Monday, December 30, 2019

Flavio Boltro 5et - Joyful (2012)

For those who do not yet know: Flavio Boltro is one of those natural talents thrown down from the sky to the Italian land that plays the jazz trumpet and who preferred to move to France to practice this music. His new record is a beautiful example of what today's jazz can be, drawing from the best jazz tradition of the 1960s, from those records released by two German Jews who fled Europe, Alfred Lion and Frank Wolff, on their label which took the name of Blue Note. Flavio Boltro pays tribute to two of their most famous artists, Lee Morgan and Horace Silver, of whom he plays some famous compositions at the end of the album. Boltro's themes, solos, style, everything brings us back to a jazz season projected in the contemporary world, see for example the contribution of Alex Ligertwood, former singer with Santana, who performs some songs, including the famous Every Breath You Take by Sting, rendered in a very singular version, far from that of the author. Boltro has chosen a nice group for his music, there is Rosario Giuliani on the soprano sax and on the alto sax to support the leader with well thought out solos, and then the rhythm led by Pietro Lussu on piano and electric keyboards together with Darryll Hall on bass and André Ceccarelli on drums. The entire record is pervaded by the solos of an artist rich in talent and confident in his own technical means (great the duo together with Darryll Hall on the famous Over the Rainbow standard), eclectic between songs more in the tradition of acoustic jazz and others more passages on radios, like the cover of Sting's song. It is difficult to imagine a success on a global scale, like that of other colleagues, but the music of the disc is listened to with pleasure, put together with wit in the editing phase. A record that still honors that Italian jazz that draws from the African American tradition, far from Mediterranean languors and sighs. ~ by Vittorio, Musiczoom.It. [Translated from Italian]

Bonsaï Music, BON 120501, 2012
Recorded 24th October-26th November, 2011
At Such Production Studio; Virus Studio, Poggibonsi, Italy

Musicians:
Flavio Boltro - Trumpet
Rosario Giuliani - Soprano Saxophone, Alto Saxophone
Pietro Lussu - Piano, Electric Keyboards
Darryl Hall - Bass
André Ceccarelli - Drums
Alex Ligertwood - Vocals (#3,5,8)

Tracks:
1. Mister Italo {Flavio Boltro} (6:27)
2. Black Jack {Flavio Boltro} (4:25)
3. See You Tomorrow {Flavio Boltro} (6:56)
4. Piccola Nina {Flavio Boltro} (6:38)
5. Every Breath You Take {Sting} (4:00)
6. Bora Bora {Flavio Boltro} (7:16)
7. Over The Rainbow {E.Y. Harburg, Harold Arlen} (3:08)
8. Sidewinder {Lee Morgan} (5:24)
9. The Preacher {Horace Silver} (1:54)

Credits:
Producer - Pierre Darmon, Emmanuel Jolivet
Engineer - Alessandro Guasconi
Mixing, Mastering - Julien Birto
Photography - Basile Picard

Total Time: 46:08

Sunday, December 29, 2019

Marion Brown - Vista (1975)

A strangely wonderful album from Marion Brown – quite different from his other work on Impulse, with a mellow electric edge that gives it a warm and laidback feel! The approach here is much more soulful than before – with finely crafted tunes that weave Brown's work on alto with electric piano by Anthony Davis and Stanley Cowell, percussion by Ed Blackwell and Jimmy Hopps, and bass by Reggie Workman. If you're expecting the angrier Brown from earlier years, you'll be disappointed - but if you're ready to hear a Brown that's gently crafting mellow lines in a soulful setting, then you're in for a treat. Tracks include Cowell's "Maimoun", Stevie Wonder's "Visions", Brown's "Vista", "Moment of Truth", "Bismillah 'Rrahimani' Rrahim", and "Djinji". ~ Dusty Groove, Inc.

Impulse! Records, AS-9304, 1975
Verve/Universal Music, UCCI-9288, 2015
Recorded 18th (#2,3,6) & 19th (#1,4,5) February, 1875 at Generation Sound, NYC

Musicians:
Marion Brown - Alto Saxophone (#1-6), Wind Chimes (#2)
Stanley Cowell - Piano (#1,5,6), Fender Rhodes (#2,3), Mbira (#1)
Anthony Davis - Piano (#2,3), Fender Rhodes (#1,4-6)
Bill Braynon - Celeste (#2,5) Electric Piano [RMI] (#3)
Reggie Workman - Bass (#1,3-6)
Jimmy Hopps - Drums (#1,3,4), Cymbals (#5)
Ed Blackwell - Drums (#6), Slit Drum, (#3)
Jose Goico - Congas (#1,3,4,6) Tambourine (#1), Finger Cymbals (#5)
Allen Murphy - Vocals (#2), Bells (#5)
Harold Budd - Celeste (#5), Gong (#5)

Tracks:
1. Maimoun {Stanley Cowell} (7:33)
2. Visions {Stevie Wonder} (5:40)
3. Vista {Marion Brown} (7:45)
4. Moment Of Truth {Bill Braynon} (4:37)
5. Bismillahi 'Rrahmani' Rrahim {Harold Budd} (6:02)
6. Djinji {Bill Braynon} (9:45)

Credits:
Producer - Ed Michel
Recording Engineer - Tony May (Generation Sound, NYC)
Mixing Engineer - Baker Bigsby
Photography - George Whiteman
Album Design - Tim Bryant
Disc Mastering - Kendun Recorders

Total Time: 41:22

Alto saxophonist Marion Brown is an under-sung hero of the jazz avant-garde. Committed to discovering the far-flung reaches of improvisational expression, Brown nonetheless is possessed of a truly lyrical voice but is largely ignored when discussions of free jazz of the '60s and '70s are concerned. ~ Thom Jurek, AMG.

