Genius

I've recently become really interested in Keith Jarrett's solo recordings and the development they have taken over time. Thus I thought I would spend some time looking at them.

Keith Jarrett Solo Part I: Facing You

Recorded at the age of 26, Facing You was Keith Jarrett's first solo recording. While more free and modern than early solo piano recordings (Tatum, Peterson), but more 'inside' than the solo performances of Cecil Taylor (which had only a few years earlier become popular), this date remains a milestone. One aspect that makes this date different from almost every other Jarrett solo record is that the songs seem to have been somewhat thought of beforehand. Some tracks, such as the opener "In Front" , seem to be based just on sketches of ideas: the song begins with a recurring motif but seems to develop quite freely. Others, however, such as "Lalene" and "Starbright" seem more like actual pre-written songs. An online transcription of "Starbright" even paints it as a traditional form. Some tracks, such as "My Lady; My Child", are rather aimless, and it seems as though the preemptive aspect of this recording took away some of the fire that would eventually find its way into future solo recordings.

While this album definitely stands out as a premature solo effort, there is certainly a fair amount of classic Jarrett to hear. "In Front" (perhaps a foreshadowing of outspoken Keith Jarrett fan Jason Moran's "Out Front"?) contains a long bluesy-vamp, very reminiscent of many later solo concert moments. "Ritooria" is ripe with the space and air that makes so many of Jarrett's later solo efforts so powerful. But what holds this recording back from standing as one of his best is perhaps the overall lack of patience. Like a young Brad Mehldau, many of Jarrett's early recordings show expositions of technique and flair that can only be called anxious; this record is no different. Take, perhaps, the solo section of "Starbright" where Jarrett plays a stride accompaniment in his left hand with lightning fast lines in his right. Flawless and incredible as it is, the result lacks the poignancy and seriousness of what was yet to come.

In an interesting twist, Facing You was released one year prior to Paul Bley's Open, To Love. Bley is one of the few pianists that Keith Jarrett has openly admitted to being influenced by, and many early recordings strongly reflect this. Open, To Love is now considered one of the most influential jazz solo piano recordings of all time, and bears a lot stronger resemblance to Jarrett's later solo efforts than Facing You. Perhaps the influence was mutual?

All in all, Facing You's value comes mainly as a portrait of an artist as a young man and as a vantage point from which to reflect upon Jarrett's later and more substantial solo works.

Rating: 6/10

Standout tracks: "Lalene", "Ritooria"

More Keith

Keith Jarrett's 'European' Quartet is one of the more underrated groups of the 1970's. One reason for this is because during the same time, Jarrett was releasing albums with his 'American' quartet. Not only did this group contain more familiar sidemen, but it's releases were more frequent and better reviewed.

However, upon gauging the role of the 'European' quartet in the still-expanding canon of Keith Jarrett, we find a group way ahead of it's time. While the 'American' quartet was championing the already-popular avante-garde sound, the 'European' quartet operated in a completely different manner. Jarrett's folk-tinged songs display a compositional style largely departed from the jazz-tradition. While the 'American' quartet was moving positively forward and expanding on already-established traditions, the 'European' groups seems to have manifested an original style out of an amalgam of sources.

What results is the beginning of what we know today as the 'ECM' sound. However, what is most impressive about this group is that they seem to have created a style unto themselves.

Nude Ants was recorded live at the village vanguard, and is comprised of all Jarrett originals. Check out 'Chant of the Soil' and 'Innocence' in particular.

Kenny Wheeler

Realistically, I shouldn't even get started talking about Kenny Wheeler, because I could go one forever. He is only a relatively recent discvorery for me. And although albums such as "Gnu High" and "Angel Song" and "What Now?" had always been recommendations, but I never really picked up on anything until I got more into Dave Holland. After acquiring "Gnu High", I suddenly realized what all the fuss was about. Besides the fact that the band assembled on "Gnu High" is out of this world, Wheeler exemplified a level of virtuosity and originality in both his playing and (especially) his composing that I had never experienced. Immediately I tried to get as much as I could. And what would we (I) do without all these blogs? When I saw Wheeler's debut, OOP and extremely rare album "Windmill Tilter" on a blog I was immediately skeptical. First of all, the link probably wouldn't work. Second of all, if it was at all good, why would it be so out of print and rare, considering that pretty much his entire discography otherwise is readily available? Well, I think i should repeat the latter question. WHY? Because this album is absolutely unbelievable. I was always a fan of big bands at a younger age, and this album is the penultimate example of what big bands should sound like to me. The writing is incredible, consistent, and the arrangements are perfect. Wheeler has a knack for arranging for large groups, and if he wasn't such a superb writer that would only mean so much. But altogether, Wheeler makes one of the most incredible 'debuts' I've ever heard.



