Eddie Henderson - Shuffle and Deal

Styles: Trumpet Jazz
Size: 135,2 MB
Time: 59:02
File: MP3 @ 320K/s
Released: 2020
Art: Front

1. Shuffle and Deal (5:30)
2. Flight Path (5:15)
3. Over the Rainbow (8:11)
4. By Any Means (3:15)
5. Cook's Bay (7:19)
6. It Might as Well Be Spring (9:22)
7. Boom (4:04)
8. God Bless the Child (6:53)
9. Burnin' (4:56)
10. Smile (4:13)

Heading into his 80th birthday, Eddie Henderson issues Shuffle And Deal a material addition to his vast oeuvre of leader dates. The album builds on several long-term creative relationships fostered during the trumpeter’s prolific career. He returns to the studio with practically the same winning lineup from his 2018 release, Be Cool, and daughter Cava Menzies and wife Natsuko Henderson again contribute compositions. Most notably, though, the aesthetic pull of the album derives from Henderson’s deep affinity with freakishly empathic pianist Kenny Barron.

The word “shuffle” is a play on the groove of the title cut a sophisticated, Miles Davis-inspired composition Henderson penned for the album but also describes the recurrence of tunes from his and his players’ established repertoire. Henderson includes two Barron compositions: “Flight Path,” a fervent, melodic imperative, and the charming Latin medium-tempo “Cook’s Bay.” There’s also altoist Donald Harrison’s “Burnin’” and four lovingly polished standards recognizable ballads rendered all the more touching alongside the rambunctious originals.

Besides Henderson’s own pieces, two other tunes are all-new with this release. Menzies’ clever, mixed-meter “By Any Means” delights with its clean horn lines and irresistible harmonic undertow, and Natsuko Henderson’s neo-soul “Boom” featuring Mike Clark’s high-velocity drumming sparkles with intensity.

But it is Henderson’s clarion trumpeting that guides the crush of talent on this album. His musical wisdom, gleaned during decades spent on the best jazz bandstands, informs every unerring note.By Suzanne Lorge
https://downbeat.com/reviews/detail/shuffle-and-deal

Personnel: Eddie Henderson, trumpet; Donald Harrison, alto saxophone; Kenny Barron, piano; Gerald Cannon, bass; Mike Clark, drums.

Shuffle and Deal

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Erroll Garner - Campus Concert

Styles: Piano Jazz
Year: 2019
File: MP3@320K/s
Time: 38:07
Size: 88,6 MB
Art: Front

(2:54)  1. Indiana (Back Home Again in Indiana)
(5:47)  2. Stardust
(2:21)  3. Mambo Erroll
(4:35)  4. Lulu's Back in Town
(4:11)  5. Almost Like Being in Love - Live
(5:30)  6. My Funny Valentine
(5:29)  7. These Foolish Things (Remind Me of You)
(3:17)  8. In the Still of the Night
(3:59)  9. La Petite Mambo

This is the final live concert album released by Erroll Garner during his lifetime. It showcases the pianist in rare form, flanked by his classic trio and performing for an attentive and receptive audience of mostly young fans. This new edition includes a previously unreleased version of his rarely recorded “La Petite Mambo,” as well as fully restored musical introductions from the original masters. https://www.errollgarner.com/campus-concert-ors

Personnel: Erroll Garner: piano; Eddie Calhoun: bass; Kelly Martin: drums.

Campus Concert

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Lisa Bassenge - Wildflowers

Styles: Vocal
Year: 2023
File: MP3@320K/s
Time: 48:41
Size: 111,9 MB
Art: Front

(5:00) 1. Till I Get It Right
(4:39) 2. Don't Think Twice, It's All Right
(6:08) 3. Parasite
(4:01) 4. Wildflowers
(4:44) 5. The Look Of Love
(3:12) 6. Four Seasons In One Day
(4:26) 7. Skylark
(4:05) 8. I Think It's Going To Rain Today
(4:37) 9. Precious
(3:10) 10. I'll Follow You Into The Dark
(4:33) 11. Morning Sounds Of Spring

Lisa Bassenge is back with a bouquet of flowers. "Wildflowers" completes her trilogy of trio albums, again with Jacob Karlzon on piano and Andreas Lang on bass - same as on her two previous albums.

“Wildflowers” covers a range of songs that stretches from Dolly Parton to Depeche Mode, from Bob Dylan to Death Cab for Cutie. The way the trio arranges and performs them, these individual pieces don't seem to be thrown together, but rather like chapters of a story. Each one shimmers on its own, but the ensemble is more than the sum of its parts.

Jacob Karlzon from Sweden and Andreas Lang from Denmark embed Lisa Bassenge's unique voice in a warm sound that is ‘Scandinavian’ in the best sense of the word: relaxed but always engaging; playful, dynamic, full of subtle energy. "This sound has found us", says Lisa Bassenge.
https://herzogrecords.bandcamp.com/album/wildflowers

Personnel: Lisa Bassenge (vocal); Jacob Karlzon (piano); Andreas Lang (bass)

Wildflowers

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Al Grey & Arnett Cobb - Ain't That Funk For You

Bitrate: 320K/s
Time: 46:03
Size: 105.4 MB
Styles: Bop, Trombone jazz
Year: 2008
Art: Front

[5:10] 1. On The Trail
[3:45] 2. Saint Louis Blues
[5:06] 3. I Got It Bad And That Ain't Good
[3:43] 4. A Familiar Song
[6:11] 5. Blues Abrupt
[6:03] 6. Ain't That Funk For You
[5:33] 7. Get It Going For Black And Bue
[4:24] 8. On The Trail
[6:04] 9. Blues Abrupt

As the sixties drew to a close, Jean-Marie Monestier and Jean-Pierre Tahmazian discovered the whereabouts of the last living classical jazz musicians. They decided to bring them to France, out of the anonymity into which forgetfulness had plunged them. With the applause of the concert audience still ringing in their ears, these musicians then recorded some of their most beautiful music for Black & Blue. Jean-Michel Proust and Jean-Marc Fritz who were aware of their historical value, listened to these treasures. The result was “The Definitive Black & Blue Sessions”.

Al Grey (tb), Arnett Cobb (ts), Ray Bryant (p), John Duke (b), J.C. Heard (d). Recorded on July 11, 1977 at Grande Parade du Jazz in Nice, France. Digitally remastered.

