Wednesday, September 30, 2009

Arturo Sandoval: L.A. Meetings (2001) mp3 @ 320K



A year before he defected from Cuba, the great trumpeter Arturo Sandoval played with his Cuban band briefly in Los Angeles. A recording session took place that was released for the first time in 2001. Sandoval (who doubles on timbales) is in typically exuberant form with the music (five of the trumpeter's originals and Jobim's "Dindi") ranging from funky to straight-ahead. His sextet includes pianist Hilario Duran (who would become best-known for his work with Jane Bunnett's groups) and the rockish guitarist Jorge Luis Chicoy. A special treat is that Poncho Sanchez sits in on two of the six numbers, fitting in quite comfortably with the Cubans. This historic set (the only recording of Arturo Sandoval's last Cuban band) is full of fire and easily recommended to fans of the funkier side of Afro-Cuban jazz.

Ronny Jordan: The Quiet Revolution (1993) mp3 @ 320K



One of the acid jazz movement's most prominent guitarists, London-born Ronny Jordan is widely credited with returning the instrument to its rightful place as a major force in modern-day jazz; despite outcries from purists, few other artists of his era proved more pivotal in knocking down the long-immutable boundaries of contemporary black music. The son of a preacher, Jordan's early musical history was rooted in gospel; his first public performances were with gospel groups, but the outbreak of Brit-funk during the early '80s led him to begin exploring other avenues of music, culminating in a fascination with jazz. A self-taught guitarist, his early influences included Charlie Christian, Wes Montgomery, and Grant Green, and when hip-hop began to take off, Jordan started exploring ways to fuse jazz and rap together. The first fruit of his endeavors was the single "After Hours," a primitive foray into what would eventually become known as acid jazz. Record companies initially wanted no part of Jordan's music, but when his distinctive cover of the Miles Davis classic "So What" became a hit, it was clear something was afoot. He soon released his debut LP, 1992's Antidote, but it was rapper Guru's breakthrough 1993 album, Jazzmatazz, Vol. 1, on which Jordan's guitar work was prominently featured, that made acid jazz a viable proposition. He subsequently issued such albums as 1993's Quiet Revolution, 1996's Light to Dark, and 2000's Brighter Day.

Esperanza Spalding: Live at the Newport Jazz Festival (2009)


Hailed as a prodigy on the acoustic double bass within months of first touching the instrument as a 15-year-old, Esperanza Spalding has emerged as a fine jazz bassist, but has also distinguished herself playing blues, funk, hip-hop, pop fusion, and Brazilian and Afro-Cuban styles as well. Born in Portland, OR in 1984, Spalding was not well served by the public school system and soon dropped out of classes to be home schooled. Returning to the public school system at 15, she encountered her first acoustic bass (she had already been playing violin for several years) and immediately took to the instrument. Dropping out of school again, Spalding enrolled in classes at Portland State University as a 16-year-old, and earned her B.A. in just three years and was immediately hired as an instructor in the prestigious Berklee College of Music in Boston in the spring of 2005. After touring and playing with a whole host of artists, including Joe Lovano, Patti Austin, Michel Camilo, Charlie Haden, Regina Carter, Pat Metheny, Dave Samuels, and a host of others, in addition to heading her own jazz trio, Spalding recorded and released Junjo on the Barcelona-based AYVA imprint in 2006, following it with the simply named Esperanza on Heads Up Records in 2008.

Paul Jones: Starting All Over Again (2009) mp3 @ 320K


Starting All Over Again is the first solo album in over thirty years from Paul Jones - actor, radio presenter, and one of Britain’s most loved vocalists with Manfred Mann and lately The Blues Band and The Manfreds. It features notable guests such as Eric Clapton, Michael Rickfors, and Percy Sledge and is a stunning contemporary album infusing blues, rock, pop, and acoustic roots styles that will please old and new fans alike. From his time as vocalist with 60s sensations Manfred Mann to his current ‘gig’ with The Blues Band, Jones has been at the forefront of the UK music scene. After releasing three solo records in the sixties he pursued a career in acting (film, TV and stage) which led to performances with London National Theatre and the Royal Shakespeare Company. He now presents the UK's premier blues show on BBC Radio 2 and also tours with The Manfreds, a band consisting of Manfred Mann alumni.

Tuesday, September 29, 2009

[by-request] Marc Johnson: The Sound of Summer Running (1997) mp3 @ 320K



This date is a surprisingly mellow and melodic affair, particularly when one considers the personnel (bassist Marc Johnson, both Bill Frisell and Pat Metheny on guitars and drummer Joey Baron). Much of the music is comprised of unclassifiable, folkish melodies filled with lyrical guitar solos. Frisell is quite restrained throughout (adding a country feel to many of the songs) and Metheny is less distinctive than usual, alternating between his electric and acoustic guitars, as well as his 42-string pikasso guitar. The quartet performs seven Johnson originals (most memorable is "Union Pacific"), two by Frisell and one from Metheny. The overall results are pleasing and relaxed music that falls a little bit short of being the classic date one might expect; more fire was needed.

Chris Hunter: Bop City (2009)



Closely inspired by David Sanborn (who he often sounds like on alto), Chris Hunter is best known in the U.S. for his work with Gil Evans. He started playing music when he was 12, and toured with the National Youth Jazz Orchestra at 19. After playing with Mike Westbrook (1978-1979), Hunter became a studio musician in Europe. He first played with Evans in 1983, which led to him moving to New York. In 1984, he toured with Evans, played with the Michel Camilo sextet, and began working with Mike Gibbs. He went on to record as a leader for Atlantic and the Japanese Paddle Wheel label.

McCoy Tyner Trio with Michael Brecker: Infinity (1995)


It seems only fitting that the initial new release on the latest revival of the Impulse label features McCoy Tyner and Michael Brecker. When Impulse started out in 1960, John Coltrane and Tyner were the first artists to be signed, and when Impulse was briefly brought back by MCA in the 1980s, two of its most important albums were recordings by Brecker. There are not a lot of surprises on this quartet matchup (with bassist Avery Sharpe and drummer Aaron Scott) except perhaps for how well Tyner and Brecker mesh together. The music is somewhat similar to a set by the pianist's regular trio with a solo piece ("Blues Stride"), a generous amount of Tyner originals and colorful versions of Thelonious Monk's "I Mean You" and "Good Morning Heartache," but Brecker's presence and consistently powerful playing does inspire Tyner and his sidemen. For a strong example as to why today's saxophonists have such a high opinion of Michael Brecker, his roaring statement on the extended "Impressions" will suffice. Highly recommended.

