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Listen Here! [6/14] *
 

Listen Here! [6/14] *

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Listen Here! [6/14] *
"Listen Here!" (06/14/2005) International Palmieri, Eddie, Concord Records (USA)Personnel: Eddie Palmieri (piano); Eddie Palmieri; Ivan Renta (alto saxophone); Doug Beavers, Doug Beavers (trombone); Christian McBride, John Ben¡tez (bass instrument); John Scofield (acoustic guitar, electric guitar); Regina Carter (violin); Donald Harrison (alto saxophone); David Sanchez , Michael Brecker (tenor saxophone); Nicholas Payton, Brian Lynch (trumpet); Conrad Herwig (trombone); Horacio "El Negro" Hern ndez (drums); Giovanni Hidalgo (congas, bata, guiro). Audio Mixer: Jon Fausty. Liner Note Authors: Pia Lopez; Rene Lopez . Recording information: Avatar Studios, New York, NY (01/19/2005-01/23/2005). Photographer: Lisa Stein. Arrangers: Eddie Palmieri; Doug Beavers. During his career, Eddie Palmieri hasn't seemed completely comfortable unless he's allowing others to challenge him. It was true at the beginning of his career when he revolutionized Latin music with his charanga, the La Perfecta ensemble; it was true during the mid-'60s when he recorded two respected dates with Cal Tjader; it was true during the '60s and '70s when he energized the Latin superstar band, the Fania All-Stars; and it was still true in early 2005 when he recorded Listen Here! Released on Concord Picante, it sees an array of excellent jazz instrumentalists sharing solo space with his regular group. First up is Regina Carter, not a natural fit for a Latin group by anyone's estimation, but still a master musician whose sprightly violin proves surprisingly sympathetic with Palmieri's tough salsa unit (and she hangs on easily when the band kicks in to a hardcore salsa halfway through). Tenor Michael Brecker and bassist Christian McBride also prove up to the task on the title track, a salsa re-imagination of Eddie Harris' near-standard "Listen Here." Elsewhere, Palmieri gets several chances to extend his arranging chops, by translating a trio of real standards -- "Tin Tin Deo," "In Walked Bud," "Nica's Dream" -- for his group. ~ John Bush

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Listen My Children You Shall Hear [Avid] by Count Basie (CD - 08/06/2004)
 

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Listen My Children You Shall Hear [Avid] by Count Basie (CD - 08/06/2004)
"Listen My Children You Shall Hear [Avid]" (08/06/2004) Jazz Instrument Basie, Count, AvidPersonnel includes: Count Basie (piano); Helen Humes, Jimmy Rushing (vocals); Lester Young, Chu Berry (tenor saxophone); Buck Clayton (trumpet). Recorded between 1937 and 1939. All tracks have been digitally remastered.

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Music to Listen to Barney Kessel By by Barney Kessel (CD - 10/15/1992)
 

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Music to Listen to Barney Kessel By by Barney Kessel (CD - 10/15/1992)
"Music to Listen to Barney Kessel By" (10/15/1992) Jazz Instrument Kessel, Barney, Original Jazz ClassicsPersonnel: Barney Kessel, Buddy Clark, Buddy Collette, Justin Gordon, Jules Jacob, Shelly Manne, Red Mitchell, Ted Nash, Andre Previn, Jimmy Rowles, George W. Smith, Howard Terry, Claude Williamson. Recorded from August to December 1956. Featured is Kessel's guitar with five woodwinds and a rhythm section. 12 songs were recorded with Buddy Collette (fl), Andre Previn (p), Shelly Manne (d), Jimmy Rowles (p), Red Mitchell (b), Buddy Clark (b), and others. ~ All Music Guide

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Listen to My Music, Vol. 3: 1947-48 by Ted Heath (CD - 05/11/1999)
 

