Hank Marr - Hank & Frank (1998)

In a tribute to Count Basie, ex-Basie tenor saxophonist Frank Foster and Columbus, OH-based organist Hank Marr wend their way through 11 titles that, peripherally, have something to do with Basie. It's the ease of their swing, the simple melodies, and the direct approach that have to do with the Count, and the way these veterans tackle a few standards and their own originals, never forcing the issue. The underrated guitarist Cal Collins and drummer Jim Rupp provide rhythmic support. Of the seven Marr originals, the best is saved for last, the upbeat "Rhythmesque," where the band is on fire and Foster's blues-tinged boppish tenor jumps and jives. The turnaround on "April in Paris" called "Paris in April" is in the same key, Marr assimilating Wild Bill Davis' searing style and Foster playing tart sweet, as he does on most of the date. "Your Basic Gospel Tune," inspired by Horace Silver, is like a mix of "Groove Merchant" and "Red Top," Foster sounding happy and in tune with Marr's soulful, easy swinging. "Basie-cally Speaking" is based on "Whirly Bird"; "I'm Saving All My Hugs for You" is inspired by "Lil' Darlin'." Foster contributed the lone "Kathern the Great" for a discriminating fan in N.Y.C., another easy swinger with the organ at the end quoting "Who's Got the Last Laugh Now." Also included is the evergreen "Just a Closer Walk with Thee," where Marr uses a more church-oriented sound on one of his organ keyboards, a more burning approach on the other, quite like Jimmy Smith. "If I Had You," without Foster, is the lone feature for Collins, a ballad treatment where the guitar states the theme and extrapolates upon it, the organist does the same, then they both pine together. This is one of those recordings that sounds just fine, but begs for a follow-up. Foster's never played with any organist before, and Marr seems to be the perfect foil. ~ by Michael G. Nastos, AMG. 

Double-Time Records, DTRCD-134, 1998
Recorded 7th November, 1997 at Kentucky Center For The Arts, Louisville, Kentucky 

Musicians:
Hank Marr - Organ [Hammond B-3]
Frank Foster - Tenor Saxophone
Cal Collins - Guitar
Jim Rupp - Drums 

Tracks:
01. B Jam Shuffle {Hank Marr} (5:25)
02. Katherine The Great {Frank Foster} (6:13)
03. Your Basic Gospel Tune {Hank Marr} (6:47)
04. Basie-Cally Speaking {Hank Marr} (4:43)
05. I'm Saving All My Sweet Hugs 4U {Hank Marr} (6:24)
06. Paris In April {Hank Marr} (5:24)
07. Just A Closer Walk With Thee {Traditional} (8:38)
08. If I Had You {Jimmy Campbell, Reginald Connelly, Ted Shapiro} (3:38)
09. The Very Thought Of You {Ray Noble} (6:36)
10. Stolen Sweets {Wild Bill Davis} (4:17)
11. Rhythmesque {Hank Marr} (4:53) 

Total Time: 63:04 

Credits:
Producer, Mixing, Mastering - Jamey Aebersold
Engineer - Steve Good 

Katherine The Great

Dick Griffin - Time Will Tell (2011)

This set of eight original tunes, all penned by trombonist/leader Dick Griffin is a testament to the old KISS adage: keep it simple, stupid. Get some good players together, write some straightforward melodies, and blow, and Griffin has assembled some good players. "Could It Be the Blues" strikes the perfect mood to open this record. Few instruments lend themselves to a blues as well as a trombone. Naturally plaintive, in the hands of a player like Griffin, the instrument takes on a human quality, an extension of the trombonist's voice. Griffin is widely known in the free jazz world and has made a name for himself for his circular breathing technique, but here - and throughout the session - he sounds happy to be just blowing, carefree. This is a blues in 3/4, with a few nice little twists along the way. "Home Song" is a very intuitive, hummable song with a memorable melody, while "For the Love in My Heart" cries out for lyrics. "Let's Take a Chance" shows off Griffin's ability to take a simple, singable little tune and craft it into a complete song - nothing fancy, just respect for where the melody wants to go. As with much of the record, this is a strong showcase for his sidemen, though there really are no sidemen on a project like this, especially with players of this caliber, and here everyone contributes to getting the songs off the ground and keeping the energy going. The combined experience of the group is quite something, typified by alto saxophonist/flautist James Spaulding - always such a joy to hear, and this record is no exception. The songs featuring him on flute ("Time Goes By", "My Fantasy") are some of the best of the set. His original plays off of the very famous title track, and the entry of flute, followed by bassist Cecil McBee and Griffin are sonically scrumptious. The band is at its finest on the cookin,' slightly sinister and vamp-driven "Mind Over," while the closing title track is like much of the record encapsulated. It features a very catchy phrase, endearingly played loosely by a front line of interesting sonic textures, followed by solid solos and empathetic accompaniment. Easy as pie. Griffin is a wonderful musician who has contributed mightily to improvised music. He is also a very talented painter, and is responsible for the wonderful cover art featured on Time Will Tell. ~ by William Carey, AAJ. 

Ruby Records, 0884501515689, 2011 

Musicians:
Dick Griffin - Trombone, Arranger
James Spaulding - Alto Saxophone, Flute (#5,7)
George Cables - Piano
Cecil McBee - Bass
Victor Lewis - Drums 

Tracks:
1. Could It Be The Blues {Dick Griffin} (5:01)
2. Home Song {Dick Griffin} (5:32)
3. For The Love In My Heart {Dick Griffin} (6:37)
4. Let's Take A Chance {Dick Griffin} (6:25)
5. Time Goes By {Dick Griffin} (6:02)
6. Mind Over {Dick Griffin} (5:47)
7. My Fantasy {Dick Griffin} (7:28)
8. Time Will Tell {Dick Griffin} (8:29) 

Total Time: 51:21 

Credits:
Producer - Dick Griffin
Cover Photo - Adjua Mantebea
Group Photo - Joanne Klein
Design - Sandy Jordan 

Some wonderful bop, some wonderful blues, a wonderful album.

