Hidefumi Toki - In A Sentimental Mood (1992)

In A Sentimental Mood is a jazz album by Japanese saxophonist Hidefumi Toki, released in 1992 on the Japanese Fun House label. The album features Toki's interpretation of the title track, a famous jazz standard composed by Duke Ellington, alongside several other classic jazz ballads. For this session Hidefumi joins with pianists Hiromasa Suzuki and Soichi Noriki, bassist Ikuo Sakurai and drummer Motohiko Hino. The album consists of eight tracks, six jazz standards and two of Toki's own compositions. This album is a powerful production where he takes the selected jazz ballads head-on. There is a mellowness to this work that comes with its age, but the sound is invariably very fresh. Essentially, it is an album well worth listening to over time. Enjoy! 

Fun House, FHCF-2018, 1992
Recorded 1st & 9th June, 1992 at Onkio Haus 1st, Tokyo, Japan 

Musicians:
Hidefumi Toki - Alto Sax, Soprano Sax
Hiromasa Suzuki - Piano (#1,3,5,8)
Soichi Noriki - Piano (#2,4,6,7)
Ikuo Sakurai - Bass
Motohiko Hino - Drums 

Tracks:
1. In A Sentimental Mood {Duke Ellington} (8:47)
2. How Insensitive {Antônio Carlos Jobim} (7:19)
3. You Are Too Beautiful {Richard Rodgers} (6:10)
4. My Foolish Heart {Victor Young} (8:54)
5. Wyeth {Hidefumi Toki} (5:38)
6. Blues For Toko & Toko {Hidefumi Toki} (6:10)
7. Who Cares? {George & Ira Gershwin} (5:09)
8. Smoke Get In Your Eyes {Jerome Kern} (4:41) 

Total Time: 52:52 

Credits:
Producer - Tetsu Kobayashi
Engineer - Yasuo Morimoto
Assistant Engineer - Seiichi Yoritomi, Kouichi Nakamura
Art Direction & Design - Shigeru Yamaguchi
Graphic Coordinator - Kazuyuki Hikita
Photography - Hisashi Itoh
Liner Notes - Takao Ogawa

LINK

Who Cares?

Michel Petrucciani - Both Worlds (1997) [re-rip]

The diminutive piano dynamo with the dynamic technique has enjoyed a decidedly mixed recording career, never really establishing a good sense of momentum with any one company. That is perhaps until now, where Dreyfus has opened its arms to his various projects, this outing being a program exclusively of his original compositions. His writing is sparkling, witty, largely optimistic and full of heart. All is arranged by the esteemed Bob Brookmeyer, who also graces the session with the somewhat rare offering of his considerable trombone work, rare because his concentration in recent times has been on pen and paper. 

Also assisting Michel are drummer Steve Gadd, who used to be ubiquitous on New York sessions but who seems to have limited such activity in the latter ’90s; the adroit bass guitarist with the acoustic sensibility Anthony Jackson; trumpeter Flavio Boltro and saxophonist Stefano DiBattista, a nice cultural balancing act of three Americans and three Europeans, thus in part comes the title. The theme is further borne out in the Frenchman Petrucciani entrusting his creations to the arranging skills of the American Brookmeyer. The results are a fresh, jazz-proud date that neatly spans the poly-world sensibility. Petrucciani’s compositional influences are equally as disparate, but despite the melding of these wide-ranging elements the date works as a cohesive whole. And the ensemble flavor is indeed manifest. It certainly seems the wisdom of age and experience find Michel no longer content with diving headlong into piano furioso, instead he deals from the standpoint of the essence of jazz-the band sound, something all too rare these days. ~ Willard Jenkins, JazzTimes.

Dreyfus Records, FDM 36590-2, 1997
Recorded 1997At Right Track Recording Studio, New York 

Musicians:
Michel Petrucciani - Piano
Flavio Boltro - Trumpet
Bob Brookmeyer - Trombone, Arranger
Stefano Di Battista - Soprano & Alto Saxophones
Anthony Jackson - Bass
Steve Gadd - Drums 

Tracks:
1. 35 Seconds Of Music And More (5:24)
2. Brazilian Like (4:47)
3. Training (3:58)
4. Colors (6:58)
5. Petite Louise (5:25)
6. Chloe Meets Gershwin (6:14)
7. Chimes (5:11)
8. Guadeloupe (6:12)
9. On Top Of The Roof (5:35) 

All Compositions by Michel Petrucciani 

Total Time: 49:50

Credits:
Producer - Francis Dreyfus, Yves Chamberland
Recording & Mixing Engineer - Roger Roche
Mastering Engineer - Scott Hull [Masterdisk, New York]
Photos - Jean Ber [Back/Front]
Photos - William Laxton [Booklet]
Artwork - Jean-Paul Théodule
Liner Notes - Thierry Pérémarti

LINK

Brazilian Like

Hidefumi Toki - The Good Life (1994)

The Good Life is a jazz album by Japanese saxophonist Hidefumi Toki, released on 2 March 1994 under the Japanese Fun House label. Essentially, it is a ballad-style album that incorporates three of Toki’s own compositions along with five other well-known jazz standards. For this album Hidefumi assembles a tight quartet that includes pianist Manabu Ohishi, bassist Benisuke Sakai and legendary drummer Motohiko Hino. Playing both alto and soprano saxes Hidefumi delivers a polished array of tunes with great acumen, supported skillfully by his fellow musicians. Overall, it's an album that warrants additional appraisals. Enjoy! 

