Kenny Wheeler - California Daydream (1992)

This is a wonderful live album by British Jazz trumpeter / composer Kenny Wheeler, recorded in a Paris club in a quartet setting with American pianist Jeff Gardner, Dutch bassist Hein Van De Geyn and French drummer Andre Ceccarelli. Together they perform seven original compositions; three by Wheeler and two each by Van De Geyn and Gardner. Although seemingly just another live Wheeler recording, this album presents one of the most intimate and focused opportunities to listen to his artistry and his Masterly performances happening right in front of the listener's ears, completely undisturbed. Wheeler is the primary soloist here and all the seven tracks feature his extended solo performances which can rarely be found on any other recording of this kind with such emphasis and intensity. All three musicians playing alongside Wheeler are veteran performers, with highly developed Jazz sensitivities, who accompany the Master amicably and support him all the way through, sensing quite naturally the rare opportunity to let him express his sublime artistry and staying relatively in the shadows during the proceedings. Van De Geyn and Gardiner perform a few splendid solos themselves, but as already stated this is pure unadulterated Kenny Wheeler in the spotlight for us to delight in. Of course, this is an absolute must have for Wheeler fans and admirers, and although quite difficult to find these days, it is definitely worth pursuing. Absolutely delightful serving of Wheeler at his very best! ~ Adam Baruch, adambaruch.com. 

Musidisc Records, 500292, 1992
Recorded 10th & 11th December, 1991 Live at "Alligators" in Paris, France 

Musicians:
Kenny Wheeler - Trumpet, Flugelhorn
Jeff Gardner - Piano
Hein Van De Geyn - Double Bass
André Ceccarelli - Drums 

Tracks:
1. The Imminent Immigrant {Kenny Wheeler} (6:40)
2. California Daydream {Hein Van De Geyn} (6:27)
3. Though Dreamers Die {Hein Van De Geyn} (7:37)
4. Salina Street {Kenny Wheeler} (6:37)
5. Mistica {Jeff Gardner} (6:27)
6. Voodoo {Jeff Gardner} (9:38)
7. Bethan {Kenny Wheeler} (5:01) 

Total Time: 48:32 

Credits:
Producer - François Lacharme
Executive-Producer - Denis Lacharme
Recording [Direct to Digital] - Etienne Dreuilhe, Jean-Pierre Smadja
Design [Conception] - Stéphanie Brichet
Photography [Cover & Booklet] - François Lacharme

Winard Harper Sextet - Make It Happen (2006)

Veteran drummer Winard Harper (who has played with Dexter Gordon, Johnny Griffin, Betty Carter, Ray Bryant, Abdullah Ibrahim, Pharoah Sanders, Clifford Jordan and others) gives us two albums in one on Make It Happen. The first is percussion-heavy. The opening tracks, for example, present an approach to ensemble sound that recalls Mosaic-era Jazz Messengers (carefully arranged multiple-horn lines over a busy, insistent rhythm section). The best compositions echo episodes in the Mingus lineage (notably Dave Holland's excellent mid-'80s groups). These elements can be traced back to a common ancestor in Duke Ellington, and you can't have better roots than that. These musical elements are held together by a genuinely novel mix of Afro-Cuban and unhyphenated African percussion. The percussion draws upon the more familiar Latin rhythms known to jazz audiences since Dizzy Gillespie invited Mario Bauza into his band (witness the flawless Latin jazz marriage in Harper's treatment of Charlie Parker's "Segment"), but also other West African elements which are distinct from the more familiar Yoruba heritage: most notably the invigorating Senegalese talking drum passages on "Children of the World." Three nearly all-percussion numbers are a special treat, especially the title track, from Wycliffe Gordon's didgeridoo prelude to its organ-drenched finale over a Brazilianesque rhythm. The other album is a relatively crammed set of decidedly mainstream allegro ma non troppo jazz; more than a few numbers have to be faded out long before they've worn out their welcome to make room for the others. The locus of inspiration for this second part fluctuates between the '50s ("I've Never Been in Love Before") and '60s ("Chronic Mistakes", the bass/alto duet "Tamisha"), and the added percussion is either inaudible or unobtrusive (and always appreciated, when you can hear it). It manifests the same great Duke-ish approach to group sound. Harper assembles a spirited ensemble, augmented on the best tracks by an idiosyncratic band of supplementary percussionists, who play with a palpable joy and solidarity. The percussionists, beginning with Harper, lead the pack; trumpeter Josh Evans' brassy (as opposed to airy) tone recalls Lester Bowie (and ultimately, Rex Stewart) and deserves special mention, but then so too do guests Antonio Hart (alto sax) and Lawrence Clark (tenor sax). I could listen to the numbers on the percussion-heavy part again and again. As for the cuts on the "second" album, they offer fewer reasons to return for more (with the exception of "Divine Surveillance, which has a certain gravitas). If the balance between the two had been struck more decisively in favor of the first, this would be a stronger overall release, and there is no doubt in my mind that these players could have sustained the passion of the percussion-based group over nearly eighty minutes. As it is, the unflagging excellence of the compositions, arrangements and soloing (that's just about everything on a jazz record, isn't it?), added to the evident camaraderie of the players throughout, make for a strong and joyful entry under the "soulful/mainstream heading. ~ by Jeff Dayton Johnson, AAJ. 

Piadrum Records, PIADRUM-0602, 2006
Recorded 8th January & 3rd April, 2006 at Bennett Studios, Englewood, New Jersey 

Musicians:
Winard Harper - Drums, Balafon (#2,15)
Josh Evans - Trumpet
Wycliffe Gordon - Trombone (#4,7,14), Didgeridoo (#4)
Antonio Hart - Alto Saxophone (#3,5,6)
Lawrence Clark - Tenor Saxophone
Stacy Dillard - Tenor Saxophone (#1,12)
Sean Higgins - Piano (#1,9,12)
T. W. Sample - Piano, Synthesizer
Ameen Saleem - Acoustic Bass
Kevin Jones - Congas, Drum [Jamba], Shaker, Triangle
Alioune Faye - Drum [Sabar], Drum [Jamba], Djembe
Abdou M'Boup - Talking Drum (tama) (#2,15), Vocals (#15)
Jeremy Jones - Tambourine, Cowbell, Drum [Dundun] 

Tracks:
01. Segment {Charlie Parker} (4:12)
02. Children Of The World {Winard Harper} (5:51)
03. Morning Glow {Onaje Allan Gumbs} (6:05)
04. Make It Happen {Winard Harper} (6:37)
05. Tamisha {Winard Harper} (6:45)
06. I've Never Been In Love Before {Frank Loesser} (6:48)
07. Get It! Get It! {Wycliffe Gordon} (4:01)
08. Not One Chance {Winard Harper} (5:14)
09. Reflection {Ray Bryant} (4:18)
10. Divine Surveillance {Winard Harper} (6:02)
11. Lourana {Lawrence J. Clark} (3:31)
12. Chronic Mistakes {Winard Harper} (3:52)
13. Bangbangboomboombapbap {Winard Harper} (2:07)
14. After Hours {Avery Parrish} (6:25)
15. The Prayer {Winard Harper} (5:40) 

Total Time: 77:28 

Credits:
Producer - Winard Harper
Audio Engineer - Dae Bennett
Art Direction, Design, Photography - Janis Wilkins

Houston Person - Houston Person '75 (1975) [vinyl]

Houston Person '75 was cut with an anonymous bunch of Detroit session musicians, finding the saxophonist aiming straight for the R&B charts. Always a full-bodied, groove-oriented player, this straight-up soul isn't much of a stretch for Person but the rhythms are frequently funkier than in the past and the surface is certainly slicker. The album provides a good time capsule of the smooth but funky sounds of 1975. ~ Extract by Stephen Thomas Erlewine, AMG. 

