Ahmad Jamal - Emerald City Nights: Live At The Penthouse 1963-1964, 1965-1966

Emerald City Nights Live At The Penthouse 1963-1964 CD 1
Styles: Piano Jazz, Bop
Year: 2022
Time: 34:23
File: MP3 @ 320K/s
Size: 78,9 MB
Art: Front

(10:29) 1. Johnny One Note
( 7:20) 2. Minor AdJustments
( 6:06) 3. All Of You
(10:27) 4. Squatty Roo

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Emerald City Nights Live At The Penthouse 1963-1964 CD 2
Styles: Piano Jazz, Bop
Year: 2022
Time: 56:27
File: MP3 @ 320K/s
Size: 129,5 MB
Art: Front

(12:17) 1. Bogota
( 7:45) 2. Lollipops & Roses
( 8:16) 3. Tangerine
( 8:58) 4. Keep On Keeping On
(13:48) 5. Minor Moods
( 5:21) 6. But Not For Me

Emerald City Nights Live At The Penthouse 1963-1964 CD 1, CD 2

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Emerald City Nights Live At The Penthouse 1965-1966 CD 1, CD 2

Styles: Piano Jazz

Year: 2022
File: MP3@320K/s
Time: 78:02
Size: 179,5 MB
Art: Front

(15:06) 1. I Didn’t Know What Time It Was
( 5:17) 2. Who Can I Turn To?
(10:33) 3. My First Love Song
( 9:26) 4. Feeling Good
(11:46) 5. Concern
( 5:43) 6. Like someone In Love
( 8:36) 7. Invitation
( 8:43) 8. Poinciana
( 2:47) 9. Whisper Not

Let's entertain the undisputed truth that Ahmad Jamal, all ninety-two years of him, is quite possibly the coolest cat on a warming planet and these companion double sets Emerald City Nights: Live at the Penthouse (1963-1964), and Emerald City Nights: Live at the Penthouse (1965-1966) take on a rather folklorish, must-have status.

With the blessing of His Coolness Jamal himself, Grammy-nominated producer and musical gumshoe Zev Feldman christens his new imprint, Jazz Detective, (itself a division of the Feldman-founded Deep Digs Music Group) in high, high fashion he has set as a standard with other crazy good releases by Cannonball Adderley Swingin' In Seattle Live At The Penthouse 1966-67 (Reel to Reel Recordings, 2019) and Bill Evans Some Other Time: The Lost Session From the Black Forest (Resonance Records,2016) just to name two of many.

Stunning on every possible sensory level audio, graphics, liner notes, performance both sets (a third set of recordings from the Penthouse, 1966-1968 is planed for future release) simultaneously captures Jamal and his cohorts in hot performance mode and sets them free to be heard like all greats should be: At the top of their game. Riding the frothy crest of the jazz world at the time, Jamal, along with bassist Richard Evans and drummer Chuck Lampkin (Disc 1-2 '63) and bassist Jamil Sulieman Nasser (Disc 3-4 '63) set the fires burning early. Rodgers & Hart's show tune "Johnny One Note" gets a fierce recalculation as Jamal creates off the cuff, on the spot, in synch to a whole other rascal level of show tune. This here is what live jazz, on any given moment of any night in any city or backwater, is and should be. Genius revealed. Genius shared.

Evans's romping, "Minor Adjustments" rolls from the stage with a spry and wiry minimalism too impossible (or too improbable) to describe. Let's just say cool abounds. Cool abides and Johnny Hodges's wild ranging "Squatty Roo" is a fast-paced testament to that. Evans' "Bogota" with Nassar on bass for this 3/26/64 gig, snaps and recoils making for a swaying, rhythmic adventure. Jamal throughout pulls from Art Tatum, Erroll Garner, as well as his contemporary Ramsey Lewis, whose insights into Jamal and the times they played accentuates the beautiful packaging, as do essays and analysis by Hiromi, Kenny Barron, Jon Batiste, Marshall Chess , Penthouse broadcast engineer Jim Wilke, Feldman, Aaron Diehl and others in the know.

Emerald City Nights: Live at the Penthouse (1965-1966) kicks off with another Rodgers/Hart show tune, "I Didn't Know What Time It Was" and the tune's inherent whimsy, when fused with Jamal's eccentric economy and the crackling pace of Nasser and Lampkin just skyrockets and ricochets from one end of the Penthouse to another. Hold tight as drummer Vernel Fournier engages in some playful wrangling to wrest control from Jamal on the pianist's own "Concern." Frank Gant picks up the drums and sets that soul/exotic hit single pace of "Poinciana," assuring Emerald City Nights: Live at the Penthouse (1965-1966) is indeed as worthy and exciting a set as the earlier 63-64 set and promises greater heights for all future releases. By Mike Jurkovic
https://www.allaboutjazz.com/emerald-city-nights-live-at-the-penthouse-1963-1964-emerald-city-nights-live-at-the-penthouse-1965-1966

Personnel: Ahmad Jamal: piano; Jamil Nasser: bass; Chuck Lampkin: drums; Richard Evans: bass .

R.I.P.
Born Jul 2, 1930
Died April 16, 2023

Emerald City Nights: Live At The Penthouse 1965-1966 Cd 1, Cd 2

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Buster Williams - Joined At The Hip

Styles: Jazz, Post Bop 
Year: 2002
File: MP3@320K/s
Time: 52:46
Size: 124,1 MB
Art: Front

(5:55)  1. Yardbird Suite
(5:54)  2. Joined At The Hip
(7:53)  3. Scrapple From The Apple
(3:12)  4. Magic Samba
(6:26)  5. What Is This Thing Called Love/Hot House
(5:19)  6. Leo
(5:13)  7. Moose The Mooche
(8:02)  8. Francis Dances
(4:48)  9. Relaxin At Camarillo

Buster Williams’ latest combo session, Joined at the Hip (TCB) is further evidence of his firm anchoring skill and tasteful, hornlike solos. It also reveals his disdain for the limelight, generously granting more stretch-out room to his colleagues-in this case, alto saxophonist Steve Wilson, pianist Carlos McKinney and drummer Ali Muhammad Jackson Jr. Since it evolved into a tribute to Charlie Parker, Wilson gets the Bird’s share of solo space and proves to be an outstanding descendant of Parker. The concept can be an ear-opener for the unhip: The quartet reveals the origin of “What Is This Thing Called Love?” when Wilson follows that melody with the Parker line from “Hot House.” More instructive is “Scrapple From the Apple.” No mere juxtaposition: McKinney plays “Honeysuckle Rose” straight while Wilson jauntily overlays the bop line as Williams and Jackson add a mild Latin accent. This is Wilson’s moment to shine, but you can’t take your ears off Williams’ growling walk, bent tones and impeccable intonation. https://jazztimes.com/reviews/bassology/buster-williams-quartet-joined-at-the-hip/

Personnel: Buster Williams (bass); Steve Wilson (soprano saxophone, alto saxophone); Carlos McKinney (piano); Ali Muhammad Jackson, Jr. (drums).

