Late last year together with
trumpeter Nanouck Brassers, Frits Landesbergen a prominent Dutch drummer and
vibraphonist, launched a new label under the name ESP Records. This album
"Magic 3" was to be their début release. Essentially is a trio album
from the Italian pianist/vocalist Francesca Tandoi joined by Frits and Dutch
bassist Frans van Geest with guest Italian tenorist Max Ionata. Frits first met
Francesca while teaching at the Conservatory in the Hague. "I was taken by
her natural way of playing and recognized immediately that she had an amazing
talent and we ended up working together." he said. The two went on to
produce a number of CD's for the Japanese "Atelier Sawano" label and
while successful in Japan according to Frits the reach into Europe was limited.
We decided 'Francesca would be the perfect choice for the first release on the
new label’, he explained. The album was recorded live at the Walhalla Theatre
in Rotterdam and showcases the magnificent and exciting talent of both
Francesca, Frits, Frans and Max the essence of all players. According to Frits
"Francesca is not only an exciting pianist but also a highly accomplished
vocalist that is fully aware of the tradition. I found it fascinating that
Francesca had studied vocalists that most musicians of her age have not even
heard of let alone studied." ~ Extracts by Frits Landesbergen, Jazz
In Europe.
Exclusive Session Productions,
ESPCD101, 2018
Recorded 29th May,
2018 Live At Walhalla Theater, Rotterdam, The Netherlands
Musicians:
Francesca Tandoi - Piano,
Vocals
Frans van Geest - Bass
Frits Landesbergen - Drums
Guest:
Max Ionata - Tenor Saxophone
(#3,4,7-9)
Tracks:
01. Magic 3 {Francesca
Tandoi} (5:20)
02. Yours Is My Heart Alone
{Franz Lehár, Fritz Löhner-Beda} (6:38)
03. Just In Time {Jule Styne,
Adolph Green, Betty Comden} (3:54)
04. Bewitched, Bothered And
Bewildered {Richard Rodgers, Lorenz Hart} (6:41)
05. Night Mist Blues {Ahmad
Jamal} (7:26))
06. Tricotism {Oscar
Pettiford} (6:30)
07. You're Driving Me Crazy
{Walter Donaldson} (6:36)
08. Maybe You'll Be There
{Rube Bloom, Sammy Gallop} (6:13)
09. You've Changed {Bill
Carey, Carl Fischer} (8:00)
10. My Favorite Things
{Richard Rodgers, Oscar Hammerstein II} (5:18)
11. The Sheik Of Araby {Ted
Snyder, Harry B. Smith, Francis Wheeler} (6:29)
Note:
CD ripped to WAV, excess
applause trimmed, tagged and encoded to FLAC.
Credits:
Producer - Exclusive Session
Productions, The Hague, The Netherlands
Trumpeter Jeremy Pelt
occupies an enviably open-minded space in the modern jazz landscape. A capable
traditionalist, Pelt has built his career around making acoustic post-bop, with
increasing forays into electrified, electronic-tinged fusion. His mutable choices
keep you in suspense as a listener -- you’re never sure what to expect from one
album to the next. While there are no such electronic flourishes on Pelt's 2017
effort, the warmly sophisticated Make Noise! It still pops with much of the
same cross-genre creativity he's explored in the past. The album follows his
similarly inclined 2016 effort #Jiveculture, which also featured an inventive
acoustic sound accented by legendary bassist Ron Carter. This time out, Pelt
brings along a slightly less-high-profile, if no less talented, ensemble
including pianist Victor Gould, bassist Vicente Archer, drummer Jonathan
Barber, and percussionist Jacquelene Acevedo. Together, they take an intimate
approach to expansive post-bop that straddles the line between Miles Davis'
'60s albums and Terence Blanchard's early-'80s work. Pelt has a broad,
enveloping trumpet tone and a knack for laying down highly engaging solos that
never hold a listener at arm's length. It's a skill he puts to good use
throughout Make Noise! and one complemented by his bandmates, especially
pianist Gould, who layers these tracks with a sparkling delicacy reminiscent of
the late Mulgrew Miller. Similarly, with Acevedo's kinetic percussion filtered
throughout, Make Noise! also has a strong Afro-Latin influence, a vibe
especially apparent on the roiling title track and frenetic, salsa-infused
"Bodega Social." Equally compelling, "Chateau d'Eau" has a
languid, R&B-inflected melody set to a midtempo Afro-Latin groove.
