West Coast bassist/composer Von Essen died prematurely in his sleep of a heart attack at age 43 but left behind some 100 compositions, and many bandmates are dedicated to making sure his music gets heard. This is one of three proposed volumes that will assure Von Essen's sounds are known to a jazz public that probably never heard of him. That will change, for this is a wonderful initial outing, played by five different groups. Pianists Alan Pasqua and Alan Broadbent lead trios on two tracks apiece. Pasqua, with Dave Carpenter on bass and Peter Erskine on drums, uses an urgent ticktock to a light beat under a languid, beauteous piano melody on "Silvana," while "Blues For Carin'" is an easily swung, ultra-melodic number with Pasqua using Chick Corea or Thelonious Monk-like techniques. Broadbent swings "Blues Puzzle" with Putter Smith's bass way up in the mix, while the lament "Nowhere" starts with solo 88s, then Smith and drummer Kendall Kay join on this most pristine ballad. Electric guitarist Nels Cline and pianist David Witham lead a quartet for the urgent, modal to swinging "Peacemaker," as familiar a theme as the public might recognize, and the easy flowing waltz "For Me" sports some lustrous unison lines. Violinist Jeff Gauthier and acoustic guitarist Cline in finger-style mode use a chamber-style approach à la Oregon for "Incomplete Circle" in phrases of seven and four beats, while the slow waltz "Departure" has Gauthier in mournful yet optimistic spirits. Stacy Rowles plays poignant trumpet or flugelhorn with Larry Koonse's tender electric guitar in separate lines on the contemporary ballad "Love Song For Kirsi" and works in tandem on the easy, straight-ahead swinger "Benny" for Benny Golson, using phraseology from Golson's "Whisper Not." Tom Warrington, in Von Essen's spirit, evokes the composer's persona with a deftly plucked bass solo. If this is only a portent of future volumes to come, it's quite an auspicious starting point. One can only look at future issuance of Von Essen's musical brilliance with hope and grand expectation. Highly recommended. Michael G. Nastos Tracklist & Credits :
2.2.24
V.A. — The Music of Eric von Essen, Vol. I (2000) FLAC (tracks+.cue), lossless
V.A. — The Music of Eric von Essen, Vol. II (2001) FLAC (tracks+.cue), lossless
The second of three projected volumes of music by the late bassist/composer Eric von Essen, who passed away at the age of 43, is -- like its predecessor -- a purposely mixed bag. A composer of straight modern jazz tunes to gypsy blues-jazz to pop to pieces that border on theater and classical music, von Essen was nothing if not a lover of diverse musics, and well-versed in their compositional vocabularies. All of his work was equally possessed of movement, however; there was no stasis in his compositional language. Five different ensembles ranging from quintet to trio perform two pieces each, and add more to the mystery of von Essen the virtuoso musician. The first two pieces, "Blues for John" and "K," are post-bop tunes that soar with the aegis of modern electric post-bop jazz. Larry Koonse's electric guitar and Stacy Rowles' trumpet and flügelhorn are perfect foils for one another. As Koonse takes the edges and makes them sharper, Rowles rounds them into tight pockets of harmony. On "Petit Rayon" and "9/8/29," brothers Nels and Alex Cline, on acoustic guitar and drums respectively, team with Jeff Gauthier and Michael Elizondo on violin and bass to reveal the impressionistic side of von Essen's personality. Both pieces feel like sketches for orchestral pieces; they hold within their melodic lines large harmonic sonances. The primary strings, guitar and violin, are bridged by the counterpoint melody of the bass. Both works -- though their movement is fluid and medium tempoed -- are restrained until each of them cuts loose into a kind of modern gypsy swing with Django Reinhardt on one side and Pat Metheny on the other. The trio with Peter Erskine is the least successful here, but the material is not the problem. This group took exactly the same hushed approach to this type of material on the first volume, and it's a bit wispy to come completely to life on a recording. To take the record out, the Cline brothers electrically team with David Witham and Joel Hamilton, on piano and bass respectively, for a straight-up jazz romp with hot solos all around ("BC/Jezebel") and a ballad ("Marry Me") of such lyrical tenderness that it almost floats through the air without the music attached. It's gorgeous, hypnotic, and based on open tunings, so that a drone plays a large part in the body of its architecture. If it wasn't for the line coming back over and over again, you would swear you heard this tune inside your heart instead of through your stereo speakers. Not as overwhelming as the first volume, this disk -- aside from the two trio pieces -- is solid nonetheless. It also begs the question of just how deep von Essen's abilities ran because, so far, they seem boundless.