Monday, December 23, 2019

Kevin Hays - Andalucia (1997)

Kevin Hays was already comfortable in the big leagues by the time he recorded Andalucia, his third album for Blue Note. But the fact that this outing featured the young pianist in a trio setting with bassist Ron Carter and drummer Jack DeJohnette turned heads nonetheless. Hays more than holds his own in the company of these two giants, and he's not a chops player, so his strong showing is all the more impressive. His rhythmic and harmonic ingenuity generates well-paced excitement throughout the set. Half the tunes are non-originals, and they include the standard "That's All," Ernesto Lecuona's "Andalucia (The Breeze and I)," Dizzy Gillespie's "Con Alma," and Ron Carter's "Einbahnstrasse." There's also an inventive reworking of the Beatles' "And I Love Her." But the five originals do more to reveal the full depth of Hays' musicality. "Agua," a driving boogaloo tune, kicks off the record. The other four are clustered consecutively in the middle of the program: first the calmly flowing "Mind," then the swinging Chick Corea tribute "Chickory Stick," the amorphous Billy Hart tribute "Hart," and the vigorous abstraction "Break." No matter what he's playing, Hays' soulful, uncluttered, unassuming style sets him apart among talented young jazz pianists. ~ by David R. Adler, AMG.

Blue Note, CDP 7243 8 55817 2 4, 1997
Recorded 21st-22nd December, 1996 At Clinton Recording Studio, New York

Musicians:
Kevin Hays - Piano
Ron Carter - Bass
Jack DeJohnette - Drums

Tracks:
01. Aqua {Kevin Hays} (5:11)
02. Andalucia [The Breeze And I] {Ernesto Lecuona} (4:28)
03. And I Love Her {John Lennon, Paul McCartney} (6:20)
04. That's All {Alan Brandt, Bob Haymes} (8:48)
05. Mind {Kevin Hays} (4:59)
06. Chickery Stick {Kevin Hays} (5:52)
07. Hart {Kevin Hays} (3:25)
08. Break {Kevin Hays} (4:35)
09. Einbahnstrasse {Ron Carter} (6:22)
10. Con Alma {Dizzy Gillespie} (5:34)

Credits:
Producer, Liner Notes - Bob Belden
Engineer - James Farber
Mastering - Mark Wilder
Art Direction - Darey Cloutier
Design - Brigid Pearson
Photography - Chuck Stewart, Jules Allen

Total Time: 55:35

Thursday, December 19, 2019

George Cables - Some of My Favourite Things (1980) [vinyl 24/96]


01 - Body And Soul
02 - Come Rain Or Come Shine
03 - You Stepped Out Of A Dream
04 - A Foggy Day
05 - My Funny Valentine
06 - Alone Together

George Cables (p) Tony Dumas (b) Billy Higgins (d)
Sage & Sound, Hollywood, California, February 18 & 19, 1980

Atlas (J) LA27-1002

Sunday, December 15, 2019

Aaron Goldberg - Worlds (2006)

Pianist Aaron Goldberg has an intriguing style that is a little reminiscent of Marian McPartland in its harmonic sophistication. Although seven of the ten selections on Worlds are his originals, several hint at various standards, most notably "Unstablemates," a witty de-construction of Benny Golson's "Stablemates." The interplay between Goldberg, bassist Reuben Rogers, and drummer Eric Harland is consistently inventive, and Luciana Souza adds her haunting voice to "Kianda's Song." However, the high point of this CD is "Oud to Omer," which matches Goldberg with guest guitarist Kurt Rosenwinkel. The two musicians bring out the best in each other and plenty of sparks fly, making one hope that Goldberg and Rosenwinkel work together more often. ~ by Scott Yanow, AMG.

Sunnyside Communications, SSC 1152, 2006
Recorded 15th, 17th & 18th December, 2003

Musicians:
Aaron Goldberg - Piano
Reuben Rogers - Bass
Eric Harland - Drums
Kurt Rosenwinkel - Guitar (#9)
Luciana Souza - Vocals (#3)

Tracks:
01. Lambada de Serpente {Djavan Caetano Viana, Cacaso} (8:05)
02. Taurus {Aaron Goldberg} (8:31)
03. Kianda's Song {Aaron Goldberg} (2:27)
04. Unstablemates {Aaron Goldberg} (5:06)
05. Modinha {Antônio Carlos Jobim, Vinicius de Moraes} (5:10)
06. Salvador {Aaron Goldberg} (5:29)
07. Oam's Blues {Aaron Goldberg} (4:27)
08. Inútil Paisagem {Antônio Carlos Jobim, Aloysio de Oliveira} (6:58)
09. Oud To Omer {Aaron Goldberg} (11:01)
10. Between Worlds {Aaron Goldberg} (1:59)

Credits:
Producer - Aaron Goldberg
Management, Co-Producer - Jason Olaine
Recording Engineer - Michael Brorby (#1-8,10)
Recording Engineer - Peter Karl (#9)
Mixing Engineer - Jay Newland
Mastering Engineer - Greg Calbi
Photography - Maya Yadid
Photography [Band Photo] - JD Sloan
Cover Art - David Ellis

Total Time: 59:13

Tuesday, December 10, 2019

Bill Stewart - Telepathy (1997)

Drummer Bill Stewart has made a name for himself with John Scofield’s band on several excellent recordings including What We Do and Hand Jive,. He has also made great contributions to sessions with Joe Lovano, Marty Ehrlich and Maceo Parker. If it sounds to you like he has great range as a drummer, you’re right. Stewart combines the polyrhythmic inventiveness of modern drumming with the taste and groove of funk. He creates fire and drive without volume, always supporting and creating, but never overpowering.

