Furio Di Castri - Unknown Voyage (1988, 2000)

Recorded in 1988, originally released by the label A Tempo, Unknown Voyage it is a very significant work. The musical result is particularly remarkable for the level of the band here presented and for the compositions, all originals by Furio Di Castri. A recording that is a perfect example of the possibility to be in the mainstream and at the same time to be modern and original. Music built around a clear compositional project. Joe Lovano, Paul Motian, Franco D'Andrea and Furio Di Castri, a real jazz all-stars band, give life to a music in perfect balance between the written parts and the improvised ones with rare technical and expressive skills. ~ italianjazz.bandcamp.com. 

A Témpo Records, ATCD 882, 1989
Felmay Records, 21750 7019 2, 2000
Recorded December, 1988 at Studio Emme, Firenze, Italy 

Musicians:
Furio Di Castri - Double Bass
Joe Lovano - Tenor Saxophone
Franco D'Andrea - Piano
Paul Motian - Drums
Flavio Boltro - Trumpet (#11)
Manu Roche - Drums (#11)

Tracks:
01. Unknown Voyage (5:31)
02. Luce E Ombra (8:26)
03. Colors (3:16)
04. The Ancient Wood (0:49)
05. Lichtung (5:58)
06. Waiting (4:49)
07. Life Song (3:20)
08. Elena's Slow Dance (5:18)
09. Way Out (3:40)
10. Mingus' Faces (5:40)
11. Zac [Bonus] (4:37) 

All compositions by Furio Di Castri

Total Time: 51:30 

Credits:
Producer - Marco Magrini, Furio Di Castri
Executive Producer - Piero Borri
Engineer - Daniele Trambusti, Ben Frasinelli
Cover Design - Lucio Diana
Art Production - Piero Sisti 

Unknown Voyage

Richard "Groove" Holmes - Good Vibrations (1977) [re-rip]

When you consider it, all jazz is created by good vibrations; bristled reeds, plucked strings, the ringing force of air trapped in brass. But if jazz organ players don't create good vibrations...well, they're just not jazz organ players. Because perhaps more than any other jazz hallmark, the organ sound must virtually rattle your teeth to get over: dig you into its moving bass line, assault you with its droning, gritty top, and set you nodding, popping, even...vibrating. 

Which is exactly where this new offering from one of organ's greats, Richard "Groove" Holmes, comes in. It's classic jazz brew, with all the right ingredients: the soulful tenor of Houston Person, one of organ's biggest champions (he features the B-3 in his own working group); the classic blues-funk guitar of Philly-based newcomer Bob DeVos; the crack rhythm team of Idris Muhammad and Buddy Caldwell, who probably hold the world's record for the most appearances on organ LPs; the sensitive production of Bob Porter, who may hold a similar mark (in a tie with Ozzie Cadena) for the most organ albums overseen; and the eternally invigorating presence of Rudy van Gelder, who's engineered every good organ record ever made. 

"It was a typical Groove Holmes date," sums up Bob Porter. "We did it in an afternoon, and Groove even brought along a good new guitarist player." and, we should add, GOOD VIBRATIONS aplenty. ~ Excerpts taken from Liner Notes by Michael Rozek. 

Muse Records, MR 5167, 1980
Recorded 19th December, 1977 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Richard "Groove" Holmes - Organ [Hammond B-3]
Houston Person - Tenor Saxophone (#A1-B1,B3)
Bob DeVos - Guitar
Idris Muhammad - Drums
Buddy Caldwell - Congas 

Tracks:
A1. Good Vibrations {Richard "Groove" Holmes} (8:47)
A2. Do It To It {Rogers Grant} (10:35)
B1. Do Nothin' Till You Hear From Me {Duke Ellington, Bob Russell} (8:51)
B2. My One And Only Love {Robert Mellin, Guy Wood} (4:51)
B3. Hackensack {Thelonious Monk} (5:47) 

Total Time: 38:51 

Credits:
Producer - Bob Porter
Engineer - Rudy van Gelder
Cover Design - Ron Warwell/NJE
Liner Notes - Michael Rozek 

Hackensack

David Sanborn - Closer (2004)

Saxophonist and composer David Sanborn has always been a maverick. A top-notch technician, he has always imbued his playing with deep emotion -- indeed, that emotional element in his playing has been his signature since he began leading his own bands on record in the 1970s. He has wed modern jazz sophistication to the smooth jazz groove for many years now, and has followed his muse while remaining a commercially viable artist. Closer is another exercise in ambition for Sanborn and his sidemen. They include bassist Christian McBride, guitarist Russell Malone, Larry Goldings on electric piano and organ, vibist Mike Manieri, and drummer Steve Gadd, among others. The material is a fine collection of pop tunes, standards, and surprises from the jazz canon. First, the bad news: Sanborn and vocalist Liz Wright team up for a version of James Taylor's "Don't Let Me Be Lonely Tonight" that is as bland as soy milk. That said, Sanborn's read of Abdullah Ibrahim's "Capetown Fringe" carries within it the joy and dignity of Ibrahim's original and proves to the public something Sanborn has been aware of all along -- that the composer's music is truly accessible to the masses. Underscore this for the album's opener, a smoking little groove read of Gil Fuller and Chano Pozo's "Tin Tin Deo." Horace Silver's "Enchantment" and "Señor" are given fine finger-popping treatments, as are the stellar standards "Ballad of the Sad Young Men," "You Must Believe in Spring," and the beautiful "Poinciana." There is a lovely version of Charlie Chaplin's "Smile" here, given chamber orchestra treatment. Sanborn contributes a pair as well, in the silvery ballad "Another Time, Another Place" and the album's closer, the haunting "Sofia," with a fine string and horn treatment by Gil Goldstein. Once more, Sanborn has wed his commercial and creative aspirations into a thoroughly engaging whole. ~ by Thom Jurek, AMG. 

