Hancock - M.Brecker - Hargrove - Directions in Music:Live at Jazz Baltica (2002) DvD

 01.The Sorcerer 

02.Misstery 

 03.Naima 

04.So What/ Impressions 

05.D Trane 

06.Transition 

07.My Ship 

08.Pinocchio 

Herbie Hancock (Piano) 

Michael Brecker (Tenor sax) 

Roy Hargrove (Trumpet) 

George Mraz (Bass) 

Willie Jones III (Drums).

Format: MPEG-4 at 898 Kbps 

Length: 668 MiB for 1h 44mn 1s 800ms
Aspect: 640 x 480.

Roy Hargrove - Family (1995)

01.Velera

02.Roy Allan

03.Brian's Bounce

04.The Nearness Of You

05.Lament For Love

06.Another Level

07.A Dream Of You

08.Pas De Trois

09.Polka Dots and Moonbeams

10.The Challenge

11.Ethiopia

12.Nostalgia

13.Thirteenth Floor

14.Firm Roots

15.The Trial.

Ron Blake Tenor Saxophone, Soprano Saxophone | (1-4, 6, 12, 14, 15)

Stephen Scott Piano | (4, 6-7, 10, 12-15)

Rodney Whitaker Bass | (1-4, 6, 10, 12-15)

Gregory Hutchinson Drums | (1-3, 6-7, 12, 15)

Wynton Marsalis Trumpet | (12)

David "Fathead" Newman Tenor Saxophone, Flute | (4, 13)

John Hicks Piano | (8)

Ronnie Matthews Piano | (5)

Larry Willis Piano | (9)

Walter Booker Bass | (5, 8-9, 11)

Christian McBride Bass | (7)

Jimmy Cobb Drums | (4-5, 8-9, 13)

Lewis Nash Drums | (14)

Jesse Davis Alto Saxophone | (9, 15)

Karriem Riggins Drums | (10).

This well-rounded set not only features trumpeter Roy Hargrove with his mid-'90s quintet (tenor saxophonist Ron Blake, pianist Stephen Scott, bassist Rodney Whitaker, and drummer Gregory Hutchinson) but with two other rhythm sections and a few special guests. The first three selections (which includes the uptempo blues "Brian's Bounce") are called "Trilogy" and dedicated to various family members. Hargrove shows off his warm tone on "The Nearness of You" (a ballads with strings album was in the near future), and other highlights include the lyrical "Pas de Trois," a duet by Hargrove and bassist Walter Booker on Larry Willis' "Ethiopia," and a driving version of "Firm Roots." A meeting between Hargrove and Wynton Marsalis on the bop standard "Nostalgia" is disappointingly tame, but otherwise this is a high-quality modern hard bop release. ~ Scott Yanow

Recorded at Clinton Recording Studios, Inc., New York on January 26-29,

Danny Gatton, Bobby Watson, Roy Hargrove, Joshua Redman - New York Stories (1992)

1.Dolly's Ditty

2.Wheel Within a Wheel

3.Ice Maidens

4.Out a Day

5.Mike the Cat

6.Move

7.Clear Thought

8.5/4

9.One for Lenny.

Danny Gatton: Guitar

Bobby Watson: Alto Sax

Roy Hargrove: Trumpet

Joshua Redman: Tenor Sax

Franck Amsallem: Piano

Charles Fambrough: Bass

Yuron Israel: Drums.

Already legendary for his country and rock and roll guitar mastery, the late Danny Gatton also released a pure jazz CD on Blue Note, "New York Stories." If there was any doubt that this incredible musician was capable of any style, any time, any place, this CD will put those doubts to rest and we will continue to mourn and lament the passing of one of the greatest guitarists in history. His suicide was provoked according to some theories by his poor record sales, and what a shame. "New York Stories" is actually a jazz combo effort with Gatton writing all or part of the tunes and sharing his time with a stellar piano and horn section. This is a jam session, and according to the liner notes, a limited amount of rehearsal was allowed to keep the tunes fresh and to allow the improvisational juices to flow.
It's smooth - so much so you almost want to take up smoking and don a fedora while you listen. It harkens back to the smoky dangerous days of the '40's and '50's, where down and dirty jazz emanated from grimy clubs in the bad parts of town. Yet at times the music is ethereal, such as the guitar tour de force "One For Lenny" that closes the CD.
The style here is reminiscent of Miles Davis' early years, ala "Walking" and "Someday My Prince Will Come" and perhaps a little Brubeck piano and sax tradeoffs.
Even rockers will appreciate the mastery on this session. "New York Stories" goes down like a cool drink on a hot summer afternoon, welcome as a surprise snowfall in July would be.

Roy Hargrove Big Band - Emergence (2009)

Velera

Ms. Garvey, Ms. Garvey

My Funny Valentine

Mambo for Roy

Requiem

September In the Rain

Every Time We Say Goodbye

La Puerta

Roy Allan

Tschpiso

Trust.

