Akira Tana - Moon Over The World (1993, RE 2004)

Akira Tana's second CD as a leader for the Japanese label Paddlewheel doesn't restrict itself to the same jazz standards and frequently recorded jazz works. Instead, Tana and his bandmates (frequent collaborator Rufus Reid on bass and pianist Ted Lo) rely on a mix of originals, lesser-known gems by talented other jazz musicians, and a trio of Chinese folk songs. Lo's snappy post-bop "Jewel's Eyes" would fit the repertoire of talented composer/pianists like Kenny Barron, Donald Brown, Mulgrew Miller, or James Williams. Tana contributed the tense, somewhat mysterious "Skyline," while Reid's "No Place Like the End of the World" is a lovely ballad, accented by Tana's tasteful brushwork. Horace Silver's "Sweet Stuff" is hardly one of his better-known pieces, so the trio's rendition of his delicate ballad is an obvious highlight. Guitarist Gene Bertoncini wrote "Sofflee," a very intricate reworking of the chord changes to the standard "Softly, as in a Morning Sunrise," which showcases the leader's brushwork in some terrific exchanges with Reid. Jaco Pastorious penned "Three Views of a Secret," a subtle but upbeat ballad. Tana's idea to incorporate Chinese folk songs works very well. "Moon Over the World" has a pop sensibility, but the lovely melody and superb musicianship keep it viable. "Condor Man" was once a theme song to a popular kung fu TV show, yet Lo's imaginative samba setting likewise keeps it from falling into predictability. "Reflections of Love" begins as a ballad before suddenly segueing into a wild post-bop arrangement, with Tana's exciting drum solo as its centerpiece. Since the Paddle Wheel edition of this highly recommended CD is somewhat difficult to obtain, most jazz fans will be pleased to learn that Sons of Sound reissued this release in the U.S. in early 2004. ~ Ken Dryden, AMG. 

Sons Of Sound Recorded Music, SSPCD018, 2004
Recorded 15th-16th & 20th March, 1993 direct to two-track
at Red Rock Studios, Saylorsburg, PA and Skyline Studio, New York 

Musicians:
Akira Tana - Drums
Ted Lo - Piano
Rufus Reid - Bass

Tracks:
01. Jewel's Eyes {Ted Lo} (3:49)
02. Moon Over The World {Chinese Folk Song; Arr. Ted Lo} (6:13)
03. Koi-No Vacanse [Vacation Of Love] {Hiroshi Miyagawa} (5:23)
04. Sweet Stuff {Horace Silver} (6:13)
05. Skyline {Akira Tana} (6:18)
06. No Place Is The End Of The World {Orlando Murden, Rufus Reid} (7:05)
07. Sofflee {Gene Bertoncini} (6:29)
08. The Condor Man {Chinese Folk Song; Arr. Ted Lo} (5:13)
09. Three Views Of A Secret {Jaco Pastorius} (6:48)
10. Chinese Fingers {Hiroshi Miyagawa} (5:14)
11. Reflections Of Love {Chinese Folk Song; Arr. Ted Lo} (5:45) 

Total Time: 64:37 

Credits:
Producer [Original Sessions], Liner Notes - Akira Tana
Reissue Producer - Jeff Penney
Assistant Engineer - Drew Coleman, Hiro Ishihara
Engineer, Mastering - A.T. Michael MacDonald [Foothill Digital]
Photography [Cover] - Alice Chen
Originally issued as Asian American Jazz Trio in Japan on Paddle Wheel [KICJ 163]

LINK

Jewel's Eyes

Akira Tana - Secret Agent Men (2002)

Akira Tana and his musicians were definitely out to have some fun making this release, which draws heavily from works written for spy-themed movies and television series. "Secret Agent Man" is given a funky treatment with a slight Latin tinge, showcasing guitarist Rodney Jones, organist Dr. Lonnie Smith, and tenor saxophonist Bob Kenmotsu. The rendition of the "Alfred Hitchcock Theme (March of the Marionettes)" at first seems like it will be low-key, but the brisk arrangement quickly discards Kenmotsu's flute for his blistering tenor in a smoking performance. They even have a bit of fun with the unlikely inclusion of a Sting composition (the normally monotonous "It's Probably Me"), but this version has more spirit and eliminates the mundane lyrics. The band relaxes a bit with a loungy but effective take of "From Russia with Love." The CD concludes with five songs written by the band's members to make up a fictitious soundtrack for a film. A nice added touch is the campy cover photo, with each of the players photographed in standard spy gear (hat, trench coat, and sunglasses), though Smith's huge Afro covered by a turban would likely make it hard for him to tail a subject! ~ by Ken Dryden, AMG. 

