Friday, January 3, 2014

Bob Wilber & The Scott Hamilton Quartet - S/T

Bitrate: 320K/s
Time: 57:53
Size: 132.5 MB
Styles: Swing
Year: 1977/1994
Art: Front

[3:47] 1. Riff
[4:09] 2. Rocks In My Bed
[6:05] 3. Between The Devil And The Deep Blue Sea
[3:16] 4. Time After Time
[4:01] 5. I Never Knew
[4:08] 6. Jonathan's Way
[4:52] 7. All Too Soon
[3:11] 8. Freeman's Way
[3:35] 9. Treasure
[3:25] 10. Puggles
[3:28] 11. Taking A Chance On Love
[6:31] 12. 144 West 54th
[7:20] 13. Jazzspeak

On this CD reissue, Bob Wilber (who triples on clarinet, soprano and alto) meets up quite successfully with the relatively young swing stylist Scott Hamilton (heard near the beginning of his career) and the tenor's rhythm section of the period (guitarist Chris Flory, bassist Phil Flanagan and drummer Chuck Riggs). Together they perform melodic and swinging renditions of six of Wilber's originals along with six veteran standards; the logical arrangements help to set up the solos. Also included on the reissue is a seven-minute "Jazzspeak" in which Wilber remembers how the date came about. Easily recommended to mainstream and small-group swing fans. ~Scott Yanow

Bob Wilber & The Scott Hamilton Quartet

Claudia Acuna - Wind From The South

Bitrate: 320K/s
Time: 56:07
Size: 128.5 MB
Styles: Latin jazz vocals
Year: 2000
Art: Front

[4:12] 1. Pure Imagination
[3:25] 2. Viento De Sur (Wind Of The South)
[6:26] 3. My Man's Gone Now
[3:29] 4. Prelude To A Kiss
[4:56] 5. Gracias A La Vida (Thanks For Life)
[4:01] 6. What'll I Do
[4:59] 7. Long As You're Living
[6:32] 8. Bewitched, Bothered And Bewildered
[3:22] 9. Alfonsina Y El Mar (Alfonsina And The Sea)
[5:15] 10. I'll Find You
[3:02] 11. The Thrill Is Gone
[6:21] 12. Visions

For her debut recording, Acuna makes an impression that is hard to forget or dismiss. A native of Santiago, Chile, she has been living in NYC and working on her craft at the Blue Note and Small's. On this date she hooks up with peer-group younger musicians as pianist Jason Lindner, bassist Avishai Cohen, drummer Jeff Ballard, and some special guests. Acuna is clearly a gifted singer with a strong, flexible, attractive voice that can lilt or soar. Her resiliency and directness can be favorably compared to Roseanna Vitro, and she proves to be quite an arranger in her own right, charting this set of standards and Hispanic lyric songs. Acuna likes odd meters, using 6/8 on the dramatic "My Man's Gone Now," while adopting shades of Flora Purim (she facially resembles a young Purim) with soaring vocal overdubbing on her original, the title cut, which is supported and colored by Avi Leibovich's trombone. Saturated in percussion and Latin pulse, the horn-fired 6/8 arrangement of Cohen's design "Gracias a la Vida" has tenor saxophonist David Sanchez and trumpeter Diego Urcola swimming in this mix and trading figures during the bridge. A driving 5/4 pushes "The Thrill Is Gone" (not B.B. King's) into a free section, while that same rhythm, more patient in a shuffle style, conjures more drama during the poignant "Long as You're Living." Though in 4/4, beats of separated five and three with beautiful breezy piano chords from Lindner sets this version of "Pure Imagination" apart from any other you'll hear -- a real triumph. There's a hard-bop two-note vamp take of "Prelude to a Kiss" and a quick waltz version of "Bewitched" where Acuna stretches the lyric line. Pianist Harry Whitaker is Acuna's lone foil for the ballad "What'll I Do?" while the trio with Whitaker and Leibovich dances with the singer in wafting, wordless, childlike wonder for "I'll Find You." Cohen and Acuna go it alone in mysterious, deep, and tender moments for "Alfonsina y el Mar"; Stevie Wonder's "Visions" is replete with "Autumn Leaves" paraphrasings, sporting devices both free and modern with dramatic punctuations and stop-starts, with Sanchez on soprano sax. Not only is there promise, but potential too, which is realized; when you consider this is Acuna's maiden voyage, her lengthy travels have already borne the seasoned fruit of a more experienced singer. Recommended. ~ Michael G. Nastos

Recorded at Avatar Studios, New York, New York on November 17-20, 1999.

Claudia Acuña (vocals, background vocals); David Sanchez (soprano saxophone, tenor saxophone); Diego Urcola (trumpet); Harry Whitaker, Jason Lindner (piano); Avishai Cohen (electric piano, acoustic bass, electric bass); Jeff Ballard (drums, percussion). 