Roy Hargrove: leader, composer, arranger, trumpet, fluegelhorn, vocal

Frank Greene: trumpet and flugelhorn

Greg Gisbert, : trumpet and flugelhorn

Darren Barrett: trumpet and flugelhorn

Ambrose Akinmisure: trumpet and flugelhorn

Jason Jackson: trombone

Vincent Chandler: trombone

Saunders Sermons: trombone

Max Siegel: bass trombone, arranger

Bruce Williams: alto saxophone, flute; Justin Robinson: alto saxophone,flute

Norbert Stachel: tenor saxophone, flute

Keith Loftis: tenor saxophone, flute

Jason Marshall: baritone saxophone, flute, reeds

Gerald Clayton: piano, arranger

Saul Rubin: guitar

Danton Boller: bass

Montez Coleman: drums

Roberta Gambarini: vocals.

By
ROBERT J. ROBBINS,

Roy Hargrove: Emergence
As a trumpeter, composer, and an arranger, Roy Hargrove has been a mainstay of the contemporary music scene in a variety of formats for nearly two decades. Nevertheless, his big band experience has been limited mostly to his appearances with the Dizzy Gillespie All-Star Big Band, with which he has most ably proved himself an heir to the late trumpet legend's mantle. Hargrove has been steadily accumulating big band experience in his own right since 1995, however, and Emergence is therefore most aptly titled, for it represents Hargrove's full-fledged emergence into the large ensemble idiom.

While the tone poem "Requiem," by composer and trombonist Frank Lacy, was probably intended as the CD's tour de force, it's a major disappointment. After a most promising brass fanfare, with an arpeggiated woodwind countermelody reminiscent of Ravel's "Daphnis et Chloe," "Requiem" lapses into an eight-minute ostinato vamp under self-indulgent alto and trombone solos, accompanied only by the rhythm section. Eight minutes is an unusually long time for the full band to lay out, and Hargrove's own contribution is limited to a few brief exchanges with the trumpet section. The saving grace is the recapitulation of the opening tutti.

On the other hand, the remainder of Emergence exhibits Hargrove in full flight as captain of his 19-piece ensemble. Arrangements have been furnished by baritone saxophonist Jason Marshall (the hard-bopping "Ms. Garvey, Ms. Garvey"), bass trombonist Max Siegel (a Kentonesque interpretation of the Rodgers and Hart classic "My Funny Valentine"), the iconic Cuban pianist Jesuss "Chucho" Valdes ("Mambo for Roy"), and Hargrove himself.

"September In the Rain," which features Hargrove on both Harmon-muted trumpet and a mellow vocal, appears to have been arranged in a Basie-inspired vein by pianist Gerald Clayton. Clayton, in fact, is the son of composer, arranger, bassist, and co-leader John Clayton of Los Angeles' Clayton/Hamilton Jazz Orchestra, a major inspiration for Hargrove's aggregation. Vocalist Roberta Gambarini, Hargrove's erstwhile colleague with both the Gillespie band and jam sessions at NYC's Jazz Gallery, adds her velvet voice to Cole Porter's "Every Time We Say Goodbye" and the Spanish-language "La Puerta." On the latter track, she is reminiscent of Linda Ronstadt on her early-1990s Latino-jazz romp Frenesi (Elektra, 1992).

Hargrove also seems to have absorbed influences ranging from McCoy Tyner ("Tschipiso") to Gerald Wilson ("Roy Allan") and Billy Strayhorn ("Trust") in the band's full-voiced sonorities. Emergence definitely proves that Hargrove, 39 years old at the time of this recording, is ready to add his name to the list of large ensemble leaders.

The Roy Hargrove Quintet - Earfood (2008)

01.I'm Not So Sure 5:48

02.Brown 4:30

03.Strasbourg/St.Denis 4:38

04.Starmaker 7:54

05.Joy Is Sorry Unmasked 4:46

06.Stinger 4:57

07.Rouge 2:46

08.Mr. Clean 5:51

09.Style 6:35

10.Divine 5:10

11.To Wisdom The Prize 5:43

12.Speak Low 5:16

13.Bring It On Home To Me 3:00.

Roy Hargrove (trumpet, flugelhorn)

Justin Robinson (flute, alto saxophone)

Gerald Clayton (piano)

Danton Boller (bass instrument)

Montez Coleman (drum).

By
IAN PATTERSON,

The Roy Hargrove Quintet: Earfood
In the liner notes, trumpeter Roy Hargrove declares that Earfood was recorded to bring pleasure to the listener. This may seem like a superfluous statement, after all, which artist doesn't want to please the listening public? What Hargrove means, is that the aim of the game is to offer up catchy melodies with a minimum of unnecessary artistic baggage; tunes as opposed to ambience, sweet harmony in place of dissonance. There isn't a fractured rhythm within earshot, nor an obscure time signature, just unpretentious, good-time music.

Opening with pianist Cedar Walton's "I'm Not Sure," Hargrove and saxophonist Justin Robinson splice together Lee Morgan-type harmonies on the main theme, before Hargrove takes the first of several impressive solos with which he peppers the set. Robinson in turn picks up where Hargrove left off, followed by pianist Gerald Clayton and all unite on the head in classic old-school fashion. The up-tempo tunes mostly follow the same pattern.

