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

Riccardo Zegna - Barcarola (2002)

Riccardo Zegna is an Italian jazz pianist, an extraordinary soloist at the piano, who hates stardom and lives secluded in Loano, far from the clamor of city life. Here, he showcases a unique album comprised of piano, saxophones, accordion and cello. The ambience of this project, that he creates is one of tranquil, but very expressive chamber jazz music. He is joined by a very talented bunch of other noted Italian jazz musicians. Included in this grouping is the renowned Italian reed player Pietro Tonolo and scintillating accordionist Gil Goldstein. Also drawn into this magical mix is the spellbinding bowing of cellist Enrico Di Crosta. The songs are a succession of lyrical moments and improvisation. Together, they weave in and out, producing a beautiful and relaxing amalgam of fragments all penned by Riccardo. He draws on inspiration brought forth from maturity found in a search of exceptional sound mixes that are and will be truly pleasing to all music lovers, enjoy! 

EGEA Records, SCA 095, 2002
Recorded July, 2002 at Auditorium Saint Cecilia, Perugia, Italy 

Musicians:
Riccardo Zegna - Piano
Pietro Tonolo - Soprano & Tenor Saxophones
Gil Goldstein - Accordion
Enrico Di Crosta - Cello 

Tracks:
1. Barcarola (7:31)
2. Leitmotiv (7:00)
3. Profumo Di Vienna (8:51)
4. Tarantella (6:46)
5. Minuetto (5:44)
6. As Sa Nen L'Indovino (5:58)
7. Pastiche (5:20)
8. No Valse (4:39) 

All Compositions by Riccardo Zegna 

Total Time: 51:53 

Credits:
Sound Technician - Francesco Ciafuglia
Photo - Adriano Scognarrillo 

As Sa Nen L'Indovino

Pietro Tonolo - Mirando (2009)

Pietro Tonolo is by no means an ostentatious musician, but he is an artist reminiscent of an Italian craftsman. Since appearing on the scene in the mid-1980s, he has participated in many works as a sideman as well as a leader. Proof lies in his ability to show various tastes for each participating band while having his own worldly outlook and sensitivity that is clearly expressed through his own works, something that is not always achieved by most jazz musicians and composers. In this respect this album allows the listener to immerse themselves into Pietro's beautiful and lyrical world. Adjacent and intertwined in this world is the virtuoso Gil Goldstein overdubbing the accordion and piano to create a truly delicate realm, all the while the tenor and soprano plays a painful and drowsy entanglement typical of the atmosphere found on many EGEA releases. With the inclusion of David Boato on trumpet, a further enthrallment and sharpness is embodied despite the slow beat, something very unique to the sensibility of these Italian musicians, a far cry from the loud brash musing that emanate from American counterparts. All players rally to the cause to truly create a beautiful fusion of Egea's unique chamber music sound and with that of an exciting European hard bop. 

Egea Records, SCA 149, 2009 

Musicians:
Pietro Tonolo - Saxophones
Gil Goldstein - Piano, Accordion
Riccardo Del Fra - Double Bass
Francesco Sotgiu - Drums, Percussion
David Boato - Trumpet (#2,8)
Paolo Birro - Piano (#3,9) 

Tracks:
01. Ipnosi [Hypnosis] (4:39)
02. Professore [Professor] (5:11)
03. Bastia Fuori [Fortification Outside] (4:23)
04. Struscio [Stroll] (4:25)
05. Molini [Mill] (4:33)
06. T. Originale [Original T.] (6:29)
07. Onirico [Dreamlike] (2:35)
08. Graticolato [Trellis] (6:25)
09. Bastia Entro [Fortification Within] (5:45)
10. Progresso [Progress] (5:18) 

All Compositions by Pietro Tonolo 

Total Time: 49:43

Pietro Live with Gil, Riccardo & Francesco

Pietro Tonolo - Italian Songs (2005)