Sons Of Sound Recorded Music, SSPCD012, 2002 

Musicians:
Akira Tana - Drums
Robert Kenmotsu - Flute, Soprano & Tenor Saxes
Dr. Lonnie Smith - Organ [Hammond B-3]
Rodney Jones - Guitar
Rufus Reid - Bass
Chuggy Carter - Percussion 

Tracks:
01. Secret Agent Man {Steve Barri, P.F. Sloan, Phil Sloan} (4:07)
02. Mission Impossible {Lalo Schifrin} (4:32)
03. The Guardman {Tadashi Yamauchi} (3:37)
04. In The Heat Of The Night {Alan & Marilyn Bergman, Quincy Jones} (4:54)
05. It's Probably Me {Eric Clapton, Michael Kamen, Sting} (5:52)
06. Alfred Hitchcock Theme {Lynn Murray} (3:49)
07. Charade {Henry Mancini, Johnny Mercer} (4:26)
08. From Russia With Love {Lionel Bart} (4:38)
09. When We Are Alone {Robert Kenmotsu} (6:21)
10. Struttin' About {Rufus Reid} (5:52)
11. Song For A Rainbow {Rodney Jones} (6:20)
12. Navarac {Akira Tana} (3:14)
13. Chase Game {Dr. Lonnie Smith} (6:10) 

Total Time: 64:02 

Credits:
Audio Production, Producer - Jeff Penney
Photography - Pierre Dufour
Art Direction - La Torre Productions
Licensed by King Records Co., Ltd Japan

LINK

When We Are Alone {Robert Kenmotsu}

Charles McPherson - What Is Love (2010)

Here we have an elusive release in 2010 by the mighty altoist Charles McPherson on Arabesque Recordings; sourced from Deezer. Unfortunately, there was not a lot of information available about this release, even on the official Arabesque site. The album is an added testimony to Charles' ability to demonstrate his virtuosity and to play some beautiful ballads. Of course, this work is augmented by the great team of players he assembled for this session. Joining him is pianist Randy Porter, bassist Rufus Reid and drummer Carl Allen. Additionally, the quartet is backed by The Lark Quartet, a wonderful all female classically trained ensemble. There are eight tracks, mostly well-known romantic jazz standards. Essentially, this album is a well recommended addition, coming from Charles' extensive discography. 

Arabesque Recordings, AJ0192, 2010 

Musicians:
Charles McPherson - Alto Saxophone
Randy Porter - Piano
Rufus Reid - Bass
Carl Allen - Drums
with: The Lark String Quartet 

Tracks:
1. I'll Always Be There For You {Charles McPherson} (6:56)
2. My One And Only Love {Robert Mellin, Guy Wood} (6:51)
3. Easy Living {Ralph Rainger, Leo Robin} (8:46)
4. Yesterdays {Otto Harbach, Jerome Kern} (7:51)
5. I Loves You Porgy {George & Ira Gershwin, DuBose Heyward} (9:11)
6. My Romance {Lorenz Hart, Richard Rodgers} (7:14)
7. The Man I Love {George & Ira Gershwin} (5:47)
8. Be My Love {Nicholas Brodszky, Sammy Cahn} (5:09) 

Total Time: 57:49 

Be My Love

Jack DeJohnette's Special Edition - Inflation Blues (1983) [re-rip]

Inflation Blues is a record that bristles with energy right from the start - spurred on by the creative rhythms that have always made Jack DeJohnette one of the most inventive drummers of his time! The group features a triple-threat lineup with Baikida Carroll on trumpet, Chico Freeman on tenor and soprano sax, and John Purcell on alto, baritone, flute, and clarinet - especially nice at points when the reedmen shift and turn with sharp edges learned from the earlier avant years, yet given a nice focus here under DeJohnette's leadership. Jack penned all original tunes for the set, and there's a depth to his writing that really marks a move forward - possibly some of his richest musical statements on record ever! Titles include "Ebony", "Inflation Blues", "Slowdown", and "The Islands". ~ by Jazz Chill.

Inflation Blues was the second album released under the title of Special Edition and remains a fusion jazz go-to-album for me. A bit of that Miles Davis inspired Fusion, yet always in control with some epic moments......this band were extra special! For those less familiar with Jack and his special edition what you can expect is some fantastic drumming and percussion along with some fantatsic flute, sax, bass, trumpet, clarinet, piccolo and piano. This music is highly energetic and inspired with a nice range in mood and tempo changes. The music is challenging and ever changing but remians very accessible and easy to follow. And I guess there lies the key reason why I adore this album so much....it is creative, bold yet universal! ~ by James Unger, Albums You Just Gotta Hear......