Verve Records, 0602498631973, 2005
Recorded at Hiatus Studios, New York, NY;
Right Track Studios, New York, NY 

Musicians:
David Sanborn - Alto Saxophone, Rhythm Arranger
Alex Sipiagin - Trumpet, Flugelhorn (#1,2,5-7,11)
Mike Davis - Trombone (#1,2,5-7,11)
Bob Sheppard - Flute D'Amour, C Flute (#1,2,5-7,11), Tenor & Soprano Sax (#8)
Sheryl Henze - Alto Flute, Bass Flute (#1,2,5-7,11)
Gil Goldstein - Electric Piano, , Accordion (#8), Rhythm Arranger, Orchestration
Larry Goldings - Electric Piano, Organ
Mike Mainieri - Vibraphone
Russell Malone - Guitar
Christian McBride - Bass
Steve Gadd - Drums
Luis Quintero - Percussion
Lizz Wright - Vocals (#3)
+
Strings [#1,2,4,5,11]
Belinda Whitney, Joyce Hammann - Violin
Ron Lawrence - Viola
Dave Edgar - Cello 

Tracks:
01. Tin Tin Deo {Gil Fuller, Chano Pozo} (6:19)
02. Señor Blues {Horace Silver} (5:09)
03. Don't Let Me Be Lonely Tonight {James Taylor} (6:08)
04. Smile {Charlie Chaplin, Geoffrey Parsons, John Turner} (3:52)
05. Enchantment {Horace Silver} (4:28)
06. Ballad Of The Sad Young Men {Fran Landesman, Tommy Wolf} (4:01)
07. Another Time, Another Place {David Sanborn} (6:05)
08. Capetown Fringe {Abdullah Ibrahim} (3:25)
09. Poinciana {Buddy Bernier, Nat Simon} (6:03)
10. You Must Believe In Spring {Bergman, Demy, Legrand} (3:50)
11. Sofia {David Sanborn} (3:45) 

Total Time: 53:11 

Credits:
Producer - Stewart Levine
Audio Engineer, Engineer, Mixing - Joe Ferla
Engineer - Jonathan Duckett
Assistant Engineer - Bryan Pugh, Jason Spears, Jason Finkel
Digital Editing, Pro-Tools - Dean Sharenow
Mastering - Bernie Grundman
Coordinator - Heather Buchanan, Stephanie Pappas
Design - Isabelle Wong
Art Direction - Hollis King
Photography - Henry Leutwyler 

Enchantment

Joe Sample - The Hunter (1983)

Joe Sample returns to the smooth jazz style of his popular albums Rainbow Seeker, Carmel, and Voices in the Rain on 1983's The Hunter. The keyboardist fills up a studio with like-minded session musicians including trumpeter Tom Browne, horn players Chuck Findley, Jerry Hey, and Ernie Watts, guitarists Dean Parks, David Spinozza, and Phil Upchurch, bassists Abraham Laboriel and Marcus Miller, percussionist Paulinho Da Costa, and drummer Steve Gadd, and sets them loose on some rhythmic tracks with a rock/R&B feel. The beat is paramount, a constant augmented by funky, popping basslines, with guitar solos and horn charts overlaid. And, weaving in and out is Sample, on either acoustic or electric piano, finding room to solo extensively. The solos are more of the rock variety than what a conventional jazz fan would recognize, since they are anchored to the relentless beats. But Sample is one of the more accomplished players in smooth jazz, and his sidemen are able to support him and, when given the chance, match him in their playing. ~ by William Ruhlmann, AMG. 

MCA Records, MCAD-1471, 1983
Recorded at Sound Recorders, Hollywood and Salty Dog Studios, L.A., CA;
Except ‘The Hunter’ at A & R Studios, New York, N.Y. 

Musicians:
Joe Sample - Keyboards [Acoustic], Electric Piano, Synthesizer
Tom Browne - Trumpet [Lead], Soloist (#1)
Bill Reichenbach, Chuck Findley, Dick Hyde, Ernie Watts,
Jerry Hey, Larry Williams, Steve Madaio - Horns (#1,3-6)
John Phillips - Woodwinds (#2), Bass Clarinet, Soloist (#6)
Rory Kaplan - Programming [Synthesizers]
Galen Senogles - Synthesizer [Overdubs]
David Spinozza - Guitar (#1)
Phil Upchurch - Guitar, Soloist (#3)
Dean Parks - Guitar (#2-4,6), Soloist (#5), Rhythm Guitar (#5)
Marcus Miller - Bass (#1)
Abraham Laboriel - Bass (#2-6)
Steve Gadd - Drums (#1)
Bob Wilson - Drums (#2-6)
Paulinho da Costa - Percussion

Tracks:
1. The Hunter (5:48)
2. Blue Ballet (4:09)
3. Beauty And The Beast (6:29)
4. Wings Of Fire (5:25)
5. Just A Little Higher (5:32)
6. Night Flight (9:00) 

All compositions by Joe Sample 

Total Time: 36:26 

Credits:
Producer - Joe Sample, Wilton Felder
Executive Assistant - Tom Hooper
Recording Engineer - Jim Boyer (#1)
Recording & Mixing (#2) Engineer - Rik Pekkonen
Mixing - Galen Senogles, Wilton Felder (#1,3-6)
Mastering Engineer - Bernie Grundman [A&M Studios]
Coordinator - Pamela H. Lobue, Robin Howell
Art Direction - George Osaki
Painting [Cover] - Laddia Holly 

