PHILIP CATHERINE QUARTET — Live (1997) Two Version | FLAC (image+.cue), lossless + FLAC (tracks+.cue), lossless

This live quartet date was recorded in a Netherlands club, with leader/guitarist Philip Catherine, pianist Bert Van den Brink, bassist Hein Van de Geyn, and drummer Hans Van Oosterhout. Surprises crop up at every turn, even on well-worn standards like "I Fall in Love Too Easily" and "Stella By Starlight." (The latter sounds like an edited, incomplete take.) Catherine's playing is often so startling and urgent that it draws vocal hoots and hollers from the audience. Five of the ten tracks are Catherine originals, beginning with the modal, swinging "Piano Groove" and moving on to the European cadences and march feel of "Dance for Victor," the impassioned, quasi-rock balladry of "Rene Thomas," the mellow, dramatic "Mingus in the Sky," and the extended finale "December 26th." Pianist Van den Brink contributes the lilting waltz "Wondering Why," and the quartet also tackles Hermeto Pascoal's "Nem Um Talvez." On the classic "Freddie Freeloader," Catherine begins his solo with a note-for-note rendering of the original Miles Davis solo from Kind of Blue. Catherine's heavy attack and vibrato-laced phrasing continue to make him unique. But the other dominant personality on this album is Van den Brink, who sparkles on piano and adds organ textures as well as lush, Lyle Mays-like keyboard pads on several tracks, at times playing both piano and keys simultaneously. David R. Adler
Tracklist :
1    Piano Groove 6:17
Written-By – Philip Catherine
2    Dance For Victor 7:27
Written-By – Philip Catherine
3    I Fall In Love Too Easily 8:50
Written-By – Styne / Samy Kahn
4    Rene Thomas 5:51
Written-By – Philip Catherine
5    Wondering Why 6:28
Written-By – Bert Van Den Brink
6    Nem Um Talvez 6:21
Written-By – Hermeto Pascoal
7    Mingus In The Sky 8:52
Written-By – Philip Catherine
8    Freddie Freeloader 3:28
Written-By – Miles Davis
9    Stella By Starlight 8:18
Written-By – N. Washington, Victor Young
10    December 26th 11:17
Written-By – Philip Catherine
Credits :
Double Bass – Hein Van de Geyn
Drums – Hans Van Oosterhout
Guitar – Philip Catherine
Piano, Keyboards – Bert Van Den Brink

PHILIP CATHERINE – Guitar Groove (1998) FLAC (tracks+.cue), lossless

Belgian guitarist Catherine has had an erratic recording career, bouncing between fusion, rock, and jazz, but his enormous talent has never been in question. This CD probably brings his abilities into clearer focus than previous ones, buoyed by keyboardist Jim Beard, electric bass guitarist Alphonso Johnson, and drummer Rodney Holmes. Catherine wrote all but one of these thirteen cuts, a nice take of the classic ballad "Stardust" with Black on Fender Rhodes. The best tracks are in the front half of the recording. "Merci Afrique" has a groovy beat with ultra-bright chords from Catherine's spare guitar and piano and is a great tune. A chord laden melody on "Sunset Shuffle" is a swing-rock amalgam. Inventive bass/guitar unison on the easy swing of the title track with Wes Montgomery-like chords and a darker ballad, "For Wayne and Joe," are dedicated to Messrs. Shorter & Zawinul, big influences on Catherine in the '70s and through the '90s. As a matter of fact, this rhythm section is Shorter's. There are four sambas; moody, introspective, heavy unison staccato accents inform "Good Morning Bill," while deliberate but breezy dynamics center guitar and piano crisscrossing during "Hello George." A reverential poppish mode sets up "To My Sister," and "Blue Bells" is slow but highly melodic. Four others are pretty tunes. The Rhodes-driven "Chinese Lamp" is Christmasy, "Here and Now" is meditational, and, on acoustic guitar, "Nuances" (not Django Reinhardt's) is a power ballad, while "Simply" is stated sweetly with distinction. Some day Catherine will release the out-and-out jazz recording the world knows he is capable of. This one comes very close. Michael G. Nastos
Part A : Groove    
1    Merci Afrique    4:47
 Philip Catherine
2    Sunset Shuffle    4:08
 Philip Catherine
3    Guitar Groove    6:22
 Philip Catherine
4    Good Morning Bill    5:07
 Philip Catherine
5    Hello George    5:10
 Philip Catherine
6    To My Sister    6:18
 Philip Catherine
7    Chinese Lamp    5:14
 Philip Catherine
Part B : Quiet Moments    
8    Stardust 3:00
 Hoagy Carmichael, Mitchell Parish
9    Here And Now    3:00
 Philip Catherine
10    Nuances    3:33
 Philip Catherine
11    Simply    2:15
 Philip Catherine
12    For Wayne And Joe    3:45
 Philip Catherine
13    Blue Bells    5:28
 Philip Catherine
Credits :
Drums – Rodney Holmes
Electric Bass – Alfonso Johnson
Guitar – Philip Catherine
Keyboards – Jim Beard