Of interest about this recording: it was also a young Dave Holland's first recording. According to Dave himself, the original bassist couldn't make it, and Holland was recommended by someone else in the band. And at once a lasting partnership was made. The John Dankworth orchestra makes up the rest of the band, with the exception of John McGlaughlin on guitar. Supposedly the master tapes have been lost, meaning that without some great effort and difficulty, this is not going to be reissued. That being said, get your hands on it now and back it up, and then back it up again. Not just the for the sake of having OOP recordings, but for having great music.

I know, I know

It's been a while, but without excuses, I am back. So without anything further....

The Real Thing

If you don't know who Jon Brion is, go look him up right now. It doesn't matter where you look him up, because he is practically ominpresent. Besides being a 90's pop-rock band veteran, he has built up a reputation as one of the most gifted and musical producers, composers, and singer-songwriters around today. Most would would probably know him as the composer and arranger of such mainstream movie soundtracks as Boogie Nights, I Heart Huckabees, Magnolia, Punch-Drunk Love, and Eternal Sunshine of the Spotless Mind. Others would unknowingly know him as the main producers for artists such as Aimee Mann, Rufus Wainwright, The Eels, Fiona Apple, Brad Mehldau, and most recently as co-producer for Kanye West. And yet the most privileged listeners would know him as A) a member of the one-off 90's pop band The Grays and B) the composer, lyricist, arranger, producer and engineer of his album Meaningless.

The beauty of 'Meaningless', to me, is that one cannot tell throughout the album that these songs are ones that Brion wrote the night before or has been working on for years. In the first sense it is because he has such a natural melodic intuition (and his other projects have all been so consistent), that one would not be surprised of an average daily output of such a creative person if pushed to create an album. However, in the second sense, this album is so well realized and produced and arranged that it would be deperessing for any other living musician to hear. Brion masters a tradition while maintaining originality at the same time. If 'Meaningless' has any drawback at all, it's that it doesn't quite show the full potential and ability of it's creator. If you really want to know the real Brion, you'll have to check out his production work, his soundtrack work, his band work, all in addition to this solo outing. He's (naturally) incredibly busy right now, but we should hope he has enough time to come out with another album of his own in the near future.

Jacky Terrasson - Smile

This is one of my all-time favorite albums, so pick it up if you don't have it.

2002 (Blue Note)

Allmusic Review

Nicholas Payton - Sonic Trance

This album, for a lot of people, was at first glance a response to Roy Hargrove's "Hard Groove" album. When Hargrove, always the main counterpart/competitor to Payton, skewed from his traditional itinerary to release an album sounding more like neo-soul than post-bop and more indebted to Bill Withers than Blue Mitchell, many wondered what Payton would do in response.When Sonic Trance came out, it was coined (most likely by Warner Bros.) just as "Hard Groove" was, and it seemed like a blatant attempt to catch up to the competition. And in the first track alone, Payton shows that he has no trouble connecting to his own soul roots; but he outdoes any soul or funk-laden track on "Hard Groove", as if to say "this is child's play". And that is the only similarity to Hargrove's new music for the rest of the album. Payton instead shows how the influence of albums like Bitches Brew, artists like Fela Kuti, and genres like Hip Hop have affected him. Because in its essence, those are the three main ingredients to this album. In fact, two of the longer tracks on the ablums are simply titled Fela 1 and Fela 2, honest homages to his influence. Tracks such as "Stinkie Twinkie (Remix)" and "Shabba Un-Ranked" clearly show his interest in hip hop, and utilizes the production skills of Karriem Riggins (former drummer in the Ray Brown trio, and hip hop producer most known for his work with Common). The majority of the album is just a recipe for indulgence for Payton. The album is unique not only in its musical direction and purpose, but its use of electronics and modern production and audio engineering. Payton may not have completely found his way on "Sonic Trance" but he definitely strayed far from the beaten path, and further showed his originality.

