MAXJazz-Archiv - Cleartone

Phillip ManuelLove Happened to Me

Marek Koszur — Mon, 08 Jun 2026 20:31:54 +0000

Phillip Manuel - Love Happened to Me

01. I Wish (5:39)
02. If I Were a Bell (4:44)
03. Race (4:49)
04. Summertime (4:28)
05. Only All of Me Will Do (4:05)
06. Fragile (5:36)
07. 'Round Midnight (5:20)
08. Just Squeeze Me (5:21)
09. These Foolish Things (3:23)
10. When You Said You Loved Me (5:09)
11. Change the World (4:01)
12. In the Zone (4:11)
13. Love Happened to Me (2:49)
14. Cd-Rom Video Track: Just After Midnight (4:40)

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Artykuł Phillip Manuel
Love Happened to Me pochodzi z serwisu Cleartone.

Ben WolfeNo Strangers Here

Marek Koszur — Sat, 25 Jul 2020 22:05:59 +0000

Ben Wolfe: No Strangers Here

By TROY COLLINS
Published: July 14, 2008
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Ever since the seminal Charlie Parker With Strings (Mercury 1950), numerous artists have attempted to add symphonic strings to jazz ensembles. Some have succeeded, but many have failed to capture a proper balance, resulting in string arrangements that sound superfluous.

Bassist Ben Wolfe’s fifth album, No Strangers Here, is one example of a successful merger of two worlds—acoustic jazz quartet and classical string quartet. A compelling bassist, Wolfe came to prominence as a sideman for Harry Connick Jr., Wynton Marsalis and Diana Krall. He currently teaches at Julliard and is a member of the Jazz at Lincoln Center Orchestra.

Augmenting a jazz combo with strings is not a novel idea for Wolfe, whose previous album, My Kinda Beautiful (Planet Arts Records, 2004) featured a brass heavy jazz octet with an eight piece string section. An extended suite, „From Here I See,“ was commissioned by the Rubin Museum and revolved around a jazz quartet/string quartet combo. Another long-form composition, „Contradiction: Music for Sextet“ was the result of a commission from Chamber Music America.

Wolfe’s core quartet features saxophonist Marcus Strickland, pianist Luis Perdomo and drummer Greg Hutchinson, all rising stars on the New York scene who execute Wolfe’s tightly arranged compositions with palpable commitment and panache. In addition, Wolfe regularly augments the quartet with a traditional string quartet, as well as a handful of special guests.

At their most vigorous, Wolfe’s pieces recall the forward thinking hard-bop of a mid-60s Blue Note date. „The Minnick Rule“ and „Circus“ are labyrinthine swingers filled with hairpin rhythmic shifts and understated string accents that resound with dramatic flair. A nostalgic air often permeates the session; the subtly integrated strings reinforce Wolfe’s romantic side by adding a layer of euphonious lyricism to his sumptuous writing, most notably on the title track and „Blue Envy.“

The special guest appearances are well integrated. Terell Stafford’s buttery trumpet soars on the spirited opening cut and offers supportive nuance on the wistful closer. Saxophonist Branford Marsalis and drummer Jeff „Tain“ Watts provide muscle to the escalating drama of the noirish „The Filth“ while Marsalis‘ soprano waxes lyrical on the effervescent „Milo.“ Victor Goines enriches the lush „Blue Envy“ with his poetic bass clarinet.

The album’s string quartet tour-de-force, „Rosy & Zero,“ regales with expansive sonorities. Alternating austere chamber music inflected excursions with blistering post-bop interludes, the piece unfolds like a long lost, albeit highly successful, Third Stream experiment.

From bittersweet nostalgia to cinematic drama, No Strangers Here encapsulates an array of moods, textures and dynamics. Reminiscent of the string augmented ensembles of Max Roach and Charles Mingus, Wolfe’s double quartet emboldens the jazz tradition with neo-classical overtones, yet never fails to swing. To quote Wynton Marsalis, „Ben Wolfe swings with authority.“

Track Listing: The Minnick Rule; No Strangers Here; Milo; No Pat No; The Filth; Circus; Blue Envy; Rosy & Zero; Jackie Mac; Groovy Medium.

Personnel: Ben Wolfe: bass; Marcus Strickland: tenor and soprano saxophone; Luis Perdomo: piano; Greg Hutchinson: drums; Cyrus Beroukhim: violin; Jesse Mills: violin; Kenji Bunch: viola; Wolfram Koessell: cello; Branford Marsalis: tenor and soprano saxophone (3, 5); Terell Stafford: trumpet (1, 10); Victor Goines: bass clarinet (7); Jeff „Tain“ Watts: drums (5).

Artykuł Ben Wolfe
No Strangers Here pochodzi z serwisu Cleartone.

Carla CookDem Bones

Marek Koszur — Sat, 25 Jul 2020 21:54:15 +0000

AllMusic Review by Paula Edelstein [-]
Carla Cook’s Dem Bones follows her critically acclaimed and commercially successful Maxjazz debut, It’s All About Love. The Grammy-nominated artist taps into her diverse musical influences and presents a musical autobiography reflected in 11 songs. The precision of her multi-hued voice is accompanied by such great musicians as Cyrus Chestnut on piano; Fred Wesley, Craig Harris, and Tyrone Jefferson on trombones; James Genus on bass; and Billy Kilson on drums. Packed with straight-ahead jazz, the crowning glory on this CD is the approach she uses on the title cut, „Dem Bones.“ Tastefully arranged for three trombones (her voice being the fourth „bone“) Cook’s presentation adds a modern dimension to the use of the trombone — both muted and open — as an expressive „voice“ in a jazz composition. Wesley, Craig, and Jefferson show just how expressive in a wonderfully improvised section that features them slurring and sliding on their „bones.“ Another great song is „For the Elders,“ a bebop piece that shines with Cyrus Chestnut’s light piano stylings set against Cook’s voice in tandem with the trombone. Craig Harris‘ solo is once again stellar and indicative of the remarkable versatility of this instrument in capable hands. Since Carla Cook has such a great voice (not only for jazz, but for R&B and gospel as well), along with excellent taste in song selection, Dem Bones should maintain her loyal following. With something for everyone, it represents her excellent jazz vocal techniques very well and rises to the occasion — one that can be defined as a great hour of jazz.

Artykuł Carla Cook
Dem Bones pochodzi z serwisu Cleartone.

Jessica WilliamsThis Side Up

Marek Koszur — Sat, 25 Jul 2020 21:53:58 +0000

AllMusic Review by Paula Edelstein [-]
This Side Up marks the third release in the MaxJazz label’s Piano series and the first release in 2002. Previous releases in the series include Peter Martin’s Something Unexpected and Bruce Barth’s East & West. Jessica Williams composed all of the songs for this program and builds the excitement level from track to track with tributes to some of her major influences. Included is „Miles to Go“ for Miles Davis — a mid-tempo bebop piece that showcases her brilliant arpeggios and multi-layered sound with drummer Victor Lewis and bassist Ray Drummond. She reconnects with Dexter Gordon on „I Remember Dexter“ and honors bassist Milt Hinton on „The Judge.“ Top pick is „Innocence“ for its quiet solitude and beauty — the perfect song for just relaxing and listening to jazz from an intelligent and spiritual perspective. Jessica Williams re-creates a buzz of interest in the world of young adults with this effective recording, and since her formidable reputation among her peers is rock solid, Williams‘ diverse repertoire should not remain a strange concept as a result of her inclusion in this remarkable Piano series.

Artykuł Jessica Williams
This Side Up pochodzi z serwisu Cleartone.

John Proulx The Best Thing For You

Marek Koszur — Sat, 25 Jul 2020 21:47:17 +0000

John Proulx - The Best Thing For You

01. The Best Thing For You (Would Be Me) (5:57)
02. Sing (5:36)
03. Jogger Chronicles (4:32)
04. Love Is For Dreamers (5:17)
05. I Can't Give You Anything But Love (4:51)
06. Angel (5:56)
07. Wabash (5:25)
08. Before We Say Goodnight (5:33)
09. Push Hands Anna (4:39)
10. And So It Goes (5:30)
11. Two Of A Kind (4:13)
12. In The Days Of Our Love (5:05)
13. Here's To "The Chuckster" (3:46)
14. Proulx's Blues (5:07)

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Artykuł John Proulx
The Best Thing For You pochodzi z serwisu Cleartone.

