Sam Newsome - The Tender Side Of Sammy Straighthorn (2000)

Picking up the soprano saxophone these days as your sole instrument can be a dangerous proposition. For one thing, the straight clarinet-like horn is notorious for going out of tune if your embouchure is not up to par. Secondly, a whole generation of Kenny G clones has left some fans thinking that the instrument is only capable of insipid and saccharine results. Venerable enough to make the soprano the focus of an entire album, Sam Newsome's The Tender Side of Sammy Straighthorn is only the second album to appear under the saxophonist's name since the start of his New York tenure in 1988. With a fondness for the soprano stylings of both Wayne Shorter and Steve Lacy, Newsome's influences can be detected in 'Victoria's Secret,' which features the saxophonist's hard biting attack in a manner that recalls Shorter's '80s work on such albums as Atlantis. Not a one-trick pony however, Newsome's fluid approach to '12 Bars From Hell' (done with just bass and drums) clearly points to Lacy.

The addition of Elisabeth Kontomanou on several cuts provides further variety, her wordless vocals acting like another solo horn. The melancholy feeling to much of the writing that features Kontomanou hints at the influence of Kenny Wheeler, who often utilizes the voice of Norma Winstone in a similar manner. Pianist Bruce Barth is also a valuable member of the crew, his complex and soulful improvisations almost stealing the show at times.

As a vehicle for allowing the soprano to restore its rightful place among the rest of the saxophone family, Newsome should be congratulated on his efforts. Furthermore, his attempt to extend the hard bop tradition beyond the established boundaries has resulted an intriguing album that will reward those looking for something just a bit left of center. ~ by C Andrew Hovan, AAJ.

SteepleChase Records, SCCD 31452, 2000

Recorded April, 1998

Musicians:

Sam Newsome - Soprano Saxophone

Bruce Barth - Piano

Ugonna Okegwo - Bass

Matt Wilson - Drums

Elisabeth Kontomanou - Vocals

Tracks:

1. Victoria's Secret {Sam Newsome} (7:46)

2. The Tender Side Of Sammy Straighthorn {Sam Newsome} (7:37)

3. Autumn Leaves {Joseph Kosma, Jacques Prévert, Johnny Mercer} (6:46)

4. 12 Bars From Hell {Sam Newsome} (6:46)

5. Lullaby Of Takeda {Traditional} (9:34)

6. The Dumpess Of Nyack {Sam Newsome} (8:10)

7. All The Things You Are {Jerome Kern} (15:45)

Credits:

Producer - Nils Winther

Engineer - Devin Emke

Photography - Fernando Natalichi

Liner Notes - Mark Gardner

Total Time: 62:24

Alex Sipiagin - Images (1998)

This CD finds Alex Sipiagin in his first recorded role as leader. He is in great company with many other fine musicians that include Chris Potter, David Binney, Adam Rogers and Jeff Hirshfield to name a few of the outstanding crew on this TCB release. Essentially, he has come a long way since this earlier date clearly shown by his now broadening and extensive discography. It is an interesting collection of tunes which include two of his own and one from his Russian origins. The album starts off with a tried and test piece by Milton Nascimento followed by one penned by David Binney and wraps up with a contemporary composition by Pat Metheny. Overall his tone is sweet and clearly showcases his ability to handle a broad range of styles. Of course, he would go on to express further virtuosity across his 10 Criss Cross Jazz albums. Personally, for me this album rates well against his latter day works. Enjoy!

TCB Records, 98602, 1998

Recorded & Mixed in May, 1996 At Interlude Studio, New York

Musicians:

Alex Sipiagin - Trumpet, Flute

Joshua Roseman - Trombone

David Binney - Alto Saxophone

Chris Potter - Tenor Saxophone

Gil Goldstein - Piano, Accordion

Adam Rogers - Guitar

Scott Colley - Bass

Jeff Hirshfield - Drums

Kenny Wollesen - Percussion

Tracks:

1. Tarde {Milton Nascimento} (8:04)

2. Freaker {David Binney} (7:44)

3. Little Dancer {Alex Sipiagin} (11:58)

4. Song - 1 {Alex Sipiagin} (3:26)

5. Novgorod Bells {Russian Folksong, Arr. Alex Sipiagin} (12:34)

6. Midwestern Night Dream {Pat Metheny} (7:16)

Credits:

Producer, Arranger - Alex Sipiagin

Executive-Producer - Peter Schmidlin

Recording & Mixing Engineer - Keith Senior

Mastering Engineer - Antoine Ogay, Grens (Premastering)

Graphic Artwork - Gigi Schmid-Huetiger

Photography [Cover] - Valeria Iozas

Photography [Inside] - Anatoly Artomonov

Liner Notes - Mike Zwerin

Total Time: 51:02

Eddie Higgins Trio - Soulero (1965)

Pianist Eddie Higgins' third album as a leader (following an obscurity for Replica and a Vee Jay LP) features his regular Chicago-based trio of the era, a group with bassist Richard Evans and drummer Marshall Thompson. A mainstream pianist with an open ear toward more modern harmonies, Higgins explores such numbers as his "Tango Africaine," "Django," "Beautiful Dreamer," and "Makin' Whoopee" with equal sensitivity and plenty of swing. This worthy LP, unfortunately, will be difficult to find. ~ Scott Yanow, All Music Guide.