Joined At The Hip

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Ginger Baker - Unseen Rain

Styles: Jazz Fusion
Year: 1992
File: MP3@320K/s
Time: 42:54
Size: 99,6 MB
Art: Front

(5:51) 1. Rain and the Rhinoceros
(5:09) 2. Worlds Within Worlds
(5:18) 3. Open Secret
(5:59) 4. The Great Festival of Destruction
(5:36) 5. The Time of no Room
(4:22) 6. The Sign
(5:17) 7. Mirror of Steel
(5:19) 8. To Each His Darkness

This is an instrumental trio album with drummer Ginger Baker as leader and also featuring bassist Jonas Hellborg and pianist Jens Johansson. Baker is characteristically busy at the drum kit, but the three play off each other well, creating what is in essence a free-form jazz date. By William Ruhlmann
https://www.allmusic.com/album/unseen-rain-mw0000095174

Unseen Rain

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David Hazeltine Trio - Live In Cologne

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 53:06
Size: 122,1 MB
Art: Front

( 9:22) 1. Midnight Waltz
( 7:51) 2. Blues for Eddie
( 8:17) 3. I Wish I Knew
( 9:55) 4. My Ship
(10:08) 5. Ask Me Now
( 7:31) 6. Pearls

Biography

David Hazeltine is one of a handful of contemporary pianists who has mastered all of the major musical skills, from improvisation and technique, to accompaniment, arranging, and composition. Even more impressive, David is the rare artist able to innovate in each category. Thus it’s no surprise that he’s the most recorded contemporary jazz pianist of our time, having recorded thirty five cd’s as a leader and hundreds more as a sideman, on various major labels globally. A Milwaukee native, David was playing the clubs as a preteen, and before he’d even come of age he was already grabbing the attention and respect of jazz legends like Sonny Stitt, and Chet Baker. They urged him to make the move to New York City, which he did in 1992.

Beautifully complex and memorable

The mark of a true artist, David’s style appeals to a wide range of musical tastes and levels of sophistication. His melodies and harmonies are beautifully complex and memorable. As a composer and instrumentalist, he has developed a signature style that is readily recognizable. His cooperative group “One For All” featuring tenor great Eric Alexander, has attained critical acclaim with their impressive 16 cd discography, and live concerts worldwide including appearances at the North Sea Jazz Festival and the Newport Jazz Festival.

Hazeltine is one of the most sought after pianists today. He has worked with some of the world’s most respected jazz legends including James Moody, Eddie Harris, Jon Faddis, Joe Henderson, Pepper Adams, Jon Hendricks, and Marlena Shaw. David is known for taking a familiar or unexpected song and making it new, making it his own. He effortlessly transfers this skill from song to stage. Whether he’s composing or interpreting, accompanying or leading, you are certain to end the set remembering the sounds of David Hazeltine.

Carrying the art forward

A brilliant teacher, David is also determined to carry the art forward to the next generation. Formerly an Associate Professor at Berklee, he currently teaches at SUNY-Purchase in New York. David is also a highly skilled clinician, and has served on the Jamey Aebersold Summer Jazz Camp faculty for the past 15 years. His teaching has had a major impact on many of today’s young professional pianists including Ben Markley, who published his doctorate “The David Hazeltine Method” based on his lessons with Mr. Hazeltine. Hal Leonard has published the new “Real Book - Enhanced Edition”, featuring David’s own re-harmonizations of 200 well known standards. Lessons from David are also available on his online workshops; check out his sessions on harmony at www.jazzpianomastery.com, and on the essentials of bebop at www.mymusicmasterclass.com.
https://www.davidhazeltine.com/biography

Live In Cologne

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Wayne Escoffery - The Humble Warrior

Styles: Saxophone Jazz, Post Bop
Year: 2020
File: MP3@320K/s
Time: 63:10
Size: 145,6 MB
Art: Front

(6:46) 1. Chain Gang
(9:31) 2. Kyrie
(7:22) 3. Sanctus
(5:05) 4. Benedictus
(0:53) 5. Sanctus (Reprise)
(8:54) 6. The Humble Warrior
(7:00) 7. Quarter Moon
(6:34) 8. Undefined
(5:17) 9. AKA Reggie
(5:44) 10. Back to Square One

Saxophonist Wayne Escoffery is renowned for his fiery, muscular and virtuosic tenor playing, but his explosive sound is paired with a soft-spoken and thoughtful demeanor off the bandstand. In many cases both of those aspects of his personality can be credited to the same inspirations, giants of the music who paired estimable talents and imagination with rock-solid integrity.

On his latest album, The Humble Warrior, Escoffery pays homage to those figures with his most ambitious and wide-ranging set to date. While Escoffery himself strives to represents the tenets of a Humble Warrior, it would be easy for him to act otherwise given his stand-out career and ample accolades. A Grammy Award and DownBeat Critics Poll winner, he has performed with a who’s who of jazz including Herbie Hancock, Ron Carter, Abdullah Ibrahim, Al Foster, Billy Hart, Eddie Henderson, Wallace Roney and others. He has been a member of the Mingus Dynasty, Big Band and Orchestra since 2000 and toured and recorded with Tom Harrell for over a decade. In addition to his Quartet, Escoffery co-leads the Black Art Jazz Collective along with other leading voices of his generation and the next.

The Humble Warrior marks Escoffery’s leader debut for Smoke Sessions Records, where he’s previously recorded with the trombonist Steve Davis. The album features the return of Escoffery’s stellar quartet featuring pianist David Kikoski, bassist Ugonna Okegwo and drummer Ralph Peterson. Trumpet great Randy Brecker and guitarist David Gilmore supplement the band for Escoffery’s breathtaking arrangement of several parts of Benjamin Britten’s Missa Brevis in D. Vaughn Escoffery, Wayne’s son, also makes a powerful debut on the Benedictus.

