Willis Jackson Quintet - Please Mr. Jackson (1959) [vinyl]

Willis "Gator" Jackson originally made a strong impression as a honking R&B player, first with the Cootie Williams Orchestra, then with his own popular bands. In 1959, starting with this Prestige set, Jackson made his mark on soul-jazz. Teamed with the up-and-coming organist Jack McDuff, guitarist Bill Jennings, bassist Tommy Potter and drummer Alvin Johnson, Gator is heard modifying his style a little (gone are most of the screams) in favor of swinging. He performs four group originals, "Come Back to Sorrento," and "Memories of You" with soulful feeling. ~ by Scott Yanow, AMG.

Prestige Records, PR 7162, 1959

Prestige/OJC Records, OJC-321, 1988

Recorded 25th May, 1959 at Van Gelder Studio in Hackensack, New Jersey

Personnel:

Willis "Gator" Jackson - Tenor Saxophone

Brother Jack McDuff - Organ

"Wild" Bill Jennings - Guitar

Tommy Potter - Bass

Alvin Johnson - Drums

Tracks:

A1. Cool Grits {Bill Jennings, Jack McDuff, Willis Jackson} (8:33)

A2. Come Back To Sorrento {Ernesto De Curtis} (4:30)

A3. Dinky's Mood {Jack McDuff, Willis Jackson} (3:57)

B1. Please Mr. Jackson {Bill Jennings, Jack McDuff, Willis Jackson} (5:45)

B2. 633 Knocks {Bill Doggett, Bill Jennings} (5:20)

B3. Memories Of You {Andy Razaf, Eubie Blake} (6:06)

Total Time: 35:11

Credits:
Supervisor, Cover Photo - Esmond Edwards

Recording Engineer - Rudy van Gelder

Liner Notes - Jack Walker

With a deliberate note of the coolest of funk, MR. WILLIS JACKSON seems determined at the outset of this album to dispense with the gyrating, honking, disrobing, screaming caricature of an earlier - far less mature - Willis. It is, to be sure, an understandable caricature, for Willis Jackson in the past, has been one of the gyratingest, honkingest, screamingest, disrobingest of saxophonists. Indeed, Willis Jackson came along in an era when you had to "cut" Illinois Jacquet to "make it" and Willis Jackson was a determined young man.

The MR. JACKSON here in this album "PLEASE ...” is a far more mature musician and he's out to prove it. The theatrics of his youth - a perhaps necessary window - dressing for his then budding talent - are gone ... The honking and screaming - exciting to a generation gone - have given way to solid sounds. And Willis Jackson, the "Gator" of yesterday emerges as a worthy musician in this era of modern sounds. ~ excerpts by Jack Walker.

Gene Ammons - Boss Tenor (1960)

This relaxed, swinging quintet session from 1960 isn't the landmark that many of the other releases in this series are. But it is among the finest, most rewarding music tenor great Gene Ammons (1925-74) ever made. Boss Tenor - easily confused with Boss Tenors, the 1961 Verve record Ammons cut with Sonny Stitt - is probably included here due to Ammons's enduring and unprecedented affiliation with Prestige. Ammons recorded over 50 albums for the label from 1950, around the time of the label's inception, until Ammons's death in 1974 (interrupted only by seven years in jail between 1962 and 1969). A warm, burnished, consistently recognizable tone always blew through Ammons's horn and the assured, identifiable manner he could scale ballads, blues, bop and r&b was always reliable and appealing. Here, though, he is ideally teamed with the gracefully elegant and innately soulful pianist Tommy Flanagan, Prestige house bassist, Doug Watkins, and house drummer, Art Taylor, and with just the right amount of Latin spice, Ray Barretto's congas. The feel, less loose than many of the 1950s jam sessions that Ammons participated in, seems unusually well considered and as rehearsed as any Blue Note date. Ammons chooses well here too, glossing musically over Bird's "Confirmation," Bill Doggett's "Savoy" and easing lovingly through Rodgers and Hart's "My Romance" (ranking right up there with Ben Webster's classic interpretations). Two "hits" actually emerged from this record, making it one well worth acquiring: Ammon's soulful blues, "Hittin' The Jug," and a swinging rendition of the otherwise corny pop hit "Canadian Sunset." A winner all the way around, and one of the definitive additions to Ammons's huge discography. ~ Douglas Payne, AllAboutJazz.com.