Listen to Track here:
My Fantasy

George Garzone, Jerry Bergonzi, Carl Winther Trio - Quintonic (2014)

"Gargonzi", "Berzone" call em whatcha like, the tenor sax duo of George Garzone and Jerry Bergonzi from "Beantown" (Boston, Mass) quite excite on this 2014 disc. This CD appears to have been sponsored by the Danish Music Publishers Society and features a more than able rhythm section of pianist Carl Winther (who not only produced the date but penned four of the tracks) Johnny Åman on bass, and Anders Mogensen on drums. The front line hornmen sport an "obbledeygobbeldy" manneristic which refers to a post-Coltrane technique (also developed by Dave Liebman, Steve Grossman, Bill Evans,et al) which involves a pumping off of the lower notes in order to get a ricochet-like effect escalating vertically to higher registers of the horn. Mind you this might be an anorakian pursuit of interest for saxophonists, but it is difficult to pull off and does have a distinctive and rather emotional, fiery edge to it. It sits well with both Garz and Gonz possessing dark and somewhat hollow, echoey tonal qualities which offer a refreshing contrast to the plethora of brighter, shimmery and brittle sounds that so many contemporary saxists have today. Winther's "Crystal Ball" has a gentle medium bluesy groove with a pensive and moody horn line that leads to heroic solos all round. Bergonzi contributed two pieces, the melodic "Idiosyncrasies" and the brisk 12 bar burner, "Ellwood" which offset Winther's repertoire nicely. Everything is well controlled throughout with squeaks, squeals and even the odd honk. Quality stuff indeed. ~  by Frank Griffith, JazzViews.net. 

Stunt Records, STUCD 14072, 2014
Recorded July, 2013 in Boston, Massachusetts 

Musicians:
George Garzone - Tenor Saxophone
Jerry Bergonzi - Tenor Saxophone
Carl Winther - Piano
Johnny Åman - Bass
Anders Mogensen - Drums 

Tracks:
1. Gargonzola {Carl Winther} (4:54)
2. Crystal Ball {Carl Winther} (7:40)
3. Idiosyncrasies {Jerry Bergonzi} (6:28)
4. Restless {Tomas Franck} (5:49)
5. Ellwood {Jerry Bergonzi} (7:46)
6. Abeid From Zanzibar {Carl Winther, Jerry Bergonzi} (6:07)
7. The Gargoyle Returns {Carl Winther} (5:37) 

Total Time: 44:26 

Producer - Carl Winther 

Ellwood

Alvin Queen feat. Jesse Davis & Terell Stafford - Mighty Long Way (2009)

Alvin Queen's longtime European expatriate status has apparently ended, as this recording for the veteran drummer was done in New York City with younger musicians who admire his veteran presence and solid mainstream jazz credentials. Several cuts hearken back to modified Jimmy Smith style organ combos, while others have a feel stemming from Art Blakey's Jazz Messengers, and some get down and dirty with the original funk of those like Horace Silver. Queen himself is a solid drummer who does not employ bashing or histrionics à la Elvin Jones, Tony Williams, or Jeff Watts, while his musicality is second to none, and rivals peers like Joe Chambers. Organist Mike LeDonne shines brightly as the glue on this session, with guitarist Peter Bernstein right by his side, while trumpeter Terell Stafford and alto saxophonist Jesse Davis prove a fine tandem that front the music in a faithful, straight-ahead, no-nonsense fashion. For those who are veteran listeners of jazz, you'll recognize a faithful version of Silver's "Cape Verdean Blues" with its wonderfully rich harmonies and churning rhythm, or Wayne Shorter's "United" with a similar Latin beat tacked onto a New Orleans feeling, not so much embellished as it is slightly shaded with LeDonne's organ. "I Got a Woman" is a typical, tried and true boogaloo groove that would make its author Ray Charles smile. Two obscure Oscar Peterson tunes are included, with "Sushi" a fast, insistent bop, and "Backyard Blues" a galloping romp/shuffle served under the tangy horns. Joe Pace, hardly known as a writer of jazz, contributed the title track in its happy, more contemporary modern organ combo format, while "Let Us Go into the House" certainly lives up to its singsongy, blues/gospel funk title. Davis brings to the repertoire the slow, cool, and basic "Blues on Q," as well as "Alba," a hip Blakey-type modern jazz swinger with Queen's drum fill-ins as pauses for thought and Bernstein's tasty guitar work. The obligatory Queen solo, "The Drum Thing," concludes the CD on a rumbling, tasteful note with help from Randy Weston's longtime conga player Neil Clarke. Were this to be a real working band (all of the participants are leaders in their own right,) jazz listeners would be shouting to the rafters for more of this excellent unit perhaps touring in support of this music. For now, this should do just fine as a quite memorable effort. ~ by Michael G. Nastos, AMG. 

Enja Records, ENJ-9522 2, 2009
Recorded 25th & 26th March, 2008 at Muzic Complex Studio, Dobbs Ferry, New York 

Musicians:
Alvin Queen - Drums
Terell Stafford - Trumpet, Flugelhorn
Jesse Davis - Alto Saxophone
Mike LeDonne - Organ [Hammond B-3]
Peter Bernstein - Guitar
Elias Bailey - Bass (#4,7)
Neil Clark - Congas, Percussion 

Tracks:
1. Mighty Long Way {Joe Pace} (5:23)
2. Sushi {Oscar Peterson} (7:48)
3. Cape Verdean Blues {Horace Silver} (6:25)
4. Blues On Q {Jesse Davis} (7:46)
5. I Got A Woman {Ray Charles} (7:41)
6. Backyard Blues {Oscar Peterson} (5:16)
7. Alba {Jesse Davis} (4:51)
8. Let Us Go Into The House {Joe Pace} (7:13)
9. Drum Thing {Alvin Queen} (8:46) 

Total Time: 61:09 

Credits:
Producer - Matthias Winckelmann
Audio Engineer - Vito Luizzi
Design - Franziska Erdle, David Winckelmann
Assistant Engineer - Alec Head
Cover Photo - Mark Wohlrab

Anders Mogensen - Taking Off (1995)

Anders Mogensen is currently being referred to as "the greatest Danish drummer since Alex Riel". His debut album on Storyville showcases Anders at his best. He is joined by a stellar cast of today's great musicians for a tour-de-force venture into musical nuances ranging from hard driving urban jazz grooves to subtle lyrical statements. Listen to this album and join the growing crowd of people who are already enjoying the sounds from one of the most exciting new artists on the jazz scene. ~ storyvillerecords.bandcamp.com. 