Houston hits a funky groove for Westbound -- not as hard, heavy, and Prestige-sounding as his work on the now-dead Eastbound label, but also not too bad either. The overall sound is more produced, and there's some cuts that have a smoother tenor sound than you're used to with Houston. Titles include "Shotgun", "500 Gin Rummy", "All In Love Is Fair", "Funky Sunday Afternoon", and "A Touch Of Bad Stuff". ~ Dusty Groove, Inc. 

Westbound Records, W-205, 1975
Recorded at Artie Fields Studio, Detroit, Michigan 

Tracks:
A1. I Like To Live The Love {David Crawford, Charles Mann} (3:51)
A2. What It Is {Belda Baine, Louis Crane} (2:51)
A3. Shotgun {Autry Dewalt} (2:48)
A4. Mayola {Belda Baine, Louis Crane} (4:02)
A5. Gold In My Ear {Belda Baine, Louis Crane} (2:56)
B1. 500 Gin Rummy {Belda Baine, Louis Crane, Little Jimmy Scott} (3:27)
B2. Funky Sunday Afternoon {Belda Baine, Louis Crane} (3:06)
B3. A Touch Of Bad Stuff {Belda Baine, Louis Crane, Jimmy Roach} (4:35)
B4. All In Love Is Fair {Stevie Wonder} (6:49)
B5. He'll Fight My Battles {Delores Williams} (3:33) 

Credits:
Producer - Houston Person, Bernard Mendelson
Arranger - Ed Nuccilli, Jimmy Roach
Recording Engineer - Ken Sands
Etta Jones featured on (#B5)
Other Special thanks to Armen Boladian, Mariam Lampkin, Abe Tilmon 

See more info at: http://acerecords.co.uk/75--get-outa-my-way 

Here’s an overlooked LP from the masterful Houston Person. This album comes out of the mid 70’s when Soul Jazz, Jazz Funk was the newer thing. Regardless of the style Houston still exhibits wonderful control, cutting some great tunes on his tenor sax. Enjoy!

Steps Ahead - Magnetic (1986)

Released in the mid-80's, it has the era's sound and feel, a mix of pomp rock, synth-orchestral fills with polished soloing mixed into the whole. The talented jazz musicians who appear on the album I believe give credence to my statement. The first track, 'Trains' is a bombastic synth-driven tune, with Peter Erskine's solid drum patterns providing a rock beat as a typically fine and multiplied sax solo from Mike Brecker and squealing solo from Hiram Bullock's guitar provide two high points among the pomp. It promises much, yet by itself would be enough. 'Beirut', the next track, keeps the momentum going with an understated yet funky bass line from Victor Bailey, with unsettling synth phrasing and a solo from Mike Mainieri bringing the 8-minute track to a brash close. 'Cajun' follows, a straight-up be-bop rhythm with underlying banjo plucking from Peter Schwimmer and Mainieri's vibes helping to drive it along; while Brecker's mid-point solo develops into a surprising big band sax section. Next is 'In A Sentimental Mood', the Duke Ellington staple played electronically, and this leads into the track 'Magnetic Love', the one possibly created as a single, though sounding like the track for the closing credits of one of those 80's films we endured because it was all that was left in the video store. Let's move on. 'Sumo' comes next, a quirkily funky track with elements reminiscent of the Brecker skunk-funk sound. It grows on you while grating at the same time. 'All The Tea In China' is a richer sounding tune, the ensemble easing you into the penultimate track; 'Something I Said', a slow, lilting tune dominated by Brecker's sax, freed from any electronic alteration, and Mainieri's synthi-vibes. Bailey's bass provides a rumbling counterpoint to the poignant sax and mellow vibes. The last track 'Reprise (Magnetic Love)' eases in, with Brecker's sax playing over the track. It lasts just over a minute (way too short!) And closes the album. ~ Johnny L, 5 Stars, Amazon.com. 

Elektra Musician, 960 441-2, 1986
#1,6: Recorded at Bear Tracks Studios & Electric Lady Studios, New York
#2,3,8: Recorded at Skyline Studios, New York
#4,5,9: Recorded at Electric Lady Studios, New York
#7: Recorded at Plant Sound, New York 

Personnel:
Mike Mainieri - Synthi-vibe (#1,2,3,6,8), Vibes (#7), Keyboards (#1,2,4), Synthesizers (#5,9)
Michael Brecker - Tenor Saxophone (#1,2,3,5,6,7,8,9), Steiner EWI (#1,3,4,6,7),
Oberheim Xpande (#2,3,4,7)
Chuck Loeb - Electric Guitar (#1,2,3,6,7,8), Acoustic Guitar (#1), Guitar Synthesizer (#1,2,3,6)
Victor Bailey - Bass (#1,2,3,6,7,8)
Peter Erskine - Drums (#1,2,3,6,8), Percussion (#1,2,6,7), Synthesizers (#7,8) 

Additional Musicians
See details in Archive 

Tracks:
1. Trains {Mike Mainieri} (7:30)
2. Beirut {Michael Brecker, Chuck Loeb, Mike Mainieri} (8:17)
3. Cajun {Michael Brecker} (6:18)
4. In A Sentimental Mood {Ellington, Kurtz, Mills} (3:33)
5. Magnetic Love {Mike Mainieri, Scott Martin} (5:35)
6. Sumo {Michael Brecker} (5:52)
7. All The Tea In China {Peter Erskine} (5:06)
8. Something I Said {Peter Erskine} (4:13)
9. Magnetic Love [Reprise] {Mike Mainieri, Scott Martin} (1:25) 

Total Time: 47:54

Credits:
Producer - Mike Mainieri, George Duke
Engineers - Malcolm Pollack, Neil Dorfsman, Rick Kerr, James Farber,
Joe Barbaria, Jay Rifkin, Andrew Heermans
Engineer [Assistants] - Jamie Chaleff, Ken Steiger, Rick Begin, Scott Ansell,
Bridget Daly, Robin Lane, Kevin Killian, Tim Purvis
Mixing - Malcolm Pollack, James Farber, Michel Sauvage,
Michael Brauer, Tom Lord-Alge

