It's all about Jazz

Bill Evans - Portrait (1997)
EAC | FLAC+CUE+LOG+Artwork -> 270 Mb
Blue Note Records
Post-Bop | Piano Jazz
Many thanks to my friend, Oceandrop

Descripstion

A compilation CD about great Bill Evans; with George Russell and His Orchestra, The Miles Davis Quintet,
The Dave Pike Quartet, and his trio with Eddie Gomez, Marty Morrell.

Selection: Steve Berkowitz, Kevin Gore et Mike Berniker.

Bill Evans - The Paris Concert (Edition Two) (2001)
EAC | FLAC+CUE+LOG+Artwork -> 260 Mb
Blue Note Records
Post-Bop | Piano Jazz
Many thanks to my friend, Oceandrop


Descripstion

Bill Evans' death in 1980 ended the career of the most influential (along with McCoy Tyner) acoustic pianist in jazz of the previous 20 years. This second of two LPs features Evans, bassist Marc Johnson, and drummer Joe La Barbera closely interacting on four of the pianist's originals, Gary McFarland's "Gary's Theme" and Miles Davis' "Nardis." The music is sensitive and subtly exciting. Until the release of some later live sessions from 1980, this could be considered Bill Evans' final recording and serves as evidence that, rather than declining, he was showing a renewed vitality and enthusiasm in his last year.

Bill Evans - The Paris Concert (Edition One) (2001)
EAC | FLAC+CUE+LOG+Artwork -> 260 Mb
Blue Note Records
Post-Bop | Piano Jazz
Many thanks to my friend, Oceandrop


Descripstion

There's a misleading myth about Bill Evans that seems to be gaining acceptance, if the increasing references to his drug problem are any indication. The necessary inference is that Evans' genius and career fall within the familiar patterns of the tragic romantic artist--a burst of youthful, inspired creativity followed by gradual decline and eventual disrepair.

Nothing could be further from the truth, as these recordings from a late 1979 Paris concert should make abundantly clear. In fact, they are every bit as impressive as the celebrated Vanguard recordings with LaFaro and Motion in 1961. Evans is one of those rare artists who experienced an unparallelled surge of creative energy and passionate lyricism in his so-called autumnal period, which makes these late sessions as essential as the early Vanguard ones.

Compare his performance here of "I Loves You Porgy" with his Vanguard performance (or any intermediate recording) of the same tune. It's every bit as nuanced and fresh as the early recordings yet possesses a boldness and confidence not always present in the earlier work. One thing Bill Evans was NOT about was "ego". Unlike many of the younger, heavily promoted pianist/keyboard players he influenced, Bill did not require grunts and groans, physical contortions, funny clothes, production special effects, etc., to make his musical statement. In fact, he preferred not to have the spotlight on himself. The lowered position of his head (or, in the 70s, his shoulder-length hair) concealed his face and, in effect, required the listener to focus only on the hands and the keys, on the music itself. And notice the size of his hands! As lean and slight as Bill appeared in the 50s and 60s, his hands seemed to belong to another creature--not just the length of the fingers but their thick diameter and sheer bulk. He had but to stroke the keys to extract from a grand piano the purist, fullest, most vibrantly warm sounds it was capable of producing.

More than any other major musician, Evans' aesthetic was the counterpart to that of John Keats, whose poetic credo of "negative capability," association of joy and sorrow, and equation of beauty and truth ("Truth is beauty") resulted in some of the purest poetry in the English language. But because of his virtual self-effacement, Bill was especially susceptible to the ready criticism of a Scottie LaFaro, who could be a punishing task-master in his insistence on perfection. Bill not only expanded the bass-player's role but developed a deference that could result in the bass player practically supplanting the pianist as the primary solo voice! This unselfishness soon became habit, leading to a certain unassertive sameness in many of his mid-career recordings. ("The Tokyo Concert" I'd single out as an example of the trio's tedious and tepid virtuosity--much busy-ness but little action or swing.) With the final trio of Marc Johnson and Joe La Barbera, however, Bill assumed, along with an appreciation of his companions, a mentor's responsibility for them. On the Paris Concert he's a teacher/master as much as a student, and the result is perhaps the most satisfying trio performance of his entire career. He's not merely drawing upon fresh blood as a source of inspiration but using his experience to guide his proteges while bringing his own instrument into the prominence it deserves.

Good learners become teachers, but in that role remain forever learners themselves. In one of his very last recordings, Evans manifests the fruits of a lifetime of learning yet produces music that registers freshness and discovery in each passing note.

Betty Carter - I'm Yours, You're Mines (1996)
EAC | FLAC+CUE+LOG+Artwork -> 320 Mb
Polygram Records
Bop | Vocal Jazz
Many thanks to my friend, Oceandrop


Descripstion

Coming up in the shadow of Sarah Vaughan and Ella Fitzgerald, Betty Carter realized early on there was no point competing on that terrain, and slowly but surely eked out one of her own. Carter's vocal world has been one of ferocious scat and luxuriously slow ballads, of relentless swing and angular melodic lines unafraid to dip into dissonance. Her sophisticated approach and the tight, shifting arrangements she works out for her backing trio lend themselves to an interpretation of lyrics which is ambiguous, abstract and often ironic. However, this is not most people's idea of what jazz singing should be about, and so after something like 45 years in the business she remains the most controversial of the major jazz singers.

This CD, and live performances over the past couple of years, give the impression that Carter's voice, in terms of control and stamina, may not be what it once was. She sings quietly at slow to medium tempo, sticking to her middle register and taking no chances physically. The result is a soft and dreamy set, pure Betty and highly satisfying, but definitely a change from the days she used to race along at lightning speed as musicians the caliber of John Hicks, Kenny Washington or Lewis Nash worked hard to keep up with her. Whether this is simply a temporary problem remains to be seen.

Carter has been touring with Mark Shim on tenor, and he appears here along with Andre Hayward, trombone, on all the tunes. Some illustrious alumni of the Carter band include pianists Mulgrew Miller, Benny Green, Stephen Scott, Cyrus Chestnut and Jacky Terrasson, bassists Michael Bowie and Ira Coleman, and drummers Washington, Nash, Wynard Harper and Clarence Penn. In other words, she has an eye for talent, and Shim and Hayward are no exception to her rigorous recruiting standards. They have a full, handsome tone on their respective instruments and solo with taste and strength.

