30 May, 2018

Viviana Zarbo - Take Away (2018)


Genre: Jazz | Total Time: 31:24 | Size: 71.99 MB | MP3 320 kbps
 
Tracklist:
1. Bewitched
2. If You Were Mine
3. What a Little Moonlight Can Do
4. Corcovado
5. A Fine Romance
6. Un Sassolino
7. Glad to Be Unhappy
8. After You Get What You Want
9. Senza Fine

London based Italian singer Viviana Zarbo comes to the Pizza Express jazz Club for the first time to present her debut album ‘Take Away’. Inspired by great jazz Divas like Billie Holiday, Ella Fitzgerald, Anita O’Day as well as actresses/singers like Julie London, Doris Day, Peggy Lee, Marilyn Monroe and arranged by the saxophonist Renato D’Aiello and the trombonist Mark Bassey, ‘Take Away’ is a collection of Viviana's favourites like ‘What a little moonlight can do’, ‘Fine Romance’, ‘After you get what you want you don't want it’, which became the foundations of her artistic persona. Charming, strong, a velvety voice with a true passion for storytelling: Viviana is a versatile artist whose musical theatre background enriched and enhanced her naturally multifaceted jazz vibe.
 

VA ‎- Fahrt Ins Blaue II - Groovin'in The Spirit Of Jazz (2018)


Genre: Jazz | Total Time: 58:36 | Size: 134.93 MB | MP3 320 kbps
 
Tracklist:
1. Bernard Purdie - Moanin' (Intro)
2. Torsten Goods, Ida Sand - When Love Comes to Town
3. Viktoria Tolstoy - Paradise
4. Joe Sample, Nils Landgren - Don't Take Your Love to Hollywood
5. Bernard Purdie - Joshua
6. Ida Sand - He Ain’t Heavy, He’s My Brother
7. Magnus Lindgren - Penny Blue
8. Mighty Sam McClain, Knut Reiersrud - I Wish I Had a Girl Like You
9. Youn Sun Nah, Marc Ribot - She Moves On
10. Solveig Slettahjell, Knut Reiersrud, In the Country - Holy Joe
11. Muriel Zoe - Rikki Don't Lose That Number
12. Nils Landgren Funk Unit - Just a Kiss Away
13. Bernard Purdie - Sidewinder
14. Pete York, Torsten Goods, Gábor Bolla, Andi Kissenbeck, Wolfgang Schmid - Groovin' for Basie

Turn up the volume!

While the first “Fahrt ins Blaue” (journey into the blue/unknown) album from ACT in 2016 offered classy songs for chilling, a great place just to hang out and relax, the new album “FiB II - groovin' in the spirit of jazz” leads us straight out onto the dance floor. From the moment it opens up, with funky jazz, gritty blues and bucketloads of soul, this compilation sets the tone for a night of partying.

It’s after sunset. The DJ is starting to nudge the volume a little higher. The WDR Big Band and its unbelievably tight horn section sets this journey on its way. First there’s a classic from Art Blakey's Jazz Messengers, “Moanin”.

Then Torsten Goods ‘jumps that train’ and takes things on with a U2 cover, “When Love Comes To Town”. Its disco bass-lines and Wolfgang Haffner's in-the-pocket groove make it the perfect antidote to any lingering stiffness or formality, with Swedish singer Ida Sand stepping into the role which B. B. King had on the original. She’ll be singing a duet later with Raul Midón: “He Ain't Heavy, He's My Brother”.

Viktoria Tolstoy takes us back to the easy vibe of Herbie Hancock's disco/pop phase with her take on “Paradise” from the 1982 album “Lite Me Up!”

And then there are Joe Sample and Nils Landgren, and they’re really going for it. The US legend - who died in 2014 - on Fender Rhodes and Mr. Redhorn, don’t actually have a Hollywood connection between them; but what they do connect with is heavy grooves. No frills, no fuss, they take “Don't Take My Love To Hollywood” and completely nail it.

An ACT classic from 1997 follows on seamlessly: “Joshua", from Bernard Purdy's “Soul To Jazz" is pure gospel funk. Magnus Lindgren's “Penny Blue” was created 20 years later. This, the newest track on "FiB II" is the finest soul-jazz, made in Stockholm.

And then it's time for southern soul, the genuine article: Mighty Sam McClain, who died in 2015, brings huge platefuls of Louisiana feeling to the table.

Youn Sun Nah springs a surprise on us by showing her danceable side in the Paul Simon cover “She Moves On” with US guitarist Marc Ribot. Then there’s a short pause for breath: Solveig Slettahjell's “Holy Joe” adds a soft bluesy note and Muriel Zoe sings Steely Dan's “Rikki Don't Lose That Number”, laid-back country-style.

That’s followed by Nils Landgren rocking out with the complete Funk Unit. Randy Brecker on flugelhorn, supported by the WDR Big Band, blows a storm on Lee Morgan's soul-jazz hit “The Sidewinder”. That rousing finale seems to signal the end of the DJ set, but since they’re all still baying loudly for an encore… Pete York’s fat organ-funk provides it. And that really is everybody’s very last dance.

“Fahrt ins Blaue II.” Fourteen tracks for grooving and boogying. You feel good, you dance the night away and you certainly don’t hold back. It’s music which gives those dancing feet energy they never knew they had.

Let the summer begin.
 

Ulf Andersson Band ‎- Flying Carpet (1998)


Genre: Jazz | Total Time: 1:05:20 | Size: 148.68 MB | MP3 320 kbps
 
Tracklist:
1 Flying Carpet 7:11
2 Slow Motion 8:01
3 Jamboree 4:32
4 Kwaks Baah 6:22
5 Early Meeting 3:30
6 Straight Flush 5:01
7 Thony Giant 6:26
8 Milesology 7:41
9 Hermosa Beach 5:20
10 Hippodrome 5:45
11 Mr. O. Grinders 5:34

Four Leaf Records ‎– FLC CD 163

Bass – Hans Backenroth
Drums – Rune Carlsson
Guitar – Ewan Swensson
Saxophone – Ulf Andersson

 

Tia Fuller - Diamond Cut (2018)


Genre: Jazz | Total Time: 1:03:44 | Size: 150.99 MB | MP3 320 kbps
 
Tracklist:
1. In the Trenches (6:17)
2. Save Your Love For Me (5:37)
3. I Love You (6:21)
4. Queen Intuition (5:58)
5. Joe’n Around (4:13)
6. Crowns of Grey (5:53)
7. The Coming (6:56)
8. Soul Eyes (5:39)
9. Delight (5:00)
10. Fury of Da’Mond (3:58)
11. Tears of Santa Barbara (4:22)
12. Joe’n Around (alternate take) (3:07)

Saxophonist, composer and bandleader Tia Fuller artistic capacity has blossomed tremendously, resulting in her fourth Mack Avenue Records release - the aptly titled 'Diamond Cut', her first album as leader since 2012's 'Angelic Warrior'.

Fuller uses the process of diamonds forming under four levels of extreme pressure and heat as a metaphor for the time she spent honing her artistic craft. When looking up the term 'diamond cut,' you'll learn that it was not necessarily pertaining to the shape but to the proportioning and the balance as to which the highest amount of light is reflected through the diamond. The process serves as a direct correlation to her teaching and playing.

In those six years, she's transitioned from being a member of Beyoncé's touring band to becoming a full-time professor at Berklee College of Music, while still juggling a demanding career as a solo artist and touring with the likes of drummer Terri Lyne Carrington, bassist Esperanza Spalding and drummer Ralph Peterson Jr., among others.

Produced by GRAMMY®-Award winner Terri Lyne Carrington, the album finds Fuller leading two superb rhythm sections, both of which contain some of jazz's brightest luminaries - bassist Dave Holland and drummer Jack DeJohnette, then bassist James Genus and drummer Bill Stewart. Adding texture and harmonic support of several compositions are guitarist Adam Rogers and organist Sam Yahel.

Tia Fuller (as)
Adam Rogers (g all tracks)
Sam Yahel (org 2,7)
James Genus (b 1-3,6,10,12)
Dave Holland (b 4,5,7-9,11),
Jack DeJohnette (ds 4,5,7-9)
Bill Stewart (ds 1-3,6,10,12)
Terri Lyne Carrington (per 7,8)
 

The Brian England Groove Prescription - Hammond Hash Browns (Feat. Matt Wallace) (2018)


Genre: Jazz / Blues | Total Time: 1:17:30 | Size: 181.26 MB | MP3 320 kbps
 
Tracklist:
01. Mushroom Popcorn (5:10)
02. Garlic Powder (5:12)
03. Sunset Tequila (9:33)
04. Biscuits & Sausage Gravy (5:22)
05. La Mesa Del Comedor (7:45)
06. Champagne On Tap (5:27)
07. Coma Alimentos (5:50)
08. Baker's Dozen (6:04)
09. Hammond Hash Browns (4:43)
10. Beef, Chicken Or Fish (5:32)
11. Pollo Triste (8:29)
12. Sweet Hot Buttered Corn (8:23)

Exciting organ-driven blues-based funk, jazz and latin originals!

