Johnny Griffin - To The Ladies (1979) (Galaxy) [vinyl]

Link is still live

Griffin recorded five albums for Galaxy all are of a uniformly high quality, far better than suggested by Scottie's luke warm review:

"Using the same trio that had joined him on NYC Underground (pianist Ron Mathews, bassist Ray Drummond and drummer Idris Muhammad), tenor saxophonist Johnny Griffin sticks exclusively to group originals on this interesting but not essential (and unfortunately out-of-print) LP. Griffin is in excellent form, as usual, but none of the tunes (by the leader, Drummond, and Mathews) caught on; the best is "Soft and Furry," which is taken in three parts." Scott Yanow

Scottie also fails to mention that the composition "Soft and Furry" first appeared on the excellent 1961 Riverside album "Change of Pace", the OJC CD reissue is again out of catalogue!

Miriam
Susanita
Jean Marie
Soft And Furry, Pt. 1
Soft And Furry, Pt. 2
Soft And Furry, Pt. 3
Honey Bucket

Johnny Griffin (ts) Ron Mathews (p) Ray Drummond (b) Idris Muhammad (d)
Fantasy Studios, Berkeley, CA, November 27 & 28, 1979

Moacir Santos - Carnival of the Spirits, 1975

sublime 70s session from Moacir Santos – a set that mixes the complex grooves he forged in 60s Brazil with the warmly jazzy sound of American fusion – all in a result that's totally unique! The album's quite different than any other electric Brazilian sets recorded in the US at the time – a complex album that's filled with soul and imagination – and not just an electrification of earlier styles from Brazil. Santos' vision here is wonderful – and he works with his own arrangements, and key help from producer Dale Oehler – who knows how to bring in all the right electric elements without losing the edge of Moacir's music. Players are great too – and include Jerome Richardson on soprano sax, Oscar Brashear on trumpet, Don Menza on tenor, Gary Foster on alto, Larry Nash on Fender Rhodes, Clare Fischer on piano, and Jerry Peters on organ. The sound builds and swirls in nice chunks, while the soloists creep in and lay down some horn parts – and a few vocalists, including Santos, add some slight lyrics from time to time.....~

Andy LaVerne - Liquid Silver (1984)

A Tribute to Bill Evans
===================
The CD under review here was recorded 30 October - 3 November 1984 for DMP. In 1984 LaVerne received an NAE grant to organize a Carnegie Hall tribute to his mentor Bill Evans. This CD is a studio version of that concert. The musicians are LaVerne (piano), Eddie Gomez (bass), Peter Erskine (drums), John Abercrombie (guitar), and the Essex String Quartet. All in all, the music on this CD is a nice tribute to Bill Evans, except the last track. The music is not for everyone as it often seems more like an intellectual exercise rather than an emotional outlet. The music does not swing, especial the string quartet tracks. If you are looking for Andy LaVerne jazz, look elsewhere. If you are looking for "chamber jazz" or a cross between classical music and jazz, this may be for you. ~ Extract by D.R.L., Amazon.com.

DMP Records, CD-449, 1984
Recorded 30th-31st October At A&R Studios and
3rd November At Clinton Recording Studio, 1984

Musicians:
Andy LaVerne - Piano
John Abercrombie - Guitar (#2,3,7,8)
Eddie Gomez - Bass (#1,3,4,6-8)
Peter Erskine - Drums (#1,3,4,6-8)

The Essex Quartet (#5,9):
Patricia Smith - Cello
Amy Dulsky - Viola
Sebu Sirinian - Violin [I]
Jennifer Cowles - Violin [II]

Tracks:
1. IRS [It's Really Something] {Andy LaVerne} (7:18)
2. Liquid Silver {Andy LaVerne} (6:00)
3. One Page Waltz {John Abercrombie} (5:19)
4. Laurie {Bill Evans} (9:02)
5. Letter To Evan {Bill Evans} (7:05)
6. How My Heart Sings {Earl Zindars} (5:37)
7. Turn Out The Stars {Bill Evans} (6:33)
8. Alpha Blue {Andy LaVerne} (6:20)
9. King's House One {Andy LaVerne} (17:18)

Total Time: 70:32

Credits:
Producer, Liner Notes - Andy LaVerne
Producer, Engineer - Tom Jung
Engineer [Assistant] - Jean Jung, Rebecca Everett
Editing - Greg Squires
Design - Jim Henderson
Illustration - Lee Christiansen
Photography - Dave Horner, Richard Laird

LeeAnn Ledgerwood - Breaking The Waves (2011)

This album is another serious work by pianist LeeAnn Ledgerwood utilising the same trio members as in her previous work "Simple Truth" released in 2010. A listener can't not be drawn into the exceptional muscular musicality showcased throughout this CD. Essentially, LeeAnn is the glue that pulls the powerful rhythm team of bassist Ron McClure and drummer Nasheet Waits together. She is the mastermind of all the compositions on this outing resulting in a truly expressive trio format that deserves further listening, Enjoy!

SteepleChase Records, SCCD 31732, 2012
Recorded February, 2011 

Musicians:
LeeAnn Ledgerwood - Piano
Ron McClure - Bass
Nasheet Waits - Drums

Tracks:
1. Breaking The Waves (8:15)
2. Save The Wolves (6:49)
3. Audrey Girl (8:25)
4. The University Of Free Will (5:17)
5. Chilli’s Walk (8:04)
6. Lutherans For Jesus (7:13)
7. The Great Smoking Mirror (8:04)
8. Deep Six (9:03) 

All Compositions by LeeAnn Ledgerwood 

Total Time: 61:10 

Producer - Nils Winther 

" … pianist Lee Ann Ledgerwood is part of an ever-growing contingency of extremely talented jazz musicians of the female persuasion… and first crack at a piano trio record. Ultimately, it proves to be one of the best of its kind in recent memory. Simultaneously adventurous but also emotionally direct… " (C. Andrew Hovan, AAJ on “Transition” SCCD 31468).

High Five Quintet - Jazz Desire (2004)

Fabrizio Bosso, is a well-known Italian super trumpeter, and here Fabrizio joins together with other equally successful Italian jazz players as the High Five Quintet, one modelled on genuine hard bop traits. Essentially, this group united to produce some amazing compositions and deliver them with such muscular energy. Within the formation is tenorist Daniele Scannapieco, pianist Luca Mannutza, bassist Pietro Ciancaglini and drummer Lorenzo Tucci; all well-regarded on the continent and leading artists in their own right. Together as a group they have such a gorgeous tone, amazing technique and singing phrasing, all of them masters of their individual instruments. It should be noted that all members of the quintet, except Lorenzo Tucci, contribute some thrilling original compositions to the mix. Overall, portraying the title 'Jazz Desire', this album should appeal to all jazz lovers, regardless of age or taste, enjoy!

