Carrie Landsgaard - Is This Desire

Size: 103,2 MB
Time: 44:14
File: MP3 @ 320K/s
Released: 2004
Styles: Jazz Vocals, Blues
Art: Front

01. You'd Be So Nice To Come Home To (3:21)
02. Lullaby Of Birdland (3:48)
03. Is This Desire (6:34)
04. It Had To Be You (3:13)
05. At Last (4:26)
06. Bad Dream Baby (6:15)
07. In The Dark (5:05)
08. I'm Gonna Sit Right Down (And Write Myself A Letter) (2:55)
09. Cryin' (5:00)
10. I'm Beginning To See The Light (3:32)

..." an intriguingly multi-layered singer"... ~Jazz Improv Magazine

"...Yeah, that's really nice, this little lady can sing..." ~Chubby Jackson, Jazz Bass Legend

"Carrie is currently an undiscovered treasure with impressive talent and class." ~Al Julian - formerly with Concord Records

"Cynthia Hammond of Jazz88, KSDS 88.3 FM San Diego expounds "Carrie Landsgaard is one of the rising jazz vocalists in San Diego. Her sound is smooth, crisp and fresh as a morning sunrise".

Carrie Landsgaard, hailing from the Southland, has been performing with premiere Jazz Players in the Southern Californian area for ten years in top venues such as Disneyland's exclusive Club 33 (for the millennium celebration), Ritz Carlton - Palm Springs, The Wyndham Emerald Plaza Int'l Hotel - San Diego, the Four Season's Aviara - San Diego, Alhambra Summer Music Festival, City of Lakewood - Summer Series in the Park, Pacific Beach Festival and more.
Recently, she traveled to Hong Kong to perform at the "Oasis of Jazz" event, for Rolls Royce's 100th Anniversary Celebration, and at The Foreign Correspondent's Club private venue.
Carrie also has some independent film to her credit, as well as a leading role (the one with the gun ) for Unsolved Mysteries in "The Thelma and Louise bandits" segment, and more recently on "America's Most Wanted".

While "Is This Desire?" is a jazz and swing album, paying tribute to the Jazz Standards, she also penned the title track, and "Bad Dream Baby" with tenorman Mikole Kaar.

Is This Desire

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Fernando Rusconi Hammond Organ Trio - No Moon, No Sun, No Age

Size: 104,7 MB
Time: 44:52
File: MP3 @ 320K/s
Released: 2012
Styles: Jazz: Hammond Organ
Art: Front

01. Legado (5:57)
02. I Don't Need No Doctor (5:22)
03. Blues En 3D (5:03)
04. Bolichero (5:14)
05. Wade In The Water (4:12)
06. Ayacucho (6:26)
07. Ain't No Sunshine (3:37)
08. Up From The Skies (4:26)
09. No Moon At All (4:31)

The trio began operating in early 2000 and so far has recorded 5 albums, "Conclusiones" (2002), "Equilibrio" (2005), "Nada mas que decir" (2008), "Lost In Time" (2010). "No moon, no sun, no age" (2012)
From his early training with Pablo Vernieri and Marcelo Von Schultz, different musicians have joined at each stage; Pablo Fiorentini, James Suggs, Santiago Castelani, Miguel Tallarita, Ezequiel Piazza, Luis De la Torre and David Cantoni, among others.
By late 2008, the group consolidated with the addition of Ryan Anderson on guitar and Timoty Cid on drums, giving a dramatic change and affirming their musical direction which developed from his second album "Equilibrio" to a side with more funk and power, with many echoes of the 60s and 70s without losing the essence of jazz, with a sound more raw, rough, almost rock, stripped of everything digital and focused in its entirety to an aesthetic marked by good vintage and similar instruments.