ECM Records, ECM 1244, 1983

Recorded September, 1982 at Power Station, New York

Musicians:

Jack DeJohnette - Drums, Piano (#A1,A2), Clavinet (#B2), Voice (#B2)

Baikida Carroll - Trumpet (#A1,B1,B3)

Chico Freeman - Bass Clarinet (#A1,B1,B3), Tenor Sax (#A1,B2), Soprano Sax (#A1-B1)

John Purcell - Alto Flute (#A1), Alto Sax (#A1,B1,B2), Piccolo Flute (#B1), Baritone Sax (#B2,B3),
Alto Clarinet (#B1), Flutes (#A2,B2), Reeds (#A2)

Rufus Reid - Double Bass (#A1,A2,B3), Electric Bass (#B2)

Tracks:

A1. Starburst {Jack DeJohnette} (9:10)

A2. Ebony {Jack DeJohnette} (8:39)

B1. The Islands {Jack DeJohnette} (8:31)

B2. Inflation Blues {Jack DeJohnette} (6:41)

B3. Slowdown {Jack DeJohnette} (6:23)

Total Time: 39:24

Credits:

Producer - Manfred Eicher

Recording Engineer - Jan Erik Kongshaug

Photo - Karen Schoonmaker

Design - Klaus Detjen

Link

Frank Wess Nonet - Once Is Not Enough (2008)

Known for his big-band or small ensemble recordings, Frank Wess uses a nine-piece band for the first time in his long, storied career to make easy going swinging jazz in the tradition of his former boss, Count Basie. The masterful tenor saxophonist, arranger, and most notably, composer, has assembled an impressive group, featuring trombonist Steve Turre, saxophonists Scott Robinson, and Ted Nash, trumpeters Terell Stafford and Frank Greene, and the dynamite rhythm section of drummer Winard Harper, bassist Peter Washington, and especially impressive young pianist Gerald Cannon. Together they play original music and standards with the Basie stamp firmly embossed. The tart, compact, internalized sound of Wess on the big horn is a factor in contrasting the otherwise sweet sounds. His world-class flute playing is also featured in spurts, though a "hook 'em horns" gesture on the cover photo as he holds his silver wind instrument might lead you to believe it's featured on the date -- it is not. Wess is clearly the leader and frontman, playing basic main stem melodies and solos on the title selection, "Sara's Song" and "You Made A Good Move," all relaxed swingers arranged by drummer Dennis Mackrel (who does not perform on the date) that are fairly concise, have space for another select soloist, and vary to certain degrees in either united effect, or stratifying the horns. "Backfire" is the wailer, upbeat bop at its finest, rambling a bit but focused, based on the changes of "I Got Rhythm," and featuring a surprise coda based on the title. The standards include Scott Robinson's uniquely charted intro tacked on "Fly Me to the Moon," or the flute of Wess stepping forward on a modified "Sweet & Lovely" with the horns backing him up. Pianist Cannon is one to be heard closely on this recording, as he is capable of all melodic, emotional, or rhythmic duties and responsibilities required. He's also quite original at such a young age -- perhaps the next Kenny Barron? Two tracks feature Wess in only a quartet setting with a different rhythm section including Harper, pianist Michael Weiss, andd bassist Rufus Reid, including a lengthy version of the overwrought, somber "Lush Life," just about the saddest tune ever, wrapped in thin silver tin foil, ultimately fragile, with Wess on tenor, and observant, lovelorn piano interventions. The obligatory Basie-type tune "Tryin' to Make My Blues Turn Green" ends the set in a shuffling along and out style. This is a good effort, not as great as others Wess has made over the years, but the high-level musicianship is a constant reminder that he's very much in the mainstream jazz ballpark, and still has a valid perspective many years after this music was out of trendy and trumped up electronic induced vogue. If you are a fan of Frank Wess, this recording will please you to no end. ~ by Michael G. Nastos, AMG. 

Labeth Music, 101, 2009
Recorded 10th June, 2008 at Nola Recording Studios, New York 

Musicians:
Frank Wess - Tenor Saxophone, Flute, Arranger (#5,7)
Frank Greene, Terell Stafford - Trumpet
Steve Turre - Trombone
Ted Nash - Alto Saxophone, Flute
Scott Robinson - Baritone & Bass Saxes, Flute, Arranger (#8)
Gerald Clayton - Piano (#1-3,5,6,8,9)
Michael Weiss - Piano (#4,7)
Peter Washington - Bass (#1-3,5,6,8,9)
Rufus Reid - Bass (#4,7)
Winard Harper - Drums 

Tracks:
1. Once Is Not Enough {Frank Wess} (5:39)
2. Sara's Song {Frank Wess} (8:22)
3. You Made A Good Move {Frank Wess} (7:37)
4. Dementia, My Darling {Frank Wess} (6:59)
5. Sweet And Lovely {Gus Arnheim, Harry Tobias, Jules Lemare} (5:46)
6. Backfire {Frank Wess} (9:11)
7. Lush Life {Billy Strayhorn} (9:40)
8. Fly Me To The Moon [In Other Words] {Bart Howard} (2:50)
9. Tryin' To Make My Blues Turn Green {Frank Wess} (6:37) 

