All of Hank Crawford's many
recordings for Milestone in the 1980s and '90s are worth picking up by his fans
although this reasonably enjoyable outing is not one of the more essential
ones. The soulful altoist is joined by Dr. John on piano and organ, guitarist
Melvin Sparks, bassist Wilbur Bascomb, Jr., drummer Bernard Purdie and a
five-piece horn section (Houston Person and David "Fathead" Newman
get a tenor solo apiece) for a set mostly comprised of group originals plus the
old ballad "Say It Isn't So" and Thomas A. Dorsey's spiritual
standard "Precious Lord"; Dr. John takes a vocal on his "Tragick
Magick." ~ by Scott Yanow, AMG.
Milestone Records, M-9140, 1985 Recorded 5th, 6th & 12th
August, 1985 At Quadrasonic Sound, New York City
Musicians: Hank Crawford - Alto
Saxophone, Arranger, Conductor Alan Rubin, Randy Brecker -
Trumpet David "Fathead"
Newman - Alto Sax, Tenor Sax [Solo] (#B3) Houston Person - Tenor Saxophone
[Solo] (#A1) Howard Johnson - Baritone
Saxophone Dr. John - Piano, Organ,
Vocals (#A2) Melvin Sparks - Guitar Wilbur Bascomb Jr. - Bass Bernard Purdie - Drums
Tracks: A1. Roadhouse Symphony
{Melvin Sparks} (5:48) A2. Tragick Magick {Mac
Rebennack} (4:38) A3. Jubilee {Hank Crawford}
(5:01) A4. Say It Isn't So {Irving
Berlin} (4:48) B1. Time Is On Our Side {Mac
Rebennack, Walter Bullock} (6:12) B2. Precious Lord {Thomas
Dorsey} (5:14) B3. Sugar Ditch {Hank
Crawford} (6:13)
Total Time: 37:54
Credits: Producer - Bob Porter Engineer - Malcolm Addey Engineer [Assistant] - David
Sussman Mastering - George Horn Cover, Artwork, Design - Jamie Putnam Art Direction - Phil Carroll Photography - Phil Bray
This scintillating set is
appropriately titled Time to Let Go and truly reflects the trumpeter's musical
state of mind. Firmly established as a contemporary jazz master, Terrell
Stafford is now getting the critical acclaim his talent deserves. Unlike many of
his peers, he is nothing short of seasoned. He spent five years touring with
Bobby Watson's scintillating post-bop quintet, which included pianist Ed Simon,
drummer Victor Lewis and saxophonists Steve Wilson and Tim Warfield who join
Terell here, together with vibraphonist Steve Nelson.
Candid Records, CCD 79702,
1995 Recorded 8th-9th March, 1995 at
Power Station Studios, New York
Musicians: Terell Stafford - Trumpet,
Flugelhorn Steve Wilson - Alto
Saxophone, Soprano Saxophone (#2,4) Tim Warfield - Tenor
Saxophone (#4,9) Edward Simon - Piano Steve Nelson - Vibraphone
(#2,6) Michael Bowie - Bass Victor Lewis - Drums (Except
#5) Victor See-Yuen - Percussion
(#2,8)
Tracks: 1. Time To Let Go {Terell
Stafford} (4:43) 2. Was It Meant To Be?
{Stephen Scott} (6:15) 3. Polka Dots And Moonbeams
{Johnny Burke, James van Heusen} (5:55) 4. Qui Qui {Terell Stafford}
(7:15) 5. On The Trail {Harold
Adamson, Ferde Grofé} (8:09) 6. Why? {Terell Stafford}
(4:31) 7. Soon {Lorenz Hart, Richard
Rodgers} (6:26) 8. Send In The Clowns
{Stephen Sondheim} (5:47) 9. Just A Closer Walk With
Thee {Traditional, Arr. Terell Stafford} (3:42)
Credits: Producer, Mastering, Arranger
- Terell Stafford Executive Producer - Alan
Bates Engineer, Mixing - Jim
Anderson Assistant Engineer, Mixing
Assistant - Scott Austin, Scott Young Session Photographer -
Mitchell Seidel Mastering - Dave Glasser Cover Photo - R. Andrew Lepley
The third album by tenor
saxophonist J.D. Allen's working trio with bassist Gregg August and drummer
Rudy Royston is the shortest and most compressed one yet. He's a player given
to concision; the majority of pieces on 2008's I Am I Am and 2009's Shine! were
in the three- to four-minute range, but pieces on Victory! frequently come in
well shy of the three-minute mark. He says what he's got to say, allows his
bandmates (particularly Royston) to assert themselves, and then it's over.
Intensity and focus are here, but almost no self-indulgence. This is surprising
enough, but it becomes even more so when one reflects on how much Allen's tone
and even his phrasing on the horn recall John Coltrane circa 1964. Many of the
ideas heard here seem like variations on ones explored on classic Coltrane
discs like Crescent and The John Coltrane Quartet Plays. That's not to suggest that
Allen isn't a unique and compelling voice, because he absolutely is. But he's
working within a tradition and making no bones about it. Anyone looking for a
modern, relatively young (Allen was born in 1972) mainstream tenor player to
champion would do well to check out everything the J.D. Allen Trio releases. ~
by Phil Freeman, AMG.
Sunnyside Communications, SSC
1280, 2011
Musicians: J.D. Allen - Tenor Saxophone Gregg August - Bass Rudy Royston - Drums
Tracks: 01. Victory! (4:08) 02. The Pilot's Compass
(5:03) 03. The Thirsty Ear (2:01) 04. Sura Hinda (4:20) 05. The Learned Tongue (2:08) 06. Philippe Petit (2:55) 07. Motif (2:23) 08. Fatima (2:54) 09. Mr. Steepy (3:26) 10. Stairway To The Stars
(2:24) 11. The Hungry Eye (1:42) 12. Recapitulation [The
Pilot's Compass] (2:58)
All Compositions by J.D.
Allen
Total Time: 36:22
Victory! promises to
solidify Allen's reputation as one of jazz's most dynamic and inspiring
tunesmiths. Transcending a dissolute early life to create some of his era's
most memorable music, this album features Allen's high-octane rhythm section,
bassist Gregg August and drummer Rudy Royston. "Wasting notes is a waste
of time," says Allen. These songs, most of them no longer than three or
four minutes, stand out for their melodicism and intensity, ablaze with
memorable hooks and riffs by all three band members. Throughout the album,
Allen and his band mates eschew long solos in favor of setting a mood or
stating an intention and then following through taking the form of a classical
sonata - a theme and variations which end conclusively - Victory! offers twelve
succinct, interwoven compositions. ~ Extract by Amazon Editorial.
