Vince Mendoza: Nights on Earth (2011)

It's been 13 years since Vince Mendoza last released an album of all-original music with Epiphany (Zebra, 1999); but it's not as if he hasn't been busy. He's a first-call arranger for high profile jazzers, working on guitarist John Scofield's 54 (EmArcy, 2010), now-deceased keyboard giant Joe Zawinul's Brown Street (Heads Up, 2007), and über-trumpeter Randy Brecker's Some Skunk Funk (Telarc, 2006). He's lived in the pop world with Björk, Elvis Costello and Joni Mitchell, and participated in concept projects like Blauklang (ACT , 2008) and the flamenco-driven El Viento (ACT, 2009). Clearly, for Mendoza, there're only so many hours in a day. Which makes Nights on Earth all the more cause for celebration. Early albums like Start Here (World Pacific, 1990) utilized a relatively large cast of characters and were broad in scope, but here Mendoza achieves a new plateau with a panoramic world view bringing together musical friends, old and new. Mendoza has recruited five different guitarists alone, each for their individual strengths, whether it's a blues-tinged Scofield on the elegiac "Gracias," Nguyên Lê's electrified Orient-icities on the percussion-driven "Shekere," or John Abercrombie's narrative weaving through "Poem of the Moon," which also features rising star trumpeter, Ambrose Akinmusire, and whose dark beginnings gradually pick up steam, all the while retaining the harmonic ambiguity that makes it feel constantly on the edge of a precipice.

A consolidation of sorts, Mendoza culls from his flamenco experience on "Otoño," though its breezy, Mediterranean opening gradually evolves into something more complex, with Lê's scored melody the perfect transition to organist Larry Goldings' solo, which impressively and effortlessly winds its way through Mendoza's constantly shifting harmonic backdrop.

Mendoza's tremendous attention to detail is amongst the many reasons that musicians are drawn to his music. This is challenging music to play; even more challenging music through which to solo. Only four of Night on Earth's dozen tracks crack the six-minute mark, but there's an under-the-sheets complexity that still manages to feel natural—inevitable, even. Whether it's Mendoza's string-driven feature for bandoneonist Hector del Curto ("Addio), the composer's similarly symphonic but more expansive piece for pianist Kenny Werner and saxophonist Joe Lovano ("Beauty and Sadness"), or his polyrhythmic but backbeat-driven work that brings together a largely west coast group, including pianist Alan Pasqua, bassist Jimmy Johnson, and drummer Peter Erskine, with steel drummer Andy Narell and soprano saxophonist Stéphane Guillaume, who soars over the second half of the tune ("Conchita"), it's impossible to pick a highlight on Nights on Earth because every track is filled with them.

With a release schedule so busy that it's easy to miss projects like Fast City: A Tribute to Joe Zawinul (BHM, 2010), it's no surprise Mendoza took so long to get to Nights on Earth. His significance may not be reflected with a household name, but there's little doubt that, amongst musicians, he's a key figure. With 39 performers (excluding Metropole's 30 participants), Nights on Earth is another watershed, representing Mendoza's current position along an evolving path, where profound compositional depth and simple beauty find a rare meeting point.

Tracklist:

01. Otono
02. Poem of the Moon
03. Ao Mar
04. Conchita
05. The Stars You Saw
06. Addio
07. Shekere
08. Beauty and Sadness
09. The Night We Met
10. Gracias
11. Everything is You
12. Lullaby

Personnel:

Vince Mendoza: composer, conductor, arranger, keyboards (7, 9);
Lorraine Perry: vocals (10);
Luciana Souza: vocals (3);
Tom Diakite: kora and vocals (7);
Jim Walker: flute (2, 11);
Joe Lovano: tenor saxophone (5, 8);
Bob Mintzer: tenor saxophone and bass clarinet (3, 11);
Stephane Guillaume: tenor and soprano saxophone (4, 7);
Ambrose Akinmusire: trumpet (3);
Rick Todd: french horn (1, 4, 11);
Jim Self: tuba (1, 4);
John Abercrombie: electric guitar (2, 5, 8);
John Scofield: electric guitar (3, 10);
Nguyen Le: electric guitar (1, 4, 7);
Romero Lubambo: acoustic guitar (3);
Louis Winsberg: acoustic guitar (1);
Alan Pasqua: piano (1, 3, 4, 9, 10, 11);
Kenny Werner: piano (2, 5, 8);
Larry Goldings: organ (1, 4, 10);
Michel Alibo: electric bass (7);
Jimmy Johnson: electric bass (1, 3, 4, 9, 10, 11);
Christian McBride: acoustic bass (2, 5, 8);
Peter Erskine: drums (1, 3, 4, 9, 10, 11);
Greg Hutchinson: drums (2, 5, 8);
Karim Ziad: drums (7);
Alex Acuna: percussion (1, 3, 11);
Luis Conte: percussion (4, 9, 10);
Christo Cortez: palmas (1);
Rhani Krija: percussion ( 7);
Miguel Sanchez: palmas and cajon (1);
Hector del Curto: bandoneon (6, 9, 12);
Marcia Dickstein: harp (2, 11);
Andy Narrell: steel drums (4);
Jesse Mills: violin (6, 9);
Arnaud Sussman: violin (6, 9);
Dov Sheindlin: viola (6, 9);
Fred Sherry: cello (6, 9, 12);
Gregg August: contrabass (6, 9);
Judd Miller: synthesizer programming (7, 9);
Sarah Koch: concert master (2, 3, 5, 7, 8);
Erica Korthals Altes: violin (2, 3, 5, 7, 8);
David Peijnenborgh: violin (2, 3, 5, 7, 8);
Pauline Terlouw: violin (2, 3, 5, 7, 8);
Giles Francis: violin (2, 3, 5, 7, 8);
Petra Griffioen: violin (2, 3, 5, 7, 8);
Doesjka de Leu: violin (2, 3, 5, 7, 8);
Seija Teeuwen: violin (2, 3, 5, 7, 8);
Merijn Rombout: violin (2, 3, 5, 7, 8);
Herman van Haaren: violin (2, 3, 5, 7, 8);
Lucja Domski: violin (2, 3, 5, 7, 8);
Wim Kok: violin (2, 3, 5, 7, 8);
Elizabeth Liefkes-Cats: violin (2, 3, 5, 7, 8);
Marianne van den Heuvel: violin (2, 3, 5, 7, 8);
Laurie Vreeken-Bos: violin (2, 3, 5, 7, 8);
Mieke Honingh: viola (2, 3, 5, 7, 8);
Norman Jansen: viola (2, 3, 5, 7, 8);
Julia Jowet: viola (2, 3, 5, 7, 8);
Isabella Petersen: viola (2, 3, 5, 7, 8);
Alex Welch: viola (2, 3, 5, 7, 8);
Bastiaan van der Werf: cello (2, 3, 5, 7, 8);
Maarten Jansen: cello (2, 3, 5, 7, 8);
Wim Grin: cello (2, 3, 5, 7, 8);
Annie Tangberg: cello (2, 3, 5, 7, 8);
Erik Winkelmann: contrabass (2, 3, 5, 7, 8);
Arend Liefkes: contrabass (2, 3, 5, 7, 8);
Tjerk de Vos: contrabass (2, 3, 5, 7, 8);
Eddy Koopman: percussion (2, 3, 5, 7, 8);
Joke Schonewille: harp (2, 3, 5, 7, 8);
Hans Vroomans: piano (2, 3, 5, 7, 8)

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Yellowjackets: Timeline (2011)

Nearly two generations of fans have enjoyed the lasting influence and jazz tradition of Yellowjackets - 30 years of continuous service to America's native art form have made them unique in a business known for faddishness and important in that ever-changing world of music. Russell Ferrante - Jimmy Haslip - Will Kennedy - Bob Mintzer. All universally recognized innovators on their own and part of jazz history collectively as Yellowjackets mark this occasion with an all-new release entitled appropriately enough, Timeline. This is an essential chapter of a story that continues to be written.