Total Time: 62:44 

Credits:
Producer - Frank Wess
Engineer - Bill Moss, Jim Czak
Photography - Ed Berger
Design - Michele Kane
Art Direction - Wayne Simmons

Jesse Davis - Horn Of Passion (1991)

Altoist Jesse Davis' debut as a leader finds the talented altoist very much influenced by Cannonball Adderley's sound at this early stage. He holds his own with the top-notch rhythm section (comprised of pianist Mulgrew Miller, bassist Rufus Reid and drummer Jimmy Cobb) on five standards and his own "C.P. Time," and performs four originals with a different quartet that includes tenor saxophonist Antoine Roney (brother of Wallace), bassist Tyler Mitchell and drummer Eric McPherson (son of Charles). Davis (25 at the time) showed a great deal of potential at this point and also displayed surprising maturity on the ballads. An impressive start to his career. ~ by Scott Yanow, AMG. 

Concord Jazz, CCD-4465, 1991
Recorded 24th-25th January, 1991 

Musicians:
Jesse Davis - Alto Saxophone
Antoine Roney - Tenor Saxophone (#4,6,9,10)
Mulgrew Miller - Piano
Rufus Reid - Bass (#1,2,3,5,7,8)
Tyler Mitchell - Bass (#4,6,9,10)
Eric McPherson - Drums (#4,6,9,10)
Jimmy Cobb - Drums (#1,2,3,5,7,8) 

Tracks:
01. CP Time {Jesse Davis} (3:56)
02. Here's That Rainy Day {Jimmy van Heusen, Johnny Burke} (7:59)
03. Stardust {Hoagy Carmichael, Mitchell Parish} (8:34)
04. Stop And Go {Jesse Davis} (4:54)
05. For Heaven's Sake {Donald Meyer, Elise Bretton, Sherman Edwards} (6:46)
06. Li'l Mac {Jesse Davis} (4:32)
07. Violets For Your Furs {Matt Dennis, Thomas M. Adair} (5:08)
08. Gone With The Wind {Allie Wrubel, Herbert Magidson} (6:14)
09. Testimonial {Jesse Davis} (6:30)
10. Cat Talk {Jesse Davis} (5:32) 

Total Time: 60:05 

Credits:
Producer - Carl Jefferson
Assistant Producer - Allen Farnham
Production Coordination - John Burk
Engineer - Ed Trabanco
Remixing - Phil Edwards
Mastering - George Horn
Art Direction - Kent Judkins
Photography - David Lubarsky
Liner Notes - Ira Gitler

Sumi Tonooka - Long Ago Today (2004)

Pianist, composer and educator Sumi Tonooka re-ignites her successes as an architect at the keyboard with her fifth and latest release, ‘Long Ago Today’. It's her first recording in a decade as a leader, and her remarkable musical growth is showcased on nine originals and one standard. Joining her are long-time musical partner Rufus Reid on bass and the late drummer Bob Braye. The resurgence of her creative grace and candor is felt in Cole Porter's "All of You," a familiar favorite "that keeps on evolving," says Tonooka. Her trio becomes a wild force of nature on "The Clinging," a tune inspired by the I Ching, considered an oracle of natural events and occurrences. The creation of the iridescent "Dreaming of Tibet" was guided by a vision Tonooka had of herself walking about the country called "the roof of the world." This tune is an invitation to see what she saw. The contrasting faces of "Be The Dance," a sketchpad of the trio's playful prowess and the title tune, a musing over "longing and nostalgia," speak of the many-sided approaches Tonooka takes, as one journalist notes, to bridge "between the spirit of the world and her own soul." What propels her playing, as noted by writer Herb Boyd, is her “unique way to constantly renew the rhythm." Representative of that is "Moroccan Daze," packed with flurried mechanized and free-flowing passages. Though we hear a focus of rhythm on Long Ago Today, in no way does this enervate her compositions. They're identifiers for Tonooka and take their place between your ears, plugging you into her and not into her re-soling of standards. ‘Long Ago Today’ resounds with newly emerging energies and ideas. "It's my strongest work," declares Tonooka. Journalist Russ Musto restates his praise of Tonooka from thirty years ago in the liner notes to Long Ago Today: ". . . it has been a pleasure to hear her blossom into one of the most talented musicians of her generation." ~ by Nestor Minsk, JazzNews. 