Atlantic Records, SD 1446, 1965, US

Atlantic Records, WPCR-27032, 2012, Japan

Recorded 25^th August, 1965 At Universal Recording Corp., Chicago, Illinois

Musicians:

Eddie Higgins - Piano

Richard Evans - Double Bass

Marshall Thompson - Drums

Tracks:

1. Tango Africaine {Eddie Higgins} (4:58)

2. Love Letters {Victor Young} (4:46)

3. Shelley's World {Bill Traut} (3:55)

4. Soulero {Richard Evans} (5:13)

5. Mr. Evans {Richard Evans} (3:18)

6. Django {John Lewis} (5:34)

7. Beautiful Dreamer {Traditional, Arr. Eddie Higgins} (4:41)

8. Makin' Whoopee {Walter Donaldson, Gus Kahn} (7:11)

Credits:

Supervisor - Bill Traut, George Bodansky

Arranger - Richard Evans

Recording Engineer - Murray R. Allen

Mastering Engineer - Jerry DeClercq

Cover Photo - Don Bronstein

Cover Design - Haig Adishian

Liner Notes - Sid McCoy

Total Time: 39:36

Jacky Terrasson - Reach (1995)

The talented young pianist Jacky Terrasson and his trio (with bassist Ugonna Okegwo and drummer Leon Parker) find something new to say on a few standards (including a rare up-tempo version of "For Sentimental Reasons") and introduce five of Terrasson's originals. Although he has does not have an original style yet, Terrasson displays a great deal of potential for the future. Highlights include "I Should Care," "Just One of Those Things," and a medley of his "Reach" with "Smoke Gets in Your Eyes." ~ by Scott Yanow, AMG.

Blue Note, CDP 7243 8 35739 2 9, 1996

Musicians:

Jacky Terrasson - Piano

Ugonna Okegwo - Bass

Leon Parker - Drums

Tracks:

1. I Should Care {Sammy Cahn, Axel Stordahl, Paul Weston} (5:37)

2. The Rat Race {Jacky Terrasson} (3:25)

3. Baby Plum Jacky Terrasson} (5:25)

4. [I Love You] For Sentimental Reasons {William Best, Deek Watson} (6:00)

5. Reach {Jacky Terrasson} / Smoke Gets In Your Eyes {Jerome Kern} (9:05)

6. Happy Man {Jacky Terrasson} (8:51)

7. First Affair {Jacky Terrasson} (6:14)

8. Just One Of Those Things {Cole Porter} (4:25)

Credits:

Producer, Liner Notes - Jacky Terrasson

Executive Producer - Steven Schenfeld

Engineer, Mastering, Liner Notes - Mark Levinson

Photography - Jimmy Katz (Giant Steps)

Design - Patrick Roques

Art Direction - Darcy Cloutier-Fernald

Total Time: 51:02

Mal Waldron - Jazz A Confronto (1972) [vinyl>flac]

The way Waldron chose for his music is that of simplicity and economy. His compositions are made up of very few phrases, single elements he composes, overlaps and slips one over the other, ruling this intricate game of iterations and transformations with geometrical rationality, which you can most easily perceive in the piano playing behaviour of his left hand.

Tew Nune and Breakin’ Through are for me two good examples of a performing style which is so influenced by musical thought, and they can easily be compared to musicians such as Bud Powell, or even remind you of Ravel, Terry Riley, Steve Reich. But if Waldron shares with them the importance he gives to planning, his way of breaking chords into melody is very peculiar, and so is the structure of his short phrases, which contain quantitatively homomorphic, but still homologous elements. Excerpts taken from the Liner Notes by Giampiero Cane.

HORO Records, HLL 101-19, 1975

Recorded 1^st April, 1972 At "Titania Studios" in Rome, Italy

Mal Waldron - Piano [Solo]

Tracks:

A1. Tew Nune {Mal Waldron} (4:31)

A2. Picchy's Waltz {Mal Waldron} (7:19)

A3. Breakin' Through {Mal Waldron} (6:45)

B1. Canto Ritrovato {Giorgo Gaslini} (5:20)

B2. Lullaby {Mal Waldron} (4:10)

B3. Appia Antica {Mal Waldron} (9:11)

Credits:

Producer - Aldo Sinesio

Assistant Producer - Robert Gambuti

Engineer - Massimo di Cicco

Cover Design - Piero Gratton

Photograph - Pepito Pignatelli

Liner Notes - Giampiero Cane

Translation - Cristina Piancastelli

Nat Adderley - Calling Out Loud (1969) [re-rip]

A pretty great little album from Nat - recorded with arrangements by Bill Fischer, who gives the record a tightly compressed big band sound that's perfect for Nat's sharp funky horn! The album's not exactly "funk", but there's plenty of it in the mix - as lead horn grooves around nicely, while Joe Zawinul plays electric piano, and Leo Morris (aka Idris Muhammad) plays drums. Titles include "Biafra", "Haifa", "St M", "Grey Moss", and "Calling Out Loud". © Dusty Groove, Inc.

