Jacky Terrasson - Take This (2015)

Pianist Jacky Terrasson’s Impulse! Records debut, 2015’s Take This, is a sophisticated showcase for his virtuoso jazz chops and eclectic musical taste. Following up his 2012 effort, Gouache, Take This finds Terrasson investigating a mix of originals and unexpected covers, many of which are infused with a strong African and Cuban rhythmic influence. Supplying much of this rhythmic intensity is Terrasson’s adventurous outfit featuring bassist Burniss Travis, drummer Lukmil Perez, and Malian percussionist Adama Diarra. Together, this group is responsible for many of the album’s brightest moments, with updates of such classic jazz piano numbers as Bud Powell's "Un Poco Loco," and Miles Davis' "Blue and Green," to name a few. Also collaborating with Terrasson here is French vocalist/beatboxer Sly Johnson. A soulful, gifted singer with a bent toward throaty R&B, Johnson broke through in Paris as a member of the hip-hop act Saian Supa Crew, as well as performing with established jazz artists such as trumpeter Erik Truffaz. Here, he lends his vocals, as well as his unique human beatbox technique, to several tracks, often blending his various vocal pops and ticks into the rhythm section just as any percussionist might do. It’s a nifty concept that works best when Johnson is out-front on cuts like the opening “Kiff” and an inspired duo reworking of the Beatles' "Come Together," where Johnson brings to mind the similarly inclined rhythmic vocal jazz of Bobby McFerrin and Al Jarreau. Elsewhere, Terrasson and his pan-global ensemble deliver engaging takes on Gotye's "Somebody That I Used to Know," the Paul Desmond-penned Dave Brubeck classic "Take Five," and a buoyant rendition Henri Salvador's Caribbean-infused "Maladie D’Amour." ~ Matt Collar, AMG.

Impulse! Records, 471 274-0; 0602547127488, 2015
Recorded 8^th, 9^th, 10^th, 11^th September, 2014 At Recall Studios, France 

Personnel:
Jacky Terrasson - Piano, Fender Rhodes, Synthesizer, Percussion, Vocals
Sly Johnson - Vocals (#1,4,8), Human Beatbox (#1,3-5)
Burnis Travis - Double Bass (#1-3,7,9,11), Electric Bass (#3,8)
Lukmil Perez - Drums (#1-3,7,8,11)
Adama Diarra - Percussion (#2,3,5,8,9) 

Tracks:
01. Kiff {Jacky Terrasson} (3:35)
02. Un Poco Loco {Bud Powell} (4:12)
03. Take Five [Take 1] {Paul Desmond} (5:12)
04. Come Together {John Lennon, Paul McCartney} (3:24)
05. Dance {Jacky Terrasson} (3:19)
06. Blue In Green {Miles Davis} (2:59)
07. November {Jacky Terrasson} (6:24)
08. Take Five [Take 2] {Paul Desmond} (4:13)
09. Maladie D’Amour {Henri Salvador, Jean Marcland, Leona Grabiel} (3:15)
10. Somebody That I Used To Know {Luiz Bonfá, Walter André De Backer} (3:34)
11. Letting Go {Jacky Terrasson} (4:41) 

Total Time: 44:48

Credits:
Producer - Jean-Philippe Allard
Executive-Producer, Art Direction - Farida Bachir
Recording, Mixing & Mastering - Philippe Gaillot
Recording [Assistant] - Renaud Van Welden
Management [North America] - Karen Kennedy
Management, Booking [Worldwide] - Christophe Deghelt
Photography [Cover & Liner] - Philippe LEVY-STAB
Design - CB Graphic, Marielle Costosèque, Patrice Beauséjour

Cy Touff Quintet - Touff Assignment (1958) [vinyl-stereo]

 

