THE STEVE KUHN TRIO — Looking Back (1991) FLAC (tracks), lossless

Steve Kuhn is in a fun-loving mood on this trio date from 1990, accompanied by bassist David Finck and drummer Lewis Nash. His one original of the session, "Looking Back," is full of humorous moments in a driving post-bop setting, and his lagging a bit behind the beat while giving Dave Brubeck's "The Duke" a bit of an oriental sound at times is almost tongue-in-cheek. But not everything is played with a twinkle in his eye; "Stella by Starlight" is lush and dramatic, as is Michel Colombier's pretty ballad "Emmanuel." Kuhn captures the droll mood of the golden oldie "Gee Baby, Ain't I Good to You" with a campy, almost country-flavored approach. This is an outstanding date by a veteran musician who's always deserving of wider recognition for his efforts. Ken Dryden
Tracklist :
1    Looking Back 7:01
Written-By – Steve Kuhn
2    The Duke 5:39
Written-By – Dave Brubeck
3    How Insensitive 5:52
Written-By – Antonio Carlos Jobim, Norman Gimbel, Vinicius De Moraes
4    Stella By Starlight 7:21
Written-By – Ned Washington, Victor Young
5    Alone Together 8:40
Written-By – Howard Dietz - Arthur Schwartz
6    Gee Baby, Ain't I Good To You 5:05
Written-By – Andy Razaf, Don Redman
7    Baubles, Bangles And Beads 5:57
Written-By – George Forrest, Robert Wright
8    Zingaro 3:57
Written-By – Antonio Carlos Jobim
9    Will You Still Be Mine 5:13
Written-By – Matt Dennis, Thomas Adair
10    Emmanuel 3:57
Written-By – Michel Colombier
Credits :
Double Bass – David Finck
Piano – Steve Kuhn
Drums – Lewis Nash

JOE LOVANO NONET — On This Day At The Vanguard (2003) FLAC (tracks+.cue), lossless

Recorded live at the Village Vanguard, On This Day...At the Vanguard is saxophonist Joe Lovano's first recording with his award-winning nonet since the release of 52nd Street Themes in 2000. Having recorded in a variety of settings ranging from those of big-band leaders Woody Herman and Mel Lewis to duets with Mulgrew Miller on Tenor Legacy to quartets featuring such stellar artists as Dave Holland, John Scofield, and Al Foster (collectively known as Scolohofo), Joe Lovano proves with this CD that his artistry remains highly adaptable to any musical setting. Opening the program with the first of two originals written for this recording is Lovano's swinging "At the Vanguard." It has a harmonic sequence based on "Stompin' at the Savoy," and features outstanding solos by Lovano, alto saxophonist Steve Slagle, trumpeter Barry Ries, and pianist John Hicks. "Focus" and John Coltrane's "After the Rain" offer listeners two exceptional contrasts of Lovano's playing style, while "On This Day Just Like Any Other" is a 15-minute free jazz offering with amazing improvisations that Lovano wrote around the time drummer Billy Higgins passed away. The recording closes with "My Little Brown Book," a beautiful, serene ballad that returns the music to the quartet sound and served as the show's encore. Overall, On This Day...At the Vanguard captures the essence of Lovano's reverence and enthusiasm for the jazz venue that has supplied a great deal of his musical inspiration over the course of his jazz career. Paula Edelstein
Tracklist :
1    At The Vanguard 9:30
Composed By, Arranged By – Joe Lovano
2    Focus 8:09
Arranged By – Willie Smith
Composed By – Tadd Dameron
3    After The Rain 7:34
Arranged By – Steve Slagle
Composed By – John Coltrane
4    Good Bait 14:09
Arranged By – Joe Lovano
Composed By – Tadd Dameron
Orchestrated By [Orchestration] – Willie Smith
5    Laura 5:22
Arranged By – Joe Lovano, Willie Smith
Composed By – David Arksin
Orchestrated By [Orchestration] – Willie Smith
6    On This Day (Just Like Any Other) 15:22
Composed By, Arranged By – Joe Lovano
7    My Little Brown Book 9:04
Composed By – Billy Strayhorn
Credits :
Alto Saxophone – Steve Slagle
Baritone Saxophone – Scott Robinson
Bass – Dennis Irwin
Drums – Lewis Nash
Piano – John Hicks
Tenor Saxophone – George Garzone, Joe Lovano, Ralph Lalama
Trombone – Larry Farrell
Trumpet – Barry Ries