For this album Adderley composes the majority of the tunes and sets about laying down some impeccably beautiful solos on his chosen instrument the cornet. In addition, he surrounds himself with some of the usual session men of the time such as Ron Carter, Leo Morris, Joe Zawinul, Jerome Richardson and Hubert Laws. The interplay of the Idris & Ron and Nat & Joe pairings takes this album to some special places as it hits some real highs, with Nat's cornet leading the way. Zawinul sets up some nice solos on both Biafra and the following tune Haifa. Carter gets into stride with a loud bass line in parts of Grey Moss. The highlight is the swinging Soul-Jazz of Comin' Out The Shadows with some good soloing. The title track is a touch slower but showcases Zawinul’s biting tones on his electric piano. Of merit are the compositions written and arranged by Bill Fischer; St. M, Nobody Knows and shared with Nat Calling Out Loud. Nat’s playing on Nobody Knows is just perfect. Of equal value are Joe Zawinul’s two tunes; Grey Moss & Ivan's Holiday.

The real issue in preparing this rip is that it is assembled as a suite with a series of transitional mini-movements joining the tunes together. With my first post I carefully spliced the two sides into individual tracks that I believe worked. However, when revisiting this gem I decided to leave well alone and upload just as Side A and Side B, Enjoy!

A&M/CTI Records (Japan), C25Y3819, 1986

Recorded 19th, 21st November & 4th December, 1968

At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Nat Adderley - Cornet

Joe Zawinul - Electric Piano

Hubert Laws - Flute, Piccolo Flute

Jerome Richardson - Saxophone

Seldon Powell - Saxophone

George Marge - Clarinet, English Horn, Saxophone (#A1)

Paul Ingraham - French Horn

Donald MacCourt - Bassoon

Romeo Penque - Bass Clarinet

Danny Bank - Saxophone (#A1)

Jerry Dodgion - Saxophone (#A1)

Richard Henderson - Saxophone (#A1)

Ron Carter - Bass

Leo Morris - Drums

Tracklist:

Side A: [18:46]

1. Biafra {Nat Adderley} (6:34)

2. Haifa {Nat Adderley} (4:59)

3. St. M {W. S. Fischer} (3:54)

4. Grey Moss {Joe Zawinul} (3:27)

Side B: [17:32]

1. Nobody Knows {W. S. Fischer} (6:11)

2. Comin' Out The Shadows {Nat Adderley} (4:58)

3. Ivan's Holiday {Joe Zawinul} (3:11)

4. Calling Out Loud {Nat Adderley, W. S. Fischer} (3:17)

Credits:

Producer - Creed Taylor

Engineer - Rudy van Gelder

Arranger & Conductor - Bill Fischer

Cover Photo - Pete Turner

Cover Design - Sam Antupit

Note:

Original rip is still active, check link in comments.

Ricky Ford - American-African Blues (1991)

Ricky Ford means business on this pulsating album, originally released in 1991, his first passionate, bursting solo draws its inspirational roots all the way from Hawkins to Coltrane via Al Sears and Roland Kirk. On this and the other six Ford originals in this set, Ricky organized the tune structures to allow for the insertion of free improvised passages for himself and the other players. Throughout the date Ricky's fellow musicians - Jaki Byard (piano), Milt Hinton (bass), Ben Riley (drums) - are able to indulge in classic interplay, to be free yet to function as a whole. ~ wowhd.co.uk.

Always enjoyed Ricky Ford. Stumbled on this live album of his on Spotify. Great rhythm section really pushes Ricky along. He played music that may have been more in vogue in the '50s and '60s, but he played it well. Good example of a live "late hard bop" tenor quartet recording. ~ Tom Spitzer, AMG.

Candid Records, CCD79528, 1993

Recorded 16^th September, 1991 Live At Birdland, New York City

Musicians:

Ricky Ford - Tenor Saxophone

Jaki Byard - Piano

Milt Hinton - Bass

Ben Riley - Drums

Tracks:

1. American-African Blue [1st Version] (10:47)

2. Environ (7:06)

3. Of (8:23)

4. Complex Harmony (6:48)

5. Descent (8:41)

6. Mostly Arco (5:52)

7. Encore (8:46)

8. American-African Blues [2nd Version] (7:10)

All Compositions by Ricky Ford

Credits:

Producer - Mark Morganelli

Executive Producer - Alan Bates

Engineer - Malcolm Addey

Editing - Bob Auger

Design - Malcolm Walker

Photography - Jimmy Katz

Liner Notes - Ricky Ford, Gerry Attrick

Jimmy Ponder - What's New (2005)

Guitarist Jimmy Ponder's trio date is very much in the style of the classic mid- to late-'60s soul-jazz sessions. His double-time version of "God Bless the Child" is a bit reminiscent of Richard "Groove" Holmes' hit version of "Misty," and the other standards are all interpreted with swing and soul. Ponder has an appealing sound that blends in well with organist Gene Ludwig and drummer Cecil Brooks III and results in accessible ensembles. Although few surprises occur, none are really needed, for this style of music always pleases organ fans and lovers of swinging soul-jazz. ~ by Scott Yanow, AMG.