Telepathy is his second date as a leader and it offers further evidence of his talents as both instrumentalist and composer. Stewart’s compositions range from aggressive to introspective and he has chosen a superb roster of musicians to assist him in his musical expression. Saxophonists Steve Wilson (alto and soprano) and Seamus Blake (tenor) are also coming into their own as great improvisers and their ideas and interplay are constantly engaging. Pianist Bill Carrothers is less well-known but is featured prominently and his imaginative harmonic sense invites close listening and the hope that he will appear more often on disc. Larry Grenadier’s bass work is superb. On one of your listens to this disc, focus on his bassistic creations. Great stuff!

Of the nine tunes on this disc only two are from the jazz canon. Jackie McLean’s "Little Melonae" and Monk’s "Rhythm-A-Ning" are given fresh treatments with Blake blazing through the Monk accompanied only by Stewart and Carrothers, while only the rhythm section is spotlighted on McLean’s great tune. The remaining tunes were penned by the leader. Stewart’s compositions range from angular and aggressive to dark and moody. Try to keep from smiling as Blake squawks and struts on "Happy Chickens." Blake and Wilson get into a wildly raucous mood on "Fano," exchanging ideas and honks, followed by some intensely creative statements from Grenadier and Stewart. "Calm" is a beautiful ballad feature for Carrothers, with the leader painting soft colors with brushes. Stewart proves to be as imaginative in his writing as in his drumming.

This is a rewarding disc, straight from the jazz tradition but consistently original and forward-looking. Highly recommended. ~ by Rick Bruner, AAJ.

Blue Note, CDP 7243 8 53210 2 3, 1997
Recorded 29th & 30th September, 1996 At Clinton Recording Studios, New York City

Musicians:
Bill Stewart - Drums
Seamus Blake, Steve Wilson - Saxophone
Bill Carrothers - Piano
Larry Grenadier - Double Bass

Tracks:
1. These Are They {Bill Stewart} (8:44)
2. Mynah {Bill Stewart} (5:36)
3. Happy Chickens {Bill Stewart} (6:23)
4. Lyra {Bill Stewart} (7:37)
5. Rhythm-A-Ning {Thelonous Monk} (5:39)
6. Dwell On This {Bill Stewart} (6:51)
7. Calm {Bill Stewart} (6:49)
8. Fano {Bill Stewart} (6:31)
9. Little Melonae {Jackie McLean} (4:11)

Credits:
Producer - Bob Belden, Bill Stewart
Recording Engineer - David Baker
Mastering Engineer - Tom "Curly" Ruff (Sony Studios, NYC)
Photography - Jimmy Katz (Giant Steps)
Design - Patrick Roques

Total Time: 58:21

Monday, December 9, 2019

Buck Clayton with Buddy Tate - Buck & Buddy blow the blues (1961) [re-rip]

A romping little session from Buck Clayton and Buddy Tate - served up in a looser, more relaxed setting than the former's albums for Columbia, and a slightly more swing-based mode than the latter's dates for Chess! Both horn players get plenty of room to solo in the open-ended Swingville mode - Buck on trumpet and Buddy on both tenor and clarinet - and the group's a nice one too, since Sir Charles Thompson's playing piano, Gene Ramey's on bass, and Gus Johnson's on drums. Titles include "Blue Creek", "Blue Breeze", "Blue Ebony", "Rompin At Red Bank", and "Dallas Delight". © Dusty Groove, Inc.

Prestige/Swingville, SVST 2030, 1961
Recorded 15th September, 1961 in Englewood Cliffs, New Jersey

Musicians:
Buck Clayton - Trumpet
Buddy Tate - Tenor Saxophone, Clarinet
Sir Charles Thompson - Piano
Gene Ramey - Bass
Gus Johnson - Drums

Tracks:
A1. Rompin’ At Red Bank {Buddy Tate} (6:35)
A2. Blue Creek {Buddy Tate} (6:32)
A3. A Swinging Doll {Buck Clayton} (3:55)
A4. Dallas Delight {Buck Clayton} (4:36)
B1. Don’t Mind If I Do {Buddy Tate} (8:06)
B2. Blue Breeze {Buck Clayton} (4:13)
B3. Blue Ebony {Buck Clayton} (5:59)

Credits:
Supervision - Esmond Edwards
Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Joe Goldberg

Thursday, December 5, 2019

Alex Sipiagin - Live At Smalls (2013)

Wonderful Live Date

Alex Sipiagin was recently voted a "rising star" in the Down Beat Critic's poll, and this terrific recording will only boost his growing reputation. It's a blistering live date with Seamus Blake on tenor sax, David Kikoski on piano, Boris Kozlov on bass, and Nate Smith on drums. Sipiagin has recorded about 15 albums as a leader and another 25 or so as a sideman, many of which are with members of this band, and this is one of my favorites. The band is tight and the energy is high throughout the set. In terms of style, Sipiagin sounds a bit like the late great trumpeter Woody Shaw -- very fluent post-bop that is rich with ideas. Unfortunately, the recording is on the pricey side, but the quality of the music is terrific. Recommended. ~ by Kerron, Amazon.com.

