Jeff Cosgrove, Jeff Lederer, Mark Lysher, Tom Teasley - Two Jeffs (Live) (2026)
BAND/ARTIST: Jeff Cosgrove, Jeff Lederer, Mark Lysher, Tom Teasley
- Title: Two Jeffs (Live)
- Year Of Release: 2026
- Label: Grizzley Music
- Genre: Jazz
- Quality: mp3 320 kbps / flac lossless (tracks)
- Total Time: 00:53:22
- Total Size: 122 / 255 mb
- WebSite: Album Preview
Tracklist
01. Cheek to Cheek (Live)Explicit
02. Clarinet Yayas (Live)
03. Deep River (Live)
04. Swing Low, Sweet Chariot (Live)
05. Two Jeff's (Live)
06. Blue #7 (Live)
07. Summertime (Live)
When I reviewed drummer Jeff Cosgrove’s 2023 release Welcome Home, I described him as a busy man. It was an understatement, because Cosgrove is a very busy man. This is the first of four new albums set to be released over the next twelve months. Cosgrove is an interesting musician. Whereas most jazz musicians head for the big city, he has deliberately chosen to reside in rural areas, away from large music hubs – he currently lives in Maryland. His musical influences include Paul Motian, Elvin Jones, Joe Chambers, Ben Riley and Roy Haynes. He also loves improvisation: Cosgrove would much rather create music live on the bandstand than spend countless hours in a recording studio laying down a drum track.
Two Jeffs refers to Cosgrove and his long-time musical collaborator, woodwind player Jeff Lederer. Lederer is a fine player – bold, imaginative and able to respond instantly to what is happening on the bandstand. On this album he plays tenor sax, flute and clarinet (the last in the list was the first instrument he learnt to play). They are joined by bassist Mark Lysher, who formed the trio on Welcome Home. On this release, the band has added percussionist Tom Teasley to the line-up. The music was recorded live, although you wouldn’t know it, because there is hardly any audience sound (you can just about discern a ripple of applause during a short section on the tune ‘Swing Low, Sweet Chariot’). The band plays seven tunes, a mix of standards, traditional songs, plus two Lederer compositions. The longest lasts a shade under ten minutes, the shortest runs for five minutes.
The set opens with a sassy, swinging cover of ‘Cheek To Cheek,’ which finds Lederer playing the theme, before going off on a tangent, with bursts of explosive sound, fast runs and altissimo blasts – it’s an exciting listen. No prizes for guessing what instrument Lederer plays on ‘Clarinet YaYas,’ a near-ten-minute song, which has Cosgrove and Teasley laying down a syncopated, midtempo beat, and Lysher a steady bass vamp. Over this, Lederer’s clarinet dances, dives and sweeps. Lederer quotes several tunes, including what sounds like ‘Walk On By.’ At one point, Lederer plays the theme and then someone (Cosgrove?) chants the theme in wordless vocals.
‘Deep River’ is a slow blues with Lederer’s saxophone seemingly taking on the role of a preacher on the pulpit. The rhythm section is skeletal, leaving plenty of space for the sax sound to shine. Lysher plays a quiet and reflective bass solo, followed by Lederer, who responds with a powerful burst of altissimo, before ending the number on a calm note. ‘Swing Low Sweet Chariot’ starts off with a bass solo before breaking out into a swinging number with Lederer’s tenor sax blowing hard over Lysher’s walking bass line, some sizzling ride cymbal playing by Cosgrove, and Teasley’s rattling conga drums. It’s one of my favourite performances, not least because it has a similar feel to Miles Davis’s ‘Ursula’ from his The Man With The Horn album.
The album’s title track is a serene piece that is essentially a long flute solo, accompanied by a slow three-note bass riff and some soft percussion. Lysher also solos on this number. ‘Blue #7’ is another hot, swinging number with a walking bass line, steady 4/4 beat, clattering percussion and gutsy sax playing. All the band gets a solo spot on this number, which they clearly had fun playing. The album’s closer is the classic ‘Summertime,’ a nine-minute rendition that has a flute playing the theme over a rhythm section that alternates between straight-ahead jazz, blues and the abstract, and also includes scat vocals – it’s an imaginative arrangement of a piece that has been recorded countless ways. It’s also a fine ending to a cracking album that showcases jazz improvisation at its best. Highly recommended.
