Sadik Hakim • Memories

 

Biography by Scott Yanow
Argonne Thornton (who in the late '40s changed his name to Sadik Hakim) had a particularly unusual boppish style in the '40s, playing dissonant lines, using repetition to build suspense, and certainly standing out from the many Bud Powell impressionists. Later in his career his playing became more conventional. Hakim originally studied music with his grandfather and started performing at local gigs in Minnesota. After a period in Chicago, he was heard by Ben Webster, who hired him to play with his group in New York (1944-1945). Hakim recorded with Webster and Dexter Gordon, was on part of Charlie Parker's famous "Ko Ko" session, and gigged regularly with Lester Young during 1946-1948, appearing on many recordings with Pres. After playing with Slam Stewart in 1949, in the 1950s Hakim worked fairly regularly with James Moody (1951-1954).
https://www.allmusic.com/artist/sadik-hakim-mn0000279338/discography

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Biografía por Scott Yanow
Argonne Thornton (quien a finales de los años 40 cambió su nombre a Sadik Hakim) tuvo un estilo bebop particularmente inusual en los años 40, tocando líneas disonantes, usando la repetición para crear suspenso, y ciertamente destacándose entre los muchos imitadores de Bud Powell. Más adelante en su carrera, su forma de tocar se volvió más convencional. Hakim originalmente estudió música con su abuelo y comenzó a actuar en conciertos locales en Minnesota. Después de un período en Chicago, fue escuchado por Ben Webster, quien lo contrató para tocar con su grupo en Nueva York (1944-1945). Hakim grabó con Webster y Dexter Gordon, estuvo presente en parte de la famosa sesión "Ko Ko" de Charlie Parker, y tocó regularmente con Lester Young durante 1946-1948, apareciendo en muchas grabaciones con Pres. Después de tocar con Slam Stewart en 1949, en los años 50 Hakim trabajó con bastante regularidad con James Moody (1951-1954).
https://www.allmusic.com/artist/sadik-hakim-mn0000279338/discography

Bubba Brooks • The Big Sound Of Bubba Brooks

 

Born: 29th May 1922 Fayetteville, North Carolina, USA
Died: 11th April 2002 New York City, New York, USA
US-American tenor saxophonist. Joined Bill Doggett's band in 1974 touring the world until the group disbanded in the early 1990s.
https://www.discogs.com/artist/905696-Dave-Brooks-3


 

Ricky Ford • Manhattan Blues

 

Review by Scott Yanow
This CD is a particularly well-rounded program, with tenor saxophonist Ricky Ford digging into three jazz standards ("In Walked Bud," "Misty" and "Half Nelson"), plus six originals that include tributes to Charles Mingus and Billy Strayhorn. In addition to the versatile pianist Jaki Byard (an underrated great) and drummer Ben Riley, Ford is joined by veteran bassist Milt Hinton, who is quite effective on this modern material. Stimulating music. 
https://www.allmusic.com/album/manhattan-blues-mw0000308182

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Reseña de Scott Yanow
Este CD es un programa particularmente completo, con el saxofonista tenor Ricky Ford interpretando tres clásicos del jazz ("In Walked Bud", "Misty" y "Half Nelson"), además de seis temas originales que incluyen homenajes a Charles Mingus y Billy Strayhorn. Junto al versátil pianista Jaki Byard (un gran músico subestimado) y el baterista Ben Riley, Ford cuenta con la participación del veterano bajista Milt Hinton, cuya actuación en este material moderno es muy efectiva. Música estimulante.
https://www.allmusic.com/album/manhattan-blues-mw0000308182

Steve Kuhn • Life's Magic

 

Review by Ken Dryden
Steve Kuhn leads an all-star trio with bassist Ron Carter and drummer Al Foster in this compilation of 1986 performances recorded over several nights at the Village Vanguard. First issued on Black Hawk and subsequently re-released in 2012 with a new cover, this is one of the many highlights of the pianist's vast discography. Opening with a spry, playful take of "Little Old Lady," Kuhn follows with his loping, bluesy "Two by Two" and Fats Waller's lyrical "Jitterbug Waltz," the latter showcasing Carter's intricate bass and Foster's light touch with brushes. His brisk setting of "Yesterday's Gardenias" (a song recorded by Glenn Miller in the 1940s) takes it far from its roots, turning this ballad into an engaging post-bop vehicle. The pianist's "Mr. Calypso Kuhn" puts the spotlight on Foster, opening with an intense solo, followed by the addition of Carter and, finally, the leader. Kuhn's luxurious, spacious take of "Never Let Me Go" conveys the song's message even without its lyrics. The disc closes with an extended workout of "Softly, as in a Morning Sunrise" that leaves the entranced audience wanting more. 
https://www.allmusic.com/album/lifes-magic-mw0000649606

