CHRIS POTTER — Traveling Mercies (2002) FLAC (tracks+.cue), lossless

Chris Potter gets more and more adventurous. On this follow-up to the strong Gratitude, the tenor and soprano saxophonist beefs up strong writing and heady group interplay with occasional sampled sounds and miscellaneous textures like clavinet and reed organ. True to form, he plays additional wind instruments -- alto flute and bass clarinet in this case -- and isn't afraid of overdubbing them to create lush orchestration, on tracks like "Snake Oil" and "Any Moment Now." On the haunting "Invisible Man" he even doubles the alto flute melody with his singing voice. Not until the fifth track, a Meters-like adaptation of the spiritual "Children Go," do you hear a 4/4 tempo; loping lines over odd meters prevail, with pianist Kevin Hays, bassist Scott Colley, and drummer Bill Stewart expertly laying down the edgy grooves. (Like on Gratitude, Hays doubles on Fender Rhodes.) John Scofield contributes tart solos on three tracks, while Adam Rogers adds nylon-string and slide colors on two others. The sweeping, Metheny-esque harmonies of "Highway One" bring the program to a head, followed by a closing bass clarinet/piano duo on Willie Nelson's "Just as I Am." As a jazz record, Traveling Mercies is very much a product of its post-millennial times, but it still comes across as highly individual. Its value will be lasting. David R. Adler
Tracklist :
 1 Megalopolis; 7:00
 Chris Potter
2 Snake Oil; 6:04
 Chris Potter
3 Invisible Man; 5:08
 Chris Potter
4 Washed Ashore; 7:07
 Chris Potter
5 Children Go; 5:37
 Public Domain / Traditional
6 Any Moment Now; 5:21
 Chris Potter
7 Migrations; 8:06
 Chris Potter
8 Azalea; 5:50
 Chris Potter
9 Highway One; 10:12
 Chris Potter
10 Just as I Am. 3:37
 Willie Nelson
Credits :
Chris Potter - Tenor & Soprano Saxophone, Alto Flute, Bass Clarinet, Reed, Organ, Clavinet, Sampler, Percussion, Voice
John Scofield - Guitar
Adam Rogers - Acoustic & Slide Guitar
Kevin Hays - Piano, Fender Rhodes, Clavinet
Scott Colley - Bass
Bill Stewart - Drums

STEVE KUHN — Love Walked In (1998-2003) FLAC (tracks+.cue), lossless

Pianist Steve Kuhn has played a wide variety of music throughout his career, including his own intriguing originals and collaborations with Sheila Jordan. This set, a straight-ahead swinger with bassist Buster Williams and drummer Bill Stewart, should greatly satisfy bop-oriented jazz fans, for it finds Kuhn coming up with consistently fresh ideas in a conventional but far from exhausted setting. Whether digging into Duke Jordan's "No Problem," "Love Walked In," a passionate version of "Autumn Leaves," or even "Sunny," Kuhn is heard throughout at the top of his game. The presence of Williams and Stewart in supporting but stimulating roles clearly inspired Steve Kuhn, making this an easily recommended date. Scott Yanow
Tracklist :
1    No Problem 7:29
Composed By – Duke Jordan
2    Land Of The Living Dead 6:58
Composed By – Al Gafa
3    Sunny 6:08
Composed By – Bobby Hebb
4    Love Walked In 6:08
Composed By – George Gershwin
5    Saharan 5:15
Composed By – Steve Kuhn
6    Prelude To A Kiss 6:20
Composed By – Duke Ellington
7    All Alone 5:21
Composed By – Irving Berlin
8    Autumn Leaves 5:10
Composed By – Joseph Kosma
9    Lines 5:45
Composed By – Vigleik Storaas
10    You've Changed 7:36
Composed By – Cole Porter
Credits :
Bass – Buster Williams
Drums – Bill Stewart
Piano – Steve Kuhn