At the helm of an
Italian-French quartet composed of Fabrizio Bosso, Géraldine Laurent and Henri
Texier, Aldo Romano pays homage to the figure of Don Cherry with the twelve
tracks of Complete Communion, an impromptu project that later became stable and
today a record for Dreyfus. It is a journey of great impact through the
artistic journey of the American trumpeter - who passed away fifteen years ago
- where several of his compositions are investigated, completed by some
passages signed by Ornette Coleman and a single original title. At the heart of
the proposed music is the great harmony between the members of the group - each
with remarkable technical and expressive qualities -, the desire to elevate the
music towards moments of absolute value and the desire to remember a musician
who has a good slice of jazz was decisive. The album does not present - as one
might have imagined - great moments of avant-garde tension and improvisation,
while a sufficiently linear mainstream prevails. Modern record in being so tied
to tradition, but sparkling and proactive in its decisive pace, which never
loses the thread of the narrative discourse. Music with smooth outlines, but
with points of interest within, such as the leader's inexorable and elegant
drumming, the precision of sound developed by Bosso and the flexibility of
Géraldine Laurent's interventions. An excellent opportunity, therefore, for
those who want to frame the figure of Don Cherry differently, as well as for
those - albeit out of time - who want to get closer to this essential icon. ~
by AAJI Staff, AAJ.
The 2009 edition of Umbria
Jazz has proposed in its calendar an unprecedented and interesting trio
consisting of Joe Locke on the vibraphone, Rosario Giuliani on the sax and Dado
Moroni on the piano. The three concerts in Perugia, particularly followed by
the public, gave listeners the opportunity to enjoy a preview of the very
original project formulated and performed by the trio. This project was
recorded on the occasion by EGEA Music and is the subject of the CD “Stepping
on Stars”. This CD represents the fifth title of the prestigious EGEA - Umbria
Jazz series. The work of Stepping on stars escapes a simple classification. It
draws heavily on the language of Jazz but presents new elements. It is
undoubtedly chamber music, characterized by a great formal balance between the
parts, but it is also fluid music, the result of the creative contribution of
individuals. The themes, almost always "cantabile", are the object of
refined elaborations by each musician: the inspiration of Rosario Giuliani, the
refinement of Joe Locke, the immediacy of the interventions by Dado Moroni. All
without ever making an easy concession to mannerism, to complacency. Enjoyable
music, never banal. [Translated from Italian] ~ ibs.it.
Egea Records [Umbria Jazz], EUJ
1005, 2011 Recorded at Auditorium Santa
Cecilia, Perugia / Egea Recording Hall July, 2009
Musicians: Joe Locke - Vibraphone Rosario Giuliani - Alto &
Soprano Saxophones Dado Moroni - Piano
Tracks: 1. Sword Of Whispers {Joe
Locke} (8:07) 2. My Angel {Rosario
Giuliani} (6:37) 3. Brother Alfred {Dado
Moroni} (5:00) 4. Beatrice Rose {Joe Locke}
(7:02) 5. Love Is A Pendulum {Joe
Locke} (6:10) 6. Stepping On Stars {Joe
Locke} (6:49) 7. Alone {Dado Moroni} (3:38) 8. The Peacocks {Jimmy
Rowles} (7:34)
For his fourth Palmetto CD,
Matt Wilson sends his regular quartet on a brief vacation and recruits Terell
Stafford on trumpet, Larry Goldings on piano (not organ), and Dennis Irwin on
bass. Previous efforts with the Matt Wilson Quartet and with Dewey Redman have
gained Wilson a left-of-center reputation, but on Arts and Crafts the drummer
confounds expectations altogether. He begins with Rahsaan Roland Kirk's
"Stompin' Grounds," a no-frills ride through "Stompin' at the
Savoy" changes. Two tracks later, the band runs down Bud Powell's
"Webb City," packing an enormous punch without exceeding four
minutes. But just when it seems this might be a bebop record, the band puts a
boogaloo spin on Ornette Coleman's "Old Gospel" and throws yet more
curves on Wilson's three adventurous originals. "Lester," written in
honor of the late Lester Bowie, develops into a slow shuffle blues; "Final
Answer," a diatonic free bop theme, features Goldings challenging the ears
with some bracingly "outside" playing; and the title track, a slow
groove, again finds Goldings reaching in subtle but marked contrast to the
superb bop playing he does elsewhere on the disc. (Indeed, Goldings' presence
is one of the album's biggest draws, not least because his outings on acoustic
piano are so rare.) Back in straight-ahead mode, the group offers George
Gershwin's "Love Walked In," Hal Hopper's "There's No You,"
and Nelson Cavaquinho's bossa classic "Beija-Flor." The disc wraps up
with a soothing, simple arrangement of the folk melody "All Through the
Night." On balance, this could be considered Wilson's most straight-ahead
record yet, but it's clearly not Wilson's intention to fit neatly into any
category. If anything, with Arts and Crafts he seems to insist, quite
eloquently, that musicians need not declare allegiance to any of jazz's warring
camps. ~ David R. Adler, AMG.
Palmetto Records, PM 2069,
2001 Recorded 2nd October, 2000 At
Maggie's Farm, Buck's County, Pennsylvania
Musicians: Matt Wilson - Drums Terell Stafford - Trumpet Larry Goldings - Piano Dennis Irwin - Bass
Tracks: 01. Stompin' Grounds {Rahsaan
Roland Kirk} (5:37) 02. Lester {Matt Wilson}
(5:21) 03. Webb City {Bud Powell}
(3:43) 04. Beija-Flor {Nelson
Cavaquinho} (5:40) 05. Final Answer {Matt
Wilson} (4:43) 06. There's No You {Hal
Hopper} (3:16) 07. Arts and Crafts {Matt
Wilson} (5:35) 08. Old Gospel {Ornette
Coleman} (5:12) 09. Love Walked In {George
Gershwin, Ira Gershwin} (6:55) 10. All Through The Night
{Traditional} (5:04)
Total Time: 51:06
Credits: Producer, Engineer - Matt
Balitsaris Design - Jason Grotrian Photography - Jimmy Katz
The Magic Number is
an acoustic trio with Zach Brock on violin, Matt Wigton on bass, and Fred
Kennedy on drums, as well as wordless vocals and pitched percussion. The
group's unusual instrumentation allows for a wide variety of sounds, from
sparse to dense, and the group’s repertoire is a mix of Zach's original
compositions with original arrangements of modern and classic jazz and pop
standards. The absence of either piano or guitar demands extra harmonic duties
from each member of the trio, including chordal techniques from the strings and
a more contrapuntal approach to the musical arrangements overall. ~ achbrock.