Artist Recording Collective, CRA 2116, 2008
Recorded 19th to 23rd October, 2004 at John Hodian‘s Studio, Woodstock, New York 

Musicians:
Sumi Tonooka - Piano
Rufus Reid - Bass
Bob Braye - Drums 

Tracks:
01. Be The Dance {Sumi Tonooka} (4:38)
02. All Of You {Cole Porter} (7:33)
03. The Clinging {Sumi Tonooka} (4:11)
04. Dreaming Of Tibet {Sumi Tonooka} (4:21)
05. Quantum Question {Sumi Tonooka} (5:37)
06. Long Ago Today {Sumi Tonooka} (9:57)
07. Renewal {Sumi Tonooka} (4:52)
08. Moroccan Daze {Sumi Tonooka} (5:34)
09. Just For Now {Sumi Tonooka} (6:04)
10. Nami's Song {Sumi Tonooka} (8:32) 

Total Time: 61:19

Credits:
Producer - Sumi Tonooka
Recording - Bob Bileicki
Liner Notes - Russ Musto 

Long Ago Today

Sumi Tonooka, Rufus Reid, Akira Tana - With An Open Heart (1984) [vinyl]

'With An Open Heart' represents Sumi Tonooka's first exposure on record, and there's going to be excited talk about her upon its release. The tracks that show her off to best advantage are those that catch fire from her fulgurous phrasing - horn-like in its linearity and melodic signification, percussive in its density and spring. "Piano is a percussion instrument," she says, and not surprisingly she lists among her influences a number of pianists of like mind, including Thelonious Monk, McCoy Tyner, Ahmad Jamal, and Nina Simone. But she's also been influenced by horn players. She says "I went through a period of listening to nothing but Dexter Gordon, admiring the way he swings so hard, and without overstatement. The composer Tonooka most admires is Duke Ellington, and writing music often becomes a synesthetic experience for her, as it was for him. Even with jazz suffering from a virtual mass-media blackout, it is easy for new recordings from unfamiliar artists to get lost in the shuffle. But 'With An Open Heart' is one album worth taking a gamble on. A gamble with a sure payoff, for Sumi Tonooka is an artist likely to be with us for years to come. ~ Extract from Liner Notes by Francis Davis. 

Radiant Records, RR5601, 1986
Recorded 8th & 9th August, 1984 at Classic Sound, New York 

Musicians:
Sumi Tonooka - Piano, Solo (#A5)
Rufus Reid - Bass
Akira Tana - Drums 

Tracks:
A1. Subterranean Dream (6:28)
A2. It's About Time (5:34)
A3. Now That I Know (4:13)
A4. Spur Of The Moment (4:01)
A5. Phantom Carousel (2:57)
B1. Sweet And Bitter Suite: Bittersweet (5:28)
B2. Sweet And Bitter Suite: Without You (4:49)
B3. Sweet And Bitter Suite: With An Open Heart (4:01)
B4. How Can This Be (6:29) 

All Compositions by Sumi Tonooka 

Total Time: 44:00

Credits:
Co-producer - Sumi Tonooka
Executive-Producer - Gei Zantzinger
Engineer - David Baker
Art Direction, Layout, Design - Harry Bates
Photography [Front] - Rich Dunoff
Photography [Back] - Corky Lee
Liner Notes - Francis Davis 

Rufus: "What impresses me the most about Sumi is that she knows what she wants to hear, and has taken the time to learn the roots of jazz and has synthesized it with her heritage, which gives her playing and music a different flair.” 

Akira: "The material on this album, composed by sumi reveals her inner strength, soul and beauty. Her playing is a personal statement of the highest order. Sumi Tonooka plays and composes 'with an open heart'.”

Sumi Tonooka - Here Comes Kai (1992)

Named for her toddler son, this 1991 trio album from Sumi Tonooka is a pleasure to listen to from start to finish. Accompanied by Rufus Reid on bass and Lewis Nash on drums, it's an an album of good, uncomplicated but inventive post-bop jazz; the trio format naturally provides an intimate listening experience and it's a fairly relaxed (and relaxing) album with some new takes on some jazz standards (Giant Steps, Warm Valley, UMMG) and five originals including the title track. A fine example of Tonooka's musicianship from a discography that is lamentably small for a pianist of her calibre. ~ J. McDonald, Amazon. com.

Candid Productions, CCD 79516, 1992
Recorded 28th March 1991 at Clinton Studios, New York City 

Musicians:
Sumi Tonooka - Piano
Rufus Reid - Bass
Lewis Nash - Drums 

Tracks:
1. Giant Steps {John Coltrane} (6:08)
2. It Must Be Real {Sumi Tonooka} (7:23)
3. At Home {Sumi Tonooka} (8:41)
4. In The Void {Sumi Tonooka} (8:04)
5. Warm Valley {Duke Ellington} (6:49)
6. Upper Manhattan Medical Group {Billy Strayhorn} (7:22)
7. The Mystery {Sumi Tonooka} (7:45)
8. Here Comes Kai {Sumi Tonooka} (4:52) 

Total Time: 57:04

Credits:
Producer - Yoshio Maki
Executive-Producer - Alan Bates
Engineer - Gene Curts
Design - Harry Bates
Liner Notes - Brian Priestley

Dexter Gordon Quartet - Live At The Maintenance Shop (1979)

A show that captures the beauty of the quartet that Dexter toured with from the late 70's through the early-80's. Greatly improved sound, a relaxed performance and decent video quality for its age. Tracks extracted from video and converted to FLAC and video re-encoded with improved sound to MKV. Both available in separate downloads, enjoy! 