Pietro Tonolo on ‘Italian Songs’ brings together an international ensemble, focusing on the work of a number of Italian writers. Pianist Gil Goldstein adds an underlying lyricism and harmonic richness, lending the straight-ahead swinger "Non Mi Dire Chi Sci and tender ballad "E La Chiamano Estate undeniable jazz credibility. But on the melancholy "...E Penso a Te he layers an accordion track that instantly draws the American and Italian traditions together. On "Almeno tu Nell'Universo, a duet featuring his accordion with Tonolo's soaring soprano, the two bring together folkloric ambience with a more abstract classical impressionism. Drummer Joe Chambers relies on a more straightforward approach, with his lithe sense of swing defines the waltz of "Senza Fine and the light bossa of "Metti Una Sera a Cena, along with Essiet Okun Essiet's robust and ever-dependable bass lines. He's also comfortable veering towards more experimental territory on the mercurial "Terra Mia, featuring Tonolo exploring uncharacteristic extremes, and layers vibraphone on the poignant "Pensantodi for added color. Tonolo's virtuosity is tempered by a melody-rich approach that stays close to the center, despite the occasional hint that he's clearly capable of moving farther afield. Certainly Goldstein, Essiet, and Chambers have proven themselves equally at ease with more outré contexts over their long careers. But the ambience of Italian Songs is one of soft edges and smooth surfaces - easy on the ears but multilayered enough to continue revealing on repeat listens. ~ Extract by John Kelman, AAJ.

Egea Records, SCA 118, 2005
Recorded 23^rd-24^th May, 2004 At Cervinara Recording, Italy 

Musicians:
Pietro Tonolo - Tenor Saxophone, Soprano Saxophone
Gil Goldstein - Piano, Accordion
Essiet Okun Essiet - Double Bass
Joe Chambers - Drums, Vibraphone 

Tracks:
01. ...E Penso A Te {Battisti, Mogol} (5:17)
02. Non Mi Dire Chi Se {Bindi, Calabrese} (3:59)
03. E La Chiamano Estate {Zanin, Califano, Martino} (5:16)
04. Senza Fine {Paoli} (5:39)
05. Metti Una Sera A Cena {Morricone} (6:06)
06. Sincerità {Cocciante} (6:46)
07. Stringimi Forte I Polsi {Carpi, Chiosso, Fo} (4:00)
08. Almeno Tu Nell'Universo {Fabrizio, Lauzi} (4:19)
09. Terra Mia {Nava} (5:00)
10. Pensandoti {Calvagna, Bersani} (4:50)
11. Marcia De Esculapio {Piccioni} (2:37) 

Total Time: 53:54

Credits:
Mixing and Mastering - Angelo Cioffi
Graphics - Andrea Staiano
Cover Art - Annalisa Ciaramella
Photos - Angelo Marchese

Eric Kloss - Sweet Connections (1979)

Eric Kloss is one of many artists recorded live at E.J.'s in Atlanta before it ceased operations in 1982. Unlike typical guest artists performing there, Kloss doesn't simply play with a local house band; he is joined throughout both dates by pianist Gil Goldstein, with bassist Steve Tisher and drummer Terry Silverlight added on the last three selections. Kloss, who abruptly seemed to have ceased performing and recording without explanation during the 1980s, is in great form on these 1979 live sets. The duo leads off with "Sweet Connections," a furious original credited to both men. The saxophonist's lush ballads "Wrapped in a Cloud" and "The Sands of Time" are followed by a fairly straightforward interpretation of rocker James Taylor's "Places in My Past." Goldstein shows off a bit in a rollicking duet of the standard "Love Is Here to Stay," with Kloss adding a bit of a wry solo. Like other recordings made at E.J.'s and issued on its equally defunct namesake label, the piano sounds a bit muddy and distant, making one wonder if the musicians realized they were being recorded, though this rare opportunity to hear Eric Kloss in a live setting late in his career overcomes any sonic shortcomings. ~ by Ken Dryden, AMG.

Live At EJ's, JLR 103.501, 1998
Recorded 19^th & 20^th December, 1979 Live At E.J.'s Night Club, Atlanta, Georgia 

Musicians:
Eric Kloss - Alto Sax (#1-9), Tenor Sax (#7-9)
Gil Goldstein - Piano
Steve Tisher - Bass (#7-9)
Terry Silverlight - Drums (#7-9) 

Tracks:
1. Sweet Connections {Eric Kloss, Gil Goldstein} (5:04)
2. Wrapped In A Cloud {Eric Kloss} (7:27)
3. The Sands Of Time {Eric Kloss} (7:20)
4. Places In My Past {James Taylor} (5:40)
5. Irish Fantasy - The Ballad Of Charlotte McGhee {Eric Kloss} (10:51)
6. Love Is Here To Stay {George & Ira Gershwin} (5:53)
7. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (5:41)
8. Gil's Tune {Gil Goldstein} (8:42)
9. The Seasons {Gil Goldstein} (9:25) 

Total Time: 66:03

Credits:
Design [Cover] - Studio Eric Wondergem BNO
Photography [Cover] - Arsis
Liner Notes - William Hogeland