Secret Fort Records, 60205, 2011 Recorded 20th-22nd May, 2010
at Acoustic Recording, Brooklyn, New York
Musicians: Zach Brock - Violin, Violin
[Baritone], Voice Matt Wigton - Bass Frederick Kennedy - Drums,
Percussion Scott Anderson - Percussion
[Additional], Vocals
Tracks: 1. Yeah Yeah Yeah {Zack
Brock} (5:52) 2. Summer Dance {Zack Brock}
(6:23) 3. You Don't Know What Love
Is {Don Raye, Gene DePaul} (6:32) 4. Sno' Peas {Phil Markowitz}
(5:22) 5. Brooklyn Ballad {Zack
Brock} (4:42) 6. Golden Nuggets {Zack
Brock} (5:26) 7. Man Of The Light {Zbigniew
Seifert} (6:24) 8. In The Dark {Zack Brock}
(7:20)
Total Time: 48:01
Credits: Producer, Mixing &
Mastering - Scott Anderson Recording Engineer - Michael
Brorby Graphic Design - Janis Vogel
Seriously, Violin Jazz ================== Zack Brock plays violin. And he plays jazz. And
he's fantastic on his instrument. But that's not the real secret of this album.
The full value lies in Mr. Brock's abilities as a leader and writer. This is a
serious jazz album, through and through. Tempos, keys, and themes vary from
song-to-song, but the album holds together very nicely as a whole. The
recording is beautiful, you can hear the timbre on each instrument. Production
is kept to a minimum so you can appreciate the playing for itself. Highly
recommended--No Household Should Be Without (NHSBW). ~ docviper, Amazon.com.
Honoring various composers,
vibraphonist Joe Locke has led his group for three years in an annual gig at
Dizzy's Coca Cola Club in New York. Recently Locke decided to record the output
with the happy result being For The Love Of You. Four top-flight musicians
are gathered for this gig - pianist Geoffrey Keezer, bassist George Mraz, and
drummer Clarence Penn. Joining the four, little-known vocalist Kenny Washington
- Vocals (not to be confused with the renowned drummer of the same name) is the
real star here. How they all got together is an interesting story. Locke met
Washington singing in a small venue in Half Moon Bay, Northern California. He
was so impressed with what he heard that he decided to collaborate with him in
the future. He got the chance during Mancini week at Dizzy's, an event that
honored film composer Henry Mancini. This was the beginning of what became a
yearly get-together. After the first year, the program expanded to include the
music of other film-score writers, including Johnny Mandel and Ennio Morricone.
In 2009, the scope was widened further, bringing in material from pop-rockers
the Isley Brothers and Neil Young, along with standards and Locke originals.
Washington is heard on seven of the ten tracks. He has a smooth tenor voice with
a four-octave range. At all times, he respects the lyrics. Each number, whether
slow ballad or swing, he stays with the story. In a style akin to Nat King
Cole, he begins in a mellow mood with Mancini's "Two for the Road."
Next the atmosphere warms with a bouncy version of Lane/Harburg's "Old
Devil Moon." The backup from Locke and his crew could not be better.
They create a sphere for the vocals to shine while leaving ample space for all
to show their solo talents. Three instrumental tracks further emphasize their
collective prowess. A centerpiece of the record is Mandel's "The Shadow
of Your Smile." At the start, Penn's up-tempo drumming is effective
counterpoint to Washington's leisurely pace. Soon it builds toward an explosive
climax. Keezer and Locke further add sparks with torrid solos, and Washington
finishes with a coda that vividly shows off his wide range. Of the
instrumentals, Morricone's "Cinema Paradiso" is a winner.
Mraz's stately bowed-bass opening gives way to dreamy solos by Locke and
Keezer. Mraz concludes the piece with a lovely pizzicato flourish. ~ by Larry
Taylor, AAJ.
E1 Entertainment,
E1E-CD-2046, 2010 Recorded 11th-12th May, 2009
At Systems Two Studios, Brooklyn, New York
Musicians: Joe Locke - Vibraphone,
Arranger Geoffrey Keezer - Piano George Mraz - Bass, Arranger Clarence Penn - Drums Kenny Washington - Vocals (#1-4,6,7,9)
Tracks: 01. Two For The Road {Leslie
Bricusse, Henry Mancini} (5:04) 02. Old Devil Moon {E.Y.
"Yip" Harburg, Burton Lane} (7:34) 03. For The Love Of You
{Ernie Isley, Chris Jasper} (6:01) 04. Verrazano Moon {Joe
Locke} (6:30) 05. I Miss New York [When I
Been Gone Too Long] {Joe Locke} (4:57) 06. Birds {Neil Young} (4:56) 07. The Shadow Of Your Smile
{Johnny Mandel, Ben Webster} (7:57) 08. Cinema Paradiso {Ennio
Morricone} (5:24) 09. Pure Imagination {Leslie
Bricusse, Anthony Newley} (5:27) 10. Bright Side Up {Joe
Locke} (5:11)
Total Time: 59:01
Credits: Producer, Liner Notes - Joe
Locke Producer - Todd Barkan Recording & Mixing
Engineer - Michael Marciano Mastering Engineer - Alan
Silverman [Art Studio] Management - nadworks. ltd
Nadja von Massow Arranger - Art Hirahara, Pat
O'Leary Artwork, Graphic Design -
Nadja von Massow Cover Photo - Christoph Risch Photography - Russ Titelman, Alexandros
Lambrovassillis, Tom Marcello
Geri Allen's long career proved
that she felt as at ease as a front woman as well as a side-woman in most jazz
groupings. She was awarded the first winner of the Lady Of Soul in Jazz,
a testament of her ability to have adapted and evolve over time, clearly shown
in her musical flexibility somewhat reflective in the career of McCoy Tyner
whom she plays a wonderful tribute. On this date she performs three of Tyner's
tunes utilising his bassist Gerald Cannon and drummer Francisco Mela that also accompanied
McCoy and Craig Taborn on the same evening. Geri chooses some brilliant Tyner
compositions in a fitting compliment to the master pianist. In addition to
these three tracks Geri expresses her heartfelt words acknowledging him as an
inspiring and a truly impressive ambassador to the jazz world. Of course, Geri
in her own right was a phenomenal player and contributor to jazz. Essentially,
she alongside McCoy have left their mark and legacy for future generations of
jazz lover to enjoy!