TV Broadcast [Music Air]
Recorded 1979 At Iowa State University 

Musicians:
Dexter Gordon - Tenor Saxophone
George Cables - Piano
Rufus Reid - Bass
Eddie Gladden - Drums 

Tracks:
1. On Green Dolphin Street {Bronisław Kaper, Ned Washington} (15:20)
2. Polka Dots And Moonbeams {Jimmy Van Heusen, Johnny Burke} (15:19)
3. Tanya {Donald Byrd} (23:04) 

Total Time: 53:43

Erica Lindsay, Sumi Tonooka - Initiation (2004)

Recorded back in 2004, this is a brand-new release on the cusp of becoming a welcome rediscovery. A quartet jazz session featuring compositions by tenor saxophonist/Bard College professor Erica Lindsay and pianist Sumi Tonooka along with an absolutely killer rhythm section of Rufus Reid on bass and Bob Braye on drums, most of this dexterously walks the line between purism and accessibility. Lindsay plays with a confident, smoky tone and a keen sense of melody; likewise, Tonooka’s style is comfortably bluesy and assured. Reid is his usual fluid, smartly melodic self and Braye - who sadly did not live to see this album released – turns in a powerful, memorable performance. If this was his swan song, he picked a hell of a note to go out on, whether getting the cymbals shimmering on a turnaround or elevating the third track above the level of So What homage with an aggressive, full-scale, Elvin Jones-style charge. The opening track, Mari is a catchy, hook-based swing number; Lindsay evokes Joe Henderson with her casually tuneful, wee hours vibe reasserted by Sunooka and then Reid, cleverly foreshadowing Lindsay’s return from the bar. Mingus Mood, a thoughtful ballad, is less Mingus than Grover Washington Jr. (don’t laugh!!!) in purist mode, i.e., circa All My Tomorrows, almost minimalist as Lindsay and then Reid carries the tune over Tonooka’s tersely precise chords. The title track playful shifts from tricky, winking intro to a casual Lindsay solo that she builds smartly and casually around a series of rapid-fire clusters; Tonooka deftly works her solo rhythmically with Latin flourishes. The somewhat hypnotic Serpent’s Tail plays an understated rhumba rhythm off a repetitive Reid riff that both sax and piano use as a springboard for expansively tasteful excursions. The late 50s riff-driven swing vibe returns pleasantly with In the Void, followed by the ballad Somewhere Near Heaven which powerfully contrasts brooding, sometimes ominous, Bill Mays-ish piano with pensively optimistic sax. Black Urgency shuffles with a tunefulness and sense of direction worthy of JD Allen and features Braye at his most counterintuitive and incisive. The album closes with arguably its strongest (and most rhythmically challenging) number, simply titled Yes, Lindsay and then Tonooka at their most forceful and memorable, whether pulsing on the beat or swirling with rivulets of glissandos. There’s a lot to enjoy here, more than an hour’s worth of tunes. ~ LucidCulture. 

Artists Recording Collective, ARC2000, 2009
Recorded 19th-23rd October, 2004 At John Hodians Studio, Woodstock, New York 

Musicians:
Erica Lindsay - Tenor Saxophone
Sumi Tonooka - Piano
Rufus Reid - Bass
Bob Braye - Drums 

Tracks:
01. Mari {Erica Lindsay} (5:26)
02. Mingus Mood {Sumi Tonooka} (7:50)
03. South Street {Sumi Tonooka} (7:41)
04. Initiation {Sumi Tonooka} (5:37)
05. Serpent's Tale {Erica Lindsay} (8:16)
06. In The Void {Sumi Tonooka} (8:34)
07. Somewhere Near Heaven {Erica Lindsay} (5:39)
08. Black Urgency {Erica Lindsay} (6:19)
09. The Gift {Sumi Tonooka} (8:17)
10. Yes {Erica Lindsay} (6:06) 

Total Time: 69:45

Credits:
Producer, Mixing & Mastering - Erica Lindsay
Producer - Sumi Tonooka
Recording Engineer - Bob Beleicki
Design, Photography - Paul Tsang

Ricky Ford - Ricky's Choice (1999)

This is a compilation of tracks picked out by Ricky Ford from his releases on the Muse jazz label released between 1980 - 1984.