PHILIP CATHERINE – Blue Prince (2000) FLAC (tracks+.cue), lossless

Philip Catherine has had a distinguished career, and Blue Prince captures him in fine form. Stylistically, the album covers a lot of ground, and Catherine seems equally comfortable playing the fusion-oriented "Coffee Groove" or the more swinging "With a Song in My Heart." He is joined by a talented supporting cast, including trumpeter Bert Joris, bassist Hein Van de Geyn, and drummer Hans Van Oosterhout. Things get started with "Coffee Groove," featuring dazzling guitar runs and a driving rhythm that may remind some of the early work of King Crimson. Joris makes his presence known quickly, with carefully chosen, though rapidly delivered, notes. His tone is similar to that of Miles Davis, though his style is all his own. "Global Warming" slows the pace while continuing in a fusion vein. These instrumentals, along with others like "More Bells," have a wonderful sound that is open and atmospheric. Other tunes like "The Postman" and "The Creeper" find Catherine in a much more bopish mood. He never overplays, and doesn't have the need to prove himself by completing lightning runs. Instead, he tastefully diversifies each solo and leaves plenty of room for the supporting players. Joris' trumpet is a perfect counterpoint to Catherine's guitar, and the rhythm section always holds up its end. Catherine has written a number of diverse tunes for Blue Prince, and it's refreshing that he doesn't feel the need to keep everything stylistically the same. For his fans, and for those who love great jazz guitar, Blue Prince shouldn't be missed. Ronnie D. Lankford, Jr.
Tracklist :
1    Coffee Groove    3:41
 Philip Catherine
2    Global Warming    5:03
 Philip Catherine
3    With A Song In My Heart 3:49
 Richard Rodgers / Lorenz Hart
4    The Creeper    7:42
 Philip Catherine
5    The Postman    5:39
 Philip Catherine
6    More Bells    6:35
 Philip Catherine
7    Memories Of You 4:21
 Eubie Blake / Lyrics By – Andy Razaf
8    Kwa Heri    6:02
 Philip Catherine
9    Blue Prince    4:09
 Philip Catherine
10    Arthur Rainbow    6:32
 Philip Catherine
11    Magic Box 6:17
 Bert Joris
12    Sweet Lorraine 4:38
 Clifford Burwell / Lyrics By – Mitchell Parish
Credits :
Double Bass – Hein Van De Geyn
Drums – Hans Van Oosterhout
Guitar – Philip Catherine
Producer [Produced By] – Francis Dreyfus
Trumpet, Bugle – Bert Joris