2003 (Warner Bros)

Allmusic Review

Live Shows 4:

Nicholas Payton Quintet: Jazz Standard - June 10th, 2007

A pleasant surprise this summer was the Nicholas Payton Quintet. I originally went to the show because, as a trumpet player, I thought it was my duty. I don't often attend trumpet players' shows or even gravitate towards their records. But Payton has been one of the most significant trumpet players on the scene since the early 90's, and has in the recent past shown a remarkable amount of versatility and artistic merit. His tenure as a sideman for Greg Osby and in the SF Jazz Collective, as well as his dive into modern fusion with his last album "Sonic Trance", showed that he was far from a one-trick Pony. Whereas other trumpet players like Roy Hargrove and Terence Blanchard seem to just be further paving their already-clear paths, Payton has been rejoicing in his youth and experimenting as much as possible. And to much success. Knowing this, his recent show at the standard was even more of a pleasant surprise. With a quintet comrpised of Kevin Hays (on a heavily distortion-drenched Rhodes, and piano), Vicente Archer, (a very young) Marcus Gilmore and Daniel Sadownick, Payton stood on solid middle ground between his traditional roots and his experimental tendencies. The set opened up with a modal, fusion number that allowed all of the members to stretch out. What started out sounding like a B-Side to Bitches Brew ended up sounding like a modern hip-hop track. The fusion continued even into an extremely slick version of Mancini's classic "Days of Wine and Roses". Payton never showed off too much; he understands his role even in his own group. As much as he commands the direction of the band and his own sound, he is never over the top. This truly was a group. They may not be treading new waters, but they're happy lying in the happy medium between tradition and modernity, and they do it oh so well. Kudos to Payton for chilling out on the middle ground.

9/10

This show's lineup was almost exactly the same as Patyon's 2004 show at the NYC IAJE conference, save for Adonis Rose on drums and Tim Warfield on Saxophone. The recording of that 2004 show started out as a bootleg, but became so popular that it was actually (limitedly) released. Lucky for you I have it.

Nicholas Payton - Stardust (Live at IAJE, NYC 1-24-04)

Cannonball Adderley - Somethin' Else

1958 (Blue Note)

Allmusic Review

Original Posting

In honor of a new Blockhead album, here is an old one:

Blockhead: Music By Cavelight (2005)

Blockhead rose to prominence as the main beat-maker for Aesop Rock on albums such as "Float" and "Labor Days", and now resides as an instrumental artist on the UK label NinjaTune. His three full-length albums were released one year after another, this being the first. In making an instrumental album, Blockhead made the smart decision of avoiding just making beats without MCs. This allows Blockhead to soak himself in his love of slower, more introspective tempos. His greatest skill is clearly his sample-finding and layering, but his amateur side clearly shows in the atonalities and disjointedness. This album definitely sounds like a long-time coming; the diversity and uniqueness of the samples sounds like they were being saved for a rainy day, only to all be let out at once. This album would later be seen as a single step in a brand new direction for Blockhead, but alone shows him as on of the more unique "hip-hop" producers around.

Sharing The Wealth
I get so much out of the blogosphere, its time to give back a little.

Miles Davis: It's About That Time, live at the Festival de Juans Pins 1969

I'm not a big bootleg fan normally, and the sound quality on this recording shows why. However, the music far outshines the recording quality in this instance. What makes this performance so special is that it captures one of Miles' best bands in a real 'getting-to-know-each-other-phase'. 1969 was a big year for Miles Davis. Just the previous year he had come out with what would be the last album of one of his most famous groups. That group, comprised of Herbie Hancock, Ron Carter, Tony Williams, and Wayne Shorter, has proved to be one of Miles' most influential groups, and helped him move away from his standard-laden hard-bop days to his more forward-thinking, avante-garde era. This group came out with such classic albums as E.S.P., Miles Smiles, and Filles De Kilimanjaro. What became increasingly rare during this time however was to hear Miles group interact on songs from the Great American Songbook, something that Miles and his bands had spent so many years cutting their teeth on. And with a new band that would the same year start recording Bitches Brew, Miles' movement into a whole new direction of music, it would be hard to think of them playing around on some standards. But that is exactly what they do on this recording. Miles, Wayne Shorter (the only holdover from the previous group), Chick Corea (on rhodes), Dave Holland and Jack DeJohnette get to know each other on such Davis regulars as "Milestones", "Footprints", and even "Round Midnight". Mixed in with these standards include songs that would appear on future albums such as "Miles Runs the Voodoo Down" and "Directions". But hearing this modern group play on Milestones and Footprints especially is quite a treat. The band is like one giant, breathing, living organism. The way they interact is almost telepathic. The rhythm section responds to every nuance of the horn players, moving one second from bright swing to slow, open vamps to completely free sections, and they always land right back on their feet at the same time in the same place and sounding as good as they started. Clearly these aren't the standards like you heard them on Relaxin' or Round About Midnight. Corea and Holland in particular take things in a very free direction, and when the rhythm section is left alone, as during the keyboard solos, they depart to a completely different planet. But the beauty of it is that it all works perfectly. Every member of the band shines on this record, and Miles seemed to be particularly inspired on this date; this is some of the best playing I have of his. This is transitional jazz at its best, a true stepping-stone between two wildly different eras of jazz documented in one live performance. Do not pass this up.