Personnel:
Brian England: Composer, Hammond Organ, Electric Piano, Clavinet
Matt Wallace: Tenor Sax, EWI, Flute, Shaker
Joey Gulizia: Drums, Clave, Cowbell, Pandeiro, Triangle, Shaker, Surdo
Ron Cooley: Electric and Nylon String Guitar
Craig Balderston: Electric Bass
Michael Pujado: Congas, Bongos, Cajon, Tambourine, Bells
 

Ran Blake, Dominique Eade ‎- Whirlpool (2004-2008)


Genre: Jazz | Total Time: 45:02 | Size: 104.82 MB | MP3 320 kbps
 
Tracklist:
1 My Foolish Heart 3:40
2 Dearly Beloved 3:24
3 The Wind 5:45
4 Go Gently To The Water 4:50
5 Old Devil Moon 3:44
6 Pinky 3:35
7 Falling 2:39
8 Where Are You 2:48
9 Out Of This World 2:16
10 The Pawnbroker 3:54
11 Dearly Beloved 3:33
12 The Thrill Is Gone 3:25
13 After The Ball 2:29

Recorded June 2004 and February 2008, Rear Window Recording Studio, Brookline, MA

Jazz Project ‎– JP 3002

Piano – Ran Blake
Vocals – Dominique Eade

 

Pierre Dorge & New Jungle Orchestra - Pierre Dorge Presents New Jungle Orchestra (2010)


Genre: Jazz | Total Time: 1:10:19 | Size: 161.31 MB | MP3 320 kbps
 
Tracklist:
01. Balada Para El Trompetista
02. Fur Kontrabas
03. Potato Head
04. Igor Abedungola
05. Sankt Jakob
06. Ratatata Lang Ra
07. Blessing Bones
08. Little Claus And Big Claus
09. In A Mystery Mist
10. Waltz Fur Basklarinette
11. Xongly
12. Mirjam's Dada Dance

Kenneth Agerholm - Trombone
Martin Andersen - Drums
Thommy Andersson - Bass
Anders Banke - Clarinet, Clarinet (Bass), Sax (Tenor)
Irene Becker - Piano, Synthesizer
Morten Carlsen - Sax (Tenor)
Pierre Dorge - Composer, Conductor, Guitar
Gunnar Halle - Trumpet
Jakob Mygind - Sax (Soprano), Sax (Tenor)
Ayi Solomon - Congas, Percussion


Pierre Dorge et le New Jungle Orchestra sont au niveau international un des groupes danois les plus renommes quelque soit le style. Le groupe existe depuis 1980 et fete maintenant ses 20 ans d'anniversaire avec une nouvelle production sensationnelle. L'orchestre a tourne dans presque tous les coins du monde, a publie un grand nombre de disques et fonctionne comme ensemble subventionne par l'etat. Les aventures et les voyages d'exploration geomusicaux nous emmenent cette fois au Moyen Orient, ou l'Afrique rencontre l'Asie et le desert remplace la jungle. Des melodies exotiques parfument l'air et des grooves etrangers tapissent le fond. De nouvelles inspirations et experiences ont ete transformees par l'orchestre en musique vitale.
 

Minor Swing Quartet - Swing de Paris (1997)


Genre: Jazz / Gypsy Jazz | Total Time: 37:28 | Size: 72.71 MB | MP3 320 kbps
 
Tracklist:
01. Sweet Georgia Brown
02. Nuages
03. Degringolade
04. I Can't Give You
05. Tico Tico
06. Minor Swing
07. Sous Le Ciel De Paris
08. A Bicyclette
09. Swing Gitan
10. Mahna De Carnaval
11. Rumba Gitane
12. Les Yeux Noirs

Samy Daussat - Guitare Solo
Ramon Galan - Guitare
Jean Cortes - Contrebasse
Francois Ricard - Batterie
 
Samy Daussat was born on February 3, 1972. After beginning to learn the game on classical guitar, he got interested very early in jazz. He completed the Pierre Cullaz course at CIM in Paris. In La Chope Des Puces Daussat discovered Roma music and met Moreno, from 1995 he began to accompany him. Samy Daussat played the rhythm guitar with Patrick Saussois, Raphael Fays, Frederic Belinsky, Babik Reinhardt, David Reinhardt, Angelo Debarre, Tchavolo Schmitt, Christian Escoude, Romane, Stochelo Rosenberg, Florin Niculescu, Samson Schmitt - the most famous performers of Gypsy Jazz. Since 2004, he is a member of David Reinhardt Trio (Noe Reinhardt). Swing de Paris - the first released a separate release of the work of Samy Daussat as a solo guitarist.
 

Kyle Asche Organ Trio - Blues For Mel (2009)


Genre: Jazz | Total Time: 1:03:17 | Size: 143.97 MB | MP3 320 kbps
 
Tracklist:
1. Blues For Mel
2. Gentle Rain
3. Snapshot
4. I Thought About You
5. Nite Vidual
6. Killer Ray
7. Watch What Happens
8. Swedish Schnapps
9. Too Late Now
10. Forget New York
11. Who Can I Turn To
12. Killer Ray (Bonus Radio Edit)

Label: Tippin' Records

Kyle Asche: guitar; Melvin Rhyne: organ; George Fludas: drums and percussion.1
 
Chicago-based guitarist Kyle Asche opens his sophomore release, Blues for Mel, with the set's title tune, a tribute to Melvin Rhyne, the organist who most famously played with guitarist Wes Montgomery on four stellar Riverside releases in the late fifties and early sixties. The tune is a cool Montgomery-ish ride, drenched in the organ trio tradition. Asche's licks are clean and concise. The drummer, George Fludas, accents the trio sound with finesse and subtle flourishes, a polished energy, and the organist injects an assured, sometimes percussive bounce to the sound, much in the Montgomery Trio mode. No surprise there, because the guy on the organ is the very man who accompanied Montgomery on those legendary Riverside dates, Melvin Rhyne himself.  - Dan McClenaghan
 

Karel Boehlee - Solo Piano - Jazz at the Pinehill (2002)


Genre: Jazz | Total Time: 1:04:30 | Size: 145.05 MB | MP3 320 kbps
 
Tracklist:
1. The Man I Love - 7:26
2. Roofie - 7:03
3. Someday My Prince Will Come - 7:08
4. Little Princess - 6:01
5. My Funny Valentine - 11:34
6. I Do It For Your Love - 9:15
7. Lover Man - 7:18
8. Stella By Starlight - 8:46

Karel Boehlee - piano
 

Joshua Redman - Still Dreaming (2018)


Genre: Jazz | Total Time: 40:00 | Size: 92.67 MB | MP3 320 kbps
 
Tracklist:
1. New Year (feat. Ron Miles, Scott Colley & Brian Blade) 06:37
2. Unanimity (feat. Ron Miles, Scott Colley & Brian Blade) 05:09
3. Haze And Aspirations (feat. Ron Miles, Scott Colley & Brian Blade) 05:58
4. It's Not The Same (feat. Ron Miles, Scott Colley & Brian Blade) 02:46
5. Blues For Charlie (feat. Ron Miles, Scott Colley & Brian Blade) 06:50
6. Playing (feat. Ron Miles, Scott Colley & Brian Blade) 03:17
7. Comme Il Faut (feat. Ron Miles, Scott Colley & Brian Blade) 03:27
8. The Rest (feat. Ron Miles, Scott Colley & Brian Blade) 05:56

Joshua Redman is joined by drummer Brian Blade, bassist Scott Colley, and trumpeter Ron Miles for Still Dreaming—an album inspired by his father Dewey Redman's 1976–1987 band, Old and New Dreams—due on Nonesuch Records May 25, 2018. Along with the senior Redman, Old and New Dreams featured an all-star lineup of Ornette Coleman collaborators—cornetist Don Cherry, bassist Charlie Haden, and drummer Ed Blackwell—who continued pushing musical boundaries as they had with Coleman even after their former bandleader moved in a new direction. Still Dreaming features six new compositions by the new band as well as one tune by Haden and one from Coleman.

The Still Dreaming ensemble performed a series of critically praised international dates last year. The Columbus Dispatch said, "Whether exploring the limits of improvisation or establishing an emotional tone, the group … relied on a dialogue based on listening, respect, and generosity … Its emotional travel was the result of the intuition shared by all four musicians. That dialogue, after all, was at the center of Coleman's innovations."

As Redman told NPR's Jazz Night in America: "I envisioned this band with myself and Ron Miles and Scott Colley and Brian Blade … Each of us has a kind of special relationship to the corresponding instrumentalist in Old and New Dreams." Blade, like Blackwell, is from Louisiana; Colley was a student of Haden's; and Miles has long been influenced by Cherry's playing.

Redman told the Boston Globe that Old and New Dreams "were able to play very free, and at times abstract, thorny music. But at the same time there was a folk quality—whether a connection to the blues, or with African music, or with very powerful, simple melodies. Their music had a vulnerability and a poignant lyricism. That balance was something very special." He continued, "It's not our mission to go back and rediscover some Golden Age. I'm hoping this is a band that has a lot of future ahead."

Joshua Redman's first album on Nonesuch was the Grammy-nominated Momentum (2005). His other releases on the label include Back East, Compass, and Trios Live, all of which explore the trio format; MoodSwing (1994, re-issued); Walking Shadows (2013), his first recording to include an orchestral ensemble; The Bad Plus Joshua Redman (2015), a collaboration with the acclaimed trio; and Nearness (2016), a duo album with longtime friend and collaborator Brad Mehldau. Redman currently tours with his trio with bassist Reuben Rogers and drummer Greg Hutchinson; his quartet with pianist Aaron Goldberg, Rogers, and Hutchinson; and occasionally with a collaborative group called James Farm, with pianist Aaron Parks, bassist Matt Penman, and drummer Eric Harland. James Farm has two releases on Nonesuch: their self-titled album from 2011, and City Folk, released in 2014.