SmallsLIVE Records, SL0033, 2013
Recorded 25th-26th June, 2012 At Smalls Jazz Club, Greenwich Village, NYC

Musicians:
Alex Sipiagin - Trumpet
Seamus Blake - Tenor Saxophone
David Kikoski - Piano
Boris Kozlov - Bass
Nate Smith - Drums

Tracks:
1. Live Score {Alex Sipiagin} (13:53)
2. Videlles {Alex Sipiagin} (15:01)
3. Calming {Alex Sipiagin} (10:49)
4. Pass {Alex Sipiagin} (19:34)
5. Returning {Alex Sipiagin} (13:50)

Total Time: 73:07

Credits:
Producer, Executive Producer - Spike Wilner
Producer, Mixing Engineer - Ben Rubin
Recording Engineer - Tyler McDiarmid
Mastering Engineer - Gene Paul (G&J Audio)
Photography, Design - Michelle Watt

Notes:
Where possible applause has been trimmed or edited out.
Mixed at The House of Cha Cha
Mastered At G&J Audio

Blistering Trumpet Skills, Deeply Interactive Band
A fantastically energized live album showcasing both Sipiagin's burning skills as a trumpet player but also the deep synergistic interactions between the band and all soloists. Nate Smith's highly interactive approach on drums is particularly captivating. 5 stars. THIS is a prime example of what modern jazz sounds like. ~ by Brownmanon, Amazon.com.

Harry Allen-Joe Cohn Quartet, The - Hey, Look Me Over (2004)

The first fact one needs to know about the Harry Allen-Joe Cohn Quartet is that it is, as described in the liner notes, a "working band." This may sound like a negligible fact on Hey, Look Me Over, but it isn't. A number of famous combos in the history of jazz have only played together in the studio. Here, however, guitarist Cohn, tenor Allen, bassist Joel Forbes, and drummer Chuck Riggs have developed the synchronicity that only comes from performing together night after night. For Hey, Look Me Over, that equals an hour of lovely ensemble work highlighted by some well-wrought guitar and tenor workouts on a solid set list. The next thing one would want to know about the Harry Allen-Joe Cohn Quartet is that they play traditional mainstream jazz with such pizzazz that one would never mistake it for regurgitated classics. With two or three exceptions, this is an upbeat, happening set, with vibrant versions of Charlie Christian-Benny Goodman's "Seven Come Eleven" and the title cut. "Seven Come Eleven," in particular, is a six-minute free-for-all, with superb back-and-forth exchanges between Cohn and Allen played against Forbes' busy bassline and Riggs' frantic backbeat. Hey, Look Me Over is the kind of tuneful, well-executed album that makes the listener feel good. ~ by Ronnie D. Lankford, Jr., AMG.

Arbors Records, ARCD 19333, 2004
Recorded 28th & 29th August, 2004 At Nola Studios, New York City

Musicians:
Harry Allen - Tenor Saxophone
Joe Cohn - Guitar
Joel Forbes - Bass
Chuck Riggs - Drums

Tracks:
01. With The Wind And The Rain In Your Hair {Jack Lawrence, Clara Edwards} (6:30)
02. Take Four {Al Cohn} (6:08)
03. It's Been A Long, Long Time {Sammy Cahn, Jule Styne} (6:11)
04. Hey, Look Me Over! {Carol Leigh, Cy Coleman} (6:19)
05. Seven Come Eleven {Charlie Christian, Benny Goodman} (5:30)
06. I'll Only Miss Her When I Think Of Her {Sammy Cahn, Jimmy Van Heusen} (6:24)
07. Travisimo {Al Cohn} (6:08)
08. Get Out {Harry Allen} (6:32)
09. Pick Yourself Up {Dorothy Fields, Jerome Kern} (3:18)
10. Danielle {Al Cohn} (7:30)

Credits:
Producer - Harry Allen
Executive Producer - Ikuyoshi Hirakawa for Swingbros, Inc., Japan
U.S. Executive Producers - Rachel and Mat Domber for Arbors Records, Inc.

Total Time: 60:30

Monday, December 2, 2019

Ray Bryant - Somewhere In France (2000)

Recorded in 1993 before a live audience somewhere in France, this session was sitting around in Ray Bryant's home on a cassette tape that the sound man had handed him after the performance. The artist hadn't had time to listen to it; he hadn't even realized he was being recorded until the performance was over. The session turns out to be a significant milestone that documents this unique pianist. As a solo piano performance, the music is unobstructed. The sound is well done. But what makes this one special is that Bryant's comments to the audience are captured on the recording as well. He was candid and offered considerable insight. The pianist's distinctive bass lines appear in each of the styles he performs here. Whether walking the blues, bouncing a boogie-woogie, forcefully "preaching" a gospel piece, or simply interpreting a lullaby, Bryant's romping, two-hand approach remains unique. His theme song, "Slow Freight," makes a lasting impression. ~ by Jim Santella, AAJ.

Label M, 495701, 2000
Recorded Live in 1993 somewhere in France

Ray Bryant - Piano [Solo]

Tracks:
01. Take The "A" Train {Billy Strayhorn} (4:15)
02. Blues In G {Ray Bryant}/Willow Weep For Me {Ann Ronell} (6:38)
03. Con Alma {Dizzy Gillespie} (7:43)
04. Slow Freight {Ray Bryant, Esmond Edwards} (7:03)
05. Jungletown Jubilee {Lloyd Glenn} (2:58)
06. Django {John Lewis} (6:40)
07. After Hours {Erskine Hawkins, Avery Parrish} (3:24)
08. When I Look In Your Eyes {Xavier Cugat} (2:54)
09. Good Morning Heartache {Ervin Drake, Dan Fisher, Irene Higginbotham} (4:56)
10. In The Back Room {Ray Bryant} (5:26)
11. If I Can Just Make It Into Heaven {Traditional} (3:57)
12. St. Louis Blues {W.C. Handy} (6:57)
13. Until It's Time For You To Go {Buffy Sainte-Marie} (3:58)