In A Sentimental Mood

Steps - Step By Step (1981)

The '70s proved to be a challenging time for jazz in general. As the last strains of progressive rock gave way to the decade end's disco boon, jazz found itself in an uncertain position. Fusion had seemed to play itself out and acoustic music was becoming as rare as those proverbial "hen’s teeth". As the '80s approached, Wynton Marsalis would emerge as a voice in support of refurbishing the jazz tradition. Also, a part of this milieu, the group Steps (later to be dubbed Steps Ahead) would turn their regular jam sessions at Michael Brecker's NYC jazz club, Seventh Avenue South, into a forum for presenting contemporary jazz in a well-versed and sagacious manner. It would be a few years before American audiences would catch wind of Steps and its musical modus operandi due to the fact that their early work was released only in Japan on Nippon Columbia. The brainchild of vibraphonist Mike Mainieri, the initial incarnation of the band included Brecker, the late pianist Don Grolnick, bassist Eddie Gomez, and drummer Steve Gadd. This album while short on duration it more than makes up for things by presenting a heady mix of straight ahead and fusion tendencies, particularly notable is Mainieri’s "Bullet Train." ~ Extract by C Andrew Hovan, AAJ. 

Better Days, YF-7020-N, 1981
Better Days, 28CY-2867, 1988
Recorded 8th & 10th December, 1980 at Nippon Columbia Studio, Tokyo, Japan 

Musicians:
Mike Mainieri - Vibraphone
Michael Brecker - Tenor Saxophone
Don Grolnick - Piano
Eddie Gomez - Bass
Steve Gadd - Drums 

Tracks:
1. Uncle Bob {Don Grolnick} (11:00)
2. Kyoto {Mike Mainieri} (6:57)
3. Belle {Mike Mainieri} (7:49)
4. Bullet Train {Mike Mainieri} (5:31)
5. Six Persimmons {Don Grolnick} (6:09) 

Total Time: 37:29

Credits:
Producer - Mike Mainieri
Executive-Producer - Christine Martin
Recording & Mixing - Neil Dorfsman
Engineer [Assistant] - Tsukasa Aoyama
Photography [Front & Inner] - Susan Aimee Weinik
Photography [Back] - Akira Aimi
Liner Notes - Hisashi Ikegami

Mike Mainieri - Journey Thru An Electric Tube (1968) [vinyl]

It’s sad that Mike Mainieri never received the attention he so richly deserved with Journey Thru An Electric Tube, as the album was recorded exceedingly well, managed in its construction to be both forward looking and forward thinking, being one of the most enduring of the vibraphone releases, where it delivered and channeled its sound in an easy to appreciate low volume, was not for one moment abrasive, and totally ideal for a 60’s kick back lounge around the living room atmosphere. Mike was a pioneer with his introduction of the electronic vibraphone, then known as the synth-vibe. The album is effortless, fluid, soulful at times, smooth and laced with some cool 60’s inspired tripped out vibes, along with visionary and contemporary flute and guitar playing by Jeremy Steig that shouldn’t be missed. Yet the praises only begin there, a total of nine artists assembled to make this album the timeless classic it is today, along with a first-rate engineering, recording, pressing and a solid heavy jacket that has also stood the test of time. The album has never as yet been released on compact disc. Simply an absolute pleasure to spin. ~ Extract by Jenell Kesler, discogs.com. 

Solid State Records, SS-18049, 1968 

Musicians:
Mike Mainieri - Vibraphone, Vocals
Jeremy Steig - Flute
Warren Bernhardt - Piano, Organ
Joe Beck - Electric Guitar
Sam T. Brown - Electric Guitar, Classical Guitar
Hal Gaylor - Bass
Chuck Rainey - Electric Bass
Donald MacDonald - Drums
Sally Waring - Vocals
String Quartet 

Tracks:
A1. It's All Becoming So Clear Now {Mike Mainieri} (5:28)
A2. The Wind {Mike Mainieri, Sally Waring} (6:24)
A3. Connecticut Air {Sally Waring} (2:50)
A4. We'll Speak Above The Roar {Mike Mainieri} (6:25)
B1. The Bush {Mike Mainieri} (2:58)
B2. I'll Sing You Softly Of My Life {Mike Mainieri} (4:50)
B3. Yes, I'm The One {Mike Mainieri, Sally Waring} (0:48)
B4. Allow Your Mind To Wander {Mike Mainieri} (14:15) 

Total Time: 43:58 

Credits:
Producer - Sonny Lester
Engineer - Malcolm Addey
Photography - Bob Braco

Winard Harper - A Time For The Soul (2003)

Listening to this release from drummer Winard Harper's group, it is very easy and logical to think of Art Blakey and the Jazz Messengers. The music is mostly straight-ahead hard bop, and even overlooking Bobby Timmons' "Dat Dere" (which is straight from Blakey's repertoire), most of the cuts are very much in the same style. Trumpeter Patrick Rickman is a fine player influenced by Lee Morgan and Freddie Hubbard; Brian Horton contributes some excellent saxophone solos, and pianist Jeb Patton excels quite well in the modern mainstream setting. The biggest surprises are an instrumental medium-tempo version of "Here's to Life," and a couple percussion features. Fans of straight-ahead jazz will easily enjoy this fine effort. ~ by Scott Yanow, AMG. 

Savant Records, SCD 2048, 2003
Recorded 3rd January, 2003 at Leon Dorsey Studios, New York City 

Musicians:
Winard Harper - Drums
Patrick Rickman - Trumpet
Brian Horton - Soprano & Tenor Saxophones
Jeb Patton - Piano
Ameen Saleem - Bass
Kevin Jones - Percussion
Scott Harper - Auxiliary Percussion (#7) 

Tracks:
01. Soul Time {Winard Harper, Graham Parker} (5:48)
02. Mr. Baggy Pants {Winard Harper} (5:50)
03. Here's To Life {Artie Butler, Phyllis Molinary} (6:32)
04. Dat Dere {Oscar Brown, Jr., Bobby Timmons} (9:54)
05. About Face {Michael Hedges} (4:23)
06. When The Time Is Right {Winard Harper} (5:12)
07. All Praise To G-D {Winard Harper} (4:05)
08. Alone Together {Howard Dietz, Arthur Schwartz} (6:01)
09. Catanya {R. Brown} (4:56)
10. Glorify {Winard Harper} (6:14) 

Total Time: 59:01 

Credits:
Producer - Winard Harper
Executive Producer - Joe Fields
Engineer - David Baker
Assistant Engineer - Leon Lee Dorsey
Photography - Udo Spreitzenbarth
Design - Keiji Obata, Peter Muller [Littlefield & Company]

Helen Sung - Anthem For A New Day (2014)