France Musique [arte concert] Recorded 11th September, 2016
at grand auditorium, Philharmonie de Paris, France
Musicians: Geri Allen - Piano Gerald Cannon - Bass Francisco Mela - Drums
Tracks: 1. Peresina {McCoy Tyner}
(12:02) 2. You Taught My Heart To
Sing {McCoy Tyner} (10:24) 3. Four By Five {McCoy Tyner}
(6:21) 4. Talk {Geri Allen} (0:45)
Total Time: 29:32
Note: Included is a trimmed and edited video of Geri,
Gerald & Francisco in action. It is a section of Jazz à la Villette:
"Echoes with a Friend" with Geri Allen, Craig Taborn & The McCoy
Tyner Trio (2016).
With apologies to Dianne
Reeves, Patti Austin has always quite simply been the best jack-of-all-genre
singers on the planet, crossing effortlessly from jazz to pop and R&B with
a voice that's so sweet, rich, and lovely, it can't help but warm the heart. On
the heels of her 1988 masterpiece The Real Me, her GRP debut packs a wallop of
festive up-tempo tunes, lite funk pop, torchy message songs, passionate
ballads, and breezy tenderness -- all delivered with a truly Austin-tatious
flair. Austin surrounds herself with some of pop jazz's best here, with GRP's
1990 roster well represented: Dave Grusin (whose production is flawless), Don
Grusin (with whom she co-wrote the happy "Ooh Wee [The Carnival]"),
Deborah Henson-Conant (whose harp adds punch to "In My Dreams"), Lee
Ritenour, and Nelson Rangell (whose alto soars on the title cut). But as
tantalizing as the music is, it is Austin who gives the collection wings with a
powerful voice whose mood she so artfully modulates depending on the feel of
the individual tune. Soft and tender on her own composition "In My
Life," easy and lilting for "In My Dreams," and full of genuine
excitement for "Through the Test of Time" and "Ooh Wee." An
added bonus is the Oscar nominated "The Girl Who Used to Be Me,"
which gives Austin a chance to show her range, even if the tune is a bit
schmaltzy. ~ by Jonathan Widran, AMG.
GRP Records, GRD-9603, 1990 Recorded At Sunset Sound
Studios, Hollywood, California
Personnel: Patti Austin - Vocals,
Backing Vocals, Vocal Arrangements Dave Grusin - Piano,
Synthesizer, Keyboards, Harmonica, Rhythm & Vocal Arrangements, Vocals
[Background] Nelson Rangell - Alto
Saxophone Ernie Watts - Tenor Saxophone David Paich - Keyboards,
Synthesizer, Arranger Greg Phillinganes - Piano Steve Porcaro - Synthesizer Michael Landau, Lee Ritenour
- Guitar Nathan East, Neil Stubenhaus
- Bass Deborah Henson-Conant - Harp Harvey Mason - Drums Paulinho Da Costa, Lenny
Castro, Michael Fisher, Jeff Porcaro - Percussion Robin Beck, Shelton Becton,
Jocelyn Brown, Bill Eaton, Lani Groves, Casey Sissik, James
"D-Train" Williams - Vocals [Background]
Strings: David Nadien - Concert
Master, Violin Elena Barere, Arnold Eidus,
Barry Finclair, Regis Iandiorio, Charles Libove, Louann Montesi, John
Pintavalle, Matthew Raimondi, Richard Sortomme, Marti Sweet, Gerald Tarack -
Violin Jean R. Dane, Carol Landon,
Sue Pray - Viola Charles McCracken, Richard
Locker - Cello
Tracks: 01. Through The Test Of Time
{David Pack, Jeff Pescetto} (5:07) 02. Too Soon To Know
{Lorraine Feather, Michael McDonald, David Pack} (4:23) 03. In My Life {Patti Austin}
(4:04) 04. Love Is Gonna Getcha {Lou
Pardini, Alan Scott, Reed Vertelney} (5:04) 05. Ooh-Whee [The Carnival]
{Patti Austin, Don Grusin} (5:41) 06. Believe The Children {Lyn
Laboriel, Lou Pardini, Abraham Laboriel, Sr.} (5:36) 07. Good In Love {Robin
Batteau, François Eckart, Jeff Southworth} (4:38) 08. Wait For Me {Don Grusin,
Kate Markowitz, Christina Trulio} (5:26) 09. First Time Love {Patti
Austin, Dave Grusin, Harvey Mason, Sr.} (5:31) 10. In My Dream {Eddie Arkin,
Edward Arkin, Beckie Foster} (5:09) 11. The Girl Who Used To Be
Me {Alan & Marilyn Bergman, Marvin Hamlisch} (4:16)
Total Time: 54:55
Credits: Producer, Executive Producer,
Liner Notes - Dave Grusin Executive Producer, Producer
- Larry Rosen Producer - David Paich Production Coordination -
Suzanne Sherman Production Assistant -
Barbara Hein Engineer - Bill Cooper, Tom
Knox, Ed Rak, Bob Schaper Assistant Engineer, Engineer
- Matthew "Boomer" La Monica, Joe Martin, Brian Soucy Engineer, Mixing - Don Murray Mixing Assistant - Elaine
Anderson Digital Editing - Mike Landy,
Robert Vosgien Mastering - Wally Traugott Creative Director - Andy
Baltimore Photography - Richard Corman Graphic Design - David Gibb,
Jacki McCarthy, Andy Ruggirello, Dan Serrano Liner Notes - Patti
Austin
For the uninitiated What
Survives is a strong entry point, highlighting Hays' abstract yet appealing
writing, and a playing style that is filled with impressionistically
out-of-the-box yet eminently lyrical musical thinking. It also demonstrates
Hays' ability to innovatively adapt classical material that's as reverential
yet improvisational. The album opens with three Hays originals, ranging from Stellar,
whose dark and introspective solo piano introduction evolves into lithely
swinging vehicle for understated interplay between Hays, Weiss and Stewart. The
title track revolves around a repeated 11/8 bass figure doubled by Weiss and
Hays' left hand - the piano treated to lend it a buzzing quality. Hays
gradually builds a vivid yet economical solo while Stewart plays liberally with
time placement. Hays applies a delicate electronic tremolo on the brooding Black
Elk full of the subtle processing but not pop-inflected. Four adaptations
of classical pieces follow, with Anniversary Waltz being the most
well-known. Hays retains its familiar theme intact over Weiss and Stewart's
vivid swing, but reharmonizations lend a more modernistic edge. J.B. is the clear highlight of the
album, demonstrating just how forward-thinking Hays' musical aesthetic is.
