JACO PASTORIUS BIG BAND — Word Of Mouth Revisited (2003) Two Version | FLAC (image+.tracks+.cue), lossless

Back before he turned everyone's idea of bass playing inside out, Jaco Pastorius spent five years on the bandstand with the Peter Graves Orchestra at Bachelors III, a swanky spot in his hometown of Ft. Lauderdale. Nearly three decades after the future star's departure in 1975, and 16 years after his brutal murder, Graves got the guys back together, christened them in their former colleague's name, and invited the most prominent bass guitarists of the early 21st century down to join them in a project dedicated to Pastorius' legacy. Throughout these polished performances, the bass parts testify to how profoundly Pastorius altered that instrument's role. Bottom line (so to speak): he gave them the option of playing from a soloist mentality and blowing all over the beat, as fast and free as any saxophonist, as long as he or she had chops and didn't subvert the groove. The guest bassists on this collection absorbed this lesson long ago. Each can scatter quick licks, some of them even faster than Pastorius himself. So why does a vague disenchantment haunt these performances? Perhaps it's because these players, great as they are, are still emulating more than discovering. Some imitate even the nuances of the Pastorius tone and phrasing, as does Richard Bona on "Punk Jazz" -- which, of course, may be a form of tribute in this context. On an opposite extreme, the light-speed, staccato hailstorm unleashed by Victor Wooten on "Teen Town" is fundamentally unmusical, focusing on the player more than the material being played -- which is, come to think of it, the real revelation here. Pastorius' tunes reflect a compositional maturity that wasn't always evident in the more improvisational context of Weather Report, and his arrangements -- notably an idiosyncratic treatment of "Killing Me Softly" and the marimba-flavored exotica of "Opus Pocus" -- suggest that had he had more time, he would have written history with his pen as much as his performance. One complaint: the samples of Pastorius' voice, chopped into microbits that carry no meaningful content and seem intended to function as objects of postmodern reflection, if not reverence. All these interruptions accomplish is to remind you that some artists speak most eloquently without words. Robert L. Doerschuk
Tracklist :
1. Jaco Speaks 0:07
2. Havona 5:19
 Arranged By – Larry Warrilow
Bass – Jimmy Haslip
Written-By – Jaco Pastorius
3. Teen Town 4:10
 Arranged By – Larry Warrilow
Bass – Victor Wooten
Written-By – Jaco Pastorius 
4. Jaco Speaks 0:04
5. Punk Jazz 5:03
 Bass – Richard Bona
Tenor Saxophone – Mike Scaglione
Written-By, Arranged By – Jaco Pastorius
6. Jaco Speaks 0:05
7. Barbary Coast 5:55
 Arranged By – Larry Warrilow
Bass – Gerald Veasley
Written-By – Jaco Pastorius
8. Killing Me Softly 4:22
 Arranged By – Jaco Pastorius
Bass – Jeff Carswell
Written-By – Charles Fox, Norman Gimbel
9. Jaco Speaks 0:05
10. (Used to Be A) Cha Cha 6:54
 Arranged By – Dan Bonsanti
Bass – Victor Bailey
Written-By – Jaco Pastorius
11. Wiggle Waggle 5:46
 Arranged By – Stan Webb
Bass – Jaco Pastorius
Written-By – Herbie Hancock
12. Jaco Speaks 0:10
13. Continuum 3:23
 Bass – Jimmy Haslip
Written-By, Arranged By – Jaco Pastorius 
14. Jaco Speaks 0:04
15. Elegant People 6:29
 Arranged By – Jaco Pastorius
Bass – Gerald Veasley
Drums [Hand Drums] – Bobby Thomas Jr.
Written-By – Wayne Shorter
16. Opus Pocus 5:16
 Arranged By – Larry Warrilow
Bass – David Pastorius
Marimba – Gary Mayone
Written-By – Jaco Pastorius
17. Peter & Jaco Speak 0:47
18. Domingo 6:44
 Bass – Victor Bailey
Written-By, Arranged By – Jaco Pastorius
19. Forgotten Love 4:01
 Arranged By – Larry Warrilow
Bass – Christian McBride
Flute – Mike Scaglione
Written-By – Jaco Pastorius
20. Jaco Speaks 7:18
21. Punk Jazz Revisited
 Arranged By – Marcus Miller
Bass, Bass Clarinet, Drums, Clavinet, Soprano Saxophone, Scratches – Marcus Miller
Soprano Saxophone – Roger Byman
Trumpet – Michael "Patches" Stewart
Written-By – Jaco Pastorius, Marcus Miller 
Line-up / Musicians
Victor Bailey, Jaco Pastorius, Jimmy Haslip, Gerald Veasley, Marcus Miller, Christian McBride, Victor Wooten, Richard Bona, Jeff Carswell, Dave Pastorius - Bass 
Randy Bernsen - Guitar, Koto 
Peter Graves - Conductor 
Joe Zawinul - Keyboards 
Michael Brignola - Flute, Bass Clarinet, Baritone Sax, Woodwinds
Ed Calle - Clarinet, Soprano Sax, Tenor Sax, Woodwinds
Kenneth Faulk - Trumpet, Flugelhorn, Brass 
Michael Levine - Synthesizer, Piano, Keyboards 
Billy Ross - Flute, Piccolo, Alto Sax, Soprano Sax, Woodwinds
Dana Teboe - Trombone, Brass 
John Kricker - Bass Trombone, Brass 
Mike Scaglione - Flute, Tenor Sax 
Jason Carder, Jeff Kievit - Trumpet, Flugelhorn 
Mark Griffith - Drums
Gary Keller - Clarinet, Flute, Alto Sax, Tenor Sax 
Gary Mayone - Marimba 
Michael "Patches" Stewart - Trumpet 
Bobby Thomas, Jr. - Hand Drums
Roger Byman - Soprano Sax