HighNote Records, HCD 7100, 2005

Recorded 5^th August, 2002 At Anything Audio Multimedia, Pittsburgh, Pennsylvania

Musicians:

Jimmy Ponder - Guitar

Gene Ludwig - Organ

Cecil Brooks III - Drums

Tracks:

1. TNT {AC/DC} (4:39)

2. Polka Dots And Moonbeams {Jimmy Van Heusen, Johnny Burke} (7:17)

3. God Bless The Child {Billie Holiday, Arthur Herzog, Jr.} (7:57)

4. Besamé Mucho {Consuelo Velázquez} (7:15)

5. Please Give Me Someone To Love {Percy Mayfield} (7:38)

6. What's New {Bob Haggart, Johnny Burke} (9:28)

7. That's All {Alan Brandt, Bob Haymes} (9:21)

Credits:

Producer - Cecil Brooks III

Executive Producer - Joe Fields

Engineer - Dino DiStefano

Photography, Design - Keiji Obata, Littlefield & Co.

Portrait - Kaufmanns Studio

Liner Notes - Larry Hollis

Michael Cochrane Quintet - Elements (1986) [vinyl]

Michael Cochrane (born September 4, 1948 in Peekskill, New York) is an American jazz pianist. This album is Cochrane's first of two recorded as a leader, and released on the Italian Soul Note label in 1986; the follow-up being "Song Of Change" in 1993. Essentially in recent years Cochrane has recorded extensively for SteepleChase Records and needs no introduction as a preeminent pianist. As a sideman, he has recorded with Marvin Peterson, Oliver Lake, Sonny Fortune and Jack Walrath. On this LP he is joined by trumpeter Tom Harrell, saxophonist and flautist Bob Malach, bassist Dennis Irwin and drummer James Madison. All tunes are penned by Michael and showcase a broad range of styles ranging from bop, hard bop through to post-bop. The group as a whole show great prowess and there are many opportunities for individual players to display their talents. The tracks are dotted with a number of brilliant solos. Inherently Cochrane is the anchor and clearly drives the group in manner that truly expresses his skills as a composer. A truly entertaining LP from start to finish, something that most listeners would wish never to end. Even though, it was released briefly on CD in 1993 the music has been ripped from the original vinyl resulting in a DR of 16. Artwork has been amassed from both releases, especially the liner notes from CD for clarity, enjoy!

Soul Note, SN 1151, 1986

Recorded 23^rd & 24^th September, 1985 At Titanic Sound Studios, New York

Musicians:

Michael Cochrane - Piano

Tom Harrell - Trumpet, Flugelhorn

Bob Malach - Tenor Saxophone, Flute

Dennis Irwin - Bass

James Madison - Drums

Tracks:

A1. Reunion {Michael Cochrane} (6:05)

A2. Tone Row Piece No. 2 {Michael Cochrane} (7:15)

A3. Bossa For Quintet {Michael Cochrane} (7:24)

B1. Elements {Michael Cochrane} (6:58)

B2. Song From Within {Michael Cochrane} (7:02)

B3. Proof Of The Pudding {Michael Cochrane} (2:57)

B4. Waltz No. 1 {Michael Cochrane} (6:29)

Credits:

Producer - Giovanni Bonandrini

Recording Engineer - Guillermo Mager

Mastering Engineer - Gennaro Carone (PhonoComp, Milano)

Design [Cover] - Michael Cochrane

Photography - Gene Bagnato

Liner Notes - Art Lange

This album is dedicated to the loving memory of my late mother, Mrs. Mildred Cochrane 1920-1986

Emily Remler - East To Wes (1988)

The late guitarist's last CD to be released before her premature death is her finest effort. Emily Remler's fluid technique brightens such seldom-heard numbers as Clifford Brown's "Daahoud" and her simplified arrangement of Claude Thornhill's lovely "Snowfall," as well as more relaxed tunes like "Sweet Georgia Fame." The polished rhythm section includes the masterful pianist Hank Jones, bassist Buster Williams, and drummer Marvin "Smitty" Smith. Highly recommended. ~  by Ken Dryden, AMG.

Concord Jazz, CCD-4356, 1990

Recorded May, 1988 At Penny Lane Studios, New York City

Musicians:

Emily Remler - Guitar

Hank Jones - Piano

Buster Williams - Bass

Marvin "Smithy" Smith - Drums

Tracks:

1. Daahoud {Clifford Brown} (5:20)

2. Snowfall {Claude Thornhill} (6:39)

3. Hot House {Tadd Dameron} (5:45)

4. Sweet Georgie Fame {Blossom Dearie, Sandra Harris} (5:38)

5. Ballad For A Music Box {Emily Remler} (7:25)

6. Blues For Herb {Emily Remler} (6:26)

7. Softly As In A Morning Sunrise {Oscar Hammerstein II, Sigmund Romberg} (8:14)

8. East To Wes {Emily Remler} (6:13)

Credits:

Producer - Carl E. Jefferson

Recording Engineer - Ed Trabanco

Remixing Engineer - Phil Edwards

Mastering Engineer - George Horn

Art Direction - Kent Judkins

Photography - Hershy Worch

Liner Notes - Nat Hentoff

Emily Remler - Catwalk (1985)

Guitarist Emily Remler's fourth and Concord recording makes one regret even more her premature death at age 32. While her earlier dates were very much in the bop mainstream, this one (in a quartet with trumpeter John D'Earth, bassist Eddie Gomez and drummer Bob Moses) finds her looking ahead and partly finding her own voice on her seven diverse originals. Although she never became an innovator, Remler certainly had a lot to offer the jazz world and this fairly adventurous effort was one of the finest recordings of her short career. ~ by Scott Yanow, AMG.