Via Veneto Jazz, VVJ 047, 2004
Recorded 8th-10th January, 2008 (#1-9) At Diapason Studio, Rome, Italy;
and February, 2004 (#10,11) in Bari, Italy 

Musicians:
Fabrizio Bosso - Trumpet, Flugelhorn
Daniele Scannapieco - Tenor Saxophone
Luca Mannutza - Piano
Pietro Ciancaglini - Double Bass
Lorenzo Tucci - Drums
+
Pierpaolo Bisogno - Bongos (#10,11) 

Tracks:
01. Conversation {Daniele Scannapieco} (6:12)
02. Another One Bites The Dust {John Deacon} (4:41)
03. Libero {Luca Mannutza} (6:00)
04. Dubai {Fabrizio Bosso} (4:53)
05. Campagna {Pietro Ciancaglini} (5:56)
06. Condado {Daniele Scannapieco} (5:22)
07. Shade Of Gira {Luca Mannutza} (6:05)
08. Wide Green Eyes {Fabrizio Bosso} (7:37)
09. The Driver {Pietro Ciancaglini} (4:47) 

Bonus Tracks:
10. Conversation [New Jazz Version] {Daniele Scannapieco} (5:04)
11. Conversation [New Jazz Club Mix] {Daniele Scannapieco} (6:33) 

Total Time: 63:10 

Credits:
Producer - Biagio Pagano
Producer, Arranger - Nicola Conte [Bonus Tracks]
Recording & Mixing - Eugenio Vatta
Mastering - Fabrizio De Carolis
Sound Engineer - Tommy Cavalleri [Bonus Tracks]
Photography - Paolo Soriani
Cover Art - didovalli 

Notes:
Mixed at the Start Studio, Rome
Mastered at Reference Studio, Rome

Conrad Herwig, Andy LaVerne - Shades Of Light (2002)

It is without taking away anything from the founding fathers of this music to suggest that some of today's practitioners might be the most technically gifted lot to come along. Of course, they now have the entire rich history of jazz at their fingertips and slews of recordings for inspiration, yet there's no denying the talent at hand. Such is the case with 43-year-old trombonist Conrad Herwig. Hardly a Johnny Come Lately, Herwig has been on the scene for some 20 years playing in the bands of such legends as Buddy Rich and Eddie Palmieri, but has to be considered one of the most innovative players to come along since the days of J.J. Johnson and Curtis Fuller. Herwig's fourth and most recent date for the Dutch Criss Cross label, Hieroglyphica is a no holds barred quartet set of all originals that finds everyone working at full throttle. Without other horns to get in the way, this is the best place to experience Herwig at his most incendiary. Starting with a low moan and then breaking into wild glissandos through the upper register, Herwig kicks off the title track with a dazzling display that then builds to a frenetic climax with drums wailing and the rest of the ensemble participating in the collective frenzy. It's time for a quick cool down with the Latin-tinged 'The Orange Dove,' a breathy melody that is supported beautifully by pianist Bill Charlap's comping. And speaking of Charlap, for those of you only familiar with his demure and most recent trio dates, you'll be surprised at how much the pianist seems to step outside of the box here. In fact, some reckless abandon breaks forth on 'Island of the Day Before' as Herwig builds the tension before giving way to Charlap, who ushers in the calm before the storm and then hits with some heavy stuff of his own. And to get an idea of Herwig's range and the full complement of devices, look no further than a bluesy 'The Intruder.' Technically accomplished and still filled with communicative appeal, Hieroglyphica just may be Herwig's most brilliant recital to date. A bit more reserved, the trombonist's duo recital with pianist Andy LaVerne, Shades of Light, doesn't quite catch the fire that the quartet session does, but there's still plenty to savor. An impressive display of flutter tonguing comes just at the conclusion of 'Three Flowers,' a McCoy Tyner line that has to be among his most striking. Two Chick Corea gems, 'Tones For Joan's Bones' and 'Crystal Silence' seem especially attractive in this duo setting and Herwig's trombone carries both melodies quite well. You can gather some insight as to influences too, with Herwig sagaciously working in a quote from Wayne Shorter's 'Witch hunt' during his solo on 'African Flower.' ~ by C. Andrew Hovan, AAJ. 

SteepleChase Records, SCCD 31520, 2002
Recorded April, 2000 

Musicians:
Conrad Herwig - Trombone
Andy LaVerne - Piano 

Tracks:
01. Three Flowers {McCoy Tyner} (7:37)
02. Tones For Joan's Bones {Chick Corea} (5:43)
03. Crystal Silence {Chick Corea, Neville Potter} (6:13)
04. Bessie's Blues {John Coltrane} (8:22)
05. If You Never Come To Me {Antônio Carlos Jobim} (4:28)
06. Shades Of Light {Hubert Laws} (6:04)
07. Black Narcissus {Joe Henderson} (5:30)
08. Think On Me {George Cables} (5:22)
09. African Flower {Duke Ellington} (5:16)
10. In Your Own Sweet Way {Dave Brubeck} (7:22) 

Total Time: 71:57 

Credits:
Producer, Photography - Nils Winther
Recording Engineer - Keiichi Goto
Liner Notes - Mark Gardner

Anita Baker - My Everything (2004)

Anita Baker's My Everything is her first studio outing in a decade. Family life seems to have claimed most of that time, as the album's last cut, "Men in My Life," seems to indicate. Baker co-wrote seven of the album's nine songs (one is a reprise of the title track), authored the aforementioned tune, and assisted producer Barry J. Eastmond in the arrangements. The disc's first single, "You're My Everything," is indicative of the album's sound: finely wrought and executed urban adult soul. Most of the set falls into this category, too, with the exception of "Like You Used to Do," a duet with Kenneth "Babyface" Edmonds that walks a line between it and new-school groove. Another cut, the stellar "I Can't Sleep," offers Baker in full-on jazz mode, careening through a skittering and swinging arrangement with a full horn section pushing the groove; it showcases Baker's ability to croon, and she comes very close to Betty Carter's scat. Some may be frustrated that, after such a long time, Baker doesn't push the envelope more stylistically. This may be true in terms of the material itself, but that's not necessarily a bad thing. Right down the line, Baker delivers on what she does best. But in one sense she has expanded her palette. On these cuts, most of the rhythm section's tracks were cut live from the floor, and on three, the vocals were as well. This gives the album a reedy immediacy that contrasts sharply with the rest of her studio catalog. This is a worthy return, qualitatively standing head and shoulders above most everything else in its class. ~ by Thom Jurek, AMG. 