DIANA KRALL — Turn Up the Quiet (2017) Two Version | SHM-CD | FLAC (image+.cue), lossless

Diana Krall spent the better part of the 2010s exploring byways of American song -- her 2012 set Glad Rag Doll drew heavily on obscure jazz from the 1920s and '30s, its 2015 sequel Wallflower concentrated on pop and rock tunes -- but 2017's Turn Up the Quiet finds the pianist/singer returning to well-known standards from the Great American Songbook. Reuniting with producer Tommy LiPuma for the first time since 2009's bossa nova-inspired Quiet Nights, Krall works with a trio of lineups on Turn Up the Quiet, alternating between a trio, quartet, and quintet. The album isn't divided into triads but rather gently shifts between these bands, a move that's sometimes imperceptible because the focus is firmly on Krall, the pianist. Her voice often operates at a hushed whisper -- a decision that suits this collection of romantic, dreamy material; it also underscores the importance of the record's title -- and that emphasizes her lithe piano along with the solo spotlights from her featured musicians. Krall gives her three bands plenty of space to shine -- fiddler Stuart Duncan, in particular, stuns with his solo on "I'll See You in My Dreams," but there are nice turns from guitarists Russell Malone, Anthony Wilson, and Marc Ribot, along with supple playing by bassists Christian McBride, Tony Garnier, and Anthony Wilson -- but what impresses is how these ensembles are all united in spirit and attitude, all thanks to their leader. Krall has a definite vision for Turn Up the Quiet -- she wants to keep things smoky and subdued, a record for the wee hours -- and the end result is so elegant, it seems effortless. Stephen Thomas Erlewine
Tracklist :
1. Like Someone In Love 3:16
 Acoustic Bass – Christian McBride
 Composed By – Jimmy Van Heusen And Johnny Burke
 Contractor – Shari Sutcliffe
 Electric Guitar – Russell Malone
 Solo Vocal, Piano – Diana Krall
2. Isn't It Romantic 4:29
 Acoustic Bass – John Clayton
 Composed By – Rodgers & Hart
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Electric Guitar – Anthony Wilson
 Solo Vocal, Piano – Diana Krall
 Vibraphone – Stefan Harris
3. L-O-V-E 4:21
 Acoustic Bass – John Clayton
 Composed By – Bert Kaempfert, Milt Gabler
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Electric Guitar – Anthony Wilson
 Solo Vocal, Piano – Diana Krall
4. Night and Day 4:39
 Acoustic Bass – John Clayton
 Acoustic Guitar – Anthony Wilson
 Composed By – Cole Porter
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Solo Vocal, Piano – Diana Krall
5. I'm Confessin' (That I Love You) 3:24
 Acoustic Bass – Tony Garnier
 Composed By – Al Neiburg, Doc Daugherty, Ellis Reynolds
 Contractor – Shari Sutcliffe
 Drums – Karriem Riggins
 Electric Guitar – Marc Ribot
 Fiddle – Stuart Duncan
 Solo Vocal, Piano – Diana Krall
6. Moonglow 5:15
 Acoustic Bass – Tony Garnier
 Composed By – Eddie Delange, Irving Mills, Will Hudson
 Contractor – Shari Sutcliffe
 Drums – Karriem Riggins
 Electric Guitar – Marc Ribot
 Fiddle – Stuart Duncan
 Solo Vocal, Piano – Diana Krall
7. Blue Skies 4:39
 Acoustic Bass – Christian McBride
 Composed By – Irving Berlin
 Contractor – Shari Sutcliffe
 Electric Guitar – Russell Malone
 Solo Vocal, Piano – Diana Krall
8. Sway 6:13
 Acoustic Bass – John Clayton
 Acoustic Guitar – Anthony Wilson
 Composed By – Luis Demetrio, Norman Gimbel, Pablo Rosas Rodriguez
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Drums – Jeff Hamilton
 Solo Vocal, Piano – Diana Krall
9. No Moon At All 4:06
 Acoustic Bass – John Clayton
 Composed By – David Mann, Redd Evans
 Contractor – Shari Sutcliffe
 Solo Vocal, Piano – Diana Krall
10. Dream 4:05
 Acoustic Bass – Christian McBride
 Composed By – John H. Mercer
 Concertmaster – Joel Derouin
 Contractor – Shari Sutcliffe
 Electric Guitar – Russell Malone
 Solo Vocal, Piano – Diana Krall
11. I'll See You In My Dreams 3:51
 Acoustic Bass – Tony Garnier
 Acoustic Guitar – Marc Ribot
 Composed By – Gus Kahn, Isham Jones
 Contractor – Shari Sutcliffe
 Drums – Karriem Riggins
 Fiddle – Stuart Duncan
 Solo Vocal, Piano – Diana Krall

ANN HAMPTON CALLAWAY — Blues in the Night (2006) SACD, Hybrid | FLAC (image+.cue), lossless

