Ramsey Lewis - Them Changes (1970) [vinyl]

Ramsey Emmanuel Lewis Jr. (27th May, 1935 - 12th September, 2022) was a great American jazz composer, pianist, and radio personality. Lewis recorded over 80 albums and received five gold records and three Grammy Awards in his career. His best-known singles include "The In Crowd", "Sun Goddess", and "Wade in the Water". With his passing, here is a relatively unknown ‘Cadet’ records album, which to date has only been released on LP. For this live session, he is joined by guitarist Phil Upchurch, bassist Cleveland Eaton and drummer Morris Jennings. The group is spurred on by the very appreciated audience covering three Lewis compositions and a number of popular tunes. All players arm themselves with an arsenal of ‘Fender' musical instruments. As a result, this performance is truly electrified. Ramsey excels on both piano and Rhodes and Phil intensifies the scene with his exceptional style, both backed by a vibrant rhythm section. The vinyl itself was in OK condition with only a few hardly noticeable artifacts, enjoy! 

Cadet Records, LPS-844, 1970
Recorded 8th & 9th May, 1970 at the Depot, Minneapolis, Minnesota 

Musicians:
Ramsey Lewis - Piano [Steinway], Fender Rhodes, Arranger
Phil Upchurch - Electric Guitar [Fender]
Cleveland Eaton - Electric Bass [Fender]
Morris Jennings - Drums 

Tracks:
A1. Them Changes {Buddy Miles} (6:37)
A2. Drown In My Own Tears {Henry Glover} (7:27)
A3. Oh Happy Day {Edwin Hawkins} (7:16)
B1. Do Whatever Sets You Free {Ramsey Lewis} (7:51)
B2. Something {George Harrison} (5:11)
B3. See The End From The Beginning, Look Afar {Cleveland Eaton, Ramsey Lewis} (6:17)
B4. The Unsilent Minority {Ramsey Lewis} (3:43) 

Total Time: 44:22 

Credits:
Producer - Concept - Ramsey Lewis
Supervisor - Dick LaPalm
Engineer - Reice Hamel
Mastering - George Piros
Photography - Alan Levine
Design, Cover [Illustration] - Dick Fowler

Claudio Fasoli Gammatrio - Gammatrio (2002)

Claudio Fasoli is an Italian jazz saxophonist and composer of modern jazz. Born (29 November 1939) in Venice, he now lives in Milan, Italy. After many sessions with various prominent musicians, he achieved popularity in the '70s playing with Perigeo Quintet, alongside Giovanni Tommaso and Franco D'Andrea. This group performed throughout Europe and also overseas, and whereby Fasoli gained considerable experience both as soloist and composer. When Perigeo disbanded in 1978, he became a leader of his own groups, mostly trios or quartets, with other top European and UK artists: Aldo Romano, Bobo Stenson, Henri Texier, Jean-François Jenny Clark, Kenny Wheeler, Lee Konitz, Palle Danielsson, and Tony Oxley. Intrinsically, Fasoli adapts well to diverse musical settings, but has cultivated his own solo style and ever-evolving compositional approach. Nowadays, he continues to work with the best Italian and foreign musicians. This 2002 album brings together three very experienced jazz musician; with Claudio Fasoli at the fore playing both tenor and soprano saxophones, trombonist Rudy Migliardi and pianist Paolo Birro to weave an intricate web of scintillating sounds. The listener is taken on a surreal trip, Paolo Birro in particular is sensational, matching perfectly with both Claudio and Rudy. All compositions are penned by Claudio and they clearly outline his ability to draw the best out of his own playing and those associated with him. He is truly a virtuoso and has continued to expand his musical and composition expertise to this day. Similarly, Paolo and Rudy have maintained their momentum as sought after solo and sessional musicians, enjoy! 

Golden Map, G CD J 1933, 2002
Recorded & Mixed June, 2002 at M.A.P. Studio, Italy 

Musicians:
Claudio Fasoli - Tenor Saxophone, Soprano Saxophone
Rudy Migliardi - Trombone
Paolo Birro - Piano 

Tracks:
01. Magic (6:26)
02. Kod (5:16)
03. Sommar (8:26)
04. Plurabelle (6:34)
05. Extatisk (2:35)
06. Fyr (4:59)
07. Fas (2:06)
08. Vol 2 (4:24)
09. Bris (7:32)
10. Diachromo (3:07)
11. Nyspel (5:32) 

All Compositions by Claudio Fasoli 

Total Time: 57:03 

Credits:
Producer, Cover Photo - Claudio Fasoli
Executive-Producer - Massimo Monti
Sound Engineer - Gianni Prudente
Cover, Graphics - Andrea Barrili, M.A.P. Studio
Photography [Birro] - Marco Lincetto
Photography [Fasoli] - Mirko Boscolo

Claudio Fasoli Quintet - Brooklyn Option (2015)

Between innovation and tradition, the album The Brooklyn Option marks the debut of the Claudio Fasoli Quintet, a band formed by the Italian saxophonist together with musicians from the New York scene: the trumpeter Ralph Alessi, the pianist Matt Mitchell, the bassist Drew Gress and the drummer Nasheet Waits. The saxophonist returns as his habit to collaborating with internationally renowned musicians in a work born almost by chance as he himself explains to us "I had previously met both Drew Gress and Ralph Alessi in occasional meetings in the context of jazz seminars in Siena and elsewhere. It is evident in the disc precisely this concertation of shared musical ideas where Claudio Fasoli's music from unitary becomes collective, developed in 13 songs having the Brooklyn neighborhood as the thematic center, which however, as Fasoli explains to us "are not a musical description of the places because music can and must above all be enough in itself, it must not describe a landscape but give an emotion" - and continues - "There are titles on the record that remind me of the moments I was on the Brooklyn Bridge, for example rather than in Shore Road and so on ... little flashes of details that thrilled me." But Claudio Fasoli's projects do not stop there, there are others even if they are not yet final "I am very intrigued by a rather chamber trio without drums with double bass and an extremely electronic guitar, I think this is a very interesting possibility. For example, I am curious to add another saxophonist to my trio without double bass, that is, the one with two saxophones, an electric guitar and drums. I also plan to meet Ralph Alessi and Drew Gress to re-propose the American quintet again., the curiosities are almost endless ... " ~ Extract by Paolo Marra, AAJ.  [Translated from Italian] 