Ain't That Funk For You

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Brandee Younger - Wax & Wane

Styles: Harp Jazz
Year: 2016
File: MP3@320K/s
Time: 26:40
Size: 62,0 MB
Art: Front

(4:42)  1. Soul Vibrations
(5:46)  2. Essence of Ruby
(2:04)  3. Ruby Echo
(3:15)  4. Afro Harping
(4:11)  5. Wax and Wane
(1:46)  6. Ebony Haze
(4:53)  7. Black Gold

Being a harpist on the jazz scene can’t be easy.  And though jazz, as much as any genre, takes a sincere stab at incorporating non-traditional instruments into the body of work, it’s a not a huge stretch to assume that a harpist has gotta work a bit harder than most to find ways to fit in.  Historically, there aren’t a lot of predecessors to glean wisdom from on a course to chart, and it’s not like the current scene is loaded with jazz harpists, so hoping for some gestalt action from fellow birds of a feather might be too much to expect.  But it’s in the context of those potential obstacles that it’s so encouraging when someone like Brandee Younger steps up with such creative abandon to express a bold vision, and it’s why it’s really easy to forget that there may have been some obstacles less than ordinary in her path getting there. Younger’s debut EP Prelude immediately displayed equal willingness to groove, swing and sway.  That was followed by the excellent live set Brandee Younger 4tet Live @ the Breeding Ground, an album that kicked up all kinds of sparks and heat.  A great live set recording is the kind of thing where you immediately go and check the tour page on the artist’s site to see if she’s performing in a town near you.  Younger’s Breeding Ground release elicits that kind of response.  It has all the electricity you want to feel from music and it has all the intelligence you want to excite your cortex.  And while much of the music sounds planted firmly in Today, Younger doesn’t turn her back on what came before.  The composition “Soul Vibrations,” a frequent tune performed by jazz harp trailblazer Dorothy Ashby, is a fixture in Younger’s repertoire.  Another trailblazer in jazz harp is Alice Coltrane… a different sound and a different approach than Ashby, yet Younger seamlessly insinuates her own sound onto the Coltrane composition “Blue Nile” and makes it part of the whole mix for some remarkable cohesion.  A mix, worth noting, that incorporates an impressive number of Younger originals.  Another Ashby tune Younger embraces is “Wax and Wane.”  It’s also the title of her newest release.

Younger’s take on a contemporary soul-jazz sound is positively addictive.  Where Live @ the Breeding Ground showed she has the ability to kick out flames and flash a sharp edge, Wax and Wane is proof that the music is still highly charged even when Younger chooses to lower the voltage and develop a flow that’s gift-wrapped for dance.  The trio of bassist Dezron Douglas, guitarist Mark Whitfield and drummer Dana Hawkins dig deep for a groove that’s light on its feet with “Essence of Ruby.”  And though it’s a tune just dripping with sunshine, the tenor sax of Chelsea Baratz reminds us that sometimes the heat of sunshine burns.  But perhaps most impressive, and enjoyable, is how the seemingly different goals of the rhythm section, tenor sax, and the duo interaction of Younger’s harp and Anne Drummond‘s flute work in tandem in a fluid construct, as if Younger’s crew were taking individual streams of water and weaving them into a flowing river. But then there’s a track like the elegant “Ruby Echo,” and the abundance of warmth generated by the melodic bursts from harp and strings… an elegance that remains when the thick grooves return on “Afro Harping.” The cinematic “Ebony Haze” recalls Alice Coltrane’s spiritual heavy works on the Impulse label.  Those early 1970’s recordings were melodically striking and maximized dramatic effect without risking its abiding sense of serenity.  It’s nifty that Younger shows she’s already got a handle on that approach to her instrument and compositions, but it’s that she’s able to drop that track right after the groove-heavy “Wax and Wane” and park it up against the fender of subsequent track “Black Gold,” with its drifting ambiance and punctuated tempos, that’s an entirely different level of creative deftness. Younger is showing all kinds of promise with her recordings to date, and it’s a seriously positive sign about the strength of the modern jazz scene that albums like Wax and Wane are getting a share of the spotlight. https://www.birdistheworm.com/recommended-brandee-younger-wax-and-wane/

Personnel:  Brandee Younger (harp), Anne Drummond (flute), Dezron Douglas (electric bass), Mark Whitfield (guitar), Dana Hawkins (drums), Chelsea Baratz (tenor sax) and Chargaux (violin, viola).

Wax & Wane

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Tubby Hayes Quartet - The Complete Hopbine '69

Styles: Saxophone Jazz
File: MP3@320K/s
Time: 107:02
Size: 245,7 MB
Art: Front

(10:24) 1. For Members Only
(15:30) 2. Off The Wagon
(19:03) 3. Where Am I Going?
(14:09) 4. What Is This Thing Called Love
(11:35) 5. Mainly For The Don
(13:24) 6. For Heaven's Sake
(18:03) 7. Vierd Blues
( 4:51) 8. Walkin'

Of all the many talented jazz musicians who blazed trails in Britain in the late 1950s and 1960s, tenor saxophonist Tubby Hayes in 2022 stands among the tallest. Hayes, too, is one of a handful of British musicians of his generation who have been practically deified by some of the emergent young players who are currently invigorating the British scene.

Hayes died tragically young, aged thirty-eight, in 1973, from heart disease exacerbated by heroin use. So his discography, though a decent size, is not massive. Previously unknown recordings continue to be unearthed, however, and The Complete Hopbine '69 is the latest. It is not, strictly speaking, unknown: much of the material has already surfaced, spread over around half a dozen different albums. But this is the first time all of it recorded at a December 1969 one-nighter at the Hopbine jazz club, in actuality the back room of a pub in northwest London has been collected and presented complete and in the order in which it was performed that night by the Tubby Hayes Quartet.

It is also the first time the material has been made available in such pristine audio the sound is really, really great; it could have been recorded in a London studio last week rather than on a Revox reel-to-reel by the Hopbine's soundman some five decades ago. The first-generation tape was found in late 2020 among the possessions of the Hayes Quartet's bassist, Ron Mathewson, who had passed earlier in the year, shortly after giving the Jazz In Britain label's director, John Thurlow, permission to digitize his tape archive. Thurlow worked with drummer Spike Wells, the only surviving member of the Quartet, and technician Matt Parker to make the transfer. And a remarkable job they have done.

There is more good news. Hayes and the rest of the quartet (the fourth member was pianist Mick Pyne) are on fire throughout the performance, which is spread over two CDs. In December 1969, Hayes was on the cusp of being forced by ill-health to moderate (on occasion) his energy levels. No hint of that here though. Instead, what The Complete Hopbine '69 documents is late mid-period Hayes, when the technical virtuosity which delivered bucketloads of excitement, but at times overwhelmed the musical depth of his early period work, had been leavened by maturity.