Joshua Redman (saxophone)
Ron Miles (trumpet)
Scott Colley (bass)
Brian Blade (drums)
 

Jack Brass Band - For Your Body (2014)


Genre: Jazz | Total Time: 54:59 | Size: 126.67 MB | MP3 320 kbps
 
Tracklist:
01. There Goes My Baby 5:49
02. If I Had No Loot 5:57
03. Bad Mama Jama 4:58
04. All I Do 4:51
05. Got My Whiskey 4:35
06. Freaky In The Club 4:44
07. Every Little Step 4:59
08. Let's Stay Together 3:50
09. We're In This Love Together 6:20
10. Can't Stop 4:40
11. They All Asked For You 4:16
 
Label – Independent

Adam Rossmiller – Trumpet
Adam Meckler – Trumpet
Zack Lozier – Trumpet
Gus Sandberg – Tenor Sax
Scott Moriarity – Trombone
Scott Agster – Trombone
Mike Mello – Sousaphone
Reid Kennedy – Snare Drum
Mike Olander – Bass Drum
 

Giulia Galliani MAG Collective - Song For Joni (2018)


Genre: Jazz / Jazz Vocals | Total Time: 57:57 | Size: 136.32 MB | MP3 320 kbps
 
Tracklist:
01. Blue (3:17)
02. Woodstock (5:33)
03. The Jungle Line (5:55)
04. Song To A Seagull (6:48)
05. A Case Of You (7:35)
06. Black Crow (7:12)
07. Goodbye Pork Pie Hat (6:46)
08. Shadows And Light (6:10)
09. My Old Man (3:45)
10. All I Want (4:57)

Giulia Galliani (Voce)
Giovanni Benvenuti (Sax tenore)
Matteo Addabbo (Organo Hammond)
Marco Benedetti (Contrabbasso)
Andrea Beninati (Batteria, Violoncello)


Label: Dodicilune
 
Born from an idea of Giulia Galliani, singer and songwriter, whose purpose is to retrace and develop the proximity of Joni Mitchell to Jazz through a rereading that emphasizes the intrinsic meaning of the texts, through the freedom of jazz language.
 

Franck Tortiller - Orchestre Franck Tortiller Collectiv (2018)


Genre: Jazz | Total Time: 44:48 | Size: 104.76 MB | MP3 320 kbps
 
Tracklist:
01. Hobo Ho (feat. Pierre Elgreshi)
02. Minuano (feat. Rémy Béesau)
03. Suite en F, pt. 1 (feat. Léo Pellet)
04. Suite en F, pt. 2 (feat. Vincent Tortiller, Pierre-Antoine Chaffangeon)
05. Suite en F, pt. 3 (feat. Maxime Berton)
06. Up and Standing (feat. Joël Chausse, Pierre Bernier)
07. Give the floor (feat. Yovan Girard)
08. Sana Coeli (feat. Abel Jednak, Yovan Girard)
09. Opening Is Bizarre (feat. Yovan Girard)
10. Collectiv (feat. Tom Caudelle, Maxime Berton)

Franck Squirming vibraphone
Rémy Béesau trumpet
Pierre Bernier saxophones
Maxime Berton (saxophone)
Tom Caudelle euphonium
Pierre-Antoine Chaffangeon keyboards
Stone Elgrishi electric bass
Yovan Girard violin
Joël Chausse trumpet
Abel But saxophones
Léo Pellet trombone
Vincent Squirming battery


Label MCO
 

David Helbock with Johannes Bär & Andreas Broger - Tour d`Horizon - from Brubeck to Zawinul (2017)


Genre: Jazz | Total Time: 50:00 | Size: 117.13 MB | MP3 320 kbps
 
Tracklist:
1 African Marketplace ( Abdullah Ibrahim) 04:22
2 Seven Days Of Falling ( Esbjörn Svensson, Dan Berglund & Magnus Öström) 06:09
3 Concierto de Aranjuez - Adagio ( Joaquín Rodrigo) 01:29
4 Spain ( Chick Corea) 03:30
5 In A Sentimental Mood ( Duke Ellington) 05:17
6 Mercy, Mercy, Mercy ( Joe Zawinul) 02:20
7 Blue In Green ( Miles Davis) 03:19
8 Watermelon Man ( Herbie Hancock) 03:39
9 My Song ( Keith Jarrett) 05:10
10 Utviklingssang ( Carla Bley) 05:31
11 Bolivia ( Cedar Walton) 04:07
12 Take Five ( Paul Desmond) 05:12

David Helbock / piano, electronics & percussion
Andreas Broger / saxophones, clarinets & various reed instruments
Johannes Bär / tuba, trumpet & various brass instruments


Recorded by Klaus Scheuermann
at Hansa Studios Berlin, December 11 & 12, 2017

ACT 9869-2
 
Austrian pianist David Helbock has been called “a consistent trail-blazer” and “a gifted story-teller at the piano” (quote from 3sat Kulturzeit). In his ACT debut album “Into the Mystic” (2016), he left his personal and individual imprint on well-known compositions from Beethoven to Thelonious Monk and John Williams, setting them in a context of mythology, legends and the spiritual.

For this new outing with the Random/Control Trio, Helbock concentrates mainly on pianists who have been his musical role models. His new album is a “Tour d'Horizon” – as the title suggests – of the greats of the jazz piano. “For this album I have chosen pieces by my favourite jazz pianists, the ones who have expanded my artistic horizons.” His 12 interpretations form a broad arc, ranging beyond the jazz sphere to include Spanish classical composer Joaquín Rodrigo, with the popular second movement of the “Concierto de Aranjuez” – reminds us of Helbock's background in classical music. Carla Bley is included with “Utviklingssang”, a tune based on just one melodic fragment. The piece proves, as Helbock explains, that she “is a complete master of the simple but ingenious melody that stays in the listener's ear and immediately establishes a mood.”

When it came to songwriters, two fellow musicians who were both hugely influential composers in their time proved shoo-ins for this album. Naturally, Duke Ellington is there. His “In A Sentimental Mood”, says Helbock, “occupies the middle ground somewhere between his epoch-defining suites and his danceable chart-toppers, and feels like a good choice.” And there is Esbjörn Svensson, who died exactly ten years ago, far too early. Svensson’s innovative combination of dynamics, groove and melody brought into being a new and broad stylistic movement in jazz. Here David Helbock gives an impressive and vivid account of “Seven Days of Falling”.

There is also a pianist whose influence Helbock absorbed extraordinarily early: “I have a very special and emotional relationship with Keith Jarrett’s music,” he says, “because my mother listened to his music through her pregnancy, so I suspect that the first music I ever heard, even before I was born, must have been ‘My Song’.”

Herbie Hancock's “Watermelon Man” stands for Helbock's musical awakening as a teenager: “The first album I bought for myself was one of his Greatest Hits compilations”. Joe Zawinul is not to be overlooked either, as he is an illustrious forerunner for Helbock, an Austrian who conquered the world of jazz. Miles Davis' “Blue In Green” and Paul Desmond‘s “Take Five” are two pieces not actually composed by pianists, but which are nevertheless indelibly associated with the giants of the piano who played in the bands that first recorded the tunes, Bill Evans and Dave Brubeck.

‘Covers’ is an inadequate word to describe the way Helbock interprets and adapts these pieces, his approach to the classics of jazz piano history is far too individual for that. And originality begins with the instrumentation he uses: Helbock has entrusted the project to his percussionless Random/Control Trio with two multi-instrumental wind virtuosi Andreas Broger and Johannes Bär. These friends from the Vorarlberg region of Austria have already made a name for themselves as humorous sound anarchists at the ‘Holstuonarmusigbigbandclub’ (HMBC), and have even climbed up the pop charts. This pair of one-man bands brings a particular brand of anarchy. They always follow a pre-conceived plan, whether it be in the bands of Matthias Schriefl or Phil Yeager. This approach is to the fore in Abdullah Ibrahim's tune “African Marketplace”. It bursts with joie de vivre, and provides the ideal entry point into this “Tour d'Horizon”. Using over 20 instruments including a didgeridoo and a tuba, they make sense of the title quite literally. Helbock doesn’t just play the keys of the piano, he also hits the strings directly and plays percussively on the piano’s wooden case.

Shrill flutes, beatboxing voices or synthesizer sounds... this trio of whirling dervishes use everything imaginable – and more – in a rousing power trip through Helbock's highly personal musical history. The jazz spirit of “Tour d'Horizon” fires up the glowing embers of tradition and turns them into a blazing beacon for the future.
 

Dalia Faitelson - Powered By Life (2017)


Genre: Jazz / Jazz Vocals | Total Time: 37:55 | Size: 90.01 MB | MP3 320 kbps
 
Tracklist:
01. My Inner Storage Room (5:18)
02. Out Of The Black (4:46)
03. Covered Up In Bed (3:39)
04. I Believe (5:16)
05. Cut Ourselves Some Slack (3:42)
06. Make A Wish (6:42)
07. Eye Of The Dawn (4:08)
08. Destiny Made A Mistake (4:25)

Composer, guitarist and singer Dalia Faitelson has 11 solo albums to her credit. She recorded and toured with international icons as Randy Brecker, Adam Nussbaum, Jerry Bergonzi, Manolo Badrena, Chris Cheek, Jay Anderson among others... Her latest album was nominated by the Danish Music Award 2014, for Best Vocal Jazz Album. She received the Danish Grammy for Jazz in 2000 and the 2005 Composer Of The Year Award given by DJBFA - the Danish Composer Association. Nominated 3 times for a The Danish World Music Award with her bands PILPEL and Global Sound. Powered By Life - New Release For the first time, Dalia Faitelson is joining forces with the great Danish piano player and Composer Thomas Clausen (collaborated with Niels Henning Ørsted Pedersen, Johnny Griffin, Gary Burton, Dexter Gorden, Ben Webster, Palle Mikkelborg, Celso Mendes among others.) Joining them on cello is Soma Allpass, on drums Anders Provis, on bass Federik Damsgård and on percussion Ayi Solomon. POWERED BY LIFE is the meeting point between chamber music and jazz. An original mix providing powerful, naked and playful voices. Where Joni Mitchell meets Tom Waits & kinky jazz greets Marlene Dietrich. This album celebrates our circle of life - an endless journey to comprehend the balance between birth and death, light and darkness, circumstance and destiny.