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Listen to My Music, Vol. 3: 1947-48 by Ted Heath (CD - 05/11/1999)
"Listen to My Music, Vol. 3: 1947-48" (05/11/1999) Jazz Instrument Heath, Ted, Hep (UK)Personnel includes: Ted Heath; Paul Carpenter, Lydia McDonald, Annie Shelton (vocals); Jackie Armstrong, Kenny Baker, Johnnie Gray, Tommy Whittle, Jack Parnell. Personnel: Anne Shelton (vocals); Dave Goldberg , Pete Chilver (guitar); Dave Shand (clarinet, baritone saxophone); Les Gilbert (alto saxophone); Jack Parnell (tenor saxophone, drums); Tommy Whittle (tenor saxophone); Robert Burns (baritone saxophone); Stan Reynolds, Cliff Haines, Dave Wilkins, Stanley Roderick, Harry Hall, Kenny Baker (trumpet); Jackie Armstrong, Harry Roche, Jack Bentley, Jimmy Coombes, Maurice Pratt (trombone); David Simpson, Norman Stenfalt (piano). Audio Remixer: Ted Kendall. Recording information: London, England (04/21/1947-12/16/1948). Director: Ted Heath. Arrangers: Norman Stenfalt; Kenny Baker . One of at least seven Ted Heath compilations sharing the title Listen to My Music, this third volume in the Hep label's intensive Ted Heath reissue series contains British big-band swing recordings made between April 21, 1947 and December 16, 1948. Heath successfully navigated the stylistic riptides of swing and bop, his well-oiled ensemble always sounding fresh and contemporary yet snugly rooted in the tradition of accessible jazz and dance music. The repertoire on this disc includes Fats Waller's "London Suite" (a marvelous work revisited by Heath in 1954), old time melodies by Stephen Foster and Rudolf Friml, a visitation from Robert Burns, and an assortment of melodies traceable to Tin Pan Alley, Dixieland, mainstream jazz and bebop. The odd tune out is an unpleasant attempt at "Feudin' and Fightin'," a gruesome novelty tune that was only funny when premiered by Dorothy Shay, that glamorous U.S. comedienne who was billed as "The Park Avenue Hillbilly". Although the stupid and vulgar rendition heard here is a low point in the Ted Heath discography, the other 25 tracks more than compensate for this unfortunate lapse in taste. ~ arwulf arwulf

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You Had Better Listen by Jimmy Owens (CD - 03/14/2006)
 

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You Had Better Listen by Jimmy Owens (CD - 03/14/2006)
"You Had Better Listen" (03/14/2006) Jazz Instrument Owens, Jimmy, Collectables RecordsPersonnel: Jimmy Owens (trumpet, flugelhorn); Kenny Barron (piano); Benny Maupin (tenor saxophone, flute); Christopher White (bass); Freddie Waits, Rudy Collins (drums). Originally released on Atlantic (1491). Personnel: Jimmy Owens (trumpet, flugelhorn); Bennie Maupin (flute, tenor saxophone); Kenny Barron (piano); Frederick Waits, Rudy Collins (drums). Kenny Barron and Jimmy Owens' first recording was a solid debut. The exciting title cut, "You Had Better Listen," composed by Jimmy Owens, is good, basic, uptempo jazz, nothing fancy, no frills. The Jimmy Owens-Kenny Barron Quintet doesn't condescend like some jazz artists tend to do; casuals can groove, relate, nod their heads in approval and feel righteous about it. Owens plays some beautiful trumpet scales, while Barron keeps busy banging chord progressions. The other members of the quintet are Benny Maupin (tenor sax, flute), Chris White (bass), Freddie Waits (drums on tracks one, two and four), and Rudy Collins (drums on tracks three through five). Owens' sparkling fl?gelhorn spices "The Night We Call It a Day." Barron composed the strutting "Gichi," Maupin and Owens blowing as one introduces the bebopper, White's bass is cool and steady, and Collins' drum work is incredibly creative. Owens comes in later and spits a series of darting trumpet hits before rejoining Maupin near the conclusion for a cutting contest. Moody and occasionally happy, but mostly maudlin, best describes "Love, Where Are You," an exercise in cool; Owens gives a trumpet clinic, while White's walking basslines titillate the ears. "Carolina John," is Maupin's best showcase, his flute work is understated throughout the LP, but he plays a mad tenor on this cut, his attention-getting solo is followed by some remarkable horn work by Owens. ~ Andrew Hamilton

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Listen Here by Carla White (Jazz) (CD - 01/24/1995)
 

Listen Here by Carla White (Jazz) (CD - ...