Musica Jazz, MJCD 1289, 2015
Abeat Records, ABJZ206, 2019
Recorded 16th & 17th November, 2014 at Artesuono Recording Studio, Cavalicco (UD) Italy 

Musicians:
Claudio Fasoli - Tenor Saxophone, Soprano Saxophone
Ralph Alessi - Trumpet
Matt Mitchell - Piano
Drew Gress - Double Bass
Nasheet Waits - Drums 

Tracks:
01. Brooklyn Bridge Part 1 (1:16)
02. Brooklyn Bridge Part 2 (6:52)
03. Brooklyn Bridge Part 3 (1:20)
04. Carroll Gardens (2:44)
05. Bay Parkway (2:56)
06. Bam (5:50)
07. Mapletone (1:25)
08. Boerum Hill (7:18)
09. Neptune Avenue (3:48)
10. 7005 Shore Road (7:39)
11. Avenue M (5:56)
12. Dumbo (7:11)
13. Gowanus (3:47) 

Total Time: 58:06 

Credits:
Producer - Claudio Fasoli, Luca Conti
Sound Engineer - Stefano Amerio 

Brooklyn Bridge, Pt. 2

Claudio Fasoli - Lido (1983)

"What is particularly pleasurable about this session is the clarity of it all, the lines, the time, the collective and solo improvisatory direction.  And out in front is a leader of fire and delicacy, directness and intimacy-- Claudio Fasoli." ~ Nat Hentoff, Liner Notes. 

Excellent vigorous lyrical mainstream post-bop from this quartet of Fasoli on tenor and soprano sax, Kenny Drew on piano, Niels-Henning Ørsted Pedersen on bass, and Barry Altschul on drums playing six of Fasoli's tunes. ~ SadRoger, rateyourmusic.com. 

Soul Note, 121071-2, 1983
Recorded 22nd & 24th February, 1983 at Barigozzi Studio, Milano, Italy 

Musicians:
Claudio Fasoli - Tenor & Soprano Saxophones
Kenny Drew - Piano
Niels-Henning Ørsted Pedersen - Bass
Barry Altschul - Drums 

Tracks:
1. Snob (7:21)
2. Lyrical Touch (3:26)
3. Etna (8:42)
4. Lido (6:44)
5. Map (7:21)
6. Jazz Job (5:42) 

All Compositions by Claudio Fasoli 

Total Time: 39:26 

Credits:
Producer - Giovanni Bonandrini
Recording Engineer - Giancarlo Barigozzi
Mastering Engineer - Gennaro Carone
Cover Design - Pick Up Studios
Cover Painting - Claudio Rebaudo
Photography [Cover] - Mirko R. Boscolo
Liner Notes [English] - Nat Hentoff 

Etna

Sonny Fortune - Awakening (1975) [vinyl>flac]

From the Penguin Guide to Jazz:
"Fortune was in the 1975 Miles Davis group. Miles' illness curtailed its activities but that same year Fortune recorded a fine solo album Awakening for A & M, which suggested that he was destined for great things..."

Review by Vincent Thomas:
Sonny Fortune's second LP as a leader is a set of mostly straight-ahead jazz, which sets it apart from many of his fusion-venturing peers of the '70s. With a slate of expert, professional sidemen (Billy Hart, John Hicks, Reggie Workman, Charles Sullivan, etc), Awakening never amazes, but it also never disappoints. Fortune, as usual, offers several spirited solos, while his cohorts incessantly swing. Straight-ahead jazz fans will appreciate this yeoman set.

1. Triple Threat (10:27) [Rodgers Grant]
2. Nommo (9:38) [Jymie Merritt]
3. Sunshower (5:14) [Kenny Baron]
4. For Duke And Cannon (2:58) [Sonny Fortune]
5. Awakening (12:16) [Sonny Fortune]

Collective personnel:
Sonny Fortune : alto saxophone, flute, percussion
Charles Sullivan: trumpet, flugelhorn
Kenny Baron : piano, Fender Rhodes electric piano
John Hicks : piano
Wayne Dockery : bass
Reggie Workman : bass
Billy Hart : drums
Clip Lyles : drums
Angel Allende : congas, percussion

NYC, August & September, 1975

René Marie - How Can I Keep From Singing? (2000)

"How Can I Keep From Singing?" asks the title of Rene Marie's new album. But after a childhood of performing in Warrenton and Roanoke, Va., she didn't sing in public during 20 years of marriage and child-raising. It was only in 1994, at age 38, that she took the stage again, first under her married name of Rene Croan in Roanoke and more recently as Rene Marie in Richmond. The long years of practicing at home, far from the conformist pressures of the music industry, allowed her to develop a distinctive style of her own. As her new album demonstrates, that style features eclectic song choices (three originals, a country oldie, a new-age ballad, a Nina Simone protest song and a folk spiritual as well as familiar standards associated with Dinah Washington and Billie Holiday), a crisp focus on the lyrics, the flexibility to handle rhythms other than swing and a down-to-earth delivery that turns every song into a kitchen-table conversation. She is backed by an all-star band that features pianist Mulgrew Miller, saxophonist Sam Newsome and two members of Cassandra Wilson's band (guitarist Marvin Sewell and percussionist Jeffrey Haynes). Marie's voice is a key part of that band on tunes such as Mongo Santamaria's "Afro Blue," where she pushes along the Cuban rhythm and extends the harmonies with her scatting. Even better are the ballads, like the original "Hurry Sundown," where she sounds disarmingly casual without sacrificing a bit of musicality. ~ by Geoffrey Himes, washingtonpost.com. 

