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2011: Donny McCaslin - Perpetual Motion Jazz, Modern Jazz
2011: Donny McCaslin - Perpetual Motion
Artist:Donny McCaslin
Album:Perpetual Motion
Label:2011 CD Greenleaf Music 001
Year: 2011
Format, bitrate:mp3@256 kb/s
Size:129mb

Each new record from tenor saxophonist Donny McCaslin is cause for celebration. With each album, McCaslin has put himself in the middle of a different instrumental configuration, challenging the saxophonist to reach new heights, and Perpetual Motion is no different. Now that he has proven his mettle on the piano-less trio battleground with Recommended Tools (Greenleaf, 2008), and demonstrated his significant arranging abilities with Declaration (Sunnyside, 2009), McCaslin moves on to a roiling locale with electric undercurrents.
The music on Perpetual Motion moves easily from turbulent tantrums to slick grooves, and McCaslin is nothing short of exceptional throughout. His playfully fluid and rhythmically vibrant runs over Antonio Sanchez's drums on "Claire" show off one side of his personality, but that merely scratches the surface. McCaslin also covers funky terrain on "Memphis Redux"; takes part in what can only be described as an intergalactic hymn-turned-soul burner on"Firefly"; and works his way over turbulent rhythmic terrain in a variety of manners.
Read more>>>
2010: Bob Minzer - Canyon Cove Music » Jazz » Big Band » Modern Big Band
2010: Bob Minzer - Canyon Cove
Artist: Bob Mintzer
Album: Canyon Cove
Label: Pony Canyon
Year: 2010
Format, bitrate:mp3@320 kb/s
Size: 147 mb

Between a bevy of sideman dates, longstanding gigs with Yellowjackets and his own big band, and periodic small ensemble recordings like the unassuming and heartfelt In the Moment (Art of Life, 2007), Bob Mintzer has remained one of the busiest woodwind multi-instrumentalists in jazz for nearly four decades, since first cutting his teeth as youngster with drum legend/mentor Buddy Rich. Largely focusing on the rich bebop tradition and its various offshoots, Mintzer has always managed to remain relevant by placing himself into a multiplicity of contexts. Mintzer visits the organ trio tradition on Canyon Cove, with a set of largely original material alongside one reworked standard and three free improvisations.

It's hard for Mintzer to miss with this trio of equally players. He's worked with drummer Peter Erskine countless times over the years, from bassist Jaco Pastorius' Word of Mouth big band to pianist Don Grolnick's overlooked mini-classsic, Weaver of Dreams (Blue Note, 1990) and the all- star Hudson Project (Concord, 2000). Mintzer's relationship with organist Larry Goldings is more recent; Canyon Cove was, in fact, originally intended for another organ great, Joey DeFrancesco. But Goldings is far more than just a sub: with artists ranging from guitarist John Scofield and saxophonist Michael Brecker to piano icon Herbie Hancock the in-demand keyboardist has traveled the full range of the jazz spectrum and beyond.
>>>

1998: Conrad Herwig - Heart Of Darkness Music » Jazz » BeBop » Post-bop
1998: Conrad Herwig - Heart Of Darkness
Artist: Conrad Herwig
Album: Heart Of Darkness
Label: Criss Cross
Year: 1998
Format, bitrate: Mp3, 320kbps
Time: 60:16 min
Size: 134Mb

On trombonist Conrad Herwig's Criss Cross debut, he has put together a group consisting of tenor saxophonist Walt Weiskopf, vibraphonist Stefon Harris, pianist Bill Charlap, bassist Peter Washington, and drummer Billy Drummond to perform seven Herwig originals and one standard, "The Lamp Is Low." Herwig, a veteran of the bands of Toshiko Akiyoshi, Eddie Palmieri, and Joe Henderson, among others, is known for his impressive technique and imagination, which he displays through this recording, and proves himself a writer of challenging compositions. Also, the addition of Harris' vibes to the group gives the compositions a unique sound. Highlights include the multi-tempo title track; "Inner Sincerity," a medium fast tune with a Latin-ish feel; "The Instigator," a medium blues; and "Tilt," the session's up-tempo burner. This is a welcome addition to the Herwig discography.
~ Greg Turner, Rovi All Music Guide
2009:Adam Rogers - Sight Post-bop, Crossover Jazz
2009:Adam Rogers - Sight
Artist: Adam Rogers
Album: Sight
Label: Criss Cross Jazz 1313 CD
Year: 2009
Format, bitrate: mp3@224-256kb/s
Size: 110 mb
AMG rating: 2009:Adam Rogers - Sight