Of the seven tunes here, the ringer is Kurt Weill's "Lonely House," with lyrics by Langston Hughes. Carter's attempt at atmospherics and a "poetic" reading are not memorable Antonio Carlos Jobim's "Useless Landscape" is a lovely tune, and the swaying beat is one that Carter handles well—but she chose, unwisely, to sing it partly in the language in which it was written. You don't have to be fluent to sing a tune in a language not your own, but Carter's attempt at Brazilian Portuguese sounds strained and all wrong. Once she's into the English, though, she's home.

The other songs get typical Carter treatments, somehow managing to be both lush and lean. Unable or unwilling to try for the explosive dynamic contrasts and fiendish tempos that were once her forte, she has streamlined her phrasing, taking her playful way with rhythmic tricks to a calmer level and proving yet again her unwillingness to sing anybody's standard licks but her own. For me the high point of the CD is the title tune, a new one she co-wrote with bassist Curtis Lundy. It's a slow, lyrical scat vehicle, sung in a way that is casual, but casually intense, like a dream, to an accompaniment that starts with a simple cadence and gradually opens up. Before it fades out after almost ten minutes, Carter eases into a couplet from "What's New": "We haven't met since then/Gee, but it's nice to see you again." It's different, surprisingly moving, but wholly unsentimental. That's Betty for you.

Al Grey & Jesper Thilo Quintet - Al Grey & Jesper Thilo Quintet (1987)
EAC | FLAC+CUE+LOG+Artwork -> 310 Mb
Storyville Records/STCD 4136
Bop | Trombone Jazz
Many thanks to my friend, Oceandrop


Descripstion

This studio session in which the great swing trombonist Al Grey leads a fine quintet through a set of mostly standards is exactly what journalist Eddie Cook calls "Happy Jazz" in the liner notes. Grey is right at home with tunes such as "God Bless the Child," "The Girl From Ipanema," and "A Night in Tunisia." The surprise of the session is "On the Sunny Side of the Street," which is played at a slow though compelling pace. Grey came to favor the tenor-bone front line in his small groups, and the Dane, saxophonist Jesper Thilo, does a commendable job as his partner. Thilo's thick, rich tone recalls Coleman Hawkins, a perfect foil to the trombonist's brash, brassy sound. While Grey's best work was performed as a big-band sideman, both with Dizzy Gillespie and Count Basie, his excellent solo work here and in other intimate settings is nonetheless an important part of his discography. His unique tone and style are in full bloom, and this recording should appeal to anyone who enjoys the sound of the jazz trombone in a joyous, no frills, and straight-ahead role.

Antonio Carlos Jobim - Verve Jazz Masters 13 (1994)
EAC | FLAC+CUE+LOG+Artwork -> 320 Mb
Verve/Polygram Records
Bossa Nova | Latin Jazz | World Fusion
Many thanks to my friend, Oceandrop


Descripstion

13th of the Verve Jazz Masters series. Great Jobim's compositions, performed by; Stan Getz, Joao Gilberto, Tommy Williams, Milton Banana, Astrud Gilberto, Claus Ogerman's orchestra, Jimmy Cleveland, Leo Wright, Luiz Bonfa, George Duvivier, Jose Carlos, Paolo Fereira, Maria Toledo, Elis Regina, Cesar Camargo Mariano, Helio Delmiro, Oscar Castro Neves, Luizao Maia, Paolo Braga, Danilo Caymmi, Paul Jobim, Jacques Morelenbaum, Sebastiao Neto, Maucha Adnet, Simone Caymmi, Ana Lontra Jobim, Elizabeth Jobim, Paul Morelenbaum, Cesar Camargo Mariano, Bill Hitchcock, Ohana Braga, and Jobim himself. This compilation includes one nice standard from Gershwin brothers; "Fascinating Rhythm".

Compilation selected and sequenced by, Gene Lees.

Abdullah Ibrahim - Cape Town Flowers (1997)
EAC | FLAC+CUE+LOG+Artwork -> 290 Mb
Tip Toe / Enja Records | Catalog#: TIP-888-826-2
African Jazz | Post-Bop | World Fusion
Many thanks to my friend, Oceandrop


Descripstion

Cape Town Flowers is an enchanting effort from Abdullah Ibrahim, finding the pianist in a trio setting performing 11 original compositions. With the exception of the nine-minute title track and "Monk In Harlem," most of the album's songs clock in at under five minutes, many under four. Each of the pieces is understated, lovely, and nearly dreamlike. The length of the tracks may make Cape Town Flowers seem like a slight record, but the truth is, that very brevity and the way the songs form a sonic tapestry is exactly what makes the record a modest gem.

Bill Frisell - Rambler (1985)
EAC | FLAC+CUE+LOG+Artwork -> 255 Mb
© 2008 ECM Records 1287
Modern Creative | Post-Bop | Guitar Jazz
Many thanks to mishka1981


Descripstion

Guitarist Bill Frisell has always had an ear for unusual tonal colors, and they're particularly strong on this 1984 recording, an early and enduring document of a major musician's work. There's a distinctive emphasis on brass and the lowest registers, with Kenny Wheeler on trumpet and flügelhorn, Bob Stewart on tuba, and Jerome Harris on electric bass; drummer Paul Motian completes the quintet. The thick, bass-heavy textures and contrasting layers of sound give the music an almost orchestral quality, while Frisell and Wheeler's shared love of pitch bending sometimes gives the eerie sense of funhouse mirrors, a dream of sonic and temporal distortion. "Rambler" is a mirthful echo of mariachi music, "Music I Heard" is propelled by unlikely allusions to march rhythms, and "Resistor" has some of Frisell's most animated playing on disc, his guitar synth creating a Pandora's box of unexpected sounds and twisting, mercurial lines.

Vocalist Karrin Allyson stretches herself during this diverse set. A superior jazz singer, Allyson scats quite well during "It Could Happen to You/Fried Bananas" and "Cherokee," sings lyrics in English, French ("Autumn Leaves") and Italian, interprets some fairly current pop tunes, is touching on Thelonious Monk's "Ask Me Now" and is quite memorable on "Joy Spring" and "All of You." With assistance from her fine Kansas City-based rhythm section (led by pianist Paul Smith) and with some worthy guests (including altoist Kim Park, violinist Claude Williams and flugelhornist Mike Metheny), Karrin Allyson shows just how versatile and talented a singer she is. Recommended.

I've been a Katie Melua fan for a while now. I have to say, this is my favorite of her 3 full studio albums. Technically, this is not a new Katie Melua album, but it's new to the States. Kudos to her record company for putting it out here and at such a low price. It's so much better than having to plunk down extra money for the import. Katie Melua is an artist with longevity - her UK career proves that. Pictures is the next chapter in what will be a long journey for a very talented and gifted artist.