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Listen Here by Carla White (Jazz) (CD - 01/24/1995)
"Listen Here" (01/24/1995) Jazz Instrument White, Carla (Jazz), EvidencePersonnel: Carla White (vocals), Lew Tabackin (tenor saxophone, alto flute), Peter Madsen (piano), Dean Johnson (bass), Lewis Nash (drums). Recorded at Clinton Recording Studios, New York on September 4 & 5, 1991. Includes liner notes by Michael Bourne. Personnel: Carla White (vocals); Lew Tabackin (alto flute, tenor saxophone); Peter Madsen (piano); Lewis Nash (drums). Audio Mixer: James Anderson. Audio Remasterer: Dave Shirk. Liner Note Author: Michael Bourne. Recording information: Clinton Recording Studios, New York, NY (09/04/1991/09/05/1991). Photographers: Mitchell Seidel; Eric Stephen Jacobs. Three years after the release of singer Carla White's previous Milestone album (Mood Swings), she finally emerges with a new gem. True, her voice on Listen Here sounds as if she has experienced a great deal of life in the meantime, but it has lost none of its power, flexibility, optimism, or sensuality. Joined by tenor great Lew Tabackin and a strong rhythm section, White really stretches herself on the diverse program, which ranges from wild scatting and long vamps to ballad interpretations that would do credit to Susannah McCorkle. Whether it be an eccentric calypso duet with bassist Dean Jackson on "It's Only a Paper Moon," a touching "Lotus Blossom," or an unusual vocal rendition of "Harlem Nocturne," Carla White takes plenty of chances throughout her very satisfying release. Jazz needs more singers like her. ~ Scott Yanow

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Listen Here! by Eddie Harris (CD - 07/15/1993)
 

Listen Here! by Eddie Harris (CD - 07/15...

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Listen Here! by Eddie Harris (CD - 07/15/1993)

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Listen to My Music, Vol. 4: 1948-1950 by Ted Heath (CD - 04/10/2001)
 

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Listen to My Music, Vol. 4: 1948-1950 by Ted Heath (CD - 04/10/2001)
"Listen to My Music, Vol. 4: 1948-1950" (04/10/2001) Jazz Instrument Heath, Ted, Hep (UK)Recorded between 1948 and 1950. Personnel: Dave Goldberg (guitar); Les Gilbert , Roy Willox (alto saxophone); Henry MacKenzie, Tommy Whittle (tenor saxophone); Dave Shand, George Hunter (bass saxophone); Dave Wilkins, Stanley Roderick, Duncan Campbell, Bobby Pratt (trumpet); Jackie Armstrong, Harry Roche, Jack Bentley, Jimmy Coombes, Maurice Pratt, Wally Smith (trombone); Norman Stenfalt (piano); Jack Parnell (drums). Liner Note Author: Alastair Robertson. Recording information: London, England. Arrangers: Norman Stenfalt; Kahn; Tadd Dameron; The Briggs ; The Bates.

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Listen with Your Feet * by Ed Strauman (CD - 11/09/1999)
 

Listen with Your Feet * by Ed Strauman (...