Based on Brahms' Symphony No. 1 in C Minor, it opens with reverse-attack
processed piano, but ultimately moves into an organic middle section that
progressively narrows the 200-year gap between its composition and Hays'
performance. An ambient reading of the classic You are My Sunshine ends
the disc on an ambiguous note that proves beauty can be found in the most
somber of places. The long break between albums may have cost Hays some
momentum, but also works to his advantage in allowing him to reinvent himself. What
Survives is hopefully just the beginning of a renewed career that will
finally appeal to the larger jazz-buying public. ~ Extract by John Kelman, AAJ.
PinonDisk Records, 001, 2005 NDS Records, NDS001, 2010 Recorded 13th March (#1,4)
& 3rd December (#2-3,5-8), 2001 At Acoustic Recording,
Brooklyn, New York
Musicians: Kevin Hays - Piano Doug Weiss - Bass Bill Stewart - Drums
Tracks: 1. Stellar {Kevin Hays}
(7:23) 2. What Survives {Kevin Hays}
(3:41) 3. Black Elk {Kevin Hays}
(4:33) 4. Anniversary Waltz {Josef
Ivanovichi, Adpt. Kevin Hays} (7:25) 5. J.B. {Adaption Kevin Hays}
(9:52) 6. Anton {Adaption Kevin
Hays} (7:02) 7. Du Pre {Adaption Kevin
Hays} (5:57) 8. You Are My Sunshine
{Jimmie Davis} (5:58)
Total Time: 51:51
Credits: Producer, Cover Painting -
Kevin Hays Engineer - Michael Brorby Mastering - Katsuhiko Naito Photography - Jimmy Katz,
Onno de Jong, Lea Rubin, David Johnson
"A beautiful record. Kevin Hays is a
true original. Everything he plays has a deep intelligence and swing. This
record showcases his own compositions. Doug Weiss and Bill Stewart on bass and
drums are in top form. Highly recommended." ~ Brad Mehldau.
For this album Géraldine
Laurent moves away from her previous trio formation with just bassist Yoni
Zelnik and drummer Franck Agulhon, to now evolve into a quartet with the
addition of pianist Pierre de Bethmann. In doing so there is no faltering in
Géraldine's ability to adapt and with this transition her power of expression
remains intact, impeccably aided by this new grouping. The results are
conclusive; whilst offering the listener a re-discovery of the music of too
little-known past veteran Gigi Gryce. The group interprets his work with
convincing enthusiasm and dexterity. Adding a pianist certainly raises the
dynamism of the group up a couple of notches. Along with Gigi's tunes Géraldine
forges ahead with five of her own and the set is rounded off with three well
delivered standards. From the outset, the tone (the groove!) is set, enjoy!
Dreyfus Jazz, FDM 46050
369562, 2010 Recorded 19th-21st January,
2010 At Studios Ferber, Paris, France
Musicians: Géraldine Laurent - Alto
Saxophone Pierre de Bethmann - Piano Yoni Zelnik - Bass Franck Agulhon - Drums
Tracks: 01. Black And Tan Fantasy
{Bubber Miley, Duke Ellington} (5:52) 02. Kerry Dance {Traditional,
Arr. Gigi Gryce} (5:21) 03. Cordova Is Dancing
{Géraldine Laurent} (4:17) 04. Minority {Gigi Gryce}
(5:39) 05. Did You Remember You
{Géraldine Laurent} (4:56) 06. Mau Mau {Art Farmer}
(6:29) 07. Nica's Tempo {Gigi Gryce}
(4:59) 08. Her Bets {Géraldine
Laurent} (3:27) 09. Gallop's Gallop
{Thelonious Monk} (1:41) 10. Smash {Géraldine Laurent}
(4:04) 11. Smoke Signal {Gigi Gryce}
(3:52) 12. Chains Smokers {Géraldine
Laurent} (3:01)
Total Time: 53:39
Credits: Producer - Francis Dreyfus Engineer, Mastering - René
Ameline Engineer [Assistant] -
Guillaume Dujardin Mastering [Assistant] -
Benjamin Joubert Photography - Sylvain Gripoix Photography [Pages 3 & 4]
- Jean-Baptiste Millot Artwork - Suite 303
Here we have an
excellent compilation gleaned from Italian maestro trumpeter Paolo Fresu's
prolific discography, especially so from his earlier albums. Many of the
compositions appeared on his Italian Splasc(h) and French Owl and BMG/RCA
Victor releases. This disc came bundled with the Musica Jazz Magazine and
includes three unissued tracks. From 1985 till now he has been a force majeure
on both the continent and abroad. There's not much more to add other than just
sit back and enjoy!
Musica Jazz, MJCD1148, 2002
Musicians: Paolo Fresu - Trumpet,
Flugelhorn Tino Tracanna - Tenor
Saxophone Roberto Cipelli - Piano Nguyen Le - Guitar Enzo Pietropaoli - Bass Ettore Fioravanti - Drums
Tracks: 01. Here Be Changes Made
(2:59) 02. Tempête À Florence (5:12) 03. Ton Kohz (2:06) 04. Tango Della Buona Aria
(4:14) 05. Ninna Nanna Per Vale
(4:19) 06. Nautilus (3:10) 07. Wanderlust [Composition
N.5 - KM.5341] (4:47) 08. Palazzina Americana
(5:44) 09. Start Eleven O'Clock
[Dedicated To Antonin Artaud] (3:01) 10. From Station To Station
(3:39) 11. Ossi Di Seppia (4:47) 12. Onomatopée [Da Un Testo
Di Raymond Queneau] (1:43) 13. Cortoum (4:57) 14. Mélos [Variazione Nove]
(4:39) 15. L'Homme Nu (4:42) 16. Opale (4:55) 17. L'Indagine (3:13) 18. Variazione Tre [Tema di
Mirphy] (4:27) 19. Madre Notte (3:21)
Equally talented as a pianist
and singer, Dena DeRose performs a wide range of material on A Walk in the
Park. Possibly the biggest surprise is the obscure and touching Al Jolson
ballad "All My Love." Other highlights include a swinging "How
Deep Is the Ocean," her revival of Duke Ellington's obscure "The
Lonely Ones," and a fine rendition of "I Concentrate On You." A
couple burners would have added variety to this generally satisfying effort,
which finds Dena DeRose in subtle but expressive form while accompanied by
tasteful playing from bassist Martin Wind and drummer Matt Wilson. ~ by Scott
Yanow, AMG.
