Monday, March 10, 2014

Esther Haynes - Esther Haynes / Moon Country

Album: Esther Haynes
Size: 103,9 MB
Time: 44:28
File: MP3 @ 320K/s
Released: 2001
Styles: Jazz Vocals, Swing, Blues
Art: Front

01. Honeysuckle Rose (3:39)
02. Up The Country Blues (4:03)
03. Trouble In Mind (3:00)
04. Stars Fell On Alabama (4:01)
05. Lady Be Good (2:40)
06. Why Don't You Do Right (3:02)
07. What's The Matter With The Mill (2:54)
08. After You've Gone (2:55)
09. Billie's Blues (2:47)
10. Black Eye Blues (4:09)
11. Darktown Strutter's Ball (2:49)
12. Mama's Gone, Goodbye (3:14)
13. St. Louis Blues (5:08)

This album pays tribute to early blues, swing, and ragtime vocalists of the 20's and 30's; instrumentation includes fiddle, clarinet, slide guitar, banjo, cornet, and mandolin, among others.

Esther was awarded her 10th WAMMIE for Jazz Vocalist 2010 by the Washington Area Music Association on February 20th, 2010!

Esther received a Wammie Nomination for Jazz Vocals, 2010. She has received 9 Wammie Awards for Big Band/Swing and Jazz Vocals since 2003.

A native of Virginia, Esther grew up hearing the sounds of bluegrass music. She learned finger-style folk guitar from her sixth grade teacher and started studying bluegrass banjo at age 15, which she continued playing seriously until age 21. During her college years at Virginia Tech, she attended jam sessions and fiddler's conventions in southwestern Virginia, where there is a strong traditional music culture. She played in a folk guitar/voice duo with at coffeehouses, crafts fairs and outdoor events, and had her first paying gig with a bluegrass band in Beaufort, S.C. She also took a group voice class where her professor invited her to take private lessons, and informed her that "music was her element."

On one drive to college with her brother, she heard a tape of Billie Holiday singing "Violets for Her Furs", which made a distinct impression on her. At age 26 she decided to attend Berklee College of Music in Boston, where she studied professional music and voice. She met some great musicians there, including Flying Fish artists Hiro Arita, Howie Tarnower, Matt Glaser, Eric Levinson, and Ruthie Dornfeld, who played in Boston City Limits, a bluegrass and swing band. When their singer Chris Jones left for Nashville, Esther was invited to join them as vocalist and rhythm guitarist. While in Boston she also worked with ragtime blues guitarist Larry Unger, playing swing dances and benefits in the area, and was invited to perform on a cable television program, "The Routes of American Music."

Other experiences include two years performing in Tel Aviv, recording in New York and Vermont with John Dirac (of the Either Orchestra), and working in the D.C. area with Swing Season, The Resonators, and Justin Lees. She sang the title track on Eddie McGee's CD entitled "Who Will Sing for Me?" which placed 9th on Durham's radio rating in April of 1999, and was selected to perform as local talent in the Chesapeake Bay Blues festival in May of 2000 and 2001. Currently she performs in a jazz duo with guitarist Phil Mathieu (of Ruthie and the Wranglers) and with Hokum Jazz, a hot jazz and swing group that includes members of the Resonators, J.C. Veve and Nevada Newman. She was twice nominated for a WAMMIE (Washington Area Music Award) in the area of Traditional Jazz Vocals.

In 2001, Esther produced her first CD featuring songs of vocalists from the 20's and 30's such as Alberta Hunter, Sippie Wallace, Memphis Minnie, Lil Green, Bessie Smith and others. The CD was nominated for a WAMMIE in 2001.

Esther has been awarded 6 WAMMIES, (Washington Area Music Awards), 4 for Big Band/Swing vocals, and 2 for Jazz vocals, since 2003.

She is currently working with guitarist Keith Grimes, who recorded on Eva Cassidy's albums! Currently a 3rd CD with Keith Grimes is in progress, but donations are needed for its completion. Write to estherhaynes1@gmail.com if you would like to help in this effort.

Esther Haynes

Album: Moon Country
Size: 115,6 MB
Time: 49:00
File: MP3 @ 320K/s
Released: 2013
Styles: Jazz Vocals, Blues Country, Swing
Art: Front

01. Old Devil Moon (2:59)
02. Moon Country (3:04)
03. Moon And Sand (3:34)
04. Dixie Lullaby (2:36)
05. Me And The Man In The Moon (2:57)
06. Memphis In June (3:17)
07. Treat You Right Blues (2:54)
08. Skylark (4:10)
09. Peach Pickin' Time In Georgia (3:00)
10. Sugar Moon (2:26)
11. In The Evenin' (When The Sun Goes Down) (3:12)
12. Tennessee Waltz (3:23)
13. Rockin' Chair (3:41)
14. My Window Faces The South (2:59)
15. Georgia On My Mind (4:39)

A blend of Hoagy Carmichael, moon tunes, and southern tunes in a variety of styles such as jazz standard, country blues, vaudeville, western swing, and bossa.

