The Drummonds featuring Renee Rosnes - A Beautiful Friendship (2001)

Renee has a brilliant command of her instrument, is willing to take chances, and hears music in a way that few jazz musicians do. Deep down she comes across as a romantic at heart, and as a result her music is absorbing, fun, easy to hear, and beautiful. She has paid her dues playing with everyone and has incredible chops. This is what jazz piano is all about. She plays with so much sentiment, so tenderly and expertly executed! There is not much more to say other than she's an awesome, gorgeous and is a major composer and pianist. To sum up a superb pianist who rarely fails to enthrall and delight conveying a lively spirit, fire and passion. This is especially showcased on this date. Her association with both Ray & Billy Drummond has been a highlight in the earlier part of her blossoming career. This album in many ways is the better of the other four albums she collaborated on for the Japanese label Video Arts Music between 2000 and 2003, Enjoy! 

Video Arts Music, VACY-1032, 2002
Recorded 19th & 20th June, 2001 at The Studio, New York, N.Y.

Musicians:
Renee Rosnes - Piano
Ray Drummond - Bass
Billy Drummond - Drums 

Tracks:
01. My One And Only Love {Guy Wood, Robert Mellin} (5:53)
02. Body And Soul {Green, Heyman, Sour, Eyton} (5:46)
03. Never Let Me Go {Ray Evans, Jay Livingston} (5:36)
04. Little Girl Blue {Richard Rodgers, Lorenz Hart} (5:40)
05. Gone With The Wind {Herbert Magidson, Allie Wrubel} (4:51)
06. Once I Loved {Antônio Carlos Jobim} (4:58)
07. Angel Eyes {Matt Dennis, Earl Brent} (6:55)
08. Stella By Starlight {Victor Young} (7:16)
09. Everything {Toshiaki Matsumoto} (4:32)
10. A Beautiful Friendship {Donald Kahn, Stanley Styne} (4:46) 

Total Time: 56:13

Credits:
Producer - Makoto Kimata & Todd Barkan [Key'stone Music]
Engineer, Mixing & Mastering - Katherine Miller
Assistant Engineer - Eiji Takasugi
Mastering - Todd A. Gerard [Gerard Sound Lab, NYC]
Technical Coordinator - Derek Kwan
Photo - Jack Frish

The Drummonds feat. Renee Rosnes - When You Wish Upon A Star (1999)

Ray Drummond and Billy Drummond are not related, but they're two of the most in-demand rhythm section players in jazz, and here they've teamed up under the name the Drummonds for a delightful collection of standards. At the piano is Renee Rosnes, with her Midas touch. Rosnes, incidentally, is related by marriage to Billy Drummond, so technically, she too is a Drummond. The trio sticks to well-known standards, but they throw a good many curves. Highlights include a bossa treatment of "The Sound of Silence"; a grooving, non-ballad rendition of "Nature Boy"; a heavily re-harmonized "Autumn in New York"; a reworked bridge on "Over The Rainbow"; a brisk, Bill Evans-style waltz arrangement of "When You Wish Upon a Star"; and a passing reference to Dizzy Gillespie's "Con Alma" at both the beginning and end of "Like Someone In Love." We may have heard these tunes many times before, but when these three play them together, it's an event. ~ by David R. Adler, AMG. 

Video Arts, VACY-1027, 1999
32 Jazz, 32204, 2000
Recorded 4th-5th August, 1999 at Avatar Recording Studio, New York City 

Musicians:
Ray Drummond - Bass
Billy Drummond - Drums
Renee Rosnes - Piano 

Tracks:
01. Nature Boy {Eden Ahbez} (7:11)
02. Autumn In New York {Vernon Duke} (6:09)
03. Over The Rainbow {Harold Arlen, E.Y. "Yip" Harburg} (5:33)
04. Alone Together {Howard Dietz, Arthur Schwartz} (7:02)
05. When You Wish Upon A Star {Leigh Harline, Ned Washington} (5:43)
06. Danny Boy {Frederick Edward Weatherly} (3:49)
07. Lullaby Of Birdland {George Shearing, George David Weiss} (5:54)
08. The Sound Of Silence {Paul Simon} (5:16)
09. Polka Dots And Moonbeams {Johnny Burke, James Van Heusen} (6:37)
10. Like Someone In Love {Johnny Burke, James Van Heusen} (6:05) 