MAXJAZZ, MXJ 502, 2005 Recorded 25th-26th September,
2004 At Systems Two Studios, Brooklyn, New York
Musicians: Dena DeRose - Piano, Moog
(#11), Vocals Martin Wind - Bass
(#1-9,10,11) Matt Wilson - Drums
(#1-9,10,11)
Tracks: 01. Meditation {Norman
Gimbel, Antônio Carlos Jobim, Newton Mendonça} (5:03) 02. All My Love {Al Jolson}
(5:55) 03. How Deep Is The Ocean?
{Irving Berlin} (5:45) 04. Home [With You] {Dena
DeRose} (4:42) 05. All The Way {James Van
Heusen, Sammy Kahn} (5:36) 06. The Lonely Ones {Duke
Ellington} (6:08) 07. In The Glow Of The Moon
{Dena DeRose, Meredith D'Ambrosio} (6:08) 08. Imagine {John Lennon}
(6:22) 09. A Walk In The Park [With
James] {Dena DeRose} (6:46) 10. I Could've Told You
{James Van Heusen, Carl Sigman} (2:33) 11. I Concentrate On You
{Cole Porter} (5:08)
Total Time: 60:06
Credits: Producer, Audio Production -
Dena DeRose Associate Producer - Dianna
Alden Lang Art Direction, Design -
Pressley Jacobs Photography - Dena Katz
Thom Rotella is a guitarist
with a fluid, Wes Montgomery-influenced sound, and 'A Day In The Life' is a
collection of light yet very engaging smooth-jazz tunes. Rotella opens the
album with the title track, a gently grooving rendition of the Beatles classic.
Rather than perform a paint-by-numbers version like many other smooth-jazz
artists, he chooses to put his own stamp on it by establishing the familiar melody
and then getting creative with it. On the dramatic "Baka," Rotella's
rhythmic playing is set over tribal percussion, and the lively funk tune
"A Different Story" features bouncy piano by keyboardist Roger Smith.
Rotella's graceful acoustic-guitar work and Steve Madaio's muted trumpet set
the mood on the dusky ballad "Candlelight," and Rotella's solo
acoustic guitar showcase, "Day Song," is a bright, catchy delight.
This isn't the most memorable collection of melodies you'll hear this year, but
'A Day In The Life' is a very enjoyable, if a bit evanescent, recording. ~ Lucy
Tauss, JazzTimes.com.
Trippin' N Rhythm, 64494-90512-2,
2002
Musicians: Thom Rotella - Acoustic &
Electric Guitars, Keyboards, Synthesizer, Drum Programming Bill Churchville - Trumpet
[Muted] Steve Madaio - Horn, Trumpet,
Trumpet [Muted] Tom Saviano - Tenor
Saxophone, Horn Nick Lane - Horn Bill Champlin - Organ Jim Studer - Keyboards,
Synthesizer, Synthesizer Arrangements Brad Cole - Drum &
Keyboard Programming, Keyboards, String Arrangements Roger Smith - Keyboards Randy Tico, Stan Sargeant,
Vail Johnson - Bass Tom Walsh, Land Richards - Drums Chris Rhyne, Julian Bunetta -
Drum Programming, Keyboards, Synthesizer Arno Lucas, Michael Fisher -
Percussion
Tracks: 01. A Day In The Life {John
Lennon, Paul McCartney} (3:51) 02. All B Cause Of You {Thom
Rotella} (4:22) 03. Look But Don't Touch
{Thom Rotella, Tom Saviano} (3:42) 04. K.I.G. Vamp {Thom
Rotella, Tom Saviano} (0:28) 05. Candlelight {Thom
Rotella} (4:29) 06. A Different Story {Thom
Rotella, Tom Saviano} (3:53) 07. Only 4 One Moment {Thom
Rotella} (4:25) 08. Keep It Goin' {Thom
Rotella, Tom Saviano} (5:07) 09. Baka {Thom Rotella}
(4:20) 10. The Little Things {Thom
Rotella} (4:30) 11. All 4 You {Thom Rotella,
Tom Saviano} (4:14) 12. As The Night {Thom
Rotella} (4:29) 13. Day Song {Thom Rotella}
(3:18) 14. The Beginning {Thom
Rotella} (1:05)
Total Time: 52:13
Credits: Producer - Thom Rotella,
Synthesizer Arrangements Producer - Tom Saviano, Horn
& Synthesizer Arrangements Producer (#10) - Julian and
Peter Bunetta Engineer - Mark Lindenberg Mixing - Matt Hyde Mastering - Bernie Becker Cover Photo - Kelvin Jones Design - Barbara Cooper
Mike Nock - Almanac (24/48 vinyl rip)
Improvisational Artists 1967 1) Specific Gravity One
2) Symbiosis
3) Emovations
4) Almanac
5) Hallucinogen
6) Double Split
7) J.C. Dudley
Mike Nock Piano, Cecil McBee bass, Bennie Maupin tenor sax, flutes, Eddie Marshall drums
If there is an earlier Mike Nock album, I am unaware of it. Even here this was a Band that used the name Almanac, so this may be better described as their eponymous first album rather than Mike's first as a leader. My first exposure to Nock was with Yusef Lateef and Cannonball Adderley and then the magnificent Fourth Way. This album slides right in between, on the eve of the Fourth Way, it was likely the only record on Improvisational Artists that wasn't free jazz.
The record is a modal magic carpet ride, an album boldly pointing the way to the new music of the 70's....three years earlier. The core of Nock, Cecil and Eddie is nothing short of breathtaking, As remarkable and sensitive a three-way conversation as you will ever hear. They clearly inspire young Bennie Maupin to some of his best pre-Mwandishi sextet work on record. All of the album is original and memorable music. This stuff is still fresh and exciting even 46 years later, don't miss it.