Recorded January 2017 at Park Film Studio, Copenhagen, Denmark and March 2017 at The Village, Copenhagen

Dalia Faitelson vocal and guitars
Thomas Clausen piano and keys
Soma Allpass cello Anders
Provis drums
 

Chris Beier - Scarborough Variations (2009)


Genre: Jazz | Total Time: 48:43 | Size: 112.62 MB | MP3 320 kbps
 
Tracklist:
1. Sacciapensieri 03:25
2. Scarborough Variations 05:26
3. Campane di L'alba 04:26
4. Biscaya 03:28
5. December Sun 04:04
6. Ombra Serena 03:24
7. Land of Dawn 03:18
8. Waldgate 04:38
9. Ionian Days 03:10
10. Cloud 04:47
11. Terra Rossa 03:46
12. Senanque 03:31
13. Scarborough - Slight Return 01:20

Chris Beier / piano

Recorded by Michael Hanf at Schüttbau, Rügheim, March 30 - April 1, 2009

ACT 9760-2
 
Music that flows quietly but energetically as it continuously creates new colours and harmonies Chris Beier is an incomparable pianist, who “has created a highly individual style” Süddeutsche Zeitung (DE)

Chris Beier was born in Trier, Germany in 1953. He took classical piano lessons as a youth and early on became interested in jazz and blues. After his graduation from secondary school Beier studied musicology, American studies and sociology. Beier has been working with numerous well-known artists since the beginning of the 1980’s, touring extensively in and outside of Germany. He has recorded over 20 albums and composed for a wide variety of radio, TV, and theatre productions. He has also composed for larger groups, including symphony orchestras.

Along with guest performances with Albert Mangelsdorff, Aladár Pege, Toto Blanke, Joe Nay, Marion Brown, Bill Elgart, Jörg Widmoser (Modern String Quartet), Dick Heckstall-Smith and John Etheridge, Chris Beier has worked with his own groups (“Overtone” with bass player Rainer Glas), with Leszek Zadlo since 1985 (in duo and quartet), and with larger formations such as when performing his suite “Angel Memory”, which was fashioned after motives from Alban Berg’s violin concerto, and the two concert suites ‘Overtone Orchestra’.

As music director of the Nuremberg State Theatre from 1997 through 2001 Chris Beier was involved with the successful productions “The Black Rider”, “Secretaries”, and “Struwwelpeter”. Since 1987 Beier has led the jazz division, teaching jazz piano, theory, and composition at the Würzburg conservatory, and later at Würzburg’s College of Music. His students have included such well-known musicians as Michael Wollny.

Since the onset of “focal dystonia” (a neurological muscle disorder) in 2001, Chris Beier has been forced to forgo active concert tours. Since that time till 2011 Beier taught jazz harmony, ear training, composition, digital music production, and pedagogy at the College of Music in Würzburg. Today he entirely focusses on composing.

From the liner notes by Michael Wollny:

"Scarborough Variations" is the title of a work available for some time now in various versions and recordings. With this album it can now finally be heard on its own. "Scarborough Variations" is also the title of the whole disc. As with "Aeolian Green", these are recordings which radiate their magical effects from the very first note.

On hearing this music one asks oneself again and again how it is that these harmonies resonate the lowest strings in one’s own being, quite why these melodies stick around in one's head for hours and for days, and how a piano can sound both so archaic and so perfect at the same time. […] Every note in this music calls out to the listener, ushering in a timeless present in which things in and around us miraculously unscramble themselves. (Michael Wollny, Leipzig, 2018)
 

Bill Dobbins, John Goldsby - The Visit (2009)


Genre: Jazz | Total Time: 1:12:00 | Size: 162.49 MB | MP3 320 kbps
 
Tracklist:
01. Visitation / Reets & I
02. Nascimento
03. Absinthe
04. Blue Rose
05. Star Crossed Lovers
06. This Is New
07. R & R
08. Elegy
09. Darling Daralene
10. Red's Blues

John Goldsby - bass
Bill Dobbins - piano
 

28 May, 2018

Warren Vache - My Shining Hour (1994)


Genre: Jazz | Total Time: 1:15:59 | Size: 167.54 MB | MP3 320 kbps
 
Tracklist:
1. My Shining Hour 7:18
2. I Fall In Love Too Easily 6:34
3. You'd Be So Nice To Come Home To 8:20
4. Poor Butterfly 6:49
5. Purple Gazelle 5:51
6. Isfahan 7:25
7. My Romance 6:46
8. There Will Never Be Another You 8:00
9. End Of A Love Affair 8:15
10. Cherokee 10:40

Warren Vache - cornet
Allan Vache - clarinet
Brian Lemon - piano
Dave Cliff - guitar
Dave Green - bass
Allan Ganley - drums


Live At The Amerika Haus, Hamburg, 1994
 

The Brian Lemon - Roy Williams Quintet With The Supreme Sidemen - How Long Has this Been Going On (1995)


Genre: Jazz | Total Time: 1:06:26 | Size: 150.02 MB | MP3 320 kbps
 
Tracklist:
01. Sweet Georgia Brown
02. How Long Has This Been Going On?
03. Georgia On My Mind
04. Bye Bye Blues
05. I Can't Get With You
06. Blues In The Closet
07. In The Wee Small Hours
08. I Remember You
09. Tenderly
10. When I Fall In Love
11. I've Found A New Baby

Roy Williams (trb)
Scott Hamilton (t-sax)
Brian Lemon (p)
Dave Cliff (g)
Dave Green (b)
Allan Ganley (dr)


Lansdowne Studio, 3-4 august,1995.
 

Sun Ra and His Arkestra - Pleiades: A Jazz Symphonique (1990)


Genre: Jazz | Total Time: 1:53:00 | Size: 253.43 MB | MP3 320 kbps
 
Tracklist:
01. Pleiades (1948 home demo) 1:26
02. Pleiades (concert version) 15:37
03. Planet Earth Day 16:27
04. Friendly Galaxy 13:01
05. Disciplined One 4:23
06. Sun Procession 12:56
07. Lights on a Satellite 6:24
08. Frisco Fog 3:10
09. Love in Outer Space 6:55
10. Carefree (Egyptian Fantasy) 9:54
11. Mythic 2 7:51
12. Prelude in A Major, Op. 28 #7 (Chopin) 7:43
13. Planet Earth Day (Reprise) 7:18

Label: Enterplanetary Koncepts
 
The Pleiades are an open star cluster in the constellation Taurus. One of the nearest such clusters to Earth, the Seven Sisters (as they're also known) comprise middle-aged, hot B-type stars which can be viewed by Earthlings in the night sky without a telescope. The nine brightest stars of the cluster are named for the Seven Sisters of Greek mythology and their parents.

"Pleiades" is also one of the earliest existing Sun Ra compositions, first recorded on a home piano demo by 34-year-old Herman "Sonny" Blount in his sweltering South Side Chicago apartment in August 1948. Blount had moved to the Windy City in 1946 and began musical dues-paying that found him writing arrangements for sundowning big bands and wild R&B shouters, fronting small combos in dancehalls and dives, and making a local name for himself as an ambitious composer/arranger-for-hire. That vintage demo, recorded in solitude and redolent with sandpapery surface noise, opens this album.

We then segue ahead 42 years, to the twilight of Sun Ra's long and storied career. At age 76, when many of his contemporaries were in nursing homes or under headstones, Ra embarked on six visits to Europe, several comprising multiple bookings in different countries. (This rigorous travel schedule allegedly contributed to his suffering a stroke later that year.) Among dozens of dates in celebrated clubs and concert halls, Ra led his Arkestra in a "Jazz Symphonique" at the Théâtre-Carré Saint-Vincent, Orléans, France, on October 27, 1990. Other than renditions of two Swing Era chestnuts, "Blue Lou" and "Frisco Fog," it was an all-Ra repertoire.

The opening work was the ancient "Pleiades."

The pairing of Ra's raucous Arkestra with an elegant classical ensemble, while unusual, would come as no surprise to those who followed Sun Ra's trailblazing career. To Ra, nothing was unthinkable. Across 40+ years of studio recording and public performance, Ra offered everything except consistency and predictability.

Ra discographer Christopher Trent, co-author (with Robert L. Campbell) of The Earthly Recordings of Sun Ra, recalled: "My impression is that for the Pleiades gig, a selection of classical musicians were hired rather than a complete orchestra." Ra biographer John Szwed obtained information about the concert directly from Arkestra trumpeter Jothan Callins, who had played a larger-than-usual role on the date. As recounted by Szwed in Space is the Place: The Lives and Times of Sun Ra:

“The Théâtre-Carré Saint-Vincent event in Orléans, France, was billed as a ‘Jazz Symphonique’ concert, and Sun Ra had nineteen classical musicians made available to him to add to the sixteen musicians he was bringing, which already included two violins and a cello. He threw himself into the project and bought a computer to help him produce the instruments’ parts. But once they reached Paris, Sun Ra confided to Jothan Callins that he didn’t have the arrangements ready for the larger ensemble. And though he didn’t ask for help, he seemed distraught, his hands shaking. So for the next fifty hours Callins worked with Sun Ra on the parts, transcribing and Xeroxing day and night, even adding his own composition, ‘Alabama,’ to the list, and then when the night of the performance came, Callins conducted the Arkestra for Sonny. ‘When I finished he thanked me for it,’ said Callins. ‘It was the first time I’d ever heard him thank anyone for anything.’”

The concert was apparently captured only on DAT (digital audio tape, a then-high tech, but now obsolete compact cartridge format). While the recording is generally crisp with dense ambience, the microphone placement sounds ad hoc and many instruments are heard only as distant echoes, especially horns and occasionally the piano. Three admittedly speculative scenarios: 1) considering the large number of musicians involved, perhaps the stage crew ran short of mics; 2) players shifted positions throughout the performance; and/or 3) microphones were repositioned throughout the performance. (In at least one instance, a sax solo begins solidly, then suddenly dips precipitously in volume as if the player had crossed the stage or the mic was removed—or malfunctioned. Talvin Singh's tabla are close-miked on some tracks, more distant on others.)

This rare concert was issued in the UK on a 2-CD set entitled Pleiades, on the Leo label in 1993. However, that album's audio sounds like a direct transfer from a source DAT with no attempt at sonic adjustments. Consequently, the instruments and channels are out of balance, and volume levels are erratic. The violins, drums, and tabla are well-represented, often at the expense of other instruments and soloists. In ensemble passages the horns generate enough collective power to blast through, but some soloists are exiled to the sonic shadows. The tabla (which sporadically seem to have been placed directly near a mic, or vice-versa) are often intrusively loud, and the bass drum accents explode above the limits of comfort.