Charles Lloyd: Hyperion with Higgins (2001) [lossless, scans]



The December 1999 sessions that produced The Water Is Wide yielded enough material for a second album. Hyperion With Higgins is the result, and its title reflects the sad fact that Billy Higgins, Lloyd's friend and soul mate and the session's drummer, passed away not long after the music was put to tape. The music's spiritual quality is heightened by the after-the-fact dedication. Quite unlike The Water Is Wide, Hyperion With Higgins is comprised entirely of Lloyd's original compositions, although the same lineup is featured: Lloyd, Higgins, John Abercrombie, Brad Mehldau, and Larry Grenadier. After a couple of fairly straightforward jazz pieces ("Dancing Waters, Big Sur to Bahia" and "Bharati"), the quintet delves into two longer works: "Secret Life of the Forbidden City" and the Coltrane-esque "Miss Jessye." They then romp through the title track, a spirited mid-tempo blues, before tackling the album's centerpiece: the five-part "Darkness on the Delta Suite," an ambitious, free-leaning melange of Eastern and rural blues connotations (with a brilliant solo interlude by Abercrombie). The last two pieces — "Dervish on the Glory B" and "The Caravan Moves On" — depart almost completely from jazz vernacular. The former recalls the upbeat, folk-like drone of the sunset portion of "Forest Flower," while the latter, featuring Lloyd on taragato, evokes not only the Middle Eastern desert, but also the inexorable march of time. Thus does a fitting homage to the departed Higgins conclude this exceptionally focused, all-original statement from Charles Lloyd.

Monday, September 28, 2009

Arturo Sandoval: Swingin' (1996) mp3 @ 320K



It seems remarkable that Arturo Sandoval never seems to win any jazz polls, for few trumpeters can come close to equaling his technique, jazz chops, and warm sound. On this advanced hard bop date, the music is strictly straight-ahead without any Latin rhythms. Sandoval matches wits quite successfully with clarinetist Eddie Daniels on two songs, tenor great Michael Brecker on three (including a memorable rendition of "Moment's Notice"), and veteran flügelhornist Clark Terry on a joyous "Mack the Knife." In addition, Sandoval pays tribute to Woody Shaw, John Coltrane, and Dizzy Gillespie. Other highlights include the moody "Streets of Desire" (on which Sandoval plays piano), the racehorse tempo of "Real McBop" (which has an impossible but impeccably played melody chorus), and Sandoval's humorous use of the plunger mute on "It Never Gets Old." All in all, this is one of Arturo Sandoval's finest recordings to date.

Manu Katché: Neghbourhood (2005) mp3 @ 320K




The superb French/Ivory Coast drummer Manu Katche, long a backing force on many ECM sessions, steps out on his own for the first time on this label and comes up with a gem — with a little help from some of the ECM stars. Indeed, "Neighbourhood" is a very appropriate title, for there are several interlocking orbits of personnel within this album. For a start, the CD marks another collaboration between trumpeter Tomasz Stanko and saxophonist Jan Garbarek, the latter whom Katche has been backing on and off since the early '90s. Moreover Stanko brought along part of his Polish rhythm team, pianist Marcin Wasilewski and bassist Slawomir Kurkiewicz, for the session. Michel Petrucciani is clearly on Katche's mind, for not only is the album dedicated to the late pianist, the reflective, ardently lyrical mood of Katche's compositions — and Wasilewski's piano work — are quite reminiscent of Petrucciani at his most relaxed. And Katche can write; his tunes are often wistful and thoughtful, his percussive backing crisp yet subtle, carefully filling in the cracks while keeping just enough of a gentle pulse. The best of the lot, the simple angular tune of "Good Influence," grabs you by the throat, tugs at your heart, and doesn't quit the memory — sure signs of greatness. By contrast, "Lovely Walk" kicks up the tempo behind an ostinato bass while "Take Off and Land" brings in a touch of fatback funk. If there is a single wellspring behind this music — besides Petrucciani of course — Herbie Hancock's acoustic combo recordings of the late '60s come closest in terms of ambience and harmony. Call this album an inspired descendant two generations and an ocean away.

Kurt Rosenwinkel: Deep Song (2008) [lossless]




Guitarist Kurt Rosenwinkel's Deep Song is an intimately atmospheric album that finds the ever-reaching jazz musician in the company of a stellar ensemble. Rosenwinkel has always displayed the strong influences of such expansive players as Pat Metheny, John Scofield, and Pat Martino, and tracks such as the continually overlapping "The Cloister" do nothing if not reinforce such high comparative praise. In fact, Rosenwinkel's moody take on "If I Should Lose You" brings to mind such cerebrally mellow Martino classics as We'll Be Together Again and Cream. Joining him here are the deep-color talents of saxophonist Joshua Redman, pianist Brad Mehldau, bassist Larry Grenadier, and drummers Jeff Ballard and Ali Jackson.

Patti Austin: The Best Of (1994)



The Best of Patti Austin isn't quite what it appears to be. Instead of compiling her big early-'80s hits like "Baby, Come to Me" and "How Do You Keep the Music Playing," the 16-track collection features her lesser-known late-'70s material for CTI Records, where she had only one notable hit in 1977 with "Say You Love Me." Despite the lack of hits, the compilation is actually quite enjoyable, featuring graceful versions of hits as diverse as "More Today Than Yesterday," "You Don't Have to Say You're Sorry," "Lost in the Stars," "We've Got Tonight" and "Another Nail for My Heart." It may not be the definitive Austin collection, yet it remains a good introduction to her style.

Joshua Redman: Wish (1993) mp3 @ 320K



Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and Higgins had played an important role in jazz's avant-garde because of their association with Coleman, and Metheny had himself joined forces with Coleman on their thrilling Song X session of 1985. But Wish isn't avant-garde; instead, it's a mostly inside post-bop date that emphasizes the lyrical and the introspective. The musicians swing hard and fast on Charlie Parker's "Moose the Mooche," but things become very reflective on pieces like Redman's "The Undeserving Many" and Metheny's "We Had a Sister." One of the nice things about Redman is his ability to provide jazz interpretations of rock and R&B songs. While neo-conservatives ignore them and many NAC artists simply provide boring, predictable, note-for-note covers, Redman isn't afraid to dig into them and show their jazz potential. In Redman's hands, Stevie Wonder's "Make Sure You're Sure" becomes a haunting jazz-noir statement, while Eric Clapton's ballad "Tears in Heaven" is changed from moving pop/rock to moving pop-jazz. The latter, in fact, could be called "smooth jazz with substance." Some of bop's neo-conservatives disliked the fact that Redman was playing with two of Coleman's former sidemen and a fusion icon like Metheny, but then, Redman never claimed to be a purist. Although Wish isn't innovative, it's an appealing CD from an improviser who is willing to enter a variety of musical situations.