Prestige Records, PRLP 7180, 1960

Concord Music Group, 00025218810227, 2006

Recorded 16^th June, 1960 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Gene Ammons - Tenor Saxophone

Tommy Flanagan - Piano

Doug Watkins - Bass

Art Taylor - Drums

Ray Barretto - Congas

Tracks:

1. Hittin' The Jug {Gene Ammons} (8:28)

2. Close Your Eyes {Bernice Pelkere} (3:44)

3. My Romance {Richard Rodgers, Lorenz Hart} (4:13)

4. Canadian Sunset {Eddie Heywood, Norman Gimbel} (5:25)

5. Blue Ammons {Gene Ammons} (4:58)

6. Confirmation {Charlie Parker} (5:25)

7. Stompin' At The Savoy {Benny Goodman, Chick Webb, Edgar Sampson} (3:32)

Total Time: 35:35

Credits:

Supervision - Esmond Edwards

Reissue Producer - Nick Phillips, Bob Porter

Recording Engineer - Rudy van Gelder

Remastering - Rudy van Gelder, 2005

Reissue Production Assistant - Stuart Kremsky

Cover Photo - Esmond Edwards

Original Liner Notes - Leroi Jones

Reissue Liner Notes - Bob Porter, 2005

Gene Ammons - "JUG" (1961) [re-rip]

Tenor saxophonist Gene Ammons recorded many albums during 1961-1962, a busy period that was brought to an abrupt halt by his arrest for narcotics abuse. Jug finds the great tenor in excellent form, interpreting six standards and two of his originals with the assistance of pianist Richard Wyands, bassist Doug Watkins, drummer J.C. Heard, and the congas of Ray Barretto; Sleepy Anderson replaces Wyands on two songs, one of which he takes on organ. Few surprises occur, but fans will not be disappointed by his soulful and lyrical playing. ~ Scott Yanow, AMG.

JUG was Gene Ammons' nickname. This 1961 session finds tenor saxophonist Ammons doing what he does best-ballads and easy grooves. The lazy pace of the opening "Ol' Man River" belies a subtly propulsive momentum. Conga-drum player Ray Barretto augments the backing trio of piano, bass, and drums. Ammons frequently bolstered his rhythm sections thusly, this wise approach adding a range of embellishing counter-rhythms to the open feel of the music. Ammons wrote two blues for this set, "Seed Shack" and "Miss Lucy." The saxophonist recorded so much music, it's easy to lose sight of the fact that he never faltered in the studio. JUG is an exceptional example of Ammons' early '60s output. ~ Excerpts from CD.Universe.com

Prestige Records, PRLP 7192, 1961

Prestige Records, PR 7192, 1972

Recorded 27^th January, 1961 Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Musicians:

Gene Ammons - Tenor Saxophone

Richard Wyands - Piano (#A1-A3,B1,B2,B4)

Clarence "Sleepy" Anderson - Piano (#A4), Organ (#B3)

Doug Watkins - Bass

J.C. Heard - Drums

Ray Barretto - Conga Drum

Tracks:

A1. Ol' Man River {Oscar Hammerstein II, Jerome Kern} (5:11)

A2. Easy To Love {Cole Porter} 4:16)

A3. Seed Shack {Gene Ammons} (5:40)

A4. Let It Be You {Clarence "Sleepy" Anderson} (3:50)

B1. Exactly Like You {Dorothy Fields, Jimmy McHugh} (6:00)

B2. Miss Lucy {Paul Weston} (3:42)

B3. Namely You {Gene DePaul, Johnny Mercer} (4:47)

B4. Tangerine {Johnny Mercer, Victor Schertzinger} (3:37)

Credits:

Producer, Cover Photo - Esmond Edwards

Recording Engineer - Rudy van Gelder
Design - Don Schlitten

Liner Notes - Joe Goldberg

Note:

J.C. Heard not listed on album cover.

This rip from Re-Issue Stereo LP released in 1972.

Ray Bryant - MCMLXX (1970)

 Despite some commercial tendencies, this 1970 LP (not yet reissued on CD) is better than it looks. Pianist Ray Bryant uplifts such pop material as "Let It Be," "Bridge Over Troubled Waters," "Hey Jude," and "Spinning Wheel." Four selections find Bryant's trio (with electric bassist Chuck Rainey and drummer Jimmy Johnson) augmented by either horns (on "Let It Be") or by strings effectively arranged by Eumir Deodata. The colorful results are not essential but are less dated than one might think. ~ by Scott Yanow, AMG.

