viernes, 19 de septiembre de 2014

Afro Bop Alliance - Angel Eyes (2014)

Source: zohomusic

Groove is the universal language. Whether it’s a Texas or Chicago blues shuffle, James Brown’s goodfoot funk, a driving guaguanco, percolating rumba, surging samba, infectious second line or insinuating cha-cha-cha, everyone knows what to do when they feel the rhythm in their bones. Indeed, groove is at the heart of this potent Afro Bop Alliance release, the group’s debut on the ZOHO label. While providing exciting Latin-tinged grooves that are tailor-made for dancers, the members of this Washington, DC-based, Art Blakey & the Jazz Messengers-inspired octet keep one foot solidly in the straight ahead jazz camp with their scintillating improvisations and tight three-horn frontline on Angel Eyes.

The secret weapon on this exhilarating outing is newest Afro Bop Alliance member Victor Provost, who brings a new sparkle to the proceedings with his virtuosic steel pans playing on the Latin Grammy-winning group’s fifth release overall. “He’s like the Michael Brecker of the pans,” says drummer and Afro Bop Alliance founder Joe McCarthy. “He’s from St. John’s, Virgin Islands, and he came to study at George Mason University just outside of Washington D.C., where I also teach. Having Victor in the band really changes what we do.”

Aside from offering brilliant solos throughout Angel Eyes, Provost’s steel pans also blend nicely on the frontline with alto saxophonist Vince Norman, tenor saxophonist Luis Hernandez and trumpeter Tim Stanley on these eleven tracks.

They state their rhythmically-charged case very persuasively from the outset on the buoyantly churning, clave-fueled opener, The Jinx, written by the band’s bassist Tom Baldwin and arranged by Vince Norman. Following exhilarating solos by pianist Harry Appelman and saxophonist Hernandez, drummer McCarthy engages in some fiery exchanges with conga player Roberto Quintero over a mesmerizing son montuno groove on this energized number before McCarthy unleashes at the tag. Three for Juju, composed by Hernandez and arranged by Norman, opens with a drum flurry by McCarthy. Note how he keeps a tambourine groove going with his foot as he traverses the kit throughout this intricate piece, which morphs from 3/4 to 6/8 and features some lush harmonies between the horns. “That’s based on a joropo groove from Venezuela,” explains McCarthy,” who studied Latin jazz rhythms with Frankie Malabe and Victor Rendon at the Boys Harbor School in the Bronx and also studied jazz drumming with Ed Soph at the University of North Texas. “I was trying to play a little wider beat, so it seems to float underneath that beautiful melody that Luis wrote. And the way that Roberto is playing maracas on that is a total characteristic of that type of groove.” Appelman and Hernandez both offer inspired solos on this engaging, polyrhythmic number.

Baldwin’s Ziggy the Crooner is a straight-up cha-cha-cha that showcases Provost’s steel pans in unison with Stanley’s muted trumpet. Norman, who also co-arranged the contrapuntal horn lines on this easy-grooving number, turns in a robust alto solo here. The composer adds a nimble upright bass solo on the insinuating cha-cha groove before the rhythm section shifts to 12/8 mode underneath trumpeter Stanley’s bristling solo. And dig the sizzling timbales-conga exchanges between McCarthy and Quintero over the son montuno section at the tag. “Roberto is a magnificent percussionist, a very powerful player and great soloist,” says McCarthy of his Afro Bop Alliance rhythm mate.

Pianist-arranger Appelman puts an inventive Latin jazz spin on Horace Silver’s lovely 5/4 tune Barbara (from his 1975 Silver ‘n Brass album) which features a heroic tenor solo from Hernandez (catch his sly quote from “Fascinating Rhythm” along the way). Provost’s Homenaje which features some lively call-and-response exchanges with special guest Paquito D’Rivera on clarinet, also has Quintero elevating the proceedings with his fiery conga work.

Vocalist Sara Jones delivers a darkly evocative reading of “Nature Boy,” which is given a 3/4 treatment by Norman and is enhanced by the lush strings of violinist (and Joe McCarthy’s wife) Paula McCarthy and principal cellist Suzanne Orban with the St. Claire Chamber Strings. The octet next tackles Joe Henderson’s challenging Inner Urge which is given a percolating new clave-fueled arrangement by Norman. McCarthy explodes with a drums salvo at the intro while Hernandez and Provost contribute outstanding solos on this decidedly Latinized rendition of a jazz classic. 