He has made presentations across the country and abroad, such as the Jazz Festival of Buenos Aires, Cycle Jazzología in the San Martín Theatre, Hall A, B and Muiño of the San Martín Theatre, Jazz Festival of Moron, Hall Leopoldo Marechall of the Victoria Auditorium of San Juan, ND Ateneo, Niceto, Thelonius Club, Notorious, Jamsessions (Program channel 7), the blades of Villa Gessell, Auditorium Theatre in Mar del Plata, Neuquen, Uruguay, Corrientes, Comodoro Rivadavia, Chaco, Catamarca, Bariloche, Córdoba, Río Cuarto, Rafaela, Sunchales, Rosario, San Rafael, San Juan, Mendoza, Atlantic Coast, Chascomús, Zárate, Campana, Jazz Festival of La Plata, sample music from La Plata, among others.

In 2010, as part of the presentation of his new album "Lost In Time", the group made a tour through Argentina and Uruguay with Medeski, Martin and Wood, a renowned American trio, who in the 90's revolutionized jazz with an exquisite fusion of funk, soul, rock and groove. The group also performed at The Coliseum Bs.As, Libertador Theatre of Cordoba, La Trastienda in Montevideo Uruguay, and the Theatre Español in Neuquen.

Fernando Rusconi, Hammond B3 Organ Hohner Clavinet D6 and Pablo Vernieri, electric guitar with Marcelo Von schultz on Battery.

No Moon, No Sun, No Age

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Jim Caruso - Swing Set

Size: 110,9 MB
Time: 47:52
File: MP3 @ 320K/s
Released: 2011
Styles: Jazz Vocals, Swing
Art: Front

01. I've Got My Fingers Crossed (4:24)
02. I Love A Violin (4:18)
03. Manhattan (4:44)
04. This Or That (3:25)
05. I'm So Happy (3:16)
06. If I Only Had A Brain (4:19)
07. Avalon (4:03)
08. I'm Shootin' High (3:10)
09. Doodlin' Song (3:29)
10. Pick Yourself Up (2:46)
11. Flexible (2:35)
12. Squeeze Me (4:10)
13. Heart's Desire (3:08)

This disc is 250,000 pounds-per-square-inch cabaret music rendered with a loving and exacting hand by a coy master. Singer Jim Caruso does not take himself seriously while doing exactly that, and it is this quality that makes The Swing Set so much entertaining fun. Caruso's repertoire is not dusty standards, sanded to nothingness; instead, he chooses less-heard gems performed in the style of the '20s and '30s. Add to this perfect engineering and a crackerjack band, and Caruso delivers a completely entertaining experience.

Caruso opens his recital with a bright and smiling take on the 1935 Ted Koehler/Jimmy McHugh Alice Faye vehicle, "I've Got My Fingers Crossed." He shares this glee with Michael Feinstein on the mid-'40s June Barton hit "It's Got To Be This or That," propelled by the full the strength of Caruso's little big band. Harry Allen proves why he is the Frank Sinatra of the tenor saxophone in his solo—Caruso may be his perfect musical foil.

Perhaps the most "standard" of Caruso's selection is the Arlen/Yarberg classic, "If I Only Had a Brain," which Caruso slays with guitarist Bucky Pizzarelli and cornetist Warren Vache. This is, perhaps, the finest performance of this true American chestnut. Caruso sings this ballad with such sweetness and grace that it would be hard to imagine him bettering himself, but he does on "Pick Yourself Up," which he sings full of sunshine and glee. In lesser hands, the music on The Swing Set would be pure camp. Caruso saves the recital from this with a fun, confident sense of humor and certain knowledge of his material.

Personnel: Jim Caruso: vocals; Aaron Weinstein: violin, music director, arranger; Bucky Pizzarelli: guitar; Warren Vache: cornet; Harry Allen: tenor saxophone; Tedd Firth: piano; Steve Doyle: bass; John Burr: bass; Warren Odes: drums; Kristy Norter: saxophones; Dave Trigg: trumpet; Ross Konkoff: trumpet.

Swing Set

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Lars Sundberg Trio - Take The A Train

Size: 126,0 MB
Time: 54:09
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Avant Garde, Free Jazz
Art: Front

01. Take The A Train (4:58)
02. Satin Doll (5:49)
03. Chelsea Bridge (6:14)
04. Johnny Come Lately (4:08)
05. Sophisticated Lady (5:16)
06. Isfahan (5:50)
07. Lush Life (5:08)
08. A Flower Is A Lovesome Thing (5:56)
09. Drop Me Off In Harlem (4:32)
10. Upper Manhattan Medical Group (6:15)

Lars Sundberg trio shows a deep jazz tradition and keeps the rhythm going in all situations. All the music is cool and uncomplicated.