Timeless

=======

Long overdue, this is the album that propelled Ray Bryant onto the jazz radio charts for weeks (if not months) in 1971, by virtue of the remarkable interpretation of "Unchained Melody". Considering the popularity of the album, and the airplay, it is puzzling that this album has not been reissued before now (as the album title suggests, original -- and only previous -- release was 1970). Recommended to Ray Bryant fans and to piano jazz lovers equally. ~ Geezosaur, Amazon.com.

Atlantic Records, SD 1564, 1970

Rhino Records, WPCR-27092, 2012

Recorded At Atlantic Recording Studios, New York, NY

Musicians:

Ray Bryant - Piano

Joe Newman - Trumpet (#2)

Garnett Brown - Trombone (#2)

George Dorsey - Alto Saxophone (#2)

Joe Gentle - Tenor Saxophone (#1,3,4)

King Curtis - Tenor Saxophone (#2)

Pepper Adams - Baritone Saxophone (#2)

Leon Cohen - Bass Clarinet (#1,3,4)

Ron Carter - Acoustic Bass (#1,3,4)

Chuck Rainey - Electric Bass

Charles McCracken - Cello (#1,3,4)

Jimmy Johnson - Drums

Emanuel Green, Gene Orloff, Joseph Malignaggi, Julien Barber, Matthew Raimondi,

Noel Dacosta, Paul Gershman, Selwart Clarke, Winston Collymore - Violin (#1,3,4)

Arranger - Arif Mardin (#A2), Eumir Deodato (#1,3,4)

Tracks:

1. Stick With It {Ray Bryant} (5:54)

2. Let It Be {John Lennon, Paul McCartney} (4:02)

3. Bridge Over Troubled Water {Paul Simon, Art Garfunkel} (3:18)

4. Hey Jude {John Lennon, Paul McCartney} (4:53)

5. Shake-A-Lady {Ray Bryant} (2:40)

6. Unchained Melody {Alex North, Hy Zaret} (4:48)

7. My Cherie Amour {Henry Cosby, Sylvia Moy, Stevie Wonder} (4:59)

8. Spinning Wheel {David Clayton-Thomas} (3:39)

Credits:

Producer - Joel Dorn

Recording Engineer - Gene Paul

Recording & Re-Mix Engineer - Lewis Hahn

Photography - Joel Brodsky

Cover, Design - Haig Adishian

Total Time: 34:13

Lee Konitz & Mario Rusca - Where's The Blues? (1997)

Here we have another fine example of Mario Rusca and his trio in action. This time having Lee Konitz at the helm is truly inspirational for both maestros. Lee plays alto throughout except on three tunes; two involve just the Mario Rusca Trio and another a piece for solo piano. The trio consists of a different bassist Lucio Terzano but the same drummer Tony Arco as heard on “Tony Scott with Mario Rusca Trio - The Old Lion Roars” the previous year. Lee’s tone matches perfectly the scintillating chords of Mario’s piano musings. Both artists are clearly in control and virtuosos in their own right. The majority of the selection are jazz standards with Mario contributing two and lee one of his own. Overall, there are no dull spots within this session, if anything this album will continue to entertain jazz lovers for many years to come, enjoy!

Giants Of Jazz, CD 53303, 1997

Recorded 3^rd March, 1997 At Mondial Sound, Milano, Italy

Musicians:

Lee Konitz - Alto Saxophone (#1-3,5-7,10)

Mario Rusca - Piano, Solo (#9)

Lucio Terzano - Bass (#1-8,10)

Tony Arco - Drums (#1-8,10)

Tracks:

01. Where's The Blues? {Mario Rusca} (5:30)

02. Beautiful Love {Haven Gillespie, Victor Young} (5:35)

03. Thingin' {Lee Konitz} (7:39)

04. Summertime {George Gershwin} (4:46)

05. To Lee Or Not To Lee {Mario Rusca} (10:27)

06. On Green Dolphin Street {Bronislaw Kaper, Ned Washington} (6:37)

07. Autumn Leaves {Jacques Prévert, Joseph Kosma} (7:33)

08. Anthropology {Charlie Parker, Dizzy Gillespie} (4:39)

09. Have You Met Miss Jones? {Richard Rodgers, Lorenz Hart} (5:35)

10. I Should Care {Axel Stordahl, Paul Weston, Sammy Cahn} (6:06)

Credits:

Engineer - Walter Biondi

Photography - Boris Vom Scheidt, Luca A. D'Agostino, Renato Renzini

Photography, Graphics - Marco Cambieri

Total Time: 64:27

Tony Scott with Mario Rusca Trio - The Old Lion Roars (1996)

Tony Scott on his 75^th birthday joins up with the Mario Rusca Trio and sets about re-interpreting a number of very familiar jazz standards as well as a couple of his own tunes; one on which he scats. His expertise on the clarinet is phenomenal and as the album titles suggests 'The Old Lion Roars'. There is no denying that having Mario Rusca on piano does not bolster Tony's virtuosity. Of course, all this wouldn't be achievable if it wasn't due the merits of Rosario Bonaccorso on bass and the brilliant driving force of Tony Arco on drums. Included in the selection are two tunes penned by Mario and played with such finesse, Enjoy!

Giants Of Jazz, CD 53301, 1996

Recorded 24^th, 25^th, 26^th June, 1996 At Mondial Sound, Milan, Italy

Musicians:

Tony Scott - Clarinet, Vocals

Mario Rusca - Piano

Rosario Bonaccorso - Bass

Tony Arco - Drums

Tracks:

01. Blues For Bird {Tony Scott} (5:34)

02. We'll Be Together Again {Carl T. Fischer, Frankie Laine} (7:56)

03. Scott Scat {Tony Scott} (5:57)

04. Smoke Gets In Your Eyes {Jerome Kern, Otto Harbach} (6:13)

05. 'Round Midnight {Thelonious Monk} (8:25)

06. Mood Indigo {Duke Ellington, Barney Bigard, Irving Mills} (5:33)

07. Take Five And More {Mario Rusca} (4:31)

08. Solitude {Duke Ellington, Eddie De Lang, Irving Mills} (6:02)

09. Feel {Mario Rusca} (5:29)

10. Bye Bye Blackbird {Ray Henderson, Mort Dixon} (6:32)

Credits:

Recording Engineer - Walter Biondi

Photo - Orange (TR)

Cover Art - Cinzia Scott

Total Time: 62:12

Mario Rusca Quintet - Recreations In Jazz (1976)

A great un-earthed session never previously released by the great Italian pianist Mario Rusca. He is joined by the impressive saxophonist Larry Nocella and a very dynamic Italian rhythm section and percussionist. All tunes are penned and arranged by Mari Rusca and even though the pieces are quite short by today’s standards, they still give the group enough room to develop some very creative and entertaining jazz, enjoy!

Easy Tempo, ET 937 CD, 2001

Recorded in 1976 At Barigozzi Studio, Milano, Italy

Musicians:

Mario Rusca - Piano, Fender Piano

Larry Nocella - Soprano & Tenor Saxophones

Paolo Tomelleri - Fender Bass

Paolo Pelegatti - Drums

Mauricio Chappetta - Percussion

Tracks:

01. Smiling Harry (5:27)

02. Recreations (2:24)

03. Dynamic (2:21)

04. Black Safari (2:41)

05. Free Impulse (2:44)

06. First Intuition (1:35)

07. Joyette (3:15)

08. Astral Bird (2:54)

09. Intimate Waltz (2:51)

10. Bizarre (2:45)

11. High Street (2:28)

12. Well Balanced Jump (2:29)

All Compositions & Arrangements by Mario Rusca

Total Time: 35:54

Gene Harris - Astral Signal (1974)

A well sought out jazz-funk title from blue note. Although most of this album is Gene on his piano, this album brings out Gene's talent with the ARP and Minimoog Synthesizers. One listen to his cover of sly stone's "Don't Call Me Nigger, Whitey" and you'll become a definite believer! Boy, does this cut blaze a trail of hard driving synth funk! The MiniMoog bass line is all over this one, as Gene fills the top off with some squealy ARP Odyssey/Pro soloist overlays. A killer funk ride classic. Then there's "Losalamitoslatinfunklovesong", a buttery smooth, slow grinding funk love jam that will get your juices flowing on the dance floor! The Moog bass kicks up and down, and side to side, while the high synth notes make love to the listeners ear. Great synth playing all around from gene and good background vocals from the session players, too. Also check out the eerie, spacey prelude at the start of the album, it's a sonic statement! ~ fonkay, RYM.