Fun House, FHCF-2150, 1994
Recorded 21st-22nd November, 1993 at Crecente Studio, Tokyo, Japan 

Musicians:
Hidefumi Toki - Alto Sax, Soprano Sax
Manabu Ohishi - Piano
Benisuke Sakai - Bass
Motohiko Hino - Drums 

Tracks:
1. The Good Life {Sacha Distel, Jack Reardon} (6:40)
2. My Funny Valentine {Richard Rodgers, Lorenz Hart} (7:52)
3. Chaka {Hidefumi Toki} (6:48)
4. After Dark {Hidefumi Toki} (8:27)
5. My One And Only Love {Robert Mellin, Guy Wood} (10:08)
6. Old Friend And Dry Martini {Hidefumi Toki} (8:58)
7. In The Wee Small Hours Of The Morning {Bob Hilliard, David Mann} (6:01)
8. Body And Soul {Frank Eyton, Johnny Green, Edward Heyman, Robert Sour} (3:19) 

Total Time: 58:17 

Credits:
Producer - Tetsu Kobayashi
Engineer - Yasuo Morimoto
Engineer [Assistant] - Masatatsu Tsubuki
Mastering Engineer - Setsu Hisai
Art Direction, Design - Shigeru Yamaguchi
Graphic Coordinator - Kazuyuki Hikita

LINK

In The Wee Small Hours Of The Morning

Dave Pike - Moon Bird (1983) [vinyl]

Another one of the post-Europe Dave Pike recordings, with a sound that's a bit straighter than usual, but still with his usual great take on jazzy vibes playing. The title track's a nice breezy groover, and the LP also includes two more originals, one with a Latiny feel called "Set the Stage", the other with the usual Pike goofiness, called "Jumpy the Snail". ~ Dusty Groove.

Muse Records, MR 5261, 1983

Recorded At Sage & Sound Studio, Mastered at The Cutting Room, New York City

Musicians:

Dave Pike - Vibraphone

Tom Ranier - Keyboards, Synthesizer, Tenor Sax {#A3)

Ron Escheté - Guitar

Luther Hughes - Bass

Ted Hawke - Drums, Percussion

Buck Clark - Percussion (#A1-A3,B2)

Tracks:

A1. Moon Bird {Dave Pike} (5:45)

A2. Love For Sale {Cole Porter} (7:15)

A3. Jumpy The Snail {Dave Pike} (7:01)

B1. Set The Stage {Dave Pike} (5:04)

B2. Dream {Jimmy Mercer} (7:23)

B3. Anthropology {Charlie Parker, Dizzy Gillespie} (6:16)

Credits:

Producer - Bill Metz

Engineer - James Mooney

Mastered [Engineer] - Joe Brescio

Artwork [Cover], Design - Ron Warwell

Liner Notes - Fred Goodman

Yoko Miwa - In The Mist Of Time (2001)

‘In the Mist of Time’ is the debut album by the Boston based Japanese jazz pianist Yoko Miwa. Released in 2001, it features a collection of original compositions and one traditional Japanese folk song, showcasing her talent as both a pianist and composer. For this album she chose bassist Massimo Biolcati, drummer Scott Goulding and guest tenorist Tim Mayer on three tunes. 

“Yoko Miwa demonstrates a full command of the inner-directed, post-Bill Evans piano idiom, which also takes in the work of Keith ]arrett and, to lesser extents, Chick Corea and Steve Kuhn… displays her burgeoning talent as a writer of melodically inviting, impressionistic material, as well as introducing a technically assured soloist with a clean, singing sound and an occasional penchant for the blues in pastels.” ~ James Isaacs, DJ and Jazz Critic. 

“In the Mist of Time displays the depth and breadth of Yoko Miwa’s talent." ~ Boston Herald. 

Yoko Miwa, Digital DL, 2001
PJL Records, MTCJ-3023, 2005
Recorded 20th-21st June, 2000 at PBS Studios, Westwood, Massachusetts 

Musicians:
Yoko Miwa - Piano
Massimo Biolcati - Bass
Scott Goulding - Drums
Tim Mayer - Tenor Sax (#2,6,8) 

Tracks:
1. Fragmented Memories {Yoko Miwa} (5:47)
2. The Deep End {Yoko Miwa} (9:14)
3. I’m Okay {Yoko Miwa} (4:55)
4. Alice {Yoko Miwa} (8:06)
5. In The Mist Of Time {Yoko Miwa} (7:48)
6. When Will It Happen {Yoko Miwa} (8:11)
7. Promise {Yoko Miwa} (6:48)
8. Oak Square Blues {Yoko Miwa} (5:27)
9. Red Dragonfly {Japanese Folk Song} (3:04) 

Total Time: 59:23 

Credits:
Producer - Yoko Miwa
Recording Engineer - Peter Kontrimas
Mastering Engineer - Seiji Kaneko
Photography - Robin Z. Boger, Eva Rubinstein, Masao Ota
A&R - Takashi Tannaka
Design - Junko Ishino

LINK

In The Mist Of Time

Hank Crawford - Dig These Blues (1966) [re-rip]

This is one of Hank Crawford's finest albums. Issued in the mid-'60s, it showcases Crawford in fine company. "Dig These Blues" is a down-home affair, in the pocket for the most part with midtempo blues tunes as well as a touch of Memphis-style Ellingtonia in "Don't Get Around Much Anymore." The utterly elegant and beautiful version of Charlie Warfield's "Baby Won't You Please Come Home" is done septet style, with Marcus Belgrave on trumpet. This album's closer, "Bluff City Blues," like "The Crazy Saloon" features Crawford on piano. Released in 1966, this LP contains some deep soul grooves and illustrates perfectly the enormity of his reputation. ~ Extracts from by Thom Jurek, AMG. 

Hank kicks back and blows soulfully - working in a variety of groups with hip players that include Wendell Harrison, Ali Mohammed, Wilbur Brown, and Leroy Cooper. The overall sound is similar to Crawford's other work on Atlantic - nothing too challenging, but in a soulful mode that's always pretty tight. Titles include "New Blues", "Hollywood Blues", "These Tears", "HC Blues", and "The Crazy Saloon". © Dusty Groove, Inc.