The music contained
within this digital download is a compilation of tracks gleaned predominantly
from a number of recorded sessions in New York by Tony Fruscella with the final
two from a date in New Jersey. Essentially, very few recordings of this lyrical
but tragic trumpeter exist and this collection is a great place to start to
appreciate his expertise. Overall, this collection is an inspiring insight into
one of America’s great lost trumpeters, enjoy!
The Jazz Factory, 1999 Recorded 3rd August, 1959
(#1); 23rd January, 1955 (#2) at
Birdland, New York City; mid 1953 (#3,5-9) at The
Open Door Club, Greenwich Village, New York City; 7th November, 1955 (#4) at
Pithyan Temple, New York City; November, 1959 (#10,11) at
Ridgewood High School, New Jersey
Personnel:
#1: Tony Fruscella - Trumpet Bill Keck - Guitar 3rd August, 1955 or 1959
#2: Tony Fruscella - Trumpet Stan Getz - Tenor Saxophone Johnny Williams - Piano Bill Anthony - Bass Frank Isola - Drums 23rd January, 1955 at
Birdland, New York City
#3,5-9: Tony Fruscella - Trumpet Bill Triglia - Piano Teddy Kotick - Bass Art Mardigan - Drumsmid 1953 at The Open Door
Club, Greenwich Village, New York City
#4: Tony Fruscella - Trumpet Hank Jones - Piano Wendell Marshall - Bass Shadow Wilson - Drums 7th November, 1955 at Pithyan
Temple, New York City
#10,11: Tony Fruscella - Trumpet Stan Getz - Alto Saxophone Bill Triglia - Piano Bill Keck - Guitar Paul Chambers - Bass Roy Hall - Drums November, 1955 or 1959 at
Ridgewood High School, New Jersey
Tracks: 01. Lover Man {Jimmy Davis,
Roger "Ram" Ramirez, Jimmy Sherman} (3:27) 02. Pernod {Stan Getz} (4:38) 03. Imagination {Johnny
Burke, Jimmy Van Heusen} (5:31) 04. Tony's Blues {Tony
Fruscella} (5:13) 05. Donna {Jackie McLean}
(5:18) 06. A Night In Tunisia {Dizzy
Gillespie, Frank Paparelli} (8:35) 07. Bernie's Tune {Bernard
Miller, Jerry Lieber, Mike Stoller} (8:58) 08. Sometimes I'm Happy
{Vincent Youmans, Irving Caesar} (9:34) 09. Hachensack {Thelonious
Monk} (10:19) 10. Night Train {Jimmy
Forrest, Lewis Simpkins, Oscar Washington} (11:24) 11. Scrapple From The Apple
{Charlie Parker} (13:12)
Active on the scene for
decades, 78-year-old tenor saxophonist Houston Person still seems to be a
discovery for some. Both newcomers to his music and longtime fans will no doubt
enjoy this latest recording featuring a formidable group: veteran pianist Cedar
Walton (with whom Person first collaborated in the 1960s), bassist Ray Drummond
and drummer Lewis Nash. Person showcases his warm, enveloping tone and big
sound, steeped in bop, blues and the Great American Songbook, on a set of
beloved tunes, some still relatively unexplored. Opening is Milt Jackson’s
“Bags’ Groove,” where Walton takes the first solo, laidback yet abounding with
spirit and sentiment; Person stretches out in luxurious fashion while Drummond
and Nash contribute their own groove-enhancing statements. One of three ballads
in the program, “My Foolish Heart” illustrates Person’s fundamental approach to
his horn, eloquently expressing heartfelt emotion in much the same way a
vocalist might. Nash’s swinging brushwork shines on the sumptuous “That’s All”
and “How Little We Know,” and Walton shimmers on “Red Sails in the Sunset.” The
Ellington/Hodges gem “It Shouldn’t Happen to a Dream,” largely unrecorded since
the 1950s, is revived in grand style, with poignant solos by Person and Walton,
as Nash and Brown sustain taut yet fluid movement. Recorded at the legendary
Van Gelder Studio, this throwback album is nonetheless fresh and imaginative.
Aptly titled, it’s a relaxed, compelling set on which Person and his bandmates
demonstrate unaffected dexterity, swing and soul. ~ Sharonne Cohen, JazzTimes.
HighNote Records, HCD 7245,
2012 Recorded 5th July, 2012 At
Van Gelder Recording Studio, Englewood Cliffs, New Jersey
Musicians: Houston Person - Tenor
Saxophone Cedar Walton - Piano Ray Drummond - Bass Lewis Nash - Drums
Tracks: 1. Bag's Groove {Milt
Jackson} (7:09) 2. That's All {Bob Haymes}
(5:52) 3. [How Little It Matters]
How Little We Know {Phil Springer, Carolyn Leigh} (4:30) 4. Namely You {Gene DePaul,
Johnny Mercer} (6:53) 5. My Foolish Heart {Victor
Young, Ned Washington} (6:34) 6. Red Sails In The Sunset
{Wilhelm Grosz, Jimmy Kennedy} (4:25) 7. Don' Cha Go 'Way Mad
{Illinois Jacquet, Jimmy Mundy, Al Stillman} (5:38) 8. It Shouldn't Happen To A
Dream {Duke Ellington, Johnny Hodges, Don George} (5:54) 9. Sunday {Jule Styne,
Chester Conn, Bennie Krueger, Ned Miller} (5:24)
Total Time: 52:18
Credits: Producer - Houston Person Executive Producer - Joe
Fields Engineer, Mixing, Mastering -
Rudy van Gelder Assistant Engineer - Maureen
Sickler Photography - Alan Nahigian Design - Brad Wrolstad Liner Notes - David Jaye
Tenor saxophonist Eddie
"Lockjaw" Davis recorded enough material over these two sessions to
fill up four records. The seven selections included on this album were recorded
during the same period as Davis's better-known Cookbook albums. The album
includes: Jerome Richardson swapping between baritone, flute and tenor on three
of the tunes; bassist George Duvivier; drummer Arthur Edgehill and of course
the 'Queen of the Organ' Shirley Scott. As a group the players swing hard
covering some solid originals by both Eddie and Shirley, some blues and an
occasional ballad. It is not hard to see why this Eddie "Lockjaw"
Davis band was very popular in its time being such a powerful and accessible
band even today's mixed jazz world. A definite classic of this genre. ~ Extract
by Scott Yanow, AMG.