Sure, speed of light tempos are still present on tunes such as Hayes' "For Members Only" and Cole Porter's "What Is This Thing Called Love," but they are balanced by the sumptuous balladeering of Elise Bretton's "For Heaven's Sake" and the comic overtones of Hayes' "Off The Wagon," which has a playful vibe similar to Sonny Rollins' contemporaneous calypso outings (Hayes described it as "our country and western, rock and roll, avant-garde, rhythm and blues, bebop tune"). Add in "Vierd Blues," Richard Carpenter's "Walkin'" and Cy Coleman's showtune "Where Am I Going," every one of them played by a world-class band at the peak of its powers, and you have close on two hours of timeless, thrilling jazz.By Chris May https://www.allaboutjazz.com/the-complete-hopbine-69-tubby-hayes-quartet-jazz-in-britain

Personnel: Tubby Hayes: saxophone, tenor; Mick Pyne: piano; Ron Mathewson: bass, acoustic; Spike Wells: drums.

The Complete Hopbine '69

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Linda Ronstadt - Get Closer

Styles: Vocal
Size: 89,7 MB
Time: 36:44
File: MP3 @ 320K/s
Released: 1982
Art: Front

1. Get Closer (2:30)
2. The Moon Is A Harsh Mistress (3:02)
3. I Knew You When (2:54)
4. Easy For You To Say (4:01)
5. People Gonna Talk (2:38)
6. Talk To Me Of Mendocino (3:02)
7. I Think It's Gonna Work Out Fine (with James Taylor) (3:58)
8. Mr Radio (4:07)
9. Lies (2:34)
10. Tell Him (2:41)
11. Sometimes You Just Can't Win (2:32)
12. My Blue Tears (2:40)

Released in 1982, Get Closer is in many respects a classic Linda Ronstadt album. It contains the style of songs most associated with her, from pop ballads to country. The album took over a year to record and features musicians who had played with her for years (in Kenny Edwards' case, he had played bass with her since the Stone Poneys). The title track was nominated for a Best Rock Performance Female Grammy, and the album was nominated for Best Popular Performance Female. "It's Gonna Work Out Fine" is a duet with James Taylor and a cover of the Ike & Tina Turner hit. Ronstadt also does a smooth cover of Billy Joe Royal's hit "I Knew You When." Another standout track is her version of Jimmy Webb's ballad "Easy for You to Say," which might even top the original.By Stephen Thomas Erlewine https://www.allmusic.com/album/get-closer-mw0000191525#review

Get Closer

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Steve Turre - Sanyas

Styles: Trombone Jazz
Size: 114,0 MB
Time: 49:14
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Sanyas (13:18)
2. All the Things You Are (10:21)
3. Wishful Thinking ( 9:15)
4. Mr. Kenyatta ( 9:52)
5. These Foolish Things ( 6:24)

Trombonist and conch shell blower Steve Turre (who appears with a quintet at the Jazz Showcase from June 20 th through the 24 th ) has been called by allmusic.com “perhaps the most visible jazz trombonist of the 20 th and 21 st centuries.” Whether the website is referring to his recognizable facial hair features or his commanding stage presence, Turre has certainly crafted his own niche within the jazz world. Ever since his breakthrough album "Rhythm Within" in 1995, Turre has attracted fans worldwide with his deft mix of Latin and Eastern-infused compositions and interpretations, as well as his steady post bop chops.

But live material wasn’t part of his catalogue as a leader until recently, when "Sanyas" was released on Smoke Sessions Records. On this initial live release, one receives all the representations of Turre’s work, from straight-ahead bop to those exotic takes that flow through one’s soul. As a live recording, "Sanyas" is either too short at just over 49 minutes or refreshingly short, without any fluff or pretentious jamming.

What we get is a tidy and masterful display involving veteran musicians who have played with Turre before and are very comfortable with his music. As on Turre’s last album, "Generations" (Smoke Sessions), the cast of performers includes a septet consisting of Turre, Nicholas Payton on trumpet, Ron Blake on tenor sax, Isaiah J. Thompson on piano, Buster Williams on bass, and Lenny White on drums.

The album begins with the title cut, a composition first heard when Turre played with a key mentor, the late trumpet hero Woody Shaw. On this effort, the modal jazz stew opens with a horn cacophony that leads to a Williams a la Paul Chambers intro that sets up a repeating piano chord riff from Thompson, over which an Eastern-tinged horn line expresses the song. Turre’s punchy solo, aggressively accompanied by White, is answered by Blake’s deeply-textured response before Turre finishes with a shell coda.

“All the Things You Are” receives a quasi-big band swing treatment, and the horns deliver big time. Blake’s solo is a treat and Payton, who seems to have reclaimed his own bop chops, adds a spirited and crystal clear comment. The group’s interplay here is impressive, bolstered by Williams’ sturdy presence, Thompson’s stately riffing and soloing, and White’s energetic support.

A new ballad, “Wishful Thinking,” demonstrates Turre’s more lyrical side, with a tastefully restrained partner in Payton. Then Lee Morgan’s “Mr. Kenyatta” properly returns the ensemble back into exotic rhythm, with another conch shell solo added.

The CD/digital “bonus track” is “These Foolish Things,” which is rendered in soft swing, with Turre in plunger mode atop Williams’ lilting bass lines; Buster is, as usual, brilliant throughout the album.

"Sanyas" thus ends, leaving this listener with a craving for more. If you hear this album before Steve Turre, the continuously enticing trombonist, visits Chicago, you might start planning a visit to the Showcase to see and hear the consummate pro in action. If you can’t, this relatively brief but well-performed excursion can serve as a replacement for the time being.By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-steve-turre-sanyas-by-jeff-cebulski

Personnel: Steve Turre, trombone and conch; Nicholas Payton, trumpet; Ron Blake, tenor saxophone; Isaiah J. Thompson, piano; Buster Williams, bass; Lenny White, drums.