I'm Glad I Bought It
================
I'm a big fan of Rick Margitza. The contrast between Gary Thomas and Rick Margitza is very interesting. The sound of Gary Thomas is solid and I don't feel the charm as a tone, but I was impressed once again that he is following his own path without categorically changing his playing style from the time of his debut. ~ Leo, 5 Stars, Amazon.com. [Translated from Japanese] 

Storyville Records, STCD 4198, 1995
Recorded 1st October, 1994 at Sound on Sound, New York 

Musicians:
Anders Mogensen - Drums
Rick Margitza - Soprano Saxophone, Tenor Saxophone
Gary Thomas - Tenor Saxophone
Niels Lan Doky - Piano
Ron McClure - Bass [Acoustic] 

Tracks:
1. Emergence {Anders Mogensen} (1:09)
2. F.F. {Anders Mogensen} (9:11)
3. Lonely {Anders Mogensen} (7:06)
4. Take Off {Anders Mogensen} (11:56)
5. Evidence {Thelonious Monk} (4:18)
6. Missing You {Anders Mogensen} (9:59)
7. Softly As A Morning Sunrise {Sigmund Romberg, Oscar Hammerstein II} (8:02) 

Total Time: 51:44 

Credits:
Producer - Niels Lan Doky
Executive Producer - Karl Emil Knudsen
Engineer - Peter Beckerman
Assistant Engineer - John R. Reigart III
Mastering - Hans Nielsen, Anders Mogensen
Photography - Art Zimmerman

Magnifique ~ Claude Mischler, 5 Stars, Amazon.com.

Carl Winther Quartet - Tetragonz (2013)

Carl Winter has certainly inherited the blood of his father, the great Danish trumpeter Jens Winter, who died in 2011. Since then, Carl has become increasingly active as the leading young jazz pianist in Denmark. Like before he assembles a trio; made up of bassist Johnny Åman, replacing Joel Illerhag, and drummer Anders Mogensen; that is augmented by the presence of renowned and equally in demand tenorist Jerry Bergonzi. This time the quartet as formed in the previous work "Sonic Shapes" has evolved into a regular band, and while expanding its activities in Europe and the United States, it ushered itself forth into the Boston PBS Studios in late 2012 to record this album, and the following year it was released on the Danish ‘stunt’ label. As before, well-placed in this formation the master saxophonist’s exhilarating contribution runs unabated. Both players apart from their excellent musicianship are top-notch composers, with Carl penning seven and Jerry the remaining two compositions. As a result, this veteran tenor player and up-and-coming pianist's passionate encounter has exceled to create yet again a fine example of the next generation of vibrant jazz, enjoy! 

Stunt Records, STUCD 13042, 2013
Recorded November, 2012 at PBS Studios, Westwood, Boston, Massachusetts 

Musicians:
Carl Winther - Piano
Jerry Bergonzi - Tenor Saxophone
Johnny Åman - Bass
Anders Mogensen - Drums 

Tracks:
1. Tetragonz {Carl Winther} (5:08)
2. Somewhere {Carl Winther} (4:31)
3. Dawn {Carl Winther} (6:31)
4. Spectre {Carl Winther} (6:09)
5. Neverland {Carl Winther} (4:25)
6. Like Judas {Carl Winther} (9:04)
7. Gabriella {Jerry Bergonzi} (7:09)
8. Triotone {Carl Winther} (6:02)
9. Domolian Mode {Jerry Bergonzi} (5:21) 

Total Time: 54:20 

Credits:
Producer - Carl Winther, Jerry Bergonzi
Executive-Producer - Peter Littauer, Søren Friis
Recording - Peter Kontrimas
Cover - Paul Wilson
Photography - Antonio Porcar Cano 

Tetragonz

Renato Sellani Trio - A Mina (2004)

Jazz musicians all too frequently stick to standards from the Great American Songbook, so it makes sense for pianist Renato Sellani to put together a program of originals by modern composers of his native Italy. While nearly all of these songs may be unfamiliar to listeners outside of Europe, each of them proves to be a terrific vehicle for Sellani's trio, which includes bassist Massimo Moriconi and drummer Massimo Manzi. The leader contributed the touching "A Mina” (heard separately in a solo version and a trio performance), while Moriconi composed the pretty ballad "Cosi," played as a solo by Sellani. There are several guests added as well. Vocalist Tiziana Ghiglioni is featured in the haunting "Le Mille Bolle Blu" (the saxophonist is strangely unidentified, though it is likely Gianni Basso). Patrizia Conte is the singer on a playful duet of "Grande Grande Grande." Flügelhornist Enrico Rava joins the trio for the playful " Munasterio 'E Santa Chiara." This enjoyable session is warmly recommended. ~ by Ken Dryden, AMG. 

Philology Records, W 272.2, 2004
Recorded 6th November, 2003 at Mu Rec Studio, Milano, Italy 

Musicians:
Renato Sellani - Piano
Massimo Moriconi - Bass
Massimo Manzi - Drums
Guests:
Enrico Rava - Trumpet (#8)
Patrizia Conte - Vocals (#10)
Tiziana Ghiglioni - Vocals (#5,13) 

Tracks:
01. Vorrei Che Fosse Amore {Antonio Amurri, Bruno Canfora} (3:44)
02. Come Sinfonia [Take 1] {Pino Donaggio} (2:18)
03. Se C'È Una Cosa Che Mi Fa Impazzire {Antonio Amurri, Bruno Canfora} (3:29)
04. Così {Massimo Moriconi, Samuele Cerri} (3:20)
05. Le Mille Bolle Blu {Vito Pallavicini, Carlo Alberto Rossi} (6:46)
06. Io E Te Da Soli {Lucio Battisti, Giulio Rapetti} (4:01)
07. A Mina [Piano Solo] {Renato Sellani} (3:52)
08. Munasterio 'E Santa Chiara {Alberto Barberis, Michele Galdieri} (2:47)
09. Amorevole {Pino Massara, Vito Pallavicini} (4:18)
10. Grande Grande Grande {Alberto Testa, Tony Renis} (4:05)
11. Tintarella Di Luna {Bruno De Filippi, Franco Migliacci} (5:29)
12. You Never Told Me {Piero Piccioni, Lydia McDonald} (3:11)
13. E Se Domani {Carlo Alberto Rossi} (5:54)
14. Amina [Trio Version] {Renato Sellani} (4:19)
15. Come Sinfonia [Alternate Take] {Pino Donaggio} (3:27) 