Although she has released several trio albums, Helen Sung's 2014 album, Anthem for a New Day, is the pianist's first quintet album. As the 2007 Mary Lou Williams Piano Competition winner, Sung has displayed her virtuosic abilities backing such luminaries as trumpeter Clark Terry, saxophonist Wayne Shorter, and trumpeter Jon Faddis, just to name a few. Here, Sung takes center stage backed by a stellar cast of supporting players including saxophonist Seamus Blake, trumpeter Ingrid Jensen, bassist Reuben Rogers, drummer Obed Calvaire, and others. In a jazz world split between more esoteric avant-garde albums and safe, standards-heavy albums, with Anthem for a New Day Sung finds the perfect balance between intellectual, exploratory improvisation and no-nonsense, finely tailored jazz arranging. On Anthem for a New Day, Sung primarily delves into a handful of new compositions, from the buoyant "Armando's Rhumba" to the expansive "Hidden," as well as several well-chosen covers, including a gorgeous "Never Let Me Go," featuring violinist Regina Carter, and the tense yet funky "Epistrophy." These are immaculate and organically arranged pieces, all played in a swinging, straight-ahead style that allows for all musicians involved to shine. All of which is even more impressive when you consider that Sung, a classical student in college, didn't seriously began exploring jazz until after graduating from the University of Texas in 1995. After years of paying her dues as a sideman and "shedding" her chops in trio settings, with Anthem for a New Day Sung has delivered the soundtrack to the next phase of her career as a jazz leader. ~  by Matt Collar, AMG. 

Concord Records, CJA-34496-02, 2014
Recorded at Systems Two Studios, Brooklyn, New York 

Musicians:
Helen Sung - Piano, Fender Rhodes, Handclaps & Foot-Stamping (#2)
Ingrid Jensen - Trumpet
Seamus Blake - Soprano & Tenor Saxophones
Reuben Rogers - Bass
Obed Calvaire - Drums, Handclaps & Foot-Stamping (#2)
Samuel Torres - Percussion, Handclaps & Foot-Stamping (#2) 

Guests:
Regina Carter - Violin (#3,7)
Paquito D'Rivera - Clarinet (#2)
John Ellis - Bass Clarinet (#6) 

Tracks:
01. Brother Thelonious {Helen Sung} (5:37)
02. Armando's Rhumba {Chick Corea} (4:37)
03. Hidden {Helen Sung} (5:48)
04. It Don't Mean A Thing [If It Ain't Got That Swing] (Ellington, Mills} (4:10)
05. Hope Springs Eternally {Helen Sung} (5:33)
06. Anthem For A New Day {Helen Sung} (5:43)
07. Never Let Me Go {Ray Evans, Jay Livingston} (7:18)
08. Chaos Theory {Helen Sung} (5:04)
09. Epistrophy {Kenneth Clarke, Thelonious Monk} (5:30)
10. Equipoise {Stanley Cowell} (2:16) 

Total Time: 51:40 

Credits:
Producer, Liner Notes - Helen Sung
Recording Engineer - Mike Marciano
Mixing Engineer - Jeremy Loucas
Mastering Engineer - Paul Blakemore
Art Direction - Albert J. Roman
Photography - Kat Villacorta

Moutin Réunion Quartet - Red Moon (2004)

Avant-garde music is not my cup of tea: I usually find it dark and formless, and the more "out" it goes, the faster I turn it off. But when I heard the opening track here, a bass and drum derangement of "La Mer," I was struck by how playful it could be. Same thing for the next and title track, a driving funk/Latin mix, where pianist Baptiste Trotignon and saxophonist Rick Margitza join the party, contributing to the genial celebration. I was surprised that I could not only follow the journey, but enjoy it as well. Either my ears have grown after a decade of reviewing, or these guys have produced something special. Perhaps both. In any case, the leaders are twin brothers, Francois and Louis Moutin, who offer four originals each, as well as two standards arranged by Francois. The "reunion" reflects Francois's return after leaving the first Moutin group in 1996 for the US. The music is bold, with intricate rhythms and intriguing harmonies. Trotignon's piano knits the quartet together with melodic silk, supple and strong. "Apollo 13" conveys the power and mystery of space flight, with Margitza soaring, as he does on "Sailing Through the Clouds." "Taking Flight" makes the most out of a simple riff; "New-York Silly" is full of the Apple's energy, while "Soroya" is a moody ballad. "Stompin' at the Savoy" becomes more like "Slinkin' at the Savoy" in Francois's fresh conception. This is original, exciting, well-crafted music; it will definitely challenge those used to swimming in the mainstream, but the rewards of listening are many. ~ by Dr. Judith Schlesinger, AAJ. 

Nocturne Records, NTCD 337, 2004
Recorded 21st, 22nd & 23rd May, 2003 at Acoustic Recording, Brooklyn, New York 

Musicians:
François Moutin - Double Bass
Louis Moutin - Drums
Rick Margitza - Saxophone
Baptiste Trotignon - Piano 

Tracks:
01. La Mer {Charles Trénet} (3:53)
02. Red Moon {Louis Moutin} (8:18)
03. Apollo 13th {François Moutin} (9:14)
04. Soraya {François Moutin} (5:29)
05. Jazz Married {Louis Moutin} (6:17)
06. Taking Off {François Moutin} (7:20)
07. Sailing Through The Clouds {Louis Moutin} (7:49)
08. New-York Silly {François Moutin} (7:13)
09. Elle Aime {Louis Moutin} (4:45)
10. Stompin' At The Savoy' {Chick Webb} (2:23) 

Total Time: 60:43 

Credits:
Recording & Mixing - Michael Brorby
Mastering - Steve Fallone
Graphic Design - Renaud Barès
Liner Notes - Dan Doyle

Magma - 1001° Centigrades (1971) [vinyl]

After losing guitarist Claude Engel and reinforcing the brass section with Jeff Seffer on saxophones and Louis Toesca on trumpet, Magma went back into the studio in 1971 to record a second album. All the originality and greatness of Kobaïa are there, in even greater measure because everything is magnified. The two tracks composed respectively by Teddy Lasry and François Cahen occasionally introduce a jazzier note but it is Rïah Sahïltaahk which shows the most forceful development of the work apparent on the first album. This Christian Vander composition is over twenty minutes in length. It amazes as much by its richness and the incredible number of its themes as by its rhythmic strength and its perfectly controlled violence. Furthermore, it allows the listener to admire the diversity of the brass, whose role diminishes progressively over time. ~ soundohm.com. 

