Thom Rotella - A Day In The Life (2002)

Thom Rotella is a guitarist with a fluid, Wes Montgomery-influenced sound, and 'A Day In The Life' is a collection of light yet very engaging smooth-jazz tunes. Rotella opens the album with the title track, a gently grooving rendition of the Beatles classic. Rather than perform a paint-by-numbers version like many other smooth-jazz artists, he chooses to put his own stamp on it by establishing the familiar melody and then getting creative with it. On the dramatic "Baka," Rotella's rhythmic playing is set over tribal percussion, and the lively funk tune "A Different Story" features bouncy piano by keyboardist Roger Smith. Rotella's graceful acoustic-guitar work and Steve Madaio's muted trumpet set the mood on the dusky ballad "Candlelight," and Rotella's solo acoustic guitar showcase, "Day Song," is a bright, catchy delight. This isn't the most memorable collection of melodies you'll hear this year, but 'A Day In The Life' is a very enjoyable, if a bit evanescent, recording. ~ Lucy Tauss, JazzTimes.com. 

Trippin' N Rhythm, 64494-90512-2, 2002 

Musicians:
Thom Rotella - Acoustic & Electric Guitars, Keyboards, Synthesizer, Drum Programming
Bill Churchville - Trumpet [Muted]
Steve Madaio - Horn, Trumpet, Trumpet [Muted]
Tom Saviano - Tenor Saxophone, Horn
Nick Lane - Horn
Bill Champlin - Organ
Jim Studer - Keyboards, Synthesizer, Synthesizer Arrangements
Brad Cole - Drum & Keyboard Programming, Keyboards, String Arrangements
Roger Smith - Keyboards
Randy Tico, Stan Sargeant, Vail Johnson - Bass
Tom Walsh, Land Richards - Drums
Chris Rhyne, Julian Bunetta - Drum Programming, Keyboards, Synthesizer
Arno Lucas, Michael Fisher - Percussion 

Tracks:
01. A Day In The Life {John Lennon, Paul McCartney} (3:51)
02. All B Cause Of You {Thom Rotella} (4:22)
03. Look But Don't Touch {Thom Rotella, Tom Saviano} (3:42)
04. K.I.G. Vamp {Thom Rotella, Tom Saviano} (0:28)
05. Candlelight {Thom Rotella} (4:29)
06. A Different Story {Thom Rotella, Tom Saviano} (3:53)
07. Only 4 One Moment {Thom Rotella} (4:25)
08. Keep It Goin' {Thom Rotella, Tom Saviano} (5:07)
09. Baka {Thom Rotella} (4:20)
10. The Little Things {Thom Rotella} (4:30)
11. All 4 You {Thom Rotella, Tom Saviano} (4:14)
12. As The Night {Thom Rotella} (4:29)
13. Day Song {Thom Rotella} (3:18)
14. The Beginning {Thom Rotella} (1:05) 

Total Time: 52:13 

Credits:
Producer - Thom Rotella, Synthesizer Arrangements
Producer - Tom Saviano, Horn & Synthesizer Arrangements
Producer (#10) - Julian and Peter Bunetta
Engineer - Mark Lindenberg
Mixing - Matt Hyde
Mastering - Bernie Becker
Cover Photo - Kelvin Jones
Design - Barbara Cooper

Mike Nock Almanac, 1967

Mike Nock - Almanac (24/48 vinyl rip)
Improvisational Artists 1967

1) Specific Gravity One
2) Symbiosis
3) Emovations
4) Almanac
5) Hallucinogen
6) Double Split
7) J.C. Dudley

Mike Nock Piano, Cecil McBee bass, Bennie Maupin tenor sax, flutes, Eddie Marshall drums

If there is an earlier Mike Nock album, I am unaware of it. Even here this was a Band that used the name Almanac, so this may be better described as their eponymous first album rather than Mike's first as a leader. My first exposure to Nock was with Yusef Lateef and Cannonball Adderley and then the magnificent Fourth Way. This album slides right in between, on the eve of the Fourth Way, it was likely the only record on Improvisational Artists that wasn't free jazz.

The record is a modal magic carpet ride, an album boldly pointing the way to the new music of the 70's....three years earlier. The core of Nock, Cecil and Eddie is nothing short of breathtaking, As remarkable and sensitive a three-way conversation as you will ever hear. They clearly inspire young Bennie Maupin to some of his best pre-Mwandishi sextet work on record. All of the album is original and memorable music. This stuff is still fresh and exciting even 46 years later, don't miss it. 
 

Tony Fruscella - On Stage In New York (1953-59)

The music contained within this digital download is a compilation of tracks gleaned predominantly from a number of recorded sessions in New York by Tony Fruscella with the final two from a date in New Jersey. Essentially, very few recordings of this lyrical but tragic trumpeter exist and this collection is a great place to start to appreciate his expertise. Overall, this collection is an inspiring insight into one of America’s great lost trumpeters, enjoy! 

The Jazz Factory, 1999
Recorded 3rd August, 1959 (#1);
23rd January, 1955 (#2) at Birdland, New York City;
mid 1953 (#3,5-9) at The Open Door Club, Greenwich Village, New York City;
7th November, 1955 (#4) at Pithyan Temple, New York City;
November, 1959 (#10,11) at Ridgewood High School, New Jersey 

Personnel: 

#1:
Tony Fruscella - Trumpet
Bill Keck - Guitar
3rd August, 1955 or 1959 

#2:
Tony Fruscella - Trumpet
Stan Getz - Tenor Saxophone
Johnny Williams - Piano
Bill Anthony - Bass
Frank Isola - Drums
23rd January, 1955 at Birdland, New York City 

#3,5-9:
Tony Fruscella - Trumpet
Bill Triglia - Piano
Teddy Kotick - Bass
Art Mardigan - Drumsmid 1953 at The Open Door Club, Greenwich Village, New York City 

#4:
Tony Fruscella - Trumpet
Hank Jones - Piano
Wendell Marshall - Bass
Shadow Wilson - Drums
7th November, 1955 at Pithyan Temple, New York City 

#10,11:
Tony Fruscella - Trumpet
Stan Getz - Alto Saxophone
Bill Triglia - Piano
Bill Keck - Guitar
Paul Chambers - Bass
Roy Hall - Drums
November, 1955 or 1959 at Ridgewood High School, New Jersey 