Cy Touff throughout his career played the bass trumpet as a lead instrument in several small jazz ensembles, but unfortunately his discography as a leader is quite sparce. This LP, released on Argo records in 1958, seems to be his final recording as a leader. For this album he is joined by Sandy Mosse on tenor saxophone, and backed by a strong rhythm section that includes pianist Eddie Higgins, bassist Bob Cranshaw and drummer Marty Clausen. The compositions are a mixture of cool jazz originals by Al Cohn "Soulsville" & Cyril's Dream” and by Ernie Wilkins "Kissin' Cousins" & "Tough Touff". The remainder of the tunes performed are essentially well-known jazz standards including "Keepin' Out Of Mischief Now" and "I Let A Song Go Out of My Heart", plus swinging renderings of "How Long Has This Been Going On" and "The Lamp Is Low." Touff’s proficiency and skill on the bass trumpet is something that not many players afterwards have matched. Overall, the album is smooth from start to finish, one quibble is that it is too short. This rip is taken from the stereo version of the original Argo vinyl, Enjoy! 

Argo Records, LP 641-S, 1958
Recorded 28^th-29^th August, 1958 in Chicago, Illinois 

Musicians:
Cy Touff - Bass Trumpet
Sandy Mosse - Tenor Saxophone
Ed Higgins - Piano
Bob Cranshaw - Bass
Marty Clausen - Drums 

Tracks:
A1. Soulsville {Al Cohn} (3:17)
A2. Cyril's Dream {Al Cohn} (3:12)
A3. How Long Has This Been Going On {George Gershwin, Ira Gershwin} (3:39)
A4. Kissin' Cousins {Ernie Wilkins} (3:06)
B1. Keeping Out Of Mischief Now {Andy Razaf, Fats Waller} (3:53)
B2. I Let A Song Go Out Of My Heart {Ellington, Mills, Nemo, Redmond} (3:42)
B3. Lamp Is Low {Maurice Ravel, Peter DeRose, Bert Shefter} (2:42)
B4. Tough Touff {Ernie Wilkins} (5:34) 

Total Time: 29:05 

Credits:
Producer - Dave Usher
Recording Engineer - Malcolm Chisholm
Photography [Cover] - Don Bronstein
Mastering Engineer - Douglas Brand
Liner Notes - Ralph J. Gleason

Thom Rotella - Can't Stop (1997)

Even as the smooth jazz format has grown over the past ten years, its annals are unfortunately littered with many artists whose promise fell victim to poor promotion, folding labels, and unending label limbo. While many (i.e. Chris Boardman, Gary Herbig, Bill Bergman) seemed to give up the fight to focus on more lucrative side endeavors, Thom Rotella - who faced six years of this musical purgatory after three hit albums on DMP from 1987 to 1990, chose to struggle through the bleak period of turn-downs from seemingly every label in the genre. The title of his comeback album, Can't Stop reflects this brazen spirit in the face of all those rejection letters. But Rotella realized that the type of lightweight acoustic guitar music that launched his career was no longer en vogue and might not stand out among the competition in 1997; to get back in the game, he needed more substance, more grit. While Rotella fans from way back might think the crackling, electric Wes Montgomery-flavored licks on Can't Stop are a departure, the guitarist is simply reverting back to the style he intended to begin his solo career with all along. It's notable not only for Rotella's thicker production values and bolder sense of improvisation, but also for the pointed conversations he has with the horns of Rick Braun (trumpet and flugelhorn) and Gerald Albright (sax); none of his old albums had sax embellishment at all. On "Belly Up," he textures Land Richards' live drums with shuffling loops, blending his own fluid electric lines with a wah-wah guitar track, and weaving Albright's tenor through a veil of appearing, then disappearing bluesy keyboard lines by Jim Studer. On the feisty title track, Rotella starts with a groove foundation of Richards, percussionist Vail Johnson and percussionist Arno Lucas. Above this, Rotella's fluid lines gallop along, each verse culminating in a dual flourish of muted trumpet and guitar; Braun takes a solo, and then backs off so Rotella can wail away. ~ by Jonathan Widran, AMG.