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Precioso, y brillante disco grabado por este trío de ases de la ritmica jazzistica en el Village Vanguard de New York y que sirve para constatar que los musicos que estan detrás de muchas grabaciones historicas,  – y estos tres tiene muchas hechas – son tambien capaces de liderar su propia sesion y hacerlo con enorme creatividad y elegancia. Extraordinario.
https://apoloybaco.com/jazz/steve-kuhn-lifes-magic/

Gary Versace • All For Now

 

Biography:
 Since basing himself in New York City in June of 2002, jazz organist, pianist, and accordionist Gary Versace has quickly become one of the busiest and most versatile musicians on the scene, often featured in bands led by musicians such as John Scofield, John Abercrombie, Maria Schneider, Matt Wilson, Lee Konitz, Eliot Zigmund, Scott Wendholt, Joe Magnarelli, Danny Gottlieb, Seamus Blake, John Hollenbeck, Andy LaVerne, Adam Nussbaum, Brad Shepik, Ingrid Jensen, Tim Ries and many others.

Versace was voted a "rising star" on the Hammond organ in the last three Downbeat critics polls, and was the subject of a feature article in the July 2004 issue of Keyboard magazine.

Versace has been a featured soloist on several critically acclaimed recordings of recent years: accordionist on Maria Schneider's Grammy-winning recordings "Concert in the Garden" and "Sky Blue" and as the pianist on John Hollenbeck's Grammy-nominated large ensemble recording, "A Blessing."

Over the past five years, Versace has appeared as a leader for the Criss Cross and SteepleChase labels, and as a sideman on over 50 recordings with artists on various labels including Palmetto, ACT, Omnitone, Songlines, Pirouet, High Note, Justin Time, ArtistShare, Fresh Sound, Kind of Blue, and many others.

As a pianist, Versace performed in a two-piano recital with Marian McPartland, and in April of 1999 appeared on her acclaimed National Public Radio program, "Piano Jazz." McPartland has called him "...endlessly inventive...(Versace) really has an extraordinary talent."

Gary Versace has a masters degree in music performance from the Eastman School of Music, and spent eight years as a tenured associate professor in the jazz studies department at the University of Oregon. He remains active as a clinician and guest soloist both nationally and around the world.
https://www.allaboutjazz.com/musicians/gary-versace

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Biografía:
 Desde que se instaló en la ciudad de Nueva York en junio de 2002, el organista, pianista y acordeonista de jazz Gary Versace se ha convertido rápidamente en uno de los músicos más activos y versátiles de la escena, apareciendo a menudo en bandas lideradas por músicos como John Scofield, John Abercrombie, Maria Schneider, Matt Wilson, Lee Konitz, Eliot Zigmund, Scott Wendholt, Joe Magnarelli, Danny Gottlieb, Seamus Blake, John Hollenbeck, Andy LaVerne, Adam Nussbaum, Brad Shepik, Ingrid Jensen, Tim Ries y muchos otros.

Versace fue votado como "estrella emergente" del órgano Hammond en las tres últimas encuestas de los críticos de Downbeat, y fue objeto de un artículo en el número de julio de 2004 de la revista Keyboard.

Versace ha sido solista en varias grabaciones aclamadas por la crítica en los últimos años: acordeonista en las grabaciones de Maria Schneider ganadoras del Grammy "Concert in the Garden" y "Sky Blue" y como pianista en la grabación de John Hollenbeck nominada al Grammy para un gran conjunto, "A Blessing".

En los últimos cinco años, Versace ha aparecido como líder para los sellos Criss Cross y SteepleChase, y como acompañante en más de 50 grabaciones con artistas de varios sellos, como Palmetto, ACT, Omnitone, Songlines, Pirouet, High Note, Justin Time, ArtistShare, Fresh Sound, Kind of Blue y muchos otros.

Como pianista, Versace actuó en un recital a dos pianos con Marian McPartland, y en abril de 1999 apareció en su aclamado programa de la National Public Radio, "Piano Jazz". McPartland lo ha calificado de "...infinitamente inventivo...(Versace) tiene realmente un talento extraordinario".

Gary Versace tiene un máster en interpretación musical por la Eastman School of Music, y pasó ocho años como profesor asociado titular en el departamento de estudios de jazz de la Universidad de Oregón. Sigue activo como clínico y solista invitado tanto a nivel nacional como en todo el mundo.
https://www.allaboutjazz.com/musicians/gary-versace

instagram.com/garyversace ...

Colaborador / Contributor:  Ketmokin

VA • Blue Note Meets UNIQLO

 

Horace Parlan, Joe Henderson, Dexter Gordon, Jackie McLean, Sonny Clark, Lou Donaldson, Tony Williams, Lee Morgan, Art Blakey.

www.bluenote.com ...

Lee Konitz-Rich Perry • Richlee!

 

Tony Monaco-Zakk Jones-Reggie Jackson • Over and Over

 

 

www.b3monaco.com ... 

Jesper Thilo & The American Stars • Jesper Thilo & The American Stars

 

Freddie Hubbard • Super Blue

 

Tom Amend Organ Trio • Frontier Justice

 

Tom Amend’s debut record, “Frontier Justice” is a swinging organ trio record featuring the great Jeff Hamilton on drums and Steve Kovalcheck on guitar. 

tom-amend-music ...

Gary Peacock, Keith Jarrett, Jack DeJohnette • Tales Of Another

 

Harold Mabern • Maya with Love

 

Colaborador / Contributor:  Ketmokin

Chick Corea • Now He Sings, Now He Sobs

 

Review by Stephen Thomas Erlewine
Recorded over a year after Chick Corea's debut Tones for Joan's Bones -- a record cut in late 1966 but not appearing until 1968 -- Now He Sings, Now He Sobs feels like his true first album, the place where he put all the pieces in motion for his long, adventurous career. Much of that has to do with the closed quarters of its recording. Supported by drummer Roy Haynes and bassist Miroslav Vitous, Corea has the freedom to run wild on his five original compositions, letting chords cluster alongside fleet melodic runs. Haynes and Vitous play with the same sense of liberation, which pushes Now He Sings, Now He Sobs into a sweet spot where hard bop and avant intersect. There's an intellectual rigor balanced by an instinctual hunger that makes for music that's lively and challenging while also containing a patina of comfort. Chalk the latter up to the elegance of Corea's piano trio: they move through the dense bop with the same grace that they settle into ballads, a sound that is warm and inviting, yet never disguises how the trio -- and Corea especially -- never stop probing and exploring the outer edges of this music. While it's possible to hear Now He Sings, Now He Sobs as an opening salvo to Corea's career, it also exists as its own special thing because it captures the pianist at the brink: it's kinetic, exciting, and filled with endless possibilities. 
https://www.allmusic.com/album/now-he-sings-now-he-sobs-mw0000199392

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Reseña de Stephen Thomas Erlewine
Grabado más de un año después del debut de Chick Corea, Tones for Joan's Bones (un disco grabado a finales de 1966 pero que no se publicó hasta 1968), Now He Sings, Now He Sobs se siente como su verdadero primer álbum, el lugar donde puso en marcha todas las piezas de su larga y aventurera carrera. Gran parte de esto se debe al espacio reducido de su grabación. Con el baterista Roy Haynes y el bajista Miroslav Vitous como soporte, Corea tiene la libertad de dar rienda suelta a sus cinco composiciones originales, dejando que los acordes se agrupen junto a fugaces riffs melódicos. Haynes y Vitous tocan con la misma sensación de liberación, lo que lleva a Now He Sings, Now He Sobs a un punto óptimo donde el hard bop y el avant se cruzan. Hay un rigor intelectual equilibrado por un hambre instintiva que crea una música vivaz y desafiante, a la vez que contiene una pátina de confort. Atribuyamos esto último a la elegancia del trío de piano de Corea: se mueven por el bop denso con la misma gracia con la que se asientan en las baladas, un sonido cálido y acogedor, que sin embargo nunca disimula cómo el trío, y Corea en particular, nunca dejan de explorar los límites de esta música. Si bien es posible escuchar Now He Sings, Now He Sobs como un primer paso en la carrera de Corea, también tiene un carácter único porque captura al pianista al límite: es dinámico, emocionante y lleno de infinitas posibilidades.


chickcorea.com/now-he-sings-now-he-sobs ...

