STANLEY JORDAN — Friends (2011) FLAC (tracks+.cue), lossless

Guitarist Stanley Jordan's innovative touch technique, often played in a solo setting at the beginning of his career in the mid-'80s, was a breath of fresh air. He has since been an explorer open to many styles, as heard on this collaboration with a number of different musicians. He is still very much a force as a soloist, yet not one to hog the spotlight with his formidable abilities. Jordan is joined by Kenny Garrett (on soprano sax), trumpeter Nicholas Payton, bassist Christian McBride, and drummer Kenwood Dennard for his blazing post-bop anthem "Capital J." The same lineup is used for the mellow contemporary ballad "Bathed in Light" with Dennard overdubbing on keyboard; the robust solos and crisp ensemble work keep things from degrading into run-of-the-mill smooth jazz. Jordan collaborates with several different guitarists. Octogenarian Bucky Pizzarelli, a master of seven-string guitar who is equally capable playing lead and rhythm, is on hand for a gently swinging, bluesy "Lil' Darlin'," while Russell Malone joins the leader and Pizzarelli for an explosive take of "Seven Come Eleven" (a tune Pizzarelli doubtlessly played many times during his time with Benny Goodman). Mike Stern accompanies Jordan for a brisk workout of "Giant Steps," with Dennard sticking to soft brushwork. Guitarist Charlie Hunter is on hand for Jordan's funky "Walkin' the Dog" and Katy Perry's "I Kissed a Girl," the latter in which the leader plays piano with one hand and guitar with the other. Perhaps the most unusual track is an adaptation of the "Romantic Intermezzo" from Béla Bartók's Concerto for Orchestra, with Jordan playing piano (his first instrument) accompanied by the brilliant violinist Regina Carter, demonstrating Jordan's love for a good melody regardless of the style of music. Jazz fans who have lost track of Stanley Jordan since his early solo recordings will have their ears opened by this diverse, successful meeting with his many friends. Ken Dryden
Tracklist :
1    Capital J    6:40
 Stanley Jordan
2    Walkin' The Dog    6:12
 Stanley Jordan
3    Lil' Darlin'    5:43
 Neal Hefti
4    Giant Steps    4:33
 John Coltrane
5    I Kissed A Girl    5:46
 Cathy Dennis / Dr. Luke / Max Martin / Katy Perry
6    Samba Delight    5:30
 Stanley Jordan
7    Seven Come Eleven    5:33
 Charlie Christian / Benny Goodman
8    Bathed In Light    7:49
 Stanley Jordan
9    Romantic Intermezzo From Bartok's Concerto For Orchestra    8:33
 Béla Bartók
10    Reverie    3:59
 Claude Debussy
11    One For Milton    4:08
 Kenwood Dennard / Stanley Jordan / Russell Malone
Credits :
Contrabass – Charnett Moffett (tracks: 5,6,10), Christian McBride (tracks: 1,8)
Drums – Kenwood Dennard (tracks: 1 to 8,10,11)
Guitar – Bucky Pizzarelli (tracks: 3,6), Charlie Hunter (tracks: 2,5), Mike Stern (tracks: 4), Russell Malone (tracks: 6,11), Stanley Jordan
Piano – Stanley Jordan (tracks: 5,9)
Soprano Saxophone – Kenny Garrett (tracks: 1,8), Ronnie Laws (tracks: 7)
Trumpet – Nicholas Payton (tracks: 1,8)
Violin – Regina Carter (tracks: 7,9)

DEE DEE BRIDGEWATER — Eleanora Fagan (1915-1959) : To Billie with Love from Dee Dee Bridgewater (2010) WV (image+.cue), lossless

It shouldn't come as much of a surprise that Dee Dee Bridgewater chose to record a tribute album to Billie Holiday. In quick succession beginning in the mid-'90s Bridgewater cut tribute albums to Ella Fitzgerald, Horace Silver, and Kurt Weill, and prior to that, in the late '80s, she was nominated for an award for her one-woman star turn in a European theater production of Lady Day, the Holiday story. That Bridgewater would eventually turn to Holiday (whose given name of Eleanora Fagan explains the title) for an album-length exploration was almost a given -- it was just a question of when. It's one of her grandest efforts, too. With arrangements by Edsel Gomez (who also provides piano) and a stellar cast of participants including bassist Christian McBride, saxophonist/flutist/bass clarinetist James Carter, and drummer Lewis Nash, Bridgewater doesn't attempt to mimic Holiday's mannerisms or inflections but, as one would expect of such a gifted artist, to absorb and reframe Holiday -- this is pure Bridgewater, not another performance of Lady Day. Gomez, for his part, quite often pulls the arrangements squarely away from Holiday territory to reinvent these classic songs for a modern audience. The opening "Lady Sings the Blues" is both instantly recognizable yet freshly reconceived as something of an uptempo blues packed with polyrhythmic punch. "All of Me," which follows, is taken at near-breakneck speed, Bridgewater jumping ahead of the beat, following Carter's thrilling soprano sax solo with a raging scat that's more Ella than Billie. Not everything is meant to redefine, though: "God Bless the Child" is mostly true to the original, though Carter's soprano solo again brings the tune into the new century, and "Lover Man," though livelier than Holiday's take, is offered in a somewhat timeless and straightforward manner. As one might expect, there's no way a singer with Bridgewater's commitment to jazz history could release a Holiday tribute without tackling "Strange Fruit," the controversial anti-lynching landmark that remains Holiday's most daring moment, and it's saved for last here. It's an eerie, ominous interpretation, Bridgewater's raw vocal up front and fraught with emotion. Carter's brooding bass clarinet and McBride's bass lend a foreboding quality to the take, Nash relies heavily on his cymbals to dramatic effect, and Gomez's piano is subtle, allowing the nakedness of Bridgewater's voice -- at times unaccompanied -- to retell this story that can never be told enough. It's a stunning finale to one of the finest Billie Holiday homages ever recorded. Jeff Tamarkin  
Tracklist :
1    Lady Sings The Blues 3:30
Written-By – Billie Holiday, Herbie Nichols
2    All Of Me 2:58
Written-By – Gerald Marks, Seymour B. Simons
3    Good Morning Heartache 5:10
Written-By – Dan Fisher, Ervin M. DRake, Irene Higginbotham
4    Lover Man 4:43
Written-By – James Edward Davis, James Sherman, Roger J. Ramirez
5    You've Changed 5:10
Written-By – William "Bill" Carey, Carl Fischer
6    Miss Brown To You 2:12
Written-By – Leo Robin, Ralph Rainger, Richard A. Whiting
7    Don't Explain 6:14
Written-By – Arthur Herzog Jr., Billie Holiday
8    Fine And Mellow 4:54
Written-By – Billie Holiday
9    Mother's Son-In-Law 2:46
Written-By – Alberta Nichols, Mann Holiner
10    God Bless The Child 5:13
Written-By – Arthur Herzog Jr., Billie Holiday
11    Foggy Day 4:33
Written-By – George Gershwin, Ira Gershwin
12    Strange Fruit 4:16
Written-By – Lewis Allan
Credits :
Bass – Christian McBride
Bass Clarinet – James Carter (pistas: 3, 12)
Drums – Lewis Nash
Flute [Alto] – James Carter (pistas: 7)
Arranged By, Piano – Edsel Gomez
Soprano Saxophone – James Carter (pistas: 2, 4, 10)
Tenor Saxophone – James Carter (pistas: 1, 5, 6, 8, 9)
Vocals – Dee Dee Bridgewater

