Jerry Bergonzi's quintessentially modern tenor sax style melds the linear, chromatic approach of such greats as Joe Henderson, Wayne Shorter and John Coltrane. Featuring pianist Bruce Barth and trumpeter Phil Grenadier, this is Bergonzi's first quintet recording for Savant Records and finds in him in fine form as a player and as a composer.
Described as being "soulful, swinging and yet utterly modern", New York based alto saxophonist Jim Snidero's music seems to encapsulate what is both unique and compelling about jazz. Snidero exercises his composing chops on INTERFACE as well, penning all the tunes on the set list and drawing an astonishing array of color from the sax-guitar-bass-drums quartet combination.
Jim Snidero has developed a truly unique voice on the alto sax building on the foundation of the past while pointing the way to the future. With compositions that exploit the full potential of the alto saxophone's expressive range, Snidero has gathered side artists who all seem to be joined at the hip, with each providing sensitive support for the other, shadowing or provoking every move. This is challenging, thoughtful jazz which draws you in rather than alienates and which reveals no weaknesses in an unforgiving, nowhere-to-hide lineup.
For his Savant Records' debut, tenor saxman JD Allen went back in the studio with colleagues Gregg August and Rudy Royston, both of whom have been his regular partners on the bandstand and in the studio since 2008. They go about their business with a robust and focused melodic articulation propelled by great rhythmic drive. You will not find this trio beating a dead horse into submission. The original tracks are short, they get in, make a statement, essay some variations, and get out-short and sweet and intense. An interesting, exciting and thought-provoking release from JD Allen and company.
Not only did Ahmad Jamal call Eric Reed "one of my very favorite pianists," not only has he worked with such talents as Wynton Marsalis, Jessye Norman, Patti Labelle, Quincy Jones and others but he has composed film scores for Eddie Murphy and Tim Story and serves as musical director for the Alvin Ailey Dance Theater. Somehow he still finds time to teach, perform and cut his latest disc, THE DANCING MONK. Here the genius of Monk is refracted through the prism of Eric's own.
Every new recording by tenor saxophonist JD Allen serves to solidify his reputation as one of the finest, most adventurous young musicians playing today. With a gently swinging, very personal vibrato he weaves his way into territory that he has charted for himself. With pianist Orrin Evans, JD takes US on a intensely personal journey through an ever-changing landscape of jazz as he sees it with playing that earned Allen a blaze of critical attention signaling his ascension to the upper ranks of the contemporary jazz world.
You encounter nothing but sheer musicality when it comes to the Boston saxophonist Jerry Bergonzi. But Bergonzi's no-nonsense approach to music cannot mask the fact that he is one of the most remarkable jazz saxophonists on the planet. Here Bergonzi is backed by his usual colleagues, Dave Santoro and Andrea Michelutti plus he is joined by pianist Bruce Barth. Featuring a program mostly of Bergonzi's quirky compositions the musicians work together with a uniformity of intent and vision that perfectly personifies the title, CONVERGENCE.
Pianist Eric Reed has claimed that Monk's music makes it possible "to travel way out there, if you're willing to go where it can take you." on the Baddest Monk, Reed and his colleagues prove more than willing. The Monk classics recorded here illustrate the breadth of Reed's thought on one of the most idiosyncratic of jazz composers. Reed and his ensemble are able to penetrate to the very core the Monk's writing, dismantle it's component parts and reassemble them so that they contain not only the essence of Monk, but that of the players themselves.
Ever since his arrival in New York back in 1984, Don Braden has been one of the most impressive tenor saxophonists of his generation. He has uplifted the bands of the Harper Bros., Betty Carter, Wynton Marsalis, Freddie Hubbard, Tony Williams & others along the way, yet it is his work as a leader that is most significant. From start to finish, this CD is one of his finest recordings & it shows why he is rated as one of the top sax men of the early 21st Century. Together with his quartet, his chosen medium now, Braden offers a program of jazz classics, as well as a sprinkling of original tunes, including an innovative tenor sax/drum duet.
