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DOCTOR 3 - Live at Casa del jazz (2007)

August 10, 2013, 12:56 am
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DANILO REA  piano
ENZO PIETROPAOLI  double bass
FABRIZIO SFERRA  drums

Tracks
01. Sgt. Pepper's Lonely Hearts Club Band (Lennon-McCartney)
02. With a little help from my friends (Lennon-McCartney)
03. Lucy in the sky with diamonds (Lennon-McCartney)
04. Getting better (Lennon-McCartney)
05. Fixing a hole (Lennon-McCartney)
06. She's leaving home (Lennon-McCartney)
07. Being for the benefit of Mr. Kite (Lennon-McCartney)
08. Within you without you (George Harrison)
09. When I'm sixty-four (Lennon-McCartney)
10. Lovely Rita (Lennon-McCartney)
11. Good morning good morning (Lennon-McCartney)
12. Sgt. Pepper's Lonely Hearts Club Band (reprise) (Lennon-McCartney)
13. A day in the life (Lennon-McCartney)

Recorded at Casa del Jazz, March 12, 2007 Rome, Italy
Casa del Jazz CDJ2  08
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DUKE JORDAN - Flight To Norway (1978)

August 11, 2013, 1:44 am
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Jazz pianists in the era of Monk and Powell faced an almost Sisyphean task when it came to currying popularity with the public. These two doyens of the instrument cast a nimbus of influence so wide that even luminaries like Elmo Hope and Herbie Nichols were subsumed in their shadows. Despite being present during the birthing of be-bop and serving as Charlie “Bird” Parker’s pianist, Duke Jordan was another one caught under blinding Klieg lights that the two put up. Facing indifference, he did what most jazz musicians do when they reach the end of their tolerance rope. He expatriated to Europe and didn’t look back.
Settling in Stockholm in 1978, Jordan cultivated a strong relationship with Steeplechase. Over the years became something of the house pianist for the label, appearing on 26 albums as a leader or sideman. Many of the sessions were trio affairs and this latest release (culled from a '78 concert in the country of the disc’s title) presents one of his strongest and most creative aggregations. Little on bass and Richmond on drums make for a responsive rhythm team. Both men were in much the same boat as Jordan, solid artisans whose reliability as a sidemen cost them credibility as leaders in their own right. Richmond was particularly susceptible to such public oversight during his lengthy run as Mingus’ right hand man.
The program is packed to near-capacity with a dozen tracks, mainly standards, but also a handful of Jordan originals. The oddly bright and buoyant “Jealous Blues” opens the set, the first of four consecutive tunes by the pianist, and the simple chords make for resilient warm up material. Richmond is especially expressive, pushing the trio along on choppy snare beat. Little’s solo cleverly employs stops and ostinato breaks to sustain a groove before the drummer carves out a string of breaks of his own that effectively boost the rhythmic tension of the tune. Many more peaks follow including Jordan’s “The Bullet,” written in honor of the Japanese Shinkansen bullet train, which moves a brisk be-bop pace and builds from a dark, Powell-flavored theme. Choice readings of Bird’s “Ornithology” and Gillespie’s “A Night in Tunisia” also set the bar high for consistency and quality.
Most of the tracks time in at over five minutes apiece and allow for generous interplay between the three players. Fidelity is relatively clear and free of sonic detritus, with Richmond’s cymbals up front and Little’s strings a bit further back in the mix. The sleeve note photo featuring the trio decked out in casual '70s duds on the bandstand seems a perfect distillation of the disc’s charms and rewards.  Derek Taylor

Tracks
01. Jealous Blues (Duke Jordan)
02. Undecided Lady (Duke Jordan)
03. If I Did - Would You? (Duke Jordan)
04. The Bullet (Shinkansen) (Duke Jordan)
05. I Should Care (Jimmy Van Heusen)
06. I'll Remember April (DePaul / Raye)
07. Ornithology (Charlie Parker)
08. Dancer's Call (Duke Jordan)
09. Misty (Errol Garner)
10. On Green Dolphin Street (Bronislav Kaper)
11. My Heart Skips A Beat (Duke Jordan)
12. A Night In Tunisia (Dizzy Gillespie)