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Listen with Your Feet * by Ed Strauman (CD - 11/09/1999)

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Listen by Marc Cary (CD - 05/25/2004)
 

Listen by Marc Cary (CD - 05/25/2004)

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Listen by Marc Cary (CD - 05/25/2004)
"Listen" (05/25/2004) Jazz Instrument Cary, Marc, ArabesquePersonnel includes Marc Cary (piano); Ron Blake (tenor saxophone); Terrell Stafford (trumpet); Yarbrough Charles Laws (flute, percussion); Billy Johnson (bass); Dion Parson (drums); Daniel Moreno (percussion). Personnel: Marc Cary (piano); Yarborough Charles Laws (flute, percussion); Ron Blake (tenor saxophone); Terell Stafford (trumpet); Dion Parson (drums, snare drum); Daniel Moreno (percussion). Audio Mixer: Lou Holtzman. Liner Note Authors: Marc Cary; Tom Terrell. Recording information: RPM Studios, New York, NY (08/19/1996-08/21/1996). Director: Jodi Howard. Editor: Lou Holtzman. Photographer: Steven Carty. Unknown Contributor Role: Jodi Howard. The most memorable and unusual quality that pianist Marc Cary's release has are the complex rhythms (sometimes two or three at once) on some of the selections. Otherwise, this is essentially a modern hard bop album with fine solos from trumpeter Terell Stafford (formerly with Bobby Watson), tenor saxophonist Ron Blake (associated with Roy Hargrove), Cary and occasionally flutist Yarbrough Charles Laws. With the exception of a song apiece by Laws, Parson, Blake and Abbey Lincoln ("Throw It Away"), all of the selections are by Marc Cary, who is best known for his important stints with Betty Carter, Art Taylor, Roy Hargrove and Abbey Lincoln. While some of the songs swing conventionally (including such attractive originals as "Mr. Lucky" and "Conditional Statement"), it is the offbeat tunes, such as "New Blues" (on which the melody statement by the horns seems almost rhythmically independent from the rhythm section), the Ahmad Jamal-like groove of "Throw It Away" and the rapid "Fallacy," that stick in one's mind afterwards. A fine outing. ~ Scott Yanow

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Stop, Look & Listen by Tommy Dorsey (CD - 07/13/1993)
 

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Stop, Look & Listen by Tommy Dorsey (CD - 07/13/1993)
"Stop, Look & Listen" (07/13/1993) Jazz Instrument Dorsey, Tommy, Living EraThis Living Era compilation focuses on Tommy Dorsey's output from the late 1930s, the bandleader's most commercially successful period. Though he is sometimes overlooked in favor of Benny Goodman or Glenn Miller, Dorsey was one of the most popular bandleaders of the time, and his fine trombone playing, bandleading skills, and mixture of standards, hot swing, and commercially-geared pop still stand the test of time. STOP, LOOK & LISTEN contains 21 tracks that represent the range of Dorsey's orchestra. Though he was often associated with vocalists (Frank Sinatra, most notably), this set contains almost all instrumentals, with a handful of performances by singer Edythe Wright being the only exception. Dance numbers and sweet ballads are given equal footing, and there is plenty of powerful soloing from the orchestra's members. Meticulous remastering lends crisp, precise detail to these vintage recordings.

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Listen
 

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Listen
"Listen" (11/07/2000) Jazz Instrument Will Smith, Orchard (Distributor)Personnel: Will Smith (soprano saxophone, tenor saxophone, djembe); Steve Benson, Leonardo Lucini (guitar); James McKinney (piano); Marshall York (drums). Audio Mixer: Will Smith. Liner Note Author: Tom Stanley. Recording information: Avalon Sound Studio; Urban Intalek Studio.

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Listen to Barry Harris by Barry Harris (Piano) (CD - 11/17/1998)
 

Listen to Barry Harris by Barry Harris (...