Adam Rogers is one of many top-drawer American jazz guitarists who has had more opportunities to record for European labels, with this being his fifth release for the Dutch label Criss Cross. With bassist John Patitucci and drummer Clarence Penn, Rogers plays a compelling mix of freshly interpreted originals and well-known jazz compositions, in addition to his potent originals. The trio takes "I Hear a Rhapsody" into new territory with their intricate improvising, while the unusual rhythmic nature of his scoring of "Yesterdays" teases the listener with its sudden changes in tempo. The jaunty Thelonious Monk piece "Let's Cool One" debuted on a rare date when Rogers was a sideman with Clark Terry, though Rogers' tasty arrangement was inspired by Steve Lacy's meeting with Don Cherry. The leader's subtle workout of Charlie Parker's "Dexterity" is a welcome change from racehorse performances adapted by many of the saxophonist's followers. In one of his originals, Rogers adds a surprise, he overdubs a bit of piano in the finale to "Sight," a dramatic post-bop vehicle with a bit of a Spanish tinge. "Memory's Translucence" is the most unusual track, inspired by Ornette Coleman and Ronald Shannon Jackson; it starts in a melodic manner but detours into free jazz territory. This is another excellent outing by Adam Rogers, a talent deserving of greater recognition in his homeland.
~ Ken Dryden, All Music Guide
2005:Walter Smith III - Casually Introducing Music » Jazz » Fusion » Contemporary Jazz
2005:Walter Smith III - Casually Introducing
Artist: Walter Smith III
Album: Casually Introducing
Label: Fresh Sound FSNT-247
Year: 2005 in New York City
Format, bitrate: MP3 @320
Size: 137 mb
AMG rating: 2005:Walter Smith III - Casually Introducing



Walter Smith gets the homage-paying out of the way with the first track of this debut, a reprise of Sam Rivers' "Cyclic Episode," where Smith proves his neo-traditionalist credentials evoking all the tenor sax greats during his torrid solo. For the rest of the album, though, Smith offers his personal interpretation of jazz, putting forth one of the most unique, eclectic and forward albums (let alone debuts) of its time. "Kate's Song" and "Tail of Benin" -- the two tunes following the neo-bop opener -- sound like little else in the new-millennium jazz box. Smith writes a swooping, in-and-out arrangement for "Kate's Song," which takes a late detour into some trance/electronica before the majestic head reappears that features singer Gretchen Parlato scatting under Smith's soprano. "Tail of Benin" begins with Smith's soprano rigged to sound like an android from a George Lucas flick; what follows is an odd tune that jilts and cascades over a groove (laid down by bad-boy Kendrick Scott) that -- at its core -- would have a hip-hopper leanin' and rockin'. Even "Benny's," penned by guitarist Lionel Louke is the kind of song that could've been a regular ol' slow-tempo ballad, instead it builds to an inspiring crescendo, mirroring a characteristic of many of Smith's songs, which gives the album a complexity and whim that keeps it entertaining. And, perhaps most important, Smith's crew is a heavy one. Robert Glasper appears only on "Kate's Song," but turns in (yet again) a performance on the Fender Rhodes that separates him from the pack. The rest of the piano work on the album would be a disappointment, were it not for stellar work from Aaron Parks throughout (the two take an interesting simultaneous piano solo together on "Kate's Song.") Eric Harland and Scott take turns on the drums and Reuben Rogers and Vicente Archer hold down bass duties. That's the cream of the new-school crop, right there. With Smith at the helm, all that young energy can be heard on this recording, a 24-year-old musician's auspicious introduction that wasn't "casual" at all.
~ Vincent Thomas, All Music Guide
1998: Stefano Di Battista Quintet - A Prima Vista Music » Jazz » BeBop » Post-bop
1998: Stefano Di Battista Quintet - A Prima Vista
Artist: Stefano Di Battista Quintet
Album: A Prima Vista
Label: Blue Note
Year: 1998
Format, bitrate:mp3 @256 kb/s
Size:109 mb
AMG Rating: 1998: Stefano Di Battista Quintet - A Prima Vista1998: Stefano Di Battista Quintet - A Prima Vista