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

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)

OSCAR PETERSON | RAY BROWN | BENNY CARTER | CLARK TERRY — The More I See You (1995) Serie Telarc 20 | APE (image+.cue), lossless

After Oscar Peterson suffered a severe stroke in the spring of 1993, it was feared that he would never again play on a professional level, but two years of intense therapy resulted in the masterful pianist returning to what sounds, on this Telarc CD, like near-prime form. For the all-star date, The More I See You, Peterson tears into seven standards and two blues and outswings all potential competitors. Altoist Benny Carter at 87 sounds like he is 47 (if Carter had retired back in 1940 he would still be a legend), and flugelhornist Clark Terry (here 74) proves to be not only (along with the remarkable 90-year-old Doc Cheatham) the finest trumpeter over 70 but one of the top brassmen of any age. The cool-toned guitarist Lorne Lofsky and drummer Lewis Nash are also strong assets while bassist Ray Brown (a year younger than Peterson at a mere 68) displays his typical limitless energy on appealing tunes such as "In a Mellow Tone," "When My Dream Boat Comes Home," and a medium/up-tempo version of "For All We Know." The musicians all play up to their usual high level, making this a joyous comeback album for the great Oscar Peterson. Scott Yanow
Tracklist :
1     In a Mellow Tone 4'53
Duke Ellington / Milt Gabler
2     Gee Baby, Ain't I Good to You 4'45
Andy Razaf / Don Redman
3     On the Trail 7'03
Harold Adamson / Ferde Grofé
4     When My Dreamboat Comes Home 8'17
Dave Franklin / David Franklin / Cliff Friend
5     Ron's Blues 8'05
Oscar Peterson
6     For All We Know 8'39
J. Fred Coots / Sam M. Lewis
7     Blues for Lisa 9'15
Oscar Peterson
8     Squatty Roo 5'39
Johnny Hodges
9     The More I See You 6'02
Mack Gordon / Harry Warren
Credits :
Alto Saxophone – Benny Carter
Bass – Ray Brown
Drums – Lewis Nash
Piano – Oscar Peterson
Trumpet, Flugelhorn – Clark Terry

RAY BROWN — Some of My Best Friends Are ... The Piano Players (1995) FLAC (tracks+.cue), lossless

On his Telarc disc, Ray Brown teams up with five different piano players but, rather than this being a tribute to the veteran bassist (who has solo space on every selection), the CD ends up being a celebration of the great Oscar Peterson because Benny Green, Dado Moroni, and Geoff Keezer have, to various degrees, based their styles on Peterson's, but the indivual standout is actually Ahmad Jamal, who had never previously recorded with Brown. Together with Lewis Nash they perform two blues and "Love Walked In," all renditions that make a liberal use of space and pay close attention to dynamics. Benny Green, who plays his "Ray of Light" along with two standards, had performed regularly with Brown in recent years and his selections offer few surprises. Dodo Moroni is fine on "My Romance" and inserts a bit of Erroll Garner on "Giant Steps," while Geoff Keezer (who had also never played with Brown) swings well on "Close Your Eyes." The CD concludes with a reunion between Oscar Peterson (who had recently recovered from a stroke) and Brown on "St. Tropez" and the upbeat "How Come You Do Me like You Do?" The results overall are pleasing and swinging (serving as a sampler of the pianists' styles), but not all that innovative. Scott Yanow   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 :

DIZZY GILLESPIE – To Bird With Love (1992) FLAC (tracks+.cue), lossless

To Bird with Love: Live at the Blue Note was taken from a month that Dizzy Gillespie was featured at the Blue Note in New York, virtually at the end of his playing career, the 74-year-old trumpeter is quite erratic on this set of bop standards. However, his supporting cast (heard from in different combinations) includes such major players as altoists Jackie McLean, Antonio Hart and Paquito D'Rivera and tenors Benny Golson, Clifford Jordan and David Sanchez, in addition to a strong trio led by pianist Danílo Perez. The sidemen are in generally fine form and Bobby McFerrin literally came out of the audience to scat on "Oo Pa Pa Da." The good spirits and obvious love that these musicians had for Gillespie make up for his technical lapses. Scott Yanow         Tracklist + Credits : 