Credits:
Producer - Ray Bryant
Producer, Liner Notes - Joel Dorn
Mastering - Gene Paul [DB Plus Studios, NY]
Production Coordination - Alex Karas
Sonic Solutions - Jennifer A. Munson
Cover Art, Cover Design, Graphic Design - Page Simon
Cover Photo - Chuck Stewart

Ray Bryant provided the master tape for this live solo piano CD from a personal archive of over 100 cassettes given to him by various soundboard technicians working his concerts over the years. Bryant was unable to identify the tape more specifically than being recorded "Somewhere in France" during 1993; hence the CD's title. The play list and the arrangements overlap somewhat with Bryant's Alone at Montreux date, though the pianist's first-rate performance and the surprisingly excellent sound from Somewhere in France's humble cassette source make this worth acquiring along with his earlier solo concert CD. Highlights include a boogie-woogie version of "Take the 'A' Train," a choppy delightful "Con Alma," "Jungletown Jubilee" (an obscure tune with obvious gospel roots), a swinging take of John Lewis' "Django," and a savory take of the slow blues "After Hours." Since Bryant turned over more than 40 personal tapes that he personally liked, here's hoping that producer Joel Dorn and Label M will release more music from the pianist's own collection. Very highly recommended. ~ by Ken Dryden, AMG.

Total Time: 66:49

Thursday, November 28, 2019

Marcus Printup - Nocturnal Traces (1998)

Since what seem like ages-ago sightings at the Monk Competition, and later at the Jacksonville Jazz Festival, where he played at the side of the stage in deference to some fluffy smooth jazz outfit scheduled to follow his band, trumpeter Marcus Printup's growth arc has been impressive. Last time out he was paying homage to Freddie Hubbard, with fellow Blue Noter Tim Hagans. This time, save for the smoldering “Freddie's Inferno”, in tribute to the master, it's all about Marcus. The band is his regular crew, including Kevin Bales on piano, Ricky Ravelo on bass, and Woody Williams on drums. The comfort level Printup feels is obvious from the jump.

Throughout this disc there is a palpable joy and fatness in his sound, for which one need listen no further than his buoyant treatment of "Have You Met Miss Jones?" The program strikes a fine balance between standards and Printup's tunes, yet some of his most telling statements are made on the former. Check out his soulful version of "Black Coffee," for example, with trumpet tone sufficiently broadened to address the blue nuances of the familiar tune. Throughout, Marcus Printup is bubbling with energy and controlled passion, and a tip of the hat also to his rompin' stompin' drummer, Williams, who has lit many a bandstand down Atlanta way. ~ by Willard Jenkins, JazzTimes.

Blue Note, CDP 7243 4 93676 2 3, 1998
Recorded 24th & 25th January, 1998 to Analog 2-Track At Avatar Studio C, New York, NY

Musicians:
Marcus Printup - Trumpet
Kevin Bales - Piano
Ricky Ravelo - Bass
Woody Williams - Drums

Tracks:
01. Woody's Beat {Marcus Printup} (7:16)
02. Have You Met Miss Jones {Lorenz Hart, Richard Rodgers} (5:55)
03. Shertzing Along {Marcus Printup} (6:08)
04. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (5:19)
05. Black Coffee {Sonny Burke, Paul Francis Webster} (7:02)
06. Pier Pressure {Marcus Printup} (6:07)
07. Nocturnal Traces {Marcus Printup} (6:13)
08. Ain't Misbehavin' {Harry Brooks, Andy Razaf, Fats Waller} (5:41)
09. How Do You Keep The Music Playing? {Alan & Marilyn Bergman, Michel Legrand} (5:42)
10. Freddie's Inferno {Marcus Printup} (4:07)

Credits:
Producer - Bob Belden, Marcus Printup
Recording Engineer - Jim Anderson
Assistant Engineer - Aya Takemura
Mastering Engineer - Allan Tucker
Photography - Jimmy Katz, Lisa Peardon
Design - Karen Thomas, Burton Yount
Liner Notes - Herb Wong

Total Time: 59:30

In this bright and accessible effort from one of the best young trumpeters on the scene, Printup mixes up originals with standards. The fact that his tunes complement works by Rodgers & Hart ("Have You Met Miss Jones") and Fats Waller ("Ain't Misbehavin'") so well should key you in to the fact that he is a bit of a traditionalist. With his quartet of Kevin Bales on piano, Ricky Ravelo on bass, and Woody Williams on drums, Printup lays down some fine exercises in samba ("Shertzing Along") and bop ("Pier Pressure"). There is plenty of fine work here. ~ by Tim Sheridan, AMG.

Dewey Redman - Coincide (1974) [true flac]

A beautiful and spiritual record by Dewey – and one that features very stripped down playing, mostly in a trio or quartet format. The players differ from track to track – and they include Sirone on bass, Eddie Moore on drums, Leroy Jenkins on violin, and Ted Daniel on trumpet. Two tracks feature Redman playing zither, which sounds strange, but very nice. Another features clarinet, and the remainder feature Dewey on his traditional tenor. Titles include "QOW", "Somnifacient", "Seeds & Deeds", "Funcitydues", and "Phadan-Sers". © Dusty Groove, Inc.