PHILIP CATHERINE – Summer Night (2002) FLAC (tracks+.cue), lossless

Guitarist Philip Catherine, once dubbed "Young Django" by Charles Mingus, shows several facets of his playing on this studio recording. Alternating between trio numbers with bassist Philippe Aerts and drummer Joost van Schaik and a quartet adding trumpeter and flügehornist Bert Joris, Catherine divides his set between standards and originals. His somewhat subdued interpretation of "'Round Midnight" sparkles with inspired runs inserted at key points; "Laura" adds a disguised introduction to a very upbeat arrangement. Catherine's writing style is diverse; "Tiger Groove" emphasizes a rock flavor that pales only slightly during his unison lines with Joris; while the ballad "Letter From My Mother" is considerably more subdued and lyrical. "Francis' Delight" is a swirling post-bop line, though the waltz "Le Jardin de Madi" (written in honor of his wife) may be the most accessible of his compositions to new listeners. This enjoyable effort is heartily recommended. Ken Dryden
Tracklist :
1    Tiger Groove 5:00
Written-By – Philip Catherine
2    Letter From My Mother 4:46
Written-By – Philip Catherine
3    Summer Night 2:40
Written-By – Al Dubin, Harry Warren
4    Francis' Delight 4:53
Written-By – Philip Catherine
5    Birth Of Janet 3:44
Written-By – Philip Catherine
6    Janet 7:44
Written-By – Philip Catherine
7    Time After Time 3:06
Written-By – Sammy Cahn / Jule Styne
8    Laura 4:17
Written-By – David Raskin, John Mercer
9    If I Should Lose You 3:43
Written-By – Leo Robin, Ralf Rainger
10    'Round About Midnight 4:37
Written-By – Bernard Hanighen, Charles Williams, Thelonious Monk
11    All Through The Day 3:04
Written-By – Oscar Hammerstein / Jerome Kern
12    Le Jardin De Madi 3:19
Written-By – Philip Catherine
13    Gilles Et Mirona 4:32
Written-By – Philip Catherine
Credits :
Alto Saxophone, Clarinet, Flute – Dieter Limbourg
Alto Saxophone, Soprano Saxophone, Flute – Frank Vaganée
Baritone Saxophone, Bass Clarinet – Bo Van Der Werf
Bass – Philippe Aerts
Drums – Joost van Schaik
Guitar – Philip Catherine
Producer – Francis Dreyfus
Trumpet, Flugelhorn – Bert Joris (tracks: 1, 2, 4, 6, 7, 11, 12)

PHILIP CATHERINE | BERT JORIS | BRUSSELS JAZZ ORCHESTRA – Meeting Colours (2007) FLAC (image+.cue), lossless

Philip Catherine is an eclectic guitarist, comfortable within tradition, but just as comfortable fusing tradition with newer elements. On Meeting Colours, he's joined by quite a large orchestra to interpret ten of his pieces (two compositions receive more than one treatment) and Duke Ellington's "In a Sentimental Mood." The multiple flutes and saxophones create a big sound that ranges from grand to silky smooth, working in tandem with Catherine and trumpeter Bert Joris' leads. The large assembly also leaves ample room for subtly complex arrangements with trombones, trumpets, and clarinets. Catherine's compositions also offer intriguing nuances, as with the opening of "Happy Tears," allowing for changes in tempo and mood. The performance of compositions like "Pink Circus" and "On the Ground" are tastefully subdued, and Catherine's lead work weaves smoothly into the overall structure. The only complaint a fan might have is that the album, especially through the first half, is very mellow and, though well conceived, not too surprising. A second version of "December 26th (In Tempo)" pinpoints the problem, when it allows -- as few other pieces on the album do -- Catherine a chance to really cut loose on his guitar. Other pieces, like "The Hostage," are interesting in places, but leave one wishing for more fireworks. Overall, Meeting Colours is stylishly conceived and executed, but perhaps too low-key, relaxed, and safe for its own good. Ronnie D. Lankford, Jr.
Tracklist :
1    On The Ground    5:35
 Philip Catherine
2    Pink Circus    7:10
 Philip Catherine
3    Happy Tears    5:15
 Philip Catherine
4    Letter From My Mother    5:58
 Philip Catherine
5    Piano Groove    5:35
 Philip Catherine
6    December 26th (Rubato)    2:42
 Philip Catherine
7    December 26th (In Tempo)    4:09
 Philip Catherine
8    The Hostage    5:42
 Philip Catherine
9    In A Sentimental Mood    6:48
 Duke Ellington / Manny Kurtz / Irving Mills
10    Francis' Delight    6:00
 Philip Catherine
11    Yellow Landscape    4:45
 Philip Catherine
12    Dance For Victor (Rubato)    2:13
 Philip Catherine
13    Dance For Victor (In Tempo)    4:20
 Philip Catherine
Credits :
Alto Saxophone, Clarinet, Flute – Dieter Limbourg
Alto Saxophone, Soprano Saxophone, Flute – Frank Vaganée
Baritone Saxophone, Bass Clarinet – Bo Van Der Werf
Bass Trombone, Tuba – Laurent Hendrick
Double Bass – Jos Machtel
Drums – Joost van Schaik
Guitar – Philip Catherine
Tenor Saxophone, Clarinet – Bart Defoort
Tenor Saxophone, Clarinet, Alto Flute – Kurt van Herck
Trombone – Ben Fleerakkers, Lode Mertens
Trombone [Lead] – Marc Godfroid
Trumpet [Lead], Flugelhorn – Serge Plume
Trumpet, Flugelhorn – Gino Lattuca, Nico Schepers, Pierre Drevet
Trumpet, Producer, Arranged By – Bert Joris