Wind From The South

Winnie Dahlgren - Till We Meet Again

Bitrate: 320K/s
Time: 55:12
Size: 126.4 MB
Styles: World fusion
Year: 2010
Art: Front

[6:12] 1. I Wouldn't Mind
[7:57] 2. 1-2-60
[4:49] 3. Now Let's Move On
[9:01] 4. To My Grandmother
[7:03] 5. Sunset Over Noyalito Avenue
[6:18] 6. Yeleni
[7:25] 7. Join Me
[6:24] 8. Till We Meet Again

Winnie Dahlgren provides the listener with a distinct musical experience with delicate twists. Her classical background showcases her musical technique as a performer, but her use and knowledge of Latin, world music and jazz styles give her performances a modern quality. Her compositions contain a contemporary harmonic universe marked with Latin and world influences, and run the gamut of playful and energetic to sweet and endearing pieces with thoughtful melodies. As a vibraphonist leading her quintet, the band presents a unique instrumental sound.

When writing music I can’t help but be inspired by my surroundings. Sometimes the music is inspired by one single person or event, other times it’s solely about the music. When the latter is the case and it’s time to title a song, it’s the spirit of the moment that brings forth the words. The titles on this album are a mix of these two scenarios. For “I Wouldn’t Mind”, “Now Let’s Move On”, and “Join Me” the titles can be open to your own interpretation as I simply let the “title muse” inspire me. The rest of compositions have a more specific meaning or event leading up to them.

“1-2-60” was written for my parents the year they both celebrated their 60th birthday. “To My Grandmother” is also a birthday song, this one inspired by Danish children songs. “Sunset Over Noyalito Avenue” was written at a time when a relationship to a friend was changing, causing me to reflect on my life. “Yeleni” is my African name. While visiting Mali in 2000/01, I was given this name by one of the local majors in Bamako, as it is tradition to give an African name to visitors. After having observed me for a few days, he told me I shall be called Yeleni. He explained that the name means a celebration of the African woman and is a symbol of a strong woman. What an honor to have been given such a powerful name! In 1999/2000 I went to Mozambique, on my very first trip to Africa, to visit a friend in Maputo and to celebrate the beginning of the new millennium. This trip marked me with very strong emotions and powerful memories. Not knowing when I would be able to return to this beautiful place or when I would see my friend made me write “Till We Meet Again”.

Till We Meet Again

Rodney Jones-Tommy Flanagan Quartet - My Funny Valentine

Bitrate: 320K/s
Time: 38:15
Size: 87.6 MB
Styles: Guitar-Piano jazz
Year: 1990
Art: Front

[4:25] 1. Giant Steps
[3:31] 2. Oleo
[7:16] 3. I'll Remember April
[1:33] 4. Yesterday
[6:02] 5. D Natural Blues
[4:23] 6. Star Eyes
[2:30] 7. Morning Of The Carnival (Theme)
[8:32] 8. My Funny Valentine

An underrated cool-toned guitarist who sounds at his best in straight-ahead settings, Rodney Jones had his highest visibility during his period with Dizzy Gillespie (1976-1979), when he was in his early twenties. Jones had previously worked with Jaki Byard and recorded with Chico Hamilton, and he would follow the association with Gillespie by working for a time as Lena Hornes accompanist. As a leader, Jones has recorded for Timeless (in 1978 and 1981), the RR label, and in the late 80s for Minor Music.

My Funny Valentine  

Sarah Ellen Hughes - Darning The Dream

Styles: Vocal Jazz
Year: 2010
File: MP3@320K/s
Time: 52:05
Size: 119,2 MB
Art: Front

(3:47)  1. That's All
(5:23)  2. On A Misty Night
(3:32)  3. Afro Blue
(4:18)  4. Devil May Care
(5:19)  5. Darning The Dream
(4:09)  6. Love For Sale
(4:13)  7. Workin' Hard
(6:06)  8. You Go To My Head
(4:33)  9. When Sunny Gets Blue
(4:49) 10. Some People
(3:31) 11. But Not For Me
(2:20) 12. A Hymn For Janet

A naturally swinging musician, with a finely controlled vibrato, a keen ear for apposite songs, an avoidance of an all-purpose transatlantic accent, and knack for gathering like-minded confreres: that's Sarah Ellen Hughes. If you need to package her - and I don't but some might - I'd say she's listened to Anita O'Day closely and has assimilated Ella Fitzgerald's propensity to scat, something  as on That's All - I can well do without, but which is liked in some circles. When Ian Shaw joins to joust in a scat battle in Devil May Care I have to admit I switch off, but it's undeniably exciting and virtuosic.