In 1997, Di Battista released his solo debut Volare on Label Bleu, which was nominated for the Victoires de la Musique, Choc de LAnnee 97 Jazzman. He made the transition from Bleu to Blue (Note) with the recording of A Prima Vista, his well-received 1998 label debut featuring Boltro, Legnini and Bonaccorso. Di Battistas fruitful association with drummer Elvin Jones, legendary originally for his work with John Coltrane, began with the recording of Di Battistas well-received self-titled second Blue Note album in 2001. Jones came to Brussels to lay down tracks for some kid” and wound up taking Di Battista on his own world tours with the Elvin Jones Jazz Machine.
1998:Hans Ulrik, Thomas Clausen, Anders Jormin - Danske Sange Music » Jazz
1998:Hans Ulrik, Thomas Clausen, Anders Jormin - Danske Sange
Artist: Hans Ulrik, Thomas Clausen, Anders Jormin
Album: Danske Sange
Label: Stunt Records STUCD
Years: 1998
Quality: MP3@320 kbps
Size: 123 mb



The saxophone player Hans Ulrik and pianist Thomas Clausen has, for a long time, dreamed about recording some of the good old Danish songs such as: 'Jens Vejmand', 'Jeg Ved En Lærkerede', 'Jomfru Gundelil' a.o. Now the dream has come true with this beautiful album.
2009: Orrin Evans - Faith in Action Music » Jazz » BeBop » Post-bop

2009: Orrin Evans - Faith in Action
Artist: Orrin Evans
Album: Faith in Action
Label: Posi-Tone Records
Year: 2009, release: 2010
Size: 96 mb
Quality: mp3, 320 kb/s
AMG rating 2009: Orrin Evans - Faith in Action

Jazz pianist Orrin Evans has been knocking on the door of stardom in jazz for a full decade, but with Faith in Action, it seems he's really hit his stride. As a performer he's a more confident improviser willing to take chances, while also retaining a sweetness and lighthearted approach that reflects the romantic inside. These ten tracks are equally split compositionally between him and obvious mentor Bobby Watson, all in trio settings with bassist Luques Curtis and with drummer Nasheet Waits featured on seven tracks; Waits is replaced on two cuts by Gene Jackson and on another track by Rocky Bryant. How Evans plays in giddy highs or serene lows is impressive, with little gray area shown or needed. Tunes by Watson are quite well-known, but without horns are still full and rich. The title track was made famous by John Hicks simply as "Faith," a brilliant 6/8 in 4/4 organ of beauty as Evans digs into its ultimately pristine melody. Watson's most acclaimed composition when he was with Art Blakey's Jazz Messengers, "Wheel Within a Wheel" is spare but no less vibrant; "Appointment in Milano" is a modal two-fisted bopper where Evans goes a bit out and crazed; while "Love Remains" is an ultimate romantic, late-night, steamy piece built for intimacy. Evans wrote "Don't Call Me Wally" in a delightful funk to swing beat, deft but still lean; "MAT-Matt" is very combustible and spontaneous, stopping and starting back up; and "Why Not" closes in a easy swing unlike the rest. Summarily this is the most ambitious effort, and also one that shows the innate common sense of Orrin Evans. He is no longer emerging, but now established as a skilled and experienced young to middle-aged mainstream jazzman who should be around making great music for a long time. ~ Michael G. Nastos, All Music Guide

2001: Xavier Davis - Innocence of Youth Music » Jazz » BeBop » Post-bop
2001: Xavier Davis - Innocence of Youth
Artist: Xavier Davis
Album: Innocence of Youth
Label: Fresh Sound
Year: 2001; release: 2002
Format, bitrate:mp3, 320 kb/s
Size: 112 mb
AMG rating 2001: Xavier Davis - Innocence of Youth


Xavier Davis shines in a trio setting on his sophomore release, backed by bassist Brandon Owens and drummer E.J. Strickland. Unlike the pianist's 1999 debut, this outing emphasizes original compositions, including two contrasting waltzes ("The Message","Untamed Land") and two blues-based tunes ("Milk With a Koolaid Chaser," "Tall Struttin'"). Davis also honors his employer, Tom Harrell, with a loving version of the trumpeter's "Bell." He employs subtle reharmonizations on the bop classic "Milestones," then heightens the challenge by soloing over the new changes, not the original ones. In addition, Davis includes a composition by his brother, the drummer Quincy Davis, who plays with Harrell as well. By the time Davis gets to the closing title track, he's overflowing with inspiration, slyly quoting Joe Henderson's "Caribbean Fire Dance" on the rambunctious outro. A fine, swinging statement, full of hard bop intensity and melodic eloquence.
~ David R. Adler, All Music Guide
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