Kenny Wheeler, David Friedman, Jasper Van't Hof - Greenhouse Fables (1992)

There are two musical instruments that most fascinate me, the trumpet and the vibraphone, especially in jazz improvisation and even the flugelhorn, a kind of trumpet used at a band level, with a softer sound. The result is a sweet and dreamy sonority, very suitable for giving intimacy and passion and also a truly splendid, warm, rich in harmonics bass register. Wheeler Canadian trumpeter, Friedman American vibraphonist, Van't Hof Dutch pianist are three great virtuosos of their instruments, already composers of remarkable works before meeting in this CD, they are perfectly at ease, their instruments come together in a single wonderful song poetic, quiet and meditative, where the notes are those that are enough to transport the listener to another pitch, the notes seem to stretch towards the sky, in the stellar trajectories. The low zones of the piano contrast without jolts with the treble of the trumpet and flugelhorn, creating an important and smooth sound carpet. In the first piece a distant and tenuous tuning of the piano creates a soft base on which the vibraphone is embroidered in ostinato and then a distant, slightly reverberated trumpet is added, which with extreme delicacy introduces us into this new world, then slowly everything accelerates and it increases in volume with the peroration of the trumpet, an instrument that in the hands of wheeler sometimes even seems to speak, grunt, chirp. At a certain point the flugelhorn takes the reins of the game together with the piano and the duo catches fire and flames, rushes towards a marching and confirming finale, with the piano punctuating the crescendo with full chords in fortissimo! The second track was born as a dream with a happy ending, in the final wheeler goes wild, gives us a wonderful solo, lyrical to tears. The third track is a mild starry night, a myriad of dewdrops on the grass. The fourth piece is pure ice, the piano in the very high register lashes out gracefully, teases our chilled cheeks, a game of stalactites and stalagmites and the wind instrument creates a luminous and dreamy ending, like a serene dawn. The fifth begins with the vibraphone that shifts accents and silences ... hints, stumbles, then the discreet dialogue with the piano, up to a vibrant, perhaps funky duo game ... here silence has the same importance as music, the unspoken is the soul of the piece. The final piece allows the solar reunion of the three soloists who here can also give a little display of technical skills ... but note that in the whole work there is never a hint of cloying self-referential virtuosity, there is only poetry, skill in dialogue with the other musicians ... about halfway through an unforgettable piano moment, a radiant ride, which always touches the high registers of the keyboard, almost silencing the intrusiveness of the vibraphone ... then the trumpet reappears and the whole world is at its feet. The quality of the recording is remarkable, every detail is present, without a radiographic excess ... the high register of the piano is marble and also liquid ... the trumpet and the flugelhorn are very delicate in the flat passages and impetuous, wild, in the fortissimi and in the different points in which their sound is deformed, shaped directly by the breath, by the voice of wheeler ... the vibraphone is fat, rich, enveloping, often creates thick carpets of harmonic reverberations ... a remarkable job. ~ Extract by yoklux, Senzalamusica.Wordpress.com. [Translated from Italian] 

Sentemo Records, SNT 31091, 1992
Recorded and Mixed at Farm, Italy 

Musicians:
Kenny Wheeler - Trumpet, Flugelhorn
David Friedman - Vibraphone
Jasper Van't Hof - Piano 

Tracks:
1. Zambon {Jasper Van't Hof} (11:44)
2. Everybody's Song But My Own {Kenny Wheeler} (9:58)
3, Truvib {David Friedman, Kenny Wheeler} (3:12)
4. Greenhouse Fables {David Friedman} (6:54)
5. Farm {David Friedman, Jasper Van't Hof} (7:28)
6. Salina Street {Kenny Wheeler} (7:13) 

Total Time: 46:31 

Credits:
Executive-Producer - Diego Sandrin, Paolo Boarato
Recording & Mixing - Maurizio Soranzo
Project Coordinator - Claudia Minotto
Cover Drawing - Loredana Spimpolo, Roberto Scarpa
Cover Art - Mac Art