Gonzalo Rubalcaba: Avatar (2008) [lossless]





One of the most important figures to emerge from Afro-Cuban jazz in the '90s, Gonzalo Rubalcaba is an extraordinarily versatile pianist able to blend disparate strands of Cuban and American jazz tradition into a fresh, modern whole. Born into a musical family in Havana on May 27, 1963, Rubalcaba began studying classical piano at age eight, honing his technique in that area for the next 12 years while playing around Havana by night. In 1983, he toured France and Africa with Cuba's longstanding Orquesta Aragon, and formed his own band, Grupo Proyecto, in 1985, the same year he was discovered by Dizzy Gillespie. In 1986, Rubalcaba played the Havana Jazz Festival with the American rhythm section of Charlie Haden and Paul Motian, and with Haden's support soon appeared at major international festivals like Montreal and Montreux. (398MB)

Arturo Sandoval & The Latin Train: ST (1995)



On 1995's Arturo Sandoval & the Latin Train, the Cuban-born multi-instrumentalist and his enormous band continue the unfortunate trend toward reducing the Latin part of their Latin jazz. Although guest stars on the caliber of the immortal Celia Cruz show up for Sandoval's 11th album, they're largely wasted on a slate of too-polite, overly slick slabs of crossover-oriented jazz-pop with only the most minimal Latin content. Sandoval and crew do perfectly acceptable versions of standards like "I Can't Get Started" and Dizzy Gillespie's "Bebop," and Sandoval's originals are generally pleasantly tuneful, but they're roughly equivalent to Pérez Prado's lightweight exotica of the '50s. The nadir is a terrible version of "Colors of the Wind," the treacly theme from the animated film Pocahontas given an utterly unswinging, sluggish reading that makes the song sound even worse than it already did. This album is to Afro-Cuban jazz as Taco Bell is to Mexican food.

Galactic: From the Corner to the Block (2007)



The New Orleans-based jazz-funk ensemble Galactic formed in 1994; originally an eight-piece, the group soon pared down to an instrumental sextet comprising guitarist Jeff Raines, organist Rich Vogel, bassist Robert Mercurio, saxophonists Ben Ellman and Jason Mingledorff, and drummer Stanton Moore. Later adding Crescent City music scene vet Theryl deClouet on vocals, Galactic built a fervent local following on the strength of a relentless live schedule which included opening slots for group heroes including the Meters, Maceo Parker and Medeski, Martin & Wood. In 1996 the band issued their debut LP, Coolin' Off; upon signing to major label Capricorn, they re-released the album two years later, soon followed by the all-new Crazyhorse Mongoose. Since that time, they have released a handful of albums including Late for the Future in 2000, Rukus in 2003 and From the Corner to the Block in 2007 which is posted here.

Sunday, September 27, 2009

Caribbean Jazz Project: The Gathering (2002) mp3 @ 320K





The Gathering is the Caribbean Jazz Project's third release; principals Dave Samuels and Dave Valentin are joined by Paquito D'Rivera, once a regular with the group, on the lively opener, "Rendezvous," as well as a Latin reworking of Monk's "Bemsha Swing." Oliver Nelson's classic "Stolen Moments" comes in for a moody 7/4 treatment. Pianist Dario Eskanazi, bassist Ruben Rodriguez, and percussionists Dafnis Prieto, Richie Flores, and Robert Quintero provide strong backing for the front-and-center solo exchanges of Samuels and Valentin. The band is consistently melodic and accessible, not just on romantic themes like "Libertad" and "The Path" but also on more adventurous fare like Prieto's "El Guarachero Intrigozo (The Scheming Party Animal)" and the big finish, "Masacoteando (In the Groove)." (98MB)

Jay Azzolina: Past Tense (2000) mp3 @ 320K



Apart from an intriguing arrangement of Kurt Weill's hauntingly lovely "My Ship," guitarist Jay Azzolina's first album as a leader in eleven years is devoted entirely to original compositions. What may come as a real surprise to those familiar with his earlier work is the straight-ahead nature of the compositions and of his quintet's playing style. Gone are the rockish tone and slick fusioneering of his previous solo work and his two albums with Spyro Gyra. Instead, Azzolina leads a quintet (guitar, tenor sax and piano trio) through a set that includes the spiky, bluesy strut of "Inside Pie Eyes," the minimalist "Black Waltz," and a difficult and highly original treatment of the "I Got Rhythm" chord changes entitled "Rhythms Change." Azzolina's tone is self-consciously traditional, warm and round with the occasional edge of John Scofield-style vinegar. His supporting group couldn't be more empathetic — John Pattitucci spends most of his time on string bass (though it sounds like he's playing a fretless electric on "Marvelous Marvin") and drummer Adam Nussbaum keeps things well grounded while still creating lots of rhythmic interest. Best of all is tenor player Chris Potter, who spars with Azzolina throughout the album and keeps him on his toes. Highly recommended!!!
(105MB)

Saturday, September 26, 2009

Marcus Johnson: Urban Groove (2000) mp3 @ 320K



Even if the title of Marcus Johnson's disc Urban Groove isn't as fanciful as that of his 1998 effort Chocolate City Groovin', the thread is clear: Like his chief influence George Duke, he's all about rhythm, writing nice melodies but always in the context of solid funk. That said, there's a certain irony in pegging the most appealing cuts from Urban Groove as those that digress from the typical pop-funk trappings. "Sandy Point," for instance, keeps the rhythm relaxed so that the lush piano hook — so reminiscent of Bruce Hornsby's "The Way It Is" — can shine through seductively. Even better, Johnson really hits pay dirt when he goes the porch-rocking blues route on "Down Home." Over a boogie-woogie piano foundation, Kevin Levi's sax — simply serviceable to Johnson's keyboard lines on so many other cuts — honks happily along with Johnson's chipper Fender Rhodes musings. The disc closes with Johnson stripped to the bone emotionally, accompanied only by an acoustic piano and quiet synth embellishments on "The Puzzle." Elsewhere, he keeps things grooving happily, though less remarkably. The undeniably catchy sax-synth hook of the opening track, "Pavilion," wears thin after repetition, while "18th Street Loungin'" is playful Joe Sample-flavored fluff. "Plush" has a cool, hypnotic groove with the contrabass playing of Walter Cosby and the drumming of Eric Valentine, but Johnson's meandering Rhodes melody doesn't build to any sort of heartfelt payoff.

Gary Burton, Pat Metheny, Steve Swallow, Antonio Sanchez: Quartet Live! (2009)



Quartet Live! is a revisited edition of the classic Gary Burton Quartet. The album features three original members and jazz legends Burton, Pat Metheny and Steve Swallow along with one new member, and perhaps one of the most prominent drummers of his generation, Antonio Sanchez. The eleven song album was recorded live at Yoshi’s Jazz Club in Oakland. The story begins in 1967 when bassist Steve Swallow joined with vibraphonist Gary Burton to form the original Gary Burton Quartet. In the early 1970s, then 19 year old guitarist Pat Metheny joined Burton’s band and one of the most celebrated careers in music began. This would be the start of a 35 year musical friendship between the vibist and guitarist that continues today. A decade ago Metheny discovered drummer Antonio Sanchez, inviting him to join The Pat Metheny Group, and the two have been playing together ever since. Metheny came up with the idea to revisit the Gary Burton Quartet, the band that had been his entry into the jazz world: "For me, as a teenager in Missouri just starting to appreciate jazz, Gary’s group was the most innovative band around". They decided to schedule a gig at the Montreal Jazz Festival in 2005. The musicians’ rapport and the freshness of playing at Montreal was so energizing that the musicians took the act on the road in Japan and the US in 2006 and 2007, and the group reunited again for a European tour in 2008. What we have here is four legendary musicians, improvisers and composers all, each at the top of his game, bringing modern jazz history to life on Quartet Live!.