Provost’s Fete Antilles has the gifted steel pans player doubling the melody with trumpeter Stanley upfront before the other horns join in. Stanley, Provost and Appelman contribute stirring solos on this polyrhythmic groover. Appelman’s clave-fueled reworking of the evocative jazz standard Angel Eyes features brilliant solo contributions from trumpeter Stanley and tenor saxophonist Hernandez and builds to another spirited McCarthy-Quintero face-off against an invigorating son montuno groove set up by Appelman’s piano. 

Dan Cavanagh’s Latin spin on Wayne Shorter’s This Is For Albert, a classic Jazz Messengers tune introduced on 1963‘s Caravan, has McCarthy deftly shifting from alternating measures of 12/8 and 9/8 to 3/4 on the bridge throughout the course of the piece. “I envisioned a compound time signature on that because it allows it to breathe and go in a different direction than if it had stayed in four all the time,” says groovemeister McCarthy. Stanley turns in another forcefully swinging trumpet solo on this number and is followed in succession by Norman, who effortlessly soars over the entrancing groove on alto sax.

The album closes on a vibrant note with Provost’s upbeat, soca flavored Minor Details which features both Sara Jones and the composer on wordless vocals and has Appelman switching to electric piano for a fresh texture. Norman and Provost each stretch out considerably on this buoyant vehicle.

With Angel Eyes, McCarthy and his spirited crew continue in the great tradition of cross-fertilization pioneered by Dizzy Gillespie and Chano Pozo and carried on by Latin jazz masters like Machito, Mario Bauza, Tito Puente, Eddie Palmieri, Mongo Santamaria, Ray Barretto, Chico and Arturo O’Farrill, Chucho Valdes, Poncho Sanchez, Jerry and Andy Gonzalez and countless other practitioners of this infectious groove-oriented music. And the key is the chemistry between the band members.

“The combinations of players...that’s where the magic happens,” says McCarthy. “You have guys who are coming from very different places, but everybody understands what’s going on. And that, to me, is what makes this music happen. Everybody knows how everybody in the band plays and also knows what everybody’s into and what they’re listening to, so when we come together there’s usually very little discussion about anything. We just play. Someone will bring in an arrangement and the music will come together very quickly. And that’s what I think makes this music happening.”

That formula has proven successful in four previous outings, including their 2008 Latin Grammy-winning collaboration with Dave Samuels' Caribbean Jazz Project on Afro Bop Alliance - which also received a Grammy nomination that same year. And it fuels this current outing, their most ebullient and rhythmically-charged album to date. - Bill Milkowski

Recorded on October 29 and 30, 2013. Recorded, mixed and mastered at Bias Studios, Springfield, VA, by Bob Dawson and Mike Monseur. Produced by Joe McCarthy and Bob Dawson. Co-produced by Vince Norman. Art direction and package design: Jack Frisch. Executive producer: Joachim "Jochen" Becker.

Joe McCarthy drums, percussion, congas on # 8
Roberto Quintero congas, percussion
Harry Appelman piano
Tom Baldwin bass
Victor Provost steel pans, "engine room" on # 5 and 11, vocals on #11
Luis Hernandez tenor sax
Vince Norman alto sax
Tim Stanley trumpet
Sara Jones vocals on # 6 and 11
Paula McCarthy violin/concertmaster, and
Suzanne Orban principal cello, with The St. Claire Chamber Strings on # 6

with special guest
Paquito D'Rivera clarinet on # 5

01. The Jinx 5:23
02. Three for Juju 6:34
03. Ziggy the Crooner 6:49
04. Barbara 7:37
05. Homenaje 7:54
06. Nature Boy 6:36
07. Inner Urge 6:11
08. Fete Antilles 7:15
09. Angel Eyes 6:39
10. This is for Albert 5:16
11. Minor Details 5:07


jueves, 18 de septiembre de 2014

Arturo O'Farrill & The Afro Latin Jazz Orchestra - The Offense Of The Drum (2014)

Source: Allaboutjazz
Label: Motema

The Offense Of The Drum may be the least cohesive record in Arturo O'Farrill's discography, but that's largely by design. Here, O'Farrill firmly adheres to his stated "artistic vision"—"to bend what the world knows as Afro Latin jazz over the acoustic horizon"—better than anywhere else in his discography. Guests galore and a belief in Afro Latin camaraderie help him realize that goal, resulting in the most intriguing and expansive offering that he's ever released.