Personnel:
Lars Sundberg - piano
Börje Svensson - bass
Anders Söderling - drums

Take The A Train

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Milt Jackson - Love On My Mind

Bitrate: 320K/s
Time: 78:59
Size: 180.8 MB
Styles: Vibraphone jazz
Year: 2013
Art: Front

[8:27] 1. There's No You
[3:37] 2. Love Me Pretty Baby
[4:21] 3. The More I See You
[8:36] 4. Out Of Nowhere
[2:30] 5. Yesterdays
[2:29] 6. Heart And Soul
[8:54] 7. I'll Remember April
[3:25] 8. Softly As In A Morning Sunrise
[2:55] 9. Round About Midnight
[7:47] 10. Jay Jay's Blues
[3:46] 11. Indiana
[2:54] 12. Autumn Breeze
[2:49] 13. Lullaby Of The Leaves
[3:06] 14. Milt Meets Sid
[7:04] 15. If I Had You
[2:59] 16. True Blues
[3:14] 17. Moving Nicely

Before Milt Jackson, there were only two major vibraphonists: Lionel Hampton and Red Norvo. Jackson soon surpassed both of them in significance and, despite the rise of other players (including Bobby Hutcherson and Gary Burton), still won the popularity polls throughout the decades. Jackson (or "Bags" as he was long called) was at the top of his field for 50 years, playing bop, blues, and ballads with equal skill and sensitivity.

Milt Jackson started on guitar when he was seven, and piano at 11; a few years later, he switched to vibes. He actually made his professional debut singing in a touring gospel quartet. After Dizzy Gillespie discovered him playing in Detroit, he offered him a job with his sextet and (shortly after) his innovative big band (1946). Jackson recorded with Gillespie, and was soon in great demand. During 1948-1949, he worked with Charlie Parker, Thelonious Monk, Howard McGhee, and the Woody Herman Orchestra. After playing with Gillespie's sextet (1950-1952), which at one point included John Coltrane, Jackson recorded with a quartet comprised of John Lewis, Percy Heath, and Kenny Clarke (1952), which soon became a regular group called the Modern Jazz Quartet. Although he recorded regularly as a leader (including dates in the 1950s with Miles Davis and/or Thelonious Monk, Coleman Hawkins, John Coltrane, and Ray Charles), Milt Jackson stayed with the MJQ through 1974, becoming an indispensable part of their sound. By the mid-'50s, Lewis became the musical director and some felt that Bags was restricted by the format, but it actually served him well, giving him some challenging settings. And he always had an opportunity to jam on some blues numbers, including his "Bags' Groove." However, in 1974, Jackson felt frustrated by the MJQ (particularly financially) and broke up the group. He recorded frequently for Pablo in many all-star settings in the 1970s, and after a seven-year vacation, the MJQ came back in 1981. In addition to the MJQ recordings, Milt Jackson cut records as a leader throughout his career for many labels including Savoy, Blue Note (1952), Prestige, Atlantic, United Artists, Impulse, Riverside, Limelight, Verve, CTI, Pablo, Music Masters, and Qwest. He died of liver cancer on October 9, 1999, at the age of 76. ~bio by Scott Yanow

Love On My Mind

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Eva Simontacchi & E.S.P. Trio - Pure Ecstasy

Bitrate: 320K/s
Time: 44:40
Size: 102.3 MB
Styles: Vocal jazz
Year: 2012
Art: Front

[5:02] 1. Pure Ecstasy
[2:37] 2. I Remember You
[4:28] 3. I Thought About You
[3:47] 4. Lush Life
[5:16] 5. You Lighten Up My Life
[3:41] 6. Some Gershwin Air
[3:12] 7. What Is This Thing Called Love
[5:03] 8. In Summer (Estate)
[3:10] 9. The More I See You
[4:39] 10. There Is No Greater Love
[3:39] 11. When I Fall In Love

Eva Simontacchi comes out with her debut album "Pure Ecstasy" for Splasc(H) Records. The first question that comes to my mind is: why did she wait so long to do it? Eva Simontacchi, in fact, has all the qualities to appear and be included in the restricted circle of classy Italian vocalists: intonation, swing, perfect pronunciation and a wide jazz culture (she is a very much appreciated vocal technique instructor).