Atlantic Records, SD 1436, 1966
Recorded 13th April, 1964 (A4,B1,B3); 10th December, 1964 (#A1,A3,A5)
and 11th February, 1965 (#A2,B2,B4) in New York City 

Musicians:
Hank Crawford - Alto Sax (#A1,A2,A4-B3), Piano (#A3,B4)
Oliver Beener, Phil Guilbeau - Trumpet (#A1,A3,A5)
Jimmy Owens, Marcus Belgrave - Trumpet (#A2,B2,B4)
John Hunt, Julius Brooks - Trumpet (#A4,B1,B3)
Wendell Harrison - Tenor Sax (#A1,A3,A5)
Abdul Baari - Tenor Sax (#A2,B2,B4)
Wilbur Brown - Tenor Sax (#A4,B1,B3)
Leroy Cooper - Baritone Sax (#A1,A3-B1,B3)
Howard Johnson - Baritone Sax (#A2,B2,B4)
Ali Mohammed - Bass (#A1,A3,A5)
Charlie Green - Bass (#A2,B2,B4)
Edgar Willis - Bass (#A4,B1,B3)
Bruno Carr - Drums (#A1,A3-B1,B3)
Milt Turner - Drums (#A2,B2,B4) 

Tracks:
A1. Dig These Blues {Hank Crawford} (4:33)
A2. Don't Get Around Much Anymore {Duke Ellington, Bob Russell} (5:03)
A3. The Crazy Saloon {Hank Crawford} (2:59)
A4. H. C. Blues {Hank Crawford} (2:49)
A5. These Tears {Hank Crawford} (2:36)
B1. Hollywood Blues {Hank Crawford} (3:19)
B2. Baby Won't You Please Come Home {Charles Warfield, Clarence Williams} (5:46)
B3. New Blues {Phineas Newborn} (4:24)
B4. Bluff City Blues {Hank Crawford} (3:52) 

Total Time: 35:21 

Credits:
Supervision - Nesuhi Ertegun & Arif Mardin
Recording Engineer – Phil Iehle, Tom Dowd
Cover Design - Marvin Israel
Liner Notes - Nat Hentoff

LINK

Don't Get Around Much Anymore

Jeff Hackworth - Where The Blue Begins (2008)

Jeff Hackworth plays with a lot of intensity and sticks with what makes jazz a great art form. His sound is not affected and ideas abound in his presentation. After a piano intro Hackworth comes strutting in on "Just A Sittin' And A Rockin" and his message is clear and concise, just get it from the soul and go from there. John Basili adds his comments on the guitar with grace and execution. "Just One More Chance" is my hue and cry and Jeff Hackworth expresses the feeling of this tune with aplomb and finesse. "Stranger In Paradise" is done at racehorse tempo and Hackworth's fiery solo shows that he is equally at home on the speedway or on swing street. "One Mint Julip" is a tune that has been around for time immemorial and this ensemble romps through it like they own it. The tenor solo is perhaps the hallmark of this album; Hackworth is truly in synch with the backbeat shuffle and his soliloquy is as hot as a two-dollar pistol. For good jazz expressed in a swinging mode, this album is a sure bet to please the discriminating ear. ~ by John Gilbert, ejazznews.com. 

Big Bridge Music, BBM 1004, 2008
Recorded 30th October, 2007 at Showplace Studios, Dover, New Jersey 

Musicians:
Jeff Hackworth - Tenor Sax
Lafayette Harris Jr. - Piano
John Webber - Bass
Alvin Atkinson - Drums
John Basili - Guitar (#1,4,7,8,9) 

Tracks:
01. Can't Help Falling In Love {Luigi Creatore, Hugo Peretti, George David Weiss} (4:35)
02. Love Is A Many Splendored Thing {Sammy Fain, Paul Francis Webster} (6:45)
03. What Will I Tell My Heart {Irving Gordon, Jack Lawrence, Peter Tinturin} (5:24)
04. Just A Sittin' And A Rockin' {Duke Ellington, Lee Gaines, Billy Strayhorn} (4:31)
05. Just One More Chance {Sam Coslow, Arthur Johnston} (7:10)
06. Stranger In Paradise {Alexander Borodin, George Forrest, Robert Wright} (3:02)
07. Oh You Crazy Moon {Johnny Burke, James Van Heusen} (6:15)
08. One Mint Julip {Rudy Toombs} (4:56)
09. Then I'll Be Tired Of You {E.Y. "Yip" Harburg, Arthur Schwartz} (6:27)
10. Stairway To The Stars {Matty Malneck, Mitchell Parish, Frank Signorelli} (4:35) 

Total Time: 53:43 

Credits:
Producer - Houston Person
Recording, Mixing & Mastering - Ben Elliot
Photos - Evelyn Burg

LINK

Oh You Crazy Moon

Jeff Kashiwa - Walk A Mile (1997)

Taking a break from his day job with the Rippingtons, saxophonist Jeff Kashiwa treads some different ground on Walk a Mile (Fahrenheit FR9603-2; 52:06). The talented wind player experiments with a variety of textures and moods-from the brassy and warmly inspirational “Givin’ In,” to the loping, urban-toned title track, both of which showcase some soulful, economical work in lean settings. Kashiwa pairs up well with keyboardist Dave Kochanski (who shares writing credits on the album), as well as with gypsy guitarist Marc Antoine, whose pretty, driving acoustic work support the swirling Brazil feel of "August Moon" and the knuckling Latin rhythms on "Rise." Both of these pieces feature Kashiwa's fine flute work, which is especially lithe and haunting in the alto tones of "Rise." Throughout the album, Kashiwa takes advantage of his time away from the Rips to spread his wings as a soloist. The results are well worth checking out. ~ Hilarie Grey, JazzTimes.com. 

