Pia Boda - Chasing Pixies (2015)

The debut album of Los Angeles-Born, Danish saxophonist and educator Pia Boda is an evocative attempt to relive old Viking stories about elves and fairies. The symbolic images about a living nature, the chase of the invisible elves and fairies who were supposed to hover in the air, and we can only sense "contours of creatures moving to somewhere," motivated Boda to create her own personal musical universe. Chasing Pixies, features Boda's Copenhagen-based quartet which formed a few years back. The quartet is an international unit - Tokyo-born pianist Makiko Hirabayashi, a leader of her own Nordic trio and member of percussionist Marilyn Mazur trio, Swedish double bassist Erik Olevik and native Danish drummer Andreas Fryland, who replaced original percussionist Lisbeth Diers. This quartet charges the typically Nordic-sounding, lyrical and melodic images of Boda with edgy yet emphatic, improvised interplay. Boda knows how to compose a cycle of arresting, story-like narratives, and even titled one of of the most beautiful pieces, "Storyteller." She and Hirabayashi, are the obvious narrators, and both enjoy an emphatic, conversational interplay that highlight each other's qualities. Boda's tone is warm, gentle and suggestive, focused on concise, linearly-flowing ideas, while Hirabayashi always offers highly original and more improvised abstractions of these ideas. Olevik and Fryland envelope while Boda and Hirabayashi exchange ideas with solid yet open pulse, except on the brief, free-improvised "Haiku #1" and "Haiku #2." The drama in these stories is usually quite minor and subtle but "Mammoth March" evokes a sense of mysterious adventure and the playful "African Flavour" that offers a kind of imaginary dance. Promising, evocative and beautiful. ~ by Eyal Hareuveni, AAJ. 

Gateway Music, CD 0915-01, 2015 

Musicians:
Pia Boda - Soprano & Tenor Saxophones
Makiko Hirabayashi - Piano
Erik Olevik - Double Bass
Andreas Fryland - Drums 

Tracks:
01. The Dark Side Of The Night (5:36)
02. Chasing Pixies (5:35)
03. Storyteller (5:42)
04. Homeland (4:18)
05. Mammoth March (5:42)
06. Haiku #1 (2:05)
07. Metamorphosis (4:30)
08. Time Of The Wind (2:43)
09. African Flavour (5:36)
10. Drifting (6:54)
11. Haiku #2 (1:55) 

All Compositions by Pia Boda 

Total Time: 50:36

Pia Boda & Chasing Pixies - Drifting (2013)

Sumi Tonooka - Here Comes Kai (1992)

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

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

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

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

Total Time: 57:04

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

Christina von Bülow Trio - Prelude To A Kiss (2015)

A fantastic trio ranging from Denmark and Sweden. 

Recorded 6th March, 2015 at the Glenn Miller Café in Stockholm, Sweden 

Musicians:
Christina von Bülow - Alto Saxophone
Erik Söderlind - Guitar
Daniel Franck - Bass 

Prelude To A Kiss {Duke Ellington} (11:06)

Renee Rosnes Trio - I Hear A Rhapsody (1989)

A beautiful piece played by young Renee and her then trio recorded in 1989 at the ‘Mind Medicine Jazz Festival’ in Japan. 

Musicians:
Renee Rosnes - Piano
Ira Coleman - Bass
Billy Drummond - Drums 

I Hear A Rhapsody {George Fragos, Dick Gasparre, Jack Baker} (10:46)

Fabio Morgera - Slick (1999)

Slick is a brand-spanking new release from Sergio Veschi's Red Records. It is a disc in keeping with both his goals of capturing only the top-drawer of jazz and documenting Italian jazz musicians. Fabio Morgera is a talented trumpeter/flugelhornist who has assembled an exceptional medium sized group of his fellow countrymen. Morgera and his group play a smart accessible brand of Hard/Post-Bop that is full of life and invention whether an up-beat barn- burning blues or an ethereal, smoldering ballad. Little-Big Band. Morgera drives a septet that includes a tenor saxophone (J.D. Allen), trombone (Jason Jackson), vibes (Bill Ware), and guitar (Peter Griesinger) in addition to Morgera and his rhythm section (Eric Revic on bass and Alvester Garnett on drums). This combination accomplishes an overall very mellow and bottom-heavy tone to support Morgera's pensive trumpet and flugelhorn playing. This is most evident on the ballads and slower pieces. Morgera is a master at playing the trumpet at a slow tempo. He is always on the note and never drags. The Italian Renaissance. Morgera arranged all of the music and wrote all but three of the compositions on this disc. One of the pieces credited to him, "Things" is actually a take-off of "All The Things You Are." The disc highlight (aside from all of the slow pieces) is Roland Kirk's "Serenade to a Cuckoo." Morgera is at his slurring, swaggering best. But it is the slow stuff...Morgera's flugelhorn on "Flores" and "Napoli," the latter piece having a decidedly Middle Eastern flavor, that make this disc. Morgera's playing is smooth and seamless. A delight, as are the performances of the rest of his band. In the final analysis, Slick is an urbane, beautifully dense yet light as a feather performance of rarified jazz. This music is very much a reflection of the label president, Sergio Veschi. Slick should be considered a super value for anyone's entertainment dollar. Spend it. ~ C Michael Bailey, AAJ. 