Tracks:
01. Lover Man {Jimmy Davis, Roger "Ram" Ramirez, Jimmy Sherman} (3:27)
02. Pernod {Stan Getz} (4:38)
03. Imagination {Johnny Burke, Jimmy Van Heusen} (5:31)
04. Tony's Blues {Tony Fruscella} (5:13)
05. Donna {Jackie McLean} (5:18)
06. A Night In Tunisia {Dizzy Gillespie, Frank Paparelli} (8:35)
07. Bernie's Tune {Bernard Miller, Jerry Lieber, Mike Stoller} (8:58)
08. Sometimes I'm Happy {Vincent Youmans, Irving Caesar} (9:34)
09. Hachensack {Thelonious Monk} (10:19)
10. Night Train {Jimmy Forrest, Lewis Simpkins, Oscar Washington} (11:24)
11. Scrapple From The Apple {Charlie Parker} (13:12) 

Total Time: 01:26:09

Houston Person - Naturally (2012)

Active on the scene for decades, 78-year-old tenor saxophonist Houston Person still seems to be a discovery for some. Both newcomers to his music and longtime fans will no doubt enjoy this latest recording featuring a formidable group: veteran pianist Cedar Walton (with whom Person first collaborated in the 1960s), bassist Ray Drummond and drummer Lewis Nash. Person showcases his warm, enveloping tone and big sound, steeped in bop, blues and the Great American Songbook, on a set of beloved tunes, some still relatively unexplored. Opening is Milt Jackson’s “Bags’ Groove,” where Walton takes the first solo, laidback yet abounding with spirit and sentiment; Person stretches out in luxurious fashion while Drummond and Nash contribute their own groove-enhancing statements. One of three ballads in the program, “My Foolish Heart” illustrates Person’s fundamental approach to his horn, eloquently expressing heartfelt emotion in much the same way a vocalist might. Nash’s swinging brushwork shines on the sumptuous “That’s All” and “How Little We Know,” and Walton shimmers on “Red Sails in the Sunset.” The Ellington/Hodges gem “It Shouldn’t Happen to a Dream,” largely unrecorded since the 1950s, is revived in grand style, with poignant solos by Person and Walton, as Nash and Brown sustain taut yet fluid movement. Recorded at the legendary Van Gelder Studio, this throwback album is nonetheless fresh and imaginative. Aptly titled, it’s a relaxed, compelling set on which Person and his bandmates demonstrate unaffected dexterity, swing and soul. ~ Sharonne Cohen, JazzTimes. 

HighNote Records, HCD 7245, 2012
Recorded 5th July, 2012 At Van Gelder Recording Studio, Englewood Cliffs, New Jersey 

Musicians:
Houston Person - Tenor Saxophone
Cedar Walton - Piano
Ray Drummond - Bass
Lewis Nash - Drums 

Tracks:
1. Bag's Groove {Milt Jackson} (7:09)
2. That's All {Bob Haymes} (5:52)
3. [How Little It Matters] How Little We Know {Phil Springer, Carolyn Leigh} (4:30)
4. Namely You {Gene DePaul, Johnny Mercer} (6:53)
5. My Foolish Heart {Victor Young, Ned Washington} (6:34)
6. Red Sails In The Sunset {Wilhelm Grosz, Jimmy Kennedy} (4:25)
7. Don' Cha Go 'Way Mad {Illinois Jacquet, Jimmy Mundy, Al Stillman} (5:38)
8. It Shouldn't Happen To A Dream {Duke Ellington, Johnny Hodges, Don George} (5:54)
9. Sunday {Jule Styne, Chester Conn, Bennie Krueger, Ned Miller} (5:24) 

Total Time: 52:18

Credits:
Producer - Houston Person
Executive Producer - Joe Fields
Engineer, Mixing, Mastering - Rudy van Gelder
Assistant Engineer - Maureen Sickler
Photography - Alan Nahigian
Design - Brad Wrolstad
Liner Notes - David Jaye

Eddie "Lockjaw" Davis with Shirley Scott - Smokin' (1958) [re-rip]

Tenor saxophonist Eddie "Lockjaw" Davis recorded enough material over these two sessions to fill up four records. The seven selections included on this album were recorded during the same period as Davis's better-known Cookbook albums. The album includes: Jerome Richardson swapping between baritone, flute and tenor on three of the tunes; bassist George Duvivier; drummer Arthur Edgehill and of course the 'Queen of the Organ' Shirley Scott. As a group the players swing hard covering some solid originals by both Eddie and Shirley, some blues and an occasional ballad. It is not hard to see why this Eddie "Lockjaw" Davis band was very popular in its time being such a powerful and accessible band even today's mixed jazz world. A definite classic of this genre. ~ Extract by Scott Yanow, AMG. 

Prestige Records, PRST 7301, 1963
Recorded on 12th September (#A3,B1,B3,B4)
& 5th December, 1958 (#A1,A2,B2) Hackensack, New Jersey 

Musicians:
Eddie "Lockjaw" Davis - Tenor Saxophone
Jerome Richardson - Baritone Sax (#A1), Flute (#A2), Tenor Sax (#B2)
Shirley Scott - Organ
George Duvivier - Bass
Arthur Edgehill - Drums 

Tracks:
A1. High Fly {Randy Weston} (6:14)
A2. Smoke This {Eddie "Lockjaw" Davis, Shirley Scott} (6:05)
A3. Pennies From Heaven {Johnny Burke, Arthur Johnston} (5:14)
B1. Pots And Pans {Eddie "Lockjaw" Davis, Shirley Scott} (3:27)
B2. Jaws {Eddie "Lockjaw" Davis, Shirley Scott} (5:28)
B3. It's A Blue World {George Forrest, Robert C. Wright} (5:01)
B4. Blue Lou {Irving Mills, Edgar Sampson} (3:39) 

Total Time: 35:08 

Credits:
Supervision - Esmond Edwards
Recording Engineer - Rudy van Gelder
Cover Design, Photo - Don Schlitten
Liner Notes - John D. Monroe (November 1963)

If you enjoy this great LP don’t forget to check the previous post:
Eddie "Lockjaw" Davis with Shirley Scott - Misty (1963)

Richie Cole with Phil Woods - Side By Side

 

AllMusic Review by Scott Yanow

This set features a very logical matchup. Richie Cole's main influence has long been Phil Woods, so these concert performances pitting the two altoists together have plenty of fire and extroverted improvisations. With pianist John Hicks, bassist Walter Booker and drummer Jimmy Cobb backing the soloists, Woods and Cole really push each other on "Scrapple from the Apple," "Donna Lee" and "Side by Side." Tenor-great Eddie "Lockjaw" Davis sits in on "Save Your Love for Me," the younger altoist has "Polka Dots and Moonbeams" to himself and Cole and Woods have fun on a brief free-form "Naugahyde Reality." It's a generally high-powered and enjoyable set.