Sanyas

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Yelena Eckemoff - Romance of the Moon

Styles: Piano Jazz
Size: 182,3 MB
Time: 79:10
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Bells (5:53)
2. Barren Orange Tree (8:14)
3. Guitar (6:08)
4. Ballad of the Sea Water (6:12)
5. About Cats (7:13)
6. Romance of the Moon (9:08)
7. Window Nocturnes (5:59)
8. Diamond (5:56)
9. Adventurous Snail (4:59)
10. Thirsty for New Songs (6:02)
11. Memento (3:36)
12. Old Lizard (4:41)
13. August (5:05)

Comparable to the rare and valuable likes of a first edition book worth treasuring, Yelena Eckemoff's Romance of the Moon is no small achievement. The keyboardist/composer creates music as vivid as the images in her own paintings that adorn the inside and out of the CD package, all of which graphics (as well as those in the enclosed booklet) appear in a glossy finish.

And that corresponds to the polish of the production of a baker's dozen compositions inspired by the poems of Federico Garcia Lorca (included in the aforementioned twenty-eight-page insert). Played by a quartet of Italian musicians, the pinpoint musicianship on "Bells," for instance, reflects the detail in the arrangements for horns, electric guitar, double bass and drums. From this fairly finite instrumental palette, the fivesome with the Russian-born bandleader on piano and keyboards intelligently utilizes light and dark plus variable shading on cuts like "Barren Orange Tree."

Never rushed but with not an iota of hesitation either, the collective playing exudes the expectant air of collective improvisational sense(s). At the same time, a spacious air emanates from these 2023 recordings engineered by Carlo Cantini, an atmosphere amplified by the mixing and mastering of Stefano Amerio: the intuitive transitions between instruments become readily audible. Nearly as tangible is the momentum the quintet generates throughout individual tracks, this despite the prevalent slow-to-mid tempo at which they are rendered.

None exceed ten minutes, proceeding at a continuously slow to mid-tempo pace. Nonetheless, as with "Ballad of the Sea Water," six-plus minutes duration sound as full and complete as the longest track here, the title song, which runs just over nine minutes. A dramatic sense of finality arises around the portentously named "Moments." At this point, it's impossible not to sense that, even without looking at the track sequence on the back cover of the digipak, the album is heading into its home stretch.

Terse instrumental exposition on the part of all involved precludes lack of direction or purpose on Romance of the Moon. On a selection like "Thirsty For New Songs," the common sonic timbres of the instruments overlap, thus solidifying the continuity of the compositions, performances and arrangements. The effect is no less in the lower registers of Luca Bulgarelli's double bass and Stefano Bagnoli's drums the team is as unobtrusive as it is steady than the liquid lines of Riccardo Bertuzzi's fretboard activity on, most conspicuously, "Old Lizard."

The sensation of listening on "Guitar" is less akin to being in the same room as the band, than simply becoming immersed within the sounds created by the players' interactions. And while "About Cats" may give a listener pause, based on its title, any tentative reaction fades as Paolo Fresu's horn lines entwine with the strings of notes Eckemoff elicits from the ivories.

A veritable renaissance artist of contemporary jazz, Yelena Eckemoff redefines the phrase 'complete package' with Romance of the Moon, right down to using virtually the entirety of compact disc capacity in seventy-nine plus minutes playing time. Perhaps equally importantly, she simultaneously returns truth to that descriptive verbiage so that it resonates very much like the musicianship at the core of this project. By Doug Collette
https://www.allaboutjazz.com/romance-of-the-moon-yelena-eckemoff-l-and-h-production

Romance of the Moon

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Jo Harrop & Jamie McCredie - Weathering the Storm

Styles: Vocal And Guitar Jazz
Size: 105,4 MB
Time: 46:04
File: MP3 @ 320K/s
Released: 2020
Art: Front

1. My Foolish Heart (4:51)
2. I Fall in Love Too Easily (3:46)
3. Tenderly (3:00)
4. Take It with Me (4:34)
5. Guilty (5:08)
6. More Than You Know (4:48)
7. You Must Believe in Spring (5:22)
8. Charade (3:16)
9. Early Autumn (4:19)
10. In the Wee Small Hours of the Morning (4:34)
11. If (2:24)

This is a little gem of an album: simple, modest and, as far as I can tell, perfect. Jo Harrop sings, Jamie McCredie plays guitar, and the songs date from between the late 1920s and the early 2000s, from Billy Rose to Tom Waits. Nothing unusual there, you might think. However, what sets Weathering the Storm apart from similar offerings is that the duo get everything right, and that’s quite rare.

Harrop has a soft contralto voice which, particularly on lower notes, is wonderfully warm and intimate. Mostly, she trusts the song to tell its own story, occasionally altering or adding a phrase. The guitar accompaniment is light, almost skeletal at times, but always cannily fitting. There’s always space around the music, and this holds the listener’s attention well, mine anyway.

All 11 songs are slow, or slowish, ballads and the calm mood settles them happily together. It’s an enterprising choice too: the rarely heard Early Autumn, Randy Newman’s Guilty, Legrand’s You Must Believe In Spring, etc. People remember albums like this, with their own unique atmosphere that you enter as you listen. Just what we need at this trying time.
https://www.theguardian.com/music/2020/may/30/jo-harrop-jamie-mccredie-weathering-the-storm-review-they-get-everything-right-gem

Weathering the Storm

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ThreeStyle Feat. Magdalena Chovancova, Robert Fertl - Perfect Combination

Styles: Smooth Jazz
Size: 111,5 MB
Time: 48:00
File: MP3 @ 320K/s
Released: 2021
Art: Front

1. Steppinup (4:06)
2. Keep It Simple (4:23)
3. Giant (4:37)
4. Lovin on Next to Nothin (4:10)
5. Beat (4:17)
6. Prime Time (4:47)
7. No One Else Would Ever Do (3:56)
8. Smoothies (4:23)
9. Come 2 Me (4:36)
10. Perfect Combination (4:29)
11. Vision (4:11)

Munich based formation Threestyle is one of the admirable formations that have improved from one album to the next, ultimately reaching world level. Perfect Combination is the absolutely fitting title for their latest work, which will be released at the end of April 2021.

Saxophonist Magdalena Chovancova, guitarist Robert Fertl and drummer Gabriela Chovancova are Threestyle and invite brilliant singer Damon Dae, the amazing singer Latonya Black, the wonderful vocal trio DW3 and the great singer Tim Owens, who we already had the pleasure to present in connection to many albums of guitarist U-Nam.

The album opens with Steppin' Up with which our protagonists Magdalena and Robert rise to true greatness. A song always lives from the timbre of its performer. On Keep It Simple vocalist Damon Dae showcases his impressive voice in a beautiful setting.

Giant is Threestyle's very own presentation with hipness in a sonic journey. Lovin on Next to Nothin is the product of a fruitful collaboration with singer and composer Latonya Black. Latonya is a power-house vocalist with a musical theatre background and also an author of non-fiction books. The horn-infected Beat offers a Tower-of-Power-infused perfect storm.