Highlights:

Jack DeJohnette's opening drum solo on "Directions"
How the band picks up on Miles' intro to "Miles Runs The Voodoo Down", and all land perfectly on the downbeat together.
Miles' solo on "Milestones": the band interaction is unbelievable, and this is one of the best Miles solos I have ever heard.
Listen to Chick Corea take the band to a entirely different world during his solo on "Footprints".

Live Shows 3:

Tony Malaby's Exploding Heart: Jazz Gallery - June 9th 2007

I was "fortunate" enough to catch a very unique group at the Jazz Gallery this June. Tony Malaby, one of today's most sought after contemporary saxophonists, was leading his group at the gallery. His band of choice, from a subjective standpoint, seemed extraordinary. Nasheet Waits (drums) is one of the more sought after drummers on the scene right now, both with mainstream players like Fred Hersch, Mark Turner, Antonio Hart as well as cutting-edge modern players Jason Moran, Ralph Alessi and Hamiet Bluiett. William Parker (bass) has garnered an amount of respect as an avante-garde player that few seem to approach these days, and has been a serious sideman for over 20 years with the likes of Cecil Taylor, Peter Brotzmann, Roscoe Mitchell, and Matthew Shipp. The meeting of these three players promised good results, and although they have been playing together for a while and are even releasing an album, their chemistry on stage this particular night was bewildering. Granted, these players reside on a completely different plane than us 'mortals' in the audience; but then again they are supposed to be entertaining us, am I wrong? I'll give these players the benefit of the doubt and assume that their level of expertise and intuition just superseded my comprehension. But, as a listener, there was little that my mind could latch onto. Malaby seemed to be playing to himself in one corner, while Waits played to himself in the other. Parker, meanwhile, struggled between the two; trying to find a happy medium but ultimately finding himself lost in the mix. While Malaby and Waits demonstrated technical abilities few others could muscle, they failed to demonstrate (at least to the audience) any sort of traditional sense of musical cooperation. And Parker, while living up to his reputation as a true individual, refused to hold any sort of traditional bass-player roll, and thus further cluttered an already confusing soundscape. The band played two songs, both exceeding 30 minutes in length, yet I found little direction in either piece, and although music was being read, the fact that I knew the players were conforming to any sort of arrangement made me even more disappointed as a listener. There is modern jazz, there is contemporary jazz, there is avante garde jazz, there is free jazz and then there is Tony Malaby's Exploding Heart. I have to admit, I haven't reached that last point of musicality.

2/10

Live Shows 2:

Scott Herren: APT, June 5th 2007, 1 set

Stumbling upon Scott Herren (aka Prefuse 73) spinning at New York's APT was a nice surprise. Herren is known today as one of the best electronic artists around. Although he is most known for his electro-hip-hop outfit as Prefuse 73, he also dons various other monikers for his wide array of side projects and collaborations. Among his other projects include albums under the names Piano Overlord (pure electronic experimentation), Delarosa and Asora (frenetic techno), and Savath and Savalas (brazilian electronic music). But on June 5th at APT, Herren was working as Prefuse 73, and spun his own brand of hip hop. Whereas his own albums tend to be a mix of his own electronic music spun around with hip hop beats and sometimes guest MCs on top, his live set made it a lot easier to see his influences in the genre. He began spinning some random records and slowly moved into remixing some acapellas including one great MF Doom remix. When the set began he seemed to be moving out of what the previous DJ had been spinning, but by the end of his set had transformed the music into his original style. Herren's live set displayed his skills of developing his own sound even when just spinning records, and added another side to an already multi-faceted artist.