In some ways this album is simply a documentation of O'Farrill's work at New York's Symphony Space. It was there that he broke new ground with pianist Vijay Iyer, DJ Logic, Colombian harpist Edmar Castaneda, spoken word artist Christopher "Chilo" Cajigas, saxophonist Donald Harrison, and percussionist Samuel Torres. The relationship between each of those artists and O'Farrill's Afro Latin Jazz Orchestra is spotlighted on this album. "Cuarto De Colores"—the title track of Castaneda's debut album—is fleshed out to good effect, thanks in large part to the pen of Torres; DJ Logic and the band lay the groundwork for Cajigas' Puerto Rican pride preaching on "They Came"; Iyer simultaneously toys with the concepts of stasis and development on his ode to O'Farrill—"The Mad Hatter"; and a straight line is drawn from NOLA to Cuba when Harrison shows up for "Iko Iko." Each of those pieces stand apart from the others in many respects, yet they stand in solidarity as firm examples of the evolving definition of Afro Latin jazz. Read more...

1. Cuarto de Colores
2. They Came
3. On the Corner of Malecón
4. Mercado en Domingo
5. Gnossienne 3
6. The Mad Hatter
7. The Offense of the Drum
8. Alma Vacía
9. Iko Iko

Arturo O'Farrill: piano; Ivan Renta: tenor saxophone; Peter Brainin: tenor saxophone; Bobby Porcelli: alto saxophone; David DeJesus:alto saxophone; Jason Marshall: baritone saxophone; Seneca Black: trumpet; Jim Seeley: trumpet; John Bailey: trumpet; Jonathan Powell: trumpet; Tokunori Kajiwara: trombone; Rafi Malkiel: trombone, euphonium; Frank Cohen: trombone; Earl McIntyre: bass trombone, tuba; Gregg August: bass; Vince Cherico: drums; Roland Guerrero: congas; Joe Gonzalez: bongos, bell; Pablo O Bilbraut: percussion (8); Miguel Blanco: conductor (5, 8); Christopher "Chilo" Cajigas: spoken word (2); Edmar Castaneda: harp (1); Ayanda Clarke: djembe (7); DJ Logic: turntables (2); Jonathan Gomez: percussion (4); Nestor Gomez: percussion (4); Donald Harrison: vocals (9), alto saxophone (9); Vijay Iyer: piano (6); Hiro Kurashima: taiko drum (7); Chad Lefkowitz-Brown: tenor saxophone (7); Jason Lindner: conductor (2); Antonio Lizana: vocals (5), alto saxophone (5); Pablo Mayor: conductor (4), maracas: (4); Uri Sharlin: accordion (5); Samuel Torres: conductor (1), cajon (1). 

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Art Pepper - Saturday Night At The Village Vanguard (1979)


01.You Go To My Head Written-By – Haven Gillespie, J. Fred Coots 11:35 
02.The Trip Written-By – Art Peppe 12:25 
03.Cherokee Written-By – Ray Noble 16:13
04.For Freddie Bonus Track

Line Up:
Art Pepper Alto Saxophone, 
George Mraz Bass
Elvin Jones Drums
George Cables Piano

The Vanguard sessions (Thursday Night, Friday Night and Saturday Night at The Village Vanguard, 
Contemporary 7642, 7643, and 7644) were recorded July 28, 29 and 30 1977 at The Village Vanguard, New York City.

Review by Scott Yanow
The CD reissue of this release, the third of four single sets that document Art Pepper's well-received engagement at the Village Vanguard, adds "For Freddie" to the original three-song program. The other selections, which feature pianist George Cables, bassist George Mraz and drummer Elvin Jones in addition to the altoist/leader, are intense interpretations of "You Go to My Head," Pepper's "The Trip" and a 16-minute version of "Cherokee." The altoist was entering his peak period and the entire gig has also been fully documented on a massive nine-CD box set.