MAXJAZZ, MXJ 109, 2000
Recorded 13th-14th January, 2000 at Sound On Sound, New York 

Musicians:
René Marie - Vocals, Arranger
Sam Newsome - Soprano Saxophone (#7,12)
Mulgrew Miller - Piano (#1,2,5-11) Fender Rhodes (#3,4)
Marvin Sewell - Guitar (#2-4,11,12)
Ugonna Okegwo - Bass
Gerald Cleaver - Drums (#1-11)
Jeff Haynes - Percussion (#3,7,11,12) 

Tracks:
01. What A Difference A Day Makes {Stanley Adams, María Mendez Grever} (3:42)
02. Tennessee Waltz {Pee Wee King, Redd Stewart} (6:44)
03. Motherless Child {Traditional} (1:29)
04. Four Women {Nina Simone} (6:10)
05. The Very Thought Of You {Ray Noble} (5:00)
06. I Like You {René Marie} (4:04)
07. Afro Blue {Oscar Brown, Jr., Mongo Santamaría} (6:45)
08. A Sleepin' Bee {Harold Arlen, Truman Capote} (6:22)
09. Hurry Sundown {René Marie} (6:03)
10. God Bless The Child {Billie Holiday, Arthur Herzog, Jr.} (5:07)
11. Take My Breath Away {Bab Hallahan, René Marie} (5:24)
12. How Can I Keep From Singing? {Enya, Nicky Ryan} (5:42) 

Total Time: 62:32 

Credits:
Producer, Arranger - Bruce Barth
Engineer - David Baker
Assistant Engineer - Zach Wind
Mastering - Katsuhiko Naito
Photography - Jimmy Katz
Liner Notes - Mary Ellen Sullivan 

How Can I Keep From Singing?

Pepper Adams - Julian (1975)

Recorded five days before Julian "Cannonball" Adderley's death, the title cut of this album was retitled and dedicated to the late altoist. The powerful baritonist Pepper Adams is well showcased with a quartet comprised of pianist Walter Norris, bassist George Mraz and drummer Makaya Ntshoko on three of his originals, one by Norris and two ("Three And One" and "'Tis") by Thad Jones. Adams is in typically excellent form, playing intense solos that push but stay within the boundaries of hard bop. AMG

01 - Jirge
02 - Julian
03 - Spacemaker
04 - Ad Astra
05 - Three and One
06 - Tis
07 - Time on My Hand
08 - Lady Luck

Pepper Adams (bs) Walter Norris (p) George Mraz (b) Makaya Ntshoko (d)
Live at The Domicile, Munich, Germany. August 13, 1975

Recorded on the German Enja label and unavailable for some time, this is a from a limited edition Japanese CD.

Jimmy Witherspoon - Spoon Sings And Swings (1966) [vinyl]

Arguably Spoon's greatest album, this is superb music! Spoon was far more than a blues-shouter, just listen to 'Send Me Someone To Love'. Recorded in a London pub with the terrific support of British tenorman Dick Morrissey and one of the finest rhythm sections ever to emerge in the UK.
Writing in 1967, David Illingworth claimed this was Spoon's best record since his collaborations with Ben Webster, I wouldn't disagree. ~ grumpy

Review by David Illingworth ~ Jazz Journal, February 1967:
Undoubtedly the best Witherspoon album for many a year, though perhaps my pleasure was enhanced by the memory of several performances by Morrissey and Spoon. It is in fact a Quintet on this record; a complete whole, singer and backing. South and Bates create a solid background, and Seamen blasts the session along like an after-burner. The boy from Sutton County Grammar School gives Spoon the best tenor backing he has had since Ben Webster was behind him. On occasions he comes on like the old Fats Domino man Herb Hardesty—a direct rhythm-and-blues attack, but not vulgar. Those who have heard this combination over the past year or so will need no encouragement to buy this LP—the recording has been well done, despite the limitations the warm little room at Barnes may have suggested in this respect. Spoon is in fine form, and this is perhaps, his best recording ever—uncluttered by an all-star backing. The less interesting spots are the fast / Gotta Girl and Kansas City and Percy Mayfield's over-sentimental Someone To Love. But the word is less not least. Buy it.

01 - I Gotta Girl ( Who Lives On A Hill )
02 - Trouble In Mind
03 - Nobody Knows How I Feel This Morning
04 - New Down Home Blues
05 - Kansas City
06 - Compact Car
07 - Piney Brown's Blues
08 - Big Fine Girl
09 - Send Me Someone To Love
10 - Lotus Blossom
11 - St Louis Blues
12 - Things Are getting Tougher Than Tough (bonus)
13 - I'll Be So Glad (bonus)

Jimmy Witherspoon (vc), Dick Morrissey (ts), Harry South (p), Phil Bates (b), Phil Seamen (d)
Bulls Head, Barnes, London - May 23, 1966

5 Nights at Mr. Kelly's

 Come with me on a mythical week at the great Chicago club 'Mr.Kelly's". Think of this as your poster of the week's activities and the links are your actual shows! 

Start your week out right with Ms Anita O'Day! (1958)

"Caught live with just her piano trio at Chicago's famous now-defunct nightclub, Anita O'Day is in an ebullient mood as she tosses off a series of standards and novelties. Whether this is an accurate snapshot of her live act is open to question; the stage business in between numbers seems rather formal and one doesn't really feel the excitement of a live performance. Yet O'Day is clearly in a creative mood, whether allowing her vulnerability to show in the torchy ballads or reveling in the boppish up-tempo workouts. Her vocal on "Tea for Two" is a virtuoso deconstruction, full of satiric quotes and rhythmic shifts at a warp-speed tempo. Fleet-fingered Joe Masters decorates the fills with standard bop runs on the slightly-out-of-tune house piano."