Back in 1993, digital audio editing was a relatively young technology, and the more sophisticated systems were largely housed in professional studios. Software, plugins, waveform editors, and sonic juicers were primitive compared to what can be accomplished today at home on a laptop. Consequently, this 2018 digital edition offers a remarkable upgrade to that 1993 CD. Our version offers a better mix—the best that can be accomplished from a seemingly haphazard stereo capture with no isolated stems.

Michael D. Anderson, of the Sun Ra Music Archive, supplied flat transfers from two DATs of the full concert. (Each was 60 minutes, with the end of tape one overlapping with the beginning of tape two, indicating two machines were used; the mix was identical to the Leo CD.) We went in passage by passage and removed transient noises, adjusted volume levels, and made the atmosphere slightly more vibrant. Thankfully, it's possible to boost the volume of imbalanced channels because, unlike analog tape, DATs were virtually hiss-free.

The tabla slaps and kick drum blasts have been moderated (though nothing was hammered down; they were meticulously lowered hit-by-hit). The kick still has power but doesn't rattle the speakers; the tabla remain prominent—they are crisp and cut through. The playing is spectacular, and they're a crucial part of these arrangements (also we love percussion!). However, there are other instruments behind the tabla, and too much suppression would cause signal loss in those instruments.

There's a lot of onstage "rustling"—players moving stuff around, turning pages in the score, coughing, positioning themselves to play. We minimized such artifacts where intrusive (e.g., during piano solos), but left plenty of such "noise" because that's Ra and it provides a sense of space.

Audience presence has been minimized; where tracks begin and end cleanly, applause has been eliminated. Where intros or endings overlapped with applause, all music was retained and applause was faded in or out respectively. This is partly a necessity in the age of digital music, where tracks can be purchased separately and/or listened to out of context.

Some titles were inaccurate on the Leo CD. Track 2, listed as "Mythic 1," is in fact "Planet Earth Day." CD track 7, listed as "Planet Earth Day," was actually a work that Ra alternately titled "Carefree" or "Egyptian Fantasy." Two tracks not included on the Leo CD have been restored to their sequence in the concert: "Frisco Fog" and a rousing concert-closing reprise of "Planet Earth Day." ("Blue Lou," heard on the CD, had to be jettisoned from this digital edition because the instrument mix was hopelessly beyond repair. It's a showpiece for Gilmore but after he begins a rousing solo, his volume level drops precipitously as if his mic cuts out, and it remains that way for the balance of the track, which is largely an aggressive battalion of drums and percussion with most other instruments buried in the mix. Did we mention we love percussion?) In addition, track 3 on the CD, "Friendly Galaxy," actually consisted of two works—"Galaxy" was followed by a separate four-and-a-half minute work that was not indexed or listed in the CD sequence. Anderson claims the unidentified work is titled "Disciplined One." Trent adds: "It’s a separate piece, a conducted improvisation with Sun Ra standing in front of the band, signaling for various ensembles and solos. I don’t think there’s any written composition in there. It's the kind of piece Ra would often initiate after the band arrived onstage at the start of a set, but he would also use such pieces to punctuate sequences of composed music."

"'Mythic 2' is a Sun Ra composition without a real/original title," said Trent. "The title was added by Leo as a placeholder. It’s the only recording on which I have ever heard this composition as far as I remember."

The Callins original, "Alabama," mentioned by Szwed, is absent from the tapes and there is no indication it was performed.
 

Steve LaSpina - Eclipse (1993)


Genre: Jazz | Total Time: 1:04:09 | Size: 147.01 MB | MP3 320 kbps
 
Tracklist:
1 Inside Out 7:23
2 New Life 8:33
3 What? 6:19
4 Eclipse 3:30
5 Just So You Know 9:24
6 And Now I Know 5:49
7 When I Return 8:59
8 Just A Phase 7:03
9 In Search Of Peace 7:28

Recording April, 1993

SteepleChase ‎– SCCD 31343

Bass – Steve LaSpina
Drums – Jeff Hirshfield
Piano – Marc Copland
Tenor Saxophone – Billy Drewes

 

Pete Malinverni - This Time (1996)


Genre: Jazz | Total Time: 57:58 | Size: 131.00 MB | MP3 320 kbps
 
Tracklist:
1. A Line For Nichols
2. Psalm 100
3. Beautiful Love
4. This Time
5. The Shadow Of Your Smile
6. How Deep Is The Ocean
7. Deep River
8. Good Question

Pete Malinverni (p)
Dennis Irwin (b)
Leroy Williams (ds)


Recorded June 3, 1996 at Van Gelder Recording Studio, Englewood Cliffs, NJ.
 

Noam Wiesenberg - Roads Diverge (2017)


Genre: Jazz | Total Time: 48:08 | Size: 105.71 MB | MP3 320 kbps
 
Tracklist:
1. Prelude 01:48
2. Resfeber 09:08
3. Shir Le'Shir 05:45
4. Where Do We Go from Here 05:01
5. Roads Diverge (feat. Dayna Stephens, Shai Maestro, Philip Dizack, Immanuel Wilkins & Kush Abadey) 06:04
6. Capricorn Lady 04:07
7. Davka 06:17
8. Melody for Ido 06:12
9. The Tourist 03:46

More than ten years ago, bassist/composer Noam Wiesenberg left Tel-Aviv and descended upon Boston (graduating Berklee in 2010, Magna Cum Laude in Jazz Performance), and eventually New York City, with the aspiration of playing alongside the world's greatest musicians. After many years of doing just that (with the likes of Camila Meza, Kevin Hays, Antonio Sanchez, Gilad Hekselman, Ari Hoenig, Billy Hart, Seamus Blake, Shai Maestro, Will Vinson, Uri Caine, Lage Lund, Dave Liebman and many others), the time has come to release his debut album, and his premiere as a composer and bandleader, Roads Diverge.

They say, "timing is everything". Making choices without fear of consequence can be daunting. And, in Robert Frost's famous poem "The Road Not Taken" the author stresses the importance of choosing the road less traveled. All of these factors played a significant part in the conception, production and delivery of the album you hold in your hands, Roads Diverge. "I think I have been hiding in other people's projects and music a little bit, and it feels good to make this choice for myself. I've never gone down the path of releasing my music before, so this is definitely a 'road less traveled' for me, but it feels like the right time to do it!" The album, featuring Noam Wiesenberg (bass, compositions), Philip Dizack (trumpet & FX), Immanuel Wilkins (alto sax, clarinet), Shai Maestro (piano/Fender Rhodes), Kush Abadey (drums), and special guest Dayna Stephens (tenor sax), will be released this May 18, 2018 on Brooklyn Jazz Underground Records.

"It has taken me a long time to internalize that the choice itself is what is important, the act of choosing rather than which choice to make. It is often better to choose the 'wrong' path than to remain still and safe. By making a choice you are making progress, for better or for worse, and you are allowing yourself to grow," said the bassist. "Taking the road less traveled is the only way to discover new territories, which is so true in many aspects of life, and especially when it comes to a life in jazz and improvised music. I wanted to draw attention to not only the 'roads' in this music, but also to the point where they diverge. This album is about the power of choice, and the power of making choices. This is a strong idea for me, both conceptually and personally, and I am filled with pride and joy over this project."

"Noam's abilities go beyond being an incredibly solid and lyrical bass player; he writes and arranges music with a voice of his own and with great detail, consistently enriching his instrumental approach and expanding his depth as an artist." (Camila Meza)

Noam Wiesenberg, bass
Philip Dizack, trumpet, EFX
Immanuel Wilkins, alto saxophone, clarinet
Shai Maestro, piano, Fender Rhodes
Kush Abadey, drums

Special guest:
Dayna Stephens, tenor saxophone (on track 5)


Recorded on June 20th & 21st 2017 at Systems Two Recording Studio in Brooklyn, NY
 

Molly Johnson - Meaning To Tell Ya (2018)


Genre: Jazz | Total Time: 40:25 | Size: 92.72 MB | MP3 320 kbps
 
Tracklist:
01. Inner City Blues
02. Better Than This
03. Lady Day And John Coltrane
04. Boogie Street
05. Gone
06. Stop
07. Protest Song
08. Meaning To Tell Ya
09. L.O.V.E.
10. Together
 

Mark McGrain - Love Time and Divination (2018)


Genre: Jazz | Total Time: 56:33 | Size: 128.81 MB | MP3 320 kbps
 
Tracklist:
1. As Time Goes By (feat. Matt Lemmler) 6:52
2. It All Comes Down to Love (feat. John Boutté, Matt Lemmler & James Singleton) 3:59
3. Blossom (feat. Matt Lemmler & James Singleton) 3:30
4. 3:27AM (feat. Matt Lemmler & James Singleton) 5:38
5. On the Turning Away (feat. John Boutté, Matt Lemmler & James Singleton) 4:08
6. Hola Brah (feat. Matt Lemmler & James Singleton) 3:59
7. I Thought About You (feat. John Boutté, Matt Lemmler & James Singleton) 6:24
8. Étreinte Bleu (Paris Blue Embrace) [feat. Matt Lemmler] 5:11
9. Arise (feat. Matt Lemmler & James Singleton) 5:24
10. Love Time and Divination (feat. Matt Lemmler & James Singleton) 5:58
11. I Can't Get Started (feat. Matt Lemmler) 5:30

Mark McGrain (trombone), John Boutté (voice), Matt Lemmler (piano), and James Singleton (bass).