Sarah Vaughan - I Love Brazil! (1977)
EAC | FLAC+CUE+LOG+Full Artwork -> 309 Mb
© 1994 Pablo
Vocal Jazz
Many thanks to dominic7018


Descripstion

Sarah Vaughan's recordings during the last phase of her magnificent career weren't always up to her usual standards, but this late-'70s set focusing on Brazilian music was a superb exception. Vaughan sounded as delightful and glorious as ever doing songs by legendary composers Antonio Carlos Jobim and Milton Nascimento and newer voices like Dorival Caymmi, Oscar Castro Neves and Eumir Deodato, among many others. The backing and rhythms weren't Americanized pap, but an accurate reflection of contemporary Brazil's sounds at the time. The CD adds two bonus tracks that weren't on the original, giving listeners the full results of what proved to be one of the great Sarah Vaughan's final studio triumphs.

Max Roach - Percussion Bitter Sweet (1961)
EAC | FLAC+CUE+LOG+Full Artwork -> 277 Mb
© 1993 Impulse GRP GRD-122
Hard Bop | Post-Bop
Many thanks to Obelix, OR


Descripstion

Percussion Bitter Sweet is the most compelling, varied, dynamic snapshot of Max Roach's post-Clifford Brown ensembles. It features the doomed young genius Booker Little on trumpet, the innovative Eric Dolphy on alto and bass clarinet, Clifford Jordan on tenor, Julian Priester on trombone, Mal Waldron on piano and Art Davis on bass. Roach is never content just to mark time. Instead, his drums essay complex metric and polyrhythmic devices, while suggesting keyboard-like counterpoint and melodic motifs, as Davis goads him on with stately walking bass lines. But what makes Percussion Bitter Sweet such a rich, enduring recital is the drummer's colorful use of Afro-Cuban percussion and voice as a powerful multicultural subtext, celebrating the struggles and triumphs of Africans and African Americans (circa 1960) from Harlem (the celebratory "Garvey's Ghost") to Capetown ("Man from South Africa"). Little's darting filigree on the hard-swinging "Mama" is indicative of his breakthroughs in harmony and phrasing, while Dolphy's glorious, airborne flute, fulminating bass clarinet, and torchy, enraged alto enliven the waltzing "Tender Warriors" and the sardonic "Mendacity." On the latter, vocalist Abbey Lincoln's sassy, theatrical phrasing drips bluesy sarcasm in her spanking of a hypocritical racist establishment, setting the stage for Roach's furious, ritualistic rhythmic exorcism. Inspiring stuff.

Sarah Lois Vaughan was an American jazz singer, described by Scott Yanow as having "one of the most wondrous voices of the 20th century". She had a contralto vocal range. Nicknamed "Sailor" (for her salty speech), "Sassy" and "The Divine One", Sarah Vaughan was a Grammy Award winner. The National Endowment for the Arts bestowed upon her its "highest honor in jazz", the NEA Jazz Masters Award, in 1989.

This is the first Peggy Lee CD I bought first I ever heard, and I truly love her voice. The choice of songs is very eclectic. I love the ballads, but the few songs with back-up singers really date the music and spoil their entry into the "timeless" category. Peggy Lee sings free and easy, with a warm tone that really pleases in the ballads. I have taken to calling the guy I'm dating a "handsome brute", because the way she uses that expression in "Please Don't Rush Me" gives me the grins. I think I had rather picked a different album to introduce me to Miss Lee, however. These songs are, after all, the rare gems, and I'd like to experience the albums my parents listened to when they were courting! ~Amazon.com~

Susannah established a reputation for singing songs from the Great American Songbook in her own way. This is never more evident than on this collection of songs written by Cole Porter. Of course, the first thing you notice is the song selection - a typical mix of famous and obscure. It would have been interesting to hear Susannah sing I get a kick out of you, to name one of many obvious songs not included, but instead we get Weren't we fools and Why don't we try staying home - two very obscure but delightful songs that I'd never heard before.

Ella Fitzgerald & Louis Armstrong — Autumn In New York (2008)
EAC | FLAC+CUE+LOG+Full Artwork -> 394 Mb
© 2008 Top Music International (UD-SACD8933-2)
Vocal Jazz
Many thanks to Oceandrop


Descripstion

There have been many great Jazz/Soul/Pop collaborations over the decades, like Marvin Gaye & Tammi Terrell, Otis Redding & Carla Thomas, Roberta Flack & Donnie Hathaway, not to mention other one-time duets or duet albums, but before all of them, the first such match made in music heaven was Ella Fitzgerald and Louis Armstrong. She, one of the greatest vocalists of her or any generation, he, a genius musician with a distinct voice like no other and both, groundbreaking innovators and superior artists who paved the way for the worldwide music industry and continue to be two of its greatest giants. Autumn In New York is a new Super Audio CD release of their work together and as usual, it has so much chemistry, joy and smoothness that we will never hear the likes of it or them again.

Lage Lund - Early Songs (2008)
EAC | FLAC+CUE+LOG+Full Artwork -> 372 Mb
© 2008 Criss Cross Jazz 1307
Jazz Straightahead | Mainstream | Guitar Jazz
Many thanks to pajamadeus


Descripstion

Never judge a book (or jazz recording) by its cover, as the inconspicuous album portrait of Lage Lund's Early Songs is little indication of the music's impressive content. From Norway, Lund resides in New York and has performed within traditional boundaries (Mingus Big Band , Wynton Marsalis, Ron Carter) and newly progressive terrains (Jaleel Shaw , Seamus Blake, and David Sanchez). The winner of 2005's Thelonious Monk International Jazz Guitar Competition, Lund's guitar acumen is informed of Pat Metheny, Pat Martino and other greats. Yet, he seeks his own path, as heard in the new breed of jazz guitarists such as Miles Okazaki and Mike Moreno.

This debut on Criss Cross is a good introduction to Lund's tonality and confidence that is well beyond his youth with a mix of originals and standards showing a range of stylistic impressions. Whether it's the progressive "Scrapyard Orchestra," gentle swing on "Poppy" or the crisp remake of Bud Powell's "Celia," the music is immaculate and cohesively delivered by an impressive lineup of jazz contemporaries.