Fahrenheit Records, FR 9603-2, 1997
Recorded at Sonic Jungle Studios, North Hollywood, California;
Colorado Sound Recording Studios, Denver, Colorado;
and Kokoki Studios, Woodland Hills, California 

Tracklist: 

01. Givin' In {Dave Kochanski} (5:12)
Jeff Kashiwa - Tenor Sax
Dave Kochanski - Keyboards, Synth [Programming], Synth [Fills]
Allen Hinds - Guitar
Melvin Davis - Bass [4 String Jazz]
Dave Hooper - Drums 

02. Saratoga {Jeff Kashiwa} (5:11)
Jeff Kashiwa - Alto Sax, Tenor Sax, Synth [Programming]
Dave Kochanski - Piano, Synth
Russ Freeman - Acoustic Guitar, 12-String Acoustic Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums
Steve Reid - Percussion 

03. August Moon {Jeff Kashiwa} (5:02)
Jeff Kashiwa - Soprano Sax, Alto Flute, Electronic Wind Instrument, Synth [Programming]
Dave Kochanski - Piano
Marc Antoine - Acoustic Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums
Steve Reid - Percussion 

04. Slide {Jeff Kashiwa} (6:24)
Jeff Kashiwa - Alto Sax, Synth [Programming]
Dave Kochanski - Keyboards, Synth [Programming]
Allen Hinds - Guitar
Melvin Davis - Double Bass [7 String], Bass [4 String Jazz]
Dave Hooper - Drums
Eddie Drayton - Percussion 

05. I See It In Your Eyes {Jeff Kashiwa} (5:29)
Jeff Kashiwa - Alto Sax, Electronic Wind Instrument
Dave Kochanski - Keyboards
Allen Hinds - Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums
Steve Reid - Percussion 

06. Rise {Jeff Kashiwa} (4:59)
Jeff Kashiwa - Alto Flute, Tenor Sax, Synth [Programming]
Dave Kochanski - Piano
Marc Antoine - Acoustic Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums
Steve Reid - Percussion 

07. Walk A Mile {Jeff Kashiwa} (4:48)
Jeff Kashiwa - Soprano Sax, Alto Sax, Synth [Programming], Loops
Dave Kochanski - Clavinet, Piano [Fills]
Allen Hinds - Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums
Eddie Drayton - Percussion 

08. After The Rain {Jeff Kashiwa} (5:08)
Jeff Kashiwa - Alto Sax, Synth [Programming]
Dave Kochanski - Keyboards, Synth [Programming]
Allen Hinds - Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums
Eddie Drayton - Percussion 

09. New Day {Jeff Kashiwa} (5:16)
Jeff Kashiwa - Alto Sax, Synth [Programming], Loops
Dave Kochanski - Keyboards, Synth [Solo]
Allen Hinds - Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums 

10. Our Cry, Our Prayer {Dave Kochanski} (4:30)
Jeff Kashiwa - Soprano Sax, Alto Sax
Dave Kochanski - Synth [Programming], Piano
Allen Hinds - Guitar
Melvin Davis - Double Bass [7 String]
Dave Hooper - Drums 

Total Time: 52:02 

Credits:
Producer, Arranger - Jeff Kashiwa, Dave Kochanski
Executive-Producer, Art Direction - Peter Trimarco
Executive-Producer - RJ Miller, Richard Bernstein
Engineer [Tracking] - Alex Rodriguez
Mixing & Mastering - Jeff Shuey
Overdubbing [Additional] - Brian Springer
Photography - David Hopley
Art Direction - Brian K. Parrish

LINK

August Moon

Massimo Biolcati - Persona (2008)

Swedish-Italian bassist Massimo Biolcati has been working in support of guitarist Lionel Loueke for a decade, but asserts his role as a leader in name on this debut release. Loueke is here, with the always dynamic drummer Jeff Ballard and the surprisingly adept pianist Peter Rende. The CD is split into equal parts of five selections - "Motion" and "Stillness" - the former energetic and forward-thinking, the latter pensive and somewhat introspective, with cameo spots for vocalists Lizz Wright and Gretchen Parlato. The first five pieces feature Loueke in a way that his recordings as a leader also showcase his utterly brilliant, witty, quirky, unique sound. Using a hollowed, blanked-out amplified guitar with effect pedals, Loueke is able to straddle the electro-acoustic line without overemphasizing either. He is the new contemporary Lion King of freshness on the contemporary jazz guitar, and a parallel to the virtuoso accomplishments of Wes Montgomery, using those pretexts but sounding far removed. Check out the choppy kinetic style on "The Beginning," the late-night stealth approach on "Deconstruction," and the quick 5/4 rhythms in the more acoustic/less-processed road song "Transference" for reference points. Rende is a find, as his happy two-note phrases juxtaposed against Loueke contrast on the swinging shuffle "Wise Way." Their diffuse guitar/piano musings go very loose, free, and yet contemporary with Loueke's cheek-popping vocals during "TT." The second half of the program showcases the understated, delicate, and pretty side of Rende on "Under July," where Biolcati takes a central role on an ostinato line, with Loueke leading, but taken over by the beauty of the piano. Rende plays accordion on the 6/8 ethnic beat of "Scandinavia," evoking early-morning frosty mountainscapes in the Alps. The vocal cuts are nice enough, with Wright expressing a sheer lonely mood for "Winterhouse" and the emerging star Parlato dreamy and cerebral during "Clouds." Biolcati, clearly the director but not a dictator in these proceedings, knows how to take a back seat, but also understands the value in letting his brilliant session mates cut loose. This is an excellent debut release, and has to rank as one of the more intriguing and diverse modern jazz issues of 2008. ~ Michael G. Nastos, AMG. 