Ann Hampton Callaway is not your typical jazz songbird. For one thing, she's an accomplished and award-winning songwriter, which is unusual in a field dominated by interpreters. But what's most surprising is her voice -- it's a low alto instrument with a rich, dark, butterscotchy tone, and when she gets way down into her lower range the effect can be downright startling. Her latest album is a pleasing mixture of originals and standards, some performed with a small combo that includes bassist Christian McBride and drummer Lewis Nash, others with the all-female Diva Jazz Orchestra. The big-band pieces pack the most wallop, which is no surprise given both the quality of the band and the fact that the arrangements were written by the great Tommy Newsom; a powerhouse rendition of her own "Swingin' Away the Blues" opens the program with a serious bang, and her small-scale but equally powerful take on the chestnut "Blue Moon" carries the energy forward nicely. The rest of the album is a mix of tender ballads and vibrant uptempo numbers, most with a theme related to the blues, either in a mood of resigned acceptance ("Spring Can Really Hang You Up the Most," "Willow Weep for Me") or defiant opposition (the Callaway original "Hip to Be Happy"). She imbues most of these songs with a smoldering, torchy quality that brings new energy to old material, and her new songs stand up very nicely next to the established standards. Highly recommended. Rick Anderson
Tracklist :
1  Swingin' Away The Blues  3:29
Arranged By – Tommy Newsom
2  Blue Moon  5:37
Arranged By – Andy Farber, Ann Hampton Callaway
Written-By – Lorenz Hart, Richard Rodgers
3  Spring Can Really Hang You Up The Most  6:19
Arranged By – Ann Hampton Callaway, Bill Mays
Written-By – Frances Landesman, Tomas Wolf
4  Lover Come Back To Me  3:23
Arranged By – Tommy Newsom
Written-By – Oscar Hammerstein II, Sigmund Romberg
5  Stormy Weather / When The Sun Comes Out  5:13
Arranged By – Alex Rybeck, Ann Hampton Callaway
Written-By – Harold Arlen, Ted Koehler
6  The I'm-Too-White-To-Sing-The-Blues Blues  3:41
Arranged By – Matt Cattingub
Written-By – Ann Hampton Callaway
7  Willow Weep For Me  6:18
Arranged By – Ann Hampton Callaway, Bill Mays
Written-By – Ann Ronell
8  Hip To Be Happy  2:43
Arranged By – Bill Mays
Arranged By, Written-By – Ann Hampton Callaway
9  It's All Right With Me  5:52
Arranged By – Ann Hampton Callaway, Bill Mays
Written-By – Cole Porter
10  No One Is Alone  4:32
Arranged By – Ann Hampton Callaway, Bill Mays
Written-By – Stephen Sondheim
11  Blues In The Night  4:50
Arranged By – Harold Wheeler, Jack Everly
Written-By – Harold Arlen, Johnny Mercer
12  The Glory Of Love  3:08
Arranged By – Ann Hampton Callaway, Rodney Jones