Elsewhere, Pelt pushes toward harmonically nuanced modalism, offering a
fittingly elegiac and noir-ish tribute to the departed pop icon on
"Prince," and evincing the angular, classically influenced style of
Black Codes-era Wynton Marsalis on "Cry Freedom." While much of
Pelt's work fits nicely into the jazz canon, he clearly has an open ear for
melody, a gift he exercises on "Your First Touch...", which sounds
like a Leonard Cohen song reworked as a sensuous jazz ballad. Ultimately, Make
Noise! continues to reveal Pelt's maturation into a confident artist,
comfortable enough with his place in the jazz tradition to keep subtly pushing
the edges of audience expectation. ~ Matt Collar, AMG. 4.5/5
Stars
This CD is dedicated to Amma
Sakyibea Pelt
HighNote Records, HCD 7299,
2017
Recorded 9th September, 2016
At Systems Two Recording Studios, Brooklyn, New York
Musicians:
Jeremy Pelt - Trumpet
Victor Gould - Piano
Vicente Archer - Bass
Jonathan Barber - Drums
Jacquelene Acevedo -
Percussion
Tracks:
01. Prologue: Introduction to
"Make Noise!" {Jacquelene Acevedo} (0:51)
02. Make Noise! {Jeremy Pelt}
(5:23)
03. Prince {Jeremy Pelt}
(8:14)
04. Cry Freedom {Jeremy Pelt}
(5:24)
05. Digression {Simona
Premazzi} (8:35)
06. Introduction to
"Evolution" {Jonathan Barber} (2:05)
07. Evolution {Jeremy Pelt}
(5:43)
08. Chateau D'Eau {Jeremy
Pelt} (5:55)
09. Your First Touch... {Jeremy
Pelt} (5:24)
10. Bodega Social {Jeremy
Pelt} (5:07)
Credits:
Producer - Jeremy Pelt
Executive Producer - Joe
Fields
Recording Engineer - Joe
Marciano
Mixing and Mastering Engineer
- Katsuhiko Naito
Photography - Ra-Re Valverde
Design - Keiji Obata, Peter Muller, Littlefield
& Company
"I believe that this new
CD is one of the most beautiful things I have been able to do in my life: for
the musical result, and because it brings together people for whom I feel a
profound human and musical admiration, and because I believe that after almost
5 years of working together, it marks the consolidation of Andrea as an artist
and a jazz musician." ~ Joan Chamorro, Bandcamp.com.
Scott Hamilton Sax Pulls
It Together Perfectly
Came across Joan Chamorro on
you tube by accident instantly smitten. Scott Hamilton is such a bonus, and
live performance adds to the atmosphere generated by this evocative cd. Perfect
for jazz lovers. Perfect for background in my home bar. ~ Jolly Roger, Amazon.com.
Beautiful Voice
Even though she is not
English her rendition of some songs comes across as so sexy in sound, perfect
and for a youngster she has a good grasp on what is required to make a
fantastic album, a little rough around the edges but that's what gives it that
relaxing sound. I would love to be in a small room when they perform, close and
personal. ~ Richie, Amazon.com.