Blue Note, 7243 5 77102 2 0, 2004 

Recording Locations:
Brandon's Way Recording, Hollywood, CA
Conway Studios, Hollywood, CA
East Bay Music Studios, Tarrytown, NY
Le Gonks West Studios, Hollywood, CA
Record One Studios, Sherman Oaks, CA
Soup Can Studios, Detroit, MI
Village Recorders, Los Angeles, CA 

Personnel:
Anita Baker - Vocals, Backing Vocals, Arranger (#1-5,7-10)
Gary Grant - Trumpet (#1-5,7-10)
Jerry Hey - Trumpet, Horn Arrangement (#1-5,7-10)
Reggie Young - Trombone (#1-5,7-10)
Eric Marienthal - Alto Saxophone (#9)
Dan Higgins - Tenor & Baritone Saxophones (#1-5,7-10)
Gary Bias - Tenor Saxophone (#1-5,7-10)
Barry J. Eastmond - Keyboards, Percussion, Horn Arranger, Backing Vocals (#1-5,7-10)
George Duke - Synthesizer [Additional], Percussion (#1-5,7-10)
Eric Rehl, Leo Colon - Synthesizer [Additional] (#1-5,7-10)
Russell Ferrante - Piano (#9)
Paul Jackson Jr., Phil Hamilton, Robert Randolph - Guitar (#1-5,7-10)
Kenneth "Babyface" Edmonds - Guitar, Backing Vocals (#1-5,7-10)
Al Turner, Alex Al, Gerald Albright, Jimmy Haslip, Nathan East, Reggie Hamilton, Ron Jenkins - Bass (#1-5,7-10)
Bernard Davis, Ricky Lawson, Steve Ferrone, William Kennedy - Drums (#1-5,7-10)
Bashiri Johnson - Percussion (#1-5,7-10)
Rafael Padilla - Percussion (#6)
Esther Ridgeway, Gloria Ridgeway, Gordon Chambers, Gracie Ridgeway - Backing Vocals (#1-5,7-10)
Kenya Ivey - Backing Vocals (#6) 

Tracks:
01. You're My Everything {Anita Baker} (5:03)
02. How Could You {Anita Baker, Barry J. Eastmond} (4:21)
03. In My Heart {Anita Baker} (5:07)
04. Serious {Dawn Thomas} (5:26)
05. How Does It Feel {Anita Baker, Barry J. Eastmond} (4:42)
06. Like You Used To Do {Anita Baker, Barry J. Eastmond} (5:12)
07. Close Your Eyes {Anita Baker, Barry J. Eastmond} (4:43)
08. You're My Everything [Revisited] {Anita Baker} (1:12)
09. I Can't Sleep {Anita Baker, Russell Ferrante, W. Kennedy} (5:08)
10. Men In My Life {Anita Baker} (3:37) 

Total Time: 44:31

Credits:
Producer, Engineer - Anita Baker
Producer, Engineer - Barry J. Eastmond
Producer, Arranger - Kenneth "Babyface" Edmonds (#6)
Engineer - Alan Sides, Dylan Dresdow, Ghian Wright
Recording - Paul Boutin (#6)
Engineer [Assistant] - Greg Burns, Jared Nugent, Tom Wilber
Engineer, Engineer [Assistant] - Kevin Szymanski
Mixing - Jon Gass (#6)
Mixing [Assistant] - Edward Quesada (#6)
Mixing - Erik Zobler
Mixing [Assistant] - Stefaniah McGowan
Mixing, Engineer - George Duke
Photography - Andrew Eccles

Anita Baker - A Night Of Rapture - Live, 1986 (2004)

When you listen to this recording you get the full measure of Anita. By that I mean, you will find that what she does and is best at, is not by benefit of any studio technical wizardry. In many ways this recording is the equal of "Rapture" for its directness, it's straight to the point delivery. Anita's voice is rich with big, rich tones. Those exhortations and unique vocal embellishments hold you transfixed. The band is first rate and she is backed unobtrusively by a band of some exceptional musicians, most notably James Bradley, Jr. and Gerald Albright. For me, "Mystery" and "(Caught up in the) Rapture" actually surpass the studio versions because Anita is just so much more direct in concert. Nothing gets in the way. This is an enhanced CD with three video files from the accompanying video. This is an excellent concert recording. She even attempts Van Morrison's "Moondance" which has now become a standard especially within the jazz world. This is where the more contemporary band gives it a perfunctory performance but Anita transcends this and captures the jazzy feel of the piece, somewhat faithfully. It's the one departure from what we all know is the Anita Baker repertoire. A truly compelling concert recording. ~ ND, NY, Amazon.com. 

Atlantic/Rhino Entertainment, 8122-78144-2, 2004
Recorded Live at Constitution Hall Washington, DC, 1986 (#2-4)
Recorded Live at The Montreux Jazz Festival, Montreux, Switzerland, July, 1986 (#7)
Recorded Live on Tour, 1986 (#1,5,6,8,9) 

Musicians:
Anita Baker - Vocals
Bobby Lyle - Keyboards, Musical Leader
Garry Glenn - Keyboards, Backing Vocals
Gerald Albright - Bass Guitar, Saxophone
Donald Griffin - Guitar
James Bradley, Jr. - Drums
Freida Williams, Gina Taylor, Joanne Funderburg - Backing Vocals 

Tracks:
1. Caught Up In The Rapture {Dianne Quander, Garry Glenn} (5:30)
2. Mystery {Rod Temperton} (5:23)
3. Been So Long {Anita Baker} (5:53)
4. No One In The World {Ken Hirsch, Marti Sharron} (4:10)
5. Same Ole Love [365 Days A Year] {Darryl K. Roberts, Marilyn McLeod} (4:01)
6. Watch Your Step {Anita Baker} (6:17)
7. Moondance {Van Morrison} (4:07)
8. You Bring Me Joy {David Lasley} (4:34)
9. Sweet Love {Anita Baker, Gary Bias, Louis A. Johnson} (4:51) 

Total Time: 44:46

Enhanced Content:
1. Sweet Love [mp4] (5:12)
2. You Bring Me Joy [mp4] (4:30)
3. No One In The World [mp4] (4:08) 

Credits:
Compilation - Barry "Rockbarry" Benson
Art Direction Nancy L. Hopkins
Design - Saori Soga
Photography [Front, Inlay] - Clayton Call
Liner Notes - Gary Jackson

Tom Browne - Browne Sugar (1979)