The Kennedy Brothers I’ll Remember April

Marek Koszur — Sat, 25 Jul 2020 21:43:12 +0000

Kennedy Brothers - I'll Remember April

01. I'll Remember April (6:59)
02. Tenderly (5:38)
03. Secret Love (8:02)
04. Laura (4:29)
05. Pennies From Heavan (6:12)
06. Midnight Mood (5:05)
07. Soft Winds (6:48)
08. You Don't Know What Love Is (4:35)
09. All of You (5:34)

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Artykuł The Kennedy Brothers
I’ll Remember April pochodzi z serwisu Cleartone.

Dave VennOne two three

Marek Koszur — Sat, 25 Jul 2020 21:43:11 +0000

1. Love Letters
2. Everything Happens to Me
3. Indian Summer
4. London by Night
5. I'm in the Mood for Love
6. You Are There
7. What Am I Here For?
8. I Thought About You
9. Trouble With Hello Is Goodbye, The
10. Bidin' My Time
11. Emily
12. How Deep Is the Ocean?
13. I Wish I Knew
14. Close Enough for Love
15. I'm Getting Sentimental over You
16. Dream

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Artykuł Dave Venn
One two three pochodzi z serwisu Cleartone.

Bruce BarthEast And West

Marek Koszur — Sat, 25 Jul 2020 21:43:05 +0000

Bruce Barth - East And West

01. At The Ranch (6:20)
02. I'm Old Fashioned (5:44)
03. Riding Off (5:17)
04. Sundown Time (6:40)
05. The Lexter (7:05)
06. Ask Me Now (3:52)
07. The Dude (5:33)
08. A Joyful Noise (For JW) (7:51)
09. My Shining Hour (4:01)
10. Let's Call This (6:33)

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Artykuł Bruce Barth
East And West pochodzi z serwisu Cleartone.

Nancy King, Fred HerschLive At Jazz Standard with Fred Hersch

Marek Koszur — Sat, 25 Jul 2020 20:28:59 +0000

By C. MICHAEL BAILEY
May 2, 2006

Nancy King with Fred Hersch: Live At Jazz Standard Nancy King is a jazz vocalist who swings for the fences. An all-out scat master, King possesses all of the elasticity of Betty Carter and all of the panache and control of Ella Fitzgerald. Fred Hersch is a pianist’s pianist, the finest ballad-oriented player to emerge from the long shadow of Bill Evans. It’s a bit of a mystery why these bright lights had not collaborated before Live at Jazz Standard. The result is East Coast meets West Coast; left coast cool versus right coast sleek; dense talent colliding in creative critical mass.

King and Hersch showed up at New York’s Jazz Standard for a performance as part of Hersch’s „Duo Invitation Series. The two artists had not performed together, even in practice. According to Hersch, they united before the performance and picked out songs they both knew and then went out and played. Now, that is jazz! It is no surprise that the lion’s share of the songs are ballads.

The duo starts with the angular, Monkish „There’s a Small Hotel, which gives way to the pensive „I Fall in Love too Easily. Both ballads are lengthy, allowing the artists to explore their terrain. King uncannily echoes Chet Baker on the latter piece, buoyed by Hersch’s impressionistic pianism. Other impressionistic versions of „Everything Happens to Me, „Ain’t Misbehavin‘ and „There will Never be Another You follow later down the road. But all is not balladic—Charlie Parker’s „Little Suede Shoes shows up with Sammy Cahn’s „Day by Day in a medley. King scats the Parker piece deftly in bebop counterpoint with Hersch. The show is capped by lengthy performances of „Autumn in New York and a jumping „Four, with Miles Davis‘ melody and Jon Hendricks‘ lyrics.

Jazz is the free spirit of music—improvisation as instant creation with no second takes, just like life. This freedom of spirit makes this duo performance compelling and special. Music like this erases the distinction between singer and accompanist, placing both artists on level ground.

Artykuł Nancy King, Fred Hersch
Live At Jazz Standard with Fred Hersch pochodzi z serwisu Cleartone.

Trio da PazLive at JazzBaltica

Marek Koszur — Sat, 25 Jul 2020 20:23:58 +0000

Trio da Paz - Live at JazzBaltica

01. Dona Maria (7:38)
02. Copacabana (4:46)
03. Pro Flávio (8:35)
04. Sword of Whispers (6:50)
05. Bachião (9:25)
06. Wave (5:44)
07. All the Things You Are (8:40)
08. Look to the Sky (6:05)

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Artykuł Trio da Paz
Live at JazzBaltica pochodzi z serwisu Cleartone.