JOHN PIZZARELLI — Dear Mr. Cole (1995) FLAC (image+.cue), lossless

John Pizzarelli's tribute to Nat King Cole features him in a drumless trio with pianist Benny Green and bassist Christian McBride on all but one selection. Pizzarelli is fine as a rhythm guitarist, but since he sings on most of the selections and his voice is merely average, this session (which includes 18 selections, most of which were originally associated with Cole) is of less interest than one might hope. At least Pizzarelli has a cheerful style and does not seem to take himself too seriously; Green has many forceful solos, but the leader's limited vocal abilities keep this recording from being too essential. Scott Yanow
Tracklist :
1    Style Is Coming Back In Style 2:42
Written-By – Leiber/Stoller
2    What Can I Say After I Say I'm Sorry 2:24
Written-By – Lyman, Donaldson
3    Little Girl 2:51
Written-By – Henry, Hyde
4    You Must Be Blind 3:39
Written-By – Cole
5    Sweet Georgia Brown 5:47
Written-By – Bernie, Casey, Pinkard
6    It's Only A Paper Moon 2:33
Written-By – Rose, Harburg, Arlen
7    September Song 3:30
Written-By – Weill, Anderson
8    On The Sunny Side Of The Street 2:54
Written-By – McHugh/Fields
9    Nature Boy 3:44
Written-By – E. Ahbez
10    This Way Out 4:49
Written-By – Cole
11    Too Marvelous For Words 2:05
Written-By – Mercer, Whiting
12    Route 66 6:42
Written-By – Troup
13    Sweet Lorraine 3:29
Written-By – Burwell, Parish
14    Straighten Up And Fly Right 5:08
Written-By – Mills, Cole
15    Honeysuckle Rose 2:54
Written-By – Razaf, Waller
16    L-O-V-E 2:18
Written-By – Kaempfert, Gabler
17    Unforgettable 1:58
Written-By – Gordon
18    Portrait Of Jenny 2:53
Written By – Newman
Credits :
Bass – Christian McBride
Drums – John Guerin (tracks: 1)
Guitar, Vocals – John PIzzarelli
Piano – Benny Green (tracks: 2 to 18), Ray Kennedy (tracks: 1)

JOHN McLAUGHLIN • CHICK COREA — Five Peace Band Live (2009) 2CD | APE (image+.cue), lossless

Chick Corea and John McLaughlin share one of the great pedigrees in the music of the 20th century: they were both key sidemen on Miles Davis' seminal albums In a Silent Way and Bitches Brew. They have played together since those heady days, as a duo or as sit-in guests. Five Peace Band was Corea's idea of putting together a dream band to play all kinds of jazz, and he approached McLaughlin. Corea chose the other members in saxophonist Kenny Garrett, drummer Vinnie Colaiuta, and bassist Christian McBride. The group toured for nearly a year following Corea's Return to Forever reunion tour, and this double CD was compiled from that jaunt. It's true that on paper supergroups are suspicious offerings. Not so here. This band includes three younger -- yet veteran -- musicians who team wonderfully with the two legends on this set. Of the eight pieces included here, five are originals -- three by McLaughlin and a pair by Corea -- along with Davis' "In a Silent Way/It's About That Time" (with Herbie Hancock guesting), Jackie McLean's "Dr. Jackle," and a reading of the standard "Someday My Prince Will Come" (a duet between pianist and guitarist that elegantly closes disc two). McLaughlin's compositions are fairly recent; they were recorded with his 4th Dimension group on his excellent Floating Point and Industrial Zen albums. As one can imagine, this material is played here the way it was there -- only more so -- as extremely engaging 21st century electric fusion. His other piece, "Señor C.S.," is reimagined from the studio version on Industrial Zen. Here it is played harder and faster yet gives away none of its Latin groove, and instead comes off as a new, much more technically ambitious mutation of samba.