PHILIP CATHERINE – Guitars Two (2007) FLAC (tracks+.cue), lossless

Tracklist :
1    Toscane 3:56
Philip Catherine
2    Bois Le Baron 3:40
Philip Catherine
3    Méline 2:41
Philip Catherine
4    Lendas Brasileiras 5:05
 Aldir Blanc / Guinga
5    Pendulum 6:31
Philip Catherine
6    Pourquoi 5:27
Philip Catherine
7    Merci Philip 4:22
 Nicolas Fiszman
8    Ària De Opereta 2:43
 Aldir Blanc / Guinga
9    Étude Pour Peter S 3:18
 Philip Catherine
10    Souvenirs De Villigen 3:14
 Stéphane Grappelli
11    Jacobien 4:00
 Philip Catherine
12    Skating In Central Park 4:26
John Lewis
13    Marc Moulin On The Beach 4:31
 Philip Catherine
Credits :
Electric Guitar, Acoustic Guitar – Philip Catherine

PHILIP CATHERINE | ENRICO PIERANUNZI | JOE LaBARBERA | HEIN VAN DE GEYN – Concert In Capbreton (2010) FLAC (tracks+.cue), lossless

Tracklist :
1    Announcement 0:42
Presenter [Introduction Of The Musicians] – Christian Nogaro
2    My Funny Valentine 7:34
Written-By – Richard Rodgers / Lorenz Hart
3    My Foolish Heart 9:54
Written-By – Ned Washington, Victor Young
4    Broken Wing 12:28
Written-By – Richard Beirach
5    Beatrice 7:51
Written-By – Sam Rivers
6    Change 2:08
Written-By – Hein Van De Geyn
7    You've Changed 10:12
Written-By – Bill Carey, Carl Fischer
8    Speak Low 9:07
Written-By – Kurt Weill, Ogden Nash
Credits :
Double Bass – Hein Van de Geyn
Drums – Joe LaBarbera
Guitar – Philip Catherine
Piano – Enrico Pieranunzi

S.M.V. —CLARKE | MILLER | WOOTEN— Thunder (2008) FLAC (tracks+.cue), lossless

Get the subwoofers primed for this one. Three of jazz fusion's finest and most respected bassists -- Stanley Clarke, Marcus Miller, and Victor Wooten -- join forces for an hourlong frolic in the studio that's a fun, frisky, funky romp for the players and a potent showcase for an instrument often relegated to support status. Not here. On paper, it would seem unwieldy for three bass players, especially with the proficiency of this trio, to navigate their parts in the same song without the sound getting hopelessly cluttered. But it takes less than a minute into the opening track, which unexpectedly kicks off with full orchestration, for the concept to prove viable. One bass works the traditional low riff while the other two solo in harmony and trade licks with such ease and finesse that you wonder why someone didn't think of this collaboration earlier. Actually, someone did. Wooten came up with the idea but it took until the group worked together at the October 2006 Bass Player Live! event in N.Y.C. (where Clarke won the Bass Player Lifetime Achievement Award) for it to be discussed as a reality with the other two. Clarke was no stranger to playing with his fellow bottom dwellers, as he proved on his Night School DVD where he joined with about ten other bassists for an extended version of "School Days." Still, it's amazing how well these guys navigate their strummed, plucked, and thumped parts around each other without clashing. Horns, drums, loops, and keyboards (from guests Chick Corea and George Duke as well as Miller) flesh out the upper registers while Miller's clean, unfussy production also keeps things in order. Acoustic bowed bass and strings on "Milano" shift the sound away from the more rhythmic approach naturally favored on the majority of the tracks. The three amigos take on a Spanish spaghetti Western feel for "Los Tres Hermanos," a refreshing changeup that features some of the disc's most nimble playing and its prettiest melody. Some tunes will be familiar to jazz fans. "Tutu" was written by Miller for Miles Davis and Clarke's "Quiet Afternoon" gets referenced, as does his "Silly Putty," but these versions are quite different than the originals. All three musicians weave their lines together on the lovely ballad "Lil' Victa," with Clarke's high end sounding enough like a guitar to hold down the strong melodic line. The closing "Grits" is a hot slab of funky jazz that gives each a chance to solo over a sparse beat. Although their styles are relatively distinct, it would have been helpful if the liner notes described who was playing which part, especially for newcomers. Otherwise, this will thrill fusion fans -- and for bassists it's nothing less than a master class on the instrument from a handful of its most accomplished, eclectic, and veteran practitioners. Hal Horowitz
Tracklist :
1    Maestros De Las Frecuencias Bajas 2:52
Bass – SMV
Bass Clarinet, Alto Saxophone, Tenor Saxophone – Marcus Miller
Drums – Ronald Bruner Jr.
Keyboards – Ruslan Sirota
Synthesizer – Ariel Mann
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By, Arranged By – Stanley Clarke
2    Thunder 6:37
Bass – SMV
Vocals, Voice [Voice Trumpet], Human Beatbox – Butterscotch
Written-By, Synthesizer, Programmed By – Marcus Miller
3    Hillbillies On A Quiet Afternoon 6:11
Bass – SMV
Clavinet – George Duke
Drums – Derico Watson
Synthesizer – Marcus Miller
Written-By – Stanley Clarke, Victor Wooten
4    Mongoose Walk 5:57
Bass – SMV
Drums – Derico Watson
Percussion – Kevin Ricard
Piano – Chick Corea
Written-By – Stanley Clarke, Victor Wooten
Written-By, Synthesizer, Keyboards – Marcus Miller
5    Los Tres Hermanos 5:25
Bass – SMV
Drums – Poogie Bell
Percussion – Kevin Ricard
Written-By, Synthesizer – Marcus Miller
6    Lopsy Lu - Silly Putty 6:12
Arranged By – Victor Wooten
Arranged By, Synthesizer, Programmed By – Marcus Miller
Bass – SMV
Drums – Poogie Bell
Keyboards – George Duke
Trombone – Steve Baxter
Trumpet – Patches Stewart
Written-By – Stanley Clarke
7    Milano 4:21
Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Percussion – Kevin Ricard
Written-By, Bass, Synthesizer – Marcus Miller
8    Classical Thump 4:50
Arranged By, Bass – Marcus Miller
Written-By, Arranged By, Bass – Victor Wooten
9    Tutu 5:04
Arranged By, Bass – Victor Wooten
Double Bass [Acoustic Bass] – Stanley Clarke
Drums – J.D. Blair
Keyboards – Karlton Taylor
Vocals – Butterscotch
Written-By, Arranged By, Bass, Bass Clarinet, Synthesizer, Programmed By – Marcus Miller
10    Lil' Victa 4:10
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By – Stanley Clarke
11    Pendulum 4:15
Bass – SMV
Human Beatbox – Butterscotch
Written-By – Antoinette Clinton, Stanley Clarke, Victor Wooten
Written-By, Synthesizer – Marcus Miller
12    "Lemme Try Your Bass" 0:57
Written-By, Bass – Marcus Miller, Stanley Clarke
13    Grits 5:24
Bass – SMV
Drums – Ronald Bruner Jr.
Written-By, Synthesizer – Marcus Miller

JOHNNY GRIFFIN | MARTIAL SOLAL - In and Out (2000) APE (image+.cue), lossless

Algerian born pianist Solal and American expatriate tenor saxophonist Griffin are perfectly matched in this series of duets, brilliant beyond compare and witty to the nth degree. Both are in their seventies and playing better than ever. Griffin has everything going for him in terms of experience, restraint, emotional depth, and potential explosiveness. Solal, an unsung hero in jazz, shows the years that have passed did not sour him on concepts of stark romanticism, improvisational risk taking, or fear of cutting loose; he clearly can do it all. These eight selections are bookmarked by only two standards: the easily swung 4/4 evergreen "You Stepped out of a Dream" where Griffin's tender, lean bop lines are followed by Solal, step by step, then traded off near the end, and the Thelonious Monk icon "Well, You Needn't" that has Griffin honking a bit, Solal even more angular and at times dour. The two are quite playful on this one, messing around delightfully. Griffin penned three of these. The half-speed blues title cut is quaintly rendered in stride by Solal while the tenor uses quarter notes almost exclusively. "Hey Now" is a good swinger with some staggered phrasing in and out of the melody line for the pianist, with Griffin more animated, Solal dishing out a memorable solo, and the two trading furiously by the final out. Griffin is a pure sentimentalist as expressed on his ballad "When You're in My Arms." Of Solal's three compositional contributions, one is the lilting and bouncy title track. The quirky, ever-changing meter and timbre of "L'oreille Est Hardie" is based in 4/4 but mutates before one's ears, Solal's unbelievable solo brimming in technique and soul, slavish to neither. Multi-faceted melodies on "Neutralisme" are played together, some astonishingly quick others, swapped like Willie Mays and Hank Aaron cards, both being of equal and potent value, all world class. That Solal and Griffin are utterly brilliant musicians is not in dispute, but together they make magic, and creatively or musically, how could these two possibly go wrong? The fact is they can't on this highly recommended recording. Michael G. Nastos  
Tracklist :
1     You Stepped Out of a Dream 7'13
Nacio Herb Brown / Gus Kahn
2     Come With Me 6'10
John Griffin / Richard Rodgers
3     In and Out 4'51
Martial Solal
4     Hey Now 6'34
Johnny Griffin
5     L' Oreille Est Hardie 6'09
Martial Solal
6     When You're in My Arms 6'41
Johnny Griffin    
7     Neutralisme 4'34
Martial Solal
8     Well, You Needn't 4'59
Thelonious Monk
Credits :
Piano – Martial Solal
Tenor Saxophone – Johnny Griffin

ROY HAYNES - Fountain of Youth (2004) APE (image+.cue), lossless

Drummer Roy Haynes chose a perfect title for this album: at 79 years of age, he is an undisputed elder statesman of jazz and one of the few surviving ambassadors from the bebop past; at the same time, he plays with the kind of energy and unflagging invention that would be the envy of a drummer one-third his age. Fountain of Youth was recorded live in December of 2002 at the legendary Birdland club in New York City. Haynes leads a quartet that also features pianist Martin Bejerano, saxophonist Marcus Strickland, and bassist John Sullivan. The program opens with a brilliant jazz-waltz setting of the traditional English tune "Greensleeves," and then proceeds to survey both bebop standards (there are no fewer than three Thelonious Monk compositions on the nine-track program), Tin Pan Alley classics (Irving Berlin's "Remember"), and even a Pat Metheny tune (the lovely "Question and Answer"). Everyone plays with both fire and elegance, especially on the dancing "Butch and Butch" and a lovely, meditative rendition of Monk's "Ask Me Now." And while Haynes always plays with consummate taste and never consciously upstages his young bandmates, a listener paying any attention at all will be constantly surprised by his inventive and exquisitely tasteful rhythmic exclamations and subtle prods. Very highly recommended. by Rick Anderson  
Tracklist :
1     Greensleeves 8:20
Traditional
2     Twinkle Trinkle 5:55
Thelonious Monk
3     Summer Night 7:55
Al Dubin / Harry Warren
4     Ask Me Now 8:55
Thelonious Monk
5     Butch and Butch 4:50
Oliver Nelson
6     Inner Trust 10:53
Dave Kikoski
7     Green Chimneys 8:08
Thelonious Monk
8     Remember 6:12
Irving Berlin
9     Question & Answer 10:16
Pat Metheny
Credits :
Bass – John Sullivan
Drums – Roy Haynes
Piano – Martin Bejerano
Tenor Saxophone, Soprano Saxophone, Bass Clarinet – Marcus Strickland

ROY HAYNES - Roy-alty (2011) FLAC (tracks), lossless

Roy Haynes celebrated his 86th birthday on March 13, 2011. Had the veteran drummer retired from music 30 or 40 years earlier, he still would have gone down in history as someone with a long list of accomplishments. But thankfully, Haynes continued to perform well into his eighties. Recorded in early 2011 (when Haynes was still 85), Roy-Alty is a solid hard bop/post-bop outing that boasts well-known guests like Chick Corea (who is heard on acoustic piano) and trumpeter Roy Hargrove. Corea is featured on two selections: the dusky "All the Bars Are Open" and Thelonious Monk's "Off Minor," while Hargrove is heard on six of the ten tracks (including the insistent "Passion Dance," the standard "These Foolish Things," the Afro-Cuban favorite "Tin Tin Deo," and Miles Davis' "Milestones"). It should be noted that the "Milestones" that Haynes performs on Roy-Alty is the bop standard that Davis played with Charlie "Bird" Parker in 1947, not the modal standard he unveiled in 1958, and playing something with a Bird connection is quite appropriate, given that Haynes was a member of his quintet from 1949-1952 (when the drummer was in his twenties). Most of the songs on Roy-Alty find Haynes employing a group that he bills as the Fountain of Youth (alto saxophonist Jaleel Shaw, pianist Martin Bejerano, and bassist David Wong), and while the personnel can vary from track to track on this 66-minute CD, the constant is Haynes' skillful drumming. After all these years, Haynes hasn't lost his touch as either a drummer or a group leader, and his skills in both of those areas is evident on Roy-Alty, which falls shorts of essential but is nonetheless a pleasing addition to his catalog. by Alex Henderson  
Tracklist :
1     Grand Street 5:57
Sonny Rollins
2     They Call the Wind Mariah 3:41
Alan Jay Lerner / Frederick Loewe
3     Off Minor 8:42
Thelonious Monk
4     These Foolish Things 8:23
Eric Maschwitz / Jack Strachey
5     Milestones 5:28
Miles Davis
6     Tin Tin Deo 8:43
Walter Gilbert Fuller / Luciano "Chano" Pozo
7     All the Bars Are Open 7:44
Chick Corea / Roy Haynes
8     Pinky 3:51
Alfred Newman
9     Equipoise 6:48
Stanley Cowell
10     Passion Dance 7:00
McCoy Tyner
Credits :
Alto Saxophone – Jaleel Shaw
Bass – David Wong
Claves – Roy Hargrove (faixas: 6)
Congas – Craig Haynes (faixas: 10)
Congas, Percussion – Roberto Quintero (faixas: 6)
Drums – Roy Haynes
Percussion – Martin Bejerano (faixas: 6)
Piano – Chick Corea (faixas: 3, 7), Martin Bejerano, Robert Rodriguez (faixas: 10)
Shaker – Jaleel Shaw (faixas: 6)
Tenor Saxophone – Marcus Strickland (faixas: 10)
Trumpet, Flugelhorn – Roy Hargrove
Vocals – Roy Haynes (faixas: 6)

THE RON CARTER NONET - Eight Plus (2003) FLAC (image+.cue), lossless

"Playing jazz is about taking risks," says bassist, cellist, composer, and jazz elder statesman Ron Carter, and you have to give him credit for never settling into a rut over the course of his long and checkered musical career. On this album he heads a fairly standard quintet that features two significant innovations: Carter himself plays a half-size piccolo bass (which he uses mostly as a melody instrument, leaving the actual bass parts to the impressive Leon Maleson) and the quintet is further augmented by three cellists. Is the experiment a success? For the most part, yes. The intonation problems that marred Carter's cello playing in the early '60s with pianist Mal Waldron have followed him onto the piccolo bass, but his humor, energy, and inventiveness are enough to put the music across despite the occasional tuning problems. The cellos are a nice touch, and their chordal accompaniments give Carter's compositions an unusual and pleasing texture. Highlights on the program include a nicely constructed blues entitled "Blues for Bradley," a sprightly arrangement of the gospel standard "Just a Closer Walk With Thee" that comes off sounding like a cross between funk and second-line New Orleans jazz, and the lovely "Little Waltz," which is a bit slow for dancing but which beautifully showcases the cellos. On the downside, Carter's Freddie Green-style chord vamping on Leon Russell's "Song for You" is cute, but ultimately ineffective. by Rick Anderson  
Tracklist :
1     Eight 7:46
Ron Carter
2     A Blues for Bradley 7:46
Ron Carter
3     Little Waltz 9:30
Ron Carter
4     O.K. 5:14
Ron Carter
5     A Song for You 8:05
Leon Russell
6     First Trip 5:08
Ron Carter
7     El Rompe Cabeza 9:04
Ron Carter
8     Just a Closer Walk With Thee 1:53
Traditional
Credits :
Bass – Leon Maleson
Bass [Piccolo Bass] – Ron Carter
Cello – Carol Buck, Chase Morrison, Kermit Moore, Rachael Steuermann
Drums – Lewis Nash
Percussion – Steve Kroon
Piano – Stephen Scott
Producer – Ron Carter
Recorded By – Rudy Van Gelder