Red Record, RR123278-2, 1999
Recorded & Mixed January, 1998 @Studio, New York 

Musicians:
Fabio Morgera - Trumpet, Flugelhorn, Tuba [F-Tuba], Arranger
Jason Jackson - Trombone, Bass Trombone
J.D. Allen - Tenor Saxophone
Bill Ware - Vibraphone
Peter Griesinger - Guitar
Eric Revic - Bass
Alvester Garnett - Drums 

Tracks:
01. Ny Pace {Fabio Morgera} (4:49)
02. Things {Fabio Morgera} (6:42)
03. Flores {Fabio Morgera} (5:19)
04. Serenade To A Cuckoo {Roland Kirk} (3:06)
05. Troupe {Fabio Morgera} (8:43)
06. Napoli {Fabio Morgera} (4:08)
07. Slick {Fabio Morgera} (6:23)
08. Two Lovers {Fabio Morgera} (2:08)
09. Asia Minor Blues {Fabio Morgera} (4:50)
10. Con Alma {Dizzy Gillespie} (7:17)
11. The Kicker {Joe Henderson} (3:27)
12. Step Out {Fabio Morgera} (3:27)
13. Old Devil Moon {Burton Lane, E.Y. "Yip" Harburg} (5:46)
14. And Again {Fabio Morgera} (3:30) 

Total Time: 01:09:35 

Credits:
Producer, Arranger - Fabio Morgera
Executive-Producer - Sergio Veschi
Recording, Mixing & Mastering - Hiroyuki Sanada
Editing, Mastering - Ryoji Hata
Art Direction - Marco Pennisi

Christina von Bülow Trio feat. Jan Allan - West Of The Moon (2001)

The pure Christina von Bülow trio consists of musicians who all have a unique melodic sense. At a time when many jazz musicians are busy following new currents or looking for musical expressions that are "different" to mark their personality, one may be inclined to overhear those musicians who stay strictly within the conventions, as well may be unique artists. For that is exactly what the alto saxophonist Christina von Bülow, the guitarist Jacob Fischer and the Swedish trumpeter Jan Allan are. All three possess a melodic sense of extraordinary dimensions, but just as unusual is the way in which they rhythmically manage to rest in the music. This seems most striking to Allan. For there is no other trumpeter who is instrumentally able to unfold as freely as a saxophonist when, with his slightly dusty-sounding, legato tone, he moves around or across the metric pulse with an incomparable effortlessness, without noticing to lose touch with it. And I also know no one who plays like Christina von Bülow. With a melodic line and a tone that in its mild warmth and timbre lies somewhere between that of Paul Desmond and Stan Getz. Accordingly, Jacob Fischer knows all those other guitarists can too. He just makes it so much more compelling than most others, and when it comes to creating melodic continuity in his chord playing, he hardly has his equal. If one has to further emphasize a common feature of these three musicians, then that is the way in which they manage to seize each other's impulses in the air and then let them develop on their own. For bassist Jens Skou Olsen, it must be pure ‘sting’ to have such a trio standing in front of him, and that was also the case for us who watched the quartet's concert in Copenhagen JazzHouse. A joy that you can recall or retrieve as needed if you acquire the group's just released CD. For it is the repertoire from this that also made up the evening's program. A string of pearls ranging from Lennie Tristano's intricate "317 East 32nd" over evergreens like Brooks Bowman's "East of the Sun" and Richard Rodgers' "With a Song in My Heart" to such immensely beautiful features as Tom Harrell's "Sail Away", Billy Strayhorn's "Isfahan" and Lars Gullin's "Silhouette". So, it's just saying "have fun". ~ Boris Rabinowitsch, Politiken. [Translated from Danish] 

Music Mecca, CD 3059-2, 2001
Recorded 7th-9th May, 2001 at OAL Studios, Stockholm, Sweden 

Musicians:
Christina von Bülow - Alto Saxophone
Jan Allan - Trumpet
Jacob Fischer - Guitar
Jens Skou Olsen - Bass 

Tracks:
01. East Of The Sun {Brooks Bowman} (8:27)
02. Sail Away {Tom Harrell} (8:06)
03. With A Song In My Heart {Richard Rodgers} (8:26)
04. Isfahan {Billy Strayhorn} (6:37)
05. 317 East 32nd {Lennie Tristano} (6:37)
06. Silhouette {Lars Gullin} (6:05)
07. Decent Eyes {Lars Gullin} (5:40)
08. Tunnelbanelåten [The Subway Song] {Lars Gullin} (6:05)
09. Dig {Miles Davis} (2:45)
10. Sand I Mit Øje [Sand In My Eye] {Traditional} (2:32)
11. Jag Ligger På En Äng [I'm Lying On A Meadow] {Georg Riedel, Barbro Lindgren} (2:02)
12. Visa Från Järna [View From Iron] {Traditional} (1:53)
13. Joanne Julia {Kenny Barron} (6:45) 

Total Time: 01:12:00 

Credits:
Producer - Christina von Bülow
Executive-Producer - Henning Schädler
Engineer - Lennart Strøm
Design, Design [DTP] - Kjeld Brandt
Photography - Gorm Valentin

Hank Mobley - Far Away Lands (1967)

Of all the Blue Note artists of the 1960s, tenor saxophonist Hank Mobley may very well be the most underrated. A consistent player whose style evolved throughout the decade, Mobley wrote a series of inventive and challenging compositions that inspired the all-stars he used on his recordings while remaining in the genre of hard bop. For this lesser-known outing, Mobley teams up with trumpeter Donald Byrd, pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins for four of his songs (given such colorful titles as "A Dab of This and That," "No Argument," "The Hippity Hop," and "Bossa for Baby"), along with a song apiece from Byrd and Jimmy Heath. An excellent outing, fairly late in the productive career of Hank Mobley. ~ by Scott Yanow, AMG. 

Blue Note, BST 84425, 1985
Blue Note, CDP 7 84425 2, 1988
Recorded 26th May, 1967 at Van Gelder Studio, Englewood Cliffs, New Jersey 

Musicians:
Hank Mobley - Tenor Saxophone
Donald Byrd - Trumpet
Cedar Walton - Piano
Ron Carter - Bass
Billy Higgins - Drums 

Tracks:
1. A Dab Of This And That {Hank Mobley} (5:11)
2. Far Away Lands {Jimmy Heath} (5:32)
3. No Argument {Hank Mobley} (6:31)
4. The Hippity Hop {Hank Mobley} (5:39)
5. Bossa For Baby {Hank Mobley} (6:06)
6. Soul Time {Donald Byrd} (6:48) 

Total Time: 35:47 

Credits:
Producer - Alfred Lion
Recording Engineer - Rudy van Gelder
Reissue Producer, Liner Notes - Michael Cuscuna
Digital Transfer - Ron McMaster
Design - Richard Mantel