Impulse! Records, ASD-9300, 1975
Recorded 9th (#A1,A2) & 10th (#A3-B4) September, 1974 at Generation Sound Studios, New York City

Musicians:
Dewey Redman - Tenor Sax (#A1,B1,B2,B4), Clarinet (#A2), Zither (#A3,B3)
Ted Daniel - Trumpet (#A1,A2)
Leroy Jenkins - Violin (#A1,A2)
Sirone - Bass (#A1-B2,B4)
Eddie Moore - Drums (#A1,B1,B2,B4), Tympani (#A2), Cymbals (#A2), Bowed And Struck Idiophone (#A3)

Tracks:
A1. Seeds And Deeds (4:51)
A2. Somnifacient (7:14)
A3. Meditation Submission Purification (8:12)
B1. Joie De Vivre (3:20)
B2. Funcitydues (3:15)
B3. Phadan-Sers (3:38)
B4. Qow (10:17)

All Compositions by Dewey Redman

Credits:
Producer - Ed Michel
Engineer - Tony May
Mixing - Baker Bigsby
Mastering - Kendun Recorders
Design - Tim Bryant
Photography - Philip Melnick
Liner Notes - Robert Palmer

Total Time: 40:47

Dewey Redman is featured in a few different settings on this intriguing and generally successful album. The best cuts are the originals that match Redman's tenor with bassist Sirone and drummer Eddie Moore. In addition, he is heard on zither on two cuts (one of which is unaccompanied), and his trio adds trumpeter Ted Daniel and violinist Leroy Jenkins for two complex originals; Redman switches to clarinet on "Somnifacient." Although it is interesting to hear Redman on clarinet and zither, his tenor playing is clearly his strong point and the main reason to search for this LP. His ten-minute workout on "Qow" is outstanding. ~ by Scott Yanow, AMG.

Sunday, November 24, 2019

The Cutting Edge feat. Tim Hagans - The Cutting Edge (1998)

Brilliant Post-Bop Giants
This release features some of the finest current players on the jazz scene, Tim Hagans is in my mind the most fluent trumpet player out there. His lyrical Miles-like sparseness is totally his own. Walt Weiskopf is out of Trane and no tenor has more technique at their disposal. Conrad Herwig is a breathtaking bone player, blasting through mind blowing changes on every solo. The ensemble work is swinging and seamless. Very hip rhythm section as well. Cannot Go Wrong With This One! ~ Robert Ricketts, Amazon.com.

Double-Time Records, DTRCD-141, 1999
Recorded January, 1998 At Steve Davis Studios, Yonkers, New York

Musicians:
Tim Hagans - Trumpet
Conrad Herwig - Trombone
Walt Weiskopf - Tenor Saxophone
Andy Laverne - Piano, Arranger
Jay Anderson - Bass
Steve Davis - Drums

Tracks:
1. Footprints {Wayne Shorter} (8:03)
2. Yesterdays {Jerome Kern, Otto Harbach} (5:57)
3. Code Bleu {Andy Laverne} (10:10)
4. Cantaloupe Island {Herbie Hancock} (6:41)
5. Cutting Edge {Andy Laverne} (8:01)
6. Secret Of The Andes {Andy Laverne} (7:24)
7. Space Dozen {Tim Hagans} (5:20)
8. Our Destiny {Conrad Herwig} (7:17)
9. Get Out Of Town {Walt Weiskopf} (6:35)

Credits:
Producer - Andy Laverne
Mastering, Graphic Design - Jamey Aebersold
Liner Notes - Ted Panken

Total Time: 65:28

Wednesday, November 20, 2019

Tim Hagans - No Words (1994)

The impressive trumpeter Tim Hagans holds his own with the tenor of Joe Lovano during a sextet session with guitarist John Abercrombie, keyboardist Marc Copland, bassist Scott Lee and drummer Bill Stewart that features nine of his originals. The music is essentially advanced hard bop (Lovano and Abercrombie both sound somewhat inspired) and Hagans displays both an attractive tone and a fertile imagination. It's a strong set of modern mainstream jazz. ~ by Scott Yanow, AMG.

Blue Note, CDP 0777 7 89680 2 3, 1994
Recorded 3rd December, 1993 At Power Station, New York City

Musicians:
Tim Hagans - Trumpet
Joe Lovano - Tenor Saxophone, Soprano Saxophone
Marc Copland - Piano, Fender Rhodes
John Abercrombie - Guitar
Scott Lee - Bass
Bill Stewart - Drums

Tracks:
1. No Words {Tim Hagans} (5:42)
2. Nog Rhythms {Tim Hagans} (8:29)
3. Waking Iris {Tim Hagans} (7:39)
4. Noogaloo {Tim Hagans} (6:45)
5. Immediate Left {Tim Hagans} (8:09)
6. Passing Giants {Tim Hagans} (5:04)
7. For The Music {Tim Hagans} (8:53)
8. Housewife From New Jersey {Tim Hagans} (8:00)
9. Lost In My Suitcase {Tim Hagans} (7:52)

Credits:
Producer - Tim Hagans
Producer, Liner Notes - Joe Lovano
Recording Engineer - James Farber
Mixing Engineer - A.T. Michael McDonald
Art Direction, Design - Mark Larson
Photography - Jeffrey Scales
Photography [Session] - Cheung Ching Ming

Total Time: 66:33

Tuesday, November 12, 2019

Mike DiRubbo - Threshold (2014)

Mike DiRubbo's eight disc as a leader, Threshold finds the ever-inventive alto saxophonist in a solidly hard bop environment that is reminiscent of Blue Note records of the 1950s but has a clear modern edge. In addition to leading a superb and sympathetic quintet, DiRubbo penned eight of the nine tracks on this riveting record with a momentum that never slacks from the first note to the last.

DiRubbo's acerbic, passionate tone marks his tight and intelligent improvisations that seamlessly arise from the intricate and memorable heads of each composition. His embellishments of the melody on the dynamic title piece are simultaneously raw and elegant while his haunting spontaneous lines on the contemplative "Salter Of The Earth" burn with intense poetry. His stimulating ad-lib flourishes add a cinematic mystique to the vivid "1970" while trumpeter Josh Evans' mellow, burnished horn takes an expansive and charismatic solo.