Written-By – Bill Hill
Credits :
Bass – Christian McBride
Drums – Lewis Nash
Guitar – David Gilmore
Lead Vocals – Ann Hampton Callaway
Orchestra – Sherrie Maricle And The Diva Jazz Orchestra (tracks: 1, 4, 6, 11)
Piano – Ted Rosenthal
Producer – Ann Hampton Callaway, Elaine Martone
Vocals – Liz Callaway

CHRISTIAN McBRIDGE BAND — Sci-Fi (2000) FLAC (image+.cue), lossless

On a large scale, there is no denying that music can move masses of people to assert themselves and establish a particular vision that will benefit many for years to come. With the release of Sci-Fi, the highly acclaimed bassist Christian McBride has established another great realm of music for his fans to explore. Accompanied by the dynamic Ron Blake on tenor and soprano sax, Shedrick Mitchell on piano and Fender Rhodes, the great Herbie Hancock on piano, Rodney Green on drums, David Gilmore on electric and acoustic guitar, Dianne Reeves giving great vocalese on "Lullaby for a Ladybug," James Carter on bass clarinet, and the exciting Toots Thielemans on harmonica, listeners will soon discover that the jazz galaxy will never be the same. The acoustic fusion and thematic sound concept for the CD settled in after McBride wrote "Science Fiction" and discovered it made a great nucleus for the CD. Featured selections include McBride's brilliant arrangements of masterworks by Stanley Clarke, Sting, Jaco Pastorius, and Steely Dan as well as seven original compositions by the versatile leader. Flawless piano grace from Herbie Hancock on "Xerxes" and "Lullaby for a Ladybug" and McBride's Fender Rhodes work throughout is a listen to behold. Particularly, the conversation between McBride's double bass and Carter's bass clarinet on "Walking on the Moon" shouldn't be missed. Sci-Fi is a seminal work by seminal artists and may very well be considered one of the most essential jazz recordings of the 21st century. Paula Edelstein
Tracklist :
 1. Aja (Fagan, Becker) 6:46
2. Uhura's Moment Returned (McBride) 6:18
3. Xerxes (McBride) 7:56
4. Lullaby For a Ladybug (McBride) 7:28
5. Science Fiction (McBride) 6:50
6. Walking On The Moon (Sting) 6:43
7. Havona (Jaco Pastorius) 7:12
8. I'll Guess i'll Have To Forget (McBride) 6:10
9. Butterfly Dreams (Stanley Clarke) 6:43
10. Via Mwandishi (McBride) 8:02
11. The Sci-fi Outro (McBride) 1:13
Credits :
Christian McBride – Bass (Upright, Electric), Keyboards
Ron Blake - Sax (Tenor, Soprano)
Shedrick Mitchell – Piano, Electric Piano
Rodney Green – Drums
Herbie Hancock – Piano (on "Xerxes" and "Lullaby For a Ladybug")
Dianne Reeves – Vocalese (on "Lullaby For a Ladybug")
Toots Thielemans – Harmonica
James Carter – Bass Clarinet
David Gilmore – Guitar (Acoustic, Electric)