Blue Note, BN-LA313-G, 1974

Blue Note/EMI, TOCJ-50511, 2012

Recorded 13^th August, 1974 At The Village Recorder, Los Angeles, California

Personnel:

Gene Harris - Keyboards, Vocals (#B2), Arranger (#7)

Keg Johnson - Trombone, Background Vocals

George Bohanon - Trombone

Oscar Brashear - Trumpet

Sidney Muldrow - French Horn

Ernie Watts - Reeds

Jerry Peters - Keyboards, Background Vocals

John Rowin - Guitar

David T. Walker - Guitar

Chuck Rainey - Electric Bass

Harvey Mason - Drums, Arranger (#11)

Jim Shifflett - Unknown Instrument

Vocalists:

Annesther

Julia (Tillman) Waters

Luther Waters

Lynn Mack

Maxine (Johnson) Waters

Oren Waters

Trisha Chamberlain

Tracks:

01. Prelude {Gene Harris} (1:41)

02. Summer [The First Time] {Bobby Goldsboro} (3:21)

03. Rebato Summer {Jerry Peters} (0:35)

04. I Remember Summer {Jerry Peters} (2:03)

05. Don't Call Me Nigger, Whitey {Sylvester Stewart} (3:44)

06. Losalamitoslatinfunklovesong {Jerry Peters} (3:10)

07. My Roots {Arr. Gene Harris, J.K. Abernathy} (4:20)

08. Green River {John Fogerty} (3:05)

09. Beginnings {Robert Lamm} (5:54)

10. Feeling You, Feeling Me Too! {Alex Brown, Monk Higgins} (1:59)

11. Higga-Boom {Arr. Harvey Mason, Jerry Peters, Harvey Mason} (6:00)

12. Love Talkin' {Jerry Peters} (4:49)

Credits:

Producer, Recording, Mixing, Mastering Engineer - Jim Shifflett

Producer - Jerry Peters, Keg Johnson

Executive-Producer - George Butler

Recording Engineer - Gilmar Fortis

Mastering Engineer - Bill Lazerus

Production Assistance - Harvey Mason, John Rowin, Charlotte Politte

Art Direction, Cover Illustration - Bob Cato

Photography - Kenny Dorr

This album is a magical balance between psychedelic laid back california inspired acid jazz sounds scapes and the greasy soul of a mid-century (last century) juke joint. A pastiche of professional music with heart and creativity. No other album on blue note or by Harris sounds like this. A fine artistic statement by Harris who seemed to be at his peak in the mid-70s. ~ freqazoidiac, RYM.

Total Time: 40:41

Kevin Hays Trio - North (2016)

The New Day Trio is Kevin Hays on acoustic piano, Rob Jost on bass and Greg Joseph on drums. North is their follow-up to last year’s New Day, but Hays lays off the vocals this time around and keeps guest artists at bay. It’s thus the first purely instrumental expression of this still-new lineup, and the project on which they find their footing.

Hays has been making records using various configurations for over two decades, but the trio format works especially well for him. He displays an intrepid spirit and a strong sense of harmonic and rhythmic initiative that is sometimes dulled when he brings others into the mix. Here, on a 10-track set-seven originals and three covers-he sticks to the basics, intent on avoiding repetition of mood, even if that means drastic juxtapositions. An opening take of Bird’s “Scrapple From the Apple” is attacked from a place where velocity and ferocity rule; “Elegia,” which follows, is tamer but no less edgy. Track three, “Violetta,” is sprightly yet august, while “Schumann’s Chamisso” draws on Hays’ love for the classics. There are times when one might question whether the same three musicians could have cut all of these tunes-which they did in a single day, incidentally-were it not for the telepathic rapport they so obviously share.

The album’s title is Hays’ nod of respect both to Harlem (which is, after all, in northern Manhattan) and his prior residence in upstate New York. It starts off feeling like the latter, serene and open; then an undercurrent of groove arrives that suggests the former. That Hays, Jost and Joseph instinctually understand the correlations and how to get from one to the other so seamlessly is why their union is such a welcome one. ~ By Jeff Tamarkin, JazzTimes.