The Hunter

Lou Donaldson - Mr. Shing-A-Ling (1967)

Here we have a reissue of one of Blue Note's LPs to remain out of print. Essentially, it is a classic soul-jazz album by the great jazz saxophonist & band leader, Lou Donaldson whom was a predominant fixture throughout the sixties. Lou had his own tone and thrived on expressing the boogaloo style which many later artists attempted to mimic and sample in the eighties onwards. "Mr. Shing-A-Ling", the follow up album to Lou Donaldson's hit album "Alligator Boogaloo", has long been considered the best of Lou Donaldson's funk/soul-jazz albums from the late-60s. For this date Lou surrounds himself with a who's who of great soul jazz players, including legendary trumpeter Blue Mitchell, organist Lonnie Smith, guitarist Jimmy Ponder and drummer Leo Morris. Together they showcase four popular tunes with the addition of Lou's own composition "The Humpback". Recorded by the master engineer Rudy van Gelder at his home studio in New Jersey, and now this audiophile vinyl reissue produced by Joe Harley and features an all-analogue vinyl is available. A revitalised and worthy addition to any Lou Donaldson fan's collection. [DR14] 

Blue Note, BST 84271, 1967
Blue Note, BST 84271, 2019
Recorded 27th October, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Lou Donaldson - Alto Saxophone
Blue Mitchell - Trumpet
Lonnie Smith - Organ [Hammond B-3]
Jimmy "Fats" Ponder - Guitar
Leo Morris - Drums

Tracks:
A1. Ode To Billie Joe {Bobby Gentry} (6:30)
A2. The Humpback {Lou Donaldson} (5:27)
A3. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (6:23)
B1. Peepin' {Lonnie Smith} (8:18)
B2. The Kid {Harold Ousley} (10:57) 

Total Time: 37:35 

Credits:
Producer - Frank Wolff
Reissue Supervisor - Joe Harley
Recording Engineer - Rudy van Gelder
Mastering, Lacquer Cut - Kevin Cray
Design [Cover], Photography [Cover] - Reid Miles
Liner Notes - Del Shields 

The Humpback

Joshua Redman - Timeless Tales: For Changing Times (1998)

Picking up on Herbie Hancock's "New Standards" idea, borrowing some old standards, and splitting the total down the middle, Joshua Redman lends his warm fatback tone, arching skyward passages and a post-bop quartet concept to ten popular songs of the 20th century. Richard Rodgers, Cole Porter, Jerome Kern, Irving Berlin, and the Gershwins share space with the Beatles, Joni Mitchell, Bob Dylan, Stevie Wonder and Prince -- distinguished songwriters all, yet the scorecard tells us that the oldsters' tunes consistently receive more interesting treatment than the rock/folk songs. "Yesterdays" is flexible enough to turn almost into an acoustic funk thing; "How Deep Is the Ocean" saunters along very soulfully; the near cha cha rhythm on "Love for Sale" pulls some inspired heat from Redman. On the other side of the divide, "The Times They Are A-Changin'" isn't very interesting, where even tricky rhythm changes and an Eddie Harris-like high note coda can't pump up an earthbound performance. "Eleanor Rigby" fragments under a jazz waltz treatment presumably planned with Coltrane's "My Favorite Things" in mind (Redman's soprano sounds desperately out of gas at the close). Oddly enough, a broadly funky Harris approach pays off on Prince's "How Come U Don't Call Me Anymore," the sole exception to the pattern. This is not to say that the rock/folk material is intrinsically inferior to the Tin Pan Alley standards -- no way. They simply do not translate very well into the language of the young neo-boppers, or at least, these neo-boppers on this given day. Brad Mehldau (piano), Larry Grenadier (bass) and Brian Blade (drums) make up the technically faultless, flexible piano trio, and most of the selections are separated by short, untitled interludes that usually grow more or less out of the preceding pieces. ~ by Richard S. Ginell, AMG. 

Warner Bros. Records, 9362-47052-2, 1998
Recorded at Avatar Studios, Manhattan, New York City

Musicians:
Joshua Redman - Tenor, Alto & Soprano Saxes
Brad Mehldau - Piano
Larry Grenadier - Bass
Brian Blade - Drums

Tracks:
01. Summertime {G. & I. Gershwin, Heyward} (6:16)
02. Interlude 1 {Joshua Redman} (0:45)
03. Visions {Stevie Wonder} (4:24)
04. Yesterdays {Otto Harbach, Jerome Kern} (7:19)
05. Interlude 2 {Joshua Redman} (0:34)
06. I Had A King {Joni Mitchell} (5:39)
07. The Times They Are A Changin' {Bob Dylan} (5:07)
08. Interlude 3 {Joshua Redman} (0:20)
09. It Might As Well Be Spring {Hammerstein II, Rodgers} (6:28)
10. Interlude 4 {Joshua Redman} (0:13)
11. How Deep Is The Ocean {Irving Berlin} (4:03)
12. Interlude 5 {Joshua Redman} (0:24)
13. Love For Sale {Cole Porter} (6:31)
14. Interlude 6 {Joshua Redman} (0:58)
15. Eleanor Rigby {John Lennon, Paul McCartney} (8:46)
16. Interlude 7 {Joshua Redman} (0:34)
17. How Come U Don't Call Me Anymore {Prince} (5:00) 