It should be noted that the rhythm section here is nothing less than startling. McBride is equally at home on an electric bass, and his sense of fire, funkiness, and dynamic range is in every note. Colaiuta is simply one of the most talented and exciting drummers out there, and creates an art form of dressing his timekeeping in impeccable and imaginative ways. Corea's tunes are closer to something resembling mainstream jazz -- though the gorgeous and lengthy (it clocks in at over 27 minutes) "Hymn to Andromeda" moves gradually and beautifully to the outside, with beautiful playing by Garrett and McLaughlin, who can still handle non-fusion material with invention, restraint, and taste. Disc two begins with an odd, idiosyncratic reading of McLean's "Dr. Jackle" as an attempt to stretch hard bop toward something (via Corea's arrangement) -- but what it is, isn't quite clear. The version of "In a Silent Way/It's About That Time" with Hancock is the album's high point. He plays an electric piano and creates the necessary incantatory vibe in the ethereal, soft, speculative beginning for Corea to simply caress into being. McLaughlin just floats about as an accompanist to the keys, and when he does play single lines, they become hesitant, soft, direction-pointing exercises toward what is to come. When the tune splits and becomes more aggressive in the latter half, the band gels and he finds himself in the maelstrom as the two keyboardists vie for dominance and the rhythm section creates a sense of pulse and excitement. His solo is brief and to the point yet full of knots and turns -- his trading lines with Garrett is especially tantalizing. Five Peace Band re-creates an extremely ambitious and beautifully executed gig, where all players were firing on all cylinders.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist 1 :
1. Raju (John McLaughlin) – 12:29
2. The Disguise (Chick Corea) – 13:32
3. New Blues, Old Bruise (John McLaughlin) – 14:06
4. Hymn to Andromeda (Chick Corea) – 27:45
Tracklist 2 :
1. Dr. Jackle (Jackie McLean) – 22:53
2. Senor C.S. (John McLaughlin) – 20:15
3. In a Silent Way / It's About That Time (Miles Davis, Joe Zawinul) – 20:06
4. Someday My Prince Will Come (Frank Churchill, Larry Morey) – 7:42
Personnel :
Chick Corea - Acoustic Piano, Electric Piano, Synthesizer
Kenny Garrett - Alto Saxophone
John McLaughlin - Electric Guitar
Christian McBride - Acoustic Bass, Electric Bass
Vinnie Colaiuta - Drums, Percussion

DANILO PÉREZ — Across The Crystal Sea (Arranged & Conducted by Claus Ogerman) (2008) FLAC (image+.cue), lossless

Many jazz pianists desire to record with strings at least one time in their careers. Unfortunately, this frequently causes them to play a bit too conservatively, while the strings overwhelm the release. Such is the case on this CD by pianist Danilo Perez with arrangements by Claus Ogerman (who previously worked on recording projects with Bill Evans and Oscar Peterson, among others). The jazz group, which includes bassist Christian McBride, drummer Lewis Nash, and percussionist Luis Quintero, plays acceptably but they clearly are having to rein in too much in deference to the strings. One wonders how Perez has top billing when hearing "Lazy Afternoon," as the piece is nearly two-thirds over by the time he and his group make their entrance, though vocalist Cassandra Wilson shines in the dreamy setting. She also appears in "(All of a Sudden) My Heart Sings," a neglected gem from decades ago; fortunately, Perez isn't shunted aside by the strings in this chart. Ogerman's originals, many of which are derived from themes by classical composers Rachmaninov, Sibelius, Massenet, and others, frankly aren't memorable at all. Skip this disappointing release. Ken Dryden  
Tracklist :
1    Across The Crystal Sea    7:13
Claus Ogerman
2    Rays And Shadows    4:41
Claus Ogerman
3    Lazy Afternoon    6:39
John Latouche / Jerome Moross
4    The Purple Condor    8:41
Claus Ogerman
5    If I Forget You    5:39
Claus Ogerman
6    (All Of A Sudden) My Heart Sings    7:44
Henri Herpin / Harold Rome
7    The Saga Of Rita Joe    7:39
Claus Ogerman
8    Another Autumn    9:28
Claus Ogerman
Credits :
Bass – Christian McBride
Concertmaster – Bruce Dukov
Conductor, Arranged By – Claus Ogerman
Drums – Lewis Nash
Percussion – Luis Quintero
Piano – Danilo Perez
Vocals – Cassandra Wilson (pistas: 3, 6)

RANDY CRAWFORD & JOE SAMPLE — Feeling Good (2006) FLAC (tracks+.cue), lossless

After a quarter of a century in the Warner Bros. camp and five years on the recording sidelines, Randy Crawford drew a circle back to the beginning, reuniting with keyboardist Joe Sample. In turn, the old Crusader put together a genuinely distinguished rhythm section, bassist Christian McBride and drummer Steve Gadd, and called upon Tommy LiPuma to produce the disc. That combination ought to guarantee a certain floor of competence from the get-go -- and it's great to report that this disc always rises above it, sometimes considerably above it. By this time, both Crawford and Sample were established veterans -- and the music they make here seems to come so easily from within, with only minimal backing and nothing getting in their way. Gadd puts out a propulsive beat on brushes that pushes the title track along just fine -- and his work on "See Line Woman" and "Last Night at Danceland" generates something resembling the irresistible Crusaders groove, giving Sample something to trip lightly and soulfully through. Every track seems to change style with a smooth movement of the clutch -- the slinky R&B funk of "Lovetown," the gentle Latin beat of "Rio de Janeiro Blue," the pure mainstream piano trio jazz of "But Beautiful," the heavy blues atmosphere of "Tell Me More and More and Then Some," a trip back to the 1960s' Top 40 with "Everybody's Talking" (dig Randy's fervent high note that Harry Nilsson once hit in falsetto). A very gratifying release -- considering how tempting it would have been to crank this out on autopilot. Richard S. Ginell
Tracklist & Credits :