DUKE JORDAN  piano
WILBUR LITTLE  bass
DANNIE RICHMOND  drums

Recorded November 10, 1978 at Kunstsentret, Hovikodden, Norway
SteepleChase  SCCD  31543
http://www.steeplechase.dk/
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ARCHIE SHEPP, NIELS HENNING ORSTED PEDERSEN - Looking At Bird (1980)

August 12, 2013, 2:34 am
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Avant-garde tenor saxophonist Archie Shepp created a stir in 1977 when he recorded a set of hymns and folk melodies in melodic duets with pianist Horace Parlan. On February 6, 1980, he reunited with Parlan for a set of blues associated with Bessie Smith, and the following day, as a sort of sequel, Shepp played eight songs associated with Charlie Parker in collaboration with bassist Niels-Henning Orsted Pedersen. Although never a bebopper, Shepp does surprisingly well on such tunes as "Moose the Mooche," "Ornithology," "Yardbird Suite" and "Confirmation," even if he makes the mistake of doubling on his erratic soprano during a few numbers. Archie Shepp pays tribute to Bird not by copying him, but by being creative and playing Parker’s repertoire in his own sound. Recommended.  -  Scott Yanow

Tracks
01. Moose the Mooche (Charlie Parker)
02. Embraceable You (George Gershwin/Ira Gershwin)
03. Ornithology (Benny Harris/Charlie Parker)
04. Billi’s Bounce (Charlie Parker)
05. Yardbird Suite (Charlie Parker)
06. Blues for Alice (Charlie Parker)
07. How Deep Is the Ocean (Irving Berlin)
08. Confirmation (Charlie Parker)

ARCHIE SHEPP  soprano saxophone, tenor saxophone
NIELS HENNING ORSTED PEDERSEN  bass

Recorded February 7, 1980

SteepleChase – SCCD 31149
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CHICO FREEMAN - Tradition in Transition (1982)

August 12, 2013, 11:51 pm
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This is another excellent effort by Chico Freeman, who is heard on tenor, flute and bass clarinet. The instrumentation varies on each selection during the LP, which also features trumpeter Wallace Roney, pianist Clyde Criner bassist Cecil McBee, drummer Billy Hart, and Jack Jack DeJohnette on drums and piano. Other than Thelonious Monk’s "Jackie-ing" (Monk had recently passed away), the repertoire is comprised of originals by Freeman, McBee and Criner. Even if none of the songs individually caught on, they help set an exploratory yet fairly accessible mood, as Chico Freeman does his best to move the mainstream of jazz forward a bit.  -  Scott Yanow

Tracks
01. Jackie-Ing (T. Monk)
02. Free Association (C. Freeman)
03. Mys-Story (C. Freeman)
04. Talkin’ Trash (C. Freeman)
05. Each One Teach One (C. Freeman)
06. At a Glance (C. Crine)
07. The Trespasser (C. Freeman)
08. In-Spirit (C. McBee)
09. A Prayer (C. Freeman / N. Rodriguez)

CHICO FREEMAN  tenor saxophone, bass clarinet
CECIL McBEE  bass
WALLACE RONEY  trumpet
CLYDE CRINER  piano
JACK DeJOHNETTE  piano (1) drums (2-4)
BILLY HART  drums

Recorded at Eurosound, New York City, 1982
Elektra 52412  /  Wounded Bird WOU 6163
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CHICO FREEMAN - Spirit Sensitive (1979)

August 14, 2013, 9:58 pm
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This set was a change-of-pace for Chico Freeman for it features the usually adventurous tenor (who doubles on soprano) mostly playing warm versions of standards. The CD reissue adds four previously unissued selections (including a pair of Coltrane tunes, "Lonnie's Lament" and "Wise One") to the original program. With pianist John Hicks, bassist Cecil McBee and either Billy Hart or Don Moye on drums offering fine support (vibraphonist Jay Hoggard sits in on "Carnival"), Freeman pushes at but does not break the boundaries of hard bop. Highlights include "Autumn in New York" (a duet with McBee), Horace Horace Silver’s "Peace," "It Never Entered My Mind" and the bassist's "Close to You Alone."  -  Scott Yanow