Claudio Fasoli, Kenny Wheeler, J.F. Jenny Clark - Land (1988)

Dust never accumulates on good music, and this album is a confirmation of how much the work of Claudio Fasoli rests on foundations that have remained fixed in his career. He has had a tendency to look for travel companions who are as close as possible to his way of seeing music. Rightly not giving a damn about "Italianness". Fasoli has very often called with him artists from various backgrounds. On "Land" (1988) sees him at the head of a trio that includes the unforgettable Kenny Wheeler and Jean-François Jenny-Clark. With Wheeler the saxophonist - and this is another foundation of his music - shared a vocation for very readable melodies developed over wide intervals. Clearly, this is noticeable in a particular way within "Land", a record of which it is impossible not to immediately grasp the great compactness: the songs flow, you pass from fun ‘Tang’ to solemnity ‘Beedie's Time’ but it is as if they are all part of a single way of feeling. In short, a very structured lyricism - here is another Fasolian constant - as well as contained by the absence of the drums, which sometimes takes the place of Jenny Clark's bass; see the pressing ‘Kammertrio’. In short, within a few months Fasoli released two very different discs, "Land and "Bodies”; Two records that are still current and engaging. ~ Extract by Piacentino, MusicaJazz.It. 

Innowo Records, IN 802, 1989
Azzurra Music, TRI1328, 2018
Recorded And Mixed November, 1988 at Jingle Machine Studios, Milan, Italy 

Musicians:
Claudio Fasoli - Tenor Saxophone, Soprano Saxophone
Kenny Wheeler - Trumpet, Flugelhorn, Cornet
Jean-François Jenny Clark - Double Bass 

Tracks:
1. The Land Of Long White Clouds (3:19)
2. Fax (4:30)
3. Kitsch (3:19)
4. Dear K (5:13)
5. Afternoons (4:46)
6. Kammertrio (6:00)
7. Tang (5:37)
8. UFO (5:00)
9. Beedie's Time (5:39) 

Total Time: 43:23

All Compositions by Claudio Fasoli 

Dear K

Bob Brookmeyer & Kenny Wheeler Quintet - Island (2003)

Veterans Bob Brookmeyer and Kenny Wheeler explore shared sensibilities on Island, a collection that could have fit comfortably in Wheeler's ECM catalogue, but instead spearheads the resuscitated Artists House label. Although they've not recorded together before, they set each other up and finish each other's thoughts like a long-married couple. The island in question seems more north Atlantic than Caribbean. While the program tends toward moody mid-tempo tunes, the high level of playing keeps monotony at bay. The disc opens with "Before the First Time," and Brookmeyer blowing breathy velvet. Bassist Jeremy Allen echoes and tweaks Brookmeyer's lines, and when Kenny joins with Frank Carlberg on piano and John Hollenbeck on drums, the thaw is on. Brookmeyer and Wheeler join voices and justifiably show off their tones. Carlberg plays off the time to push the momentum, then it drops back to Brookmeyer and Allen with Hollenbeck whispering on cymbals. By the time Wheeler gets to drive the engine’s warmed up and he delights in sharp turns. Beginning slow and spacious, Wheeler's "114" coalesces with soulful interplay between the horns. The rhythm section sets it on simmer while Wheeler takes a thrill ride solo. Brookmeyer covers as much ground with fewer notes. The ensemble plays a majestic outro. "Song for Kenny" gives Wheeler some elegant minors to play through. He states the theme and finds Brookmeyer on the bridge. Their counterpoint gives way to Wheeler's flowing take, which in turn yields to Brookmeyer’s swinging assessment. The piece ends wistfully. “Upstairs with Beatrice” swings with Brookmeyer telling his story first. Carlberg plays a repetitive line against a quirky drum pattern until Wheeler sails through sweeping everyone along. The arrangement includes some fine unison playing by the horns. Brookmeyer's "Island" boasts an exotic melody first stated by Wheeler. The sparse rhythm section leaves Wheeler and Brookmeyer room to trade lines and solo. The band lays out as Carlberg plays a dramatic interlude. Hollenbeck's cymbals recreate wave song. "Strange One" works a Jeremy Allen's bowed bass and repetitive figure from Carlberg against Wheeler's flight of inspiration. Brookmeyer turns the melody over while Hollenbeck experiments with odd ambient sounds. The Brookmeyer/Wheeler collaboration shows two long time players apparently still in ascent. ~ by Rex Butters, AAJ. 