Philips Records, 6397 031, 1971
Recorded 5th-10th April, 1971 at Michel Magne Studios, Hérouville, Oise, France 

Musicians:
Christian Vander - Drums, Percussion, Vocals
Louis Toesca - Trumpet
Teddy Lasry - Clarinet, Saxophone, Flute, Vocals
Jeff Seffer - Saxophone, Bass Clarinet
François Cahen - Piano, Electric Piano [Fender]
Francis Moze - Bass
Klaus Blasquiz - Percussion, Vocals 

Tracklist: 

Side One
1. Rïah Sahïltaahk {Christian Vander} (21:40) 

Side Two
1. "Iss" Lanseï Doïa {François Cahen} (11:41)
2. Ki Ïahl Ö Lïahk {Teddy Lasry} (8:23) 

Total Time: 41:44 

Credits:
Producer [Réalisateur Plénipotentiaire] - Roland Hilda
Engineer [Sound] - Dominique Blanc-Francard
Louis Sarkissian - Manager
Liner Notes [Poem] - Christian Vander, Theïus Bïngöh 

All the factors contributing to the originality and grandeur of Kobaïa remained in place, reaching a more profound form in this second opus. If the two pieces composed by Teddy Lasry and François Cahen allowed a more jazz-oriented tendency to filter through, it is in Rïah Sahïltaahk where we hear the ideas presented on the first album developed with the greatest power. At over 20 minutes, this Christian Vander composition is astounding, as much by its richness and incredible variety of themes as by the perfectly-disciplined rhythmic force; moreover, it showcases the fullness and diversity of the brass section, although its role became progressively less important as time went on. ~ Extract from seventhrecords.com.

Steve Turre - In The Spur Of The Moment (2000)

In The Spur Of The Moment, Steve Turre's debut release for Telarc Jazz, is a technically precise and elegant musical adventure through three jazz styles in which Steve Turre expresses his musical personalities in a quartet setting. In the first setting, he plays the blues in jazz with the legendary Ray Charles on piano, Peter Turre on drums, and Peter Washington on bass. The section features two original compositions by Steve titled "Ray's Collard Greens," an authentic 12-bar blues, and "Duke Rays," a song based on Duke Ellington's "In a Mellow Tone," for which Steve uses Ellington's changes but has written a new melody. "Misty" and "The Way You Look Tonight" round out the section, but are featured with the same approach to the blues. The second section of In the Spur of the Moment features Stephen Scott on piano in a modern and modal setting. His third musical setting stars Turre and Chucho Valdes playing Afro-Cuban sounds in a set that also features Peter Turre on drums, Buster Williams on bass, Jack DeJohnette on drums, Andy Gonzalez on bass, and the great, Horacio "El Negro" Hernandez on drums and percussion. This section shows Turre at his zenith as an assured leader and sensitive collaborator with exciting accompaniment by Chucho plus the string quartet, and Quartette Indigo on "Claudia." In the Spur of the Moment concludes with an exciting finale that features Turre putting his brilliant trombone and shell skills to the test on the exciting jam, "Descarga Ahora." This CD is a glowing example of Steve Turre's exceptional finesse in the many styles of jazz. ~ by Paula Edelstein, AMG. 

Telarc Jazz, CD-83484, 2000
Recorded 14th August, 1999 (#1-4) At Avatar Studios, Studio C, New York City;
5th October, 1999 (#5-7) At Master Sound Astoria, Queens, New York and
8th October, 1999 (#8-10) At Avatar Studios, Studio A, New York City 

Personnel:
Steve Turre - Trombone (#1-4,5-7,8-10), Conch [Shells] (#1-4,5-7), Maracas (#8-10)
Ray Charles - Piano (#1-4,5-7)
Stephen Scott - Piano (#5-7)
Chucho Valdés - Piano (#8-10)
Peter Washington - Bass (#1-4)
Buster Williams - Bass (#5-7)
Andy Gonzalez - Bass (#8-10)
Peter Turre - Drums (#1-4)
Jack DeJohnette - Drums (#5-7)
Horacio "El Negro" Hernandez - Drums, Timbales, Congas, Bongos, Bells [Campana] (#8-10)
Akua Dixon - Cello, Leader (#9)
Ensemble - Quartet Indigo (#9)
Richard Spencer - Viola (#9)
Gayle Dixon - Violin [First] (#9)
Sandy Billingslea - Violin [Second] (#9) 

Tracklist: 

The Blues In Jazz
01. Ray's Collard Greens {Steve Turre} (6:34)
02. Misty {Johnny Burke, Erroll Garner} (5:18)
03. Duke Rays {Steve Turre} (5:20)
04. The Way You Look Tonight {Dorothy Fields, Jerome Kern} (7:01)

Modern And Modal
05. Ellington Medley: {Duke Ellington} (7:59)
5.1 Do Nothing Till You Hear From Me
5.2 Five O'Clock Drag
06. Something For John {Steve Turre} (5:34)
07. In The Spur Of The Moment {Stephen Scott} (9:13)

Afro-Cuban Sounds
08. Suenos De La Habana {Steve Turre} (5:42)
09. Claudia {Chucho Valdés} (9:21)
10. Descarga Ahora {Steve Turre} (6:25)

Credits:
Producer - Myles Weinstein, Steve Turre
Recording, Mixing & Mastering Engineer - Michael Bishop
Technician [Assistant at Avatar Studios] - Andre Yankovsky, Aya Trewhella, Rory Romano
Technician [Assistant at Master Sound] - David Merrill, Ted Trewhella
Technician [Assistant] - Francisco Rodriguez, James Yates, Rob Friedrich
Art Direction - Anilda Carrasquillo
Design - Deborah Kane
Photography [Cover] - John Abbott
Management - Myles Weinstein
Liner Notes - J.J. Johnson, Steve Turre

Moutin Réunion Quartet - Something Like Now (2005)

Louis and François Moutin are French-born twin brothers who play drums and bass. Since '97, when François relocated from Paris to New York, they've been separated by a few thousand miles, but have managed periodically to get together to tour and record as the Moutin Reunion Quartet. Saxophonist Rick Margitza joined the lineup in '04 for the group's second album, Red Moon, and pianist Pierre de Bethmann comes on board with Something Like Now. Most of the time, the brothers are playing other peoples' music - they're both busy session players and sidemen - and the Reunion Quartet gives them the opportunity to perform their own material. Every track here, aside from the Charlie Parker collage "Bird's Medley," is written, separately, by either Louis or François. The Moutins have remarkably similar composing styles. Because they're twins? Or because they're both rhythm section players? Je ne sais pas, but I suspect a bit of both. The tunes are mostly full-on, fierce, and upbeat, their angular themes built over brooding, ostinato-based extended riffs, light on lyricism and heavy on atmosphere - the exceptions are François' balladic "Surrendering" and "Echoing," and "Bird's Melody," a 3:24 bass and drums dialogue. Think a heavied-up acoustic Weather Report and you're getting close. The standard of musicianship is high, as you'd expect from a band led by two top sessionmen, and although the Moutins take all the writing credits, they don't hog the solo space. Margitza is up front pretty much throughout with his no-frills, full-throttle blend of Coltrane, Shorter, and Brecker. Bethmann is probably the freshest voice at the mic, and he delivers blindingly intense solos on "Echoing," "M.R.C.," and the perversely named "Take It Easy." His occasional use of the Fender Rhodes includes sonically inventive contributions to the title track and "Touch And Go." And the bottom line? This is technically accomplished, high-energy jazz, with a well-defined aesthetic and truckloads of group interplay and muscular soloing. It is, perhaps, a touch muso-ish, and the composition base might benefit from being broadened to include other writers, but it's an often-exhilarating ride. ~ by Chris May, AAJ. 