Shelly Mane - Shelly Mane & His Men Volume 1 (The West Coast Sound 1953-55)

01.- Grasshopper
02.- La mucura
03.- Summer night
04.- Afrodesia
05.- You and the night and the  music
06.- Gazelle
07.- Sweets
08.- Spring is here
09.- Mallets
10.- You’re getting to be a habit with me
11.- You’re my thill
12.- Fugue

Shelly Manne : drums
Bob Enevolsen : valve trombone
Art Pepper :  alto sax
Bud Shank : alto sax
Joe Maini : alto sax
Bob Cooper : tenor sax
Bill Holman : Tenor sax
Jimmy Giuffre :  baritone sax
Marty Paich : piano
Russ Freeman :  piano
Curtis Counce : bass
Joe Mondragon : bass
Ralph Pena : bass


Wynton Marsalis ‎– Marsalis Standard Time Vol. 1 (1986)


miércoles, 17 de septiembre de 2014

Manuel Valera and New Cuban Express - In Motion (2014)

2013 Grammy-nominated pianist and composer Manuel Valera is a 34-year-old powerhouse who has taken New York by storm since relocating there from his native Cuba in 2000. Having worked with many of today's finest artists in the genre of Afro Cuban jazz, Valera made his Criss Cross debut on Brian Lynch's Conclave Vol. 2 (Criss 1331 CD)

Valera's maiden voyage for Criss Cross features his band, New Cuban Express, on a selection of originals that cover a good deal of ground, touching on both Latin and swing sensibilities.

Yosvany Terry on alto sax, Tom Guarna on guitar and Alex Sipiagin on trumpet make strong statements, while Valera tastefully uses the Fender Rhodes to add new colors to the ensemble mix. Bassist is Hans Glawischnig, on drums Ludwig Afonso, and Mauricio Herrera on percussion.

His strongest set as leader, Valera's In Motion marks the pianist and composer as a major talent on the rise.

1. Descargando (Manuel Valera)
2. Preamble (Manuel Valera)
3. Bantu (Manuel Valera)
4. No Puedo Ser Felix (J.A. Mendez)
5. Storyteller (Manuel Valera)
6. Mirrors (Manuel Valera)
7. Para Emiliano (Manuel Valera)
8. NYC (Manuel Valera)
9. Factors (Manuel Valera)

Manuel Valera (P / Fender Rhodes)
Yosvany Terry (As / Ss / Chekeré)
Tom Guarna (G)
Alex Sipiagin (Tp / Flh)
Hans Glawischnig (B)
Ludwig Alfonso (D)
Mauricio Herrera (Perc)

Recorded January 29, 2014 in Brooklyn, NY, USA by Michael Marciano

"Hearing is Everything" Peter Watkins


Aziza Mustafa Zadeh - Sevent Truth (1996)


01.Ay Dilber 5:25 
02.Lachin 3:43 
03.Interlude I 2:06 
04.Fly With Me Lyrics By – Aliagha Vakhid 7:07 
05.F# 4:18 
06.Desperation 6:21 
07.Daha... (Again) 4:53 
08.I Am Sad Music By [Based On Music By] – Vagif Mustafa Zadeh 4:55 
09.Interlude II Music By [Based On Music By] – Vagif Mustafa Zadeh 0:27 
10.Wild Beauty 4:34 
11.Seventh Truth 4:40 
12.Sea Monster Music By [Based On Music By] – Vagif Mustafa Zadeh 8:12

Producer, Composed By, Arranged By, Piano, Vocals, Mixed By, Mastered By – Aziza Mustafa Zadeh
Congas – Aziza Mustafa Zadeh (tracks: 1, 4, 10, 11, 12)
Drums – Ramesh Shotam* (tracks: 4)
Percussion [Indian] – Ramesh Shotam* (tracks: 1, 4, 11)

Recorded at Bauer Studio, Ludwigsburg, Germany in January and February 1996.


Jimmy Haslip featuring Joe Vannelli - NightFall (2010)

On Nightfall, Haslip’s first solo album since 2000’s Red Heat, he’s joined by keyboardist and producer Joe Vannelli for a set of heavily textured tracks characterized by multilayered keys and synths and programmed drums and percussion. Haslip’s awe-inspiring bass chops are amply on display, but the disc suffers from a certain sonic sameness. Several of Nightfall’s highlights, including the lush title track, the Latin-spiked “Casa De Oro” and the mellow “Palo Alto,” benefit from the presence of Mintzer or a smartly attuned horn section.