This album was conceived as a tribute to my dad, who came from Montgomery County, Tennessee, and hopefully will inspire others to think about their family roots. It encompasses various vocal styles, including four Hoagy Carmichael standards, an Alec Wilder bossa, two swing tunes, a country blues, a vaudeville tune, and one original. It is kind of relaxing, hence the title "Moon Country", (named after one of the Hoagy tunes), and is meant to evoke an imaginary place harkening to days gone by.

All tracks include Keith Grimes on guitar and slide guitar; Mac Cridlin on bass; and Pete Ragusa on drums (most tracks), and Esther on rhythm guitar (most tracks). Additional solos are by the talented Washington, DC-area musicians John Hurd on keyboard; Pete Chauvette, vibes; Buddy Griffin, pedal steel; Helen Hausmann, violin; Merle Johnson on mandolin; and Bob Spates on violin.

Studio production is by Richard Seidel; Mastering by Bill Wolf; Cover photo by Chip Py; Cover art by Dick Bangham.

Esther was recently accepted as voting member of NARAS (National Academy of Recording Arts and Sciences).

Moon Country

Darren Heinrich Trio - The Jimmy Smith/Larry Young Project Live

Size: 121,4 MB
Time: 52:32
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Hammond Organ
Art: Front

01. A Night In Tunisia (8:38)
02. Luny Tune (7:33)
03. Roadsong (O.G.D.) (6:21)
04. When Johnny Comes Marching Home (6:32)
05. Zoltan (7:47)
06. The Buckeye Blues (7:32)
07. Ritha (8:06)

Leading Sydney jazz organist Darren Heinrich, together with regular band mates Steve Brien (guitar) and Andrew Dickeson (drums), perform some rare and classic repertoire with great interaction and groove. This energetic concert, recorded in the intimate Music Cafe at Sydney Conservatorium, presents the trio performing the music of two trailblazing organists - Jimmy Smith and Larry Young. Highlights include Smith’s fingerbusting arrangement of “A Night in Tunisia” and Young’s quirky “Luny Tune.” A must have for fans of the Hammond Organ and "O.G.D." - “ Organ/Guitar/Drums.

The Jimmy Smith/Larry Young Project Live

Elly Kouri - I Love You Too Much

Styles: Vocal Jazz
Year: 2013
File: MP3@320K/s
Time: 43:10
Size: 98,8 MB
Art: Front

(2:25)  1. Can't We Be Friends
(2:27)  2. Billie's Blues
(3:37)  3. I Love You Too Much
(3:05)  4. Second Time Around
(2:30)  5. Do I Move You
(3:28)  6. Weep No More
(2:03)  7. Tra La La
(3:52)  8. Blues Are Brewin'
(4:09)  9. Solitude
(4:27) 10. Please Send Me Someone To Love
(4:05) 11. Softly
(2:40) 12. Tomorrow Is My Turn
(4:15) 13. If We Never Meet Again

A musically intimate collection of songs reflecting on love, heartbreak and hope, soothing, yet with a surprising touch of fire.

"I Love You Too Much" is a tribute to the many aspects of love. The songs describe the initial pining and longing stages of love, the different types of rejection and separation and the final reward. The set, with some humor, weaves in the direction of this reward, love's fulfillment while celebrating individual growth through relationship. "Can't We Friends," every lover's nightmare, or "Weep No More," a rejected lover's struggle to heal, reveal that finding love has not changed much over the years. The title track, "I Love You Too Much," was a particularly appreciated discovery. Recorded by the Andrew Sisters in the 1940's, there is a light yet haunting quality that uncovers a danger in loving "...Too Much." "Tomorrow is My Turn" seems a fitting way to balance or heal that obsession and "If We Never Meet Again," is a rich and satisfying completion to love that has been lost, but deeply felt.   http://www.cdbaby.com/cd/ellykouri

New York Trio - Always

Styles: Piano Jazz
Year: 2008
File: MP3@320K/s
Time: 49:37
Size: 114,0 MB
Art: Front + Back

(5:19)  1. Always
(5:45)  2. Cheek To Cheek
(4:01)  3. They Say It's Wonderful
(5:23)  4. I Got The Sun In The Morning
(4:02)  5. How Deep Is The Ocean
(4:48)  6. Change Partners
(5:28)  7. What'll I Do
(5:43)  8. Isn't This A Lovely Day
(6:55)  9. The Song Is Ended
(2:07) 10. Russian Lullaby