Richie Cole with Phil Woods – Side By Side
Muse Records MR 5237 Vinyl LP, US 1981

A1 Save Your Love for Me
A2,3 Naugahyde Reality/Scrapple from the Apple
B1 Donna Lee
B2 Polka Dots and Moonbeams
B3 Eddie's Mood/Side by Side

(A2 & A3 play as one track)

Richie Cole & Phil Woods alto sax, Walter Booker bass, Jimmy Cobb drums, Eddie Davis tenor sax, John Hicks piano

Recorded at The Historic Paramount Theater, Denver, Co July 25th & 26th, 1980

"The father/son quality of this good double-alto sax recording is right on the surface. Richie Cole owes some of his sound to Phil Woods, and both owe some of their most distinctive features to Charlie Parker. There`s a bit of rivalry here, too. The younger alto player, Cole, asserts himself so strongly that it is as if he is trying to raise the questions of who is influencing whom. But it is all in the family, and the ultimate effect of their sharing the stage in this reissue of a 1980 date is energy and affection." 

May 12, 1991|By Jack Fuller.

Booker Ervin - Lament For Booker Ervin (vinyl rip)

Also a repost of a 2014 rip 

"At an overbooked all-star saxophone concert held in 1965 Berlin, the musicians were supposed to only play for 15 minutes. Tenor saxophonist Booker Ervin protested against the restrictive situation by performing the intense and stirring "Blues for You" for 27½-minutes, tearing down the house. A decade later (after Ervin's 1970 death) the performance (with pianist Kenny Drew, bassist Neils Pedersen and drummer Alan Dawson) was released for the first time and its passion was worth waiting for. Also on this historic album is pianist Horace Parlan's somber solo tribute to Ervin ("Lament for Booker") which was recorded in 1975." AMG

The first rip on my new Pro-Ject carbon turntable!

Miroslav Vitous - Purple (1970) [vinyl]

An interesting early fusion mélange, very open settings, Vitous overdubbing electric, or even electric piano, everybody leaves a lot of space in the music for the others, like a Bitches Brew stripped down to the very essence. The complete line-up is only on part of the album. It is totally different from his US debut Infinite Search, which is powerplay, in comparison - Purple is not exactly restrained or thoughtful, but takes its time much more. Somewhere in between In a Silent Way and the first Weather Report. On side one, Zawinul on Rhodes, Vitous on acoustic and Cobham play the title track, which is a rocky Vitous original (some bowed bass solo overdubbed), and Ron Carter's Mood. I like Zawinul better here than on any other album, I must admit. Side two starts with McLaughlin, Vitous on electric bass and piano (overdubbed), and Cobham doing Water Lilie, which could have made it to Weather Report's first LP as far as the mood is concerned; Shorter's Dolores with just Vitous and Cobham, two basses, arco overdubbed, similar to Mountain in the Clouds from Infinite Search; and Vitous' It Came From Nowhere, an experimental rockish track with Vitous and Cobham, both oberdubbing electric piano and a second drumset. ~ mikeweil, organissimo.org. 

CBS/Sony Records, SOPC 57101-J, 1970
Recorded 25th August, 1970 At Apostolic Studio, New York City 

Musicians:
Miroslav Vitous - Bass, Electric Piano (#B1,B3)
Joe Zawinul - Electric Piano (#A1,A2)
John McLaughlin - Guitar (#B1)
Billy Cobham - Drums

Tracks:
A1. Purple {Miroslav Vitous} (9:33)
A2. Mood {Ron Carter} (7:25)
B1. Water Lilie {Miroslav Vitous} (8:52)
B2. Dolores {Wayne Shorter} (4:09)
B3. It Came From Knowhere {Miroslav Vitous} (5:11) 

Total Time: 35:10 

Credits:
Producer - Miroslav Vitous
Engineer - David Baker
Photography - Yuzoh Satoh 

"I made that album after Infinite Search. I was working with David Baker, the engineer, and was experimenting with different musicians and material. I had Billy Cobham, John McLaughlin and Joe Zawinul there. They experimented with me. After six months, I thought I had enough material and put together an album. I think there is some excellent music on it. Purple was made before Weather Report started, but you can already hear some material that we later played with the band. There’s a song called "Water Lily," which has an identical skeleton to a piece we recorded with Weather Report called "Morning Lake." There’s another Weather Report piece called "Seventh Arrow" that was also on Purple. There was a development of the material on Purple that ended up in Weather Report. It was a stepping stone." ~ Extract by Miroslav Vitous, innerviews.org.

Donald Harrison Jr - "3D" Vol. 1 (2006)

3D, Vol. 1 is a synthesis of Smooth Jazz, R&B, and Funk that you can use when you want to chill or get up and dance. You call that the perfect mix. Donald Harrison wrote and produced most of the music on this project. In fact, on "Chillin' At The Penthouse" he played every instrument. His unique synthesis will take you on a relaxing soulful journey. Bio Donald Harrison, 3D: Volume One (FOMP Records) Early in is multi-faceted career, when Donald Harrison was holding down the saxophone chair in the top-notch touring band of Lena Horne, the veteran star of stage and screen gave her young accompanist the nickname "Cool Breeze." Several years later, Harrison recorded a "smooth jazz" classic on the CTI record label called The Power of Cool that earned him high accolades and a considerable amount of play time on contemporary adult radio all around the country. Now the "cool" side of Donald Harrison is back with a high-powered synthesis of jazz intonations, R&B syncopations, and a solid funk feeling you can't possibly miss. Blowing like a strong Gulf Coast breeze, the New Orleans born-and-bred saxophonist sails his majestic sound over sunset waters swelled by contributions from a multitude of friends and musical collaborators, including salsa maestro Eddie Palmieri, trumpet sensation Chris Botti, and smooth-jazz guitarist and in-demand producer Chuck Loeb, among many others. Begun pre-Katrina, 3D: Volume One was completed in studios all around the country with the much-appreciated support of musicians, studios, friends, and family. It's journey to fruition marks a genuine triumph of the human spirit. And its music is a perfect blend of mellow sounds and percolating beats, setting the stage for a little "Soul to Soul" dancing or maybe just some "Chillin' at the Penthouse." Either way, this "cool breeze" of contemporary adult jazz is guaranteed to take you on a soulful and relaxing journey ... So, settle back, and enjoy! ~ DeepDiscount.com. 