Alex Sipiagin - Images (1998)

This CD finds Alex Sipiagin in his first recorded role as leader. He is in great company with many other fine musicians that include Chris Potter, David Binney, Adam Rogers and Jeff Hirshfield to name a few of the outstanding crew on this TCB release. Essentially, he has come a long way since this earlier date clearly shown by his now broadening and extensive discography. It is an interesting collection of tunes which include two of his own and one from his Russian origins. The album starts off with a tried and test piece by Milton Nascimento followed by one penned by David Binney and wraps up with a contemporary composition by Pat Metheny. Overall his tone is sweet and clearly showcases his ability to handle a broad range of styles. Of course, he would go on to express further virtuosity across his 10 Criss Cross Jazz albums. Personally, for me this album rates well against his latter day works. Enjoy!

TCB Records, 98602, 1998

Recorded & Mixed in May, 1996 At Interlude Studio, New York

Musicians:

Alex Sipiagin - Trumpet, Flute

Joshua Roseman - Trombone

David Binney - Alto Saxophone

Chris Potter - Tenor Saxophone

Gil Goldstein - Piano, Accordion

Adam Rogers - Guitar

Scott Colley - Bass

Jeff Hirshfield - Drums

Kenny Wollesen - Percussion

Tracks:

1. Tarde {Milton Nascimento} (8:04)

2. Freaker {David Binney} (7:44)

3. Little Dancer {Alex Sipiagin} (11:58)

4. Song - 1 {Alex Sipiagin} (3:26)

5. Novgorod Bells {Russian Folksong, Arr. Alex Sipiagin} (12:34)

6. Midwestern Night Dream {Pat Metheny} (7:16)

Credits:

Producer, Arranger - Alex Sipiagin

Executive-Producer - Peter Schmidlin

Recording & Mixing Engineer - Keith Senior

Mastering Engineer - Antoine Ogay, Grens (Premastering)

Graphic Artwork - Gigi Schmid-Huetiger

Photography [Cover] - Valeria Iozas

Photography [Inside] - Anatoly Artomonov

Liner Notes - Mike Zwerin

Total Time: 51:02

Andrea Motis - Emotional Dance (2017)

After recording six acclaimed albums with bassist Joan Chamorro, Barcelona-based trumpeter, singer and composer Andrea Motis makes her solo debut on Impulse! Records with Emotional Dance. The astonishing accord that she’s cultivated with Chamorro during the past seven years is firmly intact on Emotional Dance. The sterling performances features him as well as pianist Ignasi Terraza, drummer Esteve Pi, guitarist Josep Traver as the core ensemble. Like with Chamorro, Motis has recorded and toured consistently with these musicians.

Chamorro coproduced Emotional Dance with Brian Bacchus and Jay Newland. Through Bacchus and Universal Records’, A&R director Jean-Philippe Allard's sage suggestion, Motis augmented the personnel with a handful of U.S.-based musicians – vibraphonist Warren Wolf, accordionist Gil Goldstein, baritone saxophonist Scott Robinson, percussionist Café Da Silva. Three tunes also feature the famed American tenor saxophonist Joel Frahm, who'd worked with Motis and Chamorro before. "We invited [Joel] to play with us in Barcelona in 2016. He was so amazing that we knew we wanted him for this album," Motis enthuses.

Even though, Motis is only 21-years-old, she displays a mature musicality beyond her years. That’s because she began playing the trumpet at age seven; three years later she began studying jazz at the Municipal School of Music of Sant Andreu under Chamorro, who soon after recruited her for his band while she was still a teenager. While at the school, she was also a member of the Sant Andreu Jazz Band for nine years with which she recorded eight discs and played with such acclaimed musicians as trombonist Wycliffe Gordon, saxophonist Jesse Davis, clarinetist Bobby Gordon, and saxophonist Dick Oatts, among others. In addition to trumpet, Motis plays alto saxophone. But it was with Chamorro's band that she began singing. "The trumpet will always be my first instrument," Motis says when asked if she likes being a singer or an instrumentalist the most. "Playing the trumpet is like mediating; it’s such a part of my life. But I never want to choose just one side of my artistic sides because I love doing them all."

On Emotional Dance, Motis' singing mostly takes center stage. She possesses an alluring, supple alto. With its subtle vibrato and her succinct phrasing, Motis' singing has drawn comparisons to such stylists as Billie Holiday and Norah Jones. Her vocal prowess reveals itself immediately on Charles Daniels and Richard Whiting's classic, "He's Funny That Way," which opens the disc. Perhaps, it's no coincidence that the jazz standard has long been associated with Lady Day; Motis and her ensemble certainly do the composition justice by underscoring it with a quintessential swing-era shuffle that paves the way for an absorbing solo from Robinson. Motis follows his lead by blowing a delightful trumpet solo that accentuates her citrus tone and her assured sense of melodic swing.