As difficult times often beget new beginnings, the COVID-19 quagmire gave birth to alto saxophonist Eric Alexander. To some, a tenor-to-alto switch may not seem to be a newsworthy matter, but for the initiated it's the stuff of headlines. An inveterate tenor at the apex of the scene for more than three decades, Eric put the alto away in his teen years and never looked back. "But with the dearth of opportunities to play during the pandemic, I started to work on it," he confesses. After successfully pitching the idea of using his second saxophone-with-strings project as a debut on alto, the present recording is quite simply astounding. Working with his regular rhythm section and adding ace string arrangements, this altoist delivers one revelatory performance after another.
Few can claim the title of living legend. Kenny Burrell is just such a person. In fact he's more he's living history, past, present and future. His credentials are voluminous and accomplishments staggering, and he hasn't stopped. Today, he is active recording and performing, a respected educator, and an elder statesman of the music. His legacy is pervasive. His soulful sound and approach have influenced virtually everyone claiming a jazz pedigree but extends to many outside the genre, a la Jimi Hendrix, Stevie Wonder, Steve Howe, Andy Summers, and Freddie King. Here Burrell is backed by some of his favorite West Cost colleagues in a varied program of standards and few originals by the leader himself, including one brand new composition. Also on hand is the exuberant voice of Barbara Morrison who brings her tremendous talent and personality to three tracks.
Playing jazz is a lot like love itself. It is as much about poignancy as it is about joy. It is Jeremy Pelt's understanding of this dichotomy of passion and restraint that makes this album so compelling. The set list is as all-encompassing as a love affair - from the straight-ahead feeling of "I Can't Escape from You" to the breathless stillness of his muted trumpet on "There'll Be Other Times." His sly, half-valve effects on "Blues in Sophistication" show an impish delight while Henry Mancini's "Slow Hot Wind" throbs with an ever so discreet Latin feel. This may be considered a "with strings" record but Pelt does not let this descend into a vibrato-laden string sound. There is an unusually classical feel to this album with the string quartet supporting, reinforcing and commenting on Pelt's playing rather than sugar-coating it. Buddy Rich once said, "Jazz should be treated the same as classical music." He was right. He "got it" and, as evidenced herein, so does Jeremy Pelt.
Album highlights jazz guitarist's uncanny ability to revisit jazz standards & imbue them with new life & ideas; this session was recorded at the famed Van Gelder Studios & features Ronnie Matthews, Mark Sherman, Yoron Israel & others.
Tomorrow's Another Day may be trumpeter and composer Jeremy Pelt's most experimental recording to-date, with greater emphasis on the dynamic aspects of sound. This thought-provoking record gets a huge lift from the participation of drummer/technologist Deantoni Parks, who previously has lent his remarkable talents to such visionaries as Meshell Ndegeocello and Andre 3000. Pelt's newest band features Jalen Baker (vibes), Wintz (gtr), Leighton McKinley Harrell (bs) and Allan Mednard (dms), with Frank LoCrasto (pno) on two tracks. The ensemble seamlessly works together to produce a unique galaxy of sounds which have the ability to evoke gritty scenes that pulse with primal energy or surge transcendently skyward. Through it all, it is the trumpet and creative presence of Pelt which provides a sense of ballast to the myriad sounds and textures, with an intensely personal and mesmerizing weave of arguably some of the most stunningly imaginative and communicative work he has given us so far.
Kenny Burrell has appeared on so many essential Jazz recordings that Jazz history and his biography seem irretrievably intertwined. Billie Holiday's valedictory rumination Lady Sings the Blues, Jimmy Smith's epochal funk throwdown Back at the Chicken Shack, Tony Bennett's Carnegie Hall debut - Kenny Burrell played guitar for them all. Even Jimi Hendrix once remarked, "Kenny Burrell - that's the sound I'm looking for." Here is Burrell captured live at the West Coast Jazz mecca, Catalina's, in an easy-going program of some of his most-requested tunes along with a few of his personal favorites thrown in. Jazz tunes by Benny Golson, Freddie Hubbard, the Duke and others, standards and even Kenny's classic original 'Chitlins Con Carne' are here, all given the ever-tasteful Burrell treatment.
Woody Shaw is widely revered across the globe as the last major innovator to significantly revolutionize modern jazz trumpet playing. Shaw's innovations vastly extended the harmonic and technical vocabulary of the instrument and remain largely unparalleled in the world of music. Shaw is also remembered as one of the great, modern jazz composers to have developed a distinct musical sound and identity through his original compositions. Here is a program of Woody Shaw playing his own works with some of his favorite sidemen.
