As I sit here and listen to this CD for the 5th straight time I'm still amazed at the energy and creativity that these cats release on the opening (title) cut. I remember hearing it for the first time at my friend's house and I've been in love with it ever since (thanks G!). I ran home and ordered it before I took off my hat and coat.

Tunes were composed by Kenny Dorham and Joe Henderson who both play their best. The solos are well conceived and explore every possibility available. They are backed (or fronted in this case) by McCoy Turner, Richard Davis and Elvin Jones. Kenny and Joe really step up the plate and respond to energy created by this stellar rhythm section. Who couldn't respond to those cats?? I mean… they could make ME sound good. They can play in the pocket, around it, to the side, underneath… and it sounds perfect.

Don't sleep on this one. A definite hard-bop diamond in the rough.

In this fantastic album – Jeremy goes back and tackles some lesser-known standards. I think someone once said you have know where you came from in order to look ahead to the future. I have always thought that Jeremy was a forward thinking musician with roots firmly familiar (but not planted) in the music of past. This album shows me that I was right all along.

Instead of tackling more widely known tunes, JP selected songs like “Weird Nightmare” by Charles Mingus, “502 Blues” by Jimmy Rowles and “In Your Eyes” by Frank Loesser. He performs these songs in the quartet format as well as with strings (arranged by David O'Rourke). He really steps up to the plate in the quartet format and the string arrangements appear to be carefully created to allow him to poke and prod during his improvisation (something he always does well). Check out his solo on “Don't You Know I Care” and use it as a sound model if you're doing any flugelhorn work.

Personnel includes Mulgrew Miller on piano, Peter Washington on bass, Lewis Nash on drums, Meg Okura & Joyce Hammann on violin, Ron Lawrence on viola, David Eggar on cello and David O'Rouke on guitar.

This is definitely worth checking out. To listen to a few samples visit the MaxJazz website http://www.maxjazz.com or Jeremy?s website http://www.peltjazz.com.

The Terence Blanchard/Donald Harrison quintet of the 1980s never got the credit and accolades that they deserved. While some recognized their talents, they never reached the commercial success of the Wynton Marsalis led band (who was also putting out some top notch albums). The Blanchard/Harrison group released several fantastic albums that were creative, innovated and just down right amazing.

Black Pearl was the final album released by this trumpet/alto sax led quintet who together spent much of their time cutting their teeth with Art Blakey as Jazz Messengers. With both Terence and Donald sharing leadership, the band was very versatile. Listen to the dreamy title “Black Pearl” or ?Infinite Heart? and follow that with the cooking “The Center Piece” or ?Dizzy Gillespie?s Hands.? The group included Cyrus Chestnut on piano, Reginald Veal on bass and Carl Allen on drums. If you look up musical chemistry in the dictionary you will see this group referenced as #2(#1 being the Miles Davis Quintet of the early-mid 60s).

It’s may be hard to track this one down but if you do – you will not be disappointed. Special thanks for Larry Smithee for turning me on to Terence’s earlier bodies of work.

Variety is the spice of life. Variety in a jazz quintet is especially delicious. I first heard this group a few years ago at Borders Book and later at a arts and education program where they paid tribute to Thelonious Monk. I thoroughly enjoyed both. The Unified Jazz Ensemble uses variety in instrumentation along with original composition to create “Small Town Stories.”

The group includes Jeff Antoniuk (soptenoralto sax, percussion), John “Big Pants” Pineda (bass), Tim Harrison (piano, flute), Marty Morrison (drums) and Mike Noonan (vibraphone, trombone, percussion). I can’t think of many groups that include this kind of diversity without bringing in guest artists. They use this diversity to change the sound of the group on different cuts and it works very well.

What really impressed me is the writing on this CD. All songs are original tunes composed by members of the band. Among my favorites include Noonan?s ?Big Pants Plays the Groove? (the flute solo is fantastic) and Harrison’s “Highlandville” and energetic ?Orsey?s Blues.? The chemistry among the band members is obvious. This is truly a group in tune with one another. Unified. Highly recommended.

To find out more about this group and purchase the CD visit their website ? http://www.unifiedjazz.com.

I’ve noticed that one of the curses of being a technically proficient trumpet player is the temptation or tendency to resorts on tricks, high notes and gimmicks to impress listeners. Ryan Kisor is technically proficient on the trumpet but he is NOT guilty of this practice. His ability is amazing and his style/approach to playing is drenched in the foundation of the master musicians of the past.