The modal and riveting "Sun Steps" opens with the unaccompanied clarion call of the frontline. As the music evolves DiRubbo and Evans weave elegiac motifs around the core theme. Bassist Ugonna Okegwo's inspired and lyrical string work makes for a satisfying conclusion.

Elsewhere Evans blows a Levantine influenced extemporization on the dark and dramatic "Pace," perhaps the most innovative tune of the album. Pianist Brian Charette's crisp overlapping sonic clusters with the right amount of angular dissonance put a deliciously shadowy spin on the fairy tale ambience.

Drummer Rudy Royston provides both rhythmic support and propels the bands' ensemble play and spirited exchanges. He versatility ranges from the subtle sophisticated brushwork on the undulating "Faith" to the complex and fiery beats on the Latin-esque "Curvas Perigosas." Together with Okegwo he creates taut but still swinging backdrops against which the others' free flowing phrases echo as, for instance, on the simmering and soulful "Where There's A Willis There's A Way."

Threshold is a tad more traditional than DiRubbo's previous releases, especially ones from the preceding five years. It is his and his sidemen's unparalleled musicianship and captivating creativity that makes this, nevertheless, a provocative and enjoyable work. ~ by Hrayr Attarian, AAJ.

Ksanti Records, KSR002, 2014
Recorded 12th December, 2013 At Whitewater Productions, Brooklyn, New York

Musicians:
Mike DiRubbo - Alto Saxophone
Josh Evans - Trumpet
Brian Charette - Piano
Ugonna Okegwo - Bass
Rudy Royston - Drums

Tracks:
1. Threshold {Mike DiRubbo} (7:54)
2. Where There's A Willis There's A Way {Mike DiRubbo} (5:12)
3. Sun Steps {Mike DiRubbo} (6:37)
4. Pace {Mike DiRubbo} (6:20)
5. Faith {Mike DiRubbo} (5:44)
6. Curvas Perigosas {Mike DiRubbo} (6:30)
7. 1970 {Mike DiRubbo} (6:32)
8. Salter Of The Earth {Mike DiRubbo} (6:27)
9. Bloomdido {Charlie Parker} (5:32)

Credits:
Producer - Mike DiRubbo
Recording Engineer - John White
Mixing, Mastering Engineer - Ian Hendrickson-Smith
Design - Todd Cruikshank

Total Time: 56:48

Sunday, November 10, 2019

Michael Cochrane Trio - Song Of Change (1993)

An excellent straight-ahead hard bop pianist, Michael Cochrane performs four of his originals and six standards, including swinging versions of "On Green Dolphin Street," "The Surrey With The Fringe On Top," and "Autumn Leaves" on this trio set. Assisted by bassist Marcus McLaurine and drummer Alan Nelson, Cochrane adds his own musical personality to the hard bop tradition, creating music that should please straight-ahead jazz fans. ~ by Scott Yanow, AMG.

Down Beat (12/93, p.41) - 3 Stars - Good - "...Solid...cheery uptempo takes on standards..."

JazzTimes (4/95, pp.87-88) - "...SONG OF CHANGE offers music executed with unselfconscious assurance guaranteeing fondly repeated listening..."

Soul Note, 121251-2, 1993
Recorded 23rd-24th November, 1992 At Garden Productions, New York

Musicians:
Michael Cochrane - Piano
Marcus McLaurine - Bass
Alan Nelson - Drums

Tracks:
01. S.C.C. {Michael Cochrane} (5:57)
02. Once I Loved {Ray Gilbert, Antônio Carlos Jobim, Vinícius de Moraes} (6:48)
03. Prelude To A Kiss {Duke Ellington, Irving Gordon, Irving Mills} (6:45)
04. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (6:46)
05. No Pain, No Gain {Michael Cochrane} (5:07)
06. The Surrey With The Fringe On Top {Oscar Hammerstein II, Richard Rodgers} (8:00)
07. Cloud 9 {Michael Cochrane} (6:08)
08. Autumn Leaves {Joseph Kosma, Johnny Mercer, Jacques Prévert} (7:08)
09. Song Of Change {Michael Cochrane} (6:57)
10. Bemsha Swing {Denzil Best, Thelonious Monk} (5:16)

Credits:
Producer - Michael Cochrane
Executive Producer - Giovanni Bonandrini
Engineer, Mixing - Jimmy Madison
Mastering - Gennaro Carone
Liner Notes - Bill Shoemaker

Total Time: 64:52

Saturday, November 9, 2019

Ahmad Jamal - Tranquility

I have to admit, I'm not a fan of jazz interpretations of shmaltzy pop tunes.  In fact, I can't stand it.  So when I looked at the tracklist of this album, I was initially repulsed.  But it's Ahmad Jamal!!  I haven't heard a bad Jamal album, and that gave me yet another reason to be apprehensive about this one.  I know that logic seems backwards, but I couldn't bare the fact that he may have a complete dud in his discography.  Ignorance is bliss right?  Ultimately the deal breaker was the fact that it was only priced at $1, in a dingy thrift shop.  At that price it's a no brainer really.

So, "Say A Little Prayer" doesn't exactly start off with a whole lot of promise.  The band begin by stating the theme, and I am left thinking "Oh God it is gonna suck"... but wait...

...hold on...

...oh, ok... I see what he's doing here.  Wow!!  Nice!!  Brilliant!!