With Prime Time Threestyle has built a memorable melody which could nestle in the front of the hit parade. No One Else Would Ever Do features the famous vocal trio DW3. The song sounds so professionally that I assumed it could be the cover of a megahit.

Smoothies is the aptly title of a sweet melody carried by sax and guitar in the sense of a sonic spirit. Come 2 Me is a group effort between Threestyle and Tim Owens, who also perfectly performs the song in a breathtaking way. One cannot find a better amalgamation of sax and vocals.

On the title track the group plays with sounds especially in the style of a scat song. The album concludes with the song Vision. Robert cites with his guitar the styles of George Benson, Carlos Santana and Dire Straits. Simply irresistible.

Threestyle's Perfect Combination has all ingredients to become the pick of the litter of new releases in 2021. What an amazing evolution.
http://www.smooth-jazz.de/firstview/Threestyle/PerfectCombination.htm

Perfect Combination

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Erroll Garner - Concert By The Sea

Styles: Piano Jazz
Size: 60,0 MB
Time: 43:41
File: MP3 @ 192K/s
Released: 1955
Art: Front

1. I'll Remember April (4:18)
2. Teach Me Tonight (3:44)
3. Mambo Carmel (3:48)
4. Autumn Leaves (6:33)
5. It's All Right with Me (3:28)
6. Red Top (3:21)
7. April in Paris (4:56)
8. They Can't Take That Away from Me (4:15)
9. How Could You Do a Thing Like That to Me (4:09)
10. Where or When (3:15)
11. Erroll's Theme (1:47)

Concert by the Sea is certainly one of the biggest albums in jazz history, selling over 225,000 copies in the first year after its 1956 release and turning into such a steady seller over the next few years, it reportedly brought Columbia Records a million dollars by 1958 a nice sum at any time but astronomical in the late '50s. It should've turned Erroll Garner into a full-fledged superstar and, in a way, it did, because it was a reliable catalog item and earned him plenty of fans, including Johnny Carson, who frequently invited the pianist onto The Tonight Show.

Instead, Concert by the Sea turned into a pinnacle, with Garner and manager Martha Glaser sliding into contractual battles with Columbia that hampered his long-term growth. Glaser is the one who had the idea to turn the tapes of Garner's September 19, 1955 concert at the Sunset School in Carmel-by-the-Sea, California into a full-fledged album, taking tapes that may have otherwise wound up as a bootleg and turning them over to Columbia. The label whittled the 19-song concert into an 11-track single LP Columbia/Legacy's 2015 The Complete Concert by the Sea restores the entirety of the concert over the course of two CDs, adding the original LP as a third and, by doing so, they wound up distilling Garner's joyous appeal.

Supported by bassist Eddie Calhoun and drummer Denzil Best, Garner seems at home skipping and swinging through a collection of bop and big-band standards, tunes that offer showcases for his sly skill of remaining melodic even when departing from the melody. Garner's playing is so robust and easy to enjoy that his flashier flourishes, such as the cloistered chords that call up "Caravan," almost seem camouflaged, but there are also subtler signatures, like how he slyly emphasizes staccato left-hand rhythms as much as the melody on "They Can't Take That Away from Me."

These are distinctions that appear on close listening but the wonderful thing about Concert by the Sea is how it's so infectious and open-hearted, it almost defies inspection: it's the kind of warm, inviting music that seems born from joy and can't help but engender bliss in the listener. [The 2015 expansion offers simply more of a good thing: the rest of the concert is every bit as good as the selections that made the official LP.] By Stephen Thomas Erlewine
https://www.allmusic.com/album/concert-by-the-sea-mw0000188078#review

Personnel: Erroll Garner – piano; Eddie Calhoun – bass; Denzil Best – drums

Concert By The Sea

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Fay Victor & Herbie Nichols Sung Quintet - Life Is Funny That Way

Styles: Vocal
Size: 166,7 MB
Time: 72:29
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Life Is Funny That Way ( 6:32)
2. The Bassist ( 6:48)
3. Bright Butterfly ( 2:49)
4. Sinners, All of Us! ( 5:58)
5. The Culprit Is You (10:00)
6. Shuffle Montgomery ( 5:32)
7. Tonight ( 9:30)
8. Lady Sings The Blues ( 6:15)
9. Twelve Bars ( 2:51)
10. Descent Into Madness ( 9:59)
11. Non-Faternization Clause ( 6:11)

The jazz world overlooked pianist and composer Herbie Nichols in his lifetime, but musicians such as Roswell Rudd, Misha Mengelberg, and Ted Nash have tried to keep his music in circulation over the years in various projects. Vocalist Fay Victor has been entranced by his music for a long time, and in 2013, she put together a group, Herbie Nichols SUNG, to perform his tunes. This is that group's first recording together and it is excellent.

In most cases here, Victor has written her own lyrics for Nichols' tunes and given them new titles. Some of the arrangements come off loosely swinging with the musicians jangling over the bumpy surfaces of Nichols' melodies in a way that reflects the influence of dance in his music. An adventurous dance company could work out some pretty energetic routines for these treatments. The band, Michael Attias on saxophone, Anthony Coleman on piano, Ratzo Harris on bass and Tom Rainey on drums, moves in quirky ways that complement the broad, elastic sound of Victor's voice as she goes from loud, broad moans to high-pitched jabbering and back, sounding like a cross between Betty Carter and Ellen Christi.

When the music hits a groove, it really comes alive. The leader's full voice rides the twisting rhythm of "Life Is Funny That Way" into the stratosphere as she scats over Coleman's brittle Thelonious Monk-like chords and Attias' squawking alto sax. Alto and voice have a furious race on "The Bassist" after an extended Tom Rainey solo and "Tonight" is a swaggering dance shuffle with Attias jubilantly serenading on baritone sax. "Shuffle Montgomery" is a clanking soft-shoe feature for voice and baritone with Anthony Coleman playing the kind of eccentric piano groove associated with Nichols fan Misha Mengelberg. The wildest track is "Non-Fraternization Clause" where the entire band jumps, sparks, and swoops before Victor leans into her vocal, going up and down with Attias' alto in dizzying fashion, and Coleman lightly creeps through some angular blues moves.