FOMP Records, 000013, 2006 

Musicians:
Donald Harrison Jr - Saxophone
Chris Botti - Trumpet
Brian Lynch - Trumpet (#8)
Daryl Levigne - Piano (#2,4,10)
Eddie Palmieri - Piano (#8)
Chuck Loeb - Guitar (#1)
John Bagnado - Guitar (#2,4,5,10)
Marc Pero - Guitar (#2,4,10)
Bill Soley - Guitar (#6)
Eric Slaughter - Guitar (#7)
Darius Harrison - Guitar (#9,11)
Jonathan Lewis - Guitar (#12)
Chris Severin - Bass (#5)
John Benitez - Bass (#8)
Louis Cato - Bass (#12)
Andrew Marsh - Drums (#12)
Michael White - Drums (#1)
Jamal Batiste - Drums (#4,5)
El Negro - Drums (#8)
Giovanni Hidalgo - Percussion (#8)
McKinley "Bug" Williams - Percussion (7,11)
Darius Harrison - Vocals (#2)
Smoke - Vocals (#11)
Denise Hudson - Lead Vocals (#12)
Leoniere Allen - Backing Vocals (#12) 

Tracks:
01. The Magic Touch {Donald Harrison} (5:15)
02. Now Is The Time {Donald Harrison} (4:24)
03. Chillin' At The Penthouse {Donald Harrison} (4:53)
04. All My Love {Donald Harrison} (5:42)
05. Soul To Soul {Donald Harrison} (5:10)
06. A Beautiful Day {Donald Harrison} (4:47)
07. Dream Girl {Donald Harrison} (3:48)
08. Eddie Palmieri {Donald Harrison} (5:34)
09. Step In The Name Of Love {Robert Sylvester Kelly} (4:38)
10. Now Is The Time [Instrumental] {Donald Harrison} (4:23)
11. Rainy Nights {Elmer Overton} (3:15)
12. You Love Me Back {Donald Harrison} (4:54) 

Total Time: 57:22 

Credits:
Producer - Donald Harrison
Producer - Darius Harrison (#9)

Michel Petrucciani - Playground (1991)

Pianist Michel Petrucciani, who during the early part of his career was heavily influenced by Bill Evans, gradually developed his own sound. By 1991 he was using Adam Holzman on synthesizer with his quintet (which on this date also includes bassist Anthony Jackson, drummer Omar Hakim and percussionist Steve Thornton) to play colors behind his piano. In addition, Petrucciani was backed by funky rhythms and emphasized his own original compositions. Rather than selling out to blatant commercialism, Petrucciani had actually found his own voice within the "contemporary" setting. The music on his CD is of consistently high quality (despite a few too many fadeouts). Highlights include "Miles Davis' Licks" (a blues that utilizes some of Davis' late-period nursery rhyme melodies), the intense "Brazilian Suite #3," a playful jam on "Laws of Physics" and the Keith Jarrett-ish "P'tit Louis." Actually, all 11 of Michel Petrucciani's originals are worth hearing and, despite the brief playing time (39 minutes) of this CD, it is recommended. ~ by Scott Yanow, AMG. 

Blue Note, CDP 7 95480 2, 1991
Recorded [Basic tracks and Overdubs] at Clinton Recording Studios, New York 

Musicians:
Michel Petrucciani - Piano [Steinway], Synthesizer, Arranger
Adam Holzman - Synthesizer, Programming [Synthesizer], Co-Arranger
Anthony Jackson - Bass
Omar Hakim - Drums (#1-4,6-9,11)
Aldo Romano - Drums (#5)
Steve Thornton - Percussion 

Tracks:
01. September Second {Michel Petrucciani} (4:45)
02. Home {Michel Petrucciani} (5:29)
03. P'tit Louis {Michel Petrucciani} (4:35)
04. Miles Davis' Licks {Michel Petrucciani} (4:29)
05. Rachid {Michel Petrucciani} (3:26)
06. Brazilian Suite #3 {Michel Petrucciani} (2:34)
07. Play School {Michel Petrucciani} (3:05)
08. Contradictions {Michel Petrucciani} (3:00)
09. Laws Of Physics {Adam Holzman} (4:47)
10. Piango, Pay The Man {Michel Petrucciani} (1:54)
11. Like That {Michel Petrucciani} (1:41) 

Total Time: 39:45 

Credits:
Producer - Eric Kressmann, Michel Petrucciani
Engineer - Tom Swift
Recording [Assistant] - Joe Martin, Neil Dignon
Mixing [Assistant] - David Merrill
Mastering - Jose Rodriques
Photography [Back] - Carol Friedman
Photography [Cover] - John Fenton
Art Direction - Carol Friedman
Design - Patrick Roques

Yusef Lateef Quartet - Live At International Jazz Festival, Montreux (1970)

Here we have Yusef Lateef and his quartet captured live in concert at the Festival International De Jazz held in Montreux in 1970. For this date Yusef Lateef is joined by Barry Harris on piano, Bob Cunningham on bass and Al Heath on drums. Recently it has been featured in a broadcast by Radio Suisse Romande, Espace 2. Lateef was one of the first Jazz musicians to explore Eastern music and fold those influences into his own work. A pivotal and influential musician, Lateef's blending of Eastern and Western sounds made a huge impression on John Coltrane during Coltrane’s free jazz period. In addition to his pioneering work as a musician, the late Dr. Lateef in his later years became a widely respected educator and author, leaving his legacy of music and compositions to the jazz world for future generations to enjoy. (Yusef Lateef born William Emanuel Huddleston; 9th October, 1920 - 23rd December, 2013). 

Radio Suisse Romande, Espace 2 Broadcast
Recorded 20th July, 1970 at the Casino in Montreux, Switzerland 

Musicians:
Yusef Lateef - Tenor Saxophone, Flute, Oboe
Barry Harris - Piano
Bob Cunningham - Bass
Albert "Tootie" Heath - Drums 

Tracks:
1. Yusef’s Mood {Yusef Lateef} (9:52)
2. These Foolish Things {Harry Link, Holt Marvell, Jack Strachey} (8:57)
3. Soul Flute {Yusef Lateef} (6:09)
4. The Road Back {Yusef Lateef} (6:57)
5. Stone Henge {Yusef Lateef} (11:37)
6. Off Minor {Thelonious Monk} (6:07)
7. A Blues {Yusef Lateef} (14:16)
8. Vibration {Yusef Lateef} (8:41) 

Total Time: 72:36

Archie Shepp Quartet - Live In Stuttgart {MKV} (1990)

A recording taken from the 6th International Theaterhaus Jazz Days 1990 held in Stuttgart. A wonderful concert capturing the then Archie Shepp Quartet in action. The broadcast enables the quartet to showcase four great tunes, two Duke Ellington numbers, a Cal Massy piece and one of Shepp’s own tunes; included is a short interview giving some insight to Archie’s philosophy on Jazz and Black Music. He leads his quartet playing both soprano and tenor saxes as well as some singing on “Mama Rose”. He is joined by the fantastic pianist Horace Parlan who sets out some vibrant solos. On bass is Wayne Dockery again like Horace gets a few of opportunities to demonstrate his skills. Last but not least is the energetic drummer Marvin “Smitty” Smith who clearly keeps the rhythm on a roll. The show was released on DVD which I converted to MKV for ease of upload, Enjoy! 