JIMMY HEATH - Love Letter (2020) FLAC (tracks), lossless

Released seven months after his death in January 2020, Love Letter finds legendary saxophonist Jimmy Heath offering a warmly rendered collection of ballads that works as a romantic capstone to his illustrious career. Known for his lyrical sound and nuanced arrangements, most notably with his siblings Percy and Tootie in the Heath Brothers, and with trumpeters like Chet Baker, Blue Mitchell, and Kenny Dorham, Heath brings all of his experience to bear on Love Letter. Joining him are pianist Kenny Barron, guitarist Russell Malone, vibraphonist Monte Croft, bassist David Wong, and drummer Lewis Nash. Together they craft a deeply heartfelt and enveloping sound that evokes Heath's classic acoustic work of the '50s and '60s. They offer sparkling and atmospheric reworkings of songs like Heath's own "Ballad From Upper Neighbors Suite," Dizzy Gillespie's "Con Alma," and Billie Holiday and Arthur Herzog, Jr.'s haunting "Don't Explain." Primarily a tenor player, Heath displays his lithe soprano skills on the yearning "Inside Your Heart." He is also joined by a handful of special guests, including vocalist Cecile McLorin Salvant, who puts her distinctive stamp on the lesser-performed Billie Holiday and Mal Waldron number "Left Alone." Equally engaging is singer Gregory Porter, who offers a soulfully burnished reading of Gordon Parks' "Don't Misunderstand." Heath also engages in dusky harmonic interplay with trumpeter Wynton Marsalis on Kenny Dorham's "La Mesha." A masterfully understated and intoxicating album, Love Letter is just the kind of low-key farewell you would expect from Heath and one that holds you in its poignantly romantic swell throughout. Matt Collar  
Tracklist :
1     Ballad From Upper Neighbors Suite 4'22
Jimmy Heath
2     Left Alone 4'29
Billie Holiday / Mal Waldron
Arranged By – Jimmy Heath
Vocals – Cécile McLorin Salvant
3     Inside Your Heart 4'51
Jimmy Heath
4     La Mesha 7'13
Kenny Dorham
Arranged By – Jimmy Heath
Trumpet – Wynton Marsalis
5     Don't Misunderstand 5'31
Gordon Parks
Arranged By – Jimmy Heath
Vocals – Gregory Porter
6     Con Alma 5'13
Dizzy Gillespie
Arranged By – Jimmy Heath
7     Fashion or Passion 5'45
Jimmy Heath
8     Don’t Explain 7'08
Billie Holiday
Credits
Bass – Herb Wong
Drums – Lewis Nash
Guitar – Russell Malone
Piano – Kenny Barron
Soprano Saxophone, Tenor Saxophone – Jimmy Heath
Vibraphone – Monte Croft

CLARK TERRY - What A Wonderful World 'For Louis & Duke' (1993) FLAC (tracks), lossless

72-year-old Clark Terry is in exuberant form throughout this very enjoyable disc. On "Duke's Place," ahe constructs a frequently hilarious monologue about a fictional dive, extolling its virtues (mostly food and women) for quite some time without losing momentum or stumbling even once despite the obvious spontaneity. The other selections (tributes to Duke Ellington and Louis Armstrong) have many spirited solos from Terry on flugelhorn and wah-wah trombonist Al Grey. The rhythm section is solid and swinging; violinist Lesa Terry (Clark's cousin) is an asset on two numbers. Even if Bob Thiele makes out like a bandit (he is credited with "writing" five of the nine songs, and he and Glenn Osser are listed as co-composers of "For Louis and Duke," a themeless blues), the high spirits and colorful playing of C.T. and Grey make this disc into a delightful hour of joyous music. Scott Yanow
Tracklist :
1     Duke's Place 6'32
Duke Ellington / Bob Katz / Bob Thiele
2     Mr. Gentle and Mr. Cool 7'38
Harold Baker / Duke Ellington
3     The Star-Crossed Lovers 4'42
Duke Ellington / Billy Strayhorn
4     Baby Clementine 4'58
Bill Katz / Ruth Roberts / Billy Strayhorn / Bob Thiele
5     Take the "A" Train 8'22
Billy Strayhorn
6     What a Wonderful World/When It's Sleepy Time Down South 4'59
Leon René / Bob Thiele / George David Weiss
7     Boy from New Orleans 4'37
Bill Katz / Ruth Roberts / Bob Thiele
8     For Louis and Duke 5'26
Glenn Osser / Bob Thiele
Credits :
Bass – Ron Carter
Drums – Lewis Nash
Flugelhorn – Clark Terry
Piano – Dado Moroni
Trombone – Al Grey
Trumpet, Vocals – Clark Terry
Violin – Lesa Terry