Total Time: 61:04 

Credits:
Producer, Liner Notes - Paolo Piangiarelli
Engineer - Paolo Falascone
Mastering - Fabio Alfonsi
Graphics - Danilo Santinelli
Photography [Front] - Franco Mancini
Photography [Inside] - Valentino Paoletti

Jerry Bergonzi Quartet - Live Gonz! II (2004)

Jerry is unique. You will enjoy every album! ~ Ingo Waaga, Amazon.com. 

Better Than Gonz! Live 1
====================
This Vol. 2 Of His Live Set Is Much More Straight Ahead Than Vol. 1 ~ JazzMan65, Amazon.com. 

Double Time Jazz, DTJCD-1002, 2005
Recorded Live at Duc Des Lombards, Paris, France 

Musicians:
Jerry Bergonzi - Tenor Saxophone
Renato Chicco - Piano
David Santoro - Bass
Andrea Michelutti - Drums 

Tracks:
1. I Remember You {Victor Schertzinger, Johnny Mercer} (15:10)
2. Si Señora {Jerry Bergonzi} (12:52)
3. Just Friends {John Klenner, Sam Lewis} (10:06)
4. Dexter {Jerry Bergonzi} (11:39)
5. Let's Pretend {Jerry Bergonzi} (10:39) 

Total Time: 60:27 

Credits:
Producer - Jerry Bergonzi
Executive Producer, Graphic Design - Jamey D. Aebersold
Recording - Serge Babkine
Engineer, Mixing & Mastering - Peter Kontrimas
Mixing & Mastering - Dave Santoro
Photography - Michael Tracy

Carl Winther Quartet - Sonic Shapes (2011)

One of these great new talents is 26-year-old Carl Winther. Trained at the Conservatory of Rhythmic Music in Copenhagen where he graduated in 2006, he has however already collected a parallel valuable personal experience playing on the jazz scene with a host of remarkable musicians. The recording of Sonic Shapes took place on May 31, 2011 after a successful tour of Danish and Swedish clubs. The quartet is very united and a new tour is already planned. This is not just another European trio being gold-plated by an American superstar. Bergonzi has nothing but praise for their collaboration, with the inspiration obviously flowing back and forth. ~ Amazon.com. [Translated from French] 

Stunt Records, STUCD 11162, 2011
Recorded 31st May, 2011 

Musicians:
Carl Winther - Piano
Jerry Bergonzi - Tenor Saxophone
Joel Illerhag - Bass
Anders Mogensen - Drums 

Tracks:
1. The Out Society {Carl Winther} (4:55)
2. Threshold {Jerry Bergonzi} (9:45)
3. The Prophet {Carl Winther} (7:28)
4. Uranian Overtones {Jerry Bergonzi} (6:43)
5. Yerevan Mama {Jerry Bergonzi} (6:03)
6. The Falcon {Carl Winther} (7:28)
7. James Moody {Jerry Bergonzi} (6:49)
8. The Core {Carl Winther, Jerry Bergonzi, Anders Mogensen} (4:49) 

Total Time: 54:04 

The Out Society

Cecil Payne - Bright Moments (1979) [vinyl]

One of Payne's best albums. The review compares with Nick Brignola's LA Bound.

Chris Sheridan, Jazz Journal October 1980:
“The ability of groups with identical instrumentation to produce music of widely differing character is one of the constant joys of jazz. It is also a constant threat to the already fragile business of comparison, so this review intends, instead, to celebrate the positive differences between these two fine albums.
In general terms, there is the curious aspect that it is the older men who explore the more contemporary music (Equinox, Roland Kirk's Bright Moments). Brignola's album, then, is marginally the more conservative — but it is his best yet, just as Payne's is his best for a considerable time. Another point of difference is tonal. Payne, once the possessor of the hugest of baritone timbres has mellowed enormously, playing with almost no vibrato and an airy breathiness. Brignola plays his instrument fiercely, and with much of the rasping bite that characterised the younger Payne.
His programme is the more immediately infectious, with an emphasis on compelling up-tempo blowing (Quicksilver, Groovin' et al), balanced by pungency (Smada) and the sunny Latin approach (Bossa). There is only one ballad, and it is played with muscular tenderness. Payne's session, with a ballad medley succeeded by a slow, rocking modal performance, injects pace only for the boppish blues, Disorder, and Speak Low. Its depth is likely to be taken for granted, but both horns play with profundity, feeling and melodic grace. Nor does the relative immediacy of Brignola's LP debar such virtues — it possesses a conviction and inspiration which create lasting music.
Some individual honours: the warm sensitive entwining of lines in the Brignola-Dickerson duet, Spring Is Here; Watrous's incredible technique being at last geared to meaningful self-expression
(Quicksilver, Mellow Tone); Green's slippery bass, its dynamics and time; Pyne's logic and Payne's bustling lyricism; Fuller's balladic warmth (Lover Man) and up-tempo bite (Disorder). All in all, two excellent celebrations of honest music.”

01 - Ballad Medley
02 - Equinox
03 - Disorder At The Border
04 - Bright Moments
05 - Solar
06 - Speak Low

Curtis Fuller (tb) Cecil Payne (fl,bs)Mick Pyne (p) Dave Green (b) Alan Jackson (d)
London, July 19 & 20, 1979

Cécile McLorin Salvant et le Jean-François Bonnel Paris Quintet - Cécile (2010)

Cecile is the debut album from 2010 Thelonious Monk International Jazz Vocals Competition winner Cécile McLorin Salvant. Recorded before her Grammy-nominated 2013 major-label debut, WomanChild, 2010's Cecile is a swinging, urbane album that showcases Salvant backed by the Jean-François Bonnel Paris Quintet. With her impeccable phrasing, bell-tone voice, and knack for picking both time-tested and unusual standards, Salvant has been hailed as one of the best jazz vocalists of her generation, all of which is evident on Cecile. ~ by Matt Collar, AMG. 