Recorded 14th April, 1990 At "Theaterhaus Jazztage", Stuttgart, Germany 

Musicians:
Archie Shepp - Soprano Sax, Tenor Sax, Vocals
Horace Parlan - Piano
Wayne Dockery - Bass
Marvin "Smitty" Smith - Drums 

Tracks:
1. TV Intro (0:30)
2. I Got It Bad [And That Ain't Good] {Duke Ellington, Ben Webster} (13:10)
3. Mama Rose {Calvin Massey} (11:45)
4. Dedication To Bessie Smith Blues {Archie Shepp} (13:26)
5. Interview with Archie Shepp [German subtitles] (3:22)
6. Sophisticated Lady {Duke Ellington} (10:40) 

Total Time: 55:16 

Notes:
Television Broadcast, 22nd December, 1990
Lineage: SW3 TV Broadcast > DVD > MKV
© Süddeutscher Rundfunk Stuttgart - SDR 1990

The Return of the Royal Pastry (... and eventually some Booker Ervin)

 I am reflecting on my history here in the blog world - I have a landmark event to set in my mind when it started... it was named Katrina - The original Kingcake Crypt would have started about a month prior, had maybe 3 posts, then it took a 6 month nap...that puts us in 2006. It was a solo act for 3 or 4 years and then I got the brilliant idea to invite partners because they could keep things going and growing with or without me. Turns out to be one of my better ideas in life. I grabbed grumpy before he even had his own place, although that was both imminent and inevitable, I just threw out the first invite. Chris came on board not long after and eventually became the rock of this place that he is now - other partners have come and gone and may be back. We got robot infected and 5 years in did a restart to this place which has 10 years on it now. I kept getting new ideas and wandering off, we did new blogs and met new folks - I guess the smartest thing that I did in all this is pick awesome partners, give them full admin autho so they could do what they wanted...they kept things alive and cooking even when I disappeared for long times - it is cool to have a 'home' to come back to and I've been thinking about what the hell to do to actually contribute here again... I have not ripped a new record for a long time (that is about to change), so I am going to start with some cool stuff I did way back when that hasn't been seen for years - I am gonna start with a Booker Ervin Festival because he is one of MY 'major dudes'.  

the tags say that I ripped this album in 2014 - my memory is that the cover was kind of chewed, but the vinyl was pretty clean It is in 16/48 and sounds pretty dang good.
                         

Frank Wess, Bobby Jaspar, Seldon Powell - The Spirit Of Charlie Parker (1958)

'The Spirit of Charlie Parker' is an atmospheric album that examines four Charlie Parker tunes; beautifully arranged by Billy van Planck and engineered by none other than the great late Rudy van Gelder. The musicians on this LP comprise of three flutists: Frank Wess, Bobby Jaspar, Seldon Powell, one trombonist Frank Rehak, and a crack rhythm section with the amazing pianist and vibist Eddie Costa together with bassist George Duvivier and drummer Bobby Donaldson. In all four great Bird tunes are showcased with great finesse, Enjoy!

 

World Wide Records, MGS-20003, 1958
Recorded 27th March, 1958 At Van Gelder Studio, Hackensack, New Jersey 

Musicians:
Frank Wess - Flute
Bobby Jaspar - Flute, Clarinet
Seldon Powell - Flute, Tenor Saxophone
Frank Rehak - Trombone
Eddie Costa - Piano, Vibraphone
George Duvivier - Bass
Bobby Donaldson - Drums
Billy Ver Planck - Arranger 

Tracks:
A1. Parker's Mood (5:58)
A2. Marmaduke (9:38)
B1. Now's The Time (8:07)
B2. Ah Leu-Cha (7:52) 

All Compositions by Charlie Parker

Total Time: 31:35

Credits:
Supervisor - Ozzie Cadena
Engineer - Rudy van Gelder
Photography - Hank Schneider
Design [Album] - Levy A. Agency
Liner Notes - H. Alan Stein

Donald Harrison Jr. Introducing Christian Scott - Paradise Found (2000)

Harrison is being called one of the most important musicians of the new millennium. On "Paradise Found," he continues to explore his groundbreaking Nouveau Swing style, which merges straight-ahead acoustic swing with modern R&B, second-line, hip-hop, Mardi Gras Indian, and reggae rhythms. There are few jazz musicians who can play it all, from traditional New Orleans style jazz to swing, bop, post-bop, modern, smooth, avant-garde, and beyond, but Harrison has developed his own personal style that traverses and synthesizes all these mediums with great success. Paradise Found also introduces 16-year-old trumpeter Christian Scott. Scott like Harrison is a native New Orleanian. On "Paradise Found," an aura of soothing, soulful serenity emanates from the music, reflecting the leader's recent revelations. "I think I've reached the point where I want to use music to help people and try to make the world a better place," he says. "This starts with the understanding that paradise starts within. When you come to a peaceful place within yourself and realize whom you are, you begin to play from your heart. That is what this record is about, accepting oneself and finding a peaceful place and trying to do the right thing by other people." ~ amazon.co.jp. 

Fomp Records, 9999, 2003
Recorded 5th March, 2000 At Ultrasonic Studio, New Orleans 

Musicians:
Donald Harrison Jr - Alto Saxophone
Christian Scott - Trumpet
Andrew Adair - Piano
Vicente Archer - Bass
John Lamkin - Drums 

Tracks:
01. Paradise Found {Donald Harrison} (6:53)
02. NY 2000 {Donald Harrison} (5:56)
03. Burnin {Donald Harrison} (4:55)
04. Young Blood {Christian Scott} (5:30)
05. Jamaican Girl {Donald Harrison} (7:27)
06. All My Love {Donald Harrison} (7:58)
07. Giant Steps {John Coltrane} (3:20)
08. One For Bird {Donald Harrison} (4:34)
09. Misty {Erroll Garner, Johnny Burke} (6:41)
10. Coolin {Donald Harrison} (6:29)
11. Idris Song {Donald Harrison} (3:40)
12. Soul Man {Donald Harrison, Isaac Hayes, David Porter} (6:43) 

Total Time: 70:06

Credits:
Producer, Project Coordinator - Donald Harrison
Mastering - Greg Calbi

Woody Shaw - Jazz At The Maintenance Shop (1979)

Here we have a unique video recording catching the Woody Shaw Quintet in action. For this concert Woody showcases a dynamic group especially including Carter Jefferson on saxophones, pianist Onaje Allan Gumbs, bassist Stafford James and drummer Victor Lewis. The group sets about to enthrall the audience with a number of standards and contemporary tunes. Thanks to the Iowa Public Broadcasting Network this concert was preserved on DVD. For its time the picture quality is reasonable, but the real captivation is the music!!!