Some of the pieces here have much darker tones. On "Sinners! All of Us!" Victor's stream-of-consciousness blues scat pulls the band along to a slow march cadence while "The Culprit Is You" is a dramatic, minor key piano-voice duet after the fashion of Jeanne Lee and Ran Blake. "Descent Into Madness" is a sinister weave of piano, voice, and alto that conjures up visions of despair and eerieness. The one tune Victor did not write lyrics for is "Lady Sings The Blues." That is performed with the original lyrics written by the woman who first sang the song, Billie Holiday. The track is treated as an art song with Coleman's piano carefully brooding as Victor's voice opens into a powerful siren wail over bowed bass and tense percussion.

There are several fine Herbie Nichols tributes around, but this one has a unique soul and earthiness created by Fay Victor's otherworldly singing and the adventurous spirit of her band. This is a superb album, one of the most delightful releases of the year so far.By Jerome Wilson
https://www.allaboutjazz.com/life-is-funny-that-way-fay-victor-herbie-nichols-sung-tao-forms

Personnel: Fay Victor - (voice, lyrics, arrangements, bandleader); Michae¨l Attias - (alto & baritone saxophones); Anthony Coleman - (piano); Ratzo Harris - (bass); Tom Rainey - (drums)

Life Is Funny That Way

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Chris Flory - City Life

Styles: Guitar Jazz
Size: 134,5 MB
Time: 58:46
File: MP3 @ 320K/s
Released: 1993
Art: Front

1. Alexandra (4:26)
2. Besame Mucho (4:05)
3. S'posin' (5:26)
4. Tin Tin Por Tin Tin (4:09)
5. Good Morning Heartache (5:35)
6. J.A. Blues (4:49)
7. My Shining Hour (3:56)
8. So Danco Samba (4:01)
9. Drafting (3:43)
10. Come Back To Me (4:25)
11. New York (3:59)
12. Penthouse Serenade (5:09)
13. Caf Solo (4:57)

Chris Flory, a talented swing-based guitarist, tackles standards, Latin tunes, and a few hot jam-session numbers on his second Concord CD with a solid quartet that also features pianist John Bunch, bassist John Webber, and drummer Chuck Riggs. Highlights include an enjoyable "So Danco Samba," the up-tempo blues "Drafting," "Besame Mucho," "S'Posin'," and a spirited rendition of "My Shining Hour." This swinging session is consistent with the high-quality music to be found throughout Concord's impressive catalog.By Scott Yanow
https://www.allmusic.com/album/city-life-mw0000110045#review

Personnel: Guitar – Chris Flory; Bass – John Webber; Drums – Chuck Riggs; Piano – John Bunch

City Life

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Erroll Garner - Nightconcert

Styles: Piano Jazz
Year: 2018
File: MP3@320K/s
Time: 79:47
Size: 183,8 MB
Art: Front

(4:18)  1. Where or When
(4:21)  2. Easy to Love
(4:47)  3. On Green Dolphin Street
(5:37)  4. Theme from "A New Kind of Love" (All Yours)
(4:52)  5. Night and Day
(5:29)  6. Cheek to Cheek
(8:20)  7. My Funny Valentine
(5:23)  8. Gypsy in My Soul
(6:07)  9. That Amsterdam Swing
(5:00) 10. Over the Rainbow
(4:46) 11. What Is This Thing Called Love
(5:21) 12. Laura
(4:37) 13. When Your Lover Has Gone
(5:33) 14. No More Shadows
(4:16) 15. 'S Wonderful
(0:53) 16. Thanks for the Memory

It's the jazz equivalent of finding a Van Gogh or a Ming vase in the attic: the discovery of a complete 1964 perfectly recorded concert by one of the music's greatest virtuoso solo pianists. In the beginning was Art Tatum. Then came Oscar Peterson. Finally and in many ways the most interesting of the holy trinity was Erroll Garner.  Garner was flashy, famed for his long, rambling introductions. In a section of the liner notes jazz historian Professor Robin D. G. Kelley writes: "His signature introductions left audiences not to mention his own sidemen in great anticipation of what was to come. He was prone to meandering, rubato introductions that initially bear little resemblance to the song or the key, before suddenly leaping into the melody." They have to be heard to be believed and to be honest can become irritating. Many a modern listener may find himself longing for the "less is more" approach to jazz piano taken by the likes of Ahmad Jamal. But Garner was at his peak for this midnight concert before an audience of 2,000 in the Royal Concertgebouw, Amsterdam, on November 7, 1964. Before it got underway, drummer Kelly Martin nervously asked bassist Eddie Calhoun about the set list for the night. 

"Man, I can't tell you nothing," said Calhoun. "We just get up there and play. I don't know what this cat is going to do."  In the event, as Professor Kelly gleefully puts it, the trio "rocked the 76-year-old concert hall like there was no tomorrow." Writing in the New Yorker, critic Whitney Balliett said "Garner's appeal stems from his style which is rococo and eccentric, and from the easily accessible flash, geniality, and warmth that continually propel it."  His words conjure up a magical age when jazz was still unfolding, rock was yet to be born and Garner's Concert By The Sea was the cornerstone to any self-respecting jazz fan's record collection. That classic album now has a worthy companion, blessed with all the aids of modern technology. A collector would have difficulty choosing between them. The program is pretty typical, overwhelmingly standards, kicking off with "Where Or When" and continuing with Cole Porter's "Easy To Love." "On Green Dolphin Street" is from 1947, composed for a film everyone's forgotten but which Miles Davis converted to a jazz classic. 

More interesting are Garner's versions of "Cheek To Cheek" and "My Funny Valentine," in which he doffs his cap to what was then the avant-garde. He arrives back on terra firma with the swinger "Gipsy In My Soul," which he made his very own.  In Garner's version of "Laura," Christian Sands, another contributor to the copious liner notes, hears echoes of believe it or not Cecil Taylor. More plausibly, he highlights Garner's examination of his stride roots in "When Your Lover Has Gone." In each number the maestro gives you something different to get your teeth into. It's what his particular genius was all about and it is truly marvellous to be reminded of it again. ~ Chris Mosey https://www.allaboutjazz.com/night-concert-erroll-garner-mack-avenue-records-review-by-chris-mosey.php?width=1920

Personnel:  Erroll Garner: piano;  Eddie Calhoun: bass;  Kelly Martin: drums.