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Listen to Barry Harris by Barry Harris (Piano) (CD - 11/17/1998)
"Listen to Barry Harris" (11/17/1998) Jazz Instrument Harris, Barry (Piano), Original Jazz ClassicsSolo performer: Barry Harris (piano). Recorded at Plaza Sound Studios, New York, New York on December 7, 1960. Originally released on Riverside (9392). Includes liner notes by Ira Gitler. Digitally remastered by Joe Tarantino (1998, Fantasy Studios, Berkeley, California). Personnel: Barry Harris (piano). Audio Remasterer: Joe Tarantino. Liner Note Author: Ira Gitler. Recording information: New York, NY (07/04/1961); Plaza Sound Studios, New York, NY (07/04/1961). Second-generation bop pianist Barry Harris puts the spotlight on the songs in this 1960 solo excursion. Split between standards and originals, the set hears the 31-year-old pianist evoking Art Tatum, Bud Powell, Thelonious Monk, and occasional hints of Fats Waller in performances that defy easy classification as bop, swing, or mainstream. Essentially, it's Harris working within the songs, opening up new pathways in and around the melodic and harmonic structures. The opening track, "Londonderry Air" (aka "Danny Boy"), provides a clue to Harris' method. He plays the song straight, but subtly brings out the simple, fresh, and elegant possibilities in the traditional folk melody. The same creative process is worked out on the other tracks, which allude to Harris' key influences, but also make clear his own contribution -- an appealingly updated, modernistic approach -- to the jazz piano tradition. Among the standards, "Body and Soul" is given a thoughtful, illuminating reading. "I Didn't Know What Time It Was" is handled with a natural, sophisticated ease. The centerpieces are the originals "Ascension" and "Anachronism." The former, the most boppish track on the CD, has a long shifting melody that lets Harris tastefully demonstrate the depth of his technical and improvisational skills. "Anachronism" is a blues, pure and simple, a timeless statement drawn from the tradition and from Harris' unique ability to keep the tradition vital and progressive. ~ Jim Todd

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Listen by Chuck Loeb (CD - 07/20/1999)
 

Listen by Chuck Loeb (CD - 07/20/1999)

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Listen by Chuck Loeb (CD - 07/20/1999)
"Listen" (07/20/1999) Jazz Instrument Loeb, Chuck, Shanachie RecordsPersonnel includes: Chuck Loeb (keyboards, guitar, drum & percussion programming); Carmen Cuesta (vocals); Kim Waters, Bill Evans (soprano saxophone); Jay Beckenstein, Walter Beasley (alto saxophone); David Mann (saxophone, flute); Jim Pugh (trombone, baritone horn); Bob James (piano); John Patitucci (acoustic bass); Will Lee (bass). Principally recorded at BearTracks Studio, Suffern, New York. Personnel: Chuck Loeb (guitar, Fender Rhodes piano, keyboards, drum programming); Carmen Cuesta (vocals); Julio Fernandez (guitar); David Mann (flute, saxophone, soprano saxophone, tenor saxophone); Lawrence Feldman (flute, saxophone); Gary Keller (flute, tenor saxophone); Kim Waters, Bill Evans (soprano saxophone); Jay Beckenstein, Walter Beasley (alto saxophone); Jim Pugh (baritone saxophone, trombone); Jim Hynes, Larry Lunetta (trumpet, flugelhorn); Howard Howard (French horn); Birch Johnson (trombone); Mike Ricchiuti (piano, Fender Rhodes piano, Clavinet, keyboards, synthesizer); Mitchel Forman, Bob James (piano); Jim Beard (Fender Rhodes piano, keyboards); John Patitucci (acoustic bass); Wolfgang Haffner (drums, cymbals); Lionel Cordew, Brian Dunne (drums); David Charles (percussion). Audio Mixers: Dennis Wall; Ken Freeman; Phil Magnotti. Recording information: Acme Recording, Mamaroneck, NY; Automotive Recoring, Irvington; Bear Tracks Recording Studio, S and D; Remidi Studios, Dobbs Ferry, NY. Photographer: Isaml Lee. Arranger: Mike Ricchiuti. Chuck Loeb knows the secret to finding enduring success in the genre, even amidst growing competition by more and more up and coming guitarists who approximate his style: keep the listener guessing from tune to tune with unique stylistic and production curveballs. He's so effective at this that it's impossible to resist as he commands in the title of his new Shanachie disc: simply Listen. Keeping his crisp electric lines front and center, he darts and moves from the retro-soul clicking, synth strings, and rising horn combination of "Silver Star" to the fingersnap percussion, hypnotic cymbal rolls, Gary Keller's flute harmony, and Jim Beard's shimmering Fender Rhodes foundation on "High Five." It's a kick keeping up with his mood swings; Loeb restrains himself wrapping around Mark Egan's spacy basslines and Kim Waters' soprano on "Love Is All," then stirs up the frenetic fusion activity of "Right Down Broadway" with Mitch Forman's jump or else piano groove and more of those sassy horns. He even keeps a cover of Michael Jackson's "Rock with You" from slipping away into Muzakville by shifting from high to low string tones and trading off melody lines with Walter Beasley's alto. ~ Jonathan Widran