“We lost a lot of really great musicians in 2018 and 2019,” he says. “People like Roy Hargrove, Harold Mabern, Larry Willis, Richard Wyands, Lawrence Leathers, and, most recently, Jimmy Heath. I would describe all of those musicians as “Humble Warriors.” I have a lot of admiration and respect for them; they were all great warriors of the music but always allowed the music to keep them humble. They all exemplified the utmost humility and integrity despite their superior abilities. I hope to maintain those same traits in my musical endeavors.”
https://smokesessionsrecords.com/shop/albums/the-humble-warrior/

Personnel: Tenor Saxophone, Soprano Saxophone – Wayne Escoffery; Guitar – David Gilmore (tracks: 3,4,5); Piano – David Kikoski; Acoustic Bass – Ugonna Okegwo; Co-producer – Damon Smith (6), Paul Stache; Drums – Ralph Peterson; Trumpet – Randy Brecker (tracks: 3,4,5,6); Vocals – Vaughn Escoffery (tracks: 5)

The Humble Warrior

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Vicki Burns - Siren Song

Styles: Vocal
Year: 2003
File: MP3@320K/s
Time: 54:22
Size: 125,1 MB
Art: Front

(4:30) 1. Bewitched, Bothered and Bewildered
(4:31) 2. How Am I to Know
(2:56) 3. Autumn Leaves
(5:26) 4. You're My Thrill
(5:18) 5. So What
(7:29) 6. Siren Song
(4:14) 7. Contemplation The Ancestors
(5:00) 8. I Got It Bad
(4:11) 9. You Are My Sunshine
(5:14) 10. Late Again Heres Looking at You
(5:28) 11. Witchcraft

Vicki Burns is a jazz singer who has been delighting audiences in the Bay Area for the past ten years. A vocalist with impeccable taste, a sure sense of rhythm and a glorious tone, she infuses each song with heartfelt expression, digging into the lyrics and melody for their richest interpretation. No wonder the great jazz drummer; Max Roach once described Vicki's singing as 'a gold mine'! Others have variously described Vicki's vocals as 'spectacular, yet soothing' and 'smooth as silk'.

Originally from New England, she brings her unique song styling to clubs, concerts and special events throughout the San Francisco Bay Area. Some of Vicki's past performing highlights include: singing with the great jazz drummer, Alan Dawson, for the Martin Luther King Jr. 'Journey into a Dream' Concert series in Boston in 1986 and opening for Billy Taylor and Max Roach the same year in the 'Bright Moments' Concert series in Amherst, MA. She performed regularly at these prominent Boston area jazz clubs throughout the 80's: Ryles, 1369 Club, the Starlight Roof and the Turtle Café.

In 1985 she was featured on 'Music America', a syndicated WGBH broadcast hosted by Ron D'Ella Chiesa. Since moving to the Bay Area in 1989, Vicki has performed at Garden City in San Jose, The San Jose Museum of Art's 'Women in Jazz' series, in a featured spot in the San Jose Jazz Festival in 1993, The Great American Music Hall with the Oakland Jazz Choir in 1996, Kimball's East in 1996 with Madeline Eastman and the Oakland Jazz Choir and 'The Jazz and All That' Festival on the Fillmore in July of 1996. From June to October of 1998, Vicki was featured at Sweet Jimmie's, a legendary jazz and blues club in Oakland, CA.

In 1999, she performed regularly at Dillard's, also in Oakland. Currently, Vicki sings at Anna's in Berkeley, CA and at Hotel Donatello, Bistro Yoffi, the Cosmopolitan Cafe and L'Amour Dans Le Four in San Francisco. Siren Song is Burns' first CD,which features original music, lyrics and arrangements of both familiar and unusual standards. It is produced by Vicki and the acclaimed flugal hornist, Dmitri Matheny, who also arranges some of the material. Dmitri describes Vicki's voice as a ' wonderful, rich instrument' and says that it was a 'pleasure to work with her on this project'. Jazz critic Dan Ouelette says of Vicki's debut recording that she 'succeeds with rapturous, mystical beauty
https://www.amazon.ca/Siren-Song-Vicki-Burns/dp/B000BKP5NQ

Siren Song

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Nick Finzer - Dreams Visions Illusions

Styles: Trombone Jazz
Year: 2023
File: MP3@320K/s
Time: 56:06
Size: 139,1 MB
Art: Front

(5:01) 1. To Dream a Bigger Dream
(5:52) 2. Aspirations and Convictions
(2:06) 3. Intro To Follow Your Heart
(4:33) 4. Follow Your Heart
(7:26) 5. I Thought I Took The Road Less Traveled
(6:52) 6. But I Did What They Said
(6:43) 7. To The "Top"
(5:07) 8. Visions or Mirage
(8:36) 9. Waking Up
(3:47) 10. Now, Then and When

Nick Finzer returns with 10 challenging original compositions on Dreams, Visions, Illusions, made possible with support from Chamber Music America’s New Jazz Works program.

The trombonist, band leader and composer kept busy during the pandemic by composing an album which is on par with 2019’s stellar Cast of Characters. On this album, Finzer engages his own usual cast of characters Alex Wintz on guitar, Lucas Pino on bass clarinet and tenor sax, Jimmy Macbride on the drums, Dave Baron on bass, and Glenn Zaleski on piano.

Their collaborations on Dreams, Visions, Illusions sound like the work of a band that has been playing together forever. (In reality, it’s been more than 10 years.) Each of its three segments is a powerful statement which adds to the cohesiveness of the project.

The Dreams section starts with “To Dream a Bigger Dream,” which finds Finzer’s trombone and Pino’s tenor taking impressive turns. The main theme is supported by the energetic rhythm backing of Macbride and Baron. The album is at cruising speed by the time we get to the ballad “Aspirations and Convictions,” which continues the Dreams theme and contains a gorgeous bass solo by Dave Baron and delicate ride cymbal work from MacBride.

“Follow Your Heart” ends the first portion of the album with renewed vigor. Glenn Zaleski attacks the piano while Nick Finzer and Pino provide melodic leads, before Finzer steps out with an outstanding solo. Wintz and Zaleski also get to shine in their respective solo sections.

The middle segment of Dreams, Visions, Illusions features the dynamic “I Thought I Took the Road Less Traveled.” The song is expansive, with a mystical charm created by the interaction of Nick Finzer’s trombone lines with Lucas Pino. Alex Wintz’s clean tones and evocative style are featured in the middle of this shuffle, as the rhythm section builds the tension before Finzer settles the matter with his solo.

The near-epic “Waking Up” is the climax of the final section, Illusions. The song features a nuanced trombone and bass opening, which builds in power. Pino quickly enters the melodic stew and Zaleski offers fine piano riffs which dance confidently with Wintz’s guitar. Pino offers a fine bass clarinet section to change the sonic texture of the track, while Jimmy Macbride gets to stretch at the climax.