ObliqSound Records, OS 509, 2008
Recorded 13th & 14th May, 2007 at Kampo Cultural Center, New York 

Musicians:
Massimo Biolcati - Bass
Lionel Loueke - Guitar, Vocals
Peter Rende - Piano, Accordion (#10)
Jeff Ballard - Drums, Percussion
Lizz Wright - Vocals (#6)
Mona Vetrhus - Lyrics (#6)
Gretchen Parlato - Vocals, Lyrics (#8)

Tracklist:

Motion
01. The Beginning (5:08)
02. Deconstruction (5:08)
03. Wise Way (7:10)
04. Transference (8:13)
05. TT [In Memoriam Take Toriyama] (4:31)
Stillness
06. Winterhouse (4:31)
07. Hopeless Dream To Be (5:08)
08. Clouds (5:47)
09. Under July (7:40)
10. Scandinavia (6:39) 

All music composed by Massimo Biolcati 

Total Time: 59:59 

Credits:
Producer - Michele Locatelli
Engineer - Juan Pablo Alcaro
Assistant Engineer - Ariosto Arata
Product Manager - Stephanie Jo Klein
Photography - Carsten Fleck
Design - Andrea Ruggiero

LINK

Deconstruction

Jimmy Greene Quartet - Live At Smalls (2010)

Those who know Greene through his articulate tenor saxophone work with Tom Harrell will be startled by the first track here. The title, “Sense of Urgency,” is an extreme understatement. Greene’s commanding opening calls accumulate complexity over an obsessive crashing vamp by bassist Ugonna Okegwo and pianist Xavier Davis. Drummer Gregory Hutchinson storms and rages. Greene’s solo gets caught up in wild spins then splinters into jagged fragments. The rest of the album is more measured, and even has two grainy soprano saxophone ballads, but stays intense. The very best thing about the smalls-LIVE series is how these recordings recreate the visceral experience of Smalls, the hang itself. Engineer (and celebrated jazz photographer) Jimmy Katz comes up close on every instrument-appropriate for a club with 60 seats-but also lets in the applause, the tinkling glasses, the night air. ~ Extract by Thomas Conrad, jazztimes.com. 

SmallsLIVE Records, SL - 0012, 2011
Recorded 19th & 20th February, 2010 Live at Smalls Jazz Club, Greenwich Village NYC 

Musicians:
Jimmy Greene - Saxophone
Xavier Davis - Piano
Ugonna Okegwo - Bass
Gregory Hutchinson - Drums 

Tracks:
1. Sense Of Urgency {Jimmy Greene} (11:59)
2. Ugly Beauty {Thelonious Monk} (10:37)
3. Soul Music {Jimmy Greene} (12:10)
4. Self Portrait #1 {Jimmy Greene} (9:14)
5. Home {Jimmy Greene} (7:03)
6. Bloomfield {Jimmy Greene} (11:42) 

Total Time: 62:46 

Credits:
Producer, Executive Producer, Liner Notes - Spike Wilner
Recording Engineer - Jimmy Katz
Producer, Mixing Engineer - Ben Rubin [House Of Cha Cha]
Mastering Engineer - Gene Paul, Jamie Polaski [G & J Audio]
Design, Photography - Michelle Watt

LINK

Ugly Beauty

Toshiyuki Honda, Chick Corea, Miroslav Vitous, Roy Haynes - Dream (1984)

“Dream” is a 1983 jazz album by Japanese saxophonist Toshiyuki Honda, who is supported by an acclaimed American jazz trio consisting of Chick Corea on piano, Miroslav Vitouš on bass, and Roy Haynes on drums. The album was recorded at Toshiba EMI 3rd Studio and originally released in Japan in 1984 on the Eastworld label. This recording is a notable collaboration where Honda, playing alto and soprano saxophone, joins the trio of Corea, Vitous, and Haynes, who had previously released their own acoustic trio album, Trio Music, in 1982. The album is a notable Japanese Jazz Fusion/Hard Bop record, offering avant-garde explorations and spiritual jazz, well-regarded by collectors and fans of Japanese experimental jazz. 

Eastworld Records, EWJ-90027, 1984
Somethin' Else, TOCJ-8040, 1998
Recorded 9th-10th August, 1983 at Toshiba EMI Studio III, Tokyo, Japan 

Musicians:
Toshiyuki Honda - Alto Sax, Soprano Sax
Chick Corea - Piano
Miroslav Vitouš - Bass
Roy Haynes - Drums

Tracks:
1. Dream Comes True {Toshiyuki Honda} (5:39)
2. Sophisticated Lady {Duke Ellington, Irving Mills, Mitchell Parish} (7:51)
3. Co-Motion {Chick Corea} (12:16)
4. I Hear Rhapsody {George Fragos, Jack Baker, Dick Gasparre} (5:50)
5. Alice In Wonderland {Sammy Fain, Bob Hilliard} (6:58)
6. Ode To Siddhartha {Chick Corea} (9:58) 

Total Time: 48:37 

Credits:
Producer - Hiro Kaijwara, Toshiyuki Honda
Producer, Production Coordinator, Remixing - Chick Corea
Executive Producer - Nobuo Ohtani
Recording & Remixing Engineer - Yoshihisa Watanabe
Assistant Engineer - Fumisuke Usui
Remixing Engineer - Duncan Aldrich
Mastering Engineer - Shogo Takeuchi
Album Design - Heyglow Kobayashi
Photography [Front] - Tadayuki Naitoh
Photography [Back] - K. Abe

LINK

Dream Comes True

Claire Daly - Movin’ On (2002)

The CD title, Movin' On, won't be found among the 13 song titles, but the concept pervades the album. Some samples: "Softly as I Leave You," "Every Time We Say Goodbye," "After You’ve Gone," "Goodbye." Get the message? It’s Claire Daly’s way of dealing with a series of personal traumas, but if you’re expecting nearly 70 minutes of dirges played on that most appropriate instrument of sadness, the baritone sax, guess again. This is a gently swinging quartet session. This is Daly’s second album as a leader, but her resume as a side-woman stretches from Taj Mahal to the all-female big band Diva to Billy Taylor. Here she receives correct but uninspiring backing from pianist Eli Yamin, bassist Dave Hofstra and drummer Peter Grant. Daly’s improvisations-usually in the thinner air of the tenor range-are clean and well sculpted, but seldom adventurous. Her most heartfelt ballad efforts can be heard on "Every Time We Say Goodbye," and she responds nicely to guest trumpeter James Zollar when they trade eights on "If Ever I Would Leave You." Daly’s best moments can be heard on the swinger "You Said It," and when she digs down into the bowels of her horn for Monk's "Bye-Ya," Mingus' "Goodbye Porkpie Hat," Mulligan-inspired "Love Me or Leave Me" she truly captures the essence of farewell. Daly’s two vocals, "Smile" and "Some Other Time," are unadorned, almost tentative, but she knows how to leave out words in order to shape a line. ~ Harvey Siders, Jazztimes.com. 

