Red Holloway - Red Holloway & Company (1987)

Underestimated as a bop or straight jazz player. This CD finds Red in a quartet setting where the group plays two originals and six others more or less familiar tunes. Highlights: "But Not For Me", which starts off with a mellow first chorus before Red displays his individualistic improvisation while still retaining the melody. The group really wrings out all the possibilities of "Caravan". "Passion Flower" sounds good as a tenor sax spotlight almost as well as the unforgettable alto treatment by Johnny Hodges. Holloway shows some break-neck chops on a burning "Well, You Needn't". "Summertime" has a real unusual treatment with the lead off beat and first few notes which had me thinking of "St. Louis Blues". On "What's New?" Red switched to alto sax and from what I heard, he's one of those few players that is equally adept at playing both tenor and alto. The rhythm section on this set is tremendous, led by pianist Cedar Walton. The best accolade for Cedar is a comment made by Sonny Stitt, "If you play with Cedar, be sure to solo first. He sure is a tough man to follow". Bassist Richard Reid and drummer Jimmie Smith are the other two members of this superb section. ~ Extract by Robert J. Ament, Amazon.com. 

Concord Jazz, CCD-4322, 1987
Recorded January, 1987 at Coast Recorders, San Francisco, California 

Musicians:
Red Holloway - Alto & Tenor Saxophones
Cedar Walton - Piano
Richard Reid - Bass
Jimmy Smith - Drums 

Tracks:
1. But Not For Me {George Gershwin, Ira Gershwin} (6:14)
2. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (5:37)
3. Passion Flowers {Billy Strayhorn} (5:02)
4. Blues For C.J. {Red Holloway} (5:38)
5. Well, You Needn't {Thelonious Monk} (4:21)
6. What's New? {Johnny Burke, Bob Haggart} (6:37)
7. Summertime {George & Ira Gershwin, DuBose Heyward} (5:46)
8. Tokyo Express {Red Holloway} (4:52) 

Total Time: 44:07 

Credits:
Producer - Carl E. Jefferson
Recording & Mixing Engineer - Phil Edwards
Cover Photograph - Don Saban
Art Direction - Tom Burgess

Red Holloway, Clark Terry Sextet - Locksmith Blues (1989)

Excellent Red Holloway/Clark Terry Collaboration.......on a straight-ahead sextet offering comprised of six jazz standards and three Holloway originals. Red has always been known as an excellent R&B player but the man also plays some fine jazz sax......an excellent alto as well as his tenor. Clark Terry, St. Louis jazz icon, also plays some extremely fine trumpet/flugelhorn, both muted and open, on this set. Both musicians seem to enjoy the interaction throughout and my personal favorites are "Happiness Is A Thing Called Joe" which is a relaxed showcase feature for Red, "Come Sunday", which likewise, is almost a signature for Clark since he has performed it so often over the years. "Hitting The Road Again" is a catchy medium tempo blues which also has a great but short bass solo by Rufus Reid. The title tune features some humorous vocals by both Red and Clark plus some exceptional guitar work by Phil Upchurch. "'Round Midnight" is taken at a usual sedate pace with Clark's solo which contrasts nicely with the double time alto solo by Red. Clark's muted and open solos nicely complement Red's excellent alto work on "I Got It Bad....." which , indeed, evokes memories of the great Johnny Hodges. This is an excellent straight ahead jazz sextet displaying the talents of two master horn men with an equally great supporting rhythm section in a very enjoyable program......one that would be welcome in any jazz library. ~ Robert J. Ament, Amazon.com. 

Concord Jazz, CCD-4390, 1989
Recorded June, 1989 at Sage & Sound Recording, Hollywood, California 

Musicians:
Red Holloway - Alto & Tenor Saxophones
Clark Terry - Trumpet, Flugelhorn
Gerald Wiggins - Piano
Phil Upchurch - Guitar
Richard Reid - Acoustic Bass, Electric Bass
Paul Humphrey - Drums 

Tracks:
1. Red Top {Lionel Hampton, Ben Kynard} (4:32)
2. Happiness Is A Thing Called Joe {Harold Arlen} (4:48)
3. Hitting The Road Again {Red Holloway} (7:23)
4. Come Sunday {Duke Ellington} (4:30)
5. Locksmith Blues {Red Holloway} (5:44)
6. 'Round Midnight {Thelonious Monk} (4:35)
7. The Junk Man {Red Holloway} (5:18)
8. I Got It Bad [And That Ain't Good] {Duke Ellington, Ben Webster} (9:39)
9. Cotton Tail {Duke Ellington} (5:10) 

Total Time: 51:42 

Credits:
Producer - Carl E. Jefferson
Assistant Producer - Nick Phillips
Recording Engineer - Jim Mooney
Assistant Recording Engineer - Jerry Wood
Remixing Engineer - Phil Edwards
Mastering Engineer - George Horn
Art Direction - Paul Francis
Cover Photography - David Fischer
Liner Notes - Miles Jordan, JazzTimes

Locksmith Blues

Bastian Stein - Diegesis (2013)

Bastian Stein is a young German trumpeter and composer signed to the German record label Pirouet, also home to the ground breaking trio led by pianist and composer Pablo Held. "Diegesis", Stein’s album début for the label was released in 2013 and included Held on piano plus the rhythm pairing of Matthias Pichler (bass) and Tobias Backhaus (drums). The record garnered a considerable degree of critical acclaim, not least for Stein’s distinctive trumpet tone. Stein was born in Heidelberg in 1983 before relocating to Vienna where he began his musical education prior to moving on to study in Amsterdam in New York. He is now based in Cologne. ~ ~ by Ian Mann, TheJazzmann.com. 

Pirouet Records, PIT3070, 2013
Recorded 9th & 10th July, 2012 at Pirouet Tonstudio, Oberhaching, Germany 

Musicians:
Bastian Stein - Trumpet, Flugelhorn
Pablo Held - Piano
Matthias Pichler - Bass
Tobias Backhaus - Drums 

Tracks:
1. New West {Philipp Jagschitz} (6:02)
2. In Honor Of A Friend {Bastian Stein} (4:06)
3. Gladiolus Tristis {Bastian Stein} (6:00)
4. Sung Fang Ching {Bastian Stein} (5:10)
5. Chiva {Bastian Stein} (5:02)
6. Without Words {Bastian Stein} (6:01)
7. The Quest {Bastian Stein} (6:54)
8. Con Alma {Dizzy Gillespie} (4:51) 

Total Time: 44:11 

Credits:
Producer, Recording, Mixing - Jason Seizer
Mastering - Christoph Stickel
Cover, Artwork - Konstantin Kern 

Diegesis: Music that counts. Trumpeter and flugelhorn player Bastian Stein lets the music speak for itself - and he has a top-level cast of characters to help him do it: pianist Pablo Held, bassist Matthias Pichler, and drummer Tobias Backhaus. ~ pirouet.de.

Robert Landfermann - Night Will Fall (2015)

Robert Landfermann is one of those musicians that leaves an imprint wherever he lands. Having made a name for himself in the international scene playing with some of the best jazz groups and collaborating with some of the most revered names on the planet, he now prepares to launch his debut record as leader of his own quintet. Joining the subtle-toned bassist and occasional bass viol player, four masters in their own right - drummer Jim Black, saxophonists Christian Weidner and Sebastian Gille and pianist Elias Stemeseder. Night Will Fall not only marks his first release on Pirouet, but also his first recording as bandleader of his own quintet. ~ Extract by Lean Crowley, Jazziz.com. 

Pirouet Records, PIT3088, 2015
Recorded 2nd & 23rd February, 2015 at Deutschlandfunk, Kammermusiksaal Köln 

Musicians:
Robert Landfermann - Bass, Violone
Christian Weidner - Alto Saxophone
Sebastian Gille - Tenor Saxophone
Elias Stemeseder - Piano
Jim Black - Drums 

Tracks:
1. Motettu De Tristura {Traditional} (6:58)
2. Berg {Robert Landfermann} (4:24)
3. Katarrh {Robert Landfermann} (4:26)
4. Night Will Fall {Robert Landfermann} (10:22)
5. Rot {Robert Landfermann} (3:12)
6. Randnotiz {Robert Landfermann} (5:44)
7. Zehn Und Acht {Robert Landfermann} (7:35)
8. Arabesque {Paul Motian} (6:22) 

Total Time: 49:05 

Credits:
Producer, Recording - Jason Seizer
Recording - Ernst Hartmann
Mastering - Christoph Stickel [CS Mastering]
Cover Design, Photography - Konstantin Kern 

The Recording Sessions

Pablo Held Trio - Lineage (2016)

Pablo Held's eighth release in nine years with his trio for Pirouet Records. The pianist, not yet thirty, like compatriot Michael Wollny studied at the Conservatory in Cologne with John Taylor and has rapidly established himself on the European scene with a distinctive sound and extraordinarily empathic trio. The eight originals on this dense, often abstract but compelling and frequently propulsive set, exploit the mutual understanding between Held, drummer Jonas Burgwinkel and bassist Robert Landfermann to the full. “I like it when you don't know exactly what is going on” Held is quoted as saying. Long, twisting, time shifting, written passages sound like they could have been improvised but for the locked left hand of the pianist and bass and stop start changes of mood and pace; instinctive hook-ups between bass, drums and piano in the midst of tumbling, mazy blizzards of notes could almost have been scripted. The distinction between composition, improvisation, familiar elements of structure and completely fluid interchange are all deliberately blurred. The opener Hidden has all these elements with the sinuous, stop-start theme flowing, punctuated by an engagingly melodic riff before dissolving into an urgent scramble of improvisation. Lament despite its title and initial dark abstraction, develops into a three-way conversation that suddenly bursts with urgent momentum before fading away. Song Noir is an angular, dark, tone poem that develops into cycling dissonant chords whilst Burgwinkel churns and lashes. Ammedea's snappily percussive groove underpinning another angular line, gives way to a dazzling display from Held, fragmentary phrases, and glittering runs coalescing to leave an impression of something familiar but not quite stated. The more meditative title track Lineage and Spuren both hint at a theme, that of all the various elements that have, through the chemistry of Held's composition and the bands interplay, produced their unique sound. At times an almost stated melody and moving chords leave a shimmer of Debussy in the air, at others a burst of cymbal and skittering runs from the piano hint at fiery post-bop. This is very personal and alluring music with compelling performances all round that repays close listening. ~ Mike Collins, LondonJazzNews.com. 

Pirouet Records, PIT3094, 2016
Recorded 30th & 31st January, 2016 at Kyberg Studio, Oberhaching, Germany 

Musicians:
Pablo Held - Piano
Robert Landfermann - Bass
Jonas Burgwinkel - Drums 

Tracks:
1. Hidden (5:08)
2. Lament (8:23)
3. Song Noir (3:07)
4. Bernstein Fantasie (6:45)
5. Lineage (4:39)
6. Ammedea (5:04)
7. Meta (4:50)
8. Spuren (7:32) 

All Compositions by Pablo Held 

Total Time: 45:33 

Credits:
Producer, Recording & Mixing Engineer - Jason Seizer
Mastering Engineer - Christoph Stickel
Cover Design, Artwork, Photography - Konstantin Kern 

“A masterpiece" ~ Rondo.

"Another impressive field report from a restlessly creative artist with virtuosic skill." ~ Downbeat. 

Ammedea

Saori Yano - Gloomy Sunday (2008)

50th anniversary commemorative project dedicated to the beloved Billie Holiday. Saori Yano's saxophone sings the song of the beloved Billy Holiday with sorrow. Gloomy Sunday Saori Yano's Tribute To Billie Holiday. For Saori Yano, reading her biography of Billie Holiday at the age of 14 also inspired her to enter the world of jazz, and she is the most respected jazz singer. Saori Yano has completed a tribute album in which Billy's repertoire is sung with her unique tone and her singing alto saxophone, with a gorgeous strings orchestra arranged by Neko Saito as the background. This is just a homage to Billy from the 21st century. This work is Saori Yano's first high-quality HQCD specification. 

Savoy Records, COCB-53752, 2008
Recorded 23rd & 24th July, 2008 at Avaco Creative Studio No. 301, Tokyo, Japan 

Personnel:
Saori Yano - Alto Saxophone
Yuta Kaneko - Organ [Hammond] (#3,4,5,7,9)
Masaki Hayashi - Piano (#1)
Hideo Ichikawa - Piano (#8)
Natsuki Kido - Electric Guitar (#6)
Yoshihiko Hosono - Guitar (#7)
Tomio Inoue - Bass (#5,6)
Masahiro Tajika - Drums
Tomoyuki Asakawa - Harp (#2)
Neko Saito - Violin (#6,8)
Great Eida Strings (#1,3,5,7,9) 

Tracks:
01. Don't Explain {Billie Holiday, Arthur Herzog Jr.} (5:53)
02. Yesterdays {Jerome Kern, Otto Harbach} (4:26)
03. Lover Man {Jimmy Davis, Roger "Ram" Ramirez, James Sherman} (6:00)
04. Everything Happens To Me {Tom Adair, Matt Dennis} (5:02)
05. Night And Day {Cole Porter} (5:46)
06. Summertime {George Gershwin} (8:05)
07. Gloomy Sunday {Rezső Seress} (3:33)
08. Strange Fruit {Abel Meeropol} (6:07)
09. Left Alone {Mal Waldron} (7:02)
10. Lover Come Back To Me {Sigmund Romberg, Oscar Hammerstein II} (4:39) 

Total Time: 56:36 

Note:
#10 was hidden with 1 min of silence now removed from end of #9 

Credits:
Producer, Arrange - Neko Saito
Liner Notes - Saori Yano

Gloomy Sunday

Peter Peuker - Skylark (2004)

Straight and clear jazz lines in wonderfully improvised self-contained song ideas embraced by strings, a whole mountain of romanticism not heard since the days of Paul Desmond. 

Pirouet Records, PIT3005, 2004
Recorded 27th June, 2003 at Pirouet Tonstudio, Munich, Germany 

Musicians:
Peter Peuker - Alto Saxophone
Karel Boehlee - Piano
Marius Beets - Bass
Marcel Serierse - Drums 

Strings:
Ernö Olah, Marie-José Schrijner - Violin
Liesbeth Steffens - Viola
Koen Schouten - Cello 

Tracks:
1. Glad To Be Unhappy {Richard Rodgers, Lorenz Hart} (5:15)
2. Advise & Consent {Jerry Fielding} (5:26)
3. Skylark {Hoagy Carmichael, Johnny Mercer} (5:37)
4. Poor Butterfly {John L. Golden, Raymond Hubbell} (5:23)
5. Polkadots & Moonbeams {Jimmy Van Heusen, Johnny Burke} (5:39)
6. Scherzo {A. Borodin} / Baubles, Bangles & Beads {G. Forrest, R. Wright} (5:02)
7. My One And Only Love {Guy Wood, Robert Mellin} (7:10)
8. Stars Fell On Alabama {Frank Perkins, Mitchell Parish} (5:59)
9. I'll Be Seeing You {Irving Kahal, Sammy Fain} (6:07) 

Total Time: 51:38 

Credits:
Producer, Recording, Mixing - Jason Seizer
Mastering - Stephan Van Wylick
Photography - Regina Recht
Cover - Konstantin Kern 

My One And Only Love

Bill Carrothers Trio - A Night At The Village Vanguard [2CD] (2011)

The sonic character of New York City's Village Vanguard is one of sound as memory. There is a pillow of pungent warmth and familiarity surrounding the sounds captured that can be heard on this album. That famous sound is captured in all its smoky warmth on the Bill Carrothers Trio A Night At The Village Vanguard. Carrothers, along with close friend/pianist Marc Copland, has been instrumental extending the piano language created by Evans, transforming it from impressionistic to expressionistic, while retaining an introspective nature. Carrothers relies on Joyspring (2010), his recent tribute to the music of Clifford Brown, for a good part of the recital, kicking things off with the trumpeter's up-tempo "Tiny Capers," where the pianist extracts the bebop from Brown's hard bop. That is followed by a lengthy medley of Brown's "Joy Spring" coupled with Victor Young's "Delilah." Carrothers also draws on the compositions by Brown's pianist, Richie Powell, for "Gertrude's Bounce" and "Time," giving a full accounting of Brown's famous quintet with drummer Max Roach from the early and mid-'50s. Amid all of this hard bop, Carrothers throws in his sideways blues, "Home Row," from Home Row (2010), mixing in a bit of modernity as the pianist slowly incorporates the young and old into something new and vital. He does the same with his inventive and exciting "I Got Rhythm" montage, Discombopulated." This adds a level of performance tension that reveals Carrothers as a capable bandleader directing a performance for maximum listening pleasure. In the end, it is the exquisitely unique sonics of the room that crown this very fine performance. There is a nostalgic, analog warmth in these pieces that recall Evans' famous recordings 50 years ago, while at the same time showing how far piano trio practice has come since that time. Carrothers turns in a definitive trio set at the definitive jazz club. ~ Extract by C Michael Bailey, AAJ. 

Pirouet Records, PIT3056, 2011
Recorded 18th July, 2009 Live at The Village Vanguard, New York City 

Musicians:
Bill Carrothers - Piano
Nicolas Thys - Bass
Dré Pallemaerts - Drums 

Tracklist: 

CD1:
01. Tiny Capers {Clifford Brown} (5:33)
02. Joy Spring {Clifford Brown} / Delilah {Victor Young} (9:01)
03. Gerkin For Perkin {Clifford Brown} (7:03)
04. Gertrude's Bounce {Richie Powell} (6:36)
05. Jordu {Duke Jordan} (7:08)
06. This Is Worth Fighting For {Jimmy Dorsey} (7:09)
07. Home Row {Bill Carrothers} (6:48)
08. News From Home {Bill Carrothers} (4:10)
09. Let's Get Lost {Jimmy McHugh, Frank Loesser} (9:33)
10. Those Were The Days {Gene Raskin, Boris Fomin} (6:12) 

Time: 69:15 

CD2:
1. Junior's Arrival {Clifford Brown} (8:40)
2. Time {Richie Powell} (7:55)
3. Jordan Is A Hard Road To Travel {Traditional} (10:31)
4. Peg {Bill Carrothers} (8:48)
5. Blue Evening {Gordon Jenkins, Joe Bishop} (6:25)
6. Discombopulated {Bill Carrothers} (7:42)
7. Snowbound {Bill Carrothers} (8:37)
8. Days Of Wine And Roses {Henry Mancini} (7:16)
9. Our House {Bill Carrothers} (4:04) 

Time: 70:04 

Total Time: 02:19:19 

Credits:
Producer, Mixing, Photography - Jason Seizer
Recording Engineer - Jon Rosenberg
Mastering Engineer - Christoph Stickel
Cover Design - Konstantin Kern

Laboratorium - Modern Pentathlon (1976) [Bonus]

Polish Jazz-Rock Fusion band Laboratorium was one of several great Polish bands (Extra Ball for example) playing in that vein during the 1970s and 1980s. Founded by keyboardist Janusz Grzywacz, the band's founding members included also saxophonist / vocalist Marek Stryszowski and drummer Mieczyslaw Gorka. After an initial period of trying to find a musical identity, the band was joined by brothers Pawel Scieranski on guitar and Krzysztof Scieranski on bass (one of the greatest Polish bass players) and settled into the Fusion genre, with a musical approach and sound not far away from Weather Report. This, their debut recording, presents them already in their full power and the recording is quite stunning in its sophistication and instrumental aptitude. The music includes the 20 minutes long suite in five parts, which gives the album its title and a few shorter pieces, all composed or co-composed by the leader. As opposed to most American Fusion at the time, which was mostly based on simplistic melodies and endless instrumental doodling, this music is atmospheric, intelligent, sophisticated, well developed and coherent, clearly well rooted in the European musical tradition. Fusion fans are well advised to try this out and explore this wonderful music, which is expanding the genre's limitations to the max. Superb Stuff! ~ Jazzis, RYM. 

Polskie Nagrania Muza, SX 1418, 1976
Polskie Nagrania Muza, PNCD 949, 2004
Metal Mind Productions, MMP CD 0451, 2006 

Recorded in July 1976 (#1-5) at Polskie Nagrania Studio, Warsaw, Poland
Recorded October, 1976 (#6) Live at Jazz Jamboree, Warsaw, Poland 

Musicians:
Janusz Grzywacz - Piano [Fender], Piano, Synthesizer [Roland 2000 Synth.], Leader
Marek Stryszowski - Vocals, Alto Saxophone, Bass Clarinet
Paweł Ścierański - Acoustic Guitar, Electric Guitar
Krzysztof Ścierański - Bass
Mieczysław Górka - Drums, Percussion 

Tracks:
1. Pięciobój Nowoczesny [Modern Pentathlon] (19:58)
{Janusz Grzywacz, Krzysztof Ścierański, Marek Stryszowski, Mieczysław Górka, Paweł Ścierański}
1.1 Przebieg Niekontrolowany
1.2 Mur 1234
1.3 Kravhana
1.4 Coyola
1.5 Taniec "Białego Karła"
2. Funky Dla Franki [Funky For Franka] {Janusz Grzywacz} (4:43)
3. Szalony Baca [Crazy Shepard] {Janusz Grzywacz, Marek Stryszowski} (6:00)
4. ABZ {Janusz Grzywacz} (4:55)
5. Grzymaszka {Janusz Grzywacz} (2:22) 

Time: 37:58 

6. Pięciobój Nowoczesny [Live] (29:06) *
{Janusz Grzywacz, Krzysztof Ścierański, Marek Stryszowski, Mieczysław Górka, Paweł Ścierański} 

* Bonus Track

Total Time: 67:04 

Credits:
Recording Engineer - Halina Jastrzębska-Marciszewska
Recording Supervisor/Director - Wojciech Piętowski
Remastering - Joanna Szczepańska

Marc Copland - Crosstalk (2011)

Crosstalk reunites Copland with alto saxophonist Greg Osby, but this time for a full-fledged quartet that brings a different complexion to a clearly simpatico relationship explored on their two duo recordings. It's not just a first-time quartet record for the pair, it's the first time that Copland has recorded (at least under his own name), with bassist Doug Weiss, while it's been five years since he last recorded with drummer Victor Lewis. They're both inspired choices, working empathically with Copland's signature impressionism and delicacy, but adding more punch and fire than has been heard from the pianist since his quartet date with trumpeter Randy Brecker, which, not coincidentally, also featured Lewis. With Copland sharing compositional duties amongst the group, in addition to a couple of well-chosen standards, the drummer's "Hey, It's Me You're Talkin' To" swings with a firm but elegant hand, Copland's harmonic ambiguity funneled through its light bop melody, his soft touch and motivic approach to solo development intact, but with more grounded pointillism than usual. Ditto Osby, a saxophonist who always combining heady intellectualism with a deeper resonance, as here he builds his own solo of focused construction, working melodic fragments into lengthier, serpentine phrases. Copland revisits "Talkin' Blues," first heard on another duet disc with Peacock, but this time this heavily reharmonized blues - another Copland signature - simmers and, occasionally boils over, with Weiss and Lewis pushing and pulling Osby during an incendiary opening solo. Copland's other two tunes appear here for the first time: the surprisingly driving and direct title track, grooves more viscerally than anything Copland's written in some time; and the more characteristically ethereal "Slow Hand," a brooding ballad that's a dark contrast to the free-bop of Weiss' angular but unfailingly swinging “Ozz-Thetic,” where Osby and Copland work off each other, proving that time needn't dilute the strength of relationship. “Tenderly,” skirts the mainstream, but Copland's voicings keep Walter Gross' standard just the slightest bit off-kilter, as does the pianist's prismatic approach to the more bristling intensity of Gigi Gryce's hard-swinging “Minority.” Crosstalk speaks to the power of enduring friendships and the sound of surprise that happens when fresh blood is brought into the mix. ~ Extract by John Kelman, AAJ. 

Pirouet Records, PIT3054, 2011
Recorded 4th & 5th December, 2010 Live To Two-Track at Bennett Studios, New Jersey 

Musicians:
Marc Copland - Piano
Greg Osby - Alto Saxophone
Doug Weiss - Bass
Victor Lewis - Drums 

Tracks:
1. Talkin' Blues {Marc Copland} (6:53)
2. Diary Of The Same Dream {Greg Osby} (4:22)
3. Ozz-Thetic {Doug Weiss} (4:11)
4. Tenderly {Walter Gross} (7:45)
5. Crosstalk {Marc Copland} (8:12)
6. Slow Hand {Marc Copland} (7:15)
7. Hey, It's Me You're Talkin' To {Victor Lewis} (4:51)
8. Three Four Civility {Greg Osby} (3:46)
9. Minority {Gigi Gryce} (6:33) 

Total Time: 53:53 

Credits:
Producer, Recording - Jason Seizer
Mastering - Christopher Stickel [MSM Studios]
Cover Design, Photography - Konstantin Kern, Munich
Liner Notes - Bill Zavatsky 

Talkin' Blues

Frank Kimbrough - Solstice (2016)

Pianist Frank Kimbrough's “Solstice” on the Pirouet label, is a delight from start to finish. Undeniably, the appeal of Solstice is its very Bley-ish style, which is conjoined with a deep contemplative intensity as well as a robust impression of a personal declaration being made. Bassist Jay Anderson and drummer Jeff Hirshfield have both known Kimbrough a long time and the trio plays unison. The choice of tunes is also very significant. The title track penned by Kimbrough's wife Maryanne de Prophetis has a melody that just keeps evolving. There are two striking tunes by the mysterious Annette Peacock "El Cordobes" and "Albert's Love Theme". "The Sunflower" by Paul Motian suits Kimbrough's penchant for the harmonies and lines of Bley. Another highlight is the composition "Walking By Flashlight" by Maria Schneider, in whose orchestra Kimbrough has been a member. Overall, a superb and captivating collection of music that is highly expressive and profoundly delivered. Enjoy! 

Pirouet Records, PIT3097, 2016
Recorded 1st May, 2016 at Sear Sound, New York 

Musicians:
Frank Kimbrough - Piano
Jay Anderson - Bass
Jeff Hirshfield - Drums 

Tracks:
1. Seven {Carla Bley} (4:11)
2. Here Come The Honey Man {George Gershwin} (7:54)
3. Solstice {Maryanne De Prophetis} (8:13)
4. The Sunflower {Paul Motian} (5:30)
5. Albert's Love Theme {Annette Peacock} (7:41)
6. Question’s The Answer {Frank Kimbrough} (5:07)
7. From California With Love {Andrew Hill} (4:54)
8. El Cordobes {Annette Peacock} (4:41)
9. Walking By Flashlight {Maria Schneider} (7:47) 

Total Time: 56:01 

Credits:
Producer, Mixing Engineer - Jason Seizer
Recording Engineer - Chris Allen
Mastering Engineer - Christoph Stickel
Cover [Design], Photography - Konstantin Kern 

""Solstice" may well be this veteran pianist's masterwork. It's a sparkling consideration of favored pieces by such Kimbrough heroes as Paul Motian, Andrew Hill, and Annette Peacock, which also displays his telepathic rapport with two trusted associates: the bassist Jay Anderson and the drummer Jeff Hirshfield." ~ The New Yorker. 

"Astute and poetic" ~ Nate Chinen, NY Times. 

"A subtle pianist of uncommon finesse, a master of introspective piano art. Fabulous, fine-tuned, inspired music….a miracle in chamber format." ~ Peter Ruedi, Die Weltwoche.

Robin Verheyen - Starbound (2009)

After studying in his native Belgium and in the Netherlands, expatriate saxman Robin Verheyen spent a year at the Manhattan School of Music, where one of his teachers was soprano sax wizard Dave Leibman. Anyone familiar with Leibman's work knows the ex-Miles Davis sideman's musical feet are planted firmly on the ground... although which planet that ground is located on has never been determined. That being said, the astounding music on Starbound proves Verheyen is either a native of that planet, or has visited it a few times, at least. The opener "On The House" is basically up-tempo bebop, with Verheyen laying down a complex melody while pianist Bill Carrothers fills in the few blanks, building to create a truly interesting solo that's just on the edge of Out. It's not a head-bobber, but a chin-stroker - one of those moments that is usually accompanied by the phrase, "Hmmmm... Now that is interesting!" The interest grows when Verheyen takes over the spotlight and simply sets sail, moving his composition even closer to the edge as Nicolas Thys flies up and down the neck of his bass and drummer Dré Pallemaerts makes the background hiss like a snake. Thys and Pallemaerts's unerring foundation gives Verheyen and Carrothers more room to fly, whether it's on the full-steam-ahead bopfest "Roscoepaje" (named for another Verheyen band) or the mid-tempo ballad "Boechout." Pallemaerts's percussion on "Waves" accentuates the piece's vivid visual images, while Thys' "Long Island City" offers a crackling taste of New York's singular energy. Where "Waves" imagines a warm contemplation by the sea, "Tree Line" is a walk in the woods on a winter's day that offers no warmth of any kind. Both pictures are painted by four talented artists, all working in sync. If Carrothers had played "standard" piano over Verheyen's intense musings, the contrast would have been too great. Rather, the pianist's penchant for taking it to the limit gives each piece a different perspective while maintaining a kinship with Verheyen's multifaceted attack. The rhythm section and Carrothers have a history of their own, having worked together on Carrothers' I Love Paris (Pirouet, 2005), and this familiarity gives Starbound extra texture. Thys and Pallemaerts' bare-bones opening to "Lamenting" makes Carrothers' single chord ring a little louder, expertly setting the tone for Verheyen's melancholy long-form piece. On "Lamenting," Verheyen moves to tenor sax for the only time on Starbound, adding weight to the eleven-minute exploration. Every other piece barely exceeds the five-minute mark; surprising, since someone with Verheyen's range of expression usually follows John Coltrane's legendary instinct to play until he "gets it all in." It is Verheyen's ability to find every creative possibility within a limited framework that puts Starbound over the top, and adds Verheyen to the list of reasons why jazz in the 21st century will be just fine. ~ by J Hunter, AAJ. 

Pirouet Records, PIT3043, 2009
Recorded 24th April, 2009 at Pirouet Studio, Munich, Germany 

Musicians:
Robin Verheyen - Soprano & Tenor Saxophones
Bill Carrothers - Piano
Nicolas Thys - Bass
Dré Pallemaerts - Drums 

Tracks:
01. On The House {Robin Verheyen} (3:58)
02. Boechout {Robin Verheyen} (4:30)
03. The Flight Of The Eagle {Robin Verheyen} (5:42)
04. Starbound {Robin Verheyen} (3:52)
05. Lamenting {Robin Verheyen} (11:02)
06. Roscopaje {Robin Verheyen} (3:54)
07. Waves {Robin Verheyen} (5:20)
08. Long Island City {Nicolas Thys} (4:05)
09. Narcis {Robin Verheyen} (4:21)
10. Tree Line {Robin Verheyen} (5:23)
11. I Wish I Knew {Mack Gordon, Harry Warren} (2:42) 

Total Time: 54:57 

Credits:
Producer, Recording, Mixing - Jason Seizer
Mastering - Christoph Stickel
Photography - Patrick Van Vlerken
Cover Design, Photography - Konstantin Kern

Larry Goldings, Peter Bernstein, Bill Stewart - Ramshackle Serenade (2014)

Few artistic partnerships are as delightfully durable as the trio of organist Larry Goldings, guitarist Peter Bernstein, and drummer Bill Stewart. These men have often recorded under the moniker of the "Larry Goldings Trio" over the past two-plus decades, but this has never been a band to favor one player over another. Goldings' name may still come first on this album spine, but it's all for one and one for all with these guys. Ramshackle Serenade finds this group covering a lot of ground. The album opens with Goldings’ "Roach" - a slow blues in five—which proves to be one of the standout performances. Goldings and Bernstein both cook while Stewart masterfully slices up the time in endlessly inventive ways. The trio then visits Brazilian territory with Jobim's "Luiza," throws one down the middle with Bernstein's aptly-titled "Simple As That," and works in a rhythmically floating environment on "Ramshackle Serenade." The title track is all about rubato rumination, as Goldings and Bernstein paint melodies while Stewart lightly colors in the background. Goldings' "Mr. Meagles," sitting at the midpoint of the album, is a great example of the way this trio manages to create music that speaks relatively softly and carries a mean groove; it's low flame music that can still cause third degree burns. The second half of the album contains a "Sweet And Lovely" that grows hotter over time, a pair of originals - Stewart's hip-and-intoxicating "Blue Sway" and Bernstein's lively "Useless Metaphor" - and an album-closing look at Horace Silver's oft-covered "Peace." After all these years, this trio still manages to make magic whenever it hits the studio. It doesn't get much better than this. ~ Dan Bilawsky, AllAboutJazz. 

Pirouet Records, PIT3077, 2014
Recorded 17th December, 2013 At Kyberg Studio, Oberhaching, Germany 

Musicians:
Larry Goldings - Organ [Hammond]
Peter Bernstein - Guitar
Bill Stewart - Drums 

Tracks:
1. Roach {Larry Goldings} (5:46)
2. Luiza {Antônio Carlos Jobim} (8:41)
3. Simple As That {Peter Bernstein} (7:03)
4. Ramshackle Serenade {Larry Goldings} (4:31)
5. Mr. Meagles {Larry Goldings} (8:18)
6. Sweet And Lovely {Gus Arnheim, Harry Tobias, Neil Moret} (7:43)
7. Blue Sway {Bill Stewart} (8:18)
8. Useless Metaphor {Peter Bernstein} (6:13)
9. Peace {Horace Silver} (5:51) 

Total Time: 62:28 

Credits:
Producer - Larry Goldings, Peter Bernstein, Bill Stewart
Producer [Pirouet], Recording, Mixing - Jason Seizer
Mastering - Christoph Stickel
Cover Design, Photography - Konstantin Kern

Bill Carrothers - Duets with Bill Stewart (1999)

Recorded in 1999 and released on the Birdology label, this duo session brings together two veterans who share a desire to create unique music every time out. Here, Bill Carrothers is 37 and Bill Stewart is 35. They're at a point in their careers where creativity and tradition have been united by a desire to move the music forward. Hence, familiar melodies and consonant harmonies are woven into impressions of the world around us. Dreamy afternoons coexist with spurts of charged lightning. Civil War memories sit side by side with some of Monk's best. Both artists explore a large array of textures and timbres. The pianist's hands control string vibrations, as the drummer's hands dampen his set. A standard, swinging arrangement of “Taking a Chance on Love” soon develops into conversant fours that move further and further toward the edge. With a return to the song’s head melody, the duo proves that modern jazz needn't go past that point. No screaming or squawking here: just sincere creations that invoke a sense of adventure. “Puttin' on the Ritz” swings with a driving intensity that brings both artists’ around full force. No coffee required. “A Nightingale Sang in Berkeley Square” settles down with subtle passion and subdued nighttime impressions. Their “Death of a Cigarette” rounds out the session with a heapin' helping of the blues. Two trailblazers in the jazz world, Bill Carrothers and Bill Stewart continue to shape today's worldwide approach to the music we love. ~ Jim Santella, AAJ. 

Birdology Records, 8573-80065-2; 1999
Recorded & Mixed 10th-11th June, 1999 at Creation Audio, Minneapolis, Minnesota 

Musicians:
Bill Carrothers - Piano
Bill Stewart - Drums 

Tracks:
01. Drum Prelude {Bill Stewart} (2:22)
02. Alone Together [For Peg] {Howard Dietz, Arthur Schwartz} (6:13)
03. Off Minor {Thelonious Monk} (5:58)
04. I Apologize {Al Goodhart} (3:15)
05. Squirrel's Tale {Bill Carrothers} (6:20)
06. Vito {Bill Carrothers} (5:27)
07. Vito's Dream World {Bill Carrothers} (3:00)
08. Taking A Chance On Love {Vernon Duke} (4:58)
09. Tenting On The Old Campground {Public Domain} (5:08)
10. Puttin' On The Ritz {Irving Berlin} (7:00)
11. Death Of A Cigarette {Bill Carrothers} (6:21)
12. A Nightingale Sang In Berkeley Square {Eric Maschwitz} (4:19)
13. The Whiffenpoof Song {Tod B. Galloway} (2:49) 

Total Time: 63:12 

Credits:
Producer - Bill Carrothers
Executive-Producer - Jean-François Deiber
Recording & Mixing - Steve Wiese
Mastering - Lynn Peterson
Photography - Peg Wigen
Liner Notes [English] - Thierry Pérémarti

Bill Carrothers - Keep Your Sunny Side Up (2007)

Bill Carrothers is one funny guy. One look at his website is enough to establish that, but for further proof one need only look as far as Keep Your Sunny Side Up. That's not to say Carrothers can't be pensively lyrical or downright abstract. But on this follow-up to I Love Paris (Pirouet, 2005), Carrothers demonstrates a near mischievous playfulness as he deconstructs a number of well- and lesser-known standards. The first of two versions of the title track opens with bassist Ben Street quoting Thelonious Monk. It’s an appropriate start, as Carrothers turns the familiar tune on its side with a slap-dash approach that’s referential in its idiosyncrasy but entirely personal in its application. Street and drummer Ari Hoenig are the perfect choices for this trio, making it clear that not only can they follow Carrothers' challenges, they can present some of their own as well. "My Dreams Are Getting Better All the Time" gets an equally jocular reading. Carrothers delivers an historical cross-section of jazz piano, bringing together hints of ragtime and stride with a free style that becomes increasingly absurd as the tune unfolds (complete with wailing cat in the background). If Jaco Pastorius defined Punk Jazz, then Carrothers clearly has his own subgenre: Slapstick Jazz. Hoenig and Street are right with Carrothers throughout, from vaudeville to a fervent rock beat towards the end that ultimately concludes on a gentler note. Carrothers shifts the mood on an introspective look at Joni Mitchell’s "Roses Blue," with Hoenig's soft, train- like rhythm on brushes maintaining a consistent pulse throughout. "London by Night" is an elegant waltz, with Carrothers demonstrating his skill at building solos that never lose sight of a tune’s melodic center. Street’s solo is equally spare and respectful. "Salty Peanuts" is a subdued freely improvised duet between Carrothers and Hoenig: evidence that it's possible to pull constructs out of the ether and give them concrete shape. Carrothers' sole original composition, "Church of the Open Air," is an almost painfully beautiful tone poem that ebbs and flows with majestic grace. That most pieces are in the three- to- five-minute range speaks volumes for this trio’s economical approach. "You and the Night and the Music" is nearly unrecognizable, driven by Carrothers’ stop-start beginning and abstract ideas, and Hoenig’s military style snare work. Ending with a soft reprise of the title track, Keep Your Sunny Side Up is another strong and varied entry from Carrothers - an artist whose musical identity is clearly defined by his equally complex off-stage persona. ~ by John Kelman, AAJ. 

Pirouet Records, PIT3021, 2007
Recorded 27th-28th February, 2006 At Pirouet Tonstudio, Oberhaching, Germany 

Musicians:
Bill Carrothers - Piano
Ben Street - Bass
Ari Hoenig - Drums 

Tracks:
01. Keep Your Sunny Side Up {Lew Brown, Buddy De Sylva, Ray Henderson} (5:47)
02. I Can't Begin To Tell You {James V. Monaco} (7:48)
03. Roses Blue {Joni Mitchell} (6:41)
04. London By Night {Carroll Coates} (6:05)
05. My Dreams Are Getting Better As The Time {Vic Mizzy} (4:17)
06. Salty Peanuts {Ari Hoenig, Bill Carrothers} (3:40)
07. Evidence {Thelonious Monk} (4:42)
08. Church Of The Open Air {Bill Carrothers} (4:28)
09. The Night We Called It A Day {Matt Dennis} (6:38)
10. Say It Isn't So {Irving Berlin} (3:36)
11. You And The Night And The Music {Arthur Schwartz} (3:41)
12. Keep Your Sunny Side Up [Reprise] {Brown, De Sylva, Henderson} (2:51) 

Total Time: 60:14 

Credits:
Recording & Mixing - Jason Seizer
Mastering - Stephan V. Wylick
Design [Cover], Photography - Konstantin Kern 

Church Of The Open Air

Makoto Ozone Trio - No Strings Attached (1999)

Makoto Ozone was born in Kobe, Japan. He began playing organ at two and by seven was an improviser. At twelve he switched to piano after being impressed by the albums of Oscar Peterson. In 1980, he entered the Berklee College of Music and later worked with Gary Burton. He also had his recording debut in 1983 before returning to his native Japan. From then he has evolved into one of Japan's respected jazz pianists, noted for his collaboration with No Name Horses. In 1999, whilst in New York he assembled this working trio and produced this album. Joining him on bass is his long-term associate Kiyoshi Kitagawa and the great American drummer Clarence Penn. There is a lot of variety on this album with all members of this top trio formation showcasing a number of their own tunes: Makoto four, Kiyoshi three, Clarence three and one penned by Astor Piazzolla. Overall, this release is an exciting and dynamic post-bop affair. Makoto is superb as is both Kiyoshi and Clarence. As an entry point to Makoto’s playing and expertise any jazz lover will certainly be impressed. Not more to say other than sit back and enjoy the journey. 

Verve Records, POCJ-1450, 1999
Recorded 14th-16th March, 1999 at Avatar Studios, Manhattan, New York 

Musicians:
Makoto Ozone - Piano
Kiyoshi Kitagawa - Bass
Clarence Penn - Drums 

Tracks:
01. Come Fly With Three {Clarence Penn} (4:10)
02. Oriental Rag {Makoto Ozone} (4:54)
03. Agua De La Música {Makoto Ozone} (5:56)
04. La Muerte Del Ángel {Astor Piazzolla} (4:19)
05. Michel {Makoto Ozone} (4:55)
06. In The Wee Hours {Clarence Penn} (5:32)
07. Kingdom Of The Drum {Clarence Penn} (4:07)
08. December Dream {Kiyoshi Kitagawa} (5:08)
09. Why Not? {Kiyoshi Kitagawa} (4:02)
10. Sincerity {Kiyoshi Kitagawa} (5:51)
11. No Strings Attached {Makoto Ozone} (5:31) 

Total Time: 54:25 

Credits:
Producer - Makoto Ozone
Executive-Producer - Kazuhiko Koike
Engineer - Jim Anderson
Assistant Engineer - Rory Romano
Mastering - Allan Tucker [Foothill Digital]
Liner Notes - Masahiko Yuh

David Newman - Front Money (1977)

Recorded in 1977, this album can be listened to over and over without tiring of it - always a joy. The team at Warner Bros. have produced a superb sound recording, and David "Fathead" Newman is joined by tip top group of musicians - a very tight rhythm section. All tracks are entertaining with nothing to throw away. There is not much in the way of liner notes, but the music doesn't truly require any waffly reviewer to dampen its appeal. In the end, any Jazz-Funk enthusiast will be enthralled! 