Tracklist:
01. Why Is It 5:06
02. Tenacity 6:09
03. Rosemary 4:56
04. Timeline 5:13
05. Magnolia 4:38
06. A Single Step 7:07
07. Indivisible 5:24
08. like Elvin 5:34
09. My Soliloquy 6:24
10. Numerology 5:58
11. I Do 6:00
Timeline
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Bob Mintzer / Dado Moroni / Riccardo Fioravanti / Joe La Barbera: La Vita e Bella (2010)

It was by bringing together four outstanding international jazz masters, for a tribute to the purest jazz music in a true and simple way, that this project came to life. This album has been recorded “live” in a historical jazz club located in the town of Busto Arsizio ( Italy) and it’s imbued with those very genuine but volatile flavours such as : immediacy, complicity and the spontaneous feedback coming from the audience. These four talented musicians took on this nice challenge and the result is evident. Four musicians who are now a worldwide reference: saxophonist Bob Mintzer is one of the most studied for his modernity of language and arrangement. Dado Moroni is perhaps the most famous Italian jazzman and appreciated worldwide. Joe La Barbera is not only known for his intense collaboration with Bill Evans, but also because few people today are equipped with expressiveness and ability to enter the music like him. Riccardo Fioravanti is now one of the most solid rhythmic international reality and his collaborations and his records speak for themselves.
Original compositions( with the exception of two songs), a modern language together with a great respect for tradition are the ingredients savantly blended together as an example of a precise common intent.
The sound is enriched by this live recording that conveys its freshness, along with those surrounding “noises” leading to the overwelming climax bringing to memory some of those historical jazz sessions of the glorious past. The song titled "Life is Beautiful", soundtrack of the famous film by Roberto Benigni, as well as being the title track sums up the flavor of the cd.

Tracklist:
1.The Gathering
2.La Vita e Bella
3.Re Re
4.Kind of Bill
5.Bradley's, 2AM?
6.After
7.Ninna Anna
8.Invitation
Personnel:Bob Mintzer (tenor sax)
Dado Moroni (piano)
Riccardo Fioravanti (double bass)
Joe La Barbera (drums)
La vita è bella
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Yellowjackets: The Best Of (1999)

The Yellowjackets began their recording career on the Warner Brothers label in 1981, recording three albums before moving to GRP where the band found commercial success during a ten-year stay. In 1995, they returned to the Warner fold to produce some of their best, maturest music. Dreamland, Blue Hats, and Club Nocturne found the band presenting contemporary jazz music of the highest caliber. However, this music had too much depth to qualify for the smooth jazz radio playlists of the late 1990s. As the year 2000 dawned, Warner released this fine compilation of Yellowjackets' work for that label. It's an interesting musical document which shows the beginnings of the band in their original incarnation with L.A. Express guitar alumnus Robben Ford, and later finding their voice after his departure. Then there's a ten-year quantum leap to the unmatched musical sophistication of the latter trio of classy recordings with Bob Mintzer in the sax chair. The producer's choice not to arrange the tracks in chronological order is probably a smart one from a listening standpoint. Still there's quite a juxtaposition between the rich complexities of the opening "New Rochelle" and "Spirit of the West," and the pop-styled '80s fusion/funk of "Daddy's Gonna Miss You" and "Matinee Idol" that follow. The pleasures of both eras cannot be denied, however, and this disc is rewarding from start to finish. "The Chosen" and "Summer Song" from Dreamland remain superb, and Kurt Elling's vocal on Mintzer's "Up From New Orleans is a classic awaiting discovery. Samurai Samba's "Homecoming" should be familiar, and the previously unreleased "Theme From Il Postino" provides a reason for the Yellowjackets completist to own this disc. Taken with Collection from the GRP era, The Best of Yellowjackets gives a tiny glimpse at the music of this excellent group, priming the pump for further exploration of their recorded legacy. ~ Jim Newsom