CLARK TERRY - Portraits (1989-2004) 24bits-96hz | FLAC (tracks), lossless

Flugelhornist Clark Terry recorded quite frequently in the 1980s, and his consistency was very impressive. Terry's good humor, joyful and immediately distinctive sound, and creative, bop-oriented ideas combined to form a very accessible style. This Chesky CD finds C.T. joined by pianist Don Friedman, bassist Victor Gaskin and drummer Lewis Nash for a variety of superior standards and Terry's lone original "Finger Filibuster." The songs all pay tribute to various trumpeters, and some, such as "Pennies from Heaven," "Little Jazz" and "I Don't Wanna Be Kissed," were not performed by the flugelhornist all that often; the resulting music is fresher than usual and often quite inspired. Recommended. Scott Yanow
Tracklist :
1     Pennies from Heaven 6'04
Johnny Burke / Arthur Johnston
2     Sugar Blues 4'37
Clarence Williams
3     Autumn Leaves 4'44
Joseph Kosma / Johnny Mercer / Jacques Prévert
4     Finger Filibuster 3'52
Clark Terry
5     Little Jazz 5'46
Roy Eldridge / Buster Harding
6     When It's Sleepy Time Down South 5'14
Clarence Muse / Otis Rene / Leon René
7     Jive at Five 8'13
Count Basie / Harry "Sweets" Edison
8     Ciribiribin 3'50
Alberto Pestalozza / Traditional
9     Ow! 3'35
Dizzy Gillespie    
10     I Can't Get Started 4'31
Vernon Duke / Ira Gershwin
11     I Don't Wanna Be Kissed 6'08
John Elliott / Harold Spina
Credits :
Bass – Victor Gaskin
Drums – Lewis Nash
Flugelhorn – Clark Terry
Piano – Don Friedman
Trumpet – Clark Terry

RON CARTER - Mr. Bow Tie (1995) FLAC (image+.cue), lossless

Bassist Ron Carter varies the personnel often enough to keep one's interest throughout this CD. Carter, who contributed six of the ten compositions (which alternate with four familiar standards) takes his share of bass solos but also showcases pianist Gonzalo Rubalcaba (who is pretty restrained throughout) on the opening "Mr. Bow-Tie" and allocates a generous amount of solo space on some selections to trumpeter Edwin Russell (inspired by Miles Davis but possessing his own fire) and Javon Jackson, who often sounds like a close relative of Joe Henderson. Rubalcaba sits out on four of Carter's originals, making the group occasionally a pianoless quartet/quintet (depending on whether percussionist Steve Kroon is present). All of the music is straightahead and the playing is consistently colorful. This is an impressive effort that is easily recommended. by Scott Yanow
Tracklist :
1     Mr. Bow-Tie 7:07
Ron Carter
2     Well, You Needn't 6:43
Thelonious Monk
3     Fill in the Blanks 7:06
Ron Carter
4     I Thought About You 7:32
James Van Heusen / Johnny Mercer
5     Nearly 8:55
Ron Carter
6     Cut and Paste 4:45
Ron Carter
7     Stablemates 6:54
Benny Golson
8     Wait for the Beep 3:52
Ron Carter
9     M.S.R.P. 6:29
Ron Carter
10     St. Thomas 5:27
Sonny Rollins
Credits :
Bass – Ron Carter
Drums – Lewis Nash
Percussion – Steve Kroon (faixas: 1, 2, 4, 6 to 10)
Piano – Gonzalo Rubalcaba (faixas: 1, 2, 4, 5, 7, 10)
Saxophone [Tenor] – Javon Jackson (faixas: 2 to 10)
Trumpet – Edwin Russel (faixas: 2 to 10)