Prestige Records, PRST 7301, 1963 Recorded on 12th September
(#A3,B1,B3,B4) & 5th December, 1958
(#A1,A2,B2) Hackensack, New Jersey
Musicians: Eddie "Lockjaw"
Davis - Tenor Saxophone Jerome Richardson - Baritone
Sax (#A1), Flute (#A2), Tenor Sax (#B2) Shirley Scott - Organ George Duvivier - Bass Arthur Edgehill - Drums
Tracks: A1. High Fly {Randy Weston}
(6:14) A2. Smoke This {Eddie
"Lockjaw" Davis, Shirley Scott} (6:05) A3. Pennies From Heaven
{Johnny Burke, Arthur Johnston} (5:14) B1. Pots And Pans {Eddie
"Lockjaw" Davis, Shirley Scott} (3:27) B2. Jaws {Eddie
"Lockjaw" Davis, Shirley Scott} (5:28) B3. It's A Blue World {George
Forrest, Robert C. Wright} (5:01) B4. Blue Lou {Irving Mills,
Edgar Sampson} (3:39)
Total Time: 35:08
Credits: Supervision - Esmond Edwards Recording Engineer - Rudy van
Gelder Cover Design, Photo - Don
Schlitten Liner Notes - John D. Monroe (November 1963)
This set features a very logical matchup. Richie Cole's main influence has long been Phil Woods, so these concert performances pitting the two altoists together have plenty of fire and extroverted improvisations. With pianist John Hicks, bassist Walter Booker and drummer Jimmy Cobb backing the soloists, Woods and Cole really push each other on "Scrapple from the Apple," "Donna Lee" and "Side by Side." Tenor-great Eddie "Lockjaw" Davis sits in on "Save Your Love for Me," the younger altoist has "Polka Dots and Moonbeams" to himself and Cole and Woods have fun on a brief free-form "Naugahyde Reality." It's a generally high-powered and enjoyable set.
Richie Cole with Phil Woods – Side By Side Muse Records MR 5237 Vinyl LP, US 1981
A1 Save Your Love for Me A2,3 Naugahyde Reality/Scrapple from the Apple B1 Donna Lee B2 Polka Dots and Moonbeams B3 Eddie's Mood/Side by Side
(A2 & A3 play as one track)
Richie Cole & Phil Woods alto sax, Walter Booker bass, Jimmy Cobb drums, Eddie Davis tenor sax, John Hicks piano
Recorded at The Historic Paramount Theater, Denver, Co July 25th & 26th, 1980
"The father/son quality of this good double-alto sax recording is right on the surface. Richie Cole owes some of his sound to Phil Woods, and both owe some of their most distinctive features to Charlie Parker. There`s a bit of rivalry here, too. The younger alto player, Cole, asserts himself so strongly that it is as if he is trying to raise the questions of who is influencing whom. But it is all in the family, and the ultimate effect of their sharing the stage in this reissue of a 1980 date is energy and affection."
"At an overbooked all-star saxophone concert held in 1965 Berlin, the musicians were supposed to only play for 15 minutes. Tenor saxophonist Booker Ervin protested against the restrictive situation by performing the intense and stirring "Blues for You" for 27½-minutes, tearing down the house. A decade later (after Ervin's 1970 death) the performance (with pianist Kenny Drew, bassist Neils Pedersen and drummer Alan Dawson) was released for the first time and its passion was worth waiting for. Also on this historic album is pianist Horace Parlan's somber solo tribute to Ervin ("Lament for Booker") which was recorded in 1975." AMG
The first rip on my new Pro-Ject carbon turntable!
An interesting early fusion mélange,
very open settings, Vitous overdubbing electric, or even electric piano,
everybody leaves a lot of space in the music for the others, like a Bitches
Brew stripped down to the very essence. The complete line-up is only on part of
the album. It is totally different from his US debut Infinite Search, which is
powerplay, in comparison - Purple is not exactly restrained or
thoughtful, but takes its time much more. Somewhere in between In a Silent
Way and the first Weather Report. On side one, Zawinul on Rhodes, Vitous on
acoustic and Cobham play the title track, which is a rocky Vitous original
(some bowed bass solo overdubbed), and Ron Carter's Mood. I like Zawinul
better here than on any other album, I must admit. Side two starts with
McLaughlin, Vitous on electric bass and piano (overdubbed), and Cobham doing Water
Lilie, which could have made it to Weather Report's first LP as far as the
mood is concerned; Shorter's Dolores with just Vitous and Cobham, two
basses, arco overdubbed, similar to Mountain in the Clouds from Infinite
Search; and Vitous' It Came From Nowhere, an experimental rockish track
with Vitous and Cobham, both oberdubbing electric piano and a second drumset. ~
mikeweil, organissimo.org.
CBS/Sony Records, SOPC
57101-J, 1970 Recorded 25th August, 1970 At
Apostolic Studio, New York City
Musicians: Miroslav Vitous - Bass,
Electric Piano (#B1,B3) Joe Zawinul - Electric Piano
(#A1,A2) John McLaughlin - Guitar
(#B1) Billy Cobham - Drums
Tracks: A1. Purple {Miroslav Vitous}
(9:33) A2. Mood {Ron Carter} (7:25) B1. Water Lilie {Miroslav
Vitous} (8:52) B2. Dolores {Wayne Shorter}
(4:09) B3. It Came From Knowhere
{Miroslav Vitous} (5:11)
Total Time: 35:10
Credits: Producer - Miroslav Vitous Engineer - David Baker Photography - Yuzoh Satoh
"I
made that album after Infinite Search. I was working with David Baker, the
engineer, and was experimenting with different musicians and material. I had
Billy Cobham, John McLaughlin and Joe Zawinul there. They experimented with me.
After six months, I thought I had enough material and put together an album. I
think there is some excellent music on it. Purple was made before Weather
Report started, but you can already hear some material that we later played
with the band. There’s a song called "Water Lily," which has an
identical skeleton to a piece we recorded with Weather Report called
"Morning Lake." There’s another Weather Report piece called
"Seventh Arrow" that was also on Purple. There was a development of
the material on Purple that ended up in Weather Report. It was a stepping
stone." ~ Extract by Miroslav
Vitous, innerviews.org.