Edward Simon, Scott Colley, Clarence Penn - A Master's Diary (2006)

It may be that he is not as famous as his compatriot Ennio Morricone, but Fiorenzo Carpi (1918-1997) is also valued in professional circles and his oeuvre is rated as equal. Even if the name has been forgotten by now, the melodies of the Italian are certainly not. The public-shy Milanese wrote the music for countless cinema, television films, movie soundtracks and stage productions. Some of the most beautiful examples from Maestro Carpi's extensive catalog of works can be heard on "A Master's Diary" in emphatically lyrical jazz adaptations. Here the Edward Simon Trio preserves the narrative magic of the film themes and at the same time emphasizes their timeless beauty. It is, for example, quite magical how Simon gently touches the sequence "Nel Parco" from "Maggio Musicale" on the grand piano. And the rhythmically free flowing "In Cerca di Cibo" from the TV series "Le Avventure di Pinocchio" presents the pianist and his colleagues as extremely sensitive. We then experience them from another side in the quickly swinging "Valzer Lento". Edward Simon, who comes from Venezuela and has lived in the USA since the mid-1980s, has earned a reputation as a versatile and extremely clever pianist. At the side of Terence Blanchard, Avishai Cohen, Brian Blade, Don Byron or Herbie Mann, he made people sit up and take notice as well as leading his own ensembles. In particular, his work in the jazz trio, from which acclaimed studio albums and celebrated appearances in jazz temples such as the Village Vanguard have grown, earned the South American the highest merits. For "A Master's Diary" he collaborated with bassist Scott Colley and drummer Clarence Penn putting together a wonderfully harmonious trio cast. On the album opener "Eugenia's Theme", Diego Urcola joins as a guest on the muted trumpet. Over all a beautiful set of compositions brought to life, Enjoy! ~ Extract by Lena Carle, qrious.de. [Translated from German] 

C.A.M. Jazz, CAMJ 7843-2, 2012
Recorded 26th & 27th July, 2006 at Sear Sound, New York 

Musicians:
Edward Simon - Piano, Solo (#5,10)
Scott Colley - Bass
Clarence Penn - Drums
Diego Urcola - Trumpet (#1) 

Tracks:
01. Eugenia's Theme (6:01)
02. Passeggiata Nel Parco (7:34)
03. In Cerca Di Cibo (5:51)
04. Nel Parco (3:07)
05. Diario Di Un Maestro (3:34)
06. Valzer Lento (5:18)
07. Eugenia's Theme (6:19)
08. Passeggiata Nel Parco [Reprise] (6:32)
09. Diario Di Un Maestro (3:40)
10. In Cerca Di Cibo (3:57) 

All Compositions by Fiorenzo Carpi 

Total Time: 51:53 

Credits:
Producer - Ermanno Basso
Engineer, Mixing - Joe Barbaria
Mastering - Danilo Rossi
Photography - Andrea Boccalini
Liner Notes - Federico Scoppio

Renée Geyer - Moving Along (1977)

Released just over forty years ago, Moving Along was the first Renee Geyer album to be recorded in the US and released internationally. It also produced Renée's first Australian Top 20, the luscious "Stares And Whispers". It stands as a land mark release by one of Australia's greatest voices; a voice that has now found belated recognition amongst '70s soul and funk aficionados and collectors the world over. Moving Along was produced by former Motown staff producer Frank Wilson, who had previously written and produced hit records for Marvin Gaye, the Supremes, the Four Tops, the Temptations and others, and it featured, on some tracks, the absolutely legendary Motown bass player and Funk Brother James Jamerson. Ray Parker Jr on guitar - pre-Ghostbusters of course. Renée's own band also featured the former Chain bass player Barry 'Big Goose' Sullivan and Ayers rock keyboard player Mal Logan. Renée followed the album up with shows, including Melbourne Town Hall and Sydney's Regent Theatre, with one of our (or New Zealand's) great male soul singers, Leo De Catro and Rocco along for the ride. The album peaked at #11 in Australia. ~ Dave Laing, ILikeYourOldStuff.com. 

RCA Records/Mushroom Productions, VPL1-0140, 1977
Mushroom Records, MUSH32300.2, 1995
Recorded at Crystal Sound Recording, Los Angeles, California 

Musicians:
Renée Geyer - Vocals, Backing Vocals
Harry Booker, Jerry Peters, Mal Logan - Keyboards
Reginald Burke - Piano
Ray Parker, Jr., Greg Poree, Stephen Beckmeier - Guitar
James Jamerson, Nathan Watts, Barry 'Big Goose' Sullivan - Bass
Raymond Pounds - Drums
Jack Ashford, Frederick Lewis - Percussion
Venetta Fields, Sherlie Matthews, Pat Henerson, Tiemeyer McCain,
Otis Stokes, Frank Wilson - Background Vocals
Leader [Strings] - Charles Veal
Nica Rejto - Flute [Soloist]
Ernie Watts - Saxophone [Soloist] 

Tracks:
A1. Heading In The Right Direction {Mark Punch, Garry Paige} (3:01)
A2. Be There In The Morning {Renée Geyer, Mal Logan, Barry Sullivan} (4:27)
A3. Quicker Than The Eye {Harry Booker, Judy Wieder} (4:09)
A4. Tender Hooks {Ruth Copeland, Eric Thorngren} 4:39)
B1. Stares And Whispers {John Footman, Frank Wilson, Terri McFadden} (3:30)
B2. Just To Make Love To You {Greg Poree, Gralin Jerald} (4:45)
B3. Touch {Frank Wilson, Pam Sawyer} (4:50)
B4. Moving Along {Renée Geyer, Mal Logan, Barry Sullivan} (6:11) 

Total Time: 35:32 

Bonus Track:
Be There In The Morning [1976 Release] (3:46) 

Credits:
Producer, Mixing Engineer, Arranger - Frank Wilson [A Spec-O-Lite Production]
Recording & Mixing Engineer - Kevin Beamish
Mastering - Don Bartley
Management - Ray Evans
Creative Director - Hank Cosby
Art Direction: Basil Pao [AGI]
Photography - Norman Seef