Personnel: Bobby McFerrin (vocals, percussion); Robben Ford, Carlos Rios (guitar); Bob Mintzer (soprano saxophone, tenor saxophone); Marc Russo (alto saxophone); Ernie Watts (tenor saxophone); Russell Ferrante (keyboards); Ricky Lawson, William Kennedy (drums); Lenny Castro, Luis Conte, Paulinho Da Costa (percussion); Rory Kaplan (programming)

Tracklist:
01. New Rochelle
02. Spirit Of The West
03. Daddy's Gonna Miss You
04. Matinee Idol
05. The Chosen
06. Homecoming
07. Imperial Strut
08. Claire's Song
09. Top Secret
10. Up From New Orleans
11. Summer Song
12. Theme From Il Postino
Buy at CD Universe
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Bob Mintzer: Canyon Cove (2010)

Between a bevy of sideman dates, longstanding gigs with Yellowjackets and his own big band, and periodic small ensemble recordings like the unassuming and heartfelt In the Moment (Art of Life, 2007), Bob Mintzer has remained one of the busiest woodwind multi-instrumentalists in jazz for nearly four decades, since first cutting his teeth as youngster with drum legend/mentor Buddy Rich. Largely focusing on the rich bebop tradition and its various offshoots, Mintzer has always managed to remain relevant by placing himself into a multiplicity of contexts. Mintzer visits the organ trio tradition on Canyon Cove, with a set of largely original material alongside one reworked standard and three free improvisations.

It's hard for Mintzer to miss with this trio of equally players. He's worked with drummer Peter Erskine countless times over the years, from bassist Jaco Pastorius' Word of Mouth big band to pianist Don Grolnick's overlooked mini-classsic, Weaver of Dreams (Blue Note, 1990) and the all- star Hudson Project (Concord, 2000). Mintzer's relationship with organist Larry Goldings is more recent; Canyon Cove was, in fact, originally intended for another organ great, Joey DeFrancesco. But Goldings is far more than just a sub: with artists ranging from guitarist John Scofield and saxophonist Michael Brecker to piano icon Herbie Hancock— the in-demand keyboardist has traveled the full range of the jazz spectrum and beyond.

All three players have more than enough cred in a range of tradition-centric projects to give Canyon Cove the same ring of truth of Mintzer's piano trio-driven In the Moment, though this time the reedman also includes three spontaneous, numbered improvisations, with guest Judd Miller on EWI, an electronic, wind-driven instrument that triggers sampled sounds and synthesized textures. "Improv #3" runs at a fast clip, with Erskine's delicate ride cymbal driving the pulse, while the drummer's lithe brushwork propels the equally swinging "#2" and those same brushes give the set-closing "#3" its gently funky pulse. All three tracks feel preconceived, despite their in-the-moment nature, and feature Mintzer on bass clarinet, an instrument that he's made definitive in his work over the years.

It's when Mintzer breaks out the longer horn on improvised sections—and on structured material like the ambling but ever-so-slightly outré "Road Well Traveled," and incendiary blues, "Bebop Special" (doubling the latter's head on flute)—that Canyon Cove truly transcends the norm. That said, his tenor work remains impressive on the more modernistic bent of "Somewhere Up There," Latin- esque "Papa Lips" and greasy funk of "Bugaloo to You."

There's even a nod to progressive rockers Emerson, Lake & Palmer on the energetic title track, though Goldings can't help but imbue the music, driven by Erskine's rockier pulse, with considerably more taste and far less excess than Keith Emerson, even at his most understated. It's evidence that even the most committed jazzers listen to music beyond its broadest purview. Still, Canyon Cove is, for the most part, a centrist affair that, like Mintzer's last small group disc, is an honest, unassuming and, consequently, thoroughly enjoyable affair.