Marcus Strickland 's musical rapport with Lund was witnessed on Strickland's Twi-Life (Strick Muzik, 2006). The saxophonist's vigorous tenor has its usual luster but his soprano also radiates on "About the World in a Bottle" and "Vonnegut," a wicked snaking piece that is one of the recording's highlights. Orlando Le Fleming and Kendrick Scott (bass and drums, respectively) are the rhythmic center, while pianist Danny Grissett is another name to watch as attested by his fantastic solo on Cole Porter's "You Do Something To Me" where Scott's drumming is also quite memorable.

Lund's playing is pristine on "Quiet Now" showing his acute deference for ballads—each note, chord, and movement is melodious. The recording closes with sophistication on "The Incredibly Profound Song." It personifies the auspicious recording to an ironic point. No earth shattering revelation or hyperbolic self indulgence; just some seriously intelligent and appealing music from an unpretentious yet exceptional musician.

Baguettes Ensemble - The Vocaloid Jazz Sessions Vol.1 (2010)
EAC | APE+no CUE+no LOG+Artwork -> 390 Mb
Contemporary Jazz

Susannah McCorkle - No More Blues (1989)

Norma Winstone - Stories Yet To Tell (2010)
EAC | FLAC+CUE+LOG+Full Artwork -> 307 Mb
© 2010 ECM 2158
Female Vocal
Many thanks to deepofrain, AneL


Descripstion

Distances (ECM, 2008) wasn't British vocalist Norma Winstone 's first release to feature her current trio of reedman Klaus Gesing and pianist Glauco Venier, but with ECM Records' greater exposure and reputation, it was the first to reach a broader international audience. With Distance a largely lyric-based alternative to Winstone's always lovely wordless vocals on Chamber Music (Universal, 2004), Stories Yet to Tell is a worthy successor to both, with even greater emphasis on Winstone the lyricist—she contributes to eight of its twelve songs—making it an even more personal collection than either this trio's past releases or the hushed beauty of her 1987 ECM debut as a leader, Somewhere Called Home.

Like Distances, Stories Yet to Tell doesn't entirely desert Winstone's warm and enticing approach to wordless vocals—a style she's evolved since the mid-'70s and work with Azimuth, the groundbreaking trio with trumpeter Kenny Wheeler} and pianist {{John Taylor. Rather than scatting on top of a group of accompanists, Winstone's less-dominant—and, for that matter, less-is-more— approach integrates more seamlessly; a partner, rather than a leader. Her name may be on the marquee here, but it's clear that this is a trio of equals, with Venier and Gesing providing plenty of compositional support as well as instrumentation as soft and understated as Winstone's own voice and delivery.

Three of the four songs not featuring Wintone's lyrics are instrumentals. Arranged by Venier and recording engineer Amerio Stefano, they range from a buoyant reimagining of the pentatonic Friulian folk song," Lipe Rosiže," where Winstone's voice and Gesing's soprano sax meld effortlessly in its magnetic intro, to a pensive adaptation of a 13th century troubadour song. Their imaginative look at 16th century Italian composer Giorgio Mainerio's memorably melodic "Ballo Furlano"—where Gesing's deep lyricism and rhythmic propulsion underscore Venier's intrinsic classicism and Winstone's weaving economy—feels, somehow, like an early touchstone for Ralph Towner and Oregon.

When Winstone turns to lyrics, her approach is similar: her understatement and refreshingly non-melismatic selflessness all about the essence of the song—and, paradoxically, by doing nothing overt to draw attention to herself, doing exactly so. An influence on more than one generation of singers, Winstone's three songs co-written with Gesing are particularly impressive, especially the dark-hued "Sisyphus," where the trio's interpretive ability to flex time is at its most empathic. Winstone also adds lyrics to instrumental music from jazz icon Wayne Shorter and Armenian composer Komitas, whose gently insistent "Cradle Song (Hoy Nazan)" may be familiar to fans of Kim Kashkashian 's Hayran (ECM, 2003); Winstone's voice, however, is considerably more alluring than pianist/composer Tigran Mansurian's rough-edged delivery on the violist's New Series date.

As Winstone moves ever farther from the Great American Songbook—her one nod, an achingly beautiful version of Caymmi/Motta/Bergman's "Like a Lover"— it's certain that, with band mates as sympathetic as Gesing and Venier, there's precious little she can't do. Stories Yet to Tell could be the pithy mission statement for this sublime trio, as it continues to mine a breadth of external sources, filtered through its own softly refracting internal prism.

Hadouk Trio - Air Hadouk (2010)
EAC | WAVPACK+CUE+LOG+Full Artwork -> 379 Mb
© 2010 Naïve NJ620611
Ethnic Jazz | Contemporary Jazz


Descripstion

This is a 2009 studio recording from the French/American Hadouk Trio who play jazz on unusual folk instruments. The album is conceived of as a set of 13 flights of fancy on a metaphorical airline "Air Hadouk" or "AH" with each tune listed on the back cover as a flight number on an electronic departures board. Your pilots, Loy Ehrlich, Didier Malherbe, and Steve Shehan, deliver charming and inventive music in 12 originals and one Thelonious Monk tune ("Friday the 13th"). This album sounds a bit funkier to my ears than the other Hadouk Trio albums I have, Shamanimal and Baldamore. I also think that Loy Ehrlich might be using some electronic keyboards on some tunes, although this is not indicated in the CD booklet.

Fans of Herman Melville might be interested in knowing that 3 tunes are named after characters ("Babbalanja", "Yillah", and "Dididi") from his first novel "Mardi".

Steve Dobrogosz & Anna Christoffersson - Covers (2010)
EAC | FLAC+CUE+LOG+No Scan -> 296 Mb
Vocal Jazz

David Binney - Aliso (2010)
EAC | FLAC+CUE+LOG+Full Artwork -> 466 Mb
© 2010 Criss Cross Jazz 1322
Modern Creative
Many thanks to tdelyon, jhardy


Descripstion

What David Binney has termed an old-school-type blowing session project, the acclaimed alto saxophonist presents perhaps his most straight-ahead, mainstream jazz album. It's certainly not without angular melodies or forward-thinking notions, especially considering Binney is teamed with fusion guitarist Wayne Krantz, but the tandem melody lines they form are consistently accessible and easy to enjoy. Pianist Jacob Sacks plays on the majority of these tracks (with Jon Escreet on the others,) as his reputation is steadily emerging as one of the top-drawer and sought-after sidemen, with leadership in his not-too-distant future. Binney himself has one of the most distinctive sounds on his instrument, balancing the sweet and sour aspects of his horn together with Krantz on the light-funk title track, and heavier "Bar Life" which recalls his previous and brilliant album South in collaboration with Chris Potter. Fresh covers of Thelonious Monk's "Think of One," Wayne Shorter's "Toy Tune" or "Teru," the exceptional hard bop version of the Sam Rivers-penned "Fuchsia Swing Song," and a lengthy adaptation of John Coltrane's massive "Africa" all show Binney's ability to broaden his appeal without compromising his vision. His alto on the latter selection where 'Trane's tenor was, gives pause to Binney's daring spirit that seems limitless. It's another exceptional effort in the career of a musical artist deserving of all accolades.