Total Time: 63:33 

Credits:
Producer, Liner Notes, Arranger - Joshua Redman
Producer, Engineer - James Farber
Assistant Engineer - Aya Takemura, Jay A. Ryan
Mastering Engineer - Greg Calbi
Photography - Robert M. Ascroft, II
Art Direction, Design - Robin Lynch 

Love For Sale

Ted Curson - Plenty Of Horn (1961)

Ted Curson, born in 1935 in Philadelphia, participated in some great Mingus albums such as Mingus At Antibes or Mysterious Blues; he is also featured on Archie Shepp's Fire Music and other albums. Ted Curson recorded this album in April 1961 in New York with some of his usual accomplices like tenor sax Bill Barron (Kenny's brother) or Roy Haynes on drums (on 4 tracks), Eric Dolphy on 2 tracks. Kenny Drew is on piano, Jimmy Garrison on double bass. Danny Richmond replaces Roy on 3 tracks and Pete La Roca on two. This is, I believe, his first album as a leader. After a very orientalist version of "Caravan" a little waltz from Ted “Nosruc Waltz”, then a beautiful ballad with guest Éric Dolphy on flute. Five original compositions by Ted follow, where "Flatted Fifth" stands out and the beautiful theme of "Bali-H'ai" (composed by Hammerstein and Rodgers) where Dolphy shines. A good disc to discover this musician. ~ Philippe A, AMG. [Translated from French] 

Old Town, OT LP 2003, 1961
Fresh Sounds Records, FSR 1622, 2004
Recorded April, 1961 in New York City 

Musicians:
Ted Curson - Trumpet
Bill Barron - Tenor Saxophone (#1,2,4-6,8,9)
Eric Dolphy - Flute (#3,7)
Kenny Drew - Piano
Jimmy Garrison - Bass
Roy Haynes - Drums (#1,3,6,7)
Dannie Richmond - Drums (#2,4,9)
Pete La Roca - Drums (#5,8) 

Tracks:
1. Caravan {Irving Mills, Duke Ellington, Juan Tizol} (2:53)
2. Nosruc {Ted Curson} (6:16)
3. The Things We Did Last Summer {Sammy Cahn, Jule Styne} (4:23)
4. Dem's Blues {Ted Curson} (3:41)
5. Ahma [See Ya] (Ted Curson} (4:21)
6. Flatted Fifth {Ted Curson} (3:34)
7. Bali-H'ai {Oscar Hammerstein II, Richard Rodgers, Jerome Kern} (3:55)
8. Antibes {Ted Curson} (5:04)
9. Mr. Teddy {Teddy Curson} (5:10) 

Total Time: 39:21 

Credits:
Producer - Hy Weiss
Produce [Reissue] - Jordi Pujol
Post Production - Duncan Cowell
Mastering - Krieg Wunderlich
Package Design - Chris Popham
Liner Notes - John Crosby, Nat Hentoff 

Flatted Fifth

Muhal Richard Abrams - Young At Heart / Wise In Time (1969)

Muhal Richard Abrams, as the founder of the AACM in Chicago, has been one of the unsung leaders of the avant-garde ever since the mid-'60s. A versatile pianist, Abrams is heard in two different settings on this, his second session as a leader. "Young at Heart" finds him stretching out on a solo piano performance that hints at earlier styles while exploring the potential sounds and silence of free jazz. Wise in Time has Abrams functioning as part of an explorative quintet with trumpeter Leo Smith and altoist Henry Threadgill, both of whom were unknown youngsters at the time. Fascinating music, it is recommended strictly for the open-eared listener who does not demand that all jazz swing conventionally. ~ Scott Yanow, AMG. 

Delmark Records, DE-423, 1996
Recorded 20th August (#1) and 2nd July (#2) 1969 at Sound Studios, Los Angeles, CA 

Musicians:
Muhal Richard Abrams - Piano, Solo (#1)
Leo Smith - Trumpet, Flugelhorn, etc. (#2)
Henry Threadgill - Alto Saxophone (#2)
Lester Lashley - Bass (#2)
Thurman Barker - Percussion (#2) 

Tracks:
1. Young At Heart {Abrams} (29:20)
2. Wise In Time {Abrams} (21:52)

Total Time: 51:17

Credits:
Producer & Supervisor - Robert G. Koester
Reissue Producer - Chuck Nessa
Recording Engineer - Dave Antler
Remixing (#2) - Paul Serrano
Cover Photograph - Roy Lewis
Cover Design - Zbigniew Jastrzebski
Liner Notes - John Litweiler

Walt Weiskopf Quartet - Live at Koger Hall, University Of South Carolina (2008)

Walt Weiskopf led a quartet with pianist Renee Rosnes, bassist Paul Gill, and drummer Tony Reedus in the spring of 2008 at the University of South Carolina. Although the musicians knew the live concert documented here was being recorded, the recording was initially intended for archival needs rather than as a commercial release. Around the time that the tenor saxophonist realized how good the performances were from the concert, Reedus collapsed and died from an embolism upon his return from a European tour in November 2008. The quartet members are at their very best throughout this concert, as they bring life to Weiskopf's compositions with their brilliant improvising and on-the-money accompaniment. There are two standards, an expressive "Blame It on My Youth," featuring Weiskopf's powerful solo, and a lighthearted, breezy "Love for Sale." Aside from the traditional "Scottish Folk Song" (introduced by the leader with Gill playing arco), played at a loping, nostalgic tempo, the remaining tracks are primarily Weiskopf's compositions. One exception is Rosnes' brilliant "Dizzy Spells" (a delicious reworking of the late trumpeter's "Con Alma"), which is combined in a medley with an extended workout of Weiskopf's "Jay-Walking." Other highlights include the tricky, constantly shifting "Blues in the Day" and the turbulent post-bop vehicle "Breakdown." Highly recommended. ~ by Ken Dryden, AMG. 