Nightconcert

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Wild Bill Moore - 90 Wild Bill's Beat & Bottom Groove

Styles: Saxophone Jazz
Year: 2012
File: MP3@320K/s
Time: 76:44
Size: 176,6 MB
Art: Front

(6:46)  1. Heavy Soul
(5:57)  2. A Good 'un
(5:28)  3. Tearin' Out
(6:51)  4. Wild Bill's Beat
(5:11)  5. Things Are Getting Better
(5:18)  6. Bubbles
(5:15)  7. Just You, Just Me
(6:20)  8. Sister Caroline
(5:38)  9. Bottom Groove
(5:35) 10. My Little Girl
(5:36) 11. Down With It
(7:12) 12. Sea Breezes
(5:30) 13. Caravan

Many of the tenor saxophonists who came out of the honker school of the '40s and early '50s had no problem being relevant to the soul-jazz scene of the '60s. That's because '60s soul-jazz was very much an extension of classic honker music; the recordings that big-toned tenor titans like Willis "Gator" Jackson and Arnett Cobb provided in the '60s were not a radical departure from their early sessions. Influenced by Illinois Jacquet and Chu Berry, Wild Bill Moore was the essence of an extroverted, big-toned, hard-blowing honker he epitomized what critic Scott Yanow calls "rhythm & jazz" (that is, jazz with strong R&B leanings). This 76-minute CD, which Fantasy assembled in 2002, reissues two Orrin Keepnews-produced albums that Moore recorded for Jazzland in 1961: Bottom Groove and Wild Bill's Beat. Both albums employ Joe Benjamin on upright bass, Ben Riley on drums, and Ray Barretto on congas, but while Wild Bill's Beat features pianist Junior Mance, Bottom Groove is an organ date with Johnny "Hammond" Smith (one of the countless Jimmy Smith-minded organists who was active in the '60s). Despite the fact that one album has a pianist and the other has an organist, they are quite similar. Both are state-of-the-art soul-jazz, and both are highly accessible; people who, in the '60s, felt that a lot of post-swing jazz was too cerebral and abstract for its own good had no problem getting into straightforward players like Moore. Soulful accessibility is the rule whether Moore is playing original material or turning his attention to Nat Adderley's "Sister Caroline" and Duke Ellington's "Caravan." Naturally, there are plenty of 12-bar jazz-blues grooves, and Moore shows listeners how appealing a ballad player he could be on the dreamy "Sea Breezes." This CD is well worth acquiring if you have a taste for '60s soul-jazz. ~ Alex Henderson https://www.allmusic.com/album/bottom-groove-mw0000659120

Personnel: Tenor Saxophone – Wild Bill Moore;  Bass – Joe Benjamin; Congas – Ray Barretto; Drums – Ben Riley; Organ – Johnny "Hammond" Smith (tracks: 8 to 13); Piano – Junior Mance (tracks: 1 to 7)

90 Wild Bill's Beat & Bottom Groove

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Christine Jensen - Harbour

Styles: Saxophone Jazz
Size: 155,4 MB
Time: 67:42
File: MP3 @ 320K/s
Released: 2024
Art: Front

1. Passing Lion's Gate (12:48)
2. Swirlaround ( 9:32)
3. Wink (10:29)
4. Surge ( 8:18)
5. Harbour (11:32)
6. Cascadian Fragments ( 9:35)
7. Fantasy On Blue ( 5:24)

Canadian Saxophonist and composer Christine Jensen has led a distinct voice to the creative jazz scene for the last twenty-five years with her large and small ensembles. She is set to release her third jazz orchestra album Harbour (2024) which follows previous releases Habitat (2013) and Treelines (2010). It features her Montreal-based orchestra, along with guest soloists NY-based Ingrid Jensen on trumpet and electronics, Gary Versace on piano, Chet Doxas on tenor saxophone, Jon Wikan on drums and Montreal-based Steve Raegele on guitar. This album captures over a decade of her compositions and commissions, with her sister’s improvisations infused throughout.

“I think of this collection of songs as my commissioning series, with each piece marking time since the beginnings of life for my daughter. I chose the title Harbour because I think its place of shelter on the water, a respite before the new migrations that await on land. This ensemble of family and friends represents that feeling to me, as we all came out of so much turbulence to land together in a room, where my music could take flight. The musicians that I had the privilege to perform and record with took all this to another level and brought their own characters in through their masterful sounds and improvisations. This time around, I can’t be more thrilled with the magic that has surfaced, from the sculpting of forms to the performances that are so lovingly interpreted.”
https://www.jazziz.com/new-releases/harbour/

Personnel: It features her Montreal-based orchestra, along with guest soloists NY-based Ingrid Jensen on trumpet and electronics, Gary Versace on piano, Chet Doxas on tenor saxophone, Jon Wikan on drums and Montreal-based Steve Raegele on guitar. This album captures over a decade of her compositions and commissions, with her sister’s improvisations infused throughout.

Harbour

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Art Blakey's Jazz Messengers - A Night in Tunisia

Styles: Jazz, Hard Bop
Year: 1957
File: MP3@320K/s
Time: 74:48
Size: 172,8 MB
Art: Front

(12:55)  1. A Night in Tunisia
( 7:16)  2. Off the Wall
( 9:46)  3. Theory of Art
( 8:12)  4. Couldn't It Be You?
( 6:30)  5. Evans
(12:30)  6. A Night in Tunisia [alt. take]
( 7:21)  7. Off the Wall [alt. take]
(10:14)  8. Theory of Art [alt. take]

All tracks have been digitally remastered. First Editions Series Recorded at RCA Studio 3, New York, New York on April 8, 1957. Originally released on Vik (1115). Includes liner notes by Nat Hentoff and Mark Gardner. Reissue producer: Ben Young. http://www.cduniverse.com/productinfo.asp?pid=2887752&style=music&fulldesc=T

Recording information: RCA Studios, New York, NY (04/08/1957).

Personnel: Art Blakey (drums); Jackie McLean (alto saxophone, percussion); Johnny Griffin (tenor saxophone, percussion); Bill Hardman (trumpet, percussion); Sam Dockery (piano); Spanky De Brest (bass).