RAY BROWN WITH JOHN CLAYTON & CHRISTIAN McBRIAN — SuperBass : Recorded Live At Sculler's (1997) FLAC (tracks+.cue), lossless

This live Boston summit meeting between Ray Brown, Christian McBride and John Clayton was the logical outcome of several joint appearances, as well as an extension of a one-off bass troika track that McBride included on his first solo album. The idea of a bass trio on records probably would have been unthinkable in the primitive days of recording when Brown was coming up, but Telarc's fabulously deep yet clear engineering makes it seem like a natural thing to do. Whether pizzicato or bowed, whether taking the melodic solo or plunking down the 4/4 bottom line, all three perform with amazing panache, taste, humor, lack of ego, and the sheer joy of talking to and against each other beneath the musical staff. But if one has to pick out a single star, the choice has to be McBride, whose unshakeable time, solid tone and amazing ability to play his cumbersome bull fiddle like a horn stands out in astonishing fashion on the right speaker. On two tracks, the fleet-fingered Benny Green and drummer Gregory Hutchinson join Brown to form a conventional trio that serves as an effective change of pace. It's a fun set without a doubt, but these guys are also clearly making coherent music, and that is what will hold our interest over the long haul. Richard S. Ginell   Tracklist & Credits :

RAY BROWN | JOHN CLAYTON | CHRISTIAN McBRIAN — SuperBass 2 (2001) SACD · Hybrid | Serie Telarc Surround | FLAC (tracks+.cue), lossless

Tracklist & Credits :

RAY BROWN — Walk On : The Final Ray Brown Trio Recording (2003) 2CD | FLAC (image+.cue), lossless

What a curious, if delightful, package Walk On is. Comprised of two CDs -- the first is the final Ray Brown trio date from January 2000 with Geoffrey Keezer and Karriem Riggins, and the second is two separate live shows from 1994 and 1996 respectively -- the players range from Keezer to Monty Alexander and Bennie Green, bassists Josh Clayton and Christian McBride, and drummers Lewis Nash and Gregory Hutchinson. Disc one is pure Brown majesty as he and the band literally walk, very sprightly, through a series of classics such as "You Are My Sunshine," "Stella by Starlight," Wes Montgomery's "Fried Pies," and "Sunday." But more importantly, they showcase the delicate intricacy of Brown's own compositions on the three-part "Ray Brown Suite," the illustriously lush "Hello Girls" -- with a stunning interplay dialogue between Keezer and Brown -- and the funky "Lined With a Groove" that reveals the Horace Silver soul touch in its melodic line. Disc two is from gigs that showcase the different sides of Brown as a leader: the driven, intense improviser who found a groove and extrapolated upon it until it turned into something else, with Hutchinson and Green on "F.S.R." and "Stardust"; the loping strolling bassist who can drive a band with his easy, slippery phrasing, with Alexander and Nash on "Woogie Boogie"; and the dialogue artist concerned with dynamics and the intricacy of a melody's separate harmonic elements, with McBride, Keezer, and Clayton on "Down by the Riverside." In each case, Brown is the consummate listener, the very archetype of economic musical wisdom and a supreme lyricist in his phrasing. One of the most revealing things about this set is how Brown's true worth as a composer, bandleader, and improviser is not yet known and probably won't be for decades to come. But make no mistake; it will be. This may not be the finest of Brown's moments on record, but the recordings are fine, shining examples of his artistry, and they are, alas, the final examples.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-    Tracklist & Credits :

GARY BARTZ - Shadows (1991-2015) RM | Timeless Jazz Master Collection 28 | FLAC (tracks+.cue), lossless

Veteran alto and soprano saxophonist Gary Bartz's debut recording for the Dutch Timeless label is one of his finest efforts as he enlisted the services of pianist Benny Green, bassist Christian McBride, drummer Victor Lewis, and tenor saxophonist Willie Williams on three selections to perform an unusual program of one Bartz composition, three jazz classics, two movie themes, and one radio theme. Bartz's strong tone, sense of swing, and improvisational imagination place him within the ranks of jazz's finest saxophonists, and he proves it throughout this recording. Favorites include the title track, which is actually two Bartz compositions, one medium, one up, joined by an excellent McBride bass solo; John Coltrane's "Song of the Underground Railroad," performed up-tempo, in the spirit of Coltrane all the way down to a blistering sax-drums duet; McCoy Tyner's "Peresina," a medium Afro-Latin number with the melody played by the not-heard-enough combination of tenor and alto sax; and Wayne Shorter's "Children of the Night" where the melody is played over a hip groove by McBride and Lewis and features one of the best Bartz solos on record. McBride, who just had turned 19 at the time of this recording, displays a huge tone, solid time, and the improvisational ability of a more experienced musician, while Lewis' dynamic drumming lays down a solid foundation along with McBride's bass, serving as the catalyst for the excellence of this recording. Shadows is an excellent addition to Bartz's extensive discography. Greg Turner  
Tracklist :
1    Marion's Theme 9:45
John Williams   
2     Shadows 12:30
Gary Bartz   
3     Song of the Underground Railroad 10:25
John Coltrane   
4     Peresina 14:35
McCoy Tyner
5     How Do You Keep the Music Playing? 4:50
Alan Bergman / Marilyn Bergman / Michel Legrand
6     Children of the Night 9:32
Wayne Shorter   
7     Holiday for Strings 7:41
David Rose
Credits :
Alto Saxophone, Soprano Saxophone – Gary Bartz
Bass – Christian McBride
Drums – Victor Lewis
Piano – Benny Green
Tenor Saxophone – Willie Williams