Sysmo Records, none, 2010
Agate Records, AGIP-3504, 2011
Recorded November, 2009-March, 2010 at Sysmo Records, Paris, France 

Musicians:
Cécile McLorin Salvant - Vocals
Jean-François Bonnel - Clarinet, Tenor Saxophone
Jacques Schneck - Piano
Enzo Mucci - Guitar
Pierre Maingourd - Double Bass
Sylvain Glévarec - Drums 

Tracks:
01. Exactly Like You {Dorothy Fields, Jimmy McHugh} (5:13)
02. Moody's Mood For Love {Eddie Jefferson} (3:25)
03. I've Got My Love To Keep Me Warm {Irving Berlin} (3:18)
04. I Got It Bad [And That Ain't Good] {Duke Ellington, Paul Francis Webster} (4:35)
05. Social Call {Jon Hendricks, Gigi Gryce} (3:24)
06. Detour Ahead {Herb Ellis, John Frigo, Lou Carter} (2:27)
07. No Regrets {Roy Ingraham, Harry Tobias} (4:06)
08. Frosty Morning Blues {Eddie Ollie Brown} (4:42)
09. Easy To Love {Cole Porter} (3:27)
10. I Wonder Where Our Love Has Gone {Buddy Johnson} (4:36)
11. Anything Goes {Cole Porter} (4:48)
12. After You've Gone {Turner Layton, Henry Creamer} (4:37) 

Total Time: 48:41 

Credits:
Producer - Lena McLorin Salvant
Executive-Producer - Mario Kuwahara
A&R - Takashi Nishino

Social Call

Burt Collins, Joe Shepley Galaxy - Time, Space And The Blues (1970) [vinyl]

Sometime after March, 1969, trumpeters Burt Collins and Joe Shepley went into the studio and recorded a masterpiece. I’m betting you’ve never heard the album - Time, Space And The Blues - because it has never been released digitally and is rare on vinyl. Pianist Mike Abene wrote many of the songs and all of the arrangements except one - Soft Landing, which was arranged by Johnny Carisi. In fact, this is as much Abene’s album as it is Collins and Shepley’s. What makes this album special, in addition to Abene’s highly inventive charts, is the ability to hear Collins out in the open. The trumpeter was in some of the most exciting bands of the post-war years, including Woody Herman, Johnny Richards, Manny Albam, Elliot Lawrence, Urbie Green and Slide Hampton. But he was socked away in trumpet sections. Not until 1969 did Collins finally record as a leader on Time, Space And The Blues. Lennon/McCartney Live, his only other leadership date, was recorded a short time later with virtually the same band, except Herbie Hancock was on piano instead of Abene, who wrote all the arrangements. There's no recording date for Time, Space And The Blues in Tom Lord’s Jazz Discography or on the album or singles. I arrived at the post-March 1969 date by glancing at the songs on the album. One is Docking Maneuver and another is Module 3. Both are references to Apollo 9, which lifted off in March 1969 to work on aspects of the Apollo 11 flight to the moon scheduled for July. Shepley first recorded with Collins on Introducing Duke Pearson’s Big Band in 1967. They soon formed Collins/Shepley Galaxy and recorded Time, Space And The Blues for MTA Records, a division of Decca, at Columbia’s 30th St. studio. The session was produced by MTA head Bob Thompson. The band was impressive: The arrangements have a Gil Evans feel - heaving and sighing and creating an orchestral feel for Collins’s darting trumpet and Shepley’s moodier attack. In this regard, the album sounds like a cousin of the Evans-Miles Davis collaborations of the late 1950s and early 1960s. ~ by Marc Myers, www.jazzwax.com. 

MTA Records, NWS 2, 1970
Recorded after March, 1969 at Columbia 30th Street Studio "The Church", New York City 

Musicians:
Burt Collins, Joe Shepley - Trumpet, Flugelhorn
Bernie Glow - Trumpet, Trumpet [Piccolo]
Garnett Brown - Trombone
Paul Faulise - Bass Trombone
Joe DeAngelis - French Horn
Tony Price - Tuba
Jerry Dodgion - Flute, Soprano Saxophone
Michael Abene - Piano, Arranger, Conductor
Bob Cranshaw - Bass
Mickey Roker - Drums
John Carisi - Arranger 

Tracks:
A1. Time, Space And The Blues {Joe Shepley, Michael Abene} (6:02)
A2. Apogee {Michael Abene} (3:37)
A3. Blue Interlude {Joe Shepley} (4:29)
A4. Docking Maneuver {Michael Abene} (4:23)
B1. Module 3 {Johnny Carisi} (5:00)
B2. Soft Landing {Michael Abene} (4:09)
B3. Susan Moon {Michael Abene} (3:27)
B4. Fourth Dimension {Joe Shepley} (4:45) 

Total Time: 35:52 

Credits:
Producer - Bob Thompson
Recording Engineer - Frank Laico, Paul Goodman
Artwork [Cover] - Frank Frezzo
Design [Cover] - Forlenza Venosa Associates
Photography [Back] - Robin Forbes
Photography [Front] - Bob Venosa 

Fourth Dimension

Click on the play button to play track:

Andy LaVerne Quartet - Modern Days & Nights: Music Of Cole Porter (1996)

Cole Porter wrote some of the most enduring songs of this century. So, when it came time to choose material for this collection, the problem was not a matter of inclusion, rather a matter of selection. Along with the intrinsic beauty of his compositions, Porter infused his songs with a malleability to absorb countless interpretations. While playing jazz is more expressive than interpretive, the arranging and harmonization of familiar melodies opens the way to interpretation. The expressive side of this project was covered by the musicians. The chemistry between Bill, John, Steve, and myself proved most gratifying. The result of having the Porter tunes as vehicles for self-expression, is the four of us coalescing into a strong, yet flexible unit. Of course, the gentle, genial, and generous guidance of Jamey D. Aebersold certainly helped complete the package. We really had fun playing, so have fun listening! ~ Andy LaVerne, February, 1997. 