Immersion Records & Media (888295659390)
 
Mark McGrain (founder and leader of the group PLUNGE) pilots a group of New Orleans modern jazz virtuosi through a collection of new compositions presented along-side selections from the American songbook and a soulful reworking of a Pink Floyd classic. Lauded “Voice of Treme,” singer John Boutté joins McGrain’s lyrical trombone along with the, at times lush and at other times striding saloon piano accompaniment of Matt Lemmler and the adventurous, driving contrabass of James Singleton. Love, Time, and Divination marks a change of course for McGrain (at least temporarily) toward song form, melody, and harmonically relevant improvisations—it is an album of unabashedly beautiful music performed by consummate jazz artists; all tracks were recorded on August 14, 2017 at Esplanade Studios in New Orleans by legendary engineers Misha Kachkachishvili and John Fishbach (mastering).

The 11 tracks on Love, Time, and Divination cover a wide range of musical styles from New Orleans stride piano and trombone duets to modern, rhythmically stirring swing, bossa nova, gospel, and even salsa melodies—at once memorable, smart, and very soulful at every turn.

Vocalist John Boutté, who Nate Chinen in the NY Times said “[exudes] New Orleans feeling: the bonhomie and pride along with the heartache,” and Larry Blumenfeld, in the Village Voice referred to as “New Orleans’ best-kept secret, and possibly its strongest voice,” joins the trio on the McGrain original “It All Comes Down To Love,” a swinging version of the Van Heusen/Mercer standard “I Thought About You,” and a soulful rendition of David Gilmour’s Pink Floyd classic “On The Turning Away.” Pianist Matt Lemmler spent time performing nightly and touring with legendary clarinetist Pete Fountain. The great jazz composer and pianist Dave Frishberg called Matt “a pianist of rare originality and a point of view about standard songs that’s always surprising and often quirky.” Matt and Mark both work together regularly in John Boutté’s band. Bassist James Singleton has been a key contributor to McGrain’s quartet and Plunge efforts over the past twenty years. He has also performed with countless jazz artists including John Scofield, John Medeski, Eddie Harris, Lionel Hampton and many others. Mark McGrain, leader of the critically acclaimed contemporary jazz group PLUNGE www.plunge.com, has been called “soulful, vivacious. A daring trombonist” by DownBeat Magazine and “[one of] the most forward-leaning musicians in New Orleans” by Tom Jacobsen, (www.NewOrleansNotes.com). Journalist Scott Yanow wrote in JAZZIZ, “McGrain proves that jazz trombone, while still owing a debt to J.J. Johnson, has traveled far during the past 70 years.”

What the critics say about Mark McGrain's "Love, Time, and Divination":
"Besides the stellar quality of Mark McGrain's playing (as ever, warmly engaging and technically bombproof), Matt Lemmler, James Singleton provide accompaniments in a special class. The beautiful, slow-dragging of Mr. Singleton's bass on "I Thought About You" as Mr McGrain -- mute firmly in the bell -- glides on, and the deeply meditative "I Ca't Get Started", a masterful duet highlighting Mr. Lemmler's marvelous pianism are delivered throughout -- as is everything else -- with spell binding loveliness. An album to absolutely die for." --Raul da Gama, www.jazzdagama.com
 

Junior Mance - The Floating Jazz Festival Trio (1997)


Genre: Jazz | Total Time: 1:18:38 | Size: 177.69 MB | MP3 320 kbps
 
Tracklist:
1. Falling In Love With Love
2. I Don't Care
3. Lover Man
4. Junior's G Blues
5. What's New
6. Us
7. Oh Lady Be Good
8. I Got It Bad & That Ain't Good
9. Take The A Train

Junior Mance (piano)
Keter Betts (bass)
Jackie Williams (drums)


Special guest: 
Red Holloway (alt sax, track 5),
Henry Johnson (guitar)


Recording Date: November 1, 1997 - November 6, 1997.
 

David Bixler - Call It A Good Deal (2005)


Genre: Jazz | Total Time: 51:41 | Size: 118.36 MB | MP3 320 kbps
 
Tracklist:
01. Aiding and Abetting (Bixler) - 7:13
02. Unraveled (Bixler) - 8:22
03. Game Face (Bixler) - 7:23
04. Gemenlie (Bixler) - 7:47
05. Scratch and Sniff the Jive (Bixler) - 9:08
06. He Cries Every Day (Bixler) - 5:16
07. Good Deal? (Bixler) - 6:37

David Bixler may not be a widely familiar name to jazz fans, though he has held the first alto sax chair in the Chico O'Farrill Afro-Cuban Jazz Orchestra, but he deserves much wider recognition for this impressive date of his own. Accompanied by trumpeter Scott Wendholt, guitarist John Hart, bassist Ugonna Ugekwo, and drummer Andy Watson, Bixler leads his group through a session of challenging, infectious originals. "Aiding and Abetting" has an amusing, sinister undercurrent built upon its catchy theme, showcasing each of the musicians in turn. The mysterious "Unraveled" has a haunting, somewhat ominous quality with Hart's sinewy guitar. "Game Face" utilizes a complex repeated motif as its root, with inventive countermelodies played against it. "Scratch and Sniff the Jive" is a funky strut where Bixler uses the full range of his instrument. The bittersweet ballad "He Cries Every Day" is pure magic and deserves lyrics if it doesn't already have some. Highly recommended.~ Ken Dryden

David Bixler - alto saxophone
Scott Wendholt - trumpet
John Hart - guitar
Ugonna Ugekwo (Okegwo) - bass
Andy Watson - drums


Recorded at The Studio, New York on May 24 and June 1, 2005.
 

Dannah Garay - From You... To You (2012)


Genre: Jazz / Vocal Jazz | Total Time: 56:13 | Size: 130.79 MB | MP3 320 kbps
 
Tracklist:
01. The Very Thought Of You 5:00
02. Dream A Little Dream Of Me 2:47
03. Day In Day Out 2:53
04. Stardust 3:30
05. I'm Thru With Love 3:05
06. How Does It Feel 4:20
07. Makin' Whoopee 3:56
08. Smile 4:32
09. That Ain't Right 3:35
10. When I Fall In Love 5:30
11. Almost Like Being In Love 2:31
12. I Love You For Sentimental Reasons 4:47
13. Gee Baby Ain't I Good To You 2:56
14. Straighten Up And Fly Right 2:17
15. Just One Of Those Things 2:48
16. You're Nobody Till Somebody Loves You 1:46
 
Dannah Garay (born January 12, 1984) is a Mexican Jazz singer. She began to feel curious about music, especially Jazz, at a young age. Her father used to play the guitar for her and this greatly influenced her musical development.
Dannah Garay presents her album “From you… to you”: A tribute to Nat “King” Cole, who has been a deep source of inspiration even before she began her musical career. For this recording, Dannah worked with international musicians such as Gabriel Hernández, an acclaimed Cuban pianist, who is the music arranger and musical director of this project. Gabriel has shared the stage with great artists such as Roy Hargrove and Chucho Valdéz and he is currently a member of the Afro-Cuban All-Stars; Ken Basman, virtuoso guitar player from Canada; Tyler Mitchell, double bass player who has performed with renown Jazz artists such as Shirley Horn, Jon Hendricks and Wynton Marsalis; and Juan Alejandro Sáenz one of the youngest and most acclaimed Mexican drummers who won the Steve Gadd Award from the Berklee College of Music in 2012. ©

Label - Dannah Garay
 

Dana Murray - Negro Manifesto (2018)


Genre: Jazz | Total Time: 42:53 | Size: 97.44 MB | MP3 320 kbps
 
Tracklist:
01. Intro
Dana Murray - Percussion;
JD Allen -Tenor Saxophone
02. In The Beginning
Dana Murray - Drums, Percussion, Synth;
JD Allen - Tenor Saxophone;
Reg Wyns - Vocals
03. Comfort
Dana Murray - Synth;
Heidi Martin - Vocals;
Jesse Langen - Guitar
04. The System
Dana Murray - Drums, Percussion, Synth;
Reg Wyns - Vocals;
JD Allen - Tenor Saxophone;
Elizabeth Kantumanou - Vocals
05. Comfortable Discomfort
Dana Murray - Drums, Percussion, Synth;
JD Allen - Tenor Saxophone; Andrew Bailie - Guitar
06. Stand By Your Man (Lady Liberty)
Dana Murray - Synth, Percussion;
Amanda Deboer Bartlett - Vocals;
JD Allen - Tenor Saxophone;
Jesse Langen - Guitar
07. Suite Kaepernick Mvt 1
Dana Murray - Vocals;
Anita Jaynes - Harp;
Aaron Gum - Modular Synth
08. Suite Kaepernick Mvt 2
Dana Murray - Synth;
Aaron Gum - Modular Synth;
CJ Mills - Vocals;
Marc Cary - Rhodes
09. Suite Kaepernick Mvt 3 (Welcome to the Machine)
Dana Murray - Synth;
Aaron Gum - Modular Synth;
CJ Mills - Vocals;
Eric Revis - Bass;
Orrin Evans - Piano;
Nasheet Waits - Drums;
Oliver Lake - Alto Saxophone;
Mitch Towne - Organ
10. Temptation
Dana Murray - Synth
11. Ballad of Lies
Dana Murray - Dums, Synth;
CJ Mills - Vocals;
JD Allen - Tenor Saxphone
12. Dead Wishes
Dana Murray - Vocals, Synth, Rhodes;
Heidi Martin - Vocals;
Amanda Deboer Bartlett - Vocals;
JD Allen - Tenor Saxophone
13. Alice Mae
Dana Murray - Synth;
Anita Jaynes - Harp;
Elizabeth Kantumanou - Vocals;
Caron Wheeler - Vocals;
Mitch Towne - Whirlizter Elec. Piano

The Negro Manifesto; the title alone sets the tone. We will be discussing the issues, and we will be exploring it through sound. Dana brings a worldly, producer’s view of not only music but life. Delving into social issues, especially among musicians, one can find those that have struggled and have found their way with a message of hope and love. They speak of their personal struggle from Crenshaw to Hollywood, or Washington Heights to Lincoln Center. Dana transcends that message, as his background includes comfort with the south side and the suburbs. He can speak of more than his personal experiences from this unique vantage point.