Artist House Records, AH0006, 2003
Recorded 27th-29th September, 2002 at Mix One Studios, Boston, Massachusetts 

Musicians:
Bob Brookmeyer - Trombone [Valve]
Kenny Wheeler - Trumpet, Flugelhorn
Frank Carlberg - Piano
Jeremy Allen - Bass
John Hollenbeck - Drums 

Tracks:
1. Before The First Time {Kenny Wheeler} (7:56)
2. 114 {Kenny Wheeler} (7:29)
3. Where Do We Go From Here? {Kenny Wheeler} (7:45)
4. Song For Kenny {Bob Brookmeyer} (9:43)
5. Upstairs With Beatrice {Bob Brookmeyer} (7:22)
6. Island {Bob Brookmeyer} (9:46)
7. Strange One {Kenny Wheeler} (5:41) 

Total Time: 55:46 

Credits:
Producer - John Snyder
Engineer - Ted Paduck
Assistant Engineer - Brian Warwick
Mastering - James Mageras [Sound Bunker]

Kenny Wheeler - California Daydream (1992)

This is a wonderful live album by British Jazz trumpeter / composer Kenny Wheeler, recorded in a Paris club in a quartet setting with American pianist Jeff Gardner, Dutch bassist Hein Van De Geyn and French drummer Andre Ceccarelli. Together they perform seven original compositions; three by Wheeler and two each by Van De Geyn and Gardner. Although seemingly just another live Wheeler recording, this album presents one of the most intimate and focused opportunities to listen to his artistry and his Masterly performances happening right in front of the listener's ears, completely undisturbed. Wheeler is the primary soloist here and all the seven tracks feature his extended solo performances which can rarely be found on any other recording of this kind with such emphasis and intensity. All three musicians playing alongside Wheeler are veteran performers, with highly developed Jazz sensitivities, who accompany the Master amicably and support him all the way through, sensing quite naturally the rare opportunity to let him express his sublime artistry and staying relatively in the shadows during the proceedings. Van De Geyn and Gardiner perform a few splendid solos themselves, but as already stated this is pure unadulterated Kenny Wheeler in the spotlight for us to delight in. Of course, this is an absolute must have for Wheeler fans and admirers, and although quite difficult to find these days, it is definitely worth pursuing. Absolutely delightful serving of Wheeler at his very best! ~ Adam Baruch, adambaruch.com. 

Musidisc Records, 500292, 1992
Recorded 10th & 11th December, 1991 Live at "Alligators" in Paris, France 

Musicians:
Kenny Wheeler - Trumpet, Flugelhorn
Jeff Gardner - Piano
Hein Van De Geyn - Double Bass
André Ceccarelli - Drums 

Tracks:
1. The Imminent Immigrant {Kenny Wheeler} (6:40)
2. California Daydream {Hein Van De Geyn} (6:27)
3. Though Dreamers Die {Hein Van De Geyn} (7:37)
4. Salina Street {Kenny Wheeler} (6:37)
5. Mistica {Jeff Gardner} (6:27)
6. Voodoo {Jeff Gardner} (9:38)
7. Bethan {Kenny Wheeler} (5:01) 