Despite the trumpet's prominent historic role in Jazz music, the instrument didn't showcase many of its practitioners in the contemporary jazz genre after the mid-Seventies. Queens, New York native Tom Browne, however, changed that notion. Browne's blistering solos and flair for melodicism and lyricism were on full display on Browne Sugar, his 1979 debut. From the album's opener, "Throw Down," composed by Browne, a bold, up tempo number that highlighted the trumpeter's facility to play smooth, fluid lines, to the closer "Antoinette Like," a contemplative ballad, penned by keyboard wunderkind Bernard Wright, Browne demonstrated that he is a focused, original artist, destined to be on the scene for the long run. The long run began its race for Browne on this record with the aid of Wright; the incomparable pianist/composer/producer Dave Grusin (who co-produced); first-rate-bassists Francisco Centeno and the illustrious Marcus Miller (the latter of whom wrote the alternately mellow and funky "Herbal Scent"); acclaimed saxophonist Michael Brecker, versatile vocalist Patti Austin, and underrated drummer Buddy Williams, just to name a few stellar names on the eight-tunes project. Because of its mix of ballads and mid-tempo funk, "Browne Sugar" was definitely a record that established the trumpet ace's (also a flugelhornist) own musical identity. It placed Browne front and center as a leader and not as a bystander on his own record. Speaking of his own musical identity, Browne's composition, "Promises for Spring," is another tune that possessed that gentle, late-night aura that would be heard on Quiet Storm radio. It's just the kind of record that would become the template for contemporary jazz--radio-friendly, breezy tunes laced with R&B overtones with jazz inflections. The album had great flow without any selections that would prompt listeners to skip to the next track. Even in the present musical soundscape, there are few trumpet-led projects that embrace the distinctive sound of Browne's. It's a classy, stylish debut that sounds just as rich and melodic in 2020 as it did in 1979. Cheers to Tom Browne and to the musicians who have made Browne Sugar a sonic gem! ~ Liz Goodwin, SmoothVibes.com. 

GRP Records, GRP 5003, 1979
GRP Records, GRP-D-9517, 1991
Recorded and Mixed 1979 At A&R Studios, New York City 

Musicians:
Tom Browne - Trumpet, Flugelhorn
Michael Brecker - Tenor Saxophone
Phil Bodner - Horn
Eddie Daniels - Horn
Walter Kane - Horn
David Tofani - Horn
Dave Grusin - Piano [Electric], Clavinet, Moog Synthesizer, Oberheim Synthesizers, Organ, Percussion, Synthesizer
Rob Mounsey - Oberheim Synthesizer, Organ, Synthesizer
Bernard Wright - Piano, Piano [Electric]
Ron Miller   - Guitar [Electric]
Marcus Miller - Bass [Electric]
Francisco Centeno - Bass [Electric]
Buddy Williams - Drums
Sue Evans - Congas, Percussion
Errol Crusher Bennett - Congas, Percussion
Patti Austin - Vocals
Vivian Cherry - Vocals
Frank Floyd - Vocals
Zachary Sanders - Vocals
+ Strings Ensemble 

Tracks:
1. Throw Down {Tom Browne} (3:58)
2. I Never Was A Cowboy {Don Grusin} (4:24)
3. Herbal Scent {Tom Browne} (5:25)
4. Brother, Brother {Denzil Miller} (5:32)
5. The Closer I Get To You {Reggie Lucas, James Mtume} (4:38)
6. What's Going On {Renaldo Benson, Al Cleveland, Marvin Gaye} (5:09)
7. Promises For Spring {Tom Browne} (4:50)
8. Antoinette Like {Bernard Wright} (3:38) 

Total Time: 37:34 

Credits:
Producer, Conductor, Arranger, Liner Notes - Dave Grusin
Producer, Engineer, Liner Notes - Larry Rosen
GRP Production Coordinator - Peter Lopez
Recording Engineer - Jim Boyer
Recording Assistant - Peter Lewis
Recording & Mixing Assistant - Bradshaw Leigh
Mastering Engineer - Ted Jensen [Sterling Sound, NYC]
Digital Remastering - Josiah Gluck [The Review Room, NYC]
Editing & Formatting - N.Y. Digital Recording
GRP Creative Director, Art Design - Andy Baltimore
Art Direction - Dan Serrano
Photography - Mario Astorga

Larry Goldings - Quartet (2006)

Pianist Larry Goldings delivers modern jazz as true art, folding in classical music with traditional jazz themes and interpreting them sincerely. With trumpeter John Sneider, his quartet expresses soulful melodies and surrounds them with beautiful textures. Everything falls into place naturally, and the pianist ensures that not one ounce is wasted on glamour or glitz. With "Hesitation Blues", he's captured the original spirit that W.C. Handy handed down to us with the birth of the blues. With "Valsinha", he's fused a traditional European theme into the jazz that we feel intuitively. With Bjork's "Cocoon", he's found a path for slow ballad expression that remains timeless. Goldings explores eclectic paths on this quartet adventure. He navigates slowly, allowing for reflective introspection and couching drama in quiet surroundings. This peaceful celebration of jazz's rich heritage builds to great dramatic highs without becoming overbearing. The pianist and his musical partners keep a low ceiling on the intensity level while still driving. Even the nods to Jaki Byard and Thelonious Monk remain subtle enough to maintain a peaceful composure for the album's personality. The pianist and his cohesive quartet explore spontaneously and eschew concerns about meter and format. The quartet is traditional in concept but original in practice. The closing number, a duet between trumpet and piano, best displays the spirit of the album. Goldings and Sneider pour heartfelt emotion in song and arrange for it to flow naturally. A seamless concert of passion in jazz, Quartet comes highly recommended and will undoubtedly remain one of the best recordings of 2006. ~ by Jim Santella, AAJ. 

Palmetto Records, PM2115, 2006
Recorded 14^th-16^th February, 2005 At Maggie's Farm, Pittsburgh, Pennsylvania 

Musicians:
Larry Goldings - Piano, Wurlitzer, Organ, Harmonium, Accordion, Glock
John Sneider - Trumpet, Cornet
Ben Allison - Bass
Matt Wilson - Drums, Percussion
Madeleine Peyroux - Vocals (#5) 

Tracks:
01. Singsong {Larry Goldings} (4:09)
02. Au Bord De L'Eau {Gabriel Fauré} (5:58)
03. Valsinha {Chico Buarque, Vinicius De Moraes} (5:22)
04. The Wedding {Abdullah Ibrahim} (5:56)
05. Hesitation Blues {W.C. Handy} (4:06)
06. Jackie-ing {Thelonious Monk} (3:50)
07. Dario And Bario {Larry Goldings} (3:01)
08. A Dream About Jackie Byard {Goldings, Sneider, Allison, Wilson} (3:16)
09. Cocoon {Björk} (7:11)
10. Hidalgo {Goldings, Sneider, Allison, Wilson} (3:15)
11. Denouement {Goldings, Sneider, Allison, Wilson} (2:31)
12. We Shall Overcome {Traditional-Gospel} (3:35) 

Total Time: 52:10 

Credits:
Producer - Larry Goldings, Matt Balitsaris
Mixing & Editing - Chad Fischer
Mastering - A.T. Michael MacDonald
Design [Cover] - Ben Allison
Photography - Norman Seeff

Red Holloway - Go Red Go! (2009)