Recorded at "The Maintenance Shop", Iowa State University, Ames, Iowa 

Musicians:
Woody Shaw - Trumpet
Carter Jefferson - Tenor Sax, Soprano Sax
Onaje Allan Gumbs - Piano
Stafford James - Bass
Victor Lewis - Drums 

Setlist:
1. Bye Bye Blackbird {Mort Dixon, Ray Henderson}
2. On Green Dolphin Street {Ned Washington, Bronislau Kaper}
3. Seventh Avenue {Victor Lewis}
4. Sun Bath {Peggy Stern}
5. Dolphin Dance {Herbie Hancock}
6. It All Comes Back To You
7. Theme For Maxine 

Video info from: https://www.loc.gov/item/jots.200016535/ 

Lineage: Broadcast > VHS > DVD
DVD to MKV using HandBrake cropping flickering borders preserving aspect ratio at the same and apply filters in an attempt to improve video quality.
Screenshots of the artists taken from running MKV using K-Lite Media Player.

Buried Treasure in your yard, Part 2

 Umm... I really am kind of baffled by this one, how did I not know that I had this and where the hell did it come from? I am a BIG fan of this particular band and the idea that I have one that has missed attention in the recent wave of live Woody Shaw recordings being both issued or widely circulated seems, well... almost inconceivable! I have looked high and low and compared against every set list I could see for 1979 and this does not match anything that I see. It seems unlikely, however, that it would be 1979, this lineup suggests 1977. The text document in the file lists Clint Houston on bass and Onaje Alan Gumbs on piano - my ears tell me that is not true in either case and there is no reason to assume it is not the normal band with Stafford James and Larry Willis. It is a radio broadcast from a Seattle jazz club, Parnell's... James is a little too prominent in the mix, but your ears adjust quickly: 

 The best part for me is that we get one more small scrap of Carter Jefferson to add to the precious little around! I have not done any editing to this so it has some warts.

Chris' video post has convinced me that it really is Gumbs rather than Willis in 1979, but there is still no way that is Clint Houston.

Buried Treasure in your own yard! Part one...

 

One of the things that many of you can testify to is that when you have a ridiculous huge digital collection, things can hide from you in your own files... even stunningly good stuff that you never got around to listening to! There was a time when I was into live recording trading and to this day there is a Live and Unreleased file on my hard-drive that has a bunch of stuff that I never quite got around to listening to. Now that I am officially in the 'old fart do it now' mode, I make a point of exploring what is there at least once a month. Today was that day and I found 2 jaw dropping gems... both in FLAC! I am relatively sure that I never actually listened to either of these recordings as it is tough to believe that I would not remember. Here is part one of what will be a two parter! The following comes from a text file in the file...

Red Rodney, Ira Sullivan & the Jack Wilkins Trio

Amsterdam (de Meervaart), International Jazz Festival, 9 August, 1980

The Jack Wilkins Trio with guests Red Rodney and Ira Sullivan at the International Jazz Festival Amsterdam (de Meervaart), Saturday 9 August, 1980. My taping of the direct Dutch radio broadcast.

Ira Sullivan arriving a little late on stage, thinking the Jack Wilkins Trio would play a longer set; Rodney and Sullivan had never played with Wilkins before.

There was a news bulletin (of almost 5 minutes) in between "Mr Oliver" and the following track, causing these tracks to be incomplete and  fading in, respectively.

Any info on the two "unknown" tunes is of course appreciated.

Enjoy!

Personnel:

Red Rodney (tp,flh), Ira Sullivan (tp,flh,as,fl), Jack Wilkins (g), Ron McClure (b), Billy Hart (d)

Track list:

1 Announcements

2 Unknown

3 Mr Oliver (nc)

4 Unknown (fading in)

5 Dolphin Dance

6 Monday Dance

7 The Red Arrow

8 Announcements

9 Happy Birthday into Buzzy

Lineage: FM > tape > recording, tracking and editing wav file in Audacity > CD-R > Wav > TLH (Flac 8, sector align) 

Audio quality:

A- (FM)

There it is, that is what I got... Hell, I didn't even know that I had it!

The Bossa Tres & American friends

 

Let's call this one a loner from the Kingston to Rio blog:

A somewhat oddly put together CD that combines the 12 tracks of this trio album with 7 tracks from a leaderless album  from 2 years later where they serve as the rhythm section with a group of Americans. The Brazilian version was Os Bossa Tres e sues Amigos so it is rightfully their album. That full second album also had 12 tracks and I don't see anything which describes criteria for why these 7 chosen. I have an mp3 version with the extra tracks, but I don't really see much point in cutting up the CD.

"The Bossa Três was the first instrumental group of the bossa nova. In 1961, Luís Carlos Vinhas (piano), Tião Neto (bass), and Edison Machado (drums) teamed up to form the trio. They went to the U.S. to accompany the dancers Lennie Dale, Martha Botelho, and Joe Benett on The Ed Sullivan Show. They remained in the U.S. and recorded three albums in New York, which were released by Audio Fidelity in 1962 (one of them accompanying Jo Basile). The group continued to perform in jazz nightclubs until its dissolution. Returning alone to Brazil, Vinhas regrouped the trio with other musicians and continued to work, recording and performing throughout Latin America. The Bossa Três recorded with Pery Ribeiro in 1966 and, in 2000, with Wanda Sá." AMG

Azteca - Pyramid of the Moon

Sometimes we need a little variety in our listening. Some of you have noticed that I have 2 new projects exploring music of Jamaica, Brazil, Africa and places in between. This sort of falls into a place where it isn't a good fit as it is an American band even tho it is very Latin music. I have long stretched the bounds here as The Crypt includes all my tastes even tho the primary focus has always been Jazz. This was the second album from this super group, my copy of the first is, alas, an mp3.

"Azteca was a large Latin rock band founded by percussionist Coke Escovedo (April 30, 1941 - July 13, 1986), formerly of Santana, in San Francisco in early 1972. Escovedo brought in his brother, singer/percussionist Pete Escovedo, and another percussionist Victor Pantoja; singers Errol Knowles, Wendy Haas, and Rico Reyes; horn players Bob Ferreira (saxophone), Tom Harrell (trumpet, flugelhorn), Mel Martin (saxophone, flute), and Jules Rowell (trombone); keyboardists George DiQuatro, George Maribus, Mike Nock,and Flip Nunez; guitarist Jim Vincent; bass player Paul Jackson; and drummer Lenny White. (Guitarist Neal Schon, another former member of Santana, sat in on guitar, bringing the total lineup to 17 musicians.) The band signed to Columbia Records and released its self-titled debut album in December 1972; it spent nine weeks in the lower reaches of the charts starting in January 1973.