Total Time: 48:32 

Credits:
Producer - François Lacharme
Executive-Producer - Denis Lacharme
Recording [Direct to Digital] - Etienne Dreuilhe, Jean-Pierre Smadja
Design [Conception] - Stéphanie Brichet
Photography [Cover & Booklet] - François Lacharme

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

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

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

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

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

All Compositions by Kenny Wheeler

Total Time: 52:20

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

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

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

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

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

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

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

Total Time: 54:14

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

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

Kenny Wheeler, John Taylor guest Gabriele Mirabassi - Moon (2001)

 

Wheeler and Taylor have produced some great music together in the past, but seldom as irresistibly gorgeous as this. Confining himself to flugelhorn, Wheeler is lyric beauty personified, his mellifluously songlike improvisations burnished by a richly expressive tone; Taylor is the perfect partner, his piano matching and echoing Wheeler's explorations at every turn. It says much for clarinetist Mirabassi that he fits into this closely-knit duo so well when he joins them on three pieces. The material, six originals by Wheeler, three by Taylor, allow free rein to their imagination and the results are sublime, their beauty enhanced by the sensitively detailed recording, done in an acoustically warm old Italian theatre. ~ by Enzo Vizzone, AAJ.

Egea Records, SCA 086, 2001
Recorded February, 2001 At Teatro Comunale di Gubbio, Italy 

Musicians:
Kenny Wheeler - Flugelhorn
John Taylor - Piano
Guest:
Gabriele Mirabassi - Clarinet (#3,6,8) 

Tracks:
1. After The Last Time {John Taylor} (4:27)
2. Flo {Kenny Wheeler} (5:03)
3. Ambleside {John Taylor} (6:06)
4. Introduction To A No Particular Song {Kenny Wheeler} (6:11)
5. Moon {John Taylor} (4:50)
6. Sly Eyes {Kenny Wheeler} (7:56)
7. 3/4 P.M. {Kenny Wheeler} (5:39)
8. Deriviation {Kenny Wheeler} (5:58)
9. Medium 30 {Kenny Wheeler} (5:55) 

Total Time: 51:05 

Credits:
Engineer - Francesco Ciarfuglia
Photography - Adriano Scognamillo 

Mostly Flugelhorn-Piano Duets
----------------------------------------
I've just rediscovered this little-known album, and thought sharing my impressions might be of some interest. The venerable Canadian-born but Britain-based Kenny Wheeler is featured here exclusively on eloquent flugelhorn, performing a repertoire that consists of six of his originals (#2, 4, 6-9) and three by long-time friend and collaborator, the phenomenal English pianist John Taylor. The acoustic quality of the CD is first rate thanks to the material being recorded in the Teatro Communale of the Italian town of Gubbio, in February 2001. The set starts at a measured pace with Taylor's bit melancholic #1 'after the last time,' coloured by a restrained touch of tango in a similar vein to the prancing #6 'sly eyes,' where the influence is more pronounced, that extensively features the virtuosic playing of clarinetist Gabriele Mirabassi and an engaging piano solo reminiscent of Chick Corea. The Italian musician also contributes to Taylor's merrily playful #3 'ambleside,' a piece I first heard on Time Being /#8 (1994, ECM), and to the somewhat dreamy #8 'deriviation'. Wheeler's slightly veiled sound on the bittersweet #2 'flo' reminds me that of the legendary Chet Baker, while he produces some long, sustained notes - alongside Taylor strumming the piano strings - leading into a majestic rendition of #4 'introduction to a no particular song,' a tune I've been familiar with from the celestial Angel of the Presence /#8 (2005, CamJazz). The spacious and introspective title song #5 'moon' offers occasionally soaring flugelhorn, whereas #8 '3/4 p.m.' is a nostalgic, straight ahead fare. The album closes with the moderately dynamic #9 'medium 30'. ~ inner exile, Amazon.com, 4 Stars.