Warner Bros. Records, BS 2984, 1977
Recorded at Dallasonic Recording, Dallas, Texas 

Musicians:
David "Fathead" Newman - Alto, Tenor & Soprano Saxes, Flute, Vocals (#B1), Arranger
Cleveland Gay - Trombone
Claude Johnson - Piano, Baritone Saxophone, Arranger
Roger Boykin - Bass, Guitar, Arranger
William Richardson - Drums, Percussion
Adolphe Gay - Congas
Arnold Blair - Vocals (#A1,B3) 

Tracks:
A1. Amazing Grace {Traditional} (5:04)
A2. Sneakin' In {David "Fathead" Newman} (6:44)
A3. Still Hard {David "Fathead" Newman} (6:12)
B1. Front Money {Claude Johnson} (4:58)
B2. Pharoah's Gold {Claude Johnson} (5:14)
B3. So Fine - So Fine {Roger Boykin} (6:03)
B4. Suki Duki {Roger Boykin} (4:50) 

Total Time: 39:05 

Credits:
Producer - Joel Dorn
Engineer - Arris Wheaton, Don Smith
Remix Engineer - Gary Starr
Assistant Remix Engineer - Barb Issak, Lenise Bent
Art Direction - Marilyn Romen, Mike Doud
Design, Artwork [Illustration] - Jeffrey Lancaster

Zbigniew Namyslowski Quartet - Live In Der Balver Höhle (1977) [vinyl]

An exciting and rare live concert by the Zbigniew Namyslowski Quartet recorded at the 4th Jazz Festival Balver Höhle, Germany. Altoist Zbigniew Namyslowski is in top form as is the rest of his band; comprising of pianist Slawomir Kulpowicz, bassist Pawel Jarzebski and drummer Janusz Stefanski. The group extensively explores four compositions by Namyslowski. The energy of the musicians matches the very enthusiastic reception of the audience. Overall, a exceptional concert that is a showcasing platform for this brilliant Polish saxophonist, enjoy! 

JG-Records, JG 043, 1977
Recorded 26th June, 1977 at the 4th Jazz Festival Balver Höhle, Germany 

Musicians:
Zbigniew Namyslowski - Alto Saxophone
Slawomir Kulpowicz - Piano
Pawel Jarzebski - Bass
Janusz Stefanski - Drums 

Tracks:
A1. Pod Dobra Godzina (8:59)
A2. Kulaviec (17:42)
B1. When May Is In Blossom (13:18)
B2. Pastoralka (12:32) 

All Compositions by Zbigniew Namyslowski 

Total Time: 52:31 

Producer, Photography - Karlheinz Klüter 

Note:
Some applause has been trimmed/faded out to delineated tracks from side-length vinyl.

Gerald Albright, Norman Brown - 24/7 (2012)

24/7 features the smooth jazz super-duo of guitarist Norman Brown and saxophonist Gerald Albright. Two of the biggest names in contemporary instrumental pop, Brown and Albright are a perfect pair to team up and 24/7 makes the most of their talents. Sounding slick but never too slick, the album features stylish production by both artists along with keyboardist Herman Jackson. Brown and Albright primarily stick to the more soulful contemporary R&B end of smooth jazz here, and cuts such as the bright and melodic leadoff cut "In the Moment," the cinematic "Perfect Love," and the sensuous title track -- featuring vocals by Gerald's daughter Selina Albright -- are finger-snapping, head-bobbing numbers that set a romantic, positive-minded mood. Elsewhere, we get the Brazilian funk of "Buenos Amigos," the club-ready "Yes I Can," and the old-school R&B of "Champagne Life," once again featuring the attractive, sweetly soulful vocals of the younger Albright. More than a few cuts on 24/7 have an old-school vibe that, while never getting too deep into any decade-specific production, do evince a clear passion for various R&B sounds from the '70s through the '90s. For longtime fans of either of these contemporary jazz titans, 24/7 will certainly be a round-the-clock pleasure. ~ by Matt Collar, AMG. 

Concord Music Group, CJA-33445-02, 2012 

Recording Locations: -
Bright Music Studios, Castle Rock, CO
In Your Ear Studios, Richmond, VA
Permanent Studios, Sherman Oaks, CA
Titan Studios, Sherman Oaks, CA
Ahhsum Studios, West Covina, CA
jLaj-Music Studios, Fredericksburg, VA
2nd Bedroom Studios, Atlanta, GA
Resource Studios, West Covina, CA
Gitt Traxx Studios, Atlanta, GA
Strings at CCI Media Torrance, CA 

Musicians:
Gerald Albright - Alto, Tenor & Baritone Saxes, Flutes, Bass Guitar, Percussion, Bkgd Vocals
Norman Brown - Lead Guitar, Rhythm Guitar (#3,5,6,9)
Tracy Carter - Keyboards (#1,7,8,10)
Herman Jackson - Keyboards (#2,3,5,6,9)
Phil Davis - Keyboards (#4)
Rick Watford - Rhythm Guitar (#1,4,7,8)
Byron Miller - Bass (#2,3,5,6,9)
Jay Williams - Drums (#1,4,8)
Charles Streeter - Drums (#2,3,5,6,9)
Ricky Lawson - Drums (#10)
Ramon Ysalas - Percussion (#2,3,5,6,9)
Rochella Brown - Vocals (#3)
Demille Cole-Heard - Vocals (#3)
Selina Albright - Vocals (#7), Background Vocals (#8)
Mark Cargill - Strings, Harp & Bell Programming (#10) 

Tracks:
01. In The Moment {Gerald Albright} (4:47)
02. Keep It Moving {Herman Jackson} (5:03)
03. Perfect Love {Norman Brown, Dr. Farid Zarif} (4:29)
04. Buenos Amigos {Gerald Albright} (5:20)
05. Tomorrow {George Johnson, Louis Johnson} (5:53)
06. Yes I Can {Norman Brown} (4:38)
07. 24-7 {Gerald Albright, Selina Albright} (5:59)
08. Champagne Life {David Dorohn, Gough-Shaffer Smith} (5:22)
09. The Best Is Yet To Come {Norman Brown, Jeanette Harris} (4:41)
10. Power Of Your Smile {Gerald Albright} (5:00) 

Total Time: 51:16 

Credits:
Producer - Gerald Albright (#1,4,7,8,10)
Producer - Norman Brown, Herman Jackson (#2,3,5,6,9)
Executive Producer - Mark Wexler
Mixing - Don Murray [Concord Studios, Studio City, CA]
Mixing - Michael Blum [Titan Studios, Sherman Oaks, CA]
Mastering - Paul Blakemore [CMG Mastering]
Photography - Lori Stoll
Art Direction - Larissa Collins
Package Design - Albert J. Roman 

Tomorrow