Sunnyside Communications, SSC 1464, 2016

Recorded 29^th January, 2016 At Acoustic Recording, Brooklyn, New York

Musicians:

Kevin Hays - Piano

Rob Jost - Bass, Ukulele

Greg Joseph - Drums

Tracks:

01. Scrapple From The Apple {Charlie Parker} (3:56)

02. Elegia {Kevin Hays} (7:49)

03. Violetta {Kevin Hays} (6:50)

04. Schumann's Chamisso {Kevin Hays} (7:32)

05. Sweet Caroline {Kevin Hays} (5:47)

06. Where Did You Sleep {Leadbelly} (6:24)

07. All Things Are {Kevin Hays} (5:38)

08. North {Kevin Hays} (5:50)

09. I'll Remember April {Don Raye, Gene De Paul} (7:46)

10. Morning {Kevin Hays} (4:44)

Credits:

Producer, Photography - Kevin Hays

Engineer - Michael Brorby

Mixing, Mastering - Katsuhiho Naito

Graphic Design - Christopher Drukker

Total Time: 62:16

Michel Petrucciani - Promenade With Duke (1993)

In an interview, Michel Petrucciani said "...my biggest inspiration is Duke Ellington, because in my very early age he gave [me] the inspiration to play the piano." For Promenade with Duke Petrucciani not only honors music Ellington composed, but music with which he was associated. There are some Billy Strayhorn pieces and other songs where Ellington's compositional contributions are arguably marginal. That the album offers an adventure in harmony is predicted by the first cut, "Caravan." Stretching over seven minutes in length, it explores, in-depth, virtually every nuance of this 1936 hit which Ellington wrote with trombonist Juan Tizol. Bold approaches to harmonies notwithstanding, Petrucciani does not desert his basic let-it-all-hang-out romanticism which he celebrates on "Lush Life." He emphasizes feelings of sentimentality in his rendition of "In a Sentimental Mood." His interpretation is brooding and introspective, but every now and then some bright chords hold out the hope that the somber climate may be passing. Petrucciani is a master at clarifying the mood he is trying to create with his piano. Not all the music on the album is familiar Ellington, as shown in the presence of two rarely performed pieces, "Hidden Joy" and "One Night in the Hotel." It is on the well-known "Take the 'A' Train," however, that Petrucciani expresses best the joy he experiences with Ellington's music and the influence it has had on him. His is a rousing, twisting rendition of the Duke's signature tune. Promenade with Duke is one of the more innovative and stimulating sets of solo piano performances of Ellington's music on disc. ~ by Dave Nathan, AMG.

Blue Note, CDP 0777 7 80590 28, 1993

Recorded at Power Station, New York

Michel Petrucciani - Piano [Steinway]

Tracks:

1. Caravan {Duke Ellington, Irving Mills, Juan Tizol} (7:51)

2. Lush Life {Billy Strayhorn} (3:48)

3. Take The "A" Train {Billy Strayhorn} (3:01)

4. African Flower {Duke Ellington} (4:40)

5. In A Sentimental Mood {Duke Ellington, Irving Mills, Manny Kurtz} (6:01)

6. Hidden Joy {Michel Petrucciani} (8:03)

7. One Night In The Hotel {Michel Petrucciani} (5:39)

8. Satin Doll {Billy Strayhorn, Duke Ellington, Johnny Mercer} (7:11)

9. C-Jam Blues {Duke Ellington} (1:52)

Credits:

Producer - Gilles Avinzac

Producer, Mixing - Michel Petrucciani

Executive Producer - Eric Kressmann

Sound & Mixing Engineer - Roger Roche

Assistant Sound Engineer - Chris Albert

Mastering Engineer - Jose Rodriguez [Sterling Sound, NYC]

Art Direction - Cynthia Cochrane, Felix Cromey

Design - Patrick Roques

Total Time: 48:06

Must Have CD for Any Jazz Piano Enthusiast

=================================

I am a jazz pianist myself and think that this is some of the most superb piano playing I have ever heard. It is highly recommended - showing incredible imagination, musical sophistication, technique and most importantly beautiful emotion. A must have addition to any collection. ~ Edward N. Page, Amazon.com.

Rodney Whitaker - Winter Moon (2002)

Winter Moon (Sirocco), bassist Rodney Whitaker's fifth album as a leader, focuses on his current quartet, eschewing guest artists and highlighting either his compositions or those from his band: pianist Eric Reed, saxophonist Ron Blake and drummer Carl Allen. It is an excellently engineered, well-played date, bolstered by three fine lengthy pieces (and several shorter ones that are no less intriguing). Heading the list is "Fall," a tune taken at such a slow tempo it could be a lament except for Blake’s boisterous, bawdy solo, which transforms it into an enticing exercise. Whitaker's walking bass and Allen's carefully paced drumming are balanced by Reed's precise piano solo. The number charms, beckons and delights before reaching a fitting conclusion. The same is true for "Coming Ship," which includes another strong solo from Blake and wonderful accompaniment by Whitaker and Allen.