Kenny Wheeler Quintet - Flutter, By Butterfly (1987) [re-rip]

Warmly expressive work from trumpeter Kenny Wheeler - a set that's got the same depth of tone as his work for other labels, but which has a bit of a different feel as well. The record has maybe a bit more bite - not necessarily on Wheeler's trumpet or flugelhorn, the latter of which still retains its wonderfully airy sound - but instead on the overall conception, which makes careful but creative use of other group members - especially John Taylor on piano and Dave Holland on bass, as well as Billy Elgart on drums, and Stan Sulzmann on soprano, tenor, and flute. All tunes are originals by Wheeler, and really lovely ones at that - and titles include "Gigolo", "The Little Fella", "Miold Man", "We Salute The Night", and "Everybody's Song But My Own". © Dusty Groove, Inc.

The return to light of a true gem by modern jazz master Kenny Wheeler. Flutter By, Butterfly was recorded in 1987 and originally published by Soul Note in 1988. Wheeler's visionary musical concepts develop through the interplay of this stellar quintet. A wide-open space for dense and lyrical dialogues between the leader's flugelhorn and cornet and Stan Sulzman's reeds, John Taylor's painterly harmonies and the Dave Holland, Billy Elgart floating rhythm section. ~ Juno

Soul Note Records, SN 121 146-1, 1988

Recorded 26^th & 27^th May, 1987 at Barigozzi Studio, Milano, Italy

Personnel:

Kenny Wheeler - Flugelhorn, Cornet

Stan Sulzmann - Soprano & Tenor Saxophones, Flute

John Taylor - Piano

Dave Holland - Bass

Billy Elgart - Drums

Tracks:

A1. Everybody's Song But My Own (9:30)

A2. We Salute The Night (5:07)

A3. Miold Man (9:17)

B1. Flutter By, Butterfly (8:47)

B2. Gigolo (8:20)

B3. The Little Fella (7:14)

All Compositions by Kenny Wheeler

Credits:

Producer - Giovanni Bonandrini

Engineer - Giancarlo Barigozzi

Mastering - Gennaro Carone

Cover Art - Giuliano Crivelli

Liner Notes - Mike Hennessey

Jane Ira Bloom - The Nearness (1995)

If forced to choose between this eminently thoughtful soprano saxophonist's writing and improvising, I'd have to say it's her original tunes that might keep me coming back. Not that there's anything wrong with her playing. Quite the contrary. She gets a full, gently-inflected, well-centered sound on her finicky horn -- the kind that only a full-time soprano player can produce with consistency. In the past I've found her improvising somewhat mannered; here, however, she's as spontaneous as one could ask. Her ballad playing is especially effective. But I think it's the sophistication of her contexts that fixes her among the modern mainstream's elite. "Flat6 Bop" is typically intriguing; a harmonically ambiguous, medium-tempo ostinato tune with an intervallically irregular melody, it's the product of a methodical and highly creative intellect. Bloom's arrangements of familiar material -- she does heavily re-arranged versions of standards like "Summertime" and "'Round Midnight" -- are just as meticulously conceived, but somehow seem a bit precious to my ears. They are very skillfully done, however. Bloom's collaborators are almost perfectly chosen. Trumpeter Kenny Wheeler, trombonist Julian Priester, bassist Rufus Reid, drummer Bobby Previte, and (particularly) pianist Fred Hersch are well-attuned to the saxophonist's subtle musical gestures. ~ by Chris Kelsey, AMG.