Double-Time Records, DTRCD-120, 1997
Recorded 23rd November, 1996 at the Steve Davis Studio, Yonkers, New York 

Musicians:
Andy LaVerne - Piano, Arranger
Bill Evans - Soprano Sax (#1,2,4,8), Tenor Sax (#3,5,7,9)
John Patitucci - Acoustic Bass (#1-7,9)
Steve Davis - Drums (#1-7,9) 

Tracks:
1. A Cole Porter Flat {Andy LaVerne} (8:13)
2. I Love You {Cole Porter} (7:30)
3. Love For Sale {Cole Porter} (8:35)
4. What Is This Thing Called Love {Cole Porter} (8:11)
5. Everytime We Say Goodbye {Cole Porter} (7:24)
6. I've Got You Under My Skin {Cole Porter} (6:19)
7. Just One Of Those Things {Cole Porter} (8:42)
8. Everything I Love {Cole Porter} (4:06)
9. Night And Day {Cole Porter} (7:08) 

Total Time: 66:08 

Credits:
Producer - Jamey D. Aebersold
Mixing Engineer - Steve Davis
Photography - Andy Tommasi
Liner Notes - Andy LaVerne, Zan Stewart

Dr. John with Donald Harrison Band - Funky New Orleans (1991)

Dr. John has been described as "The Living Embodiment of New Orleans Culture". His raspy voice and eccentric fusion of New Orleans R&B, Rock and Mardi Gras have created a unique 'voodoo' sound, aptly demonstrated on these thrilling 1991 sessions with the Donald Harrison Band. This 1991 album comes armed with this unique style and better yet with such passionate energy. Dr. John teams up with the Donald Harrison Band to reproduce the various musical explorations and endeavors Dr. John has brought so far through his music and song writing. His charm is fully revealed through the magical voodoo music and the blues performances that he leads on piano. The upbeat 'Hu-Ta-Nay' sets the voodoo magic in motion, quickly followed by the fun and funky and bluesy numbers 'Big Chief', 'Shave 'Em Dry', and 'Ja-Ki-Mo-Fi-Na-Hay', which are strongly inspired by his early days, are truly unparalleled and fervent, enjoy! 

Metro Records, METRCD002, 2000
Recorded 22nd-23rd May, 1991 (#1,9) in New York;
16th-17th November, 1991 (#2-8) Live at Birdland, New York 

Personnel:
Dr. John (Mac Rebennack) - Piano, Guitar, Vocals, Whistling
Donald Harrison Jr. - Alto Saxophone
Stephen Scott - Piano
Cyrus Chestnut - Piano (#1)
Dwayne Burno - Bass
Phil Bowler - Bass (#1)
Carl Allen - Drums
Harol “Smiley” Rick - Percussion (#1)
Donald Harrison Sr. - Vocals (#1) 

Tracks:
1. Hu-Ta-Nay {Donald Harrison} (6:17)
2. Big Chief {Earl Gaines, Wardell Querzergue} (5:17)
3. Shave’em Dry {Lucille Bogan} (5:17)
4. Ja-Ki-Mo-Fi-Na-Hay {Donald Harrison} (6:53)
5. Mamzelle Zizi {Mac Rebennack} (5:43)
6. Livin’ On Borrowed Time {Mac Rebennack} (9:18)
7. You Ain’t So Such A Much {Mac Rebennack} (6:36)
8. Hu-Ta-Nay {Donald Harrison} (9:16)
9. Walkin’ Home {Donald Harrison, Jr., Mac Rebennack} (2:23) 

Total Time: 57:07 

Liner Notes - Neil Slaven 

Big Chief

Jerry Bergonzi - Live Gonz! (2002)

"Live GONZ!" is master saxophonist and educator Jerry Bergonzi's 2001 recording on Double-Time Records. This single CD recording captures Bergonzi's quartet performing in front of a very appreciative audience at the Duc Des Lombard club in France. Every song is over 10 minutes long (65 minutes total) and the band takes the opportunity to explore each piece, whether it's barnstorming the standard "Have You Met Miss Jones", getting bossa nova on "Different Places Again" or swinging on "A Different Look". The quartet, which includes Renato Chicco on piano, Dave Santoro on bass, and Andrea Michelutti on drums, is in fine form and well recorded on this modern bop date. ~ by Douglas T Martin, Amazon.com. 

Double Time Records, DTRCD-190, 2002
Recorded Live at Duc Des Lombards, Paris, France 

Musicians:
Jerry Bergonzi - Tenor Saxophone
Renato Chicco - Piano
Dave Santoro - Bass
Andrea Michelutti - Drums 

Tracks:
1. Have You Met Miss Jones {Richard Rodgers, Lorenz Hart} (11:35)
2. Different Places Together {Jerry Bergonzi} (14:05)
3. On Again Off Again {Jerry Bergonzi} (11:57)
4. You Can Tell {Jerry Bergonzi} (9:59)
5. A Different Look {Jerry Bergonzi} (17:08) 

Total Time: 64:44 

Credits:
Producer - Jerry Bergonzi
Executive Producer, Graphic Design - Jamey D. Aebersold
Recording - Serge Babkine
Engineer, Mixing & Mastering - Peter Kontrimas
Mixing & Mastering - Dave Santoro
Photography - Michael Tracy
Liner Notes - David Kana

Kenny Drew - For Sure (1978) [vinyl]

Review by Scott Yanow

Kenny Drew recorded two Xanadu albums in two days during one of his very rare visits to the United States after he moved to Europe in 1961. This rare quintet outing (with altoist Charles McPherson, trumpeter Sam Noto, bassist Leroy Vinnegar and drummer Frank Butler) features Drew playing at the peak of his powers. The material (four originals by the pianist plus two obscurities) is strong, is sometimes quite boppish and contains plenty of variety. This out-of-print LP was underrated at the time and is worth searching for.