Capri Records Ltd., 74109-2, 2011
Recorded 8th April, 2008 at Koger Hall, University Of South Carolina 

Musicians:
Walt Weiskopf - Tenor Saxophone
Renee Rosnes - Piano
Paul Gill - Bass
Tony Reedus - Drums 

Tracks:
1. Man Of Many Colors {Walt Weiskopf} (6:42)
2. Little Minor Love Song {Walt Weiskopf} (10:39)
3. Dizzy Spells {Renee Rosnes} / Jay-Walking {Walt Weiskopf} (9:20)
4. Blues In The Day {Walt Weiskopf} (7:44)
5. Scottish Folk Song {Traditional; Arr. Walt Weiskopf} (8:25)
6. Blame It On My Youth {Oscar Levant, Edward Heyman} (7:37)
7. Love For Sale {Cole Porter} (8:29)
8. Breakdown {Walt Weiskopf} (9:00) 

Total Time: 67:56 

Credits:
Producer - Walt Weiskopf
Executive Producer - Thomas Burns
Mastering - Jeff Francis
Photography [Walt] - Gildas Boclé
Sleeve Design - Paul Thibault 

N.B.
Applause has been carefully edited except for last track where Walt announces band. 

Dizzy Spells {Renee Rosnes}

Yoshiko Kishino - Praha (2003)

Yoshiko Kishino’s 9th album celebrates her 10th anniversary since her debut in 2004. This work is the culmination of her work in a variety of genres, from straight ahead to bossa nova, with the theme of “a feminine and sophisticated piano touch and beautiful melodies.” This time, the album was recorded in Prague, Czech Republic, and features a local string section that is one of the best in the world, with the genius American bassist George Mraz from Prague at the core. The work consists of songs such as standards and classical crossovers, with a focus on original numbers that have a particularly good reputation. 11 beautiful songs, mainly songs with a European flavor, including two songs that could be called hidden masterpieces by Bill Evans. ~ www.cdjapan.co.jp. [Translated from Japanese] 

EmArcy\Universal Classics & Jazz, 0602498697139, 2005
Recorded 16th, 17th & 18th November, 2003 at Státní Opera Praha, Czech Republic 

Musicians:
Yoshiko Kishino - Piano [Bösendorfer Mod.290 Imperial]
George Mraz - Double Bass
Pavel Zbořil - Drums 

Strings:
Andrea Beková, Jan Šimůnek, Josef Burger, Martin Válek, Mikoláš Čech, Tomáš Hubka,
Veronika Vališová, Vladimír Klánský, Vladimír Kroupa, Zdenek Sarson - Violin
Jiří Čmugr, Vít Petrášek - Violoncello
Milan Svoboda - Conductor 

Tracks:
01. Forest Rain {Yoshiko Kishino} (4:02)
02. Moldau No Kaze [The Wind Of Moldau] {Yoshiko Kishino} (7:40)
03. Kagerou {Yoshiko Kishino} (7:10)
04. Oasis {Yoshiko Kishino} (4:39)
05. Ashioto {Yoshiko Kishino} (3:45)
06. Just Before The Light {Yoshiko Kishino} (4:49)
07. Oyasumi {Yoshiko Kishino} (3:55)
08. Blue In Green {Miles Davis} (3:59)
09. Some Other Time {Leonard Bernstein} (6:19)
10. Etude Op. 10-3 {Frédéric Chopin} (4:00)
11. Going Home {Antonín Dvořák} (3:43) 

Total Time: 54:05 

Credits:
Producer - Yoshiko Kishino
Executive-Producer - Hiroshi Aono
Recording & Mixing - Karel Fisl
Mixing - Andrej Lažo
Mastering - Hiroshi Kawasaki
Photography - Jiří Gabriel, Kiyotaka Saito
Design, Art Direction - Ruri Fujita 

Blue In Green

Amedeo Tommasi - The Sound (1970)

"The Sound" is a classic for all the collectors of jazz and Brazilian sound library out there, typical 70's Brazilian lounge sound that have made movies that takes you back to scene to the soundtracks of some Mastroianni's film. ~ centraldoprog.blogspot.com. 

Amedeo Tommasi is a man with a history. Getting his start in 1961 after meeting Chet Baker, he toured Italy with his combo in the 60s & 70s before moving on to film work with the legendary Ennio Morricone. "The Sound" is a classic for all collectors of jazz, Brazilian, & Lounge. (Arision) 

Cenacolo Records, M 707, 1970
Arision Records, ARI029 CD, 2007
Recorded at Globe Records, Roma, Italy 

Musicians:
Amedeo Tommasi - Piano, Organ, Celesta, Spinet
Mario Midana - Trombone
Quarto Maltoni - Flute
Sergio Coppotelli - Guitar
Giovanni Tommaso - Electric Bass
Enzo Restuccia - Drums, Percussion 

Tracks:
01. Brasilia (4:17)
02. Fuoribordo (2:53)
03. Montevideo (3:19)
04. Riviera del Fiori (3:03)
05. Marina (3:48)
06. Alexandra (2:58)
07. Passeggiata (3:07)
08. Exploration (4:12)
09. Gita al Mare (3:03)
10. Distesa (3:15) 

Total Time: 34:00 

Credits:
Sound Technician - Domenico Panzeri
Cover, Design, Photography - Studio Santucci, Roma
Liner Notes - Umberto Santucci 

Marina

Masahiro Sayama Trio - Vintage (2010)