RON CARTER - Bass and I (1997) FLAC (image+.cue), lossless

For this quartet set, veteran bassist Ron Carter is joined by pianist Stephen Scott, drummer Lewis Nash, and percussionist Steve Kroon. As is usual on Carter's records, he is the main soloist on many of the songs though Scott also has plenty of good spots. Recorded originally for the Japanese market, this set features the quartet jamming on four standards and three melodic Carter pieces, with all of the musicians playing quite well. Highlights include "You and the Night and the Music," "Blues for D.P.," and "Mr. Bow-Tie." by Scott Yanow
Tracklist :
1     You and the Night and the Music 5:36
Howard Dietz / Arthur Schwartz
2     Someday My Prince Will Come 7:25
Frank Churchill / Larry Morey
3     Blues for D.P. 6:19
Ron Carter
4     The Shadow of Your Smile 7:10
Johnny Mandel / Paul Francis Webster
5     Mr. Bow-Tie 9:12
Ron Carter
6     Double Bass 8:17
Ron Carter
7     I Remember Clifford 10:23
Benny Golson
Credits :
Bass – Ron Carter
Drums – Lewis Nash
Percussion – Steve Kroon
Piano – Stephen Scott
Producer – Ron Carter
Recorded By, Mixed By – Rudy Van Gelder

RON CARTER TRIO - So What (1998) FLAC (image+.cue), lossless

Ron Carter's recordings as a leader have varied in shape and style, from his contemporary commercial CTI recordings, his Milestone LP's emphasizing the piccolo bass, more symphonic efforts, and straight-ahead efforts such as this one. With the extraordinary Kenny Barron at the piano and drummer Lewis Nash, Carter plays standards and four of his originals that all fall snugly into the modern mainstream of jazz. It's a relatively laid-back affair, as Barron's potential energy is for the most part subdued, while Nash and Carter lock in on a cooperative mindset. In lieu of balance, the pianist tenderly wafts through a ballad version of "My Foolish Heart," leads out quaintly on "You'd Be So Nice to Come Home To," and springs along happily during the Randy Weston evergreen "Hi-Fly." There's more of a challenge to Carter's original material, as the cute tune "It's About Time" offers up tricky tandem playing from the bassist and Barron, "The Third Plane" is polite bop as the pianist slightly extrapolates, surrounding Carter's talk-back type melodic inserts, and while the emotional content of the trio darkens on the pensive, anticipatory "Three More Days." There's a thin veil of swing and blues similar to the standard "Too Close for Comfort" on "Eddie's Theme," while the opener "So What," a song Carter played with Miles Davis and on his own a thousand times, sports his lead bass melody line with a freshness that is reinvented. Truly a team effort, this consistently well-played set should remind us all how brilliant these players are, especially with the cool Count Basie concept of "less is more" in mind. by Michael G. Nastos
Tracklist :
1     So What 6:47
Miles Davis
2     You'd Be So Nice to Come Home To 4:35
Cole Porter
3     It's About Time 5:14
Ron Carter
4     My Foolish Heart 8:15
Ned Washington / Victor Young
5     Hi-Fly 6:02
Randy Weston
6     3 More Days 7:35
Ron Carter
7     Eddie's Theme 3:54
Ron Carter
8     The Third Plane 4:55
Ron Carter
Credits :
Bass, Producer – Ron Carter
Drums – Lewis Nash
Piano – Kenny Barron

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

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 - Never Never Land (2000) FLAC (tracks+.cue), lossless