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Tracklist & Credits :
V.A. — The Music of Eric von Essen, Vol. III (2002) FLAC (tracks+.cue), lossless
Eric von Essen never recorded as a leader during his lifetime, though he played bass and cello as a sideman on a number of memorable releases between 1980 and 1994. This third (and evidently, final) volume of his original compositions features a number of different artists, including a few who collaborated with him on earlier releases. Guitarist Nels Cline, with whom the composer made his recording debut, plays 12-string acoustic guitar with Ken Filiano's arco bass in the moving "Blues for Me," which isn't really a blues at all. Violinist Jeff Gauthier and drummer Alex Cline, both of whom appeared on von Essen's first date as well, join the guitarist and bassist Michael Elizondo for the tense, very complex "Unresolved." The brisk, Latin-flavored "It's Just One Big Party" showcases tenor saxophonist Chuck Manning and pianist Theo Saunders. The delightful trio arrangement of "Norton's Last Words" is not a slow, mournful elegy as its title might imply, but a catchy post-bop vehicle with superb solos by pianist Jeff Colella and bassist Putter Smith. "Finska Flues" is a roller coaster ride centered around Stacy Rowles' tasty flügelhorn. Kate McGarry contributed the vocals and the lyrics to the reflective "One Eye Laughs, One Eye Weeps," which she also performed at Eric von Essen's funeral. Jazz fans should regret the premature death of this talented composer before he had a chance to record many of his compositions, though at least his friends and admirers seem dedicated to making his rewarding music more widely known. Ken Dryden Tracklist & Credits :
8.7.21
SHEILA JORDAN - Confirmation (1975-2000) FLAC (tracks+.cue), lossless
After a long layoff from recording following her debut album in 1962,
Sheila Jordan was very active in the 1970s, and is in top form on these
1975 sessions made for the Japanese label East Wind. Accompanied by
pianist Alan Pasqua, bassist Cameron Brown, drummer Beaver Harris, and
tenor saxophonist Norman Marnell, she devotes the first half of the
release to a medley of songs dedicated to children. Her intriguing
approach to such standards as "God Bless the Child," "My Favorite
Things," and "Inch Worm" provides plenty of solo space for the musicians
between numbers, while they also dazzle the listener throughout each
track. This medley wraps with the playful but charming "Because We're
Kids" (penned by Dr. Seuss). The remainder of the disc is primarily
devoted to standards. Jordan's adroit duet with Brown in "Confirmation"
gives her a chance to show off her scatting. "By Myself" is a miniature
duet, first with Harris (on brushes) and then Pasqua as the piece segues
into a moving performance of "Why Was I Born." Her performance of Steve
Kuhn's challenging "Pearlie's Swine" adds a nice twist to a marvelous
date, which was finally reissued by Test of Time in 2005. by Ken Dryden
Tracklist :
1 Introduction 0:26
2 God Bless the Child 5:01
Billie Holiday
3 My Favorite Things 6:43
Oscar Hammerstein II / Richard Rodgers
4 Inch Worm 6:05
Frank Loesser
5 Because We're Kids 4:52
Sheila Jordan
6 Confirmation 8:59
Charlie Parker
7 By Myself 1:50
Howard Dietz / Arthur Schwartz
8 Why Was I Born 3:17
Jerome Kern
9 Pearlie's Swine 5:43
Steve Kuhn
Personnel :
Sheila Jordan (vocals);
Norman Marnell (tenor saxophone);
Alan Pasqua (piano);
Cameron Brown (double bass);
Beaver Harris (drums).