It is evident from the very first notes that the choice of the compositions of the album is not casual at all, but is supported by an in-depth knowledge of the Broadway songbook, even under the historycal point of view, of the greatest jazz vocalists (Ella Fitzgerald in the first place). The original compositions too, written with Roberto Cipelli and Attilio Zanchi are interesting and well-arranged, especially "You Lighten Up My Life" that has an intriguing introduction followed by a beautiful melody that enhances the qualities and the vocal colours of the vocalist. In my opinion, the mood of this song, and the mood of "Pure Ecstasy" could direct the future choices of Eva Simontacchi. ~Claudio Angeleri

Pure Ecstasy

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South Florida Jazz Orchestra - S/T

Bitrate: 320K/s
Time: 69:04
Size: 158.1 MB
Styles: Big band
Year: 2008
Art: Front

[7:15] 1. Blues Gumbo
[9:22] 2. Role Models
[4:27] 3. Nature Boy
[7:26] 4. Siboney
[8:06] 5. Midnight Mood
[8:00] 6. Touch & Go
[5:51] 7. Blame It On My Youth
[4:49] 8. ...And The Basses Are Loaded
[3:57] 9. This Can't Be Love
[3:55] 10. Waltz For Tikkaroo
[5:50] 11. Kong's Garden

"...This debut recording contains a modern jazz repertoire of the contemporary big band sound that will please not only the jazz aficionado, but anyone with a modicum of musical taste. Presenting a mixture of originals and a handful of classic standards, the music exerts a powerful attraction that succeeds in grabbing your attention right from the opening Gary Lindsay score "Blues Gumbo." The band swings with pulsating energy propelled by exemplary charts and arrangements that showcase brassy instrumentals, divine solos and elegant vocals.

Featured on this album are a couple of Mike Lewis compositions with "...And the Basses are Loaded" spotlighting leader Chuck Bergeron on the bass, and "Waltz For Tikkaroo," capturing the high-pitch trumpet of Arturo Sandoval along with Mike Brignola's baritone voice. Master saxophonist Charles Pillow weighs in with an exquisite soprano solo on Bergeron's "Role Models." Other outstanding soloists here include pianist Doug Bickel, saxophonists Gary Keller, Ed Calle, Ken Mattis, Gary Lindsay, trumpeter Alex Norris, and Dante Luciani on trombone. The vocalists are simply superb. Kevin Mahogany lends his husky baritone voice to Eden Ahbez's "Nature Boy," while Nicole Yarling sings a sensuous "Blame It On My Youth," as Dana Paul belts out a swinging version of "This Can't Be Love."...more than sixty-five minutes of scintillating big band jazz by a world-class orchestra..." ~Edward Blanco

South Florida Jazz Orchestra

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Hendrik Meurkens - Hendrik Meurkens & New York Samba Jazz Quintet