Heading In The Right Direction [Video] (3:43)

Tiger Okoshi - Baku Tiger (1981) [vinyl]

Toru "Tiger" Okoshi (born 21st March, 1950 in Ashiya, Hyogo Prefecture, Japan.) is an American jazz fusion trumpeter. The desire to become a trumpet player came to him at the age of eleven, when he first heard on the radio broadcast of a Louis Armstrong concert. While in college, Okoshi played with a jazz band; an important role in his creative formation as a musician was played by his acquaintance with the famous Japanese jazz musicians Terumasa Hino and Sadao Watanabe. After studying at Kwansei Gakuin University, Okoshi moved to America in 1972. In 1975 he completed studies at the Berklee College of Music, and then remained there in the teaching work. Okoshi collaborated in the 1970's with Gary Burton and played with the Mike Gibbs Orchestra at Carnegie Hall in 1974. Following this he toured with Buddy Rich. He also performed as part of Clark Terry's jazz bands.  At the same he composed music for commercials. In 1977 (as an arranger and composer) he received a prize at the Notre Dame University Jazz Festival and in the same year he organized an ensemble in Boston "Baku Tiger". In 1978, Okoshi became a member of the Gary Burton Quartet, then followed performances with "Stylistics", O'Jays, Al Martino and other artists and musicians. From the 80's onward he recorded a number of records with JVC that were a great success in Japan. Tiger's Baku is the second album by Tiger Okoshi, released in 1983 on JVC. An overlooked and proficient trumpeter, enjoy! 

JVC Records, VIJ-28009, 1981
Melody Records, С60-20203 001, 1984
Recorded November, 1980 - April, 1981 at Normandy Sound Studio, Rhode Island 

Musicians:
Tiger Okoshi - Trumpet, Arranger
Mike Stern - Electric Guitar
Jerry Atkins - Keyboards
Tim Landers - Electric Bass
Quinous Johnson, Vince Colaiuta, Robbie Gonzalez, Steve Foreman - Drums

Tracks:
A1. Rooster (4:30)
A2. Thank You (5:08)
A3. It Can Be Good Again (4:23)
A4. From Time To Time (4:32)
B1. Robot (4:48)
B2. Kemi Lona (4:46)
B3. Casa Liena (4:40)
B4. Little Tiger (2:49) 

All Compositions by Tiger Okoshi 

Total Time: 35:35 

Credits:
Producer - Akira Taguchi, Takashi Misu
Engineer, Mixing - Phil Green
Mastering - Shizou Nomiyama
Photography - Chu Kawahito
Artwork - Goji Morofuji

Max Ionata Quartet feat. Fabrizio Bosso - Dieci (2011)

Max Ionata is undoubtedly one of the most interesting saxophonists on the European jazz scene and this latest work proves it in its own right. At the head of a quartet made up of extraordinary musicians who have been following him for the past ten years (hence the title of the CD) such as Nicola Muresu on double bass and Nicola Angelucci on drums and Luca Mannutza on piano, Ionata produces a truly convincing performance. The songs, almost all original, give a very high-level mainstream, interpreted with taste and great interplay. Max Ionata's stamp is decided, the voice of his saxophone is warm and biting, his phrasing, while not lacking numerous references to sacred monsters of jazz history from Dexter Gordon to Coleman Hawkins from Ben Webster to Sonny Rollins, Lester Young, at the same time, has the tendency to go beyond the historical-stylistic limits showing great personality, extraordinary ideas and sensitivity in interpretation. The musicians who accompany him are all wonderfully blended and interact with effectiveness and precision, without ever hindering or excelling, managing to create a perfect balance between dynamism and sweetness, between delicacy and aggression. Surely Ionata knows how to capture the listener's attention with a decisive and disruptive attitude. He is a volcanic artist and knows how to play with the imagination and the skill that distinguishes him but above all he knows how to make every interpretation enjoyable. Emblematic in this sense are the songs "Turn Around", "Lode for Joe" and the fantastic "Astobard", "Coltrane meet Evans" and "L'Altalena" where the added value of a formidable soloist like Fabrizio Bosso gives a quality and a overwhelming, vibrant force that borders on stylistic perfection as well as transmitting deep emotions, enclosed in the unrepeatable moment of delicious two-voice games. ~ Alessandro Carabelli, Jazzitalia. [Translated from Italian] 

Via Veneto Jazz, VVJ 070, 2011
Recorded 2011 at Riff Raff Jazz Studio, Trevignano Romano, Italy 

Musicians:
Max Ionata - Tenor Saxophone
Luca Mannutza - Piano
Nicola Muresu - Double Bass
Nicola Angelucci - Drums
Guest:
Fabrizio Bosso - Trumpet, Flugelhorn (#1,2,7) 

Tracks:
1. Astobard {Nicola Muresu} (8:05)
2. Coltrane Meet Evans {Luca Mannutza} (7:13)
3. La Talpa {Max Ionata} (7:41)
4. Turn Around {Luca Mannutza} (7:06)
5. Who Can I Turn To {Anthony Newley, Leslie Bricusse} (5:24)
6. Lode 4 Joe {Max Ionata} (7:00)
7. L'Altalena {Luca Mannutza} (5:28)
8. Attila [Lease] {Nicola Muresu} (4:23) 

Total Time: 52:23 

Credits:
Producer - Matteo Pagano
Sound Engineer - Raimondo Mosci
Mixing Engineer - Antonio Di Donato
Cover Photo - Roberto Panucci
Photo [Fabrizio Bosso] - Andrea Palmucci
Photo [Quartet] - Mario Cutolo
Graphic Designer - Enzo Criscione

Various Artists - Jazz For When You're Alone (1999)