Blue Mitchell - The Thing To Do (1964)
EAC | APE+CUE+LOG+Full Artwork -> 265 Mb
© 2003 Blue Note RVG Edition
Hard Bop | Trumpet Jazz


Descripstion

This Blue Mitchell date is a classic, particularly the opening "Fungii Mama," which is really catchy. The trumpeter's quintet of the period (which includes tenor saxophonist Junior Cook, the young pianist Chick Corea, bassist Gene Taylor, and drummer Al Foster) also performs two Jimmy Heath tunes and a song apiece by Joe Henderson ("Step Lightly") and Corea. The record is prime Blue Note hard bop, containing inventive tunes, meaningful solos, and an enthusiastic but tight feel. Highly recommended.

Jimmy Smith and Wes Montgomery - Further Adventures of Jimmy and Wes (1966)
EAC | FLAC+CUE+LOG+Artwork -> 180 Mb
© 2004 Verve 60th Aniversary Mini-LP, UCCV 9193
Hard Bop | Soul Jazz


Descripstion

Further Adventures of Jimmy and Wes picks up where Dynamic Duo left off, digging a little further into the one-time-only Wes Montgomery/Jimmy Smith sessions and coming up with more fine music -- mellower in general than Dynamic Duo but first-class nonetheless. Unlike most of the studio sessions from this time, Montgomery gets plenty of room for his single-string work as well as his famous octaves, and both techniques find him in full, mature bloom, needing fewer notes in which to say more (Smith, of course, is precisely the opposite). All but one of the tracks on the original LP find Smith and Montgomery interacting only with themselves, the drums of Grady Tate, and the congas of Ray Barretto; Roger Miller's "King of the Road" (not often covered by jazzers) and Montgomery's "O.G.D." (later known as "Road Song") come off best. Oliver Nelson's big band makes a sole appearance with a swaggering chart of "Milestones." Though Dynamic Duo is probably the priority purchase by a hairsbreadth margin, you'll need to have both that album and Further Adventures eventually.

Jimmy Smith and Wes Montgomery - The Dynamic Duo (1966)
EAC | FLAC+CUE+LOG+Full Artwork -> 270 Mb
© 1997 Verve Master Edition 314521445-2
Hard Bop | Jazz-Funk | Soul Jazz | Crossover Jazz


Descripstion

Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary -- a near-ideal meeting of yin and yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair, complementing each other, driving each other, using their bop and blues taproots to fuse together a sound. The romping, aggressive big band charts -- Oliver Nelson at his best -- on "Down by the Riverside" and "Night Train," and the pungently haunting chart for Gary McFarland's "13" (Death March)" still leave plenty of room for the soloists to stretch out. "James and Wes" and "Baby, It's Cold Outside" include drummer Grady Tate and conguero Ray Barretto, with Smith's own feet working the organ pedals. The Verve Master Edition reissue also includes an alternate take of "O.G.D." with Tate and Barretto, a track previously surfacing on a long-gone Encyclopedia of Jazz anthology LP from the '60s -- a neat bonus that makes this the preferred version.

Lage Lund - Unlikely Stories (2010)
EAC | FLAC+CUE+LOG+Full Artwork -> 358 Mb
© 2010 Criss Cross Jazz 1321
Hard Bop | Trumpet Jazz
Many thanks to tdelyon, marksman


Descripstion

It is a great pleasure to watch the evolution of a musician—to witness the synthesis and refinement of ideas. And so it has been the case with Norwegian-born guitarist Lage Lund —who, in three short years of recording as a leader, has arrived at a new creative plateau.

Lund's first two recordings, Standards (Self Produced, 2007), and Early Songs (Criss Cross, 2008), displayed the guitarist's uniquely current sense of swing, and considerable technique. They cemented his burgeoning reputation as a force on the instrument and as a worthy interpreter of the jazz tradition. Unlikely Stories, however, comprised entirely of original compositions, finds the guitarist reinvented. While Lund remains a muscular improviser, he has pared down his concept to better suit his compositional style, eschewing much of the traditional jazz vocabulary for more personal and more provocative sounds.

On this album, Lund's writing instantly demonstrates the ability to make compelling new music without ignoring precedent. On one hand, Unlikely Stories, like the majority of contemporary New York jazz, shows a thorough absorption of Wayne Shorter and Herbie Hancock, among other figures in the jazz pantheon of the 1960s. On the other hand, it is clear that Lund is searching for new sounds. Admirably, the composer never allows odd meter, advanced harmony, or pyrotechnics to do anything other than contribute to the music.

As for the band, Lund works in a quartet setting, joined by pianist Edward Simon, bassist Ben Street and drummer Bill Stewart. Simon's moody, sometimes terse accompaniment is an appropriate foil for the guitarist's soaring, feverish improvisations. Street and Stewart's rhythmic backdrop, at once spacious and intense, punctuates Lund's exotic melodies. It is apparent from the first few bars of "Swagger," the album's first track, that Lund has set out to make a truly contemporary statement as a bandleader.

What is so striking about this album is that the music is neither overwritten nor overplayed. Lund has composed compelling, distinctively modern music to be played by a thoughtful ensemble. In an era of jazz's history where virtuosity is often prized at the expense of musicality, it is reassuring to hear a recording such as this.

Blue Mitchell - Big 6 (1958)
EAC | FLAC+CUE+LOG+Full Artwork -> 226 Mb
© 1991 Riverside OJCCD-615-2
Hard Bop | Trumpet Jazz
Many thanks to mishka1981


Descripstion

Trumpeter Blue Mitchell was a virtual unknown when he recorded this Riverside album, his first as a leader. Now reissued on CD in the OJC series, Mitchell is heard in excellent form in an all-star sextet with trombonist Curtis Fuller, tenor great Johnny Griffin, pianist Wynton Kelly, bassist Wilbur Ware, and drummer Philly Joe Jones. In addition to some group originals, obscurities, and the standard "There Will Never Be Another You," the group also plays the earliest recorded version of Benny Golson's "Blues March," predating Art Blakey's famous recording.