Ricky has certainly chosen some wonderful tracks for the compilation. Half the tunes are his own compositions, two from Wayne Shorter and the rest well-known Jazz standards. He is joined by a solid cast of players, that include some great horn players; Wallace Roney, Jimmy Knepper, Bobby Watson, James Spaulding, pianists; John Hicks, Albert Dailey, Kirk Lightsey, guitarist; Larry Coryell and bassists; Walter Booker, Ray Drummond, Rufus Reid with the perpetual drummer Jimmy Cobb as a mainstay. This CD is just pure entertainment, Enjoy!

#1,2 - Flying Colors - Muse Records [MR 5227] (1980)
#4,9,10 - Future's Gold - Muse [MR 5296] (1983)
#3,8 - Interpretations - Muse Records [MR 5275] (1982)
#6,7 - Shorter Ideas - Muse Records [MR 5314] (1984)
#5 - Tenor For The Times - Muse Records [MR 5250] (1981) 

32 Jazz, 32172, 1999 

Musicians:
Ricky Ford - Tenor Saxophone
Wallace Roney - Trumpet (#3)
Jimmy Knepper - Trombone (#6,7)
Bobby Watson - Alto Saxophone (#3)
James Spaulding - Alto Saxophone (#6,7)
John Hicks - Piano (#1,2,3,8)
Albert Dailey - Piano (#4,5,9,10)
Kirk Lightsey - Piano (#6,7)
Larry Coryell - Guitar (#4,9,10)
Walter Booker - Bass (#1,2,3,8)
Ray Drummond - Bass (#4,9,10)
Rufus Reid - Bass (#5,6,7)
Jimmy Cobb - Drums 

Tracks:
01. Jordanian Walk {Ricky Ford} (8:37)
02. Take The Coltrane {Duke Ellington} (4:42)
03. Interpretations Opus 5 {Ricky Ford} (7:08)
04. You Don't Know What Love Is {Gene DePaul, Don Raye} (6:07)
05. This Our Love [Esse Nosso Amor] {Ricky Ford} (7:31)
06. Yes Or No {Wayne Shorter} (5:41)
07. Miyako {Wayne Shorter} (4:51)
08. Moon Mist {Mercer Ellington} (5:43)
09. A-Flat Now {Ricky Ford} (4:40)
10. Samba De Caribe {Ricky Ford} (4:34) 

Total Time: 59:34

Notes:
See Tracks [Personnel].txt for further details.
Ripped to WAV > Trimmed > Optimised > FLAC

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.

Etta Jones - My Mother's Eyes (1977) [re-rip]

Although by the mid-1970s she had already been a professional singer for 30 years, Etta Jones was in reality just entering her musical prime. Having developed her individuality gradually through the years, she was heard at her very best during her long string of Muse recordings. On this fine date, Jones is joined by her husband (tenor saxophonist Houston Person) and an oversized rhythm section that features keyboardist Sonny Phillips and guitarist Jimmy Ponder. Among the highlights are "The Way You Look Tonight," "Don't Misunderstand," "You Do Something to Me" and "This Girl's In Love With Me." ~ Scott Yanow, AMG.

Muse Records, MR 5145, 1978

Recorded 23^rd June, 1977 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Etta Jones - Vocals

Houston Person - Tenor Saxophone

Sonny Phillips - Keyboards

Jimmy Ponder - Guitar

George Devens - Vibraphone

Rufus Reid - Bass

Idris Muhammad - Drums

Lawrence Killian - Congas, Percussion

Tracks:

A1. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (4:48)

A2. Don't Misunderstand {Gordon Parks} (6:09)

A3. Be My Love {Nicholas Brodszky, Sammy Kahn} (5:48)

B1. You Do Something To Me {Cole Porter} (4:41)

B2. My Mother's Eyes {Abel Baer, L. Wolfe Gilbert} (5:47)

B3. This Girl's In Love With You {Burt Bacharach, Hal David} (3:56)

B4. Gloomy Sunday {László Jávor, Rezsö Seress} (4:35)

Credits:

Producer - Houston Person

Recording Engineer - Rudy van Gelder

Art Direction, Photography - Hal Wilson

Liner Notes - Agnes E. Green

Ray Bryant - Golden Earrings (1988) [vinyl>flac]

Pianist Ray Bryant's records of the 1980's are consistently enjoyable but sometimes the repertoire could be fresher. Virtually every song on this EmArcy release was recorded earlier by Bryant except possibly "I'm A Fool To Want You." Bryant, bassist Rufus Reid and drummer Freddie Waits explore such numbers as "'Round Midnight," "Misty," Duke Ellington's "What Am I Here For" and Bryant's "Lullabye," but the lack of surprises makes this a rather predictable effort. ~ Scott Yanow, AMG.

EmArcy/Mercury Records, 836 368-1, 1988

Recorded 23^rd, 24^th January & 26^th June, 1988 Power Station, New York, N.Y.