Tuesday is good for more than taco's! We have the great Ella! (1958)

"Ella Fitzgerald didn't lack for live recording opportunities in the late '50s, which on the surface, would make this first issue of a 1958 Chicago live club date an easy one to pass on. Verve label head Norman Granz recorded her often in the '50s with an eye to releasing live albums, which he did with her shows at Newport in 1957 and Los Angeles' Opera House in 1958 (not to mention another 1958 concert in Rome that was released 30 years later to wide acclaim). Those shows, however, differed widely from this one, which found her in front of a very small audience at Chicago's jazz Mecca Mister Kelly's (Sarah Vaughan's landmark At Mister Kelly's was recorded there four months earlier). Fitzgerald's artistry is basically a given in this situation, but much of the material recorded here was rare and obscure; "Your Red Wagon" had only been released as a single, her delightfully melodic "Across the Alley from the Alamo" never appeared elsewhere, and for a pair of Sinatra evergreens -- "In the Wee Small Hours of the Morning" and "Witchcraft" -- the former had never appeared, and the latter only appeared later, on a 1961 return to the site of her Berlin live landmark."

What hump? Make Wednesday your fave day with Sassy!  (1957)

"During the mid-'50s, Sarah Vaughan spent most of her time recording songbook standards backed by a large orchestra in florid arrangements, with only the occasional breath of fresh air like her masterpiece, 1954's Sarah Vaughan with Clifford Brown. Four years after that milestone, another landed with the live album At Mister Kelly's. Recorded quite early in the days of the live LP, the album captured Vaughan at her best and most relaxed, stretching out on a set of late-night torch songs and ballads. With a trio including Jimmy Jones on piano, Roy Haynes on drums, and Richard Davis on bass, Vaughan is simply captivating, easily disproving the notion that, to be entertaining, singers needed inventive arrangements and multiple voices (instrumental or otherwise) behind them. Her unerring sense of rhythm carries her through every song on this set, whether the occasion calls for playfulness and wit ("Thou Swell," "Honeysuckle Rose") or a world-wise melancholia ("Willow Weep for Me"). Her accompanists are a valuable anchor, with Haynes' drumming just as precise as Sassy's vocals and Jones' piano solos adding additional vitality."

Thursday a new star! A young powerhouse singer!

Couldn't find a review so I'll fake it! I am struck by how much she sounds like Dinah on this; it isn't something I recall thinking before, nor have I seen it in print, but I think it is unmistakable! The big difference becomes clear pretty quickly, however, because her voice has even more power behind it! This is one of those Collectables twofers so you get another nice record as well!

...and Fridays we get down with the Blues!

"Muddy Water Live (At Mr. Kelly's) shows precisely how fortuitous Muddy Waters' history with Chess Records was. With the notable exception of Bo Diddley's Beach Party, the company tended to record its top artists in concert very late or, more often, not at all. Howlin' Wolf got one concert album so late in his career that he was merely a shadow of the legend he'd established for himself, and the label's resident blues harp virtuosi Little Walter and Sonny Boy Williamson II were never captured in concert. Waters was luckier. This album, recorded during two June 1971 gigs at one of Chicago's top clubs, was the third full-length concert release of his career; and he had a decade of life and music still in front of him and remained very much the embodiment of his own legend. The core of the band that would work with him for the rest of the '70s was already with him, and the man himself was in excellent form -- in voice and on slide guitar -- aided by Sammy Lawhorn and Pee Wee Madison. There might not be the same sense here of a career-second-wind-in-progress that there was with his later live album for Johnny Winter's Blue Sky label -- the performance is powerful and confident, more than bold and celebratory -- but on "Strange Woman," "Blow Wind Blow," and "Country Boy," for example, the effect of hearing a master of the blues virtuoso band in action is overpowering. His takes on Williamson's "Nine Below Zero," T-Bone Walker's "Stormy Monday Blues," John Lee Hooker's "Boom, Boom," and Jimmy Reed's "You Don't Have to Go," all reconfigured in Muddy's own style, are also worth hearing. There might have been more flash on the later Winter-produced sides, but this LP is not to be ignored, and not just by Chess completists -- it's a hell of a lot more essential than Electric Mud, and heralds the superb Indian summer of Waters' history at Chess, during which he recorded Can't Get No Grindin' and The Woodstock Album."

David Sills - Light Touch (2010)

For saxophonist David Sills' seventh album as a leader, he's employed two of LA's finest musicians, longtime associates, pianist Chris Dawson and bassist Darek Oles. Featuring a wonderful mix of jazz standards, this crack team of artists have assembled a program that flows seamlessly from tune to tune and leaves the listener in complete satisfaction. The album is light yet robust like a fine glass of cabernet. The sound is warm and clear. The artists all have unique original voices yet command a clear understanding and respect for the jazz tradition. If you like no-nonsense, honest jazz performed at the highest artistic level, get Light Touch, I guarantee you won't be disappointed. ~ www.davidsills.com. 

Dasil Jazz, JCR-132-09, 2010
Recorded at Big City Recording Studios, Granada Hills, California 

Musicians:
David Sills - Tenor Saxophone, Flute
Chris Dawson - Piano
Dares Oles - Bass 

Tracks:
01. Strollin' {Horace Silver} (7:12)
02. Chelsea Bridge {Billy Strayhorn} (8:28)
03. How About You {Ralph Freed, Burton Lane} (7:16)
04. Sertão Alagoano {Hermeto Pascoal} (3:19)
05. Blues For Alice {Charlie Parker} (4:07)
06. Peace {Horace Silver} (6:47)
07. Love For Sale {Cole Porter} (6:43)
08. Goodbye Porkpie Hat {Charles Mingus} (4:29)
09. Everything I Love {Cole Porter} (5:39)
10. It’s All You {David Sills} (5:01)
11. Interplay {Bill Evans} (5:56) 

Total Time: 65:02 

Credits:
Recording, Mixing & Mastering - Paul Tavenner
Artwork - Bernie Sills
Typesetting - swbmosaicart.com

David Sills, Michael Kanan - The Sweetest Melody (2012)

"Another believer in the concept that swing is essential, ballads are a thrill, and blues is part of the vocabulary, is Southern California tenor man Sills. This is his seventh CD (in my collection), and I've long been an admirer of his musicianship, choice of material, and past playing mates such as Alan Broadbent, Gary Foster, and others. This time around, David and his classic, gor­geous tone have encountered pianist Michael Kanan in a duo setting." ~ George Fendel, Jazz Society of Oregon. 

