Cyrus Chestnut

Following on the heels of their vinyl sampler and an introductory set by pianist Harold Mabern, comes The Uptown Shuffle by alto saxophonist Vincent Herring. This nine-track recital offers a smattering of Herring originals along with some well-chosen standards. Herring's choice of bandmates is nothing short of top shelf, with pianist Cyrus Chestnut and drummer Joe Farnsworth locking in with up and comer Brandi Disterheft on bass…

This 1994 recording was McBride's debut as a leader, and it consolidated his place as the most eminent bassist of the mainstream youth movement. His big sound, relaxed time-feel, and keen harmonic sense all hearken back to the great bass players of the '50s, and his adroit bowed solos can recall the work of Paul Chambers. McBride has assembled some of his most talented peers here in various permutations, forming a tight rhythm unit with drummer Lewis Nash and inspiring strong contributions from trumpeter Roy Hargrove, tenor saxophonist Joshua Redman, trombonist Steve Turre, and pianist Cyrus Chestnut.

The debut album from vocalist Quiana Lynell is a feast of soul, gospel, R&B, groove and jazz, 'A Little Love' blooms with songs about searching, trying times, buoyant love, deep reflection and social action. Accompanied by a powerhouse band featuring Cyrus Chestnut on piano, Jamison Ross on drums, Ed Cherry on guitars, George DeLancey on bass and Monte Croft on vibes. Quiana Lynell has been mentored by Terence Blanchard and won the 2017 Sarah Vaughan International Jazz Vocal Competition.

Vocalist Cook took a beeline from her native Detroit to Boston, where she received a degree in speech communications, then to N.Y.C. She's influenced by the gospel and Motown music of her home, as well as jazz. Using an expressive, wide-ranging, utterly clear voice, Cook is also unafraid to scat as she does on several of these selections, sometimes in between lyrics. She's a warm, soulful singer, easy to enjoy and well aware of her capabilities, of which show a nice diversity, and the maturity of a more seasoned professional. Cook's musical assets are greatly enhanced by the presence of pianist Cyrus Chestnut on eight of the 11 tracks. He truly can do it all, taking liberties with the song form on the Count Basie/Joe Williams evergreen "Corner Pocket," digging deep into soulful resources in tandem with percussionist Jeffrey Haynes.

Alto saxophonist Donald Harrison explores another area of his New Orleans heritage, the music of the Mardi Gras "Indians." His solos are more bluesy and R&B-flavored, while the supporting cast includes Dr. John on piano, along with Cyrus Chestnut, drummer Carl Allen, bassist Phil Bowler, percussionists Bruce Cox and Howard Smiley Ricks, and Harrison's father on vocals.

Vocalist Carla Cook follows up her 1999 Grammy-nominated It's All About Love with a sterling mixed bag of songs that range from bossa nova and bop to funk, gospel, and even country. To top off the eclecticism, she employs the trombone trio of Fred Wesley, Craig Harris, and Tyrone Jefferson, resulting in an intoxicating album that's as adventurous as it is accessible. Cook's spry readings of Matthew Gee's "Oh Gee" and the gleaming bossa nova prance of Dori Caymmi's "Like a Lover" show off her optimistic voice and needlepoint articulation and intonation.

James Carter is the Arturo Sandoval of the reeds, a remarkable virtuoso who can seemingly do anything he wants on his horns. It is just a matter of passing time and accomplishments accumulating before Carter is thought of as one of the all-time greats. This particular CD, In Carterian Fashion, differs from his earlier ones in that Carter (who switches between tenor, soprano and baritone sax, and bass clarinet) is joined by one of three organists (Henry Butler, Cyrus Chestnut and his regular pianist Craig Taborn) instead of piano, which of course changes the sound of the ensembles. However, only a few of the songs come across as Jimmy Smith-style soul-jazz…