“Waking Up” would have been a great ending to this LP but there’s more, as “Now, Then and When” provides icing on top of this already delicious cake. Recorded in just one day in July 2022, Dreams, Visions, Illusions is on my must-have list for the year. It’s available via Bandcamp and at nickfinzermusic.com.
https://somethingelsereviews.com/2023/04/11/nick-finzer-dreams-visions-illusions/

Dreams Visions Illusions

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Scott Hamilton - At PizzaExpress Live - In London 2023

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 91:24
Size: 216,3 MB
Art: Front

( 8:52) 1. The Breeze & I
( 9:22) 2. Black Velvet
(12:47) 3. Poinciana
(12:19) 4. Blue 'n' Boogie
(11:30) 5. The Girl From Ipanema
( 5:14) 6. Pure Imagination
( 7:29) 7. The Summer Wind
(10:19) 8. The More I See You
(13:28) 9. Tin Tin Deo

Marking 40 years since his first appearance at PizzaExpress Live in London, the revered US saxophonist Scott Hamilton is to release a new live album, the first release on the newly formed PizzaExpress label PX Records.

Having appeared at the club in Dean Street, Soho, across six different decades, Hamilton is very much part of the fabric of PizzaExpress Live and this new live album, which features Scott's UK-based quartet of John Pearce (piano), Dave Green (bass) and Steve Brown (drums), captures a 7-track set featuring an array of classic standards including The Girl From Ipanema and Pure Imagination.
https://www.amazon.co.uk/PizzaExpress-Live-Scott-Hamilton-Quartet/dp/B0BXHKTQFV

Personnel: Scott Hamilton (saxophone), John Pearce (piano), Dave Green (bass) and n Steve Brow(drums)

At PizzaExpress Live - In London

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Sue Matthews - Love Dances

Styles: Vocal
Year: 1991
File: MP3@320K/s
Time: 56:51
Size: 131,0 MB
Art: Front

(5:58) 1. Love Dance
(5:48) 2. Detour Ahead
(6:41) 3. I Gotta Right To Sing The Blues
(3:17) 4. Easy To Love
(2:53) 5. The Can´t Take That Away From Me
(6:22) 6. How Long Has This Been Going On?
(3:46) 7. Make Me Rainbows
(3:45) 8. With Every Breath I Take
(3:36) 9. I Thought About You
(3:19) 10. Where Or When
(1:47) 11. There Ought To Be A Moonlight Saving Time
(4:28) 12. My Funny Valentine
(5:05) 13. Our Love Is Here To Say

Product Description:
Love Dances is a baker's dozen of some of the most seductive and stylish love songs you'll ever hear. From Lins, Porter, Gershwin, Van Heusen and the team of Rogers and Hart come many of the best jazz standards ever penned. Matthew's intimate delivery of these favorites is backed by a superb rhythm section headed by pianist Stefan Scaggiari (Corcord Jazz) whose arrangements are wisely sparse allowing Sue to showcase her extraordinary style. Scaggiari's sensitivity follows and anticipates Sue's every interpretive nuance. String bassist, Keter Betts (Ella Fitzgerald) sets the mood, enhancing Matthews' subtlety throughout the album. Guitarist, Steve Abshire and drummer Mike Smith round out this first rate quartet, creating the gentle acoustic sound that characterizes LOVE DANCES.

Review:
Matthews'version of "Love Dance"is the sensual invitation to romance Lins intended. Sue Matthews is definitely a jazz singer. She has a soft, intimate voice and definitely sounds involved in everything she sings. She brings a torchy aspect to world-weary pieces like "Detour Ahead" and sings more innocent songs like "How Long Has This Been Going On?" with a wide-eved sense of wonder. She has an excellent sense of dynamics knowing just when to come down hard on the climax of a song as on "Where Or When" and a stomping "I Gotta Right To Sing The Blues". Her backing musicians are on the money as well. Stefan Scaggiari and Steve Abshire back her moods with great sensitivity. Scaggiari tossing out sly blues comments here and there and Abshire kicking out like Les Paul on "Moonlight Savings Time". Keter Betts, who has stints with Dinah Washington and Ella Fitzgerald behind him, also shows he still knows how to back good singers and gets his moment on a hushed vocal-bass duet! By Jerome Wison, Cadence Magazine

About the Artist:
With a voice described as "silky smooth, honey-toned", "expressive" and "smoky", Sue Matthews caresses the jazz standard. Becoming a favorite among jazz lovers, her debut album, Love Dances, and her second release, When You're Around, have brought this talented performer worldwide recognition and critical acclaim. Both albums have received national and international radio play, achieving the "Top 20" berth on the Gavin and R&R Jazz Charts. Her repertiore of jazz standards, contemporary "pop jazz", sultry blues and the classic"torch" are delivered with ease, humor and intectious vitality.
Band Members: Sue Matthews, vocals; Stefan Scaggiari, piano; Keter Betts, bass; Steve Abshire, guitar; Mike Smith, drums.
https://www.amazon.com/Love-Dances-Sue-Matthews/dp/B000000JZ0

Love Dances

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Count Basie and His Orchestra - April in Paris

Styles: Piano Jazz, Big Band
Year: 1955
File: MP3@320K/s
Time: 69:02
Size: 159,0 MB
Art: Front

(3:51) 1. April in Paris
(5:18) 2. Corner Pocket
(4:46) 3. Didn't You?
(4:01) 4. Sweetie Cakes
(3:09) 5. Magic
(5:17) 6. Shiny Stockings
(3:24) 7. What Am I Here For?
(3:16) 8. Midgets
(3:26) 9. Mambo Inn
(3:17) 10. Dinner with Friends
(3:55) 11. April In Paris (Alternate Take)
(5:07) 12. Corner Pocket (Alternate Take)
(4:58) 13. Didn't You? (Alternate Take)
(3:50) 14. Magic (Alternate Take 1)
(3:55) 15. Magic (Alternate Take 2)
(4:12) 16. What Am I Here For? (Alternate Take)
(3:11) 17. Midgets (Alternate Take)

One of the staples in the Count Basie discography, April in Paris is one of those rare albums that makes its mark as an almost instant classic in the jazz pantheon. April in Paris represents the reassembly of the original Count Basie orchestra that define swing in the 1930s and 1940s. The title track has come to define elegance in orchestral jazz.