Or for the more perceptive, review by KingCake:

In 1978 Drew made a rare visit home and recorded two albums in two days, this quintet session and a trio session to follow. Kenny is in spectacular form and his band mates are both sympathetic and talented enough to make this sound like a session from a group with real history together. The front line of McPherson and Noto are one of those special but relatively unknown pairings from the 70's much like Ira Sullivan and Red Rodney and throughout these Xanadu dates it becomes clear that the tandem of Leroy Vinegar and Frank Butler belong in the highest echelon of bass, drum duo's. The tune 'Dark Beauty' is enough all by itself to make this whole session worthwhile, but the rest of it kills too. You may have a hard time getting this one off of your player.

For Sure
Mariette
Arrival
Blues Wail
Dark Beauty
Context

Sam Noto (t), Charles McPherson (as), Kenny Drew (p) Leroy Vinnegar (b), Frank Butler (d)
Los Angeles, CA, October 16, 1978

Albert Heath - Kwanza (The First), vinyl rip

Well folks...here we are again. Long time friends will recall that this was long one of my Holy Grail's from the Muse catalog. Once I had finally acquired what appeared to be a nice copy I was heartbroken to discover that side one was flawed with a fierce crackle or groove noise that I wasn't able to remove via software nor cleaning. Eventually I tried so many times to clean side 1 of this record that I likely caused new damage. My attempt to re-rip one last time yesterday was too just too flawed to work with, so I went back to my last, best rip and decided to see if the spectral denoising of Isotope RX4 Advanced could finally rid me of the flaw. It took some experimentation and a couple of junked tries, but I managed to sweep the vast majority of the noise away without messing with the music! The wonders of modern editing software!

So this is still the 16/48 rip from last year, but it is very clearly cleaner and a better listen. I recommend that you upgrade!

    Bass – Percy Heath
    Drums, Timpani [Tympani], Chimes – Albert Heath
    Electric Piano, Piano – Kenny Barron
    Flute, Soprano Saxophone, Tenor Saxophone – Jimmy Heath
    Guitar – Ted Dunbar
    Trombone – Curtis Fuller
 Recorded By – Paul Goodman
    Liner Notes – Gary Giddins
    Producer – Don Schlitten, Design, Photography By – Don Schlitten



Preceding the Strata East 1975 release "Marchin' On" by two years, this could be considered the first Heath Brothers release. A lovely set of spiritual modal jazz that has that 70's feel I can't resist. All the compositions are originals, written either collectively or individually by the brothers; each one a new gem. For me this one is a classic of the genre.

Hal Galper Trio - Live At Port Townsend '91

This 1991 appearance at the Port Townsend Jazz Festival by the Hal Galper Trio, with the pianist joined by bassist Todd Coolman and drummer Steve Ellington, is a delight from beginning to end, with extensive workouts of four of the five songs. "Hey There," a hit for Rosemary Clooney, is a surprising choice to open the set, though the trio's imaginative treatment of it makes one wonder why it isn't played more often. "I'll Remember April" is one of the most recorded standards in jazz, but Galper's initially sauntering arrangement gradually builds up steam as they delve further into it. An intense Latin-flavored workout of "What Is This Thing Called Love?" is followed by the infrequently performed Dave Brubeck-Paul Desmond blues "Balcony Rock," which Galper describes as "going for low, for down, for nasty." The only relatively brief track, at just under five minutes, is his shimmering duet with Coolman of John Coltrane's "Giant Steps," which is played as a reflective ballad rather than at the typical racehorse tempo. Galper's humorous introductions add flavor to this highly recommended live CD. ~ by Ken Dryden, AMG. 

Double-Time Records, DTRCD 105, 1991
Recorded 27th July, 1991 at Port Townsend Jazz Festival, Washington State 

Musicians:
Hal Galper - Piano
Todd Coolman - Bass
Steve Ellington - Drums 

Tracks:
1. Hey There {Richard Adler, Jerry Ross} (11:44)
2. I Remember April {Gene De Paul, Pat Johnston, Don Raye} (15:39)
3. Introduction {Hal Galper} (1:20)
4. Giant Steps {John Coltrane} (4:55)
5. Tune Talking {Hal Galper} (0:38)
6. What Is This Thing Called Love? {Cole Porter} (12:26)
7. Tune Talking {Hal Galper} (1:03)
8. Balcony Rock {Dave Brubeck, Paul Desmond} (11:13) 

Total Time: 59:02 

Credits:
Producer, Mastering, Photography, Artwork - Jamey Aebersold
Liner Notes - Todd Coolman, Bud Shank

Joe Diorio, Ira Sullivan - The Breeze And I (1993)

This CD has a set of duets by guitarist Joe Diorio and Ira Sullivan, who is heard on flute, alto flute, soprano, and alto sax. The music is mostly standards (other than Diorio's "Lovely Afternoon" and Wayne Shorter's "Dance Cadaverous") and taken exclusively as lyrical ballads. Sullivan never really cuts loose and does not play any trumpet on this project, and the lack of mood variation gives a definite sameness to each performance, so the project -- which is full of heartfelt interpretations of such numbers as "The Breeze and I," "I Wish You Love" and "The Summer Knows" -- is best listened to either a few numbers at a time or as superior background music. ~ by Scott Yanow, AMG. 

RAM Records, RMCD 4508, 1994
Recorded 9th June, 1993 at Bill Wray's Skyline Studio, Mechanisburg, Pennsylvania 

Musicians:
Joseph Diorio - Guitar
Ira Sullivan - Alto Sax, Soprano Sax,, Flute, Flute [Alto], Percussion 

Tracks:
01. Breeze And I {Ernesto Lecuona, Al Stillman} (8:53)
02. I Wish You Love {Charles Trénet} (5:58)
03. Day By Day {Stephen Schwartz} (6:22)
04. Beautiful Love {D. Gillespie, W. King, E. Van Alstyne, V. Young} (5:38)
05. Look To The Sky {Antônio Carlos Jobim} (4:45)
06. I'll See You Again {Noël Coward} (4:24)
07. Summer Knows {Alan & Marilyn Bergman, Michel Legrand} (7:00)
08. Without You {Osvaldo Farrés, Ray Gilbert} (4:58)
09. Dance Cadaverous {Wayne Shorter} (5:22)
10. Lovely Afternoon {Joe Diorio} (4:54) 