Swit Records, SWIT15, 2013
Recorded 13th and
14th April, 2013 Live At Jamboree, Barcelona, Spain
Musicians:
Andrea Motis - Lead Vocals,
Trumpet, Alto Saxophone
Scott Hamilton - Tenor
Saxophone
Ignasi Terraza - Piano, Organ
[Hammond]
Josep Traver - Guitar
Joan Chamorro - Bass
Esteve Pi - Drums
Tracks:
01. Exactly Like You {Jimmy
McHugh, Dorothy Fields} (4:24)
02. Meditação {Antônio Carlos
Jobim, Newton Mendonça} (6:45)
03. I Fall In Love Too Easily
{Sammy Cahn, Jule Styne} (6:36)
04. Sun Showers {Arthur
Freed, Nacio Herb Brown} (4:33)
05. Someday My Prince Will
Come {Frank Churchill, Larry Morey} (7:41)
06. Moody's Mood For Love
{Fields, Jefferson, McHugh, Moody} (5:47)
07. Chega De Saudade {Antônio
Carlos Jobim, Vinícius de Moraes} (6:19)
This is Kontomanou’s debut
album, released in 1999 but to most quarters, something which was almost
entirely missed on the radar screen. The kind of vocal expression Elizabeth is
engaged in does not fit the popular vogue of female jazz vocalists. However, the
program here shows both elements of musical substance and extramusical content
in equal measure. The aesthetic persuasion that motivates her- the epic
romanticism that impelled the most powerful, immediate Jazz on the 60s, is
currently seen as outmoded. Put simply most listeners have a hard time
reconciling the fact a vocalist does not wish to deal with popular song forms
and instead wants to wrestle with an idiom that has been largely defined by
instrumental giants in the league of Coltrane and Sanders etc., Elizabeth Kontomanou,
like Flora Purim, is most committed to using her voice as an acoustic
instrument in the ideal sense through the great raw potential which lays in
wordless vocals. Here she surrounds herself with master soloists like Sam
Newsome and J.D. Allen so as not to make her abilities as an improviser go
untested. Indeed, it should be mentioned that time and time again both men, as
well as pianist Jean-Michel Pilc, lay out impressive statements that raise the
bar for her own expression. It's apparent if nothing else that the model of
John Coltrane is at the heart of her expression, and in this should lie much
interest for both Trane fans and those who cry for something different in the
vocal world. ~ Extract by Gerard Cox.
SteepleChase Records, SCCD
31467, 1999
Recorded November, 1998
Musicians:
Elisabeth Kontomanou - Vocals
Sam Newsome - Soprano
Saxophone
J.D. Allen - Tenor Saxophone
Jean-Michel Pilc - Piano
Thomas Bramerie - Bass
Abdou M'Boup - Percussion
Tracks:
1. Aliki {Elisabeth
Kontomanou} (7:40)
2. Embrace {Elisabeth
Kontomanou} (6:26)
3. Where I Wanna Be
{Elisabeth Kontomanou} (3:23)
4. Spring {Elisabeth
Kontomanou} (5:55)
5. The Light Of You
{Elisabeth Kontomanou} (9:07)
6. All Music Kinds {Elisabeth
Kontomanou} (11:35)
7. Lost Letter To A Nomad {J.D.
Allen} (10:16)
8. Clear Blue Skies
{Elisabeth Kontomanou} (10:14)
Another US jazz holy grail
finally reissued by Superfly. Probably the rarest Strata-East release, this
Erotica Suite by John Gordon is just a splendid modal jazz with deep tracks
like Neleh with enchanting flute lead or the spiritual jazz 4th movement
consequences. Absolutely cult album, beautiful repress! ~ diggersdigest.com.
Top quality Superfly reissue
of the most elusive Strata East LP that even the most accomplished collectors
do not have, superb funky modal Jazz all the way. ~ superflyrecords.com.
Strata-East, SES-19780, 1978
Superfly Records, SRLP026, 2017
Recorded & Mixed in 1978
At Sound Ideas Studios, New York City
Musicians:
John Gordon - Trombone
Waymond Reed - Trumpet,
Flugelhorn
James R. Spaulding - Alto
Saxophone, Flute
John Miller - Piano,
Synthesizer, Strings [Stringmen]
Another out-of-print,
never-reissued LP from the infinite universe of Sonny Stitt recordings, this
one recorded in 1972 and released in 1975 on the Paula label. It's
above-average Stitt, which is to say it's leagues beyond what most any other
saxophonist could turn in. Sonny is supported by a cast of Chicago musicians on
both sides. The first side is all alto, a couple of commercial tunes aimed at
the "soul" market followed by two exceptional straight-ahead Stitt
improvisations on "Jeep's Blues" and "I Know That You
Know." But even the tunes with strings and Fender Rhodes piano can't
detract from inspired Stitt. Jodie Christian on piano here. The 2nd side is
Stitt on tenor, his preferred instrument at this time. It's extremely
competent, spirited Stitt playing, but not as fresh as the numbers featuring
his alto. Rhythm section on this side includes Richard Muhal Abrams, Wilbur
Campbell and Cleveland Eaton. This one should be reissued. Write your
congressman! ~ Samuel, Amazon.com.