AHMAD JAMAL - It's Magic (2008) FLAC (image+.cue), lossless

Ahmad Jamal's minimalist style has served him well throughout his career, as he enjoys making frequent sudden detours in the midst of a performance, with his intuitive rhythm section able to adapt on the fly. His longtime bassist James Cammack and drummer Idris Muhammad are joined by Latin percussionist Manolo Badrena for these 2007 sessions. The half-dozen originals include the curious "Back to the Island," which blends a calypso air (while interpolating "Ol' Man River" and "Hot House" in his solo) with Latin flavor and even a bit of an Irish jig in spots, along with the dark, exotic "Arabesque," which sounds as if it might have been adapted from an impressionist composer in classical music. Jamal also works wonders with standards, including a lush, dramatic solo rendition of "The Way You Look Tonight" and a leisurely "It's Magic" that adds a few of his trademark flourishes. Even though Ahmad Jamal can sometimes rely a bit too heavily on song quotes (his insertion of the Beatles' "Eleanor Rigby" into "Dynamo" comes off a bit ham-handed), jazz piano fans will enjoy this release. by Ken Dryden
Tracklist :
1    Dynamo    4:06
Ahmad Jamal
2    Swahililand    3:59
Ahmad Jamal
3    Back To The Island    5:53
Ahmad Jamal
4    It's Magic 4:57
Sammy Cahn / Jule Styne
5    Wild Is The Wind / Sing 9:12
[Sing] – Joe Raposo
[Wild Is The Wind] – Dimitri Tiomkine, Ned Washington
6    The Way You Look Tonight 3:16
Dorothy Fields, Jerome Kern
7    Arabesque    7:30
Ahmad Jamal
8    Papillon    6:27
Ahmad Jamal
9    Fitnah    8:33
Ahmad Jamal
Credits :
Bass – James Cammack
Drums – Idris Muhammad
Percussion – Manolo Badrena
Piano – Ahmad Jamal

AHMAD JAMAL - A Quiet Time (2009) FLAC (tracks+.cue), lossless

Well into his golden years, Ahmad Jamal continues to tour and record with the vigor of a man half his age. What is also evident is that his artistic sense is as high as it has ever been, as he consistently doles out fresh new melodies charged by his extraordinary talent, which is hardly reined in. A Quiet Time might be a bit deceiving in that there's plenty of Jamal's energy to go around on this set of originals and two standards, sans ballads except for the finale "I Hear a Rhapsody." With longtime partners in bassist James Cammack and drummer Kenny Washington, Jamal breeds the utmost confidence that his music succeeds on the upper end of modern mainstream jazz. Percussionist Manolo Badrena (ex-Weather Report) spices up the music without overt Latin overtures, and balances the swing inherent in Jamal's style. When you hear Jamal's fast and loose but controlled "Paris After Dark" in swinging or heavy modal context, you know your are listening to an undisputed master craftsman at work. The bouncy track "Flight to Russia" has Cammack's bass locked in tight with the others, while Jamal's bright dancing lines across the keyboard during "Tranquility," and his heavy-to-lighter traipsing of notes for the title track indicate that this pianist has plenty in the tank in terms of sheer artistry. While he does a rather polite version of Randy Weston's "Hi-Fly," the contemporary beat of "The Blooming Flower" suggests it is an updated version of his all-time favorite "Poinciana." More of his originals include the cascading freedom exuded in "Poetry" as notes tumble from waterfalls, while the lilting to free to tick-tock pace of "After JALC" proves Jamal can shift gears at will effortlessly. There's nothing even remotely mediocre or rote about this effort, as Ahmad Jamal proves once again his viability to play jazz piano music is still on the rise, and inspired beyond most mortals. by Michael G. Nastos  
Tracklist :
1    Paris After Dark    4:56
Ahmad Jamal
2    The Love Is Lost    4:02
Ahmad Jamal
3    Flight To Russia    7:46
Ahmad Jamal
4    Poetry    6:03
Ahmad Jamal
5    Hi Fly    8:21
Randy Weston
6    My Inspiration    5:15
Ahmad Jamal
7    After JALC (Jazz At Lincoln Center)    6:26
Ahmad Jamal
8    A Quiet Time    6:34
Ahmad Jamal
9    Tranquility    7:23
Ahmad Jamal
10    The Blooming Flower    4:29
Ahmad Jamal
11    I Hear A Rhapsoday    5:18
Jack Baker / George Fragos / Dick Gasparre
Credits :
Bass – James Cammack
Drums – Kenny Washington
Percussion – Manolo Badrena
Piano – Ahmad Jamal