The 32 Jazz label, under the leadership of Joel Dorn, continues to release compilations designed to fit a particular mood or state of being. Thus, there have been albums as Jazz for a Rainy Afternoon, Groove Jammy, and Songs That Made the Phone Light Up. Now we have an album dedicated to being alone, not loneliness as Dorn explains his liner notes. But with this play list, the line between the two gets really blurred. Whatever, this is a comprehensive collection of tracks by the top jazz luminaries for albums they cut for the now defunct Muse label and all of them are outstanding regardless of the mood you're in. The Sonny Stitt performance of "Sweet and Lovely" is one of the album's highlights as his sax works in, out, under, and through the piano of Duke Jordan and Sam Jones' bass. The credits list Stitt playing a soprano, but it's the alto he has in his hands for introspective blowing of this classic standard. Wallace Roney is the ostensible leader on "Lost." But his Miles Davis-like trumpet is subordinated to the classical oriented piano of Jacky Terrasson who penned this song. Donald Byrd, sounding even more like Miles than Roney, is united with Joe Henderson for a ruminative rendering of his "That's all There Is to Love." A memorable track is Houston Person's "Everything Happens to Me." Not only does Person's Ben Webster influenced tenor fit nicely with the tune's theme, but there's major soloing by Cecil Bridgewater's muted trumpet and the under recorded Stan Hope piano. The quintessential "alone" song, Thelonious Monk's "'Round Midnight," has been assigned to major electric guitar improviser Larry Coryell who gets considerable assistance along the way from Stanley Cowell's piano. Phil Woods creates a vision of a summer ending with "The Summer Knows" as his engages in musical discussion with bass player Richard Davis. Woods, and all the other artists on this album, are in fine fettle resulting in another superior compilation from jazz impresario Dorn's 32Jazz label. 

32 Jazz, 32106, 1999 

Personnel:
See included Tracks [Personnel].txt for further details. 

Tracks:
01. Willis Jackson, Pat Martino - Blue Velvet (7:41)
02. Red Garland - The Second Time Around (3:15)
03. Houston Person - Everything Happens To Me (6:06)
04. Les McCann - Sunny (8:09)
05. Larry Coryell - 'Round Midnight (4:39)
06. Sonny Stitt - Sweet And Lovely (7:09)
07. Wallace Roney - Lost (3:50)
08. Vincent Herring - Stars Fell On Alabama (6:25)
09. Donald Byrd - That's All There Is To Love (5:47)
10. Phil Woods - The Summer Knows (6:25)
11. Pat Martino - You Don't Know What Love Is (4:46)

Total Time: 64:17 

Credits:
Compilation Producer - Adam Dorn
Producer [Series] - Joel Dorn

Joe Lovano - Flights Of Fancy: Trio Fascination Edition Two (2001)

With four decidedly different trios, Joe Lovano pushes the mainstream jazz envelope along its meandering course. The tenor saxophonist’s brusque tone stands apart as distinctively as his passion for molding the art form. This is a blue-collar effort from a creative, dues-paying, veteran artist. Consider the nonstandard combinations the leader employs here. Lovano joins Toots Thielemans and Kenny Werner for four pieces. He teams with Billy Drewes and Joey Baron for three. Three more tracks feature Mark Dresser and Dave Douglas, while half the album features Lovano with Cameron Brown and Idris Muhammad. In all, the artists engage in trio interplay with each member "speaking his own mind." Lovano encourages the others without dominating. Open trumpet, lyrical harmonica, melody-driven bass and other partners share in the album’s creation. On "Blue Mist," a rainbow of percussion textures surround one solitary soprano saxophone voice before the trio eventually moves into "Off and Runnin'," with two conversing saxophones. As with Lovano’s first Flights Of Fancy project, artist interaction is the key ingredient. When working with harmonica and piano, the saxophonist seems more at ease with the mainstream. When creating alongside Douglas’ trumpet or Drewes’ woodwinds, he’s stretching the envelope. In all situations, Lovano tends to share the microphone in creative interplay that seems determined not to simply recreate the past. Soundscapes, timbre combinations, unexpected turns, and variety mark the saxophonist’s adventures. On "206," he’s at the drum set while trumpet and bass weave melodies. Consisting, for the most part, of forward-looking avant-garde jazz, Lovano’s latest album belongs on this year’s "ten best" list. Directions are changing. It’s up to the "movers and shakers" heard here to continue moving jazz in new, creative directions. In order to survive, jazz must grow. ~ by Jim Santella, AAJ. 

Blue Note, 7243 5 27618 2 1, 2001
Recorded 14th-15th June, 2000 in Four Consecutive Sessions at Avatar Studios, New York 

Trio #1: 14th June, Noon-6:00 pm
Joe Lovano, Cameron Brown, Idris Muhammad
Trio #2: 14th June, 7:30 pm-Midnight
Joe Lovano, Billy Drewes, Joey Baron
Trio #3: 15th June, Noon-3:00 pm
Joe Lovano, Kenny Werner, Toots Thielemans
Trio #4: 15th June, 6:00 pm-9.00 pm
Joe Lovano, Dave Douglas, Mark Dresser 

Musicians:
Joe Lovano - Alto (#10), Tenor (#1-3,5-8,11,13,14) Soprano (#4,12) & C-Melody (#4) Saxes;
Alto (#4) & Bass (#9) Clarinets, Gongs (#4), Drums (#7), Percussion (#4)
Billy Drewes - Soprano Saxophone (#5,9), Alto Flute (#9), Percussion (#4)
Dave Douglas - Trumpet (#3,7,12)
Toots Thielemans - Harmonica (#2,13)
Kenny Werner - Piano (#2,6,13)
Cameron Brown - Bass (#1,4,8,10,11,13,14)
Mark Dresser - Bass (#3,7,12)
Idris Muhammad - Drums (#1,4,8,10,11,13,14)
Joey Baron - Drums (#4,5,9) 