Musicians:

Ray Bryant - Piano

Rufus Reid - Bass

Freddie Waits - Drums

Tracks:

A1. Golden Earrings {Jay Livingston, Ray Evans, Victor Young} (7:18)

A2. I'm A Fool To Want You {Frank Sinatra, Jack Wolf, Joel Herron} (5:32)

A3. 'Round Midnight {Bernie Hanighen, Cootie Williams, Thelonious Monk} (8:03)

A4. I Remember Clifford {Benny Golson} (5:40)

B1. Speak Low {Kurt Weill, Ogden Nash} (8:51)

B2. Misty {Erroll Garner} (6:15)

B3. What Am I Here For {Duke Ellington} (8:20)

B4. Lullabye {Ray Bryant} (2:53)

Credits:

Producer - Kiyoshi Koyama

Recording Engineer - Tom Lazarus

Design - Marlyn Rennie-Bryant

Photography - Daniels & Glionna

Liner Notes - Alain Gerber

Ricky Ford - Shorter Ideas (1984) [vinyl>flac]

Ricky Ford explores the music and ideas of Wayne Shorter - a perfect fit for Ford's deeply soulful style of blowing the tenor! The set's actually got a more tightly arranged feel than you might expect - which makes for a nicely fresh take on some of Shorter's greatest numbers from earlier years, and creates some extremely inventive playing between group members that include Jimmy Knepper, James Spaulding, Kirk Lightsey, Rufus Reid, and Jimmy Cobb. Titles include Shorter tunes "Yes Or No", "Miyako", "Dance Cadaverous", and "Pinnochio" – and Ford originals "Wolf Trap" and "Tabloid Blues". © Dusty Groove, Inc.

Ford, who has usually recorded with small groups, here heads an all-star sextet with altoist James Spaulding and trombonist Jimmy Knepper -- an inspired idea that works. They perform four Wayne Shorter numbers, a couple of Ford's originals, and Duke Ellington's "Happy Reunion." Ford takes the lion's share of the solo space and is clearly up to the task, making these sometimes complex compositions seem accessible and logical. Ford has long been underrated (too old to be a Young Lion and too young to be an elder statesman), but based on the evidence of this recording alone he clearly deserves much greater acclaim. ~ by Scott Yanow, AMG.

Muse Records, MR 5314, 1985

Recorded 28^th August, 1984 at Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Ricky Ford - Tenor Saxophone

James Spaulding - Alto Saxophone, Flute

Jimmy Knepper - Trombone

Kirk Lightsey - Piano

Rufus Reid - Bass

Jimmy Cobb - Drums

Track Listing:

A1. Yes Or No {Wayne Shorter} (5:33)

A2. Miyako {Wayne Shorter} (4:44)

A3. Dance Cadaverous {Wayne Shorter} (6:08)

B1. Pinnochio {Wayne Shorter} (3:30)

B2. Tabloid Blues {Ricky Ford} (4:03)

B3. Wolf Trap {Ricky Ford} (5:05)

B4. Happy Reunion {Duke Ellington} (4:14)

Credits:

Producer, Liner Notes - Michael Cuscuna

Arranger - Ricky Ford

Recording & Mastering - Rudy van Gelder

Cover Photo - Clarence Eastmond

Back Liner Photos - J. Flint

Art Direction - Dick Smith

Thad Jones And Mel Lewis Quartet

I'm really thrilled about this post.  While visiting my local antique shop, a source for jazz vinyl, I came upon this new arrival.  It was still sealed and only $5!!!  I snatched it up in a flash...

For any fans of Thad Jones, this session is an important one.  This was recorded live at the Airliner Lounge in 1977.  It's one of the last which features him in a small group.  On that note, it could aruguably be one of his best - even bringing Scott Yanow to award it 5 stars.  His playing is certainly on par with any of his Blue Note efforts.

Of course, this is a co-lead side so Lewis busts out a few times as well.  Infact, the whole band can be heard, each taking soulful and moving solos.  Rufus Reid is incredible on this one.  The whole group play brilliantly, with top flight interaction.

Overall, the album is a real gem and reminds us why Thad Jones and Mel Lewis are so important as musicians, not just arrangers or composers.  The best part about this post???  The minty status of our source!!!  This transfer came out incredibly... absolutely beautiful tone.  The mono recording throws a huge field of sound with wonderful seperation between the players.  Aside from that, I also have the 8 page booklet!!!  This includes full discographies for both Jones and Lewis, full session info, pics and even a transcribed cornet solo!!  This should make a wonderful upgrade, especially for those who have this sourced from the stereo CD.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!

Artists House AH-3
1978

A1 But Not For Me 16:30
A2 This Can't Be Love 3:52
B1 Autum Leaves 15:25
B2 What Is This Thing 4:45

Bass – Rufus Reid
Cornet – Thad Jones
Drums – Mel Lewis
Piano – Harold Danko