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Listen Here! by Gene Harris Quartet (CD - 07/26/2004)
 

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Listen Here! by Gene Harris Quartet (CD - 07/26/2004)
"Listen Here!" (07/26/2004) Jazz Instrument Harris, Gene, Concord JazzGene Harris Quartet: Gene Harris (piano); Ron Eschete (guitar); Ray Brown (bass); Jeff Hamilton (drums). Recorded at The Plant Recording Studios, Sausalito, California in March 1989. Includes liner notes by Ed Berger. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Gene Harris Quartet: Gene Harris (piano); Ron Eschete (guitar); Ray Brown (bass); Jeff Hamilton (drums). Recorded at The Plant Recording Studios, Sausalito, California in March 1989. Includes liner notes by Ed Berger. This is a hybrid Super Audio CD playable on both regular and Super Audio CD players. Although often associated with the blues, only one of the ten selections on this quartet set by pianist Gene Harris (who is joined by guitarist Ron Eschete, bassist Ray Brown, and drummer Jeff Hamilton) is technically a blues. On this excellent all-around showcase for the soulful pianist, Harris sounds in prime form exploring such tunes as "This Masquerade," "Don't Be That Way," Eddie Harris' "Listen Here," and "The Song Is Ended." Listen Here! gives listeners a pretty definitive look at Gene Harris' accessible and swinging style. ~ Scott Yanow

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Listen to the Scatman by John Larkin (CD - 06/26/2001)
 

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Listen to the Scatman by John Larkin (CD - 06/26/2001)
"Listen to the Scatman" (06/26/2001) Jazz Instrument John Larkin, StuntPersonnel: John Larkin (vocals, piano); Joe Farrell (tenor saxophone); Nils Johnson, Bob Harrison (bass); Jim Miller, Clark Woodard (drums). Recorded at Central Sound Studios and in Studio City, Los Angeles, California in 1984 and 1990. Personnel: John Larkin (vocals, piano); Jim Miller (drums). Recording information: Central Sound Studios, Los Angeles, CA (1984-1990); Studio City, CA (1984-1990).

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It's OK to Listen to the Gray Voice by Jan Garbarek (CD - 09/26/2000)
 

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It's OK to Listen to the Gray Voice by Jan Garbarek (CD - 09/26/2000)
"It's OK to Listen to the Gray Voice" (09/26/2000) Jazz Instrument Garbarek, Jan, ECM Records (USA)Jan Garbarek Group: Jan Garbarek (soprano & tenor saxophones); David Torn (synthesizer, guitar); Eberhard Weber (bass); Michael DiPasqua (drums, percussion). Recorded at Rainbow Studio, Oslo, Norway in December 1984. This album is exactly what ECM Records fans have come to expect from this offbeat European label. A spacey collection of pieces by Norwegian saxophonist Jan Garbarek, IT'S OK TO LISTEN TO THE GRAY VOICE is as interesting and strange as the title itself. This outing is an inspired set of compositions (all named after lines from Tomas Transtromer's poetry) that highlight the unique improvisatory talents of Garbarek and his band. It's particularly interesting to hear the juxtaposition of soloing styles throughout the album, especially on "The Crossing Place" and "One Day in March I Go Down to the Sea and Listen." On these tracks, the sparse, long tones of Garbarek's saxophone are followed by the intense fusion licks of guitarist David Torn. Other pieces such as "It's Ok to Phone the Island That is a Mirage" envelop you in a kind of foggy, Nordic haze due to the ethereal layering of Torn's guitars, Garbarek's frosty tone, the spacious drumming of Michael DiPasqua, and the languid fretless bass work of Eberhard Weber.