Bitrate: 320K/s

Time: 55:35

Size: 127.3 MB

Styles: Brazilian jazz, World Fusion

Year: 1999

Art: Front

[4:49] 1. Someday My Prince Will Come

[6:28] 2. In A Sentimental Mood

[5:42] 3. Baião De Janeiro

[4:39] 4. 's Wonderful

[6:24] 5. A Ra

[6:31] 6. Rapaz De Bem

[5:23] 7. Ceora

[5:22] 8. Muito A Vontade

[5:07] 9. Luisa

[5:05] 10. Solar

Hendrick Meurkens, the Dutch born harmonica player who's widely considered the heir to the Toots Thielemans legacy, is no slouch on the vibes, either. Here he joins some of the top Brazilian artists on the New York jazz scene to produce a CD of (mostly) joyful music. The sole exception is Jobim's "Luisa," arguably the most poignant and fluid melody he ever wrote, which becomes a tender duet between Meurkens and the fine pianist Helio Alves. Otherwise, the CD offers catchy renditions of familiar Brazilian standards, occasionally adding unexpected elements, like the bassy funk to "A Ra." There are also fresh Brazilian treatments of North American standards: Meurkens's soulful harp is featured on Lee Morgan's "Ceora," and his sultry vibes on Miles Davis's "Solar," where drummer Portinho and bassist Torben Westergaard also shine in the spotlight. The bouncy, winsome treatments of "S'Wonderful" and "Some Day My Prince Will Come" are delightful standouts; curiously, a similar treatment of "Sentimental Mood" seems a little stretched. The spirit of Rio lives in "Rapaz de Bem," which evokes a fast, two-seater drive around its famous curves, with mountains and jungle and beach zipping by. All hands are terrific throughout, their seamless and friendly interplay laced through with the wonderful native rhythms and sensibility of Portinho, master percussionist Cyro Baptista, and the ever-tasteful, first-call guitarist Romero Lubambo. This is real Brazil and real jazz, woven together with exuberance and grace. ~Judith Schlesinger

Hendrik Meurkens & New York Sambajazz All-Stars

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Sylvia Brooks - Dangerous Liaisons

Styles: Vocal Jazz
Year: 2009
File: MP3@320K/s
Time: 40:56
Size: 95,5 MB
Art: Front

(3:17)  1. Come Rain Or Come Shine
(4:42)  2. One For My Baby
(3:44)  3. Never Dance
(5:56)  4. Harlem Nocturne
(2:55)  5. Sway
(5:13)  6. Cry Me A River
(4:37)  7. Sophisticated Lady
(2:37)  8. When The Sun Comes Out
(3:47)  9. Lush Life
(4:05) 10. The Man That Got Away

Sylvia Brooks has the look of a classic Hollywood femme fatale, suggesting an auburn-haired variation on Veronica Lake with a hint of Rita Hayworth. And Brooks sings precisely the way she looks a dark, smoky sound with impressive firepower that seems tailor-made for the sort of plush, palm-treed nightclubs that dotted L.A. in the 1940s and ’50s. Those intimate boîtes spots like Ciro’s, The Tally-Ho, The Encore and the richly historied Cocoanut Grove are gone now, but Brooks is rapidly emerging as an SRO favorite at the chic venues that have replaced them, including Catalina’s, the Jazz Bakery and Vitello’s Jazz and Supper Club. Now, with the release of Brooks’ debut CD, the aptly titled Dangerous Liaisons, the wider world can share Los Angelinos’ discovery of her alluring sultriness. Brooks can swing hot and hard, as illustrated by a blistering “Never Dance” and an equally scorching “Sway.” She can also swing brightly, taking “Come Rain or Come Shine” at mid-tempo to ably capture the depth of the Arlen/Mercer gem’s ardor, and holding her torch high on a sweltering “When the Sun Comes Out.” 

But Brooks is perhaps best at examining love’s murkier corners. That she was an accomplished actress before she set her focus on singing is evident in her tackling of four of the most challenging numbers in the entire American songbook “Sophisticated Lady,” “Lush Life,” “One for My Baby” and “The Man That Got Away” (the latter mistakenly credited to Harold Arlen and George Gershwin, when it was Ira Gershwin who crafted the lyric, 16 years after his brother’s demise). They are the Mount Rushmore of 3 a.m. tunes, and many a capable vocalist has failed at scaling even one of them. That Brooks ably captures the near-maddening disillusionment and bourbon-fueled bitterness that pervade all four is testament to her estimable storytelling skills. But significant credit is also due Brooks’ arrangers. Top of the list is Tom Gavin, whose masterful touch adorns seven of the album’s ten tracks. Kudos, too, to saxophonist/flautist Kim Richmond who teamed with Gavin to shape “The Man That Got Away” and single-handedly put the dizzying swirl in “Sway,” and to pianist Jeff Colella, who painted the film noir backdrop for Brooks’ exquisite, indigo-hued “Harlem Nocturne” and placed “One for My Baby” in an unexpectedly dreamy setting that is stunningly effective. ~ Christopher Loudon  http://jazztimes.com/articles/26349-sylvia-brooks-dangerous-liaisons

Personnel: Sylvia Brooks (vocals); Kim Richmond, Alex Budman (flute, saxophone); Jamie Havorka (trumpet); Jeff Colella (piano); Giovanna Imbesi (keyboards); Kendall Kay (drums); Brian Kilgore (percussion).