Friday, September 25, 2009

Charlie Haden: Land of the Sun (2004) mp3 @ 320K




Those who know bassist Charlie Haden from his avant-garde work with the Liberation Music Orchestra and Ornette Coleman will be in for a shock here. LAND OF THE SUN bears little resemblance to the free, strident music Haden recorded in those groups. With the help of accomplished, intense musicians such as pianist Gonzalo Rubalcaba and saxophonist Joe Lovano,Haden has made a record of astonishing consonance, serenity, and beauty.LAND OF THE SUN features music by three significant Mexican composers. Haden's group performs a song each by Agustin Lara ("Solamente Una Vez [You Belong to My Heart]") and Armando Manzanero ("Esta Tarde Vi Llover [Yesterday I Heard the Rain]"), but the remaining eight tracks are byJose Sabre Marroquin (whose lyrical, delicate music seamlessly blends jazz with his country's folk traditions). Though understated percussion grooves occasionally accent a melody,the tunes, for the most part, are ballads and lullabies. Rubalcaba wrote the arrangements here, which prominently feature his own sensitive piano playing and Oriente Lopez's lilting flute ("Anoranza [Longing]" is a gorgeous example of their interplay). As appropriate to an afternoon siesta on a Mexico City veranda as it is for romantic dancing on a New Yorkrooftop, LAND OF THE SUN is soothing, dream-like, and exquisitely made. (116MB)

Tommy Smith Sextet: Evolution (2005) mp3 @ 320K




Born and raised in Edinburgh, Scotland, Tommy Smith is a big-toned tenor saxophonist who has played both straight-ahead jazz and fusion. It was in Edinburgh that Smith became seriously interested in jazz as a teenager, and he was only 15 when he was accepted to the renowned Berklee College of Music. In 1984, the saxman moved to Boston to attend Berklee, and, in 1986, an 18-year-old Smith was hired as a sideman by Gary Burton at the recommendation of Chick Corea. Smith signed with Blue Note in 1989, recording 1990's Burton-produced fusion/post-bop date Peeping Tom and 1991's straight-ahead Standards. After finishing up at Berklee, Smith returned to Scotland, where he signed with the Glasgow-based Linn label and recorded several albums in the mid- to late '90s: Misty Morning & No Time, Reminiscence, Beasts of Scotland, Azure, and the Duke Ellington/Billy Strayhorn tribute The Sound of Love. Blue Smith, his first release of the new century, followed in the spring of 2000.

"Evolution" is his last efforf recorded in 2005 with a bunch of great musicians: Joe Lovano, John Scofield, John Taylor, John Patitucci and Bill Stewart. Enjoy! (135MB)

Quincy Jones: Strike Up The Band (1987) mp3 @ 320K [with scans]



Out of print in the U.S.! Collection of tracks from the multi-talented Quincy Jones, the bandleader (who also just so happens to be a producer, arranger, songwriter, sideman, etc.). 14 cuts including 'Baby Elephant Walk', 'Take Five', 'After Hours' and 'Bossa Nova U.S.A.'.

Tracks:
01. Baby Elephant Walk
02. The Pink Panther
03. Dreamsville
04. Soldier In The Rain
05. Blues In The Night
06. Take Five
07. After Hours
08. Desafinado
09. Cast Your Fate To The Wind
10. Jive Samba
11. Strike Up The Band
12. Dear Old Stockholm
13. The Gentle Rain
14. Bossa Nova U.S.A.

Jan Garbarek Group: Dresden [Live] (2009) mp3 @ 256K [2 cd]




The first ever live album from Jan Garbarek and certain to be one of the year's most successful jazz releases, 'Dresden' captures a fiery and powerful performance, a fine document of the Norwegian saxophonist's exceptional improvising capacities. It's a magnificent release with which to welcome ECM's 40th anniversary season.
Recorded at the city's Alte Schlachthof in October 2007, it captures his group when it was reformulating its approach - earlier that year bassist Yuri Daniel joined the band when Eberhard Weber was sidelined by illness. The new group tackles its repertoire head-on, with the interaction between Garbarek and drummer Manu Katché at the music's centre. Daniel, a Brazilian bassist living in Portugal, helps to anchor the pulses and rhythm patterns and Rainer Brüninghaus maintains his long-established role as colourist-in-action. Both bassist and keyboardist help to shape a climate in which Garbarek's hymnic, declamatory and intensely melodic solos can find full expression, drawing energy also from Katché's hard-driving drums. As The Guardian wrote of their 2007 London Jazz Festival concert, "The contrast between an intense jamming sound and the songlike simplicity of the tunes is always Garbarek's magic mix, but this version of the band has an exhilarating intensity."
Dresden is eagerly awaited. It's been five years since 'In Praise of Dreams', 11 since 'Rites', 16 since 'Twelve Moons', the last disc identified unequiv-ocally as a Jan Garbarek Group album. The popular repertoire on this 2-CD set includes old favourites drawn from 'Twelve Moons' and 'Legend of the Seven Dreams' eras, new material, intriguing cover versions: L. Shankar's "Paper Nut", Milton Nascimento's "Milagre Dos Peixes", Harald Sæverud's "Rondo Amoroso", and tremendous solos by all parties.
Personnel: Jan Garbarek (soprano and tenor saxophones, silje flute), Rainer Brüninghaus (piano, keyboards), Yuri Daniel (bass), Manu Katché (drums)

(160MB)

Avishai Cohen: Aurora (2009)


2009 album from the Israeli Jazz singer, bassist and composer. There have been too few musicians throughout the history of Jazz who were able to create a direct bond between their instruments and the audience. With Aurora, Avishai Cohen has reached a certain essence of expression, using voice as a direct and powerful vehicle for his emotions. Singing - in Hebrew, English, Spanish and Ladino. The music draws its source in the earth of his home country, at the crossroads of many cultures. Arab-Andalusian and Hebraic, it tells the story of Bedouins of the desert and speaks of life, love, youth and freedom. Aurora is a work of synergy under the Blue Note label, which for years seems to have been at the centre of all futures in Jazz, of which Avishai Cohen is undeniably the most modern and irresistible standard-bearer.

George Benson with McCoy Tyner Trio: Round Midnight (2007) [lossless]



Live album recorded in Fort Lauderdale (Florida) in 1989.


George Benson (gtr, voc), McCoy Tyner (p), Avery Sharpe (b), Aaron Scott (dr).

Songs:

1. Stella By Starlight
2. Here, There & Everywhere
3. Don't Leave Me
4. Round Midnight
5. Monk's Dream
6. Hipside
7. At The Mambo Inn

Highly recommended!!!