Though only ten tracks in its original release, seven alternate takes have now been incorporated into Verve's re-release of the original session tapes. Other key tracks include "Corner Pocket" and "Magic," both of which are also featured in the alternate takes. Recorded in 1955 and 1956, April in Paris proved Count Basie's ability to grow through modern jazz changes while keeping the traditional jazz orchestra vital and alive. By Christopher Fielder https://www.allmusic.com/album/april-in-paris-mw0000191459

Personnel: Count Basie - piano; Wendell Culley (tracks 1-7 & 9–16), Reunald Jones (tracks 1-7 & 9–16), Thad Jones (tracks 1-7 & 9–16), Joe Newman - trumpet; Henry Coker, Bill Hughes, Benny Powell - trombone (tracks 1-7 & 9–16); Marshall Royal - alto saxophone, clarinet (tracks 1-7 & 9–16); Bill Graham - alto saxophone (tracks 1-7 & 9–16); Frank Wess - alto saxophone, tenor saxophone, flute, clarinet; Frank Foster - tenor saxophone, clarinet (tracks 1-7 & 9–16); Charlie Fowlkes - baritone saxophone, bass clarinet (tracks 1-7 & 9–16); Freddie Green - guitar; Eddie Jones - bass; Sonny Payne - drums; José Mangual, Sr., Ubaldo Nieto - percussion (track 9); William "Wild Bill" Davis (tracks 1 & 11), Neal Hefti (track 10), Frank Foster (tracks 3, 6, 7, 9, 13 & 16), Joe Newman (tracks 8 & 17), Ernie Wilkins (track 2, 4, 12) - arranger

April in Paris

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Wayne Escoffery - Like Minds

Styles: Saxophone Jazz
Year: 2023
File: MP3@320K/s
Time: 57:33
Size: 134,2 MB
Art: Front

(6:02) 1. Like Minds
(7:48) 2. Nostalgia in Times Square
(7:26) 3. Sincerely Yours
(7:55) 4. My Truth
(6:38) 5. Rivers of Babylon
(4:57) 6. Song of Serenity
(4:07) 7. Treasure Lane
(6:29) 8. Idle Moments
(6:08) 9. Shuffle

Like Minds, the latest album from saxophonist Wayne Escoffery, focuses on chemistry particularly the chemistry between old friends and bandmates who’ve played together so often their interplay is beyond telepathic. To that end, Escoffery uses his regular bandmates keyboardist David Kikoski, bassist Ugonna Okegwo, and drummer Mark Whitfield, Jr., replacing his late teacher Ralph Peterson, Jr. as the backbone. While this configuration has been a band for only about seven years or so, Escoffery has played with them in so many other contexts they sound like longtime soulmates. The quartet is joined by other Escoffery compadres from across his career, including trumpeter Tom Harrell, guitarist Mike Moreno, and singer Gregory Porter, all of whom grok Escoffery’s vibe well.

None of this is surprising, mind you even if you’re not familiar with the saxist himself, Escoffery’s position as co-director of the Mingus Big Band proves he knows how to lead the troops. In that respect, he takes them to fields of smooth hard bop (“Sincerely Yours”), mystical spirit jazz (Peterson’s “Song of Serenity”), soulful social commentary (“My Truth,” co-starring Porter and Harrell), smoky balladry (Duke Pearson’s “Idle Moments,” made famous by guitarist Grant Green), and funky bop fusion (Charles Mingus’s “Nostalgia in Times Square”). If that sounds too disparate, it ain’t – the tight arrangements, easy chemistry, and Escoffery’s warm tone make every song sound of a piece with the rest. Always smooth but rarely slick, Like Minds goes down like a great big bowl of spicy pho. By Michael Toland
https://bigtakeover.com/recordings/wayne-escoffery-like-minds-sm

Personnel: Wayne Escoffery - saxophone, tenor; David Kikoski - piano; Ugonna Okegwo - bass; Mark Whitfield Jr - drums; Gregory Porter - voice / vocals; Tom Harrell - trumpet; Mike Moreno - guitar

Like Minds

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Natalie Cole - Still Unforgettable

Bitrate: MP3@320K/s
Time: 55:13
Size: 126.4 MB
Styles: Contemporary jazz vocals
Year: 2008
Art: Front

[2:55] 1. Walkin' My Baby Back Home [duet With Nat King Cole]
[3:09] 2. Come Rain Or Come Shine
[2:26] 3. Coffee Time
[4:40] 4. Somewhere Along The Way
[5:22] 5. You Go To My Head
[3:29] 6. Nice 'n' Easy
[4:00] 7. Why Don't You Do Right
[6:01] 8. Here's That Rainy Day
[3:51] 9. But Beautiful
[5:49] 10. Lollipops And Roses
[4:02] 11. The Best Is Yet To Come
[2:48] 12. Something's Gotta Give
[3:07] 13. Until The Real Thing Comes Along
[3:26] 14. It's All Right With Me

Natalie Cole's liner notes for Still Unforgettable make it sound like the Great American Songbook had been collecting dust on her shelf since 1991, when she recorded Unforgettable, the album that shot her into the mainstream. (She had been releasing Top Ten R&B albums since 1975, but Unforgettable was something else, a cultural phenomenon that inspired a Saturday Night Live skit.) Still Unforgettable features another duet with father, "Walkin' My Baby Back Home," but its make-up isn't that much different from albums like Take a Look (1993), Stardust (1996), or Ask a Woman Who Knows (2002). While she has been reinterpreting classics on and off for nearly two decades now, she can't be faulted for phoning it in; in fact, she seems to be having more fun with the songbook than before. If you're keeping score at home, Nat King Cole was 32 when he recorded "Walkin' My Baby Back Home"; Natalie was in her late 50s when she recorded the duet with her father's vocals which would, for the sake of the song here, make her old enough to be her father's mother. By Andy Kellman

Still Unforgettable

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Jeff Hamilton Trio - Live At Jazz Port Townsend 2022

Styles: Jazz,Straight-ahead/Mainstream
Year: 2022
File: MP3@320K/s
Time: 42:35
Size: 98,7 MB
Art: Front

(5:19) 1. Make Me Rainbows
(6:43) 2. Catch Me If You Can
(4:53) 3. Helen’s Song
(7:42) 4. Bucket of Fat
(6:08) 5. Thou Swell
(5:07) 6. The Pond
(6:40) 7. The Barn

The Jeff Hamilton Trio concert from the 2022 Jazz Port Townsend will air this week on Jazz Northwest. The trio includes Jeff Hamilton on drums, Tamir Hendelman on piano and Jon Hamar on bass. The trio plays a crowd-pleasing selection of jazz standards and originals in this main stage matinee concert recorded last month.
https://www.knkx.org/podcast/jazz-northwest/2022-08-22/jeff-hamilton-trio-live-at-jazz-port-townsend

Tamir Hendelman, piano; Jon Hamar, bass; Jeff Hamilton, drums

Live At Jazz Port Townsend 2022

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Erik Truffaz - Rollin'

Styles: Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 33:23
Size: 77,7 MB
Art: Front

(2:48) 1. La Strada
(3:38) 2. Route de nuit
(3:38) 3. One Silver Dollar
(4:09) 4. Thème de Fantômas
(3:21) 5. Ascenseur pour l'échafaud
(3:20) 6. Persuader's Theme
(4:07) 7. César et Rosalie
(5:14) 8. Le casse
(3:05) 9. Quel temps fait-il à Paris ?

