of My Heart. She reunites with noted Australian composer, arranger, and events music director Chong Lim who produced her first two projects. This was recorded in New York City with a core quartet of French bassist Pierre Boussaguet, guitarist Dan Wilson and drummer Donald Edwards. Tenor saxophonist Troy Roberts, vibraphonist Warren Wolf, cellist Judy Redhage, flutist Danilo Caymmi and percussionists James Mack and Brazilian percussionist Rogerio Bocatto also support McKenzie on select tunes. Both Wilson and Roberts are from Joey DeFrancesco’s band. There are plenty of gems in her originals, but we’ll take the covers first. She opens with John Barry and Leslie Bricusse’s “You Only Live Twice” ( a theme from the James Bond film of the same name) that showcases both her vocal talents and sprightly piano touch. She delivers her interpretation of the Stanley Styne/Donald Kahn classic “A Beautiful Friendship” and shows her bluesy side, with scintillating guitar from Wilson, on Dinah Washington’s “Come on Home.” The closing track is a dazzling piano medley of her Gershwin favorites, snippets of “Rhapsody in Blue,” “Summertime,” “The Man I Love,” and “I Got Rhythm.” McKenzie is grateful for the opportunity to travel globally to play her music and nods to the iconic composer with whom she spent time in France, Michel Legrand, as she covers “You Must Believe in Spring.” McKenzie hails from Melbourne, studied at Boston’s Berklee College of Music and began her career in Europe, first in Paris and then in London. 

Steeped with strong knowledge of the Great American Songbook, she says that this album reveals her time spent in Europe from a harmonic standpoint, pointing, as one example to Legrand’s style being influenced by Debussy and Ravel. Now to her originals, or as McKenzie says, “Ultimately this album is about me embracing the unknown and going with love.”  The title track, with its supple bossa nova rhythm and large backing cast is about reticence while being pulled in multiple directions. Using rather dark imagery, here is a sample of her lyrics  “Kept in a box/Locked in a darken room/Buried beneath the places where roses bloom/Sinking so slowly/Drifting apart/Just like the secrets of my heart.” She alternates between this type of dark imagery and more hopeful messages, the latter not coming quite as naturally to her. She does render her “I Fell in Love with You” in upbeat fashion with glistening piano and wonderful guitar from Wilson. Wilson and McKenzie shine again on the guitar/vocal duet “My True Love Is You,” a pensive ballad, showcasing her sultry side. Her other ballad, also an original is “You and the Music” which she cites as the album’s anthem. While that one channels Cole Porter, she challenges herself with putting lyrics to a fast tempo bebop tune in the bluesy “It’s All About Love.” Her favorite track is the Brazilian tinged “’Till the End of Time,” written in Rio de Janeiro where she collaborated with musicians who has played with Jobim. It features some stirring tenor from Roberts. She also wrote “DeNada” in Brazil and it has one of her strongest piano solos. McKenzie is exploring with a fearless eclectic approach. With her gift for composing, her sparking piano work and elegant vocal delivery, she seems right at home with these accompanists. ~ Jim Hynes https://www.makingascene.org/sarah-mckenzie-secrets-of-my-heart/

Secrets of My Heart

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Lew Tabackin - Dual Nature

Styles: Saxophone And Flute Jazz 
Year: 2016
File: MP3@320K/s
Time: 45:24
Size: 104,6 MB
Art: Front

(7:30)  1. Euterpe
(5:53)  2. Yellow Is Mellow
(9:44)  3. Out Of This World
(9:28)  4. No Dues Blues
(6:56)  5. My Ideal
(5:50)  6. Russian Lullaby