Concord Jazz, CCD-4265, 1985

Recorded August, 1984 At Coast Recorders, San Francisco, California

Musicians:

Emily Remler - Guitar

John D'Earth - Trumpet

Eddie Gomez - Bass

Bob Moses - Percussion

Tracks:

1. Mocha Spice {Emily Remler} (4:30)

2. Catwalk {Emily Remler} (7:24)

3. Gwendolyn {Emily Remler} (4:40)

4. Antonio {Emily Remler} (4:29)

5. Pedals {Emily Remler} (6:58)

6. Five Years {Emily Remler} (5:53)

7. Mozambique {Emily Remler} (7:45)

Credits:

Producer - Carl E. Jefferson

Recording & Remixing Engineer - Phil Edwards

Mastering Engineer - George Horn

Photography - Veryl Oakland

Art Direction - Tom Burgess

Liner Notes - Nat Hentoff

Emily Remler - Why, oh why did the good Lord take this wonderfully talented young lady from us at such a young age. She was only 32 when she died. Remler didn't get to make many recordings in her all too brief life and this is one of her finest. John D'Earth's trumpet perfectly complements Remler's full bodied guitar sound and the rhythm section of Eddie Gomez and overlooked Bob Moses keep things moving along quite nicely. Well, if some of what I've read is true, I hardly think it was the good Lord who was sticking that needle in her arm. Although not credited as the cause of her death surely it didn't help. Remler had herself one hell of a heroin addiction and that drug usage was the direct cause of the heart attack that took her life. So, I guess the Good Lord didn't have much to do with it other than not answering her prayers. ~ Stereophile.com.

Geri Allen - The Nurturer (1990)

A fine example of Geri Allen's advanced music (which holds on to tradition without merely recreating the past), this CD matches the talented pianist with veteran trumpeter Marcus Belgrave, altoist Kenny Garrett, bassist Robert Hurst, drummer Jeff Watts and percussionist Eli Fountain on group originals and two obscurities. Everyone is in fine form, and the Belgrave-Garrett combination works quite well. ~ by Scott Yanow, AMG.

The music is highly interesting! Bold, complex, energetic, beautiful acoustic jazz, typical of its period. There's some effortless blending of different subdivisions of rhythm (Watts and Hurst have teamed up before...), some spirited almost-free blowing, some serious loose and groovy second-line blues romping, floating, all-encompassing jazz music. All the players deliver, and the band sound is great. Geri Allen rocks. Open your ears and dig in. ~ B.A.H., Amazon.com.

Blue Note, CDP 7 95139 2, 1991

Recorded 5^th & 6^th January, 1990 At Sound On Sound, New York, NY

Musicians:

Geri Allen - Piano

Marcus Belgrave - Trumpet, Flugelhorn

Kenny Garrett - Alto & Straight-Alto Saxophones

Robert Hurst - Bass

Jeff Watts - Drums

Eli Fountain - Percussion

Tracks:

1. Night's Shadow {Eli Fountain} (8:26)

2. No. 3 {Lawrence Williams} (8:17)

3. It's Good To Be Home Again {Lawrence Williams, Arr. Gene Kee} (4:32)

4. Batista's Groove {Marcus Belgrave} (5:24)

5. Night Of Power [For My Daughter Laila] {Geri Allen} (2:19)

6. Our Gang {Robert Hurst} (5:38)

7. Silence And Song / The Nurturer {Geri Allen} (9:51)

8. Le Goo Wop {Geri Allen} (1:48)

9. Lullaby Of Isfahn {Kenny Garrett} (6:41)

Credits:

Producer - Geri Allen

Executive-Producer - Hitoshi Namekata

Recording & Mixing Engineer - Peter Denenberg

Mastering Engineer - Yoshio Okazaki (Capitol Jax)

Photography [Back] - Shigeru Uchiyama

Art Direction - Kaoru Taku

Cover Painting - Michael Kelly Williams

Francesca Tandoi Trio - Something Blue (2014)

Born in Italy and active in the Netherlands, this is Francesca Tandoi's 2nd album, released within less than a year since her previous Japanese debut album "For Elvira". Regardless of being a beautiful woman, she has equally been heralded as an exceptional new talent, both a brilliant pianist and vocalist. This enthusiasm is reflected in Sawano Kobo's push for a second release in such a short time. On this CD standards are the prime focus, but with the addition of two of her own tunes and more vocals. Her singing voice is clear and feminine, forming a style although not as robust as other divas, but still remains complementary to her playing. No doubt over time both talents will continue to evolve with her maturity and expanding expertise. She is joined again by her Dutch friends, bassist Frans Van Geest and drummer Frits Landesbergen and their cohesion as a trio clearly shows through their continued association. It is an album that creates an easy-listening atmosphere with some of the highlights being; the moody "The Days of Wine and Roses", and both "Something Blue" and "Green Heels" swing well. Overall another charming expression of the talented Francesca Tandoi.