Blue Mitchell - Blue Soul (1959)
EAC | FLAC+CUE+LOG+Full Artwork -> 320 Mb
© 2008 Riverside RCD-30508
Hard Bop | Trumpet Jazz
Many thanks to fiks22


Descripstion

Trumpeter Blue Mitchell left his home in Miami for a short stint in New York City, headed back to Florida, and then to Los Angeles before his brief but vital career as a jazz trumpeter ended. This sojourn identified his sound, initially branded by the warmth of the Southeast, burnished by the hustle and bustle of the Big Apple, and polished by the West Coast cool school demeanor. In 1959, as Mitchell returned to Miami, he connected with Detroit trombonist Curtis Fuller and Philadelphia tenor saxophonist Jimmy Heath to form one of the most potent three-horn front lines in jazz history. Few knew how good they were until after the fact, but this recording, the third album for Mitchell as a leader, has him and his mates in full flight. Drummer Philly Joe Jones has a lot to do with the solid booster rocket-like propulsion on this primarily hard bop date, and check out his calypso variations on the second chorus of the otherwise easy blues swing and ultra melodic "Waverley Street." Credit Mitchell's street smarts and highly developed melodic inventiveness as the focal point for this definitive session. In many ways, this is a parallel album to the Miles Davis classic Kind of Blue, with subtle undertones driven by fourth-gear swing. The CD kicks off with the famous "Minor Vamp," of which Fuller's original take for the Savoy label has been remixed and layered, and is heard in the acid jazz dancehalls. It's a familiar sparse line, a two-note vamp tacked onto a lithe, perky melody that needs no critique -- it's simply great! More concisely rendered hard bop follows on "The Head," not complex by any means, but filled with plenty o' soul. The hardest line crops up during "Top Shelf," featuring a memorable, cutting, precise solo by Heath. Fuller and Heath lay out so you can hear in full dimension the cozy and warm persona of Mitchell on the ballad "Park Avenue Petite," but especially on the bright, easy swinger "Blue Soul," which most accurately approaches Kind of Blue. In tribute to his then boss, Horace Silver, "Nica's Dream" features Mitchell's muted trumpet over an underlying fresh bed of trombone and tenor sax. Even more so, Mitchell's deep blue horn shines on the standard "Polka Dots and Moonbeams," an organ of sheer beauty and one to be studied for those who need to learn that playing fewer notes more musically is an admirable quality. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans.

Jennifer Zarine - Fresh Made Cuppa Tea (2010)
XLD Rip | FLAC+CUE+LOG+No Scan -> 259 Mb
Vocal Jazz


Descripstion

A seizure of nostalgia has gripped the jazz vocals community and shows no evidence of abating. Retta Christie continues her excellent survey of obscure cowboy movie tunes with Dave Frishberg. Lawrence Lebo strips the American musical vernacular to the quick in her three volume series, and Jennifer Zarine successfully mashes up 75 years of Americana with prewar Berlin Cabaret.

Fresh Made Cuppa Tea is very familiar, but completely lacking that sepia- toned attic smell; rather, these songs are crisp like a Spring strawberry bursting on the roof of your mouth. Driven by an eclectic sextet that includes a cello and occasional accordion, Zarine's repertoire is coolly sleek and hip.

Following Art Pepper's sage advice to never start a show with a ballad, Zarine kicks things off with a little-big band expression of the DeLugg-Stein chestnut "Orange Colored Sky." That and Gorney-Clare's "You're My Thrill," Charles Chaplin's "Smile" (coupled with the Leonard-Martin "I'm All Smiles"), and the Styne-Robin "Bye- Bye Baby" are what pass for standards here, each fresh scrubbed and bubbly. "Something Cool" is splendidly sultry and becoming.

But, it is the out-of-the-way selections that steal the show. Smokey Robinson's "The Way You Do The Things You Do" is Linda Ronstadt-smart and Elton John's "I Need You to Turn To" is the disc highlight. Great fun is the francophonic "Boum," a song truly summoning the spirit of the Berlin Cabaret, Red Wierenga's accordion adding that Lawrence Welk authenticity to the whole affair. Eric Lindberg's Hot Club guitar completes the underground laudanum dream.

"Paint it Black" is the breakout song of the disc. Take the Berlin paradigm into the 21st Century, add the beat of Sonny Rollins' "I'm Old Cowhand" as manifested in Josh Rutner divining Sidney Bechet on the tenor saxophone, and the idea might begin to become clear. This release should not be treated as a gimmick disc. Jennifer Zarine is the real deal.

Don Ellis - Live At Montreux (1978)
EAC | FLAC+CUE+LOG+Full Artwork -> 493 Mb
© 2002 Koch Jazz KOC CD-51410
Avant-Garde Jazz | Post-Bop | Trumpet Jazz
Many thanks to Obelix, OR


Descripstion

Don Ellis' final record as a leader (he passed away from a bad heart in Dec. 1978) is a worthwhile effort. Ellis' large orchestra (four reeds, eight brass, one keyboard, two bassists, two drummers, two percussionists and a string quartet) performs six of the leader's originals and, although none of the songs are all that memorable, there are many fine solos. The main players are trumpeter Ellis, Ted Nash on tenor, alto and clarient and trombonist Alan Kaplan.

Don Byron - Do the Boomerang: The Music of Junior Walker (2006)
EAC | FLAC+CUE+LOG+Full Artwork -> 375 Mb
© 2006 Blue Note 0946 3 41094 2 0
Post-Bop | Contemporary Jazz | Modal Music
Many thanks to Obelix, OR