LEE KONITZ QUARTET - Zounds (1992) FLAC (tracks+.cue), lossless

This is a very interesting if occasionally unsettling CD. Lee Konitz (doubling on alto and soprano) and his 1990 quartet (which is comprised of Kenny Werner on piano and occasional synthesizer, bassist Ron McClure and drummer Bill Stewart) emphasize freely improvised performances throughout the date. Two standards ("Prelude to a Kiss" and "Taking a Chance on Love") are interpreted pretty freely while all of the other selections are group originals; Konitz even takes an unplanned "vocal" (more an example of sound explorations then an attempt at conventional singing) on "Synthesthetics." This is a consistently stimulating and rather unpredictable outing by the talented group. Scott Yanow
Tracklist :
1     Prologue 5:29
Lee Konitz / Ron McClure / Bill Stewart / Kenny Werner
2     Zounds 2:33
Lee Konitz / Ron McClure / Bill Stewart / Kenny Werner    
3     Prelude to a Kiss 5:19
Duke Ellington / Irving Gordon / Irving Mills
4     Blue Samba 4:19
Lee Konitz
5     All Things Considered 14:38
Lee Konitz
6     Synthesthetics 7:29
Lee Konitz / Ron McClure / Bill Stewart / Kenny Werner
7     Taking a Chance on Love 4:12
Vernon Duke / Ted Fetter / John Latouche
8     Piece for My Dad 4:31
Kenny Werner
9     Soft Lee 6:14
Lee Konitz
Credits :    
Alto Saxophone, Soprano Saxophone, Voice – Lee Konitz
Bass – Ron McClure
Drums – Bill Stewart
Piano, Synthesizer – Kenny Werner

MICHAEL BRECKER - Time Is Of The Essence (1999) FLAC (tracks), lossless

Michael Brecker introduced a couple of new wrinkles to his sound on his sixth album, in the form of two new sidemen. Larry Goldings' organ makes for an unusual quartet -- also including Brecker on tenor sax, frequent guest Pat Metheny on guitar, and one of three different drummers -- in that there is no bass. As a result, Metheny often fills in that role when he isn' t soloing. Goldings' touch is light, in contrast to the more intense playing of Brecker and Metheny. But it is the second new sideman who makes a difference: Elvin Jones guests on drums on three tracks. Brecker had never shied away from announcing his influences, and with Jones behind the traps, especially on the opening track, "Arc of the Pendulum," and the closer, "Outrance" (both Brecker originals), he indulges his affection for John Coltrane, playing freely and aggressively across the rhythm. Jones, who gets a showcase solo in "Outrance," is unmistakable, and his support often makes Brecker sound like Coltrane. With Bill Stewart behind the drums, the group performs "Renaissance Man," a tribute to another major Brecker influence, Eddie Harris, and Brecker unabashedly recalls Harris there. The tunes, five by Brecker, two by Metheny, and one each by Goldings and producer George Whitty, are loosely structured and run from six to ten minutes each, so that the disc runs 70 minutes. Clearly, they could have gone longer: Several of them fade out, sometimes during a Brecker or Metheny solo, an oddity on a jazz album. by William Ruhlmann 

Tracklist:

1. Arc Of The Pendulum

2. Sound Off

3. Half Past Late

4. Timeline

5. The Morning Of This Night

6. Renaissance Man

7. Dr. Slate

8. As I Am

9. Outrance.

Credits:

Michael Brecker - tenor saxophone

Pat Metheny - guitar

Larry Goldings - organ

Elvin Jones, A. Stewart, Jeff "Tain" Watts, Bill Stewart – drums.

NEW YORK TRIO - Begin The Beguine [2005] VENUS JAPAN / FLAC (tracks+.cue), lossless

The New York Trio consists of pianist Bill Charlap, bassist Jay Leonhart, and drummer Bill Stewart, though it exists solely as a studio band for the Japanese label Venus, as Charlap's regular trio includes Peter Washington and Kenny Washington. Even though this band only meets occasionally in the studio to record yet another release in their prolific series for the Japanese jazz market, there is plenty of chemistry between the three veterans, while the nine songs from the vast Cole Porter songbook were likely to have been a part of each musician's repertoire long before these 2005 sessions. Charlap's lyrical piano style is quite effective, capturing the nuances of Porter's humor (even though none of his lyrics are heard), while the rhythm section gels nicely with the pianist. Highlights include a jaunty "My Heart Belongs to Daddy," a dreamy "Begin the Beguine," and a snappy "From This Moment On." by Ken Dryden
Tracklist
1 You'd Be So Nice To Come Home To 8:03
2 My Heart Belongs To Daddy 6:13
3 So In Love 6:49
4 Begin The Beguine 6:49
5 I Love Paris 6:31
6 From This Moment On 6:55
7 Just One Of Those Things 2:58
8 Easy To Love 6:19
9 Every Time We Say Goodbye 6:42
Credits
    Bass – Jay Leonhart
    Drums – Bill Stewart
    Piano – Bill Charlap
    Songwriter – Cole Porter