7/10

Chris Cheek

In continuing to talk about some underrated artists, I couldn't pass up Chris Cheek. Probably my favorite jazz player on the scene right now, I'm constantly amazed at how few people have heard him or even heard of him. Cheek has managed to keep pretty good company over the last 15 years while he's been on the scene, and recently he's been noticed by even bigger artists. The first time I heard Cheek was as a sideman in Paul Motian's Electric Bebop Band. On the album "Reincarnation of a Lovebird", Cheek plays alongside Chris Potter, Kurt Rosenwinkel, Wolfgang Muthspiel, Steve Swallow and the veteran drummer. Of the young members of the band, Rosenwinkel and especially Potter went on to build up their repuations to become two of the most in demand and highly regarded players on the scene, while Cheek remained a relatively obscure player. But that is changing. In the last 5 years Cheek has been extremely busy. While recording as a leader, he has remained in Paul Motians band (ironically the only member to still be in it from the previously mentioned album) and also played as a sideman with Charlie Haden, Ethan Iverson, Ben Street, Guillermo Klein, David Berkman, Joshua Redman, Matt Penman and most recently Bill Frisell. Cheek sports one of the most individual sounds I've heard in a long time, and his melodic playing seems to come more from his own sense of originality then any school of playing. Able to play in the tradition as well as anyone else (exemplified in his early playing in the Electric Bebop Band), Cheek usually flaunts his own contemporary style. His compositional skills almost overshadow his playing. His album "Vine" from 2000 is made completely up of his own compositions, and they show that Cheek is one of the most original writers around. Not that it hurt to have a backing band of Brad Mehldau (on rhodes and piano), Kurt Rosenwinkel, Matt Penman, and Jorge Rossy on the record, but it is clear that the band was incredibly inspired by Cheek's writing, as it is some of the best playing by all of them on record. One song, "Granada" was later played by the Brad Mehldau Trio on their album "Day Is Done", which is quite a humbling gesture to Cheek. His most recent album "Blues Cruise" is made up of half his own compositions and half obscure standards. His selection of covers shows his well-roundedness as a listener, choosing two very obscure songs by Duke Ellington and Henry Mancini, as well as the old rhythm and blues classic "Flamingo", originally made famous by Earl Bostic. One unique aspect of Cheek is his tendency to utilize all four major voices of saxophones on his albums. I recently saw him live with Guillermo Klein's Los Guachos, where he was playing baritone, tenor and soprano saxes. And on "Blues Cruise" he utilizes Alto, Tenor and Soprano. His tone on each is impeccable. Most recently he has been playing and recording with the experimental group "Rudder", a sort of pop-rock-fusion-funk collective comprised of some of the best young studio, pop, electric and jazz musicians around. In this group he makes use of a large group of effects to make his horn sound like just another keyboard, guitar or synthesizer. I encourage those of you who haven't heard Cheek to seriously check out his playing. In the meantime enjoy these selections:

The Ice Fall - From "Vine" (2000), with Brad Mehldau, rhodes; Kurt Rosenwinkel, guitar; Matt Penman, bass; Jorge Rossy, drums

Lazy Afternoon (live) - From "Lazy Afternoon" (2002), with Ethan Iverson, piano; Ben Street, bass; Jorge Rossy, drums

Lopez - From "Rudder" (2007), with Tim Lefebvre, bass; Henry Hey, keyboards; Keith Carlock, drums

And this video of Cheek playing with Jakob Bro (now also in Paul Motian's band) and Rune Borup, "Chinatown"

Live Shows

While in NYC for the summer, I've been trying to check out as much of the scene as possible. I thought this would be a good place to vent about these shows.