Koch Jazz, KOC CD-51008, 2002
Recorded 30th & 31st May, 2001 at Nola Studios, New York City 

Musicians:
Claire Daly - Baritone Sax, Vocals (#5,13)
Eli Yamin - Piano
Dave Hofstra - Bass
Peter Grant - Drums
James Zollar - Trumpet (#2,7)

Tracks:
01. Softly As I Leave You {Antonio De Vita, Giorgio Calabrese, Hal Shaper} (4:22)
02. You Said It {Tommy Turrentine} (4:35)
03. Every Time We Say Goodbye {Cole Porter} (4:34)
04. Goodbye {Gordon Jenkins} (7:02)
05. Smile {Charlie Chaplin} (5:00)
06. After You’ve Gone {Henry Creamer, Turner Layton} (5:41)
07. If Ever I Would Leave You {Alan Jay Lerner, Frederick Loewe} (6:29)
08. Goodbye Porkpie Hat {Charles Mingus} (5:30)
09. Birdie Bye {Joel Forrester} (5:14)
10. A Bientot {Billy Taylor} (5:51)
11. Bye-Ya {Thelonious Monk} (4:13)
12. Love Me Or Leave Me {Gus Kahn, Walter Donaldson} (5:56)
13. Some Other Time {Betty Comden, Adolph Green, Leonard Bernstein} (2:47) 

Total Time: 67:20 

Credits:
Producer, Editing - David Merrill
Engineer - Jim Czak
Engineer [Assistant] - Dan Hewins
Package Design - Colleen Cody
Photography - Enid Farber
Liner Notes - Lara Pellegrinelli

LINK

You Said It

Mayuko Katakura - The Echoes Of Three (2015)

“The Echoes of Three” is a 2015 jazz album by the Japanese pianist Mayuko Katakura. It is a piano trio session recorded in New York that features her reunion with former classmates from The Juilliard School, bassist Yasushi Nakamura and drummer Carmen Intorre. The album features six of Katakura's original compositions and interpretations of three jazz standards, one penned by Eric Dolphy, Wayne Shorter and Duke Pearson. She is noted for a balance of compositional planning and in-the-moment improvisation. Her style on the album has been described as incorporating elements of McCoy Tyner's angularity and Thelonious Monk's spontaneity. The album includes original tracks and covers of works by other jazz musicians. "Into Somewhere" originally, based on "Out Of Nowhere"; "At The Studio [Reunion]” is a group improvisation; "Directions" honors influences stemming from Mulgrew Miller and Geri Allen and "A Barfly's Hope" an original written for pianist Elmo Hope. Mayuko offers the listener a high-level jazz trio album, showcasing her brilliant playing and composing ability, enjoy! 

55 Records, FNCJ-5561, 2015
Recorded 10th & 11th March, 2015 at Samurai Hotel Recording Studio, Astoria, New York 

Musicians:
Mayuko Katakura - Piano
Yasushi Nakamura - Bass
Carmen Intorre - Drums 

Tracks:
1. Echo {Mayuko Katakura} (4:39)
2. Into Somewhere {Mayuko Katakura} (6:30)
3. A Dancer’s Melancholy {Mayuko Katakura} (7:25)
4. At The Studio [Reunion] {Mayuko Katakura} (5:24)
5. Directions {Mayuko Katakura} (6:45)
6. Serene {Eric Dolphy} (8:00)
7. Pinocchio {Wayne Shorter} (3:45)
8. You Know I Care {Duke Pearson} (6:51)
9. A Barfly’s Hope {Mayuko Katakura} (5:13) 

Total Time: 54:35 

Credits:
Producer - Mayuko Katakura
Recording, Mixing & Mastering - Katsuhiko Naito

LINK

Pinocchio

Joshua Redman Quartet - Passage Of Time (2001)

Talk about the passage of time, a turn of phrase that gives Joshua Redman’s new album its name, hard to believe that it’s been eight years since the saxophonist released his first album as a leader. Since then, Redman has consistently been the darling of a new generation of jazz lovers, while also raising the ears of those seasoned listeners who appreciate the sense of history and tradition that Redman lays bear with his horn. Although two of his previous records featured guitarists (namely, Pat Metheny and Peter Bernstein), Redman has remained committed to the quartet format and Passage of Time is no exception there (the latest group features Aaron Goldberg, Rueben Rogers, and Gregory Hutchinson). Our leader also likes to write his own material and this holds true for this new endeavor too, although it arguably contains some of his best work in this area. Firing things up, Redman starts the disc off by himself with a proclamation that utilizes the tenor’s full range and expressive manner. "Before" acts as a call to worship, leading us to the upbeat swing of "Free Speech, Phase I." Over a vamp, drummer Hutchinson develops a nice froth and foam that leads to the peaceful strains of "Free Speech, Phase II." Four lengthier cuts then provide the meat and potatoes. "Time" clocks in at over ten minutes and the ominous ballad is very close to a musical dialogue, with both Redman and Goldberg tossing phrases back and forth at each other. “Enemies Within” provides the up-tempo swing factor with Redman at his most animated, only to then cool the waters with the aptly titled vignette "After." Throughout Passage of Time, which in some ways functions almost like a suite, Redman’s writing and playing evolves through the use of extended forms that allow for plenty of expressive leg room. This takes the music to a new level that simply cannot be reached via your standard blowing session. ~ by C. Andrew Hovan, AAJ. 