Trumpeter Erik Truffaz's releases inspire excitement, debate, and concert attendance in Europe and Asia. Back in 2020, film director Marie-France Brière approached him about collaborating with her and composing music for a documentary film (Les îles de Napoléon). Following post-production and its entry on the competition circuit, Brière requested the trumpeter's quartet play a concert of themes from French cinema to close the Angoulême film festival.

The band enjoyed the process and gig so much, trumpeter/producer Truffaz approached Blue Note his longtime label about releasing two albums of themes. Rollin' is the inaugural release, Clap is due at the end of the year. Bassist and co-producer Marcelo Giuliani and Truffaz the only remaining member of the trumpeter's quartet chose Rollin's personnel together: percussionist Raphaël Chassin, keyboardist Alexis Anérile, and guitarist Mathis Pascaud. Also included here are two vocal selections, "One Silver Dollar" sung by Camélia Jordana and "Cesar et Rosalie" delivered by actress and partner Sandrine Bonnaire.

It opens with a tender, impressionistic read of Nino Rota's title theme "La Strada." With finger-plucked electric guitar strings introducing the changes, Truffaz, slowly offers the melody with minimal embellishment. The electric piano colors the space between as a minimal bass drones in the backdrop. "Route de Nuit" was composed by Michel Magne for George Lautner's comedy Les Tontons Flingueurs. The original tune is a I-IV-V surf boogie progression. Truffaz's band keeps the bluesy changes, but otherwise turns it inside-out to become a wooly, distorted, funky, guitar-and-trumpet-driven fusion jam. Magne also composed the dark, carnivalesque "Theme de Fantomas," rendered with pathos, counterpoint, noisy electric pianos and guitars, and a swinging snare and hi-hat shuffle. "One Silver Dollar" (sung by Marilyn Monroe in Otto Preminger's 1954 western River of No Return opposite Robert Mitchum) is delivered by Jordana with the same deadpan eros as the original.

Pascaud's tremolo bar work is exceptional, and that goes double on John Barry's theme from the Persuaders TV series. Bonnaire's appears on the theme from "Cesar et Rosalie" was composed by Phillipe Sarde. Truffaz uses a stone mute in the intro before a rippling piano introduces the progression. Bonnaire enters halfway through, speaking dryly yet passionately from the script. There is a version of "Ascenseur Pour L'echafaud," the theme from Luis Bunuel's film of the same name Miles Davis and his band composed and recorded the music while watching the rushes. Truffaz's take is reverent but more mysterious.

His trumpet is the narrator, probing and questioning amid the gorgeous yet tentative melody while Anérile's electric piano hovers in the margin, adorned by guitar and bass. Also beautifully and unexpectedly rendered is Ennio Morricone's title theme "Le Casse" (The Burglars). The lyric interplay established reputation as an innovator; his quartet manages to imbue each of these selections with bracing new elements yet remains completely faithful to their sources.By Thom Jurek
https://www.allmusic.com/album/rollin-mw0003954463

Personnel: Trumpet, Co-producer – Erik Truffaz; Electric Bass, Acoustic Bass, Co-producer – Marcello Giuliani

Rollin'

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Don Cherry, Jean Schwarz - Roundtrip (1977)

Styles: Vocal And Trumpet Jazz
Year: 2023
File: MP3@320K/s
Time: 52:04
Size: 119,9 MB
Art: Front

(9:39) 1. Intro
(5:31) 2. Doussn' Gouni (Pt. 1)
(5:07) 3. Doussn' Gouni (Pt. 2)
(6:00) 4. Bells One
(5:35) 5. Bells Two
(2:12) 6. Berimbau
(4:34) 7. Whistles
(4:11) 8. Theme 1
(4:56) 9. Bando
(4:14) 10. Tribute To Ornette

Don Cherry gave many wonderful musical performances on the European scene in the 70s, including this one a gem of a record that was thought to be lost for years, and finally gets released to the world at large! The set's a live collaboration with electronic musician Jean Schwarz whose contributions here are nicely subtle, and never challenge the acoustic energy of the session, but instead augment it in all these really cool, unique ways very different than most improvised music with electronics at the time.

Cherry plays pocket trumpet and some great doussn gouni in the company of an equally fantastic lineup that features JF Jenny Clark on bass, Nana Vasconcelos on percussion, and Michel Portal on saxes, bass clarinet, and bandoneon. Given all the elements, there's some very unique sounds going on here a really amazing record that includes the tracks "Bells One", "Doussn Gouni", "Tribute To Ornette", "Bando", and "Berimbau". © 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/132523/Don-Cherry-Jean-Schwarz:Roundtrip-Live-At-Theatre-Recamier-Paris-1977

Personnel: Don Cherry : pocket trumpet, vocals, doussn' gouni, whistles; Jean Schwarz : tape, synthesizers, treatments; Michel Portal : saxophone, bass clarinet, bandonéon; Jean François Jenny Clark : bass; Naná Vasconcelos : percussions

Roundtrip (1977)

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Kirk Lightsey & Harold Danko - Shorter by Two

Styles: Piano Jazz
Year: 1983
File: MP3@320K/s
Time: 55:40
Size: 127,8 MB
Art: Front

(9:30)  1. Ana Maria
(4:27)  2. Delores
(6:57)  3. Dance Cadaverous
(3:01)  4. Pinocchio
(4:10)  5. Marie Antoinette
(3:40)  6. Armageddon
(3:08)  7. Lester Left Town
(5:49)  8. Witch Hunt
(6:38)  9. Iris
(4:18) 10. El Gaucho
(3:56) 11. Nefertiti

This CD is an off-the-wall project that was a big success. Kirk Lightsey and Harold Danko perform duo piano versions of 11 Wayne Shorter compositions. They dig into such Shorter tunes as "Ana Maria," "Pinocchio," "Lester Left Town," "Nefertiti," and quite a few obscurities, bringing out unexpected beauty during their very different interpretations of the complex and often haunting material. Highly recommended. ~ Scott Yanow  http://www.allmusic.com/album/shorter-by-two-mw0000204209

Personnel: Harold Danko (piano); Kirk Lightsey (piano)

Shorter by Two

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Kathy Lyon - Texas Highway

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 25:57
Size: 59,8 MB
Art: Front

(2:57) 1. Texas Highway
(4:51) 2. I'd Rather Sleep Alone
(4:29) 3. Keep Rollin' On
(3:09) 4. Favorite Fantasy
(4:30) 5. Let's Do It
(2:15) 6. Who Knew Love Could Be Like This?
(3:43) 7. Get Ready

Originally from Ralston, Nebraska, Kathy grew up in a large musical family and was influenced by a variety of music as a young girl. Especially important was listening to her father’s piano renditions of Count Basie and Pine Top Smith, and exploring his collection of 78s. She harmonized with her four sisters on traditional Czech and American folk songs, musical classics, and spirituals.