Paula Records, LPS 4004, 1973
Recorded 27th September,
1973 At P. S. Studio, 323 East 23rd, Chicago, Illinois
Italian trumpeter Flavio
Boltro is a worthy heir to the old American hard bop masters. In the 90s, his
collaboration with the French branch of Blue Note began, resulting in several
very successful albums, among which is 40 Degrees. This album is a rare case
whereby Boltro has written the bulk of the tunes, allowing the brilliant
pianist Éric Legnini to add two, the remaining being a couple of well-stated
standards. His quartet includes a strong Italian rhythm section comprising of
bassist Remi Vignolo and drummer Frank Agulhon. The album is very much an
exemplary American hard bop outing regardless of its continental constituents.
Essentially, the Quartet plays quite traditionally but at the same time is very
much conversant with newer forms of jazz expression and does so quite
elegantly, which leads the group to introduce elements of freer and more modern
music. "Jazz A Doc" isn't a pure hard bop sound, it explores a warmer
less fixed structure. Boltro's sound is not always in the manner of, say, Lee
Morgan, but a lot looser with a very enviable feeling of blues. In short, he
doesn't for a moment overlook his orthodox jazz sound as have other European
players. A truly entertaining album that all jazz aficionados will appreciate.
Blue Note, 7243 580609 2 8, 2003
Recorded 12th, 13th,
14th August, 2002 At Studio 26, Antibes, France
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.
Cisi is a pride for Italian
jazz! Rightly famous in the world! This album is exceptional, with fabulous
Interplay. The presence of Eric Reed completes a wonderful training in itself
superlative! ~ Mandrioli Giancarlo, Amazon.com.
Great Record
Emanuele Cisi is a formidable
saxophonist and his reputation has long gone beyond national borders. In this
latest work he is joined by an extraordinary rhythm section composed of the
great American pianist Eric Reed, Vincenzo Florio on double bass and Australian
drummer Adam Pache. In a couple of tracks the Peruvian trombonist Humberto
Amesquita is added to them. Cisi's music is energetic, permeated with swing and
ennobled by one of the most beautiful saxophone voices that can be heard; it is
solidly attached to the mainstream, but never falls into the trap of its
clichés. Ultimately a record to take with your eyes closed. ~ Stefano
Lazzaretto, Amazon.com.
Abeat Records, AB JZ149, 2015
Recorded 8th June,
2015 At Indiehub, Milan, Italy
Musicians:
Emanuele Cisi - Tenor
Saxophone
Humberto Amésquita - Trombone
(#2,8)
Eric Reed - Piano
Vincenzo Florio - Bass
Adam Pache - Drums
Tracks:
1. On A Clear Day {Burton
Lane} (6:54)
2. Work {Arr. Emanuele Cisi,
Thelonious Monk} (7:05)
3. Song For Iolanda {Emanuele
Cisi} (7:46)
4. The End Of A Love Affair
{E.C. Redding} (5:30)
5. Juta's Walk {Emanuele
Cisi} (7:47)
6. Last Night When We Were
Young {Harold Arlen} (5:28)
7. On A Windy Night {Emanuele
Cisi} (5:28)
8. The Silver House {Emanuele
Cisi} (4:54)
9. On A Clear Day [Alt.Take]
{Burton Lane} (6:43)
Credits:
Producer - Abeat Records
Recording, Mixing Engineer -
Gabriele Simoni
Mastering Engineer - Nancy
Marciano
Design - Marina Barbensi
Photography - Mario Caccia,
Valeria Margherita Zanola
Tenor saxophonist Javon
Jackson seems right at home on this nice set of soul-jazz tunes. He’s certainly
helped by the presence of trombonist Fred Wesley, who’s still a great funk and
blues stylist, as well as Dr. Lonnie Smith, a top-flight organist who’s never
gotten the credit he deserves as a Hammond B3 stalwart. Guitarist Mark
Whitfield and drummer Lenny White keep the groove steady and burning as well,
and vocalist Eve Cornelious brings some sizzle and sultriness to “House Party.”
This works both as a good party record and solid jazz set with one exception.
The group’s cover of “Wake Up Everybody,” while exuberantly delivered, simply
lacks the power and weight of the original. Their rendition sounds more like a
rousing dance exhortation than the sweltering, commanding mandate that Teddy
Pendergrass delivered in his definitive original performance that was also his
swan song to Harold Melvin & the Blue Notes.