Dangerous Liaisons

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Paul Jost - Breaking Through

Styles: Vocal Jazz
Year: 2014
File: MP3@320K/s
Time: 51:03
Size: 117,4 MB
Art: Front

(4:00)  1. Singing In the Rain
(2:33)  2. I Got Rhythm
(5:29)  3. Waltz For Debby
(5:15)  4. Days Of Wine And Roses
(4:19)  5. This Nearly Was Mine
(2:40)  6. Sweet Loraine
(3:07)  7. Blues On The Corner
(4:48)  8. Book Faded Brown
(5:41)  9. I Don't Nedd No Doctor
(3:29) 10. Waltz New
(6:03) 11. Gentle Rain
(3:32) 12. All Of You

The contemporary (meaning "current") male jazz vocalist approaches the hypothetical when compared to his female counterpart. Based simply on what crosses this desk weekly one could believe that the only male "jazz" vocalist are board professionals (dentists, lawyers and the like) making vanity recordings. Where are male counterparts for Cassandra Wilson, Tierney Sutton, Gretchen Parlato, Kate McGarry Laurie Antonioli, Jacqui Sutton or Sara Gazarek? Well...they do not exist. Harry Connick, Jr., Peter Cincotti, Tony DeSare don't count because they are Frank Sinatra altar boys (though Connick has that undeniable Southern thing going on). Michael Buble? He is not a jazz singer, though, to be fair, he was heavily influenced by Bing Crosby and Fred Astaire rather than Sinatra, so he has that in his favor. This also brings up the question: were (are) Frank Sinatra, and Tony Bennett for that matter, jazz vocalists? Bennett more than Sinatra, but both are masters of the popular song when than term really meant something and were not "technically" jazz singers. Like anything else, what we consider jazz vocals today is the product of an evolution of some earlier designation. 

Bennett's longevity has allowed him to develop into more of a jazz singer than Sinatra did. Bennett has risen to that point where, like Ray Charles, Willie Nelson or Van Morrison, he can sing whatever he wants, however he wants and it is still perfection. That said, as an imperfect segue, who has Bennett fostered in the influence department?  That brings us to Paul Jost, who in a joyous and rollicking "Singing in the Rain" takes Bennett's ebullient and robust delivery and turns it on its ear. And then he scats... doubletime. Jost invests in the freedom principle just enough to freshen things up, ending the piece with an electric piano solo and chuckled, "Ah, George..." foreshadowing an equally outside-the-box "I've Got Rhythm." Jost's talent, like that of Beat Kaestli's is in the art of arranging his songs. "Days of Wine and Roses" features Jost singing and playing body percussion while Mark Adler's flute flies around like a demented magpie throwing off notes like pixie dust. He, rocks the Ashford/Simpson classic "I Don't Need No Doctor," acoustically allegro con brio. Breaking Through is a solid statement by an equally solid artist deserving more attention. ~ C.Michael Bailey  http://www.allaboutjazz.com/jazz-vocals-june-paul-jost-by-c-michael-bailey.php#.U8F8erFryM0

Breaking Through

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Philip Gordon - Stolen Moments

Styles: Saxophone Jazz
Year: 1999
File: MP3@320K/s
Time: 66:36
Size: 152,6 MB
Art: Front

( 6:50)  1. Stolen Moments
( 7:22)  2. Someone To Watch Over Me
( 6:04)  3. Blue Bossa
( 5:31)  4. Lament
( 4:44)  5. Body And Soul
( 6:10)  6. Ceora
(11:02)  7. My Foolish Heart
( 6:49)  8. Blame It On My Youth
( 4:02)  9. Killer Joe
( 7:59) 10. I Remember William