Arabesque Records, AJ0120, 1996

Recorded 12^th,13^th,14^th July, 1995 At Power Station, Studio B, New York

Musicians:

Jane Ira Bloom - Soprano Saxophone

Kenny Wheeler - Trumpet, Flugelhorn (#1-3,5-10,12,13)

Julian Priester - Trombone, Bass Trombone (#1-3,5-10,12)

Fred Hersch - Piano (#1,2,4,5,7,8,11,12)

Rufus Reid - Bass (#1-12)

Bobby Previte - Drums (#1-7,9-12)

Tracks:

01. Nearly Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (5:25)

02. Midnight Round {Jane Ira Bloom} /
'Round Midnight {Bernie Hanighen, Thelonious Monk, Cootie Williams} (5:39)

03. B6 Bop {Jane Ira Bloom} (6:17)

04. Midnight's Measure {Jane Ira Bloom} /
In The Wee Small Hours Of The Morning {Bob Hilliard, David Mann} (6:19)

05. Painting Over Paris {Jane Ira Bloom} (5:58)

06. Wing Dining {Jane Ira Bloom} (6:48)

07. Panosonic {Jane Ira Bloom} (6:36)

08. White Tower {Jane Ira Bloom} (4:10)

09. It's A Corrugated World {Jane Ira Bloom} (5:42)

10. Monk's Tale {Jane Ira Bloom} /
The Nearness Of You {Hoagy Carmichael, Ned Washington} (3:33)

11. Lonely House {Langston Hughes, Kurt Weill} (6:50)

12. The All-Diesel Kitchen Of Tomorrow {Jane Ira Bloom} (4:07)

13. Yonder {Jane Ira Bloom} (0:51)

Total Time: 67:55

Credits:

Producer - Jane Ira Bloom

Executive Producer - Marvin M. Reiss

Engineer - James Farber

Assistant Engineer - Robert Smith

Mastering, Mixing Engineer - Jim Anderson

Mastering - Allan Tucker

Art Direction, Design - Franko Caligiuri

Production Director - Daniel Chriss

A&R, Artwork, Repertoire - Joel Chriss

Post Production Director - Jodi Howard

Photography - Kristine Larsen

"By any measure, she has created one of the most melodically radiant jazz releases in recent memory." ~ Howard Reich, Chicago Tribune, 3rd March, 1996.

"Fearless musical explorers who share a commitment to beauty and adventure." ~ Bob Blumenthal, Atlantic Monthly, February, 1996.

"A delightfully atmospheric but probing disc... Bloom’s soaring lines trace a touching mix of openness and craft." ~ Gene Santoro, NY Daily News, 22nd April, 1996.

Elton Dean, Joe Gallivan, Kenny Wheeler - The Cheque Is In The Mail (1977) [vinyl]

This album is ten Conversations among ourselves. There are no solos with accompaniment, just three people playing together somewhat in the tradition of older style jazz musicians - but with a contemporary language. It is the blending of electronic and acoustical sounds, contemporary and jazz-rooted improvisation, the sounds of metal and reeds (the horns), membranephones (animal skin drum heads), percussion and the pure ways of the moog synthesizer. There is no overdubbing, when you hear synthesizer and percussion, they are played together in order to capture the most important element of this album - the human element. ~ Joe Gallivan.

Ogun Records, OG 610, 1977

Recorded February, 1977 in London, England

Musicians:

Elton Dean - Alto Saxophone, Saxello

Kenny Wheeler - Trumpet, Flugelhorn

Joe Gallivan - Synthesizer, Drums, Percussion

Tracks:

A1. In Spite Of It {Dean, Wheeler, Gallivan} (2:31)

A2. Steps {Dean, Wheeler, Gallivan} (3:48)

A3. First Team {Dean, Wheeler, Gallivan} (3:38)

A4. Ragadagger {Dean, Wheeler, Gallivan} (4:06)

A5. To The Sun {Dean, Wheeler, Gallivan} (8:20)

B1. Off Your Beaver {Dean, Wheeler, Gallivan} (3:22)

B2. Appropo {Dean, Wheeler, Gallivan} (6:59)

B3. Fragment Of Memory {Dean, Wheeler, Gallivan} (2:18)

B4. No Bounds {Dean, Wheeler, Gallivan} (4:21)

B5. Time Test {Dean, Wheeler, Gallivan} (3:14)

Credits:

Producer - Joe Gallivan in Co-operation with Elton Dean

Mixing - Ron Eve (February, 1977, London)