Total Time: 59:19

Credits:
Producer - Todd Barkan, Makoto Kimata
Recording Engineer - Dan Gellert
Mastering Engineer - Todd A. Gerard [Gerard Sound Studio]

Woody Herman - Heavy Exposure (1969) [re-rip]

Ever since listening to a few Sal Nistico albums I was intrigued to find some examples of his work with other bands. Invariably this led to his time with Woody Herman and this particular LP. Nistico on this album puts in a few unique solos, but overall, this album is a Big Band Soul-Jazz rendition. As a result, it is quite a distinctive LP in Woody Herman’s discography. Produced and arranged by Richard Evans who also composed “Lancaster Gate” and “The Hut”. Taken as a whole it is a greatly entertaining album with a big sounding groove. Ripped from a well-loved LP, Enjoy!

---------------------------------
Cadet Records, LPS 835, 1969
Recorded 2nd-3rd September, 1969 at Ter Mar Studios, Chicago, Illinois 

Personnel:
Woody Herman - Saxophone, Clarinet
Alan Gauvin, Frank Vicari, Sal Nistico, Steve Lederer - Reeds
Bobby Burgess, Pete Dalbis, Tom Malone - Trombone
Bill Chase, Harry Hall, Jeff Brillinger, Richard Murphy, Rigby Powell,
William Byrne - Trumpet
Donny Hathaway - Organ
John Hicks - Piano
Phil Upchurch - Guitar
Gene Perla - Bass
Edward Soph - Drums (#A1,A5,B1,B2,B4,B5)
Morris Jennings - Drums (#A2-A4, A6,B3)
Marshall Thompson, Richard Powell - Percussion 

Track Listing:

A1. Flying Easy {Donny Hathaway} (3:09)
Soloists: Bobby Burgess, Frank Vicari, Woody Herman
A2. I Can't Get Next To You {Barrett Strong, Norman Whitfield} (2:52)
Soloist: Sal Nistico
A3. Aquarius {Galt MacDermot, Gerome Ragni, James Rado} (4:26)
Soloist: Woody Herman
A4. Memphis Underground {Herbie Mann} (3:30)
Soloists: Bill Chase, Frank Vicari, Woody Herman
A5. High School Hero {Jake Holmes} (2:59)
Soloist: Alan Gauvin
A6. Lancaster Gate {Richard Evans} (3:17)
Soloists: Bobby Burgess, Harry Hall, Woody Herman
-------------------------------------------------------------------
B1. The Hut {Richard Evans} (3:42)
Soloists: Bill Chase, Bobby Burgess, Harry Hall, Sal Nistico
B2. My Cherie Amour {Henry Cosby, Stevie Wonder, Sylvia Moy} (2:43)
Soloists: Bobby Burgess, Woody Herman
B3. It's Your Thing {O'Kelly Isley, Ronald Isley, Rudolph Isley} (2:58)
Soloists: Bill Chase, Sal Nistico
B4. Catch That Bird {Loonis McGlohon} (2:49)
Soloists: Bill Chase, Bobby Burgess, Frank Vicari
B5. Sex Machine {Sylvester Stewart} (5:48)
Soloists: Alan Gauvin, Bill Chase, Bobby Burgess, Phil Upchurch, Woody Herman

Total Time: 38:13

Credits:
Producer, Arranger - Richard Evans
Engineer - Ron Malo, Stu Black
Album Supervisor - Dick LoPalm
Cover Photo - Vincent P. Lucarelli
Album Design - Dick Fowler

"Excellent stuff!; We used to pass this one by all the time, thinking that it was some sort of fake jazz album -- but these days, we love it to death, and listen to it all the time! Woody Herman's band meets the soulful arrangements of Richard Evans, and the whole thing cooks nicely in the Chess studios in Chicago. The result is a tasty blend of soulful big band tracks, with a strident groove that Woody never duplicated, and with the kind of baroque arrangements that Evans was bringing to some of the best soul work on Cadet at the time. Donny Hathaway plays organ, and the group does a killer version of his own "Flying Easy". Other titles include "The Hut", "Sex Machine", and "It's Your Thing" -- but it's all great!" ~ Dusty Groove.

Renee Rosnes - Black Narcissus (2008)

On this release from M&I, Rosnes is paired with the strongest rhythm section a pianist could ask for, Peter Washington on bass and Lewis Nash on drums, and plays Henderson's compositions and jazz standards he played often. Many of the arrangements are reflective of what they used to play together. While Washington and Nash support the leader superbly and turn in great solos when they are called for, it is Rosnes who is front and center in this great trio album. She shines with her beautiful tone, crisp touch, precise rhythm and great swing. Her technique is brilliant, and she shows her deep understanding of the bebop and modal traditions of jazz piano. As we come to expect from all M&I releases, the sound quality of the recording is also superb. A very strong trio album. 

M&I Music Inc., MYCJ-30473, 2008
Recorded 30th-31st January, 2008 at Bennett Studios, New Jersey 

Musicians:
Renee Rosnes - Piano
Peter Washington - Bass
Lewis Nash - Drums 

Tracks:
01. Black Narcissus {Joe Henderson} (4:08)
02. Without A Song {Vincent Youmans} (6:10)
03. You Know I Care {Duke Pearson} (5:59)
04. Beatrice {Sam Rivers} (8:05)
05. Recorda Me {Joe Henderson} (5:36)
06. Chelsea Bridge {Billy Strayhorn} (4:29)
07. Isotope {Joe Henderson} (4:46)
08. What's New {Bob Haggart} (5:47)
09. Serenity {Joe Henderson} (4:34)
10. Night And Day {Cole Porter} (4:09) 

Total Time: 53:43

Credits:
Producer - Makoto Kimata (Key'stone Music), Todd Barkan
Co-Producer - Hiro Yamashita
Executive Producer - Kei Hosoji
Recording Engineer - Katherine Miller
Assistant Engineer - Travis Stefl
Mastering Engineer - Kazuhiro Yamagata [CD Design]
Director - Tatsumi Hayashi
Design - Masanori Yasuda [NPC]
Photo - John Abbott
Photo [Joe & Renee] - Mary Jane
Liner Notes - Renee Rosnes 

Rene Rosnes is a terrific piano player. Exceptional does not do justice to her chops. Here she is doing a Joe Henderson tribute CD (she first played with him early on in her career in '87) with ace Peter Washington whom she plays with often and the fantastic stick man Lewis Nash. The tempo is mostly fast. I found myself not distinguishing the songs from one another and had to concentrate to associate them with Henderson or anybody else. For instance, “Beatrice" the great Sam Rivers tune just loses its character. "Isotope" and "What' New" just blend in with each other. Not until the last cut do, they go from a high energy to really kicking it into overdrive and do an impressive "Night And Day" and those who know Joe Henderson will recall his version that ends his "Inner Urge" LP. I don't know what the hell Cole Porter would have thought of it, but they capture that over the top feeling the Henderson’s version had. This is a good yet not great CD which given the material and players should have been superb. ~ Extract by C. Katz, Amazon.com.

Phil Upchurch - Upchurch (1969) [re-rip]

An incredible album from one of the greatest talents on the Chicago soul scene of the late 60s - guitarist Phil Upchurch, a player with an amazing sound! Phil could work in worlds that were equal parts soul and psychedelia - making his guitar a perfect accompaniment for the best Chicago soul of Curtis Mayfield, Donny Hathaway, Minnie Riperton, and other greats of the time. This album's easily one of Phil's best - a mindblowing set of arrangements put together by the groundbreaking producer Charles Stepney - bringing together bits of jazz, rock, soul, and funk - all providing the perfect genre-blending space for Upchurch to solo! Given that there's no singer on the set, Phil's work on guitar is a lot freer than you're used to hearing – in a really great way, one that puts him in a space somewhere between Shuggie Otis and Jimi Hendrix! Brilliant all the way through, with tracks that include "Adam & Charlene", "You Wouldn't You Couldn't Be True", "Crosstown Traffic", "More & More", "Black Gold", "America", and "As You Said". © Dusty Groove America, Inc. 

Cadet Records, LPS 826, 1969
Recorded March 1969 at Ter Mar Studios, Chicago, Illinois 

Personnel:
Phil Upchurch - Guitar
Donny Hathaway - Keyboards, Organ
Louis Satterfield - Bass
Morris Jennings - Drums
Bobby Christian - Percussion
Dave Chausow - Strings, Horns
James Mack Singers - Choir Vocals 