Gut String Records, GSR009, 2012 

Musicians:
David Sills - Saxophone
Michael Kanan - Piano 

Tracks:
01. Wrap Your Troubles In Dreams {Harry Barris} (5:01)
02. All The Things You Are {Jerome Kern} (7:33)
03. Gone With The Wind {Allie Wrubel, Herbert Magidson} (6:23)
04. Get Out Of Town {Cole Porter} (6:33)
05. Blues In Ten {David Sills} (5:09)
06. Sweet And Lovely {Gus Arnheim, Harry Tobias, Jules Lemare} (4:45)
07. I Let A Song Go Out of My Heart {Duke Ellington} (6:43)
08. I'll Be Seeing You {Irving Kahal, Sammy Fain} (6:57)
09. How Little We Know {Carolyn Leigh, Philip Springer} (5:21)
10. Stairway To The Stars {Mitchell Parish, Matt Malneck, Frank Signorelli} (5:51)
11. Milestones {Miles Davis} (6:32) 

Total Time: 66:54 

I Let A Song Go Out Of My Heart

David Sills - Green (2007)

For his third solo affair on Seattle's Origin Records, So Californian sax player David Sills produces a classic sort of sound in combination with the rest of his sextet, formed for this album. The saxes tend to run on parallel melodic lines, the guitar solos hark slightly to the days of Charlie Christian, and the rhythm section provides a casual, bouncing backdrop for the front lines. Some of Sills' previous work (primarily that with the Acoustic Jazz Quartet) was smooth to the verge of being filed away in the new age section. This one quickly reclaims his prowess in straightforward jazz and keeps him in the right light throughout. Gary Foster on alto sax and Larry Koonse on guitar help hold up the overriding aesthetics of casual beach jazz. This is pure West Coast cool, modernized only as much as necessary to keep it original. As an added bonus, some portion of the proceeds is given to the Sierra Club (the title was meant to evoke/invoke environmentalism and an environmental theme in the music rather than simply paint a picture). ~ by Adam Greenberg, AMG. 

Origin Records, 82480, 2007
Recorded 17th & 18th November, 2006 at No Sound Studios, Pasadena, California 

Musicians:
David Sills - Tenor Saxophone, Flute
Gary Foster - Alto Saxophone
Michael Kanan - Piano
Larry Koonse - Guitar
Putter Smith - Bass, Guitar [Bass]
Tim Pleasant - Drums 

Tracks:
01. Melon Head {David Sills} (7:56)
02. Fontok {David Sills} (6:58)
03. Prelude To A Kiss {Duke Ellington} (8:34)
04. For Us {Putter Smith} (5:33)
05. Moon And Sand {Morty Palitz, Alec Wilder} (5:52)
06. Salsipuedes {David Sills} (6:36)
07. Summer Cloud {David Sills} (5:24)
08. Green {David Sills} (5:46)
09. Sills Sails {Larry Koonse} (6:01)
10. Flat Days {David Sills} (4:51)
11. Survival {David Sills} (8:33)
12. Desert Passes {Putter Smith} (6:37) 

Total Time: 78:41 

Credits:
Engineer - Nolan Shaheed
Mixing & Mastering - Andy Waterman
Art Direction & Design - John Bishop
Photography - Randy Wright
Photography, Liner Notes - David Sills
Liner Notes - Larry Koonse, Putter Smith, Tim Pleasant

David Sills - Blue's The New Green (2013)

Saxophonist David Sills opens his Blue's the New Green with tenor sax titan Sonny Rollins' tune, "No Moe." But Sills doesn't use Rollins' musculature or his burly tone. He rolls more in the mode of sax men Joe Henderson or Stan Getz - or, to take it back further, Coleman Hawkins or Ben Webster, with a smooth, vibrato-less delivery. Sills is steeped in the tradition of those who came before him, without being mired there. As in previous outings, Eastern View (Origin records, 2004) and Green (Origin records, 2007), the saxophonist leads a crack band, with the extra textures of a piano/guitar pairing. Guitarist Larry Koonse has been a mainstay in Sills' recordings. He and pianist Chris Dawson intertwine their clean lines on Sills original, "The Highline," with veteran bassist Darek Oles and drummer Jake Reed laying down the loose groove. The Great American Songbook tune "'Tis Autumn" gives the band the chance to work beautifully in the ballad mode, sounding a bit retro; while Sills' "Justin Dime" cranks things into a modern roll. Sill's plays flute on his "Portofino Night," a tune that sounds cool and Bossa Nova-sish, with Dawson supplying a delicate keyboard touch to Koonse's warm acoustic guitar, before the band pushes again into a modern lean with the stylish "Night Flower," another Sill's penned gem. Sills always blows with a lot of soul, and the title tune is no exception. His solo here has a precise logic, and his tone and serpentine phrases bring saxophonist George Coleman to mind, while "I'm a Fool to Want You," from the American songbook, brings in the wee hours, melancholy beauty of a saxophone blowing pure blue notes over a subtle backing. Blue's the New Green is another beautiful addition to saxophonist David Sill's consistently outstanding discography. ~ by Dan McClenaghan, AAJ. 