Masahiro Sayama (26th November, 1953 - 14th November, 2018) was an active Japanese jazz pianist. Sayama began playing piano as a child and became interested in jazz after seeing the film The Glenn Miller Story. He studied music at Kunitachi College of Music and began playing jazz professionally in the early 1970s, working with Toshiyuki Honda, Shigeharu Mukai, and Kazunori Takeda. He was a member of Shuichi Murakami's trio Ponta Box and also led his own ensembles. In 1991 he began playing with Masahiko Osaka. In later years Sayama formed a number of trio groups, this wonderful album being an excellent example of his leader and playing skills. For this album he joined by bassist Yosuke Inoue and drummer Masahiko Osaka, together they interpret an array of jazz standards expressing brilliant lyrical tones and emotions. Overall, an excellent album, whereby the talents and style of the Masahiro Sayama Trio are showcased with exacting beauty, enjoy! 

Paddle Wheel\King Records, KICJ-608, 2010
Recorded 12th,13th & 14th October, at King's Sekiguchidai 1st Studio, Tokyo, Japan 

Musicians:
Masahiro Sayama - Piano
Yosuke Inoue - Bass
Masahiko Osaka - Drums

Tracks:
1. Bittersweet {Don Sebesky} (5:58)
2. James {Patrick Metheny} (5:32)
3. Waltz For Debby {Bill Evans} (5:42)
4. Summertime {George Gershwin} (5:17)
5. Summer Knows {Michel Legrand} (4:17)
6. My Funny Valentine {Richard Rodgers} (5:10)
7. Rhapsody In Blue {George Gershwin} (14:59)
8. Isfahan {Duke Ellington, Billy Strayhorn} (4:25) 

Total Time: 51:20 

Credits:
Producer - Susumo Morikawa
Engineer - Shinji Yoshikoshi
Assistant Engineer - Teruhiko Suzuki
Piano Tuner - Makoto Ide
Photographer - Yasuhisa Yoneda
Front Cover - Makoto Wada
Design - Toshihiro Takeda
Liner Notes - Miruko Yamagushi 

Isfahan

Eddie Fisher - Eddie Fisher & The Next One Hundred Years (1970)

A virtual primer in the art of soul-jazz guitar, Eddie Fisher and the Next Hundred Years is a record of uncommon virtue and consummate skill. A longtime R&B sideman, Fisher clearly relishes his turn in the spotlight, unspooling a series of endlessly inventive solos boasting the reach and consciousness of psychedelia. Fisher shifts gears effortlessly, transitioning from nuanced, intimate melodies to wild flights of fancy in the blink of an eye. Songs including "Jeremiah Pucket," "Land of Our Father," and "Either One" twist and turn like rides at an amusement park, achieving a comparable excitement and awe. ~  Extract by Jason Ankeny, AMG. 

Cadet Records, LPS 848, 1970
Cadet Records, LPS-848, 1999
Recorded 1970 at Archway Studios, St. Louis, Missouri 

Musicians:
Eddie Fisher - Guitar, Whistle [Human]
James Matthew - Piano, Electric Piano
Raymond Eldridge, Jr. - Bass
Johnny Johnson - Drums
Christina Fisher - Tambourine
Richard Nedler - Violin (#B2) 

Tracks:
A1. Jeremiah Pucket {Eddie Fisher} (4:40)
A2. Land Of Our Father {Eddie Fisher, James Matthews} (5:13)
A3. Either Or {Eddie Fisher} (5:41)
A4. Another Episode [In The Continuing Story Of Zeke And The Man] {Eddie Fisher} (2:55)
B1. Beautiful Things {Eddie Fisher} (12:00)
B2. East St. Louis Blues {Eddie Fisher} (4:09) 

Total Time: 34:38 

Credits:
Producer, Supervisor, Arranger - Eddie Fisher
Engineer - Oliver Sain
Remixing - Malcolm Chisholm
Art Direction - Michael Mendel
Photography - Bob Moore 

Land Of Our Father

Hikari Ichihara - Joy (2008)

A wonderful earlier release by talented Japanese trumpeter Hikari Ichihara. For this album she surrounds herself with some very notable other Japanese musicians to produce a brilliant album showcasing her versatile playing skills as well her ability to write five of her own captivating compositions. Two others were penned by the group's drummer Kay Hirai. The rest are a couple of well-known standards or pop songs, including a beautiful cover of Stevie Wonder's My Cherie Amour. Overall, a very pleasurable album that sets the dynamism of a young artist for a brilliant future career, not to be overlooked! 

After Beat\Pony Canyon, PCCY-60008, 2008 

Musicians:
Hikari Ichihara - Trumpet, Flugelhorn, Arranger
Masahiko Sugasaka - Trumpet, Flugelhorn (#1,2,5,8,9,11)
Yoichi Murata - Trombone (#1,2,5,8,9,11)
Kazuhiko Kondo - Alto Sax, Soprano Sax (#1,2,5,8,9,11)
Steve Sacks - Tenor Saxophone, Flute (#1,2,5,8,9,11)
Masakuni Takeno - Tenor Sax, Baritone Sax (#1,2,5,8,9,11)
Hideaki Hori - Piano, Arranger
Kunpei Nakabayashi - Bass, Arranger
Kay Hirai - Drums, Arranger 