The New York Trio, led by pianist Bill Charlap with bassist Jay Leonhart and drummer Bill Stewart, exists exclusively as a band to record for the Japanese jazz market, as Charlap has a regular trio with Peter Washington and Kenny Washington, while both Leonhart and Stewart are busy session musicians who occasionally also lead their own record dates. These 2007 sessions focus exclusively on the extensive songbook of the prolific Irving Berlin. Most of the ten tunes heard on this CD have long since become standards and are frequently recorded by jazz artists. One that isn't typically heard as an instrumental is "I Got the Sun in the Morning" (from the musical Annie Get Your Gun), heard in a loping yet infectious interpretation. "How Deep Is the Ocean" is one of Berlin's most recorded songs, yet this version sizzles with energy, unlike the typical ballad treatments. Other highlights include the breezy, joyful setting of "Cheek to Cheek," with Stewart's whispering brushes propelling Charlap's buoyant piano, along with the bittersweet "What'll I Do," featuring Leonhart's intimate solo. Even though this isn't a working band, things seem to gel quickly for The New York Trio when the group assembles to record. 
~ Ken Dryden   http://www.allmusic.com/album/always-mw0001427436

Personnel: Bill Charlap: piano; Jay Leonhart: bass; Bill Stewart: drums.

Ornette Coleman - Free Jazz

Styles: Saxophone Jazz
Year: 1960
File: MP3@320K/s
Time: 54:13
Size: 124,2 MB
Art: Front

(37:10)  1. Free Jazz
(17:02)  2. First Take (Bonus Track)

Alto saxophonist Ornette Coleman's masterpiece, Free Jazz: A Collective Improvisation by the Ornette Coleman Double Quartet, is one of the hinges of jazz evolution. As a musical hinge, Free Jazz, heard from this side of its development, is a bit of an anticlimax compared with the two-label, five album prelude to this point: Something Else!!!! (Contemporary, 1958), Tomorrow is the Question! (Contemporary, 1959), The Shape of Jazz to Come (Atlantic, 1959), Change of the Century (Atlantic, 1959) and This is Our Music (Atlantic, 1959). Had Coleman done nothing else but release these first five recordings, his legacy as one of the pioneers of free jazz would still be assured. But on Free Jazz Coleman took that final step into the chaos of untethered group improvisation and in doing so took the "free" in free jazz as far as it would go. Tenor saxophonist John Coltrane, taking his own route, would do the same five years later with Ascension (Impulse!, 1966). If following the cause-and-effect explanation for the development of free jazz, Coleman's music was an evolved response to the highly structured be bop of the late 1940s and early 1950s and swing-era big band jazz before that. Unlike Coltrane, free jazz's other high priest, Coleman did not have a slew of recordings before he began disassembling the genre. 

Coleman emerged anxious and impatient with the music when he started to record in 1958. Coleman's creative evolution in free jazz lasted a mere three years and was dense and rapid. Coleman took a hard right emerging from This is Our Music, increasing the size of his standard ensemble to his "double quartet." In this, Coleman solved his problem of employing sympathetic drummers Billy Higgins and Ed Blackwell and bassist Charlie Haden and Scott LaFaro by simply using them all. Coleman retains trumpeter Don Cherry, adding trumpeter Freddie Hubbard as Cherry's cohort and taking on no less than multi-reedist Eric Dolphy as his own. The modus operandi of Free Jazz is even simplier than what trumpeter Miles Davis famously employed three years earlier, when he and his famous sextet recorded Kind of Blue (Columbia, 1959): Coleman sketched out a brief and dissonant fanfare to introduce and separate solo sections of his mass improvisation and then they entered the studio and blew. This might stand as a last vestige of the traditional jazz "head-solo-head" configuration. You have to start and end somewhere. No matter how you cut it, Free Jazz cannot be heard in a post-modern vacuum. Without context, this "music" is effectively un-listenable. 

Apologists for free jazz dismiss this characteristic as part of the music's experimental nature. Needless to say, this "experimental nature" renders this music less appropriate for consideration over a glass of neat single malt and more at home with Fantasia on the television with the sound muted, under the influence of ergot's muse. That is not to imply that Free Jazz has no artistic merit, only that a bit of background more fully enhances the experience. Starting with the premise that Free Jazz, after the briefest of direction, devolves into an eight-part improvisation with all parts equally independent, observations may be noted. While nature, when left to her own devices, typically migrates from a state of order to greater disorder, the musical synthesis on Free Jazz tends to go into the opposite direction: from a greater disorder to order. "Free Jazz" begins as a schizophrenic note salad, borne in chaos and given only a whiff of direction. The music may best be described as the best New Orleans Dixieland exposed and mutated by radiation exposure. It is the phenomenon where the music, at first blush, sounds completely untethered, at least until ideas begin to coalesce. Once the piece is started in earnest, certain characteristics begin to manifest. Among these is Coleman's experiences playing blues. It saturates his playing and is present throughout the piece. Cherry's and by proxy, Hubbard's hard bop bona fides reveal themselves potently. From an ensemble point of view there is a migration through evolution, where the elements of swing can be heard in call-and-response phrasing and some natural Count Basie big band riffing emerges naturally among the horns. Also revealed is the innate sense of humor of the musicians, heard in the quotes of nursery rhymes and other jazz pieces. Again, this music is meaningless in a vacuum.