Like fine wine, saxophonist extraordinaire Red Holloway seems to get better with age. On Go Red Go!, the octogenarian plays with a fiery intensity that rivals his classic recordings from the 1960s with organist Jack McDuff. Holloway has always straddled the fence between jazz and blues, having worked with the likes of saxophonist Sonny Stitt and organist Jack McDuff, as well as blues legends Muddy Waters and Willie Dixon. This infectious approach is demonstrated here on 12-bar riff tunes like "I Like it Funky" and the title track. The latter, taken at a blistering tempo, is a highlight of the disc. Here Holloway effortlessly lays out winding bebop phrases alongside charismatic honking and shouting. Another memorable moment is Holloway's lyrical alto playing on "Stardust." With eerie similarities to his contemporary Hank Crawford (1934-2009) in style and tone, Holloway snakes his way around the familiar Hoagy Carmichael theme with alluring charm. Organist Chris Foreman and drummer Greg Rockingham, both veterans of the Chicago scene and members of the acclaimed Deep Blue Organ Trio, provide the perfect foundation for Holloway's jazz-meets-blues approach. Foreman's manipulation of the draw bars harnesses the spirit of McDuff, especially on the walk-in-the-park tempos of "Deep Purple" and "Wave." Guitarist Henry Johnson's warm-tone and flawless technique is on full display throughout the disc. The Chicago native's greasy bop lines intensify the session. His groovy solos on "Bag's Groove" and "St. Thomas" are full of inventiveness and soul. Holloway toured with blues shouter Roosevelt Sykes in the late 1940s and here he closes the set with Sykes' jump blues "Keep Your Hands off Her," vocalizing with the same matter-of-fact delivery he displays with the horn. Add to that Rockingham's crackling backbeat and guest guitarist George Freeman's jabbing guitar licks and the feeling is that of wanting more and more. ~ by John Barron, AAJ. 

Delmark Records, DE 585, 2009
Recorded 16^th-18^th July, 2008 At Riverside Studio, Chicago, Illinois 

Musicians:
Red Holloway - Alto & Tenor Saxophones, Vocals (#9)
Chris Foreman - Organ [Hammond B-3]
Henry Johnson - Guitar (#3-8)
George Freeman - Guitar (#2,9)
Greg Rockingham - Drums 

Tracks:
1. Love Walked In {George Gershwin, Ira Gershwin} (5:25)
2. I Like It Funky {Red Holloway} (6:42)
3. Go Red Go {Arnett Cobb} (3:20)
4. Deep Purple {Peter DeRose, Mitchell Parish} (11:07)
5. St. Thomas {Sonny Rollins} (4:58)
6. Stardust {Hoagy Carmichael, Mitchell Parish} (9:57)
7. Bag’s Groove {Milt Jackson} (8:18)
8. Wave {Antônio Carlos Jobim} (11:18)
9. Keep Your Hands Off Her {Roosevelt Sykes} (4:17) 

Total Time: 65:22

Credits:
Producer, Engineer, Mixing, Supervisor - Steve Wagner
Producer, Supervisor - Robert G. Koester
Mixing Assistant - Dave Katzman
Liner Notes, Photography - Michael Jackson

Gene Harris - Alley Cats (1999)

Too many artists have gone their entire careers without providing any live albums, but that hasn't been a problem for Gene Harris whose live recordings from the 1980s and 1990s ranged from unaccompanied solo piano to big-band dates. Arguably, the best live album he gave listeners in the 1990s was Alley Cats; recorded live at Jazz Alley in Seattle on December 11-12, 1998, this CD finds Harris' working quintet (Harris on piano, Frank Potenza on guitar, Luther Hughes on bass, and Paul Kreibich on drums) joined by such accomplished soloists as Red Holloway (tenor sax), Ernie Watts (alto and tenor sax), and Jack McDuff (organ). Many inspired moments occur, and a 65-year-old Harris really goes that extra mile on gems ranging from Nat Adderley's "Jive Samba" and Benny Golson's "Blues March" to Joe Sample's "Put It Where You Want It" (which, in the 1970s, was introduced by the Crusaders before being covered by the Average White Band). A talented but underexposed singer (underexposed in the 1990s, anyway) who has recorded R&B albums but is quite capable of handling jazz, Harris' daughter Niki Harris is featured on earthy performances of "You've Changed," "Please Send Me Someone to Love," and "Guess Who." McDuff, meanwhile, brings his gritty, down-home Hammond B-3 to two songs: Eddie Harris' "Listen Here" and Gene Harris' "Walkin' With Zach." Soul-jazz enthusiasts will definitely want this excellent CD. ~ by Alex Henderson, AMG. 

Concord Jazz, CCD-4859-2, 1999
Recorded 11^th & 12^th December, 1998 Live At Dimitriou's Jazz Alley, Seattle, Washington 

Personnel:
Gene Harris - Piano, Solo (#2)
Ernie Watts - Alto Saxophone (#1,6,7), Tenor Saxophone (#3-5)
Red Holloway - Tenor Saxophone (#1,3,9,10)
Jack McDuff - Organ [Hammond B-3] (#5,10)
Frank Potenza - Guitar (#9)
Luther Hughes - Bass
Paul Kreibich - Drums
Niki Harris - Vocals (#7-9) 

Tracks:
01. Put It Where You Want It {Joe Sample} (5:49)
02. Magic Lady {Joe Sample} (4:17)
03. Blues March {Benny Golson} (11:09)
04. Bird's Idea {Ernie Watts} (4:54)
05. Walkin’ With Zach {Gene Harris} (6:58)
06. Jive Samba {Nat Adderley} (6:03)
07. You've Changed {Bill Carey, Carl Fischer} (6:19)
08. Guess Who {Jesse Belvin, Joanne Belvin} (5:36)
09. Listen Here {Eddie Harris} (11:51)
10. Please Send Me Someone To Love {Percy Mayfield} (5:09) 

Total Time: 68:05 

Credits:
Producer - John Burk
Executive-Producer - Glen Barros
Recording & Mixing Engineer - Phil Edwards
Assistant Engineer - Ryan Kallis
Assembly & Mastering Engineer - Ron Davis
Product Development - Alexis Davis
Production Manager - David Miller
Art Direction - Scott Crawford
Cover Photography - Pam Benham

Enrico Pieranunzi Quintet - Don't Forget The Poet (1999)