Otherwise, this disc brings
back fond memories of late-night house celebrations and Sunday-afternoon radio
shows on vintage black radio stations. Jackson’s “Kiss,” Smith’s “If (You See
Kay)” and Wesley’s title track get excellent drumming on the bottom from White,
blues-tinged, scorching solos by Jackson and Wesley and striding, full organ
lines by Smith. Whitfield’s splayed; frenetic solos also add a tight edge. He
can be either a frenetic or a sophisticated soloist, while also smoothly
contributing during the unison sections. Jackson’s writing also merits praise,
particularly the final numbers “Easy Does It” and “J-Soul.” These have a
relaxed, catchy groove and good blend of instrumental fire and rhythmic
assertiveness.
Throughout Easy Does It
Jackson plays with more verve and swing on supposedly less jazz-oriented pieces
than he has in the past doing mainstream material, which indicates to me that
he’s really enjoying himself. Personally, I’d much rather hear him doing good
blues and funk than tentative, detached hard bop. ~ by Ron Wynn, Jazz Times.
Palmetto Records, PM 2093, 2003
Recorded 30th September
& 1st October, 2002 at:
Maggie's Farm, Buck's County,
Pennsylvania
White House Sound Lab,
Leicester, England
Musicians:
Javon Jackson - Tenor
Saxophone
Fred Wesley - Trombone,
Vocals
Dr. Lonnie Smith - Organ
Mark Whitfield - Guitar
Eve Cornelious - Vocals
Tracks:
1. If You See Kay {Lonnie
Liston Smith} (4:13)
2. Right On {Marvin Gaye}
(7:35)
3. House Party {Fred Wesley}
(4:17)
4. Papa Lou {Javon Jackson}
(3:13)
5. Kiss {Javon Jackson}
(7:25)
6. Diane {Javon Jackson}
(5:47)
7. Wake Up Everybody {Gene
McFadden, John Whitehead} (4:49)
8. Easy Does It {Javon
Jackson} (4:34)
9. J Soul {Javon Jackson}
(6:20)
Credits:
Producer, Engineer - Javon
Jackson
Producer - Lenny White
Producer, Engineer, Mixing -
Matt Balitsaris
Mastering - A.T. Michael
MacDonald
Design - Jason Grotrian
Photography - Jimmy Katz
"Saxophonist Javon Jackson plays funk with
a slow hand...[he] doesn't beat matters to a froth but allows them to come to
fruition in their own time. This approach to groove calls for the clear
arrangements that focus the senses nicely on Jackson's titillating tenor and
Dr. Lonnie Smith's snaky organ...A good funkin' time is had by all." ~
Karl Stark, Philadelphia Inquirer.
Recorded with the same musicians and during the same two days as the Galaxy release Fancy Free, this LP covers a wide area. Bassist Richard Davis is heard in an unaccompanied solo on the brief "A Peace for Richard," on a duet with tenor saxophonist Joe Henderson for "On the Trail" (one of the session's highpoints), heading a trio with pianist Stanley Cowell and drummer Billy Cobham on "I'm Old Fashioned" and otherwise playing with a quintet that also includes Henderson, Cowell (who doubles on a dated sounding electric piano), Cobham and trumpeter Eddie Henderson; three songs have vocals by the obscure Dolly Hirota. Ranging from straightahead to some funky pop, this is an interesting if not essential release from the masterful bassist.
01 - A Peace For Richard
02 - Elephant Boy
03 - Do A Dog A Favor
04 - On The Trail
05 - I'm Old Fashioned
06 - Sienna Waiting For The Moment
07 - Warm Canto
08 - Song Of Gratitude
09 - Don't Worry Bout A Thing
Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977
Another Galaxy that doesn't seem to have made it to CD
Extract from review by Chris Sheridan, Jazz Journal, November, 1978
“Professor Davis … what an impressive bassist he is… listen to the way he shadows and jostles Cowell on Nardis, giving the performance tremendous lift. It shows that he has no betters, only peers. Here he has brought together a brawny quintet, including three men who are better-established within the Fusion Music scene. Eddie Henderson came to the fore with Herbie Hancock, but shows here that he is capable of more profound things. Joe's talents have been submerged beneath mountains of wattage on recent Milestone releases, but here he plays with a lighter and more inventive touch. Cobham is, perhaps, a little fidgety, but after so much rock that is only to be expected. Hirota sounds like a cross between Diana Ross and Rose Murphy.”