This is after all Ahmad Jamal, ye with little faith.  Side one is essentially a rush of quick pop tunes, but they are given the classic Jamal Trio treatment.  That inimitable style is stamped all over these otherwise predictable tunes.  Frankly its quite refreshing, and the group even manage to have you forget the source material.  Ahmad Jamal is undoubtedly a master, and it's through an album like this that we see why.  When side one was over, I was left recalling several different moments and basically needed to play it again.  Not the outcome I would have predicted, not by a long shot.

Side two plays like a more typical Jamal Trio joint.  Three tunes over twenty minutes, with lots of extended solos and interplay.  Overall, I found this to be an excellent album.  Fun & refreshing, but with some serious moments as well, the trio deliver on all expectations.  This stereo LP was in rough shape but cleaned up surprisingly well.  It was ripped at 24/48wav and transferred to FLAC in 24/48 for your convenience... enjoy!!!

ABC Records ABCS-660
1968

Bass – Jamil Sulieman
Drums – Frank Gant
Piano – Ahmad Jamal

Thursday, November 7, 2019

Elton Dean, Joe Gallivan, Kenny Wheeler - The Cheque Is In The Mail (1977) [vinyl]

This album is ten Conversations among ourselves. There are no solos with accompaniment, just three people playing together somewhat in the tradition of older style jazz musicians - but with a contemporary language. It is the blending of electronic and acoustical sounds, contemporary and jazz-rooted improvisation, the sounds of metal and reeds (the horns), membranephones (animal skin drum heads), percussion and the pure ways of the moog synthesizer. There is no overdubbing, when you hear synthesizer and percussion, they are played together in order to capture the most important element of this album - the human element. ~ Joe Gallivan.

Ogun Records, OG 610, 1977
Recorded February, 1977 in London, England

Musicians:
Elton Dean - Alto Saxophone, Saxello
Kenny Wheeler - Trumpet, Flugelhorn
Joe Gallivan - Synthesizer, Drums, Percussion

Tracks:
A1. In Spite Of It {Dean, Wheeler, Gallivan} (2:31)
A2. Steps {Dean, Wheeler, Gallivan} (3:48)
A3. First Team {Dean, Wheeler, Gallivan} (3:38)
A4. Ragadagger {Dean, Wheeler, Gallivan} (4:06)
A5. To The Sun {Dean, Wheeler, Gallivan} (8:20)
B1. Off Your Beaver {Dean, Wheeler, Gallivan} (3:22)
B2. Appropo {Dean, Wheeler, Gallivan} (6:59)
B3. Fragment Of Memory {Dean, Wheeler, Gallivan} (2:18)
B4. No Bounds {Dean, Wheeler, Gallivan} (4:21)
B5. Time Test {Dean, Wheeler, Gallivan} (3:14)

Credits:
Producer - Joe Gallivan in Co-operation with Elton Dean
Mixing - Ron Eve (February, 1977, London)
Mastering - Brian C. East

Total Time: 42:37

Wednesday, November 6, 2019

Marion Brown - Geechee Recollections (1973)

Geechee Recollections was the first in a trilogy of recordings by saxophonist Marion Brown that both honored the work of poet Jean Toomer and revisited his upbringing in Georgia. Together, they form arguably the most beautiful and satisfying output of Brown's lengthy career. The music, while remaining experimental, is grounded in Southern folk themes and blues, epitomized on tracks like the funky "Buttermilk Bottom" here. A Toomer poem, Karintha is given a striking reading by Bill Hasson and, throughout the recording, Brown receives excellent support by a strong ensemble including trumpeter Leo Smith and the great drummer Steve McCall. Brown, with his marvelously limpid tone on alto, is a joy to hear and seems more at home and relaxed here than on some of his more strident early records. Recommended. ~ Brian Olewnick, AMG.

Impulse! Records, AS-9252, 1973
ABC/Impulse! Records, MVCZ-120, 1997
Recorded 4th & 5th June, 1973 At Intermedia Sound, Boston, Massachusetts

Musicians:
Marion Brown - Alto & Soprano Saxophones, Clarinet, Percussion
Leo Smith - Brasses, Strings, Percussion
Bill Hassan - Narration (#2), Percussion
James Jefferson - Bass, Cello (#2), Percussion
Steve McCall - Drums, Miscellaneous Percussion
A. Kobena Adzenyah - Drums [Southeastern Ghana]: Soge, Kidi, Kaganu, Axatse,
Gankogui, Toke; Drums [Akan people, Ghana]: Apentemba,
Apenten, Dawure, Nnawunta, Donne, Gyilla, Balaphone [Lobi people, Northern Ghana]
William Malone - Thumb Piano, Autoharp, Axatse
Jumma Santos - Conga Drums, Miscellaneous Instruments

Tracks:
1. Once Upon A Time {Marion Brown} (6:27)
2. Karintha {Marion Brown, Jean Toomer} (9:25)
3. Buttermilk Bottom {Marion Brown} (6:42)
4. Introduction {Marion Brown} (1:18)
5. Tokalokaloka, Part One {Marion Brown} (6:59)
6. Tokalokaloka, Part Two {Marion Brown} (8:39)
7. Tokalokaloka, Part Three {Marion Brown} (1:45)
8. Ending {Leo Smith} (1:20)

Credits:
Producer - Ed Michel
Recording Engineer - Berred Ouelette
Assistant Engineer - Dominic Lumetta, Gilmar Fortis, Kathryn King, Nat Seligman
Mixing Engineer - Rick Heenan (The Village Recorder)
Photography - Donald M. Shaw
Liner Notes - J.B. Figi
Liner Notes [Poem] - Eric D. Jackson

Total Time: 40:35