Nocturne Records, NTCD 375, 2005
Recorded 5th-7th & 8th February, 2005 at the Studio Guimick, Yerres, France 

Musicians:
François Moutin - Acoustic Bass, Arranger (#3)
Louis Moutin - Drums
Rick Margitza - Tenor Saxophone
Pierre de Bethmann - Piano 

Tracks:
01-02. Something Like Now, Part 1+2 {Louis Moutin} (8:38)
03. Bird's Medley {Charlie Parker} (3:22)
04. Take It Easy {Louis Moutin} (7:39)
05. Surrendering {François Moutin} (6:17)
06. M.R.C. {François Moutin} (5:36)
07. Tomcat {Louis Moutin} (7:12)
08. Echoing {François Moutin} (7:49)
09-10. Bottom Line, Part 1+2 {François Moutin} (7:43)
11. Touch And Go {Louis Moutin} (4:32) 

Total Time: 58:48 

Original CD poorly separated #1+2 and #9+10
Tracks now carefully rejoined for improved listening. 

Credits:
Recording & Mixing - Pierre Guinot
Mastering - Bruno
Photos - Ursula K
Graphic Design - Renaud Barès

Hidefumi Toki Quartet - Toki (1975) [vinyl]

Deeply personal work from Japanese saxophonist Hidefumi Toki - a player who manages accomplish a great deal in a fairly stripped-down setting - filling spare space with gentle notes on alto and soprano sax, often delivered with a nicely raspy tone! The group here is a quartet - with Kazumi Watanabe on guitar, Nobuyoshi Ino on bass, and Steve Jackson on drums - and the setting is laidback and mellow, often moving at a pace that's slow, but always flowing with a great gentle swing. Tracks are long, and titles include the great originals "Darkness", "Lullaby For The Girl" and "Old Song Blues" - plus nice takes "When Sunny Gets Blue" and Ornette Coleman's "Blues".  © Dusty Groove, Inc. 

Three Blind Mice, TBM-46, 1975
Recorded 17th May, 1975 at AOI Studio, Tokyo, Japan 

Musicians:
Hidefumi Toki - Alto Saxophone, Soprano Saxophone
Kazumi Watanabe - Guitar
Nobuyoshi Ino - Bass
Steve Jackson - Drums 

Tracks:
A1. Lullaby For The Girl {Hidefumi Toki} (11:09)
A2. Darkness {Hidefumi Toki} (10:03)
B1. Blues {Ornette Coleman} (8:17)
B2. When Sunny Gets Blue {Jack Segal, Marvin Fisher} (5:58)
B3. Old Song Blues {Hidefumi Toki} (5:40) 

Total Time: 41:07 

Credits:
Producer - Takeshi Fujii
Recording & Mixing Engineer - Yoshihiko Kannari
Recording Engineer [Assistant] - Masayoshi Ohkawa
Engineer [Cutting] - Makoto Nakamura
Art Direction - Ben Nishizawa
Liner Notes - Takeo Fujii 

Wonderful Record! Hidefumi Toki is a pure genius. His saxophone sound is so deep and intense, in the vein of Coltrane. Tremendous spiritual jazz reminding me sometimes the Joki Freund's Yogi Jazz. The rest of the lineup is killer. Gorgeous... ~ kestudy, discogs.com.

Steve Turre - Steve Turre (1997)

Steve Turre is the 1997 self-titled album by American trombonist Steve Turre. This is his sixth solo album, his first of two albums he would do for Verve Records. The album features a number of special guests, including Cassandra Wilson, Randy Brecker, Jon Faddis, Mongo Santamaria, and Regina Carter. No wonder Steve Turre merely used his name as the title of this tour de force, for it is a supremely ambitious, self-defining project that covers an enormous amount of ground and means on one small disc. With his trombone and signature conch shells as a base, Turre expands his reach to embrace the Western Hemisphere - particularly Cuba and Brazil – arranging, composing, inviting stellar guests to chip in, and ending up with a beautiful, swinging record that can't be mistaken for anyone else's. One gets a powerful dose of Turre's unique sound world on the fascinating opening track, "In a Sentimental Mood," done bossa nova style with a conch shell solo that sounds like late-period Dizzy Gillespie and a smoky Cassandra Wilson vocal. There are ample layers of Turre's multi-tracked conch shell harmonies, the sweetest ensemble sound this side of Lombardo and one that is used as a genuinely musical ingredient, not a gimmick. Turre is secure enough to feature the majestic sound of J.J. Johnson, who plays magnificently on the lengthy tone poem "The Emperor" - whose title undoubtedly refers to the elder trombone giant - and on "Steve's Blues." Afro-Cuban music plays a major role here, as Mongo Santamaria's veteran chartmeister Marty Sheller arranges "Ayer Lo Vi Llorar" for the 81-year-old Queen of Boleros, Graciela Perez - and then Mongo himself duels with the madly comping McCoy Tyner on, of course, "Mongo 'n' McCoy." The booklet notes (by Turre himself) are an exhaustive play-by-play of what was clearly an exhausting project, yet the final product has much of the exuberance of a spontaneous jam session. ~ Richard S. Ginell, All Music Guide. 

Verve Records, 314 537 133-2, 1997
Recorded 7th May and 20th June, 1996 at Master Sound Astoria Studios, New York 

Personnel:
Steve Turre - Trombone, Shells
Cassandra Wilson - Vocals (#1)
Graciela Perez - Vocal (#4)
Randy Brecker - Trumpet & Flugelhorn
J.J. Johnson - Trombone
Jon Faddis - Trumpet
Alfredo "Chocolate" Armenteros - Trumpet
Britt Woodman - Trumpet [Open Solo, #7]
Stephen Scott - Piano
Willie Rodriguez - Piano
Stefon Harris - Marimba, Balifone, Gong, Vibraphone
Andy Gonzalez - Bass
Robin Eubanks - Shells & Trombones
Jimmy Bosch - Shells & Trombones
Douglas Purviance - Shells & Trombones
Frank Lacy - Shells & Trombones
Romero Lubambo - Guitar
Mongo Santamaria - Conga [Solo]
Herculano Federici - Surdo & Percussion
Manny Oquendo - Bongos, Timbales [Solo] Guiro & Cow Bell, Percussion
Milton Cardona - Conga & Shakere
Kimati Dinizulu - Djimbe, African Drums
Victor Lewis - Drums
Portinho - Drums
Horatio "Negro" Hernandez - Drums
Akua Dixon - Cello [Solo]
Regina Carter - Violin [Solo]
Carlos Baptiste - Violin
Ron Lawrence - Viola 