Telarc Jazz Zone, CD 83416, 1997
Recorded 1997 At JAM Studio, Phat Cat Studio & Twin Sons Studio 

Musicians:
Thom Rotella - Guitar, Keyboards, Synthesizer, Synthesizer Bass, Drum Programming, Percussion Programming
Chris Tedesco - Flugelhorn, Trumpet, Trumpet [Muted]
Joe Turano - Soprano Saxophone
Jim Studer - Keyboards, Synthesizer, Drum & Percussion Programming
Larry Cohn - Keyboards, Piano [Electric]
Chris Rhyne - Keyboards, Synthesizer
Land Richards - Drums, Drum & Percussion Programming, Synthesizer Bass
Arno Lucas - Percussion 

Guests:
Gerald Albright - Soprano Saxophone, Tenor Saxophone
Rick Braun - Flugelhorn, Trumpet [Muted]
Mitchel Forman - Piano [Electric], Synthesizer
Vail Johnson - Bass 

Tracks:
01. What's The Story? {Thom Rotella} (4:35)
02. Mood {Thom Rotella} (4:29)
03. Dance The Night Away {Thom Rotella} (4:47)
04. Lights Out {Thom Rotella} (4:45)
05. Can't Stop {Thom Rotella} (5:12)
06. As Close As We Can Get {Thom Rotella} (5:02)
07. The Thought Of You {Thom Rotella} (5:11)
08. Belly Up {Thom Rotella} (5:01)
09. If Only {Land Richards, Thom Rotella} (4:47)
10. Stay The Night {Thom Rotella} (4:35) 

Total Time: 48:24

Credits:
Producer, Engineer - Thom Rotella
Executive Producer - Robert Woods
Engineer, Mixing - Matt Hyde
Mastering - Geoff Sykes

Benny Bailey, The Amazing - Mirrors (1971)

After the demise of the CBBB, Francy Boland plucked some of its best players for this 1971 date. While ostensibly a Benny Bailey outing it really is a Boland/Tony Coe production, with strings added to every cut. Bailey provides some nice, bluesy commentary along the way on trumpet, with his highly identifiable style. The namesake opener, Mirrors, immediately tells us what we're in for. With absolutely ravishing string-section support, Bailey dazzles on mute as does Boland on acoustic piano. An immersing experience and a great entry into this wonderful record. The next cut, Effluves, takes us right into the 12-tone area previously explored in Change of Scenes (and which pissed off Stan Getz no end). With Jean Warland's muscular walking underneath, this theme leads to a long disquisition by Bailey. Coe joins the 12-tone party on the next cut, Flunkania, and dazzles. Bailey really cannot match him in harmonic and melodic sophistication, but gamely tries. Boland punctuates nicely with electric piano. They slow things down a little on Sub Umbra, with long commentary by Bailey and Boland and by Shihab on flute. What a great player he was. Then comes Every Happens To Me, the Matt Dennis tune, that Bailey makes into the baldest statement of fact. Then Boland takes over on acoustic piano with a ringing, gorgeous solo. Finally comes the raucous At Ronnie's, a barn-burner from a few years earlier. Shihab gives off sparks on electric baritone (!) whilst Bailey finally gets to play the blues (about time!). Coe covers the universe with his staff-spanning gymnastics and Boland plays a fully Bolandesque solo on electric piano. ~ George Kaplan, Amazon.com.

Freedom Records, FLP 40163, 1975
Schema Records, RW132 CD, 2013
Recorded 11^th September, 1971 At Cornet Studios, Cologne, Germany 

Musicians:
Benny Bailey - Trumpet, Flugelhorn
Tony Coe - Tenor Saxophone, Clarinet
Sahib Shihab - Baritone Saxophone, Flute
Francy Boland - Piano, Arranger, Conductor
Jean Warland - Bass
Tony Inzalaco - Drums
plus 12 strings section 

Tracks:
1. Mirrors {Benny Bailey} (6:51)
2. Effluves {Francy Boland} (5:51)
3. Flunkeyania {Francy Boland} (5:43)
4. Sum Umbra {Francy Boland} (6:44)
5. Everything Happens To Me {Matt Dennis} (5:21)
6. At Ronnie's {Benny Bailey} (7:29) 

Total Time: 37:59 

Credits:
Producer - Gigi Campi
Engineer - Wolfgang Hirschmann
Photography - Bob Richards
Design - Heinz Bähr 

Reissue of this 1971 album from the Jazz trumpeter. To share in his return to the studios as a leader, Bailey naturally looked to his colleagues in the Clarke - Boland Big Band. From the wealth of resources there he plucked Tony Coe, Sahib Shihab and bassist Jean Warland. As drummer, he brought in another expatriate, Tony Inzalaco, a young man with a very broad vision of what music is about. Between them, Coe and Shihab handle various flutes, tenor saxophone and clarinet, enough of a tonal palette for arranger Boland to feel free and unhindered. ~ Rearward.