Tracklist:

01. Somewhere Up There - Mintzer

02. Bebop Special - Mintzer

03. Papa Lips - Mintzer

04. Bugaloo to You - Mintzer

05. Thaddeus - Mintzer

06. When I Fall in Love - Mintzer, Young

07. Improv No. 3 - Erskine, Goldings, Miller, Mintzer

08. Road Well Traveled - Mintzer

09. Truth - Mintzer

10. Mr. Fonebone - Mintzer

11. Improv No. 2 - Erskine, Goldings, Miller, Mintzer

12. Canyon Cove - Mintzer

13. Improv No. 1 - Erskine, Goldings, Miller, Mintzer

Personnel: Bob Mintzer: tenor saxophone, bass clarinet, flute; Peter Erskine: drums, percussion; Larry Goldings: organ; Judd Miller: EWI (7, 11, 13)

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David Sanborn: As We Speak (1982)

It was about this time in his career that one sensed David Sanborn was getting a bit tired of the formula he was using on his records. However, his great popularity kept him from changing direction much. As usual, the highly influential altoist blows his heart out over a lot of funky rhythms on As We Speak, but surprisingly, he switches to his less notable soprano on four of the nine tunes. Bassist Marcus Miller is a key force in the background, leading the expanded rhythm sections through some pop-oriented material that is appealing but not too substantial. ~ Scott Yanow

Tracklist:
01. Port Of Call 04:28
02. Better Believe It 03:31
03. Rush Hour 04:43
04. Over And Over 04:12
05. Back Again 03:52
06. As We Speak 04:17
07. Straight To The Heart 03:26
08. Rain On Christmas 04:47
09. Love Will Come Some Day 06:17

Personnel: David Sanborn (soprano & alto saxophones); Michael Sembello (vocals, guitar); Bill Evans (saxophone); Robert A. Martin (French horn); Bob Mintzer (bass clarinet); Spike (IRT strings, synthesizer); James "Sugar Bear" Skelton (Hammond B-3 organ); George Duke (Clavinet); Don Freeman (keyboards, synthesizer); Marcus Miller (synthesizer, bass); Lance Ong (synthesizer); Buzz Feiten (guitar); Omar Hakim (drums, tambourine); Malando Gassama, Paulinho Da Costa (percussion); Cruz Baca Sembello (background vocals).

As We Speak
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Bob Mintzer Big Band: Homage To Count Basie (2000)

Count Basie was undoubtedly one of the most influential bandleaders in jazz history. It seems only logical then that saxophonist Bob Mintzer (who has dedicated most of his career to big-band music) would sooner or later record a tribute to the great father of swing. Joined by many of the top New York City-based jazz players including Pete Yellin on reeds, Scott Wendholt on trumpet, Phil Markowitz on piano, Dennis Irwin on bass, and John Riley on drums, Mintzer and group create a touching homage to the Count.

We hear five tunes commonly associated with Basie on this disc. Among them are smart versions of "Cute," "April in Paris," and "Shiny Stockings." In addition, we are treated to three compositions by Mintzer himself, each reflecting the Basie style in one way or another. As a modernist, Mintzer adds a contemporary flair to otherwise classic swing charts such as "Lil' Darling" and "One O'Clock Jump," but it's the spirit of the music, not the harmonic vocabulary, that really matters here. For Basie, the key ingredient was always swing. Thankfully, Mintzer's music and ensemble live up to that great Basie reputation by swinging these charts just right.

• HOMAGE TO COUNT BASIE won the 2002 Grammy Award for Best Large Jazz Ensemble Album •
Tracklist:
1. Havin' Some Fun (B.Mintzer) [7:56]
2. April In Paris (V.Duke & E.Harburg) [6:07]
3. One O'Click Jump [YouTube] (C.Basie) [11:16]
4. Lester Jumps Out (B.Mintzer) [9:20]
5. Cute (N.Hefti) [5:57]
6. Shinny Stockings (F.Foster) [7:45]
7. Home Basie (B.Mintzer) [4:12]
8. Lil' Darlin' (N.Hefti) [8:44]
Personnel:
Bob Mintzer Big Band:
Saxophones:
Lawrence Feldman & Pete Yellin (alto, clarinet & flute)
Scott Robinson & Bob Mintzer (tenor, clarinet & flute)
Roger Rosenberg (baritone)
Trumpets/Flugelhorns: Bob Millikan, Byron Stripling, Scott Wendholt, Michael Phillip Mossman
Trombones: Michael Davis, Keith O'Quinn, Larry Farrell, Dave Taylor (bass)
Piano: Phil Markowitz
Bass: Dennis Irwin
Guitar: James Chirillo
Drums: John Riley, Brian Brake
Technical Credits:
Producer: Bob Mintzer; Tom Jung
Engineer: Tom Jung
Recorded at Ambient Studios, Stamford, Connecticut on May 16 & 17, 2000. Includes liner notes by Bob Mintzer.
Homage to Count Basie
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Andrea Marcelli: Beyond the Blue (2008)