Reed can be dashing or sedate, play soulful blues or a surging bop line, but he's at his best on such numbers as "Spring Birth," "Winter Moon" and "John Lewis," a great testament to a venerable jazz figure. His composition "Beauty and the Beast" wraps the album with a joyful, exuberant number that also features a bright, decisive solo from Blake and more outstanding assistance from Whitaker and Allen. Winter Moon is one of the better mainstream albums that's come my way in a while. ~ Ron Wynn, JazzTimes, 1^st January, 2005.

Sirocco Jazz Ltd., SJL 1026, 2004

Recorded September, 2002 At Systems Two Recording Studios, Brooklyn, New York

Musicians:

Rodney Whitaker - Acoustic Bass

Ron Blake - Tenor Saxophone, Soprano Saxophone

Eric Reed - Piano

Carl Allen - Drums

Tracks:

1. For Garrison {Rodney Whitaker} (3:55)

2. Fall {Rodney Whitaker} (8:22)

3. Sacrifice {Carl Allen} (6:01)

4. Coming Ship {Rodney Whitaker} (8:22)

5. Spring Birth {Rodney Whitaker} (4:22)

6. Avocado {Ron Blake} (6:46)

7. John Lewis {Rodney Whitaker} (8:42)

8. Winter Moon {Rodney Whitaker} (7:09)

9. Beauty And The Beast {Eric Reed} (6:13)

Credits:

Producer - Rodney Whitaker

Executive Producer, Producer - John Priestley

Engineer, Mastering - Michael Marciano

Total Time: 59:52

George Colligan's Mad Science - Realization (2005)

George Colligan seems to have all the ingredients for a funky good time on his Mad Science trio’s new disc Realization: his trusty Hammond B3 organ, augmented by various synths and samples; guitarist Tom Guarna and drummer Rodney Holmes, both veterans of combining funk and jazz; nine Colligan originals written for the trio; and a band name that indicates that he’s up to something wacky. The problem lies in those nine originals-most of them don’t have melodies memorable enough to make a listener want to follow them as they are transformed through the standard head-solos-head format.

The title “Human Need” overstates the case for a wanly wistful theme, “Snidely Whiplash” begins with a promising snarl but spools on too long in a way no Dudley Do-Right cartoon ever would and the predictable lurches of “Reminder” make its melody more nagging than evocative. Mad Science fares better the funkier it gets, with the sticky groove of “Goblet of Rock” providing some traction and the headlong rush of “Oblivion” making its melodic material work by not paying much attention to it. ~ Andrew Lindemann Malone, JazzTimes.

Sirocco Jazz Ltd., SJL 1030, 2005

Recorded September, 2004 At Astoria Soundworks, New York, NY

Musicians:

George Colligan - Electric Organ [Hammond B-3], Synthesizer

Tom Guarna - Guitar

Rodney Holmes - Drums

Tracks:

01. Grounded {George Colligan} (6:36)

02. Snidely Whiplash {George Colligan} (6:36)

03. Realization {George Colligan} (5:47)

04. Oblivion {George Colligan} (5:39)

05. Blue Box {Tom Guarna} (0:48)

06. Human Need {George Colligan} (7:07)

07. Utopian Struggle {George Colligan} (7:09)

08. Muse {George Colligan} (2:13)

09. Reminder {George Colligan} (4:51)

10. Goblet Of Rock {George Colligan} (7:11)

11. Stockholm Street Breakdown {Rodney Holmes} (1:51)

Credits:

Producer - George Colligan

Assistant Producer - Tom Guarna, Rodney Holmes

Executive Producer - John Priestley

Recording Engineer - Tim Moes

Mixing & Mastering Engineer - Kamilo Kratc

Studio Supervisor - Sal Amato

Photography [Band] - Jerry Ciotola

Cover Artwork [Grey Fox] - Liza Phoenix

Total Time: 55:48

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 24^th October-26^th 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

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 18^th (#2,3,6) & 19^th (#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.

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 21^st-22^nd 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

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

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 15^th, 17^th & 18^th 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

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 29^th & 30^th 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