Fabrizio D'Alisera Quartet + Max Ionata - Crossthing (2013)

Fabrizio D'Alisera realizes a modern mainstream record, in the company of three musicians versed in the genre and hosting a saxophone alter ego of weight and competence, such as Max Ionata, present in four of the eight pieces. The repertoire consists of seven originals, mostly signed by the group leader and a standard, "A Weaver Of Dreams" made famous by Nat King Cole. We move from hardboppistic brand themes, such as "N2" and "The Whaler", to funky tracks, such as "Crossthing". We pass from songs with a vague Brazilian flavor, "I Ain't Got Nothin' But A Bicycle" to nostalgie tanghere, in "Dear Now". "Frame Shop", on the other hand, is a heartfelt and melancholy ballad. "Quarantena" is on medium tempo with a pressing, looming battery and the soloists led to create their interventions in a relaxed and melodic way, without causing, however, a contrast with the rhythmic base. The best segment is, perhaps, the last, reserved for Elliott's classic -Young, with "A Weaver Of Dreams". The strengths of the disc are certainly represented by the dialogues between the two saxophonists, two characters similar in the way of understanding jazz and with an appropriate knowledge of tradition and current events, always in the context of the "mainstream" of African American music. Enrico Bracco, Maurizio Perrone and Mario Linneri are, for their part, precise, correct and in line with what is asked of them by the band leader. The record certainly does not scream a miracle. The intentions of D'Alisera and associates, on the other hand, are to bring out the pronunciation and familiarity with the jazz idiom in their project, trying to shuffle the cards a little to produce something linked to tradition, but not fossilized on the same. From this point of view, the objective can be considered achieved. ~ Gianni Montano [Translated from Italian], Jazzitalia.

Alfa Music, AFPCD139, 2013
Recording and Mixing At Monk Studio Segni, Rome, Italy 

Musicians:
Fabrizio D'Alisera - Tenor Sax, Soprano Sax (#4), Arranger [Right Channel]
Enrico Bracco - Guitar (#1,3-7)
Maurizio Perrone - Double Bass
Mario Lineri - Drums
+ Special Guest:
Max Ionata - Tenor Saxophone (#1,2,4,5) [Left Channel] 

Tracks:
1. N2 {Fabrizio D'Alisera} (5:46)
2. Crossthing {Fabrizio D'Alisera} (5:26)
3. I Ain't Got Nothin' But A Bicycle {Fabrizio D'Alisera} (9:32)
4. Dear Now {Fabrizio D'Alisera} (4:34)
5. The Whaler {Fabrizio D'Alisera} (5:48)
6. Quarantena {Enrico Bracco} (7:05)
7. Frame Shop {Fabrizio D'Alisera} (6:26)
8. A Weaver Of Dreams {Jack Elliott, Victor Young} (8:43) 

Total Time: 53:20

Credits:
Production Co-ordination - Fabrizio Salvatore
Recording & Mixing - Jacopo Ruggeri [Monk Studio Segni]
Mastering - Alessandro Guardia [Alfa Music Studio, Rome]
Graphic Design: Marie Joveneau Haunag Design, Rome

Kenny Kirkland - Kenny Kirkland (1991)

Keyboardist Kenny Kirkland's long-overdue debut as a leader really stretches his talents and is occasionally unpredictable. Virtually each of the performances has its own personality and the personnel and instrumentation differ throughout the release. Among the highlights is "Mr. J.C." (which features some stormy Branford Marsalis tenor), an electric Latin but still boppish update of Bud Powell's "Celia" (taken as a duet with percussionist Don Alias), the struttin' "Steepian Faith," a driving rendition of Ornette Coleman's "When Will the Blues Leave" that has some free bop alto from Roderick Ward, and Latin versions (with percussionist Jerry Gonzalez) of two standards not normally thought of as belonging to that idiom: Wayne Shorter's "Ana Maria" and Thelonious Monk's "Criss Cross." This highly recommended CD has more than its share of brilliant moments. ~ by Scott Yanow, AMG. 