Jane Monheit, at 22 years old, has made a stunning debut with the help of some of the finest players in the world: Kenny Barron, Ron Carter, Lewis Nash, David "Fathead" Newman, Hank Crawford, and Bucky Pizzarelli. From her first entrance on the supremely swinging "Please Be Kind," Monheit makes clear that she's the boss, even in such illustrious company. Her voice is about as close to flawless as a human can get, yet she's never coldly technical or aloof. While she's perfectly comfortable with the medium swing tempos of "More Than You Know," "Save Your Love for Me," and "Twisted," as well as the Latin groove of "My Foolish Heart," it are the ballads that really showcase Monheit's gift. If you don't get goosebumps listening to "Detour Ahead," "Never Let Me Go," and "Dindi," you probably don't have a pulse.
The somewhat nostalgic thrust of Monheit's repertoire and style might prove a liability over time. In this sense, the equally young Claudia Acuña, who has displayed considerable arranging and writing chops, is a step ahead of her. Yet Monheit's budding musical adventurousness is made evident by her subtle vocal overdubs toward the end of "Dindi." Her revelatory approach to classic songs is highlighted by her a cappella performance of the seldom-heard introductory verse to "I've Got It Bad." But on future albums, lest she fall into a retro rut, she'll need to work on realizing her potential as a musical risk taker. by David R. Adler  
Tracklist :
1     Please Be Kind 3:43
Sammy Cahn / Saul Chaplin
2     Detour Ahead 6:30
Lou Carter / Herb Ellis / John Freigo
3     More Than You Know 3:04
Edward Eliscu / Billy Rose / Vincent Youmans
4     Dindi 4:52
Ray Gilbert / Antônio Carlos Jobim
5     Save Your Love for Me 5:21
Buddy Johnson
6     Never Let Me Go 4:00
Ray Evans / Jay Livingston
7     My Foolish Heart 4:32
Ned Washington / Victor Young
8     I Got It Bad (And That Ain't Good) 6:15
Duke Ellington / Paul Francis Webster
9     Twisted 4:01
Wardell Gray / Annie Ross
10     Never Never Land 3:57
Betty Comden / Adolph Green / Jule Styne
Credits :
Alto Saxophone – Hank Crawford (faixas: 5, 7 to 9)
Arranged By – David Berkman (faixas: 2, 8, 10), Jane Monheit (faixas: 10), Peter Eldridge (faixas: 7)
Arranged By [Vocal] – Jane Monheit (faixas: 4)
Bass – Ron Carter (faixas: 1, 2, 4 to 10)
Drums – Lewis Nash (faixas: 1, 2, 4 to 10)
Flute – David "Fathead" Newman (faixas: 4, 7)
Guitar – Bucky Pizzarelli (faixas: 1, 3)
Piano – Kenny Barron
Tenor Saxophone – David "Fathead" Newman (faixas: 2, 4 to 6)

JIM HALL - Magic Meeting (2004) FLAC (tracks+.cue), lossless

Jim Hall has continued to explore new possibilities as a performer and composer late in his career, refusing to coast on his past successes. This live CD was recorded over a series of several nights at the Village Vanguard in the spring of 2004, with longtime collaborators Scott Colley on bass and drummer Lewis Nash (though they have never recorded as a trio). The leader contributed three originals, including the adventurous opener "Bent Blue," "Canto Neruda" (post-bop with a Mexican-like vamp by Hall) which showcases Colley to good effect, along with "Furnished Flats," a seemingly loping theme that is full of sudden twists. Hall conducts a virtual master class for would-be guitarists with his spacious interpretation of the standard "Skylark," suggesting just a hint of Latin flavor. It is little challenge for the veteran guitarist to find new possibilities within a venerable standard like "Body and Soul," while "St. Thomas," the traditional calypso made famous by Sonny Rollins, features a marvelous opening duet by Hall and Nash, before Colley joins the fun as the trio strays far from its original theme, though the leader adds a humorous surprise quote from "I've Been Working on the Railroad." The Village Vanguard audience and staff seem intent on not letting out a peep (though they do applaud some solos) as they obviously realize they are witnessing jazz history in the making; the engineering is flawless. Issued exclusively as a limited edition available through www.artistshare.com, this CD is somewhat pricey but well-worth the investment. by Ken Dryden
Tracklist:
1 Bent Blue 8:50
Jim Hall
2 Blackwell's Message 13:04
Joe Lovano
3 Skylark 9:18
Hoagy Carmichael
4 Canto Neruda 6:37
Jim Hall
5 Furnished Flats 8:25
Jim Hall
6 Body and Soul 11:03
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
7 St. Thomas 6:49
Sonny Rollins
Credits:
Bass, Producer – Scott Colley
Drums – Lewis Nash
Guitar – Jim Hall  

JOHN LEWIS - Evolution II (2001-2014) RM / Jazz Best Collection 1000 / FLAC (image+.cue), lossless

On May 3, 2000, John Lewis turned 80 -- and almost half a century after the formation of the Modern Jazz Quartet, he could still inspire a variety of reactions. Over the years, Lewis' detractors have insisted that his piano playing is too polite and overly mannered; his admirers, however, have exalted him as the epitome of class and sophistication. To be sure, Lewis' pianism is quite sophisticated, but that doesn't mean that he doesn't swing or that he isn't soulful. Recorded in 2000 and released in early 2001, Evolution II isn't going to convert anyone who isn't already an admirer of the pianist's cool jazz/third stream approach. Anyone who has claimed that Lewis' playing is too polite won't have a change of heart after hearing this CD, but for Lewis' admirers, the rewards are great. Evolution II is the second installment of his Evolution trilogy; while the first Evolution was an unaccompanied solo piano recording, Evolution II finds him leading quartets that include Howard Alden or Howard Collins on guitar, George Mraz or Marc Johnson on upright bass, and Lewis Nash on drums. Except for the standards "Come Rain or Come Shine" and "What Is This Thing Called Love?," all of the songs are Lewis originals (including new compositions as well as familiar pieces like "Django" and "Trieste"). True to form, Lewis is elegant and swinging at the same time -- contrary to what his detractors have claimed, Lewis swings, but he does so on his own terms. For Lewis, there is no reason why jazz cannot be classical-influenced yet maintain the feelings of the blues. Although Evolution II falls short of essential, it is an enjoyable addition to the veteran pianist's catalog and demonstrates that his chops have held up well over the years. by Alex Henderson
Tracklist:
1    The Festivals 4:14   
John Lewis
2    One of Parker's Moods 3:54   
John Lewis
3    December, Remember 6:59
John Lewis
4    That! Afternoon in Paris 6:07    
John Lewis
5    Cain and Abel 6:52
John Lewis
6    Come Rain or Come Shine 5:03
Harold Arlen / Johnny Mercer
7    Trieste 4:17
John Lewis
8    Django 5:24
John Lewis
9    Sammy 4:09
John Lewis / Cole Porter
10    What Is This Thing Called Love? 5:52
Cole Porter
John Lewis feat: Cole Porter
CreditS :
Howard Alden - Guitar
Howard Collins - Guitar
Marc Johnson - Bass, Bass (Acoustic)
John Lewis - Composer, Piano, Producer
George Mraz - Bass, Bass (Acoustic),
Lewis Nash - Drums
Cole Porter - Composer, Performer

VANESSA RUBIN - Soul Eyes (1991) FLAC (tracks+.cue), lossless

Vanessa Rubin at the time of her Novus debut had been a high-school English teacher for seven years. This CD was a good start for her singing career although the results are a little mixed. Rubin displays an attractive voice (sounding great when holding long notes) but at this point in time ballads were not her strong point (on "When We Were One" she recalls Barbra Streisand). In addition, producer Onaje Allan Gumbs cannot resist gumming up the works in a few places with phony strings from his keyboards; he funks up what may be the initial vocal version of Mal Waldron's classic "Soul Eyes" along with a slower-than-usual "Giant Steps." On the plus side, Rubin's workout on a flagwaving "I've Got the World on a String" is enjoyable, the backup crew (which includes pianist Kirk Lightsey, trumpeter Eddie Allen and saxophonist Roger Byam) get occasional solos and the singer does a fine tribute to Sarah Vaughan on "Tenderly." This was a worthwhile debut but Vanessa Rubin's best work would be in the future. by Scott Yanow
Credits:
Bass – Cecil McBee
Drums – Lewis Nash
Keyboards, Arranged By [String] – Onaje Allan Gumbs
Piano – Kirk Lightsey
Soprano Saxophone, Alto Saxophone, Tenor Saxophone – Roger Byam
Vocals – Vanessa Rubin