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Music to Listen to Don Ewell By by Don Ewell (CD - 11/15/1995)
 

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Music to Listen to Don Ewell By by Don Ewell (CD - 11/15/1995)
"Music to Listen to Don Ewell By" (11/15/1995) Jazz Instrument Ewell, Don, Good Time JazzPersonnel includes: Don Ewell, Darnell Howard, Minor Hall. Recorded in March 1956. Personnel: Don Ewell (piano); Darnell Howard (clarinet); Minor Hall (drums). Liner Note Author: Lester Koenig. Recording information: Oakland, CA (03/13/1956-03/16/1956). Stride pianist Don Ewell made three albums for Good Time Jazz during 1956-57 and all are quite enjoyable. This CD reissues the first of his LPs (great title!) and features Ewell on five solos and seven pieces with a trio that also includes clarinetist Darnell Howard and drummer Minor Hall. Ewell is in top form and the many highlights include "I Can't Believe That You're in Love with Me," Howard's "Bush Street Scramble," "You Took Advantage of Me" and "My Honey's Lovin' Arms." ~ Scott Yanow

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Close Your Eyes...and Listen
 

Close Your Eyes...and Listen

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Close Your Eyes...and Listen
"Close Your Eyes...and Listen" (06/10/2002) Jazz Instrument Fahn, Mike, Sparky 1 ProductionsValve trombonist Mike Fahn delivers a mellow and satisfying set of modern, straight-ahead jazz performances on this album, which features an impressive array of sidemen who shift around throughout the disc, providing a quintet setting on most tracks. The album is appropriately titled: even when the tempos are sprightly, the group's overall vibe is a gentle and soft one, a sound that invites the listener to sit back and enjoy rather than get up and dance. That's partly in the nature of the valve trombone, an instrument that sounds almost as much like a French horn as a slide trombone, but it also seems to be part of Fahn's nature as a leader -- the boppish "Will Call" and the Keith Jarrett composition "Survivor's Suite" both have a similar feel despite their differing speeds, and the gently funky "Heart Forest" sways rather than swings. The sidemen, who include saxophonist Rick Margitza and a fine guitarist named Steve Cardenas, all support the pervasive mood with solos that are interesting without being show-offy, and with a tone that is comforting and smooth. Highly recommended. ~ Rick Anderson

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Listen to My Music [Living Era] by Ted Heath (CD) [IMPORT - (not USA)]
 

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Listen to My Music [Living Era] by Ted Heath (CD) [IMPORT - (not USA)]
"Listen to My Music [Living Era]" (03/25/2003) Jazz Instrument Heath, Ted, ASVForming his first band just as World War II came to a close (after two decades of section experience in England's most popular orchestras), Ted Heath eased battle-weary Brits into the post-war era with his vision of smart, happy-go-lucky swing -- well-played and usually energetic, able to reference the bands he came up with (like Jack Hylton and Ambrose), but also capable of impressive modernism. Living Era's continuing commitment to swing brought listeners another fabulous volume with Listen to My Music, which compiles 27 sides from the first seven years of Ted Heath & His Music. "Listen to My Music," the band's theme song, obviously makes the cut here, as do early dance hits "Opus 1" and "Bakerloo Non-Stop." Heath's was a versatile band, as well; they introduce hints of modernism into their splendid six-part rendition of Fats Waller's London Suite of 1939, and turn in one of the smoothest versions of "Harlem Nocturne," that famously English meditation on an uptown evening. Though Heath recorded much of value during the '50s and beyond, the '40s sides compiled on Listen to My Music make it his best available compilation. ~ John Bush

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Deals on Instrumental music listen in Jazz Instrumental Music. Visit BizRate to find the best deals on Jazz Instrumental Music. See which Music stores have the Instrumental music listen that you want. Read reviews on Music merchants and buy with confidence. Find savings on Listen Here! [6/14] * - Listen My Children You Shall Hear [Avid] by Count Basie (CD - 08/06/2004).