Her boppish phrasing is evident on Misty, cleverly segued with On a Misty Night. Semi-ubiquitous Dave O'Higgins lends some Latin grooves to Afro Blue. Darning the Dream is all one could reasonably ask - sensitively phrased, fine vibes from Jim Hart, and a winner of a coda. The unexpectedly demotic lyrics to Love for Sale, I noticed, are by none other than Sting - they add an undeniable verit‚ to the proceedings, though a rather blatant one. Shaw is on more conventional ground on When Sunny Gets Blue where Hughes plays flute. Her own song, Workin' Hard drolly deals with life on the road, and making copies of her CDs to sell. Some People is another original - a soulful opus that engages strongly

But one of the things I most liked about her singing is encapsulated in a small detail from You Go To My Head where she sings `..that you might...' rather than the more often encountered `...that you might...' I liked the particularity of this, and also the melodic tweaking, which works - so too the long vibes solo. A Hymn for Janet is a deeply and richly sensitive envoi.

From Georgie Fame inspired vocalise on But Not For Me to a careful curating of the standard repertoire Hughes proves up to the challenges. She has a fine band - with Rick Simpson ever supportive on piano. The two bass players alternate. ~ Jonathan Woolf   http://www.musicweb-international.com/jazz/2010/hughes_darning_the_dream_01.htm

Personnel : Sarah Ellen Hughes (vocals and flute): Dave O'Higgins (saxophone): Ian Shaw (vocals); Rick Simpson (piano): Tom Farmer, Andy Hamill (bass): Jim Hart (vibes); Darren Altman (drums)

Nanette Natal - Sweet Summer Blue

Styles: Vocal
Year: 2011
File: MP3@320K/s
Time: 37:20
Size: 85,5 MB
Art: Front

(7:14)  1. Silver Night
(4:18)  2. The Eye Of The Storm
(4:14)  3. It Sure Ain't Nothin' New
(5:49)  4. Deep In My Memory
(4:11)  5. The Devil Is Working Here
(6:32)  6. Don't Take The Easy Way Out
(4:58)  7. I Got Rhythm

If you’re expecting the bold flights of wordless vocalizing that have defined so much of Nanette Natal’s previous recorded work, proceed directly to Sweet Summer Blue’s seventh and final track, a lissome “I Got Rhythm” filled with those inimitable Natal touches. The balance of the album, comprising six original compositions, might wrongly be perceived as a new direction for Natal. In fact, they recall the earliest phase of her career, harkening back to her long-ago days on the coffeehouse circuit.

The recording technique skewed old-school too, with live performances transferred direct to two-track and then onto analog tape, contributing to the pervading warmth. The intimacy is heightened by the largely acoustic settings, featuring Rolf Sturm on guitars, Dave Silliman on drums, Tony Cimorosi on bass, Clarence Ferrari on violin, with Natal accompanying herself on guitar on three tracks. The arrangements provide her a pan-Americana palette, with waves of country, folk, blues and jazz variously roiling beneath.

Thematically, the songs are equally wide-ranging, extending from the evocation of quicksilver romance on “Silver Night” to the growly assertion of openheartedness on “Don’t Take the Easy Way Out.” Her slinking “It Sure Ain’t Nothin’ New,” propelled by Silliman’s bongos, skillfully examines the chimera of humankind, while the madrigal-like “The Eye and the Storm” and august “Deep in My Memory” offer impassioned prayers for peace. Most poignant, though, is Natal’s forlorn tally of modern American woes on “The Devil Is Working Here.”  Christopher Loudon  
http://jazztimes.com/articles/28542-sweet-summer-blue-nanette-natal

Barbara Dennerlein - Straight Ahead!

Styles: Hammond Organ
Year: 1989
File: MP3@320K/s
Time: 69:29
Size: 159,4 MB
Art: Front

( 5:51)  1. Bad And Blue
(11:57)  2. It Just So Happens
( 5:59)  3. What's Up
( 8:32)  4. All That Blues
( 4:58)  5. Open And Free
(11:30)  6. Stormy Weather Blues
( 4:31)  7. Straight Ahead
( 5:38)  8. Rumpelstilzchens Bossa
( 4:14)  9. Opus De Funk
( 6:15) 10. A Night In Tunesia

After several recordings on her own Bebap label and for a few tiny German companies, organist Barbara Dennerlein came to the attention of a larger public with the release of this superior effort for Enja. Teamed up with eccentric trombonist Ray Anderson, fiery guitarist Mitch Watkins, and drummer Ronnie Burrage, Dennerlein performs six of her swinging originals, one apiece by Anderson and Burrage plus "Opus de Funk" and "A Night in Tunisia." The colorful voices of these musicians constantly inspire each other, and Dennerlein (whose sound with the use of MIDI had become quite original) quickly emerged as one of the brightest new stars of the organ in the late '80s. ~ Scott Yanow   
http://www.allmusic.com/album/straight-ahead-mw0000207690

Personnel: Barbara Dennerlein (organ), Ray Anderson (trombone), Mitch Watkins (guitar), Ronnie Burrage (drums)

Straight Ahead!