Heard in solo and trio sessions prior, here's a quintet recording for pianist/composer Pieranunzi that reflects the Euro-landscape ECM sound so familiar to fans of Keith Jarrett, but especially to Kenny Wheeler enthusiasts. Bert Joris on trumpet and flugelhorn is largely responsible for this sound, but saxophonist Stefano d'Anna mixes and matches every brassy move with his own serene musings. Bassist Hein Van de Geyn is more present as the producer of the date than as a bassist, while drummer Hans von Oosterhout rounds out this rather together ensemble. Of these 11 pieces penned by the leader, two are influenced by samba. Wheeler's lyricism with d'Anna's soprano identifies "Persona," and a hotter rhythm sets up a repeated simple-song motif with d'Anna's tenor on "Child of the Real & Ideal." There are several waltzes: the sweet "Coralie" perfectly marries tenor and flugelhorn; "Time's Passage" goes more soulful and slightly contemplative; "A Nameless Gate" is easygoing and most Wheeler-like; and "Hindsight" has "Cry Me a River" underpinnings. The best swinger is the boppish "Newsbreak" with distinct but loose bass inferences. Joris really shines as an individualist on flugelhorn for the ballad "With a Song in My Heart," as well as on trumpet for the two-note accents and slightly overblown solo during "It Speaks for Itself." Most reflective of its name, the true-tone poem title track sports gossamer-thin, fragile thematic segments, mostly in a processional 6/8. The finale "Seaward" is deeper with minimalist piano, impressionistic soaring horns and bass, and the most European/ECM-like stance. This music no doubt emphasizes beauty over swing and tonal lyricism over blues connotations. It compacts improvisation within a natural, wooden framework, and overall, amounts to quite a pleasant effort. ~ by Michael G. Nastos, AMG.

Challenge Records, CHR 70065, 1999
Challenge Records, CHR70065, 2006
Recorded 7^th, 8^th & 9^th March, 1999 At Studio Le Roy, Amsterdam, Netherlands 

Musicians:
Enrico Pieranunzi - Piano
Bert Joris - Trumpet, Flugelhorn
Stefano D'Anna - Soprano Saxophone, Tenor Saxophone
Hein Van De Geyn - Bass
Hans Van Oosterhout - Drums 

Tracks:
01. Persona (6:07)
02. Don't Forget The Poet (4:57)
03. Child Of The Real And Ideal (5:40)
04. Coralie (5:39)
05. Time's Passage (5:14)
06. Newsbreak (3:02)
07. A Nameless Gate (6:18)
08. With My Heart In A Song (4:38)
09. It Speaks For Itself (6:22)
10. Hindsight (4:28)
11. Seaward (4:32) 

All Compositions by Enrico Pieranunzi 

Total Time: 56:57

Credits:
Producer - Hein Van De Geyn, Anne De Jong
Recording & Mixing - Chris Weeda
Photography, Original Sleeve - Joost Leijen
Sleeve Design - Marcel van den Broek
Liner Notes - Enrico Pieranunzi

Paolo Fresu - Vinodentro (2014)

And so, it can be said here: "Jazz Meets Classical" and vice versa, "The Lyrical Fresu", "the Sardinian trumpet player improvises on the classical canons" and thus tumbling into deceptive banality. The first truth is that "Vinodentro" is a soundtrack of a film by Ferdinando Vicentini Orgnani, starring Giovanna Mezzogiorno and Vincenzo Amato. The second is that Fresu is not new to the work of this musical content: the list would be too long and tedious.

That said, this work has the advantage of not imitating any great composer of soundtracks, because falling into such a trap was easy, even for Fresu. Here, we can read all the sincere connection of the trumpeter to a work that probably goes far beyond the plot of the film. Fresu writes fourteen pieces out of sixteen: the other two "As Long As From Wine" and "Madamina, The Catalog Is This" bear the royal seal of Wolfgang Amadeus Mozart; then there is "Freeze" co-written with Daniele Di Bonaventura. The thread that Fresu binds and gives to the film is full of elegant textures, captivating plots, bathed in romantic notes ("Quiet"); dialogical and sown with passion as in the namesake "Martango", in three takes: the first with Di Bonaventura who acts as a rhythmic counterbalance to the enlightening ensemble ‘I Virtuosi Italiani’ and Fresu that flutters decisively and crafty even with his electronic effects. The second version is more chamber music with trumpet and bandoneon played on an equal footing. The triad ends with Di Bonaventura all alone playing in the colors and in the folds of the melody.

The narrative force comes from every meander: in the arches, stormy ("Moved") or quiet, hidden. Fresu's trumpet and flugelhorn embroiders, leads and bows even where its passage is slight, imperceptible; in the water-level games of electronics that are handled with acuity by the author himself and by Michael Anger, who stands out for that superior discretion as an engraver that very few have. And Di Bonaventura, ever more authentic and personal in handling the bandoneon. A soundtrack, perhaps even for the life of those whom you love. ~ Alceste Ayroldi, Jazzitalia.net. [Translated from Italian]

Tuk Music, CD118, 2014
Recorded 8^th October, 2013 (Strings) At Teatro Fazioli di Sacile (Udine), Italy;
9^th-11^th and 13^th February, 2013 (Other Sessions) At ArteSuono, Cavalicco (Udine) 

Musicians:
Paolo Fresu - Trumpet, Flugelhorn, Electronic Effects, Piano (#3,5,9)
Daniele Di Bonaventura - Bandoneon, Piano (#11), Sring Arrangements (except #10,16)
Michael Anger - Percussion, Sampler 

The Virtuosi Italian:
===============
Alberto Martini, Constantin Beschieru, Elisabetta Fable, Carlo Menozzi, Matthew Marzaro - First Violins
Luca Falasca, Alberto Ambrosini, Ingrid Shilaku, Vinicio Capriotti - Second Violins
Flavio Ghilardi Alessandro Pandolfi, Ciro Chiapponi - Violas
Leonardo Sapere, Giordano Pegoraro, Tiziana Gasparoni - Cellos
Rino Braia - Double Bass 

Tracks:
01. Calmo [Calm] {Paolo Fresu} (3:55)
02. Martango [Take One] {Paolo Fresu} (3:31)
03. Dolomiti's Sky {Paolo Fresu} (2:23)
04. Vals Des Soeurs Belles Et Sages {Paolo Fresu} (5:04)
05. Rarefied {Paolo Fresu} (0:59)
06. Fuga [Escape] {Paolo Fresu} (2:13)
07. Martango [Take Two] {Paolo Fresu} (2:58)
08. Classico [Classic] {Paolo Fresu} (5:24)
09. La Visione Del Bipede {Paolo Fresu} (2:18)
10. Fin Ch'Han Dal Vino {W. A. Mozart} (1:29)
11. Fermo [Freeze] {Paolo Fresu} (2:41)
12. Mediterrano [Mediterranean] {Paolo Fresu} (5:40)
13. Trance Meditativa {Paolo Fresu} (1:10)
14. Martango [Take Three] {Paolo Fresu} (1:36)
15. Mosso [Moved] {Paolo Fresu} (2:50)
16. Madamina, Il Catalogo È Questo {W. A. Mozart} (5:27) 

Total Time: 49:38 

Credits:
Producer - Paolo Fresu
Sound & Mastering Engineer - Stefano Amerio
Sound Engineer - Giulio Gallo (Strings only)
Photography - Paolo Jacob
Cover Art 'Sparisce Dentro Al Foro' by Carla Accardi
Graphic Design - Benno Simma