1. Empath (Composed By – Jimmy Haslip, Joe Vannelli)
2. Xango (Composed By – Jimmy Haslip, Joe Vannelli)
3. Casa De Oro (Composed By – Jimmy Haslip, Joe Vannelli)
4. The Third Man (Composed By – Jimmy Haslip, Joe Vannelli)
5. Nightfall (Composed By – Jimmy Haslip, Joe Vannelli)
6. Palo Alto (Composed By – Jimmy Haslip, Joe Vannelli)
7. Red Coral (Composed By – Jimmy Haslip, Joe Vannelli)
8. Deep Waters (Composed By – Jimmy Haslip, Joe Vannelli, Ross Vannelli)
9. On Sunday (Composed By – Jimmy Haslip, Joe Vannelli)

Backing Vocals – Carolyn Perry (tracks: 8), Darlene Perry (tracks: 8), Sharon Perry (tracks: 8)
Bass, Keyboards – Jimmy Haslip
Evi – Judd Miller (tracks: 7,8)
Flute – Katisse Buckingham (tracks: 6)
Guitar [Acoustic] – Ross Vannelli (tracks: 8)
Harp – Stella Castellucci (tracks: 5)
Keyboards [Programming] – Joe Vannelli
Percussion – Jason Hann, Jimmy Branly (tracks: 2,9)
Saxophone – Bob Mintzer, Steve Tavaglione
Trumpet – Wayne Bergeron
Vibraphone – Roger Burn (tracks: 3,6,9)
Vocals – Lori Perry (tracks: 8)


Helen Merrill - Jazz 'Round Midnight (1990)



martes, 16 de septiembre de 2014

Mike Pope - The Lay of the Land (2002)

Assuming the world doesn't come to an end anytime soon, it's a fairly safe bet that in time, every successful jazz sideman will be offered a deal from a major or indie label to make an attempt at a solo career. Most likely, every one of these sidemen will take advantage of the bigger names they work with to help market their own music. But why not? Mike Pope had been one of the Big Apple's key groove cats over the past decade, and his resumé had been helped along by none other than Randy Brecker and Mike Stern -- who, along with Michael Brecker, fellow first bassman John Patitucci, and drummer Jeff "Tain" Watts, help bring Pope's debut to powerful improvisational levels. Pope clearly loves the interplay, jumping out of the box with the fast and funky "The First Order of Business," a spotlight for Randy Brecker and Watts. There's emotional balance provided by other Pope originals like the gently romantic "Essence" and the one standard in the bunch, "The Way You Look Tonight," which is given an abstract and expansive treatment. And even in the post-9/11 world of American tributes, you can't say you've heard many top jazz players do a thoughtful version of "The Star Spangled Banner," can you?

Michael Pope, acoustic and electric bass
Randy Brecker, trumpet
Seamus Blake, Michael Brecker, tenor saxophone
Henry Hey, piano
Joe Locke, vibraphone
Mike Stern, acoustic guitar
John Patitucci, acoustic bass
Jeff "Tain" Watts, Jim White, drums

1. The First Order of Business
2. Essence
3. At Home Again
4. The Lay of the Land
5. Cherokee
6. Climate
7. The Avid Listener
8. The Way You Look Tonight
9. The Star Spangled Banner

"Hearing is Everything" Peter Watkins


Gerry Gibbs Thrasher Dream Trio - We're Back (2014)

Source: jazzdagama

Gerry Gibbs’ album Gerry Gibbs Thrasher Dream Trio truly lives up to its name. Not only are bassist Ron Carter and pianist Kenny Barron on the bill, but all the musicians proffering stellar performances; making it known that each musician not only understands where the other is coming from, but also that each communicates with some kind of transcendent empathy. This is not a phenomenon that occurs in some of the songs, but in each of the fifteen charts featured on this album. Fifteen songs and there is seemingly not one repeated note or phrase, which is something to marvel at. And while creativity is at its highest—just look at who’s on the CD—the masterful control over what can be said and what must be said is complete. Never is anyone over the top with mere virtuosity, but each statement has deep and relevant meaning. For instance, Kenny Barron’s solo on Thelonious Monk’s classic chart “Epistrophy” is superbly crafted with the pianist building each phrase in his solo out of the root note of each of the changes, so it sounds quite magical and goes on to make a considerable edifice out of Mr. Monk’s tune. This is not only so of Mr. Barron; Ron Carter’s magnificent solo on McCoy Tyner’s chart, “When I Dream” is another example of sheer genius not just for the manner in which Mr. Carter develops it but also the sheer beauty with which the complex changes are handled.