After moving to the Washington, D.C. area in the late 70s, Kathy met Tom Lyon, her future husband, and they started performing as a duo in area clubs. “Two’s Company” and later the “Kat Lyon Band” toured extensively during the early 1980s. They performed at ski resorts and small clubs around the U.S., traveling in their red VW bus. They also were invited to perform in seven overseas tours for the U.S. Dept. of Defense, traveling worldwide entertaining U.S. military and diplomatic personnel.

In 1986, the couple’s daughter Michelle was born, followed by their son Gregory in 1988. Taking a few years off from professional performance, Kathy and Tom produced several showcase performances in Northern Virginia, including a sold-out concert at the Barns of Wolf Trap. In the early 1990s, Kathy joined the six-piece ensemble “Overjoy” as lead vocalist, partnering with bassist Harold Becton and other top D.C. area musicians for over 10 years.

In the mid-90s, Kathy studied Jazz Vocal Performance with the Elliston Music Studios and became involved with the Fish Middleton Jazz Scholarship Fund and FMJS’s East Coast Jazz Festival. She performed at the Festival many times, in her own showcase concerts, as well as the featured vocalist with the Ricky Loza Latin Jazz Orchestra. Toured with the Ricky Loza Jazz Festival to El Salvador and Guatemala in July 2002, and the tribute tour in July 2003 after Ricky Loza’s untimely passing.

Kathy released her debut CD, “Kathy Lyon Live at the TomKat Nite Club” in 2002. She continued to appear at numerous Washington DC venues with many of the DC area’s top musicians. Her second CD, “Here’s To Life/Live at the East Coast Jazz Festival”, was released in 2006, and was recorded live at what turned out to be the last FMJS Festival (due to the loss of founder Ronnie Wells). In 2017, a CD containing “the best of” her two recordings was released, called “A Song For You.”

After relocating to Navarre, Florida in 2005, she has appeared onstage at numerous Pensacola JazzFests and other Jazz Pensacola events, the Jazz-By-The-Bay Festival in Panama City, the Roswell (New Mexico) Jazz Festival, and at the Mid-Atlantic Jazz Festival in Rockville MD (DC area). She continues to be in high demand among the Emerald Coast’s top jazz venues from Mobile to Sarasota. Her plans include adding more regional and national jazz festivals, cruises, and first-class jazz venues to her performing schedule.

In 2019, Kathy released a CD produced by the legendary tenor saxophonist Houston Person. The 12-track CD titled “Nothin’ But Love” features vocals by Kathy, with musicians Houston Person (tenor sax), along with top New York musicians Lafayette Harris Jr. (piano), Peter Hand (guitar), Vince Ector (bass), and Matthew Parrish (drums), and was recorded at Teaneck (NJ) Sound Studios. With the coronavirus pandemic creating a new set of challenges, the decision was made to hold the album’s promotion until 2020, when it was featured on radio programs worldwide.

Kathy’s newest recordings, “Who Knew?” (released in January 2022), followed by “Texas Highway”, (released on May 5 2022) to coincide with Kathy’s visit to Memphis TN for the Blues Foundation Awards and the International Blues Challenge at clubs along Beale Street) were produced at Montrose Studios West in Ruidoso, New Mexico. The collaborative project with guitarist Rich Chorné resulted in both releases. The “Who Knew?” disc highlights several jazz tunes and two blues tunes, with five of Kathy’s original compositions, plus one co-written with Rich Chorné. The “Texas Highway” collection features seven songs, including four of Kathy’s originals, two of Rich’s originals, and one co-written by Rich and Kathy, Working with producer and engineer Richard Cagle on this new set of songs, the albums showcase both jazz and blues–reflecting Kathy’s passion for both genres.https://kathylyonmusic.com/about-me/

Texas Highway

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Vicki Burns - Lotus Blossom Days

Styles: Vocal
Year: 2022
File: MP3@320K/s
Time: 54:31
Size: 126,8 MB
Art: Front

(3:48) 1. If You Never Fall in Love with Me / Del Sasser
(3:26) 2. Close Your Eyes
(4:06) 3. Love Spell
(4:44) 4. Lotus Blossom Days
(5:07) 5. Bittersweet
(2:53) 6. Watch Out / The Sidewinder
(5:06) 7. A Long Way to Go / Equinox
(3:56) 8. It's over Now / Well You Needn't
(6:36) 9. You Don't Have to Believe
(3:48) 10. This Time the Dream's on Me
(6:20) 11. Siren Song
(4:36) 12. Out of This World

Who knew "Del Sasser" had lyrics? Part of the joy of listening to new recordings is finding such things out. And Vicki Burns does a convincing job of it. In this intriguing compilation of standards yes, musicians can record from the Great American Songbook (GAS) without disgracing themselves, no matter what anyone says bop heads and originals, Vicki Burns acquits herself admirably. She is solid evidence that the singer makes the song, rather than the other way around.

For someone who took a hiatus from singing for five years, that is simply a commentary on how difficult the music business can be. One does not just deal with lousy pianos, unreliable sidemen, crooked contactors. temperamental conductors, and a frequently inattentive and ignorant audience. Everyone has an off night, which, inevitably defines them for some. All that not withstanding, make no mistake, Burns is a pretty fair vocalist. That does not necessarily mean that every tune here is a definitive version.

Everyone has different yardsticks: for example, Marlene Ver Plank's recording of Bernice Petkere's "Close Your Eyes" might be a personal favorite. Similarly, Carmen McRae owns "Well You Needn't," recorded with an All-Universe band. But Burns more than holds her own and then some. Her scatting does not sound as if she's reading from a how-to-do-it book. Burns may have learned from Ella Fitzgerald, but is not copying anyone. "Love Spell" is a Burns original, and if the changes sound familiar, her take on them is different. Burns' may not be the first vocal version of "Sidewinder," or even the most outré, but it is certainly credible.