On the album “Awakening,” Ryan uses his abilities to craft fantastic and expressive solos. On this album he rejoins Sam Yahel (Hammond B3) and Peter Bernstein (guitar) from the very popular “Battle Cry” quartet. This is definitely one of his best albums to date (and can a trumpet player look any cooler on an album cover??). Not to be over looked are fantastic performances by Grant Stewart on Tenor and Willie Jones III on drums.

All the tunes were written by Ryan Kisor who says in his liner notes – “Just let the music speak for itself.” I like what it’s saying to me… great stuff.

Maybe I need to get out more. Maybe I need to travel in different trumpet circles. Why haven't I heard the name Charles Tolliver more when people talk about great trumpet players? I was turned on to him by listening to Brian Lynch's “Tribute to the Trumpet Masters” album where Brian wrote a tune for him. I was familiar with all the players except for Charles and made it a point to find out more about him.

The Ringer was the perfect introduction to this amazing and exciting player. He reminds me of Woody Shaw in many regards with his aggressive style and crystal clear tone. Check out Charles handles the energy packed title tune – “The Ringer” and gets smooth and mellow with “Mother Wit”. His writing really shines on “Plight” and “On the Nile”.

Do yourself a favor and check out Charles Tolliver.

I got into an ebay bidding war with a cat for this CD. We had taken the price all the way up to $36 before I bailed. Fortunately I took a chance and visited Half.com and found it for $29. Word to the wise ? check Half.com before getting into bidding contests for CDs and LPs. You may find a better deal.

What more can be said about Freddie Hubbard?s playing during the Blue Note years that hasn?t already been said by me or others? His technique is incredible, his tone is fat and his musical ideas are fresh. Joining him on this set are Wayne Shorter, McCoy Turner, Art Davis, Elvin Hayes and Benard McKinney on euphonium. Freddie wrote three of tunes (Arietis, Birdlike and Crisis) and those are my favorites.

I am hoping Blue Note does a RVG edition. If they do ? it will only cost you $12 instead of the $31 that I panned out. It was worth ever penny though.

First off let me say this… I LOVE trumpet players in a quartet setting. In a selfish way it allows me to really focus on what the player is trying to say and I can really get into his sound and technique. I also have much respect for the musician who can pull it off successfully because it is extremely demanding to not have a reedman or other wind instrument to give you a break from time to time.

That being said – even if you are not a fan of the trumpet in a quartet setting you will love what Brian Lynch does on this album. He pays tribute to some of the masters of our instrumet — Woody Shaw, Freddie Hubbard, Kenny Dorham, Tom Harrell, Thad Jones, Lee Morgan, Blue Mitchell, Charles Tolliver and Booker Little. I think he does an excellent job capturing the spirit of their playing while maintaining his own voice which is difficult to do when playing on a tribute album. Brian tears it up on “Woody Shaw” and gets slow and smooth on “Eclipse”. The former jazz messenger has great tone and technique. He is backed by a fantastic rhythm section – Mulgrew Miller on piano, Essiet Essiet on bass and Carl Allen on drums. Definitely worth checking out.

Sal from Chi-town strikes again. He suggested this wonderful CD to me and it is simply fantastic. Woody Shaw seems to be on the top of his game. His playing is crisp, clean, lyrically expressive and exciting (all adjectives that can almost always be used when talking about Woody). The material is fresh with catchy (but adventurous) melodies that the group performs ell. The rhythm section (Ronnie Matthews on piano, Stafford James on bass and Eddie Moore on drums) is as tight as any I?ve ever heard and Frank Strozier on alto sax is electric. The title tune (which I adored) was dedicated to Woody?s wife Maxine and it is played with passion and freedom. This little known treasure belongs on every jazz lover?s CD rack. Get it.

No trumpet player embodies the spirit, energy and fearlessness of our instrument like the great Lee Morgan. Freddie Hubbard used to speak of how Lee could win the crowd with his clever soul drenched lines. This Live at the Lighthouse date includes classic Lee Morgan with all the fire and energy that you would expect on any of his recordings. Most of the songs were written by other band members and each is a real treat as the artists explore, stretch and pull the material to its limits. Of course no Morgan date would be complete without a performance of ?The Sidewinder.? I particular enjoyed hearing Lee?s voice introduce the tunes and band members. Here was another great talent taken away from us way too soon.