Tracks:
01. Joy {Hikari Ichihara} (5:11)
02. 大きな古時計 [Big Old Clock] {Henry Clay Work} (6:03)
03. みつけた [Found] 2008 {Hikari Ichihara} (6:36)
04. Home {Hikari Ichihara} (5:48)
05. スプリングフィールド [Springfield] {Hikari Ichihara} (5:24)
06. My Funny Valentine {Richard Rodgers, Lorenz Hart} (7:33)
07. My Cherie Amour {Stevie Wonder, Henry Cosby, Sylvia Moy} (5:12)
08. Summer Knows {Michel Legrand} (5:40)
09. 空 [Null] {Kei Hirai} (8:05)
10. Beginning {Hikari Ichihara} (6:27)
11. Rub-a-dub {Kei Hirai} (4:08) 

Total Time: 66:00 

Credits:
Producer - Hikari Ichihara
Executive-Producer - Mitsuo Shimano 

My Cherie Amour

Francesca Tanksley - Journey (2002)

This 2002 release signifies New York City-based pianist/composer Francesca Tanksley's inaugural solo effort. She's been performing with modern jazz saxophonist Billy Harper for a number of years amid stints with trombonist Slide Hampton and others. Here, she performs alongside fellow Billy Harper Quintet bandmates bassist Clarence Seay and drummer Newman Taylor Baker. A surprising debut indeed, as Tanksley's strong sense of swing is tempered by her penchant for altering the various rhythmic interludes with lush harmonics and wistful melodies. The trio's synergy comes to fruition from the onset. The pianist often delves deep into these various frameworks to complement a series of lightly crashing cadenzas. Tanksley's fluent right-hand, single-note lines are nicely augmented by her rhythmically oriented block chords. The pianist's compositions are marked by climactic episodes, where she tinkers with the primary melodies as a means for extended improvisational forays. Moreover, guest vocalist Judy Brady lends her wares for the emotively constructed work titled "Prayer." Overall, this CD should accelerate Tanksley's stature within modern jazz circles. ~ by Glenn Astarita, AMG. 

DreamCaller Records, 7168, 2002
Recorded 20th & 21st August, 2001 at Nevessa Production, Woodstock, New York 

Musicians:
Francesca Tanksley - Piano
Clarence Seay - Bass
Newman Taylor Baker - Drums
Judy Bady - Vocals (#8) 

Tracks:
1. Into The Light (4:04)
2. Dance In The Question (5:46)
3. In Grace (6:09)
4. Trickster (3:56)
5. Simple Heart (7:21)
6. Journey Without Distance (8:13)
7. Earnestly, Tenderly (7:02)
8. Prayer (5:27)
9. Never Defeated (6:17) 

All compositions by Francesca Tanksley

Total Time: 54:21 

Credits:
Producer, Executive Producer, Mixing - Francesca Tanksley
Engineer, Mixing, Production Assistant - Sascha von Oertzen
Mixing, Production Assistant - Baikida Carroll
Mixing - Newman Taylor Baker
Mastering Engineer - Gene Paul
Liner Notes - Hal Miller 

In Grace

Mayuko Katakura - Faith (2010)

Faith is the second album from Mayuko Katakura, an amazing jazz pianist with an impeccable touch that echoes jazz piano legends. Listening to Katakura, one can sense the fondness and appreciation for players like McCoy Tyner and Sonny Clark. In fact, the album’s wistful ballad "Blue Sonny" was written for Sonny Clark by Katakura. This straight-ahead jazz trio is marked by warmth between the musicians, who agreed to not over-arrange the recording session and have faith in the group and their love of jazz. Simple and irresistible, the group jumps in and swings hard together with skillful agility over five of the pianist's originals and five jazz covers. The resulting sense of relaxation allows their individual mastery and group cohesiveness to produce exciting results, proving their faith to be well-rewarded. ~ by Brian McCrory, jazzofjapan.com. 

M & I\Pony Canyon, MYCJ-30578, 2010
Recorded 22nd & 23rd May, 2010 at Avatar Studio, New York 

Musicians:
Mayuko Katakura - Piano
Rodney Whitaker - Bass
Carl Allen - Drums 

Tracks:
01. Mrs. Parker Of KC {Jaki Byard} (5:35)
02. Blue Sonny {Mayuko Katakura} (7:04)
03. Anywhere But Here {Mayuko Katakura} (5:28)
04. Monk’s Walking {Mayuko Katakura} (6:08)
05. I've Got The World On A String {Harold Arlen, Ted Koehler} (7:15)
06. Subconcious-Lee {Lee Konitz} (6:49)
07. Yours And Mine {Thad Jones} (5:51)
08. A Dancer's Melancholy {Mayuko Katakura} (6:51)
09. Reflections {Thelonious Monk} (7:19)
10. Two Roads {Mayuko Katakura} (6:44) 

Total Time: 65:04 

"Blue Sonny"

Gene Russell - Up And Away (1969) [vinyl]

Gene Russell has been promulgating that type of chamber jazz since 1960, and he has been blessed with the services of bassist George Morrow and drummer Clarence Johnston long enough now so that the rapport is genuine and basic - not something ad libbed, like a jazz chorus. Sure, spontaneity is the hallmark - the prime mover in jazz - but in order to convey a sense of mutual purpose and enjoyment, a combo should be, ideally, a permanent thing. Such mutuality, enjoyment and permanence are embodied in the Gene Russeil Trio. What Gene, George and Clarence have come up with for their Decca debut is as comfortable as an old shoe - and just as "sole-ful". The more you hear the album, the less concerned you'll be with the mysterious up-manship. Perhaps there’s no relation between the album title and the song title. It’s probably the course that Decca has "charted" for Gene Russell: UP AND AWAY! ~ Burt Nelson, Hollywood Citizen-News [Extract from the Liner Notes] 