Friedrich Gulda • Ineffable-The Unique Jazz Piano Of Friedrich Gulda

 

Jerry Weldon • The Summit

 

Jerry Weldon brings his bold and bright tenor to the fore with a post bopping team of Alonzo Demetrius/tp, Peter Lin/tb, Mike Bond/p, Jason Clotter/b and Carmen Intorre Jr/dr for a snazzy gig back in 2024 in swinging New Brunswick. The leader is strong and confident as he flexes his muscles on his own ‘Sunny V”, while Demetrius taps into his inner Lee Morgan over Intorre’s exuberatnt drums on “Calling Miss Khadija”. Bond shines with Weddon on a wonderfully laconic “ You Go To My Head” while the horn men show their testosterone on the macho read of Wayne Shorter’s “The Summit” . And oh, yes, they can swing, with Clotter digging into a bopping line for “Minority” and the horns sweet and hot for “On The Sunny Side Of The Street”. Blue plate blue notes.
by George W. Harris • October 20, 2025 
https://jazzweekly.com/2025/10/jerry-weldon-the-summit/

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Jerry Weldon pone en primer plano su atrevido y brillante tenor con un equipo de post-bopping formado por Alonzo Demetrius/tp, Peter Lin/tb, Mike Bond/p, Jason Clotter/b y Carmen Intorre Jr/dr para un elegante concierto en 2024 en el dinámico New Brunswick. El líder es fuerte y confiado mientras flexiona sus músculos en su propio "Sunny V", mientras Demetrius aprovecha su Lee Morgan interior sobre la exuberante batería de Intorre en "Calling Miss Khadija". Bond brilla con Weddon en un maravillosamente lacónico "You Go To My Head" mientras los trompetas muestran su testosterona en la lectura machista de "The Summit" de Wayne Shorter. Y oh, sí, pueden balancearse, con  Clotter profundiza en una línea de baile para “Minority” y los vientos dulces y calientes de “On The Sunny Side Of The Street”. Notas azules del plato azul.
por George W. Harris • 20 de octubre de 2025
https://jazzweekly.com/2025/10/jerry-weldon-the-summit/

jerryweldon.net ...

Vic Juris • Songbook

Review by David R. Adler

Following up on his ambitious Eric Dolphy tribute, Vic Juris returns to the basics: a straight-ahead guitar trio, playing all standards and jazz classics (save for Juris' title track). Songbook offers an especially clear and sustained look at the artist's approach to standard harmony. His rhythm section players, bassist Jay Anderson and drummer Jeff Hirshfield, give him expert support, as they've done over the course of several albums. Juris sounds decidedly Metheny-esque at times, but he makes even the most visited material his own, particularly "All the Things You Are," played as a duo with Hirshfield. In a new twist, Juris plays nylon-string acoustic guitar on "Luiza" and "Nuages," the latter a breathtaking duet with Anderson. He also offers an unaccompanied steel-string acoustic rendition of Bill Evans' "Time Remembered." This is certainly one of Juris' most representative recordings to date.

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Traducción Automática:
Revisión por David R. Adler

Siguiendo con su ambicioso tributo a Eric Dolphy, Vic Juris regresa a lo básico: un trío de guitarras en línea recta, tocando todos los estándares y clásicos del jazz (a excepción de la pista del título de Juris). El libro de canciones ofrece una visión especialmente clara y sostenida del enfoque del artista hacia la armonía estándar. Sus jugadores de la sección rítmica, el bajista Jay Anderson y el baterista Jeff Hirshfield, le brindan un apoyo experto, como lo han hecho a lo largo de varios álbumes. Juris suena decididamente Metheny-esque a veces, pero hace que incluso el material más visitado sea suyo, especialmente "All the Things You Are", que se reproduce a dúo con Hirshfield. En un nuevo giro, Juris toca la guitarra acústica de cuerdas de nylon en "Luiza" y "Nuages", esta última un dúo impresionante con Anderson. También ofrece una interpretación acústica de cuerdas de acero no acompañada de "Time Remembered" de Bill Evans. Esta es sin duda una de las grabaciones más representativas de Juris hasta la fecha.