Tracks:
A1. Black Gold {Charles Stepney} (4:37)
A2. America {Paul Simon} (3:38)
A3. As You Said {Jack Bruce, Pete Brown} (2:29)
A4. You Wouldn't, You Couldn't Be True {Phil Upchurch} (3:05)
A5. Cross Town Traffic {Jimi Hendrix} (3:54)
B1. Adam And Charlene {Charles Stepney} (4:20)
B2. Spinning Wheel {David Clayton-Thomas} (3:22)
B3. Voodoo Chile {Jimi Hendrix} (2:52)
B4. More And More {Don Juan, Vee Pee} (2:42)
B5. Midnight Chile {Phil Upchurch} (3:59) 

Total Time: 34:58

Credits:
Producer, Arranger, Conductor - Charles Stepney
Recording Engineer - Stu Black
Cover Photograph - Jim Taylor
Liner Photograph - Victor Skrebneski
Album Design - Randy Harter

Joey DeFrancesco - Singin' And Swingin' (2001)

Joey DeFrancesco the jazz organist meets Joey DeFrancesco the Sinatra-style crooner on this, his first vocal outing. The album is rich in contrasts: eight of the 13 cuts feature a big band, with the likes of bassist Ray Brown, tenor saxophonist Pete Christlieb, and more; the rest are trio pieces featuring the leader, Paul Bollenback, on guitar and Byron Landham on drums. Vocally, DeFrancesco pours it on with beaucoup reverb (producer John Burk and engineer Bernie Kirsh could have backed off a bit), handling swingers like "Mack the Knife" and ballads like "They Say It's Wonderful" with equal poise and conviction. His organ is present on many of the vocal tracks, but it moves to the fore on the three instrumental originals: "Mr. Dennis Houlihan," a fast rhythm changes tune; "Did You Hear Him Holler," a tongue-in-cheek Cajun groove; and "The Sidewalk Is Wild," a sly big band shuffle that features the leader briefly on trumpet. DeFrancesco also gives his voice a rest on the swing classic "One Mint Julep," the penultimate "Danny Boy," done as a powerful trio ballad, and the closing standard, "I'm Getting Sentimental Over You." DeFrancesco's vocal affect is quite similar to Sinatra's, especially on songs closely associated with him, like "In the Wee Small Hours," one of the all-around best selections. Some won't be able to get past the hammy aspect of the album, but the fact is that DeFrancesco really can sing, and "if you've got it, flaunt it" is a worthy credo for any performer. You've got to applaud him for taking the plunge. ~ by David R. Adler, AMG. 

Concord Records, CCD-4861-2, 2001
Recorded 24th-25th January, 1999 at Capitol Records, Studio B, Hollywood, California 

Personnel:
Joey DeFrancesco - Organ [Hammond B-3], Trumpet, Vocals
Paul "Dukie" Bollenback - Guitar
Byron "Wookie" Landham - Drums 

Guests:
Mike Howard - Guitar (#7,13)
Paul Leibelshon - Drums (#7)
Dave Cook - Drums (#13) 

Frank Capp's Big Band (#1,2,5,6,8-11):
Ray Brown - Bass
Frank Szabo, Wayne J. Bergeron, Conte Candoli, Carl Saunders - Trumpet
Andy Martin, George Bohanon, Bob McChesney, Mike Millar - Trombone
Sal Lozano, Don Shelton - Alto Saxophone
Peter Christlieb, Rickey D. Woodard - Tenor Saxophone
Jack Nimitz - Baritone Saxophone
Horace Ott - Arrangements 

Strings (#1,3):
Bruce Dukov - Concertmaster
Russ Cantor, Gil Romero, Rachel Purkin, Horia Moroaica, Debbie Price,
Patricia Johnson, Darius Campo - Violin
Harry H. Shirinian, Jorge Moraga - Viola
Vage Ayrikyan, Armen Ksadjikian - Cello
Frank Capp - Conductor 

Tracks:
01. You'd Be So Nice To Come Home To {Cole Porter} (3:44)
02. Mr. Dennis Houlihan {Joey DeFrancesco} (3:53)
03. They Say It's Wonderful {Irving Berlin} (4:36)
04. Did You Hear Him Holler? {Joey DeFrancesco} (4:41)
05. Mack The Knife {Marc Blitzstein, Eugene Berthold, Brecht, Kurt Weill} (3:29)
06. One Mint Julep {Rudolph Toombs} (5:12)
07. In The Wee Small Hours {Bob Hilliard, David Mann} (5:29)
08. I Thought About You {Johnny Mercer} (3:38)
09. The Sidewalk Is Wild {Joey DeFrancesco} (6:03)
10. Let Me Love You Tonight {Mitchell Parish, Rene Touzet} (3:30)
11. Kansas City {Jerry Leiber, Mike Stoller} (3:44)
12. Danny Boy {Fred Weatherly} (6:17)
13. I'm Getting Sentimental Over You {George Bassman, Ned Washington} (6:28) 