Mastering - Brian C. East

Total Time: 42:37

Kenny Wheeler - Around 6 (1979) [vinyl>flac]

Here’s another LP as a fitting tribute to the late Kenny Wheeler and one of my favourites. It is his third album for ECM and one that is quite unique due to the help of some of the finest Avant Garde/Free Jazz players of that time. On this LP Wheeler presents six pieces of extraordinary beauty and the reed-work of Evan Parker proves to be a creative addition to Wheeler’s great trumpet and flugelhorn sounds. Not to overlook the importance of the rest of the sextet. All members add defining qualities to showcase some of Wheeler’s most elegant of compositions. This rip is from my LP. I managed to find some extra scans and photos from the web, Enjoy!

Kenny Wheeler's third ECM album as a leader is most notable for teaming his trumpet with the innovative tenor and soprano of Evan Parker, a brilliant British avant-garde player who is often overlooked in the U.S. With fine playing from trombonist Eje Thelin, vibraphonist Tom Van Der Geld, bassist J.F. Jenny-Clark and drummer Edward Vesala, the sextet performs six Wheeler originals that combine together advanced swinging with fairly free explorations. Stimulating music. ~ Scott Yanow, AMG.

Like the wordplay of first cut (“Mai We Go Round”) the album as a whole is twice removed: once from the immediate expectations born of past projects, and once more from the often earthly shapes of those projects. This time around, Wheeler is happy to tiptoe over the clouds, reaching for the sun that illuminates their cauliflower topsides. A pliant intro urges us down the rhythmic paths of J.F. Jenny-Clark (bass) and Tom van der Geld (vibes), along which Wheeler crafts the tenderest of songs. At heart a lullaby, it is lively on the surface, so that we always remain half awake, our eyes glazed by an interest in the musical moment. All of this stretches a diffuse canvas across which Parker splashes the enchanting wisdom of an aurora borealis in fast forward. After this dip into limpid waters, Wheeler breaks out the gorgeous “Solo One”. Floating on a studio echo with great care, his tone is tender yet immovable, and moves like a human body after an epic recovery. “May Ride” lays another solid foundation between bass and vibes and the subterranean patter of Edward Vesala on drums. Wheeler stays fairly centered, letting out the occasional squeal, and sets up a fantastic solo - one of the album’s best - from trombonist Eje Thelin. After a few doodles from the horns, “Follow Down” unfolds in a parabolic blade, thereby tilling a nutrient-rich soil for Parker’s brilliance. Vibes curl their reverberant fingers alluringly along the edge of our attention before horns and arco bass fall into line. A splash of water dispels our reveries in the propulsive “Riverrun.” Wheeler and Thelin swing from every branch with an unwavering sense of play, granting Vesala a few moments in the spotlight before ending tenderly, conservatively, with the ballad “Lost Woltz.” A lush and consistent album, around 6 takes on a life of its own with every listen, and deserves a place in any self-respecting jazz collection. ~ ecmreviews.com

ECM Records, ECM 1156, 1980

Recorded August 1979 at Tonstudio Bauer, Ludwigsburg, Germany

Personnel:

Kenny Wheeler - Trumpet, Flugelhorn

Evan Parker - Soprano & Tenor Saxophones

Eje Thelin - Trombone

Tom van der Geld - Vibraharp

Jean-François Jenny-Clark - Double-Bass

Edward Vesala - Drums

Track Listing:

A1. Mai We Go Round (10:30)

A2. Solo One (3:34)

A3. May Ride (7:26)

B1. Follow Down (11:37)

B2. Riverrun (7:36)

B3. Lost Woltz (5:22)

All Compositions by Kenny Wheeler

Credits:

Producer - Manfred Eicher

Engineer - Martin Wieland

Cover Photo [from "Onlookers", 1978] - Christian Vogt

Liner Photos - Signe Mähler

Design - Dieter Rehm