Mr. Gibbs is a true revelation. To be able to sit in with such giants of music as Ron Carter and Kenny Barron and to play with such calm, and to bring off such masterly stick and brush work is awesome. Once again, “Epistrophy” is an outstanding example of Mr. Gibbs’ ability to negotiate complex and angular rhythms that were a staple of Mr. Monk’s writing. But that is not all; Gerry Gibbs is a most melodious drummer and that has nothing whatsoever to do with tuning. On the contrary Mr. Gibbs searches for absolute tone when he plays. This suggests that he has listened carefully to his Papa Jo Jones and his Max Roach assiduously. Moreover, Mr. Gibbs has the good fortune of a great foundation from the outset, listening to his father, the great vibraphone player Terry Gibbs. And the son does glorify the father sometimes, which is absolutely true in the case of the younger Mr. Gibbs. The drummer is a superb colourist. Listen to his almost brazen and bronzed brushwork on “The Shadow of Your Smile” and comparing that with the dewy autumnal hues of “Woman on the TV Screen” is something truly exquisite to the ear. Of course it is not just brushwork that sets this drummer apart. His stick work is outstanding as well. And then there is the ability to handle tempo without faltering, which is the hallmark of Mr. Gibbs’ performance on “Eye of the Hurricane,” “Sunshower,” “Here Comes Ron” and on the flawless “Impressions”. This is not to suggest anything less of the other charts, but space sometimes forbids detailed discussion; and a mere listing would be quite pointless.

It also bears mention that Mr. Gibbs did not simply score Kenny Barron and Ron Carter for the date; certainly not because he was his father’s son. His musicianship does speak for itself. And of course Mr. Carter and Mr. Barron perform with magical touch. In fact at times—especially on charts such as “Eye of the Hurricane” and the angular “Tell Me a Bedtime Story”—it almost sounds as if the duo were in a session with Miles Davis; such is the intensity and the perfection that they achieve. It comes from not only being on the top of their game, but it would be remiss not to say that these two men are what can only be termed as great musicians and it is their performances that make this album one of the finest of 2013, when it was released and certainly a memorable one for a lot more time to come.

01. Too High
02. What's Going On
03. Where Is The Love
04. Reasons
05. Mighty Mighty
06. Betcha By Golly Wow
07. My Cherie Amour
08. Creepin'
09. Fantasy
10. Living For The City/Overjoyed
11. Brazilian Rhyme
12. Runnin'
13. I Say A Little Prayer
14. Pick Up the Pieces
15. Theme

Gerry Gibbs: drums
Ron Carter: bass
Kenny Barron: piano
Warren Wolf: vibraphone (2, 6, 7, 11, 12)
Larry Goldings: Hammond B-3 organ (2, 7)
Steve Wilson: alto saxophyone (5, 9)



Blicher/Hemmer/Gadd is unique opportunity to experience one of the worlds most innovative and highly regarded drummers unfold his talent with 2 of Denmarks most swinging musicians.

In this exclusive collaboration with saxophonist Michael Blicher and Hammond organist Dan Hemmer, Steve Gadd is playing the kind of music he is very passionate about -bluesy soul jazz in an organ trio format. The trios debut tour included 16 sold-out shows in Scandinavia, January and February 2014.

Steve Gadd revolutionized drumming in the 1970s on musical milestones such as Paul Simons "Still Crazy After All These Years". Since then he has been one of the busiest studio musicians and has played with Paul McCartney, David Sanborn, Stevie Wonder and Eric Clapton. The two Danes Michael Blicher and Dan Hemmer have played countless concerts together in the last number of years, mostly with their critically acclaimed soul jazz orchestra Astro Buddha Agogo. They are both very honored and excited to be cooperating and not least touring with Gadd:

"When I had the opportunity to play with Steve Gadd a few years ago, it was quite magical! I felt the need to share that experience with others," Michael Blicher says. In a review of their latest album in Gaffa, he and Dan Hemmer were named some of Denmarks most talented musicians.
They both share Gadds passion for old-fashioned bluesy soul jazz and are proud to give all the Gadd-fans a chance to experience his great talent unfold in a Hammond trio format.
This is undoubtedly a very rare and fantastic opportunity to hear Gadd get so much leeway as is the case in the Blicher/Hemmer/Gadd trio.

3.TREME 06:23
6.BABYLON 05:53
9.LIKE IT IS (Yusef Lateef) 04:47

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington -