San Diego's Jazz

The Latest Adds to the Jazz 88 Music Library

The Latest Adds to the Jazz 88 Music Library
Blog Name: Jazz 88.3 Library Blog - New This WeekAuthor: Vince Outlaw , Social Media Marketing ManagerPosted on: June 25, 2011
Adding Randy Brecker, Dr. Michael White, Live Eric Harland (recent TNJT guest), Terry Vosbein Big Band, and lots more! Debuting loads of this on The New Jazz Thing with Vince Outlaw on Monday, June 27, 2011!

leading a quartet, doing mostly originals. Some progressive tracks).

CINDY BRADLEY (Twitter...strange protected site, FB)– “UNSCRIPTED” (Contemporary, not quite smooth jazz from this
female trumpeter).

The Smooth Jazz Ride: Front and center, full of attitude and sass and brilliance…and things to say, Bradley’s trumpet blares out “hear me, feel me.” The melodies here are charming and catchy and oh-so-full of the mystique that is good jazz.

BOOK” (Trumpeter, backed by full orchestra, doing mostly familiar tunes, straight-

JazzTimes: Jeff Levenson, EVP of Half Note Records and long-standing admirer of Brecker, says: "Randy has achieved true emeritus status. He remains a figure who embodies the soul of jazz trumpet. His partnership with the DR Big Band is a perfect marriage, featuring pointed, often wistful, solos measured against hip arrangements, beautifully executed."

(Saxophone-led ensemble, doing mostly progressive originals).

PopMatters (John Garratt): Ernest Dawkins has what one could describe as a healthy attitude towards both old traditions and new pastures. His style of jazz has the modern touch, not the avant-garde gut-punch. His treatment of melody and overall structure is symmetrical and accessible without being starchy and stifling. He certainly doesn’t seem to play favorites when it comes to his jazz heritage, and his willingness to let his sidemen take the spotlight so often suggests that the same attitude applies to his band. This is the kind of perfectly balanced style you can reach when it has been woodshedded at and fostered by Chicago’s Velvet Lounge. The Prairie Project is dedicated to the late Fred Anderson, who apparently gave you license to get up on stage and do whatever the hell you wanted purely for art’s sake. He was “the Lone Prophet of the Prairie,” according to DownBeat’s Aaron Cohen.

BENOIT DELBECQ – “CIRCLES AND CALLIGRAMS” (Progressive solo piano). (Jerry D'Souza): Pianist Benoît Delbecq makes his debut trio recording with The Sixth Jump, released simultaneously with Circles and Calligrams, which Delbecq describes in a solo outing. The first disc amplifies his skills as an empathic leader whose inventive thematic explorations are woven in spontaneous interaction with his mates. The second lets him explore the dynamics of the piano elaborately, his sense of purpose expressively accomplished. Delbecq refines improvisation with versatility on his solo disc. He plays a 92-key Bösendorfer, a piano that is an extension of his nimble fingers. His approach is marked with choice delineation between the abstract and the written and he strikes the perfect balance between the two.

ERIC HARLAND – “VOYAGER-LIVE BY NIGHT” (Drummer-led session, with Julian
Lage and Taylor Eigsti. Wanders too far over the edge for anything other than nights). (John Kelman): Harland has delivered an album leaning heavy on the firepower, with ample room for solo explorations, while proving the drummer to be a composer still in the ascendance, but absolutely ready to step into the limelight.

ART HIRAHARA – “NOBLE PATH” (Piano trio, straight-ahead, mostly originals).

Audiophile Audition (Doug Simpson)
: Over the decades, Hirahara has honed his own ability as a melodic performer as well as a group leader who strongly believes in interaction. Those skills can be heard on Hirahara’s first foray on the Posi-Tone label, Noble Path, which also includes drummer/percussionist Dan Aran and bassist Yoshi Waki. Hirahara penned eight of the 12 tracks: the others are two Tin Pan Alley pop tunes and two jazz standards by Dizzy Gillespie and Duke Ellington.

ERNIE KRIVDA – “BLUES FOR PEKAR” (Straight-ahead quintet, doing mostly
standards…somewhat edgy).

Worldsrecords: Jazz tenor sax legend Ernie Krivda's latest recording effort 'Blues For Pekar' has many interesting twists. The CD has some of the hottest bebop heard in a long time and includes three generations of star side mates from Krivda's Detroit Connection rhythm section: Claude Black, a contemporary of Tommy Flanagan and Barry Harris, on piano; Marion Hayden on bass; and Renell Gonsalves on drums. Featured soloists are young trumpet sensations Sean Jones and Dominick Farinacci. Krivda dedicates the album to American Splendor author/jazz writer/critic Harvey Pekar.

JESSIE MARQUEZ – “ALL I SEE IS SKY” (Female vocalist, doing Latin and Brazilian

The UrbanFlux: This recording captures the warmth, beauty and the overall sensibilities of who she is as an artist from the opening melodies of the enchanting “Dime, Amor (Tell Me, Love).” Her lyricism and impeccable style is absolutely intoxicating. Jessie’s encompassing Cuban heritage is delightful, sexy, cool and inviting. Kudos to Jessie Marquez for inviting us into her world with this gorgeous album filled with attractive and stimulating music for enthusiast to enjoy.

pianoless quartet, doing all originals).

This new recording is the latest from Ben and Uwe’s decade plus collaboration. APFELSCHAUN (literally "looking at apples") alludes to the beauty, simplicity and depth achieved by observing nature with enthusiastic appreciation. Here, nature is the world of sound, melody and the dynamic jazz culture rich with human imagery. Recorded live at Gravity Arts Studio, Boston, MA, by Ben, these tracks were masterfully mixed and realized by Grammy Award winning engineer, Rob Griffin

BRAD SHEPIK QUARTET – “ACROSS THE WAY” (Guitar/vibe quartet, doing all

AllAboutJazz (Matt Marshall): Throughout, Shepik traverses a wonderfully inviting course, with crisp, questioning guitar lines that might as easily shift into biting fits of joy as drift into echoing fields of pensiveness. And there always to counter and complement him is Beckham, who displays an equal fluidity in blending sharp emphasis and languorous drift. The pair is galvanized by the terse, shock-solid undercarriage laid down by Roeder and Guiliana. This is most certainly a group effort, but one that pushes its leader Shepik into the fast lane of musicians communicating something both universally vital and intensely personal.

(Big band versions of songs from Stephen Sondheim’s “Sweeney Todd”).

(Clarinetist, doing a wide variety of songs, New Orleans style).

Crawdaddy (Ric Hickey): Dr. White leads the charge throughout without ever hogging the spotlight. His sly clarinet weaves in and out of the sweet melodies like a needle and thread stitching the crucial seams that hold it all together. From somber funeral march to raucous roadhouse stomp, Dr. Michael White’s re-delivery of the happy magic that is New Orleans Jazz resonates with the full spectrum of human emotion. As all good New Orleans jazz should, the album-closing rendition of Paul Simon’s “Take Me to the Mardi Gras” feels like a tipsy stroll down Bourbon Street with all the sights, sounds, and smells of celebration tingling your senses, twisting your body and moving your feet to the festive rhythms.

– “STATE OF ART” (Bassist-led session, doing a mix of straight-
ahead and contemporary).

NextBop: (STREAMING THE ENTIRE DISC!): Each track is most certainly jazz but is lightly tinged with a hip-hop/R&B sensibility one would expect from any richly appreciative ear of this day while still not losing the core sound of the genre. State of Art is sure to receive laudation and you should have a chance to hear why.
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