Atelier Sawano, AS 142, 2014

Recorded Trio At WedgeView Studios, Woerdense Verlaat, Netherlands

Recorded Vocals At Power Sound Studio, Amsterdam

Musicians:

Francesca Tandoi - Piano, Vocals

Frans Van Geest - Bass

Frits Landesbergen - Drums

Tracks:

01. Tricotism {Oscar Pettiford} (4:17)

02. Waltz For Debby {Bill Evans, Gene Lees} (4:08)

03. That Old Feeling {Lew Brown, Sammy Fain} (5:33)

04. Too Marvelous For Words {Johnny Mercer, Richard Whiting} (3:58)

05. The Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (6:54)

06. You Must Believe In Spring {A & M Bergman, J. Demy, Michel Legrand} (4:15)

07. Something Blue {Francesca Tandoi} (3:31)

08. Volare {Domenico Modugno} (5:15)

09. Teach Me Tonight {Gene de Paul, Sammy Cahn} (4:10)

10. Save Your Love For Me {Buddy Johnson, Nancy Wilson} (5:14)

11. Green Heels {Francesca Tandoi} (3:58)

12. Someone To Watch Over Me {George & Ira Gershwin} (5:46)

Credits:

Executive-Producer - Minoru Sawano, Yoshiaki Sawano

Engineer - Bart Wagemakers, Iván Moreno

Mixing, Mastering - Joris Wolff

Photography - Eddy Westveer, Jacopo Mezzanotti

Cover - Loud Minority

Coleman Hawkins Quartet - Play The Jazz Version Of No Strings (1962) [vinyl]

The Jazz Version of No Strings is an album by saxophonist Coleman Hawkins featuring tracks from the musical drama No Strings written by Richard Rodgers, which was recorded in 1962 and released on the Moodsville label. Hawk gives each of these splendidly harmonious tunes a broad and warm and moving treatment. Tommy Flanagan is his usual collected, delightfully swinging self, instinctively comprehending the feeling of the tunes and revealing he was among the best pianists, technically and artistically, exceptional as a soloist and a splendid accompanist. On drums, Eddie Locke is typically proficient, and bassist Major Holley contributes some enjoyably entertaining solos in a quartet that displays how to play superior, effortless and truly entertaining music.

Moodsville Records, MVST 25, 1962

Recorded 30th March (#A1,A3,B1,B4) 4th April (#A2,A4,A5,B2,B3) 1962
At Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Coleman Hawkins - Tenor Saxophone (#A1-A3,A5,B1,B3,B4)

Tommy Flanagan - Piano

Major Holley - Bass

Eddie Locke - Drums

Tracks:

A1. Look No Further {Richard Rodgers} (4:31)

A2. La La La {Richard Rodgers} (3:21)

A3. Nobody Told Me {Richard Rodgers} (3:22)

A4. Maine {Richard Rodgers} (3:15)

A5. Loads Of Love {Richard Rodgers} (4:14)

B1. The Sweetest Sounds {Richard Rodgers} (4:22)

B2. Be My Host {Richard Rodgers} (3:05)

B3. The Man Who Has Everything {Richard Rodgers} (5:58)

B4. No Strings {Richard Rodgers} (4:49)

Credits:

Supervisor - Esmond Edwards

Recording Engineer - Rudy van Gelder

Design, Photo - Don Schlitten

Liner Notes - Nat Hentoff

Kenny Barron - 1+1+1 (1984) [vinyl]

Having both cut his teeth and come into his own with Dizzy Gillespie, Freddie Hubbard, and Yusef Lateef, among others, pianist Kenny Barron began to carve out what has proven to be a lengthy and fruitful solo career by 1973. This fine duo outing, which has Ron Carter and Michael Moore trading off on bass, certainly shows Barron was in full control of his vigorous and tuneful style by the mid-'80s. Cut for the independent Black Hawk label before Barron would eventually find more exposure via such high-profile companies as Enja and Verve, 1 + 1 + 1 features a tasty program of numbers by Monk, Ellington, Coltrane, Dave Brubeck, and others. Of particular note are Barron and Carter's treatments of the Gershwin opener, "The Man I Love," and Brubeck's "In Your Own Sweet Way." Carter also contributes the lone original here, "United Blues," which features Moore handling the bass duties. Topped off with a fine solo exploration of "Round Midnight" (Barron has to be one of the best modern interpreters of Monk's work), 1 + 1 + 1 is certainly a must for fans of contemporary hard bop. ~ by Stephen Cook, AMG.

BlackHawk Records, BKH 50601, 1984

Recorded 23^rd & 24^th April, 1984 in Englewood Cliffs, New Jersey

Personnel:

Kenny Barron - Piano (All), Solo (#B3)

Ron Carter - Bass (#A2,A3,B2,B4)

Michael Moore - Bass (#A1,A4,B1)

Tracks:

A1. The Man I Love {George Gershwin, Ira Gershwin} (5:13)

A2. United Blues {Ron Carter} (3:37)

A3. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (5:13)

A4. C Jam Blues {Barney Bigard, Duke Ellington} (4:22)

B1. In Your Own Sweet Way {Dave Brubeck} (6:02)

B2. Giant Steps {John Coltrane} (3:06)

B3. 'Round Midnight {Bernie Hanighen, Thelonious Monk, Cootie Williams} (6:29)

B4. Beautiful Love {Victor Young} (4:00)

Credits:

Executive Producer - Don H. Nelson, Karen J. Nelson

Producer, Art Direction - Joanne Klein

Recording Engineer - Rudy van Gelder

Design - Neon De Fall Graphics

Photography [Front] - J.R. Jones

Photography [Back] - Scott Sternbach

Junior Mance + Joe Temperley - Monk (2003)

In November of 2000 aboard a ship adrift on the Atlantic Ocean, reedman Joe Temperley joined pianist Junior Mance's Floating Jazz Festival Trio in what proved to be a perfect setting for a tribute to the music of Thelonious Monk. Like Monk, the waters beneath them were capable of powerful swings and torrents, and also like Monk, their music was pronounced amid a shroud of relative isolation.