JOHNNY GRIFFIN - Chicago, New York, Paris (1995) FLAC (tracks+.cue), lossless

Tracklist :
1     The Jampfs Are Coming 7'50
Johnny Griffin
2     Do It 5'47
Johnny Griffin
3     To Love 4'38
Johnny Griffin
4     Hush-A-Bye 7'26
Traditional
5     You Must Believe in Spring 6'58
Alan Bergman / Marilyn Bergman / Jacques Demy / Michel Legrand
6     Without a Song 8'19
Edward Eliscu / Billy Rose / Vincent Youmans
7     Leave Me Alone Blues 5'57
Johnny Griffin
8     My Romance 8'39
Lorenz Hart / Richard Rodgers
9     Not Yet 7'12
Johnny Griffin
Credits :    
Acoustic Bass – Christian McBride
Drums – Greg Hutchinson, Victor Lewis
Piano – Kenny Barron
Saxophone – Johnny Griffin
Trumpet – Roy Hargrove

JAMES WILLIAMS SEXTET ft. CLARK TERRY - Talkin' Trash (1993) FLAC (tracks), lossless

Although pianist James Williams is the nominal leader of this CD and there is also room for many concise solos from Billy Pierce (mostly on tenor), vibraphonist Steve Nelson and the remarkable bassist Christian McBride, the star throughout is actually flugelhornist Clark Terry. 72 at the time but showing no sign of decline, Terry contributed three of the numbers, sings in his famous Mumbles voice on two humorous pieces (including a preacher routine on "The Orator") and plays quite well throughout. Highpoints of this straightahead session include the boppish "Serenade to a Bus Seat," the uptempo blues "Chuckles" and Terry's spectacular solo on "Moonglow." Scott Yanow
Tracklist :
1     Serenade to a Bus Seat 6'04
Clark Terry
2     The Orator (C.T.'s Sermon) 9'11
James Williams
3     Chuckles 5'13
Clark Terry
4     Moonglow 9'59
Eddie DeLange / Will Hudson / Irving Mills
5     Talkin' Trash 7'22
James Williams
6     Lotus Blossom 3'15
Billy Strayhorn
7     Embraceable You 8'00
George Gershwin / Ira Gershwin
8     Boomerang 6'19
Clark Terry
9     SKJ 9'10
Milt Jackson
Credits :
Bass – Christian McBride
Drums – Tony Reedus
Organ, Piano, Producer – James Williams
Tenor Saxophone, Soprano Saxophone – Billy Pierce
Trumpet, Vocals, Flugelhorn – Clark Terry
Vibraphone – Steve Nelson

JOHN ZORN - Flaga : Book Of Angels, Volume 27 (Flaga) (2016) FLAC (tracks+.cue), lossless

For one of the last CDs in the Book of Angels series Zorn has put together an astonishing all-star piano trio featuring three of the most powerful and respected musicians in the jazz/new music scene: Craig Taborn, Christian McBride and Tyshawn Sorey. Diving into eight tunes from Zorn’s mystical Masada project they take off in flights of melodic, rhythmic and harmonic fancy that will make your head spin. Visceral and virtuosic, Flaga is one of the most spontaneous and exciting installments in the Masada catalog. TZADIK
Tracklist :
1    Machnia    7:59
2    Peliel    4:34
3    Katzfiel    4:18
4    Talmai Take 1    4:43
5    Shoftiel    10:42
6    Agbas    4:08
7    Rogziel    2:38
8    Harbonah    4:10
9    Talmai Take 2    5:41
Credits :
Bass, Arranged By – Christian McBride
Drums, Arranged By – Tyshawn Sorey
Executive-Producer, Producer, Composed By, Arranged By – John Zorn
Piano, Arranged By – Craig Taborn

JOHN ZORN : Commedia Dell'arte (2016) FLAC (tracks+.cue), lossless

A fabulous and multifaceted suite celebrating the vibrant Italian dramatic form Commedia dell’arte that began in the 16th century and flourishes to this day. The classic archetypical characters Harlequin, Colombina, Scaramouch, Pulcinella and Pierrot are evoked in five compositional miniatures for small chamber ensembles: brass quintet, cello quartet, piano trio, vocal quartet and woodwinds. Premiered at the Guggenheim Museum in early 2016, the music contains some of Zorn’s finest writing and is a delight from first note to last. Over 20 of New York’s greatest musicians are involved in this exciting and varied suite of miniature masterpieces. TZADIK
Tracklist :
1    Harlequin 6'58
Bassoon – Rebekah Heller
Clarinet, Bass Clarinet – Josh Rubin
Flute – Claire Chase
Recorded By, Mixed By – Marc Urselli
Viola – Kyle Armbrust
2    Colombina 5'54
Recorded By, Mixed By – Marc Urselli
Voice – Eliza Bagg, Kirsten Sollek, Rachel Calloway, Sarah Brailey
3    Scaramouche 6'20
Bass – Christian McBride
Drums – Tyshawn Sorey
Mixed By – Marc Urselli
Piano – Steve Gosling
Recorded By – Jeff Cook
4    Pulcinella 5'19
Bass Trombone – John D. Rojak
Ensemble – American Brass Quintet
Horn – Eric Reed
Recorded By, Mixed By – Marc Urselli
Trombone – Michael Powell
Trumpet – Kevin Cobb, Louis Hanzlik
5    Pierrot 7'36
Cello – Jay Campbell, Jeff Zeigler, Mike Nicolas, Mihai Marica
Recorded By, Mixed By – Marc Urselli
Credits :
Artwork [Commedia Dell'arte Images By] – Maurice Sand
Composed By [All Music Composed By], Producer [Produced By] – John Zorn