 NEW YORK TRIO - Begin The Beguine 

[2005] VENUS JAPAN / FLAC (tracks+.cue), lossless

O Púbis da Rosa

NEW YORK TRIO — Always (2008) FLAC (tracks+.cue), lossless

The New York Trio, led by pianist Bill Charlap with bassist Jay Leonhart and drummer Bill Stewart, exists exclusively as a band to record for the Japanese jazz market, as Charlap has a regular trio with Peter Washington and Kenny Washington, while both Leonhart and Stewart are busy session musicians who occasionally also lead their own record dates. These 2007 sessions focus exclusively on the extensive songbook of the prolific Irving Berlin. Most of the ten tunes heard on this CD have long since become standards and are frequently recorded by jazz artists. One that isn't typically heard as an instrumental is "I Got the Sun in the Morning" (from the musical Annie Get Your Gun), heard in a loping yet infectious interpretation. "How Deep Is the Ocean" is one of Berlin's most recorded songs, yet this version sizzles with energy, unlike the typical ballad treatments. Other highlights include the breezy, joyful setting of "Cheek to Cheek," with Stewart's whispering brushes propelling Charlap's buoyant piano, along with the bittersweet "What'll I Do," featuring Leonhart's intimate solo. Even though this isn't a working band, things seem to gel quickly for the New York Trio when the group assembles to record. Ken Dryden  

Tracklist :
1 Always 5:20
Irving Berlin
2 Cheek to Cheek 5:46
Irving Berlin
3 They Say It's Wonderful 4:02
Irving Berlin

4 I Got the Sun in the Morning 5:24

Irving Berlin

5 How Deep Is the Ocean 4:02

Irving Berlin
6 Change Partners 4:48
Irving Berlin
7 What'll I Do 5:29
Irving Berlin
8 Isn't This a Lovely Day? 5:44
Irving Berlin
9 The Song Is Ended 6:56
Irving Berlin
10 Russian Lullaby 2:07
Irving Berlin
Credits :
Bill Charlap - Piano
Jay Leonhart - Bass
Bill Stewart - Drums

THE JOHN SCOFIELD QUARTET - Meant to Be (1990) FLAC (image+.cue), lossless

Meant to Be features guitarist John Scofield's 1990 pianoless quartet on 11 of his compositions. During the best selections (such as "Big Fan" and "Mr. Coleman to You") one can hear the influence of not just the original Ornette Coleman Quartet but the Keith Jarrett/Dewey Redman Quintet. Joe Lovano's increasingly original tenor sound (mixing together John Coltrane, Dewey Redman, and even Eddie Harris on this set) works well with Scofield and the tight but loose rhythm section (bassist Marc Johnson and drummer Bill Stewart). "Eisenhower" (a slightly tongue-in-cheek, boppish romp) and "Some Nerve" (which uses New Orleans parade rhythms) are also memorable performances. The colorful and enjoyable set is modern mainstream music of the 1990s, stretching ahead while holding on to the roots of hard bop, funk, and fusion.  by Scott Yanow
Tracklist :
1 Big Fan 6:03
2 Keep Me In Mind 6:00
3 Go Blow 8:19
4 Chariots 6:02
5 The Guinness Spot 6:35
6 Mr. Coleman To You 6:02
7 Eisenhower 5:20
8 Meant To Be 7:07
9 Some Nerve 5:10
10 Lost In Space 6:30
11 French Flics 5:28
Credits :
Bass – Marc Johnson
Drums – Bill Stewart
Guitar, Composed By – John Scofield
Tenor Saxophone, Alto Clarinet – Joe Lovano