Thursday, September 24, 2009

Marcus Johnson: Comin' Back Around (2001) mp3 @ 320K


A smooth jazz keyboardist, Marcus Johnson incorporates the rhythms of rap with the soul of R&B. Johnson grew up listening to a broad variety of music: his mother played classical piano and his first memorable concert experience was seeing an Earth, Wind & Fire show with his father. His interest in jazz first showed itself when he began tinkling the keys at age 13 (his step-father won Maryland's "Pick-3 Lottery" and used the winnings to buy Johnson's first keyboard) and he found himself studying both traditional and contemporary jazz musicians (Joe Sample and Thelonious Monk are two names he frequently cites).Johnson also established Marimelj Entertainment Group, Inc., a production company and music publisher that prides itself on blending a mixture of contemporary jazz, alternative, and R&B to create what the company calls "the Urban Groove."

Wayne Shorter Quartet: Beyond the Sound Barrier (2005) mp3 @ 320K



Recorded live on three different continents (Europe, America, and Asia) from 2002-2004, Beyond the Sound Barrier finds Wayne Shorter leading the same acoustic-oriented post-bop quartet he led on his 2001 recording, Footprints Live!; the veteran tenor and soprano saxophonist is joined by pianist Danilo Pérez, bassist John Patitucci, and drummer Brian Blade. But if Beyond the Sound Barrier should be considered a sequel to Footprints Live!, it is far from a carbon copy. While Footprints Live! contained several Shorter pieces that have become jazz standards (including "Atlantis," "Footprints," and "Juju"), Beyond the Sound Barrier places more emphasis on new material. Half of the eight selections are new, and the rest of the CD ranges from Arthur Penn's "Smilin' Through" (the theme from the 1941 movie) to two pieces from Shorter's Joy Ryder album of 1988: "Over Shadow Hill Way" and that album's title track. No one will accuse Beyond the Sound Barrier of being standards-oriented, and the quartet doesn't go out of its way to be accessible; this is definitely one of Shorter's more cerebral releases. But the material is rewarding if one is broad-minded enough to appreciate Shorter and his younger colleagues at their most intellectual, and the audiences' enthusiastic applause — not just polite applause, but enthusiastic applause — indicates that they have no problem comprehending all the abstraction and angularity that is taking place. Beyond the Sound Barrier falls short of essential, but it's a solid demonstration of the fact that Shorter — who was in his late sixties and early seventies when these performances were recorded — wasn't afraid to be challenging and keep taking chances in the early 2000s.

Joshua Redman: Elastic (2002)



Coming fast on the heels of Redman's collaborative Yaya3 date with the same players (organist Sam Yahel and drummer Brian Blade), Elastic is more about pop/soul-funk than jazz, but it doesn't sacrifice any of Yaya3's organic feeling and improvisational focus. Here Yahel plays not only Hammond organ, but also Fender Rhodes, clavinet, and other assorted electric keys. Redman makes liberal use of overdubbing and signal processing, much of which is surprisingly subtle. The result is quite a lot of sound for three people, quite a lot of inspired blowing, and quite a lot of stylistic ground covered. Highlights include the agitated, over-the-top "Still Pushin' That Rock," the tight funk and involved lines of "Jazz Crimes" and "News from the Front," and the slow gospel of "Can a Good Thing Last Forever?" Redman seems fond of the Rhodes-soprano sax combination, particularly on mellower themes like "The Long Way Home" and "Unknowing." While one has to admire Redman's musical open-mindedness, his writing can take on a middle-of-the-road quality at times; on this record it surfaces on "Boogielastic". It says something that Yahel contributed the most alluring piece, a short-and-sweet song in five called "Oumou."

Wednesday, September 23, 2009

Jack DeJohnette: Oneness (1997) mp3 @ 320K



Oneness finds Jack DeJohnette in a subtle reflective mood, working with a minimal backing group highlighted by pianist Michael Cain. DeJohnette and Cain turn in a series of dialogues that finds the piano highlighting the statments and improvisations of the percussion. Things are at their noisiest on "Welcome Blessing," a duet with percussionist Don Alias, but Oneness stands as a welcome, minimalist and challenging effort from DeJohnette.

Jack DeJohnette - drums, percussion
Jerome Harris - electric guitar, bass guitar
Don Alias - percussion
Michael Cain - piano

Charles Lloyd: The Water Is Wide (2000) mp3 @ 320K



Charles Lloyd was on a roll in the 1990s, each new CD offering some small surprises. On his new 2000 release, The Water Is Wide, Lloyd boasts a great lineup. Guitarist John Abercrombie and drummer Billy Higgins are back from Lloyd's Voice in the Night, but they are joined here by Brad Mehldau and the pianist's regular bassist, Larry Grenadier. The choice of material is also something of a surprise--Ellingtonia, such as "Black Butterfly," "Heaven," and "Lotus Blossom," the Scots folk song "The Water is Wide," Hoagy Carmichael's "Georgia," and several appealing Lloyd originals. The mood throughout is meditative, gentle, and carefully considered. Lloyd's tenor is sometimes sensuous, sometimes stark, Mehldau and Abercrombie matching him with minimalist but elegant support. Only on "There is a Balm in Gilead" does the tempo increase, and only on Cecil McBee's composition "Song of Her" does an arrangement become obvious. Yet this is music of great charm, made more so by its understatement and the delicacy of Lloyd's phrasing and the distinctiveness of his tone. Records like this used to come from Coleman Hawkins and Ben Webster, but there aren't many saxophonists today who could pull off something so straightforward and unpretentious. --John F. Szwed

Enrico Pieranunzi Trio: No Man's Land (1989) mp3 @ 320K



Enrico Pieranunzi is a talented pianist greatly influenced by Bill Evans. His sensitive interpay with bassist Marc Johnson (an alumnus of Evans' trio) is impressive while drummer Steve Houghton plays quietly and with great subtlety throughout the fine trio set. Pieranunzi has a romantic streak in his style (best displayed on the classical-oriented "No Man's Land") but he can also cook and swing hard; "Land Breeze" and "If I Should Lose You" are good examples of that side of his personality. The five originals and three standards cover a wide area of emotional ground. Enrico Pieranunzi may not be an innovative pianist but listeners who enjoy Bill Evans' music will certainly like this release.

Miles Davis: Munich Concert (2005) mp3 @ 320K [3 cd]



Outstanding three CD set featuring the entire July 1988 15 song performance at the Munich Philharmonic Concert Hall plus a blistering 35 minute version of 'Call It Anything' taken from his1970 Isle Of Wight Festival show. The Munich concert features able assistance from Kenny Garrett, Bobby Irving, Adam Holzman and Joseph McCreary amongst others while the Isle Of Wight track features Chick Corea, Keith Jarrett, Dave Holland and Jack DeJohnette. Songs include 'Perfect Way', 'Tutu', 'Time After Time' and more.