Even "Equinox" has a previous vocal version, but Burns' is arguably more persuasive and interesting as a cover of the John Coltrane original. And do wait for her resolution, which is something. "This Time The Dream's on Me" really swings hard, with a lot of support from bassist Sam Bevan. "Siren Song" and "Out of This World" are both excellent.

The arrangements, mostly by Sam Bevan (perhaps the unsung hero here), are a major part of what makes this recording bounce along; the band is hip, tight, and well placed. For many, Vicki Burns will not be a known commodity, although this is her third recording. She has a great voice, and infectious swing, and a whole lot of chops. And a bright future. By Richard J Salvucci
https://www.allaboutjazz.com/lotus-blossom-days-vicki-burns-vibu-jazz

Personnel: Vicki Burns: voice / vocals; Art Hirahara: piano; Sam Bevan: bass; Billy Drummond: drums; Dayna Stephens: saxophone; Josh Deutsch: trumpet; Masaru Koga: flute; Nick Vayenas: trombone.

Lotus Blossom Days

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Cannonball Adderley Quintet - In Concert

Styles: Saxophone Jazz
Year: 1961/2023
File: MP3@320K/s
Time: 71:56
Size: 165,2 MB
Art: Front

( 8:09) 1. Exodus
(10:55) 2. Hi Fly
( 8:16) 3. Our Delight
( 5:46) 4. Serenity
(14:07) 5. Sack O' Woe
( 6:38) 6. Lisa
( 8:49) 7. This Here
( 9:11) 8. New Delhi

When Cannonball first played New York, he was welcomed as a successor to Charlie Parker. Easy to see why, Cannonball has the fluency and a tone that has a serrated edge. The special value of Cannonball’s music is that there is little that is startlingly new about it but it was contemporary in conception and steeped in the traditions of jazz. Adderley was a populiser. He could sense what would play with an audience, luckily it was what he wanted to play. He was a player with a secure sense of swing and an alto sound reminiscent of Parker in addition to a touch of sanctified soul and gospel. His energetic effortless style, eloquent and outgoing. encouraged audiences to warm to his optimism: a consolidator rather than an innovator.

Nat Adderley is the surprise of the album and in many ways he edits his solos in contrast to his loquacious brother. Consistently underrated and underappreciated, Nat started his professional life trying to sound like Chet Baker. He moved eventually to work on the Gillespie approach. He believed the reason that the Adderley music was appreciated was because it was based on the Black Southern Church, not the classical tradition.

Victor Feldman is one of the few UK musicians who moved successfully to the US. He was a composer: he wrote four of the pieces on the album. Before joining Cannonball, he worked with Woody Herman and Shelly Manne. His percussive piano playing is featured throughout.

The superb rhythm section powers all the music. Louis Hayes eventually spent six years with Cannonball. He is one of the key bop drummers. His work on this album shows him to be the kind of drummer who works for the band rather than to inflate his own ego. The fluidity of Sam Jones playing is matched by the rich sound he plucks from his bass. Eventually he spent seven years with Cannonball.

The rolling rhythm of ‘Exodus opens the album before a scorching solo from Cannonball establishes the joyful mood. A more restrained solo from Nat has him, after a while, reaching for the upper register. Victor Feldman tries to keep the intensity high.

Randy Weston’s ‘Hi Fly’ is introduced by Feldman on piano and the jaunty theme is played before Feldman turns to the vibraphone with the alto and trumpet punctuating the vibraphone solo. Nat Adderley’s solo is slightly more abstract than some of this other work. The assertive Cannonball finishes the piece with a flourish.

The group uncoils Tadd Dameron’s ‘Our Delight’ with energy and zest. The speed suits Cannonball who races ahead to challenge; his brother who is less happy with the tempo. Feldman uses the vibes for his solo before Louis Hayes has a brief musical comment.

‘Serenity’ is one of those pieces that is programmed to give the alto and trumpet some respite. It is a tune that is shapely, rhapsodic, romantic and not very memorable. However, the interplay with Sam Jones gives the piece added depth. ‘Sack O’ Woe’ and ‘This Here’ are feel-good pieces precursors of the kind of compositions that Cannonball would play in the future such as ‘Mercy Mercy’. In 1961, at a time when others were experimenting, Cannonball played straightahead jazz. This album was recorded at a time, just after his stint with Miles Davis on ‘Kind of Blue’. Cannonball connected with audiences who appreciated the great passion that he could bring to his improvisation.

Record producer Orrin Keepnews described Cannonball as ‘one of the most completely alive human beings I had ever encountered: a big man and a joyous man.’ You get a sense of some of those qualities when listening to the music of this night in Copenhagen.By Jack Kenny https://jazzviews.net/cannonball-adderley-quintet-in-concert/

Personnel: Cannonball Adderley (alto saxophone); Nat Adderley (trumpet); Victor Feldman (piano, vibraphone); Sam Jones (bass); Louis Hayes (drums)

In Concert

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James Moody - The Teachers

Styles: Flute, Saxophone Jazz
Year: 1970
File: MP3@256K/s
Time: 39:34
Size: 73,2 MB
Art: Front

(8:04) 1. The Teachers
(2:05) 2. Rest Sweetly, Brother Dove
(6:06) 3. Unchained
(4:34) 4. The New Spirit
(3:41) 5. Hello Goodbye
(5:32) 6. Behind Every Good Man
(9:28) 7. Street Talk Suite

We've always been enormous fans of this LP, which features Moody backed by The Albert, a "progressive" funk/rock group. This Perception release is a righteous concept LP dedicated to "revolution" and "change". And more importantly, there is indeed some totally righteous playing here, with the standout groovers being "Unchained" and "The Teachers". Very cool die-cut gatefold, suitable for framing.© 1996-2023, Dusty Groove, Inc.
https://www.dustygroove.com/item/3642/James-Moody:Teachers

Personnel: Flute, Soprano Saxophone, Alto Saxophone, Tenor Saxophone – James Moody; Guitar – Paul Dickler, Steve McCord; Piano – William Chelf; Piano, Organ, Drums, Producer – Howard Wyeth; Tenor Saxophone – Joe Brazil; Trombone, Producer – Michael Gibson; Trumpet – Bob Summers , Jay Silva, Jay Thomas, Richard Meisterman; Tuba – Adam Ippolito; Valve Trombone, Producer – Jon Huston

The Teachers

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