Steve Kuhn & Toshiko Akiyoshi - The Country & Western Sound Of Jazz Pianos (1963)

This is surely one of the more unusual jazz LPs to emerge during the 1960s, featuring pianists Steve Kuhn and Toshiko Akiyoshi and bassists Dave Izenzon and John Neves, along with guitarist Barry Galbraith and drummer Pete Laroca Sims, playing country & western songs in jazz arrangements. A lot of jazz fans overlook the fact that there were some strong melodies written by country musicians in the 1950s and 1960s, and many of these songs work very well in the hands of this sextet. Akiyoshi leans more toward bop, with Kuhn usually lagging behind the beat; while Izenzon plays the higher often arco bass parts as Neves walks underneath him. "Hang Your Head in Shame" is particularly adventurous, while Akiyoshi switches to celesta for the ballad "May the Good Lord Bless You and Keep You." This record will likely appeal to the small minority of jazz fans who enjoy duo pianos and songs that are a bit off the beaten path. Finding this long out of print record on the long defunct Dauntless label may be the biggest challenge that collectors face. ~  by Ken Dryden, AMG.

Dauntless Records, DS-6308, 1963
Chiaroscuro Records, CR 2026, 1980
Dauntless Records, DC 6003, 2002
Recorded in New York, 1963

Musicians:
Steve Kuhn - Piano, Harpsichord
Toshiko Akiyoshi - Piano, Celesta
Barry Galbraith - Guitar
Dave Izenzon, John Neves - Bass
Pete LaRoca - Drums 

Tracks:
A1. Trouble In Mind {Richard Mariney Jones} (4:40)
A2. Hang Your Head In Shame {Edward G. Nelson, Fred Rose} (3:53)
A3. May The Good Lord Bless And Keep You {Robert Reiniger, Meredith Willson} (3:20)
A4. Someday You’ll Want Me To Want You {James S. Hodges} (4:21)
A5. Down In The Valley {Traditional} (3:41)
B1. Beautiful Brown Eyes {Grace Walters} (4:21)
B2. It’s No Secret What God Can Do {Carl Stuart Hamblen} (4:47)
B3. Nobody’s Darling But Mine {James Houston Davis} (3:23)
B4. Along The Navajo Trail {Eddie DeLange, Larry Markes, Dick Charles} (3:23)
B5. Foggy, Foggy Dew {Traditional} (4:32) 

Total Time: 40:21

Credits:
Producer - Jordi Pujol [CD release]
Recording Engineer - Richard Olmsted
Re-recording - William Hamilton
Mastering - Ray Hagerty
Photography - Ray Ross
Design - Irving Sloane
A&R - Tom Wilson
Arranger, Conductor, Liner Notes - Edgar Summerlin 

"Steve Kuhn and Toshiko Akiyoshi are relatively unknown outside of jazz circles. Both are modernists and have styles that are quite different. Toshiko's playing is more of Bud Powell school, with long lines and explosions of notes in the right hand, and a more percussive, brittle approach than Steve. On the other hand, Steve has a more introspective, reflective way of playing -more behind the beat than Toshiko. The two styles compliment and offset each other beautifully. I wrote the arrangements for this album knowing that with these musicians it had a good chance of being successful. After conducting the sessions, I knew that my faith had been well-founded. I think their playing is great. I think you will too." ~ Edgar Summerlin (from the inside liner-notes).

Gaetano Partipilo - Besides - Songs From The Sixties (2013)

With this new project Gaetano showcases the other side of his artistic personality. It is dedicated to the music of the '60s, rearranged in a modern way. The result is a warm music, refined and full of pathos. The album opens with "Beyond The Days" written by Gaetano and Alice Ricciardi. It's a song in ¾ based on a dreamy atmosphere. "Right Now", a Herbie Mann’s hit made famous by the great Mel Tormè, is sung by Mr. Natural. "Atras Da Porta" is penned by Chico Buarque and is a poignant bossanova masterfully interpreted by Rosalia De Souza. The "The Jive Samba", a Nat Adderley’s hit made famous by the Cannonball Adderley Quintet first, and then by Jon Hendricks, here with Mr. Natural. "Ocean Dance" features a ravishing solo by Fabrizio Bosso and the track has been sung by one of the most interesting voices in contemporary jazz: Heidi Vogel. "Se Voce Pensa" is a funky song, again with Rosalia De Souza. Then another Bossanova entitled "Essa Mulher" made famous by versions of Elis Regina and Joyce. "Wall And Water" is partly adapted from the tune "Blues For Hari" by Tom Scott. "Autumn Serenade" is a little-known ballad masterfully played by Johnny Hartman and John Coltrane in the historical Impulse album published in 1962. This version is arranged and sung by Mr. Natural. "Moon Flower", a magical arrangement of Luigi Giannatempo. Co-producer Nicola Conte plays guitar on the next song, one of the most successful songs of Gary McFarland. The title is "13-Death March" and is taken from the soundtrack of the 1966 film "Eye Of The Devil". "Los Marcianos" is inspired by the curious stories about a band. The following excerpt is instead an homage to Italian songs. "Sono Qui Per Te" is a song that the teacher Bruno Canfora wrote for the voice of Mina, here interpreted by the wonderful voice of Alice Ricciardi in an "New York Style" arrangement. The album ends with another historical track by The Cannonball Adderley Quintet, "The Sticks", again with Fabrizio Bosso. ~ gaetanopartipilo.bandcamp.com. 

Schema Records, SC460, 2013
Recorded at:
Mordente Recording Studio
Obelix Studio, Rome
Toto Sound, Rome 

Personnel:
Gaetano Partipilo - Alto & Tenor Saxophones, Flute
Pietro Lussu - Piano, Fender Rhodes, Wurlitzer Piano
Pasquale Bardaro - Vibes
Vincenzo Florio - Double Bass
Marco Valeri - Drums
Pierpaolo Bisogno - Percussion 

Guests:
Fabrizio Bosso - Trumpet (#5,14)
Alice Ricciardi - Vocals (#1,10,13)
Mr. Natural - Vocals (#2,4,9)
Rosalia De Souza - Vocals (#3,6)
Heidi Vogel - Vocals (#5)
Nicola Conte - Guitar (#12)
Vito Di Modugno - Hammond Organ
Gianni Partipilo - Tenor Saxophone
Marcello Piarulli - Electric Bass
Giuseppe Bassi - Double Bass
Leo Gadaleta - Violin
Luisiana Lorusso - Violin
Antonio Buono - Viola
Mauro Greco - Cello 