Unapologetically, Hargrove's stated intention is to honor tradition, and the result at times is music which is overly familiar-sounding; the band do indeed sound like they know each other's moves inside out, and are comfortable with the well-trodden path of familiarity. This is not to take away from the excellent musicianship, for there is plenty to admire in this quintet, particularly from Hargrove and Robinson, it just makes for a rather slick and polished finished article.

Hargrove's voice comes from a long line of trumpeters from Dizzy Gillespie and Lee Morgan, to Miles and Marsalis and his command of the trumpet is complete; he demonstrates this control on the faster, boppish numbers, and a Wynton Marsalis-like tone on slower pieces like the lovely, self-penned "Joy is Sorrow Unmasked," an album highlight, which walks a delicate line between warm and blue.

Funking things up a tad on the late Weldon Irvine Jr's '70s classic "Mr. Clean," first Hargrove and then Robinson take fiery solos which seem to inspire Gerald Clayton to his most dynamic playing on the keys, while bassist Danton Boller and drummer Montez Coleman mark a steady groove. The song is crying out however, for some serious unleashing of the drums to take things to another level.

The track "Divine," pairs trumpet with piano in a mellow exchange over a subtle bass and brushes accompaniment, and the sparseness of the arrangement and economy of the playing contrasts pleasingly with all the brass harmonies, and head-solo-solo-solo-head which characterizes many of the tunes. It is a fine number, which showcases Hargrove's writing abilities. The Kurt Weil/Ogden Nash tune, "Speak Low" sounds like a coda to "Divine," and would have been the perfect closer to the disc. As it is, Earfood closes out with a soulful, buoyant, live rendition of Sam Cooke's "Bring it On Home To Me" which takes off from the first bar; Hargrove blows briefly in lively manner, and you'd expect some serious closing remarks from all, but alas, the tune parks itself just a little too soon.

Roy Hargrove & The RH Factor - Distractions (2006)

01.Distractions(Intro)

02.Crazy Race

03.Kansas City Funk

04.On the One

05.Family

06.Distractions 2

07.Place, A

08.Hold On

09.Bullshit

10.Distractions 3

11.Can't Stop

12.Distractions 4.

Renee Neufville - Vocal

Bobby Sparks - Organ, Keyboards, Arp

Charles McCampbell - Keyboards

Todd Parsnow - Guitar

Lenny Stalworth - Bass

Reggie Washington - Bass

Willie Jones III - Piano

Jason "JT" Thomas - Drums

David "Fathead" Newman - Tenor Saxophone (1-6, 8, 10-12)

D'Angelo - Vocal, Keyboards, Background Vocals (9).

Trumpeter Roy Hargrove issued two albums at the same time in 2006: this one with electric instruments and Nothing Serious, an all-acoustic post-bop-oriented date. Kudos are owed to Verve for standing behind him so supportively in this day and age of safe, bland, and unimaginative "traditional" records. Distractions, like Hard Groove in 2003, is a neo-soul-jazz date with a healthy dose of funk and fusion tossed into the mix. Hargrove's Hard Groove was the first time Hargrove left his bop orientation as a leader, and while that record had killer moments and loads of special guests -- including D'Angelo, Common, Erykah Badu, Karl Denson, Steve Coleman, Q-Tip, Me'Shell NdegéOcello, and Cornell Dupree to name a few, this date is recorded with his own band, with a return appearance by D'Angelo on "Bullshit" and the great saxophonist David "Fathead" Newman playing on about half the set. The returning alumni from the Hard Groove band are Renee Neufville, who sings and plays a killer Wurlitzer; Bobby Sparks on keyboards (from piano to Moog to Rhodes); saxophonist Keith Anderson; and drummer Willie Jones III. There is a much more urban soul feel to this date, and the grooves themselves are tougher. On the opener, "Distractions," which is a recurring theme on the disc, the horns and guitar are knotty -- they touch on Miles, but they don't drift. The sound is tight, edgy. Straight-up urban soul gets the nod on a few cuts here, most notably "Crazy Race," the smooth funk of "Holdin' On," and "On the One," all tracks featuring Neufville on vocals. "Family" is an impressionistic jazz-soul ballad. "Kansas City Funk" and "A Place" are hardcore funk (the latter in the manner of P-Funk and the Ohio Players), and it's wonderful to hear Newman and Anderson along with Hargrove filling in the deep grooves. "Bull***t" is a blip-hop track. D'Angelo adds texture and rhythm (he produced the song), and this may be the album's only throwaway, as it goes nowhere. It's also the only tune here that doesn't feel "song"-directed. It lacks lyricism, and goes for a Miles On the Corner vibe but never gets there. Still, that's a small complaint in lieu of this deeply gratifying, fun, and in-the-pocket album. It's perfect for a steamy summertime. ~ Thom Jurek.

Herbie Hancock, Michael Brecker, Roy Hargrove - Directions In Music,Live At Massey Hall (2002)

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