Total Time: 60:44

Credits:
Producer - John Burk
Co-Producer - Heather & Joey DeFrancesco
Executive Producer - Glen Barros
Recording Engineer - Bernie Kirsh
Mixing, Assembly & Mastering - Tim Hunnicutt
Production Manager - Will Rose
Art Direction - Yalitza Ferreras
Photography - John Samora
Liner Notes - Joey DeFrancesco

Kenny Wheeler with John Taylor, Steve Swallow - One Of Many (2011)

Kenny Wheeler sticks to flügelhorn exclusively for this unusual yet intimate trio date with pianist John Taylor and electric bassist Steve Swallow (whose nimble playing makes it seem like he is playing an acoustic guitar at times). Together the three veterans explore the leader's stunning originals, most of which are ballads, beginning with the buoyant Brazilian-flavored "Phrase 3." "Anticipation" is a tense affair, with the rhythm section introducing a hypnotic, intricate vamp before Wheeler makes a powerful entrance stating its melancholic theme. "Old Ballad" has an air of despair, as if recalling a long-lost love, as Wheeler's expressive tone conveys the mood without the need for lyrics. "Fortune's Child" is another emotional ballad, with Taylor at times recalling Bill Evans' elegant touch. "Ever After" is played in two versions. The first omits Wheeler, with Taylor and Swallow delivering a breezy, post-bop performance. The trio version takes a while to get underway but the interplay between the three men is a joy. Highly recommended. ~ by Ken Dryden, AMG. 

C.A.M. Jazz, CAMJ 7835-2, 2011
Recorded & Mixed 30th-31st July 30, 2006 at Bauer Studios, Ludwigsburg, Germany 

Musicians:
Kenny Wheeler - Flügelhorn
John Taylor - Piano
Steve Swallow - Electric Bass Guitar 

Tracks:
01. Phrase 3 (6:12)
02. Anticipation (5:25)
03. Aneba (5:59)
04. Any How (3:16)
05. Canter #5 (4:04)
06. Ever After [Duo Version] (3:06)
07. Now And Now Again (5:13)
08. Old Ballad (6:58)
09. Fortune's Child (6:20)
10. Even After (5:41) 

All Compositions by Kenny Wheeler

Total Time: 52:20

Credits:
Artistic Producer - Ermanno Basso
Engineer, Mixing, Quotation Author - Johannes Wohlleben
Mastering - Danilo Rossi
Quotation Author - Stefano Amerio, James Farber
Photography - Peter Bastian
Cover Photo - Andrea Boccalini

Manuel Rocheman - Cactus Dance (2007)

Manuel Rocheman has been in this category for a long time. The one where the "L" of freedom becomes capital letter. Having the process of recording a disc with two partners renowned for their immense talents and their deep dedication, "Cactus Dance" has a hell of a program in store for us, long before listening to the first note. The album starts off with a simple joke, "Aulnay Blue". A fast tempo completely masked by the rhythmic construction of the theme. And as if there was not enough camouflage, this first melody is doubled in the bass by the double bass. Child's play. What follows is all the more disturbing. This is the second track, "You must believe in Spring", Which brings us back to earth with the poetry of spring and its promises. As Bill Evans did too little, on this track alone, Manuel switches to Fender Rhodes from bar to bar, with that monstrously awesome and lyrical inner vocals. This instrument gives an intriguing dimension to Manuel's left hand playing. Let's talk about it. This left hand offers us firmly present chords. It is often a choice for pianists to access modernism by safeguarding codes from the past. For this pianist, it is a question of a finely appropriate code, that of systematically placing the chords during a chorus. What helps make this system more current is the personal sensitivity it puts in the choice of notes for these chords. We can only raise the level of maturity reached by Manuel Rocheman. The extraordinary Mexican drummer Antonio Sanchez who accompanies him produced this record without using the Latin colors of his drums. This usual expert in mixed sounds has given up this touch in order to fully immerse himself in the leader's modern jazz universe. The refinement is at its maximum when entering the "special drums" at the end of the waltz "Cactus Dance". The gentle frenzy of chopsticks on the skin is developed by an entirely interior energy. Scott Colley is in search of accuracy. Time is an obsession for this 44-year-old double bass player, without taking away the spontaneity of the dialogue with the drummer. They two combine a plot in perpetual motion. Despite some unwelcome "bland", several titles on the disc bring us back to the trio's great classics and the influence they bring to Manuel. A tribute to Keith Jarrett through "So tender", Rocheman style. Let’s not forget "Comrade Conrad" too, a magical piece with an Evansian aesthetic where Manuel, after his solo intro, is joined by the two North American musicians, also giving their majestic tribute to the legendary trio of Scott Lafaro and Paul Motian. To end this ballad of memories, also note this double-homage with "I love you", recorded with 2 different rhythmic points of view. The joke game ends in the good mood of nostalgia. A loving playful nostalgia. ~ Tristan Loriaut, lesdnj.over-blog.com. 