Disc 1
1.Perfect Way
2.Human Nature
3.Titu
4.Splatch
5.Heavy Metal Prelude
6.Heavy Metal
Disc 2
7.Don't Stop Me Now
8.Carnival Time
9.Tomaas
10.New Blues
11.Portia
Disc 3
12.Hannibal
13.Code M.d.
14.Jean Pierre
15.Time After
16.Call It Anything ( Bonus Track)
(311MB)

Randy Crawford & Joe Sample: No Regrets (2008) mp3 @ 320K


Randy Crawford and Joe Sample go back a long way; Crawford was featured on the Crusaders' 1979 hit "Street Life," a gem that held up pleasingly well 30 years later. And even though Crawford has generally been more of an R&B singer than a jazz singer, she is certainly quite capable of singing jazz — which is what she does to a large degree on No Regret, a session Crawford co-leads with pianist Sample. It would be inaccurate to say that this 2009 release, which Sample produced with Tommy LiPuma, is the work of jazz purists. The musical recipe is jazz meets soul meets the blues — in other words, soul-jazz — and Crawford and Sample (who are joined by bassist Christian McBride and drummer Steve Gadd) enjoy a strong rapport on material that ranges from Memphis Slim's "Every Day I Have the Blues" and Clyde Otis' "This Bitter Earth" to the Staple Singers' "Respect Yourself" and Mel & Tim's "Starting All Over Again." There are some interesting surprises on No Regret; Crawford and Sample also tackle Sarah McLachlan's "Angel" with memorable results, and they even find the soul-jazz possibilities in Charles Dumont's Edith Piaf-associated "Non, Je Ne Regrette Rien." That French classic, which was a major hit for Piaf in 1960, has a lot of history attached to it; it is considered Piaf's anthem (much like "My Way" was for Frank Sinatra), it has been adopted as an anthem by the French Foreign Legion — and of course, it's a great song to crank when you want to give the middle finger to all the racist, wacky neo-cons who have an obsessive and downright irrational hatred of France (evidently, neo-cons forget where the Statue of Liberty came from). But Crawford doesn't try to emulate Piaf; she embraces an English-language version, and a song that came out of French pop works surprisingly well in a soul-jazz setting. No Regret is a consistently rewarding follow-up to Crawford and Sample's previous collaboration Feeling Good.
Tracks: 1. Every Day I Have the Blues 5:05; 2. Today I Sing the Blues 3:33; 3. Respect Yourself 5:44; 4. Angel 4:08; 5. Me, Myself and I 2:13; 6. Just One Smile 4:21; 7. Don't Put All Your Dreams in One Basket 3:07; 8. This Bitter Earth 3:58; 9. Starting All Over Again 4:18; 10. No Regrets 3:01; 11. Lead Me On 4:14; 12. Angel Of The Morning 3:46 [bonus track]

Gerry Mulligan Quartet: Dragonfly (1995) mp3 @ 320K



On what was probably Gerry Mulligan's last studio album (recorded less than a year before his death), the great baritonist is heard still in prime form. He contributed all ten compositions and the emphasis is on lyricism and slower tempoes; only three songs are taken above a medium pace. There are fine cameos by Grover Washington Jr. on tenor and soprano (during the first two numbers), cornetist Warren Vache and trumpeter Ryan Kisor. In addition, guitarist John Scofield and vibraphonist Dave Samuels (who both played with Jeru in the 1970's) are on many of the tracks and pianist Dave Grusin is on some although there is no identification as to which songs. A five-piece brass section was overdubbed on a later occasion. But even with the guests, the focus is generally on Gerry Mulligan and his longtime quartet. The music is thoughtful and tasteful although it is doubtful if any of the tunes will ever catch on as standards. This is a tasteful if not quite essential final effort by Mulligan, who seems to have ended his very important career quite peacefully.

David Benoit: Heroes (2008) mp3 @ 320K


Contemporary jazz pianist and composer David Benoit has chosen to forgo many of the tropes and methods of working he's employed for the past 30 years on Heroes. Simply put, this is a tribute record to a select group of musicians who have inspired him and shown him a way forward. Before getting to the music, it's worth noting that in his brief liner essay, Benoit spells out that this is by no means a complete list, and points to those he left off for justifiable reasons, which is a nice touch. The music he has chosen stays well within the parameters of contemporary jazz, but lends a deeper focus to Benoit's approach in general. How many recordings are there where you will see tunes by the Doors placed next to those by Clifton Davis, Horace Silver, Dave Brubeck, Dave Grusin, pianist Bill Evans, the Beatles, and the teams of John Bettis and Steve Porcaro, as well as Elton John and Bernie Taupin? Benoit offers a single sentence of explication as to why he chose certain cuts here, and all of them ring true — especially once he plays them.

Tuesday, September 22, 2009

Gerald Veasley: Your Move (2008) mp3 @ 320K



Contemporary jazz bassist Gerald Veasley makes no claim to be a master chess player, but there are certain unmistakable parallels between his line of work and the small-scale war game that has challenged great minds for centuries. Like chess, Veasley sees music as a pursuit that involves a combination of strategy, quick thinking and even a bit of blind faith.
"There's a multiplicity of decision making in the game of chess, and there are consequences to every action," says Veasley. "In a lot of ways, making music is like that too. There are so many choices, especially in jazz, where the situation is never the same twice. That's always exciting to me. You're creating new scenarios at every turn - every time you step in front of an audience, or every time you step into the studio. That's what drew me to this kind of music in the first place - the idea that it was always fresh, there was always an opportunity and a new challenge. Unlike chess, though, winning in jazz doesn't mean someone else has to lose."
That same combination of challenges, opportunities and win-win is at the heart of Your Move (HUCD 3130), Veasley's new Heads Up International CD. The album is the latest - and perhaps most innovative and audacious - maneuver in the game that Veasley has been playing since his early days as an up-and-coming musician in his native Philadelphia.

Sunday, September 20, 2009

Tord Gustavsen Trio: Being There (2007) mp3 @ 320K



Such is the arresting beauty of Tord Gustavsen's sound, it's no surprise that his albums have captured a significant following, surpassing even those of other rarified artists on the ECM label. But the Norwegian pianist doesn't live on beauty alone. His sculpted playing, which draws strongly on his church background with its tidy gospel voicings while also incorporating Spanish and South African accents, has a kind of liquid weight that brings to mind Ethan Iverson of the icon-bashing Bad Plus, as markedly different as they are stylistically. Beyond that, it's the remarkable shift-shaping qualities of Gustavsen's trio that make Being There so compelling. Gustavsen has talked about being influenced artistically by "the psychology of relationships." The psychology of the relationship among him, bassist Harald Johnsen, and drummer Jarle Vespestad is made compelling not only by standard interactive effects, but also by the unique shape-shifting that occurs through continual shifts in how much voice each player has in relation to the others, how much lightness or darkness, how much intensity. A notable advance over the trio's first two albums, on which being deliberate sometimes translated into dull, Being There rarely loses its grip. There are stories being told here, with endings that change with each spin. --Lloyd Sachs (103MB)