31.5.20
ALLAN HOLDSWORTH — Velvet Darkness (1976-2000) RM | Serie CTI Best Selection | FLAC (tracks+.cue), lossless
4.12.19
ALAN PASQUA - My New Old Friend (2005) FLAC (tracks), lossless
Tracklist :
1 You Must Believe in Spring 4'55
Alan Bergman / Marilyn Bergman / Jacques Demy / Michel Legrand
2 Barcelona 4'33
Alan Pasqua
3 Highway 5'59
Alan Pasqua
4 All the Things You Are 4'38
Oscar Hammerstein II / Jerome Kern
5 My New Old Friend 829
Alan Pasqua
6 Body and Soul 7'18
Johnny Green / Edward Heyman
7 One More Once 4'20
Alan Pasqua
8 Vienna 7'03
Alan Pasqua
9 Wichita Lineman 5'58
Jimmy Webb
10 Stick Slap 4'37
Alan Pasqua
11 Smile 5'31
Charlie Chaplin / Geoffrey Parsons / James Phillips
Credits :
Bass – Darek "Oles" Oleschiezwki
Drums – Peter Erskine
Piano – Alan Pasqua
14.10.19
THE TONY WILLIAMS LIFETIME - The Collection (1992) FLAC (image+.cue), lossless
Tracklist :
1 Snake Oil 6:30
Tony Newton
2 Fred 6:48
Allan Holdsworth
3 Proto-Cosmos 4:03
Alan Pasqua
4 Red Alert 4:39
Tony Newton
5 Wildlife 5:22
Tony Williams
6 Mr. Spock 6:17
Allan Holdsworth
7 Sweet Revenge 6:05
Tony Williams
8 You Did It to Me Baby 3:52
Antonio Newton / Tony Williams
9 Million Dollar Legs 6:39
Tony Williams
10 Joy Filled Summer 5:53
Tony Newton
11 Lady Jane 4:01
Alan Pasqua
12 What You Do to Me 7:08
Tony Williams
13 Inspirations of Love 9:47
Tony Newton
Credits :
Arranged By [String & Horn] – Jack Nitzsche (tracks: 7 to 13)
Bass, Vocals – Tony Newton
Drums – Tony Williams
Guitar – Allan Holdsworth
3.8.18
JUDY WEXLER - Under a Painted Sky [2011]
Wexler's prior releases—Easy On The Heart (Rhombus, 2005) and Dreams And Shadows (Jazzed Media, 2008)— were elevated by classy arrangements and pianistic underpinnings from pianist Alan Pasqua, and this partnership continues to bear fruit on this project. Pasqua paints pictures of a sunny nature ("Wonderful Wonderful"), crafts spine-tingling settings ("Avec Le Temps") and directs swinging scenes that delight in every way ("The Great City" and "Whisper Not"), leaving Wexler free to fully explore the possibilities that reside within each one of these gems.
Wexler's vocals are ebullient and enthusiastic on "Wonderful Wonderful," as the album gets underway, but she isn't all sunshine and splendor. She deals in flirty and sensual singing on "An Occasional Man," delivers enthralling vocals of a haunting nature with Avec Le Temps," touches on the ups-and-downs in the game of love during "And How I Hoped For Your Love,," and utters a wise warning about getting sucked into the quicksand of New York's social scene with "The Great City."
While Wexler needs no help selling any of these songs, the instrumentalists add volumes to each piece, as they mirror the moods that are established through the arrangements and vocals. Tenor saxophonist Bob Mintzer adds some grit to "The Great City," Bob Sheppard's soprano saxophone swoops and soars with a fine balance between grace and gusto on "Till There Was You," and Walt Fowler's flugelhorn emphasizes the dream-like state of "Café." Pasqua and guitarist Larry Koonse blend well, whether dealing with Brazilian-laced music ("And How I Hoped For Your Love") or songs of peace and hope ("Sack Full Of Dreams"), and the bass and drums team of Darek Oles and Steve Hass has a terrific hookup in virtually every stylistic setting.