Nocturne Records, NTCD412, 2007
Recorded 21st & 22nd March, 2006 at Systems Two Recording Studios, Brooklyn, NY 

Musicians:
Manuel Rocheman - Piano, Fender Rhodes (#2)
Scott Colley - Bass
Antonio Sanchez - Drums 

Tracks:
01. Aulnay Blue {Manuel Rocheman} (4:16)
02. You Must Believe In Spring {Michel Legrand} (6:13)
03. Batida De Coco {Manuel Rocheman} (6:21)
04. Cactus Dance {Manuel Rocheman} (7:00)
05. So Tender {Keith Jarrett} (6:28)
06. Prato Feito {Toninho Horta} (6:58)
07. Comrade Conrad {Bill Evans} (6:36)
08. I Do It For Your Love {Paul Simon} (4:59)
09. El Mosquito {Manuel Rocheman} (2:51)
10. Waltz For Marianne {Manuel Rocheman} (4:50)
11. I Love You 7/4 Version {Cole Porter} (7:32)
12. I Love You 4/4 Version {Cole Porter} (7:52) 

Total Time: 71:56

Credits:
Producer - Manuel Rocheman
Recording Engineer - Joe Marciano
Assistant Engineer - Max Ross
Mixing Engineer - Charles Caratini
Mastering Engineer - Raphael Jonin
Photography - Guy Vivien, Manuel Rocheman
Artwork - Alexandra de Lapierre 

This album is a Manuel Rocheman piano trio release after a longish spate of time, four years. Essentially, it is an easy-to-listen and responsive work. It encompasses Roschman's own work, and that of Keith Jarrett, Bill Evans, and Cole Porter's works, all of which are very captivating tunes. The first song, which has a strange time signature and a sharp twist, is very aggressive. From there the album progresses in a mixture of dynamism and entrancing trio dialogue. In essence, the participation of Scott Cory and Antonio Sanchez indeed plays an important role in breaking new ground in Roschmann progressive development.

Buddy Johnson - Buddy Johnson At The Savoy Ballroom (1945-1946)

The Buddy Johnson material on this Archives Of Jazz release is taken from radio broadcasts which originated at the Savoy Ballroom, New York in the fall of 1945 and the spring of 1946. Buddy Johnson & Walkin Rhythm Orchestra never fails to entertain and this LP in particular is a great compilation to get you started. Ripped from a well-loved vinyl there's not more to say other than sit back and imagine yourself at the savoy ballroom in the mid-forties. Intertwined in the mix are some wonderful vocals by Buddy’s sister Ella and male vocalist Arthur Prysock, Enjoy!!! 

Jazz Archives, JA-25, 1975
Recorded fall of 1945 and the spring of 1946 

Musicians:
Buddy Johnson - Piano
Dupree Bolton, Frank Brown, John Wilson, Willis Nelson - Trumpet
Bernard Archer, Gordon Thomas, Leonard Briggs - Trombone
Joe O'Laughton - Alto Saxophone
Dave Van Dyke, Jimmy Stamford - Tenor Saxophone
Teddy Conyers - Baritone Saxophone
Jerome Darr - Guitar
Leon Spann - Bass
Teddy Stewart - Drums
Arthur Prysock, Ella Johnson - Vocals 