Warner Bros. Records, 9362-47997-2, 2001
Recorded June, 2000 at Avatar Studios, New York City;
River Sound, New York & Sterling Sound, New York 

Musicians:
Joshua Redman - Tenor Sax, Arranger
Aaron Goldberg - Piano
Reuben Rogers - Bass
Gregory Hutchinson - Drums

Tracks:
1. Before (1:50)
2. Free Speech, Phase I (7:05)
3. Free Speech, Phase II (4:29)
4. Our Minuet (8:28)
5. Bronze (8:27)
6. Time (10:38)
7. Enemies Within (9:23)
8. After (3:44) 

All compositions by Joshua Redman 

Total Time: 54:08 

Credits:
Producer - Joshua Redman
Producer [Associate], Engineer - James Farber
Engineer [Assistant] - Anthony Gorman, Aya Nakamora
Mastering Engineer - Greg Calbi
Art Direction - Frank Olinsky
Photography - Duane Michals

LINK

Free Speech, Phase II - Discussion

Yoko Miwa - Fadeless Flower (2003)

Yoko Miwa's regular gig is with the Ryles Jazz Orchestra in Boston, her adopted home since she left the classical world behind and took advantage of a Berklee scholarship to complete the jazz studies she'd begun in her native Japan. She has since been a member of the Berklee faculty and gigged regularly in the Northeast, but she really shines in the trio context. Her second album as a leader (supported beautifully by bassist Greg Loughman and drummer Scott Goulding) is one of the warmest, most unapologetically lyrical jazz albums of the year, but despite its surface charms it doesn't come across as shallow or simplistic in any way. Miwa displays her facility with a variety of styles on this all-original program, from strutting blues ("Blues in the Cave") to reflective ballads (the gorgeous "In My Heart") and percolating bebop ("Black Bunny"). But what's consistently impressive is her ability to deliver complex and challenging musical ideas in a compelling and yet frequently gentle and inviting way. Very highly recommended. ~ Rick Anderson, AMG. 

PJL Records, MTCJ-3009, 2003
Polystar Records, Digital, 2003
Recorded 19th & 20th June, 2002 at:
Boston, MA; PBS Recording Studios, Westwood, MA 

Musicians:
Yoko Miwa - Piano
Greg Loughman - Bass
Scott Goulding - Drums 

Tracks:
1. Sorrowful Moon (8:42)
2. Fadeless Flower (7:04)
3. Blues In The Cave (7:27)
4. In My Heart (5:49)
5. Momentum (7:46)
6. Flood Of Tears (8:54)
7. Black Bunny (5:28)
8. Love (6:25)
9. Finding The Sun (7:39) 

All compositions by Yoko Miwa 

Total Time: 65:21 

Credits:
Coordinator - Kuniya Inaoka
Engineer - Peter Kontrimas
Mastering Engineer - Seiji Kaneko
A&R - Takashi Tannaka
Liner Notes - Masahiko Yuh

LINK

Fadeless Flower

John Handy - New View! The New John Handy Quintet {New link to CD rip]

Well the holiday season is in full swing (no pun intended), and hopefully I can bring some cheer over the next few weeks.  I have posted the last of my 16 bit albums so starting with this post, everything going forward will be in 24 bit/ 48kbps.

John Handy belongs to a circle of jazz artists whom have, for the most part, been grossly overlooked by even the jazz buying community at large.  A musician's musician, he is joined by other sax players like Booker Ervin, Bunky Green, Nathan Davis & Curtis Amy (to name a few) who also belong to this tribe.

It turns out that I couldn't have picked a better recording for the nuanced detail of a higher resolution transfer.  New View! is a gorgeous offering from Handy, combining several styles to create an overall vibe of tremendous space and feeling.  With only three tunes, we are treated to what can only be described as a musical adventure.  Handy pulls the listener in gently, and before you know it, he has strapped you to your seat for a bumpy ride.

His style is best described as inside/outside but I feel that this album goes beyond just Handy himself.  The entire quintet create an atmosphere which is all at once soulful, melodic and at times, tense.  It's this tension and suspended moments of intensity which help set up Handy's voice and ultimately, his message. Wonderful and inspired soloing from all, but particularily Handy who is clearly motivated to get his message across.

This LP is infact a live recording, done at the infamous Village Gate.  The crowd are completely subdued and it's easy to forget the location and circumstances of the recording.  But the fact is, these musicians are truly in the moment and we are getting the best that jazz has to offer - the epitome of the craft.  My record is in great condition and cleaned up really nicely.  That combined with the wonderful fidelity of the recording itself makes for a fantastic listening experience.  The soundstage is surprisingly cavernous which really helps to convey that live atmosphere.  Ripped at 24bit/48kbps and converted to FLAC, this gift is ready for the most scrutinizing of ears... enjoy!!!!

Altoist John Handy's 1967 quintet included vibraphonist Bobby Hutcherson, the up and coming guitarist Pat Martino, bassist Albert Stinson and drummer Doug Sides. They really stretch out on three pieces (John Coltrane's "Naima" and an original), and New View is highlighted by Handy's emotional and episodic "Tears of Ole Miss (Anatomy of a Riot)," which clocks in at 23:45. The inside/outside music is quite picturesque, emotional, and ultimately logical. It is a pity that John Handy did not make more of an impact on the mainstream of jazz, but his three Columbia studio albums still sound fresh decades later. - Scott Yanow / AMG

Columbia CS9497
Recorded live at the Village Gate, New York City, June 28, 1967.