A Night in Tunisia

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Steve Grossman - Do It

Styles: Saxophone Jazz
Year: 1991
File: MP3@224K/s
Time: 58:44
Size: 94,3 MB
Art: Front

(5:59)  1. Cherokee
(6:53)  2. Let's Call This
(7:13)  3. I'll Keep Loving You
(6:14)  4. Let's Monk
(9:16)  5. The More I See You
(7:00)  6. Oblivion
(4:38)  7. Dance Of The Infidels
(7:35)  8. Soultrane
(3:54)  9. Chi Chi

Saxophonist Steve Grossman hasn't been a regular on the New York scene for many years but a crash  course sampling of the many sessions he has recorded with the likes of Miles Davis, Elvin Jones, McCoy Tyner, Barry Harris and Michel Petrucciani for starters as well as under his name as a soloist and with his own groups shows how much excellent playing he has under his belt. And soon there will be those sets this Brooklyn born, Long Island bred musician will be doing with the Al Foster Quartet at The Kitano performances that will offer a chance to hear how he sounds live these days. So where's he been all this time? South America (where he picked up his penchant for Latin-influenced music, check out 1977's Brazil with trumpeter Marcio Montarroyos and Stone Alliance, featuring Grossman with bassist Gene Perla and percussionist Don Alias), Europe, Japan, you name it. He has also lived in a lot of places outside the United States, especially in Italy: "I started in Amsterdam and basically kept moving south."

"But what you really want to know is what was it like to be handpicked by Miles? Scary. I was very young, I started recording with him when I was 18. It was pretty scary to play with Miles Davis, and I'm just getting out of high school really. "Some people obviously told him about me and he started showing up at gigs I was doing. Then I got the call and I started making all these things. That was right after Bitches Brew (Columbia, 1969). One day it would be me... One day it would be Wayne Shorter... And then he asked me to go with him. I think it was 1969 or 1970."

Grossman remembers Miles was colorful and not just onstage. "I was playing one Sunday in this club, I don't remember [which] and that's when he came down and he showed me these four bullet holes in his Ferrari when they took his instruments in Bedford-Stuyvesant, because he didn't want Kenny Dorham to open for him... Me and Dave Liebman had a double quartet kind of thing, two tenors, one pianist, two basses and two drummers. Miles asked me to come out and see the Ferrari; he'd had this problem in Brooklyn at some club, they kept all his instruments; it was some kind of Mafia thing. They put four bullet holes in his red Ferrari." "I think there was another time at the Village Gate. It was Miles opposite Monk. There were a lot of people backstage like Woody Shaw, Lee Morgan." Heady times, but this is now. "You have to go forward," says Grossman, adding "I never thought I'd make it to this age. When I was 25 I looked older than I do now."

Born in 1951, he's 57. As this interview was conducted by telephone he lives in Bologna, Italy there are no visual clues. So it's impossible to know if that perception is correct. Have to take his word for it. Over the phone, though, his voice is particularly distinct. It sounds gravelly, much lived-in, like that of a person who is waking up. How his other "voice" that famous tenor expresses itself will have to wait for that gig with Miles alumni Al Foster. But a hint of what's to come perhaps can be gleaned from those many fine recordings (check out Do It (Dreyfus, 1993), with Barry Harris, Reggie Johnson and Art Taylor which Grossman says he especially likes, the Stone Alliance recordings or his 1991 Steve Grossman, In New York album (Dreyfus, 1991) with McCoy Tyner, Avery Sharpe and Art Taylor) and that past of his much storied youth to which it seems natural to seesaw back to from time to time.

"I was trying to see what Coltrane was doing in the '60s. I still am. To me, he covered it. He was a very big influence on me. You know, since I was 15, 16. Even earlier, when I was 10, 11. I started with Charlie Parker when I was about eight. I started to play alto saxophone then. I had an older brother [now deceased] and we started listening at about the same time. I guess it was through him and an uncle I had who got me my first records. I became a Bird freak." So the trajectory of his musical life was set early. He played a little baseball with kids he grew up with, but music took over. "I used to play with guys much older than me. And now, I'm the oldest." He laughs. Things "turn around."

Speaking of younger musicians, one thing he'll do while here in New York is hear some of the local talent; perhaps he'll find people he'll want to play with down the road. A priority is visiting family, his 86 year old father, his younger brother and his niece. He's been back and forth for recordings but the last time he did a live gig in New York was "probably in the early or mid '90s." So catch him now. ~ Laurel Gross  http://www.allaboutjazz.com/steve-grossman-steve-grossman-by-laurel-gross.php

Do It

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Arnett Cobb - Jumpin' At The Woodside

Bitrate: 320K/s
Time: 68:08
Size: 156.0 MB
Styles: Saxophone jazz
Year: 1974/2002
Art: Front

[5:43] 1. Jumpin' At The Woodside
[6:46] 2. I Don't Stand A Ghost Of A Chance
[7:05] 3. Blues For The Hot Club De France
[6:54] 4. I Want A Little Girl
[7:10] 5. Jumpin' In France
[6:11] 6. Salty Mama Blues
[9:01] 7. On The Sunny Side Of The Street
[7:25] 8. Take The A Train
[6:49] 9. I Don't Stand A Ghost Of A Chance 2
[4:12] 10. Swingin Mama
[0:48] 11. Drum Solo

A stomping Texas tenor player in the tradition of Illinois Jacquet, Arnett Cobb's accessible playing was between swing and early rhythm & blues. After playing in Texas with Chester Boone (1934-1936) and Milt Larkin (1936-1942), Cobb emerged in the big leagues by succeeding Illinois Jacquet with Lionel Hampton's Orchestra (1942-1947). His version of "Flying Home No. 2" became a hit, and he was a very popular soloist with Hampton. After leaving the band, Cobb formed his own group, but his initial success was interrupted in 1948, when he had to undergo an operation on his spine. After recovering, he resumed touring. But a major car accident in 1956 crushed Cobb's legs and he was reduced to using crutches for the rest of his life. However, by 1959, he returned to active playing and recording. Cobb spent most of the 1960s leading bands back in Texas, but starting in 1973, he toured and recorded more extensively, including a tenor summit with Jimmy Heath and Joe Henderson in Europe as late as 1988. Arnett Cobb made many fine records through the years for such labels as Apollo, Columbia/Okeh, Prestige (many of the latter are available on the OJC series), Black & Blue, Progressive, Muse, and Bee Hive. ~ Scott Yanow

As the sixties drew to a close, Jean-Marie Monestier and Jean-Pierre Tahmazian discovered the whereabouts of the last living classical jazz musicians. They decided to bring them to France, out of the anonymity into which forgetfulness had plunged them. With the applause of the concert audience still ringing in their ears, these musicians then recorded some of their most beautiful music for Black & Blue. Jean-Michel Proust and Jean-Marc Fritz who were aware of their historical value, listened to these treasures. The result was “The Definitive Black & Blue Sessions”.

Recorded May 21, 1974 in Paris, France. Digitally Remastered.

Arnett Cobb (ts), Lloyd Glenn (p), Tiny Grimes (g, vcl), Roland Lobligeois (b), Panama Francis (d).

Jumpin' At The Woodside

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