Review by Scott Yanow
"It seems odd that this Galaxy LP was recorded at the same time as Way Out West for the rival Muse label. Bassist Richard Davis teams up with trumpeter Eddie Henderson, tenor saxophonist Joe Henderson, keyboardist Stanley Cowell and drummer Billy Cobham for five selections that are highlighted by "Silver's Serenade," "Nardis" and a rare cover version of Donald Byrd's "Fancy Free"; singer Dolly Hirota is featured on "I Still Love You, Baby." Overall this is the stronger of the sets recorded during the two-day period in 1977, an advanced and mostly straightahead effort."
1. The Wine Of May
2. Silver's Serenade
3. Emily
4. Nardis
5. I Still Love You, Baby
6. Fancy Free
Eddie Henderson (tp, flh) Joe Henderson (ts) Stanley Cowell (p, el-p) Richard Davis (b) Billy Cobham (d) Dolly Hirota (vo -5) Bill Lee (arr)
Fantasy Studios, Berkeley, CA, June 30, July 1, 1977
Two years before Flow,
Terence Blanchard released Bounce, a departure from anything he had done in his
already storied career. It was a seminal album, with the ideas of a musician 20
years his junior, but the skill and command of the jazz great that he had
become. As a follow-up, Flow exhibits that no one better balances
traditionalism, provincialism and contemporary aesthetics like Blanchard. This
is almost immediately evident and highlighted on "Wadagbe," the
album's third cut. Blanchard’s instantly recognizable, clarion-call horn-tone
is still there, as is the native New Orleanian's homage to the Nola stomp and
mardi gras Indian chants, plus a classically lyrical jazz-head and an end-song
coda that singes. Guitarist Lionel Loueke, still in his early 30s at the time,
wrote "Wadagbe" and Benny Golson tribute "Benny's Tune."
Young drummer Kendrick Scott wrote album-standout "The Source." In
fact, Blanchard handles sole writing duties of just one song on the album,
"Wandering Wonder," allowing his younger sidemen's voices to shine.
It is this young energy that keeps Blanchard and the album's producer, Herbie
Hancock, sounding so vibrant and current. Hancock, years into receiving Social
Security, turned in the piano solo of the year on "The Source" - a
percussive display so cerebral, violent and dramatic that it almost defies
belief. Few of Blanchard's Young Lion peers from the 1980s are still relevant
in any fresh way, which makes Flow, together with its predecessor Bounce, such
a revelation. Blanchard isn't stuck making 60s tribute albums or recycling the
sound of his youth. Instead, he's hooking up with the hip kids, sometimes
directing traffic, sometimes going with the Flow. ~ by Vincent Thomas, AMG.
Blue Note, 7243 5 78274 2 3,
2005
Recorded 11th-14th
December, 2004 At Henson Recording Studios, Hollywood, California
A rare piece of wax of a
concert Richie Cole played whilst on tour in Russia in 1989. He is backed by a
local group which do justice to his style of play. It was recorded during
autumn at the International Jazz Festival held in Leningrad hence the sub-concert
title "Autumn Rhythms". Richie is in fine form as he lays down some
great interpretations of a number of well recognised standards. He also adapts
a few tunes aimed at pleasing the Russian audience. A highlight is his
beautiful soloing on "If Ever I Would Leave You". Only ever released
on vinyl in Russia. Taken from an LP in reasonable condition, the resultant rip
after trimming excess applause and manually removing a number of clicks is a
truly entertaining concert coming from a master altoist, Enjoy!
Melody Records, 60 30069 006,
1990
Recorded 1989 At Leningrad
International Jazz Festival "Autumn Rhythms"
Musicians:
Riche Cole - Alto Saxophone
Andrey Kondakov - Piano
Andrey Ryabov - Guitar
Vitaly Solomonov - Double
Bass
Oleg Butman - Drums
Tracks:
A1. Leningrad Bossa Nova
{Duke Ellington, Richie Cole} (8:57)
A2. If Ever I Would Leave You
{Frederick Loewe, Alan Jay Lerner} (4:43)
A3. How High The Moon {Sam
Lewis} (7:16)
B1. Sunday In New York {Peter
Nero} (8:46)
B2. Polyushko Field {Richie
Cole, Lev Knipper} (7:45)
B3. Blues For Leningrad {D.