Dana speaks of discovering inequalities and hidden racism in his teen years, and while he begins with an intellectual assessment one can feel a sense of anger and a sense of purpose. His is a larger discussion; he seeks the true roots of the system that creates and perpetuates injustice. It’s not a tidy story with simple answers – it’s a noisy and deep chasm of universal struggle. The Negro Manifesto is both an indictment and a path to discovery. All the while the album stands as a summary of history and a challenging artistic piece, touching on racism and sexism in the capitalist paradigm. The world we live in, the world that we all must bear witness to as it contorts under its own bad intent. A world that just may be dying a convoluted death and rebirth, that is even more dangerous as the truth and beauty struggles for the light of day.

The Negro Manifesto evokes the ghosts of many – from Gil-Scott Heron to Hip-Hop activists The Goats, from Coltrane to Philip Glass. While it is impossible to ignore the storyline, it is possible to enjoy the musical journey, like a soundtrack to a movie not yet made.

Social justice movements need more than just tough stories and hopeful mantras. Dana Murray delivers for us a testimony of truth, challenge, with a call to engagement. It is time for a talk, and Dana has opened the floor.

Released April 20, 2018
 

Ben Markley - Basic Economy (2017)


Genre: Jazz | Total Time: 58:00 | Size: 132.24 MB | MP3 320 kbps
 
Tracklist:
1 FTG 6:50
2 Our Walk 7:06
3 Basic Economy 6:45
4 Mind Fire 7:28
5 Road to Ace 9:28
6 Ice-Line 7:37
7 Half Dozen 3:58
8 Autumn Air 8:47

Ben Markley - Piano
Greg Osby - Alto Saxophone
Evan Gregor - Bass
Dru Heller - Drums


All compositions by Ben Markley, Markley Music BMI, except (7) by Greg Osby

Recorded on October 27, 2017

OA2 Records OA2 22156
 
As the follow-up to his critically-acclaimed Big Band recording, "Clockwise: The Music of Cedar Walton," pianist Ben Markley presents this spirited and thoroughly modern quartet session of original compositions, featuring alto saxophone great Greg Osby.

Inspired by their developing musical relationship over the last four years, Markley composed a set of music with Osby in mind, followed by a tour and this recording. With the crisp and fully engaged support of bassist Evan Gregor and drummer Dru Heller, the effect of Markley and Osby's fluid rapport creates an inspired argument for further exploration. "'Basic Economy' is a vivid presentation of the sound of today, with a healthy nod to the institutions of chance and imagination." - Greg Osby.

"... playful and swinging, full of matter-of-fact phrasing and sound harmonic progressions...with enough open landscape to allow solos to stretch out over a lush chordal framework." - All About Jazz
 

Ari Hoenig - Ny Standard (2015)


Genre: Jazz | Total Time: 43:49 | Size: 101.37 MB | MP3 320 kbps
 
Tracklist:
01. Boplicity (Davis-Evans) 4:29
02. Bessie's Blues (John Coltrane) 8:31
03. Stablemates (Benny Golson) 6:19
04. Someday My Prince Will Come (Churchill-Morey) 6:21
05. Pent Up House(Sonny Rollins) 5:52
06. In Walked Bud (Thelonious Monk) 7:30
07. Fee Fi Fo Fum (Wayne Shorter) 4:30

Ari Hoenig (drums), Tivon Pennicott (tenor sax on #5-7), Gilad Hekselman (guitar on #1-3,5,6), Tigran Hamasyan (piano on #2), Shai Maestro (piano on #4,6), Eden Ladin (piano on #3,5), Orlando Le Fleming (bass).

Recorded at Peter Karl Studios in Brooklyn, New York, September 2015, except track #2 recorded on January 21, 2010
 

Alune Wade - African Fast Food (2018)


Genre: Jazz | Total Time: 43:42 | Size: 101.76 MB | MP3 320 kbps
 
Tracklist:
01. African Fast Food
02. How Many Miles
03. Pharoah’s Dance
04. Mali Dén
05. Brown Sugar
06. Nuit des Lombards
07. Demna
08. Boisterous City
09. Afua
10. Mame Fallou

Alune Wade revient avec un nouveau projet, fruit de ses influences et de ses expériences musicales. Des chansons en anglais, en français, en wolof, de l’afrobeat nigérian, de la musique folk sénégalaise, du jazz, avec des musiciens talentueux et des invités prestigieux parmi lesquels Oxmo Puccino et Kuku…
Tous les ingrédients sont réunis pour une musique forcément métissée, riche et colorée, avec le groove comme fil rouge de l’album.

Label: Cristal Publishing
 

Allan Vache & Friends - Ballads, Burners & Blues (2003)


Genre: Jazz | Total Time: 1:13:13 | Size: 161.66 MB | MP3 320 kbps
 
Tracklist:
1. The Blues My Naughty Sweetie Gives To Me (5:37)
2. It Could Happen To You (7:40)
3. Some Of These Days (5:31)
4. I'm Glad There Is You (6:44)
5. The Yellow Dog Blues (6:45)
6. Lazy Mood (5:49)
7. Besame Mucho (8:04)
8. It's All Right With Me (5:17)
9. Prof's Blues
10. A Minor Majority (4:08)
11. Danny Boy (6:24)
12. Our Day Will Come (5:25)

Allan Vache - clarinet & vocal (1)
Vanessa Vache - clarinet (10)
Ed Polcer - cornet & vocal (1)
Dan Barrett - trombone
Mark Shane - piano
Phil Flanigan - bass
Ed Metz Jr. - drums


Lone Pine Studios, Clearwater, Florida, 2003
 

Alex Monfort Trio - Introspection (2018)


Genre: Jazz | Total Time: 39:57 | Size: 92.01 MB | MP3 320 kbps
 
Tracklist:
01. Mulgrew's Mood
02. Body Without Soul
03. Introspection
04. Prelude to Someone
05. Mc Coltrane
06. Early Walk in O.K.B
07. She's Falling Asleep
08. Nine Blues

Remember these three letters well, because they ring with the youth, modernity, and virtuosity of the next generation of jazz. Composed of pianist Alexandre Monfort, bassist Samuel F’hima, and drummer Tom Peyron, this sensational ensemble is quickly rising to success. In only one year, these three musicians have taken the podium at some of the world’s most prestigious jazz competitions, including the Rezzo Focal de Vienne, Jazz à St. Germain des Près, Jazz à Vannes and were unanimously selected as the first prize winners at the Blue Note Festival, where they were hailed for their performance by the judges and critics alike. This success was swiftly followed by a rousing performance at the eminent Sunset-Sunside jazz club in Paris that brought the audience to their feet. Technically brilliant, stylistically vivacious, and with the flair of young virtuosity, A.M.T. is primed to bring the next generation of jazz to audiences all over the world.

Alex Monfort – piano
Samuel F’hima – c.bass
Tony Peyron – drums
 

26 May, 2018

SFJazz Collective - Music of Miles Davis & Original Compositions Live: SFJazz Center 2016 (2017)


Genre: Jazz | Total Time: 2:18:45 | Size: 320.48 MB | MP3 320 kbps
 
Tracklist:
CD 1:
1. So What
2. Nardis
3. Milestones
4. Tutu
5. Bitches Brew
6. All Blues
7. Joshua
8. Teo

CD 2:
1. Tribe
2. Canto
3. Your Turn
4. 111
5. In the Heat of the Night
6. Shields Green
7. Hutcherson Hug
8. Feel the Groove

Miguel Zenón - alto saxophone
David Sánchez - tenor saxophone
Sean Jones - trumpet
Robin Eubanks - trombone
Warren Wolf - vibraphone
Edward Simon - piano
Matt Penman - bass
Obed Calvaire - drums
 
In the thirteen years since the SFJAZZ Collective first came together in February 2004, this revolving door octet (septet, in 2009) of "cream of the crop" US-based jazz musicians has, most years, followed a consistent modus operandi: select a well-known jazz (and, in two cases, beyond jazz) musician and pay tribute through innovative arrangements of his/her music, alongside a set of new original compositions—in almost every case, one each contributed by every member of the Collective.

In the ensuing years since its 2004 debut, which set an initial high bar by paying tribute to free jazz progenitor Ornette Coleman, the Collective has delivered additional homages to everyone from John Coltrane, Herbie Hancock, Thelonious Monk, Wayne Shorter and McCoy Tyner to Horace Silver, Chick Corea, Joe Henderson, Stevie Wonder and Michael Jackson.

While there are more than enough artists to keep the Collective going in perpetuity, the above list of largely iconic jazz artists is missing one obvious entry: Miles Davis. It's curious, in fact, that it took the Collective so long to get to the late trumpeter, bandleader and stylistic redefiner; but perhaps it's the particularly broad scope of Davis' career that led to the Collective holding off until it could figure out how to best cover the farthest reaches of a musician who moved effortlessly—and in just four decades, from the 1950s through early '90s—from bebop to cool jazz, from modal jazz to free bop, and from the densely electrified fusion of the 1970s through a more eminently accessible and star power-driven final chapter of pop-informed jazz.

Thirteen years may have been a long time to wait for an SFJAZZ Collective tour and album dedicated to the music of Davis, along with a host of new original compositions from the current octet, but with Live: SFJAZZ Center 2016—Music of Miles Davis & Original Compositions, it's clearly been worth the wait.

A two-disc set, with one dedicated to the Davis arrangements and the other featuring the original compositions, Music of Miles Davis manages to cover considerable Davis territory with a compelling and creative blend of reverence and reinvention. Bassist Matt Penman contributes a reshuffled look at the title track to Milestones (Columbia, 1958), while trumpeter Sean Jones creates a semi-faithful reconstruction of "So What" and pianist Edward Simon metrically rejigs "All Blues," both from Kind of Blue (Columbia, 1959). Alto saxophonist Miguel Zenon refracts "Nardis"—a composition written, but never actually performed, by Davis for then-Davis sextet altoist Julian "Cannonball" Adderley's Portrait of Cannonball (Riverside, 1958)—through a folkloric and Eastern European-tinged prism, while vibraphonist Warren Wolf contributes a hard-swinging "Joshua," first heard on the transitional Seven Steps to Heaven (Columbia, 1963), and tenor saxophonist David Sanchez presents a more outré yet still rhythmically propulsive look at "Teo," from Someday My Prince Will Come (Columbia, 1961). And, representing Davis' electric years, drummer Obed Calvaire deconstructs the title track to Davis' seminal fusion masterpiece Bitches Brew (Columbia, 1970), resulting in an even more open-ended take, while trombonist Robin Eubanks builds a fragment-driven and groove-heavy deconstruction of the title track to 1986's Tutu (Davis' Warner Brothers debut and first deep collaboration with bassist Marcus Miller).