JOHN ZORN : There Is No More Firmament (2017) FLAC (image+.cue), lossless

There is No More Firmament is a remarkable collection of recent compositions from 2013–2016 that showcase the range, variety and continued creativity of Zorn as he enters his sixties. Connected together with a thread of intensity, magic and madness, the music tells a twisted and complex story of a magical descent into madness. The compositions include two works for brass ensembles, a woodwind quintet, jazz piano trio, string trio and two solo pieces for clarinet and trumpet, with the outrageous trumpet solo Merlin appearing in two realizations—one by jazz master Peter Evans and another by the European classical virtuoso Marco Blaauw. TZADIK
Tracklist :
1    Antiphonal Fanfare for the Great Hall    3:53
2    Freud    10:05
3    Merlin    6:10
4    Divagations: Ravings    5:19
5    Divagations: Wanderings    4:36
6    The Steppenwolf    6:44
7    In Excelsis    2:22
8    Merlin (Version II)    6:49
9    II n'y a Plus de Firmament    11:34
Credits :
Bass – Christian McBride
Bass Trombone – John Rojak
Bassoon – Adrian Morejon
Cello – Jay Campbell, Mike Nicolas
Clarinet – Joshua Rubin
Clarinet, Bass Clarinet – Rane Moore
Composed By – John Zorn
Conductor – James Baker, Matthew Welch
Drums – Tyshawn Sorey
Flute, Piccolo Flute, Alto Flute, Bass Flute – Tara O'Connor
Horns – Eric Reed, John Gattis
Oboe, English Horn – Arthur Sato
Piano – Stephen Gosling
Trombone – Andy Clausen, Michael Powell
Trumpet – Alex Bender, Kevin Cobb, Louis Hanzlik, Marco Blaauw, Mike Garfield, Peter Evans, Sam Nester, Stephanie Richards, Tim Leopold
Trumpet, Piccolo Trumpet – Andy Kemp
Tuba – Marcus Rojas
Violin – Christopher Otto

BETTY CARTER - It's Not About The Melody (1992) FLAC (image+.cue), lossless

A song's melody is simply a reference point and a beginning for Carter; she takes words and inverts, probes and extends them, embellishes themes, changes moods and alters rhythms. She's a vocal improviser in a manner few have equaled, and if her voice lacks the clarity and timbre of the all-time greats, she's more than compensated with incredible timing, flexibility and power. Throughout this 11-track effort, Carter's vocals direct and steer the responses of pianist Cyrus Chestnut, bassist Ariel J. Roland and drummer Lewis Nash. It was yet another memorable outing for Betty Carter, an all-time great. by Ron Wynn
Tracklist :
1     Naima's Love Song 8:25
Betty Carter / John Hicks
2     Stay as Sweet as You Are 7:11
Mack Gordon / Harry Revel
3     Make Him Believe 5:10
Betty Carter
4     I Should Care 3:26
Sammy Cahn / Axel Stordahl / Paul Weston
5     Once upon a Summertime 5:58
Eddie Barclay / Michel Legrand / Eddy Marnay / Johnny Mercer
6     You Go to My Head 5:35
J. Fred Coots / Haven Gillespie
7     In the Still of the Night 4:07
Cole Porter
8     When It's Sleepy Time Down South 7:45
Clarence Muse / Otis Rene / Leon René
9     The Love We Had Yesterday 7:17
Pat Watson
10     Dip Bag 8:57
Betty Carter
11     You're Mine, You 7:16
Johnny Green / Edward Heyman
Credits :
Bass – Ariel J. Roland (faixas: 1,3,4,6,7,10,11), Christian McBride (faixas: 2,5,8), Walter Booker (faixas: 9)
Drums – Clarence Penn (faixas: 3,4,10,11), Jeff "Tain" Watts (faixas: 1,9), Lewis Nash (faixas: 2,5-8)
Piano – Cyrus Chestnut (faixas: 3,4,6,7,10,11), John Hicks (faixas: 1,9), Mulgrew Miller (faixas: 2,5,8)
Tenor Saxophone – Craig Handy (faixas: 1,9)
Vocals – Betty Carter