McCOY TYNER — Prelude and Sonata (1995) FLAC (tracks+.cue), lossless

McCoy Tyner's Prelude and Sonata adds a different twist from what one typically expects of the pianist; the seasoned veteran invited a trio of young lions (Joshua Redman, Antonio Hart, and Christian McBride) along with drummer Marvin "Smitty" Smith to the date. The two showpieces are classical yet arranged in jazz settings. Chopin's "Prelude in E Minor Op. 28, No. 4" is set as a brisk bossa nova, with a wailing tenor sax solo by Redman which follows alto saxophonist Antonio Hart's laid-back effort. Beethoven's "Piano Sonata No. 8 in C Minor" captures Hart in a more adventurous mood as Tyner interjects some lively changes behind him. Hart's mournful sax is a key ingredient within Henry Mancini's melancholy ballad "Loss of Love," as well as in Mal Waldron's "Soul Eyes." Tyner also has some fun with some old chestnuts like Charlie Chaplin's "Smile"; the pianist's lively re-harmonization and unusually brisk arrangement give it a new lease on life. He also brings out the rich textures within "Good Morning Heartache" in a superb trio chart. "Contemplation" is Tyner's only original of the date, but it has an infectious melancholy theme that inspires some of the best improvisations during the session. This release is definitely off the beaten path for McCoy Tyner, but it is well worth acquiring. Ken Dryden
Tracklist  :
 1. Prelude In E Minor Op. 28, No. 4 (6:14)
 Frédéric Chopin
2. Loss Of Love (8:34)
 Henry Mancini / Bob Merrill
3. Contemplation (11:04)
 McCoy Tyner
4. For All We Know (6:57)
 J. Fred Coots / Sam M. Lewis
5. I Will Wait For You (7:04)
 Jacques Demy / Norman Gimbel / Michel Legrand
6. Soul Eyes (6:33)
 Mal Waldron
7. Smile (4:14)
 Charles Chaplin
8. Good Morning Heartache (4:16)
 Ervin Drake / Dan Fisher / Irene Higginbotham
9. Piano Sonata No. 8 In C Minor (7:04)
 Ludwig van Beethoven
Credits :
Alto Saxophone – Antonio Hart
Bass – Christian McBride
Drums – Marvin "Smitty" Smith
Piano – McCoy Tyner
Tenor Saxophone – Joshua Redman (tracks: 1, 3, 4)

JOE HENDERSON — Lush Life : The Music of Billy Strayhorn (1992+2005) Two Version | WV + FLAC (tracks+.cue), lossless

With the release of this CD, the executives at Verve and their marketing staff proved that yes, indeed, jazz can sell. The veteran tenor Joe Henderson has had a distinctive sound and style of his own ever since he first entered the jazz major leagues yet he has spent long periods in relative obscurity before reaching his current status as a jazz superstar. As for the music on his "comeback" disc, it does deserve all of the hype. Henderson performs ten of Billy Strayhorn's most enduring compositions in a variety of settings ranging from a full quintet with trumpeter Wynton Marsalis and duets with pianist Stephen Scott, bassist Christian McBride, and drummer Gregory Hutchinson to an unaccompanied solo exploration of "Lush Life." This memorable outing succeeded both artistically and commercially and is highly recommended. Scott Yanow
Tracklist :
1. Isfahan (Duke Ellington, Billy Strayhorn) – 5:59
Arranged By – Don Sickler
Bass – Christian McBride
Tenor Saxophone – Joe Henderson
Written-By – Billy Strayhorn, Duke Ellington
2. Johnny Come Lately – 6:30
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis
3. Blood Count – 7:19
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
4. Rain Check – 5:54
Bass – Christian McBride
Drums – Gregory Hutchinson
Tenor Saxophone – Joe Henderson
5. Lotus Blossom – 4:31
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
6. A Flower is a Lovesome Thing – 6:58
Arranged By – Don Sickler
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis
7. Take the "A" Train – 7:11
Drums – Gregory Hutchinson
Tenor Saxophone – Joe Henderson
8. Drawing Room Blues – 7:33
Arranged By – Don Sickler
Bass – Christian McBride
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
9. U.M.M.G. (Upper Manhattan Medical Group) – 5:02
Bass – Christian McBride
Drums – Gregory Hutchinson
Piano – Stephen Scott
Tenor Saxophone – Joe Henderson
Trumpet – Wynton Marsalis
10. Lush Life – 5:03
Tenor Saxophone – Joe Henderson