George Shearing and Hank Jones • The Spirit of 176

 

Review by Scott Yanow
George Shearing and Hank Jones have always been very well-rounded pianists fully capable of playing unaccompanied solos. Their unique matchup as a two-piano duo on this Concord release works surprisingly well for the two pianists manage to stay out of each other's way and the ensembles are not overcrowded. The pianists tackle colorful material including "Angel Eyes," and Thelonious Monk's "I Mean You," an original apiece, Mary Lou Williams's "Lonely Moments," "Star Eyes" and "Confirmation," and the results are swinging and tasteful. This somewhat obscure Concord CD is worth investigating.
https://www.allmusic.com/album/the-spirit-of-176-mw0000199894

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Reseña de Scott Yanow
George Shearing y Hank Jones siempre han sido pianistas muy completos, capaces de tocar solos sin acompañamiento. Su combinación única como dúo de dos pianos en este lanzamiento de Concord funciona sorprendentemente bien porque los dos pianistas se las arreglan para mantenerse fuera del camino del otro y los conjuntos no están superpoblados. Los pianistas abordan un material colorido que incluye "Angel Eyes" y "I Mean You" de Thelonious Monk, una pieza original, "Lonely Moments", "Star Eyes" y "Confirmation" de Mary Lou Williams, y los resultados son contundentes y de buen gusto. Este CD de Concord, algo oscuro, vale la pena investigarlo.
https://www.allmusic.com/album/the-spirit-of-176-mw0000199894

John Swana Quintet • The Feeling's Mutual

 

American jazz trumpeter and flugelhorn player, born in 1962.


www.instagram.com/john_swana_official/

Colaborador / Contributor:  Mich58

Art Pepper • The Greatest Hits

 

With his lyrical, swinging style, alto saxophonist Art Pepper is recognized as one of the major jazz stars to emerge out of the West Coast jazz scene of the 1950s. A gifted soloist by his teens, Pepper initially drew attention touring as a member Stan Kenton's band before launching his solo career. He achieved almost instant fame, famously finishing second behind Charlie Parker as best alto saxophonist (he also occasionally played clarinet and tenor sax) in the 1952 DownBeat magazine readers' poll. Along with artists like Chet Baker, Gerry Mulligan, Shelly Manne, and others, Pepper became synonymous with the laid-back West Coast jazz sound. However, he was also a heroin addict, and his career was often sidelined due to drug-related stints in prison. Nonetheless, he remained a vital performer, issuing albums like 1959's Plus Eleven and 1960's Intensity. After entering the Synanon drug rehabilitation program in the late '60s, Pepper resurrected his career. Working alongside his wife and manager Laurie Pepper, he recorded a series of comeback albums including 1975's Living Legend and 1980's Straight Life (also the title of his 1980 memoir) which found him embracing a more muscular, hard bop and modal sound influenced by John Coltrane. Despite, or perhaps because of his troubled career, Pepper -- who died of a stroke in 1982 -- remains a dualistic symbol for both the fallen jazz star and journeyman who never gave up.

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Con su estilo lírico y dinámico, el saxofonista alto Art Pepper es reconocido como una de las principales estrellas del jazz que emergieron de la escena de la Costa Oeste en la década de 1950. Siendo un solista talentoso en su adolescencia, Pepper llamó la atención inicialmente al girar como miembro de la banda de Stan Kenton antes de lanzar su carrera en solitario. Alcanzó una fama casi instantánea, quedando segundo, detrás de Charlie Parker, como mejor saxofonista alto (también tocaba ocasionalmente el clarinete y el saxo tenor) en la encuesta de lectores de la revista DownBeat de 1952. Junto con artistas como Chet Baker, Gerry Mulligan, Shelly Manne y otros, Pepper se convirtió en sinónimo del relajado sonido del jazz de la Costa Oeste. Sin embargo, también era adicto a la heroína, y su carrera se vio a menudo interrumpida por sus estancias en prisión relacionadas con las drogas. No obstante, siguió siendo un artista vital, publicando álbumes como Plus Eleven de 1959 e Intensity de 1960. Tras ingresar al programa de rehabilitación de drogas Synanon a finales de los 60, Pepper resucitó su carrera. Junto a su esposa y mánager, Laurie Pepper, grabó una serie de álbumes de regreso, incluyendo Living Legend (1975) y Straight Life (1980) (también título de sus memorias de 1980), donde adoptó un sonido más potente, hard bop y modal, influenciado por John Coltrane. A pesar de su problemática carrera, o quizás debido a ella, Pepper, quien falleció de un derrame cerebral en 1982, sigue siendo un símbolo dualista, tanto de la estrella de jazz en decadencia como del veterano que nunca se rindió.