GRP Records, GRP 96572, 1991
Verve Records, 543 037-2, 1991
Recorded and Mixed At BMG Studios A & B, New York City 

Musicians:
Kenny Kirkland - Piano (#1,2,4,6-10), Keyboards (#5,11)
Branford Marsalis - Tenor Sax (#1,10), Soprano Sax (#2,4,9)
Roderick Ward - Alto Saxophone (#7)
Charnett Moffett - Bass (#1,4,7)
Christian McBride - Bass (#6)
Andy Gonzalez - Bass (#8,10)
Jeff "Tain" Watts - Drums (#1-4,6-8)
Steve Berrios - Drums (#8,10)
Jerry Gonzalez - Percussion, Congas (#8,10)
Don Alias - Percussion (#5,11), Bongos (#8) 

Tracks:
01. Mr. J.C. {Kenny Kirkland} (8:07)
02. Midnight Silence {Kenny Kirkland} (3:33)
03. El Rey {Jeff "Tain" Watts} (1:34)
04. Steepian Faith {Kenny Kirkland} (6:02)
05. Celia {Bud Powell} (6:49)
06. Chance {Kenny Kirkland} (6:01)
07. When Will The Blues Leave? {Ornette Coleman} (5:39)
08. Ana Maria {Wayne Shorter} (8:36)
09. Revelations {Kenny Kirkland} (7:48)
10. Criss Cross {Thelonious Monk} (5:19)
11. Blasphemy {Kenny Kirkland} (3:04) 

Total Time: 62:36

Credits:
Producer - Kenny Kirkland
Producer, Digital Editing - Delfeayo Marsalis
Recording, Mixing - Patrick "Jatty Q" Smith
Digital Editing - Michael Landy
Mastering - Ted Jensen
Graphic Design - Sonny Mediana
Liner Notes - Branford Marsalis

Palatino - Palatino (1995)

The Palatine Hill is not only one of the hills of Rome but also a very direct train that united Rome in Paris: inaugurated in 1969 (it was recently suppressed) it took about fifteen hours to unite the two European capitals. The Palatine thus becomes a symbol to relate the music, and the sensibility, of Aldo Romano and Paolo Fresu, both Italian by birth but French by adoption. The group that takes this name materializes in 1996 and is completed by the double bass player Michel Benita and trombonist Glenn Ferris on the trombone. Active until 2001, this piano-less quartet with a decidedly engaging timbre mix, has recorded three records: "Palatino" (Label Bleu, 1996), "Tempo" (Label Bleu, 1998) and "Palatino Chap. 3 "(Universal, 2001): in his music you can hear Davis' echoes, afro splinters, melodic cues and above all the West Coast environments typical of the dialogues between Chet Baker and Bob Brookmeyer seem to re-emerge. More recently, in May 2011, quartet was filmed on the stage of the Maize de la Culture in Grenoble and the result was reproduced on a double cd from the title "Back In Town" (Naïve, 2011). 

Label Bleu, LBLC 6585, 1996
Recorded 1^st-2^nd June, 1995 At Studio de La Maison De La Culture D'Amiens 

Musicians:
Paolo Fresu - Trumpet
Glenn Ferris - Trombone
Michel Benita - Double Bass
Aldo Romano - Drums

Tracks:
01. Dawn {Aldo Romano} (5:32)
02. Aléas {Michel Benita} (3:50)
03. Calabrian Nights {Glenn Ferris} (7:16)
04. Variazone Tre [Tema Di Mirpy] {Aldo Romano} (5:46)
05. Animal Love {Glenn Ferris} (7:07)
06. Interlude {Michel Benita} (3:37)
07. Trunca E Peltunta {Paolo Fresu} (4:41)
08. Glenn's Walk {Aldo Romano} (5:00)
09. 20 Small Cigars {Frank Zappa} (4:17)
10. Lulu Is Back In Town {Harry Warren} (5:17) 