Tracks:
1. In A Sentimental Mood {Duke Ellington} (8:26)
2. The Emperor {Steve Turre} (12:47)
3. Let It Go {Steve Turre} (8:02)
4. Ayer Lo Vi Llorar {José Antonio Mendez} (5:42)
5. Coastin' With Bobby {Steve Turre} (8:43)
6. Steve's Blues {Steve Turre} (6:38)
7. Inocencia [Basta De Clamares Inocencia] {Cartola} (5:44)
8. Mongo 'N' McCoy {Steve Turre} (10:30) 

Credits:
Producer - Billy Banks
Engineer - David Merrill
Assistant Engineer - Rob Farrell, Teddy Trewhella
Pianos Tuner - Max Conti
Mixed, and Mastering - Master Sound Astoria Studios, Astoria, New York 

Once again Steve Turre has shown his style and ability by making an album that is entertaining to all. Turre not only shows his technical ability, but he shows his usual graceful and easing style. He also has great guest performances. The list includes Randy Brecker, J. J. Johnson, John Faddis, and many others. While Turre's seeming obsession with the conchshell provides the listener with a very soothing and natural sound at times, occasionally he can leave the listener wishing he would pick up his trombone. This album is a must have for anyone who values the beauty of the trombone, or the intricacies of good jazz.

Keiko Matsui - Cherry Blossom (1992)

If we're talking Keiko Matsui, we can expect another impressionistic album cover which belies the often-explosive music on the disc. Matsui draws a little more from her heritage this time but textures it with soulful excursions ("Walking on the Bridge"). She once again gives radio a seductive earful while continuing her heightened exploration into more challenging orchestral sounds and several impressive, wildly percussive Latin journeys (e.g., "Sail South"). Making perfect use of Lenny Castro's spicy percussion and Clay Jenkins' punchy trumpet flavors, Matsui lets loose. The gospel vocal by Arnold McCuller is a strong one. Other newcomers to the fold are guitarist Jorge Strunz, Jon Clark (recorder) and Sam Riney on sax. ~ by Jonathan Widran, AMG.

White Cat Records, 77701-2, 1992
Recorded at:
Milagro Sound Recorders, Glendale, California
Pacifique Studio, North Hollywood California
The Club House Studio, Burbank, California
Aire L.A. Studios, Glendale, California 

Musicians:
Keiko Matsui - Keyboards Arranger (#3,4,5,7)
Clay Jenkins - Trumpet (#8), Solo (#2)
Bill Armstrong - Trumpet (#2)
Alex Iles - Trombone (#2)
Gerald Albright - Saxophone (#1,3,5)
Sam Riney - Saxophone (#2,8)
Steve Tavaglione - Saxophone (#6,7)
Jon Clark - Recorder (#6), English Horn, Saxophone (#9)
Kazu Matsui - Shakuhachi (#9)
Derek Nakamoto - Synthesizer (#1,9), Arranger (#1,9)
Gary Stockdale - Synthesizer (#2,6,8) Arranger (#2,4; [Strings],6,8)
Ron Komie - Guitar (#2-5,8)
Jorge Strunz - Acoustic Guitar (#6)
Anas Allaf - Acoustic Guitar (#7)
Richard M. Schmidt - Steel Guitar (#8)
Brad Cumming - Bass (#1,3)
John Pena - Bass (#2,4,6-9)
Jimmy Johnson - Bass (#5)
Ed Smith - Drums (#1,3)
Bernie Dresel - Drums (#2,4-8)
Robert Chiarelli - Drum Programming (#3)
Lenny Castro - Percussion (#1-5,7,8)
Arnold McCuller - Lead Vocals (#5)
Yvonne Williams - Background Vocals (#5)
Alfie Silas - Background Vocals (#5)
Jeff Day - Lyrics (#5) 

Tracks:
1. Rainy Season (4:48)
2. Sail South (5:11)
3. Walking On The Bridge (4:18)
4. Crescendo (5:30)
5. She Prays To The Wind (4:41)
6. Cherry Blossom (5:02)
7. Frontier (4:19)
8. Foot Steps (4:08)
9. Dawn Opener (5:29) 

All Compositions by Keiko Matsui

Total Time: 43:30

Credits:
Producer - Kazu Matsui
Recording - Robert Biles, Robert Chiarelli, Dennis Moody
Mixing - Robert Chiarelli (#1-4,6,7,9), Craig Burbidge (#5,8)
Mastering - Teppei Kasai
Photography - Katsuhiro Ichikawa
Art Director - Hidetake Awano [Momogumi]
Cover Art - J. Torrents Llado

Aldo Romano Quartet - Jazz À Porquerolles (2008)

Here we have a splendid concert by the Aldo Romano Quartet comprised of some of the best jazz musicians coming out of Europe. Drummer Aldo Romano has over many decades continued to composed and assemble an amazing array of bands showcasing his music. Many musicians have come into their own as a result of his expressive appeal through his love of jazz. This quartet is no exception, whereby he is joined by Italian virtuoso clarinetist Mauro Negri, the exciting French saxophonist Géraldine Laurent and bassist Henri Texier. Essentially, this band appears on Aldo's "Just Jazz" album released on Dreyfus Jazz (2008) with many of the tunes included here. The majority of the tunes for this date are penned by Aldo with the exception of two "Black And Blue" and "Maple Leaf Rag". The group as a whole presents an excellent program that truly verifies the soaring individual talents of all players, enjoy! 

Mezzo Live
Recorded during 2008 at Jazz à Porquerolles, Parc National de Port-Cros, France 

Musicians:
Aldo Romano - Drums
Géraldine Laurent - Saxophone
Mauro Negri - Clarinet
Henri Texier - Double Bass 

Tracks:
1. Blue Bamboo Blue (Aldo Romano)
2. Cité Soleil (Aldo Romano)
3. Chick Webb (Aldo Romano)
4. Handle With Care (Aldo Romano)
5. Black And Blue (Andy Razaf, Fats Waller, Harry Brooks)
6. Maple Leaf Rag (Scott Joplin)
7. Lontananza (Aldo Romano) 

Total Time: 52:37

Changes “Emanuele Cisi” - Small Changes (2001)

The instrumentation of saxophone and rhythm can be so humdrum that any new view from the mainstream through these lenses, however modest, is cause for rejoicing. The proof here is in the nuance, as there is almost always something brewing that catches the ear. The stamp of pianist Stefano Battaglia is found all over this engaging and sensitive set of original pieces performed by the Italian quartet calling itself Changes. Battaglia is the best-known member of the group, and while the resulting music is clearly a collective effort, several numbers (particularly the three he contributed) evidence a thoughtful, circumspect approach that reflect his personality. In some ways, some of the pieces on the album sound the way pianist Bill Evans might have sounded if he had added a saxophonist to his trios, though the interplay on the instant CD is not so radical. Emanuele Cisi's laid-back saxophone fits perfectly; even when the pace quickens, as, for example, on the bluesy "The Gambler," Cisi offers a somewhat distant, appealingly exotic feel. At least one of his two compositions, "Ravaise," though thoughtful, is less impressive than his playing. On the slower pieces, drummer Fabrizio Serra and bassist Piero Leveratto engage in the difficult task of keeping the momentum going, although on the more upbeat numbers, such as the vigorously lilting "The Happy Violone," everyone, including the usually more reticent Battaglia, marches aggressively, with considerable success. ~ by Steve Loewy, AMG. 