Saturday, September 19, 2009

Marsalis Family: A Jazz Celebration (2003) mp3 @ 320K




The Marsalis Family was a one-off project assembled for a 1982 Columbia recording date. Pianist Ellis Marsalis teamed up with his young-lion sons Wynton (trumpet) and Branford (tenor sax) (though brothers Delfeayo and Jason were too young to participate). Together, with bassist Charles Fambrough and drummer James Black, the Marsalis Family recorded five tunes that made up half of the LP Fathers and Sons (the other half featured the father-son saxophone team of Von and Chico Freeman). It wasn't the first or last time the three recorded together, but it was the only time they were specifically billed as the Marsalis Family. (115MB)

[Re-post] Stanley Jordan: State of Nature (2008) mp3 @ 320K


Three time Grammy nominee Stanley Jordan has consistently shown himself to be a musical visionary. This innovation was apparent 1985's Magic Touch and it resonates decades later with State Of Nature, Jordan's debut for Mack Avenue Records. State Of Nature shines with Jordan s pioneering techniques, including simultaneous playing of both guitar and piano. Featuring bassist Charnett Moffett and drummers David Haynes and Kenwood Dennard.

Vince Seneri: The Prince's Groove (2008)



A masterful keyboardist who has been performing for over twenty years, Vince "The Prince" Seneri releases a scorcher of an album with The Prince's Groove, definitely one of the best jazz organ recordings around. Seneri, who was given the nickname by his peers, plays the Hammond B3 organ with a unique sound and style, making him one of the top B3 players of his generation. Influenced by many other great organists, it was Jimmy Smith who left the biggest mark on Seneri's music.


Seneri selects a repertoire of classic standards and originals designed to showcase the talented cast of musicians he has assembled for this grooving session. He reunites with guitarist Paul Bollenback and flautist Dave Valentin, with whom he has performed before, adding other artists including legendary trumpeter Randy Brecker and saxophonist Houston Person. Person only appears on Hoagy Charmichael's "The Nearness of You," but leaves quite an impression. Blowing with heartfelt passion, he leaves Seneri in a backup role until half way through the piece, when the organist weighs in with a short solo.


Track listing: Renegade Man; Dearly Beloved; Sway (Quien Sera); The Stinger; The Nearness of You; Overdrive; Prince's Groove; Passion Dance; Walkin'.


Personnel: Vince Seneri: Hammond B3 organ; Randy Brecker: trumpet & flugelhorn (1,4,6-8); Paul Bollenback: guitar; Dave Valentin: flute (3, 8); Houston Person: tenor saxophone (5); Richie Flores: percussions (3, 8); Gary Fritz: percussions (1, 2, 4-7, 9); Buddy Williams: drums.


Vince Seneri: Urban Paradise (2003)



Vince Seneri's Urban Paradise CD was the first CD release in music history to be recorded on the NEW HAMMOND B3 organ.


Urban Paradise in 2003 was the most popular traditional jazz organ record released. Vince Seneri has got it all here on this record. His special guest includes Grammy Award Winner flautist Dave Valentin, saxophonist Houston Person and much more. This is a must have record to add to your Vince Seneri B3 jazz collection.


Recorded April 4th, 2003 recorded at Bennett Studios, Englewood New Jersey.


Track Listing
1. Eleanor Rigby
2. T-Bone Steak (Tribute To Jimmy Smith)
3. Angel Eyes
4. Where or When
5. Comin' Home Baby (Dedicated to Uncle Herbie Mann)
6. That's All
7. Charade
8. Tenderly
9. Kansas City
10.Watermelon Man


Quotes On Vince Seneri's CD Urban Paradise


THE ITALIAN TRIBUNE (Internationally Known Italian
Newspaper) States the following: "Vince Seneri's CD, Urban Paradise, has been receiving rave reviews from music critics and jazz radio stations and is connsidered one of the 'Hottest' new B3 organ recordings released in 2003."


WAER 88.3 - Syracuse, NY, B-3 Bonanza hosted by Eric Cohen: "All I can say is that Seneri makes it look effortless on the B3 in his latest and possibly strongest recording to date."


CMU Public Radio, Mount Pleasant, MI, Jamie Lynn Gilbert Jazz Music Director: "Vince Seneri's Urban Paradise is a record to compliment any collection. His song selection is superb and he performs one of the best jazz versions of ‘Eleanor Rigby’ I have heard. I look forward to hearing more from this talented organist.”


WRTI-FM – Philadelphia, PA, Frank Johnson Jazz Music Director: "Vince Seneri's spirited interpretations of jazz standards gives a much needed new life to the B3's presence in jazz.


Emiel Van Egdom: Hybrid Groove (1996) mp3 @ 320K




When Emiel Van Egdom plugs in his guitar, the riffs, runs and scales that he will play
will reflect the influences of his European heritage
and the stylings of America's be-bop and swing greats
Brian Arrington, reporter, NY.

Hybrid Groove: "4 stars! Emiel Jams! The tunes lay down some serious guitar jamming over a propulsive groove.
NPR, JAZZ, 52nd Street.

"A highly talented guitarist who has demonstratedthe highest levels of musical achievement"
Alma Berk, Jim Hall Jazz Award, USA

Hybrid Groove: "There's spirit in spades throughout the album"
52nd Street Jazz



---------------------------------------------------------

Emiel Van Egdom - electric & classical quitars and vocal

Bob Sheppard - tenorsax, egg & "the Moan"

Bob Militello - altosax & flute

Joel Taylor - drums

Bill Cantos - keyboards

Brian Bromberg - bass

Eric Gale - guitar

-------------------------------------------------


Highly recommended!!!

(104MB)

Friday, September 18, 2009

Richard Bona: Munia/The Tale (2003) mp3 @ 320K



The beauty of music and instruments has intrigued Richard Bona since the days of his childhood in the Minta village of Cameroon. As a young boy in West Africa he made his own wooden instruments and performed as a singer and multi-instrumentalist for various religious ceremonies, weddings and celebrations in his village. Appropriately dubbed, "The African Sting", Richard Bona has been showcasing his West African inspired genius all over the world for the last 15 years. His unique style is situated at the crossroads of a horde of influences - jazz, bossa nova, pop music, afro beat, traditional song and funk. This fusion in conjunction with Bona's poignant voice is what constitutes his latest release, Munia (The Tale).
Munia, which means "tale" in the Douala language, tells its own eclectic musical story that could only be authored by Richard Bona. The album is packed with a variety of flavors, which include tropical rock, "Balemba na Bwemba", rhumba "Couscous" and an exhilarating fusion piece "Engingilaye". Collaborations with notable musicians like Salif Keita (vocals), Djely Moussa Conde (kora) and Bailo Ba (traditional flutes) on the zesty "Kalabancoro" or the virtuoso Romero Lubambo on the acoustic guitar on the vivacious bossa nova "Bona Petit" complete with Bona singing in French make Munia a world classic.