Motis sees Emotional Dance as an extension and evolution of her work with Chamorro. Like their previous efforts, the new album contains it fair share of jazz standards. In addition to "He's Funny That Way," Motis delivers captivating renditions of Franck Loesser's "Never Will I Marry," Cole Porter's "You’d Be So Nice To Come Home To," Eddie Jefferson's "Baby Girl," Johnny Mercer's "I Remember You," Horace Silver's "Señor Blues," and Antonio Carlos Jobim and Vinicius De Moraes' "Chega de Saudade."

Emotional Dance reveals some of Motis' artistic growth with the presence of Frederico Sires Puig's "La Gavina," Els Amics de les Arts' "Louisiana O Els Camps De Cotó," and Perico Sambeat's "Matlida." On all three tunes Motis sings in Catalan - a first for her on disc. The latter tune even features Sambeat on a billowing soprano saxophone accompaniment and solo.

Also, for the first time, Motis exhibits her gifts as composer. She penned three of Emotional Dance's 13 songs. The first song she composed for the disc was "If You Give More Than You Can," a poignant ballad containing heartfelt lyrics about being overwhelmed with multiple responsibilities. Her ebullient, "I Didn't Tell Them Why" shows Motis' friskier side as she sings about keeping a blossoming romance on the down low, while her swaggering hard-bop instrumental, "Save the Orangutan" best illustrates her command and improvisation heft on the trumpet as she shares the frontline with Frahm.

As for the sparkling title track, Terraza wrote it several years ago as an instrumental. Motis wasn't even aware of Terraza's compositional abilities until she heard the song on the radio. "We thought that the title of that song was very representative of the feeling that we had during the making of this first album for Impulse! Records," Motis says. "The title conveys all the positive changes and new directions we've taken with my music while acknowledging that things are moving forward in the right direction." ~ Andrea Motis.com.

Impulse! Records/Universal Music, 0602557317947, 2017

Recorded 25^th-30^th March, 2016 At Carriage Studios, Stamford, Connecticut

Additional 9^th August & 19^th September, 2016 At Studio Espai Sonor, Montoliu, Spain

Personnel:

Andrea Motis - Trumpet, Vocals

Ignasi Terraza - Piano

Josep Traver - Guitar

Joan Chamorro - Bass

Esteve Pi - Drums

Guests:

Joel Frahm - Tenor Saxophone (#2,5,9,11,13)

Warren Wolf - Vibes (#3,7,12)

Perico Sambeat - Soprano & Alto Saxophones (#3,6)

Gil Goldstein - Accordion (#9,14)

Scott Robinson - Baritone Saxophone (#1,8)

Café Da Silva - Percussions (#3,4,9)

Tracks:

01. He's Funny That Way {Richard A. Whiting, Charles N. Daniels} (4:50)

02. I Didn't Tell Them Why {Andrea Motis} (2:30)

03. Matilda {Perico Sambeat} (6:52)

04. Chega De Saudade {Antônio Carlos Jobim, Vinicius De Moraes} } (5:48)

05. If You Give Them More Than You Can {Andrea Motis} (4:05)

06. Never Will I Marry {Frank Loesser} (3:19)

07. Emotional Dance {Andrea Motis} (4:33)

08. You'd Be So Nice To Come Home To {Cole Porter} (4:23)

09. La Gavina {Frederic Sirés} (4:46)

10. Baby Girl {Eddie Jefferson} (4:23)

11. Save The Orangutan {Andrea Motis} (4:00)

12. I Remember You {Victor Scherzinger, Johnny Mercer} (4:32)

13. Señor Blues {Horace Silver} (3:49)

14. Louisiana O Els Camps De Cotó {Els Amics de Les Arts)} (4:33)

Credits:

Producer - Brian Bacchus, Joan Chamorro

Producer, Recording & Mixing Engineer - Jay Newland

Executive Producer, Art Direction - Farida Bachir

Additional Recording - David Casmitjana

Mastering Engineer - Mark Wilder (Battery Studios, New York)

Project Coordinator - Joe D'Ambrosio, Rita Johnson

A&R - Jean-Philippe Allard

Cover & Liner Photography - Carlos Pericás

Design - Françoise Bergmann