01. Cheek to Cheek (Live)Explicit
02. Clarinet Yayas (Live)
03. Deep River (Live)
04. Swing Low, Sweet Chariot (Live)
05. Two Jeff's (Live)
06. Blue #7 (Live)
07. Summertime (Live)
When I reviewed drummer Jeff Cosgrove’s 2023 release Welcome Home, I described him as a busy man. It was an understatement, because Cosgrove is a very busy man. This is the first of four new albums set to be released over the next twelve months. Cosgrove is an interesting musician. Whereas most jazz musicians head for the big city, he has deliberately chosen to reside in rural areas, away from large music hubs – he currently lives in Maryland. His musical influences include Paul Motian, Elvin Jones, Joe Chambers, Ben Riley and Roy Haynes. He also loves improvisation: Cosgrove would much rather create music live on the bandstand than spend countless hours in a recording studio laying down a drum track.
Two Jeffs refers to Cosgrove and his long-time musical collaborator, woodwind player Jeff Lederer. Lederer is a fine player – bold, imaginative and able to respond instantly to what is happening on the bandstand. On this album he plays tenor sax, flute and clarinet (the last in the list was the first instrument he learnt to play). They are joined by bassist Mark Lysher, who formed the trio on Welcome Home. On this release, the band has added percussionist Tom Teasley to the line-up. The music was recorded live, although you wouldn’t know it, because there is hardly any audience sound (you can just about discern a ripple of applause during a short section on the tune ‘Swing Low, Sweet Chariot’). The band plays seven tunes, a mix of standards, traditional songs, plus two Lederer compositions. The longest lasts a shade under ten minutes, the shortest runs for five minutes.
The set opens with a sassy, swinging cover of ‘Cheek To Cheek,’ which finds Lederer playing the theme, before going off on a tangent, with bursts of explosive sound, fast runs and altissimo blasts – it’s an exciting listen. No prizes for guessing what instrument Lederer plays on ‘Clarinet YaYas,’ a near-ten-minute song, which has Cosgrove and Teasley laying down a syncopated, midtempo beat, and Lysher a steady bass vamp. Over this, Lederer’s clarinet dances, dives and sweeps. Lederer quotes several tunes, including what sounds like ‘Walk On By.’ At one point, Lederer plays the theme and then someone (Cosgrove?) chants the theme in wordless vocals.
‘Deep River’ is a slow blues with Lederer’s saxophone seemingly taking on the role of a preacher on the pulpit. The rhythm section is skeletal, leaving plenty of space for the sax sound to shine. Lysher plays a quiet and reflective bass solo, followed by Lederer, who responds with a powerful burst of altissimo, before ending the number on a calm note. ‘Swing Low Sweet Chariot’ starts off with a bass solo before breaking out into a swinging number with Lederer’s tenor sax blowing hard over Lysher’s walking bass line, some sizzling ride cymbal playing by Cosgrove, and Teasley’s rattling conga drums. It’s one of my favourite performances, not least because it has a similar feel to Miles Davis’s ‘Ursula’ from his The Man With The Horn album.
The album’s title track is a serene piece that is essentially a long flute solo, accompanied by a slow three-note bass riff and some soft percussion. Lysher also solos on this number. ‘Blue #7’ is another hot, swinging number with a walking bass line, steady 4/4 beat, clattering percussion and gutsy sax playing. All the band gets a solo spot on this number, which they clearly had fun playing. The album’s closer is the classic ‘Summertime,’ a nine-minute rendition that has a flute playing the theme over a rhythm section that alternates between straight-ahead jazz, blues and the abstract, and also includes scat vocals – it’s an imaginative arrangement of a piece that has been recorded countless ways. It’s also a fine ending to a cracking album that showcases jazz improvisation at its best. Highly recommended.
| Jazz | FLAC / APE | Mp3
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