Richard Galliano: Love Day - Los Angeles Sessions (2008)



Accordionist Richard Galliano did for European folk — specifically, the early-20th-century French ballroom dance form known as musette — what his mentor Astor Piazzolla did for the Argentinean tango. Galliano re-imagined and revitalized a musical tradition, expanding its emotional range to reflect modern sensibilities, and opening it up to improvisation learned through American jazz. In fact, Galliano was more of a jazz musician than a folk one, although he blurred the lines so much that distinctions were often difficult to make. Born in France of Italian stock, Galliano began playing accordion (as his father did) at a young age. He later picked up the trombone, and studied composition at the Academy in Nice; he also fell in love with jazz as a teenager, particularly cool-era Miles Davis and Clifford Brown, and made it his primary focus by the late '60s. Making a living as a jazz accordionist naturally proved difficult; fortunately, after moving to Paris in 1973, he landed a position as conductor, arranger, and composer for Claude Nougaro's orchestra. He remained there until 1976, and went on to work with numerous American and European jazz luminaries, including Chet Baker, Joe Zawinul, Toots Thielemans, Ron Carter, Michel Petrucciani, and Jan Garbarek. After meeting Astor Piazzolla, Galliano refocused on his European heritage, and set about reviving and updating musette, widely considered antiquated at the time. He signed with Dreyfus in 1993, and the label gave him enough exposure to cause a stir first in his home country, then among international jazz and world music fans. Regular recordings followed, some with clarinetist/soprano saxophonist Michel Portal, some with guitarist Jean Marie Ecay, some with his favorite rhythm section of bassist Jean-François Jenny-Clark and drummer Daniel Humair (after Jenny-Clark's untimely death, Rémi Vignolo took his place). In 2001, Dreyfus released Gallianissimo, a compilation drawing from his seven albums for the label.

Branford Marsalis Quartet: Braggtown (2006) [remastered] mp3 @ 320K



Saxophonist Branford Marsalis' Braggtown finds the ever-evolving tenor man in a more action-oriented state of mind than his contemplative 2004 release Eternal. Having tackled the gigantically epic task of reworking John Coltrane's most well-known opus "A Love Supreme" on Footsteps of Our Fathers in 2002, it should come as no surprise that the Coltrane sound still lingers palpably over all the music on Braggtown. But rather than imitating or aping Coltrane's style, Marsalis has ingested the legendary innovator's concepts, utilizing them in his own unique way. Working once again with his stellar rhythm section of pianist Joey Calderazzo, bassist Eric Revis, and longtime partner in "time" drummer Jeff "Tain" Watts, Marsalis has come up with a collection of original songs perfectly suited for the muscular and sensitive group interplay this ensemble excels at. To these ends, "Jack Baker" is a funky and angular call to arms with Marsalis inverting a repeated theme as the band roils around him. Quickly changing gears, Marsalis moves to his trademark soprano for the gorgeously plaintive Calderazzo ballad "Hope." The noirish, dramatic "Blakzilla" features a bawdy and moody rubato opening that soon descends to a hyperkinetic bluesy mid-section. Interestingly, recalling his superb classical album Creation, Marsalis has re-purposed Henry Purcell's stately and sad ballad "O Solitude" here as well. The other tracks on Braggtown are equally engaging and, as evidenced by the fiery, avant-garde burn out closer "Black Elk Speaks," speak to Marsalis' abundant creative energy. (169MB)

Randy Brecker: Hanging in the City (2001) mp3 @ 320K



Randy Brecker is essentially a fine hard bop trumpet soloist, but one versatile enough to fit into nearly any setting, including in the pop world, funk bands, and electronic fusion. He studied classical trumpet and attended Indiana University. Brecker was with Blood, Sweat & Tears in 1967, and spent 1968-1969 playing with Horace Silver's quintet. He also appeared with the big bands of Clark Terry, Duke Pearson, Frank Foster, and the Thad Jones/Mel Lewis orchestra. After playing with the early fusion group Dreams in 1969, he worked with Larry Coryell's Eleventh House and Billy Cobham, in addition to keeping very busy with studio work. He teamed up with Michael Brecker in the popular funk-oriented Brecker Brothers (1974-1979); in the '80s he often collaborated with his wife, pianist/vocalist Eliane Elias; and in the '90s he toured with the reunited Brecker Brothers. But Randy Brecker still sounds best when in a freewheeling bebop combo, and fortunately he occasionally records in that type of spontaneous setting. (122MB)

Bernie Williams: Moving Forward (2009)



Because this second album by the former New York Yankee outfielder was released a month before the passing of NBA Star-turned-popular jazz bassist Wayman Tisdale, there are bound to be some comparisons made. It's a logical starting point, because both were shining lights in two very different fields who launched their musical careers while they were still popular athletes, and part of Tisdale's friendship with Bernie Williams was mentoring the center fielder/classically trained guitarist on how to make a successful transition. Tisdale's plucky contribution to the jangling, soaring, opening title track is also one of his last recorded performances. The connection is there, but stylistically, the two took very different approaches. While Tisdale's playful lead bass vibe found a great niche in smooth urban jazz and stayed there his whole musical career, the wild worldbeat and deep jazz versatility Williams displays on Moving Forward affords him many more genre options. He draws on his Puerto Rican heritage to stir up some zesty and playful, percussive Latin energy on "Ritmo de Otono" (with Dave Koz) and a sizzling, improvisation-heavy romp through Pérez Prado's "Que Rico el Mambo." There's also a Latin connection with Cuban-born pop singer Jon Secada, who jams with Williams on English and Spanish covers of his trademark '90s hit "Just Another Day." The guitarist also has fun with the tracking, seeing no discordance in following the seductive exotica of "African Blues" (complementing his own acoustic lines with the electricity of Spyro Gyra's Julio Fernandez) with the sweet, strumming acoustic pop gem "Chillin in the West" (which revs into a rocker courtesy of Jeff Golub) and then a tender, emotional take on a song near and dear to him, "Take Me Out to the Ballgame." Williams also leans from pop instrumental towards the expansive jazz fusion side in a single bound on "Go for It," with the help of electric guitar great Mike Stern. Williams saves his biggest superstar surprise for last, tacking on a live recording of him playing acoustic with Bruce Springsteen as the rocker exults in his (and Williams' "Glory Days"). This dynamic, unusually eclectic set proves that while the four-time World Series champ's glory days are behind him as a ballplayer, he's Moving Forward towards a stellar career in music.

Radka Toneff: Fairytales (1986) [with Steve Dobrogosz]


The Fairytales album is the late Norwegian singer Radka Toneff's most appreciated and well-known album. Together with pianist Steve Dobrogosz, this duo explores a number of tunes in an unusually subtle and reflective way, making the recording oustanding among vocal/piano duet albums. Unfortunately, this was to be Radka Toneffs last studio recording. The "Fairytales" album is a special album in all senses.

Winterplay: Hot Summerplay (2009)


Now it’s Korea’s foremost and possibly only mainstream jazz group Winterplay, which is out with a new album and poised to enjoy even greater success than it did with its debut in 2008.
Enjoy!