Billy Hart Quartet: June 2nd, 2007 at the Village Vanguard w/ Mark Turner, Ben Street, and Ethan Iverson

This was the first show I saw in the city, the night after I arrived. The Vangaurd is definitely one of the best venues in which to see jazz in the city (if not one of the most expensive). Not only does it attract some of the best acts around, it doesn't get clogged up with too many mainstream acts like the Blue Note or Iridium. Also, the atmosphere and sound is great. This group is one of the hottest on the scene right now. From what I've heard, the group was formed collectively, but the younger members decided to name it after the veteran drummer. Iverson is mostly known for his work in The Bad Plus, and Street for his work with Kurt Rosenwinkel. Mark Turner is turning into a young veteran, having worked with artists such as Rosewinkel, Joshua Redman, Lee Konitz, John Pattitucci, James Moody and Ryan Kisor. Hart is definitely the true veteran in the group. He is one of those drummers that seems to turn up endlessly on albums old and new. It would be hard to name people in the business he hasn't worked with, but here is a short list of those he has: Miles Davis, Herbie Hancock, Wayne Shorter, McCoy Tyner, Stan Getz, John Scofield, Paul Bley, and Dave Holland. Hart's own albums have been solid efforts, but his most recent with this quartet is one of his most engaging. Their set began with an Iverson blues, Mellow B. The way the quartet manages to balance the tradition and contemporary playing is astounding. While you hear all that you would expect from a traditional blues, they are still managing to play as fresh and free as possible. Hart's rhythms are tight and loose at the same time. Street was especially on point. He displayed a fondness for vamps and his bass lines, like Hart's playing, were at once in the pocket and rhythmically free. Iverson and Turner were the chief soloists. Turner seems to be in constant study, his style ever-changing. His knowledge of the tradition is a basis for his incredibly modern harmony. Iverson, classically trained, never ceases to create a dramatic solo; he works particularly well interacting with Hart. The set was made up entirely of originals (some of which were based off standards, like Turner's new melody over "Giant Steps"), most of which were Hart's. The set's high point was definitely the first half, with the energy high. Slower tunes finished out the set, but not without a large amount of energy. The group interplay was the essence of the show. The quartet seems to connect on another level, and that's what makes this group one of the best on the scene.

7/10

Jacky Terrasson

Despite debate over it's significance, those who place in the top three of the Thelonious Monk Competition have oftentimes made a name for themselves afterwards. Previous winners alone include Ryan Kisor, Joshua Redman, Marcus Roberts, Eric Lewis, Seamus Blake, and that list doesn't include people who didn't win including Chris Potter, Eric Alexander, Jorge Rossy, Sam Yahel, Tim Warfield and Joey Defrancesco. But one winner who managed to slip by many people is Jacky Terrasson. Terrasson, a native of France, entered and won the 1993 competition, beating out other finalists including Peter Martin (previously of the Joshua Redman Quartet) and Edward Simon (Greg Osby, Bobby Watson, Terence Blanchard, Mark Turner, John Pattitucci). Since then however, Terrasson has maintained a relatively low profile on the American jazz scene. He worked early on with Ray Brown and alongside Brown in Art Farmer's quartet. Since then, he was seen semi-consistently in the groups of Wallace Roney, Leon Parker and Javon Jackson. He has known to be a fan of collaborations; releasing albums under his and another's name. Collaboraters have included Cassandra Wilson, Tom Harrell, Stefon Harris, and French classical flautist Emmanuel Pahud. But on his own, Jacky Terrasson has been one of the most creative, original and engaging pianists on the scene. Often compared to a modern Ahmad Jamal, Terrasson uses dynamics and backbeats to offer a fresh approach to the jazz trio. Since his debut he has utilized the trio of bassist Ugonna Okegwa and drummer Leon Parker on multiple albums including his eponymous debut, "Reach" (1994), "Alive" (1998) and "Lover Man". As early as "Reach", Terrasson had created a unique modern trio format, displaying his original style and compositions with more energy and dynamics than anyone else on the scene. His album "Smile" (2002) epitomizes his style and is one of the best piano contemporary piano trio albums I've heard. He just released a new album, "Mirror" (2007), which finds Terrasson leaving the trio behind to focus on his solo playing. Once again, he performs magnificently. If you ever have a chance to catch him live, do not pass it up. His show at the Village Vanguard in 2003 is one of the best jazz shows I've ever seen, and the best show I've ever seen at the Vanguard. This under appreciated pianist maintains a solid reputation in his native Europe, but deserves much more exposure here in the states. Enjoy these tracks.

Baby Plum (Terrasson), from "Reach" (1994)
Nardis (Davis), from "Smile" (2002)
You've Got a Friend (King), from "Mirror" (2007)

And this video of Terrasson playing with Art Farmer and Ray Brown