This is the Collective's longest-lasting lineup—with the exception of Jones replacing Avishai Cohen, this incarnation has remained consistent since 2015's Live: SFJAZZ Center 2014-The Music of Joe Henderson & Original Compositions (SFJAZZ, 2015). And, while only Zenón remains from the Collective's 2004 incarnation—but with Penman coming a close second, joining the group for its Second Season in 2005, and trombonist Robin Eubanks a relatively close third, having joined the group for its Fifth Annual Concert Tour in 2008—it's significant that the engine driving the Collective has remained stable since Live: SFJAZZ Center 2013—The Music of Chick Corea & New Compositions (SFJAZZ, 2014), with Simon, Penman and Calvaire. In many ways, it's the ideal confluence of the Collective's ongoing introduction of fresh ideas from new members and an adherence to the old adage "if it ain't broke, don't fix it."

This constant refreshing of the Collective's lineup has led to a group united in concept if not by specific sound or chemistry, though both can be found in abundance with each lineup…including thus current one. That said, if the group must be placed in a box, the term "modern mainstream" best fits: largely acoustic, with a clear reverence for the jazz tradition while, at the same time, continually introducing ideas from farther afield, often the result of each of its members' work outside the Collective (with every member a leader in his own right), and plenty of the more sophisticated harmonic and rhythmic developments that have earmarked a considerable amount of the music coming from the post-'60s generations.

In recent years the Collective has also begun introducing a little electricity into the picture, with Cohen and Eubanks' tasteful effects first heard on Live in New York Season 8—Music of Stevie Wonder (SFJAZZ, 2011). Here, while still focusing largely on acoustic piano, Simon also adds a chiming Fender Rhodes to "Bitches Brew" and midway through "Tutu," while contributing synthesizer to two originals: Calvaires's numerically driven, polyrhythmic and densely contrapuntal "111"; and Eubanks' relatively (and uncharacteristically) simple yet still far from without its challenges composition, "Shields Green."

Every Davis arrangement, every new original composition, provides plenty of solo space, though the Collective rarely resorts to straight "head-solo-head" formats, instead couching improvisational work without the context of detailed compositional forms. With only two tracks dropping below the seven-minute mark and most tracks more than comfortably breaking the eight-minute threshold, there's a plethora of opportunities for delineated soloing, in-tandem trade-offs, extemporizations bolstered by appealing, four-part horn passages, breakdowns of the Collective into smaller subsets, unfettered free play and full-on octet blowing.

There's an embarrassment of riches to be found across Live: SFJAZZ Center 2016—Music of Miles Davis & Original Compositions' 140-minute program. One of the more intriguing Davis arrangements is Calvaire's "Bitches Brew"—a reading that flirts, at the start, with Joe Zawinul's title track to the trumpeter's similarly groundbreaking record from the previous year, In a Silent Way (Columbia, 1969), before opening up to greater freedom that remains predicated on the many simple but memorable fragments that Calvaire found while researching Davis' many live versions of the tune. The drummer discovered there were no consistent theme(s) across performances and so, he chose a few and arranged around them…most notably Davis' single-note staccato shots. As the track unfolds, what becomes clear is that Calvaire has fashioned a new, more considered arrangement; one that shifts from temporally unfettered free play to a more complexly constructed collection of time-driven brass lines, snaking through the drummer's frenetic playing before a brief but impressive bass solo leads to a near-free-for-all, with only Penman holding down the rhythm as even more frenzied lines emerge, as Calvaire both mirrors their rhythms and fills with reckless abandon before the group finally coalesces with the original track's seven-note ostinato. It's an exhilarating version; one which deconstructs the original's collage construction by producer Teo Macero and reconstructs it into a new form that Davis would never have been able to conceive at the time, based on his recording approach at that juncture in his career.

Calvaire's deconstruction/reconstruction is one of the Collective's approaches to creating 21st century arrangements of timeless classics, as Zenón demonstrated in his arrangement of "Superstition," from the Stevie Wonder set. Still, that shouldn't be taken as a suggestion of predictability; if anything the Collective has demonstrated, year after year, that it has the capacity to breathe new life into well-known material, even when its approach is more literal.

Jones' arrangement of "So What," the opening track to Davis' classic Kind of Blue, may begin with a brief, tightly arranged eight-second ensemble figure before turning more literally to the original's opening bass and piano duo (faithfully transcribed) and what has become one of the most instantly recognizable call-and-response themes in jazz history. Taken at a particular fast clip, re-harmonized and gradually morphing into a newly minted theme that finally comes back to its initial section, it opens up to a fast-swinging solo section for Eubanks. As he signals the end of his solo with a quote of Davis' familiar bass line, Simon picks up the baton for an equally impressive turn: another example of how, bolstered by Penman and Calvaire's unshakable anchor, the pianist constructs motif-driven improvisations that, like Eubanks, possess a clear sense of form, even as they are predicated upon in-the-moment spontaneity.

Zenón, a recipient of both the Guggenheim Fellowship and MacArthur ("Genius Grant") Fellowships—and a writer capable of bridging the gap between knotty complexity and folkloric innocence/simplicity—delivers a characteristically challenging chart for "Nardis," a modal tune that became much better known through pianist Bill Evans' many recordings. It's also taken at an uncharacteristically bright tempo, with a combination of serpentine lines and stop/start rhythms; a revision of the original melody to include some brief Eastern-tinged tonalities; and enough freedom to allow for a thrilling series of trade-offs (over a more complex form) between Zenón and Wolf before leading to an equally electrifying solo from Calvaire and a breathtaking ensemble conclusion that seems to challenge everyone—players and audience—to keep up.

Eubanks' "Tutu" reshuffles and alters the emphases on familiar but considerably re-harmonized changes, with Simon, Penman and Calvaire's metrically challenging support anchoring a set-defining solo of staggering virtuosity from the trombonist, before the tune finally shifts to the familiar, greasy bass line, muted trumpet theme…and a more atmospheric undercurrent, as Simon switches to Fender Rhodes.

Amongst one of the best sets of new original compositions since the Collective first formed, Penman's metrically challenging "Your Turn" is as worthy of attention as any, as the bassist jokingly describes the composition, in the liner notes, as "a poorly disguised attempt at revenge for many years of hard rhythm parts thrown at me." The first two minutes is a brass chorale of the most contemporary kind, with rhythmic twists and turns, shifting harmonies and staggered interactions leading to a gradually emerging theme and, finally, an extended bass solo of captivating invention, a band reiteration of the introduction and, finally, a series of impressive solos by Zenón, Wolf (who seems to get paradoxically more muscular and lithe with every passing year) and Eubanks.

Despite being a masterful player of frightening virtuosity, Wolf's "In the Heat of the Night" is, instead, a soulful ballad, with a drum groove culled from D'Angelo's chart-topping "Untitled (How Does It Feel)" creating a gentle but groove-heavy foundation for Jones' brief, blues-drenched solo and a lengthier feature for the vibraphonist that slowly builds to a powerful climax.

Elsewhere, Jones' own "Hutcherson Hug" is another extended feature for the vibraphonist; alluding to the affectionate hugs with whom the late vibraphonist met every member of the Collective when he was in the group from 2004 through 2007, it is, indeed, a soft, warm waltz that may feature lush horn arrangements but is, more often than not, a piece that breaks down into smaller group subsets, such as during Penman's solo, where he is supported only by Simon and a brush and cymbal-driven Calvaire. That the composition is not a feature for its composer only points to another characteristic of the Collective: a generous group of musicians who must also, as described by SFJAZZ Founder and Executive Artistic Director Randall Kline, be "good people." Everybody shines, of course, but this is clearly a group with egos checked at the door.

Equally, Sánchez's chant-driven "Canto" may have originally been written for another project and substituted here for the new tune first written by the saxophonist for the tour but, filled as it is with the space and simplicity that often earmarked Davis' work, it's a perfect choice. Filled with burnished brass harmonies, a soft, hand-driven pulse and one of Sanchez's most restrained yet effective solos on record, it's a perfect personal homage to the late trumpeter.

The set closes with Simon's "Feel the Groove." A pianist often associated (as is true of some of his other band mates, most notably Zenón) with music of a more cerebral nature, the composition is driven by a repetitive vibraphone figure and irresistible, loosely played rhythm. Calvaire's combination of cajón and drum kit, a stellar solo from Zenón and then, after an ensemble interlude, Simon's most thought-provoking improvisational turn of the set makes "Feel the Groove" a perfect closer that can be taken as a salve for the soul,while, at the same time, providing plenty of compositional substance for the mind to absorb.

The beauty of SFJAZZ Collective's privately released two and sometimes three-CD sets—which contain performances of all eight arrangements and original compositions—is that while no single live performance can include all sixteen tracks, the albums always provide a sampling of a particular year's full repertoire. While there are no dates currently up on the SFJAZZ site, it suggests that the Collective is continuing to tour these imaginative re-works of Miles Davis tunes alongside the group's new original music. Who the next musician up for tribute is still to be announced, but in the meantime, the SFJAZZ Collective has finally brought the music of Miles Davis into its ever-expanding repertoire, and with Live: SFJAZZ Center 2016—Music of Miles Davis & Original Compositions, released a live document that continues to position the group at the forefront of the modern mainstream…in the broadest, most accomplished fashion possible. ~ review By JOHN KELMAN