The dual nature of Lew Tabackin as an otherworldly flutist and straight-ahead post-bop tenor saxophonist does merge into a common ground that can be simply spelled out as brilliant. Transcending his influences while also remaining true to them, Tabackin devotes three tracks apiece to his main instruments, alternating originals and standards with an outstanding quartet featuring the equally extraordinary pianist Don Friedman, reliable drummer Shelly Manne, and his favored bassist, Bob Daugherty. Hardly a split personality, it's more two sides of a coin in theory, as any jazz musician as extraordinary as Tabackin must explore his inner and outer soul. The flute side of his persona is more pronounced, exotic, atmospheric, and tinged with vibrato-drenched Asian flourishes. The impressionist Greek-based theme of pianist Bill Mays' "Euterpe" (goddess of music and poetry) sets the tone for this multicultural stance, a statuesque, somewhat busy, Rodin-type mysterious bronzed melody suggesting more than it states. Wife Toshiko Akiyoshi's big-band chart "Yellow Is Mellow" strips away the horns, leaving Tabackin's flute to muse lightheartedly in an easy swinging mood. Then "Out of This World" ramps up into a furious bop with some unusual off-minor vamps from Daugherty, with harmonies quickly sweetened over nearly ten minutes. The tenor side of Tabackin is easily identifiable on his original "No Dues Blues," a showstopping hard bopper with the influence of Sonny Rollins as the focal point, starting with a drum/sax duet, then rambling on. The ballad "My Ideal" offers ultimate tenderness, as Tabackin expresses the lineage between Coleman Hawkins, Ben Webster, and especially Lester Young. Again like Rollins, Irving Berlin's "Russian Lullaby" has that "Airegin" swagger of Rollins down pat fluid, warm, and effusive hard bop at its best. There's no need to overemphasize the impressive qualities Tabackin and his band possess, as it's all here for appreciative listeners to enjoy on this marvelous recording that has been issued on CD by Inner City one of two excellent efforts from this time period. ~ Michael G.Nastos https://www.allmusic.com/album/dual-nature-mw0000875878

Personnel: Tenor Saxophone, Flute, Alto Flute – Lew Tabackin; Bass – Bob Daugherty; Drums, Bells, Waterphone – Shelly Manne; Piano – Don Friedman

Dual Nature

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Pepper Adams - Walk with Me

Styles: Saxophone Jazz
Year: 2018
File: MP3@320K/s
Time: 103:53
Size: 240,2 MB
Art: Front

(3:53)  1. My One and Only Love
(5:55)  2. Muezzin
(6:26)  3. Minor Mishap
(4:58)  4. Blackout Blues
(6:23)  5. Unforgettable
(5:27)  6. Apothegm
(8:12)  7. 5-0-2-1
(6:03)  8. Freddie Froo
(5:50)  9. Alone Together
(8:30) 10. Baubles, Bangles and Beads
(5:21) 11. Your Host
(4:45) 12. You Turned the Table on Me
(8:42) 13. High Step
(5:36) 14. Cottontail
(6:40) 15. Yourna
(5:57) 16. Afternoon in Paris
(5:09) 17. You're My Thrill

Pepper Adams was one of hard bop's most significant baritone saxophonists. His dark, hearty tone on the horn and driving rhythmic sense provided the antithesis to the lighter, floating (and consequently more popular) styles of Gerry Mulligan. His family moved to Rochester, New York when he was young and in that city he began his musical efforts. That said his family's later move to Detroit, Michigan, a suburb of which was his birthplace, would be more important to his career. This occurred when he was sixteen and in Detroit he met several musicians who would later be important to his career, one example being Donald Byrd. He also became interested in Wardell Gray's approach to the baritone saxophone and indicates he and Harry Carney were his baritone influences. 

He also spent time in a United States Army band and briefly had a tour of duty in Korea. He later moved to New York City where he briefly worked in 1958 with Benny Goodman and for a much longer, if sporadic, period with Charles Mingus. He later became a member of the Thad Jones/Mel Lewis Big Band from 1965 to 1978. He also co-led a quintet with trumpeter Donald Byrd with whom he recorded a live date, 10 to 4 at the 5 Spot featuring Elvin Jones. He died of lung cancer in 1986. Adams has influenced many notable jazz baritone sax players, including Scott Robinson and Vanguard Jazz Orchestra bari chair holder Gary Smulyan. https://musicians.allaboutjazz.com/pepperadams

Walk with Me

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