Tracks:
A1. [Theme] Walk 'Em / Opus #2 {Buddy Johnson} (5:44)
A2. Since I Fell For You {Buddy Johnson} (3:55)
A3. St. Louis Blues {W. C. Handy} (3:30)
A4. Waitin' For The Train To Come In {Sunny Skylar, Martin Block} (2:25)
A5. Night Shift {Erskine Hawkins, Billy Butterfield} (2:50)
A6. Jodi {Buddy Johnson} (4:37)
B1. One O’Clock Boogie {Count Basie, Jimmy Mundy, Milton Ebbins} (4:34)
B2. The Otherside Of The Rainbow {Buddy Johnson} (2:48)
B3. Exactly Like You {Dorothy Fields, Jimmy McHugh} (2:13)
B4. One For A Nickel {Buddy Johnson} (4:48)
B5. Gee, It’s Good To Hold You {Allan Roberts, Doris Fisher} (2:37)
B6. In There {Kenny Hallon, Buddy Johnson} (3:25)
B7. Traffic Jam {Artie Shaw, Teddy McRae} (4:33)
B8. [Theme] If You Never Return {Buddy Johnson} (2:11) 

Total Time: 50:09

Kenny Wheeler & John Taylor - Where Do We Go From Here? (2004)

On 14th January 2005, Kenny Wheeler turns 75, and the title of this duo album on Italy's CamJazz label very likely sums up his attitude to the landmark day. The Toronto-born trumpeter, flugelhorn player and composer has been quietly but progressively inventive all his life (the British jazz scene has been the main beneficiary, since his move here in 1952), and that hasn't changed since he entered his 70s. As with Chet Baker later in life, slight hesitancies of pitching and intonation now seem only to add deeper timbres of humanity to Wheeler's voice, which can be remote at times. The music here, however, is anything but distant, with Wheeler's improvising on 10 songs (mostly originals) full of glancing ambiguities and softly startling turns. Pianist John Taylor is dazzling all the way through, without disrupting the fragile romanticism of his composing partner's muse. 

Wheeler balances idiosyncratic melodic journeys with shrewdly placed accents and his trademark falsetto squeal on the only imported piece (Summer Night), with Taylor first patrolling supportively around him, then launching into a solo flood of time-changes, percussive sounds, classical rhapsodies and ambiguous chords. Taylor's plangent Au Contraire and the dignified dance of Canter exemplify this session's mix of improvisational inventiveness and harmonic audacity. The title track is a lost-and-found exercise, the irresolute steps of its opening becoming firmer as the theme unfolds, and Taylor's steadily pulsing Dance deploys colourful trumpet overdubs. Ostensibly low-key and twilit music, but a quiet turmoil of invention beneath. ~ by John Forsham, TheGuardian.com. 

C.A.M. Jazz, CAMJ 7764-2, 2004
Recorded 17th-19th February, 2004 at Artesuono Studio, Cavalicco, Udine, Italy 

Musicians:
Kenny Wheeler - Trumpet, Flügelhorn
John Taylor - Piano 

Tracks:
01. Summer Night {Al Dubin, Harry Warren} (6:21)
02. For Tracy {Kenny Wheeler} (5:04)
03. Mabel {Kenny Wheeler} (5:01)
04. Au Contraire {Kenny Wheeler} (4:31)
05. Canter N. 1 {Kenny Wheeler} (5:25)
06. Squiggles {Kenny Wheeler} (5:57)
07. One Two Three {Kenny Wheeler} (6:45)
08. Where Do We Go From Here? {Kenny Wheeler} (5:12)
09. Dance {Kenny Wheeler} (3:38)
10. Fordor {Kenny Wheeler} (6:20) 

Total Time: 54:14

Credits:
Producer - Ermanno Basso
Recording, Mixing & Mastering Engineer - Stefano Amerio
Management Contractor - Andrea Marini
Photos - Luca D'Agostino
Graphics - Studio Grafite
Sleeve Notes - Ian Carr 

Trumpeter Kenny Wheeler and pianist John Taylor have worked together in many settings through the years. Their duet set features lyrical explorations of nine originals and Harry Warren's "Summer Night." Wheeler and Taylor often echo each other's thoughts and, although much of the music is melancholy and ballad-oriented, it never gets sleepy or overly predictable. The two musicians operate as equals and consistently uncover quiet beauty in these pieces. This outing is well worth exploring by those who are patient and listen closely. ~ by Scott Yanow, AMG.