Total Time: 52:23

Credits:
Executive-Producer - Michel Orier
Engineer - Philippe Teissier Du Cros
Engineer [Assistant] - Pierre Guinot
Editing - Jean-Pierre Bouquet
Design - Christophe Rémy
Photography - Patrick Burban

Denny Zeitlin with George Marsh and Mel Graves - Expansion (1973) [vinyl]

Haven't stopped listening since I bought. An eternal peek at what’s to come. Everything about it sounds fresh. Something new with each flip. Denny is a new name to me but now I’m hooked his compositions are amazing and he plays like god knows what (listen to the sesame street jazzy spies’ segment of you need further convincing. No joke). He’s a wizard with effects. And of course, you’ve got George and Mel with top tier talent to match What I would've paid to have been in the eye of this storm. Definitely worth a listen. AND this pressing is heavenly to boot. ~ okwiiderfly, discogs.com.

1750 Arch Records, 1758, 1975
Recorded 1973 At 1750 Arch Studios, Berkeley, California 

Musicians:
Denny Zeitlin - Piano, Electric Piano, Clavinet, Organ, Melodica, Synthesizer [ARP], Electronics, Idiophone [African Thumb Pianos], Tambourine
Mel Graves - Acoustic Bass, Electric Bass
George Marsh - Percussion, Synthesizer [Prepared Buchla Synthesizer] (#B3) 

Tracks:
A1. El Fuego De Las Montañas (13:40)
A2. The Wheel {Denny Zeitlin, George Marsh, Mel Graves} (2:67)
A3. Déjà Vu {Denny Zeitlin} (7:40)
A4. On Air {Denny Zeitlin} (3:20)
B1. A Scarf In The Air {Denny Zeitlin} (15:29)
B2. Vertical Horizons {Mel Graves} (6:02)
B3. Wind-Borne {Denny Zeitlin, George Marsh, Mel Graves} (8:21) 

Total Time: 57:29

Credits:
Producer - Double Helix Music, Inc.
Engineer - Phil Sawyer
Cover, Design - Jacques Bouthoorn
Photography - Josephine Zeitlin
Liner Notes - Denny Zeitlin 

Notes:
This is the second issue released in 1975 by Thomas Buckners' 1750 Arch records.
The 1st press was released by Denny Zeitlin in 1973 on Double Helix Records.
Mastered At The Lacquer Channel, Sausalito, California. 

Super awesome listen, this man right here giving us almost 60 minutes of one of the most heated jazz sessions of the 70s no doubt. Cheap heat! ~ zkkptrk, discogs.com.

Erica Lindsay Quartet - Yes- Live At The Rosendale Café (2001)

Recorded live at our very own Rosendale Café, the Erica Lindsay Quartet checks in with a superb new release, "Yes." Lindsay (saxophone) along with Francesca Tanksley on piano, Otto Gardner bass and Bob Braye drums, explodes with the title track her Coltrane influences every-where. The dark "Dusk-Fall" has a sneaky, slinky almost espionage feel. "Gently" also has dark alley implications, while "Blues Up" simplifies things to three chords, without being simple. The prolonged excursion of "Gotta Get To It" is a highlight, as Lindsay searches and reaches for that special place. "Seriously" is hopeful and optimistic and everyone excels here. An inventive, emotional player with technique to die for, Lindsay and her quartet prove once again, live music is where the magic hap-pens. ~ David Malachowski, DailyFreeman.com.

Artists Recording Collective, ARC-2215, 2008
Recorded 29^th September, 2001 Live At The Rosendale Café, Rosendale, NY 

Musicians:
Erica Lindsay - Tenor Saxophone, Arranger
Francesca Tanksley - Piano
Otto Gardner - Bass
Bob Braye - Drums 

Tracks:
1. Yes {Erica Lindsay} (9:09)
2. Dusk/Fall {Mikhail Horowitz/Erica Lindsay} (9:36)
3. Dance Of The Elves {Erica Lindsay} (9:16)
4. Gently {Erica Lindsay} (6:45)
5. Blues Up {Erica Lindsay} (7:59)
6. Gotta Get To It {Erica Lindsay} (11:06)
7. Night Of Roses {Erica Lindsay} (6:52)
8. Seriously {Erica Lindsay} (8:51) 

Total Time: 69:36

Note:
Applause including crowd noises carefully removed for better listening.

