REECE-KRONLUND is the new project of singer David Reece (ex Accept, Bangalore Choir) and Swedish guitarist/producer Martin Kronlund (Gypsy Rose, Dogface). Their first album “Solid” offers a fine mix of Hard Rock and Melodic Metal and includes a high toned companionship of musician guests playing musically and also co-writing songs on the album, i.e. on 'My Angel Wears White' (Tommy Denander), 'Edge of Heaven' (Andy Susemihl), 'Samurai' (Rikard Quist) 'Could This Be Madness' (Brynn Arens) and 'Animals and Cannibals' (Christian Tolle). The drums are played by Hans in't Zandt.
Reece's style was so striking that it even impressed Miles Davis, who started to recommend him to anyone who would listen. Sonny Rollins was also a fan, and with these two titans propping Reece it was only a matter of time before Blue Note came calling. A month after his label debut, Blues in Trinity, came out in 1959 (it was recorded the previous year), Melody Maker announced triumphantly, "Trumpeter Dizzy Reece is the first British jazz star to be signed exclusively by an American record company."
For a short time in the late '50s trumpeter Dizzy Reece was an up-and-coming jazz artist. However, success eluded him and he quietly faded into obscurity, only occasionally releasing material after the early '60s. As a matter of fact, the sessions that became Comin' On! languished in the Blue Note vaults for almost four decades. Rediscovered in 1999, these dates feature six well-rounded hard bop compositions by Reece along with three standards. The tracks from April 3, 1960, not only document the Blue Note debut of tenor saxophonist Stanley Turrentine but also employ the talents of the Jazz Messengers' rhythm section of the time, pianist Bobby Timmons, bassist Jymie Merritt, and drummer Art Blakey. By July 17, 1960, the only musician remaining from the previous date was Turrentine, sharing tenor duties with Musa Kaleem, who is also heard on flute. (The later session's rhythm section had changed to pianist Duke Jordan, bassist Sam Jones, and drummer Al Harewood.) Neglected, although spirited, sessions from an underrated trumpeter and composer.
The 11th volume in Mosaic's Select series is one of its finest. Devoted to the Blue Note recordings of Jamaican-born trumpeter Dizzy Reece, it offers a particular portrait of one of hard bop's most capable practitioners. There are five sessions compiled here, issued on four albums – the legendary debut Blues in Trinity (1958), Star Bright (1959), Soundin' Off (1960), and Comin' On! (1960). These sides were the introductions American audiences had to the hot licks trumpeter who offered a wealth of influences and styles in his solos and compositions.
Soundin' Off is a solid quartet outing with pianist Walter Bishop Jr., bass player Doug Watkins and Taylor; but the absence of a flinty frontline partner and a greater reliance on standards (there's only one Reece tune on the date) gives the album a more generic feel than the others. The up side is that Reece airs out his chops on a variety of vehicles, spanning torchy ballads like "Ghost of a Chance" and boppin' romps on the "I Got Rhythm" template "Eb Pob" by Fats Navarro. The album provides a comprehensive picture of Reece's abilities as a trumpeter; the rub is that he was also a fine composer, and the lone original, a straight-up blues, doesn't adequately represent that aspect of his music.