Descripstion

Anybody interested in Don Byron gets his range, and his willingness to try almost anything that tickles his fancy, whether it be klezmer, swing, funk, out jazz, blues or funky soul. He explores and leaves his mark on something and moves on. From Music for Six Musicians and Tuskegee Experiments to Nu Blaxploitation and Bug Music, from Fine Line: Arias and Lieder and Plays the Music of Mickey Katz to Ivey-Divey, Byron has explored -- not usually reverently -- his inspirations and curiosities with mixed results, but it's the investigation that counts for him in the first place. Do the Boomerang: The Music of Junior Walker is a curious outing in that Walker didn't always write his own material, but he wrote enough of it (five cuts on this set) and, like Byron, put an indelible stamp on anything he took on, from singing to blowing the saxophone. Byron assembled a dream band for this offering that includes guitarist David Gilmore, B-3 organist George Colligan, drummer Rodney Jones and bassist Brad Jones as the core group. The guests who augment the proceedings are Curtis Fowlkes, Chris Thomas King and Dean Bowman. Is the music reverent? Nope; but it's totally recognizable as Walker's. Byron doesn't set out to re-create anything exactly. His concern is for that thing he can't put his finger on, and discovering the place where the magic happens. But this is no academic set of Walker tunes, it's funky, it swings, and the grooves are deep and wide. Walker was a killer vocalist and Byron enlisted bluesman King on four cuts (he plays guitar on a pair as well) and Bowman. The set begins on a late-night smoky groove with "Cleo's Mood," the B-3 carries it in with Gilmore's guitar playing in the gaps before the tune's melody slithers to the fore with Byron and Bowman, and from here it's the blues as read through post-bop, soul-jazz, and the ghost of Leon Thomas through Bowman's vocal solo that sounds right at home here. Byron is in the pocket with this band. They aren't reaching for margins, but exploring how much was in Walker's music to begin with, there are traces of many things in the tune, and Byron finds them all. Digging into the classic "Shotgun," King's vocal delivery on the title track struts and steps to Byron's clarinet floating in the boundaries as Colligan's B-3 and Gilmore's meaty guitar heighten the groove to the breaking point. On "Shotgun," Byron plays it close to home and King's vocal is brilliant. This, like the title cut, is a dance tune on par with James Brown's; the lyrics are particularly compelling for the times we live in. Walker acknowledged the influence James Brown had on him readily and on "There It Is," both Bowman and King pump themselves to front this band that is so greasy and nasty one would never know that this is Byron's group. This joint burns the house down, baby! While there isn't a dud in the set, other big standouts include "Satan's Blues," "Pucker Up, Buttercup," and the ballad "What Does It Take (To Win Your Love.)" Here the bass clarinet is distracting for a moment, but transposing the opening saxophone part and letting King and Gilmore play sweet and slow lays a fine ground for both the hypnotic B-3 chart and King's lonesome vocal. Byron uses clipped, right phrasing with the airiness of his horn, solos around the fringes of the tune, and brings it back inside and underscores the fact that this is a soul tune. King's vocal could have been a bit tougher and leaner, but that's a really small complaint. Ending the set on Holland-Dozier-Holland's "Roadrunner" takes it out on a honking high point. Byron's done justice not only to Walker here, but to his Muse and to the grand tradition of funky jazz records on Blue Note -- hopefully they'll get it in the A&R department and bring the groove back wholesale. This baby is a smoking slab of greasy soul with a jazzman's sense of adventure.

Blue Mitchell - Plays for Lovers (1963)
EAC | APE+CUE+LOG+Full Artwork -> 336 Mb
© 2003 Riverside RCD-6021-2
Hard Bop | Trumpet Jazz
Many thanks to zakukak


Descripstion

In the '60s, Prestige launched its Plays for Lovers series with LPs by Miles Davis, John Coltrane, and others. The concept was jazz as romantic mood music -- collections of previously released material that are dominated by ballads and emphasize a player's more lyrical side. Fantasy has long since acquired the Prestige catalog, and in the 2000s, it helped keep the Plays for Lovers concept alive -- not only with Prestige recordings, but also with recordings from the Fantasy-owned catalogs of Riverside, Contemporary, and other labels. The Blue Mitchell Plays for Lovers collection, in fact, doesn't contain a single Prestige recording; all of the material originally came out on Riverside. In 2003, the late Mitchell was an obvious choice for a Plays for Lovers release because the Clifford Brown-influenced trumpeter was, quite simply, a superb ballad player. He had no problem swinging aggressively at a fast tempo, but he was equally skillful when it came to ballads -- a fact that is obvious on Blue Mitchell Plays for Lovers, which spans 1958-1962 and finds him playing quite soulfully on "I Can't Get Started," "Polka Dots and Moonbeams," and other famous Tin Pan Alley standards. Not everything on the 61-minute CD is a ballad; Cedar Walton's "Turquoise" is a moody, dusky post-bop offering that is played at a medium tempo. The tune's appealing melody bears a slight resemblance to the standard "You Don't Know What Love Is," and even though "Turquoise" is faster than any of the other selections, it doesn't really disrupt the overall mood and ambiance -- it's a momentary diversion but not an outright disruption. Besides, the Plays for Lovers series was meant to be ballad-heavy but not ballad-exclusive; being dominated by ballads isn't the same as excluding medium-tempo material altogether. And when all is said and done, Blue Mitchell Plays for Lovers lives up its title.

Cannonball Adderley - Radio Nights (1991)
EAC | FLAC+CUE+LOG+Full Artwork -> 441 Mb
© 1991 Night Records VNCD 2
Hard Bop | Soul Jazz
Many thanks to Obelix, OR


Descripstion

This CD contains private recordings of Cannonball Adderley's groups during 1967-68 playing at the Half Note in New York City. The music is quite worthy with altoist Cannonball Adderley featured in a quartet setting on "Stars Fell on Alabama," performing three songs with his quintet (including "Fiddler on the Roof" ) and playing three other pieces (highlighted by "Work Song" and "Unit Seven" ) with the sextet he had that featured Charles Lloyd on tenor. This music is generally superior to Adderley's commercial Capitol recordings of the period..

Art Farmer, Benny Golson - Meet the Jazztet (1960)
EAC | FLAC+CUE+LOG+No Scan -> 268 Mb
© 2003 Argo UCCU-5053
Cool | Hard Bop | Post-Bop
Many thanks to Obelix, OR


Descripstion

Although this CD has the same program as the original LP, it gets the highest rating because it is a hard bop classic. Not only does it include superior solos from trumpeter Art Farmer, trombonist Curtis Fuller, tenor saxophonist Benny Golson, and pianist McCoy Tyner (who was making his recording debut) along with fine backup from bassist Addison Farmer and drummer Lex Humphries, but it features the writing of Golson. Highlights include the original version of "Killer Joe" along with early renditions of "I Remember Clifford" and "Blues March." This was Fuller and Tyner's only recording with the original Jazztet, and all ten selections (which also include "Serenata," "It Ain't Necessarily So," "It's All Right With Me," and "Easy Living") are quite memorable.

