Straight Ahead Jazz Drums

Part of the Bele Belle Jazz Club series, this collection of three Gonzalo Rubalcaba sessions from 1986 and 1987 finds the pianist in three different settings: electric septet, trio, and solo. The two electric septet session are great in so far as they showcase Rubalcaba's gloriously extended harmonic style with a group., but the electric bass and synths on these two cuts sound just awful. The trio accounts for one selection, and it is full of the fluid, high melodic style Rubalcaba is known for with a rhythm section. It is on the solo cuts where Rubalcaba's now-trademark rhythmic invention is showcased brilliantly; his use of space, and dynamic and harmonic invention, is singular here, playing the jazz tradition against the folk music of his native Cuba on eight selections. It is for these – with their deep lyricism, and contrapuntal engagements – that the album is worth the price.

One might assume that bassist Christian McBride's CD Kind of Brown would be a tribute to Ray Brown. Au contraire – in fact, it would be appropriate for this recording to own up to the title Kind of Blue Note, because this music bears a strong resemblance to the late-'60s to mid-'70s recordings of the legendary Bobby Hutcherson-Harold Land quintet. That seminal post-bop ensemble defined the mid-period Blue Note label sound, and created resonant sonic signposts that remained unequaled, until now. A new discovery in vibraphonist Warren Wolf, Jr., teamed with veteran saxophonist Steve Wilson, the wonderful pianist Eric Reed, and drummer Carl Allen makes McBride's quintet dubbed Inside Straight into one of the more melodically tuneful and harmonically focused contemporary ensembles combining past tradition with a fresh new approach to this potent style of jazz.

This is an excellent straight-ahead outing matching Joe Farrell (who takes four songs on tenor and one apiece on soprano and flute) with trumpeter Freddie Hubbard, keyboardist George Cables, bassist Tony Dumas, and drummer Peter Erskine. Originally cut for the Contemporary label, the set has six group originals (by Farrell, Hubbard, and Cables) that are performed at the perfect length, mostly between six and eight and a half minutes (other than the 12-minute "Malibu"). The concise solos make expert use of every note, and the results are both fresh and swinging.

John Cocuzzi is a versatile, talented multi-instrumentalist jazz musician who, with his quintet, stretches out for an entertaining 60 minutes-plus of solid, straight ahead jazz on this very good album. A Washington, D.C. native, Cocuzzi gained an appreciation of jazz at an early age listening to his record collection and to his father, who was a percussionist with the U.S. Marine Band. Initially studying piano and then drums after hearing Lionel Hampton, vibes were added to his arsenal of instruments. Swingin' and Burnin' revisits the small group swing of the '30s and '40s popularized by Benny Goodman, Hampton, Artie Shaw, and others. Cocuzzi adds his own flavor along with some artful arrangements to such warhorses from the past as "Slipped Disc," "Benny's Bugle," and "You're Nobody Till Somebody Loves You." On the latter, Cocuzzi shows off his vocal skills along with a boogie woogie piano. "Broadway" epitomizes the adroit swinging of the quintet, with each member of the group getting a chance to show their wares during the seven minutes they devote to this Teddy McRae/Bill Bird melody.

Critically acclaimed pianist, composer and bandleader Emmet Cohen has traveled the world with his sold out performances, created and hosted the “most highly watched regular online jazz show in the world” (The Guardian) with Live From Emmet’s Place, and has earned a reputation for cultivating an atmosphere with his musicality for generations of musicians to find new inspiration. However, it’s his friendship with jazz legend Michael Funmi Ononaiye, the iconic Vibe Provider, that has profoundly shaped his musical journey since 2012. On Vibe Provider, Cohen presents a masterful blend of original compositions and beloved classics, dedicated to his friend and mentor, Funmi, alongside an all-star band including: Bruce Harris (trumpet), Tivon Pennicott (tenor saxophone), Frank Lacy (trombone), Cecily Petrarca (koshkah), Philip Norris (bass), Joe Farnsworth (drums) & Kyle Poole (drums, producer).

Terence Blanchard is in top form throughout this highly enjoyable outing. The trumpeter is most memorable on "Dear Old Stockholm" (a song from the 1950's that he helped revive), an emotional "When It's Sleepy Time Down South" and a medley of his "Glass J," the theme from "Mo' Better Blues" and Ornette Coleman's "Lonely Woman." Blanchard, who also plays "Detour Ahead" and four of his originals, is joined by tenor-saxophonist Sam Newsome, pianist Bruce Barth, bassist Rodney Whitaker, either Troy Davis or Billy Kilson on drums and (on "Dear Old Stockholm") the up-and-coming altoist Antonio Hart. The music is tied to the hard bop tradition yet is quite fresh and open to more modern influences.

Art Blakey & The Jazz Messengers - Second Edition (1957) {RCA–Bluebird 66661-2 rel 1995}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 346 Mb | MP3 @320 -> 160 Mb
Full Artwork @ 300 dpi (jpg) -> 23 Mb | 5% repair rar
© 1957, 1995 RCA / Bluebird / BMG | 07863 66661-2
Jazz / Hard Bop / Straight-ahead jazz / Drums

1957's Second Edition is rare material from the second version of Art Blakey's Jazz Messengers. The first six selections are the full contents of a long out of print Vik LP that find the Messengers (with tenor saxophonist Johnny Griffin, trumpeter Bill Hardman, pianist Sam Dockery, bassist Spanky DeBrest, and the drummer/leader) playing six songs by Lerner & Loewe including "Almost Like Being in Love," "On the Street Where You Live," and "I Could Have Danced All Night." In addition, the same group is heard on two previously unreleased alternate takes with altoist Jackie McLean (who was actually Griffin's predecessor) making the band a sextet, and there are three numbers (including two "new" takes) from an expanded unit (called "The Jazz Messengers Plus Two") which features such players as a very young Lee Morgan (making his debut with Blakey a year before he joined the group), Hardman, trombonist Melba Liston, Griffin, and pianist Wynton Kelly. But rarity aside, the performances should please straight-ahead jazz fans.

Three-time Grammy nominee, master of the jazz organ, trumpeter and vocalist Joey DeFrancesco swings hard and straight ahead. A prodigious talent at an early age, he joined the Miles Davis band when he was seventeen. At eighteen, he began touring with his own quartet. At twenty-two, John Mclaughlin called him along with drummer Dennis Chambers to form the group “Free Spirits.” Subsequently, Joey worked with greats such as George Benson, James Moody and Ray Charles. He’s won the Downbeat Critics Poll ten times and the Readers Poll every year since 2005. His current trio with Dan Wilson guitar and Jason Brown drums promises to rock the house.