"One cool cat," Philip Gordon has been playing music since he was 13. A natural on the saxophone, he has released three albums and is currently working on his fourth. He gave me a copy of his newest CD, "Stolen Moments," and two weeks later it is still in my CD player. His music is influenced by Duke Ellington, Count Basie, Ben Webster, Coleman Hawkins, and Stan Getz. Though his full-time profession is architecture, his passion is his music. Over the years, he has performed live in different big bands and has also done freelance studio work. Known as San Francisco's "King of Swing," Philip Gordon and The Out of Nowhere Band have been together for four years performing at clubs, festivals, as well as corporate and private parties all over the Bay Area. The band is available as a quartet or as a quintet with vocals. Before your event, Philip will work with you to customize the list of songs you like. 

During dinner, the band will play your favorite jazz tunes in the background. When it is time for dancing, they will turn up the volume and play swing, big band, motown, and rhythm and blues. Making all the necessary announcements, guests will not miss your first dance, cake cutting, or garter toss. You can hear song samples on his website (www.bluematrix.org) or see them perform live at one of his regular appearances in San Francisco. He is at the Cafe Metropol on the second and fourth Wednesday of every month, Farley's Cafe on the third Wednesday of every month, and every Sunday night at the Marriott Hotel, View Lounge, 34th floor. The publisher of Bay Arts and Music Magazine, John Rocker, wrote: "Gordon turns jazz into poetry and his songs into beautiful music, few will be unmoved by his passion and eloquence." ~ Critic and Music Reviewer, Jon Webster  http://www.cdbaby.com/cd/philipgordon

Stolen Moments

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Oswego Jazz Project - Oswego Jazz Project

Styles: Jazz
Year: 2007
File: MP3@320K/s
Time: 50:34
Size: 116,2 MB
Art: Front

(4:29)  1. There Will Never Be Another You
(4:31)  2. Recordame
(4:24)  3. Jason's Jig
(9:18)  4. Lullaby For L.A.
(7:23)  5. Caravan
(7:51)  6. Natasha's Song
(3:37)  7. Not Impressed
(4:17)  8. St. Thomas
(4:40)  9. Straight, No Chaser

Aspiring jazz musicians can find it difficult to hone their skills in a real-world setting, since jazz clubs that might sponsor jam sessions have mostly disappeared from America’s downtowns. Our intention in forming the Oswego Jazz Project (OJP) in early fall 2006 was to provide an opportunity for our university students and community members to play jazz with a faculty quartet in a public jam session setting on a weekly basis. The core of the OJP consists of SUNY music professors Rob Auler (piano), Trevor Jorgensen (saxophone) and Eric Schmitz (drums) and senior music major Max McKee (bass). In August, we approached the management at King Arthur’s Steakhouse in downtown Oswego with the idea of holding our jam session there every Wednesday night they said yes. We’ve been playing there ever since. 

In preparation for our weekly gig, we decided to focus on “standards” that is, time-tested classics from the pens of some of America’s greatest songwriters George Gershwin, Jerome Kern, Irving Berlin, Duke Ellington, et al. Aside from the immense musical value of these pieces, they constitute a body of work with which jazz musicians are expected to be intimately familiar. In addition, we wanted to include some more recent compositions by noted jazz players (such as Miles Davis, Thelonious Monk, and Sonny Rollins), which have become standards in their own right.

In order for jazz (or any other art form, for that matter) to survive, new contributions must be made. To this end, we’ve included four original pieces on this album. This recording documents some of the standards we have been playing for the past few months, as well as several new additions to our book. It was recorded “live” in the studio, with no overdubs and minimal editing, to achieve a sound as close as we could get to our weekly performances. We hope that you enjoy what you hear and will join us on Wednesday nights! http://www.cdbaby.com/cd/ojp

Personnel:  Rob Auler (piano), Trevor Jorgensen (saxophone), Eric Schmitz (drums), Max McKee (bass)

Oswego Jazz Project

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