Forest, Richie Cole} (4:38)
Trumpeter Blue Mitchell left
his home in Miami for a short stint in New York City, headed back to Florida,
and then to Los Angeles before his brief but vital career as a jazz trumpeter
ended. This sojourn identified his sound, initially branded by the warmth of
the Southeast, burnished by the hustle and bustle of the Big Apple, and
polished by the West Coast cool school demeanor. In 1959, as Mitchell returned
to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia
tenor saxophonist Jimmy Heath to form one of the most potent three-horn front
lines in jazz history. Few knew how good they were until after the fact, but
this recording, the third album for Mitchell as a leader, has him and his mates
in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster
rocket-like propulsion on this primarily hard bop date, and check out his
calypso variations on the second chorus of the otherwise easy blues swing and
ultra-melodic "Waverley Street." Credit Mitchell's street smarts and
highly developed melodic inventiveness as the focal point for this definitive
session. In many ways, this is a parallel album to the Miles Davis classic Kind
of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off
with the famous "Minor Vamp," of which Fuller's original take for the
Savoy label has been remixed and layered, and is heard in the acid jazz
dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe,
perky melody that needs no critique -- it's simply great! More concisely
rendered hard bop follows on "The Head," not complex by any means,
but filled with plenty o' soul. The hardest line crops up during "Top
Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and
Heath lay out so you can hear in full dimension the cozy and warm persona of
Mitchell on the ballad "Park Avenue Petite," but especially on the
bright, easy swinger "Blue Soul," which most accurately approaches
Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream"
features Mitchell's muted trumpet over an underlying fresh bed of trombone and
tenor sax. Even more so, Mitchell's deep blue horn shines on the standard
"Polka Dots and Moonbeams," an organ of sheer beauty and one to be
studied for those who need to learn that playing fewer notes more musically is
an admirable quality. This is one of the most precious jazz recordings of a
year that would soon give sway to the Blue Note sound, and is in many real and
important ways as much of a prelude as any other statement. It's a must-have
for all serious mainstream jazz fans. ~ by Michael G. Nastos, AMG.
Riverside Records, RCD-30508,
2008
Recorded 24th, 28th,
30th September, 1959 At Reeves Sound Studios, New York City
Personnel:
Blue Mitchell - Trumpet
Curtis Fuller - Trombone
(except #3,4,7,11,12)
Jimmy Heath - Tenor Saxophone
(except #3,4,7,11,12)
Wynton Kelly - Piano
Sam Jones - Bass
Philly Joe Jones - Drums
Tracks:
01. Minor Vamp {Benny Golson}
(3:42)
02. The Head {Richard
Mitchell} (4:29)
03. The Way You Look Tonight
{Dorothy Fields, Jerome Kern} (3:23)
04. Park Avenue Petite {Benny
Golson} (3:58)
05. Top Shelf {Jimmy Heath,
Arr. Heath} (4:09)
06. Waverly Street {Jimmy
Heath, Arr. Heath} (5:00)
07. Blue Soul {Richard
Mitchell} (4:12)
08. Polka Dots And Moonbeams
{Johnny Burke, Jimmy Van Heusen} (5:50)
09. Nica's Dream {Horace
Silver} (6:36)
10. Minor Vamp [Take 1]
{Benny Golson} (3:39)
11. Park Avenue Petite [Take
1] {Benny Golson} (5:11)
12. Blue Soul [Take 2]
{Richard Mitchell} (6:29)
Credits:
Producer, Liner Notes - Orrin
Keepnews
Recording Engineer - Jack
Higgins (24th, 30th), Roy Friedman (28th) September, 1959
Cover Design - Paul Bacon,
Ken Brearen, Harris Lewine
Photography [Back] - Lawrence
N. Shustak
Remastering [24-bit] - Joe
Tarantino (Fantasy Studios, Berkeley)
This is the tenth Album by
Houston Person released on Prestige Records.