Splasc(H) Records, CDH 733.2, 2001
Recorded 11th, 12th, 13th September, 1999 at Artesuono Recording Studio, Cavalicco, Italy 

Musicians:
Emanuele Cisi - Tenor Saxophone
Stefano Battaglia - Piano
Piero Leveratto - Bass
Fabrizio Sferra - Drums 

Tracks:
1. Mater {Stefano Battaglia} (4:52)
2. Small Changes {Piero Leveratto} (9:41)
3. Endurance {Emanuele Cisi} (7:26)
4. The Happy Violone {Piero Leveratto} (4:51)
5. Divenire {Stefano Battaglia} (7:56)
6. The Gambler {Piero Leveratto} (7:19)
7. Trovarsi {Stefano Battaglia} (8:58)
8. More Changes {Cisi, Battaglia, Leveratto, Sferra} (5:16)
9. Ravalse {Emanuele Cisi} (6:57) 

Total Time: 63:20 

Credits:
Producer - Changes
Sound Engineer - Stefano Amerio
Cover [Forme Nello Spazio] - Giuliano Romano
Graphic Design - Luigi Naro
Liner Notes [English Texts] - Pete Kercher
Liner Notes [Italian] - Davide Ielmini
Photography - Piero Ottaviano

Emanuele Cisi Quartet - An Homage [Sonny Rollins] From Italy (2001)

Theodore Walter "Sonny" Rollins is an American tenor saxophonist and composer whose eight-decade career has led him from Harlem to the White House and all over the world, and who is considered one of the most influential musicians in jazz. He has had an integral influence on most current and emerging tenor saxophonists and Emanuele Cisi is no exception and hence Cisi for this album pays homage to the great master. Emanuele was born in Torino, Italy, in 1964. A self-taught musician, he is one of the most representative voices in the European jazz scene. His unique tone, mixed with intimate knowledge of tradition and a personal taste for composition, has become a landmark for jazz lovers. In an interview Sonny states "I'm not just avant-garde, I'm not just straight ahead, I'm not just sentimental, I'm all of these things. And I'm trying to get them together, because they’re part of me. That's what I want to portray in a coherent style." ~ by Phil Freeman, 2009. In many ways Cisi has molded his own career along these lines and therefore is quite at home playing Sonny's music, in particular a number of tunes taken from his extensive library of compositions. For this album Emanuele leads a piano-less quartet backed by guitarist Sandro Gibellini, bassist Dario Deidda and drummer Luigi Bonafede, all major players on the Italian scene and featured on may other albums released on Philology Records. A concise and evocative tribute to Theodore Walter Rollins, Enjoy! 

Philology Records, W 186.2, 2001
Recorded Live at Dr. Sax, Matelica'n Jazz Festival, 20th July, 2000 

Musicians:
Emanuele Cisi - Tenor Saxophone
Sandro Gibellini - Guitar
Dario Deidda - Bass
Luigi Bonafede - Drums 

Tracks:
1. Why Don't I {Sonny Rollins} (10:01)
2. Kids Know {Sonny Rollins} (9:37)
3. Strode Rode {Sonny Rollins} (7:00)
4. Wynton {Sonny Rollins} (5:11)
5. Duke Of Iron {Sonny Rollins} (10:14)
6. Without A Song {Eliscu, Rose, Youmans} (7:42)
7. No More {Sonny Rollins} (12:59)
8. Airegin {Sonny Rollins} (7:47) 

Total Time: 70:35

Steve Turre - TNT (2001)

Steve Turre offers his first quintet project with TNT - Trombone ‘N’ Tenor, an exciting collection of eight compositions dedicated to a select group of jazz elders. Turre plays with three different quintets and is joined by tenor saxophonists James Carter, Dewey Redman and David Sanchez. Turre focuses purely on trombone, a departure from his previous releases that have included his exceptional playing on the conch shells. The ensemble boasts an astonishing repertoire of historic compositions by Stanley Turrentine, Hoagy Carmichael, and Benny Goodman as wells as four originals penned by Steve Turre. Among the highlights are an unforgettable version of "Stompin' At The Savoy" that features Dewey Redman's inimitable sax phrasings and nuance, the eleven minute "Dewey's Dance," a modal tune in ¾ time that captivates you with Stephen Scott's piano elegance, and the technical virtuosity of James Carter and Steve Turre's open-horn plunger orations on "Hallelujah, I Love Her So." Unlike his In The Spur of The Moment recording which featured Turre's mastery of the Ellington-style of muted playing, TNT - Trombone ‘N' Tenor treats listeners to Turre's enjoyable art of the plunger-Basie style. David Sanchez's Afro-Cuban voice proves to be the perfect complement for Turre's clave and horn playing on "Puente of Soul." Together with the percussive fuel played by Giovanni Hidalgo, the ensemble reaches new heights in Turre's repertoire of Afro-Cuban jazz. ~ by Paula Edelstein, AMG. 

Telarc Jazz, CD-63529, 2001
Recorded 9th-10th November, 2000 in Avatar Studio B & C, New York City 

Personnel:
Steve Turre - Trombone, Claves
James Carter - Tenor Saxophone (#1,4-6)
Dewey Redman - Tenor Saxophone (#3,8)
David Sanchez - Tenor Saxophone (#2,3,7,8)
Mulgrew Miller - Piano (#1,4-6)
Stephen Scott - Piano (#2,3,7,8)
Buster Williams - Bass (#1,4-6)
Peter Washington - Bass (#2,3,7,8)
Victor Lewis - Drums (#1,4-6)
Lewis Nash - Drums (#2,3,7,8)
Giovanni Hidalgo - Congas, Timbales, Campana (#2,7) 

Tracks:
1. Back In The Day {Stanley Turrentine} (6:39)
2. Puente Of Soul {Steve Turre} (6:10)
3. Stompin' At The Savoy {Benny Goodman, Edgar Sampson, Chick Webb} (8:12)
4. The Nearness Of You {Hoagy Carmichael} (8:18)
5. Hallelujah, I Love Her So {Ray Charles} (5:00)
6. Eric The Great {Steve Turre} (8:55)
7. E.J. {Stanley Turrentine} (5:11)
8. Dewey's Dance {Steve Turre} (11:04) 

Credits:
Producer - Steve Turre, Myles Weinstein
Executive Producer - Robert Woods
Recording And Mixing Engineer - Robert Friedrich
Technical Assistant - Mark Fraunfelder, Ricardo Fernandez
Editor - Robert Friedrich
Cover Photo - John Abbott
Cover Design - Heidi Kropf, Brian Sooy & Co.
Art Director - Anilda Carrasquillo
Liner Notes - Ted Panken, Downbeat, Jazziz, WKCR