Pippo Guarnera - Spinnin'

Styles: Hammond Organ
Year: 2006
File: MP3@320K/s
Time: 48:52
Size: 112,0 MB
Art: Front

(5:56)  1. Gumbo Lickers
(7:02)  2. Peep'n
(5:48)  3. Brother Jack
(6:34)  4. After Hours
(7:28)  5. The Way I Feel
(5:57)  6. Spinnin' The Blues
(4:03)  7. Are Are
(6:00)  8. Tight Mall

Born in Sicily in 1953, got his first Jazz gig at the Rome MUSIC INN  jazz club. 1974 sees the beginning of a collaboration with "NAPOLI CENTRALE", an Ethno Jazz-Rock band  with several albums out and about 500 concerts performed during two years span ; worth mentioning the opening for WEATHER REPORT and DUKE COBAHM BAND in Rome 1975 and an appearance at the Swiss MONTREUX JAZZ FESTIVAL.  After various studio sessions and a tour with EUGENIO FINARDI  (1976), Guarnera moves to Los Angeles in 1977 refinishing his musical skills studying arrangement, composition, orchestration and film scoring at the GROVE SCHOOL, located at that time in Studio City Los Angeles CA, under the direction of masters as Dick Grove, Jack Eliot, Albert Harris, Jack Smalley, Allyn Ferguson, Mundell Lowe, Roger Kellaway, Clare Fischer.

In 1983 Guarnera is back in Rome, Italy to participate to the TV show MISTER FANTASY on national channel RAI 1. In 1985 moves to Bologna starting a collaboration with Blues artists Andy Forest and Billy Gregory paying another visit to the MONTREAUX JAZZ FESTIVAL. A tour with Enzo Jannacci  during 1987 and 1988 ends in a TV show on RAI 2 with Dario Fo`- Franca  Rame and Jannacci.  Again on tour in 1991 with Neapolitan singer Edoardo De Crescenzo and brazilian percussionist Nanà Vasconcelos.

In 1991 Guarnera joins the RUDY ROTTA BAND which collects performances at many european blues and jazz festivals as : Gaildorf, Lugano, Fribourg, Locarno, Montreux, Leipzig, Dresden,  Hohentwiel, Sanremo Blues, Pistoia ... The MEDITERRANEAN BLUES CRUISE with John Mayall’s Bluesbreakers, Marcia Ball, Little Charlie and the Nightcats, Buckwheat Zydeco, Louisiana Red, John Mooney and USA as well at the KANSAS CITY BLUES & JAZZ FEST con Jay McShann, Al Green e Taj Mahal, historical blues clubs as The Grand Emporium in Kansas City and Rosa's in Chicago, performing and recording with Carey Bell, Lovie Lee, Jeann Carroll, Sugar Blue, Karen Carroll, Luther Allison, Lowell Fulson, Billy Brunch, Zora Young, Coco Montoya, Maria Muldaur,  Corey Harris and many others. During the 2000 decade starts new collaborations,  BLUE TRAIN TRIO with Jimmy Villotti and Vince Vallicelli , the trio MEMPHIS ON STHEROIDS (Green Onions),  Antonio Gramentieri  and Matteo Monti  and not to forget the MAGIC TRIO with James Thompson and Vince Vallicelli plus some other tours with the jazz singer Harriet Lewis. A participation  to the Dubai International Jazz Festival with  guitarist Enrico Crivellaro. The following is a long series of collaborations with Jono Manson, tours with Sax Gordon Beadle, Chris Cain, Guy King, Peaches Staten, J.W. Williams, Katherine Davis.

Discography includes Tolo Marton "Quarantasuonati", AndyForest "Cat On A TinHarp" "Grooverockbluesfunk'n'roll", furthermore  DIABOLIC LIVE, SO` DI BLUES , LIVE IN KANSAS CITY and BLURRED with the Rudy Rotta Band, SUGARVILLE with Green Onions, “The Night the Mòjo Stood Still” with the Magic Trio renamed as  “FEARLESS GUMBO”, "ANIMA BLUES" a blues project with Eugenio Finardi, "SPINNIN' THE BLUES" under his own name, "SAX GORDON LIVE AT NAIMA" and countless studio session at Hammond Organ and piano with among others Alberto Solfrini,  Ligabue, Gianna Nannini, Stadio , Grignani and Timoria.  http://www.studiologic-music.com/musicians/pippo-guarnera.html

Spinnin' the Blues