The musical environment improves as the 37-minute plus piece evolves. The end section contains provocative bass and drum interplay, occurring after the horns make their combined and separate statements. On that note, let there be no doubt that Eric Dolphy possessed the freedom vision, seemingly from the very beginning, and Freddie Hubbard's post bop experience prepared him well also. From a full-ensemble direction, it is instructive to listen to the 17-minute plus "First Take" to hear the dry run of what would become Free Jazz.

It is readily evident that the longer version benefited from a run through showing that some ideas solidified between the two versions.  Free Jazz may exist as a piece of music to possess for historic reasons rather than aesthetic musical ones. If a lesson exists in this music it is that context is always important and a little knowledge about that music is not a dangerous thing, but a catalyst to further investigation and listening. In that, lies the values of Free Jazz. ~ C.Michael Bailey   http://www.allaboutjazz.com/php/article.php?id=40430&pg=1#.Uxz13IVZhhk

Personnel: Ornette Coleman: alto saxophone; Don Cherry: pocket trumpet; Eric Dolphy: bass clarinet; Freddie Hubbard: trumpet; Scott LaFaro: bass; Charlie Haden: bass; Billy Higgins: drums; Ed Blackwell: drums.

Roy Meriwether - The Art Of The Groove

Styles: Jazz
Year: 2007
File: MP3@320K/s
Time: 45:37
Size: 105,8 MB
Art: Front

(7:18)  1. I'll Take Romance
(6:26)  2. I'm Just A Lucky So And So
(6:22)  3. Woodline
(4:09)  4. Me & Mrs. Jones
(7:16)  5. Blues For Big Maceo
(4:02)  6. A Tribute To You My Lady
(4:28)  7. Sexual Healing
(5:33)  8. Jonah

A multi-dimensional and self-taught virtuoso, Roy Meriwether blends jazz, blues, and gospel with classical elements in a unique and innovative style that has drawn enthusiastic crowds to night clubs, colleges, and concert halls across the country. Born in Dayton, Ohio, Mr. Meriwether started playing piano at the age of three and had composed two pieces before he was four. Shortly thereafter, he began playing in his father’s church, accompanying the family choir, and performing with gospel singers throughout the Midwest. Mr. Meriwether turned professional with his own group at age 18 and has devoted himself to both composing and performing ever since. Reviewers are frequently impressed by his power. Critic Arnold Shaw once described him as a “two-fisted pianist who in this day of right-handed wizards has the sound of a champion, with thunder in his left hand and lightning in his right.” As recently reported in the Scottsdale, Arizona Daily Progress: “Mr. Meriwether performs both standards and original compositions with a creativity that is nothing short of genius. Meriwether himself is the epitome of a ‘giving’ musician, at his best with a responsive, listening audience. 

He does not require it, but appreciates it and rewards it with dynamite delivered with the power his hands produce.” In 1973, the National Endowment for the Arts bestowed on Mr. Meriwether a Jazz Composition Fellowship Grant for the purpose of writing a musical work tracing the history of the black experience in America. The scope and breadth of the project resulted in the 21-piece suite, BLACK SNOW, written and premiered for the United States Bicentennial Celebration, April, 1976, with the Howard Roberts Chorale and the Dayton Contemporary Dance Guild. Living in New York City since 1976, Roy continually elicits standing ovations from his audiences.  He is frequently called upon to compose specific works for special events such as the November, 1989 NAUBA Salute to Women Conference in the Bahamas, where he performed his piece, “A Tribute To You, My Lady.”

He has received numerous awards including Jamaica Queens New York Jazz Community Award, the New York Manhattan Association of Cabaret Award (MAC Award), and has been considered for a Grammy nomination. In March of 1999, Mr. Meriwether received a Lifetime Achievement to Music Award. Mr. Meriwether's sound is unmistakable and his music is timeless!  His latest releases “The Art Of The Groove”, "Inspiration", "Live at John Word's", and "Live at Gordy's", and he continues to tour regularly throughout the US and Europe. ~ Bio   http://www.roymeriwether.biz/id9.html