BOB JAMES TRIO — Straight Up (1996) FLAC (tracks+.cue), lossless

This record is an unexpected treat. Bob James has had a lucrative career writing and playing crossover jazz/pop. Although he had actually started his career with a straight-ahead trio date for Mercury in 1962 and also led a bizarre avant-garde session for ESP in 1965, his career since 1974 has offered very little of interest to consumers who prefer to hear inventive jazz as opposed to pleasant background music. But for this session, James returned to the roots few knew he had. Playing in an acoustic trio with bassist Christian McBride and drummer Brian Blade, James contributes five straightforward originals in addition to the standard "Lost April," and interprets tunes by Pat Metheny/Lyle Mays, Horace Silver ("The Jody Grind"), and Denny Zeitlin. While not hinting at all at his usual pop material, James plays quite well, takes plenty of chances, and sounds influenced a bit by Bill Evans. With McBride and Blade contributing consistently stimulating interplay, Bob James has recorded what is certainly the finest jazz album of his career. Scott Yanow 
Tracklist :
1 Night Crawler 4:43
Bob James 
2 Ambrosia 7:18
Bob James
3 James 4:52
Billy Joel / Lyle Mays / Pat Metheny
4 The Jody Grind 7:07
Horace Silver 
5 Lost April 5:39
Eddie DeLange / Emil Newman / Hubert Spencer 
6 Three Mice Blind 7:18
Bob James 
7 Hockney 6:10
Bob James 
8 Shooting Stars 6:20
Bob James 
9 Quiet Now 6:20
Denny Zeitlin 
Credits :
Bass – Christian McBride
Drums – Brian Blade
Piano – Bob James

PETER BERNSTEIN QUARTET – Signs Of Life (1995) FLAC (tracks+.cue), lossless

Peter Bernstein's second CD as a leader reunites him with pianist Brad Mehldau and once again features him in a quartet. However, both Bernstein and Mehldau had grown quite a bit as soloists during the previous two years (the pianist really tears into "Nobody Else but Me") and this time they are joined by the virtuosic bassist Christian McBride and drummer Gregory Hutchinson. In addition, the songs (five Bernstein originals and four standards) are stronger and challenge the soloists to play at their best. Among the highlights are "Jet Stream," "Jive Coffee" (Bernstein's sly revision of "Tea for Two"), "Will You Still Be Mine," and a tasteful "My Ideal" in addition to "Nobody Else but Me." An excellent effort. Scott Yanow
Tracklist :
1    Blues For Bulgaria 8:04
Composed By – P. Bernstein
2    Jet Stream 7:15
Composed By – P. Bernstein
3    Jive Coffee 9:42
Composed By – P.Bernstein
4    The Things We Did Last Summer 6:45
Composed By – Styne-Cahn
5    Minor Changes 8:14
Composed By – P. Bernstein
6    Will You Still Be Mine 6:55
Composed By – Dennis, Adair
7    Signs Of Life 9:41
Composed By – P.Bernstein
8    Nobody Else But Me 8:02
Composed By – J. Kern
9    My Ideal 7:20
Composed By – Robin, Chase, Whiting
Credits :
Bass – Christian McBride
Drums – Gregory Hutchinson
Guitar – Peter Bernstein
Piano – Brad Mehldau

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