Gut String Records, GSR 013, 2013
Recorded 5th & 6th June, 2013 at Big City Recording Studio, Grenada Hills, California 

Musicians:
David Sills - Saxophone, Flute (#5,10)
Chris Dawson - Piano
Larry Koonse - Guitar
Darek Oles - Bass
Jake Reed - Drums 

Tracks:
01. No Moe {Sonny Rollins} (7:50)
02. The Highline {David Sills} (5:57)
03. 'Tis Autumn {Henry Nemo} (6:35)
04. Justin's Dime {David Sills} (4:53)
05. Portofino Night {David Sills} (6:45)
06. Night Flower {David Sills} (5:32)
07. Blue's The New Green {David Sills} (7:33)
08. I'm A Fool To Want You {Joel S. Heron, Jack Wolf} (8:44)
09. Belmont Shores {David Sills} (5:18)
10. Blues In Ten {David Sills} (6:19) 

Total Time: 65:31 

Credits:
Producer - David Sills
Mixing & Mastering - Paul Tavenner
Cover Design - James F. Dean

David Sills - Eastern View (2004)

With a solid organ trio backing him, tenor saxophonist David Sills grabs your attention with his very first solo on Eastern View's opener, the Sills-penned (as are all the songs here) "New Break." The tune opens with an organ-supplied bass groove backed by shimmering cymbals; then the guitar and sax enter, peeling off some tangy mid-tempo lines, until the accompaniment pulls back and Sills steps out front, with a somewhat restrained (nicely so) and articulate, straightforward monologue in front of the always inspired trio. Organist Joe Bagg has a subtle but very on-target touch as he paints his cool-toned pastel washes behind Sills and guitarist Larry Koonse. And that sets the stage for the entire disc: a fine organ trio backing a talented saxophonist on ten engaging mainstream tunes. Sills' tone has been compared to the sounds of Stan Getz and Joe Henderson. I'd lean toward the Henderson side of the comparison, and throw in some Hank Mobley into the mix, too. You can't help sounding bluesy when you've got an inspired organ trio behind you. Eastern View has a definite Blue Note Records circa-'60s vibe to it - a killer organ trio with a creatively clean-blowing saxophonist out front rolling through a bunch of straight-ahead originals. And Sills has an engaging way of going after his solos without flash or B.S., telling his personal stories while adding little Joe Henderson-like surprises along the way, small flurries that catch you a bit off-guard but still fit snuggly into his story lines. A very cool-sounding group doing more than its share to keep mainstream sounds alive and vibrant. ~ by Dan McClenaghan, AAJ. 

Origin Records, 82437, 2004
Recorded 3rd-5th January, 2004 

Musicians:
David Sills - Saxophone
Joe Bagg - Organ
Larry Koonse - Guitar
Tim Pleasant - Drums 

Tracks:
01. New Break (7:56)
02. Deep Sleep (5:26)
03. Small Peaks (6:31)
04. Stoned Eyes (6:30)
05. Eastern View (6:28)
06. Keys Found (5:08)
07. Little Key (7:35)
08. Tiger Tracks (7:18)
09. Enomily (5:18)
10. Cuttin' Back (8:38) 

All Compositions by David Sills 

Total Time: 66:54 

Credits:
Recording, Mixing - Scott Fraser
Mastering - Mark Guenther
Layout, Design - John Bishop
Photography - Okhidei Otgonjargal
Color Photo - Jeann Young

New York Trio - Essential Best (2009)

The New York Trio features three gifted musicians, pianist Bill Charlap, bassist Jay Leonhart and drummer Bill Stewart. In 2001, Charlap, Leonhart, and Stewart came together in The Studio, New York City to record a straight-ahead, post-bop style "Blues In The Night" for the Japanese Venus Jazz label. The album was well-received by classic jazz fans. From there similar album collections have been recorded: The Things We Did Last Summer (2002), Love You Madly (2003), Stairway To The Stars (2004), Begin The Beguine (2005), Thou Swell (2006) and Always (2007). For this "Essential Best" the trio have selected the best songs, performances, and recordings from all the albums. 

Venus Records, VHCD-8002; 2009
7th, 8th June, 2001 at The Studio, New York City
3rd, 4th April, 2002 at The Studio, New York City
7th April, 2003 at Avatar Studio, New York City
11th, 12th November, 2004 at Avatar Studio, New York City
23rd & 24th August, 2005 at The Studio, New York City
30th September & 1st October, 2006 at Clinton Recording Studio, New York City
30th & 31st May, 2007at Clinton Recording Studio, New York City 

Musicians:
Bill Charlap - Piano
Jay Leonhart - Bass
Bill Stewart - Drums 

Tracks:
01. I Could Have Danced All Night {Frank Loewe} (6:40)
02. Blue Skies {Irving Berlin} (5:05)
03. As Time Goes By {Herman Hupfield} (5:44)
04. How High The Moon {Morgan Lewis} (7:50)
05. Star Crossed Lovers {Duke Ellington} (4:30)
06. Lover Come Back To Me {Sigmund Romberg} (6:18)
07. Lullaby Of The Leaves {Bernice Petkere} (6:39)
08. My Heart Belongs To Daddy {Cole Porter} (6:16)
09. You’d Be So Nice To Come Home To {Cole Porter} (8:07)
10. I Didn’t Know What Time It Was {Richard Rodgers} (5:23)
11. Cheek To Cheek {Irving Berlin} (5:46)
12. They Say It’s Wonderful {Irving Berlin} (4:02) 

Total Time: 01:12:22 

Credits:
Producer - Tetsuo Hara, Todd Barkan
Engineer - Katherine Miller
Engineer [Assistant] - Eiji Takasugi
Mixing, Mastering - Shuji Kitamura, Tetsuo Hara
Design - Taz

Ted Curson - Ted Curson & Co. (1976) [vinyl]

The distinctive trumpeter Ted Curson is well showcased on this LP, a workout with a particularly strong quartet comprised of pianist Jim McNeely, bassist Cecil McBee and drummer Steve McCall. Curson stretches out on four of his originals (including the 12½-minute "Blue Piccolo") and "All the Things You Are." As usual his solos are both adventurous and (due to his appealing tone and roots in earlier styles of jazz) fairly accessible. Worth searching for. ~ by Scott Yanow, AMG. 