Freddie Hubbard - Ready For Freddie (1961)
EAC | FLAC+CUE+LOG+Full Artwork -> 342 Mb
© 1993 Blue Note TOCJ 4085
Hard Bop | Trumpet Jazz
Many thanks to Obelix, OR


Descripstion

Trumpeter Freddie Hubbard really came into his own during this Blue Note session, Ready for Freddie. He is matched with quite an all-star group (tenor saxophonist Wayne Shorter, pianist McCoy Tyner, bassist Art Davis, and drummer Elvin Jones in addition to Bernard McKinney on euphonium), introduces two of his finest compositions ("Birdlike" and "Crisis" ), and is quite lyrical on his ballad feature, "Weaver of Dreams." Hubbard's sidemen all play up to par and this memorable session is highly recommended; it's one of the trumpeter's most rewarding Blue Note albums.

Horace Silver — Paris Blues (1962)
EAC | FLAC+CUE+LOG+Full Artwork -> 212 Mb
© 2002 Pablo PACD-5316-2
Hard-Bop
Many thanks to De_Metrio


Descripstion

This is the classic Horace Silver Quintet. It existed and recorded here while Miles was between his two great quintets, just before Art Blakey recorded Caravan with Curtis Fuller and Wayne Shorter, and while John Coltrane was assembling his classic quartet. This concert takes place almost half way between Finger Poppin' With the Horace Silver Quintet and Song for My Father. In essence, this is hard bop reaching perfection, neither al dente nor over-cooked. All of the songs are lengthy Silver compositions.

With all cuts clocking in over ten minutes ("Sayonara Blues" stretches out to sixteen minutes), all of the musicians have ample time to say what must be said. Blue Mitchell and Junior Cook are in top form, blowing their potent mixture of smoky blues and pungent funk. Tart as a lemon and strong as a Manhattan, Mitchell proves himself more than a minor prophet in the scripture of hard bop. The same can be said of Cook, whose full-throated tone melds perfectly with Silver and Mitchell on this fall night in the City of Lights. Silver is brilliant in his leadership and performance, as is his rhythm support in Gene Taylor and Roy Brooks .

When previously asked to define hard bop, I would have steered the query toward Art Blakey and the Jazz Messengers' Moanin'. Now I will suggest Paris Blues.

Blue Mitchell — Out Of The Blue (1958)
EAC | FLAC+CUE+LOG+Full Artwork -> 311 Mb
© 1991 Riverside OJCCD-667-2
Hard Bop | Trumpet Jazz
Many thanks to durmoll


Descripstion

This early recording by Blue Mitchell finds the distinctive trumpeter in excellent form in a quintet also featuring tenor saxophonist Benny Golson (who contributed "Blues on My Mind"), either Wynton Kelly or Cedar Walton on piano, Paul Chambers or Sam Jones on bass and drummer Art Blakey. The consistently swinging repertoire includes a surprisingly effective version of "When the Saints Go Marching In." "Studio B," recorded in the same period but formerly available only in a sampler, has been added to the program. It's an enjoyable date of high-quality hard bop.

Dizzy Gillespie ,Sonny Rollins, Sonny Stitt - Sonny Side Up (1957)
EAC | FLAC+CUE+LOG+Full Artwork -> 273 Mb
© 1997 Verve Master Edition 521 426-2
Bop | Trumpet Jazz
Many thanks to Obelix, OR


Descripstion

Dizzy Gillespie brings together tenor saxophonists Sonny Stitt and Sonny Rollins for four extended cuts, and in the process comes up with one of the most exciting "jam session" records in the jazz catalog. While the rhythm section of pianist Ray Bryant, bassist Tommy Bryant, and drummer Charlie Persip provides solid rhythmic support, Stitt and Rollins get down to business trading fours and reeling off solo fireworks. Apparently, Gillespie had stoked the competitive fires before the session with phone calls and some gossip, the fallout of which becomes palpable as the album progresses. On "The Eternal Triangle," in particular, Stitt and Rollins impress in their roles as tenor titans, with Stitt going in for sheer muscle as that most stout of bebop cutters and Rollins opting for some pacing as a more thematic player. In the midst of the rivalry (certainly some torch was being passed, since Rollins was soon to become the top tenor saxophonist in jazz), an embarrassment of solo riches comes tumbling out of both these men's horns. Gillespie adds his own split commentary on the proceedings with a casual solo on "After Hours" and a competitively blistering statement on "I Know That You Know." With an at ease rendition of "On the Sunny Side of the Street" rounding things out, Sonny Side Up comes off as both a highly enjoyable jazz set and something of an approximation of the music's once-revered live cutting session.

Wayne Horvitz Gravitas Quartet - Way Out East (2006)
EAC | FLAC+CUE+LOG+Full Artwork -> 313 Mb
© 2006 Songlines Recordings
Chamber Jazz | Modern Jazz
Many thanks to Darkman


Descripstion

Way Out East presents the debut of Wayne Horvitz Gravitas Quartet, with trumpeter Ron Miles -- who you'll wish you heard more from as a leader -- cellist Peggy Lee, and bassoonist Sara Schoenbeck. Horvitz plays piano and employs electronics some of the time. The music here alternates between structured improvisation for ensemble, modern composition, jazz, and the "other path" that Horvitz often takes that is just plain unclassifiable. One place they seem to meet is in the sound of the jazz tradition that is in everything Miles plays. Note the title track on which he comes from out of time itself and lays the blues (subtly) down on a gorgeous little melody cello, while the bassoon carries the piece harmonically and Horvitz weighs in with his own contrapuntal song. Horvitz and this group are not above meandering to find their way inside a written piece either (yes, that's a good thing). There are not hot points, places that the musicians feel they absolutely need to get to make a particular work "happen." There's lots of room in such a small group and Horvitz's lyric lines take full advantage of that group dynamic: check "Between Here and Heaven" with its droning lines and open-toned terrain. The absolutely lovely melody of "Berlin 1914" comes from a concert piece with a different group containing Lee, Horvitz, Bill Frisell, and Joey Baron. Its re-recording offers a different shade of blue to the piece and Schoenbeck's bassoon and Miles' trumpet add a "parlor" feel to the tune. Horvitz's compositions are wonderfully familiar and strange all at the same time. There is a feeling of return in them that doesn't necessarily have to do with theme; it's his innate sense of time and phrasing. Horvitz is a grand rhythmic player on the Hammond B-3, and knows his stride piano, too, and they inform his writing, especially for an ensemble like this where the weight is spread out so evenly. Even the considerable abstraction and sonic texture in the final track, "World Peace and Quiet," contain elements of song, as much for the way the ensemble plays together in improvisational composition. Way Out East is a beautiful and quietly moving and poetic recording; one that will sound fresh and new decades from now. Horvitz and his players have shown that "improvised" or "new" music can be utterly lovely to listen to.