Tracks:
01. Flights Of Fancy {Joe Lovano} (6:23) [#1]
02. On April [I'll Remember April] {Don Raye, Gene DePaul, Pat Johnson} (3:31) [#3]
03. Amsterdam {Joe Lovano} (4:36) [#4]
04. Blue Mist {Joe Lovano} (4:26) [#2/#1]
05. Off And Runnin' {Joe Lovano} (4:01) [#2]
06. Infant Eyes {Wayne Shorter} (6:26) [#3]
07. 206 {Joe Lovano} (6:35) [#4]
08. Bougainvillea {Judi Silvano} (8:01) [#1/#3]
09. Windom Street {Joe Lovano} (4:52) [#2]
10. Hot Shot {Joe Lovano} (4:42) [#1]
11. Aisha {McCoy Tyner} (3:57) [#1]
12. Amber {Joe Lovano} (3:10) [#4]
13. On Giant Steps {John Coltrane} (5:47) [#3/#1]
14. Flights Of Fancy [Reprise] {Joe Lovano} (1:26) [#1] 

Total Time: 67:53 

Credits:
Producer - Joe Lovano
Assistant Producer - Judy Silvano
Recording - James Farber
Mixing - Mark Fraunfelder, Rory Romano
Mastering - Greg Calibi
Art Direction and Design - Jessica Novod
Illustrations - David Hollenbach
Photography - Jimmy Katz

Greg Osby - The Invisible Hand (2000)

Though chock full of Osby's signature brand of dissonance, The Invisible Hand is one of the altoist's mellower, more contemplative offerings. Its most novel aspect is the inclusion of pianist Andrew Hill and guitarist Jim Hall, two of jazz's fascinating elder statesmen. Hill's piano style is fractured and fragmented, yet suffused with its own ornamental beauty. Hall is a master of the understated, perfectly chosen phrase. Both have worked with Osby on more than one occasion. But The Invisible Hand is an historic first: prior to its recording, Hill and Hall had never played together. Disappointingly, the two are paired only on Hill's "Ashes" and Hall's "Sanctus"; otherwise, they appear separately. In fact, Hall is present only on three of the album's ten tracks, giving listeners only the briefest glimpse of his talents. Hill, appearing on six numbers, is utilized more effectively; the pianist is especially brilliant on Fats Waller's "Jitterbug Waltz." Gary Thomas, an Osby contemporary, overdubs multiple woodwinds to create thick orchestration on "Nature Boy," "With Son," and a couple of others. Bassist Scott Colley and drummer Terri Lynne Carrington provide reliable rhythmic support throughout. But overall the record suffers from a discontinuity brought about by repeated personnel shifts. In a sense, The Invisible Hand sounds like three different albums, and Osby's production seems unnecessarily convoluted. ~ by David R. Adler, AMG. 

Blue Note, 7243 5 20134 2 5, 2000
Recorded 8th-9th September, 1999 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto Saxophone, Clarinet
Gary Thomas - Flute, Flute [Alto], Tenor Saxophone
Andrew Hill - Piano
Jim Hall - Guitar
Scott Colley - Bass
Terri Lyne Carrington - Drums 

Tracks:
01. Ashes {Andrew Hill} (8:02)
02. Who Needs Forever? {Howard Greenfield, Quincy Jones} (5:10)
03. The Watcher {Greg Osby} (5:40)
04. Jitterbug Waltz {Richard Maltby, Jr., Fats Waller} (7:40)
05. Sanctus {Jim Hall} (7:39)
06. [Back Home Again In] Indiana {James F. Hanley, Ballard MacDonald} (4:32)
07. Nature Boy {Eden Ahbez} (8:44)
08. Touch Love {Andrew Hill} (6:00)
09. With Son {Greg Osby} (7:29)
10. The Watcher, No. 2 {Greg Osby} (4:22) 

Total Time: 65:20 

Credits:
Producer, Liner Notes - Greg Osby
Co-producer - Kay Vaughn
Recording & Mixing Engineer - Joseph Marciano
Engineer [Assistant] - Nancy Marciano
Mastering Engineer - Nicholas Prout
Photography [Session] - Jimmy Katz
Art Direction, Design - Burton Yount
Liner Notes - Ted Panken

Miguel Zenón - Awake (2007)

From the opening selection of Miguel Zenón's Awake, his fourth CD as a leader, the alto saxophonist demonstrates his diverse musical mind. His originals show surprising maturity, with the individual pieces sounding like part of a larger work, while Zenón's imaginative solos also belie his tender years. The melancholy "Awakening Prelude" provides a subtle introduction with a string quartet accompanying him. His quartet, with pianist Luis Perdomo, bassist Hans Glawisching, and drummer Henry Cole, is added for the "Camarón," a dizzying Latin number incorporating some hot bop licks, including a hilarious brief detour into Bud Powell's "Parisian Thoroughfare." "The Missing Piece" is a brooding ballad, with the piano accompaniment suggesting someone pacing the floor. "Awakening Interlude" is wild free jazz, augmenting the quartet with tenor saxophonist Tony Malaby, trombonist Ben Gerstein, and trumpeter Michael Rodriguez. The extended work "Santo" initially has a Middle Eastern flavor, with Glawisching playing an unusual arco bassline beneath Zenón's haunting alto, though the piece frequently changes tempo and mood. "Third Dimension" begins with a repeated angular riff, then switches gears, blending elements of hard bop and Latin jazz, culminating with an infectious rhythm, plus a sax theme that is carried over into his unaccompanied finale, "Awakening Postlude." It is little wonder that Miguel Zenón has attracted so much attention during the early part of his career with such strong outings such as Awake. ~ by Ken Dryden, AMG. 

Marsalis Music, 087496000925, 2008
Recorded 2nd-4th April, 2007 at Legacy Recording Studios, New York 

Musicians:
Miguel Zenón - Alto Saxophone, Composer
Luis Perdomo - Piano, Fender Rhodes
Hans Glawischnig - Bass
Henry Cole - Drums, Percussion 

Guests:
Michael Rodriguez - Trumpet (#6)
Ben Gerstein - Trombone (#6)
Tony Malaby - Tenor Saxophone (#6) 

Strings:
Nioka Workman - Cello (#1,8)
Judith Insell - Viola (#1,8)
Marlene Rice, Orlando Wells - Violin (#1,8) 

Tracks:
01. Awakening [Prelude] (3:44)
02. Camaron (7:43)
03. Penta (7:33)
04. The Missing Piece (7:42)
05. Ulyssess In Slow Motion (7:06)
06. Awakening - Interlude (5:24)
07. Santo (12:04)
08. Lamamilla (5:58)
09. Third Dimension (9:59)
10. Awakening [Postlude] (2:23) 