Conrad Herwig Session - Jazz Baltica {MKV} (2000)

Here we have an invigorating Live concert taken from a satellite broadcast held on the 11th June, 2000 At Große Konzertscheue, Jazzbaltica, Salzau, Germany. The group in the spotlight is a session led by Conrad Herwig partnered with another equally merited trombonist Nils Landgren. Along with these two great players is a fantastic rhythm section comprising of the remarkable pianist Jacky Terrasson, bassist Lars Danielsson and drummer Terri Lyne Carrington. The group perform three tunes starting off with one of John Coltrane's classic compositions "Syeeda's Song Flute" followed by a original Herwig composition in dedication to the late Kenny Kirkland called simply "Kenny K." and finally this short program is rounded out with "Devil May Care" quite an under-recorded tune one played by Miles Davis and Wayne Shorter back in the early sixties. 

Recorded 11^th June, 2000, Große Konzertscheue, Jazzbaltica, Germany

Musicians:
Conrad Herwig - Trombone
Nils Landgren - Trombone
Jacky Terrasson - Piano
Lars Danielsson - Bass
Terri Lyne Carrington - Drums 

Tracks:
1. Syeeda's Song Flute {John Coltrane} (8:23)
2. Kenny K. {Conrad Herwig} (7:28)
3. Devil May Care {Bob Dorough, Terrell P. Kirk} (8:53) 

Total Time: 27:37

Note:
Ripped from original MPEG DVD source to MKV preserving original sound quality.

David Grisman, Denny Zeitlin - New River (2001)

This set features two eclectic Californians, mandolinist David Grisman and pianist Denny Zeitlin, in a lively and unusual duo setting. The contrast between mandolin and piano couldn't be greater, of course. Zeitlin's orchestral playing, with its expansive timbral range and resonating low end, does most of the heavy lifting. Grisman's instrument has its inherent limitations - tiny neck, circumscribed harmonic capacity, somewhat tinny sound. But Grisman is a master at wringing the unexpected from those eight strings. Not only does he display unparalleled virtuosity and melodic resourcefulness; he also responds to Zeitlin with just the right sonic touches, comping jazz-style on "Blue Midnite" and creating ethereal pick-slide effects on the mini-epic "On the March." The program is evenly split between Zeitlin’s originals and Grisman’s; the loose minor-key "DG/DZ Blues" is co-written. Following the invigorating, Gershwin-meets-bluegrass finale, "Fourteen Miles to Barstow," Grisman and Zeitlin keep the tape rolling for some brief free-improv, a hidden track. Throughout the session, Grisman brings out the new-acoustic, Americana side of Zeitlin, while Zeitlin brings out the jazz in Grisman. The result is music that is refreshingly beyond category. ~ by David Adler, AAJ.

Acoustic Disc, ACD-45, 2001
Recorded At Dawg Studios, Mill Valley, California 

Musicians:
David Grisman - Mandolin
Denny Zeitlin - Piano 

Tracks:
1. Brazilian Street Dance {Denny Zeitlin} (7:10)
2. Dawg Funk {David Grisman} (5:47)
3. Moving Parts {Denny Zeitlin} (4:53)
4. Blue Midnite {David Grisman} (4:57)
5. New River {Denny Zeitlin} (5:45)
6. Waltz For Gigi {David Grisman} (4:28)
7. DG/DZ Blues {David Grisman, Denny Zeitlin} (8:48)
8. On The March {Denny Zeitlin} (10:31)
9. Fourtheen Miles To Barstow {David Grisman} (7:25) 

Total Time: 59:44

Credits:
Producer [Dawg Productions] - David Grisman, Denny Zeitlin
Executive Producer - Craig Miller

Denny Zeitlin Trio feat. Buster Williams, Matt Wilson - In Concert (2009)

Jazz has always had renaissance men: Duke Ellington and Miles Davis were visual artists of universal renown. Milt Hinton was a spectacular photographer. And Billy Taylor is an accomplished author. Pianist, composer, educator, psychiatrist Denny Zeitlin the composer of the jazz standard Quiet Now, and an artist with more than sixteen recordings as a leader who has worked and recorded with everybody, from Charlie Haden and Herbie Hancock to Pat Metheny makes his Sunnyside debut with his release, In Concert, featuring bassist Buster Williams and drummer Matt Wilson. 

