Catalogus

Never Can Say Goodbye: The Music Of Michael Jackson (2010)

"DeFrancesco -- who plays not only his usual Hammond B-3 but other organs, piano, and trumpet on the recording -- sticks largely to material from Jackson's solo career here, with an emphasis on "Thriller" (five of the nine songs), using the original song structures as takeoff points. DeFrancesco's interpretations reference Jackson's originals but depart from them substantially enough that they never feel like copies, and at times he and the band expand far outside of the basic chordal boundaries Jackson set down. More than anything, DeFrancesco appears to be having fun with this set (he even sings a couple). And when he and the band (guitarist Paul Bollenback is on fire) get cooking, as they do more often than not -- some of these tracks ("Billie Jean," "Rock with You," "Beat It") seriously rock -- it's hard not to get caught up in the party atmosphere." (Jeff Tamarkin, Allmusic)

Snap shot (2009)

Cape Verde (1994)

"This is the fifth and final release by the George Robert/Tom Harrell Quintet, taped during a pair of Swiss concerts in 1992. As in previous outings, the alto saxophonist and trumpeter/flüegelhornist are in top form and each musician also contributed strong originals as well; the potent rhythm section includes the underrated pianist Dado Moroni, bassist Reggie Johnson, and drummer Byron Landham. Harrell's snappy post-bop strut "Streets" features his flüegelhorn, plus fines solos by Robert and Johnson. An extended version of "Sail Away," an emotional driving samba that is also one of Harrell's best known compositions, is another highlight. Robert's rich ballad "Softly" also has a Latin feel to it, while his hard bop "Cape Verde" is clearly inspired by Horace Silver. The only work not composed by either co-leader is "Morning Star," by Rodgers Grant; this highly enjoyable work features an extensive solo by Moroni. The Robert/Harrell Quintet knew how to go out on top!" (Allmusic)

Easy Now (2005)

"Like most musicians in the new mainstream of today's jazz world, pianist Orrin Evans uses composition to create modern challenges for modern impovisers. This would also include the drum thwacks that constitute part of the line of "Captain Black." Further, the playing here is consistently top-shelf. Evans often plays percussively, playing clusters, even pounding the piano. But that's hardly all he does. He can play gently and lyrically, or he can spin a long, swinging line. Although he sometimes alludes to Monk, Orrin Evans is very much his own man. Like saxophonist Ralph Bowen is. Heard here on alto and soprano sax rather than his customary tenor, Bowen reveals a lush, warm sound, almost as if he were trying to combine Eric Dolphy with Benny Carter or perhaps Lucky Thompson. Finally, J.D. Allen should be singled out for his warm, deeply moving tenor sax playing on "Song For My Father." He and Evans play the Horace Silver classic as a duet, that may be the highlight of the album." (Marc Meyers, AllAboutJazz)

Reboppin' (1992)

Vroeg album van de toen 21-jarige Hammondorgelvirtuoos. Hij beheerst alle finesses van het orgelspel: dartel dansende nootjes worden met veel swing gespeeld, maar voor heerlijk breeduit rausen met het Lesleypedaal voluit is 'ie niet te beroerd. Door kien spel met de registers verschiet de sound constant van kleur. En da's nog niet alles, want op vier stukken bewijst hij ook een prima trompettist te zijn. Het meeste trompetwerk wordt overigens verzorgd door Jim Henry. Verder dient Paul Bollenback vermeld: hij levert niet alleen enkele sterke stukken aan, maar geeft op z'n gitaar ook nauwelijks minder virtuoos weerwoord aan Joey. Die overigens voornamelijk kiest voor oudere ("Bye Bye Blackbird") en vooral jongere ("Naima", "ESP", "Sister Sadie") standards op een 5 kwartier lang spannende CD. "Joey DeFrancesco, who was heavily influenced by organ maestro Jimmy Smith, is one of the most energetic and expressive Hammond B-3 players on the scene today." (John Sharpe, AllAboutJazz)