Tracks
01. Autumn in New York (Vernon Duke)
02. Peace (Horace Silver)
03. A Child Is Born (Thad Jones)
04. Lonnie’s Lament (John Coltrane)
05. You Don’t Have to Sat You’re Sorry (Patty Austin)
06. Wise One (John Coltrane)
07. It Never Entered My Mind (Lorenz Hart / Richard Rodgers)
08. Close to You Alone (Chico Freeman)
09. Carnival (Chico Freeman)
10. Don’t Get Around Much Anymore (Duke Ellington / Bob Russell)

CHICO FREEMAN  tenor and soprano saxes
CECIL McBEE  bass
JOHN HICKS  piano
BILLY HART  drums
DON MOYE  drums on (09) & (10)
JAY HOGGARD  vibes on (09)

India Navigation  IN 1045CD

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CHICO FREEMAN - Kings Of Mali (1977)

August 16, 2013, 1:36 am
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Chico Freeman recorded frequently from 1977-84, documenting his inside/outside music during an era when fusion was somewhat dominant. Many of his more adventurous sets were made for the India Navigation label and are gradually being reissued on CD. This fine set with vibraphonist Jay Hoggard, pianist Anthony Davis, bassist Cecil McBee and drummer Don Moye has yet to reappear. Freeman, who also plays soprano and flute, stretches out on four of his colorful and complex originals, which are dedicated to the ancient kingdom of Mali.  -  Scott Yanow

Tracks
01. Look Up (Chico Freeman)
02. Ministrel’s Sun Dance (Chico Freeman)
03. Kings Of Mali (Chico Freeman)
04. Illas (Chico Freeman)

CHICO FREEMAN  saxophone, flute
CECIL McBEE  bass
ANTHONY DAVIS  piano
FAMOUDOU DON MOYE  drums, percussion
JAY HOGGARD  vibraphone

Recorded in September 1977, New York
India Navigation  IN  1035

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DEXTER GORDON - Lullaby for a Monster (1976)

August 17, 2013, 2:40 am
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Recorded shortly before his triumphant return to the United States after a dozen years overseas, this Dexter Gordon album features him in a surprisingly sparse setting, accompanied only by bassist Niels Pedersen and drummer Alex Riel. Whether it be the humorous melody "Nursery Blues," Pedersen’s title cut or the four jazz standards (of which "Good Bait" was first released on this CD reissue), he is up to the challenge and his lengthy solos never lose one's interest.  -  Scott Yanow

Tracks
01. Nursery Blues (Dexter Gordon)
02. Lullaby for a Monster (Niels Henning Orsted Pedersen)
03. On Green Dolphin Street (Bronislaw Kaper / Ned Washington)
04. Good Bait (Tadd Dameron)
05. Born to Be Blue (Mel Tormé / Robert Wells)
06. Tanya (Donald Byrd)

DEXTER GORDON  tenor saxophone
NIELS HENNING ORSTED PEDERSEN  bass
ALEX RIEL  drums

Recorded June 15, 1976
SteepleChase  SCCD  31156 Denmark
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ANTHONY BRAXTON - Five Pieces 1975

August 18, 2013, 2:56 am
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This out-of-print album features one of Anthony Braxton's great combos, a quartet with trumpeter Kenny Wheeler, bassist Dave Holland and drummer Barry Alstchul. Braxton (who switches between alto, clarinet, sopranino, flutes and contrabass clarinet) explores four of his diverse originals plus the standard "You Stepped Out Of A Dream." The tightness of his very alert and versatile group and the strength of the compositions make this one of Anthony Braxton's most rewarding records of the mid-1970's.

Tracks
01. You Stepped Out Of A Dream (Nacio Herb Brown)
02. G - 647 (BNK - II)
03. 4038 - NBS 373 6
04. 4 8 9 M 70 - 2 - - (TH - 8)M
05. BOR - - - - H N - K64

ANTHONY BRAXTON  saxophone, flute, clarinet
DAVE HOLLAND  bass
BARRY ALTSCHUL  drums
KENNY WHEELER  trumpet

Music composed by Anthony Braxton except (1) by Nacio Herb Brown
Recorded at Generation Sound, New York City, July 1 & 2, 1975
Arista  AB  4064
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ANTHONY BRAXTON, MUHAL RICHARD ABRAMS - Duets 1976

August 18, 2013, 4:36 pm
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In the last couple of years I have noticed an abundance of duo records, of all kinds of combinations—andhopefully this is more than just a trend—but rather, an accepted and challenging area of creative music that hasbeen rediscovered.This particular date has given me a chance to renew musical ties with Muhal Richard Abramsand I am grateful that our work has been documented on this record.My involvement with Muhal goes back to1966 when Roscoe Mitchell brought me into the Association for the Advancement of Creative Musicians tobecome a member—in that period Muhal was president of the organization.The time that I spent in the AACMwas the single most important period in my involvement with music and the cornerstone from which my foundationwas to actualize.I have tried to select material that could show the dynamics of our particular instrumentation,and material that would be comfortable for Muhal and myself as well.
Functionally, the duet situation gives the greatest possibilities for establishing an affinity relationship withanother musician on a one to one basis.This is especially true of the more open-ended forms where animprovisation is directly affected by both musicians on an equal plane, rather than the 'soloist with support'situation only.All of the pieces on this record determine the nature of that relationship—in other words, the use ofa piece, like Maple Leaf Rag allows for a different approach than say—'Miss Ann', and I felt we needed bothapproaches for a balanced presentation.I have contributed three compositions on this date and of these works,two compositions were designed for the 'controlled' open-ended situation—that is to say: all of the elements andsequences in these works have been prepared in advance.The performances on this record could best beunderstood as 'actualization' of a given conceptual and structural path, rather than versions of a given theme.The remaining track on this record (Nickie) is actually an improvisation which was done on the spot.Afterlistening to the playback, I felt the music we played had somehow captured something essential to this period ofmy life, and I appreciated Muhal letting me dedicate the improvisation to my wife.The piece for contrabase [sic]saxophone is included for both timbre purposes as well as the fact that I am simply fascinated by the lower soundspectrum—and whenever the opportunity arises—I intend to continue this direction.Continued thanks to SteveBacker and Michael Cuscuna for the help that they have given me.I hope that this record can be enjoyed.
 
Anthony Braxton 


Tracks
01. Miss Ann (Eric Dolphy)
02. Opus 60 (Anthony Braxton)
03. Opus40P (Anthony Braxton)
04. Maple Leaf Rag (Scott Joplin)
05. Opus 62 (Anthony Braxton)
06. Nickie (Anthony Braxton / Muhal Richard Abrams)

MUHAL RICHARD ABRAMS  piano
ANTHONY BRAXTON  alto saxophone, sopranino saxophone, contrabass saxophone, clarinet, clarinet E-flat, contrabass clarinet

Recorded on August 1 and 2, 1976 at Bearsville Studios, Woodstock N.Y.
Arista  AL  4101
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MAX ROACH, ANTHONY BRAXTON - Birth & Rebirth (1978)

August 18, 2013, 5:42 pm
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The first of drummer Max Roach's two duet sets with multireedist Anthony Braxton consists of seven fairly free improvisations that they created in the studio. Each of the selections (particularly "Birth" which builds gradually in intensity to a ferocious level, the waltz time of "Magic and Music," the atmospheric "Tropical Forest" and "Softshoe") have their own plot and purpose. Braxton (who performs on alto, soprano, sopranino and clarinet) and Roach continually inspire each other, which is probably why they would record a second set the following year. Stimulating avant-garde music.  -  Scott Yanow


Tracks
01. Birth
02. Magic And Music
03. Tropical Forest
04. Dance Griot
05. Spirit Possession
06. Softshoe
07. Rebirth

MAX ROACH  alto soprano & sopranino saxophones, clarinet
ANTHONY BRAXTON  drums

All compositions by Max Roach/Anthony Braxton
Recorded in September 1978 at Ricordi Studios, Milano
Black Saint  120024 - 2
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RAN BLAKE, ANTHONY BRAXTON - A Memory Of Vienna (1997)

August 18, 2013, 11:00 pm
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On November 19, 1988, a few days before the Cool Noir music festival in Vienna, composer Franz Koglmann finished recording Orte Der Geometrie (Hatart) with his Pipetet a couple hours earlier than expected. A number of high profile artists and musicians were in attendance for the festival, so efforts were made to utilize the remaining pre-paid studio time. Pianist Ran Blake was on hand, as a special guest of the Pipetet, and composer/multi-instrumentalist Anthony Braxton had just stopped by the studio. The idea of recording Blake and Braxton as a duo arose, inspired in part by their duet on the pianist's album Rapport (Novus), made ten years earlier. Writer Art Lange assumed the role of session producer and selected a collection of standards for the pair to work on—two and a half hours later, A Memory Of Vienna was complete.
Ranging from such chestnuts as "You Go To My Head" and "I'm Getting Sentimental Over You," to bop archetypes like "Yardbird Suite" and "Four," the duo waxes poetic, interpreting eight venerable classics with respectful restraint and a few unorthodox twists. Braxton plays alto saxophone exclusively on these timeless songs, plying sonorous phrases that are among his most lyrical. Occasionally launching into brisk staccato runs, he avoids signature extended techniques like altissimo, multiphonics and over-blowing entirely, playing it straight by sticking close to the harmonic center of the tunes. Blake ranges slightly further afield, dropping icy accents and dissonant clusters at unusual intervals without veering too far beyond conventional melody and harmony. Although his oblique cadences and re-harmonized chords are somewhat ambiguous, he never fails to swing, lending the date a far more nostalgic air than one would have expected from such a pairing.
Though admired for their uncompromising, avant-garde innovations, the most surprising aspect of the session is not the duo's relative lack of cacophonous pyrotechnics, but the incredible level of intuitive empathy and conceptual foresight displayed—despite the ad hoc nature of the recording. A Memory Of Vienna demonstrates Blake and Braxton's longstanding reverence for standard material, bringing new life to timeless classics with understated creativity and soulful conviction.  -  Troy Collins

Tracks
01. 'Round Midnight (Monk-Williams-Hanighen)
02. Yardbird Suite (Charlie Parker)
03. You Go To My Head (Gillespie-Coots)
04. Just Friends (Lewis-Klenner)
05. Alone Together (Dietz-Schwartz)
06. Four (Miles Davis)
07. Soul Eyes (Mal Waldron)
08. I'm Getting Sentimental Over You (Washington-Bassman)

RAN BLAKE  piano
ANTHONY BRAXTON  alto saxophone

Recorded at Haus der Begegnung Mariahilf, Vienna on November 19, 1988
hatOLOGY  505
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ANTHONY BRAXTON - Creative Orchestra Music 1976

August 18, 2013, 11:10 pm
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This is one of Braxton’s most interesting recordings. Six of his compositions are performed by groups ranging from 15-20 pieces and featuring such soloists as trumpeters Cecil Bridgewater, Leo Smith, Kenny Wheeler and Jon Faddis, baritonist Bruce Johnstone, trombonist George Lewis, reed player Roscoe Mitchell, bassist Dave Holland, pianist Muhal Richard Abrams and Braxton himself. There is a lot of variety on this set. One of the pieces finds Braxton combining free elements with a Sousa-type march while another one looks toward Ellington. There are quite a few memorable moments on this program.  -  Scott Yanow

Tracks
01. Piece One
02. Piece Two
03. Piece Three
04. Piece Four
05. Piece Five
06. Piece Six

SELDON POWELL  alto sax, clarinet, flute
BRUCE JOHNSTONE  baritone sax, bass clarinet
RONALD BRIDGEWATER  tenor sax, clarinet
KENNY WHEELER  trumpet
CECIL BRIDGEWATER  trumpet
JON FADDIS  trumpet, piccolo trumpet
GEORGE LEWIS  trombone
GARRETT LIST  trombone
EARL McINTYRE  bass trombone
JNATHAN DORN  tuba
MUHAL RICHARD ABRAMS  piano, conductor
DAVE HOLLAND  bass
WARREN SMITH  drums, tympani, bass drum, bass marimba
ROSCOE MITCHELL  soprano sax, bass sax, alto sax
LEO SMITH  trumpet, conductor
JACK JEFFERS  bass trombone
RICHARD TEITELBAUM  synthesizer
FREDERICK RZEWSKI  piano, bass drum
BARRY ALTSCHUL  gong, percussion
PHILIP WILSON  drums, marching cymbals
KARL BERGER  glockenspiel, vibes, xylophone, orchestra chimes
ANTHONY BRAXTON  alto sax, contrabass clarinet, clarinet, contrabass sax, sopranino sax

Music composed by Anthony Braxton
Recorded in February 1976, at Generation Sound, New York City
Arista  AL – 4080  /  Bluebird  ND86579

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ENRICO RAVA, RENATO SELLANI - Radio Days (2001)

August 21, 2013, 6:19 pm
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Tracks
01. LE TUE MANI (Spotti)
02. MA L’AMORE NO (D’Anzi)
03. MUNASTERIO ‘E SANTA CHIARA (Barberis)
04. AMORE BACIAMI (Rossi)
05. DONNA (Kramer)
06. SILENZIOSO SLOW (D’Anzi)
07. TU MUSICA DIVINA (D’Anzi)
08. ARRIVEDERCI (Bindi)
09. PARLAMI D’AMORE, MARIU’ (Neri / Bixio)
10. ROMA NUN FA’ LA STUPIDA STASERA (Trovajoli)
11. AMORE BACIAMI (Rossi)
12. LE TUE MANI (Spotti)
13. THE MAN I LOVE (G. Gershwin)

ENRICO RAVA  trumpet, flugelhorn
RENATO SELLANI  piano

Recorded at Mu Rec Studio, Milano on November 7, 2000
Tracks 12 and 13 recorded live at San Michele Arcangelo Church, San Genesio
Philology  W 192.2
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RED MITCHELL - Presenting Red Mitchell (1957)

August 23, 2013, 3:31 pm
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Bassist Red Mitchell, who had led two fairly obscure sessions for Bethlehem in 1955, came up with a gem on his lone Contemporary set as a leader (which has been reissued as this CD). Based in Los Angeles at the time, Mitchell utilized pianist Lorraine Geller and two up-and-coming players: James Clay (who splits his time between tenor and flute) and, in one of his first recording sessions, drummer Billy Higgins. The quartet performs then-recent tunes by Miles Davis, Sonny Rollins and Clifford Brown ("Sandu"), a pair of Mitchell originals, "Scrapple From the Apple" and "Cheek to Cheek." Despite Higgins' and (to a lesser extent) Clay's connections with Ornette Coleman, the music is strictly high-quality modern mainstream bop of the era. Easily recommended to collectors of straight-ahead jazz.  -  Scott Yanow


Tracks
01. Scrapple From The Apple (Charlie Parker)
02. Rainy Night (Red Mitchell)
03. I Thought Of You (Red Mitchell)
04. Out Of The Blues (Miles Davis)
05. Paul’s Pal (Sonny Rollins)
06. Sandu (Clifford Brown)
07. Cheek To Cheek (Irvin Berlin)

RED MITCHELL  bass
JAMES CLAY  flute, tenor sax
LORRAINE GELLER  piano
BILLY HIGGINS  drums

Recorded at Contemporary’s studio in Los Angeles; March 26, 1957
Contemporary Records  C - 7538

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ULF WAKENIUS - Checkin' in (2004)

August 23, 2013, 6:04 pm
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Ulf Karl Erik Wakenius (born 16 April 1958 in Halmastad, Sweden) is a Swedish jazz guitarist. Wakenius was a member of the Oscar Peterson quartet from 1997. He was also a member of the Ray Brown trio. Wakenius also plays with his own band, and has recorded many albums.

Tracks
01. Will you make my soup hot and silver (Carsten Dahl)
02. Mack the knife (Bertolt brecht, Kurt Weill)
03. Footprints (Wayne Shorter)
04. Ponta de area (Milton Nascimento)
05. Soon (Ira Gershwin / George Gershwin)
06. A Child is born (Thad Jones)
07. I didin’t know what time it was (Lorenz Hart / Richard Rodgers)
08. Little girl blue (Lorenz Hart / Richard Rodgers)
09. The days of wine and roses (Johnny Mercer / Henry Mancini)

YASUHITO MORI  bass
ULF WAKENIUS  guitar
MORTEN LUND drums
CARSTEN DAHL  piano

Recorded on March 8, 2004 at Sun Studio A/S Copenhagen, Denmark
Spice Of Life SOLL SC – 0009  Made in Japan
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RYAN KISOR - This is Ryan (2005)

August 28, 2013, 2:04 am
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This is Ryan continues to confirm that trumpeter Ryan Kisor is more than a "young lion, a label he received after winning the Thelonious Monk Competition back in 1990. At the still young age of 32, he is continuing in the tradition of the modal-minded trumpet players who preceded him, sounding like he comes from the direct lineage of the great Woody Shaw. His excellent trumpet technique, especially clear in the upper register, makes possible seamless solo lines. This is Ryan features compositions by three major trumpet players from the '50s-60s: Kenny Dorham's "Una Mas, Don Cherry's "Art Deco and Dizzy Gillespie's "Con Alma. The CD also includes four solid Kisor originals: "Waiting for Brown, a hard driving modal tune; "Maiden Lane, a smooth flowing ballad; "Dirty Ernie, a hard swinger; and "Solitaire," a swinging waltz.
The musicians Kisor has assembled—Grant Stewart (tenor sax), Peter Zak (piano), John Webber (bass) and Jason Brown (drums)—are all well versed in the hard bop and modal traditions, and the recording overall has the old-school feel of the great quintets of the '60s. As a support system Stewart, Zak, Webber and Brown all deliver, though at times I desired a more adventurous interaction between the members of the ensemble.
The standout track is the classic "You and the Night and the Music. Kisor takes the well-known melody and embellishes it, changing some notes in the head to give the tune a modal twist, and later takes a very exciting solo. "Con Alma also deserves recognition for the silky smooth interaction of the trumpet and tenor sax lines in the arrangement.  -  Judith Insell 

Tracks
01. Waitinf for Brown (Ryan Kisor)
02. You and the Night and the Music (Arthur Schwartz)
03. Una Mas (Kenny Dorham)
04. Maiden Lane (Ryan Kisor)
05. Dirty Ernie (Ryan Kisor)
06. Art Deco (Ryan Kisor)
07. Con Alma (Dizzy Gillespie)
08. Solitaire (Ryan Kisor)

RYAN KISOR  trumpet
GRANT STEWART  tenor saxophone
PETER ZAK  piano
JOHN WEBBER  bass
JASON BROWN  drums

Recorded at Sears Sound Studio, New York, March 8, 2005
Videoarts Music Inc.  673406
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RAN BLAKE - Painted Rhythms. The Compleat Ran Blake Vol. 1 (1987)

August 29, 2013, 3:40 am
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The first of two great compact discs full of the inventive and challenging solo piano stylings of Ran Blake.  Long one of the prime movers of the Third Stream, Blake has been honored with a prestigious Mac Arthur Foundation Fellowship in recognition of his unique and profound artistry.
The two albums comprising Painted Rhythms: The Compleat Ran Blake follow Blake’s essential vision through his own compositions as well as interpretations of musics ranging from the jazz standards of Duke Ellington and Jerome Kern and of Scott Joplin rags of Volume 1 to the ancient Sephardic folk tunes and contemporary Spanish art songs that form the heart of Volume 2

Tracks
01. Azure (Ellington)
02. Skrontch (Ellington)
03. Drop Me Off in Harlem (Ellington)
04. What’s Your Story, Morning Glory? (Wiiliams/Webster/Lawrence)
05. Ezzthetic (Russell)
06. Interlude (Rugolo/Russell)
07. Painted Rhythm (Kenton)
08. Who (Kern/Hammerstein/Harbach)
09. Smoke in Your Eyes (Kern/Harbach)
10. Impresario of Death (Blake)
11. Moonlight on the Ganges (Ewing/Wallace)
12. Hallelujah, I Love Her So (Charles)
13. Maple Leaf  Rag (Joplin)
14. Maple Leaf Rag (Joplin)
15. Maple Leaf Rag (Joplin)

RAN BLAKE  piano

Recorded in December 1985 at Houghton Chapel, Wellesley College, in Wellesley, and at the North Shore Music Theatre in Beverly, Massachusetts
GM RECORDINGS  GM3007CD

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CECIL TAYLOR - Indent (1973)

August 30, 2013, 2:25 am
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After nearly 20 years of critical neglect and hostility, pianist Cecil Taylor finally began to gain some approval in 1973. This solo concert, originally put out by Taylor on his own short-lived Unit Core label, gained wider recognition when Arista Freedom released it in 1977. On three lengthy improvisations, Taylor is quite stunning in his control of the piano, his wide range of percussive sound and his endurance. As is often true of Cecil Taylor's music, this recital is not for the faint-of-heart, but those with open ears will find it rewarding and certainly stimulating.  -  Scott Yanow

Tracks
1. Indent. First Layer (Taylor)
2. Indent. Second Layer, Part One (Taylor)
3. Indent. Second Layer, Part Two (Taylor)
4. Indent. Third Layer (Taylor)

CECIL TAYLOR piano

Recorded live at the Antioch Theatre, Antioch College, Yellow Springs, Ohio, on March 11, 1973
BLACK LION CD 877675 - 2
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CECIL TAYLOR - Silent Tongues (1975)

August 30, 2013, 4:03 am
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At times when Cecil Taylor is really punishing the piano, you get the sense he might have been happier as a saxophone player. He likes the chords and the sheer mass of sound the piano offers, but wants more individual expression. He mashes distinct sonorities into dancing blurs of color, changes ordinary melodies into rattling spasms of percussion.
For both his phenomenal technique and his unorthodox approach, Taylor is revered as a free-jazz pathfinder—and derided as a provocateur bent on terrorizing those who expect every eighty-eight-key contraption to yield cocktail-hour pleasantries. Taylor's music is, to be sure, challenging stuff. And it's also undeniably personal. It can take years to fully digest the ideas he is pondering, but only a few notes to know that it's him playing. He's one of those rare musicians able to instantly overcome the anonymity of the piano.
This solo performance, from the 1974 Montreux Jazz Festival, is an excellent way to first encounter Taylor. It's got his trademark tumult (see the two-part "Crossing"), moments of unexpected melodicism ("After All"), and, of course, outbreaks that come from such an instinctual place, and are so totally unhinged, you suspect even a great mind like Taylor would have trouble re-creating them.  -  Scott Yanow

Tracks
01. Abyss (First Movement)
      Petals & Filaments (Secord Movement)
      Jitney (Third Movement)
02. Crossing (Fourth Movement, Part One)
03. Crossing (Fourth Movement, Part Two)
04. After All (Fifth Movement)
05. Jitney No. 2
06. After All, No. 2

CECIL TAYLOR  piano

Recorded live at the Montreux Jazz Festival, 2ndJuly 1974
Black Lion  CD 877633 - 2
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CHICO FREEMAN - Destiny's Dance (1982)

September 2, 2013, 1:47 am
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By 1981, after six years of steady recording, Chico Freeman had gained a strong reputation as a flexible reed player able to play both avant-garde and fairly straight-ahead jazz. For this straight CD reissue of a Contemporary LP, Freeman doubles on tenor and bass clarinet in settings ranging from a quartet to a sextet. Trumpeter Wynton Marsalis (then just barely 20-years-old) is in superior form during his four appearances, vibraphonist Bobby Hutcherson is on all six songs, and also in fine form are pianist Dennis Moorman, bassist Cecil McBee and drummer Ronnie Burrage; percussionist Paulinho Da Costa guests on one tune. The music is comprised of originals by Freeman, Hutcherson and McBee that, although based in the foundations of the past (Freeman's "Embracing Oneness" is dedicated to Duke Ellington and Thelonious Monk), also looks forward.  -  Scott Yanow

Tracks
01. Destiny’s Dance (Chico Freeman)
02. Same Shame (Bobby Hutcherson)
03. Crossing the Sudan (Chico Freeman)
04. Wilpan’s Walk (Cecil McBee)
05. Embracing Oneness (Chico Freeman)
06. C & M (Muhal Richard Abrams / Chico Freeman)

CECIL McBEE  bass
CHICO FREEMAN  tenor sax, bass clarinet,
RONNIE BURRAGE  drums
PAULINHO DA COSTA  percussion
DENNIS MOORMAN  piano
WYNTON MARSALIS  trumpet
BOBBY HUTCHERSON  vibraphone

Recorded at Ocean Way Recording, Hollywood, October 29 and 30, 1981
Contemporary Records – C-14008  /  Original Jazz Classics – OJCCd 799-2
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