This LP in many ways is
atypical of the earlier albums Houston released in the mid to late sixties. In
the early seventies he started moving away from smaller combos towards larger
groups with a range of musical charts and at times orchestral arrangements.
Jazz as we know it was under the pressure of newer forms of music; Rock and Pop
music were dominating. Some musicians started to dabble in Free Jazz, Fusion
and Funk. As a result many jazz artists including Houston turned their
attention to interpreting some of the more popular tunes of the day. This album
is one such an attempt to claw back some interest in jazz. Some jazz critics
have denounced these explorations as direct commercial exploits. Forty years
have passed and jazz aficionados are returning to this period with newer ears. Broken
Windows, Empty Hallways contains a unique assortment of tunes, mostly
pop oriented with only one penned by Houston ‘Bleecker Street ‘and
another by Thelonious Monk ‘Let's Call This’. Houston steps up
grandly to the challenge adding further richness to his powerful soulful tenor
readings. This is especially noticeable when launching into some of the
ballads. He seems to be able blow a lot more freely on his solos leaving main
development of rhythm to rest of the players. This is enhanced by the
orchestral arrangements of Billy Ver Planck and the musical scores of Ozzie
Cadena who also contributes a tune ‘Moan Er-uh Lisa’. Houston is joined
by some fine musicians including Joe Wilder & Victor Paz on trumpet,
organist Ernest Hayes, Hubert Laws on flute & tenor, Cedar Walton on piano
and drummer Grady Tate; to name a few. In time with repeated listens this album
will prove to be of great merit amongst the rest of Houston’s vast discography.
Enjoy!
Prestige Records, PRST-10044,
1972
Recorded 1st May,
1972 at Van Gelder Studio, Englewood Cliffs, New Jersey
The title tune is by Horace
Silver, as are “Strollin'” and “Quicksilver,” two other tunes on this album.
Veteran organist Earland allows in the liner notes that Silver had a great
influence on him; thus, this album has a funky feeling (an expectation of most
organ dates, anyway) and a Silver-ish front line of trumpet (James Rotundi) and
tenor saxophone (Eric Alexander). There’s a nice balance between the hard bop
blowing of the hornmen (and guitarist Bob De Vos) and Earland’s more
fundamental solo approach. The organist has an effective solo style consisting
of swinging riff-like lines that build all the way. Besides the Silver tunes,
we hear, among others, Herbie Hancock’s modal “Dolphin Dance,” the Isley
Brothers’ “For the Love of You” and the hymn “This Is the Day (The Lord Has
Made).” Greg Rockingham is the quintet’s drummer, a good one. ~ Owen Cordle, JazzTimes.
HighNote Records, HCD 7010, 1997
Recorded in 1997 At Van
Gelder Studio, Englewood Cliffs, New Jersey
Personnel:
Charles Earland - Organ
[Hammond B-3]
Jim Rotundi - Trumpet
Eric Alexander - Tenor
Saxophone
Bob DeVos - Guitar
Greg Rockingham - Drums
Tracks:
1. Blowin' The Blues Away
{Horace Silver} (4:59)
2. Sweet Love {Anita Baker,
Gary Bias, Louis A. Johnson} (6:06)
3. For The Love Of You {Chris
Jasper, The Isley Brothers} (6:13)
4. This Is The Day [The Lord
Has Made] {Traditional, Arr. Charles Earland} (7:11)
5. Dolphin Dance {Herbie
Hancock} (6:39)
6. Put It Where You Want It
{Joe Sample} (7:40)
7. Strollin' {Horace Silver}
(6:18)
8. Quicksilver {Horace
Silver} (7:14)
Credits:
Producer, Arranger - Charles
Earland
Engineer - Rudy van Gelder
Art Direction, Design -
Annalee Valencia-Bruch
Photography - Graham Haber
Liner Notes - Dave Helland
More Soulful Cookin' from The Mighty Burner
Another winner from Charles Earland. Earland's
organ playing runs the gamut from simmering slow burns (Anita Baker's
"Sweet Love" and Horace Silver's "Strollin'") to high heat
(Silver's "Blowin' The Blues Away" and "Quicksilver"). From
beginning to end a most satisfying addition to The Burner's catalog. ~ High
Modes, Amazon.com.
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