Total Time: 69:36 

Credits:
Producer - Branford Marsalis
Recording & Mixing - Rob "Wacko" Hunter
Mastering - Greg Calbi
Liner Notes - Miguel Zenón

Greg Osby - Zero. (1998)

"Zero." represents Greg Osby's 3rd release for Blue Note records and perhaps his finest recording to date. Osby’s inaugural Blue Note release "Art Forum" sported a 360-degree turn for this artist. Having been a longtime collaborator with Steve Coleman and Cassandra Wilson in the "Mbase" days, Osby subsequently turned his creative juices towards Hip-Hop and the results were less than satisfying. "Art Forum" was a stylish entry into the modern jazz scene and re-established Osby as a major talent on the rise. Osby's 2nd release for Blue Note, "Further Ado" saw the advent of young piano phenom Jason Moran along with a cast of veteran jazz session musicians. "Further Ado" was fairly weak compositionally and lacked identity. Not a bad outing but at times sounded forced and hastily produced. On "Zero" Osby is backed by a fine bunch of young musicians who display earnest intentions and well-schooled technical attributes. The opener, "Sea of Illusion" demonstrates Greg Osby's easily identifiable technique and signature sound. On "Sea of Illusion" Osby artfully blends melody and dissonance in an angular yet rapid-fire fashion. His attack and execution is flawless. Osby tap dances over his alto sax, alluding to his disclosure of thinking like a pianist. Not just a technician, Osby emits fire and emotion; thus, making every note count. Perhaps if Bud Powell were an alto saxophonist, he would have sounded something like Greg Osby? On "Interspacial Affair" the young pianist Jason Moran displays wit and maturity with pervasive chord structures and strong dynamics. Moran superfluous sense of dynamics frequently prods Osby into taking several engaging, razor sharp alto and soprano sax solos. "Minstrale" is Osby's salutation to the fine jazz pianist Andrew Hill. Subtle melodic phrasing with traces of Monk, Moran captures the spirit of Andrew Hill in illustrious fashion. On "Nekide" drummer Rodney Green opens up with some nifty, dexterous stick work although he seems somewhat cautious or at times hesitant to mix it up on most of these cuts. "Deuce Ana Quota" is a lazy funk-blues romp and reminiscent of early 1970’s Lou Donaldson. Moran works the Hammond B-3 while guitarist Kevin McNeal strums delicate blues riffs to augment the spirited feel of the rhythm section. Osby is the bandleader and it shows in most instances. Despite the hefty dose of soloing and improvisation the band is tight and well-rehearsed under Osby’s direction. No doubt Greg Osby has the stuff to become a world-beater. His enormous talents as a composer and saxophonist have seldom been scrutinized. Blue Note records and Greg Osby have forged a strong relationship and with his current band the future looks that much brighter for jazz. ~ by Glenn Astarita, AAJ. 

Blue Note, 7243 4 93760 2 1, 1998
Recorded 8th-11th January, 1998 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto, Soprano & Sopranino Saxophones
Jason Moran - Piano, Organ [Hammond B-3], Fender Rhodes
Kevin McNeal - Guitar
Dwayne Burno - Bass (#1,2,7,8)
Lonnie Plaxico - Bass (#3-6)
Rodney Green - Drums 

Tracks:
01. Sea Of Illusion {Greg Osby} (5:13)
02. Interspacial Affair {Greg Osby} (6:59)
03. Minstrale {Greg Osby} (5:16)
04. Two Over One {Muhal Richard Abrams} (7:49)
05. Ozthetica {Greg Osby} (6:24)
06. Nekide {Greg Osby} (4:14)
07. Savant Cycles {Greg Osby} (5:59)
08. Extreme Behavior {Greg Osby} (3:06)
09. Deuce Ana Quota {Greg Osby} (6:53)
10. Penetrating Stare {Greg Osby} (4:57)
11. Concepticus In C {Greg Osby} (2:42) 

Total Time: 59:32

Credits:
Producer, Liner Notes, Mixing - Greg Osby
Recording & Mixing - Joseph Marciano
Mastering - Nicholas Prout
Art Direction, Design, Illustration [Digital] - P.R. Brown
Photography - Jana Leon

Greg Osby - Inner Circle (1999)

Jazz fans searching for a quintessential forward-thinking artist should look no further than the musical musings of Mr. Greg Osby. He's an artist who will not be satisfied with the status quo. Distinguished as an alto saxophone stylist, his voice is unique and easily recognizable among the masses. His recordings of the past few years have all been modern exercises in jazz music that are entertaining, cerebral, and illuminating. As any successful visionary, he has surrounded himself with like-minded individuals who continue to push the envelope of jazz; such as piano extraordinaire Jason Moran and vibraphonist Stefon Harris. His previous recording Symbols of Light (A Solution), which implemented a string quartet into his eclectic mix, was one of 2001's top jazz picks. Inner Circle continues on the same high level that Osby has been operating at throughout his career. His music is progressively expanding into new boundaries on the ubiquitous jazz theme. It swings, grooves and moves with a distinctive style. The recording features Osby originals with covers by Euro-Pop sensation Bjork and famous bassist Charles Mingus. The title Inner Circle could easily refer to one of the tightest set of young musicians paving the jazz path today. The musicians have been featured on recordings by Jason Moran and Stefon Harris. Bassist Taurus Mateen and drummer Eric Harland comprise one of the most dynamic and talented rhythm sections on the scene today. Osby and Moran have formed a unique and wonderful symbiosis over the past few years that allows for freedom and expression with wide possibilities. Stefon Harris' vibe work just keeps getting better. All the compositions are creative with odd patterns and complex arrangements that never leave the listener too far, and will also encourage a deeper appreciation for the art form. The many highlights include the circuitous and hypnotic "Fragment Decoding" and the brilliant "Inner Circle Principle" with its memorable solos expressed by each musician. With Osby at the helm, one can only anticipate the next move in his forward progression. Another top pick for 2002. ~ by Mark F Turner, AAJ. 