JANE MONHEIT - Come Dream with Me (2001) FLAC (tracks+.cue), lossless

Jane Monheit's sophomore outing follows in the same accessible mold as her debut, Never Never Land. The young, fairly green vocalist is joined again by all-star musicians, including renowned pianist Kenny Barron, bassist Christian McBride, and drummer Greg Hutchinson, with Michael Brecker and Tom Harrell making a handful of guest appearances each. Closing the album on a surprising note, African phenom Richard Bona joins for an intimate duo rendition of Joni Mitchell's "A Case of You," playing acoustic guitar accompaniment and overdubbing fretless bass filigree behind Monheit's vocal. Monheit's exquisite voice is becoming more seasoned and expressive, particularly on sassier numbers like "Hit the Road to Dreamland" and "I'm Through with Love." She also wraps her seductive charm around Jobim's swaying free-association poem "Waters of March" and takes on two of jazz's grand ballads, Billy Strayhorn's "Something to Live For" and Fran Landesman's "Spring Can Really Hang You Up the Most." The latter, a duet with Kenny Barron, prompts one to compare and contrast Chaka Khan's rendition with Chick Corea on 1982's Echoes of an Era. "Blame It on My Youth," "I'll Be Seeing You," and "Over the Rainbow" are pleasant but less remarkable. (The hidden 12th track, which features Monheit as a child croaking her way a cappella through "Over the Rainbow," is a harmless bit of self-indulgence.) There are a number of textural enhancements that distinguish this album from its predecessor, including subtle overdubbed background vocals, unobtrusive string orchestrations by Bill Fisher, and general arranging input from the superb young pianist David Berkman. With the Joni Mitchell tune and also with "If," a '70s soft rock hit by Bread, Monheit complicates her image as a retro jazz classicist, which earned her some rather severe critical drubbing when she broke onto the scene in 2000. by David R. Adler
Tracklist :
1     Over the Rainbow 6:38
Harold Arlen / E.Y. "Yip" Harburg
2     Hit the Road to Dreamland 4:05
Harold Arlen / Johnny Mercer
3     Spring Can Really Hang You Up the Most 6:47
Fran Landesman / Tommy Wolf
4     Waters of March 4:42
Antônio Carlos Jobim
5     I'm Through with Love 3:16
Roger Cook
6     I'll Be Seeing You 3:07
Sammy Fain / Irving Kahal
7     Something to Live For 5:35
Duke Ellington / Billy Strayhorn
8     So Many Stars 4:34
Alan Bergman / Marilyn Bergman
9     If 4:10
David Gates
10     Blame It on My Youth 4:30
Edward Heyman / Oscar Levant
11     A Case of You 4:23
Joni Mitchell
12     Over the Rainbow 0:39
Harold Arlen / E.Y. "Yip" Harburg
Credits :
Acoustic Bass, Electric Bass – Christian McBride (faixas: 1, 2, 4, 6 to 10)
Arranged By – Richard Bona (faixas: 11)
Arranged By [Rhythm And Horns] – David Berkman (faixas: 6 to 8, 10)
Arranged By [Strings], Conductor [Strings] – William S. Fischer
Arranged By [Vocal And Rhythm] – Jane Monheit (faixas: 1, 9)
Arranged By [Vocals] – Jane Monheit
Drums – Gregory Hutchinson (faixas: 1, 2, 4, 6 to 10)
Guitar, Bass [Fretless] – Richard Bona (faixas: 11)
Piano – Kenny Barron (faixas: 1 to 10)
Saxophone – Michael Brecker (faixas: 6, 8)
Trumpet – Tom Harrell (faixas: 1, 4, 8, 10)

JANE MONHEIT - Taking A Chance On Love (2004) FLAC (tracks+.cue), lossless

While the early 2000s bore witness to a bevy of youthful standards singers with earnestly traditional vocals, New Yorker Jane Monheit preceded Norah Jones, Michael Buble, Katie Melua et al. She wowed the jazz world when she was barely out of her teens with her 2000 debut, NEVER NEVER LAND, and quickly ascended to stardom. Monheit's fourth record, 2004's TAKING A CHANCE ON LOVE, expresses her love for movie musicals of the 1930s and '40s.
From both Monheit's song choices and the fervor she pours into these selections, it's virtually impossible to challenge the sincerity of her affection. Monheit opens by finding a truly original, offbeat angle to the oft-visited Fats Waller classic "Honeysuckle Rose" and continues to connect throughout the 11 subsequent tracks. She teams up with the aforementioned Michael Buble on a charged version of the always-lively "I Won't Dance" and finds every ounce of sultriness in "Why Can't You Behave?" and "Dancing in the Dark." As with most of the acclaimed jazz stylists of her day, Monheit possesses incredible vocal shrewdness, but it is her almost spiritual connection to the tunes of a bygone era that clearly sets her apart. by AllMusic  
Tracklist :
1    Honeysuckle Rose 3:38
Double Bass [Bass] – Christian McBride
Drums – Lewis Nash
Lyrics By – Andy Razaf
Music By – Thomas 'Fats' Waller
Piano – Geoffrey Keezer
2    In The Still Of The Night 5:06
Arranged By, Conductor [Orchestra] – Jorge Calandrelli
Written-By – Cole Porter
3    Taking A Chance On Love 3:19
Alto Saxophone – Donald Harrison
Arranged By, Piano – Michael Kanan
Double Bass [Bass] – Orlando Le Fleming
Drums – Rick Montalbano
Lyrics By – John Latouche, Ted Fetter
Music By – Vernon Duke
Rhythm Guitar – Miles Okazaki
4    Bill 5:16
Lyrics By – Oscar Hammerstein II, P.G. Wodehouse
Music By – Jerome Kern
Piano – Michael Kanan
5    I Won't Dance 3:35
Arranged By, Piano – Rob Mounsey
Double Bass [Bass] – Ron Carter
Drums – Lewis Nash
Horns – Andy Snitzer, Bob Malach, Dave Taylor, Jim Hynes, Lawrence Feldman, Lew Soloff, Michael Davis, Roger Rosenberg
Lyrics By – Jimmy McHugh - Dorothy Fields, Oscar Hammerstein II, Otto Harbach
Music By – Jerome Kern
Vocals [Duet With] – Michael Bublé
6    Too Late Now 5:21
Arranged By, Piano – Michael Kanan
Double Bass [Bass] – Orlando Le Fleming
Drums – Rick Montalbano
Lyrics By – Burton Lane
Music By – Alan Jay Lerner
Soprano Saxophone – Joel Frahm
7    Why Can't You Behave? 4:07
Arranged By, Piano – Michael Kanan
Double Bass [Bass] – Orlando Le Fleming
Drums – Rick Montalbano
Guitar – Miles Okazaki
Written-By – Cole Porter
8    Do I Love You? 4:52
Arranged By, Conductor [Orchestra] – Alan Broadbent
Written-By – Cole Porter
9    Love Me Or Leave Me 3:34
Alto Saxophone – Donald Harrison
Arranged By, Double Bass [Bass] – Christian McBride
Drums – Lewis Nash
Lyrics By – Gus Kahn
Music By – Walter Donaldson
Piano – Geoffrey Keezer
Tenor Saxophone – Joel Frahm
10    Embraceable You 3:47
Guitar – Romero Lubambo
Lyrics By – Ira Gershwin
Music By – George Gershwin
11    Dancing In The Dark 5:03
Arranged By, Conductor [Orchestra] – Vince Mendoza
Lyrics By – Arthur Schwartz
Music By – Howard Dietz
- Bonus Track -
12    Over The Rainbow 3:54
Arranged By, Conductor [Orchestra] – Ed Shearmur
Lyrics By – E.Y. Harburg
Music By – Harold Arlen
Credits :
Contractor [Orchestra] – Joe Soldo
Vocals – Jane Monheit