Andrea Marcelli: born in Rome, in 01/22/1962. Graduated in 1986 from the L. Refice Conservatory in Frosinone (Rome) in Classical Clarinet, Jazz Composition and Arrangement. He also attended clinics with Tommy Campbell and Peter Erskine. Worked as featured drummer playing shows for RAI Television from 1982 to 1988 also with the St.Louis Big Band directed by Bruno Biriaco (82/86), including the Live TV Show, "Unicef", "Il Nastro D`Argento" and "Domenica In" 82,83,84 for Pippo Baudo. The big band has included occasionally Baldo Maestri, Sal Genovese and Paolo Fresu. Among other TV shows that Marcelli performed are: Tandem, DOC, Blitz, Orecchiocchio,"La Musica c`e`, Il Piacere dell`Estate, Vediamoci sul 2, Cartoni Magici. Andrea also composed and recorded 7 CDs of Library music for Films, TV and Radio for Primrose Music, Flippermusic and Fonit Cetra broadcasted world-wide. More than 190 of his compositionas have been recorded in CD. Andrea moved to USA in 1989 spending 8 years in Los Angeles and 4 in New York and quickly gaining a Special Green Card Visa as a "First preference Alien wth Extraordinary abilities in the Field of Jazz".

Tracklist:

01. Between Poles 08:03

02. Summer Nights 05:54
03. Herbst (Autumn) 06:24
04. The Meaning of the Family 07:11
05. Beyond the Blue 06:04
06. Orange Green 05:26
07. Fragments 03:42
08. Distances 06:22
09. Still 03:16
10. Retirantes 05:24
11. Emotions 03:11
12. Welcome 02:58
13. Between Poles, reprise 05:57
14. More Orange 01:00
Persommel: Andrea Marcelli - drums, Mike Stern - guitar, Eddie Gomez - bass, Bob Mintzer - tenor sax,  Mitchel Forman - piano
Beyond The Blue Feat. Mike Stern, Eddie Gomez, Bob Mintzer, Mitchel Forman
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Marvin Stamm: Mistery Man (1993)

Marvin Stamm (born May 23, 1939, Memphis, Tennessee) is an American bebop trumpeter.

Stamm began on trumpet at age 12, and attended college at North Texas State University where he was a member of the world renowned One O'Clock Lab Band. Following this he played with Stan Kenton's Mellophonium Orchestra from 1961 to 1963, and with Woody Herman from 1965 to 1966. Following this he was in the Thad Jones and Mel Lewis Orchestra from 1966 to 1972, and with Benny Goodman from 1974 to 1975. In the 1970s he also began a decades-long career as a prolific studio and session musician. In the studio he has recorded with Average White Band, Bill Evans, Quincy Jones, Donald Fagen, Oliver Nelson, Duke Pearson, Wes Montgomery, Freddie Hubbard, Stanley Turrentine, Grover Washington, Jr., Patrick Williams, Michel Legrand, Lena Horne, Frank Foster, Paul Desmond, and George Benson.

In the 1980s he played with John Lewis' American Jazz Orchestra, the Bob Mintzer Band, the George Gruntz Concert Jazz Band (1987), Louie Bellson's Big Band and the band of composer Maria Schneider.

Tracklist
01. Mark Time
02. Influence
03. Marionette
04. Man With the Cucumber
05. Re-Re
06. Giuseppe
07. Old Ballad
08. The Mystery Man
09. A Method to the Madness
10. My Funny Valentine
Mystery Man
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