Azteca recorded a second album, Pyramid of the Moon, for release in the fall of 1973. By the time it appeared, Bill Courtial had replaced Vincent on guitar; Pat O'Hara had replaced Rowell on trombone; and John Brinck had replaced White on drums. The album failed to reach the charts, and personnel changes continued, with Coke Escovedo leaving the group, after which Columbia canceled its recording contract. Azteca continued to perform around the San Francisco Bay Area until disbanding in 1976, with Pete Escovedo's teenage daughter Sheila Escovedo (later known as Sheila E.) replacing Pantoja toward the end.


Filmmaker Daniel E. Meza began trying to put Azteca back together in the mid-2000s, eventually succeeding in assembling a version of the band that included Pete Escovedo, Courtial, Haas, Jackson, Knowles, Pantoja, Rowell, and White, along with trumpeter Mario Gonzalez, keyboard player Murray Low, flute and saxophone player Melecio Magdaluyo, and piccolo and saxophone player Alex Murzyn. This 12-piece unit played a concert at the Key Club in Hollywood, CA, on September 15, 2007, that Meza filmed and recorded for the DVD documentary Azteca: La Piedra del Sol and the live album From the Ruins, both released by Inakustik." AMG

 

Mulgrew Miller - Getting To Know You (1995)

Mulgrew Miller is in top form for these 1995 sessions. as he covers a wide range of compositions. With his regular trio on hand, including bassist Richie Goods and drummer Karriem Riggins, plus the addition of percussionist Steve Kroon and conga player Big Black, this marked the pianist's final recording for the Novus label. Miller's exotic "Eastern Joy Dance" and thoughtful "Second Thoughts" (which brings James Williams' writing style to mind) provide an excellent introduction. Standards include a breezy waltz treatment of "Getting to Know You" (from The King and I) and a driving rendition of "If I Should Lose You." The Beatles' "Fool on the Hill" takes flight in Miller's hands, as he adds a sprightly touch without sounding like a cocktail pianist. He also manages to make something of the usually lame "I Don't Know How to Love Him," as one wouldn't expect an introspective gospel flavor added to an Andrew Lloyd Webber composition, even if it is from Jesus Christ Superstar. Goods' contributed the soulful "Nandhi" to provide a strong finish to this rewarding, though now sadly out of print, CD. ~ by Ken Dryden, AMG. 

RCA/Novus Records, 01241 63188-2, 1995
Recorded & Mixed 20th-21st March, 1995 At Manhattan Center Studios, New York City 

Musicians:
Mulgrew Miller - Piano [Steinway Concert Grand]
Richie Goods - Bass
Karriem Riggins - Drums
Big Black - Conga (#1,2,4,7)
Steve Kroon - Percussion (#1,2,7,8) 

Tracks:
01. Eastern Joy Dance {Mulgrew Miller} (6:39)
02. Second Thoughts {Mulgrew Miller} (5:49)
03. Sweet Sioux {Freddie Hubbard} (6:52)
04. Getting To Know You {Richard Rodgers, Oscar Hammerstein II} (6:19)
05. Whisper {Mulgrew Miller} (5:46)
06. Didn't We {Jimmy Webb} (5:15)
07. Fool On The Hill {John Lennon, Paul McCartney} (6:46)
08. I Don't Know How To Love Him {Andrew Lloyd Webber, Tim Rice} (5:11)
09. If I Should Lose You {Ralph Rainger, Leo Robin} (6:54)
10. Nandhi {Richie Goods} (5:36) 

Total Time: 61:07 

Credits:
Producer - Tim Patterson
Recording, Mixing & Mastering - James Nicholls
Assistant Recording & Mixing Engineer - Richard Clarke
Art Direction, Artwork, Design - Sean Mosher-Smith
Photography - Daniel Miller
Liner Notes - Samuel Fromartz

Kevin Hays - El Matador (1990)

Kevin Hays recorded this early session (his second as a leader) in 1990, at the age of 22. Originally released in 1991 on the Jazz City import label, the disc was reissued in the U.S. in 1998 by Evidence. The young pianist is joined by alto/soprano saxophonist Steve Wilson, bassist Scott Colley, drummer Bill Stewart, and on four tracks, the tenor titan Joe Henderson. Hays' writing and playing are remarkably advanced, particularly on "Emperor Leon" (dedicated to drummer Leon Parker) and "The Brahmin's Son," an extended piece inspired by Herman Hesse. Quartet renderings of "The Good Life" and John Coltrane's "Like Sonny" also appear, along with a full quintet arrangement of Hindemith's "Nobilissima Visione," on which Henderson truly shines. Steve Wilson's angular blues-head "No Such Luck" closes the set. El Matador is a vital addition to Hays' discography, even after the fact. ~ by David R. Adler, AMG. 

Jazz City, PCCY-00247, 1991
Evidence Records, ECD 22199-2, 1998
Recorded August, 1990 At “The Studio”, New York City 

Musicians:
Kevin Hays - Piano
Steve Wilson - Alto Saxophone, Soprano Saxophone
Joe Henderson - Tenor Saxophone {#1,2,5,6)
Scott Colley - Bass
Bill Stewart - Drums 

Tracks:
1. El Matador {Kevin Hays} (8:02)
2. Emperor Leon {Kevin Hays} (10:28)
3. Like Sonny {John Coltrane} (6:46)
4. The Good Life {Sacha Distel, Jack Reardon} (6:56)
5. The Brahmin's Son {Kevin Hays} (10:54)
6. Nobilissima Visione {Paul Hindemith} (6:16)
7. Snake Eyes {Kevin Hays} (7:53)
8. No Such Luck {Steve Wilson} (5:26) 

Total Time: 62:41 

Credits:
Producer - Tony Ariga, Yoshiaki Masuo
Engineer - David Baker
Photography - Alan Nahigian
Liner Notes - Ira Gitler
Reissue Producer - Jerry Gordon

Lewis Nash - It Don't Mean A Thing (2005)

For this session Lewis is accompanied by vibist Steve Nelson, pianist Jeb Patton and bassist Peter Washington. Most of the tunes are trio performances with drums, vibes and bass, with only three songs in a quartet formation with pianist Jeb Patton. There are a number of instances on this disc, where Nash as the leader plays some great solos, but never dominates. In addition, Steve Nelson is well featured playing in a crisp mid-tempo across many of the tracks. Meanwhile the driving rhythm of Peter Washington's running basslines push a tight sound are a standout. Not to overlook the comping of Jeb Patton adding further dynamism with differing chords, rhythms, and countermelodies. Overall, this album is a showcase of well-known jazz standards including "Skeeter Blues" by Nash, that that truly swing! 

M&I Jazz, MYCJ-30250, 2005
Recorded 2003? 