Throughout this live set, Temperley and Mance - joined by the gifted rhythm section of bassist Peter Washington and veteran drummer Mickey Roker—drive Monk's music to deserved heights and moody lows. The opener, "Blue Monk," is given a gin-soaked treatment by Temperley's swaying bass clarinet, which is then reinforced by an appropriately blue-hued Mance solo and finally cemented by Washington's spot-lit rolls and picks.

On "Ask Me Now," Temperley cedes the floor to the trio, leaving them to take on one of Monk's more lyrical and melancholic works. They do so ably and with utmost care - evoking an image of Monk as the delicate dynamo he was. Another highlight is the group's work on the infectiously swinging "Rhythm-A-Ning." Mance pulls out all the stops from gate to gate, while Temperley, on baritone sax, flutters and flips his way through with remarkable dexterity.

From start to finish, it is evident that these four know their Monk. In fact, so familiar are they with the material that they infused it with a charming, lived-in quality which few other ensembles could manage. Their approach to the artist is hardly revolutionary, but rather warm, intimate and accustomed.

It's hard to say whether Monk ever sailed the seas on a sprawling cruiseliner, but thanks to Mance, Temperley and company we now know that setting would have agreed with him just fine. ~ by Riel Lazarus, AAJ.

Chiaroscuro Records, CR(D)370, 2003

Recorded 1^st, 4^th November, 2000 (#1-7) Aboard Queen Elizabeth 2, Atlantic Ocean;

28^th October, 1996 (#8) onboard S/S Norway, Caribbean Sea

Musicians:

Junior Mance - Piano

Joe Temperley - Soprano & Baritone Saxes, Bass Clarinet

Peter Washington - Bass

Keter Betts - Bass (#8)

Mickey Roker - Drums

Jackie Williams - Drums (#8)

Tracks:

1. Blue Monk (9:08)

2. Little Rootie Tootie (8:19)

3. Ba-Lue Bolivar Ba-Lues-Are (7:25)

4. Ask Me Now (9:14)

5. I Mean You (7:48)

6. Rhythm-A-Ning (6:51)

7. Straight No Chaser (7:47)

8. Hackensack (9:43)

All Compositions by Thelonious Monk

Credits:

Producer SOS Productions with HOSS Inc. and Floating Jazz Festival

Recording, Remixing & Digital Mastering - Jon Bates [Downtown Sound]

Cover Design - Richard Merkin

Photography - Rollo Phlecks

Liner Notes - Paul Bacon

Ray Bryant - Montreux '77 + Concert [MP4]

Ray Bryant's fourth recorded solo piano recital (and second in less than a year) was performed at the 1977 Montreux Jazz Festival and is a particularly well-rounded set. Bryant plays spirituals, blues, swing standards, John Lewis' "Django," and the obscure "Jungle Town Jubilee." His distinctive and soulful style fits well into every setting, making this an easily recommended set that will satisfy most musical tastes. ~ by Scott Yanow, AMG.

Pablo Live, 2308 201, 1977

Laser Swing Productions, GB-C25-04-0043-1, 2004

Recorded 13^th July, 1977 Live At Montreux Jazz Festival, Switzerland

Ray Bryant - Piano [Solo]

Tracks:

A1. Take The "A" Train {Billy Strayhorn} (4:00)

A2. Georgia On My Mind {Hoagy Carmichael, Stuart Gorrell} (4:24)

A3. Jungle Town Jubilee {Lloyd Glenn} (2:51)

A4. If I Could Just Make It To Heaven {Traditional, Arr. Ray Bryant} (3:40)

A5. Django {John Lewis} (4:09)

B1. Blues N° 6 {Ray Bryant} (6:59)

B2. Satin Doll {Billy Strayhorn, Duke Ellington, Johnny Mercer} (4:00)

B3. Sometimes I Feel Like A Motherless Child {Traditional, Arr. Ray Bryant} (4:20)

B4. St. Louis Blues {W. C. Handy} (5:38)

B5. Things Ain't What They Used To Be {Mercer Ellington, Ted Persons} (4:33)

Credits:

Producer, Cover, Design, Layout - Norman Granz

Cover, Design, Layout - Bill Smith

Remixing - Val Valentin

DVD Rip > WAV > Edit > FLAC

DVD Rip > MP4

Arthur Blythe - Retroflection (1994)

Arthur Blythe, whose alto tone has been quite original ever since the start of his career, is joined by pianist John Hicks, bassist Cecil McBee, and drummer Bobby Battle on this superior quartet date from Enja. Blythe really stretches out on this "Live at the Village Vanguard" set, with six of the seven songs being over nine minutes long. "Jana's Delight" (which is based on a five-note pattern), "JB Blues," a remake of Blythe's "Lenox Avenue Breakdown," and one of the best versions ever of Thelonious Monk's "Light Blue" are the high points of the explorative program. Arthur Blythe fans are strongly advised to pick up this particularly strong effort. ~ by Scott Yanow, AMG.