Rick Margitza - This Is New (1991)

For his third release as a band leader, the Crescent City's former resident "pays homage to the tradition." The title song by George Gershwin tells all: this is a new approach to standard material. Backed by some heavy contemporary mainstream musicians, the album remains consistent throughout, with the rhythm section swinging hard under subtle improvisation. Although only 30-years-old, Margitza’s playing is mature and controlled, with a smooth and pure bright-edged tone. He expresses himself through note choice and in his own unique approach to phrasing, rather than through exuberant dynamics and spastic runs. Even his fat runs are effortless and in perfect time, and his out-of-range high notes sustain tone and pitch. Pianist Joey Calderazzo complements Margitza perfectly with his smooth style; with single-note phrases in his right hand, he also plays reservedly and can burn smoothly in perfect time. Drummer Jeff "Tain" Watts swings hard on the cymbals and ties it all together following the soloists and the other accompaniment intuitively, and Robert Hurst drives it all with a thumping, full-toned bass. Margitza's own "Beware of the Dog" is a minor modal piece with Tim Hagans on trumpet. Hagans' tone blends with Margitza’s on the haunting gypsyish melody. They explore the basic melodic outline of "On Green Dolphin Street," Margitza's straight tone echoing back to Miles Davis' muted trumpet sound. And on the ballad, "Everything Happens to Me," Margitza proves his bright tone can also serenade us. ~ Anthony Clark, Off Beat Magazine. 

Blue Note, CDP 7 97196 2, 1991
Recorded 27th-28th May, 1991 at Power Station, New York City 

Musicians:
Rick Margitza - Tenor Saxophone, Arranger
Joey Calderazzo - Piano (#1,2,4-7,9)
Robert Hurst - Acoustic Bass
Jeff "Tain" Watts - Drums
Tim Hagans - Trumpet (#5 only) 

Tracks:
1. This Is New {Ira Gershwin, Kurt Weill} (5:18)
2. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (9:59)
3. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (5:37)
4. Just In Time {Betty Comden, Adolph Green, Jule Styne} (6:29)
5. Beware Of The Dog {Rick Margitza} (8:49)
6. Invitation {Bronislaw Kaper, Paul Francis Webster} (5:30)
7. Everything Happens To Me {Hoagy Carmichael, Johnny Mercer} (5:33)
8. When Will The Blues Leave? {Ornette Coleman} (7:07)
9. Gypsies {Rick Margitza} (6:36) 

Total Time: 61:02

Credits:
Producer - Matt Pierson
Recording Engineer - Jim Anderson
Assistant Engineer - Matthew "Boomer" LaMonica
Mastering Engineer - Bob Ludwig [Masterdisk]
Design - Mark Larson
Photography - Michael Williams
Art Direction - Cynthia Cochrane

Rick Margitza - Color (1989)

Rick Margitza's debut features the playing of a young tenor-saxophonist who mixes together the usual influences: Michael Brecker, Wayne Shorter and John Coltrane. In his favor is that Margitza's 11 originals (performed with a septet that includes guitarist Steve Masakowski, pianist Joey Calderazzo and Jim Beard on synthesizers) range from a Coltranish blues to the poppish "Color Scheme," from brooding ballads to uptempo straightahead explorations. The main weak point is that some of Margitza's solos sound as if he they were taken straight from exercise books. Less formal studying and more jamming will probably eventually eliminate that problem for Margitza certainly had the technique and the power at this early point in his career. ~ by Scott Yanow, AMG. 

Blue Note, CDP 592279, 1989
Recorded April - May, 1989 at Power Station, New York 

Musicians:
Rick Margitza - Tenor Saxophone, Soprano Saxophone
Steve Masakowski - Guitars [7 & 12-String Acoustic, 7-String Electric]
Joey Calderazzo - Piano
Jim Beard - Synthesizers
Marc Johnson - Acoustic Bass
Adam Nussbaum - Drums
Airto Moreira - Percussion 

Tracks:
01. Widow's Walk (4:59)
02. Color Scheme (6:08)
03. Ferriss Wheel (5:18)
04. Our Song (3:16)
05. Walts (5:46)
06. Change-Up (7:12)
07. Anthem (4:40)
08. Brace Yourself (6:14)
09. Karensong (4:41)
10. We Stand Adjourned (5:00)
11. Point Of View (1:28) 

All Compositions by Rick Margitza

Total Time: 54:49

Credits:
Producer - Matt Pierson, Rick Margitza
Recording & Mixing Engineer - Jason Corsaro
Assistant Engineer - Bruce Calder, Ben Fowler, Dan Gellert
Mastering Engineer - Bob Ludwig [Masterdisk]
Art Direction & Photography - Carol Friedman