India Navigation, IN 1054, 1982
Recorded 1st July, 1976 at Vanguard Studios, New York City 

Musicians:
Ted Curson - Trumpet, Flugelhorn, Pocket Trumpet
Jim McNeely - Piano
Cecil McBee - Bass
Steve McCall - Drums 

Tracks:
A1. Song Of The Lonely {Ted Curson} (8:01)
A2. Blue Piccolo {Ted Curson} (12:21)
B1. Open The Door [Dwackdi Mun Fudalick] {Ted Curson} (5:28)
B2. Playhouse March {Ted Curson} (7:06)
B3. All The Things You Are {Jerome Kern, Oscar Hammerstein II} (9:32) 

Total Time: 42:28 

Producer Bob Cummins under license from Trio Records.
This recording was previously released as "Blue Piccolo" on Why Not Records (Japan).

Ted Curson Quintet - Cattin' Curson (1973)

Ted Curson traveled extensively throughout 70's making some serious music, especially with this album Cattin' Curson in 1973. He had a most innovative and exploratory life-force; essentially Ted was a exceptional stylist whose mixture of strident energy, straight-ahead balance and explosive blues always left audiences exhilarated. His love of music was a constant and he kept playing right till the end, with the glowing spirit and youthful energy that will remain the true core of his legacy. This session recorded in Paris is a great example of his ability to create some amazing jazz. He is joined by the great George Arvanitas Trio and Chris Woods on alto and flute. This CD adds an additional bonus track, enjoy! 

Marge Records, Marge 01, 1975
EPM Records, EPM 152112, 1993
Recorded 26th October, 1973 Live at the Bilboquet Club, Paris, France 

Musicians:
Ted Curson - Trumpet (#1,3,4,6), Flugelhorn (#2,3,5), Piccolo Trumpet (#1)
Chris Woods - Alto Saxophone (#1-4,6), Flute (#1,3,5)

Georges Arvanitas - Piano
Jacky Samson - Bass
Charles Saudrais - Drums 

Tracks:
1. Typical Ted [Cattin' Curson] {Ted Curson} (9:38)
2. Searchin' The Blues {Ted Curson} (9:12)
3. Medley: Flatted 5th / Marjo / Airi Tune / Tests / False Starts {Ted Curson} (14:36)
4. Flatted Fifth {Ted Curson} (8:27)
5. Marjo {Ted Curson} (6:01)
6. Airi Tune {Ted Curson} (8:32)

Total Time: 56:26 

Credits:
Producer - Gérard Terronès
Recording Editing, Mixing Engineer - Jef Gilson
Cover Design - Jean Buzelin
Liner Notes - Chris Woods 

Note:
All Titles also on: Trident LP 12": TRS 503 [Ted Curson - Typical Ted] 

Typical Ted [Cattin’ Curson]

Ray Charles - Doing HIS Thing, 1969 (24/96 lp rip)

Well I searched pretty far back and it appears that I never posted this here! My personal fave of the Tangerine albums. For some reason the Tangerine ABC recordings of Ray Charles have languished in obscurity due to lack of reissues for the entire digital age. Some of the other early ABC era stuff can be found, but the Tangerine albums have never been re-issued. I think Rhino or Bear Family will do a box someday soon, but until then we will have to be content with my digital transfer and restoration of this LP gem.

Unlike the majority of ABC material that I have heard, this is not over produced and dripping syrup, but is much more a continuation of the Atlantic years. The album is painfully short, but All Killa, No Filla! 

I had to go look for a back cover because I was confused why I had not bothered to keep one - it is because the back cover held no useful information, I'd guess... it may be that by the time I did this, my scanner had crapped out too. I also tried to find the full discograpy for the date, but even though my Fancourt / McGrath discography covers up to 1970, they apparently don't consider Ray "Blues worthy" past 1959. Hank, Fathead and Jimmy Lewis are obvious, but I wish I knew the rest; if anyone finds more complete session-ography, it would be appreciated.

 

Olivia Trummer - Poesiealbum (2011)

On her 2010 album 'Nobody Knows' Olivia Trummer started singing, but mainly in English. On 'Poesiealbum' now she relies on her own mother tongue: German. In addition to her keyboard music and expression, it is a poetic work as the album title indicates, that is full of colour, backed by equally talented bunch of musicians, all compositions are hers featuring her own vocals and lyrics. 

The versatile Olivia expands on her nine recorded albums her broad stylistic spectrum with vocal, better yet, they conceive musical landscapes, that are filled with her voice and thoughts, with serene contemplative life to philosophical reflections. After she had been on the previous Nobody Knows (2010), inspired by her studies at the Manhattan School of Music in New York, first sung on any of their albums, but mainly with English, she now familiar to all Poetry Album their native language. True to the motto that irony is the poetry of humor, their delicate world considerations add about love, nature and all the little things that make life worth living and one Poesiealbum fertilize in the subtle ramifications of their sprawling compositions. ~ www.highresaudio.com. 

Neuklang Records, NCD4061, 2011
Recorded April, 2011 at the Bauer Studios, Ludwigsburg, Germany 

Musicians:
Olivia Trummer - Piano, Fender Rhodes, Vocals
Johannes Lauer - Trombone
Martin Gjakonovski - Bass
Bodek Janke - Drums, Percussion 

Tracks:
1. Meer Ohne Wasser (6:14)
2. Requiem (1:45)
3. Es Ist Windig Heut' (7:43)
4. 500 Millionen (6:33)
5. Für Ein Lächeln (5:03)
6. Stehaufmännchen (6:42)
7. Ohne Winter (6:19)
8. Verrückt (9:37)
9. Die Liebe (7:32) 

All Compositions & Lyrics by Olivia Trummer 

Total Time: 57:28 

Credits:
Producer - Eva Bauer-Oppelland, Olivia Trummer
Producer, Recording, Mixing & Mastering - Philipp Heck
Photography, Artwork, Layout - Mascha Zhuk 

“This very poetic and joyful disc highlights Olivia's voice as well as her piano playing which is nourished by classical culture." ~ Thierry Giard, CultureJazz. 