Musicians:
Lewis Nash - Drums
Steve Nelson - Vibraphone
Jeb Patton - Piano (#3,9,10)
Peter Washington - Bass 

Tracks:
01. It Don't Mean A Thing {Duke Ellington, Irving Mills} (6:56)
02. Caravan {Duke Ellington, Juan Tizol} (9:27)
03. Sophisticated Lady {Duke Ellington} (6:44)
04. Tico Tico {Zequinha de Abreu} (4:08)
05. Strollin' {Horace Silver} (5:25)
06. Body And Soul {Green, Heyman, Sour, Eyton} (7:13)
07. Close Your Eyes {Bernice Petkere} (6:01)
08. How Insensitive {Antônio Carlos Jobim} (5:27)
09. We'll Be Together Again {Carl T. Fischer, Frankie Laine} (5:11)
10. Skeeter Blues {Lewis Nash} (3:41) 

Total Time: 60:13 

Producer - Makoto Kimata, Todd Barkan 

"Everything depends on how daring you want to be," he said. "Parameters exist in any musical situation, and they force you to get the most from the least. You try not to limit yourself to 'this is how you're supposed to play this kind of music.' You jump in, let your ears dictate, and keep all options on the table. I might borrow some sound or approach from an avant garde context that works in the middle of trading fours on a blues. Sound can cross genres and styles. It's just a sound. It's your job to figure out how to use that sound tastefully and in context. The more things you've done, the more you'll be able to interject something new." ~ Lewis Nash.

LeeAnn Ledgerwood - You Wish (1991)

LeeAnn Ledgerwood, who played in New York clubs for most of the 1980s, finally made her debut as a leader on this set, which is comprised of six of her originals, two from flutist Jeremy Steig and a pair of standards. Throughout, the pianist often recalls Chick Corea (especially on "Nardis" and the intense "Terribillis"), performing with a trio, a quartet and solo (a largely unrecognizable "I Want to Talk About You"). Ledgerwood takes several impressive improvisations, but Jeremy Steig really dominates the four songs he appears on, while tenorman Bill Evans (who is on two selections) is quite effective on "Smash and Grab." With either Eddie Gomez or Steve LaSpina on bass in addition to drummer Danny Gottlieb, this well-rounded set was a good start for LeeAnn Ledgerwood's solo career. ~ by Scott Yanow, AMG. 

Triloka Records, 320187-2, 2002
Digitally recorded 4th-5th January, 1991 At Power Station, New York City 

Musicians:
LeeAnn Ledgerwood - Piano, Keyboards
Jeremy Steig - Flute
Bill Evans - Tenor Saxophone, Soprano Saxophone
Eddie Gomez, Steve LaSpina - Bass
Danny Gottlieb - Drums 

Tracks:
01. Robins Row {Jeremy Steig, LeeAnn Ledgerwood} (3:53)
02. Taisho Pond {LeeAnn Ledgerwood} (4:50)
03. Miss Perfect {Jeremy Steig} (5:32)
04. Chance {LeeAnn Ledgerwood} (5:39)
05. Nardis {Miles Davis} (8:09)
06. Afterglow {Jeremy Steig} (3:12)
07. You Wish {LeeAnn Ledgerwood} (7:02)
08. Smash And Grab {LeeAnn Ledgerwood} (4:20)
09. Terribillis {LeeAnn Ledgerwood} (6:31)
10. I Wanna Talk About You {Billy Eckstine} (2:58) 

Total Time: 52:06 

Credits:
Producer, Remixing - Walter Becker
Executive-Producer - KD Kagel, Mitchell Markus, Paul A. Sloman
Engineer, Digital Editing, Mastering - Roger Nichols
Engineer [Assistant] - Dan Gellert
Remixing [Assistant] - Tom Hardisty

Géraldine Laurent - At Work (2015)

A very personal approach to the alto saxophone, an incandescent playing whose sentences are imbued with an always surprising lyricism, a sound which belongs only to her: Géraldine Laurent is one of those figures who have proved that they have their word to say and that jazz was not just a men's business. 

Born in 1975 in Niort, Géraldine began her musical studies with the classical piano then with the saxophone at the age of 13. When she came of age, she was quickly noticed for her talent as a sidewoman and at 30 she took the plunge to form her own group, the Time Out Trio, in the company of double bass player Yoni Zelnik and drummer Laurent Bataille, with whom she skimmed the stages. national and international. 

Impressed by the volcanic sincerity of her playing, producer Francis Dreyfus invited her to join his label Dreyfus Jazz for which she recorded Time Out Trio (2007) and Around Gigi (2010). When the producer disappears, Géraldine leaves the label and takes part in a collective around the music of Charlie Parker with Manu Codjia on guitar and Christophe Marguet on drums. Together they record Looking for Parker (2013), an explosive record of delightful modernity. During this time, she does not neglect her pleasures as a sidewoman alongside Aldo Romano, Henri Texier, Ricardo Del Fra, Rhoda Scott or Terez Montcalm. 

In 2015, Géraldine decided to resume her career as a leader and gathered around her a group bringing together the rising stars of the new generation: Paul Lay on the piano, Donald Kontomanou on drums and the faithful Yoni Zelnik on the double bass. The resulting disc, At Work, is made up for the most part of personal compositions and a few historical standards, all approached with disconcerting freshness. To hear the result, one wonders what is the secret of Geraldine to keep intact the great lyrical tradition of jazz while radically renewing it with so much naturalness and talent. The answer is undoubtedly in her stubbornness to be in the music, always at work. ~ Inclinaisons.com. [Translated from French] 

Gazebo Records, GAZ 123, 2015
Recorded & Mastered in March, 2015 at MidiLive Studios (France) 

Musicians:
Géraldine Laurent - Alto Saxophone
Paul Lay - Piano
Yoni Zelnik - Double Bass
Donald Kontomanou - Drums 

Tracks:
1. Odd Folk {Géraldine Laurent} (3:19)
2. At Work {Géraldine Laurent} (6:15)
3. Another Dance {Géraldine Laurent} (5:12)
4. N-C Way {Géraldine Laurent} (7:01)
5. Room Number 3 {Géraldine Laurent} (5:50)
6. Up To It {Géraldine Laurent} (6:48)
7. Chora Coraçao {Antônio Carlos Jobim} (5:32)
8. Epistrophy {Thelonious Monk} (6:19)
9. Goodbye Porkpie Hat {Charles Mingus} (4:12) 

Total Time: 51:28 

Credits:
Producer - Laurent De Wilde
Executive Producer - Hélène Lifar
Recording & Mastering - Dominique "Dume" Poutet
Photography - Steve Wells
Photos [Session] - Benoît Erwann Boucherot
Artwork - Ugo Cab