Alto Saxophone – John Handy
Bass – Albert Stinson
Drums – Doug Sides
Guitar – Pat Martino
Vibraphone – Bobby Hutcherson

1. Naima (In Memory Of John Coltrane)  9:34

2. A Little Quiet  13:29

3. Tears Of Ole Miss (Anatomy Of A Riot)  31:00

Ben Haugland - A Million Dreams (2015)

During the course of A Million Dreams, pianist Ben Haugland's second date as a leader, most of the trappings of a typical mainstream jazz record are present and easy to identify. Not unlike a lot of young leaders who are fusing their own creative aspirations with an allegiance to the tradition, Haugland penned four of the disc's eight tracks, and chose three American Standards and a Charlie Parker tune to round out the program. Another recognizable element is the presence of a propulsive, flexible, sensitive rhythm section comprised of Haugland, bassist Jay Anderson and drummer Chris Smith. Haugland, tenor saxophonist Stephen Jones, and trumpeter Scott Wendholt are capable soloists with stimulating things to say, excellent organizational skills, and ample technique. 

While all of these things are significant in themselves, the factors that make A Million Dreams qualitatively different than a slew other recent recordings with a similar conception and instrumentation aren't quite as easy to delineate. A careless listener might contend that the disc is, stylistically and spiritually, just another knockoff of any number of Blue Note, Prestige, or perhaps, Contemporary sides from the 50s or 60s. However, a hasty, facile verdict doesn't come close to telling the whole tale. Though the disc can be listened to casually and enjoyed as such, only repeat visits, close attention, and a willingness to focus on the work from different perspectives reveals the full extent of the band's virtues, as well as delivering some very large rewards. 

The overall sound of Haugland's group surpasses the individual contributions. These guys play the leader's genuinely original compositions - and the rest of the material - with absolute conviction, as well as a great deal of skill and precision. No one sounds anxious to rush through the heads in order to seize an opportunity to blow. For example, the band navigates the twists and turns of Haugland's lively, extended "When Day Met Night," with élan. In lesser hands the composition might not sound nearly as convincing. The same can be said for his lovely, pensive "Dreamscape," in which the group underscores the composition's lyrical quality, and delivers just the right degree of assertiveness. 

A Million Dreams is a confluence of excellent original compositions, empathetic ensemble playing and group interplay, as well as memorable solo statements. Highly recommended. ~ Extract by David A. Orthmann, AAJ. 

Dazzle Recordings, DR905, 2015 

Musicians:
Ben Haugland - Piano
Scott Wendholt - Trumpet
Stephen Jones - Tenor Sax
Jay Anderson - Bass
Chris Smith - Drums 

Tracks:
1. When Day Met Night {Ben Haugland} (7:51)
2. Birds Of A Feather {Johnny Burke, James Van Heusen} (6:19)
3. Here's That Rainy Day {Johnny Burke, James Van Heusen} (8:20)
4. Dreamscape {Ben Haugland} (6:52)
5. Second Sight {Ben Haugland} (5:32)
6. A Weaver Of Dreams {Jack Elliott, Joe Young} (5:20)
7. Dedicated To You {Ben Haugland} (7:17)
8. Big Foot {Charlie Parker} (4:27) 

Total Time: 52:03

LINK

A Weaver Of Dreams

Hubert Laws - Wild Flower (1972) [vinyl]

Wild Flower by Hubert Laws is praised for its sophisticated arrangements, which feature a blend of jazz improvisation with a string section, and a highly-talented studio ensemble. Reviewers note Laws' masterful flute playing, but also highlight the album's compositional depth, with arrangements by John Murtaugh and impressive performances from studio musicians like Chick Corea, Ron Carter, and Richard Davis. It is considered a classic and highly-rated album. AI Overview. 

A nice date from an earlier Laws period with a harder tone and more traditional jazz direction. ~ by Ron Wynn, AMG. 

Atlantic Records, SD 1624, 1972
Recorded 22nd October (#A2,A3) & 23rd November (#A1,B1,B2), 1971
and 27th January, 1972 (#B3) at Atlantic Recording Studios. New York 

Musicians:
Hubert Laws - Flute, Alto Flute, Piccolo, Flute [Amplified]
Ron Carter - Bass
Richard Davis - Bass (#A1-B2)
Chick Corea - Piano (#B3)
Gary Burton - Vibraphone (#B3)
Bernard Purdie - Drums (#B3)
Ramon "Mongo" Santamaría - Congas (#B3)
Joe Chambers, Airto Moreira, Warren Smith - Percussion (#B3) 

Strings:
Bernard Eichen, David Nadien, Harry Lookofsky,
Matthew Raimondi, Paul Gershman - Violin (#A1-B2)
Aaron Rosand, Gene Orloff - Violin (#A2,A3)
Guy Lumia, John Pintavalle - Violin (#A1,B1,B2)
Harold Coletta, Harry Zaratzian, Richard Dickler - Viola (#A1-B2)
Julian Barber - Viola (#A2,A3)
Selwart Clarke - Viola (#A1,B1,B2)
\George Ricci, Richard Bock - Cello (#A1-B2)
Alan Shulman, Seymour Barab - Cello (#A2,A3)
Charles McCracken, Harvey Shapiro - Cello (#A1,B1,B2)
John Murtaugh - Arranger, Conductor 

Tracks:
A1. Wildflower {John Murtaugh} (3:10)
A2. Pensativa {Clare Fischer} (4:02)
A3. Equinox {John Coltrane} (6:21)
B1. Ashanti {John Murtaugh} (5:27)
B2. Motherless Child {Traditional; Arr. John Murtaugh} (5:30)
B3. Yoruba {John Murtaugh} (6:04) 

Total Time: 30:34 

Credits:
Producer - Joel Dorn
Recording Engineer - Lew Hahn
Remixing Engineer - Neal Ceppos
Contractor [Musical] - Hal Grant
Cover - Robert Andrew Parker
Art Direction, Design - Richard Mantel
Lacquer Cut - GP

LINK

Pensativa