Tekct 2029

Wynton Kelly Trio & Wes Montgomery - Smokin’ In Seattle: Live At The Penthouse (2017) {Resonance Records HCD-2029 rec 1966}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 273 Mb | MP3 @320 -> 129 Mb
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© 1966, 2017 Rising Jazz Stars / Resonance Records | HCD-2029
Jazz / Hard Bop / Mainstream Jazz / Piano Trio / Guitar

A rare meeting of guitarist Wes Montgomery and the trio of pianist Wynton Kelly – heard here on unissued material that stands strongly next to their classic Smoking At The Half Note album on Verve! About half the tracks here just feature Kelly's trio – but that's A-Ok with us, as the group is wonderful – a luminous unit that features Ron McClure on bass and Jimmy Cobb on drums – both players who showcase the maturing style of Wynton's piano work – a great mix of lyricism that stretches out beautifully on the album's longer tracks! Montgomery joins in about a third into the set, and the tunes get even sharper and groovier – as Wes' tones ring out strongly next to the piano, often opening up Kelly with even more chromatic hues. The whole thing is very well-recorded, and beautifully remastered.

Norman Simmons - The Art of Norman Simmons (2000) {Savant ‎SCD 2029}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 469 Mb | MP3 @320 -> 172 Mb
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© 2000 Savant ‎Records | SCD 2029
Jazz / Bop / Hard Bop / Post Bop / Piano

As the accompanist for singers Dakota Staton, Carmen McRae, and Joe Williams, as well as a member of bands led by Johnny Griffin, Roy Eldridge and others, pianist Norman Simmons has spent little of his fifty-plus years as a musician in the spotlight. On the appropriately titled The Art of Norman Simmons, he successfully strikes a balance between putting his own talents front and center and melding them with musicians he respects and admires. The members of his quintet share the common goal of swinging in a relaxed, unhurried manner and no one ever feels compelled to shout to make a point.

A year and a half after Alexander Liebreich succeeded Christoph Poppen as artistic director of the Munich Chamber Orchestra, their first recording is about to be released. As always the orchestra, cited twice this decade by the German Music Publishers Association for the best-programmed season, is striking out on challenging and unconventional paths. Each season is governed by a guiding theme; new concert formats are put to the test; and new works are commissioned on a regular basis. (In early December 2007 it gave the world premiere of Erkki-Sven Tuur's ‘Questions…’ with the Hilliard Ensemble in Frankfurt.) This new release, the orchestra’s eighth album for ECM, reflects not only its precept to keep its repertoire deliberately open-ended, but Liebreich's special predilection for Isang Yun, a composer whose music he came to understand in its cultural context during an extended stay in Korea.