Enja Records, ENJ-8046 2, 1994

Digitally Recorded 25^th & 26^th June, 1993 Live > Two-Track at The Village Vanguard, NY

Musicians:

Arthur Blythe - Alto Saxophone

John Hicks - Piano

Cecil McBee - Bass

Bobby Battle - Drums

Tracks:

1. Jana's Delight {Don Pullen} (9:17)

2. JB Blues {Arthur Blythe} (9:31)

3. Peacemaker {Cecil McBee} (5:55)

4. Light Blue {Thelonious Monk} (11:51)

5. Lenox Avenue Breakdown {Arthur Blythe} (11:12)

6. Faceless Woman {Arthur Blythe} (11:33)

7. Break Tune {Arthur Blythe} (9:21)

Credits:

Producer - Matthias Winckelmann

Recording Engineer - David Baker

Recording Engineer Assistant - K. Naito

Design [Cover] - Elisabeth Winckelmann

Photography - Gene Martin

Typography - Jürgen Hübner

Liner Notes - T. Brooks Shepard

Charles Earland - Live (1999)

"We're gonna cook a little bit for you - is that O.K.?" With that Charles Earland celebrates his birthday on stage - and it IS a celebration! Horns blaze, the rhythm pounds, and you can't forget that vital organ. It’s aptly titled – this music lives.

"The Burning Spirit" sets off at full charge, horns shouting the angular theme with the power of a big band. Eric Alexander runs deep, with tangy tone and lines that run forever. Charles likes what he hears; he comps strong behind - strong enough to drown at times. No such problem with Jim Rotundi: his tone is loud and broad, mellow like a flugelhorn and sharp as a tack. Bob Devos snakes everywhere: he darts long like Pat Martino, with a cleaner tone. And it's time for The Mighty Burner. With deep smoke and happy screams, he cuts a path with weaving fingers. Repetition is used to great effect: the hand pumps, the heat rises. The crowd screams as the chords climb higher; Charles says “Praise the Lord!” and the crowd affirms. The spirit is willing, and so is the listener.

The crowd is silenced, and Charles goes churchy. The organ is solemn, full of vibrato - and then a shout. Alexander starts "If Only For One Night" with that slow groove - a midnight dance if there ever was one. Charles starts low and tender, shouts, then the organ screams a while. This gets Alexander going, and he sounds a bit like Turrentine as he does a loud swagger. Earland takes a three-note theme, varies it deliciously, and goes loud for a rousing finish. “You know, your hands are going on that CD,” he says.

The audience starts off "The Burner's Magic," with a great rhythm part from Devos. Alexander screams it hot; like before, it's hard to hear him at times. Rotundi is an architect: his solo builds ideas into a unified whole, and the audience loves it. Devos gets in some late-night blues. Charles starts with restraint: a four-note pattern becomes a roll, and quickly gains muscle. Greg Rockingham has a moment: his simple drum solo is the essence of tough. He and Alexander take the honors here, and Charles doesn’t mind sharing the spotlight. There’s enough of the Burner's magic to go around.

The highlights come at the end, with two cuts taken from Charles' first album. "Black Talk" opens with a shout of "C'mon guitar!" Devos responds with the ringing blues, similar to Melvin Sparks on the 1970 version. Alexander is once more on target: he trills high, and screeches some rusty honks. Charles reprises his original solo, with some fiery variations. The crowd loves it - and lets us know. The end, with tough rhythm, lots of hands, and a slow burn from Charles, is a keeper.

It is topped by "More today from Yesterday", which is cheered as it opens – the fans remember. It’s a little shorter than the original, and Earland has the only solo: you know what happens. The crowd is there from the beginning; they sound like they could be dancing. Earland rolls warm, as the horns punch the riff. It sounds like the original solo, but faster, and a heart as big as the room. Now THIS is a shout! He takes a long, lush descent - down the Spiral Staircase? And the horns come back. The applause goes on forever – as well it should. Happy Birthday, Charles Earland. And many more! ~ by Staff, AAJ.

Cannonball Records, CBD 27107, 1999

Recorded 24^th May, 1997 At The DuSable Museum Of African-American History, Chicago, Illinois

Musicians:

Charles Earland - Organ [Hammond B-3]

Jim Rotundi - Trumpet

Eric Alexander - Tenor Saxophone

Bob Devos - Guitar

Greg Rockingham - Drums

Tracks:

1. The Burning Spirit {Charles Earland} (9:43)

2. If Only For One Night {Russel Brenda Gordon} (6:03)

3. The Burner's Magic {Charles Earland} (11:17)

4. Black Talk {Charles Earland} (10:44)

5. Explosion {Eric Alexander} (7:45)

6. I Love You More Today Than Yesterday {Patrick Upton} (8:22)

Credits:

Producer - Charles Earland, Ron Levy

Coordinator & Event Producer - Tracy Williams

Stage Manager - Lionel Slaughter

Recording Engineer - Phil Klum (Pegasus Recording Co.)

Mixing & Editing - Gary Kahn, Ron Levy, Charles Earland

Mastering - The Master Cutting Room, NYC

Photos - Paul Natkin, Bill Brown

Graphic Design - Tollefon Studios, Inc.