Total Time: 58:13 

Credits:
Producer, Recording, Mixing Supervisor, Liner Notes - Raimondo Meli Lupi
Assistant Mixing Engineer - Jeff Way
Mixing Engineer - Jim Anderson
Mastering Engineer - Gennaro Carone
Art Direction - Giorgio Anedda [Audiovideo, Milano]
Cover Concept, Graphic Design - Alberto Berengo Gardin
Photography - Ruggero Balzan

Bill Carrothers - The Electric Bill (2002)

A Superb Disc
Here is an absolutely superb record from Bill Carrothers. Beautiful compositions and a great group sound. For me, one of his best records, which offers a completely different universe than in his acoustic piano records. Moreover, the sound is particularly successful, which does not spoil anything. With Duets with Bill Stewart, and Ghost Ship, my three favorites, in a very clear color. A pianist to know absolutely, much less publicized than Brad Meldhau, or Chick Corea, but who in my opinion achieves the tour de force of offering a different game and a personality as interesting as the two other pianists I mentioned (which do not however demerit). ~ Sébastien Lalisse, Amazon.com. [Translated from French] 

Dreyfus Jazz, FDM 36631-2, 2002
Birdology Records, FDM 36631-2, 2002
Recorded 25th-26th March, 2001 at Creation Audio, Minneapolis, Minnesota 

Musicians:
Bill Carrothers - Electric Piano [Fender Rhodes]
Michael Lewis - Soprano Saxophone, Tenor Saxophone
Reid Anderson - Electric Bass, Acoustic Bass
Dave King - Drums 

Tracks:
1. Wrong, Wrong, Wrong {Bill Carrothers} (5:14)
2. Rebellion {Bill Carrothers} (6:59)
3. Voice Of The People {Bill Carrothers} (7:47)
4. Evolution {Bill Carrothers} (7:55)
5. The Castaways {Bill Carrothers} (6:19)
6. Aftermath {Bill Carrothers} (9:04)
7. A Kindred Spirit {Bill Carrothers} (5:43)
8. Mojo Clinton {Bill Carrothers} (6:54)
9. Sing {Joe Raposo} (2:36) 

Total Time: 58:31 

Credits:
Producer, Graphic Design, Layout - Bill Carrothers
Executive-Producer - Jean Francois Dieber
Engineer - Steve Wiese
Front Cover Portraits - Doug Talalla
Photograph - Peg Carrothers

Jack McDuff - Jack-Pot (1991)

For this session, recorded in Milan and produced for the Italian Red Records label, Jack McDuff leads a swinging trio and quintet. He is joined within the trio formation by drummer and singer, on two tracks, Bobby Durham, and pianist and producer Massimo Faraò. Together they express great empathy for a bluesy exploration of some great standards. Massimo himself contributes a delightful composition "Martasamba," The grouping is expanded to a quintet with the addition of two emerging brilliant Italian reed players, tenorist Piero Odorici and baritone saxophonist Bruno Marini whom provides the exciting two-part “Basie Instinct.” Throughout, all nine tunes Jack and Massimo deliver a tight synergy that truly swings. A definite highlight is McDuff’s own composition “Spectator” where the trio builds into a pulsating charge. Overall, the album will grow on any discerning listener, and maybe even hit the jackpot in gratuitous aural pleasure. 

Red Records, RR 123267-2 CD, 1996
Recorded May, 1991 at Nikto Studios, Milano, Italy 

Musicians:
Jack McDuff - Organ
Piero Odorici - Tenor Saxophone (#1,3,5,9)
Bruno Marini - Baritone Saxophone (#1,3,5,9)
Massimo Faraò - Piano
Bobby Durham - Drums, Vocals (#4,7) 

Tracks:
1. Deli Blues For Blakey {Bobby Durham} (7:39)
2. Broadway {Bobby Bird, Teddy McRae, Henri Woode} (6:52)
3. Jack-Pot {Jeremy Monteiro, Alberto Marsico} (7:55)
4. When I Fall In Love {Edward Heyman, Victor Young} (5:54)
5. Basie Instinct {Bruno Marini} (4:36)
6. Spectator {Jack McDuff} (7:53)
7. Teach Me Tonight {Sammy Cahn, Gene DePaul} (3:41)
8. Martasamba {Massimo Faraò} (9:31)
9. Basie Instinct [Take 2] {Bruno Marini} (4:27) 

Total Time: 58:28 

Credits:
Producer - Massimo Faraò
Executive Producer - Sergio Veschi
Art Direction - Marco Pennisi

Dr. John - Jazz Fest, New Orleans (198x)

Psychedelic R&B superstar Malcolm (Mac) Rebennack Jr., better known as Dr. John, the piano maestro with the prototypical New Orleans accent was a perennial performer at the New Orleans Jazz and Heritage Festival, New Orleans. According to the WBGO announcer Michael Bourne; Dr. John is joined by none other than David "Fathead" Newman, Hank Crawford, Charlie Miller, Renard Poche, Alvin 'Shine' Robinson, Herman Ernest, Kenneth Williams, Robert Montgomery and others. These tracks were brought to my attention by KingCake. So far, he has been unable to clearly identify the tunes. Any suggestions would be appreciated. The sound quality is quite good for a nearly forty-year-old recording. I have done my best to improve its fidelity and trim/fadeout excess applause. In the end for any Dr. John, David "Fathead" Newman and Hank Crawford fan it is well-worth acquiring. 

FM Broadcast, American Jazz Radio Festival
Recorded 4th May 198x at Jazz & Heritage Festival, Fair Grounds Race Course, New Orleans 

Musicians:
Dr. John - Keyboards
David "Fathead" Newman - Saxophone
Hank Crawford - Saxophone
Charlie Miller - Saxophonist, Flute
Renard Poché - Multi-Instrumentalist [Guitar, Trombone etc.,]
Alvin 'Shine' Robinson - Guitar
Herman Ernest - Drums
Kenneth Williams - Guitar
Robert Montgomery - Multi-Instrumentalist
+ Others 

Tracks:
1. Unknown Title (6:00)
2. 13th Floor (10:35)
3. Forever Mine (6:28)
4. Carnegie Blues (6:30)
5. Unknown Title (5:57) 

Total Time: 35:30