While both of Wexler's previous albums were outstanding displays of her vocal talent, Under A Painted Sky is her best yet—the third time truly is the charm.
Tracklist
1 Wonderful Wonderful 4:34
Sherman Edwards / Ben Raleigh
2 And How I Hoped for Your Love 4:38
Abbey Lincoln / Richard Lynch
3 An Occasional Man 4:19
Ralph Blane / Hugh Martin
4 Don't Wait Too Long 3:59
Sunny Skylar
5 The great City 5:40
Curtis Lewis
6 Avec Le Temps 7:48
Léo Ferré / Alan Wexler
7 A Little Tear 3:59
Eumir Deodato / Ray Gilbert / Paolo Valle
8 Last Time for Love 4:58
Carmen McRae
9 Café 4:45
Egberto Gismonti / Norma Winstone
10 Whisper Not 3:43
Leonard Feather / Benny Golson
11 Till There Was You 5:04
Meredith Willson
12 Sack Full of Dreams 5:30
Gary McFarland / Louis Savary
Personnel:
Judy Wexler: vocals;
Alan Pasqua: piano;
Darek Oles: bass;
Steve Hass: drums;
Larry Koonse: guitar;
Bob Mintzer: tenor saxophone;
Bob Sheppard: soprano saxophone;
Walt Fowler: trumper, flugelhorn;
Alex Acuna: percussion.
11.5.17
THE NEW TONY WILLIAMS LIFETIME - Believe It (1975-2004) FLAC (tracks+.cue), lossless
The compositions Fred, Proto Cosmos and Red Alert are also featured on the Allan Holdsworth DVD Live at Yoshi's, released in 2007. Holdsworth has often stated that his time with the drummer was the most influential formative stage of his career.
By the time drummer Tony Williams left Miles Davis in '69, he had moved even farther away from the acoustic tradition than his former employer. His first recordings with his new band, Lifetime, were characterized by the sleeve instructions: "Play it Loud!" While the energy level was high and the music was infused with a rock and roll philosophy, it was nevertheless uncompromising and continued to push the boundaries; intense, daring and sometimes a little terrifying, the early incarnation of Lifetime was a literal barrage on the senses.
By '75, Williams had signed with a new label, pieced together a New Tony Williams Lifetime, and moved in a little more conventional jazz-rock direction. But unlike so many fusion records of the time, Believe It managed to be powerful without the bombastic pyrotechnics of bands like Return to Forever. Originally available on a CD that combined it with the far less successful follow-up, Million Dollar Legs , this long out-of-print title has finally been reissued by Columbia, remastered and with two bonus tracks.
Believe It features former Motown bassist Tony Newton, keyboard player Alan Pasqua and, most notably, British guitarist Allan Holdsworth, who, while already somewhat of an underground legend in his own country, had yet to make an impression in North America. Believe It changed all that, demonstrating that not only was Holdsworth a fresh new voice on his instrument, but a fine writer as well. "Fred," later re-titled "Kinder" by Holdsworth, and a staple in his repertoire for some years to come, introduces Holdsworth's unique harmonic language, with a lyrical bent that manages to be completely distinctive. And his playing style is quite simply like no other; influenced heavily by Coltrane, Holdsworth, even at this early stage in his career, is capable of sheets of sound that, punctuated by held notes and legato runs, are visceral in their impact.
No less visceral, of course, is Williams himself. While peers including Billy Cobham and Lenny White gravitated towards more overblown displays of virtuosity, Williams overpowers both with his stronger sense of groove and sheer muscularity. And while he is every bit as capable of extravagant displays of technique, he always sounds more musical. Even on intense burners like the Holdsworth-penned bonus track "Letsby," he is less concerned with how many beats he can throw into a fill; and his solo over Holdsworth's power chord ostinato is the epitome of construction.
For someone who moved the concept of rhythmic freedom so far forward as part of Miles' second quintet, Williams may have been the most overtly rock and roll-informed drummer of the mid-'70s fusion era. With an inherent sense of groove and honest energy that comes from compositions that are less contrived and more direct vehicles for improvisational flight, Believe It is one of the most compelling arguments for the validity of jazz-rock fusion, before the term became such a dirty word.