The CD's nine tracks were recorded at L.A.'s Jazz Bakery, and The Outpost Performance Space in Albuquerque, N.M., from 2001 to 2006. For the seventy-year-old Zeitlin, this delightful aural document his first since his 2004 Maxx Jazz release Slickrock, also with Williams, and Wilson captures the full range of his profound, penetrating, and propulsive pianism in simpatico with William's anchor-sure basslines and Wilson's articulate and angular drumming. Their soulful and syncopated synchronicity reinvigorates the CD's four standards. John Coltrane's Mr. P.C. is delivered at a breakneck pace on a 24-bar minor blues form, with Zeitlin's fleet-fingered unaccompanied solo crossing blues and free boundaries. I was galvanized by Coltrane's music as I was developing my approach in high school and college, Zeitlin writes on the CD liner notes, and Giant Steps was a favorite LP. 

The Jerome Brainer/Buddy Bernier chestnut, The Night Has 1000 Eyes/10,000 Eyes, highlights Zeitlin's limitless ability to recompose a tune; in this case, by adding catchy vamps. I've reworked this piece so extensively, adding several new sections, that I announce it as The Night Has 10,000 Eyes when we perform, Zeitlin writes. Cole Porter's 'All of You' is also rendered with a new melodic lease on life This is one of my all-time favorite standards, and I have extensively re-harmonized it, hopefully retaining the core of the song, Zeitlin writes. We have played this arrangement for years, and the structure seems endlessly intriguing... I love the relaxed groove the trio gets, and Buster and Matt's solidity and flexibility allow me to bend and stretch the time, and drape improvisatory lines over the bars into new territory. 

The rest unveils that new territory explored by Zeitlin and company with five original compositions. The leader's 'The We in Us' is a wistful Bill Evans-like opus written for his wife in celebration of their anniversary, contrasted by Zeitlin s Ornette Coleman-ish, funk-finessed Prime Times, that orbits around 5/4 and 7/4 time. Buster Williams moving and Mingusonian solo, Bass Prelude sets the sonic stage for Zeitlin and company s treatment of David Friesen's 'Signs & Wonders'. This is my favorite David Friesen composition, a minor bluesy 16-bar shuffle that begins mysteriously and impressionistically, and develops tremendous drive and groove, Zeitlin writes. We frequently end concerts with this piece, and it closes out this album. ~ Amazon.com.

Sunnyside Communications, SSC 1206, 2009
#3,4,6,8,9: Outpost Performance Space, Albuquerque, December 2004
#1,2,7: Jazz Bakery, Los Angeles, California, November 2006
#5: Jazz Bakery, Los Angeles, California, November 2001 

Musicians:
Denny Zeitlin - Piano
Buster Williams - Bass
Matt Wilson - Drums 

Tracks:
1. Mr. P.C. Part 1 {John Coltrane} (5:55)
2. Mr. P.C. Part 2 {John Coltrane} (6:52)
3. The Night Has 1000 Eyes /10,000 Eyes Part 1 {Bernier, Brainin/Zeitlin} (11:37)
4. The Night Has 1000 Eyes /10,000 Eyes Part 2 {Bernier, Brainin/Zeitlin} (7:57)
5. The We Of Us {Denny Zeitlin} (7:03)
6. All Of You {Cole Porter} (11:28)
7. Prime Times {Denny Zeitlin} (9:56)
8. Bass Prelude {Buster Williams} (4:35)
9. Signs And Wonders {David Friesen} (6:48) 

Total Time: 72:11

Credits:
Producer, Arranger - Denny Zeitlin
Recording & Mixing Engineer - Stephen Schmidt [Outpost]
Recording & Mixing Engineer - Drew Daniels [Jazz Bakery]
Additional Mixing & Mastering - Drew Daniels, Denny Zeitlin
Photography - Josephine Zeitlin
Graphic Design - Christopher Drukker