Ohne Winter

Elton Dean - Unlimited Saxophone Company (1989)

Brit saxer Elton Dean (yes, he of Soft Machine) lines up a monumental cast of reedmen and has at it with a championship rhythm section to boot. Dean's alto and saxello are augmented by the tenor and baritone saxes of Paul Dunmall, Simon Pickard's tenor, and Trevor Watts' alto. They are supported by no less than drummer Tony Levin and bassist Paul Rogers. Here's the rub: This disc was recorded at the band's very first gig at the 1989 Covent Garden Jazz Saxophone Festival. This is a set of Dean tunes written especially for a quartet of sax players who all have ample room to solo. The music borders on the outer limits without really going there. Tracks like "Seven for Lee" (Konitz), "Unda," and "Fall in Free" all feature fairly elaborate melody lines with distinct and knotty harmonies composed by Dean -- they border on post-bop but are too creative to be boxed that way. Each horn player gets a solo that can skirt the variations on the theme or go way outside if he wishes, like Dunmall does on "Unda." In essence, the rhythm section keeps things moving, undoing whatever damage might be incurred by an errantly inspired saxman, shifting tempos and intervals just enough to rein in even the most rambunctious player. On "One Three Nine," which ends the set, one becomes aware of how close Dean walks to the academic edge of jazz composition; the cat's got math in his head all the time, but it's soulful math, full of charge, feeling, and spirit that is enhanced and necessitated even by the inclusion of these players in the ensemble. I wouldn't look for Dean's compositions to be covered too often, but that's all right -- in the steady hands of this band, they are pretty much inimitable anyway. ~ by Thom Jurek, AMG. 

Ogun Records, OGCD002, 1990
Recorded at the Covent Garden Jazz Saxophone Festival 1989 

Musicians:
Elton Dean - Alto Saxophone, Saxello
Trevor Watts - Alto Saxophone
Paul Dunmall - Tenor & Baritone Saxophones
Simon Pickard - Tenor Saxophone
Paul Rogers - Double Bass
Tony Levin - Drums 

Tracks:
1. Unda (12:38)
2. Rising (10:03)
3. Seven For Lee (13:47)
4. Small Strides (8:27)
5. Fall In Free (11:17)
6. One Three Nine (8:16)

All Compositions by Elton Dean 

Total Time: 64:33 

Credits:
Producer, Photography, Liner Notes - Elton Dean
Recording Engineer - Dave Bernez
Artwork/Design - John Gardiner 

"This performance was the band's very first gig. That's not meant as an excuse, quite the opposite. The chemistry and the co-operation of these blokes is terrific and made the musical organisation very simple. Since this concert the group has grown and blossomed in an unlimited manner." ~ Elton Dean.

Olivia Trummer Trio feat. Matthias Schriefl - Westwind (2008)

"Westwind is even more than the sequel of Olivia Trummer's debut-success Nach Norden. Her music is more mature and virtuosic, without losing any of its graphic quality or its catchiness." Olivia Trummer (1985 in Stuttgart) is a German pianist, vocalist and composer. She is known for her unusual musical versatility, performing a repertoire out of original compositions and songs, classical piano music, improvisation and jazz. Olivia Trummer has been awarded with many prizes as a classical pianist as well as a jazz pianist. As a bandleader, she has released three CDs and one LP with original compositions and songs throughout. Her second Album 'Westwind' has been awarded with the German Record Critics' Award (Quarterly Critics' Choice 3/2008). Her discography as a bandleader includes 'Nach Norden' (2006), 'Westwind' (2008) and 'Nobody knows' (2010) and will be extended with another album in October 2011: 'Poesiealbum'. ~ Extract from roxydischouse.com. 

Neuklang Records, NCD4021, 2008
Recorded 27th-29th December, 2007 at Bauer Studios Ludwigsburg, Germany 

Musicians:
Olivia Trummer - Piano, Arranger
Joel Locher - Double Bass
Bodek Janke - Drums, Percussion
Guest:
Matthias Schriefl - Trumpet, Flugelhorn (#2-4,7) 

Tracks:
1. Es Geht Los (6:27)
2. Westwind (7:40)
3. ICE (7:02)
4. Sternklar War Die Nacht (7:21)
5. Mozärtlichkeit (9:00)
6. Dein Brief (6:50)
7. Windgetragen (6:25)
8. Tagtraum (8:012) 

All Compositions by Olivia Trummer 

Total Time: 59:01 

Credits:
Producer - Eva Bauer-Oppelland, Philipp Heck
Recording, Mixing & Mastering - Philipp Heck 

"Westwind" Live

Cécile McLorin Salvant & Aaron Diehl Trio - Live At Vienna Koncerhaus, Austria (2017)

Excellent concert with a great variety of tunes, Cécile McLorin Salvant as always is in top form and the Aaron Diehl Trio seriously exalts the whole performance, Enjoy! 

BBC Radio 3 "Jazz Now", 2019
Recorded 29th October, 2017 at Vienna Koncerhaus, Austria 

Musicians:
Cécile McLorin Salvant - Vocals
+
Aaron Diehl - Piano
Paul Sikivie - Bass
Kyle Poole - Drums 

Tracks:
1. I'm All Smiles {Michael Leonard, Herbert Martin} (4:11)
2. Devil May Care {Bob Dorough} (8:59)
3. Everything I've Got Belongs To You {Lorenz Hart, Richard Rodgers} (5:47)
4. Mad About The Boy {Noël Coward} (7:22)
5. Glitter And Be Gay {Leonard Bernstein, Richard Wilbur} (6:58)
6. Deja Vu {Archie Shepp} (6:00)
7. The Best Thing For You {Irving Berlin} (5:00)
8. The Trolley Song {Hugh Martin, Ralph Blane} (4:29)
9. Let's Face The Music And Dance {Irving Berlin} (4:14) 

Total Time: 53:00 

Note:
Live Stream rip > WAV > Separate Tracks > Removed Excess Applause > FLAC