JIMMY SMITH - Damn! (1995) FLAC (image+.cue), lossless

Damn! marked Jimmy Smith's return to the Verve label after an absence of 20-plus years (he originally recorded for the label from 1963 to 1972), and paired with a group of young and sympathetic jazz players that includes Roy Hargrove and Nicholas Payton on trumpet and Ron Blake and Mark Tuner on sax, he sounds invigorated here, striding across the Hammond B-3 keys with definite energy. The whole album, start to finish, works a wonderful groove, but versions here of James Brown's "Papa's Got a Brand New Bag," Herbie Hancock's "Watermelon Man," and Charlie Parker's "Scrapple from the Apple" are particularly strong. Smith was arguably at his best in stripped-down trios, and his work for Blue Note between 1956 and 1960 will always be the quality reference point for his extensive canon, but Damn! is right up there with his best work, full of a joyous energy, and it sparked a resurgence of sorts for Smith. by Steve Leggett
Tracklist :
 1     Papa's Got a Brand New Bag 730
James Brown
2     Sister Sadie 6:57
Horace Silver
3     Woody 'N' You 6:50
Dizzy Gillespie
4     The One Before This 6:53
Gene Ammons
5     Watermelon Man 8:43
Herbie Hancock
6     This Here 7:30
Bobby Timmons
7     Scrapple from the Apple 5:25
Charlie Parker
8     Hi-Fly 6:35
Randy Weston
9     A la Mode 6:25
Curtis Fuller
Credits :
Bass – Christian McBride
Drums – Art Taylor (faixas: 2 to 4, 6 to 9)
Guitar – Mark Whitfield
Organ – Jimmy Smith
Tenor Saxophone – Mark Turner (faixas: 4, 6, 7), Ron Blake (faixas: 4, 5, 9), Tim Warfield (faixas: 2, 4, 5, 9)
Trumpet – Nicholas Payton (faixas: 1, 3, 5, 7, 8), Roy Hargrove (faixas: 1, 3, 5 to 7) 

JOSHUA REDMAN - Joshua Redman (1993) FLAC (tracks+.cue), lossless

In the early to mid-'90s, no "Young Lion" was hyped to death by jazz critics more than Joshua Redman; to hear some critics tell it, he was as important a saxophonist as John Coltrane, Dexter Gordon, or Sonny Rollins. The problem with such excessive hype is that it gives a young talent like Redman way too much to live up to at an early age; the tenor man was only 22 when this self-titled debut album was recorded, and he needed time to grow and develop. Nonetheless, Redman did show a lot of promise on this CD, which isn't in a class with Coltrane's A Love Supreme or Rollins' Saxophone Colossus (some critics really did have the audacity to make such claims) but showed Redman to be a swinging, expressive improviser who had impressive technique as well as versatility. Redman's playing is greatly influenced by funky, big-toned soul-jazz tenors like Eddie Harris, Gene Ammons, and Red Holloway, but his probing, searching qualities bring to mind Coltrane. Redman's gritty soul-jazz workout on James Brown's "I Got You (I Feel Good)" demonstrates that he isn't a stuffy neo-conservative, while his enjoyable interpretations of "Body and Soul" and Thelonious Monk's "Trinkle Tinkle" illustrate his ability to play "in the tradition," as hard boppers are fond of saying. Dizzy Gillespie's "Salt Peanuts" is pure bop, and Redman (whose acoustic support on this album includes pianist Kevin Hays, bassist Christian McBride, and drummer Gregory Hutchinson) gets into a Coltrane-influenced post-bop groove on his own "Sublimation." Joshua Redman isn't a masterpiece, but it let us know that he was certainly someone to keep an eye on. by Alex Henderson  

Tracklist:

1. Blues on Sunday 4:59

(Joshua Redman)

2.Wish 7:30

(Joshua Redman)

3.Trinkle Tinkle 7:02

(Thelonious Monk)

4.Echoes

5. I Got You (I Feel Good) 4:36

(James Brown)

6. Body & Soul 4:47

(Heyman-Green-Sour)

7. Tribalism 5:58

8. Groove X (By Any Means Necessary) 5:49

9.Salt Peanuts 3:14

(Dizzy Gillespie)

10. On the Sunny Side of the Street 5:31

(McHugh-Fields)

11. Sublimation 8:52

Credits:

Joshua Redman – Tenor saxophone

Kevin Hays – Piano

Christian McBride – Bass

Gregory Hutchinson – Drums

Mike LeDonne – Piano

Paul LaDuca – Bass

Kenny Washington – Drums

Clarence Penn – Drums