Tracks:
01. Beyond The Days {Gaetano Partipilo, Alice Ricciardi} (4:52)
02. Right Now {Herbie Mann, Carl Sigman} (3:46)
03. Atras Da Porta {Chico Buarque, Francis Hime} (3:25)
04. The Jive Samba {Nat Adderley} (3:16)
05. Ocean Dance {Gaetano Partipilo, Heidi Vogel} (5:54)
06. Se Voce Pensa {Erasmo Carlos, Roberto Carlos} (3:09)
07. Essa Mulher {Ana Terra, Joyce Terra} (5:15)
08. Wall And Water {Gaetano Partipilo} (3:46)
09. Autumn Serenade {Peter DeRose, Sammy Gallop} (3:56)
10. Moon Flower {Gaetano Partipilo, Alice Ricciardi} (4:02)
11. 13-Death March {Gary McFarland} (5:34)
12. Los Marcianos {Gaetano Partipilo} (4:18)
13. Sono Qui Per Te {Bruno Canfora, Lina Wertmuller} (3:31)
14. The Sticks {Julian Adderley} (3:15) 

Total Time: 58:07 

Credits:
Producer - Gaetano Partipilo, Nicola Conte
Executive Producer - Luciano Cantone, Davide Rosa

David Friesen - Other Times - Other Places (1989) [CD]

This album is a much-overlooked album by the master bassist David Friesen; featuring Denny Zeitlin, Phil Dwyer, Alan Jones, Airto and Flora Purim. The interplay between Denny Zeitlin is quite magical, highlighted on both "Song For My Family" and "Years Though Time". In many ways the album showcases the amazing saxophone skills of Phil Dwyer. It is an exploration of his ability to work seamlessly alongside Friesen and add depth of scale to Friesen’s variant and elusive compositions. Listen to "Tyrone's Dedication", "Father's Delight", "Our 25th Year", "Childhood Walk" and "Above And Beyond" for clarification. Both Alan Jones’ and Airto’s contributions render a solid backing to the majority of the tracks and Flora Purim’s vocals add a distinctive fusion-styled interest to "Festival Dance" and "Song For My Daughter". As always Friesen's bass sets the mood. His dynamically ranging sound is heard across a broad range of self-penned tunes, sharing one with Alan Jones. This album requires a few listens to truly appreciate its value, enjoy! 

Global Pacific Records, R2 79300, 1989
Bellaphon Records, 660·52·001, 1989
Recorded 1989 At Ark Studios, Tigard, Oregon 

Musicians:
David Friesen - Bass [Oregon Bass], Acoustic Bass, Synthesizers
[Emulator I I, Roland Jupiter - 6, Yamaha K X 88 Midi Keyboard Controller]
Phil Dwyer - Tenor Saxophone, Soprano Saxophone
Denny Zeitlin - Piano [Acoustic] (#5,8)
Alan Jones - Drums, Electronic Drums [Roland Octapad And Synth Bass] (#2)
Airto Moreira - Percussion
Flora Purim - Vocals (#1,3) 

Tracks:
01. Festival Dance {David Friesen} (4:07)
02. Tyrone's Dedication {Alan Jones, David Friesen} (3:43)
03. Song For My Daughter {David Friesen} (2:04)
04. Father's Delight {David Friesen} (3:15)
05. Song For My Family {David Friesen} (6:33)
06. Our 25th Year {David Friesen} (3:58)
07. Childhood Walk {David Friesen} (4:04)
08. Years Though Time {David Friesen} (4:18)
09. Above And Beyound {David Friesen} (4:27)
10. Song For My Sons {David Friesen} (3:04) 

Total Time: 39:33 

Credits:
Producer, Mixing - David Friesen
Producer, Engineer, Mixing - Jeff Johnson
Executive-Producer - Barklie Henry, Howard Morris, Howard Sapper
Mastering [Digital] - David Mitson, Joe Gastwirt
Photography - Hiroshi Iwaya

Dom Um Romão - Hotmosphere (1976)

More pop than hot, this mixed bag from Brazilian drummer and percussionist Dom Um Romão ranges from singalong Carnival tunes to more substantial tracks featuring superior arranging and solo work. A veteran of the Latin, pop, and jazz scenes, Romao's extensive CV includes work with Sergio Mendes & Brasil '66 and an early edition of Weather Report. Hotmosphere is in the Latin pop vein of the Mendes group, rather than a missing chapter from the days of Weather Report's I Sing the Body Electric. While Romao is the titular leader, his role on this 1976 release is more of an ensemble member than featured artist. It's Célia Vaz's arrangements for a crack lineup of session players that are the main interest. The high points are the four or five arrangements that gracefully interweave the horns with the sensuously pulsing voices of Sivuca, Julie Janeiro, and Gloria Oliveira. The charts also work in some intriguing Oregon-like passages for cello and soprano sax, and set up strong solos from Mauricio Smith on soprano sax and flute, Dom Salvador on piano, and from trumpeter Claudio Roditi, who brings some hard bop fire to the date. Sivuca's several solos where he vocalizes in unison with his uncredited accordion will be, at best, an acquired taste for listeners. Many, though, will find his piercing nasal tone annoying. ~ by Jim Todd, AMG.

Pablo Records, 2310-777, 1976
Original Jazz Classics, OJCCD-977-2, 1998
Recorded 12^th, 13^th January and 17^th & 23^rd February, 1976 At RCA Recording Studios, New York City 

Musicians:
Dom Um Romão - Drums
Alan Rubin, Claudio Roditi - Trumpet, Flugelhorn
Jack Jeffries, Tom Malone - Trombone
Ronnie Cuber, Sonny Fortune - Saxophone
Mauricio Smith - Soprano Saxophone
Lou Del Gatto, Mauricio Smith - Clarinet, Flute
Dom Salvador - Piano
Ricardo Peixoto, Sivuca - Acoustic Guitar
Ron Carter - Acoustic Bass
Juan "Tito" Russo - Electric Bass
Pat Dixon, Ulysses Kirksey - Cello
Steve Kroon - Percussion, Congas
Glória Oliveira, Julie Janiero, Sivuca - Backing Vocals
Célia Vaz - Conductor, Arranger 

Tracks:
A1. Escravos De Jo {Milton Nascimento} (4:06)
A2. Mistura Fina {Luiz Bandeira} (3:10)
A3. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (5:14)
A4. Spring {Ricardo Peixoto} (3:33)
A5. Pra Que Chorar {Baden Powell} (4:44)
B1. Amor Em Jacuma {Dom Um Romão, Luiz Ramalho} (5:28)
B2. Cisco Two {Célia Vaz} (4:10)
B3. Tumbalelê {Francisco Neto, Jarbas Reis, Milton Neves} (3:21)
B4. Piparapara {Claudio Roditi} (3:53)
B5. Chovendo Na Roseira {Antônio Carlos Jobim} (3:16) 

Total Time: 40:55

Credits:
Producer - Dom Um Romão
Engineer - Bob Simpson
Remastering - Kirk Felton
Cover, Design, Layout - Norman Granz
Photography - Monica Botkay
Liner Notes - Christine Jacobsen