They just don't make 'em like this anymore! 28 years after its original release, this album STILL sounds as invigorating as the day it was released. Tony Williams, much like his mentor Miles Davis had a knack for picking great talent for his bands, especialy young upstart British guitar virtuosos.
As if John McLaughlin wasn't enough, he went and found the soft-spoken and ridiculoulsy innovative Allan Holdsworth, who spun melodic and fluid solos with the ease of a saxophonist. Already having stints with Tempest and Soft Machine under his belt, Holdsworth's style was jumping to the next level already, and Tony Williams did nothing to stand in the way, in fact, Allan was heavily encouraged and cheered on in his explorations by his bandmates here. Allan did things that just sounded absolutely impossible on a guitar at the time, and I remember so vivdly hearing this album at age 16 and having my jaw scraping the ground in amazement!
Armed with nothing more than a Gibson SG and a Marshall amp, Allan H just roared in an destroyed the place with his emotionally charged soloing and exploratory compositions, and a finely tuned musical sense to make te compostions of his bandmates come alive! Marrying this to William's inventive powerhouse drumming, Tony Newton's funky slithering bass and Alan Pasqua's glassy keyboards, this version of the Tony Williams Lifetime was a force to be reckoned with.
The other thing that still grabs me about this album is the open. raw live sound with minimal overdubbing, as honest and accurate in capturing this band's power in the studio as you could hope for. There's not one weak cut on here, ranging from the stomping funk of "Snake Oil" to the ghostly chord melody of "Fred" and the rip snorting brilliance of "Mr. Spock" (especially with the section where Williams and Holdsworth switch roles, Tony putting forth the solo of his life and Holdsworth bashing out angry Black Sabbath-like power chords underneath before roaring to a great close). The bonus tracks are a VERY worthwhile addition as well, "Letsby" is a slightly different take on "Mr. Spock" and "Celebration" get's more funky while still snarling like a panther (thanks again to Allan Holdsworth's raging guitar).
A serious fusion classic if ever there was and definitely worth adding to your library. Turn it up to 11 and let your jaw drop again! web
Tracklist :
1. Snake Oil 6:30
Tony Newton
2. Fred 6:48
Allan Holdsworth
3. Proto-Cosmos 4:02
Alan Pasqua
4. Red Alert 4:39
Newton
5. Wildlife 5:22
Tony Williams
6. Mr Spock 6:15
Holdsworth
- Bonus Tracks -
7. Celebration 4:01
Tony Williams
8. Letsby 6?34
Allan Holdsworth
Credita :
Allan Holdsworth – guitar
Alan Pasqua – keyboards
Tony Newton – bass
Tony Williams – drums
ALLAN HOLDSWORTH – Atavachron (1986-1996) FLAC (tracks+.cue), lossless
ALLAN HOLDSWORTH – Metal Fatigue (1985) FLAC (tracks+.cue), lossless
Tracklist :
1 Metal Fatigue 4:54
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth, Williams
2 Home 5:29
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth
3 Devil Take The Hindmost 5:33
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth
4 Panic Station 3:31
Bass Guitar – Jimmy Johnson
Drums – Chad Wackerman
Guitar – Allan Holdsworth
Vocals – Paul Williams
Written-By – Holdsworth, Williams
5 The Un-Merry-Go-Round 14:06
Bass Guitar – Gary Willis
Drums – Gary Husband
Guitar – Allan Holdsworth
Keyboards – Alan Pasqua
Written-By – Holdsworth
6 In The Mystery 3:49
Bass Guitar – Jimmy Johnson
Drums – Mac Hine
Guitar – Allan Holdsworth
Vocals – Paul Korda
Written-By – Holdsworth, Korda
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e.s.t. — Retrospective 'The Very Best Of e.s.t. (2009) FLAC (tracks+.cue), lossless
"Retrospective - The Very Best Of e.s.t." is a retrospective of the unique work of e.s.t. and a tribute to the late mastermind Esb...