Blue Note, 7243 4 99871 2 8, 2002
Recorded 22nd & 23rd April, 1999 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Greg Osby - Alto Saxophone
Jason Moran - Piano
Stefon Harris - Vibraphone
Tarus Mateen - Bass
Eric Harland - Drums 

Tracks:
1. Entruption {Greg Osby} (4:59)
2. Stride Logic {Greg Osby} (4:08)
3. Diary Of The Same Dream {Greg Osby} (4:14)
4. Equalatogram {Greg Osby} (4:07)
5. All Neon Like {Björk} (6:35)
6. Fragmatic Decoding {Greg Osby} (4:43)
7. The Inner Circle Principle {Greg Osby} (4:39)
8. Sons Of The Confidential {Greg Osby} (6:15)
9. Self-Portrait In Three Colors {Charles Mingus} (6:09) 

Total Time: 45:49

Credits:
Producer, Liner Notes - Greg Osby
Product Manager - Mantis Evar
Recording & Mixing - Joseph Marciano
Mastering - Allan Tucker
Photography - Till Krautkrämer
Photography [Session Photos] - Jimmy Katz
Art Direction, Design - Burton Yount

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

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

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

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

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

Total Time: 53:43

Manuel Valera And New Cuban Express - In Motion (2014)

What’s new in the idiom of jazz? The next generation of Cuban musicians have arrived. Look no further than what they have brought with them. They have infused the Blues and Jazz with Blues and Jazz of their own. Their music is tempestuous, beguiling and always exciting. Like making that left turn unexpectedly to find something so inviting that the listener is stopped in his or her tracks. This new album by Manuel Valera and the New Cuban Express In Motion is the third release since Mr. Valera formed the band. The new cast of characters includes the terrific bassist, Hans Glawischnig and awesome trumpeter Alex Sipiagin. This incarnation makes them somewhat stronger than they have ever been, their sound has become rounder and fuller with the addition of a trumpet and the more voluptuous acoustic bass. Manuel Valera has taken musical meter and stretched it as far as it possibly can. His writing plays on the innermost ear like a very fast game of hopscotch, swinging, skittering and chasing the stone. Of all of the Cuban pianists playing today Mr. Valera’s pianism is most strongly aligned to classic melodicism. The rhythmic element of his left hand exists in the dance-like structure that holds up the melody like an edifice that is suddenly built before the wonderstruck listener. His statements are elaborate as he expands on the geometry of the melody making wondrous structures in a high-wire act that is breathtaking to behold. Here, on In Motion his music unfolds best in the collaborative effort that he has forged with this ensemble. His ability to arrive in the limelight and withdraw from it is generous. This is evident in most of the music here, but is especially gracious on "Descargando," the profoundly beautiful "Bantu" and the epic "Storyteller," which are just three of the defining tracks on this exquisite album. ~ Extract by Raul Da Gama, LatinJazzNet.com. 

Criss Cross Jazz, Criss 1372 CD, 2014
Recorded 29th January, 2014 at Systems Two Recording Studios, Brooklyn, New York 

Musicians:
Manuel Valera - Piano, Fender Rhodes
Alex Sipiagin - Trumpet, Flugelhorn
Yosvany Terry - Alto & Soprano Saxophones, Chekeré
Tom Guarna - Guitar
Hans Glawischnig - Bass
Ludwig Alfonso - Drums
Mauricio Herrera - Percussion 

Tracks:
1. Descargando {Manuel Valera} (6:24)
2. Preamble {Manuel Valera} (8:55)
3. Bantu {Manuel Valera} (6:48)
4. No Puedo Ser Felix {José Arturo Méndez} (5:42)
5. Storyteller {Manuel Valera} (8:45)
6. Mirrors {Manuel Valera} (7:19)
7. Para Emiliano {Manuel Valera} (6:23)
8. NYC {Manuel Valera} (6:37)
9. Factors {Manuel Valera} (6:22) 

Total Time: 63:23

Credits:
Producer - Gerry Teekens
Recording & Mixing Engineer - Michael Marciano
Mastering - Max Ross
Photography - Jimmy Katz
Design - Gerry Teekens/Bloemendaal In Vorm

Max Ionata, Clarence Penn, Reuben Rogers - Kind Of Trio (2011)

Trio of great harmony, already experienced in the past with another successful album, this time Max Ionata, Clarence Penn and Reuben Rogers compete in a recording project using the original formula of the trio and give us a total of eleven tracks with nine original pieces signed by the three musicians. Max Ionata is considered one of the most exciting saxophonists of the Italian jazz scene, he has played in some of the most important jazz clubs and jazz festivals in the world and has collaborated with great musicians. Clarence Penn, described by some critics as the most elegant of contemporary jazz drummer chosen by many for his versatility in all kinds of music. Reuben Rogers, bass player of exceptional musical talent, has had the opportunity also to work with many international jazz artists. More than just another trio! 

Via Veneto Jazz, VVJ 074, 2011
Recorded 22nd-25th March, 2011 at Icarus Recording Studios, Rome, Italy 

Musicians:
Max Ionata - Tenor Saxophone
Reuben Rogers - Double Bass
Clarence Penn - Drums 

Tracks:
01. Brotherhood {Clarence Penn} (6:48)
02. Con Alma {Arr. Reuben Rogers; Dizzy Gillespie} (7:22)
03. Kumico {Max Ionata} (4:16)
04. But {Max Ionata} (5:22)
05. Out Back {Clarence Penn} (5:34)
06. Nuovo Cinema Paradiso [Love Theme] {Ennio Morricone} (5:51)
07. The Change {Max Ionata} (4:03)
08. To Be {Reuben Rogers} (5:51)
09. Raven {Clarence Penn} (4:28)
10. Aurora {Max Ionata} (6:29)
11. Waiting For Eli {Clarence Penn} (3:59) 

Total Time: 60:09 

Credits:
Recording, Mixing & Mastering - Stefano Del Vecchio
Artwork - Enzo Criscione
Photography - Paolo Soriani