Decca Records, DL 74953, 1969
Recorded 9th October, 1967 in Los Angeles, California 

Musicians:
Gene Russell - Piano
George Morrow - Bass
Clarence Johnson - Drums 

Tracks:
A1. Up-Up And Away {Jim Webb} (2:23)
A2. 1-2-3 {David White, John Madara, Leonard Borisoff} (2:35)
A3. When I Fall In Love {Edward Heyman, Victor Young} (3:23)
A4. Yours Is My Heart Alone {Franz Lehár, Fritz Loehner, Ludwig Herzer} (3:54)
A5. Groovy Soul {William Russell} (2:59)
B1. Love Is Here To Stay {George Gershwin, Ira Gershwin} (3:31)
B2. Too Close For Comfort {George Weiss, Jerry Bock, Larry Holofcener} (2:29)
B3. Born Free {Don Black, John Barry} (1:39)
B4. Broadway {Henri Woode, Teddy MacRae, Bill Bird} (3:28) 

Total Time: 26:21 

Yours Is My Heart Alone

Toots Thielemans - Only Trust Your Heart (1988)

Although the liner notes claim that this Concord release was Toots Thielemans' first recording as a leader in more than a dozen years, somehow the harmonica great's 14 European dates (not to mention sets released by Stash and Pablo) were overlooked. In any case, this is a pretty definitive session by the harmonica virtuoso who is joined by pianist Fred Hersch, either Marc Johnson or Harvie Swartz on bass, and drummer Joey Baron. The material is filled with challenging and generally underplayed standards (including Wayne Shorter's "Speak No Evil," Thad Jones' "Three and One," Benny Carter's lyrical "Only Trust Your Heart," and Thelonious Monk's "Little Rootie Tootie"), plus two fine Hersch originals. Ranging from hard bop to Brazilian music and post-bop, this is a consistently enjoyable and highly recommended outing. ~ by Scott Yanow, AMG. 

Concord Jazz, CCD-4355, 1988
Recorded April & May, 1988 at Classic Sound Studio, New York 

Musicians:
Toots Thielemans - Harmonica
Fred Hersch - Piano
Marc Johnson - Bass (#1,9)
Harvie Swartz - Bass (#2-8,10-12)
Joey Baron - Drums 

Tracks:
01. Speak No Evil {Wayne Shorter} (5:18)
02. Estate {Bruno Brighetti, Bruno Martino} (4:56)
03. Three And One {Thad Jones} (5:38)
04. Rain Waltz {Fred Hersch} (5:52)
05. All Of You {Cole Porter} (4:29)
06. The Dragon {Toots Thielemans} (4:59)
07. Only Trust Your Heart {Benny Carter, Sammy Cahn} (5:21)
08. Sophisticated Lady {Duke Ellington, Irving Mills, Mitchell Parish} (5:06)
09. Hello, Young Lovers {Oscar Hammerstein II, Richard Rodgers} (5:56)
10. Sarabande {Fred Hersch} (5:02)
11. Little Rootie Tootie {Thelonious Monk} (5:07)
12. We'll Be Together Again {Carl Fischer, Frankie Laine} (3:40) 

Total Time: 61:29 

Credits:
Producer - Fred Hersch
Executive Producer - Carl E Jefferson
Production Manager - Elizabeth Bell
Engineer - A.T. Michael MacDonald
Mastering - George Horn
Photography [Cover] - David Lubarsky
Art Direction - Kent Judkins 

Rain Waltz

Kengo Nakamura - Roots (2005)

Another fine work where Kengo explores his jazz roots. He surrounds himself with a great grouping of players that include: Marcus Printup on Trumpet, Wess "Warmdaddy" Anderson on Alto Saxophone, Aaron Parks on Piano sharing the role with special guest Makoto Ozone and Rodney Green on Drums. Seven of the ten tunes are his own compositions. The remaining three are by Horace Silver, Charles Mingus and even Aaron Parks adds one of his own. The album is a powerful testament to Nakamura's excellent bass playing, but not to overlook the role of the choice sidemen. Kengo’s duo performances with similarly virtuosic Makoto are scintillatingly beautiful. The sound engineering is dynamically set at a high standard DR15, all in all, any jazz or music lover is in for a treat, enjoy! 

55 Records, FNCJ-5505,2005
Recorded 23rd & 24th June, 2004 at Avatar Studio, New York City 

Musicians:
Kengo Nakamura - Bass
Marcus Printup - Trumpet
Wess "Warmdaddy" Anderson - Alto Saxophone
Aaron Parks - Piano (#1-4,6-8,10)
Rodney Green - Drums
Special Guest:
Makoto Ozone - Piano (#5,6,9) 

Tracks:
01. Roots {Kengo Nakamura} (8:17)
02. DH Swing {Kengo Nakamura} (5:48)
03. Fifty Five {Kengo Nakamura} (3:38)
04. Sister Sadie {Horace Silver} (2:38)
05. Wango Tango {Kengo Nakamura} (6:00)
06. Nostalgia {Kengo Nakamura} (5:00)
07. The Barron {Aaron Parks} (6:00)
08. Boogie Stop Shuffle {Charles Mingus} (6:10)
09. All Is Well With You {Kengo Nakamura} (4:58)
10. Blues For Wess {Kengo Nakamura} (8:44) 

Total Time: 57:21 

Credits:
Producer - Kengo Nakamura
Executive-Producer - Hiroshi Itsuno
Recording Engineer - Jay Messina
Assistant Engineer - Peter Doris
Mastering Engineer - Bill Sigmund
Photography - Michael A. Black
Design - Sinbad Design Mochida 

Wango Tango